Two Headed Jim and the Death of the One Eyed Goat

I wrote this about two years ago. I remember that is was inspired by something Professor Elemental said – but whether it was that he very much wanted to read a story with this title, or never wanted to read one, I cannot recall. I don’t always respond well to people going ‘never do this’ if I think it will be funny… it was originally posted to Patreon – many thanks to everyone who helps fun me doing this sort of daftness.

Being a grim and troubling novel, set upon the island of Hopeless Maine. Great mystery surrounds this novel, including the mystery of why the author ever let anyone else read it, and the mystery of what on earth was even going on in the final chapter.

Chapter one: It begins in gore. Our central character is liberated from his mother’s exhausted body by people who know nothing about caesareans, but who once had a drunken conversation about the procedure with Doc Willoughby. Despite the two heads, the child is only given one name.

Chapter two: In which very little happens that is memorable, but we learn that Jim Chevin’s two headed status is likely the consequence of there being too little variety in his gene pool. Things are muttered darkly, but no one comes out with it and says ‘incest’ as it’s clearly more gothic to just imply that.

Chapter three: Jim Chevin grows up feeling angry and misunderstood. He expresses this through inexplicable acts of weirdness towards sea creatures. We assume the author means us to sympathise with his condition but most likely it will just make you feel a bit queasy about whelks.

Chapter four: Jim Chevin graduates to doing fairly sinister things with chickens. He also does peculiar things with feathers that may or may not be a metaphor for his troubled inner life. No one around him cares. The reader probably doesn’t care either and only struggles on because the book hype promised “unspeakable horrors that will literally make you cack yourself.” And who can resist the lure of that kind of marketing?

Chapter five: In which there are unspeakable horrors and you cack yourself.

Chapter six: This chapter seems to have been written carelessly and in haste, perhaps in the assumption that no one would make it beyond the shocking events of chapter five. However, at this point there is, finally, a brief mention of the one eyed goat.

Chapter seven: This chapter is an unexpected climax for the story, pitting man (well, Jim) against nature (the goat) and it seems to belong in an entirely different sort of novel. The sort of novel in which men battle giant otters, angry fish, unreasonable landscapes and so forth. Jim confronts his lifelong nemesis, the one eyed goat. None of the preceding chapters in any way support this plot development. Man and goat are involved in an epic, cliff top battle. The goat plunges to his doom in the sea. In a strange act of continuity, whelks are involved.

Chapter eight: This chapter gives every impression of having been written by someone else entirely – someone who only read the title and not the rest of the book. This author expounds at length on the various moral and philosophical truths we can take from the story of two headed Jim and the death of the one eyed goat. The word ‘pathos’ is used seventeen times in this chapter, while the term ‘over intellectualising’ doesn’t even come up once.

Written in dust

Dustcats are clearly flavour of the month, so here’s a bit more dustcatty goodness!

Dustcats sleep in the air, often floating in profoundly undignified positions. It makes them attractive to other sorts of cats, who will, if chance arises, lunge after their wafting tails and dangling tongues. On the whole, this causes the dustcats very little trouble.

To protect themselves while sleeping, dustcats exhale small clouds of dust intermittently. It is enough to inconvenience a would-be predator, and the ensuing coughs and sneezes will wake a vulnerable dustcat, usually giving it time to flee upwards. The lingering taste of dust makes it more tempting not to eat a dustcat, but merely to try and play with its tail without suffering too much. Sometimes small children will participate in this sport as well.

Theophrastus Frog is probably the only person, living and not living, to have paid much attention to the dust that emerges from the tongue of a sleeping dustcat. Often it is of no great consequence. Sometimes however, patterns emerge in the cloud of exhaled materials. A person might observe landscapes – familiar and unlikely. There may be faces – horrific or identifiable, or both.

Theophrastus Frog has kept a diary noting the forms the dust takes. Or at least, the forms he perceives, for there may be some element of interpretation involved. It gratifies him to know that on the day before he died, three different dustcats made a dustface that he recognised as his own. He wonders if there is a predictive quality to the images made of dust. He wonders if these might be fragments of dustcat dreams, given form. He wonders most often if it is just that he is entirely mad, and seeing images where no images exist.

In the dust, he has seen shipwrecks and monsters from the deep. He has seen views of the island as though from above, and wonders if dustcats themselves go high enough for such views. His own dustcats seldom leave the snug safety of the library. He does not think they can have witnessed these perspectives first hand. Do they share their dreams with some other being? Or does the island perhaps breathe out through them sometimes as they innocently exhale?

(This piece was originally posted on Patreon some years ago. Making comics is time consuming, and does not pay a living wage, so Patreon support is really helpful for keeping us going. https://www.patreon.com/NimueB )

Where do Dustcats come from?

Dustcats were once ephemeral beings who have, by unknown means, achieved considerable solidity.

Dustcat puppets on the other hand were once ephemeral ideas that are now being reality.

Here is some dustcat fur!

Puppet maker Matt Inkel says that he is waiting for stuffing and thread and then needs to decide what technique he will use.  He said to us “I suspect I will sculpt a head and make a simple plaster mould to be cast in something soft and then attach it to the fur body… I just want to finalise my thoughts on the transition between the two materials and hiding the join and blending the fur”

More as it happens!
(We are now off to rasp our faces for signs of dust)

Dustcats!

Dustcat news!

We are very excited to announce that we have raised enough money to fund a dustcat puppet for our Hopeless Maine film. Many thanks to everyone who chipped in! If you’re new to all this and have a sudden urge to get involved, start here – https://hopelessvendetta.wordpress.com/bringing-hopeless-maine-to-the-screen-one-creature-at-a-time/

 

The dustcat will be a marionette, able to waft about and gesticulate in charming ways. There will be updates and progress shots, so, watch this space.

Hopeless Maine and diversity

One of the things that really bothers me with fiction and comics is the way that bad history and white supremacy get in the mix. The number of times I have seen people suggest that including People of Colour in a situation is woke and historically inaccurate is distressingly high.

The problem is that so many people have got their minimal historical education by watching films that were made by people who were racist and/or had other issues. American films from the first half of the twentieth century would cheerfully have white men playing people from anywhere in the world while failing to include People of Colour in times and places they most assuredly would have been. It’s not improved much since then.

The evidence is widespread, the art, the historical information, the written records, the photographs… Ignorant of actual history and fed only a whitewashed history, some people get really cross when faced with better representation.

The oceans of the Victorian era were multicultural places. People working on boats worked on whatever boats they could. If you lost a few key crew members to accident or illness, you’d take on people wherever you next landed. Crews were diverse.

And therefore we can confidently say that people with an option of shipwrecking off the coast of Hopeless, Maine would also have been diverse. We’ve populated the island with people whose ancestors came from all over the place and had no intention of getting stuck here! We’ve also kept it deliberately vague because we don’t have the knowledge to depict the specific experiences of people from around the world. It’s a balance to try and strike – inclusion but not trying to speak for people. We’re very aware that the publishing world lacks for diversity, and that representation matters.

We’re not good history, we’re wilfully anachronistic, and we like to play with things. But we’re still more accurate than the whitewashing.

The Prospect of Joy

Why yes, that is a very steampunk looking submarine, isn’t it? What would happen if some intrepid adventurer took a steampunk submarine into the troubled waters around the coast of Hopeless, Maine?

When Keith Errington first suggested the idea, we were slightly uneasy because one of the features of the island is that no one ever leaves (aside from Owen) and this device was so obviously designed the work around that premise. But, as we found out more about his mad scheme, we became ever more enchanted by it, and so, dear readers, we let him have his way.

The result of this, is the rather fabulous tale The Oddatsea – illustrated by Tom. Keith is a bit prone to the puns, so if the title gives you a small shiver of horror, the rest of the book will only prove worse. You were warned! More of it over here – https://hopeless-maine.backerkit.com/hosted_preorders

One of the things that is an ongoing joy around the Hopeless Maine project, is seeing what happens when other people get in to play with it. Keith Errington’s novella has been one of the more ambitious moves so far, alongside Keith Healing’s role play game. But, participating in Hopeless is not just for people called Keith and we are pretty much always open to suggestion!

Finding a Blind Fisherman

The Blind Fisherman is, unshockingly, an essential character in the film called The Blind Fisherman. For a long time, we had no idea who was going to play him. As a small outfit with whatever budget we can cobble together, we could hardly go the normal recruiting route. We were going to have to use our network of people to find someone who might be suitable.

There was a collective wracking of brains amongst existing team members.

Nothing.

No-one.

We started thinking about the qualities our actor would need – that he would have to be a younger man with a light build, and that he would need a physical skills set. To fight the sea monster plausibly he would have to be athletic. As we have a team member who can choreograph fight scenes, we didn’t necessarily need someone with a fighting background, but someone who could easily learn how to do the right things with their body. That opened up dance, gymnastics and circus as potential backgrounds alongside someone with a background in a martial arts or other combat disciplines.

So I asked our friend Ruby, who does a lot of circus stuff and is young and therefore could be expected to know other youthful personages. She asked if we knew Edwin, and we admitted that we did not. She told us he is lovely – which is an important qualifier for being involved with this project. Given how we’re all investing time and effort, with no one knowing how any of it will work out financially, we cannot afford to bring anyone in who might make any of us miserable. Being able to work easily together and enjoy that process is non-negotiable.

Edwin Forster is turns out, is not only lovely, but entirely perfect. After we got into lockdown, we started asking our actors if they could do photos for us to share, and this is his, alongside the cover image for the original project this is all based on. Got to love anyone prepared to go that extra distance!

A new Spoonwalker in the family

The continuing adventures of the spoonwalker hereby commence!

I got a message from Gregg McNeill (Yes, that’s the same Gregg from Darkbox Photography and the film project. Well done for keeping up!) asking to borrow my Spoonwalker as he wanted to do a photographic print of a Spoonwalker in a bell jar. I was thrilled at the idea! Then I had a closer look at the Spoonwalker I had made and realised he would never survive the trip through the post. He’s made of air dry clay and wire (and spoons, obviously). I then remembered that I was owed a favour by a well known maker and creator of wonders. None other than Herr Döktor! I contacted him at his lair of strange and sometimes dangerous things and asked if the favour I owed him would  equate to something like a Spoonwalker. As it turned out, it did! (or near enough!) So we now have a new Spoonwalker in the family. Here we see a progress shot and the little bloke himself  and a charming rampage in the garden. There are plans for a Spoonwalker II now, who might be cast so that more of the charming (and slightly unsettling) little creatures might be unleashed on a now vaguely suspecting world. The one you see here, will now be sent to Gregg so that he might be the subject of an utterly splendid photographic print using vintage processes.

 

The film story – going public

For some weeks now I’ve been telling the story of the Hopeless Maine film project, how it got started and what’s happened along the way. The decision to go public with it as a process came some way into the journey.

Normally films turn up in the world as finished items. We may have had some teasers along the way – usually around casting, but the process remains largely hidden. This is fine when you have a massive budget to make a film and another massive budget to promote it. We started with only our own money. We aren’t a studio, none of us are famous enough that our names guarantee the project success. We can’t whip out a Hopeless Maine film from nowhere and expect many people to care.

The two main considerations were, how we fund the film and how we find an audience. So, it made sense to go public as a way of tackling those specific issues. We’ve started crowdsourcing to fund the puppets, which means we can get started there and hopefully the progress we make will enthuse people and build interest around the project as a whole.

There are also a lot of other, less businesslike reasons for doing it this way. We’re a team of steampunks, for the greater part. We belong to a community and we met each other through those community spaces. The desire to feed back to said community is strong. We want to bring people with us because we feel there are a lot of people who are our people, and who are a key part of the context in which this is all happening. And we want to give back by sharing what we’re doing.

Hopeless Maine was always intended to be a community project. Tom has brought all sorts of people into it in different ways over the years. Not all of them stuck around, some of us did. I’m not his first author, but I am the one it’s been hardest to get rid of! As Hopeless lays its various strange eggs in other people’s minds, we want to say yes to that, to open up space for other people and other visions.

Also, this is the bit that I can do. I can tell you the story of what happened. I’m the least experienced team member, the one with the fewest relevant skills. It is incredibly exciting watching what everyone else is doing with this and seeing how amazing the team are. But from here, I will mostly be loitering at the edges, because there’s not much I can usefully do. Hold the odd puppet maybe.

I’m telling the story of the project as it unfolds because that lets me feel like I’m still involved, which is nice. Thank you for giving me that space.

Agents of Change

Agents of change are small entities that often crop up in the background in Hopeless images. They are beings who live out their names. They change things. The more of them there are, the more scope there is for change. Their presence on the island is a major reason for the island’s odd flora and fauna.

We’ve not used them prominently in any plot. But, Merry Debonnaire has used them repeatedly – first in this short story https://hopelessvendetta.wordpress.com/2018/07/06/the-aunties/

And then again in this excellent tale about what really happened to Annamarie Nightshade https://hopelessvendetta.wordpress.com/2020/02/04/annamarie-nightshade-is-going-to-die/

Merry’s concept of the agent’s of change as Aunties was taken up by Keith Errington and turns out to be significant in his Oddatsea novella.

There have to be agents of change in the film, because if you look closely at the opening to The Gathering, there they are in the water with baby swimmy Sal. Helping her change. They are not solely responsible for Salamandra’s watery transformations – she does most of it for herself, but they give her a lot of ideas.

If you would like to help us make agents of change as puppets, we’re crowdfunding the film as we go along and your support would be greatly appreciated.  More of that here – https://hopelessvendetta.wordpress.com/bringing-hopeless-maine-to-the-screen-one-creature-at-a-time/team-creatures/

News for the residents of Hopeless, Maine