by Benjamin Ong Pang Kean

Young musicians on the run from the law. And the mob. Trapped in a world of revenge, extortion and lost souls -- only their music can save them. That’s the basic premise of Allan Gross and Joanna Estep’s Roadsong, an Original English Language (OEL) manga from TOKYOPOP in January 2006.

“Roadsong is a story about friendship,” Estep told Newsarama. “It follows the lives of two boys (Monty and Simon), who would otherwise be enemies, and illustrates the harrowing circumstances under which they become friends. Framed for the murders of their own families, they have to run away together, and realize that the only family that they have left is each other.”

Even though it’s being labeled as an OEL manga, the characters in Roadsong are anything but “typical. In fact, I think they break quite a few stereotypes! For example, Monty’s a Jock, but he’s pretty reluctant on the baseball field. Simon wears punk clothes, but he listens to classical music. The both of them are distinct individuals unto themselves… but I think the real focus of Roadsong is the relationship between the two. Even the instruments they play personify this a little, with guitar and violin both being very “vocal” instruments. They have to work hard to sound good together.”

While Roadsong is Estep’s first big project, Allan Gross, on the other hand, is no stranger to the world of comic books. Gross has been described as a Renaissance Man. He is part of the Insight Studios creative group and his list of credentials include Doctor Cyborg and various screenplays.

“I met Allan through our mutual friend, Mark Wheatley of Insight Studios,” Estep explained. “I was going through the usual motions, taking my portfolio to comic conventions, and getting feedback from the creators. I eventually made it to Mark’s table, and he must have liked what he saw, because he put me in touch with Allan, and things just took off from there! Actually Allan and I started to work on another project based on a screenplay he had just written, but after he spoke with TOKYOPOP in Philadelphia we changed direction. TOKYOPOP had asked Allan to pitch some ideas and he realized that I’d be perfect for that work.

“Allan and I contributed equal parts when we were first coming up with Roadsong,” she continued. “Allan has been a singer-songwriter in several bands, so he expressed interest in doing a story about a band. That was lucky, because I already had original characters, and the beginnings of a concept. He then used my character designs and some samples I had done – a CD cover for a non-existent band – as a point of focus to create the basic structure for Roadsong. At this point, Al did something I didn’t expect, and asked me to tell him my life story. Hopes, heartbreaks, triumphs, tragedies… the whole shebang. When I had done that, Al began to outline a plot inspired by true experiences and people in both his and my life! After a little more back-and-forth and character development, we had a story!”

Despite this being Estep’s first major project, she has drawn tons of comics before this. “I wrote and illustrated the comic Jungle Love for the Fractured Kisses romance anthologies, and also collaborated with writer Andrew Sand to produce the comics October Collection, and Signage, which appeared in Zacherley's Midnite Terrors #2 and #3. In addition to our horror stories, Andrew and I also contributed the short comic All My Ex-Boyfriends Are Monsters. Really!, to the Twenty First Century Romances anthology.

“And because comics weren’t keeping me busy enough, (okay I’m kidding, really), I also wrote and designed the book, Timing: Expressions of Time in Sequential Art and Design, which received the Charles Logan Smith award for excellence in design. Last but not least, I’ve recently teamed up with designer Carolyn Dew, to make calendars! We had a western themed calendar for 2005 called Lonesome Cowboy, and we’re currently hard at work making a robot-themed calendar for 2006.”

There have been many debates on manga from Japan versus “manga” created by American/English creators. “While I have great respect and admiration for the works and aesthetic of both, it’s much easier for me to identify with Western creators,” Estep admitted. “To my knowledge, the majority of manga on shelves in America was produced in Japan by a creator and several of his/her assistants. I don’t have much of a studio, and I certainly don’t have any assistants, so I feel pretty removed from that sort of thing. I’m only me, and I do what I can. (I imagine the fact that I am an American has something to do with it, too) Even so, I will say that I am greatly inspired by anyone who has the courage and strength to realize their dreams, whether they be drawing comics, or otherwise.”

Her favorites include Jeff Smith’s Bone, Elfquest by Wendy and Richard Pini, Scrooge McDuck by Carl Banks and MBQ by fellow TOKYOPOP OEL creator Felipe Smith. Nevertheless, she is also a fan of Japanese works such as A,A by Moto Hagio, One Piece by Eiichiro Oda and Nausicaa of the Valley of Wind by Hayao Miyazaki. “Since I’m drawing for a big manga publisher, I’ve been reading a lot of more contemporary manga as well. Things like Deathnote by Ohba Tsugumi and Takeshi Obata, or Hikaru No Go by Yumi Hotta and Takeshi Obata. I feel like I’m probably skipping a lot, but there are so many things I like that it’s really impossible to name them all!

“For the most part, I love creators who can tell a strong clear story in obvious deliberation. I respect deliberation, and I like it when I can read a comic and say, “Wow, this creator really knows his/her stuff!” I dislike “one hit wonders” or people who get big, based on luck rather than skill. As is evident by my long list of favorite comics, I think that Jeff Smith, Moto Hagio, Eiichiro Oda, Hayao Miyazaki, and Wendy and Richard Pini, are just a few of the talented creators out there who “Really know their stuff!”

“I hope to take the first step in what I believe will be a long and rewarding career as a comic artist,” she added. “I think it will feel really good to see my books on the shelves, and know I’ve carved myself a solid niche in the genre of comics and graphic novels. So in a way, I guess you could say it’s a psychological milestone for me.

“Roadsong should be on shelves in early January of 2006. So, when all that extra X-Mas money is burning a hole in your pocket, be sure to remember Roadsong!”

Read the first chapter of Roadsong at TOKYOPOP’s Manga Online mini-site: http://www.tokyopop.com/takuhaionli...rrent_issue.php