by Gwen Nix | Mar 13, 2018 | interview |
Andy Poole says that one of the reasons that attracted him about being a colorist is the satisfaction of “seeing black and white art brought to life with color, under your very hands.” In a previous interview, we have also learned he enjoys playing with conventions when it comes to coloring comics. But how did Andy face the Warlock 5 challenge?
Did you read Warlock 5 before joining this project?
I’d never even heard of Warlock 5 before joining the project, as comics were not an interest of mine up until maybe ten years ago, so a Canadian comic from the 1980’s was completely off my radar. I did get myself into gear and do some research on the series however, reading reviews and finding what books I could.
Did you discover a favorite issue?
Not a particular issue, no. The original Warlock 5 had a cliff hanger at the end of issue #3, which I won’t ruin here, but it’s a pretty good one. Unfortunately, it was never resolved in later issues, so despite the writing continuing to be good and fun, I kind of gravitated towards the artwork instead of the story. From that point of view, any issue from #4 onward is a favorite.
While the first three issues had great artwork, the later issues kick it into overdrive with some of the most incredible black and white paints and inks I’ve ever seen. A page in issue five is especially nice, with the Robot Warlock Argon’s ship moving through space in front of a rocky, crater marked planet, with bright sun and ethereal nebula behind it all. The lighting is fantastic and makes the entire scene both dark and mysterious and beautiful too.
How about a beloved character?
Tanith. I find that the other Warlocks know their positions, powers, responsibilities and conspiracies well, but Tanith has had a lot of growth as a messenger of peace and harmony realizing that her standing as one of the Warlock 5 means performing acts that are far from savory. She’s straddling the line between her personal views and philosophy, and the corruption and violence that dealing with The Grid and the other Warlocks is pushing on her. Personal conflict is the most human story, my favorite kind of story, and she fits the bill the most.
Warlock 5 is tied to this 80’s view of a dystopian multiverse. How is it to work on such a setting?
The setting is interesting because it’s not a single setting at all, it’s like being thrust into 80’s Horror, or Urban Fantasy, Cyberpunk and I even get a Masters of the Universe vibe every now and then. These are all different worlds that rather than make the book feel convoluted, they make it work. They’re defined as individual worlds, not a mish-mash of genres. Working on that is interesting, it gives me the opportunity to join in on defining those individual worlds and genres using the colors, which is quite obvious when you see the color theory in practice.
The series has a – quite large and – faithful fanbase. Did that put any different kind of pressure onto you?
Not at all, mostly because I’ve remained blissfully ignorant of the fan base. But now I know… I did put pressures on myself though. When I saw the artwork from after issue #4 of the original run, I assumed that anyone who saw the art would pretty much instantly fall in love with it the way I did. As a Colorist I have to live up to that standard, and that is not easy at all.
The greyscale art is detailed and rendered expertly, and is something I would personally love to see the new series of books rendered as. But I’ve been brought on to modernize the story along with Cullen, Jimmy and Jeff, the writers and artist respectively, so I had to color the thing in a more modern style. I wanted to keep an eighties vibe, so I limited the color palette to suit that, but it’s still obviously a modern take.
Warlock 5 has always stricken me as having these bright colors. There seems to be something nearly violent about that approach. Do you agree with that? Or is it a misconception?
I can certainly agree. The original four issues had a very, I guess you could call it a sharp style of inks. They felt very in place with a violent story. Denis Beauvais, the artist, could reel that style in when the story required a softer touch however. I’ve tried to live up to that myself.
The original work must have cast a heavy weight, but what other influences did you have when tackling this project?
I’ve tried not to be influenced by anything but the original source material and the creative team around me. If I feel I’m capturing the atmosphere of the original, I’m happy. If the Writers, Artist, Letter, Editor, Publisher and Creative Director are happy with it, I’m happy with it.
Are there any specific scenes that stand out?
Tanith using her magic stands out the most. It’s bloody brilliant, in the literal sense. Bright blue and white glowing power, taking the form of butterflies that Jeffrey Edwards must have killed his knuckles drawing. But he pulled it off excellently! I hope that I lived up to his efforts in those scenes, because he deserves nothing but the utmost praise for pulling them off.
Is it turning out the way you’ve envisioned it?
Yes and no. You come into projects like these, with very rich and detailed artwork, with a style in mind, but the work grows and changes all on its own, and you have to flow with it. I’ve found it both to be good and difficult for me to render, and it’s fallen away from my original vision, or perhaps my need to honor the original artwork. That aside, it looks quite nice, I’m pleased with how it’s turning out and can’t wait to see the printed pages. That’s when it all comes together, the experience of reading the finished product and holding those floppies or trades in your hands.
Thanks, Andy, for leading us through the colorful multiverse of Warlock 5!
by Gwen Nix | Feb 27, 2018 | graphic novels, guest post, interview |
Interview with Warlock 5 Writer Jimmy Z. Johnston
We’re excited to feature Jimmy Z. Johnston, writer for the Kickstarter-funded revival of Warlock 5!
What was your first contact with Warlock 5?
I picked them up new off the shelf in the late 80s. I remember seeing the cover to issue one and thinking it was the most amazing thing I had ever seen.
Why did it capture you?
100% the cover. I bought it because that cover was one of the most incredible I had seen. Issues 2-6 had fully painted covers featuring the face of each Warlock. And they stand the test of time today as being some of the most striking covers of their time.
Did you have a favorite issue?
In many ways, the first issue holds that honor. It did such a wonderful job introducing the world.
How about a beloved character?
I have a ton of art I did through high school, and there is one montage I have of dozens of characters I loved from various works. Argon is in that montage, if I find it I will share it.
Did these change once you picked the books up to work on the project?
When I read them years ago, I never thought about the idea of where their story might go if I was writing it. It was a few years later that I began thinking about these things in earnest. But rereading the original series now is a tough thing to do. Because it is very much a product of the time. Storytelling was different back then. In issue 3 (I think) Zania sets off a nuke in Grid City. In issue 4 they don’t even acknowledge it. There is no way a writer could do something like that today, the fans would be all over it. They did resolve that eventually in the trade, but if you only get the issues you don’t see the resolution.
As for characters, when we started writing the series, I spent a lot of my time working on the new character Lycia, so my view of the original characters didn’t change much at all.
The original work must have cast a heavy weight, but what other influences did you have?
Clive Barker is my biggest influence. He tells stories in ways that no other writer I have ever read can compare to. I do find it interesting, having read comics spanning all eras, how storytelling in comics has changed. I worked on Micronauts with Cullen Bunn, a series that originated with Marvel in the 70s. I have talked to fans who wish we were writing stories like the ones Marvel did. But the reality is that nobody could write like that today. Readers wouldn’t be interested in it. There are many readers who seek out the older stories like that, but the nostalgia factor lets them be read without worrying about the storytelling. Neil Gaiman’s Sandman series is one that stands the test of time. He did such a fantastic job telling the stories he told, that they will always be relevant examples of how to tell a story.
The writing process is a collaboration between you and Cullen Bunn. How is it to collaborate with other artists? Is there too much compromise?
In spite of what Cullen says, we work really well together.
But seriously, we sit down and talk out the idea. Then we write up a page by page outline. Sometimes that could be one line “FIGHT” or it could be a paragraph with dialogue we want to make sure we use. Through this process we make sure we don’t have too many scenes we are trying to fit in. In this case it was a 60 page script, so when we finished the outline, we talked about scenes we “wanted.” Cullen really wanted the Savashtar investigating scene, so we blocked that out for him. After we do that it is usually pretty close to an even split on the workload.
When we finish our parts, I combine it into one unified script and we both go over it. This part is fun because we get to revel in the genius of our parts and rewrite the stuff the other guy did. I joke about it. Usually it involves tweaking a few things here and there, but not too terribly much.
This is not the only project you two have partnered up for. Why did you start working together?
I met Cullen in 2003. He met me in 2004. There is a story there, but this isn’t the day for that. We were both at a horror convention for writers in New York (in 2004). Found out we lived very close to each other and when we got home started talking and hanging out more. He was working on writing prose, and I had discovered an innate talent for editing. I did an edit for him on a story and he really liked what I did. That was the start of working together.
Are there any specific scenes or narrative developments you want to include in this continuation of the 80’s comic?
We are looking at this as a continuation of the series. 30 years later, these 5 are still defending reality from threats. They have changed, but the dynamics amongst them are still pretty consistent. Zania and Argon are the “bad” pair, while Tanith and Savashtar are the “good” pair, leaving Doomidor in the middle as the balance between them.
The only thing I really pushed for was doing a cover based on the original issue 1. We are technically working on the fourth run of the series. The second run was a short mini series that did a new version of the issue one cover. The third run did not, but it deviated massively from the original concept. I am glad that we got to use a version of the original cover. Jeffrey Edwards did an amazing job on it, and on every page that will be between the covers.
The five main characters are extremely different and layered. What was the biggest challenge bringing them to life?
Anytime you have an ensemble cast it takes time to develop the individuals. It is much easier to write a story with Superman, Batman, and Wonder Woman because you don’t need to establish who they are. You see the S, the Bat cowl, the lariat, and you instantly know who they are.
We have 5 main characters we are essentially introducing to readers. Along with a handful of new characters to the series. That takes time to develop. Being able to do a 60 page issue helps massively with the character development aspect.
Is it turning out the way you’ve envisioned it?
I am still pretty fresh in the comic world, so I am loving the process. Seeing thumbnails come in, then pencils, then inks, then colors. . . Seeing my words and scenes turned into comic pages is amazing. It is so much better than I envisioned it. I love it.
In these shaken times do you try to embed your work with some subliminal criticism or do you keep it detached from the outside world?
Oh, I am constantly putting Easter Eggs into things. Many of which go unnoticed. Cullen is always telling me not to worry about things like that because no one will notice. The secret is, I am putting them in for me. I am ok if no one else ever notices!
I am guessing though that your question is leaning more towards the current political and social climate in our country. And that is something I try and avoid. I don’t need to make enemies right now as I get started in writing. Many writers and artists are taking positions publicly about their support or lack of support for our current administration. I will leave that to them for now.
Anything you can tell us without giving out major spoilers?
We start out seeing the Warlock 5 fighting against an incursion into Grid City, but we will be showing them in their own worlds. And a portion of this first volume is going to take place on a new world in crisis. This will be creating a dilemma for them as they have to choose between helping an individual world or pulling back to Grid City and simply protecting the Grid. It goes towards the question of what are you protecting. It is all good standing guard over a forest and making sure it doesn’t succumb to a forest fire, but when you let a lumberjack in to cut down a tree. . . well, it sucks if you are that tree.
Thanks Jimmy for opening up about the future of Warlock 5!
###
About WARLOCK 5 KICKSTARTER
Five guardians protect the multiverse against the chaos that lurks outside the boundaries of reality. There’s only one problem: they hate each other.
“The Grid.
A mystical nexus, a crossroads connecting all times, all realities. Along the ley lines of the Grid, the multiverse clusters. To move along the Grid is to move from one reality to the next. To harness the power of the Grid is to harness the awesome might of creation.Five touchstone realities exist at focal points along the Grid. From each of these realities, a Warlock is chosen to act as one of five Guardians.
Savasthar, a shapeshifting dragon-like being.
Doomidor, a warlord from the Dark Ages.Argon, an advanced cybernetic organism from a techno-hell.
Tanith, an ageless sorceress.
Zania, a power-mad, machine gun necromancer.
Together, the Warlocks protect the Grid, thereby protecting all of space and time. They are the last line of defense against the awful forces of chaos that lurk in the darkness outside the Grid.There’s only one problem.They hate each other.”
Originally created by Gordon Derry and Denis Beauvais, Warlock 5 was published by Barry Blair, a Canadian comic book publisher, artist and writer, known for launching Aircel Comics in the 1980s. A fierce advocate for innovation in the themes, genres, and types of illustrations, Blair helped to bring titles to life that broke the narrative and graphic boundaries at the time — including Warlock 5.
The new Warlock 5 Kickstarter funded this continuation of the Aircel Comics classic fantasy masterpiece. This 2017 reboot is written by CULLEN BUNN and JIMMY JOHNSTON, illustrated by JEFFREY EDWARDS with colors by ANDY POOLE, letters by ED DUKESHIRE, and designs by EDWARD LAVALLEE and SHAWN T. KING. This saga of rivalry, betrayal, magic, dragons, and killer robots is aiming for a 60-page full-color (hard cover) original graphic novel.
by Jeremy Mohler | May 5, 2016 | interview |
Ed Lavallee has opened up about how his career began and the way he manages to balance graphic design and comics. And when he breathes new life into one his lifelong projects we cannot sit tight: we have to know more about Pop Star Assassin! And about “Ed Lavallee, the Creator”.
We’ve briefly talked about PSA before, but we need more info! Where did you come up with the concept?
The idea for Pop Star came about as a culmination of all of the pop cultural influences I loved growing up as a child in the 70’s. I loved all types of genre films sci-fi, horror, action/adventure, but the pinnacle for me was watching Black Belt theater on Saturdays. This was usually a double feature with crazy, over-the-top characters, and even crazier Kung Fu action, but at the same time it was juxtaposed by the hilarity of the badly dubbed English. With that said, my hero then and now will always be THE MASTER, THE DRAGON – BRUCE LEE! His movies and everything about him had a huge influence on me. If you haven’t seen the documentary I AM BRUCE LEE – watch it! You won’t be disappointed.
What can you tell us about this universe you created?
Well, Pop Star is set in the 70’s and starts out in Vegas, without giving away too much this first miniseries sets events in motion that will change the face of the planet resulting in a very Blade Runner-esque – the only difference it will be brought with 1970’s low-fi gadgetry and tech. Big, bulky, and unreliable. Ray guns, EMPs, orbital weapons platforms, massive rooms full of giant super computers.
You’re in a safe place here. You can confess: is Elvis secretly your almighty idol and inspiration?
Elvis did play a big part of my childhood. He was larger than life – THE KING of Rock n Roll. His fame was otherworldly, legendary. Part of that plays into the story in the fact that when Elvis died there was so much speculation, an unanswered questions…then the Elvis sightings started popping up and that just added to the mystery and elevated him to god-like stature in the eyes of the world – not just Americans. The tabloids are still running stories about Elvis to this day. Makes for a great story though, huh? 😉 Ultimately though, Bruce Lee is my ultimate inspiration and almighty idol!
Now, seriously, were there any artists and/or authors who influenced you on this particular project?
Well, like i said previously the majority of the influences for Pop Star were all of the things that influenced me in the formative years growing up in the 1970’s, but I would say it is ultimately influenced by everything. No one specific artist or author comes to mind, but if I had to name names, I would have to say Quentin Tarantino, Martin Scorcese, and Francis Ford Coppola.
PSA has a very specific style when we speak about its artwork and storyline. What was your goal?
Really, my goal with the artwork for PSA is the same as my goal with artwork for every comic book project I work on – find the BEST, most talented, and unique artists I can find to bring the story to life. I am very lucky to be working with the brilliant, MARCELO BASILE. A true master of the craft, he is really kicking ass on Pop Star. Each new page of art I receive is better than the previous. He is the visual mastermind behind the look and feel of all things Pop Star Assassin. He is to be applauded. Take a bow, Marcelo!
You work with different artists on this project: Marcelo Basile, as artist, and MattCashel, as co-writer. What did you find more difficult to collaborate in: the artwork or the writing?
I’m a fairly laid back guy when it comes to collaborating with other creatives – I think this comes from working as a production artist/graphic designer as my day job. As part of a team it is all about compromise. I tell all of the artists. I work with that my script is just a loose outline of what I see happened, and to feel free to change things up if there is a better way to something visually. After all they are the experts. I will make points in y script if there is something specific that needs to be seen, but other that I like to leave most of the heavy lifting to the artist. Writing collaboratively, is much the same, but more back and forth with dialogue and moving the story forward in a way that is interesting and makes sense. Compromise is key.
Did you find yourself on the spot, having to make many concessions or was it a smooth ride?
It is a fairly smooth ride. Marcelo is a consummated professional, and is always willing to make edits to art if there is something I need changed. though it is pretty rare that I ever want to change anything. I mean C’MON, have you seen his pages! Perfection!!!
How did it feel to get such positive feedback from Jimmy Palmiotti?
Jimmy P is the hardest working professional in comics today. He is also the coolest, most genuine, and nicest guy you will ever meet at a comic convention! I am truly lucky to have Jimmy’s endorsement. Meant a LOT to me for sure.
Having personally financed the first 2 issues of Pop Star Assassin, you’re now running a Kickstarter campaign to help fund issue #3 and beyond.
What do you think attracts comic book fans to PSA?
Well, I know for one thing the art if out of this world, but I hope that readers see PSA as the total package. After all, what’s not to like about Sex, Drugs, Rock-N-Robots, right? We believe strongly in the story and characters and come hell or high water we will get this first 6 issue miniseries finished!
You offer many variant covers for PSA, from an array of comic book artists. How did you manage to get so many different artists interested in the Pop Star Assassin universe?
All of the artists doing variant covers are either people I have worked with in the past or people who I admire and would like to work with in the future. We truly are lucky to have so many talented artists doing covers for the campaign. Most of them I just asked.
What can we expect from Pop Star Assassin in the future (besides its 3 other issues!)?
Pop Star is a far reaching story and was originally planned as an ongoing series. As we reach the end of issue 6 the world will be turned on its head. We are trying to build a deep universe of characters and sub-plots that can really go in any direction. We will start to see some of that with Norma and a new character that debuts in issue 3. Stay tuned!
Have you ever considered seeing it adapted to an audiovisual format? If so what would you choose: live-action or animation? Movie or TV-series?
The ultimate dream of most comic creators getting that option! While I can honestly see PSA as a full-on, over-the-top, live action blockbuster, I feel that the depth of the story and its characters could only be done justice with a live action TV show on a premium cable channel – HBO, Showtime and Netflix are all doing stellar work. Game of Thrones for me, is my favorite show on televisions right now. Season 2 of Daredevil was pretty kick as also though!
We know you’re hyper focused on PSA right now, but what other projects can we expect from you in the near future?
Well, I currently have a few irons in the fire so to speak. I am working on Backlands with Jeremy Mohler and Erick Marquez – issue 1 is complete with issue 2 in production. I am working with artist Rudy Garcia on Julia Cruz: Evolution Cop. We are putting the finishing touches on issue 3 right now
Fans will be able to find you at Planet Comicon this month! What are you most looking forward to that weekend?
Conventions are always a creative re-charge for me, catching up with old friends, making new ones, and seeing all of the new comics and art is always super inspiring for me. It’s always fun hanging out afterward with everyone, having a few beers and talking shop. But ultimately, I am there for the fans and hope to make a lot of new ones! Without them, we are nothing! Putting a smile on someone’s face is what this is all about. Stop by and see us at the Outland Entertainment booth.
Any surprises planned?…
Hmmm…??? 🙂
Thank you, Ed, for killing our curiosity about this “lysergic trip to the heart of American conspiranoia” that is Pop Star Assassin.
S.G.
P.S.: Don’t forget to check out PSA Kickstarter campaign! (At least have a look at the video and spread the word: Ed’s rock’n’roll look is worth it!!)
by Jeremy Mohler | Apr 27, 2016 | interview |
Matt Forbeck already enlightened us on his latest interview, but we also wanted to hear directly from the other man of the RPG game: Robert Schwalb.
Forbeck & Schwalb have worked closely to finish the first of the S&S RPG manuscript. With around 180,000 words and a little over 300 pages long it seems it’ll be one of the biggest game books of the year.
Let’s find out what they’ve exactly been up to while working for the upcoming Roleplaying Game based on Forbeck’s IP Shotguns & Sorcery.
How was it to integrate the Cypher System™ seamlessly with the S&S setting?
It was a whole lot of fun to be honest! As my fourth RPG adaptation of fiction to game material, the process was really comfortable and made easier having Matt just an email a way to answer all my finicky questions. Plus, Cypher is a flexible game engine and can handle a wide range of stories, so that was a benefit.
Was it an organic process?
To some extent, yes. The novels have a some strong world-building elements, but they are short, so we inferred a lot about the world from the books and Matt filled in a lot of the blanks. As far as adapting the game system, we didn’t have to make many significant changes. Cypher uses a universal mechanic for dealing with narrative complications, regardless of what those complications are.
Was it more difficult to adapt an already existing IP into the rules of the RPG universe or is it the same as when you start a game from scratch?
I wouldn’t say it’s more difficult. Rather, it’s a different kind of difficult. Building a game from the ground up presents its own challenges—you have to nail down the kinds of stories you want to tell, the stakes involved, and build the system to meet the story’s needs or build the story to match the game system as in the case of original creations bolted on to an existing game system. With fiction adaptation, the author creates a world without thought given to game balance or telling stories outside the story involving the protagonists. So the challenge really is to look at the world around the protagonists and find stories and characters that could exist within the same story and then building the game for them.
System work is also tricky since the objective is to match the mechanics to the narrative. For example, the novels show a wide range of magical effects, from enchanted bullets to nets of blue magical energy that catch falling people to astral projection. The characters in the book don’t “grow” into these things. Rather, they just have them. While Cypher does not place an emphasis on growing one’s individual power, it does feature a system of Tier advancement and from those tiers, characters gain additional benefits and options. It was a bit difficult pinning certain effects found in the story to particular tiers and/or character building blocks such as focus and descriptor, but it wasn’t an insurmountable difficulty.
What exactly was your job on this specific part of this big venture?
It was my job to put the Cypher System through its paces, bending and adapting the core rules to fit the needs of the game and to create new mechanical content to help players and GMs express the story in play. Sometimes, I took existing mechanical content from the Cypher System rulebook and embedded them in new story wrappers. Others, I rebuilt certain rules to make them more suitable for Shotguns & Sorcery. And I also spent a great deal of time creating new content for the game, such as new horrible creature, descriptors, cyphers, and more.
What was the biggest challenge or even obstacle you found?
Shotguns & Sorcery places a considerable amount of importance on race and the tensions of disparate peoples forced to live together under the tyrannical reign of the Dragon Emperor. As the Cypher System doesn’t sweat race/ancestry/people/whatever too much—though there are guidelines in the Cypher System Rulebook—I had to find a way to make the race choice important within the system’s framework. After four or five attempts, I finally settled on extracting a few game elements granted by type and presenting them in a second adjectival choice point called race. This approach allows race a greater impact on how characters take shape and helps differentiate characters who share the same type.
Did the results so far assume the form you wanted?
Oh yes! I’m quite happy with how the game turned out and I’m eagerly looking forward to seeing it in its final form.
What is it that you’re most looking forward to show the audience as soon as the RPG is available?
Fans of the novels are going to find out so much more information in this game and Matt added a lot of detail to Dragon City, which really brings the place to life. I’m just excited to get this game in the hands of the customers so they can start playing!
Can you give us any scoop on a favorite character, magic, cypher…?
So many things! But let’s talk about magic. Spells operate as benefits gained from your Type choice. You can access spells from one of two types, the Wizard or, if you want to be a dabbler, the Freelance. Now, anyone can pick up additional spells too by selecting a magical focus such as Conjures Monsters or Commands the Dead. And then there are cyphers. We introduce a subcategory of cyphers called Words, which are spells in written form. They can be written on pages in books, on scrolls, etched onto tablets, or painted on the walls of an ancient, ruined building. Magic is fully integrated into the game, so it’s pretty easy for most characters to have a bit of mojo.
People are already wondering about GM advice you could give them. What’s the one recommendation you would share?
Make Dragon City your own. While we go into detail about the city, there’s plenty of room to add your own creations and characters. Don’t feel locked into the story told in the novels. This is your city now and you can do with it whatever you like!
Thank you, Robert! We are very excited to be part of the 1st third party game licensed with newCypher System™ from Monte Cook Games.
S.G.
by Jeremy Mohler | Apr 13, 2016 | interview |
A lot has changed since the last time we spoke. Matt Forbeck has worked closely with Robert Schwalb to finish the first draft of the S&S RPG manuscript. With around 180,000 words and a little over 300 pages long it seems it’ll be one of the biggest game books of the year.
Let’s find out what they’ve exactly been up to while working for the upcoming Roleplaying Game based on Forbeck’s IP Shotguns & Sorcery.
Matt, could you explain to us how it is to transform a universe you made famous in novel format into an RPG?
It’s fantastic fun. The world of Shotguns & Sorcery actually started out as an RPG setting in my head, although the world first got to see it in fiction, so it’s a real thrill to watch it develop into a full-blown RPG.
Was it an organic process?
As organic as anything can be that comes from people typing at each other. For me, it felt very natural. I started out as an RPG developer over two decades ago, so working on another RPG again felt like coming home.
What exactly was your job on this specific part of this big venture?
I wrote the background for the book and supplied all of the details about the world. My pal Rob Schwalb did all the heavy lifting with the rules, while Outland’s CEO Jeremy Mohler is creating all the art.
What was the biggest challenge or even obstacle you found?
It’s been a while since I wrote the Shotguns & Sorcery stories, so I actually had to back through and read them, taking notes as I went. This gave me all sorts of ideas for new material for the setting, but it’s kind of odd to study something you once wrote.
Did you have to compromise a lot? Did you feel like the S&S characters and universe had to change a lot to fit the RPG model?
Not much at all. As I mentioned, I originally developed Shotguns & Sorcery as an RPG setting, so bringing it back to its roots left it fairly well intact.
Did the results so far assume the form you wanted?
So far, I’ve been thrilled with every part of it. I can’t wait to see the finished book. There’s nothing quite like holding a book like that in your hands.
What is it that you’re most looking forward to show the audience as soon as the RPG is available?
Jeremy’s artwork. It’s really going to breathe new dimensions of life into the world and draw players right into it.
Can you give us any scoop on a favorite character, magic, cypher…?
I really like what Rob did with the cyphers overall. That’s something new to Shotguns & Sorcery, and he made it fit well.
Any future plans regarding this I.P.?
After re-reading all the books, I have ideas for lots more Shotguns & Sorcery stories. I don’t know when I’m going to get to writing them, but hopefully soon.
Thank you, Matt! We can’t wait to delve even further into the Shotguns & Sorcery‘s Universe!
Stay tuned for Robert Schwalb’s interview comming to you on April 27th!
S.G.
by Jeremy Mohler | Jul 2, 2015 | interview, webcomic |
Down to earth, but with a flare for fantasy, Steven Dudley explains how he got himself producer of a fantasy webcomic.
How did you find yourself producing Nightfell?
I was approached by my friend Jeremy Mohler. He’d asked roughly a year before the Nightfell project began if I was interested.
Did you always envision it as a webcomic?
Not always. Jeremy told me the project would be presented as such early on.
There’s a whole debate around comics becoming digital. Do you think webcomics are the gateway for this new digital world?
Yes. Everything is going digital. With that said, I don’t believe web comics will ever phase out hardcopy, but, will act as an extension – a compliment.
Do you find yourself more driven towards a specific genre(s)? Which one(s)?
Yes, I lean towards fantasy.
Why?
I was the typical kid who was awestruck by the Hobbit. I do like other genres though, but, yes, fantasy is my favorite. I’d also started playing D&D early on and so many good memories from that.
Was it always your intention to work in this creative field?
No. I never thought I’d be a part of a project in this way. Perhaps I shouldn’t be surprised since I have so many very talented artist friends. I feel lucky.
What was the first book you ever read (or was read to you)?
A book about bigfoot.
And comics: which were your favorite ones?
Spiderman and Batman. I’d also read the Savage Sword of Conan from time to time.
Nowadays, what can we find you reading?
Books regarding the nature of reality and primitive living skills.
Are you a person of idols?
If you mean “do I idolize people”…. Nope. But, I admire great art and people can be great works of art if they choose to be.
Who were your childhood heroes?
My dad, my grandpa and my uncle.
And today? Who do you look up to?
I can’t say I look up to people. I can only say there are a few I highly respect.
What was the first thing you ever wrote?
A short story about a mech warrior. I’d written it for a programmer friend of mine who was getting some of his code placed in a magazine back in the 80’s. The short story was published with it as an introduction. Was an exciting event for me since I was only a kid.
What kind of games do you play? Board or Computer games?
I play both. Not big into first person shooters though I’ve played many. I’m looking more for computer games that create randomly generated worlds and can be delivered from private, dedicated servers. I’m bored with the way marketing has dictated how computer games are created.
As far as board games go, I own many and like various kinds, though War of the Ring and Battlestar Galactica are a couple that have me hook-line-and-sinker.
So… can you tell us what project(s) are you most looking forward in the short run?
Nightfell. It’s the only project I’m involved with at the moment and I think it’s an absolutely great story. The world needs Nightfell.
Thanks Steven for telling us about your story!
S.G
P.S.: If you enjoyed reading this interview take a look at the other ones we have from illustrators to writers, passing through game-designers and authors.
