Stick a fork in it. EVERMORE FALLS is done.
Only took 2 and a half years, 3 different apartments, and about 265 pages (whittled down to the final 235).
It’s the best thing I’ve done to date (and definitely the most KID-FRIENDLY). The whole time I was making the book, I couldn’t help but remember when I was a wee whippersnapper and kids were preciously fawning over RL Stine’s GOOSEBUMPS books- this started to feel like that sense of excitement for the hidden otherworldly stuff that geeks you out as a kid. I think it’s important for comics to reach out to a younger readership- but it’s surprising how often the powers-that-be mistake the concept of “young” for “dumb”. The vast majority of kid-friendly books I’ve scoured (and quite a few in prep for EMF) came off like the creator’s were talking down to the reader- almost condescendingly. It’s a tricky balancing act, writing FOR kids, but also not being so watered down that adults can’t appreciate it as well- but that SHOULD be the goal. That’s where EMF lives, in those Amblin movies where the heroes JUST HAPPEN TO BE KIDS- the adventure could’ve happened to anyone.
I finished the whole shebang on Jack “The King” Kirby’s birthday. So I’m calling that a good omen.
What’s your favorite Jack Kirby work? (the correct answer is ALL OF IT)
After taking a weekend off (yup, a whole two days!), I’m back to the grind on a couple projects. Firstly, the mini-series I’m doing with my better half (Jenna, you know her as the more-famous of Team Slight), CULT OF IKARUS. Here’s a handful of sketches I did for that:
I’m also starting work on a shorter-form book (call it an 80-page palette-cleanser) that I’ll have done by spring called THE LAST WATCHTOWER. It’s a sad little pop song of a comic that’s a little nihilistic, slightly Kubrickian, and IN SPACE! I’ve been digging through a lot of older Charlton space comics from the 50’s for inspiration- calling the LOOK of the book “art-deco sci-fi” (or “Decopunk” as I read on a fancy-shmancy design forum where everyone has an opinion, but nobody actually works). Here’s a few Heavy Metal contributors that got me thinking about the visuals:
I finally got around to watching Ankama Studio’s MFKZ (or Mutafukaz, depending on the region)- whose sprawling urban cities and topsy-turvy visual sensibility really won me over with 2006’s TEKKONKINKREET (holy crow, track it down- every frame is awe-inspiring). This one’s a particularly fascinating example as its a joint Japanese/French production- an art team that hasn’t ever been to the U.S. and they’re drawing from our pop culture output without any context or irony. The results are occasionally blush-inducing at the sharp realization that THIS is how our often-boorish American cultural depravity is viewed (let alone interpreted sardonically) globally. AND SOMEHOW this thing ends up being about THE END OF THE WORLD- like if THE BOONDOCKS’ ADHD little brother made a bongsmoke-stained version of Richard Kelly’s SOUTHLAND TALES. No, seriously.
It’s worth it for the endless supply of dutch-angles and hyper-detailed environments.
Hyper-kinetic animation like that is worth deconstructing for comics- if you’re into EXCITEMENT in your comics. Arresting visuals elevates storytelling, and clever storytelling elevates the medium.
These were the first two “clever” takes on a straight-forward action sequence that immediately popped into my head.
Look, if you can make a GOOD argument as to why some comics have boring storytelling (ahem, if any), I’ll listen if I have to.
…But the chances of me agreeing with you are slim to none.
Comics should be GOOD.
Until next time! xo -K