Graphic Novel Review: OVER MY DEAD BODY Is A Pulpy Good Time

If one were to mix classic pulp-fiction noir with modern headlines, the result would look like Over My Dead Body. The graphic novel from Image Comics written by Jay Faerber and drawn by Simone Guglielmini has the beats of a Raymond Chandler novel moving at a faster pace with less introspection and more beating up bad guys.

The story starts with master assassin Markham from the creative team’s Near Death series going before the parole board with a story of redemption and a desire to do better. Despite the support of the institution’s warden, Markham’s request is denied. Over the course of a year, we see our hero continue his quest to defend those needing it while maintaining his promise never again to take a life.

(Bank Robbing 101. You’re welcome, kids!)

With his next parole hearing coming up, the warden, Kurt Morris, asks Markham for help recovering his daughter, who has fallen in with a former inmate now affiliated with a White Supremacist cell in the middle of nowhere. Using his influence, Morris convinces the board to take a sizeable bribe to spring Markham with our newly-freed hero making good on his word to bring Daddy’s little girl home.

I love old-school detective books with Phillip Marlowe being at the top of my list. The story is from Markham’s perspective and feels like a modernized Marlowe, complete with the self-deprecation and run-ins, team-ups, and falling-outs with law enforcement. Markham realizes quickly this is more than just a group of racist separatists and doomsday preppers; they have a legitimate plan to undermine the United States government.

What might otherwise be a done-by-numbers, A-to-B action thriller in the vein of John Wick flies off the rails repeatedly thanks to Faerber’s inspired plot twists and feints to the right while driving to the left. Making the story more compelling is subtle humor and Markham’s quick thinking in the face of forces out to get him from every direction.

Faerber’s list of credentials and accolades are in-depth and earned. It’s easy to write a lazy, trope-filled script for a story like this, and while some beats feel familiar, OMDB makes them feel new with inspired writing. Guglielmini resumes his work with Faerber and Markham providing flawless pencils for Faerber’s story of a hitman with a heart. It’s raw, but has a sense of refined urgency. His pencils give the reader the feeling this is a story he needed to draw into life. Gigi Baldassini’s inks are heavy and thick and perfect for the tale being told, providing dramatic shadows underscoring the noir tone of the story.

The coloring by Ron Riley is muted and dark but manages to pop off the page, especially during the action sequences. The feel of impending danger at every turn is evident with his palette. Pritchett’s lettering is very good, standing out in concert with the other creators’ contributions.

Over My Dead Body is fun. That’s an odd descriptor for a story filled with murder and White Supremacists, but it fits. The plot never slows, able to move quickly due to its lack of fat, with an ending that satisfies, teasing new adventures. It’s a graphic novel made for crime buffs, but one attractive to fans of superhero titles as well.

Was Over My Dead Body a worthy addition to the Near Death universe? Tell us your thoughts in the comments below!

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SABAN’S GO GO POWER RANGERS #27 Catches Us Up Almost Entirely

Samuel Pratt

GGPR 27 Feature — Cover by Eleonora Carlini. IT'S SO HYPE!

Out this week from BOOM! Studios, Saban’s Go Go Power Rangers, finishes up our “White Light” retelling in this exciting issue!

Ryan Parrott and Sina Grace’s twist on the inception of the White Ranger has been a fun ride so far. The story has explored the time period Tommy was powerless with more depth and presents this journey for him becoming a Ranger again. Going further than even that, Parrott and Grace address even minor details that bothered fans years after the two-part episode’s conclusion.

A showdown we’ve only seen once before. But now we get it early!

What we get is a proper introduction to the White Ranger, showing us a little of where this power came from and why it exists. Saba is a welcomed return to the cast also since his shocking demise by Lord Drakkon in the alternate timeline.

Also appreciated is Parrott and Grace’s handling of Tommy becoming the new team leader. In the show, it was just mentioned, and Jason’s character was pushed to the side immediately. Here, however, Tommy is hesitant about taking on the role in the comic and feels he’s not ready for it. This is consistent with the sibling comic Mighty Morphin Power Rangers. As there Tommy has spoken to the Red Omega Ranger about being the leader of a team, and if he’s really the right one for the job.

With the “White Light” story coming to a close, there are few things left to catch the story up almost entirely with where Mighty Morphin Power Rangers started in the “Necessary Evil” arc. The only things left to cover really are the creation of the Omega Rangers team and the introduction of Rocky, Adam, and Aisha.

With a clear end in sight, unfortunately, it does not seem like Go Go and Might Morphin will be crossing over to the crazy capacity that they did back in the “Shattered Grid” story arc. Still, having each comic present different narratives on the same story is fun to read and worth keeping up with week to week.

The Thunder-Megazord sustaining a but kicking from the Scarlet Sentinel and his drones AC and DC.

The advantages to this style is mostly that the story in the present can maintain its narrative without having to flash back to details from the past. BOOM! Studios’ team has done a phenomenal job overseeing the continuity between the two series is consistent, and it has resulted in some amazing crossover moments for comic history.

Needless to say, the artwork for this series is still nothing short of breathtaking. This issue’s cover by Eleonora Carlini is actually my favorite so far this arc. Aesthetically I usually prefer the style in Go Go Power Rangers as it resembles styles in modern-day cartoons like Voltron: Legendary Defender. Francesco Mortarino has been an outstanding artist in this series.

From character art to Megazord designs, every panel has me swooning over how good it looks. I even look at the Ranger’s casual outfits and think about how well put together they are and fitting for their characters. Of course, the colors by Raúl Angulo only make the pages even more amazing.

Probably the last time we’ll see Tommy wearing Green. This scene was a lot like when he fought Goldar without powers just against a tougher opponent and not a lot of hope that he’ll win the fight…

Ed Dukeshire really brings out Tommy’s character in his lettering, giving so much emphasis on his karate cries. Phonetically spelling out his famous “SI-AAYAH!” really brings these pages to life.

With the end potentially insight for the “Necessary Evil” arc, there’s a lot to wonder what this means for the story moving forward. This arc has introduced a dramatic change in the cast with the possible departure of some fan favorites from the series as a whole. No one wants to say goodbye to characters they’ve invested into, but at least Jason Zack and Trini seem to be getting a proper send-off this time.

With the progression of the story, this also begs the question of if the series move into additional seasons of the franchise. Mighty Morphin Power Rangers is easily the most recognizable of the shows seasons, and as such, it might be a dicey decision to go into Power Rangers Zeo from there.

Time will tell how the series goes from here. Still, we look forward to the future as each issue brings us closer and closer to the answers we’re looking for. Overall, Go Go Power Rangers #27 is an excellent way to bring us into unknown territory and wraps introduces the White Ranger with just as much impact as my childhood remembers.

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The Past And Future Collide in WRETCHES #3

Jason Jeffords Jr

Shea and Sean’s bloody past rears its nasty head into the present as multiple storylines begin to converge on January 29th in Scout Comics’ WRETCHES #3.

Wretches #3 process by Salo Farias — Art by Salo Farias

It may have only been a week, but if you need to catch up on our previous Wretches review, check them out here. Plus, make sure you grab issue three at your local comic shop or Scout Comics website when it drops.

THE PAST AND PRESENT OF WRETCHES

Writer, James E Roche starts Wretches #3 in the past with a quick introduction to the siblings as kids. Yet, he doesn’t tell the tale linearly. Instead, he switches between the past and present while changing characters in between. During the past, we learn of the sibling’s parents and their hatred of bots. Plus, an introduction to what may be the “big bad” guy/Bot.

However, this usage of multiple stories in different places and times work perfectly in the story’s favor. Roche never lingers too long on a singular story beat; rather he spotlights each equally while teasing more. Luckily, in the present, we are shown Shea engaging in badassery—what we’ve all been clamoring for. During this, Roche sews the seeds of distrust between her and Burr. Nonetheless, they have a common goal. Said goal of making it to a Bot encampment.

The most substantial part of Roche’s multiple storytelling direction is him making them all lead up to one point. That and how each story seems to have a revelation that helps drive the characters and plot forward. Handling one storyline alone is hard, yet three interesting ones at the same time in an issue is a huge task.

ART WITH STYLE

Thus far, Wretches has had fantastic art, with Salo Farias raising the bar with issue three, and his panel design. Farias forgoes the employment of usual white boxed panels and instead relies on the environment. During a simultaneous storytelling element Farias’ uses an interesting layout. In this simultaneous moment, a vertical line dissects the two stories, the further down the line goes, the more left it strays. This makes certain panels larger than others, working out phenomenally.

Although multiple pages are worth noting, they run in spoiler territory, but one more warrants a mention. During an execution line-up, Farias moves the angle around, so you never see the deaths. Nonetheless, you feel each due to Chas! Pangburn’s sound effects. Said “camera” movement is executed magnificently and hits harder than showing the actual killings.

Wretches #3’s action scenes hit harder while appearing more brutal, which can be attributed to Chunlin Zhao’s colors. When the violence kicks in, Farias’ imagery portrays a hyper-violence that sends shivers up your spine. Then Zhao’s colors amplify the pain even more. Not being content with a single color background, Zhao uses a different shade around the impact, showing its intensity. These bone-crushing moments are made more impactful by the technique Zhao employs.

Pangburn continues to bring his A-game. This can be seen in the execution line-up and scattered throughout Wretches #3. Unlike the previous issues, there aren’t any aliens, so Pangburn isn’t given a chance to change the fonts in that way. Yet, he still plays around with styles when characters talk in different demeanors. Especially when a character screams, Pangburn makes sure you hear them.

CONCLUSION

As amazing as the revelations in Wretches #3 story are, the visual team really shined throughout. While reading Wretches in succession, it feels as if the team as come into complete unison in their third issue. This can be seen throughout in the fantastic pages that adorn Wretches #3.

Cover Story: The most amazing thing about Wretches #3’s cover is how comic accurate it is. Everything that is shown on the cover happens in the interior. Usually, comic covers show something flashy that will sell copies. Instead, they do that while showing what happens inside.

Wretches #3's great cover. — Art by Salo Farias. Color by Ander Zarate.

DEAR READER

Only two issues of Wretches remain following the third. What have you thought so far of the sibling’s tale?

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Exclusive Marvel Comics Preview: CAPTAIN MARVEL #14

Matthew Sardo

January 16, 2020

Captain Marvel #14 hits your local comic book store on January 22, but thanks to Marvel Comics, Monkeys Fighting Robots has a three-page preview for you to check out.

The book is written by Kelly Thompson, with art by Lee Garbett, the color artist is Tamra Bonvillain, and you will read Clayton Cowles letters. Mark Brooks created the cover.

About Captain Marvel #14:

“THE LAST AVENGER” PART 3: DESPERATE MEASURES
Two down. But time is running out, and there are Avengers left to kill. Can Captain Marvel finish off her former friends before the clock runs down – and all is lost?

Do you have Captain Marvel on your pull list, what do you think of “THE LAST AVENGER” storyline? Comment below with your thoughts.

Exclusive Marvel Comics Preview: CAPTAIN MARVEL #14

Roy Thomas and Gene Colan created Carol Danvers; her first appearance was Marvel Super-Heroes #13 (March 1968).

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Review: It’s the End of All Worlds as We Know them in VENOM: THE END

David DeCorte

As the name implies, Venom: The End, out this week from Marvel Comics, gives us a glimpse into a bleak inevitability.

The alien symbiotes have been an integral component of the Marvel universe for decades. What happens, though, when the host of a theoretically-immortal symbiote ages and dies? What happens to the original Venom symbiote one hundred years into the future? Or a thousand? Or a billion? Who can play host to the symbiote, when there’s no one left?

The Writing

Venom: The End opens far in the distant future, during the last battle between bio-organisms and machines. It’s a battle we’re told up front that organic life will lose. From that cheery point in time, we jump back to see how the Venom symbiote became the last defender of life in the universe.

Writer Adam Warren offers up a taste of what the far-flung future may hold for the Marvel Universe. The book establishes Venom as not just an alien, but a creature capable of being a god unto itself. By book’s end, that’s what he becomes, in multiple different capacities. Warren runs with the concept of the symbiote codices that were integral to last year’s Absolute Carnage event, giving Venom a window to potentially channel just about any life form that’s ever existed.

Venom: The End is a fairly dark vision. We see Eddie Brock’s deterioration over centuries as the symbiote tries in vain to stave off the inevitable. This same cycle repeats through the ages, with the symbiote always left behind by its host. Despite the heavy theme, there’s still a sense of humor, and even hopefulness, that shines through at points.

The book is a fascinating, high-concept story. It’s main obstacle, though, is its own scope. The storytelling is mostly expository, explaining how Venom survives through the ages. Because it covers so much ground, it’s not exceptionally engaging. The narrative’s format forces Warren to forego much of the detail that typically constitutes a narrative. Warren has to devote more time to extended techno-babble to justify how this all works out than he does constructing the dynamics of the story. As a result, it ends up feeling more like a synopsis.

To illustrate, compare Venom: The End to another Marvel title out this week, Spider-Man: The Black Cat Strikes #1. The former is a cosmic-level epic spanning the universe across hundreds of billions of years, while the latter is a much smaller, street-level story. However, Black Cat Strikes feels more compelling, because we’re engaged with the characters in the details of the narrative.

The Artwork

The artwork, courtesy of Jeffrey “Chamba” Cruz, possesses a free-flowing and chaotic energy. The artist goes for creative page layouts, often designed to evoke the theme of the narrative behind presented. It’s solid on a frame-by-frame basis, with some genuinely-stunning moments at points. Venom, being the main fixture of the book, has an appealing design, and Cruz gets to unleash his imagination with many of the space settings.

The artwork in Venom: The End has plenty of energy. Overall, though, there’s little “flow” holding the book together, and Cruz’s maximal approach of packing each page with visual information accentuates that trait.

This isn’t entirely Cruz’s fault; the limitations imposed by the story’s structure and scope make it difficult to create a fully-cohesive vision for the book. That said, when every page overloads the reader with visual information, it becomes difficult to focus on any one element. As a result, there are few moments which really arrest the reader’s attention.

Guru-eFX (a two-person team of Joe Weltjens and Lee Duhig) provides the colors for the book. While they have an almost-too-sleek, digital aesthetic, the work is still nicely detailed. Soft, ethereal blues and alien purples dominate the book, which give it a nice, spacey effect.

Final Thoughts

Venom: The End could have been a fantastic story for a mini- or maxiseries format. As a one-shot, though, there’s just not enough room to flesh out Warren’s vision. While it’s a good outline, this book could use more space to breathe.

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Graphic Novel Review: HIS NAME IS…SAVAGE

Justin Munday

Veteran writer Steven Grant teams with artist Jesus A. Hernandez Portaveritas to bring back a spy story over half a century in the making. Grant’s continuation of the late Gil Kane’s graphic novel His Name Is…Savage via publisher Paper Movies is a thrill ride of firefights, explosions, absurdly badass escapes and left-hook betrayals. While none of it exactly charts new territory for the genre, it’s enough of a thrill to please even the most jaded of graphic novel and espionage fans alike.

Savage, the ultimate spy and de facto enforcer reining in the intelligence community’s illegal excesses, is framed by an international criminal cabal and on the run from the very government he’s sworn to protect. Savage is considered so dangerous — so violent — that his name and record are stricken from the books. Only to be turned loose when there is no other choice, Savage is the original anti-hero — the cure that could be worse than the disease.

Writing & Plot

Steven Grant‘s script is a tightly constructed web of shady suit-wearing villains, murky backstory, and of course lots of explosions. Savage’s one-man war against the corrupt shadow of his once-corrupt former employers is a compelling, if not familiar, globetrotting romp of clues, betrayals, and bullets. The action scenes are always well-timed and actually add to the plot’s growing complexity. The cast of untrustable suits that intermittently hunt down or support Savage are many, but they surprisingly aren’t too confusing to keep apart. The cast fortunately thins as the book progresses, as one might imagine. The dialogue is a neat mix of sharply delivered exposition and clever quips. While exposition is often delivered in ways that bog down the plot, Grant finds a way to deliver information in a well-paced and believable manner. A specific aspect of the story that may bother some but thrill others is Savage’s over-the-top skill and complete badassery. Some of the escapes and tricks that he uses to pull off daring maneuvers are so completely overpowered it’s genuinely hilarious. Personally, I found this wildly endearing and had a blast with this specific aspect. However, there could definitely be some whose suspension of disbelief can only go so far. Savage’s only real characteristics are his objective morality about corruption and his insane ability to kill people. For this type of graphic novel, this is completely okay in my book.

Art Direction

The pencils provided by Jesus Antonio Hernandez Portaveritas are sold, but unfortunately a bit of a mixed bag in the latter half of the novel. The character art ranges from a stellar sharpness at its best to distractingly rushed at worst. Environmental detail is fine when focusing on the centers of panels, but is often unimpressive upon further scrutiny. It’s possible that the art here was actually rushed at some point due to the art’s inconsistency in the back half, but that’s only speculation. It’s completely serviceable overall. Raul Manriquez’s colors are what may really save the art here. The range used in the palette is expansive, from dull greys used in flashbacks to the vivid colors of urban environments and explosions. The coloring in Savage is fantastic and multilayered, giving serious depth and pop to the visuals as a whole.

His Name Is… Savage is an engaging blast of a spy story. Steven Grant’s grasp of maintaining a complex but easy to follow plot that’s fun and fast-paced is truly impressive. While the artistic integrity of the book is a bit inconsistent pencil-wise, the colors add a massive flair to the visuals that make this graphic novel a true joy to read. While this book doesn’t do anything new with the genre, it still pulls off classic tropes damn well. If this kind of ride piques your interest, order it online or through your local comic shop today!

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AfterShock Comics Exclusive Preview: UNDONE BY BLOOD #1

Anthony Composto - EIC

January 16, 2020

undone by blood exclusive preview aftershock comics

UNDONE BY BLOOD (OR THE SHADOW OF A WANTED MAN) #1 hits your local comic book store February 12th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.

About the issue:
In the early 1970s, Ethel Grady Lane returns to her hometown of Sweetheart, Arizona with one thing on her mind: killing the man who murdered her family. But first, she’ll have to find him.

As Ethel navigates the eccentric town and its inhabitants, she learns that the quaint veneer hides a brewing darkness. She has no choice but to descend into a ring of depravity and violence, with her only ally an Old West novel that follows famed gunslinger Solomon Eaton. As both stories unfold simultaneously, a love of fiction informs choices in reality, for better or worse. 

From the minds of Lonnie Nadler and Zac Thompson (The Dregs, X-Men, HER INFERNAL DESCENT) and artist Sami Kivela (Abbot, Tommy Gun Wizards) comes a neo-western that depicts the hard truth of seeking vengeance in the real world.

UNDONE BY BLOOD #1 is by writers Lonnie Nadler and Zac Thompson and artist Sami Kivela, with colors by Jason Wordie, and letters by Hassan Otsmane-Elhaou. The cover is by Kivela and Wordie, with the incentive variant by Andrew Robinson.

Between their indie work and their work on Marvel’s X-Men books, Thompson and Nadler are setting themselves up to be one of the premiere writing duos of the forthcoming decade. Kivela, meanwhile, has a gritty yet modern style that looks perfect for the neo-western world of UNDONE BY BLOOD, and Wordie’s beautiful colors in the preview below are comparable to the work Jacob Phillips is currently doing on Criminal. Otsmane-Elhaou is no stranger to western work himself, having excellently lettered the most recent Lone Ranger comic for Dynamite.

All in all, with a team like this, you’re going to want to add UNDONE BY BLOOD #1 to your pull list. Plus it has a subtitle! Who doesn’t love a comic with a subtitle?

Check out the UNDONE BY BLOOD #1 preview below:

What’s your favorite book written by Thompson and Nadler? Sound off in the comments!

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The New Direction With IRON MAN 2020 Will Not Work

Anthony Wendel

January 15, 2020

The 2020 storyline presented by Dan Slott, Christos Gage, and Marvel Comics exhibits a new and more extreme path moving forward for Tony Stark a.k.a. Iron Man. Will it be successful? Short answer no. Long answer, definitely not.

Spoilers for Iron Man 2020 #1

Iron Man 2020 #1 reveals Tony Stark now under the alias of Mark 1 as the leader of the Robot Rebellion. This same group left a bomb at a maternity ward of a hospital placed there by former hero turned A.I. activist, Machine Man. So Tony Stark is shown to be okay planing bombs at hospitals for the purpose of A.I. rights. When a hero is willing to kill innocents to get their point across. they are no longer a hero but a villain.

This is not the first time Tony Stark has become a villain or been shown to operate in a more extreme manner to achieve his goals. Unfortunately, none of the previous times it occurred was the result viewed as a successful milestone in the character’s history. There are three polarizing examples to help prove this point: The Crossing, Mark Millar’s Civil War, and Superion Iron Man.

With The Crossing (also known as Avengers: The Crossing), it was revealed Iron Man was secretly being controlled by Kang The Conqueror for a very long time. In the course of his actions, Iron Man killed several supportive characters including Marilla (the Nanny to Crystal and Quicksilver’s child) and Rita Demara (Yellowjacket). The story would result in Tony’s death, a teenage version taking his place (don’t ask), and the entire situation only solved through the course of two major company events (Heroes Reborn and Heroes Return).

During Mark Millar’s Civil War, though not an actual villain, his actions were still not looked on favorably by the comic community. Iron Man took the pro-registration side of the argument siding with the government and even becoming the Director of S.H.I.E.L.D. for a time. His actions often had fans comparing him to Hitler for the way he was willing to lock up a lot of heroes who weren’t willing to follow the government’s new laws. This plot was only saved by Matt Fraction’s run on the character where Tony had to lose his company, become a fugitive, and erase his mind which had downloaded the files of the Hero registration containing their identities so they wouldn’t fall into the wrong hands.

Lastly, there is the Superior Iron Man story where Tony’s personality was flipped thanks to a spell by the Scarlet Witch. Tony, now mentally back to his pre-injury days (when he was just a cocky and egotistic businessman) infects the entire town of San Francisco with a new version of the Extremis, turns them all into perfect physical specimens, and immediately takes it away to charge a daily subscription fee for continued use. It was only with the world resetting storyline Secret Wars (2015) was this situation rectified.

The bottom line, Iron Man being evil doesn’t work. If Tony Stark isn’t secretly shown to be just manipulating things behind the scene to make sure to minimize the situation with the Robot Revolution (which is plausible as no major deaths have occurred yet) then there might be some hope for the story. Still, if it turns out Iron Man is indeed gone off the deep end, one can only wonder if it won’t take a world-shattering event to pick up the pieces and return shell head to his former glory.

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What do you think of the new direction for Iron Man and the 2020 event? Leave a comment below and let us know.

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INTERVIEW: BRIARPATCH Composer Giancarlo Vulcano On Making Music ‘Weirder’

Ruben Diaz

January 15, 2020

Briarpatch is a new anthology series coming in February, which stars Rosario Dawson and produced by Sam Esmail (Mr. Robot). 30 Rock alum, composer Giancarlo Vulcano, is the man behind the music of the shifting series.

The series is based on a novel of the same name written by Ross Thomas. The first episode follows Rosario Dawson as she returns to her hometown to find out what happened to her sister, a local police officer. Upon arriving, things are already weird. But as the series plays out, and more of the town is explored, things just get weirder and for Giancarlo, weird was the main course on the sonic menu.

PopAxiom spoke with Giancarlo Vulcano about his work as a composer across comedies, thrillers, and weirdness.

Guitar To Composition

The first topic of conversation was Giancarlo’s name, which is epic. “My mother is Colombian, and my father is Italian-American. I’m really sort of Colombian. I go there a lot. My family is all still there.”

Giancarlo’s musical journey started with a popular instrument. “I’m pretty much the only musician in my family. I was a guitar player in high school.”

From guitar, Giancarlo evolved into a whole new realm when he got to college. “I studied composition and what they call ‘concert music.’ I went to graduate school for that.”

A fan of film compositions all his life, Giancarlo says, “Slowly, my life put me in contact with film and TV people.”

About Briarpatch

Giancarlo worked on 30 Rock and Kimmy Schmidt (among many other things) before the suspense-filled Briarpatch. The mindset for projects, no matter how wildly different, is the same. “You’re always serving the story and what the story is asking for.”

Giancarlo describes Briarpatch as “ … dark, but it has aspects that are surreal and out there. That’s what I love about the show.”

Creating the music for the show was a weird process, to say the least. “Sometimes, Andy Greenwald, the creator of the show, would say ‘This needs to be weird.’ I would say, ‘well, he probably only means like 10 percent weird, so I’d write a 10 percent weirder cue. He’d say ‘No, it needs to be weirder.’”

Giancarlo wrote a lot of music for the show. “… like 30-40 minutes of music. I kind of took a risk and didn’t show it to anyone until it was all done. I was lucky that it was well-received, and it became the backbone of the music for the show.”

Influences

Giancarlo’s creative DNA is full of influences. “I would say Twin Peaks was a huge thing for me. The original one and even the one from last year. Angelo Badalamenti is a huge influence for me. I’ve been fortunate to work with him a few times as an orchestrator. He’s just spectacular. That sort of collaborative thing he has with David Lynch is the model I aspire to.”

Giancarlo lists another vital influence. “I love Nino Rota, who wrote The Godfather. He’s really in my DNA. I’ve done a lot of work arranging music, and I’ve made a lot of arrangements of his music. I really got into it. There’s so much that I’ve learned from him in terms of melody and simplicity without being simplistic. A few elements can say so much.”

Early in his career, Giancarlo worked for Howard Shore during Lord of the Rings. The experience was a great teacher. “You get to watch someone produce and learned so much about technique from him.”

The process of expanding his musical repertoire is never-ending. “I’m always trying to listen to stuff and find things that I really connect to.”

Wrapping Up

In the age of remakes, what project would Giancarlo want to be a part of? “Probably, like, La Doce Vita. Something to do with Italy in the 50s. In general, I’m interested in doing something like that.”

Giancarlo is in the home stretch of finishing up Briarpatch. So, what’s next? “There’s a filmmaker named Marc Levin, I’ve done one documentary for him, and we’re doing another one for HBO. It’s about Michael Tubbs, the youngest mayor in America. I like working with Marc Levin because the films we’ve done are socially aware. We’re aiming to time the release to land closer to the election. I have other things, but I don’t think I’m supposed to talk about them just yet.”

Will you be watching Briarpatch on USA?

Thanks to Giancarlo Vulcano and Rhapsody PR for making this interview possible.

Want to read more interviews like this? CLICK HERE.

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UNDISCOVERED COUNTRY #3 – Out Of Time

Cody Walker

More past is revealed in Undiscovered Country #3, out this week from Image Comics.

First Impressions

Scott Snyder and Charles Soule have created a really and truly one of a kind story. Most of my reviews are spent trying to compare stories to something else I’ve seen or read before. I try to find these comparisons so fans of those works might give new stories a chance. Undiscovered Country is something I’ve never seen before. I haven’t seen every single film out there and I haven’t read every story in the world, but this is unique.

Art

Giuseppe Camuncoli and Daniele Orlandini have quite the task of bringing this world to life. As long as it might’ve taken to brainstorm up these characters and environments, it was worth every second. This issue dives into the rolling city ruled by the Destiny Man, and these scenes are something out of Star Wars. All different looking creatures selling all different kinds of goods while sharks hang from the ceiling. It feels like a futuristic world that couldn’t invent technology fast enough to keep up. While certain things look unbelievable to accomplish, they’re also held together by duct tape and rope.

Matt Wilson continues to just knock the colors out of the park. Smooth color fades and perfect use of shadows makes this book feel as real as it can get. You can see the stress in the color of the character’s faces and nothing is overtly bright. This book feels real and lived in and I love it.

Letters

Crank! is a lettering Jedi. I love his work here because it looks like it’s been written with a paintbrush. Nothing is too perfect or gaudy. Handmade signs and repaired goods fill the market inside Destiny Man’s city. Every member of this creative team makes this environment come alive in their own way.

My Two Cents

Every issue we get a little more insight into the past of each adventurer and learn their motivations for being there. So far every character has something different to bring to the table, or some ulterior motive. Undiscovered Country #3 has the biggest reveal so far. This changes everything. There is no going back to how things were, no matter what they do, it’s different now.

This story dips its feet all the way into fantasy. I’m loving this book and I can’t wait to see where it goes from here. Thank you Scott Snyder and Charles Soule for another title to be excited for every month.

What did you think of Undiscovered Country #3? Let us know in the comments below.

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