Michael E. Uslan

And a new series called Dr.

Sin by Michael Uslan and Stephen S. DeKnight with Sebastian Cabral on art.

which is apparently about basically an undead revolutionary war insurgent.

Nice.

So I'm curious when you're working on comics like Dino Saucers or Street Sharks, is it more challenging when you don't have that specifically childhood nostalgia with the property? Or is it still mostly just based on like how strict they are with the existing character models?

Well, with Dinosaurs, no, I'd never heard of it before they asked me about it, but I was very lucky that I was working with Michael Uslan, the original series creator, who was already a friend.

When the publisher teamed us up for this, they didn't know Michael and I actually knew each other to begin with.

And Michael was looking to do something new and different with it.

And then there's the backup story called On the Street.

And this is written by Michael Uslan.

Now this has the artwork of Jose Luis Garcia Lopez.

So we have two stories that are drawn beautifully and they actually are very similar in style.

I haven't read enough Archie, but of the Archie that I've read, I like this one a lot.

From Michael Uslan, Paul Kupferberg, Stan Goldberg, Norm Breyfogle of Batman fame, and Fernando Ruiz from Oni on December 1st.

Egg Hunt number one from Benjamin Percy, Raul Fernandez at Mad Cave out on November 18th.

The Collected Edition of Of the Earth from Chris Condon, Andrew Erick, and Charlie Adlard out from Image Comics on December 2nd.

But in many ways it's such a heightened experience because, you know, because they're playing or they're doing what they do so brilliantly, and, and I think that was the thing with him.

So I came out with these poses, and it's just been copied all around the world, you know, by the cosplayers [laughs] and even Michael Uslan said, "Your scenes and your poses, Carl, will be immortalized [laughs] forever." Which is also a bit surreal, because, you know, it's that thing, again, as a boy, I loved my Action Man.

I loved so many different things, the Hulk, the Gerry Andersons and Sylvia Andersons, that wonderful technique that they had, you know, with the puppetry, and all these kind of things coming together, and so that you're almost like a toy yourself in a way.

[laughs] I mean, you know, you're there and everything is just so magnified, you know? I mean, I was fortunate I had a good jawline, but, you know, with Herb, it just, you know, made it s- really come out with the cowl and just the lighting and just absolutely amazing.

And I just sort of happened to be the right guy because I have the comic books and the, and the knowledge.

Um, uh, a little side note, when I was at NYU, I also interned for Michael Uslan and Ben Melniker, uh, who were the executive producers of all the Batman movies.

Yeah.

It, it had, it had nothing to do with my getting the, the job at, you know, with DC later, uh, but it does feel like I have a connection, and it really goes back to my name, I know that, you know?

He finished 2 and 3.

And I know that they were talking about, obviously, Batman was in the works for a long time, but Michael Uslan had the rights to Batman.

And then it took him a while, like almost 10 years or more before he got Batman off the ground.

And then there was so much crap on TV where, you know, everybody said, you know.