Graphic Novels? Not Really. by Sean Stoltey

Graphic Novels.  I am getting so sick of this term.  Not because it is invalid, but because it has become misused and abused.  It all started with Hollywood, of course.  Some suit somewhere decided that the general public looks down on comic books, but graphic novels are acceptable.  So suddenly you hear every actor and director working on comic book adaptations referring to the “graphic novels”.  Sounds very tony, much more high class than the oh so pulpy “comic books”.  Unfortunately, it also sounds like bullshit because it doesn’t fit.  Graphic Novels are actually a very specific thing within the realm of Comic Books.

In the 1970’s the medium of comic books had been around for over thirty years.  The artists working within it were starting to feel constrained by it.  They wanted to experiment and really do things that were different.  Some of them wanted to do much more serious work.  Thus, the “Graphic Novel” was born.  Will Eisner’s A Contract With God is considered by many to be the first of them.  It had four short stories that all took place within a 1930’s Bronx tenement and it was inspired by Eisner’s own life experiences.  It was a finite work, designed to exist as one lone piece on the shelf.  It was not serialized.  One book, one statement.  Like a novel, but…you know…graphic.  Marvel started a line of graphic novels.  Two of their most notable, The Death of Captain Marvel and X-Men: God Loves, Man Kills, did feature characters from their serialized comic books but were finite stories published in single volumes.  Dc did Which is the perfect description of a Graphic Novel: finite stories published as a single volume.

Comic books are serialized fiction.  They are published (generally speaking) on a monthly basis and while issues can stand alone, they are all part of one giant ongoing story.  That obviously says nothing about the quality of their content.  Nor does the finiteness of Graphic Novels say anything about their quality.  Somehow along the way, the term Graphic Novel became accepted as something more serious.  Something of consequence.  Which is all fine.  Most creators who set out to do a proper Graphic Novel are usually trying to say something a little more important.  Whether they are using original creations or pre-existing characters they are trying to set themselves apart from the rest of the books by creating a large story that can be read in one volume.  Because of the import of some past Graphic Novels, it is a an announcement of serious intent and a proclamation of quality or importance.

Quite a while back publishers started collecting their regular comic books into paperback collections.  Usually it was special, popular or “important” storylines.  These are referred to as Trade Paperbacks.  The practice has become so prevalent though, it is basically every book published these days.  When the book is special or important they might do a Hardcover Collection.  Although they are starting to do that more and more as well, and in the process are diluting the inherent importance brought by a hardcover.  Unfortunately, strapping a bunch of comic books together in one volume DOES NOT make them Graphic Novels.  If it was not originally published as a Graphic Novel, it is a comic book.  So what’s wrong with that?  Absolutely nothing.

In the day and age of “Let your Geek Flag fly.” and people who are constantly proclaiming that “Geeks rule the Earth.”  There is nothing wrong with saying that you love comic books.  At least there shouldn’t be.  So when I see comic book shop owners saying “Come in for the latest Graphic Novels!” it’s quite a bit disheartening.  You sell comic books, own that.  Be proud of it.  Comic books are one of the great American institutions.  They were invented here, they were perfected here.  Unlike Rock and Roll, we still do it, and always have done it, best.  So comic book fans and comic book sellers unite and embrace that thing which we love:  COMIC BOOKS!  Oh, and their fancy cousin, the Graphic Novel.

Sean Stoltey, writer, raconteur and retired rabble rouser, hails originally from California's Central Coast but currently resides in Southern California's BEAUTIFUL--San Fernando Valley. Screenwriter, Comic Book author, these are things he does because he's too poor to be a Producer or Publisher.

Sean has been reading comics, watching movies, reading books and selling his soul (or at least his hearing) to Rock'n'Roll for as long as he can remember. He has been discussing and arguing about these things for almost as long. 

So now he has come here to throw his opinions in your face as well and hope that, even if you don't agree, hopefully you will enjoy them. For the record: Kirk was the greatest Enterprise Captain, Han was the only one that shot, Led Zeppelin was the greatest Rock band to walk the Earth and Keith Richards is the coolest undead person to walk the Earth. Coolest living people are my sons and my Mom and Dad. My Dad F---in' rocks, and my Mom can kick your ass.

You can ask Sean anything at http://www.formspring.me/WWest3001 contact him via twitter @WWest3001 or boring old e-mail at SeanStoltey@yahoo.com

Editorially driven... by Sean E.Stoltey

Sooooo, Rob Liefeld's at it again.  Being controversial and stuff.  Does anyone really believe his shtick anymore (and I'm wondering, as well, if he even does)?  Complaining about editorial interference in his work at DC.  This made me run off on an interesting (at least to me) train of thought.  When you go to work for a big comic book publisher on one of their many pre-existing, ongoing properties; do you really expect them to let you do what ever the ---- you want?  

Now, in the case of Rob Liefeld, a very "special" case if there ever was one, the obvious issue is the ego of the creator involved.  By many accounts, Rob is pretty sure he is the best thing to happen to comics since Jack Kirby.  So of course he bristled at an editor telling him what he should do on a comic book.  "Don't you know who I am?  I created Youngblood!!"  "Who's that, Rob?"  "Hmm.  Oh yeah!  Don't you know who I am?  I co-created Cable!"  "Whatever you say Rob.  We're here to talk about your handling of these DC characters who've all been around a lot longer than Cable."  But seriously, I didn't come here to talk about Rob Liefeld.  It's the concept of editorially driven that I find interesting.

It seems to me that the books can go one of two ways, with many varying shades in between of course.  On the one hand, you have a story or even a full fledged book that originates with a writer or artist or both, or one person doing both.  That's where most creator owned and independent work lies.  Which is of course implied in the term "creator owned", duh.  In this case, the writer and artist are in complete control of their creation and, presumably, the editors role is mostly to keep everybody on course and hitting their deadlines.  They might take creative input from their editor, but when it comes to the creative content, the creators are the final word.  In the case of a company owned book, a Marvel or DC character or something like that, it would be a bit different.  If the editor chooses, they can allow the talent to steer the ship.  However, the editor still has final say on what can and cannot be done on the book.  They would be much more of a collaborator (if they wanted) and they can veto creative decisions.  In this situation, they are responsible to the company they work for on all decisions made on their books.  When the s--- hits the fan, they are the ones that take the heat.  Which is probably why a lot of them might choose to go the other way.

In a truly editorially driven book, the creative direction of the book is mandated by editorial.  In some cases it comes from above them on the company food chain.  They basically tell the writers what they want and where the book needs to go.  Some people have complained that the editor basically wants a typist.  That could be oversimplifying it, but I could definitely see how frustrating it could be for a writer.  You have decided to create for a living and now someone is telling you what to create and how to create it.  Unless you're Grant Morrison apparently; but then he presumably makes that part of his contract, and the powers that be feel his sales warrant that situation.  My opinion?  I think the better editors find some sort of happy medium.  Especially when you are working in an established, company owned universe.  First off, there are rules you have to follow.  These are company assets, you can't do whatever you want.  Many say though, that having rules imposed makes you work harder (and often better) to find a way to work around the rules.

Quite often filmmakers speak about how they had to come up with alternatives because of budget constraints and their alternate choices made the film better.  Hell, the main reason you don't see the shark through most of Jaws is because it didn't work.  That choice to work around the shark made it much more terrifying.  Many musicians do their best work when others are producing.  When they are given the reins a lot of them never quite match the quality of their earlier output.  Some do, don't get me wrong.  I think the challenges imposed on some writers have created a lot of great work.

So to move back to comics, an editor that knows he can trust his writer will let his writer loose.  Within reason.  Also, as long as the people above you are trusting you to do your job, you are more likely to trust the people below you.  Just as having constraints put upon you can make you work harder and more creatively, knowing you are being entrusted to care for these iconic and (to the company) important properties might just motivate you to put your best foot forward.  A lot of these "editorial" complaints from the folks working for DC seem to indicate the real mess is above editorials pay grade.  It's unfortunate.  I always felt that if I was paying someone to do a job, I should let them do it.

So which way is the better way?  Whichever one produces the best story, honestly.  Some classic comics have come from both styles, and every shade in between.  Remember, Alan Moore made Watchmen at a big company with an editor who was in charge.  He also made League of Extraordinary Gentlemen with little to no editorial input, and that turned out pretty damn well too.  However, I really do think that the best editors int he business have always found a balance.  A way to serve both sides of the equation.  You can have happy bosses and happy creatives.  It is possible.  I would never fault anyone for the style of management they choose, as long as it was a job well done.  Sometimes I think it's best if those of us outside the system don't hear about it.  Hey, you don't want to know how hot dogs are made.  You may never eat one again.

Sean Stoltey, writer, raconteur and retired rabble rouser, hails originally from California's Central Coast but currently resides in Southern California's BEAUTIFUL--San Fernando Valley. Screenwriter, Comic Book author, these are things he does because he's too poor to be a Producer or Publisher.

Sean has been reading comics, watching movies, reading books and selling his soul (or at least his hearing) to Rock'n'Roll for as long as he can remember. He has been discussing and arguing about these things for almost as long. 

So now he has come here to throw his opinions in your face as well and hope that, even if you don't agree, hopefully you will enjoy them. For the record: Kirk was the greatest Enterprise Captain, Han was the only one that shot, Led Zeppelin was the greatest Rock band to walk the Earth and Keith Richards is the coolest undead person to walk the Earth. Coolest living people are my sons and my Mom and Dad. My Dad F---in' rocks, and my Mom can kick your ass.

You can ask Sean anything at http://www.formspring.me/WWest3001 contact him via twitter @WWest3001 or boring old e-mail at SeanStoltey@yahoo.com

This Week's Stack by Sean Stoltey

Star Trek: TNG/Doctor Who Assimilation2 #3 - Scott & David Tipton w/Tony Lee, J.K. Woodward and the Sharp Brothers - What can I tell you about this series that I haven't brought up before?  If you watched Doctor Who in the 70's and 80's and were also a big fan of the the Original Series Star Trek, you are going to love this issue.  

Keeping with the subplot of the Doctor remembering things about the Trek universe while realizing that he didn't know them before, we are treated to an adventure with the original Trek cast along with the Tom Baker version of the Doctor.  Man oh man, was that cool.  The art is handled by a different team for this sequence and it really sets it apart from the rest of the book.  It definitely feels like a flashback of some kind.

There are not a lot of solutions found in this issue, mostly more questions raised.  It was kind of like watching an episode of LOST.  So, of course there is moment at the end of the "episode" that makes you really want to see the next issue.  Kudos, once again, to the whole team for doing a crossover that is actually entertaining AND in character.

Captain Marvel #1 by Kelly Sue DeConnick and Dexter Soy - So Ms. Marvel is taking on the Captain Marvel name.  The irony being that when she left the Air Force, the character was a full Colonel.  This is a book that I really want to like, and I almost succeed.  I want to like it, because I agree with some folks out there that there are not enough female-driven comics in the mainstream.  I honestly don't blame the companies though.  As Spider-Man writer Dan Slott pointed out, it's a business and fans have to vote with their wallets.  The companies keep trying to push female solo books, they try to embrace diversity; but if the fans aren't buying it then they can't afford to publish it.  All that aside, it was an alright book.  There's some fun to be had here.  I hope that DeConnick plans to keep the fun tone going forward as that was the best part of the book.  It opens with Carol Danvers (Capt. Marvel) taking on the Absorbing Man with Captain America.  They make fairly short work of him, but the scene is used to highlight the fact that Cap sees Carol as an equal.  He is, in fact, the one that tells her she should stop being Ms. Marvel and become Captain Marvel.  

For a comic book that wasn't written by Robert Kirkman, there is a lot of inner-monologueing in the book.  Because of that, it is odd that we learn more about Carol through her interactions with other characters than we do in her inner monologue.  To be more accurate, there isn't much in  her monologue we couldn't have learned from some more action and dialogue.  I'm old school, I don't mind the inner monologue, but this one just didn't sit too well.  I just wanted her to stop talking to herself and hit more things.  Maybe the shortcoming is mine, I don't know.  Some new history and supporting cast are introduced.  At least it was mostly new to me as I hadn't read the Ms. Marvel series.  I've always liked the character, just haven't tried her solo yet.  

The art on the inside is not at all like the poppy colorful fun art on the cover.  Not to say Soy is all that bad, his style just doesn't immediately seem like a fit for this particular book.  There is one moment, a transition between pages where I almost felt like he had decided to redesign the costume one day and didn't feel like going back and fixing the other pages.  Mostly, though, I just felt like his darker, almost painterly style just didn't set well with the character or the story.  I think it could have popped a little more with a lighter, peppier tone to the art.  The issue sets up enough and shows enough promise for me to try a few issues, but it's going to have to set that hook pretty soon.

Revival #1 by Tim Seeley and Mike Norton - Closest I can come to a description is that Fargo, The Walking Dead and the X-Files had a baby.  It seems on a recent Christmas in the area of Rothschild, Wisconsin that a lot of dead people came back to life.  They aren't really zombies.  At least not in the "classical" sense.  The area has been quarantined and life is attempting to return to normal while the government figures out what exactly is going on.  There's a bit of behind the scenes at the police station, family drama, something spotted in the woods and then some good old fashioned violent mayhem and mystery.  Also, some pretty gross stuff involving teeth.  This one has some interesting characters, an intriguing plot and some good horror elements all thrown into the pot.  Our main character is Officer Dana Cypress, daughter of the police Chief and seemingly connected to every plot and subplot in the book.  She is a single mother and older sister and despite who her dad is, those two relationships seem like they are going to have the most connection to any answers that will be found.  As with a lot of my reviews, I don't want to delve to deep into this.  I want you to enjoy the discovery and the surprises.  This one is definitely worth picking up.  I will be doing so for the foreseeable future.

I'll try to be back for more this week.  Let me know what you guys are reading out there.

Sean Stoltey, writer, raconteur and retired rabble rouser, hails originally from California's Central Coast but currently resides in Southern California's BEAUTIFUL--San Fernando Valley. Screenwriter, Comic Book author, these are things he does because he's too poor to be a Producer or Publisher.

Sean has been reading comics, watching movies, reading books and selling his soul (or at least his hearing) to Rock'n'Roll for as long as he can remember. He has been discussing and arguing about these things for almost as long. 

So now he has come here to throw his opinions in your face as well and hope that, even if you don't agree, hopefully you will enjoy them. For the record: Kirk was the greatest Enterprise Captain, Han was the only one that shot, Led Zeppelin was the greatest Rock band to walk the Earth and Keith Richards is the coolest undead person to walk the Earth. Coolest living people are my sons and my Mom and Dad. My Dad F---in' rocks, and my Mom can kick your ass.

You can ask Sean anything at http://www.formspring.me/WWest3001 contact him via twitter @WWest3001 or boring old e-mail at SeanStoltey@yahoo.com

Oh my god...Not..something new!! an opinion by Sean Stoltey

"Look, it's Jean Grey!"

Hey woofers!  So as the Marvel event Avengers Versus X-Men strides into it's second half, we are starting to see a glimpse of what's to come afterward.  And again

, some very vocal folks are freaking out.  Last year DC Comics decided to do a complete wipe and reload on their continuity.  They felt the best way to entice new readers was to junk their old stories (this is nothing new for DC, to be fair) and start over with new "kewl" costume designs and total revamps...sorta.  I could go on at length about what went wrong with DCNu in my opinion, but that's not what today is about.  Nor am I trying to Monday Morning Quarterback Marvel's current and future creative decisions.  No, I am once again watching fandom's reaction and shaking my head.  

People have been screaming bloody murder and throwing text tantrums at Marvel over the return of Jean Grey.  "You better bring her back, we demand it!"  She's dead says Marvel, and for the foreseeable future she is staying that way.  So then the Phoenix-centric AvX comes around and now they want her back and Marvel is a bunch of hateful sadists because they have a new redhead that is not Jean in the middle of the story.  "You hate us, we are so maligned, we want our Jean back."  This is actually a toned down version of the sad, pathetic display I have seen playing out on the internet.  When I have tried to point out that these people are screaming and wailing and calling people names over a FICTIONAL DEAD PERSON, apparently I'm the asshole.  Go figure.  

So now this brings us up to the Marvel NOW! announcement.  Comic book solicitations having to hit three months ahead of publication, we are getting a glimpse of the post-AvX Marvel universe.  They are bringing Jean Grey back to comics.  Sure she's the teenage Jean Grey from the original X-Men comics, but it's Jean Grey alive and active in the current Marvel Universe.  You've been asking for Jean Grey back?  Here she is...do you think those folks were happy?  Of course not.  To be fair, some were just happy to have Jean back in any capacity.  Unfortunately, there is still a lot of "That's not what we wanted!  Give us OUR Jean back!"  

"How much do you love our awesome high collars?"
Said everyone but Wonder Woman.

Look, I am a passionate fan of comic books.  I get being upset because the books aren't going the way you'd like them too.  Actually I'm okay with them not going where I want them to, as long as the story is good.  When it's not, I stop reading the book.  Revolutionary, right?  If you don't like what's happening, stop reading it.  Stop buying the book.  If enough people stop buying the book, it will go away or get retooled.  Maybe even in a way you like.  Just to show that I practice what I preach, I was very upset about the idea of the DCNu.  I told the people around me that I thought it was a bad idea, BUT!  I also said I would give it a try and see if maybe I was wrong.  With a couple of exceptions, I feel like I was not wrong.  People who scream bloody murder over a creative decision make all of us fans look bad.  If there was a reasoned opinion expressed it might all be understandable.  Unfortunately, the internet isn't a place for reasoned opinion.  It doesn't get enough hits I guess.  There's a lot of vitriol out there, and it is almost always when a major change is coming.  Generally speaking, comic fans complain when the books just give us the same ol', same ol'.  They also complain when you try something new and different.  Damned if you do, damned if you don't.

So, here comes some major change over at Marvel.  Not even expressing my own opinion on the announcements so far, there is one thing about it that sticks out to me.  It feels very much as if it is a natural progression from the story that is currently being told.  They seem to be of the mind that if they are going to hype an event (like AvX) as being a (fictional) world changing story, well maybe the (fictional) world ought to have actually been changed by that story.  The complaint I had about DCNu, is that it felt like a marketing ploy.  Yes, they wrote a story to explain why everything was suddenly new.  However, it seemed like the change necessitated the story rather than the other way around.  Everything should serve the story, not the other way around.  In fact, I think I would have been much more accepting of it if they had just said "You know what?  Everything is ending in August and we're starting something new in September and we're not going to fleece you with an expensive mini-series and it's 327 tie-ins first.  We're just gonna sack up and do this."  It would have felt more honest.  Marvel isn't re-booting, but they are embracing the power of a #1 issue in this day and age.  I have to say, that's the part I like least about this Marvel NOW! launch.  I really hate that they are relaunching some books with new #1 issues that have been relaunched three or four times in the last 10-15 years.  I accept that it is the best way to market this change and get people interested, and you don't want to scare off the people who are curious after seeing the Avengers movie by making them feel that they missed something.  I just am a fan of legacy.  That's one of the things I liked best about DC before they threw out their history.  The idea that there was going to be an Action Comics #1,000 or an Avengers #600 was very appealing to me.  That we probably won't get either of those now is sad to me, but I certainly am not going to tell Dan DiDio or Tom Brevoort that they are sadists who are torturing me with their decisions.  I guess after over thrity years of reading my precious comics, I've gotten used to the fact that I'm not always going to like the next step in their evolution.  But I'll always give it a try.

So, what do you guys think of the stuff going on at DC and Marvel?  It really has helped me explore and embrace independent comics to lose some of my big two devotion over the years.  Lots of good stuff out there.  I'd love to hear some recommendations of non mainstream books to read and review.  Let me know!

Sean Stoltey, writer, raconteur and retired rabble rouser, hails originally from California's Central Coast but currently resides in Southern California's BEAUTIFUL--San Fernando Valley. Screenwriter, Comic Book author, these are things he does because he's too poor to be a Producer or Publisher.

Sean has been reading comics, watching movies, reading books and selling his soul (or at least his hearing) to Rock'n'Roll for as long as he can remember. He has been discussing and arguing about these things for almost as long. 

So now he has come here to throw his opinions in your face as well and hope that, even if you don't agree, hopefully you will enjoy them. For the record: Kirk was the greatest Enterprise Captain, Han was the only one that shot, Led Zeppelin was the greatest Rock band to walk the Earth and Keith Richards is the coolest undead person to walk the Earth. Coolest living people are my sons and my Mom and Dad. My Dad F---in' rocks, and my Mom can kick your ass.

You can ask Sean anything at http://www.formspring.me/WWest3001 contact him via twitter @WWest3001 or boring old e-mail at SeanStoltey@yahoo.com