All that said, both series  made an indelible impact on the publisher at large. Both featured legendary creators and both were severely delayed… reinforcing the notion that good art can’t be rushed! 
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The story follows Superman as he accomplishes each of those 12 Labors, touching upon all aspects of the Superman mythos: from his relationship with Lois Lane, relationship with Jonathan Kent, jealousy from Lex Luthor, weakness to kryptonite; am no meaning you Bizarro, Kandor the Bottle City - it’s all there, except for perhaps the presence of Brainiac.

In the end Superman does transcends life, sacrificing himself to save all humanity yet again. 

In my opinion, this is the best Superman story of all time. The only ones that might have a case are the two Alan Moore Superman tales: For the Man Who Has Everything or Whatever Happened to the Man of Tomorrow?

THEMES

What makes All Star Superman so good is the interpretation of Superman as a mythological god. Grant Morrison has revisited this theme time and time again, and it’s, for me, the core of DC Comics as a whole; unlike Marvel superheroes, who are presented as fallible humans, DC heroes are divine heroes upon which the symbols of man wrought large.  ​
All Star Superman distills many of Grant Morrison’s beliefs, including his belief in Chaos Magic / Alchemy, into a story that is heartfelt, nostalgic, and pure in its intent. There’s no hint of cynicism in this Superman; he does good because he is good, sees the good in others, and believes in all of us. 

Ahoy Mythopoeians! 

Some big news in the world of crowdfunding this week with BackerKit announcing that they would be launching their own crowdfunding platform to rival Kickstarter. BackerKit, for those who don’t know, is the number one backend platform for crowdfunding fulfillment, and one we’ve used on our campaigns since the beginning of our journey as creators.
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Ahoy Mythopoeians! 

Summer is here, and for the first time in two years convention season is upon us! Back before the pandemic times, we regularly attended comic book conventions as exhibitors, going from ones as far ranging as San Diego Comic Con to the Eastern European Comic Con held in Bucharest, Romania. As the world flipped upside down and began to normalize, we considered returning to the convention circuit several times, but in almost all cases decided to withdraw over anxiety over attending an in-person event with thousands of people in a closed air environment.

Well, no longer! This summer Mythopoeia will be attending San Diego Comic-Con 2022 as well as for the first time Gen Con 2022. We are excited to be getting back in person, meeting fans, introducing people to our work, and ultimately trying to make new inroads in this wonderful creative journey of ours. 

The pause in shows over the last two years has given us plenty of time to think and reevaluate what conventions mean to us and our purpose for attending. 

In our entire 8 year existence, Mythopoeia has never lost money on a convention. That is primarily because we have kept costs low and fans seems to be very excited by the comics that we produce. Although we don't do extraordinary numbers, we've managed to make conventions a small profit generator in addition to providing other benefits such as exposure and reach. 

That's all about to change, however, as in 2023 we are expected to lose money at a convention for the first time at Gen Con 2022.

Why? Well, for a number of factors. Let's break it down: 

1. Air Freight

First and foremost, we are behind schedule for The Wildsea RPG. As of one month ago we missed the deadline to conceivably have our books ocean freighted in time for Gen Con. All shipping is incredibly expensive as of 2022, with costs having gone up around 30-40% around the board. Air Freight certainly has seen an impact, and that means that our shipping costs for the show have gone up tremendously as a combination of the way the world is and our own internal delays as a publisher. 


2. Travel

Gen Con is a massive travel show, located in Indianapolis, Indiana, a part of the world we've never been to and have few connections from. Typically we try to compensate the cost of a show by crashing with a friend in the city, but because we don't know anyone we're going to have to pay full price in terms of room and board for the show. We are also traveling with a relatively large contingent of folks, with around 8 of us attending. That means having to pay for a largeish accommodation, in this case an AirBnb, to house those of us that will be working at the show. 

3. Scale

In the past, when we've exhibited at comic conventions we have applied for a spot at either Artist's Alley or Small Press. Both are typically smaller booths and areas of the show, designed to accommodate artists, independents, and newcomers. Not at Gen Con! We are exhibiting at Entrepreneurship Alley, a showcase of new companies who have never exhibited at Gen Con, with a booth starting at 10x10 and $2100. 

We are fortunate in that we have been selected as a Marketing Fellow, meaning our booth has been upgraded to a 20x10 and we have some advertising support from the show itself. It's quite a daunting prospect, but this show will mark our entrance into the big leagues; where exhibiting at a show becomes much more about marketing and exposure with a long tail, as opposed to viewing the show as a profit gainer. 

Our primary goal at Gen Con is to secure distribution for The Wildsea, and for future Mythopoeia products. If/when we manage to do that, we will have the opportunity to exponentially scale our business through wholesale. We have the platform; we have the game; now all we need to do is make the connections and show what we have. 

If you build it, they will come. Right? Here's hoping so.   



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You may ask: with all these costs, and with the prospect of losing money, why attend? Well, the reason is simple: we believe in what we are doing. The Wildsea is one of the most unique roleplaying games I've ever had the pleasure of playing in my 20+ years in the hobby, and I believe that it has the potential to transform - or at least become a huge player - in the entire industry. 

We are at the end of a long journey releasing this  game, and we are going to do so in the best way possible: at the home of tabletop gaming. Along the way, we hope to show others what an amazing experience the game is, and to perhaps make the inroads needed to take The Wildsea - and Mythopoeia - to the next level. 

Without risk, there can be no reward, as they say. 

That said, we'll see you at SDCC and Gen Con soon! 

- Ray 

Hi folks, 

Vince here! Let me start by telling you a little about myself. I'm half-Italian, half-Chinese, and was born in the deserts of the United Arab Emirates — years before Dubai became the Metropolis it is today. I grew up in different countries due to my father's work, and became fascinated with stories and storytelling.

Stories captivated me because of the way they can inspire you and form friendships, regardless of who you are, or where you're from. For someone who has no place to call home, stories became everything. 

So much so that I ended up meeting my co-creator Ray in film school, and years later joined forces to create stories like Skies of Fire, and Glow. Do check Glow out! We're currently running a kickstarter for the first hardcover, and can't wait to get it into your hands :D

As storytellers, we are always striving to create worlds with living characters and real stakes. Over the years, Ray and I have spent hours talking about the nature of story and what makes a good adventure?

This is not a new question, and there are dozens of books one can read on the topic. Back in film school, hot discussions took place that splintered our class of budding creatives into different gangs like houses in Hogwarts. In this post, I'd like to share with you the things I've learned over the years of telling stories.

Treading Old Ground
But, before jumping in, I have to introduce you to Joseph Campbell's The Hero with a Thousand Faces. Campbell was one of the greatest mythologists of his day. He wrote dozens of books on mythologies from all around the world, chronicling them and giving his own insight and interpretations to their existence.

The Hero with a Thousand Faces is the culmination of his life's work, a book where he tries to define the basic building blocks of every story ever told. He called this the monomyth, or The Hero's Journey. It's a great read (albeit pretty academic in parts) and has influenced many creators and stories. George Lucas used the book to help him develop Star Wars, while Christopher Vogler wrote a memo based off the book to guide the creators in Disney's writing rooms. 

Like them, Campbell has shaped how I write stories and will be referencing him throughout the post. 

The Five Elements
Campbell was able to distill his Hero's Journey into one diagram. Vogler did it for Disney in a 7-page memo. Below, I came up with 5 elements that I think define a good adventure story. 

They are:
I. The Quest
II. An Unknown World
III. Adversity
IV. Companions
V. Items 

So without further ado, let us explore what I'm calling the Anatomy of Adventure. 

One of the oldest quests is that found in the Epic of Gilgamesh, written thousands of years ago during the times of the Sumerians. Gilgamesh, the king of Uruk, sets out on the quest to discover the secret to immortality after experiencing the death of his close friend Enkidu. 

He travels far across endless waters and hears of a plant known as "Never Grows Old." Found at the bottom of the cosmic sea, Gilgamesh dives deep to retrieve it. He successfully bring one up and takes rest to recover from the search. 

As he rests, a serpent that was attracted by the scent of the plant slithers in and eats the "Never Grows Old." From that day forth, serpents gain the ability to shed their skin and be youthful once more. When Gilgamesh wakes up and realizes he had lost his prize, he weeps, for no human being can ever stave the coming of death. 

It's one of my favorite stories as it presents a very human desire and shows that even kings cannot hope to defeat the inevitable. It's also a great example for an adventure quest. 

II. AN UNKNOWN WORLD
Another element vital to having an adventure is to go someplace the adventurer(s) have yet to experience. 

An adventure involves travel outside the regular boundaries on an individual's ordinary existence. Campbell calls this Crossing the Threshold. 
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These "unknown" places offer up opportunities for adventurers to find hope, face fears, and learn about that which lies beyond. It's exciting and frightening at the same time, for one can only imagine the treasures and terrors that lie in wait. 

The Stargate sci-fi series is a great example of the implementation of unknown worlds. Here, an ancient machine that acts as a portal to other planets gives the show's heroes quick passage to places they can explore.

Though the portal literally means that a planet is just "a step away," the reality is that these worlds are hundreds of light-years from Earth. Being stranded off-world with a broken portal would be a serious problem. Not to mention that some portals may lead to inhospitable environments. 

This sacrifice of leaving the comforts of the known world is often rewarded by knowledge, and makes the risk of the adventure worthwhile. 

III. ADVERSITY
​There is no adventure without challenge. This is true in story as in life. Though we may not wish struggle on ourselves, it's the spice that makes life worthwhile. A story where the protagonist gets it their way every time without having to fight for it probably is not that interesting.  

Adventure is a test of one's physical and mental being. Success requires great will and perseverance. In The Hero with a Thousand Faces, this is known as The Road of Trials. 
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Indeed, there are many ways a hero may be challenged on their journey. These adversities may be from within, from society around them, or from the environment itself. 

Doubt is a strong adversity that grows from within. It's that moment the hero is at a crossroads and is unsure which way is best, or safest. There is no immediate danger, however, the challenge could spell success, or failure down the road. 

Adversity from society can manifest in many ways. It can be the uncompromising authority figure, or an unruly mob. It can be bandits etching out a living on the road, or fellow adventurers who desire the same goals as you (but, only one may attain them). 

This societal force is a favorite in epic stories. Like the Persian Immortals who challenged the 300 Spartans at Thermopylae, the outside threat that encroaches on the peace of the known world plays double duty as the "herald" to begin the adventure. 

Environmental adversity is the third great adversity. It is nature that opposes the power of humanity. Thanks to the technological advancements in our day and age, we may forget how fragile we can be. Apocalyptic stories cut into this illusion and plays on the possibilities that may unfold in a catastrophe. 

Such adversities can manifest as an animal, or monster. Rivers, Mountains, and other natural barriers also pose dangers and restrictions to an adventure. Forests may get our heroes lost, while deserts can exhaust them to the point of defeat. Distance itself is an adversity, especially when time is of the essence. 

Like it or not, you're not on an adventure, unless adversity is at your door. 

IV. COMPANIONS
Facing such adversity in an unknown world, one cannot possibly expect a hero to survive! They'll need some help. Cue the companions, or as Campbell likes to call them - Supernatural Aids!
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The protective figures that Campbell talks about are the Obi Wan Kenobis, Gandalfs, and Dumbledores of the world. These are wise sages who may train, provide advice, or guide the adventurer on the correct path. 

There are also the companions that join the hero based on their kinship, or chance encounter out in the unknown world. These come in all shapes and sizes, from the garish rogue Han Solo, to the smart and studious Hermione Granger. They provide specific skills that can be utilized given the right adversity. 

Companions can be a reminder of home, who following the adventurer and reminding them of what awaits them on their return, or what is at stake if they fail. They can also be doubtful about the adventure at hand, becoming an unpredictable ally like Boromir. Such characters offer a more human perspective to the arduous journey ahead. 

V. ITEMS
Last, but not least, we have items. Tools that adventurers bring to aid them where wit and physical prowess are not enough. Interestingly, Campbell doesn't highlight this in his book, only mentioning it in passing in quotes like below: 
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But, items are important to an overall adventure. Items define humanity. Unlike other creatures that evolve large claws, or quick reflexes, we are endowed with a big brain. A brain that allows us to imagine and create things that augment our abilities.

Bows, spears, swords, boats, carts. The plethora of technologies that we've created to get to where we are today is mind-boggling. And their value in overcoming the challenges of the world have been written and revered in the epic tales of old. 

We still know of many of these legendary items that empower not just humans, but gods as well. Thor's hammer, Mjolnir, and Arthur's Excalibur are two popular examples. Over time, their achievements made them symbols of status, leadership, and respect. 

I guess part of why items are so valued is that they live longer than we do. Spanning for centuries, even millennia, they exist as a reminder of what once was, holding onto the stories of adventure they once experienced. 

I hope you enjoyed this dive into the Anatomy of Adventure. Next time you're playing a game, watching a movie, or going out exploring - try to find these elements. I hope these ideas will offer a greater appreciation for stories you experience, or even help you craft stories of your own.

Until next time, godspeed on your travels.

​- Vince