This is a comics-prose story. It contains chapters 1-3 (of 21)*
Fabled Kingdom, Volume 1
What if Little Red Riding Hood’s grandmother isn’t her real grandmother? What if her two trueborn grandmothers are both Queens – where one is good, and the other one is evil?
Celsia is a ‘Red Hood,’ a healer-in-training living with her grandmother in a small village deep in the woods. Life was ordinary and uneventful, until the fateful day a shocking truth is uncovered – Celsia’s grandmother isn’t her REAL grandmother. Forced to flee her village, Celsia is soon on a quest to seek her two TRUEBORN grandmothers – both powerful Queens of magical kingdoms.
Accompanied by her childhood friend Quillon and the cheeky faun Pylus, her first destination is the fabled kingdom of Fallinor, which was destroyed over 60 years ago… or was it?
Fabled Kingdom Volume 1 Review
Red Hooded Magic with an Intriguing Plot!!!
Red hooded cloak, a magically inclined basket and a girl on a mission to go to grandma’s house. Sounds like a normal red riding hood story, right? Whelp, stop there because Fabled Kingdom is anything but an ordinary story of red riding hood. Queenie takes the tale of red and weaves in her own twists in the form of werewolves, tricky fawns and magic that entices you to continue reading mixed with wonderful artwork and detail that’s your eyes a glued to the page.The characters are the highlight of the series. Our main character Celsia is a head strong heroine that made for some comedic moments. I enjoyed the secondary characters such as Quillon and the fawn that you meet on Celsia’s journey.I would recommend Fabled Kingdom to anyone who loves fairytale retellings, fantasy and beautifully crafted artwork.If I were to give it a rating, I would go 5/5 stars.
Exclusive Q&A by author/graphic artist: Queenie Chan
1. You have published quite a few graphic novels!! What is the name of your debut graphic novel and what titles have you published?
My first published work was a mystery-horror set in the Australian bush called “The Dreaming”, which was published with LA-based publisher TOKYOPOP in 2005. That got me some illustration work with authors Dean Koontz (Odd Thomas) and Kylie Chan (White Tiger), doing graphic novel prequels to their best-selling series. Apart from those books, I’ve also published my own collections of short ghost stories, webcomics and my fairytale YA fantasy “Fabled Kingdom.” I’m also currently moving into colour comics, so I’ve been doing a lot of short, home-made mini-comics about cute animals. I’m also planning my next graphic novel, which looks to be a standalone YA fantasy in colour.
2. Your publications are not just illustrations – it’s part story part illustrations, what goes into the structure?
Do you illustrate then write or the other way around? I’ve tried it both ways, but I find that starting with a rough outline of a comic book page and then working backwards is a better way of doing “comics-prose” storytelling. Part of the reason is because when you convert comic panels into prose, it becomes embellishment of existing comic panels, and by extension, of the characters and story. The process is like layering a cake, which I find very satisfying. Conversely, when you start with prose and then convert part of it into comics, then the process becomes somewhat reductive. Complexity has to be reduced, and while some may argue that visual presentation brings its own form of complexity (which is true), the fact is that, in some ways, it makes things fuzzy rather than exacting. Editing is also harder when you start with prose, since you need to edit twice—both before AND after you lay down the panels on the page.
3. Do you like reading graphic novels yourself? What would be your favourite?
I consume a lot of media – prose fiction, comics, video games, animation, movies and music. I don’t read as much graphic novels as I used to (mostly because I believe a creater should look for inspiration outside their own industry, lest they start cannabalising what their colleagues are doing), and I mostly read manga these days anyway, due to my love of serialised fiction. I’m currently still reading “One Piece,” which is a manga series that I’ve been reading since my early twenties. I’ve fallen off the bandwagon a bit so I need to catch up, but it still remains an inventive and fun series despite having been running for 20 years. So it’s recommended from me!
4. Who have you collaborated with on your work and what is it like to collaborate, especially when drawing/writing graphic novels? I’ve worked with Dean Koontz and Kylie Chan on their respective series, and my relationship with Kylie is especially close since I was able to talk with her directly about what she envisions for her characters and world. In terms of Dean, he was easy to work with, but communication was difficult since I was only able to talk with him through his agents and editors. I should also count the comic writers (Fred Van Lente, Landry S. Walker) who adapted his stories into comic script format for me to work on, though unfortunately due to the publishing house production line, I wasn’t able to talk to these writers either. However, I still feel I learned a lot from them, which I’m grateful for. On the other hand, working with writers made me realise how sensitive prose authors are to having their writing altered in any way. I was surprised at first – writers can get very sore at having even a SINGLE word altered – but I understand why they get so worked up. I don’t have that feeling myself though, despite being a writer too, probably because words account for only a fraction of what I do.
5. As an author and graphic novel artist, what was the most exciting experience you have had eg: Supanova or Comic Con?
Meeting Dean Koontz at the San Diego Comic-Con in 2008! I was a fan of Dean when I was growing up – the first book I bought with my own money was a Dean Koontz omnibus featuring his earliest horror works. I fell off the book-reading wagon in my early 20s, but his series “Odd Thomas” got me back into reading, so it was great to meet him in person. He was very polite, funny and gracious, which was wonderful. It’s always exciting to meet famous authors who you’ve grown up reading.
6. For the aspiring graphic novel artists, what would be the best piece of advice you could give them?
The arts is a difficult place to earn a living, but I highly recommend comics as a form of creative expression! I think that no matter what you create or why, the most important thing is to ensure that you’re working on something you love and care about, and to FINISH it. A lot of people start drawing a comic but never finishes it, which results in online comic websites looking like a graveyard of unfinished work. This is not a good thing for any creator, because it makes you look unprofessional – like it or not, even when you do comics as a hobby, it reflects poorly on you when you don’t seem to care for your readers (no matter how many readers you have). Most people also only read a story when it’s finished – if you don’t finish your work, people can’t judge your level of writing, and therefore won’t care, or trust you as a creator. You may think this is unfair, but to be honest, in this day and age, people have too much competition for their attention to care about a creator’s unfinished work. That is my 2 cents 🙂
-Interivew compiled by Annie
Many thanks to Queenie Chan for spending this time with us!! We are big fans of your work and we hope we will see you again soon, keep up the awesomeness!!