How The Comic Book Industry Gets Its Soul Back

Not too long ago I came across a video from Youtube personality Razorfist who suggested that if you are not satisfied with the superhero action in Marvel and DC comics you should embrace the pulp characters of yesteryear.

It's not a bad suggestion and I found as I have gotten older that my tastes have changed anyway.  The history of some of this exploration led me to think about how to fix the entire comic book industry.  For the purposes of finding solutions I will use three characters that are currently outside the publications of the big 2 of Marvel and DC to show what's wrong and a potential solution.  This is also limited to American comics.  Japanese and other asian comics aren't covered here because, while crossover audiences exist, that industry is crushing it and doesn't need fixing.

SHEENA QUEEN OF THE JUNGLE

This character, one of many jungle girls from the pulp era, predates DCs Wonder Woman by about six months and currently occupies an interesting space of media rights controlled by multiple entitites which makes collection of current and past material difficult to navigate.  

She's a female version of Tarzan but has her own history that makes her a compelling character by herself.  Her supporting cast is usually the one being rescued by her but her male friends are treated like equals.  Her most recent comics are a rebooted concept that brings her into the 21st century and, for the most part, does an admirable job respecting her pulp origins while modernizing it.

Unfortunately if you were attempting to collect all this into one place, you'd have to negotiate with multiple companies.  Her Golden Age material is technically public domain.  The Rebooted version is strewn across three different publishers.  The 1950s TV series is public domain and the 2002 Sony TV series is print on demand DVDs.  If you're going to get media saturation with this character, say at the level of DCs Wonder Woman, the return on investment might not be worth it.  

Keeping things in print, either physical or digital, is a Herculean task.  Diamond Distrubtion which until recently was the only game in town for comic shops is a dead platform and the irony is now that we have competition for distribution it's slowed down the very thing that keeps public interest.  The electronic or physical tpbs just aren't collected in a timely manner these days.

The independent comic space has found a solution however.  They have killed the peridoical version of the story which the Big 2 and most of the rest have continued to use.  The major comic book companies that still use the periodical method of distribution--single issues, expensive, incentive rare covers--are dying a slow death.

We need to embrace the small trade version.  96 pages minimum.  Quarterly releases.   You are getting a book, and a complete story.  Think of it as long form pulp.  The crowdfunded style independents already do this and do it very successfully..  Dynamite Comics, which publishes Sheena as well as the other two examples I will use, would benefit from this.  

VAMPIRELLA

A monster hunter with a very convoluted origin who's been around since the mid 60s has a similar problem to Sheena except all her media rights are under the same banner.  So there's no one stopping Dynamite Comics from doing this.  And the current people at the helm for her adventures would benefit enormously from keeping her past adventures in print as well as embracing the TPB quarterly to keep up with what's going on.

Christopher Priest (AKA Jim Owsley) has been in the comic book business for decades and he is very good at what he does.  Currently he is the longest serving single writer on Vampirella since her debut.  His style, unfortunately, requires a lot of re reading and he's made some deep cuts into this character's past that sometimes take a very long time to pay off especially in the current 22 page periodical format release schedule.  If there ever was a writer who would benefit the most from quarterly trade releases it's this guy.

One other benefit to the quarterly release schedule, outside of getting a complete adventure in one package, is you get consistent art across this single story.  Priests' Vampirella run complimented by Erguin Gundriz's art across about 75% of it is a great example of this.  The periodical format sometimes results in fill ins that don't always hit the mark.

RED SONJA

Red Sonja is technically writer Roy Thomas's creation from when he was writing Conan the Barbarian for Marvel Comics.  He adapted a short story from Robert E Howard called Shadow of the Vulture.  This was not a Conan short story but Thomas made it one.  Dynamite Entertainment now has the rights to this character.

I keep hammering on this one but once again this would benefit from my quarterly TPB releases idea.  Keeping this stuff consistently in print builds brand recognition.  

There is good news with the comic book industry.  The independent scene has proven that the business model can be a success if you are consistent with your releases.  Collectors will seek out the premium and the general audience will seek out the usual releases to experience the great stories they can find.  And, as for content, the market is actually saturated.  A friend once said that it is easier than ever to produce content, monetizing it is the hard part.

I have had great success in finding characters to enjoy from the pulp era.  Doc Savage leads a great team of professionals.  Dejah Thoris's adventures with John Carter from Edgar Rice Burroughs are a lot of fun.  But I still have a soft spot for some of the Marvel and DC stuff.  I'm always optimistic that I can find good things.  It just takes a little while longer to find them.

How Hollywood Can Get It's Soul Back

The following ramble, whole it focuses on Hollywood, can apply across all storytelling spaces.  As I am writing this Warner Brothers Studios is being sold off in a deal where Netflix is the frontrunner to get it.  Paramount Studios, newly owned by Skydance, is trying to aggressively stop it for themselves.  Assuming that either company will complete the deal, the results will probably turn out the same--more content for the living room and less for the big screen.  This is a problem but it exposes a deeper rot that needs to be addressed if Hollywood wants to regain its soul.  I will lay out how I think it can happen below.

A film professor I had explained the difference television and movies this way.  Movies are about an emotional experience, usually experienced collectively.  Television is inviting someone into your home to spend time with them.  Obviously there is some overlap here but the point remains.  We're going somewhere with a movie and TV involves an invitation of some kind.  

When an audience rejects a movie it's usually because the experience doesn't live up to what was promised.  Television fails because this person you've invited into your home has betrayed your trust by showing you something you didn't want to see.  I believe these are the two issues that plague this kind of storytelling at the core.  

There is a promise made when someone chooses to experience something based on what the enticement is.  Everyone has different limits to what they tolerate from their entertainment.  For example, Is this level of violence or sex appropriate for me or who I am watching this with? This introspection before the decision to experience the entertainment takes out the moral question of the work's existence.  The late Roger Ebert once said something like "A movie is not what it is about, but how it is about.". 

Solving the issue of trust between this promise of the entertainment experience the next step involves something much harder on the logistical level.  How do we pay for all this?

I have to stipulate that changing the Hollywood business model of deficit financing probably can't be changed.  If you pull on this thread you start getting into fixing things like the American tax system which is beyond the scope of this piece.  So, if we keep the current financing model how do we work within that system to get the audience to pay for it and keep it going?

You have to change how the theatrical experience works.  This is an old problem that goes back as long as I have been alive and it also involves issues of trust.  For the price of a ticket I expect to see the best quality projection of light and sound and the audience being reasonably respectful when watching the movie.  The theatre can control the technology.  They can't control the audience.  I will give you two solutions that might help with this experience.

The first is to bring back ushers.  The good theatres have people check on how the experience is going once the film proper starts and occasionally as it is going.  Ushers may have to double as security and I will acknowledge this would be difficult.  Too many audiences treat a theatre like it is their living room. 

The second solution involves the ads and trailers before a film.  Depending on where you go it ranges from 20-40 minutes.  You are not going to be able to get rid of the ads.  Move both to after the film.  They were called trailers for a reason.  They followed the entertainment.  For those that are waiting to see what is next they can chat about what they've seen and get excited about what could come next.  Theatres are meant to be a communal experience.  Let it be one.

Finally, let's address the cost of going out to a theatre.  We all know it is high and untangling this knot would have to involve reworking at minimum how long a movie can remain in the theatre as well as the percentage of ticket sales that go to the theatre versus the studio that distributed the film.  That too is beyond the scope of this piece.  But we can address production costs of the films themselves.

We'll always have quirky indie pictures and blockbusters.  What we need more of is the mid budget types.  Say 30-40 million max.  Genre pictures tend to do best here.  But even those end up with inflated budgets.  One recent example, unseen by me, very well received was Ryan Coogler's Sinners.  The trailer was fantastic. But it's budget is crippled by two wild decisions.  One is to shoot some of the film in Imax and the other is to use the same actor to play both brothers.  Imax film is very expensive and the use of one actor for two roles increases your special effects budget.  Therefore a film that could have been shot for about 30 million costs 100 million.  This gamble paid off but it could have paid off even more.  

I am an optimist and I believe Hollywood will survive merger and acquisition heaven.  Hollywood will always produce content but the line between film and TV is looking more and more blurry and this bothers me.  I also believe theatres will survive but they may not be the experience I grew up with.  If the movie theatre experience ends up looking more like live theatre, ala Broadway, I wouldn't be surprised.

When I experience any kind of story, regardless of medium I enter into a promise with the creators.  I trust that they are going to show me something new.  They may even surprise me.  And this is what keeps me optimistic about the future of entertainment.  

Reintroductions and a new purpose. Welcome!!

Somewhere in the distant past I finally decided to leap into the realm of internet published fiction through Amazon.  You'll find the links in through the website on this blog.  In the future, longer form essays that go beyond the scope of Instagram and Facebook will wind up here.    

I don't use AI to produce my writing and the cover art for the books below was made by wonderful human hands.  

More books are coming and this is only the beginning.

Why This Story Won't Die

Different authors have different ideas about what constitutes a draft of a particular tale.  Some count drafts by number of rewrites.  Others are not so exact.  Broadly speaking I think most authors would say they work in three drafts.  And it works out like this:

DRAFT 1:  Figuring out what you have and this constitutes everything from whatever is planned to the actual writing of the pages.

DRAFT 2:  Making it the best draft possible based on whatever discoveries were made in that work of draft 1.

DRAFT 3:  Bringing it before an audience and finding out if the story works for anyone else but the author.

To use film terminology, Draft 1 is the screenplay, Draft 2 is the footage shot, and Draft 3 is the final edited cut.

I'd like to show you how I grew as a writer taking a tale from Draft 1 to Draft 3.  I'll call this STORY X.  Mostly because it took approximately ten years.

DRAFT 1 came about because in two previous stories that didn't work I met two characters that I thought would make interesting friends.   I liked the spirit of one of the girls and the other fascinated me because I couldn't figure out her past.  Eventually I found a way to have them meet and put them up in a kind of modern samurai/ninja epic.  The supernatural aspect of the story was kind of wonky but I ran with it thinking it could make sense later.

DRAFT 2 was the polishing portion of it.  I tried my best to make it work by making the writing sing and making sure the dialogue was polished and it all made logical sense.  I still didn't have a sense of one of the girl's past but I kept working at it.  This story skewed young but the adults kept taking over and that's when people noticed how slow the story was moving by that point.  I didn't disagree.   It's the old adage if two or people tell you you're drunk maybe it's best to lie down.

DRAFT 3 was the toughest in that I was trying to make the world building aspect of the story make sense.  I thought I finally had this cracked in that some of the myths I was playing with got better details and I was doing my best to make sure the rules I'd set up weren't being broken.  I thought I stripped out most of the boring parts.  Then I passed the draft to a trusted reader.

And that last draft solved a lot of problems.  But my friend's reaction to that last draft made me rethink the central relationship of the story.  She could figure out why one of the girls was fascinated by her.  But she couldn't quite understand why the other one would switch sides the way she did.  Again she wasn't wrong.  Curiously she didn't have much to say about her reaction to the world and rules I'd set up.  This also forced me to take a closer look at that execution.

Now we were in the stage where we discover whether or not this story is worth saving at this point.  One point of clarification about this story taking ten years.  I have been living with these two central characters as they are now conceived for about ten years.  The actual act of writing this particular plot  was closer to 8.  And while I wrestled with other things I was writing for either assignments or my own pleasure these two characters never really left me.  And they still haven't.

There were two major things I changed based on my friend's reaction to Draft 3.  Since I wanted the focus to be mostly on these two girls I had to eliminate one character.  I also conceived of a backstory for the girl who switches sides.  Her switching sides finally made sense with the building of her past.  The supernatural agents causing the chaos in this story recruited her when she'd died.  But the era in which she lived fascinated me.  I put that on the back burner while I attempted to see where the story went when I eliminated one of the characters (made Girl 1 an only child instead of a sibling) and just ran with the friendship as part of the plot.

While I liked what I had something about the entire enterprise was bothering me.  And this went back to the world I created for this story.  There is a very real act of evil that kicks off the story but the reason for that evil are the agents that Girl 2 works for.  And this bothered me.  It took the agency off the characters when it came to taking responsibility for their own actions.  And taking responsibility for what you could do and not do to prevent these actions drives the plot of the story.

It took a long time but the world I'd set up was flawed from the start and I couldn't make this work.  This wasn't a waste of time except for maybe a few hours lost from my very patient first readers.  The characters worked.  The world didn't.  And all of this effort showed me something that made all of this effort worth it.

I am not very good at world building.  Those writers who conceive whole worlds I greatly admire and love reading them but I can't do it.  I am more fascinated by character.  This is why this particular story hasn't yet died.  I am still convinced I can use these characters in the future.

In fact, Girl 2's backstory provided a window of something I'm going to try.  It's set in 16th century Japan and if I really still want to do a samurai/ninja epic, well why not go to the source.  And the era in which the girl was alive provides a fascinating time in history in which a very real act of evil occurred.  Their response to it would drive a book's plot.  And there's no supernatural crutches to diminish the horror of it.

I figure if I can't build a world, I can simply steal it.  This will require research for the details and I think I can stick with that.

In the meantime I'd like to work on something as a kind of test.  If I really feel that character building is stronger than my world building, I have an old plot in my files that will fit this.  It's a ghost story that will have to succeed on character and atmosphere.  A slightly different challenge but I think I'm up for it.

Thanks for sticking with this post.  I'll leave you all with this caveat for any writers, published or not.  Don't ever stop.   Any time spent before a keyboard or pen/paper gets you better.
 

The Perils of Remaking Classics

I have wondered now and again when a story doesn't connect with an audience is it because of the idea behind it or in the execution of the idea.  I tend to side with the way it is executed.

Case in point is three versions of that sci fi classic The Day The Earth Stood Still.  I say three versions because the original story that inspired both film versions has a connection with the theme that all three versions share despite being separated by generations.

This theme is our reaction to being made aware of proof of the existence of extra terrestrial life and how we are judged as a species by that life.  Ultimately our response to that encounter helps us grow or, in other versions of this kind of tale, destroys us.

To start with the tale that inspired these works we have to look at Harry Bates' original tale "Farewell to the Master".  This short story involves a reporter dealing with the aftermath of an arrival of an alien ambassador protected by a robotic machine who'd been accidentally killed when first arriving.  The robot never moves while it stands sentry over the tomb put up to commemorate the event.  The reporter suspects that this robot can move and is up to something.  The story details what he finds.

Robert Wise's version of The Day The Earth Stood Still takes the broad plot of the story and tailored it to the politics of the day of Soviet era Cold War Red Scare and McCarthyism.  Scott Derrickson's version takes the same broad strokes in the plot and builds a convincing first contact scenario.  But in that scenario the reasons for the contact are about environmental destruction.

In both of these versions the ambassador is there to deliver an ultimatum to the planet.  The ambassador has an experience with a cross section of humanity and both beings are changed by that experience.  The short story is most different in that there is a sense of loss with this first contact scenario.  There isn't an ultimatum delivered.  Both films invented one for the eras in which they were made. The reporter mourns about what they could have learned from this ambassador.  I won't spoil it here but what the reporter discovers gives us hope for all.

Your mileage will vary but I think both movie versions are successful in selling their ideas.  The reasons for the ultimatum change due to changing times of course but neither lose sight of the opportunity to learn.  Missteps happen but that's what drives the plot. They are working from a scenario which is a hard sell to begin with.  You have been measured and found wanting.  Fix your problems or face the consequences.  I think both versions fail in one regard for both their messages in that they have to expressly spell out the message with speeches and then also respond with speeches.  It is very much "on the nose" as writing instructors would say.

For the evil version of this scenario check out The New Twilight Zone episode "A Small Talent For War."

In some ways I think the original story sold the idea the best by leaving out the ultimatum.  Simply mourning the loss of an opportunity to learn from another species is the greatest missed opportunity.

The Terminator and Time Travel

This summer, The Terminator is getting a reboot.  Two trailers have been released.

And boy is it a doozy.  In terms of marketing it does everything it is supposed to.  Show right out of the gate that this is new and also give away a lot.  Kyle Reese is sent back from a timeline that is broken.  Everything that presumably happened in the four other movies occurred but now has been reset to make room for this story. Your mileage will vary but I am genuinely excited for this.  It feels a bit like what the Star Trek reboot did and this is a good thing. 

The original Terminator is my favorite movie.  I didn't fully understand it when I first saw it (probably around age 10) but it stuck with me through the years and still holds up on repeat viewings.  And what keeps that viewing fresh is the love story underlying the plot.

Strip away the time travel, the apocalyptic future, the unstoppable killer cyborg and you have a story as old as fairy tales.  One lone knight protecting a princess and willing to die to protect her.  The sequel is a variation on this plot only it's a father protecting a family instead.  Too early to tell if this film will have an authentic emotional core but I want to outline below the kind of potential I see.

The Terminator film rights revert to Cameron in 2019.  Before that happens we get this film, the first of a planned trilogy.  This second trailer gave away another plot point that I wished they'd saved but like the two terminators in the sequel it was kind of hard to avoid.

John Connor has joined the machines.

I cackled with glee upon seeing that twist.   This series is going in a direction that I always thought it needed to if it would continue beyond two.  John Connor would have to die.  T3 and T4 sort of addressed this but mangled the execution.  The Sarah Connor Chronicles was heading in this direction, I think, before it got weird.

My only worry for this series is that bit about stopping judgement day from occurring.  This series now appears to be playing with quantum mechanics rules of time travel.  Alternate realities here we come.  It takes the sting out of that horribly bleak ending to the original.  Maybe Sarah and Kyle can find a reality where the missiles were never launched.

Solaris: A Saga of First Contact

Stanislaw Lem's novel Solaris is one of those novels that proves how difficult science fiction can be to adapt to other mediums.  Two filmmakers separated by a generation have taken a crack at it and both missed the point.

As a story Solaris is as simple as it gets.  A research station orbiting an alien planet experiences some trouble and a psychologist is dispatched to determine if the project should be shutdown.

What the psychologist discovers is just how alien alien contact is.  The planet Solaris has been attempting contact with manifestations of people or things from their past.  Our psychologist must attempt to understand why when his dead wife returns to him.

Both versions of the films follow this template to the letter.  Andrei Tarkovsky's 1972 version proves to be more faithful than Steven Soderburg's version in 2002.  At least in terms of whole scenes lifted verbatim from Lem's novel.  Both films emphasize a love story and that was never the point of the book.

A film professor I studied under maintained that people go to movies to experience an emotion.  I think he is correct.  Both films hang on the love story as that is probably an easier hook for an audience than anything else.  Science Fiction doesn't deal in terms of those emotions as much.  What science fiction excells at is Wonder.

And Wonder, despite the ability for filmmakers to craft any image, is seemingly hard to convey.  Lem's novel is all about Wonder.  Humans attempting to understand an alien intelligence through any means necessary and failing utterly.

All that said I don't think either of these films fail as an experience.  These are vehicles for the filmmakers own ideas that they took from Lem's novel.  Tarkovsky's version in particular seems to understand better not only why the humans misunderstand the nature of the contact.  But the planet itself seems to understand where it went wrong.

Soderberg's version deviates the most only because it follows a more Hollywood like plot structure including a third act twist to produce a villian and an action sequence.  It also only plays lip service to some of the greater ideas from the book.  I think it succeeds in making the wife a little more human than the Russian version.  It also can't hold a candle to those long philophical arguments that Tarkovsky loves.

I think what I find most curious about this is even with the original text (translated of course) and two different interpretations of the book filmed the ultimate answer is still waiting to be uncovered.  And Stanislaw Lem would probably appreciate that.