Alan Gray Jr., the visionary force behind Blackgodcomics, has been making waves in the comic book industry with his bold storytelling, unapologetic themes, and a deep commitment to representation. As the creator of groundbreaking titles that merge raw cultural commentary with stunning visuals, Alan has built a brand that resonates with readers hungry for stories that challenge conventions. Whether exploring Afrofuturism, mythology, or gritty urban landscapes, his work pushes boundaries and sparks conversations. In this interview, we sit down with Alan to discuss the origins of Blackgodcomics, the inspirations behind his most iconic works, and how he’s redefining the comic book space for a new generation.
Interviewee: Alan Black God Comics
Interviewer: Anthony Andujar Jr
Q1 What started you on the path of the arts? Especially with your journey through illustration? Who were your influences?
BGC: Well, I started out drawing Batman from Batman: The Animated Series back in the 90s. I loved the cinematic nature of it so initially, I just drew Batman all the time. Then after that, I just kept drawing in general. I started to read history across the diaspora and wanted to draw stories that spoke to people who could relate to my experiences. Michael Turner and Jim Lee were major art inspirations alongside Tite Kubo from Bleach and of course, Akira Toriyama sensei.
Q2 Aside from illustration, music seems to also influence your work as well. Battle rapping is something that you tend to dabble in when you’re not illustrating. What’s the correlation between these two mediums of art that drives your craft?
BGC: Music and art were always raw forms of expression for me. Especially in the times coming ahead for a lot of us, I feel that anger and restlessness that can’t be articulated so I always used art to speak for me. Music is a huge influence, I think of soundtracks when I draw my comics and they range from orchestral scores to hip-hop beats and more. Music and drawing in unison can elevate a scene to new heights.
Q3 As a creator, you’ve been working on a series of your own titled, Grimmbone. What’s the premise of Grimmbone?
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BGC: The general idea of Grimmbone was to make a series that I could let my kids read without having to read over it with them due to very suggestive elements with minors. I read a lot of manga and comics, and sometimes I feel they are too loose with showing certain adult situations while carefully curating them for children. With Grimmbone, my love for American Saturday morning cartoons inspired me to make an action comedy that centers around the kids of great heroes known as Grimm Knights. They protect their city from spectral creatures of all kinds while maintaining harmony with humans and ghosts. I’m sure this will be a fun read for any family.
Q4 What was the development process like world building this series? Were there different drafts that you sorted through, and if so, when did you know that it was time to move forward with the Grimmbone project?
BGC: My major process was doing it 3 pages at a time. it was initially going to be short stories collected in volumes like the original Boondocks comic run, but once I started developing the world of Grimmbone, I came up with a strong overarching theme that’s both hilarious while showcasing intense action and interesting scenarios for the characters.
Q5 As an illustrator you’ve dabbled with traditional and digital. What are some of the challenges that come with illustrating on both mediums? And what is the lettering process like?
BGC: Personally the transition was pretty hard solely because I had to stop looking at digital art as a shortcut versus another tool and that’s when I finally made good strides in emulating my traditional work. Traditionally I imitated how anime looked in terms of gray tones and shading, so traditionally I am far more confident drafting art than digital. I only use it to amplify my traditional work. It makes lettering easier as well since I can specialize the fonts emphasizing the tone of dialogue or sound effects. While I do draw certain fonts, I do like the ease of lettering that digital provides.
Q6 When scripting Grimmbone, what’s your process like? Is there a project bible that you assembled to get a sense of direction when crafting arcs?
BGC: I always plan my story with a very clear goal in mind. So the beginning, middle, and end of the story I mapped out first so I could plan the character arc naturally. I wanted to avoid relying on tired tropes for character arcs you typically see in battle shonen and I wanted each story beat to feel natural while also unexpected. This is the first time where I’ve ever written a comedy action story, which was unique because I would take a very dark fantasy idea and make a silly interpretation so I can still have the intensity of horror action while the joke is in the silly situations the kids have to find their way out of. A lot of thought was put into the words and geography of the world, including the different races. The face ghosts live alongside humans in this world so I wanted to maximize the amount of opportunities I could mine from a world where we still had open communication with the past.
Q7 As an independent comic book creator in 2025, what are some of the lessons that you’ve learned and applied to your journey as a creator and illustrator?
BGC: I learned that creating comics has to be from a pure standpoint of making great stories. I learned a long time ago that the fans can feel passion. They can see if you’re truly putting your foot in a story by writing and respecting your audience’s intelligence. I’ve worked with some very successful brothers and was able to learn the value of self-publishing as illustrators on our own so we can both promote our writing and art simultaneously
Q8 At this moment in time, You’re currently working on issue 4 of Grimmbone. When reflecting on the current arc, what have you noticed that has evolved within your work?
BGC: With Grimmbone’s next arc, that is where I’ll be flexing more world-building. I love action and I think anyone who knows me knows I love the process of crafting an action scene on a page. It’s like directing a movie. I do enjoy witty dialogue, genuine character interactions, and how different personalities bounce off each other. While I have some insane fights that I think will give some action junkies a jolt, I also want to flesh out these characters as people in natural ways.
Q9 Where can readers find, support, and read Grimmbone?
BGC: I’m publishing the first issue, which will be available on Amazon and Kindle within the month. I’m excited for everyone to finally get a copy after promoting for months. but if anyone wants to follow the series, I suggest following my blackgodcomics Patreon! I post all my issues there monthly as well as drafts of pages I’m working on. By the time this is out I’ll have at least 3 issues already available!
Q10 Are there any other projects down the pipeline that readers should keep an eye out for? Where can readers follow your work?
BGC: Yes yes, I have a few projects I’m planning to publish this year and at least 5 that will debut on my Patreon. My goal is to create all the stories I’ve ever laid out and drafted over the last 15 years. The next story I have planned is called Blood Vada and it is a far darker but epic fantasy I have and can’t wait to debut. I’m still illustrating for the series Yonder on Amazon and I have new issues coming out this year. I also have some projects I’m co-creating with Timeless Entertainment with founder Casey Brockinton. I’m working hard this year but I feel super confident in how much I’ve improved as an artist I am confident this will be the best work in my life for the next few years. Readers can follow me on Fanbase or Instagram at blackgodcomics.