Settle down, now. Sure, the Oscars have got you all excited, but for heaven’s sake, try to relax. Take some deep breaths while we return to where we left off last week.
The subject, a week ago, was how mythology and religion had more or less parallel evolutions… Well, not exactly that: more how what could be a subhead in the mythology section evolved in parallel with another such subhead, comic books.
Both began as technology-spawned mutations of forms that already existed: (drama>movies; comic strips>comic books.) Both began with stories that were simple, plot driven and self-contained – “this episode” was all there was to this particular narrative. And, over decades, both changed, in storytelling technique, in the kinds of stories told, and, finally, in the content of those stories. Heroes became flawed, villains became motivated, plots became complex and, finally, in comic books, the complete-in-one-episode paradigm started fraying at the edges, becoming almost anachronistic. (I’ve edited comic book continuities that ran about 2000 pages, and I doubt that I’ve got the record.) (more…)
This year is the first time in my life that the Winter Olympics and the Academy Awards have fallen in the same month. Because I grew up with a great love for watching both figure skating and movies, it seems like 2014 should be a banner year for me to tune into the events that represent the highest level of competition in these two pastimes. Instead, 2014 is the first year that I watched neither. (more…)
“It started when someone from Indiana was bartending at my place,” says Kirah Haubrich, recalling a fateful night before the 2011 Mardi Gras season. “We asked about his first Mardi Gras, and he says ‘I thought it was really weird, but I didn’t see a lot of cosplay.’ It’s because we all have costumes and no one thinks about that in particular. But if we had a scene, I said it’d be called Chewbacchus. Immediately, I turned to Ballard. And after the night I said Chewbacchus to him, three weeks later the Bar2 was being built.”
All it took was one seasonal play on words, and suddenly Haubrich and her friend Ryan Ballard became the unexpected founders of the Intergalactic Krewe of Chewbacchus, Mardi Gras’ only official Sci-Fi and Fantasy themed organization. Together with friend and fellow “overlord” Brett Powers (think of them as organizational leaders, but ones who can trade Close Encounters quotes), the trio first unveiled Chewbacchus to the world in 2011. With 400 members marching in that inaugural parade, clearly they had tapped into something.
In 1980, we were all transfixed by the show COSMOS, hosted by the late Dr. Carl Sagan. Now Seth MacFarlane is producing a new COSMOS, headed by Neil DeGrasse Tyson and with strong ties and much respect for the original. We’ll tell you just what those are as Neil talks about his plans for the series, Plus DC decides it’s a look at the future for the next Big Event.
COSMOS premieres on NatGeo, Fox and several other outlets this Sunday (March 9th). See more at CosmosOnTV.Com
All our super-powered mythic creations, whether hero or villain, man or woman, are avatars—whether we realize it or not.
Superman, of course, is the Big Kahuna avatar of comics. Every corrupt politician that Superman put in jail, each mobster who pulled a gun and watched the bullets bounce off Superman’s chest, every misogynistic wise-ass jerk who insulted a woman and was punished by Superman was really being punished by these two bookish, nebbishy, and schlemiel-y kids from Cleveland, Jerry Siegel and Joe Schuster, who weren’t able to fight the anti-Semites or win the gorgeous goyishe blonde. I doubt very much either of them were consciously aware of the psycho-sociological underpinnings of their alien hero who would capture the world’s imagination, but it’s all there, as many critics and writers, including Danny Fingeroth, Jules Feiffer, Grant Morrison, Scott Bakutman of Stanford University, and A. C. Grayling of The Spectator have noted. Grayling’s article, “The Philosophy of Superman: A Short Course”, discusses the need for a Superman over the decades since his creation in the 1930’s, including the early 21st century and events post-9/11, stating that:
…caught between the terrifying George W. Bush and the terrorist Osama bin Laden, America is in earnest need of a Saviour for everything from the minor inconveniences to the major horrors of world catastrophe. And here he is, the down-home clean-cut boy in the blue tights and red cape.
Others more erudite than I am may have used more polysyllabic pronouncements when analyzing the characterization of the Man of Steel, but I will say that he is a fugue, an escape, an exodus into a world in which, simply put, the good guys win.
Depending on your definition of “the good guys,” of course.
Absent any overall topic occurring to me, maybe we’ll try the ol’ shotgun approach – a bunch of writing tips with the idea that, if there’s enough of them, some should work. (My friend William J. Norris used to describe my sense of humor that way – if I just kept talking, a certain percentage of it was bound to be funny.)
Da tips.
Cast your characters. This can be short-hand for a character and can help with dialogue. Who would play your character in TV or movies or who would provide their voice if the character was animated? It doesn’t have to be a living actor; heck, it doesn’t have to be an actor at all. It can be somebody you know or knew, friend or foe or relative (the last can be a combination of the first two). It can be a politician or your boss or a co-worker. Somebody you find distinctive and whose voice is inside your head.
Using a person as the template can help you with how the character acts, who they are, how they physically express themselves. Mannerisms, habits, nervous tics can all work into the character. The cadence of how the template speaks, verbal habits, and so on can help you as you write the dialogue. It’s sometimes easier to identify these traits in others than in yourself. That gives you perspective on them.
These traits are all shorthand – you still have to do all the basic hard work of who they are, their background, and what they want but this can help, especially if you get stuck.
You/Not You. All your characters are you; all your characters are not you. You have to find the point where you and your character intersect if you’re going to write the character honestly. Every character – the good, the bad, main characters, supporting character, one line wonders – lives inside you. However, you also have to detach from them a bit. You have to have some objectivity in portraying them. Give them their own life. It’s like parents with kids; at some point, the parent has to acknowledge their kid ain’t them. The dichotomy between you/not you can be tough to master.
The complete run of Starlog magazine has been scanned and made available over at archive.org. For those unfamiliar with the publication, it began life as a one-shot magazine about Star Trek. After art directors Kerry O’Quinn and Norman Jacobs were left high and dry by the publisher, they took all the existing material and decided to turn it into a magazine celebrating all science fiction on television and film. O’Quinn reached out to his friend David Houston to edit the new publication, dubbed Starlog and it debuted in the first half of 1976.
At the time, other publications covering the field appeared infrequently or failed to gain newsstand distribution in sufficient numbers to thrive. These included The Monster Times, Castle of Frankenstein, and Cinefantastique. Covering only aspects of science fiction was Warren Publications’ Famous Monsters of Filmland so there was a niche to be filled.
Starlog’s approach was to mix episode guides with news and features, interviews and columns covering books to conventions. Houston set the tone and handed off the reins to Howard Zimmerman as sales figures showed increases so the mag went quickly to a monthly schedule. As a result, there was an audience in place a year later when 2th Century Fox’s latest offering, Star Wars, opened in May 1977. The issue sold out and the magazine’s place in the hearts and minds of fans was cemented.
Much as Star Wars ignited a new round of SF on film and the small screen, Starlog’s arrival signaled a new round of magazines, both domestic and international, to cover the genre. Over the course of its life, Starlog presented fans with their first looks at upcoming events and studios used it to tease fans. As a result, they were the first to have images from Paramount Pictures’ first Star Trek feature film and again were the first show off designs for the Enterprise-D.
Its success led to other titles such as Cinemagic for budding filmmakers and Future Life for those who liked hard science with their daily dose of fiction. The most successful of the new launches was 1979’s arrival of Fangoria which dared to go deeper in its coverage of horror and gore than FMOM. They were the first nationally distributed newsstand title to cover comic books, comic strips, and animation with Comics Scene. Starlog Press also developed a thriving back issue and mail order business along with guidebooks and other one-shots.
The company became a launching pad for many writers and artists as Ed Naha went to Hollywood where he cowrote Honey, I Shrunk the Kids; and DC Comics became the next destination for editors Robert Greenberger, Eddie Berganza, Mike McAvennie, and Maureen McTigue.
After Zimmerman stepped down as editor, Dave McDonnell, who joined staff in 1983, took over and ran with the title through good times and bad until the company was sold off and the print edition shut down. He gamely ran a web-based version of the title until that too was closed. The digital archive is a treasure trove of things that never were, columnists whose opinions stirred up sharp debate, and ran deep interviews that went beyond the basics. It never evolved with changing times and technology thanks to short-sighted business decisions so spinoffs such as a radio program, retail store chain, and branded direct-to-video films died aborning.
The magazine ha been rediscovered by fans through John ZIpper’s Weimar World Service which recently did an issue by issue blog.
Thank you, Thoreau. The winds of change are ah-blowin’ kiddos. Turn that dial (and yeah I know kids… that term makes no sense to you) to NBC late night, and suddenly the land of Leno is now the field of Fallon. And where Jimmy once sat, now sits Seth. As internet pundits are quick to judge, I’ve been tickled pink at the complex barrage of arbitration that’s befallen the SNL alum already. Some good, some bad. But in nearly all cases? Passionate. Me personally? I’ll give them both the benefit of time. In his stint on ‘Late Night’, I thought Jimmy Fallon really came into his own. Taking that show to the “big leagues” has drawn itself plenty of criticism, and it brings me to my rant-n-rave this week: the outcries of the old who actively hate the new. (more…)
The ladies from the FX Animated series ARCHER provide it all. Beauty, brains and belly laughs. Aisha Tyler, Amber Nash, Judy Greer and Jessica Walter talk about the show, their best lines and how different (or similar) they are to the characters they play. Plus Amazon saves RIPPER STREET and METAL HURLANT hits The U.S.
But right at the end, there’s is a moment of new Doctor Peter Capaldi talking with a little girl who came all the way from Aberdeen to see the shoot. While security tried to get him to keep moving, he took the time (along with signing endless autographs) to make her feel better about what is surely her first case of New Doctor Angst.
I’m not crying; I’m smiling so hard the corners of my mouth are squeezing my tear ducts…
