If you like the robots, the dystopian world, and the fear of Eldrichian, hopefully, you’ve already seen a murderous drone. Created by Liam Vickers, Murder Drones first aired on Glitch’s YouTube channel in October 2021. In a posthuman world where workers and assembly drones fight, they come together to tear down two members of each “camp” (workcard loan wizard man and drone “n” to tackle the biggest threat to this strange new world. There may be a Romeo and Juliet vibe, but 1,000% is eccentric/strange.
Anyway, the murder drone is clearly hitting chords, with the eight-episode season gaining around 330 million views over the past four years. But now, Glitch and Vickers have joined forces with the ONI Press to release their official comic series and graphic novels, making sure that murderous drones have true cross-media features. What a creative team they hired, as Wyatt Kennedy (Night) and artist Joe Mijong (Eve, Dark Crystal: Age of Resistance) adapt the story of a murderous drone into a robust, 136-page story.
In a statement, Kennedy said the murderous drone “captures the beat of all the comedies and characters in the animated series.” And since the animated story of a murderous drone requires a lot of work, direct rework seems to be the best choice. Mainly, as the relationship between “n” and uzi unfolds, they are fighting with workers (who are trying to rebuild society in a “remote mining style” of 9-inch copper), and disassembly drones (“vampire robot counterparts”) have given up on the melting of “mechanical life from the planet and mechanical life to build the planet’s boundary” and “Helben.” It all seems pretty heavy in a dystopian vibe, but if you’ve seen the show, the mind and humor close out this deeply and interesting slice of sci-fi.
But before Murder Drones Comic/OGN debuted, The Collective launched a brand new Kickstarter. And the available items and collectibles should “absolutely solve” your hankaling for rarity. That long list includes: Variant covers (including those of Maddie C. and Jarrett Williams). Several versions of the slipcase version, including those signed by Kennedy and artist Austin Bearchill. A “high temperature” version that includes a VHS copy of Episode 1. And among the more merchandise, another edition with the “work card loan” scent (pine and oil). For more information about the campaign, visit Kickstarter today to pledge support for immortality.
To coincide with the launch of Kickstarter, I recently caught up with Kennedy in an email and asked a few questions. This involves working with his experiences in the show/fandom, Jo Mi-Gyeong, the art of proper adaptation, and humanized robotic characters. This is a solid preview of what makes the murder drone successful along with its small screen counterpart.
Main cover by Jo Mi-Gyeong. Provided by Oni Press.
AIPT: Before you begin this book, how familiar were you with murder drones? What do you think the show is appealing to many people?
Wyatt Kennedy: I knew about glitch for other shows and friends in the animation industry, so I knew it in moderation. I don’t think there’s a difference from the way Invader Zim and The Grim Adventures of Billy & Mandy were successful. People, especially kids, really love Gothic stories and third-ick humor.
AIPT: How do you approach the act of adapting animated shows? What do you protect or throw away? How can I add an existing property without damaging it?
WK: Only 20 pages are allowed per issue. It’s really about spreading the frame for a more dense dialog scene and closing it with comedy bits. I think my job was to translate this clearly and efficiently for Jo so that her art really shines. Glitch was so specific about maintaining the onbook, I think it’s 99.9999% accurate to the show as long as you add or subtract it.
“Fatal Error Slip Case.” Provided by Oni Press.
AIPT: How does this type of project approach differ from those owned by creators like The Approwent Wonderful Nights?
WK: Well, thank you for saying that! That is, you answered your own questions, in a project owned by the night or by the creator, me and my co-creator can do whatever we want. When seen on IP along with an involved owner and a dedicated fanbase, you need to be more careful and deal with a very dedicated fandom, so you and other stakeholders need to be in a balance where you and other stakeholders are satisfied.
AIPT: How was it like working with artist Jo Mi-Gyeong? What do they bring to the table to help you as writers?
WK: Joe is incredible and I think their art will blow people away.
AIPT: When AI is in the news, there are clearly some real connections to the story of abandoned robots rebuilding society. How much are you leaning on it here, and with that “news-like” aspect, do you somehow make this easier to adapt?
WK: Not that much – haha! Honestly, this is the first time I’ve made that connection for everyone! If anyone explores it in subsequent books, it would be very interesting!
“Absolutely Solver Slip Case.” Provided by Oni Press.
AIPT: I think there was a combo/interaction with writer/director Liam Vickers. How much insight and guidance did they provide (if any)?
WK: I wasn’t actually talking to Liam. With only a handful of people in Glitch, everything was very kind and concrete in their vision. I certainly hope Liam is happy with the end result!
AIPT: How do you humanize robot characters? Is it the same process as a mediocre, boring humanoid?
WK: As long as there is a stake (life and death, love, etc.) and the character’s desire to live and achieve his goals, I think that’s pretty easy.
aipt: Would you like to make this book/story a continuation or add-on to the series instead? Is that distinction important?
WK: I first asked Glitch if this was either, but they were very clear that this was a linear adaptation that could open the door to continuance across these characters or the world, and this was a very clear desire to be an intro for a larger comic reader audience.
Provided by Oni Press.
aipt: Do you have your favorite moments or pages/panels?
WK: I’ll do something in the final issue, but I want people to guess before I can answer. Haha!
AIPT: Is there anything you need to know about murderous drones, cartoons, robots, animations, and more?
WK: Watch murder drones on YouTube, support local comic shops, reject AI, buy animated physical media. Streaming services don’t care about artforms, so they need to maintain and share their importance.
