The Savannah College of Art and Design along with Walker Publishing announce the upcoming release of ROD SERLING'S THE TWILIGHT ZONE graphic novel series.
Just in time for the 50th anniversary of the cult phenomena comes the only graphic novel series based on the legendary show. The first two of eight graphic novels will be published this fall: WALKING DISTANCE and THE AFTER HOURS. These two classic THE TWILIGHT ZONE episodes from October 1959 and June 1960, respectively, are based on the original and unedited scripts in their entirety, written by Rod Serling.
Artists from the SCAD sequential art department have taken on the challenge of creating this new dimension that will allow fans to make the journey from black and white videotape into the world of full-color images in a graphic novel.
SCAD students, faculty and alumni created all of the original artwork for the novels, as well as the title treatments on the cover. Sequential art professor Mark Kneece adapted the scripts to the artists' panels for both novels, and professor Devin O'Bryan completed the series title treatments.
Professor Dove McHargue illustrated WALKING DISTANCE, lettering was completed by students Mia Paluzzi and Matthew Razzano, and color separations were done by students Cassandra Wedeking, Andre Frattino, Kyle Ladd, Daria Makaialohilohi, Pickard Hoey, Shawn Gilchrist and Sean Toenniges.
Rebekah Isaacs illustrated THE AFTER HOURS, and students Paluzzi and Razzano completed coloring and lettering for the novel.
"I suspect my husband, Rod Serling, the 'father' of THE TWILIGHT ZONE, would wholeheartedly approve of this 'new dimension' of his stories. The adaptations and fine graphic pictures have truly caught the feeling and climate of that wondrous world of imagination," said Serling's widow, Carol.
Emily Easton, publisher of Walker Books for Young Readers, is a lifelong fan and was thrilled to introduce the new series. "It's been particularly gratifying to see the maniacal gleam that comes into most people's eyes as I tell them we are launching this graphic novel series -- the passion that still exists for this groundbreaking piece of television history is palpable."
The graphic novel medium sets the stage for Serling's narrative to be both more artistic and more stylized than anything that could have been produced on a 1960s soundstage. Because a major part of the creation and staging of the show involved elaborate storyboards, translating the original series and Serling's unedited scripts made sense for the graphic novels.
Kneece said, "[I hope that], from some nearby fifth dimension, Serling is smiling at the prospect of these books."
