FIREFLY #10 Is A Strong Reminder The Battle Never Ends

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FIREFLY #10, out this week from Boom! Studios is a strong reminder that, for many, the battle never ends. The Browncoats may have lost during the Battle at Serenity Valley – but they never lost their hearts or their determination.

Mal and Zoe back together again on the cover of Firefly #10.

***SPOILER WARNING***

The latest series of Firefly has been doing their best to weave the fans an all-new tale about our favorite characters. Of course, there’s a bit of a challenge here, since they only have so much time to work with. If you’ve seen the Serenity movie, then you know the exact reason why they can’t just throw tales on after that point.

Despite this limitation, the series has found a way to continue the feud between the Browncoats and the Alliance. More than that, they’ve succeeded in making the whole situation even more complicated than ever before. Suddenly, this seems less like a battle of good versus evil and more a battle of two opposing sides. Though naturally, most fans know which side they would prefer to support.

If there’s one thing this series has been able to make clear, it’s that time changes everyone. And sometimes being left to stew in your loses – seeing what the other side has done with their victory, is the worst medicine out there.

And that is why things have come to such a head in Firefly #10. The Browncoats were quick to jump into a war for the sake of Mal’s life. But they were a lot slower about putting down the idea of another war, even when given the orders to do exactly that. It shouldn’t be surprising to see this happen. But it is.

Saffron makes a cameo on this alternate cover of Firefly #10.

Greg Pak has done an excellent job of weaving this story together for us. It’s not every day a hardcore fan can look at this beloved series and admit that maybe the Browncoats aren’t acting too altruistically (for the moment, at least). And even now, that’s still a tough admission to make. But that just proves that Pak has done something unique with this plot.

The crew of the Firefly is still split up, and sometimes that results in their best work. At other times? It creates chaos. Only time will tell which way this plot will go. What we do know is that there are still several threads of this plot that need to be brought back around.

This arc has been focused on Mal and Zoe more than the rest of the crew, but every now and then, it has managed to sneak in a moment or two for everyone else. And that is appreciated – It feels like every member of the Firefly crew has his or her own fandom. So we never want to see any of them neglected.

The conclusion to this issue is a twist that most fans will not see coming. It’s an emotional and shocking spin, and perhaps it is something that we should have expected to see someday in the series. After all, it’s precisely Mal’s luck.

This alternate cover of Firefly #10 is absolutely striking and features Serenity, Inara, and Shepherd Book enjoying a lovely sunset. Or waiting for trouble.

Firefly #10 had plenty of dramatic moments that needed to be fit within the pages. For starters – Serenity Valley had to be portrayed. And we can all agree that showing a beautiful setting with so much emotional weight cannot be an easy task.

This issue also had dozens of characters to portray, and from three sides of a brewing war. Drawing unnamed characters in a manner that would make it clear what side they are on is easier said than done though it helps that they all have their distinct styles.

Together Dan McDaid (pencils and ink), Joana Lafuente (colors), and Jim Campbell (letters) were able to create a series of striking images. The landscapes were undoubtedly a highlight in this issue, but so were many of the expressions given. The rougher quality of the artwork is a perfect match for Firefly, and this issue shows us why.

This realistic cover of Book is sure to make more than one fan a little melancholy.

Firefly #10 is an explosive issue, with many of the split plots coming together. While the shit hasn’t quite hit the fan, it’s clear that we’re only seconds away from that happening. The real question is, how much worse is it going to get before it gets better?

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Review: An All-Out Assault on the Batcave in BATMAN #81

By

David DeCorte

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Plans, plans…everyone’s got plans. The question in Batman #81, out this week from DC Comics, is that if everyone’s a step ahead of their foe, then who’s really in command of the situation?

Damian—never really a captive, as it turns out—allows the rest of The Family into the Batcave. Now, as Bruce and Selina continue working their way through Gotham’s underworld, The Bat Family launches an all-out assault on Thomas Wayne.

The Writing

Writer Tom King packs a tense narrative into Batman #81. Just when one party seems to have their opponent on the ropes, the tables turn suddenly. The writing is well-paced as well; each of the twists and reveals feel evenly-spaced through the book. However, although well-paced, it is still dense and prone to summary, rather than storytelling.

There is so much information dumped on readers here, it can be hard to keep an eye on the breadcrumb trail. As a result, it’s hard to recall all the details sprung on readers. So much so, in fact, that one will likely require multiple read-throughs by the book’s end to fully absorb everything.

The main complaint with Batman #81, though, is that much of the dialogue is just Batman expositing to the reader. It’s essentially a “How I Did It” story, with Batman making the claim that everything up to now—his defeat in the pit, allowing Bane and his lackeys to run Gotham—all has been part of his plan. “I wanted them to break me, to see me broken…So that I might discover a way to defeat them outside their watching eyes,” he tells Selina. Of course, it’s doubtful that Alfred’s death was part of that plan.

The Bat Family taunting Thomas as they beat him is a little melodramatic, to be honest. They further exposit how they decided on their plan mid-fight, which leads to some awkward and stilted dialogue.

As it is, Batman #81 is fairly compelling, but largely due to the momentum of previous chapters. It would be a shame if, as King’s run comes to its climax, the density of the story itself forces the last few issues to essentially become self-summaries in order to tie up the loose plot threads.

The Artwork

The visuals in Batman #81, courtesy of John Romita Jr. and Klaus Janson, are exceptional. They pack the book with great, highly-dynamic action illustrations from cover to cover.

The team keenly and skillfully illustrates each individual panel. Beyond that, though, the work manages to carry momentum from one panel to the next.

It’s not uncommon for an artist to achieve one effect but not the other. Many are great illustrators, but struggle with tying images together in a sequence, or vice-versa. Fortunately, though, Romita Jr. and Janson both bring their “A” games to the table.

The artists are not always big on fleshing out scenes with backgrounds. Instead, they embrace some interesting textures that provide a backdrop to the character illustrations. It’s an expressionistic approach, and one that could backfire in less capable hands and make the book feel unfocused and unmoored. As with the pacing, though, Romita Jr. and Janson pull off the effect well, so the reader never misses the backgrounds.

Colorist Tomeau Morey shows off some of his best work yet on the series in Batman #81. It’s vibrant and eye-catching, without ever being too distracting to the reader. Morey works with a palette of bold pinks and blues, giving the book a distinct and gorgeously-stylized vibe. The artist slips seamlessly from this aesthetic to a more conventional, realist palette from page to page. Absolutely brilliant work.

Final Thoughts

Batman #81 can feel rather like a summary of the story’s climax. King still manages to make it interesting, though, and with the brilliant art working in its favor, this book’s still a winner.

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Review: SPIDER-MAN #2- Benny Parker Comes Into His Own And Swings Into Action

By

Manuel Gomez

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In Spider-Man #2, J.J. and Henry Abrams solidify Benny Parker as a bona-fie hero, with Sara Pichelli continuing to prove she was born to draw Spider-Man comics.

From Marvel Comics- The most anticipated comic event of the year continues from J.J. Abrams (Star Wars, Star Trek, Lost, Alias), Henry Abrams and Sara Pichelli (SPIDER-MAN, GUARDIANS OF THE GALAXY)! Peter and Mary Jane have had their first run-in with the new villain Cadaverous and it did not go well. What horrific impact from this horrific villain will scar them the worst?!

Spider-Man #2
Written by: J.J. Abrams & Henry Abrams
Art by: Sara Pichelli
Inking Assitant: Elisabetta D’Amico
Colors by: Dave Stewart
Letters by: Joe Caramagna

Story

With a lot less set up needed, Spider-Man #2 starts to dig into Benny Parker and what makes him different (and similar) to his father. We get to spend a lot of time with the kid now and the writing duo of Abrams and son use that time to show and (and not tell) who Benny Parker really is. What we get is a kid angrier than his father, but that need to do the right thing is rooted in him as well. He’s a good kid, but with a huge chip on his shoulder. His antagonistic relationship with Peter is also very different from what Peter had with his uncle Ben; Pete is just not the father figure Uncle Ben was.

But when Benny finally swings into action, it’s great. It feels big, scary, exciting and dangerous. Benny is urged on by new friend Faye Ito, a great character that will hopefully continue to be a constant.

We also do get to spend some time with Peter in this. Pete here has a deep sadness that has risen to the surface in him. That sadness has always been a part of Spider-Man, but Peter here is literally an absent parent in this, not to mention an absent hero and not so friendly in the neighborhood.

Art

Sara Pichelli is without a doubt one of the best artists to ever draw Spider-Man. This issue, in particular, has some of the best linework she has done. The panels with Benny wearing a slightly big Spider-Man costume have the off-kilter vibe and weird visuals of the early Steve Ditko Spidey stuff. Like Ditko, Pichelli draws gangly and long-limbed figures which fit in great here. When Benny swings, it’s all arms and legs and webs everywhere. It’s fucking fantastic! Pichelli is such a master of her craft; the action scenes are dynamic and the quite scenes feel serene.

Elisabetta D’Amico’s inking assists along with Dave Stewart’s colors add weight and energy to the art. The pages become fluid and start to become cinematic. Visually the book as that Abrams touch we all love to see in his films.

Conclusion

This take on Spider-Man continues to surprise and be fun; it really does feel like a new take on the character. It’s also beautiful. It’s the rare high-profile comic book from an artist outside the medium actually works (see Kevin Smith’s run on Daredevil and Green Arrow). Grab it today.

Spider-Man #2 is available now from Marvel Comics. Grab it at your local comic shop today.

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ONCE & FUTURE #3 – The Truth Behind the Legend

By

Cat Wyatt

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ONCE & FUTURE #3, out this Wednesday from Boom! Studios tells a significantly darker and more disturbing tale of King Arthur and his devout followers. In a world full of King Arthur retellings, this one stands out amongst the pack.

Once again the sword’s reflection has changed, in this cover of Once & Future #3.

***SPOILER WARNING***

Take a look through any collection of books or comics, and the odds are good that you’ll find more than one retelling focused on the legend of King Arthur. With that in mind, note that Once & Future is a completely different take.

ONCE & FUTURE #3 is a world in which letting King Arthur continue his eternal rest is for the good of all man. Because some legends are better left alone. It’s a darker rendition of the tale, but that is why it has become such a fascinating read in such a short period of time.

And okay, throwing an awkward man and his elderly grandmother into the mix certainly helped to shake up any preconceptions we had about this series. Best of all, their interactions allow for the occasional moment of comic relief, giving the readers a chance to breathe before diving back in.

Take a good look at the creative team for this issue – because it is worth talking about.

Kieron Gillen is the author behind Once & Future, and fans of his previous works probably didn’t need to be told this. He has such a distinctive way of writing – telling a story that is both compelling and bone-chilling.

Once & Future #3 is no exception to this rule. This issue starts with a dramatic battle (the one hinted at with the conclusion of the second issue) but then backs off to give us a chance to learn more about the situation at hand.

And to be fair, there is still a lot we need to learn about what is going on. Thankfully, Duncan seems to be equally ignorant. So we get to learn alongside him. Something to be even more grateful about is the fact that unlike Duncan, we won’t have to be risking our necks to gain this knowledge.

In the previous issue, there were hints of a few more classic tropes rearing their heads. And this issue essentially confirmed that fact. These tropes are going to help add to the complexity of the situation, all while giving us something familiar to lean back on. It’s cleverly done.

Is this a good example of spray and pray?

Once & Future #3 gets to boast about many things, including the brilliant artwork. This series has already been getting a lot of attention on that front, and the third issue does not disappoint. There’s something so eerie and foreboding about the way the artists have rendered the supernatural in this series. But it’s also all sorts of perfect.

The dichotomy between the two sides in this series cannot go unnoticed. On the one hand, we have figures that are classically and sinister-looking, corpses rising from the graves, and the like. The living among their side is that beautiful that doesn’t look real – like they’ve taken a step away from humanity. And in a sense, they have.

On the other side of the war, we have a man and his grandmother. His character always looks so dramatic on the covers, yet the issues portray a very different man. He wasn’t raised for this battle, and he’s struggling a bit. Meanwhile, his grandmother is all lines and determination. Even her expression has been hardened by her drive to see things through.

Knowing all of this about the art, it’s probably no surprise to hear that there is an amazing artistic team working behind the scenes here. Dan Mora was the lead artist for this issue, with Tamra Bonvillain providing the coloring, and Ed Dukeshire doing the lettering. And all credit for the look and feel of this series should go to them.

Of course, grandma has bombs in her bag.

Once & Future #3 somehow managed to balance the pacing of the previous issues with the need to provide some answers about what is happening. And all while increasing the tension of the situation. This combination has made for a perfect read, not just for fans of the creative team (though there is that), but for fans of King Arthur and lore and well.

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STEEPLE #2 – There’s More Than One Way to Fight Evil

By

Cat Wyatt

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STEEPLE #2, out this week from Dark Horse Comics, reminds us that there is more than one way to fight the evil of the world. Steeple tackles the rich debates of religion, expectations, and how to give back.

Billie is looking a little overwhelmed in this cover image.

***SPOILER WARNING***

Steeple is the latest series to come from the mind of John Allison. And like Giant Days, this series is already proving to defy expectations and preconceptions about it. The series is set in a coastal city – one which has much more going on than meets the eye.

This is a land over which many forces battle over. The monsters of the sea want it back, while one Vicar stands in their way. Meanwhile, another…less orthodox church has taken up residence. It’s relatively easy to start making assumptions about how the series is going to go from here.

But Steeple #2 has already taken a few surprising turns for the newly formed fans. And that’s brilliant. Once again, Allison is busting expectations and defying the norms, all while providing fans with an enchanting escape from the real world.

The alternate cover for Steeple #2 is certainly a dramatic one.

There are many opinions and expectations when it comes to the battle of good versus evil. But Steeple #2 forces us to reconsider all of it. How do we know what is good or bad, just by taking a look at things? And is there more than one way to do what is good, and fight evil?

This issue doesn’t go so far as to answer any of those questions for us, but it will get readers thinking. All while continuing the plot arc of one very enthusiastic and new Vicar. There’s something so wholesome about Billie, and we’re not just talking about her chosen profession here. She’s so willing to see the good in everyone. And perhaps that is exactly what this town needs.

In some ways, the series has put down its dark and mysterious edge. Instead, it’s taken a new focus. Yet there still seems to be a lingering sense of foreboding in the panels. Almost like we’re missing something. Only time will tell what that is.

Billie has a plan for the day, and she will not be swayed.

Along with being the writer for this series, John Allison is also the lead artist. Perhaps that is why everything feels so cohesive in this series, with the artwork perfectly complementing the tale being told. The overall theme and tone for this series have been an odd balance between foreshadowing and chipper. But it works here, especially within the artwork.

Steeple #2 featured some truly dramatic sky scenes, as well as plenty of opportunities to get a better look at our leading characters. As with the first issue, the characters seem to be strikingly designed, going for a simple and understated look whenever possible. But in many ways that fit with the art style and tone of the series itself.

Sarah Stern’s colors enhanced the artwork in this issue, giving us this almost bubbly feel. And if bubbly and enthusiastic doesn’t fit Billie’s personality, we don’t know what does. But seriously, the colors are well suited to this tale, and Stern’s grasp of the practice created some truly dynamic scenes.

Jim Campbell was the letterer for this issue, and his work was as understated as it was perfect. Just like how we like our lettering – it fits in so seamlessly as to almost feel like it wasn’t present.

We wonder what could have happened to that vacuum cleaner….oh right.

Steeple #2 may have thrown some unexpected twists our way, but the series is off to a fantastic start. This issue confirmed that like Allison’s other works, Steeple will be a heavily character-driven plot. And we can’t wait to see what these characters will get into in the next issue.

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Review: TALES FROM THE DARK MULTIVERSE BATMAN KNIGHTFALL

By

Manuel Gomez

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Tales From The Dark Multiverse Batman Knightfall by Scott Snyder, Kyle Higgins, Javier Fernandez and Alex Guimares successfully revisits and fully realizes the classic Knightfall storyline as we visit a world were Azrael permanently became Batman and holds both Gotham and Bruce Wayne in his grip.

From DC Comics – Thirty years after Bruce Wayne was broken and failed to take back the mantle of the Bat, Jean-Paul Valley, now known as Saint Batman, has turned Gotham into the city of his dreams. In his new order, killing has become commonplace and criminals live in constant fear-all in the name of justice. But just when all seems lost, a new hope for Gotham City rises…the son of Bane!

Tales From The Dark Multiverse Batman Knightfall
Written by: Scott Snyder & Kyle Higgins
Art by: Javier Fernandez
Colors by: Alex Guimares
Letters by: Clayton Cowles

Story

Tales From The Dark Multiverse Batman Knightfall is basically the first in a DC Comics version of Marvel’s What If… series (right down to the omniscient, cosmic narrator). And like that classic series, the stories are only going to work if the initial concept has a great hook. In this case, Batman Knightfall does. Writers Snyder and Higgins take the classic Knightfall storyline, have Azrael become Batman, and then push it darker and darker. ‘Saint Batman’, as Azrael is now called, is as sadistic as you would think. He’s Batman with the fever and righteousness of a religious fanatic. A fanatic also hopped up and addicted to the drug Venom. And what he has done/is doing to Bruce Wayne is just…well it’s fucked up. Really fucked up. Snyder and Higgins write a scary villain here and his unhingedness is very real.

Snyder and Higgins also throw in some unexpected characters. We get the son of Bane, who is driven by revenge and a reformed Lady Shiva, who is always fun.

And since this is a Dark Multiverse spin-off, there are also hints and nods to a looming crisis and what’s going on in the DCU in general. But nothing to really alienate someone not current and caught up.

Art

The art in this book is great. Javier Fernandez, with his more noirish and fluid art, brings a new look and feel to the Knightfall Batman that tones down the cheese and exaggeration that didn’t age well. Fernandez creates the dark and eerie mood needed for this story, and his composition and layout choice is top-notch. He also knows how to really use a splash image.

When you mix in Alex Guimares colors everything comes alive. Guimares uses colors to heighten mood and emotion, bringing out even more energy in Fernandez’s linework. The work here reminds me of Gotham Central and Criminal. It has that vibe.

Conclusion

Tales From The Dark Multiverse Batman Knightfall is a great start to what looks like to be a fun series of books. DC seems to be going hard on these Multiverse ideas. If the rest of the books have this twisted sense and gorgeous art readers are in for a treat.

Tales From The Dark Multiverse Batman Knightfall is out now from DC Comics. You can get it at your local comic shop.

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Review: ROBOTECH REMIX #1 Builds On Dana’s Adventure Out Of Time

By

Anthony Wendel

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A new chapter begins in the Robotech series with Robotech Remix as Brenden Fletcher puts focus on a Dana Sterling from another universe with the help of Elmer Damaso and Marco Lesko providing the artwork. Will the time displayed pilot be able to deal with making sure she doesn’t destroy the universe in the process?

Summary

As Dana struggles to find her place, a new enemy arrives and Max may have found a way to send Dana home.

Writing

It’s hard to personify the overall product on display here. It is simultaneously a direct continuation of the previous series while at the same attempting to keep the information simple for readers who might be using this as a starting point. Does it succeed? Kind of, what is presented here is a decent jumping-on point. But it still feels like more enjoyment would be had if the reader was up to date with the previous material.

Brenden Fletcher seems to have a story in line, but it feels like it will appeal to more hardcore fans of this franchise over the newer readers. The blatant callouts to characters introduced in the limited released sequel, Robotech II: The Sentinels are rampant. While it’s exciting and welcoming to have these characters be updated. It makes it a bit hard to not read this issue without having to pull up the Robotech Wikia and check to make sure you’re not missing a character introduction or Easter Egg.

Artwork

The artwork is the real draw of this issue. Elmer Damaso does a fantastic job with the emotional expression of the characters. The indecision and uncertainty Dana is feeling is made vividly clear by the artwork employed. Also, Max looks dapper in his captain uniform.

With Marco Lesko providing the colors, the issue gets plenty of great action moments. The sci-fi and battle effects capture the eye from page to page. The two-page splash, when an alien craft appears out of nowhere, is a monumental moment to behold.

The lettering work by Jim Campbell adds a good dynamic of delivery with the storytelling. The sound effects are on point as well and add a perfect audio element to the issue.

Conclusion

Robotech Remix #1 is a good starting point, but the easter eggs and references drag it down. Credit must be given to Titan Comics for not rehashing the original Robotech stories, but it seems like the book is intended for the more hardcore fans. Still, as long as the story surrounding Dana flows smoothly, then Robotech Remix will be an essential installment for fans of the franchise.

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Review – STAR WARS ADVENTURES: RETURN TO VADER’S CASTLE #3

By

Cat Wyatt

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The story continues in STAR WARDS ADVENTURES: RETURN TO VADER’S CASTLE #3. Out this Wednesday from IDW, it would seem that Vader’s Castle is both a source of fascination for the fans and characters – constantly churning out story after story.

***SPOILER WARNING***

It would seem that nobody can stay away from the temptation that is Vader’s Castle. What is it that fascinates us about it? Okay, we know full well what it is. And it’s all thanks to the location and lore of this castle.

So it’s no surprise that once again a series has popped up revolving around Vader’s Castle, and that is has been appropriately named Return to Vader’s Castle. The series has quickly become a collection of short stories, all told by the few residents of Vader’s home.

In the first issue, we saw what Darth Maul had been up to since his…dramatic change in body shape and size. In the second issue, we saw how far Grand Moff Tarkin is willing to go to win. And now? Now we’re seeing a tale revolving around the one and only Ventress.

Thom Hudd isn’t having the best of days…

Star Wars Adventures: Return To Vader’s Castle #3 carries on the format introduced in the first two issues of the series. There is an overarching plot connecting everything, a prisoner and his tormentor, and their collective history. But it also contains a compact plot, telling the story from start to finish.

This issue tells the tale of Ventress and how she never gives up once she’s taken a job. Even if that means she won’t get paid in the end. It’s just the type of person she is. Ventress is a unique and iconic character – especially for fans of Rebels. So it was almost fun seeing her pop up once again.

It was also a good reminder for why you’re seriously better off not arguing with her. Just stick to the agreement, and nobody gets hurt. Probably. Maybe. We can hope, at least, right?

Cavan Scott once again returned to write this miniaturized story, and he had a bit of fun here. He pulled put a vindictive character into the same plot as an iconic creature in the Star Wars realm. But it was still surprising to see how it all panned out.

And of course, there’s the ever-growing curiosity about the main plot of the series. Specifically, about how Thom Hudd is planning on escaping Vanee’s torturous experiments, or Vader’s Castle, for that matter. We’d also like to know what his goal was in arriving here because from where we’re standing, it looks like a bit of a suicide mission.

Maybe muttering isn’t the best thing to do when trying to hide.

Star Wars Adventures: Return To Vader’s Castle #3 portrayed many iconic characters in an almost fun manner. Perhaps it’s just the colors and overall brightness that makes it feel that way. This style is perfect for a younger audience and is just begging for a cartoon version.

But while the artwork itself does have a lighter feel, let’s not forget that sometimes it is portraying something incredibly dark. Scenes such as the Ventress’ hunting spree, or the torturing of Thom Hudd. Or how about the unleashing of an unspeakable monster on an unsuspecting town. Somehow the artists managed to show us all of that, without ever getting overly graphic. It’s an impressive feat.

Francesco Francavilla and Nick Brokenshire were the artists behind these smart and dynamic scenes, with Andworld Design providing the lettering. And you’ve got to admit; together they’ve got style.

Back on Coruscant, there’s a monster on the loose. Well, a different sort of monster, that is.

Star Wars Adventures: Return To Vader’s Castle #3 lived up entirely to the hopes and expectations set by the first couple of issues. And it leaves us wondering what sort of tale they’ll be covering next. No matter what it is, there’s no doubt it’ll be an exciting story.

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STRAYED #3 – A Tale Full Of Revelations And Plotting

By

Cat Wyatt

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STRAYED #3, out this Wednesday from Dark Horse comics is the tale of an astral projecting cat – and his journey to find new worlds. This issue will stab at the hearts of cat lovers everywhere while slapping on a bandaid filled with intrigue.

***SPOILER WARNING***

By now most fans are well aware of the plot behind Strayed. Lou is an adorable cat with the unique ability to astral project. Unfortunately for Lou, where he should be having the time of his life exploring the universe, he’s instead stuck in a horrible situation.

Forced to go on the hunt for new planets to take over, Lou is desperate to make his owner proud. Yet his owner only wants Lou to be free and happy. And healthy. You see, astral projecting has a price, and it’s a hefty one.

And that is where Strayed #3 begins. Lou is once again exploring, though he likely doesn’t know the damage caused by every find he reports. And it’s only a matter of time until the truth comes out. But what can Lou do about the situation? As adorable as he is, he’s just a cat. Right?

The space scenes in this series are truly outstanding.

Strayed is one of those series that will truly tug at the heartstrings of all animal lovers – but especially cat lovers. Seeing Lou’s devotion to his owner is one thing, but then seeing him actively put in danger (through health risks) brings the emotional toll to a whole new level.

So it’s safe to say that Strayed is not a casual and relaxing read. But that’s okay. Instead, it’s perfect for anybody looking to see a whole slew of fascinating new worlds. Or to see a unique take on some science fiction tropes.

Carlos Giffoni is the author of the series, and we’re only now getting to see the long term plan he has for these characters. There’s something much more significant going on behind the scenes. The plot is more than just the human race being its usual greedy selves (though there is that). The story is more than even the love between an owner and her cat.

But Giffoni has taken his time laying out the groundwork for the series. That admittedly resulted in a lot of questions in the earlier parts, but now that we’re getting into the swing of things, it feels like the series is balancing out. Now all of the questions come out of concern for the leading characters.

There are still is a lot left to this tale, naturally. Lou has only just been allowed to realize his role in what was happening. And so far, he hasn’t been given a chance to come to terms with it all. It will be interesting – and perhaps a little heartbreaking – to see how he accepts this information over time. And what he does about it.

Admittedly there is still some room for development, as far as the antagonists are concerned. They feel like flat archetypes, albeit greedy and money-hungry ones. With time the series could potentially push their motives into something truly intimidating. But we’ll have to see how far that goes.

A double-page spread showing off some of the conflict in this series.

As per usual, the artwork behind Strayed #3 is absolutely striking. Honestly, this series is worth reading for the artwork alone. The multitude of unique worlds shown in this series so far has been breathtaking. We’ve seen vibrant worlds full of intricately designed plants, ethereal creatures, all full of effervescent life.

Juan Doe deserves all the credit for how Strayed looks. He’s behind everything, except for the letters, which is done by Matt Krotzer. Doe designs everything from the dynamic lines to vibrant colors. And what he comes up with is truly breathtaking. It leaves us hoping that we’ll see more of space and the many planets available to see just how far his creativity can be pushed.

Strayed #3 was a surprisingly emotional issue, thanks in part to the way it concluded. Even knowing that things will likely turn out okay (in the short term, at least), it’s hard not to be anxious about what is happening. All while being curious to see how Lou and his owner will get out of their horrid situation. Only time will tell how Lou handles the latest bit of news thrown at him.

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INTERVIEW: FORKY ASKS A QUESTION Composer Jake Monaco Talks Making Music

By

Ruben Diaz

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October 16, 2019

Toy Story 4 released in June to rave reviews and has worked its way to a billion or so dollars, but the real story is about Forky, the breakout star character who is getting a series of animated shorts and putting the music to the CGI magic is composer Jake Monaco.

Tony Hale returns in Forky Asks A Question as the voice of the titular character. If you don’t know, this is the mildest of mild spoilers, Forky is a toy that was just a spork until Bonnie, the main human character in Toy Story 4, turns him into Forky. The episodes are set to air starting in November on the upcoming Disney+ subscription service.

PopAxiom spoke with Jake Monaco about his work on scoring some Scooby-Doo, the documentary Through the Windows, and making Forky for Disney and Pixar.

Falling In Love

Jake was born in New Jersey, raised in New Hampshire, and went to college in Virginia. “Music has always been a part of my life. I played the guitar when I was very young … In high school, I joined some bands and played all through college.”

Jake did a “little bit of scoring” during this time too. Eventually, Jake and his bandmates went their separate ways. “I still wanted to pursue a career in music.”

Jake was made aware of the USC film scoring program. “I checked it out … and fell in love.” Jake applied and received a spot in the program.

Post-USC

After finishing the program at USC, Jake earned a gig with composer Christophe Beck (Frozen, Ant-Man). “I was with him for seven-and-a-half years or so. It went from an assistance-ship to an apprenticeship.”

Jake says of his time with Beck, “There’s nothing like real-world experience.”

Jake’s career blossomed from there. “Chris and I are still great friends and work together every so often.”

In the era of the great content expansion, there’s been a more diverse mix of scores and composers thinking outside the box. “I think a lot of the singer-songwriter background I had helps me a lot with my film scoring. It brings a different flavor.”

About Forky Asks A Question

Forky is a product of Pixar who is one of the most consistently good filmmaking studios ever. Oh, and Pixar’s part of Disney, one of the other most consistent studios ever. “What I love about both Disney and Pixar is that everyone is so excited about what they are doing. It’s so collaborative.”

Jake expands on the collaboration present for Forky, “Bob Peterson, who directed all the Forky episodes, flew down with a couple other people from the project. We sat in Studio A at Capitol Records with six or seven of the top musicians in L.A. and went through the recording process.”

“It’s one of my favorite things about my job and the industry I’m in.”

Getting Stinky & Dirty

Last year, our sister-site interviewed Guy Toubes, the creator of hit kids YouTube series Stinky and Dirty. Jake became part of the show after submitting some samples. “I watched the pilot, and one of the things about the show is the trucks, they utilize what they have to solve any issue that they come across. I thought it would be fun to embrace that in the musical approach of the show and try and use more found objects.”

What exactly does that mean? “A banjo made out of a hubcap. Instead of using a standard shaker, I’d fill up a plastic bottle with sand or beads or rice; bang on pots and pans instead of a more traditional drum.”

Stinky & Dirty is a highly creative show about being creative problem solvers, and behind the scenes, that same creativity was going on. “It was about finding interesting and unique instruments to bring to the palette of that show.”

Supporting A Story

Every project is different. But there are questions to ask when starting any new one. “Who is the target audience? Is it for teens … a more mature, adult audience?”

Once those questions are understood, “… then it’s about supporting the story.”

In regards to kids’ shows specifically, Jake explains, “I think one of the tricks is finding that middle ground so that it’s really supporting a story for a pre-school audience but then making it less monotonous for adults watching along with the kids. I want the viewing experience to be fun for everyone involved.”

On Another Note

Jake’s work appears in Through the Windows, a documentary about the Twin Peaks Tavern, a gay bar in the 70s which challenged the status quo by opening its windows. What’s it like shifting gears from computer generated forks to real-world rebellion? “For the documentary, Through the Windows, it’s more about achieving a tone. What’s the mood?”

Jake further explains, “We’re not going to try and acknowledge every beat that’s happening on screen but instead, ride along with the emotion that the storytellers are sharing with us.”

More questions arise. “Is it happy or peppy or serious? And how do we bring those emotions together into a sonically cohesive world.”

Musical Puzzles

Every project is a puzzle to be solved. “With shows like Stinky & Dirty or DinoTrux, it’s more about … jumping in and writing for the episode.”

For other projects, you’re getting pieces of the larger puzzle at a time. So, Jake works with what’s available. “We have a main character theme opportunity here. We have a love scene here. And an opportunity for our antagonist’s theme here.”

“I’ll tackle those three spots, present those, and then from there figure out the rest.”

Singing & Driving

Jake lives in L.A. and primarily works out of a home studio, which means he doesn’t often drive even though it’s a source of inspiration. “My best spot for ideas is while I’m driving in my car. When I’m driving to meetings, I typically don’t listen to much of anything in the car, and my brain will start working.”

Jake continues, “I might start thinking through a story. Toying around with ideas.”

To preserve the idea, “I’ll sing stuff into my phone.”

The snippet of the idea becomes part of the bigger puzzle and the joy of composing for Jake. “Then there’s the challenge of taking that 10 or 15 second bit and making into something that will work for two or three minutes.”

Wrapping Up

Jake worked on Be Cool, Scooby-Doo, so as a lifelong Scooby-Doo fan, I’d be remiss to not ask what that was like. “Having the opportunity to be part of the legacy of Scooby-Doo, it’s amazing.”

Who inspires and influences Jake daily? “Spending those years with Chris was great. He helped my musicality grow by leaps and bounds. Thomas Newman has always been one of my favorites. What he’s done, and continues to do, with Pixar projects from Finding Nemo to Wall-E, is as unique as the stories themselves. ”It’s such an emotional journey that he can take us on.”

Outside of the film music world, “I listen to a lot of indietronica music. It’s got a bit of the indie nature and is rough around the edges but also still more polished. A lot of interesting sounds and devices that bands are using their production these days.”

“What if I used that but flipped it and reversed it and turned it into the sonic identity for this character.

Forky is on its way, so what’s next for Jake? “I’m in the middle of working on another Pixar short called Lamp Life starring Bo Peep.”

Forky Asks A Question will be part of Disney+
when the service launches on November 12th, 2019.

Thanks to Jake Monaco and Rhapsody PR for making this interview possible.

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