![]() ![]() That said whenever there was a hole in the script of oh we need something to happen here and we’re not exactly sure what I did end up going back to the book a few times and adapting specific panels that don’t necessarily even have any text over them. So I just dove in with all of my skills, knowing that Lauren wrote a script for me to make, and not necessarily something that had to exactly be what Alex Ross did on the page. She worked really closely with the writer of the graphic novel, Kurt Busiek, to sort of make sure that the transition was smooth. So we have a long experience working together and talking to each other and collaborating and she has a sense of what she can write that will allow me to create a fully realized world. I’ve been making a show that she created called The Bright Sessions and The AM Archives. I have a lot of experience working with the writer of the show, Lauren Shippen. This is easily the biggest thing I’ve done in my entire career, so to come in and have be like “OK, we’re making an Alex Ross graphic novel but we’re taking all the visuals out of it,” and to replace that, was a big task. What an excellent question and what an intimidating prospect. How do you take away that incredible imagery and still make it pop? To still make it feel real? Stanton spoke with SYFY WIRE about adapting a comic into an audio medium, the secrets to realistic web-slinging, and the most iconic sound in all of comics.Īs a sound designer, what are the big challenges in adapting such a visual medium to a purely sonic one? Especially with Marvels, since it was illustrated by Alex Ross, a legendary hyper-realistic painter (he also did Kingdom Come on the DC side). I went rummaging through my kitchen and I borrowed my fiancé’s cake pans and shoved them into a cardboard box and they were pretty good ” “I don’t have film reels and I don’t know if I’ve ever touched a film reel. ![]() It takes place in the ‘60s,” Stanton explains. “In the Marvels podcast, there’s a moment where they’re looking through a cardboard box full of old film reels. Sometimes, though, they needed to act more like a foley artist, creating the sounds whole cloth. Stanton, like any good sound designer, has a huge library of sounds that they can pick from, layering parts of their collection together to create the hustle and bustle of a city. ![]() Meanwhile, in the real world, it was up to Stanton to create the sounds of New York City under supervillain siege. When Galactus attacks New York City in the 1960s, it’s up to the Fantastic Four to defeat the World-Eater, and it’s up to a group of non-powered reporters and photographers to figure out what happened. The series is an adaptation of the seminal 1994 graphic novel of the same name - specifically one part of the sprawling story, which offers a ground-level look at Marvel’s classic heroes. “I create worlds within sound,” Mischa Stanton, the sound designer for Marvel and Stitcher's Marvels podcast, which is now streaming everywhere podcasts are found, tells SYFY WIRE. But what about a podcast? In an audio-only media, how do you give listeners that comic book experience without any visuals? Adapting a comic book into a movie makes sense - you can add movement and sound to those visuals. They tell incredible, imaginative stories using nothing but the written word and still images, yet those pages of panels come alive in readers’ heads. ![]()
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