Wednesday, December 16, 2009

28 REDUX

In case you missed The Life and Times of Savior 28 the first time around, the collected edition will be hitting stores today.  It's a very nice package (if I say so myself), which includes all the amazing covers by 28 illustrator Mike Cavallaro, all the alternative covers (by Sal Buscema & Joe Sinnot, Mike Ploog,  Shawn McManus, Don Perlin and Kevin Maguire.  Quite a line-up, isn't it?), pin-ups by Dean Haspiel, Simon Fraser, Tim Hamilton and Michael Fiffe (another great line-up) and excerpts from my original script.





As we rapidly approach the end of the 00's and I look back on all the stories I've written these past ten years, I can honestly say that The Life and Times of Savior 28 was one of the most challenging—and creatively satisfying—pieces I've worked on, right up there alongside Abadazad.   (I'd include Hero Squared, as well; but working on that with my old buddy Keith Giffen felt more like play than work.) You can find S-28 at your local comic shop or, if you prefer buying online, you can click right here.  But keep in mind that Amazon won't have it till early in the new year.

Sunday, December 13, 2009

WAR AND PEACE


On Thursday, President Obama gave a powerful and eloquent speech when he received the Nobel Peace Prize in Oslo.  Much like the extraordinary speech on race in America that he delivered during the presidential campaign, this one looked at the issue of war and peace wisely, intelligently and compassionately, from all sides.  At the core of Obama’s address was the idea that peace should always be the ultimate goal, but that war is sometimes not just “necessary” but “morally justified.”

I voted for Barack Obama and I have the greatest respect for him.  He’s spoken to the world, both our allies and those who oppose us, with a respect and compassion rare in an American president.  I applaud his dedication to healing global rifts (especially those with the Muslim world), to eliminating nuclear weapons.  If there was a new election held tomorrow, I’d vote for him again.

And yet...

“Necessary”  “Morally justified”?  When I listen to the president—when I listen to any political leader—talk about “just” and “necessary” wars, my hackles go up.  To me, this thinking reflects an incredibly limited mind-set; one locked in the past.  “We must begin,” Obama stated, “by acknowledging the hard truth that we will not eradicate violent conflict in our lifetimes.”  Hard to argue with that when you view life through the lens of what I call the CNN Reality.  If we focus exclusively on the way things have always been, if we lock ourselves into the vision of a world where hideous violence is an acceptable form of problem solving, then that’s the world we’re going to get.  But experience has shown me that there is a deeper, a truer, reality beneath the skin of the world.  One that has the potential to transform both the individual soul and the entire planet.

Looking through the lens of that Deeper Reality has shown me that the universe begins inside our own heads, hearts and souls; that we’re all living in a dream, projected from both the personal and collective unconscious.  (In the end, I don’t think there’s any difference between the personal and the collective, but that’s another discussion for another time.)  The microcosm, as they say, is the macrocosm:  The smallest acts of kindness and compassion can act as a bridge between those inner and outer universes, rippling out and transforming the world.  The old model—the one that clings to the concept of war as just and necessary—can collapse in the time it takes us to change our minds.  To change our dreams.

Compassion, it seems to  me, is the key:  seeing people—however despicable their actions may be—not as “enemies” or “evil,” but as flawed human beings, worthy, at the very least, of an attempt to understand what made them that way.  “Make no mistake,” the president explained, “evil does exist in the world.”  But evil, as we all know, is in the eye of the beholder.  To Muslim extremists, we’re evil.  George W. Bush saw the Iraqis, the Koreans and the Iranians as an “axis of evil.”  When we (and when I say “we,” I mean humanity as a whole, not just the United States) define our opponents as one-dimensional villains out of a 1940's comic book, we transform them into caricatures that can be obliterated without guilt or shame.  If we continue to paint them as evil, war as just and necessary, then those opponents will continue do the same—and the cycle of violence will go on and on, till the end of the world.

“The nonviolence practiced by men like Gandhi and King,” the president stated, “may not have been practical or possible in every circumstance, but the love that they preached—their faith in human progress—must always be the North Star that guides us on our journey.”  But how can anyone follow the North Star of King and Gandhi while justifying conflicts that brutalize and demean humanity?  I wonder how many men told Gandhi that violence was “just” in the name of a free India, how many urged King on to “necessary” violence in the name of civil rights for African Americans.   “A nonviolent movement,” Obama went on, “could not have halted Hitler's armies. Negotiations cannot convince al-Qaida’s leaders to lay down their arms.”  No, but who’s to say what acts of wisdom and compassion could have prevented Hitler’s rise to power or transformed the twisted, fundamentalist rage of men who thought blowing up innocents—and themselves with them—was some kind of doorway to Heaven?

Look:  I’m not a politician or a diplomat whose job is to deal with the so-called harsh realities of life.  I am, by trade and nature, a dreamer, and it’s my job to ask:  Why do we have to accept the Harsh Reality?  Why can’t we manifest a new, a better, one?  We can keep regurgitating the old models—from a thousand years ago, seven decades ago or the recent past—and hold them up as examples of the way things have always been, the way things have to be, or we can refuse to buy into those myths.  December 13, 2009 isn’t December 7, 1941, it isn’t September 11, 2001, it isn’t even yesterday:  it’s a new world right now.

Maybe our political leaders will never embrace the idea that peace is possible, that war isn’t a viable option—maybe, given the harrowing issues they have to deal with on a daily basis, they simply can’t—but we can dream that dream into being today.  You can call this unrealistic—starry-eyed idealism or crackpot mysticism—and, viewed from the realist’s perspective, it absolutely is.  But why not aim for the stars?  Why not project—and believe, to the bottom of our souls—that peace, both personal and global, is possible this very moment?

And if I’m wrong?  If I really am nothing but a starry-eyed, crackpot dreamer?  Well, I still think my life, and the lives of those around me, will be better for having chosen to believe.

©copyright 2009  J.M. DeMatteis



Tuesday, December 8, 2009

THE TROUBLE WITH REALITY


"The trouble with reality is it leaves a lot to the imagination."
John Lennon



This morning I was driving to an appointment, listening to a local radio station, when the DJ played a clip from John Lennon's December 9, 1974 conversation with Howard Cosell on Monday Night Football.  He followed that with Cosell's announcement of Lennon's murder, six years later (almost to the day).  I was astonished to find my eyes filling with tears, and a massive sadness gripping my soul, as if I was hearing about this tragedy for the very first time.

Twenty-nine years after his passing, this reality remains all the poorer for John Lennon’s absence.


©copyright 2009  J.M. DeMatteis




Sunday, December 6, 2009

TOP TO BOTTOM

One of the questions writers often get—from both interviewers and fans—is “Of all the things you’ve worked on, what’s your favorite?”  Well, if you’ve only been a professional writer for a few years, that’s probably an easy question to answer.  If you’ve been doing it for more than thirty years, as I have, it’s a little harder to winnow things down.

That said, I’ve decided to indulge myself and compile a Top Ten list.  Keep in mind these aren’t necessarily the best things I’ve ever done (I’ll leave that for other people to decide):  These are the projects that brought me the most joy, the most creative challenges.  That stretched me—as both a craftsman and an artist.  That were just plain fun.

Here they are, in no particular order:

1)  ABADAZAD

I won’t say much about this one—mainly because I wrote at length about it in previous posts.  I will say again that Mike Ploog is one of the greatest fantasy illustrators, and one of the nicest guys, on the planet and that Abadazad—perhaps because I never got to complete the story—touches my heart in a way no other project on this list does.  I still nurture hopes of rescuing Kate and Matt from literary limbo and bringing their adventure to a satisfying conclusion.

Speaking of Mike Ploog:  if there was a #11 on this list, it would almost certainly be filled by Stardust Kid, another all-ages fantasy the estimable Mr. P and I collaborated on.  If Mike is up for it, I’d love to return to the SDK universe one day.

2)  THE COMPLEAT MOONSHADOW
In my early years in comics I blundered along, trying desperately to find my own voice as a writer and ending up sounding like a damaged clone, created from the badly-mixed DNA of Stan Lee, Steve Gerber, Len Wein, Roy Thomas and half-a-dozen other comic book writers I admired.  It’s not that my work was bad—well, actually, some of it was fairly horrendous—it’s just that I hadn’t found the way to fully express myself in the form.  Looking back, I think I was trapped by the super-hero genre itself.  As long as I was writing about the Defenders or Captain America, I would, in some way, be parroting stories, and styles, I’d been absorbing all my life.

Moonshadow changed that.

Someone (and for the life of me, I can’t remember who!) once said that whatever story you’re working on should be written as if it’s the only one you’ll ever tell—pouring all your thoughts, feelings, ideas, ideals, passions, philosophies, hopes and dreams...every iota of Who You Are...into it.  That’s what I did with Moonshadow.  And it allowed me to step outside the Marvel-DC mindset and discover my own voice.

Of course it didn’t hurt that I was working with Jon J Muth, as brilliant an artist as the medium has ever seen.  His work always challenged me.  Dared me to be better.  I hope I did the same for him.

Nearly ten years after the original Moonshadow series saw print, Muth and I reunited for a one-shot graphic novel called Farewell, Moonshadow that I think is even better than the original run.  Both the twelve issue series and the graphic novel are available in a hefty collection called The Compleat Moonshadow

3)  BROOKLYN DREAMS
If I was forced to pick a single favorite on this list, it would probably be Brooklyn Dreams.  In an odd way it’s the same story as the one I told in Moonshadow, only it’s not presented as a fairy tale set in the far reaches of space...it’s a (very) thinly-disguised autobiography that takes place on the streets of Brooklyn.  I remember working on the script and feeling scared to death because BD was the single most personal piece I’d ever attempted.  The main character’s name may have been different, but it was my life I was writing about, in shameless, intimate detail.  I’ve learned, over the years, that being terrified is usually a sign that I’m on to something good.  It was certainly true in this case. 

When I was developing Brooklyn Dreams, I had a certain art style in my head.  In fact I knew exactly how I wanted the book to look, exactly how the drawing should interpret my elliptical, and time-jumping, story.  When I first laid eyes on Glenn Barr’s work, my head nearly exploded:  What was there on the page was what I’d been seeing in my mind all along.  And Glenn’s uncanny resonance with the story remained, and deepened, throughout our collaboration.

Chemistry between a writer and artist can’t be created.  It’s either there or it’s not. I’ve worked on projects where the script was strong, the art was strong, but that indefinable magic between writer and illustrator simply wasn’t there...and the story just died on the page.  Not so with Glenn Barr.  Our collaboration was instant magic...and, for that, I am forever grateful.

4)  DR. FATE
Dr. Fate is a DC Comics character who’s been around since the l940’s.  In l987, I revamped the character—with considerable help from the frighteningly-creative Keith Giffen—for a mini-series and then, some months later, continued the story in an ongoing series, wonderfully illustrated, with both humor and humanity, by Shawn McManus.  I’d hazard a guess that most comics fans have never read our Dr. Fate run...and that many who did were baffled by it.  I understand their confusion:  Our Fate series wove together mysticism, sit-com silliness, super-hero action, romance, Eastern philosophy, infantile toilet jokes and Serious Musings On The Nature Of Existence.  But that’s exactly why I loved working on it. 


It’s a rare occasion when you can work on a preexisting DC or Marvel character and be allowed to completely stamp it with your own unique, and very personal, vision.  It couldn’t have happened with one of the Major Icons, and I’m not sure it could happen at all in today’s comic book climate.  But the 80’s were the “anything goes” era in modern comics.  Writers, artists and editors were willing to push the boundaries to wonderful (and sometimes ludicrous) extremes.   It was an exciting time—and Dr. Fate was an exciting project.  My editors—Karen Berger and Art Young—gave me the freedom to follow my muse wherever it led me.  And, no matter what bizarre twists and turns the scripts took, Shawn was always there to bring them to vibrant life.



5) BATMAN:  GOING SANE
When people talk to me about my super-hero stories, they inevitably bring up Kraven’s Last Hunt as an example of my finest work—and who am I to argue?

Well, I guess I have to.

I think the best super-hero story I ever wrote was “Going Sane,” which originally ran in four issues of DC’s Legends of the Dark Knight.   Here’s the premise:  The Joker kills Batman—at least he believes he does—and, with the primary reason for his existence eliminated, the villain’s mind snaps.  Of course the Joker is already insane, so when he snaps...he goes sane.  Joe Kerr soon creates a new life for himself, complete with an office job and a loving fiancĂ©.  Batman, meanwhile, finds himself recuperating in a small town, far away from the madness of Gotham—and has to reassess his life and his identity.  When the two finally come back together at the story’s end, well...if you’re as sentimental as I am, you just might find yourself shedding a tear for the Joker.

Again, no comic book story can succeed without the artwork—and the amazing Joe Staton (the guy has drawn everything from Scooby-Doo to Green Lantern) turned in some of the finest work of his career.  

6)  SPIDER-MAN: 
      KRAVEN’S LAST HUNT
      “BEST OF ENEMIES”
      (SPECTACULAR SPIDER-MAN #200)
      “THE GIFT” (AMAZING SPIDER-MAN #400)
      “THE KISS” (WEBSPINNERS #1)

I’ve written more Spider-Man stories than I’d care to count.  No matter how many times I walk away from the character, I keep coming back...because he’s real to me.  I don’t think there’s a character, in any super-hero universe, more psychologically nuanced, emotionally-compelling and wonderfully-neurotic than Peter Parker.  To this day I don’t think of Peter as a fictional character:  I think of him as an old friend.

As you can see, I cheated here.  I didn’t select one story, I selected five.  (I could easily have added more:  Spider-Man:  The Lost Years comes immediately to mind.)  The multi-part story collected as Kraven’s Last Hunt—illustrated by Mike Zeck, at the top of his form—was the first super-hero story I wrote that allowed me to bring the lessons I’d learned writing Moonshadow over to the Marvel/DC mainstream.  (I wrote a lengthy, and, I hope, interesting introduction for the collected edition, detailing the story’s genesis.)   “Best of Enemies” was the culmination of a two year storyline (and a two-year collaboration with one of my personal comic book heroes, Sal Buscema) exploring the relationship between Peter Parker and Harry Osborn—and it’s my single favorite Spidey tale.  “The Gift”—illustrated by one of the all-time great Spider-artists, Mark Bagley—featured the death of Aunt May (don’t worry, she got better) and its publication resulted in one of the highlights of my career:  a phone call from comics legend John Romita, Sr. telling me that the story had moved him to tears.  “The Kiss” topped that, because I actually got to collaborate with Romita, Sr—on a short, sweet story about the last night Peter Parker and Gwen Stacy spent together.

7)  SEEKERS INTO THE MYSTERY
In the 90’s I did a number of projects for DC’S Vertigo line...but I can’t think of one that means more to me than Seekers Into The Mystery.  This was another case where the comics industry—specifically, editors Karen Berger and Shelly Bond—gave me a chance to write exactly what I wanted, in exactly the way I wanted.  No constraints, no directives.  And I got to do it in collaboration with the cream of the Vertigo crop:  Glenn Barr, Jon J Muth, Sandman’s Michael Zulli and Scary Godmother’s Jill Thompson.  The series—centered on a soul-sick, failed screenwriter named Lucas Hart—touched on everything from the toxic effects of sexual abuse to the omnijective reality of UFOs; from the pain of divorce to the descent of the God-Man.  If I was listing these projects in order of preference, Seekers would be very close to the top of the list, which is why I was delighted when, earlier this year, Boom! Studios put out a collected edition of Seekers’ first five issues.  (I can’t say for sure if we’ll be seeing future volumes, but I remain hopeful.)


8)  GREENBERG THE VAMPIRE
Remember when I said that Moonshadow was the first project that allowed me to find my own voice as a writer?  Well, I lied.  (Or, as Mr. Spock might say, I exaggerated.)  A couple of years before Moonshadow, I did a story for Marvel’s black and white anthology magazine, Bizarre Adventures, about a reclusive Jewish horror writer who also happened to be a vampire.  I’d toyed with the idea as both a short story and a screenplay, which may explain why the characters hit the page fully alive and acting like, well, real people.  There was none of the clunky dialogue that was littering my super-hero stories.  Folks around the Marvel office responded very nicely to the story (which was beautifully illustrated by Steve Leialoha) but it was a one-shot deal...and I quickly went back to scripting earnest-but-awkward super-hero stories.  (The problem certainly wasn’t my passion:  I was pouring my heart into those stories.  It’s just that my craft hadn't yet caught up to my aspirations.)

Then came Moonshadow and the breakthrough that saved me as a writer.

Around the same time, I was renegotiating my contract with Marvel and I asked then-editor-in-chief Jim Shooter if I could do an Oscar Greenberg graphic novel.  He said yes (I’m sure he was just being nice.  He couldn’t have possibly believed that a story that was a cross between Portnoy’s Complaint and Dracula—I didn’t come up with that description, Dwayne McDuffie did—would sell).  I called up a young artist named Mark Badger (at the time, we were working together on a mini-series called The Gargoyle—which just missed making this list) and Mark happily signed on.  Badger went on to become one of my favorite collaborators ever.  He’s a unique talent, a brilliant storyteller...and his work on Greenberg was superb.

Greenberg didn’t sell much...more than two decades have gone by and I have yet to see a royalty check...but it was another project that allowed me to get in my little boat and push out into uncharted waters.  To try new things, explore new voices. 

I’m hoping that, once they’ve completely exhausted their stock of characters for movie adaptations, someone at Marvel Films will realize that they own Greenberg the Vampire and...

Okay, it’s a ridiculous thought—but allow me my delusions.

9)  THE LIFE AND TIMES OF SAVIOR 28
Back in the 1980’s, when I was writing Captain America, I hatched a story that would have seen a disgusted Cap turn his back on violence and begin a new life as a global peace activist.  Marvel, unsurprisingly (well, it’s unsurprising in retrospect, it shocked me at the time) said no and I filed the idea away; returning to it periodically over the years.  Freed from the confines of the Marvel Universe, the idea slowly—very slowly, it took twenty-five years!—evolved into a saga, spanning seven decades of American pop culture and politics, called The Life and Times of Savior 28.  Illustrated by the amazing Mike Cavallaro—an artist who was every bit as passionate about the story as I was—S-28 became one of the single most challenging, and rewarding, comic book projects of my career.


I think the story is far more relevant now, at the end of the Age of Bush, and the dawn of the Age of Obama, than it would have been had it come out in the Reagan Era.  Comic books (and pop culture in general) have become far more violent.  The spandex mindset that, however much we struggle to disguise it, says “All problems are ultimately solved by dropping a building on a so-called bad guy’s head” has become even more dangerous—especially in a post-9/11 world where terrible damage has been done by global leaders who simplistically divide humanity into “true believers” and “infidels,” “good guys” and “evil-doers.”

In the end, though, The Life and Times of Savior 28 isn’t really a story about politics, it’s about one flawed man’s attempt to change himself and the way he sees the world.  


10) THE GIFFEN-DeMATTEIS UNIVERSE
Okay, so this one’s another cheat:  I’m collapsing my entire collaboration with Keith Giffen into one; but it really feels as if all our work together—from the 80’s Justice League to Boom!’s Hero Squared (which, I’m happy to report, is currently being developed as a live-action TV movie) and our current work on
Metal Men—is all of a piece.  And that piece exists in its own little universe, far, far away from everything else I’ve done.

I’ve said it before but it bears repeating:  Keith Giffen is as generous and gifted (well, gifted is too small a word.  Someone once called Keith the Jack Kirby of my generation and I couldn’t agree more) a collaborator as I’ve ever worked with.  If he called me up tomorrow and asked me to co-write a Millie the Model revival, I’d say yes without hesitation.  When I work with Giffen, it’s not about the particular project, it’s about the collaboration itself—and the tremendous fun we have together.  We’ve been going at this, on and off, for more than twenty years.  I don’t see any reason to stop now.


***


I don’t want to end this without mentioning a few of the genuine turkeys I’ve birthed over the years.  Like the Marvel Team-Up issue featuring Spider-Man and Robert E. Howard’s King Kull.  (“Hiya, Kingsy,” a time-traveling Spidey exclaims, “what’s the haps?”)  Or the Defenders-Squadron Supreme epic that made almost no sense.  Or the Spider-Man annual that tried to tie up loose ends from my canceled Man-Thing series (another favorite that almost made the Top Ten) and ended up making even less sense than the Squadron Supreme story.  Or the Iceman mini-series that got off to a promising start and shattered into a thousand pathetic pieces before my horrified eyes.  Or...

Well, I think you get the idea. 

The good news is that the failures can be as important as the successes.  (Although they’re definitely not as much fun.)  When you try something new and fall on your face you exercise creative muscles you never knew you had.  And then you can use those muscles, with far more skill, on the next project.  Of course, sometimes a bad story’s just a bad story—but I have to believe that even the genuine stinkers help us to become better writers.

The truth is that—with rare, and miraculous, exceptions—it’s pretty much impossible to judge your own work objectively.  Some of the stories I’ve listed here might be the genuine turkeys...and some of those stinkers I’m trying to forget might be sitting at the top of someone else’s Top Ten List. 



©copyright 2009  J.M. DeMatteis

Sunday, November 29, 2009

THE TERRIBLE BUSINESS OF BEGINNING

I’ve been writing professionally now for more than thirty years and you would think (well, I would) that, after all this time, the business of writing would get easier; that I’d be able to walk into my office every morning, sit down at the computer and just start working.

You’d think that—but it’s not true.

Even after three decades, every time I begin a new project it’s as if I’ve never written before.  As if I have no idea how to put two words together, let alone craft a plot, weave a theme, build a character.  I stare at the blank computer screen, then retreat to the kitchen for a snack.  I stare at the screen some more, then decide to clear off my desk.  I go for a walk, then come back and surf on over to Google to see what people are saying about me (sometimes a pleasant experience and sometimes a truly depressing one).

Eventually something shifts and I start slapping ideas down on the page.  Eventually, those ideas become a story.  And then the story—as has been discussed before on this blog—begins to take on its own life, begins telling itself, and, yes, miraculously, it often does become easy.

But starting?  It’s a nightmare.  The Terrible Business of Beginning can take hours, sometimes days, and, on rare occasions, it can take weeks of feeling like a half-insane trapped animal.  I keep looking for ways to bypass this particularly unpleasant experience, but, after years of angst and torment, I’m convinced that my seeming avoidance is a pivotal part of the creative process.  That those hours, days, weeks when my conscious mind thinks that it’s blocked, my unconscious is working away feverishly, prying open the door between the apparently real and the apparently imaginary:  tuning the psychic radio to precisely the right station so that the signals from the Land of Story will beam in loud and clear.

So I’ve learned, grudgingly (very grudgingly), to honor the process.  Doesn’t mean I like it; but I’ve at least reached the point in my life where I can recognize that those moments when I’m convinced that I’ve spent thirty years fooling my audience (and myself along with them) and that I’ll never be able to write again, are actually moments of genuine grace.

©copyright 2009  J.M. DeMatteis


DOING THE MONGO HUSTLE

In my role as editor-in-chief of upstart publisher Ardden Entertainment, I feel it is my sworn duty to alert you to the fact that Flash Gordon:  The Mercy Wars—which collects the acclaimed (and not just by me!) six-issue mini-series by Brendan Deneen and Paul Green—will soon be available.  It was a delight to edit the series and to watch Brendan and Paul breathe new life into Alex Raymond’s classic characters.  

Also coming your way is Flash Gordon:  The Secret History of Mongo.  This is an anthology of all-new adventures, exploring the rich mythology of Raymond’s universe, with stories provided by yours truly and Shawn McManus, Tom DeFalco and Joe Staton, Joe Casey and Omaha Perez, Denny O’Neil and Mike Cavallaro, Len Wein and Shanth Enjeti, Jim Kreuger and Pedro Delgado and the aforementioned team of Deneen and Green.  If you’re a fan of character-driven space opera, I think you’ll enjoy both these collections. 

Tuesday, November 24, 2009

A THANKSGIVING APOLOGY

Yes, I know I promised I'd have the first part of my "Meeting Lennon" adventure up by Thanksgiving, and that's just two days away, but this past week I've been having some minor (but annoying) health problems that have slowed me down considerably.  Profound, and heartfelt, apologies for not living up to my promise.  I'll try to get to the Lennon post as soon as possible:  I've been writing it in my head, it's just a question of getting it down on (cyber) paper.

While you're waiting, check out this link.  The video, of John Lennon performing "Stand By Me," was done for a British television show called The Old Grey Whistle Test—the host, Bob Harris, introduces the clip, putting it in historical context—but it was filmed in New York, at a recording studio called the Record Plant.  The picture below was taken that day and the guy playing piano is an old Brooklyn buddy of mine named Jon Cobert.






And guess who was sitting on the other side of the glass, in the producer's booth, watching the whole thing?

Enjoy!  And have a very happy Thanksgiving.