Paul Kupperberg on October 30th, 2015

A few of the pieces of correspondence I received during my tenure as an editor at DC Comics. Way cooler than an email, right?

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A self-explanatory note from the greatest of the Golden Age Batman artists, gentleman and scholar Dick Sprang.

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Feedback from Captain America and Fighting American creator Joe Simon on my editorial take on the FA miniseries published by DC. Fuckin’ A his French was forgiven!

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While extraordinarily proud of the end result, THE LIFE STORY OF THE FLASH graphic novel I edited in 1996 was one of the worst experiences of my career. Plagued by a 3-months-too-short production schedule, Gil Kane’s illness, and a production manager who was determined to bust my balls on this book (you were and probably still are a despicable dick, Georg), the hardcover went out without all the proper acknowledgements in place; the situation was corrected in the trade paperback. My letter of apology to the family of writer Gardner Fox elicited this very charming response from Fox’s daughter.

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Paul Kupperberg on October 15th, 2015

Books and Comics from Paul Kupperberg and Buffalo Avenue Comics

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Paul Kupperberg on October 13th, 2015

TCA4_coverYou know about Charlton Neo, don’t you? The Charlton Comics Facebook page started by Fester Faceplant that lead to what was supposed to be a one-off “fan” publication The Charlton Arrow, which somehow blossomed into Charlton Neo, the little comic book company with a big heart that I help oversee with pals Roger McKenzie and Mort Todd. In out brief time, we’ve put out four issues of The Charlton Arrow, Charlton Wild Frontier #1, Paul Kupperberg’s Secret Romance #1 (of two, with #2 on the way), Unusual Suspense #1, Ditko’s Weird #1, and launch the Pix-C Web Comics site, current home to nineteen weekly comic strips, with more in the works and on the way!

Oh, and the Charlton Comics panel I hosted at the 2014 Connecticut ComiCONN with guests Denny O’Neil, Jose Luis Garcia-Lopez, Frank McLaughlin, and Bob Layton was the inspiration for the documentary-film-in-progress, Charlton Comics: The Movie (go here to learn all about it, and watch the great trailer–I’m in it!–as well as video of my 2015 Connecticut ComiCONN Charlton panel with special guest Roy Thomas, Mort Todd, TC Ford, and filmmakers Keith Larsen and Jackie Zbuska).

The roster of talent we’ve been able to drag into our sick, corrupt little world…er, that is attract, includes (in alphabetical order, but we love you all!) Jeff Austin, Eduardo Barreto, Howard Bender, Rick Burchett, John Byrne, Jason Caskey, Sandy Carruthers, Chuck Dixon, Mike Collins, Nick Cuti, Jose Delbo, Jean-Emmanuel Dubois, Ron Fortier, P.D. Angel Gabriele, Jose Luis Garcia-Lopez, Kevin S. Halter, Bradley Mason Hamlin, Dean Haspiel, Javier Hernandez, Tim Holtrop, Barbara Kaalberg, Gary Kato, Rob Kelly, Daerick Gross Sr., Pat Kennedy & Tim Kennedy, Batton Lash, Dev Madden, Frank McLaughlin, Cliff Mott, Jack Morelli, Andrew Mitchell, Michael Mitchell, Matt Hansel, Andrew Mitchell, Lou Mougin, David Noe, Pat Redding, Fernando Ruiz, Stephen Skeates, Bob Smith, Jack Snider, Rick Stasi, Joe Staton, Rene King Thompson, Steven Thompson, Ben Torres, Enrique Villagren, Ruben Vera, Neil Vokes, Matt Webb, Mark Wheatley, Larry Wilson…not to mention reprinting classic work by Jim Aparo, Pat Boyette, Steve Ditko, Joe Gill, and Jack Keller…and, of course, the contributions from Editor-In-Chief Mort Todd (in addition to doing all of Charlton Neo’s pre-production work, including lettering and coloring), Managing Editor Roger McKenzie, Assistant Editor Dan Johnson, Proofreader Jennifer King, and little ol’ Executive Editor me.

As for me, I’m knee deep into Charlton Neo. I’ve scripted almost two hundred pages of stories, ranging from superhero to Western to romance and funny animal…which brings us to The Charlton Arrow #4, just out from us good folk at Charlton Neo. It’s chock full of fun features, including my own debut of “Digger” Graves, Paranormal P.I. with the ridiculously talented Andrew Mitchell. Digger is the son of Dr. Graves, a classic Charlton Comics horror comics host and classic practitioner of the supernatural; his boy, Douglas “Digger” Graves is an up-to-date East Village hipster doofus who blends traditional magic with modern technology (“Dude, I’ve got apps to help me do my voodoo!”). Here’s what I wrote about “Digger” on the Charlton Neo blog almost exactly one year ago. (Oh, and since then, Roger McKenzie and Rodney Bennett have managed to come up with a concept for Yellowjacket that works. Watch for it!)

Be Original!

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From The Charlton Arrow #4, “Digger” Graves, Paranormal P.I., page 2 by Andrew Mitchell

I gotta tell you, if I have to read another proposal for a revival of Yellowjacket, I’m going to scream. I mean…he was a hero who kept a bee in his freakin’ belt buckle that he would release to buzz around to befuddle the bad guys.

Look, it’s called the “Golden Age” not because of the overwhelming awesomeness of the majority of comic books published during it, but because like the classical “ages of Man’ from which the term was taken, it was the first period of comic books. Yes, there was some great stuff published during the period (you can argue among yourselves specifically which stuff that is), and it saw the birth of the form and the creation of some its greatest characters and the medium’s visual vocabulary, but most of Golden Age characters and stories pretty lame. The stories were simplistic, even nonsensical, and the art was often as not little better than a step above amateur. For every Spirit by Will Eisner or Plastic Man by Jack Cole, there were scores of Yellowjackets or Madame Fatals.

That’s not to say these lesser creations didn’t have a certain charm and appeal, even if most of them come off as having been created by inserting random nouns in front of “man” or “girl.” I can point to any number of features from that era that I’m really fond of and will happily reread for old time’s sake. But they are products of their time and place and don’t really work outside that historic context. What might have worked for the 8-year old reader or entertainment starved G.I. in 1944 is just plain silly for the (arguably) more sophisticated readers of today.

I walked into Julie Schwartz’s office circa 1983 once to find him shaking his head in disgust over the script he was reading. After first making sure that it wasn’t one of my scripts eliciting this reaction, I asked Julie what was wrong.

“It’s another one of those damned archaeologists,” he growled. (Julie was a world class growler.)

“Archaeolo-whats?”

“One of those writers who are always digging up some fahcocktah old character and bringing them back instead of coming up with something original. And you know what they call me!” he declared.

I sure did: B.O. (Be Original) Schwartz.

While few editors had revived as many characters as Julie had in his career (The Flash, Green Lantern, Atom, Hawkman, to name a few), he would always reinvent them from the ground up instead of settling for a mere resurrection. And his reinventions were done not out of choice but under orders from his corporate bosses. Given his druthers, Julie would rather have created something like Adam Strange from scratch.

I don’t deny that early on, The Charlton Arrow (myself included) had some fun digging up the oldies from Charlton Classic to play with. But as we began evolving from TCA to Neo, we began to shift our focus from the old to the new. Roger McKenzie’s Spookman was already a ground up rebuild. My own Cheyenne Kid, Kid Montana, and Colonel Whiteshroud, Monster Hunter (coming up in TCA #4) stories were originally written for TCA before the Neo line and spin-off titles like Wild Frontier were even a gleam in our eyes. But going forward, neither Roger or I will be bringing back many Classic Charlton characters. We’re going to focus on our own creations, in the spirit of what came before, although not without the occasional nod to what came before (as with my upcoming Charlton Noir series, “Digger” Graves, Paranormal P.I., who is the son of Dr. Graves but as different from his old man as can be)…but leaving the past in the past, where it belongs.

So, do as we do and as B.O. Schwartz–arguably the greatest editor in the history of the medium–recommended: “Be Original.” And please…no more Yellowjacket.

Or Nature Boy either, come to think of it.

+ + + +

And don’t miss these and other fine Charlton Neo titles (click on image to go to the Charlton Neo Order Page) and visit us at CharltonNeo.blogspot.com and on Facebook at Charlton Neo Comics:
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Paul Kupperberg on October 9th, 2015

SGirlspread

From SUPERGIRL #13, including a glimpse of Reactron, who word has it shows up in episode 3 of Supergirl.

With my old gal pal Supergirl headed for primetime on CBS in just a couple of weeks, I thought I’d take a quick look back at my short time writing her daring new adventures. I first picked up the strip from my predecessor Martin Pasko in Superman Family #217 (April 1982, at a time when Linda Danvers was living the life of a soap opera star in New York and the feature was being drawn by Win Mortimer and Vinnie Colletta) and wrote it through the end of that run with #222 (September 1982) and the Julie Schwartz-titled story, “Stop My Life–I Want to Get Out!” Tired of the hassles of hiding her secret identity in such a high profile job and being treated like a mindless commodity by the forces of show biz, Linda quits and sets up the events to come in The Daring New Adventures of Supergirl #1 (November 1982), moving Linda from NY to Chicago and changing her career from TV star to college student, and changing the art team to Carmine Infantino and Bob Oksner.

Supergirl ran twenty-two issues and was supposed to continue on in DC Double Comics, a title to be shared with Superboy (which I was also writing a the time). The scripts for the first two issues were written, and the first stories penciled and lettered (Supergirl now by Eduardo Barreto and Superboy by Infantino), but the project was scrapped when the first stirrings of Crisis on Infinite Earths, which would retcon both characters from the DCU. (In case your curiosity to read those unpublished comic book stories gets to be too much, you can order the aptly titled Unpublished Comic Book Scripts of Paul Kupperberg direct from me and have your very own autographed copy by clicking here.)

If this review by Ken Tucker in the New York Village Voice Literary Supplement from September 1982 is any indication, The Daring New Adventures of Supergirl is more fondly remembered than it had been warmly greeted at the time:

 

“There’s nothing selfish about wanting to get into yourself for a while instead of thinking about the whole blasted world!” Thus speaks Linda Danvers, the shy brunette who metamorphoses into the volup [sic] blonde Supergirl every time someone in her oh-so small town slips on a patch of ice. Of the entire “Superman family,” as DC calls it, Supergirl has always been by far the dullest; writers and artists haven’t known what to do with her for three decades now. As the quote above suggests, the Daring New Adventures of Supergirl consist most daringly of her attempts to get into herself as a person, not a superhero–or, Supergirl goes Mademoiselle.

Must to void: tucked inside Supergirl is a “Special Free Gift to You from the New DC!,” a preview story from the forthcoming comic, Masters of the Universe. The “new DC” bullshit is code for the fact that they’re way behind Marvel in the matter of sword & sorcery schlock, so they hired Curt Swan, the man who made Superman look like a stiff, to drawn some wooden dummies to match the dialogue.*

*Ouch. I also wrote the Masters of the Universe “Special Free Gift.”
Paul Kupperberg on October 5th, 2015

…They just get filed away…

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SECRETS OF THE LEGION OF SUPERHEROES miniseries bumper sticker

Arion

 

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ARION LORD OF ATLANTIS Promotional Handout & Preview spread

 

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JanusDirective2 CHECKMATE/SUICIDE SQUAD “The Janus Directive” Crossover Reading Order Trading Card

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Paul Kupperberg on October 4th, 2015

Frenchy-HighSchoolDropout

By Alan Kupperberg

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Paul Kupperberg on October 1st, 2015

…(And Writers) As Younger Men By Themselves (and Others)

A special Throwback Thursday (#TBT) post, featuring circa 1970 portraits of several artists and writers by themselves or others, culled from the sketchbook collection of my late brother, artist Alan Kupperberg. Enjoy!

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Dick Giordano by Dick Giordano

 

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Larry Lieber by Larry Lieber

 

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Berni Wrightson by Alan Weiss

 

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Tex Blaisdell by Tex Blaisdell

 

Dave Berg by Dave Berg

Dave Berg by Dave Berg

 

Len Wein by Gerry Conway

Len Wein by Gerry Conway

 

Alan Kupperberg by Alan Kupperberg

Alan Kupperberg by Alan Kupperberg

 

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Alan Kupperberg by Wallace Wood

 

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Alan Kupperberg by Wallace Wood

 

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Paul Kupperberg on May 9th, 2015

JSAragnaCOVERSeventy years ago today, the German Third Reich surrendered to the Allies and the war, at least the one that had raged across Europe since 1938, ended. This is my “recreation” of VE Day 1945, excerpted from the unpublished (and likely to remain so) novel JSA: RAGNAROK, written for iBooks. (The JSA, all characters, elements & appropriate images © DC Comics)

Chapter 9/ May, 1945

“…Our rejoicing is sobered and subdued by a supreme consciousness of the terrible price we have paid to rid the world of Hitler and his evil band. Let us not forget, my fellow Americans, the sorrow and heartbreak which today abide in the homes of so many of our neighbors, neighbors whose most priceless possession has been rendered as a sacrifice to redeem our liberty.”

The thin, even mid-western twang of the American president echoed across the urban canyon of Times Square from dozens of radio receivers in the doorways of dozens of storefronts, each understated phrase bringing a new wave of cheers from the gathered throng.

As much as Jay Garrick wanted to practice the restraint that President Truman was calling for in his announcement of Germany’s surrender, he couldn’t help but join the massive crowd of New Yorkers in exuberant celebration. It was more than three years since the Japanese bombing of the naval fleet in Pearl Harbor, Hawaii had drawn the United States into the global conflict of the second world war and, while American troops still battled the Japanese in the hard slog of the Pacific front, the end of war in Europe was a joyous occasion nonetheless.

“…If I could give you a single watchword for the coming months, that word is: work, work, and more work. We must work to finish the war. Our victory is but half-won.”

We’ve worked plenty hard, Jay thought, the handsome young chemist’s face split by the same joyous smile that seemed to have spread like a contagion among the half million people jammed into the Great White Way. America had worked its way out of the worst economic depression in the nation’s history to build a war economy that had supplied the world with the weapons and materiel to win against the great German war machine. She had sacrificed the lives and limbs of a generation to that conflict, a tally counted in the Silver Stars and Purple Hearts in the windows of homes from one end of the country to the other.

“This is a solemn but a glorious hour,” the president had begun his announcement. “I only wish that Franklin D. Roosevelt had lived to witness this day.” In every city, in every town, in every home in America, there was the same wish, both for the president who had shepherded the country through the war, only to die less than a month ago before he could witness the fruits of his Herculean labors, and for the hundreds of thousands of brave young men who had perished on the battlefields of Europe and Africa and who were perishing still in the East.

But for all that, surely the United States could be allowed a pause in its mourning and be allowed to shout itself hoarse for this one glorious moment of victory.

The words had first flashed on the news zipper, the band of electric lights girdling the Times Tower at the crossroads of Seventh Avenue and Broadway where they met at 43rd Street at 9:35 that Tuesday morning. GERMANY SURRENDERS. Just like that. GERMANY SURRENDERS. And the war in Europe was done. It seemed like the whole city spilled out into the streets after that, drawn to Times Square, or further downtown to Herald Square, whatever space was large enough to accommodate the growing throngs. The war was over. Strangers were clasping hands, bending their heads together in prayers of thanks, women and men alike openly weeping. Jay had seen a sailor grab a passing nurse in her crisp white uniform and bend her over backwards in a kiss that was less about passion than unfettered joy.

GERMANY SURRENDERS.

Jay let himself pass through the crowd, shaking hands, exchanging congratulations with civilians and soldiers alike on his slow trek downtown, clapping strangers on the back, experiencing the moment, reveling in the delicious thrill of being a participant in a great and historic moment. At some point he paused before the replica of the Statue of Liberty that had been erected on the north side of the Times Building to promote the sale of war bonds and, a lump in his throat and a tear in his eye, had saluted the great lady. 3000195
“We must work to bind up the wounds of a suffering world, to build an abiding peace, a peace rooted in justice and in law. We can build such a peace only by hard, toilsome, painstaking work, by understanding and working with our allies in peace as we have in war,” President Truman told the nation and Jay Garrick could only nod. He understood better than most of the celebrants the cost of keeping the peace and the benefit of strong alliances.

It was, in fact, near time he met his allies. Normally such meetings were held in the privacy of their Gotham City headquarters, Jay and his associates clad in a rainbow of costumes and masks that were recognizable to every citizen of the nation. But today, they had decided, they would forsake the uniforms of the mystery men and meet in their civvies. Let the men who had served in the uniforms of their country receive the city’s approbation. 

Today, especially, belonged to them.

Jay made his way through the joyous throng. The celebrants were packed together tighter than sardines, leaving hardly enough room to draw a deep breath let alone make much progress from point A to point B with any deliberate speed. 

This was particularly frustrating for Jay Garrick. Under normal conditions, he could have run from Times Square to Boston and back again in the time it was taking him to wade across Broadway. He supposed this sort of thing was good for him, though. At least that’s what his girlfriend, Joan Williams, was always telling him. She thought the fastest man in a world full of slow pokes ought to practice patience and restraint. Joan thought it was too easy for him to go racing off before considering all the facts, but, of course, she couldn’t understand that his mind worked as fast as his legs. In the split second she was deciding between chocolate and vanilla ice cream for dessert, Jay would have worked out the chemical components of both flavors. But try explaining that to someone who didn’t share that ability. It would be like trying to describe the color red to a blind man.

Jay was exhausted by the time he broke through the thick of the crowd and could finally see pavement between the bodies at 41st Street. Though the experience had been akin to wading through quicksand wearing lead boots, he wouldn’t have missed it for the world. But now he was looking forward to a quieter celebration with his friends. He glanced at his wristwatch and saw that he was running late. Well, he would take some ribbing for that, but now that the crowds had thinned he needn’t be any later than he already was. He started to jog east and before he had gone ten steps, he was moving so fast as to be little more than a stiff breeze to those he passed on the street.

Two seconds later, he came to a stop across town, removing his hat in the revolving door of the Schraft’s restaurant in the lobby of the art deco Chrysler Building on 42nd Street and Lexington Avenue behind a businessman whose nose was buried in the pages of the New York Times. Everyone had heard the news by now and the usually dour faces of the New Yorkers around him were all brightened by dazzling smiles.

The hostess lead Jay to where his party waited, chattering away about the wonderful news out of Europe, about the president’s wonderful speech, wasn’t everything wonderful?

“Do you have someone over there?” Jay asked.

The young woman’s smile was dazzling as she nodded. “Yes, my husband,” she laughed. “He’s infantry, somewhere in Italy, last I heard. I know he’s seen a lot of combat but he tries so hard in his letters to make it sound like it’s no big deal, the silly lug. Well, I guess he’ll be coming home soon, now, don’t you think?”

Jay nodded. “Yes, I suppose he will. You must be very happy.”

Her hands fluttered before her like a pair of lost birds. “Oh, gosh, happy doesn’t begin to describe it. Were you…” she started to ask, her eyes darting to the lapel of his jacket, searching for the service pin that would have marked him for a veteran. But his lapel was empty. The red and blue costume of the Flash was the only uniform he had ever worn.

“War industry, ma’am,” he said quickly, feeling defensive as he always did when the question of why an able-bodied young man like him hadn’t been in the military came up. Or even when it hadn’t. “I’m a chemist.”

And, he thought, a mystery man. He had fought his share of Axis spies and saboteurs. There were hundreds of Fifth Columnists and black marketeers who had been put out of business because of him. He had done his part for the war effort. Jay Garrick had no reason to feel embarrassed by his status as a civilian.

And yet…

“I see my party,” Jay finally said. “Good luck to you and your husband.”

“He’ll be home soon,” she laughed, saying it again so she could make herself believe it.

The elegant Rococo restaurant was still jammed with the lunch crowd. Men in uniform sat in groups or with their civilian friends and family, everybody just a bit louder than usual. The same giddy disbelief that infected the hostess was present in their faces as well and with even more reason. Maybe they were on leave or preparing to ship out. Surely things would be different now, they were thinking. The fighting was over. There was no reason to be sent back, no need to be deployed.

GERMANY SURRENDERS!

The Justice Society of America were already seated, a dozen men and women at several tables pushed together before the far wall. To look at them, no one would suspect that this was anything but an ordinary gathering of friends, a group of young professionals meeting for a celebratory lunch on a momentous day.

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Paul Kupperberg on February 12th, 2015

Hot off the presses!

Hot off the presses!

There’s something loosely akin to the feelings you have on the day you first hold a new publication of yours and those on the birth of a child. I’m now saying the two events are equal. They can’t be. The gestation period of a child is a mere nine months. Some creative endeavors take much longer than that. Seriously, though, there’s a similar feeling to holding a new book or comic for the first time as there is holding that kid…albeit the kid thing rates several million times the intensity. I know, because by the way things timed out in my life, my son Max was born on April 22, 1996, the same day the first issue shipped of Takion, a cosmic superhero I had created for DC Comics.

Nothing will ever equal the thrill of that day, having that slimy, slippery little bundle arrive in my life (he’s now going on nineteen, a sophomore at SUNY Purchase University in New York and a rising drummer and producer in the East Coast indie rock world). But, there was still room enough in there for a little thrill over Takion, too. It meant enough to me that I took a picture of both my babies in their hospital bassinet.

Takion had taken a little over a year to go from concept to published comic book, beginning as a post-company-wide-Eclipso-saga retooling of the Roger Stern/Tom Lyle Starman series and evolving through about six proposal rewrites into an original creation (thanks, James Robinson!!!!) (kidding…really!) with roots in the Jack Kirby New Gods mythology. Which lasted all of seven issues. (Thanks, Obama!!!) But that’s not the point.

The point is, every new creation is a baby of sorts. And some take longer than others to get born. Like the newly arrived Paul Kupperberg’s Secret Romance #1 from Charlton Neo. The seed for this one was planted in October of 2011, with a conversation with my Life With Archie collaborators, artists Pat and Tim Kennedy during a signing at the Archie Comics booth at the New York Comic Convention. The guys and I were all eager to work together on another project and, with their assurances that they could draw in a straight style as well as the cartoony Archie style, we agreed I’d go off and think of what that project could be.

I didn’t want to compete with the genres already out there, sure as hell not with all the superheroes crowding the comic shops. And, after more than a year at the time writing Life With Archie–an ongoing series featuring mid-twenties Archie and gang involved in very real world situations and problems–I found I really enjoyed being able to write stories where no one flew and no punches that sent an opponent hurtling through brick and concrete were thrown.

Max-Takion-1996

I can’t recall the sequence of steps that brought me to the romance genre, but in February of 2012, I had an idea for a story that turned into a six-pager titled “Men Like Henry Bertram.” It was an off-the-beaten-path little story, a poke at the hypocrisy of American sexual politics, told from the POV of a middle aged 1950s married couple. That story was followed by “My Heart Took Wings,” a seemingly more conventional romance story about a woman EMS attendant and a dashing young bush pilot in Alaska that ends very unconventionally…at least compared to the classic love comics of the 1950s through the 1970s. Both stories were more in tune with DC’s Vertigo line than anything that they had ever published in Young Love, more postmodern than Comics Code Authority.

So…love comics. Postmodern love comics. Postmodern Love Stories!

I sent the scripts off to Los Bros Kennedy (followed by a third one, “You Have The Right to Remain Smitten”) and they turned my mess of words into three pretty amazing comic book stories, each one in a different style to fit the tone of the tale. I put these samples, two lettered by another Archie Comics colleague, Jack Morelli, together with a proposal I wrote up and started sending Postmodern Love Stories out to various and sundry publishers. The consensus among those who bothered to respond was that they liked the material, but, alas, “Romance comics don’t sell.” How they could be so sure since no one was then publishing any romance comics was a question left unanswered.

After a while, I had pretty much made the rounds of all the comics publishers and was forced to stick the Postmodern Love Stories proposal and the handful of scripts I had been writing, in the drawer. Maybe one day…

That one day came in 2014 in the form of Charlton Neo Media, the comic book publishing group headed up by Roger McKenzie, Mort Todd, and myself that grew out of a Facebook appreciation page for the old Charlton Comics of Derby, Connecticut. I dusted off the Postmodern Love Stories proposal, sent it to Mort and Roger, and got a thumbs up to do a two-issue miniseries, now re-titled Paul Kupperberg’s Secret Romances.

And now, February 11, my friendly postal carrier just dropped off a box and, at long last, after an almost three and a half year gestation period, I’m finally holding copies of Paul Kupperberg’s Secret Romances #1 in hand. The book’s been available for digital download since the beginning of the month, but it’s not until that box comes and you’re flipping through actual, physical paper that the thing finally becomes a reality.

My baby!

“Happily Ever After” Ain’t What it Used to Be!

SecRom_2-colorBy Paul Kupperberg, Pat and Tim Kennedy, P.D. Angel Gabriele, Daerick Gross Sr.,

Rob Kelly, Jeff Austin, Bob Smith, Jack Morelli, Matt Webb, and Mort Todd.
Cover by Jose Luis Garcia-Lopez

Click Here to Order Paul Kupperberg’s Secret Romances #1!

Visit the Charlton Neo blog or The Charlton Arrow page to order any Charlton Neo Media or Comicfix publication!


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Paul Kupperberg on June 7th, 2014

Brad Riccia, author of the excellent and exhaustive Super Boys: The Amazing Adventures of Jerry Siegel and Joe Shuster, The Creators of Superman, invited me to participate in the ongoing Writing Process Blog Tour. In addition to Brad’s own contribution to the tour, some of the other authors who have taken part are Susan Grimm, Kristen, Ohlson, Lynn Kantor, Rosalie Morales Kearns, and Heather Fowler. I’ve invited my Crazy 8 Press cronies to join the fun, and I’m sure if you keep an eye on Twitter and Facebook, you’ll learn of other bloggers taking part.

 

1. What am I working on?

As usual, I’m working on about six things at once. I just finished a short story for a new anthology coming this summer from Crazy 8 Press, Tales of the Crimson Keep, which will also feature contributions from Bob Greenberger, Aaron Rosenberg, Peter David, Michael Jan Friedman, Russ Colchamiro, and Glenn Hauman. I’m also pulling together an anthology of my own short stories for Crazy 8, trying to get a handle on a mystery novel, trying even harder to get the cooperation of a celebrity for a non-fiction book project, and writing comic book stories for Archie Comics, Moonstone Comics, a new publication called the Charlton Arrow, and a comic project that I’m not allowed to talk about yet.

 

2. How does my work differ from others of its genre?

I write in a lot of different genres, from superheroes to humor in comic books and from mystery to fantasy in prose, but I guess what makes my work differ in general is what I bring to a story, the “voice,” for lack of a better term, that I’ve gained from whatever it is I’ve experienced in life. Even though there are plenty of writers I read for inspiration, I’ve never been interested in sounding like any of them. I’d much rather fail as myself than succeed as someone else.

 

3. Why do I write what I do?

I used to write what I wrote because that was what was available to write to pay the bills. I still do plenty of that, but the older I get the more interested I am in writing what I want to write. I used to come up with ideas but, because I didn’t have an immediate market for them, would stick them away in a folder. Now if an idea grabs me, I’ll write it whether or not I know I can sell it…working around the stuff I know I can sell, of course. Lately, I’ve been writing short stories, usually around 1,500 words, based on various things, including sculptures made years ago by my maternal grandmother.

 

4. How does your writing process work?

My writing process involves a lot of staring at the screen, getting up and pacing around, looking for anything else to do other than what I’m supposed to be doing (I keep a Swiffer close at hand for emergency distractive dusting), and just enough short bursts of actual writing to keep me from getting completely discouraged and finding an honest job. My writing schedule is usually in the mornings, starting around 8 or 9 a.m. and continuing through to early, mid-afternoon, depending on how much I get done, with a short break for lunch. And coffee. Lots of coffee, or what I call “writer’s crack.” Sometimes, just to break up the routine and because you really can’t pace around without annoying everybody else, I’ll take the laptop to a coffee shop and work there.

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