![]() ![]() That's a comfort level that's grown over the course of the issues, so the first issue becomes kind of a proving ground to see how much information I need to give to feel comfortable. I try to make sure that I build in as much freedom for him, so I give him a list of what needs to be included in each shot, but I don't prescribe always the angles of it or exactly what I want it to look like. For Enid, it's his dynamism, his movement, the way he structures the page. ![]() While there are some moments in the comic that I have a very strong idea of what I need it to look like, I know what my artist strengths are. ![]() The last thing I want to do is be prohibitive in being prescriptive. I work really hard to make sure that my artists have creative flexibility and freedom because just as prose is my expertise, I know the visual medium is theirs. Speaking about your partner in crime, Enid Balám, what was that collaborative process like? RELATED: Boom! Box's Getting Dizzy #1 Comic Review I knew that those novels were going to continue forward in time, and there was a backstory that I really wanted to tell, so sometimes shorter narratives, or capsule narratives that could work as a novella, I like to explore them in a comic format. I know when I was doing my first comic, Steel Prince, I was writing those Shades of Magic fantasy novels. Some stories lend themselves better to a shorter medium. ![]()
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