On The Road (With Apologies to Kerouac)

On Friday, February 26, 2017, I delivered the final edit of Magicians Impossible to St. Martins Press. It is finally, FINALLY finished, and it has been the most difficult, most lengthy, and most rewarding project I have ever undertaken. The stats on that: I first sat down with editor Brendan Deneen to talk about the book in April of 2014. Now, three years less a month later, the journey is over.

Well, not OVER over. There’s still the the matter of the release of the book on September 12, and all that comes with it. Magicians is going to keep me busy through the fall and probably into next year, especially when the paperback is released. But the writing journey is over. I’m on the next project already, and have pages to deliver to my agent this month so she can run with them, which will be a journey in itself.

Now, with “journey” on your tongue, a pop quiz. What do …

And …

Along with …

And let’s not forget …

And, finally …

All have in common?

They’re all places I’ve been to, and they all feature prominently in Magicians (which you haven’t read yet), but they do figure into the story, some in very significant ways. I bring them all up because they’re all part of what I believe is the key to good writing, or at least the authentic kind.

Joe R. Lansdale, one of my favorite writers, once said (and I paraphrase) that “you can tell when a virgin’s writing a sex scene.”  Likewise, you can tell when someone’s writing a story with no idea what they’re actually writing about. Like they never experienced the place, the feelings, the emotions of what they’re describing. To me, that is one of the most important aspects of writing; the part most writers fail to mention.

Travel. Adventure. The whole “step away from your desk and experience life” thing.

A lot of writers go on about their word counts, or their endless rewrites, or writer’s block. I don’t see many going on about an adventure (or misadventure) they had. Some object d’art that inspired them. Some unexpected journey that gave them an idea they nurtured into a story. Some wrong turn that ended up being the best mistake they ever made.

I first visited Paris in 2011, as part of a post Fresh Meat victory lap. My wife and I spent our Christmas there, renting a charming flat in Montmartre, and spending the entire week in the city. We hit Versailles, the Catacombs, stumbled upon Francois Truffaut’s grave in Montmartre Cemetery, shopped the Galleries du Lafayette, ate lots of cheese and drank an alarming amount of wine … and visited the Louvre, where we fell in love with its beautiful sculpture garden …

And this statue in particular.

Not to spoil anything, but a central portion of Magicians takes place within the walls of the Louvre, and this sculpture garden in particular. Now, it goes without saying I never would have conceived the idea if I hadn’t gone to Paris and to the Louvre. But the idea of staging something in the Louvre was born that day in late 2011 – five years ago, and two years before I began Magicians.

This is another example. All characters need to come from someplace, and when I was developing the backstory of Jason Bishop, Magicians’ protagonist, I knew I wanted him to have grown up in the village of Cold Spring, NY, which is an hour and a bit by train north of NYC. My wife and I spent a wedding anniversary weekend up there back in 2012. We saw the sights, we hiked, we ate very well, and it was on one of those walks that I first glimpsed Storm King Mountain, just across the river and a little further north. Something about the name Storm King just stuck; it made me think of the Night on Bald Mountain sequence in Disney’s Fantasia, and an image of a wizard’s battle on the road that winds along its side popped into my mind. So, when I was trying to find a place for Jason Bishop to have spent his childhood, Cold Spring was a perfect fit. Had I never visited, it would have been someplace else. But over drafts of the novel I realized just how important Cold Spring was to the story. In the end it is probably the most important locale (and I ended up getting my wizard’s battle on Storm King after all).

Ditto Jason’s place of work. The location of The Locksmith bar in the book is just below Dyckman Street on Broadway, a spot occupied currently by the Tryon Public House. But the layout of the place is actually based on a bar further north once called The Piper’s Kilt (now the Tubby Hook), and takes its name from a bar further south that used to be called the Locksmith. I picked the Inwood neighborhood of Manhattan to park Jason at his job because it’s a neighborhood I’m familiar with. Any time I needed a refresher on some detail all I needed to do was go for a walk.

There are other real-life places that figure into the book, but those are the major ones. So to me, anyway, travelling is the most important thing I don’t hear a lot of writers talk about. It’s authenticity. The idea of experiencing things off the beaten path, to use a cliché. It doesn’t even have to be an overseas trip; sometimes just walking down a different street in your city or town can give you an idea.

Even if Sci-Fi or Fantasy is your thing, you can still benefit from travelling outside your comfort zone. Go to a place where they speak a language different than your own. Try and sample the local cuisine. Get lost. You don’t even have to go far; even the next town or state over can reveal wonders. It’s amazing how many people rarely venture outside their home town or city or state or province. Only 36% of Americans even own a passport; they’ve never set foot outside of their country.

So, if you’re a writer, aspiring or otherwise, I strongly encourage you to step away from the desk, step outside your life, and see what’s out there. Your next story could be waiting for you as close as the next street over. All you need to do is find it.

 

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Impossible Tracks

So, a lot has happened since I delivered the Magicians Impossible manuscript to my editor at Thomas Dunne Books on January 6th. Manuscript was received, I received the rest of my advance, and took a breath to orient myself after what was a long haul project.

Since then … a lot more has happened. Word started getting out; some book blogs picked up word on Magicians Impossible, the dedication and acknowledgements were written and submitted so the book could be sent to the printer’s for those galleys to be sent out to reviewers in April. July 4, 2017 was fast approaching.

Then… things changed.The original release date of July 4th was always fluid, with my hope they’d move it up to June 27 so people could get the book in hand before the summer officially began on the long weekend.

That was my hope, anyway.

Instead, the sales, marketing, and publicity departments, along with my editor, jointly decided that an autumn release date would be better for the book.

Which is why Magicians Impossible will now be released September 12, 2017. I’m told through the grapevine that the higher ups at St. Martin’s Press (where Thomas Dunne Books, my imprint, has its home) feel Magicians has the potential to do much better in the fall market, which is typically when the big five release their major titles. It’s a huge vote of confidence in me and Magicians that they would make such a decision.

[As an aside, a friend who worked in sales at a UK publisher for years said it means SMP wants Magicians to be an anchor of their Christmas line-up.  So, Merry Christmas to me]

What does this change? Well, nothing in the short term, except now we have a little more time to get the whole machine up and running. My agent, Jodi, and I are meeting with the SMP team in early April to plot promotional, marketing, and publicity strategies – and she and I will be strategic on our own as how to maximize the new release daye, the months leading to it, and the ones following.

Right now it’s looking likely I’ll be appearing at Book Expo America in NYC in early June (where the book gets its official “pre-launch” launch). My promotional tour (New York, Los Angeles, and possibly Toronto) will run in September-October, with appearances and signings continuing through the fall at basically any place that will have me. One advantage of living in NYC is everything from D.C. to Boston and parts between are only a drive away. I’m hoping to hit up everyplace I can on the East Coast this fall. West Coast (outside of LA) and parts in between will be on a TBD basis. I hope to hit up cities that aren’t on the usual publicity tour stops like Chicago, Milwaukee, Cincinnati, Memphis, Nashville, and my old NC stomping grounds.

Anyway, to keep up with what’s happening with Magicians Impossible, I now have an author page up at the MacMillan Books website. I also have a Facebook page you can swing by and like for more updates.

And, of course, the book’s available for pre-order at fine bookstores everywhere.

I made mention in the previous update that I’d be leading up to the book’s July release with a series of entries about things I discovered about writing and process. That’s still happening, but for obvious reasons is being delayed a couple months. But I’ll have some new non-Magicians related material up sooner than later. I hope.

TTFN

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Wild Wild Life

It’s finished.

On January 6, 2017 I delivered the revised and final draft of Magicians Impossible to St. Martins Press. There’s still copy edits to come, but the draft I delivered is the one you’ll read when the book arrives this summer. I just received word from my editor that the galleys are being printed which means within the next couple of months I’ll have an ARC (that’s Advance Reader Copy) of my book in hand.

So Magicians is, for lack of a better word, finished. And right now I’m trying to figure out where I go next.

I learned a lot about myself, and about writing overall, during the creation of Magicians Impossible. It was April 2014 when I first sat down over lunch with Brendan Deneen at SMP to talk about the book. It’s January 2017 as I write this. I’me taking a brief respite for some downtime – something I didn’t get over the holiday break because I was on deadline. Then, I get back into the next writing project.

So, from now to the book’s release I’m going to be shifting gears on this website, and spending the months leading to publication talking about the process of writing this book. What I learned. What I did right. What I did wrong.

The biggest thing I learned though, was that in the challenge of writing a book while raising an 18 month-old, was that time away from writing can be as important, if not more important, than time spent at my desk. It used to be I could hit 2000-2500 words a day, but with my child’s needs, I could only hit around half that.

And that ended up being just fine, because on those walks and visits to the playground, and the library, I found I could spend more time thinking about what I’d written that morning, and on what I was working on that afternoon, than the actual writing of it. That way when I did get the child down for their nap, and had a nice 3 hour block of time to write, I hit that daily goal much quicker and with greater dexterity.

There’s a definite difference in quality, I found, anyway, between the pre-child chapters of Magicians and the post-child ones. Of course, pretty much every post-child chapter was completely binned and rewritten from scratch, but that’s a story for another day.

I’ve long felt that writing isn’t just the time you spend at your desk. It’s not your word count. It’s not volume. It’s everything but that … and that’s something I’ll get into on our next installment.

Your not-so-subtle reminder: Magicians Impossible is available for pre-order now from Amazon, Chapters-Indigo, Barnes and Noble, and your local bookseller. I’ve been told that some have had difficulty pre-ordering in person; some systems haven’t updated to include the book in their pre-order sections. So maybe what is better is for you to call or visit your local and ask they reserve a copy, or give them the book’s ISBN number (ISBN: 9781250083524).

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The Dog-end of a Day Gone By

To call 2016 challenging is to undersell it. It was certainly the most difficult year I’ve endured, and that’s just on a personal level. Caring for a 1 year-old while managing a career as a writer is no easy task. There have been frayed nerves, sleepless nights, and the ever-present worry that this is pretty much it for me and my career; that I can’t do both those things without failing at one of them. And yet, I’m still here, you’re still here, and we need to be because 2017 will probably be worse. It’ll take away people and things we love, the bad guys will keep winning. This is the beginning of the winter George RR Martin’s Stark family keeps telling us is coming.

But it’s important not to give into that despair. You have to fight, you have to strive, you have to marshal resources and press on. Because capitulation is not victory. It will feel like it for a while, but those things you’re trying to hide from will find you eventually.

Think of it this way; we all have some sort of comfort food. Some meal that you love, less because of what it is than what it represents. For me, it’s the traditional roast beef diner my grandmother used to make. The roast was always a little dry, the gravy a little starchy, but I’ve spent the last twenty-three years trying to re-create. But that really isn’t the point; the point is when I do make it, I get a minor taste of what that meal represented; the closeness of family, the smiles, the laughter of people now long gone. There’s warmth to it, and sadness. It’s nostalgic, the comfort meal.

As Michel Houllebecq wrote;

Nostalgia has nothing to do with aesthetics — it’s not even connected to happy memories. We feel nostalgia for a place simply because we’ve lived there; whether we’ve lived well or badly scarcely matters. The past is always beautiful.

That’s comfort food; and art can be comfort food for the soul. Books, movies, TV, music … those perennial works you return to over and over again, not because they remind you of happier times, but because they remind you of a time in your life that you survived. So in the spirit of the season, here are some of my artistic comfort foods.

  1. Bond. James Bond.

bond

I grew up with James Bond; the Roger Moore ones specifically, because they were the first ones I saw. I remember how a Bond movie would often be the ABC Saturday night movie; the World Premiere of Moonraker or something Over the last month and a bit my wife and I watched (in reverse order for some reason) the Moore Bond series, and the Dalton ones. We’re now into the Brosnan era. There’s just something about them that gives me a warm feeling, and that, I think, has been their success; by offering us what we want while tweaking the formulas ever so much. From Octopussy on I saw every Bond in the theater, including Never Say Never Again, though I shamefully confess I missed Spectre, being a newly minted parent my movie watching was pretty much impossible. To this day remains difficult – last I saw in the theater was … actually, I legit can’t remember. It was summer, I know that. Maybe X-Men Apocalypse (which was terrible by the way). Did I mention the year that was has been rough? Well, yeah. No time for movies.

2. High. Degrassi Jr. High.

degrassi

Not much time for TV either, though one seminal series turns 30(!) next year. Yes, on January 18, 1987 a little Canadian TV series called Degrassi Jr. High made its debut on CBC. My friends and I all mocked it, for its cheesiness, for its obviously plotted by adults for kids aesthetic, for the Canadian-ness of it (growing up in Canada in the 1980s it was anything but cool). But we still watched it – I know I did, mostly because it was filmed in, and set in Toronto, which I loved, and I would just groove on the scenery. When the final TV movie “School’s Out” aired five years later, I think everyone in school must have watched it because the next day all people could say was “You fucked Tessa Campinelli?” Over the following years it aired in reruns, was relaunched as an enormously successful show called Degrassi that’s still going strong. But now, 30 years on, it’s become comfort TV, for me anyway, because of the cheesiness, because of the plots, because of the amateurish nature of using non-actors. It even makes a brief cameo appearance in my next novel. Those kids are all in their 40s now – and I’m sure the ones who grew up not watching it but actually watching in secret still remember the theme song.

3. God Save the Queen
queen_band_members

If you know me this will come as a shock, but I grew up listening to Queen. First instance was when we moved to Scarborough Ontario in 1982, and at my new school, had to participate daily in a thing called the Health Hustle. Let me back up; by Age nine I was used to starting over in a new school. I’d lived in Mississauga, in Vancouver, in Edmonton, and now Scarborough. First days in a new school were always weird. Being the new kid, for one, being the kid who had no idea in hell what he was in for was another. So on my first day at North Bridlewood public School, around 11am an announcement came over the PA telling the children it was time for today’s Health Hustle. This was an initiative from the Ontario Public School board dating back to the early 70s, to include mandatory physical activity for school children (recess twice a day was not enough apparently). So when the announcement came we were marched to the gym, where a teacher led us through the health hustle routine of jumping jacks and running in place. I had no idea what or why it was, but there was music on the PA, and that year the music was Queen. We Are the Champions, and We Will Rock you in particular (along with some other songs and bands I’ve forgotten, though I think bad Leroy Brown was one of them). That was my intro to Queen, though they would pop up periodically through my life in the next decade, especially as Much Music arrived on the airwaves. I even remember the day Freddie Mercury passed away. They were always bigger in Canada than they were in the US, which is why when Mike Meyers paid tribute to them in Wayne’s World the next year, Bohemian Rhapsody climbed the charts once again. Incidentally Meyers grew up in that same Scarborough neighborhood, and was a friend of one of my friends’ sisters. To this day a Queen song takes me back to those years and memories.

Just don’t ask me to do the Health Hustle.

4. Stand By Me
sk

People ask me who my favorite author is, I typically say Joe R. Lansdale because he’s awesome and everyone should read his books. But for various reasons Stephen King holds a special place in my heart and it was seeing Stand by Me in the theater that summer that prompted me to seek out Stephen King’s books – specifically the novella The Body, which the film was based on. I remember the surprised gasp that tremored through the theater when “Based on a novella by Stephen king” appeared on screen as the end credits rolled. That Stephen King? It bore some investigating, and I did, scoring a used paperback of Different Seasons the novella collection containing The Body (and Apt Pupil, and Rita Hayworth and Shawshank Redemption and the lesser-known The Breathing Method). I read The Body first, and was shocked by how dark it was. I won’t spoil it for you, but it was mournful in a way the movie wasn’t. The sadness at lost friends, and lost years, suffuses every page of The Body, and in the years since I think I may have read it every year or two. I get older with each read, but Gordie LaChance, Chris Chambers, Teddy Duchamp, and Vern Tessio remain the same age I was when I saw Stand by Me. As a father to a young boy, it resonates even deeper now. Revisiting The Body is like revisiting old friends; ones you’ll never forget.

5. The Stuff Dreams Are Made Of …

sandman-covers

Of course I can’t leave 2016 without mentioning comic books. My career as a comic book creator has been on hold ever since our child was born, and I descended into the world of Magicians Impossible, but I hope to get back into making comics in 2017. To prepare for that I’ve been rereading several seminal titles, the greatest of which, to me, remains Neil Gaiman’s The Sandman. Everything’s been written about Sandman, its influence, its importance, over the last twenty-five, almost thirty years so what can I say that hasn’t already been said? Nothing. But for me it’s as unique as it was when it first appeared; both cosmic in its scope and intimate in its reach. I’d read periodic issues of it when they first came out, but it wasn’t until 1999, when I became a screenwriter by trade, that I had the money and the time to collect the trade paperbacks, and read them from start to finish. Maybe it’s the fact that it told a complete story. Maybe because every turn of the page felt strangely familiar. Reading it now it’s like an artifact from an earlier age, where my career as a writer was just beginning. But mostly because this story, like all stories, mattered to me, and had the power to change myworld, starting from the smallest speck of dust.

So, as we close up shop on 2016, I encourage each and every one of you to indulge in a little comfort food over the holidays. Listen to that album. Watch that movie. Re-read that book. Get some rest, see some family and friends. And when 2017 arrives, be prepared to fight your hardest for those people and things that mean the most to you.

UPDATE:

January 12, 2017 (Addendum)

There’s one more bit of comfort food I have to add, and it’s this …

Netflix has every Star Trek series available to stream, and I’ve begun what looks to be an epic re-watch of the Original Series. It’s been years since I watched any of these episodes, and i’m reasonably certain that, despite it being my favorite of the Trek series, I actually haven’t run the entire series. There’s episodes I’ve seen, ones I remember vividly (working a summer at a Star Trek exhibit in the mid 90s will do that to you), but many I have never seen or have no recollection of – mostly season 3 episodes, natch. So It’s going to be a fun little ride the next while. Lord knows I’m going to need the distraction.

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Knowing Is Half The Battle

I’m about to drop a major truth bomb on you. Sitting comfortably? Good. here it is:

Writing is work.

Yes, there’s art, yes, there’s craftsmanship to it; but make no mistake it is work.

Say it again:

Writing. Is. Work.

It’s hard work too; anybody who tells you otherwise is probably the same person who says “Oh, I always wanted to write a book or a screenplay – they seem easy enough,” but waffle on why if it’s so “easy” they never bothered to try.  Writing is deadlines. Writing is submissions. Writing is rejection. Writing is redrafts and notes and edits. Writing is being handed your check and shown the door and someone else taking over and rewriting you. It is a job, and some days just getting the job done is the victory.

One question I like to ask the aforementioned who say “I just want to take a year off and write” is this even simpler one; “why”? What’s the end-game with your imagined year-long sabbatical?

Get your book published, obviously. Get your screenplay produced. Get your play performed.

And when that doesn’t happen, what then? Do you take another year off to write another? Or do you chuck it, and say, “this is bullshit”, which it often is (but you get used to the smell after a while).

Believe me, I know of what I speak. I just sold my first book. I created a critically acclaimed book series. I’ve had two screenplays produced, along with a mini series, and been a hired gun on three different childrens’ TV series. That’s my last 18 years so to speak (if you look at iMdb).

What you don’t see are the rejections. The passes. The turnarounds. The rewrites that obliterated my screen credit. The film/TV/comics/novels that didn’t happen.They were all hard soul-crushing, back-breaking work, and they’re all currently gathering dust.

Which brings me … to G.I. Joe.

joe1

Now I’m going to divert from the main thread for a moment. It’s all because of my son, really. He’s at the age of exploration right now which means he gets into everything. And by everything I mean everything. So it was only a matter of time before he discovered what was in those longboxes I had in the living room.

Yep. My comic book collection, which has followed me around pretty much everywhere since 1984, from Toronto to Greensboro, to Brockville, back to Toronto (and through 4 apartments over the space of 12 years) to Niagara-on-the-Lake, to St. Catharines, and finally to NYC.  So it was only a matter of time before grabby hands got his little mitts on them.

The damage wasn’t too severe; some were creased and folded, but I managed to get them away from him before the damage was permanent. And really, I’m not one of those “must remain mint” types. There are 30 years worth of comics squirreled away in those boxes, but today I want to talk about one title specifically.

From roughly 1984-1986 G.I. Joe: A Real American Hero (w: Larry Hama for the most part, art: various, including Herbe Trimpe and Marshall Rogers, Todd McFarlane and Andrew Wildman among others) was my favorite comic. It was actually the comic that started me buying comics on a regular basis. More astute readers – ones “in the know” who for their part will agree “knowing is half the battle” – will likely agree that 1984-1986 was the heyday of the toy and comic line. I had a pretty solid collection of the comics – the first 50 issues – but by the time I moved to Brockville in 1986 I was falling out of love with the Joes. I had other interests – music, girls, movies – so the exploits of these Real American Heroes were less important. I still bought the book though mostly out of loyalty, but even then my comics buying had changed and I was gravitating more to Swamp Thing and Hellblazer and The Shadow and Sandman. Judging by my collection as it stood I tapped out around issue 70 , save for a minor buying-binge of issues in summer of 1993. But after I re-sorted them, I realized I was pretty close to completing the set. And I thought to myself; with eBay and other resources, why not finish the  finish the series? So what I did, and over the last couple of months, completed the set. And I then read them, all of them, start to finish.

Reading them through an adult perspective, what was really amazing to realize now is how much of the series was informed by the Vietnam War, and Hama’s experiences there.  It’s hard to remember now but in the 80s Vietnam was everywhere – a decade after the war ended America was finally starting to come to grips with it, and with how it treated its veterans. You saw this in movies like Platoon and Full Metal Jacket, and TV like China Beach, The A Team, and Tour of Duty. Even Magnum P.I. was a ‘Nam vet.

But Larry was the one who introduced me and my friends to Nam, making its most popular character Snake Eyes a vet, along with Stalker and Storm Shadow. And that was a thread that ran through the entire series run, up to and including issue 155, the final issue, in which Snake-Eyes pens a letter to the son of a former colleague planning to enlist in the army. The war was the thru-line of the entire series; it kept on changing lives years after it ended.

It wasn’t always pretty; by maybe 5 years into the run it became formulaic; new characters were introduced, they got a moment to shine, then you never saw them again. A catastrophically ill-conceived crossover with the Transformers in the 90s pretty much killed the series, which limped to its conclusion a year later. The readership, which began as kids in the early 80s were in college now, and they’d moved on. I know I had.

But you can’t fault Larry and his team for the missteps. They had a job to do and that job was to support the toy line. They were handed the characters and story-lines to use, and they did the best they could. The fact GI Joe lasted 12 years is a testament to their great work. It was one of Marvel’s top selling books for a time, and the back issue market was ridiculously expensive.

If you own a copy of this, congratulations on being rich

If you own a copy of this, congratulations on being rich

What it all boils down to is Larry had a job to do and he did it, to the point that when IDW picked up the GI Joe license, they invited Larry back to continue the original line from where he left off at issue 155. With the toy line pretty much dormant he has the freedom to tell the stories he wanted. But that doesn’t denigrate his work on the 80s  run on GI Joe at all. His task was herculean and for GI Joe to remain so good for so long, that takes talent. That takes work.

So what has G.I. Joe got to do with writing?

Because writing is about getting the job done.

It’s about telling a Robocop story that satisfies network and fan expectations, while working in some personal stories into it at the same time. it’s about charting the end of the world in all its ridiculous SyFy carnage while still telling the story you originally wanted to; about a person who devotes his life to crazy conspiracy theories and finds out one of them is coming true in the worst possible way.

It’s about the work.

The reason I’m most excited creatively about Magicians Impossible is because it meets the criteria of a personal project and a mainstream one. It’s got a major publishing house in its corner, it has a great team of editors and designers aboard, and it’s being released next summer.

But it was hell to write. Easily the most difficult thing I’ve ever undertaken. And that was before our child was born, roughly mid-way through the writing. Then it became nearly impossible. I look at that first draft and I can pinpoint the exact moment I became a parent. The quality of writing drops precipitously and never really recovers. Still, I soldiered on, even when in the act of creation I realized what I was writing was not working, that there was a much better way to tell the story, and somehow between the endless overnight feeds and chronic fatigue, I managed to figure out just what the story was about. Even when suffering a major back injury that meant the longest I could sit and type was an hour before the pain became too much, I still wrote. And in the end, Magicians Impossible is by far the best thing I’ve ever written, and the one I’m most proud of.

I did the work because writing is work, and it is my job.

That’s the lesson I take from reading these old comics with new eyes. Because sometimes getting the job done is the point.

Now you know. And knowing is half the battle.

001

*UPDATE: Someone asked me if I included GI Joe Special Missions (the short-lived spin-off from the main title, published bi-monthly between 1986 and 1989, focusing on stand-alone missions) in my big read-through. Not initially and not as part of the overall run. But after I finished G.I. JOE I decided what the hey, and went thru the 15 or so copies of Special Missions I owned. Boy am I glad I did! G. I. Joe: Special missions are consistently closest to “Classic” G.I. Joe stories – darker, more violent, more intense, more realistic. Plus nearly the entire series was drawn by the late great Herb Trimpe – who for this guy anyway remains the quintessential Joe artist. I’m in the process of tracking down the remaining issues of G.I. Joe Special Missions now.

**UPDATE UPDATE: after some mulling over (and on the advice of a fan) I decided to pull the trigger and start into the TPBs of the IDW continuation of the series, written by Larry Hama, which picks up after the events of issue 155. I have to say this was a great decision. It’s like Larry, free of the demands of introducing new characters and vehicles every couple of issues, is finally getting to tell the GI Joe stories he’s always wanted. Reading these new stories is very much like catching up with old friends. And after the year we’ve had, sometimes old friends are the best ones you have.

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