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Home , Arvid Nelson, A Contract with God, Blackmark, Bryan Talbot, First Second Books, Matt Kindt

CharacterCharacter Design forforGraphicGraphic NovelsNovels CharacterCharacter Design forforGraphicGraphic NovelsNovels

A RotoVision Book

Published and distributed Copyright © RotoVision SA 2007 10 9 8 7 6 5 4 3 2 1 by RotoVision SA Route Suisse 9 All rights reserved. No part of this ISBN: 978-2-940361-52-6 CH-1295 Mies publication may be reproduced, stored in Switzerland a retrieval system, or transmitted in any Art Director: Tony Seddon form or by any means, electronic, Design: Studio Output Steven Withrow & Alexander Danner RotoVision SA mechanical, photocopying, recording, Sales and Editorial Office or otherwise, without permission of Sheridan House the copyright holder. Reprographics in Singapore 114 Western Road by ProVision Pte. Hove BN3 1DD, UK While every effort has been made to contact Tel: +65 6334 7720 owners of copyright material produced in this Fax: +65 6334 7721 Tel: +44 (0)1273 72 72 68 book, we have not always been successful. Fax: +44 (0)1273 72 72 69 In the event of a copyright query, please Printing and binding in Singapore by Star www.rotovision.com contact the Publisher. Standard Industries (Pte) Ltd CONTENTS:

Section I: The 011 Section II: The Character 021 Section III: Elements of Design 033

006 FOREWORd: name of the rose 012 What Is a Graphic Novel? 022 story & archetype 034 & Sequence 008 GRAPHIC NOVEL CHARACTERS & SEVEN PRECEPTS 014 History & Geography 024 The Central Character & the Opposition 038 Tools & Techniques: Character Model Sheets 016 The Graphic Novelist: Singular Vision 026 Contrast & Commonality 040 Speech Patterns: Dialogue, Balloons & Lettering 018 The Design Team: Collaboration & Oversight 028 The Supporting Cast 042 The Face 030 Character Histories: Motivation & Conflict 044 The Human Form 046 The Nonhuman Form 048 Case Study: Eric Shanower 054 Line, Contour & Sequence 058 Case Study:

Section IV: Design Style 065 Section V: Appearance & Reality 087 Section VI: The Expanded Cast 111 Section VII: Knowing Your Audience 131

066 The Character Design Spectrum: 088 Subtext & Symbolism 112 Group Identity & Storytelling 132 Age Appeal Abstraction to Hyperrealism 090 Wardrobe & Props 114 Case Study: Little 134 Gender & Culture 068 Genre & Tone 092 Expression, Motion & Gesture 116 Case Study: Dylan Meconis 136 Case Study: Wendy & Richard Pini 072 Minimalism 094 Case Study: Jenn Manley Lee 120 Case Study: Busiek, Anderson & Ross 142 Case Study: 074 Cartooning 100 Case Study: Brendan Cahill 126 Case Study: Stan Sakai 146 Case Study: Andy Runton 076 Verisimilitude 104 Case Study: Metaphrog 150 Case Study: Mark Crilley 078 Reality & Imagination 080 Case study: Lea Hernandez 084 Case study: Jeff Nicholson

Section VIII: Modern Methods 155 Section IX: Putting It All Together 175

156 Digital Design 176 Symmetry & Synthesis 184 online resources 158 Research in the digital age 178 Judging & Refining Your Character Design 185 suggested reading 160 Case Study: B. Shur 182 Conclusion: Into the Future 187 Glossary 164 Case Study: Scott Christian Sava 188 acknowledgments & picture credits 170 Case Study: Ryan Estrada 190 index 192 contributor list Foreword: Name of the Rose

Even though I use it to describe the It’s needed because we are living another Watchmen were predictably books that I write and draw, the term in a golden age of GNs, and it’s time disappointed, and the books confirmed “graphic novel” is inadequate and they had a proper identity of their own. their old prejudices about . misleading. “Graphic,” with its There are now more and better-quality connotations of both commercial art graphic novels being produced in Slapping together half a dozen issues and explicit pornographic images, is an incredibly wide gamut of genres of Superdork doesn’t make a quality followed by “novel,” suggesting that and styles than ever before. From graphic novel. As with text fiction, it’s a bastard offspring of another art Joe Sacco’s reportage to ’s movies, and plays, graphic novels form, that of text fiction, which it comedy adventure, from Frank Miller’s must be created as such—and created patently isn’t. The comic medium has macho noir to Marjane Satrapi’s as a whole: quality writing and artwork its own distinct history, traditions, and poignancy, from the realism of Harvey coming together to create something grammar, and predates the novel Pekar to the fantasy of . unique, a novel in both substance form. “Novel” also indicates a length Much to the awe of creators who knew and structure. that many graphic novels don’t have; the insular boys’-locker-room world of most graphic novels are actually comics prior to the “revolution,” public Character Design for Graphic Novels novellas or short stories, such as Alan libraries and mainstream bookstores is not just about character design but Moore and ’s The Killing now have graphic novel sections, and provides an in-depth examination Joke (DC Comics; 1988). according to the marketing director of the creative process behind the of Barnes & Noble, the GN is the graphic novel. Moore simply calls his books “big fastest growing area of book sales comics,” partly to deflate any claims in the last hundred years. With this in Now, if only Withrow and Danner of pretension, but chiefly to irritate mind, Steven Withrow and Alexander would come up with a different proponents of the “graphic novel” Danner’s Character Design for Graphic name for it... label. But this is also problematic. Novels becomes very timely indeed. For one thing, “comics” describes The key to the survival and growth Bryan Talbot the entire medium, from the three- of the graphic novel is quality, and , June 2006 panel gag strip to Moore and Eddie with more writers and artists entering Campbell’s scholarly epic From the field, the need for expert advice (See pages 142–145 for more about Hell (now published by Top Shelf couldn’t be greater. Talbot and his work.) Productions), so a “big comic” could just as easily mean a sequential In the mid-1980s, the first boom mural. Secondly, the word itself of GNs, spearheaded by Art is a misnomer, dating back to the Spiegelman’s : A Survivor’s mid-nineteenth century’s “comic Tale (Pantheon, 1986), Moore and (meaning funny) papers” and “comic Gibbons’ Watchmen (DC Comics, companions” to newspapers, and 1986/1987), and Miller’s The Dark as we know, graphic novels often Knight Returns (DC Comics, 1986), deal with tragedy. Like “comics,” seemed like the dawn of a new age. “sequential art” is unspecific and also Respectable newspapers and grown- Right: a bit of a mouthful, as is “pictorial up magazines ran features on them. An intricate and narrative.” So it looks as if we’re stuck Comics were cool. But it didn’t last. well-crafted with the phrase “graphic novels,” or There simply wasn’t the quantity and character design from Bryan Talbot’s its equally unsatisfactory and even range of quality books to build on Heart of Empire: less descriptive abbreviation, “GNs.” the nascent public interest. Instead, The Legacy of What’s needed is a word that simply capitalizing on the growing demand, Luther Arkwright (Dark Horse means GNs in the way that “novel,” opportunistic comic-book publishers Comics, 1999). originally indicating a new form of compiled monthly production-line literature, now means a substantial titles and released them as “graphic piece of text fiction. novels.” Duped readers expecting

007 Graphic Novel Characters & Seven Precepts

The graphic novel is a personal, one: TWO: three: four: idiosyncratic medium. Other Character design is not an Comics characters are The “appeal” of a character “Bad designs” can be related art forms, including end in itself sequential beings is context-specific very effective animation, computer games, and The goal of character design for They are meant to be drawn Put simply, what works for one Some designs lacking in the finer monthly comic books, require graphic novels is storytelling, not hundreds if not thousands of times, author, in one story, for one points of visual art—symmetry, more standardized processes image creation. (That said, there is and often don’t (and shouldn’t) stay audience, will not necessarily consistency, proportion, etc.—are than graphic novels, due mostly an aesthetic appeal to looking at perfectly consistent from drawing to work for another. Hergé’s world- actually perfect for the story they to the larger number of people character designs as visual objects, drawing. Unnecessary complexity famous design of the boy reporter illustrate. If it’s done purposefully involved. Also, the particular but that really shouldn’t concern and disparity, however, can be Tintin, for example, is brilliant in and serves the story without being markets for such products demand the graphic novelist in the moments cumbersome and distracting. And, its context, but would be ludicrous too distracting, then no design is that more precise expectations of creation.) as we’ll emphasize throughout the for a character in truly bad. A certain rawness can are met, whereas most graphic book, characters can have more and Goseki Kojima’s poignant often be the key to real substance, novel readers enjoy the indivisible than one level or aspect of detail. yet violent manga Lone Wolf and whereas a slick, schematic surface peculiarities of an individual vision. Cub (except perhaps in an ironic can sometimes be quite hollow. context). Also, it should be noted (Again, it’s context-specific.) Rather than make pronouncements that readers rarely see exactly what about how to draw or what tools the author sees. (Lone Wolf and and techniques are best, we will Cub is now reprinted in English by explore character design as a .) function of storytelling, as each design should follow the unique requirements of each story. We Left: will focus more on the story- Character sketch driven decisions that specific of Elle, the lead character in Matt authors make—and how individual Kindt’s graphic authors think when they’re crafting novel 2 Sisters (Top characters—than on the steps they Shelf Productions; five: six: seven: We’ve structured this book so that 2004). take and how their characters look Memorability is not always Writers are character No character design exists you can read it cover to cover or when completed. In short, this is a good thing designers too in a vacuum sample it by section, in order to a book as much about the why of For minor and background In a writer–artist collaboration, It is always beneficial to study maximize your opportunities for character design as the how. characters, it’s often effective to the content if not the look of a the work of others—other artists, in-depth investigation, which should strive for “bland” designs so as not character often stems from, or art forms, subjects, cultures, and begin and not end when you’ve Other books take a much more to steal attention away from the draws upon, the writer’s concepts historical eras. Both influence stopped reading. comprehensive look at the tools main players. and script work. For example, and comparison are fundamental and techniques of comics art, so if the characters in Sandman (DC parts of a graphic novelist and And so, let us begin. you’re looking for additional nuts- Comics/Vertigo, 1988–1996) owe character designer’s education. and-bolts content, we’ve listed their fictional lives to writer Neil many in the reference guide on Gaiman’s vivid descriptions, pages 185 and 186. dialogue, and story lines.

Here are seven basic precepts to consider, and perhaps even challenge, before reading the subsequent sections of this book.

Above: Flashback scene featuring the scar-faced assassin from ’s 2 Sisters.

009 Section i The Graphic novel

For much of the twentieth Left: A page from Jeff century, in North America and Nicholson’s darkly Britain, the very idea of book- humorous graphic length comics were viewed at novel Through the Habitrails best as a compelling novelty for (first published young people, and at worst as in 1994), which an affront to all art and literature. was developed as a series of short Other European countries and stories intended Japan, however, had for a long to form a greater time granted the best comics the whole. Nicholson says they are same status as serious films, interrelated and literary novels, and other “fine” fluid, but not an arts. Fortunately during the oversized or open- ended “epic,” past two decades or so, a new as most comics respect for comics has taken are. (See more of hold in those countries formerly Nicholson’s work on pages 84 and 85.) opposed to “legitimate” graphic novels, spurring on a massive new publishing phenomenon that shows little sign of abating. And here in the twenty-first century, with emerging technologies and shifting economies, the rest of the world, from India to Brazil and South Africa, seems poised to join the field.

In this section, we attempt to define the graphic novel, offer a brief history and global overview of the form, and introduce the various roles of the creators. L

011 WHAT IS A GRAPHIC NOVEL?

“Graphic novel is a necessary term: it pigeonholes things, which can be as dangerous as a definition as it is useful. Obviously, labeling things makes them easier to describe, explain, or understand, but it can at the same time stultify or engender staleness. The novel part, as with the term applied to literature, really refers to the originality or newness of the aesthetic structure. Literary worth depends on many things, but the novelty is paramount. Generally, if something contains pictures as well as text, it is either an illustrated novel or a graphic novel. The latter has more inner dynamics within its workings.”

Metaphrog’s John Chalmers

Left: “The interaction and relation of the text to the image is a specific one, and we Cover to the graphic novel Hello, Again try to play with that in our books. In some cases, the text will say something by Max Estes (Top that the picture is not saying, thus creating a contrast or shift, but also giving Shelf Productions, a whole new meaning to the entirety of the panel (and also in turn in relation 2005). to the panels around it). Sometimes the text reinforces the picture, like a tautology. In comics and graphic novels, an equal amount of the narration happens in the closure, that is in the mind of the reader, outside of a panel, something suggested, or left to the imagination, or between panels, and also in the rhythm. All these things interacting with each other make the reading “A graphic novel has to be of graphic novels a unique experience.” structured as a novel, as a whole with a beginning, middle, and end, Metaphrog’s with its own themes and concepts Sandra Marrs unique to that book and not just as an episodic series of strips that’s been thrown together to make a book.”

Above: Bryan Talbot Ted Slampyak’s Jazz Age is both a webcomic (www. jazzagecomics.com, ongoing) and a Sunday-paper- style strip that is structured as a unified graphic novel.

A graphic novel is at once a The foundation for a “graphic novel many serialized print comics (or movement, a format, and a form. movement” was well expressed by specified story arcs within), as well Other terms—long-form comic, Eddie Campbell (see pages 58–63) as webcomics and photocomics graphic album, picture novel—have in his “Graphic Novel Manifesto.” We (comics that use photographs been suggested, but “graphic novel” define “graphic novel” simply as a form rather than drawn pictures; also Left: is currently the front runner in the of unified comics narrative— in other called fumetti), also deserve the A rustic setting from Bryan Talbot’s The labeling race. words, a storytelling tool. title. Narrative nonfiction comics— Tale of One Bad biography, autobiography, comics Rat, first published The term “graphic novel” is often used We remove any restriction of length, journalism, and narrative essays—also in 1996 (see pages 142–145). as an expedient marketing, packaging, structure, complexity, quality, fit our description. Many , or shelving classification for a range audience, and number of creators, and even some newspaper-style comic of comics publications, including trade as well as the idea that a graphic strips, can be counted as graphic collections, short-story novel must be published in a specific novels, whether collected in book anthologies, manga digests, annuals, medium. While most graphic novels format or not, as long as they are and non-narrative, nonfiction comics. are bound in printed “book” format, clearly unified narratives.L 013 In the mid-1980s, the American History & Geography media focused attention on three books: and ’ Watchmen, Frank Miller’s : The Dark Night Returns (both from DC Comics), and ’s Pulitzer Prize–winning, two-part autobiographical novel Maus: A Survivor’s Tale (Pantheon). Another standout work of the period is Love & Rockets by Los Bros Hernandez ().

The past 20 years, arguably, have wrought more revolutions than the preceding half-century. Bookstores and libraries house GN sections. Art museums showcase GN exhibits. The Internet has spurred new artistic techniques and methods for collaboration and distribution.

Far left: Women and minorities have sprung Joe Casey and Tom to the creative forefront. Small Scioli’s GØDLAND presses and large trade houses () pays homage to vie for a growing pool of talent. ’s earlier University degree programs in New Gods. sequential art have emerged. GNs have launched successful films. And hope is high that the youngest readers will become the next Left: Below: Right: generation of innovators. ’s story In 2006, Gene Luen Inspired by collection marked Yang’s American Walt Disney, the transition from Born Chinese was Osamu Tezuka How to capture the breadth and “formative” to selected as a finalist guided generations depth, struggle and strife, spirit “contemporary” for The National of Japanese and speed of the contemporary graphic novels. Book Awards, in creators, who in the category of turn influenced scene? Just as in studying Young People’s the aesthetics and character design, it can only be Literature. It was mechanics of the first graphic comics globally. done one small piece at a time. L novel to be honored The graphic novel is an amalgam of Gravett calls “pioneering antecedents paperback is arguably the comics, especially French bandes by this prestigious culture, commerce, and the occasional of graphic novels.” Works of such first American graphic novel), and dessinées in color hardback albums, American award. Art copyright Gene quirk of genius. Looking back on the sophistication were rarely seen again (Nick Fury, Agent of and thick Japanese of Yang, used with form’s evolution, it’s easy to ascribe until the early twentieth century, when S.H.I.E.L.D.). The cultural revolutions manga.” The most highly regarded permission of First a linear or cyclical progression of American newspaper comics exploded of the late 1960s and early 1970s were European graphic albums include Second Books. innovation and influence: Artist A’s in quantity and eventually quality, as chronicled by “underground” comics those of Hergé (Tintin), Franquin experiment begat Artist B’s prototype evidenced by the works of Winsor artists such as , Vaughn (Spirou et Fantasio), Goscinny and begat Artist C’s masterpiece begat McCay ( in Slumberland) Bode, , Justin Green, and Uderzo (Asterix), Hugo Pratt (Corto

Artist D’s imitation begat Artist E’s and George Herriman (Krazy Kat), , who moved away from Maltese), Jacques Tardi (Adèle Center left: Left: experiment, and so on. However, among others. traditional “assembly-line” processes Blanc-Sec), and Moebius (The Airtight In addition to being French creators the reality is messier and far more to celebrate the solo artist, or auteur. Garage). The Japanese manga of a respected creator Emmanuel Guibert in both Europe and and Joann Sfar interesting, as outlined in Paul Newspaper strips gave rise to comic equivalent status include works by America, Lewis have collaborated Gravett’s Graphic Novels: Stories to books (and later comics annuals in But nothing as serious as a fully- Osamu Tezuka (Astro Boy; Phoenix; Trondheim is a for years, each Change Your Life (Aurum Press; 2005) the UK) in the 1930s—around the fledged movement, or as unified as Buddha), Keiji Nakazawa (Barefoot founding member taking turns writing of L’Association, a and illustrating their and Manga: 60 Years of Japanese time that American artist Lynd Ward a unique art form, had emerged until Gen), Kazuo Koike and Goseki Kojima prominent publisher projects. Sardine Comics (Collins Design; 2004). created wordless woodcut novels 1978, when Will Eisner published (Lone Wolf and Cub), Katsuhiro Otomo of European comics. in Outer Space including God’s Man (1929). Comic and Other (Akira), and (Nausicaä Art copyright Lewis copyright Emmanuel Trondheim, used Guibert and Joann Some critics say comics are as books were nearly annihilated by Tenement Stories, for which he used of the Valley of the Wind). E with permission of Sfar, used with ancient as the earliest cave etchings; self-censorship in the 1950s, made the term “graphic novel,” coined . permission of First others argue it’s a stretch to compare a huge comeback in popularity with by publisher Richard Kyle in 1964. Second Books. Egyptian hieroglyphics with today’s ’ re-emergence in the Meanwhile, in England, Bryan Talbot sequential graphics. Regardless early 1960s, and became a training had begun serializing Luther Arkwright, of these disputes, many scholars ground for such luminaries as Jack and Raymond Briggs would soon recognize the ambitious nineteenth- Kirby (one of the primary architects publish When the Wind Blows in 1982. century books of Switzerland’s of the Marvel Universe), Rodolphe Töpffer (Monsieur Jabot; (Uncle Scrooge), Beginning in the 1960s, writes Gravett, 1832) and France’s Gustave Doré (Batman; /Green Richard Kyle was “among the first (History of Holy Russia; 1854) as what Arrow), (whose 1971 Bantam to import and champion European 015 The Graphic Novelist: Singular Vision

Drawbacks to Solo Creation The clearest drawback to the paradigm of the graphic novelist is that it requires the would-be creator to be an artistic polymath, capable of writing, illustrating, art directing, and editing their comic work competently. If a creator is a brilliant writer but a poor illustrator, or vice versa, that creator will be hard-pressed to produce satisfying work if he or she adheres to the ideal of solo creation. Also, when tight deadlines are involved, it is often helpful to share the more time- and manual-labor-intensive aspects of the creative process without sacrificing storytelling control and the unique vision.

What’s more, art is never created in a true vacuum; by walling off outside input, the solo creator is often deprived of the ongoing critical feedback that might help to ensure that the ideas actually come across clearly in the work—without this, creators risk producing final products that are inconsistent, unclear, or at the very least, not Within the idea of the graphic one “production stage” to the next. the work, completing the bulk Above left: Above: quite as successful as they might Although Good- Craig Thompson’s novel as a singular and cohesive According to this aesthetic, only the of the creative tasks and leaving bye, Chunky Rice debut graphic novel, have been. L work of substance is the concept individual graphic novelist can achieve only peripheral details, such as is not overtly Good-bye, Chunky autobiographical, Rice (Pantheon, of the “graphic novelist”—an untrammeled artistic expression. After backgrounds, to the assistants. L the nuances of tone 1999), tells a story independent creator responsible for all, one of the allures of graphic novels and mood strongly of loneliness and Above & left: Above: all, or at least most, of the work of is that they can often be “one-person suggest that the wanderlust. Many consider Another advantage Craig Thompson’s of solo creation creating the graphic novel, including shows,” unlike most films, plays, and themes are drawn from personal second book, is the potential character design. While some creators computer games. experience—these Blankets (Top Shelf for unity in both work solo purely as a matter of notes of personal Productions, 2003), narrative and visual to be a landmark vocabulary across practicality (finding a talented and Some graphic novelists known revelation might not have been so work in the graphic works. Note, for reliable collaborator can be difficult), primarily for their solo work include clearly present if novel form. Being instance, that the for others it is a conscious aesthetic Chynna Clugston-Major, Will Eisner, the work had been an autobiographical intricate quilts used story, it is appropriate to denote intimacy choice. Many creators find the strict Jenn Manley Lee (see pages created as part of a collaboration. that Thompson and false security in oversight and mandatory collaboration 94–99), Marjane Satrapi, , Bryan chooses to work Blankets appeared common in the commercial comics Talbot (see pages 142–145), Craig independently. It in a similar context is rare for creators in Good-bye, industry stifling, and the artistic Thompson, Art Spiegelman, and Chris to seek collaborative Chunky Rice. results unsatisfying. Ware, among others. partners for auto- biographical works. (, Such dissatisfaction, among other In Japan, the collaborative model has creator of American factors, has led to the idealization never dominated the comics industry Splendor, is a among independent creators of the in the way it dominates commercial notable exception.) “pure artistic vision”—the model comics in the West. Following in the where a graphic novel is, as much tradition of the revered Osamu Tezuka, as possible, the work of one mind, most manga works are credited to free from both editorial “meddling” a single creator. Although it is not and an “assembly line” process uncommon for creators to have where creative vision is fragmented several assistants, it is still the rule or obliterated as it is passed from that the originator owns and oversees 017 The Design Team: Collaboration & Oversight

While solo creation currently apart. That’s the kind of stuff where dominates the graphic novel format, a novelist would expect a good editor collaboration is far from a thing of to ask tough questions and have that the past. Some of the most critically fine balance of not meddling with and commercially successful graphic someone’s vision, but still coaching novels—Sandman (Vertigo, collected alongside and sometimes being edition, 1991–1997), From Hell (Eddie unpopular. In the second draft the Campbell Comics, collected edition, editor might become the most hated 1999), and Astro City (Homage/DC person in the novelist’s life. It’s not the collected edition, 1999–present)—are same with all creators, though. Some the result of collaborations where a people take to [the coaching], while unified vision emerged from multiple others really want to be left alone.” abilities and sensibilities. Even in Japan, where single authors called Janna Morishima, editor-at-large for “I like to give a detailed vignette “manga-ka” have always been more Scholastic’s Graphix imprint, agrees of every character; I type up two common, the manga series Chobits with Siegel, adding that an editor’s pages of description for each (published in English by , role is to “refine and polish and make important person in a story. I’m the 2002–2003) and xxxHOLiC the storytelling even more economical most intimately familiar with the (published in English by Del Rey, and powerful.” Her colleague at characters, and I have a clear idea beginning in 2004), created by a team Scholastic, executive editor Sheila inside my head of how they look. of four women collectively known as Keenan, says an editor should I’m obliged to communicate that CLAMP, are incredibly popular. be adaptable to different working to the artist [Juan Ferreyra]. At the methods with individual artists/ same time, I try to allow Juan as Team-based collaborations, with an authors and serves as a kind of “ideal much freedom as possible. An editor at the helm and a clear division reader.” “You see things that visual artist must be able to capture a of labor among a revolving cast of artists might take for granted, and can character’s essential nature. The five or six creators—still the mainstay help the artist/author to keep track details aren’t so important. It’s just of monthly superhero comics—are of minor details, since often they’re not possible for an artist to draw not as prevalent in graphic novels doing it all—writing, sketching, inking, a character exactly as I envision from independent and trade publishers. etc.—by themselves.” She regularly them. I’ve learned to let go. Besides, Having a small, cohesive team, reviews character sketches—and the more input an artist gives, the usually with a lead storyteller or two, for a multi-volume series, would better. The artist, after all, is the is generally held as the best solution. expect an annotated “character bible” one doing the drawing, and I have to establish consistency of design to be conscious of that at all times.” In writer–artist pairings, the writer for characters who will appear in is integral to the character design multiple books across the series. Arvid Nelson, process and sometimes takes “Pick your details carefully,” Keenan writer of Rex Mundi the lead role. The balance of advises. “You’ll end up drawing them decision-making varies with every hundreds or thousands of times.” collaboration. Anything is possible, even, for example, illustrator-driven In Japan, editors play an even more collaborations and studio-style hands-on role, generating story projects that mimic animation houses ideas and providing some artistic (see pages 164–169). assistance. An editor might even stay in a creator’s home for days Insight & Oversight at a time to help meet a deadline! L Graphic novel editors and art directors play important, behind-the- This page scenes roles in the character design & opposite: Pages from Rex process. In an interview with Tom Mundi, by Arvid Spurgeon, , the editorial Nelson and Juan director of First Second Books, Ferreyra (Dark Horse Comics, observed, “There’s so much work collected edition, produced both [in the United States] 2004 to time and in Europe full of incredible of writing). artistry, brilliant characters, a totally dazzling premise, and then halfway through the novel, the story falls 019