Interviews 

Dylan Burnett Helps “Weavers” Spin Its Tale at BOOM!

By | May 4th, 2016
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When a supernatural spider finds his way inside Sid, he becomes bound to the Weavers, a east coast crime family. With this new burden also comes powerful new abilities for Sid. The series follows Sid and what he choses to do with this abilities in conjunction with his growing loyalty to the Weavers thanks to the spider inside him.

Fresh off his recent Eisner nomination for “The Spire”, Simon Spurrier introduces the story of “Weavers” to BOOM! Studios and to shops this week. To bring to life the crime, abilities, and brutal violence of the series is artist Dylan Burnett. Dylan recently provided the high intensity art of space vampires in the Heavy Metal series “Interceptor.”  We were able to talk to Dylan about his work on the new series, finding the style/tone of the world, and supernatural spiders. A huge thanks to Dylan for taking the time to talk about his work and the series. “Weavers” is in comic shops and available digitally this week.

'Weavers #1' Cover

What is “Weavers” #1? Why are readers going to enjoy this series?

Dylan Burnett: “Weavers” #1 is introducing you to this crazy hierarchy of violence and power through the eyes of a punk slacker named Sid, who is profoundly at the wrong place at the right time. Weavers is a really macabre, yet much more deep and realistic twist on the superhero genre. Rather than things being so purely ‘good vs evil’ it’s just a story about people trying to survive, and keep their own agendas at the same time (which is tough when you’ve been made by swallowing a magic spider). Whether their means are good or evil is up for readers to decide.

It has tension, romance, violence, humour, horror, and if you’ve read any of Si’s other books you know it’s going to have these fantastically deep, well constructed characters. Si’s work is so fun to read, and an absolute Privilege to draw. I think readers are going to see that once they pick up the book.

The first issue drops readers right into the world and lore of  the Weavers group. Simon’s dialog at times is very cryptic and structured with terms that seem to have different meanings in this world. As an artist how do you balance mystery created by Simon with how you are telling the story visually?

DB: Si is amazing at fleshing out individual voices for specific characters, so I try my best to implement those subtleties and ticks in the attitude and acting of the characters visually. A good chunk of the mystery is built up in these jagged broken fragments in Sid’s memory, so I take that ‘jagged’ and ‘broken’ vibe and translate it into the art as literally as I can.

How did you find the look of the world/characters to really draw on the organized crime aesthetic but also supernatural elements that readers see in the first issue?

DB: The setting was super crucial for me in terms of a starting point. I try to treat the city like a character in the book. Very noir, dark, and jagged. Si is really great at describing what all the freaky supernatural horrors feel like, so I just draw the most grotesque version of what comes to mind. The book’s colorist, Triona Farrell, plays a huge hand in adding depth and energy to the world as well. Her palette lends itself so well to the supernatural elements of the story.

Many readers may be familiar with your great work on “Interceptor.” Now on your second major series, what have you learned in your approach to your art and working on a monthly series?

DB: Since this story isn’t as action heavy or as loud as “Interceptor” I find i’m focusing more on the subtleties in Si’s story and dialogue, and trying to implement those subtleties into the acting and the pacing of Weavers. I find my work on Interceptor has influenced the way I portray action and expression in Weavers, and I know my work on both books will definitely influence the way I tackle challenges in whatever project may come next.

You have a great ability to emote and exaggerate actions to tell the story. The first issue continues a delicate balance of almost bright over the top expressions and hiding characters in shadows or heavy lines. Is there a narrative difference between the two styles for you and how are you able to decide what works best?

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DB: Thanks! I honestly don’t really think about that sort of thing. I find if I over think any nuances or my style itself it takes forever and I hit brick walls. Si’s story has so many great levels for me to play around with, but it always comes back to that really macabre, gallows-y vibe that I find so fun to draw. I try to just do what comes naturally.

The issue continues non-narrated flashback panels sprinkled admits the current action to flesh out a bit of Sid’s backstory. Are you working heavy from the script for layouts on pages especially for those elements of the story? Do you have a lot of freedom in the way you are presenting Simon’s story?

DB: Si provides a really well detailed and plotted out script, so I go with what he’s got first. I find that the way he paces a story is really similar to the way I would pace it visually, so it comes together really comfortably. I’ll add beats here and there so I can add some more acting or tension to the scenes that call for it.

Triona Farrell’s colors really stand out in the issue. With the colors playing such an important role in displaying the supernatural elements of the issue has that altered the way you approach your pencils and inks?

DB: I wouldn’t say it’s altered my approach, but i will say that i’m always SUPER excited to see her finished colors on the pages, because she totally rocks that vibrant neon palette, and makes it work so well with the really dark, shadow heavy scenes. If anything, her colors give me more confidence to keep doing What I’m doing with the inks, since she is able to breathe more life into them so well.

What stands out to you in the series in terms of your art that you have enjoyed most so far? Have you run into any new challenges artistically?

DB: I think every project is going to be a different experience and provide new challenges. There is a lot more dialogue in Weavers than in Interceptor, which is a good contrast. I always have fun with the grotesque powers, and especially with the world building itself. Drawing sprawling buildings and fire escapes are always super fun.

Would you be up for a supernatural spider living in you if it granted you some sick abilities? I wonder what they are doing in there.

DB: Haha, definitely not. You’d think the powers would be a nice tradeoff, but as you’ll see in issue one, and in the rest of the series, having that spider whispering in your ear can bring you a whole lot of trouble.

The realization of the Weaver’s powers are pretty great to look at visually. What can readers expect going from the series going forward in terms of the awesome things you get to draw?

DB: Each issue escalates the abilities more and more; and not always in a violent way. Going forward you’ll get to see the really wide array of powers that Si gives each member of the Weavers used in the most horrific and psychedelic ways possible. It’s always a blast to draw.


Kyle Welch

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