Long Box Thoughts: Kevin Rubio Speaks! And American Vampire #12
No big news this week. Well, at least no news I can be funny about. Also, I only bought one book. So, I’ll review that after I say a few words mulling about in my head.
Last week’s LBT included a review of Red 5’s “Abyss: Family Issues”. You can go back and look at it if you want to refresh or acquaint yourself with it. I’m going to keep going. Print is static, you can pick up right where you left off when you get back.
If you don’t want to go back, let me summarize thusly: I wasn’t a huge fan of the book.
Writer Kevin Rubio tracked me down via Facebook and this is what he had to say:
Hey Steve-
Read your review of my latest issue of Abyss. Sorry you feel that way about it, but I realize you can’t please everyone.
But just to correct a few misconceptions: my character predates “Kick-Ass” in fact, this particular story line has been sitting on file at Red 5 for three years – the unfortunate casualty of my main (and first artist) who is so good he didn’t have time for this volume, a replacement artist who flaked after 20 pages, and a bad economy that forces smaller companies like Red 5 to have to reschedule their release dates.
The “robot” R.E.D.S., is actually based on Peter Boyle’s character in Young Frankenstein. And while I’m glad you liked the “e-bay” sequence. it is not something I just dropped in for “pop-culture” reference. That scene actually pays off in issue 4.
While I don’t think any of this will change your review, I do hope you will at least give issue two of vol. two a look. and if you like, I would be more then happy to send you the GRFX novel of the first vol. on my dime.
Thanks for reading.
-Kevin
Pretty sweet that someone’s reading, right? Seriously, it got me thinking.
I responded to Kevin that I would be answering this message in my column, so here we go.
Dear Kevin:
I have been a critic in one way or another for a long time. I did it professionally in the business of music for years and also reviewed plays and books for a major daily newspaper.
In those days, experiences made me come to believe the role of a critic is – well – critical to the success of art as a whole – both as protector of the artist and arbiter of quality to the masses.
Artists, by and large, get lost in their own headspace quite frequently. It is the job of a critic, in one respect, to protect the artist from the dangers of hubris and the crippling tunnel vision that goes hand in hand with passion for one’s art.
In another aspect, the critic must protect the masses from the results of these maladies. As a music reviewer, I received all of my CDs and albums for free. I didn’t look at it as a perk to be taken for granted. I was grateful and it reinforced my understanding that I was being exposed to both good and bad art in order to make sure the paying public spent their money on things worthwhile.
I never was overtly harsh on things that were simply trash. Those earned a kind word and no language that insinuated my recommendation. Regular readers came to understand and interpret my code for things I didn’t like or couldn’t recommend. My general stance is that there is always something good to say about anything – even if it’s simply to recognize that the thing happened at all.
I reserved my harshest criticisms for those art forms that fell just short of the mark. The ones that tried the hardest and barely failed (or to glass-half-full it, almost succeeded) I felt benefited the most from tough, specific criticism.
Such is the case with “Abyss: Family Issues”. It’s almost there, Kevin. I read and absorbed your justifications and I understand the plight of the indie creator all too well. I have several friends who are working very, very hard to make their own way in this business. The stories they are coming up with are wondrous with nary a cape in sight. I watch them research long hours to make sure their stories are accurate in their use of history and mythology. I watch them argue over dialogue and use of language.
I know that all of that hard work will produce something amazing.
After reading your response, I re-read “Abyss: Family Issues” and I could feel that long shelf-life chewing away at its relevance. I could palpably perceive your frustration at the artists who either could not or would not deliver 100% of your vision. I also felt your desire to achieve wonder in your own story.
You are right that it doesn’t change my review. I stand by what I said. I still see it as a mediocre work overall I don’t say that to place blame myself on any one person or factor for my opinion. In its central “Good son/bad father” story line, the similarities with “Invincible” are still too glaring to ignore and the art is less than acceptable for the grandeur of your vision.
In the end, what matters is the product, regardless of obstacles overcome or miracles performed. In this case, for all of the trials and tribulations, the product suffered and it is my duty as a critic to protect my readers from spending hard-earned money on this particular issue of “Abyss: Family Issues”.
That’s not to say that I won’t read A:FI #2. I respect the balls you’ve shown by standing up for what you believe in and for your art. For that, I am willing to at least spend my cash to see what you come up with and what that eBay payoff will be in issue 4. If and when things get better, I’ll make sure to mention that here. You have my word.
I do wish you good luck with “Abyss” and your other endeavors, Kevin. The fact that the book exists at all is a testament to your hard work. I would simply like to see the product match your efforts in what I am sure has been something short of a picnic for you.
As the Internet both increases and decreases the choices readers have in their entertainment, it becomes exponentially important to rise above mediocrity and become a beacon for good in the lives of both artists and those who appreciate what they do.
All the best,
Steve (Dickson)
(Editor’s note, Walton here – I don’t think Dickson has put it together that Kevin Rubio is, in fact, THAT KEVIN RUBIO. Writer and creator of “Tag and Bink are Dead” and the infamous Star Wars/Cops parody TROOPS. While this in no way should or does affect the review, it is mildly humorous. It’s safe to say Kevin is going to land on his feet. We love both of these cats. Only on Geekscape. And for the record, Dickson does not select the images for his articles. Or the videos. Like the one below. Seriously. THAT KEVIN RUBIO. Hilarity ensues.)
AMERICAN VAMPIRE #12
Has it really been a year since we were introduced to bad-ass vampire cowboy Skinner Sweet? What started off as a really cool story about Vampires in Hollywood’s Golden Age has turned into a fang-banging journey through American History.
This issue is a one-off story featuring Sweet and a washed-up Western show in 1919 and the secrets it contains. Skinner gives us the lowdown on all of the shows aging inhabitants and then burns the place down. Yeah, so what I spoiled it. If you’re a reader of AV, then you know that Skinner rarely leaves witnesses.
I love the sequence where the festival impresario is running down the list of his Western “legends” and Sweet is giving us the real story. It’s imaginative and fun.
Plus there is the usual lovely gore I’ve come to love in this book. We don’t get the usual giant-mouthed, long-fingered vamps from the previous books. At least this time we get a new artist in Daniel Zezelj. I mean, to me, the weakest part of this book has been the art. It’s messy and way too interpretive for the stories being told. I’m not saying it sucks. It just isn’t quite the right fit. Gritty, yes. Crazy, no.
ANYWAY, it’s good. You should buy it. It was my only purchase this week.
So, what do you think? Did I miss something you wanted to talk about this week? Lay it on me in the comments section. Keep in mind that part of my last column was labeled “genius” by a very attractive and intelligent woman, so I’m pretty much bullet-proof.
What did you think about my explanation of the critic’s role? I’d love your feedback.
