Of the many film/TV writers to transition to comics as of late, I’m continually excited for Matthew Arnold (Siberia and Emerald City). Alongside artist Riccardo Burchielli, Arnold released Eden, one of 2022’s more layered and compelling sci-fi releases. Now, as he teams up with artist Davide Gianfelice, Arnold adds to his still-burgeoning comics bibliography with Outer Lands.
Published by ComiXology, Outer Lands follows the young Prince Heron as he’s set to become the king of a city-state in Ancient Greece. But when he’s instead sent to a prison isle to live out his days, he “unintentionally discovers a massive global conspiracy.” And it’s that very conspiracy that serves as a vital twist across the first half of Outer Lands.
Still, don’t let said twist somehow distract you from the fact that Outer Lands is just great modern sci-fi. The book readily gets us thinking about ideas of social power and influence, violence as an expression of control, the ins and outs of our political systems, and even how families shape and develop. And much like Eden, you’d be a darn fool to miss out on Outer Lands. A fool like Koalemos!
Outer Lands is due out August 26. In the lead up, we touched base with Arnold via email recently to ask some extra pertinent questions. That includes working with Gianfelice (who provides gritty but evocatively textured art); exploring future anxieties (a la AI); the aforementioned “big twist”; Heron’s various relationships across the book; and even a sweet variant cover by Jock.
Courtesy of ComiXology.
AIPT: This is your second OGN. What lessons/insights did you take from the truly entertaining Eden when working on Outer Lands?
Matthew Arnold: Mostly just that I want to continue to deliver books that have great story twists and characters you can fall in love with. I never take that for granted, even in a medium which is so much about the beautiful artwork.
AIPT: This book is very much about fearing the future (like AI) and also not indulging too much in shiny nostalgia. Aside from being alive right now, is there some inciting incident that got you thinking about these ideas?
MA: The book is actually inspired from my time working construction with the Amish in Kentucky. I was always fascinated by their culture and their seemingly incredible ability to push away modernity for their belief in the simple elegance of the past.
Courtesy of ComiXology.
AIPT: What was it like collaborating with a veteran like Davide Gianfelice? Do you think his work on Northlanders helped with this book? (I truly see some key similarities with the two book’s historical interests and epic-ness.)
MA: He’s an absolute genius. Obviously, with Northlanders I knew he could handle the look of historical art very well, but what really shines is his storytelling, and how he uses the page and the character expressions to find the nuance and emotional resonance of a complex story like this. I also think he had a lot of fun with the story and you can see that on the page, especially with these hidden Easter eggs he’s planted throughout.
AIPT: Why begin with ancient Greece as “the base?” Do you see some similarities and connections with where we (Americans at least) are right now socially/politically?
MA: Ancient Greece was an ancient cultural high-point, in that it was an epoch of great art, philosophy, and politics and war. Without giving too much away, this would have been an ideal embodiment of where to restart history for the founders.
AIPT: There’s a twist that’s already been touted across some press releases. But how precious are you exactly about “protecting it”? If someone knows about it, or sees it coming (there’s solid hints), do you think that ruins the story experience?
MA: There’s more than one twist in the story and I’ve kept the biggest one under wraps. But I think that the of idea of a major “world twist” in this story is evocative to a reader, first to get them to pick up this book and invest their time in the first place, but also to realize that this is more than just a historical tale.
Courtesy of ComiXology.
AIPT: I feel like this story condemns certain things (guns, man’s greed, etc.) but in a way that doesn’t feel overly smug or heavy-handed. How important was the tone, and your larger authorial presence, in a specific story like this one?
MA: Themes are important in my work, but I usually try to approach such big subjects without trying to push an agenda of any kind. Instead, I feel the reader should draw their own conclusions from the story, and their own lessons from how the characters react to the issues they face.
AIPT: Similarly, you also touch on sentiments of “Trumpism” (i.e., a complete and total disregard of our basic Constitution) without engaging anything too directly. Why is that important – does it elevate this beyond stories that take a more satirical approach?
MA: Frankly, I don’t see it this way. I don’t think the book is particularly political. It’s more a reaction to modernity and what that brings in terms of scientific and social upheavals. I think our political climate is fraught with a lot of discourse, and people may read into it what they will. But for me, it’s really about starting over, and the inevitable cycles of history and how that infuses all aspects of a culture.
Courtesy of ComiXology.
AIPT: Which relationship/dynamic did you find most satisfying to develop and let play out, or most important to the story: Heron and Selene or Heron and Isadora?
MA: There’s an interesting contrast there about brother/sister relationships, versus friends/lovers isn’t there? I wanted to tell both very differently and both were satisfying in their own way. I enjoyed the sense of humor that Heron and Selene share on their part of the adventure, but also the deep emotional conflict of Heron and his sister, which is a powerful story engine.
AIPT: Do you feel like this book skews more cynical or hopeful in its exploration of democracy/politics, the arc of man’s resilience, etc.? Or do you want to leave it mostly to the reader to decide?
MA: Again, I really want the reader to ask themselves what message they receive from the events of the story, without the heavy hand of the author telling them what to think or feel. If you ask me my belief, I see a ray of hope in the darkness. That human resilience will find a way to iterate, to become better, even while we tend fall back on our old cycles.
AIPT: Do you have a favorite moment or page/panel in this story? Something that really defines the feel and overarching message.
MA: I do, but I’m afraid that would be giving too much away. It’s toward the end, I’ll just say.
Courtesy of ComiXology.
AIPT: The book nabbed a sweet cover from Jock. What’s that do for you to have another legend involved – does it validate your efforts here (as well as just being cool?)
MA: Jock was kind enough to write me a great blurb for Eden when that came out. I’ve always been a fan of his, and my editor Will Dennis approached him on my behalf. I think he saw a concept with Outer Lands that he could get excited about. And boy, I couldn’t be more pleased with what he did! It really sets the tone for the whole book, wouldn’t you say? I’m a lucky guy.
AIPT: Is there anything else you’d like to say about Outer Lands, comics, the future/past, etc.?
MA: I’d just like to make sure to thank the great team that came together for this. Of course, Davide and Jock and Will Dennis (mentioned above), but also our amazing colorist Luca Salce, and our ever patient letterer, Ed Dukeshire. Our assistant editor, Rowena Yow, and the awesome folks at Comixology: Jeff DiBartolomeo for taking us on, and Pamela Horvath who continues to guide our release. Thanks everyone!
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