Tarantino Comics - Issue 50

Comic books love to celebrate milestones.  Whether it’s the 1st issue or the 1000th, artists strive to render a cover that will be recognized for the ages.  For instance, the 50th issue of The AMAZING SPIDER-MAN is easily identified by any comic book fan.  With a simple layout, fans effortlessly visualize the words “Spider-Man No More!”  underneath the defeated Peter Parker walking away from his costumed life.

In the case of TARANTINO COMICS, our 50th cover is just as iconic.  Drawn by Amanda Rachels in 2014, this cover image highlights everything important in DEATH PROOF:  Powerful Women and Fast Cars.

In most slasher films, the targets tend to be dimwitted hussies and douchey jocks.  In DEATH PROOF, Tarantino mixes things up by making the victims strong women we can root for.  Yes, these “cool” girls get murdered by Stuntman Mike.  However, we spent time listening to their conversations, sharing shots of Chartreuse, and dancing to tunes by the juke box.  Therefore we feel an attachment with these characters and become impacted by their demise halfway through the film.

TARANTINO COMICS #50 celebrates the last “hang out scene” with Arlene, Shanna, Lanna Frank, and Jungle Julia.  As I look at this image, I reminisce how this female crew rocks out to the percussive beats of “Hold Tight!”   Just like the film, Amanda portraits each foreboding casualty within their own frame.  But as the bright headlights shine across their faces, this posse meets their death just as the murderous 1970 Chevy Nova darts out from the center of the page. 

Amanda’s layouts are masterful and her likenesses are superb.  I’ve always enjoyed her art.  Plus, she’s a huge Tarantino fan and always includes subtle details – For instance, did you see Jungle Julia’s leg hanging outside the passenger window?  Going back and gazing upon other covers drawn by Amanda, I think this might be my favorite.  She continues to make leaps and bounds and I can’t wait for her to illustrate another issue!

Tarantino Comics - Issue 49

ONCE UPON A TIME IN HOLLYWOOD has reinvigorated my love for the cinema.  So far, I’ve seen it (3) times (once even on 35 mm film).  Each viewing not only reminds me of Tarantino’s love for the movies, but his passion for the film-making process.  It’s a picture that makes me want to create something of my own.   Although I’ll never shoot a movie, at least I can ponder on the flicks I love and discover new ones to dissect.  Hence I feel refreshed and want to start writing again.  

Since I’m an Optical Engineer by day, I have a greater appreciation for cinematography:  Why was this scene backlit this way?  What lens was used for this shot?  How come the camera was framed from this perspective?  As I ask these questions, I realize comic artists must ask the same things.  Between panel layouts, point of views, and depth of focus, these are all tools that coexist in the (2) mediums that I love – Welcome to Tarantino Comics.  

Today’s issue was produced all the way back in 2014 at Megacon in Orlando, FL.  Depicting a memorable scene from DJANGO UNCHAINED, Rando Dixon replicated this terrifying shot in Tarantino Comics #49:

This scene was all about deception.  At first, Calvin Candie was deceived into allowing Django and Schultz to eat at the Big Table.  But after discovering their true intentions (to rescue Django’s lovely bride), Candie reveals he cannot be fooled.  Armed with a hammer, a broken skull, and a helpless Broomhilda, Calvin Candie truly controls the situation.

Dixon exemplifies the tension of the scene with Candie’s chilling expression – Not only is DiCaprio's likeness spot-on, but we know arrogant triumph is hidden behind that charming grin.  

Besides his great illustration, Dixon’s monotoned color palate wonderfully captures the era of this set piece.  Film makers often depict historic times with earthy and muted color tones: yellow, orange, and brown.  Dixon does the same except for the pop of red flowing across Candie’s hand.  As we all know, blood is a common embellishment in Tarantino films and this scene is no exception.  However while filming, Leo actually cut his hand from the shattered skull.  So whether the blood was intentional or not, the viscous liquid makes a great visual for a climatic scene built with tension and fear.