On August 27th Dark Horse will release the first issue of “POP”.  This 4 issue mini-series, written by Curt Pires with art by Jason Copland, explores the mainstream music industry through a twisted sci-fi lens.  We spoke with Curt about the book and his perspective on millennial culture.

An interview by Eric Switzer.

Bloody Disgusting: You’ve mentioned before that the idea for “Pop” has been in your mind for quite some time.  Based on references in the first issue to very recent celebrity news, was there a before and after moment when you realized now was the time for “Pop”?

Curt Pires: I think there’s something eternal about the book. We really could have put the book out whenever and the core of it would stay the same. Some of the names, some of the faces would change, but the core of the book would be there. The truths we are exposing don’tage.

BD: There is quite a bit to explore under the surface of “Pop” and a number of complex themes to consider. Do you find yourself working to balance “Pop” for a wide audience or do you write specifically targeted to a particular audience?

CP: I don’t write with the audience in mind at all. I craft comics that feel true to myself and true to what I want to put out into the world. Nothing else really matters to me.

BD: Along the same lines, the first issue includes reference to the work of prominent postmodern scholar. Do you include these references to reward savvy readers or do you consider a familiarity with these figures to be crucial to an accurate reading of “Pop”?

CP: I like to invite people to discover new things. I like the idea of guiding them to information and to other artists work. Personally I learnt and pulled a lot of information from comics, so I want to deliver that same experience to my readers.

BD: You’ve mentioned before that the story is driven by Elle’s desire to overcome her programming and discover who she really is. How does her arc relate to our own need to transcend programming as a culture?

CP: I think in a lot of ways, her struggle in the story is really a fictionalization and exaggeration of the struggle that we as a people and culture are undergoing. We need to learn to stop being slaves to the systems and ways of being our ancestors have established. It’s a new world out there, there’s coding everywhere, and we can rewrite it and rebuild it and transform it into whatever we want.

BD: There is an interesting dichotomy at play in “Pop” between a culture of mass consumption and a culture of narcissism. Do you see these mentalities as being inseparable?

CP: Mass Consumption and Narcissism do really go hand in hand. I think a lot of the people I see really giving into consumerism and surrendering to it really do derive a sense of self importance from the expense shit they’ve been conditioned to buy. I don’t know though–

I want to believe we can transcend this. I have to believe we can.

BD: “Pop” presents a biting critique of modern pop culture. Perhaps unexpectedly, though, the artists themselves are portrayed as the victims. Do you consider the greedy corporate executives to be solely responsible for the landscape of contemporary mainstream media?

CP: To be honest I think that the artists are definitely complicit in this cycle. That said I think there’s definitely cases where artists are taken advantage of as well. Every case is going to be different, but it’s pretty clear to me that the executives are a big part of the problem.

BD: Do you think that “Pop” is cynical or optimistic about the music industry?

CP: I think the comic is inherently cynical about the music industry, but then again, I don’t really think the comic is about the music industry, it’s about everything.

BD: Is the sound bite generation doomed to inevitably consume itself?

CP: Sometimes I really feel like that’s the case. Shit, it feels like sometimes I’m doomed to this fate. A part of me thinks we’re all the engines of our self destruction, but a bigger part of me believes none of us are beyond saving.

BD: Which artists or labels are actively working to improve the music industry landscape today?

CP: Death Grips feel like the only ones doing anything right. Kanye’s pretty on point when he’s not crying into autotune about Anna Wintour standing him up. Gambino’s plugged into the truth. Julian Casablancas record label CULT is doing things right, tearing down old systems.

Pre-Order “POP” #1 at you LCS and support comic creators with a voice.  

Come back in the next few days for our full review.

Eric Switzer is an aspiring filmmaker and screenplay writer living in Los Angeles.  His work tends to focus on the lighter side of entropy, dystopic futures, and man’s innate struggle with his own mortality.  He can be found on twitter @epicswitzer or reached via email at ericswitzerfilm@gmail.com.