Putting that into graphic novel format was a challenge."Īnderson: "Recall to mind one of the most powerful, memorable scenes in the first part of "Dune". "Dune's" first 100 pages are the reason it was rejected by so many publishers. He wrote books four to six in his series with a lot of talking heads and action in the background. And it was something dad did on occasion. In this case, the first hundred pages or so of "Dune" is a lot of introspection and teaching people language and customs so it's a difficult entry. One of the challenges that Kevin and I have had in working with all of my father's work, is that dad would tend to put big scenes in the background and we'd have to fill it out. Just to give you a little hint, wait until you see Book 3 because we've got lots of stuff going on in it!"īrian Herbert: "I think my father would be pleased to see this.
In working with Abrams and Raúl and Patricia, we said for the second volume we wanted to loosen it up a bit with bigger panels and be a little more spectacular. "In the first volume of the graphic novel there's a lot of smaller talking head panels because that's what the book is. Paul and Jessica are lost in the desert and there are sandworms and they're with the Fremen. But with the second part, that's when the afterburners really kick in. "And for the first part of Herbert's book, which is why it was so hard to film for so many years, it's a lot of introspection and dialogue and introducing things. Anderson: "When we looked at the first book, which won all kinds of awards and was a bestseller and we just loved how it turned out, our whole perspective on this project was that we wanted to do a faithful, scene-by-scene adaptation of Frank Herbert's book and what he wrote.
: Moving into this second installment of your "Dune" graphic novel trilogy, what different decisions were made for the art style, panel layouts, and colors? Artwork from "Dune: The Graphic Novel, Book 2: Muad' Dib." (Image credit: Herbert Properties LLC)
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