Writer and artist Mirka Andolfo (Mercy, Unnatural) graces us with her long-awaited erotic comedy in Sweet Paprika #1. This raunchy romantic comedy is deviously funny and endlessly charming, with genuinely laugh out loud humor and relatable awkwardness. With stunning colors from Simon Tessuto, letters from Fabio Amelia, and excellent localization from Steve Orlando, this gorgeous comic is a must read for fans of raunchy erotic comedy.
“Paprika is a successful businesswoman, a New Yorker of Italian origin. Job and career consume her, forcing her to neglect her personal needs as well as her friends and family. Her heart is broken from a previous relationship and its consequences, and a rigid upbringing has made her a very introverted person. She wants a romantic relationship, but she doesn’t know what she’s doing. Not like Dill, a naïve and suave delivery boy with an angelic attitude, handsome, and always surrounded by beautiful women falling for him. He doesn’t have a worry in the world, and this makes Paprika very nervous. But he’s the guy who could help her with her feelings (and with…sex).”
Writing & Plot
Andolfo successfully crafts an endearing and hilarious experience in Sweet Paprika #1. What makes her story work is how she blends goofy hilarity with completely relatable interpersonal issues. Paprika’s likestyle begins and ends entirely with her work, and this directly interferes with how she has (or doesn’t have) personal relationships. Andolfo couples this with her reservations about relationships (mainly sexual ones) and her early life. This raunchy comedy is surprisingly adept at nailing very real problems many people have no doubt dealt with. Paprika is a likeable and relatable person (err, demon) despite her stylized presentation and wealthy lifestyle.
Let’s not beat around the bush here; Sweet Paprika is very much a raunchy romantic comedy. As such, this comic does not shy away from numerous kinds of sexual content. Most people picking up this comic likely already know what they’re getting into, so there’s not much of a need for warning. I am here to say though that the handling of this content is thoughtful and often completely hilarious. Andolfo’s over-the-top handling of the characters and situations of her semi-fantastical world translates neatly into her sexual content. She handles the sexual situations in the same manner she does the comic’s other personal issues. Every plot element here is guided with a careful mixture of absurd comedy and relatable character writing.
Localization
I have to give credit to the localization efforts of Steve Orlando on this comic. Andolfo’s first language is Italian, so making the dialogue and narrative easily accessible to English-speaking readers required a bit of extra help. Orlando knocks the localization out of the park here. All of the core elements of the narrative, as well as the humor and intimate character detail are all maintained naturally in this version. While the comic’s subject manner and brash attitude may throw some readers off, this is a fantastic read for the right audience.
Art Direction
I imagine many readers will be picking up Sweet Paprika #1 primarily for Andolfo’s artwork. They will be in for a treat, as this comic’s visuals are wonderfully vivid and fun to behold. Andolfo injects so much life into her work here that it’s difficult not to smile while reading this comic. Her often cartoony animations perfectly illustrate the tone of the story, and give all of her characters a massive amount of personality. The panel and page direction is unpredictable and wildly creative. There’s a sort of spontaneous style to how Andolfo puts scenes together that is only feasible for a hyper-talented cartoonist.
Simon Tessuto brings the visual experience to an incredible high with his outstanding color work. The vividness he brings to Andolfo’s pencils is almost surreal, as his palette is a huge reason why the often over-the-top cartoony visuals actually work so well. The way Dill’s teeth glint as he flashes a charming smile, or how Paprika’s face changes shades of red are great details that are all owed to Tessuto’s eye. Fabio Amelia’s letters are reflexively solid, with a clean modern font that naturally changes style to blend into the reading experience. This is an incredible looking comic in every aspect, and one that is sure to please fans and newcomers to Andolfo’s work.
Verdict
Sweet Paprika #1 is a triumph of an erotic comedy comic book. Mirka Andolfo’s story manages to be hilarious and relatable, mixing fantastical absurdity with great personal character writing. Her pencils in conjunction with Simon Tessuto’s colors make for a lively and vivid reading experience. While this comic’s directness won’t be for everyone, this will be sure to please fans of Andolfo’s brand of raunchy comedy. Be sure to grab this issue when it hits shelves on 7/28!
Comics legend Garth Ennis and heavyweight artist Liam Sharp return to Gotham with Batman: Reptilian #2. With letters from Rob Steen, this is an intensely fascinating chapter in this unique Batman tale. With a cutting script and fascinating visual work, this is shaping up to be the perfect diversion for Batman fans wanting something new – and bloody.
“Batman hits the streets in search of the creature terrorizing Gotham’s underworld—and hits them hard. First stop is the lair of the Penguin, but Oswald Cobblepot is at death’s door (which is better off than the beast left many of his cronies). The mangled rogue has no answers for Batman, but his blood—and the surprising secrets that it holds—will send the vigilante ever deeper into darkness…”
Writing & Plot
Garth Ennis’s script on Batman: Reptilian #2 is loaded with suspense and snark. Batman’s casual disregard for the dying criminals he finds is genuinely funny. Keep in mind, this is not the Batman of mainline DC. Ennis’s take on the Caped Crusader is much colder and more directly witty. This is to say he’s, well, British. This comic feels as though it were written by Conan Doyle at times. This take on the iconic character is sure to turn off some diehards. However those looking for a different approach to the character are likely to be intrigued by what Ennis is making here. His dialogue is clever and biting, and everyone in the cast has a unique voice.
I find the beast-hunt angle this comic takes very entertaining and unique for a Batman comic. The way the story is methodically progressing is reminiscent of a serial killer or monster mystery. Reptilian feels less like a Batman comic and more akin to a mixture between From Hell and Hellboy. Ennis also adds more of a personal arc between Bruce and Alfred. The kind of relationship they have here isn’t new, but Ennis still makes it feel refreshing.
Art Direction
Liam Sharp continues to make wildly impressive sequential art in Batman: Reptilian #2. In my review for issue #1, I noted just how McKean-esque Sharp’s painted work here is. With this issue however, he takes that influence and departs in his own direction. Sharp’s paints still depict a grimy, gothic, and blood-soaked nightmare version of Gotham. This is likely the most threatening depiction I’ve ever seen of the classic environment. Gotham feels like its own menacing character here, much like how Arkham Asylum feels in Morrison and McKean’s titular graphic novel. Sharp’s character drawings are full of life and great animation. His portrayals of emotion, from Batman’s intimidating visage to a goon’s absolute terror, and lifelike and spot-on.
Sharp’s take on Batman is obviously influenced by the darker comics of the late 80’s and early 90’s. The city and its inhabitants are always shrouded in mist and smog, as one would have it in Gotham city. The color palette in this comic is, of course, bathed in darkness and haze. Sharp is in the process of making a Batman horror comic here, and everything about the aesthetic displays his ability to partake in the genre. The lettering from Rob Steen is simplistic but effective. He uses a clean contemporary font with on the mark bolds and italics, and it sort of disappears into the reading experience. This is a phenomenal looking book, and undoubtedly one of the most unique comics on stands right now.
Verdict
Batman: Reptilian #2 is a bitingly sharp, tension-filled, and gorgeous second chapter to this Black Label series. Garth Ennis’s sharp wit and desire to do something familiar yet different make for a winning formula here. Liam Sharp’s visuals are haunting and beautiful, making for a reading experience rarely seen in the medium. Be sure to grab this issue when it hits stands on 7/27!
DC Comics’ Strange Adventures has always been about human characters, muddling their way through events of cosmic scope. And with the revelations of the last issue, we see the human fallout of Adam’s choices. Do not read on unless you’ve read Strange Adventures #10. In Strange Adventures #11, writer Tom King, artists Mitch Gerads and Evan “Doc” Shaner, and letterer Clayton Cowles show us a little of the collateral damage of this series. But they promise much more to come!
Writing
As Alanna grapples with Adam’s deal with the Pyykt, we also see her follow Adam into the snowy wilderness during the Pyykt-Rann War. King sets up a beautiful juxtaposition in these stories. In the past, we watch Alanna put her life into Adam’s hands, over and over. In the present, we see Alanna kick herself for ever trusting Adam at all. King underscores the heartbreak that’s happening. Lines of dialogue in the past, once expressions of deep love and trust, are echoed in the present, but full of grief. We have one issue to go, and it feels like there is so much left to tie up. But with King’s track record, especially on this series, it’s exciting to see how much he leaves to the ninth inning. We’re in for a wild finale!
Art
Some of the idyllic tone of Shaner’s early art in this series has crept back into these later issues. We aren’t seeing scenes of war and blood. Instead, Shaner shows us Adam and Alanna Strange on the brink of victory. It feels quite clean. But when the violence swoops in, Shaner makes it count. He uses shadows and blood splatters to hint at the horror, letting our minds do the rest of the gruesome work. And when we see the Stranges respond, Alanna is averting her eyes and Adam is looking on in grim reverence. But this violence is soon swept away. It’s replaced by images of them snuggling by a fire. Their ability to shake of horrifying moments is just as troubling as the moments themselves. It’s a brilliant and subtle point that Shaner is making.
Gerads has quite a different task at hand. He’s not trying to make war look peaceful, he’s showing the strife that peacetime can bring. As Alanna and Adam fight, the moments that stand out aren’t the ones of passion and anger. No, it’s the little panels of exasperation and resignation. Between the panels of Alanna yelling and glaring, we get moments of her almost grinning, albeit bitterly. The same is true of Adam. He’s furious at Alanna’s response, but Gerads shows us a step-by-step of the fury setting in. At first he’s the simpering victim he’s been playing all along. Then he tries to be the cool-headed tactician: the leader he was in the war. But eventually, he’s all eyebrows and teeth, like a wild animal backed into a corner. Gerads takes us through the transformation slowly, so that it sets in deep.
Coloring
Throughout Shaner’s panels, we get the feeling that Adam and Alanna are like lights in the darkness. It’s a fantastic juxtaposition to the modern day scenes of their dying relationship. In Shaner’s scenes, the Stranges are in a snowy landscape. Their skin and elements of their clothing, like Alanna’s rainbow colored scarf, make them pop right off the page. They’re the only source of color. And as the night falls, they huddle around a fire. Shaner shows us this image of their love being something surrounded by darkness. But they shine on.
When we first see Gerads’ scenes, there is a warm orange color to them. It compliments the fire of their anger at one another. But as the scene continues, the Stranges step out onto their balcony. Perhaps it’s the glow from their pool, or the night air mingling with lights on in their house, but the air looks green. And as the issue continues, the green looks stronger and stronger. Gerads shows us the discoloration that’s going on inside them. It’s the green rot of death that’s sneaking in, right as their fight transitions from fury to resignation.
Lettering
It’s hard to really talk about Cowles’ lettering in this issue. So much of its brilliance happens in pivotal moments that are impossible to quote, without ruining some of this issue’s best scenes. But suffice it to say, Cowles lets the dialogue breathe. He highlights little words, giving them their own word balloon in the midst of tirades, so that we can hear the pause and the emphasis. But he also makes a point of blending some of his sound effects into the backgrounds. When Alanna slaps Adam, the “SLAP” lettering is white on a white background. It’s still totally readable, but it makes her slapping feel weak and like it’s not enough. Adam’s indifference cements this idea. Just as we almost can’t see the slapping noise on the page, we can’t see any effect it’s having on Adam.
DC Comics’ Strange Adventures is nearly finished. With one issue to go, it’s safe to say this has been one of the best series to come out of DC Comics. Pick up Strange Adventures #11, out from DC Comics July 27th, at a comic shop near you!
WOLVERINE #15 hits stores August 25th, but thanks to Marvel Comics, MFR has the first-look at InHyuk Lee‘s variant cover starring Jubilee!
The comic is by writer Ben Percy and artist Adam Kubert.
About the issue: BLACKMORE’S FIGHT! WOLVERINE comes face-to-face with Arakkii pirate crime lord SEVYR BLACKMORE! But will their fight lead Logan to the clues he needs to catch SOLEM, or put him right where the manipulative mutant wants him?
Lee’s cover is one of eight variant covers he will be doing throughout August to celebrate Asian American and Pacific Islander Heritage. In addition to the Jubilee cover, Lee will also be doing covers starring Shang-Chi, Ms. Marvel, Psylocke, Silk, Amadeus Cho, Jimmy Woo, and Armor.
“I’m very proud to draw these eight ASIAN AMERICAN AND PACIFIC ISLANDER HERITAGE VARIANT COVERS showing the iconic Asian heroes of the Marvel universe,” Lee said. “Silk, Ms.Marvel, Psylocke, Shang-Chi… I love all these heroes so much and since I’m an illustrator and character designer, I proposed to renovate their outfits in a modern or tech-wear style, and Marvel liked my suggestion. When Emily Newcomen asked me about these covers, I had to accept despite my busy schedule because it was so meaningful. I’ve been working with Marvel for 10 years now and I’m happy to say we can always have fun working together.”
Check out the cover below:
Which of Lee’s AAPI Heritage covers is your favorite? Sound off in the comments!
The year is 2015, and the event was Convergence. Along with the subpar main series, we had several different two-part stories that varied in quality. One of the better stories was Convergence: Superman, which followed Superman and a pregnant Lois Lane. By the end of the story, they gave birth to one of my favorite characters in DC’s current era: Jon Kent. When Rebirth started, I would follow any story he was in, watching this hero grow more and more. Now, thanks to the time-hopping shenanigans from the Bendis Era, that Superboy prepares to step into the role of Superman.
**Some Spoilers Below**
Story:
We open with a different version of the birth of Jon Kent. Rather than seeing the Convergence: Superman story all over again, we find the Justice League fighting back an alien invasion so Clark can witness the birth. Wonder Woman comments that Jon could be the greatest of all superheroes due to his parentage. This carries to the present day, where Jon works to be a hero like his father. He is able to assist with putting out a large forest fire but feels conflicted after turning over the metahuman responsible. He decides to seek advice from the one person who knows him best.
Overall this issue is meant to show off the character of Jon to those who haven’t read any of the previous titles. It’s one thing to talk about the parentage, but we still need to see the hero in action. This action isn’t full-out destruction, with Jon talking the metahuman down through their panic attack. It gives the readers a chance to show the kind of hero the new Superman is. It’s a simple encounter that proves that we don’t need constant smashing to enjoy the Man of Steel.
There is also a surprise character(though not a huge surprise if you’re a long-time Jon Kent fan) who gives him a speech on what he should do with his new title. Now, this character might not be my favorite, but his speech was a well-written one. It points out that a hero in Superman’s position has the power and morality to challenge the injustices of the world. Tom Taylor definitely knows how to write these characters, specifically Jon. He’s already done great work with him during DCeased, so this reviewer can’t wait to see what he will do with him in the main timeline.
Art:
In the art department, we have John Timms returning to the character after his stint in Future State: Superman of Metropolis. While I had some issues with the story in that, I found John Timms work the real selling point of the two-part story. His work with action sequences is very well done, as well as his character designs. This shows best during the wildfire sequence. Jon has never looked better, along with the massive, detailed flames dying down beautifully. The scene is made even better with spectacular colorwork from Gabe Eltaeb. It’s a fantastic look for an equally fantastic story.
Conclusion:
Overall, this was a great way to start the run. For new readers, they learn the origin of Jon and what he’s exactly working towards. Meanwhile, old readers can enjoy the references and growth from the past stories. The artwork does a spectacular job of pulling us into the world with beautiful colorwork and designs. Tom Taylor and John Timms are definitely the best choice to helm this series, and if it’s going to continue to be this well-drawn and written, then the future belongs to Superman.
Shadowman #4 comes to comic stores on July 28 from Valiant Entertainment to finish writer Cullen Bunn’s first story arc. With the art of Jon Davis-Hunt and the colors of Jordie Bellaire, a magical veil engulfs the pages. The lettering by Clayton Cowles displays how close characters are to being overwhelmed by this development.
Shadowman #4: Staying Sober
Continuing from previous issues, Bunn has Shadowman realize he’s fighting a losing battle. For all of the attempts to keep the peace, to fight against a byproduct of human nature like the Deadside won’t work because Shadowman himself is a blight drawn to man’s worst impulses. Fortunately, every prior experience also allows Shadowman insights and strengths to resist depravity. So Shadowman #4 is ultimately about finding a healthy way to live with people’s demons rather than let them overwhelm people.
Look At The Biggest Picture
Throughout Shadowman #4, Davis-Hunt presents a steady layout of panels and art before going into a sudden change. For example, a regular day in London with five wide panels. It gives the reader a sense of normalcy until something comes to disrupt it. In this case, the issue’s antagonist with his bold outline and monstrous appearance complete with no borders surrounding him. It feels so overwhelming that his purple coloring and bright magic symbols he employs through Bellaire almost feel unnecessary. That’s all to say nothing of the two-page spreads of the Deadside visions that overwhelm some characters.
The lettering by Cowles presents how close some characters are to losing themselves to the Deadside. Loa, like Baron Samedi, and the possessed antagonist speak with distorted word balloons. Even then, Samedi’s white word balloons are closer to mortals who are exposed to the Deadside. Unlike the antagonist, whose colored word balloon shows the intoxication of his human host.
Find Balance With Shadowman #4
Shadowman #4 takes readers on an intense ride of horrors, and there’s a much bigger plot at play, but the first story arc wraps up nicely.
Loki is the latest show on Disney+ that continues the Marvel Cinematic Universe (MCU), pushing the multi-reality storytelling platform into bigger and more bizarre places. Natalie Holt created the soundscapes for the time-traveling narrative about a would-be God.
Loki, the God of Mischief, first appeared in Norse mythology a few thousand years ago. But actor Tom Hiddleston first brought the character to the MCU back in 2009 in the first Thor movie. Since then, the sometimes villain, sometimes ally has appeared in many films. For Disney+, the curious case of his situation at the end of Endgame posed an exciting hurdle for the show’s creators. It seems they’ve done a good job according to the glowing public reception.
PopAxiom spoke with composer Natalie Holt about creating the score for a show that pushes beyond the boundaries of space, time, and reality itself.
Extraordinary
“My mum was a music teacher and a cellist. My grandmother was a violinist,” Natalie’s musical origin story begins. “I still play her violin.”
Film music stood out to Natalie from an early age. “I think watching ET and Star Wars when I was five and noticing the music in films.” But, she admits, that like many people, “It didn’t click in my head that being a film composer was a job.”
“So, I was training to be a classical violinist,” she says until she got to visit Abbey Road. “I watched Trevor Jones working on a session for League of Extraordinary Gentlemen … with a full orchestra. I thought, ‘That’s what I want to do.'”
Natalie spoke to a lecturer from a film course who “… suggested doing a Master’s at the National Film and Television School. That was specifically for composing for the screen. I collaborated with directors for animations, dramas, and documentaries; editors, and sound. So you get to see how that whole process works in a very hands-on way.”
About Loki
Since watching that session at Abbey Road, Nathalie’s added 42 composing credits to her IMDB. Loki became number 43. “Loki was a general call-out which came through my agent. It was like ‘Marvel project, untitled, requiring spacey, epic score.’ So, I sent in a reel that I thought would work for that.”
“I was super-excited,” Natalie says as the process continued. She received scripts for the first two episodes. “I got down to a bake-off with other composers. We all had to score a scene for episode one, which was when Loki comes down the lift with Mobius and goes into the time theater and sees his life played back to him. That was the kind of pitch sequence.”
All manner of unique sounds fills the Loki score thanks to its time-bending escapades and a unique instrument called a theremin. “The clock ticking stuff came when I started working on the themes later on. What was in the pitch was the theremin because Kate Herron had mentioned that it was something that she loved. She’d play this piece by Clara Rockmore, a theremin player from the 50s; it’s her version of “The Swan” played on a theremin. Kate used that in her pitch document when she was pitching to become the director. So that sound of the theremin was something Kate wanted in the score.”
The theremin’s not a common instrument, and there aren’t a whole lot of people who have one, let alone can adequately play the magical music machine. “I got sent this thing from an amazing guy Charlie Draper who’s a theremin enthusiast. He’s got a 1929 RCA designed by Theremin himself. So, we’ve got the genuine article and a Moog theremin as well. Charlie’s a Marvel fan too, so he’d be recording things on three different instruments to give me options. It was great to have him.”
“Loki’s theme was in the original pitch too,” Natalie notes. “I knocked that out on the piano after I read the script. So, that’s always been in there and it’s pretty cool that it’s been on the journey from the very beginning.”
Volume 1 and Volume 2 of the Loki score are available now!
Natalie was a Marvel fan before the gig and declares, “The Thor films and Guardians are my favorite end of the Marvel Universe. I enjoy the spacey stuff. Ragnarok is a top favorite movie. Loki is a great character, and I love the way Tom plays it as well, the menace and flare that he gives it.”
“Because of COVID,” she explains, “there was a lag in the middle. We had to shut down. Kate wanted to have a composer on board for when she went back. She wanted the music to inform how she was shooting things.”
The shutdown in production provided extra time for the score not typically common for TV. “So, I had a month to do a suite of all the different themes. It was like 12-minutes long with the Loki theme, the Mobius theme, Sylvie, and the Kang/TVA theme. Once I got into scoring picture, when I had a scene between Loki and Mobius, I could say, ‘Okay, I know which themes I’m going to base this on. It was fun to have those themes and develop them in the crazy way that the story develops that lets you do like a Samba version of the Loki theme.”
“Working with Marvel was amazing,” Natalie joyfully says, “They were such supportive and encouraging collaborators. Kate Herron was a dream. She’s so musically literate and had such a strong sense of where things were going.”
Wrapping Up
Who are some of Natalie’s influences? “Oh my goodness, so many different influences. I love going back and listening to Beethoven and reading scores. In this particular project, I came up with the low-end, the kind of hummable part of the Loki theme, but I knew I wanted something over-the-top that had that call-back to symphonic repertoire and grandeur. I was trying out little ornaments from Mozart, and I came across some Wagner and ended up with a little homage to Ride of the Valkyries. It feels like the perfect fit.”
“In episode five,” Natalie continues, “when I saw classic Loki with Richard E. Grant, I thought, ‘Oh, we can dig a bit deeper into Ride of the Valkyries.”
Natalie’s simple tip for finding inspiration: “Classical repertoire; when you go back to the greats and see the way they colored what they used, you can never fail to be inspired.”
Working on a Disney/Marvel show is no doubt one thing checked off the bucket list. So what’s a dream project yet to come? “Oh, I think it’s gotta be a Loki alligator spinoff series,” she laughs, and I almost spit out my drink. “I love doing things that stretch me a bit and are different from the last thing. It’s nice to have variation. I’ve been reading some scripts that are sort of more real, dark, dystopian things, so we’ll see what happens next.”
Loki’s six-episode season is complete and available on Disney+. So, what’s coming next for Natalie? “I’ve got a film coming on Netflix in November. It’s a feature film directed by Claudia Llosa that’s set in Argentina. It’s a timely piece about a strange illness, a mother-daughter connection, and a spiritual journey. Very different from Loki.”
Did you travel time and space with Loki on Disney+?
Thanks to Natalie Holt and Rhapsody PR
for making this interview possible.
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.
I discovered Ryan Tavarez’s work when I was lucky enough to do an early review of the upcoming comic A Game Of Doubles. Being floored by the art, I reached out to him. When he told me about his book Nomads, I knew I had to read it. Nomads is awesome and I just had to talk to Ryan about it. So check out our chat and then make sure you order a copy of Nomads!
Monkeys Fighting Robots: First of Ryan, thanks for taking some time to talk to us. How are you today? Working on anything? Ryan:Hello again! Doing great! Been working on the next chapter of Nomads, and been messing around with block printing!
MFR: Origin time! What’s your comic book fan origin? Where did your love for comics come from? Ryan:My earliest memories of comics come from an older cousin of mine sharing his books with me. We’d spend hours and hours with him showing me X-Men, Spiderman, Batman, Spawn, The Maxx. I would just flip through them and look at the pictures. When I got a little bit older we would ride our bikes up to a card and comics shop. So many memories of just getting random comics and not even knowing what was happening in the overall story but just loving the action in them. Around the same time 90’s cartoons like Spiderman, X-Men, and Batman TAS helped teach me some of the overall mythos and let me kind of piece stuff together. And I think that feeling of this massive unexplored history really kept me interested.
MFR: When did you decide you wanted to create your own comics? And then when did you decide to publish yourself? Ryan:Making comics was always something I did as a kid and continued to do so through high school. My friends Steve, Mike and I would make up characters and stories in class. Some would be funny comics, some would be our own versions of superheroes. When I graduated and went on to college I stopped for a time, focused more on school, but eventually, in 2009, I dropped out. I got a job at a grocery store and was just kind of going through the motions. One night, as I was getting out of work and a storm, was rolling in. I got in my car and I noticed my old friend from school Steven Kuerbitz was getting ready to ride home on a bike in the rain! I offered to give him a ride home so he could stay dry. We ended up stopping at a diner to catch up and get some dinner. While we sat and sipped on coffee, I doodled on a paper placemat, and he asked me: “Do you still make comics?” Next thing I know we’re brainstorming and riffing like we used to. That night was kind of the serious beginning of doing this stuff. We ended up getting back with our friend Mike Butler and we’d meet at this 24-hour diner and would just do work. Writing, discussing, passing books around, studying, and just really trying to teach ourselves how to make comics. It’s weird because now there are youtube videos on so many things. But just back in 2009-2010 it seemed like a mystery. Being able to get stuff like the right-sized paper or a large enough scanner was something that took quite a bit of effort and just trying stuff to figure it out. But the whole thing was always like this idea that we were going to just make the stuff we wanted to make and to figure out how to get something from an idea to a real tangible book. There wasn’t anyone else we knew at the time who made comics. None of us had ever been to a comic convention. Never interacted with any other creators. Only things we had were actual comics and a few books on how to make comics like Scott McCloud’s books, and the DC Comics guide to writing.
MFR: What was the first comic you created? Ryan:Well the first comic I ever made that I remember was some computer paper stapled together of me and some friends being Power Rangers in elementary school. Hahaha, but the first comics we made as Attack of the Rivals were Mouse Warrior: Written by Steven Kuerbitz and art by me. Then there was Space Samurai: Written by Mike Butler also drawn by me. And we worked on both of these at the same time. With Space Samurai I was doing just paper and ink. For Mouse Warrior, I was working on that all digitally on the computer. Then there was my personal project which was the first comic I ever took to print: Nomads.
MFR: How would you describe Nomads to someone who hasn’t read it? Ryan: Nomads takes place in a world thousands of years after mankind has fallen. This world has reverted back to a primal state where the animals are massive and vicious, the humans that remain live in small tribes, and the entire landscape from what we know has radically changed. Nomads follows a character named Hawk whose entire tribe has vanished overnight leaving him alone with nothing but tracks to follow. Now Hawk must venture out of the secluded confines of the Lush and into the savage lands in search of his missing tribe.
MFR: Did Nomads have any specific influences or inspirations? Ryan: Definitely Nomads takes from some of my favorite movies and a stories. The action of Conan the Barbarian, sci-fi elements from Terminator, a desolate future similar to Mad Max, and its inhabitants and wildlife like in Princess Mononoke. Mankind is on the rebound from near extinction, locked in a constant struggle with nature, cyborgs, and one another.
MFR: What is Nomads publishing history? The edition you sent me says Kickstarter edition. Was Nomads strictly put out this way, or was there some version before? Ryan: So Nomads was the first book I ever printed, in its first iteration it was a 13 page full-color ashcan. I hadn’t quite figured out the scale of the story yet. From there I was printing individual issues, which were the first 3 chapters of the series. But eventually as the story started to develop I came to the conclusion that I wanted to transition the series into a yearly graphic novel. While doing small runs of single issues for local cons was affordable for me to do without crowdfunding, it was easy to see it getting out of hand trying to keep stock of all the issues as the story went on. It also seemed like a better deal to first-time readers to just get a big chunk instead of having to piece together a bunch of single issues from me.
MFR: Kickstarter has definitely become one of the major ways to publish comics in the last year or two. Why do you think so many creators jumped on this publishing platform? And what drew you to Kickstarter? Ryan: Distribution and access to a pool of new comic book readers. I think of Kickstarter as a good way to get your book in front of new eyeballs. For the last 5 years, I have only really sold my stuff locally. Never being able to get much traction fighting the Facebook and IG algorithms. It can be difficult to get people to see your stuff. But Kickstarter is a smaller pool with a focused audience where there are people LOOKING for new books to support. Also, it makes it really easy for people who do read your comics already to preorder your latest book.
MFR: What’s your creative process like? For instance, with Nomads where did you start with it? Ryan: My creative process can be pretty sporadic. Like a jolt of lightning sometimes. I’ll spend days just cranking out scripts or days just pouring out ideas into a sketchbook before I am ready to work on any pages. Nomads came from long drives in the car by myself. At the time, my GF was living out in Chicago, and on Fridays, after work, I would drive out from Michigan to spend the weekend with her. During those 4-5 hour drives Nomads started to form. I’d get scenes in my head that played along to the music I was listening to. Little snippets that I’d write down and try to capture. From there it was figuring out the characters and who they were, what they were doing, and what the world was like that they lived in. I spent a lot of time just sketching the characters and animals that lived in that world before actually putting a cohesive story together.
MFR: Speaking of process, do you have a favorite part of creating? Is there one you would say is your least favorite? Ryan: My favorite part is inking. It’s the turning point for me when the pages finally start to take form from this idea to a real thing. It’s putting the pen to paper. It’s clean and refined and other people can start to look at it and see what I was seeing in my head and actually get it. I don’t think I have a least favorite part of comics as in something I don’t like, but the most difficult part for me is taking it from script to thumbnails. There is a lot of doubt in those early phases. I spend a lot of time second-guessing myself and my compositions and the panel choices. It’s a step of the process that I feel a lot of resistance in progress. But once I start laying the inks down there’s a lot of momentum and excitement pushing me to the finish line.
MFR: I love the texture your art has in this book. And the colors are amazing! What tools did you use to create the pages for Nomads? Ryan: Nomads has been a testing ground for me, I’ll use this series to try new techniques and processes and then take what I learn from this into my client work. The first chapter there is no ink. The linework was all pencils with digital colors underneath. The second chapter is all digital linework, and the 3rd and 4th chapters are a hybrid of traditional pencils and inks with digital colors. For the traditional stuff I use; 11 x 17 Strathmore 300 series paper, Pentel brush pens, G nib dip pens, and Speedball super black ink. For the colors and letters, I work in photoshop using dry media brushes to add an additional layer of texture. The idea for Nomads was for the art to reflect the rough natural feeling of the world. The colors are vibrant but with a gritty texture, the brushes are fuzzy, and the sound effects are done in a loose style. Everything comes together to help fill in the aesthetic of the world.
MFR: I also love all the process stuff you share in the book (like the sketchbook, guest pin-ups, etc). Why do you think extra features like this appeal to fans?Ryan: Thanks man, I was so stoked to get some really cool contemporary artists to throw in on some pinups and art. I think this stuff is interesting to people because it allows them to connect to the story on a different level. Letting people participate and contribute art to the book, or see some of the rougher edges in the early sketches. It’s more intimate than just “here’s my story. read it, goodbye!” You get to see where some of this stuff comes from and potentially be a part of it.
MFR: You credit Steven Kuerbitz as editor and giving you writing advice on Nomads. Can you describe this work process? Ryan: Steve is a long-time friend and collaborator. He’s been a ride or die since the beginning, and he is always the first person to take a crack at my first rough drafts. He is a fantastic, brilliant writer, and is a lot like an editor for me. For Nomads, he helped give me direction to make it a more complex and meaningful story. More specifically by focusing on the relationship between Hawk and Boar, and their strengths and weaknesses as characters. It’s just like how we used to do in the diner days, I usually just drop in a DM like: “Hey I got this crazy idea, you wanna read it?” He takes a look, gives me notes. And I go from there. He’ll send scripts my way to read, and I’ll give feedback. And we’ve just kept it going. It helps to have a really close friend who can give a fresh set of eyes to whatever you are working on. And I think through our years of workshopping together we’ve got a dynamic that is hard to come by for collaborators. Sometimes it can be tough to take a critique on something you are just starting, but I trust Steve to give me honest constructive feedback.
MFR: You’ve also collaborated with others before (like with Jonathan Thomspon on A Game of Doubles). What’s it like working for someone else’s script versus working on your own? Ryan: It’s fun man. I think comics are their best when they are a true synthesis of the creators involved. Each person who touches the project leaves a bit of themselves in it, and it becomes something new. And what’s really cool is that each combination with creators will create an entirely different comic. And it’s exciting to see how my style interacts and changes with other styles of scripts and stories.
MFR: So what’s next for Nomads? Because what I read ends in a big cliffhanger! Ryan:I am aiming to have a campaign for NOMADS Volume 2: The Freeze Arc ready for December 2021. Really trying to step this one up in scale and in the world, and take what I learned in 2020 and use that as the foundations for Volume 2.Hawk and Boar despite the odds have found the Shaman: Oramana! And from there are hoping to find clues and guidance on where Hawk’s tribe has disappeared to. It’s a journey to the lands far beyond the Lush and the Badlands. The Nomads will be traveling north to the frozen forests of The Freeze.
MFR: Are you working on anything else aside from Nomads? Ryan: I have a dark fantasy series coming up with the aforementioned Steven Kuerbitz that we’ll hopefully be announcing in the Fall. It’s like Goodfellas, meets Jojo’s Bizarre Adventure, Meets Dungeons and Dragons. It’s going to be one hell of a reunion for us, as our last collaboration was released in 2017.
MFR: And finally, where can readers find you and your work? Ryan: You can buy a copy of Nomads Volume One at tavarezart.bigcartel.com, you can catch a sample at www.tavarezart.com and see more of my work there. And if you’re on Instagram I post process stuff there @tavarezart. Thanks for taking the time! Hope you enjoy the savage world of NOMADS!
SAVE YOURSELF! #3 hits your local comic book store August 18th, but thanks to BOOM! Studios, Monkeys Fighting Robots has an exclusive five-page preview for you.
About the issue: Even as Gigi is still reeling from the revelations about the Lovely Trio, she’ll have to pull it together to rescue her brother Shawn! And the only place she can turn to for help is Mia and the Cosmic Federation, who will need Gigi if they ever hope to expose the truth about the Lovely Trio…
SAVE YOURSELF! #3 is by writer Bones Leopard and artists Kelly & Nichole Matthews, with letters by Jim Campbell. The main cover is by the Matthews, with the Magical Girl variant by acclaimed director and artist Stephanie Gonzaga.
“Perfect for fans who grew up loving magical girls and are ready to step up and save the world, no matter who they have to face”
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DAREDEVIL #32 hits your local comic book store July 28th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive 4-page preview for you.
About the issue: “LOCKDOWN” STARTS HERE! The Angel of Death has come to Hell’s Kitchen and New York City. A series of grisly murders tests Elektra’s mettle and commitment to her role as the new DAREDEVIL, as the city spirals in a state of near panic. Meanwhile, Matt Murdock faces tests and challenges of his own, as the inmates he’s serving time alongside aren’t the ones in the prison targeting him…
The issue is by writer Chip Zdarsky, penciller Mike Hawthorne, inker Adriano Di Benedetto, colorist Marcio Menyz, and letterer Clayton Cowles. The cover is by Marco Checchetto and Matthew Wilson.
DAREDEVIL has been one of Marvel’s most critically acclaimed series over the past few years. It’s nominated for three awards at this year’s Eisners: Best Writer for Zdarsky, Best Penciller/Inker for Checchetto, and Best Continuing Series.
Check out the DAREDEVIL #32 preview below:
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Continuing from 
Throughout Shadowman #4, Davis-Hunt presents a steady layout of panels and art before going into a sudden change. For example, a regular day in London with five wide panels. It gives the reader a sense of normalcy until something comes to disrupt it. In this case, the issue’s antagonist with his bold outline and monstrous appearance complete with no borders surrounding him. It feels so overwhelming that his purple coloring and bright magic symbols he employs through Bellaire almost feel unnecessary. That’s all to say nothing of the two-page spreads of the Deadside visions that overwhelm some characters.
