Everyone tries to write Watchmen the first time around. Cop to it, kids. We all want our first foray into the world of comics to be loud. To be a hit. And I don’t blame you. Who doesn’t want to be the guy who came out of nowhere and just punched everyone in the face with something awesome? It’s not wrong to want that, but it is harmful to hope for it and, by extension, pin your tragically fragile comic creator self-esteem on what may very well be a shitty Original Graphic Novel.

My friend Matt and I are currently bringing a year’s worth of scripts for INSTRUMENTS to a close. The process is done via skype… with beers… so it’s not the smoothest of creative processes. I currently have about 90% of the first issue completely drawn and toned (we’re planning to release it black and white), so all that’s needed for a proper pitch is the clean script for the first year’s worth of monthly issues. You read that right: the first year. And therein lies the rub — What are the odds of a coupla nobodies getting a publisher to commit to an entire year’s worth of monthlies? Granted of course that our story is mind-numbingly awesome (Who else is gonna say it, asshole?), our operation can’t exactly hinge on the script alone when Image, Boom, Avatar, or whoever else can’t tell us apart from a dead dog’s cock now can it? They don’t know who the hell we are.

So I start small.

I’ve got a bunch of solos I’ve been meaning to start fleshing out, script-wise. I can’t pull off ICELANDER with less than eight issues, so that’s out. JOHNNY BEASTLING only needs six for the first arc, but I really really really don’t want to have to use it until I know I can write it well. THREE BLIND MICE needs more research. So that just leaves the pirate story…

Let’s call it ALL HANDS for now. And let’s say it’s what Lovecraft wanted to see when he watched Pirates of the Caribbean, and Harryhausen was right beside him, stealing his popcorn. (I draw comics, were you really looking for a profound metaphor there?)  But the best part is it works as a one-shot.  An oversized one-shot, sure, but much easier to sell than a twelve-issue maxi-series written by two drunken nerds.

So that’s going on. I wish I could say I arrived at this decision to write a pirate story via logical reasoning, but the fact is it’s nothing but what I’m calling a resultant… I don’t know… mental state? Gestalt?… of a series of strange coincidences. Take from that what you will.

::: ::: ::: Keeping it Relevant Department ::: ::: :::

MASK of MANOLO #2 is experiencing logistical hitches. More on that as I get news.

Page layouts for HORROR PROJECT are coming along nicely. Thumbnails are being a bit of a challenge, but live and learn I suppose.

Tomorrow will be about reading JENNY STRANGE scripts for Zuda.

OVERTHROW #1 is done and done. All that’s left is the cover concepts before we take it to pitch. Justin suggested I study some old posters and go all Soviet Propaganda on everyone’s asses, so that should be fun. See?

soviet31 soviet2 soviet11


Was chatting with a friend into the next dawn’s embryonic stages the other day.  And awed by my deceptive lucidity at such an hour, she asked me just what my regular schedule was like.  So I replied with as honest an answer as I could give under the circumstances — I laughed.

Since I started doing this comic-drawing-thing professionally (and I use the term professionally as loosely as possible), my body clock has gone to shit.  Especially now, since I’m in the homestretch of Overthrow #1.

But anyway… for no other reason than to shut Rey Siasar up (the fuckface who has been asking me to update the site), here’s what a typical workday is like, schedule-wise, but minus specific time brackets… coz that’s just silly.  This was Wednesday:

  • Wake up at 10 a.m. and stare blankly into ceiling for half an hour, asking the Forces That Control All why I’m not Mike Mignola and Reon Kadena isn’t to my immediate left reading one of my Hellboy trades and loving it.
  • Wander into the living room for coffee, what’s left of breakfast, and some CNN.  Because I’m mature like that.
  • (Toggle MTV)
  • Play with the dog before lunch, since this is the only time of day we’re equally filthy.  Then I go back in the house, hit the bathroom, and get all clean and relatively civilized.  Dog maintains his freedom.
  • Afternoon work sees me checking favorite forums, blogs, and comic news sites, but not before  I check my blog stats and Deviant Art comments so that my frail artist ego can have its daily handjob.  Then I read a coupla comic books to swipe from just to warm my shit up and pop a movie in to watch while I work.  Tweet.

transmetcarlito*** Wednesday had me re-reading a Transmet trade with Carlito’s Way as background noise.  The combo was strangely therapeutic.

  • Emails.
  • Mid-afternoon sees me reviewing scripts, thumbnailing some pages, and pacing around my room figuring shit out, asking myself what I’ve gotten myself into.  Laughing from time to time at the fact that I’ve fooled them all.
  • Walk the dog and do some loose sketching with the nephew.  Hands down my favorite part of the day, especially since that Spanish girl down the road started walking her beagles.
  • She has nice puppies.  BAM!
  • When I get over my hate for the blank page (yes, I still do), drawing the panel borders in helps me breathe a little easier, and actual work starts.  By dinner time I usually have a comic-looking page with some sketchy figures drawn in.
  • After dinner to early dawn hours = real work.

And the cycle begins anew the following day (or later that same day).  None can match the absolute glam of it.

Someone send me some strippers.