Merc With A Movie: The 16-Year Odyssey of the "Deadpool" Film
After working on the inaugural arc of BOOM! Studios’ Sons of Anarchy title, Ed Brisson and Damian Couceiro are going out on their own with new series Cluster in what the publisher describes as a “gritty, violent, sci-fi epic in the vein of The Dirty Dozen.”
That opening panel shows more than just a dozen, but given Brisson’s past writing, I expect that herd to be thinned down quick and with gusto. Cluster follows a group of incarcerated criminals drafted into service as soliders in a future war against aliens, but their predicament goes from bad to worse when they’re stranded on one of the battlefield planets with only each other to rely on for survival.
For ROBOT 6’s anniversary celebration, BOOM! has provided us with an exclusive three-page preview of this title, debuting on Feb. 4. In addition, we have three of the four covers by James Stokoe, Simon Roy and Declan Shalvey.
Longtime readers of this column know that I relish the chance to interview beyond the typical creative interview dynamic of writers and artists periodically. So soon after I found out SCAD Atlanta Adjunct Professor and Professional Colorist Nolan Woodard was part of the Thrillbent’s Insufferable creative team (along with writer Mark Waid, artist Peter Krause and Letterer Troy Peteri), I reached out to him for an interview. We also delve into his BOOM! Studios work (including Incorruptible, Irredeemable, Planet of the Apes) and other aspects of his creative pursuits
Tim O’Shea: How early in life did you realize you wanted to be a colorist?
Nolan Woodard: I never really sought to specifically be a colorist but it’s been no surprise to anyone who knows me. When I was twelve or so I’d use Windows 3.1 Paintbrush to make digital drawings, lots of Aliens and Terminators. Then in college where I was introduced to Photoshop 3, I ate up the digital courses. By the time I graduated and landed a job in advertising at Wieden+Kennedy, I was learning Photoshop on a scale I previously didn’t know existed, doing retouching and color correction on their Nike, EA and Starbucks accounts. When the time came for me to follow my heart and get back into comics, coloring was a no-brainer.