Usagi Yojimbo #13 enters the climax of a story arc in this week’s release from IDW. Creator Stan Sakai as writer, artist, and letter joins colorist Tom Luth in a rather powerful issue.
Background and Recap
In IDW’s chapter on the wandering long-eared ronin, Usagi doesn’t just take on new journeys but encounters old friends. One is a samurai group who serve his late lord Mifune, the lord Usagi went to great lengths to keep his dignity. Because his slayer Lord Hikiji would’ve put Mifune’s head on display. But what happens when Usagi’s home village, lead by his childhood rival Kenichi, had to swear loyalty to Mifune’s slayer less the village face destruction? Well, Usagi has no resentment towards Kenichi despite him marrying their childhood sweetheart, Mariko, and raising Usagi’s son, he never knew. In fact, he’s more than willing to help out Kenichi when goings get tough. However, the remnants of Lord Mifune’s samurai plan to wipe out the village in vengeance against Lord Hikiji. Usagi ultimately finds the samurai’s plan too extreme since it puts innocents in danger and decides to help Kenichi.
Usagi Yojimbo #13 Drives Anticipation
While this four-part arc is better with context from the previous two issues, this issue can stand on its own. With Stan Sakai focusing on writing Usagi and Kenichi’s relationship, the reader of Usagi Yojimbo #13 gets an idea of what they’re up against. Despite their differences, Usagi and Kenichi are still friends who recognize one another’s strengths and weaknesses. Unfortunately, while Usagi’s cunning skill in a quick-time strategy with Kenichi’s complementary aggressiveness can’t solve everything. A flashback displays this as, despite their teamwork, they still come up short on what to take away from it.
Especially when a call for help, they planned ends up failing. But before a major cliffhanger comes to rub this conflict in Usagi’s face, a chance for a turnabout occurs. But since the reader doesn’t know if this is a good or bad chance, it sets up a powerful cliffhanger for a reader to await the next chapter.
Art
Stan Sakai’s cartooning remains extremely efficient and expressive after many years. Many of the unnamed characters look very similar, but Sakai takes the time to make sure they are never the same. While they are often killed off in cartoonish fashion with imaginary skulls appearing over the corpses, it is important to make each kill important. The best display of that is in contrast with scenes of intense struggle. Mariko is exhausted in all of her appearances with her flustered expressions and messy hair. So seeing the adrenaline in her spike in an encounter and killing potential attackers is a scene of cathartic levity. Every piece of Sakai’s artwork, including the wordmark lettering handmade for little noises, feels expertly crafted.
Tom Luth, as the colorist, brings about a natural sense of the setting in Usagi Yojimbo #13. The uniforms the enemy samurai wear in the first pages tells a lot about what happened in the previous chapters. This case being infiltration of Kenichi’s guard before a larger encounter, has them change to outfits matching Usagi’s. It’s a small but very relevant point that brings up the conflict between Usagi and enemy leader Kato. While they both served the same lord, they have very different goals.
The Legend Continues In Usagi Yojimbo #13
Usagi Yojimbo #13 reminds readers why this series was nominated for Eisners. From the efficient but carefully crafted artwork to storytelling that raises the tensions. While this issue does end on a cliffhanger, it’s only because the story here needs a grand finale to match. So stay tuned for the next issue.
From creators Brian Stelfreeze and Doug Wagner comes a sharp, intelligent new secret agent comic series in the form of Thomas River, and they decided it deserved its own soundtrack. This politically charged and intense series follows an African American master spy investigating attacks against American cities, all while dealing with the turbulent racial divide in the United States. The unexpected complexity of this Kickstarter comic is matched by the music the two creators have picked for it and will make for a kick-ass soundtrack to go along with the reading experience.
Brian Stelfreeze
I enjoy thinking of a specific soundtrack when I’m drawing certain scenes. It helps me to think of things rhythmically rather than artistically. Different beats and tempos push me to draw different lines.
Pharoahe Monch, “Simon Says”
Accepting the mental of bad-ass. This is the song I think of when Thomas makes the decision to start dropping bodies. It just feels like one of those “you just made me mad” slow-motion sequences.
No time to bleed. I think of the song for those timebomb situations. When Thomas has half the time to do what needs to be done but he charges into action anyways.
Before starting each writing session for Thomas River #1, I’d give Hannah a listen. For me, her cover of “Praise You” has the perfect balance of grimness and hope that I wanted to portray in the first issue. It set my creative mind in the proper state before ever typing a word.
I always tend to throw in an ’80s classic into my rotation for every story. There’s just something about those songs from my teen years that brings an edge to my writing approach. This song just seemed to fit the paranoia and secrecy of everything happening behind the scenes in Thomas River. In my head, Thomas always has an itch nagging him from somewhere in his subconscious. He knows that forces are always at play and it’s just a matter of time before he is called to face them.
Much like “Praise You,” this song speaks to the solemness I wanted to convey in this first issue. It also kept reminding me that everyone is a hero in their own story. It became the theme song for both Thomas AND Amena. Once you read it, you’ll understand.
Natasha Blume, “Black Sea”
I needed this particular song to constantly remind me of the allure of death, the peacefulness that calls from the thought of it just all being over and quiet. Yes, that sounds dark.
Tatiana has a certain edginess in her acoustic work that makes the hackles on my neck stand up and makes me instantaneously introspective. I listened to this before writing the scene with Amena and Uncle Aaron in the subway. It encapsulated the feel I thought Amena was experiencing in that moment.
I have to laugh at myself a little bit with this one, and yes, I know it’s a strange choice, but hear me out. It felt right for the President’s speech and final ultimatum. I needed a little attitude and Taylor Swift and Kendrick Lamar did it for me.
The Backdraft soundtrack is always my go-to when I need an injection of badassery. I use it all the time to help me work out storylines, and it is the perfect soundtrack for Thomas River.
“Thomas River is known as a world-renowned engineer among his metropolitan friends. He jets around the globe as a consultant to the biggest engineering firms, but that is simply a cover. In reality, River is the quintessential secret agent—equivalent to Jason Bourne, Ethan Hunt, and James Bond in every manner but one… he is a Black man. Raised by his working-class family in Baltimore, Thomas was an exceptionally gifted student. While he could have gone down the wrong path, and almost did, Thomas’ mother simply wouldn’t let it happen. After buckling down, Thomas earned a full-ride to Cornell, where he double-majored in Structural Engineering and Linguistics. Graduating with honors, the CIA saw his true potential and recruited him into their ranks. And he did not disappoint.”
Head Over to the Thomas River Kickstarter to start reading!
Norse Mythology #1, out now from Dark Horse Comics, is a seamless introduction to a mythology universe that many may not have encountered before.
About the Book: In 2017, Neil Gaiman published his book Norse Mythology, which retold many of the classics stories with the flair of Gaiman’s writing while remaining true to the original tales. P. Craig Russell has adapted the book into scripts for a new comic book series, featuring many incredibly talented artists. This may be the first experience in Norse folklore for many people, and it is an amazing place to begin.
Norse Mythology #1 Story
Norse myths are not as prevalent as those of say, the Greek or Romans. The only exposure they have had to Norse mythology was through Thor comic books or movies for most people. These obviously take many liberties, so Norse Mythology #1 is a wonderful way to take in the classic stories. Gaiman and Russell present the myths to the reader in a sequence that makes it very understandable and easy to follow. They don’t bombard you with too many characters or places at once, and everything that is introduced is given enough time and description so that it is easier to remember.
Norse Mythology #1 features three stories, which each serve a purpose in the narrative. The first story, “Yggdrasil and the Nine Worlds,” is a story that takes us all over the many settings of Norse mythology and introduces the reader to the many new places the following stories will be taking place. It informs the reader about the tree of life, a dragon, and the Norns, but there is no real story to this first section. Instead, it is a wonderful introduction that leaves you in awe of all the fantastic places within the world of Norse mythology. “Mimir’s Head and Odin’s Eye” is a story of Odin’s past and acclimates the reader with the style of events in this new world. The final story, “The Treasures of the Gods,” is about Thor and Loki, and is the beginning of a tale to be later continued. This leaves the reader wanting to know how the story ends and provides a basis for what future stories might be like.
“Yggdrasil and the Nine Worlds”
P. Craig Russel also did the art for the first story of Norse Mythology #1, and he does a fantastic job of showcasing the many diverse locations in Norse mythology. Russel’s characters are sometimes portrayed with very little detail, even when their scenery is very intricate. This is a phenomenal way to portray a character as ominous since they now appear to the reader only as a figure.
“Yggdrasil and the Nine Worlds” features page after page of vibrant colors, painting the many worlds of Norse mythology in a beautiful light. Through Lovern Kindzierski’s color choice, the first look at the Norse myths’ world provides a lasting impact on the reader and draws them into the fantastic world.
“Mimir’s Head and Odin’s Eye”
Mike Mignola’s art adds a lot to Norse Mythology #1. His figures are straightforward most of the time, and Mignola makes heavy use of shadow. The shadows reflect the tone of the story and provide an interesting stylizes look throughout the story.
Dave Stewart’s coloring choices for “Mimir’s Head and Odin’s Eye” are much darker than the previous story, reflecting this tale’s tone better. This choice also has the added effect of having things such as blood draw more attention because the bright red contrasts heavily with everything around it.
“The Treasures of the Gods”
Jerry Ordway provides a wonderful visual experience in Norse Mythology #1. All of the characters have such detailed faces that are incredibly expressive, and it is evident that so much care is put into every panel background. Ordway gives us an aerial view of mountain tops, panels full of splintered wood, and even intricately detailed stone walls. Ordway’s rendition of Loki is also impeccable, and it is easy to tell how mischievous he is simply through facial expressions.
Lovern Kindzierski does another phenomenal job on the second story he colors in Norse Mythology #1, and his work brings the art of Ordway to life. The colors change throughout the story to reflect the tone of scenes, and the choice of bright, single-colored backgrounds for certain panels helps add energy to a scene and bring focus to a character’s actions.
Norse Mythology #1 Lettering
Galen Showman did the lettering for all of Norse Mythology #1, and his work was excellent on every page of the issue. Using unique fonts when a certain character is yelling or being shaken was very interesting to see. The choice to not have a caption box for words that describe the story is genius because it gives the reader the feeling that the words aren’t coming from someone narrating the story, but instead exist as just part of the world.
Conclusion
Norse Mythology #1 is a fantastic introduction to an enormous collection of myths that have been told for centuries. Even if you have had prior exposure to Norse myths or even read the original book by Neil Gaiman, this series is worth checking out for the beautiful portrayal of these timeless figures.
Wolverine #6 is out this week from Marvel Comics. Writer Benjamin Percy, artist Viktor Bogdanovic, colorist Matthew Wilson, and letterer VC’s Cory Petit present part three of 22 “X of Swords,” Logan seeks out the Muramasa blade, the weapon he will wield in Otherworld’s contest of champions. However, he is not the only one who pursues the blade.
Percy comes strong out of the gate, giving readers what may be the strongest written issue in this series to date. Past arcs have taken a while to pick up steam, but this is a tightly written issue. Add to that the fact that he has to pivot away from the story he’s been setting up in order to participate in this X-Men mega-crossover, but Percy steers into the skid, telling one of Logan’s most personal stories yet.
This issue starts bold from the very first page. Percy’s prose about hell hits hard. It is succinct and visceral, capturing Wolverine’s durability, as he does whatever it takes and endures any trial to succeed in his mission. Petit does an excellent job of wrapping the lettering around a beautifully drawn and colored scene by Bogdanovic and Wilson that contains one of the most compelling images in the book — Wolverine’s claws slowly emerging from a fiery pit of lava…literally in hell!
Bogdanovic’s work here is subtle with just the tip of Logan’s claws emerging, but they are accentuated by Wilson’s colors, whose slight tint of red on the claws make them appear to be glowing from the heat. The way this image takes up half of the first page really draws readers in right from the beginning with its evocative imagery.
The entire story is framed around Logan’s emerging from the lava. This serves to capture Logan’s unkillability and determination as he walks through the fires of hell itself! As we arrive at the second to last page, we are again treated to another powerful but haunting Wolverine image.
The skull Bogdanovic draws provokes feelings of horror as Wilson’s colors in Logan’s eyes show that, despite having all of his flesh and most of his vital organs burned away, there is a soul alive inside of him.
This issue was very much a trial by fire (literally!) for Wolverine. Percy’s writing has never been stronger, while Bogdanovic and Wilson draw and color some gorgeous if at times, horrific imagery that fits both the moodiness and low-grade horror of the title. Petit’s letters provide the reader with compelling dialogue and exposition without crowding or weighing down the story.
Wolverine #6 is another solid chapter in the “X of Swords” mega-event, with Logan’s journey continuing in X-Force #13.
What did you think of Wolverine #6? Are you enjoying “X of Swords?” Tell us in the comments below!
Even for the denizens of Asgard, it seems everything old can be made new again. Marvel Comics has released a preview of the upcoming THOR #9, available on November 4th, featuring the return of Thor’s old human ward, Don Blake.
Says Marvel about Blake’s return: “So where has the good doctor been all this time? The answer will shock Thor and fans alike as Donald Blake is no longer the man he once was.”
You can watch a motion-comic trailer, check out the cover art, and read the full Marvel press release below.
Do you have fond memories of the Don Blake years with Thor? Let us know what you think in the Comments section, and please share this post on social media using the links below.
DONALD BLAKE RETURNS WITH A VENGEANCE IN THE THOR #9 TRAILER
“Prey” by Donny Cates and Nic Klein kicks off on November 4th!
New York, NY— October 8, 2020 — Donny Cates and Nic Klein’s critically acclaimed run on THOR continues next month with the start of a brand-new arc! “Prey” will feature the startling return of Thor’s classic alter ego, Donald Blake, in what promises to be Donny Cates’ darkest story yet.
It’s been years since the God of Thunder required his human ward. So where has the good doctor been all this time? The answer will shock Thor and fans alike as Donald Blake is no longer the man he once was. Enter the twisted prison of Donald Blake in this chilling trailer, featuring never-before-seen artwork from THOR #9!
“‘Prey’ is maybe the most fun I’ve ever had writing at Marvel. Thor fans are going to lose their minds over this one and I can’t wait to unleash this terrifying beast on them!” Cates said. “Nic Klein is back and at the top of his game on this one. I promise you this, True Believers, just like the mighty thunder king himself…..you won’t see this one coming. Behold…the return of Donald Blake!”
Journey into a dark mystery left unsolved since 1962 when THOR #9 arrives on November 4th!
Flip This Bitch is a full-service production design firm that creates fictional fantasy worlds come alive on hit web series like Critical Role and makes reality shows like Jersey Shore look slick and sexy.
Flip This Bitch is a small group of dedicated artists. Depending on the project, the company typically organizes film-set duties for 30 or more people. However, the group’s core includes President and Production Designer Jeffrey Toraichi Eyser, VP and Set Decorator Sue Oneto, and Executive VP and Art Director Joe Myers.
PopAxiom wrangled Jeff, Sue, and Joe for a chat about what they do, how they do it, and the origin of the company’s name.
How did the members of Flip This Bitch get their start in the film and television industry?
Jeff: “I moved to Los Angeles back in 2006 and landed my first job in television with Bad Girls season one. From there, I fell in love with the art department and design. It was something I had a focus on growing up, and so it was a natural shift.”
Jeffrey Toraichi Eyser, Production Designer & President – Flip This Bitch
Joe: “I went to film school in Florida and drove across the country three days later. I started an internship, and within a year or two, I was working with Jeff on Bad Girls Club. He said, ‘Hey do you want to do this job with fewer people, but more respect?'”
Joe Myers, Art Director & VP – Flip This Bitch
Sue: “My education is actually in social work. I got my Masters in social work but quickly realized there’s no money in that and I wasn’t married to the idea that I loved doing it. I always had a dream to be living in California. I drove across the country to California six years ago. I had a friend who worked in the art department as a decorator and asked her if she could get me a quick gig for some cash while I figure out what I want to do. She hired me for two weeks on the Tyra Banks pilot for her talk show. I fell in love with the art department. It was a very fast switch in my head. I was passionate about it, and it was a career I could build on. Then I met these freaks who got my name from a mutual contact and asked me if I’d come to a job for a couple of days. Here we are five years later.”
Sue Oneto, Set Decorator & VP of Projects – Flip This Bitch
Where did Flip This Bitch get its start?
Jeff: “Flip This Bitch has been around for almost 12 years, but we’ve been a real company for the last five. It started as a funny idea with my friend Alexis and I as a title for our team. We thought it would be funny to have a crew wearing t-shirts with our faces on it saying ‘Flip This Bitch,’ so we did. We became known as Flip This Bitch, and as we progressed and became bigger in the industry, we became a real company. We have a team of carpenters; a team of draftsmen; people who get us lunch.”
Sue: “The first project that I was on with Flip This Bitch was a reality show called Fix My Mom, where they just pitted mothers and daughters sort of against each other, but trying to make them come together. I started working on the Bad Girls Club.”
Joe: “Our first big show as Flip This Bitch, as recognized by the government, was Fix My Mom.”
Jeff: “Fix My Mom was our very first show as a team, I did 15 seasons of Bad Girls Club. Collectively we did about seven or so seasons. We did a season of The Real World and MTV’s The Challenge in Spain.”
Sue: “We’ve done the reincarnated Jersey Shore, which bled into Floribama Shore, which bled into many other MTV reality shows that we tend to always do.”
Jeff: “We do kind of everything. We do reality TV, TV, and film, but we also do residential projects for people, restaurants, stage productions, and gameshow-type shows. It’s an interesting niche we’ve carved out for ourselves.”
Flip This Bitch works on a lot of reality television, which is a lot more work than most viewers recognize.
Jeff: “Ultimately, it’s funny; people tend to look down on the reality TV world. But I feel like the mindset is the same. You’re developing a world for the characters. Our characters happen to live in the world we create. We have to make sure there’s a bar near-by and a pool table to keep people busy. It’s about creating a flow through the set and how people will interact with it.”
Joe: “I think one of the primary things that we’ve talked about before, so many times a scripted show is trying to dull-down the fantastical, whereas we take reality and lift it and heighten the experience.”
Jeff: “A lot of times, we’re building these sets. Even when you see a show that takes place in a house, we’re building sets within the house. A lot of the walls you see are built in front of existing walls to hide the cabling, lighting, and camera gear. You generally see about half of an actual house. We’ve gone in and built rooms inside of rooms to create our looks. I don’t think people realize how much work goes into a lot of these set constructions.”
Reality TV of the likes worked on by Flip This Bitch film all over the world.
Sue: “There was one year where we clocked like thirty-something flights.
Joe: For three months, we traveled between Spain, Georgia, and Florida.”
How many projects does Flip This Bitch handle at any given time? The answer is a bit hazy when things are continuously busy.
Jeff: “Currently, we have six?”
Sue: “Seven?”
Joe: “I was thinking five.”
Where does each member draw inspiration?
Sue: “The first name that comes to my head and I’m stealing it from Jeff because I know he’s going to say it is Kelly Wearstler. She’s a genius with putting crazy combinations of patterns, furniture, and lighting together, and it all looks brilliant. She’s probably my number one.”
Joe: “My aesthetic is probably less from interior design and more from print and graphic design, like screen printing and minimalist design; 2D art is where my heart is.”
Jeff: “There are so many things to pull from. I’m really into chaos right now. It’s all about trying to meld things into our work.”
Flip This Bitch services a wide range of clients.
Jeff: “We work with MTV, Discovery, SyFy channel, NETFLIX, and Critical Role. The residential project that we’re doing now, which I can’t reveal, is big in that world.”
Role-playing games (RPGs) like Dungeons and Dragons are popular because of Critical Role and Flip This Bitch’s work. It helps that Jeff and Joe are fans of RPGs.
Joe: “We have a Flip This Bitch Pathfinder Game.”
Role-playing games aren’t part of Sue’s wheelhouse.
Sue: “I do enjoy the Critical Role jobs. I don’t understand it. But I love to learn, and I get to learn about all these characters and the world. It’s a fun challenge for me because it’s totally different from anything I’ve been into.”
Jeff: “When you love working with people, it makes it all fun.”
What’s a dream project for each member of the team?
Sue: “I want to do horror. If they were to remake A Nightmare On Elm Street, that would be so amazing to me!”
Joe: “I would love to do something like future LA. Something like Westworld or Blade Runner. I think that future-mid-century aesthetic works well with our skillset. We’d knock it out of the park.”
Jeff: “Anything Evil Dead. I would lose my mind.”
Flip This Bitch handles films, television, reality television, game shows, and homes. So, what’s a tip from the team for designing at home?
Sue: “I love nature and the outdoors, so I take every opportunity to bring that inside. So, plants or using a lot of wood or stone. I advocate for plants everywhere.”
Jeff: “I have a stock answer for this one. My biggest tip is that there are no rules. You shouldn’t be afraid to do whatever makes you happy.”
What’s coming next from Flip This Bitch?
Joe: “We’re working on Top Elf season two for Nickelodeon. It’ll be out for Christmas. Children get to compete to be Santa’s next helper.”
Jeff: “We’re doing a secret dating show that we can’t talk about and another in Georgia we can’t talk about.”
Are reality shows in your queue?
Thanks to Flip This Bitch for making this interview possible.
Writer G. Willow Wilson and artist Nick Robles continue to craft an immensely pleasing tale in “The Dreaming: The Waking Hours” #3. This issue offers emotional weight, whimsy, and classic callbacks aplenty to create what may be the most entertaining issue of this series thus far. With outstanding visual direction from Robles and colorist Mat Lopes, and tonally superb lettering from Simon Bowland, this new chapter of The Dreaming is a surefire crowdpleaser for new readers and classic Sandman fans alike.
“In the waking world, Ruin and the fallen cherub Jophiel have teamed up with the sorceress Heather After to try to pull Lindy out of the Dreaming, and home to her newborn daughter…but they’d better work fast. Lindy’s mind is rapidly disintegrating as she reckons with thousands of possibilities for who Shakespeare really was, each one alive and walking around in front of her—and if she can’t keep it together, then she’ll be lost forever!”
Writing & Plot
G. Willow Wilson‘s approach to writing the inhabitants and guests of the Dream Realm in “Waking Hours” #3 makes for some of the most pleasant and comparatively light-hearted storytelling seen in this universe. Don’t get me wrong, there’s still plenty of emotional weight to be felt in these pages, (Lindy’s life story is no pleasant affair) but the air of good intentions and pleasant mischief makes this a hard comic to not have fun with. Lindy being stuck in a realm full of potential Shakespeares from all manner of literary theory is quietly hilarious. The journey of a hopelessly incompetent nightmare, a smartassed angel, and their dangerous with counterpart all trying to reunite an infant with its mother feels vaguely Pratchett-esque in the best possible ways. The fact that the whole comic feels so damn smart, while also paying superb homage to the creation of Neil Gaiman before her is the icing on the cake. Each new character is a great addition to the Sandman mythos, and the old characters feel exactly like they always have. Some special appearances by classic characters aren’t just for fan service (although they are great for that), but they genuinely serve the plot. The dialogue and narration are uniquely delivered based on the character speaking/thinking the lines, and they all also feel naturalistic and easy for readers to get in tune with. The poetic and literary prose style of prior Sandman tales has been eschewed in favor of something more new-reader friendly, but this doesn’t diminish the experience and makes for a stellar read.
Art Direction
The visual symphony that is created by Nick Robles’s pencils and Mat Lopes’s colors in “The Waking Hours” #3 gets continually more impressive as it continues. The changes in method from scene to scene are seamless yet breathtaking, as Robles casually changes from conventional pencils to what seem like watercolor paints and back again. It’s akin to J.H. William III’s work in Overture, but not quite as radical. The penciller makes his mark on The Dreaming by still offering a similar style to Bilquis Evely’s run on the prior series, but still also making these huge departures that add not just variety, but the tonal context within a scene. The images of Dream wandering around his prison for nightmares does deserve a different aesthetic than the rest of the book. Mat Lopes’s colors serve as the unifying thread of creative cohesion between the prior Dreaming run and this one, and it’s difficult to imagine anyone but him coloring this universe at this point. Each and every page on this comic is filled with vibrance. Even the rainy and fog-covered London streets appear luminescent. Each character has their own color scheme that seems to follow them wherever they go; Lindy is surrounded by yellow light from candles or the sun, Ruin brings cool blues and violets with him wherever he wanders, and Dream brings his usual ever-changing array of starlit skies and the morphing color waves of dreamy realities. There’s one particular scene where a summoning (no spoilers!) occurs where Robles’s talents quite literally explode onto the page in fiery blues and ethereal tones. The letters from Simon Bowland, another carry-over from Spurrier and Evely’s run, are just as varied and tonally mixed as all great Sandman stories should be. Every character would seem to have their own font, and the wavering or stilted delivery of some dialogue wraps the reader in the experience of being a part of this comic. Much like its predecessor, this is easily one of the best looking comics hitting shelves right today.
“The Dreaming: The Waking Hours” #3 is a whimsical and emotional chapter full of more brilliant characterization and fantastic character appearances than could be dreamed of in a good night’s sleep. G. Willow Wilson’s script dances across the lines of relatable human drama, horror, and literary whimsy while also giving us a compelling character-focused narrative. The visual marvel that is the combined work of Nick Robles and Mat Lopes shifts and changes among all manner of beautiful sights while keeping a consistent visual core. This is yet another brilliant chapter for this Sandman Universe tale, and a great read whether you’re a long time fan or not. Be sure to grab this newest release from your local comic shop when it hits shelves on 10/8!
Longtime production designer Randy Ser unleashes a torrent of terror in Cruiser, his second film as a director after working on films and shows like The Middle, The Mighty Ducks, and My Name Is Earl.
Ser’s new film, Cruiser, follows the unnamed titular character played by Tony Award-winning Shuler Hensley. Cruiser, the character, murders a cop then assumes his identity. It’s not too long before Cruiser’s kidnapped Tara Kirkland (Lori Beth Sikes) and holds her captive so that she can be witness to his martyrdom.
PopAxiom spoke with Randy about going from sunny South Florida to sunny Los Angeles, making his horror film Cruiser, and working with Sam Raimi on Darkman.
Childhood Dream
Randy Sur grew up in South Florida, where he recalls, “I always wanted to be a filmmaker. Since I was a kid, I was completely enamored by Universal horror films of the 30s; Wolf Man; Frankenstein; The Mummy; all those characters.”
In the fifth grade, Randy “got into a play in fifth grade, and it hooked me.” Hooked is probably too light a word. “I got an AA with an emphasis in design. I got a BA in theatre from Florida State. Then I followed that up with an MFA in directing from the Florida State School of Theatre.”
“It was a childhood dream,” Randy says, and he’s spent a lifetime living it.
For Randy, he “just wanted to be involved in the business. I knew it was not going to be easy to make a career at it, so I studied as much as I could to see what I could get going.”
After graduating, Randy “came out to LA,” he says, “I got a job with another Florida State alum teaching pre-school four hours a day. A lot of the parents there were involved in the entertainment industry. One of them got me a job in an industrial film.”
“A few months down the road,” Randy continues, “I got a job on a film called Exterminator 2.”
One of Randy’s early connections included designer Julie Fanton. “We ended up working together for 40 years until she retired recently. We worked on things like Darkman, The Mighty Ducks, and The Middle.”
All You Need
Randy’s directed two films. Is it a new goal to go from production design to directing? “I was trying to make the change for a long time. I was the second unit director on Burning Zone, also on a pilot for another series. So, I started branching towards what I wanted to do.”
Randy says he puts a lot of story into his design work. “In my heart, I’ve always considered myself a storyteller, so I wanted a chance to tell a story.”
During this period, Randy met Sam Hensley Jr. “We’ve been producing partners for over 25 years,” Randy says. “He showed me a novel that he thought would make a good movie.”
Sam turned the novel into a script and got it to Randy. “We all met up in Tallahassee and started to move forward with the script. That movie got a way down the road, we raised some money, we started to shoot the movie, and then the money fell out.”
Discouraged, but not defeated, Randy and Sam pressed on, “We wrote All You Need. We went out and raised the money independently and got to make our movie. It starred Kellie Martin, and because of her, we ended up selling the film, and it got a Thanksgiving premiere on Lifetime.”
After that, Randy “got involved in second unit directing on action films. I did all the car racing scenes for a film called Dirt and other films.”
About Cruiser
“During all those times,” Randy recalls, “Sam and I kept writing things and trying to get other movies going. We decided at one point that horror was the way to go. Sam had an idea for a look for a found-footage movie, and that’s what we ended up going with.”
Randy and Sam planted the idea of Cruiser, and it began to grow. “It’s proven to be rather timely. It’s a found-footage horror film, but also one that makes people think. A lot of the terror in Cruiser comes from the questions the movie brings up.”
“One question is,” Randy explains, “‘Does God let bad things happen to good people?’ In my estimation, there’s a lot to think about with that.”
In the film, “Cruiser [the character] has a message and has a way he wants that message to be seen. He does that by taking a woman captive who will bring his message to light. The message involves going out and dismembering people.”
“Cruiser’s not looking to become a celebrity,” Randy details, “but to bring his beliefs to the attention of the world.”
The message of Cruiser is what Randy thinks “the audience will be pondering a lot after going on a wild, blood and guts ride.”
Cruiser is a “found footage” film, but don’t let that label leave a lasting impression. It’s more than that. “I think what we’ve done with the film is; it’s not a single-camera found footage story. Part of what drew me to it is that we could tell the story in a cinematic way. Sam wrote it; then, we took it further by having the ability to use all kinds of different cameras; body cams; car cameras; cellphones; fixed cameras in parking lots and stores.”
At the heart of Cruiser is Tara, the woman forced to watch a living nightmare. “The performance by Lori Beth Sikes is going to pull the audience into the backseat with her.”
“I think the terror,” Randy says, “is not only being in the backseat while watching this man murder people but when Cruiser talks to Tara — to us — and we have to stare into his soul through the eyes in the rearview mirror.”
Filmmaking is a process that evolves over time. Randy and company added a new layer to the character based on Shuler Hensley’s skillset, which includes an incredible singing voice. “Cruiser sings in many languages while summarily executing his victims. The music he sings takes him to a timeless place, and he uses it to soothe his victims. These angelic sounds coming out during these demonic acts are also meant to confound the audience and their senses. We do that a lot in the film.”
Making Darkman
Darkman is a 1990 action-horror film from director Sam Raimi. It’s a cult gem, and Randy was there every day with the legendary director as a production designer. “Working with Sam was an amazing, creative adventure. He is a man that has a vision, and he will challenge you to interpret and bring that vision to the screen. We’d have so much fun together, acting out scenes, getting so intense we’d knock lamps off of tables.”
“Sam wanted to create a dark, comic book world,” Randy says, “What I brought to him was a love for Universal horror and the looks of those films.”
Randy explains, “I felt that Darkman’s world was between darkness and light, teetering on the brink of life and death, and that played into my favorite film, Frankenstein.”
For Randy, Frankenstein’s influence “showed up a lot in different areas of the movie. Darkman’s loft/lab, to me, was an homage to Frankenstein’s lab and playing with light and dark.”
“We had a two-story fire furnace,” Randy says, “which gave off the light to flicker on Darkman’s face. To me, that was a direct homage to the Tesla Coils in Frankenstein.”
Darkman starred Liam Neeson long before he had that particular set of skills. Neeson’s fame only fueled re-watches of Darkman. “That film still has a huge audience and resonates with today’s younger viewers as well. It just celebrated it’s 30th anniversary the day before Cruiser released.”
Wrapping Up
“Several films like Being There, Brazil, and Awakenings,” sent Randy’s creativity on fire. Directors like “Sidney Lumet and Stanley Kubrick” also left a long-lasting impression.
“My parents took me to the movies when I was a young kid in the 60s,” Randy shares, “and I watched a lot of films I probably shouldn’t have. There’s a number of voices and films that inspire me to want to tell stories.”
“Two of my all-time favorite horror movies,” Randy says, “are Rosemary’s Baby and The Exorcist. Those horror movies put things into the mind’s eye and then terrify you with your thought process.”
That seed of terror in the mind is alive in Randy’s film Cruiser. “We have plenty of blood and gore, but I think there’s that other side of Cruiser that’s going to go into the viewer. You’ll relive the visual terror, but more so the thought-provoking terror.”
Randy’s not a fan of remakes. However, he does say, “I would love to make my interpretation of Frankenstein. But I’d like to get away from that. Once a story’s told, let it be. I don’t know that as a storyteller that I’d want to remake something.”
Cruiser is out and about on a streaming service or VOD near you. So, what’s next for Randy? “Sam and I are developing some other horror and drama ideas. We’re waiting to see what happens with Cruiser before we commit to what we pull out of the sleeve and put in front of an audience.”
Is Cruiser on your watch list?
Thanks to Randy Ser and Projection PR for making this interview possible.
TRANSFORMERS/BACK TO THE FUTURE #1, available from IDW Publishing on October 7th, follows the Decepticons as they steal Doc Brown’s time machine to remake history for their own ends. Cavan Scott’s script is snappy and full of fun with plenty of easter eggs to delight the fans of either franchise.
Cover Art
This entire issue leans heavily on nostalgia, and Juan Samu’s cover is no exception. Marty and Doc Brown are giving their best “That’s heavy!” face when faced with their time-hopping DeLorean converted into an Autobot. The human costumes are movie accurate, the lightning rod from the first film is immediately identifiable, and the flux capacitor makes a pleasing guest appearance. Everything about this cover screams “fun.”
Writing
Great Scott, Cavan Scott! What a fun mashup!
To set the stage, this story picks up almost immediately after the events of the first Back To The Future (BTTF) film but with a twist. Transformers have secretly been observing the time-traveling duo, and the Decepticons decide to win the war against the Autobots with some timeline-altering shenanigans by stealing Doc Brown’s invention.
Nearly everything about this story works. The presence of the Transformers in this world is explained well. The plot makes total sense. And the callbacks/references to the characters from both properties are profuse and enjoyable. Scott also does a great job keeping the tone right in that sweet spot between “just silly enough for kids to enjoy” and “action-oriented enough for adults to have fun.” The only minor critique I have is around the occasional, jarring British slip in some of the dialog and narration (e.g. calling a “speeding car” a “flash motor”) that interrupts the flow of the story. If Editorial can catch those breaks in subsequent issues, this will be a near perfect script.
Pencils/Inks
Samu’s art perfectly matches the high energy and silly fun of Scott’s script. Rather than going for a unique design take or drawing inspiration from the modern films, Samu goes straight to the original cartoons for the Transformers designs. That was the wisest choice to further play on the nostalgia hooks of this issue.
The character designs are just cartoonish enough to not deviate too far from the source material but detailed enough to appeal to a slightly older audience. When translating recognizable actors to comics, it can be jarring when the rendering is so far off that the character looks like a random paper doll. Samu took the time to create a version of Doc Brown and Marty McFly that feels authentic and true to the actors without being a slave to realism. Samu figured out a great compromise between live-action and cartoon that pays respect to both without slighting either.
Coloring
David Garcia Cruz’s colors are generally quite good but with a few rough spots. The highlight of Cruz’s work is the electric blue lightning strikes when the DeLorean time jumps. They’re bright and powerful. Where Cruz’s coloring doesn’t quite work is in the overuse of purple in nearly every panel. You get the impression most of the scenes, night and day, are highlighted with black light bulbs.
Lettering
Neil Uyetake’s lettering is solid, clean and wholly organic for the subject matter. The Transformers emanate a whole gallery of sound effect from changing shape to shooting missiles to starting mini earthquakes, and Uyetake letters the sounds in such a way as to make them seem natural for the panel. Uyetake also made a wise choice by coloring the sound effects to match the object receiving the impact (e.g BONK! is colored the same blue as Starcream’s head when he takes the hit). It’s a small choice that strongly contributes to the integration of sound with the visuals.
Conclusion
TRANSFORMERS/BACK TO THE FUTURE #1, available from IDW Publishing on October 7th, is one of those rare mashups that lives up to expectations. The nostalgia and eater eggs in the story are amped up to 11, and the art will be satisfying for longtime fans and new readers. This is a fun little book that’s worth your time and money.
BLACK WIDOW #2, available from Marvel comics this Wednesday, continues the latest adventure for the one and only Black Widow. Only, that’s not quite the most accurate statement at the moment, as Natasha seems to be anybody but the Black Widow.
***SPOILER WARNING***
Natasha Romanoff has been many things over the years. An Avenger, a spy, a friend, an ally. Now she appears to be something new altogether, thanks to the latest plot arc. Her story is once again changing, and it’s difficult to guess how it will all turn out.
A glance from the outside makes Natasha’s new life look perfect. Like the sort of life one should leave her to – the sort of life she deserves. But the closer one looks, the more cracks appear. It’s clear that there is something nefarious happening behind the scenes. Then again, isn’t that commonly the case for heroes?
Black Widow’s latest series is already setting up to be bigger and bolder than ever. Taking on new perspectives, throwing new challenges into the mix, and overall just being unafraid to take risks in her story.
And so the story continues in Black Widow #2.
The Writing
Picture a perfect life for Natasha. Now, picture that perfect life, but with a mild Stepford Wive’s twist. Now, you have an idea of what Kelly Thompson has written in Black Widow #2. It’s a plot that is slowly unfolding with time, and the gradual progression is enough to send chills down shines. Which in itself almost feels odd, since everything does appear, at a glance, to be perfect.
What makes this issue unique isn’t the story itself (though there is that), but the way the story itself is told. Two famous heroes walk into the scene, and it’s their assessment that provides a glimpse into Natasha’s new life.
It’s a stark comparison to the other perspective, which allows for a subtle creep of what is wrong with this life. It’s so carefully crafted, both inside and out of the story. Here’s Thompson’s finesse shining through.
Every element and revelation in this issue felt like it was setting up for something more to come. Especially that final page, which in itself leaves a pretty strong impression on what is going to happen within the next issue. The scene has been set – now to see it all play out.
Natasha Romanoff’s new life – at a glance.
The Art
The artwork found inside Black Widow #2 is every bit as bold, driven, and dynamic as the leading lady herself. The colors pop off the page, as do small details that simply demand attention, even when logic dictates that it shouldn’t be so.
Elena Casagrande was the lead artist, and is responsible for all of the stunning poses and designs on the pages. Natasha is really rocking her new look, all while seeming quite at home with her new life. Meanwhile, the confusion and exasperation are palpable on those checking up on her.
Those bright colors were provided by Jordie Bellaire, and they are the perfect fit for Natasha’s story. The color palettes of each and every panel seem dominated by the characters stealing the scene – and their current state of mind. That means, at times, a certain shade of red feels almost inescapable.
VC’s Cory Petit’s lettering is the final touch that this issue needed. It handled everything from the perfectly ordinary scenes, to providing the necessary impact during more action-filled scenes.
At least a normal-sized child, right?
Conclusion
Black Widow #2 is an intriguing issue, through and through. A fact that is surely only going to get stronger in time, as the rest of Natasha’s story unfolds. While her comrades may be confused about the situation, one thing is certain – it’s good to have a Black Widow series again.
