Interview: Writer Mike Phillips Talks THE TESSELLATION #1

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August 25, 2021

From Martian Lit Comics comes a fantastic new anthology series, The Tessellation. Writer Mike Phillips sat down with Monkeys Fighting Robots to talk about his strange and brilliant new sci fi series.

About The Tessellation #1:
What if every decision you (n)ever made, big or small, became a new reality, with infinite you’s living out those decisions. What if you could travel to these other realities, even observe other versions of you? Welcome to The Tessellation. This dazzling, mind-bending first issue tells four related stories in four separate “reality rows,” playing out horizontally through the issue… Buckle up for a new kind of anthology!

Written by Mike Phillips, with art by Hernán González, colors by Javi Laparra, and letters by Julian Darius and Steven Legge.

Monkeys Fighting Robots: Thanks for being willing to do this interview. Again, I absolutely loved this issue and am excited to talk about it. I feel like there’s so much to talk about and I could go on for days. This is really one of those issues that when people read it they’re all going to go, “Damn, I wish I’d thought of that!”

Mike Phillips: It’s my pleasure! Thank you for the compliments! I’m so happy you liked it!

MFR: My first question for you is something you cover a little in your afterword, but I’d still love to revisit it. You mention that THE TESSELLATION #1 partially sprung from your anxieties as a new parent, finding that you picture yourself doing the wrong thing. How did you go about harnessing that and making a story out of it?

Phillips: I don’t know about other parents’ experiences, but I know from mine that there isn’t a week that goes by that I don’t feel like I could have done more with / for my kids. I’m tired. I’m grading quizzes. I’m writing. I’m decompressing from work. I’m whatever. And during all of that, my boys are asking to play, asking about life, needing to be fed, needing to be washed, wanting to tell me a non-sequitur-laden adventure they had. And when I sometimes say “I can’t do that right now,” I immediately feel like a piece of shit. It’s inevitable and depressing.

But not only that, I’m in charge of these wonderful beings. Their life is in my hands most of the day. I drive them around. I make sure they don’t fall off of the playset. I make sure they don’t choke on their food. You get the idea. You can imagine what my overactive imagination does with all of that stimuli. And then there’s a whole other branch of this relating to how I treat my wife… So long story short, it’s pretty easy to come up with a bunch of story ideas of a dad / husband who fucks all of that stuff up.

MFR: Another thing you mention, which I love, is your willingness to just do things with the idea that “If it makes sense to you, then keep going!” A lot of writers have a tendency to do too much hand holding, but you just throw us right into it. It’s great! Did that approach happen from the beginning or did you go through a few drafts before working up to that?

Phillips: Yes, that was the game plan from the outset. It was the only way this comic was going to get finished. And as I mention in the backmatter of the issue, it’s all David Lynch’s influence. That dude rarely explains anything. And that was a mantra for me. I’m an over-explainer by trade; as a K-to-12 teacher I was taught to deliver the curriculum in many different ways. (They called it “differentiated instruction”; every student absorbs information in their own way, so try to reach them all by disseminating the info in as many ways as you can: verbal, visual, auditory, tactile, etc.)

I had to mute that instinct, which was a challenge, because I’m OCD, so there’s always an urge to say it and double back and say it again in a different way. But being a student of David Lynch helped me just shut all of that out and trust where the story took me.

MFR: I just kind of marvel at your confidence in storytelling, in that sense. It’s very refreshing.

Phillips: Thank you so much! I had a lot of good teachers: Grant Morrison, Alan Moore, Neil Gaiman, Frank Herbert, David Lynch, Stephen King, George R.R. Martin, Paul Chadwick, Christopher Nolan, and Julian Darius. They created the guide posts.

MFR: This next question is kind of a double-whammy. Your titles are awesome. The Tessellation is great, tessellations even show up on the page layout. “A Nicer Cage” is also brilliant. How do you feel these titles tie into the themes of what you’re talking about?

Phillips: The Tessellation as a title was a long time coming. How to sum up the Multiverse, you know? Eventually I settled on the idea that all of our realities are right next to each other. All nestled in together. Just a decision away from each other. I was trying to find a title that would encompass the entire thing. So I envisioned that every reality was a corridor, from the past to the future. The best “tube” I came across was a hexagon, as they can tessellate into infinity, so I ran with it. Only later did I remember that the linoleum flooring of my childhood home was a hexagonal tessellation. Branded in my brain, I guess. The pattern repeated from the dinner table to the stove to the fridge. The hexagons were brown and the lines between were beige. Totally ’80s! As far as the issue’s title “A Nicer Cage,” I’m going to leave that to interpretation.

MFR: Going back to the tessellations on the page layout: that’s a really effective technique. Artist Hernan Gonzalez does some incredible work throughout the issue. Did you both come up with that technique together? Was it you? Was it Gonzalez?

Phillips: It was me. My longtime collaborator Julian Darius [Sequart, Martian Lit] made the hexagonal “reality borders” from my instructions. I needed a non-verbal way to communicate to the reader that these stories are in different realities, and this seemed like the simplest solution. So after Hernan delivered the art, Julian laid the “reality borders” over the relevant spots.

MFR: This issue is such a great one-shot. Of course, you have more planned as you’re already working on the script of #2. But there are a couple things in this issue that feel like they hint at a larger arc. Loose ends which, even if they just stay loose, are kind of satisfying in a mysterious way, but could lead to more. Do you plan on having these issues include connecting characters and overarching stories? If so, how many issues are you hoping to produce?

Phillips: Yes, there will be many connections throughout the series. It’s a slow burn, however, so I’m hoping readers will be patient with me! My goal is to make at least 25 issues before I go into “crazy climax & finale mode”. But yeah, there will be loose ends that won’t get fully answered, and I’m okay with that. That’s for the readers’ imaginations to fill in, which is another great lesson from Lynch: “If you answer every mystery — if everything gets solved — why would anyone talk about it afterwards?”

MFR: The actual structure this issue takes is just fantastic. The parallel storylines. You mention in your afterword that issue #2 will have characters that are very different from each other. Is that affecting the structure of the issue as you write it?

Phillips: Thank you! The structure for issue #2 is slightly different, but that’s the joy of using this format; there are mutations and avenues I didn’t think of in the first issue. But I’m sure that if readers figured out how to absorb issue #1, then issue #2 will be no problem. Incidentally, issue #3 will be a typical anthology with no “reality rows”. Just a few stories moving the whole series forward.

MFR: You mention some of the work that inspired issue #1. People who you say were good teachers throughout the process, like Morrison, Moore, Gaiman and Herbert. Who were some of your influences for issue #2?

Phillips: I decided that since issue #1 focuses on various versions of a man, issue #2’s main character should be a woman, so I came up with Camila Rodriguez-Santiago. A lot of issue #1 leans heavily on “write what you know”, so I figured #2 should be a foray into personal unknowns. There was a lot more research involved this time. I decided one of the versions of Camila would get into politics, and over the past few years I’ve been inspired and energized by Alexandria Ocasio-Cortez, Stacey Abrams, and Elizabeth Warren.

During my research, I discovered U.S. Representative Louise Slaughter, who recently passed away, but her legacy as an advocate for women’s rights and women’s health was a huge find for me. Simply put, she was awesome. Look her up. Camila’s mom is a strong presence in the issue, and a major influence on Camila, so I made sure to focus on the major female influences in my life: my wife, my mom, and my sister. Between the three of them, I’ve learned so much about empathy, ingenuity, art, self-respect, and tenderness. I’m doing my best to pour aspects of that into these characters.

MFR: And lastly, when are we going to see a TV show of this? I mean, come on! It’s just waiting to be adapted.

Phillips: 2022! Just kidding. (But thank you for the compliment!) Yeah, this has crossed my mind once or twice, and I’m 100% open to seeing other media interpret it. But I did use some of the comics medium’s most unique elements to make it as hard as possible to adapt, didn’t I?! (Totally worth it, though!) I can definitely see a major streaming service using remote-control functionality to allow the viewer to move between the issue #1’s various stories / realities to create an interactive experience.

MFR: Thank you for chatting with us about this! It was a pleasure to read!

Phillips: Thank you! It’s so satisfying to hear that you were entertained! Mission accomplished!

The explosive first issue of The Tessellation is available now as a PDF through DriveThru Comics, and it’s also available through Kindle on Amazon. Don’t miss out on this awesome series!

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Review: NINJAK #2: How Characters Play To The Comic Structure’s Strength

By

Jake Palermo

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Ninjak #2 from Valiant Entertainment comes to comic stores on August 25th. Writer Jeff Parker and artist Javier Pulido’s high octane series showcases the medium’s biggest strengths.

Background

Ninjak and the rest of MI6’s connections are exposed. With killers at his heels, Ninjak must use every resource he has to survive, and take out the perpetrators.

Simple Stories and Outlines

Jeff Parker’s story in Ninjak #2 follows a simple outline. With Ninjak and his co-starring spy’s covers blown, there’s a strong sense of vulnerability. Between a battle with characters that act as X-Men stand-ins, and the main villains always appearing to be a step ahead, safety doesn’t seem to exist.

Ninjak #2: Blink And You’ll Visual Storytelling

Ninjak #2 wastes absolutely no time when it comes to its plot’s pacing. With Parker planning out the outline, work in tandem brilliantly to get the plot rolling. Pulido’s visual storytelling, which showcases the strengths of the comic medium, is the real attraction. Readers experience a whiplash effect when they and Ninjak study the faux X-Men’s biographies and powers on a hologram. While the reader may take a while to get through the intel, it’s apparent from the lettering that Ninjak only needed a quick look to turn the tide in battle.

Pulido shows the power of these villains in intricate ways. A spiraling two-page spread with complex panel layouts, character movements, and an artistic display of one villain’s psychic powers guides the reader’s attention. In these instances and the page’s red hues, the antagonists control the reader like they do their enemies.

Report In For Ninjak #2

Ninjak #2 presents many of the exclusive strengths that comic books use to tell stories. Whether it’s the pacing or how the page layouts guide readers through events, readers connect with these characters and to the story.

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INTERVIEW: Cinematographer Mark Doering-Powell And The Evolution Of Freeform’s Grown-ish

By

Ruben Diaz

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August 25, 2021

Freeform’s hit sitcom Grown-ish takes up the story of Zoey Johnson (Yara Shahidi), in college and away from her Black-ish family. She’s surrounded by all new friends, romances, heartbreaks, and triumphs. As the young woman learns more about herself and grows, so does the show’s look, thanks to cinematographer Mark Doering-Powell.

PopAxiom spoke with Mark about becoming a DP, how tech affects filmmaking and the evolving looks of Grown-ish.

This Side

“I was always an artsy kid in school. I would draw a lot,” Mark says of his early years. “I worked on the yearbook and all that. Then, I went to art school in New York for painting and graphic design.”

While in New York, Mark discovered, “The film department was in the basement of the building. It was an amazing department. They also had a fledgling computer graphics area.” Soon after, Mark says he “transferred my major to film and video.”

Mark’s love for films started young, and he says, “There was probably some influence because my parents owned a video store.”

“I started as a camera assistant,” he shares of his first days as a budding filmmaker, “focus puller, and camera operator. After that, I moved up through the ranks. I was also shooting spec spots to learn.”

Does Mark want to direct someday? “People ask me, ‘Oh, you should direct’ But I feel like, having prepped with other directors, you see how much more there is to that. I’m happy to do certain parts, but I’ve never aspired to be a director. I love this side of the collaboration.”

About Grown-ish

Mark didn’t work on the first season of Grown-ish. “Kenya Barris and Paula Huidobro set up the first season. I came on through Michael Petok. Paula went on to work on Barry, I think. Michael brought me to meet with the EPs [executive producers]. I loved the show.”

“It was interesting trying to prep it because the first season looked a certain way that was appropriate for the first season,” he explains about taking over the DP reigns. “But if you read the scripts for the second season, I knew that the show had to grow. I had to do more varied looks. I had to figure that out — feel that out — to see how everyone would respond to that as we were tackling each episode.”

A TV show is an evolving process. “There are technical things we changed too with the rig and green screen versus a backdrop. We’re always figuring out how to make things better.”

“I’m very much into not jolting and transitioning in,” he answers when asked about evolving the look of the show. “I didn’t discuss that with anyone. I didn’t feel I had to. I knew that would be something I could do with the lighting, the lensing, and the color palette. Besides what the production designer is giving me. Kathleen [Widomski] was our production designer in the first season that I did.”

As Zoey grows into adulthood, they find a place to live. “When they move into their apartment, it’s sparsely dressed, and they add stuff with the episodes. So we moved with that.”

Mark takes a minute to share the love with his collaborators. “Kristan Andrews is our current production designer. I’ve worked with her for a long time. She’s amazing, and we have no shortage of a great crew.”

The look of the show started “branching out because the story changes. She becomes a fashion major, so we start glamming things up a bit. The show is in this comedy wrapper, but it takes on all these serious topics. I think that’s why it resonates with the audience the way that it does.”

Good Excuse

“I always try to find a good excuse to do an interesting light,” he says, “It doesn’t take any longer to put the light in the right place.”

A scene for Mark always “starts with continuity and the time of day. So, I always check with our script supervisor about the time of day and start going from there, whether we’re doing something duskier or sunset-y and make lighting that interesting. Then, the story arc, the character arc, the topics that they’re visiting, and the environments that they’re in; all those things inform us. So, we definitely glam it up and add spice to it up but always anchored in the scene.”

Be Prepared

Filmmaking is not an exact science, but we get lots of great shows like Grown-ish with enough practice and knowledge. “We did a scene where Nomi and her professor are having a fling. She comes back to her professor’s apartment, and they kiss. We blocked the scene loosely, and we asked, ‘Okay, what happens at the end of the scene?’ Neither of the actors was sure of what they were going to do. Everyone looked at me like I was going to have a hard time with that. I said, ‘Great, it’s all good. Go get ready, and when we come back, you guys do your thing.”

What was the solution? “I designed it with the camera operator so that when they get over here, they are either going to go left or right. Just be ready. You can work things out so many different ways.”

Where does the understanding of dealing with a scenario like that come from — film school or experience? “Both, but probably from the latter. That situation was unusual. It’s something you might bristle at first, ‘How can I do this?’ But at the same time, in this particular scene, they were right next to a practical [light], so I could silhouette them against that. Paul Sanchez was my A-camera operator, he’s brilliant, and he was going to be on hand-held. So as long as we’re prepared to go the other way, it was an easy answer. If everyone loves the blocking, we can do anything no matter what the actors do.”

Red Flags

For Mark, it’s essential to know what’s a real problem. “You want to know what moments to raise a red flag. You want to do things as few times as possible and solve stuff. That’s your job.”

“People might come to you and say that you have to shoot half a scene on one day and half the scene on another day,” he explains, “and it’s going to be night over here, and day over there, it’s your job to make that look the same.”

It might sound like a terrifying process for some, but for Mark, “It can’t get any more fun than that.”

There are other times when, like this past season’s season opener, we were supposed to shoot it with three cameras in a small space during COVID. It was the one scene that nagged at me, so I raised the flag. The director, Chris Robinson, helped me figure it out. He moved it outside. We did it with two cameras.”

Tech Chat

In part, Grown-ish features a creamy, cinematic look because it’s shot on an Arri Mini camera and mostly Leica SummiLux-C’s lenses. Could you achieve the same look with different hardware? “You could. Now, we’re in a place where I could shoot this with a Sony Venice and a different lens and make it match up. But I will say, there are other reasons we pick a certain camera.” Arri Mini is a very filmic, natural-looking sensor out of the box, so that’s helpful to where we’re heading. It’s also got a small body on it; I can put it on a gimbal or steady-cam.”

“The Leica SummiLux-C,” he continues, “are incredible lenses. Paola used them in season one. I probably would’ve picked another lens, but I kept all that because I didn’t see a reason to try to change. I just used filtration. A lot of it is filtration.”

Mark delves deeper. “The cameras and filters are so important. You live with them every shot. It gives you part of your look, and it doesn’t take longer; it’s just a decision. You want to make the right decision because it helps nudge you in the right direction.”

“Those Leica lenses, those are very sharp and could be accused of being clinical lenses,” he says. “They’re amazing … they’re very sharp, but using a little pearlescent filter and smoke filter, two filters that I lean on, and maybe occasionally a soft FX filter; having that recipe helps so much.”

However, Mark explains how the tech has to adapt. “But if I’m on a night exterior and there are all kinds of street lamps and headlights, those filters won’t respond well. It’ll make fuzzy cotton balls from every light out there. But you can deal with that because the camera offers so much versatility.”

Wrapping Up

Who are some of Mark’s influences? “So many. Roger Deakins, Harry Stradling Jr., Jordan Cronenweth, my buddy Erik Messerschmidt. It’s an endless list of DPs that I love and watch their work.”

“Roger Deakins,” he focuses on a legend. “It’s amazing how well he uses atmosphere. How much he uses it to simplify the frame and get rid of all the busyness.”

Another legend for Mark, “I would say Emmanuel Lubezki. It’s a great way to cover a scene when you’ve got the blocking done. Then, instead of doing a master shot, close-ups, you’re moving with them. There are all kinds of ways that you can build those scenes, and Lubezki does it so well.”

What’s something Mark would love to work on? “I would love to do a whole fantasy-space thing that takes place on another planet. That sort of thing fascinates me. To do something that’s completely out of this world [pun intended]. You’re doing stuff where you’re floating in space. As much as I love doing naturalistic work, I like the idea of bending that into a place we don’t normally visit. Gravity is a perfect example. The rules of light are different in that sort of environment.”

Are you watching Grown-ish?

Thanks to Mark Doering-Powell and Rhapsody PR
for making this interview possible.

Read more interviews from Ruben R. Diaz!

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Review: CANDYMAN Expands Legend Through Brilliant World Building

By

Eric Trigg

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August 25, 2021

Nia DaCosta’s Candyman holds strong connections to Bernard Rose’s classic while carving a fresh take on the original story. Deciding to expand on the legend of Daniel Robitaille by incorporating another story similar to his. This iteration of Candyman is less subtle in expressing its themes, but the powerful direction, impressive world-building, and top-notch performances keep it afloat. Candyman is a unique spin that never grows dull and carries this feeling of dread and unease throughout.

The themes of injustice are on display just like they were in Rose’s 1992 film. However, the subtly in Rose’s film is missing from this new iteration, but it still stands strong on its own. The transfer between not only racial perspectives, but the ties it shares to the events of the original, is chilling to watch unfold. Directed and co-written by Nia DaCosta, who teams with Jordan Peele and Win Rosenfield to pen the screenplay. Candyman stars Yahya Abdul-Mateen II, Colman Domingo, Nathan Stewart-Jarrett, Rebecca Spence, Teyonah Parris, Vanessa Williams, and Tony Todd. The film centers on Anthony McCoy (Mateen) and his partner Brianna Cartwright (Parris), who moved into the gentrified Cabrini. Anthony’s artistic career becomes revived after he learns about Candyman, but this unlocks a viral wave of violence.

Yahya Abdul-Mateen II as Anthony McCoy in Candyman, directed by Nia DaCosta.

DaCosta’s vision never strays from the original lore and builds on it in ways that by rewatching the original you will notice certain moments pointing to the events in this new film. The lovable bond established between Anthony and Brianna early on makes them a likable pairing. Brianna is an art gallery director, while Anthony is struggling to maintain his status as an artist in Chicago. Upon learning about Candyman from an old-timer in Cabrini, William Burke (Domingo). Anthony’s new macabre depictions in the art gallery lead to gruesome murders connected to his new artwork. Candyman does feel like it’s being held back by its runtime, clocking in at just over 90 minutes long. The characters can feel underdeveloped, but the emotional distress they endure makes for a very uncomfortable watch. Anthony and Brianna both have trauma they are dealing with, but Anthony’s trauma had been locked away his entire life.

Love is evident between the two, so audiences will feel for the pair when it begins to crumble. It’s a complete contrast to Helen Lyle’s relationship crumbling because her husband was disloyal. The writers position Brianna as being highly intelligent, it’s great to see a character maintain common sense throughout the film. She is written in a way that subverts tropes that would have lead to a character’s death. Candyman does have some hit-or-miss dialogue along the way, which makes the racial themes come off aggressive at times. While crucial to the narrative, it could have been written better. Peele’s touch is felt when the humorous dialogue is present, but it’s never overdone. The film suffers from being more focused on its message than spending time developing the characters on screen.

(from left) Anthony McCoy (Yahya Abdul-Mateen II) and Anne-Marie McCoy (Vanessa Williams) in Candyman, directed by Nia DaCosta.

Mateen’s performance as Anthony McCoy is unnerving to watch. The second he summons Candyman, audiences are in for a gripping descent into madness. Anthony is the young child Helen saved towards the end of the original, but he has been raised on lies to keep him safe. His interactions with his mother, Anne-Marie McCoy (Williams), are disheartening for his character because he must confront the knowledge of Candyman always being after him. Williams’ brief return as Anne-Marie is satisfying enough, and her chemistry with Mateen makes them believable as mother and son. Parris shines as Brianna, the gallery director who tries to protect Anthony from his pending demise. The trauma Brianna holds onto from her childhood makes it easy for audiences to side with her during this ordeal.

Dacosta’s direction is superb, the script is muddled, and most of the characters are hollow, but her unique camerawork is undeniable. The use of mirrors to capture the kills in Candyman is done tremendously. She creates this atmospheric feeling of dread from the moment the film starts with the shots of Cabrini while Robert Aiki Aubrey Lowe’s score chimes in to amplify the uncomfortable feeling established. Capturing the kills through reflections, the gore is in great supply, and some of the kill sequences/body horror are so well shot. Dacosta’s depiction of body horror will have viewers wincing in their seats. Candyman features gorgeous visuals, its cinematography creates an appealing scenery for the kills when they occur.

Teyonah Parris as Brianna Cartwright in Candyman, directed by Nia DaCosta.

This spiritual sequel doesn’t surpass the original, but what it manages to do through expanding the mythos is incredible. Daniel Robitaille (Todd) is still Candyman, but the film explores how this character has adapted to stay relevant. Dacosta’s direction combined with the disturbing visuals and stellar performances makes this the best follow-up to Rose’s superior film. Being held back by its short runtime and the clunky script doesn’t ruin the stronger aspects. Candyman is a worthy continuation that fans of the original can appreciate.

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Self-Published Spotlight: THE KILLER-IN THE DEAD OF NIGHT Artist Atilla Schwanz

By

Manuel Gomez

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August 25, 2021

Welcome to Self-Published Spotlight, a regular interview column where I will be highlighting self-published comics and the creators and small print publishers who make them.

*This interview has been edited and formatted slightly for clarity.

Atilla Schwanz is the artist behind writer Jonathan Thompson’s (Tales From The Dead Astronaut, Burn Residue, A Game Of Doubles) latest Kickstarter campaign, the graphic novel, The Killer-In The Dead of Night. With just days to go before the campaign ends, the very busy artist (hailing from Itlay!) sat down with us for a bit to talk to about his amazing artistic approach and style to this riveting comic narrative. Check out the interview below and make sure to support the Kickstarter campaign so we can all get our hands on this book!

Monkeys Fighting Robots: Atilla, first of thanks for taking the time to talk to us. I know the campaign deadline is days away. I’m sure you are busy! So this is always my first question: What’s your comic book origin story? How did you get into comics?

Attila: I don’t have a precise moment. I have loved art from a young age. I remember that I have always loved comics. Since being a child I read every kind of comic. I began with mangas and classic American comics like Image, Marvel and DC. Now I’m more interested in graphic novels and short stories.

MFR: Who or what would you say are your biggest influences?

Attila: My influences arrive from all the arts. My masters are H.R. Giger (He’s god for me), Gustav Klimt, Caravaggio, Sergio Toppi, Dave Mckean, Vangelis, Bjork, Klaus Schulze, Matthew Barney, Arnaldo Pomodoro, Hans Zimmer, Philip Glass, David Cronenberg, David Lynch, J.R. Tolkien, Philip Dick, William Shakespeare, Alan Moore, Neil Gaiman and many others! I love, no, I live for art!

MFR: And did The Killer: Dead of Night have any specific artistic influences?

Attila: The principal influence is Japanese cinema. I also looked at classic Japanese art. But in general, I study different sources for any page. I follow winds of chaos and distinct emotional situations!

MFR: Can you tell us a little about your artistic background? When did you start creating art?

Attila: I was possessed by a Daemon of Art when I’m 6 years old: I saw Walt Disney’s Little Mermaid at the cinema and everything changed! I graduated in Visual Arts from Brera Academy of Milan. I won different contemporary art prices and exhibited in different European cities. In 2018 I found the KNOT the artist collective. My work ranges from artistic installation to painting, to illustrations, comic books and graphic design. I love the potential and flexibility of the ballpoint pen, especially when used in contrast to the materiality of elements and pigments. I work above all with ink, watercolor, acrylic color and pastel. Sometimes, I work with a graphics tablet. The main focus of my work is the influence that the visual image has on man and society. I’m particularly interested in the body, rendered a fetish by the obsession of appearance; evaluating and examining spectators’ reaction and transformation with this ‘metamorphosis’. All this is expressed, in most cases, by the figure of the “monster”, for its dramatic potential and its changing character.

MFR: Doing research for this interview, I came across your previous work Symposium Club. Can you tell us a bit about this project?

Atilla: Symposium Club is a graphic novel written by Andrea Cavaletto and issued in Italy by Edizioni Inkiostro. It is a new interpretation of Greek mythology with a splatter-punk and horror pulp style. The book talks about this couple of hedonists looking for a mythical and mysterious club (the Symposium Club) where every desire is reality. During the investigation, they meet several interesting characters.

MFR: How did you get connected with Jonathan on this project? Where you aware of each other as creators?

Attila: He saw my work thanks to Rossano Piccioni, his partner on Burn Residue. He thought that I was the perfect artist for this project. I thank Jonathan for having wanted to involve me in this fantastic work!

MFR: Can you describe The Killer to readers? What’s your elevator pitch on the book?
Attila: THE KILLER – IN THE DEAD OF NIGHT is a horror graphic novel about a bloodthirsty serial killer working as a hitman for the Yakuza and his target, an old, life-worn samurai ready to commit his final act. THE KILLER is an homage to the insanity of Japanese Noir films like BRANDED TO KILL, TOKYO DRIFTER, PALE FLOWER and the daring art of Marcel Duchamp, Dave McKean, Liam Sharp, and Bill Sienkiewicz. For fans of ARKHAM ASYLUM, BLUE IN GREEN, FROM HELL, and DEPARTMENT OF TRUTH.

MFR: How would you describe your style on The Killer? Google seems to want to put you under the ‘fumetto’ label?

Attila: I don’t know! I try to communicate emotions and sentiments. So I change my style and technique in accord with this purpose.

MFR: What was the working process with you and Jonathan? What kind of system did you guys have to get these amazing pages done?

Attila: It’s a freeing work system. Jonathan describes the pages and dialogue. After seeing my sketches or paintings, he then changes texts or adds new scripts. We influence each other with our works. The keywords are “no restrictions”.

MFR: Do you have a favorite moment, image or page from The Killer?

Attila: I love the Killer. All moments where madness and chaos rule are my favorites!

MFR: Your work has so much to it. What kind of tools and processes did you use to create? Was it a different process than what you have done before?

Attila: Thank you! I follow the winds of chaos! I work with different techniques. New for me is the use of watercolor with a classic style.

MFR: Where can those interested find your work?

Attila: I’m on the most popular social media, like Facebook and Instagram. Soon I will have my website. It’s under construction.

MFR: Anything final you would like to share with our readers?

Attila: Yes! Support and donate for THE KILLER-IN THE DEAD OF NIGHT Kickstarter project, please! There are many surprises and gifts for supporters. For any news follow me and Jonathan Thompson on our social media accounts.

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Review: KING SPAWN #1- Welcome to Supernatural Noir

By

Jonathan Brown

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A dark mystery is brewing in the world of Spawn. Sean Lewis, with help from Spawn creator Todd McFarlane, crafts a brilliant supernatural crime to expand on that mystery. This tale is great for those who are well versed in McFarlane lore as well as those who are looking for a good place to jump in.

KING SPAWN #1 is out on August 25th from Image Comics. This first issue’s central story is scripted and plotted by Sean Lewis, and Todd McFarlane provides additional dialogue and backup stories. The King Spawn main story’s art is handled by Javi Fernandez, and colors are provided by FCO Plascencia. Finally, Andworld Designs crafted the lettering.

STORY

The story is dark and packs an emotional punch right at the get go. It is clear that, in some ways, this is a traditional Spawn story. There are battles between Heaven and Hell, where no one appears too morally righteous. There are elements of social commentary that track all the way back to the first issue of the original series, nearly 30 years ago. However, Sean Lewis is able to be a new voice in McFarlane’s world and open it up for new readers. In the space of a single issue, Lewis introduces the world and a plethora of characters. Of course we have our hero, Spawn. While we do not have his entire origin, we see enough into his character to understand he is gruff and that he’s the middle voice in the supernatural war. Spawn is a character with heart, who cares about this issue’s central mystery. The story also gives a supporting cast featuring She-Spawn, Sam and Twitch. While their time in front of the reader is minimal, they make an impression. If you’ve never met them, you’ll get a taste. If you have read Spawn before, it is nice to see your old friends.

The tone of the story is great as well. Lewis does a great job spinning a tale that feels like a supernatural crime noir. It is a mystery, and it is dark. Spawn is reminiscent of a 1950’s tough-as-nails PI. The crime is big and hard to comprehend. It is a gut punch, and you are cheering for the good guys to solve the crime. However, you are worried that Spawn and his supporting cast won’t be able to find out who is behind this. The villain or villains are playing many people like pawns. When our protagonist and the reader think they have figured it out, the rug is pulled out beneath them. But you don’t feel cheated or lied to. You want to keep reading, and the next issue can not get here soon enough

ART

Javi Fernandez handles the elements of the story masterfully. It feels gritty, dark, and rough. The pencils feel steeped in the tradition of McFarlane but still fresh and full of the artist’s own voice. The opening crime is depicted with victims that say little to nothing but, due to how they are rendered, they feel like real people. Fernandez also has two amazing splashes in the book. One feels new and does a great job constructing a piece that wrestles with the reality of radicalization on the internet, and the role that technology and social media plays. On its own it can stand as a piece of art that would make you think. The other is very familiar to those who have read Spawn. It is the usual three news networks the title depicts spinning the events in the world. This piece feels like a great tribute to what has come before, and really makes this comic feel connected to the larger Spawn narrative. Fernandez’s art is really strong, fresh, yet familiar to those who have been on the thirty year journey.

COLORING

FCO Plascencia’s colors do the world and story justice. The colors help set the crime noir tone for the book. They are dark and the backgrounds are various stages of gray, while the characters are vibrant and colorful. This helps them jump off the page and puts them in contrast to the harsh environment they are inhabiting. It is not as drastic as Frank Miller’s use of a single color in the black and white Sin City stories, but it invokes a similar construction.

LETTERING

Andworld Designs lettering does exquisite work, using a variety of fonts to differentiate the voices of the characters on the page. The character of Spawn has his constant rough letters, letting you hear his gravely voice. There are traditional characters that have very standard letters. Then a villain has a font that feels sleek but grows to show the sinister nature of the plot. The lettering offered is a cornucopia of styles but it never feels disconnected.

CONCLUSION

KING SPAWN #1 is well executed first issue in an established world. It tells a wonderfully sublime supernatural crime noir tale that should delight long time readers and invite new patrons to the party.

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Review: Mind-bending Fantasy In ECHOLANDS #1

By

Justin Munday

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Creators J.H. Williams III (Sandman: Overture, Promethea) and W. Haden Blackman bring us fantasy and pure comics magic. Echolands #1, colored by Dave Stewart and lettered by Todd Klein, is a stunning and mystifying opening chapter into a new reality. With effective minimalist writing that mixes and shifts styles and absolutely mind-boggling visuals, this is magical fantasy in comics done to perfection.

“In a bizarre future world that has forgotten its history, a reckless thief, Hope Redhood, holds the key to excavating its dark, strange past—if only she and her crew can escape a tyrannical wizard and his unstoppable daughter. But fate will send them all on a path leading to a war between worlds.”

Writing & Plot

The success of the writing in Echolands #1 is due to the creators trusting the audience to guide themselves through this story. Williams and Blackman introduce us to a world bustling with the unknown and the bewildering. Instead of explaining how the world and its characters work however, they simply grab our hands and drag us along for the ride. This is my favored style of fantastical storytelling. Much like Saga or East Of West, the rules and stakes are explored through events in the book. Dialogue is minimal, sticking entirely to diegetic speech and sounds. We learn the who’s and what’s of the world via how characters interact. The dialogue itself is snappy and naturalistic, sticking to a plain-spoken vernacular despite the comic’s fantastical cast.

There are passages of vague, poetic narrative sprinkled in the earlier pages as well. These writings increase the intrigue and mystery of this fantasy comic, hinting further at the surrounding mysticism. The latter pages of the book turn from comic panels into in-universe prose and articles. I found this to be a fantastic and fascinating way to find out more info about the world Williams and Blackman have created. However, I’m also aware people coming into this comic may not appreciate the sudden bulk of reading. If you’re ready for it though, it’s truly fascinating material. This is a masterclass in trusting your audience and letting the comics medium work to tell such a massive fantastical tale.

Art Direction

My temptation for judging the art in Echolands #1 is just to say “it’s J.H. Williams III and Dave Stewart,” give it 5-stars and just leave it at that. In all seriousness however, I gotta talk about how unbelievable the visuals here are. For those who may not know, Williams previously performed his brand of wizardry on Sandman: Overture and Promethea. Since both of these comics annihilate any and all preconceived notions of how comic art can look, I’m sure you can guess what to expect here. Williams’s visuals are a staggering menagerie of finely detailed fantastic magical beings. He crafts a collage out of mythical concepts, some familiar, others uniquely original, all completely stunning. There’s one figure in particular, this issue’s main villain, whose design is so disturbingly intricate I had to stop and stare for several moments every time it appeared.

Williams’s pencils are filled and complimented by Dave Stewart’s colors. The veteran colorist perfectly invigorates the outlandish visuals with a rich palette full of variety. His work is so vibrant that it almost seems like an illusion itself. The rich reds of Hope’s cloak make it appear almost alive. The juxtaposing and blending hues that touch every being and surface in the panels brings an unmatched vividness to this comic’s incredible visuals. Yet another Sandman alum joins Echolands with letterer Todd Klein. Klein’s style remains unmatched, as he uses a wide swath of wavering fonts for each character. His narration and dialogue letters perfectly capture the feel of the reading experience. This comic book is nothing less than an absolute marvel to read.

Verdict

Echolands #1 is a blast of immersive fantastical originality. The story J.H. Williams and W. Haden Blackman have come up with is rife with mystery and suspense, and delivered with masterful precision. Williams and Dave Stewart’s visuals are inconceivably wild and wonderful, matched only by the pair’s other works. Be sure to grab this incredible first issue when it hits shelves on 8-25!

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Review: SHANG-CHI Introduces New Hero With Insane Action Sequences

By

Eric Trigg

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August 23, 2021

Shang-Chi and the Legend of the Ten Rings will be remembered for its top-tier action sequences and solid introduction to a new MCU hero. Drenched with everything Marvel fans should expect and more, it exceeds expectations and delivers a promising future for what’s to come next. Shang-Chi and the Legend of the Ten Rings go all out with its action sequences and that alone is enough to consider watching this film. Only suffering from small script issues along the way, Shang-Chi and the Legend of the Ten Rings is a phenomenal film.

It can’t be stated enough how this MCU film rises to the top in terms of the action that unfolds. The choreography put on display is some of the best Marvel has to offer. Providing well-written characters only add to the intense fighting that occurs later on. Shang-Chi and the Legend of the Ten Rings balances a heartwarming origin story with humor and stunning visuals that will keep audiences engaged for this exceptionally crafted movie. Directed by Destin Daniel Cretton and written by Dave Callaham and Andrew Lanham. Shang-Chi and the Legend of the Ten Rings stars Simu Liu, Awkwafina, Tony Leung Chiu-wai, Fala Chen, Florian Munteanu, and Michelle Yeoh. In the film, Shang-Chi (Liu), is forced to confront his past after being drawn into the Ten Rings organization. His unarmed weaponry-based Kung Fu creates a problem for those that cross his path.

Shang-Chi (Simu Liu) in Marvel Studios’ SHANG-CHI AND THE LEGEND OF THE TEN RINGS. Photo by Jasin Boland. ©Marvel Studios 2021. All Rights Reserved.

The characters truly make this film a thrilling experience to watch play out on the biggest screen. Shang-Chi, a trained assassin, abandoned his family at a young age, and now attempting to live in hiding. His backstory unravels in a way to reveal what he went through was more than a child should have to deal with. Consumed by shame and sadness, he works as a parking valet with his friend Katy (Awkwafina). Their friendship is one of the more heartwarming aspects, and Katy is the comic relief for the film. Her humor is never out of place and is balanced with the more gutwrenching moments. Shang-Chi and the Legend of the Ten Rings give Shang-Chi an origin story rooted in loss and misguidance. Making his character relatable and sympathetic.

Shang-Chi and the Legend of the Ten Rings excel at focusing on repairing a family dynamic. Shang-Chi’s past can’t be avoided forever, but audiences will be filled in on why he ran, to begin with. Told through flashbacks, a young Shang-Chi was manipulated and trained for horrific intentions. Putting the past behind you is an overused way to push a character forward. However, Shang-Chi’s approach makes for a compelling watch, as he rekindles broken relationships. The MCU’s newest origin story unpacks itself through stellar world-building to provide an enchanting experience for audiences.

(L-R): Wenwu (Tony Leung), Xialing (Meng’er Zhang), Shang-Chi (Simu Liu) and Katy (Awkwafina) in Marvel Studios’ SHANG-CHI AND THE LEGEND OF THE TEN RINGS. Photo by Jasin Boland. ©Marvel Studios 2021. All Rights Reserved.

Liu’s performance as Shang-Chi is incredible to witness and Marvel fans should be excited to see what he brings to the table. He doesn’t steal the show though, Tony Leung’s acting is on another level. He’s a layered villain that is heavily influenced by heartbreak and disappointment. The chemistry the actors share assists in keeping audiences invested in their progressions. Cretton’s direction keeps the viewer on the edge of their seat, but the pacing can be slow at times. It’s an action-packed spectacle that he captures wonderfully. Even when punches aren’t being thrown, the time spent getting to know the characters isn’t a bore. Visually, Shang-Chi and the Legend of the Ten Rings is mesmerizing to look at. The choreography accompanied by its hard-hitting soundtrack amplifies the experience.

(L-R): Katy (Awkwafina) and Shang-Chi (Simu Liu) in Marvel Studios’ SHANG-CHI AND THE LEGEND OF THE TEN RINGS. Photo by Jasin Boland. ©Marvel Studios 2021. All Rights Reserved.

Shang-Chi and the Legend of the Ten Rings is one of Marvel’s best films. Equally thrilling, humorous, heartwarming, and packed with action sequences that will leave you breathless. It only suffers from certain writing choices that feel unnecessary, specifically the inclusion of a certain character. The cast should be proud of what they have crafted together, and Marvel fans will get to experience it later this week.

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Review: SUICIDE JOCKEYS #1 — Can An Escapist Fantasy Fix The World?

By

Jake Palermo

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Suicide Jockeys #1 begins a new indie comic series from Source Point Press. Writer Rylend Grant crafts a world that’s full of kaijus and mechas, but still feels rather similar to our own. The mechanical designs by artist Davi Leon Dias are something to behold. Colorist Iwan Joko Triyono makes more than a few elements stand out. Finally, letterer HdE keeps the story flowing smoothly.

Suicide Jockeys #1: More Than Escapist Fantasy

On first glance, Suicide Jockeys #1 looks like your usual escapist fantasy full of mechs and time travel, but it’s actually a series that’s specifically about escapism. “Suicide Jockeys” are the closest thing this series has to superheroes, battling aliens, kaiju, and other threats with their specially designed armored vehicles. But, as exemplified by lead character Denver Wallace, a Suicide Jockey’s life is full of PTSD, burned bridges, and burnout. If anything, Denver seems like he’d rather go out in a blaze of glory. If given the choice to live in a world like ours, he’d rather live in some escape fantasy.

But… what if this fantasy had the chance to fix everything? Suicide Jockeys #1 engages the reader and Denver with an offer too tempting to refuse: time traveling back to the point where everything went wrong for Denver and his crew. Their last job was the first domino in a series of bad events, like the earthquake before a tsunami. Why wouldn’t Denver want to prevent a personally traumatic event when he has everything to gain from it?

Art

Dias’ penciling shows some incredible mechanical designs. The giant robot Denver’s crew is fighting against is a marvel to behold. It’s got a sleek, showy design, and bright coloration by Triyono that tells us more about its billionaire pilot than her actual appearance ever would. Compare this to Denver’s paramilitary unit, which pilots more practical armored vehicles with a darker color scheme. They don’t look too impressive at first, but their combined form, Big Mama, looks like it should be turned into a collectible model.

HdE’s lettering sets the pace of Suicide Jockeys #1. Between the faster motion of the robot battle, and the slower beat of the conversational scenes, the captions and word balloons flow very smoothly. It almost feels like watching a movie instead of reading a comic book.

Gear Up In Suicide Jockeys #1

Suicide Jockeys #1 entices readers with an escapist fantasy anyone in a post-2020 world would want to dive into. Reading Suicide Jockeys #1 feels like experiencing a science-fiction action movie firsthand! Pick up Suicide Jockeys #1, out from Source Point Press August 25th, at a comic shop near you.

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INTERVIEW: Composer David Benjamin Steinberg On Catch And Kill: The Podcast Tapes For HBO

By

Ruben Diaz

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August 23, 2021

Catch and Kill: The Podcast Tapes is a documentary series on HBO that examines the bombshell reporting of journalist Ronan Farrow by adding a visual layer to the story. Along with that new layer is a richly diverse score from composer David Benjamin Steinberg.

In 2019, Ronan Farrow released the book Catch and Kill: Lies, Spies, and a Conspiracy to Protect Predators, which recounts the challenges he faced in unveiling one of the biggest stories of 2017. The story was about sexual abuse allegations against movie mogul Harvey Weinstein. It was a report that helped make #MeToo a worldwide movement. Farrow followed up the book’s release with a podcast that included interviews with victims, whistleblowers, and other sources for his book.

PopAxiom talked with composer David Benjamin Steinberg about collaboration, the docuseries Small Town News, and adding a sonic layer to the incredible stories at the heart of Catch And Kill: The Podcast Tapes.

Thrive

David doesn’t “remember a time when there wasn’t music in the house while I was growing up. My dad was really into musicals. West Side Story was the holy grail. My mom was a school teacher and a good piano player who played classical music and the American songbook. When I started to write musical features for Ru Paul’s Drag Race, it came pretty easily. I think it was part of my DNA from growing up listening to them.

David’s musical career started “in rock bands and as a session drummer in my teens and into my early 20s in LA. My dream was to be a session musician playing in the studios in LA, but there were so many amazing session drummers when I was coming up…that I just felt like I was never going to be able to make it at that level, so I started focusing more on writing and producing.

The switch to composing happened gradually and began with an “opportunity to write music for advertising,” he says. “I developed a good client in ad agency Chiat/Day; they were famous for creating the 1984 Apple spot. They were arguably the best ad agency in the world at that time. So I did a couple of things for them, and it led to a fairly long relationship.”

“I liked the whole dynamic of that,” he adds about working in the ad business. “I learned how to work with a creative team, how to come up with music concepts to tell a story and compose really tightly to picture. “The collaborative process is something I really enjoy.”

About Catch and Kill: The Podcast Tapes

David became a part of the Catch and Kill-team through a longtime working relationship. “I’ve worked with the owners of World of Wonder, Randy Barbato and Fenton Bailey, for close to a couple of decades. They approached me about writing the music for an HBO version of Ronan Farrow’s audio podcast series that they were directing.”

“I started by listening to the podcasts,” he says about his preparation for the project. “I went through the series and got familiar with the episodes that we were going to be working on.”

As with any project, David’s job in creating the underscore is to “Support the story,” but he adds, “I just really didn’t want to f*ck it up.”

So, how did choosing to tell the sonic story occur? “There is a lot of dialogue in a podcast of course, so it was about discovering how big the score was going to be. Initially, I sold the directors on my writing minimalist cues without many melodies, I wanted the podcast’s voices to be the lead lines. But as the edit developed, we felt like it wasn’t enough, so the music became more prominent, and I started adding more melodic layers. In fact, once I wrote the title theme, we started using that as a motif to thread throughout the stories. So we ended up making the theme a strong element of the score.”

However, finding that perfect balance is a tricky game. Collaborations involve time and toiling. “Going back to what I learned in the ad business, we had HBO and their team weighing in about cues which they felt were too aggressive and wanted something more understated. I think the directors felt this was a TV version of a podcast, and it needed more ‘oomph’, so it was about finding that common ground that makes everybody happy.”

“As the episodes go on,” he explains, “the series shifts into a real spy thriller, so I wrote cues that supported that part of the story. I used a lot of analog-y sounding synths and the score took on a bit of a Vangelis vibe in spots.”

Small Town News

Catch and Kill isn’t the first World of Wonder production for David, and it wasn’t going to be the last. The longtime collaborators brought another project to him — Small Town News. “I had done another documentary for HBO about Heidi Fleiss over ten years ago that took place outside of Vegas in a small town called Pahrump. While shooting there, the directors came upon a small, independently owned television station called KPVM. They got to know the people that worked there and wanted to do a documentary series on this entrepreneurial TV station that was a fish-out-of-water story with a diverse gaggle of employees trying to grow their business.” I must be the only composer around to have done two HBO docs taking place in Parumph, Nevada!

David worked on the music for the pitch to HBO and joined the crew after the green light. “It’s a docuseries, but it plays like a comedy.

Like any project past, present, or future, it’s “about finding the appropriate tone,” he continues, “we didn’t want it to feel like a reality show. We didn’t want it to feel like we were laughing at the people in this small town, and It had to have a rural feeling to it. It’s Pahrump; it’s not exactly a big city.”

“In the same way as Catch and Kill,” he says about the process, “you start to write, and you get closer and closer to finding the tone that captures the players and helps tell the story.”

Despite a rural setting, the music finds its roots through a composer from a faraway land. “Some of the music was inspired by a Vivaldi piece that I discovered. I ended up using organic instruments like mandolins and guitars, which had the effect of elevating the comedic moments. It had a whimsical tone to it that never poked fun at the subjects.”

“I’m proud of the theme,” he declares, “because it was inspired by the old News of the World film Newsreels. A sort of morse code motif that works its way through.”

Here’s A Story

David scored a project that’s wildly different from the other two discussed today. “It was fun,” he says about Ru Paul’s Drag Race/Brady Bunch crossover. “They recreated an iconic Brady Bunch episode, pretty much shot for shot.”

The Brady Bunch featured a famous theme song but also an underscore from legend Frank De Vol. “De Vol’s orchestrations and comedy sense are so sophisticated. It was impressive, and a little intimidating going back and listening to his work.”

“I recorded our new cast members singing the original theme,” he explains, “The underlying cues I composed inspired by the vibe of the original music. About a third of the rest of the score was licensed from the original 1960’s broadcasts, and I re-recorded the master tracks.”

Wrapping Up

David grew up on a healthy dose of a lot of music from around the world. But he says without a doubt, “My idols were the Beatles.” He adds, “I went through my heavy jazz period, too.”

“Film score-wise,” continues, starting with one above all, “Bernard Herman has been my main man since I was very young. I was obsessed with the Ray Harryhausen movies that he scored, like The 7th Voyage of Sinbad. I still watch those. I love Mike Abels and Thomas Newman. Trent Reznor is doing incredible stuff of course and Cliff Martinez.”

“Working with the Coen Brothers,” he says about a dream project, ” their films with Carter Burwell are favorites of mine.”

But for David, he’s living the dream. “I feel lucky that I am keeping busy with a fun mix of projects. I’m always inspired by new bands and new music…this is a golden time to be writing for TV.

Are you watching Catch and Kill: The Podcast Tapes on HBO?

Thanks to David Benjamin Steinberg and Impact24 PR
for making this interview possible.

Find more interviews like this right here!

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