Last year, the popular 80s and 90s cartoons made a comeback and branched out into the realm of comics. That list includes Roboforce and Biker Mice from Mars (at Oni Press), and Thundercats from Dynamite (and its spinoff Cheetara). And now, that list is about to grow with beloved but slightly niche ’80s gems thanks to the brand new SilverHawks series.
This latest Silverhawks title is helmed by writer Ed Brisson and artist George Cambadice and represents the first such comic book series in nearly 40 years. The duo of Brisson and Cambadice operate as per the original manga, with Commander Stargazer once again recruiting a new team (including Steelheart, Hotwing, and Steelwill) to take down the brutal crime syndicate Monster.
Along the way, this new Silverhawks series explores the team and its various dynamics within the “setting” of a police procedural, delivering big action and greater humanity. However, whatever its connection to the previous series, this SilverHawks delivers nostalgia and freshness all at once.
SilverHawks #1 debuts from Dynamite on January 29th. (FOC is scheduled for Monday, January 6th.) Ahead of the release, Brisson was kind enough to answer SilverHawks’ really important questions via email. This includes procedural “storylines” such as canvassing, working with outstanding team members, and his own creative approach to the book.
Main cover by Lucio Parrillo. Courtesy of Dynamite.
AIPT: What was your involvement/relationship with the Silver Hawks show before you got this call? Was it your favorite as a kid?
Ed Brisson: I grew up a comic book fan, collecting toys and following the comic book series released by Marvel in the 1980s. I’ve been a fan ever since I first saw the ThunderCats/SilverHawks double bill on after-school TV.
As soon as I heard that Dynamite was launching ThunderCats, I started spreading the word about my interest in SilverHawks to everyone I could, everywhere I could.
AIPT: You also recently worked on ThunderCats: Apex. Did you bring anything from that process or experience to SilverHawks?
EB: Not really. These are two very different books, even if they exist within the same wider Rankin-Bass universe. Because Apex was the story of one castaway, we didn’t have to worry about playing seven main characters and making sure each had their moment to shine. Apex is more of a fantasy, but with a western feel to it. SilverHawks, on the other hand, feels much larger in scope. As opposed to one man on a personal mission, we face an intergalactic threat.
One of the things I learned from this work was the idea of going back into the world and taking underused characters and giving them a little bit of a spotlight. It’s more of an homage to the world we live in than an Easter egg.
AIPT: The book is said to take an “original procedural approach.” Could you please explain in a little more detail what that means? Is this a different kind of police procedural than what we’re used to? Silver Hawks always struck me as a “space detective.” How did you approach the premise and try to make it more interesting or update it in some way?
EB: Our motto is “Untouchables of the Universe,” which is very consistent with what the comic series is about. The Silver Hawks are a special force assembled to defeat the intergalactic gang Monster.
Variant cover by James Stokoe. Courtesy of Dynamite.
In terms of influence and approach, we’re staying true to what’s already established in comics, while also focusing on a wide range of films such as Homicide: Life on the Streets, RoboCop, and The Ultimates. I’m taking inspiration from. By “out-of-the-box procedural” I mean we’re taking a more procedural approach to big sci-fi stories. Silverhawk is more or less a space police force, and we want this book to have that feel. Sure, they’re fighting massive galactic threats, but they’re also working hard to actively stop these threats from harming the people of Vedlam.
This step becomes increasingly important as you move into Chapter 2, as new threats begin to emerge. But I can’t say more about that at this point.
AIPT: You also seem to be delving into the backgrounds and backstories of some people and even the larger events of this universe. Are there any issues with adding to existing norms, or is there just general uncertainty?
EB: A lot of the characters in the comics didn’t have a lot of backstory. The series was mostly a done set-up, with the status quo reset at the end of every episode. So I wanted to build the team over time so that I could grow the characters more than ever and give readers a deeper understanding of who they are and what Mon* is like. I did. Star has influenced their lives and why they agreed to sign with the Silver Hawks. The personal, down-to-earth moments with the characters are a lot of fun to develop, and they help draw in readers who aren’t familiar with SilverHawks, as well as engage readers who grew up with SilverHawks. I think so.
I think there are a lot of problems that some creators run into when adding to existing canon or lore, but generally it’s when things are being reworked from the ground up, or old lore favors new. This becomes a problem when it is abandoned. I think this is an approach that works well in some cases, but in other cases you risk losing what made the concept special in the first place.
We’re staying true to what was established in the comics and just digging deeper into it. What was Jonathan Quick’s time like as a lieutenant in Interplanetary Force 8? What did Blue Grass do between becoming a pilot and joining the Silver Hawks? What about Hot Wings? Copper Kid? Steelheart and Steel Will? We take a look at it, ground these characters, and explore who they are and why they decided to become Silver Hawk. We are working over time to make it feel more realistic. That’s what I’m interested in. What are their motives, what are they fighting for, etc. If you can establish that, if you can connect your readers to that, then everything that happens after that – every fight, every victory, every loss – will become more important. This is going to be important in a way if we don’t investigate who these people are.
Variant cover by Mannix Abrera. Provided by Dynamite.
AIPT: Speaking of ThunderCats, Dynamite is popular for its retro-themed titles similar to that title. Does that buzz and popularity put stress or pressure on a title like SilverHawks?
EB: Yeah, there’s no pressure at all to compete with Dynamite’s biggest selling title of all time. none. That’s all cool. *wipes sweat from forehead*
AIPT: What was the process of collaborating with George Cambadice? His style is very energetic and lively, and I feel like it’s almost perfect for this title.
EB: I’ve wanted to work with George for a long time. It was simply a matter of aligning the stars.
He has a distinctive style, and his line drawings have a sharp, vibrant, and vibrant quality that fits perfectly into this highly adventurous and sophisticated futuristic world of Silver Hawks. , while at the same time being grounded enough to capture the key emotional moments of the story. I’m telling you. It’s something really special.
George and I have talked many times about how to bring Silver Hawks to a more modern audience without losing the comic’s appeal. One look at the pages shows that George understands, at a molecular level, what a Silverhawks book needs. I couldn’t have asked for a better partner.
AIPT: Someone commented that many of the 80’s dramas (not just this one, but also Transformers, Care Bears, GI Joe, etc.) helped inspire the morals and values of an entire generation. Are you trying to carry that point forward into your comics?
EB: No.
I think there was a burden on these comics to shoehorn a message into them (usually as an epilogue at the end of an episode) to justify that they weren’t just trying to sell toys to kids. It’s nothing to worry about. No need to make excuses or appease a group of parents. We are free to tell any story we want.
Audiences are more mature than they were back then and don’t want to be spoon-fed messages about being kind or not littering. They want more complex storytelling. I’m just interested in telling morally complex stories, rather than black and white good and bad stories.
Variant cover by Gerardo Borges. Provided by Dynamite.
AIPT: Are books like this just to stimulate nostalgia, or do they have some other meaning? How can they make people stay beyond the initial shock of memory?
EB: Nostalgic appeal is undeniable, but books that don’t bring something new won’t last long. Nostalgia is what gets you in the door. A great story, engaging characters, and a deeply explored and expanded world are how we keep you entertained.
AIPT: Is there anyone on the team that stands out to you or that you particularly like?
EB:: At first, Bluegrass and Hotwing were my favorites, but as I got deeper into the writing process, Stargazer and Condor turned out to be my unexpected favorites. These experienced officers persevered through the most difficult times in Bedlam, and their efforts brought about a long period of peace. Because of that, there is an entire generation that never had to suffer under the monster’s rule as Limbo’s undisputed crime lord. Now that Monster is on the run and trying to make up for his 100-year sentence, Stargazer and Condor are the only two who can fully understand the challenges that lie ahead, and they have responsibilities that the other characters don’t yet understand. carries the weight of experience.
But if you ask me next week, my answer might be completely different. It often depends on who I’m writing at the time, but I just finished writing a lot of scenes with these two.
AIPT: How do you think your writing style and general approach differs between a creator-owned title and something like this book?
EB: Not really. The only real difference is that if it’s licensed or for hire, I have to convince not only myself and the rest of the creative team, but also editors, publishers, ricers, etc. If it’s creator-owned, the problem is just me. And an artist.
The only real differences in terms of the writing itself are boundaries, expectations, and guardrails. With licensed properties, you’re playing in someone else’s sandbox, but you have to keep in mind that when you’re done playing, other people are also playing in that same sandbox. You have to leave things where they can play. No one else will touch our toy if it belongs to the creator. When the artist and I are finished, the sandbox is closed. It’s free. That being said, working within an existing universe can feel the same way. There’s always the challenge of leaving a lasting mark when the next person comes to play in that sandbox, rather than just picking up the original toy. They’re grabbing some of the toys you and your creative team made and left behind.
Variant cover by Declan Shalvey. Provided by Dynamite.
There are many stories about sand and toys.
AIPT: Is there anything else you would like to say about Silverhawks, 80s cartoons, comics, art, space travel, life, etc.?
EB: Well, I have to mention the killer variant cover artist on the first issue. We have some great covers from Declan Shalvey, Lucio Parrillo, Jae Lee, James Stkoe, Geraldo Borges, Lesley “Leirix” Li, Mannix, David Cousens, and several other surprise guests.
Don’t forget to pre-order! This is the first Silverhawks comic in about 40 years. I missed them. And I hope we can continue their adventures for a long time.
