Page 66 - Star Wars Insider #176

COMICS: CAPTAIN PHASMA

the characters immediately. At the
same time, you have to fi lter the
likenesses through your style. The
right balance of these two things
allows you to create a good Star
Wars comic book.
Kelly, you’ve written original
works like Storykiller and The
Girl Who Would Be King, and
licensed comics including
Mighty Morphin’ Power Rangers.
How has your experience fed
into Captain Phasma?
KT: I’ve definitely gotten a bit of

a reputation for writing complex
women in comics, and Phasma is
definitely complex. But in all other

ways she’s different from most of
my other licensed work, in that
she’s much darker, more serious,
and completely laconic. My
“voice” in comics has relied a lot
on sense of humor and tone, so
this was a total departure and the 04
challenge really excited me.
Phasma is a woman of action, not
words, and that was a tough line survive at all costs, and that often certainly going to try my hardest
to walk. But fortunately I had great includes picking the side that she to work with Marco again.
partners in Marco and our colorist, believes is the strongest. It also
Andres Mossa, so I was able to means that everyone who’s not MC: I always try to stay very near
trust them to help me get Phasma her is vulnerable. She’s a very to what I read in the script, and
right, even with far fewer words dangerous and powerful woman when I can have fun then it’s all
than I’m used to. to be around. easier to draw. The story was so
intriguing and Kelly’s script was
Did you focus on any particular Marco, you live in Italy, and so well written that it drew itself.
themes in the comic? Kelly you’re based in Portland, She has a great taste for spectacular
KT: Survival. Phasma is all about Oregon. How do the pair of scenes and knows exactly when
survival and doing whatever it you collaborate? the artist needs space to open the
takes to make sure that she’s the KT: Seamlessly! I loved working scene. I hope to work with her
last one standing. She doesn’t fi t with Marco and was very familiar again in the future, too!
neatly into the First Order’s with his work before we started.
traditional themes, which I think I had a pretty good idea about the Much of Phasma’s attitude comes
makes her an even more kind of things he was interested in from her armor, but it’s hardly
interesting character. She’s a illustrating: those big epic set expressive. How did that
chameleon. Unlike a lot of other pieces and moments that make infl uence the storytelling?
Imperial and First Order characters, you go “Whoa!” I tried to lean into MC: Depicting her character
she’s a villain not so much because that as much as possible, to give through her armor was the hardest

of her belief in their ideology, but him room for those eye-popping part of the job at first. The armor is
simply because she’s a survivor. moments that readers love. very beautiful, but also a bit stiff.
She’s fascinating because she will Because Phasma is light on I wanted Phasma to be fl uent in
dialogue, I wrote pretty tightly to the movements but I did not want
make sure we got the story beats to turn her armor into a superhero
“She’s a very dangerous we needed, and Marco kept pretty costume. Andres Mossa and I
and powerful woman close to the script. But I think we studied ways to make the chrome
were in great sync from day one,
realistic but not too heavy on the
to be around.” particularly about what we eye. He did a great job. It was a big
thought was so cool and engaging challenge and I hope readers will
Kelly Thompson about Phasma and her story. I’m like the fi nal result.

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