They called this dangerous assignment going "incognegro." Zane Pinchback, a reporter for the New York-based New Holland Herald, is sent to investigate the arrest of his own brother, charged with the brutal murder of a white woman in Mississippi. They were African-American men who, due to their light skin color, could "pass" among the white folks. In the early 20th Century, when lynchings were commonplace throughout the American South, a few courageous reporters from the North risked their lives to expose these atrocities.
Pleece: Incognegro wouldn’t have happened if it wasn’t for Karen and her time at Vertigo and she’s played an integral part in getting the book back out again where it belongs.Summary: "This tenth anniversary edition of the acclaimed and fearless graphic novel features enhanced toned art, an afterword by Mat Johnson, character sketches, and other additional material. How has she been involved with these stories? Has she suggested any major changes? You have worked with Karen Berger on both the original Incognegro and Incognegro: Renaissance. RELATED: Warren Pleece on Life Sucks and Incognegro I can get a bit carried away on old cars and street scenes. Pleece: Mat’s scripts already have loads of direction, and then I get carried away making sure I’m drawing the right kind of mass-produced cheap camera for Zane, or that I’m drawing the right version of the Cotton Club. What sort of historical research have you done for these stories, in terms of visuals, the culture of the time, and the way people spoke? But also, I think the first one jumped straight into a character’s existing world. Johnson: Well, hopefully, we’ve both grown as artists - so there’s that. How are you approaching this story differently than you did the original?
I think people are still crying out for intelligent comics and graphic fiction now and the themes Incognegro tackles are as relevant today as they were 10 years ago. Pleece: As well as a great publicity team at DC, Vertigo was doing something special at the time, commissioning original, thought-provoking titles. How did it find its audience then, and do you think it will reach a different set of readers now? What a writer! A dream job!Īt the time Incognegro was first published, graphic novels didn’t have the sort of popularity they do now. I love noir and edgy fiction, and Incognegro was all that and more. I’d drawn quite a few titles for Vertigo by then, but when I was asked to work on Incognegro, I jumped at the chance. Warren Pleece: We were brought together by Jonathan Vankin at Vertigo, who edited the original version.
It was like biological parents being introduced for the first time. Johnson: We got to meet in person at New York Comic Con the year after the book came out. How did the two of you meet, and how did you work together on the book?
EXCLUSIVE: Incognegro: Renaissance #1 interior page.
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