IN THE SPOTLIGHT : Clean Room’s Jon Davis-Hunt | FanboysInc

IN THE SPOTLIGHT : Clean Room’s Jon Davis-Hunt

By Buddy Beaudoin

IN THE SPOTLIGHT : Clean Room's Jon Davis-Hunt

This week, I had a couple of days to sit down (on Skype) with Jon Davis-Hunt, the artist on Gail Simone’s Clean Room published by Vertigo/DC. We talked long enough to make the connection that we loved all of the same TV shows, but more importantly, we talked long enough to reveal some insight into Clean Room as a series, working for Vertigo, and the inner workings of the comics industry in general.

Before the interview starts, our readers should know that Buddy has been reviewing Clean Room since the start of the series. You can find all of Buddy’s reviews of Clean Room RIGHT HERE!

Buddy Beuadoin: So we’ll start with some biographical information. What’s your name, where are you from, and what series do you work on?

Jon Davis-Hunt: Okay, so, my name is Jon Davis-Hunt and I’m an artist. I currently work on Clean Room for Vertigo/DC. Before that, I had two jobs really. I worked in comics here in the UK, for 2000 A.D., mainly. I did some other stuff with Titan over here, Transformers and things like that, and then at the same time, I also worked in the video games industry. That’s where my main background was. I worked in games, first as a concept artist, and then I moved into design and ended up as a lead designer for Playground, which is a Microsoft studio. So I was doing that, really, right up until I took the Clean Room gig, where I had to make a decision of what to do full-time. I couldn’t do both. So, I had been in games for about 15 years, and I sort of just thought “sod it, I’m gonna draw comics instead”. Comics is (something I) always wanted to do, well, since I was literally six, and I had really good fun doing stuff for A.D., but when American comics came along, which I kind of grew up reading, especially Vertigo, I just thought, “If I don’t do this now, I’ll never do it”. So, yeah, so I made the leap, and now I work for Vertigo.

BB: How were you approached to do Clean Room?

JDH: So, basically, Shelly Bond contacted me. She’d come over to do a Con over here, Bristol Con, and I’d sent her some of my work a couple of years previous to that. She sent me a really nice email back, giving me a few pointers and everything, and then she was over here doing Bristol Convention about two or three years ago and she asked to see my stuff. She’d seen a cover that I’d done for 2000 A.D. and a series I’d done called Age of the Wolf. Seeing that, she said she’d like to look at my portfolio and see some more of my stuff. So, I went down, we had breakfast together, she looked through my portfolio, she really liked some of the stuff – she had some really good feedback and pointers – then at the end of the meeting she said she may have something for me. Six months later, I got an email asking for me to tryout. I did a few sketches for Hellblazer, and a few sketches for another couple of Vertigo series, one of those was Clean Room. I liked it straight away. There was something about the pitch for Clean Room which just sounded really cool. So, she asked me which one I felt most comfortable doing, and I said “I’d really, if I could, I’d really like to do Clean Room”. Then, next thing I knew, I got the script, and then that was it! I was doing a book (he laughs).

IN THE SPOTLIGHT : Clean Room's Jon Davis-Hunt

Astrid Meuller inked sketch, courtesy of Jon Davis-Hunt.

BB: Do you remember the pitch for Clean Room?

JDH: The initial thing that came through didn’t… the synopsis for the story was really kind of mysterious. The characters were far more detailed, so there was character synopses that were about half a page in length, so they were quite detailed about the way they looked but also about the way that they behaved. Which was actually really interesting because I sort of read that and I drew my first version of Astrid, and I actually ignored some of the things that it specifically said to not do, it actually said she shouldn’t have red hair. But, I read kind of the description of how she behaved and how she was and I drew some initial sketches first of all that had her with dark hair, or like black hair, but I put the white stripe in, but she was looking sort of too much like Cruella De Vil, and so, at that point I don’t even think I knew that Gail was the writer, but my son has red hair, you see. So I just tried it with red hair and it just seemed to like click and gave her this sort of persona. I made her quite petite as well, again, I think it specifically said that she wasn’t, but I made her quite small because I like the idea that she’s got all of this power, it’s a really nice contradiction, and physically she didn’t have that initial presence because of her size. It was just completely conveyed in her stature, her poise, and the way that she dressed. So, she’s deliberately… she has far less wrinkles in her clothing than any of the other characters. I made pink a really strong color because I wanted to take all of these things that, traditionally, were not kind of strong and make them strong.

The initial synopsis for the series was that she was the leader of this like cult that was kind of grown into a corporate entity, sort of across the world. There was obvious nods to other stuff, like Scientology and stuff, so there was other things in there as well. When I got the full-on premise, it was kind of like all this stuff that was kind of convoluted, or seemingly to an outsider, that had this crazy backstory. It was like, what if all of this stuff that in this place was actually true? Like what would that be? As soon as I read that I was like, “Oh, that’s ace”! You know when certain things just sound really cool? And also there was going to be monsters in it, and tech, and all of this mixing of religious symbolism and traditional exorcism and demons with sci-fi kind of aliens. We knew that, the first arc, people wouldn’t be sure what it was, whether or not it was the occult, whether or not it was science, and even going into the second arc there are so many twists and weaves…

IN THE SPOTLIGHT : Clean Room's Jon Davis-Hunt

Inked sketch from Clean Room #4, courtesy Jon Davis-Hunt.

BB: Do you still have that level of freedom in the art? Are you adherent to the script?

JDH: So, Gail… Gail’s amazing! Gail’s scripts come through and they’ll be quite detailed about particular nuances because there’s a lot of story elements that happen in the background, but they have an important payoff later on, so there are certain things that have to be there. And when she starts doing that, I’ll be, “Oh, hang on, what if we did this, or what if we do that”?! I’ve kind of run with a lot of the character designs from Gail’s initial thoughts. Gail will kind of throw some ideas down and I’ll kind of run with it. I’m always trying to take what she has written down and try to make it sort of as cool as possible. Then, I’ll bring it to her and say, “What if we did this”?! And she’ll say, “Yeah, that’s really cool. Can we, as well, do this, this, and this…” and I’ll go back. So there’s a really nice back and forth. But in terms of the actual plot, I mean, Gail’s got it all. She knows where it’s all going. And it’s exciting because I don’t know where it’s going. (he laughs) I just don’t know, and I’m getting quite attached to quite a few characters because I like the characters to be designed. Coming from a games background, I like them to have backstory and I like world building. So I’ll spend quite long on certain characters  and I’ll be like, “I just put a lot of time and effort into that dude. I hope you doesn’t die”! (He laughs) But I really have no idea!

BB: About how long does it take to finish each issue on your end?

JDH: So, I pencil and ink. Because I work digitally, I don’t really do full pencils because I know I’m inking my own work. I have kind of a shorthand, so I’ll thumbnail out the whole issue, it’ll go off to Shelly, she’ll send me a load of feedback, and I’ll go back to the thumbnails. Normally, there will be two or three rounds of thumbnailing to get the layouts right. That would normally take three to four days. Then, after that, I like to get an issue done in five weeks, basically. From the point where I’ve got my thumbnails, I’ll finish the issue five weeks later. I’ve been slower, because I’ve been doing games as well, but I can comfortably do a page a day. That’s the kind of rhythm that I like to warm up to. Especially when I’ve got the pace warmed up. Mondays are always longer days, but once I get my page done on Monday, I almost try to start the next page at the end of a Monday, and then when I wake up Tuesday, I like can’t wait to get to it. That second page happens quicker because it’s already done, so at the end of Tuesday, I’ll wrap the page for Wednesday, and then I’ll be back in, and it’s nice. So, you finish on a Friday, then you kind of warm down over the weekend, but Shelly has a really good thing about making me not draw the book in order. With A.D., I’d always kind of draw it in order, but by jumping around, it’s sort of nice because you don’t get tired of drawing something. Quite often, I’ll draw a sequence and I’ll want to finish it off, but then I’ll go and draw something else and I’ve always got it kind of waiting for me. I tend to space out splash pages as well, because splash pages are kind of the treat. They’re like the dessert. So, I’ll do four or five regular pages and then I’ll do a splash, so I tend to work like that as well.

IN THE SPOTLIGHT : Clean Room's Jon Davis-Hunt

Clean Room #3 – Page 10

BB: How has Clean Room been received critically?

JDH: So, this entire thing is all kind of new for me, because when you did stuff for 2000 A.D. it doesn’t really get reviewed as such. There’s a couple of little sites that will review it, and then it will just get talked about on the forum. So now, doing an American book, I don’t know if I’m catching all the reviews, but from what I’ve read, it seems to have gone down really well… which is dead weird. Not because I didn’t think it would! I thought it was good! But, it all goes back to, when you find yourself doing something that you’ve always wanted to do and then people seem to enjoy it and it seems to be going very well (he pauses) you kind of think, “Am I kidding myself? Is it really going very well? It seems to be going very well”! But yeah, I think the reviews so far have been (he pauses) I think, I was really nervous at the start because I knew there was a really slow build to the story. I knew there would be a lot of questions. After reading chapter one, there were a lot of like, “Well, what is this about”, kind of things. But, for me, when I read the scripts, what I liked about it was that there was a sense of mystery. There was a real sense of like, okay, well what’s that guy all about, or what’s she all about or what’s her real motivation? What the hell are those things?! In most cases, it’s, “What the hell are those things”, or, “What the hell is that”? I think people have seemed to really enjoy that and have gotten into the flow now of the book. And the book, I think is really in its real rhythm. The book now tends to answer questions, and ask more questions as it’s going forward. I kind of like my comics like that. I like a sense of mystery. There’s a couple of payoffs to things that are way back in previous issues, and their payoffs are coming up and I hope that when people get to them they’re like, “Ah, I didn’t even realize”! That’s the thing that’s really exciting.

BB: How many scripts are you ahead? Do you only know what’s going on in the script in front of you, or do you have some sense of where it’s going?

JDH: Sometimes, I’ll subtly ask Gail, I’ll go, “Oh, what’s that about, Gail”? And she’ll send me an email back, because she knows (he laughs), she can tell when I’m asking because I need to know from an art point of view, but sometimes, I just want to know. Those are the kinds of things she just won’t tell me, or she’ll give me a really enigmatic answer. Like, the Cloudbuster in the first arc… I knew that was a thing from issue one, and I’d be like, “WHAT IS THE CLOUDBUSTER” and she wouldn’t tell me! So I’d write back and be like… “No! What is it?! Is it a robot, or is it a person”? And she would just write back and be like, “Mayyyyybe”. So, there’s some stuff, I know what’s coming up in the next couple of issues, but there’s some stuff that, no, I literally have no idea. But, in a way, to be honest, I’m as excited about getting the scripts as I can be. Part of it, is that I’m reading it as a fan because I do want to know what’s going to happen next, and that’s really cool. So, in a way, I kind of don’t want to know. I’ll get the script for issue nine today, and issue six has just come out, so I’m not that far behind.

IN THE SPOTLIGHT : Clean Room's Jon Davis-Hunt

Clean Room #1 – Page 11

BB: Has the reception of the first arc changed anything that’s happening in the second arc?

JDH: I don’t think so. Apart from the fact that we have a better back and forth with certain character designs or certain tech design. But, in terms of the main players, like the main protagonist, Astrid, or Chloe, I know that Gail’s got that all worked out. She’s got a real strong idea of what these people are doing and where they’re going and what the payoffs are. There are very specific notations in earlier scripts about things that are going to happen. So, I know it’s going, but I don’t know when. She won’t tell me. She won’t tell me her secrets (he laughs).

BB: So, issue seven comes out in April, correct?

JDH: Yes, issue seven comes out next month. Issue seven is AWESOME. So, there was going to be a fill-in artist for issue seven, but actually I’ve drawn that one as well. There’s a lot of stuff that happens in flashbacks in issue seven. Again, there’s a lot of questions that get answered, but it also asks a lot of questions. Then, issue eight, kicks off a whole new arc which is insane. Issue eight is INSANE. There’s some big stuff in issue eight. I’ve been told I can’t give any secrets away. I really want to tell you! But I can’t. Issue eight really motors the story forward. There’s a lot of big things that kind of kickstart a big event that is really, I think, the next level. It ramps up. Basically, if the first arc was kind of under the radar stuff, now, the second arc is kind of about pulling back the mask on how big everything is. It’s really cool. I get to draw some cooooool shit! It’s really exciting. It’s funny. I’ve had such a good time drawing this, and I went back and looked at the first arc and noticed that I’ve drawn sort of a lot of rooms. People in rooms, and not just the Clean Room, but a lot of people walking into offices and stuff like that. The second arc kind of pulls away from that, and everything just goes nuts.

BB: A lot less straight lines?

JDH: Yeah, yeah! A lot less angles (he laughs).

IN THE SPOTLIGHT : Clean Room's Jon Davis-Hunt

Kincaid and Demakos Character Sketch, Courtesy Jon Davis-Hunt.

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BB: In creator owned comics, you see a lot where there will be an arc, and then they’ll take three or four months off and then come back. Where did the decision come in to just continue to the next arc immediately?

JDH: So, I wasn’t consulted. When the series was originally pitched to me, it was, “This is going to be an ongoing”. I said to Shelly, at the time I was in games, and I was doing the two in conjunction, which is one of the reasons why the book actually missed. It was originally going to come out slightly earlier, but I was doing the book quite slowly. Shelly said to me that this was going to be an ongoing and I said, in that case, I had just finished a big project for Microsoft, and I was like well, I think I want to do this permanently, full-time. Is it just going to be an ongoing book every month and Shelly said yes, which I think, as opposed to the Image model – as you say – runs more in six issues and then a break, Vertigo’s model tends to be simply: This is an ongoing monthly book. So, I think the decision must have been more between Shelly and Gail, like, we’re going to do this every single month. I would rather keep doing it, right up until I’m falling too far behind. I think that you do get into kind of a zone. I’m finding right now that drawing every day, getting more and more comfortable with the characters – they’re getting easier and easier – that I couldn’t want a break, in a way. However, saying that, I think there might be a time maybe when I need a fill in artist or we’ll have to take a month hiatus. But, at this point, it’s more like: Draw the pages, Jon. Get them done.

BB: You said ongoing, is there a plan or the wrap of the series, or is it ongoing indefinitely?

JDH: Weirdly, that’s not even a thing I’ve asked about. I’m aware of that all Vertigo books have a lifespan, but I haven’t asked. I guess I kind of just assumed that its going to go anywhere between thirty and fifty issues. At the time, I was just excited to do anything. It was my first American book. Now that I’m into it, I would love for it to go fifty issues or something, just because I’d love it to have the room to tell the story that Gail wants it to tell. It would be so cool to draw those fifty books, and at the end of it, what I love about Vertigo books, is that you have a full body of work there that’s, you know, six or seven trades that are a complete story. But, I don’t know exactly how many are in it. Now that we’re talking about it out loud, I should probably ask (he laughs).

IN THE SPOTLIGHT : Clean Room's Jon Davis-Hunt

Clean Room #6 – Page 18

BB: Vertigo is traditionally kind of old school in the way that they set up their series. If you look at the creator owned influx, is that something that is more of a comfort to work in, or is it more like you feel you’re competing with companies like Image?

JDH: Yeah, as a fan, because I’ve not been doing this for very long, but as a fan I think you’re right. Before Image came along, or well, before modern Image – because in the 90’s they were trying to get into the superhero stories – I think Vertigo kind of, not only did (Vertigo) pioneer older books that were kind of sci-fi, and crime, and horror for an older audience; it was the only company that was really doing them. Now, you have more competition from Image and Marvel have Icon, but also you have Oni, and Boom, and Avatar, but I think Vertigo – for me, as a Brit, I grew up reading American comics. When I got old enough to pay attention to my creators, almost every one that I wanted to be, Grant Morrison or Allen Moore, they all went to Vertigo first and so I grew up thinking Vertigo was just kind of the place to go and tell your story. I love superhero books, but a lot of my favorite series have been, from Transmetropolitan, obviously Preacher, which was just amazing; a lot of my favorite books are Vertigo books. So, it just feels like they’re the main ones that do this, even though that Image have done so many cool books, like Low. There is a sense of competition, but what I think Shelly wanted to do was say like, “look, Vertigo still does this, and we do it in a big way. We came out at the same time as like eleven different titles, and there was a big spread over many different genres, and they all did that thing that Vertigo tends to do where I feel like Image tends to be more sci-fi or blockbustery ideas. I don’t know if it’s the Mark Millar thing or Rick Remender, but they tend to be bigger, more space opera, and kind of grander ideas. In terms of working, though, it’s cool to have a series that you know is going to come out every month. It gives you that sort of job security. Also, as part of Vertigo, you’re part of DC, and that’s dead cool as well. This is all new to me. I get free comics, which is ace. At Christmas, I get stuff sent to me in a box with like t-shirts and toys and stuff. You get emails from people that work at DC and that’s cool because I’m still a fanboy. I’m still like. “Ah! Someone from DC emailing me”. Even though it’s mostly like, you know, “Could you please make sure you don’t say something stupid on the internet”?

So far, my whole experience with DC has been ace. Also, I come from games as well, so this has been so much less stressful. I had a good time working in video games, but, this is such a different pace of life, and such a more, probably creatively nurturing experience as well. Games is far more pressurized. You’re dealing with bigger teams. Lots of sub teams within teams. There’s an awful lot of money riding on this one thing that you’re making. That makes for a much more pressurized work atmosphere, where as now, I sit here and put Netflix on, draw some comics; read an email. (he laughs) It’s lush!

IN THE SPOTLIGHT : Clean Room's Jon Davis-Hunt

Clean Room #2, Page 16


BB: Have you found that your deadline oriented background in gaming has helped you work in comics?

JDH: Yeah, massively. Massively. I’m used to what they call ‘crunch’ in the industry. So you’d start the game, in the beginning, the first six months, everyone’s kind of going home at half past four, or going into meetings or brainstorming. It’s all lovely. Then you have pre-production, where it’s okay, you’re in the studio at nine if not earlier, and you’re there until about six and it’s nose to the grindstone. Then you hit crunch, which is normally about eight months out from release, and that’s where everyone is just (he pauses) you just live in the studio. You eat breakfast in the studio, you might get one day off a week. You’re expected to be there and make sure that that game comes out on time. So I got used to that, and doing whatever needed to be done to get the game done. So, I think working in games gives you, not just a work ethic, but you get used to kind of having to do stuff to a deadline. Coming out of that and coming into comics, I think it gives me quite a good (he pauses) I was quite regimented when I first came out of games, and I’ve managed to stick to that. I have a quietness and a very regimented work week so that I can have the weekends off. So that I can have my evenings off, now and then. I definitely think that that helps. When I was doing both at the same time, I went through a phase and I actually got this idea from the guy who does Nonplayer, the Image book [Nate Simpson], he had on his blog that he was getting up at like four o’clock in the morning, and drawing before he went to work, which sounded insane, but at the time we had just had our second child and they weren’t sleeping. So, I was up anyway in the middle of the night and decided to copy what he did, so, for about a year and a half, I was getting up at four and drawing for like five hours and going to work, and then making sure I was getting to bed at a sensible time. And now, after doing all those crazy things, now I just do comics full-time, I find it very easy. I start work at like seven and normally finish around five or six in the evening and I’ve done my page. If I have to work a bit later I’ll work a bit later, but it’s nothing like working in games. The biggest difference is, even when you’re working on long hours, people aren’t screaming at each other around you, (he laughs) which sometimes happens…

BB: You’ve mentioned that, when working on 2000 A.D., some of the differences between working on comics in UK as opposed to working on comics in America. Can you expand on that?

JDH: So, obviously, the infrastructure for A.D. is much smaller. You’ve basically got Matt Smith, who is the editor of A.D., who is fantastic, but he’s essentially editing all of 2000 A.D., plus all of the Judge Dredd Megazine, so he’s working with countless writers and artists because they’re both anthologies. So, the one-to-one feedback you get is a lot less, because it kind of has to be. He doesn’t really have the time to mentor. He does provide feedback and he does edit, but I wouldn’t sent Matt my thumbs and get revisions and then send them back and get more revisions. With A.D. it was, the script would arrive – it could be anything. That was kind of the fun thing as well: Normally, you’re drawing either a five-page one-off, or you’re drawing a multi-parter which would normally run about eight parts to be about forty pages. It could be about anything, so you’re not often drawing characters that have been done before, or even when you are, like when you’re doing Judge Dredd, as long as you stick to the main iconic things you could change his costume quite a lot into your own style. Which, I don’t think you can with (he pauses) I’ve not done any main Marvel/DC superheroes, but I imagine if you’ve got Batman and draw his costume completely differently, people would go, “What are you doing”?! So, you don’t get as much editorial control. You don’t get as much collaboration with the writer a lot, because again, you’re drawing from scripts that Matt has already had commissioned. So, it’s not any better or any worse, it’s just sort of a different way of working. Whereas with, DC, Shelly is kind of my main editor, as well as Rowena Yow who’s sort of the assistant to Shelly. So I’ve got thumbs which will have revisions, then penciling and inking, they’ll be revisions on those. Then they’ll go to Quinton, and I’ll probably provide feedback on that. Then they’ll get lettered by Todd and then Gail’s kind of doing her feedback. That’s something that doesn’t happen in British comics. In British comics, you get the script, draw the pages, and then it’s gone. It comes out in print at some point. There’s no back and forth. I just don’t see how Matt would be able to just to physically do that, I think it would be impossible. So that’s probably the biggest difference.

IN THE SPOTLIGHT : Clean Room's Jon Davis-Hunt

Clean Room #6 – Page 10

BB: In what you can tell me (we both laugh), what are you most looking forward to drawing in the second arc?

JDH: Ohhhh. Okay! Some of the things on a larger scale, I think is the stuff I’m really looking forward to drawing. There’s some stuff, bigger things. A lot of bigger things. I really want to just tell you, but I can’t! I’ve drawn smaller stuff but now I’m going to draw some bigger stuff. Big things (we both laugh). I always like drawing the monsters. The monsters are awesome to draw. So, there’s a lot more of that going on. And actually, beyond that, I have no idea. I don’t know what’s happening after issue ten, so issue eleven and twelve I have literally no idea what’s going to happen.

BB: The monsters, in my reviews, I’ve been calling them “parademons”. Is there a word for them in the script? Is there an actual thing that they are?

JDH: They’re just called “entities” at the moment. The visualizing that goes into them, I’m trying to draw on the demonic side, and draw on the kind of established alien conspiracy side as well. I’ve kind of taken the two of those and sort of mashed them together, so that you are left a little bit unsure. Because, one of the biggest mysteries is what exactly are they, and what’s cool is that Gail does know. It’s not like certain TV shows where you could kind of tell that they had obviously run out of the original scripts, and then they were just making it up as they went along. Gail’s got a definite idea as where it’s gonna go, but I want to keep it kind of deliberately so you’re not sure. There are twists and turns, and hopefully, we’re getting people to think one thing, and then when they find out stuff, they’re like, “Ah! It wasn’t actually this”. But it will all kind of make sense. So there’s the demonic side and the alien conspiracy side, and I wanted to have them to have an insect side. Again, coming from a games background, I like my world building to have a use, so the tech that I’ve put in there, you’re going to see more of the equipment that the entities use, and that’s all got a more organic, kind of insect feel to it. So, yeah, they’re just called entities. Gail doesn’t really have a name for them. I suggested that we could call them “Alions,’ with an ‘o’ instead of an ‘e,’ which I thought was quite clever (we both laugh), but Gail just kind of ignored it.

BB: One of the biggest things in the American comics industry is traveling the convention circuit. You’ve mentioned that you have a fear of flying. Do you think that the American convention circuit is anything that you’re likely to do in the future?

JDH: I’d love to. I was very kindly invited out to San Diego actually, by Vertigo, and I had to tell them that I couldn’t go. I was so worried, but they were so lovely about it. I’d love to go and do New York Comic Con, I’d love to do San Diego Comic Con, but I heard that it’s monstrously huge. It’s kind of like E3 for games. If you’re actually there, you don’t get to actually do any of the cool stuff. But, I’d love to do New York. Before I developed a fear of flying, I had been to New York, actually, I’ve been to quite a bit of America and really enjoyed it all (he pauses) I’m going to sort it out. My wife’s sat me down and said, “You need to stop being a baby and sort it out. Take responsibility for yourself”! So, I’m going to do a fear of flying course and hopefully get to America, which, hopefully Clean Room keeps going and gets a following. What’s incredible, and this is the best bit, because it’s really awesome to get something that you’ve always wanted to do; but then, to have people enjoy it, the way that I’ve really enjoyed other books is just insane. It’s so awesome. You get such a sense of connection because you know what it’s like to enjoy a comic book. Then, you do this thing and people enjoy it and it’s hugely fulfilling. So, I’d love to get to some cons. I do a bunch of cons in the UK, so you’ll just have to come over to the UK, dude.

BB: If there’s one final thing that you could say to the fans, what would it be?

JDH: Thank you! I know this is such a cliche, but thank you for buying Clean Room! Thank you for sticking with the book as well, and enjoying it. It does pay off. What’s really cool is that, where it’s going, people who have been so cool as to keep buying the book are going to really, really, enjoy where it’s going. All the groundwork has been laid now and it escalates and escalates and escalates. If you’re enjoying it now, I think you’re realllllly going to enjoy where it’s going.

BB: Cool, thanks so much for your time, Jon.

JDH: Thank you! I’m looking forward to seeing this up!

If you haven’t had an opportunity to read Clean Room the first six issues are available now from Vertigo Comics, wherever comics are sold. Issue seven is set to be released April 20th.

Buddy Beaudoin

Buddy Beaudoin is a writer and independent comic creator from Upstate, NY. He's a fan of tea, spacey music, and a nice pair of slacks. He LOVES comics. Batman, Swamp Thing, and Jonah Hex are some favorites, but he's also a pretty big fan of the indies. Should you ever need him, walk outside and yell his name loudly...

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