Few writers have left a bigger mark on modern horror comics than Steve Niles. From vampires and zombies to serial killers and monsters galore, Niles has spent decades exploring the bleaker corners of the genre. With Heartbreak Manor, however, he’s turning his attention to a different kind of terror: the classic ghost story.
Created alongside artist Damien Worm, Heartbreak Manor follows a young orphan named Sally Madison, whose dream of finding a new family quickly turn into a nightmare after she moves into a mysterious mansion filled with locked doors, hidden secrets, and disturbing disappearances. Placed against the backdrop of Christmas 1912, the 100-page graphic novel draws inspiration from traditional holiday ghost stories while blending Gothic horror, emotional suspense, and a haunted atmosphere all brought vividly to life through Worm’s distinctive artwork.
With Heartbreak Manor currently crowdfunding via Zoop, I spoke with Niles about his love of classic ghost stories, why the early 20th century offered the perfect setting for Sally’s journey, and collaborating once again with Worm (the pair‘s other works include Brynmore). Plus, we talk about how original soundtrack helps transform Heartbreak Manor into something far beyond a traditional graphic novel.
Courtesy of Zoop.
AIPT: You’ve written vampires, zombies, serial killers, and all manner of horror over the years. What was it about the classic ghost story format that drew you to Heartbreak Manor, and how did you want to put your own stamp on it?
Steve Niles: Well, it’s something I haven’t tried before. I mean, I’ve written ghost stories, such as Lot 13, but those were very aggressive ghosts. I really wanted to write a classic ghost story, something along the lines of H.R. James, or A Christmas Carol, and other ghost stories. I’ve always loved the UK tradition of telling ghost stories for Christmas, so I hope to evoke that, too.
AIPT: The story is set in 1912, a period you described as a collision between the old and new worlds. What made that era the perfect backdrop for Sally’s story and the mysteries within Heartbreak Manor?
SN: Through the 1800s, ghost stories were really popular, partly because there was a high death rate with the onset of the Industrial Age, and the anxiety of it all. I wanted to find an era where telephones and cars were just beginning to become affordable, and start coming into play. There’s something very isolating in a world without the tech we now live with.
Courtesy of Zoop.
AIPT: At its heart, this is a story about an orphan entering what should be a dream situation, only to discover something is deeply wrong. What interested you about exploring horror through a child’s perspective?
Steve: I guess I write from a child’s perspective often, probably because I try to remember what it’s like to be a kid who can no longer trust the world. A child has so much to deal with as it is, but Sally has had tragic events happen to her, yet she still has a fighter spirit. She’s been forced to grow up quickly, so she’s a great character to work with.
AIPT: You’ve worked with Damien Worm multiple times now. When you were developing Heartbreak Manor, what made you immediately think, “This has to be a Damien Worm book”?
SN: The style of the era is full of elegance, and Damien knows how to bring all that detail onto the page. He can mix whimsy and horror together in such a beautiful way, so I knew he would be perfect for this book.
Courtesy of Zoop.
AIPT: One of the things that stood out to me visually is how Damien occasionally layers weathered textures, distressed effects, and even what looks like tape over the artwork. It’s not on every page, which makes it feel intentional and unsettling when it appears. How much discussion was there about creating that damaged, haunted aesthetic, and what do you think it adds to the reading experience?
SN: Oh, I love that aesthetic. I specifically asked for it for this book. If you look over one of our earlier books, Monster and Madman, that’s where he really played with those textures. It gives it all an atmospheric, moody feel that I love.
AIPT: The mansion itself feels like a character in the story. When building Heartbreak Manor, were there any literary, cinematic, or real-world haunted houses that influenced the atmosphere you wanted to create?
SN: I left the design to Damien, he’s so good at designing buildings and houses, but we definitely thought of buildings like the Overlook Hotel from The Shining, and the house from The Haunting.
Courtesy of Zoop.
AIPT: Monica Richards is editing and lettering the book while also helping create an original soundtrack. How did the idea of expanding the project beyond the comic page come together, and what does the music bring to the overall experience?
SN: Monica’s always working on cinematic, moody music in her own solo work, so I thought it would be amazing if she and her music partner, Anthony Roumanis, created a soundtrack. The music will give the world of Heartbreak Manor another layer of atmosphere. I always listen to music when I read and write, so I thought the idea of creating an original soundtrack would really heighten the reading experience.
AIPT: This is your first project with Zoop. With a 100-page hardcover, soundtrack, prints, and even a tier where fans can appear in the story, it feels like you’re building a complete package rather than simply releasing a graphic novel. What opportunities did crowdfunding create that might not have been possible through a traditional release?
SN: I am really happy to work with Zoop, and crowdfunding is a great way to be able to make this book really special. This way, we can make it an oversized hardcover, which I think will be the best way to highlight Damien’s art. Overall, it’s about doing things the way you want as a creator, and that’s a great experience.
Back Heartbreak Manor right now on Zoop!
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