The following is an interview with Guillaume “Run” Renard regarding the launch of a Kickstarter campaign for the collected edition of the critically acclaimed series, MFKZ, in collaboration with Magnetic Press. In this interview, Fanbase Press Editor-in-Chief Barbra Dillon chats with Run about his experience in revisiting the series, what he is most excited for readers to enjoy with this expanded edition, and more!
Barbra Dillon, Fanbase Press Editor-in-Chief: You recently launched a Kickstarter campaign in collaboration with Magnetic Press for the collected edition of MFKZ. As you look ahead to the combined collection, what has been your experience in revisiting your work on the series?
Guillaume “Run” Renard: Revisiting MFKZ through this collected edition has allowed me to take a step back and reflect on the entire series. It’s a bit like rediscovering an old photograph and recalling the emotions of that moment.
Although some parts have already been published in English, it’s quite special and somewhat daunting to present this work to an English-speaking audience, especially considering that the first volume of MFKZ was released in France in 2006—almost 20 years ago. I’m concerned that certain themes or representations might be perceived as “problematic” today, given that conspiracy theories were quite fringe at the time. In contrast, they’ve now permeated public discourse in a more literal and concerning way.
However, this is the first time the entire series is available in the U.S., and I believe that those who enjoyed the film will find many answers to questions they might have had, as the comic delves much deeper into the story. I’m curious to see how English-speaking readers will react to the narrative, characters, and aesthetics of MFKZ. It’s an opportunity to reach a new audience and to see how my work is perceived through a different cultural lens.
BD: Your work has spanned various entertainment mediums, from comics to animation. Was there anything in particular about the sequential art medium that attracted you more than other artistic media?
Run: Comic books offer a unique narrative freedom. They allow for personal and direct storytelling without the budgetary or logistical constraints often associated with animation or cinema.
In a comic, I’m solely in control; I can dictate the pacing, aesthetics, and structure of the story according to my current inspirations. Each sequence, each page, is an opportunity for artistic expression, where readers can linger on details, discover Easter eggs (There are many in MFKZ.), and navigate the story at their own pace.
Animation provides impressive dynamic and visual possibilities, especially when collaborating with the brilliant Studio 4°C and director Shojiro Nishimi; however, it involves working with teams that may have differing objectives (creative teams versus budget and finance teams), inevitably leading to narrative and creative compromises.
In contrast, comic books allow me to remain true to my original vision, exploring various themes and styles without external interference. That said, the impact of an animated film is incomparable to that of a comic book. Without the film, I doubt the comic would have garnered any interest in the USA.
BD: In revisiting your work on MFKZ, was there anything new or intriguing that you took away from the series that you hadn’t anticipated when originally creating it?
Run: Absolutely. When I began MFKZ, I initially envisioned it as a trilogy; however, as I progressed with the writing, the universe naturally expanded. Secondary characters gained prominence, certain narrative arcs required more development, and I realized I didn’t want to rush the story just to conclude it in three volumes.
The story became denser and more complex, prompting me to fully commit to telling it thoroughly. Simultaneously, I had launched Label 619, which was gaining momentum. Initially, it was a small, fun project I pursued for personal enjoyment, while also exploring the possibilities of comic storytelling—MFKZ Volume 1 was my very first project.
The positive reception from the public and recognition of the editorial work meant that MFKZ could no longer be seen as a small personal project. The substance had to match the form.
I reworked the structure, deepened the stakes, and fleshed out the characters, all while maintaining the desire to enjoy the process, stay true to my universe, and offer a fun, paced read with depth. Ultimately, the five volumes naturally established themselves as the right format to fully convey what I wanted to tell in this first arc.
BD: What can you tell us about your shared creative process in working with Magnetic Press for the collection?
Run: Magnetic Press and Label 619 share a common passion for rich, visually bold storytelling. Their commitment to original works and respect for the creators’ vision make them ideal partners.
When we considered bringing MFKZ to an English-speaking audience, it was essential to collaborate with a publisher who understands and respects the essence of our work. For instance, we wanted to avoid altering the original artwork to fit the American comic format, which has unfortunately happened in the past.
Magnetic Press, with their attention to detail and ability to showcase unique works, naturally emerged as the right choice—not just for MFKZ, but for the entire Label 619.
Their editorial approach, focused on quality and authenticity, perfectly reflects our label’s philosophy. This synergy allows us to present MFKZ in an edition that honors the original work while making it accessible to a new audience.
BD: Are there any other projects – past or current – that you would like to highlight for our readers?
Run: The MFKZ universe has expanded into several spin-offs and parallel series. Among them is Loba Loca, a six-issue mini-series co-created with Guillaume Singelin. This series delves into a more intimate facet of the universe, focusing on character depth and personal narratives, contrasting with the explosive and larger-than-life tone of the main MFKZ series.
Currently, I’m working on MFK2, the direct sequel to the first arc. This series tackles contemporary themes such as misinformation, collective beliefs, and survival in a changing world. It offers a fresh perspective on conspiracy theories, reflecting current societal dynamics.
Another project is MFKZ 1886, a reboot that transposes the action to late 19th-century America, during the era of Coca-Cola’s creation and the inauguration of the Statue of Liberty. Illustrated by Simon Hutt, this version presents a shorter, offbeat, and impactful take on the first arc, placing our heroes in a historically rich context.
Additionally, I directed the DoggyBags collection under Label 619. This anthology features short stories inspired by pulp comics and genre films, blending horror, action, and social satire. It provided an opportunity to collaborate with numerous talented artists and explore a variety of narrative and visual styles.
BD: Lastly, are there any particular backer rewards that you are most excited about within the Kickstarter campaign?
Run: I really like the idea that readers can discover the Mutafukradz cards, directly inspired by the Garbage Pail Kids, and Art Spiegelman, the author of Maus. In France, we knew them as “Les Crados,” which caused quite a stir—banned in schoolyards and so on. I had a lot of fun directing this little card series, and it makes me very happy to know that American readers will be holding them in their hands.
