Regicide is the book you need to pick up the next time you stop by your local comic store. It’s a mix of some of the most brutal, dynamic action that can spill off the page, with a touch of a medieval tome in the vein of Berserk. Ahead of the release of the release of Regicide #2 this Wednesday, The Beat had the opportunity to chat with writer Patrick Kindlon and artist Ludovic Lalliat about their new hit series published by Image.
During our conversation, the creative team discussed the influences behind Regicide‘s unique look and the differences between European and American Comics, shaking up the cover-variant market. Our chat also included a suggestion for a new vegan place worth checking out
This interview has been edited for clarity and brevity.
Javier Perez: This is a change from Tigress Island and Gehenna, as far as theme and setting. How did the story come about?
Patrick Kindlon: To some degree, the art has to lead the premise. Ludovic is immensely talented and can do a great many things, but you don’t look at his work and immediately think a good story for him is “the Riverdale kids look for a lost dog but lose Jughead in the process.” His art is dark and has an occult feel. That’s how we arrived at the bones of Regicide. And with Tigress Island, it’s the same idea. EPHK‘s work is bubbly and has a teasing element. So the story manifested from that.
Ludovic Lalliat: Patrick and I quickly agreed on the atmosphere. At the time, I was working on a sci-fi comic, and I wanted a change of pace. As for visual references, I didn’t look at anything in particular except for a few landscapes of present-day Romania. The character designs came naturally. I mostly had Richard Corben‘s black-and-white stories in mind, and a good chunk of Alberto Breccia‘s body of work was also lingering in my head. As for the design of Doru’s mask (which people ask me about often), I mixed various literary depictions of the Man in the Iron Mask from French literature.
Perez: There is a really great mix of heavy metal covers and comic book covers with the variants that Atomcyber is doing for the book. How did you find that artist?
Kindlon: I spend a lot of time on social media bookmarking artists. Sometimes years before I reach out. In Atomcyber‘s case, it was a DVD cover he’d done that immediately grabbed my eye.
I know variant covers have critics, but I love them because they let creative teams bring new talent into the comic market. Respectfully, I thought the variant market was getting stale. We were seeing the same creators over and over. That was great for them, and I’m happy some artists were making steady money, but we weren’t seeing many new styles or approaches. Guys like Atomcyber and kerb_crawler_ghost shake it up a little.
I’m really trying to bring ‘internet artists’ into comic books. Many of them won’t be able to handle interiors because they don’t have the background. Still, they can absolutely contribute to comic book culture by steering the direction of the cover game.
Perez: Ludovic, what are some of the things you’ve learned in the process of publishing the book? Are European comics and American comics standards different?
Lalliat: My first comic, Akutézoïde, was indeed published in France by Cornélius (and will actually be translated into English soon by Stranger Fanzine). For Regicide, I adjusted my style a lot. It would be impossible to cover everything I’ve learned about comics. Apart from the fundamentals, which remain similar, absolutely everything is different. The pacing is much denser and more intense; setting a mood quickly is a real headache. In fact, there are many stylistic tricks I refuse to use—like distorting panels too much or having characters burst out of them. Those techniques have always broken my immersion in a story.
Maybe it’s my cultural heritage that makes me view panels as windows to draw readers in. My art style can look gritty, so I try to maintain a graphic energy with simple panel layouts. I’ve learned a ton, and I’m still learning. You can already see the evolution between each issue.
Perez: We get the story of a masked man enlisting the help of a farmhand to hunt vampires; will readers get background on the masked man?
Kindlon: Now that you mention this, I realize I’m putting a lot on the reader in Regicide. The answer is yes, and you won’t have to break out the divining rod to find it, but I’m asking that everyone ride with us for it.
Perez: Patrick, it was nice to talk to you at San Diego Comic-Con. How was your experience of the event? Do you think more comic creators should attend events like SDCC?
Kindlon: Thank you. Likewise, I had a good time largely because I wasn’t important and I wasn’t thirsty. I hadn’t planned on going, but a personal obligation put me in Southern California that weekend, and it lined up perfectly. So I said yes to everything Image and Black Mask asked me to do and just sorta floated through the weekend. I did not talk business once. Made zero effort to meet editors or seek new work. I just hung out with people I like and went to my favorite place to eat, Ocean Beach People’s Organic Food Co-Op. In the past, I didn’t enjoy the convention much because I always wondered if there was someone I was supposed to talk to, and I didn’t.
This time around, I just got tofu every time I wasn’t doing something. It’s difficult to say if creators should spend more time at conventions. Some people really enjoy or even need the social aspect of whatever industry they are in. And in terms of work, editors do wanna meet you face to face at some point. So there’s always that. But the truth here is that this is a business of oddballs, and sometimes it’s best to recognize that about yourself and not put yourself in the bingo cage with the other oddballs.
Perez: Will either of you be doing conventions or future signings for Regicide?
Kindlon: I’m a difficult guy to plan with. I’ve got a day job that keeps me traveling four months a year, and I live in Tasmania.
Lalliat: I would love to check out the American convention scene. It’s very different from what I know in France. After that, it’s a matter of scheduling. Drawing takes so much time, especially when you do everything by hand, the old-fashioned way—from layout to colors. If the opportunity comes up and the stars align, I’d love to meet our readers.
Perez: Anything you would like to add?
Kindlon: Appreciate the questions. And a big thank you to readers. People seem to love the dark fantasy energy, and I’m happy for it. Ludo and I are already planning a follow-up!
Lalliat: I can’t wait for people to discover the full story. I’m thrilled that so many people can appreciate the twisted visual style I set up. And Patrick and I can’t wait to show you what’s next! Thank you, everyone, for reading us!
