Talking ‘The Dirt Beneath The Devil’ With Dan Panosian And David Ferracci

June didn’t know her father in life, but she’s about to get a crash course on the people who were in her father’s orbit when she’s invited to a reading of his will. It doesn’t get more Wild West than an inheritance story and writer Dan Panosian and artist David Ferracci have cooked up just such a plot with their series The Dirt Beneath the Devil. With colors by Lee Loughridge and letters by Pat Brousseau, here’s what Panosian and Ferracci could share about the drama ahead:

Rachel Bellwoar: From old dark houses to Agatha Christie mysteries, will readings have been a source of drama for ages. What appealed to you about a Western period setting for this series?

Dan Panosian: I loved the idea of yanking someone out of an urban upbringing and thrusting them into the chaos and unpredictability of the untamed West. With a Last Will and Testament, there’s always a sense of greed that will inevitably separate certain kinds of people. Their true nature becomes exposed. The frontier is the Perfect Storm for such character defects to expose themselves…!

David Ferracci: It’s always a challenge to create a setting that feels authentic to the living conditions of that Era. From the desert plants to the costumes, the dirt, and the messy hair, I did a lot of research to bring it all to life. I hope the care with which each panel was crafted comes through.

Bellwoar: The fun part of these scenarios, of course, is getting to meet all the different people contesting for a piece of the pie. How was it putting together this cast of characters and coming up with their idiosyncrasies?

Panosian: June’s father was a notoriously ill-mannered and cruel man. Naturally, the people around him are either equally as rotten, or they despise rotten people. It was easy to create characters to inhabit this small corner of the world – and maybe just a little too fun, as well!

Ferracci: Dan had already defined the characters so well that I was able to focus on adapting my style to the role and on pure acting, which I emphasized simply for the pleasure of drama. 

Bellwoar: While this isn’t your first Western, Dan (see Dark Horse’s Canary), have you dabbled in the genre before, David, and what drew you back to the cowboy world, Dan?

Panosian: My middle name is Duke. Named after John Wayne. I grew up loving Westerns. Historically, “The Old West” wasn’t terribly long ago. So, for me, that wild side of a mostly lawless existence is very captivating.

Ferracci: Getting to know Dan was a wonderful discovery, and we immediately found ourselves on the same page regarding our references and visual approach to the story. I read and watched a lot of Westerns when I was little, thanks to my grandfather, so the setting and archetypes were familiar to me. As for the horses … You get used to them.

Bellwoar: June is a woman on her own in unfamiliar territory where there’s money at stake, so knowing who to trust is impossible. Was that air of suspicion something you kept in mind a lot while designing the look and tone of this series?

Panosian: Definitely. I’m a big fan of all things Hitchcock. That sense of paranoia is key when you’re building tension. Poor June …

Ferracci: The guiding line was to draw a character who was always anxious, suspicious, and afraid. I started to worry whenever I had to draw a calm and peaceful June.

Bellwoar: Speaking of your protagonist June, were there certain qualities you were looking for in a main character or a piece of dialogue or clothing that solidified the character for you?

Panosian: Dialogue, no. However, her way of speaking differs drastically from the other characters. June’s character is very much “you or I thrown into a very uncomfortable and unknown situation”. Ideally, whether you’re male or female, you will immediately identify with June. 

Ferracci: As Dan said, the goal with June is to make her more relatable to the reader. The concept starts with an unsuspecting city girl, but I wanted to enhance the look with a gap between her front teeth and an oversized coat to give her a more innocent appearance. Lee Loughridge’s colors are the cherry on top; they make June look like a goldfish in a sea of sharks.

Bellwoar: A big moment in the first issue is when June is assigned a horse to ride. Hendido (the horse in question) also appears on the cover. What made you zone in on that particular piece of Western iconography?

Panosian: There’s going to be some Black Beauty comparisons, but really this is a case more like The Beauty and the Beast. Hendido is terrifying. Cloven hooves – menacing and uncontrollable. June is the exact opposite, along with some very petite feet! I love that sort of juxtaposition! An unlikely pairing.  

Ferracci: Hendido is a complex character. Making a horse act as a main character instead of just a vehicle was a matter of balance. Through his eyes and subtle body language, we made Hendido able to connect with June in an empathetic way.

Bellwoar: Thanks for agreeing to this interview, Dan and David!

The Dirt Beneath the Devil #1 goes on sale July 29th from Mad Cave Studios,