Author: Mike Gold

We Will Think For You, by Mike Gold

  • News
  • July 21, 2008

Here’s what I don’t like about politicians.

Well, actually, even Bill Gates doesn’t have the bandwidth to list all the things I don’t like about politicians – although I’m sure listing it all would generate some great comments. But here’s what’s at the top of my list.

Politicians who are partisan by definition feel completely comfortable speaking on behalf of the entire American public. Not just those of their political persuasion – which would be presumptuous – but everybody. Which is anti-democratic and pro-demagoguery.

Case in point: The Obama campaign felt compelled to issue a statement regarding cartoonist Barry Blitt’s cover to last week’s New Yorker magazine. The artwork speaks for itself, and is represented herewith. Entitled “The Politics of Fear,” the piece is supposed to be a satire of, well, the politics of fear as applied against the Obama campaign.

But the Obama campaign believes we’re too stupid to get it and feels compelled to pass moral judgment on behalf of us dolts. Their spokesman Bill Burton said “The New Yorker may think, as one of their staff explained to us, that their cover is a satirical lampoon of the caricature Sen. Obama’s right-wing critics have tried to create. But most readers will see it as tasteless and offensive. And we agree.” 


Never on to miss an opportunity to stick their right-wing noses in the air, McCain spokesman Tucker Bounds rose to the challenge with “We completely agree with the Obama campaign. It’s tasteless and offensive.”
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Comics’ Greatest Enigma, by Mike Gold

  • News
  • July 14, 2008

bbv11a-5671197If you’re interested in comics creators, it’s been a good couple months for biographies. First, we had Mark Evanier’s Kirby: King Of Comics (Abrams, $40.00); now we’ve got Blake Bell’s Strange and Stranger: The World of Steve Ditko(Fantagraphics, $39.99). We’ve covered Mark’s book extensively, and our very own Rick Marshall did a swell interview last March.

My column today is not really a review of Blake’s book; it’s a blather about comics’ greatest enigma. Blake is the ultimate Ditko historian, and his book (and website, Ditko Looked Up) reflects his passion. It’s well-written, well-researched, and wonderously designed by Adam Grano. If you’re into Ditko or comics history, it’s a must-have. Kudos to Blake; that’s my review.

Steve Ditko is another matter. I can’t say he’s been denied his rightful place in history – his is always the third name in the phrase “Marvel Comics as we know them was created by Jack Kirby, Stan Lee and Steve Ditko and together they brought comic books kicking and screaming to an adult audience.” If he gets short-shrift, it’s because Steve refuses all interview requests, convention appearances, and celebrity signings. He says he prefers to let his work speak for itself, and I’m sure that’s true. He’s also very shy and has no problem with one-on-one (or two-on-one) conversations in his studio, at the publishing houses, or in restaurants. That’s his prerogative.

On the other hand, he’s a public figure – even inadvertently. This makes him subject of many an article, long-winded editorial (like this), and Blake’s book. I’m told he’s not happy with the attention focused on him from Strange and Stranger; having known Ditko. I’m not surprised. Maybe a little disappointed, but again, that’s his prerogative.

I think from the commercial perspective Steve Ditko’s role in the success of Marvel Comics and its transcendence to the college-student market has been severely underrated. It was The Amazing Spider-Man that put Marvel on the map and in the college bookstores. It was Spider-Man that became the first comic book character to achieve icon status since Superman, Batman and arguably Wonder Woman. That’s the first in a generation. And, maybe, the last to date.

As the 1960s progressed Steve became more and more political, embracing the values of a form of Objectivism so fundamentalist that it even scared its founder, Ayn Rand, who asked Ditko to print a note saying his work reflected his values and not necessarily hers. Objectivism, for the Google-challenged, is the philosophy that holds “there is no greater moral goal than achieving happiness. But one cannot achieve happiness by wish or whim. Happiness requires that one live by objective principles, including moral integrity and respect for the rights of others. Politically, Objectivists advocate laissez-faire capitalism. Under capitalism, a strictly limited government protects each person’s rights to life, liberty, and property and forbids that anyone initiate force against anyone else.” (Excerpted from The Atlas Society).

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Muriel Kubert Passes Away

  • News
  • July 10, 2008

brb03415-4621879Muriel Kubert, co-founder and administrator of the Joe Kubert School of Cartoon Art for 32 years, died Tuesday from breast cancer.

A graduate of Rider College with a B.S. Degree in Business Administration, Muriel and her husband, comics legend Joe Kubert, started America’s preeminent school for cartoonists in 1976. The school’s many illustrious graduates include Steve Bissette, Tom Mandrake, Jan Duursema, John Totleben, Tom Yeates, and Timothy Truman… among many, many others.

Muriel and Joe had five children. Andy and Adam followed their father to the drawing board and became two of the most respected artists of the day. Lisa, Danny, and David round out the pack. In turn, their children gave them 11 grandchildren.

Muriel often modeled for Joe’s work, although this reporter cannot say the process was fully intentional. The resemblance between Mrs. Kubert and Shiera Hall from the early 1960s Hawkman revival is uncanny. 

Why Comic Book Sales Suck, by Mike Gold

comicrak-6153652Last week, ComicMix commenter Alan Coil and I got into a brief discussion about what constitutes decent comic book sales. It is certainly fair for Alan to compare sales against current trends; I like to compare sales against sales potential in the marketplace.

There’s a market for comic books. This is borne out by the fact that ComicMix, much like Wizard Magazine and other venues over the past decade or so, attracts a bigger audience than the vast majority of all comics published in the United States, as measured by the number of different people who actually read the stuff. Yet despite all the success of comic book product in other media – from Iron Man to Road To Perdition – there has been little if any increase in domestic comics sales. How could this be? Herein lies a history lesson.

Forget about the never-ending über-convoluted and oft-retconed continuity. I’ve bitched about all that before, and, happily, our commenters comment consistently thereupon. To look to the root of this particular evil, we must set our WaBac Machines way back to, oh, around 1948. That’s when the comics publishers started to piss in their own soup.

In 1948, comic book publishers were sailing in dire straits. Average sales were down, the number of titles were up, rack space was getting crowded, and super-heroes weren’t selling like they used to. Clearly, that trend was winding down. Magazines such as The Saturday Evening Post and Reader’s Digest were telling parents that comic books caused juvenile delinquency and promoted homosexuality. Neighborhood candy stores and newsstands started to disappear, as did local drug stores. Bolstered by the G.I. Bill, young adults with small children were leaving for the suburbs – a mysterious land with higher-rent open air shopping strips where drug store owners couldn’t make a buck off of selling high-maintenance items for 10 cents.

Creeping Werthamism aside, comics publishers were not alone in this situation. The diminishing presence of traditional newsstands grossly affected newspaper and magazine sales across the board. Papers raised their price from three or four cents to a nickel; a substantial increase, percentage-wise. Magazines raised their prices in a similar fashion; the dime novel, which by now was 15¢, was being replaced by the 25¢ paperback book.

So what did comics publishers do? Did they follow the other publishers in raising cover price? The other publishers weren’t fighting PTAs and major magazines and, eventually, senate subcommittee hearings as they were. They felt that increasing their price to 15¢ was a bad idea. So they cut content.

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Not Even Close To The News, by Mike Gold

  • News
  • June 30, 2008

I did a column a couple weeks ago about the wacky New York Post, spurring a comment from Vinnie Bartilucci about how the rag is merely a return to the glory days of yellow journalism. There’s a lot of truth to that, and I was reminded of statements by the brilliant columnist Jimmy Breslin. He persistently advocates on behalf of the entertainment value of the medium and recently told New York magazine “newspapers are so boring. How can you read a newspaper that starts with a 51-word lead sentence? They’re trying to prove they went to college.”

My first journalism teacher got his start in Chicago’s The Front Page days, and he dazzled me. Here’s a guy who, when he was roughly the age I was at the time, ran with the likes of Ben Hecht and Charlie MacArthur. He worked for William Randolph Hearst’s Chicago American, a paper so yellow they actually printed the front page flat on yellow newsprint – hence the name. He worked in the fabled Madhouse on Madison Street, a building across from the Chicago Civic Opera house (of Citizen Kane fame) that was so ugly that when Hearst saw it, he refused to walk in. Editors would routinely call the wives of murder victims posing as policemen asking the immediately-widowed that she gather a few really “interesting” photos of the deceased for a “detective” who would be showing up at the front door within a few minutes. Within an hour or two, those photos would be on the front page.

I loved that stuff. By the time I was reading newspapers, Hearst died, the American had been sold to the staid Chicago Tribune, and the Madhouse on Madison Street became a commercial office building with a slightly less tacky new façade. Ironically, Hearst’s Midwest advertising sales offices remained headquartered in the facility.

But Hearst and Hecht and MacArthur, and their New York counterparts like Walter Winchell and the amazing Damon Runyon, had nothing on Bernarr Macfaddon. For one thing, back before the Great Depression, Macfaddon invented Photoshop. (more…)

George Carlin: Death and Coincidence

  • News
  • June 23, 2008

This editorial cartoon was published in the Cincinnati Enquirer, before word of George Carlin’s death.

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I know this is a somewhat different definition of the word "comic" than we usually address here on ComicMix, but Carlin did much – perhaps more than anybody else – to mold and shape our attitudes over the past 40 years. He will be greatly missed.

Thanks and a tip of the hat to the Chicago Tribune’s Charlie Meyerson. His paper also published this cartoon before news of Carlin’s death.

And no, I won’t say "passing." Carlin hated such euphemisms. 

Sure You Can Go Home Again, by Mike Gold

  • News
  • June 23, 2008

13341-1147056I always thought Thomas Wolfe was full of shit. Of course you can go home again. Heck, with the Internets you can bring home with you wherever you go.

As I commence to pack for Wizard World Chicago this coming Thursday through Sunday, I am planning out my schedule to the tunes from WXRT Radio, one of the last of the commercial progressive radio stations, still a comparatively cool experience even though it’s now owned by CBS, or whatever they’re calling themselves this week. I just had a light lunch consisting of imported Vienna Hot Dogs – the awesome ones in the natural casing that even my most chauvinistic New York buddies gobble up – while eating a bag of Jay’s potato chips , the original potato chip created by Leonard Japp at the very specific “request” of Al Capone. No kidding.

I’m playing with my schedule so that we might be able to attend a performance of Bloody Bess, the play written by John Ostrander and William J. Norris (as told on ComicMix). I only saw it about a million times during Stuart Gordon’s original run. I’m also playing around with post-convention amusements for my fellow ComicMixers as we go about our business in the Midwest. The far-famed Taste of Chicago will be occupying the downtown lakefront, and there’re the usual architectural thrills and gangland haunts. There’s also at least a dozen brilliant comic book shops out there the likes of which I rarely see anyplace else. And, of course, there are a lot of people we work with who either live in the vicinity or will be there for the show – Hilary Barta, Andrew Pepoy, George Hagenauer, Len Strazewski, Chris Burnham, Doug Rice, Peter B. Gillis, Jim Engel, Peter David… to name but a very few. I wonder if Dan DiDio will be there?

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New Images of Davros’ Return to ‘Doctor Who’

  • News
  • June 18, 2008

A new pair of images making the rounds online would seem to add some color to recent reports confirming the return of Doctor Who villain Davros to the hit science-fiction television series.

While many Who fans had already guessed that the creator of the Daleks would be making a return (citing the final moments of this Doctor Who Season Four preview as evidence), newcomers should know that the the classic villain’s return is a big, big deal in the Doctor Who universe. It’s a big enough deal, in fact, that the threat is worthy of bringing back Torchwood‘s Captain Jack Harkness, as well as three (maybe four) present and former companions!

The Telegraph recently reported that Davros will make his return in the final two episodes of the season, and be played by Shakespearian actor Julian Bleach.

But, ummmm… what’s up with that red Dalek?

Casper The Old Ghost

  • News
  • June 17, 2008

Sixty years ago next year, the remnants of the Fleischer Studio teamed up with the folks at St. John Comics (Tor, Three Stooges, and the original 3-D comics) to create Casper The Friendly Ghost #1. It lasted five issues. Paramount, owners of the Fleischer operation, took the license over to Harvey Comics and a legend floated off the ground.

While children’s comics have been largely ignored in the American marketplace for the past decade or two, Casper stayed alive in movies and on DVD. His present owner, Classics Media, has big plans for the ghost’s 60th.

They’ve got a major Halloween push coming this fall, including clothing and music and games and toys and greeting cards and tattoos.

They’ve also got a new teevee show which already has been sold in 60 markets, including France, Britain, and Japan.

As for comics, well, Dark Horse recently released a nifty reprint anthology, mostly in black-and-white but still a great value.

Not bad for a small child who’s been dead for 60 years.

 

 

 

DC Comics On The ‘Fringe’

  • News
  • June 17, 2008

According to USA Today, DC Comics is going to break its long-standing tradition and actually commit to a new series based on a teevee show before it goes on the air. 

J.J. Abrams, instigator of the series Alias and Lost and director of the upcoming Star Trek: The Next Damn Movie, has a new show going up on the Fox Network called Fringe, which is supposed to be in the X-Files vein. The show debuts August 27th; DC’s book – which reportedly is without writer or artist — is supposed to ship the first issue August 13th. We’re not taking bets on that.

Fringe stars Charlotte Rampling (Zardoz), Mark Valley (Boston Legal), Blair Brown (Altered States) and a bunch of others. Abrams’ writing posse of Roberto Orci and Alex Kurtzman, who huddled over Mission Impossible 3 and the aforementioned Alias and Star Trek: The Next Remake, have hooked up for the new series.

Maybe they’ll knock out the comic book while they’re at it.

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