SUPERMAN SMASHES THE KLAN (DC Graphic Novels for Young Adults, paper, $16.99)
The big news for the 2021 Eisner Awards at Comic-Con in San Diego is that cartoonist Gene Luen Yang was the big winner of the evening, taking home three Eisner Awards, including two for Superman Smashes the Klan (Best Publication for Kids, and Best Adaptation from Another Medium) and one for Dragon Hoops (Best Publication for Teens). That’s the big takeaway and quite a worthy one at that. Also, just as important is the news of Junji Ito‘s Remina (translated by Jocelyne Allen) manga winning this year’s Best U.S. Edition of International Material—Asia award. Junji Ito also won the Best Writer/Artist award for his Remina and Venus In The Blind Spot manga.
Panel excerpt from DRAGON HOOPS
While we inevitably focus on the winners–let’s also pay attention to the nominees. And then there are all the others who did not make it that far. I’ll tell you right now that these award lists are not the final word, but a great guide nonetheless. In a perfect world, for instance, Welcome to the New World, a graphic novel by Jake Halpern and Michael Sloan, would have been nominated for the 2020 book published by Henry Holt. It was nominated for an Eisner as a webcomic in 2018, so that’s a good thing. Among this year’s winners, I do think the Eisners got it spot on for Best Reality-Based book going to Kent State: Four Dead in Ohio, by Derf Backderf. And it was great to give a shoutout to Bowie: Stardust, Rayguns & Moonage Daydreams byway of an award for Best Penciller/Inker to Michael Allred.
Anyway, I think it helps to make you dig around a little to see who won…you’ll see what I mean….
It’s always a pleasure to get to do some shop talk with a fellow creative. Here is an interview with Kibla Ahmed, a comic artist, collector, and pop culture reviewer. I happen to have stumbled upon an online workshop that Kibla did recently from his London studio. It seemed to me a great opportunity to support a promising emerging artist. Perhaps the fact that this workshop was going on in London sealed the deal for me. For regular followers of my blog, you know how much fun Jennifer and I had on our visit to London in 2019. One of our favorite spots in London was Orbital Comics!
Illustration by Kibla Ahmet
I did my best to contact as many creative folks as possible and I did get to set up and follow through on some great interviews while I was in Europe. Well, since returning to Seattle, that trip left me wanting to seek out any opportunity to do more interviews across the pond. I did one recently with Sayra Begum. And now I present to you another UK talent, Kibla Ahmed.
The artist takes a coffee break.
It turns out that Kibla and I share quite a lot of common ground. We love comics, that’s a given. And we’re both determined to follow our own creative path. Plus we definitley have a similar interest in time travel. We both have our own ideas on how to pursue that theme in our creative work. Iconic time travel movies like Intersellar and Back to the Future, of course, resonate with us on a deep level. But, I have to say, Kibla has got me beat since his marriage ceremony included a bonafide DeLorean! Now, that’s dedication. I hope you enjoy our shop talk. We cover a little of everything and Kibla has lots to share about the creative process.
Be sure to visit Kibla Ahmed at his art site right here.
Go check out The Revolution of Cassandra for an unusual new work in comics. Here is a quirky story covering some serious subject matter. It reminds you of the fundamental need of making your voice heard. We can take that too much for granted in the United States. Just imagine what it’s like in parts of the world where the government is actively involved in keeping its citizens docile. Filmmaker Eric D. Howell is a fascinating storyteller dude–just the sort of creative person to lead the way with this audacious graphic novel, with Hollywood flair. Howell got into the entertainment business as a stuntman and, through determination, has risen up the ranks to movie director. You may know him from the 2017 Emilia Clarke movie, Voice from the Stone. By any measure, Howell’s career path is an impressive one.
USE MY VOICE by Amy Lee of Evanescence
Enter The Revolution of Cassandra, Howell’s new tale of adventure and idealism about two very different sisters, Moira and Cassie, and how they stumble into a civil war and perhaps lead a revolution. As I say, Howell’s new graphic novel has a very cool Hollywood connection. For starters, Howell is a well-liked and well-connected person. One of his friends is a very cool musician you may know. The Revolution of Cassandra served as an inspiration for Howell’s friend and Grammy Award-winning musician, Amy Lee of Evanescence, as she was writing her band’s new song, “Use My Voice.” The song’s video, directed by Howell, has been viewed more than two million times on YouTube since its premiere in late August.
Cassandra’s toes know the earth.
A few more words about this graphic novel. If you’re looking for an immersive work with a true cinematic look and feel, then The Revolution of Cassandra is for you. It is a mature work in the sense that adults will enjoy it for its more adult and sophisticated sensibility. It’s not for kids, per se. Let’s go with teens and up. This is set, after all, in a very gritty backdrop. There are rough men wandering about who are prone to pushing around women, if they can. That is, unless they’re confronting Moira and Cassie. Overall, there’s an earthy and authentic vibe running through. Moira is more reckless. Cassie is more the Earth Mother with her bare feet, or in Birkenstocks, solemnly gauging the environment.
The Revolution of Cassandra
Now, imagine attempting to stand out at a truly significant comics convention, like Comic Con in San Diego. Well, this is where brand sharing helps. Howell has partnered with Republic Restoratives Distillery and Craft Cocktail Bar in Washington, D.C. to introduce Purpose Rye. Purpose is the first single barrel expression from Republic Restoratives Distillery and is a limited run of only 100 barrels. This 95% rye mash bill has been aged in American oak for nearly five years, imparting rich notes of caramel, spice, hints of smoke and cocoa nibs. Every bottle of Purpose Rye sends a donation directly to Fair Fight Action which protects free and fair elections around the country. Purpose Rye is available for order online via Schneider’s of Capitol Hillin Washington, D.C. Twin Cities bartenders will be mixing Cassandra inspired cocktails this month to inspire customers to “use their voice” to support the social causes that matter to them. For Cassandra cocktail recipes, follow @revolutionofcassandra on Instagram.
Under the right circumstances, and responsibly, alcohol and comics do mix.
It was a lot of fun chatting with Howell and you can check out our conversation by clicking below:
The first chapter of The Revolution of Cassandra is available now for you to view for free.
Image Comics/Skybound Entertainment at Emerald City Comic Con
Emerald City Comic Con is the premier comic book and pop culture convention in the Pacific Northwest. ECCC is the place to be in Seattle, held at the Washington State Convention Center, March 12-15, 2020. Tickets are available here. ECCC presents a top ten list highlighting reasons to attend:
What has a superhero ever really done for you? That’s a tricky question. It depends upon who you ask. First, superheroes aren’t real and are owned by corporations, at least all of the household names. It’s a cold-blooded business when you look at it from the perspective of co-creators who were not given credit or a fair share of the profits, like Jack Kirby or Steve Ditko or Jerry Siegel & Joe Shuster. Comic books are a mass entertainment focused on profit, right? And then there’s the perspective of thoughtful and dedicated fans, the ones who take it to heart, who even write and draw in tribute to beloved characters. Bill Schelly is among that group of fans who know, despite any ugly realities, how to harness the super powers of the likes of Superman and Spider-Man. If you believe enough, especially in yourself, all sorts of dreams can come true. Bill Schelly set out to be an author, a “writer of books,” and buoyed up by the power of fandom, achieved his wildest dreams, including a respectable fanzine while still a youth, A Sense of Wonder, all the way to a memoir of the same name that has recently been expanded, A Sense of Wonder: My Life in Comic Fandom – The Whole Story, published by North Atlantic Books. It is like the most compelling of pop culture scrapbooks come to life.
Do people still even keep scrapbooks? Thankfully, some do. Yes, even digital files count. There will always be those who are compelled to document, dig deeper, and pay it forward. In the case of Bill Schelly, it all began with a fateful train ride. The Schelly family was on a trip to visit relatives back in 1960. To help keep nine-year-old Bill preoccupied on the long ride ahead, his father bought him a comic book. But it wasn’t just any comic book. His two brothers chose regular issues of ten cents each. Bill was excited about a special issue, Giant Superman Annual #1 with its enticing cover promising numerous thrills. It cost a whole quarter. At first, his father balked but ultimately relented. Schelly’s recollection of this scene is quite moving. He goes on to describe a boy besotted by all the larger-than-life stories found in the brightly colored pages. This is the pivotal moment that set young Bill on a lifelong journey. He already knew that he wanted to be a “writer of books” and, only a few years later, he would discover his ability to draw. What really set Schelly apart was a specific interest to better understand the underpinnings of comics. As much as Schelly wanted to become just like the comic book creators he so admired, he was driven by an intellectual need to know and a compelling desire to share his findings with other enthusiasts. This led to a number of boyhood fanzines, home-made magazines with a focus on a fan’s passion. And the best iteration of this process was a fanzine he called, Sense of Wonder. He became a teenage editor and publisher with subscribers all across the country. Young Bill confidently knew that he had set the stage for big things ahead but had no clue as to what exactly he would achieve or how he would get there.
Giant Superman Annual #1
Over the years, Schelly pushed himself to evolve as a writer and, in turn, as a person. As he had done with his boyhood fanzines, he learned from his mistakes and was driven to improve. While he honored the egalitarian spirit of fandom where every fan was an equal, he also wanted to lead the way and make his distinctive mark. As he had discovered early on in life, fandom is a close-knit network of like-minded souls and, in general, fans support fans. You never knew which friend you made today might lend a hand in some unexpected way in the future. It was through the world of fandom that Schelly found his way. And it is around the age of 21 that the first version of Schelly’s book, A Sense of Wonder, ends. This new version picks up from there and unveils what lay ahead. For one thing, the reader learns how the Sense of Wonder book evolved and how it was a building block towards other books. It’s surprising, with hindsight, to discover that Schelly did not reveal being gay in the first version of his coming-of-age book. In fact, he had given Howard Cruse, one of the most notable gay cartoonists, an advance copy in hopes of getting a back cover blurb. Cruse expressed regret that Schelly wasn’t ready to come out but was more than happy to provide a blurb. It was in a later version of Sense of Wonder, when Schelly was ready, that he added some of his best writing on growing up gay. And it is this latest version that beautifully brings it all together: Schelly’s dreams, his passions, the arc of a life. In the book, the reader follows Schelly as he relentlessly strives to create his magnum opus. As a young man, he hitches his wagon to the star of silent movie comedian Harry Langdon and creates his first attempt at a biography. Later on, he tackles the life of legendary cartoonist Joe Kubert. Finally, he achieves mainstream success with quite a substantial biography of another pop culture legend, Harvey Kurtzman. But, when it is all said and done and there’s finally time to take a breath and look back, Bill Schelly’s memoir is what rises to the top, a book that shares the trials and tribulations of a man who just wanted to dream and be a “writer of books.”
Bill Schelly (1951-2019)
Sense of Wonder: My Life in Comic Fandom – The Whole Story is a 392-page trade paperback published by North Atlantic Books.
MISTER MIRACLE, script by Tom King; art by Mitch Gerads
I have not been following a Batman title, or any mainstream superhero tile, for quite a while. But all that has changed with just one name: Tom King. As many of you already know, King is the man on Batman. He’s a writer who knows when and how to expand on a moment as he recently did with a whole issue devoted to a certain gathering for dinner (see Batman #29). And then there’s his work on Mister Miracle. King has brought back the character first created by Jack Kirby in 1971. For this latest 12-issue run, Tom King’s script is decidedly existential. Our hero, Scott Free, happens to be one of the fabulous New Gods. His backstory is a little complicated. Think Wonder Woman. To add to the complexity, Scott hides his secret identity as a world-renown escape artist. And, lately, he’s been struggling with his greatest challenge of all: Scott wants to escape death.
So far so good. Any story with a guy dancing with the Grim Reaper gets my attention. What wins me over is the everyday moments between Scott and Barda. They’re, in many respects, just a typical young married couple. Maybe they take each other for granted sometimes. Maybe they push each other’s buttons at other times. That sort of thing. But they’re also awesome superheroes, right? King and artist Mitch Gerads (The Punisher) keep that balance working very nicely. Frankly, any talk, at least at first, of New Genesis and Darkseid and my eyes will fully glaze over. Maybe I’d get into it after a while. I just need a hook. Honestly, all of us readers need something to hook into and the truth is that few of us are going to care as much about the superhero stuff without first investing in the characters. That said, this creative team understands that very well.
Barda and Scott
Okay, so now for the finer points. The comic pretty much sticks to a grid of nine panels per page. It’s a great look and King and Gerads can get really creative with this more arty approach. Well, I say “arty” as I think of that nine panel grid as definitely calling attention to itself. It has a great deal of potential as seen in other titles such as Hawkeye from Marvel Comics. King and Gerads have made good use of this structure for both dramatic and comedic affect. There’s a moment where Scott and Barda must go through the ritual of kneeling before their leader, the Highfather. It’s an extended moment that allows for all the necessary timing. But you’d expect that sort of thing from King, king of the pregnant pauses. It’s totally funny. Now, I’m just wondering if we’re simply going to see more and more of the nine panel grid as it works so well on mobile devices. Hopefully, we’ll always have the Kings of comics overseeing quality control with excellent content.
MISTER MIRACLE #2 is available as of September 13, 2017. For more details, visit DC Comics right here.
I still remember the sting and utter humiliation during an improv class when I was asked to tell a joke and I froze. I thought I knew what to expect from acting and improv but I wasn’t ready that night to tell a simple joke! Now, I have discovered a fine book that I wish I had with me all long: THE OFFICIAL DC SUPER HERO JOKE BOOK! This book will save your comedic bacon no matter what your age and is published by Downtown Bookworks.
Page from THE OFFICIAL DC SUPER HERO JOKE BOOK
There are more than 600 puns, knock-knocks, one-liners, riddles, gags, and tongue twisters! Use it at parties. Use it on dates, depending on the date, of course. And definitely use it to bring a smile to anyone’s face. How about a way to get a rambunctious kid’s attention? Everyone loves a good joke. This book is chock full of them in an eye-popping colorful presentation.
Page from THE OFFICIAL DC SUPER HERO JOKE BOOK
As you can see from the samples, these are smart and funny jokes. A little here about the authors: Noah Smith is a comedy writer who has worked for Saturday Night Live; Sarah Parvis is a children’s book author; and Michael Robin is an author and librarian.
THE OFFICIAL DC SUPER HERO JOKE BOOK is a full color 176-page trade paperback for ages 6 and up, published by Downtown Bookworks. You can also find it at Amazon right here.
Kerry O’Quinn and Friends. Illustration by Henry Chamberlain.
Kerry O’Quinn is the co-creator and publisher of STARLOG, FANGORIA, CINEMAGIC, FUTURE LIFE, COMICS SCENE and more than a dozen other monthly newsstand magazines. Mr. O’Quinn is featured in an upcoming documentary on fandom, FROM THE BRIDGE, written and directed by Spencer F. Lee and hosted by George Takei. It was my pleasure to get a chance to interview Kerry. Here is someone who tapped into the world of fandom as if he were born to do so. O’Quinn and his partner Norman Jacobs got their start by creating and publishing a soap opera magazine in 1972. By 1976, they were ready to pursue publications aligned with their passions for genre cinema, television, and related pop culture.
Kerry O’Quinn, co-creator and publisher of STARLOG and FANGORIA
Starlog and Fangoria are the flagship publications from that golden era. Starlog was launched in 1976. Fangoria was launched in 1979 and continues in its great tradition of covering the horror scene. These are the prime publications, along with Cinemagic, that would go on to influence thousands of creative people including many of the most celebrated talents working today like J.J. Abrams and Quentin Tarantino. Before the internet, you got your in depth information on the entertainment industry from magazines. One cannot stress enough how significant Starlog and Fangoria were in their heyday.
Fangoria, Issue One, August 1979
Kerry O’Quinn would go on to celebrate the worlds of science fiction, horror, comic books, and fandom in various ways. Some of the most notable are his conventions that paid tribute to the 10th anniversary of Star Wars, the 20th anniversary of Star Trek, and the 20th anniversary of Starlog. It was during the 10th anniversary celebration of Star Wars that Gene Roddenberry and George Lucas would share a stage for the first and only time together. How was such a marvelous feat accomplished? Well, Kerry O’Quinn was friends with both of these legends. It was Kerry O’Quinn who landed an exclusive in depth interview with George Lucas that was so comprehensive that it spanned three issues of Starlog.
Gene Roddenberry meets George Lucas, 1987, the 10th anniversary of Star Wars
Over the years, Kerry O’Quinn has proven himself to be a man of many talents consistently exploring and creating new work. He has become an accomplished screenwriter with a number of projects including “Dragworms,” his unique take on zombies which is actually more character-driven than just blood and guts. What strikes me about Kerry O’Quinn is his energy and determination to pursue his dreams. I can relate to him on many levels. We’re both from Texas. We both love New York. We both juggle a number of passions: writing, drawing, acting, filmmaking. I think some people are just wired to need to do many things and will find ways to realize each goal over the course of a lifetime. That’s what is special about Kerry O’Quinn. That said, he’d be the first to say it is well within reach for everyone to follow their dreams. For more details on his remarkable life and his observations, check out his website here.
HENRY CHAMBERLAIN: Kerry, I want to chat with you about fandom, and the upcoming documentary that you are featured in, “From the Bridge,” and cover as much as we can about your remarkable career. I want to begin by giving a shout out to your friend, Kurt Edward Larson. He conducted such a beautiful and heartfelt interview with you.
KERRY O’QUINN: Kurt and I have known each other for a long time and have a lot of fun things in common. Kurt is such a Star Wars fan–and, when he got married several years ago, I wondered about what to get him–a toaster? a blender? No, what he would want was a day at Skywalker Ranch. I arranged that. He and his wife had lunch there and got a tour of the ranch. So, he was in heaven!
I was talking to a buddy of mine about doing this interview and we got to speculating over the long lines for Star Wars on the very first day of release. We were just kids when it came out. I started to think about how Jaws had attracted long lines too a couple of years prior. From your special vantage point, Starlog was already on the scene having come out in 1976, would you share with us your take on the explosion of excitement over Star Wars in 1977?
It was phenomenal timing. My partner, Norm Jacobs, and I had launched Starlog magazine in 1976, the Bicentennial year. At that time, there was no science fiction that was alive and happening. It was all stuff from the past that was being consumed. You know, stuff from the 1950s, the movies made by George Pal. Those movies were popular with nerds like me. But they weren’t going to win any Academy Awards or get any mainstream cheers of any kind. It was considered trash, like daytime soap operas. Horror movies, stuff like that, was not taken seriously.
Starlog, Issue Seven, August 1977
When we started the magazine, there wasn’t anything like it like there is today. And we had great difficulty starting the magazine for that reason. But, lo and behold, the very next year Star Wars came out. All of a sudden, it made the cover of Time magazine, with exactly the same X-wing cover that we had for Starlog. So, suddenly science fiction was at least getting noticed by a mainstream audience all over the world. It has gone on to become an important part of the culture in the same way that Star Trek has. And in the same way that horror and superheroes have. It’s very trendy today to be a nerd. It wasn’t 40 years ago.
I remember when I first met George Lucas. He was telling me about having lunch one day at Hamburger Hamlet on Hollywood Boulevard. And it was right across the street from Mann’s Chinese Theatre. He said that he looked across and he saw lines of people. He asked what was going on. And a friend told him that it was his movie that was playing. It didn’t occur to George that huge lines were gathering along the sidewalk for his movie. He was delightfully surprised by the enormous fan reaction to his movie as all the rest of us were.
It was when Star Wars lit up the sky like it did that Starlog went from a quarterly to a monthly magazine. Indeed, we were already there. Starlog was the voice of science fiction. And George launched the science fiction that is very much alive and booming today.
That scene with the long lines, that’s in your interview with George Lucas.
For our Star Wars fifth anniversary issue, I had called to arrange an interview with George Lucas. He had turned down all the big magazines. I was told that he wasn’t doing any interviews but I begged and pleaded. George agreed. I flew out from New York to visit him. This was before he had build Skywalker Ranch. I did an lengthy interview with him in which he told me all kinds of wonderful tales. We were very comfortable talking with each other. We had many of the same values and things that excited us. We talked about everything from space to technology to classic cars. We talked for hours at that first interview. In fact, it turned out to be too much for one issue so I turned into three consecutive parts spanning three issues of Starlog. I believe it is the longest interview anyone has ever done with George Lucas.
Starlog, Issue One, August 1976
Share with us your insights on how Star Trek became a phenomena, after having struggled in the ratings when it was originally broadcast.
It did indeed struggle. In fact, after the first two years, NBC had cancelled the series. And an amazing lady by the name of Bjo Trimble and her husband, John, did something that, at the time, was phenomenal. This was back in the mid-’60s. They organized a letter writing campaign to NBC by fans that generated more than a million letters. A TV network had never received that kind of reaction to the cancellation of a show–and they were stunned by it. Don’t forget that this is before the internet. Fans contacted each other back then with mimeographed newsletters mailed to each other. And then, ten years after the first broadcast of Star Trek, there was Starlog maganzine and fans could communicate with each other through our letters forum–as well as at conventions.
Bjo had gotten a television network to renew a cancelled series. That had never happened before. What Bjo did was allow for a third season of Star Trek. However, NBC scheduled it on Friday nights, which is a dead zone for shows. So, NBC cancelled it for the second time. Everybody seemed to think science fiction was dead. But it was very much alive within this hidden fan culture. And the documentary that my friend, Spencer, is putting together covers how this fan base has grown in the last 40 years. It went from this invisible, almost ashamed, audience to what it has become today when you have 150,000 people show up at Comic-Con in San Diego each year in July. And the biggest movies today are superhero, science fiction, and horror, everything that our magazines were all about.
Star Trek is right at the root of that response, at the heart of it. Gene Roddenberry created a concept of the future that was positive and inspiring: rationality, science, and the better values of human nature would prevail. Star Trek not only inspired the original audience that tuned in for its three-year run. In syndication, Star Trek reached around the world with its universal concept that the human race can be better. Gene deserves everybody’s praise as Star Trek is one of the most inspiring things to be created in any genre. Sometimes science fiction warns us of things that we need to be careful about. And sometimes science fiction shows us that things are within our control, we can make it better, and gives us hope for the future.
I’m thinking of how Star Trek was ahead of its time and so it made sense that it would struggle in the ratings. The same is true for The Twilight Zone. Both of these shows have a lot in common. The primary thing is that they both have subtext. There was social commentary in the guise of fantasy and science fiction, very much ahead of its time–now, we take that for granted, don’t we?
We do but we still need it since we don’t have a lot of it. Even with the science fiction that we have today, with all the dazzling special effects that we didn’t have back in the ’60s. Visually, science fiction today is dazzling, uncontrollable, and amazing. Back then, the effects were kind of clunky, rubber monsters and the like, but nobody cared because–and this is certainly true about The Twilight Zone–the story talked about the issues, important values, and principles.
Science fiction does not show us the day-to-day reality but something that may exist in the future, something that could and that ought to exist. That is the noblest undertaking of art and science fiction is the best at doing that. Rod Serling and Gene Roddenberry are hugely important and we featured them in the early issues of Starlog. At that time, there wasn’t any science fiction, like we know today, so for the first few years most of the content in Starlog was looking at things from the past in terms of movies and television.
Cinemagic, Issue 20, June 1983
You were commenting on the past but then, at some point, you were not only commenting but you were part of the industry. There’s the whole how-to aspect from Cinemagic. There was quite the evolution as you became part of the scene.
Exactly. When we began Starlog, we included everything even those things that were very loosely considered science fiction. And that included horror, and articles on special effects, and Hollywood technology workshops, all the way to NASA and the space program. As we evolved, we discovered that we had many different audiences reading our magazine. Some of these people wanted to be filmmakers. They wanted to make these movies that they loved. Therefore, we branched off and created the magazine, Cinemagic which taught young filmmakers the techniques of production and special effects. We had a short film contest each year. We gave out prizes and trophies at a big theater in New York with celebrities to present awards. Some of these award winners are working in Hollywood today.
A lot of folks, like J.J. Abrams and Robert Rodriguez were inspired by Cinemagic. Steven Spielberg, at one time, said that Cinemagic was his favorite magazine, the only magazine promoting the future of the film industry to young people who were unsure if they could recreate the amazing things that they adored on the screen.
Director/Writer Wes Craven, from “Fangoria’s Weekend of Horrors” (1986)
I was curious about the overlap between Fangoria and Famous Monsters of Filmland. There does not seem to have been a rivalry between you and Forry Ackerman. Famous Monsters began in 1958. Fangoria began in 1979. You have Forrest J Ackerman, the founder and editor of Famous Monsters, in your film, “Fangoria’s Weekend of Horrors,” which I must say is an outstanding documentary on fandom in its own right.
What can you tell us about Forrest J Ackerman? What did you learn from him?
He was obviously the precursor to all of our magazines. He did something very daring in his day: to do a magazine about monsters! What kind of freaks are interested in something like that? Well, it turned out that there was quite a few. Again, these people were all in the closet, so to speak. They bought the magazine but they didn’t have any social status whatsoever. They were outcasts. They were unusual. That was me. That was a lot of people. Our magazine brought people out of the closet. I met Forry many years ago, at a convention, and immediately we had a lot in common. We became friends and we remained friends, it makes me sad to talk about it…I was with him just a few days before he died. He was still in good spirits and still telling me jokes.
From “Fangoria’s Weekend of Horrors” (1986) segment with Forrest J Ackerman
Forry was such an important person in my world and he became a very dear friend. I actually went over to his old home out here in L.A. years ago, which was called the Ackermansion. And it was a museum of props and artwork and all kinds of things that he collected from these strange movies that no one gave enough credit to but that he knew that it was an important part of the culture that should be saved and preserved. And there still is no permanent museum for that sort of thing. And I’m hoping that, in the near future, there will finally be a museum that recognizes and preserves science fiction, horror, superheroes, fantasy, all of the films that are now way out of the closet–and a part of mainstream culture, not just in the U.S. but world-wide.
Kerry, there are so many things we can talk about. Ayn Rand. Cannabis. More about Star Wars. There’s your book on how to chase stars, chase your dreams.
Yes, “Reach For The Stars.” It’s a book that has a lot of practical advice on how to make your distant dreams come true.
I also have to touch on your project with HBO which may still find its way back to them. It’s a Twilight Zone type of show called, “Future Tales.” Boy, that would be some show!
I agree, it would be. And it’s still a good idea. I haven’t been able to sell it to the Syfy channel even though that ought to be just the sort of show they would be interested in. I enlisted 45 of the world’s greatest science fiction writers (including Arthur C. Clarke, Isaac Asimov, and Harlan Ellison), we signed agreements, that they would create a story or that we could use an existing story as the basis for one of our episodes. It was an anthology series all about the world of tomorrow. When HBO had me develop it, we were calling it “Future Tales.” Now, I’m calling it, “Exploring Tomorrow.”
I love that.
Me too. Who isn’t interested in tomorrow?
Exactly! You know, Kerry, I’m over the moon. We share so many connections. I’m a cartoonist.
Yes, and I love New York.
And I can see your early interest in cartooning probably having to do with being able to control the whole production and allowing your vision to run free.
That also carried over into animation. In New York, years ago, I was so impressed with Disney and his multiplane animation that created three-dimensional pictures. I got a bunch of plumbing pipes and I built my own multiplane animation stand in my apartment in New York. At the time, my dream was to create a little film that was so damn good that I’d send it out to Disney and he’d have me come out to work for him. That was my dream: to work for Walt Disney! Now, it never did happen and I clearly changed my mind since then but I did produce a few short films on that animation stand. I still love animation, and illustration–that was my original career. I’ve done so many things since then that I have a resume that looks like I’m schizophrenic.
Well, I wish you and Spencer the very best with “From the Bridge.” I’m excited about it and I’m sure it will find a wide audience.
It’s going to be very popular with the fan community–because it’s all about them. And the power that they have grown to hold in the last few decades.
I interviewed George Clayton Johnson a number of times–a science fiction writer and big supporter of fans–and he always brought up people power. In the end, it is the fans who matter the most.
Absolutely. I’m going to do a panel at Stan Lee’s Comikaze Expo (newly renamed Stan Lee’s Los Angeles Comic Con) here in L.A. next month with Bjo and John Trimble and my friend, Tom DeSanto, who produced X-Men and Transformers, and we’re going to talk about fandom. That’s what it’s all about.
Well, very beautiful. Thank you so much, Kerry.
You’re very welcome, Henry. I always enjoy talking about what I enjoy most of all.
Here is the podcast interview to listen to. Just click below and enjoy:
Check in with Kerry O’Quinn at his website here. If you are in Los Angeles on October 28-30, come see Kerry and enjoy some pop culture fun at Stan Lee’s Los Angeles Comic Con. You can find details on that right here.
“I started writing when I was eleven. I didn’t start writing at age eleven because I thought I was going to become a movie director. I did it because I enjoyed it. I fed off the movies I was watching and the comic books I was reading.”
–Spencer F. Lee, writer/director of FROM THE BRIDGE
FROM THE BRIDGE is a documentary that looks at the career of Kerry O’Quinn, one of the leading figures in fandom, and explores in depth the rich and exciting world of science fiction, comic books, and horror–and the fans who love it. At this point, those fans include a vast number. But it wasn’t always that evident. With this new documentary, due out in 2017, writer/director Spencer F. Lee shares with you his childhood passion that has blossomed into a deep understanding of some of today’s leading forms of entertainment.
FROM THE BRIDGE, directed and written by Spencer F. Lee, executive producers George Noe and Spencer F. Lee, produced by Philip Nelson, and hosted on-screen by George Takei, is a feature film documentary that tells the story of how fans worldwide have “come out of geekdom’s closet” in the last 40 years, largely nurtured and encouraged by Kerry O’Quinn. Having the opportunity to interview both Spencer F. Lee as well as Kerry O’Quinn, I’ve come away with a great appreciation for what this film will mean to an audience. The film features interviews with Stan Lee, Bryan Singer, Gene Simmons, Joe Dante, Nichelle Nichols, Tom DeSanto, Bryan Fuller, Rod Roddenberry, Howard Roffman and many more.
The full podcast interview with Spencer F. Lee is right below. Just click the link:
Up next is my interview with Kerry O’Quinn, co-founder of such landmark magazines as Starlog and Fangoria.
“The Death of Stalin” is a digital graphic novel presented by Europe Comics and is one of various select titles from Europe Comics being promoted at this year’s Comic-Con International in San Diego. This is quite an audacious, vivid, and insightful look at the strange events occurring shortly after Joseph Stalin had a stroke: the chaos and the subsequent grab for power. It is highly accessible: drops you right in, as if you were a fly on the wall, a fly that Stalin, himself, would have thought nothing of swatting and flicking away.
Who was Joseph Stalin? If you’re too young to have a frame of reference, that’s understandable. Think World War II. Think dictator. Then add to that one of the great mass murderers in history responsible for the deaths of millions. Joseph Stalin was the Soviet Union’s dictator from 1924 to 1953. And, in that time, he ordered the deaths of an estimated 50 million of his own citizens. So, you can imagine that his death would be a pretty big deal.
It once was common to find in your newspaper a grainy official photo of the Soviet leaders proudly reviewing the annual May Day parade displaying Soviet military might. That very same photo would, at a later date, pop back into those same newspapers with the latest news from the mysterious world of the Soviet Union. But the photo was altered: someone had been erased and replaced with someone else. There was plenty of doctoring of photos and executing of comrades during Stalin’s regime. While that may seem primitive by today’s standards, you can see something similar going on in North Korea. I feel like Rachel Maddow now as I hope I impress upon young readers that Kim Jong-un’s regime is a small scale throwback to what the Soviet Union was like.
Who Will Take Over After Stalin?
To best convey the inner workings of the Kremlin during the last days of Stalin requires a dedication to characters. Go back to that grainy photo of politburo leaders at the May Day reviewing stand. How do you give those ghostly figures some life? Now, that must have been a challenge. This book is up to the task thanks to both a lively script by Fabien Nury and compelling art by Thierry Robin. Without a doubt, you are that fly on the wall. We are told that truth is stranger than fiction. Did Stalin, the night before he had his fatal stroke, really force the national symphony to replay a concert they had just performed just for the benefit of his own personal recording? I would not be surprised.
This two part story will thrill political junkies as well as history buffs. We see a relatively young Nikita Khrushchev as he maneuvers for power. In 1953, he was a mere 59 years-old! That’s “young” for Soviet leaders. In a matter of days, the tide would turn in his favor and he would replace Stalin. But not before a chaoic, bloody, and sometimes comical, turn of events. That said, this intriguing story will prove insightful and entertaining for any reader of any age.
“The Death of Stalin” is now available at Europe Comics, which launched in November 2015 by a coalition of nine comics publishers, two rights agents, and an audio-visual company, from eight different European countries. Europe Comics is working towards the creation of a pan-European comics catalog, available in English and digital format, a website with comics information for readers and professionals, and a series of author tours and events across Europe and the USA.