The Beat emailed Steve Cuzor to debate his graphic novel adaptation of Stephen Crane’s traditional Civil Struggle novel, The Crimson Badge of Braveness.

To be revealed by Abrams ComicArts on Might 13, 2025, The Crimson Unhealthy of Braveness has already cemented its place in American literature. Nonetheless, it comes alive with Cuzor’s illustrations on this new graphic novel adaptation. Cuzor not solely pulls readers into the center of the hectic and fantastically illustrated battles, however he additionally affords solemn and unflinching portraits of Civil Struggle troopers occurring their day-to-day.

The Beat caught up with Cuzor to be taught extra concerning the mission, who labored on it and what’s subsequent for Cuzor.

This interview has been edited for content material and size.

JAVIER PEREZ: Counting your earlier works like Black Cotton Star and a few of BlackJack happening in Brooklyn within the late 20’s, what attracts you to American tales? 

STEVE CUZOR: After I was a baby, there was a TV present on French tv known as La Dernière Séance, hosted by a French rock star who liked previous films — particularly previous Westerns. The present was filmed immediately inside a movie show — an old-style cinema from the Nineteen Fifties. Each screening featured two movies: one in coloration and the opposite in black and white, within the authentic model. Between the 2, there was a Tex Avery cartoon. It aired as soon as a month, and I by no means missed a single episode. I believe that’s the place my understanding of America — and particularly Westerns — comes from.

PEREZ: I really like the prologue of the guide, there appears to be a way of impending doom from the beginning of the guide. How necessary is that theme within the graphic novel and the way did you go about exhibiting that sense of dread from an inventive standpoint?

CUZOR: Within the prologue, my aim was to indicate — with out dialogue — all the primary characters earlier than the story truly begins. In these two pages, I additionally needed to convey the sense of ready, as a result of the wait earlier than a battle is when concern inevitably units in for these younger males. Because it’s mentioned within the story, “ready is extra painful than a bullet to the guts.” Henry can also be afraid of not being the heroic soldier he imagined himself to be. He fears what others will consider him if he deserts.

PEREZ: The graphic novel likes to maintain the viewpoint of the protagonist, Henry Fleming. It doesn’t actually give particular places or instances and that goes with how disorienting battle may be. We are able to see Henry begins to lose his thoughts and the artwork follows that. Did you want working in these parameters?

CUZOR: I liked working with these components as a result of, for me, the pleasure doesn’t lie in drawing a personality — my pleasure is in illustrating what a personality feels. That requires a particular framing, a exact viewpoint, and a unique lighting for every line of dialogue. What I illustrate is what the character says, not who they are. And when the character says nothing, then the picture must be crammed with subtext.

PEREZ: It appears that evidently a transparent intention of Stephen Crane penning this work was a journalistic and trustworthy account of battle and I’m wondering the way you took on that ethos in your artwork whenever you illustrated the guide?

CUZOR:  I solely used what appeared necessary to me within the novel: Henry’s anxiousness about not residing as much as the heroic soldier he had imagined himself to be. Within the novel, the narrator is Stephen Crane. He talks concerning the characters within the third individual. I felt that this method had aged slightly. So I created inside dialogues in order that Henry might discuss to himself. Along with the battle raging outdoors, Henry goes by means of an actual inside battle. I saved that guiding thread all through my graphic novel. For me, the necessary factor was to not betray Crane’s spirit.

Probably the most difficult half, as an illustrator, was staging the battle scenes. Crane provides little or no element in his guide about army ways or how troopers transfer in formation. Stephen Crane’s writing is so skillful that at instances it reads like poetry — it evokes sensations within the reader however affords few concrete pictures. I needed to create these pictures with a sure coherence, as a result of that’s the very essence of a graphic novel.

PEREZ: I like using inexperienced and blue to indicate the distinction between day and evening. I believe the chilly stillness of the evening sections actually comes throughout in that coloration. What made you go along with that alternative?

CUZOR: It was a request I made to my spouse, Meephe Versaevel, who does the coloring (we each earn a living from home — it’s handy). I advised her, “For Crimson Badge, I don’t need coloration, I need gentle.” There have been two causes behind my request for monochrome: first, to not betray the black, white, and grey inking work with all its lighting results; and second, as a result of I didn’t need blue or grey uniforms that may make the reader marvel who’s profitable or shedding the battle — no inexperienced grass or blue skies, as a result of battle has just one coloration: the colour of mud, smoke, and hell. The one time crimson seems within the guide is on the quilt… as a reminder of the title.

PEREZ: It appears that evidently as soon as Henry Fleming goes by means of a fairly dramatic expertise he begins being reckless and that appears to be taken as braveness by his fellow troopers. Do you agree with the definition of braveness?

CUZOR: Is it braveness or a suicidal act? He’s offended with himself for not being the courageous soldier he had imagined. He needs to redeem himself for the day prior to this, when he fled from the enemy. He doesn’t need to undergo that inside torment once more — he’d somewhat finish it rapidly, right here and now. I’ve him transfer ahead alone towards the enemy, alternating between gunfire and inside monologues. We all know he’s misplaced his grip because of the reactions of the opposite troopers left behind — “The place’s that fool going?” — and who find yourself mocking him. Henry wished revenge, and as an alternative, he finds himself humiliated. Ultimately, it’s his officer who will restore his honor. Crane’s complete novel is constructed on these conflicting feelings.

PEREZ: How do you’re feeling about graphic novels that cowl historic occasions? And in a manner, why comics? What does the comedian medium deliver to tales like these that may’t be performed in films or TV?

CUZOR: I’m not a specialist in historic books. What pursuits me once I create a graphic novel is human psychology — the human being and their battle to seek out their place on the earth and amongst others. In Black Cotton Star, which takes place throughout World Struggle II, with Yves Sente as the author, we advised the story of the difficulties African Individuals confronted in being accepted into the U.S. Military. We didn’t inform the story of the battle.

My subsequent guide might be a couple of bear hunt set in 1836 within the Nice Lakes area, and about 5 characters who had been by no means meant to satisfy. They may by no means catch the bear throughout this hunt, however they are going to be caught up by their very own darkish sides and their previous. With the comedian or graphic novel medium, you possibly can inform each story on the earth.

PEREZ: Lastly, is there something you want to add? 

CUZOR: I’m proud to have introduced my entire little household collectively for this graphic novel Crimson Badge of Braveness — my spouse Meephe for the colours and my son Tom for the chapter illustrations. That is the primary time it has occurred. Thanks.