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

HAPPY BIRTHDAY ME

I'm 32 today, and it feels good. My life in boring summation: Financially, things are still difficult, but it's getting better. I can see the end of the tunnel to my mountain of debt (intentional mixed metaphor). If things go well, I can be completely free of credit card debt and my car payments by the end of the year. I'm setting an ambitious goal to write full time by 2014, even if only for a few years. I'm certainly further along in my writing than when I first started. The short stories for PopGun Vol. 3 and 4, plus Oni's roller derby anthology are nice, but I'm anxious to get more full length graphic novels published. ASTRONAUT DAD, FRONTIER, and HOW TO LOSE BIG have my attention right now. After that, I can focus on some other projects. I was thinking about maybe taking a year to write a novel or screenplay. No ideas yet, but while waiting for the comics to hit the shelves (hopefully) it might be good to try my hand at other media. Our comic at D Magazine is in regular rotation. Next one is in June. I should probably get more magazine writing assignments to pay the bills, but it hasn't been a priority. It'd be helpful to have a regular gig with a magazine -- reviews, a column, something, even if the pay is minimal.

April, Kennedy, and I went to Putt-Putt last night. I had a great time. Kennedy had fun chasing the ball around. Very simple. My kind of birthday.

So yeah, things are good. Nothing new to report really. I'm trying this post-to-my-blog-via-email thing for the first time. We'll see how it works. (UPDATE: It didn't work.)

THE NASA DISCOUNT AND NEW EMILY EDISON

Thanks to everyone who stopped by "Art 'N Go" on Saturday for the Oak Cliff Art Walk. Apparently, ASTRONAUT DAD sold very well. I got the message loud and clear: You like my comics, but you'd prefer buying them when I'm not the one behind the table. That's cool. A big thank you to Photopol for organizing such a great event. (And thank you Rozie for the tomato plants.)

photo by Ange Fitzgerald
In other news, this week, April and I are driving to Houston for Comicpalooza. Still on the guest list, so I assume they want me. I've lived in Texas almost my entire life, and I've been to Houston... twice? It'll be good to take my comics to a new city. If anyone from NASA comes to the convention, you can have ASTRONAUT DAD for free.

Also, Brock Rizy re-designed his website, BEEow.com. Keep visiting, because he plans to load some original content on a regular basis -- including a brand new (!) EMILY EDISON short story and pages from OH NO POGO, the quirky comic within HOW TO LOSE BIG.

Lastly, John Gonzales re-designed his website, DiabloTexas.com. I especially love the concept art and painting sections. Beautiful stuff.

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.

OAK CLIFF ART CRAWL

This Saturday, April 25th from 4 PM to 9 PM, will be the first ever OAK CLIFF ART CRAWL. It will take place in various venues throughout Oak Cliff -- Art 'N Go, Bishop Arts Studio Co-Op, Charley Mitcherson's Studio, Decorazon, Ice House Cultural Center, Soda Gallery (!), Texas Theater, The Cube Creative, Mighty Fine Arts, and 9th Street Townhomes.

I will be one of the happy contributors.

It isn't official, but I'm fairly certain I will be set up at the 9th Street Townhomes. This will be quite convenient, since Escalator Maintenance Society, Drawn By Jaymz, and Shibboleth will be performing there as well. (**UPDATE** Actually, I will be at Art 'N Go on 407A N. Tyler Street. I'll be there with my friend Tania Kaufmann. For a complete list on where the artists will be, click here.) Art-minded people of Dallas and Fort Worth, I'd highly recommend coming to this event.

More information: oakcliffartcrawl.com

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"

MOST FAVORED RETAILER STATUS

The signing on Wednesday went very well. Zeus Comics ordered 12 copies of PopGun Vol. 3, and we sold all 12 copies in one day. They will order some more. I also sold a few of my other books, and Zeus was happy to reorder and resupply. So, yes, go to Zeus and they have all my stuff. Their support falls into the beautiful category of "above and beyond." Richard, Barry, I hope you realize how incredible you are.

(Diplomatic fun fact: Other retailers have also been very cool. Titan keeps a good stock. They might be one of the few places where you can still find KARMA INCORPORATED #1. Jeremy is one of the nicer guys in the business, and my daughter loves playing in the kid's area. Madness Comics in Denton hosted a wonderful Free Comic Book Day signing last year with me, Brian Denham, and Robin Gillespie. Austin Books is a mecca for anyone who loves independent and small press comics. I've seen Lone Star Comics carry copies of EMILY EDISON and ASTRONAUT DAD in their local section. Outside of Texas, Speeding Bullet in Norman, OK and Astrokitty Comics in Lawrence, KS have been a home away from home. It sounds cheesy, but I miss those guys. Maybe a dumb idea, but I want to print an official looking certificate for "Most Favored Retailer Status In Support of Me," framed and presented to such indie-friendly stores. Thoughts?)

Many thanks to John Gonzales for creating those sketch bookmarks the night before. We were hanging out at Amsterdam Bar and John walked over with some card stock, a tiny papercutter, his pencils, and he said, "We're making some bookmarks!" The next day, anyone who bought a copy of PopGun, also got a free bookmark. How could they say no? I have some awesome friends.

See the enthusiasm? (photos posted on my Flickr)

Evan Bryce posted some unlettered pages from "The Heist and The Heart Attack" on his blog (click here). The story will be in PopGun Vol. 4. I wrote it as a continuation/prequel to "50 Miles to Marfa" in Vol. 3. It works. I think. If there is a Vol. 5 and I'm fortunate enough to be part of it, I have an idea for a third and final segment to complete the trilogy.

In other randomness: I saw this great review of ASTRONAUT DAD posted on Pop Syndicate. Ken Lowery sent me an email about it a year ago, but I can't remember if I ever posted it online.

POPGUN AND MISCELLANEOUS UPDATES

Tomorrow, PopGun Vol. 3 will be in stores. The anthology features my story "50 Miles to Marfa" (on page 311), illustrated by Dan Warner. These short stories are good opportunities to work with artists who might otherwise be too busy with their own projects, and it was a real thrill to collaborate with Dan. I hope I might be able to work with him again sometime in the future.

If you live in the Dallas/Fort Worth area, I'm signing copies of PopGun at Zeus Comics (more info).

I tried to print some spiffy bookmarks for the event, but apparently "Overnight Prints" is a misleading business name. Sure, they'll print them overnight, but that doesn't mean they'll ship it to you the next day. Why should I even pay for 2 Day Air, when they are so slow to process the order?

With no spiffy bookmarks, I'm open to suggestions for anything to make the signing fun (because obviously nothing says F-U-N like bookmarks).

In other anthology news, Melissa and I wrote a short story for Oni's JAM! TALES FROM THE DERBY GIRLS, which was officially accepted. We're waiting to hear from Editor Jill about which artist we'll be partnered with. And the short story "The Heist and the Heart Attack" (my continuation of "50 Miles to Marfa") is finished, story and art. It will be in PopGun Vol. 4.

Some non-anthology updates...

ASTRONAUT DAD - Brent is finishing the last chapter. Everything will be completed by the end of May. Yes, it looks awesome. The story will make you cry. More news to follow.

KARMA INCORPORATED - Some cool Hollywood stuff going on, but nothing I can talk about. It's frustrating, because if I told you, you'd say: "Wow. David. That's really cool." Instead, you know nothing.

EMILY EDISON - Likewise, cool Hollywood-ish stuff I can't talk about. Brock and I are making plans for an EMILY EDISON 2, but it's a long way off. Sorry.

FRONTIER - Anyone who pays close attention to my blog knows this story has been around for awhile. I have a great artist attached, Michael Shelfer. He's finishing the pencils to our proposal, and keeps teasing me that he'll send them soon. (The anticipation is killing me. Michael, you are killing me.) Michael is one of those guys where I found an instant connection. Like Brock, Tom, Paul, or Brent, I see this as the beginning of a great ongoing writer/artist partnership. Already, he's sending me ideas for another story.

HOW TO LOSE BIG - We're getting closer to a completed proposal. It's looking good.

MARGARET MILBY MYSTERIES - Tom Kurzanski and I are still developing this one. It's a series of short "reader-solves-it" mysteries for a younger audience. Margaret Milby is a fun character. I'd love to tell you more about her, but I won't.

FANBOY RADIO INDIE SHOW

The Indie Show returns to Fanboy Radio (listen here). FbR stopped producing the pre-recorded Wednesday episodes, so this is our first "live" version.

In this rowdy and content-filled hour of FbR, David and Scott speak to a crowd of indie comic creators Sina Grace creator of ‘Books with Pictures’ & ‘Cedric Hollows in Dial M for Magic,’ Len Wallace of ‘Love Buzz,’ Kevin Hanna from ‘Frogchildren Studios,’ Aaron Thomas Nelson of ‘Marlow’ & Mike Dawson of ‘Freddie and Me.’

Next time, we'll probably have fewer guests. It felt a little rushed, but it was still a fun hour. I also noticed that Scott yells more during live shows.

APRIL FOOLS

Thank you to everyone who participated in my little Twitter joke. The premise: "Send me a reply tweet & tell me 'Congrats!' or 'Good job!' etc. Be vague. If people ask what's up, say nothing."

Everyone who participated:
@seanjackson Awesome job buddy!
@thoughtbrain I'm so happy for you, congrats!!
@D_MacPherson Congrats, my friend! This is fabulous news!
@ccuellar Congratulations!
@carissa That's awesome!
@kenlowery Oh man, huge news! Good job, and pack extra socks!
@LenNWallace You go, you!
@FarfisaLovie High five! Congrats!
@jamarnicholas YO THAT'S AMAZING NEWS! Congrats!
@Clay_Harrison Congrats!
@dcorsetto Hey man, nice job!! I'm really excited for you!
@JasonCopland Congratulations, man! Awesome news, indeed!
@superleezard Congrats man, that is awesome!
@scotthinze Nice work, brother.
@fanboyvideo Great job man, AWESOME!!!!!
@BrianDenham DUDE! I just heard the good news! Congrats!
@kodychamberlain Wow, that's HUGE NEWS! Had no idea you were working with him on that. Keep me posted on the progress.
@SCederlund Congrats. That's the best news I've heard all day.
@amboy00 That's incredible! Serious congrats. I will be waiting for the net to explode from the news of your success.
@Lea_Hernandez Holy SHIT, David! Why didn't you tell me? CONGRATS!
@Lea_Hernandez "We'll get your shit together, use our contacts, and BOOM! you are solid gold!" What's so hard about that?
@schmeschme Wow, that's huge! Very impressive,sir!
@richjohnston congrats!
@marcmason That's phenomenal! Congrats!

More than a few people were confused. Score. Honestly, this positive energy was so nice, I almost forgot I didn't do anything.

BELOVED WRITER, ME

Since there will be no CAPE this year in Dallas, I'm going to Comicpalooza in Houston for Free Comic Book Day. I just mailed my artist alley application.

We have to write our own bios for the convention website. I tend to be a straight forward bio person: "David wrote this, this, and this. He won this award and this one. He teaches English and Creative Writing. He lives in Arlington with his daughter."

On guest section of their website, it's amusing to read inflated phrases like "critically acclaimed" (used three times), "is quickly developing into a comic creator worth watching," and "a writer to keep your eye on." All awards are "prestigious awards." All work is "distinctive." Someone is "famous for his stunning work" on whatever. One person's career is "amazing," and another person created "legendary" characters.

I think I'm going to be "beloved" in my bio. That sounds nice.

IT'S A DALLAS THING

It's that time again. Paul Milligan and I have our comic SOUVENIR OF DALLAS featured in the April 2009 issue of D Magazine. This one is titled "Lost in Victory Park." (click here)

The new D Magazine website now makes the print content more readily available. I recommend taking time to browse through and read some of the great writing. I particularly like:

The Spectacularly Incompetent Bonnie & Clyde by Jeff Guinn
Evangelical Bodybuilders Saved My Son's Soul by Tim Rogers
Don’t Bum Rush the Bushes: How not to get shot by the Secret Service and other tips for living with an ex-president by Trey Garrison

Yesterday, I emailed my editors about the June issue. If the topic is approved, it will be... interesting. More information coming soon.

THIS WEEKEND IN COMIC-FRIENDLY DALLAS

It's a good weekend for people who like comics.

First, Zeus Comics is having a 35% off Spring Break Madness sale through March 24th. This sale applies to all toys, statues, back issues, and graphic novels, basically everything except new release comics. These discounts are also available through their online store.

Second, on Friday, the DMA's Late Night Art Bytes session will focus on comic books and technology. It's an open mic event of sorts, a forum for tech savvy creators to share their work with peers and the community. Each presenter receives a few minutes to show their work and engage in a short question-and-answer session. The event coordinator Dan Langendorf invited me to share, along with Kristian Donaldson, Jake Ekiss, Matthew Warlick, and Vinh-Luan Luu. I don't know what I'm going to share yet. Maybe how it takes 1,000 emails to create ASTRONAUT DAD?

Dallas Museum of Art - Tech Lab, Center for Creative Connections
1717 N. Harwood St. Dallas, TX 75201
9:30 - 10:30 p.m
$10 General Admission (parking not included)

General admission is for the DMA's Late Night event (which includes Art Bytes). If you haven't been before, well worth it. However, I'd recommend not parking at the DMA. There's a parking garage nearby that is much cheaper. Or if you're willing to drive around to find a meter, and walk the few blocks, that would be the best way to go.

Third, on Saturday, Heroes4Heroes and ArtLoveMagic will host a night of live art and music at Poor David's Pub. Artists will have original art and prints for sale at the show. Featured artists will be Mitch Breitweiser (Captain America, Hulk, Fantastic Four) and Eric 'Ebas' Basaldua (Witchblade/Devi, Darkness, Tomb Raider).

Heroes4Heroes Live Art Show
Poor David's Pub
1313 South Lamar St., Dallas, Texas 75215
7:00pm - 11:00pm
$5 at the door (parking not included)

All money earned will benefit Heroes4Heroes, a non-profit organization that provides comics, DVDs, and other portable media to U.S. soldiers stationed around the world.

ON THE OTHER HAND

My last post didn't completely sit well with me. I read it, and read it again. Something felt off. I absolutely agree with everything I wrote, but the tone and my enthusiasm to defend my college degree was slightly misguided. Let me add two more ideas for balance:

(1) Like with relationships, writing requires hard work, but if it's only hard work, something is wrong. Study and develop your craft, but there is an element to writing that can't be studied or quantified. Look at Shakespeare. For hundreds of years, scholars have tried to pick apart Shakespeare to understand what made him so good. Genuine passion, wit, humor, drama, how do you quantify such things? There is a zen quality to people who master their craft, who love what they do. It can't be fully explained. To quote Kung Fu Panda: "There is no secret ingredient." Yes, I did reference Shakespeare and Kung Fu Panda in this paragraph. Bonus points.

(2) Love. "If you are going to dedicate your life to writing, then it should require a lifetime of work." It should also require a lifetime of love. I'm not afraid of that word. Couples dance around the word like it's an indictment on their better judgment. Love. Love. Love. Love. You shouldn't be afraid to love. You should write because you love it. There is no need to explain or justify that love. You love seeing the right combination of words, the right moment with a character or a decision he or she has to make. You love seeing a story move and take shape. A jealous love. A love that endures all things.

There you go. I'm completely fascinated, bi-polar, and nutty about the writing process.

BEGIN WHERE MATISSE BEGAN

A few nights ago, April and I were reading the most recent issue of American Artist magazine. On pages 58-59, we came across a section that resonated with both of us in our respective creative fields. Article by Daniel Grant on the work of Ben Aronson:

Although he was diligent about producing his own art on the side, Aronson had a hard time marketing his work. Galleries initially weren't interested and many university art departments turned him down for teaching positions. Traditional skills and traditional subjects were becoming more the exception than the rule at a growing number of art schools, replaced by an emphasis on theory and new media. "I think I was passed over because what I brought to the table was, in many cases, an indictment of what those schools' programs were about," Aronson observes.

"There were a lot of cutting-edge art happening, and students didn't want to hear that it was going to take years to learn how to draw. I hear aspiring painters say, 'I'm beginning where Matisse left off,' and I often suggest to them, 'Maybe you'd do well to begin where Matisse began.' There are fundamental things that don't change with style and time. I think it's important to rephrase the timeless and universal objectives of art using your own voice and style. You find students who went through an art-school experience that was more like recess -- and perhaps had a wonderful time but didn't really learn anything -- coming out of those programs with huge student loans and not even the basic training to take illustration jobs to help them pay back those loans. It has done a lot of art students a tremendous disservice."

I'm fortunate that in college I took a variety of writing classes. I learned technical writing, journalistic writing, and creative writing. I took classes in modern grammar and linguistics. I read the ELEMENTS OF STYLE (Strunk and White) and ON WRITING WELL (Zinsser) as if it were holy scripture. I had professors go line by line, terrorizing my work with a red pen. My department head told me I was taking too many writing classes. (He wanted me to add more literature to my degree plan.) When I started writing comics, I pursued it with the same care. The ghosts of my English professors scrutinized every script. It's not necessary to have a college degree to be a writer, but it still may take years to learn how to write. There are fundamentals, timeless and universal objectives. If you are going to dedicate your life to writing, then it should require a lifetime of work.

I'm certainly not where I want to be, still searching for my voice and continually in awe of other writers.

WATCHMEN TALK ON FANBOY RADIO

A new episode of Fanboy Radio is available (click here, #505).

Scott, Oliver, and I saw WATCHMEN, and we have opinions. Callers also have opinions. Opinions are flying everywhere. Listen for yourself. SPOILER HEAVY.

STAPLE REPORT

I need to say something about STAPLE. This past weekend, April and I packed the car and drove to Austin -- in part to celebrate April's birthday with some of her old cohorts, but also to participate in the 5th annual STAPLE! Independent Media Expo. I'm five for five. (previous reports: year one, year two, year three, year four) I asked April what I should comment on. She replied:

"You could say that Jeffrey Brown was there and your girlfriend has a crush on him? Because he is a beardy, self-deprecating Midwesterner? Your table was in a better location this year? There should be better promotion of the event? The djs at the Live Art event were awesome?"

Thanks April. I think. Okay, Jeffrey Brown. Apparently, my girlfriend has a crush on him. I should have seen it coming. Last year at STAPLE, I bought April a few Jeffrey Brown books. She read and enjoyed them. I've been trying to get April hooked on comics, and he seems to be her gateway drug. In keeping with tradition, I bought another (LITTLE THINGS) this year. Jeffrey signed it for her. He's a nice guy. We certainly need more super star indie/alternative/small press guests at STAPLE. James Kochalka, Scott Morse, Andy Runton, Matt Kindt, Derek Kirk Kim, Alex Robinson, Jamie S. Rich, Chynna Clugston, Christine Norrie, Brian Lee O'Malley, Hope Larson, Raina Telgemeier, Dave Roman -- where are you?

My table was in a good location, right across from Top Shelf. I also sold more books this year than ever before. I was a little worried, since I didn't have anything new, except for the mini-comic MINE ALL MINE. However, everything sold well, comics and graphic novels alike. I also handed out fliers to promote POPGUN VOL. 3. To anyone I met in Austin, if you're visiting my site for the first time, please post a comment and say "hello." Everyone was friendly. With table fees, gas, food expenses, etc. I have yet to break even, but with more people reading my work and a chance to share a table with Paul Milligan, I'm content.

In general, I'd give this year a big thumbs up. Of course, those who sit behind the booth always have opinions on how to make it better. Not that Uncle Staple is asking for my input, but I'll give it all the same. STAPLE needs more advertising. I'm sure those in charge would reply with "we're doing everything possible." Just like every person behind the steering wheel is convinced they are a good driver, every event organizer is convinced they've done "everything possible" with advertising. And yet, in Austin? An event like STAPLE should have three times as many attendees. Would a billboard make a difference? More posters? More postcards? A more active street team? A radio ad? A full page ad in the Austin Chronicle? Promotional coupons at Waterloo and Book People? With increased advertising costs, it pains me to say, they should charge about $5 more for next year's booths. The cost of admission has held steady at $5 for five years, it needs to be $10. That extra money should go directly to advertising. Maybe include a short film festival or a live band, and you've got something to justify the price increase. I have a great amount of respect for Uncle Staple. My advice is my own. Take it or leave it.

STAPLE has the best live art shows. This year was particularly fun. The hip hop group (name escapes me) was a nice addition. The DJ's were insanely good, even if it was a little loud for my aging ears. The Red 7 venue was great. As far as the art goes, some folks are better at these events than others. Artists like Jim Mahfood and Dave Crosland, with some style and personality, are particularly well suited for these events. Nick Derington, Kristian Donaldson, and Evan Bryce shined, but I may be biased.

Other reports on STAPLE:
Evan Bryce | Dead Squirrel Girl | Dylan Edwards | Allee | Jake Ekiss | Vinh-Luan Luu | Randy Lander

Photo sets:
frankturro | Vinh-Luan Luu | antihero comics | Nate Bramble | John Sitton | Toby Craig

Video:
TexasGeekTV

OAK CLIFF PEOPLE AND WATCHMEN

If you're not tired of WATCHMEN or me talking about Alan Moore, here's a discussion Josh Rose, the fellows at Boomstick Comics, and I participated in for Oak Cliff People newspaper: What is it About Watchmen?

It was a good conversation. Although, at times, I wish they didn't transcribe it word for word. Then you'd avoid quotable gems like this:

"There’s a weird sort of, like, power, like sexual power over the predator type of thing."

Really? Did I say that?