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

By

-

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.

Monkeys Fighting Robots Youtube

Why JESSICA JONES: ALIAS Is Still A Fan Favorite

By

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.

Monkeys Fighting Robots Youtube

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

By

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.

Monkeys Fighting Robots Youtube

THE HITCH HIKER’S GUIDE TO THE GALAXY Comic Will…

By

Darryll Robson

-

April 10, 2020

The Hitch Hiker's Guide to the Galaxy #1 Cover. Credit: DC Comics

…Make You Reach For Vogon Poetry

Forty-two years ago a brand new radio drama, one that mixed science-fiction and comedy, was first aired on BBC radio. It was a risky venture and a bit of a gamble by the radio drama department, however, The Hitch Hiker’s Guide To The Galaxy was a massive success. Over the years it has spawned more radio series, a T.V. show, a movie, the trilogy of 6 books, and even a towel.

It was inevitable that one day it would become a comic book and in 1993 DC Comics worked with Byron Preiss Visual Publications to publish the first of a 3 part adaptation. This too would have sequels and all three serials were released in a prestige format.

This look back at the the series was due to coincide with the original air date of H2G2 but, as is fitting with anything Douglas Adams related, the deadline went flying passed like a spaceship in hyper-drive. Although a number of perfectly good excuses could be created to explain this, the truth is writing about the comic book adaptation is difficult. Out of all of the related interpretations of the original radio series, the comic is possibly the most disappointing. Even more so than that towel.

Initial Concept

If you don’t know the story of The Hitch Hiker’s Guide To The Galaxy it all starts with the End of the World. You may think it’s difficult to get 6 books worth of material from the debris of such destruction but for Douglas Adams, Earth was just this an insignificant little blue-green planet from which to launch his adventures.

“Space” Douglas Adams wrote, “is big. You just won’t believe how vastly, hugely, mind-bogglingly big it is. I mean, you may think it’s a long way down the road to the chemist’s, but that’s just peanuts to space.”

The above quote sums up H2G2 perfectly. Adams’ ideas were vast and infinite, but his humour was intrinsically very British. Fleets of massive space ships would fill the air hell-bent on destroying an entire planet but not out of hatred, or for war like reasons, but simply because the planet was in the way of a new hyperspace bypass. The situations were outrageous but the jokes were humble and the gags twee. This is why H2G2 was, and is, such a relatable success.

Script Like A Brick

Enter writer John Carnell and the DC Comics adaptation. Carnell was a writer known in British Comic book circles, having written for The Real Ghostbusters comic, Doctor Who, and was the creator of the much loved Sleeze Brothers; a science-fiction version of The Blues Brothers.

Carnell had the job of translating a radio series into a comic; on the surface this could potentially be difficult. However, in an interview with Douglas Adams for the BBC Radio 1 Book Club series Adams insinuates that writing the book was easier because of the existence of the series. The difficult part, the speech and conversations, were already there. Carnell had a script to work from and, reading the comic, much of his job seemed to be editing rather than writing. Unlike the 2005 Movie which incorporated some of Adams’ unused ideas and brand new material, the comic adaptation is a cut down version of the radio series and book. All of the scenes and warmly remembered jokes are there but it does feel a little empty.

Part of this is due to the artwork, which I will get onto, but it is also to do with timing. H2G2 has immaculate timing in most of its forms. Adams’ novel is one long, expertly executed joke that hits each beat perfectly. It is a dream to read out loud because it leads the reader with it’s inbuilt tempo. The comic is missing that timing.

Carnell has to incorporate a whirlwind of ideas and jokes into a visual format but is, to a certain degree, limited by space. All of those grand ideas should allow for some beautiful design work in the comic, which technically has a limitless budget, but this has to be balanced by the Earthiness of the humour. Carnell never quite gets this right. Often the narrative joke, which builds up to a punchline, is edited for space and reaches the pay-off to quickly. This turns a number of really funny moments into something akin to a gag reel: a series of one liners quickly following each other.

Part of this may be due to limited space within the comic however, reading it today, it feels that it has been simplified for a different audience. An Americanisation of the language appears to have seeped into the humour as well. Everything is shorter, quicker, in a rush to get to the point so that the next idea can be introduced. This is not how Adams wrote the original as everything gently flowed into everything else to create a slow moving, sleepy river which the reader could gently sail down. The comic adaptation is more like fast moving rapids that the reader is thrown down towards the climactic finale.

Artistic Endeavours

A number of artists worked on the H2G2 comics, with different writing and artist teams working on the sequel miniseries. The main illustrations were provided by Steve Leialoha who inked his pencils along with Steve Baskerville and Art Nichols.

Leialoha’s pencils comprise of mainly fine lines with detailed backgrounds and simplified figures. Facial definitions are kept to a minimal, instead relying on silhouettes to differentiate between characters. For the most part this is successful, especially as the narrative progresses and many of the characters are aliens with distinctive body shapes.

However, what is lost is the subtleties of personalities and emotional reactions. Each of the characters are appear as if they are over acting, with wild gestures and overtly expressive faces. The reader can tell when a character is raging with anger or extremely upset but H2G2 is about mild reaction: someone being slightly put out, or a little bit annoyed.

Arthur Dent, the leading character, is the very definition of Englishness which means he bottles up all of his emotions, deep down, out of sight. Even when an uncaring council are attempting to knock down his house he is still trying to rationally negotiate the situation with the frustrated foreman. It’s true that he does lose his temper throughout the story but only after his house, his garden, everyone he knows, and the very planet he lived on has been destroyed and the only person he knows who is left alive is pushing a fish in his ear while saying “Don’t Panic”.

Simplified Re-designs

One of the drawbacks to the comic is the design work. The world of H2G2 was, and is, a sprawling, all encompassing, universe of possibilities and ideas. Arthur Dent is the grounding brick by which the narrative, and reader, can encounter everything that is happening without losing control. In this adaptation, Arthur Dent is too young and too cool, and ultimately isn’t that solid foundation needed for the story to work.

This is a problem throughout the rest of the comic. None of the characters really fit their personalities. It’s like when a movie company adapts a novel and casts entirely the wrong actors for all of the parts.

That is not the worst piece of design in this comic. One of the main features of the story, and arguable one of the best characters, is the Guide itself. In the radio series it is performed by the wonderful Peter Jones. In the T.V. series from 1981 a magnificent animation is added to Jones audio. It still holds up as one of the best fake computer animations ever committed to film. In the comic, slightly faded, fluorescent colors represent the screen effects of the digital guide. Compared to the previous efforts, it is underwhelming at best.

For the central element of the narrative, the Guide in the comics is the least effective. It looks gimmicky and out dated. It is also the part of the comic where the script edits are most notable. The coloring is provided by Lovern Kindzierski who does an amiable job on most of the pages, creating a pleasing contrast between Arthur’s blandness and the exotic space aliens and settings.

This does make you wonder if it was Kindzierski’s decision to color the Guide in this way. The Guide panels sit next to the rest of the narrative like interlopers at a formal event dressed in fancy dress. The pencils don’t differ from the rest of the comic, and Todd Klein’s lettering is pretty much the same, except for the color.

Klein is a recognisable name, as much today as it was in the early 90’s. He has lettered some of the best comics ever to be published and won enough awards to fill several shelves. However, looking at his work on H2G2 you might not be able to reconcile the two. The lettering is ‘okay’, and that is it’s biggest crime. For a man who was designing genre changing lettering techniques for comics such as The Sandman, H2G2 feels like he was just phoning it in.

Douglas Adams with Towel — Douglas Adams with a Fan and a Towel.
Image: Tim Roney / Radio Times / Getty Images

“So this is it,” said Arthur

There is no panache, no excitement in these page. Here is a comic screaming out for experimental art, whether it’s design, coloring or lettering, but for the most part it’s very much box standard, business as usual. When you turn the pages and read through the steady paced panels, the slight sense of disappointment makes you think of the other versions of this story.

The uneven timing reminds you how good the original radio series was. The outdated Guide design makes you want to reach for the DVD of the T.V. Series. Even the unconvincing personalities of Zaphod Beeblebrox make you beg for Sam Rockwell’s enchanting performance in the movie.

This is like the Friends version of H2G2, with the punchlines being more important than the jokes, and a young trendy cast replacing character and depth. Another BBC comedy hit of the late 1980’s, Red Dwarf, suffered a similar fate when an America TV company decided to remake the series. The result was recognisably Red Dwarf but at the same time lacked the series’ soul.

The Hitch Hiker’s Guide to the Galaxy comic takes the ideas of a brilliant work of fiction and turns them into ‘funky’ highlights for a new audience. Often, having a simplified version of something is a good way to introduce a new audience to your product. With H2G2, this actually does the opposite. People who enjoy this comic book adaptation will probably not enjoy any of the other related products.

After all of the above you’d think this reviewer would advise against reading this comic. However, there are some moments of charm on these pages and the result of reading this is that you will revisit all of the other H2G2 products. You might think you are not in the mood to reread the novel or watch the T.V. Show, but after the comic I guarantee you will be.

Ironically, the comic book adaptation of The Hitch Hiker’s Guide To The Galaxy is for the hard core fans of the franchise. Not because it’s any good, the opposite in fact. The disappointed feeling you get when reading this helps you to appreciate everything else. Including the official towel.

Monkeys Fighting Robots Youtube

What Was The Funniest Part Of SPIDER-MAN/DEADPOOL #1?

By

Corey Patterson

-

SPIDER-MAN/DEADPOOL #1, originally released on January 06, 2016, began one of the best team-up series in recent comic history. Written by Joe Kelley and illustrated by Ed McGuinness, Mark Morales, and Jason Keith, this inaugural issue pits the unlikely bedfellows in an unfortunate locale: the pit of Hell. The two find themselves pressed against once another in Spidey’s own webs, held captive at the mercy of Dormammu. We invite you to kick back, relax, and enjoy the hilarity as they maneuver their way out of this sticky situation.

Story

It isn’t every day that one finds themselves in the grasp of a extradimentional overlord, but then again, Spidey and Deadpool aren’t your everyday superheroes. Our arachnid friend is pretty annoyed at having to work with someone he believes to be morally depraved, but the mercenary couldn’t be more thrilled.

Using a combination of wiggling and bickering, the two heroes manage to break the webbing with one of Deadpool’s knives. But with an army of Mindless Ones behind them, it looks like the unlikely pair will have to work together despite their differences.

As the kick-off for a Spider-Man/Deadpool team-up book, Kelley does not disappoint. We’re treated to one of the funniest interactions between the two motormouths. The issue, while not offering up a super strong storyline, provides much-needed humor and sets the foundations of the heroes’ ongoing collaboration in the issues that follow.

Artwork

McGuinness’s penciling, along with Mark Morales’s ink work, Jason Keith’s coloring, VC’s Joe Sabino’s lettering were each integral parts of this issue’s amazing artwork. The characters are highly detailed in this issue, from the webs on Spidey’s spandex to the realistic blade on Deadpool’s weapons. The coloring uses impressive gradations in the reds on our heroes’ suits to give readers a sense of texture.

The lettering is particularly entertaining. Using various colors and sizes for the squabbling heroes, readers can almost experience the annoyance Spidey feels at having to work with the mercenary.

Comic Cover

The main cover for the comic features a symmetrical illustration of the two heroes. It’s an image that reminds one of the Yin-Yang symbol, which perfectly expresses the twosome’s relationship.

Conclusion

SPIDER-MAN/DEADPOOL #1 is a fun issue with plenty of laughs. We encourage you to revisit this book during this time.

What did you think was the funniest part of the issue? Let us know in the comments below!

Monkeys Fighting Robots Youtube

JUSTICE LEAGUE REBIRTH: #1—Why Do You Think Clark Came Back?

By

Corey Patterson

-

JUSTICE LEAGUE REBIRTH #1 was one of the first major books to come out of the DC Comics Rebirth event in 2016. The events that took place in DC UNIVERSE: REBIRTH #1 brought the legacy elements of the pre-New 52 DC universe back into the mix, including the original Earth-1 Superman. The problem? Batman and Wonder Woman aren’t sure if they can trust this “new” hero.

We invite you to revisit this story—you won’t be disappointed.

Story

The story opens in a less than ideal New York City morning, complete with a gigantic alien attack on its citizens. And amidst the pandemonium we read an almost other-worldly narration from none other than Clark Kent—the pre-New 52 version.

Watching the chaos from afar in his comfortable home with Lois and young Jon, Clark can’t shake the feeling there’s a reason this particular version of Earth continues to fend off the forces that would otherwise bring destruction. Lois lovingly reminds her husband that the Justice League has had an integral role in averting these threats. And now, they’re missing one particular hero who could lead them against their current crisis.

Writer Bryan Hitch crafts an engaging script, especially when it comes to Clark’s discussion with Lois. Readers feel the strain of a man torn between the home life he loves and his responsibilities to the rest of the world. But the question remains: Will he return? And if so, will it be because of his love for Lois, or his care for the Earth?

Artwork

Daniel Henriques and Scott Hanna’s ink work, Alex Sinclair’s coloring, and Richard Starkings and Comcraft’s lettering offer readers stunning visuals for this issue. The blend of chaos and normalcy is paced beautifully when moving from the fight to the Kent household. What’s more, readers are treated to a variety of colors due to so many League members arriving on the scene; it provides a nice juxtaposition to the drab grays of the ruined cityscape. We also found the lettering to help with story pacing, slowing down reader eye movements to take each scene in full.

Comic Covers

Main Cover

Tony S. Daniel and Tomeu Morey’s main cover artwork gives us a look at the new Justice League line-up. They have fixed their gaze on the reader as if they’re inviting them into this new Rebirth world.

Variant Cover

Yanick Paquette and Nathan Fairbairn’s variant cover illustration features the trinity of DC superheroes, reminding us how important of a role the idea of “legacy” is in the Rebirth event.

Conclusion

JUSTICE LEAGUE REBIRTH #1 brilliantly set off the modern version of the Justice League. We hope you enjoy revisiting this issue!

Were you happy about the return of pre-New 52 Clark to the main DC landscape? Let us know in the comments below!

Monkeys Fighting Robots Youtube

ONE PIECE VOL. 1 – The Beginning of A Grand Adventure

By

Jason Jeffords Jr

-

April 8, 2020

In these trying times, it’s nice to find comfort in something, be it a movie, video game, book, comic book, or in our case, a manga, namely, Eiichiro Oda’s One Piece.

Let’s take a look at One Piece’s publication history and what makes the first Volume so amazing. Before going in, beware of spoilers!

ONE PIECE TAKES OVER

Ever since its original Japenese release (July 22, 1997) in the Weekly Shonen Jump, it was a massive hit. The same could be said for its November 2002 English release in the Monthly Shonen Jump. Since then, the franchise has grown exponentially, spinning off into countless other media. It has also gone on to be a constant top seller in the manga world with its recent tankōbon volume (96), marking 470 million in circulation worldwide. Yeah, One Piece has broken multiple records. Nonetheless, its first Volume – which consists of eight chapters – starts off quite small and focused, but promising more to come.

SIC PARVIS MAGNA

Volume 1’s scope works perfectly in One Piece’s favor, making it fantastic in so many aspects. Oda takes time by not throwing too many things into the plot while setting a few base rules for his Universe. This slow set-up is just one factor that contributed to the series becoming what may end up a masterpiece. One Piece’s first few chapters feel like another famous Shonen Jump title’s first few chapters—Akira Toriyama’s Dragon Ball.

Although One Piece drops the narration later, its first few chapters mirror Dragon Ball’s narration. Plus, it has the same sense of wonder, adventure, and excitement. Much like its predecessor, it eases you into a grand adventure. Plus, Luffy’s character feels very much like Goku. Nonetheless, even in the first Volume, Oda makes the tone of the series stand out.

ONE PIECE – MANY EMOTIONS

Throughout the series, Oda will keep a consistent amount of emotions ranging through the whole spectrum. On one page he can have you laughing like crazy, the next could bring you to tears. Some have for me. But, it never feels out of place, it helps his art is vast enough that the gags work, yet it isn’t only that. Oda doesn’t take cheap shots or ruin a heartfelt, emotional moment with a joke.

He lets each moment breathe.

Some of the comedy comes in the form of other character’s reactions. One factor that many fans have come to adore. When something out of the normal occurs, Oda draws the onlookers with exaggerated faces that help carry the scene. Sometimes this happens on the same panel, or in later moments he makes the face outrageously overdone in its own page/panel.

Nonetheless, Oda’s timing is perfect when it comes to a heartfelt moment, pages of drama/action, and comedy. Even in One Piece VOL. 1, he nails all of these emotions.

Comedy at its finest - Eiichiro Oda — Comedy at its finest – Eiichiro Oda

THE TREASURE KNOWN AS ONE PIECE

On the first page alone, Oda can capture your interest in the world you’re about to explore. During this page, Gold Roger “King of The Parents” is executed, but not before he utters his last words kicking into motion the Golden Age of Parents. This single page may very well be the most impactful in One Piece’s publication. His words set into motion the treasure hunt for the fabled “one piece.” In later issues, we learn that a vast array of pirates we meet in the future watched this world-changing moment. Plus, in recent chapters, we learn even more leading up to this moment.

To think that years later, the first page of One Piece VOL. 1 can still be impactful shows how thought out Oda is with his work, and how not to take any page for granted. It helps that this moment is ingrained in fan’s brains as it was used in the Anime opening quite often and is generally a big deal. Not only is this page a great opener that explains its general plot, but it becomes the crutch of the series. Following this milestone page Oda introduces the world to Luffy and the world he inhabits.

A page to remember - Eiichiro Oda — A page to remember – Eiichiro Oda

A SHIP FULL OF CHARACTERS

One Piece VOL.1 includes only a few characters; they are full of life and energy. Yes, later on, One Piece goes a little ham crazy with characters (something I love); Oda starts the series off with a relatively minor cast. Nonetheless, they stand out in their own ways. One of Oda’s strengths is his ability to introduce a character. Luffy’s (our main character) introduction is him showing how tough he is. How tough is he? Well, he can take a knife to his lip and slice it open, thus giving himself his famous scar.

Following this Oda using a template (most of the time) to introduce other big characters. Oda draws the character in full on the right side, showing their complete body, name, and later on a bounty. Filling the rest of the page is normally a longer top panel and smaller panels that usually portray reactions or continuing the scene. This consistent introduction method is great in execution and will stay in One Piece throughout. But, for villains, Oda changes it a little.

Introductions - Eiichiro Oda — Introductions – Eiichiro Oda

In the pages preceding the villain reveal, Oda builds the hype up. During these, he’ll show the soon to be revealed character in shadows, never completely revealing them. Yet, in these teases, Oda does show how they are through words. One great example is Axe-Hand Morgan. Before showing the character fully, Oda has him proclaiming how “great” he is. Later on, we learn just how Egotastic he is.

THE STRAW HAT PIRATES

One Piece’s main pirate crew are the Strawhat pirates, captained by Luffy. In its first Volume, Oda introduces second member Roronoa Zoro, or better known in English as—Roronoa Zolo. Not wanting to confuse Zoro with Zorro, the decision was made to change his name to Zolo. Most fans use Zoro, so we’ll stick with that. The final chapter brings in, Nami, yet only introduces her.

Throughout the series, Luffy isn’t just unique because of his strength, but because of how he acts towards others. In the first chapter, Oda shows Luffy spending a lot of time with Shanks, who later Luffy begins to mirror in character. Both are carefree, yet a force to be trifled with, strong, caring, humorous, charming, understanding, able to easily get along with others, and aren’t quick to pick a fight unless for good reasons. These are characteristics Luffy carries through the series, and it shows who he learned in from.

Zoro, on the other hand, is well known for being a “demon” who people fear. Oda depicts this quite well in his introduction. Even though he is tied up, you sense a terrifying side to him. Nonetheless, later he is shown with a nice side, showing how none of One Piece’s characters are one noted. And although it may not show up in its first Volume as prevalent, Oda’s series is known for one other thing—weird character designs.

Zoro - Eiichiro Oda — Zoro – Eiichiro Oda

IT’S A WEIRD WEIRD WORLD

The characters introduced throughout One Piece can easily be identified by how outlandish they are. Even “simple” characters have a distinctive trait. E.g., Zoro and his three swords. To hold a sword in your mouth isn’t common, but here it’s no big deal. In most other cases, this is due to the Devil Fruit, one of Oda’s plot points that grant abilities depending on which one is eaten. The first (and only one in Volume 1) is Luffy and his rubber powers via the Gum-Gum Fruit. Later on, these Devil Fruits play a more significant part.

Nonetheless, there are others who are born of a unique race, like the Longarm or Longleg tribe. But, Oda keeps the first Volume simple. Nevertheless, a few of the human characters introduced here look unique. One such person being Axe-Hand Morgan, who has a literal axe inside his arm, handle included and a metal jaw. As amazing as this design is, it makes you wonder; how the hell does he bend his arm? The thing is, that’s what makes these designs memorable and fun.

Now, don't get handy - Eiichiro Oda — Now, don’t get handy – Eiichiro Oda

SIMPLE, YET GORGEOUS ART

Another aspect seen in One Piece VOL. 1 is how “simple” Oda’s art begins. One of the greatest things in manga is watching a Mangaka improve throughout the publication. Oda’s art is one that has improved greatly throughout the years. Granted, the beginning of One Piece had fantastic art; he would continue to add a great number of details going forward.

This can be seen in multiple facets: character designs, backgrounds, ships, action, and villages. Nevertheless, this cleaner, less detailed look works amazingly in the first Volumes favor. This art helps ease the reader in. This cleaner look gives the reader familiarity with the Universe and makes them want to return, and see Oda grow as an artist.

ACTION AND ADVENTURE ABOUND

One Piece Vol.1, includes a few fights. Not as much as future titles, or fights that go on long, but it does include a few great and memorable ones. In its first Volume, there are multiple panels that’ll stick to your brain. When I came upon these character action moments so many feelings from my childhood returned, especially an amazing Zoro moment. When Zoro is finally freed from being tied up, he proceeds to show we he is considered a “demon.”

One man with three swords vs the Navy - Eiichiro Oda — One man with three swords vs. the Navy – Eiichiro Oda

This moment also shows how amazing Oda can portray a fight on a singular page. During the pages preceding this, he shows the same ability with a violent punch via Luffy. This method of a single panel for a fight works amazingly in One Piece Vol. 1. Plus, it shows Oda’s skills as a Mangaka.

One Punch! - Eiichiro Oda — One Punch! – Eiichiro Oda

These one-panel actions may do wonders, yet Oda implies another technique in a few cases that works just as well. In dramatic effect, Oda will show multiple actions in a fight transpire, then will switch to lettering instead of a character hitting another. This makes the actions hit much harder while providing him room to spend panels on other things. When executed, Oda does this with artistic vision while barely showing more violence.

Words are louder than action? - Eiichiro Oda — Are words louder than action? – Eiichiro Oda

COVER-TO-COVER

There is an art to making covers that make you want to blind buy a piece of media. One Piece’s publication history has been full of fantastic and epic covers. Yet, its first Volume has a simplistic beauty to it. The cover elegantly shows a relaxed, fun, adventure just beginning with Luffy and his first crewmates. Simply put, it works perfectly. But, nine years later Oda made homage to his original cover while improving it.

As the time skip occurred in Volume 61, Oda brings back the original cover but adds in the new crewmates post time skip. He even calls the first time skip chapter, Romance Dawn: For the New World, in reference to the very first chapter, Romance Dawn. Below are the two covers side-to-side to show how amazing each is.

VOL. 1 - VOL. 61 - Eiichiro Oda — VOL. 1 – VOL. 61 – Eiichiro Oda

Not only is this a great way to start a time skip, it shows how Oda has improved. When the two covers a next to each other, you can see just how detailed his work has become. Even better, Luffy, Zoro, and Nami are in the exact same poses.

ONE PIECE – ONE LONG ADVENTURE/GROWING UP AS A PIRATE

Anytime I think of One Piece, I’m reminded of Marie Kondo, “Does this spark joy?” It does, and other feelings for me. Hell, I mentioned it as my Comfort Comic. I’ve reread the series at least four times. One Piece has a special place in my heart and my body – I have two tattoos from the series. Having followed the series since its original English release, it’s been a long crazy ride. Even going through just the first Volume brings back amazing memories of when I first read it. Plus, it shows seeds and themes since the beginning.

Adventure Begins! - By Eiichiro Oda — Adventure Begins! – By Eiichiro Oda

With so many staying home and needing entertainment now more than ever, why not go through One Piece? I mean, it does have 976 chapters. It’s a long ride. But, every moment is worth it. Take a chance and read the first three chapters free on Shonen Jump. It helps that a Shonen Jump monthly membership is dirt cheap with quality content.

Plus, check out Anthony Composto talking about another classic Shone Jump Title—Bleach.

Monkeys Fighting Robots Youtube

INTERVIEW: Composer Mark Isham And The Sound Of Little Fires Everywhere

By

Ruben Diaz

-

April 8, 2020

Hulu’s Little Fires Everywhere was produced by and stars Reese Witherspoon and Kerry Washington as matriarchs surviving secrets, motherhood, and tragedy. To help make these little fires roar are composers Isabella Summers (Florence and the Machine) and Mark Isham (Once Upon A Time, Blade).

Little Fires Everywhere is a mini-series based on the 2017 novel by American author Celeste Ng. The story centers around Reese’s well-to-do Elena Richardson, a mother of four and a part-time journalist and Washington’s Mia, an artist and a single mother of one daughter. Elena’s curiosity with Mia begins a relationship that cascades into dramatic goodness.

PopAxiom took some time to talk to Mark about his career in making music, from Time Cop and Point Break to Little Fires Everywhere, and Bill and Ted: Face the Music.

mark isham-little firest everywhere-hulu — **Isabella Summers and Mark Isham**

Novice To Veteran

Mark Isham is an industry veteran having scored his first project called Never Cry Wolf way back in 1983. Along the way, he’s done tearjerkers and action favorites and just about everything in between. Where did his love of music begin? “Music was always a part of my life. I don’t remember it not being there. Both of my parents were musicians. My mother was a professional violinist. My father was a professor of humanities and the arts and an amateur violist. They would have sting quartet evenings with friends and always be listening to music.”

Mark’s childhood was filled with classical music. “I knew more about Mozart, Mahler, Beethoven, and Bach than I did the Beach Boys or the Beatles.”

Mark’s mother taught him the violin, but “some baroque trumpet music” made an impact. Mark thought, “… it was pretty glorious, so I decided I wanted to play the trumpet.”

For a while, Mark played violin and trumpet but eventually focused solely on one. “I played trumpet into high school.”

It’s Better Than Music, It’s Jazz

Things changed when Mark heard Miles Davis. “That was the first big change in my perspective of what music could be …” Inspired by Davis and the legacy of jazz music, Mark “… took off in the direction of jazz the last couple of years in high school.”

Mark’s musical journey had still not crossed paths with pop music “… until I realized a lot of jazz musicians were influencing pop music.”

A big fan of diving deep into musical genres (more on that later), Mark did his homework. “I went back and listened to the Beatles and a lot of pop music.”

Mark discovered a whole new sonic world waiting to be understood. “By that time, it was the late 60s, and pop music is going through a brilliant period. The late 60s and early 70s were a great time for music. Jazz, pop music, R&B, all sorts of stuff was just exploding.”

Music Education

One of the most prolific composers of the last three decades, Mark reminisces about his early musical training. “I was fortunate enough to be growing up with all of that and being the guy at the record store picking up the new David Bowie record, the new Talking Heads record, and the new Miles Davis record and that new Return to Forever record and Weather Report record. All of that music informed my music education.”

The road to working in the film and television industry is different for every working creative. “I dropped out of college. I couldn’t stand studying music formally.”

Instead of college, Mark “… worked as a trumpet player. I played in symphonies, rock gigs, and church gigs. I ended up in a band called The Sons of Champlin.”

By the time the 70s were coming to an end, Mark says he “… had a thorough background in classical music, a thorough background in pop music, and a thorough background in jazz.”

Mark’s work ethic and versatility brought about three great things, “… a band record deal, a solo record deal, and a film score offer.”

It’s that moment that Mark considers, “… sort of the beginning of my real professional career.”

So, which deal did Mark choose? “I did them all. I did the band first. We made a record that did okay and got great reviews. I made my solo record after that. Then we went back and made a second band record. Managed to keep the band going for a few years, toured around, but it became too hard. The solo deal was starting to take off. Right around that time, my first film offer came in. So, I took advantage of that. For the next ten years, I kept a film career and solo career going.”

Music 2.0

Growing up, Mark was “… fascinated by electronics.” By the late 70s, synthesizers and other electronics were becoming the norm for music across genres. “It wasn’t hard for me to pick up a modular synthesizer. I built things like that as a kid.”

Mark’s skill set was that of a “… seasoned trumpet player,” and, “… I knew my way around electronics.” Mark adds, “I was there long before computers were ever used for making music, so I was part of the evolution of computers becoming musical instruments.”

Power Of Jazz

In three years of interviewing film industry veterans, composers make up the bulk of those discussions. Backgrounds and educations change, but one thing stays the same and that’s the influence of jazz. What’s Mark’s take on why that one particular kind of music has such an impact on music today. “Jazz is interesting music because it was popular music up until the mid-50s. All throughout the 40s, what we think of as jazz was pop. That was it. Billie Holiday, Duke Ellington, these were pop stars. In the 50s, rock and roll started to come around.”

Mark continues, “Jazz has always had a really sophisticated backbone. It owed a lot of its composition to classical western music. Jazz got more and more esoteric as rock and roll got more prevalent.”

As jazz evolved into this new esoteric state, it meant “… you really have to know what you’re doing. You have to have a thorough background in harmony and how music works to be an accomplished jazz player.”

As rock took over the pop music reigns, and jazz became more rarefied, the genre became an essential place for music. “Jazz by the end of the 70s had become the only place where you could have the sophistication of the evolution of western music that classical music kept going. Classical music just got weird, atonal, and very little stuff written was connecting in that period.”

Jazz was a mix of foundational sonic structures. “Jazz took that sophistication and stayed connected to the rhythms of pop music and world music. It’s a genre that attracted a lot of people that wanted to make interesting, sophisticated music.”

How does that relate to underscoring a film or television series? “Film music has to be that way too. It needs that sophistication but also be able to speak to the public.”

For Mark, the foundation of jazz suggests, “People with that background in jazz were more ready to embrace film music.”

https://www.youtube.com/watch?v=JWGkX8ClhBI

About Little Fires Everywhere

Mark’s filmography is long and includes pop culture classics like Point Break, Blade, and Once Upon A Time. He shares his path to being part of the Little Fires Everywhere team. “Mary Ramos is one of the top music supervisors in this business, meaning she’s hired to put together the musical concepts for films and television shows. She and I had worked together on a film a number of years ago.”

As Mark explains, Mary was “… hired for this show. It’s a very woman-centric show, and they wanted to hire as many women as possible. Mary suggested hiring Isabella Summers [the “machine in Florence and the Machine] to score the show.”

Dawn Soler, the president of music over at Disney, thought it was a fantastic idea. But Dawn said if she [Isabella] had never scored anything, we’re going to need to bring in a pro to work with her. I suggest Mark.”

Mark and Isa met and simply put, the pair “… got along great, and dove in.”

Musical Marriage

Little Fires Everywhere is a nuanced story with incredible performances from its stars and surrounding cast. How did the music come together to match the narratives intensity? “The initial discussion with the showrunners didn’t really yield a lot of great answers. We spun our wheels for a while, to be honest with you. But then Mary and Dawn stepped in …”

What did the pair of women say? “‘Let’s regroup. Let’s spend some time with this show and really decide how to score this show.”

After some time of diving into what the story needs, Mark and Isa, “… scored the entire pilot. We brought Mary and Dawn into a darkened room and played them the whole thing. They thought it was fantastic.”

As Mark explains, “Mary had this initial idea of the sounds that are at the heart of Florence and the Machine married with the things that I do. We just needed a space on our own to figure out what that was.”

Are the rumors of future projects between Mark and Isa true? “We’ve been approached by a Netflix show and looks pretty good so far.”

Mark’s Creative DNA

Mark’s musical education is due, in part, to his relentless pursuit of understanding as much about music as possible. “Music is such a vast language. There’s always something to learn. So, what I do is I find a piece of music that is representing this aspect that I don’t understand, and I dissect it. I figure it out. ‘What makes it work? What rules have been established?’ I pick it apart until I figure it out.”

Unexpectedly, the answer to the question of Mark’s musical influences begins with jazz legend Miles Davis. But growing up during a rapidly evolving era of music means his creative DNA is made up of a wide range of artists. “A band called Weather Report was a huge influence on me. They were one of the first bands to marry jazz, electronics, world music, and classical music all in one genre. To me, it was a huge breakthrough that all those things could live together.”

Also on Mark’s list, “Brian Eno, Gustav Mahler, David Bowie, Thomas Newman, Elliot Goldenthal, Danny Elfman.”

Mark highlights another inspiring creative. “I think the most influential modern composer for me is John Adams (Doctor Atomic). I’ve studied his scores quite a lot. He’s single-handedly saved modern classical music and brought some vitality to it that’s made modern classical quite fun.”

Wrapping Up

In the age of remakes and reboots, what would Mark love to be a part of? “I hear they’re adding a new Matrix movie, I’d love to do that. The first Matrix movie I thought was superb. Anything in that storyline is fascinating to me.”

Mark brings up a new project during his answer “If you’d asked that question a year ago, I would not have put Bill and Ted on that list. Having said that, though, I could not be more pleased to be doing it. It is so much fun. This third one is the best of the three. It’s fantastically well-done, and the guys are as absurd and ridiculous as ever. The director is one of my favorite people.”

Little Fires Everywhere is streaming now on Hulu
with new episodes each Wednesday. Is it on your watch list?

Thanks to Mark Isham and Costa Communications
for making this interview possible.

Want to read more interviews like this? CLICK HERE.

Monkeys Fighting Robots Youtube

INTERVIEW: Comics Catch Up With Indie Creator Benjamin Marra

By

Manuel Gomez

-

April 7, 2020

Benjamin Marra is one of the most interesting artists working today. And although mainly self-published, Marra has done comics for both Vice (various strips) and Image (the excellent Jesusfreak which was co-created with writer Joe Casey).

Benjamin was cool enough to take some time to talk to us at Monkeys Fighting Robots about his career, his current comic What We Mean By Yetsreday (which he is posting daily on Instagram), his love of classic RPG art, where comics might be going in this post-pandemic world and a bunch more. So read on!

Monkeys Fighting Robots: First of all, thanks for taking the time to talk to us at Monkeys Fighting Robots. A bunch of us fans are excited!
Benjamin Marra: Cool, thanks very much for having me.

MFR: Personally, the first thing I ever got of yours was Lincoln Washington Free Man which was gifted to me by a coworker when I ran an indie bookstore years ago. I still have it and it’s one of my favorite single-issue comics I own.
BM: Awesome. Yeah, those single issues of my self-published comics are pretty hard to find now

Lincoln Washington Free Man. Copyright Benjamin Marra

MFR: For those not familiar with your work, give us a brief history of you as a cartoonist.
BM: I’ve been doing comics in earnest since 2007 when I published the first issue of NIGHT BUSINESS, my 80s-crime, 70s-Giallo homage. I self-published a bunch of other books experimenting with different approaches to cartooning. But I’ve been drawing since I can remember. I studied illustration at Syracuse University, then got my MFA in illustration at SVA. I do a lot of illustration work in addition to making comics.

Night Business #1 Copyright Benjamin Marra

MFR: Who or what would you say were your biggest comic book influences?
BM: It’s difficult to say because my influences are constantly changing. When I first started making comics Paul Gulacy, Eric J on REX MUNDI, and Marc Laming on AMERICAN CENTURY were huge influences. Gary Panter has been a constant influence though many times not directly. Recently, Ebizu Yoshikazu has been a big influence. I’ve been thinking about Tomi Ungerer a lot (though he’s not a comic book artist per se). Mike Judge has been a big influence. Gary Larsen. Charles Schulz. I like what Matthew Thurber has been doing a lot recently.

MFR: What other media do you draw inspiration from?
BM: Fine art and illustration both inform my comic process, as far as drawing goes. Genre prose fiction—science fiction, fantasy, crime—has a big influence. Genre film, obviously, is a huge inspiration. I’d say my sources of inspiration outside comics are bigger than the number of comics that inspire me

MFR: I’ve also read you’re also an avid RPG/Dungeons and Dragons fan (the art and the game). What about it inspired you and what artistic tools do you take from it?
BM: I love early TSR D&D artwork, as well as the game itself. For me, the artwork hits the perfect note of naive intention. The artwork is trying its best to be the most sophisticated art it can be. It misses the mark entirely. It has a DIY quality and emotional quality that resonates with me. Ultimately it’s work that’s made with a lot of love and care, and that really comes through. I also love the subject matter of fantasy art. The tools I take from it, I guess, literally, is that you can make cool black-and-white drawings with cheap pens and paper.

MFR: Do you have a personal favorite of your own work? One you think best represents you as an artist?
BM: Not really. I’m a pretty savage critic of my own work. It is what it is. I don’t really look back on it with much affection. I look forward to what I’m going to create next. I couldn’t pick one work to represent me, because I feel all of them fall short of what I can do. That kind of propels me forward to make the next thing, which I’m sure will also disappoint me as we

MFR: Okay, so I wanted to talk to you about What We Mean By Yesterday, your new comic you are putting out through Instagram daily. Can you tell our readers a bit about what the comic is about? The who and the what of the story. From what I understand a version of this appeared on Vice before.
BM: The comic is about characters in a town all linked by a high school. The first section of the story follows the afternoon and evening of one of the teachers in the school, Mr. Barnes. He has a lot of bad things happen to him and gets mistreated by people. I won’t know the true meaning of the story until it’s finished and it may never be finished.

Panel from ‘What We Mean By Yesterday’ Copyright Benjamin Marra

MFR: How did you come up with the idea to re-do via Instagram? Was it the idea that led to the format or the format that led to the idea?

BM: My friend Michael DeForge did a daily comic last year and I thought it worked really well. I did a couple of weekly comics for adultswim.com and my interest in comic strips returned. I hadn’t seriously looked at comic strips since I was a lot younger. Doing a daily strip is an interesting challenge. I wanted to see if I could do it for a year. I also wanted to do something personal but needed a framework or system to ensure I would do the work. The daily strip is not a huge amount of work per day, but if you do one a day for a year, it really adds up to a good volume of pages. I also wanted to work on something that would allow me to experiment with simpler, boiled-down, nothing-but-the-essentials, heta-uma style. I guess it was the format that led to the idea because I probably wouldn’t be doing the comic if it weren’t for Instagram.

MFR: What’s your process for What We Mean By Yesterday’ like?
BM: I work as fast as possible. I do the strips in batches of 14 to 20 in advance. My pencils are basically my writing. So I pencil out the pages, get into a flow, then I go back and ink everything, scan it in, and set it up to be posted. I have a big master outline I worked on for several weeks before I started. That’s kind of my guide for the story.

‘What We Mean By Yesterday’ Copyright Benjamin Marra

MFR: Do you plan on ever collecting this version outside of Instagram?
BM: Sure. If a publisher is willing to publish it. When it’s ready I’ll probably submit it to Fantagraphics. If they don’t want to do it, maybe another publisher will. And if no one, then I’ll probably self publish it somehow through a print-on-demand service.

MFR: You’ve also become a frequent part of the popular (and favorite around here at MFR) Cartoonist Kayfabe podcast. What led to that?
BM: I’ve known Jim and Ed (and Tom Scioli) since I started making comics. We’d hang and room together at comic conventions, like SPX and Heroes Con. So we’ve been friends a long time and bonded over comics and making comics. Our tastes are very much aligned. There are things I can talk about with them that I can’t talk about with anyone else.

Gangsta Rap Posse. Copyright Benjamin Marra

MFR: There also seems to be a small resurgence of people diving back into back issues, dollar bins and more indie and self-published work. As a member of that community why do you think it’s gaining steam again?
BM: It’s because mainstream comics are terrible. The Big Two publish nothing but dreck these days. It’s impossible to read any of that stuff. So for quality comic book entertainment fans are mining the past when comics were actually fun to read. All that stuff is very accessible and cheap. It’s no wonder they’d pay 50 cents for a comic that’s 100 times more entertaining than a new one on the racks that costs $5.99.

MFR: So just to talk about the elephant in the room real, how are you dealing with the current national crisis?

BM: Like everyone else, hopefully. My wife and I are holed up in our apartment. We don’t go outside. We have our groceries delivered to us for the most part. We’re expecting a baby in the next couple of weeks so we are serious about not being exposed to the virus. It angers me when we must go outside (for trips to the hospital for prenatal appointments) and people don’t adhere to the social distancing guidelines. But like a lot of cartoonists, I’m built for this kind of life. I prefer to stay inside and work on my comics, drawings, and play RPGs

MFR: As a cartoonist, you must have some advice about staying at home so much? Care to share some?
BM: Have a routine. Routines and having a daily schedule are absolutely critical. Find projects to work on that are enjoyable. I’m not talking about home-improvement projects or things that feel like work. Write, draw, paint, read, do puzzles, play games. Do it enough that you develop a routine. Don’t just watch TV and search for more TV shows and movies to watch. You don’t have to be productive, just find something you can escape into.

MFR: Where do you see comics at the other end of all this?
BM: It’s tough to imagine the same amount of retail outlets surviving the pandemic and impending economic recession (or maybe depression). Only half of the comic shops in North America survived the boom and bust of the early 90s. That number will be whittled down even further. I wonder if DC Comics will continue to exist or if they’ll finally license out their properties to other publishing houses like Marvel or IDW. When the brick-and-mortar retail stores become irrelevant sites like Comixology may be the best option for new mainstream comics. The direct market will probably be most affected because it is completely dependent on the whims of Diamond Distribution, which has decided not to operate for who knows how long. I think independent publishers will, by and large, find a way to survive, because that’s what they’re built to do. Comic creators may turn to other channels to get their work to readers. There will probably be a jump in webcomics. Creators may turn to print-on-demand services or sites like Gumroad. Comics will continue to be made, but the non-traditional delivery systems, like digital, will flourish.

MFR: Are there any current comics or creators that excite you?
BM: Walter Scott, Karissa Sakmoto, Matthew Thurber, Leon Sadler, Michael DeForge, Michel Fiffe, Lale Westvind, Jon Chandler, Jillian Tamaki, Charles Forsman, Michael Comeau, Conor Willumsen to name a few.

MFR: Are you currently working on anything you want to mention?
BM: I have a few projects that are pending but can’t really talk about. Some RPG work that I’m looking forward to. And, of course, WHAT WE MEAN BY YESTERDAY.

MFR: And finally where is the best place for people to reach you and reach your work?
BM: Instagram is best: @benjamin_marra. Or my website works: benjaminmarra.com

All images courtesy of benjaminmarra.com

Monkeys Fighting Robots Youtube

WHAT IF Comic Books: Where Should You Start Reading?

By

David Weber

-

April 7, 2020

The What If comic books by Marvel Comics offer a look into what could have happened in Marvel continuity if events had a different outcome. Ranging from vampires to murder to dystopian worlds, this series contains something for every reader. The first issue was published in 1977 and started a new series. That series lasted until 1984, but Marvel has continued to publish What If comic books since then, with the latest being released in 2018. To help readers unfamiliar with the series, here are some fantastic issues to help them get invested.

What If Spider-Man Had Rescued Gwen Stacy?

One of the most famous What If stories, this issue focuses on an alternate outcome of Spider-Man #121, where instead of Gwen Stacy’s neck-snapping after Spider-Man caught her with his webs, the web-slinger jumps and catches her in his arms before swinging to safety. This close call leads Peter to propose and reveal his identity to Gwen. The issue also features Harry Osborn learning the supervillain identity of his father, the Green Goblin, and a surprise interruption of Peter Parker and Gwen Stacy’s wedding.

What If? Wolverine: Enemy of the State

After Wolverine has his mind-controlled by the terrorist organization Hydra, this issue asks what would happen if Wolverine was never deprogrammed. The story features a team of Captain America, Magneto, Kitty Pryde, and the Invisible Woman going on a mission to take down Wolverine The book has stunning action scenes between each member of the team and Wolverine. The issue also includes a heart-breaking confrontation between Kitty Pryde and Wolverine that makes it a genuinely notable experience.

What If the Punisher’s Family Had Not Been Killed?

Anyone familiar with the anti-hero Punisher knows that he was driven to become the Punisher after his family was savagely murdered by the mob, and this What If comic book asks the reader how Frank Castle’s life would have turned out if it had never happened. Frank Castle becomes a by-the-book police officer and encounters many crooked cops who he eventually must takedown in ways outside of the law.

What If Spider-Man Had Kept His Six Arms?

In the Amazing Spider-Man #100-101, Peter Parker attempted to cure himself of his spider powers, but instead horrifically amplified them, leaving him with four extra arms. He eventually cures himself using blood from the vampire Morbius, but this issue of What If begins with Morbius being eaten by Great White Sharks, leaving the web-slinger in his transformed state. Spider-Man appeals to the Lizard, Professor X, and Reed Richards, but none can help him. Throughout the issue, there are beautifully drawn fights between Spider-Man and the Lizard, Doc Ock, several members of the X-Men, and the Thing. Spider-Man eventually becomes a spokesman for the physically challenged people of the world, leaving the story on a happy note.

What If? Civil War

This issue tells two stories of how the 2006 Civil War event could have ended. One entitled “What If Captain America Led All The Heroes Against Registration?” and another “What If Iron Man Lost The Civil War.” Both offer drastically different outcomes to the Civil War, which is especially interesting to see given how impactful the Civil War was on the Marvel Universe. One outcome occurred solely because one character said a few sentences, which really highlights how strong the butterfly effect can be.

Any Issue

A beautiful part of What If comic books are how each issue remains separate from the next. This allows for a perfect chance for new readers to be introduced into the giant colorful world of Marvel before committing to continuity. While they are based upon events in Marvel continuity, knowledge of those events is by no means a prerequisite for picking up an issue. If you have an interest in comic books and want to get into Marvel, What If is a wonderful way to introduce yourself to the vibrant character and places of the Marvel Universe.

What is your favorite What If story? Leave your answer in the comments below!

Monkeys Fighting Robots Youtube