Scott "Kaiser" Sosebee is a graphic artist and musician living in Brooklyn who recently published the first issue of his new comic Annabelle Flake Gets Rich. It's a dark tale that weaves cryptic omens around absurdly tragic twist and accidents. I spoke with Scott about the experience of creating his new comic.
Congrats on finishing the first chapter to your comic. Your style is really refined and meticulous. How long did it take?
Thanks! I'm really happy to actually hold a copy in my hand after working on it for so long. From the time I started the pencil drawings, until the book was delivered to the printer, it took me almost two years! And it's only 44 pages. Of course, I was working a full-time job during the process. And a lot of the time was spent developing my style as I inked the comic, because I hadn't done such detailed drawings since high school.
I'm kind of OCD, a I spend a ton of time drawing tiny details. But I'm getting faster, and can "ink" pages much more quickly than I could a few months ago. I'm also learning not to obsess over small mistakes, and just move move on to the next drawing. I'm confident I can finish the next book more quickly.
What's the process like? Did it evolve as you drew the comic?
I've designed large books before, so I knew to plan the book before I started drawing. I typed a the script and character direction. Then I decided how many pages and what size I wanted it to be. Next I figured out how the content would be distributed to each page. I drew 44 rectangles (representing pages) in my sketchbook, and labeled each one with story points. That was my map.
Then I just started drawing. When I finally finished the pencils, I scanned all of them, because I knew I wanted to "ink" them digitally. But then I went through a long process of learning how to digitally ink my drawings. By the time I got about halfway through the book I had a pretty good system down. But even when I got to the end I found myself doing new and interesting things I hadn't done in earlier drawings. So I had to go back and update them.
You decided not to release the comic digitally. Can you explain why you are concentrating on the print approach? Do you think you will ever put the story online?
For starters, I just really like books. I like they way they feel and the way the paper smells — the way illustrations look when printed on different paper stocks using different printing methods.
But this book has always been about me making a piece of art, not about publishing a comic book. The drawings were always intended to be viewed as spreads, black ink on white paper. I know it may sound hypocritical since I drew the comic digitally, but even digital music still sounds better on a stereo system than it does through ear-buds. And I just didn't want people experiencing the comic as a JPG or PDF, or on a glowing screen of any size. Looking into the same window as when they zone-out on Facebook or Netflix, or the internet.
I would look at the comic on my screen and see no mistakes, but I'd print it out and instantly spot several. I think the way people perceive things they see on a device screen is skewed and desensitized.
However, I would like to release this digitally, but it would be something cooler than just looking at images of the pages. I've got some ideas in the works.
Are you working on issue two yet, or taking a break?
I just sent Part One to the printer, and I still have a lot to complete on the self-publishing side. Like getting the website live and getting the book into certain local stores. But I don't plan on taking a break. I'm going to slow down for a bit and record some music with one of my bands, and wrap up some other personal projects. But I plan on starting the pencils for Part Two next week while I'm on "vacation".
For me, the book is a mix of classic indie comix, nerdy graphic design and trippy horror. Any influences in particular that you think shaped your creation?
I honestly don't have a big background in comics. I just started reading them about 10 years ago, and don't have time to go comic shopping as often as I'd like. So I'm not as familiar with current artists as I probably should be. The first graphic novels I ever picked up were the La Perdida books by Jessica Abel, and they are what made me want to start drawing comics.
But, of course, Charles Burns and Chris Ware. I think I sometimes wear those influences right out on my sleeve. And Daniel Clowes, Peter Bagge, Adrian Tomine. But then I have design influences like Chip Kidd, Saul Bass, Milton Glaser. And all the awesome stuff Art Chantry did for Estrus Records in the 90s. . . And Vaughn Oliver for 4AD.
I suppose the trippy horror influences come mostly from movies. Jean-Pierre Jeunet instantly comes to mind.
Not to spoil the story for readers, but let's just say there's a lot of pretty brutal stuff happening to seemingly undeserving characters for reasons unknown. Cruel fate. Can we expect more macabre twists in Annabelle’s future?
Absolutely. This first part of the story was particularly brutal, though (as all good hero-origin stories should be). As it progresses horrible things continue to happen but the characters usually deserve it, so the story starts to balance itself out.
Finally, are butterflies all evil?
Ha! There's definitely some winged creatures in the story that will have a larger role in Part 2. Maybe they're evil . . . Maybe they're pawns in a much larger game?
Annabelle Flake Gets Rich #1: Mister Mahooney's Miserable Morning will be available at select bookstores. Come to the release party Tuesday, February 25th at This n' That bar in Williamsburg or order copies at annabelleflake.com which goes live that same day.
