Encounter Alien Tales from ADAM SZYM in LITTLE VISITOR & OTHER ABDUCTIONS
- Andrew Irvin
- 1 hour ago
- 8 min read
Interviews Editor, Andrew Irvin, is joined by Adam Szym to discuss a career of self-published work and his new title, Little Visitor & Other Abductions, out through Oni Press.
COMIC BOOK YETI: Adam, thank you for sharing this phenomenal graphic novel, and we appreciate you joining us in the Yeti Cave today for a close encounter of an entirely different kind! So Little Visitor & Other Abductions consists of three stories, framed not in three acts, but as a triptych; a term often applied to related multi-panel paintings (perhaps most famously embodied in Western Art by The Garden of Earthly Delights, by Hieronymus Bosch) – it’s also often seen in photography and film, but this is the first time I’ve seen it applied in comics. Are there through-lines connecting the three stories, or do they all stand entirely on their own, in separate, partitioned narrative worlds?
ADAM SZYM: It felt like an apt term to me. The stories are not directly connected (though there is a background detail in "A Cordial Invitation" which hints at a connection) but they are thematically cut from the same cloth, and not just from the alien abduction angle. They were three different ways for me to approach the same set of ideas, so I hope that they come together to create a larger picture for the reader.
CBY: Oh, definitely - there is clear cohesion across the stories without repetition despite thematic recurrence. I’ve also had a chance to go through prior comics you’ve included on your website; I love the scalar examination of perspective and the imagery you used to convey your ideas in SPAM://FLESH, the irreverent and probing tone of Filtered, and Tiny Caveman, where you wordlessly evoke a journey on the scale of Honey, I Shrunk the Kids but far grander in scope – all really brilliant storytelling. Can you unpack any thoughts you have around the broader exploration of different techniques, tones, and worlds across your portfolio? How do your story concepts shape the medium you employ and aesthetic decisions you pursue? (e.g. - whether you work in black & white, monochrome, or full color, etc.)
AS: Thanks so much for reading my other work! I’ve definitely worked in a lot of different styles and tones over the years. I’ve been working on this collection of stories for so long, which all have a very similar visual style, that it’s hard for me to believe I used to draw in such different ways. I think I generally approach visual style from the story first. I look at the story and think about what tone it’s trying to convey and from there the style develops. I also like to give myself limitations—a set number of colors or strict rules about layouts, etc.—which I think ultimately can lead to more creativity instead of less.
CBY: You certainly haven't exhibited any lack of creativty across your body of work. There’s a large list of credits for the Oni-Lion Forge Publishing team, with credits for Gabriel Granillo & Megan Brown as editors, and design by Winston Gambro. How did you end up with Oni for this title, and what sort of support did the team provide throughout the process of putting this publication together?
AS: I’ve been self-publishing for 17 years and have never actually submitted anything to any publisher before. My first editor, Gabriel Granillo, found my work online and just sent me an e-mail, basically. He asked me if I’d like to pitch something to Oni and my first thought was this collection which I’d been meaning to put together myself anyway, and they were really excited by the idea. Everyone at Oni has been great throughout the process!
CBY: I see so many visual nods to other work, like imagery evocative of Uzumaki moments in Swimming, or the unnerving inversion of Spielberg’s treatment of aliens with “Little Visitor.” Can you share a bit about your introduction to comics and the inspirations you have drawn upon for Little Visitor & Other Abductions?
AS: The first non-newspaper comic I can remember reading was Swamp Thing #45, which scared the crap out of me. I only came to realize years later that it was, of course, by Alan Moore, so I had no idea how good of an introduction to comic books I had. That’s all to say that my entry into comics was through horror—intentionally or not—and perhaps that’s why I lean towards making horror comics today. I’m inspired by a huge amount of artists and writers both in and outside of comics, and a lot of times I can’t see their influence in my work until much later. I hope it’s not too direct, though ultimately I don’t have much control over it!
CBY: You have maintained enough subtlety with any homages I caught along the way, and probably so subtle I've missed some others. I don’t want to start wading into spoilers, but there’s a moment of callback where imagery from “Little Visitor” returns in “Frolicker,” with the accompanying dialogue, “Oh, hello again!” Are there other connections or repeated motifs that you’d like readers to keep an eye out for as they read through the graphic novel?
AS: I’m going to be honest with you, I had no idea what you were talking about and just flipped to that part of the story and realized what you meant. That’s wonderful, but was certainly not intentional! But maybe my subconscious wanted to draw that connection there, or perhaps I was just being lazy and thought, “I already know how to draw a jawbone, I’ll just throw one in here too!” There may well be other visual motifs in the stories that I’m not aware of, but in the writing I wanted to keep things as separate as possible within the boundaries of the shared theme. But the biggest and most important motif in the book, besides the abductions themselves, are that each story is about a young person.
CBY: Speaking of young people, as you’ve been making comics since 2008, what has your self-publishing journey involved since you began as an young artist, and what sort of lessons have you learned about both your creative process and the process of managing the dual creative elements of production and the sales/distribution side of the business? How has your career changed over your successive publications?
AS: I’ve been self-publishing comics for a long time, but still feel like I’m pretty bad at it in a lot of ways. I make the work and put it out there, which is the most important thing, of course, but I’ve never done the next steps that can actually make self-publishing scalable and (semi-) sustainable. Which is all to say, I’m probably not the one to ask! Honestly one of the biggest motivators for me working with Oni was to have someone else handle distribution! That being said, I love the self-publishing scene; it’s the best place to meet interesting artists and find really unique and exciting work, and I’ve learned a HUGE amount from my colleagues and contemporaries in the scene.
CBY: I notice you’re now represented by Neon Literary. Can you share a bit about how you found your representation, and what Neon offered that you felt set them apart from other agencies? What sort of querying process did you go through, and what would you recommend for writers currently seeking representation?
AS: After Oni offered me the contract for the book, another cartoonist friend of mine told me that getting an agent is much easier if you already have an offer, so I sent out a bunch of queries and eventually heard back from I think two that were interested. I had a meeting with Eloy Bleifuss Prados, who is now my agent, and I think we clicked right away. He seemed to really get the book despite not normally representing comics, and he did an amazing job negotiating for me, giving me notes, and keeping everyone’s eye on the ball. I was wary of having an agent at first, because you are giving away a certain amount of your income, but he’s done so much for the book it was absolutely worth it.
CBY: It is encouraging that you've had a positive experience from the outset with representation after a career of self-management. I also took a look at Their Use Continues, your latest piece, and it definitely touches upon some of the same entertainment industry pathologies explored in Coralie Fargeat’s 2024 film, The Substance. There is a similar transition from the well-heeled acceptance of artifice in Hollywood down the slippery slope into the realm of abominations. As the global creative market is (poorly) navigating the advent of generative AI interfering with perceptions of human agency in the artistic process, what observations and critiques can you share – beyond the content of your work – regarding viable pathways for artists to thrive in the evolving environment?
AS: Their Use Continues was an idea I first had, I think, around when Star Wars: Rogue One came out and had that ghastly CGI Peter Cushing in it. It really disturbed me that Disney would not only do that, but how readily audiences were willing to just accept that as a new norm in Hollywood. Later, as AI became more and more of a looming issue in the arts, the idea came back to me and I finally made it. I think the whole thing is very depressing, honestly. My only advice I can give to artists is to do it yourself, don’t give into the pressure of the tech world, don’t give in to any self-doubt that tells you you can’t learn to draw or write so you may as well use AI. It’s bullshit. If you saw my comics from 2008, you’d see a man who couldn’t draw, and now here I am: a man who can KIND of draw. The human mind and the human hand will always be better than anything a computer can make.
CBY: I think everyone who appreciates the effort and satisfaction of a job well-done would second that sentiment. Considering the topic of Little Visitor & Other Abductions, it would be a missed opportunity to finish up without discussing your perspective on the question of extraterrestrial life and our role in the cosmos. How much time have you spent looking over close encounter testimony in the research process for your work (or out of general fascination)? As evidence mounts regarding the prior existence of microbial life on Mars, what is the most compelling evidence you have found regarding the search for intelligent extraterrestrial life?
AS: I—100%—think alien life exists in the universe, even intelligent alien life. As to whether they’ve actually visited us, I’m kind of on the fence about it. I’d like to learn more, but it’s so hard to tell what’s actually worthy of reading on the subject. There’s so much noise and chicanery around it, I’ve never known how to approach it. But if aliens revealed themselves tomorrow I wouldn’t be that surprised, really.
My attraction to this subject matter has more to do with growing up surrounded by it in media in the late 90s, and being both compelled and repulsed by it in equal measure. Aliens really scared me back then, and while I’m agnostic about whether they’ve really visited, I do love to read people’s experiences. That might sound contradictory, but it’s true.
CBY: A person can enjoy the experience of something without fully buying into it, so I don't think the contradiction is insurmountable. To conclude, are there any other creators (totally unrelated to your own work) who you think our readers should check out? What has caught your attention lately?
AS: Absolutely! The small press comics scene has never been more exciting. I highly recommend people check out the works of Garrett Young, Taylor Landry, Erika Price, Bryce Davidson, Celine Loup, Aaron Losty, Alex Degen…there’s so many to name!
CBY: Adam, we appreciate you dropping by to share your perspective, experience, and recommendations. I know I’ve linked your website above, but if there are any other publication, portfolio, or social media links you’d like to share, now is the time and the place. Thanks for stopping by to discuss your work!
AS: That’s all for me for now! I have lots of comics to read on my website, and hopefully I’ll have more stuff coming up in the future. Thanks so much!
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