feffecr said: Will you cover Gatiss, Freedman and Graham's proposals for a new Doctor Who series in the McGann/Eccleston's book? Wikipedia mentions them in Series 1 article... and that's all I could find online. Do you know more about them?
I think there was a DWM or something where they talk about their proposals a little. I recall reading a bit more about them somewhere, at least. But I don’t remember the details, I’m afraid, and I can’t make any promises.
I really hope this gets covered. A lot. So much. My fingers are crossed.
The big problem is that there’s only one take on it, and I’m not convinced it’s interesting. There’s no actual stories, so you can’t engage with those. All you can do is engage with the broad concept, in which you ask “could this have worked as well as Davies’s take?” And the answer is that you don’t know because the degree to which Davies’s take on Doctor Who worked is unprecedented and unfathomable in contemporary television such that there’s nothing to compare it to. And then you’re bored and go home.
Ah, fair enough. That makes sense. On a related note, will there be an article on the unmade Segal stories since there is quite a bit of information (and concept art) now available from them?
I’ve not heard about this now available information - when last I knew it was a bunch of vague outlines, and maybe some spider Daleks or something.
The Leekley Bible and similar vaguely contemporary documents can be pieced together almost in their entirety from a combination of Regeneration and The Nth Doctor, and the former also has an absolute boatload of concept art in it…
(The Nth Doctor is a fairly disingenuous book in several ways, but it does also directly quote an awful lot of stuff.)
I mean, the short version is basically: Borusa is the Doctor’s grandfather, and dead, and lives in the “crystals” that power the TARDIS so is basically his kindly old informative “companion”. And a young, brash, impulsive Doctor heads out from Gallifrey to try and find his father, Ulysses. And his brother is the Master, I think? And something something Amelia Earhart. And yes, Spider Daleks.
Right, but that in turn encompasses a wealth of visions, few of which are plausible answers for “what would have happened if the McGann movie had been a hit?”
I mean, “spider daleks” sounds pretty tight, and would still have been better than Season Three of Sliders.
While I could totally talk again about refinement and character design, and talk to you about designing all the different hairstyles that Frances will have over the course of FEELS (spoilers, she gets a haircut at some point), but I won’t.
Because there is one thing that stands out in the history of FEELS (such as it is) that I haven’t talked about yet, and that’s the decision to make it a ‘webcomic.’ Because it was a decision. I didn’t wake up and say “oh, yeah, I’ll make a webcomic called FEELS and it will be about college.” I woke up and said “oh yeah, it would be funny if I made a McCay-esque newspaper strip called DOODZ about my friends and I’s adventures in college.” Somewhere, there are sketches for this rotting in a drawer.
No, FEELS was going to be a book, a proper book with pages. I was planning to have “Issue One” out for this years’ CAKE. I was ravaging myself trying to get it finished —it was still going to be a full color book. And then I thought— why? Why spend the time rushing to finish something that’s actually pretty good when I might sell only, what, ten copies tops? Give the rest away? Why should I rush to finish this and then spend over a hundred dollars printing a full-color book that I have no chance to recoup the costs on?
These are the questions that plague self-publishers every day. To be clear, it isn’t about the need to create. That’s always there, and that will happen no matter what. And it isn’t really about the money, either— life’s always a struggle in this business, no matter what. And that’s fine, that’s almost the point.
But sometimes, you hit a point where it just doesn’t make sense anymore. This isn’t to say I’ll never self-publish a book again (I certainly will), or that FEELS will never be collected in a volume (though when, hopefully, is not up to me). I was working on FEELS, and feeling very deeply the sting of every time I’d plunked down a hundred to print my new exciting project, and watched as I sold three out of twenty five and gave half the rest away. Couple that with my self-irritating ability to begin giant series that I never finish (for whatever reason— there’s actually a second issue of “Next World Over” sitting on my desk right now that is pretty good, but for whatever reason I have no idea when you’ll ever see that), and you have a little bit of self-publishing exhaustion.
The real issue, though, is that with FEELS I honestly felt like I’d hit something I hadn’t quite before. I’d had previous projects that felt good at the time, or were very important to do. (Examples: I gave myself a huge project to work on right before I finished college. That book, which was going to be titled And The Birds Flew From The Trees, was hugely important to me— it taught me a lot about discipline, about storytelling, about work ethic, about drawing, but most importantly it made sure that I would continue to keep working after I didn’t have any “assignments” anymore. I’ve got to the place now where it’s okay that I don’t think I’ll ever finish it— that might not have ever been the point in the first place. In other projects, my hugely popular book “The Human Condition” was originally going to be many different things, before I realized what it really should be— a graphic novel history of the Women’s Lib and Gay Liberation Front in England in the early 70s. That’s a huge topic, and the reason I haven’t done more with it is because, frankly, I’m not ready to, and it’s a book that’s better than I am, and I have to work towards that. There are more books, more series, more everything, that haven’t even seen any sort of light of day. That’s fine. That’s how it works. It isn’t sad.)
FEELS seemed like the right project to do— the right mix of “I can do this” and “this will challenge me.” It seemed like the thing I wanted people to see the most. And people just weren’t going to see it if I made twenty five copies of it to basically hand out at one festival. I wanted more! (Ha ha ha.)
So I decided, basically, “Fuck It, I’ll Put It On The Internet.” I mean, it was more than that, I asked friends casually what they thought. They seemed convinced it wouldn’t be like “other webcomics.” Which is a good time to admit I know nothing about the “webcomic” scene— does Kate Beaton even count anymore? I don’t read them, I never really have, and I probably never will— though if you’d like to point me in the right direction of some good ones, sure.
But somehow, this seemed the right place for it (tumblr, too— the social aspect of the story seemed to fit the platform pretty well)— in part because of the triple joke of the title (the internet term “all the feels” is just one, the other just being, y’know, actual emotion. The third would be a spoiler), in part because I needed, really needed to be able to just say “here it is.”
This actually had ramifications for Episode One, since it was already drawn intended to be in book format. The at times idiosyncratic layout of FEELS actually came from the decision to split up characters’ viewpoints between posts, not because the book was laid out that way. Which meant that every post of Episode One was rearranged way late in the game. Which stuns me, since I think the layouts for the most part are great.
Episode Two (and beyond) are conceived with the web in mind—which is the most exciting challenge to have! I’m not constrained by the page anymore! I mean, I am a little bit— I’m constrained by the screen. But working on Episode Two has been even more fun than One, mainly because I can let myself imagine so much more. FEELS’ budget is almost limitless, and that’s exciting. There are things I can do that I couldn’t before because of the “webcomic” format. These are things I am very excited about.
I have a complex relationship with the internet (don’t we all), that borders on seething hatred. But sometimes, it’s still okay. Great things can happen. The reaction to FEELS’ first episode has been really wonderful, and makes me completely confident in the decision to do it like this. Again, I thank you, and again, get ready—
Episode Two begins Monday, and it’s going to be amazing.
The final process post before Episode Two begins!
This one I think is quite important, as it delves into my decision to make FEELS a webcomic…
The newest episode of How to Fix It is out, on the worst, absolute worst episode of Sliders.
My revisiting of Sliders to look at it’s worst episode.
Fandoms are so adorable.
Okay, but in all seriousness, this is great! A young fan of Sliders calling out the show for its gratuitous fridging (and even maybe a re-fridging). Sure, its based in terms of “this is bad for us fans” instead of “this is horrifically insulting to women all over the planet,” but its good to call it out.
I probably didnt trash this garbage episode enough when i reviewed it, maybe because i was so worn out on the series by that point I didnt have the energy. But the fact remains that the later showrunner of Sliders, David Peckinpah, threw in a line that sent a character to a forced breeding camp BECAUSE HE THOUGHT IT WAS FUNNY. For all that everyone else working on the show tries to run screaming from that, its really the wound that completely kills the show.
Sliders is a bizarrely cynical show, considering it’s about the Infinite. But there is nothing quite as cynical as forcing a character to be raped by ape-beasts day in day out BEFORE becoming a schlocky head-in-a-jar. Well, maybe thats not cynical, maybe its just offensive.
So , points, my friend, for calling out this sexist bullshit.
Also of note:
*”say what you will about steven moffat, but…”
*the adorably awkward trigger warning at the beginning.
*”fans in the 90s” ouch…
Iggy Pop & Esther Friedman, Berlin, ca. 1977-78
In this edition of “Celebs, they’re just like us” Iggy & Esther prove that Chicago youngsters have a lot to look up to in their quest to look as impossibly sexily grimy as possible.
First comment on a post on Kotaku about Doom.
In a stunning reverse of the norm, the comments are the enlightenment to the inanity of the post.
Also, Yeoman Rand’s famous beehive was made of two different wigs stuck together, and it kept coming off during the “attempted rape” scene because Shatner was a little too energetic. He also left her with bruises for weeks.
Because remember, sometimes Star Trek is garbage.
second cycle starts tomorrow, some of the foods I can’t eat in the next week and a half
the avocados remain the most cruel
More deathbed advice from Enabran Tain
Cardassians, endlessly shredding the alpha quadrant.
Like I keep saying, FEELS is modeled after television.
If you ask the general critical community, the current debate is either that we are in a Golden Age of Television, or that the Golden Age of Television has just ended. Whatever the truth, the reality is that of all the shows that people generally hail when speaking of this Golden Age (Sopranos, Mad Men, Breaking Bad, etc), only one remains, and only for a half season (good luck, Peggy!). But wherever we are now, the fact remains that a hell of a lot of people watched at least one, if not all of those shows, and that a hell of a lot of them might get into writing. And when they do, maybe they’ll get into television. And when they get into television, they’ll probably be thinking of what shows inspired them.
So yeah, in a few years, television will be exciting again. If there’s a problem with it now, it’s most likely because of the peers of those who ushered in the Golden Age trying to rekindle the spark of creation, and missing it. It’s up to the next generation to take all of the lessons learned and meld them into something new that seems like it grew out of what came before.
All of which is to say, I enjoy television. I enjoy it in a way that I make it relate to my own creative life. I don’t write television shows, I make comics. It is interesting that I don’t look to comics for narrative inspiration (for the most part). Instead, I look to television. I’m modeling FEELS off of television because I think it’s the best way to achieve the kind of sprawling narrative I’m looking for. It’s a good way to divide the story, and to tell it over time.
But by saying “I’m modeling it after television,” and referencing “The Golden Age of Television,” I’m cueing the audience (and myself, really) to know that it’s okay to pay attention to FEELS. To pay attention to the background, to try to feel out who these characters are, how they’d act, what their actions mean.
I mean, sure, these are early days yet, but I just want to be clear where I’m going. Or maybe I just want this to be in a public place so I can’t hide, or dial back. Not that i’m worried about FEELS being good— but some days I allow myself to realize that FEELS could be great. And so I’m allowing myself to study the things I think are great, and own up to those influences, make public the bar I’m setting for myself.
This not to say that Sean is going to start murdering students and the rest of the show will be a mystery to figure it out, or Cliff is going to …I don’t know. FEELS is only operatic in the sense that everyone’s inner monologues are operas— I mean, c’mon, they’re all 18 (well, mostly).
The top image is the earliest outline I have for FEELS. I’m letting it up there because it’s so early it doesn’t really count as spoilers. This is how I do my writing— outlines upon outlines upon outlines, fractal outlines of plot ideas —leading to something like the second image, an idea for (yet again) refinement.
one more post about process and then EPISODE TWO BEGINS!!!!
in todays installment, i talk about television.
FEELS POSTER FEELS POSTER FEELS POSTER
EPISODE TWO OF FEELS STARTS A WEEK FROM MONDAY GET EXCITED AND TELL EVERYONE TO GO READ EPISODE ONE TO GET EVEN MORE EXCITED FOR EPISODE TWO YAY