Tag Archives: Hopeless

Hopeless Optimists – an update

Hopeless Maine volume 4; Optimists, has been delayed. We’ve been affected by the virus and the book will be out later than intended. Sorry about this!

Part of the issue is that Sloth is not a big publishing house, and like much of the independent comics market, depends on events to sell books. With all events cancelled, things have been hard for Sloth. It’s not been a good time to invest money in printing a new book.

As creators we’ve also been hit. We lost work – although thankfully not all of it, but enough that it has impacted on us. Unhelpfully for Hopeless, Tom is the one who has had more paying gigs come in, and it’s made more sense to take those and let Hopeless wait a bit.

We are a fair way into Hopeless Maine Optimists. It should be out early next year when we hope there will be more scope for taking it to events. After that we have one more book to go to complete this narrative arc, and hopefully that will be a bit less affected by the state of the world!

What happens after Hopeless Survivors, is an interesting question. We don’t quite know at this point, but pondering is under way. We had thought Survivors would be the last Hopeless graphic novel – they take Tom about 6 months and they don’t pay for six months of full time work, which is challenging for us as a household. However, there may be entertaining and time efficient ways of keeping on making comics, and we are exploring that at the moment and seeing where it takes us.

To ride a surf horse

It is a horse day. Usually tumultuous, the sea is a grey sheen of deathly pallor, and so still. Glass still. Unnaturally so – assuming anything in this place could properly be called natural.

The sky is also grey. This is perfectly normal. The sky is a cold, untarnished steel grey polished smooth and hanging over the sea, each a mirror of the other, passing grey smoothness back and forth into infinity.

In other times and places it is the lively rush of sea foam that gives birth to surf horses. Here, where the usual rules are seldom honoured, horses are most often born in stillness and in silence. They come from the waves that never were. The sea undulates softly with them. Grey explodes into vivid green and vibrant blue. Where colour infects the placid sheet of the poised and waiting sea, the horses come. Proud and wild, ferocious and terrifying. They are like no horse you have ever seen, and yet still they are pure horse; nostrils flaring, flanks powerful, tails flicking water to make brief, unlikely rainbows in the air.

If they come to you at dawn or sunset, catching shards of light from a distant horizon, they may seem more real than anything else. On this island of misty greys and insubstantial, haunting things, the horses in the water may look more substantial and more trustworthy than the uneven sand beneath your feet.

They speak of other ways of being, these horses. They say, in whispers you can almost hear, that if there can be horror, why can there not also be delight? Look into their deep, soulful eyes for the delight they promise. Look into their tooth sharp not so equine mouths for the horror they are capable of. They are beautiful and they are grotesque, between the sea and the sky in this dire and perfect moment.

Catch one if you dare. Rise it in search of dreams. You can never return. Whether you have left the island with them is another question entirely. The sea is vast, and deep, and very cold.

 

Art by Dr Abbey.

Thanks to Potia for the inspiration for this blog post.

What shall we become?

Where are we going?

What shall we become?

While Tom and I are working on the next volume – Optimists, Dr Abbey is revisiting the first books, and there is much plotting.

Hopeless was always manga influenced. If you’ve ever wondered what it might look like as manga, the poster above will give you a small flavour.

We’re on an adventure, and no one knows what might happen next. Especially not us.

Hopeless Seasons

This blog post has been written in response to a reader question about island life. I have a list of questions to work through, but it isn’t that long, so if you’d like to ask something, please do! Hopeless is and always has been a community project, and  we’ll gladly explore whatever anyone is interested in.

Geographically, the island of Hopeless is somewhere off the coast of Maine, and gets something akin to Maine seasons, only it doesn’t really do summer. Summers in Maine can involve blue skies and warmth, but the island is always on the chilly side.  Sometimes, if you look carefully, you can see a distant line of blue on the horizon, out beyond the island’s inherent malevolence. That’s about as good as it gets for islanders.

The best way to tell where we are seasonally is to look at the trees. Not the dead ones. Don’t look at the dead trees. Especially don’t look at the eyes on the dead trees…

We digress.

Hopeless Victims (volume 3) is set in the autumn, and we do have some leaf colour – far more muted than the rest of Maine tends to go in for, but it is there.

The next book – Hopeless Optimists is set in the winter and there is snow on the ground, and Salamandra still isn’t wearing a coat.

Which means that the final book in the series, Hopeless Survivors, will be set in the spring. Because there’s nothing like juxtaposing  extreme peril against signs of new life and hope.

I grew up in a small town on the edge of the Cotswolds. It is the place the rainclouds often first stop when they’re wandering up the Severn River. It is a place that is more often than not under a dark cloud.  On foggy days – and there were plenty of those when I was growing up there – the landscape would fill with mist, turning the hills into small islands. Whether Dursley is quite as cursed as Hopeless I can’t tell you, but the climate is certainly plausible – regardless of whether you ascribe it to demons or not.

Hopeless Folklore

Hello people! (and others) The esteemed Jeffrey Tolbert (Editor and co author of -The Folkloresque: Reframing Folklore in a Popular Culture World, has decided to look at Hopeless, Maine and its growing tribe of participants as a topic of study. “an ongoing conversation on the role of folklore and the folkloresque in Hopeless, Maine.” Your participation would be much appreciated.

Topics of interest include the nature/definition of folklore, its connections to place, and the role of digital media in the creation and performance of contemporary folk cultures. We invite you to come and join him and become part of the conversation here- https://folkloresque.net/community/folklore-and-folkloresque/hopeless-maine-folklore-and-the-folkloresque/ You do need to create a log in and password to participate. If you do not get see a confirmation email, check your spam folder (personal experience) This should be very interesting indeed!

Jeffrey happened to us on Twitter last year, we very much like his folkloresque book and he’s been delightful to communicate with. We’ve found his ideas about folklore really interesting and engaging. He’s interested in what people do – in folklore as living tradition, not dusty museum piece. So, very much our sort of chap!

New light on suspicious deaths!

Following on from Mithra Stubbs Item in the paper yesterday, New Evidence has been found that may (or may not) shed new light on the case. You will have to read the note that has been found and come to your own conclusions.
TO BE READ IN THE EVENT OF MY UNTIMELY DEMISE A ‘head injury’ the papers said. My darling Fiona no more died from a head injury than from a broken finger nail. I know this fact because I was able to carefully examine her head at around 09:30 as she lay on the ground under Evangeline Plumage’s sewing machine, still wearing the chartreuse-coloured wig that she had been given by another of Evangeline’s clients, not five minutes later. The client in question was Marine Molly, taxidermist in waiting to the village aquarium, one of the region’s foremost photographers of sewers and Frampton Jones’ half-sister. The broken finger nail in question was really no more than a scratch in the shellac, but it was nevertheless clear evidence that a struggle had taken place, most likely a struggle between Fiona and Molly. After checking for signs of physical injury (of which there were none other than the scratched nail) I carefully stepped into the handbag that Fiona had been carrying and soon discovered that Molly had made away with the bronze key to Fiona’s shoe room. I hastened back to the room myself, entering through the secret staircase from the laundry chute, where I found fourteen pairs of almost identical black court shoes, one pair on each step. When I reached the shoe room I found further evidence of a struggle, this time seven pairs of green court shoes along with four dresses, two pairs of trousers and three skirts; Fiona had clearly been in a hurry to get dressed that morning. The broken clock on the floor suggested she had still been getting dressed at 10:30. I returned to Evangeline’s sewing room (via the Black Swan Bakery for a light breakfast), arriving around 9:15. As the sound of Vaughan Williams’ Sea Symphony from Testimony Albatross’s fish organ filled the air from the nearby church and as the village clock struck 9:00, I became acutely aware of a metallic taste in my mouth and I started to feel unsteady. Tumbling forwards, I pricked my finger on Evangeline’s sewing needle before grabbing a lock of the chartreuse wig on my fall to the carpet. Desperate circumstances call for desperate measures. I must find out the true cause of and hopefully prevent Fiona’s demise, to which end am going back to my workshop to continue work on my time travelling shoe machine. To date I have succeeded only in travelling back from an F fitting to an E fitting. If I can travel back from a size eleven to a size ten and a half, then the future of the island will surely lie in my hands. Should my own life come to an apparent end in the pursuit of this objective I implore the finder of this note to seek out the toxicology report on the chartreuse hair and I bequeath my collection of tintype portraits of cats, ferrets and subterranean clowns to the village museum. NR
If you are wondering why the mortality rate on the island is so dreadfully high at present, it is because Nimue has offered to write one hundred obituaries for the early birds from our kickstarter campaign to launch a new line of Hopeless, Maine illustrated fiction. It is ongoing, and can be found here.

The Indispensable Man

Ever since the episode with the phonograph – described, you may remember in the tale ‘Ghost in the Machine?’ – Gwydion Bagpath had begun to register the existence of Philomena Bucket. Previously, she had barely caught his attention. As the self-appointed elder of the Commoners, his lofty position had rendered him far too busy to notice her. There had been beachcombing and salvaging expeditions to oversee. In addition to this, he felt that it was his duty to ensure that the Nailsworthy family were attending properly to the venerable elder trees that the community relied upon. Then there was his role as both chairman of the Gydynap Preservation Society and the Common Committee (organisations which met for a liquid lunch, twice yearly in ‘The Crow’). On top of these onerous duties was the business of standing around and looking important; the gravitas that his position required would not cultivate itself. But I digress. Gwydion had noticed Philomena Bucket and realised that, despite her pale skin and white hair, she was an extremely attractive young woman – that is to say, young by Gwydion’s standard. He was at least twice her age, but he was a widower looking for a young wife to comfort him through his old age and Philomena seemed to be perfect for the task. Philomena would be honoured, he felt certain, to be invited to step out with him, with a view to courtship and eventually marriage.

Blissfully unaware of Gwydion’s long-term plans, Philomena was happy enough (if not exactly honoured) to join him occasionally for a brisk stroll along the headland. As ever, Drury, the skeletal dog, would amble along beside her, sniffing everything in his path and chasing shadows.

‘Damned infernal creature,’ thought Gwydion uncharitably, seeing Drury as being less of a dog and more of a passion-killer. Of course, he would never voice this opinion aloud, knowing how fond Philomena was of her strange companion.

In order to win Philomena’s approval, Gwydion would use these walks to inform her of his many qualities. He would speak, at some length, of his altruism, his bravery, his generosity – the man’s virtues knew no bounds, at least in his own mind. Philomena, of course, was no fool and soon realised that she was being played like a fish on a line. She did not dislike Gwydion but the feelings he invoked in her were far from romantic – and she could never love anyone who displayed such obvious coldness towards Drury. She resolved, therefore, to find reasons to avoid these strolls. She would do this gently, however, to avoid hurting Gwydion’s feelings. That was her intention, anyway but being, perhaps, too kind for her own good, she left things too late and found herself, one foggy afternoon, in the position of being subjected to a proposal of marriage.

They had been walking towards the town when Gwydion suddenly dropped down on one knee and asked for her hand in marriage.

“I’m sorry Gwydion, but I can’t possibly marry you,” she stammered.

A pained look passed over the old man’s face and his voice shook.

“Your hand… give me your hand… “

“I told you no…”

“For heaven’s sake, give me your hand, you idiotic woman, and help me up. My back has gone and goodness knows what else. I’m stuck.”

Try as Philomena might, this was to no avail. Gwydion was well and truly locked into a kneeling position and no amount of heaving by Philomena could budge him.

“I’ll get Doc Willoughby,” she said. “He’ll know what to do.”

Doc Willoughby knew exactly what to do. He arranged for a couple of burly lads from the Common to come along and carry Gwydion, still stuck with one knee bent in the time-honoured proposal attitude, back home.

“Silly old fool,” the Doc muttered. “What was he doing down there, anyway?”

“He was proposing marriage,” replied Philomena, simply.

“Well I propose that he stops making himself look ridiculous and give up chasing young women. He must be seventy, if he’s a day.”

Sad to relate, Gwydion never recovered from this latest affliction. Even though he was eventually able to stand normally again, his joints were past their best and his life was never the same. To the relief of everyone concerned, he reluctantly gave up his committees and overseeing duties. The job of Elder of the Commoners was discontinued; most had long realised that elder did not necessarily mean wiser. It came as something of a shock when Gwydion realised that nothing had suffered for his absence and life on the Common progressed as it always had. Before many months had elapsed, he died, a broken man. Little by little the name of Gwydion Bagpath faded from people’s memories.

It was many, many years later that an American soldier named Dwight Eisenhower, (who, I am reliably informed, did quite well for himself in later life) revealed that he always carried in his pocket a copy of the following poem. It’s a pity that Gwydion had not read it…

The Indispensable Man

Sometime when you’re feeling important;

Sometime when your ego’s in bloom

Sometime when you take it for granted

You’re the best qualified in the room,

Sometime when you feel that your going

Would leave an unfillable hole,

Just follow these simple instructions

And see how they humble your soul;

Take a bucket and fill it with water,

Put your hand in it up to the wrist,

Pull it out and the hole that’s remaining

Is a measure of how you’ll be missed.

You can splash all you wish when you enter,

You may stir up the water galore,

But stop and you’ll find that in no time

It looks quite the same as before.

The moral of this quaint example

Is do just the best that you can,

Be proud of yourself but remember,

There’s no Indispensable man.

Story by Martin Pearson-art by Tom Brown

The Fog Song

The fog by night is darker, deeper, shrouding everything,

No stars shine through, no moonlight glimmers,

All sounds are muted colours dim, there is no hope here,

No hope at all, only cold and damp malevolence.

 

Dawn comes queasy grey to light another joyless morning,

Cold light without colour lacks the power to warm my heart,

I’d dream of something better but I don’t know how to picture it,

There is no hope here, no hope at all.

 

The world is bleak with apathy, too willing to accept it all,

The empty listless life, the sunless mournful days and night terrors,

Fear becomes your companion, familiar and cruel,

There is no hope here, only poison in this world.

 

The chill within my bones has been with me most of my life,

If I ever knew true warmth I forgot about it long ago,

There is no salvation and no heroic rescue,

When the monsters are inside you, there’s no hope at all.

 

(The Hopeless Fog Song features in the opening to The Gathering. It does have a tune and I have sung it in public. The image is from Hopeless Maine Victims, out this summer.  Any conclusions you may wish to draw from the juxtaposition are entirely up to you… )

Hopeless Mechanics

What is the relationship between Hopeless Maine and the rest of reality? It’s a question I’ve been asking on and off for about fourteen years, and neither Tom nor I has known the answer…. until now!

It came to us as we were discussing the stories Keith Errington has written for the island, and how his 19th century is so very different from the 19th century Martin Pearson depicts in his Squid and Teapot tales. At this point, the question of what gets to be ‘canon’ and what isn’t becomes really important. There are a lot of people playing with the island in different ways. Some of these explorations will be published, some will start to look more official than others.

Generally, when people get themselves and their stories to the island, it’s all fine. Hopeless talks to them – we’ve had to steer Martin away from important plot points he’d found without any input from us. Keith’s adventures took him into a space that no one has seen yet but that we’d already depicted for the next graphic novel. This happens a lot, and is why we’ve never felt much need to steer people around what they can and can’t do on the island. The island itself takes care of all that.

What’s tricky is where people launch from – their off-island reality. There’s no two ways about it, you don’t all come to Hopeless, Maine from the same time and place. The answer, clearly is to accept that and run with it.

My other fiction is full of unstable and shifting realities. I have decided they are all compatible, and the result goes like this…

Hopeless, Maine is a rare fixed point of stability in an unstable and shifting multiverse. It is thus easier to get in than get out, because if you try to get back and don’t connect with where you came from, there is resistance. Hopeless is, in its own funny way, pretty stable and there is consensus about what happens to new arrivals. And there is no consensus about where and when they came from and how historically accurate, or steampunk or other their starting point was, because they’ve all come from different points in that unstable and shifting universe.

It amuses me greatly to think of Hopeless as something solid and reliable.