To
Hell You Ride
is the Dark Horse comic-book from authors Lance Henriksen, Joseph Maddrey
and Tom Mandrake, and if the first issue is any clue, it’s a symbolism-laden, multi-faceted work that straddles
genres, and offers trenchant social commentary on our modern world and human
nature itself.
Moving
with relentless speed, agility, and purpose -- not-unlike like a well-paced genre film -- the first issue of To
Hell You Ride is an ambitious opening chapter to a story of epic scope.
The
tale commences in the Colorado Mountains during winter, in the year 1881. Avaricious white miners seeking gold arrive
on Native American land and brazenly interrupt an important ritual conducted by
four warriors.
In
doing so, the miners unleash a timeless curse.
This curse is vividly presented in terms of imagery and words: “Flesh
runs away from bone…”
This
horrific prologue quickly and efficiently creates a mythology around a set of supernatural
beings called “Watchers” and in addition to Native-American lore, there’s a bit
of Lovecraft here too, particularly in the discussion of “The Old Ones.”
To
Hell You Ride’s
narrative then shifts to our present-day, and introduces our troubled main character,
Two-Dogs, a Native-American man who deals with prejudice and a near-total lack
of opportunity in a dead-end town. He is
counseled by a friendly sheriff and father figure, Jim Shipps.
Finally,
the story’s third section is set during 1939, and it recounts a true story
(expressed to Lance Henriksen…) about the surprise resolution of a grim murder
investigation.
After
reading the first issue, I have many questions about where the story is headed,
and how the three time periods connect.
But most importantly, I want to read more.
If
you visit this blog with any regularity, you know that the brand of story that endlessly
intrigues me is one that speaks to the issues of our times in a meaningful,
artistic way, and doesn’t resort to spoon feeding us obvious lessons or
conclusions. For me, engagement
multiplies when there are things to interpret; thing to think about and
ruminate upon.
Delightfully,
that’s the case here. What I admire about the first issue of To Hell You Ride -- and hope to see continued in upcoming episodes
-- is the comic’s very powerful sense of
place (with a different palette representing each era), and its confident and
yet wholly unconventional reliance on symbolic story telling. The story’s narration is brilliant and
distinctive in terms of the writing, but so much of the tale is also conveyed
through canny visual representations.
For
instance, the story dwells a great deal on messengers,
and the idea of people receiving messages, but rather determinedly not
listening to them. These messengers
might be animals, part of the landscape, or something falling from the night
sky.
In
recent weeks alone, we’ve seen in our culture how some people have steadfastly ignored
facts regarding polls and statistics, and even created their own erroneous
facts and statistics in their place…to their own electoral peril.
And
of course we saw the landfall of Hurricane Sandy, a “message” about climate change
that so many people are still determined not to hear, despite the
devastation.
To
Hell You Ride
doesn’t tread into anything specific like that, but rather comments on the apparently universal quality of our species
to look around and see only the things we want to see, even if Mother
Nature seems to be screaming warnings at us.
We seem to want to fit the facts to our beliefs, not let our beliefs be
dictated by the facts.
To
Hell You Ride also connects that idea of
ignoring important information/messages with a scathing commentary on human
avarice or greed. In an unequivocally
blunt, even caustic author’s voice, the writers opine “Greed turns men into hungry rats.
They grow fat on the garbage of lust and illusion.”
It’s
a great line on its own, but also a searing, devastating line about our times. Many in our culture today pursue wealth at
the expense of the environment and the expense of their fellow man, and To
Hell You Ride, again, seems to see this as a kind of universal flaw in
our Western culture. The Native American
culture provides a strong contrast in terms of values, and indeed, that’s the
point. Again, and again, To
Hell You Ride forges trenchant comparisons between cultures in terms of
listening, in terms of respecting nature, even in terms of how society as a
whole faces death, and the rituals surrounding death.
But
you have to do some real thinking to connect all the dots here, and that’s a very
good thing. The connection between “the messengers” and
the men who have grown fat on “the garbage of lust and illusion” is one that
requires consideration, and adds depth to the intriguing, three-point
narrative.
The
first issue of To Hell You Ride covers an incredible amount of territory,
including a commentary on religious and daily rituals that, perhaps, “mean
nothing,” or perhaps mean everything.
What I enjoyed so much about the comic’s inaugural chapter is that even
though it moves from one era to another, and offers meaningful commentary on
our species on quite a few topics, it also feels admirably consistent and coherent.
There
is a powerful voice at work here, a voice I believe I recognize -- partially at least -- from Not
Bad for A Human…of absolutely no-bull-shit honesty and honest reflection. That voice isn’t about politics or a partisan
agenda, but about blunt, often hard-to-face truths. And delightfully, it is coupled with scorching,
unforgettable artwork reflective of the story’s themes.
And
as you know, that’s the zenith for me in terms of aesthetic considerations. Form must echo, augment, mirror, and reflect
content. The two quality elements must
walk hand-in-hand so that the artistic experience is consistent and organic.
Based
on what I’ve seen so far, To Hell Your Ride reaches that apex.
I
had the opportunity last week -- after reading an advance copy of To
Hell You Ride -- to interview Lance Henriksen, Joseph Maddrey and Tom
Mandrake about their original comic-series, and bring up some of the qualities that
fascinated me most about their new work.
Part I: Origins
JKM: “Tell me about the origins of this
story. How was To Hell You Ride
conceived?”
LANCE HENRIKSEN: “I went to Telluride in the 1970s. It was
slightly dilapidated. Quaint but
dilapidated.
And I remember sitting at a bar one night and
having a beer, and I could see that it was hard for the people there. I thought, ‘Holy Shit,’ this is the end of the world, literally, and that these
people must be reincarnated miners and hookers from the old days.
I traveled up to an old mining town in the
mountains, where no one ever went anymore.
I was intrigued with the idea that they used to hold slave miners up
there with just a few riflemen on the ridges, and I thought, ‘what a strange-ass place this is.’
And then I remembered that quote by Dylan Thomas:
“I have
heard many years of telling
And many years should see some change.
The ball I threw while playing in the park
Has not yet reached the ground.”
That quotation made me think of a curse on
that land [Telluride]. I saw it as a curse that will come to fruition when it
is ready.
That was the seeds of it, and it was just me
sitting in a corner. It stuck with me,
and I decided to write it as a movie, because actors when they are out-of-work
tend to write movies with a part in it for them. So I wrote it, and I realized that the themes
were there. I created a mythology, a
curse that would take place in the modern day for something that happened in
the 1800s.
As is the case in all good mythology, I saw it
as a morality play.”
JKM: “Were you thinking about in it terms of
genre?”
JOE MADDREY: “We haven’t had any explicit conversations
about what genre it is.
Lance just told me the opening scene, and he
had it mapped out in his head, shot-for shot…the first seven pages of the
comic. He described it to me and I liked
the mystery of it, and it sounded like a modern myth. It clearly had a bit of science fiction in
it. There was a sense of foreboding in
it, so there was an element of horror too.
The setting it made it seem like a bit of a western.
But we never pigeonholed it as a genre. We
just talked about the story and the characters, and went from there.
Part II: Process
JKM: “Can you describe the writing collaboration
between the three of you?
LANCE HENRIKSEN: “I don’t think of myself as a writer, to be
honest. I really think in pictures, and
the words just blurt out. There’s a
really interesting phenomenon that was happening while we were working on this. All three of us seem to be channeling ideas
that seem to be coming out of nowhere.
The proof is that you get confirmation from real unexpected places.
TOM MANDRAKE: “There’s usually two ways that you can do a
comic. You can do a full script where
the writers writes it, hands it in, and you draw it. And then there’s the plot style, or what some
people call the Marvel style, where the writer gives the artist a few pages of
notes and the artist pencils them…and goes back to the writer.
We’re doing it in a completely different
way. We’re all involved in talking about
the story. We start penciling it, and we
make changes. The three of us work very
closely. We’re constantly talking on
Skype about this, and driving our editor crazy.”
LANCE HENRIKSEN: “Our collaboration is like a perfect
marriage. I hate to say that, because we
still have three more comics to do….”
JKM: “Tom,
what’s your process so far as bringing the script to the page?”
TOM MANDRAKE: With the scripts, I’ll read them a few times
and sit down and think about them. Then
about the third time through, I’ll sit down and start putting down little
visual ideas in the margins of the script.
And I’ll start doing thumbnails.
I’ll usually throw in lots more panels than I end up with. It’s a way to bring out the information.
It’s not unlike editing a book: you put in a
lot more stuff than you end up with, and start refining. So I might have twelve panels a page when I
start out, knowing full well I’m not going to end up with that. I’ll try to
find the image which best expresses the story.”
Part III: Themes
JKM: I’d like to go over some of the great and
really memorable writing in the first issue.
The book opens with a stunning line that implies something about our
culture and its denial about or obsession with death. “Indian
graves are not meant to last.”
LANCE HENRIKSEN: “I hate the idea of autopsies. Everyone in America gets autopsied. I would rather wrap myself up in a blanket,
climb a tree, and let it all fall apart.
Let nature take its course. You don’t need crypts made of marble. The Native Americans have a different point
of view. Theirs is aligned with nature,
while modern man is trying to put us all in a vacuum can, for what reason I
don’t know.
“I think the thing we tried to do is have
respect for the Native Americans, and that’s why we called the first comic “White
Man’s Guilt.” It’s really about respect
for what they did.”
JKM:”I have to say, I admire that To
Hell You Ride is not your typical clichéd view of Native Americans,
right down to the dialogue, right down to the art work.”
TOM MANDRAKE: I spend a lot of time trying to put in Native
American elements in such a way that people who understand the culture are not
going to look at the book and go “what an
ass.”
There’s way too much of that kind of thing
over the years, just sort of a ladling on of Native American decoration without
thought as to what it really represents.
We want to infuse this project with the culture, realizing it is not our
culture.”
JKM: “Another line that jumps out at me,
especially since so much of America is divided today by different belief
systems: “What is sacred to one tribe is
meaningless to another.”
LANCE: “You can’t escape the messages of the era,
including war, and the Muslim vs. Christian thing. All those things are going on around us, so
these lines are part and parcel of our era.
When I was in Australia and New Guinea, I
bought some artifacts, like masks from the South Sea Islands. And one of the things I was told was that a
crocodile mask from one tribe was so sacred that women were not allowed to lay
eyes on it. It had to be brought to the
men’s hut, where men sit and discuss their tribe and what they need to do.
But to another tribe, those objects -- like the mask -- are as useless as
firewood. Many tribes are not able to
reach across the gulf and respect the other’s beliefs.”
JOE MADDREY: “That line [“What is
sacred to one tribe is meaningless to another”] is something you’ve said to me
quite a bit, Lance. That’s one of your
philosophies of life, and it fits naturally into your story. The comic is about respect. Being respectful of other religions and other
cultures… to be respectful of nature; to be respectful of everything you
co-exist with. That’s a through-line.”
LANCE HENRIKSEN: “In the prologue, there’s the whole ritual
about asking forgiveness for not protecting the sacred burial grounds. When the
white man came along and interrupted it, they turned the ritual into a curse.”
JKM: “Tell me something about how and why your
story exists in three time periods…”
LANCE HENRIKSEN: “There are some laws that we are using in the
story. One law is that the way Native
Americans think about time is non-linear. If something happened in 1881, the life of
that thing is still happening now. It
didn’t end. And now we’re just picking
up on it, but it’s nevertheless a constant.
There’s no such thing as time, really.
JKM: I notice that the story is separated into
three different times -- 1881, 1939 and the present -- and that each time
period has a distinctive look.
TOM MANDRAKE: “We do it with color. Color is becoming an extremely important tool
in our time line. We’re trying to
establish color palettes for each time line, and that helps the reader to key
in on which time period we’re in. I have
to make sure I don’t draw the wrong props in at the wrong time. You have to watch for the wrong details.”
LANCE HENRIKSEN: “The transitions in the comic are seamless,
John, absolutely seamless. Wait till you
see the second issue.
JKM: “The comic-book form seems ideally suited for
this kind of narrative approach…”
JOE MADDREY: “To me, transitions in comics are even more
interesting than transitions in film. I
love seeing how different writers and artists shift between scenes and time
periods in comics. The medium allows you
to kind of flatten out different planes of reality.”
JKM: “Tell me about To Hell You Ride’s
mythology of the Watchers. Is it something you made up, or something that you
researched?’
LANCE HENRIKSEN: “It’s a creation.”
JOE MADDREY: “We’ve defined them as we’ve gone along, and
we’ve found confirmation for them in a lot of other myths, from many different
cultures. We weren’t consciously
searching out inspiration for these things, but we were hitting on something
without realizing we were hitting on it.”
We are all paying attention to messengers. A story doesn’t come out of nowhere. It’s like talking about zeitgeist. Elements of this story are floating around in
the air, and you pick up on different aspects.
You don’t dream up anything from scratch. We know the essence and the themes and what’s
important, but we’re really open-minded, and have our antennae up so other
details can resonate with us.”
JKM: “Messengers are very important in the story.
They’re everywhere.”
TOM MANDRAKE: “The landscape [in the comic] is alive, and
the appearance of animals is definitely important throughout the story. There again is another thing. Once you put your head into that space,
messages do start coming to you. Once you open your mind, more and more
information is sort of handed to you.
It’s floating in the ether. This
is a much deeper project than many I have been in involved with over the
years.”
JKM: “I just have to ask: is the Sheriff Jim
Shipps character our Lance Henriksen surrogate in the story.”
LANCE HENRIKSEN: “Yes he is.
You find out more in the second issue.”
TOM MANDRAKE: “I’m glad you were able to catch that. It means I didn’t screw up. To me, Jim Shipps was Lance the minute I read
it. I don’t think it’s a mistake on the part of Lance and Joe. Why not take advantage of such a great
face? He’s got a wonderful face for
light and shadow to play against.
Part IV: Final Thoughts
JKM: “Lastly, why is this story important to all
of you? Why is it a tale that needs to
be told right now?
JOE MADDREY: “To me, if you strip away the specifics of
the story, the core of the thing is a pretty timeless myth. What’s the purpose of a myth? To try to give you a world view so that you
feel like your life has meaning. So that
you are being creative and not destructive.
The story is coming from a very intuitive
place for all of us. It’s coming from a
world-view and a belief, and that’s how you should start telling any story you
believe in. That’s how you start any
story that’s worth telling.”
TOM MANDRAKE: “When you put your heart into a project, you
want people to see it and feel that emotion.
The hardest thing to do in comics is get an emotional reaction from
readers. To have someone say your work
means something to them is rare. And
when they do, it makes you feel wonderful.”
LANCE HENRIKSEN: “I’ll answer that question for you, John,
when all five issues are out and we’re reading them over a glass of red wine
together…”
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