Tagged: Mike Gold

Emily S. Whitten: Chu’s Day with Neil Gaiman & Adam Rex

Whitten Art 130305Last weekend, I was in New York City with the ever-wonderful Neil Gaiman and the extremely personable Adam Rex. Bestselling author and illustrator were in town to do a marathon signing at the delightful children’s book store Books of Wonder for Chu’s Day, their new children’s book. Although it was planned as only a signing (seeing as a million-billion people showed up), they did, in fact, decide to stand up on stepladders and do an impromptu reading of Chu’s Day first. It was exceptionally fun, with Neil, writer of the story, narrating the story and some illustrations, and Adam, the book’s illustrator, expertly doing Chu’s sneezes. (He’s very good at dramatic sneezing.)

They also answered some questions from the crowd, which is how we learned that Neil’s favorite picture books as a child included The Cat in the Hat Comes Back: “I didn’t have the first one, just the sequel,” he said, “so I thought, “‘Comes back?’ This is the first time I’ve met him! This is weird.” He was also a fan of the English Ladybird books, including Robin Hood, Snow White, and What to Look For in Autumn. Adam’s favorites included The Monster at the End of This Book (a favorite of mine, as well), which he proclaimed “an excellent postmodernist story, years ahead of its time;” as well as The Bike Lesson, a Berenstain Bears book; and Where the Wild Things Are.

I spoke with both author and illustrator during their NYC visit, and happily, have the pleasure of sharing those conversations with you now.

Interview with Neil Gaiman, author of Chu’s Day

On Twitter, the excellent cartoonist John Kovalic was saying it would be interesting to hear about the process of working with Adam Rex on Chu’s Day, and I agree. Please tell us a little about that.

Chu’s Day began when I was in China. It began with the Chinese telling me that none of my children’s picture books were in print in China, because they showed disrespect for authority, and children doing bad things and not being punished for it, and children being wiser than their adults; so they couldn’t be published in China. And I thought, I want to do a story that has all of that – and that the Chinese will like.

One of the things I’d loved most about being in China was actually having a panda sit on my lap, and going to a panda facility. I’m a sucker for pandas. So I was sitting around chewing this over in the back of my head, and then I pulled out a piece of paper, and wrote a story about a baby panda, using pretty much the words that are in the book. Then I got it home, and thought, “I don’t know how to write a children’s book, because the only way that I know how to do one of these normally would be like a comic script. But if I do it as a comic script, then it’s long and it’s big and it’s complicated and…let me do this the easy way.” The easy way for me was, I got a pen brush and a little book, and I drew the story out. Beat by beat, with the words that I wanted. Because I thought, “If I’m pitching this to a publisher, I want them to be able to see what it is.” So I did my drawings and they said yes, and once they said yes, then we had to find an artist.

And how did you end up with Adam?

Adam had been sort of crossing my path vaguely for many years, so I was kind of aware of him. In fact, he even crossed my path before I was aware of him crossing my path, because when he was an art student he gave me a Morpheus meeting the Kirby Sandman painting. After we were working together, he sent me a jpeg of it and said, “Do you remember this?” and I said, “Yes! That was in my house for a long time, and then it was auctioned, for the Fiddler’s Green (Sandman) convention, for the Comic Book Legal Defense Fund.” So he’d crossed my path, and every now and then I’d get a book from Adam, for a blurb, so I knew who he was. And I liked him. I’d never actually met him, but I liked his style and what he was doing.

Then I was talking to my agent, Merilee, and I said, “I have to find somebody who can draw really good animals. I have this vision; I know I want to do the world populated by animals, and I know they have to look like real animals. They can’t be cartoon animals; but they also have to do very funny, sort of human things.” And she said, “Well why don’t you go and look at Writers House [which is my agency]. We’re also representing illustrators these days. See if there are any illustrators on the website that you like.” So I looked, and thought, you know, Adam’s stuff is brilliant, and that’s absolutely perfect, so I asked Harpers if they’d be okay with Adam, and they loved the idea and said they’d ask him, and he said yes. And when he finished the book, we all looked at it and went, “Ohmygosh, this is great!” and I said, “Can I do another one?” and they said, “Sure,” so I signed a contract and Adam signed a contract to do another two Chu books.

The next one, which is already written, is called Chu’s First Day at School. And for the third one, I have two different ones in mind. I might want to do Chu Goes to the Beach, and I might want to do Chu’s Very Bad Day. The beach has some really surreal stuff in it. They’d both be a little bit older than the first Chu book, because the first Chu book is for kids who can barely read. You know, kids who get stuff read to them.

Are they being published in China?

There is definitely interest in China. I’m very much hoping that Chu’s Day will be published there. And that nobody’s actually going to notice that Chu doesn’t get punished, and he actually does kind of know more than his parents.

Where does Adam live, and how does that work when you’re working with an illustrator at a distance?

Arizona. It works pretty well. For Sandman, over the years, I would talk to people on the phone, and talk in email, and that all kind of works. Adam and I have actually never met. We’re meeting tomorrow morning for the first time, and then we’ll go over and start signing books and posters and things.

Since we’re speaking of Sandman; tell us about the new one. I just saw that someone has been reading the script for it, so I guess the first part is written now?

Yes, the first episode has finally been finished…probably about eight months late! Because I kept getting scared.

Well, it’s been years since you wrote the original series. I don’t even know exactly what this new story is about; do you want to talk about that?

No! I’m not telling anybody what it’s about! Other than, well, it begins before Sandman #1. Sandman #1 opens with Morpheus being captured; he’s traveled unimaginable distances, he’s dressed for war, and he’s exhausted. And one of the things that is kind of strange about Sandman is, I always thought a lot of people would want to know: why? Why was he dressed for war; where was he coming from? I kept waiting for people to go “Why? Why, tell us, for God’s sake!!” But nobody ever did! So I will be telling that story.

Well I will be excited to hear it, because when I first read it, I didn’t know you, so I couldn’t ask, but I did always wonder, “How did he end up there? You know; he’s Sandman, he’s Dream!”

He should not have been captured, exactly. And why was he dressed like that, and what was going on? So now people will find out.

Excellent. I can’t wait! So one more Chu’s Day question. The story is filled with talking animals. If you were a talking animal, what animal would you be and what would you talk about?

I would almost definitely be a large black cat. But what I would do is never talk when anybody had a microphone or a camera, or there was more than one person around; so it would always be deniable. Because the last thing you want to do if you’re a talking animal is talk in public, because at that point suddenly you’re a celebrity, and they’re taking you apart and they’re examining your brains…

What you want to do is just drive people nuts, by sort of padding over to somebody as they’re sitting there, you know, looking at their computer, and getting really, really upset about something not working; and you just sort of walk over, and you just say: “Ctrl+Alt+Delete.” And then you walk away. And they go, “What? What!! The cat is saying Ctrl+Alt+Delete, oh my God!”

That is truly Machiavellian. And awesome. (And thank you for the interview, Neil!)

Interview with Adam Rex, illustrator of Chu’s Day

Adam, tell me…is your last name really Rex?

It really is, yeah; I think I kind of lucked out. Everybody asks me if it’s a pen name; because it sounds like a pen name. Growing up, I didn’t think it was anything special, because I don’t think anyone ever thinks their name is anything special at that point, but now I realize it sounds kind of like a superhero alter ego.

It does! So when did you first start getting into drawing in the professional sense; and when you were a kid, were you always drawing?

Yeah, but you know, all kids start drawing at about the same age. I think all little kids are illustrators. They all draw, and they all draw to tell stories; so when people ask me, “When did you start drawing?” I feel like the real question is actually, “When did you stop drawing?” – and I’m good at it because I didn’t stop at the age of ten or twelve or fourteen like everybody else does.

At a very early age I decided I was going to be an artist when I grew up, because when I was about five years old, I overheard my older brother, who was eight at the time, complaining to our mom that it wasn’t fair that “Adam draws better than me even though he’s younger;” and I wasn’t at better than him at anything, so I just decided right then and there that this was what I would do. I don’t know that everybody gets that moment of clarity when they’re five! So I always wanted to be an artist. I didn’t really understand what that meant until I worked at a Waldenbooks when I was a teenager and kind of fell in love with picture books all over again. In my teen years I wanted to either do comics or picture books; anything that would let me synthesize telling stories and doing art.

When you first got started, did you do some work for comics, or did you start in picture books and stay there?

I never really did a whole lot of comics work. Where I actually got my start was in role playing and trading card games. I did a ton of stuff for D&D, and for Magic: The Gathering, and that’s what paid all my bills while I was trying to get into the kids’ book industry. Those were great clients to have, but what I really wanted to do was the kids’ stuff.

How did you end up doing the kids’ books?

It was persistence; but it was also lowering my bar a little bit. When I realized that nobody was giving me a book to work on, I started looking for work from the kids’ magazines, like Cricket and Spider, and that got me refreshing my portfolio with new pieces. I always think it’s important to refresh your portfolio with assignments that other people are giving you, because otherwise, you just tend to play to your own strengths, and you can be lazy with yourself. But it was actually a piece that I did for Cricket magazine that led directly to my getting my first picture book assignment. That was a book called The Dirty Cowboy, published by Farrar, Straus, & Giroux, and written by Amy Timberlake.

And when was that?

That came out in 2003. I got that assignment in 2001.

So you’ve been doing picture books for about twelve years now; and the latest is Chu’s Day, and you’ve signed on for two more Chu books?

Yes; Neil is on the short list of people I would drop everything for.

When you first got the job with Neil and Chu’s Day, what was the first thing you did when you sat down to think about how you were going to approach it?

This was kind of an unusual case, because Neil had actually sort of made a book dummy himself, where he had given some indication of where he thought the page breaks would be, and I don’t think I really messed with that too much. I may have stretched it out a little bit; or condensed certain parts. But usually when I sit down with a manuscript, I’m going through and drawing brackets around the sections of text, and deciding, “Okay, that’s a page; that’s a page; that’s a page,” and then I review it the first time, count them all up, and see if I actually ended up with a viable page count. All kids’ books are pretty much either 32 or 40 pages, so if you can’t make it work in that format, then you have to go back and try again. So I do that, and then once I figure out what text is going to go on each page, that’s followed by a bunch of really messy thumbnails; planning the whole book out on maybe one sheet of my sketchbook. Those sketches are so messy that really only I can tell what I’ve laid out there. And then it’s just refining from there. Larger messy sketches, and then a good sketch that goes off to the editor, and then the comments back, or lack of comments; and only then do I actually start painting.

I think my favorite part of the process is figuring out what all the characters are going to look like. So there are a lot of totally self-indulgent days of just character sketches. I realize I can spend way too much time doing that; so at some point I have to cut myself off.

When you got to the destruction scenes in Chu’s Day, what was your favorite part to draw?

I think I really enjoyed, not so much the actual action scenes, but the aftermath. Just the shell-shocked employees of and audience at the circus, with their various expressions. There’s a lion-tamer in the crowd who just has this soul-searching, thousand-mile stare. It’s clear he’s just, like, re-evaluating everything he ever thought about life and the universe. I think it was actually the reaction shot of everybody afterwards, after the dust settled, that was my favorite thing to draw.

I liked the gumball machine that was in mid-explosion. I like little details like that.

It’s funny you mention that, because I think my wife said the same thing. “That’s the sort of thing,” she said, “that I would have obsessed over. I would have wanted those gumballs as a little girl. I would have spent a lot of time looking at that gumball machine.”

Do you prefer drawing people or intelligent animals?

A little of both, really. I don’t know why I dig drawing animals in waistcoats and hats so much, but I really seem to enjoy it. It’s a total pleasure, because if you take certain liberties with panda bear anatomy, people are very forgiving. If you take the same liberties with a human being, people say, “That’s not right.” So it’s all the fun of drawing characters and getting at what’s important about each character, without having to worry too much about whether or not you got that perfect anatomy down.

You said you had originally been interested in comics. Do you want to stay with picture books? Do you want to keep branching out and do other things? And what’s your newest project? Well; I know you have the next two Chu books…

Right, another Chu project is coming. My first novel that I wrote actually has about fifteen pages of comics in it, that I just sort of shoehorned in there, and so one of my upcoming novels, which is a sequel to that one, will probably be the same way. Whether or not I actually ever commit to doing something like a genuine graphic novel, I don’t know. It’s really daunting. Although because I happen to be friends with Scott Allie over at Dark Horse, I did end up doing a cover to the Free Comic Book Day issue of The Guild.

Last question: One line of advice for young illustrators.

Keep your receipts.

That’s excellent advice. (And thank you for the interview, Adam!)

Well! I hope you all enjoyed these interviews…

But wait! There’s more! I also interviewed Neil regarding his myriad of other exciting projects! So if you’d like to read the rest of the Neil Gaiman interview, head on over to the DC Books and Authors Blog, an affiliate of The National Press Club, and check it out!

And until next time, Servo Lectio!

TUESDAY AFTERNOON: Michael Davis

WEDNESDAY MORNING: Mike Gold

 

Michael Davis: Selling Out

Davis Art 130226I’m on the West Coast, Mike Gold, ComicMix’s Editorial Director, is on the East Coast and that’s the reason there is a good chance this piece won’t even run today.

My articles run on Tuesday so I try and get them to Mike no later than Monday morning East Coast time. Most times Mike gets them over the weekend but this one will show up to Mr. Gold after 9 p.m. Monday evening because… I’ve got nothing.

I drew a complete blank as to what to write about this week. I kept thinking something would pop into my head but nothing did. So what follows is not in any way a well thought out essay, it’s simply a rant on an industry event and the actions of those clueless individuals who, well, are just clueless.

The San Diego Comic Con sold out in two hours this year…duh.

Every year the biggest pop culture event in the world gets bigger so that should not be news to anyone, but as always people take to the net to bitch about how they could not buy tickets or the only ticket they did could get was for Sunday.

All you people, who think your inability to attend Comic Con is somehow the fault of Comic Con, grow the fuck up. A couple of hundred thousand people got tickets and as always the event sold out.

You simply lucked out. How is that Comic Con’s fault?

Duh.

The same goes for people who get tickets but can’t find a hotel room. There are only so many hotels in San Diego and once those hotels are sold out, you are assed out.

You can solve both having a ticket and getting a hotel room by simply becoming a major playa in the industry or building your own hotel.

Crazy? Bad joke? Unrealistic? Stupid thing to say?

Not as stupid as blaming Comic Con or the city of San Diego for your lack of ticket or hotel because they sold the fuck out.

WEDNESDAY: Mike Gold

THURSDAY: Dennis O’Neil

 

Emily S. Whitten: Awesomely Terrible Movies I Love – Equilibrium

Whitten Art 130226After years of being vaguely aware that there exists a movie in which Christian Bale is the star and the most ridiculously-named martial art ever, “Gun Kata,” is also a thing, I finally sat down to watch Equilibrium last weekend. (Netflix is responsible for many of my viewing decisions these days, for which I am unashamed. The very minute I saw they’d added this, it went in my queue.) From beginning to end and even after the credits rolled, I found myself saying, “This movie is awesome.”

If by awesome, of course, you mean at times both grandiose and sublimely ridiculous. I may also have been laughing hysterically when I said it. I may have even slapped my knee. I may have then gone to Twitter and posted, “OMG you guys, Equilibrium is the craziest movie. The craziest.” Regardless of all of that probably not being the reaction writer and director Kurt Wimmer was going for, I thoroughly enjoyed this film.

Equilibrium is about a post-WWIII future in which some doofus the citizens refer to as “Father” decided that the way to avoid a fourth World War (which it was postulated humanity could not survive) was to eliminate human emotion in the population, and apparently everybody else was just A-OK with that. The movie’s government “eliminates” emotion by a) administering a mind-numbing drug (Prozium) that citizens are required to take at regular intervals; and b) destroying anything remotely artsy or multicolored, and killing those who have tried to keep it because they are guilty of having feelings, which in this film is called a “sense offense.” (I love the way that sounds. “What’s his crime? Sense offense!!!” It’s so dramatic.) The government enforces its will with “Clerics,” who go wherever anyone is, as the Internet would say, “having feels” about something, and, you know, shoots them in the head, efficiently and martial-artsily. (This is where the Gun Kata comes in.)

John Preston (Christian Bale) is the Mary Sue Cleric who is super amazingly good at knowing (one might almost say sensing) when someone is having the feels, and at killing them in various efficient and emotionless ways, and burning art and stuff. There’s also a plot that includes Taye Diggs and is actually supposed to be a driving part of the main storyline, but it pales in comparison to watching Christian Bale a) kill people and burn things in various dramatic ways; and b) manage to somehow get his acting point across while being completely “emotionless.” He’s actually very good at it (and when he finally quirks a tiny smile it’s fantastic). I also suspect this role was superb practice for calm and methodical Batman.

Anyway, actual plot aside, the movie is mostly about what happens when Mr. Mary Sue goes off his meds. Hint: it involves a lot of gratuitous violence. The script has some interesting points it’s trying to make, but they never quite land, and I think it’s because the suspension of disbelief required is just too much. The audience is asked to believe that everyone just acquiesced to this silly “no feelings” rule as the best way to eliminate war; and then the few at the top of the government (who obviously must be having, as the internet says, “all the feels,” while the population gets none, because I doubt they could run the government while on Prozium) use ultraviolent war-like tactics anyway to wipe out anyone who’s still feeling; and so we know the government is corrupt and doesn’t believe its own message; but then we never see any benefit the few government folks who are running the Clerics and everyone else actually get except at one point when we see that the head dude, Dupont, has a nice office (with art!); and, and, and…what exactly is the point being made here? That it’s important to feel things? That art is good? That people will try to repress you using shoddily thin reasoning just for the hell of it? I think it’s trying to say something about free will, but I’m not 100% sure, because the movie never exactly gets wherever it’s trying to go in that regard.

There’s also the fact that none of the people who are supposed to be “not feeling” are that good at it. For instance, Taye Diggs’ character Brandt is a Cleric who keeps saying he’s going to “make his career” with Preston; so he’s ambitious. Which, one would assume, is one of the “feelings” the government would be most keen on eliminating, because ambition can sure cause a lot of war and stuff, eh? Nevertheless, one of the main “unfeeling” characters is practically blazing with ambition throughout the movie. He also shows a tiny bit of (sadistic) humor. Is he off his meds, too? Why would he be? It doesn’t seem to really advance the government’s plans for him to be feeling. It’s a total contradiction. And then there’s Sean Bean’s Cleric, Partridge, who has been on and off his meds and just pretending to be an unfeeling bastard for about two weeks when the movie starts. And William Fichtner’s underground fighter, who is not on meds but forcing himself not to feel so he can help the others who do. And then we find out there are even more characters who somehow suddenly decided to stop their mind-numbing meds and are just pretending. So clearly the Prozium doesn’t work that well, and the government should have fallen long before Superstar Cleric John Preston decided to rebel. It’s all just a little hard to swallow.

But putting all of that aside; oh the fun of this movie! There is a lot to love about it despite the contradictions and leaps in logic, including that it seems to actually be taking itself seriously. (Also that Kurt Wimmer apparently “invented” Gun Kata “in his back yard” Hah!) This is a movie that’s trying to be at least four movies at once – it’s got the serious “dystopian” message; the visual aspect that reminds me at times of an art film (like the scene with Preston at his bedroom window); the “emotional” journey of a lead character; and the amazingly gratuitous violence of a Bruce Willis/Vin Diesel/Jason Statham/insert-other-action-hero-here film, all snuggling up with each other to somehow produce a decently cohesive film.

The dystopian message, while hopelessly muddled, is at least somewhat interesting. Visually, the movie is pretty darned cool. The stark uniforms and buildings; the (hit-you-over-the-head metaphor) contrast of Bale’s black and white outfits; and the way they make the “feeling” underground area a mix of great art and graffiti that contrasts with the colorless overworld are all appealing. Amazingly, Christian Bale’s acting in a movie which for the most part is supposed to be showing people not feeling at all kept me interested, in that kind of “fascinated scientist/trainwreck-watcher way, in what was going to happen next. And the action, while insane, is fun to watch; from Bale taking out a roomful of guards in seconds in a pristine white suit, to the bit where he apparently pushes a button or something and nail-heads suddenly jut from the bottom of two gun barrels so that he can use the guns to more effectively smash guards in the face. (Seriously, who even thinks of that? Or is that an actual real-life thing for some reason?)

Look, I’m not even going to pretend that Equilibrium is a “great” movie, nor that I enjoyed it in the way Wimmer intended. It is ridiculous and violent, with pretensions of grandeur and thinkiness. It’s a little bit Boondock Saints-ish, but with less of a linear point being made, and even more gratuitousness to the violence. It takes itself so seriously that it comes out the other side and becomes slightly cheesy. But the combination of action and attempts at making a grand statement make for a movie that at least kept my attention, and it has the right amount of cheese to make it enjoyable to watch. Despite having only one outright humorous line in the whole film, I laughed a lot. Plus, of course, Christian Bale is smokin’, and we get Sean Bean and William Fichtner acquitting themselves well, too. (If only Oliver Platt had played the government leader Dupont instead of Angus Macfadyen, the casting would have been perfect.) I’m not saying Equilibrium is for everyone; but if you go into the movie for the words “Gun Kata” and “Christian Bale” you probably won’t be disappointed.

So if you’re looking for a movie to watch this week and have streaming Netflix…well, you know what I’d recommend.

Enjoy! And until next time, Servo Lectio!

TUESDAY AFTERNOON: Michael Davis

WEDNESDAY MORNING: Mike Gold

 

 

Michael Davis: Brokeback Bastard

Davis Art 130219DC Comics is hiring a very anti-gay writer named Orson Scott Card to write for them.  That’s bad enough in my opinion, but they are giving him Superman to write.

Damn DC.

Giving a guy who wishes gay people were wiped off the face of earth is one thing, but giving him Superman is just ballsy as shit.

The outcry in the industry is loud and clear. There’s a movement to have DC just fire the guy outright.

Not gonna happen.

Let me be clear, I don’t think DC will fire the guy unless videotapes are found of him doing unnatural things with a German Sheppard… a girl German Sheppard, of course. I don’t want to offend him in case he’s reading this.

This is a win – win for DC. They get a pretty good writer and massive publicity so why fire the guy? When the book comes out they will get another round of colossal exposure so like I said, why fire the guy? For DC this is not personal, it’s business.

I say, let the guy write the book. Really.

If you want to take a stance against him and his views as I do, trying to get him fired is the wrong way to go about it at least I think so. Nothing short of a massive boycott will make a dent in stopping this guy from doing the Superman story.

But there is another way…

Take the writer to task at every turn. Make him own his views. Challenge him all the places where DC will send him to promote the book. Like comic book conventions, or any online forums, or any book signings anywhere he will show his bigoted face. Then the story is about his hated, his views and his failings as a human being. No company wants that shit following them around, over and over and over.

Trust me on this; I know first hand just how hard that sort of bad press hits corporate America. The way they are perceived by the public is easy to weather unless it keeps happening.

Now is if they also just happen to be a publicly traded company…

Yippee Ki Yay Mother Fucker.

I like what DC is doing with its line these days. I don’t like to think that one of my favorite comic book characters is going to be written by a guy who would deny others their right to exist.

I don’t blame DC for hiring the guy, I don’t blame them for standing behind him (although it better not be a guy standing behind him) because like I said for them it’s not personal it’s business.

For me and I’m guessing many of you making his comic book journey miserable is not business, it’s personal.

WEDNESDAY: Mike Gold

THURSDAY: Dennis O’Neil

 

Emily S. Whitten: The Dresden Files and The Dresden Files

Whitten Art 130219For Christmas this year one of the books I got was The Dresden Files graphic novel, Welcome to the Jungle. By that point, I’d read all of the novels; but what got me into them was actually the TV show.

When the show came out back in 2007, I remember hearing vaguely about it via a friend’s blog or two, but I never actually saw it. Thanks to the wonder of Netflix, though, a couple of years ago I discovered and watched it on streaming video, and enjoyed it enough to want to see more – but sadly, it only ran for one short season of 12 episodes. Thus I went back to acquire and read all of the books as well; and now, of course, I want more.

The TV show adaptation wasn’t perfect, but it had a lot of positives, the first three being Paul Blackthorne as Harry, Valerie Cruz as Murphy, and Terrence Mann as Bob. All three actors did very well with the material they were given, and just as important, had excellent character chemistry with each other. Their acting made the friendships (and possibly more, in the case of Harry and Murphy) feel natural, and anchored the crazy storylines happening all around them.

Another thing it had going for it was that Paul Blackthorne has the acting chops to carry a humorous narrative voice-over without it getting tedious (and I am behind on the current episodes, but for an example of When Voice-overs Get Tedious, the first several episodes of Arrow unfortunately come to mind). Blackthorne (who is also on Arrow, funnily enough) kept the energy of the show going with his engaging portrayal of Harry Dresden, much of which felt like it came straight from the books. The writing was also fast-paced and fun.

One area where the show went wrong, I think (or, more accurately, didn’t go right far enough) was in whatever concessions it made to watering down the lore of the books for primetime. Granted, it seems that genre shows and movies have gained more mainstream acceptance in recent years (comic book movies and shows like The Vampire Diaries, Supernatural, True Blood, etc.), and in 2007 maybe a genre show was a harder network sell and required some compromise (I don’t know), but I firmly believe that any time you tell a story well, and can draw the viewer in, the viewer will be able to handle and possibly embrace the complexity. And despite my dislike of some of Harry’s tiresome views on women, and the blatant male gaze readers are forced to sit through on occasion (particularly in the early books), The Dresden Files books are good, smart, complex stories, and should be adapted as such.

As I said, the TV show only lasted one season – and whether it was from creative choice or Firefly Syndrome (network meddling), it didn’t delve into or only briefly touched on a lot of the cool things that anchor and drive the direction of the books, like Harry’s past and progression in magic, or his place on the Council of wizards, or just how good he really is at magic and how that looks to outsiders.

I think one reason it just slightly missed sometimes was in this “not going far enough,” so to speak – because, for example, part of the charm of Harry is that he’s humble enough to know there are more powerful things than him out there and to be properly frightened of them 90% of the time; but whenever we see him through others’ eyes or whenever he really gets going with his magic…we the viewers get a glimpse of the discrepancy between Harry’s inner uncertainties and his bombastic power. And that can be a lot of fun, but was only shown rarely in the show.

For much the same reason that I enjoy, e.g. an episode of Supernatural where the FBI agent hunting the Winchesters because he thinks they’re nuts finally discovers that, in fact, demons and all manner of other creepy creatures are real, I enjoy stories that switch up characters’ points of view and give us different takes on the same situation, and particularly stories that shake up our, or a character’s, inaccurate assumptions. Reading about Harry dealing with Murph and trying to pay the bills and inner monologuing about how he’s not sure how he’ll make some spell work and all, and then e.g., going out and burning a house party full of vampires like it was no big thing, is that sort of story.

I say all of this to come back to the fact that last week I finally read Welcome to the Jungle, which is a visual adaptation that does well in this regard, and it reminded me of the times the show got it right, and of how much I’d really like to see more of The Dresden Files on television, or if not on TV, then in more graphic novels. Jim Butcher has said himself that he’s always imagined the series in graphic form. Despite the fact that I loved Blackthorne as Harry, I doubt a network would try to revive the old show. However, I could easily see a new adaptation being done; and I think if it, from the beginning, didn’t shy away from the more complex stuff, and embraced the big special effects as well as the small, it would be a truly awesome thing. I know that a new show is probably not likely to happen…but hey, a girl can dream, eh? So this is me, just dreaming a little dream at y’all. Anyone else think a new Dresden Files TV show would be cool?

Tell me if you do, and until next time, Servo Lectio!

TUESDAY AFTERNOON: Michael Davis

WEDNESDAY MORNING: Mike Gold

 

Michael Davis: It Was Twenty Years Ago Today

Davis Art 130212Actually it was twenty years ago, but it wasn’t today. Look, any time I get to use a Beatles lyric in anything I write I’m using it. Nothing says witty and clever like a Beatles lyric or a Tupac and Biggie reference.

Case in point. One time too freakin’ many an ex-girlfriend asked me in an email if I thought she was getting fat. I was so sick of answering the same freakin’ question over and over again. She would ask when she and I would be on a date, in a car, on the phone, texting and one time I could have sworn she screamed it out during sex. I can’t be sure of that I couldn’t hear her clearly as I was, at the same time, screaming out my name. Yes, I scream my own name out during sex. Someone has to.

I was just sick to death of this shit so in my response I found a way to use a slightly altered Beatles lyric, which was, yes, you are the Walrus.

Twenty years ago, Denys Cowan, Dwayne McDuffie, Derek Dingle, Christopher Priest and I founded Milestone Media.

Hard to believe I was just five when I helped start the company, eh Jean?

Twenty years later, Milestone is still considered the greatest publishing achievement in African American comic book history. The Milestone deal was ground breaking and the universe is still alive and relevant. Milestone has achieved in comics the same kind of reverence the Tucker achieved in the automobile industry or Guns ‘n’ Roses achieved in Rock and Roll, all three burst on the scene, changed the game and for whatever reason lived a short life but has never been forgotten.

What many people don’t realize is Milestone still exists and is still alive in media if not in a monthly series of comic books. Static Shock is still seen on television, Milestone characters are often featured on other DC comics animated shows and Milestone comic book projects still are being created.

Milestone’s 20th anniversary will be celebrated and in the coming months happenings will be reveled. I just can’t tell you now; if I did Denys Cowan would see to it that I join Tupac and Biggie. Yes, I’ve used that line before and I will continue to use it until LAPD does it job and finds their killers…or someone comments how clever and witty that line is. I’m good with whatever comes first.

What I can say is ComicMix readers who are Milestone fans have a guy on the inside. As we all know with great power comes first hand knowledge premiering here at ComicMix before anywhere else.

That is, if I remember to write it after it’s finalized but before the press release goes industry wide.

I’ll try and remember but once I was told over the phone I just had a huge project green lit and could now talk about it. The very next call I was on not three minutes later was with an entertainment magazine doing a profile on me and like a dick I forgot to mention the venture when asked about what projects I was working on.

That omission was like forgetting to mention I own a dog when being interviewed for a cover story in Dog Magazine.

Last thing, for all you fan boys who are still a bit “girl challenged” if your girlfriend…wait, what am I saying? Girlfriend? Fan boys? Ok, if the girl you are smitten with or any girl asks you if she looks like she was getting fat or the classic, do I look fat in this dress?

The answer is always no.

If the heifer weights 300 pounds and is always sucking on a saltlick, the answer is always no.

Trust me, don’t say anything remotely like what I said, I’m lucky to be alive and ten years after the break up I’m still looking over my shoulder.

WEDNESDAY: Mike Gold and The Nerddom Intelligentsia

THURDSDAY: Dennis O’Neil

 

Emily S. Whitten: Dress for Success, Superheroine Style

Whitten Art 130212Remember that time when Lois Lane dressed up as one of the most ridiculously named superheroines I’ve ever heard of on Smallville? And that superheroine was named “Stiletto” because at the time when she beat up a dude who was mugging Chloe, she happened to be wearing stilettos? And then she needed to find a way to draw out “the Blur,” (a.k.a. the non-Superman Superman of Smallville) so she used that incident to create a superheroine persona that wore a leather bustier and super-high stiletto boots, and then almost got her ass handed to her (despite being, really, pretty kick-ass for a normal gal). Yeah, that was a pretty silly episode. (And on a related note, I swear it’s just happenstance that I’ve started my last two columns by reminiscing about Superman shows. Next week, I promise I’ll reminisce about a different show. Or something.)

Anyway, despite being silly, I got to thinking about it recently, after some discussion about how female superheroines are dressed in comics. Let’s say I lived in a comic-book world, where I was, e.g., a lawyer by day and a superheroine by night. What would that be like? Well, first, I’d be really good friends with Matt Murdock and Jennifer Walters, because of course. (Man, we would have the most awesome happy hours ever.) Second, I’d have to pick a costume. And really, I feel like that wouldn’t be an easy task. I mean, in part it would depend on what kind of superheroine I was, e.g. what powers I had; but let’s say for the sake of general thought that at the very least my style of superheroine fighting would require athletic moves, as most do. What would I wear? And in comparison with what we see in comics, would it, or even could it, look “sexy,” as most supeheroines do, while still being practical? Let’s “give it a think,” as Winnie the Pooh would say.

Undergarments: Yes, I’m going to start with this, and here’s why: 1) Well, obviously, we’re talking about all the practicalities of superheroine-ing, and that includes everything from the inside out; and 2) I’ve seen so many comics in which a superheroine is fighting and there’s a lot more wear-and-tear than you’d expect from just a physical fight, and then, voila! Clothes are ripped and we can see, omg! their unmentionables! (Or, you know, sometimes they just go out to fight crime with one boob hanging out. Sure, why not?)

Well; if I was going to be running around trying to karate-kick (or whatever kick) thugs and stuff, I’d definitely wear something comfortable underneath. And it is possible to wear comfortable underwear that’s still pretty or cute; but for any of those superheroines out there who I’ve seen drawn wearing even somewhat skimpy panties under their costumes – well, all I can say is, those ladies’ superpowers must include the power to fight wedgies. At the very least I’d be wearing underpants that cover and stay on my butt; and in all likelihood, as a superheroine my new favorite thing would end up being boyshorts. Also, for any artists out there who are drawing superheroines wearing thongs? AHAHAHAHA. *snort* Right.

Likewise, if I had plans to be backflipping all over, or hanging upside-down, or elbowing baddies, or pretty much anything involving gymnastics or a physical fight, the last thing you’d be seeing is my cleavage. I mean, who can spare the concentration to worry about flashing the world when you’re trying to save it? Also, low-cut shirts are an easy thing for someone to catch onto or snag during a fight – yikes! Despite her other hilarious costume choices, Ms. Marvel has it right when it comes to the practicalities of how much cleavage I’d want to worry about while I was fighting. (Power Girl! You were so close to having a practical top! What happened?? Oh yeah. Dudes.)

I’d also want to wear something very breathable, unless one of my superpowers was not sweating. So that means goodbye to all of the heavily padded “Wonderbra” type things that would boost cleavage to the level seen on most superheroines (and if that’s all natural, then whoo-boy, the back problems those ladies must have!). One of my friends who grew up in Florida once compared those bras to “wearing two warm wet sponges” when it’s hot outside, and she’s not wrong. Maybe I’d opt for a little padding so the world wouldn’t take notice every time it’s cold outside, but probably the very “sexiest” thing I’d try out as a fighting superheroine is a sports bra like this, which is what you get when you cross a “sexy” lingerie store with an attempt to be practical. And even that has underwire, which is not super-comfortable in athletic situations, so my likely favorite would be something like this. (P.S. Sports bras don’t usually have lace on them. Sorry, dudes.)

Pants and Top: I actually think in most fight situations, a tightly tailored costume would be beneficial. It means less clothing to get caught on stuff; easy movement; and comfort, particularly if you’re wearing a breathable material, e.g. cotton spandex instead of something like bathing-suit material (though that probably holds up better and shows perspiration less). Spandex isn’t super-durable, though. If I had something like Supergirl’s physical invincibility, which supposedly extends to at least form-fitting clothes, then sure, the protection of spandex might be all I’d need; but if I was less-than-invulnerable, I’d probably want at least a few layers, and/or some padding around the joints; or maybe some leather, like motorcycle riders wear, if I could make it flexible enough. If I was less of a gymnast and more of a heavy fighter, I might even go for some sort of flexible body armor, like Batman.

I’d say there would be a range of decent choices for design here, as long as it: 1) covered and provided some protection for all exposed skin, unless invulnerable; or 2) If invulnerable, was still comfortable to fight in, so no unitards (wedgie problems again, as well as the worry about flashing everyone, for reals). The closest I’d go is spandex shorts to, like, mid-thigh. Or, if I absolutely had to wear a unitard, I’d at least wear tights or hose underneath. Also, let’s be frank, us ladies don’t shave our legs every single day ever, and crime waits for no beauty regimen. So even as Supergirl I might prefer something that covers my legs.

Oh, and I might opt for a belt of some sort, both a) to stave off butt cleavage; and b) for pouches, because seriously, as much as we make fun of comic book characters with myriad pouches sometimes, where else would I keep my weapons, grappling hook (because of course I’d have a grappling hook), communication and/or time-telling devices, and other necessaries (deodorant might be welcome, if I’m constantly fighting)? I might even go for a leg sheath too, if I were a guns-and-knife-y sort of gal. (Ooh – or maybe boots with leg knife sheathes! Rad.) If no pouches, or maybe in addition to them, I’d probably have zip-pockets sewn in all over the place, pants and shirt.

In the tops department, I’d go for full coverage unless I was invulnerable; and if I was, again, Ms. Marvel had the right idea for necklines. Oh, and I’d never, ever, ever wear a corset or bustier of any sort, unless my super-powers were being able to not breathe while exerting myself, and winning fights without bending too much in the middle. I’d also never, ever wear a cape, no matter how cool it might look if I could fly, because hello – how seriously easy is it to get tangled up in something like that, not to mention baddies literally yanking you around? (The exception being, I guess, Batman-types, who actually use the capes to fly, and even then I’d want it to, like, retract into a pouch or something.) I’d probably also opt for some good short, tight leather fingerless gloves with velcro wrist-adjusters and grip on the palms, especially if I was a climber or gymnast-y type fighter.

Shoes: No heels, no way. Hell no. Or, to be more precise – up to maybe 3/4 to 1 inch of a sneaker-style heel could be acceptable, but there would be no stiletto or spike heels, no square heels, no narrow-heeled wedge heels, etc. A short wedge that was wide and actually designed for stuff like fighting and running could be acceptable, I guess (it’d have to be tested). A low platform also might work. (Although of course, both of those options would be solely for the vanity/fashion desires of the superheroine, since I can’t see either of them being a fighting advantage). But again, short and low means like, 0.75 to maybe 1.25 inches, which is a lot lower in appearance than most comics artists realize. Even flying superheroines wouldn’t really be exempt from this, because they don’t do all of their fighting in the air, and they’d still need to keep their balance and speed while kicking someone or running on the ground.

If I was a superheroine that ran a lot or fought like a martial artist, I might actually want something closer to racing flats, Puma Speed Cats, or the like (racing flats are so nice to run in). I’d also want rubber soles with excellent grip (and maybe hidden knives in the heels if I did have thick soles, because knives in the heels. So cool. As far as a question of boots or sneakers, I actually might prefer boots with a soft but flexible leg – for more ankle support, as well as more leg and ankle protection. And I’d definitely get some good breathable athletic socks that stayed up and had arch support.

Accessories: Along with the aforementioned pouches, I’d definitely have my hair either very short, just long enough to stay in a short ponytail (a cut at about shoulder-length, maybe?), or in a bun at all times. As someone who’s done sports with hair that’s not super-short but too short to really tie back, and hair that was long enough to sit on, I know how annoying hair in your face/mouth/eye can be; and that doesn’t even consider it being a really convenient thing for people to grab in fights. No no, my superheroine hair would not be flying everywhere. A neat bun, perfect short ponytail, or super short ‘do is the only way to go. Barring or on top of that, I might opt for a skullcap, or similar tight hat, or a bandana like Elektra wears (but with all of my hair actually inside, and no flowing ribbons to catch on things).

If I was the sort to need to hide my face and keep my secret identity, I actually like the style of Black Canary on Smallville, where she paints a mask of elaborate makeup on as opposed to wearing a mask. She also has short hair and wears a wig in regular life, which is quite practical. Well done there, Smallville. Makeup is super time-consuming, though, so I might also have a fitted demi-mask to throw on as needed. Or, seriously, a ski mask-style thing. keeps the hair and identity under wraps!

And with that, I’d be (hopefully, somewhat) practically fitted out to go fight crime! And now we are back to the question, how “sexy” would I be? Well, I’d have low-to-no heels, and no cleavage or skin flashing. I’d also be lacking the flowing hair worn by so many superheroines, and maybe be wearing a cap or even a ski mask (and those things are ugly). Pretty much, I’d be Batman. I would, however, probably be wearing tight clothes. So I guess that’s, like, one sexy point in favor of practical costuming? But more importantly than any of that, I’d be comfortable, incognito, and giving myself the best advantages for winning the day and staying alive; and I have to think for most superheroines, those would be the most important considerations.

Looking at how superheroines dress in comics today, I occasionally see evidence that character and costume designers have at least thought of some practicalities; but I also see many egregious examples of “this would never happen in real life, wow.” And I see an imbalance in the practicality of design for male vs. female heroes. I’m not an idiot, or an unreasonable person – I know comics are for looking at, and people want to look at nice things; and superheroines having at least some prettiness or sex appeal is (almost always) inevitable. And that can be okay; I like looking at nice things, too. I also understand that for some heroines, invulnerability or other powers change the costume metric. But I do think it’s great when I see at least some thought being put into what it would really be like to be a superheroine, rather than just “what I want to look at.” And since male professional creators in comics still greatly outweigh female creators and can’t know what it’s like to actually live in female bodies and wear women’s’ clothes…maybe my little foray into musing about practical superheroine-ing will actually be helpful to someone. And if not…well, if I create a superheroine, now at least I know what she’ll be wearing!

Until next time, dress for success and Servo Lectio!

TUESDAY AFTERNOON: Michael Davis Does The Sgt. Pepper Rag

WEDNESDAY MORNING: Mike Gold and The Nerddom Intelligentsia

 

Emily S. Whitten: It’s a Cold! It’s a Kryptonian Virus! It’s The Winter Plague!

Whitten Art 130205Remember that time when Superman caught a Kryptonian virus on Lois and Clark: The New Adventures of Superman? And he spent practically the whole episode laid out on the couch, barely conscious? And all he could manage to do was sort of thrash his head about and moan a bit? Having spent the entirety of this past week laid out at home with what I have not-so-fondly dubbed “The Winter Plague,” I suspect I know just how he felt.

I also suspect that when it comes to the Winter Plague, I have not been very heroic. Or at least that’s what it seems like when looking back at my pathetic tweets over the past week (tweeting being about all I’ve had the energy to do, since I can do it from my phone, while lying down in bed). But I guess I could look at the whole matter in another way. You see, because the Winter Plague might sneak up on people when they’re not paying attention, it could be argued that while I was suffering untold miseries I heroically catalogued for all of you, via Twitter, the most common Signs of the Winter Plague, which I can now share. This way, maybe you can recognize that you are coming down with the Winter Plague in time to get to a doctor before it brings you to your knees.

So here are the signs. Read them carefully, ensuring that none apply to you, for if you find yourself identifying with any of the following, you may just have become a victim of… (cue dramatic music here) …The Winter Plague.

Signs of the #WinterPlague:

  1. Too sick to want to watch TV and/or read comics.
  2. “So, self, what have you done all week?” “Uh, slept? Coughed? Sneezed? Slept more?”
  3. It’s 3 pm! I am up! …Because I have to take my meds. Now, where’s my bed again?
  4. Dry toast? Unappetizing. Toast with Nutella? …Still unappetizing. :(
  5. *blows nose* I can breathe! I can…! :( Never mind. *blows nose again* I can b…! …*sigh* *blows nose again*
  6. Not sure if head hurts from illness or blowing nose so much. Possibly both?
  7. Plague not immediately vanquished by @neilhimself magic. Dear Neil pls send more? 1st round scared Plague but it came back!
  8. Drinking orange juice. Don’t like orange juice.
  9. Can’t get through three bites without coughing. :(
  10. My oxen have died.
  11. Slept for five days, still tired. D:
  12. Considered turning on laptop in bed to watch show. Didn’t have energy to press button. Crawled back under covers.
  13. “Productive” things done in last week: 1) Read Dresden Files graphic novel. 2) ……..
  14. “Hey self! It’s 5 pm. Know what that means?” “…Naptime?” “Yep! How did you know?” “The answer’s always naptime.”
  15. “So, body, we just took a three-hour nap. What should we do now?” “…Take a nap?”
  16. Clearly my body needed More Napping. Just woke up from another coma-like sleep.
  17. Did NOT go to @PressClubDC to see Dave Barry today, despite really, really wanting to. Could not leave bed. :(
  18. “What day is today, self?” “……..?”
  19. I have never, ever had the heat on this high before.
  20. “Body! You’re finally a bit hungry! What would you like to eat?” “Toast.” “Just…toast?” “All the toast.”
  21. Oh, hello, cough. You wanted to get up now? I guess we will get up for a few then.

So there you have it! If any of the above seems eerily familiar to you, get thee hence to a doctor immediately (seriously. I’m not kidding about that part. Get some antibiotics, at the very least, so you don’t continue to spread the Plague to unsuspecting people like me).

And please note that other signs of the Winter Plague can include temporary insanity, so if the above column seems a bit loopy to you…well, I’m gonna blame it on the Winter Plague.

Until next time, stay healthy, and Servo Lectio!

TUESDAY AFTERNOON: Michael Davis

WEDNESDAY MORNING: Mike Gold

 

Michael Davis: George Clooney And Nice Guys Named Mike

Davis Art 130121“Comics are full of nice guys named Mike.”

Either Mike Gold or Mike Grell said the above quote some 20 years ago. Considering I was just five at the time, please forgive me if I can’t remember who said what.

What?

Whoever said it was talking about the comics industry and the abundance of seemingly nice people in it. At the time we were all working on a comic called Shado: Song of the Dragon.

Mike Gold was the editor, Mike Grell was the writer, and I penciled and colored the book. We jokingly called the project, the Mike book.

It was my second major project and I was trilled as shit to be working with Mike Grell, who was (is) a nice guy. Mike Gold is a nice guy and I’m a nice guy.

Really, I’m a nice guy.

Most of the people I’d met in the comic industry have been really nice people.

I came to Hollywood in 1994 to run the film and television division of Motown Records.  Most of the work I’ve done since then has been in television. I’ve met a lot of people in Hollywood and let me tell you compared to comics, that industry is full of not so nice people.

And by not so nice I mean assholes.

Don’t get me wrong, there are plenty of really nice people in Hollywood. For example, George Clooney and Wayne Brady are two of the nicest people you will ever meet.

I’ve hung out a couple times with George and he’s a great guy. No, he’s not my friend (unless you are a really pretty Asian girl and that would impress you, if that’s the case then George and I are best friends) but every time I see George he treats me warmly and makes me feel genuinely like he’s glad to see me.

This kind treatment from one of the biggest stars in the world, how cool is that?

Now, Wayne is a dear friend and he’s as cool as cool can be and has been since the moment he and I met some five years ago. I don’t want to give the impression that Wayne and George are the only nice people I’ve met in Hollywood they are not…but I’ve met many and I mean many people in Hollywood.

And a lot of them are dicks.

I think I know why there are more dicks in Hollywood than there are in comics.

Respect.

For the most part people in comics meet you and at least try and get to know you. In Hollywood that’s not the case, in Hollywood if people meet you and determine you won’t make them any money then that, as they say, is that.

No, not everyone in Hollywood is a blood sucking, money grubbing parasite but yeah; I’ve met more than a few who are.

The San Diego Comic Con International is the biggest pop culture event in the world. Comic Con does not need Hollywood, Hollywood needs Comic Con.

My point?

I’m sick to fucking death of Hollywood thinking Comic Con is their event.

It’s not.

Every year at Comic Con I give a big party, every year a bunch of Hollywood players show up and I let them in. I won’t bore you with the “stars” that have attended my parties but take my word for it, it’s impressive.

But…

Every year, Hollywood gives parties at Comic Con and every year it seems that the comic book industry is shut out of those events.

That pisses me the fuck off to no end.

I think George Clooney is a wonderful actor and a really nice guy, I really, really do think that. But if George showed up at my Comic Con party at the same time Len Wein showed up and I could only let one of them in, it would be Len.

Why?

Because it’s Comic Con!

Len is part of Comic Con, like water is part of wet. Period.

Long story short, Hollywood, comics do not need you. You need us.

‘Nuff said.

WEDNESDAY: Mike Gold and the Great Comics’ Shell Game

Emily S. Whitten: Geeklitism, Part II

Whitten Art 130122A couple of weeks ago, I talked about geeklitism in fandom, with geeklitism being defined as “claiming you’re a ‘real geek’ and other people aren’t; claiming you’re the superior geek.” I gave a few illustrations of common types of geeklitists I have come across (and find generally obnoxious). I was, yes, a little sarcastic about the way they behave, because I think it’s both ridiculous and harmful. But even though I don’t agree with their attitude, I still understand that they are, as we say, “One of us! One of ussss!” – in the sense that if we weren’t all fans of geeky things, we wouldn’t even be talking about this. We are, by dint of being interested in genre fandoms, all part of the same group; even if geeklitists would argue that point.

I also believe that people with these attitudes, no matter how they might alienate people or make others feel bad by what they say, aren’t purposely trying to be mean or hurtful. They don’t realize what their words say about them, or how they’re perceived by those they try to negate. Why not? Well, let’s go back to the four types of geeklitists I identified last week, with those Geek Badges they wave so proud and high; and see if we can look beyond the attitude to understand what they’re really saying; something they may not have tried to do themselves. Let’s also look at why these attitudes are unhelpful or hurtful to others.

Type 1: The Bullied Geek Badge of Experience

The attitude:

“As a child (and possibly into adulthood), I was bullied, belittled, or ostracized by others in my peer group because of my genre interests. If you didn’t have my exact experiences, you can’t understand or be part of my group.”

What they are really saying:

“I went through these negative experiences and survived. These experiences made me a stronger person and helped me build my identity, and if you haven’t experienced that, you can’t understand what I went through or what my interests mean to me. I perceive that I suffered unfairly because of the things I loved, but I didn’t give up on them. Claiming your place in this fandom falsely indicates to me and others in this group that you are also someone with that level of commitment, when you were not. This takes away the sense of identity I retain from my experiences, and the value of my integrity or bravery in sticking up for what I loved in the face of adversity. Also, because I feel that my treatment was unfair, I may not trust you, as someone who didn’t share my experiences, to be someone who won’t persecute me in the future. I am afraid to let you in to the group in case you are like the people who were mean to me in the past.”

Why this attitude is not helpful/is hurtful:

For one, it assumes things about the other people that the geeklitist couldn’t possibly know. It assumes they didn’t have similar experiences, or other experiences that were just as important and valuable to their identities. It negates those experiences by assuming their nonexistence, and/or makes people have to defend themselves by opening up and sharing possibly painful parts of their own history that they wouldn’t feel comfortable sharing if their identities had not been challenged. For another, even if other people didn’t have the experiences of the geeklitist, it assumes they are not intelligent or emotionally advanced enough to empathize anyway, and also that their lack of that experience makes them people of lesser quality. It also may assume they are untrustworthy or bullies when they are not. It invalidates their importance as whole people in their own right by claiming the past experience of the geeklitist to be a necessary part of true character development.

Type 2: The Encyclopedia Geek Badge of Intelligence

The attitude:

“I know more about this geek topic and fandom than you do. If you don’t know the things I know, you can’t be part of my group.”

What they are really saying:

“I have invested a lot of time in absorbing and learning about my genre loves and fandoms and feel that I now know a lot about it, which proves that I am a true fan. If you know less than I do and claim to be in the same group, that means that you are saying you can achieve the same thing I did with less knowledge and time spent on this passion/hobby/lifestyle. You are also saying that anybody can be a part of a group that I worked hard to belong in. This threatens or negates my achievements, knowledge, or devotion.”

Why this attitude is not helpful/is hurtful:

For one, the geeklitist is calling other people less knowledgeable, which is always insulting and frequently inaccurate. The geeklitist is challenging the achievements and determination or devotion of other people, while also indicating that their interests and achievements (whatever they may be) are less objectively important than those of the geeklitist. The geeklitist is belittling others’ dedication, intelligence, and sense of self based on the tastes and choices that the geeklitist values, rather than the idea that other interests can be just as valuable to others, and just as objectively important.

Type 3: The Discovery Geek Badge of Priority

The attitude: I have known about this fandom since the day it came to be. You just got here. You didn’t recognize the value of this when it first appeared, and haven’t put in the time and effort I have to appreciate or preserve it. You aren’t a true fan like me.

What they are really saying:

“I feel a deep kinship to this fandom because I’ve been in it since day one, which gives me a sense of belonging and being special. (And possibly: I am so special here that sometimes even other fans recognize how important I am to this fandom.) I appreciated it when others didn’t, which means I have a finer ability to recognize quality than the masses. I put effort into helping to keep this going, and (possibly) sometimes even the famous people involved have expressed their thanks at my actions. This makes me feel like a contributor and person of value. If you come to my group and overshadow my sense of value, all of the positive personal qualities I associate with my involvement in this fandom are threatened. You are threatening my identity.”

Why this attitude is not helpful/is hurtful:

The geeklitist is using a false assumption that the amount of time or energy spent focused on something is equal to the devotion someone might feel to it, and that the priority of those who “came first” somehow increases the value of their contributions. By doing so, he or she is negating the value of others’ experiences, actions, and feelings in something that they may care just as much about. The geeklitist is attacking others’ identities by defending his or her own.

Type 4: The Misogyny Geek Badge of Exclusion

The attitude:

“Girls/Women can’t be geeks like boys/men are. They do not truly understand the value or lore of these fandoms/this lifestyle. They can’t be a part of it. It’s our territory.”

What they are really saying: “I built my masculine identity in part (or whole) on geekdom; possibly to the exclusion of more typical “masculine” pursuits that I didn’t have interest in or wasn’t good at. Since I broke out of the stereotypical male mold to do this, I have to feel that I am still part of a masculine group to retain that masculine identity. If females try to enter this group, my masculinity is threatened.”

What they also may be saying in some cases, when this is combined with Type 1:

“Some females gave me a hard time about my interests at some point in time, because they didn’t fit with what was expected of males. I resent this, because it hurt my sense of my own masculinity.(Or) females have it easier than I do. If they want to be geeks (read genre books, engage in less physical forms of activity, etc.) no one cares, because the expectations put on females are not the same as those put on males. I resent this. Because females couldn’t possibly have had the experience I did, they will never understand what it is to be a geek. When they claim they do, it threatens my masculinity.”

Why this attitude is not helpful/is hurtful:

This attitude devalues an entire half (or more than half) of humanity by indicating that due to different assumed experiences and pressures, no matter what qualities or experiences females may have or have had, they will never “measure up” to what males experienced or can understand. It is, essentially, saying that females are lesser people – in intelligence, knowledge, empathy, identity, and much more. It also assumes that the pressures or stereotypes put on females were not just as difficult to deal with as those put on males. It is again based on false assumptions, and challenges and negates a lifetime of experiences and a person’s identity. It also puts females on the defensive in fandom, and perpetuates an exclusionary dynamic by making them constantly feel unwelcome and challenged in their own areas of interest. This can result in less future effort by females to be accepted as part of the group – which doesn’t benefit anyone in the end.

When examining geeklitism in light of the deconstruction above, maybe it’s easier to see why these attitudes are so toxic to our beloved fandoms, and identify ways to weed them out of our own behavior (because let’s be honest, we’ve probably all been guilty of at least a shade of geeklitism at some point, even if it was fleeting). Maybe we can recognize that we all got picked on at some point for our interests; and that everyone has their own special areas of knowledge that they are proud of; and that everyone was part of the “discovery” group for at least one fandom or interest (or if they weren’t, it doesn’t make them less devoted to it); and that women are equals and people too (this one should not be hard to do, but shockingly, it still is for a surprising number of men).

And most of all, maybe we can all try to consciously remember that someone else being good at something, or a fan of something, or part of something, does not have to threaten our own sense of identity and belonging; and that by including rather than excluding others with shared interests, we can actually continue to build and grow the identities we are so protective of into something to really be proud of: the identities of people who know the value of sharing what they love, who can continue to learn and become more well-rounded people, and who can rejoice in the uniqueness of others as much as we do in our own.

So instead of giving in to the impulse to be elitist jerks when our geek identities are threatened, let’s try instead to, in the words of the great Bill S. Preston, Esq., “Be excellent to each other.”

And until next time, Servo Lectio!

TUESDAY AFTERNOON: Michael Davis

WEDNESDAY MORNING: Mike Gold

Categories

Archives

Everything you need to make great comics!

comicmix-pro-300x69-2

Nucleus X

Bookshop Zaks