Royden Lepp is the creator and writer/artist of Rust, a graphic novel tetralogy that concerns the creation and life of the robot “rocket boy” Jet, his stay at Roman and Oswald Taylor’s farmstead, and the shadow of a once great dieselpunk (think steampunk, but with the clock set at 1940 instead of 1890) civilization that has fallen over them.  The series is comprised of Rust: Visitor in the Field (2011), Rust: Secrets of the Cell (2012), Rust: Death of the Rocket Boy (2014), and the upcoming and last volume in the series Rust: Soul in the Machine.

Recently you have taken to Twitter for your annual storytelling ritual. Over a few days, in real time, you narrate the story of your father’s airplane crash in the 1970s. Storytelling and novels grew out of oral traditions, and I was wondering if you feel that telling that story every year in bursts of 140 characters has changed the way that you think about stories or even impacted the story of Rust?

Royden Lepp: I’m not sure that that tradition has effected how I’m doing Rust. But it did teach me that my Dad’s story is something compelling to people. It’s a story I’ve heard so many times that I don’t know what it sounds like to others. I’ve had a ton of feedback from followers over the past three years saying that they’d love to see a GN version of the story or that it should be a movie. I never thought of it in those forms, but I’ve begun to picture it and I could see pursuing one of those two forms. Could be fun one day. Twitter is definitely a weird place to tell a story, but followers seemed to like it.

Tell us briefly about the first three volumes of Rust.

RL- Sure! Rust is the story of family on a farm, living in a post war era in an alternate reality where robots were built to help fight alongside soldiers. Roman Taylor is the oldest son in his family and his father never came back from the war, so he’s left to try to keep the farm running and keep his family unified when they’re visited by a mysterious boy with a jet pack who claims to have been a part of the war. The boy’s name is Jet Jones and his presence on the farm changes it forever.

Also, if you’re able, could you tell us what Rust volume four will be about in one sentence. The kind of thing you might see in BOOM! Studios’ solicitations.

RL – Rust: Soul in the Machine is the final volume in this story. Roman will be coming face to face with his mistakes on the farm, and all of Jet’s secrets will be revealed to the Taylor family. Oz will find redemption, and the Taylor farm will never be the same. It’s going to be a real ride.

Rust is not your first comic book project. Tell us of your journey as a comic book artist between your first comic book story, David : The Shepherd’s Song, and Rust.  Or were you drawing comics before David?

RL – David was the first real comic that I sat down and wrote and drew with the intention of publishing. I had been drawing ‘comics’ all through high school, but nothing every really complete. I had recently finished reading a book on the life of King David by Chuck Swindol, and I was inspired to illustrate his life. I still remember that moment of drawing the first panel on the first page, I had decided to really make an attempt at this, and somehow I was going to get it into the hands of readers. Originally it was going to be self published but then a friend connected me with a new publisher that was interested in printing comics. They picked up David and printed three issues. That was my first Comicon, a trip to promote the first issue of David. I didn’t even walk around the floor. I just stayed at the publisher’s booth selling David. It was a blast. After that, David was seen by an editor at Zondervan, an umbrella of Harper Collins. They offered to work with me on whatever I wanted to do so we did a few children’s books together and then eventually I pitched them a book called Jet Jones. They loved it and offered me a contract. To make a long story short, Zondervan decided to get out of the GN business before they released the first issue of Jet Jones, so they gave it back to me after I’d created over a 400 pages of a series over the course of three years. I took a year off after it was cancelled and the following summer started shopping it around again to both agents and publishers. It landed with Archaia in the summer of 2010… and that’s where it stayed 🙂 There’s lots of great stories along the way, it’s been a long journey but that’s the digest version.

In your 2014 Comicosity interview, you mentioned how in volume 3 you were working 100% digitally. Has this changed at all? Are you partially returning to a paper and pencil process, as we see in some of your recent Twitter pictures, or is this just preliminary work?

RL – No I am still 100% digital. The only time I sketch on paper is at conventions and those would be most of the images you’d see on my twitter account. I work on a Wacom Cintiq. There’s just nothing that really beats the efficiency and speed of working digitally.

Why sepia?

RL – When Rust was originally contracted by Zondervan, they’d asked for it in gray scale. I would have never had the time to do it in full color even if I’d wanted to, but I’s always had a sense that it would look great in sepia. Sepia gives the suggestion of nostalgia. It also helps you feel the heat of the farm. When I first showed Rust to Mark Smylie at Archaia, he suggested printing it in sepia. I had already been thinking that and it kind of sealed the deal with me and Archaia. I knew we were thinking some of the same thoughts. Sepia is so funny. Some fans don’t know that it’s not full color, but they see it as far more interesting than gray scale.

In your interview with comicscreatornews.com, you mention that Rust began as a video game pitch. One could see the first big robot battle in volume one as a boss fight, and it would be great to see this in co-op play, with players having to work together as Jet and Roman to take down the robot. Has your relationship with Fox Studios brought you back around to talks about making a video game tie-in to the movie in development, which would bring you around full circle?

RL – I still work in the video game industry so I’d always hoped that it would come back around to that. Rust makes a better GN then a game but it would still make a great game. The games industry has changed so much that they’re not really making games to partner with movies like they used to. Every movie used to have a companion game to be released with, but now the market has moved to mobile and free to play. Some kids movies still get games but rarely live action movies. I’d still love to see it happen.

Also, how much of the videogame pitch or plot line remains in Rust?

RL – hmm – almost none. When you write a story for a game it has vastly different requirements then a GN. When I sat down to write the GN version of Rust, I kind of reinvented the character of Jet Jones and the world he lives in. Some of the robot designs stayed the same, but in a game the story has to be about action. In the book the story is about the people.

Speaking of designs, let’s talk about that for a minute. Let’s talk about the character designs. The big heads remind me of Chris Sanders’s films, like Lilo and Stitch, and also the more cartoony properties from Fleischer (Popeye and Betty Boop), however your characters have a unique combination of big heads and slender bodies just full figured enough to let the reader know that this is a serious story and not a comedy. I was wondering if you could tell me your thoughts on the character designs, both during their creation, and now. Also, how much have they changed?

Over the years my style has changed. I came from a very cartoony, stylized training in film school. I think that’s influenced Rust in big ways, but I’ve grown to want to see a bit more realism. I love photography and I love imbuing the panels of Rust with the things I know about looking through a lens and adjusting shutter speed and exposure, but that clashes a bit with the rough pencil line, cartoony style. I can’t defend myself. I just gotta be me. I hope I can learn and grow from Rust but at the end of the day it’s been a clash of my desire to remain stylized while keeping a serious tone to the story and setting.

Robots go way back in pop culture. The Greek God Hephaestus had handmaidens made out of gold, but most people only go as far back as Maria in Fritz Lang’s Metropolis. Since that movie, robots have become a popular preoccupation with our society’s art, whether Star Wars, Star Trek, comics, or the Robot novels of Isaac Asimov. Your work has been compared to Osamu Tezuka’s, but in your graphic novel, Jet so far is a one of a kind that stands out from the other robots, which is unlike Astro Boy, who in his milieu is one of a million other robots with faces and personalities. I was wondering if you’d tell us about any other robot tales that you think may have gone to influence your work, even if it was just to fascinate the younger Royden Lepp?

RL–I don’t think this will come as a huge surprise but the biggest influence on me and my approach to Rust was the Terminator. Specifically Terminator 2. The idea of robots being completely hidden inside real flesh just blew my mind as a kid. In Rust I wanted to portray that idea in a way where we could see a possible evolution from ‘old robots’ to ‘new’ prototypes. Jet does not fit in with what was remembered in the great long war. But Terminator 2 also influenced my storytelling. The film open on one of the most intense action scenes in film history. When that chase scene with the motorcycle and the semi truck is over, all I could think was ‘how is the climax of the film going to top this?’ Since then that has always been my goal in stories. Kick off with an action scene that makes people wonder where or how it could get any better. And then hope you can deliver on that expectation. I love Rocketeer, I love Astroboy, I love Iron Man, but none of those things really influenced me the way Terminator did.

You say “specifically Terminator 2.” The big difference between that film and its predecessor was that the Terminator evolved. Initially reprogrammed to do good and sent back in time, during the course of the movie it could be argued that the robot learned enough self-sacrifice and altruism to be a better man than the species that created it. Sarah Connor says “if a machine, a Terminator, can learn the value of human life, maybe we can too.” Similarly it seems that Jet is the only character in Rust with a clear perspective on right and wrong. Do you think that this idea from Terminator 2 also influenced Rust?

RL – Well part of the reason is that I actually saw T2 before T1. Weird I know but I was too young when T1 came out. You’re likely right though, I was heavily influenced by the picture of a kind of great and powerful protector that shows up to save a family. T2 has this quality of almost a spiritual battle between these two incredibly powerful beings, fighting over the souls of the Connors. I think the role of Jet Jones in Rust is slightly more complex in that he contemplates choices and responsibility in a way that the terminator does not. I don’t actually think Jet’s perspective on right and wrong is clear. I think his knowledge of the weight of his decision is clear. But he struggles greatly with his choices.

Were Jet’s decisions easier before he met the Taylors?

RL – I imagine they were. He started down an unknown path at the moment that he decided to give up the cell he was designed for. Once he walked away from his destiny he walked away from his purpose.

There is a lot of dialogue between Roman and Jet, but the relationship between Oz and Jet seems just as significant especially because it is mainly nonverbal, with occasional exclamatory dialogue in their action scenes. The Taylors have made a great impact on Jet. What is it about the Taylors that affects Jet? Why is he attached?

RL – I think we have to assume that Jet has passed through many farms, families and homes. I don’t know if I’ve thought about the specifics of why he stayed. Maybe he’s seen other families that are suffering after the war but I imagine that he’s tired of not making an impact, of simply running from the Engineer, running from the robots, and leaving a wake of destruction everywhere he goes. The Taylors are clearly on the edge. Jet sees both the opportunity to stop running, and also help a family survive. He knows they Taylors won’t survive if he leaves.

Most of Rust takes place on the farmsteads of the Taylors and their neighbors. Jesse tries to leave and she’s pulled back. There are other fights and flights that move characters away, but they’re soon back. I’m wondering if this unity of place is intentional, and if so, what the farmstead symbolizes in the narrative.

RL – It’s intentional in the fact that I want the Taylors and the Aicots to feel very stuck. I remember approaching it as a bit of a challenge, wondering if I could contain the whole series right on the Taylor farm (or not far from it). I really wanted the farm to be a character itself. I want a familiarity with the layout and the buildings. I want the kitchen to feel like home. I want the yard barn to be a real place in the mind of the reader. Not just a backdrop for the family but a part of the family. I can’t say exactly why I’m doing that because it might spoil Vol4. But it was intentional from the start. Whether it was a good choice or not.. I’m not sure. But it has been a great challenge.

Without spoiling volume 4, I’d like to clarify the dramatic purpose of the farmstead, specifically what you mean by wanting to make the Taylors and Aicots feel stuck. In saying this, it seems that you mean the farmstead to be more than an ant farm through which the reader can observe their slice of life; is the farmstead, then, a crucible that tests your characters?

RL – I don’t think it’s too much of a spoiler to say that I want to think of the farm as a character itself. I want to see if I can create an attachment to the setting in a way that readers would normally be attached to a character. I love the thought of it as a crucible though. That was kind of a goal as well; to make this wide expansive setting to feel closed in and claustrophobic.

The unity of place in Rust could easily be translated into a live theater adaptation. Do you have any theater background or affinity?

RL – Ha! I do – but I don’t think it’s connected. I spent a lot of time in theater in high school.

What was your favorite role? Or did you work behind the scenes?

RL – I was an actor. I once played three roles in one play and won a best actor award. It was a blast.

I would like to see your stage and costume designs for a Rust play. Usagi Yojimbo was recently adapted for the London stage. Would you like to see Rust adapted for live theater?

RL – Hm, I’m not sure about that. It would have to be interpreted by a live theater visionary. I don’t spend any time in that world anymore so I don’t think in terms of theater. I’d love to see it adapted though. We could do the robots like they do the dinosaurs in Walking with Dinosaurs.

While Jet is the subject of the cover art and gets his share of the narrative, much of the interior of Rust concerns Roman and it could just as easily be the latter’s book. His feelings for and relationship with Jesse seems the heart of the book at times. Will Roman’s storyline also have a conclusion in the fourth volume?

RL – It will. We’re really actually looking at Jet through the eyes of the family. So in a way they’re more important than Jet. My goal is that they’re all equally important. I relate the most with Roman so that’s why his arc is elevated. His conclusion in the fourth volume is really important to me. I lost my own Dad a few years ago so it’s not a big surprise to people that when I sit down to write Roman’s letter to his Dad, I’m often writing to my Dad. I’m not alone on a farm or struggling to make ends meet, but I can easily put myself in Roman’s shoes and write a letter to a Dad who’s not coming back. But that conversation he has with Jesse in Book 3? Yeah.. I’ve really had that exact conversation with a girl before. 😉

You mean the conversation about options, when both Roman and Jesse struggle with the tension between responsibilities and aspirations. There’s no right answer for either of them, is there? Usually Roman writes a letter to his Dad when he’s figuring things out, and in this scene he’s using Jesse as his sounding board instead. It seems telling that there is only one letter to Dad in the third volume, and it is very short; it seems like he could be outgrowing the need for them, or perhaps his Dad is no longer his rock, and Jesse is instead. Is this meant to mark a change in Roman’s inner life, or a change in Roman and Jesse’s relationship, or both, or something else?

RL – The early letters that Roman writes are very conversational. He writes as though he’s sitting down to coffee with his Dad, or as though he’s expecting a response. I think that’s a form of denial. As the series progresses his letters become a little more introspective. He’s not talking to his Dad anymore, he’s talking to his memory, and then eventually just talking to himself. It’s a sad decline but it’s the journey of a griever. We leave Roman in a very difficult place at the end of Vol3. As it happens with all grieving, you eventually have to let go of something in order to move on and heal. Roman is trying to leap from his letters to Jesse, but she’s slipping away. From my perspective he needs Jesse and the only way they will fall into each other’s lives is through more tragedy (wink/nudge).

Can you say anything about the nature of that tragedy?

RL – I cannot. That would be the definition of spoiler.

Let’s talk about the Aicots, specifically, Mr. Aicot. We’ve seen in Secrets of the Cell that he has Jet’s original cell in his house, powering his house and his shop.  He’s the human soldier in the prologues. If I’m correct, that’s him on page 24, panel 4 of Death of the Rocket Boy, facing the doctor and Jet. Just how important is Mr. Aicot to Jet’s story?

RL – My apologies, I’ve had to draw so many soldiers that they may start to look the same from page to page. That is not Aicot on page 24 of Vol4, however you are correct that he is the soldier you see collecting cells in prologue’s 1 and 2. If I could assemble the prologues for you in the right order (because we’re viewing them backwards from book to book) you’d see that the timeline requires that Aicot is on the field during Jet’s interrogation. Mr. Aicot is interesting because of all people who should know that robots are dangerous, it should be him. But I often find that in real life those who should ‘know better’ usually don’t.

Do we get to see under Jet’s glasses in volume 4?

RL–Well… technically you saw under a rocket boy’s goggles in the prologue of Book3. It wasn’t Jet and it was lifeless. But the answer to that question is ‘yes’. 🙂

So the faceless robot on the work bench was another rocket boy? What happened to the rest of the rocket boys, and how many were there?

RL – That’s true. If you examine that image, there are also two other rocket boy ‘bodies’ at the back of the room on chairs. It is the dissembling room. We also see ‘rocket project’ in various situations throughout the prologues that suggest there is a small army of rocket boys. I’d personally put the number below 15. They are like a single division of navy seals. I definitely didn’t make it very clear in the story line because it wasn’t pivotal, but once “the incident” took place and Jet was arrested at ground zero, the Captain begins shutting down the program. That’s why he asks Jet to follow him “down the hall” for more questions. I’d like readers to make the assumption that the Jet is the only one that escaped, but I won’t say that that’s true in case we want to continuing exploring those details in other spin-off’s. I hope that’s not false teasing.

In the prologue to Visitor in the Field, Mr. Aicot sees three completely assembled rocket boys fly overhead. If the prologues are in reverse order, as you said earlier, this first prologue is chronologically last compared to the other ones, and the three rocket boys are still in one piece by the end of it. Do we learn their fate by the end of Rust or does the story end with them possibly out there somewhere?

RL – Great read! 🙂 The intention was to show that Rocket Project is in the middle of being shut down. I’ve always thought about a scenario where there are more escapees than just Jet. I think that would be a super interesting story line to explore.

In the opening of Death of the Rocket Boy, the nature of Jet’s consciousness was addressed. The cell is the source of Jet’s essence, emotions, and intentions. We see the wheels turn in Jet’s brain in his introspective moments, or in the terribly lonely and agonizing moments in which he’s replacing an oil canister. But does Jet feel himself to be real, what we would call sentience, whether we want to call it a mind or a soul? Or is he just fulfilling his programming in the most expedient fashion?

RL – I see Jet as ‘real’. I see his programming as complex enough that it should relate to our own human ‘programming’. We could argue that we feel sentient but we’re actually products of our genetic and environmental programming. My goals is that we would identify with Jet on some level. When I think about my own humanity I often ask the question ‘why can’t I just be different? Why do I exist in way that allows for such terrible mistakes? But I think we have to have the ability to do harm in order have the potential to do good.. If we always made the right decisions all the time, they wouldn’t be right, they just how we were ‘programmed’.

“Isn’t always doing the right thing better than having to choose?” Jet argues with his creator, who tells him in return that “we cannot code our own victory.” You’ve discussed your Christianity before. Am I hearing a dialogue of free will vs. determinism?

RL – You are correct. These aren’t ideas I’m trying to preach or spread, these are things I think about in my own life. The questions that Jet has for the Engineer are the questions that I’ve had for God. There’s something incredibly powerful, graceful, and ultimately loving, in a Deity creating a being with such free will that it has the ability to walk away from its maker. That’s real freedom. Which means that choosing to love that Deity is real love.

We’ve never heard of Jet’s creator referred to as the Engineer with a capital E. This character already towered in the few pages that he appeared in, and you’ve just made him even more intriguing. Can you tell us anything about the Engineer? What makes the Engineer tick?

RL–It’s true. We’ve only heard his title for the first time in Book 3. He’s referred to as a doctor by the captain, but calls himself an engineer to Aicot. The Engineer is a combination of Father figure for Jet as well as a Deity figure. He is Jet’s creator. He was driven by the war but now he’s driven by reconciliation with his ‘son’. He’s lost everything. He’s abandoned his post. Jet is all he has left but in a way they’re both being hunted. The government is willing to take Jet by force through violence, but the Engineer is pursuing Jet with love and compassion. Jet’s decision is what makes the Engineer tick.

If the Engineer is God, does that make Jet like Adam? If so, why did he make Jet to be alone and unlike any other robots? Or did the Engineer make a complement to Rust, an Eve?

RL–The Engineer may be god-like. But Jet is not Adam. Jet is one of many. We’ve seen that there are several subjects in the rocket project. The question is, is the Engineer pursuing each of them or only some of them? Or only one of them? In all this discussion about faith and world view I should say that Rust is in no way an allegory. These themes come out because they’re inside me and they’re how I see the world but I didn’t sit down and say ‘okay if the Engineer is God and Jet is Adam, then the captain is the devil…’ None of that happened. In some moments of the story, Jet is very human. In other moments he’s more of a Christ. This is not an allegory.

Jet struggles with his choices, and wishes he didn’t have to do so. Now that he feels ties to the Taylors, he is making bad choices where his own survival is concerned. Meanwhile, when forced to choose, the humans create additional alternatives for themselves. Given the choice between farming and starving, Roman codes robots, and Jesse wants to leave the farm because she doesn’t want to marry the only man she’s ever known. When forced to choose, both seek additional options. In Roman’s case, he even knows the robots he’s coding are dangerous. I’m wondering why Jet the robot was singled out for the moral dilemma, while the humans are depicted as more morally gray.

RL – Ha, that’s interesting. I’ve never thought of the characters that way. I’m not sure why I did that. Sometimes I think shifting the reality a bit (human to robot) changes how you see problems and questions like Jet has. If we think that we as humans are simply programmed, does that give us an excuse to just stick with our instincts all the time? If our souls were described as a battery instead of a ghostly, transparent spirit then how does that change how we think of the idea of a ‘soul?’ Now we’re getting deep into theology on this interview. We should get some robes on. 🙂

Aside from Jet’s conversation with The Engineer, there are a few other quotes that stand out and resonate with Christian writers, such as in Mr. Aicot’s conversation with Oz about the boy being exactly the right age to understand the truth, that “everyone underestimates children.” I’m reminded of C.S. Lewis writing “the child as reader is neither to be patronized nor idolized: we talk to him as man to man,” or Madeleine L’Engle writing “…if the book will be too difficult for grown-ups, then you write it for children.” You said that you’re not writing an allegory. And maybe we’re getting deep into theology, as you say. But on the spectrum between “Christian literature” and “literature written by a Christian,” where would you place Rust?

RL – I have a dear friend who’s made this statement in response to questions like these, “There is no such thing as Christian music because Christ did not die for music, he died for people.” I like this perspective. I have the belief that there is only ‘literature written by a Christian’ and that the other does not exist. All any writer can do is write from their perspective and world view, and that’s what I do. I’m very influenced by the things that I’ve learned and enjoyed from writers. I love CS Lewis, HR Rookmaaker, GK Chesterton. I’m not that well read but I have some favorites that have informed my world view and even my approach to storytelling. I think there is some literature that is mostly appropriate for Christians, meaning that the intended audience is Christians. I think every book has an intended audience and that’s of course okay. Rust is for everyone.

Hemingway, in writing about the rules of fiction, said that “the dignity of movement of an iceberg is due to only one-eighth of it being above water,” and similarly, in Rust, the back story beneath the surface is very intriguing. It seems like there was once a dieselpunk golden age in Jet’s world, but there has been a Great War and a fall from these days. Without penetrating the mysteries too much, can you tell us anything about the Great War that precedes Rust?

RL – I can’t really. In relation to that last question, these are some of the things I’d love to explore in future stories. Maybe even stories I would write but not draw. I think the great long war is really interesting, and I’m explaining so very little of it in this series. I can say that I see the long war as very long and very complicated. There was a really sharp rise of robot soldiers, in both quantity and complexity, and of course really interesting origins of the rocket project (which I will reveal more about in Volume 4).

In your 2012 interview on the Archaia website, you say that Rust was always intended to be four volumes, and in a 2013 interview at rsquaredcomicz.com, you said every story has an end, and that you’d never do anything ongoing. With volume 4 on the horizon, is this the end for The Taylors and Jet, or have you considered a sequel to the first Rust tetralogy?

RL – Volume 4 is the end of the story. But maybe I should say that it’s the end of this story arc. I would love to explore other stories within the world of Rust. I’d love to write some more stories about the war, ‘prequels’ of some sort. But I don’t believe I’ll be telling another story about the Taylor family.

Will we see an oversized omnibus edition for the complete Rust?

RL – That’s a question for BOOM!/Archaia. But if it were up to me I’d love to do a slip case for the four volumes and then maybe one day do a full color omnibus version. That’s a long ways away though 🙂

Will we see any merchandising, like action figures or T-shirts, or do we have to wait for the movie?

RL – I would love to see that! But that is also out of my hands. The movie would definitely drive that. I have plans of maybe one day doing a 3D printed sculpture. That’s becoming more accessible.

Do you have any other comic book or other storytelling projects in development?

RL – Not really. I’m focused on finishing Rust. I have a couple of small ideas I’m keeping on the burner, but I need to see Rust thru. I’m committed to finishing the series for fans before I start moving on to what’s next.

Are there any mainstream comic book characters that you’d like to borrow for a story? For instance, you’ve said in other interviews that you liked Spider-Man as a child. Is there a Spider-Man story that you’d like to tell?

RL – I could imagine some characters that would be fun to play with..but ultimately I feel like I have my own stories to tell, and I’m not getting younger and comics take so much time. I want to focus on getting my stories out while I still have a relevant voice and vision.

Also, in your projects to date, you’ve done the writing and the art. Are there any comic creators with whom you’d like to collaborate?

RL – Possibly. There are a bunch of artist I’d love to work with. But I don’t think I’d be willing to draw for another writer. Like I said, I’ve got so many stories I want to tell, if I had to give up the art and work with some of my favorite artists that’d be great. But I couldn’t give up the stories.

What have you liked the most about working on Rust?

RL – The conventions. Meeting people at shows around the country, sitting with other creators I look up to on panels. I can’t go to too many, but once or twice a year is really fun. There’s one particular fan I look forward to at each convention. It’s the one that doesn’t buy a book or get a signature or stop to talk, they just swing by and say “thanks for Rust, I really enjoyed it”, and they keep walking. I guess that’s the kind of fan I am, I don’t stand in lines, I don’t like to bother creators, I just like to swing by and say “I loved your book, keep creating”.

And we love your book, too.  Keep creating Rust!

If you’re new to Rust, you can buy all three volumes from Archaia or on Amazon if you don’t find them at your local comic shop or bookstore, and you can also find them on comiXology through this link.  Fans of Rust will be able to find Royden Lepp only at Emerald City Comicon in 2015, although he says there will be a slight chance he will be at Heroes Con.