Forum Posts

RYAN WINN
Alterna Creator
Alterna Creator
Jun 14, 2022
In GODS AND GEARS
I shared these pages on Twitter today and thought I would expand a bit here. Now even though the subject matter is serious, we have a lot of fun figuring out the best ways to both tell and show our story. In this example from Gods And Gears 3 one of our heroes, Jimmy, is having to deal with death in both a mental and a physical way.The mental aspect is that he is dealing with the loss of his parents while the physical aspect of it is represented as fighting The Dead Riders, ancient zombie racers. So we will see how he deals with one or the other and if either have an effect on the other. I never truly know if we’ve pulled off what we were going for but we always still try to present the story in the most thoughtful way possible. Take care! Thanks for looking!
Storytelling and symbolism in Gods And Gears content media
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RYAN WINN
Alterna Creator
Alterna Creator
Mar 18, 2022
In GODS AND GEARS
I needed to update the audio. Better audio mix now that I sort of know what I’m doing. I still plan on updated the animations when I can. We‘re going to be pushing hard for new readers this year, hopefully we can count on you to help. And you can count on us deliver a bigger, better, badder, story with issues 5-8. Here is the sneak peek work in progress.
GODS AND GEARS trailer. Audio upgrade and issue 5 art first view. content media
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RYAN WINN
Alterna Creator
Alterna Creator
Mar 17, 2022
In FAN ART
Digital sketch of a King Cryptid piece I am working on. I’m really excited for this book.
King Cryptid fan art sketch content media
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RYAN WINN
Alterna Creator
Alterna Creator
Apr 12, 2021
In GODS AND GEARS
Apologies for missing a week! So we had our team. Driver and Shotgun were ready to roll and artist Dean Kotz and I were ready to take on the world, or at least a small corner of the indie comic scene. It was 2015 and we had 5 pages penciled and inked, with colors added by J Gonzo. Unfortunately Gonzo was busy and I had no funds to afford him the time to work on the book so I was going to color it myself. Dean and I decided our styles were close enough that we should just use the pages I had drawn and he would start on page 6. I had the rest of the book thumbnailed as well as most of issue 2. We had an over all ending for the final issue but we were working issue to issue as to create a sense of spontaneity. As if we had been creating this month to month in the 80s for Marvel. It was an exciting yet exhausting creative process. Each new issue we would have a new idea that could have only been created in this way. We were surprising ourselves with the fun you could have when you present creative problems for one’s self in one issue and and are forced to solve it in the next or following issues. I do not recommend this method for everyone or every project. In fact for issues 5-8 We are working with a tighter plot, but it fits this story better to do so. Pages were coming in from Dean and I was starting to color and letter and get them ready for Comixology, under my own company name, Knovelty Comics. Since I could not afford a print run we decided to produce great comics and put them out digitally, thinking there was a bigger market for it than there was. I had done this with Death Betty and we only made a couple bucks but we did get a bunch of readers and fans. I was banking on continuity of great product to help lead the charge. I soon realized this was a small market and it was not growing, plus...we wanted our book in print. The reason we had not pitched to anyone was due to the way many indie comics companies treat creators. We wanted to own the property outright and we wanted to do the story our way. And my previous experiences with Image were going to keep me from wanting to ever return. Then in 2016, in the distance...you could smell it...someone started printing on newsprint. I had been familiar with the Alterna Comics brand through the IF anthology, and a few random graphic novels here and there. I didn’t know it was a one man shop, and I didn’t know the one man, Peter Simeti. But I quickly started paying attention. We started following each other and realized we had both been preaching the same stuff to different people. We both thought comics needed to be affordable and everywhere for customers to grab. And that those customers needed to know they were heard and appreciated. We set up a live stream combo event where he drew Batman on his channel and then I inked it on my channel. I was going to take it to SDCC for a charity auction. The auction fell through and we ended up gifting the piece to Alterna/Ryan Winn super fan and friend, Anthony or AJ for his birthday. He had been a big fan of both of us separately and now that we had come together he was more than excited to get this as a thanks for his support. I’d met Peter now. We liked him. We liked what he was doing. And more than anything... we trusted him. We now wanted to pitch Driver and Shotgun to Alterna, we wanted that newsprint and a fun publisher and we were gonna do our best to get it. I’m going to save the pitches part for next week as this piece got a little long. To make up for the delay I will include the original pitch for you all to see. You can learn, you can laugh. For now, enjoy these thumbnails. This is essentially how I write. I make a list of events, then ai pace things out visually for me or Dean.
ENDLESS ROAD: THE HISTORY OF GODS AND GEARS part 4 Pages And Pitches...Sort Of. content media
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RYAN WINN
Alterna Creator
Alterna Creator
Mar 28, 2021
In GODS AND GEARS
Around 2007-2008, I met an artist named Dean Kotz on DeviantArt. Because of his classic style and mastery of drawing skills, I assumed he was some older, great talent that had slipped by me somehow. But no, he was a few years younger than me and was just chock-full of talent and skill- a perfect combo for an artist. Dean had spent so much time studying and practicing the fundamentals that he was operating on a higher level than most creators his age. He had been doing work for Boom on a book called Poe, which is where I first saw his pages and loved them. We followed each other and got to know one another discussing inking techniques and our love of the old masters. I even commissioned him to draw Madman for a studio pin up for me in 2009. It still hangs in the same place today. I decided I need to work with Dean. I had stories in my head that I could not draw and all I wanted to do was have him bring them to life. One was a Sci Fi story, the other was a story about Caravaggio, the painter. I had to make more money so I could hire him. It was time to go from Wildstorm to DC in order to make some royalties and fund some indie projects. Writer and friend, David Hine of Spawn, set up a meeting with Mike Marts, head of the Bat office at the time, and I was very quickly snapped up and put to work. The next few years were a wild ride of being the new guy that was popping up on every title. I wanted my name out there, even though I was “just an inker”, I wanted to make connections with the fans and sell books. But long story short, I did not enjoy the process of working there, and higher paying gigs with toys and movies were starting to come my way. So as mentioned in previous posts, I left mainstream for these gigs and the chance to focus on Indie Books. Jump ahead to the printing of Death Betty with the Driver And Shotgun(eventually Gods And Gears) preview and my transition out of mainstream comics. The work I had put into Death Betty and Driver And Shotgun had informed me on my bandwidth for projects and I knew I could not do The art for any other projects than Betty. D&S had grown in scale and I was not experienced enough draw it properly. So I reached out to Dean, who had seen bits and pieces of the project on DeviantArt. I knew he dug it, but enough to work on it? I had been lured over to ink at Valiant in 2014, this meant I was going to be going to New York Comic Con in 2015. I could meet with Dean, who lived in NYC, and pitch the project to him in person. Cut to October of 2015. I’m on the subway headed to Brooklyn. There’s a fire on the track, we get evacuated. I eventually find a train I can take, my phone is about to die so I’m keeping it off and figuring stuff out old school. I eventually get to Brooklyn and Dean laughs off my tardiness. Knowing that can happen to anyone in NY at anytime, he thought it was a good experience for a tourist. So we walked around the borough and talked comics and movies. Then we grabbed lunch and talked Driver And Shotgun for hours. He was in right away, so most of the talk was about characters, settings, and themes. I left for my hotel a few hours later, realizing I had just lived out a childhood fantasy of walking around New York, talking and creating comics, just as so many before me had. It felt like an honor and a privilege to be able to do so. We were a team now. We were moving forward. Down the road. Next time- Pages And Pitches!
ENDLESS ROAD: THE HISTORY OF GODS AND GEARS part 3. Teamwork. content media
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