Emotionally Autobiographical: Navigating ‘Spawn: Rat City’ With Writer Erica Schultz

The Spawn Universe is set for a major expansion in 2024, with a dozen new titles, in addition to the flagship series, which is about to celebrate its 350th issue. One of those series is Spawn: Rat City, which is set 100 years from the first appearance of Spawn. Erica Schultz is writing the new series about a cybernetic Spawn, with art from Ze Carlos. Comicon.com talked to Schultz about her approach to the upcoming title and her reaction upon learning she is the first female writer of a Spawn title.

Tom Smithyman: Hi Erica. Let’s talk about your approach to Spawn: Rat City and what sets it apart from the other Spawn books.

Erica Schultz: In terms of process, I approach Rat City the same way I approach any other book. I work macro to micro. I outline the overarching theme and broad strokes of the story arc, then I break that down into individual issues. Issue #1 is oversized at 32 pages, but each subsequent issue is 20 pages, so I have to know what can fit into each issue.

Once I have the broad strokes laid out, I can go and break up each issue into an outline. Here, I get a bit more specific, and I start to break each issue into sequences. Like I said, I have 20 pages to figure out what’s going to fit and what needs more room to breathe.

In terms of how Rat City is different from other Spawn books, the most obvious is that it takes place about 90 years in the future. Al Simmons is a myth and legend. Most people have never even heard of him. Yet here’s this amputee vet, Peter Cairn, who is “infected” with the curse of the Hellspawn. How he got there and why he became the Spawn will all be explored. There are also some twists and turns that set it apart.

Ze Carlos and I are really using the technology of this future world to give this story a different look and feel. It’s a Spawn book that doesn’t always act like a Spawn book.

Smithyman: Do you have free rein to take the characters where you want them, or is there a larger story across Spawn’s Universe that you are helping to flesh out?

Schultz: It’s a bit of both. There are obviously things in the current Spawn Universe that are set in stone and canon. Fleshing out Peter Cairn, our protagonist, who he is, his journey, and the world he lives in…that’s really all Ze and I. Todd McFarlane and Thomas Healy trust us to tell a great story, and that’s what we’re doing.

I won’t confirm or deny that Peter may or may not meet Al Simmons in later stories. Maybe there’s some time travel, maybe not. We’ve got a long road ahead of us, and the possibilities really are endless.

Smithyman: Were you surprised to learn that you are the first female Spawn writer after more than 35 years since the character debuted?

Schultz: To be honest, I never really thought about it until I was told I was the first woman to write Spawn. I think it’s very cool and groundbreaking and all those words to describe it, but I never set out to be a “lady writer,” despite the Dire Straits song. I just want to write good stories.

Some stories I think I’m uniquely able to present because of my lived experiences. I hope more women and non-binary creators who want to tell stories in comics put their voices out there. The more voices, the more readers can be informed about different experiences. Being exposed to new writers and perspectives and experiences is always a good thing.

Smithyman: Since Rat City is set in the future, Spawn has a new costume. What did you think when you first saw it, and did it influence your writing in any way?

Schultz: Ze Carlos did an incredible job on designing the new Spawn suit for Peter. We went through a few rounds of designs, and the one we settled on really is great.

In terms of how it’s influenced my writing, I wanted to make sure that the story really fits within this rich, tech-infused world Ze is putting together. You have to find the balance between the characters, plot, and world, and you want to make sure they play off each other.

Smithyman: In addition to Todd, you’ve had a chance to work with some comics legends, including Neal Adams and Gail Simone. Who has been the biggest influence on your work and on your career?

Schultz: That’s a tough question. I worked at Neal’s studio for nearly eight years. It was a real education in comics and art in general. I can’t leave that out of my résumé simply because if I hadn’t been working with Neal, I would’ve never started my own comics journey.

Gail was hugely influential because she gave me a chance on Swords of Sorrow, a crossover at Dynamite. She’s always been incredibly supportive of my work, and that can’t be understated.

I haven’t had the chance to work with Todd directly as of yet, but I’m sure that day will come. When Image first launched and Spawn hit the shelves, it was something no one had ever really seen before. That drive to do what you’re going to do and get it done is inspiration.

In terms of the comics I read growing up, it was a lot of Claremont/Byrne/Austin/Lee X-Men. There was Jim Aparo on Batman. These are all really big superstars that I gravitated toward in terms of storytelling. Kelly Sue DeConnick and Dave Lopez’s run on Captain Marvel blew me away, too.

I’m influenced by a lot of people because there are a lot of incredible creators in this field. That’s one of the reasons why it’s so special and unique.

Smithyman: You’ve written some dark characters, including Moon Knight, X-23, Marvel Zombies, and now Spawn. Is there a thread that connects your characters?

Schultz: I’m not going to say that any villain is redeemable, but I like the idea of characters that are more gray…they don’t have a black-and-white sense of things. I think that nuance comes with experience and with being on the fringe of things. X-23 didn’t have a childhood. Moon Knight dealt with mental health issues and abusive parents. Peter Cairn, the new Spawn, has his own battles that he fights.

I guess what connects any character I write is a sense of me. I say my stories are “emotionally autobiographical.” I feel that if you give your characters something that’s relatable to the audience, then they’ll see the nuance in their decisions.

Even if I’m not a cybernetic soldier from 2111, I’ve dealt with loss. Even if I’m not a vigilante in “silver and jet” who prays to the moon, I’ve dealt with feelings like I didn’t know who I was. Even if I’m not a child assassin, I’ve felt like I don’t fit in with “my own people.”

These are all things that I bring to characters to help flesh them out and make them feel real to the audience.

Smithyman: Your Spawn is cybernetic, which makes him unique. What kind of cybernetic implants would you want if you will them into existence?

Schultz: Wow, this is an unexpected question. Okay…well, I have terrible eyesight. I’ve worn glasses since the 2nd grade. I’d love to never have to wear glasses or contacts again. I also have a bum knee from sports and competitive dance. It’d be nice not to have to worry about that either. Is that too utilitarian of an answer?

Smithyman: Not at all. It’s very practical. Thanks for taking the time to talk about Spawn: Rat City.