Your work touches on various themes and subjects. How do you choose which stories to tell, and what do you hope your audience takes away from them?

VA: Great question. To say that telling stories is hard would be a massive understatement. For example, when I first created The Action Fruit Society, at first glance people would look at the characters and maybe question how anyone would take them seriously. I was glad to surprise a lot of people when they actually read it because it’s not necessarily a children’s story. I’m hoping that my audience sees these characters as relatable as it concerns adolescence, coming-of-age exploration, challenges of peer pressure, and building a community of trust that will last a lifetime. With a bit of ninjutsu action and stopping the villain of the week type of tropes thrown in the mix too of course.

What led you to choose your current platform for sharing your work, and what aspects of the platform do you find most appealing?

VA: I had a friend back in high school who shared my passion for comics in a similar manner as I, and during a  message conversation, he just casually told me that I could utilize the platform he was using for his manga for my comics as well. Mind you, I wasn’t looking to share my stories with the world at the time, but the opportunity arose, and I’ve been posting on Tapas to my benefit ever since.

Are there any aspects of the platform that you feel could be improved, or perhaps have been challenging to navigate?

VA: Well, the engagement on the actual website could be better. Often times, I’ve observed that Tapas highlights mainly BL/YL comics or Slice-of-life comics. It would be great if they can boost other content creators in different genres like action, adventure, fantasy, etc.

In your opinion, what distinguishes independent content from mainstream content, and why do you think the indie scene is important for the overall creative industry?

VA: “Mainstream” to my understanding usually refers to something designed to appeal to as wide an audience as possible. Conversely, “Indie” is designed to appeal strongly to a smaller group. When I think of indie, I think of films such as Willow or Bill and Ted. Independent content is free to be more nuanced in its approach to storytelling. It makes sense that it would be important overall as people develop their niche. Someone is bound to like it.

As a content creator, what are some unique storytelling techniques you’ve developed to set your work apart from others in the genre?

VA: Interestingly enough, one of my greatest works is a story about fruit ninjas, as I mentioned earlier. I guess some other unique storytelling techniques is that I world build all of my stories. I try to do this in my universe of comics that’s grounded. As in it’s grounded in the reality of the world around us. Also, I might call back story beats in a given comic series that happened a while back. In The Action Fruit Society, there are a lot of story beats that I introduced in one season that became super crucial in later seasons, and the same could be said about events that happened in one season that a character might have mentioned in an earlier season. Also I have a comic series, Amazement Originals, that is designed specifically for telling short stories about all of the characters that exist in my fictional world. So I would say all of those points are what differ my storytelling techniques to other works.

Apart from your main work, what other avenues do you explore to engage with your audience, such as social media, live events, or merchandise?

VA: At the moment, I just have social media for my comics. I do plan on making merchandise soon. That’s all apart of the long term goal I envision with my works. TV shows, movies, games, merchandise, all of that fun stuff.

Creating content can be both rewarding and challenging. Can you share some of the struggles you’ve faced along the way, and how you’ve overcome them?

VA: Oh boy. The transition from traditional art to digital art was a challenge, but it’s healthy. It challenges me in ways I didn’t want to be challenged before. It came with lots and lots of practice. Practicing is relevant in any field. You train yourself long and hard enough in any skill you want to acquire, and eventually it gets easier to do. There’s no magic to it. But if I want my brand to do well and garner a large following, then I know what needs to be done. Especially considering that most indie comics use digital art, because that’s what seems to be most appealing to indie audiences these days. As I said, I’m only getting my footing in content creation through comics, but for the long haul, I plan to do animation. It’ll come with it’s fair share of obstacles, but I love the field and I know I’ll get through.

Are there any creators, artists, or writers who have been particularly influential or inspiring to you? How have they shaped your creative journey?

VA: Far too many to list. The great works of Stan Lee, Jack Kirby, Jim Lee, Geoff Johns, Tom King, Jason Fabok to even some animation YouTubers like Browntable and Vivziepop have been great inspirations from the fantastic stories to their character interpretations.

For aspiring content creators, what are some practical tips and advice you would give to help them find their own voice and style?

VA: My advice for newcomers would be to be consistent. Oftentimes, creators will be active, and then sort of just fall off of the face of the planet for an extended period of time. I get that sometimes you’ll want a break, I myself have left art for long periods of time. But try to remember your audience. They saw something in your craft that’s garnered their attention. Give them something to look for. Even if it’s something small. Something to let your viewers know that you’re still around. And don’t expect a huge following for a long time. You’ve got to build yourself up, and eventually you’ll start to see your numbers increase.

Can you tell us about your creative process, from brainstorming ideas to the final execution of your projects? How do you stay motivated and consistent throughout?

VA: It varies from project to project. I like to map out a beginning, middle, and end to every piece of work that I create. Especially with a comics universe as expansive as mine, I know that there’s a lot of room to tell some incredibly phenomenal stories. Once I have the beginning, middle, and end plotted out, the journey to get from point A to point B is left for me to create the real meat and potatoes of if that makes any sense. That’s how it was when I was making The Action Fruit Society. Staying consistent means dedicating a specific number of hours per day to focusing strictly on getting any work for my comics done.

How do you balance the creative and business aspects of being an independent content creator, such as promoting your work and managing finances?

VA: Two words: social media. In the age of technology, I personally believe that it’s within an artist’s interest to get social media to promote their work. That’s what I’ve been doing. Promote, promote, promote! I haven’t fully cracked the code of being able to manage finances with promotion, but social media definitely helps!

Funding creative projects can be challenging for many artists. What strategies have you employed to fund your work, and are there any resources you’d recommend to other creators?

VA: I’m still learning as I go regarding funding projects. Right now I fund my own. Again, this is why I stress that artists get social media. I see a lot artists get crowd funding for their works through social media. Tapas has an ink system in which subscribers donate some of their “ink” to fund projects for other creators. It’s a system that I’m learning more about so that I can use it in the future.

How do you stay updated on the latest trends and developments in your industry, and how do you integrate this knowledge into your work?

VA: I read articles. Boring I know, but I actually read articles online about new trends and developments. I’ll definitely want to incorporate some later on in my career.

In what ways do you believe the creative industry is evolving, and what opportunities do you see for independent creators in the future?

VA: Well as some may know, tools like art breeder auto generated art is becoming and more popular. CGI in general makes for really high quality illustrations and concepts made in seconds. It’s easy to get caught up in that, so I would just advise that people still continue to get better in their said medium of chose. AI can be used as a tool but shouldn’t be a substitute to drawing well thought out concepts on paper.

Collaboration can be an essential part of the creative process. Have you worked with other creators or artists on projects, and if so, how have those experiences shaped your work?

VA: You’re absolutely right on collaboration! I had the opportunity to work with other artists a few years back on a project called “Tapas Tournament of Power”. Sadly the crossover story never panned out because none of the five of us could decide how we were going to split up the work of actually executing it, whether someone would illustrate the whole thing or we would take turns, plotting each episode, how we would split the costs, etc. But I am thankful for the experience because it shows a camaraderie amongst indie creators. Making comics and novels doesn’t have to be about competition.

What are some personal or professional goals you have for your career, and how do you plan to achieve them in the coming years?

VA: The ultimate purpose of me creating comics is to one day work as an animator. I believe that I will too. I also know that nothing important comes easy. So I’m going to have to work hard between now and then to achieve big goals that I know I’m capable of achieving. I’m working my way by creating more digital art pieces and currently I’m in the writing phases of mapping out five comics that are primarily digital art. Gone are the days of artist drawing comics on paper and pen with inking. I’m learning to get with the times finally. Heh. In the future, people will see adaptations of The Action Fruit Society, Typhoon, Metalman, and a whole other assortment of characters I’ve created in television, movies, and games!

As a creator, how do you measure success, and what achievements are you most proud of so far?

VA: Success isn’t linear. Expect to fail at times. It’s all a part of the process. You also can’t be too hard on yourself all the time, this is no more relevant than when it comes to comparison. You have to tune yourself out of comparing other people’s success to yours. It’s easier said than done, but it’s true. If your idea of success is measured by your desire to get attention, you’ll never be creatively satisfied. You have to create art because you know you love it, that there’s a story that you believe is worth sharing and that you yourself would want to see. So be encouraged, you will reach success. Big or small, it’s a win. Trust me! To your next question, one of my proudest achievements was even taking the leap of faith to start posting online in the first place. Since 2017, Tapas has been the place I call home for my creative works and I have been given words of encouragement by talented people both in real life and online.

Lastly, could you share an anecdote or experience from your content-creating journey that has had a profound impact on you, and what did you learn from it?

VA: I’m sure I’ll have more profound experiences as I go along, but I can’t say that I have one right now that really stands out. I’ve just been riding the bus ever since and I’m going to keep riding the bus until the wheels fall off (I pray that they don’t, but you get what I mean heh…). I’m just going to keep creating art and stories because it’s a true passion of mine and I hope all of my subscribers will still around with me for the long haul because it’s onwards and upwards from here. The best is yet to come out of the world of Amazement!

Once again, I’d like to thank All Ages of Geeks for this interview opportunity. It means more that you know.

Website: https://tapas.io/AmazementComics

Social media: https://www.instagram.com/amazementcomics/

And there you have it, folks! Our time with the passionate and talented Vincent Adereti, founder of Amazement Comics, has come to an end. We hope you enjoyed learning about the dedication and drive behind this up-and-coming collection of comics. Be sure to keep an eye out for Amazement Comics as it continues to grow and bring you unforgettable entertainment. As always, stay tuned for more inspiring interviews and content, and until next time, keep supporting the amazing talents in our community!

About Stec Studio, All Ages of Geek and “I Married a Monster on a Hill”

Stec Studio is a New Jersey-based company founded and run by by the Stec Sisters. We specialize in producing interactive comics and novels based on All Ages of Geek media, as well as creating a fully open world Boys Love Universe called BLU Media. This universe is being built from various media forms, including readable media, games, and animations.

Our main series, I Married a Monster on a Hill, is a popular WEBTOON that tells the story of a retired knight who falls in love with a half-monster. We are also developing an in-production visual novel called I Married a Monster on a Hill: Dates, along with an upcoming Wattpad Exclusive set in the same Universe. At Stec Studio, our goal is to create content that gives people hope and light, and we hope our stories can provide joy and entertainment to all who experience them.