SCARLET TRACES HARDCOVER

RICHARD JOHNSTON: Ian, how did you first begin working for CrossGen? What led to it, what impression did you get of CrossGen, why didn't you move to Tampa, what was the reality, and when did problems first start?
IAN EDGINTON: I think it was back in 2000 at the San Diego convention. I noticed the CrossGen stand but didn't really know who they were, so wandered by to see what was going on and introduce myself. It was the usual freelancer routine, pressing the flesh, showing your face, making contacts and so on.

As luck would have it, Barbara Kesel was on the stand. She had been my editor on Terminator: Enemy Within at Dark Horse, the first American work I'd ever done. We'd never actually met in person so it was a handy way of making an introduction and finding out more about CrossGen. Barbara explained the unique set-up, how everyone worked in-house, that you had to relocate to Florida, that jobs were purely by invite only and only then whenever a vacancy should arise.

It sounded intriguing in a strange, cult-ish kind of way. I took a few copies of their books but frankly nothing really grabbed me. I didn't think anything more about it. Life went on.

The following year, on the spur of the moment I went to the Wizard World Convention in Philadelphia. Once again there was the CrossGen stand and yet again I sauntered by, this time around though I got talking to Ron Marz.

Again, through a kind of comic book synchronicity, we had something in common in that I was writing the sequel to his Batman/Aliens mini-series.

Also by then, another mutual friend of ours, fellow Brit, inker and artist Mike Perkins had been taken into the CrossGen fold and was working at the offices over in Oldsmar.

Ron and I got on like a house on fire. He explained what life was like working in Florida and answered all my questions, especially about how it all seemed to good to be true! As writers, we'd both been around the block a few times and had hellish tales to tell, but the situation at CrossGen really seemed to be on the level. Mark Alessi was sticking his neck out, risking his own money to genuinely try and do something different. As such, he engendered an impressive show of loyalty and enthusiasm from his staff.

Ron gave me his card and asked me to send in some samples, which I duly did. I knew there weren't any openings but nevertheless, Ron, Mike and I all stayed in touch throughout the year and towards the end of 2001, their emails started taking a more interesting turn. There were heavily loaded questions such as: "If an opening should happen to come up over here how interested would you be?" "How soon would you be able to start?"

It was finally revealed that I was in the running for a writers post which I eventually landed. It was an astonishing time. A new job, a new life in America no less! There were a million and one things to think about, my partner, her daughter, the cat! It was an adventure of a lifetime, scary as Hell leaving everything and everyone behind but worth taking nonetheless.

I flew out in early 2002. I hate flying with a passion verging on phobia but within two hours of landing in Florida I was walking knee deep in the warm ocean, feeling the sand between my toes and the tension evaporating from my shoulders. Not ten feet away there were even bloody Pelicans bobbing on the swell. I thought: "I could get used to this!"

The set-up at the office was amazing. The stories about the walls being lined with original Frank Frazetta and Wally Wood artwork were all true. If you needed anything, specific pens, inks, paper they'd be supplied for you. I prefer to work long hand, sitting on the sofa, scribbling notes. They were going to buy a sofa for me and install it in my office. I had an office!

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