Writer Dustin Spino
What was the biggest opportunity—and the biggest challenge—in moving the setting of the series all the way to Japan?
The idea wasn’t entirely too complex because the series had evolved between several different writers in the previous iteration, after I had handed it off. This, like most of Tribe’s creations, had created many different variables that were all hard to keep in line. Moving Tiger to Japan let me soft reboot the series, but also introduce entirely new characters that I can now develop from the ground up.
Of course this comes with the complexity of basically rebuilding Tiger’s universe from scratch, and developing 4 new characters.
How does the Japan School of Oceanography setting influence the core themes of the story, especially regarding marine life and conservation?
This aspect of Tiger Barb is the whole reason I wanted to be on the project many years ago. Tiger Barb at his very core loves sea life, and animals, and would do anything to protect them. So the idea that Tiger Barb will be learning about doing that in a more authentic way, besides being an actual superhero, is perfect for him. I think he will fall in love with the concept.
The campaign mentions influences from video games and old-school comics. How did you blend these different elements into a cohesive narrative structure?
Video games and comics share a unique connection, with both mediums often featuring extensive, decades-long narratives. The decision to incorporate elements from video games was driven by a desire to engage a gaming-savvy audience, while simultaneously delivering a straightforward superhero narrative inspired by these influences.
Is the conflict in Japan a global threat or is it a more personal challenge for Tiger Barb?
The events are going to be very centralized to the world around Barb, mainly because any larger events tend to impact other books in the Tribe Universe. However Barb’s adventure won’t be so straightforward, good vs bad will have a very thin line.
Which character, besides Tiger Barb, were you most excited to write for in this new context?
I was incredibly excited to write the Zip / Zap twins. They are energetic and charismatic. They also allow me to add jokes in otherwise tense situations. I loved writing them the entire issue. I think Mech Girl and Dr. Coral are developing into some more in-depth characters that will be interesting down the line.
We hear about the bonus comic, The Armadillo Bros.—how does that tie into the larger world and mission of Tribe Studio Comics?
I do believe it’s important to note Tiger Barb is just step one in the new “core” plan of Tribe. Our goal is to get these books off to the races so we can utilize them to fund future creators with their own ideas. The Armadillo Bros will be our next adventure, and while not exactly in the same “world” as Tiger Barb, they are incredibly fun to write.
Colorist and Letterer Joe Flores
How did the decision to set the story in Japan influence your color palette choices compared to previous books?
The color palette I was going for was to be more vibrant than last appearances. Knowing that Japan has a colorful look is what motivated me.
How do you use color to visually represent the distinct personalities and powers of the new characters, like Mech Girl and the Zip/Zap twins?
The technical aspects of these characters I knew the zip/zap twins needed contrasting colors because they are separate but connected characters. Mech Girl was the most difficult cause of her makeshift color scheme being spray painted on. Given how she has attention span issues being a techie and has multiple problems to deal with, she was in a hurry to decide on a color scheme. I tried to keep these all in mind for all these heroes and secondary cast.
What is the most technically challenging thing about coloring a book with this much action and water imagery?
The difficulties of coloring water is in the different hues in it. Trying to convey water without looking too cartoony is always a challenge. The action scenes were also fun to let loose on so many explosions and different power sets.
When coloring a character like Dr. Coral, how do you balance the grotesque reality of the coral disease with his role as an academic figure?
On Dr. Coral, I attempted to color him in a rocky palette but it came out too muddy. My next attempt was a more crystalized look with a blue green tone. I tried to show the facets of how the coral infection is affecting him. Keeping that real looking coral apart from his regular clothes was remembering what academics usually are known to wear. Browns and dark slacks were what was used. I hope to expand on the infection in later issues.
Artist Michael C. Spell
How did you approach revamping the look of the series for “Tiger Barb Goes to Japan”?
I tried to honor the source material that was created by the late Scott Shehi. While trying to bring a new fresh look I wanted to make sure it was Suttle.
Can you walk us through your favorite panel or splash page from this issue? What were you trying to achieve with that specific piece of art?
It’s always hard to pick, but I would say the cover. I enjoyed bringing everyone together in one picture. I was hoping to convey the urgency of their situation.
What was your thought process behind designing the new heroes, Mech Girl and the Zip/Zap twins?
The design process for the new characters was really trying to blend them into the existing universe. Once again trying to honor a 30 plus year legacy.
Which character, old or new, was the most fun to draw and why?
They were all new and exciting for sure. However; never drawing mech armor before. I would have to lean towards Mech Girl.
👉 Back the campaign now to support the team: https://www.fundmycomic.com/campaign/811/tiger-barb-goes-to-japan?fbclid=IwY2xjawNopL1leHRuA2FlbQIxMABicmlkETF1SmI5Q0tpSjZQVnYzNnVMAR4x42H-qwZCUHbssEk9kwCYsMCEkxR8zOUaGVn1EBO9FFseaOHmIYqpdgt-WQ_aem_IScB__5tuJ3RuxStWMqbYw
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