You’ll do bad things It will definitely knock your socks down. Latest comics by famous creators Boss Taylorworking with incredible talent Adriano Adrianothis true crime-crazy horror series is a complete delight, both a genre fan of finding new, bloody readings and those who may be more alien to the territory. Both creators did a great job in the series, which debuted on March 26, 2025 Image comics Booking is now available. Beat sits down with writer Tyler Boss to discuss the creation of the series and make readers understand what they expect.
This interview has been edited as clear.
Jared Bird: What inspired You’ll do bad things?
Boss Taylor: It starts in the same way as the main obstacles our main character, Seth, faced – I want to write a romantic story. I’ve been watching Charles Burns The artificial romantic mini comics he made cover his usual body horror and ponder how horror and romantic partner blend together. Then, I and Matthew Rosenberg and Joshua HixsonThroughout the driving, I and I promoted the idea of books to Hixson. Josh ended up preferring one of Matthew’s courts, but I couldn’t understand a story I started from scratch. That’s what the kernel You’ll do it bad thing meeting. When I find the time, I play with it and think I will draw it one day. Then, one day sitting in my hotel room at San Diego Comic Con, I browsed Instagram and I saw it Michael Walsh Share Adriano’s drawings Ian Curtis from Joy Club. More important than the theme is one of my favorite musicians, the quality of the drawings. That’s “it.” The thing that the book works. I contacted Adriano and we really started building from there.
Bird: What is it like to work with Adriano Turtulici?
boss: In short, it is a dream. You can see everything on the page and he understands it. On the page, he is a cartoonist and thinker who is believed to be unnoticed. Many times, young cartoonists (I roast myself here) try to show them even if they are not suitable for homework or smart people who tend to be formalism. But Adriano served the story and promoted every aspect of my script. When they first read the book, the first thing I heard from everyone was about the color of Adriano, which was taken for granted – they were divine. But after the initial shock of the amazing color work, you start to dig deep into his character work and the quality of the lines, and you will see that his level of craftsmanship is more than just the depths of the skin – it is the whole body.
Bird: How did your own experience as an artist and visual designer affect how you write comics?
boss: Even as an artist as an interesting part, I would put stage guides on almost every page, which is my crime. But Adriano knew his instinct or solution was better, and he knew he would ignore me. In future questions, we have some chase scenarios, and I didn’t write panel instructions for these pages at all. I gave Adriano a few paragraphs in prose style, telling him the story of what happened on these pages, and I left all the paneling decisions to him. The results are great, and while this is not one approach I think should always be taken, it’s fun to figure out the different ways our collaboration can use.
Bird: Real crime quickly rises to a clear height before many works try to really challenge and dissect. How do you want to deal with real crime in this comic?
boss: I am an avid consumer of the real crime media and I spent most of my life. So, this book is by no means a finger swing on the genre, but I still have something important to say about it. I’m so glad to see how people react to what they’re doing at the end of this book. I won’t say we have papers on this topic, but we will certainly swing.
Bird: Giallo is a movie action related to a specific time and place. Is it a difficult process to adapt to comics?
boss: I actually found the process very smooth. The genre itself appears in many comics, originating from the cheap novels on newsstands – the murder mystery of the Demis Store, with leather, a killer wielding, and neon-colored blood and nude. Like any popular genre in the previous era, we need to postpone it again when modern audience updates. But I think part of the reason is that we tend toward the giallo sub-genre (like the Slasher type) is that its lighting and muddy theme feels like a comic is easy to fit.
Bird: The act of writing is at the heart of the series, including the writer’s greatest fear in the form of blank pages. What influenced the meta-methods of this series?
boss: I usually hate stories about artists and writers. I’m both making a living and a very dull profession that I can observe every day. Unless you would love to see people sit for at least 8 hours a day. But when it comes to what the story is and what we want to say about the book, being the author of the subject becomes the obvious answer to how we tell it. It only makes sense to explore its sensitivity.
Bird: You have worked from many different genres and styles. Do you like challenges and experiments?
boss: must. It might be a very stupid thing to imagine jumping genres like me, but there is nothing I can do about it. I really like storytelling, it’s the core thing that so many of us humans do, each genre has its own set of tools to use. Learning how to use them and do something in each sandbox is my favorite thing.
Bird: Will you also encourage readers to check out?
boss: If readers like mysterious You’ll do bad thingsI have another mysterious story in town called Dead dog bites From Dark Horse Comics. But my other two books, 4 children walk into the bankand the ongoing image comic series What is the farthest place from here? Along with writer/friend/demon, Matthew Rosenberg is a great book that people should check out. One is about child theft and the other is about child gangs. I’ll let you figure out which one.
