But, still, in his mourning, he realizes what is most important and delivers, in issue four, the most direct, hopeful message of the book: the best change we can make is within ourselves, and the greatest heights we can hope to achieve, as humans, is to love. Langford’s death was the most profound, I’d say, because he had the most significant fall from where he was too where he ended up-his dreams broken around him, powerless to do anything about it. But, also, there’s this sense of death pervading over the book, the death of idealism, ambition, dreams, and I think the literal deaths followed from that. I don’t know that I really had an exact reason for killing off so many characters, although I like that it plays out like a Shakespearean tragedy in the end. It’s like Chekov said “if you have a gun on the mantle in the first act, it must be fired by the third.” Similarly, if you show a bomb in a characters chest in the second issue, well, that thing pretty much has to go off. Was this a purposeful decision from the outset or one that developed as you wrote? And if not-maybe they can change it…īD: It’s a bold choice to say goodbye to all the characters from the first arc. I’m not saying that we shouldn’t do these things, not at all, but I do think there’s something to be said about what happens when we get too ambitious or want things without ever really knowing why.īut, stripping all that down to be more direct about “Clandestiny,” the thing we’ll see is characters struggling with where they belong, the reality they’ve made for themselves and if it’s truly what they want. The dangerous thing is that we never wonder if we’re even supposed to-who said we’re meant to “boldly go…”? That’s a big part of the book, seeing characters whose reach exceeds their grasp. There’s something to be said about a destiny that’s hidden, because that means you have to find it-but what if you’re wrong? We all thing that, individually, we’re supposed to do something meaningful or worthwhile with our existence collectively, we have a similar sense of forging ahead with technology, exploration, things like that. The tagline for this volume is “This Is Where You Belong,” and I think one of the most prevalent threads in this story, and Roche Limit in general, is discovery yourself, internally and externally. Do you find this relates more to the characters or to Dispater itself or possibly both? It’s a better, richer, and more rewarding experience to read them both, but it isn’t essential.Īs for the new name, I think I just like weird-sounding words!īD: Clandestiny does rolls right off the tongue, but it also seems to allude to a secret fate. You can read “Clandestiny” without having read volume one (which, little known fact, is titled “Anomalous”). But they all have their own story and characters and stand on their own. Don’t get me wrong-these stories, all three volumes in the trilogy, link together in a very purposeful way. It isn’t accurate or fitting to have the “Clandestiny” story be #6, because that would make it seem like it’s a direct continuation of issues 1-5, which it is not. Each volume is very, very much its own story. The decision to do so with Roche Limit, cross my heart, is purely creative. You slap a new number one on there and say “jumping on point!” and, viola, an increase in sales numbers. Michael Moreci: Well, we all know renumbering is, for the most part, a sales ploy. With danger lurking all around, the crew members fight to find a way off the planet and resist the mysterious presence that haunts them all.īloody-Disgusting sat down with Moreci and talk about what to expect in this brand new series.īD: First off, why the name change and new numbering? When a crew of military and science personnel are sent to the forgotten and desolate planet on a mysterious expedition, they quickly learn its dark secrets-and that their mission is not what they thought it to be. In ROCHE LIMIT: CLANDESTINY #1, it’s 75 years after the events that left the Roche Limit colony in flames. Michael Moreci’s “Roche Limit” was an inspired neo-noir science fiction series that embodied the best parts of Blade Runner. Now, after an incredibly successful and suspenseful first arc, Moreci is fast forwarding 75 years to show a new part of his world with new series artist Kyle Charles.
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