A major mutant overhaul is imminent at Marvel as two new series are en route in House of X and Powers of X, both to be written by Jonathan Hickman, are due out this July.
The series will follow what Marvel has dubbed the ‘four seminal moments in the history of the X-Men’, in Uncanny X-Men, Giant-Size X-Men, X-Men: Age of Apocalypse and New X-Men. A new era for ‘Marvel’s Mutants’ will again revolutionize the X-Men as Charles Xavier will unveil his master plan for mutantkind, which will be one that will ultimately bring all mutants out of the shadows and into the light again.
In conjunction with the House of X series, the new direction of the X-Men will reveal the secret past, present and future for all mutantkind! This series promises to ultimately change the way you look at the overall story of the X-Men, both before and after reading it.
Both first issues, House of X #1 and Powers of X #1, are set for summer releases. Keep an eye out for both to hit shelves in July and click HERE for the exclusive first look at the two upcoming series, among others, via Marvel.
What do you think, is the new X-Men shakeup a welcome one in your eyes? What other mutants do you want to see make a comeback in a series? Let us know in the comments section below.
The series will star none other than Jane Foster and sprout up out of the second issue out of the War of the Realms series. In the issue, Foster, after witnessing the complete massacre of the Valkyries, the former Thor decides she will assume the role as the Valkyrie, while readers wait in limbo as to what has become of the most-recent Valkyrie, Brunhilde.
“There’s a line in Valkyrie #1: ‘Thor is a god, Valkyrie is a job.’ Jane knows how to be Thor, but the role of Valkyrie — the warrior who fights for the living and the dead, and stands between both — is a very different beast,” said Ewing. “It’s a sacred task, and brings additional abilities — and responsibilities — of its own. As the first of a new generation of Valkyries, Jane has to decide for herself what that task involves, and that’s a big part of what we’ll be exploring in this series. If you’re reading this, you know who Valkyrie is, but what she is is one of the big philosophical underpinnings of the book.”
Look for Valkyrie #1 to land on shelves in July. For more information on Marvel releases in July, click HERE.
Click HERE for the official release via Marvel, including a sneak peek at some interiors and exclusive art and an interview with Ewing.
What do you think, is the world ready for another Asgardian shakeup? Who would you like to see rise from the ashes in a new role following the War of the Realms? Let us know in the comments section below.
Comic-Con International has announced the 2019 Eisner Award nominees, with two publishers emerging as the big winners so far. DC received a total of 24 nominations, while Image received a whopping 30 — including a sweep of the “Best New Series” category. IDW and Lion Forge round out the top four most-nominated publishers.
The entire nominee list is below:
Best Short Story
“Get Naked in Barcelona,” by Steven T. Seagle and Emei Olivia Burrell, in Get Naked (Image)
“The Ghastlygun Tinies,” by Matt Cohen and Marc Palm, in MAD magazine #4 (DC)
“Here I Am,” by Shaun Tan, in I Feel Machine (SelfMadeHero)
“Supply Chains,” by Peter and Maria Hoey, in Coin-Op #7 (Coin-Op Books)
“The Talk of the Saints,” by Tom King and Jason Fabok, in Swamp Thing Winter Special (DC)
Best Single Issue/One-Shot
Beneath the Dead Oak Tree, by Emily Carroll (ShortBox)
Black Hammer: Cthu-Louise, by Jeff Lemire and Emi Lenox (Dark Horse)
No Better Words, by Carolyn Nowak (Silver Sprocket)
Peter Parker: The Spectacular Spider-Man #310, by Chip Zdarsky (Marvel)
The Terrible Elisabeth Dumn Against the Devils In Suits, by Arabson, translated by James Robinson (IHQ Studio/ Image)
Best Continuing Series
Batman, by Tom King et al. (DC)
Black Hammer: Age of Doom, by Jeff Lemire, Dean Ormston, and Rich Tommaso (Dark Horse)
Gasolina, by Sean Mackiewicz and Niko Walter (Skybound/Image)
Giant Days, by John Allison, Max Sarin, and Julaa Madrigal (BOOM! Box)
The Immortal Hulk, by Al Ewing, Joe Bennett, and Ruy José (Marvel)
Runaways, by Rainbow Rowell and Kris Anka (Marvel)
Best Limited Series
Batman: White Knight, by Sean Murphy (DC)
Eternity Girl, by Magdalene Visaggio and Sonny Liew (Vertigo/DC)
Exit Stage Left: The Snagglepuss Chronicles, by Mark Russell, Mike Feehan, and Mark Morales (DC)
Mister Miracle, by Tom King and Mitch Gerads (DC)
X-Men: Grand Design: Second Genesis, by Ed Piskor (Marvel)
Best New Series
Bitter Root, by David Walker, Chuck Brown, and Sanford Green (Image)
Crowded, by Christopher Sebela, Ro Stein, and Ted Brandt (Image)
Gideon Falls, by Jeff Lemire and Andrea Sorrentino (Image)
Isola, by Brenden Fletcher and Karl Kerschl (Image)
Man-Eaters, by Chelsea Cain and Kate Niemczyk (Image)
Skyward, by Joe Henderson and Lee Garbett (Image)
Best Publication for Early Readers (up to age 8)
Johnny Boo and the Ice Cream Computer, by James Kochalka (Top Shelf/IDW)
Petals, by Gustavo Borges (KaBOOM!)
Peter & Ernesto: A Tale of Two Sloths, by Graham Annable (First Second)
This Is a Taco! By Andrew Cangelose and Josh Shipley (CubHouse/Lion Forge)
Tiger Vs. Nightmare, by Emily Tetri (First Second)
Best Publication for Kids (ages 9–12)
Aquicorn Cove, by Katie O’Neill (Oni)
Be Prepared, by Vera Brosgol (First Second)
The Cardboard Kingdom, by Chad Sell (Knopf/Random House Children’s Books)
Crush, by Svetlana Chmakova (JY/Yen Press)
The Divided Earth, by Faith Erin Hicks (First Second)
Best Publication for Teens (ages 13–17)
All Summer Long, by Hope Larson (Farrar Straus Giroux)
Gumballs, by Erin Nations (Top Shelf/IDW)
Middlewest, by Skottie Young and Jorge Corona (Image)
Norroway, Book 1: The Black Bull of Norroway, by Cat Seaton and Kit Seaton (Image)
The Prince and the Dressmaker, by Jen Wang (First Second)
Watersnakes, by Tony Sandoval, translated by Lucas Marangon (Magnetic/Lion Forge)
Best Humor Publication
Get Naked, by Steven T. Seagle et al. (Image)
Giant Days, by John Allison, Max Sarin, and Julia Madrigal (BOOM! Box)
MAD magazine, edited by Bill Morrison (DC)
A Perfect Failure: Fanta Bukowski 3, by Noah Van Sciver (Fantagraphics)
Woman World, by Aminder Dhaliwal (Drawn & Quarterly)
Best Anthology
Femme Magnifique: 50 Magnificent Women Who Changed the World, edited by Shelly Bond (Black Crown/IDW)
Puerto Rico Strong, edited by Marco Lopez, Desiree Rodriguez, Hazel Newlevant, Derek Ruiz, and Neil Schwartz (Lion Forge)
Twisted Romance, edited by Alex de Campi (Image)
Where We Live: A Benefit for the Survivors in Las Vegas, edited by Will Dennis, curated by J. H. Williams III and Wendy Wright-Williams (Image)
Best Reality-Based Work
All the Answers: A Graphic Memoir, by Michael Kupperman (Gallery 13)
All the Sad Songs, by Summer Pierre (Retrofit/Big Planet)
Is This Guy For Real? The Unbelievable Andy Kaufman, by Box Brown (First Second)
Monk! by Youssef Daoudi (First Second)
One Dirty Tree, by Noah Van Sciver (Uncivilized Books)
Best Graphic Album—New
Bad Girls, by Alex de Campi and Victor Santos (Gallery 13)
Come Again, by Nate Powell (Top Shelf/IDW)
Green Lantern: Earth One Vol. 1, by Corinna Bechko and Gabriel Hardman (DC)
Homunculus, by Joe Sparrow (ShortBox)
My Heroes Have Always Been Junkies, by Ed Brubaker and Sean Phillips (Image)
Sabrina, by Nick Drnaso (Drawn & Quarterly)
Best Graphic Album—Reprint
Berlin, by Jason Lutes (Drawn & Quarterly)
Girl Town, by Carolyn Nowak (Top Shelf/IDW)
Upgrade Soul, by Ezra Claytan Daniels (Lion Forge)
The Vision hardcover, by Tom King, Gabriel Hernandez Walta, and Michael Walsh (Marvel)
Young Frances, by Hartley Lin (AdHouse Books)
Best Adaptation from Another Medium
Anne Frank’s Diary: The Graphic Adaptation, adapted by Ari Folman and David Polonsky (Pantheon)
“Frankenstein” by Mary Shelley, in Frankenstein: Junji Ito Story Collection, adapted by Junji Ito, translated by Jocelyne Allen (VIZ Media)
Out in the Open by Jesús Carraso, adapted by Javi Rey, translated by Lawrence Schimel (SelfMadeHero)
Speak: The Graphic Novel, by Laurie Halse Anderson and Emily Carroll (Farrar Straus Giroux)
To Build a Fire: Based on Jack London’s Classic Story, by Chabouté (Gallery 13)
Best U.S. Edition of International Material
About Betty’s Boob, by Vero Cazot and Julie Rocheleau, translated by Edward Gauvin (Archaia/BOOM!)
Brazen: Rebel Ladies Who Rocked the World, by Pénélope Bagieu (First Second)
Herakles Book 1, by Edouard Cour, translated by Jeremy Melloul (Magnetic/Lion Forge)
Niourk, by Stefan Wul and Olivier Vatine, translated by Brandon Kander and Diana Schutz (Dark Horse)
A Sea of Love, by Wilfrid Lupano and Grégory Panaccione (Magnetic/Lion Forge)
Best U.S. Edition of International Material—Asia
Abara: Complete Deluxe Edition, by Tsutomu Nihei, translated by Sheldon Drzka (VIZ Media)
Dead Dead Demon’s Dededede Destruction, by Inio Asano, translated by John Werry (VIZ Media)
Laid-Back Camp, by Afro, translated by Amber Tamosaitis (Yen Press)
My Beijing: Four Stories of Everyday Wonder, by Nie Jun, translated by Edward Gauvin (Graphic Universe/Lerner)
Tokyo Tarareba Girls, by Akiko Higashimura (Kodansha)
Best Archival Collection/Project—Strips
Pogo, vol. 5: Out of This World At Home, by Walt Kelly, edited by Mark Evanier and Eric Reynolds (Fantagraphics)
Sky Masters of the Space Force: The Complete Sunday Strips in Color (1959–1960), by Jack Kirby, Wally Wood et al., edited by Ferran Delgado (Amigo Comics)
Star Wars: Classic Newspaper Strips, vol. 3, by Archie Goodwin and Al Williamson, edited by Dean Mullaney (Library of American Comics/IDW)
The Temple of Silence: Forgotten Words and Worlds of Herbert Crowley, by Justin Duerr (Beehive Books
Thimble Theatre and the Pre-Popeye Comics of E. C. Segar, edited by Peter Maresca (Sunday Press)
Best Archival Collection/Project—Comic Books
Action Comics: 80 Years of Superman Deluxe Edition, edited by Paul Levitz (DC)
Bill Sienkiewicz’s Mutants and Moon Knights… And Assassins… Artifact Edition, edited by Scott Dunbier (IDW)
Dirty Plotte: The Complete Julie Doucet (Drawn & Quarterly)
Madman Quarter Century Shindig, by Mike Allred, edited by Chris Ryall (IDW)
Terry Moore’s Strangers in Paradise Gallery Edition, edited by Joseph Melchior and Bob Chapman (Abstract Studio/Graphitti Designs)
Will Eisner’s A Contract with God: Curator’s Collection, edited by John Lind (Kitchen Sink/Dark Horse)
Best Writer
Alex de Campi, Bad Girls (Gallery 13); Twisted Romance (Image)
Tom King, Batman, Mister Miracle, Heroes in Crisis, Swamp Thing Winter Special (DC)
Jeff Lemire, Black Hammer: Age of Doom,Doctor Star & the Kingdom of Lost Tomorrows, Quantum Age (Dark Horse); Descender, Gideon Falls, Royal City (Image)
Mark Russell, Exit Stage Left: The Snagglepuss Chronicles, Green Lantern/Huckleberry Hound, Lex Luthor/Porky Pig (DC); Lone Ranger (Dynamite)
Kelly Thompson, Nancy Drew (Dynamite); Hawkeye, Jessica Jones, Mr. & Mrs. X, Rogue & Gambit, Uncanny X-Men, West Coast Avengers (Marvel)
Chip Zdarsky, Peter Parker: The Spectacular Spider-Man, Marvel Two-in-One (Marvel)
Best Writer/Artist
Sophie Campbell, Wet Moon (Oni)
Nick Drnaso, Sabrina (Drawn & Quarterly)
David Lapham, Lodger (Black Crown/IDW); Stray Bullets (Image)
Nate Powell, Come Again (Top Shelf/IDW)
Tony Sandoval, Watersnakes (Magnetic/Lion Forge)
Jen Wang, The Prince and the Dressmaker (First Second)
Best Penciller/Inker or Penciller/Inker Team
Matías Bergara, Coda (BOOM!)
Mitch Gerads, Mister Miracle (DC)
Karl Kerschl, Isola (Image)
Sonny Liew, Eternity Girl (Vertigo/DC)
Sean Phillips, Kill or Be Killed, My Heroes Have Always Been Junkies (Image)
Gregory Panaccione, A Sea of Love (Magnetic/Lion Forge)
Tony Sandoval, Watersnakes (Magnetic/Lion Forge)
Best Cover Artist (for multiple covers)
Jen Bartel, Blackbird (Image); Submerged (Vault)
Nick Derington, Mister Miracle (DC)
Karl Kerschl, Isola (Image)
Joshua Middleton, Batgirl and Aquaman variants (DC)
Julian Tedesco, Hawkeye, Life of Captain Marvel (Marvel)
Best Coloring
Jordie Bellaire, Batgirl, Batman (DC); The Divided Earth (First Second); Days of Hate, Dead Hand, Head Lopper, Redlands (Image); Shuri, Doctor Strange (Marvel)
Tamra Bonvillain, Alien 3 (Dark Horse); Batman, Doom Patrol (DC); Moon Girl and Devil Dinosaur, Multiple Man (Marvel)
Matt Hollingsworth, Batman: White Knight (DC): Seven to Eternity, Wytches (Image)
Matt Wilson, Black Cloud, Paper Girls, The Wicked + The Divine (Image); The Mighty Thor, Runaways (Marvel)
Best Lettering
David Aja, Seeds (Berger Books/Dark Horse)
Jim Campbell, Breathless, Calexit, Gravetrancers,Snap Flash Hustle,Survival Fetish, The Wilds (Black Mask); Abbott, Alice: Dream to Dream, Black Badge,Clueless, Coda, Fence, Firefly, Giant Days, Grass Kings,Lumberjanes: The Infernal Compass, Low Road West, Sparrowhawk (BOOM); Angelic (Image); Wasted Space (Vault)
Alex de Campi, Bad Girls (Gallery 13); Twisted Romance (Image)
Jared Fletcher, Batman: Damned (DC); The Gravediggers Union, Moonshine, Paper Girls, Southern Bastards (Image)
Todd Klein— Black Hammer: Age of Doom, Neil Gaiman’s A Study in Emerald (Dark Horse); Batman: White Night (DC); Eternity Girl, Books of Magic (Vertigo/DC); The League of Extraordinary Gentlemen: The Tempest (Top Shelf/IDW)
LAAB Magazine #0: Dark Matter, edited by Ronald Wimberley and Josh O’Neill (Beehive Books)
PanelxPanel magazine, edited by Hassan Otsmane-Elhaou, panelxpanel.com
Best Comics-Related Book
Comic Book Implosion: An Oral History of DC Comics Circa 1978, by Keith Dallas and John Wells (TwoMorrows)
Drawn to Purpose: American Women Illustrators and Cartoonists, by Martha H. Kennedy (University Press of Mississippi)
The League of Regrettable Sidekicks, by Jon Morris (Quirk Books)
Mike Grell: Life Is Drawing Without an Eraser, by Dewey Cassell with Jeff Messer (TwoMorrows)
Yoshitaka Amano: The Illustrated Biography—Beyond the Fantasy, by Florent Gorges, translated by Laure Dupont and Annie Gullion (Dark Horse)
Best Academic/Scholarly Work
Between Pen and Pixel: Comics, Materiality, and the Book of the Future, by Aaron Kashtan (Ohio State University Press)
Breaking the Frames: Populism and Prestige in Comics Studies, by Marc Singer (University of Texas Press)
The Goat-Getters: Jack Johnson, the Fight of the Century, and How a Bunch of Raucous Cartoonists Reinvented Comics, by Eddie Campbell (Library of American Comics/IDW/Ohio State University Press)
Incorrigibles and Innocents, by Lara Saguisag (Rutgers Univeristy Press)
Sweet Little C*nt: The Graphic Work of Julie Doucet, by Anne Elizabeth Moore (Uncivilized Books)
Best Publication Design
A Sea of Love, designed by Wilfrid Lupano, Grégory Panaccione, and Mike Kennedy (Magnetic/Lion Forge)
The Stan Lee Story Collector’s Edition, designed by Josh Baker (Taschen)
The Temple of Silence: Forgotten Worlds of Herbert Crowley, designed by Paul Kepple and Max Vandenberg (Beehive Books)
Terry Moore’s Strangers in Paradise Gallery Edition, designed by Josh Beatman/Brainchild Studios/NYC (Abstract Studio/Graphitti Designs)
Will Eisner’s A Contract with God: Curator’s Collection, designed by John Lind (Kitchen Sink/Dark Horse)
The awards ballot will be available at www.eisnervote.com, with all comic industry professionals eligible to vote. This year’s Eisner Awards ceremony will be Friday, July 19 at the Hilton San Diego Bayfront Hotel.
Mary Shelley, Monster Hunter #2 hits your local comic shop on May 22, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive five-page preview for you.
The 32-page book is written by Adam Glass and Olivia Cuartero-Briggs, with art by Hayden Sherman, and letters by Sal Cipriano. Sherman also worked on the cover, you will recognize his work from COLD WAR, The Few, and Wasted Space. Glass has worked on ROUGH RIDERS, THE LOLLIPOP KIDS, and Teen Titans, whereas Cuartero-Briggs worked on the TV series The Arrangement and Criminal Minds: Beyond Borders.
About the issue: Mary discovers not only that their mysterious host is a surgeon intent on reanimating the dead, but also that she’s a woman. Banished from a career in medicine because of her sex, Dr. Victoria Frankenstein has decided to create a manservant devoted to her success in a
misogynistic world. The only thing she needs is a partner. Mary quickly sees the potential to carry on her late mother’s feminist work, but agreeing would mean betraying her closest companions, and becoming an accomplice to murder…
Check out the Mary Shelley, Monster Hunter #2 preview below:
Did you read the first issue? Comment below with your thoughts on the series!
War of the Realms Strikeforce The Dark Elf Realm #1 is out May 1st, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive five-page preview to share with you.
The book is written by Bryan Hill with art by Leinil Francis Yu, and a variant cover by Rod Reis.
About the War of the Realms Strikeforce The Dark Elf Realm #1: THE PUNISHER LEADS THE CHARGE TO SHUT DOWN THE BLACK BIFROST!
Deep in the swamps of Svartalfheim stands the Black Bifrost, Malekith’s corrupted Rainbow Bridge and the only reliable means of travel between the realms with the true Bifrost in pieces. If the gods are going to stop Malekith’s invasion, the Black Bridge must fall. With her son missing and husband injured, Lady Freyja must take up the challenge herself. But she won’t go alone. Hulk (Jen Walters), the Punisher, Blade and Ghost Rider follow the All-Mother of Asgard straight into Malekith’s home territory!
Check out the full preview below:
Are you planning to read War of the Realms Strikeforce Dark Elf? Comment and let us know your thoughts on the issue!
The Hero Phone has returned. Miguel is a young man who almost died as a child. The Man of Steel himself saved him, and the rush pushed him to become a bit of a daredevil. One day, while performing a dangerous Canyon jump, Miguel misses his landing and plummets. Before he can meet his demise, however, an old rotary phone appears and tells him to Dial H for a Hero. Miguel does and transforms into the 90’s comic-themed hero, Monster Truck. He goes on a bit of a rampage in a junkyard and ends up turning back into Miguel. Before he can be arrested, a young woman named Summer drives up to Miguel in a stolen truck, and they run off together. What will happen now that the phone is back in the world?
**Some Spoilers Below**
Story:
Miguel and Summer sit to discuss their plan of action at a diner while the phone keeps ringing. When Miguel picks it up, the Operator warns him of a group of people who will try to take the phone. One of these people named Barnaby ends up in the same diner and quietly follows them. While Summer is down for running away with the phone, Miguel wants to go home and throws the phone in a river. This gives Barnaby the chance to go and use it for himself. He swims down and becomes Jobu the Zonkey(Zebra Donkey) King! He begins attacking a riverboat, causing Miguel to realize he has to keep the phone and goes after it.
Comics like Dial H for Hero aim for one thing: having fun. Sure, we might get an emotional lesson, but overall it’s to entertain the reader. This issue succeeded in that with its humor and action. The heroes of this issue are great, harkening to manga such as Dragonball. I also found the mystery of the Thunderbolt Club and the Operator intriguing. However, this setup isn’t something we haven’t seen before. The trope of villains wanting their lost gifts back is a tired one. Despite that, I still enjoyed this comic, and I can’t wait for issue three.
Art:
The art continues to be the standout asset of this series. Joe Quinones’ style is already great when it’s just the standard Miguel and Summer talks, but it’s downright amazing when he changes styles entirely. When we meet Jubo and Deathshead, the comic’s illustrations turn into a homage to manga. The flexibility in Quinones’ style is top notch and truly makes this comic unique.
Conclusion:
While it still has a bit to go before passing the game of the A-List DC comics, Dial H is an incredibly fun time. The story is simple yet entertaining while the art is out of this world. If you haven’t picked this issue or the previous one up yet, I highly recommend it.
Insecure is a comedy-drama on HBO about best friends who deal with their own real-life flaws and insecurities while braving an often miserable everyday life and Emmy-winning editor Nena Erb is part of the magic behind the show.
Created by Issa Rae and Larry Wilmore, Insecure is equal parts heart-warming, heart-wrenching, and edgy. It’s a show tackling an untapped source for stories: the African-American experience through the eyes of women. Through three seasons, the show has introduced episodes that defy convention. Take a look at the titles episodes, and you’ll get an idea. But watch episodes like “Obsessed-Like,” and you’ll get a sense of how bold this show can be.
PopAxiom talked with Nena Erb about the joy of being in a dark editing booth by yourself, making Insecure, Project Greenlight and the breaks along the way.
Assembly Cut
The first act for Nena started with art school but then “A friend brought me into the industry to work in the art department. It wasn’t quite right. I was used to doing fine art, and this was more architecture and set design.”
Now in the industry, Nena “… bounced around a little bit” which included work “… as a script supervisor …”
The most common suggestion for Nena was to become a director or editor “I knew I didn’t want to direct. I looked at the editing and thought ‘You’re sitting in a dark room all by yourself all day long? That doesn’t sound good either.”
The work continued and Nena “… kept experimenting and eventually got a job as an associate producer.” The new role meant “… actually working with editors” and that’s when Nena “… realized I knew nothing about editing.”
With new insight into editing Nena thought “It’s really amazing. This is where all the stories are put together, and you can shape where the story takes viewers. You have a lot of creative control in the storytelling process.”
It didn’t take long for Nena to become “… completely hooked.”
Breaks: Big & Small
Fifteen years later, here’s Nena, now an Emmy-winning, ACE-nominated editor. So, was there a big break? “There are so many little breaks … The one thing that changed my career the most was getting an Emmy. It opened doors for me to projects that I thought I couldn’t reach at the time.”
Some of those breaks happen — or don’t happen — based outside forces “I almost didn’t take Project Greenlight.”
Nena explains “I applied to the Salley Menke Fellowship, but I didn’t get accepted. So, I decided to do this little documentary show for HBO.” The show earned Nena an Emmy-award.
Back to talking about the ‘breaks,’ Nena adds “But there are always little breaks. So many people helped me along the way.”
Confident About Insecure
Nena entered Insecure in it’s third season where she earned an ACE-nomination for “Obsessed-like,” an episode that follows one character’s, well, obsession “I definitely experimented with that. It was a risky decision because it was my first season on the show.”
Nena reveals “I ended up cutting two versions. One that was very much the language of the series.”
The other cut turned out to be the episode that aired where Nena “kind of decided to change a few things.”
Typically, texts between characters are displayed on the screen, in a corner, allowing the image to play out while the audience reads “For “Obsessed-Like” because so much of the episode takes place in Issa’s head and her internal dialogue, I wanted to put the viewers in there with her.” The episode does some of that but also fills the screen with Issa’s obsession over a man who mysteriously cast her aside.
The Approach
Does Nena ever think about the shots that don’t exist? “There’s always shots that you wish they would’ve gotten or like a different angle.”
But, surprisingly the award-winning editor doesn’t think much about those would-be shots “… what I love about editing is that you don’t know what’s going to come back. You have a good idea, but sometimes you get a scene, and it’s different from how it was scripted.”
However, Nena finds this part of the job “appealing,” and it’s for a simple reason “I loved puzzles growing up.”
From scripted comedy to comet-drama to reality or documentary “At the end of the day, it’s all about the story. People are expecting a sort of villain and a hero.”
The gig that Nena almost didn’t take turned into an Emmy award “My approach to Project Greenlight was really to show the process of filmmaking.”
Like anything, there is good reality television with footage stitched together to optimize manipulation, and then there is quality stuff like Project Greenlight “I didn’t want to manipulate situations. For me, it was explaining to the world ‘this is how a movie is done’ and still make it entertaining at the same time.”
Nena used to say, “Let’s make it Info-taining.”
In The Booth
At the end of the day, Nena missions “To get the kind of emotion that a story warrants.”
As a process that’s part puzzle, there are problems to solve and Nena admits “I dream about editing in my sleep. I fall asleep thinking about it, and I wake up saying ‘that’s how I can edit that scene!’”
How does music factor into her process of putting together a new project? “I like to cut dry. I like to make sure that the scene is working without music. Music is essential. But it’s amazing what you can see without the bells and whistles.”
If you’re watched Insecure, you’ll know just how integral music is for the show “Insecure use of music is so fantastic. Music is kind of its own character.”
Nena contrasts the use of music with another hit show she’s worked on My Crazy Ex-Girlfriend “Whereas in Crazy-Ex, aside from the musical numbers, the score is more background supporting the cast.”
Wrapping Up
Because I love to spread the love, we arrive at a familiar place for regular readers. Who or what inspires Nena creatively? “Anne Coates. She’s done so many amazing films over her career but the way she did Out of Sight, the way she reinterpreted the date.”
For Nena, Anne’s example showed “You can experiment and come up with something great. You don’t have to stick to a formula.”
Another personal inspiration for Nena is not an editor at all “Reese Witherspoon. I love what she stands for and that she’s a champion of women and that she has great taste. She picks amazing projects.”
What’s next for Nena? “I’m currently working on a [untitled] pilot created by Jessica Gao.” For you Rick and Morty fans, Gao was a writer for the animated series who wrote the Emmy-nominated episode “Pickle Rick.” Nena explains “…the show is about a Chinese-American woman who becomes the unwilling matriarch of a family she spent her entire life trying to keep at a distance.”
But that’s not all that’s coming soon from the art grad turned editor “After that, I’m working on Dream [working title] for Apple. It’s a series produced by Kumail Nanjiani and Alan Yang based on the true stories collection “Little America” featured in Epic Magazine.”
There’s more to come from Nena and the dark, lonely editing room she once thought was unappealing and now calls home.
Thanks to Nena Erb and Impact24 PR for making this interview possible.
Spencer & Locke 2 #1 is out next week, marking the return of one of the most interesting and poignant comic series to come out in recent memory.
Published by Action Lab: Danger Zone, and co-created by writer David Pepose and artist Jorge Santiago, Jr., the series is about Detective Locke, a man who fights crime with the help of his childhood imaginary friend, a seven-foot tall talking tiger (think Calvin and Hobbes all grown up in Sin City). Following the events of volume one, Locke is on leave from the police force, trying to stay on his best behavior until a number of city officials start dropping like flies. The vicious Roach Riley is in town (a twisted Beetle Bailey stand-in), and he’s created a mystery that promises to drag Spencer and Locke right into the pits of hell.
If you haven’t read Spencer & Locke before, have no fear. Pepose makes this new #1 the perfect jumping on point. It’s a completely fresh story that catches the reader up on any pertinent information lickity split. Of course, once you get a taste of this addictive world, you’ll run straight to your local comic shop to order a copy of volume one.
Don’t let the Sunday comics vibe throw you off; this is a series with some serious weight and depth to it. Volume one made that clear, and if Spencer & Locke 2 #1 is any indication, this volume is going to double down on the intensity. We’ve stated on this site before, “it’s one of the most original and thoughtful series out today, tackling childhood trauma and PTSD, and balancing these heavy topics with smart humor, intrigue, and thrills.”
This is a story about trauma, and about how it defines us. Roach is a stark foil for Locke; they’re both broken, but deal with it in different ways. It feels very much like a Batman/Joker relationship is brewing between the two. This first issue actually has some strong Killing Joke undertones, setting up the theme of how one bad day is all it takes to break a person. Spencer & Locke is a beautiful story about humanity, and about learning to live with scars, but it seems like this volume is going to explore that theme in some very dark ways.
While the story is deep and thought-provoking, it’s also just damn entertaining. Sometimes introspective stories can lean towards being dry and somewhat boring, but not Spencer & Locke. There’s action and intrigue, and fun banter between the characters. This is partially an homage to Sin City, after all. The mystery and noir element is the driving force of the story. You need to know what Roach is up to, and Pepose is such a pro at character development that your connection to these players and your concern for them is real. You worry for Locke on a genuine level.
Jorge Santiago, Jr.’s art, combined with Jasen Smith’s colors, is like nothing else in comics today. The two have created a world that feels lived in and relatable. They definitely play into the cartoony Sunday comics style, but at the same time this world is gritty and rough. It’s unique, and that quality draws you to it on a subconscious level. The two artists are also great at focusing your attention where they want it. Smith will color a page mostly in blues, creating a very mellow, noir atmosphere, but then he’ll throw in a green panel just to make it stand out and throw the reader off. Santiago uses similar tricks. He’ll utilize a very straightforward panel structure, but then something explosive will happen and literally rock the panel boarders. This art team excels at keeping you on your toes and never letting you settle in. They want you on edge.
Letterers are the secret wizards of a comic book creative team, as Colin Bell proves here. Bell manages the book’s tone and characterization without you even realizing it. He’ll switch up fonts and sound effects the same way that Santiago and Smith change up the art, luring you into a false sense of security with traditional lettering and then shaking you out of it with something jarring. His narration boxes help define the characters. Locke maintains a child-like sense of innocence under his tough exterior, thanks largely to way Bell letters the character’s inner monologue. Similarly, Roach Riley’s narration boxes add a Punisher-like spin to his character, adding yet another layer to this tribute to comics.
The point is that there’s a lot of thought and effort being put into Spencer & Locke 2. This creative team clearly has a ton of love for the medium, and they’re putting all of that onto the page. If you like comics of any kind, but especially gritty detective stories featuring imaginary talking panthers, pick up Spencer & Locke 2 #1 next Wednesday. And be sure to look for the series on tons of “Best of the Year” lists come December.
THANOS #1 hits your local comic book store this week, and Matt Sardo, the founder of Monkeys Fighting Robots takes a stroll through the pages of the issue and reflects on the reading material in the aftermath of AVENGERS: ENDGAME.
Listen to the podcast below:
About THANOS #1 of 6: THANOS IS DEAD! Executed by the deadliest assassin in the galaxy…his daughter, Gamora. But before their relationship came to a bloody end, how did it begin? Find out in this all-new miniseries by Tini Howard (MARVEL KNIGHTS 20TH and AGE OF CONAN: BELIT) and Ariel Olivetti (DEATH OF THE INHUMANS)!
Writer – Tini Howard
Artist – Ariel Olivetti
Color Artist – Antonio Fabela
Letterer – Joe Caramagna
Cover Artist – Jeff Dekal
Did you read THANOS #1 this week, what did you think? Comment below with your thoughts.
About the Monkeys Fighting Robots Podcast
Never heard of Matt Sardo? For starters, he made the Kessel Run in less than 11 parsecs. Prior to that, he gave Doc Brown the idea for the flux capacitor and led the Resistance to victory over SkyNet – all while sipping a finely crafted IPA. As a radio host, he’s interviewed celebrities, athletes and everyone in between. He’s covered everything from the Super Bowl to Comic-Con.
The Trickster has been a bit of a background character for a long time. While the Flash sees him as a threat, many readers see him as a discount Joker. In this storyline, however, he’s grown into his own being. As all of Central City is under his happiness mind control, Trickster prepares for his greatest trick. He takes revenge on the brutal Warden Wolfe and even gains the upper hand on the Flash. Barry teams up with Commander Cold to try and beat the colorful Rogue, but even then James Jesse defeated him. Trickster ended the last issue with his darkest trick: cutting off the Flash’s legs. How can the fastest man alive save the city without his legs?!
**Some Spoilers Below**
Story:
While Central City is distracted by their happiness, The Trickster orders the Rogues to rob every bank. While they get to work, James begins recording a video confession from Warden Wolfe about him erasing his files. In the holding area, Flash tries to get a grasp around his missing legs. Commander Cold, still under Trickster’s happiness mind control, deduces that all of his tricks are tied to the Sage Force. He then suggests they use their minds to break through the control. Cold is able to use his anger to break through the happiness and Flash uses his happiness to see through his trick of losing his legs. With the tricks undone, the pair get to work to stop the Trickster.
It’s nice to have a storyline that isn’t tied to a bigger story from time to time. While the Sage Force is involved, this story as a whole can be read without any real connection to the rest of the series. The finale here proved that perfectly. With little regard to the Force Quest storyline, we get a finale with great action and character moments. The best comes when Flash sees through his Leg trick. As he mentioned throughout the arc, he’s been carrying a lot recently. With his acceptance, Barry had regained his hope and happiness. It was a nice change from what he had been, and I can’t wait for the next present-day arc.
Art:
While I did compliment Kolins’ style last issue for fitting the dark turn of the Trickster, I’m still not a huge fan of it. Some parts stand out, such as Trickster attempting to murder his parents, but most of the comic look silly. A prime example of this was Flash using Cold’s tech, where he had these random blue disks covering his body. The only tech we’ve seen Cold use for the safe force was his glasses, which Barry has. So what were the disks for? We never get an answer. I will say that the colorwork is well done, with bright colors complimenting the style. This art might be some readers’ cup of tea, but it’s certainly not this one’s.
Conclusion:
Despite my gripes with the art, this is still a great conclusion to an excellent Flash arc. There are great action and character moments, as well as pay off for arcs that have been building for a while. We’ll need to wait for a while to see the ramifications in the present, but this issue sends off this arc on the highest note.
