@@@@ What the #$%! is AICN COMICS: Q&@? @@@@
@’s by THOR & LOKI: BLOOD BROTHERS’Ruman Jayatilleke!
MATT ADLER: When many of us first heard about you, you were coming into Marvel as their "outreach" guy, tasked with discovering talent from outside of comics and expanding Marvel's horizons beyond their traditional scope. How did you get from there to producer of Marvel animated features?RUWAN JAYATILLEKE: Ha—I almost forgot about my humble beginnings. Indeed I had a lot of help in expanding Marvel’s writers pool with the likes of Charlie Huston, Damon Lindelof, Marjorie Liu, Marc Guggenheim, Alex Irvine and a host of others as well as expanding Marvel’s comic book content portfolio by bringing in high-profile licenses from Stephen King, Microsoft, Orson Scott Card, Laurel K. Hamilton, etc. Team effort, definitely.
My job actually has not changed that much in terms of focus and scope. It’s just grown a quite a bit. Instead of actively hunting for writers and new ip—my “outreach” and extension of Marvel content involves being Marvel’s global contact point for Disney Publishing Worldwide’s production and licensing of non-comic and non-graphic-novel Marvel content like kids books, coloring books, kids magazines, and reference books, etc. Beyond that I manage the foreign licensing of Marvel’s comic book content, globally, and try to find Marvel opportunities to increase revenues and raise Marvel awareness. And in my spare hours, I get the opportunity to work with a group of very creative and sharp folks on Marvel Knights Animation projects like THOR & LOKI: BLOOD BROTHERS.
The simple and boring answer of my wardrobe change from any old “suit” to “a creative suit” was all thanks to Stephen King, Simon & Schuster, CBS Mobile, and of course Marvel. Being the producer on Stephen King’s “N.” project, I and a team of creative types animated an original short story from Steve, adapted by Marc Guggenheim with art from Alex Maleev. It was launched as 25 two-minute episodes on iTunes. That seemed to work out pretty well for all involved, so then SPIDER-WOMAN: AGENT OF S.W.O.R.D. was green-lit and then soon after ASTONISHING X-MEN: GIFTED. And IRON MAN: EXTREMIS just skyrocketed…and well, here I am.
MATT: The comic THOR & LOKI: BLOOD BROTHERS is based on, Robert Rodi and Esad Ribic's Loki miniseries, was first released in 2004. What led you to it initially, and what about it personally appealed to you?RUWAN: When I first started at Marvel as “writer outreach” Axel Alonso handed me a treasure trove of awesome comics…and one that I kept re-reading was Robert’s and Esad’s miniseries LOKI. The story is brilliantly crafted and rendered by Rodi and Ribic—not a wasted word or touch of color. It didn’t hurt that the story centered on a “villain” and treated him like a character as opposed to just a means to an end.
Loki has always puzzled me as a character. I mean he’s the trickster god who’s pulled every failed trick he could to take down Thor and take over Asgard, but when the trick finally works…he’s beside himself as to what to do next. Is this finally the moment when the trickster realizes that he has tricked himself?
There is nothing like a well-written bad guy that makes one realize that what makes evildoers so dangerous beyond their acts of villainy is that evildoers can’t perceive what they’re doing is wrong--and their motivations can run as deep as crimefighters. And this ain’t just any old superhero story—it eclipses that by telling a story that breaks the paradigm of how many Loki and Thor stories go and weaves a story of conflict that casts a much wider net for comic fans, mainstreamers, and beyond.
MATT: Can you tell us about how the process for creating this has advanced beyond the previous features?
RUWAN: The advances in process and the breakthroughs are really thanks to the animation and directing team at Magnetic Dreams, James Snyder who cast and audio produced the project at Edge Studio and Amotz Plessner, the maestro of Underground Music. I challenged each respective team not only to see what leaps we could make in the production value of this animation but also to serve the story more seamlessly and deliver an immersive experience. And they delivered!Magnetic Dream developed better mouth CGI and walk cycles, environment effects, subtle special effects, etc. to render the visions of the directors and give this episodic content an indie film feel; James and Edge Studio found a pool of theater and commercial actors to voice these different characters with conviction, feeling, and backstory; and finally, Amotz knocked it out of the park with the musical score. Hopefully at some point, we will be able to release the full soundtrack that he developed for fans to buy and download…*finger crossed*!
People have to remember that we have only worked collectively together on one project before this: IRON MAN: EXTREMIS, which turned out well. So THOR & LOKI: BLOOD BROTHERS upped the ante and the stakes for success. So the pipeline to develop content is relatively new.
MATT: What can you tell us about the voice casting?
RUWAN: I was spared a grueling casting process because James worked his magic and really found the voice of these Asgardians, but also found the voice of this story. He has this gift for elevating the performances of anyone in the recording booth, and being able to guide actors effortlessly to the heart of said character. Honestly sitting in the sessions with him was a learning experience for me--and I made some insightful comments along the way because of that “education.”
As a fan of storytelling and performance, watching the transformations in the booth and then seeing them play out without any animation was like getting a Broadway theater performance for free!
MATT: Do you feel this is a project that will connect with the audiences going to see the Thor feature film?RUWAN: THOR & LOKI: BLOOD BROTHERS is a stand-alone piece of content—not connected to the THOR feature film. The animation is set in its own continuity. I would say that the animation’s riff on Loki being a misunderstood character is not probably so far from the film’s take. However since I have only seen slivers of film content, I can’t really speak to anything regarding the film. I can say that Kevin Feige and a few other folks from Marvel Studios and Marvel TV have seen pieces of this animated project and were “thumbs-up” about it. Which was both uplifting and a relief!
I do know that audiences who go to the THOR, feature film, are going to be entertained by a strong blockbuster story of epic proportions…and hopefully if the so choose, they will be able to connect with THOR & LOKI: BLOOD BROTHERS because Robert’s and Esad’s story is phenomenal.
Yes, of course, the animation is considered “bite-sized” when compared to the magnitude of the live-action theatrical film, but the animation is its own thing and will find its audience amongst hardcore fans, casual ones, and those who are in between or outside the extremes. I am really happy with the end result because we took a personal and poignant look at Loki against an epic backdrop--and cast a wide net with some engaging and compelling animation, acting, sound design, and music.
MATT: What kind of feedback have you had from Robert and Esad on this project? Do you envision creators being more directly involved on future projects?
RUWAN: I met Robert Rodi earlier this year for the first time. Let me tell you that he is as gracious as he is talented. He’s been super supportive, kind, and appreciative of what we achieved in this piece of animation. The first thing he said when I previewed parts of episode 1 and 2 for him was “Hot!” (in a non-Paris Hilton intonation).
Despite my best efforts at unnerving Robert with my inane emails (he was an email cc: victim of mine) about a faux dramedy that I came up with… Robert was subjected to a rambling email pitch of mine which centered on the antics, angst, and shenanigans at a Seattle hospital where the (un)life and times of a zombie brain surgeon who co-exists with still-alive thirty-something doctors, nurses, patients and manages to do brain-snacking. And this masterpiece…I call it Greyz Cadaver! Needless to say the pitch went nowhere except into my Outlook trash, but it didn’t send Robert running for the hills. Relief. He rolled with my insanity and still stayed optimistic. He’s awesome.Esad, whom I have known for quite a while, heard about the project and asked me what I was doing to “his baby.” I definitely was a bit nervous…one big reason is because I love Esad’s work and never would want to offend him, and the second big reason is because he’s like 6 billion feet tall and could wipe me from existence like The Destroyer. However after getting him access to the trailers and episodes, he was very cool with the end product and the animation of his artwork and paints. It was a relief to me, some of my immediate family, and maybe my insurance carrier…
In terms of creators being more involved, it’s really dependent on their schedules and how much they have on their plate. These projects can be grueling and fast-paced. And it would be unfair for me or anyone to expect them to dedicate the time to sprint with me from start to finish on this animation...no matter what the compensation is. And to be clear, Marvel does compensate the creators involved in these projects. So there are reasons to support this content beyond Marvel’s fiscal interests. Hurrah!
MATT: Has this project generated any discussion at Marvel about doing any kind of follow-up with Robert and Esad?
RUWAN: You’d have to ask our new editor-in-chief Axel Alonso and SVP, Exec Editor Tom Brevoort. They seem to have their hands full guiding where Marvel Publishing goes next. I’d love to work on another Rodi and Ribic project, but it’s really up to the big “dawgz” and the creators…not a pup like me. I just go wherever the content takes me—chasing cars and such. And so far, it’s worked out well for the content, the creators, and Marvel.
MATT: The first installment is going to be released on March 28th via iTunes, Xbox LIVE and the PlayStation Network; are there plans for any other distribution routes?RUWAN: Those are the primary ones outlets, and remember each episode comes out weekly. There’s no long wait. Later this year, we will see a DVD boxed release from our home entertainment partner Shout Factory and other home entertainment partners in other countries.
MATT: You've dropped the term "motion comics" and simply call this animation. Obviously this latest project is more advanced technically than previous ones, but did you also feel the term "motion comics" had gotten a bad rep in the industry?
RUWAN: I don’t think it has gotten a bad rap but the term is too loose. Very rudimentary animation could be classified as a “motion comic” and very slick animation could be termed that as well. The term is too general to describe what we are achieving from project to project. And while using the term “animation” can be seen or perceived as being just as “general,” I do feel it’s more accurate, in line with Marvel’s branding and marketing efforts, and makes sense for the long-term sustainment of the content.
To me, Marvel Publishing has always been making Marvel Knights Animation since Spider-Woman, but we boxed ourselves in with the term “motion comics” and then had to educate the consumer every time we launched a new project. Where I think most people understand and accept that the term “animation” without further explanation.
Keeping it simple and focused on the story content that is being brought to life via animation makes more sense to me than engaging in a long dialogue with fans; critics, etc. as to definitions and jargon.
MATT: How advanced do you see the Marvel Knights Animation projects getting? Do you foresee a point where the level of animation will be indistinguishable from traditional animated projects, or is there some line you don't want to cross that differentiates them?
RUWAN: Funny you ask that, the roots in some way or fashion beyond the actual story have to be anchored in the visuals of the comic book or graphic novel in some way. At least that is my opinion and many people inside or outside of Marvel may disagree, but that’s me—contrarian and oft the villain.I do feel those comic books visuals whether it’s subtle animation of certain panels or the reskinning of 3D models with the artist’s paints is what keeps this content both recognizable and respectful of the original source work while keeping us honest about innovating the animation, special effects, sound, music, mixing, etc. and not resting on just what works. Believe me: we are not paralyzed by the original comic book work…it’s just that we always want to serve the story and create a new experience for the audience without changing the intention or values of what made the content so attractive to begin with. At the end of the day, the toughest thing to do is to pull back from going all CGI/visual fireworks/special effects on every scene because at times it seems like the best way to resolve an issue, but as I have discovered it often opens up more issues than it solves.
Can I see a point when this type of animation is indistinguishable from “traditional animation”…? Yes.
We close that gap with each project and we already are giving certain kinds of “traditional animation” a run for its money in terms of production value, consumer experience, and strength of product. However instead of calling other works out, I’ll let our animation do the talking. The sales and success of these projects speak for themselves and Marvel Knights Animation as a whole.
MATT: Any hints about what is coming up next for Marvel Knights Animation? Are there any particular classic stories you'd really like to tackle given the chance?RUWAN: Hmmm…I have been batting around some ideas around. Avengers? Maybe. The Ultimates? Maybe so. Something in the X-verse? Possible. Punisher? Watching the Punisher up the violence…perhaps.
There’s just too much content, too many choices, and not enough time. Besides, I want to see THOR & LOKI: BLOOD BROTHERS through, before attempting to commit to anything. How’s that for a vaguely specific answer!?!
MATT: Thanks, Ruwan. The first installment of THOR & LOKI: BLOOD BROTHERS hits iTunes, X-Box Live, and the Playstation Network on March 28th, and subsequent installments will be out every Wednesday starting April 6th.
Matt Adler is a writer/journalist, currently writing for AICN among other outlets. He’s been reading comics for 20 years, writing about them for 7, and spends way, way, too much time thinking about them, which means he really has no choice but to figure out how to make a living out of them. He welcomes all feedback.
Proofs, co-edits & common sense provided by Sleazy G
