I'm curious how you were <feeling about whole process of> the graphic novel. <Specifically how you felt about the whole thing translating,> because I have the draft.
<You were kind enough to send me that.> You know, you were very descriptive.
<And it didn't translate well?>
Not so much-- although I did see <glimpses of you popping through>.
Yeah, so, I focus on the positives. <But there might be some things I might not agree with.>
I think that's fair. Of course.
And I-- what we came up with was the < a list of a few things>... *inaudible* Like the only one that really bothered <me> was... where is the big battle?
*searches through the graphic novel*
<The big splash page> right there. I'm like... <when did this turn into> white people verse brown people? You've read the book. This isn't about white versus brown. This is, again, how did we end up with white versus brown? Why aren't these people wearing armor? These guys are the ones that are outcasts and these are the high society.
And so when I got this stuff, I was like, "Uhh..." These panels where they'd done earlier where they have the skin tones and the <the clothes for the Darksiders>, I'm like, "Really good!". But then when that one came together I was like, "Oh great, oh great, here we go." And when you put the whole thing together, some things came out really cool. Like I think the Darksiders turned out cool. The Darksiders were awesome. The magic turned out really great. But again, I'm like, "Where's the armor? Where's the cultural markings? Where's that stuff?".
But yeah, yeah. The thing is, the guy who's drawing them is Asian, right? So <he should, you know?>... alright, so that's my thing. But again, you've read the book. Like, where's <that detail?>... But that's-- when you give the story to someone else you have to let them <do what they will>.