by Alana Abbott | Mar 27, 2018 | fiction, guest post |
There’s a saying that goes around (books are written on this topic, and serious research done by anthropologists) that storytelling is what makes us human. If storytelling is that core to our identities as people, it’s no surprise that we like to ingest stories in so many different ways. We consume click-bait headlines that lead us to (probably) true stories, our favorite movies through our preferred streaming systems, high definition video games or tabletop RPGs, the latest issues of a comic or latest updates of a webcomic, and (gasp!) print books.
And you know what’s fun? When you can see stories in more than one format. I am an old school Star Wars fan, and as a teen I hit the sweet spot of getting my Star Wars in multiple formats (before, of course, the explosion of new Star Wars stories). Not only did I watch the films over and over again, but my public library bought every single new Expanded Universe (EU) book as it was published. I devoured them. I was ecstatic when Luke Skywalker and Mara Jade got married in a comic (the only Star Wars EU comic I still own). Eventually, being a grownup got in the way of keeping up with the EU, in part because so many books got published, but I still dabbled. And I loved it.
Fast forward not only to the new Star Wars canon (I have Elizabeth Wein‘s Cobalt Squadron on my desk, and if you’re not reading the Marvel run on Star Wars that started in 2015, you are missing some awesome stuff), but to my job at Outland Entertainment. Creative Director Jeremy Mohler and I have had a lot of discussions about our visions for the company. We have these fantastic comics, anthologies, and games that we publish, and we love them. But what could we do to make those projects even better?
And this is our answer: Let our readers dig into our stories in all of the formats they want.
Having grown up with shared world projects that spread across media formats, and having written fiction, comics, role-playing games, and interactive novels, taking Outland in a transmedia direction made sense. We already had three formats we were publishing. Tying them together and giving readers more of the worlds and characters they loved across all our platforms has given us a mission. It’s also made us look at each project we take on and say, “How would this look as a game? Or a comic? Or a novel?”
If you’re a table top gamer, you may already be looking forward to the Shotguns & Sorcery RPG, a game based on Matt Forbeck’s fantastic novels (which we’ll be bringing out in omnibus format, complete with a brand new Max story). Matt is also on board to create an S&S comic. All three formats: one awesome world to explore.
If you’re a comic fan, you may have picked up Nightfell. We’ve started development for an RPG in that setting, as well as a novella to dig deeper into the world through prose. If you’ve come to us through fiction, such as the Blackguards anthology…well, we might just have some surprises in store for you coming up.
In the meantime, I’ve got a little bit of Star Wars reading to catch up on.
About Alana Joli Abbott
Alana Joli Abbott is the author of the novels Into the Reach, Departure, and Regaining Home, the interactive multiple choice novel app Choice of Kung Fu and was the writer for the webcomic Cowboys and Aliens II. Her game writing has been featured in Steampunk Musha, the award winning Serenity Adventures, and Dungeon and Dragon magazines. Alana has visited ancient ruins around the world; sung madrigals semi-professionally; and recently earned her black belt in Shaolin Kempo Karate. She lives near New Haven, CT.
by Jeremy Mohler | May 11, 2016 | graphic novels, webcomic |
As I told you on the first article of this new segment, I Was a Comic Book Fan All Along and I Didn’t Know it for quite a while.
Things sort of slowly became clearer during my college days, but it wasn’t until starting to work in the biz that I truly began to dip my toes back in the dynamic comic book waters.
I still remember the moment of opening the folder with all the projects in the pipeline and flying through them all. One of the stories that was more developed at the time was Ithaca. I read it all in one go and was hungry for more.
At Outland Entertainment, I was presented a huge array of creatives each one with a very unique voice, be it as a writer or an illustrator. Mars 2577, Nightfell, Blacklands, Aegisteel, these are all projects that showed me the different facets of comic book creation.
It wasn’t just sci-fi or violence: no, there was room for a multiplicity of genres and visual styles of every kind.
When some of our IPs started coming out as webcomics on a weekly basis, I had to do some market research of what was going on in this field. That led me to multiple webpages like HiveWorks. And there I was baffled by the choice! So many artists, so many genres and styles of writing and artwork.
It was a big turning point: no longer did I had to rely solely on my friends reviews, but I had first-hand overview of so many projects! I got to interview all the creators from O.E., here for the blog. I have always loved the backstage! How someone became who he is professionally? Where did the idea of the story come from? And I was lucky enough to ask all these questions. In return I dare to say that my knowledge of the comic book universe increased exponentially!
And where has that lead me? To a huge appetite for reading more and more comics, of course! It wasn’t instantaneously, but I found myself perusing the comics section of the bookstores not only “out of professional interest” but because I found them inspiring.
This must be obvious for most of you , but before starting at Outland Entertainment, I didn’t know how similar the cinematographic language was to the one used in comics. They remind me of a really fancy and detailed storyboard. I know, I know! They’re much more than that! They’re an artistic medium of their own. But through the eyes of someone who came from an audiovisual production background they really hit home.
I suppose that being a transmedia creative producer also feeds this need. I’m now itching to work up a universe where a comic book will help explore things even further. And if you ever attended a book fair, you’ll see that all of these artistic forms are connected nowadays. Take the London Book Fair, for example. They run the London Book and Screen Week simultaneously. You have professionals from game studios at the actual fair and lots of extra events that join this two worlds, once so further apart, of pages and screens. Comics are finally being increasingly recognized for the dynamic and expressive format they are.
But I’ll talk about these changes further along the line!
Now, take a moment and check out the interviews I mentioned! There are a lot of creatives: authors, illustrators, designers…whose stories will inspire you.
And if you haven’t read the first post of this series give it a go and learn how I Was a Comic Book Fan All Along and Didn’t Know .
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.
by Jeremy Mohler | Jun 24, 2015 | interview, webcomic |
Writer or scientist: Jeremy Tolbert joined both on his science fiction works. Now venturing into fantasy and time travel, Tolbert is writing for a range of different audiences.
Where did you come up with the concept for Nightfell?
The core of this project from the beginning was a handful of concept sketches that Nic had prepared, along with a title. They had some general ideas about something involving the undead, and Nic had some great sketches of undead warriors. This was our starting point, and from there, it was up to me to build a larger concept.
For me, the main thing I wanted was to do somewhere where the undead weren’t the bad guys. Traditionally, bunch of rotting corpses, you think, okay, yeah clearly these are the evil dudes. This time, I wanted a story where it made sense that the zombies and what-not were fighting for the side you could get behind, at least at first.
But as I thought about that further, I realized I don’t really like the typical black/white morality of the old school epic fantasy. In the post-Game of Thrones era, you can’t just paint one side all good or evil, so I started thinking about my other side, the berunmen, and from there, a lot of the other concepts of the world, such as the Nightfell itself, developed.
How is it to collaborate in the creation of a story? Is there too much compromise?
My ideas are not that precious, and I basically saw my role on this project as a collaborator who brought a certain expertise with story to the table, but beyond that, I was willing to listen to any feedback. Nic’s made changes here and there to page layouts and so on, but in my opinion, he’s improved the project every single time from whatever my lesser vision was.
Collaboration for me has been a wonderful experience, overall. I really hope to work with everyone involved more in the future. As a short story writer, I spend a lot of time in my own head. I find working with others to be refreshing.
Did you always envisioned it as a webcomic?
I wrote it to be structurally flexible. The 9 panel grid we used lended itself well to the webcomic format, but I also structured it in 10 12 page chapters so that it could either be collected as a single graphic novel or broken into 2-chapter issues. Our goal was have some flexibility there.
There’s a whole debate around comics becoming digital. Do you think webcomics are the gateway for this new digital world?
I’ve been reading webcomics since the early days of Sluggy Freelance back at the dawn of the internet. I think comics don’t care what the medium is; sequential art can tell a story on a cave wall or a digital screen equally well. The medium might present some interesting challenges here and there, or even some new tools or advantages, but fundamentally, I think comics can survive and thrive on anything.
Do you find yourself more driven towards a specific genre(s)? Which one(s)?
I’m more of a science fiction guy than just about anything else. I’m a pretty logical thinker so even in my more fantasy-ish worlds like Nightfell, I tend to think in very scientific ways about the world-building and so on.
What was the first thing you ever wrote?
I wrote a 20 page “book” of the adventures of a elf wizard and his sentient cougar sidekick in the 1st grade. I’ve wanted to be a writer for about as long as I can remember. I also wanted to be a scientist. So science fiction was a natural choice.
What was the first book you ever read (or was read to you)?
I honestly can’t recall the first. It was probably something by Dr. Seuss. I do know the very first science fiction book I read –Dragonsong by Anne McCaffrey.
And comics: which were your favorite ones?
I was late getting into comics. Most of my reading growing up was via the library, as we were very poor and didn’t have a lot of money. So I was in my late 20s before I started actively reading comics. My gateway drugs were Transmetropolitan by Warren Ellis – pretty much anything by that guy floats my boat. Y: the Last Man was another big deal for me early on.
Nowadays, what can we find you reading?
I get a handful of comics every week – I’m the kind of guy who likes to pick up the first issue of just about any series with a concept I find interesting, so a lot of Image books. I am also reading 365 short stories this year, mostly science fiction and fantasy, so you’re likely to find my nose in the pages of a science fiction magazine. Figuratively speaking – I read everything that’s not comics in electronic formats these days.
Are you a person of idols?
Sure.
Who were your childhood heroes?
Charles Darwin, Arthur C. Clarke, Anne McCaffrey, Gary Gygax, and so many others.
And today? Who do you look up to?
Anybody who works for a living, honestly.
What made you enter the comic universe of storytelling?
I was fascinated by the opportunity to have an artist interpret the pictures in my head and draw them. Collaboration between different artists is something I’ve always wanted to do, and I really love the more cinematic storytelling style of comics, as compared to regular prose work like I usually do.
Of all the projects you’ve worked on, is there one that stands out from rest? Why?
Well, as my first comics project, Nightfell stands out for sure. Working with everyone, watching as each new page from Nic has come in, has been a dream come true. I hope my story work can live up to the amazing artwork!
And now a peek into the Future. Can you tell us what project(s) are you most looking forward to?
I’m really looking forward to a young adult time travel novel I’ve been working on for several years. It’s kind of like Jurassic Park meets Treasure Island.
Thanks Jeremy for letting us get to know you a little better!
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.
by Jeremy Mohler | Jun 2, 2015 | interview, webcomic |
Nicolás Giacondino is a talented Argentinean artist that has taken Outland Entertainment by storm. His unique style fits unseemingly into a vast array of projects without ever losing its authenticity.
You’re working in several comics here at Outland Entertainment. From being the artist in Mars2577 to co-creator and illustrator of Nightfell and N0.1R.
How is it to collaborate in the creation of a story? Is there too much compromise?
Collaborating with other authors (be it writers, artists, colorists, etc.) has to be an organic and loose experience. You have to be open to the ideas sent your way and offer what you think are valid points to improve the story. And yes, there’s a level of compromise, but always to the work itself; you never have to become too attached to your own conceptions and ideas so much so that they’ll clash with the others’ or create tension. If it’s better for the story, then you have to incorporate it.
Speaking specifically of the projects I have here in OUTLAND, the back and forth between all the parts involved in the creation process has been amazing. Everyone’s extremely professional and at the top of their game in their respective areas, offering great advice and also knowing when to give the other the upper hand if something will work better for the saga. In my case, being the artist, I will provide visual cues and ideas for the writers to interpret and reimagine. They then send me their own takes and I’ll assess the suggestions and improve the material so that we’re all on the same page.
It’s my opinion that collaboration is the best experience when making comics. It forces you out of your comfort zones and exposes you to new and radical ideas, which help you to evolve your artwork.
Does it help or hurt knowing in advance that you’ll be the one giving a concept its visual life?
Definitely helps. I’ve dabbled a bit in writing (I have a published graphic novel penned by myself), but my primary concern has always been the artwork. So, being able to focus and work solely on the visual aspect lets me do my best knowing the other parts of the project are taken care of.
I also love to give the writers or collaborators in all the projects I tackle the utmost respect to their vision. I have a very unique style, but I’m open to it bending to the requirements of the story. You can never get something illustrated 100% as the writer imagined it; but I try to come to at least 99%.
Did you always envisioned these projects as webcomics?
Well, I always envisioned them as comics.With the climax of the digital age all around us, webcomics were the default option to get the project out there in the world. That said my intent is that we may be able to see these stories in print too.
Ours is such a strong medium, so full of possibilities that I wouldn’t trade it for the world.
There’s a whole debate around comics becoming digital. Do you think webcomics are the gateway for this new digital world?
Webcomics have taken things a step beyond in that they allow a larger number of artists and writers to express their vision without having to go through the filter of a major publisher or a ‘house style’. For me, personally, that’s been very advantageous and liberating. My style isn’t what you’ll usually find in the cover of the big companies, but published independently it has found a great audience that luckily grows larger every day.And I’ve seen the same happen to other artists and creators, who are able to reach a much more massive audience than they could’ve dreamed of.
Do you find yourself more driven towards a specific genre(s)? Which one(s)?
I’ve always been very passionate about science fiction and have been fortunate to be able to tackle projects related to it through the years.
However, that doesn’t mean I don’t enjoy working in other genres, such as Fantasy or Steampunk. I’m always curious and willing to try things out and my style is very adaptable to many different kinds of stories. Horror, for example, isn’t something I’d done. But through Outland, I was able to illustrate two tales in that genre that were very exciting!
Why Science Fiction?
Science Fiction, for me, allows you to contemplate very interesting, radical ideas and philosophical issues with more ‘purity’ than in any other genre. The far future or the dystopian near future peels our preconceptions on any given subject so that the message is carried across with more strength, allowing the reader to think about the implications of the narrative devoid of his personal stakes in it. For example, cloning is a very tricky subject in the contemporary world; there’s lots of ethical and moral questions being addressed and everyone has a political, human or religious view. If I transport them into a distant planet or time, cloning then becomes something abstract, an idea that can be dissected within the boundaries of that new world. Yet, the consequences and realizations that you bring back with you when the reading experience is over are carried into our contemporary world, hopefully giving people a new perspective on the matter.
When did you begin to show your artistic capabilities?
As I always say, I started drawing as soon as I was old enough to hold a pencil. And, asking my parents about my passion, they tell me it goes indeed that far back. I had a few other interests during my teenage years, but drawing is what’s always driven me.
What’s your favorite childhood moment related to comics or drawing?
Well, living in Argentina, sometimes we didn’t have access to all the latest material being published in the US. But there was a point in the 90s, when the arrival of comics would be almost instantaneous upon release, which caused me to open up to some major influences.
I remember a day in particular, when I was walking down a street from school and came across a newspaper stand and amongst the magazines and usual comics, there was the first issue of Jim Lee’s run on X-Men. I flipped quickly through the pages and dredged up whatever money I had in my pocket and bought it. Inside, there was an interview with Lee himself, talking about his process and whatnot and that’s when I decided I’d wanted to do this for a living. Up until that point, drawing comics was a hobby, but that issue of X-Men and Jim’s words changed my mind completely and set me on my path to become a professional.
Growing up, did you read a lot of comics or were there other activities that you preferred?
Like I said, there wasn’t a lot of material back when I was growing up. Mostly old DC paperbacks and some indie stuff. Argentina once had a huge comics industry and a lot of amazing talents came from here south into the international market, but after the dreaded dictatorship of ’76, it was all but dismantled. In fact, my hometown only had one comic-book store, which I discovered when I was 18 years old. But I was always interested in whatever I could find, so yes, I did read a lot of what was available.
As for other activities, I also enjoyed music passionately. I played the drums in bands all through high school and considered it a career option at some point, but as I said earlier, drawing always kept me coming back. Whenever I’d have to design a poster or CD cover, I’d remember why I loved it so much.
What about beloved artists? Any childhood idols?
Jim Lee was my absolute hero, as I mentioned before. But I also followed the work of other classic artists that helped me shape my style a lot, including Jack Kirby and Bruce Timm, two of my most important influences.
Later in life and as I found more and more material to read, I found the likes of Frank Miller, Neal Adams, John Romita and so many others. From my country, I also loved the work of Carlos Meglia and Enrique Breccia, both of whom I had the chance to meet personally. The latter became my mentor when I participated in one of his illustration and comics seminars.
Did you always want to work on this creative field?
At first, I didn’t even know that was possible. I’m not sure it is now either, haha!
I always sort of took comics for granted. I mean, I knew they had to be drawn and written by someone, but I never dug deeper into what professionals in the field actually did; I just enjoyed them and figured there were a few lucky fellows who were able to work on these amazing magazines. It wasn’t until the boom of Image Comics and artists making a big splash away from the major publishers that I realized this was something you could do for a living. So, upon that discovery, I started reading and studying more and more, trying to find ways to make it as a professional comic artist.
Going back to your own work: illustrating, coloring, lining,.. Do you have a favorite?
I enjoy the whole process, from pencils to colors. But inking has always been the part that I enjoy the most. In fact, Outland has given me the chance to work a lot in black and white and showcase my artwork as such, which has been a huge pleasure. Line weight, spotted blacks, crosshatching… those basics of inking make me truly happy when I’m doing a page.
And projects? Is there one that stands out from the rest?
They all have unique qualities that I think make them amazing, but if I had to choose one in particular I’d say Nightfell is the one that stands out the most.
Why is that one different?
Because it flips a common trope which we all know: that zombies eat the living. In Nightfell, the undead actually protect us and are our last line of defense against darker, more sinister creatures from below. That basic premise brings about uniqueness to the work that I think makes it truly original.
Also, it has deep roots in the Sword and Sorcery genre and it was conceived to be read as either a regular comic-book or a strip (which is how it’s being released in the website). That is also something that hasn’t been seen for quite a while and a format that both Jeremy Tolbert the writer and myself enjoy enormously.
From making the pencil sketch to applying the last smear of color what is your process?
My take on a page usually starts with reading the script and making a mental image of how the composition should work. I visualize the panels and what the writer’s vision is and then I map that out in panels across the page.
Once the panels are laid out, I go in very quickly and sketch out the basic perspective and character interaction and make sure everything works and is where it should be. When I’m satisfied with the storytelling, I tighten up the pencils and send them to the Editor and writer for approval.
If approved, then I move onto the final inks. With Outland, this has been the final stage in many projects and so once it’s done, I send it as a hi-resolution scan for it to be colored and lettered.
If I’m illustrating the whole, then I take special care to not outline certain things I will leave specifically for color to define. I then go in and add the volumes with grayscale and once that’s done I’ll put in the colors and details.
Do you follow a painfully strict plan or is it a more of organic process?
I’m very strict in the process. I found out that it is the best way to meet the deadlines and focus properly on every step.
So… can you tell us what project(s) are you most looking forward in the short run?
I’m very much looking forward to showing audiences the projects we’ve been working on so hard. Especially Nightfell and N0.1R, a crime story set in a world where organic life is nonexistent and robots rule in a mimicry of our 1940s.
There’s always something else in the pipeline, but I can’t really reveal much other than there’s exciting times ahead!
Thanks Nicolás for giving us a small peek into your creative world!
Thank you and I hope you enjoy the stories we’re working on!
S.G.
