The toughest part of the story, inevitably, is the beginning. How do you get the narrative ball rolling? How do you get somebody’s attention so that they want, maybe need, to hear what happens next?
We’re not always aces when it comes to accurate prophecy, we comic book pundits, though we shouldn’t hang our collective head too far down because prophecy doesn’t seem to be anybody’s strong point.
Anyway, almost eight years ago, in a precursor of this weekly blather, when I was younger and less evolved – I still had fur on top – I wondered if the meme of the costumed superhero was passé. Quoth I: “…what we’re asking now is, are costumed heroes an idea whose time has gone? Has the genre become too sophisticated for this part of its yesterday? Apparently, those who labor in television think so. None of video’s superfolk wear stuff that couldn’t be gotten at an upscale mall…”
That was then and this is now and the fortune telling implicit in what’s quoted above was as accurate as your newspaper’s daily horoscope. That is, not very. But it might be accurate in a year or seven; technology has hugely accelerated pop culture and the times are always a’changin. But that may be then and this is now and now superhero costumes are in no danger of extinction.
Look no further than the nearest movie screen. Superman, Iron Man, Batman, Thor, Green Lantern, The X Men. Spider-Man, Catwoman and, waiting in the wings, truth-inducing lariat at the ready, Wonder Woman. None of these people buy their business wardrobe at Marshall’s. Can’t get to the movies? (Yeah, well, ten bucks a ticket is kind of stiff, especially if you’re a fast food worker or a Walmart employee.) Go to the television set. There are currently two comic book-derived prime time shows on the tube, not counting cartoons, and one of them, Arrow, puts characters in costumes – maybe not costumes as blatant as the comics incarnations of those characters sport, but not what you’d wear to Sunday services, either. And more costume-wearers are in Arrow’s future, among them The Bronze Tiger and The Question. (I’ll plead that The Question’s mask is a costume as Will Eisner apparently thought The Spirit’s mask and gloves qualified as a costume.)
The Flash, who currently appears in Arrow in his alternate identity, will have his own show soon and, boy, The Flash – now there’s a costume-wearer! (Minor trivia note: The Flash was the hero of an earlier television program that ran in 1990-1991 and was largely written by comics’ own stalwart Howard Chaykin.)
The other comic book show is Marvel’s Agents of S.H.I.E.L.D. and there is no spectacular apparel on view in it, but maybe there ought to be. We find the program, well…okay. If we want an action show with a twist of heroic fantasy, S.H.I.E.L.D. does the job. But if we yearn for a superhero fix, the show doesn’t deliver. Mentally bracket it with Covert Affairs, globe-trotting adventure stuff that has a slightly different vibe than the fantasy-melodrama that’s the realm of the super folk.
Next week, a different topic, but I can’t foresee what it will be.
THURSDAY AFTERNOON: The Tweaks!
FRIDAY MORNING: Martha Thomases
I’ve gone on record many times about how I enjoy much of DC Comics’ digital line. I’ve even been snotty enough to note that, unlike much of The New 52, these titles are quite readable and are DC’s saving grace. So I’ll take it one step further.
One of these weekly digital titles is called Adventures of Superman. Yes, I realize it’s not the first comic book (let alone teevee or radio show) to employ this name. This doesn’t matter. Like DC’s digital Legends of the Dark Knight weekly, each story is by a separate creative team and said stories usually run across several “issues.”
If you’re thinking about sampling, let me strongly recommend the three-part story that was just completed (Adventures of Superman numbers 31, 32 and 33). The story is called “The Dark Lantern” (yes, I will not be surprised when DC does “The Dark Sugar and Spike”) and it was written by Jim Krueger and drawn by Neil Edwards and Scott Hanna; a fine pedigree. I single this story arc out for three reasons: its concept, its execution, and its timing.
The concept is first-rate. It figures that Krypton must have fallen within some Green Lantern’s sector. Clearly, that GL didn’t save the planet and presumably it went blooie on that guy’s watch. How does he feel about that? Does he think he should atone for his failure to prevent the incident? And what happens when he learns there was a survivor?
The execution is first-rate. The story is well told and complete within its 60 half-page bandwidth. DC reprints some of this stuff in trades or pamphlets and stacks the half-pages, so let’s call this a 30-page story. Simply put, we rarely see so much story within 30 pages.
I mean, we used to. Hell, Ditko and Lee took 11 pages to introduce Spider-Man and tell his origin. 38 years later, it took Bendis and Bagley about 136 pages to tell that same story. Times change, and not always for the better. Mind you, I enjoyed their retelling and we no longer rely on nine panel pages to get through a tale, but my point remains. It is quite unusual to see so much story from DC or Marvel in so few pages, and if “The Dark Lantern” is a throwback, then let’s throwback some more.
However, nobody can take credit for the timing. Take a good look at the two panels above. “I failed to save his people and threatened to kill those he now loves. I fought him and brought poison to him. And still he forgives me. Still he thinks of me.”
It is simply amazing that this issue was released within hours of Nelson Mandela’s death.
THURSDAY MORNING: Dennis O’Neil
THURSDAY AFTERNOON: The Tweaks!
FRIDAY MORNING: Martha Thomases
Hello ComicMix readers! My name is Jen, and I’m really excited to be joining the fold here so I can expand the arenas in which I nerd out about comics, movies, TV, books, and any pop culture ephemera that strikes my fancy. I host a podcast to dive into stuff that’s under the radar, take a look at how things in popular culture now got there, and muse about where trends may go in the future. But exploring pop culture in the written word is another beast entirely, and it’s one I’m pumped to tackle! So let’s get to it!
My favorite TV show is Doctor Who. I embrace every opportunity to talk about it, and have maybe, possibly, sometimes (read: definitely, absolutely, often) turned conversations about entirely unrelated things toward the Doctor, and why the person I’m talking to really should give him a shot. In fact, I’m such a big Whovian that I’m part of a show that does an improvised episode of Doctor Who twice a month! All this being said, I’m sure you can imagine that I had no shortage of invitations to viewing parties for “The Day of the Doctor,” my beloved series’ 50th anniversary special. Yet I didn’t say yes to a single one. Because I hate the group watch.
In the past few years, “event TV” has been making a concerted effort to regain the time-of-broadcast viewership it lost to DVRs. And of course, the fear of encountering spoilers on Twitter or Facebook before getting to view an anticipated show has also helped to draw audiences back to consuming TV at broadcast rather than after the fact. With more people consuming event TV as it airs, maybe it seems natural that viewing parties would become more common. If we’re going to be watching something we enjoy, and our friends are going to be watching the same exact thing at the same exact time, why not do it together? A lot of people I know not only embrace this philosophy, they take it a step further: if we all love Doctor Who or Breaking Bad or Game of Thrones, then why get together only for the anniversary special, or last episode, or season finale? Why not group watch every episode to maximize the amount of shared enjoyment?
I’ll tell you why not: because other people are distracting! I don’t want to sit next to a fidgety person while I’m trying to keep the myriad of characters in Westeros straight. I don’t want to miss the second step of one of Walt’s plans because someone in the room with me starts commenting on the first step. And I definitely don’t want to pause for someone to go to the bathroom just as things are getting really timey-wimey. When I love a show, I become pretty OCD about preserving the dramatic flow and catching every detail, and I just haven’t found these things to be possible in a group watch environment.
That being said, the distraction of other people isn’t even the largest deterrent to the group watch for me. The biggest reason I don’t like to view my favorite shows with other people is the fact I tend to react… let’s be generous and just say strongly to the shows I love. “The Red Wedding” made me cheer loudly (feel free to call me a monster, but I think they had it coming), it’s hard for me to think of an episode of Doctor Who that didn’t make me cry, and the penultimate episode of Breaking Bad filled me with a mix of emotions so intense I was literally shaking. I love that TV shows can move me to such extremes, but I’m not exactly dying for other people to see that happen, nor do I want to struggle to hold in my reactions for the sake of not embarrassing myself and distracting people around me.
So for the sake of everyone involved, I’ve gotten in the habit of declining invitations to group watch. But even though I don’t like viewing parties, I still feel bad turning them down. After all, I like my friends – I just don’t want to watch TV with them. Conveniently, I spent the day of “The Day of the Doctor” traveling, so I could truthfully say I wasn’t able to watch with anyone rather than having to fess up to the fact that I wouldn’t want to even if I could. But the more I think about it, the more I’m convinced my dislike of the group watch is defensible. If my friends like a show enough to get together to watch it, I don’t think they’ll blame me for liking it so much that I want to relish every second of it. After all, they already know what an OCD nerd I can be.
And now you do too.
TUESDAY AFTERNOON: Michael Davis
WEDNESDAY MORNING: Mike Gold
I’m guessing that throughout an average lifetime we meet approximately 25 billion people. I could be wrong, but that’s what it seems like. After all, not all of these folks are worth meeting – and more than a handful of them are truly disgusting.
Well, tomorrow morning ComicMix is going to do you a favor: we’re going to introduce you to a clever, funny, intelligent and knowledgeable person who is definitely worth meeting. This is because tomorrow morning, at 8 AM EST-USA, we’re happy to say you are going to meet our newest columnist, Jen Krueger.
I could say a lot about Jen, which is weird because I’ve yet to meet her. Outside of the fact that the entire continental United States separates us, it is clear to me that if we were to meet for an early dinner our conversation would last until closing time, and then continue in front of the restaurant. Okay, I’ll admit this is usually the case when two expatriated Chicagoans meet, but Jen is… amazing. I know this because I’ve read her first ComicMix column – the one you’ll be reading tomorrow morning – and I’ve seen some of her other work.
But given the fact that we have yet to meet, I’m going to let Jen describe herself. According to the official ComicMix Book of Rules and Regulations, she’s going to do this in the third-person.
Jen Krueger is a writer and improviser living in Los Angeles. Ask her and she’ll proudly tell you she hails from Chicago. Don’t ask her, and she’ll probably tell you anyway. Jen is the Associate Director of the L.A. Indie Improv Festival and runs Friday night indie improv show The Manifesto Show with her team Comrades. Jen also hosts PrePopCulture, a podcast about pop culture before it pops. She owns one Calvinball, two sonic screwdrivers, and has degrees in Curiosity and Advanced Curiosity.
You’ll get to know Jen better after you read her first ComicMix column, right here on this unique slice of ether, Tuesday morning.
Which calls up the need for a bit of housekeeping.
You might ask “Hey! What happened to Emily S. Whitten?” To which I respond: you didn’t read her November 26th column… so I’ll encapsulate. For the next six months, Emily will be deep in work so she’s shifting to a monthly posting schedule, on or about the 25th of each month. She will be back to her weekly posting schedule after May 2014… and we miss her already.
Now you may ask “Hey! What happened to Martin Pasko?” To which I respond: hmmm… maybe we’ll run a contest.
“Great men are forged in fire.
It is the privilege of lesser men to light the flame.
Whatever the cost.”
The Warrior Doctor (John Hurt), The Day of the Doctor, November 23, 2013
After all the press, after all the hype, after a week of BBC America’s Doctor Who Takeover, I was really afraid that actual episode was going to suck, that I was going to be miserably let down, wretchedly disappointed.
I. Was. Absolutely. Completely. Totally. Utterly. Positively.
Blown. Away.
The whole wide world became the whole wide Whovian world yesterday, as the BBC simulcast The Day Of The Doctor in over 75 countries – Angola, Australia, Bangladesh, Benin, Bolivia, Botswana, Brazil, Burkina Faso, Burundi, Cameroon, Canada, Cape Verde Islands, the Central African Republic, Chad, Chile, Colombia, Congo, Costa Rica, the Cote d’Ivoire, the Democratic Republic of the Congo, Djibouti, the Dominican Republic, Ecuador, El Salvador, Equatorial Guinea, Eritrea, Ethiopia, Finland, France, Gabon, Gambia, Germany, Ghana, Guatemala, Guinea, Guinea Bissau, Honduras, Hong Kong, Indonesia, Israel, Italy, Kenya, Liberia, Madagascar, Malawi, Malaysia, Mali, Mauritania, Mauritius, Mexico, Mozambique, Myanmar, Namibia, New Zealand, Nicaragua, Niger, Nigeria, Panama, Paraguay, Peru, Poland, Russia, Rwanda, Sao Tome & Principe, Senegal, Seychelles, Sierra Leone, Singapore, Somalia, South Africa, South Korea, South Sudan, Sudan, Swaziland, Taiwan, Tanzania & Zanzibar, Thailand, Togo, Turkey, Uganda, the United Kingdom, the United States of America, Uruguay, Venezuela, Zambia, and Zimbabwe.
I mean, seriously, has the United Nations ever been able to bring about such a coalition? I mean, seriously, I think the last time so many countries and their citizens came together to celebrate and raise a glass or two as they did on Saturday was for the end of World War II 68 years ago.
I mean, seriously, think about it, people. So many of these nations are embattled and torn apart by violence and terror and war—and yet the Doctor, fictional character though he may be, hits such a powerful chord of hope and peace and unity among the peoples of this Earth, is it possible that even in places like Somalia and Myanmar and Colombia and the Congo that a truce was called for one hour and twenty minutes on Saturday, November 23rd, 2013?
Once before has the world been stopped on this date. 50 years ago President John Fitzgerald Kennedy was shot dead in Daley Plaza, Dallas, Texas on November 22, 1963, and the world held its breath for the next four days as his body was returned to Washington, where it laid in state, first in the White House and then at the Capitol Rotunda, to finally come to rest in Arlington Cemetery across the Potomac River in Virginia – and so in England no one, or very, very few, saw the BBC’s debut, on November 23rd, 1963, of a science fiction television show about a grandfatherly man and his niece and her two teachers adventuring in time and space in a contraption called the TARDIS, which was an acronym, the niece informed us, for Time And Relative Dimensions In Space, and which looked like an English 1950’s police box.
But the BBC reran the premiere episode of Doctor Who and its ratings took off, and when William Hartnell, the first actor to play the Doctor, became too ill to continue, an innovative idea was born to explain the introduction of Patrick Troughton as his replacement—regeneration.
And now Doctor Who, the series, has regenerated.
I won’t go into depth, so as not to spoil it for those who were unable to see The Day Of The Doctor this past weekend, but I will say this – the driving force behind the Time Lord has been changed.
It was quite a day.
TUESDAY MORNING: Emily S. Whitten
TUESDAY AFTERNOON: Michael Davis
He’s big, green, loud, obnoxoius, and is like an onion. He also sings, dances, and saves the princess. And now, there’s a DVD and Blu-Ray edition of the Broadway musical based on the Dreamworks animated movie based on the book by William Steig. (Whew!) This week, the Tweeks review the musical version of Shrek. Take a look…
From the very second we announced Milestone in 1992 to today, there have been those who simply hate us.
Chief among our haters are a small but vocal group of black comic book creators. Back in the good old days we were just called house niggers and we were hated because DC Comics owned us.
The fact that Milestone was never, not 20 years ago and not today, owned by DC Comics is irrelevant. It’s simply ignored by those who want to say we have somehow sold out the black race by any association with any white company.
I never got that.
Most successful black entertainment companies have some association with or are flat out owned by white companies. If the product is a good one and is focused on the African-American consumer I don’t see the problem.
Now, white backed black companies that market to poor urban black consumers products such as spinning rims, $200.00 sneakers and 40oz beers, promoting these and other items as lifestyle must haves to young black kids… now that I can see black people having a issue with.
I can see calling a white owned black company a bunch of house niggers if they were producing products that underscore a thug lifestyle as desirable.
But if a white owned black company was producing worthwhile products for the black community why would anyone call them house niggers? Why would any black person call them house niggers?
Milestone isn’t owned by a white company.
We produce positive comics and television animation featuring African-Americans role models not seen enough in pop culture. They are good stories well told and considered among some of the best comics ever produced by some.
Yet some just consider us house niggers because they think (wrongly) a white company owns us.
Forget the stories we are telling. Forget the excellence in the work. We are house niggers because a white company owns us.
Except we aren’t owned by a white company, but even if were why call the work we do the labor of house niggers?
I just don’t get that.
We’re an independent black owned company that has produced work that 20 years after our debut and 16 years after we ceased monthly publishing is still held in the highest of regard.
Our television show Static Shock has been on the air somewhere non-stop since 2000. Milestone has a worldwide audience and a dedicated fan base like no other.
The biggest pop culture event in the world just honored us with a celebration and bestowed on us one of the most significant awards in comics.
But to some black comic book creators we will always be house niggers.
OK. I get that. Haters got to hate. Hate us, hate whitey, and hate anything and everything they are not or can be.
In the 20 years since Milestone came to be we have never, and I’ll say it again, never attacked any black creator or company. But for all of our two decades we were and still are the target of countless attacks and outright lies.
I just don’t get it.
We never attacked anyone we rarely responded and when we did our response was; ‘there’s room for everybody.’ That was not just Milestone’s company line we believed it then we believe it now.
Recently a black creator of some renown wrote that he believed Milestone may have been given his companies’ business plan and used that to create the plan for Milestone.
That did not happen. It couldn’t have happened. It was impossible.
Milestone was already in the stores months before the date he assumed we stole his plan.
He has since acknowledged he was wrong in that regard. His creation and talent and are both still considered brilliant not just by me but every surviving member of Milestone. Our partner who did not survive loved his work as much if not more than the rest of us.
I’m not mentioning the work or creator because that sad chapter between his camp and Milestone is closed and I don’t want to give the impression they are the reason I’m writing this.
They are not.
Some other black creators are now saying Milestone not only stole the business plan but Milestone itself was “inspired” by and only came to be because of the idea and hard work of another black publisher.
So Denys Cowan’s idea wasn’t his idea and our business plan wasn’t our plan.
So now we are house niggers, lairs and thieves.
OK. I’ll be your house nigger if that’s how you define house niggers in your world. In your world I’ll be that. Since I don’t live in said world, what the do I care?
However, in no one’s world will Milestone be anyone’s lairs or thieves.
So, haters, think what you will. Say what you will. Believe what you will.
That’s on you.
I’ve no idea why you hate us the way you do but have at it. Continue to voice your hate in your forums, your on-line chats, your next hate Milestone meeting, any and all public and private social media.
But listen to this very carefully. Whatever you say, just be prepared to prove it. I’ll say that again, whatever you say, be prepared to prove it.
Be prepared to prove we are lairs. Be prepared to prove we are thieves.
Because sure as shit you continue to slander us you will be asked to prove it. Stick with calling us house niggers that you won’t have to prove. It’s laughable to us anyhow so feel free.
Slandering me and my Milestone partners as lairs and thieves, that’s no laughing matter to me. We are neither and continuing to say we are you will be asked to prove it. That question will come in a targeted legitimate onslaught. So unforgiving will the correspondence asking for your proof be, I shudder to think about it.
Shut up, put up, or pay up.
I’m fed up.
WEDNESDAY MORNING: Mike Gold
THURSDAY MORNING: Dennis O’Neil
This past week I was honored to be invited back to my alma mater, the Herron School of Art, to give a lecture on my journey “From Starving Artist to Comic Book Publisher.” I spoke for about 45 minutes and afterwards took a few questions, and then sold a few dozen books. All in all, it was a humbling experience, and perhaps the turning of a page in my book of life.
Artistically speaking, my prowess has always been largely introspective. In high school, as much as everyone was self-absorbed, I excelled at it. I took the angst and strife of not getting a date and watching my best friends dry-hump in the hallways and made haute art out of it. Come to think of it, I could have really amped my game up if I’d done a piece commemorating the near-daily visual of dry-humping.
Alas, I chose self-portraiture as my joie de vivre. The idea being that my life – that of a typical, mid-western, suburban, Jewish in name and Bar Mitzvah boy only – could be regurgitated lovingly on board and canvas as such to eventually be called fine art.
Moving on to college, as much as I continued to have aspirations of becoming a comic-book maker, the story of my life continued to be what I presented. In a manner of speaking, my art started to resemble an auto-mockumentary, turning my existence into high entertainment based solely on the fact that I was in fact that awesome. People got a kick out of it, and so did I. It was only after I graduated when the trough of life-events grew emptier, that I finally had the wherewithal to look beyond my very Jewish nose.
Here of course is where you know the-rest-of-the-story. Unshaven Comics is commissioned to make a book by a Chicago publisher. We do it. We learn from it. We decide to break out on our own. Yadda, yadda, yadda. Here’s the thing. In the time between when I formed the company to the time I commemorated it in a lecture in front of a packed auditorium, I got married, bought a house, and became a father. If ever there was a time for me to return to fine art, this would be it, no? Now, I have the glorious content my life was devoid of only years prior! But alas, dear reader… it is not.
Perhaps it’s the wisdom of the years passed that has granted me the maturity enough to know that my legacy will be far more than a worthless collection of portraiture denoted a life lived as many others before and after will lead. Instead, I realize my legacy is very much within the pages and panels of Unshaven’s pure fiction. It’s in my offspring. It’ll be in the heads of those I’ve touched in my time on this mortal coil. John’s piece this past week dealt beautifully with the complex emotions of life and death. I’d be remiss to that much of the reason I chose the arts was to deal with my own near-paralyzing fear of death.
So, it was there in the semi-darkened Basile Auditorium of Eskenazi Hall that I reached a catharsis. So much of my life story has been celebrated – in jest and in reality – such that here, some 10 years after I hung up my woodcut tools for a dayjob, I have in fact lived a third of my life without rampant documentation. I think it was the philosopher Bueller who said “Life moves pretty fast. If you don’t stop and look around once in a while, you could miss it.” Truer words may never have been spoken, Ferris.
It’s good to know in the next chapter of my harrowing tale, the best is truly yet to come. With my brothers-from-other-mothers, I will be able to continue to tour our country and make new friends and fans. With my ComicMix cohorts, I will glean sage advice in both publishing, and barbeque. With my son and wife, I will find joy in parts of my life relived through new eyes. And with you kiddos? I’ll continue to pretend I’m that damned awesome.
SUNDAY: John Ostrander
MONDAY: Mindy Newell
Most movie reviewers have been acting like teenage girls over Chris Hemsworth and Tom Hiddleston in Thor: The Dark World. But only ComicMix gives you real teenage girls to review the movie! (We even got siblings with light and dark long hair, just to keep with the theme of the film.)
Take a look as Tweeks Maddy and Anya review the blockbuster and find out whether Marvel is reaching the audience they’re hoping for, and who the cuter Hemsworth brother is…
Columns / Glenn Hauman / News
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