V.elka

The Premise

V.elka is a character-driven graphic novel concept set in a world manipulated by AI-molded propaganda. It features in-depth sci-fi elements that correlate with character development, and a layered world based on history and the present.

Despite these elements, V.elka is a character study at its core. The narrative begins following Liora Falk, a gifted student introduced in the aftermath of a horrific tragedy. From that tragedy, Liora rebuilds and empowers herself through martial arts and the eerie heroism Velka (the fictional nation) embodies. Aware of itself, the narrative leans into the clichés of the genre and utilizes the uncanny (think Freud) to develop familiarity with key superhero tropes and direction.

However, the narrative plays off of the expectations and genre tropes thoroughly established to deconstruct conventions and to create something bold and new. There are moments that feel familiar, but those moments often lure the reader into a sense of expectation and security that the novel tries to subvert.

All art is human-made by Igor Kurilin

Artist Inspirations and Comparatives

During the development of this project, it became clear that the work of Igor Kurilin would be peerless for the expressive faces and bodies of the characters. V.elka aims for a realistic and grounded art style that allows for the development of nuanced, psychological themes. Sara (TKO Studios) is a wonderful comparative for art style and framing. Watchmen, which needs no introduction, is another great reference point when it comes to Moore's satirical treatment of superheroes and heroism.

Thematically, V.elka attempts to add to the long history of dystopian work in Western culture. Considering the immense body of work that already exists under the logline of "Dystopian graphic novel," the risk of being taken for a cliché is not lost on me. However, I am relying on the talented work of my artist (Igor) and my own literary background and creativity to separate this work from others.

A Literary Approach

I am a literary scholar and teacher. For V.elka, I am drawing from literary works and literary techniques to produce a literary-grade graphic novel. Characters like "Uncle Nicholai" (pictured right and above) have their own parallels, especially with 'Big Brother' from 1984. However, Uncle Nicholai's name is also an allusion to Tsar Nicholas I, whose paranoia established the grandfather of Russia's KGB - The Third Section.

Beyond literary allusion, I am working hard with our artist to have the visuals reflect the thematic cohesion of the project. The thinner, more relaxed demeanor of Uncle Nicholai (right) drastically contrasts the more heroic, bulky, and masculine depiction of him in propaganda campaigns (above); propaganda vs. reality. Furthermore, features of his clothing, beard, and more are intended to draw historical connections to Rasputin. Velka's propaganda style is also indicative of the hero worship found in USSR propaganda of Lenin, or the fascist propaganda of Mussolini, or (more recently) America's propaganda and hero worship of political figures.

Each character, setting, structural choice, or detail has this kind of depth and thought. As someone who enjoys the literary labyrinths of works like Ulysses and House of Leaves, my goal here is to create something intricate and deep. Yet, thanks to the graphic novel form, something accessible to all.

All art is human-made by Igor Kurilin

The Protagonist

At the opening of the narrative, Liora Falk is wiry, tall (5'10"), and very much the embodiment of a naïve, 19 year old teenager in their first years of college. Instead of emphasizing the trauma she experiences just before the comic opens, the narrative emphasizes her recovery and begins to weave a familiar tale of empowerment and structural indifference. Through the course of the first issue (that spans approximately 5 years), she begins to build herself into the embodiment of a heroic archetype. She begins to build her muscle, and the ferocious building of her frame is representative of her own, internal restructuring.

However, there are questions regarding her restructuring, especially regarding her intent. What is the function of empowerment? How do people direct that empowerment?

This is what makes Liora such a captivating subject for the first issues of V.elka. She is a character grounded in the right reasons and she is capable of achieving the 'right' outcome. However, tiny decisions and tiny influences from her environment mold her into something unexpected. Even as the first issue comes to a close, we are uncertain how to feel as readers; uncertain as to if the outcome is just, moral, or righteous.

In many ways, Liora is also a critique of the modern female superhero archetype. Too often, today’s heroines discard feminine complexity in favor of simply inheriting male-coded traits: aggression, stoicism, violence, stripped of nuance. Rather than redefining strength, they are repackaged male heroes with a different face. In this light, Liora is satire and an intentional challenge to the performative, faux-feminine hero.

Yet, Liora's struggle is exceptionally relatable. She is a woman bound to a world that consistently undermines her attempts to be a humble, decent person. The state of Velka rewards aggression, performance, and the accumulation of power, while morality and humility are conveniences available only when the structures are not devouring those born into them.

All art is human-made by Igor Kurilin

What is the nation of Velka?

Velka is a fictional world set in the near future. Much like Game of Thrones creates a fictional fantasy setting with real-world historical parallels, V.elka creates a world in the near future with real-world historical parallels.

At the center of the narrative is the nation of Velka. A Slavic-rooted word meaning 'great' or 'big,' it is often contextualized within the graphic novel as 'strength.' This nation has its parallels with America, Russia, and China, and the construction of Velka's society is borrowed from these real-world analogues. For instance, Velka is obsessed with physical excellence. They promote an aggressive masculinity that is touted as "strong" or "assertive," but that promotion is just another form of manipulation of emotionally vacuous men. Velka is also a subtle surveillance state, similar to China. Social credit and behavior is consistently monitored, and social media is simply another form of control and behavior regulation.

This is where AI comes in. AI algorithms within the nation of Velka are curated to feed into echo chambers and personal beliefs. Much like current models feed peoples impulses and desires, AI algorithms within Velka show the nation as progressive to people with progressive beliefs; Velka is conservative to people of conservative beliefs.

This manipulation is done through hero worship, as well. Uncle Nicholai (as described previously) is the intentional target of admiration, attention, and criticism. To people in search of a strong leader, he fulfills that role. For people in search of a surrogate father, he fulfills that role. Uncle Nicholai as a leader and savior was inspired by the diefication of famous, fascist leaders like Mussolini, Lenin, Stalin, and Hitler. Or like the modern hero-worship of Trump or Vladimir Putin. To a more subtle degree, V.elka is also critical of the worship of progressive leaders like Obama, too, as progressivity doesn't save leaders from possible corruption; Obama did help usher in the modern surveillance state with his support and expansion of the NSA. Instead, V.elka targets all forms of heroism as it blinds people to the reality of the actions being committed.

Finally, this project is very much an artistic expression of an idea expressed by Andrew Callaghan. He explored the real-life manipulation of people's existential vacuums and how people in positions of power and influence effectively take personal trauma and politicize it for their own means. In other words, people suffer individual traumas. Then, political figures effectively sell themselves as solutions to their personal traumas.

Liora Falk is very much the artistic expression of this idea. Her trauma is not some lazy attempt to build character backstory and sympathy. Rather, it is crucial for her psychological foundation and interaction within the world of Velka. It is through her personal trauma and her coping with that trauma that the nation of Velka find their foothold into her psyche.

Beyond Velka

While Velka is an analogue of expansionist, capitalist states obsessed with masculinity, other nations inhabit the world too. Admittedly, they will not get full development in issue 1; good stories and world creation take time. However, I wanted to share a few other nations with you.

Drevakia - Rooted in the Ukrainian and Russian word for 'Tree,' Drevakia is my Ukrainian analogue. In Issue 3, Velka begins an invasion or a "special military operation" of Drevakia and the narrative begins to sprawl out. At this point, Liora's purpose and direction within the nation of Velka begins to form. Conley Blythe, the second protagonist, is introduced in Issue 4. He fills the role of a foil or even parallel to Liora Falk, often embodying the Ukrainian heritage instead of the Russian/American (like Liora). In many ways, Conley's role in V.elka is to explore the increasing search of a distinct Ukrainian identity as the division between Ukraine and Russia grows.

Telos Compact - To counter Velka, I created a European or democratic analogue which is best summed up as the Telos Compact. It is an alliance between other distinct nations that all inhabit the world to create a rich and detailed ethnic diversity layer within the world of V.elka. Each nation has their analogues: Marienne (France), Yon'ju (Japan), Solandria (Latin American states), Renshara (Black and African states), Caledryn (Celtic), and more.

At this point, you might be asking why create analogues in this world. The goal here is to simplify the complex, real-world politics and states to ensure that I do not give a reductive depiction of any culture. Moreover, this is to ensure the narrative is not bogged down by those complexities so that characters (rather than the writer's knowledge of geopolitical complexities) can shine. Everything in this world is done to heighten character complexity and development. Political commentary, real-world interaction, and more are great tools for this. However, characters come before all else.

Long-term Vision and Goals

I am a professional educator, and V.elka is my passion project. I have no need to rush or compromise on quality for the sake of quick results. Right now, I am self-funding the creation of issue one. This is a very expensive proposition as I am not the artist. As a result, some 10-15 thousand dollars will be spent on the first issue alone. It is possible that you were directed to this page from a YouTube video or a Kickstarter link to help fund the project. I would like some help to make this project a reality.

However, if this issue can fund the next, I will continue on. I have no intention of making any money on this project. All funds are literally going to my artist and to the publication. I genuinely want to make this project a reality.

I have roughly 15 issues currently planned. The entire narrative is planned with key characters, set pieces, and more. The world of Velka is narratively built and I am building it more daily. Major character arcs have been planned, and secondary/support characters are getting their own backstories settled, too.

This is not to see everything is 'locked in.' Rather, I want to keep some flexibility as the issues develop; if a previously 'small' character deserves more time, I want to have the flexibility to give them more. Currently, the narrative will be carried by 3 key protagonists at various points:

Issues 1-3: Liora Falk

Issues 4-6: Conley Blythe

Issues 7-9: Angeline Quinn

Issues 10-15: Mix

I will avoid giving any more away, but my point in writing this section is to communicate that Liora's arc (as well as the others) is FAR from complete by the end of issue 1. Rather, the first cycle of her arc is complete and the first step toward her ultimate future is taken. Issue 1 is very much an "origin story" and sci-fi, political commentary, and other elements of the world are hinted at, but not explicitly developed (yet).

Support the project!

Currently, I am developing the IndieGoGo page and campaign. It should be up and running soon, and you can find and support the project here: V.elka on IndieGoGo.

V.elka, its characters, world, and associated materials are protected by copyright. No portion of this work may be copied, reproduced, or distributed without express permission.

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