One on One With Mathew Reynolds

Last week, I reviewed the inaugural issue of the new release from Image Comics, the Mercenary Sea which, by the way, sold out in the first week and is currently undergoing a second printing. As it turns out, my review caught the attention of the book's artist Mathew Reynolds (probably because I'm pretty sure I tagged him in it on Facebook, but let's not split hairs). With me being honored by him reading my little dog and pony show here....and him being a humble guy who felt honored by the review, it was inevitable that we'd sit down for a interview.

Me: Let's start off simple. Do you remember the first comics you read growing up?

Reynolds : I remember a giant sized comic of King Kong. I took that to kindergarten and quickly had it taken away by the teacher. Never got it back. I found it on eBay a couple years ago and grabbed it. I remember the Black Panther. My cousin David introduced me to T'Challa and I thought he looked AMAZING. All black. He stood out, a walking shadow among the colorful avengers uniforms. I remember Dave telling me he was a world class athlete and acrobat. He could bounce of the walls, run like 40 miles an hour, the king of Wakanda. I loved him. I remember Tarzan comics, the Kubert stuff, Buscema's Conan.

Above all, I remember G.I. Combat and Sgt. Rock. That turned into a great love for Larry Hama's G.I. Joe. I remember, I used to go to a public swimming pool in Tulsa as a kid. My mom would give me a dollar for run-around money. One Saturday, I took the money from the pool across the street to a U-Totem (7-11 equivalent) and picked up an issue of All-Star-Squadron and an issue of Captain America with Baron Blood on the cover.They cost 50 cents apiece and I got to the register and was told I didn't have the tax. I didn't understand that. I had my dollar...what is this "Invisible tax crap?!" An old Indian cowboy behind me gave me a nickel for the tax and asked me "What's ol' Cap up to? Fightin' a monster?" I think Baron Blood was at Cap's throat on the cover. "A vampire", I said. "Thanks for the nickle." "You keep readin," he said.

Those two books flipped me out, the colors, all the uniforms. I lost those two and a stack of comics at an airport. Excited about boarding a plane, I left them behind. I really think the loss drove me to draw those guys. The only way to be around them was to draw them. I really wanted to be around them. I wanted to BE them.

Me: How did you first break into the industry?

Reynolds: I had some Batman pages that I was showing off at a show in Tulsa. R.A. Jones saw them and suggest I show them to his editor at Malibu.That landed me a job on one of The Protectors characters' solo books. Not sayin' which one...It burns my eyes to look at the work now. It will burn your eyes too.

Me: Who did you want to work with the most when you first started?

Reynolds: Larry Hama...hands down. I thought G.I. Joe issue 21 was amazing! Still in my top ten favorite comics of all time along with G.I. Joe Annual 2. Michael Golden flipped me all the way over in that issue.

Me: What current titles are you reading these days?

Reynolds: Parker. Darwyn Cooke strips it all down to basics...I love that work.

Me: Obviously, you've always been deeply inspired by pulp titles and stories that would (nowadays) be considered "fringe." Are there any current superheroes that you like to see take more of a pulp turn?

Reynolds: I like stories about humans with no "Powers" but I'm also fascinated with the supernatural. It may sound like I'm not crazy about superheroes but I've loved them since I was a kid. Darwyn Cooke's New Frontier...what a love letter to superheroes. I know it sounds like I'm jockin' Cooke...well, I am jockin' Cooke. His work is a blast. Brad Bird's Incredibles was another love letter to comic book heroes.

I love period pieces. The chance to tell a story of one of our heroes set in decades past is always fun for me. To tell a Punisher story set during and right after his return from Vietnam would be a blast. I know Castle's story is so tragic and heavy, I have a lot of love for him because of his loss and subsequent madness. Poor crazy ass Frank. I've always been drawn to tragic heroes that take horrible beatings and find a way to push on. Men like Mad Max, "In the roar of an engine, he lost everything, and became a shell of a man. A burnt-out, desolate man. A man haunted by the demons of his past. A man who wandered out into the wasteland. And it was here, in this blighted place, that he learned to live again."

Those guys always make me feel thankful that I have clean water and a roof over my head. Max didn't even have that. Snake Eyes, another tragic figure that pushes on. I'd like to take a shot at a Shadow story. The origin of the Shadow. Tragic stories always draw me in and focus my empathy and compassion. King Kong...we know he's not getting out of this deal alive but we sure do love him. In the film Malcolm X, the scene with Denzel's Malcolm floating down the street while Sam Cooke's "A Change Is Gonna Come" plays. That scene always kills me because we know what is about to happen to Malcolm. After all the beatings he's taken, been lead astray by people he trusted and just when he grows into his own man, we lose him. Powerful stuff. Can't help but think he'd have kept on evolving and brought many of us with him.

Me: Are there any superhero titles that you would love to work with in the future?

Reynolds: Conan, Tarzan, The Black Panther, Doc Savage, Zorro, The Punisher, Wolverine, The Batman, Nick Fury...I can do this all day. Sgt. Rock, G.I. Joe, G.I. Combat, Han Solo...We'll be here all night, man.

It's no secret that we're in the era of comic based films. Any favorite books you'd like to see on the silver screen?

I'd like to see them give Mamoa another shot at Conan, ruff him up a little more though, put some scars on his face and hands and arms, give him some strange Slavic accent. I'd like to see a Black Panther movie with a proper budget. A G.I. Joe movie set in 1980 with Hama's Joes, the Vietnam vets. It's a pipe dream but, man, that would be cool. I'd love to see Don Bluth animate The Mercenary Sea.

Me: I understand you took a break from comics at one point to produce hip hop tracks. Tell me a little about that experience. What brought you to music? What are some of your influences?

Reynolds: I had been involved in that since 86. Involved in trying to create beats, looping beats on a head to head cassette recorder on my ghetto blaster (boom-box for you new jacks). Soon after that my father, Ken Riley, got me a Casio drum machine, the old one that Prince Paul used on De La's first record. It had four sample pads. It was old at the time. I loved it. I really love old soul music. That was my moms doing, she loved old soul records. She also bought me Conan comics and G.I. Combat...double win. I love golden age hip hop, dearly. I really do love all kinds of music. If it came out before 1975, I'll give it a listen. There was a warmth to music back then. The early producers and beat makers in hip-hop understood that and they sampled a LOT of that stuff, bringing it to us kids that weren't buying records between 64-74. That was an amazing time for music. Again the best way to be around that music was to make it. I still drive my wife crazy drumming on everything, counters, washing machines, coffee cans, you name it. I was a soul drummer in a past life, before I died in Vietnam. Who knows...could be true.

Me: What are you listening to right now?

Reynolds: As we speak? Jimi Hendrix. The Skull Snaps. I was listening to Public Enemy, Rakim, Main Source, and Stetsasonic earlier. Jerry Reed, before that. 13th Floor Elevators, Stelvio Cipriani earlier this evening (italian soundtrack composer) Don't get me started, I'll make you listen to a ton of records. Trust me, I'll rewind it if you start talking and MAKE you listen. You don't want to do it. I'll start going off on Rakim lyrics or how Run from Run DMC was one of the most solid mc's of all time, a world class champion. So was D. I'll start going off on rhythm sections of the 60's and 70's...I'm doing it now...see?

Me: Now, let's talk about The Mercenary Sea. How did you come to hook up with Kel Symons?

Reynolds: Kel found my Jones work online. He asked what I was working on. At the time, I was working on a Vietnam story. Very different than The Mercenary Sea, it was all traditional illustration. BUT, we started talking about old adventure movies, The African Queen, The Dirty Dozen, To Have and Have Not, King Kong and a story I had about 4 WWI vets that build an armored boat at the height of the great depression and go off looking for an uncharted island. Kel comes back at me with his story, The Mercenary Sea. I was HOOKED instantly. I just wanted to spend time with the characters. Kel also let's me come up with an action beat or two. The whole thing fell into place when we got Pat Brosseau to letter the thing, a 20 year veteran and a hell of a guy. Pat has helped me with straightening out some of the covers and helping me to loosen up. He's very patient with my mistakes. Kel brings an even handed humanity to The Mercenary Sea. The whole thing is a big fat love letter to the adventure stories of our childhood.

Me: The Mercenary Sea's first issue has critics drawing comparisons to Archer and Johnny Quest as far as art style. How early on in the process did you and Kel agree on the overall look of the book?

Reynolds: Well, it was a struggle, all of it but it starts to come together by the time we get inside the sub. If you liked the first issue, wait 'til you see issue 2 and 3. Jonny Quest WAS a huge influence. So was American Pop, the Filmation adventure cartoons of the late 70's, Mignola's Hellboy, Blazing Combat...a LOT of things really. I wanted it to look like an animated film that was too rough to be made. One guy said it reminded him of Dragon's Lair. High compliments in my book.

Me: How much research went into recreating the look of the 40s?

Reynolds: I'm always neck deep in research...to a fault maybe. So is Kel. I'm often surprised at his knowledge of military matters, especially the small stuff. There is a lot of Harper and the crew in Kel, Pat and me. If we grew up in the same neighborhood, we'd have been hip deep in the nearest creek with our bb guns and canteens, hunting for dinosaurs and that feeling drives this whole thing. Play, escape, imagination, the freedom of childhood. We all secretly WISH we were Harper, or Stack, or Kev (the warrior from the pacific islands)...we look up to them. One of them is a master of the open sea, one of them is a smooth talking outlaw and one of them is a world class fighter. Dontcha' kinda' wish they were your three dads or uncles or brothers or cousins? I do, straight up and down.

Me: There are a lot of artists who derive their character designs from well known actors and movies? What was your inspiration for Jack Harper?

Reynolds: There is a LOT of Marlon Brando in all my lead character work. I remember reading that Frazetta could draw Buster Crabbe at the drop of a hat. Someone said that very early on, he couldn't afford models but he could afford magazines with a current matinee idol of the time, Buster. I took that and ran with it. Who would be the actor that I'd use for reference and study of expression? Brando. Great features, could look tough when he wanted and I could find pictures of him EVERYWHERE! I was actually going to make the members of the Venture a lot more "ugly" with time and mileage. I remember Kel saying "they all look like they are losing at cards..." He really pushed me to exploring emotion and facial expression on that first book. Shook me out of the formula of giving everyone the John Buscema Conan face...I slip it in every chance I get.

Me: Often times, it becomes clear when artists have a "crush" on particular characters in their book. Do you have a favorite character you look forward to throwing into the thick of things later on?

Reynolds: That's tough. I love them all. The Chinese kid, Do (pronounced DOE) Has a ton of heart. You guys haven't spent any time with him yet. He's a cool customer with a mighty heart. He's a mechanic on the Venture. I love Stack, he's an anvil of a man. World class fighter. I'd imagine that there isn't much you could hand to Stack that he could not handle (and...don;t you wanna be THAT GUY!). Kev, the Pacific islander is an ace in the hole, the best fisherman you ever saw. Few men can beat him with a blade. He's an enigma, a mystery man. I always love that. He's like Quint from Jaws, if Quint could keep his mouth shut. If you get captured by some modern day pirates, you want Kev to come get you. He could do it. ALL by himself.

Me: It seems premature to ask, but is there an endgame in mind for the book overall or do you and Symons envision ongoing story arcs?

Reynolds: Right now we have a LOT of trouble to put them through. I know how it ends. Kel would skin me alive if I gave it away. We'll all get there together with any luck.

Me: For those who haven't already picked up the first issue, why should they? Sell them on The Mercenary Sea in two sentences.

Reynolds: PURE ESCAPIST ADVENTURE. Buy the ticket and take the ride.

The Mercenary Sea #1

I have always thought it was sort of a necessary but unfair task (though I'm always happy to do it) to review the first issue of a comic. I mean, think about it. Depending on the sort of series you're reading, you're not necessarily getting a fully fleshed out story because you're not necessarily supposed to. That makes it sort of hard at times to give readers a good idea of whether or not it's worth them checking it out. And let's face it...comics aren't getting any cheaper, so if I can save some poor soul three bucks, then goddamnit, that's what I'm going to do. I said all that to say that the following title made my job pretty easy this week.

I've often lamented over the fact that we're not far away (if we're not there already) from a generation that will never know the adventurous camp of such fun action romps as Indiana Jones and The Phantom. Fortunately, Kel Symons and Mathew Reynolds are at bat, taking a swing at carrying the torch with their Image Comics release, The Mercenary Sea. The story follows the semi-seedy exploits of smuggler/bootlegger Jack Harper who, thus far, comes across as a hero who could give such notorious rogues as Malcolm Reynolds and Han Solo a run for their money. Harper and his crew, all of which are outlaws in their own respective fields of expertise, manage to make a living aboard the Venture while in search of a fabled island, Koji Ra.

Kel Symons hits the ground running, not wasting too much time introducing readers to our heroes in intimate moments of exposition. We see early on that Captain Harper has his work cut out for him with the Chinese military, human traffickers and mysterious benefactors all breathing down his neck. However, even without in-depth descriptions, Symons does a wonderful job of conveying the type of crew we'll be following: somewhat decent people who, through varying circumstances, find themselves waist deep in indecent waters. His main focus, though, seems to be establishing the swashbuckler, grand adventure tone that is severely lacking in modern day storytelling. This story comes across as the screenplay to a movie out of a long forgotten era when special effects additions to good films without being the stars of the show.

The MVP award for this book, however, goes to Mathew Reynolds. His dynamic artwork is definitely the fuel that puts this book over the hump as a hit. His stylized figures, reminiscent of Archer, make this a visually arresting experience for long time comic readers and first timers (which, let's face it, is where the market in general is focused lately) alike. Action beats come across clear and crisp, never losing the reader which is always a possibility with the color palette Reynolds works with in this issue. It doesn't take a palm reader to see a couple of award nominations in his future.

Bottom Line: This book certainly makes a great non-superhero case for why comics are as relevant and engaging as ever. If you hold this book to your ear, you can pretty much hear the Johnny Quest theme song playing. 8.5 out of 10.

So, I Had An Idea For DC (They Can Have It For Free)....

I realize I might be late to the party on this one (probably a side effect of not previously caring), but I was looking at my usual news sources earlier this week and came across the announcement that Jesse Eisenberg would be playing Lex Luthor in the much discussed Man of Steel sequel, Revenge of the Steel. The internet collectively had an epileptic seizure....a lot like when the story broke that Ben Affleck would be playing Batman. Then there was that hissy fit people threw when Motorcycle Girl from the Fast and Furious movies was casted as Wonder Woman ....and when sources hinted that Doomsday and Nightwing might make an appearance....or when the rumors went out that the Rock MIGHT be playing Green Lantern....or when rumor had it that Denzel Washington MIGHT be playing Green Lantern. Long story short: for a sequel to a movie that was hated just as much as it was loved (I'm in the "love" column, by the way) and hasn't even gone into pre production yet, people have certainly found themselves very emotionally invested with every step of the process.

Then, I wondered to myself about marketing. Now, I am not a promotional genius by any stretch of the imagination, but you know what would be a interesting (though not necessarily good) way to compete with Marvel's "Cineverse"? Since the public pretty much lost its shit at the mere announcement of Batman and Superman being in the same movie together, what if DC just kept doing that? Think about it. Over the years, DC has proven themselves to be a pony of few tricks (depending on how many they can successfully borrow from Marvel in attempts to be them), so it would stand to reason that if their readers are entertained by that set of logistics in their comics, they could get away with doing it with movies as well. They could totally get away with leaking alleged "details" about POSSIBLE casting choices and scripting concepts that may or may not even actually be in play.

And the greatest thing about it would be they wouldn't actually have to commit to any of these ideas because that wouldn't actually be the point. The point would be to get the nerds talking about it. See, the thing about us nerds is that even when we hate stuff, we'll discuss it into the dirt. Seriously, ask any real comic nerd to list all the things they found wrong with Green Lantern. They'll write you a book longer than War and Peace. Even if they were completely indifferent to Green Lantern, you could probably get a ten page essay just on that. That said, if you get the fans talking about the movie, whether they had any initial interest in seeing it in the first place, just start throwing about names and possible plots. We'll all start writing the movie in our heads and deciding whether the movie we just "wrote" sucks or not. And then most of us will go see the movie, but not because we're invested in the characters, but because we want to know whether we're right or wrong. If the movie sucks, it's got our money. If the movie's awesome, it's got our money and then more money from dvd sales and comic tie-ins. In other words, we'll have fallen for the trap.

I'm not sure, but I might be onto something. DC should totally give this a shot.

Philip Seymour Hoffman 1967-2014

DC vs. Marvel...Because It's Almost Required For Blogs Now

It used to be common practice that, for the sake of my reviews, I would try to pick up a equal amount of titles from the Big Two (or as close to it as possible because, let's face it, some books just suck no matter who published them) and a couple of fringe titles from IDW, Image, etc. Lately, in my weekly trip to the comic shop, I've noticed that my stack includes more Marvel and (gradually) less DC as time goes on. Why? I know I've been pretty rough on the New 52 reboot (there has GOT to be a statute of limitations on how long something can go on and still be called "New"), but there are some gems in the continuity that deserve consideration. So, what is it that could possibly annoy me so much about DC that I would grow so disinterested?

Oh, wait. I know. It's probably this.

Honestly....what the entire fuck, man? Don't get me wrong. Fold-out splash pages are not a new phenomenon in comics, but folding out/upward like this just feels (and reads) like a huge hassle. Also, you can't see it in this picture, but it's attached to what feels like glossy printer paper, suggesting that you can pull it off and use it as a poster if you're delicate enough. This isn't exactly a new occurrence in comics, either, but the problem comes when you've put dialogue on the page that is potentially a poster. Then it becomes tantamount to tearing a page out a book like Moby Dick or Interview with the Vampire, no matter how inconsequential the words on it are.

Then there's this.....

I shit you not...the WHOLE book was like this. This is, on no level whatsoever, fun or convenient to read. It's not just the fact that this particular issue was virtually unreadable plotwise. It's the fact that you have to hold it sideways like a toddler's board book. It doesn't add anything to the experience the the story itself offers. There isn't some grand pay off at the end to reading it this way. It's a "just because" solution to the DC problem when the REAL solution is "or we could just write a better book" which, in turn, creates The Other DC Problem: DC Comics is that guy you know that will do ABSOLUTELY ANYTHING to lose weight except diet and exercise.

Then, I took a good look at the Marvel NOW initiative and how they're handling the concept of "soft reboots" where they don't necessarily start all over, but bring characters to a point where, ideally, anyone (walking in cold from the movie theater) can jump right in and find themselves a new favorite character or see what's new with an old one. While you can go back and read past story arc if you're feeling particularly scholarly, the idea is that you don't HAVE to. There's actually a "quiet as kept" genius to this. I mean, no matter how thorough your reboot of a title or universe is, it's inevitable that it's going to start to grow cobwebs after a certain amount of time. Therefore, you just bring in new creative teams from time to time and offer fresh eyes to an existing situation. You pull in new readers, take the existing audience's temperature to see what characters might do well on the big screen, and basically put out monthy/biweekly promotions for movies already in the pipeline. And you Haven't Completely Alienated Your Existing Fanbase Like DC.

And so, once again, Marvel wins the race while DC trips over their own shoelaces.

SIDENOTE: If you haven't picked up Marvel's Point One Special issue, find that immediately. The Silver Surfer trying to grow hair is worth the price of admission alone.