Lilja: Were you in on the comic from the start? I guess your involvement was essential to the entire project, right?
Robin Furth: Yes, I was there at the original meeting between Steve, Chuck Verrill, and Marvel. (Well, I wasn’t there in body. I was there via phone link.) I’d spent so long in the
Dark Tower universe that Steve thought it would be a good idea to have me on board for the Marvel project. I’d never worked in comics before but I loved graphic novels and illustrated books so was excited about the whole thing. I also wanted to see Roland and his friends take on that extra dimension—to have faces and bodies which moved through space.
Lilja: A lot of fans feel that the comic is more your story then King’s. Just to get that notion out of peoples minds, can you shed some light over what your and King’s different roles are in creating the comic?
Robin Furth: The story covered by the first seven comics is Steve’s story—the one he told in
Wizard and Glass. My job has been to adapt that novel to a new format, which meant cutting some scenes and adapting others. (Occasionally I ended up adding and adapting bits from other
Dark Tower books, such as the scene in issue #1 when Roland and his friends attend a falconry class.) Adapting a novel to the comic book form is a bit like altering a novel and making it into a film. Everything has to be visual, and you have to tell your reader everything you can via action. Hence, my real goal has been to stay true to Steve’s vision—a vision recounted over the course of the seven book series. I’ve tried hard to remember the face of my father, say thankya. All stories and story cycles go through Steve so not only was he the original author but he’s also the final editor!
Lilja: So you get a basic story line story from King that you work it into a script for the comic. Then Peter David makes it fit in the comic itself, is that correct?