SAMSON: I personally really like the show, so if the comics make people want to give the show a go, that’s great. I just do my best and hope that people will like it!ĭo either of you think Critical Role, the comic, could act as an entry point to Critical Role, the show, and gaming in general? Or, for that matter, vice versa - that fans of the show might find it a way to get into comics? Is that something that you think about when creating these stories, or is it too distracting from the process of just making a good comic? SAMSON: My job is pretty much the same, still. What - if anything - is different when it comes to working with Jody? Did you feel any additional pressure this time around, as the Critical Role veteran of the creative team (to maintain continuity with what had come before, if nothing else) ? You worked on the first series, which was released digitally, with Matthews Mercer and Colville. It helps somewhat, to be able to see how the team act out their characters, but that also puts a bit of pressure on me to get them right, which I hope I do. SAMSON: It doesn’t make it harder, but I wouldn’t say it makes it easier, either. Olivia, what is it like bringing the characters to life on the page? Because of the format of Critical Role as a web series, there’s so much material to draw on in terms of performances, but is it easy extracting Grog Strongjaw from Travis Willingham, Vax’ildan from Liam O’Brien, and so on? Do the shows make it easier - or harder- to illustrate Critical Role as a comic?
I think all of these elements are in the comic. SAMSON: To me, the core appeal of Critical Role has always been the characters and story, and to some extent, the setting. If people can hear the voices of the characters in their heads when they read the dialogue I wrote, then the comic is doing what we want it to. HOUSER: It always comes down to character for me. How do you maintain the core appeal of Critical Role when it comes to recreating it as a comic? It’s a collaborative process.įor all the similarities in terms of storytelling between gaming and comics, they’re clearly very different media with very different needs. They do give notes on each issue to make sure character voices/details and other elements such as the way spells work are consistent. HOUSER: Yes, I have an outline from the Critical Role folks. You mentioned that the facts are established, which makes me wonder: What’s the process like, creating these stories? Are you working from an outline provided by the Critical Role team, or having to run plot synopses past them for authenticity and continuity as you write? One of the benefits of working with a part of the story that hasn’t been told yet is that we get to shape it in a way that works best specifically for the comics medium. HOUSER: The fact that the characters and events were established, but not necessarily for the audience of Critters, made it a very interesting book to work on.
#Vox machina origins comic series#
Jody, what is it like, stepping into this series for the second volume? I know that you’re familiar with Critical Role as a series, and have played with Matt, but was telling the early incarnation of characters so established elsewhere a daunting task? You have quite the experience on licensed work, after all… Heat Vision talked to both creators about the series’ origins and how they translated an online gaming experience into a comic book. Vox Machina Origins II, meanwhile, sees the team search for their missing member, Grog Strongjaw - only to discover more about his hidden history in the process. Houser is known for her work on Doctor Who: The Thirteenth Doctor, Mother Panic, Star Wars: TIE Fighter, while Samson illustrated the original Vox Machina Origins comic, which had been serialized digitally before receiving a print collection that series, written by Matthew Colville and Critical Role Dungeon Master Matthew Mercer, told the story of the formation of the Vox Machina group. The new comic series, published by Dark Horse Comics, launches this week and sees fan-favorite writer Jody Houser team with artist Olivia Samson. Sony Pictures' Quarterly Profit Climbs to $394M
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