Guy Davis: Unstable Artist

By Mike Jozic

I have always admired Guy Davis for three things: his attention to detail, his sense of design, and his insistence on not making his characters “pretty.” There is a realism at work in Davis’ art that really fits the subject matter he chooses to tackle, especially the period work. Everything from the architecture to the characters’ clothing seems to have been meticulously chosen to reflect a certain mood, but never distracts from his overall sense of storytelling. His black and white work has such a rich texture that you almost feel like you could reach out and feel the zip-a-tone, and his colour work has a simplicity that is hard to beat.

While off of the mainstream radar for a while, Davis has again been catching the eyes of comics fans lately with his current work on books like Marvel Comics’ Unstable Molecules. The series, written by James Sturm, is arguably some of the best of Davis’ career and has garnered both fan and critical acclaim for the Michigan born artist. The promise of several more Marquis stories and a return to Baker Street over the next year or so should go a long way to cementing his place in the minds of readers as a top shelf writer and artist.

His next project, due out in April, will be a Batman Elseworlds mini with Len Wein matching up the Dark Knight detective and Edgar Allen Poe.


MIKE JOZIC: For anyone who doesn't know about the series, what and who are the Nevermen?

GUY DAVIS: What and who are the Nevermen is pretty much the whole mystery of the first series. They're a mysterious group of goggle wearing crime fighters who try to keep law and order in a city littered with squid headed crime bosses and bizarre thugs. In the new series "Streets of Blood" you learn a little more of who each of the Nevermen are outside of their crime fighting roles but there's still lots of surreal mystery and two-fisted pulp action!

JOZIC: Where did the Nevermen name come from?

DAVIS: From Phil, and to be honest, I actually don't know where or why he chose it other than it had a nice mysterious ring to it.

JOZIC: Their creation was a totally collaborative effort between you and Phil Amara, correct?

DAVIS: Well, Phil came up with the characters and concept, he had most of it already worked out before he approached me to do the artwork and design the look of the book. There was a lot of input back and forth between us. Phil has a lot of great ideas that really sparked my imagination for the character designs. But in the end the story is pretty much all Phil's and what he wants to do and he gives me free reign with the art and storytelling.

JOZIC: Do you view The Nevermen more as Phil's baby and you get to come along for the ride, or is it more hands on than that?

DAVIS: I definitely feel that I have a little more input into it than on something that is just a work-for-hire property, but really Phil's the one who gave birth to it - I'm just sort of helping him raise it. Phil knows what he wants to do with the book and he knows the characters better than I could ever hope to. A lot of the time I'm as surprised as the reader. When I worked on the first series for a while I didn't even know who the Nevermen actually were or where they came from - Phil likes keeping his mysteries.

JOZIC: There is so much detail on each of your pages. How long does it take to complete one from laying it out to finished inks?

DAVIS: I do it all in stages, first laying it out and then pencilling the entire issue before going back and inking it all up - and that makes an issue a month, give or take a couple days. So if I had to do it one page at a time it would be around a page a day. The detail can slow me down sometimes with the cityscapes and backgrounds, but to me the settings are as important as the characters - especially in a book like The Nevermen.

JOZIC: Had you guys always planned a sequel to the original Nevermen story?

DAVIS: Phil had hoped to do more and I was up for drawing a sequel, but there was never any official plans until "Streets of Blood" came about. Even though The Nevermen was created by Phil and me it's a Dark Horse property, so it was more up to them if they wanted to do a sequel or further mini-series.

JOZIC: I have to say that I'm really surprised that they are a DHC property. How did that happen, exactly?

DAVIS: As far as I remember it was always something that Phil created with the idea that it was a Dark Horse property in the end. I mean, we both have some contractual ties to it that make it more than just a work-for-hire job and all, but overall it is a Dark Horse book.

JOZIC: You once said that you had always planned a finite end to your Baker Street series since an ongoing almost always assures the reader that things will be okay. Do you think of The Nevermen the same way?

DAVIS: Yeah, I think most stories would work better if they had a set ending in mind. There's also the danger of just dragging things out too long and beating an idea to death. With Baker Street and The Marquis I have set endings in mind that tell all the stories I want to tell with those characters. I'm not sure if Phil has the same idea in mind for The Nevermen, I know he has a lot more ideas and I'd like to draw more of the stories, but I'm not sure if he ever thought of it as an ongoing series or something that has a structured arc and conclusion.

JOZIC: After reading “Streets of Blood”, I got a bit of a Dick Tracy or The Shadow vibe. Are those characters, and the worlds they inhabit, a strong influence on Nevermen?

DAVIS: Definitely, there's a pulp feel that I wanted to come across in the book and the villains are a sort of surreal nod to Dick Tracy. The heroes had square jaws and fedoras and the villains were all bizarre characters. I remember in the first series I really wanted the bad guys to just exist without any reason to why they looked like they did. I liked the idea of keeping it simple and that everyone in the city didn't bat an eye at the fact that one had a squid head or was a zombie - it was just bad enough they were gangsters. If you started explaining all these origins you'd lose some of the mystery - and The Nevermen is all about mystery.

JOZIC: What is the process of putting an issue together between you and Phil and the rest of the creative team?

DAVIS: At the start Phil will usually give me a call and tell me a basic idea of what he has in mind for the story and then ask if there's anything specific I would want to draw or incorporate into it. For example in the new “Streets of Blood” I had an idea of the disembodied villain, Cadaver, using a headless gorilla as a suit basically and Phil worked that into issue #2. After we go over the rough ideas he sends me a plot breakdown and I do the layouts for the issue from there, sometimes I might rework a scene or something (like adding the Winterbone scene at the tailors in #1) and if Phil thinks it works too we go with it to the actual art and then it's pretty straight forward to inks and then turning it in for coloring.

JOZIC: You've done a lot of work in the pulp period. Is that a style of storytelling and art that you enjoy working in?

DAVIS: Pretty much, I was never really interested in the whole superhero side of comics but there's that larger than life, high adventure aspect to pulp stories that I enjoy. I tried to get some of that across in the art back when I was working on Sandman Mystery Theatre and went crazy with it with the Nevermen stuff. It even slips into The Marquis in places - his twin pistols are a nod towards The Shadow.

JOZIC: I don't feel so crazy anymore looking at the cover of “Hell's Courtesan” #2 and thinking that it looks like a Shadow cover image. Was that cover, in fact, an homage to those magazine covers in the '30s?

DAVIS: Actually in a way it was inspired by one of my favorite Shadow covers, the "Voodoo Master" issue.

JOZIC: I just watched The Nevermen trailer on the DHC site. I noticed Phil was in it, but you were, sadly, absent. Was that a location/proximity problem, and what did you think of the final product?

DAVIS: I heard he did that but I haven't checked it out yet, the photos I saw in "Streets of Blood" #1 looked like he was having some fun though! Yeah, I live a few states away from Phil so I couldn't join in - besides I photograph like a pound of wet meat! I'm sure I could have passed as some sort of thug though.

JOZIC: Switching gears, where did the concept for The Marquis come from? A demon slayer is by no means a new idea, but the setting and details behind the character certainly are.

DAVIS: Well that's the trick I guess, if you look at the basis of any idea it's hard to be totally new these days, but hopefully you can do something new and different with it. I started playing around with The Marquis back when I was still working on Baker Street. It was in the works for a while with the "Les Prelude" issue coming out from Caliber Press in '97 and then going on hiatus while I worked on Sandman Mystery Theatre. Luckily Oni picked it up and started publishing the mini-series again when I was ready to get back to it. I wanted to do a different sort of story than Baker Street and the 18th century was a setting I always wanted to draw a story around. The book really just came together out of combining a lot of ideas I wanted to draw and grew from there.

JOZIC: What was the reason for the move from Caliber to Oni?

DAVIS: By the time I was finished on Sandman Mystery Theatre and ready to start up The Marquis again a few years had passed, and by then I wanted to make a fresh start with the book at a different publisher. The first couple issues had already been solicited through Caliber and were pretty much done, [but] I actually reworked the story and redrew most of the entire first issue when it started again from Oni.

JOZIC: Do you do a lot of research for The Marquis, or is it just a collection of various elements from your imagination making it onto the page?

DAVIS: I did do a lot of research for the architecture and clothing/hairstyles, but since the world of The Marquis is it's own, I just used that research as a springboard to get bizarre with some of the designs. I wanted it to look and feel like the 18th century without it seeming stifled in exact details, keeping it fanciful but not too unbelievable. As far as the devils and demons go that comes straight out of my head and usually starts off with what I think would look grotesque and surreal.

JOZIC: I'm kind of curious as to why Venisalle is in a state of perpetual winter? Is that just a design element, or is there something deeper at work there?

DAVIS: Basically I really love winter, it's my favorite season and I thought it gave it a different mood for a horror story instead of the usual thunderstorms and lightning. There's no reason for it within the context of the story, it's just part of the setting to make it it's own reality.

JOZIC: Do you have any plans to venture beyond Venisalle and explore this world you've created?

DAVIS: Aside from Hell, Venisalle is pretty much the center of the Marquis' world. I never really put much thought into any other regions or cities since the story is focused on this one particular town. After The Marquis is done, I'll show more of the history to the town with the story of the Misere - but it's going to keep Venisalle as the backdrop to the story.

JOZIC: In a lot of the reviews I’ve seen for The Marquis, it was often said that the reviewer didn't find the story as effective as it could have been but, "Oh, the artwork!" I'm not sure if this is a good thing or a bad thing. What are your thoughts?

DAVIS: Well, I guess it's at least half of a good thing, better then a reviewer who didn't like any of it.

I've found that The Marquis is pretty much an art driven book insofar as that's what seems to be attracting people to it at first. But that's not to say that there aren't fans of the story or readers who get what I'm doing with the series. Sales are good and I'm definitely planning on telling the rest of the stories. Right now I'm working on a one-shot, The Marquis: A Sin of One for May with another 3 part mini-series slated for early next year.

JOZIC: Vince Locke, a talented artist in his own right, has been doing the letters on The Marquis from the beginning. How did that relationship start?

DAVIS: I've known Vince for many years - since the beginning of both our careers, actually. We both started out doing fanzine illos way back before we worked at Arrow Comics (which may have been around '85 or '86), I was working on The Realm book and he was drawing the Deadworld series for them. But as I remember he started by doing some lettering on the side for The Realm and then I wanted him to do the lettering on Baker Street. He has a really original lettering style and I think it adds a lot in giving The Marquis a unique look. He also painted the covers for both the Baker Street and Marquis covers that I drew. He kind of got labeled as an inker awhile back when he did some work for Sandman at Vertigo, but he's a great all around artist and definitely more than just an inker or letterer.

JOZIC: I noticed that your numbering continues rather than starting over again in the next issue. For example, the first page of issue #2 would be page 30. Is that a personal preference, or is that because of the eventual trade collection?

DAVIS: Each of the mini-series continues the numbering issue to issue since it's pretty much telling a complete story. So after “Danse Macabre” we started the numbering over for “Hells Courtesan” and then will start it over for the next short story.

JOZIC: Another feature of The Marquis is the pin-up section at the back of each issue. You've had some remarkable people contributing there as well as doing covers for the series. Is there anyone we can look forward to seeing in the upcoming issues?

DAVIS: I've been really lucky and happy with all the cover artwork that was done for "Danse Macabre", it was a great thrill to see some of my favorite artists do their take on the character. Michael Gaydos did a great piece for the cover to the upcoming "A Sin of One", and after I do the covers for the next 3-parter we'll go back to guest covers for "Devil's Reign". So far I have most of them lined up, but since it's still a ways off I don't want to say who yet. But for pinups we have a couple of really sharp ones all ready to go.

Troy Nixey who did Trout will be in the next one-shot and I also have one from Jason Alexander (Empty Zone, Queen and Country) that will make it into the next 3-parter.

JOZIC: Are you at all surprised by the success of The Marquis? A French 18th century alternate-universe demon slayer doesn't, at first, seem like a hit in the making.

DAVIS: I'm pleasantly surprised and more than happy with the response, as long as it does well enough so that I can continue on with the story I'm happy. I'm not really focused on trying to make something a hit or not, just trying to do something that hasn't been done to death in comics.

JOZIC: How many more stories do you think the series has left in it?

DAVIS: It's all planned out, so after the next one-shot there will be the 3 part "Midwife" story and then two more full 6 issue mini-series. After all that is done I do want to do a separate mini-series that tells the story of the Misere character and the origins of the Ministry and Venisalle.

JOZIC: Considering your art style and the types of stories you tell, are fans ever surprised that you're from Michigan and not somewhere more...European?

DAVIS: Sometimes I get that at conventions – more so when I was working on Baker Street. People kept asking me if I was from England or had spent a lot of time over there. But then I had to disappoint them and tell them I'm just some guy from Michigan with a lot of reference books on London. I guess I take it as a nice compliment though, that the settings looked believable.

JOZIC: You've also recently done 2 mini-series for Marvel, Deadline and Unstable Molecules. Do you like maintaining a visible presence at all the major companies, or are you just going where the work is?

DAVIS: I enjoy trying my hand at a lot of different projects and keeping busy but I guess I'm not intentionally seeking out certain work, usually just work in general. Right after Sandman Mystery Theatre I sort of got typecast as being only able to do books set in the '30s and it was hard to find work, so I tried to do a lot of different type of books to show that I could do more than just that period.

JOZIC: I was kind of surprised to see you working on a Fantastic Four book. What circumstances led to your working on Unstable Molecules? Were you initially approached by Marvel to do it?

DAVIS: I was finishing up my work on Deadline and my editor Tom Brevoort had asked if I wanted to try out for the book. I did a sample page and got a call after I was done with Deadline to do the artwork for the series. It's the only time I ever did work from someone else's layouts, but I understood going into it that James had a specific storytelling in mind for this so there was no problem.

JOZIC: What has been your experience working at Marvel under Joe and Bill?

DAVIS: Enjoyable. I had no problems whatsoever, I was treated very well and given a lot of freedom to do the art the way I do. Tom Brevoort was also a great editor to work with. He always had time to listen if you had a question and made sure everything ran smoothly.

JOZIC: Sturm has painted a very different picture of the well-known origin of the Fantastic Four. Do you find it liberating handling these characters in a different light, or is there more pressure as a result?

DAVIS: To be honest I'm not sure if I felt it was either, actually, I had only a basic knowledge of the Fantastic Four and who the characters were. But from what I know of it all I really liked James’ story and characterizations - I thought it was an interesting take on the whole idea of an origin story. So I guess my only pressure aside from deadlines, was just on doing a good job and getting across the story and his take on the characters as best I could.

JOZIC: I read somewhere that the Judge character that appeared in Deadline was not actually designed by you. Is that an awkward thing to happen, or is it just like working on the established Marvel characters in the series you also have not designed?

DAVIS: No, that wasn't awkward at all, going into it I knew that I wouldn't be doing the designs for it. The Judge was actually designed by Joe Quesada. I designed the other characters, though, that weren't already existing Marvel ones like Kat and Third Rail. In the beginning I did do some rough designs of my own version of the Judge based on the script and sent them in just for the hell of it but Joe's fit in more with the actual feel of the Marvel books and I think it's a really nice design.

JOZIC: Did you approach the Marvel work any differently from your work on The Marquis or Nevermen?

DAVIS: Well, the actual work itself is pretty much the same. I mean pencilling is pencilling, inking is inking. There's a bit more work involved with doing The Marquis since I'm also writing it, laying out the book design, lettering guides and doing the tone screens by hand, so all that adds up to a couple added steps before I'm finished. With most of the work for hire it's just worrying about the pencilling and inking which is a nice change of pace sometimes from doing it all.

JOZIC: Whenever I see you do a splash page, as you did periodically on Deadline, it always takes me by surprise. Your work is generally pretty dense and compact and when the page opens up like that, it gets your attention. Do you prefer to use them sparingly for just that reason?

DAVIS: Yeah, I think if you overuse them they loose their strength for when the story could really use the impact. I think that there has to be a good reason for having an image take up a whole page so it doesn't just feel like a bunch of pinups in a book. Aside from the talking heads shots, I like telling a lot of action scenes sequentially too, pacing it out so it moves along with the story or breaking up a scene to give it an extra beat.

JOZIC: You're also doing a Batman Elseworlds book for DC that will be coming out later this year called “Nevermore”. What attracted you to this project, or for that matter, what attracts you to any project?

DAVIS: I guess my main draw for any project (aside from paying the bills), boils down to whether I think I would enjoy working on it and if I could do a good job with it. A team up with Batman and Edgar Allen Poe back in the Victorian days just sounded fun and a bit quirky and I thought it would a really different type of book to do. I also get to do my take on the Victorian era Batman, which is hard to do after Mignola did it best on "Gotham by Gaslight."

JOZIC: How has it been working with Len Wein? Were you familiar with, or a fan of, his work prior to this?

DAVIS: I haven't had much interaction with him except for at the very beginning - right now I'm finishing up the rest of the inks on the last two issues of the mini-series. I knew of him and his work on Swamp Thing but I wasn't familiar with his writing before this. But Batman: Nevermore is a really entertaining read and I think people will enjoy it, also Bernie Wrightson's doing the covers for the mini-series and they're incredible!

JOZIC: What will be your take on Batman within the context of this story? Will it be very different from what we're accustomed to, or fairly traditional?

DAVIS: It's pretty traditional. I took the basic design and tried to interpret how you'd get that look with Victorian era clothing. He's also mistaken for a large raven in the story, so I tried to give him a more bird like appearance in the mask without going too overboard.

JOZIC: Batman seems like one of the superhero set that would suit your style fairly well. Had you wanted to do a Batman project prior to “Nevermore”?

DAVIS: Yeah - I did a fill in on Shadow of the Bat #86 and got to draw a lot of other characters like the Joker, but there was no Batman in it. So I got to draw the Batman book with no Batman - but I get make up for that with “Nevermore”. To be honest though, I never really followed the character at all in comics, I watched the old campy TV show as a kid but I only ever read Millers' “Dark Knight” and “Gotham by Gaslight”. A lot of my interest in doing a Batman comic came after seeing Batman Returns - I remember just loving the designs they did for that with the Danny DeVito version of the Penguin and just the dark look of the whole movie. So really I guess my main appeal for wanting to do a Batman book was always about the design of the characters.

JOZIC: You said earlier that, after Sandman Mystery Theatre, you didn't want to be labelled as a period artist, yet most of your projects, with a few exceptions, have you drawing in one. And, again, with “Nevermore” you are stepping into the Victorian era. Is that by choice, or do you feel that, despite your best efforts, you have been stereotyped?

DAVIS: I know I probably sound like a hypocrite, don't I? I guess I only feel stereotyped and frustrated when work dries up and editors say they have nothing to put me on because they have no "period piece" books. I mean, I've done a lot of different genres and all to show that I can do a variety of books and not just one type of thing - but I guess when it comes down to it I prefer the period settings.

JOZIC: Your interest in comics seems to stray away from the typical super-hero fare. What originally got you hooked on the medium?

DAVIS: I never really read much comics growing up, I think I only collected the old Charlton Space:1999 comics and that's because I was hooked on the show. But I used to draw all the time growing up and I would make up my own stories and lay them out sequentially - not really like a comic as much as just a series of drawings. When I graduated I didn't really have a clear idea of what I wanted to do, I just knew it involved drawing. I thought of looking into doing storyboards or design work for film, but at the time I was already doing some comic work for fanzines. And then when Arrow comics started up with The Realm I just sort of fell into doing comics. I guess I thought it was a lot easier to break into and then one project seemed to lead to another and I sort of stuck with doing comics. Which I really enjoy doing - I mean, I wouldn't have been doing it professionally for 18 years if I hated it. I guess what keeps me hooked on the medium in particular is that I really enjoy telling stories visually and I haven't gotten to a point where I'm just content with my work. There's always the sort of challenge to learn and do better.

JOZIC: I remember reading somewhere that you were influenced by manga early on, but I think most people would be hard-pressed to see where it has made an impact on your work. What elements of manga did you bring to your early works, and are those influences still around today?

DAVIS: Growing up I used to watch Kimba, Speed Racer and Albator (the French version of Captain Harlock on Canadian TV), but at the time I didn't really know it was actually Japanese until later on when I discovered the rest at local conventions and got hooked on it. It was a big influence but I never wanted to ape the style exactly just take some things from it that really struck a cord with me and incorporate it into what I was doing. Along with the manga/anime stuff I was also really influenced by Don Bluth's style too, and picked up a lot of the angular look from his animation.

The cartoony/manga look is pretty noticeable when I did The Realm for Arrow comics, you can also see a little of it in the first issue of Baker Street. But that style didn't really fit with the kind of look and feel I wanted for Baker Street and I started to pull away from it. I also started getting more into European comic artists like Moebius, Schuiten and Tardi around that time too so my style changed a bit through the 10 issues of Baker Street.

But I have to say Katsuhiro Otomo's Akira had a big impact on my art around the Baker Street time too - it's also what got me using tone screens for the black and white work. His Domu graphic novel is my favorite comic story of all time - the pacing is perfect on it. I also really love Lone Wolf and Cub and it was a great thrill to be able to do the cover art for the last two volumes of the Dark Horse editions.

Lately the one bit of manga that really caught my eye was Taiyo Matsumoto’s Black and White and No. 5 - really unique stuff that stands out from most of the glut out there.

JOZIC: Most of your work tends to showcase a wide variety of architectural styles, and an eye for detail when using them. Where does the architectural interest stem from?

DAVIS: I don't know really, probably because it was easier in the very beginning to draw objects and architecture than it was drawing people. Maybe it's just an aesthetic thing too - I just like looking at architecture and weird mechanical objects and things. And I always thought the background and setting of a story was as important as the action and characters - which is probably why I clutter up the backgrounds with details.

JOZIC: Out of all the projects that you've worked on, do you have a favourite? Or possibly a top three, if you can't narrow it down?

DAVIS: That would be hard to narrow down. I've been lucky enough that most of my projects were enjoyable for one reason or another. Probably at the top of the list would be my own stuff - Baker Street and The Marquis - just because there's the satisfaction telling your own stories and having complete control over what you're doing. But I also really enjoyed my time on Sandman Mystery Theatre, Matt and Steve were both great to work with and aside from being incredible writers they are some of the nicest guys in the business. But again it's hard to narrow it down. I really enjoyed working on Nevermen and on Deadline with Bill Rosemann, too.

JOZIC: Are there any projects that you look back on and felt like you maybe shouldn't have done them?

DAVIS: Not really, I haven't had any regrets on the projects themselves except maybe a couple very early on where I was never paid for the work done - but that's more problems with the company than what the book was about. I do look at the earlier stuff I did and cringe a bit at what my art was like, but as long as I can look back and say I've at least learned from the mistakes and gotten better, then I'm okay.

JOZIC: Your style seems like it could make the leap to magazine illustration, or storyboard work with little effort. Have you ever done any work outside of comics?

DAVIS: I have been doing a lot of spot illo work for White Wolf games since '95, but aside from that pretty much all of my work is centred around comics. I wouldn't mind trying my hand at storyboards sometime or doing design work, I really love looking at different artist’s sketchbooks and I usually buy those "Art of - whatever" books because I like seeing the design work that goes into movies. But as far as seriously looking into doing it myself, I haven't pursued it.

JOZIC: While your black and white art is something to behold, your recent colour work, like The Nevermen and Deadline, looks just as amazing. Do you have a preference between the two?

DAVIS: I really enjoy working in black and white and using the gray tones, I would never want to do The Marquis as a color book and I have to say I never liked the coloring on Sandman Mystery Theatre - I thought the colorist did a good job with the fill in artists on that series, I just don't think it worked well with my art at all. But lately I've really enjoyed some of the colorists I've had on both Deadline, Nevermen and the other books since Sandman Mystery Theatre. If it my art looks good in a color book then those are the people who deserve all the credit. Right now Jeremy Cox is doing the colors for Batman: Nevermore, I just saw the first issue and it turned out really sharp!

JOZIC: You've also worked with a fairly impressive group of writers over the course of your career. Who have been your favorites to work with, or what were your best collaborative experiences?

DAVIS: That would be hard to pin down, too. I've been really lucky with the people I've been paired up with. It varies a lot project to project. I've done books where I haven't had any interaction with the writers at all and a couple where it was almost too much. The best are the ones which just work out naturally and I have to say at the top would be Matt Wagner and Steve Seagle, I had a really good working relationship with both of them and the collaboration flowed really well. But I also worked really well with Bill Rosemann on Deadline and Phil and me have a really good working vibe going on with Nevermen.

JOZIC: I can't let you get away from this interview without asking you if there are any plans in the works to return to Baker Street in any capacity? Is it something you have any interest in doing?

DAVIS: Once I finish The Marquis, I'm hoping to go back and finish Baker Street before moving on to something else. There really was only, I think, 3 more storylines plotted out that told the entire story and I want to at least finish off what I had planned. Right now Byron Preiss’ ibooks is collecting the first two series (all 10 issues and some sketches) into a new collection that should be out sometime this year.

JOZIC: What's next for you after “Nevermore”? The Marquis story you spoke of earlier?

DAVIS: Well, alongside finishing up Batman: Nevermore, I'm working on a B.P.R.D. 2 one-shot written by Brian Augustyn and also a short story for Metal Hurlant. And aside from the next Marquis: Midwife story I have another project that's in the works that I'm really looking forward to - and unfortunately I can't really say much about it at this point, except that I'm going to have a lot of fun drawing it.

If your appetite for Guy has yet to be satisfied, be sure to check out the exclusive Guy Davis Sketchbook currently being exhibited in the Feature Fiends forum.

And while you’re there, don’t forget to leave a question or two for Guy, who is participating in our Feature/Forum Project.

	Mike Jozic has spent the last several years interviewing comic book creators and other entertainment related personalities for various publications. He has been published both online and in print, with his work appearing in The Comics Journal, FearsMag.com and Silver Bullet Comicbooks. He maintains his own website at www.meanwhile.net and currently serves as the Features Editor for SBC.

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