We recently sat down with Nathan Sage in the plush Dorkland offices to do an interview about his and Ron Joseph's new comic, The Shepherd, that is currently in its final week of Kickstarter.
Dorkland: How did you get started with comics?
Nathan Sage: Perhaps the moment comics pulled me in was this one rainy day I climbed up into the dusty attic and found a tattered box of my dad’s old Superman comics. From the 60s. A whole story arc of them. I remember reading right through to the last one and feeling crushed that it ended with a cliffhanger. CAN SUPERMAN SURVIVE THIS HORRENDOUS ORDEAL?!
But if Superman introduced me to the world of comics, Moebius was my teacher. In the late 70s he did this series of wordless short stories in Heavy Metal Magazine called “Arzach.” They were so cinematic, so beautiful, so simple in their delivery. And as a writer, that sense of visual revelation has been so vital to the way I see comics. I attempt to write comics stories wherein the writing serves to drive visual storytelling—where the reveals are made with pictures, not words. I mean, that’s why we all got into comics, isn’t it? Because of the pictures?
DL: Why use Kickstarter for this project?
NS: Kickstarter allows us to connect with a much larger audience than simply self-publishing would allow. Recently I was running my finger down that long list of people who’ve jumped onboard our project, and the disparity of where people lived was incredible. Australia, France, Italy, Canada, Mexico, Great Britain. This kind of reach would have been much more difficult without a platform like Kickstarter; with just a few clicks anyone from anywhere in the world can get, and have a part in, our comic.
DL: How has the Kickstarter experience been for you? Anything in particular that you have learned during this experience that might help other people considering Kickstarter?
NS: I had knots in my stomach for the week leading up to our launch. It was a constant struggle of “Is the project page clear? Will people get this? Am I out of my mind?” My greatest fear was that the Kickstarter would launch at midnight New Year’s Day and would be met with a collective yawn of nothingness. But we had done a few things right. We had announced the project and its Kickstarter to the world 2 weeks early (I’d do it even earlier next time), and then at ten days out we started a Ten Day Countdown, complete with graphics and little mini-stories and a teaser video, leading right up to the start of the campaign. And it paid off—the first day we hit 25% of our funding goal.
DL: What are some of the influences that went into creating The Shepherd or that helped with its conception?
NS: I think between Ron and I, each of us bring a long list of influences to bear on the comic, and looking at any one page of the comic you can start to see them. We both loved a lot of comics from the 1970s and 1980s; the Moebius comics in Heavy Metal really show through in my sensibilities in the storytelling and some of the design elements (I think you can really see it in Astrid’s gown and the maniac poachers’ armor). Ron has a special place in his heart for the comics John Byrne drew at Marvel in the 70s and 80s, and outside the comics world he draws endless influence from the creative genius of Jim Henson.
DL: It seems you all are using some of the old school non-digital methods for The Shepherd – what are some of the reasons for that? What might it mean for the readers?
NS: I’ve always loved the way traditional pencils and inks look; there’s a distinctness about it that feels very organic. You look at an inked line and it has a certain smoothness, a certain unpredictability to it that I love. If you could see Ron Joseph polish off pages of pencils and Jake Isenberg ink those pages with brushes dipped in India Ink, you would see two artists who are absolute experts in their craft—they come at the pages with such speed and detail that it’s almost impossible to imagine them doing things any other way.
DL: Astrid, the main character, seems like a fairly normal person – why have her as a main character? What qualities does she possess that makes her stand out as a heroine?
NS: It was important to me that Astrid seem ordinary. That she seem like the girl you know as your daughter, your neighbor, your sister. In early versions of the comic book cover we had her wielding weapons in a defensive stance, but that struck us as too war-like, and it made her feel too stereotypical as a comic book “badass” woman. No, we needed someone who could experience joy, curiosity, innocence; in short, we needed someone who could be underestimated. But what’s inside her is what counts, and for that you have to turn the page.
DL: From a glance, Rul, the poacher, seems straightforward. What sets him apart as an antagonist?
NS: Ron likes to talk about how everyone in the story is the opposite of how they appear. Astrid seems small, innocent, even weak. And Rul is built like a classic comic book hero. And perhaps, in some other story he might be that hero—but he’s one who’s lost his way. His obsession for finding this mythical beast, the Thanacht, has clouded his vision and stood his priorities on end. He is a hero lost in a delusion, filled with hate.
DL: What are some of the unique aspects of the setting used for The Shepherd?
NS: Ron and I wanted to create a world breathing with history and texture. I like to describe it as a distant planet much bigger than our own that’s just at the dawn of its age of discovery—you know, that moment in a planet’s existence when you could have two advanced civilizations across the world from each other, that each have no idea the other exists. We created creatures, from the tiny to the magnificently huge, tribal and urban cultures and their technologies, and even the ruins of previous worlds. And what you’ll see in the story is a clash between ways of life—Astrid’s simple, sometimes magical technology (or lack thereof), against the guns and steel of the unscrupulous poachers.
DL: What might draw people who are new to comics or only occasional readers to The Shepherd? What is there for the more avid readers?
NS: The Shepherd offers occasional readers and avid fans alike a different kind of leading character—a strong, young woman possessed of no special powers, just a heart and a sound mind like anybody else—who comes into extraordinary circumstances when a wounded monster thought extinct a thousand years ago stumbles across her path. Astrid is everything to this comic—she is its heart and soul, the human all of us would like to be in our most trying times—an ordinary hero.
DL: Lastly, what is your favorite part of The Shepherd and why?
NS: My favorite moments in this book are the moments Astrid surprises you. The sometimes quiet, sometimes explosive, violent moments when she reveals the stuff she has inside that you didn’t quite know was there. But then, those are my favorite moments in life too.
We here at Dorkland would like to thank Nathan for taking the time to do this interview with us. If you would like to know more about The Shepherd, or get your hands on a copy, be sure to check out its Kickstarter page.
Dorkland: How did you get started with comics?
Nathan Sage: Perhaps the moment comics pulled me in was this one rainy day I climbed up into the dusty attic and found a tattered box of my dad’s old Superman comics. From the 60s. A whole story arc of them. I remember reading right through to the last one and feeling crushed that it ended with a cliffhanger. CAN SUPERMAN SURVIVE THIS HORRENDOUS ORDEAL?!
But if Superman introduced me to the world of comics, Moebius was my teacher. In the late 70s he did this series of wordless short stories in Heavy Metal Magazine called “Arzach.” They were so cinematic, so beautiful, so simple in their delivery. And as a writer, that sense of visual revelation has been so vital to the way I see comics. I attempt to write comics stories wherein the writing serves to drive visual storytelling—where the reveals are made with pictures, not words. I mean, that’s why we all got into comics, isn’t it? Because of the pictures?
DL: Why use Kickstarter for this project?
NS: Kickstarter allows us to connect with a much larger audience than simply self-publishing would allow. Recently I was running my finger down that long list of people who’ve jumped onboard our project, and the disparity of where people lived was incredible. Australia, France, Italy, Canada, Mexico, Great Britain. This kind of reach would have been much more difficult without a platform like Kickstarter; with just a few clicks anyone from anywhere in the world can get, and have a part in, our comic.
DL: How has the Kickstarter experience been for you? Anything in particular that you have learned during this experience that might help other people considering Kickstarter?
NS: I had knots in my stomach for the week leading up to our launch. It was a constant struggle of “Is the project page clear? Will people get this? Am I out of my mind?” My greatest fear was that the Kickstarter would launch at midnight New Year’s Day and would be met with a collective yawn of nothingness. But we had done a few things right. We had announced the project and its Kickstarter to the world 2 weeks early (I’d do it even earlier next time), and then at ten days out we started a Ten Day Countdown, complete with graphics and little mini-stories and a teaser video, leading right up to the start of the campaign. And it paid off—the first day we hit 25% of our funding goal.
DL: What are some of the influences that went into creating The Shepherd or that helped with its conception?
NS: I think between Ron and I, each of us bring a long list of influences to bear on the comic, and looking at any one page of the comic you can start to see them. We both loved a lot of comics from the 1970s and 1980s; the Moebius comics in Heavy Metal really show through in my sensibilities in the storytelling and some of the design elements (I think you can really see it in Astrid’s gown and the maniac poachers’ armor). Ron has a special place in his heart for the comics John Byrne drew at Marvel in the 70s and 80s, and outside the comics world he draws endless influence from the creative genius of Jim Henson.
DL: It seems you all are using some of the old school non-digital methods for The Shepherd – what are some of the reasons for that? What might it mean for the readers?
NS: I’ve always loved the way traditional pencils and inks look; there’s a distinctness about it that feels very organic. You look at an inked line and it has a certain smoothness, a certain unpredictability to it that I love. If you could see Ron Joseph polish off pages of pencils and Jake Isenberg ink those pages with brushes dipped in India Ink, you would see two artists who are absolute experts in their craft—they come at the pages with such speed and detail that it’s almost impossible to imagine them doing things any other way.
DL: Astrid, the main character, seems like a fairly normal person – why have her as a main character? What qualities does she possess that makes her stand out as a heroine?
NS: It was important to me that Astrid seem ordinary. That she seem like the girl you know as your daughter, your neighbor, your sister. In early versions of the comic book cover we had her wielding weapons in a defensive stance, but that struck us as too war-like, and it made her feel too stereotypical as a comic book “badass” woman. No, we needed someone who could experience joy, curiosity, innocence; in short, we needed someone who could be underestimated. But what’s inside her is what counts, and for that you have to turn the page.
DL: From a glance, Rul, the poacher, seems straightforward. What sets him apart as an antagonist?
NS: Ron likes to talk about how everyone in the story is the opposite of how they appear. Astrid seems small, innocent, even weak. And Rul is built like a classic comic book hero. And perhaps, in some other story he might be that hero—but he’s one who’s lost his way. His obsession for finding this mythical beast, the Thanacht, has clouded his vision and stood his priorities on end. He is a hero lost in a delusion, filled with hate.
DL: What are some of the unique aspects of the setting used for The Shepherd?
NS: Ron and I wanted to create a world breathing with history and texture. I like to describe it as a distant planet much bigger than our own that’s just at the dawn of its age of discovery—you know, that moment in a planet’s existence when you could have two advanced civilizations across the world from each other, that each have no idea the other exists. We created creatures, from the tiny to the magnificently huge, tribal and urban cultures and their technologies, and even the ruins of previous worlds. And what you’ll see in the story is a clash between ways of life—Astrid’s simple, sometimes magical technology (or lack thereof), against the guns and steel of the unscrupulous poachers.
DL: What might draw people who are new to comics or only occasional readers to The Shepherd? What is there for the more avid readers?
NS: The Shepherd offers occasional readers and avid fans alike a different kind of leading character—a strong, young woman possessed of no special powers, just a heart and a sound mind like anybody else—who comes into extraordinary circumstances when a wounded monster thought extinct a thousand years ago stumbles across her path. Astrid is everything to this comic—she is its heart and soul, the human all of us would like to be in our most trying times—an ordinary hero.
DL: Lastly, what is your favorite part of The Shepherd and why?
NS: My favorite moments in this book are the moments Astrid surprises you. The sometimes quiet, sometimes explosive, violent moments when she reveals the stuff she has inside that you didn’t quite know was there. But then, those are my favorite moments in life too.
We here at Dorkland would like to thank Nathan for taking the time to do this interview with us. If you would like to know more about The Shepherd, or get your hands on a copy, be sure to check out its Kickstarter page.
