![]() ![]() This is all very inconsequential to the turning of the planet, however. SL: How do the characters in Rusty Brown and their universe relate to the worlds of your other work? Is there a sort of Ware-verse in which they cohabit?ĬW: There is a tip-off in the book that it all connects to Jimmy Corrigan, and though it’s not apparent yet, also to both Building Stories and two other books on which I’ve been slowly toiling. ![]() Sprawl and complexity are features of my favourite books, from War and Peace to Moby-Dick to Ulysses, and I’m aiming for a similar end – albeit with thousands of little colour pictures instead of just words. Besides, paper may no longer exist when I finally get done with the thing, though at least I’ll know half of it will actually physically exist somewhere for a little while. How much do you think of it as a coherent single work?Ĭhris Ware: I’d always planned it as one volume, but my irresponsible writing methods got out of hand and I decided that rather than produce a book that would be too heavy to hold, it was better to split it into two books. ![]() Sam Leith: Rusty Brown collects a number of different storylines written over a number of years. Ahead of the publication of the print instalment of Rusty Brown, we discussed his way of working – and where that developing language is now. When he guest edited a comics issue for McSweeney’s in 2004, Ware called comics “not a genre, but a developing language”. ![]()
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