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Image Comics, along with creators Joe Casey and Tom Scioli have again provided Newsarama with a full issue of Godland to preview. This time, issue #8, which recently hit stands.

The solicitation for the issue reads:

Written by JOE CASEY
Art by TOM SCIOLI
Cover by TOM SCIOLI & RICHARD STARKINGS
BOOK EIGHT: THE ORIGIN OF THE UNIVERSE

What other book would you need to read this month?!? All the answers are within! When the secret of Iboga is finally revealed, will Adam Archer be able to comprehend or even accept the ultimate truth? Cosmic deities and unimaginable ideas collide as GØDLAND shows you the money!

Related:

Godland #1: The Entire Issue

A Godland Update With Joe Casey

Moving Into Godland With Joe Casey

page 10

Add artist Keron Grant to the growing Zoom Suit army. While artist Billy Dallas Patton will be handling the art chores on issue #1 of the April-debuting four issue miniseries, Grant will be stepping in on issue #2, and then will be back next year…

For those coming in late, the premise of Zoom Suit is a simple one – fourteen year old Miles finds a suit of technological armor, and puts it on.

We spoke with Grant about his work on the miniseries, and how he got connected with the project.

Newsarama: Let’s start with the obvious lead-in - how did you get on the project?

Keron Grant: I was wrapping up Son of Vulcan for DC and received an email from John Taddeo.  He had visited my website and felt that my style would be a good match for Zoom Suit.  After trading a few e-mails I went and checked out the Superverse website (www.superverse.com).  It was good stuff.  Then I watched the Zoom Suit animated short.  After that, I let John know that I liked the project and wanted to be a part of it.

NRAMA: So you hadn’t been in contact with John prior to this?

KG: Nope.  He just found me on the net.  We’ve never met in person, but trade a lot of e-mails and phone calls.

NRAMA: What attracted you to the project?

KG: I felt that after drawing Son of Vulcan it was the logical step, since I've been pretty much drawing a 14 year old for a year so I was well practiced.  Plus my time on Iron Man made me very comfortable with the concept of an armored hero.

And of course, I’m a big fan of Bart Sears.  Bart did a cover for issue #2 of Simon Bane putting a beat down on Zoom and my cover is going to be the reverse image.  That was an exciting proposition.

Finally, the project in general.  It had already gotten a tremendous amount of press.  Even back when I first signed on it seemed like a project with some real potential.  And lately it’s grown even bigger.  Indies usually have a very rough time.  I’m very surprised at the attention this project gathers.  Fans seem to be eagerly anticipating this book.

NRAMA: Aside from the attention, was there something about Zoom Suit that made it something that you felt you couldn’t pass up?

KG: The concept is right up my alley.  You have tech, superheroes, teens in a very modern visual presentation.  Zoom Suit was the type of project I’ve been looking for.

I like the freedom of working on smaller press stuff.  It lets me really let loose and do my thing.  Also, the creative process with John and the guys on the animation is a very easy fit.  If either side sees the other do something cool, we try to adapt it to our medium – me on the comic side, the animators on the film side and John in the middle balancing it all out.  It works surprisingly well.

Plus, considering I jumped on issue #2, there wasn't much status quo to deal with.  I wasn’t getting bogged down with a massive history.  I watched a nine minute film, spoke to John for a half hour and started on page 1.  That was attractive. 

NRAMA: Just so we’ve got the traffic flow down, Billy Dallas Patton is drawing issue #1, and then you’re up for #2-#4…any worries about making the styles mesh between the first and remaining issues?

KG: It was a bit difficult at first since our styles are so different.  I had to train myself to draw a bit like him to make the transition a bit less jarring to the reader, but for the most part, I’m doing my own thing.

One of the things that attracted me to the project was I wasn’t told to draw like Billy.  Even when I asked, I was told, “No.  You do it your way.  Your interpretation.” There’s also a funny thing that happens that incorporates me coming on the book and Billy leaving to ease the transition.  You’ll see it in May.

NRAMA: Fair enough. In your words, what’s the story about?

KG: It's pretty much every 13 year old boy’s second wish, to discover a super suit that allows you to do amazing, fantastic things. So this is a story that explores that only with less cliché’s in some aspects, and a hell of a lot more in others, mostly used in a comedic manner.  It’s like we take you down the garden path and get you sure that you know where we’re headed, and then flip it around 180 degrees.  Then we ease you back in only to twist you again. 

There are also a lot of hidden, out of the ordinary type of stuff that will keep you surprised, guessing and offer up more entertainment than other books.  Although I think if I mention the secrets in the book, editor Diana Striker will blow a gasket because Taddeo almost spills it in every interview he does.

NRAMA: As you said, you were comfortable with the tech in the story, but how did you approach it?

KG: I think that stuff comes to me naturally from my training in school and prior work, so it was more from the gut and then seeing what happens.  I also had to go a bit from what Billy had done before, so I really haven't gotten wacky yet…yet.

NRAMA: How do you handle the suit and overall tech look of the story so it has a unique feel in a market where, frankly, there’s been a lot of tech and armor?

KG: I just try to draw the things I would like to see.  My stint on Iron Man was good practice for this stuff, which was one of the reasons John had offered me the project.  Also, we’re both very interested in film and we agreed early on that the breakdowns, pacing and choice of camera angles was of key importance.  I’m drawing the pages so that they’re exciting whether you’re reading along or not.  If you are reading, then between the story and the art, we want you to feel like you’re on a rollercoaster.

NRAMA: You said that you’re following in Billy’s stylistic footsteps, but was there much design work for you to do, or was it all pretty well laid out?

KG: Billy had done issue #1 and the entire first issue was nearly animated, but I still get to forge my own path.  Part of the craft is bringing something new.  That goes for if I pencil Superman, Spider-Man or Zoom.  I’m always looking to add something special.  Billy draws it his way, I draw it my way, but it’s obviously still the Zoom Suit.  How many different ways have we seen Spidey’s webs drawn?

It’s the artist’s job to always conjure up new and exciting takes.  I can always bring something to the table.  That’s my job.

NRAMA: You mentioned earlier that you’re comfortable drawing teens. How are you making Miles look like an average 14 year old rather than a small adult as can be seen in many instances when “teens” are in comics?

KG: Kids can be a bit challenging at first, but they take a different more loose approach.  Plus drawing from life helps a bit.  The style of the book helps as well.  They’re definitely kids.

NRAMA: So far, is there anything so far in the pages you’ve done that you can point to as something you feel you just nailed in terms of approach, design, etc?

KG: The double page spread of the stand off between the hero and the main villain.  I'm very satisfied with the way it turned out.  Some of the best work I’ve turned out in my career has been in this issue.  Son of Vulcan and Iron Man warmed me up, but the fact that it was 36 pages and had four double page spreads really let me get familiar with the look and then spread my wings.

NRAMA: How far into the series are you? 

KG: Almost done with issue #2, but issue #3 is already complete.  Billy is coming back on #3 and #4 and I’m moving over to the Zoom Suit Limited Series for 2007, but I don’t know if I can say that yet.  But I just did so it’s too late.  In 2007, I’m penciling the whole enchilada, all four issues and I start it right after Zoom #2.  So consider my fill in issue a specter of things to come.  

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