Random Thoughts

Dance Me Outside: The Illustrated Screenplay (1994) adapted by Nick Craine

I remember seeing this book in the stores at the time, but I didn’t pick it up because I though “eh, if there’s one thing I hate, it’s comics that read as if they’re movie scripts”, and this is presented as an adaptation of a movie script, so I assumed it would be awful. Because if there’s another thing I hate, it’s adaptations.

(OK, the latter bit isn’t quite true — there’s a whole lot of fantastic adaptations, but it’s always caveat emptor.)

So I didn’t buy this until, like, a decade ago? Let’s re-read it now.

Right, this is indeed adapted from the screenplay… which again is an adaptation of a book (a short story collection, apparently).

Right, the voice-over… did the movie have a voice-over, I wonder? On the comics page, it seems rather old fashioned: Having a narrator like this mostly went out of style in the 80s (before making a slight return a decade ago).

Heh, even titles behind the characters.

Craine’s rendering had developed a lot since his last book, Cheese Heads. It’s now more stark and less scratchy, and it’s a quite appealing look. His figures still look kinda the same — like how odd that guy’s head is in the final panel.

Craine tries to make his characters easier to tell apart by giving them different hairdos and having some of them wear hats and stuff, but it can still be pretty difficult to tell what’s actually going on — just basic stuff like who’s talking to who, because there’s so many characters and they all pretty much look the same.

Even with the narration, it can be difficult to understand whatever they’re talking about. I’m assuming this was clearer in the movie, because it seems to be pretty successful:

A television series, The Rez, was spun off from the film in 1996.

However:

Good intentions pave the way to Message Movie Limbo.

Anyway, back to the comic book — many of the scenes are extremely condensed, and I’m not sure the resulting confusion is always intended.

This is an interesting spread. I like how on the right hand page here, after the head butt, the guy falls toward the left, leading the eye that way, and then pandemonium erupts — as if the break in reading direction leads to chaos. It’s cool.

I’m of two (at least) minds about the book. I don’t feel like the voice-overs are necessary all the time — it sometimes feel like we’re been explained at, which is never a comfortable feeling for a reader. The book feels to brief; perhaps with a larger page count the voice-over could have been ditched altogether? But is it a good read? Yeah… there’s lots of good bits, some interesting characters, a plot twist I didn’t see coming.

So it’s… it’s pretty good?

Craine explains himself — he felt that the voice-over is necessary to move the plot forward.

Ah, the movie was directed by the guy that planned on adapting Yummy Fur.

Nick Wyche writes in Overstreet’s FAN #6, page #116:

DANCE ME OUTSIDE: This book
adapts a screenplay which in turn
adapts a novel by W.P. Kinsella
(author of Field of Dreams)about a
group of Amerind teenagers grow-
ing up on a reservation in Canada.
The story
sharply and
succinctly
delineates the
feeling of liv-
ing on the
land of one’s
ancestors while
having no real
connection to
those ances-
tors’ history. It
also, ironically,
shows the
racism of
Amerinds to other Amerinds who try to
take themselves out of the reservation
lifestyle and blend in with European cul-
ture.

Uh — that’s an interpretation for sure!

It’s on the Hit List in The Comics Journal #173, page #129:

This is a peculiar book. Not because it’s an adapta-
tion of a screenplay (by Bruce McDonald), or be-
cause the screenplay is an adaptation of a collection
of short stories (by W.P. Kinsella), making this
graphic novel twice removed
from the original source mate-
rial. Nor is it peculiar because
the graphic novel, which takes
place entirely on an Ojibway
First Nation reserve in Alberta,
is by a white cartoonist adapting
a white filmmaker’s screenplay,
who in turn adapted a white
man’s collection of short stories based on his own
interpretations of life on the Ojibway reserve. It’s
not peculiar because this is one of the first serious
pieces of comics fiction to deal with Native Ameri-
can issues (which, on the flipside, have had a tre-
mendously rich literary tradition), or because the
Native Americans in this case are in Canada, which
has had a similar yet different history of disrespect
and misunderstanding of North American natives
than the United States.
Well, okay, maybe all of these factors contribute
to the peculiarity of Black Eye’s latest graphic
novel, but the true peculiarity lies in the quality of
the book. One would expect, given the poor history
of comics adaptations, that the original vision of
W.P. Kinsella’s stories would have long been filtered
beyond recognition by the time, via McDonald,
Craine took his hand at it.
But it is good. Craine wisely injects his own
voice, through his brush, into the story much in the
same way David Mazzucchelli did in his wildly suc-
cessful adaptation of Paul Auster’s City of Glass.
The story loosely follows the life and friendships of
three young Ojibway adults whose lives are upended
when Illiana. a member of the tribe, brings home her
new white husband for the holidays. Conflicts arise,
though not in an obvious manner, even less so when
a murder takes place on the reservation. The story
also injects some fascinating Canadian history with
regard to Native Americans. Craine strays away
from a literal translation Of events and action, choos-
ing wisely to focus on a reinvention of Kinsella’s
textual stylisms (and/or McDonald’s camera
stylisms) into his own visual voice.
There are inherent disadvantages in adaptations
of any kind, and Craineproperly subverts them by
utilizing the inherent strengths of his medium to cre-
ate a stand-alone body of work, rather than fix-using
on producing a “faithful” adaptation — which is
where. say, Kenneth Branagh went wrong with his
recent Frankenstein film. Craine is a cartoonist to
keep your eye on (his first series, The Cheeseheads.
was published by Tragedy Strikes), as is the film-
maker McDonald: his next film is expected to be
(here we go again) an adaptation of Chester Brown’s
“Ed the Happy Clown” stories.

People seem to like it:

Any fan of independent, super-hero-less comics is likely to enjoy this book; it’s nicely written, so compelling I read it in one sitting and clearly told & drawn.

I’m not able to find any substantial modern reviews of this book, but I guess it’s never been reprinted?

This blog post is part of the Total Black Eye series.

Human Remains (1994) by Darren Raye and Sean Scoffield

This comic seems to place a lot of weight on appearing serious.

“Sophisticated”.

So we open with…

… a bunch of title pages, and now that the reader is in a properly serious state of mind…

… it’s a story (in three parts) about a guy in a strange bowler hat?

The artwork (by Scoffield) is really strong, but there’s a disconnect between what the words are saying and what we’re seeing. That sort of thing can be used to great effect, but here I’m not sure whether it’s just because the illustrator didn’t actually read what the writer had written. Like that woman — “she wears the face of obvious pain”, but she seems gleeful instead.

And here we’re seeing a thirteen year old girl? Who looks fine?

It’s odd, but there’s too few of these panels to say whether it’s purposeful (as a verfremdung thingie) or not.

Anyway, despite the portentous look of the book — it’s like it’s designed to make you roll your eyes at it — it’s pretty good? It’s got a mood going, and while what the author seems to be getting at isn’t all that interesting, it flows well.

And then you read the last page:

Where the author poo-poohs all the philistines that aren’t getting his pure geniusly genius. Most bizarre of all, he says stuff like “Human Remains is one man’s vision” — but Raye didn’t do the artwork on this. Raye doesn’t mention Scoffield at all, so I started wondering whether Scoffield just did the colours on the cover or something minor, but nope: He’s credited as the sole illustrator.

So, yeah. A bit high on his own supply, this Raye guye.

But like I said, it’s a pretty good book, so why wouldn’t he be?

This seems to be the only book Raye has writing credits for, while Scoffield seems to have a few more.

Nick Wyche writes in Overstreet’s Comic Book Marketplace/Monthly #19, page #14:

Human Remains (Black Eye)
Newcomers Darren Raye and Sean Scoffield
bring the reader three interwoven tales that
stand alone and yet make a whole tapestry at
the same time. Writer Darren Raye is able to
sculpt an engaging atmosphere in each of
these three stories that pulls the reader into
the foggy wet city the story takes place in. On
art chores Sean Scoffield renders the stories in
a style somewhat reminiscent of Dave McKean
but still stamped with Scofield’s unique style.
Yet another excellent Black Eye!

That’s the only review I’m able to find, so I guess it didn’t really make much of a splash.

This blog post is part of the Total Black Eye series.

Atomic City Tales (1994) #1-3,
Atomic City Special (1995) #1 by Jay Stephens

Oops! I messed up. I have to copies of Atomic City Special #1, but no copies of Atomic City Comics #1. So this blog series is going to be less than complete, but I’m not fixing that, because I already covered this material over on the Kitchen Sink blog.

So there.

Instead let’s have a look at the three issues I do have.

From the sounds of the editorial, it seems like people have been going “we liked your earlier, funnier stuff better” at Stephens? And I can indeed understand people being disappointed at not getting more comics in the vein of the original Sin series, because that thing was a lot of fun.

This series concentrates on the super-hero parody/pastiche/whatever that Stephens had started in Sin Comics, so it’s a lot more straight forward. But when I say “concentrates”, that’s not really saying all that much when it comics to Stephens: We’re still talking basically stream of consciousness plotting.

Which I’m a fan of — I like gags, and Stephens puts a lot of them in here, too — but it’s also frustrating, because when Stephens drops in these scenes of “serious plotting”, you already know that it’s not going to go anywhere.

(Is that woman up there inspired by Kim Deitch, by any chance?)

It’s loopy and it’s fun, and it’s less Flaming Carrot than it used to be? Now it’s more Zippy.

It’s also fun to just look at Stephens’ artwork — I mean, he was always good, but he’s getting more and more stylish. That’s a nice spread to just contemplate. Some of those panels are giving early Jamie Hernandez.

Yeah, the letters pages are all “godd, but Sin? that’s was great” vibes.

Heh, that’s a good nightmarish sequence.

And the storyline (as you might kinda call it) sort of wraps up in the third issue, but not in a very… intentional way? These are the last two pages. So it’s hard to say whether Stephens knew that this was the end of the series or not.

Because the issue mentions the Special:

And the special reprints the two chapters that appeared in Sputnik magazine.

But adds a final third chapter to wrap up the story, so that’s nice.

I have to say that I liked reading these comics better than I liked reading the collection, for some reason or other. In the collection the aimlessness was more of a problem than here, somehow.

Wizard Magazine #37, page #118:

NOt many comic creators take chances like Jay Stephens. After finally finding
a comfortable home for the “anything goes” format of Sin Comics, Stephens
hos decided to drop everything and start Atomic City Toles, new comic that
features, of all things, superheroes! For mo$t artists, a switch to superhero comics would
equal a rise in sales, but Stephens runs the risk of alienating the fans who have grown
accustomed to his wacky, irreverent humor and offbeat funny-animal characters.
Stephens started off in minicomics and graduated to Sin, a full-sized comic published
by the late Tragedy Strikes Press, Sin featured Stephens’s bizarre creations, including Nod,
Irwin. and Dave, who were simplified, abstracted versions of Felix the Cat, Mickey Mouse,
and Donald Duck. Just after picking up steam and gelling five issues Of Sin published,
tragedy struck and Tragedy Strikes disappeared from the face of the planel bringing
Stephens’s comic to an abrupt end. IA sixth issue was completed, but it hos never seen print.}
Luckily, some of the loose ends from the company were picked up when former Tragedy
Strikes editor Michel Vr6no started Black Eye Productions, the publisher behind most Of
Stephen’s current work, Black Eye put out issues of the new and improved Sin Comics
before Stephens replaced it with Atomic City Tales.
Stephens’s neve’ superhero work seems to be more of an evolution than an abrupt shift
of direction, The original version of Sin featured the Sinister Horde, who starred in c
superhero strip ran alongside Stephens’s quirky Land of Nod stories, as well as the
adventures of Badman, a crime fighter who was actually a thinly disguised Joy Stephens.
When the new Sin Comics series debuted* Stephens killed Off most Of his funnyonimol char-
acters to make room for superhero comics that prefigured the characters in Atomic City
Tales. EVen the wacky characters in Sin and Sin Comics, like Stephens himselfi were fans
of cheesy comic
In fact, Atomic City Tales has the same humor
and many of the unexpected twists that are trades
mark of Stephens’s work. In Atomic City Toles,
Stephens has created o comiC that doesn’t neatly fit
into one specific genre, isn’t really an “alternative”
comic because it’s about superheroes, It can’t be o
modern superhero comic because it isnit ogrim and
gritty,” It’s not like the musty and moldy retro-super-
hero comics because the characters and situations are
ypdoted and distorted with a ’90s bite.

The Comics Journal #212, page #92:

ATOMIC CITY FAILS
SULLIVAN: Let’s talk a little bit about Atomic
City Tales.
STEMNS: I know you don’t like it. [laughs]
SULLIVAN: I like it.
STE*ENS: I like to tease you al»ut that review,
SULLIVAN: It was a positive review.
STEMNS: I know. It was just a very qualified
review. good, but — [laughs] I We seen
SIRLIVAN: Nou I understand that you had all
these outlets for the funny characters that I love,
even though couldn see any Of them.
STEPHENS: If I could do everything at once, I
SIRLIVAN: Butyour letters pages in Atomic City
Tales •were hysterical. You wouldthink in a super-
hero—dominated industry, everybody would go
“wow, Jay’s doing funny superheroes. Yet you
seemed to get all the nutcases writing in saying,
This is 0K, but cvby don’t you do some more
Nod. You be very patient, gritted teeth, *Just
let it go for a little bit, you’ll see I’m doing good stuff
anyway.
STEPHENS: I got almost nothing but negative mail.
Very few encouraging letters. What can I tell you? I
guess it was a failed project.
SULLIVAN: And yet it continued over two publishers.
STERENS: The Atomic City story is a sad one.
SULLIVAN: Tell it.
STERENS: les a long, drawn-out story. les almost a
tragedy from the beginning.
SULLIVAN: Why?
STE*ENS: I begged Michel to do it, then I had to insist
he pay me, which was a new thing at the time, and then
it didn’t really sell. Let it be known, though, that
publishing-wise, everything Ive done has been at the
worst possible time. I mean, Tragedy Strikes entered
publishing right at the beginning of the glut, and by
the time I was doing Atomic City Tales there were
thousands of new crappy superhero comics out there.
The competition on the rack was unbelievable. m not
making excuses, m just saying it had something to do
with it.
so it was a really hard go, and I think Michel
became embarrassed that he “‘as doing Atomic City
Tales. He was focusing on more and more so-called
highbrow material, and was very proud of it. Even
though my stuff was selling better than that stuff, I
think he was kind of nervous that he was doing this
book that was more rooted in pop. We were both
happy when I decided to shop it around elsewhere. So
we left on amicable terms, and I began negotiations
with Matt Groening’s Bongo Comics. Actually, Zongo
Comics was supposed to do it, because rd met Matt at
San Diego in ’94, and gave him copies. He very
interested in picking it up, and promptly passed it over
to the people at Zongo, who rm sure he believes are
very capable [laughs] individuals. Maybe theyre more
capable now, but it was a nerve-wracking experience.
They wanted more than they should have been asking
were a new company. It was a terrible
contract.
SULLIVAN: Were they frying toget control wer the tharac-
ters?
STERENS: Theywanted all control. They wanted to be
able to make movies and cartoons and not pay me
anything for it. Embarrassing, ridiculous control. And
what was worse was that the negotiations dragged on
for almost a year.

Comics Scene Volume 2 #43, page #60:

Thanks to Black Eye, Sin came back
in January 1994 with a new and im-
proved #1. Merv celebrated by peeing
all over Dave’s comics and then setting
them on fire. Things were back to
normal.
Or were they? (Cue spooky music.)
Because with the very next issue, Sin
folded again.
This time, blame Stephens. He had
decided to concentrate on the Big Bang
saga he launched in the new Sin #1.
Nod and his pals may show up later in
their own title, but for now it’s action
time.
“There’s a growing trend in alterna-
tive comics toward longer stories,”
says Vrana. “It’s an important way for
younger cartoonists like Jay to stretch
themselves. And rather than having
two sides to his book—one crazy and
funny, one straighter—Jay’s going to do
it all in one storyline and be fun and
crazy with the Atomic City Tales char-
acters.” Vrana also says Stephens will
be broadening his audience—unlike
Sin, Atomic City Tales probably won’t
carry a “For Mature Readers” tag.
(Stephens calls his new comic “border-
line mature.
Expect a humor/horror/romance/ac-
tion book, incorporating comics influ-
ences from the Avengers to the
Archies. That’s right, the Archies.
Sneer if you must, but the Riverdale
High gang are now tres chic, having in-
fluenced comics such as Love and
Rockets, the standard-bearer for inde-
pendent comics.
“There’s a lot of Archie Comics in
Atomic City Tales,” Stephens says.
“When I was a kid, I thought the
Archies were neat, because they
seemed really real.” Stephens laughs,
scarcely able to believe what he’s
saying. “I thought, ‘This is how real
people are.’ ”
So if you can imagine a nuclear-
powered Jughead double-dating with
the Hulk and beating up an all-ghoul
grunge group, you’re halfway to
Atomic City. Be prepared to have some
fun when you get there—because if
there’s one thing Jay Stephens can’t
stand, it’s a sour superhero.
“One of the reasons I’m doing
Atomic City Tales is that it’s painful
for me to know that the corner store
closest to me has an issue of the Pun-
isher—no bright colors, bullets flying
everywhere and a high body count. It’s
so bleak and depressing, it makes me
glad I grew up in the ’70s.
“Superheroes aren’t serious. People
should stop trying to make them so
real. The whole charm of them is that
they’re not real. There don’t have to be
guns—it’s fantasy. You can make fun
things happen. ”

Darcy Sullivan writes in The Comics Journal #179, page #45:

Unfortunately, Stephens isn’ t doing Sin any-
more. Last year, he switched to a book called
Atomic City Tales, a superhero spoof that suffers
from similarities to too many projects, includ-
ing Michael Allred’ s current Madman Comics.
Longer narrati ves, full characterization and more
“realistic”-lookingcharacters don’t provide the
same manic charge that zaps you on every page
or so of Innd of Nod.
Even those devices that served Stephens
well before falter inACT. When the artist moped
around Sin in his Badman costume, it was
enjoyably ridiculous. In ACT, Stephens’ fre-
quent appearances are distracting — it’s not
clear what he’s doing there, and his character
seems annoyingly bland. Chief ACT villains
The Maniac Gang have some of The Sinister
Horde’ s amusingpettiness, but Stephens seems
less happy-go-lucky now. For sheer fun, noth-
ing so far in the new series has matched the
scene in Land of Nod when Dave, who re-
sembles a sort of deconstructed Donald Duck,
has a panic attack over the “serious” direction
of his favorite comic, The Sinister Horde. His
buddy Merv (a melted Mickey Mouse) takes
one look and flings the comic away, exclaiming
“Poo! Whata reek!” (Merv should write for the
Journal.)
The controversy rages in the ACT letters
pages about whether Stephens has taken the
wrong direction himself; he admits that older
readers tend to prefer Sin. Perhaps they (like
this reviewer) have already seen the vperhero
genre lampooned too many times. Stephens
himself seems baffled by some readers’ unwill-
ingness to have fun with superheroes, and is
sticking to his guns. Certainly, given his track
record, Atomic City Tales is worth watching;
once Stephens finds his feet with the book, it
may embrace the unexpected the way Madman
Comics decidedly has not. (When Nod had a
cameo inACT#3 , you could practically hear the
geezers cheering.)

Draw! #16, page #34:

Tragedy Strikes went out of business, and then the editor there
started his own company, Black Eye. I did Atomic City Tales and a
new Land ofNod series for him. But he was stretched too thin and
folded shop. And then Kitchen Sink picked up Atomic City, and
then they folded. The disasters just kept mounting. Really, either
my sales would drop so badly that I would be forced to quit a
book (I was getting food from the
local Food Bank while working for
Kitchen Sink—couldn’t even afford
one meal a day on my own), or,
more often than not, the publisher
went out of business. J was striking
out in comic books in every attempt
I made. But, ironically, I was get-
ting tons of outside illustration and
cartooning work based on those
same comics. So that’s why I say I
failed upwards.

This blog post is part of the Total Black Eye series.