The 256-page full-color kids graphic novel by Romo the Wolf Boy, respected British cartoonist Ed “Ilya” Hilyyayer, calls for Kickstarter supporters to hit the target before the clock runs out early on June 19th.
An all-age graphic novel with visually distinctive style, Ilya intends Mute’s Wild Boy, Romo, and his friend Francis, a potential series of young pairs who are unlikely to join the travel circus, with Romo as a story of a potential series. In an interview with the Graphic Memoirs, Ilya describes the book’s tone as a blend of “comedy drama, adventure, and a mild, creepy touch of horror.”
Today, Kickstarter is raising funds for the already completed 224-page story and 1,000 copies of the extra Oodles. To manage costs, Kickstarter is looking for £10,800 (approximately $14,500). It has reached over 60% of its target, and has pitched in the UK comic bookstores, but needs help getting books to the line and printer.
Printing rewards are currently only shipped to the UK, while digital rewards (£15/~$20) are shipped internationally. Backers looking for a print version can get it from limited edition and £30 (~$40) scaled from there by the retailer tier.
Ilya has a fairly broad artistic career both inside and outside the UK. He dips his toes into the world of comics, bende dessine and manga, working in Marvel, DC, Dark Horse, Images and more. He works with Japan’s Kodansha in the British Publications 2000 Advertising, Crisis, Deadlines and his curriculum Vito. In his back catalogue, he adapted King Lear to the self-medino cartoon Shakespeare Line (2009), and released the famous adult graphic novel “Love for Love (2014)” from the same. He is a writer, artist and editor, and regularly participates in panel reviews, including the annual comics Ziman competition coordinated by the Japanese Embassy in the UK.
Romo the Wolfboy is a deliberately visually experimental book that stands apart from the current Fare of Kids titles, suggesting that he has made it a tough sale to mainstream publishers. Drawing inspiration from early newspapers in newspaper comics from the late 19th and early 20th centuries, the visual coda of comic medium was still in fluidity. So, a mix of images, text and freeform illustrations make this a whimsical feast for readers, both old and young. He also hopes the book will be in the slot into an undeveloped market for kids who love things like dog guys and still graduate from the comic book reading ladder.
In the aforementioned graphic memoir, he said:
“I use what I call ‘direct draw’. A pencil-based line that is handmade and has emotional strength and immediacy. It’s not sophisticated, but it’s a lot of fun to immerse yourself in the reader. ”
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