Forty-Five is a graphic novel with a difference. Andi Ewington’s story centres on a father-to-be, James Stanley, whose son may be born with superpowers. To find out what his boy’s life could be like, Stanley interviews 45 superheroes – and each interview is illustrated by a different artist. Ewington took time out to chat to Total Sci-Fi about his ambitious project…

Where did you get the idea for Forty-Five?

The inspiration came after my wife and I had returned from our 12-week scan. We were both on a high after seeing our unborn son, and at the time I was trying to find the right angle to develop a superhero story. Beyond the plethora of pre and post-natal books, I had also been reading World War Z by Max Brooks and enjoyed the way you were taken on a literary journey in transcript form.

With that in mind, I allowed myself to explore some fantastical scenarios, like asking myself; what would it be like for my child to be born with superpowers and how I would cope? From this, I formulated the idea. Further reading ensued, and it was after finishing Marvels by Kurt Busiek, that Forty-Five was born.

How long did the project take to complete?

I began writing in early November 2007, and I finished on 7th June 2008 – the day my son Zack was born. Though that's only half the story; we're still putting the finishing touches to Forty-Five at this very moment. We are in the final throes of editing, and laying the pages out. So technically, I would say close to two years. Wow, I hadn't really thought of it like that…

How did you choose which artists to use?

You have to understand back then I was totally new to the industry. I hadn't a clue on named artists beyond the likes of Alex Ross and Jim Lee. It was down to the expert guidance of Eddie Deighton & Ben Shahrabani of Com.x that I was introduced to the likes of John Higgins, Liam Sharp, Sean Phillips, Trevor Hairsine and Jock. They all liked the concept and once they read a few of the interviews they were sold.

Their early commitment to Forty-Five gave it huge gravitas; this nucleus of talent put me in touch with other top artists like Charlie Adlard, Dom Reardon, Lee Garbett, Frazer Irving, Fiona Staples, Matt Timson, Calum Alexander Watt and Dave Ryan. Quickly the word spread and so did the momentum.

I was recommended other artists to pursue by Com.x or by the artists I already had onboard. Others I found online at DeviantArt.com or found through events like the Bristol Comic Con or BICS. I also knew a few guys via my day job as a graphic designer - ex 2000AD artist Steve Sampson, for example, I had known for years and had become a regular illustrator for me on the other side of my career. I also wanted to find new as well as established artists, so with Com.x's help we unearthed a few 'hidden gems'.

Were the artists assigned sections at random or were they assigned sections that suited their particular style?

To begin with, it was completely random. I wanted the artists to pick stories that resonated with them as I felt it would allow them to enjoy the project more. When we got down to the final few interviews that hadn't been illustrated yet, I would pass on interviews which I felt were more relevant to a particular artist, though again it wasn't something I forced onto anyone – except maybe the very last interview – I mean, there was really no choice in that matter!

How did you initially write the story – was it written in the form of a traditional script?

It was written purely as a transcript from start to finish. I broke the interviews down into an ascending order or age, starting with the parents of a newly born 'super' baby and worked my way through an entire cycle of life.

The artists were given scripts but no other guidance about what style they should use, is that right? What are the advantages of this technique?

Correct, I didn't want to tell them how to draw. It felt wrong, I wouldn't expect them to advise me how to write. They are more than talented enough as individuals to know what they are doing. Even the new guys were given a free-reign, though I was always on hand to offer any feedback if anyone found themselves in a tricky corner.

The advantages of this are that you see the art as the artist interpreted it, not how I did, which for me means it has a purer, more personal form for all involved. I hope the readers enjoy each turn of the page as I did receiving each piece of art in my email inbox. A shared emotional high!

Did you ever worry about creating a coherent vision out of such an ambitious project? And was there a risk that the artist would go in a different direction than you wanted and that his work would be rejected?

I won't deny, the thought did cross my mind. However, I came to the conclusion that the cohesion comes from the transcript, not the art. The only continuity we had to be aware of was the appearance of the main character if he ever featured in a story, or one of the other characters making a guest appearance in someone else's interview. As for the rest, I left it to fate. I think that's half the charm. And no one let me down.

Presumably you’re a big superhero fan. Do you have any favourites characters, and are the superheroes in your work inspired by any ‘real’ superheroes?

I'm a bit of a geek in general. In my teens I was more of a Dungeons & Dragons fan mixed in with Star Wars than a true comic fan (though I'm making up for lost time now!). I have a soft spot for Emma Frost. So much so, I bought Andie Tong's pencils from him that he had drawn her with. I'm also drawn to flawed heroes, like Wolverine, Batman and the Punisher. In Forty-Five I've tried to bring a mix of different traits; there are those that you would consider true heroes, but many that are also deeply flawed.

What else would you say influenced you?

Films and TV, mainly. I have the ability to recollect movie and TV comedy quotes and I can unleash them at any given moment. Blackadder is a particular favourite. I also have a passion for photography, and I've been fortunate that I've been able to apply my father's teachings as a professional photographer in crafting literary scenes.

Are there any comics you're particularly enjoy at the moment?

I'm currently reading Cla$$war, Ultimates, Kingdom Come, Justice, Planet Hulk and the Walking Dead. Like I said, I'm making up for lost time!

Could you very briefly tell us about your background before embarking on this project?

I think 'briefly' is all I can do without boring you! This is a debut novel for me; I've been secretly writing (unsuccessfully) for over 10 years, and all the while my alter ego has been working hard as a mild-mannered graphic designer.

What’s next for you? Any plans to subvert graphic novels in other ways?

Ha! Is that going to be my legacy? Funny enough, I pitched an idea to a publisher and an artist last week, and both came back with a thumbs up – so who knows? Maybe it'll be a superhero diary this time round…

Forty-Five is released 9 December 2009 through Com.x. For more information visit www.comxcomics.com and thefortyfivecomic.blogspot.com