and right now, Hollywood, as you know, is pretty obsessed with superheroic characters or, as you see, pretty archetypal characters. It’s easy to understand what Batman represents, for instance. So I was, I wanted to show that he was doing that kind of movie, that he was trying to create a hero for the 21st century, in these fraught and fretful times we live in.

So then I got to thinking about characters like Batman, and Hamlet, and that kind of high-cheekboned, Byronic, antihero character that’s kind of haunted all of our literature and so many of our movies and books and TV shows, and it was really just about going back. Because ultimately I thought that all tracks back to Milton’s Satan to be honest. So I kind of was telling a story about a devil, through the medium of science fiction. And I think the character came to me through these different angles, and then I thought about the different portrayals of that character in popular culture, so we connected them to Fantomas, you know, the early 20th-century surrealist hero who was kind of a pulp fiction character, or to characters like Diabolik from the 1970s Italian comic books, or Criminale, who was another, a character who dressed in a skull suit and went around robbing people and shooting things.

They were very dark antiheroes, and I was kind of trying to track the lineage of those guys right back to the original, and build up Nomax from basically Milton’s Satan via lots of these other portrayals of the ultimate rebel antihero poet dissident character that we’ve been haunted by.

What’s the difference to you between something like this, an archetype of something classic, and just a cliche?

Who knows? I think it just depends on how you deploy them. Perhaps it can easily shift into cliché — I mean, as long as I don’t feel it’s a cliché, then I’m fine with it. But I think if other people start to see that, then yeah, obviously it becomes embarrassing. So hopefully Nomax won’t be a cliché. We’ve tried to give him a personality that’s pretty strong and pretty direct, and again quite funny; he’s got a certain take on things. So I think the only way to do it is to be aware of its origins, and kind of the ubiquity of these figures, but at the same time give them enough personality that… Max Nomax is very different from the other iterations of the dark man I’ve mentioned, so hopefully he has his own personality as well.

The female characters that I’ve seen so far tend to be love interests and prostitutes. I’m wondering if that’s something that’s going to change?

It’s actually about that; there’s a character who comes in in Issue 3 who’s really central to the entire thing, and it’s kind of about the attitude of men to women in Hollywood. Again it’s something that you’ll see unfold, but actually part of the story is about the way men treat women. About how the screen treats women.

How do you do that without just replicating it? How do you depict that without it just being another part of Hollywood — talking about how men treat women but just treating them the same way?

By making the character strong, and by giving her things to do, which aren’t necessarily the traditional things that happen in stories like these. And that’s honestly what it’s all about, as you’ll see, I think. The female character who enters this story is very important to how it plays out.