This was the first of many Spider-Man cartoons I got to work on. It was also the first in CG, the first in widescreen, the first to follow the blockbuster 2002 movie, and the first to be brought to a complete standstill by executive infighting. Here you'll find tons of storyboards, complete animatics, designs, and a crazypants production story.

At last, I got to work on an animated TV series with EVERYTHING I liked: sci-fi, action, robots, and a big, sweeping story. Plus, it would be my first step into the new world of CG. But for every one of these blessings, there was also a curse. And some of them were deadly.

Like all red-blooded American boys growing up in the 70s, one of my greatest heroes was a Japanese lizard. It was interesting for all of us at Sony to "graduate" from Ghostbusters academy into this new project. It gave us a unique vantage point of the movie as the buzz was rising and everyone was imagining the best outcome. We saw a lot, we learned a lot. And I remember plenty about it, so let's get started.

Five years after The Real Ghostbusters wrapped, who were ya gonna call? The new batch? The next generation? Nope, the Extreme Ghostbusters. When this series went into production, I was lucky enough to be on the ground floor and it changed my life forever. What I thought would be a lifetime of making comics turned into a lifetime of making comics and TV cartoons. This is where it truly got started.

2011 was the year I made the transition from analog to digital drawing (a requirement to continue being employable), and it was like transferring from one airplane to another while both were in flight. On the other hand, 2011 was the year of some pretty great assignments. Avengers EMH and Ultimate Spider-Man on the Marvel side, and Young Justice on the DC side. I didn't do a lot for Young Justice, but I enjoyed every minute of it.

Looking back at The Brave and the Bold nearly ten years after it ended, it was one delight after another, and the undisputed high point for me came in Episode 9. It was another luck of the draw, and I have seldom gotten luckier.

When I was a kid, Scooby Doo was my Saturday morning anchor. When I grew up and discovered anime, it made everything I watched as a kid look like junk with Scooby Doo as its chief representative. When I entered the animation industry, I couldn't imagine myself ever stooping so low as to work on a Scooby Doo cartoon. Fate, of course, had other plans.

In season 2 of this entertaining series, the catalog of obscure DC characters kept on growing and the show kept getting more entertaining because of it (even dark and serious when it needed to). And there was a HUGE surprise waiting for me at the end.

This was the first TV cartoon I ever worked on, and it was a perfect fit in every way. Based on the famous computer game series, it was loaded with high-octane sci-fi space fighter action. The staff took a chance on me, and it turned into a wild ride that went beyond everyone's expectations, including my own. It was a true right time/right place story with exactly the right amount of luck!

When I joined the crew of Batman: The Brave and the Bold in 2008, it was the beginning of a hugely enjoyable run that lasted for three seasons. I made it a point to save a lot of the materials from that production, so there's a ton of it to share. In this article, I’ll focus on my contributions to Season 1.

This 2-season series wasn’t the first Marvel cartoon I worked on (that was the MTV Spider-Man series) but it certainly was the busiest up to that point. It was made during what we now call Phase One of the MCU, prior to the arrival of the first Avengers movie in 2012. This made it the last Marvel series before Disney bought the company - in fact, the buyout happened while EMH was in production - so it operated under a different set of rules about which characters could be used.