Rachele Aragno is known for her artwork on a number of graphic novels including Leonid the Vampire and Star Wars: The High Republic. She recently turned her attention to mythic characters and creatures for the holiday horror-fantasy adventure Yuletide, a comics series created by George Northy.
It’s described as “a fast-paced family adventure in the tradition of The Goonies, Goosebumps, and Hocus Pocus with a horrifying holiday twist.
From Oni Press, the series focuses ancient creatures unleashed in the small town of Christmas, Pennsylvania, “at the height of the gift-giving season.”
Teenagers Jake, Abe, and Wyn find the dark side of the holiday season more intriguing. Think “ancient legends of mythic monsters and pagan pandemonium” that are deeply tied to the Christmas season.
When their research leads to abandoned wing of the local Christmas museum to investigate, and an ancient relic is triggered to “bring a furious procession of yuletide horrors long since banished from our plane – and with it, a darkness that has been waiting centuries for its chance to overtake the world.”
The premise has proved so exciting that a film adaptation is already being planned.
Following a Q&A with writer George Northy, Wicked posed a few questions to Rachele about the holiday world.
WH: Yuletide promises to delve into holiday myths and bits of folklore many have perhaps seen only hints of. What sort of research into art and visual representations did you dig into in order to prepare the beings we’ll see on the page?
RA: This book features a wealth of creatures and demons from the folklore of various peoples. I did extensive research to recreate the fundamental traits of each, while also infusing a touch of innovation. There’s a powerful queen, a myriad of small, evil gnome-like creatures, and a huge, ravenous-looking cat, all drawn from both Nordic and Celtic legends, and it was wonderful to learn about them.
WH: Did you discover any figures you were previously unaware of that became interesting to re-create in your own way?
RA: I discovered the existence of Perchta, this powerful woman from German tradition who in Italy is known as the Befana. I loved reading about her and her entire world, this deity tied to nature who can be good or bad. I was also surprised by the Yule cat; it’s believed to be from Iceland and it really sparked my imagination. I loved drawing it!
WH: What was the creative process like with George? Were there discussions or were you totally working from a script?
RA: We spoke often while working. Thanks to Matt Dryer, our editor, we were able to find the right pace to work well, but I have to say it was very easy, they are fantastic. I followed the script he had written, he wrote it incredibly well, reading it and then having the right image in mind was natural. Then we adjusted the shot a few times, but we were always all on the same wavelength.
WH: Did any surprises emerge from the collaboration? Anything that stretched each of your imaginations?
RA: Definitely George’s very cinematic way of writing: he manages, in just a few words, to give you a sense of the scene the characters are experiencing, with precise framing and direction. I was free to change things if they didn’t work for me, but I happily followed his suggestions.
WH: The town of Christmas, Pennsylvania, is obviously important as the background for the tale. Where did you find inspiration for the locale?
RA: I drew inspiration from the ’80s and ’90s films that took place during the Christmas holidays. They were full of fitting settings: snowy houses, streets full of people buying presents, kids in gangs having wonderful adventures.
WH: What were there holiday films that came to your mind as you crafted the town and the introduction of the unusual into the setting?
RA: So many came to mind: from Home Alone to The Nightmare Before Christmas. But other films and TV series not strictly connected to that period also helped me: Hocus Pocus, Sabrina, Stranger Things, Labyrinth, The Dark Crystal. Jim Henson’s films really capture this creepy spirit that we tried to recreate.
WH: How much humor did you consciously strive to inject humor or whimsey into the mix? If so, how do you do that in planning artwork?
RA: I tried to maintain a style that wasn’t too serious and, at times, even used expressions or body movements that evoked irony. There’s always one character in the stories who’s funnier than the others, and I try to focus on them as the ones who make you smile. I hope I’ve succeeded; this story is just the right mix of adventure and darkness we need during these Christmas holidays.
