The countdown to the best Spider-Man comic stories continues with some classics from his co-creators Steve Ditko and Stan Lee, as well as some modern storylines.
5. “If This Be My Destiny” from Amazing Spider-Man #31-33 (1966-1967)
One thing in the 1960s that set Marvel Comics apart from its Distinguished Competition was that they did multi-part, serialized storylines decades before the “graphic novel” was ever thought of. One of these classic storylines was “If This Be My Destiny,” from artist/plotter Steve Ditko and scripter Stan Lee. Spider-Man is looking for the Master-Planner, who has been stealing various radiation-type devices, while Peter Parker is beginning college, dealing with some relationship issues, and worst of all, the poor health of his Aunt May. The comic’s most iconic moment happens in Amazing Spider-Man #33, where an exhausted Spider-Man is stuck in slowly rising water beneath the wreckage of the Master Planner’s base, and must will himself to dig his way out and get the serum to cure Aunt May, who has radiation in her blood because of a transfusion she got from Peter in an earlier storyline. It’s an image of individual strength and willpower
“If This Be My Destiny” is an excellent story because Steve Ditko skillfully ties together the most pressing issue in Peter Parker’s life (Aunt May’s sickness) with a thrilling tale of supervillains and subterfuge. Ditko puts Spider-Man through the wringer in this comic in an epic “snatch a defeat from the jaws of victory” moment when the Master Planner’s men steal the special ingredient that Spider-Man and Dr. Curt Connors (formerly the Lizard) were going to use to make the cure for Aunt May. This incident causes Ditko to foresee Frank Miller’s Daredevil with a montage of brutal beatdowns, as Spider-Man shakes down every criminal in the city before happening on the Master Planner’s base almost by accident. Ditko’s depiction of a deadly-serious Spider-Man is a little frightening, as he sidelines the clever web tricks for pure strength.
Even though Lee and Ditko have Peter Parker behave dickishly around fellow Empire State University students Harry Osborn, Gwen Stacy, and Flash Thompson because he is so consumed by his concern for both his studies and his sick Aunt May, Amazing Spider-Man #31-33 presents Spider-Man at his most admirable. Spidey pushes through physical pain and utter exhaustion to grab the serum and save his aunt, and Ditko puts his bruises on display when Peter Parker visits May and gets some money from J. Jonah Jameson for getting exclusive pictures of the Master Planner’s real identity as Dr. Octopus. Because he doesn’t want the people he loves to meet a similar fate as Uncle Ben, Spider-Man pushes through pain, ridicule, and makes any sacrifice possible to save them. “If This Be My Destiny” is a shining example of this characteristic in him, and Steve Ditko and Stan Lee weave together Spider-Man’s life in and out of costume to tell a compelling story with real human stakes in the midst of bright costumes and villain lairs.
4. “Kraven’s Last Hunt” from Web of Spider-Man #31-32, Amazing Spider-Man #293-294, Spectacular Spider-Man #131-132 (1987)
Some long-time Spider-fans are definitely going to say that “Kraven’s Last Hunt” is too low on this list. In this six-part crossover from writer J.M. DeMatteis and artist Mike Zeck, Kraven, a leopard skin wearing joke of a jungle-themed supervillain, is re-cast as one of Spider-Man’s greatest foes. He defeats Spider-Man in combat, takes his costume, and buries him alive, then becomes a “superior” Spider-Man, using more brutal methods to keep the streets of New York safe and singlehandedly capturing the cannibal serial killer, Vermin. However, Kraven doesn’t realize that the “man” part is more important than the “spider” part of Spider-Man.
“Kraven’s Last Hunt” is like a poem in comic book form, with recurring images, symbols, and words, as well as repeated allusions to William Blake’s “Tyger, Tyger.” It’s one of the most visually beautiful and terrifying Spider-Man stories, with some gruesome sequences, like when Kraven buries himself and eats spiders so that he can defeat Spider-Man in combat. The comic also shows the limits of dark superheroes, because at the time Spider-Man was wearing his black costume – not the classic reds and blues. Without his relationship with Mary-Jane Watson, the Daily Bugle staff, and his kindness even towards disgusting creatures like Vermin, he would just be a dark vigilante with a spider motif – like Kraven in this series. The power of these relationships to give Spider-Man strength and motivation is captured by Mike Zeck in a splash page where Spider-Man claws out of his grave with the caption “I love you,” as his love for Mary Jane helps him overcome death.
“Kraven’s Last Hunt” is evidence that even the most lightweight villains can be compelling and interesting, as J.M. DeMatteis and Mike Zeck depict Kraven the Hunter as a man of honor and madness, someone who wants to defeat his greatest foe before he dies. He is such a classy fellow that he leaves a “confession” saying that he impersonated Spider-Man in lieu of a suicide note, and realizes that it’s Spider-Man’s humanity and empathy that makes him a great hero, not his powers.
3. Spider-Man Blue #1-6 (2002-2003)
You never forget your first love, and Spider-Man Blue is proof that Peter Parker never forgot his –namely, the blonde, hair tie-wearing Gwen Stacy, who was cruelly killed in “The Night That Gwen Stacy Died.” Writer Jeph Loeb and artist Tim Sale of Batman: The Long Halloween and Superman For All Seasons fame craft a love letter to Silver Age Spider-Man and the stories of Steve Ditko, Stan Lee, and John Romita Sr. in this timeless miniseries. The book uses a clever, emotional framing device of Spider-Man recording his thoughts about Gwen into an old tape recorder, which allows for honesty and perspective as the older Peter looks on his early days as a college student and crime fighter. Most of the book is dedicated to the supreme awkwardness of the love triangle between Peter Parker, Gwen Stacy, and Mary-Jane Watson, who infuses the story with a real energy when she sashays into Spider-Man Blue #2 and immediately calls Peter “my guy.” There is also an overarching plot with a shadowy foe sending various bad guys to fight and test Spider-Man, all in an effort to deduce his secret identity in an homage to the serialized narratives that Lee and Ditko brought to Amazing Spider-Man even in its infancy.
Like all his work, Tim Sale provides some gorgeous full and double-page character-defining spreads, like Gwen and Peter riding a motorcycle together, Spider-Man shaking off a cold to fight two Vultures, and a solemn image of Spidey leaving a rose on the George Washington Bridge in honor of Gwen’s death. He’s an excellent storyteller too, and turns the joke villain – the Vulture – into a creature of the night, as he lurks in the shadows and defeats Spider-Man when he least expects it. Sale also expertly juggles the spindlier, more individualistic art style of Steve Ditko with the confident, romance comic-inspired work of John Romita Sr throughout Spider-Man Blue. His men and women are gorgeous, for the most part, but they are sometimes creepy, like when Harry Osborn starts mentioning his father or hints at his drug problems. Sale’s greatest achievement is creating amazing chemistry between Peter Parker and Gwen Stacy through glances, touches, and eye flutters that culminate in a well-earned and damn sexy kiss on Valentine’s Day. This proves that Spider-Man stories work best as romantic comedies that just happen to feature some punching in the background.
However, for all its heroic flourishes, perfectly-timed Spidey quips from writer Jeph Loeb, and clever action scenes (like when Spider-Man uses a tip from Gwen in science class to take down the formidable Rhino), Spider-Man Blue is a melancholy read. Spider-Man Blue #6 is all about how Spider-Man wishes he spent less time fighting jerks like Kraven the Hunter, and more time talking to, laughing with, and smooching Gwen, especially in light of her untimely passing. The final issue of the series is framed against a house warming party for Peter and Harry Osborn’s apartment, and that is where Spider-Man wishes he was. It looks at the inner conflict between Peter Parker wanting to have a normal existence with a girlfriend/wife and social life, and fighting crime so that no one ends up like his Uncle Ben. Jeph Loeb and Tim Sale definitely fall on the “should have spent more time with his loved ones” side, closing with a scene where Peter Parker and his wife Mary Jane realize how much they miss Gwen. I definitely felt blue after re-reading this great Spider-Man story, and maybe you will too (the caption where he talks about not expecting to bury Gwen before Aunt May is super painful).
2. “Death of Spider-Man” from Ultimate Spider-Man #156-160 (2011)
If Tom Holland ever starts acting like a diva, the suits at Marvel can always wave these comics in his face. But, in all seriousness, “Death of Spider-Man” is the perfect ending to Peter Parker’s 11-year journey in Brian Michael Bendis, Mark Bagley, and some other artists’ run on Ultimate Spider-Man. The story begins when SHIELD is stupid and bureaucratic as usual, and the Green Goblin breaks himself and the Sinister Six out of containment. Dr. Octopus wants to retire and be a scientist, so the Goblin kills him. Over the course of “Death of Spider-Man,” Spider-Man fights the Sinister Six by himself, takes a bullet for Captain America, and gets left to bleed out. In the final battle, he fights and defeats the Green Goblin, who has stolen power from the Human Torch. It is an unrelenting series of battles, and inker Andy Lanning cleans up Bagley’s pencils, showing how much Peter means to his friends and family. He isn’t the only hero in this story, with Aunt May shooting Electro, and Mary-Jane running over the Green Goblin with a van she stole.
The Ultimate Universe (the alternate universe where these stories took place) was a bleak place, with a racist, jingoist Captain America, an Iron Man who was constantly drunk and recorded a sex tape with Black Widow, a Wolverine who liked 18-year-old girls, and much more. Spider-Man was much too good for it, and gets badly hurt when he accidentally ends up in the middle of a firefight between the Ultimates (this universe’s Avengers) and Nick Fury’s black ops team. Instead of taking him to a hospital or somewhere to patch him up, Captain America and company continue to fight a futile battle, and Spider-Man uses his webbing to keeps his organs in. This is especially ridiculous, as Cap told Spider-Man that he had doubts about him going into action right before he got the call to fight Fury’s team. Bagley’s battle scenes aren’t fluid and stylish, but full of pain and punishment as Spider-Man absorbs hit after hit without getting any kind of medical attention.
“The Death of Spider-Man” ties up Spider-Man’s arc neatly and tragically as he dies at the hands of the man who genetically engineered the spiders that give him his wonderful abilities. He also sacrifices himself so that Aunt May, Gwen Stacy, and his superhero roommates, Human Torch and Iceman, don’t suffer the same fate as Uncle Ben. Forgotten by the adult heroes who were supposed to train him, and pursued by raving psychopaths, Spider-Man becomes the ultimate superhero, never giving up even if that means his life. His sacrifice inspires the young African-American/Latino teenager Miles Morales to become a new Spider-Man, and Miles currently stars in the comic simply titled Spider-Man, which is still written by Brian Michael Bendis.
1. Amazing Fantasy #15 (1962)
In the final issue of a struggling anthology comic previously called Amazing Adult Fantasy, a pop culture icon was born thanks to Steve Ditko and Stan Lee. The original incarnation of Spider-Man was truly more spider than man, with pages of him leaping and crawling over rooftops while frightening passer-bys instead of his smooth swings through New York. The plot of this comic is known to anyone who has seen Spider-Man, Amazing Spider-Man, or any of the various films. A nerd goes to a science exhibition, gets special abilities from a radioactive spider, finds fortune and fame on TV with his powers, lets a robber go one day, his uncle is murdered, and his killer is later revealed to be the same burglar. With great powers come great responsibility, and there’s an origin story for you.
Except for his depressing origin and loving relationship with his Aunt May and Uncle Ben, Stan Lee and Steve Ditko’s original Spider-Man/Peter Parker isn’t a likable fellow. He’s always telling people about his scientific knowledge, and brags to himself when he creates his own web fluid to swing from walls. In one thought bubble, he even says that he doesn’t care for any humans other than Aunt May and Uncle Ben, and Peter wears that glasses-at-the-end-of-his-nose-perpetual-scowl-face that Steve Ditko would return to throughout his career.
However, Amazing Fantasy #15 is an innovative superhero origin story, as it is one of the first to feature a solo teen superhero, someone who wasn’t a sidekick of an adult hero (Human Torch was a member of the Fantastic Four at the time). It also has an arc to it, as Peter Parker must learn to be a hero after his uncle’s death, beginning as a selfish daredevil and ending with vowing to be more responsible with his great powers. Like most of us, Spider-Man doesn’t immediately stop purse snatchers after getting superpowers, and uses his superpowers for his own gain until a personal tragedy forces him to change his ways.
A Cataclysmic Event: ‘No Man’s Land’ is The Double-Edged Sword of The Batman Mythos
Just like the story of the fictional Gotham City, No Man’s Land has always felt cut off from the rest of the Batman fandom…
Over 20 Years After Gotham Endured its Most Insufferable Time
Hush, Knightfall, The Killing Joke, Year One, The Long Halloween, and The Dark Knight Returns. Whenever anyone gets into a topic regarding Batman’s history of comics the same titles always get thrown around with unmistakable reasoning. All of these stories are phenomenal chapters of the dark knight’s legacy that fundamentally influenced and reforged the character of Bruce Wayne along with his world of allies and rogues time and time again. They changed the way in which audiences view not only Batman’s mythology but how other comic books unfold overarching plots focusing on both their lineup of complex interpretable heroes and villains.
Batman’s overwhelmingly large critically acclaimed catalog will forever be deemed as must-reads and well-known tales to those who have never even cracked open a comic book, however, there is one anomaly that is well-deserving of a place on the grand pedestal. It oddly never gets the acknowledgment it should have within the conversations of the Batman fandom, but it is still critically important to the caped crusader’s ever-expanding modern mythos.
It is truly ironic that Batman: No Man’s Land is arguably one of the most impactful pieces of media the world’s greatest detective has ever been featured in when accounting for his own history of storytelling. The saga always appears as the comic series that not many people seem to have even partially read, yet its creative influence on comic book culture still lurks from the turn of the century. Just like the story of the fictional Gotham City in the source material comic book, No Man’s Land has always felt cut off from the rest of the Batman fandom despite its neverending appeal to DC’s mainstay creators who forged the modern image of the billionaire who built their house.
With a sparse amount of collected releases and little to no spotlight from its parent company or fandom, Batman: No Man’s Land is arguably one of the most underappreciated stories of Gotham City, yet one of the most impactful.
No Man’s Land is a massive crossover event written by ten different writers through DC’s lineup of late 90s Bat-family comics. This included Detective Comics, Batman, Azreal, Robin, Nightwing, Catwoman, and a few miscellaneous issues from other DC characters. The eighty issue run started in 1998 and ended in the year 2000, however, the series has since been published as seven individual books under the Batman banner being Cataclysm, Road to No Man’s Land Volumes One and Two, and of course No Man’s Land Volumes One through Four.
Without spoilers, the story of Batman: No Man’s Land is focused on a massive self-centered crime war taking place on an isolated Gotham City after the dark knight’s home is struck by multiple natural disasters that cut the central island off from the mainland. Cataclysm is the first chapter in the No Man’s Land saga that depicts the destruction of Gotham by earthquakes. It is arguably the one part of the series that readers can skip as the story is easy to understand without any deep background knowledge of the situation.
The followup chapter Road to No Man’s Land is the real beginning of the consequential aftermath showing how the city fell into chaos as all of Arkham Asylum and Blackgate Prison’s inmates are left free of regulation. Bruce Wayne pleads the government for help but is initially denied any resources as the United States declares Gotham as the first-ever location in the USA to be exempted from their protected territory, leaving the Bat empty-handed and forced to adapt to a new breed of crime-fighting to save his home. While the government threw in the towel on the most crime-infested city in the world, The Gotham City Police Department lead by Commissioner James Gordon attempts to defend its remaining turf as they begin to embrace the unstoppable crisis.
No Man’s Land is the climax, falling action, and resolution of the story arc. It depicts a numerical day count to show how Gotham’s situation has not improved one bit despite the number of months that have passed since the gangs began carving up territory. As the counter slowly rises each issue, the situation further unfolds and resolves through a miracle uncommunicative collaborative effort between the GCPD, abandoned civilians, and the Bat-family.
If this all sounds familiar to you, it likely should. No Man’s Land was the core inspiration for the highest regarded Batman media outside of the comic books- stories that many fans judge the defender of Gotham by today. Batman Arkham City, Gotham, The New 52, and The Dark Knight Rises all borrow several plot elements and character setups from the introduction and rising action volumes of the comic series.
While it did not introduce many new characters the crossover did see the debut of the third Batgirl Cassandra Cain, a new relationship between Harvey Dent and Reena Montoya that would ooze into the first volume of Gotham Central, and most importantly character development for those introduced in the DC Animated Universe that were transitioning into the comics at the time such as the Joker’s sidekick lover Harley Quinn and Lex Luthor’s bodyguard Mercy Graves.
From a cast perspective, No Man’s Land further evolved Batman lore by extensively developing the relationships between specific rivalries and allies- Batman and Gordon most noticeably establish a more so friendly relationship rather than a “just coworkers” status. The core story itself is where the original comics thrive the most due to how it created a manipulative groundwork for other future narratives in the Batman franchise, but it also indisputably began establishing the character interactions we find in the mythos’ modern comics. Perhaps it might have even arguably developed Gotham City into its own character as the location itself draws a deeper persona amidst the chaos at hand during its most desperate hours.
Batman: No Man’s Land turned 20 recently and the only piece of media DC published that somewhat celebrated the original comics was the final season of FOX’s crime drama prequel series Gotham– a setup that was more than likely coincidental as the show’s story had always been building up to becoming a “no man’s land” warzone atmosphere. Gotham seasons four and five adapted several aspects from the books, but as expected the show mostly stuck to its own original plot despite heavily featuring numerous callbacks and references to the source material.
Typically DC usually puts out a new collected edition for an important comic book’s anniversary- if not maybe even a social media post at the very least- but No Man’s Land received surprisingly no recognition at all last year. As mentioned before, the latest release of this series was last published as seven separate volumes in 2011. There is currently no box-set or omnibus available for a reader’s convenience but the older publications are still in print and can be obtained at local comic book shops, online stores that sell graphic novels, or even digitally on DC Universe’s streaming service.
The No Man’s Land saga of the Batman mythos is like a double-edged sword. It is a fan-favorite for some, but an undiscovered gem for the vast majority. It passed by in a long string of storylines, yet its significance still has sunk deep into Bruce Wayne’s world no matter the form it is being adapted into. To the creators behind the scenes who continue to construct new features in the dark knight’s eighty-year legacy, it is a crucial precursor for the work that proceeded it despite the low impact it may have had on those who consumed it. The staggering length and price may push audiences away, but for those interested who have the means of seeing it through, it is well worth reading through the story of a dark island that inspired visionaries like Christopher Nolan and Bruno Heller’s interpretations of Batman’s home turf.
Will No Man’s Land ever resurface in a new compact collected edition? As said for all pieces of unpopular yet desired Batman media, “the world may seem dark…”
‘Read Only Memories’ Comic is Well Worth Reading
Based on the hit game of the same name.
Gritty detective stories set in the future have been a source of great creativity in a variety of media forms since the days of Blade Runner. Read Only Memories, the new title from IDW, is no exception to that. It takes classic tropes of both genres and mixes them with a new style.
Santa Cruz, California. 2067. Lexi Rivers is a private investigator who takes on a case from a newly sapient robot. She’s tough but not in that ubiquitous “badass” way female characters are often slotted into.
From moment one, she is interesting and engaging. Lexi starts by posing as a reporter to interrogate a target. Initially, her goal is to determine if the woman is faithful to her partner or not. It’s a classic detective case.
In many ways, Lexi’s a classic detective. She takes rough, morally questionable jobs to make ends meet. Lexi has feelings for a woman who’s probably too good for her. She sneaks favors from friends to make something out of nothing.
Lexi is a detective through and through.
After leaving one case behind, she encounters Hedy, a robot in search of its missing loved one. The story then deftly carries the reader through different locations and people. This is how the story introduces you to the futuristic world and defines Lexi’s life with as little exposition as possible.
Sina Grace, the writer, is extremely effective at doing just that.
Fortunately, a running internal monologue is a huge part of the detective genre. It gives the storyteller a means to get out important information and key details without seeming out of place. Realistically, Read Only Memories has a lot of details to pick up on in the early going.
It’s a big world filled with numerous moving parts. Thankfully, the story gives you what you need to understand. You’re not confused by what’s going on because some of it’s familiar from other stories. Read Only Memories successfully takes those familiar parts and does something interesting with them.
Realistically, it can be hard to set the tone of a futuristic detective story without feeling derivative. Stefano Simeone, the artist, has chosen a style that conveys the futuristic vibe well.
Quite smartly, Stefano uses a color palette that sets it apart from the standard detective genre but creates a futuristic feel. Mostly, it’s wonderful shades of pink, blue, and purple. The look is unique and fantastic.
Read Only Memories: What’s Next
Remember, this is only the first issue. In the end, it leaves you in that classic detective story moment. You realize that the simple case is a lot more complicated. Issue two should build nicely from there.
Additionally, it’s worth noting that issue one isn’t burdened by gratuitous or unnecessary violence. Lexi does get her clock cleaned by a gang member who doesn’t like her sticking her nose where it doesn’t belong. But that’s it.
Yet another classic detective moment.
There will certainly be more action in future issues but this is a smart way to start. It puts the focus on the narrative and not the violence. If it starts with an action-packed issue, then that is what readers will expect throughout the series.
Reading along as Lexi unravels the mystery presented by Hedy will be amazing. Truthfully, the true test of this story will be in its resolution. Preferably, the journey should be enjoyable but a mystery’s conclusion has to be satisfactory to be worth it.
The rest of the series will be more than worth the read if issue one of Read Only Memories is any indication.
Comics Editor Allison O’Toole Talks Kickstarter for Wayward Kindred
If you enjoyed the Wayward Sisters anthology from TO Comix Press, they have a Kickstarter for its spiritual successor, Wayward Kindred. After holding an open call for submissions earlier this year, Wayward Kindred is pressing forward with its goal to tell a wide range of stories about monsters and families. Previews of the anthology include a cursed skeleton uncle, half-vampire teens, siblings transformed into wolves by their aunt, and sentient insects teaching their language to a human child. It looks like a fascinating mix of different stories and art styles funneled through the captivating vision of monsters.
After editing the award-winning Wayward Sisters, Allison O’Toole is back to edit Wayward Kindred. A freelance comics editor, she’s worked on a growing list of comics, including Jason Loo’s The Pitiful Human-Lizard, Sam Beck’s Verse, and other TO Comix Press publications like volumes of The Toronto Comics Anthology. With a few days left to raise funds, O’Toole was able to speak with Goomba Stomp via email about the Kickstarter for Wayward Kindred and her work in editing comics.
GS: How would you describe your role as a comics editor? Is it a lot of project management and big picture development with some oversight over language?
Allison O’Toole: That does cover a lot of it! The editor has her hands on every stage of the comic, from the pitch all the way to the lettering, so you’re doing the expected editing tasks at each stage—requesting changes for clarity and storytelling, that sort of thing. But you’re also building schedules and chasing after people to get things in on time. Depending on the publisher, you may also be helping out with other administrative tasks and promotion.
Could you talk about your path to becoming a comics editor? What drew you to editing comics versus other career paths with them? (Like writing, drawing, lettering, etc.)
I started out in comics review, and moved into editing when I realized that it combined my creative impulses with my administrative experience. I love to collaborate with creators and to help them create the best comic they can, so editing seemed like the best fit for my interests and skillset!
How did you end up working with TO Comix Press?
When the publisher, Steven Andrews, was looking for assistant editors for Volume 3 of the Toronto Comics Anthology, I was actively looking for more work experience in editing! Part of the mandate at TO Comix Press is to support creators who are early in their careers, so I was able to come on and learn a lot from that experience, so after assistant editing two anthologies, Steven let me lead my own project: Wayward Sisters. It went well, so now we’re working on that project’s spiritual sequel.
Did the idea for Wayward Kindred come directly from Wayward Sisters, like the name suggests? Or did it originate somewhere else, followed by the realization that it could fit with Wayward Sisters?
I love monsters, so it was inevitable that I’d want to do more anthologies about them. I definitely want to suggest a connection between the two books, but they’re very different! The concept for this one came specifically from reading Nagabe’s gorgeous manga, The Girl from the Other Side, which I was reading while working on Sisters, so I decided that it would make a good follow up, rather than doing a traditional sequel.
Could you walk us through the process behind developing an anthology like Wayward Kindred?
Well, to keep it short, once you’ve got an idea, coming up with a budget is the next step—that dictates how many stories and creators you can take on. Then you make a timeline. Even for short comics, we try to allow 2-3 weeks for each stage of the process, so you can build back from your target launch date (for us, the Toronto Comic Arts Festival in May). You then can open up for submissions, decide on the line up that would make the strongest book, and get started! Some folks like to do crowdfunding at the beginning of the process, but we like to get that in once we have some gorgeous art to show off. Once the art is all in and edited, you send the proof to the printer, and then fulfill the Kickstarter!
You can learn more about the TO Comix Press method for running anthologies in the articles at our website.
Did you end up pairing unattached writers and artists for Wayward Kindred, like the submissions page said would happen if you received pitches from incomplete creative teams? If so, how did you approach matching artists to writers?
We always accept unpaired pitches at TO Comix Press! It’s part of helping creators with fewer print credits find a place to get published. We go through all of the artist submissions and try to decide which portfolios would bring out the best in the pitched story. Often that means looking for similar stories in the artist’s portfolio, but this is a sense that comes from experience looking and reading many, many comics. Reading comics is the best way to get started in making them!
What have you enjoyed most about editing Wayward Kindred?
It’s always so exciting to see stories come together, especially after months of working with creators. We’re getting letters in now, and I can imagine how the readers are going to feel when they have the stories in front of them, and that’s always a thrill for me.
TO Comix Press has previously held Kickstarter campaigns for other publishing projects. How do you approach crowdfunding for a publication?
We’ve got an article about this on the TO Comix website as well! We’ve found that Twitter is always a major source of income for our Kickstarters, so we do everything we can to get folks talking about the campaign on Twitter.
What draws you to monsters as characters and a source of storytelling?
I’m interested in monsters’ versatility as metaphor. They can stand in for any taboo you can think of, for any kind of outcast figure, for any kind of cultural anxiety—there are so many rich opportunities for storytelling!
Do you have any favorite monsters? Like werewolves, dragons, etc.?
Werewolves are my favourite, I just think they’re very cool. For more specific monster stories, I love Mary Shelley’s Frankenstein, an early example of a sympathetic monster. I enjoy scary monsters, but I love a sad monster the most—that’s probably part of why I love werewolves, too.
Editing a series has fewer moving parts than an anthology, so I like that. In an anthology, you’re editing many more pages, and wrangling many more creators, which can get a bit chaotic. A series is nice because you have a smaller team (on AFTERLIFT, it’s a team of only 4!), so it’s easier to keep track of. Then again, a series usually has a more rigid release schedule, which adds pressure, so they both have their pros and cons.
Do you have advice for anyone interested in editing comics?
If you want to edit, I’d say the same thing I say to any creators getting their start: networking is key! If you can’t meet people in person, then join Facebook groups, or forums online, find other folks who are hoping to learn as they go alongside you, and your careers can also grow together.
If you’re looking to edit and you don’t have a portfolio with comics experience (or editorial experience in a different medium), publishing reviews on a blog is a great way to show folks that you know and understand comics. You can also show that you can keep things on a schedule if you publish reviews on a regular basis. I got my early editorial experience editing at pop culture websites, which wasn’t exactly the same as editing comics, but got me started on scheduling and keeping on top of writers.
Is there anything else you’d like to say about Wayward Kindred?
I’m so excited about this anthology, and I hope that the readers love it as much as we do!
Thanks again for taking the time to chat. Good luck with Wayward Kindred and your other projects!
Wayward Kindred recently met its Kickstarter goal, but there are a few days left to raise more funds and pre-order a copy. The anthology is available to backers for a minimum of $15 as a digital download. Higher reward tiers include a physical copy and prints.
TO Comix Press advocates for transparency, and they have shared reports explaining how funds were used for a selection of their previous publications: Wayward Sisters, Shout Out, Yonge At Heart, and Toronto Comics: Volume 3.
Wayward Kindred is scheduled for release in May 2020.
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