“But What I Really Want To Do Is…”
By Kevin Smith
This is a story about how I single-handedly saved the comics medium.
I’m kidding. I just want to use this space to gush about how slobberingly grateful I am to finally be an active part of this medium (which I’ve always considered myself — though now said active participation constitutes more than just buying comics.)
But before I do that, let me provide the legions of you who don’t know who the hell I am with an inkling of why the good folks at Previews have asked me to write the Parting Shot this month.
I made a down-and-dirty little flick called Clerks that was financed on credit cards, won some awards at credible film festivals, got picked up by Miramax, and went on to make some cash in theaters. I followed it up with a flick called Mallrats — a red-headed-stepchild of a film that critics didn’t like and audiences didn’t turn out to see (until it went to video). After that, I made a flick called Chasing Amy which had a lot of critics saying nice things about me again, and did some great business for a film of its size (if you haven’t seen it yet, it hits video stores Nov. 25).
But what I’m largely known for around these parts is my passion and “defender-of-the-faith” mentality for comic books, which has shown up in most of my stuff.
‘Rats’ was a flick that featured both a guy putting his comics into bags and boards, and dialogue that obessed over superhero anatomy. I even threw in Stan Lee for good measure.
‘Amy’ was steeped in the world of comics, the main characters were pencilers/inkers, the film’s opening and closing scenes were set at ComicCons, and Mike Allred, Joe Quesoda, and Jimmy Palmotti got screen time.
I did a highly-publicized tour-of-duty on Warner Bros. newest franchise hopeful, Superman Lives.
And is that’s not enough, for the last year, I’ve been the proud owner and operator of my own comic book store in Red Bank, New Jersey — Jay And Silent Bob’s Secret Stash.
But you wanna know something? It’s a little hard to boast when all anyone does is MOAN AND GROAN ABOUT THE STATE OF THE INDUSTRY!
I’m serious, man. For the last five years, everytime you go to a Con, read the Journal (Comics, not Wall Street … although sometimes even the Wall Street) or open the Comic’s Buyer’s Guide (or rather — being that every third article is about Scrooge McDuck — The Carl Banks Guide), all people whine about is how there’s nothing new or fresh happening in the medium. And the retailers, in turn, give it back to the publishers, with their never-ending montra “GIVE US SOMETHING TO SELL!”
Well folks — it’s out there. This medium’s more vital than ever, in terms of creative quality. Granted, maybe you’re not seeing the sales figures we all saw back inthe late ’80’s and early ’90’s, but let’s be honest — the USA Today-educated spectaculars weren’t going to last forever (and frankly, I’d rather deal with folks who are enjoying their comics — not simply trading in ‘mutant’ futures).
There’s plenty of great stuff out there — stuff that can and does attract new audiences, as well as the old war-horses. Look at the creative golden-age we’re in the midst of now : Wagner doing more Mage; Morrison and Porter single-handedly reviving the tights-opera with their powerhouse JLA; Pete Boggs keeps showing us love by giving us Hate; Miller’s giving us primo gritty in every Sin City; Busiek has birthed his own instantly-reconizable-yet-distinctively-original universe in Astro City; Larsen keeps it real (real good) every month in Savage Dragon; Garth’s got a three-way going with Dillon and McCrea, from which both the brilliant Preacher and Hitman spring monthly…
All that talent and more, and still some folks find somethig to complain about.
My advice? If you don’t like the menu — or think you could do with more chicken — get in the kitchen and cook it yourself (and here comes ‘da plug!)…
Like Oni Press is doing.
I’s estatic — ESTATIC — to be doing comics with these cats — industry gurus who opted to not complain about the ‘lack of…’ and instead decided to provide it. Armed with eons of experience in the trenches of the comic book biz and many, many big fans in the way of some of the most respected talents in the medium, Bob Shreck and his partner Joe Nozemack created Oni Press — a company dedicated to shutting everyone up at once by giving the fans something to gets their heads around, and the retailers something to sell.
From the initial Oni offering of Miller and Bisley’s Bad Boy, to the Oni Double Feature, to the Clerks, these guys are putting some new stuff onto shelves, that nicely compliment the plethora of quality books that are out there already. Oni didn’t just throw its hat into the ring — it threw out its shirt, pants, and underwear too (don’t worry, they still kept their socks on).
And since it’s my column this month, I’ll use it to give further shouts to my peeps at Oni for making me just about wet my pants when they called me and asked “How’d you like to do some comics?” That’s what you call vision (in a world where most fumble around Magoo-style) — because other cats turned me down when I went to them.
Buy Clerks and all the other Oni stuff in bulk, folks — because I come armed with a crew of fans who are all looking to read about what Jay and Silent Bob and Dante and Randal do between flicks. But order them not only because they’ll sell like the White Album; but mainly because it’s the quality stuff you’ve been demanding for the last few years. And that’s coming from a guy who’s not only a creator — but also a fan and a retailer.
Which means if my stuff doesn’t perform, I’ll be chiding myself for the crappy quality of the books I write.