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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.
MATTER: I noticed that the ice cream truck’s jingle is not defined by lyrics, and that the music notes are set in mostly primary colors, like the title—what were your intentions with these aesthetics?
"As the world is becoming increasingly globalised, we should preserve and propagate the best facets of our individual cultures." He further said that irrespective of caste, creed, sex, religion and region, India is one nation, one, people, one country and that is the basic philosophy", he said.
What do you do when you hear the ice cream truck coming down your block?
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.
I think both colorists and letterers do think of the flow and beats and where your eye is going down a page very heavily, so in that sense, you do both need to be on the same page.
I can say, and you mentioned the primary colors of the musical notes in a previous question, that that got my mind rolling and gave me a sense of the look the book should and could have.
So I kept writing, and eventually the chapters started to coalesce in my dumb head around a central storyteller, who slowly came to reveal himself to me as a peddler of ice cream..may or may not be god, the devil, or something else entirely.
This happens with every comic I try to make: the book slowly and shamelessly starts to ape The Sandman, insofar as you’ve got these complicated stories about real people, with this magical-ish figure circling them and exerting an unknown amount of influence.