In the past years he produced illustrations and comics for major companies such as DC, Image, Tundra, Caliber and White Wolf.

More info about him and his works at www.michaelgaydos.com.

You are currently drawing Alias, the first book of MAX imprint, Marvel's new line suggested for mature readers. Can you tell us about the story and its main theme? I have read the first issue and it is GREAT!

Well, Jessica Jones used to be a superhero, actually she was an Avenger. No one seems to remember her because she was horrible at it. She has hung up her costume to pursue the life of a private investigator under the name Alias Investigations. Her world inexplicably returns somehow to the world she once belonged and it is a constant reminder of her failings. These failings feed her excessive drinking, smoking and anything else that will provide her with a reason to hate herself. Jessica is not a very happy person, but hopes someday to be.

And of course we get to see some of Marvel's great heroes along the way.

What do you like the most in Jessica Jones's character?

I think it has to be that she is so real. She does have her faults, but how she overcomes these and betters herself makes her a more interesting and I think, likeable character. Brian has a wonderful knack for writing believable female leads and he does it again here; very well I might add.

How do you feel working on a book like this? I mean, it is a kind of experiment for Marvel, a strange mix of a bit superheroism with mature theme ...

I am having a tremendous time. It is something a bit new for Marvel, but I think so far the experiment has been a success.

How is working with writer Brian Michael Bendis?

Fantastic. We have worked with each other before and I have found it a great experience. He is extremely talented and it is always exciting to work with someone who raises the level of work.

Do you work on full script or is it Marvel style page plot?

Brian provides me with a full script.

Do you contribute to the story development or your contribution is only in the visual area?

I just do the pictures. Every so often I sneak a change in here and there.

Plus, Bendis is a comics penciler too. I have noticed some of his typical page structures such as little panels and zoom camera shots ... Can you explain your writer/penciler dynamic?

Brian has a very specific vision for Alias. Being that he is both a writer and artist, I believe he is able to convey that vision to me either through script or with layouts.

Alias covers by David Mack are eye-popping. What is your opinion? I know it is Marvel strategy, but would you like to do some Alias covers?

David is doing an excellent job on the covers. He has finished them up through issue 5 or 6 and they are beautiful.

Of course I would love to, but like I said David is doing a great job.

With Quesada is it really a "New" Marvel? Why?

I think that the incredible talent he has brought in and the work that's been produced, as a result of it, speaks for itself.

Your drawing style is very synthetic, with a strong feeling for the balance between black and white areas, and attention to character's facial statement. No splash pages, no easy spectacularism. Do you think this lack of spectacularism has been, in some way, a handicap for your comics career?

Perhaps it has been. I've been fortunate though to find a book that suits me as well as Alias after ten years in the business.

Which has been your comics influences?  What about classic artists?

My comic influences include Kent Williams, Dave Mckean, Teddy Kristiansen and Mike Mignola among others. As for classic artists I would have to say Egon Schiele, many of the other expressionists, Degas, Sargent, Francis Bacon and Anselm Kiefer.

Do you use photo reference or models?

Actually both.

Which comics do you currently read? Why?

There is nothing in particular that I follow faithfully. I tend to pick up books that  inspire me both visually and through the writing. Of course I also pick up everything that Brian puts out :-)

Let's look back. I remember a brief contribution from you on Caliber's Alan Moore's Songbook. If I remember well the story was about a femme fatale. How was working on something by Moore? What is your opinion on his impact on comics culture?

It was a dream come true. "Me and Dorothy Parker" is definitely a highlight in my career. I was very pleased how it turned out.

Alan's the voice of modern comics.

You have worked on a contemporary icon - The Crow - doing some issues for Image. What about that experience? Do you like working on the character?

It was a great experience. Not only did I get to draw the Crow, but I got to work with Jon J. Muth, whose work I greatly admire. Too bad the series ended after 10 issues.

Do you have any desire to do superhero stuff?

Sure. I don't know if I would be interested in doing a  series, but I would like to try my hand at something. After all, this is what I grew up reading.

Which is the best quality a superhero book has to have?

In any way, shape or form - it has to inspire.

You have to choose the BEST comic ever done and you have only one shot. What is your pick?

That's a tough one. By sheer volume of excellence, I would have to choose "Cages" [by Dave McKean].

A last one. You can see the future of comics art, what is the view like?

It's hard to say; I'm getting glare off of Bendis' head.

Seriously, I think it will be equally imaginative and innovative as the work coming out today. I also hope to still be contributing to it.

Thanks Michael!