Author: Jackwraith

Creative process and long-term visions

Posted on May 31, 2025 by Jackwraith

7 Ways to Use Visual Elements in Your Writing – GREG MILLER – Writer & Writing Coach

It’s sometimes difficult being “just” a writer in a visual medium. Despite the fact that writers are the very foundation for those media (be they films, television, comics, video games, or something else), they’re often deeply in the shadows of the primary driver, which is what you can see, be it artwork or graphics or actors or whatever else is associated with your brand of storytelling. I remember Peter David, at the height of his fame as a writer on Incredible Hulk and several other Marvel titles, telling a story(!) about sitting at a convention and having a kid lead his mom up to David’s table and point him out as: “The writer. He’s the guy who puts all the words in the little bubbles.” But the fact is that all of those media are still methods of delivering a story and that story has to come from somewhere. As I’ve casually referred to in a couple other posts here, I am not an artist, so working in a medium that is most known for its art has always been a bit of a struggle because if I don’t have a cooperative partner, like Jeff, the stories I’m spinning and the worlds I’m exploring and the characters I’m creating have no outlet. They’re just shells, waiting to be brought to life by whoever can draw better than stick figures (i.e. most other people who aren’t me.) This was a regular issue at Fifth Panel Comics, because the vast majority of the people who participated in the studio with us were writer/artists. They came to us with stories ready to go, which they had (sometimes) written and with artwork that revolved around those stories. Asking them to drop the vision that they came to us with and instead draw up someone else’s vision is a challenge; both for them and for us. That meant that a lot of the time I spent at 5PC was oriented around someone else’s work and that was a situation that came to a head around 1996, if I’m remembering it correctly.

We used to have regular, weekly meetings at a string of restaurants along Telegraph, south of 696. It was a relatively convenient locale for everyone because Jeff worked near there and Kevin and Nora (our one artist/writer combo) lived in Taylor and I could reach that area easily by coming down 96 from Ann Arbor (and was the one most willing to travel in those days.) Sometimes it would be a sitdown place. Other times it would be a fast food joint of some kind. I don’t remember the names of any of them because it’s been 30+ years and the locale was never important. It was the work. Always the work. At one of those meetings, we had already moved up in the publishing world and had begun doing full-sized comics, rather than the digest-sized productions we had been doing in earlier days. Our first release was an anthology title that would regularly collect the work of a few of our artists like Kevin, Dave Witt, and Todd Richards, telling their own stories and drawing their own panels. As an offhand comment the year before, I had suggested to Jeff that we call the book Razorwire: twisted, convoluted, cutting edge. He liked it and, thus, there it was. At the meeting in question, we were in one of the aforementioned fast food places, sitting in a booth, with a few copies of the first issue and some pages for the next one. One of the guys working behind the counter had overheard us and came up to our table and asked what we were working on.

Razorwire 1 (5th Panel Comics) - Comic Book Value and Price Guide

We gladly showed him the first issue and Jeff asked if he wanted a copy. He nodded excitedly and then asked if we could sign the book. He looked at Jeff and said: “Who are you?” Jeff said: “I’m the publisher.” and scrawled his name. Then he turned to Kevin and Nora and they said: “I’m the artist on this story” and “I’m his writer on that story”, respectively. Then he turned to me and said: “And who are you?” I… had nothing to say. My name was nowhere on that book, even though I’d been deeply involved in its creation. I finally said: “I’m nobody.” And, a moment later, I shrugged and said: “I came up with the title.” He laughed and said: “Well, I’ll take your autograph, anyway.” Everyone laughed except me and I shrugged again and signed it. That stuck with me for a long time. It still kind of dwells with me to this day. I had spent five years with the studio, pushing things forward and doing all-nighters with Jeff and driving through ice storms because “This is when we work!” And when we finally got to the point that we were doing regular, full-sized comics, my work and my name was nowhere to be seen. From a publishing (and public) perspective, I didn’t exist. So, when we met up at a different restaurant the next time, after having that moment infesting my thoughts for a week, I told Jeff: “I have to go. I have to find somewhere where the stories I’m writing- have written  -are actually going to be seen and read.” He knew exactly what I was talking about because, of course, he had started the studio in the first place because he was an artist and wanted to draw comics and yet basically hadn’t picked up a pencil except for the occasional promotional piece in years. He said: “I totally understand. Come up to our place this weekend. I have an idea that I want to pitch to you.”

At this moment, I knew that Jeff had two concerns. One of them was that I might be walking away feeling like I’d accomplished nothing, creatively, in the time I’d been with the studio. The other was that we were still no closer to generating anything even mildly profitable and it was Jeff’s money that was being poured down a hole to keep 5PC in business in a very crowded market. He wanted to produce something that would highlight both of us as actual creators, rather than editors (although editors can be and often are key members of the creative process) but he also wanted to produce something that might have a slight hope of catching the eye of readers so we could, y’know, make some money to pay off the mounting debts that the studio was generating. We sat down that weekend and he said: “I want to do a vampire book.” I immediately cringed. Vampires were still a relatively hot property at that point because of Anne Rice and the films made from her books, as well as White Wolf’s Vampire: The Masquerade series of RPGs. There was an instant audience for them that wouldn’t be present for my more, uh, esoteric material. But, he said, he wanted to do vampires in the future, so kind of a hi-tech, SF setting; distinct from the usual 19th-century-to-contemporaneous fare. He looked at me and said: “That’s the basic idea. I want you to run with it and see what you come up with.”

Gothic #1 FN ; 5th Panel | Guy Davis | Comic Books - Modern Age

Ideas had never been an issue for me. I’ve mentioned before how Dystopia came to be a thing from some scattered notes and me sitting down in front of a keyboard for a couple hours. Jeff was expecting that I could do the same thing. The difference was that I didn’t want to do a vampire book. I didn’t want to do anything but what I had already written several hundred pages of script for. But I also realized, again, that he was in the same place that I was. He had to keep being the publisher because otherwise the whole thing would simply fall apart. But at least working on a creative concept between the two of us would give him a step back into that world that he had begun this project to do in the first place. So, we sat there for an hour or two and I just spieled out the basics of what would become Gothic, our other full-sized publication. I came up with the concept of vampires being a hereditary condition caused by other-dimensional beings mating/fusing with humanity; how there were four separate clans primarily based on the type of being that spawned them and, in the present time, based on the kind of thing that they fed upon from “regular” humans (blood, flesh, endorphins, mental energy (aka “souls.”), etc.) I tossed out a couple dozen characters: each clan had a prince, a savant (kind of a “best sorceror in the house”), and at least a couple praetors (executors of the prince’s will.) There was also the Cabal of the Flesh, the largest gathering of “witches” who were using the vampires’ own manipulation of energy (“magick”) against them by fusing it with technology. There were the human authorities in a dying world, strapped for oxygen, including one of the officers of the local domestic security/control forces, Jane Stasi. There’s a lot of backstory behind all of that that I just kind of rattled off and was tapping out notes for on my archaic laptop while Jeff just watched and smiled.

That’s how my process usually works. People will come up to me and say: “Tell me a story.” My usual response is: “I don’t know any stories.” But, give me the kernel of an idea, and I will usually build a story around it quite quickly. I don’t even need anyone else to proffer it, either. As I’ve mentioned before, sometimes I could just see a book cover or hear a news item and just start generating off of that. This was a project that I wasn’t excited about at all, but if it needed a story to go with it, I could do it and I did. The Gothic “bible” is only 1/4 the length of the one for Dystopia, but it still contains an entire world and a lot of broad concepts and fragments that could be built any way that we wanted to send it. In the end, we only got two issues produced before the comic industry and the studio imploded, but that was at least our attempt to bring some creativity back to the studio picture for Jeff and me. It wasn’t what I wanted to do. It probably wasn’t top on Jeff’s list of stories to tell, either. But it was something and was angled toward providing for the studio so that all of our creative ventures could go forward.

Now we have a very different reality. Jeff doesn’t need to pour money down a hole to keep us going since, for the relatively minor cost of a URL, we can produce comics in the format that many millions are already reading them on a regular basis and be sure that we’re reaching our readers. The ability to self-publish means that I could try to finish the serial novel that our current stories are based on, upload it to Amazon, and watch it take off like the Wool series. There are more ways forward than before and the fact that I’m still “just” a writer in this visual medium is much less of a concern than it was in the past. I have to say that I don’t know that I could replicate my old creative process, especially since the material that we’re working on now is at least 15 years old and based on concepts that are 30+ years old. We have a long way to go before I would have to sit down and spiel out an entire universe in an hour again. But the satisfaction comes in knowing that, finally, at least some of the stories and characters that have been living in my head for three decades will be seen by others; from me “putting the words in the bubbles” and Jeff putting faces to those words. It’s taken a long time, but it’s good to finally feel like a real member of the creative team.

 

 

Persistence unto (and sometimes through) death

Posted on April 6, 2025 by Jackwraith

Favourite starting zone? : r/wow

It’s been a couple months since the last time I tapped out one of these. In the interim, I’ve been writing in other places, although not as often as I could’ve been there, either. I’ve also been working on the script for chapter two in the story that Jeff and I are telling- Midwife, aborted -as well as the script for a potential third chapter (still under debate) and the prose version of a potential fourth chapter. It’s hard to tell where things might go from here and that’s the same in any number of other domains. As the United States continues its slide toward outright fascism, there can come a time when people question whether it’s worth continuing to fight or even how to continue that fight. There are other places in the world to live; many with far more humane systems of assistance for those who need it. So, then the question arises: Why stay? Why remain and subject yourself to the fight that inevitably results from resisting the depredations of the world’s modern Nazis? And it’s a fair question. Some people just aren’t interested in fighting, especially in the latter stages of life and especially if a pleasant life can be found elsewhere.

 

Then it’s just a matter of principle. Are you going to allow other people to evict you from the place that you’ve, perhaps always, called your home? Are you going to allow changing circumstances to separate you from the life you’ve built and would like to continue to enjoy, right where you are? If the answer to that is “No”, then you’re in line with the motivations of that vast majority of those who reside on Four, known locally as the Dead Zone, because that unwillingness to abandon one’s home extends to many of the residents who are no longer presences in what most would consider “life.” The first story that I wrote for Fifth Panel Comics, alongside Will Kliber doing the artwork, was a nominal horror story called “Excitable Boy.” It was an idea I kind of plucked from the ether one day and jotted down in the hallowed notebook and attached to it a concept I’d dreamed up a couple years earlier called The Morgue Lords. That latter idea was something I wanted to save for a much bigger picture, but I figured it was natural to tie it in to this small series of horror story ideas that I had for an anthology that Jeff was publishing called The Picture Show, so that there could be a common background thread and then, maybe, somewhere down the line, we could point back to where things had “started” if that bigger picture came into focus. Jim Shooter did a lot of that kind of thing when he was running Valiant Comics, with the main characters of their own books appearing in minor roles in other stories before making their own debut. It’s a solid way of approaching the whole “shared universe” concept and I figured I could just follow suit.

When I envisioned Dystopia as a multi-genre setting, I knew I wanted horror (and the Morgue Lords) to be part of it, so that all kind of flowed together and I decided that the fourth level- not quite deep enough to engage the radical changes down below, but deep enough to be an environment in which the average citizen (or corporation) probably wouldn’t be interested in remaining -was the best spot for it. Instead of having a Walking Dead situation, where the last fragments of humanity are holding out against (or fighting between) the shambling hordes of undead, there could still be sections of that level where relatively “normal” city life continued for at least some of the inhabitants and the emergence of things like ghosts, zombies, vampires, werewolves, whathaveyou would still engender the unease, shock, and horror that those stories usually try to convey. The general idea was that this ring of the city would’ve been the outskirts of the original settlement when it really began to grow past the level of a mining camp or whatever, so that’s where many of the original and latterly-expanded cemeteries would’ve been. That, of course, is fertile (almost literal) ground for the kinds of stories in the horror milieu. It’s a conceit, but I tried to make it a logical one. Then, the energies released by the Collapse and the Well interacted with that ground and brought back many of the former residents who still weren’t interested in leaving, for one reason or another. The popular theory was that the Well was also acting as a beacon for other kinds of undead, such that Four became kind of a gathering place for them, as it became too problematic for a lot of them to venture deeper, although many tried.

This is the level where the Walker patrols are still fairly frequent, so the whole nature of the setting begins to change from one of exertion of human influence to survival against what may be greater powers. But it’s one of the best mixes in that respect because, again, some level of society and community still exists. One can see that in the presence of figures like Macabre, the self-labeled crimelord of Dystopia. He’s still trying to keep the rackets running and extend them down to Five, as well. Similarly, the gangs are a bit less tribal and a bit more about keeping a community together. The Knightshift is perhaps the best example, fusing a group of survivalists with a gathering of people that are halfway between actual sorcerors and LARPers. The motivation for them is less about holding turf and more about establishing a perimeter in which the residents of the level can still carry on their daily lives to some degree. These are the people pushing back against the criminals like Macabre in the same way that the modern American population should be pushing back against the criminals in charge of the government. But groups like the ‘Shift and Control/Alt/Delete, a gathering of self-avowed hackers trying to exploit the ShadowNet, are also set to try to contain the excesses of other phenomena on the level, like the Blessed, a loose group of vampires, and Canis Majoris, a much more tight-knit association of werewolves. (There are no limits on that “horror” theme.)

Vampire: The Masquerade Guide – Creating A New Clan

But that attraction of the Well works both ways, in that individuals focused on the containment (or extermination) of the undead are also present, like The Gargoyle, who is both a vampire hunter (led here by the presence of the Blessed) and the main focus of the second story Will and I presented to Jeff for publication (another “pre-Dystopia” refugee, as it were.) Another is The Hanged Man, whom I mentioned alongside Macabre, the Morgue Lords, and C/A/D when I mentioned the planned third book of the Dystopia collection, Shadows on the ‘Net. So, a lot of these characters have been around for a while, figuratively and literally. All of them are intent on surviving in the changed circumstances that the Collapse created. All of them are willing to fight for what they think is right or simply to protect the home that they’ve known; sometimes for the years that make up their lives and sometimes for many centuries before that. They answered that second question of whether they were going to allow those circumstances or forces released by them to push them from their homes with a resounding “No.” In truth, that’s the one I favor, as well, although I can understand the reasoning behind simply going somewhere else to enjoy one’s life (or unlife) in the way that is most readily available. But it’s the answer of “No” that tends to leave the city as what is still nominally a functioning community on several of the levels, so that’s probably a reflection of its creator in that respect and the foundation for many of the attached stories.

The concept of oligarchy

Posted on January 27, 2025 by Jackwraith

The arcologies of The Ascent. A behind-the-scenes look at the… | by Konstantinos Dimopoulos | Medium

The third level is the one that fits most neatly into the old school cyberpunk vision that drove a lot of the Dystopia setting. It’s very high-tech. It has a lot of cyberized-type characters and it contains that “corporations as ultimate authority” idea that everyone remembers from the work of people like William Gibson. That idea later blossomed in the form of games like Netrunner where it’s the Corps vs the Runners; the staid authority vs the rogues of society. The contrast on level Three was that the corporations themselves are the rogues. Unlike in the outside world and in the way they’re presented in Gibson’s work and derivations thereof, the corporations in Dystopia are loose cannons. They’re resisting attempts by their original structures to reclaim the resources (people, technology, data) that most assumed were lost during the Collapse. Once the outside world and those powerful corporations discover that both people and companies are still living/operating inside the city, they’re quite eager to return and try to exploit what it is that’s available. That’s even further reinforced when they discover that those companies still functioning inside have access to technology that vastly outstrips anything outside the city. Like any profit-seeking entity, those corporations want to acquire and sell and utilize that tech for their own gains. But most of the segments of those companies in the city realize that there are ways to exploit all of the above for their own gain and they’d be at the whim of the hierarchy if they returned to the fold. Thus were the Rogue Corps born.

Even distinct as it is from corporations running the outside world, that whole idea is rooted in the concept of corporate oligarchy or corporatocracy. It was an idea that was firmly embedded in my mind from political activity, where it was easy to recognize that both major parties in the United States moved to the tune of whichever major corporation was donating to their campaign war chests. Frequently, those donations went to both parties, so that no matter who ‘represented” the people in our republic, those corporations would have someone(s) attached to a leash. This is, of course, exactly the kind of circumstances we have today which are permanently enshrined in law since the Supreme Court decided that money = free speech. Citizens United permanently established the reality that we had 20 years earlier when I was first writing all of this, since the rule by money is the same now as it was then. But the Rogue Corps are slightly different.

Lore-accurate model of the Renraku Arcology v.2 : r/Shadowrun

Certainly, they represent a kind of oligarchy on Three because of the absolute control they have over much of the level. Most of them have created what became known in the cyberpunk fiction world as arcologies, which are basically environments that are designed to be worlds unto themselves. Each domain of the major corporations on Three (Metascience, geNETic Industries, The Mandarin Foundation, Global Communications, etc.) is a system that conforms to the activity and technology of the company that has developed it. Each of them are little societies unto themselves that shift and change based on the interests of those who control them; both physically and philosophically. Most of them are accessing the ShadowNet in order to develop much of their technology and that’s why Three is one of the foundational levels of the Net (along with Five and Seven), since they’re not only accessing what filters up from the Walkers and the gangs, but also what they discover on the ever-shifting tableau that is the Net. That near-absolute control means that the presence of the gangs here is, like on Two, more parasitic than actually competitive. The GoreKings operate by stealing resources from Global. Jerry’s Kids function by stealing whatever they can from everyone who’s showing “shine” (tech.)

That’s not as difficult as it might sound because there are other entities on this level that are even more exotic than the Rogue Corps. Most notable among them are the Iron Wizards and the Deathless. The latter and their leader, Koschei, are one of the largest base elements of the background of the setting; alongside their greatest rivals, the Morgue Lords. Unlike the Wizards, the Deathless don’t really exist as a separate group. They’re present in all of the Rogue Corps and some of the gangs, as well; constantly watching, constantly waiting. Their presence is akin to that of many modern corporations, such that the concept of oligarchy doesn’t even need to be overt, so much as simply omnipresent. If it ever feels like modern life can’t function without something provided by a corporate overlord, you’ve found a form of oligarchy. Looking at the little computers in our hands is an example of just that, especially by those given over to the Apple fixation. They exist to shape our world and make us subservient to their profitable interests, in the same way that the Rogue Corps physically shape the air and land around them in their arcologies. Of course, sometimes those interests get beyond the control of even those who create them, such as the Tartarians; one of whom is the primary focus of what might be the third story that Jeff and I publish. Haven’t decided yet. Similarly, the Iron Wizards were a main element of the first real Dystopia story that Fifth Panel ever did, so everything comes back around, eventually.

Кощей бессмертный в киберпанке, …» — картинка создана в Шедевруме

Anyway, that’s it for now on my casual and infrequent and somewhat vague tour of the city. I’d rather talk about most of these elements in actual stories, rather than spieling them out here like an RPG guidebook. But I thought it was fairly pertinent to our currently degrading government situation to bring up what my concept for corporate control of our lives looks like in the near-disaster future.

The essence of control rings out

Posted on December 9, 2024 by Jackwraith

In some ways, the Control Ring (level Two) of the city is the most obvious of settings and, in turn, the most aptly named. Government of any kind is essentially about control: controlling who is considered a citizen, what the borders are, and how the rule of law (if any) is implemented. There are certainly differences among the various types of government and those that are nominally about “the people” are often the most insidious in the form of control which is exerted. Our own United States, once again about to be the plaything of Bronzo the Clown and his cohort of fascists, has long trended toward the type of control which is far more subtle than simply that of a monarch dictating what is good or isn’t according to their personal whims. In the US, the concept of the nation-state as religion (the flag not being allowed to touch the ground, being required to recite a pledge of allegiance in school, etc.) is the most obvious form of that control. Treating inanimate objects and vague concepts like “democracy” and “patriotism” as untouchable foundations of this society played heavily into the conceptualization of the Tribunal, which is the dominant element of level Two.

Likewise, organized religion has been an element of control in human society for as long as the latter has existed. Being able to refer to otherworldly and largely unknowable beings as the enforcers of societal law that was, of course, usually dictated by a priesthood in close alliance with the rulers of that society, has been an essential facet of almost every major religion created throughout human history. “Don’t do that because God said so” is a direct form of that control. Writing those religious laws down and then reinterpreting them to serve whatever present interest was most advantageous to those doing the interpretation is a more oblique but just as widespread method. Religion establishes a code that must be heeded if one is to be accepted within the society where the majority of people have decided that said code is the best way for society to function. Again, American democracy was largely created as a replacement for that kind of religion. When it’s combined with that outlook is when it becomes the most pernicious as, again, we are about to see with Project 2025 and so forth. This, too, was a major aspect to my imagining of the Tribunal.

Brave New World | Occult & Obscure Clothing | Night Channels White / 5X-Large

But then when it is simply all of the worst aspects of humanity that those two things- government and religion -allow to be used as weapons is where it all comes together. That, in truth, is fascism and it usually centers around promoting the interests of a small group against the interests of all other groups and is almost always rooted in fear: fear of The Other; fear of change; fear of differing perspectives. All of those things must be repelled or abolished in order to preserve the sanctity (and control) of the society that functions on that fear. The Tribunal, as masters of the second level of the City (and, really, the first, since it’s the one that doesn’t have regular, direct contact with the outside world, like the Rim) is a structure of government that is expressly about control. It wants to control who or what enters its territory (and, thus, enters or leaves the city.) It wants control over the genetic makeup of its citizenry (the Midwife project.) It wants control over what its citizens do, think, and feel as it arcs toward its collective vision of “the perfect society”; E pluribus unum, indeed. That kind of exacting control over mass bodies of people is nearly impossible if history is any indication, but many attempts have come close, usually in fiction but not always. The Tribunal is Orwell’s 1984. It is Aldous Huxley’s Brave New World. It is George Lucas’ THX-1138. But it is also Joseph Stalin’s Soviet Union. And along with those, it’s also markedly interested in eugenics, cybernetics, and psionics as methods to implement that perfect society and extend it as far as it can.

I usually refer to the Tribunal as an “it” because, while it is controlled at the top by a council known as The Trust, the whole entity is something of a unitary existence. The control within that society is so absolute that almost everything tends to function like a centralized machine; from the Tribunal Protectors (aka Thought Police) to the Midwives to the Counselors, all of which are meant to curb the potential excesses of humanity (like, say, free will) and instead shape it into a tool to be used to, again, create that perfect society. That’s why the eugenicist program of the Midwives is so important to it. Finding the right genetic makeup to not only create “super-beings” but expressly obedient, dedicated super-beings is important to the whole mission of the Tribunal. This, of course, all rings true to the basic ideas behind the Nazi regime of Germany and, likewise, rings true to the aspirations of any number of Americans, both now and in the past. Genetic purity has been a hallmark of American society since its founding on the backs of those considered a “lesser race.” Racism has been an essential part of American politics ever since. The Tribunal takes a different tack on it, in that no ethnicity is considered superior to any other, but the object of the Tribunal is to create such a race that will be superior and, therefore, in turn create the superior (or perfect) society.

Religion and Control | Catholic Answers Podcasts

That endeavor is, like many things throughout history, a direct response to the circumstances around them. The Collapse was enough of a shock to create the idea in the most outlying portion of the city (but still inside the city, unlike the “lawless” Rim where those “others” live…) that a government/religion like the Tribunal is the only proper response to this disaster. And there are a couple elements external to the state that contribute to that idea. Back in the early 90s, it was common knowledge that the older portion of the population were more likely to be conservative voters, which made the idea of the Dawn Patrol- a group of pharmacologically-enhanced, elderly men, longing for “the good old days” -an easy one to countenance as one of the few manifestations of the “gang” phenomenon on the second level. Another one of those groups is the Anarchrists, who take the religion example to an extreme; each one of them believing that they could be the promised messiah if they can only sacrifice themself in the fury of conflict against the control enforced by the Tribunal. We’ll run into a few of them in one of our upcoming stories.

But I also don’t want to neglect the religious angle in all of this talk about government control. That’s a deep-rooted aspect of the Tribunal’s makeup. As a Marxist and classical Stoic, I’ve always been fascinated by those who are devoted to this or that religion and the extremes that they’ve been driven to throughout history in the name of “God.” Much of the technology involved in the makeup of the Midwives, as well as the very network that the Tribunal maintains independent of the ShadowNet- TrinityNet -is rooted in that religious perspective. Entities on TrinityNet and within the very structure of the society carry names from religious texts like ophan and nefeshim. The iron fist of that society is inherently portrayed as something extending from the heavens and rooted in imagery of much greater significance than one gated neighborhood on the edge of a former metropolis. Also, one of the interesting things about the Tribunal that sits in the deep background is how similar much of its approach and essential makeup mirrors the society of the Walkers, much deeper in the city and much farther in our future than any tales about the second level…

Anyway, again, that’s for the future. For the next couple months, we’re still on the Rim and perfection is a distant vision. But we can still see the Tribunal Protectors lining the wall. They’re right there, hiding in plain sight. 

The tribal mentality

Posted on November 18, 2024 by Jackwraith

Gang - Wikipedia

As I mentioned in the historical publication piece, the gangs have almost always been a fascinating topic for whomever has read the bible. When I started listing them off on that day that I dumped the majority of this whole concept onto a keyboard, a lot of them had come from the fabled notebook but in various stages of creation. Some of them were almost fully realized, like the Knightshift, and some of them were just names, like the Gorekings. Some of them had an identity firmly established, like Jerry’s Kids, and some of them had one that was only a wisp of an idea, like the Catclaws. And, certainly, some of them have been updated down through the years, as I’ve thought about stories that involved them and realized that there was a better concept that I hadn’t even considered when first naming and imagining them. I’m still doing that as I continue to write about the place. The Anarchrists of my current mindset aren’t the Anarchrists of the moment I first set them to paper, electronic or actual, in 1991. But I think the lure that their overall presence creates is that tribal mentality that most humans have to one degree or another. People want to belong to something and the gangs of Dystopia are like their own little nation-states unto themselves. Indeed, many of them are formed around actual genetic or other identities, like Bloodpulse and the Posh Street Flaming Screamers.

Mafia of the Poor: Gang Violence and Extortion in Central America | Crisis Group

Tribalism is hardwired into the human condition and manifests itself in any number of ways. The idea of Us vs Them is very much a part of the human condition, even if it wasn’t already encouraged by public institutions, like governments with their national borders, or cultural training, like racism. It also manifests itself in different ways, even when one discards one type of tribalism for another. I detest nationalism, as I think it divides people that would otherwise be working together (aka “They got you distracted with the national war so you don’t think about the only war that matters: the class war.”) It’s that disdain for nationalism that largely makes me indifferent to international football. Of course, I’m also a lifelong Liverpool fan, so my football tribalism expresses itself in another fashion. But it also depends on how you let it shape your thinking. I have good friends who are Manchester United, Manchester City, Real Madrid, and Chelsea fans and it doesn’t affect our friendship, even during matches. (Can’t say I know any Everton fans, though. I have limits.) The difference being that I am me first and Liverpool fan/club member, second. But a lot of people wrap themselves up in an identity that often defines how they interact with others. They’ll frame interactions in the context of being this or that identity, rather than simply a unique human with unique reactions to and interpretations of everything and everyone around them.

The Warriors movie review & film summary (1979) | Roger Ebert

Many of the gangs are of the former perspective, where their gang membership and the identity that allows or encourages them to be part of that gang, is like their armor against those not like them. In the city, of course, being part of a group that is closely-bonded is often a matter of literal survival, as opposed to social advancement or comfort that often defines gang membership in the current era (which can also be about survival in some cities, I am fully aware.) If you aren’t part of something like the Phalanx or the Shadow Dragons on Six, you may not live to see the next day. In contrast, your membership in something like Jerry’s Kids may not only be a matter of your physical makeup, but also might risk your life more than simply living on Three would ever do, which is a pretty high bar to clear in most parts of Dystopia. But in some cases, it’s not even a question of identity. The only thing that keeps the Phalanx tied together is the presence of the Warlord. It’s a cult of personality just like the modern Republican party, which is centered solely around Bronzo the Clown. Again, the fact that political parties throughout history were often just better organized and better funded street gangs (occasionally oriented around sports teams, like the Blues and Greens of Constantinople) makes those kinds of associations and personality cults that much easier. Again, many nations are essentially “gangs” of people who share an identity and often point that identity at other nations to announce: “They not like us.” That erroneous outlook of our modern era is often a side note in the identities of Dystopia’s gangs and that’s part of what science fiction is for: an extrapolation of what we see today into what we could see tomorrow.

Juggalos vs. the FBI: The fight for identity beyond the gang label - Sqauk

Canis Majoris, for example, is made up of lycanthropes on Four, both human and Morlock. Similarly, the Cyberrats on Seven are only made up of the cybernetically-enhanced and genetically-mutated servants of Hakker, which is still a cult of personality, to some degree. Both of their identities are also shaped by the level they inhabit, which was also part of the overall concept. I wanted to be able to do multi-genre stories in the same location, so the fact that werewolves exist on Four is entirely in keeping with the “horror” theme of that level. But I also wanted to do a different kind of SF/horror on Seven (about which I can’t really say that much until we get there…), which is why the Cyberrats (and Hakker) are what they are. But, again, sometimes it’s just a matter of self-interest. One could easily see any of the Rogue Corps on Three as “gangs.” For that matter, it’s easy to look at Macabre’s mob on Four, the Iron Wizards on Three, and The Morgue Lords and The Deathless across the city as different forms of “gangs”, even if they’re not identified as such in the bible. Human tribalism infects most aspects of modern society. Few people want to be alone all the time, so you find other people that are like you or think like you do or are fans of the same thing you are and you join them. That social animal characteristic, while not unique to humans, is far more refined and often esoteric than it is among other mammals. Elephants don’t band together because they like the same singer, but humans do and it means that even the most exotic motivations of any of the gangs in Dystopia still make sense at some level. That instinct to band together becomes even more prominent when you’re in the midst of a metropolis that just collapsed in on itself and it’s hang together or get hanged together. (The Hanged Man, however, remains one of the distinct loners in the city…)

So that’s some of the background thinking on the gangs and their presence in the setting. We’ll be running into one of them in the second story and the fourth story in the serial novel basically revolves around the activities of both the Knighshift and Control/Alt/Delete, so there will be plenty of gang action to come. One of these days, I might get back to that Bloodpulse story from the original digest-sized comic, too. Meanwhile, next time I might get back to the survey and explore the Control Ring, but no guarantees.

Shadows on (and off) the ‘Net

Posted on November 14, 2024 by Jackwraith

The opening story, Into Darkness, is primarily concerned with what’s happening in “the Real” as the city expression goes. We’re presented with Force Command, which is the main route of interaction with the outside world, which is almost always only part of the Real. We’re also primarily concerned with the manifestation of the Netwights and how they are a constant presence in many areas of the city; most often on The Spill, which is the section of the city that didn’t fall relatively cleanly in concentric rings. That section collapsed entirely and left a path of rubble from the Rim all the way down to Tarterus, which is the seventh level and one of the key lynchpins of the ShadowNet, the city-wide network that forms “the Now.” Unlike the other two levels that form that tripod of ‘Net structure, the fifth with the Black Market and the third with the Rogue Corps, the nature of the ‘Net on Seven is less technical and more mystical, for lack of a better term. In some ways, it’s the very root of the ‘Net and some of the phenomena that appear on it. There are other forces at work on Tarterus and those elements shape the character of everything that comes into contact with it and them. Among them are things like Hakker and his Cyberrats (just cybernetically altered or something more?), the gangs like the Azurademons, the TarBabies, and the Psycho Derelicts, and the regular presence of the Tech Walkers, which are more present on this level and Six than anywhere else in the city.

As I mentioned before, the concept of the ShadowNet is rooted partially in William Gibson’s concept of cyberspace, but it was always intended to be more than that. Whether you’re online or not, you can regularly feel the presence of the ‘Net in the city. It’s both “online” in terms of being an electronic communication network, but also physically and psychically present within the city. If you’re “in tune” with it, then you can recognize its effect on the physical world. Rare, indeed, are those who can be effectively online in both the Real and the Now, but one of them, Satori, is a regular resident of Seven, which speaks to one of those dual identities that that level holds. And, of course, “dual nature” is one of the main elements of the ‘Net as a story element, which our first story will get into. The fact that we’re beginning at the top of the Spill and its endpoint is on Tarterus is another nice coincidence. It’s almost like I’ve had this thing mapped out in my head for 33 years. But that “feel” of the presence of the ‘Net is also evident if you happen to run into those denizens of the city which, like Satori, have a connection to the Real and the Now as part of their own dual nature. Those are the Netwights and the Jackwraiths.

The latter is the screen name I’ve had for some 40 years, going back to the earliest elements of the Internet in places like local BBSs and some more well-known nodes like The WELL (yes, just like the Ninth level. Inspiration comes from many places, but that wasn’t an intentional naming match.) Of course, back then it had to be “jackwrth” (8-character names) but I could type it out in full in messages and posts. The original idea was a take I had on Gibson’s work, wherein his characters had to jack in, mentally, to his network and basically fully upload their consciousness. My thought was: What would happen if you died while you were jacked in? You’d leave behind a ghost. Or a wraith. Hence, jackwraith, since I was terminally online back in the day. In old school D&D, two of the most feared types of undead were wraiths and wights, since the former would drain your strength until you just died from being near them and the latter, even worse, would drain you of experience levels; meaning that all the work you’d done to become an 8th-level fighter might be lost when a couple hits from a wight reduced you to a 6th-level fighter. So, it was natural that if I had jackwraiths in the Now, I’d also have netwights in the Real and the residents of the city would have to deal with them, no matter where they were in the two worlds. I have a story in the queue that involves the Iron Wizards and a programmer named Kahina that orbits that concepts about the wraiths/wights and what spawns them and why. But that’s probably a ways out.

Anyway, that’s a bit more background on one of the most important elements of the setting. It has a presence in this first story and the Tribunal’s version of it- TrinityNet -will be part of the second story. The Tech Walkers also have an exclusive network of their own down on the eighth level, the Wasteland, so there’s no place that isn’t connected to some version of the Now, even as close as the Wasteland is to The Well, which tends to restrict that kind of communication and presence, which is kind of a clue to the essential nature of that aspect to the city and its origin. But we’ll get into that at some point in the future, either through Jeff’s art or me rambling away in some other fashion. Next time, I might talk a bit more about Force Command or perhaps resume the survey down to Two, the Control Ring.

Plans for the moment

Posted on July 21, 2024 by Jackwraith

When Jeff suggested that we try to get back into comics (him drawing and me writing), he immediately suggested the Dystopia material that I’ve been regaling you with in these first few posts. When he did that, he asked me to send him everything: the “bible”, the scripts, future story notes, and so on, as he hadn’t read any of it in years. What I also sent were a few short stories that I’d been writing in more recent years on the suggestion of my friend, Margot, that Jeff had never seen. Years ago, Margot had read the bible and a bit of the other material and reasoned that, if I couldn’t find an artist to do it in comic format, I should just write (or rewrite) the stories that I had and do everything in prose. That way, I wouldn’t have to rely on anyone to enable their seeing the light of day other than me. I’d become so fixated on the material in a visual sense that I’d never considered trying to change format and approach them from another angle. Some of that fixation remains, since we used to do everything in black-and-white at Fifth Panel because color printing was yet another expense that we (meaning: Jeff) couldn’t really afford. Consequently, I imagined almost every concept and character for Dystopia in black-and-white and that perspective remains to this day. Jeff has talked about adding color to the finished panels for the first story, which is based on one of those short stories that Margot suggested- written over a decade after the studio had ceased operation -and I find myself still imagining everything in black-and-white, such that adding color to anything feels foreign. I think Into Darkness could probably remain black-and-white, although I understand that adding color to it will attract more eyes and allow us to reveal some more details about things like the Netwights and so forth. The next story, though, will definitely benefit from a little chromatic accessorizing…

Into Darkness was intended as the opening segment of a serial novel. Even doing prose, I couldn’t escape the comic roots of the concept. What I wanted to do was a series of connected short stories- nine of them, in fact -that could stand on their own but still be a part of a continuing presentation; kind of a serial novel, with each segment taking place on one of the city’s nine levels. I realized in thinking about the whole concept that the later stories would more clearly be really long chapters in an actual novel, since the characters would be reflecting on previous events and interacting in a manner that involved that continuing story. But the first three or four or five could easily just be “days in the life of Dystopia” that spoke to one corner of the differing nature of each level. The central plot of the novel was an eruption by the Netwights/Jackwraiths in both the Real and the Now, respectively. You’ll see me regularly using that little catchphrase that is commonly wielded by the inhabitants of the city to talk about the outer world (the “real”) and the inner world (the ShadowNet or the “now.”) It was something I thought about when developing the concept of the city as I noticed how quickly news traveled on the then-nascent Internet, compared to the everyday world which still depended on newspapers, TV networks, and word-of-mouth. That phenomenon expanded beyond anything I was considering 30 years ago, such that, on today’s date that I’m writing this, the current president of the United States announced that he was not running for reelection not via press conference or delivering a letter to the New York Times, but on the social media platform formerly known as Twitter. That was inconceivable 30 years ago. There was the real and today there is the now. The entities that are the wights and the wraiths exist in those domains, respectively, but they’re just one of the most outward examples of how intertwined those domains are, which is why the catchphrase exists.

All of that said, Into Darkness is about just one aspect of The Rim, which is Force Command. The previous post talked about a few others, so there are still many directions that we could go if we decided to venture back to the top level. It is, of course, also only the first half of that story and we will finish it, but we’re going to sail down to the second level for the second one: Midwife, aborted which is, again, one of those short stories of the serial novel but involves a concept that’s been with me from the very first imaginings of the setting, which is The Tribunal, the dominant presence on the second level, and the Midwife program, which is a key element of the Tribunal’s genetic purity efforts. I’ll do a post about level Two as I mentioned at the end of my post about The Rim, so I won’t go into too much detail here. But there’s no hiding the fact that one of my favorite concepts within the setting is that of the fanatical, fascist, ultra-religious, Kafkaesque Tribunal and its various manifestations, including its own network, known as TrinityNet. So we decided to switch off from completing the full story of Bradson and Frazier up on Point and figured we’d engage at least the first part of how that surge of wights and wraiths is impacting at least one of the other levels of the city. I’m not sure if we’ll follow through the entire plot of the novel just yet; mostly because I never finished it. I completed the first three stories (although there’s room for them to be expanded) and got about halfway through the fourth (Stake and the Knightshift on Four, key characters in that story, are among my favorites of the gangs that are everywhere in the city) before losing the flame for it. Now that Jeff and I are back at it, this may turn out to be the compelling factor in its completion; not least because it’s a solid look at every level of the city all the way down to the Well. (Just as an editorial aside, I’m still debating about constantly capitalizing the articles before proper names that are major elements, rather than personal names. In other words, I’m questioning whether I should keep writing things as “The Tribunal” or “the Tribunal.” It may just be a question of me saving one keystroke (e.g. not pressing Shift more than once when writing those names.))

I kind of detest doing survey work, which is what I feel like “introducing” people to the concept is. I don’t want to be writing a guidebook. I want to be writing stories. But the serial novel was intended to be both an introduction to the overall concept AND a solid story, so beginning where we do is a convenient opening, but I’m not really concerned about holding people’s hands on the way down, either. One of my all-time favorite comic writers is Howard Chaykin, who basically never stops to give people any kind of introduction to plot or setting or characters. He just dives right into whatever story he’s writing and assumes that you’ll catch up as he moves along. There are pros and cons to that approach (Howard has never really been a “hit” comic writer) but it’s always felt more “honest” to me and I want (need, really) this project to be compelling, rather than seem like a chore, since it will end up producing better material from my end if I’m enthusiastic about what I’m doing, rather than feeling like I’m writing yet another guidebook to all of the amusement parks in my head. I’m not trying to imply that Into Darkness isn’t compelling. On the contrary, I hope people find it to be a great springboard into everything else that we’re doing. But I just don’t want to feel, again, like I’m letting people in easy. There’s nothing easy here, in the real or the now. So, next time, level Two. Maybe.

Edge of the known world

Posted on July 19, 2024 by Jackwraith

Dystopia was originally envisioned as a multi-genre project. Early in the lifetime of Fifth Panel, we didn’t have a ton of variety in our genres (e.g. it was still mainly superheroes), but there were at least some variations in approach, in that some characters were more sci-fi-oriented and others more horror-oriented and so forth. My original projects that I’d had in hand when Jeff and I met (Doomsayer and Therapy) were both more horror-oriented than your average superhero fare. While I’m not a huge horror fan (I tend to avoid horror films because most of them aren’t great sources of actual story, which is typically my pinnacle perspective on most forms of entertainment; in other words, tell me a good story, first and foremost), I’m a pretty sizable fan of things like H. P. Lovecraft and the weirder edges of horror like the film, Audition. So, I knew that was going to embody a fair amount of the work that I put into things, but not everyone in the studio was on that same page and I wanted to cover as much ground as possible and enable as many people to play in the playground as I could. The Rim ended up, appropriately, being the most distant of the environments from that superhero/adventure path; closest to “modern America” and yet one of the more chaotic levels of the city because of that exposure to the “outside world.” It’s honestly where I wanted to tell a modern Western story, if I could make it work.

The Magnificent 20: The greatest Westerns of all time | The Independent

The Western in modern media is filled with a variety of influences and perspectives; from the Wild West to a look back at the frontier society which somehow made things purer than they are today. Speaking of HPL, you can see that element in the stories of his friend, Robert E. Howard who presented his most famous hero (or, often, antihero in modern terminology) Conan the Barbarian as the embodiment of society in its less civilized and, thus, purer form. If only everyone would return to Conan’s direct, brutal, murderous, misogynistic, and simple ways, everything would be better(!) And that perspective is shared to some degree by one of the more prominent entities on the Rim, which is FedGov’s mercenary army: Force Command. The United States in the era of Dystopia is no longer so united and the nominal federal government is trying to enforce its rule at gunpoint, which has much less to do with enforcing or protecting the principles of any piece of sheepskin and more to do with the raw question of who gets to control the territory between the world’s two largest oceans. Unlike the former US Army, FC isn’t bound by any oath of duty. It’s just about enforcing FedGov’s will in the name of presumed pragmatism and everyone has accepted that. Its primary mission, just like the US Army of that same Wild West, late 19th-century period, is the “protection” of the local citizenry and the enforcement of federal (and often mercantile) interests. In that respect, the city of Dystopia is “the other” that was the native population in America of the 1800s that FC is here to contain and control.

But the Rim is basically a doorway and all doorways go both ways (or, at least, most of them do.) FC is there to protect the surrounding population from what might emerge from the Pit, but it’s also there to keep people from going into it. That’s one of the more contextual things about levels like Corporate City (level Three), which is still kind of operating like a “normal” American city would and is interested in trading with the outside world. But that’s a threat to FedGov’s power and is also seen as suspicious by many Americans, now trained to think of anyone inside as “the other” in the same way many modern Americans think of immigrants, i.e. they not like us. What I wanted the Rim to be was not only an almost-literal jumping off point into the weirdness that is the rest of the city, but also an example of the mix of cultures and influences that is any “borderland” of most nations throughout history and which most fictional settings don’t really examine at all or keep in weirdly accessible geographic locations, like Greyhawk’s Wild Coast. There’s a lot of traffic there, even if FC does try to control it and, for that matter, anyone trying to venture out of the city in the first place has to get past the Control Ring (level Two) and the Tribunal or venture up the Spill, with all of the hazards (moving and non-) that that entails, as we’ll see in our first story, Into Darkness.

But, again, a lot of people are interested in getting into the city, which means that there are a fair number of mercenary types aside from FC, like bodyguards, bounty hunters, and tour guides. One of my favorite characters is one that I’ve actually never scripted: Skip Tracer. He’s a bounty hunter who has slicked back, perfect blond hair, usually wears shades (even at night), and dresses in polo shirts, sweaters tied over his shoulders, with perfect loafers on his feet, and often an old school wooden tennis racket in his hand. Nothing really bothers Skip and his name and attire both reflect that. I have a story idea in mind for him that contrasts him with many of the other inhabitants of the Rim, like Jekyll and Hyde (two mercenaries, one of which is a Morlock, the other an exiled Texas Ranger) and groups like the Eden Community, the Deliverance Club led by the esteemed Jimmy “the Grin” Dallas, and the Burger Clown Commandos. If that sounds like kind of a panoply of directions and interests, that’s exactly the intent because that’s The Rim. Anyone could come drifting into town and the whole story might change, but there are an awful lot of good ones already there. I have a group of characters sitting around that are a pointed reference to the idea of a “Western”, called The Wild Bunch, but I’m not quite sure that that one has been in the oven long enough, even if it has been 30 years. It’s also been a lot of years since I seriously looked at them and asked myself the most important question: OK, but what’s the story?

The Eden Community (the Garden), on the other hand, is one of the most important locations in the city and plays an important role in the Odyssey story that I referenced in my last post. Epicurus and the Adept and Alastor and Original Synn are a quartet of philosophy and perspective that also have huge impact on the ShadowNet and how it operates. It’s not obvious, but it’s present and the smart traveler consults them before making any big decisions that involve the Now (and sometimes the Real, too.) Anyway, that’s the briefest of looks at the first level of the city. I might look at level Two next or I might jump around a bit. It’s a huge world and I don’t want everyone to wait until we can get out as many stories as we’d like to tell the whole picture, so I thought doing these as kind of a survey course might be helpful and mildly entertaining.

 

The grand vision

Posted on April 30, 2024 by Jackwraith

Me being me and having new stories and characters springing into my head on an hourly basis, I immediately knew that just doing one book and calling it “Dystopia” wasn’t going to serve the situation. With a setting that was already crossing genres, I figured there had to be some kind of general direction for the stories we would all be telling but it was hard to contain them in just one anthology title. So, instead of one book, I imagined three: Dystopia: Chronicles, Dystopia: Gangwars, and Dystopia: Shadows on the ‘Net.

None of them were specifically tied to any one topic or area of interest, but Chronicles was intended to be more of the “general purpose” book. If anyone had a story that wasn’t centered around one of the gangs or action taking place on the ShadowNet, then it would probably be a Chronicles story. The first effort that Will and I made specifically targeted for the setting was one that involved The Mime, The Iron Wizards, and two of the lesser-known gangs on Eight: The Trolldiers and The Firewalkers. The main character for the tale was The Mime, who was a concept that I’d jotted down in the fabled notebook a while before Dystopia occurred to me. I wanted to try to tell a story that was a second-person perspective, in that the narrator wasn’t internal (first-person) or talking about the lead character (third-person) but was instead talking to them, such that all of the captions are as if I was personally responding to what was happening, as would normally be the case in first-person, exccept that The Mime, of course, doesn’t talk. So most of the “internal” dialogue was me, as the narrator, saying things to The Mime: “You know that this is happening because of who you are. You can’t allow it to proceed.” And so on. I thought it would be an interesting exercise and the character presents a good example of how there are very few “good guys” in the setting and what the internal thoughts of a “non-good guy” might be, since we so rarely were presented with that approach in fiction of the time (It’s much more common now; see Breaking Bad, etc.) Even the nominal “heroes” are just lighter shades of gray than the nominal “bad guys”, which is a lot closer to real life than the typical white hats/black hats approach that tends to dominate that superhero/adventure/horror story scene.

The “badder” guys in this case would be the Iron Wizards. The name is something that other people have used for various video games and TTRPGs that have robots and/or modern technology showing up in fantasy worlds. As the famous Arthur C. Clarke quote goes: “Any sufficiently advanced technology is indistinguishable from magic.” (Case example.) I wanted Corporate City, the third level, to be high-tech as a matter of course. All of those companies were staying in the Pit because of the tech that they were able to glean from sources like the Tech Walkers or that they were able to develop themselves and didn’t want to abandon. But the Wizards would be a step above even that. That’s also why I named them all after classic magicians from history and literature (Faust, Crowley, Wen Pa-Yang, Cagliostro, and Plotinus) as kind of a double entendre to their own name. But beyond even that, the name “Iron Wizards” isn’t something they call themselves. Internally, they refer to themselves as “The Pentacle”, while the Wizards tag is something that’s been placed on them by the surronding community, almost like an epithet, but also because it’s more of a street name than anything that seems vaguely elegant like they’ve selected.

 

That “street” perspective was important for Gangwars because one of the dominant forces throughout the city would be the gangs that inhabit every level, in one fashion and to one degree or another. It’s no secret that humans tend to factionalize into groups that share either one’s identity or one’s outlook on life, if not both. The most relevant example in the modern era of the latter is political parties, which have often been simply well-connected (and well-funded) gangs that happen to inhabit conference rooms, rather than neighborhoods (and sometimes both!) But, as a long-time RPG player, I was also familiar with settings where people clustering around different identities often went beyond racial underpinnings and into perspectives that drove them to a purpose (my favorite was Gamma World.) It was that context that pushed me to create most of the gangs (and more than one viewing of Walter Hill’s The Warriors, as a kid.) A few of them are central aspects of major parts of the setting, like The Phalanx. A few of them are simply tied to the genre setting of their associated level, like Canis Majoris. And a few are just concepts that wandered into the notebook and I figured I’d use because it seemed like a good idea at the time, like the Posh Street Flaming Screamers. Almost everyone whom I’ve ever given a copy of the bible to has stated that the gangs are among their favorite aspects to the whole picture.

The opening story of Gangwars was going to be an examination of daily life on the sixth level, The War Zone, and the direct conflict between The Phalanx and Bloodpulse as the two most powerful gangs on that, the most war-ravaged of any of the levels of the city, as the name implies. I wanted it to be an example of not only how different groups of people can factionalize, but how even within those factions, there are often radical differences of how to proceed. The central argument between High Chief Gall and Mad Stallion about how to deal with the immediate crisis, plus the growing threat to the immaculately neutral Pit Crew (the remnants of the International Red Cross who remained in the city) seemed to be a great way to show varying perspectives on the central conflict that dominates a good portion of the setting as a whole. It also touches on the importance of The Phalanx and the presence of the Tech Walkers as a regular threat to life and limb and a lot more of the larger turmoil in the city, which is usually driven by the most petty of goals; yards of territory, akin to the Western Front of World War I. Most of Gangwars would be taking place in “the real”, as opposed to “the now” of the third book.

Shadows on the ‘Net was intimately connected to one of the main aspects of the setting as a whole: The ShadowNet, which is the city’s main network. In the early 90s, it was my version of William Gibson’s “cyberspace”, but which had connections beyond just the databases created by massive computers (and, of course, his also did in his first novel, Neuromancer.) The ShadowNet is, in many ways, what drives the city as the isolated enclave of technology, magic, and other strange forces in near-future America, Inc. There’s a connection to The Well, the deepest level of the city. The Black Market on Five only exists because of the presence of the ‘Net. Just like what the Internet would become for us in the real world, the ShadowNet enables the commerce, communication, and primary interaction of the entire community. You don’t have to be connected to the ‘Net to survive in Dystopia, but it’s a lot easier if you know your way around it. If it’s not obvious, I was completely enamored with Gibson’s work, which is why Dystopia still carries a lot of that “old school cyberpunk” influence. Having been on the early versions of the Internet since 1984, I knew that this was going to be at the forefront of science fiction writing for the foreseeable future, even if I didn’t imagine just how dominant it would later become in the real world so quickly. (Neither did Gibson, really, as one of the more notable technologically awkward moments in Neuromancer is how its characters are still using pay phones to communicate…)

Despite it being the “third” book, I probably wrote more script for Shadows than I did for either of the other stories, even if none of it ever got to the point of being drawn. The initial story was one that involved the Morgue Lords, the Hanged Man, the gang, Control/Alt/Delete, the corporation, Metascience, and the crimelord, Macabre. It was a bit more wide-ranging than the other two and that probably played into my thinking becoming ”bigger” in some ways with another story rooted in the ‘Net that grew into its own thing entirely and that was Dystopia: Odyssey. The Odyssey story is a fairly high concept piece of science fiction that tells a story that is integral to the setting as a whole, but which I also layered with a lot of modern socio-political perspective, which is something I try to do with most of the things I write, but don’t always pull off. Odyssey is about sex and misogyny and modern perceptions of masculinity and femininity and how many of those ideas are emphasized by the speed at which they’re realized and enhanced by the massive communication network that they become embodied on. Only later did I realize how true this was going to be when it comes to our own interaction with the World Wide Web. I ain’t no prophet, but it’s been funny for me to see some of this play out the way it has in the last 30 years and to say: “Yeah, that’s kinda what I meant when I wrote…” The ShadowNet is rooted on three of the levels of the city: the third, the fifth, and the seventh. The third and fifth I’ve mentioned already, but the seventh often goes under the radar with most readers, not standing out with features like the Rogue Corps and the Black Market. But the seventh may be the most important of them all, not only for its proximity to the Well, but also because of the regular presence of one of the most central characters in the setting, Hakker. But I’ll get into that some time later.

Anyway, that’s the history of the beginnings of Dystopia as an actual published venture. In the end, the only story that actually had artwork completed and published for it was the Chronicles one (and some pages later completed for Odyssey.) The rest of them remained ether, which is hopefully something we’ll get around to addressing here at some point in the not too distant future.

 

The origin story

Posted on April 20, 2024 by Jackwraith

The most basic identity of the Dystopia setting was two-fold: 1. It was a place that everyone at Fifth Panel Comics could play around in. 2. It was a way to compile a ton of random ideas that I’d built up over the years and do something interesting with them. That’s pretty much it. I didn’t really come to it with any kind of grand vision. In fact, I didn’t have any vision until one moment while I was sitting on a couch in my mother’s place in Arizona after returning from the San Diego Comic Con.

Jeff and I had met at the Chicago Comicon in 1991. He had Fifth Panel Comics, a small indie studio, up and running by then, having rounded up a passel of interested artists on the old Prodigy network. Having failed to get any attention from the major companies (Marvel, DC, Dark Horse, etc.) with either my stories about their characters or with the two major projects I’d been working on (a couple books called Doomsayer and Therapy, which I might talk about somewhere down the road), I started moving through the small press area at the Rosemont Convention center, seeing if I could find other people of like mind who might be interested in ideas that I was pitching. Jeff and artist Dave Witt were those people. I was attending the con with my friend, artist Will Kliber, and Jeff said: “Pitch me a story.” Will and I had been working on a couple horror story ideas; one of them centered around the character that would later become The Gargoyle, so we decided to offer that one up and Jeff suggested a deadline for the finished pencils and we agreed. That was the beginning.

A few weeks later, I was in San Diego, again trying to pitch my “big” story ideas and again meeting with no luck. At one point, Jim Shooter told me that I was wasting my time without an artist walking around with me (despite Jim having started in a similar fashion to what I was attempting, at the age of 14.) So, I left the con still frustrated that I couldn’t get anyone to listen, but was communicating with Will about progress on the work we were doing for Fifth Panel. I had brought my “ideas” notebook with me to San Diego, because at that time barely a couple hours could pass without me jotting down a story, character, or premise that could be something I’d want to pursue at some later date. I was listening to The Doors’ L. A. Woman album, when this song came on:

That was the trigger moment. I started imagining the concept of American urban decay taken to the nth degree; where societal collapse had become so advanced that a city had, in fact, physically collapsed and become a kind of Dante’s Inferno, with different levels having a different atmosphere or identity, which would be different genres of story. That way, not only could it incorporate a number of the ideas in that notebook, but it would also invite the other creators at Fifth Panel to participate with their own stories so that we could generate something of an esprit de corps at the studio. Socialist that I am, I wanted something on which everyone would work together. I jotted down the general premise, adding to it a couple characters that I’d had sitting around, like The Mime, and then just let it sit.

A week later, I was at the studio talking to Jeff and suggested the idea to him. He looked at me with an expression of mild disconcern and said: “Write me a proposal.” He later told me that he’d expected me to come back to him with a single-page proposal that would talk about the grand scheme, but leave the future details kind of hazy, as something to be filled in later, almost literally. Instead, I went home and sat down for a couple hours and churned out the first version of the “bible”, which was 20+ pages of setting, character details, and notes about the environment. I brought that back to him the following week and he started reading it. He stopped to call one of our local artists and said: “Hey. You should stop by and check out this cool thing that Marc just handed me.” He read some more and called someone else: “You should really come by and check out this awesome thing that Marc did for that shared world idea.” He read more and called a third person: “Hey. You really need to come see this amazing thing that Marc wrote-!”

Of course, the funny thing was that I considered the whole setting to be just a side effort. My main efforts were still to try to sell Doomsayer and Therapy, but I wanted to contribute something to 5th Panel so that, when I made my main sales and went off to hit it big as the next Neil Gaiman, there’d be something that I’d given to Jeff and the studio that could last and grow into something. In the end, I’ve written vastly more material for Dystopia than I ever have for the other two projects, both of which I had fully scripted for their first six issues. And, of course, Dystopia has actually had artwork created and books published. I later realized that, in the end, it was probably a better idea overall than either of the other two, anyway. And, of course, here we are trying to push it forward again.