Podcast: Zombie Boy

Download the podcast

Welcome to Evil Ink’s podcast. I’m your hostess Amber Dalcourt a design consultant for small businesses who want to increase their professional credibility through branding and digital media. Today on our show we have Mark Stokes. Welcome Mark.

Mark Stokes: Hey! How are you Amber?

Amber: I’m great, and you?

Mark Stokes: I’m doing good.

Amber: Let’s start by telling our listeners what Zombie Boy is about.

Mark Stokes: It is about an 11 year old boy called Morgan McCorkindale and he is living challenged. He is a zombie. The comic strip is basically about him, but honestly he’s like a secondary character at this point. I’ve created so many different characters that have taken over, since he was the first guy there.

It’s fun. It’s sort of developing a life of its own.

Amber: Let’s share in some of the members of the cast, shall we?

Mark Stokes: We have Beatrice Stroud who is a psychic and she thinks that her psychic abilities are a curse; but she can read minds and she can pick things up and pick up vibes from it. You never want to hand her the pencil that you write in your diary with that’s for sure.

We have Claustria Wurmhol, she is a wiccan. She is basically a modern witch. She likes to do a lot of cursing but mostly at Zombie Boy because I think she secretly has a crush on him. You always pick on the ones that you love the most.

Zombie Boy’s best friend is a guy called Duncan. He is basically the son of a tiger training team. His last name is Fairchild so the team is called Fairchild and Boyd. As I say in his description he is partial to ascots and has a phobia of poor people.

There’s a lot of other secondary characters and stuff. If people are interested in reading it they can go to my cast page.

Amber: Oh yeah, most certainly. But these guys would be the central crew?

Mark Stokes: Yeah there are five human characters that I center around and there is Gorr who is Zombie Boy’s devil dog. Gorr has been sort of taking over the strip for the last six months or so. I really enjoy doing strips that don’t have any words, they’re just visual and he’s the perfect character to do that because as a dog he can get away with a lot of things that people can’t get away with. Also it’s all in his expression. I can’t really have him talking, so everything that happens has to be told in his facial expression. His strips are always a lot of fun, I really enjoy working with him.

Amber: How long have you producing the comic?

Mark Stokes: This year marks the 25th anniversary. I published my first comic book back in 1987 and I launched it as a webcomic in August of 2010. So this is the second anniversary that I’ve been online.

Amber: What did you do before decided to start this comic?

Mark Stokes: Zombie Boy was originally a comic book and I originally published four issues of that. I’ve got some animation background. I’ve created some short animated films. I’ve also spent a few years as a struggling stand up comic. I did comedy, acting and improv. I was a graphic designer and I also taught cartooning at a local university for a while.

Amber: Needless to say that you are well versed in the visual story telling aspect required for telling a story in comic book form.

Mark Stokes: Yeah, I figure that I’m basically a stew of all of these different creative ventures that I’ve tried over the years. I actually helped make me to able to do what I’m doing and that’s always a good thing.

Amber: Are you still working a full time job? If so as what?

Mark Stokes: For my day job I’m an art cataloguer for an auction company and my area of expertise is comic book, comic strip, and animation original art. That just means that I have access to some of the most incredible cartoon art ever created.  As a cartoonist it’s pretty much the dream job. I get to see some amazing things on a daily basis; stuff that people would never have a chance to see, it’s been in a private collections or it’s been sold to another private collector will own it and will never be exhibited publically.  

There are whole collections of work that the family has inherited and when the artist passes away, the family brings it to auction. Some of that stuff has never seen the light of day since it was drawn and has been put up in someone’s storage room or something.

It’s really great stuff; I really enjoy my job.

Amber: Artists are such hoarders.

Mark Stokes: Yes, the funny thing is on some of this art, when you’re looking at it because you have to give it a thorough examination, you’ll turn it on the back and you’ll see a grocery list or some note that they forgot that they have to pay somebody a certain amount of money. Little things like that that you’d never see in a book or even if it’s framed in a museum, you wouldn’t ever know that it was there.

You see all sorts of really cool things where an artist will be calculating how much money he will be making that week from the rate that he’s getting and that kind of thing.

I guess artists are hoarders, but they also use the art for – you know... If they have a piece of paper in front of them they’re going to be writing or drawing something on it.

Amber: How long have you worked in this field?

Mark Stokes: I’ve been a working artist since I was in high school. I worked for my local news paper in the home town that I grew up in, I did editorial cartoons and I had a comic strip in the news paper called McTavish and that was about a broken tooth walrus. That ran for a year or so.

I used to do logo designs, posters and painted signs for local businesses. I was doing all that when I was in high school when I realized I could make money at it, so I just kept doing it. If you’re making money at something you kind of want to keep doing that.

I’ve been pretty much a working artist about over 30 years now. I’ve supported myself on my art. I’ve been pretty happy about that.

I used to freelance for many years before the job that I have now. I used to do regional animated TV commercials for quite a few years. All this time that I’ve been doing all this stuff, it’s been great; I’ve been able to support myself using my creative imagination and my skills. I think that I was pretty blessed. My parents recognized it really early and they supported it. I think that was a really great thing as a young artist, it’s nice to have that.

Amber: That’s a tremendous asset.

Mark Stokes: It is. I have run into people who never had any artists in the family or their family didn’t really understand it and didn’t think it was anything worth pursuing. They’d rather you be a plumber or something. Those people could never really pursue it because I think their dreams were crushed pretty early on.

Art and creativity is such a fragile thing, it’s so tied into your ego. Art really is an expression of who we are. If you’re told: “that’s not the kind of job that you need to be doing” or “I don’t see how you’re ever going to make a living off of doing that” then more than likely you won’t pursue that and it might be something that you wish you had down the line.

My parents were very supportive. I remember my father used to tell me “Son, you’re not charging enough money for that.”

At the time I used to think “Oh gosh, I’m just happy to get paid for it.”

My father was looking at it from a business point of view and he was always trying to instill in me the fact that it was worth something.

Amber: I think that something that most artists tend to lack is a business sense.

Mark Stokes: That’s true. Being self employed is the best and fastest way to learn how to have some business skills, otherwise you’re going to starve to death or go out of business quick. Another thing that’s very important as a creator is to have that network to keep you in the loop so that you know what’s coming up and so that people will recommend you for things.

It’s a great field! If anyone is interested in being an artist, I would suggest that you do get some business classes early on even before they start trying to do their own business. Those things are the best things to know before you get started. Like for me, I learned the hard way, but I did learn.

That’s the thing though, you go to art school and you learn everything that there is to learn about art, I don’t know if they do it these days, back when I was going to art school the actual business part of it wasn’t something that they ever addressed. They gave you all the skills to do what you have to do but there wasn’t a lot of: “Here’s what’s going to happen when you get out there” and “this is called a contract” and “this is what you have to sign” and “you have to make sure that you get a certain percentage of your job up front” and that kind of thing.

Amber: I graduated in 2004 from Graphic Design at my local college. We learned about how to write a contract but we weren’t told what the different areas of the contract was for and we were never given any business sense such as “how much are we supposed to charge” or “how do certain projects take” we were just expected to go out there a get a job like a real person.

Mark Stokes: It makes you wonder [if] the people behind these schools are they really properly preparing you. How much to charge is really as important as a contract because you need to know what you’re value is and you need to know if you’re being underpaid.

I’ve always been the kind of person who gave people the benefit of the doubt, but that doesn’t go as far as... you need to have a contract. Then of course a contract doesn’t guarantee you that you are going to get paid.

Amber: But it does give you some legal footing.

Mark Stokes: It does give you some legal footing but sometimes they can be a hard line about it and refuse to pay you about something like that then you have to take it to the next level but that requires you to you know. There are ways that you can do it without spending a lot of money, but still it’s just the aggravation of it. Sometimes they can wear you out by not paying you by continuing to put you off and that kind of thing.

I’ve had just about every experience that you can have.

Amber:  And if those negative experiences don’t turn you off of freelancing than nothing will.

Mark Stokes:  People who freelance are a breed onto themselves. I have a friend whom I went to art school with, and he and his wife are both artists; he has never had a desk job ever in his entire life. He’s always supported himself as an artist in one form or another.

I asked him once: “Do you ever see yourself sitting at a desk and just working for a company?” and he [said] “I wouldn’t even know where to begin doing a job like that.” Because he’s so used to working his own schedule and taking care of his own business and doing that kind of thing.

It took quite some getting used to not being able to make my own schedule. I used to love used to love to work all night, I was a night owl. I would start working at 9 o’clock at night and not stop until 3, 4 or 5 in the morning. But you can’t do that in a regular 9 to 5 type situation.

It’s a give and take type situation. You sacrifice in some areas and you get some stuff in another area. I think stability is a nice thing to have. That’s one thing in freelancing that you can’t quite ever be sure of. Sometimes you may have good weeks and sometimes you may have not so good weeks; you have to budget what you have to last.

There are a million things about freelancing. It’s like going to another planet almost; you have to learn all of this stuff. You can learn how to breathe that air from that other planet, but it takes a while and it takes some trial and error.

Now that I’m working a in a regular job, I think it helps because I’m working in an area that I really enjoy and it is a very creative job. I wouldn’t be able to find a job like this anywhere in the world because it’s really a specialized type of a situation. So for me as an artist it’s a blessing.

I’d hate to think that I’d be sitting crunching numbers or something, I would hate that.

Amber: Let’s circle back to Zombie Boy. What inspired you to start Zombie Boy?

Mark Stokes: I was living in Florida in the late 80’s and my then roommate Mark Propst who today he is a big DC artist, he works on Lobo and Aquaman and JLA, Action comics and all that stuff. In those days he was working for some of the smaller black and white publishing companies. Occasionally when he was getting behind in deadlines he would ask me to help him ink. I’ve always been an artist and I always had the skills, so I would help him. That inspired me because at that time it was in the middle of the black and white explosion. I don’t know if you’re familiar with that time period, but there were a lot of independent publishers and everybody and their brother was producing a comic book in black and white.

Amber: I seem to recall something like that during my early childhood.

Mark Stokes: It was during the time when the Teenage Turtles first came out. They started out as a black and white comic and then that just took off. By 85 or 86 they were just top; they were selling a hundred and something thousand copies a month. It was just unbelievable.

At that time, I was working for a small art agency that ran an estate companies properties, so we were a little company within a company. Inside the area that I was working in we had a small offset printer, and we had a printer that was actually there part-time and would come in to help us do some of our printing.

So I figured that I could publish my own comic because I had access to everything, and so that’s what I did. I published my first book through that set up and that got distributed and then that led me to do another comic which was a bit more of a regular comic with a regular format. I just had everything line up at one point and that’s where I began.

I’ve always loved comics [for] as long as I can remember and it was like a dream come true to be able to pull that first comic off the press and to have the ink smudging on my fingers, I was so excited.

Amber: That’s a fantastic feeling though.

Mark Stokes: There’s nothing like having something published. There’s nothing like having something that you have done embedded in paper for the world to see.

I still some of those comics. Many years after I’m gone, someone is going to find one of my comics somewhere. You are leaving a legacy behind; people do value publications, books, and magazines.

It was such a thrill! And once you’ve had it you just want to continue to keep doing that. It’s almost like a drawing, you want to get back to getting something published.

Once I did the first two, I thought “We’ll I’m going to go ahead and do another one”. So I ended up doing four Zombie Boy comics all together. The third comic was a collected volume of all the other comics that I did. The fourth one was published through another publishing company. I had stuff published in other publications as well.

Ever since I was a high school student and I was seeing my stuff in the local paper, I was just enamoured with print and I still am.

This webcomic thing is interesting because you’re getting the thrill of it and everything except the fact that it’s not something that you can hold in your hands.

Amber: Did you work on other comics outside of Zombie Boy?

Mark Stokes: In the 90’s when everyone was still self publishing a lot of different books, I worked for a book called Jab; I did several stories in that. I did a couple of stories that were in Mr. Monster Presents which was a book that came out in the late 90’s. I’ve had things published in different magazines, not comics stuff but illustration work and stuff. I’ve been published in a lot of different magazines.

Comics wise, I’ve had a lot of strips that were non Zombie Boy that were in several different comics over the years.

Also recently, I’d like to say that I was in the 41st edition of the Overstreet Comic Book Price Guide which is the standard listing of all the comic books that have ever been published. I’ve been trying to get into that for many years now.

On the 25th anniversary of my first comic, I’m finally in the official price guide. It’s the one thing that I wanted to have happen before I die, so that I felt like I did do it, that I accomplished some comic books that were validated in that book. That’s just something that I felt like I wanted to have done. On the 25th anniversary, I thought that was a nice little anniversary gift.

Amber: Congratulations.

Mark Stokes: It doesn’t sound like much but for me I’ve been trying to get this done for so many years; I didn’t think it was ever going to happen. They have a list of every single zombie comic that was ever published except mine; and now they do. I’m amongst all the other zombie comics out there.

Amber: What did you do to market your webcomic, specifically Zombie Boy?

Mark Stokes: My focus has been just keeping up with my deadlines, developing my story telling skills in a gag a day format, which is really hard to do. In the first quarter of next year I’m going to start implementing some advertising and marketing strategies. I’m actually planning those out now, I’ve got some ideas.

My focus has been so much on just being able to produce really good work and developing my ability to do it that I’ve not really put a lot of emphasis in some of the marketing parts. I got a marketing person, he and I have made a game plan for all of next year.

We’ve been planning it, but for me it’s been a matter of time to be able to do it, it’s been so hard just to get the strip out there as well as doing freelance work on the side. It’s really a time crunch issue more than anything. 

Amber: Now I think that’s fascinating. You’ve been doing this comic for about 25 years and you’re still concerned with the quality of the comic.

Mark Stokes: I think that as an artist if you ever get complacent and you feel like that everything you do is just so wonderful and you’re very happy with it then you’re never going to grow.

Art is a living thing, it has to evolve. It has to continue to grow. You have to try things that aren’t going to work. You have to force yourself to go in another direction that maybe you didn’t feel comfortable with or it can stagnate.

I’ve always wondered some artists can keep the same look of their work 30 or 40 years. If you look at Schulz’s early work is very tight and very precise almost and his later work is just these wobbly lines, but he kept the vitality of it. Even he evolved.

Amber: How much planning was involved for Zombie Boy before you sat down and drew your first page?

Mark Stokes: I filled an entire sketch book with doodles before I even started drawing the first strip. For me, doodling is a really fun thing to do because you can say so much. You don’t have to worry about annoying things like proportion and perspective or doing things in character. When you’re loose sketching it’s so freeing., you just want to get the idea down there.

Of course I had the character all thought out [after] all these years of working with him. The Zombie Boy character himself, I never had to think much about him. It was how I was going to squeeze what I had done before into this new format, where it’s a gag a day type situation. That’s what really got me excited and energized again.

I titled my third book Zombie Boy Rises Again and the reason why I did that was because every couple of years, I’ll renovate him. I’ll totally change him. I might make him a different looking character. I’ve kind of kept him basically the same, but I’ll change the different formats. In my very last comic I updated him to a teenager and it was almost a manga-esque type of a story; because I can, I mean I own him. I can do whatever I want with him.

As a webcomic artist, I’ve taken all of the stuff that I’ve done before and like play dough I’ve squeezed it into this new format. To be honest with you, it’s my favourite interpretation of the Zombie Boy character. I really am enjoying this immensely and I hope that comes through.

Amber: I’ve looked through your entire archive and it really does come through that you love what you do.

Mark Stokes: Sometimes I’ll go back through the archives and just looking at it I can remember drawing that line or what inspired that.

[When] people the three or four panels that you put out there and that’s all they see. They can only pick up the ephemera that you’ve left with your work but to the artist who actually created it has that whole back story.

“Oh yeah I remember when I was talking to my friend and he made that little comment, and then that sort of triggered that entire comic strip.”

To me, my comic strips are like little diary entries. I’m not saying that for all of them; there’s some that come just out of nowhere and you just draw them out and you just do it. But some of them bring back memories. I’ve compared comic strip to time capsules because as an artist with all the background experience and memory that goes with it, I see all that when I see it.

The readers don’t get all of the back story, but they don’t really have to as long as they are feeling that emption that I was trying to register that’s enough for me. I get that same feeling when I read other people’s strips too. I don’t know exactly what the story was, but I can identify with whatever it is that they are trying to say at the time. It’s really fascinating to me, the whole process.

Amber: What platform are you using to host your web comic?

Mark Stokes: I use WordPress ComicPress. I’ve had some people help me tweak it to where it is now. To be honest with you I would really like to revamp my entire website. I think it’s important to update things every few years, just to give it a fresh look. That’s one of the plans that I have going for this coming year.

It took me two years to tweak it to what it is now because I’m totally not a tech person, but I do have enough brain cells to be able to figure out some things. The really fancy stuff I have to get help with.

Amber: Are you publishing a new comic strip every day?

Mark Stokes: I put a new strip up three times a week: Monday, Wednesday, and Friday. I plan to continue doing that. It’s the format that works for me, even though it can be nerve wracking at times. I feel like anything less than three a week, I don’t think I’m going to be able to say what I want to say. But I don’t think that I have enough time to say that five days a week.

Amber: How much of the story have you planned ahead? Or Scripted?

Mark Stokes: I have quite a few stories planned for the future. The problem is that I keep going off on these tangents with weekly strips. I might take some weekly strip idea or some gag and then I might carry that through for three or four strips. I might throw something down and I might think “Hey! I could do more strips here and take this gag a little bit further.” 

That just keeps me from getting to the longer stories. I do have some stories sketched out and thought through, but I haven’t really gotten to those yet because I’m having so much fun doing these strips that I’m doing now.

My Dog Pooj is the inspiration for my character called Gorr, which is the dog. I cannot tell you how many strips that this dog has written. This dog is a comic genius and I just basically have to get something written down really quick when he does something because it’s non-stop.

He’s a pug, so they’re already like these cartoon characters to begin with.

Amber: Oh okay I see the resemblance now.

Mark Stokes: I made him sort of look like a bulldog/pug but he can look like several different kind of dogs but he does have that squashy-squinchy face. It’s not so much the way that he looks but every single thing that he does all of the poses, especially the ones where he’s laying on his back and just looking up with goofy face, that is all directly from my dog. I see it pretty much every day.  

Amber: Walk us through the process of making a page for your comic.

Mark Stokes: What happens is it will start with a grain of an idea. I would also like to preface this by saying that idea is going to come at the most inopportune moment, like 10 minutes after you’ve shut the lights off to go to sleep. Sometimes somebody will say something funny or you’ll read something, the best ideas are always right there in front of you just waiting to be picked up.

Once I have the idea, I move to the doodle/thumbnail stage and just sketch out the ideas and try to put them in some sort of a form where I might be able to break it up into small panels or something. That helps me with pacing.

Once I’m done with the thumbnail, I sketch it out on a larger piece of paper. I’ll take that and I’ll clean that up and then I’ll ink that. What I usually do is I’ll ink the word balloons and any kind of type first before I do anything else because that’s the stuff that’s in front of everything.

That’s basically how I put a page together. It’s the same process if you’re doing comic book stories too, you have to break it up like that. There’s a flow that all of these panels have and I break all of that down in the thumbnail stage because that helps save all the trouble later; you don’t want to get too far ahead. 

That’s basically how I do it. The ideas come from anywhere. I think that as a comic strip artist, especially for a gag-a-day type, you have to be ready and you have to be like a radar where you’re always scanning to come up with something new.

I find that if I don’t write it down, I forget it really quick, so I try to have something on me that I can either type it into my phone or write it on a piece of paper. I usually just write it on whatever I have in front of me because it’s quick. I have a whole folder full of doodles and little notes to myself. If I’ve written it down where I can read it, I’m okay with it, but sometimes I write it so fast  that I have no idea what I wrote. I got this brilliant idea for a cartoon that I don’t even know how to translate.

You have to learn to write quickly but as efficiently as possible, where you can actually read your letters.

Amber: Any story teller has a message to communicate with their audience. With a medium such as comics, you have ability to speak to the audience on many different levels. What message did you intend to deliver through your comic, if any?

Mark Stokes: I don’t think that I have a message per say, I’m not much of a preachy guy. I like the work to speak for me. The bottom line is that I’m just trying to make something that I, myself, would like. It’s like the message isn’t really coming from me it’s just being delivered through me. I take such a joy in the process that I can’t help but think that sometimes I might be able to pass that along.

Amber: Do you feel that your audience has a powerful sway over your characters or story?

Mark Stokes: There’s an interesting thing about doing a web comic is that you have a direct communication with your audience. You learn to be a little bit flexible. I’ll give you an example:

One time over this past summer, I did a whole series of comic strips based around the beach. My friend read one of my strips and he made a suggestion and he said “What about this wouldn’t that be funny.” He didn’t actually make it as a suggestion for me to do, he said it as a joke.

I started thinking about that and I said, “I have to do this. I have to create this strip.” I dropped the strip that I was working on because it had to be out in like two days. So I cranked out this new strip and I plugged it in and it turned out to be a really fun strip.

I think that reader response is something that no other comic strip artist in our history has ever been able to have such an open door to the people that are actually reading their strips.

Most of the time is somebody says “you should do this” or “I have got this really great idea” that approach generally never really works for me. But sometimes when people are reacting to something that I’ve done and I get some really great feedback, I get a lot of positive energy from people reading it and saying “oh I really like that”. That might be a catalyst for inspiration for me to continue to throw in some more strips [where] I was inspired by what they said.

To me that’s one of the most thrilling parts of being a webcomic artist today. Back in the comic strip days you produce these things 6 to 8 weeks ahead of time, so by the time their reading the strip today in the paper, you did that like a month ago. You probably don’t even remember what they’re talking about.

In our situation, we’re doing these strips and people are reading them and commenting on them the very day that you put them up. There’s this give and take, it really is just a wonderful experience.

I’m not really easily influenced by people because I have a lot of this stuff thought through already for a long time. But when somebody throws something in from left-field and it sounds like something that could really elevate it or goes right with it, I’m all for that.

They don’t influence me per say, but their energy galvanates me to do something that I wouldn’t have done.

Yeah, there is a little give and take there, that’s for sure.

Amber: Where do you see Zombie Boy in the next few years?

Mark Stokes: I want to continue telling stories and I want to produce some of the longer ones that I was talking about earlier and eventually I want to collect them together in some sort of volume that contains one whole story. I do also want to publish some collected volumes of the strips that I have now.

Also, I want to seek out more audience and bring new readers in. I’ve got some plans for the first quarter of next year with the advertising that I think may help. I’ve got some ideas to go outside of the internet and try to bring in some readers that way.

I’m going to implement these things slowly to see what works and what doesn’t. There’s going to be some trial and error, but it can’t hurt. I think it can only open a few more doors that I didn’t already have open.

Amber: Say that you were to go back in time to visit your younger self just as he is about to start Zombie Boy, what piece of advice would you give him?

Mark Stokes: When I first started Zombie Boy there wasn’t an internet, so I really couldn’t say anything along those lines. I think one thing that I would say to my former self is: “You should always try to improve yourself and you have to start somewhere.”

Whatever I did then is not what I’m doing now. There was always a learning curve to everything. I think I’d have to couch it in terms of what we have today, because there’s no way of getting around the electronic age and all of this new technology.

I would tell myself: “Don’t think that there’s some sort of magic formula for anything to happen. Always be prepared to try something new. Don’t give up!”

I think the most important thing and I would tell this to any artist just starting out: “Always strive to get better. You’re never going to be excellent. You may eventually be excellent but there comes a time when you feel like you’ve reached that pinnacle of success and you can’t get any better; you can always get better. If you ever decide that you’re just happy with where you are as an artist, you have to be like a shark in the water you have to continue moving. You can’t just sit on something that you’ve been successful at.”

That’s the other thing, getting back to webcomics today, people only really judge you by the very last thing you did. There’s such a short attention span deal going on that as an artist it’s the perfect opportunity for you to get better because maybe [they] forgot that stinky drawing you did last week, because this week you did this great one.

I think it’s like a bottomless pit, you have to keep producing. In one way I think it’s a really good thing for an artist because if you put yourself on a deadline and you’re constantly needed to produce, there’s just no way that you can’t get better. You may learn short cuts to do thing and get o some place quicker because you’ve done it enough times but there’s always room for improvement. You should always strive to get better and try new approaches.

Amber: Thank you so much for taking the time to do this interview with me.

Mark Stokes: It’s been a real pleasure talking with you.

Take Away:

Today’s take away is pretty straight forward. As a new artist, no matter whether or not you’re getting into design, comics, webcomics, or illustration it’s important to note that as an artist no matter how experienced you get that you are constantly seeking improvement and with the various platforms available on the internet you can take advantage of the internet’s short term memory. Of course it’s not going to save you from the readers you like to review your archives, but as stated in a previous interview seeing am artist improve is part of the thrill of the whole webcomic genre.

Another thing to take away is to be constantly on guard for new ideas. Keep a small notepad available pretty much at all times and try to write down your ideas quickly and legibly.

Finally, trial and error is all part of the process. No matter how much research you do, you’re never going to get it right the first time so go along for the ride, figure out what works and what doesn’t to suit your own personal style.

That concludes today’s episode. Thank you so much for joining us. If you have comments or questions, please feel free to leave them on the podcast interview page and one of us will get back to you.

All links mentioned in this interview will be listed on the aired podcast page at: www.evilink.ca

Evil Ink is always interested in interviewing freelancers and creative individuals. If you want your project or comic featured with us, drop us a line at info@evilink.ca or fill out our contact form.

Links:

Website: www.zombieboycomics.com
Twitter: krash_Pow
Professional Profile: ComicBookDB