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Martín and Chris, what was it about ICE CREAM MAN that made you want to work on this project?
PRINCE: Martín and I made The Electric Sublime together for IDW. I’m no good at articulating what superb art like his does to me.
Chris, would you say that’s true for you and, if so or if not, why? Everyone is playing off each other, but I'm not sure I would say I'm more deeply connected to the letterer over the artist in general, to be honest, or not more so than anyone else involved anyway, but there are definitely moments when I've felt a nice syncing of the two.
MATTER: I’ve seen this book described as “genre-defying” which is intriguing.
W., what inspired you to tell disparate stories with this particular character as a sort of unreliable narrator? MAXWELL PRINCE: The stories came first, and the Ice Cream Man kind of ambled his way in after.
I knew I wanted to tell a bunch of different little ditties, all sad, about different people, with different laws of reality governing the narratives.
PRINCE: It’s been my experience that this is what the adult brain does: it takes the lovely stuff from your youth and casts it under a new, darker lens; it grafts your adult trauma onto blissful memories.
Or, I dunno, maybe all of these things just live in a kind of harmonic order—the cheery, joy-bringing stuff, and the unfortunate sorrowful stuff, all as one.