In Conversation with Small Earthquakes: Graphic Album Editor Rantz Husley

This unique creation of the graphic novel on Tori Amos’ historical album features the tremendous talents of writers such as Neil Gaiman (Sandman, American Gods) and Margaret Atwood (The Handmaid’s Tale), as well as artists such as David Mack, Colin Doran and Bilqis Effley.

I’ve just sat down and talked with Z2 editor and the guy behind this project, Rantz Hosley. Here we’ve discussed the process of bringing this team of creators together, the connections between comics and music as a storytelling medium, and more.

MFR: Tori Amos has always been closely associated with the medium of comedy in one way or another. With this in mind, was the idea for Little Earthquakes: The Graphic Album something that had been brewing for years, or something that suddenly hit the nick of time as the 30th anniversary approached?

RH: Well, this can be traced back to my stay at Tori’s house in Hollywood while writing and recording Little Earthquakes. I was interviewing for a position at The Simpsons, and there was a lot of waiting to hear back from the studio, so I’d go to Hi De Ho and the Golden Apple and buy a lot of comics, and that left piles of bogus comics all over the place. around her house, so one day she asked “Which of these should I read?” And I gave her the “Calliope” number from The Sandman, and that was it. She was hooked.

I don’t think at the time I was thinking, “Oh, this music should have a comic book component,” but certainly after Comic Book Tattoo, we kept looking forward to the opportunity to do a graphic novel project again. With the 30th anniversary of Little Earthquakes, as well as being in Z2, it made sense to “bring the band back together,” so to speak.

MFR: I’ve brought together a group of some of the most talented storytellers on the planet who have contributed to this book; From writers Neil Gaiman to Margaret Aude, to artists like David Mack and Colin Doran and my personal favorite in Balqis Evle. How did you manage to get that kind of talent to fill this book with their interpretations of Amos’ work?

RH: I think it’s a combination of the success of the Comic Book Tattoo. The creators clearly know the level of quality we are aiming for in putting this together…and love and appreciation for the poetry and depth in Tori’s music. I’ve tried to include some people who are icons when it comes to storytelling, and some people who I think are some of the most promising new creators of comics and prose. This was my approach with CBT, and it ended up being very successful, so if anything it’s just a refinement of the formula and approach. This is the nature of creative work at its best, really – keep moving forward, learning from past experience to do work to push boundaries in the form of storytelling.

MFR: Other than Amos’ apparent love for the comic medium, how did you find that the lyrical tale of Little Earthquakes could be reinterpreted in a set of comics?

RH: A big part of the reason why Tori’s music and lyrics are so successful in the comics is because there are so many secondary and tertiary meanings in how the line is built. It plays with theme, symbol, and narrative forms in a way that reflects the borderline process of how thought works. Since it is not declarative and literal, there is plenty of room for personal attachment and interpretation. It’s the same reason her music resonates with so many people.

MFR: On that last question, you and the Z2 folks have been streaming musicians’ graphic novels about their music left and right – and I’ve covered many of them myself. What is the subject of the comics that you think makes it uniquely suited to these adaptations and/or reimagining of the work of musicians?

RH: Structurally, they are very similar. Both rely on elements of timing and “rhythms” to convey emotional impact. The full-page spread echoes a note that has been on hold for a long time. A series of identical small plates reverberate the effect of a choppy rhythm pattern. I spend a lot of time studying the formal aspects of storytelling, and I think they work together because of the combination of that resonance in the structure, and the fact that the increase you get from a dramatic moment in comics is very similar to the increase you get from a powerful moment in music. Both are internal, personal and interpretive experience, in which the individual background and perception of the audience play a decisive role in the experience of its consumption. Much more than most movies or TV shows.

MFR: Do you think any of that great work—from the amazing Amos album to this graphic album—could have turned out to be what it used to be if Neil Gaiman hadn’t dropped that demo tape?

RH: I’m a huge fan of Kieślowski’s films, and the recurring theme in his work – Blind Chance, The Double Life Of Veronique, etc. – is the idea of ​​possible vectors that life can take. What could be the result. In a single possibility exchange, what do you gain? What do you lose? tl; DR – “What if.”

On a personal level, I think “what if” is great for storytelling, but from a real-life point of view, I don’t really consider it. I’m more practical and realistic about it. I gave Neil the tape…and I can’t even honestly say how much it affected Tori’s career, or mine, or Neil. Me, Tori, and Neil are all friends, and that’s definitely the only measurable effect for me when I give Neil the cassette, but then? There are too many variables that even vectors and outcomes can’t be considered frankly.

Amos’s debut album, Little Earthquakes, was released in 1992, establishing her iconic thematic sound, as well as her lively intensity behind the keys with enduring lyrics and songs that would inspire generations of artists and musicians. Thirty years later, Z2 will publish a graphic novel that illustrates the lasting impact of this specific work through 24 stories inspired by the 12 songs on the album, as well as the 12 “B sides” that accompanied the album and associated singles. The book will be compiled by Z2 editor Rantz Hoseley, who previously edited the multi-award winning Comic Book Tattoo, and who painted the cover of her latest Christmastide EP.

Tori Amos says “To have some of the most creative graphic artists interpret the songs from Little Earthquakes, it’s a real honor. I enjoyed working with Rantz on Comic Book Tattoo so much that when he called me about putting together something for the 30th anniversary, I didn’t hesitate. Work is back Art is an important part of my musical world, and it is a pleasure to see these songs come to life in graphic form.”

Editor Rantz Hosley stated, “Since I was present while writing many of these songs, I can tell you that they are closely related to the comics. They were on the early demo cassette that I snuck into Neil Gaiman at San Diego Comic-Con in 1991, and told him” This is my friend, she sings about you, please don’t sue her.” It’s been a while since Comic Book Tattoo, and I’m really glad to get to do a comic with Tori again.”

Tori Amos is a classically trained pianist, singer, and songwriter who rose to prominence in 1992 with Little Earthquakes, an album stemming from her religious upbringing and struggling to establish her individual identity. The album was a commercial and artistic breakthrough for her, entering the British charts in January 1992 at number 15. Little Earthquakes was released in the United States 30 years ago in February and slowly, but surely, began to entice listeners, attracting attention with its first video clip , “Silent All These Years”. Since that time, Amos has sold more than 12 million albums across 16 issues, with her latest effort, Ocean to Ocean, released in October 2021.

This graphic novel edition showcases the breadth of influence of Amos’ work through 24 stories inspired by the album and accompanying B-sides. The book’s contributors are a star-studded cast of literary and artistic talent, including Tori’s longtime friend Neil Gaiman (The Sandman, American Gods) telling a story inspired by “Tear In Your Hand” with artist Bilquis Evely (The Dream), and legendary author Margaret Atwood (The Handmaid’s Tale) that will feature the famous song “Silent All These Years” with famous artist David Mack (Kabuki), who also painted the stunning cover. Other contributors include Lea Moore, Colin Doran, Derek McCulloch, Lar D’Souza, Annie Zaleski, Marc Andreco, Kat Mihos, Neil Clyde and Alison Sampson. A full list of co-creators and the stories they’re creating will be released on March 11, coinciding with the first part of Tori’s Ocean to Ocean tour.

Little Earthquakes: The graphic album will be available in three versions. The Standard Edition, 8″ x 8″ hardcover, will hit bookstores, comic stores, and record stores everywhere in September 2022, and will be available for pre-order through Z2 and ToriAmos.com. The Deluxe and Platinum Artists Limited Editions will be available exclusively through the Z2 website and in limited quantities.

The 12″ x 12″ Deluxe Edition will be limited to 1,450 units, which will be packaged in a collector’s slip case, with vinyl editions of Little Earthquakes and previously unavailable vinyl discs from Little Earthquakes: The B Sides, plus 12″ x12″ art prints. Comic Book Tattoo contributors Jason Levesque, KAKO, and David Mack.

The Platinum Artists Edition is limited to 500 copies, and includes a signed and numbered 12″ x 12″ graphic novel with an embossed aluminum foil hardback, a Little Earthquix vinyl album and exclusive B-Sides vinyl discs, prints by Jason Levesque and KAKO, and a signed hardcover print from David Mack and Tori Amos kiss, sketchbook/diary, housed in a die-cut clamshell collector’s box echoes the wooden box synonymous with this album’s cover. There will be no second decompression of the Little Earthquakes: The B-Sides Vinyl Limited Image Disc available with Deluxe and Platinum Editions.

Book yours here!

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