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The People Behind the Puppets: Grace Randolph

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One of the best things about editing the Fraggle Rock comic is that as an anthology, there’s quite a lot of talent that has contributed to it. Its success can’t be pinned on one or two people, but rather a collection of writers and artists who have a clear understanding and love for the property and the skill necessary to create new Fraggle Rock stories that feel as fresh and as “Fraggley” as the original show. As the comic’s editor, I work closely with each and every one of these creators from their story’s inception all the way to print, and it pleases me to say that I’ve enjoyed every minute of it. This is a fun crew. Some of the most talented and thoughtful people in the business. The problem is that outside of the Fraggle Rock team, not many people realize this. While a few contributors have had some success in the indie comics realm, many made their comic book debut on Fraggle Rock while others have been working steadily under the radar in comics for years.

In short, these are people that everyone in comics should know about, but not everyone does. So, to celebrate the ongoing release of Fraggle Rock Vol. 2, I thought I’d conduct a few interviews with some of the Fraggle Rock creators. These are the people who brought Jim Henson’s classic creation back to life for a new generation of readers, and will likely be making quite a name for themselves in the years ahead. I’ve really enjoyed getting to know them. I’m hoping that all of you will as well.

Let’s start with Grace Randolph. Grace wrote the lead story in the first issue of Fraggle Rock Vol. 2, but that’s hardly the only thing she’s written. She’s worked for both of the Big Two publishers, Marvel and DC, and has recently written comics for Tokyopop and BOOM! as well. And we’re not talking about obscure stuff that came and went, she’s worked on some of the big ones. Justice League Unlimited, Warcraft, StarCraft, the Muppets… And all this while also juggling an entirely separate career as a successful web content writer, producer and on-camera host.

Hi Grace, I hope 2011 is off to a good start for you. It seems like a pretty big year for you, isn’t it? Are you feeling good about it so far?

Yes, I’m very excited about 2011! I’ve been working really hard for a few years now and so of course I’m thrilled to see my career moving forward. But it can also move backward, so I’ll continue to work hard!

Grace, I remember when I first met you. It was at New York Comic-Con, probably around 2007, and I think the thing I remember most about it is that you had been bitten by some bug or something and were having an allergic reaction to it. Probably not the best first impression! Do you remember that?

I sure do! I was watching the Tokyopop Cosplay Fashion Show with my editor at the time and I felt my leg get itchy! Well it turns out that a mosquito had gotten up my pant leg and bit me several times! That’s what I get for wearing long pants to a convention in the spring. Anyway, I’m very allergic to bug bites and so in just a matter of minutes, the bites were all red and swollen! So I took an antihistamine and it made me super drowsy! Fun times… 🙂

The first comic book project I think I saw of yours was a pilot we did at TOKYOPOP called Nemesis: Who Me?. If memory serves, it was actually one of the more popular pilots we ever ran. Then after that, you did a bunch of Warcraft and StarCraft comics for us, something I find interesting because I know you’re not really a gamer. Were those projects a challenge?

Yes, Nemesis: Who Me? — last time I checked — was the most viewed of all the pilots. I was very proud of how it turned out and had been fortunate enough to be paired with a great artist, Elisa Kwon. Sadly the Pilot Program didn’t work out overall, so we weren’t able to move forward despite the good response. As for the Warcraft and StarCraft comics I wrote, I’d say the most challenging aspect was researching the games as I’d never played them before! As someone really into comics and movies myself, I know how important it is to get a world’s mythology right when adding to it. So I was very happy that the stories were well-received.

One of them, “Last Call,” is one of the best comics I think you’ve written. I really love how it takes such good advantage of the comic book medium. I don’t think that story would be as effective as a film or TV episode. Where did you come up with that idea?

My first thought when coming up with a pitch for StarCraft was that I wanted to write something sexy. I think it’s important for a writer to show that they have range. On top of that, I learned about Zerg parasites and how they control their hosts — I felt the idea of a person being forced to spy against her will would be very interesting. That’s where I got the idea to write a traditional espionage drama with a sci-fi twist!

After that, you began writing comics for a variety of publishers including BOOM!, Archaia and now Marvel. Most of what you’ve written has been all-ages. Do you like writing comics for younger readers?

Well, to be totally honest, I must point out that all-ages books are where new writers break in. That said, I certainly enjoy writing all ages books and I try to make them just that — something anyone would enjoy. I feel that writing something specifically for “kids” tends not to work out as you just end up talking down to them. When I was a kid, it was the sophisticated stories that appealed to me the most, and I assume it’s the same way with other kids.

Yeah, that’s something that’s a little different with comic books than with other mediums. It’s hard for a kid’s book to be successful entirely on its own. Most publishers want their books to be all-ages. Is writing for such a wide audience a challenge?

Not at all! As I said above, that’s the audience I want to write for anyway with an all-ages book. It’s like writing a PG or PG-13 movie, and adults love those too!

It seems like most people who know your work, know you from your Muppet miniseries. Why do you think that out of everything you’ve written so far, it’s Muppet Peter Pan that people seem to really respond to? What do you think of your work on that project?

I think Muppet Peter Pan stands out for three reasons. First, because the properties are so well known and loved. Second, BOOM! Studios did a wonderful job getting the word out on that book. Third, I like to think that my pairing of the two brands was a good idea and that I did it well. And since the response to the book was great, and continues to be great, hopefully that is indeed the case.

Your lead Fraggle Rock story, “Wembley and the Great Dream-Capade,” is one of the more daring stories in our collection. It’s flat-out surreal in places. I don’t think of you as the sort of writer that naturally enjoys creating WTF moments, yet your story has a few of them and you absolutely NAILED them. Where did you get the idea? Was it inspired strictly by Fraggle Rock or did it have other inspirations?

I’m so glad you think I got the story right! 🙂 And actually, I love writing surreal WTF moments — you just don’t get a lot of opportunities to do that with all-ages books. But I must admit, Fraggle Rock was the hardest writing assignment I’ve ever had. As I’ve said here, I view all-ages books as just that. However Fraggle Rock has a definite young readers vibe. So I had to find a way to walk that fine line between a story for pre-schoolers — an important message — and one that adults would enjoy — a great story. For the message, I wanted to teach kids how to play and use their imaginations. For the story, I liked the idea of dream-sharing and the freedom it gave me as a writer (i.e. getting out of Fraggle Rock). After fleshing out the structure of the story a little more with you and the Henson team, I was able to run from there. As for the WTF moments, those were actually the first elements of the story I came up with when I sat down to write. I come from a comedy background and, with such a short story, I wanted each dream to focus on a joke that not only was funny but crystallized the personality of the dreamer. Again, I’m glad you liked it and I hope others do too!

Your most high profile comic book lately is probably Marvel Her-Oes. I really enjoyed it, but if I had one disappointment, it would be that it seems to be the latest in a line of girl-oriented superhero books written by female writers that seem to exist in part because the Big Two are utterly clueless when it comes to female talent and fans. Most girls I know who like superheroes and comics are more than happy to read The Avengers, Fantastic Four, Batman, Spider-Man and all the other superhero comics that their male counterparts read. They don’t need books aimed at them. And the girls who DON’T read comics probably don’t read them because they have no interest in superheroes, so a new superhero comic isn’t going to interest them even if it was written for girls. Plus, I think it does a disservice to writers like you who are more than capable of writing regular superhero comics. So why do things like Her-Oes? Do you think there’s a real need for them? I worry that they may turn off male readers, and be ignored by female ones who feel like they’re possibly being pandered to.

Hmm, well this topic is certainly a hot one in the comics community — how to get more women to read comics. I think Her-Oes was a great idea, and I’ve actually had a number of people come up to me at conventions and tell me how much they’ve enjoyed it. One person even said he felt it would make a great animated series. Also, I heard from a friend who works at a comic book store that a little girl came to buy it and jumped up and down when he handed it to her! So I think Her-Oes is a great first superhero comic for young girls — they just don’t know about it. And a lot of that has to do with the reluctance of the comic book audience to let in new demographics. I was told that a lot of comic book stores didn’t even bother to buy the book to put on their shelves. That’s a shame. And a male reviewer dismissed it as “Archie crossed with Super Heroes” and, sadly, made fun of his young daughter’s taste when she told him she liked it. That’s wrong on so many levels I don’t know where to start, so let’s just move on.

Okay, one of the coolest things about you is that outside comics, you have this entire different career as a web host, writer and producer. Can you tell us about that?

I love it, and it’s also a lot of work! But the internet community is really fabulous and it’s great interacting with them on a weekly basis via my two shows, Facebook, etc.

Check out what moviegoers have to say about the new Anthony Hopkins film, The Rite, in a recent episode of Beyond The Trailer, Grace’s web series that lets movie fans have the final say!

How did you get started doing it?

I was doing live improv and sketch comedy at The Comedy Cellar in NYC when I got the chance to pitch a web show. I felt nobody was covering movies in the manner I thought they should, so I decided to give it a go myself!

You’re doing two shows now. Can you tell us about them?

Sure! The first is Beyond The Trailer which I created in 2007 as RevYOU and then in its current format as a Next New Creators program in 2008. It’s a movie news and review show with new episodes every week that I host, write, edit and produce. In January, I’m happy to say BTT got 4.3 million views on YouTube — its best month yet! I also am the new host and writer of Marvel.com’s The Watcher, debuting in November 2010. So far it’s been great and the response from Marvel viewers has been very supportive.

I’d imagine landing that Watcher gig must’ve been a real thrill for a comic book fan like you. How did you get it? Did they approach you or did you approach them?

It was indeed a thrill — and a huge honor!! I originally approached Marvel Digital about a writing gig, and also mentioned that I had some ideas for a comic book web show. They checked out Beyond The Trailer and thought I’d be a good fit to take over The Watcher as the original host was moving out of town. I am having so much fun making the show and still feel like a kid in a candy shop every week when I go over to the Marvel offices to shoot!

How much of The Watcher do you write yourself? Does Marvel have to approve everything? What’s that process like?

I write the entire show, and yes, of course Marvel has to approve everything. I submit a proposed outline the week before for approval, and sometimes Marvel will let me know if there’s something specific they think might interest viewers. Then I write up the script, make any changes that Marvel requests, and we shoot! The entire Marvel Digital team is wonderful to work with, as is Marvel in general. I do a segment called Marvel Fact Hunter where I interview members of the editorial team and everyone is so nice and eager to talk shop! It’s great!

Are you watching The Watcher? You should be! Check out Grace’s latest episode…

Do you know if any of your fans have followed you from one show to the other, or do they tend to stick with one? Do you think one of the shows has won you more fans than the other?

Yes, I’ve had a few viewers crossover from The Watcher to BTT and vice versa, which is great. As for which show might have won me more fans, what I’m most concerned about is creating great content. That’s the most important thing. I think if someone is focused on simply getting fans, they aren’t in this business for the right reasons.

What are your goals for this year and next? And is there anything brewing with either your web productions or your comic book writing that you can tell us about?

I’m a big believer in jinxes, so nope! 🙂

And finally, tell us something about you that you think may surprise us…

I broke my left-elbow when I was four years old impersonating Tarzan and almost lost my arm! Yikes! Don’t jump off furniture, kids…

I’d like to thank Grace for taking the time out of her very busy schedule to talk to us. (It is Oscar season after all, and Beyond The Trailer covers the entire race!) If you’re interested in her work, you can visit her website at www.gracerandolph.com.

Or check out her two web shows:

BEYOND THE TRAILER
http://www.youtube.com/beyondthetrailer

THE WATCHER
http://www.youtube.com/user/MARVEL#grid/user/83F1D8F581552723

Not Waiting for Superman…

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I spent last Sunday at the West Hollywood Book Fair, which felt like a real accomplishment this year considering the temperature was well into the triple digits. It was the sort of heat where everyone stops worrying about their appearance and just accepts the fact that they look like they decided to take a shower without soap and without bothering to take off their clothes. The heat was a real problem because not only did it negatively impact attendance, but it also affected the mood of those who did show up. Most people weren’t in the state of mind to leisurely peruse the fair, talking to authors and picking up a book or two if any caught their eye.

This was definitely unfortunate and my sympathy goes to the vendors and authors who experienced less than stellar sales. I just hope they realize that the problem was the heat and not the actual event. And I hope the event organizers realize that the heat is a problem and consider pushing next year’s book fair back a month or two.

And yet, my experience at the fair was largely positive. Yes, I went through about eight bottles of water and looked a complete mess, but I had a chance to catch up with some friends, meet some cool people, have Hope Larson sign my copy of Mercury, and moderate a pretty thorough panel on comic books outside the “Big Three” (though we could never really agree on who the third big publisher was, so we stuck to Marvel and DC). I was actually very pleased with how the panel went, and much gratitude must be extended to my four panelists: Joshua Hale Fialkov, Richard Starkings, Renae Geerlings and Raphael Navarro. Each contributed a fair amount to the discussion and each brought vastly different experiences to the table, which resulted in a really comprehensive discussion on the subject of publishing comics outside the Big Two. There were a few disagreements and differences of opinion, but there was certainly one thing that came up several times. Comic book fans really need to start buying stuff other than Big Two superhero books.

You know, I’m a lifelong superhero fan, and that’s never going to change. I’ve seen just about every superhero movie opening week in the movie theater and that will probably continue until my dying day. I still enjoy a great superhero story and although it seems to be a losing battle, I really do try to keep up with most of the Batman titles. But I reached a point in my life when I’d had enough and stopped buying 98% of the superhero titles that I had been buying. The reason for my decision was a key point in our discussion on Sunday: Marvel and DC no longer care about doing what’s creatively best for their properties. Instead, their interest is in leveraging them for all they’re worth. All the major characters (including my boy Bruce Wayne) have numerous monthly titles, along with multiple miniseries, one-shots and crossovers that come out each year. Forget about whether people actually want that much Aquaman in their lives, it’s there, spread across comic shop shelves and crowding out smaller independent and creator-owned titles. But that’s not even my point here. Let’s look at what such a glut does to the character.

Look at the recent YA fiction trend. Do you want to know why series like Harry Potter, Twilight and The Hunger Games are going to be read decades from now? And why books like Hatchet, Island of the Blue Dolphins, Ender’s Game and His Dark Materials continue to be read by readers of all ages years after their publication? It’s because all of those series were limited. The authors had a clear story in mind, and they stuck to that. And from the very start, I can guarantee you that they knew their story had an end.

Could J.K. Rowling have added to her already ridiculous fortune by franchising Harry Potter and cranking out volume after volume of it? Would a “Tales of the Mockingjay” comic book “written” by Suzanne Collins and scripted by some unknown comic book writer (who actually does all of the work, but shares credit with Collins since her name is the one that will move copies) sell like cupcakes? Does Haymitch like his drink?

There’s no doubt the above projects would sell, but the true cost would be the value of the original source material. And yes, this is coming from a guy who edits Fraggle Rock comics. (Which I don’t feel makes my statement at all hypocritical. Fraggle Rock was a TV show. It’s designed to be episodic. Most fiction isn’t and I think it loses much of its relevance when it’s designed to be.)

We can argue that properties can be put through a lot before they lose their literary significance. Certainly Sherlock Holmes remains as important a literary figure as ever, despite having survived not only four novels and 56 short stories by Sir Arthur Conan Doyle, but countless film and TV adaptations. But even the strongest characters—and the most iconic superheroes are as strong as they come—can only withstand so much. Superman will celebrate his 80th Anniversary in two years. That’s 80 years of continuous publication, not to mention the radio and movie serials, the numerous TV shows and movies and quite a few novelizations. How many stories can there really be to tell with the character? And more to the point, would DC honestly let them be told? Only if whatever impact they may have on the universe can be reversible or described away by some space-time anomaly or reality-altering superweapon or some other convenient plot device created to maintain the status quo. Anyone who reads comic books for any length of time knows that nothing really changes in them. Not for long. Eventually, the dead are brought back and the supervillains are released from prison.

That, my friends, is the very essence of disposable entertainment, and that’s why comics and graphic novels as a medium continue to be so readily dismissed by so many adult readers. Ask yourself, how the prose novel would look if its flagship titles were The Babysitters Club, the ongoing work of V.C. Andrews and ever popular Star Wars and Star Trek novelizations? There are many readers who look at comics much the same way, and while it would be easy to dismiss them as ignorant (an assessment that isn’t without some truth), it’s an ignorance that we helped perpetuate.

Look, I’m not saying we should stop publishing all superhero books. There are some good ones out there. Let’s just stick to publishing those ones. The truly good ones. The Batman and Robins. The Invincibles. The ones that really stand out and get people talking. And when the writers of the projects decide they’re done, end the fucking things. Keep Batman on ice until another brilliant idea comes around.

There’s nothing wrong with disposable entertainment. But when it gets to the point that it’s defining a whole medium and quality projects are suffering and struggling to find an audience as a result, then it’s getting a little out of hand. And I’m afraid that’s where we are right now.

And for once, it’s not going to take a superhero to save us.

The Fraggle Rock v. 1 HC reviews start rolling in…

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Fraggle Rock HC
Written by Various
Art by Various
Published by Archaia
Review by Jeff Marsick

There will always be certain scents and sights that harken one back to their childhood. Cracking this book open was a “Whoa” moment for me, instantly transporting me back to a family room in Cleveland, circa 1984, my butt firmly planted on shag carpet in front of a late-70s model Zenith that was only slightly smaller than a Chevy Vega. Fraggle Rock of my formative years is now Fraggle Rock of a new partnership between Archaia and the Jim Henson Company. I never read the individual issues of the three-issue run that came out earlier this year, since I’m jaded on comic adaptations of cartoons (and TV shows and movies, for that matter). Sure, back in the day I did read some of the Marvel’s Fraggle series, but was disappointed that the magic of the show couldn’t be reproduced on the page. So Archaia made a deal that would tug on the heartstrings of our fondness, I thought. Bully for them. But they won’t get it right, not as I remember it.

Well, I’ve been wrong once before (it was some time during the Reagan administration), and now the tally is two. First off, it’s a beautiful hardcover, the same size as the company’s Mouse Guard. In my opinion, Archaia and Radical set the bar for hardcover presentation and this is a fine addition to my shelf. When you open the book, the colors just leap off the page, bold and bright yet subdued so that you don’t get a first-degree burn off the reds and oranges. Just on perusal, it feels like you’re fast-forwarding through an episode which is a nice comforting feeling, indeed.

The hardcover encompasses all three of the original issues (eleven stories), plus the variant covers, some activity pages, character bios, and a cute backup feature, The Skrumps, by John Chandler. What’s unique about this book is that you have eleven stories by ten different writers and nine different artists (writer Adrienne Ambrose and artist Joanna Estep collaborated on two of the stories), yet not one of them is glaringly weaker than the others. Usually you’re expecting at least a sixty-forty ratio of good stories to “who in Crom’s name thought including THAT was a good idea?”. This time out you’re getting one hundred percent of goodness for your money.

Even better, while the tales are whimsical and cute with just an occasional smidge of saccharine (which is just the right amount) they never come across as cartoony or too kiddie, and the stories are never forced. In other words, the writers and artists didn’t get in the way of the characters. There’s a respect there, an appreciation of the Fraggle community, and it comes through in every story. “Time Flies” by Katie Cook is probably my favorite, where Junior Gorg drops a pocketwatch down a well and Fraggles, unable to comprehend its true purpose, are set off by Red to perform a series of tasks against the backdrop of ticks. It’s supposed to be a game, but racing against time quickly becomes work, and therein a valuable lesson is learned.

When my kids are older, I’m going to pull this out and read it to them, then pass it on, knowing they’ll read it until the covers come off. That’s probably the highest praise I can bestow on such a beautiful and well-done book. And this is only volume one. I can’t wait to see what the next twenty will bring. Highly recommended, especially for those of you out there nostalgic for your Fraggle memories.

Archaia said this book would be on shelves this past week, but I didn’t see it at my usual haunts, so either it was sold out or delayed. However, like Underdog says, never fear: it’s due in bookstores on September 7th, and you can pre-order it right now on Amazon.

(Check out the original review on Newsarama.)

Archaia delivers the goods down at Fraggle Rock.
BY JOEY ESPOSITO
AUG 31, 2010

If you’re a child of the 1980s and the terms “Jim Henson” or Fraggle Rock don’t bring a smile to your face and spawn fond memories, chances are you also hate fun and kill kittens.

For the rest of you, be prepared to relive your glory days. Archaia has sprung to life as of late by associating themselves with Jim Henson Productions. Though the television show ended in 1987, the Fraggle Rock characters have lived on, much like its theme song. Archaia’s three issue debut of Fraggle Rock has been collected into a gorgeous little hardcover collection that, as cliche as it sounds, is a great read for kids and adults alike.

What Archaia has done is essentially create a Fraggle Rock anthology. There’s 12 short stories within the collection, along with fun kids activity pages and an 8-page Skrumps story by John Chandler. For an anthology book priced at $19.95, Archaia does what they do best and jam packs this collection with everything they can, making it a worthwhile value for any that should purchase it. It’s also a great book for helping kids to get into reading. The stories are simple, funny, and often have some sort of lesson about the world we live in, co-existing in society, and even the meaning of art.

In that sense, Archaia’s Fraggle Rock is incredibly true to the Henson name. On the surface, it’s goofy fun and Muppets, but look deeper and there’s a high amount of educational value, both ethically and comedically. You’ll get to see all your favorite Fraggles, Gorgs, and Doozers; even the Trash Heap, Doc, and Sprocket make appearances. For the youngins that may not be familiar with Gobo and the gang, there’s even a nifty little introductory section that presents the main players, their personalities, and relationship with other characters.

What’s a joy about this collection — and something that every anthology should strive for — is that all of the tales are equal in quality and enjoyment. All of the artwork differs, but none of it dips in appeal. The stories are varied enough to keep the book from getting stale, and the page count is just enough to keep younger readers engaged.

No matter how much we love our superhero drama, over-the-top gore and hard boiled noir, there isn’t a soul on the planet without a soft spot for Jim Henson’s creations. Though Fraggle Rock and its inhabitants aren’t the most famous of the various Henson productions, Archaia has chosen the perfect avenue to blend children’s fantasy, relevant storytelling, the anthology mindset and pure sentimental value.

(Check out the original review at Crave Online.)