I’m back! And so is the vastly talented Patrick O’Duffy. And okay, yes I know, this week’s update is a day later than expected, and for that you can blame some feverish work last night on balloon research and some Nicolas Cage-inspired… stuff (it’ll all becomes clear next week, I promise). In this final installment, I dig into Patrick’s back-catalogue of work and bring the conversation around to one of our shared passions… and no, it’s not Rugrats cosplay.
HG: I understand that in your deep, distant past you did extensive work writing role-playing games. I know my way around a handful of odd-shaped dice, and my 20-year-old self would see that as a near-ultimate writing job (my 34-year-old self also sees it as pretty cool too, I should add). Were there particular challenges to writing, and worldbuilding, in a shared universe?
POD: There are definitely challenges to working in a shared world, and the biggest one is probably that you do have to treat it like a ‘world’. I’m not much of a one for worldbuilding; I like just making things up that I think would be fun or interesting and then justifying them later – or not at all. But when you enter a shared creation, like the World of Darkness or Thieves’ World, you don’t have that luxury – you have to answer to a higher authority (the publisher or IP holder) and you have to play nicely with the other writers and creator using the same toys. You do some of that by, you know, swapping emails and asking questions, but you also do it by treating the fictional construct of the setting as more of a real thing – poking at the corners, doing research, working your way back and forth the chains of consequences that attach to your ideas. Worldbuilding becomes more of a necessity, and so writing with others becomes more work than writing by yourself.
That said, it can be rewarding work, because it forces you to think things through and extrapolate, which can be fun and valuable. But I don’t know how much of that I could do for long periods these days. Which bodes ill for my chances of ever being given a major comics property to write, doesn’t it?
Well, that’s an inordinately good segue to my next question. Seeing as you have played with licenced properties before, have you ever had the desire to pitch to one of the majors of comics publishing? You blogged extensively about comics last month over at POD.com, so you’re clearly a fan of the medium.
Oh hell, man, you cannot imagine how much I would love to write me some comics. I think I read my first comic at about age 8 – I’m pretty sure it was about Batman, because what else could explain my lifelong obsession with the character? – and I knew right then that I wanted to write them. Or maybe draw them. Or, I don’t know, spit out the paper to be printed. Anything, as long as I was involved.
So yeah, I’d love to write comics. Any kind of comics. I love superhero fiction to pieces, and I have a bunch of concepts I’d love to pitch to Marvel or DC. But I won’t, or more to the point I can’t, because neither Marvel nor DC accept unsolicited pitches these days. They’re closed shops, and I get why they’re closed shops, given that fans have been submitting pitches since five minutes after Superman hit newsstands in 1939. They just hit a point where they had to stop the flood – and, of course, protect themselves from claims of stealing ideas.
It’s still frustrating, because godDAMN do I have pitches, albeit mostly Marvel ones these days (stupid DC reboot) and mostly ones with incredibly limited sales potential. I mean, I think a series about Spider-villain the Trapster turning state’s evidence and trying to give up the life of crime (and failing) is compelling, but Marvel need to sell that comic to other people as well, and the evidence suggests that most readers do not particularly want that. So my pitches stay in my head, or my hard drive, or occasionally get thrown up on Twitter for laughs, and I just keep on with my own stuff and occasionally cry in the dark while surrounded by Avengers action figures because no-one else understands me.
The alternative is go away from DC/Marvel and hit a smaller company, or indeed strike out on my own. That’s very tempting, and something I’d like to explore one of these days. There’s a real advantage on working on an established character, in that the audience has already done the heavy lifting for you – they’ve already decided to care about the character and their history and context. So comics work outside that umbrella takes more effort, but at the same time is (I imagine) more rewarding and has more potential to tell different kinds of stories. And that’s where you see so many of today’s exciting comics series, like ATOMIC ROBO, CHEW and the jaw-droppingly amazing LOCKE & KEY.
There have been a couple of times over the years that I’ve talked to artists and made vague plans to work together, or at least talk more, that never amounted to anything at all. Mostly that’s been my fault. But I really hope that once I finish the next project, increase my visibility a bit more and get some coherent ideas down, that it might finally be the time when I can hook up with an artist, come up with a script and put together a comic book, whether in print or online.
Huh. I hadn’t actually considered that as a goal until now. And now I can’t get it out of my head. Thanks for that.
Anytime, man. Now, for my final question I’ll ask perhaps one of the most inane questions possible about that medium: are you Marvel or DC? (Or Dark Horse, Image, &c.?)
Which bring us to what may actually be the trickiest question of all. For some historical perspective: if you’d asked this to me as a teenager, I would have said Marvel (with a bit of DC); if you’d asked me as a 20-something, I would have said DC all the way; if you’d asked me in my 30s, I would have been roughly half-and-half Marvel and DC, plus some Image on the side.
These days, I kind of have to say ‘Make Mine Marvel’, like they did back in the 80s, but without the exclamation mark. Part of that is that Marvel are in a creative high point right now and have been for like 6-7 years – not perfect, by any stretch, but constantly putting out some terrific titles. Part of it is that DC, on the other hand, is at perhaps their lowest creative nadir in their 75-year history. They have some good titles, certainly, but the DC reboot, the continual dwindling of Vertigo’s range and experimentation and this whole dreadful ‘Before Watchmen’ bullshit, along with some utter fuckheadery in their editorial and publishing wing, make so much of their output boring at best and unreadable at worst.
But the good news is that there are so many other independent comics and publishers out there right now, both in print and digital formats, that you could read nothing but great comics morning to night and still never crack open a Marvel or DC book. Image are in a place of unbelievable creative strength and diversity right now, for example, and IDW are also publishing some amazing books. There’s never been a better time for comics than right now, there really hasn’t.
Plus, you know, Grant Morrison on Batman. Win-win.
Oh, I’m with you there. Any time I get to see Bruce Wayne team up with El Gaucho, bat-hombre of Argentina, has got to be a victory for popular Western literature.