Exclusive Interview with 2012 Top Cow Talent Hunt Winner Martin Gimenez

I was lucky enough to get the chance to ask 2012 Top Cow Talent Hunt Winner Martin Gimenez a few questions on being a winner of the contest.

How does it feel to be a winner of Top Cow’s Talent Hunt?

I feel honored and proud that artists like Marc Silvestri and Matt Hawkins count on me, I could be talking for hours about Marc's work, I follow his career for a long time (since his first issue of Wolverine). I respect Matt's work and also am very curious to find out how he will continue the "Think Thank" series.

What influenced you in becoming a comic book artist?

I've always wanted to tell stories, not only draw. I'm always interested in communicating my thoughts and talk about them with images, and, comic is the best in media since we can have total control of the written work, plus all needed is a piece of paper, a pencil, and obviously something to say.  

What comics or artists inspire you?

Actually  I believe I am inspired by all. I keep checking what is new on the web but I am conscious that any place could be a source of inspiration. I could mention a few but would be unfair because I could be forgetting about others but, let me try... 

I am Argentinian  and as a result I could probably provide information about authors that perhaps are not known, for example: Alberto Breccia, Enrique Breccia, Gerardo Zaffino, Jorge Munoz,( Alack Sinner is one of his principal characters) etc (If not known search google and you will have no regrets). 

And related to U.S.A Comics (pulling aside all the big artists and writers that work there) and talking about Top Cow (and probably I will sound like a bootlicker, but I liked them before the Talent Hunt) I would say that Marc's work, first in Inferno then in Wolverine (I can listen different opinions, but he performs the best version of Logan and then when I thought that was the definitive version, he improves it in New X-Men Of Morrison) The concepts that he created like Darkness, Witchblade (in Darkenss he hired Ennis, my goodness!)

Writers that deserve to be mentioned are obviously: Moore, Miller, Gaiman, Morrison, Ennis, Millar, etc,etc...

How does it feel working for a company like Top Cow?

For me, today, it's one of the most exciting editorials! I am a fan of these characters, I know them from the beginning, I saw their evolution. From Image to Top Cow I witnessed this evolution. Top Cow as a Young Universe has lot of things to offer...Top Cow has the dark esthetic of the urban landscapes of Vertigo, for example, plus the high impact action scenes, this is the heritage of the best comic from U.S.A and Europe. I don't know if I answered the question...hehehe 

How does it feel to work on a series as popular as Artifacts?

Artifacts has several issues released, despite of this it's a new series and it's constantly changing.

The characters and the plot are done. Do you know how it continues? I don't, and I want to be there to to find out...

I am tired of characters who need marketing and promotion to exist. Also bored about the sequels or "The Event of the Year" to keep them on the road.

Top Cow is a young universe and has the best styles and known worlds...

What do you prefer drawing the most, emotional dialogue sequences or exciting action?

The story must have an equilibrium, otherwise, it can be counterproductive.

The story has its own rhythm and moods, and if you decide  maximize one aspect and relegate other the result can be imbalanced. But I can't deny that I like obscure scenes which usually impact the readers.

Were you a fan of Artifacts prior to working on the series?

Do you have some space here to talk about it? Hehehe, I think that God or the destiny has its mysterious ways...

When Witchblade came out I got glued to the T.V because I wanted to see every chapter if it were possible. The one who grabbed my attention from all the characters was Ian, that version was pretty good but I was always thinking  "I will do this and that with this character, I will improve this, I will change this..."

And when I was expecting to finally know which character was for me I told to my friends and collaborators Angela Scardigno and Leonardo Figueroa:  "I hope that we get Ian", and finally we got it...probably I did mental control...

How do you feel about working alongside a fellow winner of Top Cow‘s Talent Hunt?

It's very interesting work with Eugene,it's like an injection of new blood in your body. When I read the synopsis I kept thinking "Yes! What it would happen if Ian can't use the Blood Sword? He will become more human and there is a chance for him to fail and he will be, in some way, closer to the audience. I hope that we will be able to work together again and discuss new ideas, scripts and other stuff...

Are you planning to work on any more issues of Artifacts and if not what are you planning on working on next?

I will be glad if I have the chance to work again with Top Cow (I have my fav ones) if I think on this I start to have new ideas, designs and I want to play again...

The interesting couple Jackie and Sarah...RipClaw, Impact, stealth, Ian, and it would be interesting to work again with the Artifacts...

And I will keep working in my project NNComics, here you can see some of my work:

My facebbok account is www.facebook.com/MARTINGIMENEZarts

My personal project www.facebook.com/NNComics

And the blog http://eneenecomics.blogspot.com.ar/

What advice would you give an aspiring artist about tackling Top Cow’s Talent Hunt in the future?

Probably it would sound like a cliche, but I would say: Let's participate! Invite your friends and try to have fun, as I did, if it happens that you win, that's awesome! But if you don't...Who will take away the wonderful experience of playing with these characters?

Artifacts #34 is on sale 29th January.

Exclusive Interview with S.H.O.O.T. First Writer Justin Aclin

I was lucky enough to get the chance to ask S.H.O.O.T. First writer Justin Aclin a few questions about working in the comic book industry as well as the future of S.H.O.O.T. First.

What influenced you in becoming a comic book writer?

I've wanted to be a writer since I was about 10, although originally I was interested in writing stories and books, Very shortly after that I fell in love with comics and started creating my own heroes and universes, and that was when I decided I wanted to write comics. I'd always had comics around in the background - my dad had been an artist for Marvel in the late 70s - but I started collecting around the time of Marvel's "Mutant Genesis" X-Men relaunch and that was when the bug bit me hard.

What comics or writers inspire you?

The biggest influence on my current writing is Kurt Busiek. I've read tons of comics over the years and I've been inspired by many different writers, but I don't really aspire to be a Neil Gaiman or an Alan Moore. Busiek, to me, is someone who consistently tells stories that say something true and relatable about the human condition, and they say it with great characters who happen to have superhero or sci-fi battles. That's absolutely the kind of comic I want to write and try to write.

How did you get into the comic book industry?

I started out as an intern for Wizard Magazine during college, then was hired right out of college as an editor for Wizard's sister publication ToyFare. Eventually I became the head editor for ToyFare and the head writer for Twisted ToyFare Theatre, the popular comic strip that ran in the magazine every month. During that time I wrote my first original graphic novel, Hero House, which was published in 2009 by Arcana Comics with art by Mike Dimayuga. That lead to the opportunity to pitch S.H.O.O.T. First to Dark Horse.

How does it feel working for a company like Dark Horse?

Working with Dark Horse has been my proudest professional accomplishment. They have a nearly 30-year history of putting out amazing comics. On top of that, they've been incredible to work with. Every comic I've published since Hero House - S.H.O.O.T. First, two Star Wars graphic novellas and an adaptation of the online game Akaneiro - has been published through Dark Horse, and I'd love to keep working with them as much as possible.

How do you feel having developed S.H.O.O.T. First from a short story in MySpace Dark Horse Presents into a mini-series?

S.H.O.O.T. First appeared for the first time, in prototype form, at the end of the run of MySpace Dark Horse Presents, which was a free online anthology that ran on MySpace. It was actually in the second-to-last "issue." At the time, that was Dark Horse's venue for trying out new talent, but they weren't using it as an active platform to develop new creator-owned titles like they're doing with the current print incarnation of Dark Horse Presents. So I wrote a story that established this team and this world with no guarantee that it would ever appear again, but with the hope that I'd get to tell more stories with them. That prototype story, "The Wooden Saint" with art by Ben Bates, will be collected with the mini-series in the S.H.O.O.T. First trade paperback this May.

S.H.O.O.T. First is a story that sees Atheists take on Angel. How did you come up with the concept and how much of your own opinions on religion have influenced the final story?

Originally I was hoping to come up with an idea in the tradition of Dark Horse's supernatural action titles like BPRD, but with a unique twist. And the twist I came up with is a team that doesn't fight monsters on the monsters' terms, but treats them all with skepticism and attacks them with science. And that happened to dovetail with something I was going through at the time, which was dealing with losing my own sense of religious faith and identity. So that became an extremely important element to the story, and writing it actually helped me sort through what I was feeling and answer some questions for myself. So it became, in the end, an intensely personal story for me, even though it's also a big, crazy action-adventure comic.

S.H.O.O.T. First will return for a three part story in the pages of Dark Horse Presents. But what exactly does the future hold for S.H.O.O.T. First in the long run and will we see anything following this?

There aren't any solid plans right now for more S.H.O.O.T. beyond the Dark Horse Presents story, but I'm thrilled that Dark Horse has shown a willingness to publish more S.H.O.O.T. adventures by including them in their flagship anthology title. Right now, I need to figure out what more S.H.O.O.T. adventures would look like. Without getting too heavily into spoilers, the status quo for the team changes significantly at the end of the mini-series, and it's up to Nico and I to figure out what that means for future stories. I chose an ending that was right for these characters...not necessarily one that would make it easy for me to go on writing more S.H.O.O.T.  First stories in the vein of what's come before.

How does it feel to work alongside Nicolás Daniel Selma and how easy do you find writer/artist relationships to be?

I've had an awful lot of luck with my writer-artist relationships. Nico has been a joy to work with. I had the pleasure of meeting him and his wife Amanda, who's our letterer, when they came to the U.S. to launch the book at New York Comic Con, and they're wonderful people. The art that Nico and our colorist Marlac have contributed are the key ingredient that makes S.H.O.O.T. First come to life. It's gotten better with every issue!

What do you love writing the most (dialogue, action, character interaction etc.) and what is your favourite genre to write?

Character interactions are definitely my favorite thing to write, although of course that could include dialogue, action and everything else. I consider my comics to be largely character-driven, though.

Are there any other projects or series you plan on working on in the near future, or are you just sticking to S.H.O.O.T. First at the moment?

I'm working on a few non-S.H.O.O.T. projects as well, and hopefully at least a couple of them will see the light of day this year. Stay tuned!

What advice would you give to an aspiring writer about getting into the comic book industry?

The advice I always give is don't set out to write a 100-page epic. Figure out the story you want to tell, then come up with a smaller story within that world that can stand on its own and do that as an 8-or-so-page comics, start to finish. Make that your calling card. It worked for S.H.O.O.T. First!

You can pick up S.H.O.O.T. First #1-3 now with SHOOT First #4 coming out 15th January and the TPB coming out 14th May.

Exclusive Interview with 2012 Top Cow Talent Hunt Winner Eugene Ward

I was lucky enough to get the chance to ask 2012 Top Cow Talent Hunt Winner Eugene Ward a few questions on being a winner of the contest.

How does it feel to be a winner of Top Cow’s Talent Hunt?

It was really exciting when I heard my script was one of the entries that Matt had selected. It was one of those things where I thought it was good experience to set myself the task of fulfilling the Hunt’s criteria and getting a story down, rather than something that I was totally concerned with winning. With the large number of entrants I honestly didn’t think I would be one of the winners.

It has been a great source of encouragement, to be recognized like this, and it has been highly motivating in terms of really getting to work on my creator-owned pitches.     

What influenced you in becoming a comic book writer?

Like probably anyone who enters into it, it really starts with being a fan of comics. The desire to create the same kind of worlds that I had long been immersed in, to work in a unique medium that delivers such a kinetic thrill but works with nowhere near the budget of film.

I was also encouraged by the fact that my prose work in high school generally got good feedback. In tenth grade I placed runner up in a short story competition in my state here in Australia. So creative writing has always been on my mind as something I would like to give a serious crack at, but it’s a pursuit that can be very hard to plan out, whether you’re looking to publish novels or comics.

Like any creative pursuit it’s a long road and at times it’s hard to find opportunities when you’re up-and-coming. That’s why I think that Top Cow’s Talent Hunt initiative is so important and so impressive.

What comics or writers inspire you?

My first exposure to comics didn’t include Marvel and DC, as they weren’t on Australian newsstands by the time I was old enough to be interested, and I wasn’t aware of the direct market stores here in Sydney at the time. It was also before the average bookstore had many superhero trade paperbacks at all. They generally had manga and the more ‘arty’ independent publishers. Shirow Masamune and Christopher Ware were what I had when I was 11. So I guess I am informed by the action beats of manga and the humor of Ware, as well as Clowes and Crumb.

I basically continued to read Japanese manga and American independent graphic novels right up until I was 17 or 18, when I finally decided to check out some superhero stuff. My favorite writers whose work includes runs on Big 2 series would be Greg Rucka and Grant Morrison.

One of the positive things about this delayed exposure to mainstream comics is that I don’t hold any of the widespread stigmatic views concerning a lot of 90’s books. I enjoy comics for both their mental and visceral stimulation - the writing doesn’t always have to be a revolutionary or deconstructive exercise. It’s a visual medium and the visuals can carry it very far. I am as much enamored with the iconography of comics as I am with any mental wit. I love Spawn, Venom, Rob Liefeld’s X-Force etc…

I’ve been enjoying Copra by Michael Fiffe a lot, as I think it reflects this diverse combination of ‘high’ and ‘low’ – or maybe just the casual rejection of that divide - as well as genuine, non-nostalgic affection for the action of 80s and 90s books that are too often characterized as being insubstantial diversions that are a far cry from the ‘respectable graphic novels’ that dominate commentary from outside the medium.

How does it feel working for a company like Top Cow?

It’s still hard to believe that I will have a script in print with such a big name in comics, and a book that will be distributed by Diamond to my local store here in Sydney.

How does it feel to work on a series as popular as Artifacts?

I hope it exposes people to what I can do as far as writing, whether they are readers or in the industry. I’m not assuming anything about getting more work-for-hire jobs off the back of one issue and I will continue to work hard on my own pitches, but it is a very prominent book and you never know who might see something in what I have written. So it’s exciting for sure.

What do you love writing the most (dialogue, action, character interaction ect.) and what is your favourite genre to write?

Comics allow for the depiction of physicality and actions that defy what’s possible in reality, and they are able to sell these physical feats through their art so that it is plausible within the context of the narrative. So I find the action the most fun to write - the opportunity to be wild and inventive in the construction of fights, chases etc.

I wouldn’t say I have a favorite genre, so much as I enjoy writing a story that makes use of comics’ potential for capturing imaginative action and images. It doesn’t matter if it’s crime or high concept sci-fi, I just want to give readers something they will really remember when they think about what came out that week or month.

Were you a fan of Artifacts prior to working on the series?

My favorite Top Cow series has always been The Darkness, particularly Garth Ennis’ issues right at the beginning. But I enjoy Witchblade and of course Artifacts as well, particularly the arcs post-Rebirth. Top Cow is fairly unique in comics in that it publishes books set in a shared universe with some very popular properties, but with greater real world grounding in the sense that there isn’t a superperson on every corner. 

How do you feel about working alongside a fellow winner of Top Cow‘s Talent Hunt?

Martin is a really talented artist and it was a great experience to work with him. He gave me a lot of insight into how to better script for the artist, and he offered his own thoughts on the action and layouts that I might not have initially loved, but in the end proved to be constructive and collaborative. I look forward to following his work in comics and checking out what he does next.

Are you planning to work on any more issues of Artifacts and if not what are you planning on working on next?

I do have a pitch that follows up on a possible conflict between Nottingham and Ji Xi, but I am waiting to see how well my issue is received before contacting Bryan or Matt about it.

Otherwise, I have a number of creator-owned pitches that are in progress. Some are for mini-series while others would be serialized shorts suitable for an anthology or backup. I’m also working on a pitch with a co-writer, a friend of mine, Drew Kim, who I met through my work as a DJ and music producer and it turned out he is a big comics fan as well and has some really cool ideas.

What advice would you give an aspiring writer about tackling Top Cow’s Talent Hunt in the future?

It’s something that every writer will probably say but I think it’s true: originality. Yes, when you’re doing work-for-hire there may be boxes that should be ticked in terms of fitting the general context of the company’s books, however, I’d suggest never letting this be what dictates your idea for a story. 

Think about what you have to offer over any other writer. I guess it comes back to what I was saying earlier about inventive action – come up with images that the artist can really go wild with, so that the final product is hopefully something that readers will remember.

Artifacts #34 is on sale 29th January.

Exclusive Interview with 2012 Top Cow Talent Hunt Winner -Rom-

I was lucky enough to get the chance to ask 2012 Top Cow Talent Hunt Winner -Rom- a few questions on being a winner of the contest.

How does it feel to be a winner of Top Cow’s Talent Hunt?

This victory happened at a particularly hard moment of my life, so it has meant a lot for many reasons, some of them unrelated to my strong desire to work in the comics field.

When Matt Hawkins sent me the long-awaited email informing I was one of the winners, I had just finished dinner, and it was the last thing I could expect. It has been both exciting and terrifying at the same time.

These are the feelings I brought with me for the whole creation of Aritifacts #33. And, thinking about it now, this still is the way I feel, excited and terrified.

What influenced you in becoming a comic book artist?

I have always drawn. I've never been brought to the real painting and I was more interested in creating characters and environments on paper. I guess it was a natural path, as often happens.

 

What comics or artists inspire you?

To be honest, I don't read many comics and my inspiration can come from there as from a movie or from a coffee took at the window, looking out.

Personally, I come from a family that never looked favorably at things like comics, so I could read my first one very late, at age 16. It was DNA2.

Anyway I was already drawing and painting since childhood, and when I finally was able to take contact with the comics world, it has been a desired outburst, rather than a specific search of inspiration through other artists.

How does it feel working for a company like Top Cow?

I only have one thing to say: I entered one only contest in my life and I did it when it was the one held by Top Cow.

I've put a lot of hope and energies I didn't thought I could have, at the end of 2012. Anyway Top Cow's production always had a special place in my heart and sure it was worth the effort. It was a strongly desired thing.

How does it feel to work on a series as popular as Artifacts?

I couldn't ask for a better prize.

It was a pleasure Top Cow has put me working on Tom Judge, one of the main characters on Artifacts.

What do you prefer drawing the most, emotional dialogue sequences or exciting action?

I like action, even if it has always been quite rare I was given the chance to prove myself in that field, probably because I mostly worked on covers and illustrations, rather than on comic pages, during the past five years.

However, I must admit treating characters' expressions is another thing I like to deal, and this happens to have more chance to be emphasized during emotional dialogue sequences.

Were you a fan of Artifacts prior to working on the series?

Yes, I've always been interested in the whole Top Cow's production.

When they told me I was one of the winners, before knowing on which character I would had to work, I figured how much I would liked painting a issue about Tom Judge or Ian Nottingham or Aprhodite IV, alongside Jackie, of course!

Knowing well the Artifacts' universe helped me a lot as I was working on issue #33.

How do you feel about working alongside a fellow winner of Top Cow‘s Talent Hunt?

Kenny Porter has put together a very beautiful plot. I immediately felt at ease with his way to tell a story and everything was so natural. I think he had a perfect understanding of the characters he decided to put into play. It was a great experience and I must confess I'm sorry I hadn't the chance to interact directly with him, during the processing of 'The teacher and the preacher'. If there will be the chance to work again with him, I surely will do it!

 

Are you planning to work on any more issues of Artifacts and if not what are you planning on working on next?

At the moment I'm working on two other Artifacts issues. I like the idea to have the chance to work with Top Cow again.

And yes, I still am excited and terrified.

What advice would you give an aspiring artist about tackling Top Cow’s Talent Hunt in the future?

Back with my mind to December 2012, as I was closing the pages for the Talent Hunt, I've to say I strongly desired having the chance to work specifically with Top Cow, rather than simply working with a major publisher. I was focused on them.

This certainly does not sound like the suggestion you asked for, I think people are very different each other and each of them have their own motivations to enter a contest. Anyway this reminds me to why I tried it.

I can advise to always evaluate your own work with a wide open eye, as much as possible free from personal mental filters we all have. Being honest with yourself is one of the keys to keep improving.

I'd also say to constantly remember what part of the work is an actual request from the publisher and where instead there's room for interpretation, for your style, so that it's both the publisher and your art can valorize and respect each other. I think it's very important to carefully choose who you want to be selected from and then work hard to prove you deserve to be chosen.

Artifacts #33 is on sale now.

I already posted the preview for Artifacts #33 on my interview with the writer Kenny Porter, but -Rom- very kindly gave me some high resolution pictures from the issue that I thought I'd share (just click the pictures to view the full image).

You can also follow -Rom- at http://darknessetfolly.blogspot.co.uk/

Exclusive Interview with 2012 Top Cow Talent Hunt Winner Hannibal Tabu

I was lucky enough to get the chance to ask 2012 Top Cow Talent Hunt Winner Hannibal Tabu a few questions on being a winner of the contest.

How does it feel to be a winner of Top Cow’s Talent Hunt?

Outstanding. I had a chance to win something based on sheer merit, based solely on the work I did and to have Top Cow recognize me for that is an amazing feeling for which I am very grateful.

What influenced you in becoming a comic book writer?

So many things. I was a child, reading the Great Darkness Saga and having my brain flip over the scale of it all. Christopher J. Priest and Dwayne McDuffie have both been enormously inspirational and shared great wisdom with me. I love Kieron Gillen's creativity, I find Warren Ellis deeply entertaining, and recently I've come to adore the work of Geoffrey Thorne and Brandon Easton.

However, the seed of all my writing runs deeper, to Octavia Butler, to Douglas Adams, to Samuel Delany, to Isaac Asimov and Alex Haley and James Baldwin and Langston Hughes. Thaddeus Howze. Jack McKinney. Valjeanne Jeffers. Iain M. Banks. Balogun Ojetade. So many voices spurred me on.

I also owe an enormous debt to Eric Stephenson, who worked with me at Next Planet Over and encouraged me to apply for the Comic Reel job at Comic Book Resources, which has led to so many good things. I have been compelled to tell stories, to communicate, for as long as I can remember, and that drive to create and produce has never left me.  

What comics or writers inspire you?

We talked already about writers, so I'll talk about comics. I love SO much, as we live in a true golden age. Saga, Fables, Five Weapons, Gillen's Journey Into Mystery, Blood Syndicate, Concrete, Will Power, The Standard, Princeless, The In-Crowd, Super, Star Wars Agent of the Empire, Xombi, Transformers More Than Meet The Eye, Dusu: Path of the Ancient, the original Marvel Hama run of G.I. Joe, V for Vendetta, Icon, Menthu, Transmetropolitan, Priest's Black Panther, Hudlin's Black Panther, Pax Romana, Astro City, Voice in the Dark, Casanova, Herobear & Kid (my four-year-old loves it), Dream Thief, Think Tank, Vescell, Watson & Holmes, Double Jumpers, Molly Danger, Midnight Tiger ... there are so many good comics available today that it's scary how many people still rely upon, as they say, "the simple back and forth, the same." 

How does it feel working for a company like Top Cow?

I'm honored to fly the flag of one of comics' biggest iconoclasts, Marc Silvestri, and the legacy of hits the company has is virtually unbroken. The fact that they saw something in my work is an enormous privilege that I hope to live up to. They make gorgeous, high profile books and with titles like Think Tank, they show they're not just a pretty face. I couldn't be happier. 

Yes, that means I'm available to take on more work from them, by the way. 

 How does it feel to work on a series as popular as Artifacts?

Artifacts is a big world building series that stands at the foundation of Top Cow's continuity. For me, that meant having an enormous responsibility to maintain fidelity to that continuity and still tell a story that's personal and has real things at stake for the characters, that they have real motivations and inhabit spaces that feel like you can be there, even with super powers and what not. I'm very happy to have this opportunity and -- especially given my reviews column -- more than ready for the slings and arrows of outrageous (and anonymous) posters.

What do you love writing the most (dialogue, action, character interaction etc.) and what is your favourite genre to write?

Plot is where I feel the strongest sense of competency. However, whenever I am writing anything, the first thing I do is make an OHOTMU styled entry for each character, so I know who they are and can refer back to them. I use this as my guide, so whenever I get to a point in plotting (I do extensive outlines first) where I'm not so sure what to do, I go back and read the character write ups I did and determine what would that character do in the situation. Almost always leads me the right way.

Were you a fan of Artifacts prior to working on the series?

I was a fan of the concept. The idea that the Artifacts themselves are a puzzle, that solving it ends the universe, fascinates me.  Likewise, some of the individual artifacts -- the Spear of Destiny, the Glacier Stone turning anybody into Bobby Drake, the multifaceted uses of The Darkness ... I like a lot of what's going on there.

How does it feel to work alongside Nelson Blake II and do you feel he's shown your story as you imagined it?

The best part about Nelson is how he sat down with me and helped me understand a lot of the mechanics of the process in a way that I didn't really grasp at first. He's been in the game for a long time, and his knowledge and wisdom were invaluable to me in learning more about the craft.

Are you planning to work on any more issues of Artifacts and if not what are you planning on working on next?

Well, I'd have to defer part of that question to my brilliant, talented editor Betsy Gonia and her even more distinguished boss Matt Hawkins. If the phone rings and they're on the other end, my answer is "yes."  

However, thanks to the notoriety I gained from the announcement, I am pleased to say I have a lot more going on.  I am co-writing an issue of "Watson & Holmes" with "2 Guns" creator Steven Grant for New Paradigm Studios.  I am writing an issue of "Project: Wildfire" for Legends Press, and I'm doing a prose fantasy novel called "Waso: Will To Power" for Stranger Comics. If I read correctly, everything but "Project: Wildfire" will be available for sale in the first quarter of 2014, with a few more announcements to come later in the year, spirit willing.

What advice would you give an aspiring writer about tackling Top Cow’s Talent Hunt in the future?

Over perform. Spell check. Get peer review -- not from your friends or family, they're liars. Find people who know story and structure and writing but don't like you well enough to lie to you, and befriend them, then exploit that friendship as best as you can. Develop your craft. Seriously, spell check. Read the best of the best and study it, absorbing the lessons of their example. Study the source material as closely as you can, and live within the lives and personalities of the characters. Show up on time. For the love of pie, spell check that thing again, one typo can be the end of you. Master the fundamentals of story and structure, and leave it all on the field.  Be on time, be professional, be polite, don't be a jerk. Nobody owes you anything, so go out and get it through sheer volume and merit.  

I sincerely wish every contestant all the success in the world -- I always want to see more quality work.  

Artifacts #35 is on sale 19th Feburary.

Exclusive Interview with 2012 Top Cow Talent Hunt Winner Kenny Porter

I was lucky enough to get the chance to ask 2012 Top Cow Talent Hunt Winner Kenny Porter a few questions on being a winner of the contest.

How does it feel to be a winner of Top Cow’s Talent Hunt?

I'm honored to be one of the winners of the Talent Hunt. From what I've heard there were around 800 entries just for writing alone, so to be selected out of that many entries feels like a real honor. I put a lot of work into my submission, so I'm glad to see that the hard work wasn't wasted.

What influenced you in becoming a comic book writer?

I've been a comic book fan since I was in elementary school. I can still remember going to my local shop on my bike and buying issues of Uncanny X-Men from the discount bin. But what really pushed me was after I had studied screenwriting and wanted to branch out from just writing movies or prose. I was still reading comics here and there, but had never thought about writing them. After experimenting a bit I realized that I could combine my love of scripting with my love of comics. After that I couldn't stop coming up with concepts, stories, and characters. I've been writing and studying the craft of comics now for the past several years.

What comics or writers inspire you?

I have a mixed bag of inspiration from both comic book writers and traditional writers. Mark Waid, Grant Morrison, Neil Gaiman, and Brian K. Vaughan are some of my favorite comic book writers. Each has their own unique style, but I appreciate the variation and enjoy the way each of them brings words and panels together. When it comes to traditional writers I’ve always been a fan of Douglas Adams and Kurt Vonnegut. I was kicked out of my high school silent reading class for laughing out loud at The Hitchhiker's Guide to the Galaxy until I started to cry.

How does it feel working for a company like Top Cow?

Working for Top Cow has been a very positive experience. I've worked closely with the editorial team and have found the whole process to be exciting and enjoyable. I'm a firm believer in the idea that someone can always learn more about his or her craft, and I've learned a lot from working with the team at Top Cow.

How does it feel to work on a series as popular as Artifacts?

It was a little daunting at first. I had never written licensed characters for a title like this, and I know that Top Cow has dedicated fans that enjoy their universe and characters. The more I explored the concepts and realized that we were doing a story that was still in the vein of Artifacts, but with the voices of myself and -Rom-, I was happy to contribute. I'm honored to get to add to that universe and carve out a little corner for Tom Judge and Tilly Grimes to explore.

What do you love writing the most (dialogue, action, character interaction ect.) and what is your favourite genre to write?

It’s kind of a silly answer, but I love writing all of it. This issue was a little lighter on dialogue than some of my other work, but that’s because I wanted to build tension and focus around some of the more dramatic visual elements of the story. When it comes to scripting I'm excited to write every piece, no matter what kind of scene or interaction is going on in the story.

Were you a fan of Artifacts prior to working on the series?

I was a fan of Artifacts, though I didn't really follow the entire run until I entered the Talent Hunt. Researching all of the characters, including Tom Judge and Tilly Grimes, was half the fun. I found myself getting lost in the mythology and the world that Top Cow had built in their universe.

How do you feel about working alongside a fellow winner of Top Cow‘s Talent Hunt?

Working with -Rom- has been a delight. She and I had an instant connection when it came to telling the story and controlling the pace that the characters moved through that world. At first it might have seen like we were just complimenting each other back and forth to be polite, but it was because we were honestly excited to be working with each other. Whenever I would get her sketches back or she would get my story notes each one of us had to cut down our exclamation points by at least half.

Are you planning to work on any more issues of Artifacts and if not what are you planning on working on next?

There are no concrete plans right now, but I would love to write more issues of Artifacts down the road. Right now I'm also working on some creator-owned projects with local artists in Michigan and a few of my friends in New Orleans. Most of this year will be dedicated to writing pitches and getting the stories out there for people to read.

What advice would you give an aspiring writer about tackling Top Cow’s Talent Hunt in the future?

Do something different, but don’t sacrifice your voice and style to do it. If your story feels repetitive or your not sure about it then you should scrap it, start again, or make it go in a completely different direction. Be yourself in your writing, but also remember to honor the characters and the world that Top Cow has built over the years.

Artifacts #33 is on sale now.

Artifacts #33 Preview

Exclusive Interview with Top Cow President Matt Hawkins

I was lucky enough to get the chance to ask the President of Top Cow and current writer of both Aphrodite IX and Think Tank, Matt Hawkins a few questions about working in the comic book industry as well as the future of his series'.

What influenced you in becoming a comic book writer?

Mainly science fiction writers that write novels not other comic book writers.

What comics or writers inspire you?

Asimov, Heinlein, Clarke all the Sci-Fi greats from the late 20th century. 

How did you get into the comic book industry?

I was hired by Rob Liefeld in 1993 to do PR and marketing work for his company at the time.  I wrote Lady Pendragon in 1995 as a one shot for Maximum Press then later as a series through Image Central.  Been writing off and on ever since. 

How does it feel being the President of  a company like Top Cow?

It's both exciting and terrifying.  I've been doing it for a long time now, so not as daunting as it used to be. 

How do you feel that your run on Aphrodite IX differ from David Finch and David Whol's run?

Mine is a far worse future.  There's wasn't pleasant, but mine deals more with transhumanism and a dystopian future of genetic variation and exploitation and cybernetics.  The book ties in strongly with what Silvestri is doing on Cyber Force.

How does it feel to work alongside such a wonderful artist such as Stjepan Šejić and how easy do you find writer/artist relationships to be?

Stjepan is great one of the best!  His design sense is amazing.  I am one of the few writers that still writes old school Marvel style.  I write the plots first, let the artist put their polish on it, then write the dialogue after.

What do you love writing the most (dialogue, action, character interaction ect.) and what is your favourite genre to write?

Science Fiction definitely my favorite.  I like the plotting the best. 

What do you have planned for the future of Aphrodite IX and this new Aphrodite XV be a major player in the upcoming sixth issue?

I think I just sent it to you so you can read it! 

How many issues of Aphrodite IX do you have planned and will Stjepan Šejić be the artists for the entire run?

Yes and we've planned out at least through 12 hopefully much further. 

I've not been following Think Tank myself but have heard great things about it. What are your plans for the future of that series and when is a good jumping on point in the near future?

We're launching the second season of the title this summer in color, so that would be the perfect place to jump on. 

What do you prefer writing Think Tank or Aphrodite IX?

I like them both. 

What advice would you give to an aspiring writer about getting into the comic book industry?

Read stuff besides comic books and write every day.  Try to get a job in the industry doing anything and you can segway into creative.

Aphrodite IX Vol. 1: Rebirth is out the now (review here) with Aphrodite IX #6 coming out November 27th. Also Think Tank Vol. 1 & 2 are available now with Think Tank #11 coming out 4th December.

Aphrodite IX #6 Preview

I also hope to have a review for Aphrodite IX #6 up soon.

Exclusive Interview with Witchblade Artist Laura Braga

I was lucky enough to get the chance to ask the current artist on Witchblade, Laura Brag a few questions about working on Witchblade and the comic book industry as a whole.

What influenced you in becoming a comic book artist?

As far as I can remember I've always wanted to draw comics or cartoons, and as a child I spent lots of time drawing or coloring, it was my favourite game. I've always said drawing comics would be my job and I've grown up keeping that promise.

What comics or artists inspire you?

They are so many ... I couldn't name them all. Also very different for style or genre.

I attended the Disney Academy, so at the beginning I had a completely different style, more cartoonish. I developed a more realistic style working with Milo Manara. Today there are many American and French artist that inspire me.

How did you get into the comic book industry?

I started like most of comic artists, sending my portfolio to publishers...it was about 10 years ago, I just had my first degree at Art School and I started working in comics and illustrations for some of the main Italian publishers, mostly in books for kids.

How does it feel working for a company like Top Cow?

It's amazing! I definitely love to work with everybody at Top Cow, there's a lot of feedback and we talk a lot about our ideas about the story we're working on. And I've always loved the characters of Top Cow universe so, as a fan, it's amazing to have the chance to draw them.

Laura's Step by Step Working Progress

How does it feel to work on a series as popular as Witchblade?

Witchblade is always been a great series, I've always loved it, and every run has added something significant to the personality of Sara, making her grow. So it's quite a fantastic challenge, I hope I am able to add something to the character as well.

Were you a fan of Witchblade prior to becoming the current artist?

I've always been a fan of Sara Pezzini and Witchblade, it's been one of the first comics I've read, so I'm really attached to this series. When I got the offer to draw one of my favourite female characters I felt really enthusiastic and excited.

Was there any prior Witchblade artists that inspired your take on the character?

I like all of the artist that worked on Witchblade, each one of them is an inspiration to me, most of all Michael Turner.

How do you feel about working alongside Ron Marz and how easy is it to work off his scripts?

Working with Ron Marz is the best situation a comic book artist could wish! Not only he is a fantastic writer with a clear vision of all the sides of the story and of the characters, but he's also very helpful, he's always there when I need a hint on the story we're working on! And it's so natural to draw his stories as you can really see the images and every detail as soon as you read the script!

What do you prefer drawing the most, emotional dialogue sequences or exciting action?

I have no preference, I enjoy drawing emotional dialogue sequences as well as action, both of them are challenging and I  try to give depth to the characters also in action sequences.

How many issues of Witchblade will you be working on and is there anything else that your planning to work on in the future?

I just started #172, for sure I wish I can work on this series as long as possible, it's a great series and a fantastic work team.

What advice would you give to an aspiring artist about getting into the comic book industry?

My only advice would be to study and practice a lot, only with determination and study it is possible to obtain high-quality results.

You can pick up Witchblade #170 now with Witchblade #171 coming out 18th December

You can also follow Laura Braga at http://laurabragasketch.blogspot.co.uk/ and https://www.facebook.com/laurabragA.rt