Part of what makes Guillermo Del Toro the accomplished horror director that he is comes from his belief in just what parts of the supernatural are fact and not fiction. In our exclusive interview, he tells us what parts of that helped him construct the scares on his newest film, CRIMSON PEAK.
Like many of the contributors on ComicMix, I spent the other week at New York Comic Con. In a continuing trend, attendance keeps going up with a greater representation of the general population, and with that, more programming centered around diversity.
Diversity in comics has been an important topic to me for years. Important to the point where those panels I prioritize over all other kinds. The Internet can tell me all the Batman announcements later. This year, I made it to at least one diversity focused panel (usually two) every day of the con. And because I’m so passionate about these things, I wanted to share with you all why these panels are important to me.
First off, and probably most importantly, they are safe spaces at the con. Knowing you’ll be in an environment with people who are either like you or at least empathetic can be and often is important to an attendee. Being othered sucks. It really sucks. Just being in a place where you can listen to people talk about their struggles being an outsider, and how they’ve made it work for them anyway can really be inspiring.
Second, they’re also great places to hear from creators of different backgrounds and become knowledgeable of their work. Truthfully, the goal of nearly all panels is to get you to buy the publisher or creator’s books and merchandise. As cynical as this may sound, the reality is the only way we’re going to get more diversity in comics is to actually buy comics with diverse characters in them. Crazy, right?
I had already been picking up DC’s Midnighter, the company’s only solo superhero comic with a gay male lead, written by Steve Orlando. I wasn’t aware of his Image Comics graphic novel, Virgil. After hearing him on a panel talk about Virgil as being a blood soaked revenge story and as “queersploitation” (a reference to blaxploitation films of the 70’s) I knew I’d love it. I went down to his booth in Artists’ Alley after the panel, picked it up, and already read it. I did in fact love it, but I might not have known to get it if I didn’t go to these panels.
FInally, they are helping to change the discussion in comics. Yes, social media is doing the day to day work, but diversity panels at these cons provide an opportunity for the publishers and creators to roll out their new books that will better reflect the changing demographics of comic readers, and gauge reactions. Sunday’s Culturally Queer panel moderated by Geeks OUT‘s Joey Stern opened up a conversation about queer representation in comics between the panelists where they differed greatly on what makes for good representation. This is an important conversation to be having. There is not necessarily a uniform right way to have representation. There are certainly some uniform wrong ways, however.
The biggest example of a change in the discussion that I saw was Thursday’s BOOM! Studios panel moderated by their President of Publishing and Marketing, Filip Sablik. The panel discusses the Push Comics Forward movement, which is actively setting out to make the comic industry more diverse over the next 10 years. However, the panel was made up of all white (or white presenting) panelists, with eight men and two women. Though there was some queer representation, Filip Sablik actually addressed this at the beginning of the panel, stating that they do have more diversity in their talent pool, and it just so happened that the people able to make it to the con and who were able to attend this panel for the books they wanted to highlight were mostly white male creators. I thought this was incredible. I give BOOM! Studios credit for addressing this. I don’t think we would have seen something like this happen even last year, and that’s a testament to the publishers and creators putting themselves out there on the issues of diversity in part because of these panels and that some of them are listening to us.
If you were at New York Comic Con last week and didn’t get to any of the diversity focused panels, definitely try to at the next con you go to. Even if you’re a straight cis white guy, there are so many new and exciting stories coming from women, nonwhite, and queer creators that you might end up loving just as much as I do.
Today we’d like to welcome Joe Carallo, our newest weekly columnist here at ComicMix. Like all of our columnists, Joe will be speaking his mind as he sees fit, limited only by the bounds of sanity. And, like all of our columnists, Joe will be speaking from his own perspective and experiences, shedding much-needed light on issues critical to our medium. His bio lurks at the bottom of his column, along with a really cute photo. And, yes, his involvement in the [insertgeekhere] website involves their EIC Molly Jackson; the fact that Molly’s our now-second newest columnist is a pure coincidence. Well, maybe not.
Of course, this is not to say Joe won’t be goofing around from time to time. That, along with our bizarre lunch meetings, is a ComicMix tradition. I’ve known him for several years now, having been introduced to Joe by also-columnist Martha Thomases at one of her famous Chanukah donut parties. Martha maintains the salon movement on this annual basis, and I’ve met many an interesting person at these occasions. Why it didn’t dawn on me to ask Joe about writing for us as a columnist just goes to show how non-smart I’m can be.
Please feel free to comment. We’re going to have a good time here… starting… now!
“If you have any young friends who aspire to become writers, the second greatest favor you can do them is to present them with copies of The Elements of Style. The first greatest, of course, is to shoot them now, while they’re happy.” • Dorothy Parker
“I think there are two types of writers, the architects and the gardeners. The architects plan everything ahead of time, like an architect building a house. They know how many rooms are going to be in the house, what kind of roof they’re going to have, where the wires are going to run, what kind of plumbing there’s going to be. They have the whole thing designed and blueprinted out before they even nail the first board up. The gardeners dig a hole, drop in a seed and water it. They kind of know what seed it is, they know if planted a fantasy seed or mystery seed or whatever. But as the plant comes up and they water it, they don’t know how many branches it’s going to have, they find out as it grows. And I’m much more a gardener than an architect.” • George R. R. Martin
“Swoopers write a story quickly, higgledy-piggledy, crinkum-crankum, any which way. Then they go over it again painstakingly, fixing everything that is just plain awful or doesn’t work. Bashers go one sentence at a time, getting it exactly right before they go on to the next one. When they’re done, they’re done.” • Kurt Vonnegut
“Are you typing?” • My mom, when she would call me up in the middle of the day when I was writing for DC and other comics companies.
Who are the people who tell us our stories?
And how do they do it?
Some like to plot everything out, down to the last word, using what I call the “shuffling cards” method in which important plot developments or character moments are written out on index cards, and then mixed and jumbled and rearranged until the writer holds a royal flush. Some writers start at the end of the story and then figure out how it got there. Others get a scene or situation in their head; it could be the middle, it could be the end, it could be the opening paragraph, or somewhere in between. Then that scene or situation plays over and over again, like a needle skipping on a vinyl record in the middle of a song, and. like that skip, doesn’t stop until the writer does something about it.
There are writers who get up in the morning and eat a proper breakfast and take a proper shower and get dressed as if they are going to the office or meeting up with friends and walk to their study or their den and work a proper eight-hour day, writing. There are other writers who get up and squeeze their story-telling in the hours between the time the kids go off to school and the spouse leaves the house to join the 9-to-5 rat race to when it’s time to pick the kids up to take them to their play dates or swim team practice or religious school – not to mention cleaning the house and going grocery shopping and doing the laundry and making dinner for the husband or wife who will soon be home.
Then there are the writers whose beds never get made, their carpet never gets vacuumed, and everyone is picking their clothes out of the laundry hamper because mom or dad is “in the zone.” Or, perhaps, the only time the beds get made and the carpets get vacuumed and the laundry gets done is when the writer is having a particularly bad day and everything that works so beautifully in the brain comes out on paper or the computer screen reads like it was written by some ignorant schmuck of a troll in a Twitter feed.
There are writers who live in their bathrobes and there are writers who can only work in the middle of the night when everyone else in the house is fast asleep. There are writers who live alone but have the TV on as “white noise” as they write. There are writers who play classical orchestral symphonies while they are “at it,” and writers who play specific music that matches rhythms of their words, their characters’ lives, their plot, their story. And there are writers who must shut out all the sounds of the outside world, who must listen only to the noise, the racket, the voice of their individual muse demanding to be heard.
There are other writers who demand feedback, who meet a trusted friend or editor and over lunch or long walks or over a beer or a Guinness or a Scotch, and work out the voices in his or her head, like a neurotic going to see his or her shrink.
There are writers who are incredibly prolific, churning out story after story after story, as if they are not individuals, but simply shells of flesh occupied by hundreds, if not thousands, of “others” who wait on a line that stretches out into infinity until at last they reach the front of the line and it is their turn to tell their yarn. There are writers who have but one tale to tell, and when “the end” is reached, they are no longer writers; they are finished, they are done.
There are writers who drink too much wine and smoke too much tobacco. There are writers who need a doobie or a blunt to get the juices roiling. There are writers who can only write on deadline and writers who are masters of procrastination.
There are writers who get to the gym every day; there are writers who think walking to the stoop to pick up the daily newspaper is exercise. There are writers who withdraw from the world, and there are writers who are at every A-list party and every movie premiere. There are writers who are constantly on the phone to their agents or their publishers’ marketing departments demanding more publicity, there are writers who let their words speak for themselves.
There are writers who would never option their story to Hollywood. There are writers who tell their agents that they won’t finish the story until it is optioned by Hollywood.
There are writers who are braggarts; there are writers who are shy. There are writers who are savvy with the Internet; there are writers who still use pencil and yellow legal pads.
There are writers who write instant classics, there are writers who never see success until long after their bodies have rotted away and the maggots have eaten what’s left.
Those are the people who tell us our stories.
And that’s how they do it.
Editor’s Note: The graphic atop this column is of Ray Bradbury and Snoopy. Yes, we know you knew that, but that person sitting over there did not. It was cribbed from The Atlantic from about three years ago, and it is damned brilliant.
Sure he does all sorts of bad stuff as Loki in Marvel’s AVENGERS and THOR films, and now in theaters he is even creepier in Guillermo del Toro’s new horror outing, CRIMSON PEAK. But why is it we still find him so damn charming? In our exclusive talk with Tom, you find out just how deep the charm runs.
Campbell’s Soup has a winner with their latest campaign: Made for Real, Real Life. In one TV spot, two dads and their son have fun with classic Star Wars dialog as the family dines together. You can watch it here. It’s heartfelt and authentic, and after all those horrible Progresso TV ads, I think we’re all ready for some good soup commercials.
Campbell’s has been getting some flack for showing a family with two dads. That’s troublesome, but they aren’t caving. Good for them. And beyond the same sex couple aspect, I’m also thrilled that Campbell’s is flying its Geek flag high.
I’m encouraged that we’re getting to the point where a family with two same-sex parents is just “a family.” And while it’s not quite as big a deal, it’s still encouraging to me when brands also understand that Geek Culture is everyday culture. So many brands know that now is a great time to authentically engage in a little Geek Culture fun with consumers.
Everyone knows Star Wars, and everyone knows Darth Vader. But does everyone know the signature lines from the movies? I know that Campbell’s couldn’t have used this approach to sell to soup to my mom back when the Star Wars franchise was starting. And we were eating a lot of soup back then too. But today, it makes all the sense in the world.
I was invited to be a speaker for the New Jersey Ad Club’s Wake Up Call Seminar Series. Each month, experts on different subjects share information that’s important for marketing professionals to know. And for my presentation, called Pop Culture Marketing to the Passionate Fan Community, the attendees were eager to learn more about Geek Culture.
They wanted to know about comic conventions and comic retail shops. They wanted to understand the standard marketing opportunities available for their brands and the innovative opportunities that can be created. They wanted to know more about what Kentucky Fried Chicken did at the San Diego Comic-Con, how Guinness connected with fans at the Harvey Awards and why TNT spends a part of their marketing budget in comic shops nationwide.
Recently I saw a comic shop email newsletter that boastfully joked, “We were geek before geek was cool!” That strikes a chord with a lot of what’s going on at conventions, in retail shops, and with brands’ promotional campaigns. And especially during this TV season, with a plethora of new shows based on comics and graphic novels (after a summer of movies based on comics and graphic novels). The marketing community is essentially saying, “Wait, wait, we need to understand this better. This is important to our consumers so it’s important to us.”
No one wants to be late to a party. Besides, it’s all so fun. Like so many geeks, I’m often the go-to guy for new fans as they begin to engage. For example, one suburban neighbor texts me Batman questions during Fox’s Gotham TV Show, my wife enjoys iZombie as appointment viewing, and a third neighbor just asked for tips about attending New York Comic Con. Geek Culture is a vibrant thread in the fabric of everyday life.
Well, it’s been a few weeks since Stephen Colbert assumed command of The Late Show and Trevor Noah has taken the reins of The Daily Show. In both cases the hosts are taking over from prior hosts who had long tenure at their respective shows (David Letterman and Jon Stewart). The new boys have been there long enough now to form some opinions. Admittedly, they’re just my opinions but this is my column.
I want to start with The Daily Show and Trevor Noah. To be honest, this was the one that was of greater concern to me because I really loved watching Jon Stewart. I felt that he (and the show) had an important role on television. It was very funny and had a real point of view and delighted in deflating personalities and kicking other networks and other media up the butt when needed (and it has been an ever increasing need over the past few years). Jon Stewart had a keen eye and a well developed sense of outrage to go with his highly developed sense of comedy.
Could Trevor Noah compete? Could he fill those shoes? Would The Daily Show still be a must-see show for me?
Trevor Noah, for those of you who don’t know, is a South African of mixed race parentage. In fact, at the time when Noah was born in 1984, apartheid held mixed race marriages to be a crime. He’s been an actor as well as a comedian. He joined The Daily Show in December of 2014 and was there only a few months when it was announced he would be Jon Stewart’s successor.
So – how’s he doing?
Very well, I think. He is easy and relaxed. He has a knowing smile that he flashes frequently during the broadcasts. He is sharp, witty, and in command. He has shown himself to be adept at interviews which account for at least a third of each show. He is also skilled at playing the straight man for the group of loonies that make up The Daily Show’s corps of correspondents. That’s a significant trick and one that Jon Stewart was very good at playing.
Is the show different? Somewhat, but it still feels like The Daily Show I knew and loved. For me, it’s still something I want to watch.
Stephen Colbert also used to be on Comedy Central as the star of The Colbert Report, a spin-off from The Daily Show. (He had been a correspondent with Jon Stewart.) The Colbert Report was even more satirical with Colbert playing a version of himself that parodied right wing commentators such as Bill O’Reilly and those populating Fox News.
Sometimes he was so good at it that I couldn’t bear watching; a lot of right-wing commentators give me mental hives. The Bush White House evidently bought into the gag and made the mistake one year of inviting Colbert to host the 2006 White House Correspondents’ Association Dinner. That was a large mistake on their part. Using his TV persona, Colbert blistered both President Bush (who was seated only a few feet away from him) and the media. The primary audience was not terribly amused but the tape of it went viral and the rest of us liberal pinko commie types gasped, laughed, and cheered. It was a brave and bravura performance.
I’ll be honest. I always liked The Daily Show with Jon Stewart more than I liked The Colbert Report. I admired Colbert tremendously but The Daily Show made me laugh more. So I had questions when it was announced that Colbert would be taking over for Dave Letterman. The big question was – could he escape the shadow of his own Colbert Report persona?
I think he has and he hasn’t.
Some of the bits Colbert has done on The Late Show could have been done on The Colbert Report. Stephen still likes to grab the mike and sing, usually with his guests. He doesn’t have a bad voice but I don’t think he’s as good a singer as he evidently thinks he is.
When the show started, Colbert would come out dancing, doing high kicks and girly twirls which I found disconcerting. He’s stopped doing that now and that’s for the better. He was also his own opening announcer and the show now has someone else doing that job which I think is a better transition.
His first guest and his first interview was George Clooney who is usually a great guest. He’s very entertaining and can tell wonderful stories and you just point him in a direction and let him go. Colbert, however, was into doing some kind of schtick and it really hobbled Clooney. I’ve seen this continue off and on.
However, I think Colbert is evolving as an interviewer. He had Oprah Winfrey on last week and they got into a discussion of faith and belief. I’ve noticed when he has guests on like that we see more of Colbert himself. He is evidently a man of deep belief and, with Winfrey, the interview became a conversation. He listened and responded, she listened and responded, and we got to listen in. I think that’s how interviews on these types of shows should be – conversations.
Every host on late night TV has their own persona and it’s a question of how comfortable we are with those personas. We need to at least feel we’re getting something genuine about the interviewer. I don’t always get that with Colbert but I think he’s relaxing more into his new role and we may see more of it.
He also has interesting segments I won’t see elsewhere. He often has young entrepreneurs on, people doing things that I never heard about before. I think they’re geared for a younger demographic and that’s okay. It’s a question that most late night TV will have to face – how do they attract the generation that is more likely to be on the Internet?
His musical segments are also varied. There’s been a few too many older musicians who have bad cases of old man’s voice where they sound like aging echoes of who they were and some up and coming people who I don’t know and find it hard to summon an interest. However, he gets the occasional interesting performer as well. For example, he paired Misty Copeland, the first African American prima ballerina for the American Ballet Theater who danced while master cellist Yo-Yo Ma played. That was sublime.
Another musical guest was Michelle Dorrance, a tap dancer who won a MacArthur Foundation genius grant. She gave Stephen a tap lesson (which was great) and then performed with the house band, Jean Baptiste and Stay Human (who are very good). That’s new, that’s different, and very interesting.
Any late night show needs to find a way to stand out from the others, make people want to stay up to see it while, at the same time, be what they want to watch just before they go to sleep. I think the more Colbert shows of himself and the further he gets away from his old persona, the better his show is going to be.
Right now, I think both he and Noah Trevor are doing good jobs. I like The Daily Show a little bit better, I admire The Late Show a little more and I’m interested in seeing what they will be like as the hosts get more settled in.
But I really need to get to bed earlier! Sighhhhhh.
As directed, indirectly, by EIC Mike Gold earlier this week, I’m here to report back on my experiences last week at the illustrious New York Comic Con. Let’s cut to the chase… It sucked.
Now, that’s an over simplification with a massive asterisk by it, hence I’ve got a bit of mental baggage to unpack here. Luckily that means my column this week will be more than three sentences long. Or maybe that’s unlucky, in case you’re forced to read my column every week. And in that case… Fly, you fools!
The basic gist you need to understand is this: my anecdotal feelings about a show are trumped by the data. In that respect I’m a Moneyball kind of comic book creator. Each show for me and my Unshaven cohorts is a collection of potential sales opportunities. Beyond anything else, I personally derive my opinion on a show first and foremost by the number of books we sell, and the ratio by which we “close” on potential customers.
By all accounts, Unshaven Comics has always grown a minimum of 10% in sales over the year prior – when comparing a show to which we return. We attended the NYCC for the first time in 2013 and sold a record 527 books. We were elated… until 2014, when NYCC netted us 738. This year, we saw only 536 books moved. And this stands in the face of ReedPop blowing the doors out with record attendance. So, never mind all the feelings we may or may not have had… the show sucked for us. As well should any show we attend wherein we don’t see a gain in sales.
But as I said: there’s a big ol’ asterisk there.
In terms of our closing ratio, we’re right on the money. A total of 835 heard our pitch. Oh, what pitch? Can I tell you about our comic book? Awesome! It’s call the Samurnauts. It’s about a team of Samurai-Astronauts, led by an immortal Kung-Fu monkey… saving humanity from zombie-cyborg space pirates! As you can see, this is a full-color, 36-page book. We’re selling them here at the show for just $5 today. And for everyone who picks it up here… you’ll get it signed by the entire creative team that worked on it. So… would you like to give it a try? As I was saying, 835 people heard that. 339 of them bought. That means roughly 39% of the people who dropped by our table walked away a satisfied customer. That stat is consistent with the data from 2014, which in turn makes selling fewer books sting a bit less.
Beyond the hard numbers comes the exploration of why. The primary reason: Location, location, location. Due to circumstances I’d rather not detail here, we lost our booth space we’d held in 2014. We were moved to a corner spot an aisle back, in the furthest back portion of a row kitty-corner to the lone deadspot on the show floor. And make no bones about that; in each of our Unshaven jaunts into the show floor (for lunch, to visit a friend, to make purchases for our friends and families), we each reported back that literally the entirety of the show floor was shoulder-to-shoulder shuffling save only for the area directly adjacent to our booth. That fans were using it as a spot to catch a seat, recharge phones, or just loiter added to the complacent nature of our business dealings. This was in direct opposition to 2014, where we’d enjoyed essentially a never-ending tide of passing potential customers.
Outside of real estate issues, I’m also a pragmatist. We didn’t reach our production goals to bring the completion of our mini-series, The Curse of the Dreadnuts, to the show. We essentially walked in with nothing new save for a pair of new posters, and new stickers. I will step out on a tangent quickly to note: Rick and Morty is a damn popular show, and if we’d read my article from a few weeks back I would be sitting here proclaiming the show to be a boon due to epic poster sales. But as I’d lamented then as I reiterate now: I’m in the business of moving comics for better or worse. This year, it was worse.
But all that aside, the show is as it ever was: the largest and grandest show Unshaven Comics attends every year. The fans that stop are energetic and passionate. The cosplay is astounding (Hulk Buster, much?), and everything that surrounds the show is fun to be around. The Javits Center is decked to the gills with sights and sounds that showcase our ever-expanding worlds. The people walking in the door are from dozens of countries, all sharing in the same experiences and loves. And for those discovering we indie folk, well, they are the best kind of explorers to us. Outside the day-to-day, Unshaven Comics is also privy to staying at the wonderful Casa Del Hauman, which grants us a feeling of security otherwise unfounded in a city that offers up the Port Authority Bus Terminal. We even made our way to Brooklyn for a barbeque meal so astounding, I’m honestly afraid of writing more about it because Editor Gold wasn’t there to share in what will stand as the single best plate of Q to which I’ve ever been privy. But I – as I ever shall be known to do – digress.
So, the New York Comic Con was basically a bust for us. But we live, we learn, we improve. Come 2016 we’ll return to the show with two new books, a slew of new prints and merchandise, and hopefully a better booth from which to sell said merch. We’ll find those friends who didn’t come by to say hi (Alan Kistler, Emily Whitten, and Mindy Newell… I’m looking at you!).
We’ll do as we’ve always done: Take a bite out of the big apple, and remind ourselves that we’ll always prefer Chicago hot dogs to those lousy rot-water Sabretts. Natch.
More than three weeks ago, I twisted my knee somehow in a manner that causes it to continue to hurt. A lot. I happened to have a doctor’s appointment that day, and she told me to rest it, take anti-inflammatory medicine, and drink a lot of water.
Which I have. Well, “resting” is a relative term. It’s hard to rest one’s entire leg and still get around the city and do what needs to get done. I put a brace on it. Still hurts.
When I’m in pain like this, I can’t exercise. And when I can’t exercise, I lose my main opportunity think deep thoughts about comics or anything else. I just want to sit on the couch and <a href=”
worms.
Anyway, here’s some randomness. Remember, no one suffers like I do.
The New York Comic-Con has come and gone. I went for a few hours on Thursday, and even though it was the middle of a work-day, the place was so crowded that it was impossible to move anywhere. The line for the ladies room in the press area (which requires a special badge) was a half-hour long. I shudder to think what it was like on Saturday.
It was lovely to see my friends – as I left the brand-new subway station, on line to register, at booths, in artists’ alley – and I had a great conversation with the guy hyping The Nightly Show with Larry Wilmore (which is awesome and you should be watching it). I didn’t get to any panels that day or any day because my knee throbbed just thinking about getting through the crowds that made the hallways impassable.
So I didn’t get to see this. I wish I had. This is the nerd experience I most crave. The rest of the throngs can go see stars log-roll each other at over-hyped TV and movie panels. Let me listen to Paul “The Frother” Krugman talk about Star Trek.
Last year I discovered the Crazy Eight Cartoon Festival and I had a great time. You can read my brilliant insights here. It’s happening again tomorrow. If you are in the New York area, I can’t recommend it highly enough. If I get back in time from my other nerd-quest this weekend, perhaps I’ll see you there.
Very few people have raved about about My Friend Dammer more than I have. I’ve given it away to dozens of people to show them the complex insights and emotions possible in the graphic story format. So you can imagine my excitement to get a galley copy of Derf Backderf’s new book, Trashed, in my Harvey Awards gift-bag.
Trashed is the story of a crew of garbage collectors in a small Ohio town, with lots of data about the environmental impact and long-term costs of our throwaway culture. Derf was a garbage collector a few decades ago and, though he says the story isn’t autobiographical, his experiences lend a gritty (and smelly and sticky) authenticity to his tale.
Although it’s not as emotionally engaging as Dammer, this book is still an amazing accomplishment. Backdoor presents not only an environmental education, but insights into the American class system that are all too rare in any medium. That he does it with humor and grace and affection makes it that much more impressive.
Now, if you’ll excuse me, my knee hurts and I need to yell at some kids to get off my lawn.
Note: I don’t have a lawn.
CASUAL is the new dark comedy produced by Jason Reitman exclusively for Hulu. We talk to series stars Tommy Dewey and Michaela Watkins about how thy walk the fine line between comedy and drama. Then meet Lizzie Velasquez, branded “the world’s ugliest woman” by an online bully who turned that into an inspiring new documentary called A BRAVE HEART.
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Columns / Glenn Hauman / News
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