‘Ramsay’ by Jarret Keene and Victor Moya

Ramsay preview

Well, it may be hard to believe, but the end is near — the final chapter in the Tales from the Boneyard collection has finally made its online debut. “Ramsay: The Post-Doomsday Showgirl” is Jarret Keene and Victor Moya’s vision of a post-apocalyptic future Las Vegas in which all societal mores have broken down, and Sin City’s sins are taken to the extreme. From amidst the horror arises a singular figure, and … well, the rest would be telling. You can check out the entire six-page tale here, right now.

Here’s what Keene and Moya had to say about the process of creating this world of opportunistic decay:

JK: Ramsay’s genesis stems from an intensely depressing tour of the Nevada Test Site, a visit that involved driving around a series of miserable craters in a desert wasteland. It got me thinking about the mass psychopathology of the Cold War, and how Las Vegas lies at the very edge of the heart of planned Armageddon. Who might emerge, what kind of creature succeeds, in bomb-ravaged Sin City? Would there be showgirls? They’d have to resemble Ramsay (who’s also the mascot of my doom-metal band Dead Neon). The script is a world-building prologue, a way of briefly sketching the contours of a character and setting that, with luck, will develop into a graphic novel.

VM: One of my first questions to Jarret before I said yes was “What are the restrictions and parameters, or can I just go hog-wild?” He replied a few minutes later and said, “Go nuts!” That’s when I agreed to do the story. Nobody has ever told my to just go for it before. How could I pass it up?

I approached the visuals as if the reader were looking at stills from a wide-screen movie. I wanted to make a black-and-white, post-apocalyptic zombie movie with a scary, hot showgirl. Jarret described Ramsay as a showgirl with a gas mask. I took that into the S+M realm a bit for the costuming and just gave her a big phoenix tat on her chest to kind of make it feel like all the big necklaces the showgirls wear on the strip — big hair and a tiara with tattered feathers and the same feathers on her bum.

I think I had the hardest time with destroying Vegas in the establishing shot. I wanted it to be rundown, but still recognizable as Vegas. Ripping apart the Strip has been a dream of mine since I came to Vegas. It was great working with Jarret, and the fact that he gave me so much freedom in the art shows that he had great confidence in my ability to tell his story and be true to his vision.
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