We follow Jimmy Angel, a wide-boy with delusions of infamy and a huge quiff as he tries to get ahead in the local underworld, his new girlfriend Linda Lemon, a machinist in a dress factory dealing with an overprotective father and an overly amorous boss and in issue 3 we meet Ida Darling, intrepid reporter on the local rag as she tries to bust a dope ring in a seedy jazz club. By my last count at the end of issue 3 we’ve been introduced to 40+ characters and the list keeps growing!
The Kickstarter has rewards where folks can get caught up on the previous issues as well as picking up my sketchbook and now two Kickstarter-exclusive art prints as well as postcards featuring guest art from a quartet of small-press cartoonists who've contributed their own unique takes on the character of Jimmy. There's also reward tiers where you can also get an original comics page that I draw and ink traditionally as well as the opportunity to feature as a cameo in the comic itself, so I reckon there's plenty for everybody!
2). Is being an artist your full-time job? If not, what do you do in the 'real' world?
Not yet, but it is definitely my goal and something I'm working hard to make happen in the near future. As for the real world, my alter ego is that of a media studies teacher, and I've had the odd chance to teach comics as part of my course which is always fun.
3). I'm guessing you've been into comics for a long time - how did you first get into comics?I had a teacher at primary school who had a shortbox of bronze age Marvel comics that he kept in the classroom and which we could read if we finished our classwork early and that's definitely where I discovered characters like Shang Chi, Tony Stark and Luke Cage for the first time. Asterix and the Normans was the first comic I remember buying with my own money from WH Smith's one Saturday and the rest is history I guess!
4). What comics did you read, if any, when you were growing up?
5). Who would you say your biggest comics influences were / are?In terms of The Sheep And The Wolves and cartoonists I've tried to learn from, the big three are Gilbert Hernandez's Palomar stories which are almost perfect comics, Maurice Tillieux's Gil Jordan books which I would have been all over if I'd found them as a kid and Seth's Palookaville which is a model for the kind of long-form comic as art-book that I aspire towards one day.