The Immortal Iron Fist is arguably the greatest run in the character’s 50-year history and that’s in no small part to the work of artist David Aja. The multi-awarded Aja rose to fame during the mid-2000s as he illustrated the character-defining series that drew attention to Iron Fist like never before.

Known for his distinctive and minimalist style, Aja received critical acclaim for his work on The Immortal Iron Fist, winning the 2008 Favorite Newcomer Artist at the Eagle Awards. The series was nominated for a 2008 Eisner Award for Best New Series and Ed Brubaker won that year’s Eisner for Best Writer in part for his work on the title.

Years later, Aja would earn multiple awards on Hawkeye, including the 2013 Eisner Award for Best Penciler/Inker (tied with Chris Samnee), and the Eisner Award for Best Cover Artist in 2013 and 2014.

Whether he’s illustrating breathtaking action sequences, subtle character moments, or creating eye-popping cover art, Aja’s work is always a sight to behold. I’m honored to have the opportunity to talk about his work on The Immortal Iron Fist for the character’s 50th-anniversary celebration.

I AM IRON FIST: How did you land The Immortal Iron Fist assignment?

DAVID AJA: I had just done a couple of thingies for Marvel with editor Warren Simons. I actually have my regular work as an illustrator and the idea was to do some one-shots, covers and such. So Warren told me he needed an artist to do a Daredevil fill-in in the Ed Brubaker/Michael Lark run, I love them both so I agreed. 

While working on Daredevil, he told me Ed was planning to do a mini-series with Iron Fist (as he was Daredevil at that point), and I loooved the character as a kid, and also, I thought working with a non-A-list character would give me way more freedom and fun. I agreed and suddenly everything went so fast. They needed a cover even before I finished the Daredevil story. 

Matt Fraction came on board as well, and I had a script for the first issue one month before going to print. Also, the miniseries was suddenly a regular one. To be honest, I did not have too much time to think about it as I had to draw a lot. [laughs]

IAIF: Can you share your first encounter with Iron Fist and how old you were when you first created a drawing of him? If you have a photo of the artwork, it would be great to see it, if you don’t mind.

AJA: Not sure. I suppose I was around eight. I got one old Spanish paperback edition of Power Man and Iron Fist (I mean, it was already old when I bought it) that had like eight issues or so where they went to K’un-Lun. There was also a ninja around there…I mean, everything an eight-year-old kid wanted. [laughs] Loved that one.

Then I bought some old Marvel Team-Up English issues to follow Iron Fist and I discovered Steel Serpent. That was even better! [laughs] Always loved the bad guys. And finally, I got all of Iron Fist’s back issues from the Roy Thomas/Gil Kane beginning until the end of the Chris Claremont/John Byrne stuff and some other [Power Man and Iron Fist issues] from the 70s and 80s. To be honest, the next time I read Iron Fist it was drawn by me! [laughs]

I know I drew both him and Steel Serpent a lot, but I cannot find those now. I mean, I was drawing them both before and after I was around 10 years old.

IAIF: Wow! You actually drew Iron Fist vs. Steel Serpent as a kid? That’s amazing! Those drawings would be beautiful to see in an exhibit if you ever find them.

I saw your design work on the costumes of the new characters and read your commentary for the collected editions. You, Ed and Matt created so many of them, especially issue 8 which introduced readers to the Immortal Weapons. 

Thank you for creating these amazing new characters who added to the Iron Fist mythology, and for taking the time to give us backstories for each one. I think I speak for the fans when I say that we are truly grateful to the entire creative team.

On to my next question now.

How extensive was your research for the look of these characters, and did this contribute to why the backstories had to be drawn by other artists?

AJA: I will expound, but basically, I didn’t have much time to design the characters. I had to do a whole issue in one month, new characters included. Actually, it was that, but also I did very heavy research and did tons of sketches. Because I was young and I didn’t have kids (at the time), I was able to work burning the midnight oil. [laughs]

IAIF: All the hard work you did paid off and Iron Fist is a richer and deeper character because of it. Again, thank you.

Do you have a background in martial arts that would have influenced the work you did on The Immortal Iron Fist?

AJA: I didn’t know much about them at first, to be honest (though years later, I did take up Aikido). As a professional, I always do hard research. I looked at videos, movies, and books. I always try to be accurate with the things I do. With superheroes, I can accept that a man can fly—that’s fine. But a bow has to be shot a certain way, a kick needs the right direction, and a revolver only has six bullets before you reload. 

I mean, if you want to build a credible world, you need those kinds of details. At least, that’s how I approach it. I’m not necessarily trying to make things realistic, but rather grounded. I just want to present things in a way that feels believable—even if a man can fly, as I said.

IAIF: You talked about having more freedom with the art on The Immortal Iron Fist since he wasn’t an A-lister. What were some of the artistic liberties you took in drawing the series? Did they readily get approved and were there very little pushbacks from the writers and editors?

AJA: I basically did whatever I wanted during the first arc, really. Nobody was paying attention to us and Matt, Ed, Warren, the other Matt (Hollingsworth, our colorist) and I had a great relationship. We were just having fun because no one had any big expectations for the series.

During the second arc, we faced more pressure from higher-ups at Marvel (editor-in-chief, cough) because the series had become an unexpected hit—a sleeper success. So they started to tell us what to do.

For example, I had designed all the covers with the Immortal Weapons in mind, but I was told that from now on, I should draw Iron Fist on each cover. I never understood that kind of thinking. I mean, the series became a hit because we had freedom, and they trusted us to do our thing.

Anyway, I finally decided not to do those revised covers. Instead, I stuck with the ones I’d already sketched. Ultimately, I had a kid and ended up leaving the series (though I came back for one final issue, #16). Moral: Trust your authors and let them do whatever they want.

Funny enough, some years later, Matt and I would have the same thingy with Hawkeye at the beginning. But luckily, we were allowed to do whatever we wanted that time around.

IAIF: What was your experience like working with Ed Brubaker and Matt Fraction’s scripts, and how did your collaboration evolve over time? Could you share some insights into your working relationship with them?

AJA: I love them both. Like really love them. I knew Ed’s work before and loved what he did, I really wanted to work with him and I had the chance even before The Immortal Iron Fist in that DD fill-in. I worked with him later on some other stories and still today, I think that his scripts are the best ever. All the work flows naturally. He knows exactly who he is writing for and gives you little clues without overwhelming you with boring descriptions. This allows you to draw what he wants but in your own imaginative way, the way I would do it. As said, I love him.

Matt, ahh… Matt. Matt is my brother, my friend. The Immortal Iron Fist was our first big gig. We have grown together in this industry and we know perfectly what the other thinks. When we work together, it’s like there’s only one guy there working on the comics instead of two. He’s a weird mix of Matt and I, but more clever and more handsome (if possible). See? I love him.

IAIF: The Immortal Iron Fist is known for its innovative visual style. I remember being wowed multiple times as I flipped through the pages and admired your art. What are you most proud of in your artistic contribution to the series?

AJA: I suppose I was young, I had no idea how to do a comic and I did whatever I felt, trying to be clear and to transmit what I wanted. I had no fear at all, I didn’t have anything to prove, just to have fun and to do the work. You cannot imagine how much I learned. Each day, each page I found something new especially because I was not afraid to fail. I didn’t have that concept in my head.

IAIF: Which characters were the most fun for you to draw? Any favorites? I love your rendition of Luke, Colleen, and Misty, by the way. They look fantastic!

AJA: Danny, Orson, Davos…these three are probably at the top. Also Luke, Colleen, Misty… and wait, the Crane Daughters were too much fun to do, and the Hydra drones. And Crane mother, I loved her. 

Then, the Immortal Weapons (the Bride of Nine Spiders being my fave). Well, you see, I had fun with them all. I would have loved to draw more of the other Iron Fists from the past that I created, but you know, the deadlines didn’t allow me to draw their stories.

IAIF: I noticed that Marvel has tapped you twice already to draw Iron Fist variant covers for them, including the 50th Anniversary Special. Given the chance, would you like to have the opportunity to revisit Iron Fist and be the regular artist again?

AJA: Love doing those covers and being able to draw Orson again was great (in the Iron Fist 50th Anniversary Special #1). But I think my time with those characters has passed (as with Hawkeye). It was great to play with them for a while, to showcase what I wanted with them, and to do my own version of these characters. 

But once your time with them is done, it’s time for another author to cast their vision for these characters. The interesting thing with these characters, I think, is seeing how different creators—ones you admire and respect—approach them. So although I’d never say “never,” I don’t think I’d return to do another Iron Fist regular series.

IAIF: Looking back at the success of The Immortal Iron Fist, what are some of the best memories that you have of the series, whether from an artistic perspective, from being a collaborator with Ed, Matt and others, or even as a creator seeing how fans reacted to your work?

AJA: Everything! The Immortal Iron Fist was a “sleeper” hit—no one expected anything from it, and then suddenly, it was a success. As I said, I learned a lot from that experience. It was my first Eisner nomination, I won an Eagle Award…and I was able to develop “design” covers, which is basically my business card these days.

And the people… dude, what a team! I actually learned to work with a team as I was an illustrator before then that worked alone and did everything. I had the chance to work again with Ed and Warren, the editor who I absolutely love, and I met Matt (Fraction) and Matt (Hollingsworth)—I’m on a team forever with these two. I met Alejandro Arbona (assistant editor), Dave Lanphear (our letterer), and others. 

We were a small family that had fun, even with the crazy deadlines that we had. [laughs] Honestly, I’m still amazed that the comics turned out as well as they did, given the little time we had to do them.

IAIF: Since it’s Iron Fist’s 50th anniversary, do you have a birthday wish for Danny? What would you like to see happen for the character in the future?

AJA: Not to get him mixed up with Clint again.

IAIF: Haha! Awesome! Thanks so much, David! I truly appreciate the time you spent with me in this interview.