Writer Blocks - Twin Peaks and the World of David Lynch

“Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you’ve got to go deeper. Down deep, the fish are more powerful and more pure. They’re huge and abstract. And they’re very beautiful.”- David Lynch, Catching the Big Fish  

David Lynch was the first film maker whose work I sought out.  Of course I was familiar with Lucas and Spielberg and was starting to appreciate Coppola and Scorsese, but there was something about Lynch’s visual style that made me crave more.  And my introduction to Lynch was in April of 1990 - the pilot episode of Twin Peaks.



No other television show captured my imagination like Twin Peaks.  The mystery of Who Killed Laura Palmer?, the mystical and magical subplots, the quirky characters, and the “damn good coffee” all added up to an immersive viewing experience I have sought to emulate in my own writing since I was 14.  The first comic book script I ever wrote was an overt homage to my fascination with Twin Peaks, and I would often lie on my floor staring at a ceiling fan, a motif throughout the show, for inspiration.

Then there was the Red Room and the Black Lodge.  I lack the capacity to do this justice, so here’s a picture:



Once I was fully immersed into Lynch-land, I began to watch his films. The opening scene of Blue Velvet, Kyle MacLachlan finding an ant covered ear in a field of green grass, is one of the best “hooks” I have ever seen, but it was Wild at Heart, or as I call it “Elvis Goes to Oz”, that opened my eyes to what can be done in film, and by default comic books.  The straight forward narrative of two lovers on the run from a domineering mother, coupled with the pure weirdness that is Lynch imagery, forced me to realize that there are other ways to show, rather than tell, what a character was feeling.

That’s why it won Best Picture and Cannes.



The news of Twin Peaks return came at the perfect point of synchronicity.  As Special Agent Dale Cooper said:

"When two separate events occur simultaneously pertaining to the same object of inquiry we must always pay strict attention."  

Not only have I been re-watching the series, but I am also reading David Lynch’s book on meditation and creativity, Catching the Big Fish.



In this wonderful book, which I cannot recommend enough to anyone interested in expanding their creative consciousness, Lynch discusses the “ongoing narrative”, which he applied to Twin Peaks but can also apply to comic books, some of the longest ongoing narratives in our culture.  He believes the ongoing narrative, with its almost infinite timeline, allows the artist can go deeper in their exploration of character, and that is what he and Mark Frost will do in 2016 when we return to a town in the Pacific Northwest called Twin Peaks.

Next week – back to our regularly scheduled blog with Daredevil Visionaries: Frank Miller Volume 1

Like Father, Like Daughter - Indie Comic Preview

Like Father, Like Daughter: Short Fuse Media and Comic Uno Kickstart Their First Published Comic Book

OK, this is our first comic PREVIEW, and while we don't know a lot about the project, I still felt compelled to share it. I'm excited enough about what Like Father, Like Daughter is doing with Short Fuse Media that I wanted to put the word out about their Kickstarter to fund their first published comic book. I'll do my best to give you some details, but to hear it told best, watch the video from their Kickstarter below.



Full transparency here, I was turned on to Short Fuse Media because I was hired to do some writing and lettering work for a forthcoming project. I was enthralled and excited by the story that I was brought on to help tell and thus I became immediately interested in whatever else they had in the works. That is how I discovered Like Father, Like Daughter. I have no part in this project but I am equally excited about the project for two reasons. One, this will be the first published book from Short Fuse Media, and as one of my favorite unattributed quotes goes, "Comic books are like boobs. They look fine on a computer, but I'd rather hold one in my hand." (No, it wasn't Stan Lee as the Internet may have led you to believe). Two, Short Fuse Media is also giving a young creator the chance to make her comic book a reality. I think this is just plain awesome. I wish that every young creator with a story to tell could have a chance like this.

Like Father, Like Daughter is a story of a girl whose father abandons her to become the world's first superhero. This premise really intrigues me because it's a superhero story with a real world twist. We always think of superheroes as good guys when they are saving the day, but we rarely see a superhero with a family, much less the fallout that superhero status can cause for their families. Just think about the hypocrisy at play here.  A superhero who saves the world on the reg, but leaves his daughter to be raised without a father. It's a pretty heavy premise, and as far as I can tell, it's just the tip of the iceberg. Kat aka Comics Uno (also a comic book reviewer with her own YouTube show) teases that there are many twists and turns to come, but we'll just have to wait and see...

I urge everyone to consider backing this Kickstarter project because the comic is based on an idea I believe in, which is stories that can help uplift young people. Not only is the publishing of this story going to help Kat make her dream of becoming a published comic book creator, but the story itself will inspire many young people who may be in the same situation. It's rare to see a story of this nature in a superhero comic book, and I think that's a shame. In the past four years that I have grown within the comic book industry, I have met many creators who truly inspire me because of why they want to make comics. They want to tell stories that aren't being told. So many great indie creators are still on the underground level, and I really hope that in the years to come, we can help build up storytellers who have a message that can truly help people in the world. I believe that this book fits the bill. Enjoy and check out the Kickstarter campaign online here:  https://www.kickstarter.com/projects/430817454/like-father-like-daughter-1-comic-book


 

Spider-Man: A Look at the Two Movie Franchises

My experience with comic books came later in life. Instead, I grew up in the 90s glued to my TV every Saturday morning , watching the cartoon version of Spider-Man (and if I was lucky, and my mom was too busy to notice I wasn't doing my chores, I'd get to sneak X-Men in there, too). It wasn't until I was 18, perusing through a flea market stash of old comics that I realized I could actually read about the character I loved so much, instead of watching reruns I'd seen a dozen times. Who knows why it never occurred to me? Maybe I didn't know they were making new material? I really have no idea.

So forgive this late bloomer.



My love for Spider-Man is real, bordering on obsession.

So when I first heard they were making a movie about my favorite web-slinging hero, I was ecstatic. I donned my appropriate apparel, made sure all my friends, family, and acquaintances knew just how many days were left until the premiere.

Why?

Because that guy up there helped get me through my teens. A no-nothing, invisible guy gifted with special abilities he didn't ask for, just trying to do what's right. Not because of glory, or even appreciation (because he hardly ever gets it), but because it's the right thing to do and because that's who he is. When all the world, it seems, is turning to evil (I mean, seriously, practically every other scientific disaster turns into a villain), Spidey stays strong.

And without a support system. Not even his aunt knew who he really was. And isn't that what it's like to be a teen? You feel like no one, not even (maybe especially not even) your parents, get who you are anymore. And you trudge on, just trying to do what's right. And you feel invisible and unappreciated.

So how did the two movie franchises rank? Did they "get it?"



2002 saw the first installment of Spider-Man, practically riding on the heals of X-Men. It was cheesy, it was visually spectacular, it was hilarious and heartbreaking, it felt like opening a comic book. I was thrilled. Peter Parker stayed true to his no-nothing self. He waged war with his conscience and eventually broke through to become the hero millions have fallen in love with.

That's what 2002's installment did right, and I'd even include the first sequel in that. Sam Raimi "got" Peter Parker.

And then we have the third movie...and everything Sam Raimi got about Peter Parker, he totally missed on his alter-ego. Or maybe Tobey Maguire did. Somebody didn't know what was going on.

Peter Parker's alter-ego was never just a lascivious bastard who wore eyeliner and messed up his hair (while giving creepy, seriously cringe-worthy looks onscreen). He was a direct assault on everything Spider-Man had strove to become. While all the world turned evil, he fought it and continuously saved the people who refused to love him. The alter-ego was, I'd argue, Spider-Man's greatest enemy. It was the only thing that every really came close to destroying him.

For that, I give movie #3 a huge fail, which is disappointing since the first two really seemed to understand what fans were looking for.

Now let's take a look at the second franchise:



I chose these two images from the two franchises for a reason. I think both are indicative of where the stories went. The image from the 2002 movie shows Spider-Man looking off into the distance at a light shining just past his city. His arms are spread out just a little bit, open, and his body is angled toward NY, almost like he's ready to step toward it. He's the watchman, and he's alone.

Now look at the 2012 poster. Spider-Man's back is rigid, his hands and arms tense. He's not even facing his city. He's looking away and angled away from it. He's alone, but his whole stance is rebellious. He's bad-ass, not unappreciated. Or if he is unappreciated, that's not his main worry.

And I'm sorry, that's not Spider-Man.

I'm not going to pretend I liked the 2012 movie. The whole thing ticked me off. The fact that they were re-doing the series at all so close to the last one ticked me off. I'd already expended a huge amount of emotion and time to the first franchise (and I'd loved it). So I may be biassed.

I will say that though they got Peter Parker completely wrong in this movie, what with his bad boy persona that seemed more Batman than Spider-Man, they got some technicalities right. Gwen Stacy, for one. It was nice to see Parker's first love on the big screen. And I liked the angle they went with Pete's parents, which had been totally ignored in the first franchise. And Dr. Connor (another character that had been previously brushed aside) was nice to see. But that's all I can say for it. The whole movie seemed to take on the same feel as all the other superhero movies coming out now. Too much "ooh, look at our special effects" and not enough "here's what a comic feels like on the big screen in all it's glory."

Thoughts? How did you like the two franchises?

World War Kaiju - Book One - Indie Comics Review

World War Kaiju is a Wild Jaunt Through World History with a Twist.

World War Kaiju, written by Josh Finney with art by Patrick McEvoy, is a beast of a book... and yes, pun intended. This book is a love letter to the classic kaiju stories of days past. This might turn off some folks who aren't into kaiju or just don't have a basic knowledge about the genre. I think this only goes as far as the first page, which is a dedication to the kaiju genre and its forefathers. On my first read, flipping to this page made me think, "Oh brother.. I might be in over my head," but this particular sentiment is nonsense. Once you get into World War Kaiju, you realize that while it is a tribute, it's also an immense project rooted in world building, character study, and some funny, and oft-times rather poignant, political satire that all don't necessarily have anything to do with kaiju. And let's just be honest here, even if you don't know enough about kaiju to know what the word kaiju means, you probably still enjoy seeing giant monsters destroying shit. And this is the beauty of the genre, and thus, this book.

Book One of World War Kaiju starts out with a bit of history. We are in the midst of World War II and the U.S. is planning a major strike against Japan. The big twist here is that in this world, the United States brought kaiju to life instead of creating the atomic bomb.  So essentially, the kaiju while being entertaining in the traditional sense, are also being used as a political metaphor to great effect. When you think about how ridiculously dangerous it sounds to unleash a giant murdering beast on humanity, the idea of kaiju becomes a powerful perspective on the use of nuclear weapons. Why would anyone ever do this? Good question, right? It's one that I think a lot of us still think about to this day with as many nuclear weapons as there are on the planet. Political satire and giant destructive beats aside, the thing that really hooked me in this book was the main character, Agent Hampton.



Finney does a great job of taking us on a cooky, other-worldly walk through U.S. History and Agent Hampton is our tour guide. World War Kaiju is blend prose and visual story telling. Much of the book uses a traditional comic book style, but then there are many pages composed mainly of prose with our characters illustrated at the outskirts of the pages. Finney tells the story by letting Hampton tell us the story, literally. Apparently, Agent Hampton was present at many of the events surrounding the kaiju developments all around the world. As a result, he has insider information, secrets of the highest order, and now for some reason, he is ready to spill the beans. A reporter for the "Rolling Rock Magazine," is our reader analogue here, slowly easing us into the many conspiracy stories behind the major kaiju drama of this world by way of an ongoing interview with Agent Hampton. The dynamic works well as a story telling device, although at times Keegan, the interviewer feels a bit more like a caricature than a character. On the other hand, Agent Hampton is quite believable, full of interesting and colorful dialogue.

I won't spend anymore time elaborating on the plot, because I want to stay far away from spoiler territory. Half of the fun of World War Kaiju is slowly peeling away the layers of the story with Keegan and Hampton. To switch to the art, McEvoy brings a very interesting flavor to the illustrations in the book. On most of the pages, McEvoy gives us images that could be considered paintings. There are no heavy outlines or stark flatted colors of superhero books. McEvoy's style is soft and realistic, except at times when he opts to bring in a very classic looking comic style as a story-telling device. And I must say that it works quite well. McEvoy makes this creative choice a few times, but my favorite is the scenes with Carl Sagan.. yes, I said Carl Sagan.



This is a great book that 01 Publishing has done well to see it to production, as I can only imagine it was a hell of an undertaking to bring to print. World War Kaiju holds a lot of excellence and only a few missteps. For fans of kaiju stories, this is a must read. And for those who may only be on the outskirts of the kaiju fan club, it's still a very worthy read. Swing by 01 Publishing's website to pick up your copy, and stay tuned for World War Kaiju Book Two!

The Best Comic I Read Today Is . . . Miracleman #11

They just don’t make comics like this anymore, and I know this was originally released in May, 1987. The richness of Alan Moore’s prose, the way he uses subtext in his captioning to further enhance the story, the imagery, assonance and consonance are all vestiges of a comic book writing past that disappeared sometime around foil-hologram gimmick covers.



This issue begins Book Three of the Miracleman saga, “Olympus”.  It also begins John Totleben’s run as illustrator of the book, reuniting the team that made Moore’s run on Swamp Thing earlier in the ‘80’s so horrifyingly memorable.  There is a fantastic section at the end of this issue called “Miracleman Behind The Scenes” where the reader is shown the process Totleben goes through in creating each page.  There was no “digital” in 1987, so the page reproductions are captioned with descriptions like “pencil, India ink and white acrylic on illustration board”.  After the previous sixteen pages of mind-warping line work, it is wonderful to see the craftsmanship evident in Totleben’s art.



 

When I saw that this book was being released today, and I knew that I was planning on writing this post later tonight, I felt bad for the other books on my pull list. It’s almost not fair to compare Miracleman, written by a master of the craft at the height of his powers, to anything being released today.  But that’s not accurate.  There are vestiges of Moore in every quality book out there.  Somewhere, a young writer is reading Miracleman for the first time, recognizing its brilliance, and thinking: “They just don’t make comics like this anymore . . .

“. . . but maybe I can.”

- Aloha -

Gotham: Selina Kyle

With the episode named Selina Kyle, we assumed that we would be getting a catwoman back story. Julie Newmar was a great catwoman in the 1960's television series Batman however the new actress Camren Bicondova transforms an edgy troubled young girl from the streets into the feline villain us Batman fans enjoy.



Ten minutes watching this episode was more pleasant than the first episode pilot, however I am now just looking at the pilot as a good plot/character introduction. Opening into the dark and rainy streets of Gotham we see Selina Kyle who refers to herself as "Cat". With Cat and her street friends around a burning barrel of trash, a bus pulls up with our villains named Patti and Doug. They call themselves "Gotham Homeless Street Shelter." After feeding the kids with lies on what they can offer the children, Patti then starts stabbing the kids with a pen laced with a knock out drug called ATP. Selina making the escape, the rest of the kids get captured.

Cutting to Wayne manor, we see young Bruce Wayne sitting by a candle flame slowly putting his hand on top of the candle causing his hand to burn. Alfred then walks in and sees what Bruce is doing and gets highly frustrated. What I mean by that is he yelled at Bruce then brought it in for a hug, tough love from Alfred. Later in the episode we see Bruce drawing a dark picture, listening to heavy metal and finding out that he has been cutting himself. Later in the episode he explains to Gordon that he is training himself. Confused by this I just assumed he is already trying to find a way to seek justice and find revenge for his parents murder. Falcone and Mooney are still in the battle for Gotham, in this episode Falcone sends a face to face message to Mooney by having his men rough up one of Mooney's boy toys. This scene was excellent in the fact that Falcone is not messing around nor is he the type to be messed with.



Gordon and Harvey are still playing their good cop bad cop show, trying to crack the case of the street kid snatchers. With Doug and Patti hijacking a bus that was suppose to transport the street kids to juvenile hall, the two mention that their leader "Doll Maker" will be pleased with their accomplishment. This makes me wonder if we will see the villain Doll Maker in the TV show? This villain was a very dark and disturbed character that used the skin and limbs from his victims to make dolls. Speaking of dark and disturbed, Oswald (Penguin)  has made a friend by capturing him, killing his friend with a beer bottle, taking him hostage and calling his mom for a bounty. Also, we do get to see Oswald's mother who is just as creepy as he is.

Gotham is still doing a great job in planting hidden facts about the character's back stories. For example Selina Kyle tells another foster kid the best way to take down a prey is to scratch out their eyes (seems like something a crazy cat would do). I am so relieved that the show is picking up in dialogue and cinematography, maybe someone over at DC or Fox read my post? Please let me know your thoughts on the show or your opinion on where the show might be going.

 

Writer Blocks - Batman: Year One

It was 1987, February, and I stood alone in front of the spinner rack at the Shop-Rite in Neptune City, NJ. It was the first time a Batman comic book caught my eye.  On the top, above even the title, it said “By Frank Miller and David Mazzucchelli”:



I was a huge Miller fan, and the Daredevil: Born Again storyline by Miller and Mazzucchelli, which I had purchased from that same spinner rack the previous year, was and is one of my all-time favorites, so I couldn’t wait to get home and read what they did with the Batman.

Not only did I get a classic story, but also a lesson in dichotomy and juxtaposition.

Batman: Year One is really the story of James Gordon’s arrival in Gotham City and his struggle against crime, corruption and infidelity.  Bruce Wayne, and thus Batman, is almost a supporting player, acting as a visual representation of what Gordon is going through.  This compare / contrast effect begins on the very first page:



Gordon enters the city, and thus the story, on the ground, while Bruce returns to his birthplace by plane, above the fray.

Above it all. 

This sets the tone for the entire arc. Gordon is already an accomplished cop as opposed to Bruce, who has to learn how to be “Batman”.  While Bruce is getting stabbed by a young prostitute and then arrested, Gordon is taking out his main rival, Detective Flass.  And as the confidence and notoriety of Batman grows, it empowers Gordon to become a hero in his own right.

The two eventually collide at the climax of the book when Bruce saves Gordon’s newborn son, James, by diving into a mud pit, similar to where old man Batman defeats the Mutant Leader in Dark Knight. Gordon lets Bruce know that his secret is safe, saying that he is “practically blind without my glasses”:



Blind as a bat.

Batman: Year One is also the first time I remember picking-up on visual motifs in a comic book.  The clown painting hanging over Commissioner Loeb’s chair is a clear homage to the Joker:



As I read this I was positive that the book would end with Loeb becoming the Joker. I was half right. Batman: Year One does end with the arrival of the Clown Prince of Crime, but this is used to show the new respect and partnership between Gordon and Batman:



Batman: Year One and Batman: The Dark Knight Returns will always be the bookends to the Caped Crusader’s career in my mind.  While what Scott Snyder and Greg Capullo are currently doing with Batman in the New 52 is excellent, and Zero Year was an epic story, nothing can replace these two works by Frank Miller as how I will always see my Batman.

Next Week – Miller Time continues with Daredevil