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I loved the fake movie posters. My favorite was skate to hell, are there any that stick out as your favorites?

From Adam: ooh new AMA where we just talk about asking Sally Cantirino if we can commission her to draw Tilda Swinton in Snowpiercer

From Adam: It has been tricky. I very much like George’s work. But I draw differently, so it’s going to look different in spite of my best efforts. But at every stage I’ve tried to make it as close to John’s vision as possible.

Sure Tilda is doing Mary as much as I’m doing my best George. But watch an interview of Mary and then watch Snowpiercer and see just how far the acorn has fallen.

From John: This is where I take the opportunity to add the little nugget of film trivia that Tilda Swinton in Snowpiercer is doing a Mary Whitehouse impersonation with her character!

Sorry! Hiccup on our end!

From John: This is a tough question, as I've been reading comics for as long as I remember! It wasn't the first comic I read by any means, but I do have vivid memories of sitting up late at night in bed, just devouring a big, bumper collected edition of BATMAN: KNIGHTFALL. That took my love of Batman that already existed from the films and the cartoon and escalated it to another level. That was the specific moment where I recall coming to the conclusion that the comics Batman was the "real" Batman.

From Adam: Well, some things were changed after early conversations with John, There were things here and there that were maybe off the mark a little and we just moved them back toward his initial vision. Nothing drastic. I’ve tried to keep the character designs close to George’s original designs to keep the transition as easy as possible for readers. But where there was room to push a design, like the character Crudgel I have. In John’s description of her he mentioned Mary Whitehouse and Tilda Swinton specifically her character from Snowpiercer. She appears briefly in the first issue as a very Mary Whitehouse looking character. I made her very much in the vein of Tilda Swinton from Snowpiercer…because if given the option, the answer is always Tilda Swinton from Snowpeircer.

From Adrian: Toughest part: not letting myself get so excited by reading scripts and looking at layouts that I forget I'm there to provide the watchful eyes of an editor.
Best part: getting so excited by reading scripts and looking at layouts that I forget I'm there to provide the watchful eyes of an editor.

From SPECIAL GUEST VAULT CEO Damian Wassel: Toughest: the production, sales, and marketing cycle. It’s an elaborate bit of choreography between 6-10 people, 3-5 businesses, and thousands and thousands of retailers and fans. I don’t think it’s possible to appreciate the amount of work involved until you’ve done it. Best: holding a book in your hands that you’ve helped bring to life.

From Adam: HA! Toughest part: I have reduced feeling in the pointer finger of my drawing hand, and at the end of ALL “work days” it aches. Other than that this whole thing is a gift. As long as your team is solid there isn’t a thing about it that’s tough. You get up, you create with other creatives, and at the end of the day you say “I’ve made a thing” and you go to bed happy.

From John: The toughest part of writing comics is the periodic existential dread that crops up between projects. "What if I never come up with another good idea ever again?" "What if I'm never able to successfully pitch anything I write to a publisher again?" "What if pursuing comics instead of focusing all my energies on a stable job with a pension and benefits is going to haunt me in my older years?" "WHAT IF I'VE WASTED MY LIFE?!"The best parts are the writing itself, that period of pure creation when I'm putting together a script and feeling a new world take shape. Seeing the art come in, and the stuff you wrote coming to life. Getting a big box of comps on your doorstep, and seeing all your work take shape as a finished comic. And, honestly, just every time somebody reaches out to you and tells you that a story you wrote meant something to them.

From Adrian Wassel: Yeah, sure, there's some truth to it. But you're not going to find any real editors out there who will greenlight comics like this. Comic fans have the very best bulls**t detectors.
No. Do not do exact likenesses without consent/credit. That's a big no-no. That said, artists use celebrities, and friends, and figurines for reference all the time and that's great.

From Adam: I think there are comic artists that have an eye toward optioning, absolutely. For me, if it were to ever happen, great, I would gladly accept all the riches that come, but I am in this 100% to draw. That’s all I’ve ever needed. I would just want to keep drawing. If a live action anything was made from something I worked on, I don’t think I would care and would probably not watch it as it wouldn’t be my drawings, or anybodies drawings.

From John: I don’t doubt that there must be people out there somewhere with the idea of making comics as a shortcut to film and TV glory. But that’s not me, and it’s not any of the comic creators I know. My personal inclination is that, if you’re not in comics because you love comics, you’ll burn out pretty quickly when faced with the actual realities of making comics.
As far as likenesses go, I think my good friend Alex Cormack, artist of SINK and THE CRIMSON CAGE, has a great balance for this. Sometimes, when we're riffing on the appearance of a character, he'll ask me who I would imagine playing them in a movie. Then, he'll draw that person, not using any reference, but from memory. Which means that the design we end up is someone who evokes the general spirit or aura of that person while still being their own distinct design rather than just being based on their likeness.

For anyone! What’s the toughest part of your job making a comic book? What’s the best?

Is there any truth to the suggestion that some comic creators make books primarily with the intention of the project getting optioned for film/tv, then dropping the book prematurely when it doesn’t garner the desired interest?

Also, should comic artists use the likeness of celebrities in their work without consent/credit?

My questions stuck in limbo?

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From John: Sally is fantastic. Let's start another Reddit AMA that's just people asking us questions about how much we love I Walk With Monsters!

From Adam: IT, Monster Squad, What We Do In The Shadows

From Adrian: Horror Movies! Secret Handshakes! Red Vines!

From John: Only 3? I could go broad here and be like, "Comics, films and horror!" But I'll try to offer some specific suggestions. Hmmm...
One Cut of the Dead
Giant Days
Friday the 13th Part VI: Jason Lives

From Adam: OH 12 MONKEYS!! Yes!

From Adam: oooooh excellent. hmm, the cool answer would be City of Lost Children and Dead Man but the real answer is more likely Tank Girl and Jury Duty. Tell no one. For pizza, in 95 there was a pizza shop by my house that made a cheeseburger pizza, which I KNOW, sounds TERRIBLE….but it was amazing. and I miss it every day.

From John: In 1995, I'm at Video-World on Rutherglen Main Street. And what am I renting. TALES FROM THE CRYPT: DEMON KNIGHT was a big film for me that year. Or perhaps I'm renting forgotten Alex Winter oddity FREAKED for the 20th time? Then, I'm going to the takeaway on the other side of the road from the video shop, and I'm ordering a ham and pineapple pizza. YES PINEAPPLE, DEAL WITH IT!

From Adrian: I'm renting Species and 12 Monkeys. And I want mushroom and black olive please.

From Adam: SO MANY. In general Artists: Matthew Allison, Charles Burn, Nicole Goux, DWJ, Sally Cantirino, WARRWICK JOHNSON CADWELL!!! For the Nasty I looked at Sally a lot, a little Charles Burns, and Junji Ito.

From John: This answer may seem a bit left-field, but a big inspiration for THE NASTY was Bill Forsyth, the filmmaker behind LOCAL HERO and GREGORY'S GIRL. As a Scot myself, I'd say Forsyth has made some of the best Scottish stories ever, and I wanted to capture some of his charm and wit and translate that across into the world of video nasties and slashers.

Okay, so, what three things (any three things) could I like that would immediately mean I should read THE NASTY?

From John: The never-to-be-seen version of THE HOUSE OF CREEPING FLESH is intentionally open-ended. It could be anything. It's whatever you think would be the scariest thing in the world. However, I will say that the opening prologue from the film that we see a snippet of in the first issue is 100% cribbed from the opening scene of the 1931 FRANKENSTEIN, still one of the all-time great opening scenes - "We warned you!"

What’s up gang!

A VHS rental shop is a primary location in this story. So my question is: it’s 1995, you’re at Blockbuster or equivalent, what are you renting, and what is your pizza order to go with the flick?

Also, seeing a bunch of "favorites lists" type questions: Are there other creators working right now in comics or film you guys look to for inspiration? Anyone who's work was especially influential on THE NASTY?

From Adam: And Sally [Cantirino]’s pencils are unreal. As soon as I got on The Nasty I wrote to her, I think for the first time, and told her how I could’t believe that I was going to have a cover on the same book she had a cover for and how much of a fan I was of hers and Monsters

I got to read #1 (thanks to Adrian Wassel's Twitter share), and no spoilers, but the unseen (and never to be seen) movie HOUSE OF CREEPING FLESH plays an important role in the overall plot.

Does John have a version of HOUSE OF CREEPING FLESH in his head? Or is it like a total wild card?

From Adam: These posters were the beginning of our relationship, both professional and personal. I could tell immediately from just the titles that John was very much someone I wanted to work with.