Have to say, having lived in Texas, Connecticut, Virginia, New York, California and Oregon, I agree with the top vote-getters in each stage...except for New York. I mean, I'm not a huge fan of eructation—at least, not when others do it—but really? That's your biggest pet peeve? Not traffic? Really?
It was the first script I'd ever read. I was thrilled to be reading a script by a writer I admired, thrilled to know I was maybe only the third person in the world to read this brand new Batman story. And it was, typically, a very good one. I went back to Denny and told him so.
Denny nodded, then leaned back in his chair. "The plothole around how they discovered the maguffin didn't bother you?"
I debated trying to pretend I'd caught the plothole but decided instead to admit that I'd totally missed it. And yet once he brought it up, yeah, there it was.
I asked if he was going to send it back for a rewrite.
He shrugged. "It's a pretty easy fix."
He grabbed a pen—a red one, of course—crossed out a few words in one line of dialogue, added a new line of dialogue, and handed the script to me to send to the penciller.
Then he held up the pen and said, "Before you pick up the red pen, make absolutely sure you're changing it to make it better, and not just to make it different, or the way you would have done it."
Then he turned away and started reading something else. I was dismissed, having gotten my first—and still one of the very best—lessons in editing.
[That photo up above—found online somewhere—was taken in the office Denny was occupying when I first interviewed with him, and yet I remember having the red pen conversation in a corner office he later had a few doors down; memory is a strange, strange beast.]
The world feels different today. It's like gravity has shifted somehow—not so much less of it, or more or it. More like...it's not quite straight down any longer, but is now off to the side somewhere. Not a ton. Just a bit. But enough to make everything feel off-kilter, askew. The planet's still revolving, still rotating. But it's not the same. It's not the same.
It doesn't hurt when they like the stuff you write, of course. Such as, for instance, Gotham Adventures #30.
(Don't get me wrong—I know what they're really responding to is the wonderful art by the great Tim Levins. And who can blame 'em?)
Here's what I wrote:
Batman and Clayface stand with Mister and Mrs. McKee and a doctor--let’s make this doctor female and either African-American or Asian, whichever you feel like, Tim. She wears a coat that clearly shows she’s a doctor, but perhaps the STAR Labs logo can be on there, to differentiate her from the Fort Kisco docs?
DOCTOR: ...and since the floor temperature can be dropped in a matter of seconds, Clayface can be frozen into immobility at any time.
BATMAN: I don’t think we need to worry about another escape attempt.
Batman’s opening the door that leads into another room. Clayface is looking sullen..
CLAYFACE: Great. So you can keep me here, but you can’t force me to do whatever it is you want.
BATMAN: Why don’t you explain that to Tommy?
Closeup on Clayface, his face going slack upon seeing Tommy.
CLAYFACE: Who’s Tommy and why do I...
Panel FourHere, impossibly, is what Tim delivered:
Twoshot of Clayface and Tommy. Tommy’s ten and due to a genetic problem, he looks very much like a smaller, paler version of Clayface, only worse--his molecular structure is breaking down, causing him, in effect, to melt. The two of them look at each with a touch of horror and lot of recognition and resulting sadness.
Clayface holds out his right arm and pushes up his sleeve with the other. We can see that from the wrist up to the elbow it’s goopy and Clayface-looking. Tommy looks on.
Now Clayface’s arm solidifies and looks quite normal. Tommy looks happily amazed.
Tommy hold out his arm and grits his teeth and squints his eyes, clearly trying the same thing. Clayface looks somewhat anxiously expectant.
Tommy lets his arm and the rest of his body drop, very disappointed: this seemed to be his last hope, and now it’s gone too. Clayface looks quite sad.
Clayface grabs Tommy’s arm and holds it with his arm, which is now goopy again. Clayface smiles reassuringly.
They both concentrate like hell, Clayface playing it up for all it’s worth.
Closeup on Clayface’s and Tommy’s eyes as Tommy concentrates and Clayface stares at Tommy intently.
Pull back for them both looking down at Tommy’s arm which is now the arm of any ol’ ten year old. Tommy looks like he was just told he’s taking batting practice with Ken Griffey Jr, while Clayface’s pleasure is a little more muted if just as deep; he’s purty durn stoked here.
To his chagrin, time after time, Tim showed me that I could write anything—from ridiculously overcomplicated shot descriptions to pages where I'd just say "I have no idea what should happen here, Tim--help!" and I'd get back exactly what I wanted only ever so much more so. In other words, I'm pretty sure this sequence was a metaphor for our artistic relationship.
Which is how I saw the Sylvester Stallone movie Demolition Man, with Wesley Snipes as the scene-chewingest of bad guys, and a pretty much unknown Sandra Bullock as Sly's sidekick.
The best part, though, for me, was the laughter that swept through the audience at the surprise cameo appearance of...me.
Coincidence? Highly unlikely.
[...] a storyline where the Dark Knight ends up fighting a disease—that is to say, a villain without motivation that cannot technically be outsmarted and certainly cannot be punched or kicked in the head. In part, the whole thing worked at the time because, under the remarkable editorship of Dennis O’Neil, writers Chuck Dixon, Alan Grant, and Doug Moench had been fleshing out Gotham’s population and institutions for a while, so it was fun to see all these familiar characters deal with the challenge at various levels. It’s one of those tales in which the city itself is the protagonist!That was indeed our exact point. As with the subsequent Cataclysm storyline, we specifically set out to explore what happens with the Batman and his allies run up against enemies they cannot physically fight, who aren't interested in outsmarting or humiliating them—who aren't really interested in them at all, because they're not human (nor alien).
It all started when Darren, who loves books like this, was the first one to read The Hot Zone and insisted the rest of us did, which we of course did. Not long thereafter, Catwoman penciller Jim Balent came in for lunch and casually mentioned that it'd be cool if part of Gotham were totally destroyed, how there'd be a lot of good story material there. A few months later, at one of our annual Batsummits, that idea was brought back up, and Darren suggested combining it with some of the stuff we'd learned from The Hot Zone and voila: a Contagion was born.
Kelley Jones just gets better with age, honing his abstract style to do more storytelling alongside visuals that put Bats and his rogues gallery into perspectives no other creator has thought to try. The covers alone are worth picking this one up, and the insides are even better. Some of the panel layouts and way Kelley works off Peterson's cool concept--what if Scarecrow drugged Bats enough to get him talking--were so good I just stared at them for several minutes. And that's not to underplay Scott's work here as a writer--he really digs into the psychological concepts of Batman, even if I disagree with some of the answers we find in the series. I don't read a lot of DC material right now, but I'm glad I got to this one, it's highly recommended and requires no prior context beyond a general knowledge of the characters.I admit, I thought it was pretty swell, too.
A futuristic, dystopian world where the slightest mistakes can get you sent to your death, exciting races (also to the death), and a bunch of teenagers using their skills to make a family - what more could a reader want? Excellent art, well detailed with as much or more of the story told in pictures as in the text. My manga fans are going to love this one! Can't wait to get it on the shelves.
BUYING ADVISORY: MS - ADVISABLEWhen you're writing a comic and you've José García as your artist, you'd be well-advised indeed to tell the story in pictures more than the text.
This was a fun, adrenaline high, action-packed book. The illustrations are gritty and intense, with a full range of colors that evoke a dystopian world. The plot is quick moving, with training montages and a climatic race to the finish. The characters are lovable, quirky, and authentic, and the story is a great modern take on the Roman Empire and gladiators. If you love adventure, racing, monster trucks, or gritty illustrations and characters, this is a perfect book for you.
Being interviewed together was a delight, as I discovered yet again that José and I are like peas in a pod, except for the ways in which we have absolutely nothing in common. I like to think that strange combination is what makes us so simpatico as collaborators.
Here's the interview—and if you move fast, you might even win a free copy of Truckus Maximus! Oh, sure, I know, you've probably already bought a copy of Truckus for yourself, as well as several more copies to give to loved ones this holiday season, but if you win Chris's giveaway, you'll also have one to give to strangers, and what could be better than winning—nay, earning—the eternal love and gratitude of a complete stranger? Exactly: nothing!
So what are you waiting for? Go now—operator is sitting by.
I was so sure everyone was going to pick up on my blatant Seinfeld reference.
With its action-packed visuals, tricked-out cars, and edge-of-your-seat racing stunts, this sci-fi graphic novel holds plenty of tween and teen appeal. The plot reads like an alt-world action movie, complete with training montages and climactic race to the finish, but the story never loses its heart or its humor. Readers will be drawn to Axl, stubborn Piston, and the rest of Team Apollo’s crew. Give this broadly likable novel to fans of Camper’s Lowriders in Space, NASCAR, racing video games, and The Fast and the Furious franchise.My daughters love the Fast and the Furious films so from their point-of-view, that's some high praise indeed.
With nearly 300 pages to work with, author Peterson is not afraid to pump the brakes in order to develop his characters and flesh out his bizarre world, helpfully sandwiching such scenes between daredevil races and huge car pile ups.
In artwork resembling a mash-up of Speed Racer and Mad Max: Fury Road, [artist] García compellingly pairs anime-inspired character designs, complete with over-the-top expressions, with heavily detailed cars and in-depth racing action, bringing lively, dynamic motion to the scenes. He also makes clever use of space, switching nimbly between full-page spreads and short runs of panels.
Boisterous fun for manga or racing fans.Yeah.
Welcome to a futuristic world that never saw the collapse of the Roman Empire. There are enormous disparities among social classes, with the rich cloistered away in temples with plenty to consume and the poor working themselves to death for a meager existence. One of the few things that unites everyone is watching Truckus Maximus, the ultimate car race.They could not be more right about José's amazing ability to capture frenetic action via creative paneling, great use of fumes, fire, and smoke and pretty much every other tool in the kit, as well as a few I think he invented.
[José] García’s art owes much to traditional manga—characters have large, expressive eyes and artfully spiked hair. Creative paneling and great use of fumes, fire, and smoke capture the frenetic action. Peterson effectively conveys Piston’s journey as an underdog and Team Apollo banding together when facing obstacles.
VERDICT ...this high-octane adventure will appeal to fans of manga or racing.