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aion-rsa · 3 years

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Jupiter’s Legacy: From Page to Screen

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How do you bring a comic book to life? It’s a question that studios have been struggling with since they first began making live-action superhero serials in the 1940s. Netflix’s newest comic book series adapts Image Comics’ metatext on the medium, Jupiter’s Legacy. Created by Mark Millar and Frank Quitely, the story centers on two generations of heroes. In its quest to bring this story to life, Netflix has enlisted costume designer Lizz Wolf. Though she’s new to the superhero genre, she has plenty of experience with massive actioners—including Rambo, The Expendables, and Pacific Rim: Uprising–and she dived in head-first to create a unique and vibrant visual landscape which respected the comics while bringing the texture and depth needed to translate the archetypal heroes to the small screen.

In an unusual series of events, Wolf was brought on very early in the production in order to allow her to build the sartorial universe of Jupiter’s Legacy from the ground up. It was a rare chance for the costume designer to truly create something immersive and all-encompassing. “This project was an opportunity that very few costume designers get,” Wolf says. “In order to conquer the Herculean task of bringing the vast universe that Mark Millar and Frank Quitely had created to life, I had to strap myself in for the ride of a lifetime.”

Seeing that world come to life has been nothing short of a joy for artist and Jupiter’s Legacy co-creator Quitely. While the show does bring plenty of new layers to the costuming and characters, he was blown away by how much inspiration they took from the comics. Even when things were changed he feels it was for the better.

“Where they have embellished things, it’s not so much that they’ve done their own thing,” Quitely says, “it’s that they’ve taken what we had in the comic, and they’ve added to it and translated it in a way that’s going to work better for television. It’s a very interesting process for me to see.”

So how did Wolf get started on translating such an epic series through the lens of costuming?

“As this universe is literally littered with superheroes and villains with varying degrees of power, I created a doctrine based on the character depictions in the comic book,” she says. “A platform of their capabilities and back stories. This was the connective tissue to then assemble a visual language and start the design process. This design language was a culmination of the extensive research we did for each of the superheroes and their subgroups. I relied heavily on science and nature to guide me. I was inspired by everything from the natural world, architecture, black line tattoos, ancient symbols, alchemy, microbial photography, atomic ordering, complex life forms, and parametric equations.”

When it came to directly adapting the costumes from the comics, for Wolf it was a balance of respect and inspiration.

“In the beginning, I focused on the story to inform the design,” she says. “In order to achieve a cinematic feel, we had to extrapolate what was intrinsic to telling the story through an emotional color palette, composition, function, and the capabilities of each member of the Union from the source material. Then, of course, we had to pump them into three-dimensional characters.”

When Quitely visited the set, he got to explore those three-dimensional reimaginings of his art, something that he calls a privilege. While he visited each and every part of the production, and enjoyed it all, the costume department was something of a highlight for the creator.

“They were very faithful to all the main costumes,” Quitely explains. “But because there are so many supporting characters, they had basically come up with a lot of costumes that were just inspired by what they’d already found in the comic. That was really great to see.”

Discovering the creators were fans of her designs early on was an unforgettable moment for Wolf. She was keen to talk about their impact on her, and what she called a seminal vision of superheroes. So when Millar, Quitely, and the showrunners came back with good things to say, it was “the catalyst of confidence” for her. “It was truly a professional high point to hear that Mark [Millar] had liked the designs and the direction we were going in.” Wolf says. “That acknowledgment was everything!”

Paying homage to the silhouettes and color schemes of the comics costumes was key to Wolf. But she wanted to amp up the technology and detail. With suits that have to exist over decades, it was vital to make sure that they had durability and that classic Golden Age vibe. “These suits had to travel the expanse of 100-plus years and hold up, as well as remain relevant and be able to inspire generations to come,” she says. “That was a challenge!”

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Wolf battled through those challenges and found unexpected inspiration in the works of industrial 3D knitters. Diving deep into this new creative process gave Wolf a new insight, and what she called “single thread technology” led to the basis of what she describes as the show’s “suit mythology,” which also shaped the designs of the next generation’s suits.

Taking inspiration from anatomical artists like George Bridgman and Andrew Loomis, Wolf crafted a musculature for the super suits that was exaggerated yet natural. And she even built the origin of their powers, imbued following an “event,” into the suits. “This muscular structure was a molecular reaction of this event integrated into the suit itself,” she says.

That level of detail was something that immediately stuck out to Quitely. He was particularly excited by the intricate detailing that Wolf and her team added. Though the costumes might look the same from a distance, up close Quitely found an impressive array of subtle details, including emblems and alien patterns built into the material itself. “They’ve put so much thought and love and enthusiasm into the way they’ve gone about recreating this world, making it bigger and fuller in a way that will work for television,” Quitely says. “It’s been fantastic.”

Wolf was equally as enamoured with the process, describing it as a highlight of her storied career. “Designing the superheroes was an incredible thrill! I’ve experienced nothing like it. I’d have to say overall that Jupiter’s Legacy is my favorite project that I have ever done!”

Sacred Geometry

Lizz Wolf added a unique costume detail which created its own visual language, much of which was inspired by the concept of “Sacred Geometry.” The term references the idea of ascribing meaning and symbolism to certain geometric shapes and proportions. While usually used in religious buildings and art, Wolf strived to craft a superheroic Sacred Geometry for each of the six Union members using symbolic emblems and totems which were later integrated into their suits. “These were extractions or reflections of each character’s individual journey.” Wolf explains.

While researching the look of Jupiter’s Legacy, the team discovered amateur micro photography of frozen ice crystals. This naturally occurring phenomenon developed into the overall language of the costumes. “We created a series of these lichen-like formations that represented expressions or glyphs based on an alphabet of sorts,” Wolf says. “It was used on each of the Union’s super suits as an adornment or to create declarations.”

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The Utopian signified a particular challenge as his plain white suit was simple yet iconic. But Wolf built on his archetypal comic book silhouette that she felt represented the mythology of the character. While she didn’t feel like he was particularly formidable at first, once they built in Sheldon’s own Sacred Geometry which was built from “extractions from conjured celestial maps that could have guided Sheldon in his calling” the costume designer reveals, “he emerged to be very intimidating.”

Dressing Two Generations of Superheroes

Jupiter’s Legacy is a story about family, two generations of distinctly different heroes. The older and more archetypal group known as the Union are shaped by idealistic dreams and Golden Age comics. Then there’s the children of the Union, whose lives have been molded by their parents’ fame, privilege, and celebrity endorsement campaigns. When it comes to costuming, the differences are clear. The Union wear classic superhero suits, making them icons of hope and heroics. But their children rock civilian outfits, still just as recognizable but a clear rejection of the traditions of their family.

The Utopian

When it came to designing The Utopian, Quitely looked towards Superman and other classic Golden Age stories. But for costume designer Lizz Wolf, it was all about building only on what already existed in the comics. Keeping his white silhouette was key and Wolf “built on the mythology of the character,” giving him what she calls an “almost archaic, statuesque feel.” She adds that building that texture was key. “This is where the musculature was profound in exhibiting his mortal strength,” she explains. “This brought majesty to his suit, and then Josh Duhamel brought his god-like presence!”

Skyfox

One of the most significantly different costumes is that of Skyfox. Gone are his leotard/undies from the comics. Instead, Wolf crafted something with “a rugged sexiness.” The team retained his “iconic color scheme that is certainly a nod to royalty and his social status as George Hutchence.” But rather than drawing directly from the comics, they shifted tactics.

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“His inspiration was part gunslinger, part playboy, 100% badass,” Wolf says. “His equipment is intentionally worn low on hips to provoke that rock star, cowboy vibe. He also has what amounts to the ‘Rosetta Stone’ of the Union embedded in his suit. The crowning element is his fractal-like Fox emblem. It’s like a talisman inspired by his fox-themed heirloom jewelry pieces from the 1920s.”

Brainwave

Another slight shift was Brainwave. In the comics, his suit evolves in the modern age. But Wolf decided to keep his iconic early look for the entire series. “This allowed us to really make his suit beam and keep his natural swagger evident. I love his suit and his veining motif. He just lights up in it and it appears to be actively circulating.”

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Wolf reveals that a strange mistake ended up playing a vital part. “That fabrication was one of those divine accidents. During our R&D period, a run of printed fabric went in an unintentional direction. That material mysteriously became more radiant when stretched over his muscular structure. That mistake became the end result.”

The Union

For artist Frank Quitely and writer Mark Millar, the Union’s costumes were key, as were their influences.

“We went right back to Superman and Batman. The early Marvel and DC heroes. The heroes from the mid 1930s through the ’40s, ’50s, ’60s, and ’70s,” Quitely says. The older generation wear traditional suits making them easily identifiable as heroes. “We were looking at everything that had gone before. We were wanting things that were recognizable and reminiscent of classic superheroes, even for people that weren’t immersed in comic book culture. Most people have got a rough idea of what Superman and Spider-Man are about. We wanted to deal with archetypes and representations of superheroes that would still strike some kind of chord with people that only had a passing interest.”

The Next Generation

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Growing up in Scotland shaped Quitely’s choice to make the younger generation’s uniforms their everyday outfits. “I read a lot of comics when I was younger. Desperate Dan, Dennis the Menace, The Broons. The characters tend to wear the same clothes,” he explains. “It’s the same with your Saturday morning cartoons like Scooby-Doo. Their costumes are part of the aesthetic of each character. They wear the same clothes and colors all the time because it makes them more recognizable. To some extent we did that with the characters in Jupiter’s Legacy that didn’t have a superhero costume. Even if the clothes change, they have a recognizable style. And it’s important to try to stick with that because it helps build the character and it helps make the visual storytelling easy to follow.”

Jupiter’s Legacy premieres on Netflix on May 7. Read more about the series in our special edition magazine!

The post Jupiter’s Legacy: From Page to Screen appeared first on Den of Geek.

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scifihorroradventure · 7 years

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FRANKENSTEIN UNBOUND (1990)

The year is 2031. Completing his work on a new particle beam weapon for the government, scientist Joe Buchanan (John Hurt) assures that the atmospheric "time slips" appearing in the skies are harmless and totally reversible. Unfortunately, as he returns home that day, a time slip appears above his house and sucks him in, sending him through time and space to Geneva in 1817. As he attempts to piece the situation together, Joe encounters none other than Doctor Victor Frankenstein (Raul Julia). An innocent girl (Catherine Corman) is currently on trial for the death of Victor's brother William, but Joe soon discovers that the culprit is none other than Victor's own Monster (Nick Brimble). Despite Joe's pleading for Victor to come forth with the truth, the girl is executed for the murder. Having met her at the girl's trial, Joe spends time with Mary Shelley (Bridget Fonda), the author of the "Frankenstein" novel, though at this point she has yet to write it. When Victor refuses to give in to the Monster's demands to create a mate for him, the Monster lashes out and kills Victor's fiance Elizabeth (Catherine Rabett). Desperate, Victor forces Joe into helping resurrect her as a second monster. Realizing he has to stop Victor and the Monster before they cause any more harm, Joe uses a newly constructed version of his particle beam to teleport them all into a frozen wasteland of a future. Victor and Elizabeth are killed and Joe hunts the Monster down to finish him once and for all.

A downright bizarre film, Frankenstein Unbound is an oddly captivating experience. Its premise is completely insane and yet somehow it works far better than it has any right to. Based on Brian Aldiss' novel of the same name, Unbound was the first film Roger Corman had directed in nearly twenty years (the last one being Von Richthofen and Brown in 1971). Part of why the film works so well is that, despite all the time travel and dystopian framework, once Joe ends up in 1817, the movie mostly forgets about all that and turns into a pretty decent Frankenstein movie. The relationship between Victor and the Monster is portrayed rather well, with the latter much more humanized than most incarnations. Wisely, the film skips the more well known parts of the Frankenstein story - Victor creating the Monster - picking up well after the Monster has escaped out into the world, allowing the story to venture into new territory right off the bat (or at least new territory for most film adaptations). The movie looks very nice, filmed in some very pretty sets and locations. The special effects in the future at the start of the film are serviceable, most notably the purple space-like time slip that opens and absorbs Joe throughout the movie, which is a really striking visual.

What really makes the film work, though, is its cast. John Hurt makes for a great lead as Joe Buchanan, a well-meaning man who is nonetheless blind to his own creation's side effects, even as giant portals begin to open in the sky. Luckily, Joe proves to be a likeable hero who lets common sense prevail more often than not when he could've easily been a jackass know-it-all type. If there's anything about Joe that could be legitimately complained about, it's that there are times where it doesn't feel like he has very much to do other than stand around and watch the story of Frankenstein unfold around him. This, of course, changes by the explosive finale, where he takes a very active role in things. But while John Hurt may be the hero of the story, Raul Julia steals the show as the infamous Dr. Victor Frankenstein. Julia is such an odd casting choice for the doctor, but like the over the top premise of the movie, somehow it just works. Julia's Victor is a clearly unstable man, having reached a peak of frustration and fury with the Monster, not caring for much else. While he views the Monster as a threat that must be destroyed, he otherwise sees nothing wrong with what he's done, even letting innocent Justine hang so that he can be allowed to carry on with his work. By the time Elizabeth is killed, he has completely lost it, vowing to not let her pay for his mistakes even as he turns her into an even more hideous creature than the Monster. Bridget Fonda plays Mary Shelley and honestly doesn't have very much to do. She acts mainly as a love interest for Joe, but all she really accomplishes is muddling the line between fiction and reality for no real reason. This is supposed to be "real life," yet Victor and the Monster actually exist, and nothing is really said about it either way, not even by Joe. Later, Joe shows Mary a completed version of "Frankenstein," but apparently isn't worried about what possible effect this will have on history. While Fonda plays the character well enough, she's an overall strange addition that doesn't really do anything but raise several questions that otherwise wouldn't have been there.

As the titular Monster, Nick Brimble plays the character less like a hulking beast and more as the lost and confused being that he is in the original story, resorting to violence when his anger with Victor reaches its peak - which is frequent. Brimble is far more talkative and coherent than most screen incarnations of the Monster, though he still has trouble comprehending concepts such as what murder truly means, even after killing Victor's brother William. He also can't seem to understand that Victor didn't make everyone else in the world (he asks Victor why he didn't "make William stronger" and later asks Joe if Victor made him or not), which is odd considering the whole "I am all alone and I want you to make me a mate so I can no longer be alone" thing. While not one of the most iconic incarnations of the Frankenstein Monster, Brimble makes for a good one, his stretched out face prostheses effectively grotesque yet striking in a way completely different from the traditional look most people associate the Monster with. If there's one oddity about the Monster's role in the film, it's not because of Brimble, but rather the film itself. Throughout the film, the Monster is portrayed as an admittedly violent, but still ultimately sympathetic, misunderstood, and tragic character, as he usually is. Which is why it's so disturbing when the film goes full on Jason Voorhees on him during the climactic fight with Joe in the futuristic laboratory. We have to watch him get shot multiple times, impaled, his arm torn off, and then finally slowly, slowly burned to death, screaming in agony and confusion all the while. Yes, the Monster had to be dealt with by the end of the film, but the way they went about it was just so drawn out and needlessly cruel, it's rather uncomfortable to watch.

Upon first glance, one might be inclined to dismiss Frankenstein Unbound. Roger Corman's involvement, the initially odd casting of Raul Julia, the futuristic, dystopian, and time travel elements, when all rolled together, might make one think that this will be a bad, over the top film that does no justice to the Frankenstein story. And while it certainly is over the top and cheesy, it's done in such a serious manner that one can't help but find themselves drawn in by it. At the very least, the performances by the cast alone make this movie worth a watch.

Rating: ★★★★

Cast: John Hurt ... Dr. Joe Buchanan Raul Julia ... Dr. Victor Frankenstein Nick Brimble ... The Monster Bridget Fonda ... Mary Shelley Catherine Rabett ... Elizabeth Terri Treas ... Computer Voice Jason Patric ... Lord Byron Michael Hutchence ... Percy Shelley Catherine Corman ... Justine Moritz

Director: Roger Corman. Producer: Jay Cassidy (associate producer), Roger Corman, Kobi Jaeger, Laura J. Medina (associate producer), and Thom Mount. Writer: Brian Aldiss (original "Frankenstein Unbound" novel), Roger Corman (screenplay), F.X. Feeney (screenplay), and Mary Shelley (original "Frankenstein" novel). Music: Carl Davis. Special Effects: Nick Dudman (special makeup effects), Suzy Evans (prosthetic makeup assistant), Suzanne Reynolds (prosthetic makeup), Renato Agostini (set special effects), Reza Karim (foam latex supervisor), Betzy Bromberg (optical supervisor), Syd Dutton (matte artist), Bruno George (optical effects), Rhonda C. Gunner (computer animation and displays), Richard E. Hollander (computer animation and displays), John Huneck (visual effects camera), Adam Kowalski (special rigging), Lynn Ledgerwood (special engineering), Gregory L. McMurry (computer animation and displays), Bret Mixon (rotoscoping supervisor), Gary Rhodaback (modelmaker), Mark Sawicki (matte photography), Robert Stromberg (matte artist), Catherine Sudolcan (production manager: visual effects), Bill Taylor (visual effects camera), Gene Warren Jr. (visual effects supervisor), Christopher Warren (visual effects assistant), John C. Wash (computer animation and displays), and David S. Williams Jr. (optical effects).

#sci fi horror adventure #frankenstein unbound #roger corman #frankenstein #mad scientists #time travel #1990s

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artsvark · 7 years

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Gone Too Soon to pay tribute to our music legends

Gone Too Soon- The Gents in action (From left to right: MiG Ayesa, Connell Cruise, Kurt Herman and John Tsenoli)

In celebration of her 25th anniversary in the entertainment Industry, Collett Dawson of The CoLab Network launches a series of concerts entitled Gone Too Soon – shows that will pay homage to iconic music legends who have left us before their time, but still live on through their music.

Lost Male Music Legends come alive through their greatest hits in Gone Too Soon, on stage at The Lyric at Gold Reef City from 4-6 May 2017.

The first in this series; Gone Too Soon – The Gents; will be staged in spectacular fashion at The Lyric Theatre at Gold Reef City for four performances only from Thursday 4 May – Saturday 6 May.

Gone Too Soon will delight audiences old and young as they celebrate the powerhouse male singers that became legends through their music over the past few decades.

Gone Too Soon (From left to right: John Tsenoli, Connell Cruise, MiG Ayesa and Kurt Herman)

Tribute is paid to a diverse selection of artists including Freddie Mercury, George Michael, Michael Jackson, Prince, Marvin Gaye, David Bowie, Al Green, The Righteous Brothers, Ray Charles, Leonard Cohen, Michael Hutchence, Buddy Holly, Ritchie Valens and many others.

A fitting medley will also be included of a selection of South Africa’s own legends who are no longer with us, but still evoke unforgettable memories.

Direct from New York and taking centre stage will be the insanely talented Broadway and West End star and international recording artist MiG Ayesa.

Gone Too Soon – The Gents will be at The Lyric Theatre at Gold Reef City for four performances only.

Thursday 4 May at 20:00Friday 5 May at 20:00 Saturday 6 May at 15:00 and 20:00

Tickets range from R150 to R250. These are available by visiting www.goldreefcity.co.za or calling The Lyric Theatre Box Office on 011 248 5000 or through Computicket.

No under 3’s allowed in the theatre due to audience members’ comfort.

Discounts for senior citizens and scholars apply.

Group Bookings of 10 seats or more qualify for a 10% discount if booked directly with The Lyric Theatre Box Office on 011 248 5000. Group Bookings of 50 seats or more qualify for a 15% discount if booked directly with The Lyric Theatre Box Office on 011 248 5000.

Tsogo Sun Rewards cardholders enjoy instant savings: 10% (Gold); 15% (Platinum); 20% (Black).

Ayesa was catapulted into stardom through the global reality television series Rockstar: INXS where he went through to the final three. Added to this his countless lead roles on the West End and Broadway and other international stages including amongst many others, We Will Rock You, Rock of Ages, Thriller Live, Buddy – The Buddy Holly Story, RENT, The Bridges of Madison Country, The Music of Queen : The Rock and Symphonic Spectacular and Tenors of Rock, makes him the ideal headliner for Gone Too Soon.

He has a close affinity with South Africa, last here ten years ago when he joined the South African cast for rehearsals of the international tour of We Will Rock You, and has long desired to return.

Says Ayesa; “I am beyond thrilled to be heading back to perform in South Africa for the first time. Ever since I rehearsed with the super-talented cast of the international tour of We Will Rock You in Joburg in 2007, I swore I would come back.”

He continues; “To have been able to come back to perform at Collett’s 25th Anniversary Show was a double celebration. I fulfil my promise to return and also got the chance to celebrate the achievements of the sweetest person in showbiz, my beloved Collett Dawson. I cannot wait to share the stage in May with these incredible South African talents and to explore a little more of your spectacular country!”

Gone Too Soon – The Gents (From left to right: Kurt Herman, Connell Cruise, MiG Ayesa and John Tsenoli)

MiG Ayesa will be joined on stage by the equally talented local voices of singer/songwriter Connell Cruise, now based in New York but also returning to perform in Gone Too Soon – The Gents while releasing his brand-new album; as well as Kurt Herman, instantly recognisable as a member of 101, winners of Coca Cola Popstars and more recently as one of the country’s foremost record producers. Continuing The CoLab Network’s commitment to showcase young talent wherever possible, Gone To Soon – The Gents will be introducing the smooth soulful sounds of 18-year old John Tsenoli, a Born To Perform prodigy who makes his professional theatre debut.

With the vibrant arrangements by the world-class creative team Bluberry Entertainment of Kurt Herman and Tima Reece, along with a dynamic live band led by music director Llewellyn George, audiences will thrill to instantly recognisable hits including Show Must Go On, Man in the Mirror, Hallelujah, What’s Going On, Unchained Melody, Mercy Mercy Me, Everything She Wants and many more.

Gone Too Soon – The Gents is the ultimate concert experience, honouring a selection of the many men who’ve made an indelible mark on the local and international music industry.

While the show pays homage to these music icons who have left us too soon, the focus will be strongly on the uplifting atmosphere of inspiration that continues to live on through their music, the memories they still evoke, as well as the impact that so many of them have made on the industry and world as a whole.

Executive Producer, Collett Dawson of The CoLab Network, states “With the company now celebrating 4 years of producing in South Africa and along with this being a tandem celebration of my 25 years in the entertainment industry, I wanted to extend my footprint further in the industry by fulfilling a new vision of bringing out a selection of phenomenal international artists that I have worked with previously, in a variety of shows, to join and collaborate with our local talent. Through technology, the world is now so small that I feel it’s a wonderful next step to bring these collaborations together, not only to provide a top-notch show here in South Africa and to give the local audiences an opportunity to enjoy their talents, but also to open doors for future collaborations for our local artists internationally through these shows.”

Dawson explains the reason for MiG Ayesa being the first of these international headliners; “I first met MiG in Hong Kong when I visited the South African cast of We Will Rock You there in 2008. He not only blew me away with his exceptional talent, but also the interaction he had with the South African performers and how much they were able to glean from his international stage experience. We have stayed in close contact since then, and was truly humbled at how quickly he came on board when I explained my vision of the cross-continent collaborations and my concept for Gone Too Soon. Already seeing the chemistry between MiG, Connell, Kurt and John as well as the Creative Team during the time in studio preparing for my 25th Anniversary Celebrations has proven to me that I’m totally on the right track, with the guys already talking about possible future collaborations after this show.”

Dawson continues; “Ayesa has already also committed to giving back to the South African community by attending a rehearsal at National School of The Arts on Saturday 25 February and imparted some valuable words of wisdom to the young performers. When he returns to Johannesburg for the show in May he has also committed to giving a workshop to young industry hopefuls giving them first hand experiences of life in the industry and most especially, on the West End and on Broadway. I am thrilled and honoured to have him on board and hope that it’s the first of many return visits to South Africa.”

Gone Too Soon – The Gents is proudly produced by The CoLab Network with staging by Gemma Marinus and lighting by Oliver Hauser with grateful thanks to the Creative Team of BluBerry Entertainment.

Gone Too Soon – The Gents is being staged in loving memory of two South African legends Matthew Stewardson and Gugu Zulu – both close friends of Collett Dawson and whose untimely deaths inspired the concept.

#GoneTooSoon

Gone Too Soon to pay tribute to our music legends was originally published on Artsvark

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thingswesayinthedarksblog · 2 years

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What if we never left the island?

Looking for a possible RP using his character

#roleplay #dark asthetic #jupiters legacy icons #jupiter legacy #jupiters legacy #jupiter's legacy #jupiter's legacy icons #icons george hutchence #george hutchence #skyfox icons #skyfox

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aion-rsa · 3 years

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Jupiter’s Legacy: Mark Millar on the Genesis of His Superhero Story

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Superheroes have a long history. After flying onto the scene more than eight decades ago, led by Superman, along with fellow octogenarians Batman, Wonder Woman, and Captain America, the pantheon of capes-and-tights characters has expanded to include countless more. And as legendary creators made their mark across decades, the origins and powers of these icons transformed almost as frequently as their costumes.

Meanwhile, the superhero team The Union, from the comic book saga Jupiter’s Legacy, have 90 years of consistent fictional history, with a singular overarching story, envisioned by one man: Mark Millar.

After discovering both Superman and Spider-Man comics the same day, at the age of four in Scotland (where he grew up), the now 51-year-old writer would go on to make a significant impact on the superpowered set. But he wanted his own pantheon.

And with Jupiter’s Legacy, Mark Millar has created a long history of superheroes of his own—now set to be adapted as a Netflix series.

“I wanted to do an epic,” he says. “Like The Lord of the Rings, or Star Wars… the ultimate superhero story.”

Co-created with artist Frank Quitely and published by Image Comics in 2013, Millar calls Jupiter’s Legacy his love letter to superheroes—and part of his own legacy.

The story begins in 1932 with a mysterious island that grants powers to a group of friends who then adopt the costumed monikers The Utopian, Lady Liberty, Brainwave, Skyfox, The Flare, and Blue Bolt. Told on a grand scale with cross-genre influences, the story spans three arcs: the prequel Jupiter’s Circle (with art by Wilfredo Torres), Jupiter’s Legacy, and the upcoming June 16, 2021 release Jupiter’s Legacy: Requiem (featuring art by Tommy Lee Edwards). With the May 7 debut of the Jupiter’s Legacy series on Netflix, the story will now also be told in live action.

Millar established himself in the comics industry in 1993 and crafted successful stories including Superman: Red Son, Wolverine: Old Man Logan, The Ultimates, and Marvel Comics’ Civil War—all of which have inspired adaptations and films, and led to him becoming a creative consultant at Fox Studios on its Marvel projects. His creator-owned titles Kingsman: The Secret Service, Kick-Ass, and Wanted, have likewise spawned hit movies.

But compared to Jupiter’s Legacy, none of those possessed such massive scope and aspiration as the story that explores the evolving ideologies of superpowered individuals, and how involved they should be when it comes to solving the world’s problems. Relationships are forged—and shattered by betrayal—with startling violence and titanic action sequences (both part of Millar’s signature style).

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“From Superman and the Justice League to Marvel to British comics—inspired by guys like Alan Moore, and so on, I’ve thrown it in there… it’s got a bit of everything,” he says.

That “everything” extends beyond comic books. Millar drew inspiration from King Kong’s Skull Island, and references the cosmic aesthetic of 2001: A Space Odyssey, which informed the “sci-fi stuff.” The writings of horror author H.P. Lovecraft “were a big thing for me,” when it came to The Island, created by aliens, “that existed before humanity, and that these people are drawn out towards where they get their superpowers.” The character Sheldon Sampson/The Utopian is a Clark Kent/Superman type, but his cohort George Hutchence/Skyfox is more than a millionaire playboy stand-in for Bruce Wayne. Rather, Millar based him on British actors from the 1960s—Peter O’Toole, Oliver Reed, Richard Burton, Richard Harris—who were suave rascals.

“I loved the idea of a superhero having a good time, getting on with girls, drinking whisky, smoking lots of cigarettes,” Millar said.

At the risk of sounding “so pretentious,” Millar jokes, he also pulled from Shakespeare. Indeed, the comics are as much a family saga as a superhero one (and written by the much younger brother of six whose parents died before he was 20). Utopian is a father to his own disappointing children, and a father of sorts to all heroes. He is Lear as much as he is Jupiter, the Roman god of gods. The end of his reign approaches, and various factions have their own appetite for power—such as his self-righteous brother who thinks he should be a leader, or Utopian’s son, born into the family business of being a hero, but who could never live up to his father’s expectations, or his daughter who is more interested in fame than heroism.

He views Jupiter’s Legacy as more thoughtful than Kick-Ass, Kingsman, or Wanted. The plot’s driving action hinges on a debate about the superheroes’ philosophies and moral imperatives. It seeks to address a question Millar asked when he was a kid reading comics.

“Why doesn’t Superman solve the world’s problems?” he recalls thinking. “Why didn’t he interfere and stop wars from even existing?… Is it ethically wrong to stand aside and just maintain the status quo, especially when the status quo creates so many problems for a lot of people?”

On one side of the debate, Utopian believes interfering too much with society’s trajectory is a bad move. It’s not that he is cynical; quite the opposite. He thinks things are actually improving in the world. His viewpoint is there are less people hungry across the globe than ever before, and less people with disease. Millar describes Utopian as a “Truth, Justice, and the American Way” kind of hero, to borrow a phrase associated with Superman, and believes capitalism works. As his hero name suggests, Utopian thinks a better world is within reach, even if it takes generations, and encourages even the heroes to be patient and trust people to do the right thing because they are innately good.

“He says, if you look at the difference somebody like Bill Gates has made in Africa—just one guy—if you look at capitalism taken to the Nth degree, then it pulls everybody up, and poverty in places like India, is massively better just compared to a generation ago.”

Besides, as Utopian says to his impatient brother Walter/Brainwave, in Jupiter’s Legacy #1, being a caped hero doesn’t make them economists and, “Just because you can fly doesn’t mean you know how to balance a budget.” Plus, the notion of using psychic powers or brute force to simply make the world “better” is out of the question. Or is it?

The mainstream awareness of superheroes baked in from more than 80 years of stories, and the shorthand that especially comes with 13 years of the Marvel Cinematic Universe commercial juggernaut, has provided Millar with a set of archetypes to lean into. It was true of the hero proxies in the Jupiter’s Legacy books, and he says it’s true of the show. In fact, he says audiences are so sophisticated with regards to these types of characters they’ll be able to immediately slip into his universe, and that “a lot of the hard work has been done for us.” He adds that audience literacy with superhero tropes also provided him something to push against.

“The Marvel characters lock these guys up in prison at the end of these movies,” Millar says. “Everything’s tied up neatly with a bow, the rich are still the rich, the poor are still starving, and the superheroes aren’t really doing anything for the common man in any very global sense. These guys have just had enough of that.”

Millar’s comics technically kick off in 1932, when Sheldon first brings his friends on a journey to The Island, but his story goes back to 1929 when the stock market crashed, and the Great Depression began. This is likewise when the Netflix series will begin, and Millar says it’s because of the historic parallels between then and 2021.

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“We’ve been in a similar situation as we are now: there’s impending financial collapse coming out of a global pandemic,” he says. “The idea is that history continues and repeats itself, and people make the same mistakes over and over again, and the superheroes are saying, ‘Let’s actually fix everything.’”

Continuing the theme of parallels, when discussing the inception of Jupiter’s Legacy with Millar, The Godfather Part II comes up more than once because of the film’s dual storylines following Vito Corleone and son Michael, separated by decades. However, while the comics contain some flashbacks, the plot doesn’t unfold across different time periods simultaneously. But the Netflix series will shift between eras, with half of the show during the season taking place in 1929, for which Millar credits Steven S. DeKnight, who developed the series.

“The way Steven structured it was really brilliant, because I saw these taking place over two [different] years,” Millar says. “[But] The Godfather Part II track shows you the father and the son at the same age and juxtaposes their two lives.”

As a result, he says the series is a visual mash-up of genres that’s both classical and futuristic.

“It just feels like a beautiful period movie, then when it gets cosmic, and it gets to the superhero stuff, it’s a double wow… it’s like seeing Once Upon a Time in America suddenly directed by Stanley Kubrick doing 2001.”

This is a notable advantage to bringing the story to television, as opposed to making Jupiter’s Legacy three two-hour films as he originally planned with producer Lorenzo di Bonaventura in 2015. Millar says that to tell the Jupiter’s Legacy story properly on screen would require 40 hours, and with a series, what would have been a one-minute flashback in a movie can now be revealed in two hours of its own.

It was another director who has since made a name adapting ambitious comic book properties that extolled to Millar the benefits of television: James Gunn. When Gunn (Guardians of the Galaxy, The Suicide Squad) had a chat with Millar about the project, Gunn said it could never be done as a movie. “The smartest guy in the world is James Gunn,” Millar says.

An exciting challenge of adapting his work for television is that the series will expand on the backstories and concepts of the books. For example when Sheldon Sampson and his friends head to The Island in the first issue, it takes up six pages. Within the series, half of the first season is that journey, and what happens when they arrive.

“Six issues of a graphic novel are roughly about an hour and 10 minutes of a movie; for something like an eight-part drama on TV, you really have to flesh it out,” he says. “It just goes a little deeper than what I had maybe two panels do.”

He emphasizes, however, that these flourishes won’t contradict the comics. Though he sold Millarworld to Netflix, he remains president so he can maintain control of his creations.

Overall the series has made the writer realize the value of television, and while a second season has not yet been confirmed, he’s already thinking about a third and fourth, and how it will dovetail with the upcoming Requiem. The story that began in 1929 continued through 2021, and collected in four volumes, will soon continue far into the future in the concluding two volumes.

“We saw the parents, then we have the present, and then we see their children in the next storyline,” he says. “That storyline goes way off into the future where we discover everything about humanity, superheroes, all these things. It’s a big, grand, high-concept, sci-fi thing beyond that.”

Listening to the jovial Millar discuss the scope of his Jupiter universe, which is imbued with optimism, one might not think this is the same person known for employing graphic violence in his works.

He thinks his films especially are violent yet hopeful, and fun. Kingsman is a rags-to-riches story, and “you feel great at the end of Kick-Ass, even though you’ve seen 200 people knifed in the face.” But he doesn’t consider his writing to fit under the dark-and-gritty label, and he’s not interested in angst, which he finds dull. With Jupiter’s Legacy, the comic and the show, he views the tone as complex but not “overtly dark.”

Additionally, Millar says he thinks society needs hopeful characters such as Captain America, Superman, and yes, The Utopian in 2021—as opposed to an ongoing genre trend of heroes drowning in pathos.

“The Superman-type characters are just now something from a pop culture, societal point of view, we need more than ever,” he says. “The last thing you want is seeing the world as dark, as something that makes you feel bad. Never forget Superman was created just before World War II in the midst of the economic depression by two Jewish kids who were just scraping a living together… I just think it’s so important when things are tough to have a character like that that makes you feel good.”

Even though Utopian suffers for his idealism in the comic, Millar says his ideas are passed on. This is The Utopian’s legacy.

“Ultimately, he wins if you think about it,” ponders Millar.

After a successful career spent creating characters and re-shaping superheroes with 80 years of history, the new pantheon of Jupiter’s Legacy may become one of the defining and lasting features of Mark Millar’s own legacy.

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Jupiter’s Legacy premieres on Netflix on May 7. Read more about the series in our special edition magazine!

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