Rob Guillory is a force in the comic book world, known for his ability to weave deeply personal narratives into captivating sequential art. From the intricate, plant-based mysteries of Farmhand to the gritty, supernatural detective work in Mosley, Guillory’s stories resonate with a unique blend of grounded reality and imaginative world-building. His work often features nuanced explorations of family, responsibility, and the human condition, inviting readers to reflect on their own lives as they delve into his meticulously crafted universes.

In this candid interview, Rob Guillory discusses his inspirations, the unique role of fathers in his narratives, and the intentional choices behind the longevity and thematic depth of his acclaimed series, Farmhand.

Father Figures

The stories you tell in Farmhand and Mosley feel as if they come from a very real, personal place in your life. What has been your biggest inspiration and motivation as a comic book writer?

Rob Guillory: I think comics have always been how I process life, and that tends to come across in all my work, especially with Farmhand. It’s definitely not an autobiography, but Farmhand’s the work where I’ve probably laid myself bare the most. Really, I’m just trying to become a better man bit by bit, and making this work is part of that process.

I’ve noticed that the heroes of your stories are typically fathers. Is there something unique about the role of fathers that make them an ideal hero trope?

Well, I’m a father of three, so that definitely informs that. Becoming a father (three times over) has been the most traumatic, but fulfilling thing I’ve ever done, and the weight of that responsibility is something I meditate on quite a bit. So that comes out in the work. And I think there’s been a real lack of good father figures in our culture for years, so I’m looking to bring that to the table. Dads are important.

Your Farmhand series spanning over 4 volumes and 20 plus issue and counting, is a master class in world building and character development. What has been your secret to sustaining such unprecedented longevity?

Thanks! I don’t have much of a secret here. I’ve done longer stories in the past (60+ issues on CHEW), so I know how to tell a big story. But with Farmhand, I had a lot to process that couldn’t fit into a smaller story. So I went big. But I don’t know if I can say that I’ve sustained longevity on Farmhand. The truth is, this is the story I had to tell, and it wouldn’t leave me alone until I finished it. I didn’t finish it because I’m “special”. I finished it because it would have haunted me the rest of my life if I didn’t.

Faith Not Race

Farmhand is rooted in the complicated history of race in this country. What do you say to readers who find such narratives somewhat overused?

I would tell them that I agree with them. To be honest, after the last decade I’m tired of race, even as a black man. HA.

In fact, when I started writing Farmhand back in 2016, back when race was “trendy”, I was very strategic in how I treated race in the story because I didn’t want the book to be pigeonholed into being “Just Another Book About Race”. I didn’t want it to be simply dismissed that way. I always knew there would be a racial component, because how could there NOT be? Farmhand’s about a family of black farmers in the South. To not mention race at all would be willfully ignorant, in my opinion. On top of that, Farmhand does have a part of it that’s personal to my life. Like I said, I’m processing my life in this book to some degree. That means I had to process racial issues because it’s a part of me. I’ve lived it.

In my eyes, as the guy who made this book, Farmhand’s probably less about America’s complicated history with race, and more about MY complicated history with race.

Does that mean that Farmhand is a book about race? No AND yes. No, it’s not a political sermon where I tell people how they should see race. But yes, it’s a book where the author is processing a part of himself and his history that is racial. I know that answer won’t satisfy a culture that wants everything to literally be black and white, but it’s the truth. This is the line I have to walk in this story. People can take it or leave it. My only job is to make the thing I feel God wants me to make. I’ll never tell readers how they should see my work, but if there was a “correct lens” to see my work through, it would be Faith, not Race.

That said, my goal was to create something universal enough that anyone could see themselves in the cast, because ultimately Farmhand’s not a book about skin color. It’s a book about the human struggle to make peace with the past and to forgive it. So my hope is that even a white person could look at Ezekiel Jenkins (Farmhand’s protagonist) and see a bit of themselves in him, even though he’s black. Maybe a naive hope, but that’s my hope.

In our recent review, I mention that your story touches on very sensitive political issues. Is this by design or by chance?

I don’t think it does touch on politics, honestly. At least, when I wrote this book, I was never looking at current events and thinking, “I’m gonna make a book about how Trump is bad” or something. That never entered my mind even once. I made a book about humans dealing with human things. It’s a book where humans are stuck in the middle of a spiritual battle between Good and Evil, period. If people see politics in it, that’s because that’s the lens they choose to wear. I can’t control that. If someone eats, breathes and sleeps Politics, they’ll probably see politics in this because they probably see politics in everything anyway. Or if someone spends all their days patrolling for “Woke”, they’ll probably see Farmhand as “woke”. That’s not my problem. I’m just a guy making the thing I’m supposed to make. Once the art is out in the world, it’s not my business how people choose to see it. Which can be frustrating, but I’m learning to accept it.

Focusing on the Craft

Can you speak about the synergy between you and colorist Jean-Francois Beaulieu? What has been your favorite scene to create with him for this series?

Jean-Francois is probably the most talented and most professional person I’ve ever met in twenty years of making comics. I nagged him for a few years before he finally relented and agreed to work with me, and I think it’s been a mutually enjoyable partnership. He’s the rare type of colorist who wants to immerse himself in the script before he colors an issue. In other words, he cares, which is rare. And I’m a creator that cares deeply about this stuff, too, so we mesh well. I value him as a partner, and I think that empowers him to knock it outta the park.

As far as favorite scenes go, I think Issue #20 is a real high point in our collaboration. It’s a highly emotional issue, and Jean really shined throughout the entire thing.

I saw an exchange in a Facebook group where you explained that you have a very loyal fan base. What advice would you give to creators on building community?

Work hard while other people are tweeting. Focus on your craft. Know which voices to listen to and which to ignore. Treat your audience like you care about them. Remember that your readers don’t owe you anything. In fact, you owe them your best. Be boldly honest in your work, but exercise wisdom. Know yourself. Be consistent in your values and who you are because if you do, you’ll avoid a lot of regret and as a bonus you’ll attract a community that vibes with that. So maybe work on getting your house in order first, then you’ll be better suited to build a community from that.

Once this story is concluded, what do you hope will be the lasting legacy for Farmhand? Are there future plans in other mediums?

I just hope folks enjoy it for years to come. And yes, I’m betting Farmhand will end up in other media. Likely sooner than later.

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