The Nevermen is an inventive new crime and technology series, bringing film-noir suspense and action to a gangland of absurd but frightening characters in Nowhere, America.
Writer Phil Amara -- who is also the editor of a popular but eclectic collection of Dark Horse titles including SpyBoy, Sock Monkey, and Aliens Vs. Predator Vs. The Terminator -- teamed up with artist Guy Davis (Sandman Mystery Theater) after hiring him to work on a new Terminator series for Dark Horse. Inspired by Davis' original and masterful contrivances, Amara proposed that they work together on an original series for Dark Horse, capitalizing on their shared mistrust of technological dependency and an equally strong affection for classic crime comics and sci-fi psychodrama.
The result of this flourishing creative friendship is a new four-issue series called The Nevermen, debuting May 3. We recently called on both Amara and Davis to help readers begin unraveling the secrets of The Nevermen.
SE-G: These guys are enigmatic heroes, to be sure, but they're also part of a very enigmatic environment. How would you describe where they live and who they keep company with?
PA: The setting looks like the 1930s in terms of cars, buildings, clothes, radios, turns-of-phrase, but it could just as well exist in the disorienting mists of a "comic book" present. Guy and I like the trappings of the period, but we wanted a little breathing space to be inventive. Readers needn't focus on it. It's supposed to be ambiguous. The setting is as much an archetype as the characters. It's supposedly an innocent time period...well, maybe not innocent, but one where evil and ignorance is romanticized.
GD: I think at first glance it may look like we're doing a period piece, but there's a lot of stuff we've redesigned and played around with. It's definitely romanticized but that's part of the fun. I mean, the villains are all monstrous and the heroes wear hats. Like the old Dick Tracy, you definitely know who the bad guys are, and I like the fact that we kept the setting ambiguous. I know that was something we went back and forth on. I really didn't want there to be a strict setting or time period -- it would just bring too many questions that didn't need to be answered. If we said it was New York in the '30s we'd have to explain why there's these odd monstrous villains running around, and that's not really important.
SE-G: How did the idea for this series develop between the two of you? After seeing the art, I can't believe Phil would have pursued this series with another artist, so I'm assuming you were both instrumental in its development ... true?
PA: Hah! You don't know how right you are! Guy was definitely an inspiration. It's his artwork that genuinely inspired the idea! Oddly enough though, it was some of his spot illustration work for a role-playing game manual, not the comics work, that sparked it all. The stories, characters and situations hinge on the things that Guy likes to draw. Well, except for horses and kids, but there's not too much of that! Actually, it's quite creepy (in a good way) how close our respective visions are to one another. I'll come up with a character, and Guy's design will be as if siphoned right outta my brain. Or inversely, he'll suggest something on a character, or enhance a design, and it's as if we were thinking the same thing. Weird, weird, weird!!!
GD: Yeah, I think we definitely are on the same wave length for the book. He approached me with the idea for doing a series and basically incorporated everything I like to draw. How could I refuse?! Phil knows just what to say to get my imagination going on designs; he'll let me run with design ideas, and even if he has something in mind he'll still let me try a different direction. He spoils me rotten.
SE-G: Obviously, a one of the most attractive elements of The Nevermen is the art, and with this series, Guy really has some graphic architecture going on with both the characters and the cityscape . . .how did you decide on the look of the series, and where do the mechanical influences come from? Phil, will you be exploring the mechanical aspects of the characters at some point, or is this something Guy just thought would be cool?
PA: No, the mechanical aspect was there from the very beginning of the concept. We both like that "steam punk" imagery (for lack of a better word). The Murderist, the bounty hunter/mercenary in The Nevermen, is just dripping with that stuff. He's got something akin to a large refrigerator motor on his back, and a nasty mechanical arm. The Nevermen themselves use the mechanical imagery in regards to their weaponry. And, gosh, there are robots, too. Can't forget the robots! There is a theme here about the absolute invasiveness of technology and industry, so much so that it has defined -- maybe perverted -- a way of life. But for fans not into the subtext of the story, there's plenty o' action and knuckle sandwiches!
GD: I'd hate to call it "steam punk," since that's starting to be as cliched as `cyber punk' is. I think I wanted the look of the series to reflect sort of what the future could have been if the '30s suddenly became this big technocracy. Sort of like those exhibits at the old Worlds Fair, "the city of tomorrow." The gear works and mechanical stuff was something I always liked drawing, and I didn't want the book to have a stream-lined, Art Deco feel. You get to see the nuts and bolts of how things work. But it's all just window dressing, and I like the fact that it's mostly just background and not the focus of the stories. I mean in the context of the book we have these mechanical beasties and squid villains that the rest of the characters take as just everyday. Hopefully the readers see the book the same way and get sucked into the story. The book's very visual but, again, that's just a backdrop to the story and characters that Phil brings to life.
SE-G: I think the storytelling--both written and visual--is really unique, but it does remind me of another favorite of mine, Gary Gianni, not so much in direct comparison, but more in relation to its tone and classic quality. Would either of you cite influences for this series, and is this an amalgamation of your mutual affection for noir cinema and adventure comics?
PA: Well, Gary is strongly influenced by artists like Franklin Booth, and I'm sure Guy has found inspiration in the same material, though I guess I should let him say for sure! Hah! A friend of mine mentioned Guy's work reminded him of Alex Toth, but with different surface detail. I'd go along with that.
My influences are pretty polarized. On one hand, it's surreal comedy and imagery such as Monty Python, Ernie Kovacs, Woody Allen, The Brothers Quay animation, and the Adam West Batman TV series; stuff that you wouldn't think would influence such a dark project. It's there though, especially in the creation of the villains, and even the cadence of dialogue.
On the other side of the spectrum, it's films such as Blade Runner, Brazil, Eraser Head, Angel Heart, City of Lost Children, etc., both for themes and visual inspiration. I could never deny the immense influence Blade Runner had on me when I first saw it. I often worry about whether or not Nevermen is a tribute, or out-and-out swiping!
And lastly, there are authors like Richard Yates and Tillie Olsen who don't do premise fiction at all, much less comics. They write about loneliness, and how that causes one to make certain decisions that they wouldn't ordinarily. The latter's short story "Tell Me a Riddle" is one of the few pieces of contemporary fiction that has had a resonant effect on me.
GD: I really like Gary's work, he's just incredible. I'm sure a lot of the artists I like influence and inspire me, but I'm not setting out to ape anyone's style. Hopefully my artwork comes off as my own -- for me a lot of the feel for this book was inspired by old radio shows that I listen to while I work. Everything from Jack Benny to the Shadow, along with the movie serials from the '30s. I wanted the book to have a more surreal feel than out and out grittiness.
SE-G: What's with the monkey butlers?
PA: Yeah, baby! Who don't like `dem monkey butlers?! Though, technically, they are chimps, not monkeys, since they don't have tails. It's purely for fun! After writing Sky Ape for Slave Labor, I just couldn't get the "simian" out of my system. When I mentioned the butler chimps to Guy and Editor Randy Stradley, they reacted immediately, so I knew that ingredient was a keeper!
GD: Monkeys! Monkeys! I came onto this book just off of Sandman Mystery Theatre, which was set in a very strict time period. So now with The Nevermen I get to draw a lot of things that I always wanted to draw but never had an outlet for. Aside from the role playing illustrations I do on the side or my own books, in comics I got sort of stereotyped as the artist who does period pieces. So The Nevermen gives me an outlet to let my imagination run wild -- and I finally got to draw monkey butlers.
SE-G: The original DHP Nevermen short was black and white, and I thought it worked great with Guy's art. Guy, what will you be doing differently art-wise to accommodate the coloration of the miniseries? Have you asked that the colorist take any specific direction with the art -- I can see this working with a lot of gray and metallic tones . . .
PA: Yes! It did work great! Guy's work is wonderful, either in black-and-white or with zip-a-tone. Honestly, I think Guy and even myself, had our own respective palettes in our heads. But, we wisely stowed our egos and led Dave Stewart (and also Randy Stradley) steer the coloring. Dave is truly one of the best colorists in comics. He's totally inspired, and there's nothing he can't do. The color is in his quite capable hands, with very little scrutiny from us.
GD: Art-wise the only real difference is just leaving off the zip-a-tones, I pretty much ink it the same. Yeah, I had something more subdued in mind color-wise, probably because I usually work in gray tones over color. But I have to say that I was really happy with the way the first issue came out, it's colorful but in a sort of retro Dick Tracy look that I think works with the mood of the series. Dave's incredible and definitely adds a lot to the book, he puts in a lot of shading and textures that just bring it to life.
Keep your eyes peeled for The Nevermen, debuting May 3 from Dark Horse Comics.