In the realm of gods and heroes, Akhat, adorned with a divine bow, faces the wrath of Anat, the passionate goddess, who covets his enchanted weapon. Akhat’s bold defiance sparks a furious vendetta, and as Anat dispatches her formidable falcon warrior to end his tale, an unexpected hero, Paghat, fueled by grief and rage, steps forward to rewrite the destiny set by the gods.
Embark on a thrilling adventure with the Ancient gods of Canaan in Age of Canaan by Nir Levie. This is a dynamic fantasy graphic novel interweaving five tales from the 13th century BC Ugaritic chronicles. From epic battles mirroring the seasons to tragic vengeance and divine conflicts, each story unfolds in a captivating tapestry of action.
Delving into the vast tapestry of human mythological history reveals an abundance of narratives, with only a fraction standing the relentless test of time.
The stories that endure are often the ones co-opted by major religions, leaving behind a concealed wealth of untapped tales. As a descendant of Jewish heritage, my fascination lies in narratives untouched by the fingerprints of contemporary religious ideologies.
The collection concludes with a mesmerizing love song, using the oldest surviving written melody to poignantly capture the beauty of nature and love through vivid, action-packed imagery.
Nir is an Inkwell Award-winning (2023) architect, artist, and comic creator with a passion for pushing the boundaries of storytelling. With projects like Bioripple (Heavy Metal) and collaborations with Humanoids, who strives to challenge the conventional laws of the universe, exploring innovative and unique narratives that invite readers to reconsider their perceptions of the world.
Nir sat down with Comic Watch to discuss the current campaign running on Zoop:
Comic Watch: What is your history with comic books? What was your first experience with them, or do you remember the first one you read?
My journey with comics began at a very young age. One of my first memorable experiences was drawing Lion-O from ThunderCats in first grade. The positive reaction from my teacher was a pivotal moment for me, as it was the first time I realized that others could see value in my artwork. This early encouragement sparked my interest in drawing and storytelling.
As a child, I was particularly fond of Garfield. I was so inspired by the character that I created my own version, a parrot named Namkuri, who became my constant companion in art. I drew Namkuri on every surface I could find, from tables to walls, immersing myself in the world of cartooning.
My love for animated storytelling continued to grow when I discovered the Batman animated series. The show’s animation style and storytelling depth captivated me, and it remains a source of inspiration to this day.
As I grew older, my interest in comics waned temporarily until I was reintroduced to the medium through graphic novels like “Blankets” by Craig Thompson and “Maus” by Art Spiegelman. These works reignited my passion for comics, showing me the powerful narrative potential of the medium.
Throughout my life, I’ve always been drawn to visual storytelling, whether through creating caricatures, designing wedding cards, or crafting website designs. However, it was during my architecture studies that I truly began to merge my love for comics with my professional interests. I used my skills in comic-style drawing to visualize cities, landscapes, and buildings, bringing a unique perspective to my architectural work. This fusion of comics and architecture has become a defining feature of my creative approach, shaping my journey as an artist and storyteller.
Comic Watch: What made you want to get into the comic industry?
My entry into the comic industry was not a deliberate choice but rather a natural progression driven by an external force. It feels as though there’s a creative energy that uses me as a vessel, channeling through me to bring ideas to life. I’m like a tool for the expression of this force, which compels me to create relentlessly. This drive is beyond my control; it’s a necessity that I must fulfill, even if it seems unprofitable or challenging at times.
The realization that I was meant to be part of the comic industry began during my architecture studies. Drawing was an integral part of my education, and I found myself with a collection of illustrations that I wanted to transform into something more meaningful. I sought to create a narrative to connect these images, adding additional panels and pages to weave the story. This process led to the creation of my first graphic novel, “Outskirts of Vision.” It was through this project that I understood my role as a conduit for this creative force, destined to make comics professionally.
The experience of crafting “Outskirts of Vision” was a turning point for me. It taught me valuable lessons about storytelling, visual communication, and the balance between art and narrative. It set the foundation for my career in the comic industry and ignited a passion that continues to drive me forward.
Comic Watch: What creators from comics or otherwise influence your work?
My work is influenced by a diverse range of creators and artistic styles, both from the world of comics and beyond. For the visual design of ‘Age of Canaan,’ I drew inspiration from Greek black-figure pottery for its ancient aesthetic, which helped to set the tone for the story’s historical setting. Additionally, I was influenced by E.M. Lilien, a Jewish illustrator who used Art Nouveau style to depict Jewish scenes, adding a unique cultural dimension to my work.
In the realm of comics, I’ve been inspired by a number of artists who have each taught me something valuable. Moebius, with his imaginative worlds and intricate details, has been a significant influence. Geof Darrow’s meticulous and dense artwork has also left a mark on my style. Katsuhiro Otomo’s storytelling and dynamic compositions in works like ‘Akira’ have been incredibly impactful. Tomer Hanukah’s use of color and form, James Harren’s dynamic action scenes, Daniel Warren Johnson’s expressive linework, and Paul Pope’s unique blend of Eastern and Western comic styles have all contributed to my development as an artist.
The illustrator R.S. Sherrifs has been a key influence, especially in my recent work for Metal Hurlant magazine. His art style inspired my approach to storytelling and visual expression.
Outside of comics, my architectural background plays a crucial role in shaping my perspective. The fusion of comics and architecture in my work allows me to bring a unique approach to visual storytelling, using my skills in comic-style drawing to depict cities, landscapes, and buildings.
Overall, my influences are a blend of traditional comic art, ancient aesthetics, cultural illustration, and architectural design, all of which contribute to my distinctive style and narrative approach.
Comic Watch: What is the elevator pitch for the project?
Follow the gods of Canaan as they navigate celestial warfare and moral dilemmas, weaving a captivating tale of myth and humanity.
“Gorgeous, surrealist, provocative…” – STEVE ORLANDO
For fans of 300, Vinland Saga, Berserk, Tale of Tales, The Storyteller
Comic Watch: Age of Canaan looks to be steeped/influenced heavily in Mythology, what in your opinion makes these stories perfect for your storytelling?
Mythology provides a framework that allows me to explore universal themes in a way that feels both timeless and relevant. In “Age of Canaan,” I delve into the mythologies of the ancient Near East, which are rich in symbolism and narrative depth. These stories offer a unique perspective on human nature, society, and the divine, which are central to the themes I explore in my work.
One of the aspects I find most compelling about mythology is its ability to convey profound truths through allegory and metaphor. This allows me to create layered storytelling that can be interpreted on multiple levels, adding depth and complexity to the narrative.Additionally, the mythological setting of “Age of Canaan” enables me to experiment with visual storytelling. The fantastical elements of these ancient myths provide a canvas for imaginative and expressive artwork, which is a key component of my graphic novel. I can push the boundaries of reality to create visually stunning scenes that enhance the storytelling and captivate the reader’s imagination.
Moreover, mythology is a universal language that transcends cultural and temporal boundaries. By drawing on these ancient stories, I can create a narrative that resonates with a wide audience, connecting readers from different backgrounds to the shared human experience.
Comic Watch: Tell me about your process. How long does it take you to go fro writing, to illustrating and such. Is there a step in the process that you prefer
My creative process is methodical and involves several distinct steps. It begins with writing the script, focusing on describing the events, setting, characters, and their conversations. I don’t write the dialogue at this stage. This script is then divided into chapters or issues, with each part assigned to a specific page to ensure a smooth narrative flow.
Next, I move on to laying out the pages, keeping in mind the visual impact and action-driven sequences. Once the layout is set, I sketch out the characters and background elements. In “Age of Canaan,” I developed a unique perspective grid to create a harmonious flow across pages.
The inking process is done traditionally using dip pens for characters and technical pens for backgrounds. I particularly enjoy inking because it’s almost automatic; I don’t need to think much at all during this phase.Coloring is then done digitally, with a carefully chosen palette that reflects the mood and style of each scene. Finally, in the lettering phase, I write out the specific dialogue. I designed the font style, which is influenced by Ugaritic characters, giving it an angular, ancient look that adds to the overall aesthetic of the book.
Throughout this process, I listen to music or podcasts to enhance my creative flow. While each step has its challenges, I find the initial stages of writing and conceptualizing to be the most rewarding, as they set the foundation for the entire narrative.
Comic Watch: How have you grown as a creator as you work/worked on the project? Did you learn something new or find a certain part easier
Working on “Age of Canaan” has significantly deepened my understanding of storytelling and artistic expression. This project marked my first adaptation, requiring extensive research into ancient texts and the Canaanite culture. I learned to study ancient texts, enhance existing narratives with background world-building, and develop character motivations. Additionally, I explored new artistic techniques, such as studying ancient pottery for visual inspiration and incorporating elements of my Jewish heritage into my art. I’ve also refined my approach to themes, learning to weave them more seamlessly into the narrative. Overall, “Age of Canaan” has been a journey of artistic and personal growth, pushing me to expand my creative boundaries and explore new dimensions of storytelling.
For me, art has always been the more natural part of my process, kind of like a comfort zone. Storytelling, on the other hand, can feel a bit tougher—it demands a different kind of creativity and brainpower. But here’s the twist: even though dreaming up stories can be more challenging, it usually wraps up quicker than the art does. So, in the end, the effort and time kind of balance out between sketching and storytelling.
Comic Watch: Tell me about your involvement with Zoop, what made you choose them to help run the campaign?
I chose Zoop for the crowdfunding campaign of “Age of Canaan” for several reasons. One of the appealing aspects of crowdfunding is the transparency it offers. Unlike traditional publishing, where getting accurate sales numbers can be challenging, crowdfunding platforms like Zoop allow me to see the number of sales and the level of support in real time. This transparency is just one of the many factors that attracted me to this method of funding.
Another important consideration was the control over rights. With Zoop, I retain full rights to my work, which is crucial as I explore traditional publishing options for “Age of Canaan” in the future. Maintaining control over my intellectual property is essential for my long-term goals.
Additionally, Zoop’s focus on the comics community and its supportive environment for creators were significant factors in my decision. The platform provides guidance and resources throughout the crowdfunding process, enabling me to concentrate on the creative aspects of the project.
Overall, crowdfunding on Zoop presents an opportunity to build a community around “Age of Canaan” and engage with readers who are passionate about discovering new stories and artwork. It’s a chance to bring this project to life with the support of people who share my enthusiasm for mythology and storytelling
Comic Watch: What, if anything would you like people to get out of reading the book?
Delving into the vast tapestry of human mythological history reveals an abundance of narratives, with only a fraction standing the relentless test of time. The stories that endure are often the ones co-opted by major cultural narratives, leaving behind a concealed wealth of untapped tales. As a descendant of Jewish heritage, my fascination lies in narratives untouched by the fingerprints of contemporary religious ideologies but are also connected to the Levant.
This led me to unearth an epic literary source that remains largely unscathed. The Ugaritic texts unveil the Canaan ideology through a rich tapestry of myths and legends. One of my goals is to expose the audience to this untouched mythology source. Other than that, the ancient Canaanite society’s focus on nature, encompassing farming, animals, seasons, and the ebb and flow of droughts and rains, echoes through these texts. In the modern era, there’s a resurging interest in these elemental themes, rendering these stories not relics of the past but instead, surprisingly relevant and resonant in today’s world.
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You can find the campaign on Zoop and featured on our weekly Krowdfunder Korner wrap up every Saturday at Noon here on Comic Watch