With the first day of StocktonCon completed, Kyrun and D. Bethel begin the second day by getting in the car and driving down the 99 to Stockton. It’s early, they’re tired, they’re going wherever the conversation takes them.
While this morning conversation doesn’t touch on conventions or marketing strategies, they dive deep into a major aspect of comics culture: continuity. It’s at the heart of a lot of stories and in the hearts of a lot of fans, often to the point of taking despicable actions when a creative team makes changes that they don’t like.
They examine their own thoughts about the importance of continuity as well as why, it seems, so many people hold continuity with the highest possible value. Also, for some reason, the conversation dives deep into D. Bethel’s own biases when it comes to mainstream comics and how––and if––he overcame those biases.
Con Artists #01 – StocktonCon, pt. 1 : The drive home from the first day of the show. Kyrun and D. discuss making sales, confidence, and the comics they grew up reading and enjoying.
“Shortcast 45 – The Cure for Canon Shift”: An episode of A Podcast [ , ] For All Intents andPurposes where D. Bethel and Andrew Asplund have a long conversation about the necessity of (or problems caused by) continuity in fiction.
“Shortcast 68 – Swinging Gates”: An episode where D. Bethel and Andrew Asplund discuss “ComicsGate”, the vitriolic (and dangerous) reaction of some fans at attempts by the industry to include more diversity and modern sensibilities in mainstream comic books.
Special thanks to Kyrun Silva for agreeing to this experiment (and for driving us to and from the convention). Thanks to Ben Schwartz of Empire’s Comics Vault for hosting the table.
Welcome to the only briefly previously announced, limited series, side-podcast called Con Artists.
Hosted by D. Bethel, what you’ll hear over the next three weeks––posting on Tuesdays––is a conversation between D. and Kyrun Silva, another independent comic creator based in Sacramento known for founding the imprint, Big Tree Comics, before leaving and starting a more focused venture with Taurus Comics, as they drove to and from this year’s StocktonCon where they shared a table in the Artist Alley.
Starting on the drive home from the first day of the two-day event, the discussions of Con Artists are much less focused than that of the main show, A Podcast [ , ] For All Intents and Purposes, and instead follow the natural progression of the conversations as they occurred.
That being said, the conversations revolve around a clustered group of comics-focused topics: making comics, reading comics, and selling comics.
In those topics, D. and Kyrun talk about their history of comicking, the books and characters they grew up loving, and the art of tabling and selling at a show like StocktonCon. It’s two guys talking shop while driving down the freeway. Though it’s an experiment disguised as a side project, [ , ] For All Intents and Purposes is proud to host the limited series and we hope those listening enjoy it.
Con Artists #02 – StocktonCon, pt. 2 : The drive to StocktonCon to start Day 2 of the show. They discuss the importance of continuity, the level of fan engagement and ownership over continuity, and Dan’s strange reading habits growing up.
WEEK IN GEEK: This week, Andrew and D. start with a little Black Panther talk––friend of the show, Kyrun Silva, went on Good Day Sacramento to talk about what the character has meant to him as an independent comic creator––before Andrew discusses the complex but fun fantasy board game, Gloomhaven, while Dan watches the short but effective AMC comic book documentary series, Robert Kirkman’s Secret History of Comics.
Batman: The Animated Series has become a show whose perennial place in nerd culture is all but assumed and revered. Andrew and I discussed the show, albeit briefly, back in Episode 59 – BTAS, as a segue to talk about dreams and dreaming in fiction, but the show, obviously, has done a lot more than that throughout its 110 episodes across seven years of airing (I’m including The New Batman Adventures in the tally). When talking about the show, one conversation that must surface is its diversity of storytelling and the risks it took. What set the show apart from not only every other animated series on American television may also have set it apart from nearly any other television that aired at the time of its release. Namely, it’s willingness to have strange, experimental episodes that challenged the expectations of superhero fans and television viewers.
Sure, it will be remembered for its strong, more traditional, Batman stories like “Heart of Ice”, “The Demon’s Quest”, and “Robin’s Reckoning (Parts 1 and 2)”––the last of which won an Emmy––but it will also be remembered for its non-traditional, esoteric stories like “Perchance to Dream”, “Legends of the Dark Knight”, “Over the Edge”, and “Almost Got ‘Im.” It was a show that learned to take risks, and what’s fascinating is that, apparently, a lot of that ethos was there from the start.
One of my prized possessions, creatively, is a book written by Paul Dini and Chip Kidd called Batman: Animated which covers the history of the show and is filled with amazing photos of everything from concept art to marketing photos for Batman-branded soap. But a bit of space is devoted to the development of the idea of what Batman: The Animated Series would be, hinting at the thorough show bible that Paul Dini, Bruce Timm, and Mitch Brian put together. Basically, a show bible is a treatise on the characters, stories, tone, and plan for a tv show used to keep the studio on track as well as acting as a set of guidelines for artists and writers hired to work for the show. Somehow––and thankfully so––the show bible has gotten out there in pdf form and it is as glorious as I was hoping it would be.
Whitbrook points out in his article (which also has a link to the pdf) that the show bible takes firm stances in how the creators saw the show. Even if the show wiggled its way out of those chains a bit as it went on (you can’t not have a bat signal), its overall view of the character himself was carved from stone and rooted in change from the status quo:
One big emphasis throughout the bible is an ardent desire to tell darker Batman stories; after all, the last solo Batman TV series before this one was Batman ‘66. Like Tim Burton’s 1989 movie, The Animated Series sought to distance itself from that interpretation. Sometimes it did so subtly, with mentions like “no Bat Signal or hotline” to keep him separate from the Gotham police, or by making Robin an occasional partner rather than a full-time companion.
While the show worked its hardest to separate Batman from his previous televised iterations to make him into the brooding loner we all know and love, what Whitbrook’s article and its attached copy of the Batman: The Animated Series show bible illustrate (pardon the pun) is how something as important and groundbreaking as this show actually came together through an almost supernatural synchronicity of passionate, creative people who were willing to break the rules every now and then and try something new with, at the time, a forty year-old medium and a sixty year-old character.
Although I court a lot of pushback as soon as I say it, I feel pretty lucky to have grown up reading comic books when I did, in the early 1990s. For those with vehement dissenting positions to this opinion, I offer a truce by completely agreeing with you when you say the content of this point in comics history was rather lacking as creators felt the need to push good taste to its limits in many different ways. However, these comics were connecting with kids––with me––and while I can’t say their influence was all beneficial, they certainly stirred the imagination. With that in mind, a lot of choices made both narratively and, especially, artistically at the time are nigh inexcusable when held up against modern criteria.
In light of the speculator market and the inflated sense of worth the industry had of itself at the time, for a fan the early ’90s were quite exciting in spite of all of that. It was this excitement for not only the characters, stories (what there were of those, at least), and creators that drove us back to the shops every week, but it was also the industry as a whole during this time, especially during the flashpoint formation of Image Comics. I remember the creation of Image Comics happening. I remember thinking it was really weird. I remember being really excited for it, as well. (A good documentary about the formation of Image Comics exists, called Image Revolution, that is well worth the viewing.)
As the ’90s faded away and the market crashed and Marvel went bankrupt and the industry and its fans actually had some time for critical self-reflection, Image Comics, as it had started out, became the pennant we could all point to and say, “That, right there, is what was wrong with comics in the ’90s.” In some ways, such assertions are very true. Fast-forward twenty years, though, and the “worst” in industry has become the outstanding front runner for thoughtful, challenging, and earnest comics above almost all other publishers. The about-face is astounding and couldn’t have been written better for fear of being too cliché and feel-good. But it all comes down to the principles that formed the bedrock (or badrock, harhar) of the company, as iterated by Jensen in his article:
Image had two rules: all comics were owned by their creators, and no Image creator would interfere with another’s business.
As it stands today, Image Comics is a beacon in the industry and is at the top of its game. I’m sure many people lament the 180-degree turn from its superheroic start––I experience light pangs as I think about it but shrug them off––but there’s no doubt that what Image is doing today aligns (at least in theory) with the concept that founded the company: complete independence. Because of that, Image books are bringing more attention to creators, more good to the industry, and better comics for readers, and I wouldn’t trade that for the gun-toting, veiny-muscled, blood-soaked comics of yore any day of the week.
Despite some mild technical difficulties and some remote-location recording, Andrew and Dan bring you through the holidays with a brand new Shortcast!
WEEK IN GEEK: Andrew plays some updated versions of previous Weeks in Geek, going back to Master of Orion and Civilization VI while Dan is mildly skeptical of the new Image Comics series from Mark Millar and Greg Capullo, Reborn.
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For all intents and purposes, that was a Shortcast recap.
WEEK IN GEEK: Andrew played DC Legends as well as Peter Molyneux’s new mobile game, The Trail while Dan got sentimental up reading Prophet: Earth War issue number 6, which finally wraps up the big Prophet reboot.
REMEMBER, REMEMBER: Though Dan and Andrew missed November 5th to properly discuss V for Vendetta, in the eyes of some Americans, the country did us a solid by possibly setting up a situation where that story could happen for real. They discuss V for Vendetta‘s relative applicability in terms of the comic, the films 2005 release, and 2016 America. Being an Alan Moore book and with the recent elections so near, politics are discussed but––with hope––done so through a critical lens and as it applies to nerdy stuff.
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For all intents and purposes, that was an episode recap.
-“Stayin’ in Black” by Wax Audio
-“The Girl from Ipanema” by Antonio Carlos Jobim
-“Rockin’ in the Free World” by Neil Young