letter to a friend

I meant to write this sooner, but I have been overextending myself lately.
I studied Philosophy some 10 years back at College of the Holy Cross, in Worcester, MA; though not on paper, as my uncle was then chair of the department. Sort of a real life precursor version of Good Will Hunting, as I was a 14 year old junior when I dropped out of high school earlier.
I was raised painfully Roman Catholic, and much of that brainwashing took years to absolve, though I still keep a propensity for the guilt trip as a living symbiote.
Ayn Rand has had the most impact on me. I was introduced to her writings by the acts of two persons. My father was obsessed with her philosophies, and I began the search initially just to better understand him. And my idol- Steve Ditko, who exemplifies her work in everything he does. Ditko's take has profoundly molded me. I would kill to oneday meet the man.
Objectivism to me today makes all the sense in the world, though I reached this apex via Robert Anton Wilson's hallucinogenic psychedelia, HP Lovecraft's fantasy, Alan Moore's politics, William Shakespeare's romance, Henry Miller's sex, and the blue-collar filter of Charles Bukowski and Tom Waits. Daydreamers, imperialists, and misogynists. My beliefs have been cause enough to write off what remains of my respective family trees and roots.
I keep an open mind wherever relevant, and so I abhor all political parties. I think organized religion does more harm than good, and I value traditional virtues, morals, and ethics regardless.
I share this as a gesture of friendship. We never stop learning until we are dead.

If I can ever be of service...

the Lottery Party XIII

the Myth of Diamonds

posted on January 28th, 2009 in Articles & Columns
by Richard Caldwell, Managing Editor

The bi-weekly schedule for this column seems to pass quicker and quicker nowadays. Seems like it was just two weeks ago…

By now, I trust everyone has heard something or other concerning the recent decisions made by Diamond Comic Distributors. A quick synopsis of what’s at stake? Don’t mind if I do.

Diamond, the zenith global distributor of English-language comic books, has held the industry in a monopoly since the dissolution of its last relevant competition some ten years back. As their numbers for 2008 were a bloody 4% lower than their numbers for 2007, and with assorted publishers announcing raised pricing this year, Diamond has seen fit to raise the purchase order benchmark required in advance from retailers from $1500 to $2500. This, effective with the company’s March edition of the Previews catalogue, will be the new minimum for a title to be carried by them.

Also, they have elected to drop the Adult materials insert from their print catalogues, which I see as a finely sublime statement on how much power the Christian Right still truly holds over all Western media. If not for sex, none of us would be here, but I digress. And who says comics are just for kids? Thank you, Steve Geppi.

What this means, to gear back on track, is that unless numerous independent and small press publishers can maintain the new demands for higher sales figures, they will need to look outside of DCD’s powerbase for national and global distribution. Self-publishing is now officially synonymous with self-distributing.

In their defense, Diamond has actually lost money in recent years under our glorious economy by allowing many retailers to be fronted on orders. Unfortunately, this act of corporate generosity has equated to many indebted stores closing up shoppe for good.

Realistically, and especially in light of the continuing recession, many creators do so as hobbyists. Supplies cost money. Printing costs money. Marketing costs money. With no alternatives to Diamond’s reach, many comics will be forced to cease publication altogether.

Following the message boards and blogospheres of the past week, I see alot of fear. Strangely, I see even more denial of where all of this seems headed. Is this the end? Our medium has enough of an inferiority complex to have won a plethora of rugged scar tissue over the years. We change, but we survive. The restructuring of Diamond’s business plan is indicative of things to come, though.
So what can anyone do about this? What WILL happen?

Obviously, we need more national representatives than just the monopoly of Diamond Comic Distributors. Yes, the m-word is perfectly applicable and appropriate, as no other industry in the world grants so much power to the middleman, with the possible exceptions of District of Columbia lobbyists and gun-running Middle Eastern-obsessed war profiteers. Competition can be very healthy. Whatever you think of Diamond, their actions are another undeniable push towards the undesired death of floppy monthlies.

The larger publishers constantly signing exclusive deals with DCD is not helping. The big two paying superstars what they do, whether you like it or not, IS affecting your cover prices as well. For the smaller fish to endure, the smaller distributors will need to step up to the plate. I would like to see many of them join together like kindred spirits. Remember how the Avengers first joined together to fight the common threat of Loki’s machinations? They each maintained their respective side things, but the team was, from then on, extant and there to accomplish what the members individually could not. Strength. In. Unity.

So, to name names and to steal some of DCD’s thunder-
http://www.havendistro.com and http://www.milehighcomics.com and http://westfieldcomics.com, I am looking in your directions. For online distribution of print comics, there is http://comixpress.com and http://www.indyplanet.com/catalog. For packaging (among many other) services I highly recommend http://www.the-pack.biz/index.htm.
I also foresee many indie publishers making more of a jump to online presentations for their books. For online distributions of digital media (digital comics, e-books, webcomix, etc.), I suggest the good folks at http://www.literatemachine.com.

Certain of the small publishers who already distribute themselves are open to distributing others, such as Last Gasp and Slave Labor. We need more of this.

Lots and lots more.

Not a great way to start the year.

richardcaldwell@comicnews.info

the Spark

Comic Book Reviews: the Spark

posted on January 27th, 2009 in Reviews

The Spark GN
Written by Martin Renard
Illustrated by Nahuel Sagarnaga Cozman
Published by Studio 407
Reviewed by Richard Caldwell

The story of the Spark details the character of teenage Lucas- a good kid, albeit overburdened already with achieving straight A’s, after school employment, and helping to maintain his family’s blue collar home life. Anybody possessing an iota of responsibility will identify completely. Then the Spark happens…

Strange and abrupt alien lights in the sky, the government acting funny and the media enjoying the field day of it all. The last time the Spark occurred some fifteen years prior, the world was given a quartet of super-powered heroes, all of whom eventually met ill fates in their chosen call to duty. This time around again, heroes are born, though not all jump at the chance to play superstar.

This is beautifully realistic. Not once does Lucas ever come off reading like some emo twerp. Honestly, he is just over-extended enough as is, by the demands of daily living. The promise of added responsibilities is too much, for himself or almost anyone in the real world to actually and willingly endure. This is the story in part of the weight of heroics, of the price and limitations of the frailty abounding humane and personal sacrifice. This is Peter Parker-esque when Peter Parker is being written by someone with a clue. Renard has crafted a remarkably adept tale, one which I truly wish could find the means to proceed as an ongoing. There will likely be comparisons to Invincible, though I believe this work comes from a place of less ego, and more understanding of basic psychology and intuition.

As fun as the story reveals itself to be, the art matches and raises the bank with every blessed panel. I have honestly never heard of this artist, Cozman, before, but this is the work of a highly skilled storyteller. The scene construction and dimensions were eye candy, the flow was natural. I can think of a list of artists who would need twice the page count to tell the story of the Spark, though not once was this presentation in any way claustrophobic. The members of this creative team are most definitely ones to watch.

If anything, the book earns major cookie points for possibly one of the best incorporations of a wet t-shirt scene in comic book history, as well as a fantastically semantic-driven resolution for an alien invasion scenario. Much thought went into this.
This is good comix. Damn good.

torquemada a gogo

talking with Micah Gunnell

posted on January 27th, 2009 in Interviews

Micah Gunnell is one of the greatest illustrators to come along in recent years. His credits include work on the Heroes comic book series, Wireless, The History of a Secret, Normal Lives and a host of others. Currently working for Aspen Comics, Micah took the time to chat with our very own Richard Caldwell.

Micah, with your fluidly dynamic style and composition, you are a rising star in the here and now. How were you initially noticed, and do you remember much from your very first gig?

First, thank you for the kind words, and for the opportunity to do this interview. As far as my career impetus, the very first published work I did was in a back-up story in Across the Pond Comics’ “Government Bodies #2″. I believe it was a five page story which had about 8-12 panels on each page. It was a nightmare trying to fit all those panels in, but a lot of fun too. That was maybe a year or two prior to going to the Kubert School, which I attended for the one year. After I finished my first year at the school I decided I would get serious about finding a job. A few months after school I tried out for “Comic Book Idol 2″, the online contest hosted by Comic Book Resources. I was lucky enough to be selected as one of the ten contestants, and although I only made it to the third round of elimination, it did get me noticed by the folks at Aspen Comics. I received an e-mail from Aspen VP Frank Mastromauro asking if I’d be interested in submitting some work to them, to which I responded something equivalent to “Hell yeah!”.

I sent some horrible samples to them the first time which were a bit rushed because I didn’t know how much time I had, but I guess they saw something in the other work I had done and asked me to do some more and take my time, which I did. The result was something I would never show anyone, but was still a little better than the first set. Frank asked me to come to the San Diego con to meet Mike Turner and him, which I did. I was so nervous!

An interesting sidebar- Mike was actually the very first comic book artist I met when I went to my very first convention in Pittsburgh at age 15. He was my favorite artist at the time, and although my stylistic tastes had changed a bit since that point, he was still very iconic to me and really was and is a bona fide star in comics. I later talked to Mike about this first meeting, which he said was also the very first con that Top Cow had paid for him to attend so it was a kind of interesting synchronicity speaking for me and for him. He also remembered a horrible drawing that I showed him there at which he commented that I had a “good start”. I remember that meeting fondly, particularly now with his passing. He was a gentleman and very friendly, which is something that at that age really made an impression on me and how I want to treat people that enjoy my work. Who would have thought 9 years later I’d be working for him?…Sorry for the long tangent!!

Back to what I was saying…
Mike looked through my portfolio and stopped on one particular piece which I had spent several days on and was probably the most detailed piece I had done up to that point. “How would you like to do work like this on every page?” he said, to which I responded that I was too slow to do that on a daily basis. Regardless of my nervousness and lack of pencilling speed, I guess they saw enough potential in my work to offer me an internship, I flew over to their Marina Del Rey studio a few times, then moved to L.A. permanently, crashing on Peter Steigerwald’s couch the first four months. It was a really exciting time.

Sticking to your guns, I think, and the bravery to show some honest self-critique is a rarity nowadays, where everyone feels the need to sell themselves round the clock to any ear that might pay heed. Your work was good enough for Heroes, right?
How did that deal go down for you?

I agree, there are quite a few people out there that feel the need to trumpet their skills. Honestly though, most of the professionals who I have met and admire are very humble. In my opinion you should let your work speak for itself. As a sports fan I always admired the players who were the most humble, yet were also extremely talented. That’s something I try to keep in mind, though I feel I have a long way to go.
With Heroes, the way that happened is Aspen was contracted by NBC to do the artwork for many of the online comics. I wasn’t specifically hired by them, but when they made the deal with Aspen, it happened by proxy. Obviously with the show being such a big hit its been a cool thing to be a part of and its been good for broadening my exposure.

I admire how the Aspen clan has really circled their wagons in the past year. There seems to be a growing amount of focus and determination coming from the studio.
So what is the new book you’re handling?

Yeah, I’ve heard talk of people saying with Mike’s passing we were finished as a company, but honestly I think we’ll prove quite a few of the cynics wrong in that prediction. This year is going to be a big one for us as a publisher, with lots of new books coming out, as well as other big announcements. I’m really excited about the future of Aspen and I know everyone else is too. One of the great things about us as a company is that we’re a lot more than that. Mike and Frank always strived to create an atmosphere of family at Aspen, and its never been something forced. Every person working here was hired on not only for their talent, but also based on their character; and as a result Aspen consists of a bunch of great people that all want to create great comics.

As far as my upcoming project is concerned, I can’t say anything yet. There have been a few teaser ads in recent books from Aspen, but the name of the series and details about it have not been released. I can say it will be out sometime in late spring/early summer of this year. I’m very excited about it and I think it will show a side to my artwork that many people haven’t seen yet. Most people know my work from Shrugged, which is a very lighthearted work; however this new book is much darker and more mature in its themes, and therefore I’ve tailored my style to fit that mood.

As far as tailoring styles, is there a certain atmosphere you need to do what you do? Like an all-out sensory deprivation tank, or just some good tunes?

It depends. I’ll usually listen to music while I’m doing the layouts because it takes more thought and problem-solving. Once I start the finished pencils I usually will listen to talk radio because its more entertaining. It really just depends though. Sometimes I’ll put on a movie I’ve seen a million times so I can listen to it as background noise. You tend to come up with different ways of entertaining yourself when you have to sit at a desk 10-12 hrs a day. Sometimes if I’m trying to get into a certain mindset for designing something in particular I’ll try to listen to music that reflects the mood I’m going for. Regardless, I’m always listening to something while I’m drawing because complete silence is really boring!

If not for funny books, what would you be doing for a living? And where would you wish to be in ten years?

It would have to be something involving art. I’ve been drawing since I could hold a pencil, and before I discovered comics I never really knew what specifically I wanted to do. I used to want to be a book illustrator when I was a kid. Lately I’ve been getting more interested in visual storytelling and cinematography; and I know its not something easy to get into, but maybe if I hadn’t chosen comics I would have chosen film. I’m kind of a creative control freak so maybe I’d make a good director.

Thinking ahead ten years is a little hard for me to wrap my head around. I guess if I could have my way I’d be creating my own stories and illustrating them. The reason I got into comics is because I wanted to draw my own characters and create my own worlds for them to live in. Don’t get me wrong, I would love to draw Batman, Wolverine, the X-Men, merely because I grew up on those characters and it would be amazing to work work on those books, but my real love is creating. Like I said- I’m a control freak, and I want to be able to have as much creative oversight as possible. I have several creator-owned projects that I would love to see come to fruition in the next few years. If I had to name one person’s career that I would like to emulate it would probably be Mike Mignola. From an artistic standpoint, he’s held in the highest esteem by his peers, and creatively, he’s living the dream. Not many people get the opportunity to draw their own characters and make a nice living out of it, but that’s exactly what I would love to do.

Micah, thank you for sharing; and judging from the hints on your deviantart profile, I cannot wait to see the new book.

Smuggling Spirits

Comic Book Reviews: Smuggling Spirits

posted on January 26th, 2009 in Reviews

Smuggling Spirits
Written by Ben Fisher
Illustrated by Mike Henderson
Published by Studio 407
Reviewed by Richard Caldwell

Set in the scary enough prohibition days, Smuggling Spirits is a nice attempt at some original horror, with a world filled mysteriously by clans of demonic “Darklings” and their ongoing battles with humanity.
The human twist is in the relationship between the main characters- Al, a grim everyman forced by circumstance to take on any odd job he can dig up no matter how tough; and Nathan, the boy forced by circumstance to grow up fast in a life without normalcy. Whereas Al is blinded by emotional blockers that limit his actual perceptions (causing at times some humorous scenarios), Nathan is the one elected by the fates to keep things in check. The two watch each other’s back in a manner more realistic than the more noteworthy Dynamic Duo, creating for a rapport full of both action and heart that really works well.

As the two accept a moonshining run in hostile rustic territory, the story and backgrounds of the characters unfold at a solid enough pace, although the distinctiveness of the creators’ collective voice does not really take full affect until halfway through the work. Early on, some of the captioning and dialogue seems painfully over-dramatic, which I feel safe to call as I myself am oft guilty of the very same. Quips towards the end completely make up for the weak points, however, and then some.
Visually, this is black and white and even very sharp in presentation. Though at times void of scenic detail, and at times a little more research into stylistic aspects of the historical settings would have been wholly welcomed; all in all the rhythm and mood were absolutely visceral, and I would be very eager to see Henderson’s next work.

Some of the final pages were just beautifully executed.

The closing chapter especially, with resolution et al- is a well conceived finish for some fully-formed characters.

A well-constructed self-contained story, my biggest complaint here would be in the characteristics of many of the Darklings. Silence can often be far scarier than revealed personas or agendas. Less talking would have contributed more to the unearthly feel of the unnatural conflicts. In the same vein, might matching form would have made more sense as well. Still, a very solid read.
Find a copy and enjoy.

doggery

the dream is long dead.

O, but the flowers that grow from her corpse!

I have named each one, as countless as the stars,

as numerous and crowded as her suitors.


desirous, I begin the days anew. the ship in my bottle is bound for seasalt waves and midnight starry skies.
my voyage,
the earnestness of a saint, and the conviction of a murderer.

I am bittersweet.

diamondfuck

This...angers me.




power mad

the Aesthetics Engine

I think I know what I am aiming for, down the road a ways.

I would like to start an anthology comics magazine, a monthly periodical with an in-house generated online counterpart.
The comic magazine would run the spectrum from gallery pieces to continuing stories. Philosophically-minded, with a plethora of quality materials concerning sex and violence, religion and politics, life and death. Art and storytelling by manner of imagination and intelligence. Articles and comix and poetry. Sometimes noteworthy interviews. No reviews or previews or press releases. All genres inclusive.
The webzine would be updated daily, and would serve as soapbox for the persons groovy enough to have garnered membership to my clandestine circle; that would consist primarily of the efforts of multiple columnists.

the lapin agile brawlers

page 1:

panel 1, scene- The front of a printing house. An old mutt standing in the walkway, alert.

caption- The mongrel dog's name was Cervantes.

panel 2, scene- Cervantes with ears up is howling and looking across the street at a bulky man struggling with a young woman in the alley.

caption- He howled and he howled all night long, after seeing how the man across the alley had killed the woman with the flowers falling from her hair, with his shovel so bloody his armatura of shadow silhouetted against the brickwork as like a giant cockroach dripping with mire.

panel 3, scene- The bulky man is bashing the woman down with a shovel, flower petals spilling from her hair along with blood droplets. His shadow on the brick wall is menacing and larger than life.

panel 4, scene- The bulky man, winded and smoking and looking sideways at Cervantes across the way.

caption- After her form was no longer form, he had looked dead on at poor Cervantes while he lit a smoke and exhaled a long plume of darkness, leaving Cervantes to so howl and howl all night long.

panel 5, scene- Night has turned to day, a short and fat barkeep is approaching the rear entrance to his business via the alley. He steps over the young woman and is watched by Cervantes from across the street.

caption- The following morning Cervantes is aghast at the barkeep. Spitting on the ground as he unlocked the tavern's back door, the barkeep sees the alley's royal mess in the rising day's light.

the barkeep says- "s' a fun night stand"

caption2- ...he grumbles to himself and continues inside away from view.

panel 6, scene- Cervantes is frustrated and exhausted and lays down in his spot out front of the printing house.

caption- Three-legged Cervantes was much too tired to howl anymore.


page 2:

panel 1, scene- There are many people going about their business in the street. POV is through the crowd, focusing on a spot beside a cathedral, where a police officer is standing with a gypsy-looking woman with insane cleavage.

caption- Behind the belfry, Meredith the Hag knew that Magistrate Jono was quite mad.

panel 2, scene- A closer view, showing the Magistrate's back and the Hag's face bearing a strange expression.

caption- Then, she was oft known to be a wee cantankerous when sober. Her hands like aged, pulled leather going about the motions- his grunting response of responses.

the Magistrate says- "O Mother!"

caption2- ...he squeals aloud.

panel 3, scene- A different angle of the same, with the Magistrate's back and the Hag's ugly mug.

caption- And in broad day's light, like this! She knew he was extra antsy today. She knew, for him to bid request of the nigh-ancient pinchprick she. Broad daylight!

panel 4, scene- A side perspective, with the Magistrate's eyes closed and looking as though in a world of pain. The Hag's ugly face looking downward.

caption- Conversely- Magistrate Jono knew Meredith the Hag was a proper wretch when grasping anything other than her prescious rotgut bottle. He really liked that- that aggression about her.

panel 5, scene- A close-up of the Magistrate's face, sweat on his brow and teeth grimacing and biting his lip.

caption- Civic duty a blessed, blessed thing indeed.

the Magistrate says- "O Mother!"

caption2- ...he squeals again.


page 3:

panel 1, scene- A warehouse cluttered with crates and barrels stacked everywhere. A large entryway on one wall opening out to a night-time view of the waterfront loading docks. Four men are grouped around a younger man. Three thugs are holding the younger man (who has a ponytail and looks almost respectable), while the fourth man (middle-aged, bald with a pencil-thin moustache like a french waiter) stands a few feet in front of the younger.

panel 2, scene- A closer shot of the younger man, his nose and lips are burst with blood.

caption- The blood from his batter'd nose quickly soaked the whole of his face. It hurt something fierce.

the fourth man says, from off panel- "Thom- ye sick whelp, what were ye think'n?"

caption2- ...booms a booming voice.

panel 3, scene- A mirror-like reflection of the previous panel. The younger man is held by numerous strong arms and his face is messed up royally.

Thom(the younger man) says- "..."

caption- He mutters a gargled manner of gurgling defense, blood-filled mouth making things rather difficult. Arms held aloft by the Rory goons aplenty.

panel 4, scene- A slightly pulled back view, showing all 5 men. One of the three that was holding Thom gives a wicked kidney punch to him.

the fourth man, speaks again- "Why would ye rob from ME and my coffers, after all I done for ye..."

caption- ...the booming voice continues.

panel 5, scene- Close-up of Thom's wincing eyes.

caption- As soon as this thunder leaves me head... thinks Thom, as dark clouds in on his increasingly sorry state.

the fourth man says from off panel, this time even louder- "Why?"

caption2- ...demands the boomer of booms.

panel 6, scene- Total blackness.

caption- To take your daughter away from all of this... thinks Thom, as the darkening dark wins out after all.


page 4:

panel 1, scene- A (big, full page, detailed panel) very very very clustered private library/book shoppe, full of oddities like a suit of armor, a globe, African masks, scrolls and book-filled shelves everywhere, some books laying open, quillpen and a desk, maybe even a deformed baby in a jar- you get the vibe of worldliness.
From the inside- the store window should read (in reversed lettering): Officiale Antiquities. One wall should have a small, round open window where sits a live robin perched. He is looking to the old gentleman in the center of the room, Professor Iszkahngaard, who is late 50's, shaggy grey hair with a black beard with a grey stripe down the middle. He is well kempt in a shirt and vest and period tie with sleeves rolled up. He is wearing wire-rimmed glasses, looking like a college professor of philosophy. He is talking to the bird as though it were both a human and his best friend, gesturing wildly but very comfortable.

caption-
The robinbird fluttered, as most creatures sometimes do. And continued Professor Iszkahngaard-

Iszkahngaard says- "...it's a transmitter, specifically, a massive construct of steamfilled, geometrically incomprehensible clockworks and miscellanea of unintelligible designs and mechanized phenomena. To be located, as it were, at the end of time. Acting as the penultimate of beacons, attracting the decaying molecules of all that ever was (and could have been, and might have been, and should have been), breaking them down to their basest subatomic particles and transpositioning said subatomic particles to the receiver, my other construct of mechanized phenomena, which would be located, as it were, at the very beginning of all that will be. Imagine- the endless wave of subatomic, matter broken down to nth degrees, base particles of energy broadcast via transteleportation from the very end of everything, directly to the very beginning of everything.
Now, as the creation of all that will be obviously includes all the possibilities of the infinite, then infinite energy is clearly required. This is only possible using the energy of all that ever was, so as the particles neverendingly explode from my receiver, they are immediately redistributed into the birthing of the possibility of everything, thus completing the timeless circle of the omnidimensional continuum!"

caption2-
Question mark, implies the robinbird. And continues Professor Iszkahngaard-

Iszkahngaard says "...reverse interstellar transmogrification! Think of it as a process…at least that is what I told the buyer when he picked up my invention earlier. Who? Well, GOD of course! And actually, it was more of a trade, really. After all, what price could be ascribed to such an invention as my Reactionless Drive Teleporter? What did I receive then in stead of more traditional payment? I asked GOD to remove from not only all of existences, but from the MEMORY of all of existences, something…something very particular…
But you will have to excuse me of course, dear friend, for I cannot seem to remember what it was…"

caption3- The robinbird fluttered, as most creatures sometimes do.


page 5:

panel 1, scene- A continuation of Prof Iszkahngaard's library/shoppe. He looks off panel, to the back of the common room.

Iszkahngaard says "Gunther- I do believe it is time for my snifter."

panel 2, scene- From the implied storeroom out back enters the automated man, Gunther. His is an intimidating presence, the size of a bodybuilder and made of copper, tin, and iron. He is primarily copper-coloured, and his name is spelt out on a placard bolted across his chest. There should be visible gears along his knees and elbows, and an intricate pipeworks sytem to his back, so that he is constantly releasing steam. He wears a monocle. No clothing, please. He carries a polished tray holding a pintglass, a bottle of imported Kentucky bourbon, and a firing pistol. His movements should be stunted and gilted, like a marching soldier, or a "cuckoo clock". Sound effects of 'clicks' and 'whirls' might fit here.

panel 3, scene- Iszkahngaard, casually pouring himself a small drink. Gunther stands before him, and the robinbird looks on.

panel 4, scene- Iszkahngaard holds the glass in toast to the robinbird.

Iszkahngaard says "I solemnly wish you could share in my respite, old friend. Bourbon being the only agreeable thing to come from the colonies, you would enjoy it, I think."

panel 5, scene- Having downed the drink in a single gulp, the Prof trades the pintglass for the pistol.

Iszkahngaard says, to Gunther- "Sir, you always were a sorry piece of work. You should know that redemption values more than anything."

panel 6, scene- A close up as Iszkahngaard holds the pistol close, longingly studying the weapon.

Iszkahngaard says, to know one in particular "Anything and nothing."

panel 7, scene- A loud "pop" as the Prof blows his brains out, falling abruptly to the floor. Gunther barely moves, the robinbird- still perched- flaps its wings crow-like.


page 6:

panel 1, scene- A continuation of the library/shoppe, Gunther looks down at the bloody Professor Iszkahngaard, now very dead. They are both expressionless.

panel 2, scene- Gunther the automated man looks to the round window to see the robinbird flying off.

panel 3, scene- Setting the tray on a nearby desktop, Gunther thoughtfully touches his temple.

Gunther says "...redemption..."

panel 4, scene- Gunther the automated man walks out of the front door, locking it behind him with a keyring full of the long, olde-fashioned keys. The streetfront outside is empty of persons, but full of fading daylight. Raindrops are beginning to fall.

panel 5, scene- Gunther, looking to lightening in the distant sky, walks off. whistling sound effects here.


page 7:

panel 1, scene- The docks from before. It is raining in the night, gradually building in intensity throughout this page. Rory, the mob-king from earlier, stands with Magistrate Jono and a couple of other officers. Only one of Rory's goons is present- the one who kidney punched Thom. The young Thom has his hands excessively bound with ropes, and is being carried on the thug's shoulder.

Rory says to Jono "Why in bloody hell do I smell fish on ye?"

caption- Magistrate Jono smiles as only an official of the law smiles...

panel 2, scene- Rory is trying to light a cigar in spite of the rain. He is unsuccessful in this venture.

panel 3, scene- Jono, flanked on either side by his fellow officers, looks and points to the bound and still-unconscious Thom.

Jono says "And is this the pup wot the good guv would like removed from his premises?"

panel 4, scene- Rory throws his wet cigar and wetter matchbox aside in a puddle.

Rory says to Jono "Aye. He is engaged to me daughter, though, so please find him a safe port in this weather. And by safe I mean ye can kick the rest of his rot teeth out for all I cares."

panel 5, scene- The goony thug, grinning, roughly hands poor Thom over to the two officers, while Jono and Rory nonchallantly look on.

panel 6, scene- An extreme close-up of Magistrate Jono, saluting.

Jono says "Kicking of rot teeth. Right-right."


page 8:

panel 1, scene- The interiors of the pub mentioned in page 1. Wood paneling everywhere, and very dim lighting from sparsely set candles. The barkeep is looking from behind the bar out the storefront window as somebody is approaching from the outside. There is noone else in the pub.

panel 2, scene- Meredith the Hag stumbles in, clearly drunk and slurred and dripping water everywhere.

says the barkeep, Paddy, from off panel "Ye daft wench! Is it time already to spend yer day's sinnin' sovereigns?"

panel 4, scene- Meredith the Hag smiles with very few teeth and rain smeared make-up. She grasps her insanely huge boobage in defiance.

panel 5, scene- Paddy the barkeep is stepping out from behind the bar, menacingly.

panel 6, scene- Meredith the Hag is thrown out the door by the barkeep.

Paddy the barkeep says "Only gents in me pub- no whores allowed here! I knows ever bless'd page o' me bible!"


page 9:

panel 1, scene- Midnight exterior shot of the constabulary station (police HQ). There ought to be a random bum passed out on the steps.

panel 2, scene- Thom, still tied up, awakens as he lands hard on a cellroom floor.

panel 3, scene- Thom looks to the cell on his right, through the iron bars. There is a drunken priest mumbling incoherently to himself, smiling like a retarded child and sitting on the floor.

panel 4, scene- Thom looks across the room to a table along the far wall. Officers are walking busy-like, to and fro. On the table is a woman with a badly stained blanket draped over all but her head.

panel 5, scene- A close-up of the young woman's face to show she is the one with flowers in her hair from before.

Thom says sullenly "...Christiane? O god...O my godless god..."

panel 6, scene- Thom sits on the floor of his cell, knees drawn near and his head down, sobbing loudly and tiredly. The drunken priest next door has jumped to his feet.

the drunk priest says proudly "Queen save the God!"


END?

Schadenfreude

from a message to get an ex to leave me alone...


I am not at all miserable. I have no financial debts whatsoever. I hate louEVIL because the persons therein who are NOT desperate for validation are few in number. Denial is as ugly as the local fiscal budget.
Last year I proved to myself that my hourglass has been overturned. That is worth everything that has ever happened to me. I am no longer the serpent eating its own tail, I am the temporal wormhole that explodes outwards into the NEXT dimension once the snake swallows the last of itself.
My only remaining problem is the ongoing insistence of others to adhere their own tawdry definitions upon my character. I am not a scapegoat for the fallacies of others.

You seem to not know who I am in the slightest.

my articles thus far for popthought, in order of appearance.

the Archaic Writ

the definitive textbook on making comics?

A review of Drawing WORDS & WRITING Pictures, a college-level book on the organized construction of comics that will demand your obsessive studies like an ugly girlfriend.

Ello ello. This will be the first of what I hope to be many contributions to popthought. The cool kids allowing me to play in their sandbox has really waxed my ego the past few days. Thank you. Not too long ago, I entered a contest held by the folks who run LiterateMachine, a manner of online distribution service for digital comix, e-books, web-strips, etc. Even had I not won I would still think they do good work, exhibiting excellent tastes all across the board.

So the postman came calling, with my brand new copy of "Drawing WORDS & WRITING Pictures", co-authored by Jessica Abel and Matt Madden and published just earlier this year. This book is absolutely remarkable, apparently the first legitimate collegiate-level textbook covering the entire process of making comic books. I read it straight through, as in the past couple of years I have discovered a dilection for reading history textbooks. This is not prescribed for adequate usage, however, as the book is structured around a surprisingly comprehensive fifteen-week lesson plan. It even includes detailed variations for outside the classroom, covering both independent study groups (referred to as 'nomads') as well as the solo flyers eager for knowledge (referred to as 'ronins').

Honestly, the research and technical knowledge that went into this work is inspiring, to say the least. Both Abel and Madden are evidently well-experienced art teachers (currently at NYC's School of Visual Arts), as well as cartoonists in their own respective rights. Although lushly packed with wide-ranging visuals, this is still a textbook, however, and should be neither overlooked or underestimated as such. Strongly affected by McCloud's "Understanding Comics", though with less philosophy and much more constructive methodologies, "Drawing WORDS & WRITING Pictures" is entirely too concise and wonderful to be relegated to the coffee table, or even to a spot on your shelf of Graphic Albums.

There already exists plenty of 'How to Draw'- type books out there; and this is far more than that. Equally, thankfully even- the medium has grown enough to warrant the curriculum of even non-art schools to having evolved enough for something like this. A fantastic sign of the times. I am now working my way back through the book, on my own still; and I have just finished week three, which deals with comic strips and thumbnails. I was fortunate enough to have interviewed Sam Henderson a few months ago, who reminded me of my own mini-comix obsession, and I praise Abel and Madden for reminding me again how much fun mini-comix really are to make. I can only imagine where their sections on typography and assorted inking techniques will take me.

The relevancy of this textbook as a whole is obvious. We live in a curious time now where very few can afford proper avenues of continued education, while virtually anyone with access to the internet can produce and publish their own web-comics. The very existence of this book serves as a fine testament to where our culture, our medium, can now be headed- logical steps that can walk anyone intelligent enough with the bug through to completion of a crafted work of their own. There is dignity in these pages. Explore it.

Kudos to LiterateMachine for putting this in my hands.

Bats in the Belfry

the rollercoasters of comics on film

My ramblings regarding the state of comic books in Hollywood, and how their continued existence may depend more on current and upcoming films than we would care to fully realize.

As time goes by, comic books and movies have become bedfellows, with each industry arguably and gradually fueling the other more and more. In recent years, it was the Spider-Man franchise that dominated the booming trend of real people dressing funny on screen. Currently, it is the Batman movies that are breaking records and making headlines. Now that everybody has access to the home viewing of the Dark Knight, I and my youthful arrogance feel the need to keep some things in perspective.

In darker times, the draw for escapism through the fantastic becomes self-evident. As comic books are a credible resource for fantasy then it only makes sense for the vastly larger world of filmworks to pull from our funny books for inspiration and source material. The box office sellouts of the decade past more than verify this. Still, even the biggest trends must play by the laws of nature, namely, that most people have the attention spans of a hummingbird on crack. I blame television for this, as well as lazy upbringing. My point being, that I suspect we may be nearing the top of the hill, and will likely soon enough be rolling back down to our respective corners. As evidence, I cite the history of the medium itself. It took comics roughly seventy years to attain this level of public awareness, so who is to say such current status can possibly be maintained for much longer?

I think alot rides on what will be released over the next year. The Iron Man movie was perfection, and the promise of not only sequels, but of a branching Avengers franchise is absolutely intoxicating. It seems that many of Marvel's more deserving icons will at last get their shot at bat, but will it be enough? Anyone who thinks that the success of Iron Man, both monetarily as well as to the satisfaction of fanboys and fangirls can be readily duplicated is ignorant of economics. Times are tough, man. I could barely swing my bootleg copy of the Dark Knight three months back. Marvel's issues with Sony will obviously be decided following the sales reports for the Wolverine movie. If the movie bombs then it will only increase the playing field for Marvel's home team, giving them a stronger foundation in the market. I think this will actually happen. Granted, "bombing" in the eyes of Hollywood folks could still equate to millions made, but if it falls short of the daydreams then control will supposedly be relinquished enough so that even a watchable Fantastic Four film could oneday be brought to life. To bring us back on track though, super-heroes will never be more than a trend. There will likely be some money made here, but not enough to warrant real longevity. We must look elsewhere for our mining canaries.

I am here disavowing Frank Miller. Has he sold out entirely, or merely bought in to his own hype, after so many years of playing the role of respectable poster boy on behalf of "cool" comics? Yes, Sin City and even 300 rank among my favorite films, at least in the top hundred, but Miller has clearly shot himself in the foot by even thinking of bringing Eisner's the Spirit to film. Just because something excels in one medium is no guarantee that it will do the very same elsewhere. I will hit this again shortly. For the Miller to filter the Spirit through his own cinematic style, as fun and dynamic as it is, viewers who then choose to pursue the original source materials will just not be finding the same thing. Homages work fine in comic books, but the effect is dramatically different in film. Will it be a kickass movie? Yes, verily, but it is not Will Eisner's baby. And anyone unfamiliar with comics who had issues with Sin City will have deja vu agitations all over again. Mark my words.

I think Snyder's rendition of the Watchmen will be more of a basis for comparison, as far as how much longer we can sleep over at Hollywood's house. Moore wrote the perfect story, no debate there. Ideally, for a faithful movie to hit the same nail even approximately close it would need to be a twelve-hour mini-series. I hear horrible stirrings however, of an ending changed so that Ozymandias is reduced to the role of a terrorist. The reference to the Kennedy quote is all about safeguards, of keeping metaphorical super-powers in the realm of checks and balances. Moore expressed this by having a scenario created wherein the world at large is forced irrevocably to catch up to the artists, scientists, and dreamers who died on Veidt's island. Thus, the field was leveled. If Snyder does indeed twist the ending away from the alien squid-thingy and the Lovecraftian affect it would force upon global consciences, if he twists it so that Ozymandias casts public doubt on the reasons for Manhattan's existence, then he would be approaching the problem from the opposite end of the spectrum. The field would stiil get leveled, but by dragging the saviors back down to status quo. If this indeed proves to be the case, Snyder would only be giving validation to certain international policies and practices concerning, at the heart, a bastardization of Ayn Rand's Objectivism. The Watchmen will naturally be a dynamite movie, but if handled properly, and with more insight into what myself and other geeks see as being Moore's intent, it could affect moviegoers in much the same vein as re-reads of the GN have on the diehard adult fans. For comics to maintain their current "promised son" status in Hollywood cinema we need to validate ourselves via this same manner of affect.

The truth is so needed today, from assorted global economic crises on down to why Dan Didio still has a job at DC, that people will pay for it. The lessons learned in Alan Moore's story could have a wonderful impact on a lot of people, but skewering the message will only equate to yet another big-budget flick, something for fratboys to build drinking games around and art house types to watch obsessively. We need and deserve way more.

Next time, I try to define my thoughts on the current Batman franchise of films, and how they will quite possibly be the final decision makers in all of this.

Pennyworth

Holy excessive geek, Batman!

My psycho-babble evaluation of the current Bat-flicks, and what they may well mean to the future of comics in LaLa-land.

Last time, I tried to give light to what I see as a major issue that I am just not reading all that much about elsewhere. Comic book successes in Tinsel Town have been spiking on up over the past ten or twenty years, but how much further can this notoriety honestly be maintained before the big shot producers latch on to some other niche market?

Remember, for every Iron Man or Dark Knight there are plenty examples of the David Hasselhoff/Nick Fury and Halle Berry/Catwoman bits of insulting rubbish. Yes, American Splendor, Ghost World, and Crumb were all excellent films in their own right, but they made no money. Just as with the actual comic sources, they are trendy to acknowledge, but sadly, nobody really reads them. When people think of comic books they see in their mind's eye guys in tights beating justice into each other. Likewise, when people think of comic book-based/inspired movies, they expect guys in tights beating justice into each other. To better define the medium in public view, movies need to stem from this more familiar precept and then grow to show the true potential. To accomplish such while raking in the cashflow is the real test, and I am convinced that it now all rides on the current Batman franchise, as all other immediate possibilities have been already shot down by my own skewered sense of logick.

Batman Begins, in my opinion the best and itself rating very high on my list of all time favourite films, was a powerhouse of a well-conceived and even better executed film. It contradicted little from the more credible history in the source materials, and if anything filled gaps in the character's overall cannon. For this it appeased many a fan, and the psychology of the story itself is what opened the eyes of many non-fans, I think. Begins was the perfect origin tale, as it was clustered with symbologies for father-figures and growth, which most of today's population can sadly identify with, seeing as how the real world is today without the boundaries that the generation of our own fathers were forged by. Nerves were struck accordingly.

The Dark Knight, while currently the most successful comic book flick of all time, continued this evolution of socially aware psychology. The character of Bruce Wayne had grown and asserted himself to the point of being surrounded by equals. Moreso, by people whom he himself could easily have become, had his own personal choices evolved differently. I think the solid weak point plotwise was the inability of the writers to keep Harvey Dent in a coma following the warehouse explosion, which would have left the ending of the DK far less claustrophobic while saving the Two-Face character entirely for the next in the series. Regardless, movie-goers were presented with an intelligent and appropriately adult version of an American icon, a concept which until then was widely confined to the hallowed halls of geekdom. Very smart work, that.

Three will be either the deal maker or breaker, as too many people are now looking ahead eagerly to what it will offer us. Online and print forums everywhere embarrass themselves with anticipation, as not even a script has been turned in to the producers, much less any legitimate casting decisions made. Over-eagerness will just need to wait maybe a couple of years to see the real end product. As no concrete information yet exists, I have my own guesses on what could and what should be of it. To continue the collective effect of a progressively psychological journey in narrative, the story ought to arrive full circle, with Bats finding himself in a patriarchal role. This does not involve Robin, as his particular entrance into the chronology would not be for at least another decade or two, realistically. Rather, I elect for the character to find himself spiritually in a parental-like role to the citizenry, as alluded by his closing sequence in the DK. Realizing that Bruce Wayne no longer has a choice in the matter of continuing the identity of Batman would be a focal point, just as in actual life parents are not properly given the choice insofar as nature's intended roles for them. At least not the ones with a conscience. This would be countered perfectly with a return from Ra's al Ghul, which would complete the growth circle nicely. The always sexy Talia should be introduced as love interest, possibly as a temptation to rebelliously drop their respective lives in favor of running off together into the sunlight. Responsibilities are justly and purposefully weighed. I see a symmetry to all of this. Indeed, the completeness may provide enough closure to the whole story as to rightfully satisfy audiences into looking on for more of this fare.

Whatever the eventual storyline does entail, consistency is highly warranted. Maintaining the ongoing adult semblance of respectability is key as well. Or there will be no more room for comics at the Hollywoodland inn. The Batman franchise has been playing linebacker/vanguard here, and absolutely must continue its momentum. I by no means whatsoever envy the task laid before director Christopher Nolan, but I would be more than happy to play script doctor.

Save Phineas!

Five years wasted?

Mythic Films president Ralph Hemecker immorally preventing comic adaptation of novel whose film rights he has purchased.

Money wrongs rights? Unfortunately so. In 2002, Chris Baer had agreed to have his novel- 'Kiss Me, Judas'- adapted to comic book form by Shane Amaya, publisher of Terra Major, and Brazillian artist Jefferson Costa.

Fast forward five yearsand alot of hard, unpaid work later- the trio were approaching their perspective mid- '07 release date, when they were frustratingly cockblocked by one Ralph Hemecker, president of Mythic Films. Hemecker apparently having purchased exclusive film rights to 'Kiss Me, Judas' from the novel's publisher, had presented Terra Major with the painfully legal cease and desist letters. As Baer and Amaya were friends and former co-workers, their own deal was strictly verbal, and so could not contest Hemecker's claims successfully outside of costly litigation. Albeit, attempts were tried, from offers of shared liscensing on to passing all potential proceeds over to Mythic Films, but to no avail. You see, this project has become a laborious love affair for its creators, who are more interested in having the comic book see actual publishing and so the light of day, than to receive any monetary compensations for the years of efforts endured. Hemecker has stopped them like a true villain, trying to exert his influence and thereby steal legally a project that is not his, and that holds neither his blood, sweat, or tears.

After a year of litigational juggling on behalf of Terra Major, Shane Amaya has at last found what he deems adequate legal counsel, and has since publicly extended a plea for assistance. These guys just want the right to publish the comic they have spent years painstakingly producing, and are now in a position to throw down in court. Their argument is absolutely viable. However, this remains a costly battle, and Amaya, Baer, and Costa are financially burdened Davids battling a pseudo-mogul of a Goliath in Hemecker.

To contribute any possible donation to their legal costs, or for more information on the case and how to contact Mythic Films and tell Hemecker personally where to stick it- please check out this site, where you can also read much of the comic itself.

the Lottery Party XII

the Lottery Party: To Be Continued

posted on January 14th, 2009 in Articles & Columns
by Richard Caldwell, Managing Editor

Seeing as how it was January of last year that I decided to actively pursue a place for myself in this industry, I figured it would be fun to celebrate the anniversary by sharing my notes on lessons learned thus far. As usual, I hope to ruffle feathers, as proper folks ought never wear feathers, at least not outside of either clandestine acts of imaginative sensuality or in hosting children’s programming on public television. (Strange duality, that.)

To the ones looking to enter the comic book industry, in whatever capacity- please, do not waste anyone’s time or intelligence by waiting for the rollercoaster to stop and allow you access. Nobody owes anyone anything. If you really want to play the game, then you define your own role therein. You jump headfirst onto the ride. I took time to evaluate everything I could, looking for voids that I might conceivably fill. I take some pride in trying to present myself as indespencible. Like with any other job, if you see work that needs to be done, then just take the initiative and get the job done yourself. I have been fortunate in meeting others who have reached these same conclusions, including my comrades here at comicnews.

This would, of course, harken back to the age-old virtue of the good work ethic, of which the younger generations seem increasingly oblivious.

If you wholeheartedly wish to make comics, then by all means, by whatever means- make comics. Let us say you want to be a professional penciler. Starting out, be willing to have a thick enough skin to agree to whatever work might come your way. If you are wise you will see any and every assignment as practice, as potential exposure. Should the work in question, for example, be a limited press custom comic promoting religious or social beliefs you do not agree with- then you have an obvious choice. Hold to your guns and decline the employ, thereby not advancing your career at all, or you take the gig and you do your best to knock it out of the park. Perhaps someone who will read the work would happen to be neighbors with an editor for a somewhat more respectable publisher, who in turn and coincidentally enough is in need of some quick pages done. This was the actual early days story of an artist friend of mine who now works regularly for the big two.

Above all else, do your research, for the roles you desire as well as in the history and business of the industry. Social networking is evolving at Nth levels nowadays- so be ready, willing, and able to build a rapport with others. Be willing to do what I am doing here, sharing notes with persons in the same boat; and be willing to listen to your betters as well- the ones who are in and so experienced. Knowledge is the only legitimate power in this or any world. Let others know who you are, what you can do, and what you want to do.

Myself, I have found a liking for the behind the scenes activities, from doing what I can in connecting assorted creative types with the people looking for help, to proofreading for other writers and critiquing art, published or not. I do all of this for free, because I like the persons I deal with most, and because I love the industry as a whole. For now, I am more than happy to perform uncredited acts for the cause of the system to flow easier for others in the game.

This would apply to graphic art as well. If your first gigs offered involve finishing backgrounds or inks or co-colouring for the benefit of others, then consider the small sacrifice as taking another step up on the ladder. Respectable persons remember each other, and look out just the same. Earning your place means having the strength to wait for your rewards, no matter how long and humbling the journey.
And take note that editors and industry insiders- folks of this ilk do compare notes. Spreading lies to defame others will not lead to future assignments for you anywhere. You cannot build yourself up by tearing others down in the process. Maturity has its place in any adult job environment, even the fun ones like making funny books.

I titled this as I did because I fully intend on returning to this topic, after I learn more worth sharing.

Meanwhile, across the sea…the Cardboard Gods have at last released the first issue of their video comic, the ingenuity of which I endorse completely. Read it here.

richardcaldwell@comicnews.info

torquemada razzle

Talking with Todd Nauck

posted on January 12th, 2009 in Interviews


Famed comic book artist Todd Nauck, with footprints in both the mainstream and the creator-owned worlds, recently chatted with Richard Caldwell of ComicNews.Info on a variety of topics.

Todd, you are one of the Image rookies who really has done well for yourself, from your own excellent WildGuard series to the Friendly Neighborhood Spider-Man book. Much of your stuff has a trademarked lighthearted, almost idealistic appeal to it. Is this affect a conscious effort on your part?

I don’t know if it’s really that conscious of a decision. I generally tend to lean towards fun stuff. In both stuff I read and draw.
My favorite type of material is a blend of lighthearted moments with more serious moments.
Some of my favorite comics I’ve gotten to work on have exhibited this, like Friendly Neighborhood Spider-Man #23 (Peter Parker vs. J. Jonah Jameson) and Young Justice #42 (the Secret meets the Spectre) for example.

Now your current work, drawing the Spidey team-up with President-elect Obama for Amazing Spider-Man #583, fills that same void. This should be a fun bit of exposure for you, but really, I cannot remember another election that has been as fiery in the comics medium as what we saw in November.
With comic books today being primarily targeted towards grown-ups, is the pressure on to keep the subject matter more inventive than say, even the era of your early days with Extreme and the like just 15 or so years ago? Is it more difficult for you as an artist to find “the fun” projects to work on?

It’s not so much pressure as much as it is a challenge to push ourselves creatively. Even if it is taking classic comic archetypes and themes and turning them on their head. Challenges are good, keeps us on our toes and growing. I tend to have fun with any of the projects I get to do. So, it’s more about my attitude of enjoying the work I’m doing and the readers will enjoy what I’ve done. I believe the fun is contagious.

So far so good, what with the X-men story in the recent Marvel Holiday Special, the new Mr. and Mrs. Spider-Man feature in Amazing Spider-Man Family, the possibility for more WildGuard, and now Obama trying to steal Stephen Colbert’s thunder by buddying up with Spidey, you seem to be doing things right.
Any dream projects you would care to mention?

I’d love to work on some more X-Men. And I’ve really been getting into the Avengers. Their roster is growing and I love drawing lots of heroes (as my WildGuard series reveals!), so an Avengers project would be fun. Or Avengers vs. X-Men. How about that? Oh, man. I need to email my editors!

What about collaborations? In your freelancing time, you have worked with a number of different people. Like Zeb Wells, who wrote the Spidey/Obama tale and who I think is a great fit for what you do, considering the goofy fanfilms he made back when. You yourself write the WildGuard stories though, and nowadays it looks like you tend to ink your own work more often than not.
Who are you itching to work with?

I like collaborating with people. I had a blast working with Tom Defalco on American Dream and Mr. and Mrs. Spider-Man. He writes a basic plot page breakdown and I can really get in there and tell the story and offer notes on how I approached it. Tom was very open to that.
Zeb was the same way. He and I have been pals for 5 years, so we know each other’s senses of humor. And can really play off each other.
Jim McCann wrote the X-Men Holiday story. We both share an appreciation for classic Marvel stories that we grew up reading.
I’d love to work with any of these writers again. Dan Slott stories look fun. And I’m always good to work with Peter David again.

Get Defalco to undo the Civil War affects on Speedball for the Amazing Spider-Man Family bi-monthly, and I will give you my sister.
Seriously, thank you for the time, and alot of people are really looking forward to your future projects. Always great, energetic stuff.

It was great “chatting” with you. I had fun. Thanks!

Gaslights Web'd

posted on January 12th, 2009 in Articles & Columns


Ello to all.
This will be the first installment for a recurring monthly feature hereabouts. I aim to give some love to what I see as standout webcentric comix. For January ought-nine, I demand you check out Re-Evolution.

The eco-friendly future tale of Chehuahua and his crack team of animal revolutionaries, Re-Evolution has as backdrop a world where much of humanity has been lost to natural catastrophes, leaving the animal kingdom to rise and reassert itself. Yes, the animals are the stars and yes, they talk to each other. Regardless, this is not a talking animal strip per se; and though written on multiple levels, this is not at all exclusively a children’s story. This is just a hell of a lot of fun.

Spawned early last year by writer Gus Higuera, best known for his NWO book from Shadowline, and Columbian artiste extraordinaire Juan Felipe Salcedo, Re-Evolution was inspired by an actual chihuahua named Pippen. Higuera and Salcedo having met via online social networking, the project was hatched as an entry for DC’s Zuda competition in springtime of ought-eight. April’s invitational saw their strip garnering second place. Undaunted, the pair reapplied and dominated the July contest, and have been steadily winning over fans since.

Said Gus Higuera, "Juan and I from the start have worked very closely together in making every decision for the comic. We laid out the whole story together before we started our run and are pretty excited to have been given the opportunity to tell this story. Now that we are past the halfway mark, I have to say it’s been going great so far. The art has continually gotten better and better and people seem to be really receptive to the story that has unfolded thus far.”

How does it all work? Their deal with Zuda is to deliver 52 new screens total, and as of press time are a good two-thirds of the way there. After that the contract expires and Zuda has the option to renew it for another 52 screens or not. While a continuation of the series would be nice, the electric creative team has already nailed down where they will take the story. And of the powers that be? “The Zuda editorial staff doesn’t do anything really, aside from editing our scripts and providing its marketing resources to promote our comic. They stay away from weighing in on any story issues, which I have to say is pretty great. They give us the freedom to do what we want, and expect nothing but the highest quality from our installments.”

Mind you- as quick as this particular room from the house of comics seems to be remodeling itself, there are a few sites comparably noteworthy enough to carry the better of the webcomics out there. So Zuda is not the end all, be all. It is still very much a valid host site however, as the entries tend to each rate far, far better than the bulk of other strips clogging up the interwebs by the zillions. Being in the upper echelons of respectability does allow for some credible exposure. And in this case, deservedly so.

yesterday all over the place

one year ago...

I was working full time as a gravedigger for a historic local cemetery, Cave Hill. On random evenings, I was called in to do food prep for an upscale Italian ristorante, le Gallo Rosso. Seven nights a week I washed dishes for a trendy Indian restaurant, cafe 360. Contrary to all of these efforts, I was penniless and hungry. I went the entire winter unable to afford electricity.
I did not sleep much.
Waiting for me in my one-bedroom apartment on the third floor of a 1940's era brownstone tenement that overlooked the heart of Bardstown road was a then 19-year old girl who I was madly in love with, and who used me in every sense of the terminology. Contrary to this we never were intimate, not physically.
I was drinking alot of wine then, always cheap bottles of pinot noir; and when there wasn't wine then somehow there was bourbon. I chain-smoked like a man on deathrow.
I was painting alot. Acryllics mixed with my blood, mixed media- crayons, map pencils, inks, whatever.
I had no friends. Neither did she, really, as she had dried up everyone around her like a good little femme fatale. She would use her pretty body to bring us things for the homestead when she could. I had talked her into registering with the community college and of course found myself writing fully half of her assignments. Nobody else was close to her, but everyone seemed to know her.
We were tramps. We were alone. I held the constant stench of pending suicide about me, neverendingly.

By no means was I oblivious to her lacking genuine affections for me. It was a disgusting private game of ours. Sado-masochism as raw emotive yearnings. She would often change in front of me, while I somehow nonchalantly resisted the fiery urges to violently explore what made her woman. It was never spoken, but we mutually accepted that the days would not last forever. Every blasted day finds its way into darkness.

And the days would end soon enough, amidst growing arguments wherein we exchanged blames as freely as we shared smokes.
No relationship is normal, and most certainly NOT that one. We lived out, in that pocket dimension of ours, the words to every damn song that Serge Gainsbourg had ever sung.

I hate her for being symbolic of that time in my life. I hate her for my not having bothered with connecting to another soul in the year that has followed. I hate her like venom incarnate. I hate her for still inspiring my painting.

My past, and everything included therein, is what defines me. Bloody and Objective. Absurdist.
Imperialist me. My present is the firing pin that holds it in place. My future is the open air to the casualty, the hit waiting to explode somewhere beyond dream. Tomorrow will never happen. Tomorrow is just another word.


I and my art have always been here before. Alone and better for it.

damnably dancing

the poetry of her proud idealism intoxicated him from a long, long, long shrug away.

her bed was never so cold as when they shared verse.


he was never so tired as when she looked elsewhere, dancing eyes of a fire waiting to burn. never never never never is never long enough. their lies unspoken knew more than their hearts unbridled.

empathy is for zealots and rogues. never poets, not anymore.




and Burma Shave is as real as pain. as real as a life misled.

jezebel harlot

Being clever enough to see that all women are whores does not make me a misogynist.

Vavavavoom!

Comic Book Reviews: Vavavavoom!

posted on January 8th, 2008 in Reviews


The Vavavavoom! series is a black and white comic of mixed genres, from adventure to mythological to science fiction. Seemingly a pet project and labour of love for Monsky, who also handles all duties aside from line art, leaving that to a particularly excellent roster of artists.

As the name implies, there is oodles of cheesecake to these stories; though the busty action never crosses to any pornographic degrees. Instead, the tales all remain fun and somewhat inspired by the innocence and imagination of previous eras in comics.

The individual stories- some self-contained and some continuing, cover a large scale of possibility and environments, from jungle action to gangbusters to alien worlds. More noteworthy still is in the fact that every single heroine presented represents something other than the aryan barbie doll. These ladies are of ranging cultures and ethnicities, which is a fine example of how far-reaching this work actually is; as opposed to being any manner of typical pin-up book of atypical pin-up girls. For one writer to successfully encapsulate such diverse narratives is really something else. Granted, the Vavavavoom! series most definately earns its title’s implications. And how.

The art is adequately covered by a range of styles, and while many of the names may be unfamiliar to readers of most mainstream books, there is a strong pedigree of vision here. The graphic innovator Nebres beautifully illustrating the lines- “The brave know fear but face it…believing they have a say in their fate! Believing that it matters how a person dies! Believing it matters how a person lives!” is a very worldly sentiment and highpoint for these issues. However, the books overall are a refreshing step away from the overly epic and grandiose storylines currently milking up the expenditures of many a fanboy today.

This is just naughty, naughty fun. And for grown-ups, of course!

Short stories exposing you to strong women dealing with a mix of imaginative plottes (double entendre fully intended/extended), Vavavavoom! presents itself as a great read. Published irregularly- I gather whenever jack of all trades Monsky and chief co-hort Coutts feel they have enough of the right quality materials, check out the link-filled website for information on how to get copies in your hands. Don’t just support small press. Support GOOD small press.

http://vavavavoomonline.com

torquemada whimsy

talking with Peter Kwong

posted on January 5th, 2009 in Interviews

Peter Kwong, creator of Studio 407’s HYBRID, was kind enough to take some time out of his busy schedule to talk to Richard Caldwell of ComicNews.Info.

Peter, your Hybrid comic is soon to be collected into trade form. Is this story something that has been with you for awhile?

Hi Richard. Yeah. HYBRID started off as a feature film pitch that didn’t sell. Then it was a screenplay that didn’t sell. Now it’s a graphic novel! And a feature film! So everything in its time, I guess. It’s been an interesting ride. Not at all how I thought it would turn out, but it’s always exciting for a writer to see something he’s done visualized on paper and, hopefully soon, on film.

The story is full of cinematic qualities, so I presume that is your first love? How exactly did the comic angle come about, then?

Actually, if you want to go back to the beginning, comics were my first love. Not only reading them, but writing and drawing my own. It was my training ground to think graphically when I write, which I carried over with me as I became more and more embedded into film-making. Ironically, HYBRID is a screenplay I wrote that will be seen first as a comic book! That’s largely because the head of Studio 407, Alex Leung, read the script and said that he thought it would make a good, scary creature comic. The goal of any writer is to see his work published or produced, so I jumped at the chance. The film deal just grew out of that.

What are some of your influences from the adventure, science-fiction, and horror genres? One of your main characters in the Hybrid book is very knowledgeable of marine biology. Would Jacques Cousteau make your list of personal heroes?

It’s funny that you mention Jacques Cousteau, because one of the first books my parents ever bought me was a Cousteau picture book about sharks. I hadn’t thought about that until now! I’ve always been drawn to stories about the sea. “Captains Courageous” was one of my favorite books as a kid. And that’s carried on to various books and movies about the sea. I actually am a big fan of Peter Benchley novels. Of course, I loved JAWS, DEAD CALM, KNIFE IN THE WATER, MASTER AND COMMANDER. All those great ocean epics.

For me, the water is a natural for the horror/suspense genre, because, even in our interconnected world, the open water remains a vast enigma. Add to that my own personal anxieties about the ocean because I can’t swim, there was more than enough for me to draw on as I was writing HYBRID. Of course, there are some usual suspects that were an influence, also: ALIEN, CREATURE FROM THE BLACK LAGOON. I was also thinking a lot about the architecture of Antonin Gaudi when I was thinking about the look of the trawler’s innards. Gaudi’s designs are so organic and free flowing. They have an alive quality to them. And I thought that was what was needed for the Hybrid’s nest.

Arguably, we all came from the water, at least to the science-minded evolutionists. There are some mythologies that play into that as well, and there is something mystical about that connection. Like how the moon’s gravitational pull is what triggers waves in the oceans.
Interests aside, is there some of you in the stories you write? I don’t mean literally writing from experience, though that would be awesome. Outside of ambition, is there catharsis in what you do?

I think any writer who takes their craft seriously - as I hope I do - puts a bit of themselves into their work. I don’t think it matters, the story or genre. Anything can be personal. That was a tenet of the whole French New Wave auteur theory, right? Gangster movies, westerns, all could be vehicles for personal expression. I think with HYBRID, the connection is a bit more vague. There are probably elements of me in each of the characters, whether it’s Brooke’s anxiety about water, Ethan’s bemused intelligence. Even the Captain’s misanthropy. But the really personal aspect, and I didn’t even think about this until a producer on the feature film mentioned it to me, which is an indication of how subterranean it is, is the connection between Brooke and the child, and how they end up, which I won’t give away. Reflecting on it, that kind of arc happens a lot in the stuff I write. I’m writing a drama right now that is as far removed from HYBRID as possible, and that issue is entirely in the forefront. Why? I try not to analyze it too much. I guess for the writer, the process of figuring it out is more important than actually doing it.

Anything else in the works you would care to mention, or closing comments?

Well, working on HYBRID has certainly been an experience. If nothing else, it shows the value of persistence. This was a project that was going nowhere for about 3 years, then now it’s a graphic novel and hopefully, a feature film in 2009. I guess there’s an object lesson in there for other writers. But at the end of the day, it’s something I’m proud of. It does what a good genre film should: takes a formula and elevates it, makes it relevant to things that are going on today. Hopefully, people will enjoy it.

Thanks, Richard.

a gameover serenade

Delicious of form, subject to the guilt of her peers.

The words of her speech were like a phantasm left behind as she climbed from the window. The words of her speech followed him to bed, resting on his chest with the weight of legends.
He was suffocating, and repulsed by his own erection.

Some of her scars were his, though not all of them. Not nearly enough of them. Where she went in times like this bothered him.

He wanted to own her. He desired nothing less. For her had he clawed out his own eyes, leaving the bloody mess on the nightstand to await morning. Blood dripping drip drip on the hardwood floors.

No need for eyes in the dark. His eyes shared his blame. She and her ass owned his eyes along with all else that he ever was or would be. She owned nothing.


He wanted to burn her stench from his bed, from his flesh.

so he does just that.

Hybrid

Comic Book Reviews: Hybrid

posted on January 2nd, 2009 in Reviews


Hybrid GN
Written by Peter Kwong
Illustrated by Pablo Churin & Mary Catoia
Published by Studio 407
Reviewed by Richard Caldwell

This trade collection of the four-issue mini-series is a self-contained aquatic horror, with maybe a touch of science fiction. Actually, this feels alot like a modernized spin on the old monster movies of the 50’s. Even more like the sort of film made by the Sci-Fi channel’s in house studio.

The plot involves a quartet of college students vacationing off the Mexican coast, when a boating venture leads them into something deadly and cthonic. Assuredly, this was no boating accident.
The characterizations and pacing are all handled well, as one character is enough of an ass you want to keep reading just to see how death might be dealt on out. Another character twist was both unexpected and fun. While the majority of the story takes place on the water, thankfully, no allusions were made to the Pirates of the Caribbean nonsense.

There was a cool explosiveness to the art, the inks and colours especially were very much on the luscious side, though I had some qualms with the pencils. For the most part it was consistent at least, but there were certain sequences where I felt that even with scripting it was difficult to tell exactly what was going on. Granted, the detail was as good as any mainstream book, I would like to believe that with a little more experience the artist’s overall storytelling will likely improve to match his other skills.

Studio 407 holds ambitious plans of converting a number of its properties to cinema, and the Hybrid book will easily make for a harmlessly fun summer rental down the line somewhere. Nothing lofty or earth-shattering here, just a good old scary monster eating people kinda tale.
I suggest goldfish crackers for the munchy of choice. Or fried calamari.

steel eyes

January is proving to be one of the busiest times of my life, and I am thrilled.

Moreso, I am ecstatic that so many venomous persons from before (read: whores and la familia) are completely incapable of either inflicting additional harms or of taking any possible credit for MY blood, sweat, and tears. Those jokers are the real absurdists.

The scapegoat years are dead and buried.




...and the hourglass has been thusly flipped.

padre anticuado

happy birthday the sixtieth, pa...

Bloodstained Romance

Film Reviews: Bloodstained Romance

posted on January 1st, 2009 in Reviews


Bloodstained Romance
Written & Directed by Travis B. Miller
Reviewed by Richard Caldwell

To be sure, this is low budget horror, although Bloodstained Romance is far, far more cerebral and emotional than most examples of low budget horror. This movie is raw, in so many fantastic ways.

The sad story of a young man (Holden, played expressively by Chris Bruchette) and his growing obsession with a fine specimen of the dreamgirl variety, Romance may be an ideal misplaced here, as lost and singular as the ideal of obsession itself.

Set primarily around a nondescript college campus, all of the characters are young adults, exuberant enough to presume that even love can be defined in humane terms. Gruesomely, the youthful poetry of timid attraction evolves into a series of murders and unhinged sanity.

This is not a slasher flick.
This is not a catchphrase-friendly vehicle for popular trends.
This is NOT a happy ending.

Buried not so deep in the admittedly low grade camera stock and the lacking steadicam is a modern fable given the harsh breath of reality. At times fading straight into delusion, the slowness of the plot itself is like a romance teasing your imagination with the ever nagging WHAT IF that we all feel in the ongoing battle of the sexes.

What if this happened to me?
The brains of the production- Miller, is one to watch. He quite successfully here manages to express a distinct and ballsy vision, albeit with the unready resources of any daydreamer. Standout efforts for me were both in the inventive editing, and expertly themed score. The real gem of this music being, at the worst- a spine for the scene, and at its best- giving the scene flesh.

The ends of this film are absolutely brutal and grisly, and will likely disturb a number of viewers. May it stand as testament to the hidden fears that lie within the vulnerability required from any otherwise healthy relationship.

A very daring statement to make from the welcome newcomer.

the Lottery Party XI

the Lottery Party: Wild Agents Of Timely!

posted on December 31st, 2008 in Articles & Columns
by Richard Caldwell, Managing Editor/Columnist

A brief note to any and all creators, editors, publishers, etc.

Ought-eight is nigh dead and buried, and in light of the wonderful status levels the comic book industry has achieved in the eyes of Joe Q Public, please remember the roots.

Yes, thanks to the commercial notoriety of Iron Man, the Dark Knight, and my rejected script for Leonard Part 7, the business is looking up in many ways. Monthly sales may be declining, but trade sales are blossoming. Digital presentations are reinventing themselves and redefining their limitations almost hourly. Mainstream books are more interesting now than they have been in ages. Indie creators are getting more opportunities to strut their wiles. Stan Lee just conquered another birthday.
All reads pretty cool, right?

Please, please, please- keep the monthly books alive. There is room for everything.
Keep comics affordable.

As I recently said elsewhere- the day we forget the past is the day we go ignorant. Revampings and modernizations are all well and good, but do not piss on and so disrespect the past in the process. Not all fanboys are stoners. Some of us have astonishingly good memories. And if we can, then so can you.

Comic books can be targeted at adults without insulting anyone’s intelligence nowadays, which is spectacular. Do not, however, forget the kids. Give them the learning tools, the imagination-prodding necessary to guarantee that the next generation will have the fond memories enough to even want to carry on the good work. Remember the fun, and without insulting their intelligence.

Maintain the following. Comic book fans are the original cult followings. Keep us happy.

All we ask for are good comix. This involves heart.

richardcaldwell@comicnews.info

reverberations

ought I love the lady who lives with her man, hundreds of miles away?

or ought I love the now 20 year-olde girl who just moved back to the area?

one is literate and saavy, one knows how I sleep.

one admires my efforts at writing professionally, while the other devastated me so badly last winter I am only now somewhat recover'd...