Interview: Tony Parker on Transforming Tragedy into Triumph in MEDUSA

The story of Medusa, the Gorgon of Greek myth, is one that has been told and retold in different variations, all with one constant: tragedy. Tragedy at the hands of Poseidon. Callousness from Athena, who transformed Medusa into a monster. Slain by Perseus. Painted as villain by the stories’ victors.

But as much as Medusa’s tale is laden with woe, what if it was repainted and looked at as a story of hope and heroism? That’s the idea behind Tony Parker’s upcoming graphic novel Medusa, with the story and art by Parker, colored by Tamra Bonvillain, and lettered by Taylor Esposito. Out this fall from Dark Horse Comics, Medusa follows the figure as a hero, not a villain, whose tragedy lies, in part, that no one can remember that she’s a hero. Despite their inability to recall her heroism, Medusa forges on and attempts to help undo the damage caused in the wake of her story.

Mr. Parker spoke with me recently about his take on Medusa in this graphic novel, why he avoided tying what has been written in myth in his telling, working with the stacked creative team on the book, and taking Medusa’s tragic story and transforming it into something new.

Tony Parker is a creative powerhouse, as seen in his work on everything from God of War to Mass Effect to This Damned Band. Taking in his work, interviewing him for this article, and seeing his love of comics in his online presence all make for my excitement for Medusa, which I expect will be one of the must-read comics of the fall.

Note: The covered featured in this article is from the graphic novel. The other pages, however, are from Mr. Parker’s one-shot sample pitch to Dark Horse that gives a summation of Parker’s vision.

FreakSugar: Before we get into the book itself, what’s your history with Greek mythology and mythology in general? What pulls you to studying myth?

Tony Parker: I went through a standard Eurocentric rabbit hole infatuation with mythology in elementary school. Greek and Norse were the big ones, but to be fair, those were the only options in my area. I’ve since always loved the comparative religion concept, and seeing how different cultures created their own mythos. One of the things that broke my brain was learning that for so many cultural mythologies, was that so often there are different versions or interpretations of these myths, often evolving over time. I was initiated to a simplistic and clean canon version of these ideas, and finding out that they had variations was a big shock to my system.

Myths are mirrors on society, or at least what the ruling classes of that society want to essentially codify. It can be fascinating to not only see what the extremes can be, but also where the Venn diagrams intersect.

Page 1 of Parker’s Medusa story pitch

FS: What can you tell us about your Medusa graphic novel and the Medusa that we meet in your book?

TP: Everything you know about Medusa is a lie. She is a hero, who has been cursed so that not only no one can remember that she is a hero, but if she wants to undo the damage the monster has done and return the victims back to their unharmed state, she has to kill the monster. It’s a tragic twofold curse, and one she’s been existing with for millennia. She’s a true hero, where she does it to help others, and not for the recognition or status. She lives on a planet where all the other pantheons and legends live, and will go where she needs to go to help.

FS: What was the research process like for the book? What are some things you learned about the character that surprised you?

TP: I intentionally avoided trying to tie in accurate mythological aspects of Medusa, because as I previously stated, everything you know about her is a lie. She is a hero, and I tried to write and draw her as such. I did do research for the other aspects of the book. This story isn’t a tale of revenge, but of heroism, and takes place in modern day Scotland.

I was fascinated by the mythological research of Scotland, and it’s surrounding areas. There was a lot that I was able to pull from, and make unique to this world. I avoided the standard kelpie and leprechaun, but expanded elsewhere.  I used how it used to be tradition to carve faces in turnips to scare away monsters and demons on Samhain/Halloween, and made the fey have expressive turnip like heads. Not completely accurate, but the first thing about studying mythos is that nothing is completely accurate, and that so many stories are interpretation and expansion of previously told stories. There are more, but I don’t want to spoil anything.

One of the things that I liked about researching to make sure that I wasn’t copying another person’s idea, was that there is a definite surge of redefining Medusa as a tragic tale to be reclaimed, and I’ve been loving seeing the newer versions that others are creating.

Page 2 of Parker’s Medusa story pitch

FS: With Medusa such an important figure in Greek mythology, can we can expect to see any other characters from Greek lore?

TP: Oh, absolutely, but I don’t want to spoil anything.

FS: There have been various interpretations of Medusa over the years. What made you want to take a heroic bent on the character?

TP: This all started out as a single illustration for the Seattle Comic Con’s Monsters and Dames charity book. So many female monsters in myth and story are more a control devices for the society to control women with, and so often lies are told as fact to try to control women. I started with that, and realized that Medusa could have been a hero, but with thousands of years of malicious rumors and lies told to discredit and defame her. I then drew her as a hero, and went from that. I also realized that if she was a multiple millennia old hero, she would not be running around in wispy robes, but would have the garb, gear, and physique of a warrior. There is nothing wrong with other positive versions of her, but it wasn’t the story I wanted to tell. I then went on to focus on the hero, and went from there. I saw her more as a cross between Doctor Who and Wonder Woman. A timeless hero (Wonder Woman) who works from the shadows (The Doctor).

Page 3 of Parker’s Medusa story pitch

FS: Tamra Bonvillain is a powerhouse colorist. What has the collaboration been like with Tamra in terms of what the book should look like?

TP: I was incredibly lucky. She was my bucket list, and the only person I had to ask. I don’t know what her side of the story is, but she was absolutely amazing to work with. Complete professional. The pages are stunning. I didn’t know you could nearly vomit from joy, but that’s what happened when I saw the first pages on my screen. I literally cried a few times with how much she nailed. Even the pages I didn’t get at first were great once I saw what she was doing. I wanted her to bring her version, and the book is better for it.

Page 4 of Parker’s Medusa story pitch

I also want to bring up story editor Stephanie Cooke and letterer Taylor Esposito, as they are stars in their own right as well. This was my first professional writing project, and Stephanie was amazing. She told me what I needed to know, not what I wanted to hear. There were multiple rewrites on my side, because what I had down first didn’t work. She also kept me honest about any unintentional societal patriarchal or misogynistic conditioning that snuck up in the writing. Saints aspire to have the patience that she has, and it is incredibly appreciated. Taylor was also the only letterer I asked, and he nailed it as well. I cried a bit when I saw his font selection, and he solved problems I didn’t even know I had.

I am so lucky to have been able to get all these people on my team. Always surround yourself with smarter people than you are, if you can, and I was happy to do so.

Page 5 of Parker’s Medusa story pitch

FS: Medusa is such a fascinating, tragic character. What about her do you think makes fans and creators want to keep revisiting her?

TP: Every person would have a different answer to this, but I see the tragedy, and I want to right that wrong. She was a continual victim, and was mistreated for so long. I think a lot of us want to see the triumphant victory of the tragic hero, and that’s what I want to try as well.

FS: Following up on that, is there a headspace that you have to be in when creating a story like the one you tell in Medusa?

TP: I have so much more respect for good writers after this project. Action stories are empty without heart. Action without metaphor is empty, and if there is no connection to the hero, victories are empty. I am now at the writing stage of not only why should a reader care about this protagonist, but what emotional or philosophical growth or transformation should they go through? It can’t just be smashing monsters, but there has to be a greater underlying theme or metamorphosis. That said, I have no idea what I’m actually doing. It’s a lot of having concepts ruminate in the back of my mind,  emailing myself single lines or concepts when something pops in to the forefront, and seeing if it actually fits the story.  Writing is hard.

Page 6 of Parker’s Medusa story pitch

FS: Are there any teases you can give about the graphic novel?

TP: It’s the best art I’ve done in my career, and Tamra and Taylor do an amazing job on it? Nothing that gives anything away. I don’t want to ruin or betray any surprises in the book.

FS: What are you reading right now?

TP: As much Jungi Ito as I can get my hands on. I’ve burned through nearly all the collections that my local library has. He’s persistently brilliant.

Page 7 of Parker’s Medusa story pitch

FS: Aside your interpretation of Medusa, can you point to a depiction of her that you think nails it and/or is just fun?

TP: The version from the Percy Jackson series started off wonderfully, but had to go in a different direction to suit the story. So many of the versions that I stumble across are either malicious monsters or sexualized fantasies. They both have their place, and nothing wrong with fans that enjoy those versions, but maybe that’s why I did my version.

FS: You’re such a positive force on social media. As toxic as Facebook and all the other platforms can be, it’s nice that you’re out there spreading positivity. (Not really a question; just wanted to say it.)

TP: You are far too kind. The world can be an ugly place, and sometimes the smallest act of kindness can mean the world to someone. 🙂

Page 8 of Parker’s Medusa story pitch

FS: If you had one final pitch for Medusa, what would it be?

TP: She’s a hero who defines herself on her own terms. She does the right thing, not matter the odds. She does what she, although no one will remember her helping, as she has for millennia. Also, the art is the best I’ve done, and I’ve been lucky enough to surround myself with some of the very top talent in the industry. It’s gonna look beautiful when you see it.

The Medusa trade paperback goes on sale Wednesday, October 23, 2024, from Dark Horse Comics. The final order cutoff for the book is Monday, July 22, 2024.

From the official trade paperback description: