WHERE ARE MY ARROWS, PAUL?

This week, Paul Milligan and I are working on SOUVENIR OF DALLAS for the August D Magazine. Oh yes, the Best of Big D issue. Here's a portion of our email conversation to work through the details.

TIM: Arrows! Can I get arrows pointing from the ID boxes to the people? You've used arrows in the past. I like arrows. They are pointy.

DAVID: Agree on the arrows. Dammit, Paul, we like our arrows! :)

PAUL: I know, I know! It's just a rough!!! Just assume from now on that if you don't see arrows but think you should, they will eventually be there. :)

DAVID: Paul, all this talking, and I still don't see no damn arrows on this rough file! I'm waiting.

TIM: You guys are awesome. Next time, the arrows are on me. My treat.

PAUL: Wait... where do the arrows go again?

DAVID: I have a few ideas on where you could put those arrows...

See? We are absolute professionals.

INTRODUCTION TO SCRIPT BOOK

I'm working on a KARMA INCORPORATED script book, which will print through Lulu. It should be ready in time for Dallas Comic Con. This book will have the complete scripts for volume one POOR MR. WILSON and the unreleased volume two VICE AND VIRTUE. It'll be the only place where you can read what happens in VICE AND VIRTUE. I completed chapter four just for this book. As an extra, I included the script for "50 Miles to Marfa" and "The Heist and The Heart Attack," short stories from PopGun. Paul Milligan is working on the cover. He's done some great cover work for our friend.

I finished the book's introduction yesterday, and decided to share it. If you notice any glaring errors, by all means, let me know before I print.

INTRODUCTION

I was bored one Saturday afternoon. I had an idea for a comic book and decided to create a “teaser” using some film editing software. White text on a dark screen with rain pouring down, Mr. Blue Skies by ELO as the music.

“Stuck in traffic. Girlfriend left. Milk went sour. Toilet backs up. Lost your job. Flat tire. IRS audit. Flight delay. Lost your wallet. Dog ran away. Computer crashes. What if it’s not all coincidence? KARMA INCORPORATED. Let us ruin someone’s day. A new comic book by David Hopkins. Currently in production (if nothing goes wrong).” +

I didn’t have a story, characters, or an artist. It was just an idea. I watched the trailer about 50 times. Then I asked Melissa to take a look. “Cool. That’s your best idea so far. You should go with it.” Like all great advice, I didn’t take it. Not at first.

Instead, I worked on a proposal for Viper Comics called Rocket Science. Think 1950’s alien invasion with Nancy Drew and the Hardy Boys as our only hope. I took the proposal to the San Diego Comic Con. While there, I talked with my friend Paul Kilpatrick at Antarctic Press. He asked me what I was working on. I casually mentioned Karma Incorporated. He said, “That’s a cool idea. Could you email me more about it?” Uh, sure. Then only a few minutes later, Viper rejected Rocket Science. However, I was so excited about things with Antarctic Press, I said, “That’s cool. I think Antarctic Press is interested in another story I have.” This got the attention of Jessie Garza at Viper. “Really? What is it?” I explained Karma Incorporated to him too. His response was almost immediate. They wanted to publish it. Do you have the first issue written? “Yes.” I lied.

Once home from San Diego, I emailed Paul to say Viper wanted Karma Incorporated. I thought it’d be a good fit there. All was copacetic. Then I wrote the synopsis and first issue within a week. It wasn’t perfect, but I could always edit later. The challenge was to find an artist. On August 5, 2004, I emailed Tom Kurzanski. I sent him my “teaser” video, told him Viper Comics was interested, and asked if he would like to illustrate Karma Incorporated. Tom and I were already working on an adaptation of Antigone, which we’d later publish with Silent Devil. Tom emailed me that same day and said yes.

Let me take a moment to say nice things about Tom. More than any other person, I owe Tom my break in comics and helping me become a better writer. It takes a brave person to undertake a project with an unproven writer. Without him, Karma Incorporated would still only be an idea. He didn’t fight the script, but allowed me to see it just as I wrote it, which helped me understand how a script works. He gave dramatic and visual depth to scenes I could only vaguely visualize. Tom read each script and gave me notes. He wasn’t only the artist; he was the editor. These notes were invaluable. I especially remember the countless rewrites on the epilogue. You don’t learn anything from a first draft. By your fifth and sixth draft? You’re tired, angry and grasping for words, and you’re a writer damn it. If Tom was going to illustrate my story, he expected it to be good. I was lucky in that Tom’s style mirrored the type of quirky stories I hoped to write, something with range and something distinctive.

Within a year, we had a comic book on the shelves. Sales were low. Reviews were generally positive. (My favorite was from Needcoffee.com: “We're enjoying the hell out of this book: it's funny, it's got a nice trace of bitterness, and we have no idea where the hell it's going.”) We had a few bona fide fans. People wanted more Karma Incorporated. I certainly wanted more Karma Incorporated.

I started work on the follow up immediately after writing the first series. Whereas Poor Mr. Wilson was about the aftermath of a job gone horribly wrong, a story about them getting a dose of their own medicine, Vice and Virtue would be about the job itself, the planning and the execution. It would be their biggest target, the mayor of Dallas. I added a subplot with Terry, hinted at in the first series. The third chapter was entirely devoted to this storyline. I gave Malcolm a larger role, which was important. Vice and Virtue upped the stakes.

We lost momentum during this process. It took a year for Viper to approve the second series. While waiting, Tom and I shifted our attention to Antigone. I also started work on Emily Edison with Brock Rizy and Astronaut Dad with Brent Schoonover. And for personal reasons, there were other delays. The delays became an albatross. So much so that I doubt Vice and Virtue will ever see print.

I realize “never say never.” Indie projects tend to have a timeline all there own. There will certainly be more Hopkins/Kurzanski collaborations in the future. The best hope for more Karma Incorporated could be on the Hollywood end of things. Viper Comics is pretty aggressive in getting their properties optioned. (Did anyone see the Middleman on ABC Family? Incredible.) Karma Incorporated has always had people interested in it for a TV series. I had an hour-long phone conversation with one writer/producer. His take would be very faithful to the original comic. Perhaps I’ve said too much? Anyways, such a development, if it were to happen, might bring Karma Incorporated back. Might.

Until then, I decided it would be nice to make the Vice and Virtue script available to people who are curious about where the story was going -- or for people who just like reading comic book scripts. Vice and Virtue was a series intended to wrap things up. However, it opened some doors to future stories. There’s a great long-term antagonist in Mayor Kathy Graham. She’s Professor Moriarty to Marsha’s Sherlock Holmes. There are still things left undone. You haven’t met Marsha’s son Carson who is only briefly mentioned. And other things, I wouldn’t want to spoil.

In a perfect world where I have thousands of faithful readers and limitless resources, where would the series go after Vice and Virtue? Volume 3 would be an origin story. I would start where a certain flashback in chapter 3 of the second series left off. Each chapter would focus on a single character and how they joined Karma Incorporated. The story would show Marsha and Terry putting everything in place. Volume 4 would deal with the personal lives of each member more -- their respective families. Volume 5 would bring back Mayor Kathy Graham and the FBI hunting after Susan. Also, I’d finally insert a storyline I planned from the first issue -- a budding, albeit awkward, relationship between two members of Karma Incorporated. Volume 6 would mark the return of a main character who disappears at the end of Vice and Virtue. Once again, I don’t want to spoil anything. After you read the script, you’ll know.

I also included two short stories in this script book. These stories are part of the PopGun anthology from Image Comics, “50 Miles to Marfa” and “The Heist and The Heart Attack.” Len and Stag, two grifters, attempt a bank robbery in west Texas. It felt like a good fit, certainly written with the same mindset for mischief.

Thank you Paul Milligan for designing the cover. Thank you A.C. Hall for teaching me how to format my Word documents to be book ready. Thank you Scott Hinze for teaching me the word “Schadenfreude.” Thank you Tom Kurzanski and the incredibly talented Marlena Hall. Thank you Viper Comics, Scott Agostoni, Mike Werb, and Ice Cube. Thank you to anyone else who has taken an interest in Karma Incorporated.

David Hopkins,
June 14, 2009

COMICS THIS WEEK

Here are the comics I ordered this week from Zeus Comics.

INVINCIBLE, VOL. 10: WHO'S THE BOSS by Robert Kirkman and Ryan Ottley (Image Comics). I've said this before, but INVINCIBLE is my favorite super hero comic. Actually, nowadays, it may be the only super hero comic I read -- unless you count UMBRELLA ACADEMY. Kirkman's work is always enjoyable. I love how he sets up future storylines and slowly builds the plot over several issues. I love how his characters truly talk to each other. They work stuff out. They have mature, sensible conversations. Read most comic books (mine included) and the interactions sound like bad community theater. "Stop that!" "I will not!" "You better or you'll be sorry." "You're acting like Dad." "How could you say such a thing!" Ugh. In contrast, Kirkman's dialogue is patient and intelligent -- note the beautiful scene between Mark and Eve during their first real date.

PLUTO: URASAWA X TEZUKA, VOL. 3 by Naoki Urasawa (VIZ Media). Between PLUTO and MONSTER (I'm on vol. 6 right now), I absolutely love Naoki Urasawa. This guy can tell a story. Every chapter is a seminar on how take your reader by the throat. I'd consider Urasawa a perfect recommendation for people who swear they don't like manga. And yes, 20TH CENTURY BOYS is next on my reading list.

JUST READY FOR THE NEXT THING

Yesterday, April encouraged me to organize the boxes where I keep my comics, the comics I sell at conventions and store signings. While "encouraged" may sound like a euphemism for "she told me to do it," April has good reason. Until then, I kept these boxes under my desk and scattered throughout the office -- with another box in the living room closet. Not a great system. Now, everything is conveniently stored in one location, and I was able to compile it as efficiently as possible. I have an entire box devoted to extras (copies of DEAD@17 ROUGH CUT VOL. 1-2, WESTERN TALES OF TERROR #2, SILENT FOREST TELEVISION PARODY SPECIAL, the two VIPER FREE COMIC BOOK DAY issues, and copious amounts of KARMA INCORPORATED #2-#3).

It was fun looking through these comics, stuff I haven't read in quite awhile.

It's encouraging to see what I've done since 2004, when I first printed SOME OTHER DAY. At the same time, I'll admit I have a few frustrations.

Staying as vague as possible, due to events beyond our control, there are some books that should be here that never made it to print. There were some proposals that never got picked up. More than putting another comic in print, I hate the missed opportunity to collaborate with those artists. (Is that vague enough?) Also, while I've enjoyed writing short stories, I wish I had more full-length comics, more graphic novels. Lastly, I haven't been able to work with nearly as many publishers as I would like.

I don't want to give the impression that I'm pessimistic. I'm more hopeful than anything, and just ready. I can't keep doing what I've done. I need to challenge myself, move forward, take the next step, the leap, the plunge, and all those other cliches. However, yesterday, I took some time to enjoy where I've been, and clear out some space under my desk in the process.

COMICS THIS WEEK

Here are the comics I ordered this week from Zeus Comics.

ECHO #12 by Terry Moore (Abstract Studios). I was a huge fan of STRANGERS IN PARADISE, and it's exciting to see what Terry Moore can do now that he is free to start over with a new story and new characters. Terry has always done comics his way without any restrictions. I'm curious to see where this cat-and-mouse thriller leads. I'll admit the "power suit" is a little Image '90s-esque, but he makes it work.

THE UMBRELLA ACADEMY: DALLAS #6 by Gerard Way and Gabriel Bá (Dark Horse). I read the first issue, but I'm behind on this series. Next week, I'll sit down and plow through #2-#6. The debut series took a lot of people by surprise, inventive and disturbing. It's nice to see Gerard Way is here to stay. That rhyme was un-intentional.

LEAGUE OF EXTRAORDINARY GENTLEMEN (VOL. III): CENTURY #1 by Alan Moore and Kevin O'Neill (Top Shelf Productions). Highly anticipated would be an understatement. Black Dossier was interesting, but not really the follow-up I was hoping for.

CLOAK & DAGGER: CHILD OF DARKNESS, CHILD OF LIGHT HARDCOVER by Bill Mantlo and Rick Leonardi (Marvel). I'm most excited about this book. About freakin' time. This limited series is what hooked me on comics -- now collected in one lovely hardcover. Hopefully, it will allow others to appreciate how well Mantlo's story holds up.

MY CATCH-22

I'm a relatively nice guy. I don't scheme or plot against people. For the most part, I don't wish anyone ill. I am concerned about what people think of me. (It's not anything superficial. At least, I don't think it is. A good reputation is the reflection of a life well lived.) My students would say I'm fair and level headed. However, I am an absolute bastard when people ask for advice about being a writer. I've blogged about this complex before. It's true. I have little patience in this area. I turn into the suck-it-up-and-deal-with-it drill sergeant father. I don't need anyone to reassure me that I'm not too bad. I'm the one inside my head, and I can tell you: It's bad. I got another email this week soliciting help from a wide-eyed aspiring writer. I over-stepped my bounds in my critique, once again.

Some people are naturally nice. I envy these people. The bastard Mr. Hyde is always lurking in my head. Ready to emerge anytime someone wants to know how to be a writer and they fail to use basic capitalization or punctuation in their email -- or if they ask me to give feedback on a script and the first page is absolutely unreadable. I want to help. I sincerely do. And Mr. Hyde pulls me down.

April Wenzel's wisdom: "Don't give advice unless someone asks for it three times."

Chynna Clugston's wisdom: "You'll get less glares at conventions if you don't give your opinion as readily. You're not a douche, but you're not creating good feelings. Stay neutral, I say. If they're smart, they'll figure it out sooner or later."

Benjamin Hall's wisdom: "I normally focus on the things I like and if I have any nit picks I'll pick the least inflammatory and see how they respond to light criticism. If they take it, I'll go further. If they freak out, I let it drop."

I hereby declare, for my own mental health, I'm going sober. Until I can learn to control my inner bastard and be a better person, I'm keeping my opinions to myself.

STAR TREK AND MY THIRD DATE WITH TREY

Trey Garrison called me on Saturday. He had a pass for an advance screening of the new STAR TREK movie. I got to be his "and guest." This would be our third date. Trey and I first met when he read my essay in MAN FROM KRYPTON. He liked it, and invited me to write for D Magazine. We had lunch at La Duni to discuss, and it just happened to be Valentine's Day. We had another meeting to introduce me to Tim Rogers, and set up the comic with D Magazine. The meeting happened to fall on my wedding anniversary. Obviously, the universe was telling us something. We arrived at the North Park AMC an hour early with Joshua Warr, his friend, and my friend (who I happen to see everywhere) Jennifer Meehan. Already, the line wrapped around the lobby. We had decent seats when it came time to rush the theater in an organized manner. Trey bought some snacks, while I saved the seats from the slower guests still looking for a place to sit. Trey and I shared nachos. While waiting for the movie to start, Mark Walters from bigfanboy.com gave out some free swag. Trey, Joshua, and I all got matching Star Trek ball caps.

Let's talk about the movie. First, the boring non-spoiler stuff: It's a good movie. Set your expectations as high as you want. J.J. Abrams did the seemingly impossible. He brought new life to the STAR TREK franchise. I'll admit a few years ago I was ready for the Trekkies to give up and go home. Your universe of spin-offs is over. But now? I'm ready for the sequel (more about that later). The characters are the selling point. They could've added another hour to this feature, and I would happily watch crew of the U.S.S. Enterprise play cards for that hour. The actor playing James T. Kirk gives us that "maverick action hero" without it feeling derivative. He's witty, flawed, and fun. He was the best part of the movie, which is good since he had so much screen time. Keeping things in perspective, this movie does not redefine the sci-fi genre. The plot is serviceable. It doesn't take many risks or offer any twists. If we're going to debate: "Which Star Trek movie is the best?" This movie may be the most entertaining, but WRATH OF KHAN is still the best written. There's plenty of wink-wink moments for the fans, and plenty of stuff to make new fans out of the formerly uninitiated.

I always considered myself more of a STAR WARS guy. However, with George Lucas repeatedly crotch-stomping on the sacred trilogy with digital remakes, prequels, and Clone Wars merchandising, I may need to change my loyalty. I always liked the original STAR TREK series and the Next Generation. I would watch it, if I stumbled across an episode on TV. I liked most of the movies. I fell asleep during the first one in 1979, but I found out that was an acceptable response. The new STAR TREK makes me want to revisit the TV series.

**SPOILERS**

The opening scene is incredible. We witness the birth of James Kirk and get a sense for who his father was. The naming of "Jim" is particularly sweet. I got misty-eyed. The LOST-esque score by Michael Giacchino certainly helped push the emotion. I don't think it was necessary to tie it all back to Nero, but whatever. Hollywood thinks the villain needs to kill the protagonist's father or mother to personalize their rivalry, but it's been overdone. We get it. They really don't like each other.

Speaking of LOST, I think the caption text is the same as the LOST font.

My only WTF moment in the movie: Winona Ryder is Spock's mom? Why? Was there a reason they needed her? She looked odd in the old age make up, considering she has such a youthful face. They could've cast an older woman to play the role, and it wouldn't have taken me out of the movie.

They smartly introduce the characters throughout the film, instead of all at once. Scotty doesn't appear until the second half, and it gives him a special, albeit convenient, role. (A better review than mine goes into more detail.) Scotty was great, and like most of the cast: I wanted more.

My favorite moment was a simple one. Spock assumed the role of Captain. For reasons I won't reveal, Kirk isn't really supposed to be on the Enterprise at all. Spock walks the bridge, contemplating their situation. Kirk casually sits in the captain's chair. Clearly, he feels comfortable sitting there. Spock tries to maintain protocol like a worn-out parent: "Get out of the chair."

Through the magic of black holes and time travel, the writers offer some logic for the re-boot. Anyone who is sensitive about continuity will be happy to know this is a whole new reality (an "Ultimate universe" for STAR TREK). We get Leonard Nimoy reprising his role as an older Spock. It was cool, but I was ready for him to exit stage left. J.J. Abrams, I think, was too intent to "pass the baton" with the franchise. For this reason, we need a sequel. Now that we've spent two hours re-introducing and rebooting, fans have been pacified; it paves the way for a better follow-up movie. Two things: (1) Let's hope Scotty's lovable alien friend (the Jar-Jar Binks of this movie) does not return. Thankfully, his role is small and does nothing. (2) Also, we could use a better villain than Nero. He's adequately menacing and villainous, but he doesn't grab us by the throat like Heath Ledger's Joker or Ricardo Montalban's Khan.

**END SPOILERS**

The STAR TREK reboot works for one important reason. The characters from the Original Series are iconic, while the characters from Next Generation (and the other spin-offs) are merely archetypal. You can go on and on with spin-offs: The Next Generation, Voyager, Deep Space Nine, etc. At a certain point, you're only banking on the good will and patience of your fans who love the universe. To find a new audience, you need to return to what made the original characters so appealing -- and something iconic lends itself more easily to re-interpretation. This movie does that skillfully.

Thanks Trey for our date.

Other upcoming movies that look good...
My kind of flick THE BROTHER BLOOM
So wrong, so right THE HANGOVER

I LOVE YOU. WHY CAN'T YOU BE MORE LIKE OAK CLIFF?

I live in Arlington, and it's almost time for City Council elections -- a good time to email my representative in Place 5, Lana Wolff. I feel uninformed and disconnected from these officials. And it's a shame, because they have a huge impact on us.

I thought I'd share the email I sent to Mrs. Wolff a few hours ago.

Dear Mrs. Wolff,

I realize you may be very busy with the upcoming election. I am one of your constituents. I have lived on Ravenwood Drive for the past five years. I'm an English teacher at Martin High School. I fully intend to vote, and I wanted to make you aware of my concerns for Arlington. I contacted you with similar concerns in 2007.

1. Developing business in central Arlington. We have the Arlington Highlands along I-20, and the new Stadium along I-30. I'm worried about the economic health of central Arlington, especially with the growing troubles at the GM plant. We cannot abandon this area to economic ruin.

Oak Cliff has done well with the Bishop Arts District, developing what was previously an impoverished area. Central Arlington may not be able to attract the popular franchise retailers, nor should it, but it would be a wonderful place for artsy/locally-owned establishments. Bishop Arts District could serve as a model.

2. Public transportation. Arlington is too big to not have some form of public transportation. Without it, Arlington is disconnected. We do not reap the benefits of commercial growth, if people cannot move easily throughout the city. Making Arlington more friendly to bicycle commuting would be a great improvement (http://bikefriendlyoc.wordpress.com).

Thank you for your time.

Sincerely, David Hopkins

So, I guess the general statement is that I love Arlington -- but if I could move to Oak Cliff, I would.

I FEEL LIKE SUCH A TRAITOR.

I've come to a grim realization. Some of you arrived at this point well before I did, and some of you will never admit it.

After reading Death Note by Tsugumi Ohba and Takeshi Obata, Buddha and Astroboy by Osamu Tezuka, Akira by Katsuhiro Otomo, Yotsuba&! by Kiyohiko Azuma, Bleach by Tite Kubo, Ranma 1/2 by Rumiko Takahashi, Solanin by Inio Asano, and Pluto by Naoki Urasawa, I can see that the American comic book industry, as it currently exists, is screwed.

One thing is for certain, there is no stopping manga. And in the words of trusted TV personality Kent Brockman, "I, for one, welcome our new insect overlords."

The topic is nothing new. In fact, it may be a worn out discussion by now. Other people have responded to this issue over and over. I'm just crossing the line with my head bowed. Here are my eight reasons.

1. The Art. Unlike some, I do not believe the primary debate with American and Japanese comics should be about the art style, i.e. you prefer one over the other and that's that. It seems diplomatic enough. After all, you can't argue with personal taste. Right? I've heard the argument that manga is "more cartoony" with its "big eyes and everything." However, both Japanese and American styles cover a wide spectrum between abstract (i.e. cartoony) and realistic. It's not a matter of comparing Tezuka to Jack Kirby. In some ways, I find Kirby just as abstract as Tezuka. In the tradition of Japanese comics, the backgrounds tend to be more realistic in their rendering. With some American comics, the backgrounds are merely suggested by a few abstract lines. The cartoony/realistic dichotomy doesn't work for me. To lump all American artists under the influence of Kirby, it dismisses many indie creators who borrowed from Crumb or earlier cartoonists. (Tezuka, the godfather of Manga, was influenced by Walt Disney.) Saying that all manga art looks the same reveals an inherent failure to understand the nuances of the artform. Akin to saying all rock'n'roll music sounds the same.

I don't like the more spastic style of some manga artists (Tite Kubo, you know who you are), but others are absolutely breath taking (Inio Asano) -- and I would rather read their work than another Jim Lee or Marc Silvestri imposter.

2. The Name. This is a silly reason, but it warrants mention. American terms such as "funnies," "comics," and "comic books" all reference a time when said material was mostly humorous gag strips for kids. Terms like "graphic novel" and "illustrated novel" are ambiguous -- and do not refer to the medium as a whole. Yes, I know "manga" is the Japanese word for "comic book." However, at least, it doesn't carry the ambiguity. The problem we run into then is phrases like "Original English Language Manga" etc. Maybe we just can't win?

3. The Output. To me, this is where the entire debate hinges. It also affects reasons 4-8. Due to the studio system with Japanese comics, their output dwarfs our own. Yes, I realize comics like Spider-Man and Superman have been in existence for years -- but Naruto has 45 published volumes (the book premiered in 1999) with greater singular vision and consistency. Naruto is a popular example. Even the less popular books have an impressive output. (Prince of Tennis, 42 volumes?) In contrast, American artists routinely burn out after just a volume or two. Kazu explains it better than me. It's not that American artists are lazy. The opposite is true. We work too hard. In Japan, a single title will have an entire support staff of interns, artists, inkers, etc. Jeff Smith creates Bone. Charles Burns creates Black Hole. Terry Moore creates Strangers In Paradise. These are lifetime achievements they may never match again. I understand that it's like comparing apples and oranges. It's unfair to use mainstream properties like Superman and Spider-Man to prove my point, and then shift to something like Strangers In Paradise when it serves my argument on the other end. I guess that is my point: American comics do not have anything like this. Series like 100 Bullets, Y The Last Man, DMZ, or Walking Dead get close -- and maybe these examples invalidate my reason?

4. The Money. The reason for the studio format and the increased output? Money. The manga series Slam Dunk has sold over 100 million copies in Japan. Even with our most popular American comics, we can't get anywhere near these numbers. Manga creators are well paid. They are mentored and well trained. They produce great work. With most American comic book artists, they work multiple jobs to make ends meet. Is it any wonder the burn-out rate is so high? I have fantasies of winning the lottery so I can pay artists to go full time.

Also, on the financial front, manga sells at about $7.95 to $9.99 for 200+ pages of work. That is a great price point, and a hard one to beat. DC's defunct Minx imprint (one I hoped would survive) tried to mirror this pricing, but could never match manga's page count. Scott Pilgrim only broke the 200 page mark with volume four, and every volume in the series retails for $11.95. In fairness, Marvel's Essential series does give you the best "per page" value of anything I've seen.

5. Diversity of Readership. Sure, we have girls that read American comics. We have some kids that read comics, and we have older people who read comics. These people are still cherished minority to vast number of 20-to-30-year-old white males who consume most comics. (I say "cherished" because we need more of you!) In Japan? Everyone reads comics. It's an Utopian bizarro world where "mainstream" actually means "mainstream." In America, if you have a 16-year-old girl reading comics, I would laid easy odds that it's manga she's reading. Go to any Barnes & Noble or Borders. The manga section is two to three times the size of the American comic book section. And there is always a girl sitting on the ground, next to that section, reading something.

6. Genre Diversity. What came first: the diversity of readership or the genre diversity? A chicken and egg scenario. There must be a causal relationship between the two. If we look at American comics, our top sellers are super hero books. In Japan, the top-selling manga is about... basketball? I can't imagine Marvel or DC publishing a comic book about basketball. Oni Press, SLG, or Top Shelf would, but it probably wouldn't survive past the second volume. Independent and small press companies are our only avenue for genre diversity. (Interesting blog post about this issue.) The teen romance comedy genre is doing well in Japan -- easy money in any culture, if you ask me. In America, we have barely scratched the surface.

7. The Future. As a high school teacher, I can tell you the younger generation reads manga. Some speculate that when these kids mature they will turn to more sophisticated American comics. I would argue that when these kids grow up they will turn to more sophisticated manga. I don't see them switching over. They have too many options on their side to need American comics.

8. The Enjoyment. This reason is anecdotal, but one worth sharing. It's also the reason that scares me the most. I was reading Pluto by Urasawa. It occurred to me I was having more fun reading this book than any recent American comic book. Same with Death Note and all the other manga books I listed above. I'm enjoying manga more. Sad to say, I'm laboring through my unread pile of American comics. Sure, there are some great ones here and there. Nothing mind blowing. Maybe I'm in a funk? Maybe we're all stuck on the great works of comic book past? What's next? These Marvel and DC crossover events are dreadful. Indie comics are sluggish too. (Dang. I am not going to make any friends with this blog post, am I? I apologizee.) I need entertainment in my entertainment. The American comics are failing me.

To be optimistic, I could say that both manga and American comics will live together in peace -- but they won't. If the American industry continues on its path (monopolized distribution, lack of diversity, no long-term financial investment in talented artists), there will be a steady decline. We will be happy with readership in the hundreds and thousands, the occasional Hollywood film option. Manga will continue to rise. I can predict right now that manga will make an easier transition to the Kindle and other digital readers.

What's an American to do?

My advice is to dabble. There are profound cultural differences between America and Japan. Differences that made manga strong and American comics always floundering on the brink of obscurity. We can't reproduce the results by immediately copying their methods. However, if we look at the historical development of manga, we could learn a few things. American comic book creators could start dabbling in manga. Experimenting here and there. I know I am. Not for superficial reasons, but because I love some of these damn Japanese comics, and I believe I can compete with them. The success of Scott Pilgrim is due to the talent of Bryan Lee O'Malley. Oni Press should be applauded for championing someone so influenced by manga. Mainstream publishers need to see manga as something more than an art style. Marvel and DC need to diversity their line of genres. We need smaller publishers to get a larger market share. Publishing models like SHONEN JUMP magazine should be explored in earnest. OEL manga needs to improve -- good solid original stories and no more leaning on licensed property OEL like Ghostbusters and Star Trek. Artists need a good salary, good benefits, and an intern or two.

I realize I'm not a scholar on this issue. I sound like a johnny-come-lately. Please post your comments. Give me some hard facts if my assumptions are wrong or misguided. Disagree with me. I still adore American comics, but adapt or die. Those are our options.

NUKING CYLONS FOR FUN AND PROFIT

I wrote this a week ago, and forgot to post:

When the series finale to Battlestar Galactica aired two weeks ago, I was worried when everyone started twittering and blogging their resentment at how it ended. I don't watch the show when it first airs; I watch it on DVD, and I didn't want anything spoiled. So I rushed through the Season Four, Part 1 on DVD -- and then downloaded the remaining episodes from iTunes. Thus, at around 1 AM, I finished Battlestar. In true hypocritical form, now that I've seen it, I feel perfectly okay with blogging about it myself. I would recommend not reading this blog post until you've seen it yourself. (Josh Howard also has a good commentary on the finale.)

I'll admit when someone tells you "You need to watch Battlestar Galactica," the last thing you want to do is watch something called "Battlestar Galactica." I can't think of a more geeky pairing of words. Fans, step back and listen to yourself: "Battle. Star. Galactica." This is the burden we bear: great series, geeky name. In contrast, the show's concept is very cool. Humanity has been wiped out by robots (aka cylons), and the surviving remnant of the human race is looking for a new place to call home, while being chased by the cylon forces. Add to it some interesting scenarios: A prominent scientist, a traitor responsible for naively giving important security codes to the cylons, is among the survivors. Many of the cylons look like humans, and can live among the humans undetected. The education secretary, by way of constitutional succession, is now the President. She's also dying of cancer. The fleet is protected by a recently retired "battlestar" vessel where most of our main characters live. What I like best about this series is the procedural stuff, i.e. how are they going to survive out in space, produce food, find fuel, rebuild the government, manage the balance of power between the military and the government, deal with unruly citizens, religious zealots, mutiny, and a host of other social issues associated with people trying to survive on a journey. Think Noah's ark, Moses and the Israelites wandering in the desert, the Trail of Tears, and Grapes of Wrath. Battlestar Galactica never strayed too far from its original premise. Something I cannot say about another show that I love, namely LOST. In the first season of LOST, they were continually worried about hunting for food, building shelters, fishing, and scavenging for supplies. As of LOST's fifth season, these people are not too concerned about hunting wild boar or basic health issues. I miss that. The second best thing about Battlestar Galactica is that the stakes were always insanely high. People died, often -- men, women, and children. They were always on the verge of their entire civilization being wiped out. There was always a new crisis to deal with. Even something as simple as food and water rationing had me absolutely entranced. The third best thing about Battlestar Galactica is the emphasis on military procedure, terminology, chain of command, etc. It feels more like a documentary about life on an aircraft carrier than science fiction.

That's not to say the series was flawless from beginning to end. If I could play "guest writer" to the series, I'd recommend a few changes:

* Laura Roslin's cancer. It's a great subplot, but that whole hybrid-blood-transfusion thing as a cure for her cancer was dumb. You wrote yourself into a corner by giving her a deadline (literally). You wanted to keep her around, and this transfusion was a convenient way to do that. Then of course, the cancer came back. I would've gone without a deadline, and make her cancer's progression move slower.

* The Starbuck/Apollo love affair. Thank the gods the writers were smart enough to move away from this storyline in season four. It was annoying. I could've lived without it.

* Dr. Gaius Baltar, a great character, but his role shifted around too much. Scientist, president, convict, revolutionary, banished to live among the cylons, and messiah -- I would prefer a more focused approach to this character as a corrupt soul searching for redemption. Gaius the Revolutionary was most engaging. Also, the Number Six in his head. It was cool in season one, but it got a little nutty after awhile -- especially with Caprica Six dealing with a Gaius in her head.

* Too much mutiny. The mutiny in season four, led by Felix Gaeta, was easily the coolest thing to happen in the series. However, we've had too much deception within the fleet, too much going against William Adama's direct orders, and then everything being forgiven. It becomes a bit of a pattern. Galen Tyrol has made a career out of royally messing up the fleet, especially in season four. It was a little much. Boomer needs to kidnap Hera? He's your guy. Nice truce between human and cylon? Tyrol chokes Tory Foster to death, and ruins it, which turned out in their favor. (Tyrol seems to have issues with violence against women. End of season two? He viciously attacks poor crazy Cally.)

* Not enough of the good stuff. The Felix Gaeta mutiny could've gone on for a few more episodes. It resolved a little too quickly. Likewise, their cylon occupation on New Caprica, that could've lasted much longer. It was exciting, and it didn't last.

* The relationship between Colonel Tigh and Caprica Six, what was the purpose? It did nothing. We could've skipped that without much lost.

These personal gripes are still minor within an otherwise flawless TV show. Let's get to the finale. I loved it. The rescue of Hera was a heroic moment to unite the fleet after the crushing disappointment of a scorched Earth. It was no surprise that the "New Earth" would be our planet, but primitive. I could've done without forwarding thousands of years to the present -- seemed a little forced. Scott Kurtz's PvP had a good response. Other than that, I felt the finale tied up loose ends, offered a few surprises, and had a good pay off for the fans. Maybe a little rushed, I would love another episode or two of them settling Earth, but it would've been anti-climatic.

From The Onion: "Obama Depressed, Distant Since 'Battlestar Galactica' Finale"

IN DEFENSE OF ALAN MOORE

Despite the subject line, Alan Moore doesn't need anyone to defend him. Moore speaks his own ideas and opinions clearly. Unlike Andy Warhol or Salvador Dali, there's little need to spend your time interpreting what he's all about. Moore is fairly what-you-see-is-what-you-get. However, last Friday, Paul Milligan and I got into a friendly debate/discussion/bar fight over recent statements made by Alan Moore. The argument could be broken down into basic point/counter point. Paul: "Alan Moore is a genius, but he's a douchebag." Me: "Alan Moore is a genius. He is not a douchebag."

The douchebag camp presents two bits of evidence (1) Alan Moore makes anti-American statements even though the American comic book industry helped launch his career. (2) Alan Moore willingly accepts Hollywood's money, then he continually complains about Hollywood.

The non-douchebag camp (me) offers this in response: (1) From interviews on Fanboy Radio, Indie Spinner Rack, and various ones throughout YouTube, he comes across as a kind-hearted, even fatherly, individual. (2) I really want to believe he's not a douchebag.

I'll admit the friendly debate did not go my way. It ended with me plugging my ears and saying, "La, la, la, I'm not listening. La, la, la" until Paul gave up. Now that I've had a few days to think on it, I'd like to elaborate.

Concerning the anti-American statement:

"And I wonder—perhaps this is being too simplistic, I don't know, but I wonder if the root of the emergence of the superhero in American culture might have something to do with a kind of an ingrained American reluctance to engage in confrontation without massive tactical superiority. I mean—does the term 7/7 mean anything to you at all?

During the 7/7 bombings over here, it was announced a couple days later that as soon as the first two trains had gone up, all of the American forces that were in London were recalled to safe distance outside the M24 orbital motorway. After a few days, when they realized that it was safe to go back into London, they realized also that it looked kind of bad, sort of rushing out of the capital at the first sign of any trouble when the main reason for the bombing was England's support of America in the Iraq war.

It does seem to me that massive tactical superiority might be a key to the superhero phenomenon. That, if it's a military situation, then you've got carpet bombing from altitude, which is kind of the equivalent of having come from Krypton as a baby and to have gained unusual strength and the ability to fly because of Earth's lesser gravity. I don't know, that may be a simplistic interpretation, but that's the way I tend to see superheroes today."

In another interview (cited here), he says...

"America has an inordinate fondness for the unfair fight. That’s why I believe guns are so popular in America – because you can ambush people, you can shoot them in the back, you can behave in a very cowardly fashion. Friendly fire, or as we call it everywhere else in the world, American fire."

Alan Moore admits his own understanding may be too simplistic, and he does have a legitimate complaint about the 7/7 bombings.

I'd be the first to point out that if we're digging through America's culture and history, we could just as easily point a finger at our paternal origins, the British Empire. Massive tactical superiority? (ahem) We learned it from watching you.

But this isn't really the point, I don't want to debate the cultural impact of our military history. The issue is Alan Moore's critique of America. But why focus on the statement he made to WIRED? What about the statement he made with Watchmen itself? Watchmen is one huge frickin' critique of America. Why should the interview make him a douchebag, but the comic book make him a genius? While we're at it, Huckleberry Finn is a critique of America, so is Grapes of Wrath, Crucible, and the Great Gatsby.

A critique doesn't automatically make him anti-American or a douchebag. It makes him a writer with an opinion. To dub him "anti-American" is too broad a stroke. Unless we can quote him as saying something a little more hostile, I see his statements as pretty standard from any politically-minded European.

What about his apparent hatred of American-based publisher DC? Is he showing douchebag levels of ingratitude? I'd say it's okay for him to hold a grudge. From always reliable Wikipedia:

Moore says he left DC in 1989 due to the language in his contracts for Watchmen and his V for Vendetta series with artist David Lloyd. Moore felt the reversion clauses were ultimately meaningless, because DC did not intend to let the publications go out of print. He told The New York Times in 2006, "I said, 'Fair enough,' [...] 'You have managed to successfully swindle me, and so I will never work for you again.'"

Of course, when Jim Lee sold Wildstorm to DC, Alan Moore was working for DC again whether he liked it or not.

To his credit, he loves Top Shelf.

I guess whenever someone achieves his level of acclaim we expect them to be so gosh darn grateful. All the time. Isn't that why people love the Oscars? To see successful people gush their humble appreciation for every single person who ever helped them along.

The Hollywood issue. The argument goes like this: if you directly or indirectly benefit from Hollywood, you have little room to complain. It's hypocritical. Here's a quote from Alan Moore:

"Originally I was content to just simply accept the money, that was offered when people had adapted my comic books into films. Eventually I decided to refuse to accept any of the money for the films, and to ask if my name could be taken off of them, so that I no longer had to endure the embarrasment of seeing my work travested in this manner. The first film that they made of my work was 'From Hell' Which was an adaptation of my 'Jack the Ripper' narrative... In which they replaced my gruff Dorset police constable with Johhny Depp's Absinthe-swigging dandy. The next film to be made from one of my books was the regrettable 'League of Extraordinary Gentlemen'... Where the only resemblance it had to my book was a similar title. The most recent film that they have made of mine is apparently this new 'V for Vendetta' movie which was probably the final straw between me and Hollywood. They were written to be impossible to reproduce in terms of cinema, and so why not leave them simply as a comic in the way that they were intended to be. And if you are going to make them into films, please try to make them into better ones, than the ones I have been cursed with thus far." - From the BBC2 show The Culture Show (9 March 2006)

I don't know. I can sympathize with Moore. I have little interest in Hollywood. If I wanted to be part of the movie industry, I'd write a screenplay, but instead I write comic book scripts. Still, if a producer offered me money, I'd probably take it. From one standpoint, it can't take away from what I've done with the comic -- but then again, if it's League of Extraordinary Gentlemen, it might feel like a slap in the face to have them ignore so much of the source material. These Hollywood types are always convinced they know how to best adapt a comic book or novel. In the case of a comic book writer, it's not just you turning down or accepting the option check from Hollywood. You have a publisher, and you have an artist -- both with gaping mouths, wanting to be fed. The pressure to say "yes" must be tremendous. He got his money. He requested his name be removed from the credits. If he wants to complain about a movie, why not? Just because you vote a guy into office, doesn't mean you have to agree with everything he does.

Is Alan Moore a douchebag? Maybe this blog did more to prove Paul's point than mine? ("La, la, la, not listening...") I call it THE LENNON FACTOR. John Lennon was a genius. He was quirky and outspoken. He had an awesome beard. He's also been accused of being a douchebag. However, in my heart of hearts, I think it's too easy to label him as such.

Paul, we may have to agree to disagree on this one, especially if you're right.

THOUGHTS ON IVERSE

Boom! Studios through iVerse Comic Reader Software made Hexed #1 available on the Google phone. I downloaded it out of curiosity, even though I already bought the comic. After trying the program, I've decided I don't mind reading comics on my phone. Using the touch screen to move the panel along is nice. The graphics look good. It reads easily. With all the things I like, my main complaint is a big one: I want a general iVerse application icon that when selected would list the comics I've downloaded. I don't want an individual icon for every comic download. You can see the problem. With an mp3 player on my phone, I don't have thousands of songs scattered throughout the phone's application listing.

My other complain might be a deal breaker. Yes, I like reading comics on my phone, but I don't like reading an entire 24 page comic on my phone. I need short stories. 8 to 12 pages. The content needs to adapt to the medium. Posting stories from anthologies like PopGun, Flight, MySpace Presents Dark Horse, Postcards et cetera would be much better than reading of all Hexed #1 or the Complete Bone.

iVerse doesn't want to be in the business of producing original content, but I think creating iVerse-specific (and exclusive) comics would be an improvement.

MY GOOGLE PHONE

Last Friday, I bought a Google phone (G1). I was able to renew my two year contract. Also, I had a $120 credit. Both helped to make the phone fall within my price range. The monthly plan will be about $25 more than what I normally pay, which includes unlimited internet access. If I cut a few impulse buys here and there, it won't affect my budget too much.

People have asked how it compares to the iPhone, and that's a difficult question to answer. I've had a chance to play with both.

From what I've observed, it's easier to pick up a G1 and know what to do. With the iPhone, you need to get a feel for how the touch screen works, how to type, move around, etc. With the G1, I like the QWERTY keyboard. Although, I prefer the iPhone having no movable parts. Stuff that slides and flips worries me; it only increases the possibility of damage. The touch screen on the G1 makes the roller ball unnecessary. If I wanted a Blackberry, I'd get a Blackberry. The battery life is crap for both phones. At least with the G1, the battery is replaceable. You can add memory to the G1, which I will need to do eventually.

The G1 requires Wifi access to download Amazon mp3's, which is a pain. (The Amazon mp3 site? Not bad at all.) Those Tmobile/AT&T hotspots are not nearly as hassle free as they should be. Fortunately, I have Wifi at home. I opted for the G1, in part, because I already have an iPod. I don't need another. I'd give the advantage to the iPhone for screen size and mp3 player, but I can live with that.

The G1 fits in your pocket easier than the iPhone, and feels better in your hand. This stuff matters.

Obviously, my gmail addiction is satisfied on the G1. The G1 Android operating system is open source, which allows for developers to create more programs for the phone. In this area, though, iPhone and G1 seem equal. Both have nifty applications.

The latest iPhone may still be superior, but the G1 isn't very far behind -- and for what I need, it's the best phone for me. How's that for diplomatic?

MY THOUGHTS ON DIAMOND’S NEW POLICIES

Indy Comic News asked me and a few other independent creators for our opinion on Diamond's new policies. (If you are unfamiliar with the changes in distribution, read here.) The Beat also pulled my quote on the matter.

"The new policies will certainly affect which publishers I work with in the future. I'm very grateful for the opportunities I had with Viper Comics and Silent Devil. It was a great place to start. However, I'm concerned that such 'smaller' small press companies won't be featured in the catalog, and that's a shame. These companies take greater risks on new talent, and our industry needs that. At the same time, my graphic novels received slightly more pre-orders through Baker & Taylor than through Diamond.

That means, the regular book stores carried more copies of my work than the comic book stores. We did some promotion in the direct market, and none with the book store market. It's hard to justify being in the Previews catalog if the comic book retailers aren't ordering much beyond Marvel, DC, Dark Horse, IDW, Boom!, and Image. I don't fault them. The retailers have their reasons, and they know their market. It might be better to go straight to Baker & Taylor, and then directly solicit to the handful of indie-friendly comic book stores like Zeus, Austin Books, Titan, Star Clipper, Isotope, Rocketship, and Meltdown. I don't know if that would work. We need a business model to give the comic retailers access to the little guys.

For me, I need to start looking at other more established small press companies to publish the kind of stories I tell. I'm not too worried (maybe a little), but I'm concerned for the newest wave of up-and-comers. If I was them, I'd be at a real loss on where to go."

I understand Diamond's desire to make a distinction between "small press" (wiki) and something that amounts to a "vanity press" (wiki). In a bad economy, they want to feature only those publishers who have sales that justify placement in their catalog. The monthly Previews catalog can get too large to be useful to a retailer. There should be another way to allow retailers the final choice on what they want in their store. Indie comics can have their market, small but still profitable. Your thoughts?

FROM SOMEONE WHO ATTENDED WWTX EVERY... SINGLE... YEAR

It looks like Wizard World Texas has been canceled (click here or here or here).

Oh well.

While in theory it should be disappointing that Wizard World Texas couldn't continue, I'm not really that concerned. It's hardly the only convention in town or even the best. Also, try explaining the name "Wizard World" to someone outside the comic book industry. I feel like a loser trying. It's a dumb and confusing name.

Dallas Comic Con has run a great show for several years now. Well before WWTX invaded. DCC is locally owned and operated. They are friendlier to small time comic book creators. Where a booth at WWTX might cost $300, I've always been an honored guest at DCC without having to pay for a table. No matter how insignificant I may be, they promote me. Wizard World Texas charged $50(?) for a weekend pass. DCC charges only $10. Not to mention, DCC has consistently better media guests -- Bruce Campbell, Carrie Fischer, Billy Dee Williams, Jake Lloyd, Sean Astin, Michael Keaton, Alan Tudyk, Adam Baldwin, Jewel Staite, Ron Glass, Robia LaMorte, and Iyari Limon. There are more. I just can't remember them off the top of my head. Who does WWTX bring every year without fail? Lou Ferrigno. The problem with Wizard World Texas, from what I've heard, is that it looks like every other Wizard World convention. It doesn't change. I feel like I'm in a time warp attending the exact same event over and over again, but with fewer people each year.

I haven't even mentioned CAPE yet. Free booths for anyone and everyone (!), free admission, and consistently much better comic book guests than WWTX -- Mark Waid, Gail Simone, David Mack, Robert Kirkman, Bryan Hitch, Chynna Clugston, Jamie S. Rich, Marc Andreyko, Dave Crosland, Jim Mahfood, Scott Kurtz, and on. It's a more family friendly event. So between these two events (or the awesomeness that is STAPLE), how does Wizard World even compete?

Because it's Wizard, I guess. Because Wizard has this odd monopoly on the hearts and minds of comic fans.

With WWTX gone, I would make two suggestions:

(1) Comic book fans, creators, and retailers need to stand behind the Dallas Comic Con. It benefits everyone locally to have a strong convention that will bring in people from around the area, even better if we can get people to drive down and stay the weekend at a nearby hotel.

(2) Online sources like CBR, Newsarama, and The Beat need to cover this event. Somehow, Dallas Comic Con gets lost. We exist, dammit!

The real thing that everyone wants to know: Will the annual cook-out and house party live on? But of course.

LIBRARIES BETTER THAN PUBLIC STORAGE?

I was listening to the Diane Rehm Show on KERA. Topic was the role of libraries in economic hard times. It got me thinking, and I wanted to bounce an idea off some people.

Problem: I'm running out of shelf space for my graphic novels, and every week I keep buying more. In class, we're reading Thoreau, and his admonition to "simplify, simplify" led me to a possible solution.

Donate all my graphic novels to the nearby library. I've heard some people put their massive comic book collection in public storage. The library is certainly cheaper, and it would give me the opportunity to share my books with others. I could visit my books whenever I want. Bonus: If I could convince others to do it, I expand the number of graphic novels I have access to. Possible drawbacks: (1) Library may not take all my books. Sometimes they get diverted to a book sale, and now they're gone. (2) I will have to assume a few will get lost, stolen, and damaged. (3) The library may take my books, but they may not keep them for as long as I would. I'm afraid they might throw them away to make way for other books. (4) I can't access the books on a whim. It's 2 AM. I'm bored, and I want to flip through chapter 10 of FROM HELL. (5) If I move, I've lost my books.

I don't think it would work unless I went all in. To some degree, I need to get over my sentimental attachment. I read them. I keep them. And now, I have no room for anything else. How often do I re-read comics anyways? Sometimes, sure, but enough to justify permanent archival? This way, I'm just moving them down the street. The moving issue wouldn't affect me for a few years. With Kennedy and Melissa in Arlington, I'm locked into this zip code. I have about 14 years before Kennedy is college bound.

What are your thoughts? Am I crazy? Is it just crazy enough to work? I don't know. If any of you have a library background or experience, I would love your thoughts.

YEAH, WHAT HE SAID.

(via Newsarama blog and Gaiman's journal)

"...I hope you will have a wonderful year, that you’ll dream dangerously and outrageously, that you’ll make something that didn’t exist before you made it, that you will be loved and that you will be liked, and that you will have people to love and to like in return. And, most importantly (because I think there should be more kindness and more wisdom in the world right now), that you will, when you need to be, be wise, and that you will always be kind." - Neil Gaiman

YOU'LL HAVE THAT! FINALE

Happy New Year!

I wanted to post something short and sweet to say congratulations to Wes Molebash on his finale to You'll Have That. Well done, Wes. I know it was hard to end the comic after four years, but I look forward to your next online creation to debut in February. Thank you for sharing your friendship and your talent.

In other news: April and I just got back from our trip to Wisconsin. Photos posted on Flickr.

COLLECTION OF MY ONLINE ESSAYS (1999 to 2007)

This archive is more for my own benefit. I've been writing online since 1999, and I thought it'd be good to post the links of everything in one place. Before I started writing comics, in college, I wrote for Next-Wave. It's a web magazine that examines the intersection between church and culture. The site design has much improved since that first installment. Some of these early essays make me cringe a little bit. I can see the shift in my understanding of things. There's a lot of youthful restlessness, several false steps and a few grand ideas. I could spend a long time analyzing why I no longer write about faith issues, and I don't know if it would lead anywhere. It wasn't where I was supposed to be. Fact is I'm at my happiest when writing a comic script, and hey, "follow your bliss."

Next-Wave (from April 1999 to September 2002)

Who's afraid of the big bad... anyone? anyone?
The next new thing... bored with being "postmod"?
Ask Constantine: You fight the system. You become the system.
Front page fallen: The news media informs America on how to grieve
Control Alt Delete: Rebooting the Purpose-driven church
You don't know me
The Industry of Cool
Cracker: How multi-cultural is the postmodern church? Really.
Consumer-Friendly Postmodern Cool
Impressionistic Theology: Painting God with Color, A Possible Approach to Postmodern Doctrine
Sacred Distractions: Concerning the Art of the Spoken Word
Running to stand still: How does the church catch its breath? Part 2
Running to stand still: How does the church catch its breath? Part 1
Marked by God: Experiencing divine connection through skin art
Postcards from Cyberspace: Online addiction may distract us from our Gospel mission
The ABCs of Ministry in the 21st Century
Francis Schaeffer: The Last Great Modern Theologian and the reason why I have a goatee
The God of Chaos Theory: Some thoughts from the movie "Pi"
The Deception of the X-treme church
Schindler's Regret: A call to love a friend arrested for murder
Everything I ever needed to know for ministry, I learned from ... MTV?
The Church Finds Its Pulse: Understanding the significance of a drum beat in worship
Superman is Dead: No More "Hero-for-Hire" Clergy

Monkhouse Blog (April 2002 to November 2004)

Antihero Comics Blog (August 2003 to Present)

Weekly column for Fanboy Radio (not archived)

Pop Syndicate (July 2006 to March 2007)

Don't Think Twice. It's All Right.
The STAPLE! Interviews, part 8: Rob Osborne
The STAPLE! Interviews, part 7: Will Rodriguez
The STAPLE! Interviews, part 6: David Crosland
The STAPLE! Interviews, part 5: Kristian Donaldson
The STAPLE! Interviews, part 4: Chris Nicholas
The STAPLE! Interviews, part 3: Danielle Corsetto
The STAPLE! Interviews, part 2: Dean Haspiel
The STAPLE! Interviews, part 1: David DeGrand
From Geek to Freak to Emergency Room
The Lonely Genius
The Cover Price, Part Two of Two
The Cover Price, Part One of Two
Internet Killed the Comic Book Star
Joining a Fan Club
Interviewing My Friends, Part 4: Josh Howard
Interviewing My Friends, Part 3: Brent Schoonover
Interviewing My Friends, Part 2: Wes Molebash
Interviewing My Friends, Part 1: Scott Hinze
A Critical Look at the Critics, part three of three
A Critical Look at the Critics, part two of three
A Critical Look at the Critics, part one of three
24 hours vs. 10 years
The It List, Part Five of Five
The It List, Part Four of Five
The It List, Part Three of Five
Do It for the Diva
The It List, Part Two of Five
The It List, Part One of Five
In Defense of Mr. Nice Guy
The Inconvenient Graphic Novel
Gray Horses and Salamander Dreams
Eisner Awards Preview
Uncompromised, inadequately compensated
Everything that has nothing to do with Marvel or DC

ON CIVIL DISOBEDIENCE

In my English III class, we're studying the work on Henry David Thoreau. I opened class with these five quotes. The last quote I included as an interesting contrast.

"What country can preserve its liberties if its rulers are not warned from time to time that their people preserve the spirit of resistance?" - Thomas Jefferson

"The spirit of resistance to government is so valuable on certain occasions, that I wish it to be always kept alive. It will often be exercised when wrong, but better so than not to be exercised at all. I like a little rebellion now and then." - Thomas Jefferson

"Every generation needs a new revolution." - Thomas Jefferson

"While some people think that dissent is unpatriotic, I would argue that dissent is the highest form of patriotism. In fact, if patriotism means being true to the principles for which your country is supposed to stand, then certainly the right to dissent is one of those principles. And if we're exercising that right to dissent, it's a patriotic act." - Howard Zinn

"Honestly, I think we should just trust our president in every decision that he makes and we should just support that, you know, and be faithful in what happens." - Britney Spears

Fortunately, Miss Spears, our U.S. Constitution does not agree with you. You wonder why students are often at the front lines of every protest? Blame teachers and Thoreau.