“IF” – the word itself has helped to turn science fiction into science fact; making the impossible become possible. Celebrating a new theme with every annual release, 2015’s IF anthology boasts 36 creators coming together to tell 15 thrillingly original stories of time, space, technology, and other tales from beyond.
While this anthology boosts various stories, in sub-genres of science fiction they have one thing in common. Despite the briefness of each story, they each seem to share the same purpose of what a story is supposed to be, entertainment. I will admit some of the stories could have been easily drafted into the old Twilight Zone episodes. While others, would have a challenge adapting to another medium ,which give them their own greatness.
In a similar vain to the stories, each one shares a different approach to its artwork. However they all share the same monochromatic aesthetic. Which gives the entire anthology a sense of unity, despite the different artistic approaches in both story telling and artwork.
Story: Alex Eckman-Lawn, Brandon Barrows, Casey Reece, Chas! Pangburn, Chip Reece, Dino Caruso, Garrett Sneen, Glenn Matchett, James E. Roche, Jon Clark, Loki DeWitt, Michael Malkin, Mike Salt, Robert Menegus, Zach Bassett Art: Alex Eckman-Lawn, Dan Lauer, David Brame, Eric Weathers, Fabian Cobos, Garrett Sneen, George Athanasiou, Jon Clark, Mariano Laclaustra, Novo Malgapo, Peebo Mondia, Salo Farias, Sam Agro, Ugur Sertcelik, Tim Shinn, Zach Bassett Story: 9 Art: 9 Overall: 9 Recommendation: Buy
Alterna Comics provided Graphic Policy with a FREE copy for review
Disclosure: Writer Glenn Matchet is a contributor to Graphic Policy
Welcome readers for the first article in a new series at Graphics Policy! Like in any industry, comic books and their companies listen most to one thing and that’s your money! What does your money tell them? What does it tell us as fans? What series do people say they adore but can’t seem to catch a break and what books to people hate that sell out? What are the trends? What looks good? What looks rough?
All these questions and more will be answered here, every month in ‘By The Numbers’ by comic writers, editors and fans, Glenn Matchett and Ray Goldfield.
Glenn Matchett is a comic writer and editor. He’s worked in the industry for 5 years but grew up reading comics. He loves the format deeply and spends way too much time concerned that his favorite books will be cancelled. He intends to use these articles to help as therapy for his OCD. He also releases comics now and then and has a weekly column right here at Graphics Policy where he talks about whatever takes his fancy.
Ray Goldfield is a fan of comic books for going on 25 years, starting with the Death of Superman. He is a writer and editor for GrayHaven Comics, in addition to his day job. He started out as a DC Zombie, but has broadened his tastes to Marvel and indie books in recent years. He follows the comic sales charts obsessively, primarily to cheer on Magneto’s steady hold each month.
All sales figures retrieved from ICv2.com
What Went Well
Glenn: Well obviously the big debut and the big story this month is Marvel new Star Wars title which sold just over an astounding 985 thousand copies. I don’t recall a Marvel book selling that well since the Obama, Amazing issue and I don’t think it did those kind of numbers right away.
This property is obviously back at Marvel who had in initially in the 70’s after being a solid backbone of Dark Horse for 20 years or so. I don’t think the Dark Horse versions of the Star Wars comics ever broke 6 figures. Why do you think that is here?
Ray: I agree, this is just incredible. I think the Obama issue sold something in the 350K range, and that was a cultural event. This is probably the highest sales for any comic since the 90s. The big question, of course, is how it holds up from here, but the early rumors is that #2 sold over 200K. That would put it in a position to regularly be the top selling comic on the stands.
I think the big x-factor here is probably the sense of a new beginning. This is no longer expanded universe stuff, catering to an audience of die-hards following the complex continuity of the books and comics. This is the start of a new era, where the story of the original characters will continue in the movies. I think it felt much more important to the larger Star Wars fandom at large. I think the comic benefitted from that a lot, as well as the huge creative team and glut of variant covers, of course. It’s pretty much a perfect storm for massive success.
Another big success story for Marvel is Thor. This seems to be a rare case of a new status quo actually delivering a lasting sales change. The combination of buzz for the new female Thor and the continued excellence of the Aaron run has turned this into the second-highest selling Marvel Universe series, only behind Amazing Spider-man.
It’s a smaller-scale success, of course, but I feel like the debut of Jonathan Hickman’s The Dying and the Dead is noteworthy as well. Launching with 32K for a creator-owned book is pretty impressive in the superhero-dominated top 100.
I feel like the news is a bit more mixed for this month’s other four big Marvel debuts, though.
Glenn: Yeah, it seems the big media push they gave the new Thor paid off. This is likely why they have also decided to do a whole team of female Avenger’s.
It doesn’t seem like it’s paid off as well on the new Captain America but we’ll get there.
It seems like Hickman has now become a name that sells on its own. I mean he’s been one of Marvel’s big names the last few years now, he actually made the Fantastic Four sell better than it has for like…years. I’m not surprised his creator owned stuff would do well, he’s on the same level as Snyder who seemingly will get a big debut with Wytches.
Batman, Amazing and Walking Dead seem to be the reliable sellers for their respective companies. It seems that concerns that Superior sales wouldn’t carry over to a Peter Parker led book but it seems those fears at least have been quelled but I’m sure Spider-Verse has helped there.
I think it should be noted that currently, Walking Dead is the cheapest book in the top ten and two of those books in the top ten were 4.99, which to me, could be a scary sign of things to come.
A new launch this month was Ant Man which debuted at number 7 with just over 70 thousand copies sold. I’m not expected this to last up there, to be honest. Even with the movie coming out.
Ray: All-New Captain America did fall pretty hard right off the bat. I don’t think Remender’s style is really clicking with what the public expects a Cap comic to be, but this did make up for some of the slipping sales of the previous run. I think the timing of this run, with Sam Wilson debuting as Cap and then promptly being inverted to be evil, took a lot of the wind out of its sales.
Ant-Man debuted impressively for what it was, for sure. I think the critical acclaim might help it to keep some of its momentum, at least a bit longer than some books. It’s interesting that it debuted roughly in the same level as Uncanny Avengers, another big launch this month. I expect both of them to drop a good deal next month, just based on the pattern for Marvel relaunches lately.
One of Marvel’s most significant debuts this month was the weekly series “Wolverines“. This is their first foray into weeklies, as well as the first weekly comic priced at $3.99 besides the unconventional “Wednesday Comics“. It debuts in the top ten – and then promptly slips hard the same month, with #2 landing at #25 and out of the top 30 by #4. By the end of its first month – all ordered at the same time – it’s selling well below Batman: Eternal, which is almost a year in. If I was Marvel, I’d be pretty worried about what this looks like once orders get adjusted for the following months.
Glenn: Well to me, since Brubaker left and really since Bucky stopped being Captain America, the book has struggled. When you had Death Of Cap, obviously that was a big thing but then the book sold continuously well. It just seems to be one of those nuts that overall are hard to crack, like Fantastic Four or Superman. By all intents and purposes, those books SHOULD sell but for some reason or another they’re (at best) middle of the road.
Yeah no doubt. I kind of made the joke that by killing Wolverine, Marvel have only made him stronger. Overall they’re still coming out because instead of one Wolverine book that sells like 50-70 k or whatever, you have 4 so overall they’re ahead.
Squirrel Girl seems to have had a solid launch too for a D list (being generous) character. Maybe because of her exposure on Bendis Avenger’s run but I think that’ll be short lived too.
One of the big surprises is having the Star Trek/Planet Of The Apes mini do so well. I can’t remember what the Doctor Who crossover sold but I think this is a pretty solid debut.
Ray: Squirrel Girl is a big question mark. I wouldn’t be surprised if this one is closer to the mark in terms of demand than some of the other debuts, and so it starts lower but might hold better. I assume Marvel is trying for the same audience that is buying Ms. Marvel, and it’s not a bad idea. Of course, next month will tell the tale.
I’m pretty sure that is a very impressive debut for a licensed comic. One factor that might have helped it is that it’s one of the seven books that were sold on New Year’s Eve. Those tend to be ordered heavily because casual readers might take a chance on them during an unusually small week.
Steady books/books in the middle
Ray: The first thing I notice is that comedy is still doing well. Harley Quinn, of course, is probably the most surprising big hit out of DC in years, and is still hanging around just below the top ten. Not a surprise this creative team is getting a new book and a spin-off in June. And Rocket Raccoon is hanging around in the upper 30s, about 40 spots before the other Guardians spin-offs. I expect to see more of this type of book from the companies.
Wonder Woman had a brief peak when the Finches landed on the title, but now it’s selling at about the same level as the end of the Azzarello run with far weaker response. DC has to be a bit worried about that one.
I’m surprised SHIELD fell this far with its second issue, from a top ten debut. I’m less surprised by the drops for Angela and Spider-man & the X-men, as those two seemed like they were dropped with relatively little fanfare. It’s a bit surreal to see an Angela comic in the top 50 again, heh.
Glenn: I actually thought that they might be looking at the people buying Harley Quinn, the success of that book may be the oddest thing to happen in years.
Wonder Woman will be definitely one to watch, I think. I mean the Azzarello run wasn’t a best seller but it was extremely stable. Putting Finch on will definitely keep those sales but like you said, the critical response has been less than generous. If Finch can stay on schedule, it may be fine but its likely to face a creative overall after Convergence I’d say.
SHIELD is kind of something with a specific hook. It’s a kind of fringe book that don’t tend to stay stable long at the big two. It kind of makes you wonder that if the same premise and writer had been done at Image how it would have performed in the current market.
I think a lot of the success of ‘Wolverine and the X-Men’ has to attributed to Jason Aaron, now he’s gone and they’re trying to shoe horn Spider-Man in, I think this is the kind of response the current comic market will give you. I’m as big a Spidey fan as anyone but I’m not picking up this book, it seems to be a bit of a hail Mary to me.
A lot of indie/creator owned books seem to stabilize very quickly. They might not do as big number as say Amazing or Batman but the audience seems more dedicated. No one can overlook the success of Star Wars this month but as you said, its set to lose like 700 thousand sales in one issue. It seems like most Image or Dark Horse or whoever books obviously launch a lot lower but suffer less of a drop.
Green Lantern and Green Arrow have both seen better days at DC but both are stable sellers. Of course, we’ve found out recently that Green Arrow is set for another creative change which I believe is the 5th since the new 52 launch 3 years ago.
Ray: I think it’s actually six creative changes. All but one of them (the acclaimed Lemire/Sorrentino run) have only lasted one arc. And that’s not counting Judd Winick’s one-off. This title has been in creative flux since moment one. With Green Lantern, I think this is sort of course correction after they lost their A-list creator in Johns. The line will be paring back to only three books come June, which seems like a smart move.
Looking at the other weeklies for DC, it’s a world between Eternal and these books. Futures End is sort of a mid-level performer, but World’s End is really sinking fast. It probably doesn’t help that the title lost its chief architect right before the weekly began, with Tom Taylor leaving the line.
I must say, I’m sad to see three of my favorite Bat-books, Gotham Academy, Gotham By Midnight, and the short-lived Arkham Manor sinking out of the top 100 so quickly. These are clever, unique books, but they don’t seem to be reaping the benefit that Bat-titles seem to get.
This is where we start to see a lot of lower-tier books from Marvel and DC that just aren’t finding their footing, unfortunately. And I think the fact that Hulk’s main title is selling scarcely 1K more than Magneto’s solo book is testament to the diminishing returns we’re seeing with Marvel’s frequent relaunches. I’m interested to see if Secret Wars and the likely relaunch that follows will turn this around, or if we’ll continue to see the huge starts and huge drops. Marvel has developed a strategy of using tons of variant covers and mainstream press to launch huge, but it doesn’t seem to be carrying over past the first month or two.
Glenn: This to me presents two very big problems in this market at the moment. Firstly, people say they want something a little different/off-beat but when they deliver, it doesn’t seem that the market indicates the demand.
The second problem is like you mentioned, diminishing returns. Back in the day, a relaunch was a big, big deal but 30’s-50’s, especially in terms of Marvel are rare. It just seems to be relaunch, boom, sink, relaunch and so on and so on.
The Danger Zone
Glenn: This may sound a bit random but I noticed Halo on the charts, near the bottom. I remember when this property was a big deal at Marvel, it seems to have fallen in a major way.
Then again, outside of the monster hit that it was Star Wars, it seems a very bad time for properties in the industry. A lot of them are scarping around the low end of 5 figures. Most of them are even being outsold by creator owned. It doesn’t seem that properties like Star Trek, Doctor Who, Tomb Raider and more have a place in today’s market.
It also looks to me that Constantine is now down to the level ‘Hellblazer’ was at during its Vertigo days. It’s due for a rebranding following Convergence though.
I would think that Bucky would be performing better given the fact that this title is essentially a follow on from ‘Original Sin’ and he was in a movie a lot of people went to see.
Ray: I also forgot Marvel was even putting out Halo comics, to be honest. And outside of Star Wars, as you said, it seems very hard for licensed comics to get any traction. Besides that and the Star Trek/Apes crossover, the next one down is My Little Pony all the way at 119, and that’s clearly an unconventional mix of fanbases driving it. Even Buffy the Vampire Slayer and the TMNT/Ghostbusters crossover are hanging around the mid-130s. It seems like there’s a lot of problems getting a significant portion of the original fan base to check out the comic.
Constantine fell to earth rather quickly. I’m not surprised they’re relaunching it – it was the lowest-selling un-cancelled DC book for a while, before the Earth 2 tie-in briefly boosted its sales. While the relaunch should help, I wonder if the character is just a bit too unconventional to sell to a wide superhero audience.
With Bucky’s book, I think this is just a mismatch of property and comic. Original Sin was rather poorly received, and it has an odd concept with Bucky in space fighting aliens. I think if they launched a spy comic starring the Winter Soldier that resembled the movie more, they might have done better.
Two comics that jump out at me are Klarion at 225 and Star-Spangled War Stories at 245. For main-line DC comics only a few issues in, that’s shocking. It’s interesting that DC’s experiments in unconventional, non-superhero comics like these are landing with such a thud, but they seem to be doubling down on this type of book with the June relaunch. What is their plan to make things like Prez, Doomed, Bizarro, and Omega Men succeed, when they’ve had such trouble recently?
Glenn: I think they’re going to be looking to replicate the success they’ve had with Harley but to me, that might be lightning in a bottle.
Again, at least they’re trying new things, which is fans say they want but sales prove different.
It’ll be an interesting summer at both companies, for sure.
Coming up next month
Ray: Looking ahead to next month, it’s sort of the calm before the storm. Next month’s chart will have a few interesting points, though. We’ve got the launch of Grant Morrison’s first Image ongoing, The Nameless. Marvel is bringing us the next Star Wars launch in Darth Vader, plus the internet phenomenon of Spider-Gwen makes its ongoing debut. Those will probably be dueling for #1. There’s also the launch of Silk, a more controversial character that Marvel has a lot of faith in. It’ll be interesting to see how those books shake up the charts.
Glenn: It should be the debut of Wytches on the sales chart, I believe. I think this one might be one of the big winners from the company. You’re right though, the majority of books will be treading water sales wise until we get our annual huge shake up. Most of the ones to watch next month will be the indie books. I’m personally hoping that Nailbiter can gain a stronger following over time. Once upon a time, Walking Dead was down that part of the charts too.
Enjoyed what you read? Let us know and follow us on Twitter @glenn_matchett & @raygoldfield
Working At GrayHaven Part 5: You Are Not Alone In The Abyss
I spent 5 years with GrayHaven comics as a writer, editor and friend to the company. In many ways I still consider myself the last of those things and I have many friends who still work with them. I bother Andrew Goletz far too much on Facebook, speak to great friends and ridiculously talented people on a daily basis that I either met through GrayHaven or grew closer with through the company. I also met people that I genuinely detest through my time there but I am very fortunate and grateful I met more good people than bad.
I’m not completely faultless, however. I made mistakes and not just one or two. I made a number of errors in judgment in ways I dealt with certain situations and dealing with people. No one is perfect, least of all me. However, the past is gone and it’s not coming back. I hope in some ways the stories that I’ve told so far have been somewhat interesting as to my creative process but this article will be a little more educational.
This article will highlight two volumes that highlighted the best and worst of my GrayHaven experiences. Ultimately I am very proud to have my name on both projects, they are both results of many hours of work that I think paid off in terms of output. However, delivering a high quality book sadly isn’t the only mark of how successful a book is.
Before I get to them though, I realized there was one volume I forgot about last week. So to prove that I am by no means perfect, I’m going to do a brief summary of the one GrayHaven story I did, that I honestly completely forgot about.
More than ever, let me stress that the following events I describe here are from my perspective only. Other versions of events can and probably will vary. I will do my best however to give you all the events as they happened. Anyone who would like to offer a different perspective that either is similar to my own or differs from mine is invited to do so.
GrayHaven Presents: Sci-fi/Horror
So yes, this is the one I forgot about, although I’m not sure exactly why, as it is certainly memorable for several reasons. The volume was a part of GrayHaven’s ‘Limitless’ line which was now looking to produce large, graphic novel sized anthologies which would even see some colour stories. By and large, due to cost, GrayHaven rarely had done colour before (with one notable exception we’ll get to shortly) but these volumes had a healthy amount of stories with colour in them.
The first of these was ‘Sci-Fi/Horror’ which was taking GrayHaven’s most successful genre and adding in a large science fiction twist on top. The volume featured a wonderful wraparound cover by longtime GrayHaven artist, Leo Gonzales who should be working on a big three book like 5 minutes ago.
When I was pitching my story, I had already delivered a few horror themed tales during my time with GrayHaven. I wanted something this time that would really stand out though, something that would be genuinely creepy. The first thing that hit me was an image of a man in a restaurant where all the people with him would be the same person. It was an unsettling picture in my mind but I wondered how I could make it practical. I literally built a whole story around this one image in my mind which is how the story that eventually became ‘REMWorld’ came to be.
Essentially REMWorld took place at a point in the future that (for an affordable price) you could customize your dreams. Wanting to get away from it all for reasons that were outlined in the story, the main character chose this new fad to have a wonderful dreaming experience. The trouble was that the tech started to malfunction and slowly but surely, the man’s subconscious turned the dream into a nightmare. When I came up with the concept, I thought it was something really different that I could cram as much creepy stuff as I could think of in. I could also use the advantage of the entire thing being a dream to give myself a certain freedom to do what I wanted and jump scene to scene with little or no explanation. After all, what is a dream if nothing but random?
It was several months later when it was already printed when I realized the story bore some similarities to the movie Vanilla Sky, which in turn was adapted from the Spanish film ‘Open Your Eyes’. I think however that REMWorld took the concept to a much darker place overall and I decided to never really let on about the similarity and hope no one noticed (until now, oops).
I thought the story turned out very well and it was really well illustrated by an artist named James Emmett. I can’t honestly comment what it was like to work with James because I didn’t have any communication with him. I wrote the story, I corrected the story after edits and poof it appeared. Almost like magic. I will say he did a great job and I hope to work with him more directly at some point soon!
The story also featured the debut of ‘Darma’, the virtual guide through REMWorld who took on a sinister personality as the story progressed. I loved Darma, I really did and if I have my way, she’ll be back.
So that brings us to the main points of this article. Sorry for the slight detour but now we’re about to dive in head first. Abandon hope all thee who enter the Abyss.
Tales From The Abyss Vol. 1-4 (and maybe 5?)
It all seemed to be perfect, all the stars and the planets would align and all would be right with the world. Like I mentioned above, horror was GrayHaven’s strongest seller and people wanted colour stories from us and existing creators wanted a shot at telling bigger and better stories. When Andrew decided to start (at the time) the second spin off anthology to accompany the Gathering, a horror prestige anthology that would largely feature colour stories made the most sense. We would even let people tell one story over multiple stories and we even had a top tier creator to tell such a tale over the books initial five volumes.
We had all the boxes checked, a big story for a pro lined up and more ongoing multi-anthology stories green lit from Erica J. Heflin and Inverse Comics super guru Kevin LaPorte. It all seemed like it was going to go well.
Except it didn’t, it really didn’t. Since I had edited the second and third volume of the horror books, I was the natural choice to take charge on this project too. Since the workload was going to be nothing like none of us had ever attempted at the time before, I was joined in the editing chair by Erica J. Heflin.
Ultimately we produced four issues of the anthology that faced a multitude of delays, headaches and enough tales of woe to make anyone sit and wait for nurse to bring them their medication. The first two volumes in my view, quality wise, were among GrayHaven’s best and they both overtook my long standing favorite of Vol. 6 as the best material GrayHaven had produced. The third volume and fourth volumes were not quite as strong I felt but where of a really high quality I was very proud to be involved with. I even had a story in Vol. 3 of Abyss which I’ll get it in a moment.
There was only one problem (on top of all the other problems the book faced).
No one cared. We’d done everything right, we’d seen what people were buying, were requesting and had a pro on board and we gave it to them. Still, no one cared and the four volumes of Tales From The Abyss which were produced were amongst GrayHaven’s lowest sellers.
Then there were the problems involved in actually getting the books out. The book just seemed eternally cursed with problems that included but were not exclusive to the following
Writers being difficult
Artists being difficult
Writers not delivering scripts
Artists not delivering art
Writers refusing to change their stories for edits
Writers wanting their stories removed because they didn’t like another writer/artist in the same volume as them
Colourists being hard to come by, especially since GrayHaven were not paying talent at the time
Finding replacements stories/artists/colourists with sometimes not much time between the story needing to be done and the volume being printed
Of course, at the time anyone asked how things were going with the books, Erica and myself would smile and nod. I wonder if we had perhaps pooled our efforts we put into trying to get this book chugging along that we would have accomplished something a lot easier, like say solving world hunger or curing the cold.
Honestly, it was just hellish trying to get the books out. It seemed that the fruits of our labors were worth it because, like I said the volumes were great (by and large) and looked STUNNING but again…no one bought them. Sales were so poor that when GrayHaven revamped their website earlier this year, the volumes were pulled from sale and Vol. 5 (to my knowledge) was never made available for purchase.
I often equate my time editing to like being in a room full of spinning plates. My job was simple, don’t let the plates fall and I think I did that. I think I was pretty good at that but the Abyss plates were like cutlery that fights back or cuts off your hands if you touch it.
I’m a big believer in cause and effect. I think in retrospect that working on Abyss caused a domino effect that ultimately led to me leaving GrayHaven late last year. Perhaps everything would have worked out the same but if Abyss had been handled by another editor, things may have been different.
I do hope that if you find a copy, you do buy it because the stories (by and large) are rather brilliant. The talent that DID deliver and I COULD depend on, delivered in spades and did some of their best work. It also featured the first pairing between me and my future Sparks collaborator, Kell Smith for a story that was in the 3rd Abyss issue.
I’ve complimented Kell a bunch but I can’t stress how much of a fan of her work I was by this point. It was Erica’s idea to pair us together for the horror tale I wrote which was ‘Fasten Your Seatbelt’ and showed we had some creative charisma that would secure her place as part of team Sparks.
‘Fasten Your Seatbelt’, was something I conceived based on my absolute hatred of flying. It’s not just not liking to fly (which I don’t) but it’s the overall experience of it. Like I said in one of my earlier articles (available right here on Graphic Policy!!!!) I don’t like waiting. Like at all. To me, flying is just a constant state of waiting.
You wait to check in, you wait to get through security, you wait to get on the plane, you wait for the plane to take off, you wait on the plane, you wait to get off the plane, you wait for your luggage. I just despise it and being a tall fellow, I get ridiculously uncomfortable when I fly. I have often fantasized about being on my own on a plane but then kind of thought that would be rather horrible which is where ‘Fasten Your Seatbelt’ comes in.
I wrote a story featuring a man who woke up alone on board an empty plane. I just poured all my hate of flying into the story and I think it was pretty creepy (even though Andrew and Erica kept calling it ‘Glenn’s Langoleers’, le sigh). I think Kell did a wonderful job drawing the story and I think it stood proud among the usual high quality stories that Abyss delivered.
It was a shame that not many people got to read them. It seems strange now that after all that effort to put out the books that they’re gone now. All that time spent keeping those plates spinning I’ll never get back. Still, I delivered what I thought were great comics and that was my job so I can hold my head high at least in that regards.
Sometimes though, there comes for a need for a comic where sales aren’t the primary force behind making them. Sometimes you’re compelled to make a comic for something higher, something that sadly can emanate from tragedy.
You Are Not Alone Vol. 1 and 2
On December 14th 2012, America went through a great tragedy that is known as the ‘Sandy Hook elementary school shootings’. I won’t the events of what occurred on that day because they are well known and you can find every opinion possible on the tragedy readily available online.
How it affected GrayHaven was down to how the tragedy affected our publisher, Andrew Goletz. He felt compelled to do something in response to this heinous act and that is exactly where the concept of ‘You Are Not Alone’ came from.
The volume was going to be the biggest thing that the company had ever attempted. It was going to be an anti-bullying oversized graphic novel that would help those that looked to help people that were treated differently because of their appearance, their race, their sexuality and other things that people can pray upon. It also looked to help those that were dealing with issues that would perhaps lead to self harm or anorexia and who to call and/or contact in relation to these issues.
It was an extremely worthy project and one I was eager to be a part of. I was heavily bullied when I was younger and wanted to help with the project that would hopefully help others get through similar experiences. I wasn’t part of the initial ‘You Are Not Alone’ (or YANA as it became known) conceptual team but I was eager to offer any help I could.
Sadly, I was told that I wasn’t needed. I’m sure Andrew wouldn’t mind me quoting him directly as he told me ‘I don’t think you’re a good enough editor’.
I was furious and I think that one sentence was another big contributor to me eventually leaving GrayHaven. In retrospect I think I should have been more understanding and realizing that this was the most important thing that GrayHaven had ever done and it was much bigger than any of us. I like to count Andrew as one of my closest friends and although we have had many, many arguments over the years about a number of subjects I don’t think he has ever done anything to intentionally hurt me. Still at the time, I was angry and I just decided to pitch a story to the book in the hope that I could help someone with what I was allowed to contribute to the volume.
I wrote ‘00110001 (binary core for the number ‘one’) is the loneliest number’ which dealt with the very modern and real problem of Cyber Bullying. I was tempted to tell a more personal take based on my own bullying experiences but I thought that there would be a lot of those types of stories. I wanted to tackle an important issue that I didn’t think anyone else would think of (I was right). I think I did a good job on the story and I asked previous collaborator, Paula Cob to do the art chores. She did an exceptional job and I think the story hit all the beats that I intended it to. In truth, You Are Not Alone is filled with many personal and harrowing tales that in truth nearly moved me to tears the first time I read it. I think it truly lived up to its purpose and I was proud that my story was a small part of it.
There was a long gestation period for the project and eventually Andrew asked me to come on board and help get it out. I can’t honestly remember what the problems were or how much work I did to help get the book out, all I remember is how I reacted. I reacted like an utter ass who continually threw Andrew’s words about my ability as an editor back at him.
I did the job I was asked to do because I always did but looking back I should have just swallowed my pride and helped the volume (which again, was much bigger than me) get out but I decided to be difficult while doing it.
Eventually the book came out, it was a big hit and we heard a lot of stories from people who it helped. We also got the most media coverage than I believe any other GrayHaven anthology and a follow up was soon seen as a necessity.
In a true 120, instead of not having me involved at all, Andrew gave me the responsibility of producing ‘You Are Not Alone 2’ all by myself. Although it wasn’t quite as large as the first volume, the second one was due to be larger than any editor had delivered by themselves.
I was intimidated by this and knowing how important the project was, I wondered if I was capable. Then, one of my fellow editors told me point blank that they didn’t think I could do it. Like a bull that had seen a red flag, I swore that I would prove them wrong and worked my ass off to make sure the volume would be ready to go by September 2014.
Along with the other books I was looking after, I can honestly say that You Are Not Alone 2 took most of my attention. I asked for help from as many artists and letterers that I could think of but never once did I contact another editor. The gauntlet had been thrown down and I was going to deliver this volume over the finish line and I was going to do it by myself.
Which I did and I think I delivered a beautiful volume that featured great stories by a multitude of creators. I was told to have it ready for production for September and I did that, only needing lettering done on a handful of stories but I had done everything else. I had read through the hundreds of submissions, I had edited the stories, I had assigned artists, I had dealt with even more submissions once they reopened and I got as many stories lettered as I could without any budget.
In truth, I think the effort to put out You Are Not Alone 2 burned me out. Other things happened after that, things were said about me and to me that along with everything else that had occured, caused me to leave GrayHaven. It broke my heart because I had invested so much effort, time and finances into the company and I was now feeling I was no longer welcome.
Whether that was true or not, I’m not sure. There are people I am still very close to there and there are those that after I left, decided to set fire to my virtual chair at the table and pretend I was never there at all.
On a final note, I want to talk about the story I wrote myself for YANA 2 which was called ‘Someone for Anyone’ that was wonderfully illustrated by Dan Laurer. The story featured an old bear in a toy shop that was never paid attention to and was picked on by the more popular toys. Finally, one day a little girl comes into the shop and takes him home. I had long since been criticized by other editors for the amount of words I would use in a story and decided to tell this one without any words or captions.
I think the story met that challenge and Dan did a great job telling the story without one word of dialogue. I had met Dan through chance when looking for an artist for a sc-fi ‘Alterna’ anthology where he delivered in spades on a story that I’m hoping sees the light of day very soon.
Dan has worked in the industry for years and is a great talent and I hope I am lucky enough to work with him again someday.
Still, I think it’s very ironic to look back at that bear, now my time at GrayHaven has come to an end. It was a good toy but it still sat on a shelf, ridiculed by the other toys on a daily basis which caused it to feel undervalued and alone.
One day, the door opened and someone appreciated the bear for what it was. I hope that one day, the door will open and someone will do the same for me.
Many thanks to Andrew Goletz for letting me do these articles and letting me say what I wished. I’m sure I’ll be annoying him about something before you finish this.
Next: The rise of Indie Comics
Got any comments, suggestions or questions? Let me know! Also follow me on Twitter @glenn_matchett
During my tenure at GrayHaven there was a lot of evolution and expansion, especially considering the fact that we were smaller than small press. Our publisher and leader, Andrew Goletz was a fearless man who wanted to make comics that in some way would not only help build the companies profile but also create the comics he thought should be made.
These is why GrayHaven released books that were outside the Gathering, books that we wanted to make and could make because there was no one around to tell us we couldn’t. Isn’t that the main appeal after all of indie comics? It may not work out of course but there was no one to tell us we couldn’t try.
These are the tales of those volumes that I penned stories for. I’m not sure if there as chronologically correct as my previous GrayHaven related articles but I’ll do my best.
Once again this only deals with volumes I was involved with as a writer and is from my own perspective. Other versions of events may vary, I can only tell you what happened from my perspective
The Dark Vol. 1
The line of comics that would eventually become known collectively under the banner of ‘Limitless’ was, the brainchild of Andrew and one of GrayHaven’s founding editors, James O’Callaghan. It was basically going to be GrayHaven’s answer to DC’s ‘Vertigo’ line of books where creators could craft ‘darker’, more adult stories. We very much wanted to keep the Gathering as ‘all ages’ as possible so it was logical for us to create a line of books specifically targeted towards an older audience.
My story in this volume was adapted from a short story I had submitted on a contest the Bendis Board ran back in 2006 or so. I believe the contest was called ‘the horror story meltdown’ or something like that. The interest in the contest was low and there were only 3 submissions (including mine) so it was basically declared a 3 way draw. The story was called ‘In Treatment’ and featured a physiatrist having a session with a seemingly very violent and homicidal patient. When I was writing it, I took inspiration from ‘horror tales with a twist’ that were frequent staples of shows like ‘The Twilight Zone’ and such. Basically, at the end of the story it is revealed the psychiatrist is in fact the murderer and she has kidnapped her therapist and is sedating him while torturing him with sessions like the story outlines.
When I wrote my previous article, I talked a lot about how comics can be used like no other medium to ‘mislead’ the reader. I tried to do that here but I don’t feel I quite pulled it off with the same success I did in ‘The Saloon’. In truth, I believe that this story was the worst one I produced during my time at GrayHaven (opinions on that one may vary).
The main problem the story had was the amount of words in it. I just CRAMMED the story full of words that didn’t allow the art to do its job. Keeping dialogue under control has never been my strong suit (I have gotten noticeably better, I think. Still working on it.) I wish I could take a second shot at the story sometime, I think with all I’ve learned in the time since I wrote it, that it would come out significantly better.
I worked on this story with Arcadio Bolanos who was an early GrayHaven workhorse. Sometimes, Arcadio would illustrate 2 or 3 stories per anthology in the early volumes and was a big help to the company. I actually think his work on ‘In Treatment’ was among his strongest but the story overall is among my worst. I’m not sure what he’s up to these days, knowing Arcadio I’m sure he is drawing something somewhere.
After a period of time, the Limitless line was overhauled and driven by fellow GrayHaven editors, James O’Callaghan and Erica J. Heflin. One of the main things they wanted to do with this line of GrayHaven books was produce prestige anthologies that had darker themes and fancy things like colour.
The first that Erica wanted to do was ‘The Archives’ which was based on history (either famous history or personal history) and she invited the GrayHaven editorial staff at the time to participate. I believe at the time her logic was reaching out to people she knew would deliver while we tested out to see if this format would work for us or not.
With all of history available to me, I felt a bit spoiled for choice. My first instinct was to do a story relating to the Kennedy Assassination (a subject I am fascinated endlessly by). I then became torn because I also felt like I should do a story involving the Titanic. Being from Belfast, where the Titanic was constructed and given that it was the 100 year anniversary since the ships doomed voyage, I felt obliged to do a story on it.
The concept stuck with me, so I wrote a story about the Titanic leaving Belfast and its final night, using Thomas Andrews (also from Belfast) as my central focus of the story. I think I crafted a great story which was wonderfully illustrated by Fabio Jansen. The story included a jaw dropping double page splash page of the ship in dock that may be some of the best art in any story I’ve ever written. I believe that Fabio is currently working on a new Inverse project as of this typing.
This was a story I was very proud of and the volume overall was very strong. I still perhaps need to get around to tell that Kennedy story that was kicking around in my head however…
This was another attempt from GrayHaven to produce a comic that had told one story featuring various different writers and artists. In many ways, I believe you could almost count it among one of GrayHaven’s first one shots. It was a murder mystery with a quirky twist that was primarily the brainchild of one of GrayHaven’s earlier unconventional writers in Sasha Makarewicz.
The story featured a killer that used his victims to make ‘sand angels’ and featuring a protagonist in the style of Dale Cooper by way of Neil Gaiman. The other writers (including me) were given the first few pages of the story, the overall outline of the story and a specific scene to write. I was tasked with writing a scene where the protagonist (whose name escapes me) would be questioning the parents of the victim.
I felt I wrote a decent scene and it had some cool stuff I decided to throw in like making a splash page featuring dozens of pictures of the victim formed like mini panels. I like trying to come up with unusual panel layouts or unconventional ways of telling the story because that takes (to me) as much skill as forming the words on the page.
The segment of the story I wrote also featured a line of dialogue I was particularly proud of. Essentially the protagonist felt that because he was exploring the latest victims death and absorbing every aspect of her life, he felt he knew her better than even her parents. The story overall was very non-linear and I felt had an ending that I’m still trying to fathom but was an interesting experiment I was happy to partake in.
The artist who worked on my segment was Gary O’Donnell who is a fellow Irishman. I didn’t have much direct contact with him on the story and he did a few other projects with GrayHaven. Last I spoke to him, I believe he was still on the small press scene looking for work.
Hey Kids: Fairy Tales
At GrayHaven it was felt that there aren’t a lot of comics for a younger market. By and large, comics are usually for older readers with little to no effort put towards getting kids to pick up books. So we decided to do it ourselves, with a mix of success. There was a lot of debate during the short lived (as of this typing) ‘Hey Kids’ line about what was or was not appropriate for kids. For the volumes I contributed to, I very much tried to go along the lines of Disney or Pixar. I wasn’t looking to talk down to any of my potential readers, I wanted to write stories that not only younger readers could enjoy, but anyone could.
The first ‘Hey Kids’ volume was a follow up to the Gathering’s Fairy Tale issue which had been met with some success. For this volume, I crafted a traditional fairy tale with a twist that I was very proud of. In ‘My Darling Hero’, I told a story of a girl who was told by her mother since a young age that the only good way to meet a man was to get herself kidnapped by a brutish monster!
It was very much a tongue-in-cheek tale that sort of turned traditional fairy tale stereotypes on their head, much like Disney’s ‘Enchanted’ or ‘Frozen’ did. It relied a lot on visual gags that I felt were effectively pulled off by artist, Devon Taylor.
Since his debut in the first fairy tale volume, I fell in love with Devon’s work. He had a magnificent, highly professional style that I was desperate to apply to a story I wrote. Poor Devon was likely tortured by my over eagerness but I honestly couldn’t help myself. As I suspected he would, he knocked it out of the park on the story. It’s one of my favorites I ever did for GrayHaven.
I think Devon only did a handful of GrayHaven stories, so I was very lucky to have him. He was long appointed as the artist of a comic the company was released called ‘Tomorrow’ (the status of which I am unsure of) but I hope someone has snatched him up. If not, I would honestly work with him again any day of the week.
Hey Kids: Superheroes
Another superhero volume after our non-superhero book that everyone thought was a superhero book didn’t perform well in Vol. 3 was always a puzzling decision to me. Still, at this point I wasn’t involved much in any decision making and since I love superheroes, I looked to contribute a story.
Going again with a slightly unconventional slant, I introduced a rather ineffective group of super villains who look to induct their leaders son into the way of all things evil and such. The majority of my GrayHaven stories had taken on a darker tone and I loved writing humour so this story (along with ‘My Darling Hero’) let me do just that.
I think this is another story that was restricted by the space I had and was probably too big an idea to cram in to so few pages. Still, I heard quite a few positive things regarding this story and a lot of people said it made them laugh so…who am I to argue? I would love to bring these villains back in some fashion (there’s me not wanting to let go of characters again). Who knows what the future might bring for these characters and all the other ones who I’d like to see more of.
Longtime GrayHaven artist, Nick Francis was my partner on this tale and he did a lot of fun character designs for my cast of villains. Although a relative latecomer to GrayHaven, Nick did a lot of stories with us and was the penciler for one of the many ill fated ‘Phase 2’ books ’11.59’ which was written by publisher, Andrew Goletz and was bloody good. I can’t be accused of sucking up either because I left like 5 months ago or so, it really was bloody good.
I believe Nick found himself paying work with another publisher so keep an eye out for his name!
Hey Kids: Sunday Funnies
The idea of this book was to do one page, ‘newspaper’ strip style tales in the style of such classics as ‘Peanuts’ and ‘Calvin & Hobbes’. This book had a lot of production issues sadly and a lot of drop offs that led me to having not one story but two.
The first was ‘Coltard The Conqueror’, which was a one page light hearted story starring a Dark Vaderish evil space lord in a day in his life. I basically went ‘Saturday morning cartoon villain’ and went all the way to the end goal with this one. I had a lot of fun writing it and it all came from when I met someone called ‘Colton’ and called them ‘Coltard’ by mistake. I thought ‘Coltard’ sounded like the name of an angry villain and the rest, as they say, is history.
I have yet to see this story or recall who drew it sadly. I’m waiting on my copy of ‘Sunday Funnies’ and let you all know how this one turned out, if anyone out there read it and enjoyed it, let me know!
The second story, featured a meta tale bringing back my haphazard hero from ‘Vol. 3’ of the Gathering, Commander Cosmo. I was luckily enough to be teamed again with Nathan Lee James on this story and I had a blast bringing the character back with him. I was even more pleased (and pleasantly amazed) to find that Cosmo featured on the cover which I really was touched to see.
At this stage, I was starting to see the ‘exit’ sign burn brighter and brighter with ‘GrayHaven’ and I wrote this story with that in mind. I told a story that I felt was funny and ignored nearly every rule that had been drilled into me by various GrayHaven editors over recent times. I thought the story turned out pretty good (Nathan was kind enough to send it to me) and I hope that somehow, somewhere that Cosmo will live again.
I had some good stories over these volumes. Largely they were quick hits to keep my writing muscles going while editing was becoming more and more of a priority.
Still, I haven’t even begun to mention the two GrayHaven volumes that would represent my best and worst experiences with the company.
Next: You Are Not Alone In The Abyss (Except you kind of are)
Got any comments, suggestions or questions? Let me know! Also follow me on Twitter @glenn_matchett
Hey everyone! Sorry about the delay, had some personal issues both comic and non-comic to deal with. I’m back and will be posting from my regular Thursday (ish) from next week.
Working At GrayHaven Part 2: Bigger and Better (Part 1)
Welcome back to my memories of the stories I published with GrayHaven during my tenure with them both as writer and editor. Last time we spoke about some of the early volumes I was involved with and some of the early lessons I learned as a creator and some lessons the company learned too.
Once again this only deals with volumes I was involved with as a writer and is from my own perspective. Other versions of events may vary, I can only tell you what happened from my perspective.
I won’t waste much time and take you right to where we left off last time with Vol. 7, which I actually wasn’t in…but I was meant to be.
Note: This section is a lot larger than I anticipated so I have decided to split in half.
Hope you enjoy!
Vol. 7: Dreams and Nightmares
I don’t really remember much of the submission criteria for this volume but I do remember the story I put forward. The entire volume was themed with ‘Myth’, which again was a genre I hadn’t played in much and was eager to explore. I remember really taking a long time coming up with the story that became ‘Until The End’.
The story featured two wizards named Garth and Rex (short for Rexmus) who represented the light and dark side of magic respectfully. Starting off in modern times the six page story told a tale of them essentially fighting each other since medieval times. It was a story I was really looking forward to seeing published and I was paired with a new artist to GrayHaven. I don’t remember this artist’s full name now but I believe his first name was Robert, who upon initial communication was very eager to bring my warring wizard’s to life.
After the initial communication though, he stopped answering e-mails from me and the editor on the book. He vanished from the face of the earth and by the time we realized he wasn’t going to draw the story, it was too late to find a replacement. This was my first experience with an artist who had let me down and flash forwarding to today it is something I have come across far too often.
There was nothing that could be done. There was some talk of turning the story into a webcomic but that never really came to fruition. The story likely needs a lot of polishing from what I’ve learned in subsequent years (this story was written in 2011 and I would say I’ve grown quite significantly as a writer) but I would still like to see it come to life at some point.
It is true what they say, there is no such thing as a wasted idea and some of this story may even appear as apart of something else entirely down the road, who knows.
My disappointed was short lived however as I was about to begin my most prolific period as a writer for GrayHaven. The company as a whole was getting bigger and better and it seemed that I was going to face the challenge to do the same creatively
Vol. 9: Once Upon A Time
Like I’ve said many times before, growing up my biggest influences to me for the rest of my life were likely ‘Batman The Animated Series’ and a complete collection of Arthur Conan Doyle ‘Sherlock Holmes’ stories. I can likely link everything I have liked or been passionate about back to those two things in some fashion. Another big influence growing up that I don’t talk about very often is the steady diet of Disney movies I enjoyed in my youth…and even until today.
I’m a big fan of animated films and it all started with Disney films like ‘Aladdin’, ‘Beauty and the Beast’ and ‘The Lion King’. I was really eager to participate in a volume based around Fairy Tales such as Vol. 9 of the Gathering was. The only stipulation this time was that all stories had to have some moral undertone or ‘lesson’ for readers, just like all good fairy tales do.
I quickly came up with a story where the moral would be ‘always listen to your elders’ and would feature a cast of talking dragons. I found it hard at the time to think of many fairy tales to feature dragons as protagonists and thought it would be something a really talented artist could sink their teeth into. Essentially the story revolves around an older dragon telling a younger generation about a volcano where the most dangerous dragon of them all resides. The young dragons are told to stay away but of course, one of them decides to check out the legend for himself and comes across the dangerous creature first hand.
Upon reflection it’s a pretty simple, straightforward story that really benefits from the art of Paula Cob who I worked with on this story and a few subsequent others. Paula is a very talented artist whose work I adored when I first saw it in ‘Vol. 3: Heroes’. She had worked primarily to date with a writer who also happened to be her husband in Ignacio Segura but I was eager to see if she would lend her manga style art to my little fairy tale.
Fortunately for me, she said yes and I’ve had the pleasure of working with Paula on a number of occasions. I’m still a big fan of her work and find it sad that she doesn’t participate in GrayHaven stories as much as she used to due to her and Ignacio working on a personal project. Her art style gave my story the scale it needed and I think added a lot to my fairly straightforward tale of doing what you’re told.
I also edited the book but don’t have many memories of it. This likely means it all ran fairly smoothly which is always something to be celebrated.
Vol. 10: The Unbelievable Arthur Richmond Is One Smart Cookie
Previously known as ‘the adventure’ volume I believe Vol. 10 is something that to this day sends editor James O’Callaghan into traumatic flashbacks.
A little background about Vol. 10, which began like any other Gathering volume and had people submit stories with a different take on the ‘adventure’ theme. The trouble was that the amounts of submissions were low so it was decided that the interested parties would take their individual stories and combine them.
The new main story would feature a character called ‘Arthur Richmond’ who would serve as our Indiana Jones style protagonist. It was up to our editor to figure out how all our individual stories would figure into a larger hole. For that task, I cannot give but the highest praise to James who took several different stories (including one that had talking birds) and somehow made it work. I would say he made it work more than any of the rest of us on the editorial staff would have in any case.
My section basically served at the books epilogue where we would discover that the entire tale was one told by an aged Arthur to a pair of young men in an adventurers club. Of course they don’t believe his story of talking birds and magical cookies (you had to be there) so Arthur goes home, clearly dejected. The closing scene has him go down in his home to a sizable trophy room, where indeed we discover his stories were all true.
It wasn’t conventional but it somehow did work. I was proud to be a part of it and thought my epilogue gave it a suitable note to end on. On this story I was fortunate to work with artist Sam Tung, who was an early GrayHaven fan favorite. He only worked on a handful of GrayHaven projects before going on to do some production work for Iron Man 3 and GI Joe 2. Apart from my misfortune regarding my Vol. 7 story, my extremely good fortune with artists seemed to continue.
Volume 11: Silver Age
This volume was a big passion project for GrayHaven publisher, Andrew Goletz. He wanted to do a volume that would harken back to the classic ‘silver age’ of comics where Marvel where just coming into the eye of the public and comic took themselves a little less seriously.
I was initially tempted to bring back my inept hero from Vol. 3 ‘Commander Cosmo’ when submitting for this volume but it wasn’t an idea Andrew was in favour of. He wanted to avoid stories that connected to each other as he did not want customers to feel pressured into buying several volumes in order to get a complete story.
Understanding and agreeing with his logic, I decided to do a story revolving around time travel. I love time travel as a storytelling device and if you meet me for more than five minutes, I would say you’ll soon learn that. I also decided that I would have a female protagonist as that was something I had yet to do in any of my stories to date. Regular readers of these articles will know that I feel very passionate about the portrayal of female characters and having more of them in comics, so with that in mind I created Lucy Letwood.
Having stole a time band that her father invented, Lucy was a young woman who finally found herself LOST IN TIME!!!! I basically wrote this story with a big stupid grin on my face and tried to have as many silver age callbacks as I could cram in. I was especially proud of having the classic Stan Lee moment where a character would point out that something was crashing through a wall even though we could clearly see it.
It was drawn by an artist named George Amaru who has become something of a GrayHaven staple and is one of my favorite artists to work with. Not only is George a really nice guy but he is extremely talented. He gave the story the exact tone it needed and made my silver age multi panel pages work flawlessly. I’ve worked with George a couple of times since, even tasking him with a Living With Death short ‘The Reporter’ which I released on the comics Facebook fanpage a number of months ago. I’ve been wanting to work with George on something long term for years but at that time, it wasn’t possible. These days he is a very busy guy working for GrayHaven, Bluewater and Inverse press on a variety of projects. When his schedule clears up, I hope to work with George on something long term.
I brought Lucy back in a future volume and would love to tell more of her story at some point. It was really with this story that I started to get more attached to the characters I was creating. I didn’t just want them to be there and then gone forever, I saw life in them beyond the stories.
This was when I really wanted to creating larger stories starring some of the Gathering featured characters. I knew that would have its own problems however.
Next: More characters I didn’t want to say goodbye to, ghosts that aren’t ghosts and the final Gathering stories.
Got any comments, suggestions or questions? Let me know! Also follow me on Twitter @glenn_matchett
Working At GrayHaven Part 1: Learning to Walk and Talk
I spent five years with small press publisher, GrayHaven Comics. It wasn’t always easy or pleasant but I loved it. In some ways my heart is still there and my path might lead me back there someday but for now, I have a lot of good memories.
It all started as just something to do for fun that GrayHaven publisher and owner Andrew Goletz suggested on a whim. It has since become so much more and I like to think I played some small part in that. Over the next few weeks I’d like to talk about some of the anthology stories I wrote for GrayHaven. I want to talk about how I came up with the stories, who I worked with, some stuff I learned and some things the company had to deal with that made it better.
It isn’t always pretty but I hope people will find it informative and interesting none the less. I’ll only be talking about the anthologies I wrote stories for here and most of my information is based on my own perspective. Other perspectives may vary.
Thanks to Andrew for some info and his blessing to do this!
Vol. 1: The Thing With Feathers
If Andrew had been physically been in a room with us when he asked who was interested in doing the first anthology that became ‘The Gathering’, I would have shot my hand up immediately. I’d wanted to work in comics for a few years at that point but I had no clue how to start. I’d done a few web comics but nothing substantial and this just seemed like a good place to start.
When he found that people were interested and he found a number of talented artists to help out. He came up with the theme ‘Hope’ because it reflected the feeling a lot of us had going into the volume. The majority of us wanted to pursue a career in comics and the theme of the first volume perfectly reflected our optimism and dreams going in.
When I was trying to come up with my story, I thought I’d wait to see who I was paired with before really making a start. I’ll be honest, nothing was hitting me initially and I thought perhaps after seeing what type of artist I was working with would get the creative juices going.
I was extremely fortunate to be paired with Brent Peeples, who after checking out his work seemed as if I could tell him to draw the phone book and he’d make it look amazing sent me back to the drawing board on crafting a story. I don’t remember much about the initial script and I don’t seem to have it on my computer. I think I didn’t really give Brent many details beyond the outline when I did come up with the idea.
Throughout my writing for GrayHaven anthologies it wasn’t just enough to write a good type of story. After editing a number of volumes, I know that coming up with a story isn’t enough sometimes. You have to sometimes come up with a concept that also stands out a little, something that is good and unique that no one else will come up with. It’s a tough one to try and balance.
So I opted to go for something completely outside the wheelhouse and do a story about a post-apocalyptic world decimated by aliens. Because why not?
Essentially I wanted to have a father scourging supplies for his wife who was giving birth. We’d learn a little about the world, see some creepy images of the world and I was very keen to not actually see the aliens responsible. I thought it would give the whole story a creepy undertone which Brent of course knocked out of the park.
I was so proud to actually have a story in a real printed comic. Getting the first volume in my hands is a feeling I won’t soon forget and seeing my name on the back (a feature in early volumes of the Gathering that I miss) is something that still makes me smile. Looking back, I know the quality of Brent’s art carries the story.
It is overwritten, over soppy and has more post-apocalyptic cliché’s than you can count. The story pales in comparison to the ones written by other long-time GrayHaven staples like Ray Goldfield, Doug Hahner and Jason Snyder. The story itself did get some praise from comic pro Gail Simone but when I read it, I can’t help but despair. The biggest problem the story has is the lettering. Likely because I had written too much for the two pages I had, the lettering was contained all in caption boxes. This made it difficult to tell who was speaking when and it seemed the letterer took it upon themselves to change the final line that is so cheesy it makes me want to vomit out my window.
There are still some elements of the story I like though. It was a world I revisited briefly with future collaborator Paula Cob in the short lived web comic ‘After The Gathering’ and some part of me wants to go back to it. Since then though, shows like Falling Skies have explored similar themes and the story is perhaps too dusty now to go back to. It holds a special place for me though as my first printed work and was a place where I learned a lot of lessons as a writer.
While I obsessed over every word I chose, Brent only returned to GrayHaven once briefly for the first ‘You Are Not Alone’ volume. I remember approaching him shortly after the Gathering Vol. 1 was printed, asking if he was interested in expanding the world we had created. He gave me a very polite no before going on to much bigger and better things with companies like Image and Dynamite. I hope our paths cross again someday creatively.
The book itself was a big success and despite those awkward first steps some of the creators had, there was a lot of heart and passion in the book. There were some great talent still contained in the book and it sold well enough to warrant a sequel. The company still carries on but there was something really special about that first book I was flattered to be a part of.
Vol. 3: Heroes
Ah Heroes, one of our best volumes in terms of quality and due to many mistakes was one of GrayHaven’s worst sellers.
A little background on that, before I get going. I contacted Andrew about speaking about Vol. 3 and asked him how blunt I could be. He responded with a list of mistakes and the following quote ‘I have vivid recollections of that disaster.’
Now don’t get me wrong, the book itself is great. I would still rank it one of the company’s best but the problem was that no one bought it. The first problem (which I had forgotten about but Andrew kindly reminded me) was that ‘Heroes’ was supposed to be two volumes. It was supposed to be one volume that would deal with real life heroes along the lines of police, firefighters, etc and a second volume that would deal with the more fantastical comic book heroes.
We knew the latter would be a risk, outside of Marvel and DC it is difficult to get a super hero book to sell. The market is coming down with super heroes and the consumer we were trying (and had) appealed to would likely not be interested if we made a book involving super heroes. Sadly, neither got enough of one type of pitch for their own full book so Andrew combined both into one book.
Former GrayHaven art director and art guru Aaron Bir, delivered an amazing cover but it was very much further conveying that this was a book about super heroes…when it wasn’t really. In fact, Vol. 3 contained only a number of super hero stories by really talented writers who offered the stories in that genre with a bit of a twist. Still even though you shouldn’t judge a book by its cover, people did and a comic called ‘Heroes’ with a super hero centric cover did nothing to help it sell. There have been many talks over the years of getting another artist to redraw the cover and rerelease the volume but that never quite came to fruition.
The final mistake, Andrew revealed to me was that he ordered a lot more of the book than Vol. 1 or Vol. 2 given that both of them had sold well. Having a big, expensive volume that was geared at the wrong audience with a huge amount of copies was a recipe of disaster. It pretty much killed any possibility of other super hero orientated stories when we did get more of an audience which shows you how much of an impact it had on the company’s future decisions.
Of course, all this is great in reflection and when coming up with a story I didn’t know what the future would hold for ‘Heroes’, I just wanted to tell a different story. Since my first story had been quite dark (and wordy) I thought I would go for something more light hearted. I’ve heard over and over that writing good comedy that actually makes people laugh is the hardest thing to do creatively. I took this as a challenge and thought ‘well if I can make people laugh I can do anything!’
So I created the super hero Commander Cosmo, who essentially was Superman but a complete idiot. In ‘My Day With Commander Cosmo’ the intellectually challenged hero would land in the front yard of his biggest fan where he would basically hang around. In true ‘you should never meet your idols’ fashion the kid would soon get sick of Cosmo and soon remove him from his home. Sadly for the boy, his mother had a new boyfriend who turned out to be the secret identity of Cosmo himself.
The story hit really well and Cosmo became something of a GrayHaven favorite. I love writing the big goofball and have brought him back in parody web comics, other strips and he even was on the cover for GrayHaven’s ‘Hey Kids: Sunday Funnies’ volume.
On my part, the story is a bit slow to get going but it really was brought to life by artist Nathan Lee James. His animated style and perfect comedic timing brought an extra layer to the story and once again, I found myself very fortunate to work with someone very talented. He’s even been gracious enough to return for most of Cosmo’s subsequent appearances.
One thing in this story that Nathan did which wasn’t in the script, is one of my favorite things in any story I’ve done.
It turns out that Cosmo lands in the front yard after flying into a lamppost because he was too distracted by a *ahem* men’s magazine. What Nathan included in the background of the initial few pages is the bent lamppost which foreshadows the eventual reveal that it was Cosmo who flew into it. When I first spotted it, I laughed and thought it was something so small yet so brilliant, I wondered why I hadn’t thought of it myself.
Whether it’s with GrayHaven or not, I hope that Commander Cosmo will someday return but I think it’s safe to say that we shouldn’t hold our breath for ‘Heroes 2’.
Vol. 6: Further Into The Abyss
The fourth GrayHaven volume was the first horror volume and was a big hit so we quickly did another one. People seemed to love horror and because of that we’ve done four books under the banner as well as some similar themes and even made a book especially for it.
The tale of said spin off book ‘Tales From The Abyss’ is quite the horror story in itself but that of course, was all ahead of me. The second volume was also the first one I was involved in editorially. Not very heavily but this is the book I learned the ropes on until editing a book on my lonesome with ‘Vol. 8: The Fifth Dimension.’ It was also my favorite GrayHaven book for quite some time. Everyone just knocked it out of the park on this one and it contains a story I wrote that I got quite a few good reviews on.
‘The Station’ originated as a prose novel which to this day sits on my hard drive begging for my attention. Essentially it features a crew going to check in on a space station that hasn’t sent any communication for a number of days. It turned out that the space station crew had discovered a special space rock that essentially turned them into monsters.
Every space horror is in danger of ripping off the brilliant Ridley Scott ‘Alien’ and mine was no exception. The novel I had written really delved into the crew dealing with monsters but in the walls of the station and within themselves. When I adapted it into a five page story a lot of that was lost obviously but it still made for a good story. It got a number of shout outs from a few sites that reviewed it, even ahead of one written by former Supergirl writer, Sterling Gates.
Even though it works pretty damn well as its own five page story, I did contemplate writing a pitch for ‘the Dark’ anthologies that GrayHaven would publish down the road that would essentially be a prequel to this one. I liked to build on universes I had created, even though generally GrayHaven didn’t really like follow on stories. I think it’s probably best that this story stayed as a one off though.
It was however, the first appearance of the MaX corporation who I tried to cram into every story I wrote afterwards. Go over all the stories I wrote and the logo will be there somewhere, I’ll wait.
The story was brilliantly illustrated by David Aspmo who brought exactly the right mood and tone the story needed. He only appeared one other time for GrayHaven following this and I hope another company is putting his considerable talent to good use.
Vol. 7: Dreams and Nightmares
Two volumes in a row! Go me! I was really thrilled to be a part of this volume because…hey wait.
I’m not in this volume.
I was supposed to be though…the story which I’ll go into more, next week.
Next: Wizards, Time Travel, Cowgirls and ghost stories that don’t feature ghosts.
Got any comments, suggestions or questions? Let me know! Also follow me on Twitter @glenn_matchett
Time check everybody! Yes this is indeed 2014. We’re one year away from the day Marty McFly went to the future. Despite the absence of hover boards and flying cars there is one thing in modern times that puzzles me to no end.
There are still woman who are paid less than men for doing the same job. There is no acceptable reason for this. Gender equality is an issue that crosses over many industries and the business of creating comics is no exception. Some of you may wonder why a man wants to discuss this issue. I mean, it doesn’t affect me, right? Well that is wrong. It affects all of us because we could be robbed of awesome stories from very talented people just because of their gender and there is nothing I love more than awesome stories.
At nearly every comics company, both large and small there has been a historical dominance of men both in writing and artistic contributions. Behind the scenes, there has been a bit more of a balance with editorial staff but only in the last 10-20 years or so. Before that time, comics were created, driven and marketed by men.
Last week I talked about how female characters are portrayed and treated by the industry plus the fact that they almost always play second fiddle to their male counterparts. This also seems to be the case for the ‘story behind the stories’. In recent years we have seen an influx of female creators and once again, on the surface it might appear that things are changing. In particular, there are now a number of female artists who get relatively high profile gigs, and some are of the most talented and respected people in comics today. We have the likes of Sara Pichelli, Amanda Connor, Rebekah Isaacs, Nicola Scott and many others. All are great talents who do fantastic work on their respective properties.
Yet they remain significantly outnumbered by male artists working in the industry. You might think that the immediate and obvious problem could be a lack of female artists but I know that is simply not the case. Over the past number of years Image has put out an anthology comprised of entirely female creators and GrayHaven Comics have published three. Having seen nearly every volume of the Gathering that GrayHaven has produced in its five year history, I can say with confidence that each of the All Women’s anthologies are extremely high quality and feature amazing stories by a full cast of female creators.
In my own comics career I’ve worked frequently with female artists and am very proud to share my ‘Sparks’ property with one of the finest female artists in comics today, Kell Smith. It is clear that the talent is out there and like all of us wanting to make an impact in the industry, they are hungry to accomplish more.
Unfortunately, there doesn’t seem to be much change where writers are concerned. It is true that at the recent New York Comicon, Marvel announced a number of female creators on new titles, but they were all featuring female leads. I’ve even heard from a number of sources that DC comics may have a policy that they only want female writers to pitch to books with female leads.
Why? I’m not sure. If there was a similar policy regarding male writers only writing male characters we would have been robbed of such great runs like Rucka’s Wonder Woman, Alias, the current Wonder Woman book and even the long running fan favorite Spider-Girl. There are a number of incredibly talented female writers in the industry right now and if men can write female led titles, shouldn’t they be granted a chance to write a male-led title at the top of the publishing line? More often than not, even when women write a male-led book it is not a main title or else is a title that features a group of men and women. As I try to think of a female writer that has a really high profile gig on a male-led title the only one I could recall was Gail Simone’s brief run on Action Comics back in 2005 and 2006.
Arguably, Gail Simone is the biggest female name in comics writing at the moment. She has had a long career at DC comics, redefining the Birds Of Prey, the Secret Six and many other fan favorites but she has only had one stint on a top tier male-led title which despite a lot of critical acclaim lasted only eight issues. Is there anyone out there that wouldn’t jump at the chance to read Gail’s work on a title like Amazing Spider-Man or Superman or the Avengers?
There are more female writers out there who deserve higher prominence. Some you’ve heard of, and sadly, many that you haven’t. If the companies perhaps think the market wouldn’t accept a female writer on a main title then perhaps they should look at the success of Harry Potter or the Hunger Games. Talent is talent and I think we deserve to read the stories that could be told if the current gender imbalance was even a little different.
As I said last week, things are changing – but very slowly. If there’s a talented group of comic creators being ignored then the industry is essentially trying to make quality comics with one hand behind its back.
I’m not sure about you, but I’d love to see what comics could become with both arms in full use.
Next: Gathering Stories
Many thanks to Mary Sheridan, a super talented female creator in her own right for helping me put this together!
Got any comments, suggestions or questions? Let me know! Also follow me on Twitter @glenn_matchett
Good day folks, after a brief hiatus courtesy of a wonderful honeymoon I’m back with more of my thoughts. For the first few articles I talked a little about launching my own comic and some thoughts from behind the comic creator curtain. Today I wanted to take a break talk about some issues in the comic industry that are getting a lot of attention.
There are things I feel should be said that aren’t and if no one else is saying them I might as well do it.
Something that has been a major issue in comics for nearly as long as they’ve been around is gender and the balance between female characters vs. male characters and female creators vs. male creators. Both are subjects that come up time and time again and I’d like talk about both, starting with female characters and how they are perceived/treated in the past, present and future.
Okay, hands up who can tell me who the character above is? Don’t rush all at once now. That’s right its Wonder Woman who is not only one of DC’s earliest characters (she was created way back in 1941) but is presented as one of their biggest. Indeed it could be argued that Wonder Woman is one of the most recognizable fictional characters ever.
Show an image of the character to most people in the world and would at least be able to identify her as Wonder Woman. This is because she is presented as one of DC’s ‘trinity’ alongside Batman and Superman. She has featured in TV shows, cartoons and a lot of merchandising. She’s also been a fairly regular member of the Justice League even at times when Batman and Superman weren’t.
The reason I talk about her now is that despite the fact she is so recognizable and she is represented by DC as a major character, her past often has her playing second fiddle to her main counterparts. Despite being DC’s third most recognizable character, Wonder Woman has never quite had the same exposure in comics as Batman and Superman.
Almost since their creation, Batman and Superman have had at least two titles each per month and often, a lot more. Usually Wonder Woman has one book that is her own, a title that in the past has had minimal sales success. This is not for lack of trying on DC’s part. The company has tried everything from big name creators to relaunching to even having mainstream novelists take over writing duties to raise sales. To date, every attempt has ultimately met with the same minimal success.
Even today, the Wonder Woman title is coming to the end of a creative run that has not only been critically acclaimed but commercially successful compared to past years. Whether this will continue after the current team leaves is uncertain but the most recent issue’s sales numbers was available were from July 2014, when the title ranked 77, selling 37,431.
The third most recognizable character DC has to offer and she was outperformed by 76 other books that included the likes of Moon Knight and Archie. I’m not here just to talk about Wonder Woman but I feel that she is the best way of illustrating my overall point.
No matter how well known they are it seems that female characters are almost treated as secondary to male leads.
This isn’t to say that there aren’t books out there that feature female leads that sell very well because there are lots of those. However these books generally feature said leads as part of an ensemble cast. Books like Justice League, Saga, Avenger’s, X-Men and Walking Dead all feature great female characters. They are however associated with the overall brand rather than the main stars. Even Wonder Woman’s own book is outsold by one where she is mentioned in the cover but gets second billing next to the books co-star Superman.
Currently the highest selling book that stars a female lead and presents itself as such is DC’s Harley Quinn which in August 2014 (leaving out September due to DC’s wacky 3D variants) number 7 on the chart and sold 71,522 copies on its most recent issue. This meant that the female fan favorite outsold most of Batman’s books, Wolverine, Deadpool and the Guardians of the Galaxy among many others.
Harley Quinn has been a character that has always played against the odds and won. A very good friend of mine and talented creator in his own right, Ray Goldfield once said ‘For every Harley Quinn you get 1000 Poochie’s.’ I agree that a female character with adoring fans like Harley is especially rare The fact that her book is performing so fell on such a consistent basis is a surprise to many.
However, the next female led title is Batgirl which is a whopping fifty-three places below Harley’s Top Ten book at number Sixty, selling 34,590. Below her is where we find Ms. Marvel at sixty-six and so on and so forth. In-between are the books that feature female characters primarily as part of an ensemble cast.
For as long as I’ve been reading comics I’ve been hearing the same thing and I’m sure you have heard it too, ‘There should be more female characters in comics!’ Well there are many that feature in a variety of books but there doesn’t seem to be a lot of support for them.
To their credit both Marvel and DC have made quite the effort to have more female led title’s in recent years. Along with Harley Quinn we’ve also had books like Black Widow, Ms. Marvel, She-Hulk, Spider-Woman and more. At the New York Comic Con it seemed that Marvel was intent on announcing a treasure trove of new female-led books because people are asking for them. They’re even giving obscure characters like Squirrel Girl and new characters like Spider-Gwen/Silk their own titles to meet a demand that people insist is there and that the figures achieved by Harley Quinn would indicate.
Yet with the demand not supported by sales, Marvel has already announced the cancellation of She-Hulk after twelve issues and it could be a similar story for Captain Marvel/Black Widow (although either or both could be relaunched).
Title’s that have a female lead are certainly headline grabbers and do get a good bit of buzz initially. It seems like a bit of an event when a new female book is announced…almost a novelty. I think that’s what I find most strange about how female characters are often marketed. No one would bat an eye if a character like say…Cyborg got his own book but if Thor gets a gender switch it’s time to stop the presses.
I have been fortunate enough to be complimented many times on my handling of female characters in Sparks and Living With Death. Both books were created with female leads in mind and almost in every interview I’ve been asked ‘How do you write women well?’ I suppose the answer to this is the same reason that I’m writing this article. I love female characters because I love characters period. Some of my favorite characters just happen to be women, just like some of my favorite characters happen to be males.
Writer of Game Of Thrones (among many other things) George R.R Martin once said something I really liked when asked how he can embody characters like Daenery’s and Ayra with such life and power. He simply said ‘I’ve always thought of women as people’.
I think that says it all. To me we will truly have achieved equal standing for male and female characters when it isn’t talked about anymore. There will be no headlines about Thor being a women or that Captain Marvel is getting her own movie. It will just be considered part of the norm and that’s what I want to see., a comic market where female characters are treated the same as male characters. It will no longer be a big deal that Marvel, DC, Image or anyone has a book with a female lead; it’ll simply be them launching a book like any other. No one raises an eyebrow when Batman gets a new book but if Wonder Woman got a secondary title there would probably be national headlines. That is not how it could, or should be.
In closing, yes things are changing. There are now more female led titles than in the past but it has taken us nearly Seventy years to get to the point where these books are given a chance . I don’t want to wait another Seventy for comics to take the next step.
Next: Female creators
Many thanks to Mary Sheridan for helping me put this together!
Got any comments, suggestions or questions? Let me know! Also follow me on Twitter @glenn_matchett
I was in high school at the time that the internet was really coming to prominence. I remember sitting in Economics listening to my teacher make the less than radical prediction that the internet would change the way businesses work. It would give small businesses a whole new potential customer base and give businesses a global market to play with.
The same applies to comics, the internet has given small press creators a whole new avenue to showcase their talents. Whether you sell comics directly from your own website (such as GrayHaven does) or market your talents by offering great free content via webcomics (for some exceptional ones check out GrayHaven regular Donal Delays ‘Daring Adventures’, Jason Snyder and Michael Sumislaski‘s ‘Horntoad Sam‘, Nathan Lee James ‘Moonlight Motel‘ & John Clerkin and Ann Harrison’s ‘Bunsen Bunnies‘) it’s now easier than ever to get your work out there if you have a desire to make comics.
The internet has also opened up the door to crowd funding like Kickstarter, Patreon, Indigogo and many more to creators who have the desire or the talent but perhaps not the resources to bring their product to market. Making comic is expensive and you will undoubtedly lose more than you gain but like I said to a fellow writer many years ago ‘if you’re in comics to make money you’re probably in the wrong game’.
When Sparks was released I already had established a few connections through GrayHaven and from my previous solo outing in ‘Living With Death’. I’ve never been to fond of convincing people to buy something from me but no matter what job you do, sales will have some aspect of it, even if you don’t realize it. It’s important in comics to push yourself out there because especially when it comes to super small press work with characters that no one care about but YOU then you’re hardly going to get people banging at your door to buy a copy.
I’ve been to conventions both big and small, some great while others weren’t so great. In both instances I saw small press people sitting watching literally hundreds of potential customers pass them by. Meanwhile I see others who have what my wife would refer to as ‘the gift of the gab’ which means they can draw the attention of people and get people to buy their product. It all depends on your personality of course but tables at conventions (big or small) are pricey and it’s a hard truth that you have to fight hard for every sale.
I won’t say I’m particularly good at it either, I’ve been behind that table and looking at people with an expression likely shared by deer’s moments before an encounter with a car. It takes me a while to get going but like I say, I know no one will come to me so I have to do it. Even top tier creators fight hard to make sure their books are brought to people’s attention. Space in comic shops is precious and creators will want to make sure their books get a spot.
So when Sparks was a released I took advantage of the connections I had and started e-mailing people. I had previously garnered a lot of positive press online and locally for ‘Living With Death’ so it was a little easier. Much to my surprise, people had enjoyed ‘Living With Death’ quite a bit more so were easier to convince to check out ‘Sparks’.
It wasn’t all easy of course. To get reviews you have to supply free copies and like ‘Living With Death’ there were review sites that said they would take the time to look at ‘Sparks’, were given a free copy and I never heard from them again. It’s to be expected because much like space in a comic shop, space on a website can be precious. You’re going to get more hits (and more revenue) talking about the latest Marvel or DC ‘event’ rather than a review of a small press comic. I can only assume the people that I didn’t hear back from didn’t care for the work.
I did get quite a few favorable reviews though thankfully. My efforts paid off as I believe as of this writing both Living With Death and Sparks are the most reviewed books that GrayHaven has produced. This is what happens when you make a little bit of a nuisance of yourself I suppose but like I say, people won’t come to you.
It also meant that Kell Smith got a little bit of a spotlight too. People last week could probably tell I’m a big fan of Kell’s and I want to see her get the success that her talent warrants. Every time I get into a working arrangement with someone on a book I am always eager to share other opportunities I spot for their creative expansion.
People bought the book and seemed to enjoy it. The moment I had worked 12 years for had come to pass. Hearing people’s reactions to the last page of Sparks is often a priceless moment and one I find incredibly gratifying.
Making comics is hard, it can be pricey and it’s something that I have more than once (or a hundred times) considered throwing the towel in on. I’ve lost friends, had people steal money from me, break promises and say things about me that aren’t true. It’s a messy world, even at a level where not many people know who you are.
Moments like the one I described above however make it all worth it. Even if one person read Sparks and demanded more, it means more to me than anything else. Now the book is out of course the journey doesn’t end. You think about what’s on the horizon and doing better than you’ve done before.
It’s easy to make a comic when people don’t expect anything of you. Try doing it when people expect it to be good. That’s the challenge myself and Kell face now and I can’t wait.
Next: I’m headed on honeymoon for a few weeks. When I come back I’ll be talking to Brett about what’s coming up. I’ll be talking women in comics, female characters, the rise of indie comics, Living With Death, editing, some of my GrayHaven shorts and more. Hope to see you all when I get back.
Got any comments, suggestions or questions? Let me know! Also follow me on Twitter @glenn_matchett
Those that know me will probably be familiar with the fact that if you meet me and talk to me for a significant length of time, you’ll discover my passion for Doctor Who. I could write an entire article on that show itself but for now I want to use it for an analogy.
In the show, one of the Doctor’s foes ‘The Master’ was recently revealed to have a constant drumming in his mind. This noise was the explanation for his villainous ways by and large, I mention it because I too have a similar sound in my mind. It’s not a drum though, it’s more like this.
Tick, tock. Tick, tock.
Patience has never been one of my attributes. In an infamous issue of classic X-Factor, Peter David wrote a rather famous bit of dialogue from Quicksilver about how he constantly feels pissed off because compared to him, everyone moves so slow. I’m a little like that but I don’t have super speed to blame, I can sometimes just be an impatient jerk.
I’ve always done things fast in terms of deadlines. In University and in comics I heard people jest that I would have the assignment done before there was even an assignment due. I just liked to be early which was a trait I picked up from my mother who at times liked to be 5 hours early for a flight at the airport.
This expediency can be a blessing, I’ve never missed a deadline and people tell me I’m dependable. Of course it can also be a curse because I work at such a rapid rate, I expect everyone else to as well. I need everything done yesterday and in the world of comics, things tend to move at a general glacial pace. I’ve written scripts for volumes that have seen a year (or more) from me finishing my part to it being in my hands. There are still scripts I wrote back in 2012 that I’m still waiting to see published.
Tick, tock. Tick, tock.
My impatience has led me to make bad decisions, cost me friends and more negative things than I care to remember. It has also allowed me to be an editor at GrayHaven that has more output than any of my peers with regards to completed volumes.
It was this double edged sword of a trait that led to Sparks artist A leaving the book, or rather me asking them to leave. I think they worked on the book for 6-8 months (maybe more, maybe less) and produced 2 character sketches in that time. I tried to be patient with them (or as I could be) contacting them every 2 months or so for a progress update. Eventually I decided to tell them that due to the delay the project had been cancelled.
I did this so I could find someone else. The project of course wasn’t cancelled but I felt this was a decision that was best for the book. I wanted someone who could really dedicate their time and focus to Sparks. As talented as artist A was, that wasn’t them.
Over this time things had expanded quite a bit at GrayHaven. When I went to Andrew to ask about a replacement artist, he told me that I had to look outside the group of artists working for the company. This made sense to me because since GrayHaven doesn’t pay its contributors, we had to make sure the artists we had were put towards putting out the volumes.
Also by this time, the money I had saved to perhaps pay an artist had been used on another project. I thought back pay was my best option.
The right and wrong of back pay vs. payment is something I will maybe talk about in future. I’m not going to spend a lot of time on it here, I just know] what I’ve spent trying to break into comics I have never really gotten back. I’ve even had people steal from me and heard many stories from people who were stolen from. Sometimes making comics isn’t all its cracked up to be.
Along came artist B who said they had a day job, loved the project and back pay wasn’t a problem. A number of months later artist B then contacted me saying they had received an offer for a paying gig and would return ‘if they found the time’.
Tick, tock. Tick, tock.
Being frank, I found that artist B’s work wasn’t suitable to what I was looking for so for a change it seemed that things were in my favour. I needed someone who would care about the project, whose work I liked and someone I could trust. By this time GrayHaven had progressed on with more ambitious projects than my little British set one shot and it seemed to had been largely quietly forgotten. I don’t blame the company because you have to keep going forwards. If you spend your time on each problem project you’ll drive yourself insane. I was largely left to my own devices and because of that, I went to the artist who I had wanted from the start, just like it was some sort of odd destiny.
I first became familiar with Kell Smith’s work when she did a cover for us for our 8th anthology that centered around the theme ‘myth’. It was a beautiful cover harkening back to the classic sword in the stone tale that featured King Arthur’s discovery of the mythical sword Excalibur. When I first saw the cover my question was ‘Who is this Kell Smith person?’
I was treated to more lovely covers, prints, pencils and colors by Kell who seemed to be a Swiss army knife of talent. I even had the fortune of working with her on the third volume of GrayHaven’s premier horror title ‘Tales From The Abyss’.
I contacted Kell with the story of my (at that time) over 2 years of headache’s and proposed she join me. Given my misfortune to this date I didn’t expect a yes. I think Kell is immensely talented and GrayHaven was very fortunate to have someone like her, I didn’t think she would be interested in working with me.
It turns out I was wrong. Kell loved the idea and it seemed that fate had led me all the way back to her. She delivered in my view, beautiful work and brought Mel Sparks, Kathy Ericson and Barry Patterson to life. I was left speechless the first time she showed me the cover because I was brought back to that classroom where it had all been conceived and all the pain, disappointment and broken promises were suddenly worth it.
However getting a product in comics is one thing, getting people to buy it is another.
Tick, tock. Tick, tock.
Next: Release, Reviews and Marketing
Got any comments, suggestions or questions? Let me know! Also follow me on Twitter @glenn_matchett