Authors and the Gloomiverse

Tuesday, 25 June 2013 at 12:58

A friend of mine has a particular way of looking at stories. She has a dislike for unhappy or unsatisfactory endings, and therefore chooses her own endings for works of fiction that she has enjoyed. It's not so much that she invents new endings, she simply chooses to end a given story at the point at which, to her, it feels right. It's a fun and convenient way to get rid of all those nasty little twists in the tale, where a happy ending suddenly becomes unhappy, or bad.

I used to tease her about this, but in recent years I've increasingly strayed over to her viewpoint. I used to believe that whatever the author of a work wrote, particularly when that author created the characters in the first place, then that should be considered the 'truth' of that story - the 'canon', as some will prefer to call it.

This becomes problematic when certain works, which have (up to a point) been particularly wonderful, suddenly mutate alarmingly into something decidedly rubbish or just plain wrong. Should we simply shrug our shoulders when these things happen, or does it make more sense to acknowledge that everyone can make a mistake, and that we should choose to end the story where it feels right for us, consigning whatever follows to an alternate universe, in which all stories have crappy, miserable, dreary endings? The Gloomiverse, maybe.

Some cases in point.

The tv series 'Lost' was hugely popular. Year by year it had built up an audience who thoroughly enjoyed the world-building and looked forward to a time when all the loose ends would be tied up, and when we would acknowledge it as one of the finest series ever made. And then along came Series Six. Despite assurances all along from the writers and the producers, who had reassured the fans that they had known the ending to the series all along and that all questions would be answered, the final series was an incoherent mess, half of which turned out to be an after-death illusion taking place in Heaven, or somewhere. Isn't this, therefore, a prime candidate for the idea that Series Six should be forgotten, dismissed, assumed to be apocryphal? That certainly works for me.

It can happen in comics, too. Cerebus lasted 300 issues, and never failed to be amazingly drawn, hugely intelligent and never afraid to be controversial. Right up until the end of 'Guys', the series made rational sense, the characters in the service of the overarching plot. Sim ended 'Rick's Story' with the return of Jaka, and off they walked into the sunset, an uncertain future ahead of them (particularly in view of Sim's well-known belief that a happy relationship was pretty much impossible). All fair enough.

For me, this is where the series ends - I'd rather not know how it all turned out. Better, surely, to allow the reader to judge for himself whether Cerebus was being as foolish as his friend Bear (and arguably, he was - Sim had already put forward a persuasive argument along these lines). Instead, we got 69 further issues of awful things happening, the (to Sim, inevitable) break-up of the relationship, long and dreary treatises on F Scott Fitzgerald and Ernest Hemingway, the missed death of his parents, followed by issue after issue of Bible commentaries for two or three years, all entirely at odds with the previous storyline.

When an author stumbles as badly as this, is this again another argument for allowing the story to finish at the end of Rick's Story (much of which also never really led anywhere interesting plot-wise) and chalk it up to a massive misstep on the part of the author? We miss a couple of hundred years of Cerebus's life in favour of reams and reams of Bible commentaries. Yes, it was drawn sumptuously and written with great skill - but when this talent is geared towards rampant bible-bashing and furthering Sim's own unsympathetic thoughts on relationships (persuasive or not) instead of actually writing any kind of plot, should it be consigned to apocryphal stories again?

I say yes. If sometime in the future you read a Harker story in which our hero falls in love, becomes a wizard and fires Critchley, replacing him with a basset hound, and then winds up working in a monastery, I would encourage you all to shun me, to consign those stories to the realm of the (not-so) fantastic, and to remind me what you liked about the series in the first place.

Let me know about any other such examples - we need a list, I think! Works of greatness that then went all cockeyed!



Harker News!

Monday, 29 October 2012 at 06:41

Time for a bit of an update - I know I'm rubbish at keeping up a blog, but lots is happening here at Harker Central. For far more regular, daily views of what I'm up to, follow me here:

Facebook: http://www.facebook.com/roggibson
Twitter: @RogGibson

I update my Twitter three or four times a day at least, and post on Facebook most days - you'll find lots of photos of my recent trip to New York with Vince on both. So anyway: NEWS!

HARKER:
Vince and I visited New York for a few days last week, specifically to do research for the currently untitled Book Three of Harker (and visit the New York Comic Con whilst we were there).

As many of you will know, we have a three book deal with Titan Books - Book One (The Book of Solomon) is already out on the bookshelves, available in any bookshop or comic shop - if you don't see it there, just ask them. Book Two (also completed) comes out in the summer next year, and Book Three (which takes place in New York) is due out in summer 2014. The plot for Book Three is mostly written now, and we start work on it in about six months.

 Also throughout November I'll be writing the first draft of my second Harker novel - the first one is currently being looked at by a publisher, more news on that when I get it.

MYSTERY PROJECT #1:
I can't tell you the title of this yet, or indeed anything about it, but Vince and I are working on a new comics project right now, which will also be published by Titan Books. All I can say at the moment is that it's going to take us six months to complete, and that I think you'll love it. As soon as it's complete, we go straight into work on Book Three of Harker.

 MYSTERY PROJECT #2:
Again, I can't give you any details of this yet, but this is another strip that I've already started work on, this time with a different artist. More than that I can't say, but the publisher likes the pitch, and once we've shaken hands on it I can be slightly more forthcoming. Expect to see this within the next few months.

So it's a busy period here,with work on three different comics and a new novel. So if it seems quiet out there, it's hellishly busy here! Keep an eye on the blog, Facebook and Twitter for more about these ongoing projects, I'll reveal more as soon as I can!

Rog

Harker interview for crimefictionlover website

Thursday, 2 August 2012 at 10:58

Here's another new interview that's just gone up today, this one for crimefictionlover.com: http://www.crimefictionlover.com/2012/08/interview-roger-gibson/

New HARKER interview

Wednesday, 1 August 2012 at 09:32

There's a new interview all about the new Harker book with me here at the Broken Frontier website - it's the first of a series of interviews I've done in the past week, so there's more to come...

http://www.brokenfrontier.com/lowdown/p/detail/watching-the-detectives-gibson-talks-harker-the-book-of-solomon

New Harker reviews

Monday, 30 July 2012 at 10:02

A few new reviews of Harker: The Book of Solomon have appeared - you can find them here:
http://www.brokenfrontier.com/lowdown/p/detail/trading-up-harker-the-book-of-solomon

http://www.comicbitsonline.com/2012/07/19/titan-books-harker-the-book-of-solomon-a-class-act-and-its-from-uk-creators/

http://booksandwriters.wordpress.com/2012/07/24/harker-the-book-of-solomon-by-roger-gibson-vince-danks/

I've also been fielding a whole bunch of interviews this week - so far six different interviews in total, and I'll post those as soon as they go up.

Feel free to add me in Facebook or Twitter if you want regular updates - the links for both are along the left hand side here :)

Roger

Steve Ditko - Doctor Strange

Wednesday, 4 July 2012 at 09:24

Wednesday Classics:
An ongoing weekly series exploring classic comic books that I've grown up with and loved. If you've never given them a try, consider this a massive recommendation.
 _____________

This week: Steve Ditko's extraordinary Doctor Strange series, as originally published in Strange Tales 110-111 and 114-146, and available for only about a tenner in black and white as Volume 1 of Marvel's Essential Doctor Strange series.


Steve Ditko - Doctor Strange

I grew up in the early 1960's in Scarborough - long before comic shops and the internet, and long before there was any kind of co-ordinated fandom in the UK. I snapped up whatever meager offerings of American comic books that I could find - in those days they were pretty rare objects, often just used as ballast on other shipments coming from the States. The best source for such things back then were as reprints, either in the Power Comics published by Odhams (such as Fantastic, Wham, Smash etc) or in the later short-lived Super DC from the same publishers.

My first exposure to the Ditko Doctor Strange was therefore in the Fantastic Summer Special of 1968, picked up at a small souvenir shop next to what used to be Scarborough's outdoor swimming pool opposite Peasholm Park. It featured a reprint of the Doctor Strange / Spider-Man team-up from Amazing Spider-Man Annual No. 2, and I was immediately hooked.
(The special itself was a thing of wonder, featuring Bill Everett's Daredevil origin story, a Kirby Torch / Iceman team-up and all manner of gorgeous, full-colour pin-ups).

Given the sparseness of American comics in the 60's, it was a long time before I was able to discover just what I had been missing. I was first treated to a full run of reprints of the strips as a back-up strip in The Avengers weekly comic from September 1973. Since then, I've bought the strip over and over again, in various reprints, including a rather odd 1980's recoloured version, which was fun but muddied the artwork somewhat.

So what is it that's so special about the series? Why is it still relevant these days, almost fifty years after it was first published? Why even bother reading ancient comics like this, when Marvel is pouring new, sumptously-coloured stuff in your direction every week? Isn't it just badly drawn rubbish?

Nope (click for a better, bigger look). Ditko was at the height of his powers when drawing Doctor Strange (arguably, his work for Warren later was just as good, but the Doctor Strange strips still stand head and shoulders over that, in my opinion). The strip starts small and takes a while to get going, mostly in short segments at the back of Strange Tales, but it really starts to hit its stride from about issue 126 onwards, when Ditko's imagination really kicked in, and the artwork took a huge leap forwards in quality, with Stan Lee's dialogue always keeping up, pushing the character into ever-more weird, surreal, mind-expanding directions.

Much of this artwork still stands up today, looking just as fresh and as startling as when first produced, and Ditko had a superb grasp of storytelling honed from years of work before Marvel, skillfully pulling the readers along, making them want more.

Without Ditko, we wouldn't have had P Craig Russell or Jim Starlin, both of whom absorbed the best of Ditko's art and expanded upon it, each inspiring their own fans in turn.

The character these days is languishing as an extra in The Avengers, barely even glimpsing the potential shown in these early days, cast as either a morose loner or a womanising egotist, his powers reduced to the basics, devoid of his mastery of the mystic arts and of his compelling, bizarre nature. If you'd like a master class in just how to create amazing, completely bonkers comics, look no further than this!

Annotations Pages 103-122

Tuesday, 3 July 2012 at 07:59

Page 103
Harker uses a Zippo, which clearly makes him something of a smoking enthusiast, definitely not an amateur.
You'll notice here his habit of talking to himself - partly a plot convenience for those moments when he's alone, but also an interesting view of his odd, scattered mental condition. He speaks to Critchley as though he's there with him, to calm his own nerves, but there's clearly more to it, and we'll be exploring this as the series moves on.
Harker is not a man of action, incidentally, and is making a rather stupid move here, one which almost leads to his death.

Page 107
If there's a theme to Book One, surely it has to be tea and coffee. It's clearly something of an obsession for Vince, who seems to have our characters constantly indulging in caffeine. No wonder Harker is always so wired...

Page 109
Vince spent some time researching abandoned tube stations and the like for this issue. The poster is authentic, and there is indeed an abandoned British Museum tube station, now completely sealed and inaccessible from the surface. The mummy haunting story is also authentic.
The comics that Harker is referring to here are probably the adaptations of Neil Gaiman's Neverwhere TV series, which depict a society living in the labyrinths under the surface of London.

Page 110
The Phantom of the Opera is of course the classic novel by Gaston Leroux, since adapted into any number of movies, shows etc. Issue six borrows a lot from that story, which featured as the title character the tragic, disfigured Erik, who built a home for himself in the cellars underneath the Paris Opera.

Page 112
A ladder that leads up from the underground labyrinths straight into the British Museum? Ridiculous, I know, but it's a conceit I pretty much borrowed from Neverwhere, and helps to bring our plot back to the place it began.

Page 114
I especially like Vince's little visual gag here, on the sign in front of the vase that Harker grabs. I told Vince I wanted him to smash up as many of the exhibits as he wanted to in the Museum, but he ended up being remarkably restrained - he probably likes it in there too much.

Page 117

This is the Grenville Library, which is just off the Great Court. Usually it's not quite so messy, of course...

Page 118
And we return here to the Reading Room in the Great Court of the museum - pretty much the first thing you see as you enter the museum, so I'm sure most of you will be familiar with it. The murderer drags Harker up to the spot where he was talking to Critchley earlier in the book, precisely where he had the premonition of his own death.

Pages 120-121
I'd say it's pretty much completely impossible to smash a car through the rather heavy doors at the entrance to the museum, let alone fit a car through them, but I felt that John Woo absolutely wouldn't care about such a piffling detail, and consequently neither do we.

Page 122

I strongly suspect Vince has been spending all the profits from Harker on helicopter trips... I really must have words with him...