L.A. Zine Fest took place this year as a virtual series of events in May, an exciting alternative to connect zinesters, attendees, and other people who usually go to the fest. Let this serve as a friendly and helpful model for similar events that might still be grappling with what to do in 2020 and beyond. COVID-19 isn’t going to just disappear but we can remain vigilant and creative. From the comfort of my home in Seattle, I got to check out L.A. Zine Fest and I have some items to share with you from my connecting remotely with LAZF.
CDMX by Chynna Monforte
Here is a zine by Chynna Monforte which shares with the reader a recent visit to Mexico City. Chynna put on an excellent workshop as part of the schedule of events during LAZF this year. During her workshop, Chynna shared her techniques for putting together a zine which included a look at her own vast collection as well as some tips on laying out your zine in inDesign. Be sure to visit Chynna for all your design needs, particularly with print and web design.
Pages from CDMX
The robust colors just blow my mind. With her zine, CDMX, Chynna Monoforte demonstrates that there are no limits to what you can do with a zine. You can really put together a zine that is just as vibrant and professional as anything you’d find in a mainstream magazine.
Zines by Stainperfect
And here is a zine from Haruka Tanabe, an artist that goes by the name, Stainperfect, based in Tokyo and Osaka. This is an amazing artist and I am curious to learn more. Her work is very much in the autobio tradition of indie comics and it appears that autobio work comes naturally to her. For a long time, she had misgivings about her art but she finally took the plunge after finally gaining just the right support from a friend. Her earliest effort was the little zine, It’s Okay, which is an affirmation she makes to herself and shares with the reader. This led to deeper exploration, as in Midnight Drumbeat, a poetic look at a trip to Mozambique where she was a volunteer. More recent work includes, Loving More Freely: Exploring Polyamory, which explores relationships within polyamory and provides essential insight.
Page from Loving More Freely: Exploring Polyamory
L.A. Zine Fest curated readings, workshops, and discussion panels via Zoom that connected zinesters, creators, comix artists, and illustrators with each other and the general public. Workshops and panels included everything from how to draw people who are different than you are to an exercise in making comics and “stream-of-consciousness sketching” in quarantine times.
L.A. Zine Fest 2019
LAZF teamed up with some of its 2020 exhibitors to create a select number of digital events and fun stuff for 2020. I look forward to what LAZF does for 2021, whether in person or virtual. Let’s all keep doing great work supporting the arts through the pandemic. Keep in touch with LAZF!
Cannabis humor is tricky. The subject comes with its own unique background that easily attracts goofy humor. It can also definitely have redeeming quality. I’m talking about overall quality and craft. In movies, think: Cheech & Chong. Seth Rogen and James Franco. In comics, think: Robert Crumb. Simon Hanselmann. If you are really cool and smart about it, you can succeed with goofy jokes about pot. WEED MAGIC, published by Bliss on Tap Publishing, is a new comic book series that gives it a try. Let’s take a closer look.
Here’s the deal: you are already preaching to the choir when you create a cannabis comic so you really don’t need to overstate your case. That is a big challenge to contend with. And, to be fair, you are also dealing with a variety of opinions and tastes. Some people think Kevin Smith is spot on with his cannabis humor and some think not so much. It does seem that people can get way too caught up in proving that they have cannabis cred and that they’re up for the most wildest of misadventures. In general, less is more. Some people think more is not enough. At first, I was leaning towards this being a problem for this comic. Attempts at going full-on Mary Jane can fall short and feel too generic and calculated. But, after careful consideration, I say this comic grows on me.
Two friends just getting by…
The narrative steadily takes form and the reader can expect to roll with the offbeat humor. This is light entertainment done right. This is written by Brian Phillipson and Jordan Lichtman with art by Alex Cormack. Brian Phillipson is the president and co-founder of Bliss on Tap Publishing. It is easy for readers to take for granted the hard work involved in creating something that falls in the light humor category. But this is a sharp and well-executed smooth read. The dynamic use of color by Cormack is in step with the pace and humor. We’re in good hands down to spot on lettering by Alex Murillo.
…then, one day, they stumble upon a big bag of magic weed.
The story does a good job of playing off the typical superhero origin story. Set in Los Angeles, in Hollywood, we follow two friends as they discover their true destiny. Bunny Cortez dreams of making it big as a filmmaker. Moe Green is more down to earth as a law clerk on a fast track to becoming an attorney. But both of these guys are not happy, at least not as happy as they’d like to be. Until, one day, they stumble upon a big bag of magic weed. Hey, I could see this attracting the attention of Seth Rogen and James Franco or the next wave of talent that aspire to be Rogen and Franco. It could happen. Lastly, we’re just discussing the first issue here. From what I see, I am intrigued and look forward to the collected trade. All in all, a strong first issue. Seek this out.
WEED MAGIC is available as of October 4: digitally on all major distribution platforms, including Amazon, Apple iTunes, Hoopla, Comixology, Google, Scribd, Nook, and Drivethrucomics. And for fans attending New York Comic Con (October 5-8), Bliss on Tap will be featuring WEED MAGIC at booth 945 along with a special collectible.
Damien Hirst, the bad boy of art famous for displaying sharks in art galleries, once asked his 6-year-old son which he would prefer in his bed, a girl or a zombie. The boy instantly replied, “Zombie!” That is a crude and random example, I know. But perhaps it makes a bigger point about our collective fascination with the macabre, the unknown…and sometimes that is made most clear from a child’s point of view. That brings me to “Day For Night,” a new novel by Stacey E. Bryan. It has zombies of a sort. And it even has a shark! Like my example, there’s a fine-tuned crude and random vibe to this book.
This is very much a Los Angeles tale. Bryan indicates any pause as a “beat,” reminding us we’re in Tinseltown, full of daily theatrics and scripts coming out of everyone’s ears. We also get a lot of local flavor with characters living out in Brentwood, Culver City, and Marina Del Rey. There’s much talk about the well-hidden Toluca Lake. Everything seems to converge for a time at Sepulveda Boulevard. Plus numerous movie references not the least of which is Francois Truffaut’s “Day for Night.” An old tattered poster for the film decorates the apartment laundry room our main character, Rae, finds herself in at the start of the book.
At first, we don’t know if Rae is caught in the throes of an anxiety attack but she readily declares she is experiencing the end of the world. Is she perhaps an aspiring actress? Yes, she is. But what she describes next leaves much room for further speculation. Rae witnesses her neighbor Annie levitate up above the tile floor. Annie blacks out just as Rae throws her yellow bra at the glowing force surrounding her friend. By the time that Annie wakes up, it’s too late to rationally explain to her that something most supernatural (thwarted alien abduction?) has just occurred. Annie completely missed it. Rae experienced the whole thing!
And so our story unfolds alternating between typical Angeleno angst and unexplained phenomena. It’s a wonderful balancing act that Bryan maintains. Basically, half the novel favors events more grounded in reality and then, as the weird stuff pushes its way to the foreground, you get a more mature version of Buffy the Vampire Slayer. Rae is in her thirties and, like her counterparts has had time to become more hardened and jaded than Buffy. Rae is a tough cookie recovering from quite a lot of rough scrapes, especially the day a tiger shark got too close and chomped off some of Rae’s fingers.
Bryan is totally in command of her story and has fun teasing out moments for her main character, Rae. Funny internal monologues give way to sudden outbursts followed by the latest development in Rae’s bumpy journey. Along the way, she encounters romance ranging from comical to intense. Throughout, Rae discovers a tapestry of connections that sustain her and help her grow ranging from the mundane to the sublime.
“Day for Night,” a novel by Stacey E. Bryan
Bryan has mastered that same melding of the everyday with the supernatural that has appealed to legions of Buffy the Vampire Slayer fans. The pithy exchanges between Bryan’s characters crackle with hard-won insight. It is insight mixed with harsh reality…and the movies. This is L.A., after all. It’s a mix of gumption that just might be enough to take on vampires and space aliens.
“Day for Night” is published by Vagabondage Press. You can find it on Amazon right here. And you can find Stacey at her website 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.
Let’s say that you do go out to L.A. to chase that dream of fame and fortune. Alright, you’re walking down Hollywood Boulevard. You get a text. But it’s not your agent. You don’t even really have an agent but you know someone who does. Or you thought you knew this person. Where did the time go? At this rate, you only have enough money to last you through…the week? Ah, it can happen. Variations of this happen every day. Meet Farrah Durante. She’s struggling at cattle calls for whatever part she can get. And she actually used to be somebody. Yeah, she was Cee-Lin on that really popular sci-fi show, “Space Farers,” or it used to be popular. That was so many years ago. Close in on Farrah. She’s attractive and seems pretty agile but she’s at the mercy of youth-obsessed Hollywood. However, Farrah has stumbled upon some sort of secret weapon in “Glitterbomb,” the new comic book series from Image Comics with a Hollywood horror tale to tell.
You see, Farrah has a way to exact revenge. She is not looking to make trouble. But something has tapped her to be a vessel that can unleash horrific fury. You wouldn’t think it remotely possible to look at Farrah. And, Jesus, what exactly would horrific fury entail? Look, it’s been brewing for a very long time. Hollywood’s fame culture has already unleashed its own horrific fury, so to speak. We question our looks, our own worthiness, compared to the latest celebrity darlings. We all do it in our own way. And, if you don’t, there are others who will do it for us and unfairly judge us. Poor Farrah finds herself caught in the middle of some cosmic reordering of balance. That much I can tell you. That’s fair enough. I’m not here to spoil anything. What I am here to say is that Farrah Durante is a great character and exemplifies the tragic state of our culture when a talented woman reaches a certain age and becomes something less than worthy: unemployable, unmarketable, unwanted.
There are a couple of classic films that readily come to mind now: “Sunset Boulevard” and “All About Eve.” Both films came out in 1950 and each stars a woman who has committed the worst act in Hollywood: she has gotten older! Gloria Swanson was 51. Bette Davis was 42. Each character was at a dangerous point in their lives with threats coming at them from all sides. Who would love them? Who would hire them? Both films are dark with Billy Wilder’s “Sunset” decidedly noir. Neither is horror, per se, but we come close as, in both cases, these two older women are so up against it. “Eve” is far more restrained although the threat from the young Eve Harrington on the older Margo Channing reaches the level of a blood sport. For horror movie theatrics, you can’t find much better than Gloria Swanson as the aging and desperate Norma Desmond. This is all to say that both of these movies were playing with a common theme, one of the oldest in the book: the young will devour the old…and women are placed at greater disadvantage.
Clearly, “Glitterbomb” is playing for keeps! This is an ambitious work. It’s also a scary one! Jim Zub (WAYWARD, Thunderbotls) has created a script that realistically brings us into the hard luck world of Farrah Durante endlessly scrambling for an acting gig. And he melds that with some of the most inventive supernatural content that I’ve seen in a long while. Add to that the very nimble artwork by Djibril Morissette-Phan that captures the pathos and rage of Farrah quite convincingly. We see her as someone potentially so full of life but who must continue to sidestep all sorts of life’s sucker punches along with whatever that is that spawned from hell–or is it just Hollywood?!
K. Michael Russell provides some great atmospheric colors. And Marshall Dillon rounds out the creative team with well balanced, well-placed, lettering. I especially appreciate his creative flourishes in evoking the urgency of text messages.
At the end of this comic, there’s an eye-opening essay on the abusive culture of Hollywood by Holly Raychelle Hughes. As she experienced it, Hollywood made her feel less than human, more like something expendable. It is a perfect companion piece to this remarkable work.
GLITTERBOMB provides a clever horror vibe as well as great biting social commentary. The first issue is available as of September 7th. For more details, visit Image Comics right here.
Eric Heisserer is a screenwriter you want to follow. He is known for “The Thing” (2011), “Final Destination 5” (2011), “A Nightmare on Elm Street” (2010), and “Hours,” (2013) his directorial debut, starring Paul Walker.
You will see his work this year in “Lights Out,” a supernatural horror film directed by David F. Sandberg; and “Arrival,” a sci-fi thriller directed by Denis Villeneuve. “Lights Out” is in theaters starting July 22, 2016 (USA). “Arrival” will open wide on November 11, 2016.
In this interview, we chat about storytelling and we begin with “The Dionaea House,” an online project that launched Eric’s professional screenwriting career with its sale to Warner Bros. in 2005.
I am a big fan of Matt MacFarland’s DARK PANTS series. You can read my review on the previous two issues right here. The third issue is now out and it follows Phil, a teenager in Silver Lake, California, circa 1988. As Matt described to me in an interview, each new issue focuses on a different time and place in the Los Angeles area. The motif is a mysterious pair of black jeans and the sexual awakening they trigger in whoever wears them.
Page from DARK PANTS #3
For our hero, Phil, life has been hell as he struggles with his sexuality. Phil is navigating in a very oppressive environment. The last thing he wants to consider is being gay. But, once his fate crosses paths with those alluring dark pants, he gains enough confidence to explore his options a little bit. MacFarland is relentless in his depiction of Phil’s inability to be true to himself. It seems as if his embracing his truth is filled with nothing but pain. Gradually, MacFarland hints that Phil may ultimately find pleasure but it sure won’t come easy.
Reading DARK PANTS #3
The easiest thing that Phil can rely upon is his imagining having sex with teen heartthrob John Stamos. It’s a pretty funny and sobering fact. Phil thinks about it and he knows he likes it. But he’d rather hide. Things come to a head, so to speak, when Lisa, his supposed dream girl, lures him away to a bedroom. It’s his big chance to prove he’s not gay to his confused and frustrated self but all he can think about is…John Stamos. As for Lisa, she will have her day. It looks like she is the subject of the fourth issue set in Eagle Rock, California, circa 2016.
No matter how empowering those dark pants are, they are no match for an awkward teen. Phil is simply ill-equipped to harness his new raw power. He makes some progress but not quite what he might have expected. MacFarland’s drawing and writing is highly accessible. He immerses the reader in the inner turmoil that his characters are going through. With just the right touch of humor, MacFarland offers us stories of missteps of the heart that will stay with us.
If you are in the L.A. area this weekend, be sure to see Matt MacFarland on Saturday, July 16th, from 5-7pm at the Los Angeles County Store in Silver Lake. Find out more right here.
“Maybe she is right. Maybe nobody is interested in another science fiction story about the paradoxical nature of time or the mystery of existence. Maybe all they want is a simple love story with a happy ending.
Fantasy and science fiction doesn’t really exist unless it has a reader.
He has come to believe he will have a reader, so he has always tried to make his behavior justifiable, and as a consequence he spends a large part of his time explaining himself to an invisible judge he calls, “Your Honor,” becoming verbally adept at defending himself.”
— George Clayton Johnson, from “Every Other War”
I am really thrilled to own this book. It is a book that you, dear reader, will likely never own. It is hard to come by. Originally published by Subterranean Press in 1999, it has long since gone out of print. But prove me wrong. Seek it out! In fact, I do hope that will change some day. I strongly recommend that Subterranean Press or some other publisher, say Penguin Random House, create a new version of this 450-page collection.
Keep in mind that the author of this collection, “All of Us Are Dying and Other Stories,” is George Clayton Johnson who wrote the first episode broadcast of the original Star Trek series. “The Man Trap” first aired on 8 September 1966. That first broadcast is what marks the 50th anniversary of what has become one of the most iconic television series in history. What was it about George Clayton Johnson that earned him that distinction? This was someone born into abject poverty at the start of the Great Depression, an 8th grade dropout, forced to leave home at age 15, and yet he would go on to great heights.
For those of you who faithfully keep up with my writing, you know that quite often the source of my various tangents goes back to my first meeting George Clayton Johnson some years back. When I found out about all the pop culture franchises he was a significant part of, then found out about his life, and then found myself charmed my the sheer decency of the man himself, I started seriously considering creating some sort of book about him. I was able to tell him about it as well as show him some of it before he passed away. He gave me his blessing. I told him, at the time, that I was still figuring out how to best present the issue of cannabis, as that was very important to him. He listened. He talked. He said to follow my passion. The meeting with him, in his home, in December of 2014, would be the last time I’d get to see him. I had gone to see him again, in December of 2015. I’d been invited and he still sounded hearty and joyful. But it was too late. He had been moved to hospice by then.
“I told you the other night how I’d re-read ‘All of Us Are Dying’ and how much I enjoyed it. When I came to the end of this story and read the last lines, I got goose flesh on my neck. What greater tribute can I offer you? Thanks for the neck bumps.”
George hung on until Christmas. George died on Christmas Day. His great mentor, Rod Serling, was born on Christmas Day. There certainly seemed to be some cosmic and poetic thing going on. And then you add George’s favorite subject, Mr. Death, the defying of death, the taunting of death. George, no doubt, left this world on his own terms. And here I am telling you yet again about what has become quite a subject for me: George and all things related to George. Yes, this is how creative people such as myself think. And, dear God, there will be a final resolution as I do intend to put the book out as soon as possible. It will be in a graphic novel format with plenty of room for the art and plenty of room for the text. They will need to trade places from time to time. Anyway, all this leads to my getting my hands on this particular book. I dare say, it is something of a Holy Grail for some geeks such as myself. My copy is a Publisher’s Copy and was from the library of writer Stanley Wiater. Stanley, if you wondered what became of your book, I’ve got it now, mate.
George Clayton Johnson with Robert Redford on the set of “Nothing in the Dark”
Each story in this book will tug at you. Take the story of two boys, George and Abraham. They just figured they’d make great friends, with great prospects, considering they each had the best of presidential first names. This was during the Great Depression when these two reveled in each other’s company. Neither of them had a cent between them. Then one day, they thought about how much they’d love to own a bicycle. If only they had a bike, the roads would be free for them to explore at will. They decide upon buying a beauty in flaming red enamel that they spot in a shop in town. The price of twenty-two dollars and ninety-five cents seems out of reach. But they find various odd jobs and their goal becomes attainable. They while away the time by mostly doing things that don’t cost them anything like listening to the radio perched on the windowsill of Abraham’s bedroom. George would be at that very same windowsill as he sits in vigil for his friend dying from scarlet fever. And so the friendship, the bicycle, that time and place make up this short story, “A Bicycle Like a Flame.” This is just one of the many gems to be found in “All of Us Are Dying and Other Stories” by George Clayton Johnson.
“All of Us Are Dying and Other Stories” by George Clayton Johnson
Fans of the original television show, The Twilight Zone, will readily come to see which of these short stories in this collection would have made for another great teleplay by Johnson. But, as this book makes abundantly clear, you don’t need any prior Twilight Zone knowledge to enjoy Johnson’s work. How about “The Hornet,” a story of man versus insect with the insect seeking justice? Or perhaps “Dealer’s Choice,” a story about soldiers endlessly playing cards in order to avoid death? Or “The Freeway,” a story set in the future when cars mostly drive themselves and contribute to much less alert humans. Johnson wrote some of the most memorable Twilight Zone episodes thanks to the show’s creator and main contributor, Rod Serling, taking a chance on him. Johnson’s first accepted story submission was “All of Us Are Dying.” Serling bought it and did the necessary reworking to have it better fit his vision, including changing the title to, “The Four of Us Are Dying.” Johnson always maintained that it was a great lesson in how to write for Serling. But, in the end, he liked his version best and thus the title to this collection. In both versions, it is essentially a shape-shifter story: a man who can change his face. In Serling’s version, there’s this specificity about the man attempting to exploit his gift. In Johnson’s version, the man is all the more vulnerable, not in control, and all the more universal.
As this book demonstrates, Johnson’s overriding plan was simply to create the best work. In later years, he went on to create more inventive work with the same care and precision as when he first started out. There’s the short story “Thorndyke,” for example. A couple argue at a party. It is a male and female. The female has been badgering the male all night. She wants to know why he won’t sleep with any of the other females. Thorndyke insists that he isn’t interested. Finally, at his wife’s insistence, he goes to see a psychiatrist about his disorder. It is determined that Thorndyke has a severe case of manogomy. And, as it turns out, these characters are actually rabbits. Thorndyke is the rebel seeking to remain faithful to his wife.
Check out the amazing cover art by Burt Shonberg, 1957.
Wow, what do you think of the book’s cover art? That’s by Burt Shonberg, 1957. George would have been around 28 years-old when that portrait of Frankenstein playing a saxophone was first created. George and Burt and Doug Myres (the Gateway Singers) together ran a little shack of a cafe on Laguna Beach called Café Frankenstein from 1958–59. Burt created various Frankenstein art for the cafe. Apparently, he always favored a Frankenstein motif and, in his own way, so did George.
The most unusual work in this collection is “The Edge of the World,” a screenplay commissioned by Sid and Marty Croft for quite a quirky movie. It is an ambitious and colorful romp of a tale with Christopher Columbus transported to modern day New York City. What a movie this could have been! It’s fun to read such a sprawling and loose work. Johnson manages to get Columbus down into the bowels of the NYC subway system where he makes friends with a tough motorcyclist named, Cheyenne. The two get along and share a joint. This is significant subtext as it brings in references to Johnson’s home state and his lifelong support for cannabis. It also cues the reader to the building conflict, and irony, of Columbus interacting with Native Americans.
Like a rocket, Johnson’s career blasted off with his co-writing the novel that was the basis for the Rat Pack classic movie, “Ocean’s Eleven.” Johnson was only 30 years-old in 1959, when he became part of the TZ writing team. By the mid-1970s, he had written for the original Star Trek TV series and co-written the novel, “Logan’s Run,” the basis of the blockbuster 1976 movie, the most lavish sci-fi film of its day, only to be surpassed the following year by “Star Wars.” Johnson kept on writing. He even created a show ahead of its time, “A Man’s World,” where women are in charge and maintain a male figurehead for appearance’s sake. While Johnson’s show was rejected, a similar show would subsequently get the green light, “Charlie’s Angels.”
“George Clayton Johnson continues to write what he believes in regardless of the marketplace. He is the real deal. He is what other writers mean when they point to someone and say that he is a writer. He is a fellow traveler in search of the Greater Truth, of a kind of unified field theory for the human condition. For this is the true subject of his writing and the abiding core that gives it such weight and strength.
–From the Afterword by Dennis Etchison
The case of George Clayton Johnson is unique in that this was a writer who was most concerned with quality and originality. His worst enemy, Johnson was prone to say, was a meddling producer eager to copy the latest hit show. Johnson was attracted to a challenge, something unusual. A perfect example is his flash forward narrative for an episode of “Kung Fu.” Instead of a conventional flash back, the main character to this story is dependent upon something happening in his future. It is this desire to strive for the most inventive, and most immersive, storytelling that is a hallmark of Johnson’s work. This brings me back to the above quote. For those who knew George Clayton Johnson, they know he was quite a jovial and energetic defender of his work, and deservedly so.
Reading “All of Us Are Dying and Other Stories”
You can always look up video of Johnson’s work for Star Trek, Ocean’s Eleven, Logan’s Run, and, of course, The Twilight Zone. Here is a quote from “Kick the Can,” one of the most iconic TZ episodes and one of the four that was later to be showcased in 1983’s “Twilight Zone: The Movie,” directed by Steven Spielberg, John Landis, Joe Dante, and George Miller.
“Maybe, the fountain of youth isn’t a fountain at all. Maybe, it’s a way of looking at things – a way of thinking.”
–From “Kick the Can” (Episode aired 9 February 1962)
As Johnson describes in his short autobiographical novel, “Every Other War,” he had been struggling to sell short stories he knew in his heart would find a buyer–and yet did not. That includes the above mentioned, “A Bicycle Like a Flame.” Things looked very bleak at the time. “Kick the Can” was still in its early drafts. It would prove to be one of Johnson’s best works.
What I want to leave you with, the goal of my own book on George, is to celebrate an individual who fought for the integrity of his work and went the extra mile to be insightful, poetic, and heroic. Take a look at his teleplay for Route 66 and you see an unusual story of playing the game of life. Take a look at his teleplay for The Law and Mr. Jones and you find an offbeat path to seeking justice.
Boil it all down, and George’s favorite among his work is his Twilight Zone teleplay, “Nothing in the Dark.” And his favorite lines are delivered by Robert Redford with all the grace one could ever hope for.
“You see. No shock. No engulfment. No tearing asunder. What you feared would come like an explosion is like a whisper. What you thought was the end is the beginning.”
–From “Nothing in the Dark” (Episode aired 5 January 1962)
George was definitely attracted to the theme of death. It was H.P. Lovecraft who famously said, “The oldest and strongest emotion of mankind is fear, and the oldest and strongest kind of fear is fear of the unknown.” Death is the ultimate unknown. Lights out. What now? It’s the only game in life where, in the end, you’re guaranteed not to come out alive. It’s just a question of what you do while you’re around. George lived his life to the fullest. He won.
Matt MacFarland is an interesting artist working in various mediums including comics. He is one of those hybrid artists who make for the best cartoonists. I am impressed with his comics and that initial interest led to this interview. Matt is a kindred spirit. That has a lot to do with us being a couple of cartoonists in the same boat, navigating still unchartered waters, which can often get pretty choppy.
Silkscreen print adapted from DARK PANTS #1 by Matt McFarland and Maggie Lomeli
Interviews can be organic and creative things in their own right. Sometimes they require the right balance. As I mentioned to Matt, I have done more interviews than I care to count but I always strive for them to be fun and insightful. I’m always hopeful of what may result. In the case of a young cartoonist finding his way like Matt, who already demonstrates a seasoned approach to his work, it’s really good to gather up some observations from him and add to our general understanding of where we are headed with the comics medium.
The focus here is a cartoonist as a fine artist and that usually means someone who does the whole thing alone just as you would if you were a painter. Matt is in a very good place as someone who has a traditional art education. I say this because Matt’s ongoing series, DARK PANTS, seems to me a fine example of going through the rigors of art critiques. I sense that the recurring theme of those dark pants is a hard-won motif. It is through these mysterious pants that various displaced characters in Matt’s story find some clarity and, most significantly, a sexual awakening.
What you will find instructive here is listening to a particular breed of cartoonist describe how he goes about building his particular work. This is the work of an alternative comics/indie cartoonist. This type of cartoonist often does not care for superhero or genre comics. And, as I say, they usually work alone. Alternative cartoonists do not concern themselves so much with whether or not their comics are legitimate art. They already know they are creating art. The ones that have taken their work in comics past a certain point, they most certainly know since they are employing the same methodology used with other art mediums. This is the sort of work I do. This is the sort of work Matt does.
Check out our conversation right below:
And be sure to visit Matt McFarland and keep up with DARK PANTS right here.
You can find DARK PANTS at these fine establishments:
Los Angeles, CA
MELTDOWN COMICS! (Hollywood)
Bookshow (Highland Park)
Cool Cats Comics and Cards (Culver City)
Comics vs. Toys (Eagle Rock, CA)
Los Angeles County Store (Silver Lake)
Mega City One (Hollywood)
The Pop Hop (Highland Park)
Stories Books and Cafe (Echo Park)
And you can pick up a print and t-shirt right here.
I love a good comix jam, either as a group, a pair, or solo. Each has its own dynamic. While the work could remain private, the comix jam is basically going on with the assumption that you are putting yourself out there. If I do a 24-hour comics jam all by myself, I do it with the incentive that I’m going to show it. When in a group, you have that added delicious tension of rivalry mixed with a sense of community. As a pair, it can be like a sexy game of chess, the back and forth motion exploding into an exquisite corpse.
Pages from Lady Beaver & Steve Waldinger (L) and Meesimo (R)
I’ve been looking over a recent issue of a groovy comix jam anthology, MELT-THOLOGY, that comes out monthly by Meltdown Comics. Here you will find a bit of everything: loopy stuff like the work of Austin James with his vulvic form sampling various phallic forms; or quirky domestic observation like the work of Joan Varitek with her hurried mom desperately trying to keep up with her baby’s progress through pics stored on a smartphone.
“Spider Bouncer” by Mike Levine & Evan Lewis
Basically, with this format, each participant gets one page and that can be used for a one-panel gag, an illustration, or a multi-panel. A one-panel gag can be the most daunting as the odds are against success. Matt Elkins does a good job with a cyclops wearing one eyeglass and being called a “two-eyes” by some callous fools. Cory Fuller‘s illustration of two kids hanging out has a nice fun vibe. And “Spider Bouncer,” by Mike Levine and Evan Lewis, is a tight, well-paced, and spot on multi-panel.
If you’re a local cartoonist, you’ll definitely want to check this out and give it a try. It is held on the third Tuesday of each month. For more details, visit our friends at Meltdown Comics right here.