When Brendan spoke of “building a narrative out of noncontiguous events,” it was as if he was talking about the tapestry of stories that my brothers and I have been weaving all our lives. Stories… they’ve been part of my creative identity from the beginning. Wanting to tell them was as natural as drawing. First it was with chalk and blackboard (my artistic genesis), and then it expanded to comic strips, “scrips,” and my early childhood writings (the Summer family’s life on a farm and the adventures of Gordon Antent, leader of shipwrecked souls). But whatever artesian well of infatuation might emerge and run its course, there was always a distinct narrative world that continued to evolve at the pace of my maturing regard for the human condition, and there was never any doubt about the fact that this was a story project that was meant to endure. As is typical with any creative momentum that has an origin in early life, it’s difficult to define how naive concepts gain an inertia that survive childhood play. And it was always a collaborative enterprise from the start, involving a sibling give-and-take of ideas that would find enough consensus to mold the stories and character profiles in a semi-permanent fashion, until the next burst of development. It all grew out of an activity that, for us, was a powerfully stimulative pastime—playing with little plastic men. Current hobbyists and collectors would refer to them as “playset figures.” The next generation would know them as “action figures.” But most families like ours wouldn’t expend limited resources for the elaborate playsets on the market, with their carefully planned and crafted groups of figures, buildings, props, and accessories (few would dispute that the Marx Toy Company was the high-water mark in the genre). We fit into the merchandising strata at a level called “dimestore toys,” cheap, simple bags of men (rarely women) with few if any accouterments. We envied the friends and cousins who had Marx
playsets (WWII Battleground, Blue and Gray, Fort Apache, Alamo, Ben-hur, and TV spin-offs like Davy Crockett, Gunsmoke, Wagon Train, and The Rifleman), but we could make do. We had imagination to spare and we had each other, but most of all, it really wasn’t about the toys. It was about the dramatic stories, and the heroic personalities, and the exotic homelands, and the interactivity of brotherly minds, and the continuity of our boyhood traditions, and ultimately… the fascinating nonlinearity of it all.