Longbox Legends: Warren Ellis and Bryan Hitch’s THE AUTHORITY

April 14, 2020

Superheroes in the most classical sense are designed to be the best possible versions of humanity to strive for. They are creations of myth used to serve as an example of ideal morality. Generally, their ideals align with the western world’s most common views of justice: no killing, and nothing that misaligns with what could be considered the “status quo” maintained by western governments. While superheroes are great and inspiring, the kinds of storytelling they undergo on a mainstream basis is maintained in the interests of any other mainstream media and its audience. Fortunately, there’s Warren Ellis and Bryan Hitch. Even more fortunately, they brought along The Authority, a superhero team dedicated to making the world a better place – by any means necessary. Almost in direct response to the trappings of mainstream heroes, The Authority voraciously goes after world-ending alien threats, criminal masterminds, and the interests of wealthy western government superpowers all with the same intensity; regardless of the consequences they may face.

The Authority was originally published on DC’s Wildstorm imprint; an out of continuity publishing imprint that also housed WildC.A.T.S, Stormwatch, Gen13, and Planetary, just to name a few. This separate comic universe was used by writer Warren Ellis and co. as a playground for more serious, intelligent, and more conceivably “real” heroes than their DC counterparts. There’s a heavy integration of sci-fi and political intrigue alongside heightened and mature superhero hijinks that’s typical of Ellis’s creations up to this point. The team itself is made up by leader Jenny Sparks, the 100-year-old and non-aging “Spirit of the 20th century,” Apollo & Midnighter (government superweapons and absolute power couple), The Doctor (who communes with earth’s lifeforce), The Engineer (literally a supercomputer in the shape of a woman), Swift (genius with wings) and Jack Hawksmoor (who talks with cities as living, breathing organisms). Although The Authority takes place after the destruction of much of the original Stormwatch team (sorry, spoilers for that series), Ellis does a great job of ensuring that new readers do not need to have read that or any of the other Wildstorm series’ to enjoy this specific team.

The events of Ellis’ The Authority primarily follows Jenny Sparks’ creation and leadership of the team. It’s difficult to discuss the plot much without digging right into spoilers, but it’s carried by standard mainstream-hero book plot development. Ellis’ wit and intelligence are what sets this series apart, however. Even though the Transmetropolitan writer only built the frame and overall theme or the work, any further brilliance is inspired by the blueprint he set in the first 12 issues. Warren’s constant blend of physical and extra-dimensional science, politics, gallows humor and purposeful brutality aren’t quite as refined as they are in some of his less-mainstream works, but they are still entertaining as hell to take in. Witnessing Midnighter mentally then physically dismantle opponents with his augmented fight senses or reading how their own ship is a 50-mile long semi-sentient vessel floating outside of reality never gets old.

One of the most engaging aspects maintained by Ellis is the chemistry and banter among the team members. Each character is given a distinct voice and personality to such an extent that their quotes could be isolated from imagery and it would still be obvious who said it. From Jenny’s sarcastic leadership bravado, to Apollo’s undying enthusiasm and Angie Spica’s charmed analysis, these characters are never not fun to read. Ellis also knows when and how to change the tone of the team’s banter. Humor is kept in check when a serious turn of events happens, and characters are highly proficient at staying on task during a reality-threatening battle, so the suspension of disbelief that comes with incessant banter is warded off.

Warren Ellis’ vision is brought to life by the immensely talented Bryan Hitch. Hitch’s classical superhero polish brings beautiful mass-carnage and science-fiction detail of Ellis’ imagination to the exact kind of life it should have. The art makes these larger than life heroes interfaceable with the audience by being able to focus on expression and body language in the story’s quiet moments (which don’t happen to often). This is contrasted with Hitch’s ability to plot explosive action scenes on an often-massive scale. Sequences drip with fight choreography, urban destruction and sci-fi hijinks. For every brilliant idea Ellis scripts, Hitch answers in kind with visual work that absolutely nails the material at hand.

Warren Ellis’ The Authority is a high-budget and high-concept universe smashing thrill ride. It’s cast full of likable, unique characters and damnable villains. Its range of conflict and setting is massive and always has a feeling of gravity behind the smart-assery and bravado. The artistic vision of Bryan Hitch is visually stunning and wholly memorable. These first 12-issue that setup The Authority would go on to be continued by the likes of Mark Millar, Frank Quietly, Garth Ennis, Grant Morrison, and others in the spirit of maintaining this concept of science fiction heroes for the 21st century. While each run has its own merits, none can quite reach the heights of Ellis and Hitch’s original series.

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Kickstarter Spotlight: Stephan Franck Discusses PALOMINO

Matthew Sardo

Kickstarter Spotlight: Stephan Franck's PALOMINO

Stephan Franck launched a Kickstarter campaign Monday morning for his latest book, Palomino, and Monkeys Fighting Robots got a chance to talk with Franck about the book.

Palomino is a neo-noir graphic novel series, set in the lost culture of Los Angeles’ country music clubs. The age of urban cowboys is in full swing. Cowboy hats and rhinestone suits are all the rage. Kenny Rogers’ “Lady” is Billboard’s number three song of the year. Dolly Parton is a national icon. And across LA, six nights a week, working musicians, TV actors, stuntmen, cops, hustlers, and broken souls all play their part in the cultural myth-making. Most of them are just trying to survive—on the B-side of the City of Angels.

As an animator, Franck has worked on Spider-Man: Into the Spider-Verse and The Iron Giant. He currently is the Head of Animation on Marvel Studios’ WHAT IF? for Disney+.

Palomino is a passion project for Franck, as he is the writer, artist, colorist, letterer, and editor on the series. Enjoy the interview below and check out his Kickstarter campaign here: PALOMINO

MFR: PALOMINO has a great set of compelling characters. Even Larry feels fully fleshed out. Can you talk about your process of building out the universe for PALOMINO?

Franck: Thank you for saying that! The most central characters of the story are Eddie and Lisette Lang. Eddie is a classic noir figure–a disgraced cop who is now begrudgingly working as a PI. But there’s a unique twist: Eddie spends his nights as a working musician playing the pedal steel guitar in LA’s 1981 country music clubs. Most importantly, he is also full-time father to Lisette, his rebellious teenage daughter who is quite the hard-boiled chip off the old block herself. There is a profound and unbreakable bond between them, and the dry sense of humor that they share is hilarious and endearing, however, they are in a broken place. They are stuck under the shadow of a tragedy that befell their family, and they’re running out of chances to get their lives back on track.

As a father of two daughters myself, their relationship was my way into the story. They gave me a chance to take iconic characters and turn them into real people and to lead the reader into their world and their unique subculture and time period in an honest and authentic way. Then I started to populate the story around them.

I like to think of LA as a place that, on the surface, almost seems to be standing still, but where, in reality, everybody has ten different hustles and a million things going on. That’s the way I approached all the characters in PALOMINO. In fact, I went through the process of writing their sides of the whole story separately, almost like autonomous yet interconnected segments in an Altman movie. Of course, here, it is told as one linear story, but it’s infused with the various points of view of the people who lived it, in a way that celebrates their humanity–even the ones who are terrible humans, like Larry. They all bring their slice of life to the presentation of the story.

MFR: PALOMINO is an intimate book; the reader has a very voyeuristic point of view. As the artist, can you talk about the camera angles you used and how they emotionally connect the reader?

Franck: The storytelling in my comics is always informed by my work as a filmmaker, and I always think in terms of film language, which I try to combine with a sense of graphic design to make each page visually unique and unmistakably a comic book page. But the point of the cinematic approach is to deliver the moments as strongly as possible. It’s about clarity but also how something reads on an emotional and sometimes a visceral level. That’s why my panels typically “cut like a movie,” not in the sense that every panel is drawn in a film format– they’re not. But the camera, the POV, is an active participant in the creation of the moment and its attribution to a specific character’s experience.

SILVER, my previous series, was a more theatrical expressionist extravaganza, in which things emerged super dramatically from the darkness of black ink. But PALOMINO is fully lit by the California sun and sitting in plain view. Also, “Life in LA” in general has a certain feel, vibe, and pace, and I wanted the story to feel both lived-in and specific with its sense of time and place. For those reasons, I made the choice to lean on my filmmaking and animation background to build all the story’s important sets in CG. I was able not only to maintain consistency and specificity, but also to scout the locations to find unexpected angles and points of view that put the reader at the heart of it beyond what I could simply imagine.

This filmmaking-inspired approach was also helpful in having the ability to find compelling drama in small intimate moments, like a conversation in a tiny ranch-style house kitchen. Once the set is solid, you have a stage to block out your characters’ acting performance through the sequence. The space and their relationship to it becomes an active participant in the story.

For a double dose of geeking out, I would add two things: One, that all the CG is shot with a 2.4:1 anamorphic lens, which really gives you that 70’s cinema feel, and anchors the look of the period. Two, I am obsessed with translating photographic processes into graphic art, and seamlessly transforming CGI reference into a tasteful hand-drawn visual style, so that the various components never clash in a way that would hurt the esthetic or the storytelling.

MFR: Four graphic novels is ambitious, and your audience is flooded with entertainment choices. How much pressure do you put on yourself to hook the reader with the first book?

Franck: The things that hook the reader are the same things that keep me motivated as the author/artist as I see the pages come together. I may be drawn into the series because of a certain attraction to genre or locale, but very quickly, it becomes about answering these basic questions–Do I like these characters? Do they feel like actual people to me? Am I believing their world, their lives, and do I care about their predicament? Most importantly, am I entertained by their unique way of going about things, and am I anxious to see what they’ll do next and spend more time with them? If the answer to those questions is YES–in other words, if my people become your people–then I know the reader will sign on to the adventure.

MFR: How will the events of COVID-19 influence your writing moving forward?

Franck: This pandemic is only the latest event contributing to a feeling I’ve had since 9/11, which is that we are living in a time where day after day, truth is becoming stranger than fiction. Which poses an obvious challenge to writing fiction. So the fear that real life (or reality shows, for that matter), will upstage fictional storytelling is something that I’ve been thinking about for most of my career.

But I’ve come to the conclusion that past the fun and spectacle, the ultimate appeal of fiction is internal. It is the human condition, which, as one of the characters in Palomino says, hasn’t changed in 5000 years. So that’s the big secret–unlike other narratives, fiction doesn’t make you feel dirty in the end. Even when telling the stories of bad people, fiction opens a window on the moral universe, and puts things in their correct place within it. I think that’s our beat.

What did you think of Franck’s comments? Give your thoughts below.

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INTERVIEW: Composer Thomas Roussel On Making The Music For Jumbo

Ruben Diaz

April 14, 2020

Jumbo made its cinematic debut at Sundance in January from director Zoé Wittock (Red 2) and centers around a love story of sorts at an amusement park. Composer Thomas Roussel (Les aventures de Bill Billard, Rick et du troisième compagnon) weaves a melodic score into the fabric of Jumbo’s vibrant setting.

Noémie Merlant (Portrait of a Lady on Fire)plays Jeanne Tantois, the janitor of an amusement park. At the heart of this sea of lights and candy is Jumbo, a Ferris wheel. Jeanne and Jumbo start to form a bond that strengthens as the film plays out. From there, things get interesting, including oil slicks with deeper meanings. While it all might sound a little surreal, there’s no doubt the film was inspired by real-life people who fell in love with non-living things.

PopAxiom spoke with Thomas Roussel about his road to making music for film and television, coming to terms with the music that inspires him, and making Jumbo.

Violin, Piano, And Techno

Born in France, Thomas started learning about music from an early age: “… three years old.” It started thanks to “… my father, who taught me music.” Later, Thomas “… studied the violin and piano.”

Not too long after the lessons began, Thomas started “… to compose … around eight years old.”

Thomas’ musical cues blend several styles. “During the 90s, I grew up with the birth of techno music, and it’s very natural for me now to mix my different influences …”

About Jumbo

Thomas and Zoé Wittock have been friends for nearly a decade. “She told me about her first movie eight years ago when we met on a train during Cannes. Since then, we’ve been good friends, and she knew I’d be there for her movie.”

Thomas explains the journey to making the score for Jumbo. “You have a lot of different emotions in this story: love, hate, dreams, arguments, moments of strong discomfort. So, we wanted to illustrate all of this in the music. For me, it was exciting to compose because there are so many different kinds of emotions.”

Thomas proposed a “… unique sound … strong and deep analog sounds for Jumbo’s character and soft, delicate strings with metallic sounds … for Jeanne’s character.” To take Jeanne’s themes into unique places, Thomas “… recorded a Cristal Baschet and an aluphone.”

The process of making a Ferris wheel feel through score wasn’t easy, but that’s part of the fun of being a composer. “… we tried different options, but I finally decided to be on the edge of sound design and music. Jumbo is very deep in the basses, with analog keyboards. Then the sound designer did a great job too to make him ‘speak!’”

Making Music

Connecting to a story is a vital part of the creative process for Thomas. “I try to say yes to a project only when I know that I’ll be able to be sincere.”

Additionally, Thomas loves to explore sounds. “I also try to keep a very good loop of production, with good musicians, orchestras, new instruments.”

What do you think is the ratio of “rough draft” music that doesn’t get used to the final score?

Composers typically create a lot of music for a film or television series. How much is generally left over? Thomas explains, “… the director has the final cut, it’s his/her movie. I would say that twenty percent is unused in the end.”

The essential nature of connecting to a story is no better stated than when Thomas, a composer, says, “… sometimes, silence is better than music for a scene.”

Wrapping Up

Thomas’ musical influences blend classic and techno. What inspires the composer and makes up his creative DNA? “… it’s very generational. I grew up with all the fantastic John Williams soundtracks and studied classical composition/orchestration. So when I started to compose 20 years ago, it was trying to sound like him.”

Time and experience breed wisdom. “But today I’ve accepted that I was also a kid from the 90s, with all the techno music, Daft Punk, Jeff Mills, and now, also with my solo project Prequell.

Blending such distinct styles wasn’t easy, but Thomas says, “I am more at peace with my two worlds — orchestral and electronic music — living together.”

In the age of remakes, what would Thomas love to be a part of? “It’s not totally a remake, but since I was a child, my dream is to compose for a James Bond film!”

What’s coming next from Thomas? A new Prequell album. I’ll record with the LSO soon at Abbey Road studio.”

Is Jumbo on your watch-list?

Want to read more interviews like this? CLICK HERE.

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Review: PINK LEMONADE #2 Is The Comic Book Thirst Quencher We Need

Manuel Gomez

Pink Lemonade #2 by creator Nick Cagnetti and indie publisher It’s Alive! continues to deliver a vibrant, fun, gorgeous and energetic comic that is a love letter to the entire medium.

When footage of Pink Lemonade’s splashy balloon rescue stunt on a movie set gets leaked internally by hotshot movie producer Zavi Xarad, the public’s interest is piqued! They think Pink Lemonade is a new character in the new Ron Radical movie being filmed! Meanwhile, while attempting to bring back the original OJ-BOT, Pink Lemonade is tricked into signing a contract to co-star in a film with Ron Radical. Later, on the set of the new film, when the director yells action, Ron begins blasting Pink Lemonade. When she refuses to fight, Barzibelly Jr. (the strange being seen in her visions back in issue one) gives her control over what happens next in the film… and you don’t wanna miss what happens next!

Pink Lemonade #2
‘Behind The Curtain’
Written, drawn, colored, inked and lettered by: Nick Cagnetti
Ron Radical co-created by: Tristen Bagnall

‘Free Day’
Written and Colored by: Nick Cagnetti
Art by: Don Simpson
Published by: It’s Alive!

After a first issue that introduced a core concept and cast of characters, Pink Lemonade #2 jumps right into its story, with a particular focus on Ron Radical, the 90s comic character ‘parody’ we met in issue #1. Ron is the star of his own movie franchise, but we learn early on he is in the midst of an existential crisis about his identity. He narrates he has “lost his desire to please an audience that has moved on without me”. But producer Zavi Xarad (this comic is filled with great names like that!) has other plans and unbeknownst to the crew and stars, Xarad is under the thumb ff the Kirbyesque ‘villain’ Barzibelly Jr. Barzibelly wants to force the production into an endless fight between Pink Lemonade and Ron. He almost succeeds, until Pink’s goodness and pureness affects Ron and unveils a softer, creative side the pumped-up hero. It seems Ron Radical likes to paint and he does so in the middle of a comic book fight. The whole issue basically revolves around Ron and in doing so he goes from a parody to celebration of 90s comics. It’s a great subtle move that continues to show how this comic is all about the love for comics.

The art in this book is just phenomenal. It’s vibrant, colorful and full of energy. The linework is crisp and clean, invoking a silver-age aesthetic with a modern sheen. It’s also fantastically designed and has amazing layouts. This book is also heavily influenced by Jack Kirby and Mike Allred and you would be hard-pressed to find a better combination of influences for a book like this. Just look at the pages included in this review and they literally will speak for themselves. It’s the kind of art you can just take in an absorb.

The back-up story, ‘Free Day’ also works as a great epilogue and features art by the great Don Simpson (Megaton Man). Seeing Simpson’s art on pages is always welcome and was a great surprise in the end.

You definitely need to grab Pink Lemonade #2 if you can. In this drought of new comics we are having during the current crisis, it’s the best comic book thirst quencher you will find. You can grab it from It’s Alive! Comics directly and if you mention your local comic shop at checkout, It’s Alive will give 50% of the proceeds to your shop! Just another reason to love this comic!

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Review: Hospitality Turns to Horror in RED BORDER #2

Justin Munday

Writer Jason Starr and artist Will Conrad return with the chilling second issue of their social thriller comic “Red Border,” with colors from Ivan Nunes and lettering by Sal Cipriano. This issue digs its heels a bit harder into its socio-politically divisive setting, and while its handling of such issues is a bit clumsy, its saved by taut pacing and stellar visual direction.

“A young Mexican couple narrowly escapes the Juarez Cartel by fleeing across the border into Texas, only to be run down in the desert by the Cartel’s most brutal thugs. Rescued by a mysterious local who takes them to the safety of his family’s ranch, the couple soon realize they are trapped in a house of horrors beyond their wildest imagination, and the army of assassins on their trail might be the least of their problems.”

Writing & Plot

Writer Jason Starr takes the unique put potentially controversial premise set in the first issue and drives hard at the socio-political issues this comic brings up. Immigration and border politics are still a hot-button issue, and any discussion about such an issue, even in the service of entertainment, requires complex levels of nuance to handle it appropriately. As such, it’s a bit odd that Starr has chosen to offer bits of commentary that end up validating the beliefs of his own uneducated psychopaths. While the protagonists obviously represent just the average Mexican citizen, the use of stereotypical drug cartel types ends up echoing the twisted perspective of the comic’s Texan uber-patriotic murderers. Outside of this bit of fumbling though, there’s still a show of writing chops in the form of tight pacing and naturalistic dialogue. The increasing unease as the protagonists learn of their Texan savior’s true intentions creates palpable tension. Each character has their own distinct voice within the story, and the relationships between the two protagonists is a solid source of characterization to make the pair more relatable as people. While the mishandling of the political aspects is a concern, there’s still a solid thriller to be had here.

Art Direction

The near-cinematic artwork of artist Will Conrad and colorist Ivan Nunes makes “Red Border” #2 an easy comic to interface with in terms of its pacing and characterization. Conrad’s lines are crisp and offer intricate detail in every aspect of the book, from character animations to environments and even the creases in an individual’s clothing. The inks and colors give dimension to an arid south-Texas landscape and its characters with a visual approach that borders on digital near-realism. It’s a look that truly only suits certain comics, so it’s fortunate that the style works so brilliantly here.

“Red Border” #2 is a tense second chapter to this thriller mini-series. Jason Starr’s script offers somewhat dodgy handling of a complex social problem but makes up for it with tension-rich pacing and a gruesome last page discovery. Will Conrad and Ivan Nunes’ visual work is gorgeous and crisp in a way that offers a cinematic styling to the exact kind of comic that benefits from such a look. If this sort of unique and complex thriller is your cup of tea, head over to webtoons.com to read this and other great projects from AWA Studios for free right now!

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JUSTICE LEAGUE INTERNATIONAL: Bravely Going Where We’ve Been Before

Zac Owens

April 11, 2020

There is so much to love about the Justice League International series from 1987. Writers Keith Giffen and J.M. DeMatteis keep us readers on our toes from issue 1 to issue 60 by doing something simple and innovative: repeating the past. A year after Watchmen and The Dark Knight Returns rocked the comics world, “grit” and “gravitas” were the buzzwords of 1987. Yet Giffen and DeMatteis, with the help of brilliant artist Kevin Maguire, made their Justice League straight up hokey.

Comedy from the History Vaults

The whole of JLI is riotously funny, and all the jokes are things we’ve seen before. Instead of moving on from the storytelling missteps from early comics, Giffen and DeMatteis give readers a highlight reel of all the big industry blunders. They show a sincere appreciation of old comics, while also showing that they understand what makes old comics dated. From on-the-nose thought bubbles to cash-grabbing cliffhangers, this creative team relives comic book history to mine it for comedy gold.

Villains like Manga Khan, the gold-plated space tyrant, speak to themselves in eloquent soliloquies. We later learn that this is because he’s off his meds. He even opens up a drama school to teach others to be stereotypical supervillains who can’t shut up. Other villains are as ineffectual as ever, with a self-esteem and bank account to match. Meanwhile, the big-time superheroes are all too fast to take themselves seriously. You find yourself audibly sighing when Superman shows up, hoping we can get back to Rocket Red.

Issues end with stereotypical cliffhangers, followed by the usual press for the next issue, with a wink. One issue finishes saying: “NEXT: The Mystery Deepens… or maybe it widens…?… or does it thicken…?” So whether it’s Guy Gardner getting punched out by Batman, or Martian Manhunter’s growing addiction to Oreos, the series refuses to take itself seriously. Giffen and DeMatteis’ use of the comic industry’s rich, ridiculous history, with the occasional confession that they want your money, is the kind of fourth wall breaking that gives this series its charm.

The Faces of Justice League International

With a league that’s constantly quibbling, and too busy fighting each other to be a threat to any real enemies, it’s more like watching Seinfeld than reading Justice League. But it’s between the jokes, and often because of them, that this creative team accomplishes something brilliant. Somewhere along the line, these characters come down off the pedestal. Booster’s transparent selfishness and Blue Beetle’s struggles with his weight feel familiar. We are watching the lives of real people unfold. Half of them don’t even have any superpowers, for Pete’s sake.

And here’s where Kevin Maguire comes in. Maguire’s contorted faces look like pictures taken when the heroes weren’t ready. The stoicism is peeled back in favor of awkwardness. Because that’s always something we can relate to. And so gradually we become aware of the fact that we’re not dealing with heavy-hitters here. These are the outsiders, and each issue reminds us why. But they’re all desperately trying to prove everybody wrong and show that they’re worth something.

The cover of JUSTICE LEAGUE EUROPE #22, hilariously parodying the famous “National Lampoon’s” cover that said “If You Don’t Buy This Magazine, We’ll Kill This Dog.”

If you’re looking for the best version of the Justice League, look no further than the Justice League International run from 1987. In a time when serious stories were the way of the future, this creative team dug their heels in. They went for the hokey, funny, loveable tone of times gone by, and it all worked because they’d end with a wink. Giffen, DeMatteis, and Maguire gave us a team we could relate to. All in all, this Justice League is the last team you call in times of trouble, and the first you call to grab a beer.

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Longbox Legends: Gail Simone’s WONDER WOMAN – Playing the Fields of Compassion and Warfare

Justin Munday

April 10, 2020

Although she’s a cultural icon and a member of DC’s legendary “Trinity” of superheroes, Wonder Woman has often been mishandled by writers. As such, she doesn’t have the long list of great stories that her contemporaries have. There are only a small handful of runs that encapsulate who Diana, Princess of Themyscira, truly is as a character. Writer Gail Simone happens to be the author of one of these runs. Her 30-issue stint showcases Diana’s renewed desire to understand human culture, as well as the Amazon’s unbridled warrior spirit in ways no other writer has done. Simone also intimately captures some of the deepest, most human flaws in the character. These elements and more push Simone’s run to be one of the best and most easily recommendable runs in Wonder Woman’s publishing history.

Taking place shortly after the events of Infinite Crisis, Diana of Themyscira works as a field agent for the Department of Metahuman Affairs. Her efforts to understand human culture as an agent on their side has her crossing paths with members of the Society – and allying with some residents of Gorilla City. In her time as Wonder Woman however, she faces threats born alongside her at birth, and some that strike at her very soul. Her trials take her to the edges of existence and back home to Themyscira, to fight warriors, beasts, and gods all alike. The obstacles she faces in these issues aren’t always ones that can be beaten into submission. She will have to face her own flaws and internal demons to gain the strength she needs to continue as Princess of Themyscira and hero to humanity.

Gail Simone‘s understanding of Wonder Woman allows her to craft scenarios and conflicts that both bring out the Amazon’s absolute best, and then bring her to her lowest. The lead story arcs in this run are tense and gut-wrenching chapters that dive into the mythology of Wonder Woman’s existence and pinpoint her greatest weaknesses. The initial arc introduces key players to Diana’s coming trials, such as Tohlifar and his loyal gorillas, longtime friend Etta Candy, and chosen lover Tom Tresser. While some characters are utilized to demonstrate the loyalty and influence Diana has on others (which is a common plot point in any WW run), Tom shows the Amazon Princess in a completely new light. While the beginnings of their relationship are sweet to watch, with Diana guiding Tom through Amazon courting traditions, this later exposes the immensely flawed thinking she has about human love. This is one of the more surprising revelations in the series, as well as in Wonder Woman stories in general. It’s a painful twist that on its own already makes Simone’s run a memorable chapter of Wonder Woman’s history that’s also a sharp take on Amazon perspective as a whole.

Diana’s warped views on romance aren’t the only dagger Simone throws in Wonder Woman. She takes a close examination of Amazon society in contrast to our own, and creates a sort of “puritanical” form of living for some of the women. Simone weaves a narrative around the Amazon’s ideas and desires of motherhood, a secret desire that a select few consider blasphemous to their way of life. This mentality goes far enough to convince the Amazon warriors assigned as Hippolyta’s (Diana’s mother) personal guard to plot to kill Diana in her crib when she was an infant. Simone’s plot constantly finds ways to poke and prod at the beliefs and practices of Amazons and the gods they worship, using Wonder Woman as a vehicle for these revelations.

Gail Simone’s use of character is used to largely showcase how multi-faceted Wonder Woman’s existence is. This doesn’t mean these characters don’t have any significance on their own, however. Seeing Etta Candy taken from a bumbling Air Force egghead to a complete badass is a treat for any longtime WW fans. The inclusion of the gods creates a new dimension of characterization that isn’t much thought about in terms of how to write such beings. The internal conflict of Tom Tresser the agent vs. Tresser the man who loves Wonder Woman is believable and relatably written. Of course, the real treat in terms of character writing here is Wonder Woman and the Amazons themselves, as well as other noble warrior types who make an appearance. Diana’s compassionate sincerity is intertwined with her code as a warrior. This can be hard for writers to be able to sell and keep the story from becoming either too melodramatic or too dull. Simone thankfully manages to nail this specific tone. Wonder Woman’s voice here basks in a classical noble bravado that feels equal parts Arthurian and Robert E. Howard on Conan. Her desire for peace and love to conquer never comes off as cheesy, instead constantly surprising with how effective this tone can be when the right writer handles it. Hers and her sisters’ battlefield banter is gruff and direct in a way that had never been seen in a Wonder Woman comic before. Simone uses this as a stark reminder that these women are defenders to the ideals of peace and wisdom, but they are still masters and veterans of warfare.

Despite how riveting Simone’s main plot on Wonder Woman is, not all of the arcs fire on all cylinders. There’s one involving an attempt to make Diana’s life into a movie, and while it has some sweet and fun moments it unfortunately falls flat compared to the great work going on around it. One of the later arcs as well, and one that’s supposed to serve as a climactic follow-up to a long-running subplot, doesn’t quite add up to greatness in the end. Dialogue from many of the guest heroes that appear doesn’t hit the heights that Simone is reaching in most of her work here. The solid naturalistic speech the regulars get falls away to dialogue that can sound like it’s trying a bit too hard to have personality. While these factors do detract some from the overall experience, they aren’t enough to shake Simone’s place as one of the top Wonder Woman writers.

None of this praise for Simone’s Wonder Woman would mean anything, or would even be possible if the comic had poor artwork. Suffice to say, the visuals hold strong with the writer’s vision. Most of the work is split between artists Bernard Chang and Aaron Lopresti, with Matt Ryan as inker throughout. Each artist has his own completely distinct style, with Chang’s thick lines working in contrast to Aaron’s softer details. The whole experience is held together by Matt Ryan’s inks, which manage to leverage some uniformity to the run’s visuals. This, and the likes of Brad Anderson and HI-FI coloring to bring the experience to vivid life from panel to panel. This is a fantastic run to look at from issue to issue, with character designs and action setpieces all looking their big-budget superhero best with every turn of the page.

Gail Simone’s work on Wonder Woman stands tall as one of the pillar runs on the iconic character. Her decision to base her plot around analyzing the potential stresses in both Diana herself and the Amazon perspective results in a thought-provoking and intricate take on a legend. The characters and villains, from Etta Candy to Genocide, are all used to gain new perspective on the Amazon Princess that could now be considered essential knowledge for the character. The visuals brought forth by Bernard Chang, Aaron Lopresti, Matt Ryan, and others shine to make this run as much of a thrill to experience as the script depends on it to. This is one of the greatest takes on an inspiring icon, and deserves to be a part of any comic reader’s collection.

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INTERVIEW: Makeup Artist Susie Glass And The Two Faces Of Fantasy Island

Ruben Diaz

April 10, 2020

Fantasy Island is a new take on the late 70s early 80s television series that leans heavily on supernatural horror elements and comes from director Jeff Wadlow (Truth or Dare). To help bring out the fantasy and fear is makeup artist Susie Glass (Mulan).

The original Fantasy Island TV series is a pop-culture legend. The new take plays up the horror aspects that were lightly hinted at in the original series. The premises are the same, which includes a far-off island resort in a tropical paradise that seemingly brings fantasies to life. However, the fantasies turn into horrific nightmares that threaten the lives of stars Maggie Q (Live Free Or Die Hard), Ryan Hansen (Veronica Mars), and Portia Doubleday (Mr. Robot).

PopAxiom spoke with Susie Glass from Queensland, Australia, about her road to the film and television industry and her journeys from mountains snow to tropical islands and back again for Mulan, Fantasy Island, and more.

Good Hair Day

At 18, Susie was already a trained hairstylist. Getting into the film industry was a “… right time at the right place,” kinda thing.

As a fan of movies all her life, Susie always wanted to be part of the filmmaking process. “I was lucky enough to stumble upon a great makeup designer who trained me. I got offered a job to join a makeup team at a television network, which was a great training ground …”

The jump from hairstylist to the film and TV industry wasn’t a big stretch. As a child and into her teenage years, Susie “… had a dancing background … so I’ve always been around that world. It just seemed a natural step.”

Evolving Industry

Susie’s earliest IMDB credit dates back to 1996 when high-definition televisions and 4k cameras weren’t a thing. The transition to newer technology forced the Susie’s of the world to rethink their approach to hair and makeup. “It’s been a complete 360. Your eye for detail had to change. Suddenly you saw absolutely everything on the screen, so techniques had to change. You had to have a much lighter hand. Heavy foundations and products and glues couldn’t be used anymore.”

But challenge is part of the fun for people in the creative industry. “It was really like starting again, which I found quite exciting.”

About Fantasy Island

Susie’s work appears in the Mulan remake from Disney, and an upcoming Amazon show. In-between was Fantasy Island. “I was filming Mulan down in New Zealand down in the south island, and a very casual conversation between actors was happening about Fantasy Island as I walked by.”

What did Susie do? “I got into the conversation. I wanted to be part of that. I loved Fantasy Island growing up. I knew it was in Fiji, we were in the snow, so a little bit of heat was quite appealing.”

After learning about the gig, the next step was simple for Susie. “I reached out, and they were very excited to hear from me.”

Shiny Beautiful, Bloody Awful

Fantasy Island is directed by Jeff Wadlow, who previously directed Truth or Dare and Kick-Ass 2 (and wrote Vin Diesel’s Bloodshot). Susie says about working with Wadlow: “We were on the same page from day one. The story and script had been in Jeff’s head for a long time. So he was quite clear, which was incredibly helpful.”

There was one primary focus when it came to getting the hair and makeup right. “We wanted to see that juxtaposition between when people come on to the island, everything is shiny, beautiful, bright, and magical and you think ‘oh, lucky, lucky people’ they’re about to have all their dreams come true. But they quickly disappear down the rabbit hole.”

Susie highlights one actor’s journey. “You see Portia’s character, Sloane, getting dragged through bushes backward… all credit to Portia and everything we did to her as a character. We dumped water on her head over and over for days on end.”

Simply put, “We really wanted to see the shiny, beautiful, and bloody awful.”

Facing The Elements

Mulan shot in cold climates, but Fantasy Island was in a tropical paradise. “Filming locations in the heat is not to be underestimated. Everyone just melted. Everything had to be thought out.”

Susie elaborates on the challenges of working in a beautiful but often broiling locale, “Keeping everyone shiny and beautiful in the tropics and not looking like they’re melting is challenging. Filming days are 10-12 hours or more. It’s hard on everyone. It’s not just a physical thing, but you had to look and feel great all the time.”

In a professional juxtaposition, Susie’s three most recent gigs have gone from cold regions to hot ones. In the cold, she says, “Red noses are a problem. It was very cold down in the deep south.”

Fantasy Island is a Blumhouse production that works on a budget a fraction of the size of films like Mulan. “Well, I was running the crowd in Mulan, and I think over the course of the film we had about five-and-a-half-thousand people on camera. That scale is enormous. It took me from China to the south island of New Zealand to the north island. It was like an endurance race. I had 50 makeup artists with me.”

Wrapping Up

Susie draws a lot of inspiration from “… the golden days of Hollywood. If I had a wish, I would love to work back in that era. I’ve been a fan of movies since I was a kid, and I admire what they did back then with what they had available. Those were the old-school masters.”

What’s most important about learning from those masters? “It reminds you of what it’s all about. We’re so caught up with our technology, and digital this, our phones on set, we’re snapping photos … I completely admire the old masters for the craft.”

In the age of remakes, Susie’s already been a part of quite a few. “I was lucky enough to work on Peter Jackson’s King Kong.” Is there a remake she’d love to be a part of? “I’m going to say something crazy, I Dream Of Genie. I wanted to live in her bottle.”

Fantasy Island had a solid box office run while Mulan’s release is delayed. What’s next from Susie? “I just completed an exciting show for Amazon Prime called The Wilds. It’s a ten-part series that’s kind of Lord of the Flies and Big Brother. It’s going to be a fascinating watch.”

Is Fantasy Island on your watch-list?

Thanks to Susie Glass and Impact24 PR for making this interview possible.

Want to read more interviews like this? CLICK HERE.

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Why JESSICA JONES: ALIAS Is Still A Fan Favorite

Cat Wyatt

JESSICA JONES: ALIAS VOL. 1, originally released back in September of 2015 is a series that took Marvel fans by storm. We all knew the potential Jessica’s character had to go dark and gritty…but many were not expecting this level of intensity.

When looking back on Jessica Jones’ history, most fans will be quick to state that Jessica Jones: Alias provided some of the best work towards her character. More than that, it is some of the best examples of storytelling available.

It is a series that was unafraid to take risks, to beat up characters, both physically and emotionally, and to take it further. And it all began with this first volume. Written by Brian Michael Bendis, this whole series had some serious talent on the team. Working alongside Bendis were David W. Mack, Michael Gaydos, and Bill Sienkiewicz.

Yeah, that looks like the Jessica we all know and love.

Not A Hero

Jessica Jones is one of those heroes that seems to always get kicked when she is down. Her history alone is proof enough of that. Once upon a time, she made a go at being a legit superhero. It didn’t go well for her. So now she’s a P.I., and she’s totally not at all bitter about that.

Jessica Jones: Alias Vol. 1 brings that whole history to the forefront, forcing us to acknowledge all of the pain that this perceived failure has put on her. More than that, we’re confronted with all of the bridges burned and contacts lost when she walked away from that life.

There is something so incredibly humbling about seeing this side of Jessica Jones’ life. It’s a poignant reminder that everyone has drams. But not all dreams work out. That is a fact that must be doubly true in a world were superpowers and metahumans are considered commonplace.

Story

The first volume of this series contains issues 1-9, and that is a whole lot of ground to cover. During this time, we see multiple instances of Jessica getting stuck in uncomfortable positions. She’s looked down upon by the heroes for dropping out of that life. Yet she’s also treated poorly by those without powers, because of her abilities (and that tends to intimidate people). She’s got the worst from both worlds, in many ways. Bendis and the team did a brilliant job of showing this side of her life, all while portraying a version of Jessica who will just keep moving forward. Granted, she won’t be quiet either. She’ll complain and swear to her life’s content. That’s just who she is.

This series also pulls in many iconic heroes, though perhaps not in the way one might expect. It adds context to Jessica’s life, while also furthering the points that these particular arcs have been working so hard to make.

To think that this volume had so much intensity and impact, all without having to pull in the most iconic antagonist from Jessica Jones’ life. That is an impressive feat by any means.

A glimpse into her past, and the sort of harassment she has to deal with on a regular basis.

Artwork

Another reason why Jessica Jones: Alias Vol. 1 has become so iconic for this character is the artwork that supported the plot. The covers alone are simply striking, going with a heavy watercolor style. The hints of blue and purple add a touch of foreshadowing, especially for the fans that know what it means.

Inside the covers, you’ll find a completely different story. Jessica Jones lives in a corner of the Marvel universe. She does not tend to live or fight in flashy ways, and the color palette tends to support that. Everything about her backdrops feels darker and muted, intentionally leaning in that direction.

This series makes clever use of repetition to tell a story, especially in regards to the images used. It adds weight to certain scenes, while presumably saving the artists time in other areas. When everything is combined, there is this real set of grit that goes perfectly alongside the tone of Jessica’s struggles.

The entire run of Jessica Jones: Alias boasts some truly stunning covers, such as this one, from Jessica Jones: Alias Vol. 3.

Conclusion

Jessica Jones: Alias Vol. 1 is an iconic series by any means. It blew away fans of the character and/or franchise, and brought many more new fans on board. It is no surprise that the television adaptation leaned strongly on this particular line for much of its influence, a decision that paid off.

This volume is the first of several, and while we’re only talking about the first, we do strongly encourage readers to read the entire run. It’s a worthwhile read, one that will only increase in intensity and impact as it gets further along. And that right there is the reason why so many fans fell in love with this series and everything it has to offer.

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How MS. MARVEL VOL. 1 Found A Way Into Our Hearts

Cat Wyatt

MS. MARVEL VOL. 1: NO NORMAL, originally released back in October of 2014 is a volume that swept through the community. It impressed old Marvel fans, and brought onboard countless new ones along the way. From that moment onward, Kamala Kahn had a place in our hearts.

Ms. Marvel, aka Kamala Khan is a character that got a lot of ink, even before her first issue hit the stands. For the most part, the talk about her was overwhelmingly positive, and with good reason. Kamala brought with her many changes, as well as several elements worth new fans latching onto.

Kamala Khan, a girl from Jersey City turned hero. Before she was one of us. A massive fan of superheroes, a fan fiction writer, and a gamer. But that was before the terrigen mist got into her, revealing the truth. She was an Inhuman. The mist brought about a transformation, and with it came new powers for this new dynamic hero.

Many fans have confessed for some confusion surrounding her name. She is Ms. Marvel, but she is not the first. As mentioned above, she was (and still is) a massive fan of superheroes. One of her idols was the one and only Carol Danvers, who had previously been known as Ms. Marvel. Kamala picked up the mantle when she became a hero since Carol was no longer using it (as she had moved on to Captain Marvel).

Ms. Marvel Vol. 1 had a strong creative team working to bring the series to life. G. Willow Wilson took the forefront of the writing, while Adrian Alphona, Sara Pichelli, Jamie McKelvie, and Ian Herring all lent a hand to create the visuals.

Kamala Khan: The expert of living vicariously through others. At least in terms of food.

Story

Ms. Marvel Vol. 1: No Normal is a groundbreaking volume. Here we’re introduced to an all-new heroine, with a completely different history and background than we’ve ever been allowed to see within the comic book world. It made a huge impact, especially for those readers desperate to see a reflection of themselves within the comics they love so much.

Kamala’s introduction is a fast-paced one, all while being unafraid to delve into the personal elements that make Kamala feel more real and human than ever. Her love of her family, her devotion, brought about extra complications. That may not sound like much, but remember she also has the whole problem of being a teenager hiding her superhero identity from the world, and all of the extra little issues that would naturally come with that.

The whole first plot arc involves Kamala trying to learn how to work with her powers. More importantly, it’s a process of how she learned to be a hero, as well as coming into her own. Over the course of a few adventures (and attempts to save the day) Kamala quickly learned that she couldn’t copy what everyone before her had done. Instead, she needed to create her own path in life. This is something that resonated with many fans, and certainly increased the impact of her tale.

Ms. Marvel’s series has continued to be groundbreaking, not just in this volume, but later ones as well. This is a series that has consistently been unafraid to comment on current events, from politics to disasters, and everything in between. It’s no wonder this series sticks in our minds (and hearts) so firmly.

Ms. Marvel Vol. 1 wasted no time in showing us the primary characters in the series, as well as several secondary ones.

Artwork

Ms. Marvel Vol. 1 had so much going for it, not least of which being the artwork. The creative team behind her series has worked diligently to bring us a charismatic character, one who could believably fit in the real world.

Her series is full of little details and touches to remind us of the world and life that she comes from. Everything from the way she designed her costume (with the fan references included), to the food she craves. All of those details are included within, and it brings her character to life. Just look above to get a sense of how vibrant her series is. This is a series that does not shy away from showing the culture of Kamala’s life. Be it from her heritage, or from the city she lives in.

Her series, as a whole, tends to go for such dramatic and iconic issue and volume covers. It’s something that has helped her to stand out (more than she would on her own, that is). It also consistently gives fans an excuse to get excited all over again, something we’re sure they appreciate.

Kamala’s powers are portrayed in such clever ways in this volume in particular. Perhaps they are so noticeable because she is still learning, but one this is clear: the creative team did a fantastic job of portraying that struggle.

Kamala is absolutely the type of person to overlook somebody’s pleasant insults.

Conclusion

Ms. Marvel Vol. 1 was the start of something new and beautiful. Kamala’s character came bursting from the pages, and she is here to stay. Her character is so refreshingly unique and human, all while being unafraid to address what she is passionate about. There is something so beautiful in that, so it’s really no surprise that fans have come to love her so much.

This article has focused on the first volume, but there are plenty more adventures of Kamala’s worth following. She also makes an appearance in the Champions (as a leader, for a time) and several other iconic Marvel series. So it is clear that she’s making just as big of an impact on the Marvel universe as on the fans.

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