In Conversation With Comic Book Artist Whilce Portacio

The artist would also find ways to have fun while working on sketches. "Back then, I would draw me and the girl I was dating in the background," he laughs. Portacio also shares that he'd take the opportunity to draw famous characters in the past to show editors his skills.

Portacio's innate talent was recognised in sixth grade. His art teacher took him under their wing and so did the other mentors he'd later meet in intermediate school and high school. 

While other college students were out partying, Portacio was training.

He wanted to pursue film but lacked the funds. So Portacio dived into the realm of comics after his cousin brought him to San Diego Comic Con with a portfolio and a dream, hoping to earn enough before transitioning to film. But over time, Portacio grew comfortable in the field, realising there was so much more to explore here.

"In the '80s, it wasn't even considered a job. Not many knew that the industry existed," he says. That was until the comic realm blew up.

"I went on to become an inker, colourist, and writer. But, especially as an artist coming in, the only really hard part is not really the art but doing the art in time. Later on, I find out that in comics, we have the worst deadlines."

"As a penciler, I have a deadline of every four weeks. So I have to design characters, design costumes, set up locations, do the storytelling, do the key art, and the art all in four weeks' time. I have to do things quickly," the artist relates. "When I go to ILM, Sony, or DreamWorks, the art directors are always looking at us comic artists saying, 'Oh, I wish I could have been a comic book artist. That's my first love pero hindi ko kaya ang deadline' [That's my first love but I can't handle the deadlines]. Because in order to stay, I had to be good enough and fast enough."

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Even Portacio's well-loved character, Lucas Bishop, popularly called Bishop, was created within four weeks.

The artist is releasing X-Men Legends #6 where Bishop makes his anticipated return. In the comics, the mutant soldier discovers the truth about the XSE along with Malcolm, Randall, and the Omega Squad.

"What you're going to see in those two issues that are coming out soon is what I really had in mind. My first official uncanny issue was 281 and that was the beginning of this big X-Men launch. So Jim Lee was going to do the new X-Men #1, and I was going to restart with #281. And so it was the very first time that we had two full X-Men teams. As I'm finishing the second half of 281, I get a call from Bob Harris, the editor saying, 'Oh, we would like you to create a new X-Men and make him badass and put him in the next issue. You have two weeks.'"

During the process, Portacio and Byrne had to come up with an interesting character. The artist reveals that they'd present some of their ideas to their assistant in the studio, figuring out what a young audience would like.

Soon, Lucas Bishop was born, and two months later, Portacio was leaving to join Image Comics, without ever having to share his vision for the character.

"They made up everything after that. . .so in these [new] issues, you'll see a more human Bishop. . .Wolverine was just becoming popular at that point. He was the very first superhero that was kind of an anti-hero. . .but I didn't want to do another psychotic X-men. Because I come from a military family, I know some people from the Navy US SEAL team and Special Ops, and they're nothing like the stereotype. They're some of the quietest people because they've killed people. It's not very fun. It's not nice. And that's their job," reveals Portacio.

"The Pinoy in me was thinking, 'What if this badass character like Wolverine was born into a hard world?'" he adds.

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These Filipino sensibilities, apart from the writer's remarkable drawings, are hard to miss. So much so that the late Stan Lee invited the young Portacio to his 1991 documentary series, The Comic Book Greats.

"People don't know this but we were filming from midnight to 4 am. In one of the tapes, we have this scene where Stan is sleeping on the set and we all come in and wake him up. That was a recreation of what happened because it was late. . .It was my very first public engagement, and I was just a kid. But Stan goes, 'Don't worry, I'll take care of you.' And he carries you. Do you remember those moments when you first meet and talk with a crush and you really get along? It just goes like that. I learned from him to involve the other person in interviews. That's what Stan was," shares the artist.

He continues, "There were a couple of times where Stan would say hi to my wife Jo and talk to her. They've dealt with stars and they have to remember all the work and names, but what about your plus one? Stan remembered everyone. And so that's why a lot of people love Stan. He was not only brilliant and talented, but he taught us how to be real, good people."

Doors have opened for Portacio because of his humility, willingness to learn, and courage, and he wishes the same for aspiring artists. 

He says, "Be a fan but don't be [just] a fan. Because sometimes when you become a fan, you go 'No, I'm not worthy. There's no way I could achieve that.' And you kind of stop yourself because you don't want to overshadow your idol. But I've never done that as a kid unconsciously. I would see an artist and study that. That's the way to grab skills, keep climbing, keep getting better, and understand. Even top-tier artists and writers are people too. Everybody has their own flaws. So take your opportunities where you can get them and learn from anybody and everybody."

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