I love stories where characters find their person(s) through adventure, magic, and hardship. Before writing this story, I was also daydreaming epilogues for my favorite Hayao Miyazaki films. I thought, “What happens when the main characters grow old? What happens when one of them loses their partner in life? How do you process that grief when you’re jaded by the world and have magical abilities?” I was still processing my own grief and anxieties while writing it, and for a time I wasn’t sure how it would end.

SF is the only genre explicitly designed to explore the impact of scientific and technical change. The moment you posit a discovery that changes the way we understand Nature—human, biological, subatomic, what have you—you’re talking science fiction by definition. Those are the kinds of issues that interest me the most, and SF is the only genre big enough to explore them.

The Turnip is a re-telling of a fairy tale by the same name, which for my money is the single strangest story in the entire Grimm canon. The original Turnip has always been a source of fascination to me, because it is so clearly parts of two different stories cobbled together, and because one of those is clearly drawing on ancient Germanic mythology (the whole hanging-upside-down-from-a-tree-for-wisdom bit).

The initial aesthetic was inspired by Mad Max: Fury Road and Danger Days: The True Lives of the Fabulous Killjoys, both colourful, post-apocalyptic dystopian stories. Ratter’s tattoo machine is based on the real-life prosthesis of tattoo artist JC Sheitan Tenet. The themes of gender and extinction come from my own anxieties about current events. I’m fascinated by the concept of human extinction.