Doc Wilde Update: Running Late, Still Working On It…

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Advance cover mock-up by Gary Chaloner

Okay, the bad news first: Doc Wilde and The Mad Skull, which was targeted for release right about now, ain’t ready yet.

There have been delays at both ends, writer and artist. I’m not satisfied with the manuscript as it stands and have been trying to wrestle it into its proper form while also dealing with matters related to importing my lovely lass Nydia and her son from Brazil and installing them in my cave, getting married, and preparing all the paperwork for immigration in order to make Nyd legal so that Donald Trump doesn’t spaz out about it on Twitter and sic the DHS on us. Meanwhile, Gary Chaloner has had a lot on his plate that has slowed his progress on the art and book design.

But, we’re still at it, and other Wilde adventures are in the works. For one, I have a chunk of the third book, Doc Wilde and The Dance of the Werewolf, already written and Gary will be getting a jump on the cover design for that. For another, he is about to begin publishing a quarterly comic magazine, Adventure Illus., which will focus on his comic book work and characters but which will also feature serialized original Doc Wilde stories. More news on that as it happens.

Now, I’m gonna relax and enjoy my family the rest of the year, then really get cranking again in January to get all this Wilde goodness out to the folks raring to see it.

Happy Holidays to you all. Stay Wilde!

TESS FOWLER: Her Rampage Against Rat Queens, aka “Here She Goes Again”

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If you read my blog regularly, you’re probably aware of how I hired comic book artist Tess Fowler to illustrate and paint a cover for my next Doc Wilde novel, of how that turned out to be a very expensive mistake when Tess utterly flaked on the job and kept my money, and of how she publicly (and privately) libeled me after the fact.

This was what she told one editor who asked her about the matter:

“You’re referencing a disturbed man who fired me from a job and then went out of his way to tell a string of lies about me on the internet. He stalked me by phone and internet even as he was about to be committed. I am afraid of him.

“This is a person I have called the police about on more than one occasion. And I am deeply fearful of his lack of stability.

“Thank you for completely wrecking my day by bringing up a person who I look over my shoulder for when I leave the house. If you choose to pursue anything involving him don’t come to me.

“This is a person who had every opportunity to rectify a situation he created. And chose to torture me. Please do not ever write me again.”

This is such complete bullshit that it’s comical. I have chronic depression, and have fought a terrible battle with it for years. She tries to use that to gaslight me, to cast me as unhinged and dangerous. I did not stalk her, I barely even tried to convince her to return to work once it became plain she wasn’t willing to do so. I have never been “committed.” And she never called the police on me, or, if she did, she’s clearly the crazy person here. (To see more of her nonsense about me, check out this post.)

I offered a full account of working with Tess here, built from our actual correspondence, in order to show exactly how the project fell apart and just how difficult she was to work with. My primary motive was to try to help others avoid being victimized as I was. And, indeed, over time, I’ve been approached by others who have also been ripped off by Tess Fowler, some professional, some just fans who commissioned her to do some art for them that they never received.

The latest victims I’ve heard from are Kurtis Wiebe, the creator of the esteemed comic book Rat Queens, and his wife, Shannon. Kurtis hired Tess Fowler to replace the original artist on the book and apparently had an experience that was agonizingly similar to my own. Eventually, they had a very public falling out, and Tess went on the warpath to slander and libel and gaslight both Kurtis and Shannon, threatening to ruin Kurtis’s career by  showing him to be “the worst man in comic books.”

Kurtis hasn’t chosen to share his full account publicly yet (I hope he does at some point), but Shannon shared her side of the sordid tale in a lengthy comment on one of my previous postsHere’s that comment in full because I felt it needed more sunlight than it was getting lost as it was in a comment section under an old post. Much of it is all too familiar… Continue reading

When Bernie Sanders Throws His Mighty Shield…

 

CapnBernie3

I just returned from visiting Nydia,  my amazing inamorata, in Brazil for a couple of months where, among other more psychologically healthy activities, we spent a great deal of time tracking the American election. Last week, as we sat eating airport food, drearily counting the minutes before I had to depart, I noticed the latest of many Captain America t-shirts I’d seen worn by Brazilians during the visit.

I told Nyd I was heartened to see the shirts, and the popularity of the character, who I see as a true symbol of the American ideal, not the jingoistic symbol of American imperialism seen by some. And I credited that popularity to the Marvel films, and Chris Evans’s very human, very decent, very noble portrayal of Steve Rogers. Captain America isn’t propagandistic, he’s aspirational.

“Captain America is Bernie Sanders,” I told her. “They’re both old guys from Brooklyn with superhuman stamina, dedicated to New Deal policies, still fighting to protect the weak from the powerful, unflinching in their belief in the American dream.”

Later, back home in the states, I saw author Catherynne Valente tweet, “Clinton is Black Widow (troubled past, does the right thing eventually) Sanders is Hulk, always angry, no one is Cap.” I have a lot of respect for Ms. Valente, but I disagree.

First off, Clinton ain’t much like the Black Widow. She lacks the Widow’s metaphorical agility as a campaigner, and when she takes aim at her opponent, her shots almost always miss or ricochet back and hit her. I’ll grant she has a “troubled past,” if you really want to undersell the problems with Clinton’s record, but that very record shows she actually doesn’t really do the right thing eventually unless it’s politically expedient or she has to because she’s forced to “walk back” a stance or action because of political damage. She does have a great deal of “red in her ledger,” blood on her hands, in places like Haiti and Iraq and Libya and Honduras, places that have suffered terribly because of Hillary (and Bill) Clinton’s ruthless political calculus. But the Widow owns up to her acts, and, in The Winter Soldier, even released the transcripts records to the internet, taking full responsibility for her misdeeds and working to redeem herself for them.

Hillary won’t even share the content of a few speeches she made to Wall Street, much less acknowledge the terrible human impact of her decisions over the years.

And Bernie as the Hulk? No. The Hulk’s anger is unreasoning, destructive rage. Bernie is angry, yes, as he should be, but he is not destructive. He is protective, nurturing, and constructive. And he is anything but unreasoning; just watch the video of him speaking to the students at evangelical Liberty University, where he engages them with respect and gets respect in return though their philosophies are radically opposed.

I’d say Donald Trump is the Hulk, but he lacks the Hulk’s dignity and compassion. Hell, he lacks the Hulk’s intellect.

But no, Bernie is definitely Captain America.

One of the best pieces I’ve ever read on Captain America is by Steven Attewell, and in it he addresses Steve Rogers’s political identity:

“Steve Rogers isn’t a jingoistic conservative asshole…Unlike many other patriotic characters who derive their virtues from the American heartlands, Steve Rogers grew up in the cosmopolitan multi-cultural world of New York City. He came of age in New York City at a time when the New Deal was in full swing, Fiorello LaGuardia was mayor, the American Labor Party was a major force in city politics, labor unions were on the move, the Abraham Lincoln Brigade was organizing to fight fascism in Spain in the name of the Popular Front, and a militant anti-racist movement was growing that equated segregation at home with Nazism abroad that will eventually feed into the ‘Double V’ campaign.

“Then he became a fine arts student. To be an artist in New York City in the 1930s was to be surrounded by the ‘Cultural Front.’ We’re talking the WPA Arts and Theater Projects, Diego Rivera painting socialist murals in Rockefeller Center, Orson Welles turning Julius Caesar into an anti-fascist play and running an all-black Macbeth and ‘The Cradle Will Rock,’ Paul Robeson was a major star, and so on. You couldn’t really be an artist and have escaped left-wing politics. And if a poor kid like Steve Rogers was going to college as a fine arts student, odds are very good that he was going to the City College of New York at a time when an 80% Jewish student body is organizing student trade unions, anti-fascist rallies, and the ‘New York Intellectuals’ were busily debating Trotskyism vs. Stalinism vs. Norman Thomas Socialism vs. the New Deal in the dining halls and study carrels.

“And this Steve Rogers, who’s been exposed to all of what New York City has to offer, becomes an explicit anti-fascist. In the fall of 1940, over a year before Pearl Harbor, he first volunteers to join the army to fight the Nazis specifically. This isn’t an apolitical patriotism forged out of a sense that the U.S has been attacked; rather, Steve Rogers had come to believe that Nazism posed an existential threat to the America he believed in. New Deal America.

“Captain America didn’t ‘share 40’s values’ – a reductive label assuming that everyone alive in 1940 was either a racial bigot, a misogynist, a homophobe, and an unthinking militarist, and handily ignores the people of color, women, gays, and left-wing activists who were hard at work to change American society for the better – he exemplified from the beginning the ideal that America could be. Thus Steve Rogers led the Invaders (a multispecies and multinational Allied superhero force) into Europe to fight fascism, he fought with Nick Fury’s Howling Commandos, a racially integrated fighting force from the beginning, and fought with the French Resistance rather than snidely repeating anachronistic cheese-eating surrender monkey jokes.

“Thus when Captain America is unfrozen in the 1960s, he’s not freaked out by the changes in racial progress – instead, he forms an instant partnership with one of the first black superheroes, the Falcon, who movie audiences just met for the first time, and the two of them go toe to toe against an insane imposter Captain America who’s obsessed about communists under the bed. The analogy cannot be more pointed: the real Captain America stands for racial equality and civil liberties, the Captain America who believes that the government needs to ‘smash’ reds by any means necessary is a fraud. In the 1980s, Steve Rogers runs into a childhood friend, Arnold Roth, who happens to be gay – and Steve Rogers defends his friend from bigoted violence, because Steve Rogers is a good man.

“In the Marvel Cinematic Universe, when Steve Rogers is unfrozen in the ice in 2011, he’s not here to be startled by our progressive values. He’s here to judge us for falling short of his – and that’s the entire crux of the plot of Winter Soldier. When Steve Rogers wakes up in post ‘New York’ America and sees SHIELD preparing a giant fleet of sniper drones that’s going to be used to cull the human race based on meta-data that supposedly predicts the bad things people might do in the future, he immediately calls this out as inherently incompatible with the Constitution and the ideals that Steve Rogers fought and essentially died for. He puts his faith on ordinary soldiers and rank-and-file officers to do what’s right, not the corrupt or blinded authorities personified respectively by Robert Redford and Samuel L. Jackson. And his solution to SHIELD/HYDRA’s plan for world domination through mass murder is not only to sacrifice himself to save the world (again), but also to release all of SHIELD’s secrets to the world.”

Did I say that Bernie Sanders is Captain America? Bernie Sanders is Captain America.

 

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A few years ago, writer J. Michael Straczynski put these words in Steve Rogers’s dialogue balloon:

“Doesn’t matter what the press says. Doesn’t matter what the politicians or the mobs say. Doesn’t matter if the whole country decides that something wrong is something right. This nation was founded on one principle above all else: the requirement that we stand up for what we believe, no matter the odds or the consequences. When the mob and the press and the whole world tell you to move, your job is to plant yourself like a tree beside the river of truth, and tell the whole world: No, YOU move.”

That is exactly what Bernie Sanders is doing. He’s telling the Democratic establishment and the GOP and the media and the big money special interests, No, YOU move.

And the people of America are hearing him. And they’re starting to plant their feet as well.

(NOTE: A while back, I had a really interesting discussion about Captain America and his place in America’s political psyche. I posted it here.)

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Art by Danny Kelly

What If MAN OF STEEL Had Been In Color?

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Man of Steel had a lot of problems, and unfortunately Batman v. Superman looks to replicate some of them and add a few more. Which is a shame because Henry Cavill is an awesome Superman and Ben Affleck looks great as Batman.

These folks color-corrected Man of Steel to see how it would look if it were spared Zack Snyder’s monochromatic dreariness. It actually looks like a Superman movie, which would have been nice, though it still would have been a Superman movie in which Clark Kent just stands there and watches his dad be killed by a tornado.

TESS FOWLER Rips Off Another Fan

Soul Eater

Artist Tess Fowler’s dishonesty and lack of integrity are no secret to those who follow my blog, or to those who were looking forward to the book she took a lot of my money to do art for and then did not deliver. And I’m not the only poor, unfortunate soul who has fallen victim to her; as I’ve reported before, I’ve heard from several others whom she’s ripped off. Those folks chose not to go public with their accounts, for which they have their reasons, but it’s unfortunate because it contributes to the vulnerability of others who may hire her and be likewise victimized.

But another of her marks has finally come forward, eager to share his story.

I don’t know Wayne Bertrand, Jr. He lives in Texas, and is apparently into tattoos and motorcycles. He is also an avid activist for child welfare, and a member of BACA, Bikers Against Child Abuse.

Wayne was a big fan of Tess Fowler’s art, which is why he commissioned her to do a special painting for him, for which he paid her $300. Months passed and no painting was forthcoming. When Wayne contacted her, she deflected his queries saying she was working on it.

Ultimately, Wayne complained to PayPal to try to get his money back, but a lot of time had passed, and Tess promised the service she would honor the deal and throw in a couple of extra pieces for Wayne’s trouble.

Then she blocked Wayne on social media and ignored all further attempts at communication.

That was over two years ago. Wayne has never received any artwork, nor any of his money back.

Toward the end of his message to me, Wayne summed Tess up as well as anyone ever could:

She is a crook. Sad thing is I like her artwork.

It’s a shame that someone with Tess’s gifts chooses to use them as bait to steal money from her fans.

UPDATE: Tess victimizes the creator of the comic Rat Queens and his wife. Read it here.

I’m Batman (ABC Wednesday, 1/22/14)

I'm Batman

I’m Batman.

That may seem a cocky statement. I am not the world’s greatest detective. I am not the most accomplished hand-to-hand combatant on the planet. I am not a scientist/inventor with an unending inventory of cool gadgetry to rival that of Doc Savage. I don’t battle the forces of evil night after night wearing an incredibly cool batsuit.

But there’s a deeper truth here. It’s not that I’m projecting some Mary Sue wish onto this comic book character, or that I’m patterning my life in any way after the life of Bruce Wayne (though his money would certainly be welcome). Rather, there are a set of resonances in the character of Batman which, you might say, send me a signal. This has been so since I was a little kid, watching Adam West on television, even though I despised that show, just because nothing else was on. I wanted Batman like he was in the comics. Dark, agile, clever. Drawn by Neal Adams with no laugh track. Not cheesy as hell. And haunted…as I was haunted.

I didn’t consciously realize that last bit then, and not for many years. But Batman and I share something besides blue eyes and square jaws: loss. Terrible, heart-rupturing loss.

Everyone knows about Bruce Wayne’s loss: the gunshots in the alley, the clatter of falling pearls, the bodies on the ground. Fewer know the less operatic tale of my loss: a teenaged mother, riding home from her restaurant job to see her baby, her life crushed out in a high velocity encounter with a careless driver.

Loss drives us like a poisonous fuel.

For years, I thought I’d recovered from whatever trauma I’d suffered when my mother died. I had been so young, I couldn’t remember her. She was just an ancestor, if a recent one, no more a part of my life, of me, than a great grandmother I’d never known. But that was naive. Over the years, as depression kept me from the life I wanted, I realized that many of the traumas I brought into my life were refractions of the loss. Somewhere deep inside me was that small child, screaming over my mother’s body. Is it any wonder I found it easy to identify with Batman?

I had no Alfred in my life to raise me, to look after me. My father was a half-step away from cotton mill white trash, and a mean ass drunk. Over the years, he brought in two stepmothers, both cruel. He and they weren’t my family, they were my rogues gallery, the sideshow villains who plotted my destruction in nefariously neurotic ways. Batman’s villains are archetypal, each reflecting something within. The Joker is his mania, his enjoyment of the pain he brings to bear. The Riddler is his compulsion for mental challenge, Bane and Killer Croc his drive for physical dominance. The Scarecrow is his fear and despair. And Catwoman is his playfulness and his libido, trying to break into (or, rather, out of) the adamantine safe that is his heart.

Batman — Bruce Wayne — is the sort of man I strive to be: a successful man, a productive man, a noble man. A man who helps. A man who uses his anger and pain and loss not to hide or lash out at the world, but to fight the darkness (within and without) and keep it at bay. You may really love the Dark Knight, and thrill to his adventures, as millions do. But I’ve lived his dark night, I’ve fought its overwhelming darkness.

Because I’m Batman.

Mourning

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I’ll return next Wednesday with the letter C. I hope you’ll stop by. I’m a writer and I post about a wide variety of non-alphabet-specific topics. Feel free to comment under my posts. If you want to subscribe to the blog, there’s a button in the sidebar.

For another fun ABC Wednesday post, visit the Carioca Witch here: Bringing Up Salamanders.

Find many more posts by others, and more info on ABC Wednesday, here: ABC Wednesday

“Batman: Arkham Origins” Looks Badass

Batman

Ladies and gentlemen, I am STOKED.

This series is not only some of the best Batman ever, it’s some of the greatest gaming ever. My love for it is already a matter of record.

And yet again a CGI game trailer shows that they really shouldn’t need to be waiting for Hollywood to get its head out of its ass to give us good flicks of Halo, God of War, or other great games, not to mention the possibilities for animated comic book fare.