Interview with Brian Clevinger and Scott Wegener!

Atomic-Robo is a very original series from Red5 Comics, co-created by writer Brian Clevinger and artist Scott Wegener. Nominated for awards, and with talk of movies and toys, Atomic-Robo is one smart and cool comic book with a bright future. As their fourth mini draws to a close, Richard Caldwell was fortunate enough to stage a hostage negotiation with Scott and Brian...

Guys, thanks for taking the time to share with the readers like so. Let's begin with a little background info on each of you. Were you both really rocketed here as infants from dying planets?

Scott- I applied for the position of Superman, but when I told them that capes were just not fashionable anymore and blue-red-yellow was an offensive color combination, they turned me down. So rather than Krypton, I'm from New York City.

Brian- I emerged fully formed from the Nexus Of All Realities in the swamps of Florida, exactly where you'd expect to find it. Later, I was bitten by a radioactive writer.

And what sort of creative lives were you leading before the dawning of Atomic-Robo? And where exactly did Atomic-Robo come from? Has he been with you for awhile?

S- Atomic Robo is actually one of the first creative-type jobs I've ever had. I've always been doodling and sketching and drawing for my own enjoyment. Brian and Robo just happened to come along at a period in my life when I was looking to do something completely different. I had a couple of options at the time, but drawing was the only thing that I could do that I absolutely loved.

When Brian first approached me with the concept for Robo I was instantly hooked. With Brian's help, we rolled a lot of the ideas I was messing around with on my own into Atomic Robo, and the end result is the comic book we've got now.

Brian, as the initial idea originated with you, is science something you are passionate about? I mean, the stories are all very clearly science fiction/adventure, but there have been more than a couple of soliloquies along the way, that makes one wonder at the research that goes into a work like this.

B- Yeah. When I was growing up, all the kids I knew were into sports. They'd watch games, collect cards, etc. But I was watching Nova and Cosmos and obsessively scouring astronomy books from the library. Other kids looked up to Dan Marino, but my hero was Carl Sagan. It's no coincidence he's popped up more often than any other guest star.

So, yeah, I developed a respect for the practice of science over the years. Its development is probably the greatest single achievement in history if only because so many other contenders for that title came about through scientific inquiry, however informal.

And a tremendous amount of research can go into these comics. A ridiculous amount really. It's doubly ridiculous when you consider how little of it actually gets into the final product. I looked into about thirty years of Sentai teams during the production of Volume 4, Issue 2 because it involves a parody of one. I researched the history of cartography just to make a throwaway joke about longitude inside another joke in Volume 3, Issue 4. There's one or more moments like that in nearly every issue.

The funny thing is, I've been accused of writing scripts that show off all this research I've done. I spent a week figuring out a timeline of Nazi advances into the islands of the English Channel, their strategic value to both sides, attempts to fortify and retake them, the fate of the civilians there under Nazi rule, etc. Do you know how much of that made it into the comic book? The year and name of the island in Volume 2, Issue 5. Information people probably forget a page later. That's showing off? A simple date and place tucked into the corner of a panel, as you would do in any comic book when making a big jump through time and space, is seen as this huge effort to draw attention to how smart I think I am? Moron.

Don't even get me started on the research Scott conducts for the architecture, fashions, advertising, vehicles, and technology of the times and places we're always jumping around to.

People, or most people anyway, deserve to be intimidated by intelligence. There is nothing wrong that can possibly come from that.
I'm finding though, in reading up for this dialogue, that you both actually have a heckuva diehard following. I know you have each been able to slide in side projects too; Brian with an array of webcomics and Scott with Image's Killer Of Demons. As you are rising stars, is it becoming at all difficult to balance the storytelling with "real life"? Do you live and breathe this stuff or what?

B- I have the unhealthy habit of focusing on my work to the exclusion of everything else in life. So, that helps.

S- I'd say yes, we do hyper-focus on making comics. Not exactly because we want to, but because that's the only way to make a living doing what we do. I was told once that comics are not a job. They are a lifestyle, and it's true. Work is constantly intruding on family life. I find I have to be very deliberate in saying, "These days and these times are for family and I am not allowed to work."

It doesn't help that I love what we do, so I'm constantly trying to sneak off and draw.

If making comic books was absolutely not an option in any way, shape, or form, what would you be doing with your time and your lives instead?

B- I don't even know. I'll cheat and say, "Go back to webcomics."

S- I'd be living a life of quiet desperation. Kind of like I was before I started drawing comics.

I guess like too many people, I'd have a job to pay the bills and put food on the table, and then what little free time I had would be channeled into something creatively fulfilling; cooking, sculpture, music. The things I used to do, I guess. The only downside (if you can really call it that) to working for myself, on Robo and other books, is that it consumes all the time I used to put into other things. But I don't mind at all.

So what's the technical process of your collaboration like? Do you plot together, or does Brian just write too far ahead? And what tools are your favorites right now, Scott?

B- It's hard to say. But basically we'll talk about the kind of storyline we want to do, or about a specific historic event we want to wrap a story around. Then we'll figure out the major beats to hang issues on. Then I get to writing the scripts.

When Scott gets them he puts his own spin on them, which is just as well because I'm more concerned with the gags and narrative than what the page will actually look like or how it'll work. So, lots of times, he'll have to change things around to make what's in the script work in pictures. As Scott finishes his pages, I go back to the script and make changes to better accommodate his changes so everything flows naturally.

And throughout the entire production process, we're sitting around on AIM bitching at one another about the changes we have to make to each other's work so the pages make sense.

S- Yeah that sums it up nicely. I can't really add anything to that.

As far as my tools go, I keep it pretty simple. I've got a fist full of mechanical pencils (the "clicky" kind), with .03 through .09 leads, and one loaded with blue lead. I don't even ink my work anymore. I just do really tight pencils.

That's shocking, on the pencils. And I'm sure you gripe at each other only because you care, really. What's been the craziest thing yet to come from the overall Atomic-Robo experience? Convention groupies? Mark Millar begging to direct the film?

S- We gripe at each other because we're jerks. Haha.

Yes, we both do care, an awful lot. It probably seems silly, especially with a book as lighthearted as Robo, to put that much effort into research, or getting a line of dialogue just right, etc. But we both want to make the best book that we possibly can, and whether that book is about deep interpersonal relationships, expressing a political agenda, or just about a Robo who punches things, if it's not as good as we can possibly make it then I'd feel like we were cheating people.

Are my pencils shocking? I just hate inking. It's as simple as that. I want things to be light and have bounce on the page, and most of the time, when you ink over pencils, things get stiffer. I'm very restricted in what I can and cannot do because it's no longer inked. But so far I'm very happy with the results.

What's the craziest thing to come from the Robo experience so far? Hmm, that's a hard one. I wish I could say it was the movie that almost got made- but that was more like a giant pain in the ass that left us shattered and discouraged.

I'd have to say it's the fans and what they do with Atomic Robo. The art, the emails, the guy who made a life-size Atomic Robo costume. Right now there are three animation studios working on Atomic Robo short films- not because anyone's going to make money off of it, but because they love Robo and want to show people that they love him. A big check from Hollywood would be great, but nothing can ever be as gratifying as these people who get involved just for the love of it.

I could tell you about the time Brian and I had to parachute to safety from the top of the Seattle Space Needle to escape a horde of lunatic fans. But that's not really what you want to hear about...

So what does the future look like from where you both are sitting?

S- Oh you know. Multi-million dollar movie, television, and video game options. Living a life of luxury. The usual stuff.

Realistically? It's hard to plan more than a few months ahead. I'd like to see the book increase in popularity so that we can focus on Atomic Robo to the exclusion of everything else. Comic books are a tricky market though. Who can say if that will ever happen.

We've got another eight or nine mini-series plotted out or in rough-outline form. It's at the point now that it will take us several years to tell the stories we have lined up, and that assumes we don't keep adding to the list!

Excellent. And Brian- any closing thoughts or parting shots?

B- Please buy Atomic Robo. I need new shoes. Not even kidding.


Learn more (and buy the books) at www.atomic-robo.com.

To see more of Brian's work, check out his website here, and his twitter here.

To see more of Scott's work, check out his website here, and his twitter here.

Special Offer & Request for Help

Hey Everyone,

I need to come up with some funds for a project, so I am offering this HUGE deal if you are interested:

Special offer: CUSTOM FULL COLOR Illustrations Printed on heavy Card Stock- $50/per character –

Do you have a favorite Fictional/Fantasy Character? Comic book Character? Or perhaps you wanted to see a loved one Illustrated as one of their favorite characters - Place your order & I will mail out to you (at no extra charge) a full color 11x17inch print of whatever you order.

Pass the Word, tell EVERYONE. If 5 people order custom prints based on your referral, you get an order for FREE!! Offer only good through April 15th 2010.


If you would like to see my art, and what I have created for others in the past, you can either look at http://anthonyhary.com or in my art folder here: http://www.facebook.com/anmph

Thanks

Anthony Hary

Here are some custom prints I have done in the past:

Rise of the INDEPENDENTS - Pre-Order Special!!

Hey Everyone!

A.N.A. Comics is proud to offer you a special opportunity to be the first to order a copy of our 2010 Spring Anthology: Rise of the INDEPENDENTS!

This Pre-Order Special is Exclusively available through A.N.A. Comics directly, and is only available through April 25th 2010.

Rise of the INDEPENDENTS – Anthology
Cover by: Anthony ANMPH Hary (lines), Freddy Lopez Jr. (Colors)
Interiors (black and white): Various Independent comic book Creators
50+ pages
Release Date: May 2010

Pre-order Special price: $10.00 >(shipping costs included for USA/Canada Orders)


Only Available through April 25th 2010. *** Every Pre-Order recieves a FREE Sketch from one of the Indy Creators involved with this project!***


To order simply use the link found below the cover image. Thank you in advance for your support!

HC Noel Interviewed!

HC Noel is a dedicated writer and artist whose Tara Normal strip is soon to enjoy its first anniversary, so he was cool enough to sit and chat with our resident Galactus impersonator, Richard Caldwell...

Howie, thanks for speaking and sharing with our readers. To begin, was Mr. Scootles really your first published comic strip work? What was the production and timeframe like?

Thank you for interviewing me! I had a comic strip published once in my local newspaper and I did some cartoons for my college newspaper, but Mr Scootles is my first comic work professionally published. I created the character in 2000 and self-published the first chapter in 2003. It's been a long journey!

As that book is what you're best known for (so far), where did the character come from? Is there some Tex Avery and Chuck Jones influence in there? I know there is a great modern cartoonist named Rich Koslowski who explored some similar themes in his excellent book Three Fingers, but ya know, I think you actually beat him to the punchline by a few years there.

There's definitely some Tex Avery and Chuck Jones in that book. A lot of influence from early black and white Walt Disney films too. I love that stuff! I definitely wanted the look of the book to tribute animation. My other work like Vincent: The Painter of Death and Tara Normal, all have a different stylistic approach to the art side of the storytelling.

Did you take classes for this stuff in school, or were you just a natural doodler? When did you know undeniably that you wanted to be a storyteller?

I've always drawn, since I was young. My mom is an artist and art teacher and she always encouraged me. Growing up, teachers were also encouraging, so I kept drawing. I went to Pratt Institute and received a BFA in Illustration. A lot of Mr. Scootles is based on my time at Pratt. I've always had stories in my head and when I was younger I had wanted to be a syndicated cartoonist, but switched to long form cartooning as it was more suitable for the larger stories I wanted to tell. For me, my imagination plays like a film in my mind and I'm just trying to capture it on paper to share with my readers.

I think you do pull off that connection. You really do seem to be one of the ones who leave folks divided- either they love your work or they just haven't read it yet. As sharp-tongued as Mr. Scootles is, your next book, Vincent: The Painter of Death, was a very different creature. Were you actively trying to keep from being pigeon-holed as a "cartoon guy"?

I think I was in, a way. I wanted to show more of my ability. When I draw, you can always tell I've created it but it does change depending on the story. With Vincent, I wanted a more realistic feel to the characters and I wanted a darkness to the linework. I like to think of that story as a Dr. Seuss murder story because of some of the linework I implemented and the use of only red, black and white as colors.

Experimenting with different styles as you have, has it been at all intimidating? I mean, is it harder to find an audience for your stories, or does the compulsion for creativity itself take precedence, like cause over effect?

I draw for what fits each story so I don't feel any intimidation that way. Once people hear the idea for the book, it's either something they'd like to read or it's not. Mr. Scootles is about a living cartoon character who gets sent to Hell and his journey to get out so I think the art being stylistically cartoony, while also portraying darkness, is a neat combo for the reader. I really want them to enjoy the visuals as much as the text. The experimentation of the art is really natural so it's not a problem. It's fun to expand on my style.

What sort of writers do you like to read? What artists impress you regularly?

My favorite authors are Stephen King, Charles Bukowski, and Edgar Allen Poe. I love the art of Mort Drucker, J. Scott Campbell, Berkley Breathed, Dr. Seuss and many, many more!

What can you tell us about your new webcomic, Tara Normal? When did she launch, and what's her story? Have you been satisfied by the reception thus far?

Tara Normal is a female paranormal investigator who solves cases involving the supernatural. She tries to find the truth behind each mystery. She believes in the paranormal but also looks to debunk things as she investigates. It's like X-Files meets Scooby Doo. She hangs around with her friend Shadowman, an inter-dimensional traveler who looks like a living shadow and is currently being followed by Baby Cthulhu. I started the webcomic last April and will soon be celebrating a year working on it without missing an update on Wednesday. Tara Normal is also published in TAPS Paramagazine, the official magazine from the crew of Ghost Hunters. That's a huge honor for me because I love the show, everyone on it and their philosophy of doing paranormal investigating. I love the reception so far. I started doing the comic because I really enjoy seeing a project grow and gain new readers. I also run a blog on the site pointing out weird things in the world and the usual favorite government conspiracies. I love hearing monster sighting stories and ghost stories so I encourage readers to send me things they want posted.

Is this a premise that you would like to keep going for awhile, or do you have a distinct end in mind?

I would say I know the middle moreso than the ending. There's a large storyline that everything's leading to but Tara's the kind of character I could write forever. I know where the overall arc leads and each case has an ending. However, she'll always be investigating and there will always be stories to tell.

Have you ever found interest in working outside of comics? For that matter, are you a purist, or would you be open to seeing any of your properties become animated films, games, toys, etc?

I would love to see my work in other mediums. A movie of my properties would be great. There is an interest in a Tara Normal TV show in Hollywood and I'm very open to that. It's a great fit with the episodic format and I'm big fan of the medium. I would love a video game and toyline, as I'm a collector myself too.

As your work has gone more and more into digital formats, have your tools of choice changed along the way as well? How do you get those crisp ink lines?

I pencil and ink on paper and then scan them into Photoshop for coloring. Thank you for the remark about my linework. I spend a lot of time on the linework to make sure it's varied and crisp. I'm glad you appreciate it!

Before I cut your chains loose, how do you stay so upbeat and focused? If there is a common theme to your stories, it does seem to be humor in the face of darkness. Is that something you especially believe in, in the real world?

I think you nailed it. That's how I strive to be in life. My characters have an easier time living that way than I do sometimes. I think it's important to keep a sense of humor when times are really rough. It will help you through it.


http://www.hcnoel.com

Look for HC Noel on the web via cafepress, comicspace, facebook, myspace, and twitter.
And follow his Tara Normal on facebook and twitter, too!

J.K. Woodward Interview!

Phenomenal graphic artist and illustrator J.K. Woodward found the time in his nonstop schedule making IDW look good (like they really need the help) to answer these bothersome questions from our own man hipdeep in the frontlines, Richard Caldwell...

James, thanks for taking some time out to share with us. You've had one of those lives thus far that has pulled you all over the country. Do you think the travel, the exposure to so many different places and people, has sharpened your creative mind's eye?

In all honesty, its hard to say. I've been bouncing around for so long. But, I think so. I remember my first move in 1986 (to Los Angeles) was an almost culture shock experience. I quickly moved back to New England but tried again for L.A. 2 years later. If I hadn't done that I'm not sure I'd be the painter I am today. I had taken myself outside of my environment and found that it was a lot easier to say "why not". It's as if I was giving myself all these restrictions based on peers and surroundings that were completely unnecessary and I wasn't even aware of it until I was separated from it. There are "rules" that govern people's behavior in every location and/or scene within it. When you're new somewhere, you're not aware of it yet and I think that can open you to new things. For me, in L.A., it was art. I had always been penciling comic pages and had dabbled in some acrylic and watercolour painting, but never really explored the art scene outside of comics until I got to L.A. If you had told me in '86, that I'd be experimenting with surrealism, impressionism or even abstract; that I'd be painting in oil on 6 foot canvas instead of brush and ink on 11x17 bristol board, I wouldn't have believed it.
I think this is just part of a person's natural development and growth, but I think by making big and sudden changes in your life, you can accelerate it and even take it to levels you hadn't considered before. So in that sense I would have to say that yes, the exposure to so many different places and people, has sharpened my creative mind's eye, because that kind of exploration is what it takes for me, personally to grow.
In addition, if you're working in comics, it's always nice to have experiences in different regions and cities because you never know what a script may call for.

So which came first for you, the commercial art or work in comic books? And how did you land that very first comic book gig?

Commercial work.
In the 90's I was doing a lot of freelance album covers for a German record producer. This would later (1999-2000) lead to a move to Frankfurt to do this full time. After moving there I worked full time for this record company for about a year and then it all went to hell. I started getting work for advertising agencies as a freelance illustrator, but found this new career EXTREMELY unrewarding. I started painting a lot more and I was doing a lot of small gallery shows around the Frankfurt area. It kind of took the sting out of working in advertising, but what I really wanted to do was publish something.
Here's where I got back into comics. At the time I was working on an oil painting series called Flesh Angels and I really wanted to publish all the pieces as an art book. I arranged the pieces and worked out the story with writer and long time friend, M.D.Koffin. She wrote some first person narratives to go with the paintings and the art book was ready. Finding a publisher to take a chance on an unknown was going to be near impossible, so having no patience for that I published it myself as a comic. It had the same dimensions as a comic and a saddle stitched spine, but any similarity to an actual comic ended there. It was basically 32 paintings, though I still consider it my first work in comics.
Flesh Angels got the attention of Phil Smith who was looking to self publish a story himself and needed an artist. We did two and half issues of a book called Gelding, but it never went anywhere. Phil and I went our separate ways professionally, but are still friends today. Phil is now an editor at Top Cow. During and after this time working with him I also did two other very important twelve-page stories. One was for A David Lewis' Mortal Coils and the other was Michael Colbert's Crazy Mary. Both got a great deal of attention for indie titles, but it was my work on Crazy Mary that got the attention of Chris Ryall over at IDW. He started me on a four issue mini for CSI:NY and while I was still finishing up issue 3 he told me Peter David was bringing Fallen Angel to IDW and had decided on me as the artist. I worked on this series for the next three or more years as well as X-Men Origins:Beast, a few Star Trek books and a myriad of covers for IDW, BOOM! and DDP.
So it all started because I hated working in advertising and I couldn't afford to publish a proper art book and I couldn't be happier it worked out the way it did. Comics are a huge part of my life and I kind of turned my back on them in the 90's. I'm glad I got pulled back in.

Why had you turned your back on comics? I know everyone even remotely related to the industry still holds grudges and regrets over the implosion, but were there other reasons for you? Are you passionate about the medium now, beyond it just being your trade of choice?

I didn't really make a choice to consciously abandon comics, life just started to get in the way. The early 90's were a crazy time for me. I was just distracted for a few years and then when I tried to come back on board I was lost. A lot happens in superhero comics in just a few years.
But the 90's weren't a total comic reading void. Because I was so lost in what was going on in the big 2 (and the new and blossoming 3rd), I directed my attention to stuff I had previously ignored. I would buy the Cerebus phone books because it was something I could just keep by the bed and read some pages every night, or not, whatever. It required very little commitment from me. Reading comics like that was a lot more fun at that time. I had enough on my mind and didn't want to worry about getting to the comic book store on time every week. When I was done with my Cerebus phone book, I would go get or order another one. I could read at my own pace which was crucial at this time in my life.
That all changed in or around 2000-2001. I started reading Jones' Hulk, Grant's X-Men and Arcudi's Doom Patrol. This was also around the time I discovered Alex Robinson's Box Office Poison, so it was a VERY good year for me and comics, be it superhero titles or indie cartoonists. So, yeah, I would definitely say I'm passionate about the medium now! I always have been. I just took a small break for a short while.

Who has influenced what you do, in or out of comic books? And what's your studio space like- are you big on ambiance, beit movies, podcasts, music?

Influences outside of art are just too numerous to name, but if I keep it to just art influences, then the great cubists Braque and Picasso, surrealists from Dali to Giger, contemporary I like Warhol and Hockney and comic artists John Byrne and Bill Sienkiewicz. Byrne for form, Sienkiewicz for style.
My studio? Well I rent a space separate from my home at a place called Juvenal reis studios (http://www.juvenalreisstudios.com). The atmosphere here is different from day to day, depending on things like what I'm working on, when the deadline is, how much sleep I've gotten (or haven't gotten as is generally the case). But most of the time it's music or podcasts, as movies or tv can demand too much visual attention.
Usually for music in the studio, I prefer classic 77 punk or some Kalifornia 80's hardcore. I need that constant energy feed it gives me. When it comes to podcasts, it's usually comics related. I don't have any friends in NYC yet that are into comics, so it doesn't come up much as a topic of discussion in my social life. In comics it's good to know about stuff even if it is outside your area of interest. That's where podcasts come in.

If you had been unable to pursue art so directly over the years, what do you think that alternate reality you would be doing with himself? What else interests you?

The alternate reality me would be doing life without the possibility of parole.
Seriously though, I'm not sure. I spend every waking moment (literally 16-20 hours a day, 7 days a week) painting. I can't imagine doing anything else. My work IS my life. It IS me. There is no distinction. I can't see how I would exist without art. It's rare that it happens, but if I'm not working and still awake, I'm usually drinking. So I guess without my work, I'd be an alcoholic...or a sex addict...a junkie perhaps. Point is, without art, I'm left with only base, animal-like, self-indulgent interests. I think without art I'd be this barely human thing scurrying around the city in an effort to satisfy whatever particular craving or lust happens to be rolling around in my primal beast head at that particular moment, with nary a thought of consequence or future. By night I'd be a frontman for an 80's style hardcore band called "Testicular Fortitude".
Either that or I'd probably do something in computers. I actually have an associates degree for it that I'm still paying for.

There is a lot of honesty to that. Not in working with computers, but in the connections between obsession and addiction. So many great writers and artists have danced on that thin grey line, throughout history.
So what do you have to look forward to in the future? What current and upcoming projects are you at liberty to plug away with here for our readers?

Yeah, you're right. There is a lot of truth in that. It's a little frightening (and invigorating) to think about.
Let's see, what am I doing? There's a lot of uncertainty in the future because I'm planning out all these ambitious but secret endeavors. So I'll have to wait to tell you about that stuff. But in the meantime, I'll be plenty busy with freelance work. I just finished a Star Trek: Captain's Log and am currently working on an 11 page guest spot on GI Joe: Cobra II. I have another Captain's Log after that and a project lined up with Chris Ryall, but it's too early to talk about that one. Somewhere between finishing the next Captain's Log issue and starting the Ryall project, I expect Peter will have the script for the next Fallen Angel mini. I'm anxiously awaiting that one!

How is it, working with Peter David? I've heard he can be the artist's writer, but I know he really has formed some great rapports in the past, like with Larry Stroman on X-Factor and Dale Keown on the Hulk. Do his scripts challenge you, or does he play into your strengths?

Both. When Peter needs something for a scene, it's going in the script. I have no doubt about that and sometimes that means a challenge.The apocalyptic New York battle scene between Fallen Angel and Illyria at the end of Reborn is a good example of that. But he also seems to pay attention and remember when something works with an artist. I hear a lot of artists complain about underwater scenes. And yes, if you're penciling, it can be hard to pull off. You often have to rely a lot on the colourist to make the underwater atmosphere believable. But as a painter these scenes are easier for me and in issue 3 or 4 of Fallen Angel he had written a short underwater scene and it really worked. Underwater scenes came up two more times after that. They were longer and more complex. I think he knew I enjoyed them or at the very least, noticed I could do them well, remembered this, and made a point to accentuate any water scenes that came up. There are many examples of this kind of thing that leads me to believe he pays close attention and knows how to get the best out of me, but that doesn't mean he goes easy on me. In the end the script needs what it needs and we both understand that it's my job to deliver. I really do enjoy working with him. I feel like I have an understanding of what he expects from me and he has a good grasp of what I can do and what I enjoy.

That is fantastic. Now let's end this on a silly note. Your jetpack is soon to crash on an otherwise deserted isle. What tools of the trade could you absolutely not live without? Presuming alcohol and wi-fi are already in the picture, of course.

Brushes, canvas, and oil paint. That would be the absolute minimum. Though since I have wi-fi, I'd probably want a laptop. That way I don't have to worry about which books or music I'd have to bring with me since I'd have access to all of it. Though I think I'd still want a paperback copy of Catcher in the Rye. I always found Holden Caulfield to be good company. Does it have to be deserted? I was kind of assuming that I crash landed on Themyscira. Yeah, if I crash land on Themyscira, then all I need are brushes, canvas, oil paint, a laptop, and a paperback copy of Catcher in the Rye... and a toothbrush.
Brushes, canvas, oil paint, a laptop, paperback copy of Catcher in the Rye and a toothbrush on Themyscira.

ah paradise island...


http://www.jkwoodward.com

read his blog here and follow his tweets here.

And of course, all images trademark of their respective copyright holders.

A.N.A. Comics Weighs In on its team

After February's set of Featured articles on the main tallent behind A.N.A. Comics the company itself is weighing in on their value and why these men are the type of men you should want to work with.

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Nicholas Myers – VP of Intellectual Property Development with A.N.A. Comics – What Qualities does Myers bring to the position? Myers is a Storyteller above all else. If anyone in this business is confused or delusional enough to believe we are doing anything else when we create comics they need to reevaluate their understanding on the craft. Story always comes first for Myers. His art does not standout due to a strong application of anatomy or realism. In fact it’s quite the opposite. Myers’ overwhelming need to get his stories out into the hands and minds of readers requires speed and dedication. Often at the sacrifice of a certain level of consistency in his art quality or anatomical structure to his characters, Myers pushes on to deliver an easy to read, well told story. In his other works, Myers has displayed the ability to create life like images. Making the dramatic contrast between those “fine art” pieces and his sequential work seem more like a conscious decision than any lack of skill. Yet in this decision regarding his line work, Myers never stops raising the bar on his character development. All his characters have full personalities, back stories, and motives uniquely their own. Just another example of how he puts the story first. This well rounded view to his own process makes Myers a HUGE asset to A.N.A. Comics as the VP of IP Development. He is the man who heads up working with both internal and external properties of A.N.A. Comics. Helping creators form their worlds and get their pieces lined up so they have as much depth to play with as possible. His enthusiasm is contagious. Any creator that takes the time to work with Myers is putting themselves in good company and will no doubt produce a better product because of it. Myers also understands a position many creative people face, the feeling of unsatisfied in the balance that is required to create and yet care for life’s responsibilities. Working, creating, and having a family to take care off can put a unique kind of weight on a creative person. Myers intimate understanding of this adds to the value of his input and encouragement for other up and coming creators.

Anthony Hary – VP of Brand Management & Editor in Chief with A.N.A. Comics – Why is Hary a good choice for EIC/VP of Brand Management? The easy first answer is that he is not afraid to hurt your feelings. Hary’s position is really a compliment to what Myers does at A.N.A. Comics. He is a perfectionist, his work is far more reality driven, and his commitment to a specific level of quality in his storytelling is key to his position at A.N.A. Comics. As Editor in Chief, Hary serves as a kind of “step 2” in the development process that starts with Myers. With the formation of the company there was an agreed standard of quality in the storytelling and content to the properties that would bare the A.N.A. Comics logo. His grasp of story pacing and balance are complimented by his unwavering commitment to moving the company forward. Hary has also spent a lot of time studying and researching storytelling, panel construction and composition. As EIC of A.N.A. Comics he often is called on to look over work, scripts, and pages to make sure that the story is told in the strongest way possible. As VP of Brand Management, Hary is responsible for the overall image and reputation of the company. This is a unique challenge as in essence A.N.A. Comics is the combination of THREE different production studios, and yet also its own entity all together. Hary applies a similar perspective to this task as he does in creating his own creative works. He never starts a project without first having a clear view on how he wants it to look visually, and read as a complete work. Whether this means implementing a detailed style, or a more simplified cartoony style there are certain factors that never change: 1. Everything is based in a realism that can be easily recognized by the reader. Proportions and perspectives are balanced so the art doesn’t take away from the story. 2. No matter what the weight or stress of the situation, the quality of the production cannot change, and does not change. This carries over to his Management responsibilities. Whether it be coordinating with numerous creative teams for the Spring Anthology, or contributing to support forum activities on the website, Hary strives to keep it all as accessible to others and all the while maintaining the established level of quality. Really as the bottle neck of the company there is a lot on his plate, yet you’ll never hear him complain. Even in his brash blunt demeanor he stays positive and forward thinking in his actions. Often maintaining the disposition that we can all come for the journey but it’s on us to keep up.


Adrian Wilkins – President of A.N.A. Comics – Is it true he writes comics also, or does he just sign checks? If A.N.A. Comics was a comedy group, Wilkins would be the strait man. To this date he is the least publically active member of A.N.A. Comics, yet that is just publically. Overseeing the internal workings of the company is hard work when you have to work with the guys he is stuck with. Overseeing bi-weekly meetings, creative contacts, and the incredibly entertaining legal/business side of A.N.A. Comics keeps Wilkins a relatively busy man. Yet the rumors are true, he is a writer. In that capacity he is overseeing the development of three A.N.A. Comics original properties at the moment. This fact leaves what we have to say about him rather limited as we can’t give away too much of what he is doing. What can be said is that he is a right man for his position at the company. His network connections and ability to cross media connect will soon prove to be invaluable to the future of A.N.A. Comics. His laid back, jovial nature make Wilkins a treat to work with, and the right guy to lead the forces of A.N.A. Comics!

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Anthony Hary Interviewed!

Richard Caldwell completes his study of the A.N.A. founders with Anthony (ANMPH) Hary, wanted in 15 separate galaxies for dangerously illicit usage of a pencil sharpener...

Anthony, you are one of those guys who has been drawing your whole life, aren't you? When did you first make the association that working in comic books was something you wanted to pursue?

I guess that is one way to put it, or as long as drawing was the available option. My favorite story is from WAY back when I was going into kindergarten. I actually remember this day pretty vividly. My Aunt and Uncle had just had my cousin and they came over to show off the baby. Well knowing I was a boy and not to entranced by babies my Aunt thought ahead and brought along a Sesame Street writing pad. The ones with the inch tall lines and the dotted line in the center to help little kids, like myself at the time, learn to write upper and lower case letters. I loved it, more so because I love most anything Jim Henson or puppet related. Anyways, my
Aunt was showing me the pad, and my new cousin, and challenged me to copy my new cousin’s name just how she wrote it. Then left me there laying on the floor as she went to sit in the kitchen and do that talking thing adults like to do so much. Well I can say I tried, but after getting to the second letter it just wasn’t for me, instead I chose to draw my Aunt holding her new baby. And I drew it from the perspective of where I was on the floor. It was close enough were they knew what I drew without me telling them and it was all art supplies as gifts from that point on.
Comics came later. Something I have to credit my Uncle Keith for. If it wasn’t for him, I would have not gained the relationship and appreciation for comics at the time that I did. My Mom became aware that I had acquired a comic book, an old X-men comic drawn my Marc Silvestri. Her husband at the time was an abusive jerk off and didn’t think comic books were appropriate. Kinda like a male version of the mom from the Adam Sandler film “Waterboy”, ya know “Comic books are from the Devil”! Needless to say their relationship ended and my Mother being so loving told her brother that I had found comics. A passion of his for years, he is quite a collector. He is also an artist in his own right, quite a painter, and has a bachelors of fine arts from the University of MN I believe. Either way he knows his stuff and he began to teach me, almost like a sensei would. Showing me how to pick out good books, and how to draw like they did in the comics. He gave me Spawn 1-5 as a birthday gift, and I was blown away by McFarlane and Capullo’s work. I also had the big X-men #1 comic drawn by Jim Lee (notice a trend yet?). It was the early 90’s and in the thick of my growing love for comics Image exploded onto the scene and these artist that had introduced comics to me visually, I became aware that they started their own company and it was so fascinating. In 91 or 92 my Uncle took me to my first comic convention: MCBA FallCON. At that time it was held at the Thunderbird hotel in Bloomington, MN. This was the day that changed my life forever. Walking around, looking at all the comics and
toys I was in heaven. But then we passed a table, and there was just this guy, I don’t even remember who he was. All I remember was he talked to me. Talked to me about what I liked in comics and that I liked to draw. While talking he sketched up a quick picture on a 11/14 inch legal sized printing paper, of my favorite character at the time WOLVERINE. Gave it to me, and I was so amazed at what he did. How fast he was. The picture had Wolverine saying “Keep reading comics bub!” Today I don’t know what happened to that drawing, but I know that in that moment I had one thought. I wanted to be the guy on the other side of the table someday
inspiring kids and entertaining fans. That was the day I knew. 12 years later I went to FallCON again, but this time I was a guest artist, sitting with the likes of Doug Mahnke, Tom Nguyen, Shawn Moll, Patrick Gleason. I wasn’t with them, but I was in the same table area as they were sharing fans and getting critiques from them. It was amazing and I was hooked.

Tell us about some of your past projects. And who has influenced you along the way, in or out of graphic arts?

My first comic was a 26 page story I drew just in pencil back in 6th grade. It sounds silly right? My 6th grade teacher actually supported comic book reading to my mother and allowed me to bring in comic books for our reading time during class. We can all admit now, that I was NOT
reading, I was studying. I think my mom may still have that original story I drew. It was like a mix between X-men and the Teenage Mutant Ninja Turtles, but all the characters were cat mutants. I was so proud of that work. Used to carry it with me in my bag in a folder.
Soon after that girls started to get my attention and needless to say my attention was pulled in an alternate direction from comics. I was still drawing, doing comic strips for my high school paper, and illustrating for the year book which was fun. It was during this time that I began doing custom art for friends. There was, and still is no better feeling then when someone loves your work enough to hang it on their wall. More than a couple times I would visit people’s homes and see in their house, or bedroom, my art on their wall, which is success to me. I love it.
In 1999 I won best of category in a poster contest. The objective was to illustrate a poster depicting one of the statistical facts regarding violence against women. It was sponsored by the Harriet Tubman Center in Minneapolis, and the late Senator Paul Wellstone. The category that I won in was “Every 15 Seconds” because at that time the statistic showed that every 15 seconds in the United States a woman is admitted to the emergency room due to some sort of violence committed to her by a man. I utilized my familiarity with sequential story telling to show the stages of the process all in one image, rotating about an elapsed second hand on a clock that has moved 15 seconds. It was a fun experience and a huge honor. I was nationally published, with my poster being showing in public transportation bus stops in Washington DC and across the country. It felt good to win obviously, but it also felt good for two other reasons. One was that my mother was a victim of abusive relationships with men, and the second was that my art teacher forced me to do it because she believed in me. She said, the first day I was in her class; “You have until the end of the day to get this done and enter. If you don’t you will fail my class.”
Well I had never failed an art class and I wasn’t going to start now. HA! In a time frame of 45 min I drew, inked and colored with colored pencils a full illustration 11/14 inches. I was even impressed. I believe my mother or father have a copy of the poster, I should get it and try to include it in this interview. We’ll see. (note to reader: if no image appears with this question, it means I have failed in gaining access to said image and we should just move on with the interview.)
Eight years ago I decided to give into my dream and begin the chase of comic book glory. I created BRETHREN with good friend Robert Muller, and it started as a web comic. Ran for a while and was a LOT of fun. The current comic book mini-series is actually a continuation of that story and what we established during that time. Kind of gives a perspective on how long I have been working on BRETHREN. After BRETHREN went on hiatus I attended MCBA FallCON here in Minnesota where I live. It was there I met some guys that would independently and collectively have a huge impact on my path to comic book glory. First and foremost has been Tom Nguyen. Severely underrated talent in the industry. He is best known for his work with DC Comics as an inker on books such as JLA, Batman, Green Lantern Corps, and Major Bummer, along with his beautiful portrait paintings of pageant models. He is also an accomplished author of two art instructional books through Impact Publishing, and also the Hardcore DVD instructional series through UMH productions title Tom Nguyen Style of Comic Book Inking. He tolerates me well and has taken the time to help me improve in my craft. I have also been guided by the wise input of Doug Mahnke and Pat Gleason. Their practical advice has helped me enormously.
My first comic book gig was on a fun little book called Deep Salvage, created and written by Gordon Smuder. LOVED that project, and even though Gordon has had his hands full with his Awesome TV show “Transylvania-TV”, I keep bugging him to let me play with those characters again. Even in just fun little 4-8 page ashcan format. From there I have done a few short stories for different indy publishers. I’ve illustrated covers, acted as an Editor on projects, and helped in the development of a few properties out there. Most recently I penciled and inked (with assists by Nicholas P. Myers) a 9 page story for Ronin Studios Hero Initiative anthology project titled: HOPE: Hero Initiative. That book should publish later this year. (check out ronin-studios.com for details)
Outside of the creative world I have to say my parents have been great. My Mother is a fanatic, and comes to all of my shows that she can. Of course she is bias, but her enthusiasm for what I do feels really good and I hope I make her proud. My Father is the opposite. He shows up for nothing, and loves what I do, but he lets me know when it sucks. Between he and my amazing wife I am not allowed to get comfortable with where I am. I HAVE to improved on each project or illustration I do. That kind of support is invaluable. At the end of the day, I do what I do to entertain people, to make me happy, and to hopefully give my family something they can be proud to be associated with.
I think that answers your question. HA HA!

What works outside of comics do you dig, such as other artists, films, music, etc? And I know this might lead to another lengthy response, but do you have dream projects aside from the future of A.N.A. Comics, or are you more attracted to work where you can incorporate more of yourself and your own philosophy into?

Yes, well… Lengthy is good right? Give people more for their money, or in this case time. I LOVE LOVE LOVE movies. There, that’s it. Next question…
I’m kidding. Before I chose to pursue comics my dream was to make movies. It’s still a dream of mine. Acting, directing, writing, I would do it all. I would love to do storyboards. In high school I was in Drama, and also took a mass media class where I wrote, directed, and edited a short film.
It was just an awesome experience. My Biggest dream would obviously be to see my creations make it to other media, whether it is TV, Film, Toys, or Video Games. I love to create and that is really what this is all about for me.
Filmmakers that I love to watch or that inspire me are guys like Spielberg, Lucas, and Scorsese. I also love newer guys like Guy Richie, love his work. Kevin Smith, his dialogue and humor just wow me. I am a newly converted JJ Abrams fan. His visuals and story pacing are impressive to me. I also love pretty much anything Jerry Bruckheimer touches.
Music really inspires me when I am working. Bands like The Counting Crows, Pink Floyd, Dire Straits, Metallica, All American Rejects, Fall Out Boy, Eric Clapton, John Mayor, Jack Johnson, Steve Vai, Lifehouse, Matchbox 20, Lynard Skynard, Snow Patrol, Damien Rice and the list goes on. What I listen to can vary based on the work I am doing. When I work out, high tempo rock like My Chemical Romance hit the spot very well, but if I am writing it helps to listen to musical scores from films. I love musical scores. It all just plays into me and what I do. I illustrate, write,
cook, play music, anything expressive and creative.
It is always nice to have the freedom to put a bit of yourself in to a project. To have that personal attachment to it. Some creator can ONLY work in those parameters. Where they make the rules, set the guides and have all the freedom. I love it and I get it, but I don’t need it. If I like a project I am happy to just be hired help. It just has to be a project I can believe in.
I am actively pursuing work with DC and Marvel, along with helping to keep A.N.A. Comics moving forward. If one of the big publishers, which includes IDW, Dark Horse, Top Cow or even Aspen comics came and hired me on for a project. Even an ongoing project, I wouldn’t stop my work with A.N.A. Comics. Hopefully it would help bring attention to what we are doing here and we could use that success to grow as a group. Why limit yourself, ya know? Just go for it and Make IT Happen!!! That’s our slogan here, it’s what I am trying to live by. Because its true and it works.
If I get my way, before my comic book illustrating career is over, I will have done the following– at least!

- Pencil or pencil and write a 3 issue mini-series for Wolverine
- Pencil or pencil and write a 3 issue mini-series for Batman
- Pencil or pencil and write a 3 issue mini-series for Spider-man or Hulk
- Pencil or pencil and write a 3 issue mini-series of Aquaman or Green Lantern
- Illustrate a project written by Kevin Smith
- Illustrate a project written by Mark Millar, anything with him would rock
- Illustrate a project written by Keith Champagne

More than any of that, I just hope what I do is enjoyed by someone out there. I love the fans I have. They are so fun. And their support continues to push me to do more and try harder. There is nothing better than seeing them like my work.

Do you push the skill level of your craft constantly, or is experimentation just not as vital in what you do? 50 years from now, when readers look over your work, what do you want them to see?

To answer the first part of your question it really has to do with the subject matter. My Wife has been invaluable to me as an Editor. She checks easily 80% of my work. Whether it is for comic book projects or private commissions, ANYTHING that others might see, she tries to check it out. She NEVER says what I did well. HA HA!! Rather she always finds something I could change or improve upon. I haven’t had one piece of art pass by her that she didn’t ask for some level of revision on. This really helps me because when you are drawing, staring at that piece for hours and hours, you just don’t see everything that you should.
I view every artistic work I do as part of my BRAND, ya know what I mean? When you see ANMPH signed on a piece of art, or my name on a comic, there has to be some level of an established relationship there between the quality of my work and the person interested in looking at that work. I take that very seriously. You’ll hear people say “That’s a Bruckheimer
style film” or “it’s a Kevin Smith movie” and people know EXACTLY what you mean when you say that. Because those creators have established a BRAND for their work. They are their own Brand. I want to be that. It does me no good to go out and try to copy other artist, or be the next Jim Lee (Whose art I love), Ed McGuiness, or even Doug Mahnke. I need to be the ONLY Anthony “ANMPH” Hary! I’m not saying I am going to be the Will Smith of comics. I mean for one, I am not black, nor that good looking. So Adrian can have that distinguished position if he wants it. What I do want is for people to see my work, or just see my name and have a sense of confidence in what they can expect from me as a creator. That is Extremely important
to me.
This conviction of mine is actually what helped lead to the weekly sketch challenges we have been running on the BOARD at anacomics.com. We’ve covered drawing Oversized hulking physiques, basic human anatomy, character likenesses with the Wolfman challenge, and this week we are considering the use of shadows in art through a Contrast challenge. The whole idea is to create an environment where other artists can try what may be new things for them, or even try what they ‘think’ they know already and get feedback from peers so we can all improve.
So yea for your first question, I find it very vital. But I also think we need help to actually experiment, the inspiration or challenge has to come from somewhere. We can’t think of everything on our own.
For part two, I love this question. I am an overly analytical person, just ask Nicholas or my Wife. I am also an idealist, always day dreaming and thinking of all the “could be” great things that are going to happen. In 50 years huh?
I would want readers 50 years from now, 10 years from now, or even later this year to see that I never quit on them. I never got comfortable and “OK” with where I was, but I have tried to grow and develop as an artist to put out the best work that I know I can do.
Hopefully most of what I do are projects that can transcend age, race, and life circumstance to give lasting quality work to be enjoyed for years. Its always been sort of a love me or hate me mentality with me, granted I would rather be loved, but I know some people just won’t like the work I do. And that is cool with me, because I have no control over that. More than anything I hope that the work I do proves my character, my commitment to the craft, and earns the respect of my contemporaries and those who come after me.
When you really break it all down, storytelling in any form is a back bone to human history and social growth. I respect that and approach all my work keeping that in mind. Somewhere in the fabric of life I am adding to that rich history of storytelling. I don’t want to be part of that area of
the fabric that gets trimmed off. I don’t expect to the biggest piece of it, just hope that I actually contribute something worth remembering.

I know there is the constant and ongoing debate over the availability of reader-friendly and all-ages comic books, and much in the same vein A.N.A. strives for family-accessible works themselves. Being a family man, what are your thoughts on censorship today? Do some folks, some agencies, go too far, or have we in truth as a medium come a long enough way since the days of Fredric Wertham's bigoted Seduction Of The Innocent?

Oh baby! Now we’re getting good! HA! Opinion questions, I love ‘em, mainly due to the over abundance of my strong opinions. Fredric Wertham was entitled to his opinion, as skewed, flawed and utter retarded as it really is. I only read enough of what he said to determine we would most likely NOT be friendly with each other, and I would have enjoyed annoying the daylights out of him.
Reader-friendly and All Ages are king of suggestive terms and yet subjective at the same time. I think that fact is what really is at the heart of the issue when you look at it. What I think is ok for kids, may not match what you or someone else thinks is ok for kids to be exposed to. The best advice I was ever given was to make sure it supports the story. If it doesn’t actually support the story or the work your doing, then it’s gratuitous. You’re doing it just to do it. Why do that? Its stuff like that which I think fuels peoples need to censor art and expression.
People say “I should have the right to do it, to express myself how I see fit.” Sure that’s true, but if you are doing something gratuitously, a term which doesn’t just apply to sex and nudity, it means to do something with our cause or justification, if you do something just to do it aren’t you lessening the value of your work? I think you are. The more we do it, the more reason we give people to STOP paying attention to what we do. There really isn’t any need to have vulgar offensive language heavily throughout your story; there isn’t any need to show graphic violence or sexual content. It’s a creator’s prerogative to do it or not. I don’t. My focus is the story first.
All Ages is a term I hope can be applied to the majority of the work I do. When I think all ages my thought is that a person my age should be entertained and challenged by my story, but it should be clean enough that if they shared it with their 11 or 12 year old sibling, they won’t be traumatized. I don’t think anyone under 8 should read my books, or really any comic books. They have a special KIDS category for parents who want to let their kids read on their own. Comic books even have special kids stuff. I’ll probably be putting that in my books. Not recommended for people under the age of 11. I don’t know.
Really Parents need to take some ownership over the development of their kids. Why do we as parents rely so heavenly on the MPAA or the comic book authority code, or even the video game rating system out there? If you’re a parent, YOU are responsible for your kids. Man up and take control of that. I don’t let my kids watch things that I know some parents would allow their kids to watch, and yet I have allowed them to watch or read things that other parents would not allow their kids to be exposed to. That’s ok, that is MY CALL as the Dad in that situation. I take pride in that. I don’t need some Dr, or supposed expert to tell me what is ok for my kids.
It’s important for our industry to widen out. We need more than just super hero books, or adult themed books. Movies only go so far; if we can’t get books into the hands of young people we will lose the strength of our fan base. Reading sequential storytelling is a learned skill. Not everyone has the capacity to do it. If we don’t create properties that have a wide potential fan base, we are missing out.
I think almost any establish comic book fan enjoys the moment where Wolverine gives into his berserker rage and takes out a couple hundred bozos. It’s that conflict resolution that we love to read. That stress and picking our side, rooting for our hero, which is where the magic is at. Along with, this conflict doesn’t always have to involve violence or bloodshed. So the argument is valid, we do need more reader friendly all age titles. This will only happen when people think outside the box and get back to telling the story for the sake of the story. Not for their need to fictionally rape, pillage, and murder.

Hey now, some of my best friends are pillagers. But before this turns into a series of books waiting to be burned by future generations of naysayers, do you have any regrets about your creative livelihood thus far?
Are you happy?

Yes, no need for undo soapboxing at this time. Hahaha! It was a great question though. Thanks.
At this time I can’t really say I have any regrets creatively. Sometimes I fight my overly analytical nature, my opinionated way of thinking, and I have to remind myself not to compare where I am with other creators out there. I see some artists get published, or get to work with other creators as assistants or what have you on projects, and I look at their work and mine… I just don’t see it sometimes. So I fight with that because I don’t want to think that way. Don’t want to give in to thoughts about “Oh, I am better then so & so, what about me? Where’s my gig at this publisher?” There is nothing productive in that line of thinking.
Taking the time to look at what I have done, its been a good run so far. I have done more then I originally thought I would when I started. Even now with moving the comic book side of my personal company Carbon Hallway Graphics & Production over to join up with Nicholas and Adrian’s respective studios to form A.N.A. Comics, that’s awesome! Who has really done that? Not many, and we’ve already published books, and have a whole slew of stuff to look forward to later this year. Feels really good!
I am happy, but I am no where near satisfied. I don’t often feel satisfied. BRETHREN could sell a million copies over the course of the whole mini-series, become a movie, with toys and games to boot, and here I would be with my nice paycheck and happy smile thinking of what to do next.
It took me longer to get to certain areas in my life then I would have liked. Moments where I ‘thought’ I was on the right path, yet that was proven to not be the case. Its good to be with my partners and to have A.N.A. Comics. Hopefully it continues to grow and we can support the
Independent side of the comic book industry and we can all gain success together. I would enjoy that. If I make thousands of dollars on a project, I want to be able to help someone else gain that as a reality for themselves too. Why not? I’m not selfish. Lets all get some pie and ice cream. It is more fun that way!!
That is why its fun to do these interviews with you. Thanks for doing them with us here by the way. I really hope other creators see it as an opportunity to get showcased and have their corner of the Indy market showcased with A.N.A. Comics. Its been great to see the interviews with my
partners before me. Good to be last and I learned a thing or two about them that I didn’t know. I enjoyed that a lot. We’re spreading the word and hope that this avenue gets utilized by other creators too.
Right now, for me, its all about getting the next issue of BRETHREN done. I do the book all by myself mainly, and I have the goal of putting out issues 1 and 2 this year, with issue 3 coming early 2011 thus completing my first mini-series for BRETHREN. If that happens I will be a very VERY happy Anthony. I am also finishing up organizing our A.N.A. Comics Spring Anthology, which features short stories from all over the Indy scene. I’ll be illustrating the cover for that, and hopefully providing a fun 5 page story as well. Later this year we have the 2010 A.N.A. Comics Swimsuit issue, where our profits are being donated towards Breast Cancer Research,
making that a very awesome project and we have a lot of artist lined up for that project too.
My Wife would tell you I can talk all day, and most friends would support that but I hope I didn’t over talk here today. If anyone wants to catch info about myself, planned comic book convention appearances, along with project news and art galleries, there is info on anacomics.com along with
an event calendar. I also have anthonyhary.com for my own work, and carbonhallway.com is the other side to my business which contributes to comic books, but is doing other things too. Design, custom illustration works are just a couple of the items Carbon Hallway covers. So check that out.
Of course hit up the BOARD on anacomics.com also. Lots of stuff going on there, and more is coming in the next few months.


Follow Anthony Hary on twitter: http://twitter.com/ANMPH