#gl with the script op!

[cosmos-dot-semicolon]

?

okay i wanna write a video about ninjago's element system and i know a common criticism is that the system has no rules or there's no patterns to the elements being introduced.

so i want to know when people started to think that the elements being introduced "aren't elements". forgive me if someone has already done this, but i'm curious to know myself.

even if you're a person who's willing to set their disbelief aside for the sake of enjoying the show or if doesn't upset you all that much, when was the moment you went "okay, is that really an element?". it doesn't have to have ruined the show for you, but you at least had the thought or a few questions for the writers.

the final option means that you think every element they've introduced is acceptable, for whatever reason.

here's a list of elements introduced just in case you need a refresh (it's not in chronological order unfortunately)

and i'm asking about the first moment it happened, even if later elements made sense. so if something introduced in s4 was a little too nonsensical, but the stuff in s5 was okay, then vote s4.

and i'm also not considering the difference between elements/essence bc i don't think that's ever addressed in the show. correct me if i'm wrong, though

whether or not elements being similar is a problem to consider (speed/reflex, plants/nature, etc) is up to you

we're probably gonna get more elements going forward and they may be even more crazy, but the poll won't let me make anymore options and i'm script writing now, so i'm not too concerned about it.

and if your answer has nuance or you just have something to say, then feel free to reply/reblog. i wanna know as much as i can about people's opinions for writing this thing. :)

and if there's a massive problem with this poll that i may have missed, then i guess i'll rerun it.

[absolutebl]

This Week in BL

April 2021 Part 1

Being a highly subjective assessment of one tiny corner of the interwebs.

Ongoing Series - Thai

Second Chance Ep 1 - living up to its name since it looks to be a series of redemption arcs. Launched with a college confession and a broken friendship, then a flash back to them as seniors in high school. Pairings include friends to lovers, nerd/jock, and maybe cafe boss/employee. There’s a lot going on, but it’s still... quiet and sweet. The script is pretty pat but it’s still WAY more watchable than Cupid Coach or Brothers and most of the acting is solid. Ep 1 tropes included: he’s in engineering, wound tending, fast & bicurious. This could turn into what I wanted My Gear & Your Gown to be. Fingers crossed. 

Love Poison 2 Ep 1 & 2 turns out I did watch and report on season 1 (8 eps), season 2 seems equally unmemorable. Thai countryside setting, strong dialect, incomprehensible plot, camp side characters, and ghastly singing. 

Y-Destiny Ep 1 (eng subs?) - opened with the sports romance enemies to lovers (they aren’t going in the teaser order). When the couple got over fighting, the flirting was v cute, but the flipping SPONGE BATH trope had to rear its ugly head. Still, this series is shaping up to be less coy and more frank than most BL, better than expected. It feels, I don’t know, gay-er or something?  *** Sources were correct that each couple is getting (at least) 2 eps, and MDL has been updated to say this is a 15 episode series (not 7). 

Cupid Coach 12 fin - The new Nite was great and should have been a main all along. It felt like we got a tiny nugget of what could have been in about 10 minutes worth of this last ep. It was way too slow with terrible editing and a criminally bad script, but at least it ended happy. Mostly, like Friend Forever, I’m just disappointed that these two actors were done dirty by the series. Bad Cupid Coach, no screen caps for you. 

Lovely Writer Ep 6 - breaking news, there’s a het couple I like: toppy bi femme + soft boi = such a good pairing! I know, but this NEVER happens. Meanwhile, Sib’s secret is out, Gene is a bit of a drama queen, and the plot thickens. We half way through.  

Brothers Ep 9 - Kaow had a serious moment of advice giving that was truly lovely. Lots of family dama made this a superior episode to... well... any of the others in this series. Which isn’t saying much. 

1000 Stars Ep 10 fin - at the start this series didn’t grab me the way GMMTV’s last BL, Tonhon Chonlatee, did. But boy did it end 1000x better. Might have given us 2021′s best forehead kiss. I enjoyed the ultra romantic cliff-top reunion kiss, and I LOVED the stinger flirting scene. That was an absolute gift we had no right to expect. This drama is a poster child for finishing on a high note (always focus on that dessert course). Final thoughts? This was FAR more a classic romance than it was BL. There were some BL tropes used but not many and most of them originated in the romance genre not yaoi. A picture perfect ending bumped 1000 Stars much higher up my best-of list than expected. Not sure how often I’ll rewatch it as a whole, but this last episode? I’m probably rewatching it right now. 

Ongoing Series - Not Thai

Dear Uranus (Taiwan GL) Ep 3 fin - I guess that’s it? Okaaaaay  

HIStory 4: Close To You (Taiwan) Ep 3 (AKA Ep 5-6) - we got actual legit gay culture not just BL (always appreciated) from XingSi. I’m starting to find LiCheng’s “show them we fucking” hijinks hilarious rather than annoying (not sure why, maybe I just love a rubber chicken, or maybe it was the STUFFED CORN WITH THE TASSEL that did it). 

-- H4 Moment of RANT --

Tropes included beach trip, there’s only one bed, cook for him, baby is a floppy drunk, carry baby to bed, and.... drunk non-con. Whoopdedoo. Here we go again. Did TharnType teach us NOTHING? (Apparently it taught us if the chemistry is good enough, I have no morals at all.) At least H4 seems to be taking us out of cheese into serious when it comes to assault. Or is it? 

I take back what I said last week about XingSi & YongJie being codependency + salvation trope, that only works if YongJie is the uke. He’s NOT. So we got us an obsessive predatory villain with a possible redemption arc. That’s more common in crime dramas, mafia romance, and epic fantasy than BL. It’s real hard to redeem a sexual predator in a reality-grounded universe like contemporary romance (See Kla in LBC1&2). 

Next week is gonna be a test of the whole damn franchise. Imma remind both me a you that this was ep 3 of 10 so we got a ways to go yet... but ooof, what have we wrought, BL? (I ended up doing a whole post about the stepbrother trope because of this sub plot.) Taiwan is killing me.

-- RANT ended --

Word of Honor (China) Ep 19-21 - over half way point so we got ALL the back story (in a classic 4 act story structure midway reveal). Now we know who WKX really is and his lineage. We also got some cute hugs and hand holds. Moving along at a nice clip despite being 36 eps total. Still gayest thing to come out of we-not-gay China since Advance Bravely. 

Most Peaceful Place (Vietnam) Ep 2 - takes them a while to get eng subs together and ep 2 didn’t drop until late. So I’m putting this in a Thurs time slot going forward. Miscommunication already cleared up and a 2nd couple has been introduced. The pacing on these Vietnamese BLs is always a bit... off. But it’s still better than most of its ilk, enjoyable. I’m thinking it’s a 6 ep arc. 

We Best Love 2 (Taiwan) Ep 5 - after the initial drama DRAMA of ep 2, the current external crisis at work is much quieter, giving this whole season a top heavy feel. Taken along side the first season, I think it’s fitting nicely into a 4 act structure, but that might be my bias. I hope I’m not wrong, we’ll find out next week. Shi De puttering about being domestic with Shu Yi on his back was the best execution of the piggyback trope EVER. Meanwhile, our little D/s side couple of codependency, salvation trope + mental illness is becoming weirdly appealing. I don’t know. H4 done mess with my head. 

Stand Alones 

Absolute BL AKA Zettai BL ni Naru Sekai vs Zettai BL ni Naritakunai Otoko  (Japan) Ep 1-4 mini series. Found subs under A Man Who Defies The World of BL. IT’S HILARIOUS. It’s Japan making fun of us, but also itself for having started this whole BL nonsense - from yaoi roots to present day. It’s parody goddamn gold. Utterly cheeky unto the very last line. We are not worthy. 

Apparently the most powerful tropes of all time are: baby is a floppy drunk and the piggyback fo nobility. Oh and chocolate. {Full review here.} 

Honestly, this show may have been made with only @heretherebedork and I in mind. I don’t know if you’d even understand half of it if you don’t have a history with the manga source genre and an obsessive interest in underlying narrative devices. I haven’t seen much chatter in the blog’o’sphere on this one because, in the end, it’s not a romance at all, it’s social commentary. 

The ending line was a masterclass in lampooning a genre. I’m going to rewatch the whole thing just to catch all the digs I missed first time around. It is a thing of beauty and a joy forever. 

Thank you Japan. I forgive you all your hair-styling sins of the last decade. 

Breaking News 

Spring Line Up:

Scholar Ryu’s Wedding Ceremony AKA Nobleman Ryu’s Wedding (Korean historical BL) April 15th 

Close Friend the series (Thai trailer) April 22. 

2gether the movie (Thai trailer) April 22 to Thai theaters.

Nitiman (Thai) May 7 on One31.

I Told Sunset About You 2 (Thai) May 27 on LineTV

Ossan’s Love (Hong Kong) June to Viu 

Gossip 

Bad Buddies released its first promo op via Arm Share, which means GMMTV is at least *thinking* about filming it. 

Fun behind the scenes gossip sesh with eng subs for Tell the World I Love You (that Perth Bas movie we are maybe getting someday but will likely be sad). 

New Thai BL Bite Me (adapted from novel Grab a Bite) dropped a teaser. It stars Mark Siwat (Kla in LBC) as uke character Ake, a delivery boy with special foodie powers, and chef Eua (seme played by Zung Kidakorn) who discovers him. It’s from the same author as Manner of Death so we might even get some actual plot. Since it’s an established BL actor who I happen LOVE, a known author, and a plot about FOOD, I could not me more excited for this one. 

Next Week Looks Like This:

Some shows may be listed a day later than actual air date for accessibility reasons. Some are dropping multiples at a time but just started so I’m not sure on numbering. 

Upcoming 2021 BL master post here.

Links to watch are provided when possible, ask in a comment if I missed something.

[thegeekerynj]

Green Lantern 80th Anniversary One - Shot

Writers - Various Artists - Various

‘Four legs on a table

Four walls on a house

Four seats in a Mustang GT

The Four Corpsmen’

July 1940, All-American Comics #16. Alan Scott, a young railroad engineer, and lone survivor of a sabotaged train disaster, came into possession of a lantern, fashioned from metal and meteor which gave the lantern an eternally burning green flame. The lantern gave Scott the material, and the knowledge to fashion a ring, which would allow him to channel the power of the lantern for the pursuit of Justice.

Thus, from the mind of Martin Nodell, was born the Saga of the Green Lantern.

Eighty Years, and many, many series later, we have a special edition, capturing some of the greatest writers and artists to ever put pen to paper for this character. In addition, we have some wonderful tributes, some intentional, some not.

Two, both heart wrenching, and extraordinary.

First, a JLA based story, with John Stewart and Shayera / Kendra Hall, which doesn’t sound too exciting, until the reader looks at the credits. The writer on this story is Charlotte Fullerton McDuffie, widow of Dwayne McDuffie, master of the Justice League and Justice League Unlimited cartoon series, having been involved in 69 of the 91 episodes. He also wrote the romance of John Stewart and Shayera... these characters, this setting, and this writer, it was right.

McDuffie and CrissCross, storytellers, very nicely done. This was a fine tribute to a man who loved his craft, and the characters he wrote.

Next, hopefully the last gut wrench for the year. ‘Time Alone’, art by Mike Grell, the man who gave us ‘The Longbow Hunters’, drawing what has been billed as the last story by Denny O’Neil.

*whimper*

A study in change, the story looks at the character of the characters, the Social Justice Hero that Oliver had been, and the dispenser of Violent Justice he had become. Moreso, it looks at the friendship between two men, the trials they have been through, and ultimately, the love they have for each other.

O’Neil’s writing, in 8 pages, said more than some novels I have read. Never one to waste words, each line of script is an arrow to the heart of the issue, and proof that the GL / GA team of the 70’s is as relevant today as it was then.

‘’Things do not change; we change.’ - Henry David Thoreau... Thank you Denny, Godspeed.

OK, back to work...

The rest of the stories were every bit as good as these, in much different ways...

‘Dark Things Cannot Stand The Light’, an Alan Scott story, is the first story in this collection. James Tynion IV and Gary Frank give us a story no one has ever addressed... What happened to the family of the other engineer in that train?

A very nice treatment, full of compassion, and anger, and ultimately justice, and closure.

A future story, after all four of the Lanterns of Sector 2814 are retired, in ‘Four’. The Lanterns meet annually at a bar, to reminisce, and enjoy each others company as only people who have shared life and death activities can. As usual, Guy is late...

Sinestro gets a story, from the point of view of the bearer of the Yellow Lantern, trying to seduce a Green Lantern who is doubting himself near the end of a horrific battle...

Guy Gardner and Kilowog (YAY!) feature in a Black Ops Stealth Rescue mission for two Lanterns, but is there more to this than meets the eye? Why in the Name of all that’s holy would anyone send Gardner on a STEALTH mission... that’s like inviting the herd of cattle to stampede through the crystal warehouse...

Simon Baz, Jessica Cruz, and Kyle Rayner all get feature stories, and of course Hal Jordan gets the lion’s share... after all he IS the Green Lantern of this sector.

To my chagrin, no Ch’p, no G’nort, no Dex-Starr, no Arisia, and surprisingly, no Jo Mullein, considering how great Far Sector has been... no matter.

If those are my only complaints, along with the usual 9.99 COVID Buck price tag, I’m glad I laid down the ten-spot.

This was a good read, and a great place to learn about the many iterations of the GL Corps. Reading this kept a thought running through my head...

“ In Brightest Day, In Blackest night...

I’ll leave the rest to you.

Out of 5 🌶     🌶🌶🌶🌶.5

[ainvestops]

Storing excess seasonal renewable power as hydrogen is economically viable: DNV GL

Kolkata: Excess power generated from renewable sources that are seasonal in nature, stored in the form of hydrogen, derived from breaking water, has the potential to become cost-effective long-term electricity storage system.

This is one of the key findings of DNV GL’s latest research paper ‘The promise of seasonal storage’, which explores the viability of balancing yearly cycles in electricity demand and renewable energy generation with long-term storage technology.

Proportion of electricity demand in total energy demand has been rising, for example through rising numbers of electric vehicles and in buildings, for heating and cooling. This rise in demand is largely being met by variable renewables generation, which increases the need for long-term storage solutions.

Based on a case study modelling electricity generation and demand for 58 different climate years, DNV GL’s researchers gained insight into the need and viability for the use of seasonal storage technology for electricity.

“When assessing the use and business cases for this long-term storage technology, DNV GL’s researchers concluded that the need for additional storage solutions is lower than expected and can be largely covered with available short-term storage technology such as battery storage systems,” it said in a recent report.

The growing number of electric vehicles in transport system will provide most of the needed short-term energy storage to balance renewable energy in the power grid, it inferred.

Rise of synthetic fuels like hydrogen can provide a critical stepping-stone for the use of seasonal storage applications. Synthetic fuels enable CO₂ heavy sectors to be decarbonized by creating hydrogen from low-priced, renewable-generated, electricity, which is then converted into e-fuels like ammonia.

For the use case investigated, the long-term storage of electricity would become economically viable, especially in markets like Germany, where a vast amount of low-carbon electricity will be available in the coming decades, DNV GL said in its report.

The price of seasonal storage, if based on compressed hydrogen, could become cost-competitive with alternative forms of long-term storage such as burning gas due to the growing incentivization of low-carbon technology. This price development is based on the expected increase of the carbon price from $25 to $60 per tonne CO₂ by 2050 in Europe, according to DNV GL’s Energy Transition Outlook report.

“As renewables take a larger share of the energy mix, new issues need to be addressed, such as meeting the increasing demand for electricity even when there is no wind or sun. Our research shows that seasonal storage provides a possible solution to address the problem of long periods without renewable generation, for example in the Northern European winter,” said Lucy Craig, director of technology and innovation at DNV GL Energy. “While the business case for seasonal storage is challenged by the rapid growth of grid-connected battery storage, our research shows that there is an opportunity for new technologies such as green hydrogen and synthetic fuels.”

Seasonal storage is a form of technology that typically charges during over-production of electricity from renewable energy sources during summer and discharges in winter when electricity demand is large and renewable electricity production, specifically solar PV, is low.

Therefore, seasonal storage is a possible solution to decarbonize peak power generation when demand is high and variable renewable energy production is low and to make effective use of excess variable renewable energy when generation exceeds demand, DNV GL has inferred.

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[kukuandkookie]

Psssst if you search “bl ” (recommended with a space after so you don’t get terms like “black” or “blue”) in this document, it will turn up some donghua!! 👍

Based on your tags of series you have watched, my personal recommendations though would be to try Jie Yao, Those Years I Opened a Zoo, even Spirit Pact, and also one of my all time favourites, Beryl and Sapphire.

The fun thing about Beryl and Sapphire is that it’s based on a manhua with stick figures (although they do also have set human designs) that can be put in all kinds of situations, whether it’s a one-off gag one chapter or an overarching narrative that spans multiple chapters. They can even switch genders! And the donghua adapted it accordingly for the first season, even cleverly showing Beryl and Sapphire as actors in the OP.

Like Spirit Pact, it’s an older donghua so it also got away with more explicit gay romance. Both even have scenes where the men kiss. For Beryl and Sapphire specifically, a couple episodes even have a “director’s cut” as well as a “survivor’s cut,” where the former is very gay. 👍

Oh, and the first season is already 72 episodes!!

The later seasons (which came back as a shock to most of us fans because the donghua had been dormant for like 5 years) adapt longer running arcs with coherent narratives that follow through every episode, rather than doing the old shtick of new situations every episode.

Beyond these, while they may not be explicit, because of China’s reliance on queer-coding, you can also enjoy subtle gay ships in donghua.

This can be as canon and intended as the (mostly side) gay ships in No Doubt in Us and White Cat Legend and You Yao; or the queerness of Wo Jia Dashixiong Naozi You Keng (no canonical ship but lots of gay characters); or the relationships that are as up to interpretation as in Link Click and Land of Miracles and Villain Initialization.

Finally, if that kind of subtlety isn’t enough to satiate you, you can also visit the world of manhua, which is a bit less censored than donghua!

I know obviously it’s not animated but it’s still a visual medium that uses sequential storytelling, and some manhua are so pretty it can feel like you’re watching a series anyway (a popular example is Little Mushroom, but even underrated stuff like I Ship My Rival x Me; How’d I Get a Heroine’s Script?; Pixiu’s Eatery, No Way Out; Kiss the Abyss; Don’t Say You Love Me; Rejoice in Your Enemies; I Have to be a Great Villain; Salt Friend; The Trapped Beast; Forced Strategy 100%; any of the 188男团 series; The Guy Inside Me; and many many more are all great reads).

Some of these even have vomics, which are manhua with voice acting (voice comics), and some have a bit of motion or animation! Like Pixiu’s Eatery, Kiss the Abyss, Don’t Say You Love Me, and more… I’ve even subbed bits of it myself here and here, plus trailers here and here. 😆

I have danmei/bl and baihe/gl manhua in my donghua and manhua recs list that I linked above, but I have even more in this additional list made just for danmei/baihe (because some bl tropes make normies uncomfortable lol):

I’d also recommend audio dramas since they feel like enjoying a whole show, although of course they’re harder to navigate if you don’t use Chinese. It’s not impossible though! Google for example can translate the MaoEr FM website pretty well, and MaoEr FM currently accepts both Apple and Google Pay, and some fans will subtitle certain audio dramas.

One of my favourites is 《秉性下等》, which adapts the novel popularly known as Inferior by Nature (it goes officially by The Selfish Gene, which is a bit confusing since the author has another novel fans know by The Selfish Gene lol):

(The second YouTube channel above, BL Galaxy, is actually a great way to discover audio dramas as they upload all the audio drama songs and even vomic ones too. 🫶)

The last option is cdramas, and sure they’re not animated and they’re even more censored, but they’re still bl and you can feel the love on-screen, so if you need even more things to enjoy, I’ll link my list anyway:

And with all those suggestions, I hope that helps tide you over!! ✌️

I miss all the bl donghuas.... Give me something to watch :'(

[spynotebook]

From Ramon Gil:

For decades, writer Elliot S. Maggin and I have had a rather one-sided relationship. Not only was he responsible for most of my childhood reading consumption, Superman comics in the ’70s, but he was also the author of the first two novels I ever read as a kid. Years later, as I was starting out as a comic book illustrator, it turned out that the husband of one of my best friends was acquainted with his cousin-in-law…or something like that. But before introductions could be made, the industry tanked in 1994 and I went into advertising. Twenty-plus years later, I decided to give comics another shot and managed to “Friend” Elliot on Facebook — and now here we are.

Elliot was the definitive Superman writer for over 15 years, pens novels and even ran for political office. My questions for him are endless but I managed to cut it down to a few. Here are his answers:

Ramon Gil: Can you tell us about how you broke into comics? You were 17. What was it like back in the ’70s?

Elliot S. Maggin: I was 19, actually, a junior in college. I had dropped scripts or ideas for scripts on comics editors here and there, but nothing seemed to stick. I had written op-ed pieces that The New York Times wasn’t interested in, but I had written some stuff for a few other newspapers and I had one piece of published fiction — so I knew it was possible. That was what I did when I was 17, got my first prose story published.

I was expecting to follow up college with law school. I had this famous professor send a hot recommendation for me to NYU Law and they’re still waiting for the application. If I decided to go into law now, I don’t suppose that recommendation would hold any water anymore. So in my junior year I was taking an American history class with this guy who actually won a Pulitzer a couple of years later, and this guy was kind of a pompous pedagogic sort. I asked the graduate assistant doing the grading if I could include a comic book script in a term paper on the history of media. He said sure, so I wrote a paper illustrating that comics were a viable political tool, and part of the paper was the script for an original Green Arrow story called “What Can One Man Do?”

I got a B-plus on the damn thing, and I asked the grad assistant why. He said he understood that I was going to illustrate the story too. So I got cranky and sent the thing to Carmine Infantino, who was publisher at DC Comics – National Periodical Publications in those days, actually (it wasn’t just pedagogues who were a little full of themselves in the ’70s, I guess) — and next thing I knew, I had an effusive letter from Julie Schwartz telling me he’d like me to try writing some of his other characters. At Julie’s request, I shortened my Green Arrow script from 20 to 13 pages and he bought it. That’s how it started. I’m told it hasn’t happened that way before or since.

RG: I’ve heard it said that once someone finds a “new way” to break into comics, they quickly shut that way down. So when Julie bought your script, was there any excitement about “breaking in” or did you just take it in stride?

ESM: It was a big deal. I was still an undergraduate living in a dorm, for heaven’s sakes. The sociology and American studies departments were all over it. I was second-ranking guy on the Brandeis campus newspaper editorial board, so I had a reputation as a good writer – although my editor-in-chief at the time, Richie Galant later of Newsday, has a Pulitzer hanging on the wall in his den these days. I think I’ve just got too damn many friends with Pulitzer Prizes for anything short of that to be much of a big deal.

RG: At what point were you freelancing and at what point were you on staff? Can you describe the progression?

ESM: As a writer I was never on staff. It was always month to month, meeting to meeting, for something like 20 years on-and-off. It was a bitch trying to buy a house. I never had, nor was I offered, what they called a “freelance contract,” which seemed like a contradiction in terms anyway. When I was an editor briefly from late 1988 to mid-1990 that was a staff position, but by then I was used to being my own boss. It was kind of a zoo. Nice health care coverage, though.

RG: Was this something you always wanted to do? How did you get into reading comic books?

ESM: I suspect I learned to read through street signs and comic books. I had a barber and a dentist in Brooklyn when I was a kid both of whom had loads and loads of comic books for people waiting to get a haircut or get their teeth drilled. I would pick up a comic book, and distract myself with it through my haircut or my dentist visit and generally they’d tell me to take them home with me. I guess I was about five or six when I realized that if you actually read the panel captions — instead of ignoring them like the introduction to The Scarlet Letter — you found out interesting and somewhat vital information. I didn’t realize Superman and Clark were the same guy, for example, until I found that information in the captions.

I didn’t really see myself writing comics, though, until the writing got lots better. With Denny O’Neil’s Green Lantern/Green Arrow stories 12 or 15 years later, for example, I started noticing that comics scripts could be the source of some really good storytelling. I didn’t so much notice, with those stories, that comics were a thing I might be able to do, but rather something I’d like to be able to do.

RG: At the time, did you feel you had taken the medium as far as it could go or did you feel that there was even more potential in terms of storytelling?

ESM: I certainly never felt I had taken the medium as far as it would go. I hadn’t even taken it as far as I could have pushed it with some lighter oversight. I wanted to get out there and work in other media, certainly, but storytelling in comics is still nowhere near where it could be. I’ve done academic papers on it.

RG: Oh man, I would love to read those papers! You obviously had an affinity for Superman, having penned him for as long as you did. How did you get that plum assignment?

ESM: I swear, it seemed no one but Cary Bates and I really wanted to write Superman stories. The character seemed passé, I think, even to people writing comics for a living. Denny (O’Neil) wrote Superman for more than a year before I showed up, and Len Wein did a bit too. But Denny just never much liked the character. He did some of the best work with the character I had ever seen, but he seemed to think it was just too unrealistic. He wanted grit. He wanted real life. So he decided he’d rather do stories about a bored, pissed-off billionaire who put on a costume and went around beating up bad guys every night. Realistic, he insisted. Go figure. It always seemed to me that a transplanted alien baby with super-powers was much more likely than that.

RG: Speaking of Cary Bates, how on Earth-Prime did he wrangle you into being part of the story in JLA #123-124? As a 9-year old boy, that really confused me as to whether or not superheroes were real! Did you guys fight over who got to be a villain and did Schwartz really call you “Magoon?”

ESM: Okay, Cary and I set a record for writing a full 24-page script on JLA #124. We started from scratch between 10 and 10:30 in the morning and we handed in the finished script as Julie was getting back from lunch at 1:00. And that included an hour-long subway ride. It confused a few of the grownups at the office as to whether or not superheroes were real too. I suspect there are guys still looking for the cosmic treadmill in hidden closets up there. We didn’t take that one seriously at all. It was like the Laffer Curve in economics. It was a joke that everyone else was taking seriously — except after a while even Arthur Laffer started to claim the crazy-ass theory he scribbled on a napkin as a grad student is for real, despite the fact that it’s been proved demonstrably wrong over and over.

Ryan and McConnell and the gang are still trotting it out for every budget debate. Cary and I figured the idea was to go so far over the top writing ourselves into a story that no one would ever do it again. And then — ka-POW! — along comes Grant Morrison making himself pivotal as a god figure in Animal Man and dozens of other people climb aboard over the years. I guess what our story really did was make it safe for writers like Grant to appear intelligent in fiction. Cary won a coin toss so he got to wear a costume and be the villain. And yes, Julie called me “Magoon” every chance he got. He found it amusing, although he was the only one.

RG: Were there any other books or characters you enjoyed working on?

ESM: All of them. I loved Green Arrow, because even with his overarching sense of self-importance I could make the guy funny. I even liked Batman a lot because it seemed to me the plots had to be pretty intricate and once you did the advance work figuring out where everything had to fit they pretty much wrote themselves. I liked writing stories about the girl characters: Supergirl, Bat-Girl, Wonder Woman. Always had a mad crush on Wonder Woman. Still do.

RG: Who doesn’t? I thought Lynda Carter was hot, but Gal Gadot is badass AND smoking! Any thoughts on the new Superman movies?

ESM: Nope. None. ‘Scuse me I’ve got to go write some more notes in my copy of Atlas Shrugged…

RG: Okay…any books or characters that you didn’t get to write that you wish you had? If so, why those?

ESM: Among DC characters, I always wanted to do Green Lantern — and Denny, who was writing GL, was always partial to Green Arrow — but Julie insisted the assignments were more properly placed where he put them. I wrote some for Marvel too over the years, but I always wanted to write Kull the Conqueror and Doctor Strange (LOVE Doctor Strange) but I never got the chance. If there’s anyone paying attention out there who’d like to commission a wild, weird-as-shit Doctor Strange novel, please call. You know where to find me.

RG: Ah yes, Dr. Strange. When I got your two books as a Christmas gift, the third book was a Doctor Strange paperback. Have you seen the movie?

ESM: I thought it was the best movie Marvel has ever released. Just so cool. I’ve been to Kathmandu, too. I think all those scenes were from a part of town called the Durbur District. I bought turmeric from a girl on the street there whose family have been selling spices in that street market for over a thousand years. Maybe sold turmeric to Marco Polo. I think even people who think Logan was the best Marvel movie think Doctor Strange was at least the second best one.

RG: My only problem was that it seemed to have more “martial arts” than “mystic arts”

ESM: Quibble quibble. Doesn’t it qualify as mystic arts if you drop-kick someone into the spirit dimension, no matter how perfect your kicking form is?

RG: In 1978 you came out with Superman: Last Son of Krypton, First in Warner’s New Series of Superman Novels and later on Superman: Miracle Monday. Were the novels your idea that you pushed for or where you tapped?

ESM: It was my idea. I told pretty much everyone I knew that what I wanted to do was write books. When I wrote a film treatment for a Superman movie and first Alfred Bester and then Mario Puzo showed up at the office to talk about writing Superman I decided my treatment and I were in over our head. But I went upstairs to Warner Books and managed to sell my treatment as an outline for a novel. The original plan was for it to come out midway between the releases of the first and second Superman movies to keep excitement up. I understood they were going to publish a novelization of the movie – which my book was decidedly not – but Mario Puzo had snagged the rights to produce a book (my brother tells me that Mario’s son Gene was supposed to write it; turned out they were high school pals) but soon it became clear that the producers’ plan all along was to use Mario’s name to sell the movie and get someone else to write the real script. Mario’s original script – except for the ending – was damn good, by the way, and Mario was pissed. I’ve read that the powers that be just didn’t want to pay the price of a book Mario oversaw, but I don’t think that was the issue. I think he blocked a novelization of the script from happening – so my book, Last Son of Krypton, was released as though it was the same story as the movie. Lots of people were disappointed when they found out it wasn’t, but people read it, and a lot of them liked it. The thing sold off the hook.

RG: “Last Son of Krypton” and “Miracle Monday” were the first novels I ever read as a kid. The depth of detail, the richness of the characters and the integration of historical figures really opened my eyes as to what fiction writing could be. Were these things that you’d been wanting to do for a long time or were these “exercises” that were forced upon you by the medium.

ESM: So I was how you learned what you can do with novels? Hah!

RG: Oh yeah, I think that was the year I wrote a story in class and the principal had to have a talk with my folks about how good it was!

ESM: You must’ve had the same principal I did, the ignoramus.

RG: I grew up in a country where English wasn’t the primary language. Metaphors were a big deal!

ESM: One of the cool things about writing novels is that there isn’t much forced on you by the medium. Structurally, they’re pretty freewheeling, and when literary talent scouts like literary journals and small magazines and look for unknown talent, what they’re often looking for are people who are willing to try new things with the language and the prose. You can write a novel that’s a string of correspondence and responses. You can put a novel into first-, third- or even second-person narrative, or set the tense however you think best tells the story. Generally novels are not at all visual, and you can use that characteristic to withhold information from readers – or characters – until a crucial moment; mystery and thriller writers do that a lot.

I didn’t do much that was innovative in terms of structure or storytelling with those two books, but because I had been working primarily in comics for years when I wrote them – in a medium that depends on artists to convey visual information – I was very spare in my visual descriptions. Instead of describing the way a person looks, I tended to let the character’s actions or manner fill in that information. The process of storytelling in novels, very often, is about choices, about what to hold back. Because of my experience in comics, I think in my novels I have been able to concentrate on metaphor and example when otherwise I might have gone a little overboard trying to make up for the medium’s limitations where that wasn’t really necessary.

RG: Any influences as far as other authors or writing styles?

ESM: Contemporary or modern writers I like are Vonnegut, William Goldman, Orwell, Ellison, Isaac Singer, Asimov and others. Love Bradbury too, but I can’t see that his work was influential in my work, as opposed to stuff I just wanted to read. As far as the people who pretty much invented the medium, I’ve always thought Mark Twain was head-and-shoulders above anyone else. Hemingway is up there and so is Steinbeck. The thing about Steinbeck is you can hear the gravel in his voice through his narrative. I’ve got no idea how he does that. Stephen King (the world’s most under-rated novelist) has this habit of evoking a reader’s proximity by picking metaphors that slide into the narrative subject matter – if he’s talking about food something will be as white as cream cheese; if he’s talking about mortal danger the same thing will be as white as a corpse’s eyelids. Steinbeck didn’t do that; someday maybe I’ll study Winter of Our Discontent and Grapes of Wrath enough to figure out how he does it.

RG: What kind of reaction did you get from comic readers and the industry in general when these were released?

ESM: Seriously, I don’t think I met anyone who read Last Son of Krypton until eight or ten years after I wrote it. I always had this fantasy of seeing all these secretaries in the subway who crowded on the train in Jackson Heights sitting in a row across from me all buried in copies of my book. Never happened. I know for a fact that no one (NO ONE!) at DC read the first book before it came out because the business about the stolen Xerox copiers – the reason the Xerox book club ordered 50-thousand copies – would never have made it into the final manuscript. They were so paranoid up there that you couldn’t mention any commercial product or property, even if it was arguably to that product’s benefit. Sometime in the late Eighties I got a call from Mark Waid who wanted to talk about the books. Mark was writing for fan publications back then and he treated me to a really good lunch at a Chinese restaurant for which I’ll be eternally grateful.

RG: I owe you lunch at a Chinese restaurant then.

ESM: I did get some terrific fan mail through Warner Books on both novels, and Last Son sold something like 450-thousand copies to someone or other, so I guess the response of the world in general was lots more significant than that of the industry.

RG: Was there any desire or attempts to do novelizations of other DC characters?

ESM: I don’t know. I wasn’t in that loop, and no one asked me to do any more books like that until I did the Kingdom Come novel fifteen years later. Paul Levitz slipped me a script for Superman III, wondering if I’d like to do an actual novelization. When I read it I didn’t even want to go see the movie (and I haven’t). By the time I got involved with Kingdom Come, people were adapting comics series into novels pretty routinely, and DC, Marvel and Dark Horse had developed a set of contractual standards for novel adaptations that were far more restrictive than those I had negotiated earlier. Around the time I wrote my Superman books Len Wein and Marv Wolfman wrote a Spider-Man novel together that was pretty good, but there was not much else as far as I can recall.

RG: Up until the 70s and early 80s, comic books were being written mostly for kids and teens. And for decades, most of these readers would just outgrow comics. But then in the 90s the stories became more serious, more complex, sometimes darker. You could say they “matured.” Can you share your thoughts on this trend in the comic industry and how you took part, if at all?

ESM: Julie Schwartz used to tell me that his old buddy who preceded him as Superman editor, Mort Weisinger, always said that he was doing fairy tales for children. “Once upon a time in the offices of the Daily Planet …” If in Julie’s judgment the kid audience couldn’t really grok a story I’d have to come up with something else altogether. But then again, my first Superman story, “Must There Be a Superman?” was about space opera and bad guys and distinctive visuals, but what it was really about was the sociological implications of having an omnipotent being around to bail us out of disasters. I think kids can understand all that stuff. The trick is making it simple enough for editors to understand too.

RG: Are you reading comics now? Any favourites?

ESM: I’m not really. I read The March trilogy by Lewis, Aydin and Powell not long ago. Thought that was terrific stuff.

RG: You eventually left monthly comics. Would you mind telling us about that and what it was like to move to a new career/industry?

ESM: Comics was never really what I wanted to do forever. But writing was. At one time, law and politics were my real long-term interests, but it occurred to me I wasn’t really much good at either. Right now, I spend most of my time working with a big string of hospitals teaching doctors and nurses how to use their software. A doctor said the other day that my job is basically my hobby. I said yeah, pretty much, but what the job is really about is a scheme to get my kids through college. Now they’re both grown and suitably degreed and my daughter told me a few years ago I was allowed to go out and play now – which I’ve been doing more and more the past few years. I think what I’d like to do for a career when I leave my current job is collect third-world countries and off-the-beaten-path experiences.

RG: The road less traveled! So getting back to Kingdom Come. How did your involvement come about?

ESM: So Mark calls me up and says he wants me to do a novel based on Kingdom Come and have I seen the comics series. I hadn’t, but how would I feel about doing the book. I said I really didn’t want to do it. I had just written a book based on a comics series and it wasn’t so much fun. Mark said he’d send me what he had so far: two published issues of Kingdom Come, lettered pencils of a third one and the script of the fourth. I said I always liked his sensibilities about this stuff, but unless DC was going to offer me the same deal they’d given me years earlier for Miracle Monday I didn’t see how I could do it. So he sent me the stuff, I read it, and when I got to the end of the script of the last book I saw he dedicated the damn thing to me. So I called him back and said he’d put me in a lousy bargaining position by doing that. Now I had to write it.

They have a really horrendous licensing agreement with novels now; nothing like what I had negotiated years earlier for Miracle Monday, and they are pretty rigid about it. So I told them I’d go along with their appalling royalty arrangement if at long last they’d reprint Last Son and Miracle Monday. They said sure, yeah, whatever, but that was a separate negotiation and we’d have to do it after we nailed down Kingdom Come. So I wrote Kingdom Come and after that no one was interested in talking any more about what else I wanted to publish.

Negotiate first and do the work later. Live and learn.

RG: What about Generation X? I think that was your first Marvel novel, can you tell us a little about that?

ESM: It was my only Marvel novel. I did it because Scott Lobdell is a friend and I wanted to get my feet wet doing novels again. It got cut up to fit the word count they wanted so I didn’t think it made as much narrative sense as I liked, but I did a comic book adaptation of it later (Does that qualify as a graphic novel?) that was a bunch of fun. I decided probably it was time I stopped looking to do licensed material and do my own. So besides exercising my reprint agreement on Miracle Monday, that’s what I’m doing now.

RG: From the 90s to the early 2000s, you also worked on a few films. I’d love to hear more about some of them. Were these your own projects or where you brought in primarily to write?

ESM: Nothing ever got out the door, but that’s generally the way it works. I did a script called Junior Sheriff based on an idea from a producer who never got the script into production. I did a couple of scripts for films based on Norse mythology – one on spec and the other on assignment. I spent years doing film and television scripts on spec or for early stages of projects that didn’t go the distance. I found I wasn’t writing for an audience so much as I was selling options. You can make a pretty good living that way, but you might as well be working on Wall Street. I always said I’d rather be read than paid, and I would. So now every minute I can, I sit in a room and make shit up. That’s what I love to do. I got an ebook out on Amazon last year called Not My Closet – all original stuff and very rarely does any character fly under his own power or wear Spandex. I’m currently working on getting a print version out.

RG: Ha ha! I love that! “said I’d rather be read than paid.” I’d use it as a pull-quote but future publishers might use it against you when negotiating.

ESM: Hey be my guest. Please. Listen: anytime anyone negotiates his way out of a work-for-hire contract an angel gets his wings.

RG: Did you ever direct or have any desire to?

ESM: Nope. Never got that bug.

RG: Let’s talk more about “Not My Closet.” was this a book you’d been wanting to tell for a long time? What was your personal stake in this story?

ESM: It’s a story for which I put aside some other projects and to which I’ve since gone back. It was one of the more difficult things I’ve ever written, and my first book about apparently real people. Some of it is based on real stuff from my life, most of it is made-up. The version out there is my fifth draft. I mean like a full-blown novel written five times. I never took more than four months to write anything before – a book, a story, a script, anything – and this took more like five or six years. Really. Putting it out there taught me one important thing: it seems I don’t know a damn thing about marketing. I’m working on that. Thanks for asking.

RG: That’s ok. I’ve spent the last 20 years in advertising and I’m still having a hell of a time marketing my own work.

ESM: Let me know if you come up with any good tricks. Like maybe making people believe a book is a movie tie-in when it isn’t. Stuff like that.

RG: Brilliant move on your part. Not sure if you could do it twice, though! So now we have this reissue and audio book of Miracle Monday. Why that instead of Last Son of Krypton which came out first?

ESM: Contractual reasons. I put a clause in the original Miracle Monday contract that provides for reissuing the book if it’s been out of print for five years. It’s been about 35. The journalist A.J. Liebling used to say “Freedom of the press is guaranteed only to those who own one.” It occurred to me that now that we live in the twenty-first century we all pretty much own one. So I put together a publishing corporation, applied some of my programming skills and got the book out the door. As I write this, the audiobook is unfinished – mostly because I’ve been nursing a virus for the past few weeks and my voice hasn’t been up to completing the last two chapters of Miracle Monday. I’m doing the reading myself not because I’m too cheap to hire an actor – which I guess I am too – but because I want there to be no doubt as to where Metropolis is. You’ll be able to hear it in my voice.

We’ll get working on Last Son of Krypton when we see how this shakes down.

RG: I hope so. Last Son is actually my favorite of the two. I mean Einstein!

ESM: I like Einstein. He’s in Not My Closet too.

RG: You’ve always been a very active in politics. You even ran for office at one point. Has there ever been a desire to write political fiction? Inject your own views heavily into your comics or novels?

ESM: I think when I was interviewing for colleges – when I was 16 or 17 – I really wanted to write that stuff and I told interviewers so. They always wanted to know about what I was reading, and my recreational reading at the time was pretty eclectic. So I’d talk about Fletcher Knebel or Irving Wallace and then I’d bring up McLuhan or Orwell or Huxley, who were all fascinating to me. My interviewers seemed much more interested in talking about the latter. I still like stories about political intrigue, and I’m doing a trilogy of those types of novels now, but they also involve time travel so I don’t know what kind of category they’d fit into.

RG: I love writing about the political aspect of stories! What’s NotFakeNews.org?

ESM: NotFakeNews.org is a website I came up with one weekend afternoon when I was sitting in Starbucks writing and a couple of friends showed up and I insisted they hang around and rescue me from being productive. It was when Donald Trump was president-elect, I think, and somebody – maybe I did – said we should publish material that was specifically labeled “Not Fake News.” We thought this was uproariously funny, and before the afternoon was over we set up both a website at NotFakeNews.org and a Facebook page of the same name. Whenever I come across an article somewhere that ought to be made up stuff but isn’t – scientists stashing climate data on a Canadian server so it can’t be trashed by the climate-deniers who run the EPA at the moment; speculations about the eleven-dimensional universe and the nature of reality; a lot of the stuff Matt Taibbi writes for Rolling Stone; like that – I try to upload it and cite its source.. Not many people have noticed it, as far as I can tell, but it’s a lot of fun. I’m especially proud of the way I set it up to display in four columns feeding from a database. I’m a programming geek; wrote the interface mostly in ColdFusion.

RG: I think you just need to add some social media links so people can “share” the site. What were some of the hurdles (political, logistical, legal) you had to deal with in getting Miracle Monday out again?

ESM: It helps to know how to program. It also helps to have a good lawyer. Hi Phil.

RG: It just occurred to me…what did you write the Superman novels on? A word processor? Did you have to have Miracle Monday transcribed for the ebook?

ESM: I wrote those two novels on a manual Olympia typewriter. It used to follow me around wherever I went. I had some transcribing help this time around.

RG: Was there any temptation to tweak or rewrite?

ESM: No rewriting, and I managed to keep any tweaking to a minimum – mostly grammar and usage. The story is kind of suspended in time with Eighties expressions and cultural references, and I like it that way.

RG: So what’s next for Elliot S. Maggin? Any thoughts to going back to doing monthly books? You mentioned you want to do creator-owned.

ESM: Times have changed since the last quarter of the last century and so have I. Owning your own stuff and getting it out in the wind is much more possible than it was a thousand years ago. Again, I’m trying to learn something about marketing. Turns out that’s a real discipline a guy needs to master. Who knew?

RG: Do you have a preference between prose and comics? What would you say the appeal is for each medium?

ESM: I like prose a bit more these days, only because the product is something that comes from just me. No collaborators necessary. But comics are the people’s medium. I think any given comic book we produce today has a better shot at immortality than any given chunk of prose, all things being equal.

RG: If you could do whatever you want, what would be your ultimate dream project?

ESM: At the moment, it’s my political time travel trilogy. To make it my dream project I think I want to get on a train in St Petersburg and take my laptop on the Trans-Siberian Railroad, write like a demon, watch the snow settle on the steppes and drink vodka with leggy Russian babes all the way to Beijing.

Ramon Gil is a comic book writer and the creator of The Hard Code, The Men from DARPA and Senturies, now on Kickstarter.

A Conversation With Elliot S. Maggin: “Anytime Anyone Negotiates His Way Out Of A Work-For-Hire Contract, An Angel Gets His Wings”