I don't think it was all that calculated, actually. The audience was a factor, but more importantly we felt the story *needed* a female lead. Someone who might be more inclined to solve conflicts in a more empathic fashion, without resorting to brute force. Someone who'd be able to grow, emotionally, during the course of the story. I'm not saying all men are insensitive and unable to change, nor that women can't be forceful...but it was a lot easier to tell this story through the eyes of a young woman. Besides, we wanted to be a bit original. We were tired of playing guys! It's actually a pretty sad state of affairs when a relatively normal girl like April is considered revolutionary -- I guess we game developers have some growing up to do!

2) There seemed to be a small controversy over whether or not The Longest Journey would sell well in the United States. Do you see a difference between the buying habits of consumers in the United States and those of consumers in other countries?

Marketing and sales people seem to think so. I don't. I think consumers recognise a good game no matter where they live. Nobody thought TLJ would sell in the US. We proved them wrong. It's doing great business, even without a marketing budget -- word of mouth and great reviews help a lot. But the fact is that we had to take the game to the US market ourselves, because no-one else would. Publishers would simply tell us that American gamers don't play adventures, period.

3) There are many unanswered questions that remain upon the completion of The Longest Journey. Do you plan to create a sequel or "prequel"?

We get that question dozens of times every single day. And the answer is...maybe! TLJ was very expensive to make, and a sequel -- or prequel -- won't be cheap either. But we'd like to. We have a great story ready to go, so it's basically a question of resources, time and market. If it does happen, I think people will like what we've got planned!

4) A popular strategy among creators is to place the characters they create in several different mediums. Will consumers see a movie, comic, or toy line based on The Longest Journey?

Sure, I'd love to play with a plastic April! In the most decent sense of the word, of course. Will there be merchandise? If there's ever a sequel, then...possibly. I wouldn't mind making a movie or a TV show. So if there's anyone from Dreamworks reading this...don't hesitate to call us!

5) What's next for Ragnar Tornquist?

Oh boy, tough question. Lots of stuff! Most of it stuff I'm not allowed to talk about, unfortunately. What I can tell you is that I've done some work on the storyline for Funcom's new online role-playing game, Anarchy Online. I'm also working as a designer on a few new top secret projects...as well as writing as much as I can in what little spare time I have; short-stories, a novel, screenplays... Additionally, I'm working on putting together a low-budget movie with another female lead whose name starts with the letter 'A'. Is there a pattern emerging? Perhaps. Perhaps not. Time will tell.

I guess I just like to keep busy. Very, very busy.

Wolverine was title I wanted the most. It was a real surprise when the editor asked me to draw the book since I always thought my strengths were in the high tech titles. If I had to choose any other book it would be either Batman for the shadowy noir stuff or Wildcats for the contemporary feel.

2) Wolverine, one of Marvel's most popular icons, is a character that has been handled by many different artists over a substantial period of time. Do you find it hard to bring a fresh approach to such a long-standing character?

I love the idea of contemporizing age old characters. It's their essential being that needs to remain the same, but all characters need to evolve to suit their times. Any artist that is not cognizant of that isn't doing their job and is missing out on one of the most fun parts of it. I have a clear idea of who Wolverine is in our present time. Its just a matter of realizing the vision on paper. Whether it ends up being a fresh approach or not is less of a concern as long as it comes out the way I think is right.

3) Your attention to detail is simply astounding. Do you often use reference material when drawing or do you rely on the whimsy of your own imagination?

I do use quite a bit of reference, but not in the way you would expect. I use photos in a general manner to know what something looks like, but almost never copy. In order to be in total control of the scene I'm drawing, I cant let a photo dictate the position and lighting of the props. Over time I developed the ability to manipulate the reference objects in my head so as to be able to lay it down the way it needs to be.

4) Unlike many of your contemporaries, you deliver quality work on a monthly schedule. How did you develop such an amazing work ethic?

I do have a dedicated work ethic for drawing at least, but I don't produce on a monthly schedule for very long. I'm good for about 10 issues a year. What dedication there is comes from a love for the medium that hasn't abated for over a decade.

5) Your success on Wolverine is proof-positive that nice guys can finish first. Do you have any advice for aspiring artists who wish to follow in your footsteps?

With any work for hire situation, the formula for success is quite simple (to understand anyway). Assess the real needs of your employer, and work to become the ideal employee. Obviously this only works if you really want the job because unless you have a high level of natural ability (which I did not) it may take many years to be that ideal candidate for the job. Too much work unless it's the kind of work you consider to be play.

Like every other music guy out there, I suppose. Cooped up in my basement like a huge geek, cranking out tracks instead of going out with my friends. I had a little Yamaha portable keyboard…a sixty-dollar sampler. My studio back in the day was two microphones and a kareoke machine. Ah, my bread and butter days, you know? Forget about all this high tech digital. I was happy just to have a little reverb up in there.

2) Some of your work is extremely dark and violent in theme. With the current conservative backlash against the music industry, do you feel the need to censor yourself or curb yourself artistically?

Well, I can't picture myself ever compromising my art for anybody's moral issues or dilemmas. I'm not aiming for the "kids" with my stuff anyway. I'm just trying to find a creative release here.

It's very fashionable nowadays to be concerned with what kids are listening to and what kids are watching…and maybe rightly so…but your kids shouldn't be listening to my music. I think parents need to step up and recognize their responsibilities. It's the parents who need to stop passing off the woes of society on entertainment and get their shit together. Besides, if you really want to experience something truly dark and violent, watch the news! My music is merely a reaction to what I see day to day all around me.

3) You have the talent for turning common noise, such as grunts and screams, into music--effectively turning violence into art. Do you feel that your skill in martial arts has had an effect on the music you create?

Skill? I don't know that I'm very skilled in the arts. I certainly have had an interest in Karate and stuff for years, but I don't think that it had a direct impact on my music. However, it did improve my concentration, and that helps a lot, I guess!

If anything, I think studying the martial arts gave me more of an appreciation for how much we are capable of doing to each other physically. It sort of turns you off to the glorification of violence when you've had somebody break your nose for you. Hyyyyaaahhhh! The point of what I do is not to make violence entertaining, but more to turn people off to violence by showing them how disgusting it can be.

4) You use a lot of quotes from various films in the music you create. How much does the cinema play a part in the creation of your music?

I've always been a big movie fanatic, but I mostly use the vocal samples as my lyrics. I've got a terrible voice, can't rap worth a lick, and frankly, I'm a little mic-shy. Yeah, so when I want to say something, I look to my collection of videos for the sound bites. Sometimes it takes weeks just to find a simple phrase which will capture the mood of the song and get the point across. Then, of course, some phrases just sound cool as hell and I'm like "I gotta use that shit in my next joint" purely for the impact. Not everything has to have a deep message behind it. Sometimes it's just for fun. Ear candy.

5) What are some of your upcoming projects?

Well, I've been getting more into doing actual film soundtracks now. Instead of using the movies to push my music, I'm using my music to push the movies. It's a lot of fun breathing life into some of these scenes, man. So I've got a few scores lined up. About this time next month, I'll be starting on two back to back short films for Lakefilms. The director is cool as hell and pretty much gives me carte blanche with the music end of the deal. It's really a lot of fun working with the indie guys. They're open to a lot of new ideas. I think I'm hooked on this stuff! I also did the soundtrack for my own short film entitled "Burnt". Now that folks, was an interesting experience.