They say it’s an honor to be nominated for a major industry award like an Eisner, and it certainly is. But I’d be lying if I said I wasn’t seriously rooting for a few pals of HeavyInk in last Friday’s awards at SDCC—Fred Chao, for the fantastic Johnny Hiro; Brian Clevinger and Scott Wegener, for the awesome Atomic Robo; and Gerard Duggan, writer on Infinite Horizon, one of my favorite miniseries currently on the stands.
Unfortunately, none of them won, nor did any of my other favorites, in most cases. I guess if you want an Eisner, it’s best to insure I hate your comic.
Anyway, Infinite Horizon is a gripping retelling of Homer’s Odyssey set in a fictional near-future where regional factions battle in our own country for water and soldiers still spend years on duty in the Middle East. Visually, it’s a treat, and it’s a treat for the mind as well—Duggan’s got a gift for laser-like focus on just the right moments that illustrate his characters and themes, without letting this legendary story carry them both away.
Gerard was good enough to answer a few interview questions, and send over some prizes, which is much appreciated. Read on for details of our giveaway, and for insights on this amazing miniseries…
How does it feel to be the writer of the “Eisner-nominated” Infinite Horizon? Congrats on the nomination…how did you find out?
It was a genuine shock to be nominated. Joe Keatinge from Image called with the news right before the press release went out. I asked him to give Phil the good news because I was sure Noto would not believe me. Both Phil and I are both very honored to be in a category that includes some of our favorite creators. Everyone hopes that your work will connect with an audience, but being recognized was beyond all expectation. Brian Posehn and I presented a couple of awards at last year’s ceremony, but I never thought I would be back again so soon.
Tell me about your “ah-ha” moment on Infinite Horizon. When did you first realize that there was a story to be told in drawing from the Odyssey for a modern story that would bring in some modern politics as well?
When I first have an idea, I stop and write down as much of the idea that can be captured at that moment. If it’s a decent idea, a lot of thoughts can pour out of you at once. The very next thing that I do is try to punch as many holes into the idea as possible. If I don’t, somebody else will.
With this particular story, I wasn’t able to really sink it. Breaking the tale was very exciting. Hours disappeared into a computer, but it felt as though minutes had passed. I knew right away I was going to write it as a comic book. Luckily, Phil said yes right away and we began immediately. I spent sleepless nights either getting out of bed to jot down ideas, or staring at the ceiling wondering if someone was further ahead that I was in telling this story. That was not a good feeling. Getting the first issue into comic shops relieved me of that stress.
How deeply are you drawing from the Odyssey for your story and characters? I see the big parallels, but are you sprinkling in story elements throughout the series, or is it more of a rough template?
We’re finding ways of re-imagining the journey with the Cyclops, the Sirens, the land of the dead, and we’re ripping some elements right from the poem, but leaving other ideas behind. We turned Penelope’s suitors into men that are after fresh water. Her struggle to protect her family and house are the same. Our soldier’s epic journey is more or less intact. Our story is very grounded, and even though the Gods are all over the original work, there’s no divine intervention in the comic. For better, or worse. There are maybe a couple of things in the upcoming fourth issue that hardcore Odyssey geeks will appreciate.
What kind of research was required to create this world? It’s clearly inspired by the landscape of today but with some very specific changes. Can you reveal more background on the politics of Infinite Horizon, and the world in which it takes place?
I believe in the idea that we’re experiencing (or have experienced) “peak oil.” For those not familiar with the premise, it’s basically the idea that we’ve already sucked the most oil that we’re ever going to pull from the Earth, and that ever year oil production will continually decline until it finally runs out.
We’ve not done enough to solve our worsening energy problems, but that’s because until recently, it was cheaper to do things the old way. I see a special opportunity that comes with high energy costs. More money will be spent on alternative energies. Investing in new technologies will finally make financial sense. That’s the good to come out of the current predicament.
However, the world of THE INFINITE HORIZON is full of breakdowns: Failures that have cascade atop one another. What if energy costs skyrocketed? What if banks failed? What if economies collapsed? What if global warming changed ecosystems? What if access to clean water grew more and more scarce? What if China becomes the world’s lone super-power? What if it all happened in a short time? It’s sort of a soft-apocalypse brought about by nature, economics, fate, and our own greed. The nice thing is, even if I’m wrong, and we’re swimming in oil for centuries to come – these ideas make a hell of a setting for a story. Despite all of those ideas the story is fairly simple: A man struggles to return home to his family after years away.
Phil Noto’s using some interesting techniques on the artwork—I noticed some of the red linework in the scenes back with Penelope, for example. From a writing perspective, what are these techniques adding to the story? How are you adapting your work to Phil’s style?
The truth is that I rewrite everything after Phil wraps the art. I print out the art and start a new draft for Ed Dukeshire to lettering. I don’t do this because I love rewrites either – I do it because if I didn’t the book would suck. I complete at least a couple of drafts before Phil sees the script, but even when Phil’s layouts arrive in my inbox exactly as written, there are always wonderful surprises: a color choice, an angle, or something I can’t put my finger on that makes me tweak my writing. I’ve come to find that Phil’s work has a temperature if that makes any sense. It’s damn great, and keeps me on my toes.
Have you heard from any active soldiers who’ve read the book? What were their responses to it?
We haven’t heard from any soldiers. I hope that changes when we get the trade out later this year. I gave some copies to a charity that was sending them to Iraq. Perhaps it’s not the distraction they need at the moment? They’ll be our toughest audience, but I look forward to their thoughts. Maybe I’ll meet some at this year’s Comic Con.
What do you think it is about the Odyssey that has made it such an enduring and adaptable story for many centuries?
War will always keep The Odyssey fresh. This story will resonate as long as men and women are sent away to fight and die. Unfortunately, I don’t think it will ever go out of style. Of course, the Coens crafted the brilliant O BROTHER, WHERE ART THOU? which was fantastic, and had nothing to do with a war. It still had an epic journey, a bastard cyclops, and at least one suitor. So there will always be surprise takes on the poem. Even though the tone of the book is serious, I hope it comes across how much fun we’re having making THE INFINITE HORIZON. Thanks to everyone that is reading it!
We have five signed sets of issues 1-3 of Infinite Horizon available for giveaway!
All those who place orders on the site (for Infinite Horizon or otherwise) between today and next Wednesday will be placed in a drawing to win a set. Thanks again to Gerard Duggan for his time and good comics.
