When Studio Go! started making comics for Central Park Media, it was stated early on that we would do an adaptation of M.D. Geist, the anime version of the super hero comics I was starting to loathe, filtered through Mad Max and death metal. It's a fact of life that when you get into the entertainment biz, you don't usually have the luxury of working on stuff you like. This was a valuable lesson in how to overcome that.

This was the first miniseries I drew for CPM Comics under the title of Studio Go! It was my second go-round with Project A-ko, adapted from the anime video imported by US Manga Corps. I thought I knew what a packed schedule was before this, but having my own studio showed me just how much MORE packed it could get.

I watched Star Blazers so obsessively when it first arrived on TV (in 1979) that it nearly supplanted Star Wars as my personal religion. Star Blazers was in my bloodstream. When I got the once-in-a-lifetime opportunity to turn it into a comic book it felt like one of those moments I was made for.

From the time when I was a kid, I fondly dreamed of having a team around me to make comics with. I wanted to be part of a team that would do everything from start to finish rather than just one phase or another. Studio Go! finally brought that dream to reality. Scary, challenging, brutal reality.

This was the final project I drew for Malibu Comics, and it's the one that broke my bond with them for the rest of time. Almost everything about it was miserable, and I was immensely relieved when it was over. In other words, Battletech was the comic that made me want to stop working for Malibu altogether. Other than that, it was perfectly fine...

If I'm ever hauled into interrogation for some reason and they demand to know my whereabouts on the night of January 3, 1993, I can answer with confidence. I was in the club room at someone's LA apartment complex with a bunch of my coworkers from Malibu Comics. We were there for a very specific occasion: the TV premiere of Deep Space Nine Episode 1.

When I was a teenager reading Marvel comics in the late 70s and early 80s, a handful of names formed a pantheon in my mind. One of those names was Jim Shooter, editor-in-chief. We met at Pro/Con in 1993 where I stepped into a conversation with Jim and it ended with me being invited to submit work samples. Sooner than I expected, I was hired to freelance for his company on their flagship title, Warriors of Plasm.

Aliens from outer space are approaching Earth, looking for their lost princess. They already have eyes on the ground and an entire fleet ready to turn humanity into charcoal if they don't get what they want. And they just might succeed if they don't make A-ko late to school again. Here's the convoluted story of how I got to turn an anime comedy classic into a 4-issue color comic book. It's so weird even I couldn't make it up.

Of the various close calls I experienced while working on staff at Malibu Comics, this one came the closest. Orguss was a post-Macross anime series from 1984 that was licensed through U.S. Renditions to become an Eternity comic book series, and the stars were perfectly aligned for me to draw it. Until they weren't. Find out what happened and see everything I did for it until the moment the rug was pulled out from under me.

Friction increases, personalities clash, trust declines, and the entire comic book industry goes to pieces in the background. Here are the harrowing tales leading to my exit from Malibu Comics at the most challenging moment for comic books in 40 years. Witnessing history can be scary, but boy do you learn things from it...

Secret tales from inside the beating heart of a top comic book publisher in the early 90s. The stakes were higher, the struggles were harder, and it always felt like disaster was waiting around the corner. Prepare to have all your comic book illusions replaced by harsher realities.

Stories from inside the asylum: my life and times working for an actual comic book publisher during one of the most turbulent and brutal years for the comic book industry. What a time to be in the middle of it all. Dreams and nightmares came in rapid succession. Would friendship REALLY turn out to be the greatest magic of all? Find out here...

Road Police was a lot of fun to work on, and quite different from the other titles I did at the time. More realistic and down to Earth, grungy and satirical. It was one part sitcom, one part anime, and one part police procedural with some of the best art I'd done up to that point. I'm still very proud of this little side quest.

This was my last foray into the sea of stars with Captain Harlock, in what was meant to be the opening segment of a huge new story arc by writer Robert Gibson. The thing none of us saw coming was a licensing conflict that would slam the door on Robert's plan just as it was beginning. See all four issues and find out why they went no further here!

The last six issues of Invid War brought us to the "reflex point" I'd wanted to reach since the beginning: the start of Mospeada/The New Generation. It also brought me to an equally important point that changed my entire life in one phone call. How can one phone call accomplish that? Find out and see all six issues here!

As I write these words, over 30 years have passed since the idea first crossed my mind to write and draw comics about a gorilla in space. In all that time, the thing has never left my side, even when I neglected it. For anyone who likes a tale about the flow of ideas or the rewards of unswerving dedication, here's how it got off the launch pad.

The water-hero from the Elementals is thrown back in time 1,000 years to battle demons and dark magic in the Middle East. While, in 1992, my quest to find a new publisher brings me face to face with a whole different kind of demon.

As resistance groups on Earth come together to push back against the Invid invasion, they face their first test when a deadly superweapon is unleashed upon them! And in the real world, I got another important lesson in making comics: never underestimate the power of an inker.