They both present unique challenges. With Hellboy I was and still am a huge fan of both the character and Mike Mignola, I felt I had a lot to live up to. I knew going in that I was likely in for a world of hurt when it came to the existing fan base, and I couldn’t blame them, nobody else should draw Hellboy but Mike! There were differences in storytelling methods to overcome, some obvious but some that only became apparent as we went along, but it got easier, we both adapted.
Style wasn’t such an issue with MPH, Mark was looking for the essence of what I used to do back in my Vertigo days, great, no superhero costumes, baggy jeans and tee shirts again! The great thing about starting a new book is there is no baggage, you travel light… it’s surprising what you can fit into carry on though, there was a lengthy period of character design and it also took a while to nail the way the frozen time effect worked. Those panels turn out to be quite labour intensive but you can’t let it look like that, that takes work.
And that’s it really, it just takes work to get through any issues that arrive, character deign, entire pages hidden away in nonchalant panel descriptions (yes Scottish boy, I’m looking at you), its all grind you have to hide behind the surface of the art!
Still, I got easy compared to Sean Murphy, and he still makes it look easy