As we're still awaiting your reactions to the first issue of The Rebels, there are no letters for this column. But that's all right, because it gives me an opportunity to introduce you to the scripter and penciller of the strip, Bern Harkins and Delfin Barral. Bern gives us his take on the genesis of (this version) of the kids, and Delfin opens his sketchbook to share some ideas in progress. Enjoy, and see you in 30! - RP
I liked them the moment I saw them.
Five young people, in a spaceship called the "Don Quixote". The setting was campy (red haired folk from Jupiter, silver ones from Uranus, and, of course, plant people from Venus). The single page of 1960's fan art was unsophisticated. The photocopy was terrible.
But in six panels, the young artist had gotten me to care about her creations.
The artist was Wendy Pini (then Fletcher). The strip was "The Rebels". And I had a narrow shot at scripting their new series.
I pored over that single page, and was more and more impressed. The characters broke into two natural narrative triangles, linked by Chandra, who was both human and "other". Their motivations were alike enough to forge a team, but different enough to keep things spicy. Every one of them had specified strengths and flaws and attitudes. It was a strong stating point, but I had high standards to meet.
So I launched into a prospectus, bringing these characters into the Elfquest universe. I made guesses about how the World of Two Moons would have changed across the centuries, from Cutter's time to this. I fit the Rebels into that world, changing their backgrounds, creating a story that linked them to the Elfquest mythos. I sent it off to Barry Blair, who showed it to Richard Pini.
Who said it was all wrong.
And decided we should meet.
****
Richard, Barry and I went to lunch, and talked about storytelling. Listening to Richard hold forth on mythic structure, on the nature of the fairy tale, on the place of fiction in people's lives, I realized that this was a man who was serious about stories. We spoke of the authors who'd influenced me... Hal Clement, E.E. "Doc" Smith, Robert Heinlein... and of the science fiction tradition. We subjected one another to rancid puns.
By the end of the day, a course was laid out; I would get to write a second prospectus. I was free-lancing for the finest creators of narrative graphics in North America.
The next day, John Ostrander came up to the Warp offices. I'd gotten to read through his complete "Jink" materials by now, and we plunged into the business of world building. By the next afternoon, Richard, John and I had a clear idea of the milieu we'd be working in, as well as the first map of Abode (thanks to Barry, who somehow transcribed the piece of paper John and I had been scribbling on).
I made my way back from Poughkeepsie to Buffalo (No cracks! Both lovely towns!) and revamped my story.
This time, I got it about half right.
As the proverb goes, number three was charmed.
****
During my Warp visit, Barry had shown me some work by Delfin Barral, who was being considered as "Rebels" artist. I was blown away by his clean, kinetic lines and strong narrative drive. Delfin drew motions, and hung the figures on them. His characters' faces spoke volumes; the hands, even the feet told stories. I knew that "The Rebels" was going to be a space opera, a rocketing adventure that needed strong graphics to carry it along. Delfin's art was perfect, and I kept my fingers crossed, hoping he'd be the final choice.
By our next meeting, it was a done deal. Delfin turned out to be a modest, unassuming young man with a subtle smile and bright, probing eyes. Richard set up a think-tank, and the whole Warp office jumped in, tossing notions about Abode and its distinctive appearance back and forth (along with the usual fetid puns).
During a lull, Delfin and I talked about our working styles. One of my favorite aspects of comics is their collaborative nature. I trusted his eye, and wanted him to make any changes he wanted that didn't affect the plot... and if he wanted the plot changed, he could give me a ring and we'd hash it out. He's taken me at my word, and the book is much the better for it. As many people will read "The Rebels" for Delfin's art as for my story.
Probably more. <sigh>
I couldn't be happier.
****
As I write this, it's thirteen months since Barry called and said, "Hey, Bern, there's going to be a new science fiction book. Want to try out for it?" I'm working on the script for issue five, and the printer's proofs on number one are in. I've had a year to get to know these characters, to come to understand their inner workings, to dream up awful things to do to them. (Hey, sorry, but if I treated them as well as they deserve, you wouldn't buy the book!)
I've gotten to work with some of the finest minds it's ever been my pleasure to cross wits with, deepening the stories, searching out new perspectives and sharper ideas. One unforgettable night I sat with Wendy and Richard, "Johnny O" Ostrander and the redoubtable Kim Yale, weaving the plot for the "Jink/ Rebels" crossover. It was more fun than people should have, and more productive than I could have imagined; the story is so good it gives me shivers.
****
Which brings me to the point of this little missive.... I'm one lucky so-and-so. I feel honored and privileged to be able to bring you these stories. It's my chance, after years of sipping from the great river of human tales, to put a little something back.
This book bears the Warp logo; readers expect some truth, some beauty, some laughter, some tears. And it will never be dull.
I promise not to let you down.
Your 'umble servant,
Bern Harkins
[ NOTE: The sketches by Defin are not included in this archive, but below I've
transcribed Richard's notes that accompany them. --MK ]
Some notes on the sketches. The alien
"Wigglers" went through several stages of evolution
before we were all (including Jink writer
John Ostrander and artist David Boller, since
the beasties play a large role in that title as well)
happy. The stealth ship Cam Triompe started life
as a kind of flying fish with solar sails, and
became something more evocative of the great
hawks of Blue Mountain. The helmets worn by
Skyward troops are based in part on a wolf's
head, taking design elements from Native American
usage of wolf skins. A soldier has to "earn
his eyes" however - they don't automatically
come with the helmet. The irrepressible Barry
Blair put his two cents in on the design at far
right. - RP