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I can say, and you mentioned the primary colors of the musical notes in a previous question, that that got my mind rolling and gave me a sense of the look the book should and could have.

They aren't really colors you'd instantly link to horror, so straight away that's an interesting take or approach to go from.

Chris, would you say that’s true for you and, if so or if not, why? Everyone is playing off each other, but I'm not sure I would say I'm more deeply connected to the letterer over the artist in general, to be honest, or not more so than anyone else involved anyway, but there are definitely moments when I've felt a nice syncing of the two.

But maybe I've just been spoilt with amazing letterers and really taken it for granted [laughs].

I think both colorists and letterers do think of the flow and beats and where your eye is going down a page very heavily, so in that sense, you do both need to be on the same page.

W., what inspired you to tell disparate stories with this particular character as a sort of unreliable narrator? MAXWELL PRINCE: The stories came first, and the Ice Cream Man kind of ambled his way in after.

I knew I wanted to tell a bunch of different little ditties, all sad, about different people, with different laws of reality governing the narratives.

MATTER: How did y’all meet and begin working on ICE CREAM MAN?

Prince, what was it about Martín’s art and Chris’s coloring that spoke to you?

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