The Mix : What are people talking about today?

Mike Gold: Freedom of Speech Without Freedom to Listen?

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Who decides what is pornography? Who gets to stop people from seeing it? And why do they bother?

A Utah state senator got a bill passed declaring pornography a public health crisis. It’s been a while since I’ve been in Utah, but I was in New York City a couple days ago and I figure if porn is a “public health crisis” in Utah, there would be some sign of that in the Big Apple. I saw no signs of any public health crisis whatsoever. I asked my fellow ComicMix columnist Mindy Newell if she’s seen any signs of a porn-related health pandemic; by day Mindy’s an operating room nurse in the New Jersey portion of the metropolitan area. She acknowledged that pornography might be a threat to the health of certain religions that maintain broad governmental power, but it’s not a physical health threat like, say, the ebola epidemic.

Of course, true freedom of religion must include a person’s right to not be held to the religious standards of others. According to the Salt Lake City Tribune, 37.36% of that state’s population is not Mormon and, by federal law, the majority religion has no right to force the rather large minority population of non-Mormons to adhere to its religious predilections.

But, I dunno, maybe they’ve got all sorts of problems with “porn” out in Utah that New Yorkers don’t have. I would give Republican State Senator Todd Weiler the benefit of the doubt, but then I’d be enabling him and I don’t want to do that. Weiler promises to introduce at least three more “anti-pornography” laws next session, including one that would demand your local Internet service provider (ISP) add systems that would make you have to register and prove your age in order to view pornography… assuming you are in Utah.

As I noted, “pornography” is not clearly defined. I understand why: any solid, comprehensive definition must define the bible as pornography as well as www.heresnewtittiesforyou.com… not to mention medical care sites, rape crisis information, psychological and suicide prevention sites, and so on.

Pete Ashdown, founder of a Utah ISP, told the Associated Press that completely filtering the Internet of porn is technically impossible, pointing to China’s inability to stop the courageous rabble from using the Net to foment protest. “Trying to control the Internet in these broad stroke ways never works,” Mr. Ashdown stated. “Whether you’re an autocratic government trying to tell people that democracy is not good for them or an uptight legislator in Utah telling everyone what is pornography and what is not pornography.” His opinion was shared by many First Amendment lawyers and freedom fighters, who note that the state of Utah cannot impose its will onto interstate traffic.

Of course, the electronic book-burners always hide their “moral” inquisitions behind the banner of “we’re doing it for the children.” These people are both liars and fools: the kids are alright, and turning something into forbidden fruit only makes it sweeter.

I simply do not understand why these imperious jihadists do not simply go back to doing what they do best: persecuting homosexuals, the transgendered, and feminists, and where they go to the bathroom.

You might ask, what does all of this have to do with comic books? Ask such accused pornographers as J. Michael Straczynski, John Romita Jr., Alison Bechdel, Keiji Nakazawa, Frank Miller, Alan Moore, Brian Bolland, Phoebe Gloeckner, Neil Gaiman, P. Craig Russell, Howard Cruse, Raina Telgemeier, Daniel Clowes, Brian K. Vaughan, Fiona Staples, Robert Crumb, Howard Chaykin and Maurice Sendak… to name but a very, very few.

Better still, go over to the Comic Book Legal Defense Fund’s website and see how you can help stop this madness.

Michael Davis: Back In The Day

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Lois LaneBack in the days of “I am Curious Black,” a 1970 Lois Lane story about Lois using a machine to become a black woman; she does so to see what it was like to be black.

Back then the good folks at DC did not think twice about a black artist or writer. Now, if a story with a black character comes down the pipe, the net is in an uproar if black creators are not involved.

Me? I say the white boys have at it. A good story, like a good character, is colorblind. Trying or even wanting to ban white people from writing black characters is as horribly short sided, stupid, and as prejudiced as banning Muslims from America.

A white writer telling a story featuring a black character is one thing. Telling a story where they try and define the black experience on some level is quite another. To do that… well is not easy.  However, it can and has been done. Stephen Gaghan pulled it off in the film Traffic. That is a textbook example of the black experience written wonderfully by a white person.

On the other hand, the English writer Mark Millar, one of the great comic book writers of his or any generation, gave us Tyrone Cash. Tyrone started out Dr. Leonard Williams, a renowned, brilliant African American scientist who figures out how to gain the powers of The Hulk while retaining his intellect.

What does Dr. Williams decide to do with his newfound power? Why, he does what any black brilliant scientist would do after figuring out how to gain the power of the Hulk yet retains his intellect.

He changes his name to Tyrone and becomes a drug dealer.

As a child, I was happy to see black people in a comic book. Happy even after my mother read the Lois Lane story and asked me, “Why didn’t they make Superman black?”

“Because it’s Lois Lane’s comic!” I said with pride, I mean duh.

If this was such an important story, then why indeed didn’t they make Superman black? That’s what she was saying that my eight-year old brain couldn’t grasp. Seeing such, she moved to the next best thing.

“Why don’t you make a black Superman, Michael?”

“Because DC Comics would commence a legal proceeding against me for copyright infringement. They have the means and the will to do so. My God, woman perhaps you should stop working seven days a week at those silly two jobs and get with the program.” I said.

Yeah, right.

I didn’t say that I was eight. To me copyright meant copy something right.

What I did say was “Because Superman is white.”

Turns out decades later I co-created Icon, a black Superman if ever there was one.

Icon, Static, Hardware and the Blood Syndicate were met with overwhelmingly positive reviews from most. I heard ‘its about time’ so often I was convinced people thought the books were about a black Doctor Who.

Many met these heroes with a deep anger and resentment. Nobody talks about the hate mail received but as always when black people make significant inroads into a category once denied then made difficult there’s always a “stay in your lane nigger” component when finally, people of color arrive at then enter the door.

Those letters were scary, but what was scarier was the attack those heroes took from other black creators, attacks that were brutal, horrible, and damaging. The company line was never to respond. I didn’t agree then, and I do not agree now. I feel you cannot let others define you.

That’s why I’ve spent the last 20 plus years setting the record straight.

I realized something the last time I spent part of my weekend in jail.

Yep, you read that right.

I was in a restaurant in a lovely neighborhood – mine. Two white guys ran across the floor and attacked me. Little known fact: although it’s called something different, California has a stand your ground law not unlike what they have in Florida.

I stood my ground, and I was arrested.

I realized something while I was unjustly locked up (again, yep again) I realized no matter why we were there, we united like brothers. Black or brown, it didn’t matter.

There was no beef between anyone; no one acted like they owned the place and no one pulled rank. A few hours later, a well-dressed white kid around 20 was let into the cell. It had taken around 12 minutes before he was beaten to a bloody pulp.

No. That did not happen.

The white kid was led to a private cell, we all stopped and looked as the guards walked him pass. “No handcuffs.” Someone noted. I said “They only make them in black or brown.” Even the black guard bringing us our grill cheese and diarrhea sandwich laughed then said; “Maybe if you used that quick wit for something you wouldn’t be here. Ya think?”

Or maybe the powers that be could look at the video and listen to eyewitness accounts instead of arresting the black guy who was defending himself.

Ya think?

No one got upset when the white guy was given a private cell, although nothing would have happened to him if placed in with us. Why would it? No one was upset the white guy received special treatment because we all knew this was the way it was.

Back in the days of Lois Lane’s “Black Like Me” moment DC and Marvel gave little if any thought to black creators when deciding to do a story about a character of color. They didn’t have to; they do now.

I am glad they do now if Marvel and DC would stop giving the general pubic the impression they are the kings of diversity that would be nice. The so-called black Avengers, black Captain America, black/Latino Spider-Man, black Batman, black Superman and the rest did not issue in the modern age of diversity.

Icon, Static, Hardware and the Blood Syndicate did that, 23 years ago and Brotherman did it 25 years ago.

Notwithstanding a full quarter century of remarkable black content, the perception among most black and white young fans is still, if Marvel and DC don’t do it, it matters little if at all.

That’s important; I’ll revisit that later.

There exists a serious movement among some in the black comic book community to bring black comics to black and mainstream audiences. Notable among those fighting the good fight, Mala Crown Williams and MECCA Con, the Black Age of Comics Convention, Ryn Ryonslaught Fraser and his wonderful World of Black Heroes website… and no one works harder than John Jennings. Still, there also exists an insufferable discord among some black creators.

Now is the time for that shit to stop.

Back in the day when successful black comics received hate mail black creators were in charge of their voice. If we responded or didn’t, we had a choice to do so or not. That was our right. That a right many of us take for granted

When DC Comics ran the Lois Lane story “I am curious Black,” that was a noble attempt to show people what life was all about in the community. DC Comics spoke for us because we had no voice to do so.

Yeah, we had a ‘right’ but no voice within comics to speak for ourselves.

I had little choice but to love seeing Lois Lane as a black woman. Love it or leave it was my only option there was nothing else out there for me.

Some choice exists now in comics for kids, and I’ve always had a choice rather or not I’ll be arrested again.

I can stay out of restaurants where I’d be one of a handful of people. I could avoid specific concerts, plays, sporting events or anywhere where being an African American man would be an issue.

I could just stay home.

That’s my choice and the choice of every man. But I have a right to live where I want, eat where I want and do what I want within the law. That sounds grand, but the reality is the ‘law’ hasn’t worked for me.

I love America and “truth, justice, and the American way” is a nice slogan, but the sad truth is I think twice about running for a bus. I expect no justice, and the American way is a myth to me.

The comic book industry, such as it needs to face some serious certainty. Yes, we can voice our opinions but even today those of us who create African American content for the mass market are taken less seriously unless it’s from Marvel or DC.

Bitch all you want. Them’s the facts.

Donald Trump has a real shot of becoming President. Once thought of as a joke that joke is no longer funny. However, it’s not Trump that scares me. What scares me is the massive support of a man who denounces the KKK only after days of defending reasons he didn’t denounce him.

He’s insulted Mexicans, Muslims, African-Americans, women and the physically challenged. He’s never once apologized for insisting President Obama show his birth certificate which is just another way to have a nigger show his papers.

Who supports that kind of person for President? An awful lot or people.

That guy may become President we may be well on the way to the days when Lois Lane and Superman have to speak for us again because what little voice we have now will be even less. What little power we have as comic book creators will be even less than that.

I was in jail six hours before my lawyer got me out. The guard first walking to the white guy’s cell assuming he was “Davis.” When he finally got to me I said “I’m mistaken for short blond white guys often.” No laughter this time.

Leaving the cell, I felt instantly less empowered. You would think I’d feel more empowered. Nope. Locked up, I was part of a group of people who regardless of why they were there were united. Out of jail, I can’t run for a bus if a white lady is ahead of me doing the same.

Regardless of our differences, the comics community would do well to consider what we have to lose if there are so many who want Trump to win.

One last word about Tyrone Cash. Millar should be forbidden to enter America until we figure out what’s going on.

 

Joe Corallo: Howard Cruse, American Advocate

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Last Thursday, the LGBT Community Center here in Manhattan (a.k.a. The Center) had its opening reception for their exhibit Wendel’s World: Gay Life in the 1980s. For those of you that don’t know, Wendel was a comic that ran in The Advocate throughout the 1980s created and drawn exclusively by the underground comix pioneer, Howard Cruse.

The reception was filled people who have been passionate fans of Howard’s for decades, as well as some newcomers. The walls of the fourth floor of The Center were decked out in framed Wendel pages including one of my favorites where Wendel’s good friend Sterno has fun at his place with Cyril. Other notable LGBT cartoonists such as Ivan Velez and Jennifer Camper were in attendance, as well as Howard’s husband Eddie Sedarbaum. They also had wine and cheese which isn’t a reason to go to these sort out things, but it sure is nice.

bio.curiographicIf you haven’t read Wendel yet, do it. The entire run of the strips from The Advocate published between 1983 through 1989 is available in the still in print The Complete Wendel. Howard Cruse managed to craft a story about a young gay man, Wendel, with a large supporting cast including Ollie, his boyfriend, and his over-the-top friend Sterno – and that’s putting it nicely. The large cast of background and recurring characters brings Wendel to life in a way that many other comics are unable to accomplish and help to suck you into this world.

The other element that brings this strip to life is the variety in the subject matter. Whereas many other attempts to talk about gay life over the years are often too tempted to dwell solely on the sex and scandal aspect, Howard crafts a story about community. More than a few Wendel strips tackle the tedium and egos that populate bureaucracy in any progressive movement and helps to show that the gay community in the 1980s was not a monolith, but a complex web of clashing priorities and ideologies in a way that few people have been able to replicate since then. Certainly in comics.

All of those are reasons that Wendel, and particularly Howard Cruse, should be acknowledged at The Center. Howard’s influence in comics, particularly LGBT comics, extends far beyond the 1980s though. The decade prior saw his comic Barefootz as well as his contributions to Gay Comix after being tapped to edit it by Denis Kitchen at Kitchen Sink Press. The 1990s would see his Eisner award winning graphic novel, Stuck Rubber Bab. Since then, he’s had much of his previous work bought back in print, has had new work in anthologies like Jennifer Camper’s Juicy Mother, Northwest Press’ Qu33r, as well as his own occasional comix that he posts online here.

Throughout all of his work in comics, Howard Cruse has advocated to give the gay community a voice through his work, and later on through Stuck Rubber Baby incorporating the Civil Rights Movement into gay rights in a way that has rarely been done before or since. Howard has managed to create such powerful works in part because he himself is an activist and has been on the front lines of the gay rights movement for decades and his cartooning in many ways has been more a tool for his activism than just a profession.

It’s great to see Howard’s comics like Wendel being recognized today. Maybe soon we’ll see Stuck Rubber Baby get more recognition for being the groundbreaking work that it was as well. If you haven’t gotten around to these works, it’s not too late to pick them up. And if you have, Howard’s still cranking out comics so make sure you check out his site from time to time to see if a new one has popped up. And hey, if you really like his comics you can drop him a note on his site. He’ll appreciate it.

Box Office Democracy: The Angry Birds Movie

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Last month I started hearing some buzz that The Angry Birds Movie was the next Lego Movie, a license that everyone thought would make a garbage movie that instead made for a critical darling and a smash hit (if animated movies aren’t your thing, Iron Man was the same scenario way back when). I didn’t think it was possible because the trailer was so insufferable it became my least favorite part of seeing any kids’ movie the last few months, but I went in to the movie with my eyes open. The Angry Birds Movie is so bad that I want to believe all the good things I heard were part of some sort of insidious astroturfing campaign to buoy a terrible movie. It almost certainly isn’t true, but it’s vastly preferable to believing that actual people enjoyed this lazy tie-in movie that missed its moment by almost half a decade.

There’s a persistent problem among mediocre children’s movies of either severely lacking in plot or feeling like the three acts are completely separate entities with no connective tissue.  Angry Birds dodges those particular critiques, but does so by throwing just so much plot at the screen and hoping anything sticks. There’s an anger management class, there’s an invasion of pigs, there’s the search to find a legendary hero, there’s even some light municipal corruption. Because of all this, there’s almost no way to figure out what the thematic message of the film is. I’m not sure if a kid watching this movie is supposed to be wary of outsiders or appreciating the value of being angry. There’s even a compelling case to be made for both believing in and not believing in the value of idols. It’s all over the map. What it does do effectively is deliver a ton of crude jokes, and judging from the reactions of the kids in my screening the more a joke could relate to poop or pee, the more laughs it would get from this crowd.

While a lot of this must have gone over the heads of the target audience, there was a fair amount of dark content in this movie that was rather striking. The movie is, ultimately, about this gang of pigs coming to this island full of birds and stealing all their eggs. Eggs are only treated as a foodstuff by the pigs and are expressly considered as unborn children by the birds so it’s a little strange to have a children’s movie be about fetal cannibalism. There’s also a joke where the main character calls a background character a pedophile for his tendency to offer hugs to people. This is a character who runs a business as a “hug trader” which, while it would be strange in the real world, doesn’t seem out of whack with the other things on this idyllic island full of birds that only feel happy. The Angry Birds Movie is an easy-going kids movie 90% of the time, but there’s a dark cynicism underneath that I found unappealing and grating.

Perhaps the most frustrating part of this film is that the climax of the film is just a film adaptation of the gameplay of the mobile game. The birds set up a slingshot and fire themselves at the pig city and wreck the place. All the birds that are from the game have their powers regardless of if they’ve done anything suggesting they had those powers before, and this goes on and on. It doesn’t feel faithful to the rest of the film in any particular way, but rather feels like either someone at the studio or someone at Rovio Entertainment insisted it had to be in there or audiences would feel cheated or wouldn’t recognize it as an adaptation of the game or some nonsense. It didn’t fell necessary, it wasn’t visually interesting or funny, and it didn’t advance the plot— it just made me groan and roll my eyes.

It’s a shame that The Angry Birds Movie came out so close on the tail of Norm of the North, because it puts such a damper on my ability to really tear in to it. While Angry Birds is a bad movie at least it’s a movie, at least it has a story, at least it has a coherent style. My entire calibration system for bad animated movies might still be out of whack, because as little as I liked Angry Birds I appreciated the little things it did right, like the one joke that made me laugh or the more interesting soundtrack choices. It’s certainly damning with faint praise to say that Angry Birds is definitely not the worst movie I’ve seen all year— but it’s head and shoulders above the bottom, a triumphant sort-of bad.

REVIEW: Red’s Planet

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By Eddie Pittman
Amulet, 192 pages, $19.95/9.95

Red's PlanetBeauty is in the eye of the beholder but there appear to some things that are universally acclaimed, so science fiction is rife with aliens that like to collect things. Add to the growing list the Aquilari, who ply the spaceways in their flying saucer, scooping up rare and fascinating artifacts. Their most recent acquisition is a 1964 Ford Galaxie 500, refurbished into a rural Georgia police car. When the aliens gather it, they did not stop to inspect the contents so they were in for a surprise when out pops a 10-year red-headed girl.

This human, known only as Red, is the focal point of the web comic turned graphic novel Red’s Planet from Disney animator Eddie Pittman (Mulan, Tarzan, Lilo & Stitch, Phineas & Ferb). Launched in 2011 when his own daughter was 10, Pittman has found a wonderful premise for an all ages book with warmth and humor, even if the latter is a little overly familiar.

When space pirates attack the ship, the crew abandon it, leaving a robot similar to the Fantastic Four’s H.E.R.B.I.E. to manage things. The ship crash lands on an planet capable of sustaining all manner of living beings and Red finds herself a stranger in a strange land. The robot does something to allow her to communicate with all the lifeforms since they can all talk to one another and then the search for survival begins.

Red, who hates the nickname, doesn’t miss Earth having grown up in a group foster home and hating it, so uses her pluck to forge ahead while the other lifeforms bicker amongst themselves or go their own way. In time, though, one cute little bugger named Tawee becomes Red’s constant companion and he’s carrying some egg-shaped artifact from the ship and it periodically glows, portending…something. In time, they find a resident, a grumpy Hawaiian-shirt wearing lion-like guy going by the name Goose. He just wants to be left alone, admitting this was not his native world and was stationed there for a reason.
Across the 192-pages, lots of threads are introduced with very little resolved by book’s end. The web comic was envisioned as a 300-page work but I suspect it has grown in size since then. This is the latest in a series of young adult graphic novels that offers annual installments (the second book is already promised for 2017). If I were a parent, I’d expect something resembling a complete story for my $20.

Pittman’s artwork and color and storytelling are all top-notch, which is not at all a surprise. Red is fun and the aliens diverse if all a little too human in their interactions. This is a fine introductory chapter promising lots of action and content in the next book.

Mindy Newell: Civil War and Our Man In Orange

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As I mentioned last week in this space, Captain America: Civil War rocked!! Well, if you stick bamboo slivers under my nails, I will admit to having one nitpick with the film, but I don’t want to go into it right now because of the off-chance that you haven’t seen it yet. That’s almost a tough pill to swallow, since (a) I don’t think you’d be here if you weren’t a lover of comics and geek culture – with a nice healthy dose of politics thrown in; and (b) Civil War has topped the $1 billion globally, with domestic gross profits adding up to $347,390,153 – and the weekend isn’t over yet as I write this. So I’m going to wait until next week to talk about that one nitpick, in case I forget, which, knowing me, could be quite likely – so somebody remind me, ‘kay? And overall it’s a very small, tiny, minute, nano-millimeter pick of a nit.

And because of that off-chance that you haven’t seen it yet, and because, unlike me, spoilers annoy the hell out of people – they just whet my appetite to actually see the action play out on the big or small screen – I’m not going to attempt to review the movie; though I heartily recommend you go over to my friend Emily S. Whitten’s column and to Arthur Tebbel’s review. Let me warn you now that Em’s column is a bit spoilery, though im-not-so-ho, she does a great job of, uh, whetting the appetite. Oh, and also check out those Twins! Geeks! Tweeks!, in which Anya brings up a problem with superhero movies that she and many other people have – including my daughter Alixandra – which is actually quite legitimate.

I only know one person who saw the film and went “eh,” and said she didn’t like it. When I asked her why, this individual said “Too much talking. Not enough fighting.” I don’t agree with her at all; Civil War is the epitome of what makes the Marvel cinemaverse – and that includes the television and Netflix shows – so successful and DC movies, well, suck big time (on the other hand, the DC “televerse” does “get it,” so I don’t understand what goes wrong with their big screen attempts). Others have said before me. “Marvel gets it.” Cap, Iron Man, Hawkeye, Black Widow, Spidey, et.al. aren’t four-color heroes transcribed onto the big screen. They are Steve, Tony, Clint, Natasha, Peter, and et.al. And before they put on their fightin’ clothes and become the Avengers, every single one of them, to “mis”-quote Emily, “bring the emotional heart of the movie to the forefront.”

As for the Man In Orange, here’s this week’s suggested reading in Trump-A-Rama:

Gail Collins, The New York Times, “Meet Deadeye Donald” “Donald Trump has a permit to carry a gun. ‘Nobody knows that,’ he told a gathering of the National Rifle Association on Friday. Well actually, it’s pretty hard to not know since he brings it up all the time….”

Dana Millbank, ArcaMax, “Trump Bets on Mass Amnesia” “Just how gullible does Donald Trump suppose the American voter is?

“The billionaire showman has been the presumptive Republican presidential nominee for only a couple of weeks, yet his general election strategy is already becoming clear: hope for a mass nationwide outbreak of short-term memory loss. His top strategist, Paul Manafort, has said that the ‘part that he’s been playing is evolving.’ But this isn’t evolution – it’s reincarnation… That call Trump made ‘for a total and complete shutdown of Muslims entering the United States’? Turns out that was ‘just a suggestion,’ he now says.

“The federal minimum wage increase, which he repeatedly opposed? Now he’s ‘looking at’ an increase, he says. “The massive tax cut he proposed during the primary, which analysts said would add $10 trillion to the federal debt? Never mind! He’s hired experts to rewrite it in a way that cuts taxes less for the wealthy. “Those tax returns he promised ‘certainly’ to release? Not going to happen, he says now.

“Remember all those companies Trump blasted for sending jobs overseas? Ford was a ‘disgrace,’ Disney had ‘outrageous’ practices, Carrier deserved higher taxes, Apple should be boycotted because it didn’t help the FBI in a terrorism case, and Trump’s never eating an Oreo again because Nabisco outsourced. Financial disclosures last week showed Trump has invested in all of the above.”

Talk about your Civil Wars.

Ed Catto: Branding The Phantom at 80 – in Dublin!

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Geek Culture is both spontaneously youthful and historically well heeled. New brands emerge frequently, like BOOM! Studios Lumberjanes and The Backstagers, just written up in the New York Times. But brands like Batman and Captain America are more than 75 years old and provide a rich history for storytellers and collectors alike.

In this, my second of three articles exploring Geek Culture’s fascination with The Phantom, an 80 year old brand, I’m taking our conversation to Ireland.

Eoin McAuley is an ambitious professional who helped launch the Dublin Comic Con. And this year, there’s a charity overlay at this convention spotlighting The Phantom. Here’s my recent interview with Eoin.

Ed Catto: I’m anxious to hear about the Dublin Comic Con, Eoin. Can you please tell me about your convention?

phantom-3-8939996Eoin McAuley: Dublin Comic Convention was first launched in 2013 by two friends, Karl Walsh and Derek Cosgrave, who wanted to bring a small bit of the New York Comic Con to Ireland. These friends had props and costumes from films and also made their own. They wanted to give the Irish a chance to see these props and sets and also to meet the stars of film, TV and comics. With a dedicated team behind them, Dublin Comic Con (DCC) was held in the National Show Centre in Swords in August 2013. Over the two days more than 7,000 members of the public came through the doors. We had sold out both days and had to close the doors to more people entering by lunchtime on both days.

The same was true for the second year. So last year, 2015, we moved to the Convention Centre in the IFSC. This, too, sold out with a capacity of over 15,000 people over the two days coming through the doors.

DCC is very much a family affair and is very family oriented. Our age group is from a week old baby to people in the late 60s early 70s. The majority of our guests would be people between the ages of 25 and 40. We also have a very even distribution between males and females. No longer is the comic world just the playground for boys. You will also find a lot of women in the comic world and quite a large female following.

This year (at our DCC) we will be hosting Kevin Eastman (Teenage Mutant Ninja Turtles), Jim Beaver (Supernatural), Scott Wilson (The Walking Dead) and Robert Maschio (Scrubs), and others yet to be announced.

DCC is a fun family event and is the biggest Irish owned Comic Con in Ireland. While it is may still seem a relatively young event it is well established as a corner stone for the growing interest in the Comic Con scene in Ireland.

While there are many smaller Cons throughout Ireland during the year, this is the only Irish Con to cater to families and be all-inclusive for attendees.

phantom-2-6703367EC: That sounds fantastic. Congrats on your great success. And as I’m exploring the branding of an 80 year old property, can you tell me why The Phantom was a good fit for you?

EM: Last year DCC, in partnership with Lightning Strike Comics, produced a special one-shot comic featuring Sherlock Holmes with the kind permission and consent of the Arthur Conan Doyle Estate. The comic was produced to raise money for charity and this year the show’s organisers wanted to produce another special comic but this time use it to help promote unpublished talent and give local artists the opportunity to showcase their work.

This year marks the 80th Anniversary of The Phantom. The character’s rich history provided the perfect forum for creators to express their story telling capabilities while working on a licensed character. Also, the opportunity to work on such a character who served as the template for so many later costumed characters proved to be a chance of the lifetime.

The Phantom as a character (or should that be characters given his legacy tradition) is so rich featuring high pulp action, mysticism and at the centre of it all, the beating heart of a family. There’s a reason why the character has continued to have so many stories told through a multitude of different mediums for nearly a century, and everyone working on this project feels honoured to leave their contribution to the story.

EC: I’m impressed by your charity efforts. Can you tell me a little about the charity comic?

EM: In celebration of Lee Falk’s Phantom turning 80 this year, Dublin Comic Con have been granted special permission by King Features Syndicate to produce an exclusive comic of the character to celebrate his anniversary. The comic will be available for sale only at Dublin Comic Con, taking place in the Convention Centre in Dublin on August 6th and 7th.

All proceeds from sales of the comic will be donated in full to Tallaght Hospital’s Children Ward, Temple Street Children’s Hospital and Crumlin Children’s Hospital in Dublin.

phantom-1-3018474The comic itself will feature previously published comic strips, including The Phantom’s origin strip from May 1939, material on the history of The Phantom, his creator Lee Falk and an article on King Features Syndicate.

There will also be original comic strips created by local artists featuring the work of: Cian Tormey, Johnny McMonagle, Arif Iqbal, David McDonagh, Karl Orowe, Simon Hall, Roisin Young, Basil Lim, Vanessa Ronan, Ashwin Chacko, Derek Keogh, Sean Hill, John O’Reilly, Jerry Higgins, Sinead O’Neill, John Fitzwilliam and Dave Williams. The project will be edited by Lightning Strike Comics Publisher Eoin McAuley.

EC: How did you go about working with rights holders to develop this Phantom project?

EM: We initially approached King Features Syndicate in the US to discuss the possibility of working on such a project for charity. We felt that the character was very recognisable among comic book readers and would serve as a strong vehicle to raise money for the three designated Children’s hospitals at the Con.

We then engaged in negotiations with their UK representatives All Sorts Media and after serial months of negotiations arranged a contract providing us with permission to proceed with the project.

Throughout the development of the project both All Sorts Media and King Features Syndicate have been very accommodating and have provided us with great archival material.

EC: How can fans support the charity/get the comic if they can’t attend?

EM: At the moment The Phantom 80th Anniversary Comic is a Dublin Comic Con exclusive and can and will be only sold at the show in August. Attendees will be able to reserve collection of the book at the show by email, a system which will be put in place by the end of June. But if anything changes with regards to the release of the comic this news will be shared across all of DCC’s social media and website www.dublincomiccon.com.

But for those who wish to donate to the cause they can donate at the below links at any time:

https://www.templestreet.ie/donate/

https://www.cmrf.org/donate

http://www.mycharity.ie/charity/thenationalchildrenshospital/

EC: Are there any other things going on at the convention that feature The Phantom?

EM: We will hopefully be arranging a signing session at the show featuring all of the contributors to the comic to sign copies and there’s always the possibility of one or two cosplayers.

EC: Why do you think The Phantom is so endearing and enduring?

EM: I personally feel that the idea of there being a dynasty of Phantom’s really allows the character to grow and evolve over the years and keeps stories and the character fresh much in a similar way that the Doctor Who franchise is sustained by the process of regeneration.

Also the whole aesthetic of the character is just pitch perfect, it’s no wonder that later superheroes borrowed elements (skin tight costume and blank-eyed masks) from him. Truly Lee Falk created a timeless character.

EC: Where can fans, exhibitors and brands that wish to participate find more information?

EM: For More information on Dublin Comic Con please visit www.dublincomiccon.com or find us on Facebook at https://www.facebook.com/comiccondublin/ and Twitter: @DublinComicCon

Thank you very much for taking the time to cover this story and this support, I will update you as the project progresses.

EC: Thanks for your time and continued success, Eoin!

And now, I think I need to call my Irish pals, like Kevin Patrick O’Connell and Sean McCooe, to plan a Dublin trip!

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Tweeks: April 2016 Loot Crate LVL UP Unboxing

Loot Crate’s April LVL UP was themed Quest and in this video, we unbox it. It features stuff from Goonies, The Princess Bride, Kingdom Hearts, Legend of Zelda, and Star Trek.

 

And to decided who gets what? There’s rolling down hills and Anya sings the “Little Einsteins” theme (what the what? is the right response).

John Ostrander: Strip Grade

Calvin and Hobbes

I’m not keen on moving these days. When I switch my homestead to a new location, I have to find all the spots I was taking for granted – food stores, gas stations, mechanics, restaurants and so on. It usually also means I have to find a new newspaper. Yes, I’ve just proclaimed myself to be a dinosaur and I still read the newspaper every morning over breakfast.  Yes, I know they offer electronic editions but I like one I can hold in my hands.

Assuming there is more than one local newspaper (or local-ish), I have to make a choice as to which one I’ll read. I have two primary criterions – where they fall on the political spectrum and what comic strips they have. The latter may be more important to me than the former. I was raised in a Republican household in Chicago so we got the Chicago Tribune which was rabidly conservative at the time. However, I might buy the Chicago Sun-Times from time to time and on Sunday I got the Chicago American; their collection of strips included Prince Valiant. Hal Foster, its legendary creator, was still doing Prince Valiant in the days of my boyhood. That was a treat.

Yes, I know that all the strips I read and more are offered on the Internet but, again, I like having the physical artifact in my hands. It’s a tactile experience. My current paper is the Detroit Free Press and so my comments are limited to the strips I read there. I do read some online because I love them but can’t get them from the Detroit Free Press – the Sunday Doonesbury, Dilbert, Mutts, and Bizarro.

Some I don’t know why I read; I don’t really enjoy them. One theory I heard says that it’s quicker and easier to read them than to not read them. That sounds about right.

One such is Arlo and Janis by Jimmy Johnson. Slow paced domestic comedy. There are days when it is so slow paced I think I’ve fallen asleep and missed something. I know it has a fan base who love it. Not pitched at me, I think.

Non Sequiter by Wiley Miller. This strip doesn’t exist without Gary Larson’s The Far Side (or, sometimes, The Addams Family) but I don’t care. One of my prime reads every day. Sometimes it’s a single panel and sometimes it’s multi-panel sequential. It has a running cast (several in fact) and I admire the variety and Wiley’s versatility.

Luann. Originally I wasn’t that much into the strip but the creator, Greg Evans, has let his cast gradually grow and change. The main character, Luann DeGroot, was in her early teens when I started to read the strip but she has grown older (she’s now in college), a little wiser (but not too much) and Evans has really developed the supporting cast. Continuing narrative plotlines has also become a mainstay of the strip which has helped keep me into it.

Wumo, created by Danish writer/artist duo Mikael Wulff and Anders Morgenthaler. Ugly strip. This is one of those that is easier to read than not read.

Get Fuzzy by Darby Conley. It stars a befuddled anthropomorphic dog named Satchel, a psychotic Siamese cat named Bucky, and their hopeless nerd of a human named Rob Wilco. I read it every day and sometimes wonder why on several levels. Why does Rob keep Bucky who is nasty, delusional, and destructive? Is Satchel too stupid to live? I’m not sure if I like it but I want to read it every day.

Phoebe and Her Unicorn by Dana Simpson. Phoebe is 9-years old who acquires a unicorn as a best friend named Marigold Heavenly Nostrils. At first, I was put off; it all seemed a bit precious and twee. However, I’ve become a big fan. It is smartly written and well drawn. It can actually make me laugh which very few “comic” strips bother to do these days.

Sally Forth, created by Greg Howard and these days written by Francesco Marciuliano and drawn by Jim Keefe. Ostensibly about a woman, her family, and her adventures at work; these days it’s more about the family unit with Sally, her husband Ted, and their daughter Hilary. I think they all need serious medication. Ted was always kind of a goofball but now he gets obsessive and delusional. The daughter is also in need of meds and, at best, Sally is an enabler. Seriously, Dr. Phil needs to visit them.

There are a lot more strips in the Detroit Free Press but I think this is enough for now. Even with the ones that I seem not to like, I read religiously. I learned much of what I know about writing for sequential art from the comic strips and I am indebted to them.

And on days when I don’t get my comic strip fix, I get cranky.

Star Trek Beyond’s New Trailer and IMAX Premier at San Diego

stbteaserclouds1-sht-e1463835571314-5145239HOLLYWOOD, CA (May 20, 2016) – Paramount Pictures, Skydance, Bad Robot and director Justin Lin today announced that the world premiere of Star Trek Beyond will play in the immersive IMAX® format at Comic-Con International: San Diego, in partnership with the San Diego Symphony Orchestra and IMAX Corporation, on Wednesday, July 20, at the Embarcadero Marina Park South.

The red carpet event at San Diego Comic-Con, which marks the first-ever open-air IMAX world premiere, will feature special appearances by Lin and the Star Trek Beyond filmmakers and cast, as well as a live concert performance of Academy Award®-winning composer Michael Giacchino’s film score by the San Diego Symphony Orchestra. Lin made the announcement at the STAR TREK FAN EVENT, where all fans in attendance were invited.

“I am thrilled to celebrate the premiere of the film together with the fans at Comic-Con and excited for everyone there to experience Michael Giacchino’s incredible score played live,” said Lin.

Added David Glanzer, spokesperson for Comic-Con International: “We are both privileged and excited that Paramount Pictures, Skydance and Bad Robot have chosen to honor fans by having the world premiere of the next chapter of Star Trek at Comic-Con this summer.”

“What better way to show appreciation for the constant support of IMAX fans worldwide than by partnering with our friends at Paramount, Skydance, Bad Robot and the San Diego Symphony Orchestra on this ultimate Comic-Con world premiere,” said Greg Foster, Senior Executive Vice President, IMAX Corp. and CEO of IMAX Entertainment.

As a special event for this year’s Comic-Con attendees, fans will have the chance to attend the world premiere of Star Trek Beyond. Details about ticket distribution will be announced prior to the 2016 convention.

Star Trek Beyond, the highly anticipated next installment in the globally popular Star Trek franchise, created by Gene Roddenberry and reintroduced by J.J. Abrams in 2009, returns with director Justin Lin (“The Fast and the Furious” franchise) at the helm of this epic voyage of the U.S.S. Enterprise and her intrepid crew. In “Beyond,” the Enterprise crew explores the furthest reaches of uncharted space, where they encounter a mysterious new enemy who puts them and everything the Federation stands for to the test.

From Paramount Pictures and Skydance, Star Trek Beyond is a Bad Robot, Sneaky Shark, Perfect Storm Entertainment production. The film stars John Cho, Simon Pegg, Chris Pine, Zachary Quinto, Zoë Saldana, Karl Urban, Anton Yelchin and Idris Elba. Directed by Justin Lin, the third film in the franchise series is produced by J.J. Abrams, Roberto Orci, Lindsey Weber, and Justin Lin; and executive produced by Jeffrey Chernov, David Ellison, Dana Goldberg, and Tommy Harper. Based upon “Star Trek” created by Gene Roddenberry, the screenplay is written by Simon Pegg & Doug Jung.

The IMAX® release of Star Trek Beyond will be digitally re-mastered into the image and sound quality of The IMAX Experience® with proprietary IMAX DMR® (Digital Re-mastering) technology. The crystal-clear images, coupled with IMAX’s customized theatre geometry and powerful digital audio, create a unique environment that will make audiences feel as if they are in the movie.

Star Trek Beyond opens in theaters and IMAX® beginning July 22, 2016.

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