Mark Whelan grew up in Decorah, Iowa – “a small, but exceptional town,” he notes. “Despite our seemingly remote status from metropolitan areas, we always seemed to have access to the ‘cool’ things larger places had. We have an awesome public library, a great college, and a loving community.”
Mark graduated from Luther College in 2002 with a degree in art — and had dreams of being a film director. His father taught art for 23 years at the college and Mark recalls having had the honor of taking his dad’s last class — a summer course before his own first year in 1998. His mother worked in the college dean’s office for over 30 years, so he spent a lot of my time hanging out on campus. “It had such a different vibe from the rest of the town, it was almost like going to a different world,” he says. “There was Luther life and Decorah life. Lately, the two have merged — more so now, than ever before…at least more overtly. As a native (my parents were not; they moved here with my brother, seven years my senior, in 1975), it has been exciting watching this little town grow throughout the years.”
“CROWN is the story of the humble King Sebastian and his secret relationship with the quietly brilliant Court Jester Samuel. Ailing from an unknown sickness, Sebastian discretely plans his twilight hours as surrounding kingdoms plot and scheme, including his estranged brother and rival Krochlan. As the armies assemble and fates are decided, there are troubles at home within Sebastian’s castle walls as well …”
JBR: What inspired this project?
MW: CROWN originated as a play back in 1997 when I was a senior in high school. My class was overflowing with artistic talent, and I wanted to offer up a chance to truly showcase their abilities. Our football team made it to the championship that year, so a spring theatrical production of colossal proportions seemed appropriate. The faculty in charge of producing the spring play left it to a vote and, unfortunately, it wasn’t selected—that honor went to You Can’t Take It With You. No regrets, that was a stellar production.
I gave CROWN a revision my first year of college. It laid in limbo for a few years, and three years after graduation (circa 2005) I decided to bring it back to life in the form of a graphic novel.
CROWN is inspired by a number of sources, but its core story stems from my own design. I was always fascinated by the hierarchy of monarchies; and I wanted to illustrate a dynamic between a valiant, yet flawed, ruler and his harshest critic. A testament of wills and valor on display for all the kingdom to witness. I don’t want to spoil too much of the story, but the primary focus between King Sebastian and Court Jester Samuel is the fire igniting CROWN’s dramatic flare.
Over the years, CROWN has proven to be an induction ceremony to some of my most cherished friends. Most of the characters are based on real people, and I created them in such a way that reflects how I view them as people. It may seem a bit idealized and theatrical, but the essences of these people are intact. Of course, there’s always going to be a little bit of “me” in every character.
I always desired to be a filmmaker, and CROWN is very much a product of Akira Kurosawa, David Lean, Hayao Miyazaki, Stanley Kubrick, and Mel Gibson.
What appeals to you about the graphic novel, as a form?
In 1985 I discovered ElfQuest — an epic fantasy by Wendy and Richard Pini. ElfQuest was created by a husband and wife team (Richard took writing credit, while Wendy did artwork), and essentially laid the foundation—and set the bar—for anything I would consider as the genuine article of graphic storytelling. There was nothing out there at the time that even came close, especially when compared with Wendy’s artwork, which was absolutely transcendent. It was the perfect marriage of writing, drawing, vision, and drama.
Not too far removed from graphic novels would be animation — of which I’m a huge supporter. The work of Hayao Miyazaki (especially Princess Mononoke and Nausicaa of the Valley of the Wind) along with Katsuhiro Otomo’s AKIRA have left a permanent impression. Jeff Smith’s Bone is also lofty staple when one mentions the “best of the best” of graphic novels.
My father taught art for over two decades at Luther College in Decorah, Iowa, and while his influence is certainly applicable, his style has always been much more representational. I was never interested in emulating things from life; I was always more attracted to comic/animation art, and as such honed my craft from those sources.
To be honest, I don’t read graphic novels nearly as often as I’d like. There’s an awful lot of them out there.
What are you most enjoying about the process of making this graphic novel?
Drawing is no picnic. It is a task that involves the entire body and mind to focus. Posture, movement, patience, and discipline are fundamental factors to weigh in when tackling a project of this caliber—especially if you’re doing it alone. I can’t vouch for how other artists work, but mine can be described as “systematic chaos.” Like a jigsaw puzzle scattered about, putting the pieces together, seeing what works and what doesn’t, having the courage to toss or cut ideas, it’s an exhaustive practice that results in cricked necks, a sore butt, and blurred vision.
And I love it.
It’s hard work, but when it does finally piece together, what you have is a marvel to behold and you can sit back and say “yeah…I did that.”
What are some of the challenges you’re working out, as the project progresses?
My largest obstacle is…well…me. It always has been. It’s difficult to convince others of your abilities and talents. Even if you have substantial proof that you have what it takes, it never seems to get through. Once I saw the amazing amount of support and generous donation to the project from the crowdfunding it spiked a sense of urgency in me. If people have this much stock in my passion, I’m gonna give ‘em everything I got. Damn the torpedos.
What other media do you work in, as an artist?
CROWN is one of several “concepts” I’ve conceived throughout my life. I think I have a unique method for how these “concepts” materialize. First, I think of an idea, then I write a musical score to accommodate said idea (I play the piano). Next I create concept art, such as character sheets (designs) or landscapes. Then, if I’m up to it, I’ll write a scenario or draft a script. CROWN is the furthest along—mostly because it’s probably the least ambitious—and based on whether or not it becomes a success, I hope to follow it with my other ideas.
Where do you find most of your inspiration in these different media?
It comes from everywhere! Conversations, quiet moments, walks in the woods, movies, songs, books, you name it. I get so much creative energy from people-watching. I’m kinda weird.
What are some of your personal passions?
CROWN is an anthem for peace. I’ve often role-played in my mind what I would do should I be the one tasked with finding the solutions to prevent open war between nations. There’s no linearity in problem solving; much like the creative process, it’s full of pathways, junctions, tiers (tears?), and byways. I am a person devoted to helping the world be a better place to live, for us and future generations. CROWN in many cases may be starkly naive and ideal, but I believe its innocence only adds to its sincerity. This is a story of love and peace…what I strive to live, on a daily basis.
JBR: Friends of the artist have been contributing to a gofundme effort to help Mark bring to life his long-held dream of bringing this project to fruition. To join that effort, please click here.