Layla Zulfa
In an era where multimedia storytelling has become the gold standard for intellectual property, AWA Studios is carving out a distinct niche. Their latest ambitious project, Lesser Evils, is not merely a comic book series; it is a sprawling, interconnected shared universe that blends the grit of contemporary Brooklyn life with the surreal, often terrifying, nature of the supernatural. By merging comics, digital webtoons, and live-action short films, AWA is crafting a "looking glass" version of New York City that serves as a mirror for modern anxieties, heartbreak, and the relentless hustle of 21st-century culture.
Main Facts: The Anatomy of a Shared Universe
Lesser Evils is a multi-platform property created by writer Ian Grody and director Justin Fair, with visual storytelling brought to life by acclaimed illustrator Yishan Li. The core conceit is simple yet profound: what happens when the mundane, hyper-connected, and often shallow existence of modern Brooklynites is disrupted by ancient, supernatural forces?
The universe is built upon four foundational titles, each focusing on a specific intersection of human vulnerability and mystical intrusion:
- EMMETT: A story about a heartbroken artisan potter who, in a fit of post-breakup rage, accidentally conjures a golem. Unlike traditional golems, this one—Emmett—is a helpful, cocktail-mixing housemate who aids in her quest for revenge.
- GINN: A quarter-life crisis narrative centered on a hard-drinking, foul-mouthed genie who, upon gaining his freedom, struggles to find purpose until he falls for a human woman working for a charity, forcing him to choose between his old master and his new life.
- THRIFTR: A satirical take on the startup culture of Greenpoint. When two business-minded NYU graduates open a high-end vintage boutique, they inadvertently invite a cursed wooden sculpture into their inventory, which begins to feed on their professional animosity.
- TAILS: A story of empowerment set in the restaurant industry. A line cook enduring the harassment of a toxic boss finds an unlikely ally in a mermaid living in a nearby canal, leading to a difficult choice between escape and confrontation.
The Chronology of Development and Release
The path to Lesser Evils began at the 2021 Tribeca Film Festival, where creators Ian Grody and Justin Fair participated in an AWA-led panel discussion regarding the convergence of graphic fiction and screen media. That meeting proved to be the catalyst for a rapid development cycle.
- May 2021: Initial concept pitch and creative meeting at Tribeca.
- May 25, 2022: Global digital launch of EMMETT #1 via GlobalComix, simultaneously released in six languages: English, French, Spanish, Italian, Brazilian Portuguese, and Hindi.
- May – July 2022: A serialized rollout of webtoon episodes, with three installments released weekly over a nine-week period.
- August 24, 2022: Physical debut of Emmett #1 in comic shops, marking the transition from digital-first to a traditional retail footprint.
- Ongoing: The staggered rollout of the remaining titles—Ginn, Thriftr, and Tails—following the initial success of the Emmett lead-in.
Behind the Curtain: The Creative Vision
The creative team behind Lesser Evils has been vocal about their desire to create something that feels immediate and "of the moment." For writer Ian Grody, Brooklyn was the only logical setting for this experiment.
"Brooklyn was the perfect backdrop because it’s not only a cultural hub, it’s a place of becoming," Grody explained. "Where people actively go to transform and reinvent themselves. Any place where there’s that much hope and desperation and frustration is already full of magic. No better venue for our eerie and eerily familiar tales."
Director Justin Fair, meanwhile, framed the "Lesser Evils" of the title as the subtle, self-inflicted struggles that define modern adulthood. Drawing on a lyric from Gavin Rossdale—"It’s the little things that kill"—Fair posits that the monsters in this universe are metaphors for the internal obstacles we navigate to find our place in social circles and our own heads.
Artist Yishan Li, whose credits include Hellboy and Batwoman, noted that the tone of the series hits a unique "sweet spot." She describes the aesthetic as "slightly chilling, slightly funny, but more of a mystery, everyday life kind of thing." This balance is crucial for a project that aims to bridge the gap between supernatural horror and the grounded, relatable drama of urban living.
Official Responses and Strategic Partnerships
AWA Studios’ decision to launch Lesser Evils with a digital-first, multi-language approach has been met with enthusiasm from distribution partners. Christopher Carter, CEO of GlobalComix, praised the initiative as a hallmark of a new era in publishing.
"They represent a new breed of comic publishers that are living at the forefront of publishing and innovation in the digital era," Carter remarked. "We think that what AWA is trying to do with building a universe of storytelling that spans comics, film and tv from the get-go… is one of the coolest and strongest initiatives we’ve seen for building worldwide fandom."
Internally, AWA Studios Managing Editor Will Graves views the project as a "full-circle moment." He highlighted the collaboration as a direct result of the studio’s commitment to finding creators who understand the synergy between graphic storytelling and cinematic pacing.
Implications for the Future of Comics
The launch of Lesser Evils serves as a case study for several emerging trends in the entertainment industry:
1. The Multi-Platform "Universe" Model
By launching with both a short film and a comic series, AWA is bypassing the traditional "wait and see" approach of legacy publishers. They are not waiting for a book to become a hit before adapting it; they are developing the assets in tandem. This suggests a future where "IP" is no longer siloed by medium but is built as a holistic, transmedia experience from day one.
2. Digital-First and Global Accessibility
The decision to release Emmett #1 in six languages simultaneously via a digital platform like GlobalComix signals a move away from the geographic limitations of traditional diamond-distribution comic shops. By lowering the barrier to entry, AWA is positioning itself to capture a global audience that may not have access to a local comic book shop, but who are avid consumers of webtoons and streaming content.
3. The "Hyper-Local" Aesthetic
Lesser Evils leans heavily into the specificities of Brooklyn culture—the artisan pottery scene, the Greenpoint vintage boutiques, and the restaurant industry. This hyper-local approach provides a "hook" that resonates with audiences who live in or aspire to live in these cultural hubs. By making the supernatural feel like an extension of the gentrified urban experience, the creators are tapping into the "aesthetic of the neighborhood" to ground their fantastical elements.
4. Pivot and Adaptability
The project also highlights the volatility of the current digital landscape. The initial announcement included plans for NFTs associated with the Lesser Evils universe, a strategy that was quickly rescinded. AWA’s transparency regarding this change—citing the rapid evolution of the Web3 space—demonstrates a willingness to pivot in real-time, prioritizing the integrity of the storytelling over potentially distracting or contentious monetization models.
Conclusion
Lesser Evils stands as a testament to the evolving nature of the comic book industry. By combining the intimate, character-driven stakes of a indie drama with the high-concept intrigue of supernatural folklore, AWA Studios has created a sandbox that is both accessible to the casual reader and layered enough for the seasoned fan. Whether the Lesser Evils universe will successfully expand into the broader film and television landscape as intended remains to be seen, but as an experiment in contemporary myth-making, it is undoubtedly one of the most interesting developments in the current graphic fiction scene. As the series continues to unfold, it will be fascinating to see if these "lesser evils" eventually grow into something much larger.
Nana Wu
Jia Lissa
