Category: Columns

Martin Pasko: City On The Edge of Forgetaboutit

pasko-art-130815-3061498If you follow this column regularly (in which case I apologize for the feelings of loneliness and alienation), you might remember me mentioning that I now reside in Los Angeles, which is the perfect city to move to if you’re really desperate to live in a comic book. It’s so colorful and exciting and full of funny-looking noises. Like when the valet at Jerry’s Deli on Ventura slides that new car you haven’t even started making the payments on yet into a parking space narrower than its wheel base – at 120 mph – because he thinks he’s Batman.

So I am thrilled to report I’m serene, I tell you, serene as I continue to sit around, keyboarding like this. Only now I do it for fun because the keyboard I’m using is the digital one on my smartphone, and it’s now in my lap as I write this, with the vibration intensity on the haptic feedback set to “Maximum.”

Sorry.

I am, however, finding it somewhat more lonely here than I’d anticipated.

Many of my old friends – the kind who keep insisting I refer to them on social media as “not-old-that-way” – don’t get out much. They glide about their palatial homes in motorized tricycles which have to be loaded into their very tiny cars when a group of us goes out to lunch. Whereupon the one who still has enough use of his legs to actually drive a car keeps asking the voice on the GPS to speak louder, so he can hear her replies to his inappropriate comments about how hot she sounds and what time she gets off work.

Meanwhile, the other three beg me to push their motorized tricycles out into freeway traffic while they are still in them, because their fingers are too arthritic to use a trackpad and none of them has mastered SEO well enough to Google for the guy who inherited Jack Kevorkian’s equipment.

Thus I find myself in the rather odd position of actually looking forward to inviting to lunch Stan The Man, who, as you know, lives in Beverly Hills. And is not too busy to see me because there are no animation studios or comic book companies left out here with whom he can jointly announce a project that will be completed after you and I are dead.

 (“Just came back from The Mansion and I’m way stoked, ‘cause Hef an’ I are This Close to launchin’ that whole Spider-Bunny thing.”)

I’ll have to find a way to break it gently to Mr. Man that Mr. Hefner no longer sits around all day in his pajamas and bathrobe because he needs to be ready at a moment’s notice to fuck a smokin’-hot babe, but because sitting around all day in your pajamas and bathrobe is just what you do when you’re 187 years old.

But, of course, as Bill Maher knows how to say with much better fake sincerity than I, I kid Mr. Man. I have every confidence that he really will be with us many years hence. That’s because, as he has helpfully informed us, he has a pacemaker but no need whatsoever for a motorized tricycle. I am, however, inviting Mr. Man to lunch in my home, where absolutely no effort will be made to point out that he’s standing too close to the microwave.

And, in what passes here in Hollywood for truth, Mr. Man has announced a strategic relationship with Archie Comics, for whom he will be writing Just Imagine Stan The Man Asking You To Believe He Actually Wrote This Comic Book Himself About What It Would’ve Been Like If He’d Created That Really Swell, Groovy Homo Kid We Came Up With That’s Putting Us Out Of Business Because It’s Pissing Off All Those Loudmouthed Jesus People Who For Some Reason Are Still Under The Impression That They Can Buy “Age-appropriate” Comic Books At Wal*Mart.

I, for one, am looking forward to chatting Mr. Man up about that book. I may be totally off-base on this, because I haven’t actually seen Mr. Man in the 20 years since the announcement, but I think Archie is a perfectly natural “fit” for him because, at least at that time, the back of Mr. Man’s head was orange, too.

Now, as we come to the conclusion of what I know all you reverential fanboys, with your keenly developed senses of humor, will have understood was meant as Just Jokes rather than the gratuitous and mean-spirited rant you, you hero-worshiping little cretins, you, mistook it for … I leave you with just these humble thoughts:

Apparently, here in The City On The Edge of Forgetaboutit, the way you fight ageism is by making fun of people who are even older than you are. If you can find any.

And so it is that I whistle past Forest Lawn and rage, rage against the dying of the light from my smartphone.

OK, so I’m a little cranky, too.

Some asshole just totaled my motorized tricycle, trying to park it at 120 mph because he thinks he’s Batman.

FRIDAY: Martha Thomases

SATURDAY: Marc Alan Fishman

 

Michael Davis: The Rise Of The Super Nigga

davis-1308131-7967388This year, the San Diego Comic Con celebrated 20 years of my company. Milestone Media. There was standing room only for the 20th Anniversary panel, the Milestone party was off the chain and to top off one of the best times of my life, Derek Dingle, Denys Cowan and I received Inkpot awards!

The biggest and the best pop culture event in the world thought enough of our work to honor us during the convention. That work focuses largely on Milestone’s mission to include more people of color in the media arts.

We’ve been very successful doing so in comics and television and there is more to come.

So, I’m feeling pretty damn good when I get back to my humble abode.

So good in fact I had a brainstorm, and I’m going to share that brainstorm here at ComicMix.

The Rise Of The Super Nigga

Based on a true story until the end.

Michael at 10 years old wanted to be an artist.

A cartoonist, to be exact. That was the good news; the bad news was Michael lived in what is now as was then one of the worst housing projects in New York City.

The years were tough but Michael somehow survived. Two members of his immediate family were murdered, as were two cousins. Michael survived being stabbed twice and having a gun placed to his forehead. The assailant pulled the trigger, the gun jammed.

Michael attended prestigious universities and became a professional artist. Then he co-founded a company that changed the way comic books are published. Then he became President & CEO of three entertainment companies, TV creator, mentor, writer, power broker, deal maker, all around very successful.

How successful? The Gordon Parks Academy named its auditorium after him.

That successful.

One day Michael was thinking: “I’m a very formidable person with far reaching influence. What should I do now that I have all this power?”

All day Michael pondered that thought. Finally he drifted off to sleep…

Crash!!!!!!

Michael awoke with a start. What was that that? Silently he headed to the source of the disturbance. There on his floor was not just the cause of the commotion but the answer this intelligent, successful, influential black man had sort.

Crack.

Somehow a bag of crack was tossed trough his window. Michael picked up the bag held it up and pronounced as loud as he could. “I will become a drug dealer!!”

“I am no longer Michael Davis PhD!” I am now Super Nigga!!!

Yeah, I know, that’s just stupid. Surviving the hood becoming a success then deciding out of the blue to become a drug dealer.

Besides a character named Super Nigga would never see print…unless you changed the name to Tyrone Cash and a hotshot writer named Mark Millar creates it.

Thenit’s all-good.

Tyrone Cash was a brilliant black scientist who gets the power of the Hulk yet retains his intellect. I’ll say that again – retains – his intellect. So what does this brilliant black man do with his new power?

He becomes a drug dealer.

A brilliant black scientist gets the power of the Hulk yet retains his intellect and then decides to become a goddamn drug dealer???

In my opinion that would be the textbook definition of a Super Nigga.

“Oh, no Michael! You don’t want to call out Mark Millar! He’s got to much clout!” That was the response from a concerned fan when I mentioned I was thinking of writing this article.

What the fuck can Mark Millar do to me? The streets are littered with the crushed dreams of motherfuckers who tried to fuck with me. You know why that is? Because I don’t give a fuck what bridge I burn, what’s right is right.

Here’s the kicker, I love this guys work. He’s written some of my favorite comics and Kick Ass is just brilliant, so that makes this even worst. When a talented guy with a HUGE fan base creates some shit like Tyrone Cash it has to be addressed or it becomes OK to do so.

All in all this makes me sad. Sad because Millar’s star is so bright, and rightfully so, sad because if just one black kid thinks Tyrone Cash is cool that that helps no one and if just one white kid thinks Tyrone Cash is accurate that hurts many.

WEDNESDAY MORNING: Mike Gold Gets Real Small

THURSDAY MORNING: Dennis O’Neil and The Seven Basic Plots

 

John Ostrander on… The Substitute!

ostrander-art-130811-8170175On June 10th of this year, Jon Stewart took leave of his job hosting The Daily Show on Comedy Central to go direct his first film, handing the hosting duties over to John Oliver, one of the show’s top “reporters.” This was a big deal to me – I’m a huge fan of the show but Oliver has never been my favorite performer on it. He’s been a little too over-the-top manic, playing at a character rather than being the character as predecessors like Ed Helms, Rob Corddry, Steve Carell and Stephen Colbert have done. Or Samantha Bee who comes off as a genuine lunatic (and I mean that as the highest compliment). I thought he was trying too hard to be funny rather than being funny.

Someone I would have picked over Oliver was Larry Wilmore – the dry and droll “Senior Black Correspondent.” I saw him doing a documentary about African-Americans and the Mormon Church in a Showtime special titled Race, Religion and Sex. His interviews were first-rate. I was somewhat disappointed they didn’t pick him to sub for Stewart.

I was also concerned that The Daily Show itself would suffer. Stewart has been so identified with it, rarely taking a night off even when obviously physically ill. There was simply no one else to do the job. Until now.

So, the summer wanes and Labor Day approaches and with it Stewart’s return to the desk of The Daily Show. How’s it gone without him?

In my view, surprisingly well. Oh, no question that I will be glad to see Stewart’s return but John Oliver has, overall, done a very good job. I get a better sense of Oliver as a person in his work as anchor for the show. He’s also been willing to play the straight man for the gang of comedic lunatics that comprise the show’s “reporters.” He’s been an adept interviewer, which is important because the interview sessions comprise about a third of the show. Stewart is still the better interviewer but Oliver is better than David Letterman. And he’s getting better.

An early criticism I had for Oliver’s anchorman duties was that he appeared to be imitating Stewart’s intonations and gestures and even posture. Understandable – you go with what works and you don’t want to lose the audience (I’ll bet that is one of Oliver’s recurring nightmares; that he loses the audience for Stewart). It’s gotten less as the summer has gone on, however.

My larger concern was the show itself. Stewart’s not just the anchorman for the series; he’s a writer and co-executive-producer for the show. He has set the tone for The Daily Show, I think, and that’s important. It’s not only a satire of news programs in general but of the news itself and how it’s covered. There’s a sense of real moral outrage running through the show that gives it the edge it shows. There’s a point of view that is consistently presented.

The show is biased and that’s fine; those who say it should be more balanced forget that this is actually a comedy show and not an actual news show. They proudly proclaim themselves a “fake news” show. However, in 2009 the Pew Research Center for the People and the Press said that 21% of people between 18 and 29 said that The Daily Show was their primary source for news. Stewart and producers of the show have discounted that and suggested those who used the show as their only news source would wind up horribly misinformed.

My concern was, what would the show look and sound like without Stewart, no matter who was in the anchorman’s chair? I’m happy to say it still has the same voice, the same values, the same moral outrage underlying it.

That bodes well for the show’s future. I’m glad Stewart is coming back but, let’s face it, at some point he will leave and not come back. He may want to direct some more (depending on how this first film goes), he may get offered a gig on a broadcast network late night show, he may just get tired and want to do something else. This summer has proven The Daily Show can go on without him.

It will also give him a viable substitute on the nights when he’s too ill to perform or needs to be elsewhere. That’s a good thing; it will help keep Stewart from burning out. Will the sub/heir apparent be John Oliver? It depends; Oliver’s gotten a lot more visibility and credibility as a result of this summer’s experiment. I‘d be surprised if he doesn’t get more offers as well.

So let’s call the experiment a success – John Oliver showed he can do the job and welcome back Jon Stewart. Just don’t go away again too soon, okay, fellah?

MONDAY MORNING: Mindy Newell

TUESDAY MORNING: Emily S. Whitten

 

Martin Pasko: U-Moved! U-Phoric? U-Betcha!

pasko-art-130808-8661792If you’ve got The Amazing Colossal Comic Book Collection whose unfettered gigantism is dust-collecting you out of house and home, you may need to find a bigger but cheaper house and home … in which case you might need what is known as a Low-Cost Move. Which brings me to this week’s excursion into the realm of Don’t Let This Happen To You.

As I write this, I’m sitting in my lovely new home in California, to which I moved right after attending the San Diego Comic-Con, and am comfortably and serenely keyboarding as usual.

Back from that link? Sorry.

It wasn’t really my intention to begin with a headlong plunge into The Do You Know Long It’ll Take Me To Get That Image Outta My Head? Zone. I only mention it because the only clothes I have right now are what I packed for San Diego, and I launder them daily. That’s because, almost two weeks later, I’m still waiting for everything I have in this world to arrive in a conveyance that is over 10 days late, courtesy of a lovely little company I’ve come to call “U-Hell.” 

But I’m serene, I tell you, serene, because U-Hell now promises me that tomorrow they’ll finally deliver the plywood 8′ x 7′ x 5; contraption we will call “the U-Pod.”

A “U-move” is theoretically simple: U-pack your stuff in this container and They-Haul it to Ur-Destination, where U-Unload it Ur-self, then call to have Them-Pick-Up the empty pod.

But I’m serene, I tell you, serene only with the help of the margaritas I’ve blended every night since shipping the U-Pod from my former home in Pennsyltucky, the Wolf Trap State, so named because after sic months there you’re willing to chew off your own foot to escape. And I’m so drunkenly, sleep-deprivedly serene that I actually believe a promise from U-Hell.

This, despite the fact that everything They’ve-Told me so far about what They’d-Do for me has been either: (a) a “communications error;” (b) something that someone else told me the previous person had no authority to promise me in the first place; or (c) information contained in an automated “U-Mail” that didn’t accurately reflect my origin point or destination; was sent from an email address I couldn’t replay to; and notified of charges to my credit card for products and services I didn’t order.

Today, U-Hell helpfully informed me (“Do not reply to this U-mail; it will not be We-Read”) that in transit, my possessions have been heard to be … uhm, “shifting.” I tried to call to express undying I-Thanks for their U-Mail inquiring whether I was transporting ping-pong balls or unlidded crates of grapefruit, because I’d begun sleeping regularly and was falling behind on my panic attacks. But all I got was “Please stay on the line; a U-Call is important to us…”

So, luckily, I won’t be sleeping through my alarm and will be wide awake to begin the all-important process of determining how many irreplaceable pieces of priceless memorabilia from my award-winning career have been ricocheting around my U-Pod, thanks to the U-Truck’s “U-Patented ‘Air Glide!’ U-Suspension U-SystemTM.”  Thank God I didn’t get a wink of sleep breathlessly anticipating how much expensive computer hardware I’ll be replacing by spending all that big money ComicMix pays me.

But I’m laughing, I tell you, laughing at life … to the point of margaritas spewing out of my nose and onto the keyboard borrowed from one of my new housemates, which is now shorted out and won’t be available to replace the one that’s colliding with all those boxes of priceless and irreplaceable memorabilia. But that’s okay, because I think it’ll be bent just enough to look really good glued to the top of my Emmy®, right where that globe made of all those slender, fragile strands of gold used to be. Besides, what’s an Emmy® when you have an Inkpot Award, the sharp edges of which have been useful in responding to my irresistible impulse for self-mutilation, by making sure that the Wolverine claw stab-wounds never completely heal?

So, by this time tomorrow, I’ll be serenely, I tell you, serenely ignoring the U-Mail I can reply to: the one asking me to “Rate Your U-Hell Experience!” This customer-satisfaction questionnaire helpfully compensates for my obvious inability to express myself, by supplying multiple-choice answers to its questions. These range all the way from “Thrilled Beyond Even My Unrealistic Expectations” to “Even Better Than The Promotions On The U-Site When The Server Wasn’t Crashing,” helpfully enabling me to resist the temptation to type in “U-Suck.”

By the time U-read this column, the U-Pod will have arrived. But please don’t ask me how my Amazing Colossal Comic Book Collection fared, because I didn’t have a collection to entrust to U-Hell in the first place. That was lost by Wall-Eyed Van Lines, which moved me last year from New Jersey to the My-Hell of Pennsyltucky.

Now where the fuck is the lid to that blender…?

FRIDAY: Martha Thomases Can’t See TeeVee

SATURDAY: Marc Alan Fishman – Scooby and the Geriatric Comics

 

Dennis O’Neil: Storytelling and Inconsequential Trivialities

oneil-art-130808-6382461Well, I see that 2 Guns was the weekend box office champ, followed by Wolverine, though the latter has underperformed according to some estimates though we shouldn’t worry because it will almost certainly make a profit when the final reckoning is in and… I didn’t have to go far to learn these facts, and many, many more like them – some of them are in the Monday business section of the New York Times, which is where they belong, and the rest were right in front of me, on the computer screen that is at this moment right in front of me. Lots of inside show biz stuff on the web and maybe that’s not so good.

Stripped of all distracting fiduciary ornamentation, movies and comics and novels and TV shows are about telling stories On the pre-verbal level they’re how infant human beings begin to understand cause and effect, understand how all that color and sound beyond the crib and those warm and comforting holding-things add up to an intelligible world. They assure us and they comfort us: See – it does make sense, you can understand it. As an individual’s biography begins to mimic that of the race, stories morph into other things, some of which do new versions of what the pre-verbal narratives did when the storyteller was just the sweetest little angel! some of which just provide a pretty good evening at the multiplex. They distract us, they entertain us, they provide temporary but welcome respite from current woes.

The business stuff… Not so much. Business these days is about competition and accumulation of wealth – call that greed and I won’t object – and back in the days of our tribal ancestors it was about brute survival. Be tough and ruthless and uglier than the man in the next cave or your genes won’t make it to the next generation.

Evolution obviously selected for both storytelling and acquisitiveness, and so here we are with our share of both. But – I doubt that evolution intended for us to conflate them, They serve separate functions and what I fear is that all that financial information and insider gossip about whose salary is bigger than whose and what kind of contract a given luminary has wangled and other items that I suggest do not even rise to the level of trivia is distracting us from the story! It’s like being backstage at a magic show: if you can see how the tricks are done, they’re not magic anymore.

The other danger is that we’ll become so mired in what are no more than inconsequential trivialities that we’ll bury what should be our real concerns – all those bothersome tidings about war and famine and terrorism and corruption that are no fun at all, but pretty easy to understand. They are, in ironic fact, often part of the stories we enjoy as a way to stop thinking about them.

THURSDAY AFTERNOON: Martin Pasko’s Moving Experience

FRIDAY MORNING: Martha Thomases – Can’t See TV

 

Mindy Newell: Family, A Love Story

newell-art-130805-6992951I must apologize for not being here last week. We had a family emergency, and the weekend was not fun.

No, not my dad. My mom. She was in the hospital.

I’ve talked about my dad here, but have rarely mentioned my mom.

She comes from a large family. Eleven kids. All of them, the girls as well as the boys, were raised to be independent, to be able to stand on their own two feet. My mom became a nurse, and down through the years, like Cherry Ames, she has worked in many areas of the field.

Laura Newell, Army Nurse. Laura Newell, Labor and Delivery Nurse. Laura Newell, Dialysis Nurse. Laura Newell, School Nurse. Laura Newell, Camp Nurse. Laura Newell, Public Health Nurse. Laura Newell, Emergency Room Nurse.

I thought a lot about my mom this past week. A professional woman before that was unremarkable. Able to sustain a marriage now 65 years in the making while raising two kids and continuing to work before there was daycare and flex-hours. Being in love, married to a man who was as proud of ability to help others heal as he was of her looks and housekeeping skills and never minded if she had to work an extra shift or stay overtime at the hospital? How had she done it? Where did she learn to how to do it?

And then I thought of my grandmother.

It was during the second wave of the East European Jewish immigration (which lasted from 1890 to 1924) that my grandmother, Anna Pecker, with her two young children – my Aunt Ida and my Uncle Phillip – crossed the ocean to America sometime in the early 1900’s. She was from a shtetl (Yiddish for “small town or village”) near Vilna, a city always known for its culture and book-learning, and which was sometimes part of Poland and sometimes part of Russia and is now a major city of Lithuania.

The thing is, no one knows what happened to her first husband. We don’t even know his name.

There are two theories. The first is that, like many young men of the times, he was conscripted into either the Polish or Russian Army and never returned. Her brother advised her by letter to come to America, saying that he could pay the steerage passage.

The second, and this is what makes it such an intriguing story, is that her husband was a miserable lout, always drunk, and always beating her and threatening the children. She hid her brother’s letters from the brute of a husband, as well as secreting money from him, as she saved for the journey from Vilna to Hamburg, Germany, where the ship would be docked. And then one day, young Anna had enough. She waited until her husband was asleep (or in a drunken stupor, or not home), took her kids, the money she had squirreled away, and left.

They mostly traveled by foot, saving money, and Anna would hire herself out as a maid or a cook to earn more, hiding the kids in a field or a forest. Supposedly they only travelled at night because it was safer, especially for a Jewess with two young children.  I don’t know how long it took, but it must have taken weeks, if not months, to get to Hamburg. Either she wrote her brother and sent it from one of her stops along the way, or, reaching the German port, she wrote her brother to wire her the passage money. (No one is sure about that.) At any rate, she paid for and received booking on a steamer to New York.

When they finally reached America and Ellis Island, my Aunt Ida, who was about five, was almost turned back because the immigration doctors said she had tuberculosis. But my grandmother refused to allow that, and my grandmother’s brother, who was waiting for them, must have greased a lot of palms. Ida was allowed to stay, although she had to be in quarantine for about three months. Think little Vito Corleone in Godfather II.

Anna and her children lived with her brother and his family in Bayonne, New Jersey, which had a large and thriving Jewish community. Jacob Yontef, a tall, handsome widower with seven children, and considered a “hot catch” by widows or mothers with marriage-age daughters, saw Anna at a dance, and fell instantly head-over-heels in love. I mean, he only had eyes for her, as the song says.

But Anna wasn’t interested. She literally scoffed at him, or so the story goes.

Was it because Jacob already had seven children? Of course, back then large families were the norm, but still, I think any woman would hesitate inheriting such a large brood. Unless her name is Carol Brady. Or…

Was it because she was still legally married? Was she worried that her husband would track her down? The mind boggles at the possibilities.

But Jacob never gave up.

Finally, at least three years later, though some in my family say it was more, Jacob won his woman.

And Anna Pecker became Anna Yontef.

And into this family was born my mother, Loretta Yontef, called Laura by everyone. Three years later, another girl, Anita, who would almost immediately be rechristened Augie – though that’s a tale for another time – was born.

Eleven kids.

And it wasn’t until I was 19, after my grandmother’s passing, that not only did I hear this story for the first time while we sat shiva (a period of mourning) but also learned that only my mom and my Aunt Augie shared parents.

Now my mom is 87, the matriarch of the family, the last surviving member of a true Yiddisher mischpacha (“family” in English, pronounced mish-PA-cha, the cha as in Chanukah – a sound that is like clearing your throat.)

Last month she fell, but thankfully did not break her hip. Still, for the last four weeks she has been in a great deal of pain and she was finding it hard to walk. Then last Friday I got a call. My mother was in the ER. There was a reason for her constant pain of the last month. No, she hadn’t broken her hip. (Thank God, for that would have been a horrible nightmare.) But the fall had caused a linear fracture of her lower pelvis, and of course walking around for the last four weeks had exacerbated it.

There really isn’t anything to do for a fractured pelvis (dependent on the severity, of course) but to rest it and allow it to heal, which means bed rest and wheelchair, with appropriate physical therapy.

So now my mom is in the same rehab/nursing home facility as my dad. We tried to get them into the same room, but weren’t able to, which, in fact, is a blessing in disguise, because knowing my dad, he would most certainly get up in the middle of the night to check on her and considering his fragile state – he is confined to a wheelchair these days and his cognitive state is not good, to say the least – well, I don’t even want to go there in terms of what that could lead to…But my mom is three doors down, and they spend their days together. I tease them about “wheelchair races.”

Yesterday, after a wonderful day partying and celebrating my niece Isabel’s 13th birthday, we brought my parents back to the nursing home/rehab center. They were both exhausted. The nurses said they would put them to bed for us.

But before they were wheeled off to their separate bedrooms (something that is hard for me to watch), they leaned towards each other, and kissed each other good night.

That’s 65 years of marriage.

That’s mishpacha.

That’s love.

TUESDAY MORNING: Emily S. Whitten

TUESDAY AFTERNOON: Michael Davis

 

John Ostrander: The Essence

ostrander-art-130804-3794866A week or so ago I was talking about how in the Man of Steel movie they had Superman kill someone. No spoiler alert: if you haven’t seen the movie yet, it’s your own damn fault. It did violate one of the traditional tenets that marked Superman as Superman – he doesn’t kill. Lots of innocent bystanders must have also died during his battle with Kryptonians in Smallville and Metropolis but hey – collateral damage.

I did note, however, that characters that have been around a lot need an updating to keep them relevant to the times in which they are being read/watched. The question to me is – how much change is acceptable before you’ve altered the character so much that they are no longer really that character. What defines each character? What are the essentials?

I read in a recent Entertainment Weekly that Andrew Garfield, the current movie Peter Parker/Spider-Man, suggested that the next Mary Jane actually be a guy. Have Peter explore his sexuality with a guy. Even the director, Marc Webb, when asked if he had heard Garfield’s idea, seemed to do an eye roll.

That idea certainly isn’t traditional Peter Parker and got some discussion, but is it that far off? I’m not saying I endorse the idea but wouldn’t it make Peter more contemporary, something to which younger readers/viewers might relate? Would a bi-sexual Peter Parker be any less Spider-Man? Would a Peter Parker in a lip lock with a guy be more shocking than a Superman who kills?

The comics’ Spider-Man has taken it further. In the book, Spider-Man’s old foe Doctor Octopus has taken over Peter’s body and life and identity of Spider-Man with Peter looking real dead and gone. Otto Octavius is now Spider-Man. WTF?

The powers are the same, but the character sure isn’t. Is it the powers that define who Spider-Man is or is it the man behind the mask? If the latter, is this really Spider-Man?

This isn’t the only character to which this has happened. Iron Man has had people other than Tony Stark in the armor. Batman has had a couple of people under the cowl. And let’s not start on Robin. Or Batgirl.

The stories of Sherlock Holmes have also lent themselves to numerous interpretations. There are currently two TV series that put Holmes into modern day. I only really know the BBC series, Sherlock, but despite changing the era it feels so Holmesian to me. It feels like they got the essentials right.

I did it myself with my own character GrimJack. First I killed off the main character, John Gaunt, then I brought his soul back into a clone of himself and then, eventually, I had him reborn into another person, James Edgar Twilley, although again, it was the same soul. Munden’s Bar remained but the supporting cast was different and I had bounced the whole thing down the time line a hundred years or so and the setting of Cynosure was also changed.

I knew why I did it at the time. I felt my writing was getting stale and the character was as well. We hadn’t been around all that long but I felt we were getting tripped up on our own continuity. Sales were eroding. My editor asked me to come up with some way of making the book dangerous again.  That’s how I chose to do it.

Was it still GrimJack? Yes, I felt it was – in its essentials. An alienated and violent loner in a strange city living by his own code. Same soul, two lives. It still felt like GrimJack.

I’m willing to bet that most re-examinations of a given character or concept stems from that – to look at it all with fresh eyes, to make the reader/viewer do the same. To me, that’s trying to get to the essentials.

Maybe we aren’t all agreed as to what the essentials are in any given character or concept. That may vary from person o person, fan to fan. I think that’s why there are quibbles right now about Man of Steel; if Superman not killing is essential to the character, there’s a problem with the newest version. On the other hand, if “do not kill” rule is just like wearing red trunks, then it’s not essential. Is the Man of Steel Superman?

That comes down to you.

MONDAY MORNING: Mindy Newell

TUESDAY MORNING: Emily S. Whitten

 

Martin Pasko: The Age of Michael Jackson Comics

pasko-art-130801-5917889Before I Do This Thang for the week: I’ve been getting messages from readers. Apparently, I do have them. Or, as Bob Hope might have said, “I know you’re out there, because why else would Dolores be propping me up in that direction?”

These messages I’m talking about are all “Why do you use so many links?” Clearly, if you’re asking this, you’re not clicking on them. Hint: Some – not all, or even most, but some – of them don’t lead where you might assume they do. They are instead meant to be weird, “disconnective,” hit-or-miss jokes in and of themselves. So, as the most celebrated member of The Hair Club For Men once put it, “’Nuff said.”

Now, on to That Thang. Meaning I have to stop vamping with jokes about what I didn’t learn in San Diego the weekend before last, and, God help me, actually come up with a third and final part of my highly speculative and putatively uninformed rant to go with the first and second parts. [I say “putatively” because Richard Feder of Fort Lee, New Jersey, writes, “Aren’t the comics selling better than ever? What should I do?” (And, no; no link this time. Get off your fat ass and Google it.)]

If you’re just joining me here for the first time, please feel free – unless your ass really is too fat to allow you to lean over and reach your mouse or trackpad – to check out those previous parts. And maybe click on some on those links you’ve been skipping over. Go ahead. I’ll wait. It’s not like I have anything better to do.

Back now? Good.

One thing Iwasn’t joking about last week: SDCC really didn’t shed much light on whether the Big Two might be incrementally but profoundly changing how they think about creating and marketing comics. Specifically, that they might have to take back total creative control from the freelance talent, to better justify their claim that comics help generate new, original movie and TV properties – titles and characters that aren’t mere spin-offs from the oldest, best-known super hero “brands.”

But I remained in the dark not, as I facetiously suggested, because of the conditions endemic to the con itself, but, rather, because the Big Two’s massive “booths” at least appear to still be doing their dog-and-pony shows in much the samo-samo way as they have been since the beginning of The Gastrotrich Super-Star era and the annual “continuity stunt.” You know – the age of what I like to call Michael Jackson Comics. As in, “We’re going to keep rearranging our face because it gets us publicity even though we don’t entertain anybody anymore. (But we do have a few pet chimps who clap for us when we do it.)”

At first, superficial glance, little seems to have changed this year. There were the same long lines of people waiting for something, but you couldn’t quite be sure what because the crowds were too dense. And there were the same old book signings by the Flavors Of The Week – those comic book “creators” who have been rocketing out of obscurity and vanishing back into it just as fast, ever since Hollywood’s “‘bankable’ star” mentality was first applied to four-color pamphlets by, if memory serves, Jenette Kahn. She was the first Big Two publisher to wonder, for example, whether Superman might not sell better if it were John Byrne’s Superman.

And it did.

For a while.

Thirty years ago.

But this year at SDCC, when I took a closer look at those exhibits, and let my eye follow carefully where that long line was snaking to, it seemed as if more and more of those people were queueing up for a chance to glimpse some “teaser” footage from an upcoming movie or TV show, and the lines to buy signed copies of Flavor of the Week’s Superman or Smokin’ Hot Newcomer’s Spider-Man were shorter. The “brand” – the property – was what was making the loudest ka-ching, ka-ching.

But the people who decide what will be presented in these exhibits seem not to notice, and persist in announcing new comic book titles whose selling point is presumably the name of the creative talent rather than the super hero brand. Meanwhile, superhero feature films continue to succeed without being dependent on major stars in their casts, a phenomenon that is a reflection of a larger, industry-wide paradigm shift.

The early warning signs might be barely noticeable, but I really think they’re there. And it’s getting harder not to wonder whether someday – maybe sooner than even cynical me suspects – Disney and Warners will have convinced themselves that they can endlessly exploit their existing brands, through reboots not unlike those in the old annual face-changing stunts, without any help from their four-color pamphleteers. And if their comic book divisions will have ceased to yield new brands they can add to the product mix as break-out hits, they might start to wonder whether all those Flavors of the Week and their pamphlets are any use to them at all.

LATER TODAY: Emily S. Whitten Returns!

FRIDAY MORNING: Martha Thomases

SATURDAY MORNING: Marc Alan Fishman

 

 

Dennis O’Neil: Wolverine and The Real Life

oneil-art-130801-8847978I wasn’t wearing a tie last Friday when Mari and I hied ourselves up the road to the monsterplex to watch the movie du jour, The Wolverine. Nothing unusual there; to the best of my recollection, I’ve worn ties exactly twice in the last quarter century. The first such occasion was at my wedding, a bow to the mores of the tribe that spawned me. The second was when I accompanied Jenette Kahn, at the time my boss, to meet some guy from the United Nations at one of those hoity-toity Manhattan restaurants that don’t permit entry to gentlemen un-tied, and while they’re at it, the gents had best be wearing suits too – or at least jackets. These are classy joints. They don’t let just anyone in. To chow down at one of them, you have to be of the elite, or at least prosperous enough to buy a strip of cloth to hang down the front of your shirt.

They’re signifiers of distinction, of class, neckties are, and as such they’re akin to a clergyman’s vestments, a soldier’s uniform, a detective’s badge, the rented tuxedo I once wore to a prom…feel free to add your own examples. I’ll add one more of my own: superhero costumes.

Odd clothing has been a defining feature of superhero stories ever since that warm Cleveland morning when a teenaged artist named Joe Shuster made the first Superman sketch. This was almost certainly done at the behest of Superman’s co-creator, another Cleveland teen, Jerry Siegel. Why the funny suit? Well, Jerry and Joe were big science fiction fans and were probably influenced by the futuristic garments worn by the characters in the illustrations that were prominent in the pulp magazines – at the time, sci fi’s main venue. Circus costumes may have been another influence.

Whatever Jerry and Joe’s reasons for costuming their brainchild, it was a good idea. It was attention-getting, it marked Supes as something special, it was ideally suited to the iconic quality of the medium that eventually gave him a home, comic books. Consider it an unwritten rule: you want a superhero, bring on the costume.

But Wolverine is most surely a superhero and there he was on the big screen, embodied by Hugh Jackman who was wearing, not a costume, but duds you might buy at a sporting goods store. In so doing, he was nudging superherodom a tiny bit closer to what we will jocularly refer to as real life, and not the fantasyland versions of Mother Earth that have been superheroes’ usual domains. This is an aspect of the genre’s evolution and we’ll have to see if it becomes permanent. If it does stay, writing jobs may be get a bit simpler; storytellers won’t have to give their superdoers a pause to change clothes before dealing with the latest humungous crisis. (Lois, could you fall a little slower?…can’t get the cape to hang right…) But some quirky charm may be lost.

Time will tell. It always does.

THURSDAY AFTERNOON: Martin Pasko

THURSDAY LATER AFTERNOON: The Surprising Return of Emily S. Whitten!

NOTE: All allusions to “morning” and “afternoon” are EDT USA.

 

Michael Davis: The Gold Standard

davis-art-130730-7841477The following article is a lesson for young creators entering the business.

Remember, the comics industry is made up of relationships and the industry is filled with the bodies of young professionals who choose to go with the flow regardless of where that flow takes them or who that flow screws with.

Bad idea.

Be very careful who you hitch your wagon too and don’t throw a good friend under the bus just because it’s what everyone else does.

Thus begins the lesson…

There is a very short list of people I’d take a bullet for. Mike Gold is on that list. Mike and I have known each other for over 20 years. I was around three when I met him.

What?

During the time I’ve known Mike, he has not only been a good friend but also a real confidant and staunch supporter. Look, it’s not easy being my supporter. I’ve been known to bring drama into certain situations and the easy (if not smart) thing to do when that occurs is to step away.

Step away, quickly and with purpose.

Mike has always stood by me even to the point where that decision could have caused real risk to his position at the time.

Mike is like family to me.

Mike does not like the San Diego Comic-Con.

I love the San Diego Comic-Con.

Mike thinks SDCC has very little to do with comics and a bunch of other not nice things.

Mike is entitled to his opinion. I respect but disagree with Mike’s opinion.

Mike and I are still like family.

Thus ended the lesson.

WEDNESDAY MORNING: Mike Gold

WEDNESDAY AFTERNOON: Even MORE Emily S. Whitten!!!