Insight Editions is a publisher known for top-quality production and sumptuous design, so it’s been fantastic to see them doing right by fans of The Dark Crystal.

A couple years ago, Insight released The Dark Crystal: The Ultimate Visual History to celebrate the 35th anniversary of the original Jim Henson film. That book was a comprehensive look at the day-to-day production of the film – from the script to the sets to the character designs to the puppetry to the film’s release and reception. If you’re a fan and DON’T have that book on your shelf, shame! Every page is a treasure, overflowing with concept sketches, original illustrations, and photographs.

(Listen to my conversation with The Dark Crystal character and costume designer Brian Froud here.)

And now they’re back with a gorgeous look at the new Netflix series The Dark Crystal: Age of Resistance. If you’re a fan of the original and HAVEN’T watched this show yet, shame! It’s everything I’ve ever wanted from the franchise for the past 35 years.

Insight’s upcoming book, The Dark Crystal: Age of Resistance – Inside the Epic Return to Thra, which comes out in November, is an all-access look at the show’s journey to the screen. Written by Dan Wallace, the book details the creative process that brought Thra and its characters back to life and continued the legacy of Henson’s original film.

(Listen to my conversation with Dan Wallace here.)

And exclusive for Roarbots readers, we’ve got a couple never-before-seen spreads from that sumptuously designed book… along with an interview with author Dan Wallace! For Thra!

Roarbots: What kind of kid were you? “The Dark Crystal terrified me, and I can’t sleep at night” or “The Dark Crystal terrified me, and I LOVE IT”?

Dan Wallace: I saw the original Dark Crystal in theaters and loved it – especially the Skeksis and extra-especially the Chamberlain. But for me, the scariest part wasn’t the Emperor dying and crumbling into chunks, or even the Garthim scuttling about like murder tanks. It was when the Skeksis turn on the Chamberlain and strip away his finery.

I realized that emotional cruelty can sometimes be even more disturbing than genuine violence. Anyone who’s watched Age of Resistance already knows that the new show doesn’t shy away from exploring these themes!

RB: When did you come on board to write the book? How deep into development was the show?

DW: I signed aboard just before Christmas of 2018. By then, filming on the show had wrapped and the crew was deep in post-production doing things like the integration of visual effects. Initially, my tools were episode scripts and behind-the-scenes images, but I very quickly learned that my true asset was access. The Jim Henson Company arranged interviews with more than three dozen creative personnel who worked on the show and crafted their own little corner of Thra: writers, producers, puppeteers, modelmakers, costumers, and set decorators to name just a few.

And of course that list included the major guiding hands behind Age of Resistance like director Louis Leterrier, designer Brian Froud, and Lisa Henson of The Jim Henson Company. These folks are the authorities, so it was my privilege to give them room to tell their stories.

RB: I have to ask if you have a favorite character from Age of Resistance. Personally, and though I love almost all the characters, I would die for Deet.

DW: I feel like I should come up with something different for the sake of variety, but to be honest, Deet is my fave too! There’s a throwaway moment in one episode where Deet is exploring a new environment and she bursts out with a delighted, “Oh look, a ladder! I wonder where it goes?”

At first, the line just sounds cute because Deet reacts enthusiastically to pretty much every mundane thing. But then you think about how a ladder isn’t really a mundane thing at all, not when it leads to someplace new, and that Deet is absolutely right and, ultimately, we could all benefit if we tried looking at our surroundings from her perspective. So yeah, she’s the best. Hup, too!

RB: You had access to a trove of concept art and designs to put this book together. Was there anything that really struck you but didn’t make it into the final show?

DW: It’s always such a treat to look at concept art for a finished product. Inevitably, you find yourself struck by the inspirations and design flourishes that steered the artists toward their final version. Whether it’s an early sketch or a production painting, every piece of art in this book manages to capture its subject in a different light by way of a different medium.

RB: You’ve written big, gorgeous coffeetable books about several fan-favorite franchises, including Star Wars and Ghostbusters. How did working in the world of Thra compare?

DW: The thing I love about worlds like Star Wars, Ghostbusters, or Marvel is how much effort the creative teams put into their fictional worlds. When it comes to The Dark Crystal, the environment of Thra is pretty much a gold standard of worldbuilding. Jim Henson and Brian Froud conjured a setting rooted in symbiosis, spiritualism, and natural biological cycles.

The Dark Crystal saga mostly focuses on the Gelflings and the Skeksis, but the world of Thra is almost a character in itself. When you watch the show, take time to study the details in each wilderness panning shot. Every frame is bursting with life.

RB: What will fans of the original film love about this book?

DW: Any fan of The Dark Crystal appreciates the artistry on display in that film, especially in its creature construction and the operation of its puppets. Age of Resistance honors that artistry every step of the way. In the book, you’ll learn how the crew employed traditional techniques of puppetry and craftsmanship while incorporating new mechanical innovations and the use of subtle digital effects for enhancing a scene.

Everyone should hear the stories of the mad geniuses who made this show! An epic fantasy-themed TV show starring puppets, in 2019? It feels like Age of Resistance shouldn’t exist in an age of visual shortcuts, but here it is and we’re lucky to have it. The show is one of a kind: Art with a capital A.

This show is an ambitious, risky undertaking that deserves to be celebrated, and I hope this book does justice to their efforts. I can’t wait for readers to learn more about its creation.