[zoomsounds_player artistname="ComicsVerse" songname="Comics Creator Ryan Ferrier on His Comics Start, Lettering, and More!" type="detect" source="https://s3.amazonaws.com/podcasts.comicsverse.com/2018/06/nicole_hervoiu_interview_ryan_ferrier.mp3" thumb="https://storage.googleapis.com/storage.comicsverse.com/uploads/2018/06/9f11b36a-ryan-ferrier-podcast.jpg" config="default" cover="https://storage.googleapis.com/storage.comicsverse.com/uploads/2018/06/9f11b36a-ryan-ferrier-podcast.jpg" autoplay="off" loop="off" open_in_ultibox="off" enable_likes="off" enable_views="off" play_in_footer_player="off" enable_download_button="off" download_custom_link_enable="off"] Share on Facebook Share on Twitter Share on Google+ Share on Reddit Share on Pinterest Share on Linkedin Share on Tumblr https://media.blubrry.com/comicsverse/p/s3.amazonaws.com/podcasts.comicsverse.com/2018/06/nicole_hervoiu_interview_ryan_ferrier.mp3Podcast: Play in new windowRyan Ferrier is a comic writer and letterer who’s worked on a number of projects in this career so far. From ROCKO’S MODERN LIFE with BOOM! Studios, to D4VE with IDW, Ferrier has collaborated on brilliant projects across the indie comics world. He was kind enough to take some time out of his day to chat with ComicsVerse about this past projects, hardcore music, guilty pleasures, and his upcoming book with Dark Horse Comics, CRIMINY, which is slated to come out in fall 2018. Check out the interview with Ryan Ferrier below. ComicsVerse (CV): Welcome to the ComicsVerse Podcast. I’m Nicole Herviou, and I’m here chatting today with Ryan Ferrier, an awesome comic writer. How are you doing today Ryan? Ryan Ferrier (RF): I’m great. Thank you for chatting with me. CV: Of course. Of course. I’m just going to get started at the very beginning. What got you into comics? Where did this journey start for you? Just tell me what attracted you to the medium? Ryan Ferrier: I’ve always read comics since I was a kid. Like really, really young. I remember my mom, when I was like, oh my gosh, I would’ve been like six, or seven. I was home sick from school, and she gave me one of those grab bags. With five random comics in it that you get at like the Circle K. And one of them had CRISIS ON INFINITE EARTHS #7, which is the famous cover of Superman holding dead Supergirl. CRISIS ON INFINITE EARTHS: Tips for a Great Reboot CV: Yeah. Ryan Ferrier: And I knew what Superman was from cartoons and stuff, and toys, but I never had read a comic before, and that was just such a crazy image. And then fast forward to when I was about 25. My tattoo artist was also a comic artist, he kind of moonlit as a comic artist, and we just decided to do our own comic. I’d never written a comic before. And that was nearly ten years ago. CV: Wow. Ryan Ferrier: We just kind of started it and did our own thing, and I kind of kept with it. To the point where that’s all I do now, which is kind of cool. That’s a whole few decades, kind of condensed into one very brief explanation. CV: Yeah, no. I feel like for most of us we’ve been with this for all of our lives, and it’s kind of hard to sum it up but well done. Ryan Ferrier: Thank you. CV: When you got into this industry, what did you expect? And what did you find that you didn’t expect? How do you navigate it? Because it’s very different for a lot of people with how you deal with different companies, and you’re a freelancer basically. You’re kind of running all over the place, setting your own schedule. What did you expect? And how did it surprise you? Ryan Ferrier: I didn’t really know what to expect. When I first started it was really just trial by fire. And I think that it surprised me in how easy it was to just make comics. But it’s also incredibly difficult. I think that because I started self-publishing, which is kind of the only way that you can really develop a career now, I found that the hardest thing to do at first was to just do it. And then it’s funny because that kind of gave me a lot of confidence and I did my first conventions after that, and then I really got hooked on self-publishing so I just kept doing it. And that kind of blew all my expectations out of the water. Just like, “Oh, you can just go make comics, and just do it.” Ryan Ferrier: And then from there it kind of shifted because the more work I was doing, and then I started working not self-publishing and getting creator-owned books, and license work, and stuff like that. You kind of get distracted by the concept of breaking in. Which, is a total fallacy. There’s no such thing as breaking in. There’s no one moment where you’re like, “Oh, I made it. Today I got my jacket. That’s me in comics now.” It kind of ruffles your feathers a little bit once you’ve developed that confidence because you learn that you’ll have a really great year, and then you’ll have a really terrible year. Even after you’ve established a name for yourself. However big that may be. Ryan Ferrier: The thing that I never expected, once I started getting steady work, was that the hardest part would be not breaking in, but staying in. I wouldn’t put myself at all as a name in comics, but it’s still an uphill battle. And I know people who have got five, ten years on me, and it’s still the same thing. That’s just the industry is, it’s hard to it can be hard to get the work. You can always make the work very easily, but how that manifests, and how that gets into peoples hands. It’s very difficult. But it’s also really — if you have the motivation to do it, then it helps. You know? CV: Yeah. Ryan Ferrier: It challenges you, and it pushes you. It’s bittersweet. For lack of better words. CV: Right, it’s really difficult. That’s interesting that making the thing is easier than getting the thing in front of people. I guess that’s not something a lot of people think about, but I mean any job is a hustle. Any creativity is going to be difficult in some way. Ryan Ferrier: Yeah. CV: How do you deal with that? How do you get through it? I mean once you’ve made the thing, how do you go to people and say, “Hey, care about this thing I made.” What motivates you to do that? Ryan Ferrier: In the bare minimum it’s, I’ve got to point in my life where I can only do comics. I can’t really do anything else. I don’t want to do anything else. That’s really cool, in that I don’t think a lot of people get to say that they have their dream job. Or that they feel secure in knowing that that’s what they’re supposed to do. Ryan Ferrier: How I go about getting it made? I don’t know? I still don’t know. I’m still figuring this out because I’ll have a good year and I’ll get a bunch of work. I mean with licensed work it’s a little different because most of the time the companies will come to you and be like, “Hey, do you want to pitch on this? Or do you want to do this?” Nine times out of ten I’m like, “Yes. Please. Thank you.” But with creator-owned it’s like, I almost don’t anticipate. I would never come up with the comic based on who would put it out, and how I could get this at a certain publisher because I feel like that’s kind of putting the cart before the horse. Ryan Ferrier: And I want to make honest work, and I want to put the story first, and kind of do what feels right and natural. Sometimes that bites me in the ass because a lot of my stuff is like I know a lot of publishers wouldn’t put it out. I’m working on a series right now with Paul Tucker called Gorno, and I don’t think it’s going to be picked up. I’d be surprised if it got picked up. Just because it’s of the nature of the story. I would understand, and kind of empathize if the publisher was like, “Well, we don’t really want to put this out. It’s a financial risk, or people wouldn’t be into it, it’s too hard to sell.” Ryan Ferrier: I mean you always got to balance being honest to yourself and believing in a project enough to keep working on it. But then at some point, you also have to be like, “Well, do I self-publish this? Do I go to Kick Starter? Or do I kind of just try my hand at whatever publisher’s there?” CV: Yeah. Ryan Ferrier: If they want to take it? Sometimes it just goes to the pitch graveyard. It’s the same hustle from, or it’s a reasonably similar hustle, from your first year to your tenth year. Where it’s just you got to pitch publishers and sell them on it, and hope that they bite. CV: Totally. And you’ve done a lot of license work, and a good amount of creator own stuff. What’s the major difference? Besides the obvious. A creator-owned stories is your baby, and a licensed product was inspired by something, or whatever. What’s the actual difference? Besides that, if there is one? Ryan Ferrier: From a completely objective standpoint, license work can sometimes be faster, and not as intense. Just because you kind of have these things to play with to begin with. Then you kind of have these limitations from the properties to work with. That’s not always the case. Sometimes it’s really friggin difficult. All comics writing is difficult. I’m not saying any of it’s easy. But I just mean if it’s a creator-owned book that you’re syncing yourself into, that can be a really big, exhausting thing. Especially for me, because a lot of my creator-owned work is really, wildly personal. Whether people know that or not. Like KENNEL BLOCK for example. Was so hard to write, and it took so much time. And I think that depending on the market, depending on the deal, depending on the publisher, the money can be better with licensed work, upfront. CV: Sure. Ryan Ferrier: You could have a super successful Image book, and you can make crazy money. Or you could have an equally great book at another indie publisher, and make no money. But then licensed work is just like, “Oh, here’s a guaranteed paycheck. There you go. It’s awesome.” But I think when you go into terms of craft, I tend to keep them the same. I would try to put the same amount of heart into a licensed book that I would a creator-owned book. And I’m really proud of that. Ryan Ferrier: Sometimes you can’t go as far as you want. If you look at stuff that I’ve done: D4VE or KENNEL BLOCK again. I get those are super personal work, and I can’t quite attach that level of me into something like GI JOE or PLANET OF THE APES. But I’m still making honest artwork with it, I think. It’s still fun, it’s still challenging. I keep two separate minds, while at the same time really treating them with the same weight and importance. And they’re both super fun. Yeah. It’s strange. I’ve been away from creator-owned for about a year. CV: Yeah. Ryan Ferrier: As far as putting books out, I’ve been working on creator-owned for that long. During the whole time, but it’s interesting how my stuff’s going to shift really quickly. Back to creator-owned. We’ll see how I can flex those muscles again. I’m interested to compare it to two years ago when it was all creator-owned stuff. CV: Right. That’s probably super exciting. To do something different. You know? Ryan Ferrier: It is. Yeah. CV: That’s awesome. I did want to ask you about one book. Well, a couple. But one book in particular that I absolutely love that you did. And that was ROCKO. Ryan Ferrier: Oh thanks. CV: That I mean my childhood self cried a little bit. I was like, “Oh my god there’s a ROCKO’S MODERN LIFE book. Are you kidding me?” Ryan Ferrier: Yeah. CV: I mean you did an awesome job. You captured the voice, and the personality, and the jokes. My god. Ryan Ferrier: Thank you. CV: I was like, “I’m watching a new episode. This is fun.” But is that a cartoon you watched when you were growing up? Was that something super personal to you? Or did you just say like, “Oh, that sounds like a cool concept. Let me jump on that?” Or was that like a thing you had wanted to do for a while? RF: Yeah, I think that I was a huge fan when I was growing up. I felt like that and REN AND STIMPY were the two cartoons that were kind of appealed directly to me. REN AND STIMPY because I was a real weird, gross kid. And ROCKO’S just because it was so; this is going to sound really bad, but because it was miserable. I’m kind of a miserable dude a lot of the time. And it’s really self-deprecating, and hyper self-aware, and kind of acting older than it’s intended audience, I think, a lot of the time. And I didn’t pick up on the extent of that until I re-watched it like a year ago, I watched the whole series again. RF: But then, it just felt right. I think that my sensibility’s as a writer. If people read D4VE they’d be like, “Oh it kind of makes sense that Ryan would kind of fit in this world.” But yeah, no I was super pumped when they asked me to pitch on it. And that’s actually been super fun. One of my favorite things to work on. I think that it’s because I get to balance being kind of weird, and at times gross. And a dark adult humor. And I think that with also some heart. There’s some heart to it, and there’s some…Every kind of issue or story arch’s got a takeaway, and there’s character growth and stuff like that. CV: Yeah. RF: But I get to do my own thing, and it’s really, there is a lot of my personality in there. I think with me and Ian McGinty, the artist. We also connect really well on that level too. Yeah, it’s fun. There’s a lot of stuff in my head that don’t translate directly onto the scripts for ROCKO’S. But there’s a lot of my faults in the character. You know? Like the anxieties, and the insecurities and stuff like that in Rocko. And then you get to just this gleeful idiocy of Heffer, and that kind of innocence that he has. RF: But then you look at someone like Filbert, and I spent so much time focusing on Filbert and trying to understand who he was. Beyond just this kind of hypochondriac character. CV: Yeah. RF: And then it hit me that he is a complete and utter Nihilist. That kind of fits into the mold and it helped me kind of build these characters with more of an archetype that’s maybe only noticeable to me. I’m rambling about that, but no it’s super fun. And I like ROCKO’s because of the cast of characters are so all over the place. But they feel pretty cohesive at the same time. CV: Totally. And it makes so much sense talking to you about it because what you’re saying about these characters is what I dug about them. I’m this twenty-something-year-old emo kid still, so obviously the miserableness of Rocko I’m like, “Oh my god it’s me.” RF: Yeah. CV: It’s almost cathartic to read it, and I’m sure it was even more so to write it. But you do do a lot of the nostalgia stuff. Between PLANET OF THE APES, and GI JOE, and all of that. Is that something you were like, “Here’s my niche. Here we go?” Or was that just like a happy accident? RF: It was a total coincidence. Yeah, there was a time like eight months ago where I was like, “Oh my god. I’m doing everything 90s. This is super weird.” CV: Yeah. RF: And then for a while it was like crossovers. I got Kong on THE PLANET OF THE APES. And in the same month I got GI JOE VS. THE SIX MILLION DOLLAR MAN. And I was just like, “Oh my god. Am I going to be the crossover 90s dude now? What is happening?” And then Ninja Turtles, Batman. I got to co-write that, and yeah, there was a lot of 90s stuff. And I think maybe that’s because I’m hoping it’s just coincidence. I’m hoping it’s not editors being, “Ryan’s kind of in that weird old, but not old thing. So let’s just give it to him.” I hope that I’m not stunted. CV: Oh no. RF: But at the same time I’m like, “No, that’s cool. It’s super fun. I’ll totally do that.” CV: Yeah. If you’re going to play in a sandbox, that’s a pretty cool one to play in. RF: Yeah. CV: But if there was another 90s, or from your childhood, show, or cartoon, or whatever that you could adapt, what would it be? Your dream adaptation? RF: Well PLANET OF THE APES is my biggest fandom thing. I’m obsessed with PLANET OF THE APES. And ever since I started comics, I was reading the Gabriel Hardman, and Corinna Bechko books. And I thought they were some of the best books I’ve ever written, or that they’ve ever written. Excuse me. So, that was my dream job. That was my dream gig. CV: Cool. RF: Some people are like, “Batman, or Superman, or Spider-Man.” For me, it was PLANET OF THE APES. As far as 90s properties? I’m turning and looking at my shelf now, if something jumps out. I don’t know. I think…Oh my gosh. CV: I know it’s a hard one. I’m sorry. RF: I know it’s not 90s, but I pitched on a Dick Tracy Revival series once. A couple years ago. RF: And that would have been super cool. I wasn’t super obsessed with that property by any stretch. I just had a real appreciation for it. But I think that that project, not to talk about dead projects, but that would have been really cool had it happened. CV: Yeah. RF: And it was cool that it kind of almost happened. CV: Well maybe one day. Maybe one day. Let’s all hope and pray. RF: Yep. CV: But you don’t just write, correct? You’ve done lettering and stuff? RF: Yeah. When I started writing, I was kind of thrown into lettering by necessity because, at the time, my day job was a graphic designer. RF: My first comic: It was with a really small publisher, and they had a really small budget and they were like, “oh, you’re a designer so you know the software, so you can letter it.” And then I was like, “Alright, cool.” You know? RF: And then I quickly learned that no, it’s not just learning the software. There’s a whole craft, and science, and skillset that comes with it. I bombed that very badly. I enjoyed it, and I was challenged by it, and I wanted to learn more. And then the more I self-published, the more I was just like, “Well I have to letter it because I can’t hire someone because I’m broke.” RF: As I was writing and pitching, I was also lettering my own stuff, and I was lettering. People would start throwing me lettering work. And that’s kind of, I don’t want to say breaking in, because there is no such thing. But doing lettering is what kind of got me meeting people, and editors would start giving me lettering work. The first book I lettered was the ROBOCOP, the BOOM! Series. The one that was based on Frank Miller’s script. CV: Yeah. RF: They would build me up to pitching, and then eventually writing, and it’s something that I don’t do a lot of nowadays. Just because I’m kind of busy with focusing on writing, but it’s still fun. I letter my own work when I can, and it’s the one time I get to really zone out and listen to music while I work. Most of the time I can’t, if I’m writing a script or something I can’t just jam out to tunes, you know? CV: Yeah. RF: And I like it. I enjoy the craft and the process of doing it. But yeah, lettering’s been good to me. It’s been fun. The inroads I’ve made, and the people I’ve met through it. I think it’s always really good too, to — If you’re a writer, specifically, because that’s really the only position I can speak to — but like not only is it really good to know, for lack of better words, how the sausage is made, but it’s good to have that knowledge of what everyone in the team does. But also lettering in particular, because it can help your writing. You know? Once you kind of know bad lettering, you know what’s good. CV: Yeah. RF: You know? For me it’s I always like to letter my own stuff, because it makes me more comfortable. With the final product. CV: Cool. It’s funny, I’m glad you brought up music because music and comics are actually really weird parallel thing that I’ve been trying to connect since I’ve been a writer. RF: Yeah. CV: In a very weird way. And I once described lettering — now tell me if I’m wrong. That’s kind of the point. Because I want to give a platform to letterers, and anchors, and colorists because I feel like they’re not touted enough. RF: Yeah. CV: But I once described lettering as bass playing. You only really notice it if it’s incredible or really bad. But consistently good lettering, that is a craft and appreciated, kind of flies under the radar for some reason, because people don’t understand the craft. Does that make sense? RF: Yeah, no. I think that’s really apt. I totally agree with that. Taking it a step further, I think even a lot of people in comics don’t really even know when lettering’s bad. CV: Yeah. RF: Not to talk to smack, but I see books on the shelves that are huge selling books, and they have the worst lettering. CV: Yeah. RF: I think it’s also, people just gloss over bad lettering sometimes. But, yeah. And I think it’s interesting with lettering too because the one rule that I always kind of hear letterers talk about is it’s lettering’s job to not be noticeable. And sometimes I disagree with that. I get it, you know. It can’t interrupt the artwork, and it’s supposed to just kind of naturally aid in reading the comic, but I think that undersells it. There’s definitely a balance. But no, it’s absolutely underrated. Or underappreciated. Same with coloring. A lot. And inking, for sure. CV: Mm-hmm. RF: Yeah. CV: For our listeners who aren’t artists, or aren’t letterers, how would you — I know that’s really difficult, to sum up a craft in words, and I think that’s why I haven’t really been able to explain why I care about this so much. But to you as someone who’s done it, how would you describe good lettering? That’s almost an impossible thing for me to even ask you, so I don’t know how you’re going to answer it so I’m sorry. How would you describe that to someone? Because I’m just trying to find a way to explain it to people. RF: As long as we’re removing — Sometimes lettering can be really, super stylized. CV: Yeah. RF: And kind of compliment the artwork, and I think that’s the exception to what we’re talking about. I’m trying to think of an example off the top of my head. SOUTHERN BASTARDS is a great one. And that’s beautiful lettering, but it’s also very stylized. It’s got no stroke, it’s got the white kind of tale, and I think it has lower case lettering, or, I’m looking at my bookshelf again, trying to remember if there’s super stylized… RF: But any sort of lettering that’s not kind of standard lettering. We’re not talking about that, but I think it should be clean. I think it should be non-intrusive. It can’t cover the artwork, and it should help guide the eye. It’s not just throwing balloons and tales where they fit. It’s also kind of if we read left to right, top down, how do we get the eye to follow the page? While also getting the reader to see the action that’s intended to be seen? CV: Right. RF: And it’s kind of like walking a tightrope because sometimes you can’t do that. If you just do that, you might cover up the artwork. There’s a lot of micro problem solving and challenges. It’s like a puzzle. CV: Right. RF: But I mean those are the three things that are, I think, paramount to any lettering. CV: Yeah. Totally. I think that’s awesome. I think that’s super helpful, and like I said I just want to get more people talking about it honestly, because I don’t think people talk about it enough, and I think that’s a damn shame. Because letterers are absolutely artists. They’re on the art team, they should be on the solicits, they should be on everything, the whole team should be. RF: Oh yeah. CV: That’s just one of my personal — Vendetta’s definitely the wrong word, but that’s my thing that I’m like trying to push over here man. RF: Yeah, yeah. CV: Okay cool. And about music, because I was like, “I must talk about music. This is like my thing.” RF: Yeah. CV: It says on your website that you’re into hardcore music. RF: Yes. CV: It said you can’t listen to it while you write. I have the same problem. But when you’re lettering or whatever, what specifically are you listening to? RF: I listen to, right now I’m listening to the new Converge record. I’m a huge Converge fan. I’m big into Dillenger Escape Plan. I love Every Time I Die. I’m always kind of trying to figure out or find new bands like that. I don’t just listen to metal or hardcore, but that’s kind of one of my loves beyond comics. CV: Yeah. RF: What else am I listening to? There’s a really great new Car Bomb record. Knocked Loose is a really good band that I’m into right now. Yeah, I’ll listen to anything. If it’s that kind of style, I like it. CV: Yeah. Any pop guilty pleasures? RF: Oh my god. pop guilty pleasures, yeah. CV: Yeah. RF: I love, oh geez. Like I’m not even ashamed. I love Brittany, and Miley Cyrus, and what else? Hang on, I got Spotify open right here. I’m going to take a look. CV: There you go. I’m on a huge *NSYNC kick right now, and I like hate it and love it at the same time. RF: *NSYNC. Yeah. I love — Bryan Adams is real good. CV: Yeah. RF: Yeah I’m into it. I’m into it for sure. CV: That’s awesome. Yeah, I’m trying to talk to more comic creators about it, because I found that a lot of them are musicians. Capullo is a huge guitarist. RF: Yeah. CV: It’s just weird, and kind of cool how many people in the industry are also super into music. I always like to pick the brains a little bit. Also, hoping I can find more bands, because I find myself listening to the same stuff I listened to when I was like sixteen. RF: Oh yeah. CV: And I’m like, “I really need to update my playlist. This is bad.” RF: Matt Rosenberg is a huge T. Swift fan. CV: That’s amazing. RF: Yeah. CV: Oh I love it. That’s always so fun. RF: Oh yeah, he wears like T. Swift shirts at conventions. CV: I love it. RF: Yeah. CV: That’s amazing. That’s so cool. I’m trying to think of what the hell else I wanted to ask you, I’m sorry. I’ve taken up half an hour of your life. Wow. RF: That’s alright. CV: What’s coming up for you? What’s coming down the line? RF: Dark Horse is putting out a graphic novel that I wrote that Roger Langridge has illustrated. And Roger’s quite literally my favorite artist on the planet. When we connected to talk about doing this project it was insane to me, it’s still insane. It’s crazy. But yeah. We have an all-ages graphic novel, it’s called CRIMINY. It’s out in October. And when I say all ages, it’s not super for kids, but it’s also not super — it’s really all ages. I hope that people of all ages give it a shot. And that’s very much inspired by the Fleischer Studios 1930s animation, which really fits with Roger’s style of artwork. And so it’s kind of a fantasy book, but not like Lord of the Rings fantasy. Image courtesy of Ryan Ferrier and Dark Horse Comics RF: It’s like a weird cartoon. It’s kind of like if Betty Boop met with Tintin, and with Terry Gilliam influence, and it’s super weird. It’s about this family who live in this peaceful island, and then it gets sieged by these pirates. And they become refugees. And they just bounce around from weird place to weird place to try and find a new place to call home. But everyone is super messed up and has its own really weird, quirky set of circumstances that they have to navigate. RF: Yeah. It’s really cool and super fun, and I’m excited about that. I hope that people dig it. That’s my first creator-owned OGN. CV: That’s awesome. RF: Yeah, and that’s about two years we’ve been working on that one. CV: Wow. RF: I also have a mini-series. Also, at Dark Horse, which hasn’t been announced yet. So that’s probably all I can say about it. CV: Okay. RF: But that’s the exact opposite of CRIMINY. In that, it’s not for kids at all and it’s super violent. Yeah, super violent. Super dark. It’s got lots of post-apocalyptic, ninja, death, occult stuff. CV: Awesome. RF: Yeah. And I’m really psyched for that. I think it’s going to be announced in — At San Diego. I think? CV: Okay. RF: I’ve got two issues of NINJA TURTLES coming up again. Which is super fun, because I get to work with the Mondo Gecko character. And I was big into skateboarding as a kid. I still am. Even though I’m old and I can’t do it. That was fun, and I actually got to go, getting back to music, That was actually inspired a lot by punk rock. And hardcore music. CV: Awesome. RF: Just because that’s a real theme in that mini-series. With the Mondo character kind of leaning on those base surface ideologies of punk and hardcore. For better and worse. So, that’s really interesting. We actually named that series “An Outcome To Reptiles,” which is a riff on the Rancid record. CV: Yeah. RF: What else do I have coming out? I have some other stuff that I can’t quite talk about yet. CV: Okay. We’ll save it then. RF: Yeah, yeah. I’m keeping busy. I’m back in creator-owned. In a pretty big way. CV: Awesome. RF: There’s a lot of pitches. My apartment looks like a mad man’s apartment. Either someone’s committing a murder or is trying to find the murderer because it’s just notes, and Post-its, and strings, and shit everywhere. CV: It’s like you’re in an IT’S ALWAYS SUNNY IN PHILADELPHIA meme? RF: Yeah, it’s Pepe Silvia. CV: Yeah. That’s so cool. RF: Carol, Carol. CV: Well I’m glad that you’re doing the thing, man. That’s awesome. Excited to see what’s coming out, and read everything. And hopefully chat with you again soon. RF: Thank you. CV: Where can people find you? On the socials? RF: On the soc. Probably most, best, you know what? That’s a lie. Not most. Twitter is basically it for me. CV: Okay. RF: Yeah, my handle is @RyanWriter. Because some D-bag took my name. And he doesn’t use it. He took my handle, and he doesn’t use it. CV: Those people are the worst. RF: That’s the part that stings the most. One day I’m going to kill him, and take his strength. CV: Alright. We have that on record, my dude. RF: It’s going to be the shortest episode of 48 HOURS that’s ever come out. CV: I’ll just be like, “Guys, I know who did it. I’ve got it.”RF: I will fold like a napkin. In that interrogation room. CV: Oh my god. Well, let’s hope it doesn’t come to that. But cool. Thank you so much. You can find more interviews just like this one, as well as news, and reviews on ComicsVerse.com. Thank you to Ryan Ferrier and his team!