This comic is for adults only, right?
A: Damn straight, Son. This
is for grown-ups and I forbid youngsters
from buying my books at my convention
tables. However if anyone wants a
kid-friendly commission, Ill
Where's the Best Place to start?
A: For the Jacobi saga and
to start off where I started off, I would
start from Books 1, 2 and 3. These books
mostly represent my raw edgier
underground period with a more
straight-to-the-point plot with plenty of
For the Shemsu-Hor saga and my best work
to date, go for Books 0 part 1 and 2.
This saga represents a more complex
plot-driven arc that relies more on
suspenseful horror and drama than action.
The events of Book 0 is set just before
Book 1, so its not a prequel in the
common use of the word, but the saga does
explore the events of Genma Visage 9000
years before the present and what made
the world what it was.
Although both sagas reference each other
at times, they both bring you up to speed
as independent comics so that you
dont have to read one to understand
the other. But if I had to be flash,
Id say buy the lot, hahaha!
How did this all come about?
A: I would say Genma Visage
had 3 separate Birthdates, that being
2007, 2010 and 2012. The first series of
pages were done during 2017 when the
comic was originally called Psyomaster
Ryuken: Overkill and was originally going
to be an offshoot of a series of short
stories that I wrote during college and
University called Kouryu Sukuinushi. I
eventually decided that the Kouryu
Sukuinushi had long given up the ghost
and that Overkill should be its own
completely different title. Channelling
multiple comic and manga influences at
the time, I first tested the water by
making Overkill a webcomic and a
smallpress run for fairs in order to gain
feedback from viewers. As a one man team
between Uni and Work, it was hard to meet
a weekly update rate. With the detail
going into each page, I had always felt
that that the series was aspiring to
something more than what the webcomic
mould typically allows.
By 2009 through 2010 the story moved away
from the darkened martial arts fantasy
motif in favour of being an Action Horror
Thriller. Adapting more Science Fiction
and Occult influences, the series took a
more anarchic tone towards its former
influences and current peers at the time
as a means of exploring characters in
more uncharted detail. I did regularly go
through tests of faith of the
art world by that point, and the passion
I developed from that was channelled into
the drive for creating characters that
are good or bad because they are
believable not because the story says
they have to be. The series was renamed
Genma Visage, a title I chose when I had
established the key moment of death and
rebirth in the characters life that
all the other characters would relate to
as the story progressed.
By mid 2010 I decided I would complete my
comics and expand them into published
books. I finally abolished the web comic
mould completely. The original pages were
rewritten to match the current context
and in 2012 the first 3 finished books
were released, pretty much when I started
doing this shtick professionally.
Ive been working on the series
What goes through your head when you
create this crazy stuff?
A: Just 25 years of
practise, hard work, dedication and
thats basically it. Im
usually just focused on having a finished
accomplished piece of work. Beyond that I
keep myself flexible with whatever
Im working on at a given time or a
particular time as the mindset can change
regularly. Youd have to point out a
particular artwork for me to give you the
lengthy explanation of that piece, but I
would advise to always be in control of
the artwork, and not to let the artwork
be in control of you, or else youll
start missing deadlines!
I would say for a horror comic an
immersive atmosphere is important for
myself and the readers. Quite often I
would plug in some dark ambient music to
really get into the mood of the work.
Music can certainly influence the
stronger of my pieces and I recommend it
as something to play with, responsibly of
What \ Who are your influences?
A: I did once have a list of
artists, writers and titles as long as
your arm and Im always eager to try
new things. In short, my artwork is
mostly inspired by European comics,
animation and fully painted fantasy and
album cover art. The Manga influence is
there in my art as well. In particular
its comics from Hong Kong which
inspire my decision to regularly jump
from simple shaded to fully-painted tonal
art within my own work.
With the writing side of things, I mostly
take my influences from film, animation
and videogame storylines. I did a lot of
story analysis in my university days
along the way. Mythology and the analysis
of History are probably the biggest
influences on my style as well as a point
of interest for much of my work.
I would say the influence and style
aspect tends to become a second nature
after a while, and Im mainly
interested in simply having an adventure
with my work, to follow a Journey and to
see where that takes you. Most of my
ideas are thought up when from taking
long walks through woodlands, the
countryside, cities and coastal areas as
well sightseeing at historical sites and
What does the title Genma Visage mean?
A: Within the storyline,
Genma Visage refers to the pinnacle
experiments used to create the ultimate
weapon and control the Shurokiu malady of
the Drago Visage. The title name is based
on the creators Nishin Genma, the occult
order whose name in Shurokiu tongue means
The Lightbearers of Nishin.
Nishin is the primary deity in Shurokiu
religion seen in the comics logo, a
dual-headed Hydra both male and female
who created the universe. Its
believed that Nishin sits at the heart of
universe constantly breathing in impure
matter, purifying it and regurgitating it
to keep the universe clean and safe from
evil. Because it bears the weight of the
entire universe on its shoulders, Nishin
cannot directly interfere with mortals,
but the Shurokiu honour its principles of
progression. Mortal heroes are heavily
favoured over gods in Shurokiu religion
as it is believed they have communed with
Nishin directly for her wisdom. Nishin
Genma set themselves up to the Shurokiu
as the legends who spoke to the god
Nishin the most. They added the eye or
serpent eye into the tail within
Nishins emblem to represent an
awakened 3rd eye of wisdom that watches
In the context of a horror comic, the
premise of the title is to have clash of
opposites, a holy name to describe an
unholy act of unspeakable evil. The name
Nishin Genma can be the Japanese words
for Dual-God Phantasm. Pronouncing Genma
as Janma, it is also a Hindi word for
rebirth. The idea of Genma meaning
Lightbearer is inspired by the
translation and association to the name
Lucifer, aka the devil we all know.
What themes do you deal with in Genma
Visage (if any?)
A: The theme can change from
book to book and story to story, but I
would say Corruption and responsibility
remain the core theme throughout, and the
story focuses on cases that show that
without responsibility anything can be
defiled and made into evil. The dark
underbelly of human nature is often
explored when meditating on power. As
mentioned before, the sense of history
and mythology remains a key point of
interest within the story when exploring
fact and fiction, as well as how
characters grow with the legend that is
built up around them.
Whilst I do like to give the readers some
room to breathe, I do enjoy having a
playful dig at certain degrees of hero
worship hero worship throughout
particularly for comic relief.
How long does it take you to do a page \
book? How does your creative process go?
A: I generally release a new
book once a year on that basis. Between
other jobs and commissions, its
normally about a days work a page,
including sketching, inking and painting.
Its approximately another
days work to work in the colours
depending on if its a full colour
piece or if Ive already worked in
colour in the first place. With the
writing and lettering I normally set
aside a month or two a year to focus on
the story, the script, the lettering
process and proof reading. The front
cover is normally the longest and most
important page in the book, and the same
can be said about the back page, so I
wedge in about a weeks work each.
Organising a print run can normally take
a few weeks for the first time, and about
1 week for every other week, assuming
there were no major revisions to do
So to go through the creative process, I
may spend weeks, months if not years
brainstorming beforehand a plot or
character to work with, then I write down
several summaries along the way
shortening and streamlining as I go
along, design the characters, I write a
script, thumbnail page layouts, get the
artwork done, do the lettering, sort out
the cover and the printing and ignoring
the X number of mini chores in between
thats the creative process in
summary. To answer question through
examples, Book 2 (56 pages) would take
about 4 months (ignoring the tasks before
character design) and Book1 about six
months. Book 0 parts 1 and 2 at the 140
page mark was roughly a year each.
Keeping in mind I am working on other
things in between and real life to
contend with, I certainly dont get
much time for luxuries, hehe!
Do you keep a journal?
A: The main journals I keep
thatll keep you up to speed are the
newsreel on this page and on the Facebook
page, as well as the DA journal where I
may announce upcoming shows. Beyond that
the more detailed descriptions of my work
is included in either pictures uploaded
on DA or convention photos and the
sketchbook galleries in the facebook. I
avoid keeping a personal blog about my
life (i.e. what sandwich I ate, what I
did today, my opinion X etc) because I
simply consider that to be a thief of my
time. Feel free to strike up conversation
with at cons in real life though because
I dont bite!
Is Usheana dead?
A: Nope. She's still alive
if not exactly kicking after the last
pages of Book 1. The same as before,
Usheana is still in a coma on Shuromij as
Ryuken jumps back and forth from Earth to
visit her between battles. The scene with
Ryuken's vision at the end of Book 1
while open to interpretation is going to
relate to the forthcoming conclusion of
the Los Rokuma saga. Keep your eyes
peeled for Book 4!
What was the deal with those Wardog and
Dinotown shorts in Book 2: Exhumed?
A: These were done for the
"UK Web and Mini Comix Thing"
conventions in East London 2009 and 2010.
For all the events the organiser put
together a comic anthology with
contributions from the exhibitors. Each
anthology was designed with a rotating
yearly theme; 2009 was the planet Mars
and 2010 was Dinosaurs, so I did mine
Because younger readers were going to
look at this book, I toned down the
graphic mature nature of my work to some
extent, hence why these are so far the
only "kid-friendly" venture
Genma Visage has taken to date. I should
note that Wardog is officially part of
Genma Visages continuity whereas
Dinotown is non-canon. All images
involving Relicia and Lumriya acting as a
team are non-canon. While the two have
acted as partners at certain points
throughout human history, they have cut
off all ties by the time the Genma Visage
series starts, partly to do with Jacobi's
How come Book 2 is shorter anyhow?
A: Book 2 and Book 3 were
originally going to be one story, and
part of it was even going to include the
events that ended up happening in the
short "Kiss from a Rose."
In March 2009 I had to cut Book 2 short
so that it would function as one story to
be printed in time for the then
convention UK Web and Mini Comic Thing.
By the time it was rewritten, I decided
that this particular edition deserved the
most bonus content in regards to the
I've noticed there are variations in art
styles throughout the books. What can you
say about that?
A: As brought up before, the
comic pages and some individual pages
were done at different points of time
before they were all unified into books.
The set storyline remains the same, but
because I was either at a certain skill
level at one time or trying out a
different influence \ experiment at
another, the pages may come off like
theyve been done by different
artists, but apart from one page
everything is done by me.
While Id say that Ive
progressed a lot since Book 0 part 1 and
2, excluding some of the older pages,
those books represent my current art
style at this moment of writing
Is there a timeline to go by and keep
track of things?
A: Here we go! The story
chapters are in the following order
(please note a floating timeline within
. Ryuken is born, intended to be an
ultimate weapon for Nishin Genma but
fails due to his dragohaemophilia. He's
nevertheless trained in the psychic arts.
. Ryuken's parents are murdered,
triggering his Drago Visage for the first
time. Nishin Genma take further interest
in Ryuken's potential power and train him
. The Britonum War starts. A young Ryuken
is sent down to Earth with his teams, and
he is the only one to make it out alive
as Britonum city is burnt down by a
. The Genma Visage event takes place,
granting Ryuken and Maud their
transcendence. Nishin Genma is overthrown
and disbanded. Ryuken and Maud part ways.
Ryuken eventually resurfaces after years
of honing his powers and embarks on
various adventures. At some point in
time, he befriends Zulie Zerpent.
. Sometime at this point, Grail attempts
to return and possess Tanya Azpiri.
Through several battles with minions,
Ryuken foils Grails plans.
. The Lamia and the Beast.
. War Dog.
. The Kiss from a Rose.
. Monstro Corpz.
. Maud has stopped bounty hunting and has
worked for Jimmy Wizardkid for about a
year. Mauds rumble in the
common occurs and she takes
on Big Wong afterwards. Later
she remains stationed in the Bahamas with
Jimmy Wizardkid while the period of the
Masked Crazy crisis is happening back in
. Book 0 Parts 1, 2 and
the upcoming Part 3 take
. The Vengeance of Czaetzar.
. Books 1, 2 and 3 take
place. Mauds hunt for Simon Green
happens along the side.
. Upcoming Book 4.
What are your preferred mediums?
A: Im clicking my
knuckles in preparation here.
. For script writing, I use a mobile
phone, Microsoft word, and a browser with
. For Lettering, scanning, formatting,
art editing, digital art (cel and
painted) I use Photoshop. Artworks are
often aided with my library of personal
. For the website design I use Frontpage
Editor for the basic template, Notepad to
edit in fancy codes and CoreFTP for
. For the traditional art which is the
bulk of what I do, I use and abuse the
-Sketching and Tonal Art:
A Zebra Delguard 0.5 Mech pencil with
Pentel Ain 4b leads, a Jakar 2mm clutch
pencil with HB leads, a Faber Castell TK
9400 2mm clutch pencil with 6b leads, and
a Cretacolour Classic 5.6 mm clutch
pencil with 4b leads.
1800n propipen 0.1 for fine details,
Copic Multiliner SP 0.5 for a bulk of the
line work, and Kuretake Sumi Brush pen
for the shading and certain textures. For
special occasions I also keep handy a
Unipin 0.05 fineliner for really fine
details and Daler Rowney FW mixed media
paint marker 1-2mm round with Manuscript
acrylic artists ink for covering large
Pentel Water Brush pens fine medium and
broad, Neocolour 2 water-soluble wax
crayons 4 tones, Tombo ABT Brush pens
black and gray, one smudge stick and one
Daler Rowney FW mixed media paint marker
1mm with water soluble white ink.
-Colour Painting: Daler
Rowney Aquafine watercolours and Tombo
ABT Brush pens (20+ plus colours in both)
scanner, Wooden drawing board with page
rest, 2 different sized Sharpeners to
match the clutch pencils, Metal non slip
ruler, flexicurve, set squares,
protractor, Faber Castell dust free
eraser, Pentel clic eraser, Pentel Micro
Correct, Xerox colour impressions paper
120gsm a3 or a4 or Bristol board 200gsm
plus a4 or a3 (whichever brand I can get
hold of), and refills for all of the
Pentel Pocket Brush, Pentel 120 a3dx
0.9mm mech pencil, Pentel N50 permanent
marker, Pentel Studio set, Neocolour 2
other colours, Derwent Water colour
pencils, the other sizes of Edding Copic
and Uniball pens, Staedtler Pigment liner
pens, Staedtler lumocolours Medium and
Fine, all manners of brush pens to
practise with over the years, and finally
hot beverages, good healthy food, good
music and enough sleep to help me through
Can I give you gift art of your works?
A: Sure! Much appreciated if you
do! Send it to my email address stated
above. It goes up on the Facebook of the
website along with the image \ sketch
Where can I get a copy of your work?
A: At this present moment in
writing, from me personally. See the
guidelines in the store page and email me at
email@example.com and Ill fix you
a quote and arrange posting details.
There will be several official online
outlets on the website soon so stay
Hey, Man! What the hell have you got
against Pixar, huh?
A: Are you kidding? I love