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Author: Derek Kunsken

The Three Phases of Marvel’s Adam Warlock, Part Two: The Magus Saga

The Three Phases of Marvel’s Adam Warlock, Part Two: The Magus Saga

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Warlock Madness MonsterRead The Three Phases of Marvel’s Adam Warlock, Part One here.

My 10-year old son saw my Warlock comics (the ones showing the clowns and the Madness Monster I’ll discuss in this post) this morning and asked who Warlock was and why his villains were so weird. Then, of course, being ten, he asked if I could get him some Warlock comics. And I explained to him that he might not like them.

Warlock is a very sad hero, I explained. He tries to be good, and tries to make good choices, but all that ever happens is that people around him get hurt or he fails. I think that’s a good way to start this post.

I should also note that this post is constructed entirely of spoilers. 100%, wall-to-wall spoilers of a thirty-year old story. Embrace the spoilers.

In my last segment, I looked at the hero Adam Warlock, from his synthetic birth as “Him” in the 1960s to his rechristening as a messiah figure in 1972 and 1973 and eventual cancellation. This first period was an important start to what I said to my son. Adam Warlock tried to save Counter-Earth and ultimately, he could not expunge the evil in men and he left for the stars.

The second phase of the saga is the Jim Starlin as writer/artist era, which I measure from 1975 until the hero’s death in 1977. Jim Starlin produced two classic stories in this phase, the Magus arc and the Thanos arc. These are big and original for the comics of the time, so I’m going to cover the Starlin period in two posts. Today is the Magus saga.

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The Three Phases of Marvel’s Adam Warlock, Part One

The Three Phases of Marvel’s Adam Warlock, Part One

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250px-Marv_premiere_01I think that my first encounter with Adam Warlock was in The Power of Warlock #2. Even at 11 or 12, I gravitated towards the lonely, brooding heroes of the Marvel universe, like Daimon Hellstrom and Doctor Strange, so I was hooked on my first look at Warlock. Like Hellstrom and Strange, Adam Warlock walked around with a heavy touch of destiny and Warlock #2 was a pretty brain-expanding issue. I read a lot of Adam Warlock since then.

In my head, I break down Adam Warlock’s history into three periods: (1) pre-Jim Starlin, which covers from his “birth” to the cancellation of his series in 1973, (2) the Starlin era, covering from 1975 until Warlock’s death in 1977 and (3) the post-Starlin era (which I name with wild inappropriateness, because Starlin still had a big hand in it), which basically covers Warlock’s resurrection onwards.

In this first post, I want to talk about the first period, the pre-Starlin Adam Warlock. I have always felt that this run of comics is a bit like a tiny restaurant serving great food that no one knows about but me.

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Developing a Voice, Fine Tuning Scripts, and Getting Neurotic About Hair Color: An Interview with Marvel Comics Assistant Editor Xander Jarowey

Developing a Voice, Fine Tuning Scripts, and Getting Neurotic About Hair Color: An Interview with Marvel Comics Assistant Editor Xander Jarowey

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Amazing_X-Men_Vol_2_1
Did someone say “press gang”?

life after wolverineI recently interviewed Marvel Comics Associate Editor Jake Thomas, and now I’m having an e-conversation with Xander Jarowey. Xander is the Assistant Editor on All-New X-Men, Amazing X-Men, Uncanny X-Men, Guardians of the Galaxy and Legendary Star-Lord (all under Editor Mike Marts), Nightcrawler, X-Force and Magneto (under Editor Daniel Ketchum), and All-New X-Factor and Guardians Team-Up (for Editor Katie Kubert). He’s recently become the editor on Amazing X-Men and has also edited the Death of Wolverine: Life After Logan, and is the Editor of the upcoming X-Tinction Agenda.

Thanks for taking the time for the interview, Xander. How long have you been with Marvel and how did you get in? Internship? Job application? Press gang?

Thanks for having me! My path to Marvel was circuitous. I moved to New York to work in theatrical management. I worked a few internships and had a ton of fun, but I came to a point where I wasn’t 100% sure that I wanted to stay in the industry. I’m a huge comics fan and Marvel has always had a special place in my heart. Maybe I should blame it on the X-Men cartoon?

I looked at the Marvel site on a whim and saw an editorial assistant job. It sounded a lot like what I’d been doing in theatre. I got an interview, but lost the job to Devin Lewis (who is now the assistant editor for Nick Lowe on Spider-Man). He doesn’t know it yet, but payback is coming one day. Marvel got in touch with me after the interview and asked if I’d be interested in interviewing for an assistant editor position. I had to hold in my fanboy squeal. They gave me a script and a day to give them notes. After that I went through a series of interviews and somehow hoodwinked them all into hiring me. It’s been a fantastic year and a half ago since then.

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The Son of Satan: A Gem from the Marvel of the 70s

The Son of Satan: A Gem from the Marvel of the 70s

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Son of Satan 2
So many demons to fight.

While interviewing Associate Editor Jake Thomas of Marvel Comics for my last blog post (see Middle Child) , we also talked a bit about horror in comics and where it fits, what fans are looking for, etc. It turns out that until recently, I hadn’t gone all the way to thinking about comics as a horror medium, partly because I’d never found them scary.

Marvel Spotlight 22
Human side versus devil side plus sister thrown in for family angst, and a guy on a flaming motorcycle. Freud! Help!

The old saw is that, other than superheroes, comics chased movies and TV, so that when westerns were popular, the comic industry produced cowboy books, and when SF movies were popular, they made SF comics, etc. And the 70s of course was the era of The Exorcist, The Shining, Jaws, and so on.

Some of the grotesqueries of the 1950s drove the creation of the Comics Code, but I guess I’d looked at the post-Code books like Tomb-of-Dracula and Man-Thing and Werewolf by Night as monster books, rather than horror.

There’s only so much you can do within the code, which was part of the reason why Marvel experimented with magazine-sized black and whites in the 1970s, which, by today’s standards (ex.: Severed or Wytches, from Image) look like a tea party… the little kid play, not the political movement.

However, despite being not scary, there was a rich subtlety in some of Marvel’s spooky books, an unreliability of perception, that drew me in, as a pre-teen and teen, and probably helped form some of my tastes.

In the summer of 1981, my mother gave me four comics, one of which was Doctor Strange #43. Doctor Strange was soooo wierd, but good, knock-off Chthulhu good.

And I hunted down Doctor Strange everywhere I could find him, which led me to the Defenders, another oddball child of the 1970s.

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The Middle Child of Editorial: An Interview with Jake Thomas, Associate Editor at Marvel Comics

The Middle Child of Editorial: An Interview with Jake Thomas, Associate Editor at Marvel Comics

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I’m having an e-conversation with Jake Thomas, an Associate Editor at Marvel Comics. punisherHe’s got a ton of editorial credits, as Assistant Editor on titles like Captain America, Avengers, Age of Ultron, and many others, as well as Editor on Iron Fist the Living Weapon, Deadly Hands of Kung Fu, The Punisher and others.

Let’s cover some of the basics first. Jake, you started at Marvel as an Assistant Editor. Editors oversee production. What do Assistant Editors do for the production process?

Marvel editors are involved in a lot more than just production.

A main Editor helps develop projects, gives story and art notes, helps with the marketing of the books, all kinds of things. The nuts and bolts of production are by and large the purview of the Assistants. Assistant Editors keep files moving, track schedules, write recaps, do ad lineups, gather reference, run proofs through our various checks and balances, a bunch of the behind-the-scenes work that allows the machinery of comics to keep functioning.

They also act as another set of eyes; they can give script feedback to their editors, check the art as it comes in to make sure the storytelling is solid and everyone’s in the correct costume. Important stuff!

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The World of New Publishing Models: Serialized Self-Published Novellas by Traditionally Published Authors: Nigh, by Marie Bilodeau

The World of New Publishing Models: Serialized Self-Published Novellas by Traditionally Published Authors: Nigh, by Marie Bilodeau

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Nigh Marie Bilodeau-smallI wanted to talk to Marie Bilodeau, a multi-Aurora-nominated Ottawa-area author about her new novel, Nigh. It is an apocalypse story, a magical one, which is an original twist, but it’s also taking an old-school/new-school leaf in that Marie decided to serialize the novel as several novellas and self-publish them. So I sat virtually with Marie and the disjointed conversation that follows is the best one out of twenty-six takes…

So what’s fun about Nigh?

FAERIEPOCALYPSE!

Stop! That’s not even a real word! God, let’s start again. Take twenty-five….

No! Keep typing! It is a word! That’s what fun. I’ve taken all the old scary faerie stories and thought about what would happen if the veil between our world and theirs suddenly collapsed. It’s not pretty. It’s definitely dark fantasy that could also be considered horror.

Plus, since I’m a professional storyteller, I’m also going to be performing a set of traditional faerie stories, woven in with some bits of Nigh, as bonus-can’t-read-this-on-the-page material. No, but seriously: FAERIEPOCALYPSE!

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Introducing BlackGateDate.com: Examining the Dating Profiles of the Men of the Fantasy World

Introducing BlackGateDate.com: Examining the Dating Profiles of the Men of the Fantasy World

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Science fiction writer Amy Sundberg recently wrote an excellent post about dating on her blog. This inspired me to think a little more about dating too. Dating is not something I have a lot of time to do, but I have been on a dating site or two and this set me wondering about how to approach dating from the angle of the fantasy genre. It isn’t pretty, but it’s perhaps more honest than what is shown on dating websites.

Username: ImTooSexyForTheMaiar,TooSexyForTheMaiar
Summary: I am the all-seeing eye and I have spread my shadow across the world and crushed the races of Middle Earth. I also make jewelry.
Body type: I am a burning eye. I looked really good when I was an angel. Now that I’ve conquered Middle Earth I’m getting back into shape. Work out partner?
I’d Fit Well With: I’m All-Dominating, in the bedroom and out. I fit well with someone into that.
Six Things I Could Never Do Without: The One Ring.
Deepest Secret: I sometimes I wonder what it would be like to submit to a lover or get a spanking. I’ve been a bad boy. Also, I haven’t told any of my friends, but I make kick-ass balloon animals.

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A Great Collision of Awards Lists

A Great Collision of Awards Lists

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1993
The Hugo Award: Most ancient of sf/f awards, armed with a point suitable for hunting prey.

OK, despite the title, there are no explosions or car crashes in this post.

However, as a Canadian, a SFWA member, an Asimov and Analog author and an audio listener, my thoughts on awards season can get a bit jumbled. Someday, I’ll make a nerd-pleasing Venn diagram about it…

The scifi/fantasy/horror field is in constant motion and there are a ton of brilliant writers out there. The Nebula and Hugo and Aurora nominees for the past few years, as well as the Year’s Best collections and the Locus Recommended Lists, give anyone a great place to start discovering the genre(s).

I feel a responsibility to the process, like I feel a responsibility to vote in elections. Here are the award areas I get involved in:

I nominate for both the Hugos and the Nebulas, often using the recommended lists as the bases for my reading; those lists are stored in the ultra-secret passages on the SFWA boards, guarded by three-headed dogs and passwords that have to have a number and a symbol in them. Members of SFWA can nominate and vote for the Nebulas. Anybody who is attending Worldcon or attended the last Worldcon can vote in the Hugos, as can people who have supporting memberships (which seem steep to me at $50, but it is what it is).

As I’m primarily an audio consumer, to round out my short fiction reading, I also listen to as much of Lightspeed, Clarkesworld, Tor.com, and Beneath Ceaseless Skies as I can.

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Want to Break into Comics? Check out the Make Comics Podcast!

Want to Break into Comics? Check out the Make Comics Podcast!

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Like most writers, I too dream the unreasonable dream of breaking into comics as a writer.

header-img-11Who wouldn’t want to correctly and appropriately use the word “Bam!” as part of their daily writing? Nobody.

So while writing short fiction and novels, I continue to do my research and recently stumbled onto the Make Comics Podcast.  The format is pretty simple. Each episode, Joey Groah posed a comics-making question, sometimes his own, but more often from the mail bag of listeners. Then, Andy Schmidt, former Marvel and IDW editor, answers. Sometimes they switch it up with special guests.

Now, this isn’t 100% altruistic on their part. They’re obviously promoting classes on making comics for the Comics Experience company. That’s cool though. Power to them. If I was just starting my writing career, it’s just the sort of thing I would have loved to have taken. But with that very minor caveat, these guys are giving out amazing stuff, and needless to say, I listened to a bunch on my commute and took notes.

There’s way too much good stuff in there for me to talk about all of it, so I’ll mention a few high points.

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Comic Fandom Coolness: The Women of Marvel Podcast

Comic Fandom Coolness: The Women of Marvel Podcast

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wom3From 2008 to about 2011, when I was reviewing comics for the most excellent Weekly Comic Book Review.com, I was reading very widely: the big two, Image, some Dark Horse, a lot of Dynamite, with some Avatar and BOOM! scattered in there. I did that because while I was reviewing, I wanted to make sure I had a good grasp of the styles and tones and mandates of as much of the comics field as I could.

A great way to keep on top of meta-developments were podcasts. I listened to the Mighty Marvel Podcast, the Dynamite Podcasts, and many of the DC podcasts. They were a lot of fun, usually filled with fanboy squee, and often sales garnishing, but the sales pitch is hardly unexpected.

After a bit of a hiatus, when I built up more of my own writing career, I decided to come back to both comics and some of their podcasts. I don’t remember how I found out about them four weeks ago (don’t ask me where my brain went), but I’ve been loving the heck out of the Women of Marvel Podcast.

They only started their podcast in June, so it was easy to catch up. I downloaded about twenty, loaded them onto my mobile and started listening to them on my commute. While the sound quality is sometimes so poor that I’m straining to hear, the content is top shelf.

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