Multiversity Comics Presents: Brian K. Vaughan

This is a very exciting week, comic fans. Wednesday brings the launch of a little title named “Saga” from Image Comics. It’s a pretty big deal, in that it is the return of writer Brian K. Vaughan (“Y the Last Man,” “Ex-Machina,” Lost) to the world of comics, as well as the beginning of artist Fiona Staples’ run to winning her first Eisner Award (you heard it here first). It’s also the best comic of 2012 as of this Wednesday – trust me on that. If you miss this comic, you are making an incalculably large mistake as a comic fan – 44 pages for $2.99!

To celebrate the arrival of “Saga,” I spoke with Vaughan about the first issue, how the world-building went down between he and Staples, the Dave Dorman breastfeeding controversy, whether or not you’ll see him working on a work-for-hire book in the near future, and a lot more. Check that out along with a four page preview of the first issue.

Page 1 of “Saga” #1

How has your previous work informed the development of this book? What takeaways from both your creator-owned and your for-hire work have helped make Saga the book that it is?

BKV: Hm, that’s a really good question. I’m not sure, to be honest. I suppose I’m always trying to do something completely different from what I’ve done before, so if anything, I’m reacting against my previous writing rather than trying to duplicate some aspects from it. I’ve learned so much from all of the excellent artists I’ve worked with in the past, but Saga is a completely fresh start. Feels like the first time, if I can quote Foreigner.

So much of this first issue felt fully realized in a way that most do not, with a web of characters, muddled political climate and many races that filled this extra-sized first issue to the brim. You previously told us the universe has been in your head since you were a kid, with the story being mapped out in-between the births of your two children. I’m curious — in the process of creating the first issue, especially as you worked with Fiona to develop the visual aspect, did your vision change at all? Did it zig at all when you expected it to zag?

BKV: Yeah, Fiona has had a huge impact. The basic story is still pretty much the same, but the characters and their worlds have evolved completely thanks to her. I knew who our protagonists were, but they didn’t have voices until Fiona’s first sketches arrived. In every panel she draws, Fiona adds these brilliant touches that just help make our insane-o universe feel much more grounded and real than anything I’d ever imagined. And relatable! That’s Fiona’s real gift. She can take the weirdest, most inaccessible daydream, and transform it into something you can connect with emotionally.

Page 2 of “Saga” #1

In previous works, you’ve kept the action on Earth, save some business on a space station in Y the Last Man. Given an entirely new sandbox to play in, how much depth have you and Fiona gotten into creating the world’s of Cleave, Wreath, Landfall and the galaxy that surrounds them? Are you the type to build up world creation elements in your mind even if you might never touch on them in the story, or do you mostly approach the development of this world as the story demands it?

BKV: Fiona and I already have a disturbing amount of our universe all figured out, but we’ve left ourselves a few unexplored corners of the galaxy in case we get bored. But yeah, as far as our main worlds’ history, politics, economy, geography, whatever… most of that was written in stone before we even started working on the first issue.

The very first page introduces us to a floating narration that runs throughout the book, something that belongs to a very important character. I’m sure the idea of this character narrating the story was something that existed in the script, but how did Team Saga decide to lay it out on the page in such a way? Is that something Fiona worked into the art herself, or did Steven/Fonografiks add it on top later on?

BKV: Yeah, Fiona actually hand letters that narration directly onto the page. Our actual letterer, Steven Finch, is one of the best I’ve ever worked with, but I really wanted our narration to feel completely different from the dialogue in the book. Fiona offered to tackle it herself, and I just love how organic it feels.

I’ve been forced to read an inhuman amount of children’s books over the last two years, and I started to notice how well my kids responded to text whenever it kind of playfully interacted with images. So I decided to steal this very wholesome, childlike device and put it to work in a filthy comic for adults.

Is this narration something that will carry throughout the story, or was it something specifically set to the first issue?

BKV: It continues! Whether you like it or not. I don’t think I wrote a single line of narration in Y: The Last Man, Ex Machina, Runaways or even Pride of Baghdad, so I’m really enjoying playing with a new tool. Except when it’s hard.

Page 3 of “Saga” #1

Amidst this sprawling story filled with political intrigue and evil plans, there’s a wonderful love story at its core between Alana and Marko. For you as a writer, how difficult is it for you to balance that with space helicopters, giant laser eye turtles and the illuminati of the TV-headed robot world?

BKV: Not too difficult at all, actually. I think there’s a reason great romances like Casablanca, Doctor Zhivago, and Gone With the Wind all had epic, bloody wars as their backdrops. War may be hell… but it’s also kinda sexy. The stakes are always life and death, so everything becomes more vibrant and charged. And weirdly, transplanting war to another galaxy lets us talk about our world in a way that I don’t think we could if Fiona and I had set our story on Earth.

One of the things I enjoyed the most about the first issue is how much we got to know Alana and Marko, but we still were introduced and drawn in to stellar supporting cast members. But no one stood more to me than The Will and his Lying Cat. I know you’re busy, but would it be too early to ask for a spin-off comic featuring them?

BKV: Thank you! They’re my faves, too, and Fiona just draws the hell out of them. Wait until you see her portrait of them on the cover of our fourth issue. So great.

We all knew Fiona’s art was extraordinary before reading Saga, but what she brings to this book is even a few steps up on what we’ve already experienced from her. Do you feel like you’ve hit jackpot with Fiona as your partner-in-crime on this book?

BKV: Unquestionably. No obligatory “best work of her career” hype needed here, Fiona’s stuff speaks for itself. And she’s funny, creatively daring and a total professional to boot. It’s kind of obscene that another comics company hadn’t already locked her down to a lifetime exclusive, but their loss is definitely our gain.

It seems that everyone in the industry has their eye on this series, with the buzz about your return to comics casting a wider net than most number ones receive. As someone with a rather impeccable track record, do you feel any extra pressure on yourself for Saga to be a success, or is it business as usual for you?

BKV: I never care about sales, just about cobbling together enough of an audience that we’ll be able to tell our story the way we want for as long as we want. And I’m cocky enough to think Saga’s got a pretty good shot. I don’t know, everyone kept telling me that now is the worst time in the history of the industry to launch an original creator-owned series, which is exactly what everyone was telling me when Pia Guerra and I launched Y ten years ago.

Page 4 of “Saga” #1

Everyone tells you it’s the worst time to launch a creator-owned series (again), but with things like Image Expo and Image’s library of very successful titles from people like Brubaker and Kirkman going, it seems to me that there’s been quite the surge in trying to bring original titles to life. Given your druthers, would you stick to creator-owned work in comics? Does the idea of for-hire work appeal to you any more?

BKV: I had some pretty marvelous years doing work-for-hire, and I’d never begrudge another writer or artist who wants to do the same, but no, right now, I have zero interest in working on anything but creator-owned projects. Those books are always more creatively fulfilling, and as more creators are discovering every day, they can sometimes be significantly more financially rewarding, as well. I love all those old Marvel and DC characters, but Image feels like the future, and that’s my favorite place to be.

Oddly enough, one bit of negative criticism that came this book’s way was Dave Dorman’s takedown of the cover for its depiction of breastfeeding. It seemingly did two things: 1) it mobilized the considerable and highly supportive fan bases you and Fiona have, and 2) it shined a massive spotlight on the book, potentially earning you a bevy of new, curious readers and proving once again that there is no such thing as bad publicity. My question is this: what did you think of that controversy, and did you write Dave a thank you card?

BKV: Oh, I just felt bad for Dave. Sounds like he may have overreacted to something he mistakenly thought was being marketed to children, and as an overprotective dad myself, I certainly understand. Like most internet “controversies,” it seemed like kind of an overblown pile-on, but I suppose anything that gets people talking about the magic of breastfeeding — and it really is just biological wizardry of the highest order — isn’t all bad.

One thing that I loved about the end of the first issue is something that isn’t even related to the story. I love that you’re going to have an actual letter column for Saga. Besides the great French onion soup disaster you speak of in your write-up at the close, why’d you decide that you wanted to go that route? Also, what is a “letter?”

BKV: I think I’m probably ripping that off from Adrian Tomine, who’s always had a great “physical letters” lettercol in the back of Optic Nerve. I love correspondence, but I’m afraid I hate email and social media, so this seemed like a more fun alternative. Brubaker is convinced I won’t get as much as a single postcard, so please feel free to prove him wrong, People Who Own Stamps:

TO BE CONTINUED
4335 Van Nuys Boulevard – Suite 332
Sherman Oaks, CA 91403

In the closing write-up, you speak of how new comic series don’t have fans, they have families. What do you think it is about the genuine new worlds that writers and artists and whomever create in new fiction that generates such a fervent passion?

BKV: I remember exactly where I was when I saw a drawing of the Silver Surfer for the first time. I can’t begin to describe how amazing it was. “Is that a silver dude? Riding a surfboard? Through outer space?!” Who could even conceive of something so original? So insane? I really got off on the audacious newness of it, and I think a lot of readers out there right now are craving a similar experience. That said, I never forget that new doesn’t mean shit if it’s not also good…

From what I’ve seen, it looks like the second issue of Saga will be coming in April. Realistically, what do you hope the release schedule will be like for this book?

BKV: And the third issue comes out in May! I’d love for SAGA to be as close to monthly as long as humanly possible, keeping in mind that Fiona has to essentially pencil, ink, color and occasionally even letter every single page, and it would be nice for her to not die. But yeah, for now, we’re both at ramming speed.

Before I let you go, how is adapting Stephen King’s “Under the Dome” for Showtime going?

BKV: Well, it’s still very early in the process, so there’s plenty of time for things to go south, but so far, working with Showtime has been spectacular. And Messrs. King and Spielberg liked my first draft, so if nothing else, I can die a happy man. Humblebrag!