I'm going to try and recap the news that jumps out at me from this weekend's mildly interesting Comic-Con International. You may have heard of it? Anyway, here's a list of newsworthy items that I deemed, well, newsworthy. This will be a linkfest, so apologies there for the lack of originality. When it comes to SDCC/CCI, you just let CBR and Bleeding Cool do the work for you.
Paul Tobin discusses Dark Horse's new Savage Sword anthology, a sort of homage to famous pulp writer (and DH cash cow) Robert E. Howard.
Marvel to publish CrossGen. I wasn't much of a CrossGen reader but this has to be exciting to those of you who were. I wonder if they'll bring back original books and creative teams (Way of the Rat, anyone?) or if they'll use the CrossGen brand as a place to launch newer talent?
Marvel Movie Panel. I'm a huge fan of Joss Whedon and I love that Marvel is ambitious enough to attempt this merging of all their films into one big Avengers franchise, but I have misgivings. Much as I love Joss, the guy has pretty much worked with the same actors (and second-tier actors at that) his whole career. I hope he can handle the egos of people like Jackson and Downey, Jr. well enough to get a good, coherent picture and not just an ensemble mess.
"He'll be charged with assault with a deadly weapon, due to the stabbing in the eye..." Of all the things to stab somebody over, the Resident Evil panel? Seriously dude? Where the hell is Shade when we need him? It seems like the American Scream was in the house at Comic-Con this year.
The collapse of all nerd marriages and the abject neglect of all children produced by these relationships has caused a massive disruption in the nation's economy.
IDW announces a new Rocketeer anthology to include talent such as Darwyn Cooke, John Cassaday and Mike Allred. As a bonus, partial proceeds from the book go to benefit the Hairy Cell Leukemia foundation.
A fan at the DCU panel reminds us all that stories can help save lives, even if we're not all fans of those stories. "The first fan said that he began reading comics with 'Blackest Night,' around the time he was diagnosed with HIV. He thanked DC for publishing a story about literally fighting death, which inspired him. In the midst of applause, Sattler walked down to hug the fan."
DC's Vertigo-bound chickens finally coming home to roost.
Morrison and Stewart on Thunderworld, Grant's take on the Marvel Family. Also, Absolute WE3 in the works.
It just gets wackier in Gotham City and I, for one, couldn't be happier. Eventually Grant Morrison is just going to write Batman for me and only me. It's almost happening already. I think at some point I'm just going to get a copy of Morrison's Batman on my doorstep each
month and it will be my job to just explain it to everyone else in the world. Ah, dreams.
DnA to do a Rocket Raccoon/Groot mini-series!
Stan's Back! The Boom Studios Stan Lee Panel.
There was more news than you can shake Big Barda's cosmic rod at coming out of Comic-Con this weekend, but those were the bits I found most interesting. What did you see at CCI this weekend that you are excited about? Did you go to the show or were you just watching from the sidelines like myself? What other cons do you plan to hit up this year?
Sunday, July 25, 2010
Sunday, July 18, 2010
How I Became the Bomb's Jon Burr Reviews Last Week's Hits (and MIsses) [we really need a title for this segment]
Jon Burr is the lead singer of geek rock champions How I Became the Bomb. He is also my friend and a rather obsessive comic book nerd. When he approached me about doing a series of reviews each week for Surfing the Bleed I gladly said yes. Partially because the man really knows his stuff, partially because, well, I hate writing reviews. Before we go on, I want to state that in an editorial capacity I stand behind Jon and his right to express his opinions one hundred percent. That isn't to say that he and I will always agree, but the man is informed, intelligent and honest and I want that kind of material here on the site. So if anybody has a problem with his opinions I want to remind you that there is an open comment forum just underneath the post. Let's be constructive and stay on point, shall we? Without further ado, I give you...
The Segment Which Has No Name!
Greek Street #13
Well, I’ve given it a year. I don’t think that’s too much to ask. Peter Milligan is amongst my favorite comics writers. I’ve followed him for over a decade. My favorite comics artist - Darwyn Cooke - described him as the only collaborator whose words he wouldn’t touch or change. Human Target is one of the four or five long runs I’d pass along to a non-comics reader as proof that the medium isn’t simply fun genre trash. Skreemer and Rogan Gosh are titanic works in comics, unlike any others I’ve read. Hell, I sought out and purchased the B-movie he penned (It’s not bad, actually. Ray Liotta is in the lead, which insures victory). And, yet, here I am, giving up on his latest Vertigo piece. I’d like to think I don’t understand The Classics upon which this series is based or that maybe Greek Street is “written for the trade” as so many are prone to say these days. Perhaps it’s just too British; too Soho. Alas, I’m afraid I’m dropping this book because it’s just not good. I’m not even going to blame the artist. David Gianfelice and this week’s fill-in, Werther Dell’Edera, have been more than adequate. My old standby has finally let me down. I don’t condemn him. After such fine form for so many years, he’s earned a free pass. At least, as long as his Hellblazer stays up to par.
Scalped #39
I’ll admit it. Scalped isn’t always the best read. I know it gets almost universal praise. I know it is THE latest critical darling in comics, next to Scott Pilgrim. But it really hasn’t been the spiritual successor to 100 Bullets everyone claims it is. Sure, it has a Pulido-esque talent in R.M. Guera and it has the grit and the slow burning storyline of its Vertigo forebearer, but it has lacked the consistency. Lately, though, it has given me some hope. This is a book that just won’t quit. For every rough edge or clunky device, there’s a character like Shunka, the conflicted right-hand man. For every reveal that doesn’t quite work, there’s a hook at the end of an issue that keeps you on the reel. This issue keeps the fire stoked. The main thread of the story, which is Claudine’s rocky upbringing, didn’t really reveal anything to me, but the further unraveling of Bad Horse’s cover and life has me clamoring for more. And isn’t that Jason Aaron’s job? Simply put, he just needs us to keep coming back. Simple economics, really.
Vengeance of the Moon Knight #10
This little surprise came to me thanks to Surfing the Bleed’s own Brett Williams hoodwinking me into thinking that this was a Secret Avengers crossover. Now, mind you, The Secret Avengers were, indeed, in this issue, but that was inconsequential. Writer Gregg Hurwitz, on holiday, I imagine, from his farcical V television series remake, is either simply not up to snuff or is rebuking some sort of editorial mandate. Ah, I can see it now! Sweaty, cigar-chomping editor Axel Alonso cajoling Hurwitz: “Sales are in the tank, kid. I pushed for Deadpool, but we’ll have to make due with the Secret Avengers. Now they’re gonna be on the cover, so we’re gonna need a story here, kid.” Cut to Hurwitz hastily pecking away this hackneyed script, which of course employs a laconic monologue not unlike the purposefully putrid voiceover turned in by Harrison Ford when the studio started interfering with Blade Runner. I choose to believe this outlandish scenario and will give this book another chance as I am strangely in love with Juan Jose Ryp’s art, which is, to your humble narrator only, surely, reminiscent of Crumb and Richard Corben. Only he draws men in their underpants fighting sea monsters.
Demo #6
Hauntingly rendered tortured figures somehow finding serenity. And so ends the second run of Brian Wood and Becky Cloonan’s Demo. It’s fitting, really, as the series was comprised of fantastic imagery that was sometimes hamstrung by some plodding metaphors, yet always seemed to find a way to be compelling and heartfelt by story’s end. Cloonan’s work was daring and excellent throughout the series, from her wildly effective experimentation to her always resonant use of body language. The story struggled here and there, particularly on this issue and the first, with some truly transparent concepts, but they always managed to bring some truth to the comic by the last page. And this week, it was literally a last page save. The entire issue struggled with the clunky metaphor of a superpower that kept a couple ever together yet slightly apart. Oh, like a long-term relationship? Ugh. Obvious choices were mounting and this one was really growing tiresome until that last image, wonderfully conceived and drawn: The weary couple, reading together. They aren’t touching, of course, but they finally seemed at ease with each other. A masterful panel.
As an addendum, I can’t stress enough how much the extras at the end of the books - which I think the kids are calling “backmatter” - add to the series. I know it’s mostly an indie thing, but Vertigo should take note. Hell, I’d take some of this newfangled “backmatter” in my capes n’ underpants comics! It really makes for an immersive, insightful experience.
Thor The Mighty Avenger #1
I am finished with origin stories retold. A relentless horde, a insurmountable tide. These are the things I told myself, as I dropped books by good creators (Joe Casey’s Avengers: The Origin, anyone?) for the sole reason that I just didn’t think I could handle the same tales any longer. I was out. Or so I thought. Roger Landridge and Chris Samnee’s simple, evocative take was compelling and thrilling. It provided the quick, vibrant rush that is unique to the comics medium. I put the book down, stunned smile on my face, and wondered, “What’s next?”
Jonah Hex #57
I’ve snagged a few Jonah Hex issues this year. The odd Darwyn Cooke contribution here and there have certainly helped, but I had never read an issue of Jonah Hex with series regular artist Jordi Benet. I assumed he was another member of the Brazilian talent agency that has slowly developed the DC House Style I’ve come to loathe in the last couple of years. I was sorely mistaken. Not only will I pick up anything else with Bernet’s name on the credits, but I am now on a mission from god to familiarize myself with the rest of the man’s oeuvre. This includes any previous Hex issues, as Justin Gray and Jimmy Palmiotti’s script had me pining for days of comics past. Between Bernet’s Caniff-meets-Kubert draughtsmanship and the pure-comics-ness of the writing, this issue left me devastatedly nostalgic. This is what comics should be. This is what comics can be. This is what comics were.
Brightest Day: The Atom Special #1
Sweet Tooth has been a good ride, thus far, with this week’s issue being another quality effort. Essex County was solid and I’ve heard nothing but good about The Nobody. Jeff Lemire is becoming a creator one must follow. Be that as it may, it was still difficult to pick any book bearing the Brightest Day banner. As it turns out, I probably could have skipped it, because this book, at least in the beginning, had all that I feared. Needless origin retelling? Check. Tenuous link to crossover? Check. In the latter half of the book, Lemire finally breaks free and plants the seed for what I’m hoping will be a fun tale, but it remains to be seen if his capes n’ tights debut will bear fruit, as we readers weren’t given much to work with here. Quick aside: Ray Palmer’s life is hysterically terrible! Is the domain name “www.RayPalmer’sLifeInARefridgerator.com” taken? Someone get Gail Simone on the horn.
Doom Patrol #12
If you don’t like the notion of Keith Giffen somehow finding a way to meld the tone of his Legion: 5 Years Later story with the humor of his JLI and THEN finding a way to incorporate the characters and spirit of Grant Morrison’s exceedingly brilliant DP run, then you should do one thing and one thing only: Stop reading comics. Now. Thank you.
Casanova #1
I can’t get a read on Matt Fraction. His X-Men books have entertained me. I absolutely loved the Iron Man covers he spearheaded, as I really think comics and modern design need to become friends again. However, I read last week’s Iron Man Annual and it was one of the most putrid, long-winded, and dull stories I’ve read in recent months. Thus, I’ve waited for Casanova for some time, as I had hoped that it would be my Matt Fraction Rosetta Stone. I’ll have to wait a little longer, seemingly. Don’t get me wrong. There’s a lot to love here. Ba and his brother are always fun, and watching how they’ve developed was certainly interesting, but there was so much Morrison and Ellis influence that it was hard for me to fully enjoy. I’m certainly not writing this title off, but I’m going to need a little more before I give Fraction credit for his talents as a comics writer and not just a guy with some great ideas about design and a genuine love for good comics.
Things I also read that weren’t bad:
Tom Strong and the Robots of Doom #2 (Pulp-y goodness!)
Avengers: The Children’s Crusade #1 (Bold prediction: Penciler Jim Cheung will rule the comics roost someday. Or quit comics and make a real living as a storyboard artist or in advertising.)
Steve Rogers: Super Soldier #1 (Brubaker’s Bucky-Cap’n has been pretty aimless. This had purpose. That SuperPro costume is still hard to look at, though.)
X-Force #28 (Don’t listen to them. Second Coming was great. Sure, Nightcrawler died, but look on the bright side: they finally killed Cable.)
King City #10 (Imagine your wittiest, most stoned friend could draw like the bastard child of Moebius, Otomo, and Toriyama. I ran out of room, but you can bet that I’ll review this soon.)
Sweet Tooth #11 (I want Lemire to pick up the pace, but it’s still a quality issue.)
Batman and Robin #13 (A line from my shop owner, Mark Angell: “There are two Grant Morrisons. Good Trip Grant and Bad Trip Grant.” I THINK Grant’s on the good stuff here.)
X-Men #1 (Everyone is so sick and tired of vampires, thanks to True Blood, Twilight, etc. Here’s the thing: I don’t watch or read that stuff. So get fucked, all of you, and let me read my X-Men.)
Things I also read that weren’t good:
Fantastic Four Annual #32 (Ah, Bryan Hitch. There you are. Sorry, chum.)
Scarlet #1 (Cute, Bendis, but a little late to the party on so many levels. I commend him for his return to creator-owned stuff and will definitely give this a few more issues, though.)
Shadowland #1 (Look, I read most of the books associated with this. I should be the guy who gets this. I don’t get this. Daredevil did what now? Punisher is human again? Beg pardon?)
The Segment Which Has No Name!
Greek Street #13
Well, I’ve given it a year. I don’t think that’s too much to ask. Peter Milligan is amongst my favorite comics writers. I’ve followed him for over a decade. My favorite comics artist - Darwyn Cooke - described him as the only collaborator whose words he wouldn’t touch or change. Human Target is one of the four or five long runs I’d pass along to a non-comics reader as proof that the medium isn’t simply fun genre trash. Skreemer and Rogan Gosh are titanic works in comics, unlike any others I’ve read. Hell, I sought out and purchased the B-movie he penned (It’s not bad, actually. Ray Liotta is in the lead, which insures victory). And, yet, here I am, giving up on his latest Vertigo piece. I’d like to think I don’t understand The Classics upon which this series is based or that maybe Greek Street is “written for the trade” as so many are prone to say these days. Perhaps it’s just too British; too Soho. Alas, I’m afraid I’m dropping this book because it’s just not good. I’m not even going to blame the artist. David Gianfelice and this week’s fill-in, Werther Dell’Edera, have been more than adequate. My old standby has finally let me down. I don’t condemn him. After such fine form for so many years, he’s earned a free pass. At least, as long as his Hellblazer stays up to par.
Scalped #39
I’ll admit it. Scalped isn’t always the best read. I know it gets almost universal praise. I know it is THE latest critical darling in comics, next to Scott Pilgrim. But it really hasn’t been the spiritual successor to 100 Bullets everyone claims it is. Sure, it has a Pulido-esque talent in R.M. Guera and it has the grit and the slow burning storyline of its Vertigo forebearer, but it has lacked the consistency. Lately, though, it has given me some hope. This is a book that just won’t quit. For every rough edge or clunky device, there’s a character like Shunka, the conflicted right-hand man. For every reveal that doesn’t quite work, there’s a hook at the end of an issue that keeps you on the reel. This issue keeps the fire stoked. The main thread of the story, which is Claudine’s rocky upbringing, didn’t really reveal anything to me, but the further unraveling of Bad Horse’s cover and life has me clamoring for more. And isn’t that Jason Aaron’s job? Simply put, he just needs us to keep coming back. Simple economics, really.
Vengeance of the Moon Knight #10
This little surprise came to me thanks to Surfing the Bleed’s own Brett Williams hoodwinking me into thinking that this was a Secret Avengers crossover. Now, mind you, The Secret Avengers were, indeed, in this issue, but that was inconsequential. Writer Gregg Hurwitz, on holiday, I imagine, from his farcical V television series remake, is either simply not up to snuff or is rebuking some sort of editorial mandate. Ah, I can see it now! Sweaty, cigar-chomping editor Axel Alonso cajoling Hurwitz: “Sales are in the tank, kid. I pushed for Deadpool, but we’ll have to make due with the Secret Avengers. Now they’re gonna be on the cover, so we’re gonna need a story here, kid.” Cut to Hurwitz hastily pecking away this hackneyed script, which of course employs a laconic monologue not unlike the purposefully putrid voiceover turned in by Harrison Ford when the studio started interfering with Blade Runner. I choose to believe this outlandish scenario and will give this book another chance as I am strangely in love with Juan Jose Ryp’s art, which is, to your humble narrator only, surely, reminiscent of Crumb and Richard Corben. Only he draws men in their underpants fighting sea monsters.
Demo #6
Hauntingly rendered tortured figures somehow finding serenity. And so ends the second run of Brian Wood and Becky Cloonan’s Demo. It’s fitting, really, as the series was comprised of fantastic imagery that was sometimes hamstrung by some plodding metaphors, yet always seemed to find a way to be compelling and heartfelt by story’s end. Cloonan’s work was daring and excellent throughout the series, from her wildly effective experimentation to her always resonant use of body language. The story struggled here and there, particularly on this issue and the first, with some truly transparent concepts, but they always managed to bring some truth to the comic by the last page. And this week, it was literally a last page save. The entire issue struggled with the clunky metaphor of a superpower that kept a couple ever together yet slightly apart. Oh, like a long-term relationship? Ugh. Obvious choices were mounting and this one was really growing tiresome until that last image, wonderfully conceived and drawn: The weary couple, reading together. They aren’t touching, of course, but they finally seemed at ease with each other. A masterful panel.
As an addendum, I can’t stress enough how much the extras at the end of the books - which I think the kids are calling “backmatter” - add to the series. I know it’s mostly an indie thing, but Vertigo should take note. Hell, I’d take some of this newfangled “backmatter” in my capes n’ underpants comics! It really makes for an immersive, insightful experience.
Thor The Mighty Avenger #1
I am finished with origin stories retold. A relentless horde, a insurmountable tide. These are the things I told myself, as I dropped books by good creators (Joe Casey’s Avengers: The Origin, anyone?) for the sole reason that I just didn’t think I could handle the same tales any longer. I was out. Or so I thought. Roger Landridge and Chris Samnee’s simple, evocative take was compelling and thrilling. It provided the quick, vibrant rush that is unique to the comics medium. I put the book down, stunned smile on my face, and wondered, “What’s next?”
Jonah Hex #57
I’ve snagged a few Jonah Hex issues this year. The odd Darwyn Cooke contribution here and there have certainly helped, but I had never read an issue of Jonah Hex with series regular artist Jordi Benet. I assumed he was another member of the Brazilian talent agency that has slowly developed the DC House Style I’ve come to loathe in the last couple of years. I was sorely mistaken. Not only will I pick up anything else with Bernet’s name on the credits, but I am now on a mission from god to familiarize myself with the rest of the man’s oeuvre. This includes any previous Hex issues, as Justin Gray and Jimmy Palmiotti’s script had me pining for days of comics past. Between Bernet’s Caniff-meets-Kubert draughtsmanship and the pure-comics-ness of the writing, this issue left me devastatedly nostalgic. This is what comics should be. This is what comics can be. This is what comics were.
Brightest Day: The Atom Special #1
Sweet Tooth has been a good ride, thus far, with this week’s issue being another quality effort. Essex County was solid and I’ve heard nothing but good about The Nobody. Jeff Lemire is becoming a creator one must follow. Be that as it may, it was still difficult to pick any book bearing the Brightest Day banner. As it turns out, I probably could have skipped it, because this book, at least in the beginning, had all that I feared. Needless origin retelling? Check. Tenuous link to crossover? Check. In the latter half of the book, Lemire finally breaks free and plants the seed for what I’m hoping will be a fun tale, but it remains to be seen if his capes n’ tights debut will bear fruit, as we readers weren’t given much to work with here. Quick aside: Ray Palmer’s life is hysterically terrible! Is the domain name “www.RayPalmer’sLifeInARefridgerator.com” taken? Someone get Gail Simone on the horn.
Doom Patrol #12
If you don’t like the notion of Keith Giffen somehow finding a way to meld the tone of his Legion: 5 Years Later story with the humor of his JLI and THEN finding a way to incorporate the characters and spirit of Grant Morrison’s exceedingly brilliant DP run, then you should do one thing and one thing only: Stop reading comics. Now. Thank you.
Casanova #1
I can’t get a read on Matt Fraction. His X-Men books have entertained me. I absolutely loved the Iron Man covers he spearheaded, as I really think comics and modern design need to become friends again. However, I read last week’s Iron Man Annual and it was one of the most putrid, long-winded, and dull stories I’ve read in recent months. Thus, I’ve waited for Casanova for some time, as I had hoped that it would be my Matt Fraction Rosetta Stone. I’ll have to wait a little longer, seemingly. Don’t get me wrong. There’s a lot to love here. Ba and his brother are always fun, and watching how they’ve developed was certainly interesting, but there was so much Morrison and Ellis influence that it was hard for me to fully enjoy. I’m certainly not writing this title off, but I’m going to need a little more before I give Fraction credit for his talents as a comics writer and not just a guy with some great ideas about design and a genuine love for good comics.
Things I also read that weren’t bad:
Tom Strong and the Robots of Doom #2 (Pulp-y goodness!)
Avengers: The Children’s Crusade #1 (Bold prediction: Penciler Jim Cheung will rule the comics roost someday. Or quit comics and make a real living as a storyboard artist or in advertising.)
Steve Rogers: Super Soldier #1 (Brubaker’s Bucky-Cap’n has been pretty aimless. This had purpose. That SuperPro costume is still hard to look at, though.)
X-Force #28 (Don’t listen to them. Second Coming was great. Sure, Nightcrawler died, but look on the bright side: they finally killed Cable.)
King City #10 (Imagine your wittiest, most stoned friend could draw like the bastard child of Moebius, Otomo, and Toriyama. I ran out of room, but you can bet that I’ll review this soon.)
Sweet Tooth #11 (I want Lemire to pick up the pace, but it’s still a quality issue.)
Batman and Robin #13 (A line from my shop owner, Mark Angell: “There are two Grant Morrisons. Good Trip Grant and Bad Trip Grant.” I THINK Grant’s on the good stuff here.)
X-Men #1 (Everyone is so sick and tired of vampires, thanks to True Blood, Twilight, etc. Here’s the thing: I don’t watch or read that stuff. So get fucked, all of you, and let me read my X-Men.)
Things I also read that weren’t good:
Fantastic Four Annual #32 (Ah, Bryan Hitch. There you are. Sorry, chum.)
Scarlet #1 (Cute, Bendis, but a little late to the party on so many levels. I commend him for his return to creator-owned stuff and will definitely give this a few more issues, though.)
Shadowland #1 (Look, I read most of the books associated with this. I should be the guy who gets this. I don’t get this. Daredevil did what now? Punisher is human again? Beg pardon?)
Monday, July 12, 2010
R.I.P. Harvey
Rest in peace, Harv. You had a lot to do with me believing that this comic book thing wasn't just a pipe dream and I'll always thank you for that. I hope the afterlife's nicer than Cleveland.
Tuesday, July 6, 2010
Being Constructive
I've recently entered into a collaborative relationship with a young artist from SCAD (Savannah College of Art and Design). We haven't begun working on anything together yet, but we've bounced some of our various pitches and scripting samples off of one another. Yesterday, I sent him some feedback on a scripting sample he'd sent me. I was constructive, highlighting things I thought were structurally very sound about his scripting process while pointing out some issues I had with the overall originality of the subject matter. He responded very well to the criticism and went so far as to flesh out some of his ideas so that I had a deeper understanding of the story he was trying to tell. All in all, a very constructive and positive e-mail exchange.
I'd like to hear how all of you cope with the business of bouncing ideas off of possible collaborators and dealing out criticism or suggestion when necessary. When does constructive criticism or just polite suggestion become too harsh? For those of you who have collaborative experience already, how have you approached the problem of communicating clearly the pros and cons you see in your partner's work?
I'd like to hear how all of you cope with the business of bouncing ideas off of possible collaborators and dealing out criticism or suggestion when necessary. When does constructive criticism or just polite suggestion become too harsh? For those of you who have collaborative experience already, how have you approached the problem of communicating clearly the pros and cons you see in your partner's work?
Tuesday, June 29, 2010
Monday, June 28, 2010
Pitching
When I was a kid, all I wanted to do with my life was play baseball. I was a big sports fan (still am, if you can believe it) but baseball ruled the roost. I lived and breathed the game. At a young age I could tell you more about baseball history, rules and statistics than a lot of MLB analysts. Unfortunately for me, my skill for the game lay in strategy and not physical prowess. I couldn't hit a damn ball to save my life. I wasn't a terribly good fielder either. Typically, I spent my days riding the pine. The one thing I was always good at though was throwing. I was most often relegated to right field, which is where they typically confine the least talented of all the ball players at that age. What did I discover about myself in right field? Well, I had a lot of hustle even if I wasn't very quick to the ball, I was prone to trying to make spectacular catches (usually a failure) in an effort to somehow distinguish myself as a ballplayer, and, most importantly, I had a cannon for an arm. A big, nasty, mean, accurate ten year old fireball thrower. I could hit the cut-off man with pinpoint accuracy, I could one-hop a laser guided shot to home plate whenever some over zealous kid tried to sneak his ass home.
Let's review. I couldn't really field, I was a terrible batter, I could throw hard accurately. Why the hell wasn't I a pitcher? Unfortunately, in little league you often run into the problem of "coach's kid gets the best positions." What that meant more often than not was the coach's kid got to be the pitcher. Even though I had that aforementioned cannon, even though my own father had been a good fastball pitcher in his youth and could have taught me a ton about mechanics (all you need at ten is a good heater), they never put me on the mound. I'm not ashamed to admit that it still bothers me a bit to this day.
How fitting it is then, after all these years and all this geektastic self-discovery, that I would enter a field that required I be a "pitcher" to get work. Sure, its an editor instead of a batter and a synopsis instead of a hard white ball, but I'm finally a pitcher.
So my question for all of you guys this week is this; how do you pitch? Some of you have pitches out there right now awaiting critique, some of you have sold pitches and are currently working and some of you are like me, just starting out and trying to determine the best manner in which to sell your work. So what do you do? What advice do you have for myself (and my readers) about putting together the best possible pitch and reeling in those editors?
Batter up!
Friday, June 25, 2010
A Question...
For those of you who don't know, my current job is at a local bar, where I barback and work the door. I work five nights a week (Fri - Tue) and the shifts last from 8 PM till around 5 AM. Five days a week in an industry like this is different than five days a week in a normal industry with a normal schedule. The reason I say "normal" industry is because the bar industry is, for the most part, a lifestyle and not just a job. People who work in bars get hung up on how much money they can make and then often begin to lose sight of other goals that they had in life. This isn't always the case, but often you find bartenders, barbacks, servers who work in bars, hang out in bars and only have friends who work and hang out in bars. It transcends work and becomes how you live your life. This is an easy trap to fall into, as the bar industry is one of the few places that people like myself (intelligent and hard working but otherwise under-educated workers) can find work that offers a decent amount of money.
Despite the amount of money I make (it's good), I'm burning out pretty badly at work. The three shifts a week where I barback don't cause too much stress, but my two shifts working the door (Friday and Saturday) are so stressful that I spend all week dreading them. Adding to this stress is the fact that I feel I have to cram all my creative work, my friend time and my time with my wife into the two days off (Wednesday and Thursday) that I currently have. There just doesn't seem to be enough time.
You might be asking yourself, "Why not just get up and do a lot of creative work before going into your job for the night?" Well, I just don't sleep. Sleeping during the day, being wired at the end of work, etc, etc. There are plenty of factors that lead to insomnia, so I'm constantly trying to catch sleep where I can. And, when I am awake, I don't feel I have a great deal of energy or creative fire.
You're probably thinking to yourselves that I should just find a new job, and I'm trying, but the job market in Nashville is still pretty terrible so opportunities are few and far between. I'm hoping to scale back the amount of days I work at the bar and that would certainly help, but the level of stress right now is flirting dangerously with breakdown levels.
So my question to you friends and readers is this; how do you do it? I know that many of you have wives, full time jobs, kids, and other obligations which no doubt cut into your creative time. How do you balance it? How do you find time to do your jobs, work on projects and still maintain the obligations to family and fellowship that you feel are important? Do you exercise, meditate, drink heavily, do copious amounts of recreational drugs? Inquiring minds want to know.
Despite the amount of money I make (it's good), I'm burning out pretty badly at work. The three shifts a week where I barback don't cause too much stress, but my two shifts working the door (Friday and Saturday) are so stressful that I spend all week dreading them. Adding to this stress is the fact that I feel I have to cram all my creative work, my friend time and my time with my wife into the two days off (Wednesday and Thursday) that I currently have. There just doesn't seem to be enough time.
You might be asking yourself, "Why not just get up and do a lot of creative work before going into your job for the night?" Well, I just don't sleep. Sleeping during the day, being wired at the end of work, etc, etc. There are plenty of factors that lead to insomnia, so I'm constantly trying to catch sleep where I can. And, when I am awake, I don't feel I have a great deal of energy or creative fire.
You're probably thinking to yourselves that I should just find a new job, and I'm trying, but the job market in Nashville is still pretty terrible so opportunities are few and far between. I'm hoping to scale back the amount of days I work at the bar and that would certainly help, but the level of stress right now is flirting dangerously with breakdown levels.
So my question to you friends and readers is this; how do you do it? I know that many of you have wives, full time jobs, kids, and other obligations which no doubt cut into your creative time. How do you balance it? How do you find time to do your jobs, work on projects and still maintain the obligations to family and fellowship that you feel are important? Do you exercise, meditate, drink heavily, do copious amounts of recreational drugs? Inquiring minds want to know.
Tuesday, June 22, 2010
The Analog Dilemma
I think every burgeoning creator who cut their teeth on superhero comics faces the analog dilemma. Simply put, we all want to add our own spin to the classic themes that prevail over superhero storytelling. While certain creators have managed to work their way into the pantheons of the big two and tell the kind of groundbreaking stories they wanted with established characters (Frank Miller's The Dark Knight Returns, Mark Waid's Kingdom Come), most creators had to branch out and form their own worlds and their own characters to really come at superheroes the way they wanted (The Authority, Watchmen, etc.).
It's beyond argument that many of those superhero analog books rank amongst the most important work in the realm of comics. Watchmen, perhaps the best example of an analog story, is widely considered the greatest comic ever created. So there's definitely a precedence there. The issue, at this point, isn't whether analog stories are a worthy use of panel space, but whether there are still enough original stories to be told in that particular vein.
This is what I'm struggling with right now. I have different projects which I try to divide my time evenly between. There's the horror/Western with elements of classic mythology, the homage/critique of the pulp/adventure genre, the space opera. Lately though, I find myself devoting more and more time to my own superhero analog. The question I pose to you, readers, is this; is it worth it? Should I continue to pump so much of my time and effort into something that many people will likely disregard with a simple, "Eh, it's been done before,"?
I think I have original things to say with these stories and I believe that I've come up with a very interesting and original way to tell the stories while still fleshing out the history of the universe that surrounds them. Aside from that, I've put a lot of myself into these characters, both good and bad, and I find that I like them and the story that surrounds them better than anything I've done yet.
So what do you think, friends and fans? Has this horse been beaten, dumped in a Lazarus pit and beaten again so many times that it's hardly worth it? Or should I soldier ahead, steely in my resolve, determined to put my own personal stamp on the genre that has meant so much to me and to the industry as a whole?
Up, up and away?
It's beyond argument that many of those superhero analog books rank amongst the most important work in the realm of comics. Watchmen, perhaps the best example of an analog story, is widely considered the greatest comic ever created. So there's definitely a precedence there. The issue, at this point, isn't whether analog stories are a worthy use of panel space, but whether there are still enough original stories to be told in that particular vein.
This is what I'm struggling with right now. I have different projects which I try to divide my time evenly between. There's the horror/Western with elements of classic mythology, the homage/critique of the pulp/adventure genre, the space opera. Lately though, I find myself devoting more and more time to my own superhero analog. The question I pose to you, readers, is this; is it worth it? Should I continue to pump so much of my time and effort into something that many people will likely disregard with a simple, "Eh, it's been done before,"?
I think I have original things to say with these stories and I believe that I've come up with a very interesting and original way to tell the stories while still fleshing out the history of the universe that surrounds them. Aside from that, I've put a lot of myself into these characters, both good and bad, and I find that I like them and the story that surrounds them better than anything I've done yet.
So what do you think, friends and fans? Has this horse been beaten, dumped in a Lazarus pit and beaten again so many times that it's hardly worth it? Or should I soldier ahead, steely in my resolve, determined to put my own personal stamp on the genre that has meant so much to me and to the industry as a whole?
Up, up and away?
Sunday, June 13, 2010
Rounding Up
On days like this when I don't have too much to write about, I'm going to try and round up a few interesting comics stories from around the net. At least this way I'm putting something up and those five or six of you that read this (not counting everyone at BOOM! Studios. You my boys, yo.) have something to entertain you for a few minutes. Enjoy!
Summer Glau joins the cast of Knights of Badassdom. - courtesy of Bleeding Cool.
Brian Bolland (The Killing Joke) responds to Icelandic artist Erro appropriating his Tank Girl work for his own personal gain. - courtesy of Bleeding Cool.
Concept art for the Thor and Captain America movie costumes leaked. - courtesy of Broken Frontier.
Tom Bondurant spends a little time dissecting the Man of Steel. - courtesy of Robot 6/CBR.
And now, for your viewing enjoyment, the first trailer for Marvel vs. Capcom 3. - courtesy of Game Trailers.
Summer Glau joins the cast of Knights of Badassdom. - courtesy of Bleeding Cool.
Brian Bolland (The Killing Joke) responds to Icelandic artist Erro appropriating his Tank Girl work for his own personal gain. - courtesy of Bleeding Cool.
Concept art for the Thor and Captain America movie costumes leaked. - courtesy of Broken Frontier.
Tom Bondurant spends a little time dissecting the Man of Steel. - courtesy of Robot 6/CBR.
And now, for your viewing enjoyment, the first trailer for Marvel vs. Capcom 3. - courtesy of Game Trailers.
Monday, June 7, 2010
What I'm Reading
Here's a quick look at the books that have consumed my free time of late. I highly suggest that you put your hands on all of these books if you haven't already.
Marvel's Cosmic Line: Annihilation through The Thanos Imperative - Launched by Keith Giffen and featuring the talents of such writers and artists as Dan Abnett, Andy Lanning, Cristos Gage, Brad Walker, etc., Marvel's cosmic universe has been stellar (pun intended) for years. I'm ashamed to admit that I only recently got into the line, but better late than never, right? With an eye to continuity and a penchant for operatic space storytelling, Giffen & DNA have created one of the richest and most appealing comic storylines I've ever read. Everything you've loved about the stories of such authors as Robert Heinlein and shows such as Joss Whedon's Firefly and SyFy's Battlestar Galactica can be found in these books, all of which have led up to the Thanos Imperative which kicked off over the last couple of weeks. If you've got some folding money just burning a hole down your Levi's, there are far worse ways to spend it than this.
Secret Warriors - Jonathan Hickman (and a little bit of Bendis) tells the tale of super-spy Nick Fury still trying to save a world that has abandoned him after the events of Civil War and Secret Invasion. Equal parts adventure story and nasty black ops spy book, Secret Warriors mines the secret history of the Marvel Universe as only a Hickman book can. A book powered by b-list superheroes and Nick Fury's unstoppable grit, Secret Warriors brings the age-old conflict between S.H.I.E.L.D. and HYDRA to its logical and explosive conclusion. A fantastic book from top to bottom, with great storytelling and breathtaking art. If you're not on it, get there, because this book just keeps getting better.
Fantastic Four - I honestly can't believe I'm writing this. If you'd asked me, even a month ago, what I thought about the Fantastic Four, you would have been met with a detailed rant expressing my general distaste for the group. As a kid, I was an awkward and fatalistic little outcast with little self-esteem and no delusions of grandeur. In the Marvel Universe, I would have had an X sewn firmly into the fabric of my skintight jumpsuit. To that awkward nerd, the X-Men and their ilk always resonated a lot harder than the FF, who seemed to be just too damned perfect for their own good. Despite my interest in all things Kirby, cosmic and crazy, I never could get into the FF. Then Jonathan Hickman threw a monkey wrench right at this ol' head of mine and really shook things up. Hickman's FF aren't a bunch of never-fail do-gooders, they're a real family with real family problems. They seem so much more human, so much more resonant than they ever did to me before. His Reed Richards isn't a perfect, dominant super-genius, but a loving father and conflicted hero, a man who has the power to do anything and is limited only by his desire to remain human. If I didn't like that, then I'd have to stop being a Superman fan as well. Taking what I love about superheroics, Hickman has crafted a Fantastic Four book that recalls friendship, family and the obligation of good people to make hard decisions. In a word, the book is fantastic.
That's what I'm going nuts over lately. How about y'all?
Marvel's Cosmic Line: Annihilation through The Thanos Imperative - Launched by Keith Giffen and featuring the talents of such writers and artists as Dan Abnett, Andy Lanning, Cristos Gage, Brad Walker, etc., Marvel's cosmic universe has been stellar (pun intended) for years. I'm ashamed to admit that I only recently got into the line, but better late than never, right? With an eye to continuity and a penchant for operatic space storytelling, Giffen & DNA have created one of the richest and most appealing comic storylines I've ever read. Everything you've loved about the stories of such authors as Robert Heinlein and shows such as Joss Whedon's Firefly and SyFy's Battlestar Galactica can be found in these books, all of which have led up to the Thanos Imperative which kicked off over the last couple of weeks. If you've got some folding money just burning a hole down your Levi's, there are far worse ways to spend it than this.
Secret Warriors - Jonathan Hickman (and a little bit of Bendis) tells the tale of super-spy Nick Fury still trying to save a world that has abandoned him after the events of Civil War and Secret Invasion. Equal parts adventure story and nasty black ops spy book, Secret Warriors mines the secret history of the Marvel Universe as only a Hickman book can. A book powered by b-list superheroes and Nick Fury's unstoppable grit, Secret Warriors brings the age-old conflict between S.H.I.E.L.D. and HYDRA to its logical and explosive conclusion. A fantastic book from top to bottom, with great storytelling and breathtaking art. If you're not on it, get there, because this book just keeps getting better.
Fantastic Four - I honestly can't believe I'm writing this. If you'd asked me, even a month ago, what I thought about the Fantastic Four, you would have been met with a detailed rant expressing my general distaste for the group. As a kid, I was an awkward and fatalistic little outcast with little self-esteem and no delusions of grandeur. In the Marvel Universe, I would have had an X sewn firmly into the fabric of my skintight jumpsuit. To that awkward nerd, the X-Men and their ilk always resonated a lot harder than the FF, who seemed to be just too damned perfect for their own good. Despite my interest in all things Kirby, cosmic and crazy, I never could get into the FF. Then Jonathan Hickman threw a monkey wrench right at this ol' head of mine and really shook things up. Hickman's FF aren't a bunch of never-fail do-gooders, they're a real family with real family problems. They seem so much more human, so much more resonant than they ever did to me before. His Reed Richards isn't a perfect, dominant super-genius, but a loving father and conflicted hero, a man who has the power to do anything and is limited only by his desire to remain human. If I didn't like that, then I'd have to stop being a Superman fan as well. Taking what I love about superheroics, Hickman has crafted a Fantastic Four book that recalls friendship, family and the obligation of good people to make hard decisions. In a word, the book is fantastic.
That's what I'm going nuts over lately. How about y'all?
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