With ECCC in full swing you can always expect some exciting news. It was announced that Heavy Metal Comics will be publishing a new series “Skip To The End” with writer Jeremy Holt and artist Alex Diotto, creators of the critically-acclaimed series “Southern Dog.” The series will follow “Jonny Wells, bassist of the breakout punk band Samsara,whose life has fallen apart after his band mate and best friend commits suicide. Twenty years later he struggles with heroin addiction, lost in the songs they created and desperate to relive the past, when he discovers a mysterious guitar capable of making the jump.”
In advance of the announcement I was able to talk to writer of the new series, Jeremy Holt about the book. As a fan of Jeremy’s previous work (“Southern Dog,” “Skinned,” “Art Monster”) I was excited to find out about the unique idea the book centers around but also how he and Alex are approaching the book. Jeremy discussed Nirvana, music and how it influences writing, tackling social ideas through comics and music more. A huge thanks to Jeremy for taking the time to talk to us about the issue and be sure to look for “Skip To The End”” in comic book stores August 3rd.
For readers, what is “Skip To The End?” What was the idea that gave birth to series and has it evolved or differed as you worked on the idea since?
Jeremy Holt: At its core, “Skip To The End” proposes the concept that music is a time machine, and explores a revisionist history of my all-time favorite band Nirvana. My mild obsession with the band’s history was the catalyst. From there, I thought, “If someone could go back in time to save Kurt Cobain, would they?” and I was so enamored by that concept that I never deviated from it.
Why Nirvana?
JH: Good question. I discovered Nirvana very very late in my life, mostly because when they hit the scene in the early 90’s, I was too young to appreciate their influence. As I got a bit older, all the popular kids in school were listening to them along with a handful of other alternative rock bands. Ironic to me only now, since I didn’t fit in with the cool kids, I didn’t feel entitled to align my music tastes with theirs. Amidst my research, it became apparent to me that out of the 50+ musicians that have succumbed to the infamous 27 Club, Kurt Cobain’s death had an effect on the world unlike the rest. He was a cultural icon; a hero to a disenfranchised generation. But as fascinating as he was as an artist and a person, I felt it would have been pointless to create a fictional version of the Nirvana leader because his story—particularly the details surrounding his death—has been so heavily scrutinized and re-examined over the past two decades. Simply put: He’s a legend, a rockstar of mythical proportions. It’s difficult to develop an accessible character from that. Knowing the outcome of the surviving members, a fictional Krist Novoselic was the optimal choice to develop as a protagonist because he was the least well known.
A comic about music, drugs and time travel feels like a great fit at Heavy Metal. How did that come about and how has it been been working with the publisher?
JH:When I was pitching this series to publishers last year, Heavy Metal had always been in my top 3. Unfortunately, I didn’t know anyone there. Last fall, my good friend Kurtis Wiebe was kind enough to pass it onto them as he has a working relationship with the publisher. Around that same time I learned that my co-writer Tim Daniel was hired as their Production Editor, so when “Skip To The End” got the green light, I was ecstatic to be working with Tim again. It’s been an absolute blast working with Heavy Metal. They put a lot of trust in their creators by giving us the freedom to tell our story exactly the way we want.
Music is a very big part of a many people’s lives but it seems to always play a big role in the creation process of others. How does music figure into your creation process?
Continued belowJH: Music is a driving force in my life, so when I began developing a story around its transportive properties, it felt more like a reflex than a conscious decision. Over the years, I’ve actually become quite dependent on music while I write. Depending on the project, I have specific playlists that help get me into the proper headspace.
A lot of your work (“Southern Dog,” “Skinned,” “Art Monster”) tackles larger and more broad reaching social issues within the context of the story of the series. For you why are comics a medium to tackle those issues and are those ideas present in “Skip to the End” as well?
JH: Honestly? The structure behind scripting a comic book is exactly how my brain works. Because of that, I’m most comfortable exploring broader social issues though the medium of visual narratives. However, whatever doubts I have in myself as a storyteller, I find catharsis during the collaborative process with an artist. This unique partnership ultimately gives me the confidence to tell the stories that–first and foremost–interest me. In this case: “Skip To The End” tackles the complex issue of addiction and the many forms it can come in.
The first issue features some song lyrics for the band featured in the series. For such an important part of the series how much time went into settling on the song lyrics? Is there an actual song in your head for those lyrics?
JH: I’d say it took some time to eventually settle on the idea of incorporating song lyrics into the story, but took very little time to create them.
To explain: Over the coarse of several months of research and writing, I rediscovered Nirvana’s entire discography, dug up interviews, watched hours of documentaries, and even tracked down early home demo recordings of some of their most popular songs. As I immersed myself in the band’s history, it was clear that Kurt’s lyrics were the foundation for Nirvana’s revolution. It was important that if I were to feature a song that captured the angst along with the pop aesthetics that made their music so wildly popular, it would also need to drive Skip To The End’s narrative forward. That’s when I decided to enlist a good friend from college who is not only a musician but the guy that was my music guru for four years. He introduced me to EVERYTHING. When I asked if he’d be interested in writing a song for a fictional band based off Nirvana, he sent me the lyrics the next day.
I do have to give a shout out to my letterer Adam Wollet. Through his skill and creativity, he managed to develop a distinct look to the singing parts of the story that–in my opinion–beautifully matches Kurt’s distinct voice.
You worked with artist Alex Diotto on “Southern Dog.” Why was he the man for “Skip to the End?” What’s the biggest difference in your working relationship from each series?
JH: From the start, “Skip To The End” was a passion project that I wasn’t willing to pitch to just any talented and available artist. It was a very personal story for me and because of that, I was afraid that it might not be interesting to anyone else. As for Alex, I’ve worked with him on and off for the past five years. Over that time, we’ve developed a rapport that only comes from positive collaborating and increased trust, and I felt comfortable sharing it with him. When he responded almost immediately to the pitch, I knew he was going to bring a passion to this project that equaled my own. The biggest difference with this particular series is that I’ve had the opportunity to see how Alex’s art has evolved since Southern Dog. It’s easily his best work to date and I can’t wait for people to see it.
I’ve long been working on a theory of what each roll in comics translates to in terms of the typical roles in a band. What role do you think you play in the “Skip to the End” band? (Letterer’s are for sure bassists as everyone thinks its easy and they can do it when they really couldn’t and the only time most people notice it is when it’s bad)
Continued belowJH: Interesting questions! I’d say that the writer is the composer of the music. Without the melody, there is no song. Without the plot, there is no story.
FUN FACT: Kurt Cobain’s song writing process consisted of playing around with melodies until he created something he liked. The lyrics were often secondary as he’d make them up as he played a new song over and over again on the guitar.
Why will readers love the book? Why do you love it?
JH: Nirvana has never strayed far from the hearts and minds of music fans, but with the recent HBO Documentary Montage of Heck and Rolling Stones interview featuring Francis Bean Cobain, the band is experiencing a renaissance. Based on true events, this story will appeal to anyone who lived through the MTV era or ever head-banged to “Smells Like Teen Spirit”—but also to the next generation of music-lovers.
I love it because it’s my first attempt at writing a time travel story. I just hope I pulled it off.
