I thought that Mike's art and the story deserved that. It just feels like an upgrade from a regular monthly comic book. So, it's essentially the same sort of thing that we did on Batman/Spawn. And the reason for that was it would give me 40-plus pages, and I could then do a nice cardboard square bound, and it would feel substantial. The question was, "Okay, now that I've got four issues from Mike, 80 pages, do we do it as a miniseries of four issues? Do we do it as a one-shot? And we landed on the two issues. Plus, even the story content deserves a little bit of its own corner because it's touching on subjects that people can get somewhat emotional and passionate about. Since it was noticeably different, I thought that if I put it in the regular book as a four-issue story arc, I might not be honoring the effort that Mike had done. Once I started getting the pages in from Mike and Mike started feeling comfortable with what we were doing, it was noticeably different to me. At times, it feels like a dark R-rated… If you've seen the original Snow White movie, it's animated, but it feels gritty in some of the things. It's got a bit of a painter quality to it without it being fully rendered. The reason I say that about Mike's artwork is he paints it. I'm biased, but if anybody hasn't seen the book, even if you're not a Spawn fan, at least next time you're in a comic shop, I think you should leaf through it because it's really pretty and elegant. I was fortunate enough to hook Mike Del Mundo, who did the fabulous artwork in it. What inspired you to release it as a two-book miniseries rather than put it under the main Spawn line or in any of your other books? Let's pivot to the Spawn: Unwanted Violence series for a second. And then mix it in with the known quantities that people like and go, "Oh, my God, I've known that guy for 20 years. Sometimes it's fun to find people who are either not quite as known or may actually even be doing art outside the realm of American superhero comic books - just for a change of pace. I look on Instagram a lot and things like DeviantArt. I mean, you walk around, you see stuff, and either you know who the person is or inquire who the person is. It's not very scientific, in all honesty. ![]() It's more deadline oriented.Īnd then how I go about choosing it. There's no preconceived order of I'm going from best to last or any of that. Some of the people who were tied up with prior work, we put them into the October, November, December slots, and people who said, "Yeah, I could start on it tomorrow," then we put them in a little bit earlier. Then if you can do four, how fast can you do the four? It leads to a little bit of a logistics equation. Number one, there's a bit of a beggars and choosers, like, "Do you want to do it?" And B, "Can you do four?" So, that's not one favor that's four favors I'm asking. ![]() When you are picking an artist, what are you looking for? How can people get your attention? I'm sure there are people out there wondering how they can get Todd McFarlane to notice them and do some Spawn covers. Given that I've only got four monthly books, it's easy for me to say that artist is going to do my entire lineup. It was just trying to magnify it from being a lone wolf cover to something a little more. ![]() If you like that artist, then you may be inclined to buy them all. So, I, "Hey, if I could hook a couple of big artists like I was able to do on a couple of the Spawn anniversary books, the new Spawn Universe, or even recently on Batman/Spawn - those are event books - so, everybody's already looking at it, right? But if you're getting people to do great covers on the regular monthly book, then how can you draw a little bit more attention to it?" And the answer would be, "Well, what if I just put them on all the books, and then the spotlight would be on them for the entire month?" The retailers, the readers, everybody would know what they're getting for one month.
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