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This happens with every comic I try to make: the book slowly and shamelessly starts to ape The Sandman, insofar as you’ve got these complicated stories about real people, with this magical-ish figure circling them and exerting an unknown amount of influence.MATTER: I’ve seen this book described as “genre-defying” which is intriguing.MATTER: The combination of the Ice Cream Man, the novelty truck with a serving window, and the jingle is usually depicted as a positive aspect of childhood.W., how did you land on this memorable trifecta when telling stories of sorrow, misery, and suffering?And there, on the side of the road, will be the Ice Cream Man, serving as a connector between each story.MATTER: I recently attended Rose City Comic Con in Portland, Oregon, and in one of the panels about the Fine Print Crew (those on the inside cover of a comic book), letterer Ariana Maher described her relationship with her colorist as deeply interconnected.But I think you need some sort of glue or connective tissue to justify doing a book like that as a monthly comic.
I think both colorists and letterers do think of the flow and beats and where your eye is going down a page very heavily, so in that sense, you do both need to be on the same page.W., what inspired you to tell disparate stories with this particular character as a sort of unreliable narrator? MAXWELL PRINCE: The stories came first, and the Ice Cream Man kind of ambled his way in after.I knew I wanted to tell a bunch of different little ditties, all sad, about different people, with different laws of reality governing the narratives.As for creating the characters in each issue, I have much more freedom! The rest have maybe just one detail and then we start working on some sketches to define everyone's look.We will have a large cast of characters across the whole series.
MATTER: I noticed that the ice cream truck’s jingle is not defined by lyrics, and that the music notes are set in mostly primary colors, like the title—what were your intentions with these aesthetics?