MattBrady
08-02-2006, 10:27 PM
<img src="http://www.newsarama.com/general/Transfuzion/DrSyn.jpg" border="0" align="right"> special to Newsarama by Joe Martin and Gary Reed
When you think of a comic book "studio", a collective of artists probably come to mind. But a brand new studio - Transfuzion (http://forum.newsarama.com/showthread.php?t=77215) - is the brainchild of writers. Created by Gary Reed and Rafael Nieves, two veterans of comic writing and publishing, Transfuzion is a collective ensemble of their properties. In addition, they have invited two other writers into their plans, Steve Jones and Randy Zimmerman.
Reed is probably best know as the publisher of Caliber Comics, a company that introduced many of today’s top stars in comics but he is also a creator and writer on such titles as Deadworld (http://forum.newsarama.com/showthread.php?t=75935), Saint Germaine, Red Diaries, and others. Nieves helped to form Moonstone Comics and was also involved in the later days of Comico. He’s written for Marvel with Hellstorm and Tales from the Heart plus many other projects. Steve Jones is a long time veteran and published comics through Malibu such as Worlds of H.P. Lovecraft and recently has shifted more towards novels. Randy Zimmerman has long been involved in fanzines but had some hits in the comics market with Aniverse and Spank the Monkey and was also the publisher of Massive Comics and Arrow Comics. Collectively, the team has been involved in publishing or writing 1000’s of comics.
In the following interview, Joe Martin had a chance to sit down with all four members of Transfuzion and get their thoughts about their new venture and what their group and individual goals are. Martin has worked with all four of the members while he was an editor at Caliber Comics under Gary Reed. Martin was recently announced as Editor for Artesia, producers of comics and role-playing games and has established himself as a writer in comics with Legendlore, Frank Frazetta Magazine, and Legends of Camelot.
Joe Martin: First off, what exactly is Transfuzion?
Gary Reed: Transfuzion is sort of a holding company for the properties that the writers involved with have created or are creating. In that sense, it’s a studio of ideas and potential titles. Essentially, we’re pooling all out our creative energies into this thing called Transfuzion which serves as a focal point of what we want to do. At this stage, we’re not publishers although we may look at that in the future. We’re not really packagers although we might do some of that.
<img src="http://www.newsarama.com/general/Transfuzion/Talismen.jpg" border="0" align="left"> Randy Zimmerman: I see Transfuzion as a real estate agent really, offering up and making more visible properties that we would like to move and develop. Some that have been on the market before, some new, and most with incredible potential to become really big developments, once the right parties find them and realize the potential we see in them.
GR: Transfuzion is simply a group of writers with a giant catalog of ideas, scripts, treatments, and stories. Transfuzion is to link our stories with artists who want to work on a collaborative effort with us to get those stories into sequential art that we call comics. It’s a developmental studio.
JM: So, you’re not hiring artists but inviting them to join you in creating comics.
GR: Exactly. The purpose of Transfuzion is to develop comic properties by forming collaborative associations with artists to join the writing efforts of the Transfuzion authors. It is a speculative process in that the properties available are not guaranteed to have a publishing home. We do think, however, with established and proven writers and talented artists, that the process can create titles that will be desirable for publishers. But there are no sure things. But with the experience and contacts that the people involved with Transfuzion have, we have the opportunity to showcase the properties to the right people. The work itself will prove whether it is successful or not.
Rafael Nieves: We know that there are artists out there, new and veteran alike, who are looking for good projects to sink their teeth into, and we believe that Transfuzion can generate those projects.
Steve Jones: Transfuzion offers them a chance, pure and simple. You know, in the United States, our Constitution states that everyone has a right to the pursuit of happiness. It does not guarantee happiness, just states the right to pursue it . It is up to you as a citizen to take advantage of that right, knowing ahead of time you might fail. But at least you have the chance! And that is what Transfuzion offers an artist: a chance.
<img src="http://www.newsarama.com/general/Transfuzion/ApocPlan.jpg" border="0" align="right">There are four pretty darn good writers in the Transfuzion stable, if I say so myself, and we offer a variety of different types of projects. There’s no guarantee that that project will ever be published, or, if it is published, that it will sell enough to make you money. It's a gamble. What I don't understand, though, is that this gamble discourages a lot of artists. They seem to think, “Why should I commit all that time and work to something that may never amount to more than pages for my portfolio?” Well, what if you don't? What’s the alternative? Doing nothing? What does that accomplish?
GR: There are no guarantees the work will find a publisher but between the writers, we have been published by nearly two dozen comic publishers in addition to writing novels, screenplays, games, and other formats. So, nothing is a given but there’s a good track record behind us. It is an opportunity. And there’s a lot of talented folks out there that say that’s all they need to prove themselves. Well, here’s the chance.
JM: How did Transfuzion come about?
RN: Working in this industry for 20 years has taught me that there are really good artists out there who just need a break. As I've often said, I may not be able to pay an artist, but I can often get them published, which can put them on a course to fame and fortune, if they'll only take a chance. Writers need artists, we know that. But artists can be helped quite a bit by good writers as well. Over the years, I’ve talked with Gary about finding these artists and of course, with Caliber, he probably found more new artists that went on to establish themselves than most.
GR: Yeah, it grew out of the discussions with Raf over the last year or so. Being a freelance writer now, finding artists to collaborate was sometimes difficult. So, we figured Transfuzion was a great way of letting artists who would be interested in working with us, that there is that opportunity. It’s not something for everyone, we realize that.
JM: How did it come about that Transfuzion expanded from you two (Gary and Rafael) to include Steve and Randy?
GR: Simple. We asked them. Both Raf and I have certain styles or themes in our writing it seems, so we wanted to branch out a little bit more. Having worked with both Steve and Randy in the past quite a bit, I felt comfortable bringing them in. Their stuff gives us a great deal more diversity.
<img src="http://www.newsarama.com/general/Transfuzion/Seeker.jpg" border="0" align="left"> SJ: I’ve got to tell you, I was honored when Gary and Raf asked me to join. I was a little intimidated, too. Those guys are wicked talented as is Randy. So, the main thing I wish to accomplish is to make the most of this wonderful opportunity. To me that means collaborating with talented artists I might never have had the chance to otherwise, and then getting that material out in front of as many readers as possible.
JM: So, Transfuzion is a collection of ideas that artists can join. How collaborative will the artists’ contribution be to these stories?
RZ: I do a lot of comics on my own, cartoons, comic strips and the like, which I feel helps me "see" and put in a script that I've written what detail needs to go in for the artist to develop the story along. I really enjoy all the aspects of comics and their production, but also realize I have limitations and many more stories I want to be a part of than I able willing or able to draw. Collaboration is a big part in producing comics in a timely framework, but it's not just a matter of hitting deadlines that makes me want to work with someone as much as the sharing of ideas and creation of a work we can both be happily involved with that matters.
SJ: I love collaborating. It’s an unbelievable charge when an artist takes a story of mine and dedicates all of his effort and talent and vision to it. In other words, when the artist takes the ball and runs with it. I like it when an artist cares enough to suggest ideas about how to improve a story or even take it in a direction I hadn’t envisioned. That's one of the things I love about working with Barb on Talismen. Since we co-created the story she has a true commitment to it, so if I come up with ideas she almost always will respond with some suggestions in return. Then I make my own suggestions back, and this collaboration feeds on itself. It's a wonderful way to work, so long as you trust your collaborator, and I always trust my collaborator until he/she proves I shouldn't. To be honest, though, I’ve worked with about 20 different artists in my career, and I’ve only had two bad experiences. That's a ratio of good experiences to bad experiences that I can live with.
GR: I don’t know how more simply it can be put. Comics are a collaborative medium. I write full scripts, not so it’s necessarily done “my way” but because then the artist can see what I’m doing. And often, they make suggestions and again, often it will be adjusted. Some artists are more involved, others want to concentrate on the actual rendering. It varies quite a bit but I think most writers know the artists are the visual creators.
JM: Are you looking to do primarily comic books? I know Steve does the webcomic of Talismen and writes novels but what about the rest of you?
<img src="http://www.newsarama.com/general/Transfuzion/Renfield.jpg" border="0" align="right"> GR: I’m looking at all formats. Comics, graphic novels, perhaps some illustrated novels like some of us at Transfuzion are doing for Actionopolis with their young adult novel line. Maybe some properties end up being available as only digital comics or perhaps we end up doing a package for a publisher who wants something created for them. It’ll vary. Mainly, it will be the property and the potential to get it published in some format that will dictate that. Each writer sets their own agenda.
RZ: Mainly comics for me. Comics are the ultimate form of expression and entertainment. You can literally guide the readers mind more personally and more directly than any other media. You are guiding the viewer's imagination more directly than anything they only hear or read, which leaves a lot to the listener or reader's imagination, and you have only a handful of people involved in the production, with practically no budget, if any.
RN: I've been writing comics a lot of years and I'm always amazed at how the medium affects me. Although many people have suggested that I write films or novels, I still believe in the power of the graphic narrative. Where else can you create or blow up whole worlds without a million dollar budget? I'm always looking for collaborators who are willing to work as hard as I do to tell a story that resonates with the readers, that makes them feel... something.
JM: So, most of the artists will likely have to be committed to a project for quite awhile?
GR: Again, it depends on the project. All of us here have series or graphic novels that we want to do so that is much more of a commitment for the artist. The writers are willing to give up some of their rights to some of their stories with the collaborative artists so they can share if the title does well or goes onto some licensing avenues. .Again, that would depend on each writer and each project but an artist would know before embarking on anything. Some of us also will be doing much shorter works for anthologies so an artist only has to commit to a few pages.
JM: What projects are you guys working on now?
SJ: I have one of the projects listed on Transfuzion site with a Marvel artist but he isn’t ready to start yet so I don’t want to announce it. But as mentioned, I’m doing the webcomic, Talismen with Barb Jacobs, which is nipping at the Top 10 rankings in TopWebComics and was nominated for the Choice Award for Outstanding Fantasy Series. Talismen was to be published by Atlantis as a comic series but only the first two issues came out and then Atlantis changed their company’s direction so now we’re looking for a new publisher. There’s a Talismen novel coming out from Mundania Press next year.
I just finished writing the first book for an Actionopolis series called Henrietta Hex. Dorchester Publishing is releasing my western novel, Bushwhackers, in August. Mundania Press will be selling e-books of some stories of mine for download, including a novella called The Frigid Castle that Barb Jacobs and I collaborated on.
<img src="http://www.newsarama.com/general/Transfuzion/TFLOGO.jpg" border="0" align="left"> RZ: Since I work full time and also am a regular contributor the alternative newspaper, The Uncommon Sense, I’m focusing on a few projects such as Banetown which is like an updated Dark Shadows where a town has hidden horrors. I also have a fantasy series called Calico and a young adult type series about Justin Time, a time traveling kid. I also have Hero Herd, a light hearted “funny animal” tale.
RN: I'm working on a new edition of The Bells, an adaptation of the Edgar Allan Poe poem that was excerpted in Graphics Classic's Poe-themed editions. This new version of The Bells, drawn by cartoonist Juan Gomez, will re-present the original story in a digest-sized format will contain two new short adaptations of Poe poems done in a comics format.
I'm also working on Blackbirds, an original graphic novel done in conjunction with new artist Antonio Maldonado. I'm also trying to finish up The Apocalypse Plan, the mini-series that I began with Narwain. The original artist had to leave the project for personal reasons, so I'm hoping to find someone to finish up the story and present The Apocalypse Plan as it was intended, in graphic novel format. Of course, I have more properties that are listed on the Transfuzion site.
GR: Right now, I have Deadworld at Image along with the upcoming Renfield with artist, Galen Showman. In the works, I have Doctor Syn: Tales of the Scarecrow based on the novels by Russell Thorndike. That’s also from Desperado and Image.
In the works, I have The Savants with art from Trevor Von Eden which is a series of a paranormal girl pulled into an assembly of other kids with “special talents”. I’m working with the artists of some projects such as Mitch Waxman with Cortez to reformat the comic into a graphic novel and Mark Bloodworth to do the same with Jack the Ripper. I’m expanding True Spy Stories from a single comic to a graphic novel with comic art and I have a couple other ideas with different themes that will utilize quite a few different artists to do short contributing pieces. With Chuck Bordell, I’m doing a book on the development of evolutionary thought and Charles Darwin called Of Men and Monkeys which could find its way as an educational book. Oh, probably six or seven other things in the works. I’m also working on a Circus of Dr. Lao project which I’ve secured the rights to.
JM: Gary, you’ve been bringing back a lot of the Caliber stuff through Desperado along with Deadworld and Doctor Syn. Are you expecting all of your material to be published by them?
GR: Not necessarily. I have a special relationship with Joe Pruett of Desperado as we go way back and talk daily but he’s under no obligation to automatically publish whatever it is I do. I don’t make that assumption. He’s pretty agreeable but there might be some things that don’t fit into what he wants to do and I’m not going to force the issue. So, when the work gets close to being shown, that’s when I’ll discuss it with him and of course, Image.
JM: What is the process of artists contacting you about specific projects that they want to work on?
GR: Right now, the best way is to visit the Transfuzion site ( www.transfuzion.biz ) and see what interest there is. More stuff is being put up including some of the shorter works available. We like to get an email first before anyone sends anything and then we’ll go from there. We’ll be setting up a PO Box for hard copies shortly but right now, it’s via email or ftp.
We’ll also be at Wizard World Chicago so interested artists can stop by to drop off their samples or let us know if they’re interested. Rafael has a spot in Artists Alley (table #3085) and I’ll also be there most of the time. Steve will be there on Saturday part of the day.
JM: Any plans to bring in more writers to the Transfuzion stable?
GR: Well, we’ll have to see how things work out. But none of us are opposed to the idea. Who knows, Joe, maybe we’ll ask you.
When you think of a comic book "studio", a collective of artists probably come to mind. But a brand new studio - Transfuzion (http://forum.newsarama.com/showthread.php?t=77215) - is the brainchild of writers. Created by Gary Reed and Rafael Nieves, two veterans of comic writing and publishing, Transfuzion is a collective ensemble of their properties. In addition, they have invited two other writers into their plans, Steve Jones and Randy Zimmerman.
Reed is probably best know as the publisher of Caliber Comics, a company that introduced many of today’s top stars in comics but he is also a creator and writer on such titles as Deadworld (http://forum.newsarama.com/showthread.php?t=75935), Saint Germaine, Red Diaries, and others. Nieves helped to form Moonstone Comics and was also involved in the later days of Comico. He’s written for Marvel with Hellstorm and Tales from the Heart plus many other projects. Steve Jones is a long time veteran and published comics through Malibu such as Worlds of H.P. Lovecraft and recently has shifted more towards novels. Randy Zimmerman has long been involved in fanzines but had some hits in the comics market with Aniverse and Spank the Monkey and was also the publisher of Massive Comics and Arrow Comics. Collectively, the team has been involved in publishing or writing 1000’s of comics.
In the following interview, Joe Martin had a chance to sit down with all four members of Transfuzion and get their thoughts about their new venture and what their group and individual goals are. Martin has worked with all four of the members while he was an editor at Caliber Comics under Gary Reed. Martin was recently announced as Editor for Artesia, producers of comics and role-playing games and has established himself as a writer in comics with Legendlore, Frank Frazetta Magazine, and Legends of Camelot.
Joe Martin: First off, what exactly is Transfuzion?
Gary Reed: Transfuzion is sort of a holding company for the properties that the writers involved with have created or are creating. In that sense, it’s a studio of ideas and potential titles. Essentially, we’re pooling all out our creative energies into this thing called Transfuzion which serves as a focal point of what we want to do. At this stage, we’re not publishers although we may look at that in the future. We’re not really packagers although we might do some of that.
<img src="http://www.newsarama.com/general/Transfuzion/Talismen.jpg" border="0" align="left"> Randy Zimmerman: I see Transfuzion as a real estate agent really, offering up and making more visible properties that we would like to move and develop. Some that have been on the market before, some new, and most with incredible potential to become really big developments, once the right parties find them and realize the potential we see in them.
GR: Transfuzion is simply a group of writers with a giant catalog of ideas, scripts, treatments, and stories. Transfuzion is to link our stories with artists who want to work on a collaborative effort with us to get those stories into sequential art that we call comics. It’s a developmental studio.
JM: So, you’re not hiring artists but inviting them to join you in creating comics.
GR: Exactly. The purpose of Transfuzion is to develop comic properties by forming collaborative associations with artists to join the writing efforts of the Transfuzion authors. It is a speculative process in that the properties available are not guaranteed to have a publishing home. We do think, however, with established and proven writers and talented artists, that the process can create titles that will be desirable for publishers. But there are no sure things. But with the experience and contacts that the people involved with Transfuzion have, we have the opportunity to showcase the properties to the right people. The work itself will prove whether it is successful or not.
Rafael Nieves: We know that there are artists out there, new and veteran alike, who are looking for good projects to sink their teeth into, and we believe that Transfuzion can generate those projects.
Steve Jones: Transfuzion offers them a chance, pure and simple. You know, in the United States, our Constitution states that everyone has a right to the pursuit of happiness. It does not guarantee happiness, just states the right to pursue it . It is up to you as a citizen to take advantage of that right, knowing ahead of time you might fail. But at least you have the chance! And that is what Transfuzion offers an artist: a chance.
<img src="http://www.newsarama.com/general/Transfuzion/ApocPlan.jpg" border="0" align="right">There are four pretty darn good writers in the Transfuzion stable, if I say so myself, and we offer a variety of different types of projects. There’s no guarantee that that project will ever be published, or, if it is published, that it will sell enough to make you money. It's a gamble. What I don't understand, though, is that this gamble discourages a lot of artists. They seem to think, “Why should I commit all that time and work to something that may never amount to more than pages for my portfolio?” Well, what if you don't? What’s the alternative? Doing nothing? What does that accomplish?
GR: There are no guarantees the work will find a publisher but between the writers, we have been published by nearly two dozen comic publishers in addition to writing novels, screenplays, games, and other formats. So, nothing is a given but there’s a good track record behind us. It is an opportunity. And there’s a lot of talented folks out there that say that’s all they need to prove themselves. Well, here’s the chance.
JM: How did Transfuzion come about?
RN: Working in this industry for 20 years has taught me that there are really good artists out there who just need a break. As I've often said, I may not be able to pay an artist, but I can often get them published, which can put them on a course to fame and fortune, if they'll only take a chance. Writers need artists, we know that. But artists can be helped quite a bit by good writers as well. Over the years, I’ve talked with Gary about finding these artists and of course, with Caliber, he probably found more new artists that went on to establish themselves than most.
GR: Yeah, it grew out of the discussions with Raf over the last year or so. Being a freelance writer now, finding artists to collaborate was sometimes difficult. So, we figured Transfuzion was a great way of letting artists who would be interested in working with us, that there is that opportunity. It’s not something for everyone, we realize that.
JM: How did it come about that Transfuzion expanded from you two (Gary and Rafael) to include Steve and Randy?
GR: Simple. We asked them. Both Raf and I have certain styles or themes in our writing it seems, so we wanted to branch out a little bit more. Having worked with both Steve and Randy in the past quite a bit, I felt comfortable bringing them in. Their stuff gives us a great deal more diversity.
<img src="http://www.newsarama.com/general/Transfuzion/Seeker.jpg" border="0" align="left"> SJ: I’ve got to tell you, I was honored when Gary and Raf asked me to join. I was a little intimidated, too. Those guys are wicked talented as is Randy. So, the main thing I wish to accomplish is to make the most of this wonderful opportunity. To me that means collaborating with talented artists I might never have had the chance to otherwise, and then getting that material out in front of as many readers as possible.
JM: So, Transfuzion is a collection of ideas that artists can join. How collaborative will the artists’ contribution be to these stories?
RZ: I do a lot of comics on my own, cartoons, comic strips and the like, which I feel helps me "see" and put in a script that I've written what detail needs to go in for the artist to develop the story along. I really enjoy all the aspects of comics and their production, but also realize I have limitations and many more stories I want to be a part of than I able willing or able to draw. Collaboration is a big part in producing comics in a timely framework, but it's not just a matter of hitting deadlines that makes me want to work with someone as much as the sharing of ideas and creation of a work we can both be happily involved with that matters.
SJ: I love collaborating. It’s an unbelievable charge when an artist takes a story of mine and dedicates all of his effort and talent and vision to it. In other words, when the artist takes the ball and runs with it. I like it when an artist cares enough to suggest ideas about how to improve a story or even take it in a direction I hadn’t envisioned. That's one of the things I love about working with Barb on Talismen. Since we co-created the story she has a true commitment to it, so if I come up with ideas she almost always will respond with some suggestions in return. Then I make my own suggestions back, and this collaboration feeds on itself. It's a wonderful way to work, so long as you trust your collaborator, and I always trust my collaborator until he/she proves I shouldn't. To be honest, though, I’ve worked with about 20 different artists in my career, and I’ve only had two bad experiences. That's a ratio of good experiences to bad experiences that I can live with.
GR: I don’t know how more simply it can be put. Comics are a collaborative medium. I write full scripts, not so it’s necessarily done “my way” but because then the artist can see what I’m doing. And often, they make suggestions and again, often it will be adjusted. Some artists are more involved, others want to concentrate on the actual rendering. It varies quite a bit but I think most writers know the artists are the visual creators.
JM: Are you looking to do primarily comic books? I know Steve does the webcomic of Talismen and writes novels but what about the rest of you?
<img src="http://www.newsarama.com/general/Transfuzion/Renfield.jpg" border="0" align="right"> GR: I’m looking at all formats. Comics, graphic novels, perhaps some illustrated novels like some of us at Transfuzion are doing for Actionopolis with their young adult novel line. Maybe some properties end up being available as only digital comics or perhaps we end up doing a package for a publisher who wants something created for them. It’ll vary. Mainly, it will be the property and the potential to get it published in some format that will dictate that. Each writer sets their own agenda.
RZ: Mainly comics for me. Comics are the ultimate form of expression and entertainment. You can literally guide the readers mind more personally and more directly than any other media. You are guiding the viewer's imagination more directly than anything they only hear or read, which leaves a lot to the listener or reader's imagination, and you have only a handful of people involved in the production, with practically no budget, if any.
RN: I've been writing comics a lot of years and I'm always amazed at how the medium affects me. Although many people have suggested that I write films or novels, I still believe in the power of the graphic narrative. Where else can you create or blow up whole worlds without a million dollar budget? I'm always looking for collaborators who are willing to work as hard as I do to tell a story that resonates with the readers, that makes them feel... something.
JM: So, most of the artists will likely have to be committed to a project for quite awhile?
GR: Again, it depends on the project. All of us here have series or graphic novels that we want to do so that is much more of a commitment for the artist. The writers are willing to give up some of their rights to some of their stories with the collaborative artists so they can share if the title does well or goes onto some licensing avenues. .Again, that would depend on each writer and each project but an artist would know before embarking on anything. Some of us also will be doing much shorter works for anthologies so an artist only has to commit to a few pages.
JM: What projects are you guys working on now?
SJ: I have one of the projects listed on Transfuzion site with a Marvel artist but he isn’t ready to start yet so I don’t want to announce it. But as mentioned, I’m doing the webcomic, Talismen with Barb Jacobs, which is nipping at the Top 10 rankings in TopWebComics and was nominated for the Choice Award for Outstanding Fantasy Series. Talismen was to be published by Atlantis as a comic series but only the first two issues came out and then Atlantis changed their company’s direction so now we’re looking for a new publisher. There’s a Talismen novel coming out from Mundania Press next year.
I just finished writing the first book for an Actionopolis series called Henrietta Hex. Dorchester Publishing is releasing my western novel, Bushwhackers, in August. Mundania Press will be selling e-books of some stories of mine for download, including a novella called The Frigid Castle that Barb Jacobs and I collaborated on.
<img src="http://www.newsarama.com/general/Transfuzion/TFLOGO.jpg" border="0" align="left"> RZ: Since I work full time and also am a regular contributor the alternative newspaper, The Uncommon Sense, I’m focusing on a few projects such as Banetown which is like an updated Dark Shadows where a town has hidden horrors. I also have a fantasy series called Calico and a young adult type series about Justin Time, a time traveling kid. I also have Hero Herd, a light hearted “funny animal” tale.
RN: I'm working on a new edition of The Bells, an adaptation of the Edgar Allan Poe poem that was excerpted in Graphics Classic's Poe-themed editions. This new version of The Bells, drawn by cartoonist Juan Gomez, will re-present the original story in a digest-sized format will contain two new short adaptations of Poe poems done in a comics format.
I'm also working on Blackbirds, an original graphic novel done in conjunction with new artist Antonio Maldonado. I'm also trying to finish up The Apocalypse Plan, the mini-series that I began with Narwain. The original artist had to leave the project for personal reasons, so I'm hoping to find someone to finish up the story and present The Apocalypse Plan as it was intended, in graphic novel format. Of course, I have more properties that are listed on the Transfuzion site.
GR: Right now, I have Deadworld at Image along with the upcoming Renfield with artist, Galen Showman. In the works, I have Doctor Syn: Tales of the Scarecrow based on the novels by Russell Thorndike. That’s also from Desperado and Image.
In the works, I have The Savants with art from Trevor Von Eden which is a series of a paranormal girl pulled into an assembly of other kids with “special talents”. I’m working with the artists of some projects such as Mitch Waxman with Cortez to reformat the comic into a graphic novel and Mark Bloodworth to do the same with Jack the Ripper. I’m expanding True Spy Stories from a single comic to a graphic novel with comic art and I have a couple other ideas with different themes that will utilize quite a few different artists to do short contributing pieces. With Chuck Bordell, I’m doing a book on the development of evolutionary thought and Charles Darwin called Of Men and Monkeys which could find its way as an educational book. Oh, probably six or seven other things in the works. I’m also working on a Circus of Dr. Lao project which I’ve secured the rights to.
JM: Gary, you’ve been bringing back a lot of the Caliber stuff through Desperado along with Deadworld and Doctor Syn. Are you expecting all of your material to be published by them?
GR: Not necessarily. I have a special relationship with Joe Pruett of Desperado as we go way back and talk daily but he’s under no obligation to automatically publish whatever it is I do. I don’t make that assumption. He’s pretty agreeable but there might be some things that don’t fit into what he wants to do and I’m not going to force the issue. So, when the work gets close to being shown, that’s when I’ll discuss it with him and of course, Image.
JM: What is the process of artists contacting you about specific projects that they want to work on?
GR: Right now, the best way is to visit the Transfuzion site ( www.transfuzion.biz ) and see what interest there is. More stuff is being put up including some of the shorter works available. We like to get an email first before anyone sends anything and then we’ll go from there. We’ll be setting up a PO Box for hard copies shortly but right now, it’s via email or ftp.
We’ll also be at Wizard World Chicago so interested artists can stop by to drop off their samples or let us know if they’re interested. Rafael has a spot in Artists Alley (table #3085) and I’ll also be there most of the time. Steve will be there on Saturday part of the day.
JM: Any plans to bring in more writers to the Transfuzion stable?
GR: Well, we’ll have to see how things work out. But none of us are opposed to the idea. Who knows, Joe, maybe we’ll ask you.