Warrior27: the Collection

So,

Dan and I (with Dan doing the heavy lifting) are putting together our first collection of Warrior27. It will be digest-sized, include many of the best bits from the first four issues, plus have some new work. I'll post about the contents later, but for now, check out the cover image Dan created utilizing Andy Lee's beautiful cover painting from the first issue.



Enjoy,
chris

The Call of the Sea: a bit about process

So, earlier I included the piece of flash fiction I had created based upon the following picture:


You can find that story here

That really was not a fully fleshed out piece of fiction. So, I've returned to it in order to expand it and make it ready for publication, hopefully. I did a second draft and let it sit on the hard drive for a few months. But recently, I finally pulled it up to get back to it.

This is the first short section of the new iteration:

The call of the sea was urgent in his ears. As long as he could remember, Jared had known that uneven sway beneath his feet, the rolling passage of the lobster boat over the Atlantic.

But Jared Ames was also a dreamer. How else to explain his going off to high school? That rarely happened on the “Ledge,” particularly for the boys. The one-room schoolhouse elicited visions of Laura Ingalls and Little House on the Prairie, attracting many first-year teachers from the mainland, the closest point to the island nearly twenty miles away. But there was little encouragement for children to go much beyond what was offered here. Ledge Island was a fishing island – every man either had his own boat and traps or was a sternman. Even the postman and the honorary mayor (at eighty-two, the oldest resident of the fifty who called the island home year-round) went lobstering on a regular basis. It was understood that the boys were just biding their time until they would become full-time lobstermen.

This was just the way things were. Which is why it had been a surprise to see Jared head to the mainland and Andrews Academy///, a private school in SOMEWHERE. It was his mother’s wish. And, with Jared’s father gone when he was six and his younger brother not yet one, there had been no counter-argument to be made.

Which did not mean that Jared gave up lobstering. Like most boys from Ledge Island, and the clusters of islands along Maine’s coast, he was a natural, which is to say that it was something he became familiar with at a young age. His father taught Jared about trapping lobsters before the boy even began school. And when Harold Ames left, others on the island took the place of teacher. They took young Jared, and his brother Eric, out on their boats most weekends and many afternoons. It was exciting, and every chance growing up Jared was hauling traps.

A month into his junior year at Andrews Academy///, Jared’s mother was diagnosed with cancer. She hadn’t been well for a while, though she’d hidden it well. But when she collapsed in the post office one afternoon, Susan Richmond (for she’d taken back her maiden name when Jared’s father left) had relented and flown to Fairhaven, the one island large enough and close enough to the mainland to have its own hospital. The doctor didn’t take long to view the x-rays before proclaiming that Susan only had a month to live.

Stephen King and Greg Rucka have both said that the first draft of any story - for them - is all about getting the ideas on the page. The first draft is the quick burn. And I've taken this to heart.

When writing that initial draft, I speed through as fast as I can, my fingers trying to keep up with the ideas and dialogue in my brain. If I can't find a word or come up with a name for a place or a person, I just fill it in with the closest thing I can come to. These I denote either with a few slashes (///) after the word, or by substituting the word with a simple descriptive placeholder in all caps. These are the places where the minutiae of the piece faltered, and I just needed to keep going or lose the ideas coming to me. You can see examples of this bolded in the above selection.

But these are just the parts I know I need to fix when coming back to revise. There's so much more that has to change when I'm editing subsequent drafts. I need to make sure I'm using the same tense throughout (something I never fully understood until I began writing seriously a few years back). I have to watch for continuity errors and internal consistency. I need to make sure the words flow and that I'm not repeating the same words over and over in a small space. And I need to make sure it's "good."


Below is the second (or third, if you like) draft of the previous section, by way of example.

The call of the sea was urgent in his ears.

As long as he could remember, Jared had known/// that uneven sway beneath his feet, the rolling passage of the lobster boat over the Atlantic.

Like most seaman, Jared Ames was a dreamer, but all his dreams did not reside on the water. He wanted something more and realized/// leaving the island for high school was necessary///. And so, when he graduated eighth grade, Jared set off for the mainland, to board with relatives he’d met once when he was seven. It was an occasion of note, something that rarely happened on the “Ledge”.

The one-room schoolhouse in the middle of the island elicited visions of Laura Ingalls and Little House on the Prairie, attracting a procession of first-year teachers from the mainland///. But despite the teachers’ best efforts, there was little encouragement for children to go much beyond what was offered in this tiny village twenty miles off the Maine coast. Ledge Island was a fishing island – every man either owned a boat or worked on one. Even the postman and the honorary mayor (at eighty-two, the oldest of the fifty year-round residents) went lobstering on a regular basis. There was a tacit understanding that the boys were just biding their time until they would become full-time lobstermen.

This was just the way things were. Which is why it had been a surprise for everyone to watch Jared head to the mainland and Andrews Academy///, a private school in SOMEWHERE. It was his mother’s wish, and with his father gone since Jared was six and his younger brother not yet one, there had been no counter-argument to be made.

This didn’t mean Jared gave up lobstering. Like most boys from Ledge Island – and the clusters of islands along Maine’s coast – he was a natural, which is to say it was something Jared became familiar with at a young age. His father introduced Jared to lobstering before the boy was four. And when Harold Ames left, others on the island took the place of teacher. Most weekends Jared, along with his brother Eric, could be seen racing across the Atlantic in one boat or another.

A month into his junior year at Andrews Academy/// Jared’s mother was diagnosed with cancer. She hadn’t been well for a while, though she’d been able to hide it. But when she collapsed in the post office one afternoon, Susan Richmond (for she’d taken back her maiden name when Jared’s father left) relented/// and was flown to Fairhaven, the one island large enough to have its own hospital. The doctor didn’t take long to view the x-rays before proclaiming that Susan only had a month to live.

It still has some unfinished bits and markers where I need to go back and really think about the phrasing or about a name or maybe do a bit of research, but it's starting to gel now. The next pass I do should include minor changes and amendments unlike this first overhaul. But, we'll see.

Which means, my later drafts often read very differently than the early ones. I've had my wife read a first draft, tell me that large sections DID NOT WORK, and then have her appreciate the new dialogue of a later draft. As Greg Rucka said, the writing isn't the first draft, the writing is the revising and polishing and working at making a story something to which others can relate. It's hard work, but it's one of the most fun things I get to do during my day. That's why I schedule, in my head, the late evenings for writing. And why I stay up past my bedtime to do it.

chris

Elephant Words week #7

More flash fiction inspired by the images at Elephant Words. The site is still going strong, nearly three years after Nick Papaconstantinou created it. If you like interesting writing but don't have much time, you should definitely head on over there and check it out. It's fun.

Sand In My Toes

By Chris Beckett

I remember the day you left. I was so angry. Mom tried to talk to me, but I wouldn’t have any of that. Like any kid, I preferred to be miserable alone, but needed to make enough of a scene so that everybody knew I was unhappy – the center of attention without acknowledging it. Of course, Dad just sat in front of the television watching the game, which was typical. I’m not sure how I could have expected anything more from him?

It was hard; I was only seven. How was I supposed to understand? For so long, I resented you for abandoning me like that. I’m sorry.

I come out here whenever I’m home now. Running my fingers across the smooth stones, I stretch back through scattered memories, searching for one I recognize, for a stone we might have skipped across the river that used to run through here.

The state dammed it up quite a few years back, sent all the water toward the farms on the other side of the next town. Maybe you heard. But I don’t know.

Not a day goes by I don’t think of you, wonder what you’re doing, imagine what we could be doing together if you were still around. It’s foolish, I know, but it’s what I do. I can dream, can’t I?

On some level, I think I’ve finally come to terms with the whole thing. I needed years of therapy, which I only agreed to once my first marriage went to hell. But that’s another story, and one I’m not ready to discuss.

Shit, what a life.

It wasn’t that I couldn’t comprehend the realities in my head. You were the older brother. You were the one that could swim. I wasn’t strong enough, and I even had trouble with a life jacket, always felt like I was sinking despite its buoyancy. But none of that mattered. In my heart, I couldn’t reconcile the fact that I hadn’t saved you.

To be honest, when you first started flailing I thought you were pulling my leg, trying to scare me. That wouldn’t have been beyond you. I sat there in the sand watching you splash around, expecting you to stop suddenly and swim back over to shore. But when the splashing stopped, I couldn’t see you. I had no idea what to do, I swear. I wanted to rush in and save you, wanted to swim out to where the water rippled softly, but I was scared. I couldn’t move.

So I sat there, pulling my knees up to my chest, worrying my toes into the sand. (I still have trouble with grit between my toes.)

There are some mornings I wake up, and for a moment I forget and call out your name. It’s a reflex, probably just a specter of my dreams, but for that split second my heart skips and I wonder what we might do today.

But then I remember and pull myself back under the covers.

Elephant Words week #6

Another look back at some of the flash fiction I created for the forums on the Elephant Words site. Based on the image below, this is a piece I have plans on expanding later this year in order to send out and see if I can find a publisher for it. There's far more involved than the snapshot seen her.

SOME OF MY FAVORITE THINGS

by Chris Beckett

Henry led the young girl through the field, the tall blades of grass tiny whispers on their arms as they moved away from the Pontiac parked on the soft shoulder. This was Henry’s favorite place in the world. Any new friends, particularly ones as pretty as Serena, were always introduced to this field. It lay down a long dirt road ten miles out of the city. Henry liked it for its solitude; there would be no reason to expect they would be interrupted.

Serena was a typical girl. Living in one of the piss-ant towns surrounding Brooks Harbor, she came to town for some excitement. And excitement was always on the menu for a seventeen-year-old who looked twenty-five and showed enough skin. She’d already been to three bars when Henry spotted her in Geaghan’s Pub. After fifteen minutes of conversation and two free drinks, he’d easily sheared the girl away from her friends as the two of them made their way outside to his Grand Am. She didn’t hesitate when he opened the door for her, and her hands roamed her body as they drove through the quiet streets.

Walking behind, Henry enjoyed the way her skirt rode up her thighs, the tight fabric molding softly to her round cheeks. The white t-shirt too was far too small, pressing snugly on her pert breasts. They were tiny, round and firm, braless nipples standing at attention, ripe fruits waiting to be plucked.

Henry could feel an aching in his groin as he licked his lips. Anticipation made his heart race, the blood pounding in his temples making his mind rush as the pressure built up. He could feel a prickling sensation at his fingertips as his arms began to twitch. Legs wanting to give way, he stopped and reached out for Serena’s arm.

“Right here. Let’s do it right here.”

She turned, her eyes glazed with alcohol, smiling lasciviously as she ran a moist tongue over bright red lips.

“How do you want me?”

A glint sparkled in her left eye as clouds pulled back from the moon above, and then just as quickly a new formation swept across the celestial spotlight. Henry welcomed the warm blanket of night that covered them, preferring the darkness for such things.

“On your back,” he said with a slight rasp. Her smile widened as she pulled off the white t-shirt, throwing it behind her where it landed on a bent sapling. Shucking off her sandals, Serena slid the skirt over her hips, letting it drop to the ground, revealing her lithe body for Henry to soak in.

Henry cupped his groin vigorously, unbuttoned his shirt and tossed it aside but left his shorts on. Serena lay down on the damp ground, her arms reaching out to invite him to her. Serena’s eyes fluttered as he lay on top of her, grinding his crotch against hers. He let his arms roam over her body, pinching her nipples before sliding his fingers over her soft shoulders, moving to the base of her neck.

Henry kissed her lightly on the lips as Serena softly breathed his name into the night breeze. She ran her long nails down his back and humped up against him.

“Please,” she whispered as she looked into his eyes, boring deeply into his soul. He smiled and shook his head, causing her to pout ridiculously. Pressing his crotch more strongly against Serena, Henry ran his fingers along the hollow below her chin. Serena’s head lolled back as a gasp escaped her, and Henry slowly wrapped his hands about her delicate neck.

Serena didn’t notice at first, all her attention was focused on the frenzied spasms clutching her middle. But soon ecstasy turned to anxiety and then to stark fear as she realized it was getting harder to breathe. Eyes wide with panic, Serena looked up into Henry’s and saw only black. His face betrayed no emotion as hands clenched more strongly. She tried to call out, to protest, but could no longer find the air necessary to do so. Kicking wildly, she tried to buck him off, but his weight was more than double her own and he only grunted dismissively at her futile attempts. She didn’t want to die, wondered if anyone would find her, would catch him, and worried about her mother discovering she’d gone bar-hopping in that mini skirt she detested.

•••

Afterward, Henry stood up. He retrieved his shirt from where it had dropped into the grass and buttoned it up meticulously. He considered returning Serena’s shirt, but thought it looked nice fluttering in the night air, the moon’s faint rays illuminating it like some ghost.

Running his fingers through his hair, Henry tucked his shirt into his waistband and walked back to the car, serenity returning to his features, the pressure relieved until next time.

In Search Of... pt. XII

Jamal pushed the door open. He raised one arm to shield his eyes. Unlike the others, Karen appreciated natural light and kept her mismatched curtains tied back. The rest of the old church resided in shadow – windows covered against the light and against discovery (there was little law in this part of the city, but it didn’t pay to be careless).

Jamal’s eyes adjusted as he stepped in. “You decent?”

“Door wouldn’t be unbarred unless I was,” said Karen. Opposite Jamal, Karen leaned down, peering into the cracked piece of glass she used for a mirror.

“Big date?” Jamal leaned against the wall, crossed his arms.

“Didn’t know it mattered.” Karen didn’t turn as she spoke.

Jamal grunted and shrugged his shoulders. “Just worried. Don’t need you gettin’ pinched. Then we’d all be in trouble.”

“So nice to know you care.” Karen stood up, adjusted her bra.

“You going out with him again?”

Karen turned to look at Jamal. “He has a name,” she said.

Jamal shrugged his shoulders again, looked up at the ceiling.

“Yes,” she said. “David and I are going out. I figured it might be better than sitting around waiting for people to wake up here.”

Jamal opened his mouth, but said nothing.

He walked out of the room, mumbling to himself.

“What?” Karen called after him, but Jamal didn’t answer.

•••

“So. What are you looking for out of this?” Keenan was still enjoying the façade of David Janson as he and Karen ate their meal. He had brought Karen to the basement apartment of a Mexican couple. They had turned their place into a cramped, but pleasant, “restaurante” – only three tables with soft music and candlelight. It was the nicest place Karen had been in more years than she could remember. The ambience and food made her forget her situation.

But Keenan’s inquiry brought Karen back. She looked up at him, joy slipping from her face as she spoke. “I’ve got questions. About my family. I think my brother is the only one that can help me find the answers. And I think he might be with our mother. If I could find him, I could find her. Which won’t be easy, because she didn’t want to be found. Otherwise, my father would have brought her back home years ago. That’s if she isn’t dead.”

“Well,” said Keenan. “That was more candid than you’ve been with me up to this point. But I wasn’t talking about that.”

“What else is there?” said Karen.

“That’s pretty insulting,” said Keenan. He took a sip of his wine, stared at Karen over the lip of the glass.

“Excuse me,” said Karen. “I need to use the ladies’ room.” She stood up and walked through the room and out the door to the narrow entranceway beyond. Keenan leaned forward in his chair, peered out the window to see if she was leaving. He counted to thirty, saw no shadow receding from the front door, returned to his meal.

A minute later, Karen returned and sat back down. “So,” she said. “What were you talking about?”

“What?” Keenan pulled a broad smile across his face.

“What were you getting at when you asked me what I was looking for?”

“If you don’t know, then it’s not worth having this conversation,” said Keenan.

Karen sat back in her chair, took a long look at her dinner partner. “Are you asking about us?”

“Like I said, it’s not worth discussing. I probably just read things wrong.” He refused to raise his eyes from his plate.

“David,” said Karen. “I didn’t think this was anything other than business.”

Keenan held his smile, looked into Karen’s eyes. “I thought we’d moved past business a long time ago.”

•••

Karen stepped out of the makeshift bathroom on the second floor of the church. She was toweling off her hair, thinking about the rest of her evening with David (Keenan), and didn’t notice Jamal sitting in the hall until her foot ran into his boot.

Karen stepped over Jamal. “Why aren’t you down with everyone else?” she said.

“Wasn’t feelin’ it tonight,” said Jamal.

“Funny,” said Karen.

She closed the door to her room.

Jamal stretched one leg out and nudged the door open a crack. A sliver of light slipped into the black hallway. “You have a good time?” he said.

“Yes. Really good,” said Karen.

“Glad to hear it.”

“I didn’t know you cared.”

“What are you talking about?” The sound of his voice startled him, the darkness increasing the volume. He sat back up. “Why are you such a bitch sometime?”

“I guess it comes natural.”

“That’s what I’m talking about. All passive-aggressive an’ shit. You don’t need to be that way,” said Jamal.

“Well, how should I act?”

There was silence for a moment, and Karen wondered if she might have pushed Jamal away.

Then the door slid in another inch. Jamal peered through the crack. “Can I come in?”

“Sure,” said Karen.

Jamal’s head slid through the door first, then the rest of him followed with a bit of effort.

“You could have opened the door a little more,” said Karen.

Jamal shrugged his shoulders.

“So. Why were you sitting out there?”

“I was waitin’ for you,” said Jamal.

Karen’s lips quivered, the hint of a smile formed. Then she dropped her robe.

•••

“I wasn’t expecting that,” said Jamal. He was snuggled up close to Karen’s back, his arms around her, their fingers laced as he breathed in her perfume.

“I know,” said Karen.

“I didn’t know you were pregnant,” said Jamal.

Karen didn’t say anything.

Jamal shifted his weight. “I’m sor–”

Karen didn’t let him finish his thought. “Just hold me,” she said and pulled him closer.

“Just hold me.”

Guesting on CGS

So,

I had the good fortune to be a guest on the latest Comic Geek Speak PREVIEWS episode where the guys go through Previews to see what looks interesting to order for comics being published in the coming months (2, if they're on time). It was a lot of fun and they were gracious enough to let me talk about Warrior27, which is still available for order at Discount Comic Book Service this month. I rambled on for about 8 minutes, am not really sure if I got the concept of the book across, but am thankful for the opportunity. The episode can be found in the link below

Previews @ CGS

And you should check out some other of their recent episodes, including a fantastic interview/discussion with artist/writer Jeff Lemire. Author of Essex County, The Nobody, and Sweet Tooth, he will be writing the upcoming Superboy comic for DC and he is an incredibly funny guy. Definitely worth listening to.

chris

Warrior27 available at Discount Comic Book Service

This month at DCBS, Warrior27 is offered for purchase through the site’s First Light program. Issue 2 is available at a 40% discount ($3.00) while Issue 3 and the comic pamphlet from issue 4’s multimedia extravaganza are both available for 35% off ($3.25 and $1.95, respectively).

With the purchase of each issue, we are also offering a free chapbook or mini-comic previously only available at conventions. Issue 2 will include a chapbook with “Life is Funny” (a comic story published as part of Ape Entertainment’s online UFO anthology) and “A Stone Wall Between Us” a short prose story published by Dark Recesses Press. Issue 3 comes with the mini-comic, “Suggested Retail,” from Dan and artist Travis Dandro, which folds out to become a game board (play money and game pieces included). And Issue 4 comes with the short prose story, “Fractured,” which examines a man’s descent into despair and his attempt at final redemption.

For preview images check out our comicspace galleries or go to www.warrior27.thecomicseries.com.

You can check out the books on DCBS’s site here and thanks.

chris

Jeff Smith's Bone pt.4

Even as he was approaching the end of this fantasy epic, with characters we had come to know dying as a result of the evil of the Lord of the Locusts and the distrust and betrayal from some of those in power within the city of Atheia, Smith would still inject some humor into the narratives in order to keep that balance and not allow things to become too heavy. A couple of my favorite examples from later in the story are:





Smith also knows when to allow the images to convey the story rather than overwrite things (as was seen with the scene from issue #16 when Thorn, Gran’ma, and Fone Bone were fleeing the rat creatures in the night). The final confrontation with Mim and the dragons was incredibly powerful, and carried out with no dialogue or captions whatever.



Smith’s artistic ability really conveyed the majesty and the gravity of the situation incredibly well, and made for a fitting climax to a wonderful story.

Some final thoughts:
When Thorn was moving through the Ghost Circles, particularly that final time, it reminded me very much of Aragorn’s trek through the “Paths of the Dead” from Tolkien’s Return of the King.
It had been so long since I first read BONE that I’d forgotten a lot. Many of those who died, I did not recall. The Crown of Horns was as much a surprise on this reading as the first. And, though I ultimately knew good would win out, I did not remember how it all went, and I found it even more satisfying this time than how I remember it feeling the first time I read BONE. Smith, in creating a personal story like this, imbued his story with a tension that wouldn’t be available in a mainstream book. You don’t know who will die because anyone could die at any time. It adds a level of enjoyment that I often (note, I did not say always) find missing in the mainstream.
I loved how Smiley was trying to convince Fone Bone to come with him and Phoney when they leave at the end, and the use of the “TM” symbol after all the delicacies he uses to entice his cousin.
And when I got to that last page, it was sad to think it was over.

Go, find this book, read it, and enjoy.

-chris

Jeff Smith's Bone pt.3

Smith sucks readers in with the cute Bone creatures and the comic aspect of the tale early, and then slowly turns the narrative toward the more epic and fantastical tale he is telling. This is not a simple funny anthropomorphic tale, but a traditional fantasy with hidden royalty and swords and evil spirits. And somehow, Smith manages to keep a good balance between the heavy, darker aspects of his story and the comic moments. He never forgets to temper the darker sections of the narrative with some levity. And, in the same way Smith utilized the comic page to relate his comic timing, he also understands how to use it to create tension and dread in his audience. A prime example from issue #16 comes when Thorn, Gran’ma, and Fone Bone are skulking through the rainy forest in the dead of night trying to evade the rat creatures:


































This is a brilliant use of the comic page to convey the emotion he wants readers to feel.

Smith can do creepy too:
































Smith also takes everything about the comic page into account when crafting his stories. Like Dave Sim, who may be the master of this, Smith utilizes his lettering to convey emotions in pages like this one:

Jeff Smith's Bone pt.2

I was also impressed, on this re-reading, how much of the broader story was laid out so early in the series.

On page 9 of issue #1 readers get their first glimpse at the Dragon.


The signature phrase, “Stupid, Stupid Rat Creatures!” shows up in issue #2.


- Issue #3 introduces the map that becomes important later.
- In issue #4 we first see the Hooded One.
- And issue #6 offers the first mention of the 50ft. balloon of Phoney, which is only a throwaway line meant to elicit smiles in this context, but becomes so much more when readers reach the final act of the story.

All of these important points are laid out in the very first trade collection. Like any worthwhile storyteller, Smith sets everything up well in advance for a great payoff later.

Something else I noticed (after my wife pointed it out) was how Smith drew Thorn and Gran’ma Ben with a definite, though subtle, family resemblance. It’s little details such as this, that many people might not notice, that add so much to this book.





Look at those chins.

Jeff Smith's Bone pt.1

Another "Book of the Month Club" @ CGS that I gave some serious thought was the examination/discussion of Jeff Smith's Bone (the episode's here). It's a great, epic story that has humor, pathos, drama, and tragedy all mixed together with Smith's beautifully emotive and meticulous artwork. Brilliant book. If you haven't read it yet, you should definitely do yourself a favor - get it and read it.

I discovered BONE with issue #10. Before then, I hadn’t seen a copy of an issue on the shelf, or not noticed it. But I’d heard good things about it, and the clincher was that the first letter in the letters’ page was from George Perez. My favorite artist. No way could I put that issue back. I also picked up the first trade that day, and from there I was hooked.

One of the best things about Jeff Smith’s BONE is the comedy, which is all about timing. And Smith’s timing is impeccable, something made more challenging by the medium he’s chosen to tell his stories, comics. Not only does Smith need to conceive funny scenarios, but he needs to writer and draw it in a way that leads his audience to read it in a way that achieves the comic effect. Some of my favorite examples:

- In this first issue, everyone has been telling Fone Bone that he needs to think about getting out of the valley before the first snow comes. Once that hits, he'll be stuck. It's mentioned a few times, keeping it fresh in readers' minds. Fone Bone really doesn't think much of it, until the final page.


Then there's this page where Fone Bone calls out the Dragon:


And Fone Bone trying to show off for Thorn by telling her he should be the one to chop the wood:

More later.
- chris

Kraven's Last Hunt

The main comic podcast I listen to - CGS (Comic Geek Speak) - does a monthly Book of the Month Club. They rotate through Marvel, DC, Geek's Choice, independent, manga, and others. The book is offered at a larger discount usually at In Stock Trades. And then they record an episode discussing the book.

The latest one was on Kraven's Last Hunt, the Spider-Man story from J.M. DeMatteis, Mike Zeck, and Bob McLeod and can be downloaded here. It's a great Spider-Man story and a favorite from childhood. Below is my contribution to the forum thread for this BOMC discussion. If you haven't tried out Kraven's Last Hunt yet, I hope this spurs you to find it and read it. If you have, I hope it adds a little bit to your enjoyment of it.

-chris

I can remember buying these issues right off the stand. I was heavy into Spider-Man at the time, and I can’t remember if I’d seen any house ads (were there house ads for this?), but the thought of a storyline carrying through the three different titles combined with Mike Zeck’s artwork made this a no-brainer. And the story . . . I was blown away. It was so different: Spidey’s defeated and buried, then he’s not even in the book for the second and third chapters, and the ultimate fate of Kraven – totally unexpected.

These issues had a special place in my collection for a long time, but I don’t know what happened to them. Lost in a purge or a move somewhere along the line, I guess. But last year I went to Amazon and found a used copy of the original hardcover for a good price, and when I re-read it, I was pleased to find that it stood up incredibly well. And now, reading it for BOMC, I’ve found even more in it that I missed during that initial re-read.

First, there’s the story from DeMatteis. This is such an emotional tale. The internal monologues of the characters work well in this respect, showcasing the feelings they normally keep bottled up, subjects not typically discussed or utilized in superhero comics – fear from our hero, the implication of depression or other mental illness on the part of Kraven and its manifestation in his feelings of despair and resignation. These are far more realized characterizations than one sees in most books from the “Big Two.”

The manner in which Kraven breaks down Spider-Man, “killing” him in the minds of the public by becoming a more vicious form of Spider-Man is intriguing and worse than if he’d actually killed him (which we all know isn’t happening). Kraven has ruined the good name of Spider-Man while believing that, by enacting these harsher punishments and defeating Vermin (a villain Spidey needed assistance to defeat), he has surpassed what this hero is in every way. It’s an interestingly warped view of the situation that is fitting. Every villain believes himself or herself to be the hero of their own story. Kraven sees a corrupted civilization and believes it needs a sterner, more brutal defender of the masses.

On the surface, this is a well-crafted adventure story, but DeMatteis adds thematic layers that elevate this story to a new level. His exploration of duality within this narrative is rather overt, though it didn’t resonate too strongly with me the first time I re-read it earlier this year. It’s a natural progression from these characters, particularly the then-new reality for Peter Parker of being a married man, and does not supersede the main spine of the story.

It makes sense that a tale dealing with heroes and their secret identities should delve into this, exploring who is the true man and who the mask. We get a Peter Parker who is afraid – afraid while in his Spider-Man costume. How does he deal with this? (Has it been dealt with much in any other Spidey comics?) He goes off the handle, reacts in ways that are uncharacteristic for Spider-Man but all too human, allowing the readers to relate to him better.

It makes Spider-Man a more interesting character, and the fact that his fear is emanating from the fact that he now has a chance at a “normal life” with his new wife gives Peter far more to lose at this point. The stakes have been raised, and we see a Peter Parker questioning why he does what he does. It feels as if he could give up the suit if pushed far enough.

And in Kraven, we have a man of honor questioning his place in this new, corrupt world. He wishes to leave this life with honor restored, and in order to do this he must defeat the Spider that has plagued him for years (is this the genesis of the Spider totem?). It’s obvious he is feeling beaten down by this world, but we can also infer that there may be something amiss with his psychological makeup from Kraven’s continuing mantra that they called his mother “insane.” Could he have inherited this malady? The final resolution of this story, for Kraven anyway, suggests that maybe there was some truth to this diagnosis. If he wished to leave this world with honor intact, would he necessarily take his own life? I’d be interested in that debate.

It’s also worth noting that the year this was originally published, DeMatteis was working his comedic magic on the revamped Justice League series.

And finally, the art. This is, in my opinion, Mike Zeck’s best artwork of his career. The way he differentiates between Kraven and Peter when they are in the costume is perfect. Just by body language and the slight differentiation in body type, we can easily tell who is who. It’s a testament to his craft that he’s able to do this.


And he also adds to the emotional resonance of the story with his facility of body language.


Zeck – no doubt in conjunction with DeMatteis – also utilize the splash page to great effect. Excellent storytelling.


There’s not much more to say regarding the art, other than the black and white costume never looked better than during these six issues, and with much of the tale taking place at night or in the sewers, Zeck took advantage of the use of negative space offered with a b/w costume.


A couple of other notes: I appreciate the fact that this ran through the regular books and wasn’t an “event” not unlike Daredevil: Born Again. I also appreciate, though I am not up to date on any recent Spidey history, that Kraven’s death seems to have had meaning.

Great story, great art.

FYC Replay: The Architect with Mike Baron & Andie Tong

Mike Baron is one of the creators with whom I was most excited to "talk" with. He's written some of my all-time favorite comics - Nexus, Badger, the launch of the Wally West Flash series - and is still creating thought-provoking adventures. In this FYC replay, learn about one of his lesser known books, The Architect, a graphic novella from Big Head Press that was a fun read.
Enjoy.


For Your Consideration: The Architect by Mike Baron (writer) and Andie Tong (artist) By Chris Beckett FRONT PAGE:
Nexus. The Badger. Flash. The Punisher. Deadman. Mike Baron’s list of writing credits is impressive. A unique writer whose singular vision has afforded him not only critical success but also a faithful fan base, his latest book, The Architect, from Big Head Press is a welcome addition to the Baron library. Hitting shops August 15, this is a book people should be on the lookout for.


The 411:
The Architect
Written by Mike Baron
Art by Andie Tong
80 pp. Full Color
$9.95
Big Head Press

What It Is (with apologies to Dave the Thune):

Roark Dexter Smith was the greatest architect of his generation. Espousing his philosophy of organic architecture, Smith felt it necessary to be involved with every aspect of a building “from sublime inspiration to the lowliest muck-raking chore.” A maverick who enjoyed the finer things in life – exotic foods, beautiful women, his Guarneri violin, and dabbling in the occult – Smith was, like many men of his stature, engorged with the power that came from the notoriety heaped upon him and his radical architectural advances. Although a celebrity, this did not stop the man from overreaching, and when he began work on Bluff House in 1969, he soon found himself in debt. Despite this setback he persevered, using the force of his personality to lure more investors into his dream. Work on the house continued until spring of the following year when Bluff House mysteriously burned with only Smith’s newborn surviving the blaze. Roark Dexter Smith’s body and those of his wife and assistant were never found.

Years later the Smith Preservation Society, which purchased the house after the disaster, approach Gil Topper who runs his own construction company. They want to give over Bluff House to Gil with the understanding he will renovate it to Smith’s original specifications. Not only is the society impressed with Topper’s architectural background, but he also happens to be the long-lost son of Roark Dexter Smith. Initially stunned, Gil quickly warms to the idea as the reality of his heritage sets in.

The prospect of finishing Roark Dexter Smith’s – his father’s – greatest architectural enterprise fills Topper with excitement. He enlists Mark, his best friend and business partner, and his girlfriend Thea in this venture, and the three of them, along with Mark’s girlfriend Selena Gillman and a fellow carpenter and Smith buff Norm Grundy, move into the house and begin to put things aright.

But all is not as it appears. Strange noises emanate from the basement at odd hours (the sounds of a violin being played) and petty jealousies are accentuated out in the wilds of Wisconsin. It could be the isolation from society, the nearest city is two and a half hours away, or the disparate personalities involved, Thea is a scientist who studies fungi while Selena is a self-proclaimed high priestess in the church of Wicca, but whatever it may be, there is a foul mood hanging over the house that threatens to crush them if they aren’t watchful.

There’s a lot going on in The Architect, which allows the story to breathe in a way most graphic novels are unable. Throw-away details, such as Gil’s girlfriend being a mycologist, that seem included only to flesh out the characters end up bearing fruit later in the story. No detail is insignificant, and the foundation upon which Baron constructs his tale is solid and entertaining, moving the story forward while dropping these incidental details along the way like bread crumbs in a forest. Readers may absorb the many pieces of the puzzle, but their importance will not be understood until the climax rushes upon them.

Baron moves the first half of the book along at a deliberate pace, easing readers into a reality that looks just like our own. It isn’t until the story moves into the present and things start to go badly that all thought of that shared reality is forgotten. Selena is in tune with the spiritual forces at work around Bluff House and becomes a catalyst for the horror that has been lying dormant all these years. And once things start to go bad, they go very bad, very quick.

With the final act of the story, Baron opens the pages up with larger and fewer panels, allowing the action rather than the dialogue to thrust the audience through the climax. This utilization of the comic page manages to instill a frantic tension into the reading experience that heightens the suspense and horror permeating this story. It is a masterful use of what makes comics unique, enhancing an already engaging tale.

Andie Tong is currently the regular artist for Marvel/Panini UK’s Spectacular Spiderman and is an artist American readers may be unfamiliar with. Tong’s storytelling is clear, and he handles the evolution of this story well. His style is a contemporary melding of manga and action comics, one that matches up well with Baron’s narrative. His clean art evokes a simple sensibility that acts as a tonal contrast to the horror story that Baron is setting up early in the tale. When one of the members of Gil’s group is eaten – in a bloody mass – by the toilet, it resonates with the reader. And despite the fact that this is an action/horror comic, Tong is still able to draw honest emotions on the characters’ faces, bringing a humanity to the story that is necessary to make it work.

The Architect is an exciting read that any fan of Mike Baron’s work should seek out. Originally serialized on the Big Head Press website, this print collection also contains a short prose story by Baron as an added bonus. Written as a faux article for Vanity Fair magazine, this short piece adds more depth to the graphic narrative and is a welcome addition to an already enjoyable book. Available August 15, I would recommend you pester your LCS for a copy if they have not already ordered one. It will be well worth it.

An Interview with Mike Baron and Andie Tong:

Chris Beckett: Why comics? What was it that initially attracted you to the medium, and to what do you attribute your longevity within comics?

Mike Baron: My interest in comics began when I was growing up in South Dakota and first read Uncle Scrooge. My interest expanded exponentially in college where some friends of mine began to point out some of the work being done, in particular stories drawn by Neal Adams. I've always been interested in writing fiction and comics is just another medium, one in which I have a peculiar facility. I say peculiar because nothing else ever came easy for me.

Andie Tong: I grew up with comics. I fell in love with the medium when I picked up my first comic book. I think I was like 5 years of old or something. Of course, I couldn't read that well at that stage so I was ultimately captivated by the pictures. Picking up a comic that young though, of course, I did not realize the pictures were telling a story. They were just pictures at that stage. Dynamic cartoons on paper. heh.

As soon as I could pick up a pencil, I tried to draw, to trace, and at a later age mimic other artist’s work. So in the end, I fell in love with drawing and art more than I did with comics. Personally, I never really thought about comics as a storytelling medium. I just really loved drawing. So to be able to make a living off it is more than I could ask for. I'm doing my hobby, essentially everyday, and getting paid for it

Beckett: The Architect was produced as a web comic first before going to this print edition. Did you approach the writing any differently for publication to the web?

Baron: No, but The Architect was originally a novel. Which I tried to write. And tried and tried. Novels are a tough nut to crack. So I took an alternative route. It was entirely Big Head's decision to present it first on the web. I don't pretend to understand how that works financially, but they now have a wealth of material up.

Beckett: You have done some notable work for both Marvel and DC, but the bulk of your comic writing – and the work for which you are best known – has been within the small press. Why might you recommend – or not recommend – the small press as an avenue for publication to aspiring creators?

Baron: We all want to get published and if small press comes forward with a viable offer, good for them. The benefits of small press might better be viewed as the benefits of creator control. You own it--every facet of it. So if you sell it to the movies you get all the money. I don't know the deal DC and Marvel have--DC certainly has been turning lots of Vertigo titles into film and some of those are creator owned. The disadvantages of course are that small press has to fight for any kind of publicity. Marvel and DC are going to completely dominate Diamond and Wizard so you have to get your message out some other way. The successes have been numerous: Cerebus, Elfquest, Nexus to cite three.

Beckett: What kind of instruction, if any, did you have in preparation for your work in comics?

Tong: I got a lot of help from professionals in the comic industry when I was starting out. Originally I didn't think I could work in the realm of comics logistically. Being born in Malaysia then later moving to Australia and with the industry mainly in America and Japan, I thought I had to move to those countries to work in comics. I chose to be a designer instead but drew for leisure in my own time.

When a design company I was working for back then sent me to my first ever comic convention over in the US, I found that with the world wide web and emails nowadays, you can work from anywhere around the globe. I was encouraged by numerous working professionals to apply and submit to comic companies as they thought my work was actually good enough. I also made several contacts which I still network with today. Those contacts have actually led me to several comic breaks like He-man and Masters of the Universe, Teenage Mutant Ninja Turtles and also a recommendation to Mr. Baron himself which got me working on The Architect.

These guys have groomed me from the basic principals of creating comics: the kind of paper to use, dimensions to work on, how much to charge, to the finer points of style, techniques to consider, and everything in between. I've now been working seven years since breaking into comics, and I continue to bounce ideas and ask advice from these guys. So whenever I hit the conventions or if someone has a question via email, I try to return the favour that I've been given by these professionals. If it wasn't for them, their tutoring and their patience, I might still be struggling to hit my first published comic right now.

Beckett: What piece of advice would you give to aspiring artists looking to break into comics?

Tong: Get on the art forums and show your work off. It's the best self promotion an artist can do for himself. It's essentially how I got my first published gig. Someone liked my work enough to offer me a small story to work on and it started rolling from there. Work on anthologies when you're starting out and trying to establish yourself. Get yourself in print first and foremost. You might have to do a lot of freebies when you're first starting out but of course, assess each potential project as it comes. Obviously it's easier to work on a short 8-page anthology comic than if you were to take on, say, a self published 4-issue mini series title. A lot of the self published comic books tend to be back-end pay which may not suit a lot of people, especially if you've still got to eat and pay the bills.

Get to the conventions and start networking. As brilliant as your work may be on paper, I truly believe that networking with the publishers and editors gets you that extra advantage. I've heard so many stories from other professionals and experienced it on several occasions myself. Sometimes editors and publishers want to see what kind of person you are. That gives you a dynamic advantage if you can prove that you're a sincere, genuine, reliable guy that wants to work in the industry and can and will meet deadlines time after time.

Of course this advice is based on my own personal experience. I'm not saying everyone has to follow this tact. There are always the few lucky ones that get into the big leagues right off the bat. But a vast majority of creators have to usually work the hard slog at the start. And what I mentioned before was what I found to be the most helpful through my numerous trial and error experiences of the comic industry.

Beckett: You’ve had the opportunity to work with a number of great artists over the years. What was it that Andie Tong brought to this project that makes it work for you?

Baron: First he was available, second he was interested, and third he brings an exciting new style to story-telling. Andie and I have never met. He's never been to Wisconsin, but I sent him copious material. Love to work with him again.

Beckett: Were you aware of Mike Baron’s work before you collaborated with him on The Architect? And what was it like for you to work with Baron?

Tong: I was aware of Mike's work but shamefully I have to admit, I was not aware of the man himself. I knew of Nexus published by Dark Horse comics, but I did not know that Mike had created and wrote the book. When a project I had been working on fell through, I was fishing for a new project to work on. I got introduced to Mike via another fellow creator and when I did my research to look into who this Mike fellow was, I was astonished to find that he's practically an industry legend. I was completely honoured that Mike took me on as an artist for one of his projects.

Mike's very cruisy. He left me to my own devices and as a creator, he allowed me to mold his creation into a vision I was happy with and of course, one that he would be happy with too. All he gave me was a script and several pages of his thumbnails just so he could show me what he was imagining, and then he let me take the reins.

When working on The Architect, Mike was very supportive, communicative, and very, very patient. When I started the project, I was in Australia. I had a lot of doubts in my mind about what the background scenery from the story, which is based in Wisconsin, would look like. Next thing I knew, a hardback book of Wisconsin scenery appeared on my door step.

Collaborating with another creator from the other side of the world was a bit disconcerting at the start as well. But as I said before, thank goodness for the World Wide Web and email. If I had a question, I'd get an answer from Mike within a day. Being, I'm sure, a busy man, I thought at first, Mike would be incommunicado for a while as experiences with other creators and projects in the past led me to believe. In the end though, as I said before, Mike pretty much left me to my own devices. So I didn't have a lot of questions. I just let my imagination roam wild and Mike was happy with that.

It took me close to five years with several breaks in between to finally complete this book. I was working on The Architect pages outside of my full time design job. Starting out as a newbie, it was not yet viable for me to give up my full time job to concentrate on comics. So, I ended up working 18 hours a day, almost 7 days a week and it was taking its toll on me. I ended up with like 30 pages out of the original fleshed out 70 pages. Mike was very patient with the whole process. In the end, Mike scouted for publishers that could supplement paying us upfront for the rest of the pages and that's when we landed on the doorstep of Big Head Press. Frank and Scott Bieser, owners of Big Head Press, were very encouraging and supportive. By that time, I was on the verge of giving up design all together to just concentrate on comics. So Big Head Press could not have come at a better time. They ended up paying for all the pages finished previously and worked out a feasible deadline for me to finish the rest without interfering with other regular comic gigs I had going on at the same time. Within two or so months, I completed the rest of the pages.

But by taking such a long time to finish The Architect, my drawing style had evolved so dramatically since I first started the book way back when. So it was a very frustrating task to try and go back to my original style so that the end pages did not look like it was drawn by a different artist. It was especially frustrating when I could see all the imperfections of my old style, but couldn't really do anything about it due to set deadlines. So I hope I did an okay job in the end to blend the gapped drawing styles together.

Beckett: What other projects are you working on that you would like to tell readers about?

Baron: Nexus will be out by the time this appears. Nexus is the most exciting, thought-provoking comic out there right now. New Badger begins in December from IDW. First they're reprinting all the old Badgers starting in November. I have a project called Black Ice at Comicmix that's going to blow everybody’s' minds. Nick Runge, the artist, is only 21 years old but already has a fully developed and whiplash exciting style, not dissimilar to a synthesis of Paul Gulacy and Tim Bradstreet.

Tong: I'm currently the regular artist for Spectacular Spiderman UK. So I'm basically concentrating on that at the moment. There's not a lot of room for me to play around on other projects currently as the deadline is fairly tight. As soon as I finish one issue, I'm pretty much on to the next. Thankfully, my editor is very lenient. A few months back, he allowed me a couple of issues break to finish up a project I committed to before I took on my role as regular artist for Spidey UK. It was a self-contained one-issue Teenage Mutant Ninja Turtles project for Mirage Studios. It was pretty grand getting to draw a classic from the 80s. Tales of TMNT #39 will be out sometime around the end of this year. Unfortunately however, due to licensing restrictions, the Spiderman UK book I work regularly on is only sold within the UK.

FYC replay: Kevin Colden

Here's another look back at a spotlight from my column, For Your Consideration, which ran on the Pulse for nearly a year and a half, though it was sporadic at best those final six months. This piece focuses on Kevin Colden who has been doing comics for over a decade now, and is finally getting some well-deserved recognition.
Chemset comics, where Todt Hill began (I hope to see it concluded someday) is no longer publishing webcomics, but Act-i-vate is a thriving webcomics community and that is where Colden's Fishtown graphic novel was first serialized. Nominated for an Eisner and collected by IDW, this story is a tour-de-force that is chilling and heart-wrenching at the same time. But that's too simple an introduction.
Read on and find out why you should seek out this book.

For Your Consideration: Todt Hill from Neil Kleid & Kevin Colden, and Fishtown by Kevin Colden
By Chris Beckett

FRONT PAGE:
Foregoing a prestigious Xeric award in order to serialize his graphic novel Fishtown online at the Act-i-Vate website, Kevin Colden is one of a growing number of artists that are exploring the new frontier of the internet for comics publication. Also the artist of the Chemistry Set’s Todt Hill, Colden is firmly planted within a movement that is expanding the boundaries of the comics medium right before fans’ eyes. Click on in and see what’s happening.

The 411:
Todt Hill
Serialized web comic
Written by Neil Kleid
Art by Kevin Colden

Fishtown
Serialized web comic
Written & Drawn by Kevin Colden
www.act-i-vate.com

What It Is (with apologies to Dave the Thune):

In the past year, online comic publishing has taken off with a number of new collectives offering free comics to fans on an almost daily basis. Eschewing the traditional superhero genre and clichéd storytelling, many of these comics are the ones pushing the boundaries of what is possible within the medium. Unhindered by editorial constraints or focus groups, these creators are stepping away from the mundane and stepping up to the plate in a big way. Two of the more noteworthy collectives that can be found online now are The Chemistry Set and Act-i-Vate, and Philadelphia-born and New York based artist Kevin Colden has his feet firmly planted within both camps.

Over at the Chem Set, Colden is doing the art for Todt Hill. Set in a parallel United States where Richmond Island, better known to its inhabitants as Todt Hill, is now quarantined from the rest of the United States, this is a light drama touched with very human moments. Three centuries ago William Teach – brother to Edward Teach, better known as Blackbeard – and his crew plundered unsuspecting victims all across the Atlantic. When the ship’s hold was full, they would return to a secret cave beneath what is now Todt Hill in order to safeguard the booty. But like most pirates of note, Teach was captured and sentenced to hang. With his death, the secret of his horded gold went with him, followed by a legend that somewhere on the island a marker was left that could direct a lucky soul to Teach’s ill-gotten gains.

For years, opportunists and treasure hunters scoured the island, digging anywhere in a vain effort to find William Teach’s gold. It became an accepted part of life until a few years ago when those Teach had plundered – now reanimated zombies – finally made their way to Todt Hill. The fallout from this turn of events was swift and immutable.

The military was called in, but they were unable to move these creatures off the island. So instead, the government decided to quarantine the entire population. Blowing up the bridge that connected the Hill to the mainland, and procuring the ferry for military purposes, the comings and goings in Todt Hill became strictly regulated. Nothing would ever be the same again.

The Tompkins family has come to live on the island, a result of Jacob Tompkins reassignment to security detail on Todt Hill. Jacob tries to make the best of the situation, but his children, particularly the oldest one Michael, find it difficult to adjust. Not only do they need to deal with the typical burdens of being the new kids in town, but they also must deal with the fact that they are stuck on the island. And then there are the zombies, which Michael encounters one evening when he runs out of the house after dark – something highly advised against if one wishes to see the following morning.This web comic, from Colden and Xeric award winner Neil Kleid, is an exciting, original offering that utilizes pirates and zombies as a jumping off point for a tale dealing with many disparate themes. These two creators are able to weave a believable tapestry around a setting that is just slightly off-center, and in their hands it does not come off as silly but draws one into the story, allowing the audience to experience the more human moments in a very “real” manner.

Dealing with family relationships, Kleid threads in narratives to which many people will relate – whether it be the fight one had with their father as a teenager, or the time they were picked on at school, or even that time they came across a zombie strolling the alleys at night – and which keep readers returning with the finely paced development of this tale. Presenting his audience with a number of questions at the outset, Kleid smartly reveals the underpinnings of the story in a calculated, methodical manner, teasing out just enough of Todt Hill’s “history” to satisfy readers, while leaving them curious about other questions that are raised.

Colden’s artwork is well matched with Kleid’s narrative. His storytelling is clear, while his loose linework and coloring of the story convey the slightly whimsical nature of the overall tale, while also managing to ground it in the real world. This is a delicate balancing act, but Colden pulls it off well and adds a lot to the feel of Todt Hill. Kleid and Colden are currently updating chapter 2 of this ongoing epic and readers can catch up quickly with the sidebar links at the Chemistry Set.
Over at the Act-i-Vate site, Colden is writing and drawing his own creation, Fishtown. Based upon a brutal murder that occurred in the “Fishtown” section of Philadelphia, this is used only as a starting point by Colden. His real interest lies not in rehashing this particular case – it would be far too painful for the people involved – but in delving into the psychology of murder and what can drive people – in this case, teenagers – to commit such a violent act. Although many people may look at Fishtown as a re-enactment of sorts, Colden has fictionalized his story to the point where, although the settings he draws are very real, the incidents and actions, with a very few exceptions, are all invented.

Colden’s artwork for Fishtown is stark and chilling. Awash in a midnight blue and dull yellow haze, he does not shy away from exposing the reality of these teenage characters – drugs, disobedience, violence, and sex. Moving the story along at a measured pace, Colden allows the images to convey as much of the story as the dialogue. The teens in Fishtown act and sound like the kids down the block, confident in their wisdom and resentful of authority. They are living their lives in the manner they wish, and nobody can make them do it any differently. Of course, once one chooses to be an adult, then the consequences are no longer insignificant. If only understanding of that facet of life could come sooner to some, then maybe the ugliness that surrounds us all might be a bit more tempered.

The artwork by Colden on both of these comics is a lesson in contrast, despite the fact that the underlying work is obviously from the same pen. Both strips are colored with a blue/yellow palette, but whereas the hues brushed across Todt Hill are brighter, it is the subdued palette on Colden’s solo creation that helps to differentiate the two pieces, adding layers to the more sober narrative. It is an interesting yet subtle dichotomy that showcases Colden’s range as an artist and the thought he puts into the creative process. Many people look at comics and think it is only the text and the images that convey a story. But the coloring of a particular story, when done well, can help to convey just as much as the words and the pictures.

Comics is a medium that continues to evolve, and along with the other offerings from these two online collectives, Todt Hill and Fishtown are two works that are helping to expand the boundaries of the medium in this new century. For entertaining comics – that are free – head on over and check them both out. You will not be disappointed.


An Interview with Kevin Colden:

Chris Beckett: Why comics? What was it that attracted you to this storytelling medium?

Kevin Colden: Comics have always been a part of my life since I can remember. Every single day of my life. Honestly, I didn’t choose the medium, it chose me. I’ve written prose, made music, done stage work and made movies, but comics are the only medium where I can fully articulate what I want to say.

Beckett: With Todt Hill you are drawing from Neil Kleid’s scripts while Fishtown is all you. What are the benefits and drawbacks to each creative process?

Colden: The benefit of working with any writer is that as an artist you have the opportunity to stretch in order to fulfill the writer’s vision as well as your own. You can feed off of their energy and use it to create something that wouldn’t come out of your own head. The only real drawback is that you have to work harder to compensate for whatever weaknesses the writer may have as well as your own weaknesses.

As for working alone – the benefit is that it’s all you. But that can be the drawback, as well. There’s no one to hide behind if you screw up.

Beckett: When I first read Fishtown, I did a “double take” when I realized you were the same artist doing Todt Hill at the Chemistry Set. I can’t pinpoint anything other than the coloring, but the mood of the two pieces is vastly different and that is expressed masterfully through the art. How are you achieving this tonal difference, or are you even conscious of it?

Colden: The mood in Todt Hill comes largely from Neil’s pacing and dialogue. I use that as a guide for what angles to use and actions to show. The cool (as opposed to “warm”, not “lame”) color scheme was intended to give it a dank, nautical feel and hopefully achieves something close to that.

With Fishtown, I’m not working from a full script and my shot choices are done in the layout stage, which I’m sure affects the tone of the story. I’ve paced the action very deliberately, especially in the earlier pages. There’s also a lot less dialogue, and I’m allowing the characters to tell the story through their movement and action.

Beckett: Fishtown is based loosely on an actual murder case. What prompted you to use that as a springboard for your story and – with the facts of the case available – how challenging, if at all, is it to stray from these facts and fictionalize it?

Colden: I’m fascinated by human psychology and man’s capacity for brutality. I’m also fascinated at how the mainstream news media has become over-sensationalized to the point of being offensive. Fishtown developed out of my anger at violent crime and at how even reputable news outlets tend to make those crimes sound like pulp novel fodder.

The only challenge in using a real incident as a springboard is that readers might misinterpret the book as being a factual account, which it isn’t.

Beckett: What other projects are you working on that you would like to tell readers about?

Colden: I’ve got a few projects shaping up for 2008, but right now I’m working feverishly to finish Fishtown by the end of this year. I’m also in two House of Twelve anthologies this year – House of Twelve Presents “The Breakfast Club” and House of Twelve #4. The first one will be out at the TCAF show in August, the second at SPX.