My E-mails with Ales, Part 3: The End of the Trilogy

It has been two months since Ales and I started doing an e-mail interview, and one month since we last spoke. In that time we’ve talked almost everything: his work, his life, his past, his future, fungi, race relations, war, PTSD, Burroughs, poetry and more. Today is no different.

Today brings the final part of our two month back and forth to a close as the “My E-mails with Ales” Trilogy ends. Why a trilogy? You’ll have to read the interview for the answer to that.

I’d like to thank Ales for talking to me for the past three months (we began our conversation in August), and I’d like to thank you for reading it. Perhaps we’ll do this again sometime. In the meantime, enjoy.

So, OK, lets kick off Part 3 with a question I know you’re excited to answer.

One thing that I have seen as a very important ideal to you is the freedom in which we discuss things. Whether it be things in or outside of the industry, you seem to be very much beholden to the notion that we need to talk, and we need to not be afraid to talk. The problem, of course, comes in when people are not so much adverse to discussion but are perhaps unable to take criticism — or, further down the spectrum, are unable to have discussions with criticism that don’t involve throwing shade. I’ve seen names like yours or Brandon Graham’s get attached to this aspect, almost like it’s a “stigma” (though I imagine it’s a non-issue for you), but where do you think the idea of open discourse ends and the shit talking begins — or, is there even any line separating the two?

Ales Kot: Well, it’s okay to be afraid to talk. There’s a difference between feeling a fear and letting that fear guide our decisions. I can feel a fear but my resolve is to not let it guide me. To feel fear — that happens! I’m not immune to it. But when I act, I want to act from a position of love, not from a position of fear. An act of love, even when it might not seem to have any immediate and visible effect, can gradually and indirectly, over time, gain significance.

Shit talking has two meanings — at least. One is throwing anger/shit/shade at other people out of a position of hate, which is really a position of fear, and I have no time nor energy for that. The other is talking about shit. Talking about shit, to me, is immensely important for any healthy relationship, be it for one between the creators and readers, creators and publishers, readers and publishers, anyone and journalists and so on. It’s important for all relationships, starting with the one we have with ourselves.

I feel we need to talk about shit in order to deal with it. I’ve seen people close their eyes and try to avoid topics that might “cause them problems” which is really a way of saying they would feel they might lose control over their construction of having power within the world, which is a control I suspect we never really fully have. I’ve seen people try to keep that illusion of control against their heart’s judgment and I feel it always bounces back at them and crumbles — and I am speaking from personal experience with myself, too. It is only by dealing with an issue head-on that I can grow through it.

It’s about the intent I put into the discussion, about the energy I put in. It’s about choosing precise vernacular and being aware of the power of my words, my actions, my intent. And it’s also about being aware that when other people lash out, it rarely, if ever, has anything to do with me. It usually comes from anger, which comes from fear. That allows me to empathize with others easier and remember that we’re all one thing, because I go “Oh. I felt fear, too. I remember how that feels, and it might feel similar for them now.” and then I go — well, the position to approach the world from, as my first choice, is kindness.

Continued below

Of course, if someone’s acting negatively and aggressively towards others and the person or group chooses to not change their actions towards a positive, reconciliatory, honest vibe — and kindness, openness and empathy don’t help — I have no problem with choosing other actions myself. It’s just that I would rather not. I wholeheartedly prefer kindness, openness and empathy, and I believe we are all capable of utilizing them in our daily lives.

I recently re-realized that I am not here to “get” love but to give it. As a source of love, what else can I do? I can either approach the universe from a position of lack (wanting love, sort of like a new-born, scared baby) or from a position of abundance — being love, and giving it freely, and realizing that all the love I need is already within me, and allowing myself to freely receive love from the world, too. Being connected.

I choose abundance. I believe love is an infinite resource.

Comics are certainly no stranger to their fair shares of controversy or less-than-great situations, but one thing that I think is so different now is how active in conversation fans, critics and creators can be — what with the advent of things like Twitter, we certainly find ourselves plugged into the heart of it all; when something happens, you can hop onto social media and see your favorite people discussing any number of topics in earnest.

What I want to ask you, though, is what do you feel is the responsibility of someone in a position of influence when responding to these controversies? Not even in world events like we’ve talked about, but on our smaller, more niche scale. You mention that people will avoid topics that “cause them problems,” and I can understand what you mean, but whether it be something recent, like, say, #GamerGate, or perhaps something from comics’ own catalogue like female characters in provocative covers as variants, do you think creators or otherwise influential figures need to speak up on these topics?

AK: Wait. A smaller, niche scale? The last time I checked comics and the perception of comics in the world were growing exponentially. We’re not small or niche. We’re mainstream.

I’m not here to say what anyone apart from me needs to do, as that’s up to each one of us. I know that staying silent in the face of violence, whether verbal, physical or more insidious, is not something I support, so I intend to speak up.

But certainly, in terms of the community aspect, comics as a whole should band together a bit more than we do, no? I know that often times with sub-cultures born out of hobbies — even if it is one that is now otherwise as mainstream as comics (though I’d personally disagree with that definition) — there’s still a strong bond there, a sense of camaraderie with those who identify themselves as entrenched in the medium. You may not want to tell others what to do, but does it not seem odd how divided we can be, even when the medium has grown exponentially in the past five years?

AK: As far as what I want to see? Yeah, definitely, I want us all to work together. It seems the issue is a worldwide one — this feeling of us not being as close as we can be to each other, not working together as well as we could be. There’s something positively utopian to the idea that we can all work together better. I like it. I like idealism paired up with will as long as it stays kind and open to evolution.

There’s an emergence of global sisterhood, a closer-knit community of women addressing issues they have to deal with and helping each other grow — the #YesAllWomen tag being one of the many examples of it. I love that. I want to see the same in the community of men, and then in the community of us all — as people. Patriarchy destroys us all except for a few wealthy (financially) old men who are trying to stay on top of their idea of the food chain. Albeit patriarchy destroys the male and the female in different ways, and men benefit from it in so many places the women don’t, it hurts nearly everyone.

Continued below

So perhaps the way forward is to create more reciprocity and kindness in these communities. Leading by an example of being “real human beings” instead of saying things like “real men don’t…” which is just another, albeit dialed-down, version of maintaing patriarchal dominance.

Being open to critical discourse and examining our actions and beliefs figures into it. Discussing ourselves and our work freely. Critique at its best seems to be about seeking truth and honesty, and I strive to resist narratives that perpetuate harmful stereotypes, whether they be in my daily life or in my writing. Engaging with critique, and nurturing critical thinking of that manner, is another hugely influential element of every successful community. What comes without it is atrophy. What comes with it is evolution.

So yes, speaking up figures into it. So does honest, loving, creative interaction between generations and supporting our young and old. I mean — I am a starting 27-year-old comics writer and I am one of the youngest ones in American mainstream. Once upon a time, the people creating comics were starting a decade sooner.

Supporting and creating a genuinely people-friendly and therefore also women-friendly environment within all elements of comics is another part — be it the readership, the stores, the publishers, the web, all of them matter. It’s heartening to see more women make fascinating comics and get attention and acclaim for them. Julia Gfrörer, Emily Carroll, Alison Sampson, Jordie Bellaire, Elizabeth Bretweiser, Vanesa R. Del Rey and plenty more — yes! I sense a certain positive change, and I am happy about it.

I want to see nurturing communities. If we help each other, these communities can come together without creating harmful barriers, whether they be gender-related or otherwise. There’s enough space for everyone.

From your vantage point, what do you see as the things comics, or the comics community, are still really struggling with? I want to say that while things aren’t great by any means that they’ve gotten better; I will personally say here and now that my understanding of specific issues has grown enormously over the last five years, but there are certainly still things we need to improve on. What do you think they are?

AK: I believe enacting these steps would be helpful for the health of the art form and the business:

1) Equal opportunity for all races and genders.

2) Zero tolerance to misogyny and predatory behavior at all levels — publishers, artists, stores, cons. Instead of tolerating this issue, we need to be solving it, and that begins with each one of us looking in and determining if we are doing our best or if we can improve our daily behavior. It also includes calling out bad behavior when victims are intimidated. Not white knighting, which is another way of perpetuating patriarchy, but approaching the situation with empathy and directness.

3) Zero tolerance to short-term behavior fueled by fear and greed that undermines the perception of comics as an art form and as a business. Then follow with the second sentence (and the rest) of the above paragraph.

4) Open communication, industry-wide. Embracing a high, loving standard of communal interaction. This world is big enough for all of us, and we can all share our resources.

5) Outreach towards younger creators. I felt almost no encouragement, no sense of being invited to participate in comics. It took me three years to get support, and not for the lack of trying, nor for the lack of craft. Why is it that I am considered to be the “rising star” of mainstream comics at the age of twenty-eight? I want to read more comics by creators who are still nearly teenagers, and I want to see comics professionals search for them, embrace them and give them support and guidance.

6) Not allowing our anxieties and fears to guide us. Allowing unbridled imagination and controlled will to take their place.

That’s some of it from the top of my head and from the entirety of my heart.

So, one thing I’d like to dial back to a bit to a comment you made earlier — and perhaps even change the stereotypical interview format as I have some thoughts on this — but I want to know: why and how do you think comics are mainstream?

Continued below

AK: Because of their increased interaction with other art forms. Because of their increased appreciation by the public. Because of their acceptance in libraries. Because of the increased diversity of themes and protagonists. Because instead of a few comics selling massive amounts, which was the case for a long time, we have a lot more diverse comics that sell less but to a wider variety of people than ever before. The art form is multiplying, mutating, causing mutations, participating in mutations, increasing its visibility as well as the ways in which it permeates our society as a whole.

See, and your second point is the one I’d contest: the increased appreciation by the public. I’m going to assume here, so please correct me if I’m wrong, but I imagine you’re tying this into your first point, the increased interaction with other media; shows, films, etc.

The reason why I’d contest this, though, is because while we do see plenty of adaptations and appropriations, I’m not sure that those are reflected back on comics themselves — particularly when we look at sales. Perhaps I am being too narrow minded, but in looking at the maneuvers some publishers take to bolster short term sales, I have to wonder why, if comics are mainstream, then when I go outside and walk around the city why don’t I see comics themselves — not just things taken out of them — in the environment as much as I see movies, shows, music and other popular forms of art? When I see my non-comic reading friends, why do the large majority of them seem baffled at my answer to the question, “So what’s going on in comics these days?”

That’s why I find the idea of comics being mainstream something I’m not sure I agree with yet. I think comics are growing internally and getting better contextually, but it all still feels niche, to me. Is it not more the idea of comics that are mainstream, rather than they themselves? Or do you think I’m missing something?

Relevant, from “The Multiversity” #2:

AK: Image Comics is releasing eight new original creator-owned comics in October 2014 and another…fifty? Sixty? that same month, including collections. I believe that most of these comics and graphic novels sell enough copies to sustain themselves long-term and bring their creators money. I see these comics discussed in more places than ever before.

Five years ago, we had no such thing. We were slowly growing into it.

Ten years ago? Even less so.

Image is growing the market. Perhaps other publishers are, too, and if so, I’m only glad for it.

And I mean — Saga sells how many copies? How many books do the numbers Saga does these days in comics, for example? And what about the Walking Dead? What about Alison Bechdel getting the MacArthur fellowship?

I see the comics market as simultaneously constricting (corporate-owned, mostly superheroes) and widening (creator-owned, mostly anything the creators really want to do).

While I would not contest the general growth as a great thing — I fully believe it is, absolutely — I am still not sure I see comics as a mainstream entity. Comics are in more places, yes, but they themselves are not as culturally commonplace as other similar forms of entertainment; not to what I see, anyway.

But, let me pick up on one of points here and ask: what do you think the comic market needs as we go into the next five years? What about the next ten? What are the next set of hurdles, of obstacles, things we need to overcome to push comics further? What needs to happen to get comics back in every home?

AK: I agree with the first paragraph of what you’re saying, yes.

And to the second one — I genuinely don’t know. Besides what I said above? Don’t make good comics, make great ones. Don’t let fears of failure stop you.

And…I don’t believe comics should be in every home. I also don’t believe they shouldn’t be. In general, I don’t have much care for “should” and “shouldn’t” because I’m not interested in telling other people what to do. I believe certain things are worth striving for, do my best to be the change I want to see in the world, and aim to be kind and generous with my resources, and strive to never stop learning.

Continued below

That’s fair. So, OK, let me steer the conversation more directly back to you now: Wolf. Anti-Star. The Surface. The Suicide Trilogy. The Family Trilogy. What are these things? How are these things going?

AK: So many comics! I reworked my 2015-2016 schedule due to various developments and realizations. I don’t want to speak about it too much, so I’ll just say this: WOLF is coming. It’s very noir, and it’s new. You haven’t seen it before. Matt Taylor and Tom Muller.

WOLF Tease by Matt Taylor

ANTISTAR is coming as well, probably at the end of 2015 or early 2016. It’s a graphic novella about a transgender Iranian pop star who wants to win the world’s biggest pop show. The main prize is death.

THE SURFACE — Moebius meets District 9, sorta? Langdon Foss is working on issue three. Also coming next year, I believe.

THE SUICIDE TRILOGY — Wild Children is the first one, Antistar is the second, the third one…we’ll see if it’s even necessary.

THE FAMILY TRILOGY — Change is the first one, The Surface is the second, the third one…we’ll see if it’s even necessary.

And then there’s other projects. Announcements when they come. I cut and transformed a lot of my internal processes and beliefs and I believe my upcoming projects reflect that.

Tell me about your fascination with trilogies. Its not the first time its come up, let alone this interview; we’ve mentioned your War Trilogy with Zero, Secret Avengers and Winter Soldier, plus Suicide and Family — whats the impulse to have things in groups of threes?

AK: I’m not quite sure. It might evolve into larger groups, or be disassembled. As I explore my work to find connective tissue and make sure I don’t repeat myself, I often gain further insight into the material, and therefore into myself. When I see the connective tissue and I see the way the stories work in unison, I usually feel that the connections might prove beneficial to other readers as well. That’s the impetus behind this, I suspect. Plus capitalism — I’m aware people might be more interested in checking out my other work if they know about the connection. But the sales have to come from a genuine place, from me saying this is of substance and meaning it, otherwise I would be a fraud.

The War Trilogy…I feel we covered that one well in the previous parts of the interview. The Suicide Trilogy is still developing, with Wild Children being the first, Antistar being the second and…I don’t know what the third one is now. I genuinely don’t. Time might tell. I contemplated suicide and got close to it a few times, via myself and via others — during my teenage years especially — and I am fascinated by it. I feel non-judgmental towards the concept of suicide and exploring it via various angles attracts me deeply.

The Family trilogy — Change (which could also be posited as a part of the suicide trilogy or…as I said, maybe there’s more than three stories in this), The Surface drops in February 2014, and then, one day, maybe Ravensbrück, which could also easily double as a part of the War & Suicide themes? Ravensbrück is the one where all the threads converge, and actually one of the first graphic novels I ever thought of. It might end up being my ‘From Hell’ in terms of research, page volume and quality.

Share on