Without Fear

Ryan K Lindsay – Writer

FIRE POWER Vol. 1 Is A Whole Mess of F U N

I’m always keen to pick up a new Robert Kirkman comic, I think after THE WALKING DEAD he’s bought a lifetime supply of my attention.

This book looked like ‘Iron Fist Lite’ in its concept, and I’m sure it sparked initially years ago as such, but it’s really far beyond that now in execution. In fact, I love how this book is a hell of a lot of fun in how it handles this set up and then takes it elsewhere in many ways.

Samnee and Wilson are on another level with the beauty of each page, this is something you could sit with a whole second time and just soak in so many of the pages. From the establishing pages of scenery and tone, to the absolute bonkers action moments, this is a book looking to claim your eyeballs for life.

This volume is a mammoth origin story that chews through story because it’s still got more to go. You could see the volume being everything someone planned to tell, and dragging elements of it out to fill maybe 2-3 volumes and call it done, but here they clip through whole sections of it in a way to invest the reader and move them into the real guts of the issue. I went into this only knowing the one note, and was pleasantly surprised when it shows there is plenty more it wants to get around to showing us.

Really glad I picked this up, it’s a beauty, a delight to read, and something I think would be really friendly to readers new to comics and old looking for something fun to lose a weekend morning with.

The Walking Reread Vol. 1

Precis. I’m about to embark on a reread of THE WALKING DEAD.

Why? Because this comic was my return to comics. I grew up reading whatever comics my big bro had around. Then I dropped off during university years, due to money and access. I started teaching, and focused hard on the job, but then a few years in the same big bro bought me THE WALKING DEAD Vol. 1 because we’re a huge zombie family and he’d heard good things.

Hooboy, did I fall in love. I got the next 2-4 volumes online asap, devoured them all, and would even reread them as each new volume came out from then on – a practice that lasted maybe 10 volumes deep. I then held on for about 22 volumes in total, from memory, then dropped off for some stupid reason along the way.

But now I’m back because I wanna reread those 22 so I can slowly chew through the remaining volumes until I hit the finale, which is somewhere in the 30s, I think. I’m excited about this because I dug the book, I’m keen to see how it ends, but I also remember loving these opening volumes and storylines so so much. I wanna see how they hold up, and if they transport me back to those days a little, too.

As such, I’ll slowly chip away at these, time permitting, there’s no hard schedule, but I thought I could jot down some thoughts and do it just for my own process brain food to unpack the story and what I can take away from it now.

Okay, here goes…this might take a while.

Volume 1 – Days Gone Bye

I still really dig this comic. That’s a good feeling. It’s still got that comfort food feeling to it, yay.

The first issue is just Rick. Just all Rick, all the time. We meet him, follow him, centre him in the response. For such an ensemble comic, that’s an interesting way to start. We follow him out of the hospital, through some danger, and out onto the road. In fact, it’s even fairly slow and quiet. Just pages of Rick existing, walking, looking around. I feel like this is all to make us invested in Rick as our lead, and I think it does that job. I mean, I’m not “in love” with him here, but I remember as the series wore on I definitely found him fascinating [even with his flaws – hrmm, Rick Grimes has that same broken man charm that Matt Murdock does…this is something to consider moving forward]. We see him get emotional at times, he cries maybe 3 times in this trade, and I like that. A lot. There’s always been something emotional about Rick’s journey, and his mental health along the way in the future, so to see it set up here that he isn’t the hardened cop is a breath of fresh air. In fact, the hardened cop is pretty much Shane, larger, squarer jaw, and he’s fairly toxic in the way he thinks he can control Lori, but it’s really just a manifestation of his own emotional bullshit that he can’t process properly at all. But more on that later.

Sidebar: I hate that there are no covers in these trades, so I cannot tell where the issue breaks are. A small pet peeve, and I assume Kirkman loves this as just one long run/soap, but I wanna know where the damn issue breaks are. Especially if I’m trying to pin point where events happen, or how sequences play out.

Lori. Where to start? She’s gotta assume her husband’s dead, then she’s reunited with him, and the elation that must bring would be through the roof. And still, she’s assigned the role of Resident Shrew, the fun police to her police husband, exceptionally quickly. We don’t get her point of view too often, and actions reinforce Rick’s ideas, so she really comes across as almost an adversary to Rick and his path forward.

It’s interesting to then note that Kirkman had initially planned for Rick and Lori to divorce later on, something I assume she wouldn’t have come out of looking very good. She’s a silent shrew, a combatant to his ideas, AND she cheated on him. So far as quality female characters in the book go, it’s her, the other unpleasant housewife Donna, the timid Carol with little airtime, and the sisters who don’t get much to do just yet. And, to be fair, that puts them against Rick, Shane is well put together as this dark heroic figure who is broken, Glenn gets a fair amount of action, and Dale feels a little more integral to thinks than Donna or Carol. Jim, the silent mechanic is more of a background elemental plot wave, and the other husband…bearded guy, well I can’t remember his name, so I’m gonna say he’s a wash. Even 7yo Carl is an idiot and yet still saves the day, twice. There are thin guy characters, too, but there are also guy heroes, and yet the female side of the cast gets…not very much. At least, at this stage.

When Rick meets Glenn in Atlanta, Glenn treats Rick like he’s new to it all and so explains everything to him, even though as default you’d have to assume anyone you met was just another traveller in this world. It’s a few pages before he asks where Rick has been, whereupon Rick confesses his very very unique situation. A small bugbear to focus on, but it stood out to me on this read – but never on the previous dozens of reads, so ymmv.

Rick takes a horse from a barn, admittedly, where it would probably die, and he rides it into Atlanta, which works for him, and then he instantly abandons it when zombies attack and the horse gets absolutely annihilated. This is some great foreshadowing for Rick’s ability as a protector moving forward, but also in how he uses others. He brings them into the fold, they can help him, and then he leads them to their demise.

You get a lot of cool takes on Kirkman’s personal take on zombies. Their speed, their need of blunt force trauma to the head, their intellect, these are all fairly standard. The fact they spread fatal disease in their scratches and bites, and they they on even when incapacitated. That Rick wouldn’t eat a deer a zombie had been munching on. The whole “cover yourself in zombie guts and they won’t smell you so they won’t attack” schtick is interesting, though I can’t help it isn’t something that’ll become an overall “canon” outside of this book, it’s a touch goofy. There’s some “zombie world-building” done deftly throughout these 6 issues, and it leaves a lot of room for the soap that expands between all the people of the RV crew. There’s time for judgemental tut-tutting, and talk of washing powder, and it all sets up the idea this is a story about the survivors, not just survival.

Tony Moore really was a stellar start to this comic. A pity the contract/rights blew up between them, as that’ll no doubt leave a sour taste in the mouths of many. I didn’t remember Moore doing so many 9 panel grids as he does, and while his gore and zombies are great, sometimes it’s his quiet panels that truly stick with you after the book closes.

I was impressed that Moore does this thing where Shane eventually loses the detail in his eyes, he looks like the white triangles Batman has, and it coincides with Shane’s emotional state as the story progresses. But then there’s one panel towards the end where Shane really pops off and his eye becomes a perfect circle and it’s so jarring. I love Moore’s faces more than anything, usually. So much character on display.

That beef brewing between Rick and Shane is forced up out of nowhere, though, isn’t it? Dale mentions something well away from being asked, and Shane lets his shit boil over and show really damn quickly. Rereading this, I see the show did a better job with dragging it out to really twist the knife in every gut it could. Here, we go from Shane his friend, to Shane happy he’s back, to Shane brooding, to Shane going absolutely bananas at Rick constantly in about 3 issues.

But the speed with which Shane froths up works because of how quickly it’s also put to bed. Having Carl kill him is a hell of a hook for the end of a first volume. That’s a bold statement, and one I think has hooked hundreds of thousands of readers by this point. It’s a great scene, well set up for Carl to have the gun, and you know it’s great drama set up for what comes directly after it…once you buy the next volume. So as a strategic choice, not to bury the lede, it was the right thing to do.

It was such a joy to sit in the winter sun and devour this first volume. Hopefully I can carve out time soon to reconnect with the RV crew and see how they deal with the death of Shane. If anyone else wants to reread along with me, I’d love to hear your scattershot thoughts about this volume, so feel free to drop me a comment below. And if you don’t have a copy, hit up your LCS, or a local library, they’ll help you out.

Until then, good night, and good luck.

Note: this was originally posted on my Patreon, as a public post. If you wish to follow me there, or support my writing, it is greatly appreciated, though not necessary.

Self-Care with a Watermelon Sour

That beer can is for the Melon Degeneres – a watermelon sour ale, and it’s sweet and delicious.

I love a good sour. And I only ever need 1 or 2. My days of drinking for half a 24 hour cycle through dozens of standard drinks, most of which taste like goblin ass rinsed through hag hair are over. I just want to sit with a nice thing and enjoy it in that moment.

I think it’s important to identify what these things are, and then structure time and tide to have those little things now. Of course I’d love another NZ holiday, or an Artist’s Edition book of some Lark/Brubaker Daredevil, but those are the mountains we climb, between those should be the walks we dawdle through.

It’s why I like the mornings where I read for 10 minutes. It’s why I don’t drink absolute pisswater coffee made from the finest carcinogenic granules you can find. It’s why I’d prefer to support small business and get something a little more expensive, and a whole lot more delicious. It’s why I use my damn notebooks as I buy them.

I enjoy a delicious ale when I make my own pizzas. I like a coffee from a pot with my wife when we can. I buy mostly creator owned comics, and do so from my LCS and not Amazon. I try to push myself to make better desserts [tastier, and not just SHOOGARR!] – tonight will be bread and butter pudding again.

If I keep putting off the stuff I love, I don’t know if I’ll make it long enough to get them. Tell your mates you love them, have a laugh and a biscuit now, mix peanut butter with as many substances as you can – lately it’s peanut butter on cheese for me.

It’s not decadent, it’s reasonable, and it’s self-care, and it’s what gets me through sometimes. I’m aware of my scope of influence, it’s small, and I’m at the centre of it and if I neglect myself then I’ll whither on the vine, and then I won’t do anyone any good.

Find your own watermelon beer – and let me know if it’s a good drop.

Comics Curriculum Choice Board 2020 May

The idea is: click the link, see the live version of it, and all the hyperlinks will be real.
Each section of the board takes you to something I think can be a vital piece of the study arena for making comics and loving comics.
This was fun to put together – I tried to get an assortment of things: podcasts, videos, magazines, books. I wanted creators and people with different experiences and angles of expertise. I also wanted a little corner to shill my own business, because something has t pay the bills around here.
It’s nothing overly special, but if it exposes you to something cool, then I’ll be happy I did it.
I have no idea when/if I’ll make another one, but it was fun to tinker with, it let me think about curriculum materials I dig, and now I’ll try to keep my eyes peeled for more. I certainly only want to put in the things that really pushed my brain forward on thinking about the world’s finest medium.
If you want to make your own, click here for the Google Drawing and you can save it as your own into your Google Drive!
I originally posted this to my Patreon – if you want to support me making more strange little comic study devices, please click here and support me with a follow, or anything else you can afford.

Sometimes, You’ve Just Gotta Make Comics

A new comic is out, through Patreon, from Jacob Phillips and Chris Condon, titled BRUTAL DARK, and it’s pretty awesome!

You should definitely check out BRUTAL DARK and pledge $1 a month for a copy of each new mini-issue as they’re released.

 

What I appreciate most about this comic is how much it feels like the kind of thing where you just have to make it.

The creators already both have a book together coming out from Image Comics soon [once the world gets back online after it’s 2020 reboot]. They’ve gotten a very sweet level up, assisted by the fact Jacob Phillips is the son of Sean Phillips, but honestly slam dunked by the fact Jacob Phillips is a phenomenal artist. He might’ve got more eyes, but he’s earned their attention through talent and hard work.

With a grand horizon before them, albeit delayed, they still just have to make comics. So they’re putting this thing out through Patreon, for $1 a month, and they are short 8 page issues with a gorgeous cover and some back matter. I’m in – the issue is great, reall gorgeous art, really moody colours, and the framing/pacing is so beautifully done throughout. The pages flow very nicely.

Beyond the enjoyment of the comic, I love that idea that you’ve just gotta create, and then you scale it appropriately. There’s a great New York Times cartoon showing someone in a boat, maybe just one oar, they’ve survived a huge boat sinking, there might be a storm a-brewing, and the caption says “Now’s the time to finish that novel you always wanted to write.”

And I agree with the sentiment. These are wild times, there’s no expectation that we step up, improve our lives, when really we’re just trying to survive and continue our lives in whatever form they might crawl forward in.

But, I know some people just gotta do something to get through all this time. They want a distraction, they want to feel their hands move, they gotta swim or they’ll drown. And I think that’s where this stuff comes in. Keep yourself busy with some little stuff, something you can peck away at, something that makes you happy.

I don’t personally think drawing 8 pages a month is something little, but I can’t draw any pages at all, so that makes sense. But I’ve been setting small challenges. 1-2 pages of script a night. Chipping away at short form 300 word flash fic pieces for the Patreon. Getting 10 minutes for the guitar so I can master that Spider-Man cartoon theme song. If I cfould draw, man, I’d absolutely be working on little things – a book of themed sketches [like that Spider-Ham zine I picked up one time] or just weird one page comics].

Being realistic, I didn’t think Covid-19 isolation was going to suddenly yield a third draft on my novel. I’m not going to build a chicken shed. In fact, the first week of isolation, my mind was roadkill. It was really hard to concentrate, probably a mix of, well, everything, and my need to adapt to teaching online and all of the stress and anxiety that came with that.

I got little done in that first week. I tried not to beat myself up about it. Then things slowly got back on track, but slowly. Consistently writing 1 page of script a day is better than asking for 7 pages, only getting 3, but hating that i didn’t get 7 so the next night I get 0, and the spiral pulls me down.

Phillips and Condon are making this comic, it fills their void. I’m doing my best, too.

I have no doubt you’re doing whatever it is you need, and I’d love to know what that is. What are you creating during this time that brings you joy, maybe some piece, and leaves you with something productive you’ve done?

ONWARDS – Initial Thoughts and Pixar Downloads

I gotta tell you, I dig Pixar on most every level.
I just recently watched ONWARD – which I *loved* – and so I stumbled across a site linking to the dowload opportunities for most of the Pixar stable of flicks – there are some ommissions, and there’s no ONWARD yet, but these are all shared online, usually for awards season, and are for *educational purposes only* so I think there would be some people here who would dig on them.
May the link provide you with joy, insight, laughter, and tears – oh so many Pixar fuelled tears.
Oh, and here’s a mild ONWARD review I posted to my newsletter:
ONWARD – mild spoilers after the first two paragraphs
Hooboy, this flick was 100% for me. I’m not even in a place to analyse it from a storytelling/craft perspective, I loved it too much to be able to do that. I went into this thing ready to love it, ready to cry, and ready to enjoy myself.
I did all 3 things, but I didn’t realise just how much these things would happen. The flick is basically “What if people in the D&D world discovered electricity and realised it’s hella simpler than magic so they stopped being mystical and just morphed into lazy modern society, but with weird creatures?” and that set up is so simple and genius. I genuinely believe if we had magic on Earth, and it was difficult, then people wouldn’t commit to it in great numbers.
So right from the intro, I was in. But then we get the lead character/s – this is Barley’s flick as much as it is Ian’s – and they sell me on the throughline of someone missing their father who died when they were young, and I was more of a mess than the opening of UP [and not comparing/stating a quality difference, just saying my personal emotional buy in was 100%].
From there we get laughs, we get some awesome world moments, and we get the usual Pixar callbacks I’ve come to expect. I was so happy to live in this world and explore it with them, but in the end it’s the brotherly relationship that completely reeled me in. They nail the dichotomy of the two, the ways they relate, the ways they don’t. The fact neither starts as a seemingly aspirational character, and both need to grow enough to love each other and then transition to loving themselves is nice. Although, with thought, Barley seems to love himself and his brother pretty unconditionally frmo the start, he’s very inspirational in that regard.
I won’t dive into deep spoilers, but I will say if you dig Pixar flicks, D&D, and/or emotionally resonant storytelling – ONWARD is most definitely going to be up your alley. I want to story clock this thing really badly – which means I’ll make any excuse to rewatch it again very soon.

Case A –> Case B –> Case C –> Etc.

Got CAVERNS OF THE SNOW WITCH down from the shelf for a play with the kids recently, and it’s a ripper of a book, but it also gave me a solid little lesson.
It’s a small storytelling lesson, but it’s something I enjoyed being reminded of: Start your story/quest/adventure/case/crime small. Here, you go out to hunt a yeti. From there you avenge a fur trapper and hunt a Snow Witch. Along the way, there are other small parts, you meet a servant elf who wants to be freed. It’s all these little pieces leading you towards the end, and not just you setting out to kill a witch. It’s a great way to go, and it plays into crime structure well. You start by investigating case A, but it leads into Case B, and while A is solved, you learn enough to connect it to Case C, and that’s the big case. And if your character doesn’t figure it out, then you have an NPC wander in and bring some small element, and it leads to Case C. Reminds me of the Pixar rule: coincidence to get your character into trouble is fine, but you can’t use it to get them out.
It’s something I’ll take into my D&D planning, that escalating narrative scale, but also into my own writing. And again, this isn’t something new to me, but it’s nice to be reminded. I don’t always carry every one of the 22 Pixar Rules in my head, no less all the thousands of other things I’m supposed to know and use, so a refresher is always welcome.

Story Clocks! Spiders and Lego

I love the Story Clock notebook from Plot Devices. I’ve got the notebooks, I’ve used them, I use the concept in my own storybreaking, and I read every single one they post on their site.
The concept is, you map a story from beginning to end on a wheel, and then you see how things line up, or space out, or get callbacks at certain times. Often, the best flicks have these great structures built in with symmetry of action and occasions.
I never like to be told a regimented way to tell a story, but I love beauty when it appears naturally in the world, and this is that. It’s not one way, it’s just celebrating the ways that got it right.
So tickle me webbed to find out they’d recently done SPIDER-MAN: INTO THE SPIDER-VERSE – only one of the greatest films from the past decade. I love this flick, and shocking no one I had actually just recently mapped out the story of this flick in my own notebook, but had yet to make it pretty, and then they drop this, saving me the effort. But the act of mapping it out was fun, i could see how everything lined up in special little ways.
And then they drop another one on us for THE LEGO MOVIE, and I have yet to sit down with this one laid out in front of me, but I know I dug that flick, and I like the creators of both flicks [the very same creators] so I’m down to check this out.
If it helps you map out your next story, that’s aces. I like it for that call back structure, seeing when things from the first act can finally come back in a way that’s got the most impact. It’s so cool.
Plus, while you’re on the site, scope out the other clocks, the DIE HARD and THOR: RAGNAROK ones stand out fresh in my mind as absolute *chef’s kiss* perfection.
If you’ve got any other structure style hacks you know of, please share them with me. I use this and a Five Act Struture breakdown and they keep me mostly in line and sane.

Fair Lady: Spectacular

An older post from elsewhere: FAIR LADY from Brian Schirmer, Claudia Balboni, Marissa Louise, & David Bowman is an utter delight. It’s a fantasy PI comic that bills itself as “Magnum P.I. in a post “War of the Ring” world” and that’s good – I was thinking it’s where SAGA and STUMPTOWN would meet. Either way, it’s a very good thing. This comic just launched from Image Comics, with 2 issues on stands, and the third around the corner, and I absolutely love it, and want everyone I know to buy it and enjoy the Dickens out of it.
I mean, if the cover wasn’t gorgeous enough with the spot coloud bg, it’s got this stamps which means it’s 100% my jam. Stand alone issues are the world’s finest.
The book also is structurally something beautiful, and something I’ve been studying this past weekend. Look at this splash of the location of the story, that’s just a brilliant idea, gorgeously executed.
And look at this smart use of a double page spread to give details, make the audience linger, and also save the artist some work.
I’m digging the single illo with a wall of text pages more and more, and this one is good stuff. Always a tool in the warchest we should remember.
See again: simplicity of format, saving artist time, and immersing us in a moment. The only thing this moment costs is an extra page, but if you have the ability, I think something like this is a wonderful addition to the pacing of your story.
This DPS was also a good bit of world exploring.
Okay, so if not convinced, here’s #2.
This opening page is absolutely phenomenal in regards to luring us in, selling us tone, and ending on a great hook for a page turn.
And then there are these “splash” moments where the artist can chill, the colourist maybe can’t, but it gives the idea of scope very very simply. Love these pages, I hope these become a hallmark of the book moving forward for scene transitions.
If you haven’t dipped a toe, or had been wondering, then take it from me right now – FAIR LADY is good comics, and it deserves your time, your support, and just as much you deserve this good time.

Creative Feelings

Being creative is sometimes like those stories about superheroes whose power is also killing them.

It’s conflicting.

You wish it was easier. You dream of not wanting to be creative, to just use time to mindlessly [blissfully] chill, but you also can’t think of anything worse.

Being creative reminds me that I’m just about smart enough to consciously know how smart I am not.

This panel from WHAT IT IS by Lynda Barry sums up the emotions of writing perfectly.

But, still, there’s nothing finer than creating something and having it out in the world.

🤪📚⚰️

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