Ant-Man and the Wasp #1 coming soon too!

On June 20, Tony Stark returns.

He’s back, at last, having been the subject of a long and troubled search throughout the pages of INVINCIBLE IRON MAN. And, as Nerdist announced today, writer Dan Slott and artist Valerio Schiti will join forces to tell a entirely different kind of story in TONY STARK: IRON MAN.

From the cusp of tomorrow’s dreams to the forefront of imagination, one man always soars on the cutting edge of adventure.

You know his name. Tony Stark is Iron Man. And Iron Man…is an idea. Always changing. Always evolving. An idea without limit!

Prepare to witness the ultimate Self-Made Hero’s journey to new heights of inventiveness! Tony Stark is Iron Man. And the future is now.

Tony Stark: Iron Man #1 Cover by Alexander Lozano

After getting a dose of the high-flying action alongside Tony Stark, shrink down to a different kind of hero story in ANT-MAN AND THE WASP! Written by Mark Waid with art by Marvel Young Gun Javier Garrón, this five-issue limited series sees Scott Lang unite with Nadia Pym!

Wasp was just trying to help Ant-Man get home to Earth to see his daughter…but a little problem got in the way. Very little. Subatomic, in fact, as Lang was lost in the vast spaces between atoms! Now, Nadia is his only hope of rescue…if only he would listen long enough for her to save them! Get ready for a big journey getting smaller all the time in ANT-MAN AND THE WASP!

Ant-Man and the Wasp #1 Cover by David Nakayama

On June 20, read TONY STARK: IRON MAN #1 by Dan Slott and Valerio Schiti! Then jump aboard Mark Waid and Javier Garrón’s ANT-MAN & THE WASP #1!

Read more, and stay up-to-date with all the exciting announcements coming from Marvel Comics, right here!

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Multiple Man and Cosmic Ghost Rider join the lineup!

This June, horror has a name.

You’d never notice the man. He doesn’t like to be noticed.

He’s quiet. Calm. Never complains.

Why, you can walk up and shoot him in the head…And all he’ll do is die.

Until night falls. And someone else gets up again.

The name is Banner.

The horror is THE IMMORTAL HULK.

Immortal Hulk #1 Cover by Alex Ross

Written by Al Ewing with art by Joe Bennett, IMMORTAL HULK sends the Jade Giant back to his monstrous origins. Witness the return of Bruce Banner’s alter-ego in IMMORTAL HULK #1 on June 6! And stay up-to-date with all the exciting #1 news at!

Joining the green guy in Marvel announcements this week is writer Matthew Rosenberg and artist Andy MacDonald’s MULTIPLE MAN! The five issue limited series tells a mind-twisting tale in the latest chapter of Jamie Madrox’s many lives.

And the final puzzle piece in this round-up of Marvel news is the arrival of COSMIC GHOST RIDER! The breakout star of THANOS, the Rider will continue his tour of the universe this summer, penned by Donny Cates!

Ewing! Bennett! Rosenberg! MacDonald! Cates! Make Mine Marvel this summer!

The announcements don’t end here…Stay tuned to for more reveals in the coming days and weeks!

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The six early-career artists on their backgrounds and Marvel influences.

The group of talented artists chosen for this year’s Young Guns program was recently announced by Marvel, spotlighting the best and brightest early-career artists in the comic book industry – with several exciting new projects and series from Young Guns 2018 to be announced in the coming months.

This year’s Young Guns crop are: spoke to all of the 2018 Young Guns, to find out more about their backgrounds and Marvel influences. Read on for what they had to say as we hit them up with four questions each!

JAVIER GARRÓN What Marvel character encapsulates Marvel the best for you–and why?

Javier Garrón: If I had to pick just one, and it’s no easy task, I think I would go with Spider-Man. He’s someone you can relate to. He’s struggling to balance every aspect of his life: work, family, friends, relationships… And on top of that he has great tragedies in his life, great losses that have marked him forever. He has enormous responsibilities and huge problems and dangers to face. He makes mistakes; he’s not perfect by any means. But he tries to be better every day, to overcome every adversity and help everybody around him–always with a punchline ready. His stories have everything: drama, comedy, intrigue and epic-ness. He’s the full package. When did you realize you wanted to be an artist at Marvel?

Javier Garrón: As soon as I read my first Marvel comic! I started, though, with Duck Tales comics–I devoured those! I never had enough. As a reader you experience the wonder of getting lost within a story. But when you start drawing, then another kind of enchantment kicks in: the magic of creating those worlds. So as soon as I could grab a pencil I started drawing Donalds and Scrooges, but when I got my hands on my first Marvel comic something changed. Those people were recognizable and relatable. You could channel your energy through them, and the thrill of drawing grew exponentially. Once you taste it, there’s no going back. What do you enjoy most about drawing for Marvel?

Javier Garrón: It’s pretty wild when I stop to think about it–I’m drawing the comics I’ve loved my whole life. I always wanted it but not even in my wildest dreams was it possible, coming from a small town in the very south of Spain. And here I am, and it’s incredible. But the best part is, without any kind of doubt, the people working at Marvel. The editors, the staff and the other artists working there. You read their names in the credits of your favorite stories every month, but there’s a person behind it, and they’re the true heroes. Every comic has a lot of challenges, and every single month all those people give their 200% to sort out everything and make sure the Marvel Universe keeps happening every week. Working with them is a delight and a privilege, I look forward to the sound of the email inbox notifying me there’s new mail. What was your first Marvel comic?

Javier Garrón:The first one was…. I feel old now… a Spanish edition that had both a Fantastic Four and Spider-Man story. The FF faced… the Puppet Master! That smile on his face was so scary! And the poor Thing and Alicia Masters! I think I didn’t quite understand back then everything that was going on, but I was mesmerized by the imagery. And Spider-Man battled… Sandman! It was wild and crazy and I couldn’t take my eyes away! I got lost between all those panels, and luckily I’m still wandering there.

AARON KUDER When did you realize you wanted to be an artist at Marvel?

Aaron Kuder: Shoot… I can recall a half-dozen moments really early on in my childhood where I thought, “This is what I want to do.” Though I think I wanted to BE the characters more than just doodle them… Drawing was just the closest I could come. What do you enjoy most about drawing for Marvel?

Aaron Kuder: I enjoyed all the wack-a-do craziness that is the Guardians of the Galaxy. Crazy sci-fi stuff really pushes one as an artist… Not only do you have to draw everything you can think of, but you have to come up with a lot of things that you wouldn’t think of. I found listening to a lot of Bowie and Daft Punk helped. Currently I am drawing INFINITY COUNTDOWN which is still mostly sci-fi but with much bigger stakes. What was your first Marvel comic?

Aaron Kuder: I’m sure it wasn’t my first Marvel comic, but the first one that pops to mind is a collection of Marvel Team-Ups. This wasn’t a reprinting of the Marvel book titled MARVEL TEAM-UP, but a collection of some of the first times various characters had met… TALES OF SUSPENSE #58 that had Captain America vs. Iron Man (who turned out to be the Chameleon in disguise), SILVER SURFER #4 with a gorgeous battle between Surfer and Thor (with Loki playing his tricks), etc., etc., etc.  I still have it, even though the binding is completely nonexistent now.

What Marvel character encapsulates Marvel the best for you– and why?

Aaron Kuder: That’s a tough question for me… I’ve always loved the wide spectrum of characters at Marvel. I mean, they’ve got everything – talking ducks, giant floating character creatures that want to rule the world, living planets, planet eaters, and on and on. If I had to choose I guess I said Spider-Man, because under the mask he could be anybody.

MIKE DEL MUNDO When did you realize you wanted to be an artist at Marvel?

Mike Del Mundo: Well, as a child in the ’90s I would always blurt out, “I’m going to be a comic artist and draw the X-Men.” But I would say I made a solidified decision yeeeeeears later when I was in college for graphic design. Seeing my peers drawing my favorite Marvel characters brought me back to childhood and it gave me that good feeling; I quickly realized that design was great but drawing comics was my passion. What do you enjoy most about drawing for Marvel?

Mike Del Mundo: Well first of all, drawing your favorite childhood super heroes is pretty awesome! Secondly, I love the creative freedom comics gives you. My first passion was B-boying (break dancing) and that was all about originality, creating your own moves and expressing your personality. I feel like comics is very similar in that you’re recognized based on your own distinct style and how you tell your stories, and Marvel nourishes that aspect and allows you to explore and grow as an artist. What was your first Marvel comic?

Mike Del Mundo: My first Marvel comic was TOXIC AVENGER. I was hooked after that but the comic that really grabbed me was my first X-Men comic which was UNCANNY X-MEN #275. To this day, I still look to that book for inspiration. What Marvel character encapsulates Marvel the best for you – and why?

Mike Del Mundo: For me it’s an obvious answer: Spider-Man. His personality, the color of his costume, his powers and what he stands by is the blueprint to Marvel’s vision. He put a stamp on Marvel’s birthplace of New York as well.

PEPE LARRAZ What Marvel character encapsulates Marvel the best for you–and why?

Pepe Larraz: When you think about Marvel comics, you obviously think about super hero stories– the cosmic threats, the epic fights, the Earth in danger. But for me, it’s the drama that sustains the characters, the thing that gives them depth: the everyday situations, the feeling of being part of a big family combined with the awesome action. I think the characters that show it better are the X-Men and -Women. Fighters, teachers, pupils, weapons of mass destruction watching TV in pajamas in a school which has a stealth plane on the playground. In my opinion, Lobdell and Bachalo’s GENERATION X was one of the best titles ever done in Marvel’s history. When did you realize you wanted to be an artist at Marvel?

Pepe Larraz: I started drawing when I was a little child, as most of us do. I loved to draw everything, but most of all I liked to tell stories with those drawings, so I’ve been making comics since I was very young. I began copying the comics I used to read and my favorite artist. It was an impossible dream for me to get to draw those comics someday. But I was stubborn enough to never quit. I’ve been working for Marvel for almost eight years and even now, some days I can’t believe I’m doing it. I’m a comic-book fan working on comics. What do you enjoy most about drawing for Marvel?

Pepe Larraz: I love to give my own vision of the characters of the books that I read when I was a kid. To do some research to understand them, what they have done, what they want, and then I try to give a  look that reflects my point of view. I also love working with writers whom I really admire, and I have the privilege of  reading their stories before anyone else, which allows me to see what they do with the characters and adapt my way of drawing to the mood they want for the book.  One of the greatest parts of the job is to explore new ways to tell stories discovering new graphic solutions. What was your first Marvel comic?

Pepe Larraz: The very first ones were the SPIDER-MAN pages that came with the weekend newspaper. It had a small comic supplement, a few pages, and among those there were a couple pages of SPIDER-MAN. So we read two pages of the issue and had to wait a whole week to read the next ones. It was a bit excruciating, but it was better than nothing. I remember it was McFarlane’s run on SPIDER-MAN, those mind-blowing pages. I think the first comic book series I bought was SPIDER-MAN 2099, and Rick Leonardi has been my hero ever since. Those figures and backgrounds were a wonder to behold.

RUSSELL DAUTERMAN What Marvel character encapsulates Marvel the best for you–and why?

Russell Dauterman: I’m going to cheat and say two: Spider-Man and the new Ms. Marvel. They’re a classic and modern example of what Marvel is all about for me: real people with extraordinary circumstances, who balance great power and great responsibility. What do you enjoy most about drawing Thor?

Russell Dauterman: THOR has been a dream project for me. I love fantasy and mythology, plus working with the whole team has been a joy. Probably the most moving thing about working on the book is the response we’ve had from people who are struggling with illness or who’ve lost someone to cancer.  Hearing that the book has resonated with them has been really meaningful. When did you realize you wanted to be an artist at Marvel?

Russell Dauterman: My memory of this is super hazy, but when I was a kid, I entered a drawing contest that Marvel had.  I drew the Invisible Woman and Mr. Fantastic, and won a piece of art by a Marvel artist, of those same characters — it was in a frame alongside my rudimentary drawing and hung in my bedroom.  That gave little me a lot of hope, and was the first time I seriously thought I could be a Marvel artist. What was your first Marvel comic?

I was first introduced to Marvel through “X-Men,” the animated series — I was obsessed! — and jumped into X-Men comics because of that. UNCANNY X-MEN #302 is the first comic I vividly remember owning.  I opened it up to an amazing two-page, vertical spread of Storm–I’ve been hooked ever since!

MARCO CHECCHETTO What was your first Marvel comic?

Marco Checchetto: A story of Spider-Man from MARVEL SUPER-HEROES issue #14: “The Reprehensible Riddle of… The Sorcerer!” by Stan Lee, Ross Andru, and John Romita Sr. When did you realize you wanted to be an artist at Marvel?

Marco Checchetto: I was 7 years old. My grandmother gave me a big reprint book with a lot of different comics from different publishers. One of these stories shocked me so much that it made me decide to become an artist at Marvel. What do you enjoy most about drawing OLD MAN HAWKEYE?

Marco Checchetto: I really love the script by Ethan Sacks – love the characters and the environments. It’s exactly the type of story I like to draw. What Marvel character encapsulates Marvel the best for you–and why?

Marco Checchetto: Marvel has so many wonderful characters and I love them all, but the real heart of the House of Ideas remains the historical characters created in the ’60s. The one who absolutely encapsulates the true spirit of Marvel, for me, is Spider-Man. The true symbol of the “super hero with super-problems.” We are all Peter Parker.

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Celebrating the industry’s top artists to watch!

Marvel is proud to announce the next generation of gifted artists for this year’s Young Guns program!

Originally launched in 2004, each year’s Young Guns selections represent the best and brightest early-career artists in the comic book industry. Previous Young Guns have left their mark through some of Marvel’s greatest heroes, with alumni like Jim Cheung, Steve McNiven, Leinil Yu, Daniel Acuña, David Marquez, Sara Pichelli, and many more drawing some of Marvel’s biggest events and launching groundbreaking new series.

“I still clearly remember the launch of Marvel’s original Young Guns campaign over a decade ago, crafted as an innovative way to recognize and promote the upcoming artists we believed in—and knew would one day be superstars!” says C.B. Cebulski, Editor-in-Chief of Marvel. “From its inception, Young Guns has always been about living up to Marvel’s long legacy of identifying and hiring unique and groundbreaking talent to give our fans the best looking comics on the stands. And here we go again! Introducing the class of 2018, six artists poised for greatness, whose art will grace the pages of some of the coolest comics of the year!”

2018’s Young Guns inductees are:

Starting on January 31, in addition to their regular series, each of the Young Guns will create a special limited exclusive variant cover for six new books, including AVENGERS #678, X-MEN: RED #1, MARVEL TWO-IN-ONE #3, DOCTOR STRANGE: DAMNATION #1, BLACK PANTHER #170, and AMAZING SPIDER-MAN #797! Check your local retailer for variant availability!

More exciting new projects and series from Young Guns 2018 will be announced in the coming months. Read up on the next generation of all-stars below!

Spanish artist Pepe Larraz penciled The Mighty Thor, previously having illustrated stories in anthologies such as Web of Spider-Man, Marvel Adventures Super Heroes and X-Men: To Serve and Protect. A rising star, Larraz pitted ’90s rivals against each other in Deadpool vs. X-Force and worked on Wolverine & the X-Men before venturing into a galaxy far, far away with Kanan—then back to the Marvel Universe again with Uncanny Avengers.

Spanish artist Javier Garrón studied architecture before his work on webcomics and blogs got the attention of the American comics industry. Garrón made his Marvel debut with Cyclops in 2014, which led to work on the “Black Vortex” event crossover between New X-Men and Guardians of the Galaxy. Future work included Legendary Star-Lord, the IvX event, and the spot of lead artist on Secret Warriors.

Marco Checchetto early contributions to the revival of Marvel Comics Presents revealed him as one of the industry’s top new talents. Checchetto has made his mark on both the Marvel Universe—with runs on Amazing Spider-Man, Daredevil and Punisher—and a galaxy far, far away, with Star Wars: The Screaming Citadel, Star Wars: Captain Phasma, and the post-Return of the Jedi thriller Star Wars: Journey to Star Wars: The Force Awakens – Shattered Empire.

Artist and writer Aaron Kuder cut his teeth in the comics industry working on the New York Times best-selling book The Armory Wars and Key of Z, both with Claudio Sanchez from Evil Ink Comics. After work at DC on books such as Action Comics, Kuder returned to Marvel for an exclusive agreement in 2016 with work on top-tier titles such as the X-Men-shattering Death of X and All-New Guardians of the Galaxy.

If you’ve read any Marvel series since 2009, chances are it featured a cover from artist Michael Del Mundo at some point. Del Mundo’s artwork has fronted such well-known series as Amazing Spider-Man, Vision, and Invincible Iron Man. After delivering gallery-standard illustrations page after page in Elektra, he brought his unique talents to Secret Wars tie-in Weirdworld and its subsequent All-New, All-Different Marvel relaunch, and Marvel’s flagship title Avengers.

Russell Dauterman is best known as the artist of Marvel’s Thor comics.  Written by Jason Aaron and starring Jane Foster as Thor, the lengthy run has become a best-selling, Eisner-nominated series.  Previous work includes such titles as CyclopsNightwing, and Supurbia.  Russell has also designed characters and created covers for various Marvel, BOOM! Studios, DC, Valiant, and Image titles.  Outside of comics, Russell has illustrated children’s books and worked as a costume illustrator in the film industry, most notably on Marvel Studios’ Captain America: The First Avenger.  Russell is currently continuing his character-defining run drawing The Mighty Thor.

Congratulations to the 2018 Young Guns!

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Artist Javier Garrón brings something Sinister to the Secret Warriors!

The Inhumans continue to find themselves teetering on the edge of tomorrow, not exactly sure where they’ll fall. With the Terrigen mists destroyed in the pages of INHUMANS VS. X-MEN and the Royal Family leaving for outer space soon after, that leaves the Secret Warriors to carry on Earth-side.

That’s exactly what Matthew Rosenberg and Javier Garrón have chronicled since they launched SECRET WARRIORS earlier this year. The team fought against the Steve Rogers’ Secret Empire and now find themselves dealing with the mad geneticist Mister Sinister as they shift into the Marvel Legacy era.

We talked with Garrón about his continued familiarity with both his writer and his characters as well as what Marvel Legacy holds for his squad! With Marvel Legacy, lots of books are looking back to their roots. Many of the Secret Warriors characters are relatively new, so how does it play into your series from the art side of things?

Javier Garrón: In terms of art we’re going more into the continuity aspect of the legacy. The series began as a direct consequence of Inhumans Vs. X-Men and Secret Empire. We dealt with the latter in the first arc and epilogue and now we’re diving into exploring the consequences of the former. Legacy here comes more in terms of the Inhumans as a species and civilization than as individual characters. The Inhuman line has been stopped since there aren’t Terrigen mists anymore and that’s what we’re exploring in the second arc. The responsibility of honoring and continuing that legacy.

The story is as epic as it has been so far, quite probably even more so. Visually there’s still a lot of orchestration to be done with a lot of characters involved, many locations and some crowded action set pieces alongside the storyline. Our main heroes don’t get any redesign, but they sure look more tired and troubled with the endless series of problems they face. There’s still humor and space for some on-point visual gags, but the fatigue is starting to show visually in them. You and Matthew have been steering this ship since the beginning. How would you say your collaborative relationship has evolved in that time?

Javier Garrón: I think we’ve reached a certain point of magic, hard to achieve even intentionally. The kind of magic that is to catch what the other person is trying to convey with words in his case, or with images in mine, and pushing it further. One of my main tasks as an artist is to reflect in panels what’s in the script, so it’s understandable even without balloons, and complement it. That’s where artists put details not scripted in the character’s clothes, in the background or the lighting, for example. The magic comes when the writer notices it, those details not proposed in the script and incorporates it in following comics.

In the first arc—and this wasn’t scripted—I started a visual running joke with Inferno. Something without any kind of importance story-wise. We never even talked about it specifically, but Matt noticed it and in the second arc there’s [an] explicit reference to it, which makes the gag even greater. That sync only comes when the people involved click creatively, and I think—and hope—that’s the case. Along those same lines, do you feel like your approach to any of the characters has changed the more you’ve gotten to know them?

Javier Garrón: Undoubtedly! The more you draw, the better you are at it. And with characters it’s like with real people, you need to get to know them, at least in my case, to really, really portray them perfectly. From my perspective that has happened with Lunella and Inferno, and for two very different reasons.

The more I’ve worked with Moon Girl, the more I’ve come to realize how complex and rich that character is. A multi-layered girl, who is the smartest person in the Marvel Universe, but also an eight-year-old with a temper. That gives you serious, interesting Reed Richards kind-of-moments when she’s in genius mode, and very funny moments when she behaves more accordingly to her own age, though even then she still acts like a much older person. There’s the contrast between that hard and that soft side of her that visually is very rich, both in terms of gesticulation and design.

And then there’s Inferno, which without even having talked about it, or actively worked on it, has been kind of a comic relief, visually. In the second arc he has also a very important dramatic role, but I really love to explore his goofy side when possible. And I think I’ve gotten better at drawing his fiery flames—always in between the limits of my skill—every time I get to draw fire is even more fun than the last time I did it. Mister Sinister has also been around for a while now, messing with the Warriors and other Inhumans. Do you feel like you have a new understanding of him at this point?

Javier Garrón: I hope so! I mean, at least at some infinitesimal level, or in my interpretation of him. In comic books we’re dealing with versions, I think. This is my version of the character, which is the official one in the moment it gets published in continuity, but in two months’ time the same character can show up in another series, by another creative team, slightly different, but being then the official one at that point. So, in our version of Sinister he’s more grounded in the Marvel Universe as a whole. He’s no longer an X-Men villain, but a character that plays a larger role in the great scheme of things. Sinister’s also an even more detached being, closer to an artificial intelligence with the sole purpose of gaining knowledge than an actual living being with worries and desires. If he had them at some point, that’s gone.

I like to portray that visually in terms of design and body posture. He’s refined, but slightly outdated. He dresses elegantly, but more accordingly with the time when he was born than actual times, as if he continues to dress out of habit, not really putting his mind into it. He looks polished, but more in the way of a relic. And he always stands like a governess, strict and severe. How has it been developing new Inhumans with Matthew in this series?

Javier Garrón: It’s so much fun! Designing new characters is one of the many perks of the job and Matt is extremely collaborative when the time comes to putting our hands into it. He sets the tone, puts the foundations down, and then I have all the freedom I need to make it happen. We have lots and lots of Inhumans as background actors, and that’s when I can get as crazy as I want and time allows, because kids, in comics our budget is not money but time.

I think if we haven’t put more people into the story it’s because they can’t fit into the panels! It’s so crowded! Some characters started complaining and we had to cut the budget on this; those background Inhumans have a temper and they want to be in the shot so they can show off later with their friends! I mean, all those egos! It’s a struggle to make all our main heroes and the supporting ones happy, but that’s the comic book creator’s life!

SECRET WARRIORS continues to roll out the Earthly Inhumanity every month thanks to Matthew Rosenberg and Javier Garrón, with issue #8 hitting November 15!

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Artist Javier Garrón opens up about the earth-bound Inhumans team!

In the wake of Inhumans Vs. X-Men, the former group has decided to go a variety of different ways. While most of the ruling class heads out to space in ROYALS, some of the younger representatives will stick around in the pages of SECRET WARRIORS by Matthew Rosenberg and Javier Garrón, debuting May 10.

The group—consisting of Quake, Karnak, Inferno, Ms. Marvel, Moon Girl, and Devil Dinosaur—will not only find out what it’s like to be on a mostly Inhuman-less Earth, but also what they need to do to survive an evil Captain America as Secret Empire sweeps across the Marvel Universe.

We talked with Garrón about balancing these very different characters off of one another and working with rising star Rosenberg. SECRET WARRIORS features a lot of established characters. How is it putting your own design spin on them?

Javier Garrón: First and foremost it’s an immense honor! And right after that, it’s so much fun! On one hand, these characters are incredibly loved by the fans, so you have a huge respect for their legacy and what they mean to the readers. I’m a big, lifelong Marvel fan myself, so I hope I’m bringing all that love and respect into the mix.

On the other hand, looking at them with a professional eye, they’re such great characters by definition that it’s really, really fun to make them move, act, and interact. And on top of all of that, getting to add littles touches here and there! Making them your own, even for a brief moment, characters like Ms. Marvel or Karnak, [to] act through them, is a pure delight.

I’m always very weary of changing them, trying my best to respect the iconic designs the fans love, but also trying to make them mine, in a pure egoistic way, as long as I can play with them. And that usually comes from their facial expressions and their body language, how they express themselves without even talking. Or what they wear when they’re not in hero uniform. Or where they are. Lighting, hair design, art direction, panel composition. The art should express graphically and complement what the text says without being redundant, so even reading the panels without balloons you could understand what is going on. And that’s the moment when they become a little yours, not even needing to change a thing about their most popular design but speaking through all the details around them. The original Secret Warriors team had something of a unified look. Was there any intention of doing that with this group?

Javier Garrón: Not at least for the first story arc, but not because it’s something that didn’t cross our mind. You plan something for the characters, story-wise, and then you build on top and around that, to make it believable. You start to make decisions on a creative level that make sense with that and contribute to tell that story. And in our particular case, for the first story it didn’t make sense to have them all suited up in official hero uniforms. It totally made sense with the original group, but we’ll have to wait a bit longer and see what happens!

I love character design—in fact it’s a mix between pure, sheer fun with a [slight] flavor of fear that comes from touching previously loved designs—and I’m totally in for that, but it needs to make sense, the story kind of needs to ask for it. Our heroes need to go through a little learning curve to start being a team, to trust each other and work cooperatively before the official merchandise [arrives]!

But, Devil Dinosaur dressed with a tiny spandex uniform? Logistically it may not be the best option for him to operate, but oh my god! Can you imagine how cute would he be? I would totally buy that! Many of these characters are used to working on their own. Does it take them a while to figure out how to work well together?

Javier Garrón: That’s a great question! Our initial story brings our heroes together for the first time, amongst extremely difficult circumstances—that is, the Secret Empire event—and with very different personalities and backgrounds, in some cases I must say quite opposite! The great thing about the story we’re building is that it gives each character some room to breathe and show herself/himself as the main story moves forward, but also allowing them to interact; it’s an artful triple juggling art that Matthew Rosenberg, our incredible writer, is accomplishing with perfection.

In a natural way of developing the story, these heroes won’t make an instant team the moment they meet. They’ll have to figure out what it is that makes them need each other, why the world needs them both as separate heroes and as a team. We have an amazing cast of heroes for the team, but it doesn’t feel like a natural fit in the first place, they don’t seem like they’ve been best buddies for a long time. They look more like people who wouldn’t actually hang around with each other if they had to choose. But that’s when the magic of the scripts [comes] in, and these awesome dynamics between the characters start to happen. Things start to build up. And, in my humble opinion, I think that’s way more fun, to be able to see how things grow and happen, instead of be given things already done. It’s certainly more rewarding as an artist and I think it pays off in a more satisfying way for the reader—which is ultimately what we’re all here for. The book features everyone from a huge red dinosaur to the shape-shifting Ms. Marvel. How is it composing them all in the same panel or splash page?

Javier Garrón: Well, you have to use a lot of tricks and scratch your head quite a bit! One of the main tools we have as artists is the use of perspective. Small objects seem bigger when they’re close to the lens of the camera—I mean, the camera of the mind!—and big objects seem smaller when they are far from it. The thing you have to keep in mind is leaving enough visual references in the panel so the reader can easily get that people didn’t suddenly get shrunk or enlarged, they’re just at different distances from the point of view and from each other. That’s really useful for establishing shots in battles for many reasons, not only for picturing the big characters alongside the little ones.

We have here people with very impressive powers, and to show the true epic scale of that you need space in the panel, that way you kill two birds with one stone! Or you can go for the visual gag, and while keeping a regular shot with the main characters doing their thing, make Devil Dinosaur bend desperately and try to sneak the nose in the background at least! Like saying, you know, “Hey! Hey guys! Hello? I’m here too! Come on!” How fun is it working with Devil Dinosaur and Lockjaw?

Javier Garrón: It’s insanely fun! Let’s take Devil Dinosaur. I mean, seriously look at him: he’s a giant T-Rex! He’s scary! But because of his relationship with Moon Girl we have instead this kind of giant red puppy. As a character, he offers a huge range of possibilities, from loyal mascot friend to destructive rage force, so you can do a lot of stuff with him. It’s not just a background prop, you know? Also, not being able to talk gives him a whole new level of silent discourse. You have to force his gestures and facial expressions to make him express what he wants, and that’s just so much fun. I can’t stop thinking about those “sad T-Rex” internet memes with the poor dinosaur trying to grab things, make his bed, or play drums but epically failing because of the tiny arms he has. That kind of visual silent gag makes an instant connection with the character, you feel more for him in less time, it’s incredibly useful as a storyteller.

Also, you get to draw people on a regular basis, and both present day cities and futuristic ones, weapons of all kind and shape, but dinosaurs? Giant teleporting dogs? That’s incredibly fun! Everything that goes a little off the normal is both refreshing and rewarding [on] a creative level. How has it been working with Matthew so far on this series?

Javier Garrón: Let me tell you, Matt is a genius! His scripts work on so many levels, and he manages to nail each and every one of them. As a reader I feel a bit disappointed when you finish your monthly comic from your favorite character’s series and you’re left with the sensation that nothing happened there, that those were 20 empty pages, and that’s something that won’t happen with SECRET WARRIORS. There’s so much going on! We have two alternate levels of main story, both present and past, set with a perfect pace; we also have the character’s own backgrounds and personalities plus the interactions they have. Plus all the people they find in their way and the villains they fight! Everything moves forward by the hand, so it is quite impressive. And the dialogue’ oh the dialogue! There’s so much fun in that.

I knew [Matthew] was an extremely talented narrator from reading his marvelous previous work, but he’s reaching new heights of awesomeness here!

There [are] so many great things about to happen in this series, but I can’t tell you! Because they’re warriors but, in the end, they’re secret! It’s going to be a rollercoaster of emotions, totally worth the ride, believe me.

SECRET WARRIORS #1 by Matthew Rosenberg and Javier Garrón sneaks out on May 10!

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