In other Edmondson news, he recently tipped me off to a band called FOUND that composed music inspired by OLYMPUS, Edmonson’s project with Christian Ward.

In addition, there’s this song by Piano Player, also inspired by OLYMPUS.

Tim O’Shea: My first question actually comes from your biggest fan in the O’Shea home, my 9-year-old son, Colin. He asks: “How did he come up with the Mini Marvels?”

Chris Giarrusso: I was a big fan of newspaper comic strips growing up, and many of the classics comic strips featured casts of kid characters, like Charles Schulz’s “Peanuts” and Bill Watterson’s “Calvin and Hobbes” for example. I thought it would be neat to do a sort of Charlie Brown meets Marvel Super Heroes hybrid.

O’Shea: If I understood correctly, the first printing of the Mini Marvels digest sold out. Did the strong performance of the digest take you or Marvel management by surprise, or were you guys expecting it to do that well?

Giarrusso: Marvel was on the fence with the decision of whether or not to publish it at all in the first place because they didn’t think it would do well. Marvel was very surprised that it sold out in under a month.

O’Shea: From the Mini Marvels Skrull story that’s been going on in parallel with Secret Invasion, has there been one or two scenes that you really enjoyed developed that you enjoyed doing more than others?

Giarrusso: That has been my favorite story to work on so far, so it’s hard to single out one or two scenes.

O’Shea: While you write a majority of the Mini Marvel stories, a few of them were written by Sean McKeever and Marc Sumerak. What did you learn about approaching these mini characters after seeing them written by others?

Giarrusso: It’s hard to pinpoint specifics, but it showed me there’s more ways to open up the Mini Marvels world than I’d previously considered. They opened my eyes a bit.

O’Shea: You run a Mini Marvels site from your own website, rather than Marvel’s website. How did Marvel legal and management allow you to do this–are there certain guidelines and restrictions that come with that?

Giarrusso: I asked Marvel for permission, and they gave me legal documented written permission to post the Mini Marvels material that is currently found on my site. I am currently restricted to the material that is there, and so far I have not received permission to post any more than that.

O’Shea: A visit to your website reveals some DC sketchs–is there any chance you would ever consider doing work for their Johnny DC line–or are you strictly a Marvel man for the time being?

Giarrusso: I approached the folks at Johnny DC and they were not interested in working with me. So it’s Marvel and Image for now.

O’Shea: Has your Mini Marvel work brought increased exposure to your creator-owned and/or other non-Marvel work?

Giarrusso: Yes, more people have been buying the G-MAN comic (published by Image Comics) lately. G-MAN features an all-new cast of kid super heroes written and drawn by me in the Mini Marvel style.

O’Shea: Does Marvel editorial ever completely shoot down a story idea you have, or is it more of a give and take revision process, where you typically can revise your initial idea to meet their needs as well?

Giarrusso: It’s give and take. Sometimes they shoot down my ideas, and sometimes they ask me to parody a specific story or ask me to use specific characters. And there’s always revisions along the way.

O’Shea: As folks like Colleen Coover start seeing their work pop in Marvel books, do you think your Mini Marvel work somewhat opened the door to Marvel publishing a style like that.

Giarrusso: I think if anyone opened the door, it was Chris Eliopoulos with his FRANKLIN RICHARDS comics. Before Chris E. came along, Marvel had already closed the door on me. Chris E’s success led to Marvel giving me a second chance, as well as Colleen Coover’s work and the new Super Hero Squad stuff.

O’Shea: Why do you prefer to go by Chris G, rather than Chris Giarrusso? Is it more of a marketing, you got tired of people misspelling your name kind of deal? If your profile continues to rise as it has, might you start using the Giarrusso name more?

Giarrusso: I thought “Chris G” worked better as part of a website name (chrisgcomics.com), so the website name was definitely more of a marketing choice, especially since people do have a difficult time spelling and pronouncing “Giarrusso”. But I will continue to sign and list my full name in the books.

O’Shea: Have you ever consider teaming up with Fred Hembeck on a project, or has something like that already occurred?

Giarrusso: I’m a fan of Fred and would be open to a team-up, but so far nothing like that has happened.

O’Shea: What’s on the creative horizon ahead?

Giarrusso: At the moment I’m working on more 4-page back-up installments in the WOLVERINE AND POWER PACK mini series, a 5-page story that will appear in THOR #600, and another chapter in the Mini Marvel World War Hulk storyline that will appear in an upcoming issue of WHAT IF.

The G-MAN one-shot was just re-solicited by Image Comics to be on sale in January.

There’s also a second volume of Mini Marvels due out in February, MINI MARVELS: SECRET INVASION, which should contain pretty much everything that wasn’t found in the first volume.

Tim O’Shea: Other than not having to handle a great deal of the business minutiae of self-publishing, what have been some of the best benefits of shifting from self-publishing to Image Comics?

Mike Allred: Simple. A well oiled machine. Top notch crew. Ace printing and marketing costs. Smooth.

O’Shea: In Madman Atomic Comics #3, you mimic/homage a dynamic number of art styles. What was the toughest style to mimic or most challenging in some manner?

Allred: It was Alex Ross. Hands down. He has a very specific technique that is incredibly difficult to mimic. If I gave myself more time and pulled from Laura’s color sense in mixing paints, instead of going with flat colors, I think I might have nailed it down.

O’Shea: Issue 9 is slated to be one long action sequence—which aspect was harder to execute–the complex layout of issue 9 and or the “No Dialogue” issue 7?

Allred: The unbroken action scene for sure. At least technically. No. 7 carried a heavier responsibility in that I wanted to convey so much without dialog, while giving readers room, with proper clues and direction, as to what was happening and what it meant. Ultimately, I think number nine is for more successful in reaching my final goals.

O’Shea: Issue 8 is being touted as a good jumping-on point for new readers, for those of you have not tried Madman in the past, what can they expect to find with this issue?

Allred: A simple construction of who Frank Einstein is, was, and where he’s headed. I think also that there is a clear vibe expressing the spectrum of what’s possible in the series.

O’Shea: When the new series was launched at Image, the advance word on it led me to believe the series would not always focus on Frank–what other characters or dynamics would you like to try in this series in the near to long-term?

Allred: Well, I hope to showcase various supporting characters, bringing them to the front and exploring them more. I also have ideas for other concepts and stories that work better outside of the world of Madman. I can always run any story or concept I want in Atomic Comics like a pilot episode and determine whether to keep it there or give it a spin-off–like when I spun off some of The Atomics into one-shots with other artists. Skies the limit! But so far, I’m just way to darned excited about playing with Frank, Joe, and friends.

O’Shea: Image has clearly embraced your joining its fold. Popgun 1 and 2 have sported covers by you.

Allred: Well, Popgun Vol. One. My pal, Paul Pope, has done the cover for Vol. Two.

O’Shea: Oops, right you are, of course. Sorry (to both you and Mr. Pope for my mistake). Do you think the exposure with projects like that (Popgun) has helped attract new readers to Madman Atomic Comics?

Allred: I’m sure it has. I always seem to bring at lest one or two people into the fold with any and every side project.

O’Shea: On another Image front, you recently worked with Joe Keatinge on a Fletcher Hanks character in The Next Issue Project. Is there any chance you’d like to do more stories with the character, Stardust?

Allred: Oh yeah! That was a blast! Especially if I’m working with Joe again. Joe’s script really opened me up to new possibilities I hadn’t pushed as much as I’ve been wanting. Time is my only obstacle.

O’Shea: In hearing an interview with you on Comixology back in November, it became clear to me that you have an enormous amount of patience, what with your long-term view of waiting for the right time and situation to make a Madman film. How frustrating has it been to remain patient?

Allred: I was frustrated when the project was at Universal. I’ve become much more zen since then. This July will be my ten year anniversary with Robert Rodriguez optioning the property. So, I would have gone insane a long time ago if I hadn’t simply made the comic book the main force and just let it ride. RR has put in way too much time, money, and most importantly, his friendship, for me to every be anything but grateful. No matter what happens with the project. It’s been an amazing ten years.

O’Shea: You recently were featured in TwoMorrows Publishing’s Modern Masters series–how surprised were you to contacted for the book, given that you’re fairly young (compared to other industry veterans) and clearly have a great many years of storytelling left in you.

Allred: I’m in awe with the artists in all the other volumes. When invited to join the Legend imprint at Dark Horse lo those many years ago, I did not feel worthy. I’ve just pushed to not embarrass those fellas for giving me that break ever since. And now I feel similarly to be part of this series and was extremely happy to see the final product and take a drive down memory lane. I guess I should just say, it’s a huge thrill! And Darwyn Cooke’s intro made me tear up a bit. Very moving. And I’m killer encouraged to continue on with my best work in front of me.

O’Shea: Given that you can only work on certain projects in your (albeit limited) spare time, how soon before you can do additional work on your Book of Mormon project?

Allred: Not soon, I’m afraid. I’m hoping that money from a potential Madman movie could afford me the time to finish it up in one clean shot. Otherwise I’m left to keep slowly chipping away with any nonexistent extra time.

O’Shea: Have you been pleased/surprised with the attention that particular project has received?

Allred: Very pleased. Just disappointed in the disappointment I’m causing with my lack of progress. I’ll get there.

O’Shea: Is there anything creatively you’d like to discuss that I may have not asked you about?

Allred: Right now I’m completely focussed on MADMAN Atomic Comics. Getting and keeping it on schedule for the foreseeable future is my main goal and creative passion at least until a movie sidles up to it or I reach the end of the story. I’m crackling with the creative sparks of the process and want to absorb every bit of it.