Alters #1

Sep. 18th, 2016 03:54 pm
[personal profile] history79

JOE CORALLO: Chalice’s story appears to be linked to her transitioning and while this is happening, coincidence or not, she is gaining great power. Other stories in different media as well as in the news have used transitioning as shock value and to exploit the trans community for the purpose of entertainment and to feed an inappropriate curiosity. What makes Chalice’s story different?

PAUL JENKINS: I think part of the answer to this is covered above. I certainly understand your point, and have found some of the coverage appalling. Of course, the coverage of the U.S. election/Brexit/terrorism and just about everything else these days is equally appalling. I’m not going to agree that we are somehow taking advantage of trans people simply by writing a character who is trans, especially because we have other characters dealing with different issues and I haven’t heard you complain about us addressing bipolar disorder or the issues facing someone who is quadriplegic. Every single character in our book is presented for the purpose of entertainment, Chalice included. I am in the business of entertainment. But I happen to be a research fiend, and I’m always going to be worried that a trans reader will find my character unrealistic. I feel the same way when I am writing detective fiction – I hope that actual detectives would find my stories plausible, and I try to research them that way. I will take the same approach with our bipolar character, our homeless character, our PTSD characters and so on…

I hope what makes us different from those who would try to exploit the trans community is that we’re focused on story first, and have only a minor secondary agenda in terms of shining a light on various people who are dealing with disadvantage in our society. I think the diversity of our creative team helps. And I’d like to make it quite clear before anyone tries to find fault here that we are absolutely not equating transgender with, say, disability. Our series addresses people who are dealing with disadvantage. Being marginalized by society, misunderstood, bullied, harassed and exploited by the media certainly qualifies for being at a disadvantage. Other characters will have obvious physical disadvantages. Others may have less obvious disadvantages (such as the character with vertigo).
And this leads me to the other issue I had with your previous article – the complaint that this is yet another view of transgender through a cis lens, as if I am disqualified from writing a trans character. You casually mentioned that we do have a core team member who is trans but “that’s not a position with creative control in a narrative sense.” That is an assumption on your part. You don’t know Tamra’s input, so you can’t make that assumption. Now, we each have our jobs on the creative team and it’s not as though I have Leila or Tamra’s artistic expertise. And while you happen to be partly correct – as the writer I am the initial creator of the story – I happen to be a very collaborative writer, and always have been. It has stood me in good stead over the years I have been working in this industry. I invite input, and truly believe that comics are a collaborative medium.

To address the point: where would we be if we were forced to write only what we are? We’d be without Othello, for one thing because Shakespeare was hardly a black, Muslim dude from Venice. I would be forbidden to write people from different ethnic backgrounds than my own, and I would never be able to write a female character. The argument that this series must have a requisite trans writer is specious and absurd: I hope that trans writers create tons of material that will hit the mainstream. I hope a trans creator makes the next popular superhero character, and that no one gives a royal shit that they are trans or otherwise, as it should be. My audience is anyone who wants to read the book. If they happen to be trans I hope they like Alters, and feel we have done a halfway decent job with the trans character, especially.
I’m not one to pay lip service to things – I do understand your concerns and any concerns of the LGBT community who are worried that Chalice is being created in part by some middle-aged straight white guy. I hope (and believe) that we are doing our best to address those concerns. The work should be judged for what it is, not pre-judged for who is creating it.


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cyberghostface: (Doc Ock)
[personal profile] cyberghostface
Probably not the best father/son relationship but here's a scene between Norman Osborn and his father. I may post a Norman/Harry one later but I'm still looking.

cyberghostface: (Spider-Man)
[personal profile] cyberghostface

Couldn't think of any specific stories that fit a 10th anniversary, so I figured I'd just repost an old one; a story from Paul Jenkins, who's run on Spider-Man IMO was one of the best.

Scans under the cut... )
superboyprime: (pic#396052)
[personal profile] superboyprime
'If you go back to the Marvel Knights days, they just handed us the keys to the castle and said, “We really don’t know what to do, go ahead do whatever you want to do.” And that’s what made for really wonderful comics. That’s the attraction.

'I understand the fan appeal of DEATHMATCH would be, “Can the Hulk beat Superman in a fair fight?” They love that stuff.'

- Paul Jenkins

This issue: Not!Batman vs. Not!Iron Man. To the death, as usual.

Read more... )
superboyprime: (Default)
[personal profile] superboyprime
"I don't want to work with DC or Marvel, at least not right now. I don't fit into what each publisher wants to do because sadly, we are not judged by the quality of our work as far as the publishers are concerned. We are judged by our our ability to adapt to what they want from us. Most damning is the lack of consequence to any of the stories that can be done right now. I am doing Deathmatch for BOOM! Studios right now, where a bunch of heroes and villains are killing each other. The characters can stay dead. In fact, that is a light-hearted requirement from me to the publisher."

- Paul Jenkins
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superboyprime: (Default)
[personal profile] superboyprime

"Deathmatch actually comes courtesy of the folks at Boom who approached me with a basic premise: fans are forever talking about the relative power of heroes and villains in comics – what if we actually set that up and let the characters battle it out, tournament-style?

"I took that idea and ran with it, proposing an entire new world of heroes and villains, our own universe that might be presented in the style of, say, Watchmen or Astro City. I miss seeing those kind of rounded, fleshed-out universes."
-- Paul Jenkins

3 pages from #3, 4 from #4 )
superboyprime: (Sun)
[personal profile] superboyprime

Sure, we're using the lowest common denominator if you look at it in some ways. It's "Who's the strongest: Hulk or Batman? Who wins?" I'm OK with the relatively visceral examination of "Does Superman beat Batman in a fair right?" -- Paul Jenkins

Four pages from each issue )
superboyprime: (Default)
[personal profile] superboyprime
'The one concept seeming to generate a ton of interaction between fans is the idea of "Who would beat whom?" There are message boards dedicated to superhero rumbles and so on -- it's really pretty extraordinary the passion these arguments bring forth... So with "Deathmatch," we have committed fully to the idea of fights between characters to the death.' -- Paul Jenkins

4 pages from the first issue )


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