REVIEW: X-MEN #16 Takes Us Back To The Vault

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To say the X-Men have had a rough time lately is an understatement. The team has been dealing with a battle against the Eternals and being judged over in A.X.E. Judgement Day, and are also having problems gelling as a newly formed team. X-Men #16 brings the drama to a head as Forge dives into the Vault to rescue Darwin and the team battles it’s own demons. Gerry Duggan is the writer for this issue. He’s joined by Joshua Cassara on pencils, GURU-eFX on colors and Clayton Cowles on letters.

WRITING

Gerry Duggan has been giving readers quality X-Men issues since the Krakoa era began. This current issue revolves around Forge going into the Vault to rescue Darwin and the new dynamic between the team. Duggan makes it known that Forge will do what he needs to do to get what he wants. This is evident as he makes a deal with Mr. Sinister. As Forge makes his way further into the Vault, trouble brews outside. Duggan does a nice job of portraying the sibling rivalry between the Summers brothers. Scott tries to control the situation while Alex loses his temper and does something irrational. In this moment, after Havok unleashes trouble on them, Duggan show what the team is truly capable of. Cyclops and Havok work together. Magik saves Firestar. Iceman shows why he’s an omega mutant. Duggan allows the X-Men to execute their game plan on the fly and the team actually works well together. This is just the beginning of Duggan building this new X-Men team. The future seems like it will be dramatic, fun and full of great character moments.

ART

There aren’t many names in the artist circles that are hotter than Joshua Cassara right now. Cassara’s art is visually stunning and gives us images that seem life like. In the early pages of the issue, as Forge talks with Mr. Sinister, Cassara gives us one of the most realistic images of Mr. Sinister. The line work is great in these panels and Cassara draws Sinister with his iconic devilish grin. Another key part to the art this issue are the facial expressions. This is extremely important during the fight between Cyclops and Havok. Cassara uses his talent to show the anger on the Summers’ faces as they yell at each other. As Alex does something stupid and lashes out at Scott, Cassara shows his remorse after the fact.

The colors by GURU-eFX are amazing. He takes the pencils laid down by Cassara and allows them to leap off the page. This is clear as Forge navigates the Vault. As he floats above all the buildings, GURU e-FX uses a vibrant blue below that illuminates Forge as he floats. The neon looks gorgeous in the city. GURU e-FX also gives us good looking pastel backgrounds for certain panels. As Scott and Alex bicker, the light blue and red backgrounds make the characters pop out.

The letters this issue are handled by Clayton Cowles. One thing that Cowles has always been great at is his use of sound effects. As Havok punches Cyclops, Cowles put a large “KRAK” perfectly placed between Scott and Alex. Another great example is Perro attacking Iceman. As Perro attempt to escape Iceman’s ice wall, he smashes with a powerful “SKRABOOM.” This is placed in the upper corner of the panel and the letters are scattered unevenly to show destruction.

CONCLUSION

X-Men #16 is another thrilling entry into Duggan’s run. The writing is fun and fresh with a less than ideal team dynamic. Cassara’s art absolutely slays as he draws your favorite heroes in action. X-Men #16 is available at a comic shop near you!

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Review: TWO GRAVES #1 – A Road Trip With The Reaper

By

Justin Munday

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From writer Genevieve Valentine (Catwoman) and artists Annie Wu and Ming Doyle comes a mysterious road trip journey with a herald of death in Two Graves #1. While its storytelling style is sure to rub some the wrong way, this comic’s implicit trust in the audience to figure out what’s going on is its greatest strength. With intentionally obfuscated but lovely poeticism and an intriguing dual-artist approach, Two Graves is off to a divisive but utterly engaging start.

“Emilia and the man with the veil of smoke have set out for the ocean in a stolen truck. There’s a bloody handprint on his neck. She’s beginning to worry it’s hers. Death and the Maiden go on a road trip. Nobody gets out alive.”

Writing & Plot

Genevieve Valentine’s script for Two Graves #1 is fascinating and often beautiful, while maintaining a serious air of mystery. A woman is road-tripping through America with – what appears to be – Death (or at least someone who works for Death). Revealing anything else about the plot would be a spoiler as each individual element plays a major part in the story. The actual details of the plot come together slowly, as there are only hints provided by the character’s actions and words as to what is actually happening. This is definitely going to be a pain point for those who like their stories more obvious. However, those that appreciate an approach that goes after more of an atmospheric slow-burn will undoubtedly be charmed by what’s in this first issue. Valentine’s dialogue for Emilia feels natural and bounces perfectly off of her driver’s/helper’s more serious, deadpan delivery. It’s almost akin to the banter between Dream and Death in Sandman. Valentine then switches over to poetic narration at points, adding more to this comic’s sense of dark mystery. There’s an entire sequence where “Death” trails off recounting the myth of Persephone and, with Valentine’s gripping poeticism and the stunning visual work (more on that later), it becomes one of the most haunting and memorable scenes in a comic this year. This is a comic that demands its audience pay attention, and the more you notice the more you will get out of the story and be able to piece together what is actually happening here.

Art Direction

The dual artistic approach of Annie Wu and Ming Doyle adds additional layers to the complex narrative of Two Graves #1. Wu handles the “ordinary” aspects, like the roling countryside and small-town stops Emilia and her driver make. Emilia herself is also mostly handled by Wu, who gives her a vaguely ordinary but still recognizable design and animation style. Doyle juxtaposes this with her own darker, hatching-heavy style for our “Death” character, as well as the mythical sequence we discussed earlier. This dual-artist approach enhances the impression that something is out of place in this world, and that this mysterious smoky character doesn’t belong here. Despite this, both main characters are drawn with an equal sense of empathy. What’s tricky about this though is that “Death” doesn’t emote with his face, so Doyle relies on body language combined with Valentine’s narration to reveal his underlying emotional state. Death’s internal monologue about Persephone is handled by Doyle as a series of splash pages and almost museum-style paintings. The sequential direction stays relatively predictable but still effective throughout most of the comic, with great character-focused shots that pace out conversations between the cast brilliantly. Wu and Doyle maintain a constant sense of quiet unease between Emilia and Death that adds so much to each character. There’s an almost watercolor style to the colors in Two Graves. The palette stays generally pretty light, with even the darker scenes still using the brighter shades of respective colors (blacks appearing more purple, browns tan, etc.). This creates an almost dreamlike state throughout the comic, making the story feel all the more ethereal.

Verdict

Two Graves #1 is a wildly intriguing opening chapter for this mysterious new comic series. Genevieve Valentine creates a road trip tale buried in mythology and shrouded in foreshadowing that, while deeply compelling, is vague to the point of being slightly frustrating. It’s an issue that is absolutely playing the long game, but the crowd that will be interested in this sort of comic may be a bit small (and include me). The dueling visuals from Annie Wu and Ming Doyle are a great touch for delivering on the dual perspectives of the two lead characters, and their work adds infinitely more depth to this strange relationship. Be sure to grab this debut issue when it hits shelves on November 9th!

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SHE-HULK: ATTORNEY AT LAW – A Conversation About Season One

By

Matthew Sardo

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October 14, 2022

SHE-HULK: ATTORNEY AT LAW - A Conversation About Season One

The SHE-HULK: ATTORNEY AT LAW season finale on Disney+ dropped on Thursday, and boy, was it something. I won’t spoil it for you if you haven’t watched it yet, but I did respect the creativity that went into the series. Translating a comic book into a show is tough, and when you break the fourth wall with the audience, you escalate the difficulty tremendously. The rules go out the window, making it hard to take anything seriously. In the end, I enjoyed Jen Walter’s journey, and I hope they make a second season.

Listen to my thoughts below, and let me know what you thought of SHE-HULK: ATTORNEY AT LAW season one.

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Marvel Comics Exclusive Preview: MOON KNIGHT #16

By

Anthony Composto - EIC

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October 13, 2022

moon knight marvel comics exclusive preview

MOON KNIGHT #16 hits your local comic book store on October 19th, but thanks to Marvel Comics, Monkeys Fighting Robots has an exclusive four-page preview for you!

About the issue:
While Moon Knight ventures into unknown territory to make a new friend of an ancient monster, Hunter’s Moon stalks the rooftops on his own, intent on his own definition of justice. Little does he know that he is far from the only one stalking the nighttime cityscape…

The issue is by writer Jed MacKay and artist Alessandro Cappuccio, with colors by Rachelle Rosenberg, and letters by Cory Petit. The main cover is by Stephen Segovia and Rachelle Rosenberg.

Check out the MOON KNIGHT #16 preview below:

Are you reading MOON KNIGHT? Sound off in the comments!

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Read The First 8 Pages Of THE BABOON: TEMPLE OF ETERNAL LIFE

By

Matthew Sardo

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October 13, 2022

Cartoonist Jamie Jones launches a Crowdfundr campaign to fund the publishing of THE BABOON: TEMPLE OF ETERNAL LIFE n October 18th, but thanks to the creator, Monkeys Fighting Robots has an eight-page preview for our readers.

“I have been working on the Baboon for the past three years. I can’t stop thinking about him and the Baboon Crew. I keep coming up with stories faster than I can make the comics! These characters, this world is ever expanding in my head, and I can’t stop telling these stories,” said Jones.

About THE BABOON: TEMPLE OF ETERNAL LIFE:
The secrets of life everlasting lie hidden deep within the jungles of South America. Magics guarded by traditions of long-forgotten cultures. Traditions that hold no meaning to the modern man. Old friends, Ancient warriors, and magics far beyond the mortal coil collide. To save the world, THE BABOON must battle the past to ensure his family’s future.

Enjoy the preview below, and check out the campaign here: BOW TIE PRESS

What do you think of Crowdfundr vs. Kickstarter? – drop us a line on social media.

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Z2 Comics and In Flames announce New Graphic Novel THE JESTER’S CURSE

By

Justin Munday

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October 13, 2022

The Swedish legends join Ben Laverock, Blake Armstrong, Scott Bramble, and Scott Dewey for a tale of post-apocalyptic dark fantasy.

NEW YORK CITY—Z2 Comics is proud to announce In Flames: The Jester’s Curse, a graphic novel celebrating the legendary Swedish melodic metal institution. The book expands the post-apocalyptic fantasy behind the quintet’s world, following the band’s grim mascot, Jesterhead, as he emerges from the Wasteland. He soon finds himself trapped in Dead Eternity—a distorted reality where worlds collide and nightmares thrive. The tortured figure attempts to recover his lost memories… but the devious Whoracle Queen wants him first.

“We’re passionate fans of the comic book medium,” In Flames explains. “We’re proud to contribute to that tradition with The Jester’s Curse. This is your first descent into our dark fantasy universe, based around our trusty mascot—the Jesterhead! Get in and get lost!”

Overseen by Blake Armstrong, the graphic novel features writing from Armstrong, Ben Laverock, and Scott Bramble with art from Scott Dewey and Armstrong.

“The Jester’s Curse has been my dream project for nearly a decade. After all these years, I believe we finally found the perfect artistic collaboration to give readers a book that lives up to the music and world of In Flames,” Armstrong explains. “The epic continuation that Scott Dewey and Ben Laverock have created is beyond what I could have imagined for this story, and I only hope it will connect with fans the same way In Flames’ music has connected with us.”

Founded in 1990 in Gothenburg, Sweden, In Flames has spanned 13 LPs and 3 EPs to become one of the most prolific and innovative metal bands the world over. Consisting of members Björn Gelotte, Anders Fridén, Chris Broderick, Bryce Paul, and Tanner Wayne, the quintet has been nominated for three Grammis, Sweden’s most prestigious musical accolade, and have won two; netting the 2004 award for the Hard Rock/Metal Album of the Year for 2004’s Soundtrack to Your Escape as well as the same award for the LP Come Clarity in 2006. The band has sold more than 2.5 million records over the course of its career.

The group will release its 14th studio album, Foregone, via Nuclear Blast on February 10, 2023; watch the video for their latest single, “Foregone Pt. 1.” In Flames is currently on tour in America with Meshuggah and will start their European run with At The Gates, Imminence, and Orbit Culture next month.

“I’ve watched the development of this story, and have been a fan of this project for a long time,” Z2 Comics editor Rantz Hoseley says. “When the opportunity arose for Z2 to publish the complete book, we didn’t hesitate to partner with In Flames to bring this wonderfully insane story to the fans!”

Z2 Comics and In Flames present The Jester’s Curse in standard hardcover and deluxe hardcover editions. The deluxe hardcover will come with a print triptych by Blake Armstrong. Oversized platinum editions will come signed by In Flames with an elegant slipcase and the triptych art prints. Z2 Comics will also exclusively release the single “The Great Deceiver” in a crystal-clear 7-inch vinyl with etched B-Side, limited to 500 copies, as well as a limited-edition Jesterhead Action Figure. All of items are set to release in Spring 2023.

Preorder now at https://z2comics.com/products/inflames

About In Flames:
In Flames represent the best of metal’s past, present, and future. In Flames are as vital and even more energized today than when they unleashed classics like Come Clarity and Clayman in decades past. The band built a stunning reputation with devastating, crowd-moving, inspired performances around the world at every major rock and metal festival imaginable, headlining multiple treks, and touring with the likes of Slipknot, Megadeth, Judas Priest, Killswitch Engage, Within Temptation, and Lamb OfGod. They regularly headline some of the biggest stages and festivals in the world. Foregone, the furious fourteenth studio album, combines the greatest aggressive, metallic, and melodic strengths of their landmark records with the seasoned songwriting of their postmodern era. A sense of pride, accomplishment, and continued vitality are evident every time the band takes the stage, and all over Foregone. Melodic death metal pioneers and innovative purveyors of groove, the artistry, influence, stature, and future of In Flames loom as large as the heavy metal horizon itself.

About Z2 Comics:
Recently dubbed the “Hottest brand in music” by Forbes, Z2 Comics has quickly become the premier destination for authentic graphic novels and collectibles, created in partnership with top-tier artists, musicians and pop-culture icons. Distributed globally via Simon & Schuster, Z2 has produced 50-plus unique graphic novel properties, collaborating with Gorillaz , Blondie, Elvis Presley, Balmain, Joan Jett & The Blackhearts, Jason Derulo, The Grateful Dead, Machine Gun Kelly, Sublime, Beethoven, RZA, Mötley Crüe, Vince Staples, Cheech & Chong, The Doors, Anthrax, Public Enemy, Ronnie James Dio, King Diamond, All Time Low, Ivan Moody, Yungblud, Cypress Hill, Babymetal, Major Lazer, RZA, Alter Bridge, Sturgill Simpson, Poppy, John Lee Hooker, and Charlie “Bird” Parker. Learn more at Z2comics.com, and follow us on Instagram (@z2comics) and Twitter (@z2comics).

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Self-Published Spotlight: Jonathan Thompson & Jok Head to the Races With ALL IN

By

Manuel Gomez

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October 13, 2022

Welcome to Self-Published Spotlight, a regular interview column where I will be highlighting self-published comics and the creators and small print publishers who make them.

Jonathan Thompson(Burn Residue, Night of The Comet, Airplane Mechanics) continues to be one of the most dedicated writers in indie comics. A master in just about every genre, Jonathan also has the amazing ability to find the perfect artist for every project. With his latest book, the racing comic ALL IN, Jonathan tapped Argentian artist Jok to join him in the race. Jonathan and Jok took a quick pit stop to give us a lowdown on the well-oiled machine that this comic is going to be. Check out the chat below and make sure you head over to the book’s Kickstarter campaign and ensure it reaches the finish line!

Monkeys Fighting Robots: Jonathan I have already asked you this before, but for Jok, what’s your comic book origin? How, when, and where did you fall into this wonderful medium?
Jok: I’ve been doing comics since I was 5 ( silent comics, since I didn’t know how to write then). I kept reading and doing them profusely during my childhood and my teen years. I was already in contact with a local pro by then. And at 18 I began some formal study of comics. With a very prestigious professor and a renowned artist-creator called Oswal. Very famous in Argentina and Europe. Later, my self-publishing days began, in my 20s. And in 2001 I started my own professional studio with a few colleagues. Sorry for the long account, seems like I’m a veteran already! (laughs)

Jonathan Thompson: I like this because this is the best way for me to learn about my collaborators. My conversations are always about work, work, work!

MFR: So what’s the collaboration process for All In between you guys? How did this race start, so to speak?
JT: Well, Jok and I first worked on a pitch together for ONLY BAD THINGS HAPPEN AT NIGHT. Like most artists I hunt down, I found his work first online and chased after him. I really enjoyed what he did with my script for OBTHAN and knew there was an energy to his work that could really be fun to work with. I also had a back-of-my-notebook idea for a race comic. A one-shot with high stakes and two lead characters. I wanted to make something in a different style, which is where we landed on the horizontal style of the book. I knew Jok would do something that would really speed off the page. I trust Jok to do what he does best. He sends me the thumbnails and I suggest little tweaks, and then he flies. I hope he’s having as much fun with this one as I do watching pages come in!

Jok: OBTHAN pitch was a lot of fun, even though the atmosphere was quite heavy and a bit dark. When Jonathan told me about ALL IN, it sounded like a great mixture of genres, which I always appreciate. Sci-fi and racing combined into a straightforward story featuring two charismatic characters. The landscape format made it risky, but even more fun! I believe he had the concept very clear in his mind. I just needed to play along.

MFR: What challenges did that landscape/horizontal layout of the book have? And did this format lead either of you to discover something new about creating comics?
Jok: I´m quite familiar with the horizontal format since I´ve been producing many projects for websites over the years (I did literally thousands of pages for David Lloyd´s Aces Weekly). Also, many of my childhood comics here in Argentina were featured in horizontal format. So, for me, it was quite natural. Except for the double spread, which I´ve never done (or even seen!) before.

MFR: Did any particular creator or project influence ALL IN? Any specific comics, movies or stories?
JT: Speed Racer. I knew I wanted to do something high-octane and a little more on the action side this time. I was also inspired by Daniel Warren Johnson’s storytelling with books like Space Mullet and J.H. William’s ECHOLANDS for format.

Jok: My influences or reference stuff came from weirder places, almost unconnected with racing topics in fiction. For the city, I went for an industrial/rusty look and maybe a bit of Robocop´s Detroit. Characters were very clear in Jonathan´s description, I just added a little 80s vibe to them. Strictly on the racing department, I went for a Mad Max/dragster look for the cars. And some Blade Runner atmosphere all over the place (can´t help it!)

MFR: So would both of you agree ALL IN has a cinematic look and feel to it?
Jok: As a big fan of cinema many of my influences come from movies, so hopefully, some of that love shows on the page. I like to analyze storytelling from movies and series and, sometimes, try to adapt those resources to the comics medium. Narrative rhythm is not easy to define, but I tend to naturally think of some scenes or particular shots using a cinematic sense. I believe some of these devices blend naturally with comic medium and help provide solutions to keep a safe and smooth narrative flow (if used in the right dose).

JT: I think the widescreen nature of the layout does add to that cinematic feel. But, really, I think any story with the right energy can give that. You know the things I’m most excited about in this book are the racing pages and the big climax. When I say, you haven’t seen anything yet, it’s really true. The way it all comes together thanks to Jok is really going to be something breathtaking!

The Kickstarter campaign for ALL IN ends on Friday, October 21, 2022. Click here to support the book!

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AfterShock Comics Exclusive Preview: WHERE STARSHIPS GO TO DIE #5

By

Anthony Composto - EIC

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October 13, 2022

WHERE STARSHIPS GO TO DIE aftershock comics exclusive preview

WHERE STARSHIPS GO TO DIE #5 hits your local comic book store October 26th, but thanks to AfterShock Comics, Monkeys Fighting Robots has an exclusive four-page preview for you.

About the issue:
The survivors of the salvage crew finally discover the wreck of THE DEADALUS, Earth’s first interstellar starship. They’ve also discovered the alien entity that crashed it into the ocean – a berserker probe that has judged humanity unworthy of space travel. As a World War threatens to break out on the surface, our heroes find themselves trying to prove to the entity that humankind is not only worthy of the stars, but of survival.

The series is by writer Mark Sable and artist Alberto Locatelli, with colors by Juancho!, and letters by Rob Steen. The main cover is by Jeremy Haun and Nick Filardi.

Check out our WHERE STARSHIPS GO TO DIE #5 preview below:

Are you reading WHERE STARSHIPS GO TO DIE? Sound off in the comments!

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Review: Scintillating Horror Comes with THE APPROACH #1

By

Darryll Robson

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Approach Cover — The Approach #1 Credit: BOOM! Studios

An impending snow storm in small town America forms the setting for BOOM! Studios The Approach, a new mini-series from writers Jeremy Haun & Jason A. Hurley, and artists Jesús Hervás & Lea Caballero. Billed as a “turbulent new horror,” the opening issue is pure scene setting, introducing the characters and location. The narrative tension builds as the reader becomes familiar with the claustrophobic setting and the limited cast. The mood is then heightened with the introduction of something unexpected and out of the ordinary.

For a snap comparison, think The Thing meets 30 Days of Night. The Approach promises to be an uncomfortable ride, and — being a mini-series — none of the characters are safe. This is the perfect setting for a horrific encounter.

Coming In..

The construction of this first issue is solid and enticing. Just like Steve Niles’ 30 Days of Night, Haun and Hurley lead the reader through their world in the footsteps of a single character: Mac. Mac works for a small airport and is charged with making preparations for an unexpected landing during an escalating snow storm. As the environmental situation worsens, the claustrophobia intensifies. The creators produce a tangible feeling of the world shrinking around their cast; of a nightmare closing in. The strength of this opening issue is the knowledge that something is going to happen but not knowing what it is or when it’s going to rear its ugly head.

The writers want the readers to empathize with the cast, so each interaction becomes a character moment, teasing out a little bit of information in each panel and scene. Mac is obviously the center of attention, but there are a number of other characters who enter the story with backstories and traits that are instantly intriguing. Like the population of Barrow, or Matt Hawkins’ town of Eden in Postal, the small, contained cast each seem to serve a narrative purpose, although what that purpose is has yet to be disclosed.

The Landing

Hervás and Caballero provide some outstanding atmospheric work, using the negative space produced by the snow fall to great effect. Shadowy shapes loom out of the whiteness of the page. This draws the reader’s attention to the interior panels, full of shadow and color, but also allows for some stunning visual panels such as a plane flying out of the storm.

The composition of the pages are wonderful. The panels are layered on top of each other, often employing the use of a single point of focus running through the central axis of the page, a visual technique used by movie directors such as George Miller. The opening page is a prime example of this with the ‘Bzzz’ sound effect in the top panel opening the story and the page. The reader is then led down the center of the page, across Mac’s spine, down the window pain and directly onto Mac in the final panel. The sound effect at the beginning tells the reader that the telephone conversation is important and the rest of the panels all lead us to Mac being the central aspect of the narrative. Here the artists have manipulated the page to highlight the important aspects of the narrative. They use the format of the comic book page to its best ability.

This is something that is true to the comic book as a whole, with the cover being as important to the story as the rest of the art work. The story starts with the single engine aircraft flying out of the storm and ends… well, you’ll just have to buy it to see where it ends.

The color work is striking, with Brett Weldele using the contrasting orange of the characters’ uniforms perfectly against the white of the snow storm. Your eye is drawn all over the page following the moving cast members as they struggle with the environment. Add to this the excellent placement of Ed Dukeshire’s lettering and you get a uniform experience from the artwork. It gels together like the work of a single artist. Dukeshire understands the narrative flow of comics and leads the reader through the panels and the pages effortlessly. You will only notice the lettering when it becomes important, such as with the sound effects at the beginning.

Conclusion

Horror works well when you have a good villain, massacring their way through a bunch of victims, but it works even better if those victims are actual, fully-rounded characters. In The Approach, Huan, Hurley, and company have spent their first issue introducing the characters and building an empathetic cast. The tension within the narrative slowly grows as Mac moves from location to location, scene to scene. It is a masterclass in modern horror comic book storytelling.

The artwork compliments the tone of the script and draws the reader into this blizzard encased world. The creative team works together to create a cohesive comic that works at the panel level, the page level, and even as the full comic book package from cover to cover.

As October crawls on and more and more horror comics come out of the woodwork, it is a pleasure to read a contemporary comic that lives up to the history of the genre in this format.

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INTERVIEW: Costume Designer Rafaella Rabinovich Made The Perfect Costumes For Netflix’s The Imperfects

By

Ruben Diaz

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October 12, 2022

The Imperfects is a new series on Netflix which premiered in September. It’s the story of a disparate group of friends who develop superpowers. Rafaella Rabinovich helped tell the story through a varying sense of style.

Abbi (Rhianna Jagpal), Tilda (Morgan Taylor Campbell), and Juan (Iñaki Godoy) are three young adults who share a common need to use a prescription drug provided by Dr. Alex Sarkov (Rhys Nicholson). But when their supply runs out, each character begins to experience strange side effects. Abbi, the brains of the bunch trying to get into Oxford, is a succubus who releases pheromones that make her irresistible. Juan, a comic book artist, turns into a chupacabra and becomes known as the Terror of Tacoma. Finally, Tilda, the resident rebel and rocker, develops the powers of a banshee to scream so loud that she can destroy objects. Together, these reluctant friends will learn the truth behind their condition and face enemies.

PopAxiom spoke with Rafaella about becoming a costume designer and the story within the story of the look and style of The Imperfects.

Lifetime

Rafaella’s creative journey began with a gift. “When I was 12 years old, I got a Canon AE1. It was a beautiful gift. I still use it 20-some years later. I was constantly taking pictures of everything and everybody.”

“I went to art school for what I thought was photography,” she says, “but I was exposed to all this other stuff.” Her time in school helped Rafaella realize that “what I loved to do was frame a stage which had a lot to do with photography. So, to study set design, I had to study costume design and eventually fell into costume design.”

The move from theater to film and television was a pragmatic choice. “Capitalism is a very real thing, and there are some places around the world where you can live a fruitful life in the theater. But I live in Vancouver, where it wasn’t sustainable for me. So I ended up working for Cirque de Solei; I worked on two different shows while on tour with them. Then, at the end of my contract, I was offered my first job as a costume designer on a Lifetime film.”

About The Imperfects

“The Imperfects team is Nomadic, and I did the last season of The Detour a few years ago,” she says about her initial connection to The Imperfects through Nomadic, the company behind the series production. “I interviewed with Dennis Heaton, who is the showrunner and writer. He’s incredible.”

Rafaella “read the pilot” before the interview with Heaton. “So, in the interview, I brought various references. Things at the time I brought to the table became the baseline for the show. I put my boards forward, and it was a perfect match.”

The Imperfects features a stylized mix of modern elements that keeps things visually popping and interesting. “It was a mutual creative decision to put forward something stylized. We did a great job of doing that without making it completely stereotypical. It gives you more of a feeling that, whatever your style, ‘I want to wear that.'”

“We block shot two episodes at a time. It was a studio show, so that was available. Sometimes I’ve worked on shows where all ten episodes are shot together because of locations. So, in those cases, we must know a lot in advance. In this case, we analyzed the script, had multiple conversations about options and then created boards to show the filmmakers. There are a lot of moments where we took that extra step to offer something more elevated.”

The Imperfects also tells viewers more about the characters through their clothes. “We wanted to offer color and personality. We told a story with Tilda’s jackets where we pieced them together as armor. There are times she doesn’t wear them. It has to do with her childhood and being able to open up.”

Wrapping Up

Rafaella is a self-proclaimed “visual hoarder” who finds it hard to pinpoint just one influence. “There’s so much of what I love about what the visual arts offer us.”
“If I had to think of one person, it’s Marlene Dietrich,” she says. “Her gender-bending ability and her consistent boundary-pushing.”

But Rafaella thinks, “A lot of what lives in my DNA is cultural. Israel is a hub close to Europe, and I had a South American father, so there was always a lot to look at.”

What’s coming next? “Nothing that I can talk about yet. Hopefully, a second season.”

Is The Imperfects on your watch list?

Thanks to Rafaella Rabinovich and Impact24 PR
for making this interview possible.

Read more interviews from Ruben R. Diaz!

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