When you think about different types of stories, it’s hard to find one more interesting, diverse, and rewarding than science fiction. Sci-fi offers exciting adventures, incredibly creative ideas, and often tells stories about uprisings that make us wonder “what if” and think about our own lives and the world around us. The comic book format is great for this kind of storytelling, and there’s one comic in particular that doesn’t just show what excellent sci-fi can be-it’s actually changing what we expect from stories about revolution. It’s a truly special example of the genre.
That comic is Free Planet, created by writer Aubrey Sitterson and artist Jed Dougherty. Published by Image Comics, Free Planet began earlier this year and quickly became popular for its story about a world *after* the revolution. It explores what happens when complete freedom is won – how do those who fought for it now maintain that freedom and define what true liberation means, not just for their country of Lutheria, but for the wider world?
The sixth issue, a key installment, arrives in stores on October 8th, and the first collected trade paperback will be available at comic shops on November 26th. ComicBook recently spoke with Sitterson and Dougherty about Free Planet. They discussed the inspirations, influences, and extensive research behind creating the world of Lutheria, and also shared what fans can expect from this remarkably original and captivating comic series.
Note: this interview has been edited for length and clarity.
The (Well-Researched) Origins of Free Planet
As a comic book reviewer, I’ve been thinking a lot about the origins of this world, and it’s fascinating. When I read this, I immediately got strong Star Wars and Dune vibes, but what’s really impressive is how it manages to be completely fresh and unique at the same time. It even brought back memories of those strange, low-budget sci-fi films from the ‘70s that used to air on local access TV – especially as the story progresses and we meet the alien that looks like a bizarre combination of a squid and a harp! I’m really curious about the inspirations behind that particular creature and the whole world, actually.
Aubrey Sitterson: You know, it’s tough to say exactly where all these ideas originate. I might be off base here, Jed, but didn’t Ambassador Yrl-Ken just… pop into your head? It feels like he came straight from your imagination, right?
Jed Dougherty: Yeah, I think Aubrey just said we needed an alien.
Sitterson: Right, we aimed for an alien design that genuinely felt foreign. We didn’t want to simply create another humanoid like you often see in Star Trek, did we? We do have elements of that, though, with the Surroko people, for example. So, the inspirations are incredibly varied. I’ve discussed the research process, but I suspect you’re getting at the broader concept – the overall universe we’ve created. And it’s a familiar idea, definitely a sci-fi trope: humanity spreading across the stars, losing contact, and then being brought back together under some kind of unified government.
I initially believed this concept originated with Dune or Ursula Le Guin’s Hainish Cycle, but Jed and Howard Chaykin corrected me, suggesting I read Cordwainer Smith. He’s a really important, foundational science fiction writer, and he first developed this idea. It’s explored in a collection of stories called The Instrumentality of Mankind. After reading it, I realized how much Free Planet’s sci-fi world-building owes to Cordwainer Smith. I think that’s why people find familiar echoes of things like Dune, The Dispossessed, Star Wars, and even Warhammer. The reason for those comparisons is that Free Planet draws from a source that came before all of them-it’s a fundamental, almost original text for science fiction.
The Psychology of Free Planet And Why Structure Matters
As I read further into the series, I noticed a strong psychological element. The expression on one character’s face at the end of issue six, when they understood what was happening, really highlighted this. It made me curious about the amount of psychology research you did, both when developing the characters and in their visual presentation and emotional impact.
Sitterson: I believe the reaction to Jed’s work stems from his traditional methods. He physically inks his artwork directly onto the page and boards, creating rich, detailed, and classic ink illustrations. While it sounds like a cliché, this technique isn’t as popular now as it was even a decade or two ago. That’s definitely a factor. Additionally, the world’s realistic, slightly chaotic feel – what prevents it from being overly polished sci-fi – is largely due to Vittorio [Astone, colorist] and his work with color. We specifically asked him to bring that grungier, more lived-in, and dirtier aesthetic to the pages.
Whether this vision is hopeful or bleak is a complicated issue, in my opinion. They’re attempting to create a utopia, a better world, but it’s simply not succeeding very well. We didn’t want the visual style to appear too polished or futuristic, like Star Trek, because that didn’t fit the reality of their situation. The psychological aspects of this are a truly interesting topic.
Dougherty: Perhaps what’s bothering you is the characters don’t really have inner lives on the page. We don’t see their thoughts or hear their personal stories. Because of that, all we get from them is either what they say directly or their expressions as they consider if it’s genuine. It relies heavily on acting. Aubrey pointed this out, and I try my best to add that inner dimension. A lot of the characters are finding themselves in complicated and confusing circumstances.
Sitterson: As someone who reads a lot of comics, and even tries my hand at writing them, I always say it’s all about getting inside the heads of your characters. And if you’re the artist, you *have* to show that inner life visually. Honestly, that’s what comics are all about, and I think Free Planet really nails it – it’s a deliberate choice we make. I learned a great technique from Howard Chaykin: every single page needs at least one really tight close-up, direct eye contact with the reader. And we use *a lot* of them. It works so well because Jed is fantastic at capturing those close-ups and those crucial character reactions. We often use a row of these shots – sometimes with dialogue, sometimes not, maybe characters talking over each other – but it’s just a line of faces looking right at *you*. It’s a powerful device because those close-ups pull the reader in and force them to really confront the emotional states of the characters in a way they wouldn’t otherwise. So, for me, it’s a very conscious, formal element of the storytelling.
Religion As A Cornerstone of Revolution
I was also curious about something else… you’ve developed several religions from scratch, and Teomekhy is especially interesting. Without giving too much away, it plays a key role in issue six. What’s the process of building a religion – capturing all the intricate details while still making it feel human and relatable?
Sitterson: Religion is a really significant element in Free Planet. My research consistently showed that religion plays a part, often in complicated ways – sometimes supporting one side, sometimes both, and sometimes causing conflict. I frequently bring up the Spanish Civil War when discussing Free Planet because I read a very impactful book about it. The situation was complex; the Catholic Church had an official position, but individual people within Spain held their own beliefs and were involved with different groups. That really shaped my thinking.
I recently finished a comprehensive history of Cuba, and it highlighted how both imported and native religions have significantly shaped the country. It was important to me that we incorporate a religious element into the story of Free Planet. This idea extends to the sci-fi setting as a whole; by creating a new religion, we can distance ourselves from existing beliefs. Some readers might bring strong opinions about Christianity, the Catholic Church, or even religions like Islam or Judaism to Free Planet. If we included those existing frameworks, or touched on potentially sensitive topics, people would interpret the story through the lens of their own experiences and feelings, which would go against our goal. We aren’t trying to make a statement *about* Christianity, Judaism, or Islam. Instead, we want to delve into the core concepts of freedom and how we build the societies we inhabit, all while avoiding the pre-existing associations and baggage that come with real-world religions. We want to explore those foundational issues without being limited by them.
I think it’d be dishonest to pretend that Teomekhy doesn’t heavily draw inspiration from existing religions – and even real-world divisions within them. But honestly, that’s completely by design! It’s a clever move, I think. I was chatting with someone the other day about how difficult it is to portray war and soldiers without accidentally glorifying it, and I realized that applies to everything you put into a story. As a storyteller, you really have to consider what assumptions and feelings people will bring to the table when you include something – it doesn’t matter if it’s everyday stuff or something really sensitive. That’s why we ended up having to create completely new religions for Free Planet. They couldn’t just be standard religions. But more than that, everything in the world of Free Planet has to tie back to the central themes and ideas that the story explores. The religion isn’t just *there* – it needs to serve a purpose and connect to the heart of what Free Planet is all about.
That’s why Teomekhy, both as a whole and in its differences between orthodox and reform branches, raises a significant question about freedom – specifically, free will, our choices, and the limits of what we can choose or even achieve. The Orouran Empire features an imperial cult that worships its leader as a god-emperor, but this religion also has a unique perspective on freedom. This isn’t just a fabricated religion; these elements naturally connect back to broader ideas, which I believe is central to Free Planet. Free Planet is a thoughtful exploration of freedom and these complex issues. Everything else within the story serves to encourage readers to consider them.
The Future of Free Planet (And It’s Big)
We’re getting ready for issue six, which is going to take the story in a really exciting direction. I don’t want to give away any details, because I want readers to discover it on their own. But what are you most looking forward to seeing in the upcoming issues?
Sitterson: Issue six wraps up our first major storyline with a really surprising and tense ending. What happens next is a bit of a change of pace. It’s our first interlude, and specifically, our first Free Planet interlude. This will be a two-issue arc called Expansion Protocols, and it’s a chance to delve deeper into the central ideas of Free Planet – things like freedom, sacrifice, authority, and discipline. We’ll explore these themes while also expanding the world and adding more layers to the big questions we’re raising. This takes place on the planet Lutheria, the main setting for our story. Lutheria is stuck in the middle of a conflict between two huge galactic powers: the Interplanetary Development Alliance, which is run by corporations, and the Orouran Empire, which values merit and strict rule.
Our upcoming Interlude: Expansion Protocols will delve into the unique methods these two civilizations used to expand across the galaxy. This addresses a central question that our readers worldwide have been asking: how does this expansion actually work? We’ll explore how humanity spread among the stars and discovered its lost relatives, integrating them into its society. However, the answers differ significantly depending on whether we’re looking at the Alliance or the Orouran Empire.
We’re facing two challenges. The first, with artist Ilias Kyriazis, will delve into the concept of the Alliance and how it absorbed and utilized individual members of the human diaspora, integrating them into a larger collective. This will be explored through the narrative of a single planet where multiple waves of humanity settled, giving rise to two separate civilizations. These civilizations engaged in centuries of intense conflict and animosity until the arrival of the Alliance.
Next, in issue eight, we’ll be looking at how the Orouran Empire conquers planets. It’s a very different approach than the Alliance uses – which makes sense, considering what we know about these two civilizations. This particular issue focuses on a lone space marine sent to an uncharted planet with the goal of conquering as much as he can. It’s illustrated by my Beef Bros co-creator, Tyrell Cannon, and then Jed will be back with issue nine. Issue seven comes out in December, eight in January, and nine in February.
Free Planet #6 goes on sale October 8th.
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2025-09-29 23:14