Author: Martha Thomases

Living on EZ Street

colorpage-10-3-7188095Wednesdays at ComicMix will mean EZ Street, the new graphic story from writer Robert Tinnell and artist (and co-writer_ Mark Wheatley. It’s the story of brothers Scott and Todd Fletcher. They have a dream – they want to tell stories. Fabulous stories about heroes and adventure. They decide to create a comic book because, as young boys growing up on Ezelle Street in Pittsburgh, it’s what they can do. Scott, 14, writes the script and Todd, 12, draws the pictures about an amazing superhero, Lone Justice.

Fast-forward twenty odd years, and the brothers, older and more practical, have jobs. Todd is a graphic designer, and Scott tries to make movies in Hollywood. They want more from their lives. They resurrect their character and find that, by combining the imagination of youth with the skills earned by maturity, they can create magic.

A story about the love of stories, about ambition and dreams and fantasy, EZ Street is an involving look at the creative process, the dynamic of families, the true meaning of friendship and the quest for a really good comic.

Mark Wheatley is an award-winning creator of radically different comic books. Noted for comics with heart and integrity, he’s won the Inkpot, Mucker, Gem and Speakeasy awards and his projects have been nominated for the Harvey award and the Ignatz award. His work has been repeatedly included in the annual Spectrum selection of fantastic art and has appeared in private gallery shows. You can also find some of his original work in the permanent collection of Library of Congress.

His comic book creations include Mars, Breathtaker, Black Hood, Prince Nightmare, Hammer of the Gods, Blood of the Innocent, Radical Dreamer, Frankenstein Mobster, Miles the Monster and Titanic Tales. He’s also worked with established characters such as Tarzan the Warrior, The Adventures of Baron Munchausen, Argus, The Spider, and Jonny Quest; Dr. Strange for Marvel, and The Flash for DC.

Mark established the highly respected Insight Studios in 1978 as a home base for a team of talented comic creators. Insight Studios is the subject of an "insightful" coffee table style art book; IS ART: the Art of Insight Studios. In 2006 Mark was a guest lecturer on Storytelling in the Arts at the Library of Congress.

West Virginia-born Robert Tinnell has worked in the film industry for twenty years as a writer, producer, and director. Starting as a production assistant for legendary filmmaker George Romero, Tinnell used his on-set experience to gain valuable insight into the world of feature filmmaking. Starting at the age of twenty-three, he produced several independent films including South of Reno and the iconic Surf Nazis Must Die. In 1995, Tinnell traveled to Canada where he wrote and directed the ACE-nominated film Kids of the Round Table. A Disney Channel-favorite, Kids led Robert on a six-year-run with Melenny Productions. Over this period Tinnell directed Frankenstein and Me with Burt Reynolds and Louise Fletcher, Airspeed with Joe Mantegna, and Believe starring Ben Gazzara and Elisha Cuthbert)for Lions Gate.

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Stitching Daleks

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Do you want to show the world how much Doctor Who has inspired you? Do you need reminders of your favorite show on your mantelpiece? 

This is your lucky day.  The fine folks at Entropy House have a knitting pattern for Daleks.  If you follow their instructions, you’ll be the proud owner of one of these things, pictured at right.

These are made with wool and wool blend yarn.  Personally, I think they’d be especially wonderful in cashmere.

(Martha Thomases is ComicMix‘s Special Knitting Correspondent)

Graphics Noir: GrimJack Returns

gj-06-proof-8433220John Gaunt is GrimJack, a hard-bitten mercenary and private detective in Cynosure, a city at the nexus of dimensions. Raised in the Pits to fight for the amusement of the public, Gaunt lives by his finely honed wits. He can and does fight demons, sharpshooters, magicians and gangsters.

Since its first appearance as a back-up in Starslayer in 1983, GrimJack has been a fan favorite. The stories blend genres – the hard-boiled detective stories of Raymond Chandler and Dashiell Hammet get combined with the sword and sorcery of Robert E, Howard. GrimJack can and has done science fiction, horror, fantasy, and even westerns, with a streak of dark humor and strong, strange characters running all the way through.

In his newest adventure, exclusively on ComixMix.com every Tuesday starting October 2nd, Gaunt goes in search of The Manx Cat, a statuette made of fossilized dreams. Why do so many want to possess it? What happens when it “goes walkabout”? Why is Gaunt seemingly immune to it and how did he become that way? What price did he pay?

The saga of the Manx Cat has been part of the GrimJack legend since the very first story. Here, at last, Ostrander and Truman reveal the legend’s roots – as John Gaunt must attempt to declaw the Cat once and for all!

John Ostrander wrote some of the most important and influential comics of the past 25 years. After studying theology and training under Del Close at Chicago’s legendary Second City, he used this knowledge of story and character to bring a unique voice to the marketplace. Ostrander started his career as a professional writer as a playwright. He co-wrote his best known effort, Bloody Bess, with actor William J. Norris. The production, directed by the noted Stuart Gordon, starred Dennis Franz and Joe Mantegna. Bloody Bess has toured all over North America and Europe, and is frequently revived.

From Warp, his first published comics work in 1983, based on the series of science fiction adventure plays, he went on to create GrimJack with Timothy Truman. He’s since written Batman, The Spectre, Manhunter, Firestorm, Hawkman, Martian Manhunter, Suicide Squad, Justice League and more for DC Comics. At Marvel Comics, Ostrander has also worked on X-Men, Bishop, Quicksilver, Heroes for Hire and The Punisher. From the mid-1980s until her death from breast cancer in 1997, Ostrander frequently co-wrote with his wife Kim Yale. It was while working with her that he made what is probably his most lasting contribution to the DC Universe: the recasting of Barbara Gordon, the former Batgirl, into the information and computer specialist Oracle.

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MARTHA THOMASES: Everyday I Write the Book

roshhash3-5602188These are the Days of Awe.  While that sounds like a World Wrestling event, it is, in fact, the ten-day period between Rosh Hashonah (New Year) and Yom Kippur (the Day of Atonement).  It’s a time to consider the previous twelve months, make amends, and resolve to do better in the year ahead.

It’s a good thing that it lasts ten days.  In my case, not only do I have the usual apologies to make, but I need a little extra time to get over myself.  This has been a good year.  I have a job I love with people who are really fun, and we’re going to bring happiness to billions.  I must be fabulous!

The Jewish God, whatever else S/He may be, is one heck of a storyteller.  There is the part in the service where one prays to be inscribed for another year in the book of life. We all want to be characters in that book. 

And that’s why I must resist the temptation to consider myself too fabulous.  It’s not dramatically interesting to have a character achieve success and/or happiness in the middle of the story, then coast along to the end.  If there is a Book of Life, I want to be around to find out what happens next.

Writers like to play God, and we like to think we’re clever about the way we move our characters around, putting them in and out of jeopardy.  Comic book, science fiction and fantasy writers can be feel this way especially, as we can not only put our characters through the dramas and adventures humans experience, but we can also put them into space colonies, make them invulnerable to bullets, and magical wonderlands. 

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Secret newsletter gets you cheap original art

If you’ve always wanted to buy original comic art, but can’t get to a convention or don’t trust EBay, here’s your chance.  Howard Cruse is starting a newletter with information on how to buy his work, including original pages from the Eisner-winning Stuck Rubber Baby.  Just go here and sign up.

If you’re one of the first, Howard will send you a signed certificate that heralds your good taste.

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MARTHA THOMASES: Anticipation

3519005904-2712620Tomorrow is the Big Day. After months of blogging, after weeks of teasing on the podcasts, we’re going to announce what’s next here at ComicMix at the Baltimore Comic-Con. If you aren’t able to be in Baltimore with us, I’m sure Editor-in-Chief Mike Gold will make sure you know as soon as everybody else. He’s good about sharing that way.

As I write this, the Big Day is not tomorrow. It’s the day after the day after the day after tomorrow. This makes me very happy. I have nearly 90 hours to look forward to our panel.

Anything can happen.

When I was a child, I was a huge fan of The Mickey Mouse Club – the real one, with Darla, Annette, Karen and Cubby, not the fake one with Justin, Britney and Christina. Every day of the week was something special. Monday was Fun with Music; Tuesday was Guest Star Day; Thursday was Circus Day and Friday was Talent Round Up. The best was Wednesday because that was Anything Can Happen Day. That’s because, well, anything could happen.

Often, I like the anticipation as much as or more than I like the event I was anticipating. For example, I spend most of March waiting for the warmth of summer, and then I hate summer in the city. Spring is really the best, with the buds on the trees promising flowers and shade.

I’ve been happily with the same man for nearly 30 years, but sometimes I miss courting, when we didn’t yet know how the other would taste or smell or speak.

Comics? When I was the kid watching Mouseketeers, I couldn’t wait until Sunday, when I got to pick out my weekly comic book. Then, when it was Sunday, I would pick up each one, examining the covers, looking for clues (like a giant gorilla) that would tip me off that this was the best story ever.

Trust me, this is not one of those times when the anticipation is the best part. This is better.

You don’t believe me. You think I’m a publicist, and therefore I’ll say anything to get your attention. I once worked for a man who described a the job like this: a pessimist says, “The glass is half empty;” an optimist says, “The glass is half full.” A publicist says, “Oh my god! It’s a flood!” A funny story, but it’s not the way I see my job. I’ll tell you the story about where the glass came from, what happened to the water, and which of you might someday be thirsty.

So go about your Saturday, and enjoy yourself. If you find yourself in Baltimore, come by the ComicMix booth and say “Hi.” You can talk to some of the talented writers, artists, and crew, maybe get some clues about tomorrow’s big story. If you bring your own yarn and needles, I’ll show you how to knit.

If you aren’t in Baltimore, enjoy the summer weekend. And if you find yourself in traffic, or there’s a seventh-inning stretch, you can think about tomorrow and smile.

It’s worth it.

Martha Thomases is ComicMix‘s empiress of all things media, a.k.a. Martha the Merciless.

MARTHA THOMASES: We Shall Not Be Moved

martha-thomases-100-5534225Unlike almost everyone else in Manhattan, my family doesn’t usually go away for Labor Day Weekend. Ten years ago, we went to Cape May for the week, but it was so much effort to drive home through the Lincoln Tunnel that any benefit derived from relaxing on the beach, playing ski-ball or bird-watching was burned up thoroughly on the drive back.

Now, we find it more relaxing to sit on our terrace and listen to the tide of traffic on Varick Street, backed up from the tunnel as people rush to their respite.

New York City, on these holiday weekends, is like the Bottle City of Kandor. The city seems built up tall and sparse, with an overcast of humidity and exhaust. Most of the people on the streets are tourists, who walk in the careful cadence of out-of-towners that infuriates those of us who live here all the time and have to get down the street right now because we’re very important people with very important business to take care of so stop gawking and get out of my way!

Ahem. Excuse me. Kandor probably doesn’t have this particular problem with tourists.

New York City in the summer is, as David Letterman once said, the city that makes its own gravy. It’s hot, and it’s humid, and the streets are lined by skyscrapers whose air-conditioning blasts hot air onto the sidewalks. The garbage on the sidewalk cooks in the heat. Different neighborhoods seem to have their own weather conditions: a wind always blowing through the canyon that is the Avenue of the Americas; Broadway in the Twenties is a Delhi street, with bargains and music blasting from the stores.

Central Park is an oasis within the oasis, making New York feel like a chocolate covered cherry of a city, with sticky green replacing the cherry. I imagine that Kandor feels like that, too, with the air recyled in the bottle for decades.

We have no Wal-Marts here. That’s another thing that makes New York feel like it’s separate from the rest of the country. The retail Goliath tried to open stores in the outer boroughs, but New York is a union town, and we weren’t having any of it. We know that “everyday low prices” aren’t free, but come at the cost of low wages, child labor and no health insurance. We’d rather pay a little more and have neighbors who can afford their rent. Also, have you ever been to Loehman’s, or Century 21? That’s a New Yorker’s idea of a bargain.

Unions are important to New York. We depend on them, and the people who belong to them. Teachers, fire fighters, police, sanitation – the city would stop without them. You would think that Labor Day in New York would be a glorious city holiday, with politicians courting endorsements, and dancing in the street.

It’s not like that. Labor Day means the end of summer, and the start of the fall season. The newspapers on Sunday are really thin, and the stories, written far in advance, are dull previews of upcoming movies, television, and theater, not real news.

Union members are like most other New Yorkers. They’re taking a break, at the shore or in the mountains, or in their backyards, tending to the grill. They know that on Tuesday they’ll be back on the job, and, for the most part, they’d rather spend their free time with their families than with politicians.

There was a Tuesday in September six years ago, a beautiful day with none of summer’s humidity. The fall season had started, and most of the tourists were gone. The kids were back in school, and the streets bustled with business. When the World Trade Center was attacked, it was these uniform services – the fire fighters, the police, the emergency medical technicians – who ran in to save their fellow citizens. It was these heroes who died by the hundreds, more than ten percent of the total lost that day.

For nearly a year, they were celebrated, as they deserved to be. A fireman who runs into a burning building to rescue a stranger is the very definition of a hero. In the months that followed, other union members, even those not employed by the city, were on the ground, digging out the rubble and inhaling poison smoke. They were heroes, too. I remember seeing a group of people on the West Side Highway, every day, waving flags and signs and cheering every truck that went downtown.

It was a bittersweet time in our bottle city. We mourned, and we bled, and we helped each other with our recovery. For a week or so, some of us even slowed down.

And then, the politicians decided we needed a war, and the fire fighters and police heroes New Yorkers (and others) admired were replaced with soldiers. Soldiers sacrifice at least as much as fire fighters, but they also kill people. It’s part of the job. Fire fighters don’t.

In Kandor, I imagine, they’re more like New Yorkers. They revere their civil servants. I bet Labor Day there is fun.

Martha Thomases, ComicMix Media Goddess, is a member of the National Writers Union.

MARTHA THOMASES: Wild in the Streets

martha100-6322812Maybe it’s because this presidential campaign is lasting more than two years, but lately, I’ve heard a lot of people bemoan their feelings of helplessness.  The system is unchangeable, they’ve decided, and there’s nothing they can do.

When I was a teenager, during the late 1960s and early 1970s, we thought we could fix everything.  War, poverty, pollution, inequality – it didn’t matter what the problem was.  All we needed was ourselves, our energy and resolve (music and drugs were optional, but helpful).

Today, not so much.

I don’t know precisely how, but our cool rebellion and anti-materialist hedonism got co-opted by the very corporations we despised.  The very culture we created sold us out.  Maybe it was the 1970s, when the music business got huge, segmented radio and split us apart in order to sell to us more efficiently.  Punk started in protest to this, but was co-opted even more quickly.  MTV turned rock’n’roll into long-form commercials.  By the time grunge was hip, Calvin Klein already had Time Square billboards with underwear models looking strung-out in Seattle.

Movies didn’t do much better.  The rebellious, independent filmmakers who gave us Taxi Driver, M*A*S*H, Easy Rider and others were rejecting Hollywood’s glamour, glitz and phoniness.  Somehow, they and their rebellious stars were absorbed into the studio machine even more quickly that the rockers.  Maybe Jane Fonda wasn’t the deepest political thinker, but she looks like Noam Chomsky compared to Lindsay Lohan.

So, comics?  They fall somewhere in the middle, and off to the side, as they do in so many conversations about media.  Originally reprints of newspaper strips, comic books were seen as disposable, cheap fun, so anything could happen.  There’s amazing, subversive energy is Jack Cole’s Plastic Man, just to pick one example.  When comics became popular, the people in power objected, and put through the Comics Code to keep the kids in place.  Hippies re-discovered comics, and started to make their own.  From these underground comics came new distribution, then the direct market, and now, with the exception of a few political titles like World War 3, independents have replaced undergrounds.

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Grace Paley, gone

509grace_paley-3196619Via Maud Newton comes word that Grace Paley has died at the age of 84.  I met Grace a few times through the War Resisters League, working the table at rummage sales.  She was like the greatest possible combination of my idol and my grandmother,  Her short stories were an important part of my personal literary odyssey, and her poetry was so personal to me that I read some at the memorial service for Kim Yale.  You can get a collection of all her short stories.  Her non-fiction prose, often about her time spent on the picket line to end war, combat racism or sexism, or her trips to Viet Nam, can be embarrassing in their enthusiasm and honesty.  Once, years ago, she agreed to write a Superman story, which never came to be.  I thought it would be cool for Martha Kent to talk to other moms in Washington Square Park. 

For me, this passage from one of my favorite stories, says it all:

The kids!  The kids! Though terrible troubles  hang over them, such as the absolute end of the known world quickly by detonation or slowly through the easygoing destruction of natural resources, they are stilll, even now, optimistic, humourous, and brave.  In fact, they intend enormous changes at the last minute.

MARTHA THOMASES: Death Trip

martha100-4373992At the recent Wizard World convention in Chicago, Jim Starlin was part of the DC Nation panel. Starlin created the brilliant graphic novel, The Death of Captain Marvel, which was so well done that it made me cry like a little girl even though I wasn’t that familiar with the character. A running gag throughout the hour was that, in the upcoming Final Crisis, Starlin was going to let loose and kill a bunch more characters in the DC Universe.

It’s bugged me for a few years that, in comics and sometimes in other media, death is the gag. Death is the only meaningful drama. The recent hype about the last Harry Potter book was whether or not Harry would die, and who else might join him. This misses the point.

Now, I realize that I made a lot of my reputation in this industry from the 1992 Death of Superman (and not just my extraordinary good looks and keen wit). Isn’t that what started this whole death-cult in comics?

Yes and no. I used to joke that DC had to kill Superman every seven years, whether or not he needed it. What made the 1992 event different? Some might think sold so much because the release coincided with the collector craze, but I’ve always thought it was more than that, and started even earlier. I thought it started in the fall of 1990, when Clark and Lois got engaged. The media went crazy, with stories on television news and national newspapers like USA Today. A few months later, it happened again when Clark revealed his secret identity to his beloved.

People felt like they knew the Superman family. A lot of them expected an invitation to the wedding. When they found out Doomsday was going to kill Superman, they felt like they lost a friend.

Marvel was able to evoke similarly honest feelings when Captain America died. Again, they had done their homework with the general public, explaining the central political conflict in the Marvel Universe. In this case, the increasing discontent with the Iraqi war may have also contributed to the emotional response. It’s a perfect storm of entertainment and real life.

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