INTERVIEW: Viking-inspired ‘Sword Daughter’ tells violent story of revenge
The new comic book series Sword Daughter, written by Brian Wood and featuring art by Mack Chater, tells the Viking-inspired story of a small village that has been decimated by the Forty Swords. The two survivors of the murderous onslaught — Elsbeth and her father, Dag — are determined to seek revenge for the loss of life.
The Dark Horse comic book recently premiered its first issue, an installment that brings together the talents of not only Chater and Wood — collaborators on Briggs Land — but also colorist Jose Villarubia, letterer Nate Piekos and cover artist Greg Smallwood. Future issues of this ongoing series are already planned.
Recently, Hollywood Soapbox exchanged emails with Chater. Questions and answers have been slightly edited for style.
What’s it like working with Brian Wood?
In a word, brilliant. Seriously though, Brian’s words make me not only want to draw them, immediately, but also draw the best I can. Just a joy to read.
How did you come to the visual style for Sword Daughter?
At the beginning, when we first started to talk about other stories we wanted to tell, we also started to talk about the kinds of book we loved, and both discovered we had a love for the Bande Dessine/European larger format books: filled with beautiful art and wonderful colours. This was something I really wanted to bring to Sword Daughter.
I’m a huge Moebius/Toppi/Battaglia/Brecci
Did you have to conduct research on Viking history?
Yes! Researching how they dressed, lived, where they lived, how they lived was all a major part of the process (and is a continuing part of the process). One thing I really wanted to avoid was anything too ‘Hollywood.’ I’ve tried to be as authentic to the period (within reason) as I can, as I feel it adds another level of emotional engagement for the reader.
How many versions of Elsbeth and Dag did you go through before finalizing the characters’ look?
What’s weird is I pretty much knew exactly what they would look like immediately. The thing that took the longest, and had the most versions, was how Dag dresses with his overcoat. Lots of versions of that!
When do you know it’s time for the visuals to take over — perhaps in a two-page spread with minimal words? When does it feel right?
Brian’s scripts are a great read. Full of enough detail for me to visualise a panel, but also enough breathing room for me to bring something to it.
As we’d worked together before on Briggs Land, our creative process has evolved to the point wher Brian will just suggest panelisation, and I can control if that means adding or removing sections. It’s a much freer and more creative process.
But going back to your question, I can tell from the emotional state of the protagonists in the script what we need to see/feel with the visuals.
By John Soltes / Publisher / John@HollywoodSoapbox.com
Sword Daughter, issue #1, is now available from Dark Horse. The ongoing series is written by Brian Wood and features art by Mack Chater. Click here for more information.
