For those following along with the never-ending struggle in my attempt to finish The Samurnauts: Curse of the Dreadnuts #4, it becomes clear that when I declare “Each comic takes about 250 hours to complete from concept to final print,” I’m being very serious. And with this, the last issue of the mini-series, 250 hours is a massive understatement. As I was lamenting on my social feeds how I was without topic this week – because I figured no one wants to really know my lengthy thoughts about Arrow given I just started on Season 3 last night on Netflix – the consensus spoke.
Chicago’s Resident King of Nerds, Elliot Serrano, made the pitch:
Dude, you’ve been going through all these trials with life and creating your book, talk about that. Talk about the process and what drives you to keep going.
And his suggestion was liked by numerous compatriots of mine. Who am I to argue when the masses (exactly three people) demand I share the secret inner workings of Unshaven Comics?
So, let’s start at the top, shall we? This issue was supposed to be done last November. December if I was being lazy. Here we are in August of the following year, and we’re still inking pages. I myself have three left. Matt has four or five. And then the whole thing needs to be colored, have special effects added, lettered, proofed, and then printed. Shortly thereafter, the whole mini-series needs to be compiled, bonus materials built, and the graphic novel (that 125 very very very patient fans have awaited) will be done too.
So what happened?
Well, Elliot, the answer comes in two parts as you suggest. First, the quality of the final issue. Issue 1 of the series was all about the setup. For me personally, the only challenge was a cold-open action sequence, and having to learn how best to draw my Samurai-Astronauts panel after panel. While, yes, I’d completed Samurnauts: Genesis the year prior to Curse, the truth is I used as many cheats as I could to get to the final panel. Speedlines instead of a background? Sure! But I digress. By issue 4, there’s no more room to hide. Every page is the last of major sequences. Major fights. Transforming Zombie-Cyborg space pirates. Super move after super move. And probably a story somewhere in there. For Matt? It’s page after page of giant robots fighting. Suffice to say, we’d bitten more off than we could chew, but would be damned if we let it beat us.
But if our own stipulation of making the final issue be as good as we want it to be wasn’t enough, life gets in the way. As detailed before, in several columns, both Matt and I each brought another child into the world some five months ago. While we didn’t carry the children in our beer guts (thank Rao…), it was no less stressful. Another mouth to feed is another blessing on your home (yes, indeed, Rabbi Krustofsky), it’s also not fed for free. Both Matt Wright and I have more than doubled our efforts in the work-a-day world; Matt has taken to Uber’ing for secondary sources of income, whilst I have taken on massive amounts of freelance web and print design. Both of us work solid 18 hour days, minus some of the weekend when we just get to play dad and husband. Somewhere without those 18 hours, we scrape, scratch, and claw to complete panels. We still meet every Friday night to work together. We still attend conventions – with Dragon Con coming in about a week, and the New York Comic Con a month later.
So, what of the process, and what drives us to keep going? Well, it’s perhaps a bit rote to say it, but it bears stating it anyways. What drives us is the same thing we assume all other indie creators; the thrill of selling our wares to complete strangers who get what we do and want to support us. We create because we can’t exist without creating. Since our friendship blossomed in the sixth grade (with the unmentioned-until-now-but-still-just-as-important Kyle Gnepper), we’ve spend decades creating and destroying creation after creation. It’s simply part of what gets each of us up in the morning. I could work 25 hours a day, and still need to make my own work before my head hit a pillow. And to that point, the process itself is even more predictable. We work. We don’t stop working. We second guess how deep the undertaking was every damned week. But then we look at the pile of pages of the best-rendered, best-written ideas of our young careers, and we yearn to see it in the hands of those who supported us.
Sometimes, it’s the simplest of answers that drive home the most salient points. We do what we do, because we simply couldn’t be ourselves if we didn’t. And while we’re not punctual, the proof will exist in print soon enough.
Please note that Unshaven Comics is declaring that issue 4 of Curse of the Dreadnuts will be debuting at the 2016 New York Comic Con this October, even if Marc and Matt end up working 25 hours a day until then to ensure it happens.