The following is an interview with writer Matt Garvey regarding the Kickstarter campaign for the comic book series, The Skim. In this interview, Fanbase Press Editor-in-Chief Barbra Dillon chats with Garvey about his shared creative process in working with artist Martin Hrastić and colorist Jim Clarke to bring the story and characters to life on the page, the incredible backer rewards available through the campaign, and more!
Barbra Dillon, Fanbase Press Editor-in-Chief: Congratulations on the recent launch of your Kickstarter campaign for The Skim: Part One! What can you share with us about the genesis behind the project and the series’ overall premise?
Matt Garvey: The Skim started in a slightly odd way.
I’m a massive fan of gangster and heist movies, and I had this idea rolling around in my head: How do you rob a casino without actually robbing a casino?
Around the same time, I was listening to Quentin Tarantino and Roger Avary’s Video Archives podcast. They were talking about Mikey and Nicky, and Quentin shared a real-life story that inspired Elaine May to make the film. That story, along with a specific scene at the beginning of Martin Scorsese’s Casino where you see the skim being, well… skimmed, really stuck with me and ended up inspiring me to write The Skim.
BD: How would you describe your shared creative process in working with artist Martin Hrastić and colorist Jim Clarke to bring story and characters to life on the the page?
MG: I met Martin completely by chance. He’s a lovely guy from Croatia who came up to my table at MCM Comic Con in London last year. He showed me his work and it immediately felt different from most US comics, which I loved for this story.
I’m a big fan of European comics, and Martin’s art reminded me of when European filmmakers came to Hollywood in the ’70s and brought a new energy to established genres.
The next day he came back with more work and even a sketch he’d done for me, which was incredibly kind. The following week I sent him the script for The Skim, and not long after he came onboard.
Every artist works differently, and collaboration is really about finding that rhythm. I’ve worked with dozens of artists over the last 15 years. Some stick closely to the script. Some want lots of back-and-forth. Some like jumping on Zoom calls to bounce ideas around.
Then, you’ve got artists like Martin, who take the script apart and give you something you weren’t expecting, in the best way. Visually, he elevated this book way beyond what I imagined. It meant I had to tweak things when lettering, but that’s a great problem to have.
I’m not precious about my scripts. I’m not an artist, which is exactly why I collaborate with artists. If they find better visual ways to tell the story, I’m all in, as long as the story still lands (and I’ve got room for the letters).
Jim Clarke joined after colouring one of my other books, I Took a Hammer to Hell, where he had to match an existing style. With The Skim, I wanted to let him loose creatively, and honestly, he smashed it.
So, if I had to sum up the creative process, I’d say it’s all about leaving egos at the door and build the strongest team you can to make the best comic possible.
BD: Why do you feel that crowdfunding has been such a valuable resource to ensuring the success of today’s comic book creators?
MG: Crowdfunding has genuinely allowed me to keep making comics.
I had a failed campaign about ten years ago and swore I’d never use Kickstarter again, so I spent years self-funding everything. That worked for a while, but life changes. I now have a family to support, and crowdfunding helps cover production costs. It doesn’t pay for everything, but it makes these stories possible.
I’m incredibly grateful to every backer because I’m not a big-name writer. I’m just some indie guy from the UK. Yet people, mostly strangers, support my projects and often come back for the next one. Over time, that’s turned into a small community, and that honestly means the world to me.
For creators, crowdfunding gives us almost everything except distribution. Shipping is painful, but in return you get direct access to readers, creative freedom, ownership of your work, and a real chance to grow an audience organically. You start from zero, but you’re laying foundations for the long term.
BD: At Fanbase Press, our #StoriesMatter initiative endeavors to highlight the impact that stories can have on audiences of various mediums and genres. How do you feel that this story may connect with and impact readers?
MG: It makes the reader an accomplice, which I love.
First and foremost, I want readers to instantly want the next issue. That last page matters.
I want people emotionally invested, desperate to know what happens next. And by the end of the final issue, I want them to feel like they’ve genuinely been on a journey. If I can create shock, empathy, or give an emotional gut punch, then I’ve done my job.
Readers get to be in on the heist, understand the motivations behind it, and then feel the consequences as the story unfolds. Everyone loves a likeable bad guy.
BD: In light of the crowdfunding campaign, are there any particular backer rewards or tiers that you would like to highlight for our readers?
MG: So, all physical rewards come with free digital versions, which I always do.
I also have a digital bundle that keeps growing with every campaign. For £10, readers can get all versions of The Skim, plus my entire comic back catalogue, around 25 books, or closer to 40 when you include variants. Money’s tight for everyone right now, so I try to give as much value as I can.
We also have a special variant edition of The Skim. Normally, variants just change the cover, but this one also has alternative interior colouring by Martin, which gives the whole story a completely different feel.
BD: Are there any other projects – past or current – that you would like to highlight for our readers?
MG: Two past books I’d recommend are I Took a Hammer to Hell and Gangsters vs. Nazis. Very different vibes.
Hammer is an emotional rollercoaster and was incredibly fulfilling to write. Gangsters vs. Nazis is pure, over-the-top fun with a unique art style, and like most of my books, it’s not really about what you think it’s going to be about.
Looking ahead, I’ve written a 72-page thriller set in modern-day Japan called Night Movers, which will be my next Kickstarter. It has a proper gut-punch ending people won’t see coming. This is the first time I’ll be crowdfunding the full production of a book rather than just recouping costs, so it’s a big moment for me. I’ve funded the first six pages and the cover so people can see what they’re getting, and honestly, the art is beautiful. So, fingers crossed we get to make this book, its gonna be a something very dark but special.
BD: Lastly, what would you like to tell readers who want to learn more about the The Skim campaign and your other work?
MG: I just hope I can tell you a story that feels a bit different from what’s usually on the shelves, and more importantly, something you genuinely enjoy. I want to be a better writer and I think The Skim is one of the books I’ve written in the last couple of years that has leveled me up.
Also, you can find me across most social platforms at @mattgarvey1981, and I also run a YouTube channel where I teach new creators how to make their first comic. There are over 100 videos covering my whole process. If I can make comics, anyone can, and I genuinely enjoy helping people get started.
