The Black Terror: Roundup 1
Posted by BigWords on May 24, 2013
So, you may be wondering – if this all fell together so easily, why am I not doing anything with the character? Well, because others are still working with The Black Terror. They may not be using the character to his full potential, and – in all likelihood – there will never be a proper exploitation of all the things that make him so interesting, but that doesn’t matter. I can’t play with the character while there are stories published elsewhere. One of the main elements that makes me excited about a property is being out there on the sidelines of what people are doing, taking characters in new directions and ignoring the (often insipid) popular movements. Maybe there’s room for a comic-book title featuring the character which is less mainstream, but as long as he is appearing elsewhere I won’t be involved in the character.
This example isn’t a particularly unique insight into how I patchwork a grand story together from thin material, and I could have done an equally in-depth piece on The Lady In Red, or even Robin Hood (if anyone is using the character, please get the historic “great forest” feeling in there somewhere), but it shows how a great story can be told about even minor characters. When I have expressed dissatisfaction with the stories which I have been reading, it is mainly because people aren’t being either as bold or as intuitive in their extrapolation of characters as they should be. I want the wild and intelligent elements to come to the forefront, and be played with – I need more intelligent material to pore over than many people are willing to write. It is neither difficult nor time consuming.
There’s a lot of stuff I won’t touch. I dislike the thought of writing something just because it is popular at the moment. I could do a helluva vampire novel, but what’s the point? There’s already too many mediocre attempts at Twilight-lite fiction, and by adding to the considerable number of titles muddying the genre I would merely be committing the same literary necrophilia as those who I am irritated by. Playing follow-the-leader is fine for children, but for authors it is a sign of desperation and lack of strength. Standing clear of the traffic already clogging up genres is the only way for people to grow as writers, and avoiding any confusion is paramount to establishing that most important of credentials – originality. I know people are gonna be headdesking at that word, as there is nothing truly original left, but having a degree of originality in the writing is different to plot.
I scratched the notion of doing something with Black Terror rather quickly, so I never got to the point where I had a page-by-page breakdown, and had I managed to quell the feeling that I was stepping on the work being done with the character elsewhere I would have created a tighter focus on the conspiracy drawing him to The Spider (or his niece, as she will have that name by the 1940s). The problems inherent in bringing any character back from the public domain are that they aren’t controllable – others have the ability to go ahead and use the characters in any way they see fit, and there is no right or wrong in their use. There might be entirely uninteresting uses, but those aren’t “wrong” per se. Just not to my taste.
There’s a lot of characters which I have a passing interest in the future of. Most of them are in the public domain, and freely available for use, though it is a hard sell convincing myself to tackle them when there are others utilizing them. One of the most neglected Golden Age areas is the Egyptian characters. This bleeds into the pulps as well, infusing the magnificent discoveries with a sense of wonder, mystery and horror. The use of Egyptian heroes (Ibis and Kalkor in comics, right through to low-budget films) have always felt as if they were slightly underdeveloped. I’ll go so far as to make note that modern comics don’t have a grasp on just how much there is still to be done. Hawkman, long an Egyptian-tinged hero, never felt as if he was truly connected to anything approaching reality.
For anyone writing characters tied to Egypt of the 40s, reading Montet’s 1958 record of his expedition is pretty much essential background research. And as for the lighter depictions of WWII – really, are people sitting down with a DVD of Saving Private Ryan and claiming to have done the necessary historical research? Yes, I may be overstating just how irritated I am with much of the comics on the market right now, and there are good things appearing, but there seems to be too many light and breezy versions of history which are presented as having some validity when they merely reprise what has gone before. Like anything else, this results in lowered fidelity with each removal from the source material.
Although it should be obvious, I have no intention of writing for DC or Marvel. I know most people would be desperate to get their hands on those characters, but the quality of the writing – overall – has been rather low from what I have read, and I would feel bad if people following the adventures of a character were subjected to one of the intermittent crossovers through anything I did. There hasn’t been a worthwhile one since the original Crisis back in the 80s, with each money-grabbing, poorly plotted mess becoming more and more irrelevant to the mainstream. Mainstream readers don’t care about superheroes, and they care even less for stories built on the continuity snarls of superheroes.
For a while now I have been concentrating on developing and building up material for my own titles, but… Yeah. This hasn’t been a good couple of years. There will be a proper something appearing at some point which will go some way to answering what has been happening with that material, but it is a ways off just yet. And it won’t be the kind of things that you can go get anywhere else.
Having laid all that out, I think I have covered everything I set out to do. Time to leave this via a nice, relaxing piece of music…