AfterShock comics has announced a new series about a post-apocalyptic future where society follows an ancient Ranger Scout rule book. SCOUT’S HONOR #1, available to retailers on January 6th, 2021, is brought to you from multiple Ringo Award-nominated writer David Pepose (Spencer & Locke, Going to the Chapel, The O.Z.) and artist Luca Casalanguida.
Says AfterShock about the new series: “…in a harsh survivalist society that only allows men to serve, Kit has concealed her identity as a woman to pursue her calling as a Ranger Scout. But when she makes a shocking discovery dating back to the Ranger Scouts’ conception, Kit will be forced to reexamine everything she once believed,…”
You can check out a collection of images from the first issue and read the full AfterShock press release below.
Are you a fan of post-apocalyptic stories with a twist? let us know what you think in the Comments section, and please share this post on social media using the links below.
SCOUT’S HONOR #1 / $4.99 / 32 pages / Color / On sale 1.06.21
Writer: David Pepose
Artist: Luca Casalanguida
Colorist: Matt Milla
Letterer: Carlos M. Mangual
Cover: Andy Clarke w/ Jose Villarrubia
Incentive Cover: Brent Schoonover
Years after a nuclear apocalypse, a new society has risen from the ashes…and their bible is an old Ranger Scout manual.
A young Ranger Scout named Kit has endured the harsh survivalist upbringing needed to conquer the irradiated Colorado Badlands. But after discovering a terrible secret once lost to history, Kit must risk everything on a dangerous quest to uncover the truth behind the Ranger Scouts’ doctrine.
From multiple Ringo Award-nominated writer David Pepose (Spencer & Locke, Going to the Chapel, The O.Z.) and artist Luca Casalanguida (James Bond, Lost Soldiers) comes a post-apocalyptic coming-of-age tale that proves when all you know is a lie, a Scout’s Honor is the only way to move forward.
DAVID PEPOSE ON WHAT THE BOOK IS ABOUT AND WHY HE’S EXCITED FOR IT TO COME OUT:
“Scout’s Honor is about a post-apocalyptic cult rising from the ashes of a nuclear war… and their bible is an old Boy Scout manual. Our series follows Kit, a promising young trainee with a big secret — in a harsh survivalist society that only allows men to serve, Kit has concealed her identity as a woman to pursue her calling as a Ranger Scout. But when she makes a shocking discovery dating back to the Ranger Scouts’ conception, Kit will be forced to reexamine everything she once believed, as she struggles to survive both her fellow Ranger Scouts and the radioactive horrors of the Colorado Badlands.
Having been working on this story for over a year now, I’m excited for the world to finally get to meet Kit, and to discover the world of Scout’s Honor. This isn’t just a post-apocalyptic action story — it’s a story about losing your religion, and about having to find your way back through the wilderness. It’s a story about the blindspots of history, and about confronting the ugly truths of our past that lurk beneath the shadows. And that’s not even touching upon the incredible artwork by Luca Casalanguida, Matt Milla and Carlos Mangual, who have made the Colorado Badlands a beautiful but harrowing place for even the toughest of Ranger Scouts. I truly believe that Kit is a heroine for our era, and I can’t wait for readers to follow her dangerous journey in the pages of Scout’s Honor.”
DAVID PEPOSE ON SOME OF HIS INSPIRATIONS BEHIND CREATING THE BOOK:
“The best way for me to describe Scout’s Honor is like Fallout meets Mulan meets The Handmaid’s Tale… but there are tons of other influences that found its way into the book, as well. Video games like The Last of Us and Horizon Zero Dawn were also crucial inspirations for fleshing out this dangerous post-apocalyptic world, while TV shows and movies like The Path and The Hunger Games really spoke to this dystopian society, and the feeling of rediscovery when you learn your entire life might be a lie. And that’s not even including real-world inspirations, like the disillusionment felt by many after the sexual abuse stories coming from the Catholic Church, down to my own spiritual and political awakening as a Jewish writer originally raised in the conservative Midwest.
But ultimately, my biggest inspiration behind the series was watching my two younger brothers serve as Boy Scouts — from their uniforms to their manuals to their bylaws, the Boy Scouts as an organization has this kind of pageantry and regulations that can often feel religious. The idea of history being like a game of telephone felt like some exciting narrative territory to explore, and the idea of the Boy Scout ethos mutating into this hypermasculine survivalist cult felt eerily plausible given the state of the world today. Whether it takes weeks or hundreds of years, eventually the truth will come out — and having to reorient yourself in the face of these startling revelations can be challenging and painful. Thankfully for Kit, the most important Ranger
Scout law is to always be prepared…”
DAVID PEPOSE ON WHAT HIS EARLIER CREATOR-OWNED EXPERIENCES TOUGHT HIM THAT HE WAS ABLE TO APPLY TO THIS BOOK:
“Books like Spencer & Locke, Going to the Chapel, and The O.Z. have taught me that no matter how crazy your high-concepts are, it doesn’t matter one bit unless you’ve got a universal human core at the heart of your story, some emotional anchor that people can access to get invested in your story. If you boil it all down, I truly believe that storytelling is the art of making complete strangers give a damn — and I think in the case of Scout’s Honor, we can all relate to having the rug pulled out from under us, that we find ourselves believing in things that maybe aren’t as constant or enduring as we once thought.
Whereas much of my previous work follows characters digging themselves out of the wreckage of longstanding heartache, Kit’s journey in Scout’s Honor is dealing with the immediate aftermath of trauma, and trying to make sense of it and move forward. There’s a sense of catharsis that comes from exploring trauma that really resonates with readers, because we all have painful experiences that we’re looking to transcend and move past. In that regard, Scout’s Honor really fits in nicely with my previous work, while still being unique thanks to Kit’s distinctive struggles with her life in Ranger Scout society.”
DAVID PEPOSE ON IF HIS TIME AT DC COMICS HELPED HIM BECOME A SUCCESSFUL FREELANCE WRITER:
“Absolutely — it took me three years to get my internship at DC Comics, and it was worth every phone call. (Laughs) It’s easy as a reader to overlook the various elements that go into making a comic — people might know a writer or an artist’s names, but not many readers know who’s inking or coloring or lettering a book, let alone knowing who’s editing or working on production, let alone departments like marketing or publicity or creative services. My time at DC was an amazing experience because it really made me put a face to every aspect of the comics-making process. To be honest, it really was an eye-opening experience that made me truly realize that you could make comics as a career — and absolutely lit the fire under me to pursue that dream long-term.
I’m also lucky because DC was my first experience of interacting with comics editors, including Mike Marts, who would wind up becoming my terrific editor on Scout’s Honor alongside the equally incredible Christina Harrington. I learned so much about the editorial process, which was invaluable towards getting my own comics off the ground — everything from finding reference art, to learning how scripts are paced and formatted, to providing notes on thumbnails, colors, and lettering, I learned
during my time at DC. It really was the perfect boot camp for my comics career.”
DAVID PEPOSE ON ADVICE HE HAS FOR FOLKS THAT WANT TO GET STARTED MAKING COMICS:
“Start small, and get your reps in. When I was first dipping my toes in the world of making comics, I wrote a short script every day for 90 days. But here’s the big secret — they don’t have to be good, let alone published. The most important thing is you will learn something from every script you finish. They say you have to write 100,000 terrible words in order to get to the gold, and I think aspiring creators owe it to themselves to train as hard as they can by themselves before trying to start the marathon of creating a miniseries.
The other critical piece of advice I like to remember? Dessert first — while a reader consumes your story in chronological order, that doesn’t mean you have to build it that way. Writing is supposed to be fun, so write the stuff that speaks to you first — the worst-case scenario is you’ll find out quickly you didn’t have much to work with, but I’ve always found that once you start to pick up momentum, the rest of the story will start to click together in fun and unexpected ways.
And lastly, the other thing I want people to know is that if you want to make a comic, you can make a comic — this is a process that anyone can pick up with enough time, patience, and self-discipline. As someone who grew up in an area with few creative role models, I can tell you firsthand that so many people deprive themselves of a creative career simply because they didn’t give themselves permission to think of themselves as creators. So if you have a dream to make comics, go for it — and start today. Take it from me — the only regret in my career is that I didn’t make the leap years ago.”
The creative team on the project includes Briggs, writer Kyle Higgins, artist Danilo Beyruth, colorist by Tamra Bonvillain, lettering by Hassan Otsmane-Elhaou, and Book Design by Sasha Head.
About the book: In THE TRAP, Jaylen Robinson is a rising sports star from a not-so-great part of the galaxy: Earth. He’s worked hard his whole life. Everyone’s saying that Jaylen is the Next Big Thing for the interstellar sport of the future: surfriding. The future is his. This is his chance. Until it’s not.
Why Monkeys Fighting Robots is excited about The Trap:
• Chicago Sci-Fi, Nuff said!
• Danilo Beyruth’s style works well with an urban, punk, futuristic story.
• Lance Briggs’ statement below, the raw emotion and heart can’t help but endear readers
Briggs’ gives an inside intimate look at the meaning of The Trap:
Before I played professional football, my life was very different.
I grew up in Sacramento, CA during the 1980s and 1990s, with my mother and two older sisters. But while many people hear “Sacramento” and associate it with a place of power and decision making in the state of California, the reality— for many of its residents— is anything but.
Our family struggled no differently than most in the south area. There were times when the pantry was bare and the fridge was empty. Days or weeks without power. Waking up to cold showers before school.
For those of us who came of age in an environment like this, we have a simple name for it: The Trap. Put simply, the name translates to a community that has been failed by its governing bodies. The Trap is both a neighborhood and a resulting way of life— a system designed to keep you from succeeding.
Living in an environment like this comes with an inherent sense of hopelessness. It feels like no one cares about you, like you have no voice, because when you try to use your voice it’s met by common refrains like ”just work harder,” or “comply with the police and you won’t get hurt.” But the truth is far more bleak, made up of liquor stores on every corner, drugs at every turn, constant police stereotyping, shootings, siblings in the house suffering from addiction and eviction notices because your brother stole everything your mother had.
In The Trap, there are very few ways to make money. As a result, residents resort to selling drugs or gang life, which leads to jail time, which then leads to even fewer job prospects. And so, the cycle repeats.
Fortunately for me, I was able to escape. A path towards professional football and a mother who refused to let me fall through the cracks helped me to stay focused. In no small order, both saved my life.
But I am the exception rather than the rule.
The reality is, that few people really understand how easily their lives could have gone a different direction had they simply been born in a different situation— environments, after all, breed influence. When you grow up in The Trap, you do what you have to and become who you have to be, purely to survive.
I’ve spent the last several years, post-retirement, wondering how we give context to issues that too many people disregard, because they don’t apply to them? If you’ve never lived this life, how could you possibly understand it? How do we show people that the lives of the economically and marginally oppressed are just as valid as their own?
It’s time more people understood what THE TRAP really means.
The Trap will be presented in an oversized, deluxe format hardcover (8 ¾ x 11 ⅝ ).
“Well, that was fun!” – Me after reading SHANG-CHI #1
And I don’t know what else you really need to know about the new series from MARVEL featuring their greatest martial arts hero. Sure, I could go into how it’s the first monthly Shang-Chi has had since the 80s (not counting the various one-shots and minis he’s had since.) And yeah, I could spotlight how the book is written by Gene Luen Yang, who’s won awards and acclaim for his works “American Born Chinese” and “Superman Smashes the Klan.” And of course, I could point out that this is the first time Shang-Chi has had an Asian creative team at the helm of his book. Maybe that’s why the character is presented in a way that feels so authentic and contemporary while reconciling his problematic past. Take this exchange that happens after Shang-Chi is reunited with his former nemesis/turned partner/turned romantic interest Special Agent Leiko Wu:
“Shang, no offense, but your English sounds like a fortune cookie. It’s hard to take. You’ve been in the West for quite a while now. You know the language. Why do you talk like that?” – Leiko Wu
“I’ve found that if I slow my cadence and use ‘wise words’, Westerners look at me, rather than past me, when I speak.” – Shang- Chi
And with that, Yang is able to give greater depth to a characteristic that could be (and is) viewed as stereotypical.
Yang’s script crackles with clever dialogue, quick pacing, and good humor. I don’t want to give away any spoilers, except to say that the story not only has plenty of action, hearty chuckles, and a touch of romance, but also a cameo from my favorite giant lizard outside of Godzilla.
“You’re not telling us all that much!” – You, the reader of this review.
Well, allow me to quote the advance press from the Marvel PR folks: Written by award-winning writer Gene Luen Yang and drawn by artists Dike Ruan and Philip Tan, Shang-Chi’s new era will expand his mythos like never before by introducing the Five Weapons Society. Founded by Shang-Chi’s corrupt father, Zheng Zu, these elite warriors have acted as secret protectors of China for centuries, but when Sister Hammer makes a vicious grab for power, the group is thrown into chaos, and Shang-Chi is dragged back into a world he thought he left behind… Shang-Chi’s deep connection with the Five Weapons Society will forge a new destiny for the former Avenger, forever altering both his past and his future.
And that about sums it up. The book is full of action, intrigue, and family drama.
Oh, but they left out one crucial thing…
This book is fun!
SHANG-CHI #1 from Marvel Comics hits your local comic book shop on September 30, the book is written by Gene Luen Yang, with art by Dike Ruan and Philip Tan, Sebastian Cheng drops the color, and you will read Travis Lanham’s letter work. Shang-Chi was created by Steve Englehart and Jim Starlin, the character first appeared in Special Marvel Edition #15 (December 1973).
Are you planning to pick up SHANG-CHI #1 this week? Comment below with your thoughts.
Watching someone spiral out of control can make you uncomfortable, and that’s exactly what The Serve intends to do. This is a slow-paced depiction of a woman having her world crumble day by day. A story centered around basic human needs being ignored and the consequences that can arise as a result. The Swerve is a nail-biting look at someone’s existence being eradicated.
This film takes its time allowing you to grow sympathetic towards the lead character, Holly. Everything around her seems normal, but inside she is progressively losing her sanity. Psychological thrillers set out to play with your mind, but The Swerve plays with your emotions as well. Directed and written by Dean Kapsalis, The film stars Azura Skye, Bryce Pinkham, Ashley Bell, and Zach Rand. The Swerve follows Holly (Skye), a caring mother, and teacher who finds herself going through a mental breakdown, as everyone in her life continues to act like she doesn’t exist. Her family ignores her, her husband is cheating on her, and her sister is the cherry on top of her negative home life. Eventually, Holly finds comfort in one of her students, and her issues just become worse.
Azura Skye as Holly in The Swerve
There aren’t enough words that can speak to how emotionally draining this film can be at times. Kapsalis has effectively written a distressing film that will stick with you once it’s over. The characters aren’t developed outside of Holly, but they all factor into her pending demise and they don’t even notice. The Swerve opens with Holly being startled by a rat in her house as if to show how simple the smallest inconvenience can spark so much change in her. As mentioned, Holly is a mother, as well as a teacher, but her children don’t seem to care too much about her. However, a student in her class, Paul (Rand), has a crush on her. Their relationship is inappropriate and odd, but Holly finds comfort in this because of how unavailable her husband seems. Kapsalis’ screenplay definitely is a near-perfect depiction of a slow descent into madness.
Skye’s portrayal of Holly is what will have viewers glued to the screen. She is so powerful in this role and takes you on a brutal journey through every emotion Holly feels. Also, the chemistry between her and Rand helps amplify their inappropriate relationship. Skye has been in numerous projects in the past, but her performance here is career-defining. Between Kapsalis’ direction and Skye’s performance, the film forces you to feel for this woman’s unfortunate situation. Rand is great in his role as Paul, and while their relationship is inappropriate. It’s important to remember that Paul is the only character in this film who makes Holly feel alive.
Bryce Pinkham and Azura Skye in The Swerve
Kapsalis’ takes you on a slow burn that features a chilling score by Mark Korven. It adds to the distressing nature of the film and heightens the mental downfall of Holly. Also, the score contributes to the atmosphere established in the film. Kapsalis has made an impression with this outing because he does a great job establishing the film’s sad nature and slowly making it darker, as Holly spirals to her endpoint. The cinematography on display was great as well, so from a technical standpoint, The Swerve is a homerun.
The Swerve is a dark look at a woman’s mental instability slowing consuming her existence. It’s carried mostly by a strong career-defining performance by Skye, but it is an effective debut feature from Kapsalis. This will certainly be a hit for anyone who has suffered from mental illness, domestic abuse, or severe depression. The Swerve highlights how important it is to pay attention to the emotions of others.
BATMAN: THREE JOKERS #2 comes out this week, but thanks to DC Comics, Monkeys Fighting Robots has a three-page preview for our readers.
About the book: As Batman and Batgirl follow an unexpected thread linking the three Jokers with someone from the Dark Knight’s past, Red Hood dives headfirst into trouble and finds himself struggling to stay afloat without the aid of his allies.
Batman: Three Jokers continues its trajectory as the ultimate examination of The Joker and his never-ending conflict with Batman. Prepare yourselves for the second chapter of one of the most terrifying and personal mysteries Batman has ever faced!
BATMAN: THREE JOKERS #2 is by writer Geoff Johns, artist Jason Fabok, with Brad Anderson’s colors, and Rob Leigh’s letters.
What did you think of the first issue? Comment below with your thoughts.
King In Black #1 hits your local comic book store on December 2, but thanks to Marvel Comics, Monkeys Fighting Robots has a seven-page preview for our readers.
The book is written by Donny Cates, with art by Ryan Stegman, JP Mayer drops the inks, Frank Martin handled colors, and you will read Clayton Cowles’ letter work.
About King In Black #1: DARKNESS REIGNS!
After a campaign across the galaxy, Knull’s death march arrives at Earth and, worse yet, he hasn’t come alone! With an army of hundreds of thousands of symbiote dragons at his command, the King in Black is a force unlike any Earth’s heroes have ever faced. EDDIE BROCK, A.K.A. VENOM, has seen firsthand the chaos that even one of Knull’s symbiotic monsters can wreak – will he survive an encounter with the God of the Abyss himself?
How excited are you for King In Black #1? Comment below with your thoughts.
Over a hundred issues of The Flash built to this. Since the return of Wally West, Barry’s life has hit many turns. New speedsters were born, new forces were found, and the family came and went. In the last issue, we learned that Thawne caused most of the biggest conflicts during the run. From Barry and Wally clashing in Flash War to the creation of Godspeed, all of this was orchestrated by the Reverse Flash. Angered by this, The Flash chases his long time foe into the Speed Force. Will he go too far and kill Thawne once more?
**Some Spoilers Below**
Story:
The Flash and Thawne are racing through the speed force, the latter expositing a truth about them. He points out with every crisis, they are the constants, always destined to face each other. Thawne eggs on Barry, telling him to continue the cycle and to kill him. Barry refuses and tells him that he forgives him. The evil speedster rushes the hero, which is what Flash was hoping for. At the moment they make contact, Barry puts a piece of his own Speed Force in Thawne. This essentially resets Thawne, changing him back to the curator of the Flash Museum from before he turned evil.
This ending is damn near perfect. Throughout the run, we’ve watched Barry focus on his past. He wanted to avoid past mistakes as much as he could while trying to reunite his family. In the end, he finally learns and avoids making the same mistake, which restarts their conflict every time. It was a clever switch up that I wasn’t expecting. In one fell swoop, Williamson gave hope to the future and brought an end to a decade’s worth of Flash Conflicts. He will return, but the Thawne many readers have read has been defeated.
After the battle is over, we get this beautiful scene of the whole family back together again. It was heartwarming and a little bit sad. We finally have the family back together, but just as we’re about to lose the creative team. We see the members that have returned and the new ones made along the way. Seeing everyone together will hit everyone with nostalgia, whether you are a long time Flash Fan or just jumped on the Williamson run. We also get this bittersweet moment that reminds the readers why Barry goes through all of this pain every time.
Art:
Howard Porter brings the run to the close in his amazing style. He brings his A-game every issue, and he doesn’t hold back here. While the fight between Flash and Thawne is excellent, the family reunion scene is damn near perfect. As I mentioned before, this scene will fill any reader with nostalgia, and Porter’s illustrations help it. Seeing the cast of the new series interacting with the old Flash favorites in such a calm setting was fantastic.
Conclusion:
Joshua Williamson’s run of The Flash is, without a doubt, a pillar of the DC Rebirth initiative. For the past four years, we saw Barry bring his life back together. Each story had its ups and downs, its jaw-dropping action and heartfelt emotions, and so much more. All of it comes to a head in this final issue. It ties up the run perfectly and sets the stage for the coming team to tell their story. The brilliant work of Howard Porter and Hi-Fi brings this issue to life with fantastic art that will define this run. The race may be over for Williamson, but The Flash will keep running forward after this spectacular series.
A desperate single mother joins a drug cartel while the government of the Philippines uses brutal measures to take them down in the new film starring Alessandra de Rossi (Since I Found You) and directed by Ben Rekhi (Waterborne).
Watch List centers around Maria (Alessandra de Rossi), a mother of three who’s rounded up by police during a massive assault on civil liberties in the name of getting drugs off the streets. Maria’s husband’s taken too and ultimately used as an example to future would-drug pushers. Now a widower, Maria’s got to figure out how to survive. That’s where Alvin (Arthur Acuña) and other nefarious players come into Maria’s life.
PopAxiom spent some time talking with Ben Rekhi about his road to filmmaking, being a director, and getting the Watch List made.
Invested
Around 11 or 12, Ben and his friends “started playing with the family video camera in the backyard. I had a neighbor who was a little older than me, who would make funny videos. I thought it was pretty cool.”
Like any kid in the 70s, 80s, 90s, 00s, 10s, or today, Ben says he ”grew up in the age of Spielberg and Lucas.”
Naturally, the influence brought on by those two filmmaking legends meant Ben and his friends were “making little Indiana Jones movies.”
The young filmmaking crew had a rare advantage. “We had access to some of the digital editing software. One of my friends, his uncle worked for Apple. We were early adopters of morphing technology and lightsabers. We’d see something like Terminator 2, then come home and try to make some morphing effects ourselves.”
“It’s great to have all those tricks and stuff,” Ben says, “but I think it was Lucas who said that FX is just a tool and aren’t much without a story. FX on its own is not so interesting.”
Of course, when Lucas made his comment, we didn’t have nearly the spectacle we have now. “It’s debatable because there’s some eye-popping stuff that’s being created.”
However, Ben still believes “it only really works if you’re emotionally invested.”
Becoming A Director
Ben’s backyard videos became “more and more sophisticated and I went to film school.”
“At first it was fluid,” Ben says of film school, “Everyone was doing everything. But I guess I had this passion for corralling people and getting people organized. Directing felt the most tuned to my skillset.”
It may not sound sexy, but corralling is part of being a director. “So much of it is management. I think it was Danny Boyle who broke it down and said filmmaking is just about getting people to show at a certain place at a certain time. It’s an oversimplification, but so much of it is that and getting people on the same page.”
Don’t let that fool would-be directors. “Of course,” Ben asserts, “there’s also diving into the creative side too and using the tools you have available for doing that. But film is such a collaborative effort. So many other art forms is one person creating the art. Film is more like a symphony and making sure that everyone is playing the same song.”
Directors need to conduct this symphony, which with so many moving parts, it’s incredible movies get made at all. “Any film that gets made is a small miracle.”
After Tisch, Ben ended up as an intern on Oh, Brother Where Art Thou and “working in the camera department under Roger Deakins. I was twenty years old and getting Roger’s tea every morning. I learned so much in those two months in Mississippi, almost more than in four years of film school.”
“I kept in touch with George Clooney’s team and ended up on the first film that he directed, Confessions of a Dangerous Mind,” Ben says, “where my job was to shoot things for the behind-the-scenes for the DVD.”
Following Confessions of a Dangerous Mind, Ben says, “I partnered with one of my classmates to do a short film on graffiti writers, and we used that to fund-raise for a feature and produced Bomb The System. It did well in the festival circuit, got nominated for an Independent Spirit Award, and we sold it.”
The success of Bomb the System afforded Ben a great opportunity. “I was able to leverage that into directing my first feature, Waterborne, which won the Audience Award at South-by-Southwest.”
Big Break
That’s it! Ben became a non-stop success after that, or so the feel-good biopic would have you believe. “As anybody who works in this business knows, it’s a roller coaster. At one point, I had an agent, and I was up for several directing and writing jobs, but I couldn’t land my next film. I fell back into a rut after having a film that was good and broke through, but didn’t quite crossover into that ‘breakout film’ type scenario.”
“I was young, and I didn’t quite understand how to turn those opportunities into the next one,” Ben admits and soon learned, “one thing about life is that anytime you have any kind of mild success, you have to step on the gas even harder.”
Ben also got some advice that he holds dead. “Always have your next project lined up before the current one releases. That way, no matter how the current project does, you’ll have the next shot ready to go.”
The movies always have a happy ending, so “You always hear the success stories, but rarely about the failures. For every movie that sells at Sundance, there are 1000s that don’t go anywhere.”
“Once you’re in the field,” Ben says, “you realize that’s not a very good odds game. You wouldn’t go to a casino and bet on 1000-to-1, especially with your life and career.”
More advice that Ben holds dear came from a directing legend. “Some of the best advice I ever got was from Spike Lee. He came and talked to us at NYU, and someone asked, ‘Do you have any advice for young directors.’ Ben continues, “Spike Lee replied, ‘I have a question for you. Why should you direct? Is there anything else you can see yourself doing with your life? If there’s anything else, then do that. This is way too hard and way too competitive.’”
None of this is to discourage would-be filmmakers. But the journey is long, and many only see a destination. “It’s not all about the destination, it’s about the journey. Do you enjoy creating every day? Of course, we want to do our best work. But the work is just the result; the process is the experience, everything in between, it’s our lives.”
About Watch List
Ben’s filmography quickly reveals that he’s not shy about approaching heavy topics. “Watch List began with a photograph I saw in the paper that stuck with me. It was about a woman holding her husband who’d just been murdered, and she kind of resembled the Mother Mary. This was the photo that put the drug wars on the map in 2016.”
Ben reached out to the journalist who worked on the story. “She told me story after story of the most heartbreaking things I’d ever heard. She invited me to come to Manila and see for myself.”
Ben went to Manila and “was embedded with these journalists for three weeks. I did ride-alongs to crime scenes, spoke to victims’ families, police officers, and started to piece together the tragedies that were unfolding. There was a true story of a woman who worked for the police as an informant. And because she was a woman, she was able to get closer to her targets and not raise suspicion and lure them out into a trap.”
The writing process began as Ben’s brain started asking questions. “What a mother must go through to put food on the table for her kids. Or, how far would someone go to protect their kids? Would they shoot someone else’s father? All those questions seemed like the most compassionate way to tell the story.”
In Watch List, you get to one character “going from being a victim to becoming a vigilante and seeing all sides of the drug war.”
Ben worked with a writer in the Philippines, and through a connection at XYZ Films (The Raid, Mandy), he connected with “producers like Erik Matti … it was very serendipitous. It was nine months from idea to the first day of production.”
Nine months is from idea to production is phenomenal. “I feel like the universe aligned to make it happen. I constantly asked myself why I was the person to tell this story? I felt compelled. I feel like ideas infect you. They come out of nowhere and take hold. It’s kind of our jobs as artists to follows those ideas and see them through without over-rationalizing it.”
Ben shares a bit of what he’s learned. “I did a project where I intellectually approached it and tried to think my way through, and it was a traumatic experience. For Watch List, I said, let me surrender to my heart and intuition and see what happens. It’s the fastest film I’ve brought into the world, and it’s the one I’m most proud of.”
Ben laughs and says, “Art is a spooky thing.”
Outsider
Ben was born in California, so making a movie about the Philippines’ drug war meant a cultural disconnect. “Research, to me, is so important to any story. I let authenticity be my guide. So, when I’d go out into the street to talk to people, I would incorporate what I’d hear into the story.”
Everyone’s hear the saying, “write what you know.” Ben adds, “but I think it was Dan Brown, who said, ‘I write what I want to know.’ That, to me, is something that I embraced for Watch List.”
Ensuring authenticity is a vital component of a film like Watch List. “Also,” Ben says, “being an outsider has its advantages. I can get this story to people outside the Philippines and create great awareness.”
Film Vs. Reality
Film productions, particularly those taking place outdoors, are at the whims of mother nature. “We were caught in a typhoon, and that flooded out a location with water up to our knees. We had to get out of there.”
“One of the locations,” Ben recalls, “was a little shack next to train tracks. There was a train that came by and hit our set and took part of it. We had to shut down for a couple of hours.”
By now, you might start to understand what Spike Lee was talking about. But the Watch List shoot got even more dramatic. “I was briefly hospitalized at one point for exhaustion. I had to get an IV and everything.”
Ben explains a key contributor to his exhaustion. “The way they shoot in the Philippines is that all the crew and equipment are on a 24-hour hire. You shoot for 24 hours and then have a day off, then another 24 hours, then a day off. We get 16, 18, 20, 22 hours into a shoot day and be complete zombies. I would not wish that on my worst enemy.”
“It’s the way the industry’s evolved there,” Ben continues, “but they’re trying to change that now after a few directors died in this process and actors have hurt themselves. They’re slowly changing things, but it was brutal; 110 degrees and humid.”
The authenticity of the level seen in Watch List was many times, all too real. “We were shooting in the real slums where a lot of these things took place. So, we’d be filming on the same corner where someone had been shot the night before. But I think all that helps add to the realism.”
Wrapping Up
Ben grew up a fan of Spielberg and Lucas. Who’s are some future legends in his eyes? “Literally from my school, NYU, that’s Cary Joji Fukunaga is doing extraordinary work. Denis Villeneuve is another one. These are guys that are very sophisticated storytellers who are choosing to work in different genres. It’s exciting not to get boxed into one type of film. James Mangold fits into that and Danny Boyle. Filmmakers who are incredible storytellers, but also chameleons. That, to me, is who I admire the most.”
“Quantum Leap the TV show was so incredible,” Ben says when asked about dream projects, “and one that I thought would make an amazing film. I know they’ve been trying for a while. I’ve always loved 80s sci-fi comedies like Back to the Future, Ghostbusters, or even weird stuff like Weird Science too.”
Watch List released digitally on September 1. So, what’s next for Ben? “I just finished my first feature documentary called the Reunited States about people trying to bridge our political divides. It couldn’t be more timely or urgent, given the state of things. It’s on the festival circuit and will probably distribute later this year.”
Ben’s got one project releasing and the next project already in motion. “My next fictional film we’re just putting together now is at the intersection of mass shootings and online extremism. It’s about a young woman who survives a mass shootings and goes online to start targeting extremists and stop them before they do anything in the real world.”
Is Watch List on your, um, watch list?
Thanks to Ben Rekhi and October Coast
for making this interview possible.
On September 22, DC Comics released Actions Comics #1025. Writer Brian Michael Bendis, penciler John Romita Jr., inker Klaus Janson, color artist Brad Anderson, and letter Dave Sharpe continue their “House of Kent” story. Hopefully, all of its members will make it out alive!
Writing
One can’t help but feel some joy at seeing the entire Super-Family together again. It’s certainly been fun to see Conner Kent reconnect with all of the people who had forgotten him. But one also can’t help but feel like this arc, and Conner’s return, in general, might’ve been better served in the hands of Jurgens or Tomasi. Bendis’s “House of Kent” arc is hampered by an Invisible Mafia story that’s running out of gas (no pun intended, given the villain of the arc).
It does feel like it’s time for a change of writer on this title (in Mark Waid we trust?). Hopefully, after waiting so long for his return during the Rebirth era, Conner Kent will still be alive and recognizable in a post-Bends Superman run.
Art and Colors
Fans of Romita Jr. should like this issue because when he draws characters close up, they can be quite compelling. Sometimes, though, from far away, his drawings can be a bit angular and sloppy. For instance:
It’s hard to get past Jon Kent’s Bart Simpson hair, as well as whatever doodle for beginners hellscape Brainiac 5 crawled out of. Maybe Romita fans will disagree with me, but as epic as Conner’s return to the Superman titles SHOULD be, I wish this was a prettier book.
Anderson, of course, provides some excellent colorwork. While some of his colors can be a little too “solid” in scenes where he colors the Super-Family, in other panels, like those involving Red Mist, his color work is shaded and nuanced, provide an excellent complement to Romita.
Letters
As with any Bendis book, there can be a tendency for an over-abundance of word balloons to cramp the comics panels. This issue largely avoids that (except in a Daily Planet scene), with Sharpe providing some great lettering, both in character dialogue and in some of the exposition boxes. This issue feels very kinetic, with the lettering only being minimally distracting at times.
Conclusion
As happy as fans are to see Conner, many of them are waiting for a changing of the guard on the Superman titles. We know Bendis’s time on the book is coming to an end. Who knows? Maybe his finale will surprise and please fans. Hopefully, every member of the Superman family will make it out alive for whatever comes next.
What did you think of Action Comics #1025? Tell us in the comments below!
Wolverine: Black, White, and Blood #2 (of 4) hits your local comic book store on December 16, but thanks to Marvel Comics, Monkeys Fighting Robots has a six-page preview for our readers.
The book is written by Vita Ayala, Chris Claremont, and Saladin Ahmed, with art by Greg Land, Kev Walker, and Salvador Larroca.
About Wolverine: Black, White, and Blood #2 (of 4): SHARPEN YOUR CLAWS FOR ROUND TWO OF WOLVERINE’S ALL-NEW ALL-STAR BLOODY BATTLES!
The adventures of WOLVERINE continue in the visceral black, white, and blood-red format! Legendary X-scribe Chris Claremont re-teams with the incomparable Salvador Larroca to bring LOGAN back to Madripoor as PATCH, where he and KATE PRYDE face their toughest battle yet. Then, Saladin Ahmed and Kev Walker build a life-or-death catch-22, courtesy of the maniacal ARCADE, that will force Wolverine to make a life-or-death decision! Vita Ayala and Greg Land put Wolverine on a mission to stop a “cure” for the X-gene, where he’ll cross paths with his deadliest foe: SABRETOOTH!
Do you have Wolverine: Black, White, and Blood on your pull list? Comment below with your thoughts.
From Saladin Ahmed and Kev Walker’s story:
From Vita Ayala and Greg Land’s story:
From Chris Claremont and Salvador Larroca’s story:
