Research is mandatory, not an option
Comic Reviews for week ending 6/26/2022
Good morning, my friend,
Marvel Comics kicked up quite a fuss when a new writer (new to superhero comics) had his one-shot published featuring a “What If…?” version of Miles Morales/Spider-Man as Thor. The results were embarrassingly stereotypical. You could make a solid case the results were outright racist.
Today’s topic, however, is not about the writer’s arrogant, ill-conceived, initial pushback and not about the shocking cowardice of the entire Marvel editorial team who left the writer to publicly fend for himself when they’re partly to blame. Today’s topic is about the absolute necessity of research when writing a non-original character, what that research looks like, and how you know when you’ve got it right.
Research is necessary. Put another way, research is mandatory. One more time, you MUST DO RESEARCH! Why? Because without research, one writer’s version of a character becomes drastically different than another writer’s version, resulting in a character with no clear, definable characteristics. The character is no longer a character, but a paper doll, an action figure with no qualities beyond their powers and costume. Fans become fans by finding one or more reasons to emotionally invest in a character, so when you take those emotionally relatable touchpoints away, there’s nothing for a fan to connect with, and they stop being fans.
Some writers have argued that fans don’t know what they want, and it’s the writer’s job to tell fans what they “should” want. This is the absolute height of foolish talk. Fans always know what they want, but they may do a poor job articulating it. It’s the writer’s job to distill what fans want through the noise and give it to them. The only way to distill those wants is through research because what a fan might say (poorly) is frequently different from what they do. Research is how you learn which comics are talked about, which ones are collected, and which ones resonate.
The first, best place to start before writing a non-original character is the beginning. That starting point shouldn’t be a surprise to anyone. Ideally, a comic writer would sort through the first appearance(s) of the character and look for any interview material where the creator talked about the original concept. A character starts with an idea, and that idea could be inspired by a historical figure, a historical event, or a standout memory in the creator’s life. There’s no need to reinvent the character every time when reading and listening will do the job just fine.
However, characters evolve (the good ones, anyway), so the version of the character most popular today could be significantly different from when they started. But they’re popular for a reason, and usually, that reason centers around a different creator or story arc that resonates with the reading audience. Seek out those story arcs. If your editor is worth more than two pennies, they should be able to help you with the research. Sales figures are a good indicator of success. Well-received appearances in other media (film, cartoons) are another. The point here is to look for points of resonance that create a positive public perception.
How do you know when you go it right? If that two-penny editor is really worth ten pennies or more, they should be able to vet your script. However, it never helps to get a second or third opinion or more. Find trusted sources who know the character; possibly the original creators, if they’re still around. Reach out to trusted comics reporters and reviewers (*ahem* including yours truly) with an NDA to ask for feedback. The more eyes from people invested in seeing a character grow and succeed, the better and the more likely a mischaracterization that could cause backlash will be caught. There’s no shame in asking for extra eyes to check your work, so don’t let pride or fear hold you back from asking for help.
Research is not difficult or mysterious, but it is necessary. If you follow the pointers above, will you be guaranteed a script starring a non-original character will be great? In truth, no, but it will guarantee the version of the character you write will be consistent with how fans know them. Talent, story structure, and all the rest are up to you… of course, subscribing to this newsletter helps. 😉
If you’re a master at character research, what other tips do you find helpful? What are your go-to sources for vetting to ensure you got it right? Let everyone know in the comments section below, and let’s help each other out.
Now, let’s look at the yummy review goodness from this past week and a look ahead.
NOTTINGHAM #8 – Review
SGT. FLAG #1 – Indie Review
TARANIS THE THUNDERLORD #1 – Indie Review
PLAINER JANE #4 – Indie Review
ROBYN HOOD ANNUAL: CHILDREN OF DARKNESS – Review
COVER OF DARKNESS #6 – Review
SAMURAI SONJA #1 – Review
JOHN CARTER OF MARS #3 – Review
ELVIRA IN HORRORLAND #2 – Review
SHEENA: QUEEN OF THE JUNGLE (VOL. 2) #7 – Review
ARMORCLADS #4 – Review
NOOK #1 – Review
MONSTROUS: BOOK OF THE DEAD #1 – Review
LEAD CITY #4 – Review
Speed Republic #5 (Mad Cave Studios)
Over The Ropes: Broken Kayfabe #1 (Mad Cave Studios)
Simon N. Kirby, the Agent #5 (Indie Submission)
Plainer Jane #5 (Indie Submission)
Good Boy (Vol. 2) #2 (Source Point Press)
The Oblivion Trials #1 (Source Point Press)
Life Zero #5 (Ablaze Publishing)
Ultramax #2 (Source Point Press)
Grimm Tales of Terror Quarterly: Back to School (Zenescope Entertainment)
Grimm Fairy Tales #61 (Zenescope Entertainment)
One Giant Leap #1 (Blood Moon Comics - Advance Review)
Draculina #4 (Dynamite Comics)
Red Sonja (Vol. 6) #10 (Dynamite Comics)
Vampiverse Presents: The Vamp (One-Shot) (Dynamite Comics)
Again, thanks for your support. Please share (the handy dandy ‘Share’ button is down below) this newsletter with everyone you can. Your support ensures we can keep bringing you great content for a very long time.
Also, follow us on all the socials (Facebook, Instagram, Twitter, etc.) via @ComicalOpinions
Have a great day!