Earlier this year, writer and editor Pornsak Pichetshot announced The Horizon Experiment, a five-part one-shot series in which Pichetshot will collaborate with A-list comics artists and writers from television, literature, and film. Each book will feature “original protagonists inspired by pop culture icons and marginalized backgrounds in popular genres.” The project is off to a bang with The Horizon Experiment: The Manchurian #1.
Created by Pichechot in collaboration with artists Terry and Rachel Dodson and letterer Jeff Powell, The Manchurian follows Calvin, a Chinese James Bond who carries out covert missions in America for the enemy. But there’s far fewer volcano lairs and laser watches and far more emotion and intrigue. The Manchurian explores global politics and interpersonal tensions with appropriate depth and finesse. Sure, there’s some slick action and plenty of backroom dealings (complete with clever code conversations), but The Manchurian is a story about how we live in an ever-changing, highly complex world where truth and lies mingle.
The Manchurian is out now from Image Comics, and to better understand the story behind the espionage action, we asked Pichechot and Terry Dodson a few not-so-secret questions about their interest in the espionage genre, their relationship with the main character, Calvin, the political elements of the story, and their influences and inspirations.
Alternative cover by Tula Lotay, courtesy of Image Comics.
AIPT: What is it about spy stories that personally appeals to you?
Pornsak Pichetshote: In general, spy novels have cool action and cool settings, and they explore the workings of a complex, two-sided world. And I love the twists and turns. But in this case, I was really intrigued by Chinese espionage. Specifically, their “thousand grains of sand” approach, which is that instead of one person illegally stealing secret information, an army gets the information legally bit by bit, and all the pieces add up to more than one person could steal illegally. It’s the power of the collective, and it’s a philosophy that’s at the heart of Eastern culture.
Horizon Experiment: The Manchurian follows a superspy who acts as a “fixer” tasked with helping citizen spies who may find themselves in situations that are out of his control. That means his job is to help good people, even if they are doing something against American interests (the Chinese only hire good, honest people who want to contribute to the prosperity of their country; they feel dishonest people cannot be trusted). This felt like a fun way to tell a story of disillusionment (a central theme in many spy stories) while inverting the espionage trope: characters who join for the cause only to discover that nothing is as noble as it seems.
Terry Dodson: I grew up watching James Bond films and have loved action and adventure since I was a child. I still love action and intrigue, but the combination of international locations and characters, contemporary fashion, and stylish lighting and design is what appeals to me as a creative. On a somewhat related note, I loved what Pornsak did with The Good Asian and am thrilled to be working with him on this new project.
Courtesy of Image Comics.
AIPT: Since this is your first book, do you feel any obligation to set the direction for Horizon Experiment’s other titles?
PP: Oh, of course. Luckily, with Terry writing it, I knew it would be great. And it was. I think together we created a great story that has its own place, that is thrilling and moving. I really grew to like the main character and his complex character.
TD: I feel like I’ve published enough work that this is a normal level of expectation for me. I have to give my best in whatever I do, and knowing that this is the first in a series makes it even more so. I guess I put pressure on myself because it’s “my book.”
AIPT: Were you afraid of getting too politicized by the presence of Chinese spies in the US? Or, more precisely, how did you develop such a special and relevant approach?
PP: To be honest, this is a challenge I’ve always faced with the image series I’ve done. There’s always the worry that a news article will suddenly pop up and make the whole project irrelevant or in bad taste. I believe that with The Manchurian in particular, our class comes from creating a larger-than-life setting while still being grounded in reality. This is no more an accurate representation of what Chinese espionage is today than James Bond is an accurate representation of MI:6. What the book really addresses is the power of community, the various forms of American disillusionment, and the threat of the corporate world. But I hope to package these ideas in a different way than people are used to seeing them.
TD: To be honest, that was the selling point for me. I’ve always liked the outsider’s perspective, the normalization of the unusual, the cutting edge and the unexplored.
Courtesy of Image Comics.
AIPT: Similar to your last question, I felt like this story spoke to, among other things, real cultural differences in approach and perception of life and important issues. Is there any truth in it?
PP: 100%. Having grown up in both America and Asia, these clashes of cultures, and the conflicts that come with them, are both fascinating and heartbreaking for me. On a personal level, my father’s generation sacrificed their own pleasures for the comfort of their family, and I was raised being told that my children would make the same sacrifices when they reached adulthood. But, of course, here in America, we believe in and glorify individual free will. So, growing up, I felt torn and pulled between loyalty and free will. In many ways, The Manchurian is my exploration of those feelings.
TD: I think Pornsack tells a story that challenges the conventions of spy movies.
AIPT: Are there any spy films that are directly referenced here or that influenced the core story, particularly those with a Chinese or Asian backdrop?
PP: Most of the Chinese spy movies I know are period dramas or military stories, but there is a non-fiction book called Tiger Trap: America’s Secret Spy War with China, where I learned about the “thousand grains of sand” spy model that much of The Manchurian is based on. From there I was influenced by many spy stories, from James Bond to The Bourne Identity, Mission: Impossible, Tinker, Tailor, Soldier, Spy, The Americans, Slow Horses, and also old cop dramas like The Equalizer.
TD: I think Pornsack and I have a lot of shared influences in the Western spy genre, but everything else in the Chinese espionage world was new and fun to explore.
AIPT: There’s a lot of humanity in this story and it doesn’t feel cheesy or forced like other spy stories (cough cough) – is this a great story that happens to be a spy thriller?
PP: Well, I truly hope so, but I know I’m biased…
Courtesy of Image Comics.
TD: That’s exactly why I really enjoyed illustrating this book – it was such a big challenge for me as an artist because there’s so much human element and acting and direction and all that stuff.
AIPT: What did you find really interesting about taking on Manshoo’s perspective, and how does this differ from similar spy thrillers?
PP: In a way, it’s common for spies to help other spies. But I would argue that it’s not Munsch’s role itself that’s unique, but the people that Munsch plays the role of helping. Chinese spies don’t believe in relying on dishonest people they can’t trust for their espionage. After all, why would they ask dishonest people for help? They want good, honest people who are interested in contributing to China’s prosperity. To me, that’s where this story gets interesting. Someone who helps good people is a superhero after all, right? However, this superhero helps people who are against American interests. At least, he helps people who are against American corporate interests. Maybe that’s what makes him a hero…? I mean, it’s a fun way to explore someone who would cheat to help good people, but other good people might not think that way… To me, it felt like a fun way to play with the already twisty nature of spy stories.
AIPT: Do you feel any connection with Calvin? Is he someone you can look up to despite his lifestyle and job?
PP: That’s a very interesting question. There’s a lot I can relate to: his worship of the strength of community; his questioning of what place “being good” has in society. But what really interests me about him is how much this man who has to lie so much ends up lying to himself. And how deep it goes. I hope it’s not that bad.
TD: His humanity makes him very relatable, and his “spy” skills make him fascinating.
AIPT: Mr. Pornsak, do you consider this film a spiritual sequel or successor to The Good Asian?
PP: I wouldn’t call it a spiritual sequel, but one aspect that definitely came from The Good Asian is that that book also explored a half-Japanese perspective (a perspective that’s common in the U.S. but doesn’t get talked about as much). But the half-Japanese characters in The Good Asian were very dark and complex, and therefore didn’t show some of their more nuanced traits. The Manchurian strikes a balance between those things to some extent, and I’d love to explore those themes and unique perspectives more in a modern setting.
Courtesy of Image Comics.
AIPT: What are the visual considerations and essential elements in a spy story like this?
PP: I think Terry has more ideas than I do, but I just wanted to see him in a suit.
TD: I know it was important to establish a strong color palette to set the scene and mood. The use of lots of cut shots was important to create a spy feel. I needed the tropes of “beautiful people” and “places” for a spy story, so it was fun to play around with that.
AIPT: Would you like to continue The Manchurian, and if so, what kind of story do you think it will result in?
PP: Oh, I’d love to do more. I’m looking forward to exploring further the types of people Calvin has to help, and then we’ll find a way to explore the different reasons why people are disillusioned with America and the corporate priorities that seem to be corroding the country. That means we can also explore the corporations that try to stop him, while also raising the stakes. Terry and I have said that this book is our Casino Royale, and that the next one will be something akin to Goldfinger.
TD: Yes, I’d like to continue because this was really just a preparatory story, an introduction to set the stage for a larger spy story.
Courtesy of Image Comics.
AIPT: This story (and apparently the whole of Horizon) is about disillusionment. Does that mean we also play a role in becoming disillusioned with these organizations, people, ideas, etc.? Calvin is well aware, but still acts according to the pattern.
PP: This story is about disillusionment. I don’t know if that’s the case throughout Horizon, but some of the stories feature that as a theme. Personally, I think Horizon is a story about possibility and the different places it can be located. But certainly, I think the role that Calvin plays in his own denial and self-justification, and by extension the role that we all play, is a very worthwhile question to ask.
AIPT: Is there anything else we should know about the story, Horizon, comics, life, etc.?
PP: Well, Horizon is the only one I can personally be an authority on, so I would say, if you’re interested in The Manchurian or any Horizon one-shots, tell your store to keep a copy for you. These comics will likely sell out quickly, so tell your store you want them!
TD: Horizon offers an incredible opportunity for readers to dive into a wide range of new stories and ideas from an incredibly diverse group of talent.
