Category: Columns

John Ostrander: My Friend, MEMcG

Ostrander Art 130203I’m going to exercise a point of personal privilege this week and write about a friend. Her name was Mary Ellen McGarry and I just received word that she died. Mary Ellen was a great soul, a giant heart, a wonderful talent, and a large personality. She filled a room three times over.

Out of all the people I’ve ever known, only my late wife, Kim Yale, had as outgoing and, at times, boisterous a personality. One of my nicknames for her was “Boom-boom” because her laughter and her voice could boom across a room and, indeed, across Lake Michigan.

And, lord, she could laugh. Loud, infectious, and riotous. I loved to make her laugh. I would get her going so hard that she would start hitting me to make me stop which, of course, only made me try harder.

In the summer of 1971 we worked as apprentices together at a summer theater, which meant we worked like dogs for very little money. It was a strange summer. The theater was located at a college so we all lived in dorms on campus. For Mary Ellen I made up a musical comedy, Tritzing to Tibet, based on the climbing of Mount Everest by Edmund Hilary. I should explain that it has less to do with historical fact than the central conceit of the movie, The Producers, in that any show that bad has to be a hit. I took all the events that happened in 1953 and, in an absurd breach of artistic license, moved them to 1937 so I could have an opposing chorus of Nazi mountain climbers.

Every night, just before curtain went up on whatever show we were doing, I got over to her in the wings and, sotto voce, sang her a new song from the show. I should also mention that in addition to not writing music I don’t even read music. The only purpose of the whole exercise was to see if I could reduce Mary Ellen to tears with laughter. Okay, so there’s a slightly sadistic side to me.

The thing is – over the years, any time we would get together, Mary Ellen insisted on hearing some or all of those godforsaken tunes. The last time was at a reunion last year for alums of the Loyola University Theater Department (where we first met). Mary Ellen had lung problems and at that point was in a wheel chair and had to constantly have oxygen. It didn’t slow her down an inch. And she wanted me to sing some of the songs from Tritzing to Tibet.

I demurred. To be honest, I was afraid that if I got her laughing too hard I might literally kill her. Boom-boom would have none of that. She knew her own limits and she knew what she wanted and, by god, I would sing. I did and she was right.

She was also incredibly brave. Her lungs were giving up on her but she was told that, with a lung transplant, she might live longer. However, she was also teaching kids at that point. She loved it but, if she got a lung transplant, she would have had to give it up. We all know kids are Petri dished for diseases and she would likely have caught those germs and her new lungs could not have taken it.

Mary Ellen and I had a long talk about it on the phone and she was clear and firm. She would not give up what she loved so much. I had to respect that. I still do.

So many people loved you, Mary Ellen. I hope you knew that.

There’s so much more to you than I can begin to recount here. I will carry your voice and your laughter and your spirit in my memory and my heart all my days. I will grieve the loss of you and that’s alright. Those we love who have died are worth the tears we shed for them. I will celebrate your life because you were so filled with it.

Thanks, Boom-Boom, for being my friend. Love you.

MONDAY: Mindy Newell

 

Dennis O’Neil: Iron Man Is A What???

oneil-art-130131-5805535So there I am, about to do a column themed to last Sunday’s episode of The Good Wife, when the telephone rings. It’s my main DNA-sharer and in the course of the ensuing chat, I mention the column idea and while we talk he does a Google search and – egad! – the digital oracle indicates that my premise is wrong.

Thank whatever benevolence caused Larry to call when he did, even if that benevolence is, in this instance, blind coincidence, because I really dislike being ignorant in print.

What I was going to impart to you is that on the aforementioned television program, a quiet revolution occurred. The title character, who is admirable and capable and sympathetic, came out of the ecclesiastical closet and pronounced herself an atheist. My thesis: with non-Caucasian and gay characters pretty common on the tube these days, the last barrier is the religious one. Your hero can be black or gay or female, I might have written, but your hero can not be a non-believer. Same is true in politics (I might have asserted): though the battle is not yet over, and I’m certainly not claiming that it is, race and gender no longer automatically preclude election to high office. But I can’t think of a single poobah who proclaims his atheism the way Mike Huckabee and Paul Ryan, to name just two of many, proclaim their Christianity. There may be the odd office holder here and there willing to deny faith in the almighty, as the great Senator Barney Frank denied heterosexuality, but they are emphatically in the minority.

But, alas, the revolution I was about to claim for The Good Wife didn’t happen. Rather, it’s been happening for a while now. Larry’s Google search revealed that there are at least 17 atheist characters on series television and – here comes the shocker! – nine in comic books. Among them is a fella I thought I knew pretty well because, for three years or so,I was his chief biographer. Tony Stark’s the name, and Iron Man’s the game.

When I was writing Iron Man for Marvel, the question of Tony’s belief system never arose, just as than the question of his favorite breakfast cereal never arose. That may be because comics are a very compressed way of delivering stories, and anything not germane to the plot is generally omitted, or it may be because somewhere in the pit of my psyche I thought that characteristics like religion were off-limits. Nobody ever told me that they were, but religion was never, ever mentioned in comics – or in movies or television or radio, and very seldom in genre novels. The no-religion stricture was one of those taboos that I assumed without really giving them much thought. However, I don’t believe that the taboo didn’t exist. My guess would be that the dudes in the carpeted offices feared that identifying a character’s religion would alienate anyone of a different faith. Maybe they were right.

By the way…the Wayne family were probably Episcopalian and if their surviving member, Bruce, were ever asked about beliefs, he’d identify with the family tradition. But he doesn’t get to church very often. Too busy jumping off roofs.

FRIDAY: Martha Thomases, Howdy Doody, and Corinthians.

 

 

Michael Davis: Dark Horse Wants Me Dead

davis-art-130129-7541603Mike Richardson CEO, publisher and owner has ordered a hit on me. Here’s the story…

Over a decade ago I sold a project to DC Comics and that deal fell apart.

Why? Why does the phone always ring when you are in the bathroom? Why do gay people join the GOP? Why from behind certain white guys look like girls? Why after I found out he was a guy did I still buy him a drink?

Sometimes it’s just silly to ask why. Sometimes you just continue on your journey the why becoming less and less important. I’m also not one to relive old dumb shit in my life.

This is not the place to pick at old wounds…but since I know you want to know…

The editor assigned to the project wanted me off the project. Yeah, my project, my idea and he wanted me gone. Why?

Why ask why? Why does every fat girl you made fun of in high school turn out to be a skinny fox who won’t give your stupid ass the time of day? Why don’t Democrats make it a point to never let the country forget we went to war twice for no fucking reason because of the GOP? Why do some people like fruitcake?

I’m above asking why and won’t lower myself to even think about why the editor wanted me off my own project. But what kind of writer would I be to leave my fans (both of them) wondering?

The stupid motherfucker just didn’t like me.

DC would have wrote me a check and still did the project without me but I politely told the editor “No thank you, I’ll take the project elsewhere.”

I think my exact words were something like “Fuck you bitch.”

Two days after that polite conversation, I was pitching the project to Dark Horse. Mike Richardson loved it and signed on to do it.

Take that, DC Comics!

Dark Horse is one of, if not the, best place, to do a creator owned property was going to do my project! On top of that Mike Richardson was going to edit the book himself!

Mike Richardson a legend in the business! Mike Richardson, maker of great comics, great movies, great toys!

Mike Richardson was going to oversee my project! That was indeed great news!

Mike Richardson was going to oversee my project! That was indeed a great problem!

Why you ask was that both great news a great problem?

Why ask wh…oh fuck it, I’ll just tell you.

It’s great because Mike is one of the best at what he does. Just look at the numerous products Dark Horse does all over the entertainment world Dark Horse is into movies, television, toys you name the media chances are good that Dark Horse has a project in it.

Not to shabby being in business with the guy that runs all that eh?

Why is this a problem?

Because Mike Richardson may be in Portland on a Monday, Los Angeles Monday night and Prague Tuesday afternoon. When Mike is overseeing your project meetings and feedback can take a day a week or a couple of months.

I started sending Mike outlines of the four-issue superhero mini series and Mike would send me notes or we would sit down and go over it. I did many and I mean many drafts of this superhero epic over a couple of years.

That’s right, years.

One day out of the blue Mike called me and said; “This isn’t a superhero story. Let’s take the superheroes out ”

Mind you, I had written literally hundreds of pages of outline over the course of what was now three years. Also this was to be my “Black Watchman,” a term coined by Keith Giffen, BTW.

So now I have to start all over. So I did and this was when I realized that my “Black Watchmen” story was a good story but it wasn’t this story, so Mike was right.

So for the next couple of years I’m submitting outlines to Mike he’s giving me notes and we meet on occasion to talk about the project.

Then low and behold, one day Mike says to me about my latest outline, ‘This is it, go do the book!”

So now I have to do the book.

Shit…

End Part One.

WEDNESDAY: Mike Gold And Alfred Pennyworth’s Guns

 

John Ostrander’s Crossing Realities

Ostrander Art 130127There’s a plethora of “reality” shows on the tube and some fit into the niche of what I call “redneck reality” – shows like “Here Comes Honey Boo Boo,” “Redneck Vacation,” “Alligator Wrestlers” and so on. There’s also a niche of “supernatural reality” shows such as Ghost Hunters, Finding Bigfoot, and other “investigative” shows. Of course there is also fictional horror shows that are real big like “The Walking Dead” and “American Asylum.” At least, these are shows that intend to be fictional.

I’m not loathe to hop on a bandwagon and I love combining genres or niches so I’ve come up with an idea for a supernatural redneck reality show I’m calling “Zombie Wranglers”.

Cue theme music and opening credits: Zombie Wranglers with Joe Bob Briggs, Ellie Mae Clampett and Simon Pegg.

Narrator: Zombie encounters depicted in this show are handled by self-proclaimed experts in the field. Do not attempt these at home. If you see a zombie, run like hell.

Opening visuals: The team walking through bayou country with Joe Bob in the lead. And he talks to the camera. Ellie Mae, in a tied off red plaid shirt opened to the third button and cut offs cut way up high, is on one side, Simon, carrying all the equipment, brings up the rear.

JOE BOB: This week me and the Zombie Wranglers team are in Bayou Country of Loosiana. Lots o’ Zombie sighting out this way. A few running wild. Hopefully, we can hook up with a local bokor, or voodoo priest, who can give us the lay o’ the land.

Now, your average bokor, he may raise himself up some zombies but mostly it’s just to work around the hut or run errands and such. Very rarely do you come across a bokor trying to create a zombie army and I myself personally have never come across one trying to create a zombie apocalypse. Stands to reason – if zombies take over the whole world, where’s the bokor gonna live, I ask you.

Sometimes you might get a hybrid, like a zombie loupy garou or werewolf. Those are nasty. I’ve heard some talk ‘bout bigfoot zombies but, personally, I’ve never believed in sasquatches myself. That’s a little too out there for me.

Some ignorant types said they don’t find zombies all that scary because you can just outrun ’em. That’s not always true. An older zombie, one that’s come back to life a while ago and whose grave is old, yeah, okay. Their joints are stiff and they just creak along. A newly raised zombie or one created by a zombie bite? That’s a different story. They can move pretty fast and you may not know which is which just to look at ‘em.

Hey, Simon – we seem to be getting’ nowhere in a hurry. How ‘bout you send up a zombie call?

Visual: cut to Simon, muttering.

SIMON: How ‘bout yew carry yer own weight on this show, yew bloody gobshite.

JOE BOB: What was that?

SIMON: I’m doin it!

Visual: Simon cups his hands around his mouth and calls.

SIMON: Urgh! Aargh!

Visual: All three heads turn as a cry comes back from close by.

VOICE (off) Urgh! Aargh!

Visual: Camera turns to catch a pretty fresh zombie lurching out of the brush.

ZOMBIE: Urgh! Aargh!

Visual: Joe Bob keeps his eyes on the off camera zombie as he gives direction. Middle background – Ellie Mae unbuttons another button on her shirt. Simon starts sneaking off in the background.

JOE BOB: Okay, Ellie Mae, prepare to lure him on. Not too fast now. And undo another button on that shirt; that’s pure ratings gold right there. Simon, start circling ‘round now behind him.

ELLIE MAE: Right you are, Joe Bob.

Visual: Ellie Mae, glancing behind her with wide eyes, faking being scared, prances on in front of the zombie, her breasts heaving, The zombie, distracted, follows her, reaching for her.

ZOMBIE: Hurrr?

ELLIE: EEEEEEEEE!

Visual: Joe Bob talks to the camera in a calm, professional manner.

JOE BOB: It’s a little known fact that zombies are easily distracted by a purty woman running just out of reach and screaming, especially if she has large hooters on display.

Visual: Joe Bob calling to Ellie Mae.

JOE BOB: Ellie Mae? You want to run a little faster than that, girl. This is a speedy critter.

Visual: The zombie grabs Ellie Mae by her hair, yanks her back, and bites her on the side of her throat. Ellie Mae no longer fakes being terrified; her screams are for real.

ZOMBIE: Hurrr! Aargh!

ELLIE MAE: Gaaaaaah!

Visual: Simon, coming up from behind, furiously plants a machete in the top of the zombie’s head. The zombie releases Ellie Mae but her eyes roll up in her head.

SIMON: Let go of her, ya bloody beastie!

Visual: The zombie, the machete still in its head, turns around and bites Simon in the arm. His eyes start to roll up in his head as he grimaces in pain.

ZOMBIE: Urgh! Aargh!

JOE BOB: (off camera) See now, this is a classic mistake in combating zombies. You want to strike crossways across the neck and take off their head. Top wise like Simon did does no damn good a’tall. Tell ya the truth, I’m a little surprised at Simon for bein’ so unprofessional.

Visual: Back to Joe Bob as he keeps a wary eye out off camera.

JOE BOB: Now yew folks are gonna get a little extra treat here. You’ll see how someone bit turns into a zombie like Ellie Mae and Simon are about to do.

Visual: Simon and Ellie Mae, their faces going white and their eyes sinking back in their sockets, stand jerkily and raise their arms in classic zombie fashion.

JOE BOB: (off camera) There now. Skins getting’ all pasty white and stuff. See that? Sure sign of them turnin’ into zombies, you bet.

ELLIE MAE: Braaains. . .

SIMON: Braaaains. . .

Visual: Joe Bob seeing that their coming for him and turning to run.

JOE BOB: Well, that’s about all the time we got for this week. I’ll be back next week with a new Zombie Wrangler crew. In the meantime, don’t let em’ grab you! Bye all!

Visual: long shot of the zombies chasing Joe Bob through the bayou as ending credits and theme run.

The Author Concludes: Discovery Channel, TLC – I’m waiting for your call.

The Editor annoyingly adds: Illustrating Mr. Ostrander’s column today is a Wasteland piece by the gifted artist and energetic entrepreneur Michael Davis, best known for his long-running ComicMix column published every Tuesday afternoon… when we can find him.

MONDAY: Mindy Newell

Marc Alan Fishman: Look! It’s a Bland… It’s a Plain… It’s Supermeh!

fishman-art-130126-1664484At the onset of the New52 there was a buzz and excitement over the flagship character of DC Entertainment. Known as (perhaps) the most recognizable comic book character of all time, Superman was all set to be relaunched for a new age… towing the company behind his Nehru collar and underpantsless new uniform. Well, here we are now 16 months after the super-retcon, and I ask you… are things as we’d all hoped?

In a word? No. In more than a word? Not a chance. In a timely metaphor? Not even by a Joe Flacco longshot. The Superman property is, just as it was prior to the New52: convoluted, marred by an already high barrier to entry, and choked on it’s own backwash of continuity errors and creator squabbles. The real question emerges: Why did it all go wrong?

Well, one finger of shame lay with a writer I admire quite a bit. Grant Morrison, for all his amazing contributions of the craft of comic bookery, just over-promised and under-delivered his new Big Blue Boy Scout. The pitch for Action Comics in the New52 was perhaps the boldest of its brethren to see the light of the comic rack. Ditching years of backstory to start us “five years before the present” in a new origin for the character. One that would return him to the roots of his golden age; where he was a more human Superman… fallible, nuanced in his personal politics, and more “of the people.” And for what it was worth the book had a strong start that left unto itself, was quite enjoyable. And then Morrison got itchy.

Action Comics crammed updated concepts and plot threads with reckless abandon. By the time the first arc was over, eight months in, we’d be treated to literary cacophony. I quote myself from my review of Action Comics #8:

“In eight issues we get a shiny new take on Lois Lane, Lex Luthor, Jimmy Olson, Brainiac, Metallo, Steel, the Legion of Super Heroes, the Phantom Zone, the bottle city of Kandor, the history of Krypton, a horde of Kryptonian villains-to-be (that frankly I don’t feel like scouring Wikipedia for names), and of course… Superman himself.”

Suffice to say, I could spend the remainder of this article going over my thoughts on the super Scottsman, but I digress. Morrison was but a single rusty cog in a faulty machine. That is to say he didn’t really have much of a chance to succeed.

As we all know, comic books are first and foremost a business. And as such, a business exists to turn profit. That means that even though continuity would be better understood and appreciated if a single Superman saw the shelves every month… DC and the powers that be would never let such a large property draw on the fan base just once every thirty days. The last(ish) son of Krypton was also being seen in the pages of Superman, another monthly… run by the always-popular, always-festive George Pérez.

Superman was placed in the present of the DCnU, which of course led most readers tackling both books trying to connect the dots of Morrison’s tee-shirt work-boot Supes versus Pérez’s Lee-designed line-riddled version. And where as Action dealt with legacy villains and plot threads… the modern take had new unmemorable villains, awkward call backs to Action comic plot threads, and more focus on “action” than its sister title. This led to an early exiting Pérez, citing editorial discrepancy and a lack of freedom on the book.

In less nice words? Morrison (whether he knew it or not) was driving the character, and Pérez wasn’t along for the ride. Shortly thereafter, new teams were swapped in, and Superman got to fight run-off villains from Wildstorm. And even now Superman, Girl, and Boy are all sharing a (terrible) crossover book… whilst Action slowly ties up its loose ends for Morrison’s announced departure. DC put its editorial eggs in Action Comics, and has let the “family” just mess up the living room while Daddy works downstairs.

This isn’t how to keep a fan base. The whole notion of the New52 was to eliminate confusing backstory, and hook in new readers. It takes time to do this. And hurling two books in two timelines, with conflicting information, new and old villains, all while placing the same character in a team book that takes place at some point between the two main books…. does not make it easy for a new reader to come aboard. Hell, I’m exhausted even typing that.

A short while back I lamented about my guarded optimism (or maybe it was pessimism) over the Man of Steel movie set to debut this year. Recently, super scribe Scott Snyder was announced to have a new ongoing at DC alongside the never-late-on-a-book-except-when-he’s-late-which-is-often-because-he-has-a-very-busy-schedule Jim Lee lending his artistic arm for however long it takes for him to be late again. And while Scott Snyder has done no wrong by me since I’ve picked up his previous titles (all being Bat books), I’m nothing if not entirely skeptical. I gave Action a shot until issue nine, and then fell off. H’El on Earth looked atrocious (and reports from my Unshaven Cohort Matt, who is reading it, confirms this fact). Does anyone else feel the winds of change gathering up under our feet? Could a decent turn at the box office and a shiny new book just make us forgive and forget 48+ books featuring a Superman marred by every convoluted problem he faced long before we knew what the New 52 was?

I’m certain we’ll forget. Superman Red and Blue anyone? Anyone? Bueller? Bueller? But forgiveness is another story. And empty promises have always been the kryptonite of the comic book reading public. Your move, DC.

SUNDAY: John Ostrander

 

Michael Davis: Dark Saturday Knight

davis-art-130108-1522096I finally watched The Dark Knight Rises last Saturday.

Just a short recap: personal demons of mine kept me from seeing the film when it opened because of the shootings that happened during an opening night screening.

The first day the film came to Blu-Ray I brought a copy and planed a Dark Knight Rises night, complete with all the man cave fixings. That week another mass shooting happened and again I put the film on hold. Then Sandy Hook happened and again I put the film on hold.

I freely admit that I’m a pussy when it comes to confronting my own demons. I also freely admit that because of those demons I’ve made stupid decisions and reacted quickly instead of smartly.

Comics, animation, video games and the like take up a great deal of my time and my life, but they are not all my time or all my life.

I was not ready to see The Dark Knight Rises and waited until I was.

The film was, in a word, great.

I don’t regret waiting I don’t regret not seeing it on the big screen because the film was so badass I could have watched it on an iPhone and loved it.

On another note…

Dwayne McDuffie was a dear friend and creative partner of mine. I have yet to watch All-Star Superman, written by Dwayne, which debuted around the time of his death. I’m just not ready. But it sure is something to look forward to.

WEDNESDAY MORNING: Mike Gold Laughs!

 

Emily S. Whitten: Geeklitism – Part I

whitten-art-130108-5164849I think tomorrow I’ll call up Merriam-Webster and suggest a new word for their dictionary. That word? Geeklitism. (Not to be confused with Geekleetist, which posts fun stuff).

It should be in the dictionary, because it certainly is a thing that exists. But how would I suggest they define it? Damned if I know, although I guess the short version could be: “claiming you’re a ‘real geek’ and other people aren’t; claiming you’re the superior geek.” But really, the various aspects of both this attitude and of being a “geek” generally are so broad that I’m not sure they can be encompassed in a dictionary definition.

The reason for this, and the funny thing about “being a geek,” is that it’s a different experience for everyone. For instance, I’ve been a geek probably all of my life; but I don’t know that I ever really knew it until adulthood, when, thanks to the increased ease of finding like-minded people via the internet, it suddenly turned out it wasn’t such a bad thing to be. As far as I recall, no one called me a geek growing up. I had no idea I was part of this mysterious group of people called “geeks.”

“What??” I can hear a geeklitist out there crying out in triumph. “No one called you a geek? That must mean that you didn’t get bullied by the “cool kids” in school! Haha! You can’t understand the suffering and hardships that I went through in my formative years because of my love of stories about hobbits! You are not a real geek like me!” (This is the kind of thing geeklitists say, don’t you know. Sometimes they also add, “And all the girls made fun of me!! I’ve never gotten over that! My life was so hard!”)

But that’s not really what I said, is it? Of course I got picked on. Most kids do. For instance, when I was in first grade and all the cool kids in my new school had moved on to jeans or whatever was in fashion, my mom, bless her, still dressed me in cutesy pastel sweatsuits with big decorative (but pointless) buttons and bows on them. It follows that one of my first memories of my new school is three girls in my class making fun of my clothes on the playground – at which point I probably said something mean.

I was a well-read little child, who could creatively insult other children with words that none of us really knew the meaning of; but they sounded like insults, so it all worked out. For example, at some point in my primary school years, one of the biggest insults I remember using was, “You’re corroded!” (Which makes no sense under the real definition but sounds like maybe you have a gross skin condition?) My favorite of the weird words I personally transmogrified into an insult when young was “You’re a transubstantiationalist!” No one else had any idea what it meant, but I managed to convince the kids I was using it on that it was a really horrible thing to be. Mwahaha. But I digress. Anyway, at that point, we all got in a fight. Like a physical fight, of the kicking and punching and hair and decorative bow-pulling variety. Yowch.

“Whatever!” the geeklitist is saying. “That’s not what I meant. That’s just fashion. You were only a geek if you were ostracized because of your offbeat hobbies and/or love of genre fiction as a child! That’s what makes you a real geek like me.” Well, yes. I was that, too. I used to sit by myself at lunch and read giant books that were too “old” for me, like Clan of the Cave Bear and The Mists of Avalon, propped up in front of me as I ate with painful slowness (something else for which I was occasionally teased, but which turns out to be the healthy way to eat. Take that!). I’d walk down the school halls reading A Swiftly Tilting Planet or maybe The Deed of Paksenarrion without looking up (during which I developed a great sixth sense for not running into people while looking down, which is very handy these days when texting while walking to work).

I was definitely called weird, and often, annoying (because I used big words and talked a lot) more times than I can count. I engaged in some geek activities that probably would have been thought cool by at least the little boys in my class, like watching Teenage Mutant Ninja Turtles and X-Men cartoons, but I never realized that, because at that point in my life, boys had cooties. (Of course.) I’m not saying I didn’t have friends; I did, and they were a lot of fun. But I also got made fun of; and as far as I knew, most of my friends were not actually interested in The Lord of the Rings or Batman: The Animated Series. I don’t even know that I ever thought to ask most of them.(Or if I did, and received blank stares, I probably never brought it up again. This is why I’d never make a good Whedonvangelist, another word I’ve decided should be in the dictionary.)

Those were the sorts of things I often enjoyed alone, and didn’t really talk about that much, and that was fine. I knew (from others telling me, repeatedly) that I was a weird child, and I guess I just kind of assumed that was how life was and would continue to be for me – having some interests that nobody around me shared. Of course, that feeling of being alone in one’s interests is often cited as part of the experience of geekdom; and of course, in truth, lots of other people also had those interests; I just hadn’t discovered them yet. But I guess that’s all part of being a geek.

“Ahaha!” an entirely different brand of geeklitist is chortling. “But none of that matters! That’s just kid stuff! You’re not a real geek like me unless you can list, right this minute, in reverse alphabetical order, every superhero who turned out to be a Skrull during Secret Invasion! And until you can name at least three obscure continuity errors in [my favorite comics character’s] ongoing storyline! And unless you can tell me your three favorite fighting tactics for the video game character whose costume you are now wearing!” But, second brand of geeklitist…the water is wide, and the world is large, and I might like a different character than you do, or I might focus on something for different reasons than you do. Are you saying your viewpoint and favorite genre things and factoids are inherently better and geekier than mine, and are the only things that can bestow upon all of us admission into the uber-exclusive society of geekdom, just because they are yours? …Well, yes, yes you are, and that’s pretty self-centered. We can all be geeks in our own ways, with our own specific areas of interest and knowledge. Right?

“No no,” chides another, lone geeklitist, standing apart with one brow raised and pointing a finger at each of us in turn. “You will never, ever be a real geek, because you didn’t watch Firefly until it came out on DVD! You only like the newest Doctor Who! You never participated in the drive to keep Chuck on the air via purchasing mounds of Subway sandwiches. You’ll never be a real geek, not any of you, because (cue dramatic music and Iwo Jima flag-raising reenactment) I was here first, and I claim this geekdom in the name of Geekmoria! It’s mine, all miiiiine!!!!!

…What? No, really, what? That’s just asinine.

“…”

“…”

“Well…maybe,” says the lone geeklitist doubtfully. “But I was here first.”

How do you know, lone geeklitist? Did you turn on your TV to a new show before anyone else in the entire world? Acquire an ARC of the first book in a now-beloved series? Hold in your excited hands the very first copy of the very first appearance of a comic book character? And even if you did…why does that give you any more claim to an appreciation of it than anyone else? Why does timing somehow make you more passionate about your geekdom than all the other geeks?

“…?”

Exactly.

So, any other geeklitists out there want to make a stand about how they’re the real geeks? I just ask because I don’t like to exclude people, although I realize the irony of saying that to you, geeklitists.

I’m hearing a lot of silence out there. Guess I’ll just wrap this u–what? I’m sorry? What did you say?

A chorus of low, angry, guttural voices rises from the deep to repeat itself, as one last group of geeklitists has its say:

You can’t be a real geek! You’re a girrrrrrrl!!

Oh, seriously. Shut up already.

And until next time, Servo Lectio!

TUESDAY AFTERNOON: Michael Davis Rises!

WEDNESDAY MORNING: Mike Gold Laughs!

 

John Ostrander: Freelancers Live Without A Net

ostrander-art-130106-5141827As the comics world knows, writer Peter David recently had a stroke. I’ve known Peter for a long time and I both respect and often envy his talent, skill and the breadth of his work. Peter has health insurance but there are plenty of bills that just won’t get covered and, as pointed out here on ComicMix, fans who want to show financial support can do so by purchasing his work at Crazy 8 Press. That’s incredibly easy; not only do your help Peter and his family but will probably get a damn fine read out of it at the same time. Like I said, Peter is a very talented writer.

Peter’s better prepared (as far as anyone can be prepared for something like this) than many in the field; he has health insurance and most other freelancers – including myself – don’t. It’s hard to get, and harder to afford, health insurance when you’re a freelancer. By it’s very nature, a freelancer’s life is precarious.

Take for example, job security. There isn’t any. Beyond your current contract (if you have one), there’s no guarantee you’ll have a job when it ends. You may be on a title for a long time, but that always ends. I had a “continuity contract” at one time with DC which guaranteed me so much work (and health insurance) within a given time frame, but that is long since gone. I don’t know if it’s offered any more. It was difficult for me to get a mortgage back when I bought my house (which I no longer own) and I dare say it’s tougher now if you’re a freelancer.

When you’re a freelancer, you only get paid for the work you actually do. There’s no sick pay, there’s no paid holidays, there’s no paid vacation. You sometimes get royalties ( or “participation” or whatever term a given company chooses to call it) and that’s nice. Amanda Waller’s “participation” in the Green Lantern movie sent me some nice bucks that were sorely needed at the time but that’s like finding an extra twenty in your jeans that you forgot you had. You never know when it’s coming and you can’t rely on it.

In some cases, you can’t even be sure you’ll get the check. The major companies are reliable but the smaller ones can be iffy. One company went into bankruptcy owing me thousands of dollars that I never saw. As I grow older, I continuously worry about getting work. For the past ten years I’ve done Star Wars comics over at Dark Horse but, with the sale of LucasFilm to Disney, that could change. (And, no, I don’t know any more about that than you do.) Will I be able to get other work? I’m going to be 64 this year and haven’t worked in an office for maybe 35 years. What office would hire me now?

When I was just out of college and aiming for a life in theater (another financially iffy occupation), my mother really wanted me to get a master’s degree in English. That way, I might be able to teach, have something to fall back on. My problem was – and is – that I know that if I had something to fall back on, I’d fall back on it. I had to work without a net, I felt, if I was going to make it at all.

Right now, it feels like I’m on the high trapeze and all the lights are out. At some point I’m going to have to let go of the bar and soar into the darkness and hope there’s another trapeze for me to grab. I have no pension, I have no life insurance or health insurance, I have no net.

This is not a pity plea. This is my life and I’ve chosen it. I’ve made my decisions and I live with them as best I can. I wish I had followed Peter’s example and branched out more into other media. I’m happy with some decisions I’ve made and regretful of others. That’s life.

What I’m doing is issuing a warning. There are many, many young writers and artists out there who want a career in comics. Very, very few can make a living off of it and, in many cases, that living only lasts a while. Some, like my fellow ComicMix columnist Marc Alan Fishman and his cohorts at Unshaven Comics, work day jobs while doing their comics work in their increasingly disappearing spare time. Once they’ve created the work, the Unshaven Comics crew also takes to the road, selling their comics at conventions. Ask them how tough that gets.

If you want to make comics a career, go for it. But you should understand what you’re getting into. I love my job and feel fortunate to have been able to do it for as long as I have. However, a freelancer’s life – whatever field – is precarious at best. It can be very scary.

If you want to try to make a living as a freelancer, just make sure you can deal with the idea of living without a net.

MONDAY: Mindy Newell

 

DENNIS O’NEIL: The World Must Make Sense

oneil-art-121227-3002978Here we are again: Christmas Eve, and I had an idea for a column – a kind of story/parable that would culminate in a macabre image involving the season’s most prominent icons.  The Scrooge in me thinks the piece might be pretty cool, but there’s another me that doesn’t want to perpetuate ugliness of any kind.  This second me believes in the season – or, to be exact, the need for the season.

I’ve never wrapped my head completely around Claude Levi-Strauss’ contention that ritual precedes mythology.  But the Christmas frolics might give me a clue.  Begin with this: outside, it is cold and bleak and the days are very, very short.  We glimpse the coming void and we are afraid.  Not panicky, just feeling a quiet dread.  And we rally – we gather together where there is light, and we sing, and we dance, and we exchange gifts and festive foods.  We defy the darkness, the dread.  The days will get longer, and warm: this we proclaim, and we are comforted. Deep inside, we share with our ancestors.

We accept the stories that arose in them to answer the brain’s need for structure and logic – the world must make sense!  – we must be able to explain.

We conflate ritual and myth and – behold!  A holiday!

So no ugliness from me today.  Nor tomorrow.  The next day?  Who knows?

The Weather Channel predicts snow tonight.  Tomorrow we will waken and perhaps the world outside the window will be lovely.  Later, Larry and Perri will come up from Brooklyn and we will share a meal and exchange tokens and that will be fine, just fine – exactly as we want it to be.

RECOMMENDED READING: Why Does The World Exist?, by Jim Holt.

FRIDAY: Martha Thomases

Emily S. Whitten: Another Day, Another…Death Threat?!

whitten-art-121225-4490372We’ve talked about being disrespectful of the dead because you don’t like their creative work. Now let’s talk about being disrespectful to the living.

As has been reported elsewhere, some pages from Dan Slott’s Amazing Spider-Man #700 have been leaked to the Internet prior to its December 26 (tomorrow!) release date, including the big conclusion to the current plotline that fans have been speculating about. Despite this being its own unfortunate situation (of spoiling a story conclusion Slott has spent a slew of issues building up), that’s not what I want to focus on.

As it turns out, the spoilered ending appears to drastically change the status quo of the Spider-Man story. This is not the first time that’s happened in comics or anything (not even the first time in Spider-Man, as I’m sure we all remember (hello, Clone Saga and One More Day!). But this particular change, which Slott knew would bring controversy, has drawn a huge amount of venom, and all of it is being heaped on Slott’s head – in many cases, in the form of death threats.

Death threats. Against a writer of fiction. About a fictional character. Whom he has been writing to great acclaim for quite a while now. People, I think we need to step back and think about our priorities and our behavior for a minute, here.

I can understand disliking the work of a writer who takes on an already beloved character and then does something unexpected with him or her (hello, certain Deadpool writers). I can also understand liking a writer’s work but not liking the turns they decide to have a story take. I can even understand taking to the Internet to discuss your unhappiness with the whole situation. What I can’t understand is threatening to physically harm someone because they wrote some words (or drew some pictures) you didn’t like. That is just not okay, and even if the people making the threats are being facetious (and some of them may not be, which is scary), that sort of behavior encourages an acceptance of a casual attitude towards violence, that, especially with the recent tragedies this year, should certainly be discouraged.

Look, I love comics just as much as anyone out there. I get invested in the characters and the stories too. I might get upset, or even stop reading a series, because they’ve changed the direction and I don’t like the result. And that’s A-OK. As readers, it is our prerogative to stop reading a comic if we no longer enjoy it, and it’s also one good way to show our dislike of the current direction of a story, since the companies pay attention to sales data. And as readers, it’s also fine to express our unhappiness in public forums, and can even influence further changes in direction, as these companies also tend to take note of the aggregate level of satisfaction we the readers are expressing about story direction. We are actually lucky in that way; it’s a pretty special thing to know that our opinions on a work of fiction might actually mean something to the future of that fiction. So hooray for us, consumers of a medium that, uniquely, tends to listen to its consumers sometimes and adjust its story accordingly. That’s cool.

What’s not cool is forgetting that this is a creative medium and a fictional world, produced by real people without whom it would not exist and who deserve our consideration as fellow human beings. What’s also not cool is getting so involved in hatred for a storyline that you forget what comics are – a series of stories that, by their very nature, must change and adjust with the times, and to keep the series from stagnating; a fate which to my view would be worse than a change in the status quo. The plots of ongoing comics will inevitably include some crazy stories like the Punisher turning into Frankenstein, or people making a literal deal with the devil (or demon) which makes them forget they were married and brings other people back to life. That’s actually part of the fun and wonder that is encompassed by the medium – that writers can do that kind of stuff (whether it turns out well or not) and then do something else, and then something else – and the story keeps changing, even when the fundamentals (generally) remain the same.

In this instance, I doubt the current turn of events will remain in place forever… and even if it did, well; would it really be so bad? Maybe it would. Maybe it wouldn’t. We don’t know, because the rest of this story hasn’t been written yet. It may turn out to be an amazing story. And if it doesn’t; well, then in time, it may be replaced by something better. Either way, it’s kind of how comics work, and it’s not worth threatening to harm a real, living, breathing person.

Slott has said that he’s taking the threats to his person seriously, and I’m glad. But I’m sad for the fact that he has to do that. Imagine living in that situation for a minute – being a known entity, with your picture out there for all to see, and knowing that more than one stranger out there has expressed the desire to hurt you, and could possibly do so. That’s a terrible and undeserved thing for someone to have to deal with. He shouldn’t have to be worrying about that, especially in the midst of what is probably some well-deserved time off for the winter holidays.

I didn’t realize when I started writing this piece that it would happen to fall on Christmas, but I find it apropos at a time when we are supposed to be experiencing the joy of the holidays and expressing goodwill towards our fellow people, to be posting this request to comic fans at large, and particularly to those who have been taking their fandom much too seriously lately:

Let’s keep remembering, as a community, that comics are a wonderful thing, created by wonderful people, and that those people deserve our respect and consideration as fellow human beings.

Oh, and one more thing: let’s remember that real people are more important than fiction. And not threaten to harm them, because that is terrible.

Thank you.

And now, all that remains as the year draws to a close is to wish everyone out there a Merry Christmas! Or a Happy Hanukkah! Or a happy holiday of whatever sort you may celebrate!

And until next time, be kind to each other, and Servo Lectio!

TUESDAY AFTERNOON: Michael Davis

WEDNESDAY MORNING: Mike Gold