Digital Webbing

But really fun book.

We did it solo through a friend of mine, Ed Dukeshire at Digital Webbing.

uh a small independent publisher that does some really cool books and he helped us get the first couple done and then we came back a few years later and did it at image comics we were also picked up with that book to do uh we were at mtv mtv comics for a little while and uh we were gonna do animation we were part of the uh the planned relaunch of liquid television television the second the second time they tried it there's a third attempt now i believe but the second time and um we got all the way into scripts and storyboarding and everything we were in the process of casting um when all you know the plug got pulled on all that stuff a little bit of a bummer but it would have been cool to do um but yeah that book's always it keeps coming back every couple years it kind of comes back in a different way to do something new you know maybe it'll come back around again

and i did not know that because i so punks was one of the ones that i liked but it was it was like the image version so y'all did one before and then it became fascinating so how would that one work i mean is that one because y'all had to put money into that one i'm assuming right to start it up or how it was how did y'all go about that um

The early stuff we did with just me and Josh through digital webbing, we would brainstorm the ideas.

Josh would go off and write the script.

I would create all the artwork and change a bunch of stuff and add little things and ideas and send it back to him.

yeah, I think I think we did I'm trying to remember I think we did punks and just before i did 30 days a night the the early stuff we weren't we weren't making any money on it that wasn't a job that was just us doing fun comics uh 30 days a night was the first actual job where i got paid to draw um you know i think punks might have come a little earlier at some point i need to create a timeline and figure out because you know stuff overlaps so much and um and i it's also like you work on the single issue comics of something and then you start another project and then the paperback is coming up so you go back to that other project and you know do stuff for the paperback for bonus stuff and so everything kind of gets blurred in this weird especially with the deadline haze you know it's like the fog of war kind of thing and so it all kind of it smushes together at some point but at some point i need to like look at the actual copyright dates and create a real timeline to kind of see what was when but I think we did punks first, and we may have been also wrapping up while I was doing 30 Days a Night, but once I got into 30 Days a Night, that was all-consuming.

That's all that matters.

That's why, that's why I got him because, you know, I knew Ryan before he broke in and we were on a, a message board called Digital Webbing.

Uh, uh, you probably remember Digital Webbing.

Nope.

And, and it was where all the up-and-coming, you know, creators, aspiring, uh, comic book professionals were.