SPOILER WARNING: This interview contains spoilers for "The Unwritten" Vol. 4, on sale now.
Since earning Eisner Award nominations for Best Single Issue, Best Continuing Series and Best New Series in 2010, acclaimed Vertigo title "The Unwritten" has continued to receive critical praise, becoming a New York Times bestseller along the way.
Created by Mike Carey and Peter Gross, the story of "Unwritten" revolves around Tom Taylor, a 30-something Z-list celebrity who is burdened with a cult following because he's the inspiration for a young boy wizard named Tommy Taylor, the main character in his now-deceased father's popular series of fantasy books.
Following the death of Wilson Taylor in the third collection, Tom is primed to get to the bottom of who or what is driving his life story, which exists somewhere in the realm between fact and fiction.
With the fourth volume in stores now and the fifth set for release in January, CBR News connected with Carey and Gross to discuss the life-altering changes Tom and his friends Lizzie and Savoy are experiencing and how Wilson Taylor is finally getting his story told, albeit posthumously. The creative team also confirm that the main villain in the series isn't Tom's dad, share their thoughts on the new .5 issues which are being released bi-weekly between regular issues of "Unwritten" and hint at the game-changing events resulting from the newest storyline "War of Words."
CBR News: Were you aware of the passage, "As yet, however, the sperm whale, scientific or poetic, lives not complete in any literature. Far above all other hunted whales, his is an unwritten life" from "Moby Dick" before you started your epic journey on "Unwritten?"
Peter Gross: No. I actually found that -- I was looking at a .pdf of "Moby Dick" early on because we knew we were going to do it. I did a word search for "unwritten" and that passage popped up so I sent it over to Mike right away. It was really kind of perfect.
Mike Carey: "Moby Dick" was always one of the books that we thought we'd like to use. Peter sent me a scene from the Gregory Peck movie version, which included the speech where Ahab is railing against the blind power behind nature. It's kind of inherent in human destiny to pit ourselves against this power -- we define ourselves against it. It was so cool. It seemed to play into a lot of things that we were talking about, especially when you consider the whole conversation took place in a map room. There was a big map between him and Starbuck.
Gross: He thought the beast was just a mask for something horrible that preys on mankind, and we were like, "He's talking about the Cabal." It ended up being a really big inspiration. More and more "Moby Dick," and the other images of whales, has come back to the story. And each time, it's more and more powerful.
When we included the Kipling story, "How the Whale Got His Throat," we knew that it was going to connect to "Moby Dick." The whale has always been there as a huge theme.
Carey: When we started developing the outline of the story, I thought naturally we could tie into Thomas Hobbes' "Leviathan" into it, as well. The big reveal at the end of Volume 4 that there is a whale behind the whale, was one of the last things that we put into that story.
Gross: There has been a lot of synchronicity with the whale imagery. We have about 10 more levels of it coming up, too.
Carey: That's true. We're definitely returning to whales after the "War of Words" arc.
Speaking of true, or truth, there was a great concept, presented by Lizzie in this arc, that there is a difference between "real true" and "story true." Can you explain the difference for us?
Gross: I find it really interesting to explore the question, "What makes a book last an eternity?" Or as close to eternity as you can get. When you look at something like "Frankenstein" or "A Christmas Carol," how many times do those classics get retold and redone and updated? There is something that resonates in them. Despite how much they change it, there is some core that can't be stamped out. I am really fascinated by that.
Carey: When Lizzie says there is a difference between "real true" and "story true," I agree totally with what she is getting at, which is a lot of what our reality and our attention, on a day-to-day level, is focused on -- the ephemeral, on things that come and go and change constantly. Stories, I think, including the ones that Peter was just talking about, are rediscovered generation after generation. They stay popular because they touch on things that don't change. They are touching on attributes of the human spirit or whatever you want to call it. Or something intrinsic.
Gross: I think the other thing that's really true about what Lizzie is saying is, for me, when you look at something like The Bible, it's "story true." The confusion comes in when people think it is "real true." Somehow, people think "real true" is more important than "story true." And I think what Lizzie is saying is that "story true" is more important than "real true."
Carey: Yes, because "real true" comes and goes and changes and fluctuates, but "story true" is true forever.
Peter, you mentioned those characters that are constantly re-imagined for new readers. Characters like the Frankenstein, who I loved in his supporting role. How do you go about selecting which iconic characters make appearances in "Unwritten," because I love the "team" you assembled of whale-fallen heroes, which includes Ahab, Sinbad, Pinocchio, etc.
Gross: For me, the fun part of it all is, when we think about a character, and we do just a little bit of research on him or her, you never have to read more than five minutes before you find some underlying connection between the all the authors and another author we are thinking of using or have used. To me, that's the fascinating part of engaging these different characters.
Carey: That's absolutely true. Even without invoking the Cabal, the conspiracy, the way the lives of different authors and stories are interconnected over time is fascinating. We're discovering different lines, different lineages, unexpected through lines, which is all very cool.
This arc called for a cast of all the whale-related characters. We're going to do a similar kind of mash-up in the arc that follows "War of Words" -- a different group of characters with a definite logic to it.
The whale-related characters should spin-off into their own series. "Unwritten" needs a team book.
Gross: [Laughs] Vertigo needs a New 52.
Carey: [Laughs] That would be cool. We do have a spinoff project, which is in development at the moment. Tt will be announced early in 2012. It's very ambitious and very exciting.
Wilson Taylor reminds me a lot of House from the FOX television series. I know I am supposed to despise him for all the terrible things he has done, but I can't help rooting for him or at least waiting for him to appear in-panel. Is this a natural occurrence, because I don't believe that he's the villain.
Carey: You're not sick. [Laughs] Wilson's a very ambivalent character and readers are meant to have mixed reactions to him. His agenda, which is coming out slowly, his master plan, is not malicious. There are things he is doing which are kind of admirable, but it's done in horrible, remorseless ways with a complete lack of pity for the people that he uses. There is this big contradiction there.
And you're right. He's not the villain. The villain is about to stand forth and be revealed.
Gross: The way I look at this is, in a lot of ways, "Unwritten" is Wilson's story. Tom is a consequence of Wilson. I think more and more as we've gone -- well, here's a spoiler for folks that haven't read the earlier stuff -- when Wilson gets killed in the third trade, it all of sudden opened up the book to telling his story in a really interesting way.
It became really fun to explore that character. He has the motives, he has the knowledge and he's a lot more fascinating than Tom. As we get a little further in the series, Tom takes control of some of that stuff, but Wilson remains the driving force. He's definitely an ends-justifies-the-means sort of guy, but as we go through the book, we'll get a more compete picture of just what that "end" is and what the "means" are. I don't think you'll be able to judge him until the end.
Carey: I think it's cool, the way that we're coming back now, posthumously, to the key events of his past. The "Teratogenesis" arc in "Unwritten" #27-30 was very, very Wilson-centric. And there's an issue coming up shortly that goes even further back in Wilson's past. It's like "Memento." We're working backwards.
Gross: I think we've figured out that whenever we kill a character, that's when we're going to tell the character's story.
Carey: That's right. That's when they become most important.
Okay. Let's acknowledge the other big elephant in the room. Lizzie and Tom hook up, finally -- in a big way.
Gross: I knew there was going to be a kiss, but when I saw the script, it was like, "Mike!"
Gross: It totally worked, but it was really spontaneous, wasn't it Mike?
Carey: It was, yes, totally. We knew that the relationship was going to deepen, but one of the weird things about writing this book is, we keep on reaching the milestones that we set out for ourselves earlier than we expected. We'll say in a conversation, "Okay. This is going to happen in the next couple of years," or something, and then we get to it within six months. It's moving a lot faster than we anticipated.
Gross: That's the opposite of some people that are reading who think "Unwritten" moves along at a snail's pace. [Laughs] But there is so much setup and there is so much payoff that we have figured out that the more we frontload something, it just leads us to better places. In "Lucifer," it took 75 issues before Lucifer had the conversation with God. With Wilson, we said, "Let's put this forward." And then it was even more. It was, "Let's kill him." But there has been real story payoff for us every time we've frontloaded those things. We almost look for it when we can, now.
With the overkill of vampire stories of late, it's nice to see Savoy's transformation is a little less sparkly than what we've seen romanticized in "Twilight" and "True Blood." Was that overkill considered?