"How he got started in comics: In 1983, when Fraction was 7 years old and growing up in Kansas City, Mo., he became fascinated by the U.S. invasion of Grenada and created his own newspaper to explain the event. "I've always been story-driven, telling stories with pictures and words," he said.
Education and first job: Fraction never graduated from college. He stopped half a semester short of an art degree at Kansas City Art Institute in Missouri in 1998 to take a job as a Web designer and managing editor of a magazine about Internet culture.
"My mother was not happy about that," he said.
But that gig led Fraction and his co-workers to split off and launch MK12, a boutique graphic design and production firm in Kansas City that created the opening credits for the James Bond film "Quantum of Solace."
Big break: While writing and directing live-action shoots at MK12, Fraction spent his spare time writing comics and pitching his books each year to publishers at Comic-Con. Two books sold: "The Last of the Independents," published in 2003 by AiT/Planet Lar, and "Casanova," published in 2006 by Image Comics.
Fraction traveled extensively on commercial shoots. Then his wife got pregnant. So Fraction did what any rational man in his position would do -- he quit his job at MK12 to pursue his dream of becoming a full-time comic book writer.
Say what? "It was terrifying," said Fraction, who now lives in Portland, Ore. "I was married. We had a house. We had a baby coming. And I just quit my job."
Marvel hired Fraction in June 2006, thanks largely to the success of his other two comics. "I got very lucky," he half-joked. "If it hadn't worked out, I would have had to move back in with my parents.
I can't even say there WAS anything about it that I liked. The art wasn't really to my liking. The story - though gritty like I like it - was actually pretty chaotic or just plain flat (and boring). There was too much weird sex and wank-off angles that really weren't necessary, especially since this was in no way a humorous tale (as some ecchi manga generally are).
I just... I don't even know why I picked this up in the first place. I know it had everything to do with that cover, which intrigued and lured me in. BIG mistake that I certainly won't be repeating again.
After finishing this - scrappy but enjoyable - crime yarn, I went back to the first issue of the series to make sure I hadn't dreamed how great it was. And I hadn't! Dense, exciting, funny and with a fantastic sense of place and pace - alive with Fraction's love of (and research into) 1950s TV. So this is a comic whose energy and interest has drained away over the course of its run, even as it's become easier to follow (and there are plenty of payoffs in Volume 3). More is promised, but I'm doubtful that more is needed.
'Satellite Sam Volume Three: Satellite Sam and the Limestone Caves of Fire' finishes up the series by collecting issues 11 to 15. Script is by Matt Fraction with art by Howard Chaykin.
It's a rough story from the early days of television. There is blackmail, corruption, racism, violence and broken dreams. It's also an R-Rated series for the previously mentioned violence and the nudity. It's the story of a son who wants to learn about his father no matter how sordid.
It's rough like a James Ellroy movie or L.A. Confidential. If the cover isn't warning enough, this one is not for the kids. I thought the story meandered a bit, but came in for a nice finish. The art by Chaykin isn't my favorite, but it fits the characters and the period they are in. The book includes an interview with the creators, alternate covers, and character bios that were included. The character bios (or at least one of them) might have been nice to have at the beginning of the book.
I received a review copy of this graphic novel from Diamond Book Distributors, Image Comics, and NetGalley in exchange for an honest review. Thank you for allowing me to review this graphic novel.
Whilst the setting of this comic is quite unique -- the early days of television -- the stories are somewhat familiar: secrets that threaten to get exposed and their (political) repercussions. It's a decent enough read, but sometimes it feels like they tried to cram too much themes into it. Still, they managed to keep all of their balls in the air and pulled off a satisfying finale.
Satellite Sam is set in the early days of television. Themes that run through the story include corruption, racism, depravity, the abuse of power, the secrets that destroy careers, and the violent acts that men and women will take to keep their secrets hidden. The setting is steeped in realism and infused with noir. There’s plenty of sex and violence but it is overlaid with a story of surprising depth and complexity. All of that is showcased in the third and final volume of this saga.
The story demands rereading just to keep the characters straight. I suspect that the nuance and subtlety will make the story even more engaging on a second or third read.
Howard Chaykin’s art is instantly recognisable. Its grittiness suits the noir sensibility perfectly. Rated R for really good, but you might want to hide it from the kids.
The book includes an interview with the creators, alternate covers, and character bios that were included. Overall, this is an excellent ending to a strong series.
Like any Chaykin led story, Fraction and Chaykin wrap up Satellite Sam in Grand style. Characters take their final turns front and center leaving most of them fundamentally changed. The characters that don't wrap up neatly exit on the nadir of broad changes in their lives. It all feels completed. Your satisfaction will rely on which characters you found most engaging and how they presented themselves in the era setting of the story.