Every bit as visceral and hypnotic as its award-winning predecessor, On the Ropes is a tour-de-force of fluid, yet detailed storytelling.

I don't think schooling of any sort really prepares you for real life. I don't know if art school would have prepared me to draw comics. Half of the people I know in comics went to art school, half of them didn't. Some of them went and dropped out.

I always start drawing any job by planning out to some degree the locales and trying to nail the characters. If they're existing characters, I'll draw them several times on rough paper just to get a feeling for them. The ideal when you're drawing a comic is to have everything in your head, not to have to refer to notes.

Comics is all about making it believable and helping people to get completely lost in a fictional world.

If you're using a computer as an artist and expressing your personal vision, I think your personal vision comes through.

I really like it when you can step outside of what's come before and find a surprise for the reader and find a surprise for yourself.

I came to think that nobody from England could draw American comic books, because they were clearly all done by this sort of Mafia, all these guys with Italian and Irish names who had the whole thing sewn up. It was actually seeing a comic book drawn by Barry Smith, who was about my age, and English.