The inspiration for my comic came from a scrapped novel I created in 2013 after watching The Film Which Must Not Be Named. It was called The Snow Bomber, and it was about a snowman terrorist who worked for a terrorist cell whose leader used an Omelette of Eternal Youth to preserve his life. Many of the concepts that would become used in Nixvir, like the snow world, and the rules about how snowmen work, come from that scrapped novel which I had to drop in 2015 because of reasons. No other piece of media had answered the question of what happens to snowmen when they melt, nor had they been treated seriously in Western media as anything other than silly comic relief.
Ragnar was in my head from the beginning. I gave him and Erik Scandinavian names partly because of the influence of the Devil’s Monsterpiece and partly because I had an origin where the first snowmen were built by Norsemen, but this idea was scrapped when I realised that putting humans in the World Oak would pull people out of the fantasy world they’re supposed to be believing in.
In creating the World Oak itself, I drew on certain elements of our world’s history between the 1590s and the 1850s. This is because I created the World Oak to be my ideal world. I was disillusioned with the world I saw around me, and still am, so I created a world which was designed to be better in every way. The World Oak is a world which doesn’t change, and is firmly rooted in the tech levels of the eras I mentioned because the supertechnology of the dwarves made any further development unnecessary.
Other inspiration came from Classical mythology, because I was studying Classics at university when I was forming the plot (not really a popular subject these days, I know), English literature, manga, and, of course, places from my own childhood which I tried to preserve. Key word being try.
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