Comics have always been a huge part of my life, from my questionable six year old speculator phase (when I was convinced that any issue #1 was a prospective goldmine) to my pretentious preteen obsessions with the “great works” of comics (feverishly studying anything labeled with the words “sequential storytelling”). But it wasn’t until I […]
I was incredibly, completely, absolutely flat broke during my undergraduate film studies at NYU. Broke like skipping meals to afford rides on the Subway. Broke like working two college jobs, with all of it going to tuition and it never being enough. Broke like having to choose between living in a pest-infested room in Harlem, or not finishing college at all because I couldn’t afford to pay for the dormitories. I was angry, but my anger was a cloak that hid my shame, shame based on a fear that if I was indeed good enough to tell stories, somehow this would have been easier.
Years ago I found myself in Sofia, Bulgaria as part of the production team on a Dolph Lundgren movie I had written (in three days because that’s how the low-budget action kingdom works), kept around to do last-minute changes as is sometimes the case in filmmaking. Bulgaria was a remarkable place, a country with a much older history than America, a history you felt in the architecture, in the manner and the speech of people who had not forgotten the old ways.
I’m sitting here in my office in Chicago, thinking as to what I’m going to write about comics. I’ve been publishing comic books for over six months now, as the co-publisher at Z2 Comics. In that time I’ve met incredible artists, discussed stories and characters, gone through sleepless nights peppered with nightmares of cash flow, and had these brief, fleeting moments of joy as I held a new issue of a book we just made in my hands. I’m wondering how to describe that feeling, as it would be the core of this piece, and for some reason I’m having a hard time putting it together in my mind.
And then Prince died.
Comic books continue to reach mainstream audiences and have stretched into academia. At the Panels and Pedagogy: Teaching Comics panel, panelists aimed to help answer questions that arise about—teaching comic books, formal instruction for creators, and establishing the academic discipline of comics. Where do comic books fit in your academic life?
By Nicholas Eskey If you label yourself a “nerd” and wear it with pride, undoubtedly you already follow Chris Hardwick’s Nerdist News. The quick witted comedian and mega-nerd took heads the podcast driven news network for nerds with a wonderful collection of colleagues and special guests, discussing everything from the current state of all things […]
by Bryan Hill “Thank you, Sarah for your courage through the dark years. You must be stronger than you imagine you can be. You must survive.” – Kyle Reese The year is 1985, my family just got cable television, and there was a chrome nightmare coming to get me. James Cameron’s THE TERMINATOR is the […]
When Heidi offered her forum to me to discuss issues of diversity, I was hesitant. I admire activism, but I’m a writer and my passion is talking storytelling and character. The opportunity made me feel unsafe, like somehow I would put storytelling in danger by raising the issue of diversity within it. I realized, during a long play session of FALLOUT 4 (my chosen tool for meditation), that my safety wasn’t at stake.
I was protecting my comfort.
Diversity is an uncomfortable conversation, especially on the internet. Writing popular fiction is kin to walking barefoot on hot coals. If you ignore the heat, you can make it to the other side. The moment you think about what’s underneath you, the flame takes you forever.