This is one of a series of blogs promoting the Steamfunk! anthology by MV Media, which features my short story “The Sharp Knife of a Short Life.” This blog was supposed to publish on March 7th alongside ones from other writers in the anthology. Woops. Here we go …

When creating my “steamfunk” story, one of my biggest goals was to not place it on Earth in some kind of alternative history space. “Hannibal, what’s wrong with you? That’s where steampunk is from!” I know. That’s also one of the elements I don’t like about it. Sure, stories like “Men in Black” or the one positing a Black nation in the continental space of north America might feel good, but for me they only remind me of our failures as a people (which is why I would write that sort of wish fulfillment stuff in the future, therefore hoping it could still happen). So, I had to get the heck off of Earth … which led me to Pless.

I created the “planet” Pless for a number of logistical reasons that’d help me in telling the story. I could perfectly set the technological level to whatever I wanted it to be, which was crucial in establishing this as a “steamfunk” style of story, with all the brass and pageantry and pneumatics and what have you. Normally, I go for more … esoteric and futuristic technologies (which savvy readers might note at the end of my work, the moment linking this story to my larger fictional universe), so this was a challenge but one I accepted in looking at the assignment.

Another reason is that Pless’ ambiguous racial history allowed me to sidestep the aforementioned challenges that alternative history poses for my sometimes overcritical brain. The arguable “love interest” is essentially Latino. Two main characters are Black. The lieutenant governor (or whatever I made him, I barely remember some days) was white (based on some late 1800s politician I looked up). The town’s madam is an ambiguous Asian mix. There’s a whole new race that’s nothing like anybody else. Add that to the flora and fauna differences and my little alien “steamfunk” world is almost a character in and of itself.

Finally, growing up at the foot of my great uncle while he religiously tuned in to Gunsmoke gave me a deep sense of possibility in those old western tropes, if I could just sci-fi ‘em up a bit (apologies to Firefly fans). Pless became my untamed frontier, a striking contrast to the super-technological trappings of ‘Dam Clara Perry, a much broader expanse for my lunacy than cobblestone streets lit by gaslamps, patrolled by constables and what gave you.

Where is Pless? Ah, that’d be revealing a big part of Clara Perry’s overall story, which would continue if the proposed Dieselfunk anthology comes along or if I do a set of short stories past the one on my current docket (seeming more likely as more ideas come to me). Suffice it to say there are well-considered reasons for dropping our cryo-frozen NASA scientist there and I have every intention of finishing the larger story begun here. Maybe I just need a new country music song to get me inspired …

The camera shop was a suggestion from the real NASA scientist who consulted, as she said it’d be a place where strange smells and exotic chemicals and/or technology wouldn’t be looked at too oddly and she could continue the real work, using the “futuristic” technology she brought with her. That worked out really well for what I needed to accomplish for the “apprentice” Jenny Taylor.

I also had to give this place its own depth and nuances, like a fully realized culture. Creating their shared religion, with elements familiar yet haunting differences, was important. They believe in a trinity, but it’s a distant father god Avshalom who sparked life and then buggered off to explore the cosmos, a nurturing, forgiving mother god Iya’a and a daughter Muhsinah cast in the vein of Yeshua ben Josef, sent to redeem through sacrifice. The religion uses elements of traditional African belief (matrilineage, hunter/explorer men and gatherer/nurturer women) as well as tropes from Judaeo-Christianity and some other sources I stumbled upon. The framing device for the story (the song “If I Die Young” by The Band Perry as discussed previously) called for a casket to be sank into water “to the words of a love song,” so that meant composing a kind of hymn that would work as both a devotional of spirit and a romantic overture. Yes, that means I had to sing it, but composing a soundtrack of Plessi spiritual music was a bit more ambitious than I planned. If I ever do a reading of the work, digitally or in person, maybe I could be cajoled into at least humming the tune, for reference. It kind of sounds like “How Do I Live?” by LeAnn Rimes (still very country western influenced, and I heard that a lot as a south bay karaoke host). Anyway, I spent the better part of two nights parsing it all out.

I gave the people of Pless some alterations in their biology. Tying together purple blood with the purple clothing of their funerary rites was a nod to my youngest daughter and two of my wife’s friends, all of whom adore the color, so that’s purely cosmetic. Other alterations had practical purposes — I’d been aiming to redesign humanity since I was maybe six, so tired of the tedium of waste product. If it was all converted into carbon dioxide, something the ecosystem could conceivably handle, well, that’d eliminate some technical concerns and toilet humor all in one swoop, making for a more mature society (I guessed).

Other stuff — ‘Dam Scarlett’s Diversion Emporium, “fluffener,” or the twelve legged bjekk — was just me riffing, kind of like a pianist when the band is playing “Red Clay,” tickling extra ivories here and there but staying pretty much within the boundaries of the tune. I created a small frontier-styled corner of one fairly parochial planet for a reason … that will likely be revealed in a book I hope to put out in late 2014.

The Vanity Pomp was my excuse for a big, splashy visual scene that combined action (you’ll have to read to see what) and steampunk excess and pageantry. It seemed to work and made a good climactic crescendo for the story to achieve. I just kept going back and making the elements of it more ornate and ridiculous until I couldn’t take it (at one point, everybody in the parade was flying), then dialed it back to what I felt would work.

I think it turned out okay. What do you think?

The Steamfunk! anthology is available now.

Playing (Music): “Story” by King

I’m writing this on February 15, the day I got the email, the day I “broke in” to comics. When I finally post it, I should have a link to go here about the official announcement (hope I remember to add that).

I was sitting in a Burbank conference room, finishing up a somewhat dull but partially productive meeting, when I saw the “new email” light on my phone flash. While voices droned on the speakerphone, I read …

“I’ve decided to go with three winners and you’re one … I like what you did.”

There was other stuff in the email — logistics and what not, but who cares? I only grasped two words: I won.

I won the 2012 Top Cow Talent Hunt. Me. Really.

By merit alone, with nothing more than ideas spilling from my head, crap I found on Google and stuff told to me by a co-worker who’d been to a certain country where my story takes place … I’d won, beating out a lot of really good competitors.

Wow.

Winter is coming

I held it together until I could walk back down to my car, where I squealed like a Whedonite meeting Nathan Fillion, called and then texted my wife (my toddler was napping) so elatedly it almost broke my Android phone’s dictation.

The second thing I felt was an overwhelming sense of gratitude. Driving south on the 5 freeway as the sun heated the Burbank area to 80 degrees after a week of highs in the sixties, I kept thinking of all the people who helped me, who encouraged me, who introduced me to people or opened doors for me or helped make an environment where I could succeed, where I could let some of the crazy stuff inside my head out and into the world for people to (hopefully) pay for it.

This list cannot be complete. I’m sure I’ll forget somebody, even by the time I eventually hit “publish” on this blog. This is a good number of them, people to whom I owe a great debt in terms of helping me break into yet another industry. In no particular order …

• Eric Stephenson (I wouldn’t have gotten to CBR without him, I’d just be a jackass Usenet and message board guy)
• Christopher J. Priest (so much advice, so many good examples of how to do the work)
• Dwayne McDuffie (anedge hirak, showed me some of what winning was like, also shared so much wisdom with me)
• Jonah Weiland (who took a chance and hired me at CBR, endured my lunacy and found a way for us to work together)
• Geoffrey Thorne (a bawse in every sense, who’s showing me ways to change the game)
• Tchise Aje (who helped hone the sword of my writing)
• Brandon Easton (ditto Geoffrey — watch for us, I’d wager)
• Allen S. Gordon (my editor at Rap Pages who got me into the column game before blogs even existed)
• Robert Roach (look for his name below)
• Dale Wilson (our Antidote Trust cohort)
• Sebastian A. Jones (Stranger Comics visionary and all around friend of decades)
• Joe Rybandt (the first person to ever say “yes” to me in comics, no matter how it all turned out)
• Adam Fortier (the second)
• Warren Ellis (despite the fact he blocked my email, he taught me to be fearless & try anything to tell the stories)
• Peter J. Harris (my “father” in writing)
• David Walker (always on my side)
• David Gallaher (such a great creative partner, would love to work with him someday)
• Steven Grant (taught me a lot about the game)
• Regina Jones (who taught me how to be a professional, such a great mentor)
• Rumond Taylor (a reader and supporter since my Rap Pages days
• Jeff Katz (another strong believer in my voice and my work)
• Kwanza Johnson (who saw the mobile thing coming way before anybody else)
• Vincent Moore (my retail and business partner, colleague, editor and friend)
• Kevin Grevioux (who showed me how to stay determined)
• Larry Hama (who taught me more with G.I. Joe than I could ever repay, also, look below)
• Jason Smith (my Chi-town brother and future collaborator on … well, it’s too soon to say)
• Michael Datcher (who welcomed me as a friend and as a writer to the Anansi Writers’ Workshop at LA’s World Stage, and therefore helped me get a lot better)
• Vince Hernandez (constant encouragement, nascent emcee and a great friend who I hope to work with one day)
• John Layman (he thinks I hate him, I find him hilarious, and he’s shown me so much on how to diversify the work and the revenue streams while remaining true to yourself)
• Thaddeus Howze (got me on to the Good Men Project, fantastic and creative writer)
• Nedra Jenkins (the first person I shared my fiction with)
• Savas Abadsidis (a true supporter in every shape of the word)
• Eric Battle (my first comics collaborator, no matter how it all turned out)
• Steve LeClaire (owner of Comics Ink, who saw the logic in The Buy Pile and has supported it since before it was what it is now)
• Jenoyne Adams (another writer of amazing talent who’s been a friend, road dawg and supporter from way back)
• Chinedum Ofoegbu (my personal Darth Maul, who encouraged me when he didn’t even know it)
• A. Darryl Moton (my personal Vader, he’s next)
• Marsha Mitchell Bray (my big sister, my editor many times over, a fantastic mentor)
• Myshell Tabu (my wife, my life, my support, my dream, my everything)

… and last, but certainly not least, Top Cow EIC Matt Hawkins, for saying “yes.” I’m probably forgetting lots of people, but I appreciate them as well, I’m just an airhead.

Some quick Q&A:

“Will you tell me what your comic is about?”

No. Wait until it hits. I had to use all Top Cow characters, so you might be able to narrow it down eventually, but it’ll probably be faster to wait. Anything you wanna know that I can say can be found in the exclusive coverage from CBR.

“How did you do it?”

I followed the rules to an alarming degree of compliance. I sought out and implemented peer review, so I wasn’t flying blind. I followed the advice of elders and people who had gotten published in the industry. I focused on character and plot with equal determination. I acted like I would never get another chance and I left it all on the field. I am also extraordinarily, dangerously blessed.

However, until I have the book in my hands, it hasn’t really happened yet, so I’m still walking on eggshells in some cases.

“What’s next?”

Well, I already had an indie project in the works for … well, hopefully some time this year, the three part Menthu: The Anger of Angels with Robert Roach. Oh. here’s some art from that …

A two-page action scene from Menthu: The Anger of Angels, art by Robert Roach

I have that about half scripted, and most of the penciling is done. I also have to really pimp my books, The Crown: Ascension, Faraway and the third book, which isn’t ready yet (still with editors) — all building blocks for my own personal shared fictional universe. Oh, and I was just in the Steamfunk! anthology from MV Media, which I liked doing a great deal. So, writing more stuff (I have another novel due in 2015) and pimping what’s here.

Oh, and I’m moderating a panel at California State University, Los Angeles on May 1st at 3:15 called Color Inside the Lines: Superheroes of a Different Hue, which will have as its panelists the aforementioned Kevin Grevioux and Larry Hama, as well as Tone Rodriguez. My goal is to figure a way to live stream it. I’ll see if I can pull that off.

I don’t have anything else lined up immediately (that I can talk about, but I am working on some stuff behind the scenes, as all hustlers should be — apologies to Jai Nitz). I don’t believe in discussing details of deals that aren’t done. Yes, I like alliteration. I make no apologies for that.

“Wait, didn’t you say Black people couldn’t get hired to write in mainstream comics?”

I said it was insanely hard for Black writers to get hired by DC or Marvel, which remains true. I just got hired to write, essentially, an Image comic. Image keeps Jimmie Robinson on regular rotation (Five Weapons!). They brought Enrique Carrion’s Vescell to the party. They even did Mario Gully’s Ant. I’ve got zero beef with Image.

“Have you been drinking?”

Shut up, you don’t *hic* know me …

Okay, back to the grind. Also, thank you for reading these words and playing along at all. I am extraordinarily grateful.

Playing (Music): “Take Over The World” by Kidz in the Hall feat. Just Blaze and Colin Monroe

We will be here forever

Do you understand?

FOREVER

Forever and ever
And ever and ever

We will be here forever

Do you understand that?
Get what I’m saying?

FOREVER!

- KRS-ONE, “KRS-ONE Attacks!”

The essense of Black creativity in the shadow of the western world has been one of necessity and scarcity. “Make way out of no way” is the only consistent commandment from be-bop to hip hop, from STEM education to, finally, the science fiction that fueled many of those who sought it.

Steampunk, as defined by the fine people at Wikipedia, is as follows …

Steampunk is a sub-genre of science fiction that typically features steam-powered machinery, especially in a setting inspired by industrialized Western civilization during the 19th century. Therefore, steampunk works are often set in an alternate history of the 19th century’s British Victorian era or American “Wild West,” in a post-apocalyptic future during which steam power has regained mainstream use, or in a fantasy world that similarly employs steam power. Steampunk perhaps most recognizably features anachronistic technologies or retro-futuristic inventions as people in the 19th century might have envisioned them, and is likewise rooted in the era’s perspective on fashion, culture, architectural style, and art.

A quick web search for “steampunk” will deliver tons of images, comic books, short films, cosplay conventions and discussions … and dangerously few people of color. Google Images has their first non-white person under the search for the term 18 rows down, a single spot of brown in a drawing with three white people. One might take this data and believe that not only are Black people (and people of color, by extension) not interested in the sub-genre, but that they have no place in it.

Milton Davis and Balogun Ojetade disagreed.

The co-editors of the new anthology Steamfunk! from MV Media Publishing offer up a definition that might not be found on Wikipedia …

The co-editors of the new anthology Steamfunk! from MV Media Publishing offer up a definition that might not be found on Wikipedia …

Steamfunk: a philosophy or style of writing that combines the African and/or African American culture and approach to life with that of the Steampunk philosophy and/or Steampunk fiction.

Their collection of short stories (nothing could be over 12,000 words) features the work of writers from the worlds of television, journalism and fiction, all positing a slightly more diverse world of fantasy and possibility than many have had access to in the past.

Anthology contributor Valjeanne Jeffers said, “Within this new genre we are witnessing the birth of worlds in which Black folks and that which moves us reign supreme. In short, Steamfunk is just as different from Steampunk as Black Science Fiction is from White science fiction. Imagine a Steamfunk hood, an antebellum South in which abolitionists fly airships. Or, as in my novel, Immortal IV: Collision of Worlds, folks living in a post-apocalyptic, steam-world with meta-humans…policed by androids. Now imagine each of these worlds predominated by folks of color: worlds in which Black, Native American, Latino, and Asian folks are not sidekicks but heroines, heroes and villains. That’s what Steamfunk is.”

Geoffrey Thorne, an actor and screenwriter with scores of credits to his name including Leverage, Star Trek: Titan: Sword of Damocles, Honor Brigade and more, said, “At some point in my lifetime I realized, ‘if I wished to see stories about people who looked like me engaged in the fanciful activities I loved in the books I devoured … the only way was to write them myself.’ That’s the best thing about being a writer; if you don’t like the world, just make up another one. So, I did. I did it a lot. I did it a lot A LOT and eventually came to the place I call THE OTHER COUNTRY. When you read the STEAMFUNK anthology, you will get a quick tour of the place and I hope you like what you see because that’s the point of that.”

Hannibal Tabu, weekly comics reviewer for Comic Book Resources and editor in chief of Komplicated at the Good Men Project, said, “When I started out, I didn’t even like steampunk. I didn’t get it. I’d seen the images and thought it was a little anachronistic — my eye was on tomorrow, not a brass-covered look at yesterday. However, I saw the amazing work Balogun and Milton were doing and, frankly, took it as a challenge to myself. Write a ’steamfunk’ story I’d wanna read, one with possibility and pomp, science fiction extremism and atmospheric flourishes. Along the way I developed yet another Black female protagonist who thinks first and kicks butt, and along the way … I kind of got sucked in. It’s just another kind of thing to like, you know, like I am nuts about Star Wars or the Patternists of Octavia Butler. You’re not gonna see me in a bowler and goggles, but I now like these fantastic ideas way better than I did when they tried that abysmal steampunk Transformers series a few years ago.”

Davis himself said, “I hope to see it expand. Hopefully other writers and readers will see the possibilities and share their own interpretations. As for me, I have a couple of novel projects planned that are set in my alternate history steampunk country of Freedonia: From Here to Timbuktu, an action adventure novel and Unrequited, an action romance series. After that, who knows?”

What is “steamfunk?” It’s Kool Herc behind the turntables, it’s Coltrane taking a deep breath, George S. Schuyler’s smile as he put pen to paper or Obama stopping to take it all in after the second inaugural. Taking the pieces of whatever’s available and making it wonderful, be it soul food or impossible situations and characters, coming to you one scintillating syllable at a time. Now there’s another new way, a path to “the other country,” and you’re welcome to take a trip.

“… there is a deeper world than this
tugging at your hand …

– Sting, “Love is the Seventh Wave”

The Steamfunk! anthology is available now.

[Originally posted on Komplicated at The Good Men Project]