HOW TO MAKE FRIENDS AND EDIT PEOPLE

You can either write comic book reviews or you can write comic books, but you can't do both. Being a critic requires honesty, while being a comic book writer requires pretending to like everyone and everything they do. You shouldn't burn bridges as a comic book writer. However, a comic book critic must give a fair accounting of a book's merit... bridges be damned. Especially in comics, where everyone knows everyone, being a critic just isn't a wise course to making friends. I try my best to simply spotlight the comics I love. That said. I just read Adrian Tomine's SCENES FROM AN IMPENDING MARRIAGE. And I really want to give you a review of this book. Alas, I cannot. So instead, I'd like to share with you what the back of the book says:

You are cordially invited to witness the hilarious true story of one couple's long march to the altar. Best known for his cover illustrations for The New Yorker and for the critically-acclaimed graphic novel Shortcomings, Adrian Tomine now opens the pages of his private sketchbook to reveal a witty, intimate account of the heady months prior to getting married. Through a series of comic vignettes, Tomine captures the amusing, taxing, and often absurd process of planning a wedding, as well as the peculiar characters and situations that he and his fiancee encounter along the way. Filled with incisive humor, keen observations, and unabashed tenderness, Scenes from an Impending Marriage is a sweet-natured document of the little moments leading up to the big day.

Pretty nice, huh? Now, I would like to show you how I would edit this text to more accurately represent the book:

You are invited to witness the true story of one couple's long march to the altar. Best known for his cover illustrations for The New Yorker and for the critically-acclaimed graphic novel Shortcomings, Adrian Tomine now opens the pages of his private sketchbook to reveal an account of the months prior to getting married. Through a series of vignettes, Tomine captures the process of planning a wedding, as well as the characters and situations that he and his fiancee encounter along the way. Scenes from an Impending Marriage is a document of the little moments leading up to the big day.

Thank you.

DIGITAL COMICS

Before you read my post, it's absolutely required that you read this interview with Diamond Distributor's Dave Bowen. He talks candidly about the iVerse/Diamond partnership to sell digital comics and "digital plus" comics through brick-and-mortar shops. It's a long interview, but for anyone who writes, draws, or publishes comics -- it's essential that we are able to follow these new developments. Now my thoughts...

Whatever criticisms I've had about Diamond in the past are gone now. I'm very optimistic about this model, and Diamond's approach seems to be well-reasoned, researched, and well-timed. Diamond understands their role in shaping the industry, and they are open to adapting and changing as needed.

In the comments section of the Beat interview, Charles Knight says that no one will stand in line for a digital comic voucher when they can cut out the middle man and buy it directly on their iPad. "It's like attaching horses to the front of a car." A fascinating simile, but I think the market for this model are customers who already go to the shops. It's not seeking to add customers, but maintain a base that may shift to digital and leave the brick-and-mortar stores behind. Dave Bowen says, "We want retailers to have a way to use this method instead of being innocent bystanders." That's the key. It will allow stores to participate in the process. It has been used at Game Stop and Best Buy. The scale won't be the same, but Diamond has no illusions about that.

"If you are running a good relationship-based business, digital comics can’t affect you in any significant way." Another important point. We're not only fans of comics; we're fans of particular stores. When I started buying comics again after a long hiatus, I loved hanging out and talking with the guy behind the counter at Lone Star Comics (South Arlington location). Heck, I would buy comics I hadn't originally planned to read -- just because the store manager spoke so highly of it. Digital in-store comics might be great for regulars who want to "check out" a new comic, but aren't willing to pay full price for a physical copy. This bodes well for independent and small press creators. We allow retailers to "take risks" with our books through the digital marketplace. If we sell well, it should increase the orders for physical copies as well.

It may be frustrating to some that this iVerse/Diamond partnership isn't targeting the millions of potential readers who never set foot in the store. Future models for digital distribution will come, especially if this present model is even moderately successful. From my perspective, those "millions of potential readers" are just that: potential. They don't exist yet. Those creators who have been successful with digital comics in the past, via direct Internet sales, are creators who have already been successful in the stores. (Can anyone think of a digital comic that was successful without already having creators who made a name for themselves in the industry? I'm sure there are examples, but I don't know if there are enough to render brick-and-mortar stores obsolete.) How do we reach those "millions of potential readers"? I have my own theories. I used to think: it's so easy, if everyone would just do what I'm suggesting! But now? I'm less arrogant. There's no easy solution. Since that audience doesn't exist yet, it might be better to refocus our attention on what can be done in the current marketplace -- while still dabbling with direct Internet sales. I'm certainly not opposed to direct Internet sales. (More information coming soon on that front.)

A few other statements that caught my attention...

"I do agree with the assessment that digital comics are the new newsstand. I agree largely because I’m hopeful that it’s true because the old newsstand certainly does not work in terms of driving people or creating new readers. It hasn’t worked for a long time." It's true, but it's a sad truth. Success stories are isolated. Many stores fail. Even the best stores aren't so secure that they can survive a terrible year or two or three. Digital comics should allow for opportunities to try out and discover new comics.

"I think most large publishers right now are thinking how can I consolidate what I’m doing rather than how can I expand it." I know a lot of people are saying that iVerse/Diamond will fail because Marvel and DC aren't a part of it. I bet they will come over once they see how well it works. Large publishers will consolidate, and Diamond represents a safe and familiar place to do their consolidation.

Those are some of my thoughts. What do you think? Feel free to post in the comments section.

UPDATE: Via Twitter, Chris Williams told me they're building comicshop.net to keep retailers relevant and foster smarter business practices, including digital properties. This is great news. You can follow Chris's blog (click here), make sure to read: "It's about the EXISTING marketplace."

YOU'RE WELCOME, ARLINGTON

As you may know, Paul and I produced our last SOUVENIR OF DALLAS for D Magazine. It was featured on their Frontburner blog -- right here. (Fear not. I'm still contributing to D Magazine. In the March issue, I have a feature. You will hear more about it soon.) In the comic, I took this shot at my town: "Does this train stop in Arlington?" "No, they don't believe in mass transit. It's a strange mysterious creature... that helps people commute." This jab refers to the fact that Arlington is the largest city in America without public transportation. Despite the fact that we have a huge commuter population, despite the fact that the geography of the Dallas/Fort Worth area makes it ideal for rail transportation, and that a bus system would make things much easier to connect Arlington, and even though the mayor and almost every council member wants public transportation, the same vocal minority continues to vote down proposals for such an improvement to our growing city. Good times. Why the resistance to public transportation? In part, it's an irrational fear of any tax whatsoever. Believe me, I like low taxes. However, not all taxes are created equal; some public programs have benefits that far outweigh the expense. When you avoid the most straightforward approach to fund a successful program with tactics that avoid a tax, you may create something ineffectual and wasteful (i.e., state lottery to fund public education, what?). I've heard some weak reasoning about public transportation bringing "a certain element" to our fair town, i.e., poor people. I'm sorry to break it to the fearful citizens, but we already have poor people in Arlington. They would benefit from public transportation. And that would help improve all of Arlington. Ideally, when poor people can travel to their jobs, they can make money, save money, and (ta-da) pay their taxes. Yes, hurt and offended middle class, poor people pay taxes too. I could go on a rant about how we've turned poverty into a moral failing, and how some people feel the liberty to punish the poor for their situation (doesn't seem very Christian, does it?), but I'll save my crazy ideas for another day. I also think some Arlington citizens are in denial. Arlington went from a modest suburb located conveniently between Fort Worth and Dallas to being a major city in its own right. We need to start behaving like a city. The problems that major cities face will come to us whether we like it or not, but we are in wonderful position to anticipate these problems -- and avoid them where possible. Cities suffer when they ignore the needs of its citizens.

I also write for QUICK -- right here. Instead of our regularly scheduled WE'VE NEVER MET, we created a special two-page "Welcome to Dallas" feature for next Thursday. It's in anticipation of the Superbowl. Geoff Johnston and I, along with our fearless editor Rob Clark, wrote the feature. My artistic collaborator and personal hero Chad Thomas submitted the final art last night. It looks incredible. Suitable for framing. And yes, I take one or two playful jabs at Arlington.

You're welcome.

I should say that I love Arlington. I love living here, and I ardently defend our city to those who still think we're just a place to keep their sports teams and amusement parks. We need to develop our downtown, support locally-owned businesses (you must eat here). We need public transportation. We need to develop our local arts and pub/club scene. The Highlands needs a frickin' parking garage. We need to push the planned bike routes into action. We need UTA to be acknowledged as the tier one school that it is. We need to support the GMC plant and its workers. All of this (except the parking garage) adds up to one thing: Arlington needs to discover its identity as a major city. Fort Worth did it years ago with its investment in Sundance Square and the Museum District, and with its undying support of TCU and the young professionals who live there. We shouldn't simply "follow the formula" and create something artificial. It's about championing the things that Arlington already possesses and focus on the needs of our people. Obviously, this rant is long on ambition and short on actual plans. Blogs are good for that. None of my rambling is too earth shattering. However, I felt the need to tell Arlington: I complain, because I care.

NO MORE WIZARD

I remember the last issue of Dazzler (#42). Across the top, it read: "Because you demanded it... the last issue of the Dazzler!" If I were the writer of that series, I'd be pissed. Because you demanded it? Ouch. In some ways, I feel a similar mixed sympathy towards the print version of Wizard Magazine. With all due respect to the employees, I sorta wanted this to happen. In the words of one twitter post by Steve Mohundro: "I'm sad for the employees, but no love lost from me if Wizard magazine is actually folding. Not the best face for the art form or industry." I have many friends and colleagues who have benefited greatly from the support of Wizard. However, I always felt like Wizard represented the very aspects of our industry I was most embarrassed by -- misogynistic, myopic, and moronic. Wizard championed big events and big companies. The few times they did offer page space to indie comics, they weren't really "discovering" anything. They were spotlighting the obvious hits, filed under "well duh." The magazine's role in "comics journalism" was also deferred to more capable hands on the Internet. For example, Rich Johnston at BleedingCool.com and Heidi MacDonald at ComicsBeat.com, both did more investigative reporting than Wizard ever attempted.

It's a shame Wizard couldn't be more. And yet, it's hard to fault them. They were trying to sell magazines. If I were them, I'd probably also load it with Wolverine and Megan Fox as much as possible.

I understand that many people could come up with examples that refute my own criticism -- and by all means, feel free to comment and respond. I promise I won't get argumentative. I realize that Wizard did, at times, have moments of brilliance. Wizard's overall trend is well known. As comics began to get smarter, as the readership got older, they failed to adapt. Maybe I just lament their poor branding? Wizard. Have you ever heard a more terrible name for a magazine about the COMIC BOOK INDUSTRY? Instead of faulting them, maybe I should instead be upset that their occasional competition could never pose a real threat?

The magazine is one thing. The conventions were problematic too. I never appreciated how they attempted to overthrow locally-owned conventions by scheduling their shows so close. Business is business, but it's dirty and you lost my respect as a result. Even when I attended Wizard World Texas (in Arlington), they could never compete with the guests of the Dallas Comic Con or CAPE. Both conventions were also more friendly to indie creators.

More than anything, I'm upset to discover how they treated their employees. I mean, sure, I might be a real jerk about your magazine -- but these people spent years of their life trying to make your magazine (talking to you, Gareb Shamus) work. They deserved better.

I see a theme emerging: Wizard's great failing was a failure of respect -- to comics fans, to non-mainstream publishers, to convention goers, to their own employees.

This post is worth reading, and I'll end with it: click here

PRIORITIES AND LEARNING TO SAY NO

One of the benefits of my hiatus (click here if you forgot) is that it's caused me to re-prioritize a lot of the projects I've been working on. I have the unfortunate tendency to say yes a lot. However, if I'm going to survive as a writer, I need to cut down on the work I accept. Leaner, meaner. In another week or so, I should be able to post what my plans are for the next year. It's been good for me to reevaluate.

Okay, that's it. Nothing much to add.

LOSS TO LONGEVITY RATIO

Quote that Lindsay Graham shared with me:

"Pere Ubu is not now nor has it ever been a viable commercial venture. We won't sleep on floors, we won't tour endlessly and we're embarrassed by self-promotion. Add to that a laissez-faire attitude to the mechanics of career advancement and a demanding artistic agenda and you've got a recipe for real failure. That has been our one significant success to this date: we are the longest-lasting, most disastrous commercial outfit to ever appear in rock 'n' roll. No one can come close to matching our loss to longevity ratio."

Also in a somewhat unrelated matter, I'm working on new stuff for WE'VE NEVER MET. Very excited about it.

EVERYTHING I HATE

Everything I hate about Hollywood and the comic book industry in one convenient email (sent to me earlier today). Here's a link to the website.

Having Trouble Selling Your Script?

Learn How to Write and Produce a Comic Book That Will Capture Hollywood’s Attention!

Comic books are red hot in Hollywood now. Numerous blockbuster movies including Sin City, 300, Road to Perdition, Wanted, and Hellboy started out as indie comic books.

With its combination of words and visuals in one attractive package, a comic book can be a great sales tool when pitching your project to movie studios and producers because it’s easier for these busy professionals to see beforehand what the movie will look like.

Today, it is much easier to sell a graphic novel than a spec script. With a comic book in hand, you separate yourself from the huge crowd of new screenwriters that only have a spec script to peddle. Studios are looking for pre-branded properties with an existing fan base. You need to build an audience and generate buzz prior to submitting your project to producers or film financiers. And comic books are a great, low-cost starting point to develop your story world.

Writer Martin Shapiro (Chopper, Lair of the Fox) will take you inside the comic book industry and teach you everything you need to know to get started, including how to:

Hire a good artist Lay out the panels for maximum impact Construct the visual elements like a film director Create vibrant character designs Color the pages like a cinematographer Do speech balloons Self-publish the book on a tight budget Distribute your book to bookstores Produce an iPhone and iPad version of the book Market your product via the web and conventions Submit your book to agents and movie producers Using a creator-owned comic book as a case study, the instructor will demonstrate the tools and skills necessary to create strong, cinematic artwork that brings your script to life. We’ll also discuss the potential pitfalls faced by beginners that can severely hamper a project. Most of this insider information is NOT available in books or online.

Date: Saturday, October 2, 2010 Time: 1:00 pm – 5:00 pm Location: The Writers Store in Burbank Instructor: Martin Shapiro Prerequisites: None

Seating is limited. Enroll today for only $79!

Teacher Bio: Martin Shapiro is an award-winning WGA screenwriter and producer. He created the horror comic book series Chopper and co-founded Night Owl Comics. His action-thriller screenplay Lair of the Fox was sold to Ilya Salkind (Producer of Superman). Mr. Shapiro has written and developed projects for MGM, HBO and numerous independent production companies. He received his Master’s Degree in Screenwriting from UCLA.

Guest speakers will include the following industry pros:

Andrew Cosby is the creator of the TV series Eureka on the Sci-Fi Channel, currently in its fourth season. Andrew is also the co-founder of BOOM! Studios, a comic book publisher that currently has 7 movies in development at major studios. BOOM! has signed a deal with Disney/Pixar to produce comic books based on their properties.

David Wohl is Editor-In-Chief of Radical Publishing (publisher of Caliber, Hercules, and Freedom Formula). Previously, he was the Editor-In-Chief and President of Top Cow Productions. With over twenty years of experience in the industry, he was responsible for bringing numerous Top Cow titles to the shelves, co-creating and writing The Darkness and Witchblade, even serving as the producer of the Witchblade TV series. Radical Publishing currently has production deals with Universal Studios, New Regency, director Bryan Singer, Johnny Depp, Sam Worthington, and Wesley Snipes.

No offense to David Wohl, Andrew Cosby, or Martin Shapiro (well, maybe a little). I'm sure the workshop will be very informative. Instead, I hate hate hate the idea that Hollywood screenwriters will jump onto the comic book bandwagon in order to produce a comic in order to convince a Hollywood producer to buy their story. ("Having trouble selling your script? Learn how to write and produce a comic book that will capture Hollywood's attention!") Screw you. Seriously. You want a "pre-existing fanbase?" How about actually writing comics for the love of the medium itself?

I adore comics. If you're not serious about being a comic book writer for its own merit and reward, stick to your crappy screenplay and leave our comics alone.

To clarify, it's not that I have a problem with Hollywood screenwriters writing comics. I have a problem with them writing a comic book with the sole purpose of developing an IP ("intellectual property") for a film. Hell. If you refer to your comic book as an "IP," also, screw you.

One might argue that there's a double standard here. After all, comics have benefited (in some regards) from Hollywood's keen interest and large bank account. Why not use comics to kick start film properties? For years, publishers have released comic books based on films. Yes, but I've seen a lot of bad indie comics flood our industry because a writer had this idea he wanted to turn into a movie. It's insulting to people who take their craft seriously.

If you feel the need to defend this Hollywood corruption, feel free to post a comment. I'm in the mood for a good discussion.

SO. YEAH. AWKWARD PAUSE.

Since May, I've been on an unplanned hiatus. It's not writer's block. Writer's block is when you want to write, but can't. I just haven't been writing much. At all. I wrote an 8 page short story for a kid's project (a new collaboration with David DeGrand). And I've been writing for WE'VE NEVER MET, which appears every other week in Quick. However, besides that? Nothing. For the past seven years, my summers have been reserved for writing, writing, and more writing, but this summer was different. So what's up?

A lot of my larger projects have hit a wall. I have stuff completely illustrated (or art'd, if you're offended by me calling artists "illustrators" +), other projects completely scripted from beginning to end; I have proposals awaiting approval -- I just haven't been able to find a home for anything. I've published a few short stories, and I enjoy writing short stories. This year, I published one with Oni Press. Last year, I wrote one for PopGun 3 with Image. I have another short story with Outlaw Territories 3 (also Image). I self-published MINE ALL MINE, a collection of one-page stories, and I published a mini-comic with the local band The Happy Bullets. All this stuff is fun, but it doesn't recharge me the way that working on a larger project does.

I guess the above paragraph is excuse #1. It's not the first time I've complained about this wall, but it'll probably (hopefully) be the last time. Fact is the momentum isn't there -- and if it were, I'd be more proactive in submission process. The blame lies with me.

Excuse #2. I've been afflicted by chess lately. Some people play chess. And for others, it's a condition. As best I can surmise, it comes in an eight-year cycle. Last time was about eight years ago before I started writing comics -- and before I got engaged. Before that was in high school, after I gave up Dungeons and Dragons. Eight years before that, I was in Elementary School when my dad first taught me how to play. My current state is rather severe. I've been competing in a few USCF tournaments with mixed results. I have the U.S. Class Championships coming the first week of October, and I've signed up for the "Class D" section. Am I using chess to supplement my extra time due to excuse #1? Probably. Maybe this is research for my next comic book project? At a certain point, I need to declare my hiatus over and find a balance -- or else I'll slide into an early retirement.

Excuse #3. A lack of inspiration. I need to start something new. I've been wrestling with the same seven or eight stories for a few years now. I don't feel like I've been able to contribute anything worthwhile (or original) to this comic book industry that I love. It's been a long time since I've started from scratch with a new idea. I can tell you right now that whatever I work on next, it'll be dark and offbeat. Creatively, I just feel that in my bones. I wish I could describe it better, but sometimes you get a sense for the tone/mood before you even have the story.

Excuse #4. The season finale of LOST destroyed my faith in all that is good in the world. (Kidding.)

That's my confession. I'm on hiatus. I wish I wasn't, but I need to call it what it is. Returning to school will help me settle into a routine, and a routine is always good for writers.

IN MEMORY OF HARVEY PEKAR

Report concerning Harvey Pekar's passing "Harvey’s life’s work was in showing that the ordinary was important, and a working class existence was not a prison but a journey through the profound and beautiful that anyone could experience if they took the time. He found that beauty in simple, quotidian things and experiences that others might have found trivial or mundane, but in the end his message was that what else is there? Life as it is lived is the most precious gift of all." - Heidi MacDonald, The Beat

"Attention, attention must finally be paid to such a person." - Death of a Salesman, Act I

There's really nothing I can say that isn't better said by Heidi MacDonald in her "Remembering Harvey" post. We all knew this to be true: Harvey Pekar was an everyday normal person and he lived an extraordinary life. He showed that any life (no matter how many billion people are on the planet) can be significant and meaningful through creative pursuits, through being mindful of the events in our life.

Harvey loved to talk philosophy, art, music (jazz!), and politics. He would talk to David Letterman, to a friend, or to a complete stranger. Everyone has value. Everyone has dignity.

Here's proof: In 2005, I found Harvey's number in the phone book. I had read his comics, loved his comics, and I thought I'd give him a call. So I did. He had never met me before. I introduced myself, and I asked if he had time to talk. Harvey said he had plenty of time. We talked for about thirty minutes. The topics varied. It was a good conversation. Towards the end, I asked if he'd like to be on Fanboy Radio. We set up the interview for later that day. If I remember this correctly, during the radio interview itself, Harvey expressed his trouble with email -- and suggested if anyone needed to get in touch with him, just give him a call. Anyone. As one who loves to talk, let me say how much I value someone with a similar love for meaningful conversation.

I have a tremendous amount of respect for his work, for how he expanded the comics medium. The full potential of comics is seen, not in grandiose content or subject matter, but in the honesty of your work. Harvey was a honest writer, and that is the highest compliment you can offer to someone who puts words together.

He was an intellectual who wasn't interested in status or stature. In fact, Harvey's disdain for status and stature could have made him a target for the "outsider art" label. David Letterman (who I doubt is familiar with this classification of artist) seemed bent on making Harvey appear as an outsider artist. To make them seem too quirky to be "legitimate," and yet the snobby art community is so interested in this artist's obscurity that they charitably bestow legitimacy. It's belittling. Here's the secret that Harvey's readers were in on: Harvey was too smart for the establishment. He was in on the joke, and he knew how to handle his image. After all, it was his medium. With every pained smiled, there was a look in his eye that said, "I get it. You know I get it, but let's just play along anyways." Harvey was an incredible writer, an influential writer, an honest writer, and he will be greatly missed.

Recommended reading: OUR CANCER YEAR

Fanboy Radio, episode #258: The September 2005 Indie Show with Harvey Pekar, Jessica Abel, and Matt Madden

BAD BLOGGER

Only one post in the month of June?! Where have I been? While it's true that my summer vacation started in June, I've spent most of this month with my school district's alignment committee. We're working with the new teaching standards (TEKS) for 2010-2011 and trying to integrate them into our school year (that's the alignment part). I get a nice stipend for my efforts, and I have dodged these sort of "above and beyond my job requirement" responsibilities for long enough. Yes, I coach our Ready Writing UIL team and, yes, I am the chess club sponsor -- but these things do not encroach on my sacred summer months. This is the first time I've given up some vacation. It wasn't too bad. No offense to those of you who only get 10 days of vacation annually. We really need to get you some more time off (click here, here, and especially here).

Where else have I been? April and I watched a lot of SIX FEET UNDER. We plowed through all five seasons and loved it. I'll need to let it settle in my brain for a few more weeks, but it just might win my heart for favorite television drama. I love stories that explore family dynamics, and I try to do that in my own stories. Alan Ball is such a master. When I first saw AMERICAN BEAUTY, I had the reaction that other aspiring storytellers at my age had when they saw PULP FICTION. It's the thought: "This opens things up for me. I want do this."

Where else have I been? Honestly? Playing a lot of chess. At a certain point this year, I was driving myself crazy with comic book work. About a month ago on this blog, I wrote: "I feel like I’ve been holding my breath for the past year. The waiting is driving me a little crazy." Take that as literally as you can. I was going a little crazy, and it did feel like I couldn't breathe. I needed a diversion. So, in the grand tradition of Marcel Duchamp, I put aside my work and moved pawn to e4. I don't plan to abandon comics, but after seven years of writing comics: my brain needs a new hobby.

Okay, what about the writing? I'm still working on my regular comics with Quick and D Magazine. The next WE'VE NEVER MET will be available on July 1st. (Here's the most recent one.) The July issue of D Magazine is available. It features a new installment of SOUVENIR OF DALLAS, click here. Last week, Oni Press released JAM! TALES FROM THE WORLD OF ROLLER DERBY. Melissa and I have a story featured in that anthology. I also got the pages back from a short story I wrote for OUTLAW TERRITORY, VOL. 3. The artist Luigi Cavenago did an amazing job. A sneak peak:

From page one

From page six

Beyond that, as usual, I have projects in need of a publisher. We're waiting to hear back from a few editors.

Lately, I've had doubts about if there's even a market for the kind of stories I want to tell. That's a rant for another time, but I wonder if my odds would increase in proportion to the use of robots, rotting corpses, ninjas, nazis, pirates, pulp heroes, cowboys (see above), criminals, monkeys, and monsters -or- maybe I just need to put a sexy girl on the cover? Or center my story around a murder in Act One? I realize that's awfully egotistical to throw blame on something as cliché as "the market," but bare with me. If you've read this far, I'm assuming you're a friend. Hopefully, my orphan comics will find a good home.

In other news, my presentation for Pecha Kucha Dallas 3 went very well. I felt comfortable and witty, which is a rare thing for me. My subject was comics and creative collaborations. I suspect somebody somewhere got it on video or at least took a picture. If I find it on YouTube, I'll let you know.

Finally, for Father's Day, I produced and co-hosted a new Indie Show for Fanboy Radio (click here for the episode). The mp3 should be available soon? We interviewed Andy Ristaino and JC Vaughn. My daughter made a special appearance on the show as well.

In family news, Kennedy has had a busy June with visiting family in Indiana, family in San Antonio, and two weeks of YMCA camp. We saw Trout Fishing in America. Fun was had. April is doing well. She's busy at work, finishing some projects before switching to a new design category -- and going to the National IDSA Conference in Portland. This last weekend, she had a girl's night out with her friends Julie and Erica. On Friday, we're all going to California.

Now, I'm all caught up. Life recounted in blog form.

THOUGHTS ON LOST SERIES FINALE

Obviously, this post is SPOILER HEAVY for people who haven't seen LOST's series finale. If you haven't seen the finale, you should probably avoid the Internet today. Let me start by saying that LOST is still my favorite TV show. Even though, I fully acknowledge that LOST is not the best show on TV. That honor belongs to one of the HBO epics: The Wire, Deadwood, or maybe Six Feet Under -- better writing, better directing, better acting, and a better cohesive narrative. Yes, LOST is my favorite, we love what we love, but the finale certainly did not help.

I heard an interview on the Creative Screenwriting podcast where Damon Lindelof said there were some mysteries they did not feel obligated to answer. C.S. Lewis did not answer why the wardrobe leads to Narnia. J.K. Rowling does not need to answer why some people are magic and some are muggles. In contrast, George Lucas did explain the Force with midichlorians, and you all remember how horrific that was. So yes, I agree with Lindelof. Some questions do not need to be answered. I'm cool with that.

I'm also cool with the mythology as it exists. The Island is some vital fount/keystone/lynch pin of "life and death" in this world. Jacob must keep the Monster from leaving the island by protecting the heart of the island. The heart is a plot device you waited to introduce in one of the last episodes, but whatever. I'm cool. Heart of the island.

So what are my complaints?

#1. The final battle. The final sacrifice. The concept of a fight on the side of a cliff in the pouring rain is kinda cool -- Locke with his knife and Jack with his furious fists. However, Sayid vs. Keamy in season four and Jack vs. Ethan in season one were more exciting fights. There was more dramatic tension, and sense of "that dude has to die and this is that moment." Maybe I felt this fight was lacking, because it was a fight that was only fighting. There was no high stakes banter like Skywalker vs. Vader in EMPIRE STRIKES BACK. There was no big reveal. No sense of impeding and immediate doom for all humankind if Jack failed. And in the end? Kate shot Locke in the back. Deus Ex Machina? (A few points for her action hero worthy quip about saving a bullet.) Oh, and Jack kicked Locke off the cliff. So that was it?

It was a tad anti-climatic. Like the previous episode, I was hoping for an awesome showdown between Ben and Widmore. They certainly set it up. Then Ben just shoots him. M'kay.

We never got to see if the world really would be destroyed if the Smoke Monster escaped. Not that we needed a scene of him ravaging New York City in a Godzilla homage, but there should have been some tangible indicator of the dire consequences.

By the way, if Hurley had decided to be the candidate to replace Jacob would he have been the one fighting Locke on the cliff? I know Jacob was trying to give them a choice, but I don't think everyone was equally qualified for that role. Of course, even Hurley would have been saved by Kate-with-rifle. We hope.

Then Jack makes his final sacrifice by staying behind, saving Desmond so he could (we assume) return to Penny and his son, and putting the cork back in the hole. Here's my problem. We have too many LOST finales that involve a guy and a simple machine. Desmond turns a key. Ben pushes a donkey wheel. Juliet with a rock and a nuclear warhead. And now Jack puts the cork back. I was hoping LOST would build up to something more... exciting? Something different? Then Jack, known for his sensitive crying nature, is in a hole, crying. Again.

This sounds like I'm complaining because the show didn't end the way I wanted it to end. However, I think there's a valid argument here. The writers should have used a new idea from their finale playbook. Big fight and reset the haywire magical machine? Done and done and done. LOST has always been good at blowing minds, but there wasn't much to this one.

I did like Jack stumbling back to the bamboo field and the first scene of LOST playing in reverse. Our favorite dog Vincent lies by his side. An airplane flies overhead. Extreme close-up on Jack's eye closing, he dies. That was cool.

#2. Heaven/The Matrix. Here's my biggest gripe. The flash-sideways world is a post-death Matrix. A world they created (?) where, once they became self aware, they'd be able to meet up again for one last time. Everyone died at different times, because everyone eventually dies, but they all converged here. They all meet for a final island reunion in the after life. It's more than a little cheesy. Part of the problem is that this crucial aspect of the LOST mythology is seemingly disconnected from the Island. Was there something about the Island and it's "life/death" energies, and their proximity to this energy that allowed this world to exist for them? We'll never know. A few words from Hurley, the new Jacob, would have done a lot to explain this scenario -- or even better, an older Walt steps up to introduce his newly created world. Not a huge monologue, but a few words would have gone a long way. Jack's dad didn't quite deliver with his exposition.

At the end of season four, we knew that mysticism would ultimately trump science. Ben goes down to the Orchid Station (science). He breaks the wall and moves to a deeper mystery where we see the light and the donkey wheel (mysticism). Clearly, the writers were telling us which one will "win out" in LOST. However, even mysticism in a story must follow a framework. I feel like the Heaven/Matrix world (sans any explanation of how it's connected to the island) is a Hail Mary pass to tie up loose ends, and give one final surprise. Which, yes, I was surprised, but not in a way that contributes to the integrity and mythology of the series. Can anyone in the world live in this Heaven/Matrix world?

I do like aspects of this Matrix. Jack's son was a fabrication of his desire to be a good dad. In Jack's fantasy world, he perfectly balances family and work -- and excels about both. It's a cool thought that they find completion off island. Although, because it's "off island," I wonder why it exists at all. This is not the same thing as not explaining why the wardrobe leads to Narnia. This is like showing a second Narnia and not bothering to explain why it matters to the people in the first Narnia.

That would be rather crucial.

I'm done with my rant. For now. What are your thoughts?

SEVEN YEAR LULL

I haven't posted as frequently as I usually do. Not a lot to report. JAM! arrives in June from Oni Press. I'm still writing WE'VE NEVER MET (Quick) and SOUVENIR OF DALLAS (D Magazine), and that's going well. I have two proposals that are floating around searching for a publisher. Some might remember I had a literary agent for awhile. That was a big mistake, and it set me back about a year. It's nothing I really want to write about publicly. I finished the last segment of my 50 MILES TO MARFA three-part story. I haven't heard back from the artist yet. I've been re-writing DELTA COUNTY. There's an artist I hope will come on board for this project, but who knows? The artist for FRONTIER is busy with some other work.

So, what's a writer to do? I feel like I've been holding my breath for the past year. The waiting is driving me a little crazy. I'm getting restless. I'd love to getting something new on the shelf soon.

MY FINAL LOST THEORY

As you may know, I'm an obsessive LOST fan. Yes, I watch every episode. Yes, I listen to the Jay and Jack Lost podcast. Yes, I visit Lostpedia regularly. Yes, I own every season on DVD. Yes, I bought last week's copy of Entertainment Weekly that covered the shoot of the finale. We only have a few more episodes left, and before tonight's episode -- I decided to share my final theory. Anyone who is not a LOST geek feel free to skip to the next blog post.

Christian Shephard is Jacob. I know this isn't a new theory, but I have a new take on it. Last season, Ben killed Jacob. However, Jacob can't be killed, so instead it created a split reality: a reborn younger Jacob (as seen this season) on the island and a younger Jacob who has gone back in time off the island. The younger Jacob, exiled from the island, changed his name to Christian Shephard and became a doctor. He faked his past with a suspicious Ray Shephard acting as his dad. He would occasionally travel around and assist the Losties in their times of need -- as seen in "The Incident" episode. In the scene with Jack and the Apollo candy bar, the reality was twisted. We see Christian and Jacob, but both of them were only one person. Jack really saw his dad, not "Jacob." Christian/Jacob faked his death to return to the island and ride on Oceanic 815. I'm sure if Jack ever sees Jacob. He would notice him as how his father looked when he was younger.

Anyway, my theory is flimsy, but I'm sticking with it for a few more hours. I'm sure tonight's episode will blow it away.

KICKSTART THEIR ART

Since my exploits with Kickstarter, I've become a huge believer in their mission.  The website allows artists and other creative types to organize pledge drives as a way to fund random endeavors. Artists offer incentives at various levels of giving, which are usually quite generous. Thoughts on Kickstarter from my December 2009 interview with CBR:

I found Kickstarter.com through Jamie Tanner, very talented comic book creator of "The Aviary." He had a project on the site. I was completely enamored by Kickstarter. I spent an entire day just watching videos of people talking about things that inspired them, things they were passionate about. I could care less about circumnavigating the globe in a sailboat, but it was cool to hear someone with such enthusiasm. And hell, just try watching the LaPorte, Indiana video without getting a little choked up. Kickstarter is not for the cynical. It was a good experience for me. It's not only about raising the money; it's also about finding that supportive circle of friends and family. I was very moved by the encouragement we received. The only problem I had was collecting everyone's mailing address. (If you don't send me your address, I can't mail you your pledge rewards!)

Would I do it again? Probably not. If I did, it wouldn't be for a few years -- and only if my back was against the wall, I needed to get something in print or my life would be over. A true passion project. I mean, Kickstarter is great, but it's just that: a kick start. It's not intended to be a sustainable means of having a career in any creative field. Yes, people do get good rewards for their pledges. There is a fair exchange going on, but there still is a "hat in hand" quality to what you're doing -- and you can't keep doing that over and over again. So, Kickstarter was good, but I've had my experience and I'm probably not going to do it again. However, I will keep supporting other projects on Kickstarter.

This year, I've supported: Jamie Tanner's next graphic novel Gordon McAlpin's Multiplex Spike and Diana Nock's Poorcraft Joel Schroeder's Dear Mr. Watterson documentary Joseph Pais's RIP No. 01 Josh Elder's Reading With Pictures anthology Kody Chamberlain's SWEETS comic book series

I have one more project that I would like to recommend. Jess Smart Smiley (real name?) has a comic book called "A Map in the Dirt." It looks beautiful. Seriously, the hand lettering alone is worth your money.

Go here: http://www.kickstarter.com/projects/jess-smart-smiley/new-comic-book-by-jess-smart-smiley.

Pledge your support.

AWARDS, PRIZES, KUDOS, AND ACCOLADES

Yes, it's that time of year when people say "it's that time of year." Convention season and awards season. The Eisner ballot is now available -- and I'm very happy PopGun, Vol. 3 was nominated. For volume 3, I wrote the short story "50 Miles to Marfa" and worked with one of my favorite artists: Daniel Warner. "50 Miles to Marfa" wasn't nominated for best short story. Oh well. It's a strong story, but certainly that's a tough category. Of course, I did write in "50 Miles to Marfa" on my own ballot. That's just pride. Which leads me to the Harvey Awards.

Every year when we say "it's that time of year," comic book pundits, commentators, journalists, and bloggers kibitz about the problems inherent in the open nomination process. I'm not too concerned about it. The Harvey Award needs a system that's different from the more popular Eisners as a way to distinguish it as an award. It does lead to Alan Moore getting nominated... a lot, and a few zealous up-and-comers with friends. The Harvey Awards become a little mainstream top-heavy, and they do straddle the extremes with a few smaller names sneaking in. We miss a diversity of strong indie titles, which the Eisners and the Ignatz (that other award) are happy to snatch up. The system is the system. To quantify artistic merit through this process is subjective, political, and almost impossible.

If I were to establish a system for acknowledging excellence in the comics industry, I'd set up an annual juried-selection of titles with one grand prize, only for graphic novels/trade paperbacks. No "best writer." No "best artist." No "best cartoonist" or "best letterer from a foreign country, not Japanese." Each work would be judged as a complete work, a criterion collection for graphic novels. My friend P.J. Kryfko had a similar concept, and I probably stole the idea from him one evening when we were drinking at Amsterdam Bar. Bottom line: the award needs prestige. It needs to mean something.

Awards can be useful in validating our art to a larger market. It's important to acknowledge quality, to celebrate the life work of artists. Personally, I like the Eisners and the Harveys. Any critiques I have are minimal.

Here's my list of Harvey nominations. I apologize in advance if I forgot your comic book. It wasn't malicious. These are the ones that came to mind on March 29th when I filled it out and submitted it. My list is rather sparse and lopsided, but I figure others will mention the ones I neglected. And if I made any glaring omissions, well, that's what the comments section is for.

BEST WRITER 1. Jamie Rich - You Have Killed Me 2. Neil Kleid - The Big Kahn

BEST ARTIST 1. Joelle Jones - You Have Killed Me

BEST CARTOONIST 1. Darwyn Cook - Parker: The Hunter

BEST COLORIST 1. Justin Stewart - Mixtape Volume 3

BEST COVER ARTIST 1. Kristian Donaldson - Dr. Horrible (one shot)

MOST PROMISING NEW TALENT 1. Joelle Jones - You Have Killed Me

BEST NEW SERIES 1. Comic Book Comics - Evil Twin Comics

BEST CONTINUING OR LIMITED SERIES 1. Fear Agent - Dark Horse 2. Walking Dead - Image

BEST ANTHOLOGY 1. PopGun, Vol. 3 - Image Comics

BEST GRAPHIC ALBUM, ORIGINAL 1. Amulet, Book Two: The Stonekeeper's Curse - Scholastic Graphix 2. Stitches - W. W. Norton & Company 3. Asterios Polyp - Pantheon 4. You Have Killed Me - Oni Press

BEST GRAPHIC ALBUM, PREVIOUSLY PUBLISHED 1. Alec: The Years Have Pants - Top Shelf Productions

BEST DOMESTIC REPRINT PROJECT 1. Dread & Superficiality: Woody Allen as Comic Strip - Abrams ComicArts

BEST AMERICAN EDITION OF FOREIGN MATERIAL 1. GoGo Monster - Viz Signature 2. Pluto: Urasawa x Tezuka - Viz Signature 3. Yotsuba&! - Yen Press

BEST ONLINE COMICS WORK 1. The Loneliest Astronauts - http://www.agreeablecomics.com/loneliestastronauts 2. Freak Angels - http://www.freakangels.com

SPECIAL AWARD FOR HUMOR IN COMICS 1. Scott Kurtz - PvP

SPECIAL AWARD FOR EXCELLENCE IN PRESENTATION 1. Asterios Polyp - Pantheon

BEST ORIGINAL GRAPHIC PUBLICATION FOR YOUNGER READERS 1. Amulet, Book Two: The Stonekeeper's Curse - Scholastic Graphix 2. The New Brighton Archeological Society - Image Comics

CLASS DISCUSSION

I discussed the future of publishing with my Creative Writing students, and it turned into a wonderful conversation. We talked about the iPad, digital readers, print-on-demand options, and existing problems with the book market. My students were quite sentimental towards physical books. I indicated that reading a book is the only narrative experience where you have to hold it in order to experience it. (Maybe video games could be included?) This fact adds to the intimacy of reading. One students pointed out that you have to "take care of books." The delicate nature of paper requires us to care for them. An interesting observation.

I suggested that print-on-demand is a little like online dating. When online dating first came on the scene, it was viewed with skepticism, i.e. only for creepy people who can't get a date the "normal way." However, nowadays, online dating is accepted and maybe even preferable. Likewise, print-on-demand is seen as subordinate to "real publishing." I wager in a few years it will be more commonly accepted. Too many people cut into author's profit with traditional book publishing. Is it possible for an author to make more money selling 2,000 books that they self published than 20,000 books sold through a traditional publisher? The gatekeepers may come to understand that it's not their book -- it belongs to the author. If the Internet and e-readers can change the system of printing and distribution, power returns to the author. Editors might become freelancers, hired by the author?

None of these theories are all that groundbreaking, but it was exciting to hear my students wrestle with these issues. Any thoughts?

ZEUS THIS WEEK! EACH HELPS THE OTHER.

If you live in the Dallas/Fort Worth area, I would highly recommend going to Zeus Comics this week. According to their twitter account: "Spring Cleaning Sale at Zeus! 50% all toys, statues, back-issues and trades!" (+). It was almost two years ago that I announced my website would  exclusively use Zeus for online sales (mentioned here). They have been diligent in keeping their store stocked with my graphic novels and comics. An important part of being a small press/indie comic book writer is building strong partnerships with local retailers. It's necessary to have a store willing to champion your efforts. In turn, you support them. Projects like ONE NIGHT STAND, where we raised the funds to give complimentary copies to stores, are primarily an effort to network with more retailers. Beyond selling a few copies on a Wednesday, store signings are about getting to know the people behind the counter.

With the release of the iPad and the Marvel app (+), I wonder about the future for traditional comic book stores -- and the entire print/publication industry in general. (Commentary from Scott Kurtz) For the small press/indie creator, does Apple represent a new gatekeeper to distribution? It's not the first the "little guy" has had to work around the gatekeepers to find an audience for their art. To do this, we need allies. Our greatest allies are on the local level -- not just geographically local, but smaller communities wherever they may appear. We can't compete with the scope and reach of  larger corporations. However, can we build a core audience, smaller numbers with greater support? The key is to find opportunities that are  mutually beneficial for local stores. Each helps the other. We find our niche and stay relevant.

Will Marvel and DC remain loyal to physical retailers or will digital opportunities move their focus elsewhere? I imagine "both/and" is the most prudent approach, but I wonder if Marvel and DC (two companies who helped keep retailers in business) will be the ones to drown the direct market in order to keep themselves afloat. Any thoughts?

ERYKAH BADU'S WINDOW SEAT

I'm interested in this news story about Erykah Badu's recent video (here and here). The Dallas recording artist filmed a guerilla-style video, inspired by a Matt and Kim video, where she strips down naked in public (a great interview with Erykah about the video). The song is called "Window Seat" and she shot it at Dealey Plaza where President Kennedy was assassinated. Original Matt and Kim video

Erykah Badu's video is available on her site. Although, at the moment, it looks like she re-edited it and reversed the footage. So, now, she's putting her clothes on. That's thoughtful.

This story interests me, because it deals with the question "what is art" and yes, art as free speech. It also deals with the public's comfort level towards nudity. Is nudity always about sex? Is nudity always indecent?

I've re-posted my comments below. I apologize that they are out of context here. However, you can click on the links to fill the gaps.

On pegasusnews.com

#1. Direct link to comment

One correction: "Naked, Badu lays face-down on one of the X's in the road"

Actually, Erykah lays face down on the SIDEWALK, next to the X in the road.

I find the X in the road more offensive than Erykah's nude guerilla video (and she didn't put it there). To me, the nudity communicates artistic vulnerability -- and the location is a place where something serious has been turned into cheap entertainment. (Show of hands: How many people go down there to listen to the crazy conspiracy theorists talk?)

I'm biased. I think Dallas is lucky to have Erykah Badu. She is an artistic treasure.

#2. Direct link to comment

Yeah, that curb you see is the curb from the sidewalk to the grassy hill, not the curb before the street. She is definitely on the sidewalk -- walking where everyone else is walking. I've been there a few times. You can compare with this photo: http://3.bp.blogspot.com/_dk6QBMiEMB8...

Street vs. sidewalk. I do think it's an important distinction, because if she was lying naked in the middle of the street? That would depict her as being a little more "out there." She's bold, but I don't think she's crazy.

Re: Scott Doyle. I agree that not all nudity is art. Me taking a shower in the morning = not art. And yes, some art is for shock value. However, Erykah Badu was clearly putting together a performance piece for her music with artistic intent. You might disagree, but it doesn't change her intent.

#3 Direct link to comment

Re: Sarah, most welcome. And thank you!

So, the news team took the music video to Dealey Plaza to show people and get reactions of outrage? It's the TV news equivalent of... well... a comments section on a website except edited, selective, and pre-arranged for production. That segment is pretty weak. Pegasus News > TV News. At least, we're having a discussion.

Re: Scott Doyle. If we're asking the question "is it art?" then I'm saying that intent is a huge part of it. Not the only criteria, but certainly a huge part of it.

On dallasnews.com:

4. No direct link available (sorry)

"forced her nudity on children"

Oh geez. Blowing this out of proportion? The article said no witnesses came forward to complain. I think the children are safe. I also think little kids are less offended by nudity than some of the adults in this comments section (and you didn't see it either), but just knowing that nudity exists... it must upset you. She wasn't having sex on the grassy knoll. She wasn't running around naked and saying "boo" to all the pedestrians. It was a few seconds, and she was gone. Let's get some perspective: Your kids have possibly seen more nudity on the home computer (the one you're posting from) than they will ever see in downtown Dallas. I doubt her actions will lead to naked hippies roaming in packs through the streets.

Isn't the ideal to live somewhere that maximizes individual liberty and minimizes government intervention? And "liberty" means you may have to tolerate your wacky neighbor and her bouts of artistic expression. Just like we tolerate you and your choices.

Your thoughts? Is this artistic expression or a publicity stunt?

TAX TIME

What time? Tax time! I'm working on my taxes, and I have Turbo Tax assisting me in the effort. When Melissa and I were married, she loved doing the taxes. It was a little creepy. Of course, we had a house, a child, and neither of us made much money, so we usually got a decent-sized return... that went back to the house or the child. However, now? I still don't make a lot of money, but last year I owed. I'll probably owe again this year. I started grumbling to April about how I barely make any money and the government still wants more. April has no sympathy, and reminds me that this is the price I pay for wanting the IRS to acknowledge "comic book writer" as my second income. I made more money in 2009 as a comic book writer than ever before. And it looks like I will make even more in 2010. I calculated that I need to make 15x what I made in 2009 to be full time. (Need to get some more comics published.)

I had a question about the sacred 1099MISC form. I received one from D Magazine, but not from some of my other clients. Do you file it as if they did send you one? Otherwise, where do you put this freelance income? I posed the question to my friends on Twitter. I received quite a range of advice, all from experienced freelancers. Most names have been withheld, just because.

"There should be a place to put income that you didn't receive a tax form for. You just enter the amount & the name of the co."

"Yes, if you don't it'll come back to bite you next year. All you need is the amount, their address and tax id."

"Even w/o a 1099, you're SUPPOSED to report any amount over 500. Lots of people don't. Your call really."

"You need to contact the company to request a copy of the 1099. Hope this helps. ^C" (from @TeamTurboTax)

"yes, report the income. I think it goes in as Other Income. Sorry I can't be more specific. Haven't used turbotax in a while"

"the best tax advice i can give you is hire a pro. ill never do turbotax again"

I emailed my clients to see if they should send a 1099MISC. I figured they would know, since they run the business and such. Everyone responded that since it was less than $600 (I'm a cheap date), only income over this amount is reported to the IRS. However, since my total from all clients is more than $600, it seems like I need to report it all. Yes?

I'm calling my dad to ask him. He's an uber-genius business man.

And with Kickstarter, how do I claim the $1,156.83 I raised? Do I claim the pledges as "individual gifts"? You only have to claim gift amounts over $10,000. If I did that, am I still able to deduct the $1,200+ I spent in business expenses to print and ship those comics?

And come on, can you really claim comic books as a business expense?

This doesn't stress me nearly as much as it fascinates me. Don't worry, Mr. IRS-who-is-scanning-the-internet-for-audit-victims. I'll figure it all out.

However, I think I need to do things differently next year. First, I'm reading MY SO-CALLED FREELANCE LIFE by Michelle Goodman. I'm also going to pool some money together with other local comic book creators, and bribe a financial adviser (someone who specializes in creative freelancers?) to offer a full-day workshop to cover all this stuff. I'm sure I can find some people who'd pay to get the money issues straight. And yes, I will probably hire someone next year to do my taxes.

I'm also pondering other ways to raise money beyond the traditional writing, publishing, and selling method. Not ready to share any of those ideas yet. Still pondering.

MAKES ME SMILE

I finished reading Raina Telgemeier's SMILE a few minutes ago. My daughter and I found the softcover at Barnes&Noble. I wanted a hardcover, so I had to wait for Amazon to ship it. Yes, if I'm excited about a book, the hardcover is almost mandatory. I really enjoyed this book.

I've been a fan of Raina's work for sometime. I first met Raina at San Diego Comic Con, when I bought one of her mini-comics. And not too long after that, I interviewed her on Fanboy Radio's Indie Show. Afterward, I've bumped into Raina and her husband Dave at various conventions. I'm always excited to see what they're working on next. I loved The Baby-sitters Club. Yes, a guy can read The Baby-sitters Club. Raina is a skilled cartoonist. I've been anxiously awaiting the release of SMILE, a memoir about her experience with braces and the social drama of early teenage years.

The book refreshed my memories of that period in my life. I'm 25 days older than Raina. (Thank you, Wikipedia.) From 5th grade to 9th grade, I had braces. I had headgear. I had brackets. I had rubber bands. I had jaw surgery. I had a retainer. Around the same time Raina was suffering through her visits to the Orthodontist, I was also dealing with those god awful spacers and molds, and the Orthodontist tightening the braces until my mouth ached. I remember these events, but I think I repressed the feelings that were involved with those events. It was embarrassing, and I felt like a real nerd/oddball/weirdo/outsider, because braces *are* weird. Fact. I never felt like I could fit in with the more popular kids, and I never felt like I would have a chance asking out pretty girls to the school dance. I hated 6th, 7th, 8th, and 9th grade. However, SMILE reminded me of some fonder moments. I loved reading comics and playing D&D. I loved drawing and writing. I remember when Little Mermaid came out. Yes, it was awesome. I remember The Simpson's first season on television. I remember having a subscription to Nintendo Power. In hindsight, those years weren't too bad. It's funny that after avoiding comics in my later teen years, once I finally graduated from college and "grew up," I came back to comics and those "geeky" things I truly enjoyed. To me, SMILE is more about being okay with who you are than it has anything to do with braces.

For those smarter and more discerning comics readers, we will appreciate the subtle sublime talent of Raina. However, I'm afraid other readers may miss it. When you compare SMILE to a work like last year's highly acclaimed ASTERIOS POLYP, it may feel like these two creators are working in completely different fields. Every page of ASTERIOS POLYP seems to shout: "I. AM. A. GREAT. WORK. OF. LITERATURE. GRRR." It's good, but overwhelming. Whereas SMILE says: "Hey. I'm Raina. Let's hang out. Let me tell you about my life. Cool?" Is POLYP the superior work? Forget those high art and low art distinctions. If we judge a work of literature based on the connection it makes with an audience, my vote is with SMILE. And Raina, since I'm older than you, I'm right.