Co-Writing a comic with Don Rosa, and acting natural with Summer Glau

Me and Don Rosa at Minnesota Fan Fusion 2018.
Me and Don Rosa at Minnesota Fan Fusion 2018. And yes, the title is real.

Conventions are stressful affairs, fraught with peril and, usually, good things. It’s getting there that’s the trick. I typically attend my local comic conventions, SpringCon and FallCon, which are very specifically comics-oriented. There’s a cosplay section and artist’s alley for people who don’t do sequential art, but it’s almost entirely comics. Bliss, for someone with my particular interests.

Naturally, my favorite writer and artist in the entire world, Don Rosa, wasn’t going to either of those: he was going to Minnesota Fan Fusion – a convention with comics, people who recreate cars and props from TV shows, panels about Szechuan Sauce, and meeting people you pay ten dollars plus the cost of popcorn to see play pretend on a big screen, all of whom should really be a lot taller than they are.

Obviously, I was going. I got my career as a writer started with an interview with him, which was published in the English reprint of The Pertwillaby Papers and later used as the basis of the Greek edition of the book’s special features. The Coin is one of the best comic book stories I’ve ever read. I bought an Artist’s Edition of his work, despite the cost, just to read and admire the linework of The Life and Times of Scrooge McDuck – knowing it would take two more volumes to complete the saga.

The plan was simple. I would look at the guest list, look at my trade paperback collection, find the stuff they’d done, and ask for a signature (and head sketch from artists, but we’ll get to that later). I’d leave the boxes over at my cousin’s booth, easy as pie. Christopher Priest’s run on Deadpool, even at ten issues, is superlative – the Tom Cruise storyline alone is worth the price of the omnibus. Peter David writes so much I’m not sure the man sleeps. And Don Rosa, well, I have every published piece of his work available in English at this time.

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An Interview with Jeremy Whitley – The Return of Unstoppable Wasp

Co-written with K. Tilden Frost

Unstoppable Wasp Volume 2 Issue #1 Cover – Art by Gurihiru

The first time Kay and I bumped into the work of Jeremy Whitley was when GeekMom’s Karen Walsh sent Kay’s now-10 year old an autographed copy of the first Princeless trade. She absolutely loved the adventures of Adrienne, and was absolutely speechless when we got to meet Whitley at AwesomeCon. By then, we’d become familiar with Whitley’s work through the Unstoppable Wasp series. There was so much to about Nadia Van Dyne, from her determined, optimistic outlook on life outside the Red Room to her passionate engagement in the sciences. It was heartbreaking when Wasp was canceled; there are so few mainstream comics to share with middle grade kids, especially girls.

After all, Wasp is a gorgeous comic that embraces a diverse cast of girls in STEM, bringing in girls who are Black, Indian, queer, disabled, and sometimes more than one at once. At the same time, the book holds an intense discussion of trauma and its after effects, what it feels like to lose a parent you never knew, and how to create your own life after being controlled by an external force without ever for a second feeling like a morality tale.

These are the kinds of comics I’ve been clamoring for – not just for me, but for kids like Kay’s girls. After hearing about the conversation he and Kay had at the convention, I wanted to have a longer conversation with Whitley about the topics they’d touched on only briefly in Artist’s Alley – middle grade comics, Princeless, Raven, and what he hoped to see in comics going forward. When we heard that Unstoppable Wasp was getting a second volume, it seemed like the perfect time to have a conversation about the comic, and that last piece in particular.

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Don Rosa in Review – The Life and Times of Scrooge McDuck Artist’s Edition Volume 1

Cover Life and Times Artist's2

When I reorganized my room to accommodate two new bookshelves, I had to be economical with my use of space. Sure, there are my trade paperbacks, but there’s also my computer, some storage, actual books, a Nintendo Switch with an enticing Shantae: Half-Genie Hero for me to finish, a desk and a bed… mini-house fetishists would be proud. But the thing I’m most proud of, in terms of ingenuity, is my reading area. I’ve specially dedicated the space to reading, to keep me free of distractions. A fold-up stadium chair, a repurposed cushion, blank space on my shelves for what I’m reading at the time, even a makeshift table for my netbook, a place to store whatever I’m eating… and giving my cat a place to sleep.

Don’t you even start judging me.

The thing is, as proud as I am of this reading area, there is exactly one book in my collection which alters the look and feel of the space to something less ingenious and more in the realm of ridiculous. Ladies and gentlemen, I present to you The Don Rosa Artist’s Edition – The Life and Times of Scrooge McDuck Volume 1.

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Showing Off The Shelves – February was WEIRD

Last month was weird. Since my last Showing Off The Shelves, things avalanched. I mean, they avalanched personally, but so did my collection. Three different jobs landed in my lap, all of which can lead to a lot more. My initial acceptance letter to one of them, (before I re-drafted it) was “Wow, I’m happy to do that, but how the fuck did I trick you into saying yes?”

I’m going to start this post off by giving a special thanks to The Nostalgia Zone, the comic book store I frequent most (this is not the mob store I have mentioned in other posts, if you go in there to ask a question the owner won’t say “Who’s asking?”). Thanks to them, I was able to find some remarkable deals. Some of them were things I’d been looking for already, some of them on the edge of my radar, and one big ticket item that I never thought I’d get my hands on.

As it happens, they were having a sale on Groundhog Day. I know I said Don Rosa in Review was in hibernation, but while I won’t be digging into the story in that article, I will discuss what I found: The Don Rosa Artist’s Edition.

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How To Collect JLA (It’s complicated)

Justice League, historically, has had problems with its collections. The new Justice League International Omnibus printed some pages in the wrong order, for example, and outright omitted some dialogue. This was corrected in the second printing, but I’m glad I cancelled my pre-order anyway. Justice League America (yes, that’s really what the title is, distinct from Justice League of America) is collected in a way that is so convoluted it would require a separate article to explain. Fortunately, I’m not here to talk about that. I’m here to talk about collecting what many, myself included, believe to be the best version of the Justice League: JLA.

JLA #1

JLA, which is not the same comic as Justice League of America, is the 1997 incarnation of Justice League. The book ran for 125 issues with numerous writers and artists, but Grant Morrison and Howard Porter’s run in particular is legendary. Epic in scope and scale, it used iconography to inform their characterization and keep the characters relatable in a way that is similar to the DC Animated Universe. It’s elegant and streamlined, never truly requiring the insistent continuity that can make team books a more difficult read. If something does change within a character’s solo title, you see it, but it isn’t a plot point. Superman is still Superman, even when he’s Superman Blue, and that’s all that matters.

In Morrison and Porter’s run, the art is gorgeous, highly stylized, and a treat for the eyes. But I don’t want to make JLA sound like it’s entirely their effort, because JLA includes iconic stories like Tower of Babel, later (loosely) adapted as the animated movie Justice League: Doom, the Dream Team arc, beautiful pencils from Bryan Hitch and Mike S. Miller, even the reunion of Chris Claremont and John Byrne – a feat that I can only assume required a contractual guarantee that they would never have to be in the same room.

The JLA collections doesn’t have the same problems that other Justice League titles do, but understanding why there are different editions of the same comic and what those differences are took me at least a week. But I eventually figured it out, and I want to share the fruits of my labor so that no one ever has to deal with this nonsense again.

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Wonder Woman Rebirth and Deluxe Editions

Wonder Woman Rebirth

As promised in my Showing off the Shelves article, whenever I work on something over on K. Tilden Frost’s blog that fits mine too, I’ll make sure to cross-post it here. Fortunately, co-writing, similar tastes and interests means that should be happening quite a lot. So check out this piece on how to get the right version of Greg Rucka’s second tenure on Wonder Woman with Wonder Woman Rebirth: Wait for the Deluxe Editions.

Let’s make sure we’re on the same page. Some of DC’s most popular titles come out twice a month. In order to create visual consistency, Rucka’s Wonder Woman has alternating artists between issues and two interwoven plots: one for odd numbered issues, one for even numbered issues. In its original, single issue form, this created an incredible, critically acclaimed story. But when it came time to put it in trade, DC decided to fix what wasn’t broken, breaking it in the process.

Rare books have no value

I own a lot of trade paperbacks. There are a number of reasons I buy trades rather than collect single-issues – space, price, knowing everything’s (probably) in order, bonus features – but there is a major drawback of this format that is completely unnecessary. That drawback is, of course, the dreaded rare book.

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Whatever you think the rarest book in this picture is, you are almost certainly wrong.

With the advent of the internet there are very few things you can’t find, so I’m not talking about this as a matter of treasure hunting or calling every store in your state – although I have done that to find a few books – or about limited editions specifically (I have no love for these, they punish fans who weren’t in to the series when they came out, and lead to the exact problem this article is about) What I mean by rare book is one where a volume containing 5-8 issues goes for $40 to $80 when the cover price is $20, or the third volume of an otherwise inexpensive series going for $150 to $300. This is ridiculous for a number of reasons, but the one we’re talking about today leads to one of my biggest pet peeves in comics: this is not new reader friendly.

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