Tom Kilian

One of the funnest parts of doing a kickstarter (perhaps the only TRULY fun part) is asking online pen-pals if they'd like to contribute to the book. I was very keen on getting something from Tom Kilian - @tkilian on here - who I've followed for ages (and talked with about a couple story ideas, too) to do a piece, and lucky for me, he went WILD on it!

Above is the incredible final piece he cooked up. But below, here is his exhaustive process, in his own words:

When Simon approached me to do a pinup for A STAR CALLED THE SUN I was torn between impending deadlines for other work and the fact that I really wanted to do one. One of my all-time favorite Simon Roy stories, “The Oxpecker and The Elephant,” is appearing in this volume, and I’ve spent years wondering what happened to the two tiny human figures visible among the wreckage at the bottom of the last panel. That, I decided, would be my hook: imagining one of those possible futures where the events of the comic had become an oral history or creation myth for future generations of humans. 

I initially had this overly elaborate idea of showing the same story told three different times around three different fires: one of miserable survivors in the comic’s immediate aftermath, one in this world’s equivalent of the Neolithic era, and one involving the ritual dance of a rich and prosperous culture. 

First I dashed out a quick thumbnail for the Neolithic cave-painting scene. I figured that this idea was strong enough to stand on its own if I couldn’t make the more complicated idea work or started feeling pinched for time, which ultimately is what happened. I like the concept work that I did for the invented history though!

I started by feeling out some ideas for repeatable motifs that I could pull from the comic. Since I wasn’t drawing anything directly from the book, I still wanted readers to be able to make that visual connection. I also wanted there to be some visual link between the three time periods, and settled on four red dots (for the elephants’ eyes), paired braids (for their main feeler arms/trunks), the triangular “assemblage” symbol, and some kind of draping brood-skin shape that would be associated with motherhood in some way.

You can also see me working out some stuff like “how to abstract that weird spaceship from the opening into a 2-D symbol” and “how many points does a Simon-Roy-style star have?” (it actually varies, but I think the stories set on Altamira all use 4-pointed stars), as well as what materials would be available (leather, bone, something very like wood, probably pigment derived from the planet’s yellow soil). 

The local mammal-equivalents don’t seem to have hair, but the ticks at least have quills. The idea of quillwork suggested a Native American inspiration for clothing and decoration, and since the first human settlements would likely have gone up near the shores of the Great Lake that pointed me towards the First Nations people of the Pacific Northwest.

Since the world of the comic appears to be very hot, I tried to communicate the idea of an advancing material culture without leaning on the crutch of “more clothes = more advanced”. My main angle was that in the Later Period the clothing could be more embellished and less practical, to reflect increasing wealth and specialization. Going by the comic, the standard seems to be that you can be totally comfortable in a loincloth, but that my prospective Oxpecker Lake Culture would have inherited the crew’s taboo against women displaying their breasts (the dresses seen here evolved out of the undershirts worn by the female crewmembers in the comic). Dusting red ochre skin dye on the shoulders and hands to mimic the pattern of the crew’s spacesuits then became a way to decorate oneself while still wearing minimal clothing.

I went through several different iterations of a formal shawl or wrap that could symbolically mimic Elephant brood-skin, as well as what they would be used for. I eventually settled on the multi-purpose blanket. Highly detailed to be given as gifts or to form dowries, with the elders draping them about the shoulders of the young in symbolic mimicry of how Elephants nurture their offspring.

Here I started working on ritual masks and costumes for the Later Period ritual dance. The events of the comic are now re-told in ritual dance during yearly solstice festivals. The three Elephants are represented by large, heavy, and expensive costume/puppets, whose fringed shawls (again reminiscent of brood-skin) and tasseled trunks move with the dancer. Each of the three Elephants from the comic would by now have accumulated various symbolic associations, as seen in the masks’ crests (meant to resemble assemblages) and robe decorations.

Settler and Tick masks are less elaborate, allowing the dancers more freedom of movement for athletic displays as they act out the story around the Elephant dancers. The male and female Settler masks are based off of the first two humans to approach an Elephant in the comic, while the War-Maker is based on that one guy with an atlatl. I imagined that in the mythic version of the story the last Tick bargains for its life with the War-Maker, teaching him how to kill his brothers in order to take their possessions.

Really surpassing my brief now, I started thinking about wall art for an Oxpecker tribal leader's grand hall. In a hypothetical 4th Age, new god images are emerging: filling similar roles but less 1-1 in their symbolism, and more work is going into glorifying the accomplishments of the Lake Culture – by this time now only one of several extant human cultures in the region. Notably the ship of the original settlers has been conflated with the boats that the people of the Lake Culture use to traverse the Great Lake. Many people probably believe that the spaceship was a fanciful metaphor. The double triangle, which originally meant "Elephant's Assemblage" is now a generalized one for "Land/Home". Possibly the conflation has religious origins: the visible world is Greatest’s assemblage.

I imagined that by the later period the humans would have spread out from their original home on the lake. Some people would move into the forests as hunter-gatherers (the Elephants appear to eat entire trees in the comic, which would regularly open up large forest clearings that could be exploited for game and fast-growing shrubs), some might have crossed the great lake, and some might build huge towers along Elephant migratory paths where they could latch on, hunt for ticks, and then hop off at the next tower. I like the idea that the Elephants would appreciate these humans, like reef animals visiting a cleaner-fish station, but that other humans would consider them unclean due to their diet of blood (by way of the Ticks, which at this point have been demonized).

Each culture might interpret the "two trunks, four eyes, red shoulders and hands" elements that I'd settled on for the original culture in different ways. Their religion and culture has probably morphed too: does the Lake Culture consider themselves superior, as the original humans? Are the Far Shore traders a Lake Culture splinter group who sailed across the lake, or are they the descendants of a different group of survivors who floated across in the aftermath of the Eviction? Are their weird island castaway cultures descended from a handful of people who floated away on a log at the end of the comic? How long until somebody realizes that megafauna are made of very large quantities of meat and other useful materials? Can Elephant and Man ever learn to communicate, perhaps in some far future Age?

At this point I’d realized that my original idea was much too ambitious and I tried a few layouts to prove it. We can also see some me working out different bonfire building methods and trying to work out a few steps of the ritual dance – a big development here is the idea that the elephant costume heads would be more like a hat rather than a mask to give the dancer added height. I also attached marionette poles to the end of the trunk tassels so they could be used for big, stately gestures in the dance.

The last bits of development went into the dress and appearance of the Stone Age storyteller. I scaled the headdress back to a simpler four reddish stones and four tassels (two long manipulator arms and two short feeder ones). Her dress is a costly garment representing her respected position within the group. It’s made of the skins of several animals and decorated with their bones, quills, and teeth (the ticks have them, it’s gross!), as well as shells from the Great Lake. I hypothesized a Tapir animal – essentially a larger ground-dwelling relative of the Tick – to provide the settlers with meat and hides. This conveniently let me base all the colors and stuff off of the animals in the comic.

Lastly, here is the full set of cave paintings, since in the final image I prioritized atmosphere over legibility. Read from left to right they retell the story of the comic in simplified form. Due to the way I organize my color photoshop painting I wanted this linework on a separate layer from the final drawing, seen below. Huge thanks to the ancient artists of Lascaux Cave for the inspiration!