(Spoilers have been kept to a minimum, but there are a few indications of what happens in the finale so please read with caution … you have been warned.)
It has been almost two years and seventeen memorable issues since the wondrously epic adventure called Rose began and after an inspirational journey which has exposed us to the horrors of Ttereve and one cannot but reflect upon the hardships of our heroine Rose and contemplate the depth of her passage from innocence to emotional maturity. While we may not want to bid goodbye to characters who we have become so endearing as to think them as close friends, it is with fond wishes we must now contemplate the richness of this story and draw strength from their accomplishments. And what better guides to these insights than the people responsible for the delight and emotional complexity of this title – writer Meredith Finch, artist Ig Guara and colorist Triona Farrell, by allowing them to share their thoughts as to the success of the series and what they felt they gained from exploring this amazing world with an equally appreciative audience.
Fandom Post: Meredith, Rose quickly became one of my favorite titles as of these past two years and I am sure not to be the only reader who has become enraptured by this journey to watch a naive girl quickly lose her vulnerability due to forces beyond her control and accept what Fate has forced upon her, but never losing her innocence and endearing charm. However, how did you ever conceive a twist on the Damsel in Distress concept which would appeal to such a varied audience? What was the genesis of Rose?
Meredith Finch: I think the key may have been that I never really thought of Rose as a Damsel in Distress. I always thought of her as a young woman with an underlying strength, who knows who she is, and what she stands for. In our superhero driven medium, it is easy to think that strength is something physical. For me, Rose’s strength has always been one of personality, heart, and will. I think that’s why she appeals to such a varied audience. Her character is not about taking away from or diminishing the characteristics of those around her. She wants everyone to be true to their best selves.
FP: Ig, you have always been known for powerful compositions of superhero characters such as Batman and Wolverine, however, those unfamiliar with your work have now been exposed to your moving imagery within Rose. How did you become attached to this project and what did you hope to bring to such a vulnerable girl?
Ig Guara: Meredith was the one who approached me, inviting me to this amazing project. Not many people know, but I started as an illustrator for fantasy and RPG illustrator before moving into comics, so it was like a come back to my roots. As for Rose herself, we kinda grew together. At first, I myself was a little unsure on how to draw her, but as we grew together, me as an artist, and her as a character, I finally found my way into working not only with her, but all other characters and the world around them.
FP: Triona, I have always wondered about this concept for colorists: How do you so effectively translate such ephemeral elements as emotions into spectacular panoramic scenes upon a two-dimensional page, especially with a series which is so dependent on feelings such as Rose? Does it have anything to do with color psychology? Or is it from experience or a combination of both?
Triona Farrell: Emotion through colour is all about building narrative and relying on an understanding of natural key colours. When I first started on Rose, I wanted Drucilla to express a danger to Rose and the party. The normal ‘danger’ colour is red, but I didn’t want to stick to that as it was too intense, which I felt didn’t suit Drucilla’s calm, calculating personality in the first few issues of Rose. Instead I went with a dark blue or teal and kept that consistent throughout the series. What I mean by narrative colour in this example is that though the reader does not assume that blue is threatening, the art intermixed with writing immediately teaches them that blue is the colour to be wary of in the series. Red is still used from time to time to express danger, but normally only when blood is present. So red becomes the physical danger, blue the more omnipresent, magical danger. This continues on until we become aware that Drucilla is drawing her power from something darker. I didn’t want this to be blue again, as I felt that it would be visually confusing and also be too boring with page after page of blue. Instead, I decided to go back to red, but this time a neon pink. This colour is very unnatural in a medieval setting and immediately the reader understands that this magic isn’t something of this world. It also intermixes well with the blue, providing a nice contrast. I can’t say exactly what led to this approach to colour, but experience and also an understanding of what readers of Rose will visually understand going from panel to panel is key. Furthermore, I tend to focus on what will read best and look good above all else. Colour can be complicated, but its main goal is separating elements on a page and helping to lead a reader smoothly through a series.
FP: There are so many essential character standards within this series and yet they all incorporate within the overall premise of the narrative so effortlessly – Did you have an underlying blueprint as to how each character would develop or did they take on a life of their own as the series progressed? Who was your favorite and why?
MF: That question is almost like asking me which one of my children is my favorite. That being said, I had a very strong affinity for Dante, Ila, Will, Fel, Bjarke, Thorne, Drucilla and of course Rose … wait, is that everyone? The thing I love about writing comics is that I can bring parts of myself into each and every one of the characters. Because I had established who and what each character stood for in my mind it was very easy to write them. On some level, they were all an extension of myself. That being said, as the story progressed, each character on some level determined their own fate. I didn’t know at the beginning of the story that Dante would become such an integral part of the narrative.
FP: Concerning the diversify from this title, you had to create many nuanced characters to display various archetypes: Rose as the uncertain damsel turned heroine, Dante as the menacing enforcer turned guilt-ridden protector, Thorne as the last of his kind and held to the responsibility of guiding a fledgling Guardian, Drucilla as the power-hungry and misguided ruler who went to any lengths to accomplish her goals, Ila as the kindly mentor and grounded voice of the rebellion and Will as the begrudging leader of said uprising and later unsure of his own decisions. Did you have any specific character models as to how to depict this cast or did Meredith give you general guidelines and allow you to take it from there? And who was your favorite to draw and why?
IG: Meredith gave me the initial direction, and I would create them from there. I tried to portray the world as I see, with many kinds of different people, each one as beautiful and unique. Also, as the characters developed in the story, some of their visual should evolve as well.
FP: Rose is a moving story of bravery, heroism, and sacrifice – How do you approach such a daunting task of projecting these abstracts for each character so they stand out upon the page? Did each actor have their own individual palette which serves/evolves with them throughout the series or does it all depend upon the mood of the scene? Which was your favorite character to create such stunning emotional symphonies and why?
TF: It’s very true that every character has their own palette. Rose herself for example is mostly white, intermixed with some light yellows and greens. Dante was greys and blues, slipping into some greens at the end to represent his change in alliance. While each character had a palette to themselves, this was more suggestions in the overall narrative rather then completely set in stone. I tended to work with the emotion in the scene rather then the natural palette set by the character. There are many scenes for example where Rose in bathed in blue light, but that just
works to show the dominance over her from Drucilla. If I was to give a favourite character it would probably be Drucilla. I loved working with the intense blues and it was always fun to see how dark and foreboding I could make her in each scene. She very rarely went into any other =palette, so each time you saw a lot of blues it was like BLAM, Drucilla is here and in charge!
FP: Rose … she was so sheltered at the beginning of the series – protected by her mother so none would not learn of her abilities, shielded by Ila and the rebellion once her village was destroyed and finally guarded by Dante and Thorne during her journey into understanding her role as Guardian, all while needing to confront the darkness plus understanding the truth of behind heroism and sacrifice, nothing was left to chance. And yet throughout her adventures she never lost her innocence and naiveté, always believing anyone was worthy of redemption … even the tyrant Drucilla. Was this your intention from the start or as the story evolved did your mindset became enveloped within this concept of forgiveness?
MF: Every time I wrote Rose, I made sure I took a moment to focus on who she was at her core, and how that influenced and shaped the narrative. I have always been a person of faith, and when I started this book I wanted, on some very small scale, to achieve what C.S. Lewis did with his Narnia series. I knew from the very first page that Rose was my Aslan character. She was the character that represented, always, for me, the love and sacrifice of Christ. That meant that writing her innocence, and ultimate redemption were simply an expression of my own beliefs about my faith, and the love of God. The idea of the Drucilla character was taken directly from C.S. Lewis, and I made sure to make reference to the quote that inspired me in the series.
FP: Over the seventeen issue run we have watched as a young woman who was sheltered from the world was suddenly exposed to a tyrant’s cruelty and then thrust into becoming the savior of Ttereve. How did your drawing style for our beloved heroine evolve as the series progressed? Did you hope to project-specific emotional/developmental states during certain stages as she grew as both a person and began to accept her responsibilities as the Guardian?
IG: I tried to show that Rose was light, and Drucilla was the dark, and the artwork should reflect that. But also, no one was completely good or evil. The central page of every page (?) was always the characters and the feelings within them, so I tried to show that through light, shadows, and emotions. I learned a lot from working on this title, and I believe I have grown as an artist like never before.
FP: Due to Ig’s stunning panels there seemed to be no end as to the incredible display of rousing atmospheric movement during the title, but how did you arrive upon such a stunning synergy to bring about the best in each other’s talents? Was there discussion as to how you wanted to project the most effectiveness within each page or was it something established within the script?
TF: I actually had a lot of free rein in the process. Ig and Meredith were great to work with but I definitely think they trusted me 100% in the end to come out with something good for each issue. Sometimes there would be notes in scripts or e-mails about what the scene wanted to convey or what colour either of them would prefer to see, but usually I was just let loose on the pages. Out of all my projects this was the most fun however as I got to use a full range of colour from page to page. Some projects are very tight and constraining so to be allowed to throw myself fully into Rose was very freeing and rewarding.
FP: Will we ever have a story which presents a more pronounced prologue of how Drucilla fell into her decaying cycle of blaming everyone for her failings and how about one elaborating how the original Guardians became the shades of their former selves?
MF: I would love to do that. But I never felt as if those were a part of Rose’s story, and I didn’t want them to get in the way. Telling the story of Drucilla’s fall, or the Guardians’ journey into darkness calls for a prologue to the series itself. I hope that there is a time when the stars align and we can come together again as a team and make that happen.
FP: Ig and Triona, were you surprised by the ending as to the value of redemption since it was never truly mentioned before, or as the title progressed were you expecting it due to Rose’s non-confrontational nature?
IG: (No response given)
TF: I was fully seeing it as the end point honestly as things continued on throughout the series. At first Rose is depicted as a scared and angry girl after losing everything when her village is burned down. Her growth throughout the series is spectacular however as she learns to trust again and also see the value in nature and its place in this world. Drucilla really represents a choice to fight against the natural order through absolute force, but Rose on the other hand embraces this natural order. Anger and fear dominates Drucilla’s world but Rose learns to let it naturally flow – the redemption theme is no surprise then as she learns to forgive.
FP: Now, of course, the most quintessential question of all for all: What was your favorite scene(s) of the series? Did you have an emotional attachment to it or was it due to some other reason?
MF: I don’t know that I have a favourite scene in the series. What I have are many favourite moments when Ig and Triona brought something special and extra to the story, and made it more than it could have been. The best part of writing comics for me is the opportunity to work with incredible creators. I knew the moment I saw Ig’s artwork that he was the one I needed on this book. The same goes for Triona. Her colours seem so perfectly effortless, and yet they add so much character and dimension to the page. I simply could not have done this book without them, and I am so blessed for having had the opportunity to work with such incredible talent. I also want to give a shout out to Cardinal Rae, who did letters on this project. When lettering is done well, you don’t even notice the art that goes into making that happen.
IG: I love when Rose and Thorne become reunited, I see it like Rose become one with her own strength and ferocity, and accepting she can’t be perfect, and she doesn’t even need to be. In her own way, she is a fighter and human, and for me, even not being a religious person, is incredible.
TF: My favourite scene in the whole series is definitely when Rose undertakes her trials. She faces a lot of harsh truths in these scenes but finally begins to understand her role in this world. I loved the idea of a misty, mythical green surrounding her as she is lost in her emotions of the past and the future. The white raven actually was an idea of mine and Meredith’s and it is definitely her seer, leading, but never pushing her through the story. I actually saw a white raven that day and Meredith loved the idea of including it in the story!
FP: What are your next plans with the completion of this series? I know Meredith has The Light Princess from Cave Pictures Publishing releasing today and one other title in the works, but what about you Ig and Triona? Do you plan to work together again on another project … such as a sequel to Rose?
MF: Right now I’m very blessed to be working on a project for one of the big two publishers in addition to Light Princess from Cave. I also have a spiritually themed graphic novel that I’ve been working on for almost a year now. I would love to come back and do a sequel to Rose at some point. I have to believe, that just as this felt like the right time to take a break, I will know when it’s the right time to come back for the next chapter. I’m a big believer that all things happen as they are meant to, in their proper time.
IG: A sequel would be amazing, and Triona is my favorite colorist to work with to date!
TF: As a colourist I often have many eggs in multiple baskets. I currently work on a few other Image series along with other writers and artists, plus I do quite a bit of work at Marvel and a few other companies. Meredith and I do definitely have plans to work together in the future again, however, and you might see something from us in a couple of years down the line! As for working with Ig Guara, that’s really up to the winds of fate and depending on the projects we’re on, but I’d happily work in heartbeat with him again as he’s fantastic!
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And so with heartfelt fanfare Rose comes to a cherished if unwanted end, and while we may treasure the memories of Rose and her companions, it does not mean we cannot welcome the possibility of future exploits with our favorite Guardian, her loyal khat and a gruff if overly protective behemoth of a man. While the assurance of such distant adventures may be an uncertainty, we can always hope for the better and look forward to the trade paperback collections of this series to keep us satisfied until the possibility of more excursions into Ttereve tempts to return to this inspirational land.