Month: April 2024

While people continue to order their copy of THE LARA-SU CHRONICLES: BEGINNINGS, I thought I’d take the time to talk about elements of the story and characters in anticipation of a number of questions I can see heading my way.

There’s a reason I collected the entire run of MOBIUS: 25 YEARS CHAPTERS prior to the presentation of the new material, and that was to definitively establish that the characters and story that follow M25YL is a direct continuation of the story and characters the readers have followed and enjoyed since it was originally published.

As SEGA has never established a definitive Sonic the Hedgehog mythos or narrative in a manner similar to what others have done with their characters, it’s not my intent to establish my version takes precedence over any other. Rather, I make it clear the stories I wrote took place in their own corner that broke away from the set timeline due to events. Where that breakaway occurred is up to individual readers, but with the concept of the multi-verse established to the general public, I believe readers can accept that Sonic’s adventures in the Archie Comics taking place after mine occurred on an alternate timeline as does the IDW series. That applies to the video games, animated series, films, etc. People follow what they will follow. As far as I’m concerned, every version is canon to the fans that love a particular version.

If anyone asks where any other version fits in with mine, I have no answers other than the continuity is whatever I establish in the stories I worked on. That’s why the characters Athair or Dr Finetivus are no longer part of the narrative as they were the creations of writers Michael Gallagher and Karl Bollers. They exist on Mobius-212.

As for the cast of characters readers have come to know in my stories over the years, there’s no set timeline for everyone’s return, as the needs of the story comes first. Lara-Su, Julie-Su, Lien-Da, Geoffrey St John, Director Remington, Salma and Cobar are already established among those making an early entrance, as have Sabre, Thunderhawk and Spectre. All I can say is other characters will be joining the cast at some point dependent upon the needs of the story at any given time.

With regards to the characters of K’Nox and Artemis, they are replacements for established characters I have no right to include in any new narrative, but their appearance is very much explained in a manner of speaking during the story’s narrative.

The new characters – Commander Mykhal Taelor, Dr Zephur, Ensign Brownie and Xero – exist because, once again, the needs of the story dictate it. Existing characters would be out of place in the roles these new characters play.

Regarding the story itself, I had to make a decision regarding the audience I’m aiming for beyond the core group of readers who enjoyed the stories leading up to events in THE LARA-SU CHRONICLES. To continue as if Archie Comics were publishing this project would be dishonest, not to mention creatively stifling. If anything can easily sum up my approach, it would be this label:

Ever since I first started working on SONIC THE HEDGEHOG for Archie Comics, I’ve been observant of younger fans, especially since Bernie and I raised 3 of our own. It was because I encountered a number of young readers at conventions who came from broken homes that prompted me to establish the character of Knuckles had parents who opted for divorce. Kids are exposed to a lot growing up, and while kid-friendly material has it place, I decided a story whose central characters were teens and grown-ups should reflect that reality.

As Lara-Su relives her life’s experiences, when it came to depicting her birth, I choose the moment where Julie-Su is breastfeeding Lara-Su as she discusses naming Lara-Su with K’Nox. It felt honest and right. I had never before depicted such an event in any previous story so I knew it had to be handled with great sensitivity and beauty.

The needs of the story would require similar decisions as work progressed on each page. I was depicting a society whose standards are not necessarily our own. For one thing, Echyd’nyas don’t share our hang-ups on a number of issues. They aren’t going to fight over whether an internal combustion engine vehicle or a battery-driven one is better. They’re a more enlightened species that make choices benefiting society in general. That’s why they also don’t share our prejudices when it comes to racial and LGBTQ+ issues.

In my approach to the storytelling, I decided there’s no need to preach why I made the choices I did. This is their world as it exists. It’s not for me to judge. If someone doesn’t like how I depict that world and the actions of the characters on the basis that it’s not what would’ve been allowed in an Archie Comic (or IDW), they need to keep in mind THE LARA-SU CHRONICLES is NOT either.

I no longer view concepts as the Dark Legion now renamed Cyberdark Dominion as the bad guys or the Brotherhood of the Guardians as the good guys. Or, to put it simply, the world isn’t binary. There are many shades to a character and their choices.

In many ways, the story is a survival guide for my grandchildren growing up in a world they never made, much like Lara-Su and her friends are experiencing. And that was an approach I could live with.

People are welcome to comment. Thanks and take care.

While THE LARA-SU CHRONICLES: BEGINNINGS is on the presses, I’m currently bouncing back and forth on a number of projects requiring my attention, such as redesigning my display banner for upcoming comic conventions I’ll be attending later this year and early next.

Above is my initial rough sketch that will eventually be rendered in full color. Typically, I always start with a rough doodle of an image before building it up into something more complete and substantial. Once I’m happy with the basic drawing, I skip what would be called the inking stage and go straight to color.

Beyond this, I’m working on a commissioned piece I had committed to only to set it aside for the past several months so I could complete the remaining art required to finish BEGINNINGS. I’m also working on revisiting the art completed for the book and now making the necessary adjustments needed for the Lara-Su app.

At some point by late May/early June, I envision beginning work on THE KNUCKLES OMNIBUS as well as the next section of the SHATTERED TOMORROWS storyline.

By late June/early July, the printed copies of THE LARA-SU CHRONICLES: BEGINNINGS will have arrived, allowing me to fill all the pre-orders received by that point and get ready for the San Diego Comic-Con.

Speaking of which, I’m currently putting together a Special Lara-Su Beginnings package deal which I will be selling at the convention for $50. Details will be revealed once everything is decided. Anyone pre-ordering a copy prior to the convention and planning to attend can notify me by email prior to the convention so I have their already-promised items ready for pick-up at my table in Artists Alley. The reason I’m doing this is that the costs of attending a convention has risen dramatically for creators as most – like myself – don’t have the benefit of a company picking up the tab. The convention package will be different from the pre-order package, and I haven’t decided if I will make that available online during or after the convention. I’m more inclined to not go online with it so as to make the convention experience different from the pre-order offer, due mainly to the fact most people attending will be searching for convention exclusives.

I’m also planning which conventions I will be heading out to in order to promote the release of BEGINNINGS. I’m currently awaiting confirmations as to which ones I have table space at before making a formal announcement.

That’s the latest on my end. Keep checking back for further updates. Thanks and take care in the meantime.

As one of television’s most famous anti-heroes, Don Draper, told his protege Peggy Moss, in one of the most classic lines ever spoken, “That’s what the money is for!” She had been asking for credit for work she had done on a commercial that she regarded as a great example of what she was capable of. Don’s response was straight and to the point.

But it’s one a great majority of creators typically don’t get or fight for.

In an article recently posted on BleedingCool.com dated 4/12/2024 titled Tom King Accused Of “Lazy” Scripting For Mitch Gerads, a number of creators expressed their opinion that the artist venting his opinion of Tom’s script and working using the “Marvel method” was way off-base and didn’t understand what he was talking about, stating how many artists prefer working with a bare-bones script so they had the “freedom” to interpret the script how they pleased.

You know what none of them said or admitted, not even writer Fabian NIcieza when I broached the subject with him? That by working with a barebones plot line, artists were contributing significantly to the story in a manner that warranted their credit as a co-writer deserving of being paid as a co-writer. Not one. Fabian admitted in his response to me that using the Marvel method in the 60s was to writer’s benefit at the expense of the artists then, but failed or ignored how it was applicable to creating comics today.

Speaking from the perspective of one who has submitted vouchers to Marvel, DC & Archie as a writer, artist & writer/artist,  I speak from experience when I state that unless a writer submits a full script for the artist to work from, and by that only providing an artist a plot to work from, then the artist is due not only a co-writer credit, but also a share of the money allocated for scripting of a particular story.

I don’t want to hear the line “artists prefer to have the freedom of interpreting the script” while ignoring the subject of fair compensation. Artists need to quit being doormats and insist on the full script. If they’re great storytellers, there’s room for interpretations in pacing and visually expressing what they want on the page. I should know. I’ve done it myself numerous times, even working in establishing shots when one isn’t even described on a page of script even though one is obviously required.

When I started submitting my work to Archie Comics, I was told my scripts needed to be formatted in a page/panel breakdown, showing the placement of every panel, every word balloon, sound effect and character placement on the page.

When I asked for payment for my layouts, something I received from DC and other companies, I was told this was the requirement for writers working at Archie. It didn’t sit well with me, but I worked to change the system. Eventually, I was able to submit full scripts in text only. And if I contributed just a plot, I was paid for that while the writer who wrote the dialogue and captions was paid for their contributions.

Years later, when I submitted my applications for the copyrights to the stories I worked on, it was fortunate I still had examples of those script page layouts. According to the US Copyright Office, I was able to claim co-author credit to the finished art as it was clear by the examples I submitted that the finished work the artists turned in was most certainly based on the pages I submitted.

For the record which is somewhat related, anyone arguing an editor deserves co-creator status as Roy Thomas is over the character Wolverine is ignoring the fact that telling someone what the character should be or named would not qualify for co-creator status according to the standards of the US Copyright Office. They don’t recognize ideas. They only accept and register finished works. Thus, Roy is not entitled to compensation just for stating a character should be named Wolverine.

Given the uproar that occurred not too long ago over the working conditions of today’s comics creators, you’d think that someone would be standing up for their rights to fair compensation, but that’s not happening for a variety of reasons.

To put it bluntly, no one gives anything away without a fight. You’re certainly aren’t going to see most writers stating artists deserve a share of co-creator status or a share of the script money. For their part, most artists aren’t willing to state how much of a story’s success is dependent on their work, concerned they’re upsetting the apple cart and possibly losing work in the process.

Ever since the Marvel artists broke away to form Image Comics, mainstream publishers have been reluctant to promote creators, particularly artists, at the risk of seeing a repeat of creators capitalize on their exposure illustrating a company’s most popular titles.

So when I see a group consisting mainly of writers taking an artist to task about how that artist doesn’t understand how the Marvel method works while stating a writer turning in a bare bones script is due to artist preference, I have to wonder who’s playing who here, because the bottom line when all is said and done is who’s getting paid for what.

This is why I only work on comics I write and draw myself. I don’t have to have arguments over who deserves what % of the credits and money. I’ve been much happier ever since.

The waiting is definitely the hardest part now that the book is completed and I’ve just finished my initial review of the proof pages. Only a couple of minor of corrections need to be made and reviewed for approval, and then the presses begin to roll. We’re on track for the books to ship sometime around early June with arrival on my end by June 30, give or take a day or so and baring any bridge collapsing.

Based on what I’ve seen so far, I’m confident this will be the most definitive version of the M25YL chapters featuring the best printing, with colors more vibrant than was possible in the original comics or even the SONIC SUPER SPECIAL magazine issue that featured all but 2 of the chapters. The new material looks even more amazing with the story moving like gangbusters.

At this time, I’m taking the next few days off to gear up for what’s next, which includes work on the app, illustrating the Lara-Su print that will accompany the pre-orders, laying out the next section of SHATTERED TOMORROWS and beginning to assemble KEN PENDERS’ THE KNUCKLES FILES OMNIBUS VOL. 1.

Right now, I’m still taking pre-orders for THE LARA-SU CHRONICLES: BEGINNINGS up until the finished books arrive. Along with the people who already pre-ordered BEGINNINGS, anyone who pre-orders will be included in the SPECIAL THANKS pages of the print edition of THE LARA-SU CHRONICLES: SHATTERED TOMORROWS, which is at least a year off in the future. All updates concerning this project will be posted here.

I’ll begin taking pre-orders for KEN PENDERS’ THE KNUCKLES FILES OMNIBUS VOL. 1 sometime in the fall, collecting every story featuring Knuckles I worked on up to KNUCKLES THE ECHIDNA issue 16. Everyone who pre-orders BEGINNINGS will also be included in the SPECIAL THANKS pages as well, acknowledging I couldn’t have gotten this far without the support of everyone who aided the cause. I’ll have more details once I actually start assembling the book.

Regarding the app, that may or may not be ready by time the San Diego Comic-Con occurs, as I took a number of short cuts getting the book done at the expense of the app, but not from a lack of effort working to get it done. Anyone interested in helping me out with German, Chinese, Arabic, Japanese and any other languages, please contact me for details. At this time, I have a team assisting me with Spanish, French, Swedish, Polish, Portuguese and Russian. (We may not be doing business with the country, but that doesn’t mean I’m not hearing from Russians elsewhere.)

As for the people inquiring about commissioned art, I’ll have more to say on that soon. Right now, I’m planning out my schedule for the next several weeks.

I’ll also be updating the website including adding more items on the store pages due to popular demand, for which I’m appreciative. The lanyards and the patches are proving to be well received, so much so I’m on the verge of having to re-order more of both. With the T-Shirts, I’m still debating whether to sell out and come out with a new design or re-order more.

Now that the book is done, I won’t go as long without posting an update more frequently. However, if you have a question or two, just send them my way and I’ll do my best to enter. Thanks, everyone, and take care.