NOMEN OMEN #8, available Wednesday from Image Comics, dives back into a world of magic, lore, and the darker sides they carry with them. Becky’s journey has been far from easy, and she’s still got a long way to go.
***SPOILER WARNING***
There’s no doubt that the story behind Nomen Omen is dark and mysterious. Becky’s life has never been normal, and now it seems that everything she holds dear is on the line. The real question is, will she be able to master this new world before it’s too late?
She went from living a life devoid of magic – and color – to diving headfirst into it all. Everything is so much darker than she, or the reader, could have imagined.
On that note, some of the events in Nomen Omen #8 could be disturbing to readers. While the series has never shied away from the more graphic elements of the supernatural, this issue takes it a step or two further. There’s a strong implication of sexual assault, and while it is never shown in detail, it is pretty unavoidable nonetheless.
Becky is back in control in Nomen Omen #8.
The Writing
In many ways, it almost feels like two stories are being told over the course of Nomen Omen #8. There’s Becky’s story, and the tale of her learning to master an art that once upon a time, felt completely foreign to her.
Then there’s the tale of those that oppose her, and the allies they’ve managed to capture. This is the darker side of this issue and contains all of the uncomfortable elements mentioned above, and then some.
Marco B. Bucci really knows how to capture the highs and lows in a single issue. The intrigue and triumph in Becky’s life can’t be avoided, nor can the darker actions of those she’s eventually going to have to oppose.
Both series of events raises dozens of questions. Questions that will be answered in due time, as the series crosses the halfway mark. There are only seven issues left to this deadly series, and that means the clock is ticking. Perhaps literally, for some.
A world where magic bleeds through.
The Art
The artwork inside Nomen Omen #8 is a complex creature, just like the writing. It portrays the best and the worst that magic (and the inhuman creatures that thrive in it) has to offer. While the magic itself may appear as bright light, it’s clear that the influence ends there.
Once again, there’s that harsh juxtaposition between black & white, and the infusion of color. It’s become the iconic look of the series, and it’s almost good to see it still playing a role this far in. Though there are times where it seems like the color, and thus the magic, bleeds onto the pages. The end result is something beautifully organic, as well as hypnotic.
This is an issue that portrays some heavy and upsetting scenes, as well as showing creatures that are (literally) larger than life. The end result is a bit of an emotional roller coaster for readers, and they’re flung from one reaction to the next.
All credit goes to Jacopo Camagni (pencils, colors) and Fabio Amelia (letters) for bringing this issue to life in such an iconic way.
One hand is not her own in Nomen Omen #8.
Conclusion
In many ways, Nomen Omen #8 is the darkest issue of the series. Likewise, it is the brightest of the series. The paradoxical nature has not gone unnoticed, and yet it seems perfectly at home in a series revolving around magic and beasts of legend.
Mega Man: Fully Charged is a new comic book series from BOOM! Studios based upon the 2018 cartoon series of the same name. While the cartoon was canceled after a single season, this first issue sets the stage for a profoundly entertaining and completely different experience.
Mega Man is a character that has been around since 1987 and has a special place in the hearts of many. The classic series now has twelve installments and has spawned several spin-off series, which each have multiple games. The series has an incredibly long history and a devoted fan base, so it was no surprise when Capcom decided to create a new cartoon series with the blue bomber. Mega Man: Fully Charged first aired on Cartoon Network in 2018 and was received… poorly. The story told was entirely different from what fans of the series liked, and the cartoon didn’t stand out enough to attract enough of a newer, younger fan base. It stopped airing after a single season, and no news has surfaced about the show returning. Despite the lackluster reception of the show, this new comic book series features many of the same characters. The major difference being a distinct tonal shift and change in the target audience that allows the world created by the cartoon to be used to make a promising first issue.
Just like the cartoon, Mega Man: Fully Charged focuses on Aki Light, a robotic kid with the ability to transform into the superhero, the public knows as Mega Man. Created by and the surrogate son of Thomas Light, Aki lives with his sister Suna and his dog Rush. He also enlists the help of a robotic partner called Mega-mini that spends time in Mega Man’s helmet when he is engaged in battle.
What I believe is the smartest aspect of Mega Man: Fully Charged is the evident tonal shift from the cartoon. A.J. Marchisello and Marcus Rinehart make it very clear from the beginning of the issue that this new series will not be aimed at the same audience. This is evident from the first page of the issue, which gives the story background that a robot revolution has occurred, and humans and robots are engaged in a civil war. The war is a brilliant way that Marchisello and Rinehart immediately distance the comic book from the cartoon.
One of the most important aspects of a first issue, and an aspect that Marchisello and Rinehart perfect, is planting seeds and beginning stories that hook the reader in and leave them wanting to read the next issue. In the single issue there are characters who are shrouded in mystery, reasons to doubt characters we thought we could trust, and internal struggles of Mega Man. Mega Man: Fully Charged #1 feels like nothing but reasons to continue following the series, and after finishing this issue, I’m not sure how you could not.
There are not many ways to describe the illustrations of Stefano Simeone except that they are stunning. Mega Man: Fully Charged #1 gives all of the characters a wonderful stylized look, and the redesign of Skull Man immediately excites readers for new versions of their favorite robot masters that lie in the issues ahead. Also, his interpretations of the main cast immediately let the reader know that what they are reading has a much more serious tone than the cartoon series.
The coloring of Igor Monti in Mega Man: Fully Charged #1 is a highlight of the issue. Each scene looks astonishingly beautiful due to his work. Whether it be the cyberpunk Silicon City or the clear orange tone given to the Badlands, it is clear that Monti put much effort into each and every panel. It’s been a long time since I have had to stop and appreciate the colors on the first page of an issue, and the quality of the coloring continues throughout the issue. I deeply hope that Monti continues his excellent work throughout the series, because it alone makes Mega Man: Fully Charged worth putting on your pull list.
The lettering of Ed Dukeshire in Mega Man: Fully Charged #1 does an outstanding job of helping the story continue its intended flow. Each instance of lettering is done well enough that the readers feel like they are experiencing the story and dialogue rather than just reading off of speech bubbles, and color-coordinated captions allow for easily distinguishable inner thought from a character.
This is the Mega Man comic we need right now. The original series of games are fantastic, but their stories have always been kept simple, and comic adaptations had to take that story and add a lot of substance to it. In Mega Man: Fully Charged, an entirely new story is being told with elements from the original series, and I couldn’t be more excited for what is to come. Mega Man is an iconic character, and this first issue makes it very clear that Marchisello, Rinehart, Simeone, Monti, and Dukeshire will do him justice.
Are you a Mega Man Fan? Let me know in the comments below!
Adam Berardi plays Detective Sanchez in the found footage horror film The Last Five Days directed by and starring Clay Moffatt (Eyes on the Road) with Joe Pacini (Star Man).
A college project for film class leads two students to the truth about some gruesome deaths. The Last Five Days follows Greg Sanders (Clay Moffatt) and Brian Mills (Joe Pacini) through their investigation. It’s not long before things get worse, way worse when an unknown and violent force begins tormenting the young, would-be filmmakers. Adam Berardi’s Detective Sanchez is the unfortunate investigator charged with making sense of the case for the public.
PopAxiom spoke with Adam about watching himself and becoming Detective Sanchez for The Last Five Days.
Older & Uglier
Adam’s journey into showbiz started early. “I got pushed into it at a very young age. The first television show I was on was Superboy when I was 14 or 15 years old.”
Acting was “… never even a question,” Adam says, then jokes, “My father used to say, you’re not great looking, but you could be in catalogs.”
Adam’s 29 acting credits (and counting) is evolving. “The older and uglier I get, I find being behind the lens serves me pretty well.”
About The Last Five Days
Adam’s role in The Last Five Days came about through his relationship with director Clay Moffatt. Adam says, the pair “… made a love connection recently where we love doing films together. He has an exciting style of filmmaking that I love to tackle with him.”
Adam explains, “His shoot days can sometimes be 3-5 days worth for an entire feature, which is insane. It’s something a little different than the regular SAG workday where on a feature one actor might be on set six or seven days straight, and the entire production is 30 days.”
Moffatt, Adam says, “… likes to shoot for wherever the edit is going to be and call it a day. I like doing that kind of stuff with him.”
The birth of The Last Five Days came about during a hangout between the pair. “I was over at his house one day; he had a bunch of mini-DVs. I asked him a question about it, but he said ‘Oh, that’s nothing.’”
Adam kept prodding. “Nothing’s ever a secret between us. He told me it was a college project from when he went to film school. They were supposed to do an investigative film for a capstone project, so they did a found footage film. I watched it and thought ‘This is pretty good!’”
Fueled by Adam’s motivation, Clay gave the film a once-over. “We added the front and end caps which I acted in. That was the end of it. We got so many offers for that movie.”
Simply updating The Last Five Days with cleaner edits or colors wasn’t enough. “We wanted to do something different,” Adam says, “When it comes to found-footage, there are two ways to go about it. It’s either heavily scripted, or it can just have plot points and let outstanding improv actors do the rest.”
https://www.youtube.com/watch?v=ikuY-GDuyjc
Becoming Sanchez
The beginning and end of The Last Five Days features Adam as Detective Sanchez. “The end caps, we wanted to do something where we introduce the film.”
Inquisitive reporters litter the scene which came about from a brainstorm between Adam and Clay. “What questions would reporters ask, and what would the detective do? Let’s write down a bunch of questions; you pick out what you want to be asked.”
On the day of shooting, each actor playing a reporter was given a number and a question. “We went down the line, and each of our actors, about 12 of them, asked their questions.”
Trying to capture authenticity at the moment was pivotal. “The most authentic thing about the detective was that he didn’t want to be there,” Adam jokes, “I didn’t want to be there.”
Adam tried his best to experience everything as Sanchez would. “I watched the film; took coffee breaks; watched more. By the time I got to the set, I was the detective.”
Watching Yourself
Adam’s been an actor for a long time, yet, he says, “I’ve never seen a thing I’ve done. People tell me it’s horrible, and I just believe them.”
Adam’s not unique. Many actors avoid seeing their work, including Tom Hanks, Reese Witherspoon, and Joaquin Phoenix to name a few. “There are a million different couch critics at home that will pick your stuff apart,” Adam says, then brings up an interesting point, “The thing about art is that it’s not really acceptable to do that at an art gallery. You don’t stand in front of a painting and pick it apart.”
Criticism doesn’t bother Adam. He simply doesn’t like watching himself. He says that for up-and-coming actors to avoid critique like that, “Unless you have a very tough skin or do not care what people think or do not listen.”
“A lot of filmmakers are looking for acceptance,” Adam explains, “It’s a natural thing.”
Wrapping Up
Adam shares some of his long list of influences. “Spielberg, Kubrick, Reitman … those are some of the greatest minds of our times. Hitchcock was amazing too. So many.”
Adam talks about his fondness for 80s movies. “You watch movies like Goonies and Gremlins; every person in the Gremlins universe has their own story, objects have their own story. Like when you watch Back to the Future, every object in Doc Brown’s house has a story.”
What’s a dream project that Adam would love to create? “Easy, Vertigo.”
The Last Five Days is available for purchase on DVD from every major retailer. So, what’s next for Adam? “We have a really big film, two big films. Clay is finishing his kung-fu spectacular The Rise of Sir Longbottom. We made a movie called Sour that comes out in January. It stars Bourke Floyd and Natalie Maher. I got a chance to do some directing, and I was an actor. It’s a terrifying film.”
Are you excited to watch The Last Five Days?
Thanks to Adam Berardi and October Coast for making this interview possible.
We Only Find Them When They’re Dead #1 — coming from BOOM! Studios on September 2 — is a space opera written by Al Ewing, illustrated by Simone Di Meo with colors assists from Mariasara Miotti, and lettered by AndWorld Design.
We Only Find Them When They’re Dead #1 Story
Al Ewing, venturing outside of his Marvel titles like The ImmortalHulk, writes a space opera with a unique premise. We Only Find Them When They’re Dead shows readers a glimpse of a space age where the emptiness of space takes a new meaning. Times are getting tough for a space autopsy crew that mines the bodies of dead god-like beings. These gods all appear at random points in the universe, and rather than acting as things of worship, discovery, or despair, they’re just another means of resources. It’s a pretty melancholic feeling that the reader shares with the crew’s captain who they meet in a prologue. The main story has him looking rather burned out about everything, like this way of life doesn’t suit him anymore. Especially when this “god mining” security looks at him with hostility despite being non-threatening to them. Readers can’t help but support the captain and crew’s journey for meaning to get some life back in them.
Art
Simone Di Meo dedicates We Only Find Them When They’re Dead #1 to his late mother, “who taught (Di Meo) to look at the stars.”
Di Meo uses the emptiness of space to highlight the designs of the ships, each with a unique style with a common characteristic: a spherical chamber that defines an autopsy ship and cuts and stores samples in the “god-mining.” With how these ships take apart the gods, it practically describes the bleak situations of the series; they’re like maggots mindlessly eating away carcasses. No one bothers to figure out what kills these gods, just harvest their remains for money. Even the other ships with different designs and purpose work to keep it like that, such as a sleeker escort ship built for speed which features engines connected with an arc.
Di Meo colors these ships and empty settings with assistance from Mariasara Miotti. Most of the colors set the mood of what panel they take place in. The light purple vastness of space feels cool and practically worry free. That is until a red coloring shows up indicating a skirmish or dangerous presence. A small instance even has the entire interior of a ship yellow as a warning to its occupants. Compare this to the mostly single color panels featuring the main characters’ ship which has a green interior with yellow holograms. It’s an indicator that danger is near yet the crew stays out of trouble. It’s like both artists are keeping things afloat in We Only Find Them When They’re Dead #1.
Lettering
AndWorld Design provides some quality lettering to We Only Find When They’re Dead #1. The word balloons and captions provide a smooth and easy-to-follow trail to guide readers. On the note of captions, the lack of borders presents this omniscient narration that tells the story along with some of the characters. The main cast essentially has an ally that sometimes features words with colored outlines that match the background. It explains who some of the characters are with their identifying colors, but it also lets the captions blend in, which can make them a bit hard to read at times. Thankfully the lighter color word balloons make identification for voices that readers can’t recognize since they speak from their ships. Meanwhile, the inside of ships have the standard white coloring, and the rare instances of having several characters in the same space makes the distinctive lettering important, as this is having clear communication.
Look For We Only Find Them When They’re Dead #1
We Only Find Them When They’re Dead #1 leans subtly into finding meaning in a space devoid of thriving life. People have a common goal, but separate themselves through their diverging perspectives. I’m looking forward to what this space crew will do later in the series.
ADVENTURE TIME: FIONNA & CAKE TP, available in comic book stores on Wednesday, August 26th, brings together a plethora of hilariously exciting stories. This issue’s talented creators have put together engaging stories that showcase their unique set of strengths while remaining true to the characters and their mythos.
Stories and Artwork
Cake Bakes
Written and illustrated by Zachary Sterling, with letters by Britt Wilson, Cake Bakes is a fun story that stars the beloved cat. We enjoyed watching the cute cat surprise her best friend with a homemade breakfast.
Short Cakes
Short Cakes, written and illustrated by Ian McGinty, with colors and letters by Fred Stresing, presents readers with a series of literal short stories that feature our heroes as young children. With adventures ranging from snowball fights to mustache growing attempts, we were entertained by the sheer craziness of these goofballs’ predicaments.
Once Upon a Time
This story was written by Frank Gibson, illustrated by Becky Dreistadt, and lettered by Britt Wilson. We were thrilled to see this issue was crafted in the form of a fairy tale storybook, which keeps with the title’s theme. The fonts stand out from the page as if they’re part of the tale itself. And that tale takes Fiona and Cake on a perilous journey to the Ice Queen’s domain.
Adventure Time with Fionna & Cake: Card Wars
Adventure Time with Fionna & Cake: Card Wars, written by Jen Wang and illustrated by
Britt Wilson with Rian Sygh, is by far the longest story within this issue. And in a sense, it’s the most relatable of the collection. Readers fond of playing card games will find Fiona, Cake, the Ice King, and more partaking in their own version. It was great seeing these outlandish characters enjoy everyday games that are akin to Magic: The Gathering.
What’s the Punch-Line
The final story was written and illustrated by Kiernan Sjursen-Lien and lettered by Christine Larsen. Playing on this series’s penchant for puns, What’s the Punch-Line details the journey Fiona and Cake take as they travel to Prince Bubblegum’s party while carrying a bowl of punch. Surprisingly, this beverage becomes the focus of their adventure. While it may seem mundane at first glance, this special punch proves to be the life of the party.
Conclusion
ADVENTURE TIME: FIONNA & CAKE TP satisfies old and new fans alike. If you love the humor from the beloved television show, you’ll love joining in Fiona and Cake’s antics in this story.
What adventures do you foresee this dynamic duo getting into in the future? Let us know in the comments below!
DC Comics has released a sneak peek at September’s Suicide Squad #9, and it teases the end of one of the squad’s foundational members.
Check out the preview of issue #9 below direct from DC, including art by Bruno Redondo and Travis Moore:
DEADSHOT: SHOT DEAD?
If you ever needed proof that you shouldn’t get too attached to the “heroes” of Task Force X, it’s coming on Tuesday, September 22 in the form of Suicide Squad #9, and here’s your first look!
This issue, it’s the shocking death of Deadshot!
The man who never misses has been on the front lines of Task Force X since its inception—bomb in his neck, gun in his hand. He’s seen teammates blow
up and countries fall. He’s faced down heroes and villains alike. Now the Suicide Squad has one final mission: bring down the man who enslaved them, then put a bounty on their heads when they escaped: Ted Kord.
But to finish the job, the world’s deadliest assassin will have to do the one thing he’s never done for the cause: die!
BOOM! Studios have spent the last 18 months building up the cast of Angel + Spike, re-introducing the main players in new and exciting ways. There has been a crossover with the Buffy The Vampire Slayer comic and even a change in name as the fan favourite, punk rock, demon Spike joined the team.
In this first issue not written by Bryan Edward Hill, the story shifts from the modern day to the edge of the Golden Age of Hollywood. Guest creators Adam Smith and Piotr Kowalski’s tale of murder fits snugly between the TV shows historical stories and the current comic book vision.
Angel + Spike #13 Credit: BOOM! Studios
Past Prologue
Issue 13 of Angel + Spike is a stand alone story but has links to the ongoing arc. If you have been intrigued by the new direction of BOOM! Studios Buffy-verse characters but yet to dip your toe in them then this is the perfect opportunity. Granted you’ve missed out on 18 months of wonderful comics, but everyone has to start somewhere.
The greatest thing about this issue, apart from being easy to access for new readers, is that Adam Smith makes Angel’s world seem so massive and full of history while maintaining a focus on the plot at hand. References to other, popular, stories from the TV show are dropped into Angel’s detective voice-over. This not only gives the comic an expansive feel but also creates a Hollywood noir effect. The setting is 1962, on the edge of the Golden Age of Hollywood, and Smith’s take on an Angel story reflects the changing climate.
The actual plot of this issue is a fairly standard affair: Angel investigates the murder of one of his acquaintances and, in true noir fashion, the trail leads him to larger criminal activities. The fact that there are demons and ghosts within this story does not detract away from the structured crime story Smith is telling. The mystery unfolds organically as the plot gets more and more complicated. There is a cast of new characters for Angel to contend with but you get the impression that the story will not end in this issue. The crime may be solved but the effects will have ramifications for our hero in the modern day.
Angel + Spike #13 Credit: BOOM! Studios
The Photographic Play
Long time readers of Angel will instantly notice the change in Art Style. Piotr Kowalski’s pencil and inks are more defined than Gleb Melniko’s. There is a purposeful shift from the emotionally driven expressionist pages in previous issues to a seemingly more rigid aesthetic. Kowalski is adopting the cinematic style of Hollywood from the first half of the 20th Century.
Classical Hollywood was obsessed with creating a realistic visual image. It did this by creating the impression that the shot continued beyond the frame of the image and focused on the actors, their gestures and emotions. This approach to storytelling is evident on every page of Kowalski’s artwork. On almost every page you have panels that bleed off the side, removing gutters. This creates the sense of expanding space and as a reader you fill in the rest of the room or location in your mind. You instinctively create a fully realised 3D world. The backgrounds are heavily detailed which reinforce a real world experience.
There is a simplicity to the characters, often with faces that are defined with a few inked lines, however Kowalski focuses on the emotion of each character. He forces the cast to act in very specific ways. To some it may appear simple and overacted in places but again this is due to the Hollywood influence. This issue of Angel + Spike is a drama being performed for your entertainment.
Angel + Spike #13 Credit: BOOM! Studios
Creating A Style
This issue is set in 1962 and plays out like a memory or a diary entry. As such everything has a hazy reminiscence to it. The violence is toned down and Angel’s emotional reactions are turned up because this is how the character remembers this period of his life. There is an element of romanticism to it, just like Louis’ narration in Interview With The Vampire. Mattia Iacono brings out this element wonderfully with his colors by toning everything down. Vibrant colors have been muted to give the impression of a time long passed. The hues are still there, setting scene’s and emotions, but the vibrancy has all been spent.
You get a similar feeling from Ed Dukeshire’s lettering. The placement and spacing of the word balloons is very structured and, in places, appears to take over the panels. Most often this would be counter productive for the storytelling but in this instance it fits snugly with the comic’s tone. In the retelling of the tale, certain elements standout, some aspects outweighing others. What Dukeshire does with his placements is emphasise the memory aspect of the narrative and illustrates the conversations that become more important than the actual visuals.
Angel + Spike #13 Alternative Cover Credit: BOOM! Studios
Conclusion
13 is unlucky for some but not the creators on this issue of Angel + Spike. The change in pace from previous issues is instantly noticeable but also welcoming and fits the tone of the story on offer. On the one hand this issue is a stand alone story, perfect for new readers to step into BOOM!s new Buffy-verse and on the other it enhances Bryan Hill’s work over the last 18 months.
The reference to the Hyperion Hotel and the TV episode Are You Now or Have You Ever Been isn’t a simple fan Easter egg. The pace and tone of this story mirrors that one and has a similar motive. The intention is to expand on the known character of Angel but also seed future stories. Smith and Co do this perfectly while telling their own, fascinating tale.
If nothing else, this issue of Angel + Spike proves that there is still a wide scope of stories you can tell in the Buffy-verse while still maintaining the core principles of the series.
AppleTV+’s new documentary, Beastie Boys Story, directed by Spike Jonez (Being John Malkovich), follows the musical trio’s journey over four decades of making hit music, and Emmy-nominated sound designer Martyn Zub (John Wick 3, Velvet Buzzsaw) came on board to make some noise.
For those not in the know or maybe coming out of a long stint in an underground chamber, I’ll fill you in. The Beastie Boys are Michael “Mike D” Diamond, Adam “Ad-Rock” Horovitz, the late Adam “MCA” Yauch. Two of the three members formed a short-lived punk band in 1978, which evolved into the Beastie Boys when the final piece of the puzzle, MCA, joined the lineup. In 1986, now with Rick Rubin and Def Jam onboard, the Beastie Boys released Licensed to Ill, the first rap record to top the Billboard charts. There’s a lot more to their history, and Beastie Boys Story takes viewers on an emotional journey with the
PopAxiom spoke with Martyn about becoming a sound designer, growing up listening to Beastie Boys, and working on a documentary about the beloved hip-hop group.
Dream Come True
Martyn started creating music somewhere in the teen years. “I started playing in punk bands in bars and what not as a teenager in Australia. I started mixing friends’ bands in front of the house, and I loved it. My parents showed me a sound engineering course.”
There’s been no looking back. Martyn completed the course then, “… got a job in a couple of small studios doing post-production for TV commercials. One thing lead to another, I eventually got into documentaries and feature films.”
Martyn’s professional life was going great. “My wife and I packed our bags and moved to LA. We didn’t think it would last. We thought we’d be here for one year, but it’s been ten years. We love it, and there’s no turning back now.”
Martyn’s influences growing up included, “Beastie Boys … also California punk, East Coast and West Coast hip-hop.”
Now, Martyn is an Emmy-nominated sounder designer for a documentary about the Beastie Boys who were a “… bit of the soundtrack of my life.” Martyn says, “It’s cool it’s gone full-circle from growing up listening to these guys, to actually sitting in a room and collaborating. It’s a dream come true.”
About Beastie Boys Story
Working on Beastie Boys Story came with an itty-bitty hint of fear. “I never liked the idea of meeting your heroes or idols because you never know what kind of people they are. It turns out,” Martyn says, “… the Beastie Boys are down to earth guys and such great people to work with.”
How did Martyn become part of the Beastie Boys Story? “I have a sound studio in Santa Monica. One of the Beastie Boys producers talked to a studio producer about how much they loved the sound design of John Wick. The studio producer said, ‘Oh, you should talk to Martyn, he worked on that.'”
Martyn met Spike Jonez, and before he knew it, “… they booked me on Beastie Boys Story.”
Before the process officially started, Spike sent “… some scenes to see how I could clean it up and what vibe I could get out of it.” And as the process got underway in earnest, “We started working on one of the more intimate scenes. It’s a part of the movie where they’re reflecting on the passing of MCA.”
Capturing the intimacy and emotionality of the infamously and playfully obnoxious was of vital importance. “Everyone knows the Beastie Boys as this loud, outlandish bunch. So, we were trying to find the juxtaposition between the energies; the highs and lows. Finding those dynamics. It took work, but it pays off, you can hear it in the end product.”
However, with all that said about emotions, Martyn says, “After a while, you become so insular and a little desensitized. You watch it over and over. But it’s so rewarding sitting in a room and watching with an audience. We had a screening in IMAX before everything went into lockdown, and you see people’s body language and hear sniffles. It’s a great feeling.”
Designing Sounds
Martyn hears movies and TV shows, unlike most of us. “It’s a positive and negative. Often, I can’t listen to a soundtrack or watch a movie without dissecting what’s happening.”
What’s it like to mix the sound for something that could play on dozens of different devices with different sound systems? “You’ve got to think of that mindset once you’re doing the actual delivery. When we mix it, we do it in the highest format possible, in this instance, Theatrical Dolby Atmos, so we have speakers all over the place. Then we mix it for IMAX, which has another set of speakers all over the place.”
The mixes continue down from there for various systems. Martyn continues, “For Beastie Boys Story, we knew this was going to AppleTV+, which meant people would be watching on their laptops or phones. You try to get it, so it sounds its best on small devices. It’s the world we’re in now.”
Whaaat
Martyn’s work on Beastie Boys Story earned him and his team not one, but two Emmy nominations. How’d he find out? “It was just like any other day. I went to work mixing on a film that I just finished last week. A friend texts me ‘Congratulations’ I saw the phone out of the corner of my eye. I try not to get distracted by the phone, but I thought ‘Did that say congratulations?'”
Martyn responded to the text with, “What are you congratulating me for, what’s up? ‘You’ve just been nominated for an Emmy.'”
“It was super-humbling when I heard,” Martyn says, “I’m proud of our team and what we achieved on this film.”
But he still wasn’t entirely clear on what was happening. “I told my wife, hey Nicole, check it out I’ve been nominated for an Emmy. She replied, ‘Not one Emmy, two.'”
Martyn’s response was a high-pitched, “Whaaat!”
Martyn can’t help but repeat that the experience is “Totally humbling. I was incredibly surprised. It’s an absolute win no matter what happens the day they hand them out.”
Wrapping Up
Martyn works for Formosa Group, an independent organization doing sound work for dozens of movies and TV series worldwide. “I can see some of the best guys doing this work by going down a hall and knocking on their door. We started as a company with like seven, I think, and we’re now well over 150 people.”
What sort of dream films would Martyn love to work on? “ET would be so cool to work on. BMX Bandits would be cool to remake; it was like a teenage Goonies type of film on BMX bikes.”
Beastie Boys Story is out on AppleTV+. So, what’s next for Martyn. “I’ve been working on a Zack Snyder film called Army of the Dead, which will be on Netflix. I’ve started work on a Disney film called Cruella. Not sure how much I can say about that. It’s going to be really good fun.”
Is Beastie Boys Story on your watch list?
Thanks to Martyn Zub and October Coast for making this interview possible.
In a rare showing of synergy between comics publishers and film studios, AfterShock Comics has announced a film deal with Sony Pictures to produce a film adaptation of the to-be-released comic THE KAIJU SCORE. AfterShock’s new title, available to retailers on in November, is a unique twist on the kaiju sub-genre where “four desperate criminals are going all in on a once-in-a-lifetime chance to steal millions in art and turn their miserable lives around. The catch? They have to pull it off under the nose of a one thousand-ton kaiju.”
In concert, Sony has seen enough good stuff in the upcoming title to option the property for a new film. You can check out some preview images and read the full AfterShock press release below.
Are you a fan of the kaiju sub-genre? What do you think of the preview images? Let us know what you think in the Comments section, and please share this post on social media using the links below.
THE KAIJU SCORE / $4.99 / 32 pages / Color / On Sale 11.25.2020
Writer: James Patrick
Artist and Colorist: Rem Broo
Letterer: Dave Sharpe
Cover: Rem Broo
It’s the most dangerous heist ever attempted. Four desperate criminals are going all in on a once-in-a-lifetime chance to steal millions in art and turn their miserable lives around. The catch? They have to pull it off under the nose of a one thousand-ton kaiju. And a giant monster might just be the least of their problems.
Brought to you by the James Patrick (Grimm Fairy Tales, Death Comes to Dillinger, The Monsters of Jimmy Crumb) and Rem Broo (The End Times of Bram and Ben, Terminal Protocol) THE KAIJU SCORE is what happens when a Quentin Tarantino film takes place smack in the middle of a Godzilla movie.
In a competitive situation, Sony Pictures has acquired the film rights to AfterShock Comics’ upcoming comic book series THE KAIJU SCORE, from writer James Patrick (Grimm Fairy Tales, Death Comes to Dillinger, The Monsters of Jimmy Crumb) and artist Rem Broo (The End Times of Bram and Ben, Terminal Protocol).
Escape Artists’ Todd Black, Jason Blumenthal, and Steve Tisch will produce, along with Tony Shaw who brought the property into Sony. AfterShock Comics’ Lee Kramer and Jon Kramerwill also produce.
Jiao Chen is overseeing the project for Sony Pictures. Sony Pictures’ Drew Reed and Jake Bauman were instrumental in the deal, as was Rive Gauche Television with Steve Burkow of Ziffren, Brittenham, who negotiated on behalf of AfterShock.
Escape Artists is currently in prep on The Man From Toronto at Sony Pictures, with Kevin Hart and Woody Harrelson attached to star and Patrick Hughes set to direct, as well as Journal For Jordan written by Virgil Williams and based on the memoir by Dana Canedy, with Denzel Washington directing and Michael B. Jordan starring.
THE BOOK HASN’T EVEN BEEN RELEASED YET AND THERE’S ALREADY A FILM DEAL WITH SONY – HOW/ WHY IS THAT EXCITING FOR YOU?
JAMES PATRICK: “I have a habit – maybe a bad one – of always trying to be funny or clever or sarcastic when people ask me questions, and I find myself at a loss for any of that here. The truth is that the whole thing has been wonderful and surreal, but I’ve also found myself kind of having not digested it because it happened so fast. I’ve tried to not be excited about it and just focus on my work, but I’ve failed at that. I’m excited. Period. Excited because it will hopefully bring more eyes to the book since it won’t come out until November, excited for people to read the book and see how much more it is than just a good hook, and excited if it brings more attention to my other work and to Rem Broo’s wonderful art and his other books. And despite the fact that things happened with the publisher and movie deal so fast, this was a book that was developed for a while and it’s nice to see a payoff. And there’s a sense of relief since Rem had committed himself to it so long ago and put in so much work before anything ever came of it. And I can’t communicate enough how excited I am that this is with Sony and Escape Artists. They make great movies and I feel the material is in great hands. I can’t believe how lucky we got.”
REM BROO: “I was talking to a good friend of mine the other day, telling her how fast things are moving with this project and that I fear that this might make me feel anxious and overwhelmed in the end. She replied that after 10 years of intensely overworking myself in the industry, it’s about time for something to move fast in the right direction, so I should lay back and enjoy a bit of success. She’s right. I am excited for every step of this process, but it isn’t time to relax just yet. Not only has the book not been released yet, but it hasn’t been finalized. James did a fantastic job on the script, but I still have plenty to do on the visual part. This fact keeps me grounded and cool-headed for the moment. I need to keep myself focused on doing my job as well as my abilities allow me to, and let the things develop into something that I’m sure will be great.”
WHAT’S A PITCH TO READERS ABOUT THE BOOK AND WHY IT’S A MUST READ?
JAMES PATRICK: “I’ve said it before, and I’ll keep saying it because I think it’s spot on: the best pitch is that it’s a Quentin Tarantino film taking place in some corner of a Godzilla movie. A character piece with monsters in the background. But the “must read” aspect comes from that it goes deeper than the hook and has some great characters, great dialogue, great moments, and Rem’s killer art. We always believed this book should have a cool element and swagger that would make it stand out. That if this book were a person, everyone would notice it when it walked into a room.”
REM BROO: “Imagine a world where a 100 meter tall sea creature wants to have a casual sunbath in your neighborhood park. You might use common sense and leave, or maybe you would stick around, especially if there was money, ego, and some hidden high stakes involved. Now, that’s interesting. As for the presentation package for this story, I’m going to use the words that James did when he approached me for the first time, regarding a possible collaboration between the two of us. He said that I might be the right guy for the job because my art has “life and style and a nice slick vibe”. I think he used these words because they mirror his writing perfectly. The truth is that this book has attitude. And nobody can stay away from that.”
Her history is never far behind, not even in Batgirl #48.
BATGIRL #48, available this Tuesday from DC Comics, continues Barbara’s epic and dangerous journey in the Joker War. Her path has been far from easy, yet she keeps moving forward.
***SPOILER WARNING***
Once again, the Joker has been tearing through Gotham – and all of Batman’s allies. This is, unfortunately, something that Barbara Gordon has seen before. Has experienced before. Yet she didn’t stop then, and she sure as hell won’t stop now.
The last issue forced Barbara to relive some of the worst moments of her life. It could have been the beginning of a downward spiral. Instead, she took charge of the situation and of her own life. It was a moment that should have been cathartic, if not for the war still ongoing.
Now she’s left to pick up the pieces and face the consequences for the tough decisions she made. Once again, fans are reminded of how she became Oracle and how Babs always finds a way to continue her task of saving lives. No matter what.
Her history is never far behind, not even in Batgirl #48.
The Writing
Batgirl #47 took the trauma of Barbara’s life and brought it full circle. It was a harrowing moment and a reminder that many characters in this world will do everything in their power to keep Barbara Gordon from moving away on from her trauma.
The conclusion was a win in that Batgirl took control of the narrative and made decisions for herself. Yet there’s no doubt that there will be consequences for what was done. Cecil Castellucci didn’t shy away from those consequences in Batgirl #48.
It felt refreshingly honest. This is Batgirl through and through. The good and the bad. Her history is complex, as even just this single issue reminds readers. The family drama, the bat drama, it’s all still there.
This issue weaves all of that together while setting up for something else in the future. Will it be related to the Joker War? Or will this end up being a plot solely for Barbara? Only time will tell. But even so, it’s safe to assume that whatever happens next will have that classic Batgirl spin to it.
They say fighting is like dancing.
The Art
The artwork found within Batgirl #48 is the perfect support structure for such an intricate plot. Barbara’s ferocity and determination seem to seep off the pages, alongside some more complicated emotions and concerns from secondary characters.
Robbi Rodriguez was the lead artist and provided a stark look into the calm before the storm for Batgirl. Here she is, recovering and scrambling to put everything together in her head. The conflict shows on the pages, highlighted by the details around her.
Jordie Bellaire provided the colors, and it took this issue to a whole new level. The pages are surprisingly bright at times, in a way that allows her bold red hair and glow, alongside the iconic feature of her favorite building. It’s all pointing back towards the past, intentionally or not.
Finally, Andworld Design provided the lettering. There was a lot more of that going around in this issue, courtesy of all the panic texts Barbara received. Yet it worked nicely in this issue, showcasing everything that is going on – and what Batgirl was choosing to focus on (and ignore).
The complex history of Barbara Gordon.
Conclusion
Batgirl #48 told a complex story, one of recovery and determination, of history and the future. All while creating a plot that pulls readers in, and makes them desperate for the next issue. Granted, the conclusion alone might have done that part.
