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Comics: Fortunate (or “How I Broke Into Comics”)

Posted in 104, business, cheap publicity, comics, creativity, effectiveness, entertainment, happiness, inspiration, script, shameless pandering, torch-passing on April 2nd, 2013 by Hannibal Tabu
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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.


Michael Finnegan in icy form -- no diamonds

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 …

An action scene from Menthu: The Anger of Angels

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

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Glasses To Goggles: Why, and How I Write Steamfunk

Posted in 104, awesomeness, cheap publicity, creativity, effectiveness, entertainment, fandom, fiction, history, inspiration, shameless pandering, writing on March 3rd, 2013 by Hannibal Tabu
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For the longest time, I had one sentence I used in reference to all things steampunk:

“I don’t get it.”

From what I’m reading, I wasn’t the only one who felt this way. I saw people posting their cosplay, which for all intents and purposes to me seemed like it could have been costuming from the movie Hoodlum that had a watchmaker throw up on it. The idea of whirring and clanking gears left me indifferent, the corseted pomp and circumstance felt contrived. The different steampunk takes on Star Wars even left me cold, and honestly, if you can’t hook me with Star Wars, it might be impossible. Based largely in the Victorian era, my mind couldn’t help but think of the global realities for Black people in that era, with metal accoutrements that were not at all ornamental and much less shiny.

I don’t remember how I got into the Facebook group State of Black Science Fiction, which (at least in my initial estimations) was a place for fairly serious writers and fans of science fiction who wanted more of an African slant, focusing largely on events and programming in Atlanta, Georgia. I read posts from writers like Balogun Ojetade, Milton Davis, my own friend Geoffrey Thorne and more talking about steampunk and I thought to myself, “Well, they don’t seem to be cape wearing wackadoos, so maybe there’s something to this …”

Then either Milton or Balogun (I honestly cannot remember, probably Balogun) announced the request-for-pitches that would lead to the Steamfunk anthology on Milton’s MV Media Publishing imprint. I’d missed the deadline for the last Sword & Soul anthology, which had material close to stuff I’d done for Stranger Comics and had been on this real “publish or die” kick as (at the time) I approached my fortieth birthday. I said to myself, “Well, I’ve always said I could write anything, this is a chance to expand my horizons and figure out whether or not that’s true.”

I started poking around the web, Googling my way towards comprehension, as is my way. Technology based on hydraulics, steam power and what have you … well, that’s a limitation, but I looked at it like it was a villanelle or a press release or any other formulaic kind of writing I’ve had to do in the past. There seemed to be a focus on extravagance, so my brain started envisioning this big, impossibly ornate parade (which ended up being the big dance number for my story). I wasn’t really on board mentally until I saw this image …


… when I saw this sister, probably dead more than a century (unless it was staged), so serious, so stoic … I started to get an idea.

I know an actual NASA scientist, a woman of great knowledge and even greater whimsy, a friend of a friend. However, she wasn’t Black. I started to remix her personality and reactions through the differences of a Black perspective and the woman in this photo started to come to life in my head. My NASA friend was willing to play along and answer a lot of personality and technical questions, which was truly invaluable.

I still needed a way to get her into a steampunk environment. I probably was flipping through my files and saw something Futurama related (a favorite of my NASA scientist friend) and remembered Phillip J. Fry, falling into a cryogenic chamber and waking up somewhere very different. The elements of this character excited and interested me, and with a personal narrative to hook into, I was suddenly excited to see where I could put my plucky scientist and what sorts of experiences she could have.

I have built a fictional universe through my novels The Crown: Ascension and Faraway that has a ridiculous amount of room for my imagination to run wild, so I posited a scientist worried about the climate of the world and in a mood to run away from it, only to have her cryogenic chamber rerouted … somewhere else. I didn’t really figure out the location until my iPod was playing its thousands of songs on random and coughed up this

… and I should note that, before writing this blog, I’d never seen the video.

I don’t regularly listen to country music, but this song snagged a spot on the pop charts, so when I got a big download of “pop” music, there it was, and eventually it found a way into my consciousness. The detailed storytelling and delicacy of the singer’s voice did it for me. This provided a loose framing device for my story, which would give the events happening to my scientist lead emotional resonance (I hoped). Likewise, the open frontiers and lawless possibilities of a western setting seemed to provide more room for my narrative to work without hundreds of years of colonial oppression to stifle my politics.

Anyway, my brain put Taylor Swift in the role of the character from the song, because I’m a horrible, twisted human being and it amused me to put an end to America’s sweetheart (that’s not much of a spoiler, as the funeral is literally the first scene of the story). With all those pieces in hand, it became time for research.

Newave Comics owner Rashida Lewis and contractor Michael Inskeep provided much of the technical data I’d need outside of what my NASA pal told me she would pack if she were climbing into a cryogenic chamber (and her list was quite interesting, as she provided the means of income as well). My own fictional universe gave her a “place” to be, and I spent about a day developing the religious beliefs of the people of the planet Pless (you’d never believe what Pless really is, and if I do three or four more stories, maybe you’ll find out). From there it was just riffing — a flamboyant character who’s essentially a steamfunk T-Pain mixed with Foghorn Leghorn …


… and an ethnic mix that’d make things interesting. From there, it was easy.

For me, anyway.

Putting those pieces together — spending the time researching bleed off valves and open compressors, weaving the religion of a non-existent people into the events of their lives — is the alchemy of fiction, the building of worlds, and one of my greatest joys. It affords me a level of control real life cannot match. Despite my initial indifference, I did enjoy the steamfunk settings and would be happy to return there, as I’d submit work for pretty much anything Milton or Balogun offered.


You’ve taken a look behind the scenes of my story for the Steamfunk anthology, and next (in theory) I’ll talk about how this kind of “difference” makes one, if you grok.

Playing (Music): “If I Die Young” by The Band Perry

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Books: There Are No Lines: The What & Why of @MVMediaATL’s Steamfunk! Anthology

Posted in awesomeness, blame society, business, creativity, culture, effectiveness, entertainment, fiction, shameless pandering, writing on February 25th, 2013 by Hannibal Tabu
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steamfunk paint by dr. destiny

We will be here forever

Do you understand?


Forever and ever
And ever and ever

We will be here forever

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


- 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.

milton and balogunA 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.

steamfunk anthology cover

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.”

john henry

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.”

harriet tubman

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]

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