The following is an interview with writer Steve Thompson (Hey! Don’t Go!, Don’t Let Your Dead Ones Die) regarding the upcoming release of the graphic novel, Ill Vacation, through Comixology Originals. In this interview, Fanbase Press Editor-in-Chief Barbra Dillon chats with Thompson about his shared creative process in working with artist Gonzalo Ruggieri to bring the story and characters to life on the page, what he hopes that readers may take away from the story’s themes, and more!
Barbra Dillon, Fanbase Press Editor-in-Chief: Congratulations on the upcoming release of Ill Vacation! In your research of the time period and the effects of war on soldiers, was there anything that most intrigued or interested you which became fodder for the story’s narrative?
Steve Thompson: Thank you for your congratulations! That’s very kind. I wanted to do a story about trauma because it’s a terrible consequence of war that affects everyone involved, whether a combatant or not, and lives on for generations. The two main characters are people who carry with them horror that they’ve witnessed, both shown and alluded to, and the monsters they encounter are all manifestations of that. The difference is that everyone around them is living with their horror, too. Add to that that they are in a conflict far from home, waged on islands many thousands of miles apart, anyone is going to feel alone and uneasy in that situation, and I really wanted the reader to feel that isolation. It’s not stated, but devastating nuclear tests were also happening around that time, although they too are not directly referenced. The main action takes place on Easter Island, but we deliberately barely feature the awe-inspiring stone heads there; any reader will know they are there, in the background. All in all, we are trying to keep everyone on their toes and unsure of what is real and what isn’t!
BD: The story deftly weaves elements of supernatural horror with the psychological terrors that we inflict on ourselves. How would you describe your shared creative process in working with artist Gonzalo Ruggieri to bring this haunting world to life on the page?
ST: I had this script in raw form, and having made some comics before, I knew what I wanted in an artist for this. I saw Gonzalo’s beautiful work on a Kickstarter project someone was running and felt too nervous to write to him right away because I thought he’d be too busy and I’d be disappointed. Then, I was already working with an artist on a book, and I told him I needed an artist with an unconventional but strong, distinctive style, and he gave me Gonzalo’s details because they were friends and he’d had a window open up to start work on something! I asked him to take a look, and I said there were tons of monsters to draw, and he leapt at it thankfully. I’m fantastically pleased not only with his art but his page layouts, which get more and more creative and daring as things fall apart to greater degrees throughout the story.
BD: At Fanbase Press, our #StoriesMatter initiative endeavors to highlight the impact that stories can have on audiences of various mediums – no matter the genre. How do you feel that Bob and Mary’s story may connect with and impact today’s readers?
ST: Although the story is a period piece, I think the themes are relevant today. Armed conflict is still a thing, and the horrors of war and what is left behind are certainly still in the news and on our streets and cities. What’s more, Bob and Mary are good people who have been treated badly, exactly the kind of people who are affected by war, but if the world were kinder, they wouldn’t be. There’s a scene where they talk about life back home, and that stands in contrast to where they are now, a great distance from community and safety. They have each other, though. That’s their new community and meaning. We can all relate to being away from home and making new friends and solidarity in new, unfamiliar circumstances, I think.
BD: What makes Comixology Originals the perfect home for this graphic novel?
ST: Gonzalo and I are very proud to be part of a new initiative to launch new creatives, alongside established voices, at Comixology, and that’s an opportunity not often offered by publishers. Along with this, Comixology have been very kind to us and made the book production process as easy as possible, offering help where we need it. They told us what they liked about the book and how it would fit with their roster, so it all fell into place very well!
BD: Are there any additional projects – past or current – that you would like to highlight for our readers?
ST: I’ve written many comics and the past and worked with many artists, but always sold them at conventions. I try to attend as many comic conventions as possible each year, and there are a couple of titles that always sell well. So if you’re at a show, pick up ‘Don’t Let Your Dead Ones Die’ about a woman who wakes up as a zombie and tries to find out why before she loses her mind. Or Speedrun, about a planet where visitors must run as fast as possible to stop them evolving very fast! And get hold of 24Panels from Image Comics, a charity anthology featuring a host of established and new creators. I’m currently working on a new book about a fantasy land that is disappearing bit by bit!
BD: Lastly, what is the best way for our readers to find more information about Ill Vacation and your other work?
ST: Visit Comixology to read about Ill Vacation or to pre-order and say hi at any comic convention I’m at. I love to talk comics and making comics with everyone!
