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Gilbert Deltrez: Demons, Dreams, and Determination

Hello again, my fellow spawn of supernatural storytelling.

Today, I’m tempting the pentagram in an effort to understand the tortured tenacity of Gilbert Deltrez. Let us join him on a foray of flesh flying fanaticism. We’ll delve into various dark projects, crush some Kickstarter, and learn about the inspiration monster within. If you’ve got the courage, let’s do some dimension hopping with a devilishly kind comic chameleon. If we’re lucky, we’ll get back here in one piece, covered in a new shade of red of course.


Chris: Hey Gil, thanks for joining us man! First off, how long have you been dreaming up demons? Sometimes people use art to release the nightmares they have in their heads. Is your process more cathartic, or do you simply love the macabre? For me, it’s a little bit of both I’m afraid.

Gil: As an 80’s child I kinda grew up with a deep infatuation to horror. Movies like The Pit, Child’s Play, Nightmare on Elm Street, and The Exorcist ruined me in all the right ways. As much as I love a good ghost story, they don’t do anything for me. Ghosts can’t hurt you. Demons can. Their effectiveness stems from the morality of one’s spirit. For me, the demonic subject alone has compelled me to flesh out narratives that evoke people to search within themselves.

Gilbert Deltrez

Chris: Did your parents have any influence on your artistic choices, or even your vision to pursue art as a career? Sometimes it’s harder for parents to get behind a young artist’s obsession, especially if it has darker themes. As an artist myself, I’d love your take on things.

Gil: My artistic endeavor came after much soul-searching, and coming to the realization that a career in the arts wasn’t something that’s inherently viewed as attainable in my cultural circle as a Latin American. But in a general sense, my parents were behind me. Realistically, they didn’t view comic book writing as a career worth pursuing, or investing money in, but for me, obviously it goes way beyond a means to make money. It’s a way of life. It’s sharing a distinct viewpoint that only I am capable of. It’s a voice. Although the darker themes may spurn some, my message is ultimately one that brings light.



Chris: Tell me about “Under the Flesh.” Is that the story that got you started with indie comic dreams, or were there prior attempts? Why did you have to tell that particular story?

Gil: “Under The Flesh” is very special to me. It was my first jump into the world of comic book creation. I learned by making tough mistakes. What started as my personal love letter to the zombie genre evolved into a psycho-spiritual apocalypse story. We’ve already completed three issues of a six-issue arc.

Chris: My understanding is that LAIR is a 60- or so page, one shot graphic novel, as opposed to broken down issues of UTF. As a writer, what freedom do you experience in a one-and-done scenario like LAIR? What challenges do you experience that didn’t apply to UTF?

Gil: LAIR is all about closure. As an avid comic reader, it gets hard to keep up with all the glorious comic book fodder available for our optic spams. So many Issues. Volumes. Trades. Because of that, I wanted to write a complete story. Something with a beginning, middle, and end, where readers can gauge my work. Like a mini movie in comic book form.

Chris: What’s your process like? I love storytelling but I struggle with outlines. I tend to start with a situation and let my brain figure out the story from there. Do you feel outlines are necessary? What’s your best advice for new writers?

Gil: Everyone has his or her own method. Style. Routine. Mantra. I don’t mind outlines. I’ve written stories which started from a cool title that just popped in my head or a scene that manifests subconsciously from something else. I’ve even created a project that sparked from a bizarre dream. Usually, once key pieces are in place, I figure out the cast, plot, overall direction, and then start handwriting before I type it out. But outlines are pivotal. And in other cases, not so much.

Chris: How does the off-duty cop in LAIR differ from the super-soldier in UTF? They both seem like gritty individuals with their own personal struggles, but I’d love to gain an understanding of the character depth.

Gil: In UTF, our super-soldier is eager to channel his untapped power in an apocalyptic world. He’s unaware what he’s capable of and wants to push his limits, even if it puts himself in immediate danger. He’s a man of faith. He’s not utterly hopeless. In LAIR, our off-duty cop is a brash, irreligious man who’s tired of being typecast by society, even though he’s a cop. His pride is so strong that he’s willing to walk away from the woman he loves because he can’t stand her elitist father.

Chris: You seem like a Kickstarter veteran. As an indie creator who has learned a lot in a relatively short period of time, what is the most important piece of advice you can provide?

Gil: DON’T GIVE UP. If you’re determined, you’ll tough it out. I’m as marginalized as they come, and my path to publication is double the uphill with triple the battle. My goal is to finish what I start. As a comic book writer, there are many things out of my scope of control, so I like to focus on what I have power over.

Chris: Speaking of which, you’ve got a lot of faith and courage attached to the 10k goal for LAIR. Where does that kind of courage come from, and how can we help get it out there (besides just telling our friends, of course)?

Gil: Faith is what gives me my courage. I believe in LAIR. I financed the finished cover and first page out of pocket because I’m confident in the strength of the project. Sadly, since I don’t have a disposable income, I need to rely on crowdfunding to shoulder the burden. Anyone that knows comics can see that the creative team behind LAIR is of the highest order. We’re all self-taught artists, respectively, and we all suffer from delusions of grandeur. We’re unknown, which makes getting word of our project all the harder. We’re banking on word of mouth because my voice doesn’t hold much weight in the comic world right now. Hopefully that will change slightly with LAIR.

Chris: I see various influences in your work. I like the “Walking Dead” vibes, and with all these demons, The Exorcist has got to be in there somewhere. Based on a limited understanding of our heroes, I’m gonna guess… Frank Castle is hidden in the shadows as well? Who’s your biggest influence as a storyteller?

Gil: Frank Castle is one of my favorite superheroes after Batman and Spiderman. As far as influences? I’ve got many. Romero, Fulci, Tarantino, Stephen King, Koontz, Joe Hill, Kirkman, Snyder, James Wan, and Jordan Peele. But my biggest storytelling influence comes from a prophetic humble man who rode a donkey while claiming to be king for his people.

Chris: Finally my friend, what’s the most exciting thing in your life outside of LAIR at the moment?

Gil: The most exciting things outside of my life are the underprivileged third grade students I serve five days out of the week. I hope to inspire them as if I was clad in spandex with a gust of wind winnowing beneath my cape.


There you have it, admirers of the underworld.

My expectations were exceeded yet again. Gil is not only a well-read dreamer, but as humble as they come. He’s brave enough to explore a harsher side of humanity, and I, for one, am brave enough to follow him into the depths. We’ve not only managed to survive a stroll in the gorgeous midnight gardens of good and evil, but also somehow managed to come out brighter on the other side. Gil’s work is indeed a worthy search of the soul. Like the best storytellers, he entertains us in the most “graphic” sense of the word while also telling us the truth in secret. It seems we must grab hold of the darkness tightly if we are to find the light within.

To contribute to Gil’s Kickstarter, learn more about his work or just connect, you’ll find all those links below:

Kickstarter - Lair

twitter: @GilbertDeltrez

Website: http://www.undertheflesh.com/





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J Adam Farster: The New Blue Bomber

What’s up, super seekers? It’s time for another life dive dance, and I’m happy to cut in.

For today’s episode, I get to slice through the mental majesty of J Adam Farster and his 4 piece 80’s arc explosion, Humalien. It’s wild whack-attack, GotG meets Family Ties vibes sound like the Happy Days, all-ages, oddball orchestra everyone hears coming from the pit of their soul. It’s accidental humor meets an electric slide surprise. By the way, he does all the illustration and storytelling himself. Enough jib-jab. Let’s explode onto the scene.

J. Adam Farster / Humalien

Chris: Hey Adam. Thanks for joining us. First off, where do you fit into Humalien? Why was it so important for you to tell THIS story?

Adam: Well, in the 1900’s (’99) I had the idea and self-published a book called Y4K. It is essentially the same as Humalien, just not as polished. I hit some cons and showed my work around with overwhelming rejection. I had a lot of negativity at cons, too. It was extremely defeating. In reality the work wasn’t great. So I backed away and was working as a graphic artist. I drew little comics here and there. There were a lot of starts and stops, all the while still loving the story I had created in Y4K.

It was almost 3 years ago talking with a friend, and then with my wife, and them both telling me to “just make the thing.” So I re-branded, put together a Kickstarter, and made the thing.

It was nice to make it through the project and have some extremely positive responses to the book. It had to be time, and what I put into it, this time it feels different to be making comics. I think it was important to complete the first 4-issue arc. There were ups and downs along the way, but ultimately having a completed project was rewarding.



Chris: Did you always intend on being the illlustrator and the storyteller? In my experience, collaboration makes it easier to market because you have more than one person pushing the content. What was it like being the lone genius?

Adam: I like being a storyteller. I like illustrating, but writing and coming up with ideas and figuring it all out is part of the fun. I also have control issues; I like to be the one making the creative decisions. Making an independent book is also a lifestyle. You get back what you put in. I can’t blame anyone for my failures/successes. It all falls on me. Not to say I don’t and won’t collaborate in the near future (foreshadowing). It just wasn’t my goal starting out.

J. Adam Farster

Chris: Speaking of that, I read that one your most challenging things was building a brand. What was your process like? Do you have any specific MUSTS for fellow creators out there? Did Midday Monster sketches come out of that process?

Adam: It was really just finding an audience, which I’m still looking for. Exposure is tough in a crowded market. I’m really just figuring it out as I go.

As far as a MUST, I think creators need to be ok with failure. You are going to do it a ton. Working out of that and learning is a big part of being a creator. Also, find a group of creator friends. Start a group. Go to local drink & draw events. Having people to bounce ideas off of is a great resource. Plus it makes you become more social. Sometimes you can create with them. The group I am part of released an anthology book earlier this year called Lush.

Midday Monsters was a plan I had that hasn’t really happened…YET. I would like to do more live streaming and teaching/tutorials. I just need to make time.

My process is this: have an idea, write a rough outline, then sketch, thumbnail, and get to work. I have an idea and try and hit all the beats I want. I work 100% digital with Sketchbook and Photoshop using a Cintiq, so it all goes fairly smoothly.

J. Adam Farster

I’m working on a couple ideas right now, and I draw a lot in a sketchbook to understand the feels of characters before I can commit 100% to doing an entire book with them. It needs to feel organic.

Chris: I checked your review on Roast.com. That must have felt pretty good. How do you handle criticism of your work? What was the most constructive advice you’ve been given as a creator?

Adam: There have been some kind things said about Humalien and a few pretty terrible things. When someone GETS the book, they get it and it makes me happy for days. Some people are turned off by the art or the limitations of the story. I’m just trying to make something fun. Everything doesn’t have to be for everyone. I make stuff I would like to have read or would like to read and see. You don’t see me doing a lot of superhero art because everyone does it. How many versions of Deadpool or Batman are there out there? They are great characters and have amazing talents working on the books. It just isn’t what I set out to make.

The most constructive advice I’ve ever gotten was to keep making comics. You don’t need a major publisher or anything. Anyone can make comics.

I tell this same thing to people when they ask how to get into it. Just make your thing, put it out there. Rinse. Repeat.

Chris: As far as the Humalien heroes: Ed and Plato seem brave and reckless, whereas Kuhl and Kyrja look before they leap. Which pair is more like your life style?

Adam: I’m totally Kuhl. He is the one who has to overthink and be the one hiding rather than right in the mix. Ultimately I’m Ed though, even though he is all action, he is an outsider with a bunch of weirdos around him. However, I’m sure I am the weirdo surrounded by normal people.

Chris: Speaking of reckless. I love the humorous dynamic between the characters. The dialogue seems natural. Was it easier to write the dialogue than the big picture details of the story, or was it the other way around?

Adam: I write all the dialogue last. I have all the art done and go in and make it flow the way I feel that is natural. Dialogue is tough to get the beats, and most of the humor is accidental.

As long as the art hits all the story beats, then it seems to work. I have completely scrapped pages because they didn’t work sometimes 2 days before printing.

Chris: I definitely see the 80’s vibe in the comic. You’re also clearly a Star Wars fan (Me too- WHO ISN’T?!). I also read that you were much more influenced by film and cartoons than comics themselves, at least initially. Is that true, and how has that impacted your animation style?

Adam: I still am. I think that film and animation are great. There are some great comics that inspired me to take a shot. Ultimately, it’s 80’s action/toy cartoons and movies that made me want to be a storyteller.

Chris: I saw a sketch of Jason in your collection. I loved it. Do you have an appreciation for the hack-and-slash horror genre, and has that impacted your story telling in any way?

Adam: I have a huge affinity for the Halloween, the first few Friday the 13th’s, and Nightmare on Elm Street movies. I don’t think it has impacted me at all other than I love creating monsters and menacing villains.

J. Adam Farster
J. Adam Farster

Chris: Where did the idea of spontaneous combustion come from as a superpower? That’s really unique to me. Is that where the Chuck Jones/Looney Tunes influence comes into play?

Adam: I read something about spontaneous combustion in high school, and it always fascinated me. I thought about it a lot. I thought of it like an electrical fire, and how cool it would be to harness the electrical power from your body and be part alien.

Chris: I saw you went to animation school. What did you love about it? What was challenging about it? Was there a lot of critique involved (like a typical art school), or did you experience a lot of freedom?

Adam: I did. I went to Columbia College in Chicago. It was great. I wanted to be Chuck Jones or Bob Clampett. I really loved Ren & Stimpy and what John K was doing, too. While we had projects to do, we were allowed to do what we wanted with them. Critique was more on technical skills, rather, so you had a lot of room to experiment creatively. I still love 2D and stop motion animation more than a lot of what we have going on right now.

Chris: What’s the most exciting thing happening in your life right now outside of comics/creativity?

Adam: I have a 3-year-old daughter, and she is the most exciting thing ever. Everything is new, and seeing something through her eyes is so much fun.

Adam really embodies everything representative of the indie spirit.

His grace while walking the tightrope of encouragement and criticism has provided space for a master class in independent artistry. His storytelling abilities have been crafted into a reliable catharsis of sorts. I’m excited for the next arc. If you want charming lessons in sibling rivalry, action and loyalty than look no further than Humalien. If you need a wise friend to help you navigate the oddities of life, look no further than Adam himself. He may not be a blue robot from the future, but I’d hop on the Ed express if I were you. There’s something truly “mega” in store for the man who’s just alien enough to sketch a new shade of the human experience.

J. Adam Farster

To learn more about what Adam is up to, buy his work or just connect, check out the links below:

AdamFarster.com

Facebook: www.facebook.com/adamfarster

CXC: @farster13

ComixShop: Floor 13 Studios





 

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Masks: An Apocalypse Worth Dying For

Let’s start with Stanley Ipkiss. Remember? The 1994 comedy smash hit you loved when you were 7 years old because, well, Jim Carrey? ALLRIGHTY THEN!

Take his mischievous nature, and turn the psycho factor up really high.

After that’s done, move him from Eagle City to Los Angeles (because let’s be honest, it’s L.A. anyway). Easy right? Now, start lots of riots; blow up everything; kill almost everyone; fast forward about 70 years or so, while somehow feeling stuck in the past; find a way to act creepy and nonchalant at the same time; and become oddly obsessed with finding the one comic that’s really a book, that’s really a bible (maybe, I think). Congratulations! You’ve now sort of skimmed the surface of Masks #1, a new indie comic from story magician Daniel Warner and illustrator extraordinaire Matias Zeballos.


Wow! What a war-torn western celebration of mysterious sadness!

It’s like Stephen King and Quentin Tarantino made sweet dude love in a cave, and a whole population of identity-crisis-covered children came marching out the other side.

Our dark, quiet world sugarcoated in mystery and death is divided into two types of people.

The Maskless (straight shooters with well-revealed intention) and yes, you guessed it, The Masks. It seems that these shady types are the bread and butter of our massacre meal. Thankfully, though, the basic concept is merely an appetizer.

The story gnaws at a basic, enduring, and natural question of identity; however, our main protagonist does a brilliant job of walking the line between a likeable mystery man and a time bomb whose ticking pulls our eyes toward an explosion we can only hope to get caught up in.

The pacing might be overwhelming given that it’s a little over twice as long as your average indie comic, but I implore you, as the reader, to have patience. The burden is shouldered well with Zeballos’ seasoned and gritty horror-color choreography keeping you company. Think Breaking Bad with masks instead of meth.

I’d argue that there’s a little more time dedicated to backstory than Stephen King might prefer (even for Volume 1), but the influence of his Dark Tower hiding inside the panels is much appreciated. I’m also a little biased, because there’s a nice nod to my favorite indie comic—and favorite indie comic film—early on in Issue 1. It would be rather vicious of me to give it away.

All in all, it’s a slow burn worth the read.

The absence of the overall population strengthens the deafening knock of doom that overwhelms the reader. My somewhat limited understanding is that Warner and Zeballos wish for this series to expand 12 volumes, perhaps more. I certainly hope so. I want to meet the Masker. I want to get to know the Bookkeeper. I’m excited to see where the violence takes us. Most of all, I’d love to see where Warner takes such a relatable theme. Can we exist as solely deceptive or open? Do we need both worlds to coexist? Will human identity survive the apocalypse? I don’t know the answers to these questions, but I do hope that the story continues to take its time. There’s a bloodbath just waiting to occur, and the dark wanderer in all of us is dying to go for a swim.

A solid 4.5 out of 5 stars!





 

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The Voice of Kryptonite: Top Ten Reasons Indie Comics will Conquer Superman

Good evening, purveyors of powerful paraphernalia, and welcome to a new edition of indie comic exploration.

Let me begin by apologizing. I know that Facebook fever has you sick with Top Ten-donitis. No, I’m not funny, but I am compassionate toward millennial attention spans and the fact that we’re losing to goldfish. So while we’re trapped in this electric desert whirlwind of media madness, we may as well get to it.

Here are my top 10 reasons you NEED to roll the dice in the game of indie comics. Don’t worry. I promise no more Monopoly metaphors.




#10. An Aardvark Said So!

That’s right. An aardvark. It is with great honor and respect that I insist we bow our heads to yet another amazing Canadian. No, he’s not an aardvark, but he is brilliant. His name is David Sims. He created the very first technically successful indie comic in 1977. Now I love that date for 3 reasons: Star Wars, Cerebus the Aardvark, and the year my girlfriend came into existence. Seriously! This dude was a mastermind behind breaking every rule in the comic universe. What started out as roughly a parody of Conan the Barbarian would go on to tackle serious territory where other comics didn’t have the matza to really tread at the time. The art style changed. The page layout was sometimes randomized. The topics were literally whatever David wanted. It survived the bellowing battalions that were DC and Marvel because it was so unique, so well drawn, and so well crafted that people literally HAD to read it. If I may be so bold to say- it is the first indie comic that was truly undeniable. Dave even said up front that the character was going to die after 300 issues and people STILL went for it. Lastly, the hero is an aardvark. An AARDVARK! Arthur’s got nothing on this pimp. Screw him and his after-school jingle.

Image credit: David Sims

#9. The Numbers

Like I mentioned earlier, our attention spans are sad to say the least. However, have no fear of any lack in mental staying power. Our membership amount will keep your ADHD mind short-circuiting ‘til rapture, and you’ll keep begging for more during the transition of the soul, I assure you. Okay, let’s take “success” out of the equation because its definition varies from artist to artist. Have you ever seen A Bug’s Life? There’s a scene in it I’ll never forget where the main villain, Hopper, is explaining to one of his underlings the value of numbers. Essentially, if the ants ever figured out that they outnumber the grasshoppers exponentially, then the grasshoppers would lose their power. We, the seemingly indecisive and insignificant inciters of indie incident, are the ants. The great gargantuans, Marvel and DC, know this, but there’s nothing they can do. Make no mistake- they’re still sitting healthily at the top of Money-Maker Mountain, but we have surrounded them with awesomeness. The indie arena is an ocean of creativity, and the original golden palace is eroding.

#8. The Speed

DC may have created Barry Allen, but we are The Flash. Why do I separate it from numbers, you ask? Well, my frequently friend-zoned compadre, it’s because of my meticulous nature. You see, while the two goliaths are indeed taking risks, they have to go through an approval process. We do not, for the most part, have to deal with red tape. While there’s certainly major advantages to having a well-paid corporate team on your side, that’s a lot of cooks in a big kitchen. Individual creators may indeed be the sole chefs of their destiny. Indie comics have an edge in both output and volume as long as creators have enough passion under their feet. We can produce what we want, when we want, however fast we want it (sort of). We don’t have the marketing or production budget of Detective or Marvel, but we have other advantages.

#7. The Variety

Both DC and Marvel have created some incredible heroes, no doubt. Here’s the thing: you know them all! And even if you don’t, you’re going to burn out on fan service way before indie comics come close to dying. Want a horror comic that’s also a comedy and doesn’t mind destroying 1950’s purity? Try Afterlife with Archie. How about Final Fantasy meets drug use, alcoholism, rats, and a spoon-full of friendship? Take a stab at Rat Queens. Need a comic about orgasms stopping time? Try Sex Criminals. You won’t find any of this in Marvel or DC. I’m not saying they don’t have variety of their own.

However, when you have the courage to step away from the original superheroes and see what magic exists in our world, you’ll level up faster than you think.

#6. Easy Integration

This one may require some clarification. The major players in comics these days usually have lots of overlapping and complex storylines requiring you to buy multiple issues of various comics in order to keep it all straight. It’s a gimmick big companies use to get you to spend more money. If you’re loyal to the brand, it works. There’s nothing inherently wrong with this tactic.

In the indie world, though, you can become a part of the community instantly and easily.

The stories are intricate and interesting, but not a lot of insane crossover and backstory is required. We love people on this side of the fence, and we don’t judge you for loving the giants. We love them, too. However, for our new ink-addicted travelers, our rides are easier to manage. Marvel might be able to afford a subway system, but we’ve got Ubers waiting for you wherever and whenever you need them.

Image Credit: Stephen Smith

#5. Image Comics

Anyone who loves indie comics knows that this company was and is a game changer for our side of the table. Here are the basics: some really talented people over at Marvel were like, “We want more creative power,” and Marvel was like, “No,” and the angry peeps went, “We’re gonna start our own company,” and Marvel went, “Good luck losers,” and then Todd McFarlane went, “Spawn!” Yes, another amazing Canadian to the rescue. Image is one of the main gatekeepers for the indie(ish) artist. The print is real high quality, and the company is still driven by creativity. They are technically keyholders, but in the best way. Image Comics is more about creative quality and less about following trends. The company has a decent market share and has earned a great deal of respect in the comic and storytelling community in general. I give props to Kevin Eastman and IDW of course, but there’s something really special about creators breaking away from the safety of a conglomerate and taking a huge risk based on their collective skill level. Spawn of course went on to be a massively successful franchise, despite doubt. The whole thing reminds me of a frisky aardvark for some reason.


#4. Freedom+Risk= New Trends

Sugar, spice, and everything not necessarily nice. Let’s not forget accidentally spilling some well thought-out storytelling in the mix. Yes, that was a painfully produced Powerpuff parody, but alliteration is like medicine to me, and I needed my fix.

Trends are now the natural byproduct of speed and creative freedom. When it comes to risk, the Big Two need time to adjust. The idea of weaving new characters into an established comic to determine marketability is effective, but ultimately an old business model that began in the 40’s and 50’s.

Indie comics, on the other hand, are less about testing the market and more about jumping for the sake of the free fall. While superhero stories still live in a maze of rules, Indie comics have no walls. While that amount of freedom is certainly challenging, indie comic creators are brilliant at creating their own rules within the world they establish. We could talk about Image again, and how their critically acclaimed Walking Dead is bringing horror back to life. Maybe we should mention Frank Miller and Dark Horse blending indie with Hollywood. Remember what I said about speed advantage? I think the most exciting thing is how quickly Indieland adapted to Internet culture. We were doing digital way before DC or Marvel, and this is just one of many examples where the masters of mainstream had no choice but to follow suit. This brings me to my next point…

#3. Indie Marketing Magic

Thanks to the budget of the industry giants, they can shove stories in your face with massive paid ads and suite-wearing sadists. We, however, get to be shameless in our own way. We can vomit an origin comic at the drop of a hat for free. We have the luxury of “pay what you want” campaigns. We can do cheesy low budget ads that give our audience an immediate glimpse of our own vulnerable reality. In some ways, the heroes we’ve been loyal to forever have to remain in the past to be successful. Modern stories don’t have the luxury of overdosing on member berries (check out South Park to understand that reference). In order to compensate we have to reach into a bag of tricks that the Big Two are simply too big to understand.

#2. Deep Impact (Gravity Always Wins)

Yes, I’m sort of referencing a terrible movie with Morgan Freeman, but it’s also a metaphor for how we reach our audience. I nodded to this a bit previously. Authors of indie comics can create grassroots movements rather easily. There is a strong desire to have real relationships with fans. It’s why crowd-funding isn’t frowned upon in our world. While bigwigs live in the money palace, we get to hang out in the slums of sensational storytelling.

At their center, indie inventors’ hearts beat with want and desire. We love how a story brings people together. It’s less about privacy protection and more about forming a support system where fans and artists work as a collective.

We can’t win by force, so we win with genuine emotion.

We not only bring new audience members to our world, but we also have the courage to bring them back down to earth with us. That’s the beauty in all this. We won’t make you go anywhere, but once you show up, you never want to leave.

#1. We Are an Underdog Story (and the underdog always wins)

Everyone wants to root for a new hero, and we have new heroes coming out of the woodwork everyday. The ultimate twist is that this is not a competition. Even the big guys want us to win. We’re all creators here. The whole reason we love this art form is because the world needs heroes (yes I’ve said that line before). Indie comics fill a need that nature is desperate for, and through it all, Batman and Superman are actually on our side. If we stay the course, they will follow us anywhere. Unlike a lot of art, comics haven’t been damaged by the digital age. Online love is just as hyped as holding the real pages of a freshly unwrapped comic. Why? Because comics are as much about collecting gems as they are about the stories themselves. In other words, the internet hasn’t driven away a desire for the real thing.

Image credit: dannycruz4.deviantart.com

Final Thoughts

Here’s the secret, and it’s the best news. Superman will never die, as long as he dodges Doomsday of course, but he WANTS to be conquered. He’s tired of bearing the gold crown of goodness. Batman is no help because you know those two constantly bicker. Rich dudes always be bitch’n ‘bout things. I love me some Stan Lee, too, but he’s got to be exhausted!

That’s where we come in. If we can reach our hands to the sky as a team, the burden of heroism will feel lighter than air. Who knows, maybe the gravity of our situation is really just the force that teaches us how to leave the atmosphere. Trust me. Superman is up there somewhere waiting with a smile on his face, and he’ll probably say something like, “It’s about time. I told you, you didn’t need a cape to fly.”


Thanks

I want to thank CNBC, ComiXology, IGN, Wikipedia (yes Wikipedia), Image, Darkhorse, www.thecomicbooks.com, Amazon, www.creatoratlarge.com, Comics Beat, and of course my amazing nerd friends for some of this source material. Thank you for helping build a universe that makes me feel right at home.

 





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Jared Muralt: The 2-Dimensional Illusion of a 3D Life

Welcome weird wunderkinder!

How’s your creative genius treating you this morning? Mine has gone into hiding, thanks to the mental magnificence of Swiss illustrator, Jared Muralt. I had the pleasure of interviewing this tremendous talent and it was clear to me that the content of his character is as colorful, multifaceted and exceptional as his body of work.




Whether he’s doing freelance work or running the business rails of his Blackyard Studios, a co-founded Swiss design collective, he really has a people-first approach to his craft. It’s so interesting how microcosm moments, like a young 5-year-old mind crashing headfirst into a sci-fi adventure comic book, can create a relationship with life that no one would’ve seen coming. I’ll let him give you the gritty details, but Jared dispels the illusion of easy art with joy and grace. His tone is playful, yet serious. Much like his style, his insights come alive with a sense of innocence, vulnerability and an undeniable respect for the craft. Join me as we jump off the page and share in Jared’s love of Moebius, Star Wars, nature, and Indiana Jones (except Crystal Skull of course).

 


Chris: Hey Jared, I understand you’re from Bern. Did that community have an influence on your style? Did you find art or did art find you?

Jared: No, I wouldn’t really say that the community had an influence on my style, but when art found me was when I found art. When I was five years old, I found a comic book by Moebius, “Le Garage Hermétique,“ that belonged to my mother in our living room. It must have been around our house for much longer, but this is when I found it and when it found me. I was instantly mesmerized!

Chris: I understand you started with sci-fi drawings, did any early sci-fi stories influence your developing style? FYI: I came across Grand Moff Tarkin on your Instagram - AMAZING!

Jared: Again, sci-fi stories by Moebius. Of course, my early fascination and affixation with Star Wars is undeniable and prevails to this day, but I know I am not alone with this!

Chris: Tell me about your year in art school. I’ve been told it’s nothing but criticism. You either grow from its constructive nature, learn to create despite judgment, or maybe both. Was that your experience?

Jared: What I really took from art school was the realization that I was too young back then, too young to take life and my education and my career seriously. The following year, I worked as a cashier in a supermarket and that was much more valuable life experience than my year at art school – in that it showed me what I don’t want to do. And that I really, really have to accomplish myself and work on my skills and career unless I want to end up in a job I don’t want to do for the rest of my life. After years of school and then art school, it was this very real work experience that showed me the responsibilities that come with being an adult. It made me thing seriously about a career and how to get one.

Chris: I also understand you have a preference towards the stippling technique. Can you share a little about what that is? Do you find creative power in the world of dots?

Jared: To me, it did indeed start with stippling and this helped me to convey surface and structures in a black-and-white drawing. It doesn’t really need to be points – it could be cross hatching for example, but it is a good technique to successfully create the illusion of three-dimensionality in a black and white illustration.

Chris: I understand your mom gave you your first sketchbook. How did your parents influence your art?

Jared: My father didn’t, he ran out my mom the second he found out she was pregnant, so I never knew him. My mother is herself a creative person and her creativity influenced me and I was raised in a creative household/environment. My mother supported me in living my creative impulses as best and as fully as she was capable. She once called herself my lab assistant because she was always supplying me with everything I needed to follow my creative instincts.

Chris: Do you have a favorite story or comic that has stuck with you or influenced you over the years?

Jared: “Le Garage Hermétique” by Moebius as I mentioned before. The whole Star Wars franchise as well of course. The Adventures of Tintin by Hergé. And let’s not forget Steven Spielberg’s original Indiana Jones trilogy (let’s forget “Crystal Skull“, please), just to name a few.

Chris: I also understand that you work with some graphic designer and art friends as part of your team now. How has collaboration played a role in your success?

Jared: It very much the key point in my career. Since they are not only graphic designers but also illustrators, the creative exchange with my friends/colleges/coworkers brought me to the point where I am now.

Chris: What are your passions outside of illustration?

Jared: Walking and trekking and working in the garden and swimming in our beloved river are, though I only swim in it during the summer. Generally being outside and in nature is what I love to do.

Chris: What accomplishments are you most proud of up to this point?

Jared: Generally, that I can make a living as an illustrator – and whenever someone lets me know that my works inspire them, that makes me very proud.

Chris: Do you have any exciting upcoming projects and what is the most exciting thing in your life right now (even if it doesn’t have anything to do with art)?

Jared: The most exciting thing in my life would be my impending fatherhood – my girlfriend and I are expecting twin boys next month! And my other, (hopefully) soon to arrive offspring, my upcoming comic book series “The Fall“ should be mentioned as well.


Jared, I’m so appreciative of our time together. Thank you for your honesty. Your love of this profession gives us permission to use our imaginative energy without fear of losing our sense of responsibility. You are living proof that art is both a fountain of youth and a pool of wisdom that prepares us for life, freedom and family.

For more of Jared’s awesomesauce, check him out on Instagram: https://www.instagram.com/jaredmuralt.

Here’s a link to his design collective: https://shop.blackyard.ch and be on the look out for his new post-apocalyptic comic series, “The Fall,” to be released soon.





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CXC Conversations with Creators: Featuring Michael Lent

We are over the moon today, having scored an interview with professional Comicbook creator Michael Lent.

Most of you will know him as the writer behind the Marvel series “Prey”, and more recently, “i, HOLMES”, but his experience stretches across many entertainment genres from non-fiction literature to film and TV.

Michael shares with us a wellspring of information, advice and even imparts a few star studded stories to brighten your day. Whether you’re a Comicbook creator looking for insight or a big ol’ Lent fan, curious about this hugely talented guy, we’ve got the goods - so get comfy.



And with that, ComixCentral proudly presents… “An Evening with Michael Lent!” (Well, an interview. You’ll need to supply your own wine and easy listening tunes).


Hi Michael! Thank you so much for taking the time to share some of your amazing experiences in making Comics and other media with us! Could you tell our readers a little about your comics.

ML: Anyone who admits to knowing me might refer to me as that @!*% writer of the Prey series (Marvel), co-writer of Brimstone (Zenescope), writer of The Machine Stops (Alterna) and most recently the i, HOLMES, also for Alterna. I co-wrote four graphic bios of Keith Richards, JRR Tolkien, Stephen King, Stephen Hawking (this was during my “bios of guys named Stephen who don’t like to be called ‘Steve’” period). Incidentally, the Stephen King bio was cool because I actually got to interview him and was able to confirm some things that had only been rumors before then. The project also led to me adapting one of King’s short stories, The Reaper’s Image.

Presently, we’re wrapping i, HOLMES a gritty urban detective drama set in 2009. The story is about a brilliant loner, a streetwise 17-year old girl fresh out of juvie who knows very little about her past except that someone wants to kill her and is willing to take out most of New York. Who she is, in fact, is pretty special, as is the identity of her would-be killer. Art is by Marc Rene, who I most recently worked with on The Machine Stops series. Publisher is Peter Simeti at Alterna, which also published The Machine Stops.

Recently, television producer David Rambo picked up i, HOLMES to develop as a television series and has been instrumental in helping to shape the story. David has worked on EMPIRE, REVOLUTION and CSI, as well as the upcoming series on TNT, WILL. He’s one of the most creative people I know, so we are pretty excited and hopeful.

Outside of comics, I write and produce independent movies in Los Angeles. I was executive producer on IF YOU’RE SERIOUS, shot in China in 2012. The film won several awards and was nominated for a sound design award by the National Academy of Sound Editors in 2014 and I was able to meet presenter George Lucas.

In 2009/2010, I followed the Arctic ice road truckers made famous on the History Channel in order to write the non-fiction book On Thin Ice for Disney Hyperion. The main staging area was out of Yellowknife, Canada and I experienced temperatures as cold as 45 below zero (F). It was awesome.

Wow. Just wow! So what kind of comics would you say you like to create?

ML: Well, first and foremost, what I do is write sort of architectural blueprints, and any ”creating” doesn’t happen until I team up with an artist who knows how to turn my brain scribble blueprints into a house. Without an artist like Marc Rene who I’ve worked with on three, soon to be four series, I would be reduced to stick figures.

As far as subjects, I’ve only done one super-hero book on assignment that has yet to be released. Mainly, I do sci-fi, horror, action-suspense crime dramas, and non-fiction bios. I can do comedy, too.

When did you get your start?

ML: I’m a trained screenwriter and had come to Hollywood to work on the Hellraiser series for Dimension, the film production company that made Scream, the Halloween movies, From Dusk ‘til Dawn and many more, including The Road, which is one of my favorite books and films.

Coming from the world of movies gives me a certain recognizable style and pacing. I’d like to think that my stories are well-structured. These days, I create some stories that are best served as comics or vice versa.

What made you decide to start making comics and get into that side of the entertainment industry?

ML: In 2006, I wrote a screenplay called Prey, a sort of Jaws/Aliens story that was set off the coast of Southern California. My agent at the time thought it was some of my best writing to-date but as a live-action film, the budget was something like $120 million and there are a finite number of companies able to make a film of that scale. However, films that come from comics can have a stylized look that’s a lot cheaper to shoot. Films like Sin City and 300 had come out and my agent encouraged me to think about my story in that context. As a kid, I had been into the X-Men and Marvel universe so I went back to those roots.

The result attracted interest from Dabel Brothers Publishing in Atlanta. They wanted to publish Prey as a six or seven book arc. At the time, the Dabels were working with George R.R. Martin, Orson Scott Card and Laurel K. Hamilton among many others, so it was a pretty exciting time to be there. My first signing at Comic-Con San Diego was with George R.R. Martin just as Game of Thrones was about to happen. We actually had downtime between signings and chance to talk about craft and business. It’s nice to meet some like Mr. Martin as a fan, but even better as a fellow creator.

By the time we finished creating Prey, Dabel Brothers had become a [short-lived] imprint of the Marvel Universe. My mentor in comic script writing was Mike Raicht who was an editor at Marvel, and is a very good writer in his own right. Mike worked on a lot of series including X-Men, Spider-man and the Hulk, and he taught me a variation of the full script method. Lance Laspina was my first art director. Through him, I came to understand how an artist sees a project, as well as how writers and artists should communicate.

Everyone has moments that they’d like to throw in the towel, how do you get and then keep momentum on your projects during those times?

ML: I know, it’s tough. The whole time we have been making i, HOLMES, artist Marc Rene and I have lived this question in the most gut-personal way possible. Just as I started to write out the initial story, my sister Shelly passed away unexpectedly. It was a difficult period. I thought I was handling it okay but the morning of the funeral my hair was coming out in my hands from all the stress. Luckily, I had my family and friends who supported me.

I soon realized that the only thing I could do to honor my sister’s memory was to finish what I’d started.

Then, early on in production, artist Marc Rene’s father was hospitalized with an invasive cancer. Every other week since August, 2016, he made a 450-mile drive each way from San Jose to Burbank to see his father. In early December, he lost his battle for life. In the aftermath, we continued to lay everything on the line to create this book and keep our dream alive.

In a more general sense, self-doubt is the biggest dragon we have to slay. It helps to realize, that the self-doubt goes hand-in-hand with creative expression. I’ve been on projects that appeared on the cusp of changing my stars but then they didn’t happen for some reason usually beyond my control. It can fill you with doubt and anger. To counter this, I focus on how much I enjoy creating and the community I’ve built. Usually, that causes me to reach out to friends, again for support, and then get back to work writing. Those are things that I enjoy and have some control over.

Also, I try to look at bad news dispassionately. Often, that leads me to ask “Why?” I’ll reach out to, say, a publisher and ask, “Can you tell me a little more about why you passed on the project?” Sometimes they tell you things that you can do something about. In one case, a publisher didn’t like the lettering style, which is an easy fix. I wouldn’t have found out if I didn’t probe for info. But lots of times you’ll find out it had something to do with elements outside of your control. You can’t beat yourself up about those kinds of things.

It helps a lot to have more than one project going at once.

When I’m stumped on one, I just roll over to the next. I also don’t pressure on any single project to be the ONE.

You’ve given some incredible advice here, is there any advice you wish someone had given you when you were first starting out?

ML: If you write, it has to be every day and not when the mood or lightning bolt of inspiration strikes. Same applies if you’re an artist. In school, my writing teacher used to say,

“Good days can come after good OR bad days but they can’t follow no days [days when you don’t write].”

One of the most important lessons Mike Raicht from Marvel imparted was a deferential respect for the medium and the stories. The business side of comics can be and often is brutal but Mike never, ever allowed these challenges to bleed into the creative side. He always made schedules and stuck to deadlines even when it was something just for himself. Especially in the case when you’re making something that doesn’t have a publisher waiting for it or a ready audience. If you don’t start with respect for the process when it’s just you by yourself, no one else will later on. I see creative types who are always chasing the next project as the be-all, end-all. When you do that, you’re less willing to make a project that’s right in front of you all that it can be.

A dozen years later, I still believe cynicism is a currency of dubious worth. I just don’t see much value in thinking success is all about “validation from strangers” or “who you know” and that kind of stuff.

If you’re meant to create, then that’s what you’re going to do.

I’d rather just get to it.

As someone who has worked with big publishers, studios and independently, I believe in DIY because I’ve learned the hard way that if you wait for someone else to pick up your project, you may be sitting around for a long time. Sometimes I’ll run into would-be creators at a con and they show me some great concept work or an ashcan, then a year later, I run into them again and see the same samples. That inertia comes from a lack confidence in either themselves, or the overall concept. You have to believe that what you’re doing matters.

Don’t let your story only exist inside your head.

Really crucial to partner with people with a strong work ethic who you respect and vice versa, too.

Again, what incredible advice! What would you say is one thing that you absolutely could not live without during the creative process?

ML: It would be hard for me to exist as a writer without my MacBook Pro and access to Google. I like to research and photo-reference things as I go so it would be tough to work off of a cave wall.

Here’s a weird question. If you could body snatch someone and take over their life for one day, who would that person be? And why?

ML: Real life person Barack Obama, especially if it was circa 2016.

Fictional person? Hmm. Gandalf… Harry Potter… Sherlock Holmes. Any of these people would be COOL and the bonus would be that I would get some residual value when I returned to my own form. I think it would be depressing to be Superman for one day, see through walls and fly around, etc. and then go back to being a mere mortal who rides the bus and looks bad in tights.

Your writing is so creative. Where do you get your inspiration and ideas from?

ML: I read a lot. 30-40 books/year. Comics, too. A lot of my ideas come from asking “What if…?” Also, I try to live with my writing so that when I’m walking around, everything I see, hear or do seems to pertain to the story I’m writing. Like I’ll see a billboard or my wife or kids will say something and I’ll think, “Wow! That’s exactly what I was trying to figure out!”

For the noisier fans out there, (uh-hum… you know who you are;) What does your workspace look like?

ML: I used to have a great office in our house with a couch and everything, but then our first child, my son was born, and I moved everything into a little bedroom that was barely big enough for my desk and an extra folding chair. The couch, the collectables and all the memorabilia went into the garage. Then our daughter came along and that little room went back to being a bedroom. I started working out of coffee houses around the Valley in Los Angeles. But then our second son arrived and there went the budget for bagels and Sumatra roast. So now most days I’m in a cubicle at one of two public libraries in Burbank, wondering what the hell happened. Seriously, it’s a great resource where I can go Old School and grab real books for reference. And the librarians are nice.

The breadth of your experience is so inspiring. Are there any funny or interesting stories you wouldn’t mind sharing with our readers might enjoy and maybe even learn a little from?

ML: I don’t know if it’s funny or interesting but one story that jumps out is the time I was asked to be on a panel about writing in Hollywood. I arrived about 10 minutes early and the organizer took me aside and said, “Good, good, good, you made it. So, here’s the thing: we had a change of plans.” “Oh?” says me. “Yes, instead of a panel it’s going to be you and a surprise guest, so just go with it. It’ll be fun!” I immediately felt a tiny, tiny bit of sweat beading up on the back of my neck as I looked over at the stage that was empty except for a mic and two chairs. About thirty seconds later, the door opened and in walks the special guest, actor Michael Madsen, star of The Hateful Eight, Kill Bill, Reservoir Dogs and dozens of other movies. Now, normally, this would be real cool and a thrill but all I can do is look over at the two chairs, then over to Michael Madsen, then at the sweat pooling in my palms, as I realize that I am supposed to conduct a sit-down discussion with Mr. Madsen for which I had done ZERO prep.

Actually, Michael Madsen is a pretty cool guy and he usually pauses to size up and search for just the right words before he answers a question, which kind of gave me time to think of what to talk about next.

Truthfully, he didn’t really need my help, so it all worked out fine. Some audience members even thought me and “Mike” were friends who went way back. Might have worked out better that I didn’t know anything beforehand because I could have over-prepared and would have been more nervous. Afterwards, Michael Madsen and I bro-hugged like we had survived a plane crash.

You’ve already accomplished so much, but as a creator we know you can’t stop now! What would you say is your ultimate goal in making comics?

ML: I’d like to create and work on as many stories as possible. Right now, I have a number of projects stacked up waiting for artists. I’d like to get them moving forward.

It would be nice if some of those projects could stand the test of time, but at the end of the day, it’s a privilege to write anything that finds an audience. A few years ago, I had a signing in Santa Monica late one Saturday morning. It was raining which is a little rare for Los Angeles, so I wasn’t expecting much of a turnout. Still, I brought enough bottled water and candy for a few dozen people just in case. As soon as I set up the little table they gave me, crickets ensued. Some people actually avoided the area so that they wouldn’t have to say “hi.” Then, all of the sudden, this tour van pulled up and all these college-age Japanese cosplay girls got out. Most didn’t speak English, but they had flyers written in Kanji advertising my signing. Turns out I was part of their tour and someone was recording everything for a local broadcast. We took lots of pictures, I signed a couple dozen books and gave away the water and candy. It was surreal and wonderful.

Having had experience in the professional comics industry, do you think there is anything the big publishers can learn from the Indie scene or vise versa?

ML: Big publishers can become risk-adverse. You see the same story arcs over and over barely dressed up. Some of the freshest stories come from the edges and take the biggest chances. Indie books should take chances. Otherwise, they will never stand out from all the white noise. Not long ago, I was searching ComixCentral for something different and discovered the Lance Lucero series Bob: Non-Union Psychic. Such a fun story! Meanwhile, indies can emulate the fit & polish of mainstream pubs.

Editing and logic matters, as does making deadlines. A book riddled with typos undercuts the storytelling. One time I was reading a cool indie book where, on the climactic page, the main character takes a big wind-up swing with a sword but in the next panel, the follow-through was with an ax. I stopped reading and went back through the book looking for clues as to whether there was some sort of sorcery present and if so, to what end. I emailed the creator who responded with an “Argh.” There had been production issues and no one noticed the gaff that couldn’t be corrected now that book was in print.

Super important to fully vet your project before it goes out into the market.

Are you currently involved in any projects our readers might be interested in hearing about? Anything your fans can get excited about?

ML: People might be interested in Malevolent (https://malevolentmovie.com/), an animated horror film currently in post-production slated for completion by the end of this year. Basically, the story is Saw meets Groundhog Day. Cast includes Morena Baccarin, William Shatner, Ray Wise, Bill Moseley. Producers Jim Cirile and Tanya Klein who both love comics asked me to join their team about a year and a half ago. So many talented people are working on the project, I’m excited for the result.

This has been just amazing Michael, we at ComixCentral are so honored and thrilled you’ve taken an interest in what we’re doing here and can’t thank you enough for taking the time to answer our questions. You’ve been so candid with us and given indie creators a peek into your world and an enlightening taste for “how this is done!”.

Before we go, how can people find you and what you’re up to?

ML: Besides Facebook and Twitter, I’m on Quora.com (https://www.quora.com/profile/Michael-Lent), a global community of over 100 million people and a great place to share stories and ideas.

I hope people will check out i, HOLMES, as well as our previous series The Machine Stops, also from Alterna and in collaboration with artist Marc Rene. This series is adapted from early-20th century British novelist E.M. Forster who wrote only one sci-fi story in his entire career. Forster wrote The Machine Stops in 1909 but he was something of a Nostradamus. His 12,000-word story foretells our modern way of information gathering and social interaction through cyberspace, while expressing concern for our dependence on technology at the expense of personal experience and all that makes us human. Instantly, many of the best predictions about the future rely not on an understanding of technology and future industrial trends so much as an understanding of human nature, language and culture. That was Forster. It was a great journey for Marc Rene and the rest of our team to bring this amazing story to a whole new generation of readers.

Thanks, Leigh and everyone at ComixCentral for this wonderful chance to chat. It was big fun.

No thank you Michael! This has been such a pleasure! We look forward to all your future endeavours and can’t wait to see what you create next!

If you’d like to connect with Michael, buy some of his work or even just friend him, you can find those links below.

Now go make some Comics!


Twitter: @michaellent2

Facebook: MichaelLent

Quora.com (https://www.quora.com/profile/Michael-Lent)

ComixCentral: @michael_lent





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Motivation

My mother was born in a small village in Guanajuato Mexico.

Her mother was dirt poor even by 1930’s Mexico standards, which is really saying something. Her father had died before she was born. He was trying to catch a ride on a bus. It was one of those old-fashioned buses with the standing platforms on the corners and handlebars to pull yourself up in case you were running to catch the bus before it drove away. At least that’s the vision of it in my mind. The good news was he caught the bus. The bad news was he couldn’t hold on to his grip on the handlebar. So he was buried a couple of months before he got to meet my mother.

My grandmother already had an older daughter and had no way to support them both. So she immigrated to the United States. But she couldn’t take the girls with her. It was going to be all she could do just to keep herself alive. So my mom and aunt went to live in an orphanage. Grandmother told them she’d be back to get them when she could afford to provide for them. And then she left.

I’ve heard a lot of stories about that orphanage over the years.

About how mean the nuns were. How’d they dispense beatings for trivial slights. About how hard the children had to work every day. About how they barely had anything to eat. About how my mom had to sneak into the pantry in the middle of the night and eat raw oats because she was so hungry she couldn’t even sleep. It was many, many, many years after she left the orphanage before she could bring herself to eat a bowl of oatmeal again.

But leave she did, along with her sister. Grandmother came back. She had found a job and a home. She could provide for them again, but only in Texas. The problem was getting them across the border. So late one night she took the girls for a ride on a small handmade raft across the Rio Grande. And before she knew it, my mom was in McAllen Texas, living in the first real home she had ever had.

Over the years she watched her sister have two girls of her own and then waste away due to unchecked cancer. My aunt died a couple of years after I was born. My mother managed to have a lot more kids, though. 8 in all (I’m the youngest). She met my father in McAllen. He was a native of Illinois, having come down to Texas to start his career as a journalist. He was working at the McAllen Monitor as a cub reporter. Mom says she knew immediately that he was the one. He took a couple more jobs over the years before settling us all down in Houston, where he got a position as a reporter for the Houston Post, since closed.

We visited grandmother several times over the years in her little house in far south Texas.

She never did learn to speak English. But she had worked her ass off for decades and paid off that house. She had her daughter, grandchildren, and great-grandchildren. She always seemed happy to me, even though I couldn’t communicate with her. She passed away while I was serving in the Army in Germany. I think if I could have asked her, she would have told me she had a good life.

It’s probable that all my memories from those years played a role in my dreams one night. I woke that night to a vision of a young Hispanic woman beating the ever loving hell out of another woman. Why, I thought, am I having THIS dream? The setting of the dream looked exactly like the small towns of south Texas near the Mexico border that I had visited as a youth back in the 70’s and 80’s. But I couldn’t shake the dream. It returned several times over the years. With more characters and developing storylines. I’d be at work, completely unable to focus because I had suddenly thought of a new plot twist to the story. I’d spend all of my time on the treadmill at the gym thinking about ways to advance the story to its next logical step.

So I finally decided I had to write this book.

I thought I could be like my dad and brother. They’re natural born writers. Stories flow from their fingertips. Meanwhile, I stared blankly at the computer screen. Unable to fill a single page much less an entire chapter. The characters didn’t seem real to me if I couldn’t see them. I realized if I was ever going to make this book I was going to have to draw it out. And why not? Illustration was always my greatest talent as a child. Just because I had abandoned it as an adult didn’t mean I no longer had it. But where was I to find the time? I had a full-time job plus a family to support.

That’s when Saudi Arabia stepped in. They decided to kneecap the US oil industry by no longer artificially supporting the high cost of oil. So the oil industry crashed and my job went bye-bye. Hello free time! I spent the last 8 months of 2016 reacquainting myself with how to draw the human form and how to make comics. After a few tries, I finally finished chapter 1 and built a website to host the book online. I had finally, after 45 years, found my true calling in life.

Unfortunately, I had to go back to a regular job.

The money was drying up fast and I knew I was a long way off from making any money as a graphic novelist. So I’m back to working in the oil patch. But now, instead of spending my free time watching Houston teams lose on television, or working on odd jobs around the house, I work on my book. I don’t know how long it’s going to take me to finish these books (oh, did I mention this has turned into a trilogy?), but I know that I will do this. Like my grandmother paying off her house, it may take decades of hard work. But I think about how hard she worked over her life. And my mother too, raising so many kids mostly by herself. In three generations this family has gone from living in absolute poverty in Mexico to living a comfortable middle-class life in the suburbs of America. If I don’t finish these books, what would my grandmother and mother think of me?





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LEGROS, A MAN OF MYSTERY

BOB’s creator Lance was so excited about the upcoming launch, he couldn’t wait until the book was out to start cosplaying as one of its characters. Come on, what else would you do if you created your own comic book character?!

Sure, it may have creeped out his neighbors, but his enthusiasm has given us some great visual aids with which to introduce you to Legros de Rumigny (pronounced Luh-gro, ‘cuz French). He’s a major player in BOB: NON-UNION PSYCHIC #1 - though we suppose you might’ve guessed that, since his name is in the title of the of the book.

So who is Monsieur de Rumigny? A legit historical figure, actually - a former chef who turned into the hairdresser extraordinaire of the 18th-century French court, when fashion was at its peak! Ol’ Legros primped and preened the coiffures of the likes of Madame de Pompadour, and he’s the author of the famed L’ART DE LA COËFFURES DES DAMES FRANÇOISES, one of the earliest guides dedicated solely to his craft.

He opened and operated the prestigious ACADÉMIE POUR LA COËFFURES DES DAMES, where he taught illustrious hair constructs and helped establish hairdressing as a profession.

Go ahead and scroll through THE WORLD page on the BOB site http://www.warehouse9pro.com/bobworld.html or Google him!

But remember, what you research won’t be the whole story! You will have to dive into the pages of BOB: NON-UNION PSYCHIC #1 “The Legend of Legros” in order to find out all of the amazing secrets of the man behind the hair!





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DOKTOR GERALDO

For this day of ComixCentral Conversations, we take a bit of an unexpected turn! Today we bring you a newbie to the game.

You see, we’re not just interested in how the experts get things done, but also the journey that all creators must undertake to get to “Level expert”. Indie comics are not about perfect stories and artwork, polished and edited till they loose all their soul. Indie is about sharing your voice however you choose to share it. You’re unique spin on the world, straight from the horse’s mouth… no corporate interference. And we, the indie community, celebrate all creators of our beloved medium, at all levels in the game.

And so we present an underground sensation in the making. A creator you are sure to hear from as he grows his craft and develops into a full fledged tour de force in the indie comic realm. Keep your eye on Doktor Geraldo, we predict great things.


Hello Doktor Geraldo and thank you for talking with us today! Could you first tell us a bit about yourself, and the comic you’re currently creating.

DG: I’m a 46-year-old road worker from the north east of England. I live in Whitley Bay, a fading Edwardian seaside resort. I work night shift, and I’ve got three sons, so my spare time is limited. When I do get time to myself, I enjoy making comics. I find it relaxing. I recently released my debut comic, the first part of a four-part series called Spec Ops Hobo. This first instalment, entitled The Best, introduces the protagonist, Johnny Higgins.

What made you decide to start making comics?

DG:I used to draw single page comics in the late 80s, and give photocopies to my friends. These were pretty much in the style of Viz, the legendary local comic we all grew up reading. I gradually just stopped drawing in the early 90s, and then I recently had my interest piqued by my eldest son, who collects comics. He showed me some indie stuff he’d recently purchased at a con, and I immediately thought “I’ll have a bit of that!”

I came up with a great idea for a science fiction comic called Flangu, about a boy who makes a cardboard robot which helps his family, but which ultimately threatens mankind. Flangu describes the advent of nanocardboard, a revolutionary new packaging material intended to cut down on packaging and shipping times. The robot is inadvertently made using a sheet of nanocardboard, and quickly hooks up to the Wi-Fi and becomes sentient.

 

I spent a long time planning this idea, to the extent that I had creative block before I’d even created anything. I decide to shelve Flangu, and switched to what had originally been intended as an incidental detail, a fictional movie within the framework of the comic. Spec Ops Hobo. I quickly realised I could make this into a series, so I just went with it.

Where do you get your inspiration and ideas from?

DG: Higgins is inspired by a real person who lives in my town. Spec Ops Hobo is, at its core, a study of those marginalised by society due to poverty, homelessness, mental illness, and other similar factors, and it is a celebration of and tribute to those unfortunates who are exploited and condemned by the relentless, unforgiving machinery of global capitalism.

This is all very noble and valid, of course, but it would make for a boring comic. I deliberately avoided making this a dreary pamphlet, and instead opted to cloak these weighty themes in a velvet blanket of tits and killing, adventure, and a few laughs along the way.

Spec Ops Hobo – The Best is set mainly in an unspecified Central American hell hole, in 1985, and pays homage to the machismo and excess of 80s action movies, with a nod to classic boys’ comics like Victor and Warlord.

In general I am inspired by films, music, art, literature, and even things like podcasts.

What’s the one thing that you absolutely could not live without during the creative process?

DG:I’m overlooking the staples here, like pencil and paper, and teabags, and I’m going to go for my phone! I use the camera on my phone to photograph figures, or groups of figures. The resolution on today’s camera phones is superior to most home scanners and printers, and I like the effects that you can achieve.

I also use free apps on my phone to do rough page layouts and scaling, and to superimpose figures and scenery onto watercolour backgrounds. There are apps to create alpha layers and cut out plain backgrounds and so on. It’s good to play around with an old-school drawing and a smart phone.

What resources do you rely on to make your comics?

DG: We live in a golden age of creativity. The digital world allows anyone to create, music, film, animation, and comics using a wide variety of free technology that I couldn’t have dreamed of as a teenager.

You just need a little bit of talent, and some ideas.

I would highlight free apps and software that are widely available. As a new creator, I don’t really want to lay out thousands of pounds on state of the art software and equipment. I’m a firm believer in the adage: “All the gear and no idea!” I think it’s important to learn your craft using basic resources, and then invest in some swanky kit further down the line, when you’ve earned it.

I did treat myself to a small selection of copic markers, which I’d never used before. They are my go to medium for comics, and they’re well worth the price.

I’ve also printed off a prototype A5 fanzine of Spec Ops Hobo – The Best, and I’m thinking of doing a limited run for those who absolutely insist on holding paper in their hands.

 

Who are your biggest inspirations in the comic realm?

DG: The first person to approach me directly on Twitter and express a liking for my work is a comic artist from Alabama, Stefani @magicianshouse. Stefani is the artist on Project Shadow Breed, and she also drew the forthcoming Corsair, written by Nick Gonzo, both of which are outstanding.

Stefani saw my posts on @ComicBookHour, and offered to draw a pinup for Spec Ops Hobo, and as I was still working on part one, I asked her to do the cover. She came back with a fantastic illustration. I was encouraged to receive feedback from someone involved in the indie comics world, and Stefani has just written an experimental short that I am illustrating. This is quite a controversial piece, and it will release in August to coincide with a certain centenary celebration…..

Coincidentally, Nick Gonzo (@nick_gonzo) was the creator of the indie comics my son showed me: Pictures of Spiderman, and 50 Signal 1 and 2. He is part of Madius Comics, the team behind Papercuts and Inkstains, Griff Gristle, Laudanum, and many more. Gonzo has kindly agreed to illustrate the cover for the third part of Spec Ops Hobo.

Another great creator is Olly Cunningham at Black Lines Comics (@black_lines_). His work is very, very funny, and he’s got a unique style.

Lastly, I’m blown away by the astonishing output of an Australian creator called Ryan James Melrose (@RyanJamesMelros). This guy must be the hardest working man in comics.

Where do you hope to be in 5 years creatively?

DG:This year I want to complete the remaining three parts of Spec Ops Hobo and release them on Comix Central. I would also like to release the entire series as a trade paperback, but I think I will print a run of each issue myself for now.

I would like to build up Digital Pastiche, my fledgling production company, perhaps even bringing new creators into the fold. I’m also collaborating with Stefani @magicianshouse on a short, and we’ll hopefully be working together in the future.

Next year I want to focus on Flangu, and I should have more of an idea having cut my teeth on Spec Ops Hobo.

I will continue to network and promote my comics in my inimitable fashion. I adhere to the philosophy of “shy bairns get nowt”, and I’m not afraid of appearing overly forward. This has come back to bite me on the arse a couple of times already, but it’s all part of the learning curve.

In five years, I would like to be releasing comics that I enjoy making. Hopefully, people will enjoy reading them.


And that’s it for this one. So freakin’ inspirational in my book! If this interview doesn’t make you go, damn.. I can do this… I can let my inner comic creator out! Then I don’t know what will!

We want to thank Doktor Geraldo for taking the time to share his journey and inspiring story with us. Thank you for showing everyone that a little bit of passion and a lot of hard work will get your where you want to go. We can’t wait to see what you’re going to do next!

If you’d like to learn more about Doktor Geraldo, buy his books or just connect, we’ve got the links for all that good stuff below.

Now, go make some Comics!


Connect with Doktor Geraldo

comixcentral.com/vendors/doktor-geraldo-store

twitter.com/doktorgeraldo

facebook.com/doktorgeraldo

payhip.com/doktorgeraldo

instagram.com/doktorgeraldo

imgur.com/a/ErIrT

Get Spec ops Hobo


 


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OUR TRUMPED-UP COMIC

 

Well,
we doubt the rest of responsible America will be much cheered, but for
us personally, there’s at least one silver lining to Trump’s winning the
election this year: our new comic isn’t going to seem so dated.

When we began writing BOB: NON-UNION PSYCHIC # 1 last year, Trump hadn’t even clinched the Republican nomination. Like
almost everyone else who’s gazed on him, though, we couldn’t help
noticing the demagogue’s ‘do.

Let
us level with you on this: when you’re writing a book about a psychic
barber, you are always on the hunt for fun and/or relevant hair-related
material. And the mane on that man? It was like a gift.

So we came up with a reactionary rabble-rouser by the name of Atticus Jackson,
whose curious perm may figure into a larger mystery BOB is trying to
solve. And Ol’ Jackson, he would have been a just dandy addition to the
BOB mythos, we found ourselves grumbling later - if not for the
production delays that pushed our new issue past the election. Like
most people, we were certain Trump would be history after that, and BOB: NON-UNION PSYCHIC #1 would be dated from the very moment of its release.

If only…

But we’ll take our comforts where we can right now.

Learn the secret of Donald Trump’s Atticus Jackson’s hair in BOB: NON-UNION PSYCHIC # 1 “The Legend of Legros.”


 


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RICKY LIMA

Ladies and gentlemen, ComixCentral is proud to present an Interview with the incomparable Ricky Lima!

You heard me right. The one and only. The creator of Comics like, Black Hole Hunter’s Club, Deep Sea, Happily Ever Aftr and Co-host of Stadium Comic’s Unboxing Wednesday.



Yes. We got him! So sit back, get yourself a cold drink, a crunchy snack and read all about a young chap from Brampton Ontario, making a big splash in the indie comics world. And those who want to learn some stuff, get out your notepad. Ricky’s bringing the advice.

Hi Ricky! To start, tell us a little bit about how you first got started making comics.

RICKY: In highschool I would draw little stupid comics for people. Like real crappy stick figure stuff haha. Most of the stories revolved around how awesome I was because I guess I was a crazy narcissistic kid? But I didn’t really start making actual comics until about 2010. I started writing a comic about a circus and I had no idea what I was doing. I was writing it more like a play and figured the artist would be the one to turn it into panels and stuff. That project never really got off the ground, mainly because I had no idea what I was doing. By the end of 2012 I met David Bishop and that’s when I really started making comics. He had self-published some comics previously so he knew what he was doing, which was good for me. We released Deep Sea in October of that year and from there I just kept meeting artists and writing and working on new comics with people I met.

So what exactly made you take the plunge? Why did you decide to become a writer?

RICKY: I’ve always been telling stories no matter what I was doing. I just love storytelling!! So in high school, I took a creative writing class and had a blast with it. It was probably the first time I’ve ever enjoyed school work haha. So by the time I went to University I I was like “I’M A WRITER!!” and I walk around thinking I was cool and full of powerful insights. I wrote pretentious poetry and short stories in a small cafe on campus that had a portrait of Jackie Chan (and I think Jeff Goldbloom) on the wall. I never bought anything so the staff probably hated me! So that was me until I graduated. When you’re no longer in an environment of learning you realize real quickly that no one really cares about in-depth analysis and literary themes etc. and I started not caring about that stuff too. Eventually, I just wanted to tell bomb ass stories regardless of literary merit.

Also, eventually I realized I wasn’t very good at prose writing. I wanted to focus more on dialogue, but also didn’t want to write screenplays cause everyone was doing that. I had recently gotten back into comics around this time and I didn’t really think about it. I just started making comics!

What kind of comics do you write?

RICKY: Good comics. And weird comics… and hopefully diverse comics… and funny books.

What keeps you moving forward in your career as a creator? What keeps you from throwing the proverbial towel and do you have any advice to help others stay on track?

RICKY: I’m not sure if I do have a solid strategy for this. I think everyday I want to throw in the towel and just not do anything. But if I didn’t do anything what would I do? You know? I’m not sure I’m capable of not doing anything for an extended period of time. Maybe it’s because I’m a millennial but I need the side hustle to keep my life going. It’s kinda crappy to answer this question with a broad statement about a generation I was born into but I think as the world changes our ways of living change too. I’ve grown up with ideas that anything is possible with work, with ideas that you should do what you’re passionate about etc. It’s the only life I know I guess. So what’s stopping me from throwing in the towel? The fact that there is no towel to throw in. It’s this or nothing.

BUT it is important to refresh yourself. So take a break, chill out, don’t think about it for a bit and then come back to your work with fire… hopefully.

What advice do you wish someone gave you when you were starting out?

RICKY: I wish someone told me to take it slow. The first story I did with the circus was like this 12 issues maxi-series with a huge cast and major overarching themes and junk. It was huge! No artist wants to work on a story that so huge with a writer who doesn’t know what’s going on. Every established pro’s probably have a hard time getting artists to commit to huge series. So yeah, take it slow and build things organically. That’ll save some stress for sure.

Where do you get your ideas and inspiration from?

RICKY: I get a lot of my inspiration from really garbage entertainment. Like I’m not talking about bad B-Movies. I’m talking about things that were earnestly made but just didn’t work. That kind of stuff is pure gold because there’s always an interesting idea nugget in there but for whatever reason it’s not coming through. Maybe bad writing, bad acting/ illustrations, time restraints or whatever. So when I watch that kind of stuff I think about how I would do it and then usually ideas begin to form.

Most of the time the ideas become something vastly different than what I’m watching or reading, but it’s still there. I also like to take inspiration from things that are vastly different than what I’m making. So taking elements of theatre and seeing how they would fit into a comic. Like for instance, theatre acting has a certain cadence to it that is unique. So I try to think about that while writing out dialogue for comics. I probably sound like a crazy person, and maybe it’s not even a thing. But that’s the kind of stuff I think about. That thought exercise usually results in really cool things.

What’s the one thing (tool, process, etc) that you absolutely could not live without during the creative process?

RICKY: Google Drive. That thing is wicked. I can store all my ideas, pictures etc and have it anywhere I go. It also saves me from buying a word processor haha.

Would you rather be attacked by one horse sized duck or 50 duck sized horses?

RICKY: I saw Alex Jones answer this question once and he said he’d fight the horse sized duck because he didn’t want to get surrounded or something like that. Alex Jones is a damn fool! 50 duck sized horses would be a breeze to stomp! Their legs are so fragile! Also I’m probably a globalist baby killer, so I don’t think Alex Jones and I see eye to eye on most things.

What does your workspace look like? We love to be invasive!

RICKY: I work at a Second Cup near my house. Houses are for living, other places are for working! But if I could have a tiny office it’d have a ton of art in it. I’ve been collecting art ever since I started comics in hopes of one day owning my own space to put them up.

One thing we love about you is your sense of humor. Is there an interesting or funny story you could share with us about your creation experience?

RICKY:I was at a con once and Jeff Lemire was there. This was just as Sweet Tooth came out so he wasn’t the mega comic star he is now. I was a huge fan of Sweet Tooth so I wanted to meet him and shake his hand and get the book signed. I came up to his table, his back was turned to me, and I stuck out my hand. He turned around and was totally startled by me haha. He was like “Oh, ah… um” and I was like “Uh, hi… can I shake your hand?” He’s a great dude and a real pro so things weren’t weird, and he signed my book and thanked me for the support but to this day my friends won’t stop bringing up the story. Over the years it’s kind of evolved into this incredibly traumatic event in Lemire’s life. The time a fan assaulted him at a con.

If you could body snatch one person for one day.. who would it be and what would you do?

RICKY: I’d body snatch you, and just do terrible, terrible things and see how you deal with the aftermath. Muahahaha.

What is your ultimate goal in comics?

RICKY:Ultimate comic goal is to be able to support myself with comics haha. Sounds lame but it’s true! If I’m able to live a life where I don’t have to worry about money and just make comics then I’m totally happy. So whether that’s on my own or with a bigger company then whatever! That being said I think doing things on my own terms as an independent creator is the most delicious way to make a living just so you don’t have to put up with other people’s crap.

If you had a dollar for every comic you have started but not yet finished.. How many dollars would you have?

RICKY: I’d probably have like 10 bucks. Get myself a nice coffee or something. Haha the number isn’t super high because I try to finish things I start, but sometimes factors beyond my control don’t let that happen.

How about some parting advice for all the up-and-comers out there?

RICKY: Have an online presence people!! And don’t be lame online either! I see a lot of dudes and dudettes who don’t have anything online and they’re like “why is nobody buying my stuff!?” Cause no one even knows you exist! You really need to engage people online in order for them to care. Con’s aren’t enough. And in regards to not being lame just be real. The most frustrating thing to see is someone posting a super well-crafted and articulate tweet or Facebook that took them all day to write. I’m not saying don’t be clever, don’t be witty or speak well. I’m just saying be honest. If you’re a smart person who uses the word “indubitably” on the reg. then that’s fine.

People can tell when you’re dishonest and people HATE dishonesty.


Well this has been a blast! As usual Ricky tickles the ol’ funny bone, but also doles out some great and wise advice for anyone creating comics!

We’d like to thank Ricky for taking the time out of his busy day and shooting the breeze with us! If you’d like to learn more about Ricky’s projects, buy some of his comics or just connect, you can find all his links below.

Now get off your butt and go make some comics!


Connect with Ricky!

Instagram: @king.k.rule

Twitter: @kingkrule

comixcentral: @kingkrule





 

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LANCE LUCERO

This week we had the distinct honor of landing an interview with a true self-made Indie Comic Entrepreneur, Lance Lucero — owner and founder of Warehouse 9 Productions Ltd.

Lance’s company publishes one of the most original comics we at ComixCentral have ever had the pleasure of reading, BOB: Non-Union Psychic. Not only is the illustration work of Francisco Resendiz a stunning feast for the eyes, Lucero and Volle’s writing keeps you turning the pages, giggling, eyebrow lifting and wanting more of that less than ordinary spunky hair stylist, BOB.



So without further adieu. Here is our interview with Lance Lucero- Non-Union Comicbook creator extraordinaire! Get out your pencils creators-in-the-making, he’s got some great advice you’re not gonna’ want to miss!

Hi Lance! Could you tell our readers a little bit about your company? When did you get your start?

Lance: The late 90’s. Warehouse 9 Productions, Ltd. was launched for the production of my independent feature film debut HUNTING FOR FISH (in the re-mastering process at present). https://vimeo.com/user2463860 . Originally, I considered myself a filmmaker, first and foremost, but then realized that it is important to keep producing projects in many different forms of media.

In 2015 I expanded the company into publishing, testing out the waters with the indie digital comic book BOB: NON-UNION PSYCHIC. I was a hit! So the series continues!

What made you decide to start creating Comics?

Lance:I had worked with Adam Volle (co-writer, editor BOB: NON-UNION PSYCHIC) on a screenplay many years ago. He’s a talented writer and a really big comic book fan. At the time Adam was about to get a segment that he had written and produced titled THE KLANSMEN IS DEAD published in a SHOOTING STAR Comics Anthology. That was really exciting to see! Adam is the real deal, so I knew he would be the person to work with if I ever wanted to dip my toe into the comic book industry.

In 2014, I thought the time was right, so I tapped Adam on the shoulder and pitched BOB: NON-UNION PSYCHIC to him. The rest is history.

What kind of comics does your company publish?

Lance: Warehouse 9 Productions publishes commercial without being typical, independent, underground, quality renegade stories. If a comic book fan is tired of the same-old-same-old, look to Warehouse 9 Productions and check out the BOB: NON-UNION PSYCHIC series! We will entertain.

Could you tell us a little about the team behind BOB:NON-UNION PSYCHIC?

Lance: Lance Lucero - writer, producer, director, editor, graphics designer, and comic book creator. / Adam Volle - writer and editor extraordinaire! A scholar, a teacher, a world traveler. / Francisco Resendiz - brilliant illustrator and colorist. Destine to be a star! / Cottrel Burks – Master web designer and graphics artist. Without Cottrel we would have no place to call home on the Internet. http://warehouse9pro.com/

What about Warehouse 9 stands out? What makes you guys unique?

Lance: What’s interesting about the comic book team at Warehouse 9 is the age difference, the cultural diversity, and living location. We reside in the United States and abroad. Of course, this is nothing new because of the digital age, but it’s reassuring to know that despite all the differences, there is a love and passion for storytelling and art. It’s the glue of the team and is helps create fun and exciting entertainment.

Everyone has moments that they’d like to throw in the towel, how do you get and then keep momentum on your projects during those times?

Lance: “Throwing in the towel” is not an option. That would be too easy to do in the independent realm.

They key is NOT to wait to be accepted by the gatekeepers. It’s the BOB mantra – “Bob Holbreck is not just a character in a comic book – he’s a STATEMENT. Why let the gatekeepers dictate who gets in?”

We live in a special time where a person can create a product and throw it out into the world without the backing of a major entity. Oh, sure it would be nice to have some major company knock on the door and offer a deal of some kind, but one has to be realistic and understand that’s probably not likely. Paying your dues is taking a risk on yourself; creating a quality work; standing on a table and yelling, “Look at me!”

It’s a long-term investment and rewards do not come initially in the way of a big payday, but rather in the way of a budding fan base and positive reviews.

In order for me to keep the momentum alive, it’s all about keeping the team together and creating awesome stories and promoting them any way you can.

Is there any advice you wish someone had given you when you were first starting out in the Comicbook industry?

Lance: I have always been a self-starter. I wish someone gave me advice, but I have just had to do my research and trust my gut.

What do you think the “big publishers” like Marvel and DC could learn from the Indie scene and vice versa?

Lance: That’s a tough question… I don’t believe Marvel and DC want to learn anything new, especially from the indie scene. They (Marvel and DC) are all about “re-inventing” the same materials that have existed for decades. I don’t think the big two are interested in new content. Plus - Marvel is owned by Disney and DC is owned by Warner Bros., which means they have nothing to worry about; they will continue to milk their titles to the end of time in all forms of media.

What have I learned from the big two…? Don’t get me wrong, I’m a long time fan and that’s the problem. I think it’s okay to be different. I want to create something that does not fit into the usual “standard. Independence is tough, but it’s also very liberating.

Do you cosplay?

Lance: I don’t cosplay, but Halloween is my favorite holiday. Which means special attention is paid to creating awesome costumes for parties and special events. Have a look at the amazing seamstress work of my significant other, Lori.

Reed Richards and Susan Storm of the FANTASTIC FOUR. Constructed out of athletic fabric, not spandex. We worked out for nine months before we stepped into these form fitting super hero outfits. Hey, if you want to be a super hero, you better get in shape like one!

 

Something more sinister, Alex and Georgie, from A CLOCK WORK ORANGE. Yeah, we made real codpieces…

 

And our crowning achievement to date, the famous 18th Century hairdresser Legros de Rumigny and doomed Austrian queen of France Marie Antoinette. Legros is featured in BOB: NON-UNION PSYCHIC #1 “The Legend of Legros.” There’s nothing cooler than dressing up as one of the characters from your own book!

Those are amazing, you guys are a creative powerhouse! Back to the questions: What is your ultimate goal in comics? What does the future hold for Warehouse 9?

Lance: The ultimate goal is to create more entertaining content and branch out to other forms of media. Hey, might as well think big, right?

Knowing what you know about the publishing industry and self publishing, what advice would you give an up-and-coming creator looking to get their comic into the hands of readers?

Lance: Incorporate. Protect yourself legally. Be prepared for a long-term investment.

Be prepared to run a marathon when it comes to promoting your product.


And with that sage advice kids, we’ll wrap it up!

We want to thank Lance for taking time out of his busy schedule to touch base with us and give the world a look behind the curtains at Warehouse 9.

If you’d like to learn more about Warehouse 9 Productions Ltd, connect with them or get in touch with Lance and his team, you’ll find great links below.

That’s all for now, go make some Comics!


Connect with Lance and Warehouse 9 Productions:

www.warehouse9pro.com

twitter/@Warehouse9Ltd

https://vimeo.com/user2463860

 





 

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Katrina (Ayla Speaker for the Dead)

I lived through Katrina.

I’m not saying that in a boastful way. I didn’t live in the city, I was across the lake on the Northshore. My home had minimal damage. I didn’t lose any loved ones in the storm. There were a lot of people that had it a lot worse than I did because of that storm. But everyone that was living here during that time will never forget it, no matter how little or how great its impact on their lives.

My roof needed replacing. My BBQ grill was a gone, I had forgotten to bring it inside and a tree limb fell off and pretty much took any idea of cooking on it again away. I cleaned myself out of a bowl for a few weeks, replacing it with bottled water. I used a car battery and solar power charger to run a fan for at least half the night before the charge would die. This was in September, in New Orleans it’s still hot and humid during that time of year, especially without air. We opened the store where I work at to first responders to come in and get sock, shoes, dry clothes, flashlights, whatever they needed. We took notes on what everyone picked up, later to charge whatever part of the government we needed to but ended up throwing the list away. Some of these people were still in the same wet, dirty clothes for days.

During the time of Katrina, I kept a blog, I’m going to reprint some of my posts from that time, just to give everyone a brief glimpse into what was going on at that time.

From that Sunday:

Today started at six. Actually, that was the time I was supposed to be at work, but either I slept through my alarm or it didn’t go off. I woke, rolled over and saw the time was at fifteen till six. Oops. I jumped up, dressed quickly and was on the road within minutes. I made it to the store just a little after six. Steve and Heather were waiting for me outside the building. We were supposed to have about eight associates coming in. We were going to open only till around 11, see if anyone needed to come in for hurricane supplies and to finish getting the building ready for the hurricane. Jessica and Timmy showed up not long after I did. We decided that we weren’t going to open at all, over night they had announced that Katrina was up to cat 5 now and heading right towards us. Slidell south of hwy 12 was under mandatory evacuation, that was only across the street from us. So we figured we’d finish getting the store ready to weather the storm and then head out. First off we got some money from petty cash and sent Timmy to the McDonalds to get us some food. It was open when they passed it on the way to work. We had to finish wrapping the registers and finish putting plywood over the front of the store. I had to do the Sunday fax, which is payroll and sales figures for the week. Need to send that so everyone gets paid for the week. While we were getting things ready Jessica’s parents called, they wanted her home so they could leave, they had decided to leave the city now. We turned on one of those small portable TVs we sell to watch the news. They said the Crescent City Bridge was like a parking lot, they were advising people not to take it. I knew my brother was still on the Westbank, he hadn’t left yet. I called him to tell him he better get on the road. We finished everything by around nine. My brother called me and said he was already in Slidell, I wasn’t expecting to make it until later that day from the way they were talking. He said traffic had not been a problem.

Kenneth went back to my place to help me bring some stuff outside into my house so it wouldn’t get blown away. I also had to pack. I know, I always wait until the last minute to do anything. Then we headed towards my parents. The plan had been to go to Picayune and stay in a hotel there with my parents, but since the night before they had changed their plans. A cat 5 hurricane changes a lot of plans.

We got to Picayune without any trouble. The Highway going out that way was using both lanes to head traffic out of the city. It looked strange seeing traffic on both sides of the highway going the same way.

We were on the road by twelve. Instead of the interstates, we were going to take the small state highways and head to Tennessee where my Mother’s family is. We took hwy 11 to hwy 13 to hwy 35 and then briefly got on I 55 till we got back off and on hwy 7 to Memphis. Actually outside Memphis. We ended up at my Aunt Shirley and Uncle Troys. They took us in without the bat of an eye. I haven’t been back up this way since I graduated high school, so it’s been a few years They were even willing to take in Buffy and Sheba, my parent’s dog.

It took us eight hours to get there, which wasn’t that bad. We never ran into traffic and the way was easy and smooth. We made one stop at Wendy’s to eat and let the dogs out for a walk. Buffy sat in the passenger seat and just watched the scenery pass by without a bark. Every now and then she would try and curl up and sleep, but it never last for long, she would jump up into a sitting position and stare outside the car.

I think we were all in bed by ten that night. It was a long day.

I almost didn’t leave that day. I was going to ride it out. But luckily when I saw how strong the storm was getting I decided retreat was the best option.

Today is the day we decided to leave our safety of Tennessee and head back home to see what our homes look like. From what little we can gather from the news and the internet Picayune where my parents live is not as bad off as a lot of what we’ve seen on tv. The Westbank where my brother lives, from the phone call my sister managed to get through, did not get hit too bad. Now when I say not too bad, this is all relative to what New Orleans and Biloxi went through. From everything we’ve heard about Slidell, where I live, the hurricane hit hard and bad. The storm surge was supposed to be fifteen to twenty feet high.

We left at six in the morning. Shirley wanted to cook us breakfast, but we decided to head out as soon as possible. We were going to try and retrace our path to Tennessee, by traveling the back highways. Again we found little traffic on the roads. As we got further south the terrain began to change. At first, we saw a few branches on the side of the road, as we rode on we found trees broken and lying on their side.

After hitting the center of the state gas became almost nonexsitent. Every time we stopped at a gas station they were either out of gas or they had no electricity and could not operate their pumps. Not far out from Picayune the scenery became even worse. Trees were snapped along the side of the road. Not just one or two, but as we drove down the highway the trees that paralleled the road were snapped like twigs. We passed one gas station and the top that covers the gas pumps was blown over. Fronts of buildings were blown over. Trees that were huge, that looked decades old, were uprooted and lying on the ground. Sometimes they were lying across someone’s home.

On the side of the road, a tree was blown over and was being held up by the electrical wires strung between the poles. The entire thing leaned over towards the street. This was not good, eventually, it was going to come down if it didn’t get fixed soon.

We turned down a road near my parent’s house, one that I’ve traveled a thousand times. Trees on both sides of the roads were snapped in half. The road was almost unpassable. Many times there was just enough room to travel on the road. Then we came onto a pile, at least twenty feet high, of trees uprooted across the road. We were not going up that way. We turned around and went down to another road which we were able to travel over.

I held my breath as we turned up the driveway to my parent’s house. They have a long dirt driveway, about forty feet long before their home. In the middle of the driveway was a tree. We parked the cars and walked the rest of the way. They had two car ports off to the side that was now in the middle of the yard. One of them had literally been lifted up, blown over a fence without touching the fenced and was lying bent in two in the middle of their yard. The roof of their shed was peeled back, part of it had been ripped off and was hanging over their patio cover. The side window on my father’s shop was broken and the door to the shop was blown off. But all his tool were still inside and looked in good shape.

The good news was that their home was fine. Some shingles had been blown off the roof, but besides that, it looked good.

My brother and I went down and cut the tree apart so we could drive all the way up to the house. My father needs a chainsaw. We had to cut the tree apart with an ax and a saw. It took us a little while but we managed.

A few more things and then I decided to head home. My brother was going to stay the night. He was going to have to go the long way around New Orleans to get to the West Bank, so he wanted to make sure he had a full day to try and get home.

My gas tank was getting closer to E, but I didn’t have that long a trip. As bad as it had been so far, Slidell was worse.

I’ve never been in a war zone, but I’ve read how when a bomb goes off it just shatters the land, the shock wave can snap the trees in half. That’s what the land looked like

as I tried to get home. When I turned down the street to get back towards my home all I saw was downed trees. It was a lot of weaving back and forth but I thought I was going to make it, till I got almost to the end and a tree was blocking the street. The good news was there was a backhoe there, looking like he was getting ready to move the tree aside. I decided to drive down to the store and see if anyone had made it there while the moved the tree aside.

Two campers were parked in front of the store when I got there. The door was unlocked. A stranger was at the doorway. He was from loss prevention. He said Loretta, our district manager was in the back of the store. I went back and talked with her for awhile. She had talked to just about all the other managers and everyone was safe. When I mentioned that I was almost out of gas she came to the rescue, she had a gas can in her car with gas in it. At least enough to get me around for another day, I was on E now.

I won’t mention the fact that I locked my keys in my car when I went in, it was that type of day.

I left to try and get back home. This time the tree was gone. I had to dive under a leaning tree that looked like it was leaning too much, but I made it. As I drove back towards my trailer I was getting nervous. I passed one trailer where the entire side was pulled loose. I turned on my street.

I had a wooden fence around my trailer. Not one part of the fence was still standing. It was flattened. Part of the pine tree in my front yard was on my porch. My gas grill was upside down. I stood in shock. The trailer looked good though. Across the street, from me, there was a tree across the front of the trailer. In another yard, a huge tree was on its side. I took some pictures, I’ll post as soon I can get them developed.

I opened the door to my refrigerator and took a step back. Whoah, it smelled. I filled two big garbage bags with the entire contents of the refrigerator, there was no use to try to save anything in it. I brought in all my food and water I got from Memphis and set up as best as I can. I’ve got my little portable tv, some food, something to drink. No water, no electricity. I opened all the windows, some of them barely opened, I don’t think I’ve even opened some of them, I use the air conditioner instead of open windows. But it is still hard in here, sleeping is going to be fun. But at least it’ll be in my own bed.

I’m going to watch a little more news and then probably head to bed. I’m off to work tomorrow at six, we’re going to try and get open where at least people can get some things they may

These next posts are from my first days back. The problems I faced with minuscule compared to what a lot of people were facing and we’re going to face in the future.

The problem with writing these posts is that I tend to do it at the end of the day when I’m tired and not wanting to do anything. My mind has shut down and just want to rest along with the rest of my body.

Today started at five in the a.m. I was supposed to be at work at seven, mainly just a chance to see who was here and figure out what we’re going to do type thing. Sams was supposed to have gas at six this morning. I got up, brushed my teeth and managed to clean myself with a washcloth and bowl of water. Right now two of the most precious commodities we have are water and gas.

I got to Sams at around 5:30 or so. There already was a line. I’d say there were at least sixty cars ahead of me. I parked, turned the car off and waited. I got out and started talking to the people around me. I was parked next to a Sams employee that was directing traffic. He was from out of state, I forget where now. He was part of Sams disaster team, they go in after something like this and help to get the store running. They already had a generator running and the store was opening at seven. That was also the time he told her they were supposed to start selling gas.

By seven the line had to be a couple hundred cars long behind me. He figured they had enough gas to last about four hours. Once they started it went fast. They had a lot of pumps and they had an employee working each pump. Full-service gas, what a concept! He pumped it and took my money. They had it organized very well. They didn’t fool around with the cents, they just took the dollar amount, saved them time with having to deal with a lot of change. The only bad thing, and I didn’t think of it but I should have, was that you had to pay with cash for the gas. I hardly ever carry cash around, I’m so used to being able to use my debit card for anything. Luckily I had some cash from my trip to Houston, my per diem and gas money and etc. By then it was almost eight o’clock.

I zipped over to work. Steve was the only manager there. Darryl (the store director) was not there yet. Loretta (the district manager) was there. Right after I got there Darryl showed up. He actually showed up while I was in the back of the store shopping. I figured there were some things I needed before we opened and they all disappeared.

They were sending in a team of about twenty associates from the Texas stores in campers to actually run the store, they figured the associates had enough to do right now. The associates could work if they wanted to, but this way it enabled us to open and serve the customers. The plan is to only let in around twenty customers at a time, stay with them as they shopped. We had a generator running so we actually had lights and some air conditioning.

One nice thing Loretta told us that the company intended to keep paying the managers no matter what. Now I know that could change later, but I thought that was pretty nice of the company, especially when they’re sending in other people to do our work so we can attend to personal matters.

We decided that we wouldn’t open until Monday. The Texas people wouldn’t be there until then, so we figured there was no way we were going to be able to do much. Steve had to bring his wife to Arkansas, she’s pregnant and he wants her around doctors and a more stable environment. Darryl wanted to get back to his in-laws and help with the cleaning. He figures his house is gone, he lives in Chalmette which is just about all under water. I was getting some stuff from the store for my parents too, so I wanted to drive out there and give it to them and see if I could help them out some. Plus I had a lot of stuff to do at home.

I filled two buggies with stuff. I got two camp stoves, ideal for cooking inside. Darryl showed me this device that connects to a marine battery we sell and then you can plug a light or fan into it. So I got two marine batteries and these devices. I got a cooler, I don’t own a cooler. I ended up getting a bunch of stuff I figured I could use.

I would have got my brother some stuff too, but he was supposed to be going to the Westbank early this morning and I wasn’t sure when I’d see him again with the ways things were around here.

While I was there some police officers and national guardsmen came in for some stuff. We’ve been letting them come in, get whatever they need and just write it down and we’ll worry about the money later. That was what Darryl let me do too.

I went home, dropped the stuff off and headed back to Sams. They would take a check if you were a Sams member, which luckily I was. I wanted to get some ice more than anything and figured I could stock up on some foodstuff. Of course, there was a line. I have an idea that before this is all over with I’m going to stand in a lot of lines. They were only letting about two dozen people in at a time. The line moved fairly quickly and wasn’t that long. It took me about thirty minutes to get in.

I got a lot of canned goods and some other things that I hope will last in this heat. And my ice. I was going to get a fan, I don’t have one at home, but I forgot.

Back home to drop this stuff off, empty the ice in the cooler, which only took about half my ice, so I figured I’d bring the other half to my parents. Then back in the car and over to my parents.

I was surprised when I got there to see my brother there. He had already tried to get into the Westbank and couldn’t. They’ve declared martial law there and are not letting anyone in. They said starting Monday they’ll let people in. I was glad to see him but knew he was upset about not getting in. He just wants to know what condition his house is in. He is pretty sure that there was no flood damage but a tree could have fallen through, or looters or who knows. On the radio, I heard that looters burned Oakwood Shopping Mall down, which is the big mall on the Westbank. It’s one of the busiest malls in New Orleans. The not knowing is driving him crazy.

Then I felt bad cause I didn’t get him anything. I’ll go back tomorrow and try to get him some things, at least the camp stove. The good thing is that he’s there for the next two days to help my parents around the house.

I visited for a little while then jumped back in my car to head home. I had a tree on my porch I wanted to try and get off. I got home, ate some spam, but I was able to cook it on my camping stove! Such small joys make us feel more human.

One of the things I got at work was a saw and ax. The entire top of this pine tree was on my porch. I’m lucky it didn’t fall a little further and go through my roof. It took me about two hours to cut it up and throw off the side, but my porch is now clear. I’m going to put my outdoor furniture back out there, so it’ll clear up my living room. I still am going to have to cut the tree up into smaller pieces to get out of here. I just cut off limbs and chunks so I could move it.

The rest of the night I plan to spend watching tv (I have a little portable tv I’m sure I’ve already mentioned), maybe eat something else and turn on my fan and then probably to bed. Tommorrow I’m sure will be another fun day.

The next day:

Another late morning, I got up at eight this morning. Mornings are the best time of the day. Last night my battery much not have charged completely, the fan went off before I fell asleep. But it was not that hot so I didn’t’ worry too much about it. But at seven or eight in the morning there is a slight chill in the air and it feels so good. Makes you just want to lay there and not move.

Went to Sams today for more ice. It looks like the cooler will hold the ice for about two days and then I’ll have to be getting more ice. I have to get twenty pounds of ice from Sams, they sell everything in bulk. That is more ice than I need so I noticed some more of my neighbors across the street are coming home so I went and gave them a bag of ice. I want more people to come home. There is safety in numbers.

On the way to Sams, I stopped at the store. Darryl was there, talking on the phone to Loretta. I talked to his wife while he was on the phone. The store was boarded back up, all the people from home office had left. After Darryl got off the phone he told me that they decided not to open until Wednesday or Thursday, that most people needed food and things like that more than what we sold. He said Loretta was pretty ragged, she’s been traveling to the stores and seeing all this damage and it has to be getting to her. The store in Gulfport was wiped out. The one in Hariharan has been looted and has standing water.

Afterwards, I went to check on my parents. Today is the last day my brother will be there. He is heading home tomorrow, they are lifting the ban at six a.m. to get into Jerffersion Parish. Yesterday my Dad collapsed, he dehydrated himself. I’m glad my brother was there. He put him in the van and turned the air conditioner on and they gave him a lot of water and soaked him down. He still isn’t feeling all that great today, but maybe it is for the best. It shows him that both he and my mother have to take it slow in this heat. They can’t try and do too much too quickly. Better it to have happened now when my brother was there than later. I don’t know how often I’ll be able to get up there with gas so hard to get hold of.

The WalMart in Picayune was open some, my brother, mother, and sister went. I wanted to get some stuff that I couldn’t find at Sams. I ended up spending close to a hundred dollars. I got some more food, but I also got a rake to try and help clean my yard up and a push broom. I want to sweep the street in front of my home, just to try and make it look better. Right now every little thing that makes things look a little more normal is a help.

They also got a generator. It lasts for about eleven hours. I’m thinking of going to Sams and getting one of the smaller generators. I’m just worried about getting the gas for it. It takes about five to six gallons for twelve hours. I have two five gallon tanks if I can get them filled. I don’t mind spending the money on a generator if I can keep it running, I hate to spend the money on it and then not even be able to get the gas to use it.

I’ve been out in the yard cleaning still. I finally got all the tree from my yard to the front. There is still a lot of pine needles and pine cones in the yard, but that’s what I got the rake for. My brick patio was covered with debris from the tree. I cleaned it and it looks better than it has in awhile, to be honest. I even weeded in between some of the bricks which I haven’t done in too long. I figured that as I clean I just as well get things looking as good as I can.

Ok, that’s it for now, later tonight if this laptop doesn’t die on me. I wasn’t able to charge it last night since the battery didn’t charge completely. Between charging the laptop and having a fan run, the fan wins out.

And the next day:

Today I decided to sleep in. So, of course, I woke up at five a.m. To my surprise, the fan was still running. The power inverter was still working. Actually, the battery was still working, I figured it was going to die sometime during the night. And then it died. Still, it lasted longer than I expected. And now it was cool outside, this time of the morning, so it didn’t feel so bad.

I went back to sleep and woke up around eight. I got up and did my little washing by the sink. I wet a washcloth, soap my body and then run the washcloth over my body again and then dry off. That’s my bath.

I decided to take all my can foods and put them out where I could see them. Why? I don’t know, I just felt better doing it like this. That way I wouldn’t be surprised when I was running low on food, I wouldn’t miss something in the cabinets. I took a small bookcase I had in the hallway and put it on the back side of the bar and filled this up with all the foodstuff I bought from Sams yesterday. Then I went through my cabinets and took what I thought I could use and put them in the bookcase. I found some stuff that I just had to throw away.

Next, I decided to clean out my refrigerator. It was empty so I figured this was a good time to give it a good scrubbing. Afterwards, I put some water and drinks in it to store.

I forgot about my upright freezer. It was full of food. So I had to take a garbage bag and go clean it up too. I emptied everything in the garbage bag. I took everything to the trash dumpster. While there I was talking to a few other people that were from the trailer park. One guy said that someone tried to break into his trailer last night, only to run away when someone shined a flashlight on them.

My neighbors on my left came home. They had gone to Tennessee to ride out the storm. They actually weren’t here to stay, they were just coming to pick up some things and check on their trailer. They had brought a truckload of water back with them and gave me a case of water.

My neighbor across the street, Chris, had stayed in his trailer during the hurricane. He said the wind literally lifted the trailer up and shook it. Luckily it didn’t lift it too hight. During the night someone had stolen his battery out of his truck. He was fed up and wanted to leave. But he had no battery. He had no phone, the phones, the cell phones still weren’t working. He wanted to call his brother to come get him. He thought a phone in Pearl River at this local store was working so I agreed to take him down there to see. We tried three different places before we found a phone that worked. But it only worked with a calling card, money just fell through it.

I brought him back home. He wasn’t that happy, but there wasn’t much more we could do.

I was pulling the tree that I pushed off my porch into the side of my yard to the front of the yard. This was hard work, the limbs all twisted together. My body is covered in scratches and cuts from the pine cones and needles. I got maybe a little over half of the tree moved to the front. What I’m going to do with it here I’m not sure, but I feel better getting it in the front by the side of the road.

Chris found a battery and hooked it up. I had about a gallon of gas in a gas tank that I used for my lawn mower and gave it to him. He had about half a tank.

I was exhausted. I sat in my chair on the porch and just did not want to move. I drank two bottles of water. Actually one bottle, the other bottle I filled from the melted ice in the cooler. I never imagined water could taste so good…I’m sure I’ll be repeating that in the time to come.

It’s dark outside now and I keep hearing cars go up and down the main street, up and down. Now I just heard what is either a car backfiring or a gunshot. To me, it sounded like a gunshot, but I can’t know for sure.

The breach in the levee may be filled tomorrow. Hopefully, it will be. That will make a big difference in New Orleans. I just saw an interview with the Mayor of New Orleans and he looked completely exhausted, mentally and physically. I’m going to watch a little more tv and than probably go to bed.

And the final post from then I’m going to reprint:

It’s been nine days since this started. And probably a multiple of those nine days before we get anywhere close to normalcy.

Today I slept really late, it was after eight before I got out of bed. I woke up with a headache and really did not want to do anything. I got up, washed and brushed my teeth and then tried to figure out what I wanted to do today. Since I had more bananas than I knew what to do with I figured I’d drive over my parents and give them the ones Sams gave me. When I got there no one was home. The front door was open, the dogs were inside. They are terrible about going out and just leaving the door open. They think because they live in a small town that there is no crime. And what’s worse with the hurricane there are looters everywhere.

I went in, walking through their house to see if someone was in the back or maybe out back. As I walked through I heard a motor humming. Then I realized that it was cool inside. I flicked a light switch. The light came on. They had power! Wow, what a difference that makes.

I looked in their refrigerator and found some turkey. I made myself a sandwich. They even had mayonnaise! I felt like I was in heaven. I would kill for a hamburger right now. Even the stores that are selling food at the moment are not selling any frozen stuff or meat. All that was ruined in the hurricane, so they’re cleaning the racks and getting ready to get some in I hope.

I waited around for about an hour and when no one showed up I left. I came home and went to raking the yard. I raked most of the front yard, all the pine needles, pine cones, tree bark and whatever else is in the yard. At least it’s starting to look somewhat normal.

There’s a nice breeze blowing through right now. It’s keeping the place fairly cool. But it has the feel of rain and that’s something we don’t need.

As I was raking I kept looking at my fence. I was thinking the front part I could fix by myself. It was not completely blown down, just leaning forward. If I could push it back, prop it up I could fill concrete around it and it should stand. It sounded like a plan so I went to Home Depot to get the concrete and wood. While there I saw Walmart was open so I decided to go there too. I needed a hoe and shovel and Home Depot’s garden section wasn’t open.

While in Walmart my phone rang. It hasn’t been working since I talked to Heather last night. I was able to get through to Paul Stewart and leave a message that I was alive, but that was it. It was my brother. He had made it back to the Westbank ok. His house had gotten water in it. The bedrooms and part of the den were flooded. A couple inches of water he told me. He had pulled up some of the carpets. He said he was coming back to my parents tonight, the smell of the standing water was too much for him to stay in. He’d go back in the morning. I told him I’d go help him tomorrow if he was going to come back tomorrow night.

I got home and unloaded all the stuff I bought. I went over to push the fence up. It was a lot harder than I thought it was going to be. The fence did not want to move. I had to wedge one of the boards against it and push the board down, pushing the fence out and back towards what I hoped was more of what a fence was supposed to look like. I went to the lake and filled my bucket up with water and came back. I filled the holes with cement and then water and mixed and kept it up till I had a lot of cement around the fence posts. Hopefully, it will work. If it works there are a few other sections of the fence that blew down like that. I can get them up and cement in place and then the remaining pieces I can attach, like a giant puzzle.

I think I’m going to go spend the night with my parents tonight. I can take a hot shower, sleep in air conditioning and otherwise act like a normal person again. That way I’ll be there when my brother wants to leave too. I’m sure he is going to want to leave early. He said it took him about four hours to get into the Westbank today. Tommorrow will probably be worse, more people will be trying to get back in than.

I’m not going to go into the fact that a few days after this I ended up in the hospital. My appendices had turned gangrene and I almost died. Yea, I’m all about the timing, but that’s a different post and besides the fact that the hospital had one doctor, no roof but was still waiting on as many people as they could, that’s a story for another time.

While there is no hurricane during this story arch for Ayla the history of her time and her city are deeply reflected by the histories of hurricanes. Here’s a post I wrote two years after the storm:

At least they picked up the sign. Driving through New Orleans East, coming in from Slidell, on the right side of the highway, in what had been one of those groupings of stores in one area, there was a sign for Save-A-Lot supermarkets. It had been pushed forward by the winds and snapped in half, so it was laying on its side. Every time I drove that highway I saw that sign. Yes, there were a lot worse things to see, right there on that highway in fact, but for me, that sign became my white whale of Katrina. For over a year it sat there, next to a store that was no longer in use, next to a whole bunch of other stores that were no longer fit to be used. Finally, someone took the sign down and hauled it away.

The Sams store that was near the Save-A-Lot’s has been cleared to the ground. So has the Walmart. The Lake Forest Mall, right across I-1o from all this has also been completed razed to the ground. I remember when I first moved to Louisiana we (we being my parents and brother and sister) drove all the way from the Westbank to Lake Forest out in New Orleans East for the Farrels ice cream parlor. There also was an ice skating rink in the middle of the mall.

There’s a sign on the site where the Mall used to be saying that there is a Lowes coming soon. I’m not sure how they’re going to find people to staff the store. They still don’t have a grocery store open in New Orleans East. There are some people moving back, but they need stores near them that can provide the necessities. These stores need people that can provide work for them. It’s a cruel circle.

My parents would still be living in Mississippi if hadn’t been for Katrina. Or I mean my Mom would now. They only moved after the storm, when they came back to find their car patios in their front yard. I think the storm really scared my Mom, she was in a rush to move. Which has been a blessing and a curse? I miss not having her near here, more so now, since my Dad died. And when he was sick it was hard. But it is also good because that is where all her family saves for me and my brother is. There is a lot more family up there to give her support than either my brother or I could by ourselves.

I do have to admit that Katrina might have saved my life. After coming back from the storm I ended up in the hospital. My appendix had turned gangrene, the doctors told me another day and I would have been dead. I’m not much of a hospital person. I rarely go to doctors. The only reason I think I went then was that everyone was talking about “Katrina flu,” people were getting it from the air and the water. The day before I had been on the Westbank with my brother, helping him pull up the carpet. I thought I might have picked something up in the water from the flood. So I went. I was in a lot of pain, so even without that excuse I’d like to think I would have gone to the doctor, but I don’t know.

People in Lakeview, which was one of the hardest hit areas in the city, are actually making a comeback. They’ve managed to do a lot of it on their own. With their own money, borrowing money, and getting the work done. Which is great and to take nothing from them, but they are also an affluent section of the city, so they had money to start with. Areas like the 9th Ward, which doesn’t have the money to do it on their own are still hurting.

You can still drive down streets and see the big Xs on the side of houses. The X was made when the rescue teams searched the house. They put the date, their unit number and the number of dead found in the house. Driving by a house with an X and a 1 or 2 written in black on the side is still chilling.

The little grocery store next to the fairgrounds where all our early birds for the Jazz Fest would go for breakfast is gone. This last Jazz Fest Larry and I huddled underneath its porch as the rain poured around us, but the doors were closed. The owners are said to have left town and have no plans on coming back.

One of our more honest (or so we thought) politicians, one of the few voices of reason after the storm, that called for us to come together as one, to not let race divide us, was proven to be less than sterling when he admitted to taking a bribe, years before the storm. He did something that few politicians, especially ones from this state, did and apologize to the people and admit that he made a mistake and that he let a lot of people down.

Meanwhile “Dollar Bill” Jefferson continues to stockpile his freezer with cash and get re-elected. The Mayor is fairly quiet the past months, after making a fool of himself almost every time he opened his mouth. When we as a city needed a leader, someone to take charge and command action, get things done, he was hiding in one of the high-rise hotels from the winds of the storm, not even wanting to come out of his room to talk to people.

I know people still living in FEMA trailers. But now FEMA wants their trailers back. They are telling people that they have to leave their trailers. But where can they go? Money to help people rebuild their lives is barely trickling in. The Road Home program has paid money to a very small percentage of the people needing the money.

It’s easy to forget about us down here. It’s been two years. Most people probably think that we’re ok, that most people have rebuilt and moved on with their lives. But we’re still long ways from that goal. It’s easy for the rest of the country to forget about us since our government has pretty much forgotten about us. Bush doesn’t want to be reminded of his ineptness in handling Katrina. He’ll come down here for the anniversary and talk about how things are going so good and that things are on track and that he hasn’t forgotten about us, but then he’ll climb in Air Force One and fly over our lands again and look out the window and think about something else and forget who we are.

We had politicians after the storm saying that we shouldn’t re-open New Orleans. Just write it off as a bad investment. I have friends ask me why I would want to live here, was I crazy? Even today, ten years plus after the storm, we are still cleaning up from Katrina. My brother has been working on repairing his house since then. I was going to post to some of the articles from these politicians about Katrina, but simply don’t have enough left in me to go back and re-read some of those hateful, spiteful words about a city I love.

The ineptness of post-Katrina is pretty much history now and I’m not going to belabor that point any further.

All this goes into the fact that I believe if New Orleans has another Katrina, or one even stronger, than the city may not come back. Or at least not the city as it is. I can see the government trying to make the best of a bad spot and doing something with the city.

This is just background to try to explain why in the future of Ayla the United States government decides to sell the city of New Orleans after two Katrina plus strength hurricanes within five years of each other.