Fantastic worlds and creatures leap off the pages of Mike Dubisch’s drawings and paintings. In fact as a professional artist he’s contributed to so many fantastic worlds, from Star Wars to Dungeons & Dragons to the Cthulu Mythos of HP Lovecraft, his unique and astonishing art has shaped much of what we see in popular fantasy. His work is masterful and still uses mostly traditional methods as opposed to much of the digital art that is common now.
An American artist that is currently residing in Mazatlán, Mexico with his family, Mike took the time to answer some questions for us about his work practice and his upcoming projects. His many, many upcoming projects actually. Speaking to us from his studio in Mexico he has clearly not been slowed down by the global pandemic in the least.
1. Can you describe your drawing routine: how often you draw, how many hours per day, how you break up the day with drawing?
Usually I draw every day. Sometimes, I get out and draw on location in the morning for an hour or two, others I might start a new project, getting ideas and rough sketches down on paper early. Many days I must spend several hours at the drawing desk working on comics and illustration to meet my deadlines. Some evenings I will get into refining some pencil drawings for a while, either personal or commissioned, or just doodle with ink pens, or play around with some personal watercolors if I have anything in progress.
2. How much revision/editing do you do in your work?
A lot, usually. Oftentimes I must erase and redraw something entirely before inking it. Sometimes I get a better idea, or stumble on additional reference that changes my vision, or there is editorial input that requires reworking a piece.
3. Talk about your process. Do you write a script or make up the drawing as you go?
When drawing comics, I usually write an outline after thinking about the story for a while. I then usually write a script before drawing thumbnail sketches of the pages. However, sometimes I forget I wrote a script, sometimes I forget to write a script, and sometimes I get ideas that diverge from the script while I am drawing.
4. Can you tell us about what you’re working on right now?
I am working with Thom Simmons and CedarRun books to release a premium collection of “I Am A Barbarian”, our authorized comic strip adaptation of the long out of print Edgar Rice Burroughs novel. In progress I have a short story called “Selfie From Dimension X” created with my Storycraft podcast collaborator Kraig Rasmussen that ties into both an anthology project we have discussed and a larger epic we envision. I am also in the middle of drawing a three issue miniseries “Orgy of the Blood Freaks” for Diabolik Comics continuing the occult adventures of Professor Dario Bava. I just created a series of connecting covers for Scout comics “Headless” and my work appeared recently in Slow Death Zero from Last Gasp publications. I continue to release new art and projects in Forbidden Futures magazine, and the next issue, #9, will feature a new graphic novel, “The Doula’s Curse.”
5. Do you compose the page as a whole or do you focus more on individual panel composition?
I compose as a whole, while considering the individual panel compositions as illustrations sometimes. The page has to look good all together, but sometimes you also just have to focus on what you need to see or how I personally want to draw the scene.
6.What tools do you use (please list all)?
I use a variety of heavy stock, smooth paper. I use regular #2 pencils, switching out between different brands and types. I ink using a #1 round sable brush with india ink, as well the Pentel Pocket Brushpen and Steadtler or other Pigma ink liners. I like Pro-white for corrections.
7. Do you read a lot of comics? Are you someone who reads comics and then gets excited to make more comics, or is your passion for making comics not linked to any particular love for other comics?
I read a lot of comics. My passion for making comics is definitely rooted in my interest in the art form, it’s history and creators.
8. What is more important to you, style or idea? Or neither?
Comics have a wonderful way of making otherwise unviable ideas viable, sometimes just with the charm of words and pictures together, sometimes with the uniqueness of the illustrator’s drawing style. I can hardly think of a comics character who could have been taken seriously if first introduced in prose. Even the best characters rely on exciting art and strong story to succeed.
9.Do you feel at all connected to older comics artists like Steve Ditko or Jack Kirby, or does that seem like a foreign world to you?
Those are the artists I grew up with, fortunately, as well as all the other classic artists of the 60’s and 70’s, and earlier work from the 40’s and 50’s. That’s very much where I feel connected. It’s the work that came after- From the overblown ‘90s style to the clean, academic/cinematic styles of the 2000s, the quasi-anime, digitally enhanced work of the past decade… These are the eras I have less connection with.
10. When you meet someone new, do you talk about being an artist right away? Do you identify yourself as an artist or something else?
Not right away. I am more likely to identify myself as an instructor first. I do think of myself as an artist though.
11. Do you draw from life?
Yes. I am more likely to draw on location, focusing on an object or an environment. When I can, I will go to a life drawing session. I rarely have anyone pose just for me
12. Tell us about your role with Forbidden Futures Magazine.
I helped conceive the magazine with publisher and art director Daniel Ringquist and author and fiction editor Cody Goodfellow as a venue for vast amounts of personal drawings and painting I had nowhere else to publish, with the plan of also re purposing older work, publishing planned graphic novels and possibly reprinting some out of print comic material. With Cody on board we had access to some of the most exciting new voices in genre fiction- We provide my finished illustrations to our authors and they create new micro short stories to match the art. We recently published short stories by cyberpunk godfather Rudy Rucker and bestselling author Chris Farnsworth.
13. How has your practice changed over time?
It’s hard to say. I tend to always try new things, especially with color work. I try to learn and expand what I do, and always aim higher. That being said, the biggest shift over the years is in satisfaction level. I feel like there was a time I could finish a piece and feel it was good and done to my satisfaction. Now, I require time and distance before I can judge a job well done or not.
14.What work do you most enjoy doing?
I enjoy being in the zone with a project. When my ability to envision a scene clicks with my drawing hands muscle memory and I can rough pencil page after page for hours. Or when I approach those roughs again at the right moment and find myself unable even to resist finishing those drawings, and spend hours polishing them up. I also like when I am painting a color illustration, to have small personal pieces going at the same time. These allow me to warm up to the painting stage I am doing that day without just jumping cold into my commission. Often, after I’ve decided I am done with the commission for the day, I will still spend time fiddling with the images, and then find time to finish them once the paid work is turned in.
Todd Haynes was planning to cast Danny Ramirez and Joaquin Phoenix in a gay romance movie. However, Phoenix left the untitled production five days before Guadalajara, Mexico, filming got underway.
At the Academy Museum Gala on Saturday night in Los Angeles, Ramirez told Variety’s Marc Malkin, “It’s definitely disappointing.” “If anything,” he continued, “If anything, it just gave me more inspiration to keep driving, keep pushing, and knowing that I’m on the right path and approaching the work the right way. So that’s what I’m excited about.”
The movie, which depended on Phoenix’s casting, was in danger after it was revealed in August that he had quit the production, according to sources. Two guys in love in the 1930s who escape Los Angeles and travel to Mexico were the main subject of the NC-17-rated movie.
“It’s definitely a very complicated situation,” Ramirez stated. “The audition process was extensive, and so what I walked away with that was just the artistic validation of throwing down opposite of [Phoenix] in this chemistry read… There was a moment that I was like, ‘Oh, I’ve arrived as a performer.’”
“The most recent update is ‘hopefully.’” Ramirez said in response to a question about whether the movie is still in development with filmmaker Haynes.
Although David Schwimmer admits his “career would have taken a very different trajectory” if he had been the lead in the 1997 movie, he doesn’t regret declining Men in Black.
The actor said, “That’s not why I turned it down,” in response to a question on a recent episode of the podcast Origins With Cush Jumbo regarding whether he rejected down the successful franchise because it conflicted with his Friends filming schedule. Rather, he decided to become a feature film director.
Schwimmer said, “[It] was a brutal decision.” the actor chuckles. “I had just finished filming The Pallbearer, my first film with Gwyneth Paltrow, and there were high expectations of that, which didn’t come true (Laughs). It was kind of a bomb, but there were high expectations, and the studio, which was Miramax, wanted to lock me into a three-picture deal at a fixed price, and I said I would do that if I got to direct my first movie.”
After months of talks, the intelligence actor said that they had come to an agreement whereby he “would act in three more movies for them” in exchange for allowing him to “direct my entire theater company in the first film,” Since You’ve Been Gone from 1998. The film was told through the perspective of a doctor who was severely beaten up by a fellow graduate on graduation day, humiliating him and setting the stage for a ten-year class reunion.
“All these unknown actors but I was going to put them on the map, basically. I was going to let everyone discover the talent of this amazing company,” Schwimmer said, “We found this amazing script, and we were developing it. We started pre-production. All my best friends in the world in my theater company quit their jobs so they could be in this film over the summer, which was going to be a six-week shoot in Chicago.”
However, Schwimmer had to make a tough decision about his career because the production for his directing debut happened to coincide with the filming of Men in Black.
The Six Days Seven Nights actor recalls, “We’re in pre-production, hired the whole crew, everything’s going and that’s when I was offered Men in Black.” “It was a direct conflict with this. My summer window from Friends was four months. I had a four-month hiatus and Men in Black was going to shoot exactly when I was going to direct this film with my company. And of course, it was an amazing opportunity. However, my theater company and that relationship with all those people would probably have ended. I don’t think it would have recovered.”
Schwimmer stated that he is unsure if “he made the right choice,” but he firmly feels that in these kinds of circumstances “you have to follow your gut, you have to follow your heart.”
“Look, I’m really aware, whatever 20 years later maybe more, [Men in Black] would have made me a movie star,” he continued. “If you look at the success of that film and that franchise, my career would have taken a very different trajectory.”
In the end, Tommy Lee Jones and Will Smith played the key parts in the Men in Black franchise.
In a world that often celebrates strength and success, vulnerability might seem like a weakness—but for Hannah Love, it’s a cornerstone of true personal growth and success. Throughout her journey, Hannah has discovered that embracing vulnerability isn’t just about being open with others; it’s about being honest with yourself. It’s through this honesty that real transformation begins.
Hannah’s life has been shaped by challenges that tested her resilience and forced her to confront deep-seated fears and insecurities. From childhood trauma to the emotional struggles of her twenties, she faced moments where vulnerability was not an option but a necessity. “For a long time, I saw vulnerability as a sign of weakness,” Hannah recalls. “I thought that if I let people see my pain, they would see me as less capable, less strong.”
However, as Hannah began to open up about her experiences, she realized that vulnerability was not her enemy—it was her greatest ally. It allowed her to connect with others on a deeper level, to share her struggles without shame, and to find strength in the very parts of herself that she had once tried to hide. “Vulnerability isn’t about being weak,” she explains. “It’s about being real. It’s about showing up as your true self, no matter how imperfect that self might be.”
One of the most significant lessons Hannah learned is that vulnerability is essential to building meaningful relationships. When we allow ourselves to be vulnerable, we create space for others to do the same. This mutual openness fosters trust and deepens connections, both personally and professionally. “The more I shared my story, the more I realized that others were going through similar struggles,” Hannah says. “By being vulnerable, I wasn’t just helping myself—I was helping others feel less alone.”
In her work as a mental health advocate, Hannah emphasizes the power of vulnerability in healing and personal development. She encourages others to embrace their imperfections, to share their stories, and to see vulnerability as a pathway to growth rather than a hurdle to overcome. “When we hide our true selves, we limit our potential,” she explains. “But when we embrace who we are, flaws and all, we open ourselves up to new possibilities.”
Hannah’s journey also taught her that vulnerability is closely linked to authenticity. For years, she tried to fit into societal molds, hiding her true feelings behind a mask of perfection. But this only led to more pain and disconnection. It was only when she started living authentically—when she stopped trying to be what others expected and started being herself—that she found true success. “Living authentically means embracing your vulnerabilities and showing up as your whole self,” she says. “It’s about being honest with yourself and others, even when it’s hard.”
Through her platform, Hannah continues to advocate for vulnerability as a key to personal and professional success. She believes that when we embrace our vulnerabilities, we not only empower ourselves but also inspire others to do the same. “Success isn’t just about what you achieve,” she explains. “It’s about how you achieve it—by being true to yourself and allowing others to see the real you.”
As Hannah prepares for her TEDx Miami talk, she is eager to share her insights on vulnerability and authenticity with a broader audience. She hopes to inspire others to embrace their true selves and to see vulnerability not as a weakness, but as a source of strength and connection. Her message is clear: in a world that often values perfection, it’s our imperfections—and our willingness to share them—that truly make us successful.