It's the deep ideas, the experimental ones, that keep me up at night as a writer, so to speak: while I put as much as I can into all my work, the independent books are the only works that have no outside constraints on them, and I'm free to follow an urgent path of thought all the way, no holding back. What need do these kinds of project fulfill for you, creatively?įAWKES: They fulfill THE creative need for me, really. IC: Your independent works-One Soul, The People Inside, INTERSECT-tend to zero in on weighty ideas and dig deep into them, in addition to being visually impressive. SYMPHONY, as the first volume of the book, was conceived as the story that would introduce readers to the hauntingly bittersweet setting I wanted to explore: a visceral horror story in lush, ornate, beautiful dressing. "Everything is bittersweet" is, I think, the first line that went into my notebook when I was coming up with this series. RAY FAWKES: UNDERWINTER as a series is born of my fascination with the duality of our world: how it can be achingly beautiful and disgustingly horrifying all at once. IMAGE COMICS: What was the original germ of an idea that led to UNDERWINTER?
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