Ralph Kruhm
05.11.2002, 05:52
Frisch von "The Pulse" geklaut; hauptsächlich Reviews, mit dem einen oder anderen kurzen Ausblick auf die Zukunft. Einen massiven Spoiler habe ich abgedeckt...
BY TIM O'SHEA, PULSE CONTRIBUTOR
--------------------------------------------------------------------------------
You have to feel for the creators of Ruse. On either side of the creative equation, that is. As the series enters a new era, in terms of Scott Beatty taking the series' full writing reins and the last vestiges of Mark Waid's input fades (when exactly depends on who you ask), there are nagging questions.
For Waid, people (judging by the typical message board traffic whenever the subject is even close to being broached) still want to know the "real" story behind his departure. Waid for his part has moved on to several other projects (as many a creator has done in the past and will continue to do so, amazingly in spite of the craving need for gossip) and has said what he's wanted to (very little) regarding his departure. Failing that revelation and without knowing any but the most rudimentary of facts, many have felt free to theorize in an Oliver Stone-scale manner as to the "story behind the story."
To briefly summarize how the transition came about, here's an excerpt of CrossGen's official June 2002 announcement of the change in writers. "A difference of opinion on the future direction of the title led to Waid's decision to step down and allow a new writer to take his place. 'I greatly enjoyed working on RUSE during my run. Since the team wanted RUSE to go in a different direction than I did, we decided to part ways. It's unfortunate, but these things happen in a dynamic creative environment. I am pleased that someone I respect, such as Scott Beatty, has been chosen to take over the writing chores. I will very much miss working on RUSE, and I wish the team and CrossGen all the best of luck in the future.'"
Meanwhile, comics journalists (including this author), pester the remaining creators of Ruse and ask them how things have changed with Waid's departure. It's a question that in reading penciller Butch Guice's reply, one can immediately sense (and with good reason) he may heard the question more than enough. "I think far too much has been made of the departure of one member of the creative team," Guice said. "The book is more than the result of one individual's efforts."
And with that answer Guice puts the "controversy" (if it can be called such) into its proper perspective. For those wishing to read an expose of the Ruse transition, they'll have to look elsewhere (and may have to accept they'll never find such a story). Not that one should complain, however, as the series itself from the start has been richly saturated with more than enough mystery and intrigue to satiate the average curious person.
The planet Arcadia, where Ruse is set, is a pre-Industrial Revolution world, reminiscent of the Earth's mid-1800s Victorian era. In the beginning, the series, which takes place in the town of Partington, seemed to focus on a trio of characters: Investigator Simon Archard; his assistant (or associate, depending on which character is speaking) Emma Bishop; and newly transplanted resident and all around evil person, Miranda Cross, a baroness from the Eastern land of Kharibast. But intentionally or by stroke of luck, the book soon revealed an abundance of supporting characters that in many ways almost dominated the book, in a beneficial manner.
While CrossGen asked for the creators to provide a Sherlockian Victorian detective series, the company (along with the readers) soon found they had more than just a detective series. From the start, the material seemingly bounced off the page, in no small part thanks to the visuals of Guice, inker Mike Perkins and colorist Laura DePuy.
But the initial appeal lay in more than just the visually high-quality (and well researched) Victorian detail, but also in the caustic banter of Simon and Emma. To a certain extent, the inherent comedic tone, while ostensibly out of place in either a Victorian or a detective story, meshed nicely in the Ruse universe. From the earliest previews through to the most recent issues, it was clear, despite what plotting differences may have a lay ahead, this was a series that the creative team enjoyed producing. When asked what the creators' hoped to achieve with Ruse, Guice is quite direct in his reply: "To have as much fun as possible."
Granted Ruse is one planet in the CrossGen universe, but the creators rapidly set about introducing a slew of Archard's Agents and settings so engaging that Ruse has seemingly become a universe all its own.
The first arc featured many elements that while they have not been revisited to date, helped establish the foundation for the plethora of plot twists that followed in the next several issues. For example, after being a major source of conflict between she and Miranda in the first issue, Emma's magical powers have been put on the shelf for the time being. (#12 spoiler) In fact, Miranda herself was essentially nowhere to be seen after the first arc's conclusion, until of course the final pages of issue 12.
The fifth issue is where the book truly hit its stride, however, with Simon surprisingly absent for most the tale. With this structure, Waid and company were able to focus solely on Emma and her efforts to establish hierarchy with Simon's agents and in the city itself. In a tale where she attempted to become more of a partner in Simon's business and less of an associate, the creators truly hit all the marks.
This issue is also worth noting for the introduction of retired boxer and Archard Agent Pete Grimes. Grimes, and other characters of "lower station" (in comparison to Emma and Simon) in Partington society, provide another level of contrast for the creators to capitalize upon in many small and large ways throughout the series. Some of the conflict in certain issues could be directly tied to the perceptions and realities uncovered when the Partington aristocracy is forced to interact with the working class. Such was the case in the scene where Emma and Pete go to interview the parents of a victim. On another level, the societal differences become even more apparent (comically and politically) when Emma tries to set a trap for the murderer by posing as a "lady of the evening."
While Miranda's absence after the first arc was noticeable, it did not give readers much reason to complain, as rather than dragging out the revelation of Simon's mentor and ex-partner Malcolm Lightbourne until issue 50 or some far off issue, Lightbourne sprung unto the landscape in issue 6. And with his entry on the tale's landscape, the pacing and tone of the tales reached a surprisingly new intensity.
Just how essential and instrumental Guice, Perkins and DePuy are to the series' success became readily apparent in issue 6, however. The artistic half of the creative equation was given a break in a tale that introduced Lightbourne. Using a guest artist for such a pivotal issue may have proved to be a poor creative decision, considering the role Lightbourne played in making Simon who he is in the book's present day. You would have thought that the art team would have wanted to be "present" for Lightbourne's grand entrance. While issue 6's guest artist Jeff Johnson went on to do much better work on CrossGen's Way of the Rat, his style was ill suited for the Victorian look of Ruse. Admittedly, Guice and company has an advantage over any artist that would ever guest on Ruse, given the amount of research he and the creative team did for the book. Guice admits that one of the most challenging aspect of the book creatively at first was "capturing the feel of a psuedo-Victorian era." But as he's gained more experience with the book he's only had to research "on new elements we introduce which need to be true to the Victorian design sensibility."
Just as quickly as Archard's Agents were introduced, some were hastily dispatched. Such was the case in issue 2, where Chemist Otto Pressmonk is introduced, a short balding man, who amazingly enough as readers discover, used to date Emma. As fast as he is introduced and gains the reader's interest, he is killed in the same issue. But fans of Pressmonk were rewarded much later in issue 9, when the circus comes to town, and with it, Otto's twin sister, Ophelia...the bearded lady.
As hilarious (and equally adventurous) as each issue is, the comedic highpoint of the series to date is issue 7. The issue's cover firmly establishes the tone, portraying multiple (albeit absurd) murder attempts on Emma and Simon (imagine Norman Rockwell meets Spy vs. Spy). In terms of comedic writing, this is Waid's finest work. Archard and Bishop-at their acerbic best-had become like a Victorian equivalent to the prime dialogue of Bruce Willis/Cybill Shepherd in the old MOONLIGHTING television series. The repartee/romantic tension in the midst of chaos and mystery is clearly the key to the strongest issues in the series to date. Issue seven's opening train scene (and subsequent disembarkment) succeeds as much because of the devious plots of the surrounding assassins and how Simon nonchalantly thwarts each attempt literally at every turn. At the same time, while Waid and company indulge in this William Goldman-ish narrative (think Princess Bride), they are still attempting to build upon the then ongoing quest for Archard's old partner.
In recent months, concerns have been voiced that the tone of Ruse would change with Waid's departure. But even Waid admitted repeatedly, as far back as issue 5, that "If there is a vision to Ruse, we're seeing it through their (Butch, Mike and Laura's) eyes." How much of it is their vision (and how key they are to the success of the book) was also clearly portrayed in the Gypsies Attack issue (8) where Guice, Perkins and DePuy had to figure out a way to do two challenging things with the Telstroudians (a group of invisible people):
Portray scenes where Emma, Simon and others were attacked by them, but without showing the imperceptible attackers. In these scenes, the artists implied the assaults by the way the fully visible victims reacted, were positioned or otherwise interacted with the unseen threats.
Devising ways to make the people visible, including throwing Emma's cosmetics on them, and luring them to a battle with the gypsies next to a waterfall, which also made them visible.
While both plot elements could have been the idea of the writer, the actual execution was the much harder effort. One can go back and forth as to which collaborator does the most "heavy lifting" in the book, but without the Guice/Perkins/DePuy Victorian look (as evidenced by issue 6) the book's loses its essential appeal.
Ultimately the success of the book has always been a mixture of both writing and art, which became a slightly and temporarily more challenging proposition (mainly marketing wise) with Waid's departure. Depending again on whom you talk to, he stopped writing the book well before issue 12, but CrossGen continued to list him in the credits, with Beatty doing dialogue. With issue 13, on sale November 30, Beatty truly begins his stint as the sole writer (but far from the sole creator on the book, by Beatty's own admission). He's clearly excited by the prospect of taking on the writing task. "My friend and sometime collaborator Chuck Dixon recommended me for the job because he knew that I had a good feel for slipping into other characters' voices and personalities," Beatty explained. "Ruse only had a half-dozen issues in publication when I came on board, but the voices of Simon and Emma were already fairly distinct. For me it involved digesting the work Mark had done and jumping in head-first. It's only intimidating in not having created Simon or Emma. But I also write Batman having not had a hand in his genesis. As a writer, it's all a matter of assuming a kind of creative familiarity with the characters and making them your own in your own mind... and then extending that kinship to the page."
Beatty may prove to be another case study for why, if the situation can work to their advantage, CrossGen should allow more creators to work for them without requiring a relocation to Florida. Despite the fact CrossGen does not have official editors on the respective books, as Beatty points out, despite being away from the standard CrossGen studio environment: "There's still editorial scrutiny... but it comes from fellow writers and the RUSE team itself. We're all involved in making sure the series maintains a level of quality fans have come to expect. My plots and scripts are approved in much the same way as with a direct editor. And I've got a great rapport with the rest of the RUSE team. From our first meeting, Butch, Mike, Laura, and I bonded very quickly. We began brainstorming the ongoing direction of RUSE even as the ink was drying on my contract. And despite not living in the same state, we confer several times weekly. As well, part of my ongoing commitment to CrossGen involves a willingness to travel to Florida every few months to meet with the team face-to-face for some key lime pie and plotting."
Rather than looking at his role as writer as a case of trying to fill Waid's shoes, Beatty has a more realistic approach toward the assignment. "Good stories are stews combining everything (characterization, pacing, dialogue, plot) in all the proper measures," he explains. "Too much of one and not enough of another and you've spoiled the pot. Certainly, readers are attracted to RUSE specifically for Simon and Emma. If I can extend the soup metaphor, they're the main ingredients. But the mystery -- the pacing and plot -- are the thickeners, and without a really good tale at the center of it all, Simon and Emma are just talking heads. That's not the case with RUSE. These characters are in motion, evolving, and driving the story just as much as the mystery motivates them."
"Understand that RUSE is truly a collaborative book," Beatty says. "All of us (Butch, Mike, Laura, and myself) are committed to the title not just as creators, but as fans of the material.
There's a feedback loop which connects every part of the process. Since the rest of the team lives in Florida and works at CrossGen, they're likely to take my plot outlines to lunch with them and kibbitz over the finer details. Later, I may get tandem e-mails from everyone with questions or suggestions which we'll mull over as a group during a conference call. I may write the book, but ideas are free-flowing from the entire team. And at the end of the day, we're united in the direction of RUSE... which makes it all a very satisfying job in the end."
While issue six artistically was a partially a misstep in terms of maintaining the Victorian look, the creators proved in issue 11 it was feasible to have a guest artist, at least if the inker remained the same. Perkins is as responsible for the Victorian look as much as Guice and DePuy (a fact that becomes even more apparent when looking at Perkins' pencils on the upcoming Archard's Agents one-shot). While issue 12's guest artist Paul Ryan's style is far different than Guice's, to Perkins' credit (in concert with guest colorist Val Staples), it was possible to maintain the Victorian integrity to the book.
That being said, it's unclear who deserves credit in the opening pages of issue 12, where in a flashback to 15 years before the reader is shown how "Bookworm" Archard first meets Lightbourne. Beatty, in a few panels of dialogue (aided by the crossed out litany of roommates that have bailed on Archard), economically portrays just how talented and unpopular Simon is among his schoolmates. The creative team's decision to show this young, impressionable-almost vulnerable-side of Simon is a clever device. Despite Simon's present day established abrasive and dismissive manner, Beatty and company give readers (through the instrument of the flashback) a means to sympathize with this heretofore calculated and (while heroic, also a) completely unsympathetic, character. The aspect of naiveté to Archard's younger, less savvy self is an element that without the flashback device could never have been adequately communicated to the reader. So, while Beatty has had to jump in head first to the characters and the landscape, as he theorized himself, he did show a knack for "slipping into other characters' voices and personalities," as well as adding (with his other creators' input and knowledge) a layer of previously untapped depth to the character at the same time.
When asked where he wants to take the book with this collaboration, Beatty offers: "I want to tell really good and memorable stories. And over time, I want Simon and Emma to grow and move towards a deeper understanding of the ties that alternately bind them and threaten to tear them apart." While it's clear when interviewing Beatty that Simon and Emma are key to what attracted him to the assignment, he offers other assets to the tale. "Arcadia and Partington (and by extension, all of its richly-drawn inhabitants) are fairly colorful and exciting landscapes to explore. We've barely scratched the surface... and establishing the broader scope of the RUSE universe is definitely an incentive. Invisible gypsies and gargoyles? Just the tip of the iceberg..."
Beatty will begin making his complete mark on Ruse with issue 13, but he confides that: "I'm really excited about issue #16, a very definite change of pace in many ways, and a standalone story in its own right."
Of course, the "richly-drawn inhabitants" of Partington and Arcadia promise to entertain folks in other forums, as well, namely the Archard's Agents. The one-shot (which may be followed by others as varying logistics permit) will go on sale December 26 and will be written by Chuck Dixon with art by Ruse inker Mike Perkins and colors by Laura Villari. According to the advance word on the first story, readers will get to "meet the diabolical menace of the Consortium of Aggrieved Man-Servants-gentlemen's gentlemen who are no gentlemen at all!"
The Archard's Agents concept is Perkins' brainchild. According to Ian Feller, CrossGen's Director of Corporate Communications: "This is not a new scheduled series but a series of one-shots that we'll likely solicit and publish as they are completed. Chuck has turned in potential plots for I believe two others...Hopefully Mike Perkins will draw these others as well, so there's his time availability to consider also."
The advance black and white pencils and inks preview that CrossGen has already released is quite enlightening. While Guice has been a driving force as penciller on Ruse, looking at Perkins' pencils it becomes quite clear why he is equally recognized (along with DePuy) for the look, feel, and success of the Ruse universe.
The Ruse universe is branching out in many ways, even educational, according to Feller. CrossGen's Comics in the Classroom program, which is currently being developed, will use Ruse as a teaching tool in the high schools. Ruse is also enjoys a position as a main element of CrossGen's multimedia efforts. "There's been progress on all of CrossGen titles, including RUSE," explained Feller (regarding the progress on potential media deals). "Every one has interest from at least one studio in Hollywood. Titles like RUSE have received interest from multiple studios."
What else lies ahead for the Ruse universe? "Our best efforts on the book are yet to come...but we're getting there," says Guice.
--------------------------------------------------------------------------------
Tim O'Shea is a reviewer/e-interviewer/columnist for orcafresh.net and CBEM. He loves a good mystery, which is why when he misplaces his car keys he never seems to mind - his wife thinks the Sherlock Holmes hat and magnifying glass are a bit much, though.
BY TIM O'SHEA, PULSE CONTRIBUTOR
--------------------------------------------------------------------------------
You have to feel for the creators of Ruse. On either side of the creative equation, that is. As the series enters a new era, in terms of Scott Beatty taking the series' full writing reins and the last vestiges of Mark Waid's input fades (when exactly depends on who you ask), there are nagging questions.
For Waid, people (judging by the typical message board traffic whenever the subject is even close to being broached) still want to know the "real" story behind his departure. Waid for his part has moved on to several other projects (as many a creator has done in the past and will continue to do so, amazingly in spite of the craving need for gossip) and has said what he's wanted to (very little) regarding his departure. Failing that revelation and without knowing any but the most rudimentary of facts, many have felt free to theorize in an Oliver Stone-scale manner as to the "story behind the story."
To briefly summarize how the transition came about, here's an excerpt of CrossGen's official June 2002 announcement of the change in writers. "A difference of opinion on the future direction of the title led to Waid's decision to step down and allow a new writer to take his place. 'I greatly enjoyed working on RUSE during my run. Since the team wanted RUSE to go in a different direction than I did, we decided to part ways. It's unfortunate, but these things happen in a dynamic creative environment. I am pleased that someone I respect, such as Scott Beatty, has been chosen to take over the writing chores. I will very much miss working on RUSE, and I wish the team and CrossGen all the best of luck in the future.'"
Meanwhile, comics journalists (including this author), pester the remaining creators of Ruse and ask them how things have changed with Waid's departure. It's a question that in reading penciller Butch Guice's reply, one can immediately sense (and with good reason) he may heard the question more than enough. "I think far too much has been made of the departure of one member of the creative team," Guice said. "The book is more than the result of one individual's efforts."
And with that answer Guice puts the "controversy" (if it can be called such) into its proper perspective. For those wishing to read an expose of the Ruse transition, they'll have to look elsewhere (and may have to accept they'll never find such a story). Not that one should complain, however, as the series itself from the start has been richly saturated with more than enough mystery and intrigue to satiate the average curious person.
The planet Arcadia, where Ruse is set, is a pre-Industrial Revolution world, reminiscent of the Earth's mid-1800s Victorian era. In the beginning, the series, which takes place in the town of Partington, seemed to focus on a trio of characters: Investigator Simon Archard; his assistant (or associate, depending on which character is speaking) Emma Bishop; and newly transplanted resident and all around evil person, Miranda Cross, a baroness from the Eastern land of Kharibast. But intentionally or by stroke of luck, the book soon revealed an abundance of supporting characters that in many ways almost dominated the book, in a beneficial manner.
While CrossGen asked for the creators to provide a Sherlockian Victorian detective series, the company (along with the readers) soon found they had more than just a detective series. From the start, the material seemingly bounced off the page, in no small part thanks to the visuals of Guice, inker Mike Perkins and colorist Laura DePuy.
But the initial appeal lay in more than just the visually high-quality (and well researched) Victorian detail, but also in the caustic banter of Simon and Emma. To a certain extent, the inherent comedic tone, while ostensibly out of place in either a Victorian or a detective story, meshed nicely in the Ruse universe. From the earliest previews through to the most recent issues, it was clear, despite what plotting differences may have a lay ahead, this was a series that the creative team enjoyed producing. When asked what the creators' hoped to achieve with Ruse, Guice is quite direct in his reply: "To have as much fun as possible."
Granted Ruse is one planet in the CrossGen universe, but the creators rapidly set about introducing a slew of Archard's Agents and settings so engaging that Ruse has seemingly become a universe all its own.
The first arc featured many elements that while they have not been revisited to date, helped establish the foundation for the plethora of plot twists that followed in the next several issues. For example, after being a major source of conflict between she and Miranda in the first issue, Emma's magical powers have been put on the shelf for the time being. (#12 spoiler) In fact, Miranda herself was essentially nowhere to be seen after the first arc's conclusion, until of course the final pages of issue 12.
The fifth issue is where the book truly hit its stride, however, with Simon surprisingly absent for most the tale. With this structure, Waid and company were able to focus solely on Emma and her efforts to establish hierarchy with Simon's agents and in the city itself. In a tale where she attempted to become more of a partner in Simon's business and less of an associate, the creators truly hit all the marks.
This issue is also worth noting for the introduction of retired boxer and Archard Agent Pete Grimes. Grimes, and other characters of "lower station" (in comparison to Emma and Simon) in Partington society, provide another level of contrast for the creators to capitalize upon in many small and large ways throughout the series. Some of the conflict in certain issues could be directly tied to the perceptions and realities uncovered when the Partington aristocracy is forced to interact with the working class. Such was the case in the scene where Emma and Pete go to interview the parents of a victim. On another level, the societal differences become even more apparent (comically and politically) when Emma tries to set a trap for the murderer by posing as a "lady of the evening."
While Miranda's absence after the first arc was noticeable, it did not give readers much reason to complain, as rather than dragging out the revelation of Simon's mentor and ex-partner Malcolm Lightbourne until issue 50 or some far off issue, Lightbourne sprung unto the landscape in issue 6. And with his entry on the tale's landscape, the pacing and tone of the tales reached a surprisingly new intensity.
Just how essential and instrumental Guice, Perkins and DePuy are to the series' success became readily apparent in issue 6, however. The artistic half of the creative equation was given a break in a tale that introduced Lightbourne. Using a guest artist for such a pivotal issue may have proved to be a poor creative decision, considering the role Lightbourne played in making Simon who he is in the book's present day. You would have thought that the art team would have wanted to be "present" for Lightbourne's grand entrance. While issue 6's guest artist Jeff Johnson went on to do much better work on CrossGen's Way of the Rat, his style was ill suited for the Victorian look of Ruse. Admittedly, Guice and company has an advantage over any artist that would ever guest on Ruse, given the amount of research he and the creative team did for the book. Guice admits that one of the most challenging aspect of the book creatively at first was "capturing the feel of a psuedo-Victorian era." But as he's gained more experience with the book he's only had to research "on new elements we introduce which need to be true to the Victorian design sensibility."
Just as quickly as Archard's Agents were introduced, some were hastily dispatched. Such was the case in issue 2, where Chemist Otto Pressmonk is introduced, a short balding man, who amazingly enough as readers discover, used to date Emma. As fast as he is introduced and gains the reader's interest, he is killed in the same issue. But fans of Pressmonk were rewarded much later in issue 9, when the circus comes to town, and with it, Otto's twin sister, Ophelia...the bearded lady.
As hilarious (and equally adventurous) as each issue is, the comedic highpoint of the series to date is issue 7. The issue's cover firmly establishes the tone, portraying multiple (albeit absurd) murder attempts on Emma and Simon (imagine Norman Rockwell meets Spy vs. Spy). In terms of comedic writing, this is Waid's finest work. Archard and Bishop-at their acerbic best-had become like a Victorian equivalent to the prime dialogue of Bruce Willis/Cybill Shepherd in the old MOONLIGHTING television series. The repartee/romantic tension in the midst of chaos and mystery is clearly the key to the strongest issues in the series to date. Issue seven's opening train scene (and subsequent disembarkment) succeeds as much because of the devious plots of the surrounding assassins and how Simon nonchalantly thwarts each attempt literally at every turn. At the same time, while Waid and company indulge in this William Goldman-ish narrative (think Princess Bride), they are still attempting to build upon the then ongoing quest for Archard's old partner.
In recent months, concerns have been voiced that the tone of Ruse would change with Waid's departure. But even Waid admitted repeatedly, as far back as issue 5, that "If there is a vision to Ruse, we're seeing it through their (Butch, Mike and Laura's) eyes." How much of it is their vision (and how key they are to the success of the book) was also clearly portrayed in the Gypsies Attack issue (8) where Guice, Perkins and DePuy had to figure out a way to do two challenging things with the Telstroudians (a group of invisible people):
Portray scenes where Emma, Simon and others were attacked by them, but without showing the imperceptible attackers. In these scenes, the artists implied the assaults by the way the fully visible victims reacted, were positioned or otherwise interacted with the unseen threats.
Devising ways to make the people visible, including throwing Emma's cosmetics on them, and luring them to a battle with the gypsies next to a waterfall, which also made them visible.
While both plot elements could have been the idea of the writer, the actual execution was the much harder effort. One can go back and forth as to which collaborator does the most "heavy lifting" in the book, but without the Guice/Perkins/DePuy Victorian look (as evidenced by issue 6) the book's loses its essential appeal.
Ultimately the success of the book has always been a mixture of both writing and art, which became a slightly and temporarily more challenging proposition (mainly marketing wise) with Waid's departure. Depending again on whom you talk to, he stopped writing the book well before issue 12, but CrossGen continued to list him in the credits, with Beatty doing dialogue. With issue 13, on sale November 30, Beatty truly begins his stint as the sole writer (but far from the sole creator on the book, by Beatty's own admission). He's clearly excited by the prospect of taking on the writing task. "My friend and sometime collaborator Chuck Dixon recommended me for the job because he knew that I had a good feel for slipping into other characters' voices and personalities," Beatty explained. "Ruse only had a half-dozen issues in publication when I came on board, but the voices of Simon and Emma were already fairly distinct. For me it involved digesting the work Mark had done and jumping in head-first. It's only intimidating in not having created Simon or Emma. But I also write Batman having not had a hand in his genesis. As a writer, it's all a matter of assuming a kind of creative familiarity with the characters and making them your own in your own mind... and then extending that kinship to the page."
Beatty may prove to be another case study for why, if the situation can work to their advantage, CrossGen should allow more creators to work for them without requiring a relocation to Florida. Despite the fact CrossGen does not have official editors on the respective books, as Beatty points out, despite being away from the standard CrossGen studio environment: "There's still editorial scrutiny... but it comes from fellow writers and the RUSE team itself. We're all involved in making sure the series maintains a level of quality fans have come to expect. My plots and scripts are approved in much the same way as with a direct editor. And I've got a great rapport with the rest of the RUSE team. From our first meeting, Butch, Mike, Laura, and I bonded very quickly. We began brainstorming the ongoing direction of RUSE even as the ink was drying on my contract. And despite not living in the same state, we confer several times weekly. As well, part of my ongoing commitment to CrossGen involves a willingness to travel to Florida every few months to meet with the team face-to-face for some key lime pie and plotting."
Rather than looking at his role as writer as a case of trying to fill Waid's shoes, Beatty has a more realistic approach toward the assignment. "Good stories are stews combining everything (characterization, pacing, dialogue, plot) in all the proper measures," he explains. "Too much of one and not enough of another and you've spoiled the pot. Certainly, readers are attracted to RUSE specifically for Simon and Emma. If I can extend the soup metaphor, they're the main ingredients. But the mystery -- the pacing and plot -- are the thickeners, and without a really good tale at the center of it all, Simon and Emma are just talking heads. That's not the case with RUSE. These characters are in motion, evolving, and driving the story just as much as the mystery motivates them."
"Understand that RUSE is truly a collaborative book," Beatty says. "All of us (Butch, Mike, Laura, and myself) are committed to the title not just as creators, but as fans of the material.
There's a feedback loop which connects every part of the process. Since the rest of the team lives in Florida and works at CrossGen, they're likely to take my plot outlines to lunch with them and kibbitz over the finer details. Later, I may get tandem e-mails from everyone with questions or suggestions which we'll mull over as a group during a conference call. I may write the book, but ideas are free-flowing from the entire team. And at the end of the day, we're united in the direction of RUSE... which makes it all a very satisfying job in the end."
While issue six artistically was a partially a misstep in terms of maintaining the Victorian look, the creators proved in issue 11 it was feasible to have a guest artist, at least if the inker remained the same. Perkins is as responsible for the Victorian look as much as Guice and DePuy (a fact that becomes even more apparent when looking at Perkins' pencils on the upcoming Archard's Agents one-shot). While issue 12's guest artist Paul Ryan's style is far different than Guice's, to Perkins' credit (in concert with guest colorist Val Staples), it was possible to maintain the Victorian integrity to the book.
That being said, it's unclear who deserves credit in the opening pages of issue 12, where in a flashback to 15 years before the reader is shown how "Bookworm" Archard first meets Lightbourne. Beatty, in a few panels of dialogue (aided by the crossed out litany of roommates that have bailed on Archard), economically portrays just how talented and unpopular Simon is among his schoolmates. The creative team's decision to show this young, impressionable-almost vulnerable-side of Simon is a clever device. Despite Simon's present day established abrasive and dismissive manner, Beatty and company give readers (through the instrument of the flashback) a means to sympathize with this heretofore calculated and (while heroic, also a) completely unsympathetic, character. The aspect of naiveté to Archard's younger, less savvy self is an element that without the flashback device could never have been adequately communicated to the reader. So, while Beatty has had to jump in head first to the characters and the landscape, as he theorized himself, he did show a knack for "slipping into other characters' voices and personalities," as well as adding (with his other creators' input and knowledge) a layer of previously untapped depth to the character at the same time.
When asked where he wants to take the book with this collaboration, Beatty offers: "I want to tell really good and memorable stories. And over time, I want Simon and Emma to grow and move towards a deeper understanding of the ties that alternately bind them and threaten to tear them apart." While it's clear when interviewing Beatty that Simon and Emma are key to what attracted him to the assignment, he offers other assets to the tale. "Arcadia and Partington (and by extension, all of its richly-drawn inhabitants) are fairly colorful and exciting landscapes to explore. We've barely scratched the surface... and establishing the broader scope of the RUSE universe is definitely an incentive. Invisible gypsies and gargoyles? Just the tip of the iceberg..."
Beatty will begin making his complete mark on Ruse with issue 13, but he confides that: "I'm really excited about issue #16, a very definite change of pace in many ways, and a standalone story in its own right."
Of course, the "richly-drawn inhabitants" of Partington and Arcadia promise to entertain folks in other forums, as well, namely the Archard's Agents. The one-shot (which may be followed by others as varying logistics permit) will go on sale December 26 and will be written by Chuck Dixon with art by Ruse inker Mike Perkins and colors by Laura Villari. According to the advance word on the first story, readers will get to "meet the diabolical menace of the Consortium of Aggrieved Man-Servants-gentlemen's gentlemen who are no gentlemen at all!"
The Archard's Agents concept is Perkins' brainchild. According to Ian Feller, CrossGen's Director of Corporate Communications: "This is not a new scheduled series but a series of one-shots that we'll likely solicit and publish as they are completed. Chuck has turned in potential plots for I believe two others...Hopefully Mike Perkins will draw these others as well, so there's his time availability to consider also."
The advance black and white pencils and inks preview that CrossGen has already released is quite enlightening. While Guice has been a driving force as penciller on Ruse, looking at Perkins' pencils it becomes quite clear why he is equally recognized (along with DePuy) for the look, feel, and success of the Ruse universe.
The Ruse universe is branching out in many ways, even educational, according to Feller. CrossGen's Comics in the Classroom program, which is currently being developed, will use Ruse as a teaching tool in the high schools. Ruse is also enjoys a position as a main element of CrossGen's multimedia efforts. "There's been progress on all of CrossGen titles, including RUSE," explained Feller (regarding the progress on potential media deals). "Every one has interest from at least one studio in Hollywood. Titles like RUSE have received interest from multiple studios."
What else lies ahead for the Ruse universe? "Our best efforts on the book are yet to come...but we're getting there," says Guice.
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Tim O'Shea is a reviewer/e-interviewer/columnist for orcafresh.net and CBEM. He loves a good mystery, which is why when he misplaces his car keys he never seems to mind - his wife thinks the Sherlock Holmes hat and magnifying glass are a bit much, though.