I've spent the past few weeks talking about what goes into creating a new comic book series and a major character, and I've been using my Frankenstein Mobster as the prime example.  By now I hope I've gotten across just how much thought and focus goes into this process.  In a way the process is all about convincing my own mind that the world and character of Frankenstein Mobster is real.  Because if I believe in the reality of it on some level, then I'll be that much better at creating believable stories about a fantastically horrific place known as Monstros City.

Now - I want you to imagine what it is to have gotten into that rather obsessive mindset where you are just starting to believe your own manufactured fantasy.  You are so convinced of the reality of your place and characters that they are talking to you and you hear their voices, their accents, their speech patterns.  You know what they look like almost as well as the face you see every morning in the mirror.  This created idea of the Frankenstein Mobster is becoming real…

Then - all this fantasy has to take a back seat as you consider the marketing of the comic book.  And one of the best ways to market comic books is to co-opt an audience.  And audiences follow their favorite creators from one project to their next.  So I called a bunch of my favorite creators - who also happen to be some my best friends - and I asked them to do alternate covers for each issue of the comic book series.  (Alternate covers are a tradition in the comic book industry – but for Frankenstein Mobster we call the alternate covers deviant covers – for obvious reasons.) And I was very lucky that everyone I wanted (except one) was able to do a cover.  I'll tell you who got away next week.

As the deviant covers started coming in, that's when I started seeing Frankenstein Mobster in a whole new light.  After all that time spent nailing down a specific look for my characters, eight other artists delivered their own unique take on them.

You might think I would have a hard time accepting an alternate vision of my works.  I mean - I just put in years of development time to nail the exact look of my crew and now I was seeing entirely different versions.  And I've certainly worked with creators who absolutely would freak out to see their creations reinterpreted by other artists.  But for me - it was not only a joy to see these deviant versions  - but I think the experience broadened my own understanding of my characters.  I learned from these guys.  I learned to see more in my own characters because of this.  And perhaps you will too...

Adam Hughes - Adam did his first professional work on my Blood of Dracula comic book series.  I still remember looking at his portfolio for the first time when he was a high school kid - and I gave him a real thrill by assigning him to draw his first professional eight-page story. After that he drew a series of Dracula stories for me.  Two years later and he was taking the comic book industry by storm.  And why not?  His work as a cover artist for everything from Tomb Raider to Wonder Woman is phenomenal - but for me, as well as he can draw - I think his strongest talent is in telling stories.  I love this classic movie poster image that he created. 

And I also like the rough sketch he did to get his cover idea approved.  Was there ever any doubt that I'd go for it?

Mike Wieringo & George Freeman - Ringo is one of those guys who I got to be friends with at conventions before I ever saw his work.  That can be a troubling situation if it turns out you don't actually like the work someone is doing.  I mean - they can be wonderful people - but their work can just turn you off completely.  Fortunately when I saw his work I instantly fell in love with it.  I think his Tellos series he created with Todd Dezago is the very best work he ever did - and I think the Fantastic Four run he did with Mark Waid is the best run on that series since the original Lee/Kirby issues.  Sadly, last year Ringo died at way too young an age.  I've still got his contact info in my address book. I just can't bring myself to hit the delete button.  And he did an exceptional job on this cover.  It was just icing on the cake to have George Freeman doing the inking on this.  George is another of my favorite artists who does not draw nearly enough comic books.  But his inking is unsurpassed.  I think he was a perfect match to Ringo's pencils.  Together they created a classic Monster Battle for the second outing of Frankenstein Mobster.  And now you get to see the inked and colored versions!

Mike Oeming - Mike came through with a great noir take on Frankie and Terri.  I listened to old time radio Dragnet shows as I colored this one.  Mike and I are old friends and collaborators.  Check out our Hammer of the Gods comics for a great example.  Hammer is free to read over at ComicMix, along with Frankenstein Mobster: http://www.comicmix.com/title/hammer-of-the-gods-back-from-the-dead/

Jerry Ordway - Wally Wood had a big impact on my comic book art style. And if there is a single working artist today who works the same end of the art style as Woody - it is Jerry Ordway.  And Jerry has taken that style and developed it far beyond anything that Woody came up with during his tour on Earth.  So it was a no brainer to have Jerry turn out a cover for my little Monster Mash.  And he created a gritty reality for the Dead End of Monstros City.  I just love the background details.  The cowering Goblins are my favorites!

So there you have the first four of the deviant Frankenstein Mobster covers.  Except for the Adam Hughes cover the color work on all of these is by me.  I'll hit you with the next four deviant covers next week. And those include stunning work by Scott Morse, Angelo Torres, Alex Niño and Bernie Wrightson.  It doesn't get much better than that!  Meanwhile be sure to check out the current Frankenstein Mobster story over at ComicMix. This one is The Ballad of Frankie & Vampi, as Vampirella pays a visit to Monstros City.  And as usual - it is all free!  And this is the most recent Frankenstein Mobster story here.

Mark Wheatley holds the Eisner, Inkpot, Mucker, Gem and Speakeasy awards and nominations for the Harvey Award and the Ignatz Award.  His work has been repeatedly included in the annual Spectrum selection of fantastic art and has appeared in private gallery shows, The Norman Rockwell Museum and the Library of Congress--where several of his originals are in the LoC permanent collection.  His comic book creations include Ez Street, Lone Justice, Mars, Breathtaker, Black Hood, Prince Nightmare, Hammer of the Gods, Blood of the Innocent, Frankenstein Mobster, Miles the Monster and Titanic Tales.  His interpretations of established characters such as Tarzan the Warrior, The Adventures of Baron Munchausen, Jonny Quest, Dr. Strange, The Flash, Argus and The Spider have brought them to life for a new generation of readers.  He has written for TV, illustrated books, designed cutting-edge role-playing games and was an early innovator of the on-line daily comic strip form.