The Big Bad Wolf: An Interview With Maria The Wolf About The Business Of Comics And Bad-Ass Covers - The Short Box Podcast Ep. 423
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In this episode of The Short Box.
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It's my job not only to make badass covers, right? You could give me a black character, you could give me a Latino character, you could give me an Asian character. I'm going to represent them the best they can be by making them the most badass characters you see, right? And it's crazy because you get these characters who have wonderful backgrounds, wonderful stories and Marla and DC are not doing nothing with them. A good example I always bring out is Snowguard. Nobody knows who Snowguard is. She's an Inuit. So I made her cover super beautiful.
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And I had somebody who was from Alaska who bought her original artwork just so he could display it. Because he even said there's not a lot of representation. Right. That's my job. Is to represent these characters to their fullest. Because they deserve it.
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Ladies and gentlemen, I present to you the Short Box Podcast. Season nine. What's up, dude? Yo, I... Yo, check this shit out. The comic book talk show that brings you the best. Short Box Crazy Kid. You're awesome, man. Short Box Podcast is reported live from Jacksonville, Florida.
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Yo, ShortBikes Nation. Welcome back to the podcast. Welcome back for another great episode. Well, it'll be a great episode. I know I'm kind of leading ahead calling it great, but you know, I got a good feeling about this. But if you're new to the show, welcome to the show. My name is Bodder and this is the ShortBikes Podcast, the comic book talk show that brings you top tier conversations and interviews about comic books with the people that put their blood, sweat and tears into making them. Today, I've got a guest who has been taking the industry by storm with
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her incredible eye for detail, and total visceral style for composition. In short, she makes killer artwork, and she's on a fast track of becoming a household name when it comes to comics. Her name is Maria Wolf Lopez, but she's better known by her online handle, Maria the Wolf. She's a Chicago-based comic book artist and illustrator who has created stunning covers for publishers like DC, Marvel, Image, and Boom Studios. These covers aren't just your regular run-of-the-mill variant covers.
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Maria's exclusive covers are some of the most highly sought after books in the industry. Her unique artwork has recently also graced the covers of series like Thundercats, Something is Killing the Children, and Transformers. It seems like there is no series that has not had some sort of Maria the Wolf involvement or exclusive variant cover. She's on the show today to talk about some of her most sought after covers as well as how she made her name for herself in the industry and what projects lie ahead for her.
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or Maria the Wolf.
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Yo, Maria. We finally made it happen. Yeah, we give you all the applause. It's so nice to talk to you again. Yeah, it is. I always, you know, I like talking to you. Generally, I like to talk to a lot of people. So I just don't know what to shut up. That's pretty much it. That is one thing I noticed online. And it was like almost a unanimous, she is so friendly. If you meet her at a convention, she'll.
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you know, give you the time of day and the attention and it feels genuine. So you got a lot of fans out there. You know, and that's just generally, you know, I just try to make everybody a part of my life. And, you know, I was so I'm a firm believer of giving a hundred percent my true self. And that's how you know, you like me or not, because you think I'm crazy. And you'll leave me and I'm like, Oh cool. Or you stick around cause you know, the
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you know, the next time you see me, what adventure I got myself caught into. So it's good. It's like I said, I try to be generally who I am, try not to pretend to be anything I'm not. And you get some generally real people who will respect you and like who you are, so. Well, you got a whole like legion of them. You got a whole like a ball of them. You know what else I found during my research is a phrase that just kept popping up in a few different articles and websites, and that is,
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the Wolf Renaissance of covers. Did you know that you've spearheaded a Renaissance of comic covers out there? Oh, Renaissance, oh. Yeah, I kid you not. I found it on like two or three websites. Your name is hot out here in the streets, all right? How are you feeling about your career? Like, does it feel like, you know, this is like your moment and, you know, like I guess overall, like how are you feeling? You know what, that's a good, that's a really good question. I do feel that way.
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It's funny though, I do and I don't. People will tell me like, oh man, you're so famous or like, oh, you're gonna be big. And I'm always like, eh. I'm just here right now. I am very grateful. I didn't expect it to go so fast. That's the one thing I will say that. I came in, I did covers. I used to be an interior artist. I found the love more in cover work. And my buddy,
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My buddy Markeson who did By the Horns, he was the first one to hire me for my first professional cover work. And I kid you not, it was just that cover. And then I kept posting artwork online and within less than a year Marvel contacted me and Marvel said, would you like to do a cover for the Women of Marvel, which I did my magic cover. And that just escalated like crazy, right? It's just, you know, I was getting posts from people like, Oh, look what
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One of my buddies who does all the collecting comics and stuff He showed me a post from Japan one of the shots in Japan showed one of my covers and it was advertised and I was like Wow, you know, that's that's a real big thing once you go international as well, too And I mean from there it just skyrocketed. It really did and I'm just very grateful. I'm very blessed I told everybody people will tell you it was my talent that got me here and I'm gonna say it really wasn't it was by
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my fans, it was by people who believed in me, and it was people who gave me a chance. And that's that's where it is. The Thundercats by chance, you know, Marvel took a chance on me, you know, DC took now has taken a chance on me. And, you know, and it's all chances for people who enjoy my work, or have a nostalgia for the style I do that are just like, yeah, you know, it's something a little bit different. It's mixed with with lots of love. You could tell it's mixed
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lots and lots of love. Oh yeah. On average, how much time would you say it takes, does it take you to create a cover or, I guess does it differ like the amount of time you put into a cover versus like a commission or you know, other type of art? Like what is the average amount of time you're putting into a body of work? You know what, I could do not, I tell people it takes me about two to three days to finish a full cover and then an extra day just to clean it up on Photoshop and make it look nice and even.
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Um, because I'm very anal about my work too, as you can tell. So, you know, most people they'll just finish the, they calculate the, the structure and they'll get the thing done and they just scan it and send it over. No, that's not me. I'll, I'll, I don't calculate. I just throw it in there. I add more than I scan it, put it on Photoshop and I'm like, you know what? It needs more. And that's what happens. You know, that's why it takes me just a little bit longer because.
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just like that. So it's funny whenever you see my original artwork, you'll see it full scale. I take up the whole piece of paper and then when I put it digitally, I'll add like an extra 25% more. So people are just like, oh, this is not in the original. I'm like, no, because I'm crazy. I added more. But yeah. What are your tools of preference? Because it sounds like it's probably a mix of traditional pencils and inks and then you mentioned Photoshop. Like do you live in both worlds or do you prefer one?
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One is more than the other. Traditionally, I am still a traditional artist. I use my zebra brushes, I use my dip pens, I use brush pens, I use microns.
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Highlighters all these kinds of things. I saw I am more of a traditional I like to smell and the feeling of paper it is something you know That's one thing you can't take away and don't get me wrong Photoshop It's just as great, but I always tell people but in the end of the day You know I'm making second income out of that so Should when people and it's funny too as a common community is getting bigger and bigger in its own way
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Everybody's like, well, I'm going into traditional because it saves me money, right? Or it's faster. Yes, it is. Don't get me wrong. It's faster. It saves you a lot more money. It's cleaner. If I can interrupt, in what way? I would almost imagine digital would be faster and more cost effective. No, no, that's what I'm saying. It is. It's faster. It's cleaner. You save more money. But there's a pro and a con to everything, right? So when we go more into digital, and whenever people tell me, oh, I'm going to be more digital.
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never argue that. I'm like, yeah, go ahead, go into digital. Go, you go, go do whatever you want, make your money, you know, that's it, make your life easier, right? Because at the end of the day, there'll be very less traditional artists. Oh, we're onto people, because now collectors are like, Oh, well, there's not a lot of traditional artists. Exactly. So where does all that extra money come from? Because we're all collecting.
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People are like, well, digital is better than traditional. I was like, yeah, sure, OK. Go do what you want to do. At the end of the day, I'm going to sell this cover for like $4,000. That's the extra income I get. Damn, there is a mad financial genius behind that big ass smile that you always are. I see you. OK, cunning. I guess that's where the wolf part comes into the name. The wolf of comic book. The wolf of the comic book industry, you know?
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business. It really is. And that's why I said to like, the thing about comic books in the world you come in, whether you're doing interiors, whether you're doing cover work, anything, it's all business. If you understand how to sell yourself in the right way, so your work, because remember, your arts, your art, you are the business. So you embody your business. So you got to know how to, you know, I always tell people I go to conventions, I see somebody drawing nothing but like, my little pony, right? Or Winnie the Pooh.
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all these other crazy characters. But they're making bank, right? They're making money, why? Because they just knew how to sell the business. That's all it is. Who are some of your inspirations when it comes to not only artistically, but also business-wise? You know what, I would say, the one who I've been watching a lot who makes really good, is Daniel Warren. Daniel Warren knows really, but not just him too. McFarland, McFarland's also an artist. Oh, gee.
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And that's the thing too. You look at these guys and you're seeing, well, how are they making an empire? And it's, well, they're not stupid. They know how to sell their work. They know how to buy licenses. They know how to do their own stories. They know what to own, what to sell. And that's the thing too. You have to know those things. I would say though, they're the top tier of how it is to own yourself. Yeah. I usually say this for the end of the episode, but since we're on this topic, where do you see...
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yourself in like five years, which is such a mundane question, but it sounds like you've, you're studying, you know, like the, the, the Daniel Warren Johnson, the Todd McFarlans, and you're conscious of things like licensing and looking at the bigger picture. Like where do you see yourself in five, 10 years? That's a good question, right? You know, at any price, I mentioned Peach Momoko is also a really good business person too. Her husband knows really how to, and her also her manager too. Like I said, the, the big heavy hitters, you gotta just see what they're doing. But right, so.
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question too is like, damn, where do I see myself in five years from now? Because this is now my fourth year now being with Marvel and in the industry itself too. And it just keeps getting higher and higher every year. So I'm very, very good. I keep getting tons of opportunities. And it gets to the point where I'm just like, and you know, people make jokes about that. A lot of my comic buddies are like, oh, what was me to have so many jobs? And I have to, you know, deny them because I'm so famous. I'm like,
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I don't know a jerk about it. It's just like, I just have way too much work. There's only so many hours in a day. Right, and don't get me wrong, there's so many things that I want to do, and not just that too. I have to watch my time. Here's another thing too. I'm a kind of person who doesn't care about time, but I got in trouble with that with a lot of companies who are just like, you know, you gotta give it to us on time. Not on time, no money, no job. You gotta change those bad habits, right? But going in a different direction. But yeah, five years.
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You know my goal, I kid you not, and people will say, oh, that's not a big thing. I would really like that. I would like to get a Ringo or an Iser one day. That's the main goal. It's just to, you know, it's hard. It's hard, you know. You gotta prove to the world that you're worth it, that you put a lot of time into it, that you are different. And that's why I'm really grateful too, it's that people like my style.
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You know, they like what I do. I always get complimented. Oh, it's giving me that 90s look, a lot of Asian style, a lot of tattoo style. And I'm grateful that Marvel allows me to do it that way because I've had a lot of friends who work with Marvel or DC and they left them because they're like, oh, they only wanted me to do somebody else's style. And I was like, eww. You know, I couldn't imagine somebody tell me like, yeah, I need you to draw like Jack Kirby or something. You know, somebody like that, you know?
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who I am. That's not, they did their own thing. They're famous for their own thing. I would be known for myself. So the goal is I would like to get even nominated with equal to, you know, to be, to be known that people are watching you. They want to see you 60. That just goes great in your portfolio. Oh, for sure. Regardless of how you feel about awards and you know, like whether they're, they truly represent, you know, the culture or the, the zeitgeist.
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I do think as a creator, it would be cool to have that recognition, you know, that, that industry recognition and the Eisners, the Ringo's, like those are the two big ones. So why not strive to get that? I guess my question is, do you want to be recognized for your cover art or do you have bigger aspirations to like start doing more interiors and get into storytelling and those other aspects? Well, that's also what the five year plan, right? So, um, I would love to be first recognized for my cover. I love cover work. I started as an
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I love designing characters. You know, and that's a cool thing too, like when Marvel gives me a character, they let me tweak them. And that's the best thing out there. Cause most people say, you know, you tell them, hey, draw saber tooth. They're going to do the original, you know, eighties, you know, nineties look of saber tooth. You tell them to draw Wolverine, they're going to go the same way. And every time they give me a little character, I always tweak them in a certain way that it's my style and what I want, whatever trick. Good example was magic. When I did my magic cover,
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I saw, you know, she has her short little short shorts, you know, her, um, her one giant armor hand and the sword, right? And I was just like, how I see Magic as like a Final Fantasy, like dragon armor. And she's like the big old giant chunky leg, legs and like, oh, demons around her. Like, oh, that's, that's the fun part of that. Originally I wanted to be a concept artist for video games. So concept art started mixing in with all my cover work. So.
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That's why you'll if you look at a lot of the characters or I've I've always altered them to a style I want to as a concept art. So to your credit, your style is truly like unique. I mentioned that in the intro, but it truly is unique. Like you could tell a Maria Wolf cover from any other comic book out there. And I think it's just the amount of detail that you put into it. Your compositions are really like in your face and visceral. There's a lot of attitude to it.
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You know what I'm saying? It's like, nah, the amount of detail here, that's the Maria the Wolf trope. Yeah, I think it's funny. Well, that's the fun part too, because I love when people come by. I was like, oh, I knew this was your cover. I was like, well, how did you know? The teeth. I was like, oh, okay. That's a good point. You draw some sharp-ass teeth. They're like, look at the teeth, and then they're always staring at you, right? Wow, yeah. You know what? That is a good point. All of your covers have a sense of eye contact. They're just looking at you in the soul like, I will f***.
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fuck you up. That's how I go buy it too, right? So another thing too is I tell, well, that's where the business sense comes to it, right? So everybody wants to be a cover artist. Apparently, I just found that out. Everybody wants to, it's an easy job. You're not like overs, overwhelms like, hey, get a cover to that in a month. Oh, that's simple, right? But
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Even though everybody wants to be a cover artist, that doesn't mean everybody knows how to be a cover artist. Just like not everybody is really good in interiors, right? Everybody's good with one project or the other. You don't need to be great at everything. But if you're good at one thing, you better be damn well good at that part, right? So a good example is when I tell people who want to get into the cover world, I always tell them, well, think of it this way. Every Wednesday, let's just say a hundred comic books come out, right? Let's just say that. The average comic book by-
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can only picks up no more than two or three. You know, maybe even one at that, right? So you're against 100 other people. So you better really stick out so that you can sell. So I guess I've been doing it right. Because every time I see a cover and it sells and the best part is that I'll see my cover next to a Peach Momoko cover and people are sending me like, oh, I bought these two covers and I'm one of them and I was like, oh, okay, good.
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You know, and that's a really big thing too. Well, that's where I'm staying with the five year thing is I just, I've had this one of my teachers, Jill Thompson had told me, where do you see yourself? And I, what do you want out of this? And I had told her very honestly, I was like, well, I could care less for the fame and the money, you know? That's not what I did this for. I did this because I love the passion of art. I wanted my name to be known. I wanted so bad that I could walk to any convention and everybody knows my face.
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You know, they don't even need to go to my table. Right away they could just go, oh shit, it's Wolf, you know? And that's happened. I kid you not, I've gone to conventions and I follow a lot of indie artists. And you know, I'm over here like, and of course I'm buying Wolf merchandise. So somebody has like this cool werewolf and I'm buying a sketch and they go, are you Maria Wolf? And I'm like, I didn't even introduce myself yet. Right away they could tell who I am. That's all I want. If anything is just my name. That's why I said like,
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to win a Ringo or an Eisner would be just an honor because that just means my name gets well more. It's solidified. It's solidified in the pantheon of comedy. It's now in the books, baby. You can't get rid of it. Right? I'm part of the greats. And that's the thing, too. Well, and that's where the five-year plan goes. I'd love to get to that point. I just want to get more well-recognized. I want people to know my art. And I want that so good.
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could finally get comfortable to a point where I can start doing my own thing. That's it. I have a lot of stories and I have a lot of concept art and I've been dying to do my own thing. Don't get me wrong Marvel and DC are great people to work with but at the end of the day you know it's where you're like looking at you do like 50 sketches of Venom and I'm like okay you know you do a hundred pictures of spider-punk and you're like okay and you know
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I was always an original person. I love doing werewolves. And I think I told you my story about Crimson Jaw and, you know, and then and I want to do sequentials. I really do. I want to get better than that. I am right now working with Tim Stigley and trying to finish those sequentials. And it's funny, one day I have not finished them because I've been so nervous, right? Because my my covers that I've been dishing out have been phenomenal. Right.
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So now everybody has an expectation of you. Now you're at this level, right? And every cover I do is always 100%. I never have asked my work because if you're paying me, I'm giving you the best I can of what I have, right? So the moment you stop, you're being lazy, you will be judged. That's just how it is. People are gonna be like, oh, they're getting lazy. Oh, something went wrong. People see that. They can tell.
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I think sometimes fans and readers can be fickle and sometimes a little hypercritical when you start trying, you know, when it's your turn to try something new, maybe like a passion project or something that's out of your wheelhouse. Because you know, for a lot of people, you're the cover artist, like you're the cover artist. So I can imagine the pressure that comes with wanting to do sequential work, you know, it's a different style, it's asking some different things of you and you know you're going to be put underneath the microscope in different ways.
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like I had brought back from the beginning. I did kind of, you know, the cover artist and everybody's gonna be like, oh, I hope that looks like the inside too. So now I'm just like, oh shit. And so yeah, that's the one thing I think I've been stressing out with I'm learning to get better at and just throw myself in there. But I'm already a naturally critical artist of myself as most artists are, right? You know, that's just how we are. But.
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I always tell people, you see all these covers I've done? That's because I've literally been like the whip on my back going, it's not enough, you know, it needs to be better. And you can't do that when you're doing sequential because it's all fast timing. Well, we need, you know, 10 pages done by this end of the month or everything's like this. While a cover is like, yeah, can you get this cover done by the end of the month? Oh, okay, you know. So there is a difference and I think that's where I'm stressing.
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And I had to go like last year, I was going to a bunch of conventions and I was asking the people who were next to me, whichever convention, I was like, hey, how do you finish a conversation? Hey, what's your method? How do you not get so stressed out? You know, how do you not tell yourself it's going to be the worst thing you ever created, you know? And that's the thing too, I've gotten a lot of support. So that's a cool thing. I showed him designs, you know, and that's the thing. It's been greenlit, IDW wants it. I'm working with Tim Sealy, he's a really big person in the industry.
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Big shout out to Tim Seelig because he's also writing my favorite comic book, Local Man, which is one of my, absolutely one of my favorite comics out there. Well, that's like with Tony too, right? Cause he's working with him. And I'm talking to Tony and Tony's just looking at me like, what? I was like, you know, and that's the thing too. It's just like, um, that's why I said not everybody's meant to do everything. Right? If you want to be just a cover artist, that's fine. That's perfectly fine. You want to be just a colorist?
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That's fine too. Like for me, I love Mike Spicer. The color is... Dude, Mike is like freaking killer. I love how much credit and love that you give Mike Spicer online. Like you'll post the most baddest, most badass looking cover. And your caption will just be about Mike Spicer and the colors and what he brings to it. That leads me to a question. You know, you're talking about, you know, the pressure that you put on yourself, you know, wanting to live up to a certain thing and...
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You have a connection to Mike Spicer. Is he helping you? Is he giving you? Or folks like him, like him and Tom and Tony, are they giving you advice and helping you out in that regard? Because I mean, you have the ability to lean on some industry pros. Are you taking advantage of that? Oh, I do, 100%. That's a thing, too. You can't be foolish. You can't think that you don't need help, that it's my way or the highway. That's also a lot of artists, too, right?
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Um, no, I, even the young artists that come talk to me, I always tell them, go to every artist that inspire you and tell and show them your sketchbook, get advice for them. Because what I say is different from what somebody else is going to say. Right? It's two different things, but I always lean for my friends too. I mean, I think that's what got me the confidence to continue doing this interior work was because I talked to so, I had to talk to 50 artists just to tell me to eat your ass moving and do one page, you know?
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I was so nervous. That's another thing too. I kid you not. I always tell people this. The type of artist is going to give you with a certain type of clits, right? So and sometimes those are some really good clits. So as you see, I'm super detailed. You see all my art and stuff. So that gets because of all my detail and the passion of art and what I love to do puts me with other people who are super passionate.
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love their work right and who are also hyper detailed artists so like Daniel Warren that's a good guy I could go up to it's always well here's the thing too and I think I told you this too I always tell people nobody I I see everybody at my level right I could care less if you're famous I could care less if you're below me nobody is above me nor below me everybody is at my equal right so I gained a lot of respect because of that so I could go up to Daniel and yell at him
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Which I don't want to. Right? Well, I had. There was one time I did yell. I was like, you son of a bitch, you don't answer my text messages. Most people would not do that crap. You know? Because they're like, oh my god, this Daniel wanted it. I've gone up to Peach Momoko and I gave her the biggest squeeze I thought I was going to pop her head. You know? I get to talk to these people. On the flip side, who's someone that you met that knew you, that you were completely surprised that you were even on their radar? Oh.
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the biggest one and my heart was like, I'm good, I could die now, you know? Trad Moore. Oh, wow. Trad Moore. That son of a bitch. I was like, okay, so I've been following his work. It's just, you know, I fell in love with him. And then Justin the writer as well too. And I was, you know, every time he's going to a convention, I'm hoping Trad Moore, but Trad Moore doesn't do a lot of conventions. He's a very mysterious man. But when we were at HeroesCon last year,
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And Chad Moore, I found out was gonna be there. I was already like hyperventilating. I was with my buddy. So we're at the lobby, we're in the hotel. And Chad, this son of a bitch is so majestic looking. I kid you not, the last time. I remember I saw Chad Moore was like, he had short hair, right? And this time he grew it super long, right? And my buddy's like, that's Chad Moore. And I was like, no, that's not, it's just another guy with long hair, right? He's like, no, that's Chad Moore. Tell me why he turns around.
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He freaking looks like a garnet commercial. Like his hair is like, falling like the dad. And I'm just like, holy shit, it's Trump. And I'm over here like, I'm sweating bullets. I'm like, oh God, he's a very pretty man. I'm just like, you know, most men are handsome, right? And you know, and just like very tough. This man is just like, you look at him, you're like, God damn, you're gorgeous. Just like, yeah, stop being so pretty. All right, you're making us look bad. I know, I'm over here like, God damn, he's pretty. I was like, just.
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So we go up to him and we're both talking to him, we're talking about our work. And luckily I had my original art that day and Chad goes, oh, can I see your sketchbook? And I'm like, yeah, go ahead. I don't care about portfolio of all my covers. And he's going through it and he's talking about it. And then he goes and he sees that ghost rider one and he's like, Holly, oh wait, you're Maria Wolf aren't you? I was like, oh shit, damn. I'm already like my.
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like got wider or they sunk I don't know I was going through so many motions I was like yeah yeah that that's me you you know my work you think oh yeah I saw this cover this is a really really good cover and from that day I was like I'm set I got to see one of my heroes you know it's good but a great guy and here's the funny part so then I had told my buddy too he's like you think it'd be weird if I take a picture with trad mois like yeah you're gonna be a weirdo freak right yeah that seems so cringy I was like
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take a picture. Okay. I'm not going to see him again. Right. So as I go to try it, I'm like, Hey, can I take a picture? All you hear is my buddy go. Yeah. Me too. Right. Straight fanboy mode. Yeah. She's taking one. I'll take one. I pull my leg. I guess I'll take a picture. She's going to do it. So yeah, that ghost rider cover.
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And for anyone listening that might not be familiar, it's Ghost Rider number seven. I'll see if I can't put a link in the show notes. That might be my favorite cover that you've ever done. Until, until, until, until they release the cover for your cover for Thundercast number one. Which is that OYS to that X-Men cover. It's a toss up between those two. That Ghost Rider is just.
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It's something about all of the flames in the back. And correct me if I'm wrong, I think some of the flames even have faces in the back. Yes. And for a character that has his skull on fire, the way you drew that cover, it looks like Ghost Rider is in pain. It's like, man, it is so much intensity. It's like Ghost Rider engulfed in flame, not just his head, everything. And there's something about the way his figure jumps off the page compared to all the flames in the back. It's a beautiful.
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cover. I can see why Trad Moore complimented that. Which leads me to a question. If you had to do the difficult task of naming your top five best covers, best or favorite, I'll let you kind of pick, but which ones come to mind? I don't want you to do too much thinking, but like which covers come to mind when you think popularity wise or just like overall like I put my foot in this. Oh, that's a good question. Well, first of the magic cover.
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I always go by that whenever somebody tells me what's your favorite. I'm like, I'm biased. My first cover, you know, my first song, because I put a lot of that. That's how I got recognized because I told myself, oh, I'll give you a cover. I'll give you a damn good cover. You want a cover? I'm going to give you a cover. I'll give you a fucking cover, you know. You're going to want to hire me more than after this. So I would say that. What was another one? You know, that Battle Beast one. I will say that.
31:12
put a lot of funness in. That was one of my favorites. I won't say it was my difficult, but it was one of my favorites. Popular one was Ghost Rider. Surprisingly, I could not believe how many Ghost Rider fans are out there. So I was surprised they even loved that cover. I was like, oh, okay. Spider Punk. I'm always a big fan of Spider Punk. And I love the fact that Albee Brown is getting a lot more popularity because he deserves it. Oh, Soundwave. I will say that one.
31:42
I freaking love that sound. Oh, your Transformers one. Yeah, yeah, that's a good. That's an awesome one. I just quickly just put in Maria the Wolf variant covers. And I'm filtering it by what's sold. And I'm seeing the Sabertooth and the Craven cover that you did pop up. I will say that, too. I would say the Sabertooth with all his nasty teeth and all the gore. I think that was one of my favorites because it's very unique. Because you don't see Sabertooth with jagged teeth and blood. And I did that.
32:12
What was the idea by that? The idea was that he was going through flames and his body was regenerating. So you could see some fire still around him. So he looks, what nice is that too? I love Sabretooth, that's my bias carrot villain. I always felt like Sabretooth was, he has to look menacing to the point where he looks like he'll eat your guts out, right? Like he's laughing as he's eating you alive. That's how I pictured Sabretooth. That's a good description. Yeah, is that too far off? That's why. So every time, not.
32:42
one and the second saber too. I just make him look maniac and I love it. And then yes, the Kraven I will say was also my favorite because I put big giant cats in there. There's a lion and tiger and like a jaguar leopard. You got all the big cats covered. All the fur. And I started noticing like, I asked Marvel too, is there's any villains or characters that have tons of hair or fur give it to me because I, it look, look at Kraven's, um, that big fur pelt he has. It's massive. It's so freaking huge. It makes no sense.
33:12
So it sounds like Marvel and DC kind of hit you up on the regular. And is it, I guess, like walk me through the process a little more detail. So they hit you up and they're like, hey, what character do you want? Or is it, hey, we've got, we need these covers. We need a character for these covers. Or hey, we've got these comics coming out and there's availability to do the covers. How do you go about getting cover work? That's a good question. Once again, well, here's the thing.
33:39
And that's the thing too I hate when I go to these conventions because it put me in panels and then I'll have people tell me like, well how did you become a cover artist? How did it all start? Who did you talk to? And I always have to look at them and be like, uh, it just happened. It legit just happened, I kid you not. I got an email. And you know, and generally who I am, and this is why I tell people all the time, be a really good person. Just be generally who you are. Be very loving, be very caring, be...
34:06
optimistic and very talkative as I am. And it leads you to a lot of open doors, a lot of open doors. Not one job that I ever that I got it was because I applied for it. Never not one job. Never. And most people have a portfolio, right? And that everywhere I did this breakfast thing and everybody's telling me like how they got their portfolio, what they're doing. And it was for beginners in the industry. This is when I started my first year. And then
34:34
Maria, how did you get all your cover work and what did you do? And I was like, man, nothing. They're like, what about your portfolio? Yeah, I don't got any of that. I just it was by word of mouth. And that's I'm very grateful for the people. People just come by my table. I have random people that come by my table and they're like, hmm, I like that style. Here's my business card. That's like, OK, I'll talk to people and they're just like, I like you.
35:03
Here's my business card." I was like, okay, right? Or I'll go to the after parties and they see me all tipsy and they're like, you're really fun. I like it. Here's my business card. I was like, okay. Being personable, I think on top of also just being talented and gifted, but being personable and on top of your shit business-wise, obviously, it goes a long way. If you're not a headache for them, work will come. And that's the thing too, and I tell people too, like
35:30
That's once again, it's all the business of how you do it, right? You are the, you are the product. You must sell yourself the right way, right? You want more jobs? You got to do it. So here's like a good thing. Like, um, I'm still young in the industry, right? But you'll have all these after parties, right? And all the older artists, they don't want to do it no more. They're like, I've been doing this already. I don't need to do it no more. We're set. Which they're right. They've been doing this for so many years. Well, they're already, their names are already on the, on the, you know, freaking list.
36:00
So they're good, everybody's gonna know their name, right? But before that, I bet you they did a bunch of, you know, networking and smoozing and all that. You have to do it. And I do that now. And I tell people, I don't care if you're tired. You know, I'm tired. I've been, I'll sit at my table for 10 hours, right? I'm tired. But I get up, I stretch and I'm like, okay, let's go drink.
36:23
You know, and it's over here and I'll still do commissions and I'll still do projects. You know, even after I'm like 10 drinks in and I'm like, I gotta do it tomorrow. People who are sharing a room with me are always just like, you know, they'll wake up at like five o'clock and they'll just see me in the corner of the table and they're like, how the hell are you still up? I was like, I got commissions. I was like, I got work to do. I have no choice. It's not me. You know, I should have not had 10 drinks.
36:53
It sounds like you get a lot of freedom in terms of the characters you get to draw and what you do. Obviously, that did not come off the bat. You had to prove yourself and get a rep. How does the process go, per se? They come to you, they're like, hey, we have these books that need variant covers, or is it, hey, we've got these characters we want in a variant? It's two different ways, I guess, for me. With Marvel, I proved myself. I was giving some really cool covers and people were buying them, and that's the thing.
37:20
the more people buy these covers. And I always tell people, you know, share, you gotta share that. I always said, but oh, if you buy my cover, share it. Marvel's seeing everything you do. So they're only gonna hire you more when they know you're making more, right? So, and the name gets, and not just that too, another thing, and a good business thing is, be friendly with your editors. The friendlier you are and you respect your editors by giving your work on time, not being a problem, because like I said, some editors are gonna be strict.
37:47
like this, like this, like this. And then if you're that kind of artist, he's like, no, like this the way I want it. And then your editor's gonna be like, no, it's this way or get out, right? That's another thing too. Like for me, I noticed there's a lot of artists who are very like, no, I have to have it my way, right? Well, then that's how you don't get a lot of jobs because then your editors are like, okay, we'll just hire somebody else who's gonna do it the way we want, right? So that's why I said, here's a good example.
38:16
Every cover I've done, I've never wanted that cover. Damn. That's an honest question. The thumbnails were never the ones I wanted. And they would always pick the ones that are like, this is the most difficult or this is going to be really annoying. But they know what sells. I don't know what sells. They know what sells. What do you like to do more? Do you like to do cover art more, sketches, commissions, or commercial art? Do you have a preference?
38:46
I would say cover work. Cover work, because to me it's like a giant illustration. And that's the fun part. But recently I've been getting video game art, which I've done with Fortnite. I did those screensavers. And that was super freaking fun. And then Marvel Snap, which is also another video game. And that's also really, really fun too. So I'm finally living my dream of being a concept artist, because I work with video games now too. So yeah, and that was the fun thing, where my dream was just to do video game art.
39:16
And I couldn't do it. College was just too expensive. And I just couldn't fulfill it. And then one day, these video game companies contacted me to make art for them. And I'm like, oh my god, I did it. I fulfilled my dream of doing concept art, or at least art for them. And you're going to have to get into student debt to do it. That's the best part. Exactly. That's the greatest thing out there. Well, and that's the same thing too. Even with comic books, I didn't get into debt. I paid everything off myself. Hell yeah.
39:44
I think the first time I met you was at HeroesCon last year. And I don't recall if you were represented by an agency or something like that. And then I seen you at New York Comic Con. And I believe by then you had solidified it or something like that. I say all of that to say that I understand that you are represented by Inky Knuckles, which is an art. How would you describe? What's a proper word? They're an art, not an art agency.
40:15
It's for traditional art. So they're not your agent, but they deal with your art rep. Art rep, there you go. That's wonderful. Yeah. What is the benefit of it, of being represented by an agency and taking some of that control away? Oh, man. You don't know. It takes a lot of weight off your back. It really does. The stress too. I'm a big team player. I love the idea of working as a team. That's why when a lot of artists, I get it when they want to do the coloring, the story, all that inking.
40:45
It takes out the middleman, right? You collect all the dollars and it's great. But if you have the patience for that, I don't have the patience for that. I have so much work. And that does that too. I like sharing the work because why take somebody else's job when they know they also can benefit from it too. That's why me and Mike Spicer do so well because I'll ink it, I'll draw it, and he colors it and we send it off, you know? And that's a great teamwork special. And also that's with working. Now let's deal with your art rep too.
41:16
It's the
41:44
need to talk to those customers. Yeah, you could just focus on creating an illustration. Exactly. Because people don't understand it does stress you out. I always tell people, that's why I'm not doing commissions right now or doing it except in anymore, because I want to finish everything off. And then after that, I'm giving all my commission work to Inky. Let him deal with all of that. Let him deal with it. Because it's stressful. People don't understand that. There are some people who are great with commissions who are like you, for example. I'll wait.
42:13
Because in the end, you'll know you'll get a bad-ass commission, right? There's some people who are like, you know, I'll show a picture of drinking a beer and they're like, Oh, you have time for a beer, but you don't have time for it. Joe, that's fucked up. It's like, you know, I got a life, right? But having an art rep is great. But then, I mean, look at what happened. Make sure you get the art, the right art rep. Cause what happened recently? Yeah. The, the, the name of the company is Skation, but there was another art rep company that I guess was like missing commissions and
42:42
you know, ghosting people that had paid for commissions. And I guess wasn't communicating with the artists. Like even the artists were in the dark. I don't have the name, but I know exactly what you're talking about. Well, them too. When I saw a bunch of my buddies who were just like, I'm not rep, I'm not rep, I'm not rep. And it was sad too, because last year they did get repped by them. And I was cheering for all my friends. I was like, oh my God, you got accepted. I'm happy, an art rep. I'm over here advocating for an art rep.
43:13
makes your life easier. And then this happened, I was like, oh. It was like, I was like, maybe not that art rep. Now there's a little star caveat, the right art rep. Right, so do make sure, you know, talk to people too. Luckily though, I talked to a lot of my other art buddies and I told them, hey, is Iki Knuckles great? How is he? And I asked questions up front too, like if I ever wanted to leave, can I leave, right? You know?
43:41
what what what do I get ding dong? What do I do this? So you ask a lot of questions. And that's the thing too. People are gonna buy all your stuff when you're a beginner because it's the cheapest, right? And they gotta get you before you start asking for like the thousands of like shit. I guess we start adding zeros to the end of that. So and like I said, I got a great relationship with Cameron, you know, and that's the thing too. Like I trust him enough that I don't
44:08
When he tells me, well, how much can I sell your covers? I always tell him, I trust you. You've been doing this for years. You should know how much you sell a cover. Unless I know the cover is worth more. Here's a good example. The Spider-Man ones, the Transformer ones, any of the really big guys, I always tell them, raise up that price a little bit more, because they are worth a lot more than you think. Can't let people you know buy your stuff for cheap and then sell it again for twice as much. So, give them a high point before they try to sell you off.
44:38
You've got this shit figured out. So, alright, when you consider everyone that is Represented by Inky Knuckles, who would you say that you are the closest with among the Inky Knuckles roster? Ooh, God, I gotta pull out. I don't wanna say their names wrong. Marco, there's a guy there named Marco. Well, you know in Heroes Con, that was the first time I got to meet all of them. Man, they were some really freaking awesome dudes. I see my guy Kevin Anthony Catalan on here.
45:07
who I got to meet for the first time at last year's HeroesCon, who I think between you and him, like, people need to pay attention to Catalan for sure. Oh, yeah. You've got such a good head on your shoulders and, like, really good energy. I think that is one thing that really, like, captivated me when I first met you, was, like, your energy and just how grounded you are and personable. And I was curious, like, how much of that...
45:31
comes from your upbringing or cultural background. I did notice that on everything that you proudly state that you're indigenous. Correct me if I say this wrong, but you're Puertopecha tribe, is that right? Yes, you got it. From the, let me see if I can get this one right. So Puertopecha, indigenous tribe, northern state of Mexico, which is Michoacan. Michoacan, yeah, you got it. You got it. Oh, yeah.
45:56
So I mean, obviously, your pride of your cultural background is on full display. It's listed on all of your bios and websites. What do you pull from that into your work? Do you pull a lot of that into your work ethic and how you go about your work? How much of it overlaps with what you do or steers how you approach opportunities in business? Well, it's funny too. I get that a lot when people are like, oh, I see you put your spirituality in.
46:25
I look at them and I was like, I guess. Yeah, you're like, chill. All right, I'm just drawing. You know, it's crazy too, because I don't think about that when I put my art, you know, I just engulf myself in my art, right? So passionate about it. But I do see where people point out like, oh, your art looks very spiritual or has a very spiritual, very aliveness to it. And I'm like, maybe that's just because that's how natives are, right? We're generally alive people. We have a lot of, we're great storytellers.
46:55
So, you know, it's all about we are fierce warriors and that too. So maybe that's why all of my fierce words, you guys look at us. They're in actually. So like, do you do you feel like I guess is there any sense of pride in knowing that like you are out here representing for like for indigenous women, like indigenous women that happen to be working in comics? Because let's be real, there is not a lot, you know what I'm saying? Like.
47:21
Do you feel that pressure? Do you, are you aware of it? Like, do you have a sense of? Well, I don't, um, I don't feel pressured. I am aware of it. Okay. Um, it's, uh, it's, it's a very beautiful thing. And I'll tell you why. Uh, one, because you said there is not, there's not a lot. Look at, I'm indigenous and I'm also Mexican. That's really hard.
47:43
for threes though. So it's hard, right? So, but it is one of the most beautiful things because I get to go to these conventions and I see other young artists who are indigenous or Latino who are women who are all three. And they go and they tell me, I know I can make it because I see you make it. And I'm over here like, get my little heart. I'm like,
48:10
You know, they get inspired. They show me their sketchbooks. They want to be the next big thing. They have stories. And it's my job not only to make badass covers, right? You could give me a Black character, you could give me a Latino character, you could give me an Asian character. And it's my job not to make them even ten times more badass, right? So I don't care who races it, you know? I'm going to represent them the best they can.
48:37
be by making them the most badass characters you see right and that's how it is that's how I feel I'm not gonna be like oh it's only natives I gotta make the natives look good it's all in the latinos like no my job is to make everybody look really badass because they deserve it and it's crazy because you get these characters who have wonderful backgrounds wonderful stories and Maro and DC are not doing nothing with them right so I'm over here so that's why good example I always bring out snow guard nobody knows who snow guard is
49:06
super beautiful right and she's an Inuit right she's and I had somebody who was from Alaska who bought her original artwork just so he could display it so that everybody because he even said there's not a lot of representation right that's my job is to represent these characters to their fullest content to be the baddest characters that they deserve to be I want to do more of them I do feel like I should do more native stuff more get more into my culture is a lot more to do
49:35
Luckily, Marvel also puts me in like, they put me in a couple of the voices, you know, I got the Latino voices one, I got the native voices one, and then I got the women of Marvel voices. So, you know, I got all three of them. That's my job. I go to these conventions, I show people it is possible to live your dream. Doesn't matter whether the race you are or the gender you are. It truly is the passion desire. But you have
50:03
to have those traditions. You have to show people that you can add your stuff and people are going to still like it. That is what it is. Well said. On the topic of just personal wise, another thing that you seem very proud to represent is your Chicago roots, which I understand that you still reside in Chicago. How does Chicago inspire you? There's being in the city and growing up in Chicago, has that had an impact on how you approach art?
50:33
And as a little bonus question, if I had to go back to Chicago and I wanted to do cool comic book stuff, what are some places I absolutely need to hit up? Oh man. Well, let's see. I don't know. I think all the badasses are in Chicago. Daniel Warren and Zeewee's here too. All the cool people are in Chicago.
50:59
What I like about Chicago is that Chicago is literally California and New York combined. The only difference is that we're cold. That's the only thing. That's why most Chicagoans leave because they can't deal with this cold. So they either go to Cali or they go to New York. But what I like about it is that the art world in Chicago is still very traditional. I think that's what really works is that people are still very, very traditional artists. They're still painters. They're still fine art. They're still tattoo artists. They're still comic book artists.
51:28
There are all kinds of artists out there. Eurolist especially. I have a bunch of friends. But what I like about all the artists in Chicago is that they're all friends with everybody. So I noticed in New York or in Cali, a lot of those artists in their groups stay with only their kind. So only comic book artists will only stay with them. Only in New York, only street artists stay with them. They're friends with a few, but not with a lot. They're more with their group. But I noticed in Chicago, there's a... Oh.
51:57
What was it called before I stopped going? Any Square. It was a really cool program where all kinds of artists from all backgrounds would just come together and we would just hang out and draw. That's all we would do. Draw, make music, somebody's making a t-shirt or a quill on the other side. That was so cool because you're friends with everybody. I have friends that are skateboarders, skateboard designers, journalists, chefs, dancers, musicians. The art world is just very fun over here, right? I kid you not, we have a lot of drinking draws.
52:27
So there's like, and it's depending on the bar. They always change, but there's a lot of drink and draws too, which is run by Rocket if I'm correct. And go to any comic book shop. They're generally really nice people. Chicago Comics, I always rep Challengers. Challengers is the one I go to. They're all nice people. Like I said, I've never really dealt with any bad things. And then I just said too, we're in a world of art. Go to museums, go to the Art Institute.
52:55
You know, we have tons of some of the best colleges. The American Academy of Art is where Jill Thompson and Alex Ross was there too. So, you know. What is your convention schedule looking like for this year? Oh, I have a convention for every month. Damn, every month? Every month, two. I have two conventions every month all the way to. Get out of here. Two conventions a month? Oh, this was not. This is a little bit better than it was last year. Last year, what was it? March I had four. I had back to back to back to back.
53:25
would stress the living hell out of me. This time though, now it's like two a month. I was like, I could do that. I can't do the year before, but I can do two. So yeah, I get, I think there's still, I'm waiting on some of them for, to see if I got accepted or not. But generally right now I have 12, but I'm waiting on four more just to see if I got accepted. What's your favorite convention that isn't the big one? So like San Diego Comic-Con, New York Comic-Con, off the board. Like what is your
53:54
your favorite ones to go to or underdog convention that you're like, yo, not enough people talk about this. They got two or two or three. I will say three. Um, the indigenous con one I go to, which is called, uh, I think IPX. Uh, that one's really fun too. It's because it's literally, it celebrates indigenous artists, whether it's musicians, the actors is all about indigenous artists. Wow. That's, where's that taking place? Ohio, I think or Idaho. It's one of those, but uh, they're great.
54:23
Have you guys ever seen Reservoir Dogs? Have you seen that show? Yeah. Those twins, right? They weren't there last year and they're selling their music. I was like, this is great. They're a character that's just who generally they are. But that I would say is a really great con. I like that a lot just because it supports a lot of Indigenous creators, which we should do more. And then I like Heroes Con. I did Heroes Con last year. It was my first time.
54:51
And oh my God, I was gonna spend all my money. It's like, dude, it's a convention for the artists. It's not even for the people, it's for the artists. I'm over there, fangirling, going to all these people. I found an original, so my favorite artists is Joe Madden and Bertha Ramos, right? Those are my top two. Good choice. They both share the same spot. But somebody had an original Joe Mad piece with the inks and I'm over here like, oh my God, I've never seen one up close, right?
55:20
And I was like, can I just hold it? And they're like, no, no. No, you're holding an original Joe Madden. And then I'm holding the inks because it's double sided. And then I'm looking at how much the price is. The price is $80,000. And I'm like, wow. Wait, wait, wait. $80,000 or $8,000? No, $80,000. What is the image? What is it from? It had Spider-Man, Hulk, and Wolverine. Oh, yeah. Yeah. Right? Yeah. Actually, I might know that piece. Probably. I've definitely seen it. Actually, I can see it in my head. $80,000?
55:49
80,000. I'm over here like I could take out a loan. We could do this. You're like, you know what? I don't really need to buy a house. I could just, I'll just rent. This is my income. Another artist I really love which is my teacher Jill Thompson, who also got me into the industry too. She's a sweetheart. And if you guys don't know Jill Thompson, you're missing out. She's literally the top 10 most powerful comic book artists of all, female comic book artists. She did Scream Godmother. She's worked with...
56:19
Sandman, she's done a lot of other crime and Wonder Woman. She's a power bowl and it's crazy because when I went to college and she was my teacher, we just clicked automatically. I call her my comic book mother, but yes, you follow and say it's great. Do you remember your first conscious exposure to comics? What made you a fan of comics? What is your earliest memory of getting a comic book and being amazed? I would say it's through my parents. My parents were both into pop culture.
56:47
I grew up with that. My dad was really into the comic book world. My mom was a tomboy. So they both had the love for it. Which is funny though because my father did not want me to be a comic book artist and feared for me. But they're the ones who brought me into it. I mean the first thing I remember was my dad. We were at a flea market. My dad came back in the car and there's this giant bin. And I opened it.
57:14
and it's filled to the top with comic books, right? And I told my dad, well, what'd you get this? Like, oh, you know this lady, the old story, her son went to college and she sold all this kind of books. You know what, that story is so classic. That could have been me. That could have been my box of comics, my mom, your boy when I left the house. It could have been any one of us. Well, his loss, my gain, right? So, but here's a funny thing. I am reading some of the most adult comic books out there. It's Spawn, it's Aliens, I'm reading Hellboy, I'm reading like...
57:43
Mike McNola is like a Batman. I did some dark stuff. I'm seeing guts come out and like bloody gore. And I don't think my dad realized like they were all teenager, adult teen comics. And I'm over here like, whoa, that's bloody. Let's keep going. So that's what got me into it. The art right away was just, it was something unique. And then I remember too, like one of the first comic books that I got was my dad took me to this comic shop and he's like, pick a comic book, whatever you want.
58:14
And of course I'm a kid and kids like shiny things, right? So I get this foil variant and it's She-Hawk. It's sensational She-Hawk. I don't know if you guys ever saw it. It's a silhouette where it's just like, oh, it's a green foil. All you see is just green foil and like a black silhouette. Yeah, yeah, actually, yeah, I do recall that one. It's a very famous one and I got that one. And I thought the comedy was so, because she did the fourth wall. And in that story, I remember somebody's complained to her and she just grabs them and throws them off the building.
58:44
And you know, somebody killing, you know, superhero killing somebody, right? And it's just like, oh my God, what'd you do? He's dead. She's like, eh. And, but from that on, what really cemented it was my dad took me to WizardCon before it became Fan Expo. They took me to Wizard World, Wizard World, Chicago. And oh man, I went in there and that's where my eyes blew up like a, like a kitten, you know, seeing you.
59:13
Um, I saw all the pop culture. I saw the Ghostbusters car. I'm seeing Batman. I'm seeing everybody dress up. I'm seeing just everything. Everything. I'm consuming it. It's like, it was like delicious, right? It's all good. To me, this was like a carnival, right? But for nerds and I was like, oh, and I want to be a part of it.
59:35
The only question I have to follow, you literally gave me more than I thought I'd get in that one question. But I guess I'd like to know, what do your parents think of you now? Like you said, your dad was kind of hesitant about you going to the art world. What do they think now of your success and everything you do now? Well, I'll tell you this. My dad is actually an artist, right? He started off as an artist and he stopped because of course he had children and he had to help them out. And I don't know if my dad was ever afraid.
01:00:03
for me because he was an artist too. But my dad, he was hard on me. He used to give me, and I know my mom hates it when I talk about these stories, but I'm like, people need to know the struggles. My dad in during high school would always bring me newspapers of like top 10 worst careers to have, starving artists. Like he was just like, he was trying to break it. He did not want me to be an artist.
01:00:29
He just, that's why those other careers came by because he just did not. My mom was always supportive. That I will say. My mom was, but there were times too, but even my mom feared my mom, even my sisters feared art is scary. It is one of the, like I tell people, it's one of the most love. It's the most beautiful things you could do, but it also is like the most wretched careers to have and it will break you and only the strong survive. There I've seen people who are meant to be artists and they faltered. They don't want to be it because it broke them. It truly broke them.
01:00:59
I mean, like I said, I've been in situations where I'm just like, you know, I feel broken too, but at the end of the day, I tell myself like, no, no, I am meant to be here. This is my career. This is my life and I am, I am meant to be on that shelf, right? With all the other comic books. But yeah, when, and it's funny too. So I started doing all these other jobs. My parents were still like, I was miserable. I was very, very sad.
01:01:27
when I had to stop doing art to pay off my debt too because I had college debt and I had that. But I was really serious about paying it off. The reason why I was serious about paying it off too, and like I said guys this is why it's a business thing, the last convention I did when I took my hiatus was C2E2 and I made a lot more money than I did last year. But none of it went to my pocket, it all went to the debt collectors. I remember I told myself that day, I was like this will be the last time anybody takes my hard earned money that I worked so hard for.
01:01:57
fast forward, did shitty jobs, paid off my debt, I was happy, my dad and my mom still trying to give me other careers, and then the day I finally paid off all my debt, oh my god, it was great. I had saved some money on the side, and I literally went to my jobs and I told my bosses, F off, all of you, I don't need to be here no more, I ran, I was so excited. And it was funny too because my dad was like, you know, so I got my first check from Marvel, right? At the time Disney.
01:02:26
I had owned it, so now it's like, oh, I got my Disney check. You know, my dad, he was proud, got my first check. I got the, for my first, uh, woman of Marvel. My dad was like, okay, you got lucky. As every parent, he's like, ah, okay, it's not gonna go from there. Then came another check, and then another check, and then another check, and another opportunity, and then over here, and then over there. And then my dad's like, all right, you might have something, all right, all right. Okay, okay, to the point, I kid you not, my friend, I'm working on our.
01:02:55
the next side of the room I could hear my dad talking to his family side and say I always knew she was gonna be an artist, I always knew she was gonna accomplish and be big and I'm over here like he's son of a bitch I was like you don't doubt any more than anybody right? I was like and it was so crazy so now my dad's really supportive but I remember the first couple of like months it was so awkward to hear my dad be like yeah great job it's really good I'm like uh-huh lying bastard
01:03:24
Maria, that was a great answer. You brought up just overall your goal of just being appreciated and having your name out there for the folks that are watching the video version. There's a reason why I'm wearing my short box live shirt from 2023, which by the way, has your artwork on the back. Oh, the Batman? Yeah. Oh, no, it's the Dr. Shred. Now, there's a reason why I'm wearing the shirt, aside from being fans of what the short box crew does. I mean, big shout-outs to Crow, big shout-outs to Gene.
01:03:52
Big shout outs to Zach Armour, who I got to give full credit. They really put you on the map for me. I think for the most part, they might have introduced me to your work before I was even conscious of it. So I knew that I needed to reach out to them and be like, hey, I'm having Maria the Wolf on the podcast. I think you guys should send in something. So I only reached out to Crow thinking, I'll get Crow and I'll get Zach and stuff. I think Zach is out of town doing some stuff, but Crow.
01:04:20
somehow got the whole short box staff to send in voicemails for you. So I wanna play you a couple of these from the short box staff. Why do you wanna make me cry? And you know what? I guess I should have let you know that I'm about to bombard you and get you to blush and get all mushy. But I guess it just speaks to your goal that you said earlier, that your goal is, it's not the money, it's not the fame, it's the respect and solidifying your name out there. And I think when you hear these
01:04:48
It's really nice. So let's go ahead and hear some voice messages from the Short Box staff. This first one comes from Crow. I'm going to be honest. I've met a lot of cool people in my life and in the past few years working in comics, especially. But I have to say that Maria is one of the best people I've met. And let me be clear. One of the best people I've met not just in comics, in life. As soon as we met, she came and hung out with the Short Box crew. This is Crow, by the way, Maria. Hi.
01:05:18
we became fast friends and we started hanging out as whenever possible. My biggest regret is that I don't live in Chicago anymore because I can't hang out with her more. But yeah, I think it's fair to say that I've been absolutely pleased to meet her and I'm proud not just know her as a person from work, but also as a friend. And for those of you who don't know, because I don't know if Maria will tell you or she probably will because she talks a lot, but she works so fucking hard for the people in her life that she loves.
01:05:47
She's working hard to make her dreams come true. And she's doing that on top of making all this amazing art. So that one was from Crow. Thank you, Crow. And then the CEO, the CEO himself of Short Boxed, went ahead and submitted something too. So this one is from a guy, Gene. What up, Wolf? It's Gene from Short Box. You are the most talented, hardworking, badass artist in the game right now. Lock it up. There is no one else quite like you. I just want to say thank you.
01:06:17
for all the support you've given Shortblocks over the years. And I'm so proud to call your friend. Keep grinding and keeping you. All right. I got, I got one more to play you. And this one comes from, uh, I haven't had a chance to meet this person, but Natalie. Hey Maria, this is Nat. Just wanted to hop on here and let you know how awesome you are, which you already know. But
01:06:46
I can't wait to hang out with you this May. I look forward to it. It's one of the things I look forward to You are one of the coolest people to hang out with and I can't wait to see what kind of Sheet we get into you know It's gonna be lots of fun Also, please reply to your texts and emails. You are hard to get a hold of
01:07:15
Yeah, I love you. Yeah, that's great. All right. And I lied. I have one more. The short box team, they rolled thick. All right. I was really pleasantly surprised by how many people Crow got involved to send something in. So I got one last one play. This one comes from Kevin McCormick. Maria the wolf, where do I start? She is very easily my favorite person to see at conventions on the road. She's always there with a smile.
01:07:44
Even when stuff is stressful or going crazy, she keeps a cool head and it's just full of stories. Not a single person stops by her booth that isn't regaled with tales of her childhood or something that makes them laugh. And everyone leaves Maria's booth knowing that they got a piece of her time and her attention and she's going to remember you. Maria, you're the best. I really hope that 2024 is your year and I look forward to seeing you at Short Box Live. You're the best.
01:08:13
What is the key to getting a whole company, a whole staff, to unanimously all decide that you are incredible and send such nice words? When you think about Shortboxed, what comes to mind? Oh man, I love those guys. The Shortbox crew are friends I've known for years. I've only known them for so little, but I can call them my friends.
01:08:42
And I would do anything for them. I kid you not. I don't know if you know the story, but It was funny. I did my first San Diego Comic Con And I came really late. I didn't know they had Wednesday shows. And I came really late. I was tired. It was hot. I was tired. I was hungry. Usually whenever it's a convention, like the day of a convention, I'm taking a flight, I have no sleep. I'm literally running on fumes. Because I'm so like, angsty and stressed out.
01:09:11
So I went there, I'm tired. I'm trying to set up my table. They're like 30 minutes before closing. I was like, I don't have time. I just want to throw everything. And I just want to just go eat something, right? Find a McDonald's or whatever. And this guy comes to my table and he's like, are you a real wolf? And I'm like, and you know, that's when you show your face as a salesperson. You turn around and you go, yes, it's me. Even though they're back in your head, you're like, please leave me alone.
01:09:41
I'm gonna go home. My hand hurts. You're just so tired. But because you have to, once again, be like, hello, hurry. It's like, I'm gonna kill you. But it was Crow. And Crow, I have nothing but wonderful words to say about the whole crew. But it was crazy. Crow comes by and he's like, oh my God, Woody. He's like, I love your work. And I'm like, yes, yes, thank you. Thank you. He's like, you're so cool. I'm like, yes, yes, leave, leave.
01:10:11
And then, but he goes and he tells me, what are you doing after this? I'm like, eat, sleep, you know, the basics, right? He's like, you wanna come hang out with us and go eat with the whole crew? And I was like, what are you, I don't care, whatever. I've never been to San Diego. I don't know these people. Most people would take those red flags, I didn't. So we're walking, I'm seeing all the fun parts of San Diego, the nightlife, right?
01:10:40
And we're walking, we're going through the, what is it, the gas lamp areas, we're going. So then we go upstairs, and there's people sitting all together. It's the whole short box crew. And then Kroko's, look, this is Maria. And they're like, Maria. And I'm just over here like, yeah. I don't know any of you guys, right? But then I got to know them. I got to know Kevin, I got to know Ana. He's like, I just, Gene. I got to know everybody. And...
01:11:08
They were so welcoming. They were just so loving. What I love about short box is they pick the right people to be the best people to represent that, uh, that company. Oh my God. If they're hearing this, which they know they are going to say that I love all you guys so much, and I just want to see your company grow so big and I know it's going and it has, it's been showing every year or so can't wait to see you guys in May we're going to party. I'm a drink.
01:11:36
I know one of you guys got some good stuff, so. Good shit. Yo, big shout out. Like I said, I had reached out to Crow wanting a voicemail, and he went above and beyond and got the whole short box team involved. So big shout outs to all of them. Big shout outs to Gene, Nat, and Kevin and Crow as well. I think with that said, I think we're in a good. You had to try to warn me, actually. I was like, hey, I just need an hour of your time. I know you're busy. The interview will be quick. And you were like, I can do three. Easy, three hours, easy.
01:12:04
And you were not lying. But do you have any closing remarks? Do you want to say anything to the listeners, to the fans? Do you have any projects on the way? In closing, what do you got for us? What I got for you guys? Show me that business salesman. Well, I mean, what can I say, guys? To those who are listening, who've been following me since day one, since I was doing itty bitty work before Marvel, thank you. Thank you so much.
01:12:32
I told this to everybody and they'll always tell me, no, it's your art. And I said, nope, I would not be here without the people who believed in me, who showed the support, who've shared my work. It is, it is because of you guys, I am here. And thank you for everybody who stopped to hear my stories, you know, wanna get more involved, you know, bring me a beer or two, you know, thank you. I appreciate that, I always have stuff. And to all the young artists who follow me or want to be inspired.
01:13:01
Or don't give up. Don't, don't give up. I kid you not, you are going to go through a bunch of obstacles. Life is difficult. You have to do shitty things. You gotta work with shitty people and the shitty managers and you gotta pay your debts and it is hard. I barely started being in the industry since I was 28 years old. I get it, everybody is now in the mindset, you need to hustle young and you gotta, you gotta be there at age 19. Sometimes life does not work that way. And sometimes you have no control of it. But
01:13:31
That doesn't mean you should stop believing in yourself and think that it's over. It's never over. Some of the greatest people have started at age 45 in the industry and happens. Some people who started at 60 and it's fine. It takes time, but like I tell everybody, but have a pure determination and the passion for it. If you do not have a passion or determination, this is not the career for you. It will break you. It doesn't, it is not nice to people who are very soft, but that doesn't mean you have to be hard.
01:14:00
You know what I mean? You gotta be an asshole. Like, fuck everybody, I'm the lone wolf. It's only me, me, me, no. It just means that you gotta learn to have a tough skin. Shoulders up high, you know? Back, back, you know, just everything. You gotta pop out your chest like you're a gorilla. But every day, every day, and then love the little things that you accomplish. You got a cover, great. You got an interior, great. You did an anthology, great. Little things will lead to big things.
01:14:30
That's just how it works. Just because you're not working for Marvel or for DC, it doesn't mean you're not. It just takes time. It really does. Time is the greatest help and the worst enemy. So like I said, have the passion, have the desire, work your ass off, tell yourself you're a god. Tell yourself that you are meant to be in this industry. If you see me sitting at my table and you wanna be in the table, tell yourself it's possible. Nothing is possible. I've always told myself this and I will tell you this too.
01:14:59
If you want it, you will will it. And if you will it, it will be yours, but it is a true desire to have it. And I believe in you. I believe you more than anything. And if anybody's listening to you, if you need any advice, if you need a materials that I use or have a question or two, always shoot me a message. I'm always here to help. I might take a long time. My name is. See, I mean, you know, maybe reconsider, but Maria, that is.
01:15:27
So encouraging and I'm so pumped and all I'm doing after this is going to eat dinner, but I'm going to eat dinner Like it is my sole purpose in life. You are so inspired. All right, really quick shameless plug wise Where what is the what is the next convention? And then what is the next cover or comic book that people can find you on? Whoa, what have I been working on? Okay, so I've done a bunch of covers. So If nobody knows I haven't done DC work for about a year or two
01:15:57
I just got a bunch of them. So if anybody's into the April Fools, DC's doing a little thing with all the apes of DC. I did seven covers of Monkeys. Wow. Oh, the apes of fool. Oh, that's cool. Yeah, apes of fool. So I was like, ooh, okay, trying to be clever. So I got seven of them. They're gonna be coming out in April. I just did Dr. Doom. I did the Spider-Punk you saw. I'm working on a werewolf by night. I just did Creature of the Black Lagoon.
01:16:26
And man, I just have so many of them. Like it really is a lot. I'm doing another werewolf one. I'm working with Tim Seely still. And the convention, the first one of the year that I'm doing is Kansas City Planet Comic Con. And I'll be posting soon all the conventions I'm doing. I'm just, right now I'm trying to do more work than media, which I should not be doing. I should be doing both of them.
01:16:47
Well, look, I've got you covered because I'm going to have links to your socials, to the Inky Knuckles website. Oh yeah, that's my socials too. I got you covered. It'll all be in the show notes if you are someone that's listening that's interested in giving Maria a follow, which you should. I mean, she posts amazing content and you get to see all of her covers normally first before everywhere else. Give her a follow that'll be in the show notes. But Maria, this has been fantastic and absolutely worth the wait. Like seriously, this interview was worth the wait. Oh, thank you. I'm pretty thankful for being very, very kind.
01:17:16
What's up people? Look, you gotta wait, but you'll get the-
01:17:22
I hope to catch you at C2E2 and I'll be in touch man. This is great. Oh, thank you. Thank you again. Thank you everybody. There you have it ShortBikes Nation. That's the end of the show. Thank you for hanging out. Thanks for being here. And a special shout out if you made it this far. If you enjoyed this episode and you have some thoughts or comments that you want to share with us, write us at thes And if you really liked this episode.
01:17:51
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01:18:20
It's an easy and very affordable way to support the show and get rewarded for being a fan. Once again, sign up at patreon.com slash the short box. Speaking of our Patreon community, I want to give a big shout out to our current members, including Adam Chittani, Tony Aupi, RC Gamet, Blake Simone, Blythe Brumleaf, Bo Evers, Brian Brumleaf, Chad Lannenberger, Chris Hacker, Chris Jinx, David Morales, Triple D Mystic, Dominique Jackson, Errol White, Edbot 5000, Generation Jaguar.
01:18:49
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01:19:17
Thanks again to everyone that listens and supports this show. Be sure to come back next week for a new episode. And most importantly, take care of yourselves, read a good comic, and continue to make mine and yours short box. I'll catch you soon. Peace.
