I will keep telling you to read John Allison’s comics until either you do so or you stop listening to me entirely. So take that part as read — like Scarygoround
and Bad Machinery
, Giant Days
is a lovely mix of smart dialogue and real characters and quirky situations. Though Giant Days, being set away from Tackleford, those quirky situations are less likely to involve dimensional portals and selkies and alien potato creatures. (At least so far….)
Volume Two
finishes up the first term at an unnamed British University for our three main characters — Susan and Daisy and Esther — who have a big formal dance, and a big visit back to Susan’s hometown during the break, and the big finals, and then…um…a big new boyfriend for Esther? (Parallelism can only go so far, it seems.)
These four issues also see the big art hand-off, as original artist Lissa Treiman bows out after what was supposed to be the six-issue mini-series and Max Sarin steps in. To my eye, Sarin’s lines are a bit thinner than Treiman’s, and his art seem to have less depth…but, then, when does anyone ever think the new artist on a favorite comic is an improvement? He does a good job, and I’m sure I’ll bitterly resent it if he ever leaves Giant Days and someone else takes over.
So: female-focused writing, with believable people and real-world situations and some of the best dialogue available in comics anywhere. What are you waiting for?
Let’s talk about sports. I’m serious. Yeah, I know the name of the website. Still, sports are fun. The taboo about comic and sports not mixing needs to stop. Yes, there are fans of one that dislike the other. There are also fans who like both, like me. And sometimes comics and sports even mix.
We’ve had a few comics about athletes or sports, and a fair share of athletes revealed as comic fans. But I was still surprised when Ryan Lochte, Olympic swimmer and medalist, announced as the special guest for Wizard World Richmond.
Now Wizard World does promote themselves as a “pop culture con” and sports is definitely part of pop culture. They have had wrestling guests at a few cons before. However, their target market is the average geek. It’s one thing for an actor that’s also a wrestler and another thing for an Olympic athlete that has never publically shown interest in geek culture to show up. The average attendee is expecting to see actors and comic creators, not Olympic athletes.
However, I could let this all go. I’m a sports fan. I would definitely be interested in seeing an Olympic athlete that inspired me and especially at an event I was already planning on attending. But not this athlete. Lochte is exactly where Wizard World went so wrong.
Whether you watched the Olympics or not, you’ve probably heard his name by now. He caused an international incident over his and his teammates’ drunken destruction of a gas station while representing the US at the Rio 2016 Summer Olympics. He allegedly proceeded to lie to local police and file a false police report.
Athletes, especially male athletes, are not held to the same standards as other people. Throughout the years, we’ve heard of professional athletes getting away with alcohol and drug abuse, weapons charges, physical and sexual assault. The list can go on and on. No matter what charges they face, society as a whole traditionally deems them better than that. However, this should not be celebrated.
The geek community has long been participating in activism. We’ve boycotted movies that supported racists and bigots. We’ve boycotted comics of misogynists. We’ve had staff of comic cons openly denounce laws that targeted a minority group unfairly. Lochte being featured in a con after committing a crime while representing the US is incredibly disrespectful to every con goer. The announcement of his appearance left a slew of upset and surprised comments on the Wizard World Facebook page.
Lochte has already been admonished by the media and has lost approximately $1 million in sponsorships. For all I know, that is why he chose to do this convention, for the few bucks it could provide. He will probably never compete in swimming again. He earned those punishments by his own actions. He lost the respect of an entire global community with his actions. We shouldn’t welcome him into ours.
When you go to a convention, give your time and attention to those people who are working for it. Spend your time and money towards comic creators, actors, and even the wrestlers. Don’t waste your time and money on someone who failed to respect the world around him. Spend it on the people trying to make it a more entertaining and better place.
This weekend, a whole bunch of us ComicMixers will be making our annual trip to the Baltimore Comic-Con. For the record, that’s Martha Thomases, Adriane Nash, Evelyn Krite, G.D. Falksen, and myself. Glenn Hauman and Robert Greenberger will be in New York at a big ol’ Star Trek convention, Emily S. Whitten will be at Dragon Con, and John Ostrander will be at several Michigan theaters watching Suicide Squad again. Glenn, Robert and Emily also are regulars at BCC, but this year the show shares Labor Day weekend with these other two east coast shows.
Yes, life is truly one long and never ending comic book convention. I’ve been going to the “big” ones (big as relevant to its time) since 1968. That’s 48 years, which is longer than most of today’s convention-goers have been alive. That’s about five years longer than KISS has been together, and, like former comics fanzine contributor Gene Simmons, I have long grown incapable of distinguishing between shows.
I’ve done fewer shows this year than I have in decades. That is, in part, a coincidence, but it’s also symptomatic of burn-out. I’m thinking that if I’m still alive in two years, I’ll make it a full half-century by sitting in front of some massive convention center and burn a copy of Superman #1 (the 1938 version) in protest.
And what would I be protesting? Well, to me that rarely matters but in this case I would be publically mourning the lack of comic books at these massive comic book shows. I’m a comic book fan, damnit, and the rest of you should just get off my lawn.
That’s why I go to the Baltimore Comic-Con, and in this I think I speak for my less jaded cohorts. Despite its size and its longevity, the Baltimore show remains focused on comic books. Sure, there are media guests and sure, there’s a lot of cosplay and gaming and such, but the love for comic books and the desire to meet up with others with similar affections permeates every aisle of the show. Kudos to Mark Nathan and his experienced and gifted staff.
As usual, ComicMix will be assaulting the Insight Studios booth – that’s booth #118 – once again proving that Mark Wheatley is the nicest, kindest, and most emotionally tolerant person in the time-space continuum.
Comics as a genre have never done better, but this is entirely because of the flock of movies and television adaptations. The average sales of the traditional comic book sucks and sucks badly, even though such low sales have been balanced somewhat by trade paperbacks, hardcover books, and electronic editions. These days, much of the fun comes from the endless parade of toys and merchandising tie-ins that dominate book stores and convention aisles. If you’re a Harley Quinn completest, your head is going to explode long before you run out of space to store all that stuff.
I still meet lots of people who have never been to a comic book convention and who are anxious to go to one of the bigger shows just to see what the hubbub is about. I envy these folks; that initial sense of wonder is a wonderful feeling.
It can also be overwhelming. We had actor/comedian Margaret Cho set up for an interview at the San Diego Comic Con several years ago. She showed up early (there goes another Hollywood stereotype) and, after scoping out the room, Margaret started to take on the appearance of an agoraphobic. I walked Margaret around the vicinity of our table and made small talk while pointing out the wacky stuff we encountered. That worked: funny appreciates the funny, and there’s lots of that at your average comics show.
I completely understood this feeling. Chester Gould was guest of honor at one of our Chicago Comicons and the turn-out at his booth was intense. Chet declined to returned to the show on Saturday and Sunday. And before he drew a single line for any American publisher, Brian Bolland was convinced nobody would have heard about him. I told him Judge Dredd was bigger here than he thought, and Titan Books had just come out with their first reprint trade – entirely of Brian’s work. As it was with Chet Gould, the turn-out at his booth was intense and Brian opted to stay in his hotel room until he could adjust to the love and enthusiasm of the western hemisphere.
But the best part is watching the faces of the small children who are brought there by their fan parents, usually dressed up as the cutest superhero in the universe. They hadn’t had so much visual stimulation in their lives; clearly, they were having great fun. But I strongly suspect that, like Margaret Cho and Brian Bolland, they get overwhelmed and retreat to their portable hidey-hole: napping in the stroller.
Rarely have I heard a small child continuously bawling at a comic book show.
48 years is a long time to do anything, but of course the opportunity to meet up with my friends and to talk with the fans and sign some books and tell some stories is irresistible. I am reminded that first-generation comics pros such as Jerry Robinson and Irwin Hasen regularly attended comics shows until they stopped walking the Earth.
It’s hard to describe why Don’t Breathe had me so consistently scared while I was watching it… it almost seems like dream logic at this point a couple days removed from viewing. There’s a very clever sequence where they just quietly show you the house that 85% of the movie is going to take place in, and they do it by just having the camera pass through the house. It goes down one hallway, up through the ceiling and through the second floor in a kind of transparent Chekhov’s single-family home kind of thing, and while I knew it was guaranteed nothing terrible would happen during this sequence I could barely look at the screen. The sense of menace during Don’t Breathe was so powerful and pervasive that even when the movie stumbled with character or an overly long climax I couldn’t look away.
I understand that characters in horror movies often have to be quick sketches to properly get to the action in the allotted runtime, but Don’t Breathe might be skimping on the characters a little too much. It’s hard to root for characters that are criminals, especially when the crime is robbing a blind man, so the film goes way over the top to try and give us characters we can try and root for. Rocky (Jane Levy) has an abusive mother so extreme that Eminem would find it a little far-fetched. She’s just robbing houses to save up enough money to take her little sister and move her to California and a new start. Alex (Dylan Minnette) is a thief but a very practical one with a strict code about what they steal to maximize safety and minimize legal risk. He robs people but he also refuses to consider moving away because he has to take care of his aging father. Money (Daniel Zovatto), Rocky’s boyfriend, is more of a cliché troublemaker and, well, they show him getting murdered in the trailer so he doesn’t last very long. They want us to think these people are ok even though they do bad things, and it didn’t work for me at all. It took so much more for me to view these kids as sympathetic characters.
They had to make the robbery victim so much worse to get me to root for those characters; to turn him from victim to monster, and they do it with relish and gusto. I’m getting in to some spoilers here so this is your opportunity to turn back and not know.
<clicks away to check email while spoilerphobes leave>
We find out early in the second act that our blind homeowner has a woman chained up in his basement— not just any woman but the woman who killed his daughter in a car accident. It flips the equation on us: sure these kids are thieves, but this guy is a kidnapper. Kidnapping is a worse crime than robbery, and so we have our proper good versus evil story restored to us. Much later in the film we discover that he had impregnated the kidnapped woman and plans to do the same to Rocky in a intensely uncomfortable artificial insemination scene. While being one of the grossest scenes I’ve ever seen committed to film, it was nice to see it done without emphasizing the sexual aspects of Rocky’s peril. We see her experience this horror through angles that accentuate that she’s helpless and terrified, but that don’t linger on her being exposed or whatever. (Her cut jeans do seem to magically fix themselves when she escapes and needs to run around more, but I’m willing to let that go for propriety and avoiding an NC-17 rating.)
When I saw the first trailer for Don’t Breathe, the one that focused heavily on the sequence with the lights out in the basement, I thought that someone had decided to make an entire movie out of the night vision sequence at the end of The Silence of the Lambs and how torturous that would be to watch. Instead I got the scariest movie I’ve seen so far this year, a frightening little gem that might not play fair the entire time (every blind person is not Daredevil) but delivers where it counts. We’re coming up on the big horror season (I could see having horror movies in this space for the next month looking at the calendar) and it’s exciting to see the gauntlet thrown down so convincingly ahead of the parade of remakes (Blair Witch) and hastily reskinned versions of Alien (Morgan) coming down the pipe.
This past Sunday, August 28th, was Jack Kirby’s birthday. He would have been 99 years old. If you’re the type of person that reads the columns on a comics and pop culture website like ComicMix, you probably don’t need me to tell you who he is. I linked to his Wikipedia page there just in case you don’t know. It’ll be our little secret.
Over the years Jack Kirby’s birthday has become an event. Kirby 4 Heroes is celebrated in comic shops across the county. It’s a fundraiser for the Hero Initiative, a nonprofit dedicated to helping comic creators in need. The idea is that by using Jack Kirby’s birthday as an event date that the Hero Initiative will be able to get a bump in fundraising numbers. Seeing how they’ve been doing this for years now it must be working to some extent.
This year both myself and fellow columnist Martha Thomases dropped byNew York City’s Carmine Street Comics for Kirby 4 Heroes. They had artists throughout the day including Sean Von Gorman,Fabian Lelay, and Patrick J. Reilly doing sketches for customers as well as original artwork being raffled off from Gregory Benton.
When I first arrived I was talking with Patrick as well as Jon Gorga, the store owner and operator. Mostly just catching up. Not long into our conversation a young man came up to the register proclaiming that he has started working on comics himself as an artist paired up with a writer and asked for our advice. Well, technically he asked for any advice and we all just happened to be standing there.
Patrick started with some of the basics like thumbnailing the pages. The young man pulled out a small notebook showing the work he had done so far. He had started thumbnailing before he knew the term. We all thought that was promising.
Then he told us more about their plans.
The young man went on to discuss how the plan for this project was to produce and publish five graphic novels worth of material all as prequels to set up the main story. We were almost immediately blinded by all the red flags going up. At around this point Martha joined us.
Patrick helped to discourage this young man of that particular course of action by telling him about Story Bibles, which he had not heard of before. Those are the blueprints to a story that’s used in any medium. They can and should be referred to in order to keep the story and it’d characters consistent. Patrick also made an excellent point about working on long form ambitious projects like that and how easy it is to get burned out working on something like that or even just bored over time.
I followed that up with advice I’ve heard from Scott Snyder in the past, but I’m sure many other seasoned writers have given as well: approach comics and storytelling like this is the only shot you’re going to get at all this so you need to tell the absolute best story you have in you. In a situation like this one with someone having five prequels before the main story, you need look through everything you have, pick the best and most compelling story and do that like it’s the only one you’ll get to do. Unfortunately, more often than not that tends to be the case. You’re an incredibly lucky person if you get the opportunity to continue telling your story from there.
Martha added advice she’s heard from Norman Mailer which is also something other experienced people in the story biz have shared for some time: kill your darlings. That is to say that you need to be open to cutting your most treasured moments in your literary works for the greater good of the piece. It might sound absurd at first, but it makes sense as you’re crafting a story if you’re open to it.
After we all got to give some advice and chat a bit more with him, he thanked us all and left. He was very polite and receptive. And to be perfectly honest with all of you, I’ve fallen into the same trappings of wanting to jump right into epic long-form storytelling. A lot of people do. Hopefully he’ll figure out some things along the way and find out if this is what he wants to be doing, though it was hard to not think of that famous Jack Kirby quote, “Comics will break your heart.” Or was that Charles Schulz?
It was nice to spend some time on Jack Kirby’s 99th birthday at a comic shop celebrating the life of one of the most celebrated comic book artists of all time while also meeting a new up and comer that wants to throw their hat in the ring and getting a chance to wish him luck. I bet he wasn’t the only newcomer that wandered into a comic shop this past Sunday either.
Just because Jack Kirby’s birthday has passed us by again doesn’t mean we can’t keep celebrating him though. If you didn’t donate to the Hero Initiative this past Sunday, consider giving here. It’s a good cause to help comic creators in need. The same people that shaped so many of our lives from a young age with their stories like the ones Jack Kirby crafted all those years ago or the ones that young man at Carmine Street Comics this past Sunday might end up crafting himself one day.
“Here is a bulletin from CBS News… in Dallas, Texas, three shots were fired at President Kennedy’s motorcade in downtown Dallas. The first reports say that President Kennedy has been seriously wounded by this shooting.” • Walter Cronkite‘s first news flash on the shooting at 1:40 P.M. EST, interrupting the CBS soap opera As The World Turns. It is an audio-only report over the “CBS News Bulletin” slide on the screen.
“From Dallas, Texas, the flash apparently official: President Kennedy died at 1 p.m. Central Standard Time, 2:00 Eastern Standard Time, some 38 minutes ago – pause as Cronkite fights back tears, then regains his composure – Vice President Johnsonhas left the hospital in Dallas, but we do not know to where he has proceeded; presumably, he will be taking the oath of office shortly and become the 36th President of the United States…” • Walter Cronkite announcing the death of J.F.K., 2:38 P.M. EST, November 22, 1963
Being a sucker for both time-travel and alternative history stories – genres that are not necessarily exclusive – I read Stephen King’s novel when it first came out and liked it fine, though I did think it was a little dry at times and a bit overly long and, dare I say, padded? I looked forward to the mini-series when it was first announced, and loved the first episode. Then, because Hulu was releasing each episode on a weekly basis, and being busy with that annoyance called life, I got really lazy about staying current – well, I wouldn’t say I forgot about it, but every time I reminded myself to watch 11.22.63, something else popped up.
Finally, inspired by Bobby Greenberger’s review of 11.22.63here, I spent most of yesterday binging on the Hulu mini-series, which is now available at the site in its entirety. (Really, Hulu, deciding to dole it out like a weekly television show in this day of streaming and instant gratification was a really dumb idea. Take a clue from Netflix, why don’cha?)
I gotta say, it was definitely worth the wait.
Every generation seems to have at least one seminal historical event, and for us baby boomers, the assassination of J.F.K. was it – well, it was for me, anyway.
I was 10 when the President was murdered as his motorcade passed through Dealey Plaza in Dallas, Texas; I was in my 5th grade classroom, doing math, when the principle of the P.S. 29 on Staten Island came and knocked on the door, gesturing to my teacher to come out into the hallway. One moment that has been impressed onto my mind is the moment I saw my teacher through the window of the classroom door – I was watching her instead of doing my math problem – put her hand to her mouth, and then turning and pulling down the shade of the window, blocking my view.
Teachers never did that when called out into the hallway, they wanted to be able to keep an eye on us. I sensed immediately that something was, well, off, and I got scared. A few moments later, she came back into the room and told us to close our books. “Now, very quietly, I want you to go to the closet and get your things. Everyone is to go straight home today, okay? No playing in the schoolyard or the gym. Will you promise?” We all hummed yes. I don’t know if the other kids felt anything, but my fear was now in the pit of my stomach. The teacher led us outside. A lot of cars were already out there, parents waiting for their children.
I found my brother, then Sandra and Chrissie and Tommy and Patty – we all lived on the same block – and started walking home. Oh, and also, Chrissie and Tommy and Patty all went to St. Theresa’s, the parochial school across the street from P.S. 29, and they had been let out early, too. I was so scared; I kept my eyes on the sidewalk all the way because I was convinced that the Russians were coming and about to drop a nuclear bomb on us, and I didn’t want my eyeballs to melt or go blind or see the sky light up on fire; this was not the result of the Cuban Missile Crisis, a year earlier, but from my parents in their wisdom taking me and Glenn to see Dr. Strangelove or How I Stopped Worrying and Learned to Love the Bomb instead of getting a babysitter. Good job, Mom and Dad! – although, in their defense, those were also the days of air raid sirens and drills, during which us li’l boomers were marched into the hallway of the school and told to turn and face the wall. I don’t remember if Glenn was scared, but Sandra and Chrissie and Patty were happy to have gotten out of school early. Tommy, who was 11, told them to quit fooling around and walk.
Yeah, that was the beginning of a fun weekend, no doubt ‘bout it.
I’ve always thought that the “60s” really began on November 22, 1963 with the three bullets that killed Kennedy also killing the “pretend” United States; domestic and sexual abuse, homophobia, racism and political unrest are all there, just hidden under the red-white-and-blue patina of American nostalgia. And the success of 11.22.63 (the mini-series, nor the book) partly lies in its ability to capture the general population’s innocence of what was coming; the generation that had stopped Hitler and saved the world 15 years earlier was, at worst, complacent about America’s problems and, at best, willfully ignorant.
The other part is the cast, especially James Franco as the man out of time and on a mission – to stop Kennedy’s assassination. The tension rises slowly, cresting in the last three episodes, as Bobby G. said in his review, so that I didn’t even want to pause it to get up and answer the door for the pizza I had ordered for dinner. In fact, I had to resist jumping to the last episode to see what happened (would it be true to the book? Thee were enough – really good! – differences so I wasn’t sure), so great was my anticipation.
Turning 50 doesn’t have to be all doom and gloom. In fact, those typical black-and-white “50 years old” party decorations, suggesting that the celebrant is “so old,” seem out of place to me. Fifty can be fun. Fifty can be optimistic. Isn’t Hollywood’s most famous re-invented party boy, Robert Downey, Jr. over 50? Isn’t the always-engaging Marisa Tomei over 50?
This year Star Trek turns 50 and the phenomenon never looked better. There’s a new movie, a new fascinating Star Trek podcasts out there. And now, more than ever, there’s top TV show and even new stamps from the U.S. Post Office. There’s a bunch of -notch merchandise from innovative companies like Titan and Eaglemoss.
But it wasn’t always so. Back when Star Trek was turning 20 the future wasn’t so certain. It was a struggle. Fans were ridiculed. The world at large did not associate any ‘cool factor’ to Star Trek fandom.
And during those days, DC Comics was creating top-notch Star Trek comics. Looking back (at the future) through the lens of 2016, these adventures covered a perplexing time for the franchise. Spock was dead, Lt. Saavik had crashed the party, the main characters were all dealing with aging and career issues and interesting original characters were added to the mix.
I think it might be my favorite period of the Star Trek mythology. So instead of celebrating Star Trek’s 50th Anniversary like everyone else at the Star Trek: Mission New York convention later this week, let’s instead celebrate the 30th Anniversary of Star Trek’s 20th Anniversary…and specifically DC Comics’ Star Trek.
Marv Wolfman was essential to DC’s acquisition of the Star Trek license. Working on the Marvel Comics version helped him develop a unique perspective for successfully adapting the property into comics. Marv offered these great insights:
“I was a huge Star Trek fan. Still am, actually. I had written the first few issues of Marvel’s Trek but in analyzing it later felt everyone who handled Trek comics was doing it wrong. We were all trying to mimic a TV show’s four act structure and tone. We were all telling too many stories on the Bridge when we had an unlimited SFX budget. If they had the means they would have done other types of stories, but they were restricted by budget. Also, TV shows have tons of talking scenes, because that’s cheap to produce. Talking scenes in comics is visually boring, so I wanted more action and wonder.
“But Trek was pretty much dead at this point in comics and the first Trek movie (I wrote the adaptation for Marvel) didn’t offer much hope. But then I got the chance to see an early advance of the second movie and went back to DC saying we needed to get the license. I remember Jenette Kahn (DC’s President) didn’t think there was any hope for Trek back then (and most would have said she was right) but I was a fan and said this one was really good and I had a way of fixing it. Jenette may have disagreed but she trusted me and approved us getting the license.
“I brought in Mike W. Barr to write it, as I knew Mike loved Trek as deeply as I did. My thought was to handle the book like it was a comic, not a TV show. Have continued stories. Don’t structure it like a TV show. Have emotional characters and bring in new characters with whom we could tell stories we couldn’t necessarily do with the regular cast, which we couldn’t change. I wanted the cast off the bridge and on planets, and I wanted the problems to be big and not easily solvable. One of comics’ strength is building up a universe and there was no reason to keep it small because the TV show did.
“And all of that had to be done while 100% honoring everything else that made Trek great. Great characters and thoughtful SF stories. I thought we did it and the book sold amazingly well.
“I believe later on the approach was altered to go back to more of TV’s four-act structure, ignoring what made comics work, but as sales dropped that approach was changed back to what I had pitched and what Mike Barr wrote. I think whatever you do you need to remember to use the strength of comics.”
Next I turned to ComicMix‘s own Robert Greenberger, who has long been engaged in Star Trek fandom (be sure to read his Notes from a Final Frontiersman column). Robert was an editor for the DC Comics Star Trek series. I had a lot of questions for him:
Ed Catto: Rereading the first fun DC Star Trek comics, it still seems fresh and exciting to me. At that time, Spock was “dead,” the main characters were dealing with both middle age and career issues and the series introduced several new characters. What was it like to develop the series at that time?
Robert Greenberger: Marv Wolfman lobbied DC for the rights, feeling he didn’t have a real good chance to work with the characters when Marvel had the license. He and Mike W. Barr both worked under the far more restrictive Marvel license and so they wanted to see what they could do unfettered. The absence of Spock was seen as more of a creative challenge than anything else, since removing such a key figure changed the group dynamic. It also let Mike explore Saavik as a character.
EC: Can you tell me about the challenges you faced?
RG: When I arrived in 1984, the book was about six issues along and Marv and Mike were in a nice groove, developing their original-to-the-series characters, to round out the ensemble and have people they could actually do things to. A third film was being planned but we knew nothing about it at the time so continued to try and fill the gap after Star Trek II with interesting stories. Some of it felt like vamping and required some inventive thinking which is where, I believe, Mike hit on the idea for a Mirror Universe saga.
EC: At that point you were celebrating Star Trek’s 20th Anniversary. Just how different was that from the 50th Anniversary we’re celebrating now?
RG: Paramount Pictures chose not to do too much special for the 20th. There was some licensed merchandise but it wasn’t as big a deal to them. Len Wein was writing the comic for me at the time and we agreed we’d do a special story for that September. I got to use extra pages and he came up with “Vicious Circle!” a fun sequel to “Tomorrow is Yesterday,” allowing the TOS-era crew to meet their film series counterparts.
Paramount finally made a big deal on the 25th and now, the 50th. I’d love to have been involved with this year’s celebration since some transmedia storytelling could have been fun.
EC: I really liked the artwork on the DC series. What can you tell about working with talented guys like Ricardo Villagran, Tom Sutton, Gray Morrow, Curt Swan and even Eduardo Barreto?
RG: Ricardo was living in the NYC area in the early 1980s landed some work at DC, which led to Marv offering him Trek. He relocated to his native Argentina and we used DHL to make the monthly schedule. He needed the reference but smoothed out Tom’s pencils. Tom was a tremendous storyteller and I loved working with him, but the likenesses were never his strong suit. Eduardo Barreto stepped in for one story and if I could have, I would have shackled him to the Engine Room – I adored his Saavik spotlight, but he was in such demand I couldn’t keep him.
When I could, I spelled him with people like Gray Morrow and Curt Swan who handled the work really well. Then I lucked out with Gordon Purcell on Trek and Peter Krause on TNG, young guys who gave it their all and it worked.
EC: You’ve been involved with both Star Trek fandom and comic book fandom for many years, Robert. Can you compare and contrast the two fandoms?
RG: Comic book fandom was a direct outgrowth of science fiction fandom whereas Star Trek fandom splintered from SF fandom since they were looked down on for preferring filmed SF to prose. It was far more broad-based and in many ways welcoming so it grew faster than anyone could have imagined. The passions and infighting remains exactly the same, though.
EC: How does Star Trek fandom react to Star Trek comics?
RG: When there was nothing else regularly published, it was most welcome. Many didn’t like the inaccuracies in the Gold Key books but it was all they had between the infrequent Bantam novels throughout the 1970s. The Marvel series was much better received but suffered from inconsistent creative teams, an editor who didn’t know the property well, and a license restricting them to whatever was established in The Motion Picture. When DC arrived, they had a much broader contract and an editor, Marv, and a writer, Mike, who knew and loved the material. They got to be consistent, which the fans responded to. When I took over, I had a smooth-running operation and the fans continued to support us. Today, IDW feels the same love thanks to Mike Johnson’s stories.
EC: There’s a plethora of Star Trek podcasts now. Do you listen to any of them and what are your favorites?
RG: I honestly listen to exactly one podcast (totally unrelated to comics or Trek) despite having been interviewed for several. I respect Michael Clark, over at Visionary Trek, whose The Captain’s Table podcast has been good to me.
EC:Star Trek has had such a long history in comics. What are some of your favorite Star Trek comics over the last 50 years, and what do you think is the secret ingredient to adapting Star Trek to comics?
RG: I was honored to find six stories I was involved with make it to Comic Book Resources’ recent Top 10 Star Trek Comics of All Time list. My personal favorites are things like Star Trek Annual #3, by Peter David and Curt Swan, Debt of Honor with Chris Claremont and Adam Hughes, and The Modala Imperative miniseries by Peter, Michael Jan Friedman, and Pablo Marcos since it crossed TOS and TNG using Spock as the lynchpin. I enjoyed Glenn Greenberg’s Starfleet Academy run at Marvel and various stories from the other publishers.
Comics is not television and the action and special effects translate differently. To me, the secret sauce in the comics is keeping the focus on characters, working with the ensemble and serializing subplots so you can really explore issues in ways a 60-minute episode of two hour film cannot come close to working with. This way, we offer readers a different experience and shine the spotlight on different facets of the crew or races that make the universe so incredibly fascinating.
EC: Thanks, Robert and Marv. I wonder if Star Trek is one of those 50 year olds that wish to be 20 again?
Quick – who is the more interesting character, Superman or Batman? Batman, right? Supes is the Big Blue Boy Scout. He’s the quintessential “good guy.” He’s all bright colors and kid friendly. Batman is all dark and angsty. We could never be Superman with all those powers but, if we really worked hard at it, I mean if we had sufficient motivation and tons of money, we could be Batman.
That’s the common opinion. It’s not true, of course, but that’s the myth.
We always assume that Superman will do the right thing because, well, he’s Superman. That’s who he is. Doing the right thing, making the right choice just comes natural to him, like breathing. Good guys do the right thing. That’s what makes them good guys.
I’ve given a lot of interviews lately for the Suicide Squad Special: War Crimes that comes out this Wednesday and I’ve talked a lot about why I really enjoy writing bad guys, or at least anti-heroes. I find them more interesting, more complex. Take a look at my career – GrimJack, Amanda Waller, even Jim Corrigan a.k.a. the Spectre. They are all morally conflicted characters and only marginally “heroes” in that they are (usually) better than the people they oppose.
Except…
The flaw in this line of thought is that being “good” is something that comes naturally. That it’s not really a choice; it’s so basic to a character or a person that doing the right thing is something that s/he does automatically.
Except…
I usually find that isn’t the case especially when there is some kind of cost, big or small, connected with doing what’s “right.” Then it becomes a choice and what we choose is what ultimately defines us. Nobody – repeat, nobody – makes the right choice 100% of the time or the wrong choice every single time. Not the Pope, not your Aunt Petunia, not Donald Trump. That’s because the process of making that decision is usually a complex equation filled with lots of variables of different desires, needs, and thoughts. Perhaps there is one over-riding motivation but there will be lots of other factors looking to horn in, e.g. I want to lose weight, I need to lose weight, I need chocolate right now.
There is also the question of what the right thing is – and who is it right for. Is it right for the country, is it in my own self-interests, is it the right thing at the moment and will that moment change and therefore change what is the right choice? What might be an easy choice for one person might be a difficult one for another with roughly the same choice. Who would you die for? Would they die for you?
This decision can take nano-seconds or the person making the choice can agonize a long time over it. If this is true of us, and I submit that it is, then it should be true of our characters. Habit can also play a large part in making these decisions; if you’re accustomed to making the choice confronting you in a certain way, you are more likely to choose that way again. But not always. No guarantees.
If Superman is to be a convincing character to us as a person, then he must also face these decisions, confront fears, deal with doubts. He should have conflicting desires. For all his powers and his alien origin, this is what makes him human.
That’s what we want from our stories – humans making (sometimes difficult) decisions. If Superman is facing death he must also want to live; that makes his choice mean something and that choice defines him as a hero.
Kubo and the Two Strings fills a void I didn’t realize had grown in the movie landscape until I was watching it— it’s an earnest adventure movie for all ages without a trace of camp. There’s very little winking at the audience, there are no topical references, and the celebrity voice actors even try not to sound like themselves. It is refreshingly straight-laced and serious about the mythology in a way that seems lost sometimes even among supposedly serious films. It’s easy to get lost in the wonder of the story because everything is pushing you to do exactly that. I’ve scarcely been so happy to be lost in a film.
Kubo is like a fairy tale that you forgot. It combines a litany of familiar tropes like evil elders, a bumbling but noble sidekick, and the enduring magical power of parental love and combines it in to something that feels timeless, more a Monet than a paint-by-number. It’s a fairly basic hero’s journey story— Kubo has his life destroyed and must flee with only a few magical artifacts to protect him, and must gather legendary items to defeat the evil moon king. The artifacts in question don’t actually seem super helpful in defeating the villain, but that’s never what these things are really about. If I want to nitpick the metaphor gets a little clunky at times and might completely break down in the film’s climax, but I was consistently entertained and the last shot is killer so the rest is meaningless details.
There’s a level of base discomfort one can get from watching a movie so clearly trying to be Japanese but with no Japanese people in anywhere in the writing or directing credits. This is further compounded when white people voice all of the principal characters. It didn’t feel disrespectful to me, it felt tone consistent with the fables and myths I was familiar with from taking a few East Asian literature classes in college, but it isn’t my place to tell other people what is or is not over their boundaries for a piece of media like this. In a perfect world I would like to see movies like these, love letters to legitimate cultural artifacts, have more people from that culture playing the roles, but I understand that that isn’t where Hollywood is right now. I can’t find any Japanese people criticizing the film on these grounds, so I’m content to enjoy the movie and hope for the time when representation is a little better.
Representation issues aside the cast is uniformly fantastic. Charlize Theron is tiptoeing this line between loving maternal figure and fierce protector and absolutely nails it. Matthew McConaughey gives his strongest performance since winning an Oscar, and it’s probably not even worth looking up what those movies are to figure out how much of a compliment this is. Art Parkinson does most of the heavy lifting in the movie and might finally be moving away from being “that kid who plays Rickon Stark”, if he can keep doing work like this (or any work where he gets actual lines). Ralph Fiennes is such an unexpected delight and is wonderfully understated, but I couldn’t help but think that David Carradine would have 100% gotten that role if he were alive. Rooney Mara is going to be in my nightmares for her exquisitely creepy work. I’ve already mentioned this, but the greatest part of all of this work is the actors are willing to disappear in to the role instead of just sounding like themselves and cashing a big paycheck. I’m especially impressed with McConaughey, who even in his best work sounds an awful lot like himself but manages to fall away in to the part here.
Kubo and the Two Strings was a movie I wasn’t excited to see, it didn’t grab me from the trailer and it was put in a week that just seemed to scream “we’re done putting out the big movies this summer, here’s what’s left over” and I was so pleasantly surprised. Kubo is a strong contender for best animated movie of the year and could probably make a run at best action movie. I loved how it had a childlike sense of adventure built-in, but didn’t feel childish in the way a lot of kids movies can. It seems to be cursed to never find an audience, perhaps because it wasn’t willing to pitch itself as young as possible but it deserves to be a bigger hit. Kubo and the Two Strings is the best movie I’ve ever seen from Laika, and I hope it’s a sign of things to come and that the soft opening numbers don’t scare them back to The Boxtrolls or similar fare.
For those following along with the never-ending struggle in my attempt to finish The Samurnauts: Curse of the Dreadnuts #4, it becomes clear that when I declare “Each comic takes about 250 hours to complete from concept to final print,” I’m being very serious. And with this, the last issue of the mini-series, 250 hours is a massive understatement. As I was lamenting on my social feeds how I was without topic this week – because I figured no one wants to really know my lengthy thoughts about Arrow given I just started on Season 3 last night on Netflix – the consensus spoke.
Chicago’s Resident King of Nerds, Elliot Serrano, made the pitch:
Dude, you’ve been going through all these trials with life and creating your book, talk about that. Talk about the process and what drives you to keep going.
And his suggestion was liked by numerous compatriots of mine. Who am I to argue when the masses (exactly three people) demand I share the secret inner workings of Unshaven Comics?
So, let’s start at the top, shall we? This issue was supposed to be done last November. December if I was being lazy. Here we are in August of the following year, and we’re still inking pages. I myself have three left. Matt has four or five. And then the whole thing needs to be colored, have special effects added, lettered, proofed, and then printed. Shortly thereafter, the whole mini-series needs to be compiled, bonus materials built, and the graphic novel (that 125 very very very patient fans have awaited) will be done too.
So what happened?
Well, Elliot, the answer comes in two parts as you suggest. First, the quality of the final issue. Issue 1 of the series was all about the setup. For me personally, the only challenge was a cold-open action sequence, and having to learn how best to draw my Samurai-Astronauts panel after panel. While, yes, I’d completed Samurnauts: Genesis the year prior to Curse, the truth is I used as many cheats as I could to get to the final panel. Speedlines instead of a background? Sure! But I digress. By issue 4, there’s no more room to hide. Every page is the last of major sequences. Major fights. Transforming Zombie-Cyborg space pirates. Super move after super move. And probably a story somewhere in there. For Matt? It’s page after page of giant robots fighting. Suffice to say, we’d bitten more off than we could chew, but would be damned if we let it beat us.
But if our own stipulation of making the final issue be as good as we want it to be wasn’t enough, life gets in the way. As detailed before, in several columns, both Matt and I each brought another child into the world some five months ago. While we didn’t carry the children in our beer guts (thank Rao…), it was no less stressful. Another mouth to feed is another blessing on your home (yes, indeed, Rabbi Krustofsky), it’s also not fed for free. Both Matt Wright and I have more than doubled our efforts in the work-a-day world; Matt has taken to Uber’ing for secondary sources of income, whilst I have taken on massive amounts of freelance web and print design. Both of us work solid 18 hour days, minus some of the weekend when we just get to play dad and husband. Somewhere without those 18 hours, we scrape, scratch, and claw to complete panels. We still meet every Friday night to work together. We still attend conventions – with Dragon Con coming in about a week, and the New York Comic Con a month later.
So, what of the process, and what drives us to keep going? Well, it’s perhaps a bit rote to say it, but it bears stating it anyways. What drives us is the same thing we assume all other indie creators; the thrill of selling our wares to complete strangers who get what we do and want to support us. We create because we can’t exist without creating. Since our friendship blossomed in the sixth grade (with the unmentioned-until-now-but-still-just-as-important Kyle Gnepper), we’ve spend decades creating and destroying creation after creation. It’s simply part of what gets each of us up in the morning. I could work 25 hours a day, and still need to make my own work before my head hit a pillow. And to that point, the process itself is even more predictable. We work. We don’t stop working. We second guess how deep the undertaking was every damned week. But then we look at the pile of pages of the best-rendered, best-written ideas of our young careers, and we yearn to see it in the hands of those who supported us.
Sometimes, it’s the simplest of answers that drive home the most salient points. We do what we do, because we simply couldn’t be ourselves if we didn’t. And while we’re not punctual, the proof will exist in print soon enough.
Please note that Unshaven Comics is declaring that issue 4 of Curse of the Dreadnuts will be debuting at the 2016 New York Comic Con this October, even if Marc and Matt end up working 25 hours a day until then to ensure it happens.
