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Long John

Losing Every Thing Changes Everything

Possible Monsters

Oct31
by DBethel on 31 October 2014

It’s Halloween, so here’s a story about monsters both real and imaginary and discusses where those two intersect.

The scary thing about the night––when I was a child––was that everything seemed so safe. However, I knew that just outside my doors, walls, and windows lurked evil that didn’t appreciate the calm and quiet that otherwise seemed ready-made to put me to sleep. There was a night when I was eleven years old, and it was probably a Friday, and my new friend, Josh, was sleeping over for the weekend for the first time. Back then, in the family room––as we called it––there used to be two faux-leather couches pushed up against perpendicular walls, meeting in the corner. The family room was where the TV and VCR and NES were, so it was the natural place for eleven year-olds to set up camp on a Friday night so they could resume their activities early the next morning, free from the memory of spending half of the day in school.

We camped on a couch each, our feet pointing to the corner and we lay swaddled in our sleeping bags staring, in the dark, up at the specks of glitter embedded in the popcorn ceiling. I was raised in this house, so the creaks and thumps of nightly settling were silent to me. If anything, it was a spongy quietude––no sound except for the very occasional passing car seemed to escape into the air––but we weren’t going to let that stop us.

After an evening of playing as 8-bit heroes slaying supernatural monsters and watching movies with actors doing the same, our early conversations floated around that subject. When we exhausted that topic and its surrounding scenarios, all we had left was the personal.

In the pauses, I stared at the ceiling and the thoughts––as they usually did––of the evil men possibly outside my house, walking the streets, driving in cars, shopping in stores in plain sight, entered my mind. There was a reason for this. My mother was the first female correctional counselor at the local medium-security men’s prison, and her early years there––amplified after her divorce from my father––bore much in the way of blatant threats and their associated hardships. These became serious enough that I was trained from the time I began speaking in the ways of making myself known were a man attempting to abduct me. When I had enough strength of limb, I was taught how to get free from unwanted holds or assaults. I was indoctrinated into the mindset of distrust––to stay away from adults I wasn’t related to, who taught me at school, or wore a badge. Those were the noises I heard at night––the threatening sounds of possibility. Possible footsteps outside my window. Possible cars parking across the street and watching. Possible knocks on my windows and walls. My monsters were possible.

In the company of friends––especially in the excitement of a new friend––those fears evaporated and the frightful silence became the comfortable quiet, except in those occasional pauses.

But, eventually, my nerves got the better of me. So, at one point, I asked Josh, “What scares you at night?”

“Normal stuff, I guess,” he said. He held a short breath in thought and added, with an exhale, “Ghosts, mostly.”

“What do you mean?”

“I don’t know,” he said. “I’ve read about hauntings and poltergeists. There are a bunch of stories like that and it’s pretty weird, especially if you find out how some of those ghosts died.”

“Totally,” I said, though not really sure of his point.

“What are you scared of?” he asked.

I wanted to say monsters and ghosts, but they were never real to me. That doesn’t make me especially smart or special, my fears were still those of a child’s rather illogical worries. But in the face of the possible, I sorted out that the unexplainable is only possible in imagination––something that can be controlled. So, I told Josh that I was scared of someone breaking in, of taking me and my mother, of being threatened inside the doors and walls and windows of my own home with a gun. He told me that was scary, too. I hope he held my illogical nighttime fears with as much weight as I held his––in the realm of the severely unlikely.

These worries have, for the most part, faded as I’ve aged, but I feared that my mostly illogical childhood anxieties have been reinforced as of late. I’ve realized over time that, because I’m male and white, I actually don’t have much to fear, and I can’t deny that shamefully comforts me––those creaks and thumps have also gone silent because, for some reason, society prefers people who look like me. But these possible monsters that haunted my night’s mind I fear are all too real for too many people, people who don’t look like me, people who care about video games and comics just as much as I do––who have done so for their entire lives––who love the things that kept us apart from the norm for so long. We were all children who loved these things alone, slowly finding others like us and rejoicing in this secret treasure that nobody else knew about. But only if everybody else did know, how different the world would be.

Now, we live in that world where everybody does know and these things from our youth are held up as proud pieces of our culture, and it sickens me to see the treatment that some of us who remember that secret joy receive. It angers me. It frightens me.

It’s scary because these monsters look like me, and, for a majority of their day, are probably good and productive people. But to confront a new point of view with the threats of murder, threats of rape, threats of doing harm to them and their family, to post heir personal information publicly against their will and to do it anonymously––that’s monstrous, much more frightening than any creature of myth or imagination.

So, I wonder how many people––people that may look different or hold different views, values, or predilections than I––will go to bed tonight and, in the silence ready-made to put them to sleep, will instead be afraid of the possible monsters outside their houses, walking the streets, driving the cars, shopping in stores in plain sight.

And I’ll try to sleep knowing that––this whole time––there have been monsters among us, and I hope that one does not lurk inside me.

–––––––––––––––––––––––––––

Happy Halloween, everybody. Be good to each other because we’re all just people in the end.

To lighten the mood, here is a drawing I did of a spooky creature I had a dream about a few years ago. Let it haunt your dreams, too.

A spooky shadow creature I had a nightmare about. Drawn with a brush, 2012.

A spooky shadow creature from a dream. Brush pen, 2012.

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The Trail Ahead

Oct28
by DBethel on 28 October 2014

Though Long John was radio-silent this last week, a lot of things have been going on behind the scenes. Though most of it is still nebulous and undetermined, some of it can be shared.

Firstly, I’m proud to announce that Long John is offering its first piece of merchandise, in a sense. Titled, Long John: Preview Edition, these are the small books I printed up for this year’s Crocker-Con back in September. Before you get too excited, they contain the first ten pages of the comic as well as a reprint of the blog post, “Behind Every Line and Between Every Panel.” Considering the decision to go to Crocker-Con was kind of last minute, these books were assembled and printed in a bit of a hasty manner. Since they were printed by RA Comics Direct, their physical quality isn’t in question––they’re gorgeous books––but there are some, as I’m calling it, “custom” typos to be found in the book, but they seem to be minor enough to be unnoticeable.

For $5, you get a copy of the book as well and a Long John sketch included with a bag and board so you can keep it crisp and clean for posterity. Just to let you know, supply is severely limited, and no more copies or versions of this book will be printed. Get your hands on one as quickly as possible! It’s being sold through Etsy at the moment because it seemed to be the most user-friendly (for both seller and buyers) and trust-worthy avenue for what I need.

Secondly, Josh Tobey’s Hellrider Jackie side-story––titled “Saving the Bones“––will debut not this week, but next week. The pages are looking amazing and I can’t wait for you to see them. Below is a little teaser of the kind of stuff you’ll be seeing in the coming weeks.

Thirdly, there will be a weekly blog post to keep you coming to the site. The topics will vary, but they’ll have some sort of relevance to the ideas or events in the upcoming, currently untitled, Chapter 2 (even if those connections are tenuous). I’m going to be using the site more as a place to focus all of my creative efforts, so blog posts that would normally be published at my blog, “Boasts of Bethel,” will be published at Long John instead (though I’ll tag them as Boasts of Bethel, to keep that tradition going). I would like the site to be a place where you not only learn about Long John and its influences and the theory/ideas behind it, but a place to keep you up to date with what’s going on in my head––what interests me at the moment––and will act as a nice intersection between Long John and my geeky/nerdy discussion podcast, For All Intents and Purposes.

Fourthly, the as-of-yet-untitled Chapter two of Long John’s story will be back in January, but the date is not yet set. I’ll let you know about that as soon as possible, however.

This is going to be an exciting few months! I’m incredibly excited to bring you new content and some surprises along the way.

art by Josh Tobey

“Saving the Bones” promo art by Josh Tobey. Starts updating next week!

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Introducing Josh Tobey – the Hand of the Hellrider

Aug25
by DBethel on 25 August 2014
Josh Tobey––The Hand of the Hellrider (source: Krystal Wirth)

Josh Tobey: the Hand of the Hellrider.

If webcomics allow for anything, they allow for experimentation with medium, format, delivery, etc. I’ve mentioned many times that Long John is, at least, partially about me pushing myself, creatively. However, that doesn’t exclusively mean challenging myself as a visual artist.

Long John is a single story, but there are and will be a lot of characters who have stories that won’t be told during the course of the main narrative. That’s par for the course when it comes to sticking to a story, but having those characters and their stories in mind is what helps make the main narrative stronger.

One of those characters is the Hellrider––she calls herself ‘the Hellrider’, townsfolk call her ‘Hellrider Jackie’––who is heavily featured in the opening scene of Long John. She is an overarching enigma of the story and the one bit that, at first, doesn’t seem to fit quite right in the world of Long John. One thing that’s clear is that she sees the world in a very different way than normal people do, and that vision is going to be very influential on the unfolding of Long John’s events.

So, with that in mind, part of the Long John updates are going to include side-long glances into Hellrider Jackie’s world.

There’s one problem. I can’t do it. In my head, looking through Jackie’s eyes reveals such a twisted and surreal world––one that allows her to feel justified in her actions (which you’ll learn about soon)––that any attempt on my part wouldn’t come close to how it should look.

Luckily, I know someone who can.

Josh Tobey is an Oregon-based (formerly of Denver) Symbolist painter and illustrator that has been my closest friend for almost twenty-five years (having become friends in the sixth grade). He––along with my relatively new hobby of reading superhero comics––was the reason why I started drawing, actually. Since that time, we have grown as artists, but have done so separately and in unique and distinct directions. He is the definition of a Fine Artist, and through his work I became a more thoughtful artist in my own right. He puts everything of himself into his work; every daub of paint, every representative item on the canvas means something.JT01

To describe his art is a daunting task because it speaks so much for itself. Some common descriptors are dark, disturbing, frightening, hellish, or apocalyptic. Perhaps just weird. His list of like-minds runs a wide gamut, from Yoshitaka Amano to H.R. Giger to Wayne Barlow to Zdzislaw Beksinski. Josh’s paintings are nightmares of flesh and earth in repose, doomed to wander a hostile and lonely, but quiet, environment during our waking hours. His paintings are perpetual twilight, when our vision is at its worst but our imagination at its most active, squinting from the sun looking for friends or foes and fearing the worst.

Josh was the first person I went to when I was thinking about doing Long John, and his support and enthusiasm are a major reason why it happened at all; but he’s also a major reason why this comic takes so much effort, and each page means so much to me, because I’ve seen the effort––technically, philosophically, and critically––he puts into his work. Because of him I wanted Long John to be Art in the purest, most expressive sense.

JT03

Possibly because of all the effort he has put into expressing himself in paint, he hasn’t really thought about comics as a medium for his own artistic expression since high school. However, I have dragged him into the fray after pitching him to be the dedicated Hellrider Jackie artist.

What I mean by that is that at the conclusion of “Chapter 1: Sunza,” you’ll be subjected to a four-week excursion into Hellrider Jackie’s morally obscure world that, to her, is literally being consumed by rot and char. When I realized I couldn’t pull off the visuals I wanted to have on the page and still have them be evocative, interesting and challenging for the reader, Josh immediately popped into mind. I was hesitant at first because he wasn’t really pursuing comics, but as the idea for a Jackie side-story grew in my mind––and I knew I couldn’t achieve what I wanted to achieve––I reached out. To my surprise, he agreed.

JT02

Josh and I became artists together, but went our separate artistic ways early on. Even though his work is vastly different than my own, his work has inspired mine on multiple occasions. He is one of my most favorite artists alive, and deserves any exposure he can get and that I can provide. Despite the aesthetic differences, our goals have always been the same––to express Art that has truth, meaning, biography, commentary, and story. I have wanted to work with him in some capacity, but the disparateness of our chosen media (and geographical distance) has never really presented an opportunity, until now.

So, please know that what you see through Josh’s hand (and, simultaneously, through Hellrider Jackie’s eyes) are what I saw even before he put ink to page. Had I done her story myself, I would have just been working from the mental image of how Josh would have drawn it and failed miserably. If Josh’s art is anything, it’s a challenge to a viewer, daring you to look away, but that’s what makes him the perfect guide for us through Hellrider Jackie’s world.

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