I Return!

For the last 10 days or so, I've taken a short hiatus from my daily writings in this blog.  This is mostly due to a number of factors in my life, from having a whole bunch of things going on in my personal life to burnout from writing every day to even having some confidence issues with regard to where this endeavor currently stands.  While I'm glad to be back, I think it's important that I touch on at least a few of these issues.

Those of you who have stuck with me these last few months know how proud I am of how much I've written in the Comics Cove.  From my first post, I made it clear that I was afraid this could be one of those efforts that get started and never get off the ground, that this might turn out to be a blog that gets started and then soon abandoned just because I can't think of anything to write about, or I can't keep the motivation going to write.  Clearly, that has not happened, and I couldn't be more pleased with how much I've written about comics in the time since late 2011.

The last few weeks, however, have been especially taxing for me.  Balancing the time to work, write, relax, and still meet the multitude of responsibilities I have in my personal life has really become difficult with the onset of the summer season.  With everything going on, writing ahead became impossible--I was writing up against a daily wall for much longer than I'll ever admit--and even keeping a daily essay up proved too taxing to maintain.  I am a little disappointed that I won't have written for a full year everyday, but I think if I hadn't taken a break, I simply would have burned out in some vital area of my life, and I wasn't willing to sacrifice any of that, most especially my desire to write.

Things haven't gotten much easier in the adjoining time off, and I'm pretty sure I won't be starting any more grand writing streaks any time soon here.  But I have kept reading comics, and having opinions about the storylines I uncover, so you can safely expect some more reviews and musings in the near future.

With that said, I will probably be taking a more casual approach to this blog, at least in terms of my frequency.  This is for several reasons, including the aforementioned danger of burnout.  Some of the others, however, are more personal.

As I've mentioned before, I'm very happy with my work on the Cove.  It is far and away the longest and most well-maintained blog I've ever undertaken.  And my enjoyment of comics in all forms has led me to keep it going for so much longer than any of my other efforts.  It seems as long as I had a good topic, that I was interested and passionate about, then I would have no shortage of things to post.  And it has been so liberating to discover that firsthand.

But something has changed.

I'm a decent writer, I think.  And I've wanted to be a writer since I was little.  But my first love has always been in fiction, and creating worlds, plots, and characters for people to read about and fall in love with.  And I have done very little fiction writing since I started the Cove.

Don't get me wrong; my output before the Cove wasn't exactly stellar, either.  But with the Cove, I've at least established that consistent writing is an attainable possibility for me.  I know I can do it, but lately it feels like I've been hiding behind the shield of all this creative nonfiction because it's easy for me to choose a topic and go.  I need to stretch my creative muscles more, and take that consistent writing of which I'm capable and try to make it work for the writing of which I'm presumably supposed to be doing more.

What this will all entail isn't exactly clear to me at present.  It may well mean fewer posts in the Cove, but I can't promise it will translate into more posts on my fiction blog, A Glimpse Through the Door.  I'll probably be a lot more miserly with showing off my fiction, as I'm less confident in my ability to write it than I am about my output on the Cove.  Scripts, too.  We'll see.

I do think this is the right direction to go, though.  In listening to Neil Gaiman's recent commencement address, I've come to realize that I have to take the steps that feel like progress towards my goal of being a writer.  I have to walk toward the mountain, as it were.  And this feels like a step in the right direction.  I will walk that path for a while, and hopefully I can share with you how it goes.  In the mean time, wish me luck, keep your readers tuned to this blog, and I promise you'll hear more from me here in the near future.

List-y List #1: My Favorite Writers, aka, The Writing Gods

Starting off my series of lists, I thought I'd do the one that was most thematically relevant to me on a personal level.  Wanting to be a writer, I've studied and observed a number of them, from a variety of mediums, with a particular focus on comics.  I'd like to think that they would be happy to know that their works and efforts have helped inspire me not only to write, but to start and maintain this blog, which I've so far managed to do at a daily clip.  They are, in short... my writing gods.

These kinds of lists tend to be a matter of personal taste, and are in no way meant to disparage anyone else's favorites.  They are simply my favorites, my gods of writing, and there are plenty of other excellent writers who didn't make this iteration--Chris Claremont, Alan Moore, and Ed Brubaker come immediately to mind, as will doubtless others.  

The writers who have had the biggest effect on my reading experience, and who hopefully influence my writing the most, are:

1. Neil Gaiman - Sandman.  Neverwhere.  The Graveyard Book.  Coraline.  Marvel 1602.  American Gods.  An episode of Doctor Who.  If there's a medium for which Neil Gaiman can't write, I have yet to experience it.  Truly one of the most imaginative and culturally aware writers of this day and age, his ability to take the fantastic and marry it to the mundane with such effortless aplomb never fails to amaze and surprise me, even when I'm expecting it.  He's resurrected comic book characters, and reinterpreted mythological and historical figures with a deft touch that makes you wonder from where his insightful characterizations come. It's no wonder his work translates well to comics, television, film and prose works.  I can only hope to come anywhere near matching the depths of his fertile imagination.

2. Joss Whedon - Another master of many mediums, Joss Whedon had actually made a big impression on me long before I knew who he was, and impressed me less when I started to realize who he was.  Some of his episodes of Roseanne are among my favorites of the show's run, long before I cared who was scripting individual episodes.  My first "knowing" exposure to his name and work was the fifth season of Buffy the Vampire Slayer, which at the time, didn't impress me.  Then along came Firefly, and I emerged a Whedonite converted.  Film, comics, television... especially television.  There's nothing the man can't do well.  Whedon's witty dialog, strong women characters, and clever subversions of storytelling tropes are things I admire about his writing, and hope inform my own.  I particularly adore the Firefly and Serenity comics he's worked on, and the Buffy continuations as well.  All this before any mention of The Avengers, to boot!

3. Steve Moffat - The first non-comics writer on my list, Steve Moffat rates highly for his amazing work in television.  I first got acquainted with his writing on Coupling, a clever British comedy series about sex and the  thirtysomething characters trying to get it.  I loved its clever humor, occasionally imaginative plot structures, and the evenness generally portrayed when the sexes battled it out.  When I started watching Doctor Who, appropriately during the Matt Smith episodes, I didn't even realize at first that this was the same guy writing and running it!  It was a delightful treat.  Now this guy has gone and put a fantastic series together called Sherlock... perhaps you've heard of it?  He's a magnificent bastard of a writer, whose talent for suspense, adventure, and comedy are that rare blend that make for amazing television.  If you haven't seen any of the TV shows I've mentioned here, do yourself a favor and check them out.

4. J. Michael Straczynski - Most of JMS's writing work is stuff I've only been tangentially familiar with: the occasional episode of Babylon 5, a glimpse of an issue of Thor he worked on--and did you know he also wrote for the He-Man and the Masters of the Universe cartoon in the 1980s?!  But the two works that have stood out most starkly for me have been his run on Amazing Spider-Man--in which he took bold, imaginative risks in interpreting Spidey's powers and his relationships with those closest to him--and Superman: Earth One, a dynamic and insightful retelling of Superman's origin story and debut as the Man of Steel.  I don't often go in for Superman, but then again, I don't often go in for Thor or Babylon 5, either.  Yet I've never been anything but awed by the stories this man tells.  An excellent writer, of whose works I need to read more.

5. Scott McCloud - Though I've only ever read his most famous work, the graphic book Understanding Comics, I still hold Scott McCloud in immeasurably high regard for his insightful, playful, and easy-to-understand handling of the material.  In a clever sequential art style that matches the content and subject of the book, McCloud explains with simple thoroughness and plenty of visual aides how comics are made, and how writing and pictures are used to create this most wonderful of mediums.  That level of dedication alone is worthy of admiration; that he does it so eloquently and passionately is what makes him great, in my opinion.  It was after reading Understanding Comics that I was inspired to start writing my own comic scripts and even drawing some of my own pages occasionally.  And while I'll probably never draw as well as I'd like, I'll credit my own start as a writer of comic scripts to him.

6. H.P. Lovecraft - Though occasionally verbose and a little archaic in his diction, Lovecraft is undoubtedly one of the most influential figures in modern horror, serving as the inspiration for such modern masters as Stephen King, Anne Rice, Clive Barker, and John Carpenter--not to mention the aformentioned Neil Gaiman.  His stories about otherworldly cosmic horrors, ghoulish cults and creatures have had an undeniable effect on the collective psyche of horror writers and readers--not to mention my own sensibilities.  I think what intrigues me the most is the inescapable dread that infuses his stories, which seem to generally hinge on the idea of man's general cosmic insignificance, and that there is knowledge out there that we simply can't handle.  It doesn't make for the most uplifting of storytelling endeavors, but it does make for interesting and challenging storytelling.

7. Brian K. Vaughan - Having only read Y: the Last Man of his works, I can say that there are plenty of other titles out there that Brian K. Vaughan has worked on that have either been highly recommended to me by friends and family (Runaways), or that I just can't wait to read, based on that title alone (Pride of Baghdad, Saga, Ex Machina).  He clearly has a talent for taking supremely unenviable situations, thinking them through, and creating great opportunities for character development and exploration from them.  My little sister has started reading his run on Runaways, and given me the best feedback you can get about a writer's title, namely, "Buy me more of these, please!"  I'm aching to read his current series, Saga, but am currently waiting to get my hands on issues 1 and 2 before I can start.  It's a bit of a torturous undertaking, but some things are worth waiting for.

8. Terry Moore - A Houston institution, Terry Moore's strong depiction of women characters has set him apart as a writer who understands that beauty goes far beyond physical perfection.  Both a skilled writer and a good artist, his Strangers In Paradise strikes emotional chords in both the touching love story it tells as well as the expressiveness of the characters that populate it.  Moore can take a simple situation, such as a break-up, put a humorous spin on it with just the slightest clever twist, and make it unforgettable, just as he can shatter your expectations with a single, well-drawn look of pain on his heroines' faces.  His women, who tend to be his main characters, have a range of imperfections and flaws, from self-loathing to body image issues, but his ability to imbue them with humanity and depth make him an unforgettable writer and an amazing storyteller.

9. Scott Snyder - If there's been a best side to reading the New 52, it's that it's enabled me to discover Scott Snyder.  His deft guidance of Batman through the mystery of the Court of Owls saga and the subsequent (and current) Night of the Owls storyline have left me with my jaw hanging open more times than I can honestly remember.  Whether he's doing creepy nightmare illusions, mind-bending labyrinths, or unbelievably taxing physical trials, Snyder shows that he's not afraid to put heroes through the ringer, physically, mentally, or emotionally--and it makes for amazing storytelling.  I've yet to read any of his other titles, but I know he's got several projects going, and I intend to sit down and check them out as soon as time allows.  For now, the Court of Owls and Night of the Owls storylines alone have made Snyder one of my fastest-rising writing gods.

10. Dan Slott - I'm primarily familiar with Dan Slott through the recent and current issues of Amazing Spider-Man, but I'm very impressed with what I've seen so far.  He's taken different approaches to telling Spidey's story--some humorous, some dramatic, and some that are off the scales epic--and made them all very successful.  He obviously knows the characters, and I've been particularly amused at his banter and thorny relationship between Spidey and Mayor J. Jonah Jameson, as well as his writing of the supremely bright and quirky individuals at Horizon Labs, who serve as Peter Parker's colleagues and oftentimes as Spider-Man's allies.  With the current Ends of the Earth arc, we're seeing Spidey at his most serious, as well as his most resourceful, as he effectively takes on the Sinister Six with the entire world turned against him.  If that's not gutsy storytelling, then I don't know what is.

I'm Feeling List-y...

This is going to be a short post, but hopefully a helpful one!

Over the last week, I've done a much higher percentage of personal posts than reviews, and the response has been unmistakable.  More people read when I'm musing and talking about comics-related stuff than doing straight-up reviews.  I'm not sure this will change overall--I really like reviewing comics and graphic novels--but I do think it's a good idea to up my percentage of posts that are things other than reviews.

Trouble is, I sometimes have a difficult time coming up with topics for these posts.  Seriously.  I can get into a discussion with friends about whether or not Batman will die in the upcoming film, and then blog a post about that topic, but I often have a difficult time just dreaming up subjects in a vacuum.

So with that in mind, I went and did the (arguably not-so) brilliant thing: I created lists of things to talk about at near points down the road.  I've started with favorites:

• characters
• writers
• artists
• graphic novels
• comic books
• storylines

and so on.  I'm hoping that, by filling these out and talking about the subjects in them, I'll come up with more topics on my own.

But wait!  There's more!  I'm always looking for suggestions from my readers!  If there's anything you want to hear about, please leave a comment and let me know.  I know enough about giving an audience what they want to know that my readers will have excellent suggestions.  Please feel free to hit me up with topics and subjects.

This is, in many ways, as much your blog as it is mine.  Let's keep it interesting for all!

SIX MONTHS!!! :D

On November 30, 2011, I started this blog, The Comics Cove, intending to write about comics-related topics.  While I've mostly written reviews about comics, I've also covered a number of topics: film and book reviews, comics conventions, costumes and cosplay, tropes and conventions in mythology, and discussions of specific heroes and villains.  Today, it gives me great pride to inform my readers that as of today, I've managed to write every day in The Cove for six straight months.

It hasn't always been easy.  I've had to make this a second priority, and it's meant curtailing a lot of activities I've loved doing in the past.  I don't play video games anywhere near as much as I used to, as writing takes up a good hour or so each day, usually in the evenings after work.  It's cut into date nights, outings with friends, and I've often had to plan ahead with my writing on occasions where I simply wouldn't have otherwise had time.  It's a logistical challenge at times, but it's given me a good handle on planning, time management, and keeping motivated.

For the reviews, I've covered a number of genres, though I know I've always clearly favored superhero comics.  I've also talked about novel adaptations, children's comics, strong girl characters, horror, historical, and fantasy comics.  I've taken discussion topics I've had with my friends and put my thoughts on them up here.  And, unbelievably, people have read them with some regularity.  A few intrepid followers have even posted reactions to my thoughts in the comments section, and for those I thank you!

One new project I've started working on is setting up a mini-studio for doing video reviews.  This is mostly due to inspiration from haydenclaireheroes, whose video reviews on ComicVine have been such a joy to watch, support, and comment on.  It'll be a long project, much like the costumes: I'm working on acquiring a wireless webcam, and assembling a good background and filming area on limited space.  I managed to acquire some good art for the backdrop from Comicpalooza, and I'm hoping to get the space set up sometime in the near future.

I started a fiction blog, which has thus far only received a couple entries in April.  For the record, I haven't given up on fiction writing, but have had to keep The Cove my priority while managing my time.  I will be writing more scripts and prose fiction, but it will have to be comparatively sparse to the robust output here for the time being.  I've recently seen some opportunities for submissions, though, and I'll be planning to put keyboard to computer for them in the near future.

It's all been hard work and great fun, and I intend to keep writing on The Cove for as long as people want to keep reading.  Please let me know if there's a comics-related topic, issue, or subject you'd like to discuss.  I'm always up for suggestions, and would love doing a response to anything my readers would like to discuss.

In the meantime, I'll keep writing.  If you keep reading, I'll be here.

Reflections on Comicpalooza

As you can see from the pictorial posts from the last couple days, I was at Comicpalooza this last weekend, and had a wonderful time meeting the fans, creators, and professionals that came to Houston to show off our vibrant comics and pop culture scene.  Aside from taking a bunch of pictures of people in costume, I was also there in a professional capacity as a librarian, working the Houston Public Library booth on Friday and giving a presentation on libraries and their benefit to the comics industry with several co-workers.  Both experiences were fun, and I'm looking forward to doing it again next year.

I bought a couple of art items from local vendors as well, as I'm very eager to support Houston- and Texas-based artists and creators in the comics industry.  Some of the vendors I patronized this year were:

• Tentacle Kitty, a monstrously cute creation from Houston, according to their website.  They had cute posters and other arty things on their table, featuring their mascot.  Check them out for ultra-cuteness!
• Mark Nasso, whose Land of the Rats I reviewed and enjoyed recently.  Mark creates his own comics here in Houston, and had an excellent Wolverine print that I had to have.
• Miguel Zamora, an artist based out of San Marcos.  His prints were excellent, and after my younger sister bought one of his Harley Quinns, I got a Nightwing/Batgirl and a Spider-Man from him.
• After Twilight, a comic published in Houston, set in Houston, about a dystopian future.  The protagonist is a librarian, so I can't wait to read it!
• Brass Comics, another local publisher, composed of Bruce Small and Zach Q.  Each creator had a comic I picked up, and can't wait to read and review.
• A few titles from CCP Comics, which is based in Austin.  I talked with the artists and creators for a bit, and was impressed with the quality of their products and happy that such a publisher was only a little ways away from Houston!

I bought wares from several other tables, but can't currently find contact information or cards for them.  Hopefully I can correct this soon.

I also spoke with some of the creators as an aspiring professional, particularly about gaining exposure for my work and finding an artist for it.  I've had lots of positive and challenging experiences working with artists on my comic, and it was good to have other creators give their perspective, experience, and advice on how to forge ahead.  I got lots of good advice and made a couple of prospective contacts among them, and hopefully they won't be too annoyed to hear from an aspiring comic script writer in the near future.  I hopefully at least made a good impression!

This was the first time I went to a con with even a semi-developed idea of what I wanted to get out of it.  I'm proud to say that I accomplished most of what I set out to do, and look forward to attending other cons in the future, as time, finances, and energy allow.  For now, thank you, Comicpalooza!  I enjoyed you this year, and look forward to 2013!

April Successes and Failures

April was a fairly significant month on the writing front.  As you may or may not recall, I mentioned that I'd be doing a whole lot of writing during that month.  Essentially, I was going to write 100 pages of scripted material through Scriptfrenzy during the month, while still maintaining my daily posts here in the Comics Cove.  As it turned out, I managed to crank out about 37 pages, little more than a third of my goal, while still maintaining at least one post per day here.

So, it didn't work out the way I'd hoped, but it helped me understand where my limits were, while I still managed to get some scripted material written.

I don't know what it is about creative writing that really seems to take it out of me, but I truly do have a harder time with fiction than I do with reviews, observational posts, and other nonfiction.  I'm actually really surprised at how I've managed to hold on to the streak I've created here--at the end of this month I'll hit six months of posting every day--but I think for now, it's probably the thing I need to do to keep myself writing on a consistent basis.  Not that I plan on abandoning fiction--that's the end goal, eventually--but it's going to be on a sporadic basis for the time being, until I can find a way to cultivate the time and creative energy to do both regularly.

Speaking of time, there were a couple of other factors that played into my ability to write extra on top of my regular posting, including a conference, and a convention--at the latter of which I was a moderator all day.  They really didn't suck up extra time so much as displace my work schedule and routines enough that it was a challenge to add extra writing work to what I was already doing.  I don't there's ever going to be a good time to add to the writing load I do, but April was perhaps a more challenging time than I should have picked.

In any case, I'm glad I tried, and glad I had the good sense to not overextend myself too much.

I'm a little behind on the cosplay side of things as well, but some progress has been made.  I'm basically focusing on the Nightwing costume, which is proving to be a difficult challenge.  I've recently bought material for a latex mask, which eventually I'll need to have fit, painted, and sculpted to my face.  My girlfriend, incidentally, is the one who suggested this method, and the one will be layering the thing over my face in the coming days.  At this point, I'm in unfamiliar territory, and trusting her suggestions here.

What remains at this point are gloves and a top, and these are where I'm really hamstrung.  Ideally, I want the blue hawk pattern on a black top, the ends of which extend all the way down the sleeves to two fingers of the gloves.  Of course, I have no clue how to go about making this happen that doesn't involve buying something that's already made with this design in mind, which I don't want to do.  I could go with black gloves and forego the blue on them for the time being, but I'm not sure what to do about the top.

In the meantime, Comicpalooza approaches, which I'm really excited about.  I'd love to have the costume completed by then, but am not gonna hold my breath for it.  Hopefully I'll see some cosplayers there who might have some suggestions about what I could do to get a decent home-made look for the Nightwing costume.  We'll have to see.

Status Report for April: Still Goin'

If anyone out there follows this blog with any regularity, you probably know I've set quite a few micro-goals for the upcoming weeks, months, and year.  They're all either comic book- or writing-related, and designed to get me to either improve my chances of eventually publishing something or to help bring out my inner fanboy a little more prominently (in some cases, they're both).  Since I've had a little bit of time to work on each one, I thought I'd give a quick update on each of them.

Cons and Panels
I put my meager event organization skills to the test last month and had a Houston Comics Talent Panel at the Central Library downtown.  As far as having barely a week's promotion time, it was pretty well attended.  I moderated, despite fighting back a vicious case of my voice trying to give out on me.  We had four talented individuals in the comics field speak on the panel: Nick Pitarra (The Manhattan Projects), Scott Chitwood of Red 5 Comics, independent creator Mark Nasso (Land of the Rats), and Edward Kraatz, Jr., from Shark Industries Studios.  Those who were able to attend had a great time, as did our panelists!

I've purchased a three-day pass for Comicpalooza this year at the George R. Brown during Memorial Day Weekend in May.  I also plan to be there in a (semi-) professional capacity, since Houston Public Library will have a booth there to promote its graphic novels collection and support graphic novels as literacy, and I'll be working it for at least part of the convention.  We're also scheduling a panel presentation in support of comics in libraries, and I'm scheduled to be a part of that panel as well.

While I realize Comicpalooza doesn't technically count towards my resolution to attend a convention outside my current hometown of Houston, you have to admit, it'd be kind of shameful not to attend the con that's in your own backyard.  I'm still planning to aim for Wizard World Austin this year, which is many months off, and I'm looking at Comicpalooza as a kind of spiritual prep for that particular journey.

And, since it's less than a week away, I wanted to mention that I'm one of the organizers for Teen Book Con, which will be happening on Saturday, April 14, at Alief Taylor High School.  This is the third year for Teen Book Con, and it's only gotten bigger and better each year.  I'll be moderating the graphic novelists panels, as I've done from the outset!  Our graphic novelist guests this year are Nick Pitarra (The Manhattan Projects, Astonishing Tales, The Red Wing), Lea Hernandez, Van Jensen and Dusty Higgins (Pinocchio, Vampire Slayer).

Costumes
I've made some progress since my last post about costumes, but I'd be lying if I said it's been very much.  It's also at a point where I'm getting uncertain how to proceed.  See below:

I've finished taping up two dowel rods to create a pair of black escrima sticks for the Nightwing costume.  I've also got the black boots and black tights, the latter of which could also work for the black-suited Spider-Man costume I'm also trying for.  From this point on, though, there's no real sharing in terms of whatever I acquire for the costume, since they're so different from the waist up.

For Nightwing, I still need to acquire or work on a face mask, gloves, and a top shirt.  For Spidey, I'll need those same things, though in different incarnations.  And at present, something's stopping me from taking the next step.  I'm sure it has a large part to do with my lack of knowledge when it comes to costuming and cosplay; putting this stuff together from scratch is more than a little taxing for my novice brain.  I don't want to simply buy a shirt with the symbols on them, but in terms of actually putting it together, I'm in need of knowledge or expertise from someone who could suggest a more DIY alternative to buying a costume, or the disparate parts.

One example: I'll be searching for something spandex-y for both hero tops.  Is it possible to silkscreen on black spandex a white spider or a blue hawk?  Will it last?  Will I need to buy material for these symbols and have them sewn on?  What's the most logical step for this phase of the costume?  Any cosplayers or costumers who can help me with this one, please volunteer your expertise.  I want to look as complete as possible when I go to cons. :)

Writing
Finally, there's the writing aspect.  Those of you who follow this blog can easily look and see that I've managed to write at least one post per day in this blog, since all the way back to when I started it November 30 of last year.  It's something I'm very proud of, and frankly it's unprecedented for me to do so much.  It's my intention to continue this streak for as long as possible, though I will confess that this month it will be a lot harder than previously.

The reason is that I've placed another writing goal on myself for this month.  I've joined ScriptFrenzy, and have basically pledged to write 100 pages of scripted material between the first and last of this month.  I'm making good progress so far--nearly 40 pages has been written as of today--but it's kept me from writing as much material for the blog as I would have normally done by now.  Still, I'm keeping pace, and hope to maintain it for the rest of the month.

I am about a third of the way through it, after all.  Any supportive comments or suggestions would always be appreciated.

The Month I Decided to Write Myself Silly

Okay, so, I'm officially crazy now.

Most of you who follow this blog know that I've written in it every day for the last four months, and that I plan to keep that as my minimum pace for... well... forever, if I can.  I'm proud of what I've been able to do on here since I started The Comics Cove, but I don't mind sharing that it hasn't always been easy.  Heck, there have been more than a couple of temptations to let the writing lapse for a day or two, and for good reason: fatigue, video games, etc., but I've resisted so far, mainly out of fear of never coming back.  The result has been a regular blog that I'm happy to say is the longest and fullest I've ever started.

But now I'm compounding it.  In my 100th post, I talked about writing fiction, and how I needed to get back to doing it.  And, for the most part, I haven't made any move to do so.

Until now.

See, one of my friends on Facebook posted that she'd entered ScriptFrenzy for the month of April, and I saw it and was curious.  The basic challenge: write 100 pages of scripted material during the month of April.  Which dovetails perfectly with my desire to write more fiction, since comic scripts are my medium of choice.  So, I decided to enter ScriptFrenzy, too.

So now, I'm committing to writing 100 pages of comic scripts this month.  In addition to posting on the Cove every day.

The good news is, I'm off to a promising start.  I've already written six pages of script in the last five hours, which I'll be posting very soon on another blog.  Link is forthcoming posted.

Keep in mind that I do all my writing during my free time, when I'm not at work.  I also have several events coming up this month that are going to throw my schedule out of its normal alignment, and add a little more stress excitement than usual.  Suffice it to say, this will be an interesting month for me.

Hopefully, the end result will be severalfold: I'll have a hundred extra pages of written material come the last day of April.  I'll have maintained my streak of writing every day in The Comics Cove.  And I'll have come through this an even stronger and more disciplined writer, having put myself through the wringer this month.

If you'd like to help, I'll take any encouragement or moral support you care to offer.  Donations of caffeine, sanity points, and back rubs will also be given serious consideration.

Book Review -- Civil War Script Book / Mark Millar & Steve McNiven

If you're looking to write comic book scripts, it's always good to have a few sample scripts on hand to look at. While there's no strict established standard for scripting, there are quite a few similarities between the layout, structure, and basic look of the more established scripts out there.  While the Civil War Script Book certainly isn't the only comic script sample book out there, it's a good example of a script for a sustained story arc, and contains a lot of extras that make it a delight to have around.

The Marvel Civil War was a huge event that took place a few years ago, featuring the majority of Marvel's superheroes fighting against one another over the issue of superhero registration.  It was a massive undertaking, requiring the collaboration of a legion of writers, artists, and editors to keep various plot points consistent and in good order.  In addition to the seven-part chronicle, there were virtually innumerable tie-ins, many of which expanded on smaller-scale stories of heroes, villains, and others who have been affected by the larger issues covered in the main story.

It was also a very involving story to anyone who read it, as I and no doubt others will readily attest.  While I had vehement reactions to the story as it developed, including a bitter resentment of the way it ended, I still couldn't help but admit that it was a hell of a good story.  As I read into how the story was conceived and put together, I was astounded at the sheer amount of manpower involved, the editorial logistics, and the overall feeling that, though this was a tale told by many, it still had the feel of a singular, cohesive story arc.

Civil War Script Book contains all seven scripts written by Mark Millar for the main story arc, along with a bevy of extra commentary, notes, and even some deleted (or at the very least, significantly altered) scenes from the story, from Millar as well as editor Tom Brevoort.  There's also plenty of artwork from Steve McNiven's original pages, as well as a few archive illustrations from other artists to give historical context to some of the relationships and themes addressed in the Civil War.  In addition to seeing how the story was written over the course of seven issues, the reader gets a good deal of insight into the writer's and editor's thought processes and motivations for setting things up the way they do.

One of the first things I noticed about the scene descriptions is that they tend to be very personalized at points, sometimes with the writer directly addressing the artist.  This is obviously something that most new writers won't (and shouldn't, in my opinion) be doing, but it's interesting to see the interplay between the creators beyond what you simply see on the finished comic pages.

Overall, this is an excellent resource for anyone who wants to look at finished scripts, even if they are all by a single writer.  It's also a nice extra for anyone who enjoyed the Civil War story arc, with all of the extras and a healthy does of Steve McNiven's stunning artwork.  While there are plenty of other script books out there that may provide more variety or how-to insight, Civil War Script Book does an admirable job of showing aspiring writers how the creators think during the process.  Highly recommended.

Post #100 -- My Proudest Moment In Writing Thus Far

A couple of days ago, I hit 90 consecutive days of blogging on The Comics Cove.  For the last three months, I've managed to write at least one fair-sized post on comics--be it a review, a comics-related musing, or some other relevant nugget of incoherence--every day.  Tonight, I'm writing (and you're reading) post #100 on The Cove, and in about a week I'll hit 100 straight days of blogging here.

These are some significant milestones for me.  I mentioned in my first post that I've made past attempts at writing consistently, and failed.  This has been for good reason.  Consistency and discipline have never been my strong suits when it comes to writing.  I've always had talent--or at least, the feeling that I've had talent--and have had aspirations to be a writer ever since I was a child.  But it's never been something I've really buckled down and worked towards, until recently.  The Comics Cove marks a major achievement for me, as it's the first solid evidence to the world and myself that, when I really want to, I can do this.

I've learned a lot in the last three months.  I've learned that my love for comics and sequential art is truly as deep and abiding as I'd thought when I set up The Comics Cove--I was scared that my interest in them was superficial and wouldn't sustain this blog for long at all, as I'd failed with many others.  I've learned quite a bit about Blogger and how to use some of its functions to my advantage (thank goodness for scheduling posts, for instance!).

Perhaps most valuable, I've learned that the difference between wanting to be a writer and actually taking the steps to make it happen really isn't that wide a gap, even if it may seem that way from the safe side.  I feel justified in calling myself a writer now.  I may not be a paid writer, but I am at least writing consistently.

Looking forward, I plan to expand my writing endeavors.  Because I just have way too much free time between work, a social life, video gaming, and blogging about comics.  But seriously, part of the reason I think The Cove has been as successful as it has isn't just because it's been about comics, but that it's been nonfiction.  It's been book reports and reviews about subjects I love, and it's comparatively easy for me to write about topics I have opinions about.

It's given me focus, which I've desperately needed.  Now I need to take that focus and apply it to fiction.

Fiction is what I've aspired to write since I was little, and it's time to turn my attention to that on a more consistent basis.  It is therefore my intention to start another blog in the near future, upon which I will be posting my creative fiction for people to read, critique, and hopefully enjoy.  Look for a story from me to linked from this blog in the coming days.

Me and my workspace, in all its cluttery, triumphant glory!

Many thanks to everyone who's read The Comics Cove, who've followed and commented, and who've liked and discussed my reviews in other forums.  Your feedback is a major factor in what keeps me going, and it really helps to know that when you're laboring on an endeavor such as this, you're not doing it in a vacuum.  Hopefully I'll keep things interesting enough that we'll be celebrating in another hundred or so posts.  Or maybe a year from now.

Onwards and upwards!

Returning to the Comics Collecting Fold

If you read this blog with any regularity, you've probably noticed that, lately, I've started reviewing single issue comics.  Often I do this in groups of several issues of the same title, though I have made at least a couple of exceptions as of late, and reserve the right to do so for other occasions.  There are a few reasons I'm doing this.  It's certainly not due to a lack of other older collected titles to read--what I've read alone could probably last me for a year's worth of reviews.

It's at least partially due to a desire to include content that's a little more current, as I imagine many comic readers are reading more than just the trade paperbacks you can check out from the library.  I read Comic Vine's reviews fairly regularly, and I will admit more than a little envy as not getting to read some of the newer storylines out there as soon as they hit the streets.  I've tended to wait and read trades, which has worked fine for a while, but I think it's time to start diving into and discussing the current stories with other readers.  I will continue to review trades and comics of all types, but feel like exploring the more recent stuff will not only attract more readers to this place, but will also be more fun.

So, in the name of aforementioned fun--not to mention to keep current on my current reading--I've essentially resurrected my long-dormant passion for collecting comics.  I recently acquired some comic bags and backing boards for my single issue purchases, and plan to buy a comics box or two in the coming days.

I'm sure that, right about now, some of you are doing one of two things: the comic book geeks are going, "WTF?  What does he mean, 'resurrecting collecting comics?'  He already lives and breathes comics--spend more than 30 seconds with him and you'll wonder why he's not wearing a Spider-Man lapel--and yet he doesn't collect them?!"

And those who aren't, are probably asking, "What the hell are comic bags and backing boards?"

And if it helps, I'll just say that you need them to properly store comic books, and leave it at that.

Truth is, I haven't seriously collected comics since high school.  In the adjoining time between then and now, I've borrowed issues from friends, read the trades, checked them out from the library, and occasionally purchased a special single issue, but I really haven't tried to maintain them as a collection until now.  I feel like this, in addition to giving me a constant source of fuel about which to write, is a pastime that simply feels good, and feels right to me to resume at this point.

I've always loved comic books, ever since I was re-introduced to them at about age 12.  I collected them for a few years, then stopped due to a variety of factors: too expensive, life is too hectic, the characters have changed too much, and on and on.  It's time to come back.  As a collector, as a blogger, and as an aspiring comic script writer, it just feels right, and it feels especially like now is the most natural time to rejoin the new issues fold.

Even if the prices have jumped a whole lot since I last had a collection! :-)

Advantages and Pitfalls: The Ups and Downs of Collaboration on a Comic

I've only mentioned this in passing so far, but I am an aspiring comic book creator.  I write stories in my occasional free time, and, enjoying the medium of comics as much as I do, am intensely interested in seeing them in sequential art format.  I admire comics as a legitimate form of entertainment, expression, literature, and even education and literacy.

I'm not a coffee drinker, but the rest
of this photo is a fairly accurate
representation of my desk.

I think comics can reach reluctant readers where prose works may fail, and I feel a debt of gratitude to the medium for keeping me as entertained over the years as it has.  That it's come into its own form of acceptance by the mainstream as movies is no surprise.  In fact, it's about damn time.

Over the years, I've taken the occasional crack at creating my own comic out of the scripts and ideas that I have, and I've learned a lot along the way.  Most of these lessons stem from failure, my biggest being that I still have yet to create a work worthy of being published.  It isn't due to lack of effort--I can produce plenty of short scripts at a moment's notice these days--but a lack of illustrating ability.  My biggest Achilles heel here is that I can't, in my opinion, draw anything good enough for publication as a comic.

It isn't that I can't draw.  I can draw, marginally better than most people will admit of their own abilities, anyway.  But I'm not good.  I'm not professional-level, and I don't think I have the patience to develop my abilities that far.  So, like every good writer who can't draw and wants to make a comic of his very own, I've tried working with artists on several occasions.

Character design of Marissa, one of
the main characters in my comic.
Artwork by Charlotte Tarlitz.

There are plenty of advantages and potential pitfalls when it comes to collaborating with other creative types.  Let's start with the good.  For one, it spreads the workload around.  In my case, I just worry about writing duties and leave the illustration to the experts.  I can offer insight into the visual presentations, and with the artist's intuition and skill, help them bring to life what I'm seeing in my head and on the script.

I get to ooh and aah when I see others' renditions of the characters, settings, and situations I've penned; there really is nothing quite like it.  Even the unfinished interim designs are beautiful and feel like Christmas presents when I see them for the first time.  A good artist will not only see and intuit what you're trying to express in writing, but they will find a way to make it look gorgeous, striking, and exciting, be it finished pages, character designs, storyboards, or concept art.

Finally, there's the feeling of accomplishment when you finish a project with an artist.  Together, you've both created something that neither of you likely would have done without the other.  It leaves you both giddy and exhausted, and says a lot for the power of collaboration.

But there are plenty of potential drawbacks to collaborating as well.  For one, you split the credit, and by and large, the court of public opinion tends to favor those who craft the look of the work.  It's not always the case, but it tends to be the norm from what I know of the comics industry.  The artists, it is felt, do the bulk of the work, and it's very difficult to argue otherwise.  The writer, by and large, is simply not as appreciated as the artist.

Second, it can be expensive.  If you aren't doing a back-end split for publication (which I typically don't--I prefer work-for-hire projects I can pay for up front), you have to be willing to pony up cash at the beginning of a project, and that can be a significant chunk of your discretionary income.  Depending on your budget, you have to be careful how much you spend, so that getting your comic project off the ground doesn't sink you financially.

Finally, there is the potential difficulty of working with the artists themselves.  They are individuals, with their own lives, loves, problems, and approaches to their art.  There are legions of talented artists out there in the world, but finding one that is reliable, easy to work with, flexible, and timely is not easy.  You have to be careful about who you choose to work with you on your project, or you could end up wasting time, money, talent, and paper and ink.  I've started projects with several artists that have ended up going nowhere, and the sense of frustration at that point is an effective teacher in picking your collaborators wisely.

I've been lucky enough to work with incredibly talented artists, some of whom are also an absolute dream to team up with.  But I've also had a few failures, unfortunately.  Discouraging as those can be, you can never let those failures define your project.  Embrace them.  Learn from them.  And move on.  The show must go on, as they say.  And grateful as I am to the medium of comics, my journey continues onward.  Hopefully I'll get there in the relatively near future.

Hitting the Reset Button on Continuity, part III: When It's Done Badly

The reset button, while a potentially volatile and dangerous thing, is not inherently bad.  In the last post, I gave an example of a good use of the reset button, as well as some reasons why, in the hands of a respectful and skillful writer, it can be a necessary and benevolent change to an established mythology.  Unfortunately, there are for more examples of how the reset button can cause confusion, resentment, and even outright anger at the caretakers of a mythology.  My example for this post is a storyline from one of my favorite superheroes that left me feeling insulted, the Spider-Man known as One More Day.

Must... pull... finger!

Think what you will about the One More Day storyline, but you can't deny that it was heavily controversial among fans of the comics.  It came about from the editorial decision at Marvel to end Peter Parker's marriage to Mary Jane, under the guise of preserving the character's longevity for the next couple of decades.  The reasoning was that a younger, single Spider-Man was more easy for readers to relate to, therefore Spidey's marriage would be dissolved.

What ended up happening was this: due to Peter's public unmasking during the events in Civil War, his Aunt May gets shot and sustains a mortal injury.  He goes to every friend, foe, and possible resource he can to save her life, all of whom end up telling him that there is no hope, that Aunt May will die.  Some of his more sensible friends even tell Peter that he's obsessing and needs to let his aunt die; it is, after all, the way life works for everyone.  Peter, well known for never being able to lay down his guilt, can not bring himself to do this, and is at prime vulnerability for Mephisto, Marvel's version of the Devil, to make him a very special deal.

Mephisto proposes to Peter and MJ that he will save Aunt May's life in exchange for their love and their marriage.  He would make it so that it simply never happened.  Aunt May would be alive, the world would be unaware of Peter's identity as Spider-Man, and he and MJ would never have been married.  After some agonizing over the decision, they both agree to Mephisto's terms, and share one last embrace and kiss before reality comes apart around them.  Peter wakes up in Aunt May's house, single and apparently always having been, and kisses her good-bye before rushing off into the new status quo.

O-kay...

Before I launch into a tirade of what my problems are with this particular use of the reset button, let me just make a few things clear.  I have never been a particular fan of Spider-Man's marriage to MJ.  I have nothing against the institution or the character, but I've often seen them as more of a crutch or all-too-convenient plot device for writers to rely on or impede the character in some way.  This isn't always the case, but happens enough that I have noticed and sometimes imagined things would be better without that part of his life.  So the idea of ending Peter's marriage in and of itself is not and has never been a problem for me.

I will also say that Straczynski's actual writing of One More Day is really very well done, as is the artwork.  Despite my issues with Joe Quesada on the existence of this story, I can't deny he did a beautiful job of portraying the two lovers with a horrific decision to make in amazing visual detail.  No, the story itself is actually pretty well told.

My issues are with the existence and the perceived necessity of this story at all.  And even as it is well told, there are still a multitude of sore points that emerge in the narrative.  Let's queue up the bullet point list and go through them:

If I had a kid this insightful who turned it around on me, I'd

probably choose the reality where she wasn't born, too.  

That'd show her.

• The Reset Didn't Happen Organically.  There are those who would argue with me on this.  They point to Peter unmasking during Civil War, Aunt May getting shot and Peter's vengeful tear upon the perpetrators, even the journey he takes trying to save Aunt May.  And I would agree, all those were organic developments.  What I have an issue with is the sudden, very timely, very supernatural appearance of Mephisto to Peter.  Offering Peter a deal with the devil for purely selfish reasons, which he takes despite all logic, all the advice of his friends, purely to allay his guilt.  I think the scene where his own child rips into him for being selfish at least shows that the Powers That Be were aware of the wrath they were risking (hey, I did say this story was well-written).  But I also think the fact that they went ahead and chose this path makes its deliberate nature all the more insulting to the character.



Hey Spidey, let's make a deal...
You can trust me!

• It Felt Like a Total Deus ex Machina.  I'm sorry, make that a diablo ex machina, since Mephisto is the one involved.  Still, it's the same basic device.  You put the hero in a supremely untenable situation, with no apparent way out, and then a cosmic being or occurrence appears to set everything right.  Okay, not everything in this case, but in the end, Peter gets what he wants: his elderly aunt is restored to perfect health.  All he had to do was give up his marriage to his beautiful, loving wife in exchange.  Overall, it felt like the creative types at Marvel had done all these ground-breaking things with Spidey, then suddenly felt painted into a corner, and decided to use this mighty reset button device to get themselves out of it.  This is what I consider a prime example of lazy, cowardly writing that could have gone in so many interesting directions if the Powers That Be had displayed some moxie and left the reset button alone.  Even if you don't consider it in those terms, the fact that we have a supernatural solution being utilized in a primarily science-based title also lends to the feeling that none of this rings true.
• Original Continuity Was Not Destroyed, But Starkly Altered.  Hey, look!  Harry Osborne's back!  What?  He was never dead now?  What about the story in Spectacular Spider-Man where he... oh, he's actually been in Europe all that time?  Oh, well thanks for that one!  I thought none of this made sense!  Quesada made a big deal about preserving the stories already told in the comics, basically stating that the only detail that has changed was that Spidey and MJ simply weren't married during them.  So for example, when Venom went and terrorized MJ upon his inital emergence, that was the only detail that was changed.  MJ was just living with Peter, but not married to him when that fun bit of business went down.  So now, whenever we read any of the stories retconned by this reset button, we need to remember to add that one little detail into our Augmented Reality algorithm.  Having to do that, aside from creating headaches for new and old fans alike, just makes it feel like the people at Marvel just didn't care about the readers.  "Hey look, reality's changed, but it hasn't!  See?"  Yeah.  Lovely.

And don't even get me started on some of the other "details," like how Spidey apparent still unmasked during Civil War, but no one cares to remember the event.  Lazy.

In both the good and bad instances, we can see that use of the reset button is a powerful thing.  And, to quote a relevant source, with great power comes great responsibility.  Stewards of our modern mythology have access to this tool, but they need to respect its power, its potential effect on the audience, and the dire consequences it could entail.  To rely on it as a crutch diminishes the mythology overall, and shows a lack of sophistication among the creative staff.  It can be a wonderful thing when used well by the right people, but it should never be abused, overused, or poorly utilized.  

Take heed, creators.  Use this device at your whim, for it is yours.  Just remember the potential for both good and ill, and be willing to accept the consequences of either.  You have been warned.

Respect mah au-thori-tah!!!

Hitting the Reset Button on Continuity, part II: When It's Done Right

I said in my last post on this topic that, by and large, I'm against the idea of hitting the reset button on the established continuity of a mythology, franchise or property.  This was mostly on the grounds that I considered it lazy writing, if not more than a bit cowardly.

As a fanboy and as a writer, I consider this a very large-scale violation of the mythology's verisimilitude--the appearance of reality within the framework of the mythology--that should be used only occasionally, if ever.  Otherwise, you're basically throwing it in the fans'/readers'/viewers' faces that, "HA! This isn't reality! We can do whatever we want, whenever we want!"  I know most of us are aware that this is all fiction, but to take that kind of action and stance runs the very real risk of alienating your audience, since you may be stripping out parts of continuity that are meaningful to them, on an apparent whim.

But that doesn't mean the reset button is never necessary, or that it can't be done well.  It apparently just doesn't happen very often.

One shining example of timely, justified, and well-done use of the reset button is the 2009 reboot movie Star Trek, in which audiences are sent to an alternate reality of the established Star Trek timeline.  The original seven characters are there, but with distinctly different looks, pasts, and interpretations.  Vulcan, one of the founding members of the United Federation of Planets, is attacked and destroyed by the film's villain.  Kirk and Spock, famous friends in the original series, are hostile rivals for the bulk of the plot.  So many fundamentals from the old continuity have been changed that there was no way it could not be noticed.

And yet, it all worked.  The movie received rave reviews by fans and critics alike, made a ton of money at the box office, and maintains the highest score of all the Star Trek films on movie review site Rotten Tomatoes.  Why did it do so well?

I have several opinions about why this use of the reset button worked:

• The Reset Happened Organically.  Well, as organically as you can possibly get in a sci-fi franchise utilizing a time travel subplot.  The point is, the reset didn't happen just for the sake of happening; it was a vital element of the story told in the movie.  I think this paid off handsomely for the producers, as it felt natural to mass audiences, critics, and fans alike.  There's nothing worse than feeling like you've been taken for a lame ride on a movie you just paid full price to see, and if audiences had felt that way, it would have been reflected in the sharp drop off of ticket sales after the film's premiere weekend.  
• The Reset Was Acknowledged and Explained.   This reset, caused by Spock and Nero being pulled into the past by a rift designed to counteract a supernova, was as much of a plot device as it was a reset.  It deserved explanation, and audiences got it.  From Commander Spock's speech to the crew on the bridge about the timeline altering their destinies, to Ambassador Spock's explanation to Kirk about his encounter with Nero, we were given a clear account of how this happened, and why.  That's treating your audience respectfully, something fans especially appreciate.
• Nods Were Given to the Original Continuity.  From Chekhov's problem distinguishing between v's and w's to Sulu's fascination with swordplay, anyone familiar with the old Star Trek saw something of their old crew in this new bunch.  That did a lot to help bridge the gap and keep fans happy
• The Reset Did Not Destroy the Original Continuity!  Now, that's a Christmas present!  Anyone who doesn't like this new interpretation of Star Trek doesn't have to stick around or acknowledge it!  The old timeline has actually been maintained!  This is just the reality that the original Spock has caused, and is now living in and observing.  There's no indication that the realities of TOS, TNG, DS9, or VOY have been messed with!  Though I wouldn't have been sad if they could've erased VOY or ENT.  But that's just me...

There are other reasons, but these are the four that immediately come to mind.  They helped make for a good justification of the reset button, which in turn made for a tremendously enjoyable movie, one that remains one of my favorite Star Treks, as well as one of my very favorites overall.

The reset button is not intrinsically a bad thing, but it needs to be handled appropriately by a skilled creator.  When things go bad, fans can feel hurt, insulted, and alienated by the creators.  I'll be discussing an instance of a reset that made me feel this way in my next post, involving one of my favorite mythologies, that of Spider-Man.  Until then, feel free to share your thoughts!

Hitting the Reset Button on Continuity, part I

One of the main reasons I get into pop culture mythologies such as Star Trek, Batman, Spider-Man, and Harry Potter, is that I'm interested in how these things are written. It's a joy, in serialized fiction of virtually any media, to see consequences arise from actions taken in the past, as it shows that the heroes' and villains' choices are important and affect more than just the original moment at hand. But one of the major potential pitfalls in these mythologies comes down to a word that has made writers, editors, and fans alike recoil in disgust, shock, and/or fear.

Continuity.

Quickly and loosely defined, continuity is the consistency of events, characters, plots, places, and objects encountered by the characters in a fictitious universe.

Take Klingons, for example. They're a staple of Star Trek lore, having been around since the original series. They're a huge part of Star Trek continuity for that reason alone. You couldn't really write a story in the Star Trek universe and assume that Klingons don't exist in that universe. You can leave them out of the story; you can choose not to mention them; but by and large, you have tacitly agreed to acknowledge that Klingons exist simply by writing a story based in the Star Trek universe. That is keeping with Star Trek's continuity.

Now, Klingons have changed throughout their tenure on Star Trek. A lot. Originally, they looked like humans with extra heavy makeup. Now they have ridged foreheads. Why is this? This is disruption of continuity, since it alters how we perceived and are now supposed to perceive Klingons, who once looked a certain way but now look another. Sure, there are real-world explanations for these changes; better prosthetics then what was available in the 60s, for example. But what's the in-universe, or in-story explanation? The issue becomes further complicated when you consider that several Klingon characters from the original series (and their actors!) appeared in the later shows with altered appearances from their past portrayals. How the heck do you explain that NOW?!

It's questions like these that cause wild amounts of fan speculation, headaches for show producers and editors, and present either brick walls or unique opportunities for writers.

It's also the reason for many of the caretakers of some mythologies to simply decide to start from scratch. Everything gets rebooted, conceptually, and the writers, editors, directors, producers, etc. don't have to worry about what occurred when in this character's life, or how it affects others or the universe in general. For example, Klingons have always been, as Scotty would say, "horny-headed heathens" in a newly-rebooted Star Trek universe (whether or not this actually happens has not been definitively determined by the movies, to my knowledge). The ground is swept clean of all but the basic structure of the mythology, and people are free to make more of their own new sandcastles, so to speak. For this reason, I refer to this as hitting the reset button.

By and large, I'm not a fan of hitting the reset button. I think it is lazy, sloppy, and cowardly in terms of the creative direction. However, when used very sparingly, and only when it's done well AND justified, the reset button can be a wonderful way to breathe new life into an existing mythology, franchise, or whatever you choose to call it.

In my next post, I'll write about what I consider a good instance of hitting the reset button, with the 2009 movie Star Trek as an example. After that, I'll talk about the "One More Day" storyline on Amazing Spider-Man from a few years ago, which I considered (and still consider) a bad instance of hitting the reset button. While I'm sure many others will have differing opinions, you'll hopefully have no doubt as to why the writing and plot structures of mythologies fascinate me by the time we're done.

Book Review -- Understanding Comics: The Invisible Art / Scott McCloud

Understanding Comics was first introduced to me a few years ago, by a girlfriend who'd taken a college class about comics and graphic novels. Knowing full well about my obsession with comics, she couldn't believe I hadn't read it, or even heard of it. After just glancing through it, I could see why she'd say that! My only, unworthy defense is that I simply hadn't taken a broad interest in comics, being almost completely interested in the superhero genre at that point in time. If I'd taken any kind of survey on comics as a medium--and I can't remember any such classes having been offered while I was in undergrad--then I doubtlessly would have been exposed to it.

Scott McCloud really seemed to capture lightning in a bottle when he wrote this very clever and illuminating work, as it is by and large loved and revered by comics enthusiasts, be they scholars, practitioners, or even fanboys like myself. Featured in an engaging sequential art format, in which McCloud himself "narrates" to the reader, it covers a lot: the main points of the history of comics, the intricacies of merging words and images, how people tend to read comic panels and the assumptions made between pictures. And that's just the beginning.

One of the big points I took away from this book was McCloud's belief in the potential of the comics medium. He does a convincing job of making the argument that many comics lovers like to articulate to skeptics, that comics are often judged on their content simply by their form. He goes on to say that, as a storytelling medium, comics have the potential to be just as great as any other "legitimate" form of art. Both as a writer and as someone who's been told time and again over the years by some literary snob that comics are "junk reading," this stance struck a chord with me. It doubtless did with those who love comics when it first hit, and doubtless will continue to do so with those fortunate readers who are exposed to it.

This is one of, if not THE first, non-fiction graphic book I've ever read, and it really opened my eyes to the idea of "comics" as a way of informing and teaching as opposed to a purely storytelling medium. It worked. Despite the visual style, there is plenty of text that McCloud manages to stick into the various chapters as he explains details and information about comics theory, history and practice to the reader. The writing is as designed to keep the reader engaged as the visuals are: detail-heavy yet engaging, it moves the reader along without becoming burdensome and clogged.

The art, of course, also works well in this book. McCloud uses a simple style that is perfect for the intent of the book, which is to inform, educate, and occasionally argue for the medium. He is also not shy about using visual examples to illustrate any of the points he's teaching in the text, particularly when it comes to assumptions we make about the panels in comics while reading them. He uses examples of other works occasionally as well, amply demonstrating that he's not the only one who's thought about how people interact with and understand comics.

Personally, this book is one of my bibles. Not just about comics, but about writing and storytelling as well. McCloud has truly put together a brilliant work, and it will doubtless continue to inform and influence comics enthusiasts for some time. Highly recommended.

I'm a Writer, a Writer WRITES!!!

This is probably the umpteen-thousandth blog I've created, none of which has benefited (at least for very long) from regular maintenance and posting. I've decided to take a different approach with this one, and be a lot more topical than I've tended to be in the past. Instead of slice-of-life, get-to-know me blogs, which I can't seem to sustain to save my life, I'm going to focus on a topic in my life that has been present, in one form or another, basically since my teen years.

Comics.

Ask anyone in my life who's known me for more than an hour, and they'll probably smile and nod knowingly if questioned about my love of comic books. I apparently bleed the comic geek vibe; even people who haven't known me very long aren't surprised when they discover I like graphic novels, superheroes, comic books, or anything like that. "Oh, I can totally see that!" I've heard people say, before they've even met me, when told I like comics.

I first remember getting into comic books around age 12, during a visit to Houston from the Midwest. Marvel comics trading cards featuring their superheroes and villains made their way into my field of vision, and I was hooked, first from a collector's perspective--the art on these was COOL! How could I get the set?!--followed quickly by the fanboy's perspective, when I started asking questions about the characters (like Spider-Man, Wolverine, and Invisible Woman, to name a few) that weren't answered on their cards. A knowledgeable family member filled me in on some of the stories that I've come to realize as classics, and started me on a path to find out more about them that has persisted to this day. I started buying and collecting Amazing Spider-Man, X-Men, and other related titles as often as time, budget, and energy would allow.

Nowadays, I don't read just superhero comics, though they do remain my favorite genre of the medium--more on that in another post. I've read biographies, novels, instructional guides, even mythology, in what is popularly known as the graphic novel--or graphic book, in some circles. I've never lost my fascination with the ability of sequential art and text to convey meaning efficiently and effectively in a way that stays with the reader long after the experience is done.

I like to read graphic books. I like to think about the writing, the artwork, the overall journey through the story. I like to write comic scripts. I like to draw, though I'll never admit to having any ability at it. I appreciate the collaborative spirit that must often go into a good story. I admire the people who work in the comics field, who tell such wonderful stories in such a vibrant, hybrid medium.

And I appreciate that it's nowhere near as expensive to make as a film.

The final purpose of this blog, I think, is to keep me writing. A writer must write. By my past efforts at blogging, this suggests I'm not meant to be a writer. Perhaps that's true. But I've never tried this tack, and I think it's a promising one. Because comics have always been there. I've always loved them. And I think I can do this. In the meantime, I'll hopefully write some amusing, insightful, or otherwise helpful pieces for others as I figure out whether or not I can sustain this.

Feel free to come along.