Category Archives: My Stuff
Comic books written by Paul O’Connor.
Scattered impressions of this past weekend’s Tucson Comic Con …
It was very nice to be invited to the show, even if I didn’t do much more than sit behind my table for the weekend.
The show was low key and pleasant. The organizers seemed a little harried on Friday, possibly anticipating crowd issues owing to the show’s meteoric growth (jumping from 8,000 to 25,000+ attendees in just a few short years), but from my perspective everything ran smoothly. Certainly, the guest experience was superior and hassle-free — the organizers provided us with a good table location and checked in with us several times during the show, even bringing around water and donuts.
The crowd was steady on Saturday and the afternoon on Sunday, with Friday “preview night” a more relaxed affair. It was nice to see entire families in attendance — I’ve grown too used to San Diego Comic-Con, and overlooked how the demand and cost of that show has all but priced your average family of four out of attending. The attendees seemed a healthy mix of dedicated cosplayers and lookie-loos … I talked to several fans who were attending their first comic convention. The con business is one of the sectors where the comics business is growing, and this was reflected in the Tucson show attendance, near as I could tell.
NOT Tucson … yet!
The con had an old-school vibe, in that it was less about servicing fans with big panels and events than about facilitating the fan-to-fan experience. This is the “convention” part that San Diego Comic-Con is losing sight of more and more, where crowd concerns demand that fans keep moving on the con floor, rather than standing about and socializing. In this Tucson was refreshing and made me realize anew how much of a rat race San Diego can be in all its overcrowded glory. Most of the upstairs portion of the Tucson venue was given over to fan organizations — dueling tables for Justice League and Avengers Arizona fan groups, Star Wars associations, a Steampunk group, and even a Judge Dredd group that seemed in especially strong shape. If you were a new fan coming to the show trying to find your tribe, Tucson Comic Con had you covered.
My own experience was laid back and just fine, really … I expected to sell very little, and managed to sell even less (!), but mostly I viewed my table as an opportunity to sit on the convention floor and watch the crowd go by.
I kid, I kid …
I met plenty of nice folks — including Friend-Of-The-Longbox @Regeeken — and I got a contact high watching Transformers and Deadpool fans geek out over meeting my table-mate, Billy King, who did a brisk trade in prints of his original work. It would have been nice to put on a panel, and I regret that my crazy schedule in the weeks running up to the show prevented me from doing so. Maybe next time.
Billy King makes a Transformers fan’s day!
I did learn a bit about myself, manning that table and getting so little traffic. There was a time when I would have found it a crushing experience. In my professional days, I wouldn’t have been surprised, so much, that I didn’t get attention — in my old depressive ways, I might have thought it exactly what I deserved — but it would have eaten me up that other professionals at roughly the same level of expertise were doing better, or at least seemed to be doing better. I lacked the experience to understand that sometimes you are up, and sometimes you are down, and the difference between being “hot” or not is often down to things you cannot control, like the good fortune of working on a property people recognize, or some random whim of fannish fate that makes your particular steampunk/funny animal/hot girl pastiche the Rage of the Moment. Older and wiser geek that I am now, I could just let it wash over me, realizing that of course a guy offering 30-year-old black and white comics — and promoting a website and a yet-to-be-released webcomic on the side — isn’t going to get a lot of attention. It was no problem! I enjoyed the show for what it was and kind of regarded my own presence as a kind of performance art.
This was my first trip to Tucson, and the city does seem hard-hit by the recession. The recovery has been slow, and driving around the city at night it sometimes looked like a neutron bomb had gone off. Things were orderly, but also dark and deserted. Aside from a few thriving blocks downtown and near the university campus, we wondered where all the people and associated services had gone. There were some colorful characters on the streets — I saw one fellow eating his shoe, I kid-you-not — and there was another guy who’s very convincing zombie costume looked like it served double duty for clothes the poor devil must sleep in when he sadly curls up in an alley at night. There are people out-of-doors all over the country, of course, but it was especially tough to see when contrasted with the four-color escapism going on inside the Tucson Convention Center. Hopefully the city can turn the corner, and to judge by the many Deadpools and Harley Quinns walking the show floor, there are plenty of superheroes around town to help Tucson get off the ropes and battle back!
(And the less said about the many large guys unintentionally cosplaying as Jabba the Hutt, the better!)
definitely saw a lot of guys rocking this look!
It would be a grand thing for Tucson Comic Con to lead a city-wide revival, and crazier things have happened — early San Diego Comic-Con guests will remember being advised not to leave their hotel rooms at night, but now the Gaslamp and surrounding convention environs are thriving, both during the show and the rest of the year, too. I’m pulling for you, Tucson, and I hope to visit your Comic Con again!
Thanks again to Tucson Comic-Con for inviting me to the show!
Just for laughs, I’ve posted a comic I wrote years ago, here in the virtual pages of Longbox Graveyard.
But it’s not just any comic … this is an Interactive Comic!
Head on over to my Dudley Serious page to help Dudley Serious Save The World! Only YOU can put a stop to Cliche Master’s diabolical plot!!
Last week I wrote about Steve Gerber’s Defenders, a 1970s comic that was as singular as it was strange. That book stuck with me as a kid, and partially inspired by Steve’s crazy work, I would go on to have a comic book writing career of my own. My time in comics was unsatisfactory in a lot of ways, but one of the highlights was working (however briefly) with Steve on his original creation, Sludge.
Having helped launch Image Comics, the Malibu Comics brain trust had first-hand evidence that an original superhero universe could carve out a chunk of a Marvel and DC-dominated market. In 1993 they decided to go for it in a big, splashy way with the Ultraverse, an all new, full-color superhero line co-created by some of the bigger name writers in the business, like Steve Englehart, Mike Barr … and Steve Gerber.
For my own part, I was pretty burned out as a comic book writer by the time the Ultraverse came around, and I wouldn’t have had the name value to participate in the launch even if I had been up to the task. But it was obvious that the Ultraverse was going to be the only game in town and I worked hard around the edges trying to land a book. Once the line matured and deadlines started to slip, I managed to secure a couple fill-in assignments for Ultraverse inventory stories.
One assignment was a two-parter for Rune, which I’ve already examined here on Longbox Graveyard. Another was a fill-in story for Steve Gerber’s Sludge.
There are folks who still remember the Ultraverse, but there isn’t a lot on the web about Sludge. Sludge was a corrupt New York cop named Frank Hoag who was killed after finally standing up to the mob, then rose again as the sewer-monster, Sludge. He lurked in the shadows, was virtually indestructible, melted flesh with his touch, and revealed his inner struggle through story captions demonstrating his torturous thought process.
Challenged by Malibu Editor-in-Chief Chris Ulm to create an original monster comic series, Steve Gerber said that the concept for Sludge came to him during an epiphany at the Arizona conference where the Ultraverse was born. Despite his past association with Man-Thing, Sludge wasn’t Gerber trying to out-do himself with another swamp monster, or an attempt to fill a certain niche in the Ultraverse line. From the outside looking in, it’s easy to jump to those conclusions, but for Gerber, at least, Sludge was its own thing.
Marketing challenges aside, anyone thinking Gerber would under-serve his own creation as “just another swamp monster” was barking up a very wrong tree. One of the things I learned from Steve was how the first responsibility of a creator is to respect his own work. If you go into a job thinking it is a lesser assignment or a knock-off or a joke or whatever, then you can’t possibly do a good job. More to the point — why are you wasting your creative time doing that kind of work?
Steve was completely locked in on Sludge, as he was with all of his work. He walled out the world, didn’t care if people thought the character was another Man-Thing, didn’t care if the book was selling well, didn’t care if the Ultraverse was going to stick or not. Actually, saying Steve “didn’t care” gives entirely the wrong impression. In my experience, Steve did care — passionately, deeply, maybe too much — about every aspect of his work. What I mean to say is that Steve did his best to keep those external and possibly negative influences from impacting the work. It was pride, and professionalism, sure, but it was more than that. I think it was a kind of idealism, all the more impressive for a writer who had been chewed up by a nasty fight with Marvel over ownership of Howard the Duck. Another creator might have expected Malibu to “pay for his divorce,” but Gerber seemed to put that earlier heartbreak behind him, and put the energy into his work.
Or maybe Steve just had a mature understanding that getting even ultimately doesn’t lead anywhere.
I first worked with Steve as the editor and writer of Ultra Monthly. The idea behind Ultra Monthly was that it was a news magazine from inside the Ultraverse — it told the story of the Ultraverse through news stories and “photographs,” relating only what an outsider would be able to divine about the super-powered derring-do of the Ultraverse. I guess it was kind of like Marvels, except that Ultra Monthly was a news magazine, and not a comic (and we didn’t have a couple guys named Busiek and Ross on board, either). Anyway, the point was to show a “street” level view of the Ultraverse, but it was also to promote the characters in the line, and that proved especially challenging for characters that lurked in the shadows of this new fictional world.
I don’t think I ever got a Sludge story into Ultra Monthly. Each creator had to sign off on anything I did with their characters, and Steve was adamant that Sludge was a legendary figure, like Bigfoot, and he just shouldn’t appear in the magazine. My pleas that Bigfoot was a frequent cover boy for the National Enquirer (and that, after all, I was just trying to promote Steve’s book) fell on deaf ears — Sludge appearing in the news, even fictional news, didn’t fit Steve’s concept of the character and he wouldn’t budge. The only people who saw Sludge were the guys he killed and the down-and-out bums who shared an alley with the monster. Sludge was Gerber’s baby, and Steve was true to his character even if it ultimately might hurt his sales.
I don’t know as Steve remembered me from Ultra Monthly, but when Malibu decided it was time to commission inventory stories to fill gaps when Ultraverse deadlines were missed, Steve didn’t object to my taking a crack at Sludge. But neither did he make it easy. As was the case with my Rune story, I first had to submit a concept, and later a full plot — more preliminary work than I would have done on a book of my own. To avoid conflicting with the book’s continuing continuity, I decided to do a flashback story about Frank Hoag’s earliest days on the police force. I wanted to find out what had turned rookie Frank Hoag into the corrupt cop we saw get gunned down by his mafia masters in Sludge #1.
I sweated over my plot, sent it into Malibu, and kept my fingers crossed. I still have the notes Steve sent back:
Notes for Paul O’Connor RE: Sludge Inventory issue “Shadow of a Chance”
Too many liberties are taken with the character of Sludge rather than dealing with the difficulties the character presents.
*Sludge is not driven by vengeance. Ever. He considers it a waste of time. He could be driven by rage or anger (a thin but important line) or even by his selective urge to see justice done.
*Sludge’s recollections seem perfectly clear throughout the story. They wouldn’t be. His confusion doesn’t automatically go away when he thinks about the past. Another way should be found to do the flashbacks … Maybe they should come from Emily, and not Sludge — may not work either, just a thought.
A lot of time is spent describing the characters’ emotions in almost Wagnerian terms. While that is okay where Emily is concerned, Sludge doesn’t engage in much pathos or talk at length about his feelings (or anything else). Fire the guy walking around in the Sludge suit and put the REAL Sludge at the center of the story.
Think about it, mull it over, think about it some more.
Doing the math, I notice Steve was about my age now when he offered me that direction. I wonder if I would be as helpful to writers trying to work under my direction today?
Being as I was a hack writer who just wanted to get paid and get onto the next book, Steve’s notes drove me crazy. But I could respect the way Steve was protecting his creations. It was a message that stuck with me and I credit it as an early drop of water that started to erode the rocks I had piled atop myself in what was to date a miserable career as a writer and creator. I took Steve’s notes to heart, re-wrote my plot, received approval, and wrote the full script. It was my work, under Steve’s strict direction … so my story isn’t exactly a lost Steve Gerber Sludge script (for that you need to go here), but it is kinda sorta the next best thing.
the man himself!
My Sludge script was never published, though I’m sure I was paid for it. I don’t think it even had an artist assigned. Reading it again, after all these years, it seems to me a nice piece of writing, but not so great a comic book script. Too much of the action is internal, and too much relies on a fill-in artist being able to wring convincing and sometimes subtle emotions out of the characters. While it would have been nice to get another story into print, this tale really is better experienced in the mind — its unlikely the story would have been improved by pencils. I’ve put the script up for your review HERE — give it a read and see what you think.
I lost touch with Steve after submitting my script. We were never close — our relationship was limited to these few Ultraverse jobs — but I always liked Steve, and admired the man and his work. I didn’t realize it at the time, but Steve gave me a gift in that he helped me understand how hard it is to do quality work (a lesson Lorne Lanning would finish drilling into me during my years at Oddworld Inhabitants). Steve also demonstrated how to be professional and dignified as a creator, even if “all” you are writing about is a talking duck or a mucky sewer monster. I was saddened when Steve passed, both because I enjoyed his work as a fan, and because of our brief professional association. The comics world — and the world as a whole — was a better place when Steve Gerber was in it.
NEXT WEDNESDAY: #35 Beneath The Longbox Shortbox