how long have you known mike was going to die? was that a tough decision to make? did you sacrifice him for the sake of the plot/other characters' development, or was there another reason he had to go? he's my favorite out of all your characters, and after he died i went and reread all of shortpacked just to cope, haha. and now i want to know everything about your thought process re: killing him. if you have the time!
Mike never really fit in very well in Dumbing of Age? There was always somebody who'd be better, narratively, delivering his observations. If he's saying something cutting and acerbic to Joyce, then that's something that Sarah would be better off saying. If somebody was going to be a sarcastic wise-guy, that's Walky's wheelhouse. If I want somebody to be mean out of spite, there's already Ruth. He was kind of a drain in that specific way. Plus, like, in a cast mostly full of ladies and such, it felt off having this white dude off to the side always there to have their upper hand. He worked better in a different comic.
That didn't mean I never tried to make him work, though! "Of Mike and Men" was an attempt of mine to give him a better foothold in the story, in that world, with (I think) limited success. You can only give the guy so much more depth without making him Not Mike. It's a very narrow tightrope to walk, with him. All the room for his growth was essentially covered in Shortpacked!, and I didn't want to retread that.
The plan for Mike's death came in the wake of my own mother's death. I wanted to process feelings about death, I suppose. At that point, I hadn't decided yet that Amber and Becky's evil dads were also going to die, and I figured, oh, hey, I'm doing a timeskip. I can kill somebody. Those are the rules I gave previously, the "Not Killing Anybody Because Of IRL Years Of Depression And Sadness, Because Of How Slowly My Comic Moves In Time." I was already going to skip ahead months, and so my need to figure things out aligned with my upcoming planned timeskip, and I had to figure out who was going to go so I could process those feelings.
And after some "no, not them, not them, not them, no not them," I remembered, oh, huh, Mike fits into this need almost perfectly. 1) He's at odds with the narrative, as established above. 2) I just set up this "origin" story with him that I could directly follow through on. 3) He'd be dying before being able to "redeem" himself fully in the eyes of other people, which is important to the angle of story I wanted to tell. I've got so many other characters who have done shitty things and are working their way through them to hopefully a better space, and it was important to me to have somebody who didn't get that chance. Somebody who left their standing with other characters at an awkward place.
And I remembered one of my walking tours of Indiana University, and seeing a bunch of stairs on the side of one of the buildings, and thinking, Hrm, that's an Amazi-Girl setpiece.
And it's high up.
and it's one of the least gruesome and/or body-horrorish ways in which to die, so
On the left: Mike Warner, my most indefensible fave. I just think he's neat. Probably you shouldn't vote for him, especially since he's up against...
On the right: Carla Rutten, my most defensible fave. Fuck yeah, Carla! Everyone should love Carla, I think. Genuine best girl, beating out like six characters tied for second place.
Of all the things I love about Dumbing of Age (and Willis’s work as a whole,) the Superheroic Action Sequence As Vehicle For Character Development is one of my favorites. I loved the kidnapping arc! Was it realistic? Eh. This comic had a superhero. Do I care? Of course not. My all-time favorite moment they’ve ever written is “I die because I’m fucking awesome. (You die because you’re a shitstain.)” My second-favorite, though the last Shortpacked wedding is a close runner-up in third, is probably when across continuities, Blaine finally realizes that Amber is everything, without him. (Second link’s the strip that the first link calls back to, there, if you’d rather have it in chronological order.) Realism can get fucked if it spurs a good action sequence/defiant reason you suck speech.
One of my OTHER favorite things about Dumbing of Age is how Willis can give us a moment where a character gets to be totally awesome, and the audience cheers, and then a few months or say, three years down the line he pulls that moment out again only this time we get to see how THAT EXACT MOMENT seriously traumatized the character doing it, because we didn’t get a key piece of their perspective at the time and THEY are not viewing it as the audience. The classic for me is, of course, “Amber punches her shitty abusive dad in the face (and then as commenters at the time pointed out, smartly gets the fuck out of there and puts a bunch of people who try to deescalate things between him and her) -> Amber is horrified by her capacity for violence and the fact that she ENJOYED punching her shitty abusive dad in the face.” There are others.
And today, it’s Dorothy’s turn as we take the “Future commander-in-chief” strip from earlier in that arc and explore the idea that over the timeskip, Dorothy tried to capitalize on it… when it’s also the moment she left a man to die, and now she’s having second thoughts. (To be clear, he had it coming and there was likely nothing she and her fellow hostages could have done to stop it. Also, he was literally holding her hostage. But do you really think traumatic reactions care about that shit?)
hey! do you like the nfl but in a "i think some of these men are fruity" kind of way? well, you aren't alone and we made a discord server for it.
to join, please reach out to me here or on discord (username is gaynfl) or my co-mod @cardiaccat for a join link. invite links will be temporary and you will need to select a role before closing discord or you will be kicked. we won't be putting up the join link anywhere to filter out spam accounts. CLOSED FOR THE OFFSEASON.
Marvel Premiere #42 (Warner & Hannigan/Vosburg, July 1978). Greer’s had perhaps the strangest journey of any Marvel hero. Beginning in the limited feminist era, then absorbed into the more enduring horror era, she lingers in the hero books as a fiercely proud monster. This one-off upends her status quo once again. What’s next?!
DC Announces "Merry Little Batman" for Prime Video
Merry Little Batman is an animated family action comedy in which a looks to be very young Damian Wayne is left alone in Wayne Manor on Christmas Eve. Damian transforms into "Little Batman" to defend his home and Gotham City from crooks and super villains.
Merry Little Batman stars the voice talents of Yonas Kibreab, Luke Wilson, James Cromwell, and David Hornsby. Mike Roth directs from a screenplay by Mogan Evans and Jase Ricci.
Merry Little Batman hits Prime Video on December 8, 2023.