Greg Burnham, a Norcross-based comic book and children’s book author who is attending this month’s Momocon over Memorial Day Weekend spoke with Rico Figliolini this week. They talked about his recent contributions to comic anthologies Milestone Initiative (featuring Icon), Ghouls Just Wanna Have Fun (featuring Superman), and DC Power 2024 – and, his latest children’s book, Swim, Kelly! Swim! They also talked about collaborating with artists, crafting compelling characters, feedback from beta readers, and the evolving landscape of diversity and representation in comics, stressing the importance of authentically empowering marginalized voices to shape narratives.
Related Links:
MomoCon Website: https://www.momocon.com/
Greg Burnham Facebook: / gregburnhambooks
Tuskegee Heirs
Children’s Books
Timestamp:
00:00:00 – Greg Burnham: Comic Book and Children’s Book Author
00:02:25 – Collaborative Indie Comics Creation
00:04:51 – Crafting Captivating Visual Narratives
00:06:53 – Learning the Publishing Process
00:07:56 – The Story of Solace: A Collaborative Comic
00:09:41 – Crafting a Spooky Superman Story
00:12:48 – Navigating Creative Collaboration
00:14:53 – Balancing Indie Work and Deadlines
00:16:55 – Coaching Basketball and Crafting Characters
00:18:56 – Crafting Authentic Characters: Balancing Inspiration and Individuality
00:21:05 – Crafting Complex Characters
00:24:35 – Navigating Diversity and Stereotypes in Comics and Media
00:29:57 – Unreal Engine 5 and the Blurred Lines of Reality
Podcast Transcript:
Rico Figliolini 0:00:26
Hi, everyone. This is Rico Figliolini, host of UrbanEbb. And I have a great guest today, Norcross comic book children’s book author Greg Burnham. Thanks for joining me, Greg. Appreciate you being here.
Greg Burnham 0:00:40
Thank you for having me.
Rico Figliolini 0:00:42
Yeah, no, this is great. This is like, you know, I love, I’ve loved comic books since I was ten years old or younger. Mainly Marvel. DC also a little bit, but Marvel was always my best. And then graphic novels as I got older and they got into trends. But we have Greg here. He’s been an author, writer for quite a bit for a couple of decades. Right.
Greg Burnham 0:01:05
I think about it, well, a little bit over a decade. I started with the children’s books. I’ve been writing my whole life. Professionally, like a little over a decade.
Rico Figliolini 0:01:16
Okay. Okay. Well, we’re going to talk a bit about that. What got you into this and stuff? So we’re the. So let me just say that we’re ahead of MomoCon. That’s going to be coming Memorial Day weekend. It’s actually running four days, May 24 through the 27th. Greg is going to be at that. This is why we’re interviewing him also. So looking forward to meeting you in person, possibly when I come out and visit, it’s going to be at the Georgia World Congress center. It’s considered the largest gaming event in the southeast. But, you know, like any of these, there’s artists alleys, there’s all sorts of things going on in cosplay. There’s a lot of things going on at MomoCon. So it’s going to be an interesting four days. So I’m looking forward to it. I’m sure you will be, too. What days would you be there, Greg?
Greg Burnham 0:02:03
Oh, the entire time.
Rico Figliolini 0:02:05
Okay.
Greg Burnham 0:02:06
MomoCon is. It’s one of our, it’s our, one of our home conventions, obviously, but it’s also one of my favorite. So, yeah, we’re there the whole time, actually.
Rico Figliolini 0:02:18
What are you going to be doing? Where can people find you?
Greg Burnham 0:02:21
No, we’re going to be in the artist alley. And I would have to search. I just show up. But I think they told us our tables. I want to say it’s like, 304.
Rico Figliolini 0:02:32
No, that’s fine. But artist Alley, you’re going to be in, so that’s cool.
Greg Burnham 0:02:35
Artist Alley yeah. So I’ll have. We always have books, posters, other light stickers, some different knickknacks. All the books we’ll be talking about today, I’ll have. And then also, I know I’m doing at least two panels, but it could be more.
Rico Figliolini 0:02:55
I’ll see if I can find those. And I’ll put that in the links below. So whoever’s watching on YouTube, I mean, you can find it there or in the show notes if you go, if you’re visiting the website. So Greg has been doing a lot of indie comic hits that he has under his belt, but he’s also doing work with DC and Marvel. So why don’t we get you to tell us? And by the way, I just recently didn’t get a chance to read a check because it just came in this afternoon, just got one of these. So looking forward to going through that. Tell us a little bit about, I guess let’s talk a little bit about how you got into this. I mean, it’s a challenging job, right? You’re writing. It’s not like a novel. This is collaborative work. So what does that work? How do you do that? How do you handle it, man?
Greg Burnham 0:03:46
It’s usually fun. I think the toughest part is fine. Like, when you’re doing it on the indie side, it’s finding people that are reliable and fun to work with, people that are passionate. Like, as a writer, I always want to deal with artists. I want to make sure that they’re having fun, you know, doing it. So I’m always like, what do you like to draw? Like, are there certain things you think you’re better at? So, you know, once you get, you know, the team together, it’s a blast. It’s just like any other team, really.
Rico Figliolini 0:04:19
I would imagine also for you, envisioning what your characters look like, do you give that input to the artist? Do they give you sketch?
Greg Burnham 0:04:29
Yeah, definitely. The cool. So Marcus Williams, who’s my co creator and the artist for Tuskegee years, he and I, we’ve been working together for decades, you know, like, doing stuff artistically and business wise, so I can, it’s easy for me to, you know, convey it to him. Like, what the character look like this. Give him a couple examples, and we’re good. But then when you’re working with other artists, it’s like, you have to be, like, really, really descriptive. Try to, you know, I’m. I’m the guy. Like, I’ll pull up examples, like, stuff on Google. You know, like, this is the hairstyle you know, this is, you know, the body type even. I do that with, like, backgrounds and scenery sometimes. Like, this will be a cool shot, you know. So trying to help them out as much as possible. And it makes the process a lot more efficient too.
Rico Figliolini 0:05:28
Yeah, I would think. No, that’s great. I do that with photographers sometimes. I show the pictures what I think it should look like and then I tell them and then give me what you think you’re thinking it should look like as you’re there. But, but, yeah, no, that’s great that you’re given direction like that because worst thing to do is getting, is drawing stuff, then all of a sudden having to shift from that.
Greg Burnham 0:05:50
Yeah.
Rico Figliolini 0:05:51
So you’ve, you’ve been some of these. So tell us some of the creator owned properties, some of the indie stuff that you’ve been doing. What was your, so what was your first one? Was it Tuskegee airs? Oh, yeah.
Greg Burnham 0:06:03
Comic wise? Well, the way it started, I’m sorry.
Rico Figliolini 0:06:09
Okay.
Greg Burnham 0:06:09
I just got back in town, so please forgive the coughs. Yeah. It started with a book. I always have props at my desk, this book, you know, 20 years ago, over 20 years ago, Marcus and I and another friend, Nicholas, who we created this, but we had no idea what we were doing. People were loving it. People were buying it. We didn’t understand the business side at all. So we had to kind of, we were printing them up at Kinko’s.
Rico Figliolini 0:06:37
Yeah, we did.
Greg Burnham 0:06:41
Yeah, we did everything ourselves. And, like, people were buying it. They were buying it heavy. But we were spending so much money to produce a book that it wasn’t lucrative at all. So we had to kind of step back and kind of learn the business. So I did a couple children’s books. Marcus illustrated those, and then he got in on a comic book called Hero Cats. And he was doing the art for that for a while. But the whole time we’re, like learning publishing, we’re learning comic conventions, you know, who to talk to print wise, all those things. So when we did come up with the idea for Tuskegee airs, we felt confident that we knew how to execute.
Rico Figliolini 0:07:30
At that point and get it printed. I’m assuming you got it printed yourself. It looks great. Great.
Greg Burnham 0:07:35
Yeah. So we used a really good printer out of Canada that prints for, like, the big guys as well.
Rico Figliolini 0:07:42
Okay. Okay.
Greg Burnham 0:07:43
So all that stuff, you know, it’s like learning as you go.
Rico Figliolini 0:07:47
I could tell from the quality. And it’s just I’m, I’m in a nut when it comes to graphics and printing and stuff like that. So I can appreciate the quality that went into this. So you’ve done that. You’ve done the search for SDK Sadika?
Greg Burnham 0:08:03
Yeah.
Rico Figliolini 0:08:05
Little Rock files and. Little Rock files and the story of solace. Yeah, I guess.
Greg Burnham 0:08:13
Yeah. So, like, the story of solace, that’s was my brother’s idea. He wrote. He’s had this idea for a long time, and so I just kind of, you know, kind of guided and helped him, you know, making it into a comic because he had written it in prose and. But we always thought it would be a comic. So we have one issue of that. We’re working on the second one now.
Rico Figliolini 0:08:40
Just the Kickstarter we were talking about before. Is that different?
Greg Burnham 0:08:43
Yeah. Well, we did a Kickstarter for that last year. We may do one for the next book, but we’re trying, like, we like to try to have the book finished or have it really close to be finished before we do a crouch one.
Rico Figliolini 0:08:58
Yeah, yeah, no, I can’t imagine because otherwise things will take longer then. And that’s. So I can appreciate that. You’ve done three comic book, three comic anthologies last year, 2020.
Greg Burnham 0:09:10
Oh, yeah. Yeah. Within the last twelve months. One of those was in February. I did DC power, which is like their black history anthology. This is one of the covers. I like the prompts and would. Oh, yeah, I keep props. And so I got to write a mister terrific story. I was super happy because I snuck and brought him to Atlanta. Nobody said I couldn’t do it, so I did it.
Rico Figliolini 0:09:39
But Atlanta’s famous. Yes.
Greg Burnham 0:09:41
Yeah, but, so, yeah, that one was really cool. And then in October, for their Halloween anthology.
Rico Figliolini 0:09:51
Right.
Greg Burnham 0:09:52
They changed the names of these every year. I don’t think I have that one over here, but I did. Ghouls just want to have fun. It’s an anthology.
Rico Figliolini 0:10:03
I think I’ve got. Hold on a second. Let me just bring that up. I think it was this. Maybe that’s not quite the COVID Yeah, that’s the.
Greg Burnham 0:10:12
That’s the main cover right there.
Rico Figliolini 0:10:14
Okay.
Greg Burnham 0:10:15
And, yeah, I got to write a clean page Superman story for that one. Like this. It’s like a spooky. It’s not super extra spooky, you know?
Rico Figliolini 0:10:28
Okay, so how does that work? You have an, you have your own ideas of what you want to do, but now you have this icon, Superman and. Yeah, they’re giving you. I know they’re not giving you totally free reign. I’m sure you got a protective brand maybe, but.
Greg Burnham 0:10:44
But, yeah.
Rico Figliolini 0:10:45
How do you handle that? How do you do that when they give you something like that and you go flying.
Greg Burnham 0:10:50
So I think it’s part, I mean, I think for all us nerds, like, if we’ve been reading comics and movie, watching the movies and everything, I feel like you always think about, like, what would I do if I got a chance to tell these characters stories? So I just, I wanted, like, with this one, I wanted to tap in. I mean, I’ve been watching Superman for my entire life in some way. So I wanted to kind of tap into the stuff that I loved about Superman. You know, I loved him and Lois’s interactions and, but I also wanted to tell, like, something. It’s like there every, there’s so many stories. So I was just trying to figure out a way to do something unique. And I think I did that. It wasn’t like it was a ghost, huh? Yes. Well, that even that description they gave is kind of sort of, but not all the way I used, you know, I wanted like a ghost because, you know, you think about who, you know, they say Superman is susceptible to magic. So I figured like a ghost, you know, like, what can he do if he can’t actually make contact with him, you know? Yeah. So, yeah, but it was cool because for these little one off stories, it’s like canon is not, you know, end all, be all. So they’re kind of like, it doesn’t have to, you know, be, you know, perfectly in canons. They made it easier. But there are still, like, there’s a lot of things that you, you know, you have to get, I wouldn’t say approval, but more so, like, certain things they’re not going to really do with Superman versus others.
Rico Figliolini 0:12:38
Okay, well, fun anyway, I would imagine. And I’m sure you got on your stuff.
Greg Burnham 0:12:43
I just, the whole time I’m working on it, I just, you know, have to keep pinching myself. Like, this is Superman.
Rico Figliolini 0:12:53
Okay, so you’ve done that. DC Power 2024. You’re talking a little bit about that milestone initiative. There are other artists that are in there. Do you get a chance to, when you meet other artists, other writers, other creative people, do you guys share notes? Do you like to shop talk?
Greg Burnham 0:13:18
I like to talk more. Not necessarily in general, but we talk about, like, creating one thing I’m always careful of because it’s like we, you know, you soak up so many things subliminally that sometimes something that you heard or you’ve seen could come out accidentally in your own, like, I’ve plenty of times where I come up with an idea and I’m like, oh, this is gonna be great. And I have a rule, like, I’ll come up with the idea. Usually I wait for, like, a couple of weeks, and then I come back and revisit it.
Rico Figliolini 0:13:50
Uh huh.
Greg Burnham 0:13:51
And when I revisit it, I’m like, oh, no, that’s nothing but new skin on this story. Yeah. So I try to, like, you know, keep it more in general, like, about creating stuff like that than sharing notes on what we’re creating.
Rico Figliolini 0:14:10
Gotcha. I’ve heard authors, like, best selling authors and other writers, they don’t accept anyone’s manuscript for that reason.
Greg Burnham 0:14:19
Yeah.
Rico Figliolini 0:14:19
Or unsolicited scripts, for that matter. That could be a problem, too, I guess. You know, when you’re balancing creative work, your, your independence and publishers expectations. Right. There’s two different things. We talked about that a little before, just, just before about how it’s easier to do your own stuff because you’ve set your deadlines. You can pick the quality of work, people to collaborate with, but sometimes that may not be the case on the other side of that, where you have publishers expectations, you have to work with people maybe you’re not familiar with.
Greg Burnham 0:14:56
Yeah.
Rico Figliolini 0:14:57
How does that work? Is that fun or can that be challenging?
Greg Burnham 0:15:02
For me, it’s fine. So a little bit more about me. Like, I coached youth sports in, you know, Norcross, and I’m not doing it currently, but I did for about 15 years. So I think that one of my strengths is being able to bring people together and figure out how to work with people, you know, in a pleasant kind of way where we’re all moving in, you know, the same thing. So I think I utilized some of that, but I’m, when you’re doing indie stuff, it’s like, typically, you know, there’s going to be a little bit extra leeway, you know, whereas, like, if you’re working with one of the major publishers, it’s like, the deadline is this day and that’s all there is to it. If you can’t have it by this day, they’re going to get somebody else to do it, you know?
Rico Figliolini 0:15:55
Yeah.
Greg Burnham 0:15:56
Yeah. So it’s like just trying to figure out balance. Not to be like a tyrant, but also to be like, we still got to make sure we’re getting it done, so, but it’s, it’s fun. I love collaborating, especially with artists. Love it.
Rico Figliolini 0:16:12
Yeah. I got to believe that you see your stuff visually being rendered is as a whole, that got to be a whole different feeling. Right. You’re writing it, you have it in your head, but that artist is rendering what you’re hopefully pulling out of your head you want. But it’s a whole, it’s almost like me seeing AI art sometimes it’s not the same thing, but, you know, you type in some words and AI will generate a picture. Right. It’s never quite as good as everyone says it is. That’s for sure. I’ve experimented and trust me, it’s. But that’s what you see on Instagram, I guess. But the, so I’m sure it’s exciting to see the rendering of what an artist produces for you.
Greg Burnham 0:17:00
Absolutely.
Rico Figliolini 0:17:02
I was curious, what sports did you coach?
Greg Burnham 0:17:05
I coached mostly basketball. I did baseball some, but it was mostly basketball.
Rico Figliolini 0:17:12
I like the way you were phrasing it before about moving in the right. Sort of in the right. In the same direction or something.
Greg Burnham 0:17:17
Yeah.
Rico Figliolini 0:17:18
Getting parents move with you to just competing.
Greg Burnham 0:17:21
Yeah. So, and it’s like if you, if you can do that, you know, coaching twelve, you know, adolescent boys, then, like, you could do a lot of things.
Rico Figliolini 0:17:33
Yeah. Yeah, I would think. And, you know, that’s, that also brings up something else in my mind. When you’re, when you’re writing stories and you have five characters, and then I’m sure some of them are your most favorite characters. Right. More favorite one. How do you know, you have to decide these darlings, how much time they get on that page because you’re not, you know, and do you, it’s just a, that’s an interesting thing, too, to decide that. Well, what is your favorite character or two that you’ve written?
Greg Burnham 0:18:03
Oh, man, I don’t know, because, like, I mean, I love the Tuskegee heirs. Like, it’s like they’re, all of them are like your kids, all the stories. So I love Sadaka from the search for Sadica. I just don’t want to say one’s my favorite and then the other characters attack me in my dreams. But, like, I’m doing this book now called Little Rock Files. It’s like a eighties noir detectives story takes place in the south. And the main character, Owsley, I love, I also love his little sidekick Tia. She’s good. Good fun. So I don’t know, it just kind of depends on the day, I think.
Rico Figliolini 0:18:50
Do you ever, do you ever base these characters on people, you know?
Greg Burnham 0:18:55
Absolutely. So one of my things is so sometimes. So, like, with Tuskegee heirs, I have two kids, Marcus has two kids. So four of the kids are named after our actual real life kids. Now, we, I don’t necessarily, we didn’t, we modeled their look a little bit after them, but their personalities aren’t necessarily the same. But I. One of my things that I want to do, because it’s like, I love creating characters, but I want them to feel, like, organic. I write a lot of female characters, and so I definitely take inspiration from people I know. You know, it could be somebody I went to elementary school with, but I just take those inspirations because I’m always careful. I don’t want characters to be empty and feel like, you know, like, you ever read a comic where you’re like, okay, this sounds like a dude trying to sound like a woman or trying to, you know, I don’t want to be one of those. So I really try to get in. Like, I’m working on a book right now with four girls, superheroes, and I finished the first, you know, like, my first iteration of the script, and I was like, I need to add more, you know, like, depth and more emotional personality to them.
Rico Figliolini 0:20:23
Yeah. Some background, different language. I mean, you want that voice to be individual, right?
Greg Burnham 0:20:29
Yeah. It’s like, I want, like, all your main characters, I want to make sure they have, like, a voice, like, their own distinct kind of way.
Rico Figliolini 0:20:38
So. So the flames of destiny, the first character that I find slip, and he just doesn’t listen. He just wanted to do his own thing. It seems like she pays someone with the kids.
Greg Burnham 0:20:49
No, actually, he’s our. He’s our lone, you know, completely out of thin air guy.
Rico Figliolini 0:20:56
Oh, okay.
Greg Burnham 0:20:57
So, yeah, but he, you know, like, he provide. Like, he’s. People love him. Like, fans all over the place really, really love him, but he’s, you know, got some. He was kind of created to add, like, the, you know, comedy, but he’s also feisty. And as you go, you know, we’ll get more depth and stuff behind him, and readers will understand why he is, you know, how he is.
Rico Figliolini 0:21:27
So do you work through the writing process when you’re doing this? And you said, like, you did the first. Everything goes through drafts, I guess. And you want to continue to add voice and complexity to a character when you’re doing this, do you ever decide. Do you ever decide that maybe a character is not the right character and you have to change it?
Greg Burnham 0:21:52
Yeah. So, yeah, sometimes it’s like I’m hyper vigilant. I utilize sensitivity readers. I have some really good friends that will say, hey, man, this is some crap. Go back to the drone board. Good. They’re not mean people, but I tell them, I want you to talk to me. You know, like, yeah. So usually by the time they actually, like, we get into the scripting and everything. I’m pretty cool. I’m pretty sure, you know, but up until that point, yes. Like, plenty of people get cut, are changed altogether.
Rico Figliolini 0:22:31
Okay, cool. So beta readers and just other people giving advice, that’s a tough thing to find, people willing to give honest advice.
Greg Burnham 0:22:38
To the ones without ego. Like, one of my friends, she’s a really good writer, and she was telling me recently a story about, she gave to one, you know, had a beta reader, and this lady, like, ripped her apart. It’s like, you know, this book doesn’t need to be made. Like, and really, she already has tons of fans. And when she releases the book, it hit, you know, it’s breaking all these sales records and stuff. And it’s like, you know, so you want people that are going to give you, like, the kind of that raw opinion, but not the one with the ego behind it, like, better than you like, because there’s so many, you know, like, readers like different stuff, you know? So just because it doesn’t sit with you doesn’t mean it’s not going to resonate with its intended audience.
Rico Figliolini 0:23:31
You almost have to have thick skin when you get these things back.
Greg Burnham 0:23:34
Yeah. Like one, I think for me, like, one of the things, like, whatever the criticism is, I’m usually okay with it because whatever I showed you in that book, I, it was 100% intentional. It’s, you know, there’s not a lot of, like, ooh, how did that get there? You know? Okay, so I’ve had people that like the way you did, you know, whatever, but then they read the next issue and they’re like, oh, okay, I get why you do. It makes more sense.
Rico Figliolini 0:24:05
So it’s like, yes, they gotta wait. They gotta live through the. Live through it. Yeah, no, for sure. I mean, sometimes the backstory comes out later. Right. You wanna give it all at once when we talk about. We talked a little bit before we start about diversity and representation, right. In works, it’s changed over the years. Diversity is a little better now. Certainly better now. I mean, even in probably the sixties and seventies, it wasn’t too much of a stereotype. Although, you know, that’s one of the things you got to worry about, or other writers have to worry about. Stereotyping people does. You don’t mean to. And sometimes the stereotype is meant, right. As a comic, it’s a comic turn or something. Maybe we’re being used in a way, but it’s not long lived in a character. Right. How do you handle that. How do you do, you know, with, with especially this industry. I mean, when you think about comic books, when people think, well, not today, but before comics, comic books was very white, you know, I mean, up until about sixties and seventies, and then there was some diversity that came in. Not a lot, but some black panther, Luke Cage or a bunch of them got more. So, as, you know, X Men came in. So that was supposed to be a thing about diversity, of accepting different people. So. But there’s a lot more indie. Well, there were indie authors back then, too, indie comics, I remember, but, but there’s a lot more now than there were before. And some of them get tv shows, too. So it’s becoming a bit more. A bit more profitable or lucrative to be able to do some of this stuff. Do you see yourself trying to get into, breaking into that, you know, multimedia, just the print?
Greg Burnham 0:25:56
Yeah, definitely. As we go, we’ve had some near misses with certain stuff, but it’s definitely a way that we, you know, would want to move to where because, okay, so with the diversity, it’s like they’re starting to realize that. And I’ve heard this from, like, execs at, like, major publishers, they’re starting to realize that diversity isn’t just putting a character, you know, like, you know, different character in, it’s allowing people to tell their, tell these stories like people, you know, so, you know, instead of dropping a black character in a book, it’s like, allow a black person to tell the story, because that’s when it’s like, you start really getting into diversity representation with stereotypes. If you’re not even aware of all the stereotypes, then, you know, yeah, you might hit one here or there. So it’s good. Like, for us, we want to do, you know, we’d love to get into animation. We’re working on a little bit of animation right now, but we would love to work on a lot of bit. But, you know, it’s very expensive. Our thing is we, we would love to be, we want to be able to kind of guide it. We already know if somebody gives you, you know, millions of dollars to make a cartoon, sure, they’re going to have, you know, the power and, you know, but we want to at least be able to keep it on the rails because we’ve seen so many times, like, I think about teenage Mutant Ninja Turtles, which I, you know, we loved the iteration that came, you know, to animation and everything, but it’s so much different than what the comic was and what the creators I be, you know, what their, you know, dreams about what it would be. It’s just, it was a lot different.
Rico Figliolini 0:28:01
Yeah.
Greg Burnham 0:28:02
And that was, you know, that was an instance where it still was super successful and lucrative, but you can talk to, like, a lot of creators who, like, man, they took my idea and made it terrible, so it flopped in.
Rico Figliolini 0:28:18
Yeah.
Greg Burnham 0:28:19
You didn’t get to control it.
Rico Figliolini 0:28:20
So I think. I think a lot of times when Netflix or other companies get into that, they’re just making more vanilla to just be able to reach a broader audience rather than niching it down, because, you know, it’s telling it, I think telling the stories of, from a diverse background, like you said, you don’t just drop in an indian or a black woman or Hispanic into a story. It needs to come out of their story. Right. It just needs to be. It’s more authentic that way. It’s more interesting. The storytelling is way more interesting to me when it comes out that way then, than someone. I can’t write a black story. Right. I mean, I can’t. Having diversity in the creative process is important, so. And things are becoming better. Animation is actually becoming cheaper and cheaper to make because of digital, all the digital movement that’s going on right now. So it’s gonna be. Give it another five years, you’ll be able to make your animation. 30 minutes show.
Greg Burnham 0:29:24
Yeah, it’s coming. Like, we. We were, we were awarded a bit of a grant from Epic Games to do, like, unreal engine short.
Rico Figliolini 0:29:36
Yeah.
Greg Burnham 0:29:36
So.
Rico Figliolini 0:29:37
Really?
Greg Burnham 0:29:37
Yeah. So we’re working on that. And something else that you might be able to see. We have something cool that we’re going to be. Hopefully we’re going to be dropping at Momocon, so.
Rico Figliolini 0:29:48
Yeah. Okay. I’d love to see that. Unreal engine five. That’s the last one that came out. That last version. It’s unbelievable. It looks so real.
Greg Burnham 0:29:58
Yeah.
Rico Figliolini 0:29:58
That you’re stepping into a place that’s just like, my God, you want to be afraid that something’s going to scare the death out of you.
Greg Burnham 0:30:05
Right? I just watched the planet of the apes, the new movie.
Rico Figliolini 0:30:10
I didn’t get a chance.
Greg Burnham 0:30:12
Half the time. I’m like, that’s unreal engine right there. That’s unreal engine. Like, it’s. It’s, like, almost seamless. Like, you can’t.
Rico Figliolini 0:30:21
Yes.
Greg Burnham 0:30:21
Yeah. Like, I can tell because we’re working in it right now, but for, you know, that most people.
Rico Figliolini 0:30:28
Well, I think. No, most people can. I mean, unless you put a person in it, then it becomes these nuances that.
Greg Burnham 0:30:36
Yeah.
Rico Figliolini 0:30:36
That you sort of figure that’s there’s something not quite right there, but I can’t wait for them to do more VR work because unreal engine five can do in real time renderings. I believe, as you. As you move through a story, it’s just so much technology. You can’t even tell what’s real or not anymore. If you’re like the Matrix, almost.
Greg Burnham 0:30:57
Yeah. So. Waiting for this?
Rico Figliolini 0:31:00
Yeah, sure. I’m just tell us the. So you have another book that you’ve done. So we’ve been talking about graphics and comic books. But you did swim, Kelly. Swim truly?
Greg Burnham 0:31:12
Oh, yes.
Rico Figliolini 0:31:13
Very different. So I want to make sure you tell us a bit about that, that, you know, what. What went into that, why you did, why you wrote that one.
Greg Burnham 0:31:22
So, so far, I’ve done three children’s books. Every one of them was based off of, like, an experience from my childhood. And of course they’re based, but I, you know, will make it more fantastic and all that stuff. But this one was a story that actually happened with my brother. And I taught my brother how to swim when he was way too young. So, like, by the time he’s, like, three, he can swim for. So we were at the pool. We’re military kids, and so we were at the pool, and I probably should have been paying more attention to him, but I knew he was good. He was supposed to be in the kiddie pool. And so I look up and there’s a lifeguard blowing. They’re all blowing their whistles, and they’re yelling, get down. And my brother is standing there on the high dive getting ready to jump, and he’s nine years old, and so they’re yelling, telling to get down, he gets down. And at the pool had a rule where in order for you to jump off the diving boards, if they felt like, you know, you were like, it was like you’re in danger, they would make you swim all the way across the pool in the deep end. So it’s like 10ft, you know, you gotta swim across. So I convinced them to let us do it. They let me swim beside him, you know? Cause it’s like my mom will, you know, disown me if something happens to my brother at the pool. Yeah. So, you know, we swam, and it was just fun because, like, the people, like everybody, it’s like people got out of the pool and everybody’s just cheering for him. His name is Kelly. It’s totally real. So. So I told that story, but then I also added, like, little things, you know, about swimming. The goal was to like, demystify swimming. So if, you know, it’s funny because I’ve had adults that are like, man, this is for me, you know, because people, people want to learn how to swim, but, you know, the older you get things like swimming, they seem like, that’s not real. I can’t do that. My body can’t do that. So that was the goal, is to kind of demystify it a little bit to where, you know, kids will understand. If you learn how to do it, you believe in yourself. You could be a great swimmer like Kelly.
Rico Figliolini 0:33:43
So it’s a great cover, too. Yeah.
Greg Burnham 0:33:47
My friend Michaela Moore, she’s an absolute jewel. I met her at a comic convention, and, you know, we, like, this became, you know, like, we would see him all the time. She’s younger, so it’s like we always try to, you know, not necessarily mentor all the time, but just encourage. And one day I was like, hey, have you ever done a children’s book? She’s like, sure, I’ve done one, and we ended up with this one.
Rico Figliolini 0:34:16
That’s cool. It’s good to work with people. We’re at the end of our time together. Greg, it’s been, yeah, it’s been great talking with you about your work, about the business. I love talking shop, finding out how people are creative and doing stuff. So you’re going to be a MomoCon this Memorial Day weekend, all four days from May 24 to May 27 at the Georgia World Conference center. And you’re going to be at artist alley and some panels from what you said before. So we’re going to try to find those links to the panels. Get that there. Otherwise, if you’re looking to go to MomoCon, everyone, momocon.com is where you should go. Buy your tickets. You could get day tickets weekend. I think it’ll four day passes also. It’s going to be a great event. Artists like Greg there and say, hi, especially if you’ve seen this podcast. But thank you, Greg. Appreciate you being with us.
Greg Burnham 0:35:16
No problem. Thank you for having me.
Rico Figliolini 0:35:19 Thank you, eve
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