You asked for it and we deliver: Today we have with us critically acclaimed author and artist Max West. In honor of the new release of Sunnyville Stories Vol. 3, we are dedicating this month to Sunnyville Stories and Max West and to help showcase his new release we brought Max into the Root Beer Party studios for some draft root beer on tap and to talk about his latest work: Sunnyville Stories Vol. 3 which you can preorder here on Amazon: http://smile.amazon.com/Sunnyville-Stories-3-Max-West/dp/0989069621/ref=sr_1_8?ie=UTF8&qid=1452340352&sr=8-8&keywords=sunnyville+stories
Welcome back Max, none of us here at the root beer party can wait until the official release of Volume 3, but lets get down to what the fans really want to know about:
Sunnyville volume 3 is the next trade paperback in my saga collecting the adventures of Rusty Duncan and Sam Macgregor. It’s my aim to “grow the beard” in this volume with my work. Besides improving my drawing and trying out new storytelling techniques, I want to expand more on Sunnyville, the people living there and their relationships.
When I first thought up the idea of Sunnyville (more on that in a moment), I took some cues from the 1986 anime series “Maple Town”. That series dealt with a young girl rabbit named Patty Rabbit moving to a new town and meeting a local boy named Bobby Bear. While these two characters were the spark I needed, the protagonists of Sunnyville had to be different; I didn’t want to plagiarize and I needed to give them a unique feel. I decided to make them teenagers. Rusty was there from the start. He was a wisecracking city boy who would be moving to Sunnyville from a big city far away. He was a cat but when I developed Samantha, she was originally a rabbit. She became a cat because that was easier for me to draw. As for the dynamics of Rusty & Sam’s relationship, that was there from the start too. I intended them as a wise guy and straight man duo; Rusty would say or do something funny while Sam would react.
It was an accident. I’m very nostalgic about the 1980s and one day in 2005, I found information about an anime series I used to watch in syndication then on Nickelodeon called “Maple Town”. I read webpages I could find on the series and through various sources, was able to get my hands on English dubbed episodes of the series (at this time, no official releases exist here in the USA). After watching the series, I began to think. Maple Town was a remote village that seemed to be lost in time; the inhabitants dressed traditionally and seemed to lack modern technology. That appealed to me and I pondered what it would be like to build some kind of story around such a remote village. Rusty and Sam were added in soon after and I drew upon my own experiences of moving from New York City to the rural South. The idea was shelved for various reasons until 2009. In early 2009, I started going to night classes at the School of Visual Arts and I had to do a final project for a course where I had to do a minicomic. While I thought in vain of ideas, I wondered about those two characters Rusty and Sam – then I decided to use them. From then on, I spent the rest of 2009 putting together the universe of Sunnyville and generating story ideas. Then in 2010, I launched the series.
That won’t be for quite a few years. I plan to do more with the Sunnyville characters so while the series will eventually end, the adventures of the characters won’t necessarily end too.
I have Cerebus the Aardvark making a cameo in Sunnyville #10 plus Bob Burden’s Flaming Carrot also makes a brief appearance in Sunnyville #11 in a montage of art school students
When it comes to setting up my pages, I keep it simple. I draw thumbnails ahead of time and keep it simple. I try to avoid anything fancy that would detract from the storytelling. My pages are drawn on smooth 2-ply bristol with nib pen and India ink. As for character design, I sometimes have a clear idea for the character itself but sometimes it’ll take a few tries to get a usable idea down on paper.
I’m using storytelling techniques inspired by Dave Sim’s Cerebus. Here, I’m using polyptychs where the character moves through divided panels against a static background. I want to convey a dynamic motion on the static comics page. Artwise, I’ve gotten better with my drafting. Besides being more experienced with handling a nib pen (I used to draw with markers until Matt Madden got me started on nibs), I’m much more comfortable drawing the characters. I also have taken more cues from newspaper comic strips, having read more of Peanuts and George Herriman’s Krazy Kat.
Money is a challenge as I have to raise enough funds to keep printing books. Promotion too is hard as I don’t have the resources of some big time publisher; I can’t run ads in magazines as the prices are steep.
The best thing is the fact that I have complete control. Like Dave Sim, I don’t like having to compromise my artistic vision with some editor telling me “you can’t draw that”.
I hope to have volume 4 out in the summer of 2017. There will be more drama in the coming volume as Rusty will get sick, there’ll be more parent-child conflict and someone in Sunnyville is going to die.
Traditional methods are more common with the small press crowd. While there’s nothing wrong with using the computer to make comics, it’s an issue of cost like having hardware, peripherals and software and that can run into hundreds or even thousands of dollars depending on what you want. I think that traditional methods (like drawing tables, pencils, pens, and so on) will always be with us because of costs.
In addition to costs, it just feels good to have a tangible piece of artwork. You can reach out to touch a page that’s been drawn on; that can’t be done with a computer file. On top of that, you don’t have to worry about constantly upgrading hardware or software. Every few years, new models of computers come out that render the previous ones obsolete or even useless. I don’t have that problem with bristol, pencil or pen.
I don’t plan on doing any color comics. It’s just too much work. There’s a science to coloring comics; you can’t throw every color onto the page like a coloring book. It has to be done so that it supports the flow of the story. On top of that, color printing is expensive.
Sunnyville was heavily influenced by Maple Town. But I didn’t want to simply copy that story and I used a more simple art style by following cues of many comic strip greats like Charles Schulz.
It’s hard to pick one particular artist, but it has to be Charles Schulz. My own style is very simple compared to the draftsmanship of many others out there, but like Schulz, it gives me a chance to let the writing speak for itself and use an iconic representation that doesn’t let the art get in the way of the story
I’m not sure what you mean by a complete version. I do have story ideas that I’ve wanted to use but had to discard or file away simply because of time. For example, Sunnyville #7 was going to be about Rusty forming a band and then taking his band to compete on a live TV contest show in the neighboring town of Solton. Will I ever do that? I don’t know.
Von Herling is in a separate universe from Sunnyville. There won’t be any crossovers where Von Herling teams up with Rusty and Sam.
At this phase, I would say “genre-busting”. Early on, I would have considered this slice of life but the addition of humor (Rusty’s jokes) and drama is making this more than I originally envisioned. Plus more fantastical elements are going to be introduced soon; there’ll be a time travel story and one where Rusty and Sam face an energy-based lifeform!
Doing Sunnyville has given me a sense of accomplishment. I have done what few people have; I created something out of nothing. I put together a whole universe full of characters having adventures and in relationships; they will still be there when I put down my pen and stop drawing. The worse thing is that it’s brought me some unwanted attention in the form of vicious detractors who have a grudge against my work. But from what I’ve learned, this seems to be more about “tall poppy syndrome” as they resent me for my success and for what I’ve accomplished.
I enjoy Peter & Company; in fact, Rusty and Sam can be seen as background characters there if you look hard enough. I also enjoy the work of Master Godai, notably his Rascals webcomic