Posted in: Comics | Tagged: Comics, django zorro, dynamite, entertainment, matt wagner, quentin tarantino

Writer's Commentary – Django / Zorro #1 By Matt Wagner

Published Mon, 17 Nov 2014 22:00:47 -0600

Writer's Commentary: DJANGO/ZORRO #1 by Matt Wagner

I first met Quentin Tarantino when we got together to discuss the possibility of co-writing the first official sequel to any of his films, a comic-book adventure that would match the title character of DJANGO UNCHAINED with a classic character that I had helped redefine in recent years—the original masked-and-caped crusader, ZORRO! Our connection was immediate and genuine and I knew that would translate into the adventures of our respective characters. Since the time frames of these two narratives were off by many years, I figured we'd need to invent a legacy version of Zorro—an all new character who takes up the masked identity for whatever reason in the years just preceding the American Civil War. But Quentin was adamant that we use the original Don Diego de la Vega in our tale. "No, no, no," he insisted, "It's gotta be the original Zorro! It's gotta be your Zorro!" I immediately saw how well such a scenario could work; in the film, Django Freeman enjoys a close relationship with another older man who serves as something of a mentor during his budding days as a bounty hunter, Dr. King Schultz. This motif provided us with an easy basis for our heroes' interaction and, just like that, our story was up and running!

PG. 1—One of the things that intrigued us was the longterm effect of Diego's masquerade on his personality. We immediately get from the narration that, despite his age, Diego has never really stopped his crusade as Zorro. To a great extent, Zorro is his truer persona—dashing, adventurous, always fighting for the cause of justice. But how would several decades of acting the part of the foppish aristocrat version of Don Diego affect him? To some degree…he must actually become that person as well. It's an interesting concept…when does the man become the masquerade and the masquerade become the man? Thus, we hear Diego's fussy and somewhat cantankerous commentary to his driver and milk-brother, Bernardo…who obviously enjoys pushing his friend's buttons to some degree. Bernardo is also our initial narrator; as I had established in my first arc on writing Zorro, he has taken it upon to himself to act as chronicler for his hermano's many astounding adventures.

PG. 2—Here we see some of the secretive language that Diego and Bernardo (who is mute) have used since they were children. In this case, a coded knock that lets Diego know that they have encountered someone…unexpected. And, just like that, our two heroes' paths converge.

PG. 3—As he offers this dusty stranger a ride, the shadow from the carriage's curtain mimics the shape of Zorro's traditional mask on Diego's face. Django, so used to racial segregation (at best) naturally assumes he's supposed to ride up front with the driver.

PG. 4—But, much to his surprise, this white man is seemingly devoid of racial prejudice and invites him to share his carriage compartment as an honored guest. I just love that final panel where we see the rough-and-tumble Django somewhat awkwardly holding a fine china tea-cup in one hand and a cucumber canapé in the other!

PG. 5—One of the things we decided early on was to not waste any time presenting these characters as if to new readers. If you're buying and reading this comic at all, it's a pretty safe bet that you've seen Django Unchained and, let's face it, who doesn't know who Zorro is? So…on this page we realize that Django isn't being entirely upfront with his host by claiming to be a prospector. But Diego isn't so easily fooled.

PG. 6—Django finds himself intrigued by this unassuming gentleman whom, he admits, reminds him of King. Then suddenly, this getting-to-know-you session is interrupted by another knock from Bernardo. But this is a different knock. A different code. Trouble brewing. And Django seems to have actually been ready and waiting for just such an intrusion.

PG. 7—Bandits…and a heavy dose of racial slurs. Just not the kind that Django's used to hearing.

PG. 8—Django shoots first and asks questions later. If there's anyone left alive to answer.

PG. 9—Like any good action hero, Django knows you've gotta use that element of surprise to your own advantage.

PG. 10—And, as he learned in the first moments of the encounter that would eventually lead to his own freedom…shooting a man's horse is often a good way to incapacitate said enemy.

PG.11—Finally, his prey bagged, Django fesses up to having engineered this whole scenario as a trap for one of his bounty hunts.

PG 12—And at last we get a full-on shot of Diego dramatically framed by the setting sun, his coat, hat and cane echoing the look of his more famous alter-ego. Despite his advanced age, he is obviously still a man to be reckoned with; as Bernardo calls him, "The grist of legends." And he likes that he sees some of his own heroic qualities in Django—a skill for subterfuge, undaunted courage in the face of danger and a certain bravado in the midst of combat that echoes Zorro's own sense of panache.

PG. 13—But Diego knows he's no spring chicken and so could use a hired gun as backup for the endeavor he's about to pursue. Django at first isn't inclined to accept this offer…but every man has his price.

PG 14—This page works so nicely to portray the differences in our main characters. As a recently freed slave, Django is still unused to the auspices of wealth…especially in the form of someone who can casually toss a bag of gold into his lap. But Diego is of a different time, an old school aristocrat to whom the idea of monetary value being transferred in the form of printed scrip is mystifying.

PG 15—Here we see the beginning of Django's developing relationship with Bernardo; a connection that continues to deepen as our story progresses. I love writing these bits. Django and Diego bear a mutual respect for each other but Django can never really be a part of the wealthy Diego's world. He's much closer in social rank to Bernardo and the two spend many evenings getting to know one another.

PG 16—Django even begins to pick up some of Bernardo's sign language. But…there's more trouble brewing just off-panel.

PG 17—Diego's flamboyant finery sticks out like a sore thumb in this frontier town…and he soon finds himself the target of the town bullies. I love the last panel where Django (you can almost hear him sighing) moves to step into the middle of this approaching mess…when Bernardo lays a hand on his arm.

PG 18—Bernardo cautions Django that their mutual employer isn't really in any imminent danger. Just watch…he's got this.

PG 19—As, indeed, he does. With the speed and grace of a seasoned warrior, Diego quickly dispatches his attackers…using only his cane and umbrella.

PG 20—And, once he looses his hidden steel…fuggedaboutit! Django is, to say the least, amazed at Diego's bold and effortless defense…which again puts him in mind of the late King Schultz.

PG 21—At last, Diego begins opening up to Django as to the true purpose of his mission into the Arizona territory…and—dah-dah-dah-DAAAAH—the name of our main antagonist is revealed.

PG 22—Finally, in the aftermath of their futile attack, the Yuma bullies pick themselves up and dust themselves off. One of the ruffians though reveals a bloody and familiar souvenir of their clumsy brutality; in a blink of an eye, Diego's flashing blade has left…the unmistakable Mark of Zorro!!

There's lots of surprises ahead and those trademark Tarantino shifting-viewpoints as Django and Zorro continue their partnership in an ongoing quest for justice!

For more on Django / Zorro #1, click here.

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