An Interview with Jason Loo

You’re currently working on Hulk Not Smash: Practice Mindfulness the Mighty Marvel Way. Can you tell us more about this project and how it came about?

Hulk Not Smash was put together by our extraordinary writer Amy Ratcliffe and the good folks at Chronicle Books. When they came to Marvel to look for an illustrator, I think it was my work on Marvel Meow and Lucky the Pizza Dog that got me the gig. This book teaches people about self-care and mindfulness through examples of Marvel’s fan-favorite characters, with exercises to practice ourselves. Readers will learn to not judge a book by its cover and keep an open mind like Beast, learn to face your fears with Daredevil, be in the present with Kitty Pryde, and so much more!

How would you say the concept of mindfulness fits into comics core values, especially when some readers pick up monthly issues to see fight scenes and punches on panels?

I think readers really need to read the story around the fight scenes. What I love about every Marvel character is they each have their own flaws and struggles that can resonate with a lot of fans. It’s not about punching harder to win a fight. Fights can be a metaphor for a relatable obstacle, and it takes a lot of thinking that gets them to overcome these challenges. 

You’ve recently written Sentry, who is a Marvel superhero connected with mental-health storytelling. Also referred to as the Golden Guardian, Sentry has had calming impact on The Hulk while also being a threat to other Marvel heroes. Where was the character at when you wrote SENTRY: LEGACY?

Robert Reynolds is still dead after the events of King in Black. I got to introduce brand new characters to carry the mantle of the Sentry. And while each one of them had their own everyday challenges, it was the main lead, Mallory Gibbs, who shared a close parallel to Robert Reynolds with her disability, cerebral palsy. Imagine having the ultimate powers of one million exploding suns but not be able to have 100% control of your body due to tremors. She deals with the self-doubt of not feeling worthy to have such powers, but later realizes, she needs the same perseverance as she did living with CP.

In the past, Robert Reynolds’ mental-health struggles were projected outward. Can you talk about the relationship between Sentry and the Void and how that relates to the concept of shadow self?

I barely touched on the Void in my series as its concept was a huge can of worms for a four-issue mini-series, especially when I was busy trying to flesh out the new characters. But Mallory Gibbs spends a good half of the series with her own internal struggles after a big accident when her powers unexpectedly ignited. She slowly comes out of her cocoon by practicing her powers bit by bit to good use. It’s the accidents that bring her back down in a rut. But she realizes that she has the power to help and it’s better to try than to do nothing at all.

Could you talk about how the characters in SENTRY: LEGACY explore the division in fandom mindsets regarding diversity and inclusion with mainstay characters?

I wanted to show representation for the minority in fandom who rarely see themselves in comics as the hero. Right away, I knew this initial idea would trigger backlash from some fans that want their traditional superhero to return, which was never the initial mandate for my series. I’ve seen it in the past on Twitter with other POC characters becoming successors to the classic superheroes. But Robert was at least honored through his milestone memories from his Marvel history in SENTRY: LEGACY. What made the series worth it for me was the positive feedback from fans that related to Mallory Gibbs’ disability. Editorial and I did the work and collaborated with our creative consultant Cara Liebowitz, a disability advocate, to make sure a character with CP is handled authentically throughout this series. I hope we get to see more of Mallary, a.k.a.: Solarus, in the future.

In the end, SENTRY: LEGACY is about giving yourself grace and time as you level up. Can you talk about a time when you learned that lesson in your career?

I think that was back when I finished my own self-publishing series, The Pitiful Human-Lizards. I was doing all the roles in that series for five years: writing, penciling, inking, coloring, lettering, etc. As I wrapped it up, I thought I told everything I wanted in a superhero comic. I was also burnt out and going through legal issues with a former publisher that made me want to quit comics entirely. But then my good friend Chip Zdarsky reached out to me out of the blue and wanted to collaborate on a project together. It became my second wind in the industry, and I wanted to give more than I previously did, knowing more eyes would be on this book. And that caliber of work won us an Eisner Award and brought me so much attention from other editors, and that’s when my career began to sky-rocket.

What other projects do you have coming out?

I’m currently writing the ongoing series Werewolf by Night: Red Band with artist Sergio Davila, and I wrapped up on writing for the Dazzler limited series which ends in December. There’s a bunch more that I can’t say at the moment.

If we could focus on Dazzler for a moment, antimutant sentiments are currently at an all-time high in the Marvel Universe with the fall of the mutant nation, Krakoa. What pressures are on Dazzler?

With Dazzler’s new level of success from topping the charts and selling out arenas, she’s trying to please all her fans, both mutants and humans. But when she knows her fellow mutants are being threatened and discriminated against in the world, she decides to take a stand. And that might not please the other half of her fans. So, Dazzler and her team are navigating through these pressures during the tour while villains and even a talk-show host try to villainize her for being a mutant.

How does the character’s music showcase her personal journey and what artistic roadblocks does Dazzler face?

Her songs are Dazzler’s narratives. They are another level of storytelling. I’ve fit in history about her past relationships in them and her own struggles when she was outed as a mutant by her music producers. I don’t think Dazzler has any artistic roadblocks at this point. Her album is fully produced and out in the world for everyone to hear. Some people may have their own interpretations of her songs (read issue 2), but she makes it clear what her stance is on stage. She’s a mutant, out and proud.

Antimutant sentiment comes from a place of fear that mutants are the next stage of evolution. Can you tell us how physical and verbal threats against Dazzler help her to evolve?

She looks to her PR/lifestyle manager, Wind Dancer, to navigate the dangerous tides, but for the most part, follows her own heart to do what’s right.

Where can our readers find you online?

People can find me on Instagram @jasonloomakescomics.