FIVE FOR CREATING WITH THE TEAM FROM ANGELA AND THE DARK
Welcome to Five for Creating! An interview series here at ComixCentral where we focus on getting to know Indie Creators and what they are working on through a series of five questions. This week we chat with Writer Umbrus Syn and Artist Russell Fox two members of the creative team behind the comic Angela and the Dark.
1. Tell us about Angela and the Dark.
UMBRUS: Angela and the Dark is an anime inspired all-ages action-adventure series set in the year 2137, which follows the exploits of our young heroine Angela, and our slightly older heroines The Dark in cyberpunk Metron City. My favorite pitch that I give for it is to imagine the dark and serious world of Blade Runner…then drop Pippi Longstocking right in the middle of it. Madness and shenanigans ensue.
RUSSELL: What he said!
2. What are some of the biggest influences to the story of Angela and the Dark?
UMBRUS: Angela and the Dark for me is a love letter and homage to some of my favorite things growing up, including especially anime. I was and still am a big fan of Akira, Cowboy BeBop, and Bubblegum Crisis which you can definitely see elements of. Angela herself has that trickster energy that Spider-man has when he’s in mask, and as the story progresses we’ll see how that shapes the course of events for everyone she encounters. The social and economic dynamics of Metron City were inspired by looking at history and how human beings tend to behave given a certain set of conditions, then positing a “what if” in the future. Elements of Ancient Rome, Hong Kong, New York City and the standard operating procedure of the worlds Super Powers since the end of World War 2 helps guide the backbone of it.
RUSSELL: I took onboard a lot of influences when creating the look of Metron City. Umbrus and I discussed it at length, but the general aim was a less oppressive Blade Runner aesthetic. The level of tech was kept “within reason” so it didn’t become too fantastical. For example, there are flying cars but they’re only used by law enforcement, it’s not the Jetsons.
Visually I drew from Blade Runner, Akira, Ghost In The Shell, Star Wars…
Everything had to be designed, and everything had to work. Footwear, buildings, armour, clothing, vehicles… I didn’t want to just throw in a bunch of crazy sci-fi designs; there had to be a thread running through fashions, architecture, etc. Background characters needed to be fully realised, the city itself needed to feel sprawling and lived in.
3. What is the dynamic like between the two of you creatively when you sit down to start working on a book?
RUSSELL: We’ve known each other a long time, worked together enough, that we have a good back & forth when working. Umbrus might have suggestions or concepts he wants to see in the art, I might have dialogue or ideas I want to read in the story.
Volume Zero is based on a one shot Umbrus wrote & illustrated several years back. I didn’t work off a script, I looked at the one shot and… expanded it. Just redrawing it panel-for-panel didn’t really interest me, but working like this gave me a chance to put my stamp on it. He then wrote the script to my art. I threw in some stuff that he built upon, and vice versa. There’s a lot of freedom, it’s a fun way to work.
UMBRUS: What Russell said! It’s one of the greatest honors of my life to work on projects with him as he’s insanely talented. We had a motto of sorts when we set out to do this and that was that it had to be fun. We have to be having fun at all times, and I hope that comes through in the pages. I love it because he brings things in that I either didn’t think of initially, sees them in a different way than I did, or just brings so many layers to it that it truly comes to life and gives things an “this could really happen” organic nature. It helps keep everything fresh and fun and feeling new.
4. What is the plan for the future of the series?
RUSSELL: The plan is to eschew the 25 page format in favour of a series of 100 page books. I think that’s right? Umbrus knows better than I do. And also a TV series, because it would be awesome.
UMBRUS: Volume Zero is our introductory issue into the world and dynamics of all our main players and we plant the seeds for all the twists, turns, surprises and adventures in store. We’re looking ahead to releasing a 100 page graphic novel, really diving in and putting the entire first story arc out. As indie creators we can try different formats and takes and aren’t locked into the traditional way of doing things, and we hope by doing it this way we can make a greater impact telling the story we want to with the ideals we want to put forward.
5. Here at ComixCentral we are about supporting all things Indie! With that being said , besides your own work, what is one Indie property or creator you think everyone needs to go check out right now?
UMBRUS: I have a couple of really good friends that are doing some amazing things. One is Jamie Gambell who has been putting out The Hero Code for quite a while, and another one is the amazing incredible Tim Fielder who is breaking the mold with Matty’s Rocket! Check these guys out!
RUSSELL: A guy I’m friends with on Instagram called Dave Law, I love his work. Crazily inventive. He works on a book called The Space Odditorium. You should definitely check it out.
Click here to buy Angela and the Dark on ComixCentral!
A. Diallo Jackson aka Umbrus Syn, is the writer & co-creator of ANGELA AND THE DARK. In comics, he has also published THE PARANORMALS with Russell Fox, and is currently producing a new project called E.A.R.S and currently at work writing his first YA fantasy novel. Along with published novels THE CLAYMORE and the science fiction serialized novel MAYA, he has also written for a number of publications including Yahoo! Games, US Weekly, and Geek & Sundry, and is also the writer of 2017 Producer’s Guild winning Weekend Shorts short film, BEAUTIFUL STRANGERS. When he is not dreaming up ways for his characters to save the world, he daydreams of being the showrunner for a revival of Quantum Leap, writing the definitive Green Lantern movie, and being the best.Unicorn.ever.
Russell Fox is the artist & co-creator of ANGELA AND THE DARK. With delusions of grandeur from an early age, it was on his first day of school at age five that he told his teacher he intended to draw comic books for a living and twelve years later began his first commission as an illustrator for JUDGE DREDD MEGAZINE. After some years in advertising as a visualizer he moved back into comics as co-creator of two graphic novel series, one of which was adapted by the BBC into THE MYSTI SHOW. He has produced concept art for the films KILL ‘EM ALL and THE SHADOWED, and worked on several indie comics projects including BIO-MORPHS, HUMANS VS ZOMBIES, DIE CONFISERIE and THE PARANORMALS.
FIVE FOR CREATING WITH MATT NELSON
Welcome to Five for Creating! An interview series here at ComixCentral where we focus on getting to know Indie Creators and what they are working on through a series of five questions. This week we chat with Matt Nelson creator of the Web-Comic Catbeard the Pirate.
1. Tell us about Catbeard the Pirate.
Catbeard is the most scurrilous pirate on the seven seas. His whole life has been spent in pursuit of one legendary treasure – the famed hoard of Scurvy Skeen. Along the way, he hit a bit of a snag when he angered a magical sea crone, who transformed his beard into a living cat! Against all odds, he embraced the change, and now sails the sea even more notorious, as Catbeard the Pirate!
I came up with Catbeard by accident. Back in 2011 I was playing with my (now sadly late) cat, Tiger, and pushed her against my face. “Look, a kitty beard!” I said to a friend with me. “Catbeard, the Pirate!” he responded. That was all I needed to be struck with sudden inspiration.
2. Catbeard the Pirate started in 2011, what drives you to continue telling his story?
I’ve always loved drawing and reading comics, especially adventure comics like Usagi Yojimbo, or comedic adventure like Groo. Catbeard is the first thing I’ve done which scratches that itch for me. I like the freedom that comes from a fantasy story. Should Catbeard have to fight dinosaurs? Absolutely! Could Catbeard have to deal with his Beard’s own forays into kitty romance? Assuredly! Will he fight yeti dressed as Vikings? WHO CAN SAY?! But it’s not out of the realm of possibility, and that always gives me something new and fun to draw. Plus, I feel some duty to the Cap’n and his crew. We’re going to see this voyage through to the end.
3. What goes into introducing a new character to the plot? Do you usually come up with the character and fit them into the story or do you build around them based on need of the script? Or is it something totally different?
So, sometimes it’s the setting – currently there’s a storyline where the crew will be invading a massive floating library on the sea to get another of the clues to Skeen’s treasure. Out of necessity, then, I have to design pirate librarians. Other times, it’ll be just me doodling in a sketchbook, coming up with a design I like, and thinking, “I gotta work him/her into the story somehow.”
4. What’s next for our furry bearded pirate?
The story of Catbeard is actually winding toward its ultimate conclusion! I’ve planned for seven Catbeard books, and I’m currently serializing the sixth one online. Catbeard has to infiltrate the Pirates’ Library with the help of all buccaneers’ most hated enemies, a clan of ninja! If he and the crew survive that encounter, things will finally come to a head between he and his oldest rival for Skeen’s treasure, the Dread Pirate Templeton. Only one will make it to that golden hoard!
5. Here at ComixCentral we are about promoting all things Indie Comics. So, besides your own work, what is one Indie property or creator you think people should be checking out right now?
I’ve been reading a comic on Webtoons called Lore Olympus and it’s absolutely gorgeous. The kind of thing that makes me want to throw away all my drawing tools in frustration; it’s just lovely to look at. It’s a retelling of the Persephone myth in modern times, and it’s quite clever. I’m sure the author is probably half my age, just to make me even crazier. Definitely give it a look.
Matt Nelson is a cartoonist from the Pacific Northwest. He has been drawing comics for as long as he can remember. His favorite things (besides comics) are cats, board games, and craft beer.
FIVE FOR CREATING WITH MELISSA CAPRIGLIONE
Welcome to Five for Creating! A new interview series here at ComixCentral where we focus on getting to know Indie Creators and what they are working on through a series of five questions. This week we chat with Melissa Capriglione the creator of Falconhyrste a web-comic which is currently available in collected form through her active Kickstarter campaign.
1. Tell us about Falconhyrste.
Falconhyrste is an on-going web comic about a boy who accidentally awakens a demon on the first day at his new school! And to top that, he also has to deal with a pair of school bullies, a rambunctious school reporter, and a seedy student council organization.
2. There is a ton of representation in this series and I think you do a great job of making it prominent. How important is it to you to showcase all types of race, religion and sexual orientation?
Our point is to have Falconhyrste reflect the real world. We’re not looking for Brownie Points in Representation, but we want everyone who is interested in this comic to feel represented accurately and not feel left out. Both me and Clara identify as lesbians, and we just want to see stories of queer characters going on adventures and doing magic, rather than being defined by our gender identities or sexual orientation. And I feel like that applies to a lot of web comic readers these days.
3. You and Clara seem to be the ultimate team, a real mix of responsibilities on the project. Whats your team dynamic like? Is there a set structure to it or is it a more fluid, depending on how you feel that day type of situation?
We’ve been working together on this project for almost four years, so we’ve had a lot of experience in streamlining our processes. This is a full collaborative project, meaning we write together, come up with ideas together, and sketch together. With our busy schedules, it’s hard to keep up with editing script and constantly doing pages, but we still manage to find time. Our process starts with writing a first-draft script (which is usually really bad), and we edit it over the course of a few weeks. Once the script is finalized, I do the thumbnails and layouts, then send it to her for pencils and lettering. I then finish the pages with line work, colors, painting, and effects.
4. This collection just seems to be the tip of the iceberg for Cei and the crew, is the web-comic ahead of this timeline or do we have to impatiently wait for more?
Our story has been going on for almost four years now, and we just only hit page 200! We’re a bit further behind than we wanted to be, but we started this story while we were both in school. Now that I’m a full-time freelancer and Falconhyrste is getting bigger, it’s easier to spend more time on it. We’re currently in chapter six, and there’s eight chapters plus a prologue in this arc, with a sum of three arcs, so there’s still a long ways to go in this story! We’re confident, however, that our story will develop quickly, and there is much danger ahead for Cei and the crew! Web comics are a slow medium to begin with, but we’ll be getting into the thick of the plot very soon!
5. Here at ComixCentral we are all about promoting all things Indie. Besides your own work, who is an Indie creator or property you think everyone needs to run and go check out?
Here are some of my favorite webcomics that I keep up-to-date with:
Admiral by Matt H. Taylor
XII: Of Magic and Muses by Kristen Kiomall-Evans
APOC by H. Spikings
The Blue Valkyrie by Emily Riesbeck
O Sarilho by Shizamura
Blank Eyes by Marsh Kaleido
Melissa Capriglione is an Indiana-based comic artist and has been self-publishing Falconhyrste since 2015 with co-author Clara W. Melissa has gone on to work in published stories and anthologies, but Falconhyrste remains her main interest
FIVE FOR CREATING WITH AIDAN CASSERLY
Welcome to Five for Creating! A new interview series here at ComixCentral where we focus on getting to know Indie Creators and what they are working on through a series of five questions. This week we chat with Aidan Casserly the creator of Scapula a comic which started its run back in 2007 and which has a new release available through his active Kickstarter campaign.
1. Tell us a little about Scapula.
Scapula is a creator-owned comic series that I first self-published in 2007; it started as both an indulgence in everything I loved about comics (supervillains and monsters with a MAD-esque tone) and grew into a long-running series. Scapula ran as a webcomic from 2008 through 2015 (the first four years as a full-color Sunday page only, the last three with the insane update schedule of four comics a week). The series is now published as special magazine-sized issues, the most recent one being 2017’s Scapula and the Sinister Monster Doom Legion.
The brand new issue, Scapula-Doubly Dark & Deadly!
is currently having a Kickstarter campaign to fund its publication, which you can find here!
2. You published the first Scapula story in 2007, Eleven years later what drives you to keep telling his story.
In all honesty I just really enjoy creating Scapula comics; there are times when creators have stories and characters that they have to struggle to work with, but sometimes they hit on something where the ideas just never stop. After I had done the original Scapula zine and a year of the webcomic I no longer had to struggle to come up with ideas; a few years later and the stories started to become dictated by the whims of the characters as if they were real people.
Some stories, such as ‘Blessed be the Damned’ and ‘Love and War’ (collected in Scapula: World’s Worst Villain) were completely rewritten when I started thinking about the plots from the characters’ individual perspectives and thinking about how they would emotionally and logically react to situations; once a creator reaches that stage of understanding their own creation then I believe they’ve hit on something great.
…that and I like drawing monsters and bad guys getting clobbered.
3. Scapula seems to has both a horror and comedic theme. Is this tough to balance when writing the story?
Not at all! Humor and horror have had a long-standing relationship in comics, film, rock, theatre, etc, and the mixing of creepiness and comedy is my goldmine. Sometimes the horror is fun and nostalgic (such as the ‘House of Scapula’ story from Scapula Vol.2 Fear the Failure, an homage to the Universal monster movies), sometimes it’s played deadly serious (as in the majority of Scapula: Memento Mori); the tone may shift depending on what kind of story I want to tell, but in the end there’s a lot of freedom and range when you’re going for chills and laughs.
4. You mention in the Kickstarter campaign that you are showcasing the Female characters from the Scapula Universe. Other than the fact that Woman totally rule, was there another factor on why you chose to focus on them?
Even though I had a ton of fun making Scapula and the Sinister Monster Doom Legion I did take another look at it afterwards and realized that there were barely any women in it (the only ones of note being the seductive vampire and the completely ridiculous alien girls); I decided that the bad boys had their fun in that issue and that it was time to return to the female cast of Scapula.
The two-headed gangster Jemini, who has been Scapula’s main nemesis since the first year of the webcomic, has always been a challenge for me to both write and draw, which is oddly enough the reason why I return to her stories time and again. There’s something strangely funny about having a character who is smarter than the idiots around her and yet still falls victim to their exact same stroke of bad luck. She appears as a central character in the main story of Scapula-Doubly Dark & Deadly!; we’ll see how she deals with Scapula this time…
Aside from Jemini we’ll also be seeing the return of some of Scapula’s former lovers in the final story of the new book. I will confess that the ‘soap opera’ angle in the webcomic was one of my favorite things to explore (I’m a softie at heart) and even if the romances usually turned into tragedy they still made for interesting stories. I’m very happy that readers will be able to revisit some of these strange and unusual women once again.
5. Here at ComixCentral we are about promoting all things Indie Comics. So, besides your own work, What is one Indie property or creator you think people need to go check out?
I really want to thank Bill Walko
, who has generously helped promote my own Kickstarter
while accomplishing his own goal for The Hero Business: Season Two
with flying colors; we launched on the same day and he still took the time out of his own promotion to help spread the word about mine. That’s a real class act right there!
We’ve even had fun with it in the form of a ‘drinking contest’ cartoon series between his main bad guy (the show-stealing Dr. Eli Malefactor, who would be my favorite character from The Hero Business if not for Louie the Lounge Lizard) and Scapula. Let’s see how drunk they get by the end of the campaign!
I also want to thank Howie Noeldechen
, creator of the ongoing Tara Normal
comic and the graphic novel Float
, who created an exclusive Scapula piece for my campaign, which is currently being added as a new Reward for certain level backers.
Thank you everyone for reading my ramble and check out the campaign; enjoy the horrorshow!
Aidan Casserly is a California-based artist, formerly from San Francisco and later relocated to Los Angeles. He received art training at several institutions, namely the American Animation Institute in Burbank.
Aidan works as a storyboard artist, primarily with Animatics & Storyboards Inc and Smorgasbord Productions, having worked on commercial and animation properties as diverse as Barbie, Talking Tom & Friends, Chop Chop Ninja, Gorillaville (DreamWorks TV), AllState Insurance, Mercedes Benz, Ace Hardware, and Disney Interactive.
Aside from freelance work, Aidan continues to create his own brand of comics, including his creator-owned series Scapula (currently in its eleventh year of publication).
Aidan is heavily involved in the SoCal horror scene, with a series of monster-art books and live caricature appearances at spooky-themed stores including Dark Delicacies, the Hyaena Gallery, Toy-Zilla, Black Cat Comics, and the California Institute of Abnormalarts. He is also a frequent collaborator and performer with the shock rock band The Rhythm Coffin.
Interview with the creative team behind The Lynx
Participants: Marshall Dillon (Editor/Letterer/Graphic Designer), Vittorio Garofoli (Artist and Inker), Michael Lent (Creator/Writer), and Carmelo Monaco (Colorist).
INTRO by Michael Lent
It was a lot of fun putting together Blog #1 of the THE LYNX, so members of the team behind our book thought you might like to know more about us and our work.
The following is based on questions I asked or general observations made by the artists themselves.For this blog we reversed the order from the previous blog and will begin with Marshall Dillon.
Lettering, Graphic Design and Editorial Contributions
How did you get your start in comics?
In 1993, fresh out of high school, I partnered up with 3 friends and started a small self publishing company. We spent a lot of money and made very little. I did that for another nine years or so until I became Managing Editor and eventually Associate Publisher at Devil’s Due working on titles like GI JOE, D&D, and various other retro properties.
What were some specific comic books or series that have inspired you?
X-Men. 1983-1995 or so…all the wonderful Claremont stuff. In particular I liked Marc Silvestri’s run. All that stuff was lettered by Tom Orzechowski. He’s a lettering god. He was the voice of Claremont. What X-Men was… what it DID was it created a sense of family. Misfit characters, a whacky world, insane situations, but they all loved each other. And as a fan I loved them and felt loved by them. It was magical. I never got that feeling from Batman or the Avengers or any other comics.
Do you have a genre that you consider to be a specialty?
As far as MAKING comics, no. I prefer non-superhero stories, but I’ll gladly do them. I love reading fantasy and sci-fi and I’m pretty good at giving the lettering for those genres an appropriate feel without looking kitschy.
How did you come to wear many hats including writer, editor, colorist, inker and, of course, letterer?
I guess they call it bootstrapping. I just found something that needed to be done and I tried my hand at it. Originally I wanted to be a penciller, but I didn’t have the dedication for it. I love to write, but without an audience I don’t typically make time for it. As an inker, I’m still a novice. I do it for fun mostly. It gives me a new reason to talk to people and have the kinds conversations I liked having as an editor, but from the other side of the table.
What are some signature elements to your lettering?
Hopefully it’s meshing with the art / story / genre. Making choices that are appropriate. I think I’m a pretty good storyteller (most people don’t realize how lettering works to help tell the story). I also usually have a lot of added value services for self publishers and even for people going through Image. I help put all the elements together so it all comes out well in the end.
What are some challenges letterers could face when working with both artists, writers and possibly publishers?
As I said in Blog #1, lettering IS storytelling. It’s usually the last stage of the storytelling process. Letterers take the vision of the writer and the vision of the artist and try to make a cohesive item. We merge… we WELD the two into one thing. That’s what we DO. Now, the challenges vary greatly by project. Some books are over written, some are over drawn. Some artists just draw whatever the hell they want with no regard for the script and some writers write whatever the hell they want with no regard for the rest of the process or for the reader (those people should write novels and leave the rest of us alone). There are fundamentals of comic book storytelling that MANY writers blatantly ignore. Its worth rereading Eisner’s and McCloud’s books frequently to refresh your understanding of the basics and invigorate your desire to experiment within realistic constraints.
What is some advice for people who would like to get into lettering?
Hmmm… I didn’t set out to be a letterer… so it’s a tricky thing. If I could have been a penciller I would have. If I could have been a writer I would have. There is absolutely nothing wrong with being a letterer, but if you want to be a rockstar, pick up the guitar and sing. Don’t play drums. Now, if you want to break in to comics at all this is an amazing time. every aspect of the industry is in a constant state of flux. everything is being disrupted. YouTube, crowd funding, viral marketing, none of that was a thing 20 years ago. You can learn everything you need to know about how to make comics from the internet and from Amazon. Once you have some skills you partner up with other young bucks and slowly level up. There is no shortcut. it takes work. It takes YEARS of work. (I only recently gave up looking for shortcuts myself, so… ;))
What are some upcoming projects you are working on that we should know about?
It’s always tricky you know when to hype things. What I can say is that WAYWARD is coming to an end with issue 30. I love that team and that book. We all did some of our best work on that. I do a LOT of work at Aftershock. I particularly enjoyed working on BACKWAYS, and continue to enjoy working on PESTILENCE, LAST SPACE RACE, BEYONDERS, MOTH & WHISPER, VOLITION, and ANIMOSITY. If you compare the writing, art and lettering on all of those titles you’ll get a glimpse of what I spoke about above. making decisions that work with the script and art to create a new whole thing. It’s like welding with letters! 😉
Wayward #26. Series ends on #30. Cool for Dillon to get letterer props on the cover.
How did you become a comic colorist?
I started working as comic book colorist when I was a student at Palermo School of comics. I was 23 years old and already knew how to use Photoshop. I was in the first year of a three year program at school, and truth be told, I wasn’t great at color theory. So it came as something of a surprise when the school principal needed a colorist for a simple gig and gave me the opportunity. The project was a French comic book for kids that was linked to a cartoon called Totally Spies! The series focuses on three teenage girls in Beverly Hills, California who work as undercover super agents. To date, the series has run for six seasons and produced 156 episodes.
I seem to have a tendency to back my way into things. For example, I was pretty old, 14 or 15, when I started reading comics. I didn’t really have an interest in them before then. The medium grew on me and I think my first great inspiration was Uncanny X-men, written by Scott Lobdell, with lots of great artists including Madureira, Adam and Andy Kubert, Chris Bachalo, and so on and so forth. After that, I started reading all different genres of comics, French, indie, Italian, manga…
As a colorist there are many guys I watch consistently, all with different styles and techniques ranging from digital medium to traditional. You never know what your next gig will be, so you kind of have to know how many different styles as you can.
What are some specific genres you might like to work in?
Well, I really have almost never did the same thing twice, so I don’t think I have a specific genre where I am particularly good at. And part of me doesn’t want to be. I am not that kind of guy who wants to do only one thing because he is good at it. In some sense, when I understand I am good at one thing, I kind of lose interest and start studying something else. Maybe that’s my biggest strength and my biggest flaw. It is a strength when I teach, because comic books work if every aspect is well orchestrated, (script, drawing, inks, color, etc.), but as a professional, it is very hard to be really good at many different things, so you have more possibilities of success if you specialize yourself at just one craft.
Carmelo Monaco hard at work.
Who are some of your influences?
I admire artists such as Brian Hitch (Marvel’s Ultimate series), Alan Davis’ work on the Excalibur series, and French comic book such as Alpha by Yori Jigoumov and Largo Winch.
My influences range from artists such as Trevis Charest, Ivan Rais, Mike Perkins, as well and Italian artists such as Sergio Toppi, Massimo Carnevale and Corrado Mastanuomo who helped inspire my style on THE LYNX.
What are some aspects of your craft that you are still mastering?
In my opinion, one of my problem is recreating and showing action, namely people in motion such as during the battle that ensues in THE LYNX.
Capturing the full range of emotions and feelings is also a challenge that I face like many of my fellow artists.
What is some advice you would give to aspiring comic creators?
Practice, practice and practice. It’s simple but true: you can’t better without constantly engaging in the craft.
The business of comics is hard, so it’s important to trust in one’s own abilities in order to take advantage of opportunities that WILL occur IF you don’t give up easily.
Be willing to accept and take the advice of those who are more experienced.
Album cover for Hotel on Mars
Tell us a bit about your experience as a comic book writer.
I love being a comic book writer. If you’re on the fence and is thinking about taking the plunge, do it. Don’t talk about it. Don’t circle around it. Don’t survey the scene or assess the situation. Just do it. You will be astonished by the results. Sometimes when I’m working on a few projects at once and new art or lettering is arriving via email every day – it feels like Christmas.
There are so many milestones to keep you motivated and sometimes they come fast and furious. Starting and completing a book… Landing a publisher… When the book comes out… The day you see it on a shelf in your local shop or online… Boothing to represent your work at a con… Meeting fans and fellow creatives… Indescribable experiences. All this can be yours if you just do it.
Lack of confidence and the internal critic are the two dragons that keep people from pursuing their dreams. Both involve a sort of cynicism about the process and one’s chances in it. So instead of descending into the arena of combat we remain on the sidelines or up in the spectator stands where we judge the actual combatants, or rationalize to ourselves that it’s all about “who you know.” Cynicism is paralyzing which is why it’s such a dubious and caustic currency. “I could do better than so-and-so but…” Better to stop comparing ourselves to the competition and just get to it. I, Michael Lent, have no special skills except maybe tenacity.
What is it like to work as part of a creative team?
Working with a team is an amazing journey all by itself. Everyone comes possibly from all corners of the earth with very specific skill sets, galvanized for a common goal which is creation of the book. Think Fellowship of the Ring. Some of these fellowships go on for years and when they break apart because the project has ended, sometimes you never work together again. Consequently, the finished work takes on a life of its own. Personally, over time I start to lose the sensation or muscle memory of having written it. What I’m left with is the fellowship and the historical chronology represented by the finished book.
Whats dome general advice you would share with a fellow creator?
Make your work be all it can be and you have take chances. Talk to people. Get your work out there. Let readers kick the tires and judge your book for themselves.
I have done projects for Marvel, Disney and many of the major publishers and studios, but 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. There are times when I run into would-be creators at a con and they show me some killer concept work or an ashcan, but then a year later, I run into them again and see the same samples. I try to encourage them to push forward but some lack confidence in either themselves or the overall concept. Don’t let that be you.
People break through every single day. Why not you? Maybe today is your day.
Proving that sometimes it takes a village and more than three years of development and production, this is MALEVOLENT, the first-ever American animated horror film. Nearly completed, Lent is an associate producer on the movie under the leadership of lead producers Cindi Rice, Paige Barnett, Jim Cirile, Tanya Klein, and producer/director Jason Axinn.
Come back next week for part three of this special blog series, where we take a look at how the pitch for THE LYNX came together.
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Banner Photo by Matt Botsford on Unsplash