Tag Archives: Hopeless

The Last Lighthouse Keeper

It was an unusually quiet evening in The Squid and Teapot. It wouldn’t be unreasonable to ascribe this to the raging storm that rattled the windows of the inn, sent waves battering the rocks, and kept spoonwalkers cowering in their nests, safely banished from the cutlery drawer. 

“Normally,” Philomena Bucket said, “weather conditions like this would not be enough to stop the customers from coming in. Tonight, though, there is an added reason…”          

She stared mournfully through the window, peering deeply into the darkness beyond. 

Reggie Upton looked up from his book, resigned to the fact that this statement was meant to elicit a response from him; something along the lines of: “Oh, and what would that be?”

“Oh, and what would that be?” He dutifully enquired.  

“It’s the ghost of the last lighthouse keeper, Talmadge Chevin,” she replied. “He’s out and about, and moaning again.” 

“That’s balderdash,” Reggie said, dismissively. “It’s just a bit of wind blowing through what’s left of the  lighthouse. We’ve got enough spirits wandering around this island without you inventing new ones, m’dear.”

“Oh, he’s real enough, believe me,” said Philomena. “In fact I can see him now. I wonder what bee has got into his ectoplasmic bonnet this time?”

“This time?” echoed Reggie, as he eased himself out of his seat and followed Philomena’s gaze. Sure enough, a hazy figure shimmered in the darkness. It appeared to be pointing towards the old lighthouse.

“There’s always something annoying him,” said Philomena. “Last summer it was Seth Washwell taking away some of the stones to build a privy, and a couple of years before that a few of the older boys from the Pallid Rock Orphanage managed to make him really angry.”

“Ah, they didn’t steal stones to make a privy as well, did they?” asked Reggie.

“No, they just used the lighthouse itself as a privy,” said Philomena. “You know what boys are like.”

Reggie was just about to launch into an amusing anecdote concerning the digging of latrines in the Transvaal, when Philomena was unexpectedly spared this by the figure of Norbert Gannicox bursting through the door.

“Ah, a customer at last,” she said gratefully. “Your usual sarsaparilla, Norbert?”

The owner of the Gannicox Distillery had been strictly teetotal ever since his father drowned in a barrel of vodka years earlier, prompting his cousins at the Ebley Brewery (home of the much-loved Old Colonel Ale) to regularly make Norbert a batch of root-beer.

“No, thanks Philomena,” said Norbert. 

She suddenly noticed that his face was ashen, and clutched in his left hand was a sack.

“What’s in the bag, old chap?” asked Reggie, casually.

Norbert, not normally lost for words, stood in silence. Eventually he said, his voice shaking:

 “I was looking for driftwood, and found this on the beach.”

He hesitated, as if reluctant to continue. Slowly, with trembling hands, he unfastened the sack, and unveiled his discovery: it was a human skull, grinning up at them with an unwholesome enthusiasm.

“That’s a Chevin,” declared Philomena.

Reggie eyed her quizzically.

“I can tell by the chin,” she said, then added, by way of explanation, “or, more to the point, lack of chin.”

“You’re right, now you come to mention it,” said Norbert, who had recovered some of his composure. “It’s got the Chevin teeth, as well.”

“Put it back in the sack, Norbert,” said Philomena, urgently. “I think I can guess which Chevin we’re talking about. Talmadge wants his head back.”

“Well, I can’t imagine why it isn’t buried with the rest of him,” grumbled Norbert, rolling the skull back into the sack. “Unless somebody, or something, purposely dug it up… but why?”

As if in answer to his question, Drury bounded into the room and thrust his bony nose into one of the skull’s eye sockets. Then he looked up triumphantly, with the air of one who had just found something that they had misplaced, and without further ado grabbed sack, skull and all, and hurtled off into the night.

The spectral figure outside slowly turned, and with an unearthly moan and malevolent glare, pointed an accusing finger towards The Squid and Teapot.

“He’s not a happy ghost,” commented Norbert. “Do we really have to turn out in this weather and rescue his skull from Drury?”

“Well, I’m not going anywhere tonight,” said Philomena. “Unless Drury brings the skull back, which is unlikely, Talmadge can stand outside and moan away until daylight as far as I’m concerned.” 

And with that she drew the curtains.

                          —————–

By the next morning the storm had blown itself out, leaving the island to the chilly, dismal fog, which was familiar to all. 

As expected, Drury had lost interest in the skull he had exhumed on the previous afternoon. Finding better things to do, he dropped it on the beach, where it had been picked up by the morning tide and was, by now, bobbing about in the Atlantic and making its way to the mainland. 

And what of the restless spirit of Talmadge Chevin? The ghost of the last lighthouse keeper decided that, without an audience, there was no point in hanging around moaning all night. In the scheme of things, he didn’t really need his skull; after all, his corporeal form had ceased to have anything to do with him years ago. 

“Still,” he reflected as he retired to whatever place it is that dead lighthouse keepers inhabit, “there’s no harm in keeping an eye on the lighthouse – and I’ll be damned if I’m going to allow every young upstart to come along and desecrate my old home while I’ve still got a haunt or two left in me.”

Then he laughed to himself. What was he saying? He was damned anyway! 

When is Hopeless?

If you’ve been paying close attention to the blog, you may have found yourself wondering, when is Hopeless? 

You may have noticed that our guest writers don’t all operate in the same timeframe. Nils Visser brought a story to us that connected with his Wyrd Woods. Martin Pearson’s Squid and Teapot stories relate directly to history as we know it. Keith Errington’s Oddatsea places Hopeless in a steampunk sort of history.

Is it all just chaos? You might reasonably ask.

Well, yes and no.

I have an entire other novel (Spells for the Second Sister) that turned out to hold the key to all of this. I’ll be self pubbing that one in the foreseeable future, for anyone who gets the urge. One of the central concepts in that book is of a tidal reality. Places move in relation to each other, and many places exist that are versions of the same place. When the tide is out, they’re all distinct and separate places, but as the tide comes in they merge, overlap and sometimes crash messily into each other.

Hopeless exists in that tidal reality. People who have read New England Gothic will already know that Hopeless has layers, and that its many different places all in the same place. As a consequence, it’s a relatively stable point in a constantly shifting universe.

This is also part of why it’s so hard to leave. It’s not just a case of getting out, but of getting out to wherever specifically you want to go. The tides of the universe are just as likely to throw you back at the island as the local sea currents are. 

SINNERS

Hello again people (and others)

I’m going to talk about a graphic novel cover again, but I’m also going to talk about the art mischief we got up to with this whole volume.

When Nimue and I pondered what to do for the cover of the Outland edition of Hopeless, Maine -Sinners, we thought of the book as a whole and the visual theme we played with. In Sinners, we borrowed (ahem) from famous iconic paintings and bent them to our fell purpose. Or , looking at it another way, we payed tribute to some of our favourite art and artists from history. So, for example, here is the original painting by John Everett Millais-

…and here is what we did to it, with Mellisandra standing (floating) in for Ophelia.

Pre Raphaelite artists certainly predominated for this sort of treatment but there was also a chapter cover titled Foggy Night.

So, for the wraparound cover for the new hardcover edition we went back to the pre raphaelites. We needed an image that could be tuned to our theme, and that might be recognisable as a source of inspiration. We chose The Magic Circle by Waterhouse-

and turned it into….this.

with Simon in the background, naturally, as Sal with creatures is the theme for the Outland editions.

So…there you have it. Find a copy of Sinners to see what other terrible things we have done, or wait for the Outland campaign for the hardcover edition.

We hope, as always, this finds you well, inspired and thriving.

Life after graphic novels

Those of you who follow us on Facebook may have noticed that we’re talking a lot there about the last graphic novel. This is Survivors, and we’re getting close to finishing it. Survivors is the last graphic novel in the story arc, and it’s the last Tom/Nimue graphic novel you are going to see. They’re just too time consuming, and we need more time to actually have a life and do other things. 

However, that’s not the final instalment for Hopeless, Maine, and a number of things come next.

We’re still working on making a film. We’ve been set back by the plague era, but not totally thwarted. Expect to see news on that as and when we have any.

We’re going out with live shows. You can find The Ominous Folk of Hopeless Maine at events in the UK. We want to do more events, which will be easier when we’re not also trying to make graphic novels. We’ve got some big ambitions for the performance side in 2023, big enough that we have to start working on that this summer. Please do suggest events we might throw ourselves at – we can go out as folk, steampunk and theatre. We’ve been to a Goblin Masquerade. We’re open to suggestions.

Otherwise, we’re moving into illustrated fiction. Both Sloth Comics and Outland Entertainment have already expressed a willingness to publish books that have more words in them. We’ve got a new story for you, set after the graphic novel series. It’s called Mirage, and Dr Abbey has been our co-creator for this. It’s a standalone novel, (we’ve tested it on the innocent) but it will probably be more amusing for people who already know the story to this point.

So long as we have ideas for stories, we’ll keep doing illustrated novels. We’ll likely have each of these stand alone, because that’s much less stressful for everyone. It’s also really important to us to only bring you new things if we feel like we have something worth sharing. We are not fans of things that are stretched out forever, recycling what few ideas they had in the hopes of milking every last drop from the cash cow!

There are also some not-Hopeless plans being explored, and we’ll point at those from here now and then when it makes sense to do so.

Survivors should be with you in 2023. Mirage should follow that in a smooth sort of way. Meanwhile we try and figure out a happily ever after for the creative team.

Hopeless Characters

One of the things we’ve done ahead of the gallery show in Okinawa is produce a line-up of characters from the comic. This, we gather, is something Japanese readers love to see in relation to comics and that sharing this kind of image would be a much more Japanese way of doing things. It was entertaining figuring out the heights of the cast in relation to each other.

When we started work on Personal Demons, Tom was in the US and I was in the UK. The colouring happened digitally. Sinners is the first book I coloured on. So it’s been interesting for me to look at those characters in their early stages and think about how I would have coloured them.

If you’ve read Personal Demons (the first half of The Gathering in the UK edition) you’ll know that it is not an especially colourful body of work. Tom is not fond of working with colour – which is how I got involved in the first place!

This is the first time I’ve coloured Miss Calder as a living person with skin tones. It will probably be the only time I colour young James or the unnamed young lady who dominates the first book. It was also an opportunity to assert what terrible taste Doc Willoughby has – he’s been benefiting from Tom’s muted tones as no one has been able to see quite how garish and ridiculous he really is.

Designing Hopeless, Maine for film

Hello again people (and others).

As some of you will know, we are working on translating the Blind Fisherman (The prelude to Hopeless, Maine) to film. Towards this end, I’ve started sketching settings that will appear in the film to help me visualise the settings so that I can move on to storyboarding. Once the script is finalised, we’ll storyboard and go on from there. In order to help make all of this possible, I’ve begun studying producing and other aspects of filmmaking. We have a studio, cinematographer, production design and an art director. Our plan is to make this the first in a series of Hopeless, Maine set films.

In the words of our cinematographer, Gregg McNeil ” We’re making a strong statement with this first chapter of the Hopeless Maine Anthology and we hope to continue this with other filmmakers, directors and storytellers each weaving their own visual tale.”

We will keep you up to date on our progress!

Hoping this finds you well, inspired and thriving.

These Our Revels continued.

Hello people (and others) Here we continue the story of how an image from Hopeless, Maine was made real by Nimrod Lancaster Fiona Sawle and  others in the steampunk creative community. Part one can be found here.
On the making of the masks and outfits
Nimrod made one version of his own mask, but two of Fiona’s
The body of each mask was Fosshape but the attached parts around the edge were mainly EVA foam sheet. plus two of his were wooden dowels. For the edge of Fiona’s I used two layers of EVA foam with stiff wire in between to make it stronger and pose-able. The top spike on his was 3D printed as was his medallion. The glass cabochons were painted using nail varnish and then Mod-Podge behind to give strength. The Fosshape was coated in liquid latex and then acrylic paints mixed with latex were applied over that. Fiona made her handbag from scraps of fabric left over from the outfits. The fabrics were sprayed with Dirty Down spray in various colours. The shells dangling from Fiona’s mask were collected from the beach in the Bahamas in February. Nimrod’s mask also has  dangling sharks teeth. Thin black fabric was glued behind the eye and mouth holes. The tentacles are removable for ‘ease’ of storage!

These Our Revels coming to life-part one.

Hello again people (and others)

One of the amazing and inspiring aspects of steampunk is the collaborative energy and what can happen when creative people combine their passion and creativity to bring new things into the world.

This project started because we had long admired the outfits and creativity of Nimrod Lancaster and Fiona Sawle  at steampunk events in the UK. We met them at Steampunks in Space (which happens here)   and gave  a print of this image to them in the hopes that they would adopt it as a costuming project.


They took the print away with them and soon we began getting photos like these…

John Naylor was brought in to assist with the masks . He introduced Nimrod to Fossshape and helped him make the rigid part of his mask.

This is the first part of a series on this stunning project and we will show more progress, the outfits and the unveiling at Sanctuary in the following posts…

 

Child Sal to the Dark Tower Came

Child Sal to the Dark Tower Came is the name of the first Hopeless Maine story I ever wrote for Tom. It happened long before I started working on the graphic novels. There are now three versions of the art for this story and they appear in order below – Tom’s first illustration for my short story, the version in The Gathering and Dr Abbey’s version. The words are new, and mine.

The title comes from a vague memory of reading Childe Roland to the Dark Tower Came. I don’t really remember the poem, except that it was miserable. The dark tower of this story is really a lighthouse, a light tower once it gets going. It’s an important image in terms of the history of the project. It also feels relevant now, because it comes in the story at a moment of profound loss and despair for Salamandra. It’s about having nothing you can really do, and yet still doing something.

 

Child Sal to the dark tower came

With windblown hair and eyes aflame

The sea and sky call out her name

And life will never be the same.

 

 

Child Sal in boots too loose by far

Led by her ancestral star

None would dare her entrance bar

Deserted tower, door ajar

 

 

Child Sal in loneliness comes in

To empty rooms devoid of kin

And hopes a new life to begin

A home to make, a future win

 

 

Child Sal to the dark tower came

And here in secret hoped to reign

Until her heart comes home again

Across the sea, to Hopeless, Maine.