Abrams Comic Arts published a graphic novel version of Francis Ford Coppola’s film Megalopolis earlier this fall. The aptly titled Megalopolis: The Original Graphic Novel is adapted by Bram Stoker Award-winning writer and editor Chris Lyall (Shadow Show: A Story Celebrating Ray Bradbury, Zombies vs. Robots) and Eisner Award-winning artist Jacob Phillips (That Texas Blood, New Bern).
The Beat spoke to Lyall and Phillips via email about the October 2025 release of Megalopolis: The Original Graphic Novel, how the film’s story has been adapted into graphic novel format, and what fans can expect from the book.
This interview has been lightly edited for clarity and length.
Ollie Kaplan: Chris, can you tell us more about Francis Ford Coppola’s relationship with comics? (I remember discussing his love for the medium with him at WonderCon a few years ago.)
Chris Lyall: It’s funny, all of us in comics always want to be sure that big names in other fields actually love the comic book medium. I always frown when an actor says something like, “My favorite comics are Watchmen and The Dark Knight Returns!” Sure, that may be true…but have you read any in the last 40 years or can you name a comic that doesn’t get that much attention?
So when Frances told me that she had read and loved Jack Cole’s Plastic Man and the Phantom and the Heap, I knew this was someone who developed a true love for comics early on. No one who hasn’t read heaps mentions heaps. So, although he has spent the past half-century producing work in filmmaking and other fields, what still remains with him is his early love for the comic book language he developed.
Megalopolis Page 4. Photo credit: AbramsComicArts
Kaplan: Chris, if I remember correctly, you also have a really cool story about going to Coppola’s house when we started working together on “Megalopolis.” Can you tell us more about your experience meeting and collaborating with Coppola on this project?
Lyall: The only time we met was on set in Georgia and then at his post-production house and other facilities nearby. So, I was lucky enough to experience part of the movie itself, sitting nearby as he directed the scenes and watching the various parts come together into a finished whole. It was a real thrill. I also got to hear his deeper thoughts about the world and the way we interact with our environments and how to improve them, which informed the way I approach my graphic novels.
I had the pleasure of visiting and touring his Inglenook Winery, but it was more of a fun and much appreciated (and needed) vacation than anything directly related to the book.
KAPLAN: Chris and Jacob, Coppola say the graphic novelization of their films doesn’t have to be limited by the films themselves. What is the relationship between graphic novels and movies?
Lyall: We certainly share the same DNA, but as you say, director Coppola encouraged us to make this book our own. So there are additional scenes, revised scenes, new dialogue, different transitions and other elements, trying to tell a different version of the same story, using the comic book format and everything it has to offer, and presenting everything in a perhaps a little more linear way, more suited to still images than video.
Jacob Phillips: I hadn’t seen any of the movies except for some concept pieces, so we were left with our own interpretations of the scenes and not tied to what the movie was about. It was interesting to watch the movie after finishing the book and see where they overlapped and where they diverged.
Megalopolis Page 4. Photo credit: AbramsComicArts
Kaplan: Chris and Jacob, what was the collaborative process like?
Lyall: Poor Jacob had to bring this entire world to life without ever being able to see any filming locations or footage, so I may have over-explained certain scenes in an attempt to teach him how to visualize moments in the film that weren’t fully fleshed out yet. As the work progressed, more elements and details were revealed and tweaked. And then I got the easy part and sat back and watched Jacob work his magic with both line art and color.
Phillips: It was great to have Chris around as we developed the script to make sure we were clear on what was going on here. Coppola’s original script was something he wrote for himself, so I think he left out quite a bit from the pages that Chris and I had to fill in the blanks. It was invaluable for Chris to be able to see the rough cuts and ask Coppola questions.
Kaplan: Chris and Jacob, how do you think Megalopolis is reflected in modern society?
Both: This is an old story, but also a very modern one. It is the role of the artist/dreamer in a society steeped in doing everything possible, no matter how necessary, to maintain existing power structures and prevent structural change. Although the film is presented as an allegory, it ultimately strives to maintain a sense of optimism about where we are headed in the future, no matter how difficult the present. This is exactly how Coppola sees the world, and what he wants it to be.
Megalopolis Page 8. Photo credit: AbramsComicArts
Kaplan: Jacob, how did you approach the art style and design for the graphic novel? To what extent were you influenced by this film, or were there any other specific influences that helped shape the tone of the book?
Phillips: I stayed relatively faithful to the concept art shown in the movie and tried to incorporate it into my own style. I’m not really known for sci-fi elements or architectural design, so that was certainly a challenge for me. I was looking at things like Akira movie backgrounds and Syd Mead, but I was failing miserably at approaching those heights. But I think I’ve found a way to incorporate the world into my style.
Kaplan: Jacob, did you try any new tools or techniques on this project?
Phillips: Yay! I used a black and white wash technique on the cover of my book Newburn and thought this would be a good project to incorporate a similar technique into interiors. This was a finite graphic novel rather than an ongoing series, so I didn’t have to stick with watercolor for years, even if I didn’t enjoy using it. I’m really happy with the grainy watercolors I chose, as they bring great texture and extra dimension to the visuals. Color-wise, this is also a contained topic, so I decided to use a fairly limited color palette, combining warm golds and cool blues. I was aiming to give this book this rich, glossy look.
Kaplan: Chris and Jacob, what can fans expect from this book?
Lyall: I hope people who watch the film enjoy the way we recontextualize and tell the story in this way. If you haven’t seen it yet, I hope you not only enjoy the book, but also watch the movie itself. And everyone will receive 140 pages of beautiful art and color by Jacob Phillips.
Kaplan: Chris and Jacob, is there anything else you’d like to add?
Lyall: I just appreciate that Megalopolis is still part of the pop culture conversation in many ways, and that I think this book adds a positive and interesting element to that conversation. (And I would like to sincerely thank everyone who has purchased this book for their patronage. That is what matters most.)
Megalopolis pages 9-10. Photo credit: AbramsComicArts
Francis Ford Coppola’s “Megalopolis” is now in theaters!
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