After more than a year, I decided to give the new Shaft another go. Whilst I enjoyed it more, I still can’t get past its faults and haven’t changed my opinion that it was a wasted opportunity…
SHAFT (2019, USA) **½
Action, Crime, Comedy
dist. New Line Cinema, Warner Bros. (USA), Netflix (UK); pr co. Davis Entertainment / Khalabo Ink Society / Netflix / New Line Cinema / Warner Bros.; d. Tim Story; w. Kenya Barris, Alex Barnow (based on the character created by Ernest Tidyman); exec pr. Kenya Barris, Richard Brener, Marc S. Fischer, Josh Mack, Ira Napoliello, Tim Story; pr. John Davis; assoc pr. Antoine Jenkins; ph. Larry Blanford (Colour. D-Cinema. Digital Intermediate (2K) (master format), Hawk Scope (anamorphic) (source format). 2.39:1); m. Christopher Lennertz; m sup. Trygge Toven, Dave Jordan; ed. Peter S. Elliot; pd. Wynn Thomas; ad. Jeremy Woolsey, Brittany Hites (additional photography); set d. Missy Parker; cos. Olivia Miles; m/up. Kimberly Jones, Shunika Terry; sd. Sean McCormack (Dolby Digital); sfx. Russell Tyrrell; vfx. Nicole Rowley; st. Steven Ritzi; rel. 14 June 2019 (USA), 28 June 2019 (UK – internet); cert: 15; r/t. 111m.
cast: Samuel L. Jackson (John Shaft), Jessie T. Usher (JJ Shaft), Richard Roundtree (John Shaft, Sr.), Regina Hall (Maya Babanikos), Alexandra Shipp (Sasha Arias), Matt Lauria (Major Gary Cutworth), Titus Welliver (Special Agent Vietti), Method Man (Freddy P.), Isaach De Bankolé (Pierro ‘Gordito’ Carrera), Avan Jogia (Karim Hassan), Luna Lauren Velez (Bennie Rodriguez), Robbie Jones (Sergeant Keith Williams), Aaron Dominguez (Staff Sergeant Eddie Dominguez), Ian Casselberry (Manuel Orozco), Almeera Jiwa (Anam), Amato D’Apolito (Farik Bahar), Leland L. Jones (Ron), Jalyn Hall (Harlem Kid), Sylvia Jefferies (Once Beautiful Woman), Whit Coleman (Butch Lesbian Girl), Chivonne Michelle (Baby), Tashiana Washington (Sugar), Philip Fornah (Jacked Dude), Laticia Lee (Cocktail Waitress (as Laticia Rolle)), Ryan King Scales (Male Secretary), Tywayne Wheatt (Portly Doorman), Kenny Barr (Cop (Thomas)), Mike Dunston (News Anchor), Jordan Preston Carter (5-8 Year Old JJ), Nyah Marie Johnson (5-8 Year Old Sasha), Joey Mekyten (5-8 Year Old Karim), Sawyer Schultz (Mike Mitchell), Esmeree Sterling (Cute Bartender), Jose Miguel Vasquez (FBI Employee), Gabriel ‘G-Rod’ Rodriguez (Goon), Keith Brooks (Drunk Disorderly Man), DominiQue MrsGiJane Williams (Beautiful Woman), Michael Shikany (Older Man in Mosque), Lucia Scarano (Lady in Line), Greta Quispe (Employee), Heather Seiffert (Hostess), Charles Green (Hallway Man), Dorothi Fox (Old Lady Neighbor), Adrienne C. Moore (Ms. Pepper), Shakur Sozahdah (Worshiper).
JJ, aka John Shaft Jr. (Usher), may be a cyber security expert with a degree from MIT, but to uncover the truth behind his best friend’s untimely death, he needs an education only his dad can provide. Absent throughout JJ’s youth, the legendary locked-and-loaded John Shaft (Jackson) agrees to help his progeny navigate Harlem’s heroin-infested underbelly. And while JJ’s own FBI analyst’s badge may clash with his dad’s trademark leather coat, there is no denying family. Besides, Shaft’s got an agenda of his own, and a score to settle that is both professional and personal. This belated fifth film in the Shaft series is a misguided attempt to blend comedy with violent action. Although the comedy only occasionally strays into being too broad, the whole tone – mixing what could have been a serious story about drug smuggling with the generational gap in father/son relationships – is just off. Jackson does what Jackson does and for the most part does it well. Usher struggles to find the right level of performance, whilst Roundtree almost saves the movie with a neat cameo in the finale. Ultimately, however, it is difficult to buy into what Story is selling. Whilst it may please the popcorn crowd in search of mindless entertainment with its flashy visuals and hip dialogue, it will almost universally disappoint fans of the original movies through its lazy story-telling and its looking down on the Shaft legacy. Most of the movie was shot in Atlanta, doubling for New York.
Four years ago it was announced that New Line had secured the rights from Warner Brothers to make a new Shaft movie. For fans of Ernest Tidyman’s hero and the original 1970s movies this was a welcome surprise. The key question was how would New Line treat the property? Gradually news filtered out that the movie would be a sequel to the Samuel L Jackson 2000 version, itself a sequel to Richard Roundtree’s three 1970s originals. The movie would feature a third generation John Shaft and would concentrate on the relationship between him and his father. It would also have a comedic tone. That’s when my heart, and no doubt those of many other fans of the original, sank. What we got when the film was finally released in June 2019, nearly a full year after completion, was exactly what had been promised. I sat watching the film with an increasingly sinking feeling that the producers had totally messed things up. Jackson’s character has been turned into a caricature of his 2000 version, whilst Roundtree is trotted out for the finale and is given too little screen time, given he gives easily the most considered performance. My wife lasted half-an-hour, my son an hour, I had to see it through of course.
It seems odd that we are to accept in the post-millennial, ultra PC world we currently live in that it is impossible to make a serious crime thriller with a black hero. Why? 1971s Shaft was a hard-hitting crime thriller with a solid plot and a charismatic lead, which also had aspects of social commentary. It resonated with a generation of black Americans and a wider worldwide audience. It was groundbreaking in opening up Hollywood to black filmmakers and actors and as such has massive cultural significance. Yes, the glut of Blaxploitation movies that followed in its wake quickly veered into the territory of the absurd, but there were the occasional gems and, more importantly, it helped give black artists a stronger voice in popular culture.
Ernest Tidyman, Shaft’s creator, was ironically a white man. His goal, on commission from Macmillan’s mystery editor Alan Rinzler, was to create a black hero to give readers of crime fiction something different to the glut of white detectives and Agatha Christie-styled comfy mysteries. Tidyman duly obliged with a private eye in the mould of Mickey Spillane’s Mike Hammer and Raymond Chandler’s Philip Marlowe brought up to date and thrown into a decaying New York City with all its financial and social problems and its escalating crime rate. The result was the novel Shaft (1970), a hard-hitting fast read of a thriller that integrates the social issues of life in Harlem into a straight-forward detective story of threatened gang warfare between the Mafia and the Harlem crime lord. Tidyman was a former journalist with the New York Times who had an in-depth knowledge of both the city and its issues.
As written by Tidyman, the character of John Shaft was a product of poverty in the black community. Orphaned at two-years-old, passed around from foster home to foster home, he ran with the street gangs before being enlisted to fight in Vietnam rather than go to jail. A wounded war hero, hardened by his experience he made his own way in the white man’s world. Setting up his own detective agency and operating from Times Square – not the glitzy location of today, but the sleazy run-down place it had become in the 1970s. He lived in a Greenwich Village Apartment, amongst arty types. He had no time for the black militants, led by his former friend Ben Buford, and admonished Knocks Persons, the Godfather of Harlem for soaking the streets with drugs, prostitutes and for preying on the poverty of the population via the numbers racket. Shaft was a loner, out for himself. A man of few close friends. He had been shaped by his upbringing and his experiences into looking after number 1.
Tidyman cleverly weaved all these strands through that first novel and the result was a sensation that was quickly picked up by the big studios. MGM finally acquired the rights and hired Gordon Parks, a photographer and filmmaker with an affinity and feel for Harlem. Parks put his own stamp on the character in the film adaptation taking Tidyman’s template and fashioning a charismatic performance from newcomer Richard Roundtree. Isaac Hayes’ funky score captured both the character of Shaft and the feel of the streets and provided the icing on the cake. The opening sequence is one of the best in motion picture history at establishing a character in three or four minutes.
Like Tidyman’s novels, the film series became gradually more formulaic as bigger budgets put more emphasis on action and less on character, but they remained thoroughly enjoyable. The failure of Shaft in Africa at the box office signalled a move of the franchise to TV for a short-lived series of 7 TV movies. In 1975, Tidyman killed off the character in his seventh novel The Last Shaft (“He was tired and so was I”) and the world moved on.
Twenty-five years later, Paramount and John Singleton attempted to relaunch the franchise. They cast Samuel L Jackson as Shaft’s nephew (later to be determined as his son) – also named John Shaft – and put him in a serviceable crime thriller, which lost the hipness and resonance of those 1970s movies, whilst providing an opportunity for Jackson to showcase his considerable charisma. The movie did well at the box office, but no-one was really happy with it.
Nearly a generation later the world is a different place – even from that seen at the turn of the century, but there are worrying elements of an increasing backlash against attitudes of social tolerance: the election of Trump; Brexit in the UK; the increasing narrow-mindedness toward the migrant situation whether it be between the Middle East and Europe or on the US/Mexican border. Issues that could be addressed rather than ignored.
The laudable focus on diversity and sexual equality has rendered some of the wider attitudes seen in 1970s society as objectionable. Questions are being asked about the popular cultural icons of the time. The sexism perceived in characters such as James Bond and John Shaft is now no longer acceptable. Today’s heroes are driven to be whiter than white or they cannot be held up as role models for society.
This thinking is embodied in the character of JJ (John Shaft III) in Tim Story’s new version of Shaft. The scriptwriters (Kenya Barris and Alex Barnow) decided they would pitch post-Millennial attitudes against those of the pre-Millennial through JJs relationship with his father. But instead of taking a serious approach and making a forceful statement, they go for a comedy of manners. In so doing they both undermine their message and end up creating caricatures for comic effect rather than characters of depth.
And none of this has anything to do with Ernest Tidyman’s original creation.
Tidyman was not going all out to make social and political points in his writing. The issues of the day were presented as a backdrop to the story. Tidyman was creating escapist entertainment and thrills from a plausible detective hero – a character single-mindedly establishing a life for himself despite the things that have conspired against him. That is the essence of the character of John Shaft. Yes, he has his flaws – his disposable attitude to women, a sense of homophobia – but his heroic qualities of loyalty and resilience and his determination to do things his own way sent a message which resonated with the black population. Ernest Tidyman was recognised for his work on Shaft by the National Association for the Advancement of Colored People (NAACP). In 2000, the original 1971 movie was preserved in the United States National Film Registry by the Library of Congress for being “culturally, historically, or aesthetically significant”.
The question posed by the failure of the new movie is: Does John Shaft carry any relevance in today’s world? The box office numbers for Tim Story’s movie would suggest not. But, is that because the movie is a total misfire that adds nothing to the Shaft legacy and indeed mocks its perceived outdated attitudes? Could a viable Shaft production still be made today? I believe the answer to this question is a definitive YES. As long as the subject is taken seriously and abandons the dilution through generational baton-handing.
In my mind there are two potential ways to go with the franchise:
1. Go back to the beginning and set it in the period. In 2014 David F Walker persuaded Dynamite Entertainment to obtain the literary rights to the character for a series of comic books and new prose novels. The result was Shaft: A Complicated Man. Set in 1969 this comic book is an “origins” story that explores how Shaft became a private detective having returned from Vietnam. It is effectively a prequel to Tidyman’s novel. It is a character study that deftly uses the 1969 New York setting and explores Shaft’s inner turmoil against the backdrop of him seeking revenge for the death of his girlfriend at the hands of organised crime. As a character study, a crime thriller and a representation of a period in history it works on multiple levels and has an emotional impact.
2. A reboot for the modern day. Bring the character up to date and set him against a backdrop of the social issues of today, whilst retaining his key core characteristics set down in Tidyman’s template. Craft a story that is exciting and challenging and allows these characteristics to be drawn out. Shaft should remain uncompromising, tough, resilient, single-minded. Some of the excesses of his character could be softened, but not removed altogether. Shaft is a flawed character – as are we all as individuals. These flaws are what make him feel human. The essence of that character should be retained.
I fear after the poor returns for Tim Story’s movie that the franchise is now dead on the big screen. However, there may still be opportunities to explore either of the two options I have outlined above on the small screen. If so, TV will likely be the best medium as it allows space for exposition of plot and exploration of social issues whilst giving the characters room to breathe and grow. A Shaft TV series today would be very different to the watered-down version of 1973/4. Warner Brothers need to stay true to a property in which I believe there is still mileage and not farm it out to hacks who have no feel for it. I am hoping there are sympathetic filmmakers out there who can put John Shaft back on the map and make him as relevant today as he was back in 1971.
SHAFT (USA, 2019) *½ Distributor: New Line Cinema / Warner Bros. (USA), Netflix (UK); Production Company: Davis Entertainment / Khalabo Ink Society / Netflix / New Line Cinema / Warner Bros.; Release Date: 14 June 2019 (USA), 28 June 2019 (UK); Filming Dates: December 2017 – February 2018; Running Time: 111m; Colour: Colour; Sound Mix: Dolby Digital; Film Format: D-Cinema; Film Process: Digital Intermediate (2K) (master format), Hawk Scope (anamorphic) (source format); Aspect Ratio: 2.39:1; BBFC Cert: 15. Director: Tim Story; Writer: Kenya Barris, Alex Barnow (based on the character created by Ernest Tidyman); Executive Producer: Kenya Barris, Richard Brener, Marc S. Fischer, Josh Mack, Ira Napoliello, Tim Story; Producer: John Davis; Director of Photography: Larry Blanford; Music Composer: Christopher Lennertz; Music Supervisor: Trygge Toven; Film Editor: Peter S. Elliot; Casting Director: Tara Feldstein; Art Director: Jeremy Woolsey, Brittany Hites; Set Decorator: Missy Parker; Costumes: Olivia Miles; Make-up: Kimberly Jones; Sound: Sean McCormack; Special Effects: Russell Tyrrell; Visual Effects: Nicole Rowley. Cast: Samuel L. Jackson (John Shaft), Jessie T. Usher (JJ Shaft), Richard Roundtree (John Shaft, Sr), Regina Hall (Maya Babanikos), Alexandra Shipp (Sasha Arias), Matt Lauria (Major Gary Cutworth), Titus Welliver (Special Agent Vietti), Method Man (Freddy P), Isaach De Bankolé (Pierro ‘Gordito’ Carrera), Avan Jogia (Karim Hassan), Luna Lauren Velez (Bennie Rodriguez), Robbie Jones (Sergeant Keith Williams), Aaron Dominguez (Staff Sergeant Eddie Dominguez), Ian Casselberry (Manuel Orozco), Almeera Jiwa (Anam), Amato D’Apolito (Farik Bahar), Leland L. Jones (Ron), Jalyn Hall (Harlem Kid), Sylvia Jefferies (Once Beautiful Woman), Whit Coleman (Butch Lesbian Girl), Chivonne Michelle (Baby), Tashiana Washington (Sugar), Philip Fornah (Jacked Dude), Laticia Rolle (Cocktail Waitress), Ryan King Scales (Male Secretary), Tywayne Wheatt (Portly Doorman), Kenny Barr (Cop), Mike Dunston (News Anchor), Jordan Preston Carter (5-8 Year Old JJ), Nyah Marie Johnson (5-8 Year Old Sasha), Joey Mekyten (5-8 Year Old Karim), Sawyer Schultz (Mike Mitchell), Esmeree Sterling (Cute Bartender), Jose Miguel Vasquez (FBI Employee), Gabriel ‘G-Rod’ Rodriguez (Goon), Keith Brooks (Drunk Disorderly Man), DominiQue MrsGiJane Williams (Beautiful Woman), Michael Shikany (Older Man in Mosque), Lucia Scarano (Lady in Line), Greta Quispe (Employee), Heather Seiffert (Hostess), Charles Green (Hallway Man), Dorothi Fox (Old Lady Neighbor), Shakur Sozahdah (Worshiper). Synopsis: John Shaft Jr., a cybersecurity expert with a degree from MIT, enlists his family’s help to uncover the truth behind his best friend’s untimely death. Comment: Misguided continuation of the Shaft legacy is one misstep after another. Firstly Story re-tools the franchise as an action comedy that attempts to wring laughs from the generation gap separating Jackson’s John Shaft II from his son JJ, played far too broadly by Usher. Jackson’s Shaft also suffers by being made into a caricature of the character he portrayed in the 2000 series continuation. Jackson does what he tends to do best but even he gives a one-note performance that lacks nuance. The plot thread that brings the two Shafts together is given scant focus by an incredibly lazy script by Barris and Barnow. The plot is frequently abandoned to demonstrate time after time the un-PC Jackson vs the PC Usher through a series of increasingly tiresome jokes and one-liners. Roundtree, as the original John Shaft, appears late in the proceedings and delivers the best performance with a dry understated delivery that has more class than is seen in his character namesakes. Lennertz’s score is insipid, lacking the grooves of Isaac Hayes’ 1971 music, and fails to add anything to the franchise whilst it is constantly interspersed with rap numbers that only serve to give you a headache. Even the use of Hayes’ theme is mishandled removing all elements of cool. To say I was disappointed in this destruction of Ernest Tidyman’s legacy is an understatement. My advice to Shaft fans is to stick to the originals, or better still the books. If there is any future for the franchise on screen it would be better served making reference to David F Walker’s recent comic books series prequel and rebooting the series set in period as a serious crime thriller. Notes: Most of the movie was shot in Atlanta, doubling for New York.
Today sees the release of Tim Story’s version of Shaft. The director noted for his Ride Along films has controversially adopted a similar action-comedy-buddy movie tone which is completely out of kilter with Ernest Tidyman’s creation. Reviews of the movie have been mixed and the aggregator sites suggest an average rating of around 5 out of 10. I will have to wait until 28 June, when Netflix distributes the movie on its streaming service in the UK before I am able to make my own judgement.
In the meantime, I continue to feel this has been a wasted opportunity to re-introduce the character to cinema audiences and to formally introduce Shaft to a new generation. I have suggested before that David F. Walker’s comic book prequel Shaft: A Complicated Man would have made for a perfect adaptation. David really got under the skin of Tidyman’s creation in that book and it would have been a great starting point for the movie franchise relaunch. If the producers had chosen to go back to the start, set the movie in period – with all its social attitudes highlighted in a serious manner and Shaft’s character traits properly explained – this could have been a successful and authentic adaptation.
Well, here it is at last – the trailer to Tim Story’s 2019 take on Shaft. When New Line announced the movie back in July 2015 it was promoted as an action comedy sending fans, including myself, running for the hills. As a Shaft purist – I mean the Shaft of the novels… Ernest Tidyman’s Shaft – I didn’t want to see John Shaft given the Black Dynamite approach, otherwise why not call it Black Dynamite? Whilst the trailer doesn’t suggest the movie has descended the series into camp, it does confirm that the main selling point will be the comedy rather than the plot. Sometimes trailers can be misleading, selling a film the producers believe people want to see rather than the one that has been made. I fear that will not be the case here, so any lingering hopes I had of this being a serious attempt to relaunch the franchise with any semblance of authenticity have all but vanished. That doesn’t mean to say Shaft won’t be a fun movie, I did laugh a couple of times during the trailer – the contrast between the politically incorrect first two Shaft generations (Roundtree and Jackson) and the latest (Usher) also has some interesting possibilities, more than hinted at here. It just doesn’t look and feel like my Shaft… Ernest Tidyman’s Shaft.
ComicBook.com reports New Line has released the official synopsis for their Shaft sequel to be released next summer. The synopsis reads as follows:
“Shaft is the next chapter in the film franchise featuring the coolest private eye on any New York City block. JJ, aka John Shaft Jr. (Usher), may be a cyber security expert with a degree from MIT, but to uncover the truth behind his best friend’s untimely death, he needs an education only his dad can provide. Absent throughout JJ’s youth, the legendary locked-and-loaded John Shaft (Jackson) agrees to help his progeny navigate Harlem’s heroin-infested underbelly. And while JJ’s own FBI analyst’s badge may clash with his dad’s trademark leather coat, there’s no denying family. Besides, Shaft’s got an agenda of his own, and a score to settle that’s professional and personal.”
The film is a follow-up to 2000’s Shaft and again stars Samuel L Jackson as John Shaft, nephew of Richard Roundtree’s original John Shaft. Roundtree reprises his role and they are joined by Jessie T. Usher playing Jackson’s son. Tim Story directs the screenplay by Kenya Barris and Alex Barnow.
Although filming wrapped on Tim Story’s Shaft sequel in February, the cast have been assembled for some re-shoots in Atlanta. Casting agencies are on the lookout for extras who are former or current police or military. The call has also been made for an African American/Black Female with Gray Hair and extras of all ethnic backgrounds for a 1990s flashback scene. Filming will take place this weekend.
Christopher Lennertz is named by IMdB and Film Music Reporter as the man tasked with writing the score to the latest Shaftmovie, due out in the summer of 2019. Lennertz has worked on a host of films and TV series since 1994, including the recent Lost in Space TV reboot. He previously worked with director Tim Story on 2014’s action comedy, Ride Along and its 2016 sequel. He also scored Pitch Perfect 3 and the recent remake of Baywatch. He won an Emmy in 2006 for his score for Supernatural. He has also scored several video games including the James Bond release From Russia With Love, for which he received good reviews for the way he recalled John Barry’s style. An adaptable composer, it will be interesting to see if he can add a distinctive feel to his score for Shaft.
Well, here we are again. Another year on and it seems to have gone so quickly. At this time last year I gave a summary of activity in the world of John Shaft. It came at the end of an exciting two years, which saw the publication of two original comic books as well as a new novel, all written by David F Walker, relaunching Ernest Tidyman’s detective in literary form.
Walker had done a superb job at introducing the character to a new audience. His work proved to be a real treat for fans of the original books and films. Despite critical acclaim, these books did not sell in sufficient quantities to satisfy publishers Dynamite Entertainment and a planned reprint of Tidyman’s original novels stalled after the first release. The Italian reprints through SUR, however, did at least continue with the publication of the second book, Shaft Among the Jews, in January (retitled Shaft Tragli Ebrei).
Also in January, further news on the proposed new Shaft movie emerged when Tim Story was announced as director. The fact that Story has a string of comedic action tales to his credit added further fuel to the fire that the producers were moving away from the original concept.
In February, Walker’s Shaft: Imitation of Life comic book was nominated for the 2017 Dwayne McDuffie Award for Diversity. Whilst the book failed to win the award, it was further acknowledgement of Walker’s achievements. The writer would go on to produce high profile work away from Dynamite with a new Luke Cage series for Marvel along with Power Man and Iron Fist and Occupy Avengers and a comic series book series of Planet of the Apes for Boom.
All went quiet in the Shaft world until August, when in an interview Story confirmed, “My Shaft movie is going to be definitely not straight action. We’re going action-comedy or comedy-action, I’m not exactly sure which one comes first. We’re going to definitely make sure the stakes in the world are real, and then you’ve got these characters who are dealing with kind of a father/son situation, we’re going to see them put a family back together.”
Pre-production was mobilised and casting commenced with Jessie T Usher confirmed as the son of Samuel L Jackson’s John Shaft, who in turn is the nephew of Richard Roundtree’s original. The film, provisionally titled Son of Shaft, is therefore a sequel to John Singleton’s 2000 Shaft, which starred Jackson and was a belated sequel to the original Shaft trilogy from the early 1970s. What modern audiences will make of these nods to the character’s cinematic legacy remains to be seen, but it feels like this is Shaft in name only. Usher’s character is described as being at odds with the old-school methods of detection employed by his father – being a more tech-savvy sleuth working for the FBI. With the tone set for an action-comedy, the result is likely to be far-removed from Tidyman’s gritty novels and Gordon Parks’ iconic 1971 interpretation.
Alexandra Shipp and Regina Hall, the latter as Shaft Jr’s mother, were also added to the cast and shooting commenced in Atlanta in December with a scheduled move to New York planned in early 2018. A June 2019 release date has also been slated and a distribution deal has been agreed by New Line with internet movie provider, Netflix.
So, with 18 months to wait before we get to see any new Shaft on screen, what else is happening? Well the answer is not much. Whilst the original Shaft was finally released on Blu-ray in the UK in October, we still await BD releases of Shaft’s Big Score! and Shaft in Africa anywhere in the world. My guess is these will be released in 2019 to coincide with the new movie. Whether, Dynamite will follow suit by reprinting the remainder of Tidyman’s novels remains to be seen.
I remain hopeful hype around the movie will bring the Shaft legacy into the public eye once more – despite my reservations about its tone and subject matter. Dynamite still owns the literary rights, so maybe interest will be rekindled in commissioning more original literary work whether in comic book form or prose, hopefully with Walker on board.