Of the many film/TV writers who have recently moved to cartoon, I am constantly excited about Matthew Arnold (Siberia and the Emerald City). Along with artist Ricardo Birchielli, Arnold released one of 2022’s more layered and compelling sci-fi releases, Eden. Now, when he works with artist Davide Gianfelice, Arnold adds foreign land to his still-existing comic bibliography.
The foreigner published by Comixology follows Heron, a young prince, set to become king of the city-states of ancient Greek. However, when he is sent to prison island to live his days instead, he “unintentionally discovers a massive global plot.” And it’s a very intrigue that acts as an important twist in the first half of the land outside.
Still, don’t twist somehow deflect you from the fact that Outerland is merely a modern science fiction. This book makes us easily think about ideas of social power and influence, violence as an expression of control, and how families form and develop within and outside our political system. And like Eden, you would be a terrible fool to miss the land outside. A fool like Coremos!
Outerland is scheduled for August 26th. In the lead-up, I recently touched on the bass with Arnold in an email and asked some special questions. This includes collaboration with Gianfelice (which provides rough but exciting texture art). Exploring future anxiety (a la ai); the aforementioned “big twist.” The various relationships of Heron throughout the book. Even a sweet variant cover by a jock.
Courtesy of Comixology.
AIPT: This is your second OGN. What lessons/insights did you get from the really interesting Eden while working at Outerland?
Matthew Arnold: Mainly, I want to continue offering books with great story twists and characters that you can fall in love with. Even in many mediums about beautiful artwork, I don’t take it for granted.
AIPT: This book is about fearing the future (like AI) and not getting too engrossed in shiny nostalgia. Aside from being alive now, are there any inflammatory cases that made you think about these ideas?
MA: This book is actually inspired by my time work construction with the Amish in Kentucky. I have always been fascinated by their culture and their seemingly incredible ability to push away modernity due to their belief in simple elegance of the past.
Courtesy of Comixology.
AIPT: How was it like working with a veteran like Davide Gianfelice? Do you think his work at the Northlanders helped with this book? (I really see the historical interest and grandeur of the two books and some important similarities.)
MA: He’s an absolute genius. Obviously, in the Northlanders he knew he could handle the appearance of historical art very well, but what really shines is his storytelling, and how he uses pages and character representations to find the nuances and emotional resonances of such complex narratives. I also think he enjoyed the story a lot. You can see it on the page, especially with these hidden Easter eggs he has planted.
AIPT: Why start as a “base” from ancient Greece? Do you see some similarities and connections with where we (at least Americans) are now socially/political?
MA: Ancient Greece was an ancient cultural high point, in that it was an era of great art, philosophy, politics and war. Without giving too much, this was an ideal embodiment of a place to reopen the founder’s history.
AIPT: There is a twist already advertised in some press releases. But how valuable exactly are you about “protecting it”? Someone knows about it or sees it coming (there are solid hints), and do you think you’ll ruin the story’s experience?
MA: There were multiple twists in the story and I was wrapping the biggest one. But I think the main “world twist” idea of this story is exciting for readers, not only picking up the book first and investing time in the first place, but realizing that this is more than just a historical story.
Courtesy of Comixology.
AIPT: This story feels like it’s condemning certain things (guns, human greed, etc.) but in a way that doesn’t feel overly self-righteous or heavy. How important was the tone and the presence of your larger author in a particular story like this?
MA: Themes are important in my work, but I usually try to approach such a big subject without trying to push any kind of agenda. Instead, readers feel that they should draw their own lessons from the storyline and how they respond to the problems their characters face.
AIPT: Similarly, you also touch on the feelings of “Trumpism” (i.e., completely and completely ignore our basic constitution) without directly involved. Why is it important – is it raising this beyond a more satirical approach to narrative?
MA: Frankly, I don’t see it like this. I don’t think this book is particularly political. It is a more response to modernity, which comes from the perspective of scientific and social upheaval. I think our political situation is full of a lot of discourse, and people may read what they do. But for me, it’s really about a redoing, an inevitable cycle of history and how it infuses every aspect of culture.
Courtesy of Comixology.
aipt: Which relationships/dynamics did you think you were most pleased with developing and playing, or the most important thing to the story: Heron and Serene or Heron and Isadora?
MA: There’s an interesting contrast about the sibling/sister relationship, but are there any friends or lovers out there? I wanted to communicate very differently, but both were happy with my own way. I enjoyed the sense of humor that Heron and Serene share on the adventure side, but also enjoyed the deep emotional conflict between Heron and his sister, a powerful story engine.
aipt: Do you think this book distorts something more cynical or hopeful in its exploration of democracy/politics, human resilience arcs, and more? Or do you want to leave it to mostly decide for the reader?
MA: Again, I really want readers to ask themselves what messages they receive from the events of the story, without telling them what the author’s heavy hands think or feel. When you ask me about my beliefs, I see a series of hope in the darkness. That human resilience, even if it tends to rely on older cycles, will find ways to iterate and get better.
AIPT: Does this story have your favorite moments or pages/panels? Something that really defines touch and comprehensive message.
MA: I do, but I’m worried that it’s giving too much. It’s coming to an end, I just say.
Courtesy of Comixology.
AIPT: This book grabbed a sweet cover from a jock. What is related to another legend? Do you examine the efforts here (and not just being cool)?
MA: Jock was kind enough to write me a great blurb for Eden when it came out. I have always been a fan of him and my editor Will Dennis approached him on my behalf. I think he saw the concept of foreign that he can be excited about. And boy, I couldn’t be more pleased with what he did! That really sets the tone of the entire book, isn’t it? I’m a lucky guy.
aipt: Is there anything else you would like to say about the outside land, manga, future/past, etc.?
MA: I would like to thank the incredible team that came together for this. Of course, Davide and Jock and Will Dennis (above), as well as our amazing colorist Luca Salce and our previous patient letter, Ed Dukeshire. Our assistant editor, Rowena Yow, and the amazing people at Comixology: Jeff Dibartolomeo, who took Jeff Dibartolomeo with him, and Pamela Horvath, who continues to lead the release. Thank you everyone!
