Jeremy Haun is writing a new succession called 40 Seconds, which is an exciting sci-fi series recently announced as part of comiXology Originals.
The first issue of4 0 Seconds came out last week. Joining Haun on the book are artist Christopher Mitten, colorist Brett Weldele, and letterer Thomas Mauer. The sequence aces a squad of science explorers who are traveling through alien gateways, attemping to answer a far-off distress call. While moving through stupefying and peculiar sceneries, the team attains itself being hunted by an alien horde.
It’s an interesting notion, to say the least, and today The Beat is fortunate to have a conversation with Haun about the book…enjoy!
ZACK QUAINTANCE: Can I start by asking you to talk about the balance of reasonable sci-fi and science delusion in this book?
JEREMY HAUN: You know — when I sat down to create this volume I wasted a nonsensical quantity of time to be considered how much of this was going to be hard sci-fi and how much was just going sci-fi/ delusion. I’m a fan of both. Always ought to have. I don’t have any interest in picking between Star Trek and Star Wars. I don’t have to. Both are brilliant.
As the tale developed, I recognized this demanded — needed to be more of a sci-fi fantasy story. I’m still haunted with hard sci-fi ingredients and certainly try and work them in when I can. 40 Seconds needed the freedom to go pretty big and fantastical at times.
As with most of my legends, you’re going to get clues of more than one genre in there. Let’s request this sci-fi/ illusion/ fright/ undertaking. That just about considers it.
ZACK: What engendered 40 Seconds, was it research, other comics, movies? My impression was that it could have been any of the above…
JEREMY: Definitely all of the above. It’s hard not to be inspired by the wealth of what’s come before.
So much of modern storytelling is a mash-up of all the things that influenced us. It’s made for a inferno of large quantities of great, amusing tales.
Occasionally I’ll read a review of a movie or notebook and they’ll say ” It’s not any new assertion …”. While there certainly can be completely new things out there, I feel like most narrations, to one grade or another have been told. It’s up to us to take those stories, transgress them apart and do our own entirety new thing with them.
ZACK: This is maybe a bit of cookie-cutter question, but I’m a big fan of his job so I still have to ask…what was it like working on this record with Christopher Mitten?
JEREMY: Oh, incredible! Chris is just brilliant. What’s that Hunter S. Thompson line from Fear and Loathing in Las Vegas?
“There he goes. One of God’s own prototypes. A high-powered mutant of some kind never even considered for mass production. Too weird to live, and very rare to die.”
Yep. That’s Chris.
I’ve wanted to work with Chris forever. Schedules in comics are a mess though. If you want to work with someone you have to check in with them pretty much always. Also it helps to bump off other scribes that might be hoping to snag them out from under you.
40 Seconds lights because of the amazing crew I’m working with on it.
The look and feel of this thing came together when Chris agreed to do the book. It only got better when Brett Weldele agreed to come on and do emblazons. We knew we wanted something different now- something beautiful and painterly. Brett truly raised that. He’s an illustrator that gets the whole process. And every issue Chris and Brett time get better and better together.
It’s also important to mention our designer and symbol, Thomas Mauer. I precisely don’t want to constitute comics without Thomas. He worked with me on THE BEAUTY and THE REALM and contributed so much to the feel of the project. I’ve never seen someone figure out a take and make it shine the highway Thomas does. I don’t want to curdle, but he does something with universal translators in this comic that’s so incredibly cool.
ZAKC: It strikes me that an essential part of this comic is the sci-fi terrains. How did you and the team work to craft these?
JEREMY: Our main goal was to have fun. Part of the place of this story is to tell adventures set in all these different, epic sceneries. I knew what setpieces I needed along the way. There has to be a scene set on a vast icy life. They need to show up on this other world over here. But from there, it certainly came down to me and Chris sitting on the phone chatting about what he would like to draw. He wanted a jungle- he got a jungle.
As amazing as Chris’ work on these sceneries is, they truly came to life with Brett’s hues. He keeps so much care into creating lives that feel enormously different, colour palette careful. There is a jump in issue three that’s just gorgeous- everything I could’ve asked for and more.
ZACK: Finally, how did your process writing for a digital-first comic mutate, if at all?
JEREMY: I don’t know that it genuinely did at all. ComiXology has been incredible to work with.
There were little things that they asked for — that they needed for the programme, but it wasn’t anything major at all. We can’t do double splashing pages since they don’t really work on tablets. That’s okay, though — I don’t really like giving up that much story real estate to a double splash.
One of the really nice things about the pulpit is that there aren’t really placed page countings. Most fellowships now make twenty sheet comics. It’s not a huge issue at all, but sometimes an issue wants to be longer than that. I asked about page count and “theyre saying” ” Go with what works !”, so I did. I like that modeling. It’s pretty liberate.
I love making comics. I’ve enjoyed telling narratives with so many different publishers. I’m incredibly stimulated about 40 Seconds and working with ComiXology. We’ve got some large-scale, cool things planned.
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