We’ve been big fans of Owen Michael Johnson and John Pearson’s “Beast Wagon” here in the past. On the surface, it’s just a comic about zoo animals and zoo attendees on a hot summer day, but when you dive in “Beast Wagon” is a comic that deals with interesting ideas in a way that can shock the reader, combined with incredibly good art, all produced outside the confines of a comic publisher. Johnson and Pearson have brought the entirety of “Beast Wagon” to readers without a publisher backing them, proving that with talent, passion, drive, and a killer product, DIY comics can truly succeed.
With the series wrapping up with the release of its final issue, we chatted with Johnson and Pearson about “Beast Wagon” zoo animals, varied reactions, evolution of a series, and much more.
“Beast Wagon” recently wrapped up it’s run. What’s the story about for those that may have missed it?
Owen Michael Johnson: “Beast Wagon” is set in a fictional zoo, and concerns the intertwining stories of a group of characters both human and animal. In the middle of a summer heatwave, a new animal arrives heralding a primal disturbance. Some believe it the harbinger of a vast cosmic event. For others, it is simply another prisoner. For some, it is a reason to revolt. Over the course of this singular day, the human and animal interactions grow stranger, and the boundary between the two begins to blur…
You guys first debuted “Beast Wagon” at Thought Bubble back in 2014, right? I know self-publishing can often be a difficult process. How has the process been for “Beast Wagon”? Has the book itself changed at all over the course of the debut of issue one to the release of this final issue?
OMJ: While it’s true we released a short ashcan teaser for “Beast Wagon” (including fold-out map of the zoo and 6 page preview) at Thought Bubble in 2014, the series debuted via Kickstarter in 2015. We managed to fund the first 2 issues of the series because the campaign was so successful, and we still haven’t had to finance anything beyond tables at shows. We planned carefully and rolled the profits of each issue along to make the next. The process of making “Beast Wagon” has been a dream. We took a little longer on the final issue but generally we’ve released an issue a quarter, which is not bad for an independent self-published book without any backing. We did this entirely on our own. Completely DIY. There have been some amazing stores in the states like Austin Books & Comics, Meltdown, Mission Comics & Art as well as a load in the UK. We’re stocked in Prague and Greece. These comic stores jumped on board and we’re really grateful.
Of course things have changed and shifted as we went on (we decided to do the final issue double-sized to avoid keeping people waiting), but we love that. It’s been an exercise in experiential storytelling. The comic has been moulded by our readership (we’ve met vets, zoologists and simply fans with great anecdotes). We’ve played with the expectations of what the book is, and can be. It’s a black comedy, a horror comic, an existential drama. It’s changed because we wanted to keep our readers, and ourselves, surprised.
John, best as I can tell, this was one of, if not your first comic project. How did you approach it coming in? What did you learn over the course of the series?
John Pearson: Yes, this was my first proper series, prior to this I’d done virtually no sequential work so to say it was a steep learning curve would be an understatement. From the outset we’d discussed how the art style would develop over the course of the series to harmonise with the story, become more intense, chaotic, psychedelic, but still retain the underlining sense of realism. That element of realism was key to the book, giving it a sense of grounding and highlighting the real world issues in a way that I don’t think would’ve been as effective in something more cartoon based. The development of the art was a natural progression as well, I was basically learning on the job, but I think not coming from a comics background and having a basis in fine art tinged illustration was more of a blessing than a curse. It’s been a continuing development of drawing on my entire creative experience, which has been broad to say the least, but that’s what’s made this book feel so special. We’ve poured ourselves into this project and hopefully that comes across to readers.
Continued below“Beast Wagon” has been described as One Flew Over the Cuckoo’s Nest but with animals. What made the animals the better focus of the story, rather than the humans?
OMJ: I have to admit that was my suggestion, very early in the process, when no one knew anything about the comic. It was a strong marketing hook that came to represent one thread of many (the rebellious monkeys dedicated to a revolution). In the process of telling the story it became about so many other issues; ecological disaster, class, sexual assault, racism, as well as of course animal rights. The tone shifted from the original vision of anti-human sentiment (which is very but also very limiting) to include empathetic and villainous characters on both sides, and see-saw between horror, emotional drama, black comedy and more. We went wherever we felt like. Looking back it’s all speculative fiction and satire. The issues contained are most effective and interesting when explored sideways, through that lense. Using zoo animals gives that distance. Also there’s just something tragic and endearing about a hippo in love with her keeper, one who doesn’t understand her language.
John, I imagine it’s not often an artist draws baboons and monkeys and llamas over and over for 100+ pages. How much reference were you using? Did you make trips to zoos to get better looks at the animals?
JP: One of the first things we did was take a research trip to the zoo, more to observe the surrounding environment than directly observe the animals though. Owen was armed with a dictaphone, myself with a camera, we conducted an incantation before entry, then proceeded to record the visitors, atmosphere and setting. A lot of source material came from that first trip, a lot of reference images as well as a number of character details. We watched the people watching the animals, interacting, and documented it best we could. It’s surprising how invisible you can become in a setting like that when you’re there for ulterior motives.
I have stacks of folders of reference images for “Beast Wagon”, from animal breeds to real world locations, which is how I’ve always worked. My style pulls in realism so drawing from reality is integral to my practice. That said though, the majority of my influence in terms of colour, texture, composition and so on draws from a much wider frame of reference taking inspiration from film makers such as Mario Bava and Kenneth Anger, abstract painters, collage artists and experimental print makers. The balance between the realism and the often hallucinogenic qualities hopefully gives a dreamlike sense of unease to the artwork, something familiar but unsettling.
The whole story deals with a lot of heavy themes, including human nature, how we treat animals, and more. What sort of response or reaction have you been hoping to get from readers as you explore these things?
OMJ: We were hoping to make people think, and ask questions of their own. To confront the animals both harmless and terrible in themselves. It’s been fascinating hearing reactions to certain story threads. We’ve been surprised at the shock readers have at things we find hilarious and vice versa. We knew “Beast Wagon” would be dark, and perhaps controversial, but it was all to service the story we were telling in the best way. We didn’t expect (or couldn’t anticipate) how the book would get under so many reader’s skin, both in the UK and overseas. Classically, a UK audience is more comfortable with satire, but the US audience has been so receptive. It really seems to resonate.
JP: The diversity of reactions has been incredible, and that’s really testament to Owen’s writing. It’s a subjective book in many ways, and seeing people take very different readings from the multiple story lines, becoming so invested in characters and reaching out to us wanting to discuss the ideas in more detail has been great to witness. It’s always a little underwhelming to simply get a pat on the back just for act of creating something, so for a lot of people to actively engage in a critical dialogue about the book and question both us as creators and themselves as readers is hugely refreshing.
Continued belowAs the story wraps up, I can’t help but feel that only a few of the characters, human and animal, get a happy ending, or one that they deserve. Is this a cynical approach, or more of a realistic one?
OMJ: We set out to make a book that reflected the times we’re living through. All the confusion, pain and horror (and absurdity) of the wider world. Some of our characters definitely don’t get the justice they deserve. While there are exceptions, and small moments of relief, we wanted the conclusion of the story to challenge as much as the rest of the story. There are a lot of great comics out there right now but I find too many are built around an elevator pitch. We wanted something that didn’t have the edges and contradictions rounded off. We didn’t want to spoon-feed a package intended to comfort. That’s not the point of “Beast Wagon”. It’s intended to make readers feel entertained and amused at the same time as uncomfortable and afraid.
With the momentum and critical acclaim of “Beast Wagon” still behind you, what’s next?
OMJ: Making completely different comics! The subject matter of “Beast Wagon” was so intense to create, so full of dark moments and unpleasant characters, that my new projects are a tonal 180. Lots of bright, colourful POP comics. John and me are co-writing a project for another artist (we became good friends during the course of making “Beast Wagon” and wanted to collaborate again without John having the responsibility of drawing it). I’m also co-writing a crazy-fun all-ages comic with letterer supreme and writer of “Dungeon Fun” (and one of my best friends) Colin Bell. All-out comedy is really out of my wheelhouse so it’s a challenge. Lucky Colin brings the funny. That will be with another hugely talented UK artist. Expect an announcement soon. Lots of other projects waiting in the wings. I want to show the audience we’ve gained on “Beast Wagon” that we’re not a one-trick pony (heh).
JP: Broadening out with new projects is definitely on the horizon. I’m experimenting with writing more, both with Owen on a new project and also on my own Burroughsian dreamscape book, which will be far more experimental with the artwork as well. Aside from that, I’ve been working on a music and sequential collaboration being announced this summer, contributing to “Heretics” a new series with writer PM Buchan and artist Martin Simmonds, developing work for forthcoming exhibitions, painting live at events across Leeds and lots more. “Beast Wagon” is just the start, we’re not going away any time soon.
