A collaboration of French stars from three different mediums, Last Man brings together the gifted animator Balak, Bastien Vivès, the much heralded comics creator, and Michaël Sanlaville, a rising talent in game design, for a manga influenced, tournament-based martial arts adventure that’s been all the rage in their native country.
The planned 12 volume series, 6 of which have been published, was recently awarded the Prix de la Serie at Angoulême this year, highlighting the popular and critical acclaim of the series overseas. Last Man centers on Adrian Velba, a 12 year old boy enrolled in Battle School whose highest ambition is to participate in the annual tournament sponsored by the King and Queen. After the sudden departure of his required partner, Adrian faces having to wait another year to compete, until a mysterious loner named Richard Aldana, who is also in need of a partner, crosses his path. This unlikely pair, and how they turn the tournament and city on its ear, makes up much of the excellent first volume, entitled “The Stranger”, which sees English-language publication from First Second on March 31st.
I was fortunate enough to chat with these three creators in the lead-up to its release in the U.S.:
You began working on Last Man in 2013, what was the origin of the project and how was the creative nucleus of this ensemble formed?
Balak: Bastien and I have known each other for 12 years. We hung out at the same message board, catsuka.com<http://catsuka.com/>, chatting about comics, Japanese animation and well-endowed women, the usual geeky stuff. Then we went to the same animation school in Paris, Gobelins, where we met Michael. Bastien and Mic got along well and quit the school to make comics. Years later, Bastien told me he’d like to make a comic book with eveything we like in it: cool one-liners, great adventure with a manga-ish epic feel, larger than life characters and larger than life natural breasts. In short: The very reason Art exists. The catch is that we wanted to do it the manga-way: to draw 20 pages a week and publish 3 books a year. So we had to be a three-person team, well organized, and say goodbye to any social life for a few years. It seemed like a cool project, so here we are.
While reading the first volume, I was reminded of my time perusing some of my favorite mangas, including that of the shounen variety, was that an influence…or more specifically, was there a particular type of action-based storytelling that informed this series?
Balak: Yes, that was the reason Bastien asked me and Mic to join in the first place. He knows we’re avid manga readers since forever. Basically, we wanted to have this very calibrated shounen feel that we love in the first books, and put our little twist on it: What if John McClane was thrown into a Dragon Ball tournament? We mixed the two things we loved: manga and US action movies we watched as kids. This stuff made us who we are today, for better and worse. Last Man is the result of this.
Last Man looks to have a fairly wide audience appeal, particularly in terms of age, what is it about tournament stories that seem the draw the younger audience?
Balak: Even the worst Hollywood script doctor would tell you that story is about conflict. A tournament is the core of the most basic, comprehensive storytelling. You’ve got a hero you’re rooting for: he wants to win the cup, and everyone wants the same thing as well. The premise is simple, almost visceral. That’s why manga of this type are popular, they manage to convey each characters burning will to win and emotions; each battle is a story in itself. But when we say it’s simple, it doesn’t mean “simplistic.” Keeping things simple is hard, there is an unnoticeable elegance to it that is very difficult to achieve.
Were there any story elements in particular that you implemented or had to adjust in order to attract younger readers?
Balak: Not at all, we just did things as we pleased. The only thing we naturally refrained was sex. It can be sexy, but you don’t have anything too graphic.
Describe a typical day in the creative process for the series, were you all huddled in a room together planning out the beats of the story or was it more segmented?
Balak: “A quiet mayhem” is the best expression that could sum up our typical day and creative process. We don’t write much like a regular script. Bastien puts down his ideas on 10 or 15 pages for the book to come. Mic and I read it, then we discuss it, have several meetings, decide what is changing, what would be better. I take quick notes on a paper towel and I directly draw the 20 first pages of storyboard, come up with dialogues ideas, new situations. Each Monday, we discuss what the next 20 pages will be about, while Bastien and Mic draw the previous pages, 10 each. It’s not very kosher, and it’s quite exhausting, but it’s what keeps our ideas fresh and our motivation going. If we had the classic “here is the script, then we do the whole storyboard, then we can draw the whole thing,” it wouldn’t work for us. With our method, it feels very organic, we are constantly reacting on each others pages, at any time.
There’s a fascinating sense of culture combination in this first volume, with a setting that resembles pre-Revolutionary era France but with Eastern traditions sprinkled throughout. What is it that makes these two very different cultures mesh so well together?
Balak: To be honest, we didn’t put a lot of thoughts into this culture mix. We just drew what seemed right to us, the French medieval thing is a part of our culture, we just put a martial art in it not thinking twice if it would match or not… It seemed obvious to us!
Bastien, you’ve had a few of your comics translated into English into the past, how has the translation process for Last Man compared? Has it been relatively smooth overall or have any pieces of dialogue had to be changed outright?
Bastien: My English is not very good, so I can’t really tell!!! But I think First Seconds did a good job!
Balak: The translation is very good, some cultural, typical French things are well adapted to an English audience. The main difference is that the French version is filled with cursing and very bad language that the English version is toned down a little . . . Aldana is even more rude in French!
For Balak and Michael, was the transition into comics a difficult one from the work you’re used to, or is there a natural handover from gaming and animation into sequential art?
Balak: I always wanted to draw comics. That’s the very first thing I wanted to do as a kid, so it’s not an issue at all. Sometime I’m a little frustrated by the page constraint, the fact that you can’t surprise the reader anytime you want, you have to take care of the double spread, keep your surprises for the first panel of the left page. . . . But it’s fun. I tried to get rid of this by creating something called Turbomedia, a way to make digital comics. You can see how it works by looking up Marvel’s Infinite Comics line, I’ve worked with them on this. Or even better, check the great Mark Waid’s Insufferable, at Thrillbent.com. It’s cool. (Yes, that was a shameless plug.)
Do you see Richard Aldana as a character to be admired or one to be pitied? Is it somewhere in the middle?
Balak: You pinpointed Richard. He’s right in the middle. He’s a badass, he’s looking cool and cracking jokes, but you wouldn’t want his life. But don’t try to show him pity, he would punch you in the face. Or walk away with a burning one-liner that would hurt you even more. Or both at the same time, if you’re not lucky.
Will Richard’s background play a bigger part going forward in the next chapters being released this year?
Balak: Yes, a big, BIG part. We’re even making a whole animated TV show about Richard’s past. It will be out in 2016 in France. It will be dark, violent and funny.
When you’re writing the dialogue of a child Adrian’s age, how difficult is it to find a right tone of voice that sounds natural?
Balak: Adrian’s way of talking is mostly Bastien’s. He’s kept is inner ten year-old child very close. It seems very easy for him. When I’m writing Adrian’s dialogues, it almost always sounds wrong.
Last Man was incredibly well received in your home country, to the point that it won the Prix de la Serie at Angoulême. What was the first thing that went through each of your minds winning such a prestigious honor?
Balak: I should’ve dressed better for this.
Bastien: It’s very good to feel supported in your country.
Balak: (Bastien tries to look tough and all, but he cried on stage. Really.)
Mic: It happened quite fast, I think I haven’t realized yet what it means. . . . To me, this prize goes out to all the great Japanese manga artists that inspired me to draw, and are still unknown to the wide audience for the most part. . . . But things are changing, so that’s good.
At what point was First Second the natural choice to bring Last Man to the states?
Balak: Mark Siegel gets the book totally, it seems that everybody there genuinely loves what they are publishing. We’re proud to be surrounded by all these other great books.
Beyond the translation of Books 2 and 3 this year, what’s next for the series? I understand there are other media plans. How is that process coming along? Is it possible I’ll be playing as Richard Aldana in a video game soon?
Balak: Hopefully, it should happen this very year! We’re producing our own video game, called Last Fight. It’s kind of like Power Stone, you can check it out here: https://www.youtube.com/watch?v=uLFxFKmqYDs If everything goes smoothly, it will be released in September. And as I’ve said previously, the animated TV show about Richard’s past is scheduled to next year. On each project, we have a very close look on the whole creative process.
What can/should your American readers look out for in Books 2 and 3? Any major surprises you can tease?
Balak: I can guarantee you some surprises . . . I can only say that you won’t stay into King’s Valley too long.
You can pick up Last Man Vol 1: The Stranger this coming Tuesday, March 31st from First Second at a book retailer near you.