Clockwork Angels: Comic Script

Acknowledgments

Clockwork Angels
is a project that spans so much imagination and so many forms of media that I can only express thanks for those who had a part of
my
part of the endeavor.

Starting at the top, none of this would have happened without Rush and their album
Clockwork Angels
, so thanks to Geddy Lee, Alex Lifeson, and of course Neil Peart (I am so glad you brought me along on a journey that was as exciting and amazing as Owen Hardy’s). Pegi Cecconi and Bob Farmer at Core Music helped with the complexity of licensing and paperwork to make the project happen. And Hugh Syme, who provided such inspiration with his incredible artwork for the album and the novel.

At ECW Press, publishers of the novel, David Caron, Jack David, Jennifer Knoch, Erin Creasey, Sarah Dunn, Tania Craan, Troy Cunningham, Alexis van Straten, Michelle Melski and many others turned this storuy into a wonderful hardcover book to be proud of, and a fine launching point for the comics.

BOOM! Studios deserves a big round of thanks for “getting” it—Ross Richie, Matt Gagnon, and Filip Sablik, who got on board with the project right away, and our intrepid editors Ian Brill and Jasmine Amiri made the six issues a pleasure to work on, Andy Liegl and Mel Caylo helped spread the word with their tireless crusading.

And of course Nick Robles, for bringing it all to life with his artwork.

For this book of the collected scripts: what can I say? We have an awesome team at WordFire Press. Special thanks to Peter J. Wacks, Vivian Trask, Quincy J. Allen, James S. Sams, Keith Olexa, and David Boop. Special applause to Janet McDonald for her outstanding cover design.

And, as always, my co-publisher, collaborator, and lifelong companion, Rebecca Moesta.

Don’t stop thinking big!

—Kevin J. Anderson

***

Wouldn’t It Be Cool If…?

Ian Brill
BOOM! Studios editor

I’m in Susina Bakery on Beverly Boulevard, enjoying one Los Angeles’s best cups of coffee. Well, not exactly. I’m physically there, sure. Mentally, I’m standing before the Temples of Syrinx. Rush’s classic “2112” is blaring in my earbuds for the umpteenth—no, sorry, the umpteenth and fifth—time. A thought stretches itself out over the galloping rhythms, “Why isn’t there a comic book inspired by Rush?”

This was in 2011. By then I had edited some of the comics based on Coheed & Cambria’s
Amory Wars
saga. I had been nominated for a Harvey Award for editing the CBGB comic book anthology, a collection of stories inspired by the legendary Bowery Club. I loved the experiences. But to bring a band like Rush to comics would be the next level. This is band with multiple platinum albums, they sell out arenas on every tour, and somewhere in the world a classic rock station is playing “Limelight” RIGHT NOW. It would be great to bring them to comics. But they’re way too big…right?

In late 2013 Jasmine Amiri, one of my assistant editors, and I were told by Managing Editor Bryce Carlson that there’s going to be a Rush comic book. Sometimes silly little daydreams come true. They certainly do when you work at a company with CEO Ross Richie, President of Publishing & Marketing Filip Sablik, and Vice President of Licesing & Marchandising Lance Kreiter. Three bigger Rush fans you could not find. I was told that we were going to be the next step in the evolution of
Clockwork Angels
. First it was the concept album, then Kevin J. Anderson turned it into a novel, and now we, working with Kevin and Neil Peart, were going to do the first full-length visual interpretation of this amazing steampunk fantasy.

No pressure, right? It was time to start thinking big.

The first step was to find an artist who could tackle the amazing world that Neil and Kevin had built. An almost impossible job, and our job was to find someone who could pull off this impossible job. So did that mean our job was
doubly
impossible? If so, that didn’t stop us from trying. We considered many artists, from newcomers to veterans, and eventually Jasmine found an artist who had displayed some sequential comics on his DeviantArt page, but had nothing published. Still, there was a rich quality to his painted work. It was different than anything we’d seen happen in comics in a long, long while. We tested him on a few pages, shared his work with Kevin, who shared it with Neil—and that’s how Nick Robles became the artist on the
Clockwork Angels
comic.

Then the magic really happened. Kevin, Neil, Jasmine, Nick, and I became what Neil described as the “quorum.” We were a small group, but one capable of great creative feats. I suppose Neil has a pretty good sense of the creative heights a small group of individuals can achieve. Many ideas on how to bring Owen Hardy’s world of Albion to life were batted around, and the best ideas came to fore. No ego, everyone realized we were working towards the same goal.

I have overseen a lot of comic book projects, and it’s rare to find a team that works so well together. But that’s just another example of how special the
Clockwork Angels
comic has been.

The great efforts extended to our initial designer on the book, Emi Yonemura Brown, who crafted a beautiful credits page and who brilliantly packaged Nick’s artwork for the subscription covers. Ed Dukeshire continued the grand tradition of quality. Ed has lettered a million books for us. When I saw him exclaim with excitement that we were doing a book with Rush, one of his favorite bands, there was no question of who I was going to pick to letter this project. The good work continued with designer Kara Leopard and our lead designer Scott Newman. Throughout this project, I saw so many examples of talented individuals inspiring others: That’s the one thing I will treasure most about this project.

You will now discover some of the sources of inspiration here. Kevin’s scripts provided that vital bridge between the novel and the comic. Kevin already knew the story so well. When Jasmine and I had feedback for him, it was mostly of the structural type—things like how many panels work best on a page, given how much was going on in a certain sequence. Sometimes we’d chime in with a “wouldn’t it be cool if…”

That was a constant for this series, someone asking someone else “wouldn’t it be cool if…” All the cool ideas grew and grew, talents building on talents.

Wouldn’t it be cool if there was a comic book based on one of Rush’s most amazing concept albums? By now you know the answer.

***

The Year of Firsts

Nick Robles
Clockwork Angels
comic artist

I have no idea how to even start talking about the ride this year has been. I’ve decided I’ve got to call it the “Year of Firsts” for all that’s happened. In truth it began in late 2013, but the majority of the
Clockwork Angels
project took place this year.

It began with a simple email and a heavy amount of disbelief from me when Jasmine Amiri, an editor from BOOM! Studios, contacted me with a job offer—or an audition I should say. They were interested in having me illustrate a comic for them. Me? Comics? I never thought I’d be auditioning for that kind of gig, but here I was with an opportunity that I wasn’t going to let go by. The setup was too good and the timing was perfect! I felt pretty apprehensive about the whole thing, but if I’m being honest, I tend to feel that way about most things. Call me a pessimist. I just couldn’t believe what was going on. Surely they had to have seen that I’d never really done sequential work? Yet here came the first of many firsts knocking on my door.

So—I auditioned, and I got the job. I had drawn maybe eight comics pages before in my life, ten counting the audition pages!

My heart was already pounding with excitement and trepidation as I dove in, somewhat blind, to the world of comics and the business that came with it. Lucky enough for me, a small town nobody, everyone on the team of
Clockwork Angels
made me feel right at home. They held my hand through many initial days of fear when I thought I was doing something wrong or had made a royal mess of things. One time I even thought I might not have the right tools to do the job!

It was a nerve-wracking first experience, and once I got through that first issue and everything had become much more familiar, I thought, “Hey, this was kind of fun. Maybe comics is that place I’ve been looking for with my art.”

I really enjoyed the experience of telling a story with more than one picture, as you must with an illustration, which is where I thought I’d always end up with my art—painting single-image illustrations for books, cards, and private commissions. I still do that, but with comics I found that it was easier to use all the space I needed to tell the story.

I had never done much with comics before, and the sheer amount of work that goes into them is mind-boggling. Especially if you’re doing it alone. (I admire those of you who do this!) It’s a lot to handle and keep up with, and I would like to end up there one day so I can tell my own stories. I still have a lot to learn until then, I think.

Clockwork Angels
was great in that respect. It allowed me to work and know that I could do the job, albeit a little slower than most artists. The opportunity lent me two great writers, wonderful and helpful editors, and hands behind the curtain that I didn’t even see to make this miniseries complete. It built confidence in me and really honed my skills in artistry and storytelling. I gained so much from the experience that I really wanted to take a moment and let you all know that I appreciate everyone and everything involved. I have nothing but gratitude and respect for BOOM! Studios, Jasmine Amiri, Ian Brill, Kevin J. Anderson, and Neil Peart for letting me be a gear in the machine that created the
Clockwork Angels
comic.

Thank you all for taking a chance with me and making it a wonderful experience. You guys got me thinking big!

***