The Mix : What are people talking about today?

Ed Catto: Comic Shop Entrepreneurship

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I moderated a panel at New York Comic Con called The 7 Archetypes of Comic Shops. My All-Star panelists included several outstanding comic shop retailers. It was a fascinating time with lots of surprises – remind me to tell you about Marc (Aw, Yeah) Hammond’s Frank Gorshin story someday. We had a packed room and it evolved into a celebration of smart retailing and Geek Culture.

The new kid on the block was Jeff Beck, an ambitious retailer who just opened a comic shop called East Side Mags in Montclair, NJ. It’s a great store and you might remember I was impressed when I visited it during my marathon comic shop travels on Free Comic Book Day. I sat down with Jeff and here’s what he had to say:

east-side-mags-donation-photo-2014-3-5198965Ed Catto: Jeff, your store looks great. Can you tell me how long you’ve been retailing, and the backstory of how you decided to open East Side Mags?

Jeff Beck: ESM has been open for almost a year and half now. I worked retail when I was in high school and college but never in a management position. Just a floor guy or stock room guy. Nothing special. I went to college for music recording/radio/audio engineering and ended up in the Audio Visual industry while trying to find a job more geared to what I studied. I ended up working for a major corporation that provides AV services in hospitality environments. My position was Sales Manager but I had extensive knowledge in setting up equipment, operation, etc.

I worked in this capacity for about a decade – working in hotels and conference centers. I met my mentor (and one of my closest friends) Nicholas Cox, whose open door policy of management exposed me to the ins and outs of running a business. We discussed P&L statements, payroll, management tactics, operational details, etc. and he really gave me the opportunity to understand what it was like to run a multi-million-dollar department. My last “tour of duty” was with a privately owned conference center company (startup) in Manhattan in which I worked (again) as Nick’s right hand man after we both had left PSAV. I loved working with Nick and we saw high levels of success.

I wasn’t satisfied though. I needed to be my own boss and had always dreamed of owning and/or running a comic store, as I’ve been a collector for over 20 years. With the knowledge I had, I began to work behind the scenes of my regular job to put a business plan together. Studying sales statistics, perusing websites, blogs and message boards for 2½ years, I finally had a viable business plan and saw growth in an industry most thought would “go the way of the buffalo” in this digital age. The day came, I dropped five resignation letters, and I was off.

Having been turned down for small business loans by five banks, three co-ops and a government agency whose management “switched hands” and froze their loan program, I decided to cash out every account I had in my name and went all in! And here we are today – each day better than the last – and from here, the sky’s the limit!

EC: It’s cool that your store name doesn’t have the word “comics” in it. Was that intentional?

JB: Yes. I guess. I needed a cool name that reflected my rise to being my own boss so I chose East Side Mags. East Side Mags is the name of a song by a NJ punk band called The Bouncing Souls. When I first saw them play, it was in a skating rink in West Orange called JT SkateZone! Now they tour the world and play with big name acts, the Warped Tour, etc. They went from being grassroots to being a highly successful musical act and that’s what I wanted to achieve as well. That this particular song came on in my car while waiting to meet with another prominent retailer who had agreed to meet with me and, being off one my favorite albums, seemed fitting. Especially where the “Mags” is concerned. I have had one person – a food delivery guy – who thought I was a gun store. He couldn’t have been more wrong!

EC: What type of clientele do you have? Is that what you expected?

JB: My clientele is really very diverse. It reflects the research I did but you never really expect to see what you see until you’re there. It’s like seeing pictures of the Grand Canyon then actually going to the Grand Canyon! I would say that my customer base is almost half female – showing a greater number of female readers as per the reporting I had seen from several news outlets. Also, I have a lot of kids and families as we have an extensive kids section of all ages material – great for kids to come in and grab whatever they see that interests them – without parents having to be concerned about content.

EC: It looks like you are very involved in the local community. Is that important to you?

JB: Community is very important to me. Anyone can open a shop anywhere but they’ll close their doors just as fast as they open if the community doesn’t find value in what the business does. Because of this I am very focused on the community at large, constantly adjusting our products and services to accommodate a diverse community.

EC: What are some of the activities you’ve planned at ESM?

JB: We host a monthly movie night where I rent a 6’ screen, projector and sound system, but instead of collecting money, admission consists of healthy food donations that are then brought to local food pantries. Bring a bag of brown rice – you get to see a movie! That deal can’t be beat!

We also host local (and affordable) art from local artists around North Jersey/Central Jersey and constantly rotate it to keep things fresh. We sell the artwork on a consignment basis so that the artists’ costs are covered and the remainder is split 50/50, ensuring the cost doesn’t come out of the artists’ half of the sale. We also work with the Montclair BID (Business Improvement District, also known as Montclair Center) and host art walks, sidewalk stroll sales, etc. and we stuff shopping bags with menus and business cards of other businesses around Montclair to help promote other businesses to our customers.

east-side-magsEC: What activities are ahead?

JB: We continue to do all the things already mentioned and I’m also looking into hosting vintage video game tournaments and free play as a possibility.

EC: Can you talk a little about how you’ve laid out your store, and what you feel the ideal mix of Geek Culture items is?

JB: Comic book stores, by default, are visually overwhelming. If you’re a fan or even know a little about it, you walk in and are immediately floored by the variety of comics, toys, accessories, t-shirts, etc. that are available. We have a large wall clearly marked with new arrival tags where the new issues are put up each week. We have large, customized bins to hold back issues – some going back to the 60s or earlier. On the opposite side of the store we have a large wall housing toys, action figures and novelty items. Trade paperbacks and graphic novels make up the other part of that large wall, with mature trades separated from Teen or Teen Plus trades. Above the toys and trades, we have shelving that displays the local artwork mentioned earlier with tags showing the artists’ names and where they are from in New Jersey.

We have a few glass cases housing statues and the more interesting or expensive/breakable items and a few spinner racks with more action figures and toys. We utilize some of the space for pop up tables with featured items. Right now Star Wars is pretty big deal, so we have a table of all different kinds of Star Wars merchandise.

We have two large chalkboard walls as well. One, right next to the new issues, is used for listing all the new comics that arrive each week to allow customers an easy (and colorful) layout of “what’s new” that week and roughly where they can find it along the new release wall. The second chalkboard wall is for the customers and kids. We keep a small bucket of chalk next to it that kids can use to draw absolutely anything they want.

Then we take a picture of the wall post it on our website. The sales counter, where the register is, has cards, some art and smaller items that people can look through. Behind the counter, on wall shelves, we have the “wall books” – basically any comic valued at $10 and up that we display and sell but do not leave in the bins due to the overall value of the comics themselves. Some items include or have included Iron Man #55 (first appearance of Thanos), Amazing Spider-Man #300, X-Men #1 from 1963, etc.

EC: During FCBD, you had the most extensive offering of Free Comics. Can you explain your strategy and provide any results or follow-up?

JB: Diamond Distribution has a number of titles available for retailers to purchase on FCBD. Some retailers, I guess, don’t get copies of everything and everyone has their own strategy when it comes to picking comics for FCBD. I got X number of every single comic that was available to me to purchase and essentially got rid of everything!

Granted they are free, but we also had a ton of people buy things in addition to the free comics. I think people saw the generosity in making the widest selection available and minimal prohibition (customers could take one copy of as many titles as they wanted) so they bought items as well to show support back to us for the great spread! It was a very “Do unto others” type situation. People felt the love so they showed us love in turn and it was an amazing day!

EC: What are some of the most surprising things you’ve learned?

JB: I’m surprised at the number of indie comic book writers and artists there are out there! In a digital age when so many publications are being pushed to iPhones, tablets, etc. there are so many people out there with pen and paper, writing, drawing and marketing their own works on paper! I get at least two emails/phone calls per week with someone asking if we’re interesting in carrying their comics. I’m also surprised at how many people come into the shop and are interested but have never read a comic! We make first time recommendations for so many people. A lot of people must have had some negative experiences or something because they always tell us they wanted to [get into comics] but didn’t for some reason – someone must have turned them off to it.

But we thrive on a welcoming atmosphere where people of any level of comic knowledge can feel comfortable and our recommendations make it easy to get into the books! Like superheroes? No problem. Like love stories? No problem. Like zombies? Vampires? War stories? Different takes on historical events? Kung Fu? Music? Animals? Robots? Outer Space? Clowns? Feminism? Masculinity? We can find something for ALL OF THOSE!

EC: What’s your favorite comic and do you market it extra hard at your store?
JB: I don’t know if I have a favorite per se but there is definitely a strategy to the comics I read each week. Yes. I read each week to keep up on what’s going on. I make sure I read the more popular titles like Batman, Spider-Man, Superman, etc. I read as many #1s as I can get my hands on and try to keep reading into the #4 or #5 issues to get a handle on the story arc so when customers inevitably ask about a title, I have an answer for them instead of “Well, a lot of people buy it so it must be good” mentality. I also have a lot of indie/self-published works that I read as well and probably push those more than major titles – based on the fact that they are written and drawn both by an indie writer/artist who doesn’t have the benefit of DC or Marvel or Image putting out and distributing their work. I can’t say I push any titles in particular extra hard but try to see what the customer likes and focus on that. Being that I read a wide range of titles, I honestly feel that I can find something for anyone based on their taste in movies and/or TV shows.

EC: What’s your experience with comic conventions and where do you see them going in the next few years?

JB: I think comic cons are great! There seem to be an awful lot of them these days but when they’re done right – they exceed expectations! Organized, lots of talent, focusing more on the comics with a little media thrown in is where it’s at! I think as long as comics are accessible to people and tie into movies and TV (mainstream), comic cons aren’t going anywhere any time soon! It’s also great for comic fans because it gives them a chance to meet the minds behind their favorite comics and get their comics signed or get a sketch or commission done by their favorite artists, ask questions with regards to inspiration or favorite story and really interact with the people who make/create the things they love so much. Where else can you do that?

EC: Is it true you are a newlywed and had a unique Pop Culture theme for your wedding?

JB: I’m a big Star Wars fan so once we were announced man and wife, I grabbed my original Han Solo plastic blaster from my childhood, my wife put on a headband that gave her Princess Leia buns, my best man put on a Chewbacca mask and my wife’s man of honor held a plastic light saber. The audio guys played the throne room music from Episode IV and we marched down the aisle as man and wife! We also gave out Lego Star Wars key chains to all our family and friends as wedding favors!

EC: Thanks so much, Jeff.

John Ostrander: A Good Penny

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I usually don’t watch horror films or TV shows, and that might surprise some people. After all, I’m known to have written some horror stories, such as DC’s Wasteland. My standard response is that I would rather give nightmares than get them. A bit flip perhaps, but largely true. I have an active imagination (from which I make my living) and the concepts and images from a horror story can stick in my head long after I’ve seen the show.

For example, I went to see The Exorcist when it first hit the movie theaters and, oh my, it played heavily on the atavistic fears of my Roman Catholic altar boy choir boy upbringing. I slept that night with the lights on despite being of college age. Actually, I was in bed but I didn’t sleep that much. Part of me was convinced that the ol’ debbil was gonna git me.

This is an explanation of why I didn’t watch Penny Dreadful when it first showed on Showtime. Recently, however, I got a chance to get caught up with the first two seasons. I didn’t binge watch them; the most I could take was two episodes at a sitting. I found them too unsettling.

The show is set in Victorian London and deals with a number of supernatural threats. A team of sorts is drawn together including an African explorer (Sir Malcolm Murray), his mysterious African servant (Sembene), a witch (Vanessa Ives), an American gunslinger (Ethan Chandler), Dorian Gray (of The Picture of fame) and Doctor Victor Frankenstein and his Creature(s).

If that sounds reminiscent of League of Extraordinary Gentlemen, well, it is… in concept. It is also extraordinarily well done. The show’s creator is John Logan and, I believe, he has also written all the episodes. You may know Mr. Logan from his work on other movies such as Skyfall and the upcoming Spectre, as well as Hugo, Rango (such an odd and interesting film!), and Gladiator among many others. A very talented writer and that talent is in full display here.

The production values are first rate – the sets, the costumes, all the details. Think Downton Abbey with vampires. The cast is also primo – and you have an odd James Bond connection with Timothy Dalton (Bond at one time) playing Sir Malcolm and Eva Green (who was Vesper Lynn in Casino Royale) joining John Logan. Harry Treadway, who plays Dr. Frankenstein, was also in the TV mini-series about Bond’s creator, Fleming.

Josh Hartnet portrays Ethan Chandler, the American gunslinger with a dark and secret past. Despite that past, the character is one of the most decent persons in the show. Sembene is portrayed by Danny Sapani who shares a Doctor Who connection with Billie Piper (Brona, Lily) who, of course, was Rose Tyler on Doctor Who. (Yes, I’m nerding out.) You see quite a bit more of Ms. Piper here. Quite a bit more.

I don’t know Reeve Carney who appears as Dorian Gray, but he’s very effective in a very unsettling role.

My favorite character, however, is Frankenstein’s Creature, played by Rory Kinnear (another Bond connection – he’s been Tanner in the last few Bond films). He is a monster, yes – he can be brutal and murderous and full of rage. He is also the most heart-breaking character in the show. He knows what he is and, by his very appearance, knows that he has no place where he fits in. He suffers most from ordinary humans (who can be the biggest monsters in the show). His longing, his despair, his rage all make him, as one character says of him late in the second series, the most human of them all.

The reason I like the show so much is the characterization. All the characters have multiple levels and all are flawed. My own theory is that you can’t really experience horror unless, on some level, you sympathize with the characters. If you don’t feel something for them, you won’t feel anything for what happens to them. You can be shocked, yes, but you don’t really feel anything. What is the point if you don’t feel? Horror is something that happens to people that we know. There can be sensation, sure, but if you don’t identify with those going through the horror, it means nothing. It’s just incident.

I should probably also mention that there is violence and sex and nudity (both male and female, although mostly female); this is pay-cable TV, after all. If any of that might bother you, give the show a wide berth. None of it ever seems gratuitous to me. I should also mention that the second season is even more unnerving than the first. A third season is projected for next year and I approach it with both anticipation and dread.

I realize that I’m late coming to the Penny Dreadful party but I think the show can be streamed and certainly it’s available on DVD and Blu-Ray so I feel justified in recommending it which I do most heartily. If I was writing horror for TV, this is the type of story I would like to tell.

Marvel Cinematic Phase Two Collection Details Announced

mcu_phase2_orb_beauty_shot_r5-e1445699321917-4488786Walt Disney Home Entertainment has announced that Marvel Cinematic Universe: Phase Two Collection will be a 13-disc Amazon exclusive.

SYNOPSIS:

The limited edition, 13-Disc Marvel Cinematic Universe: Phase Two Collection invites you to hold the greatest power in the cosmos in your grasp – an orb containing one of the legendary Infinity Stones! Plus Blu-ray 3D™, Blu-ray™ and Digital Copies of all Phase 2 films, in collectible packaging designed by artist Matt Ferguson. This set overflows with stunning Marvel memorabilia, including a gold-foiled page from the book of Dark Elves, an ancient drawing from the Morag vault, Avengers and S.T.R.I.K.E. uniform patches, a replica of the Tony Stark Tattoo from Marvel’s Iron Man 3, and much more!

CONTENT:             Marvel’s Iron Man 3 (Blu-ray 3D + Blu-ray + Digital Copy)

                                    Marvel’s Thor: The Dark World (Blu-ray 3D + Blu-ray + Digital Copy)

                                    Marvel’s Captain America: The Winter Soldier (Blu-ray 3D + Blu-ray + Digital Copy)

                                    Marvel’s Guardians of the Galaxy (Blu-ray 3D + Blu-ray + Digital Copy)

                                    Marvel’s Avengers: Age of Ultron (Blu-ray 3D + Blu-ray + Digital Copy)

                                    Marvel’s Ant-Man (Blu-ray 3D + Blu-ray + Digital Copy)

1:1 Prop Replica of the Orb

PLUS an Exclusive Bonus Content Disc with 166 minutes of  bonus material and more!

BONUS FEATURES:        From Here To Infinity: Phases 2 & 3 Of The M.C.U.

Journey back through Marvel’s Phase 2 films, from its launch in Iron Man 3 through its fulfillment in Ant-Man, to see how individual characters grow and change, how their relationships with each other evolve over time, and how the universe itself expands with each story. Listen to filmmakers discuss the first set of Phase 3 films– Marvel’s Captain America: Civil War, Marvel’s Doctor Strange, and Marvel’s Guardians of the Galaxy 2 – and discover there are no limits to the adventure!

Phase 2 Tag Scenes: A Making-Of: Learn the story behind the post-credit sequence in Marvel’s Phase 1 and 2 movies, and explore how the scenes connect and unify the far-flung characters and worlds of the Marvel Cinematic Universe.

Marvel One-Shot: The Consultant w/Audio Commentary By Clark Gregg
Marvel One-Shot: A Funny Thing Happened On The Way To Thor’s Hammer With Audio Commentary By Clark Gregg
Marvel One-Shot: Item 47 With Audio Commentary By Louis D’Esposito, Max Hernandez, Titus Welliver And Jesse Bradford
Marvel One-Shot: Agent Carter With Audio Commentary By Louis D’Esposito And Hayley Atwell
Marvel One-Shot: All Hail The King With Audio Commentary By Drew Pearce And Ben Kingsley
Iron Man 3: Deleted Scenes
Iron Man 3: Preproduction Creative
Thor: The Dark World: Deleted Scenes
Thor: The Dark World Preproduction Creative
Captain America: The Winter Soldier: Deleted Scene With Audio Commentary By Anthony Russo, Joe Russo, Christopher Markus, Stephen McFeely
Captain America: The Winter Soldier – Preproduction Creative
Guardians of The Galaxy: Deleted Scenes
Guardians of The Galaxy: Preproduction Creative
Avengers: Age Of Ultron: Deleted Scenes
Avengers: Age Of Ultron: Preproduction Creative: Hulk vs. Hulkbuster
Ant-Man: Deleted Scenes
Ant-Man: Preproduction Creative

RELEASE DATE:                December 8, 2015
PRODUCTS:                         Blu-ray 3D, Blu-ray and Digital HD
AUDIO:                                    Blu-ray 3D, Blu-ray, Digital HD = English 7.1 DTS-HDMA, French-Canadian 5.1 Dolby Digital, Latin Spanish 5.1 Dolby Digital, English DVS 2.0 Dolby Digital
LANGUAGES:                       English & Spanish, French
SUBTITLES:                         English, French & Spanish

Ed Catto: Murphy Anderson – A Legend and a Gentleman

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The world lost just lost another shining light: a brilliant artist who regularly shared his vision of heroes and adventures as he created countless pages of comics and an upstanding gentleman who shared his vision of living life with courtesy, kindness and class as he led by example.

jet-pack-captain-action-murphy-anderson-5225098Murphy Anderson passed away Friday at age 89. He had been struggling in recent years, but it’s still a crushing blow to those who loved the man and his work. Murphy, a prolific comic artist, was in facet one of the first wave of “fanboys” to turn professional. He was a big Lou Fine fan, and you can see wisps of that great artist’s work in Murphy’s figures and rendering. Murphy was also an enormous Buck Rogers fan and would one day professionally illustrate the adventures of this hero. He had a rich career in comics’ Silver and Bronze Ages, but also enjoyed great entrepreneurial success, managing the Army’s PS Magazine and running his own color separation business.

Murphy was an especially important artist in the Sixties, establishing the artistic gold standard of many iconic heroes for a generation of fans. His Justice League covers showed the world exactly how the leading DC heroes should look. His images of heroes like Hawkman and the Atomic Knights provided clear and engaging thrillers with solid storytelling. And his inking over so many great artists, from Gil Kane to Carmine Infantino to Curt Swan, provided something close to a house style that reflected the refined, best-in-class attitude of the DC line of that day.

Murphy was one of those rare artists who could compose fantastic stories with full artwork (pencils and inks), and yet, with his fine and precise inking, partner to make almost any artist to a little bit better. Even usual pairings, like Murphy inking over Neal Adams’ innovative and hyper-realistic pencils, produced memorable artwork, visual singing in perfect harmony.

jlofa-1-5437952A Gentleman and His Women

The females that Murphy drew were consistently pretty, but demure. They all combed their hair, had applied their make-up ‘just so’ and had spotless complexions. Any young man would feel confident in bringing a girlfriend who looked like a Murphy Anderson woman home to mother.

For me, that all changed when DC adapted Edgar Rice Burroughs’s John Carter of Mars series. In this series, a cavalry solider adventures on Mars amidst exotic landscapes and bizarre aliens. But many of the Martian cultures eschewed excessive clothing. And the strip’s love interest, the beautiful Dejah Thoris, was no exception. She was a raven-haired beauty with whom the hero was madly in love. And when Murphy drew her, it was very easy to understand why any man would be head-over-heels for her.

This series also provided Murphy opportunities for creative and non-traditional panels and page layouts. But these innovations were lost to many of us, as the eye was distracted by the beautiful figures and lush inking.

Years later, during one of my lunches with Murphy, I brought along several John Carter comics issues of Weird Worlds for Murphy to autograph. I hadn’t realized it before, but his son, Murphy, Jr., who often accompanied us, was a dead ringer for John Carter!

gospel-superman-7094421Man And Superman

For me, the quintessential Superman will always be inked by Murphy.

As the Silver Age wound down, Murphy’s inks on Curt Swan’s 70’s Superman helped update the character, making him a little hipper and more relevant. Murphy’s inks rejuvenated the strip, with a more realism, longer sideburns and a vulnerable humanity. For me, the images of Superman casually eating a Kryptonite meatball (the deadly substance was temporarily rendered harmless) helped humanize the character in ways previously never imagined.

Murphy was a one of the most polite gentlemen I’ve ever met, and surely was not comfortable with being asked to “fix” the Superman renderings of Jack Kirby in Jimmy Olsen or Mike Sekowsky in Supergirl. But he was a true professional, and the editorial dictate of the day demanded that Superman look “on point”. And while I hate to see other artists’ work modified in this manner, now one could argue that a Murphy Anderson Superman sure looked like the real Superman.

One time as a child, my family was visiting my dad’s alma mater, Cornell University, for his Homecoming. After the football game, we were shopping at the campus bookstore and I found a curious book. It was called The Gospel According to Superman by John T. Galloway, Jr. The cover showed Superman, rendered by Curt Swan and Murphy Anderson, flying over a small town church. At that time, the last thing I was interested in was theological philosophy, but I somehow knew this was legitimate and important because it had the ‘”real” Superman on the cover. And although I couldn’t have articulated it at the time, the “real” Superman meant an image rendered by Murphy Anderson. My mom and dad thought I was nuts when I started begging for this strange, hybrid book, but as they were more understanding than even Ma & Pa Kent, in the end they relented. I read the book, but I really loved that cover.

captainaction1exclusive-3581375About this period, there was a life-sized Superman poster offered via mail order in the DC comics. The 6-foot poster, rendered by Curt Swan and Murphy Anderson, was impressive and overwhelming. Superman was flying up through the clouds complete with a peace sign hand gesture. I’m not sure why, but I brought it to my Second Grade class and it was hung on the blackboard for a day. I might have trying to impress my beautiful teacher, Mrs. Beardsley, but that’s another story for another day. I’m sure my thinking then was “What woman wouldn’t be impressed with Murphy Anderson art?”

The first time I met Murphy was in 1984 at an Ithaca Comic Convention. Now, the year before I had the distinct pleasure of being the inker for a penciled Superman image provided to us by Curt Swan. It was a valiant effort, but I was certainly no Murphy Anderson when it came to inking. As you have gathered by now, my visual“ gold standard” for Superman was the character as inked by Murphy Anderson.

At the convention, I thought maybe this provided me a kinship to Murphy Anderson. While I’m sure he was mentally rolling his eyes at me, I recall his overwhelming politeness. He almost made me feel that he and I were part of an exclusive club, having both inked Curt Swan. That’s preposterous, of course. But somehow Murphy’s most amazing talent, far beyond his art skills, even surpassing his entrepreneurial efforts, was his amazing ability to make a person feel special by just speaking with him.

Ready for Action

flash-murphy-anderson-300x450-2074131Murphy was the quintessential artist for one character even though he never drew the character’s comics adventures. In 1966, Murphy Anderson was chosen to be an important contributor to a toy called Captain Action. Much the same way that Barbie could become a teacher or an astronaut, or GI Joe could become an infantryman or a frogman, Captain Action could become other superheroes via costume sets. For many of these toys, the packaging artwork was expertly provided by Murphy.

He created images for the packages featuring heroes like Batman, The Phantom, Flash Gordon, Superman, Aquaman, Superboy, Robin and Aqualad. As the line progressed, Murphy also created impactful representations of Captain Action on in a variety of poses for expansion sets. And when the line was extended to include heroines, Murphy outdid himself with gorgeous packaging illustrations for Batgirl, Supergirl, Wonder Woman and Mera, the Queen of the Seven Seas.

Years later, Joe Ahearn and I would acquire the rights to Captain Action and one of the first things we did was to bring Murphy back onto the project. How thrilled we were when he agreed to pencil and ink a new Captain Action comic cover! He agreed to recreate the classic Batman and Robin rooftop image, which was originally a poster by penciled Carmine Infantino and inked by Murphy. In the updated version, it’s Captain Action and his sidekick, Action Boy, on the rooftop, as Lady Action flies by in the Sliver Streak. Gerry Gladston, the CMO of Midtown Comics, loved the idea and we made the cover an exclusive variant.

We had discussed him doing another cover for Captain Action. The vision for this was to pay homage to Justice League of America #1’s cover, where the Flash and Despero were playing a game of Kalanorian chess – using JLA chess pieces. My vision was to have Captain Action facing off against Dr. Evil with chess pieces of all the Captain Action costume sets, but it wasn’t meant to be. At that point, Murphy just didn’t feel he could pull it off with the standard of excellence he demanded of himself.

* * *

Murphy was a Tarheel, who made good in New Jersey, and was surrounded by a loving family and adoring fans. I had studied his thoughtful inking for most of my life, but when gifted with his friendship, I soon realized that there were so many bigger lessons to be learned from this humble, kind-hearted man. Murphy we’ll miss you and thanks for showing us how it’s done.

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Marc Alan Fishman: Oh Captain, My Liberal, Commie, Black Captain

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Marc leans back on his heels as the audience hoops and hollers. His co-band leaders John Linnell and John Flansburgh wrap up their intro song, a peppy reprise of “Ana Ng.” The auditorium simmers down a tad as the music fades.

So… uhh… have you heard the news lately? Have you seen this? Seems that Fox News was amazed that Captain America wasn’t as pro-conservative as they’d thought. Have you heard about this? Yeah! It seems they missed the whole Civil War too!

The band hits a quick rim-shot and sting of “Doctor Worm.”

Ehh, don’t blame me if you didn’t laugh. My writers stink. And to totally honest, when I read this story I didn’t laugh either. Not only because it wasn’t surprising that Fox News blew something out of proportion without vetting their sources, but because I’ve never found that channel to be funny at all. It’s the same reason I stopped laughing at Donald Trump’s campaign speeches.

So, what’s with all the rage? Sam Wilson – the current Captain America – is a black, liberally-minded super-hero. Amusingly, Steve Rogers – the currently elderly former Captain America – is a white liberally-minded super-hero. I admit that I’m not privy to the recent issues of Marvel’s most patriotic pugilist, but I know enough about the characters themselves to understand why Fox News (and a few other right-winged blowhards) are torn up over the recent pulp. Within the aforementioned issue, the “Sons of the Serpent” – a white supremacist group who likely thought Hydra was too Jewish – are taken to task by Wilson-Cap after they spout some Trump-esque declarations and threaten illegal immigrants with punishment by way of the power vested in me by the aforementioned God, Nature, et cetera, et cetera.

The only thing truly funny to me about the backlash by any media is how they’re attempting to rattle the cage of other non-comic book readers. They believe a conservative person who may or may not be a comic book fan to become upset over the political beliefs of a fictional character. What’s next? People storming at the gates of the WWE because John Cena supports his gay cousin? Perhaps a million-man march in Washington over reruns of The West Wing? The fact is that fictional characters are fiction. Meaning their views are at the behest of their creators. And Captain America, by way of Nick Spencer, is a progressive who wants to take a stand on the issues of the day. Is he wrong in choosing that direction for the character? Nope. Not even a little bit.

Marvel (and by proxy, their master Mickey Mouse) is wanting to capitalize on the continued success of their movie and TV franchises and get new fans into the comic book stores. By offering stories that aren’t ripped from the movies (shush, real comics fans), they are offering a tangential product that showcases how comics can build bigger universes than the motion-media can. And by incorporating storylines with characters charged by the same issues the populace is currently facing… they are making the attempt to attract people seeking more than just muscles and fights.

It’s at this point, Marc sits down at his set desk. Camera 1 rolls into a tight shot, as the title card “This is not a Seth Myers impression” flashes on screen.

What’s really awesome is that this is truly the first time ever comic books at Marvel (or any publisher for that matter) is using their medium to tell modern stories about the world around them. Because, you know, it’s not like the X-Men were an allegory for the civil rights movement. Or that the Iron Man was response to the Cold War when he debuted. Or that the current Batwoman, the new Earth Two Alan Scott, or Northstar were gay and had to deal with any relevant issues pertinent to their sexuality. Kudos to this new black Captain America for being literally the first comic book character to ever deal with a modern issue head on!

The audience laughs knowingly.

Ultimately, it wouldn’t matter to me personally if Sam Wilson were a progressive or tea-party member. I’d give no second care if Charles Xavier (or his ghost… I’ve lost count of his whereabouts) turned out to be a Nazi sympathizer all along. Hell, it’d paint his past fights with Magneto in whole crazy new lights! But I digress. The point is simple: Fiction is not reality. Making a stink over any piece of it is only relevant to the quality of the piece itself, not the politics that drive it. As with all comics characters: there are aspects to each character that must ring true. For Captain America – be he Sam Wilson, Steve Rogers, or Bucky Barnes – he must stand up for the people of his country. And that sentiment runs far deeper than any party line.

Cue the musical guest tonight, Neil Young, with special players Tom Morello, and Bernie Sanders on Xylophone.

The Law Is A Ass

Bob Ingersoll: THE LAW IS A ASS #373

ROSEWOOD IS STANDARD OPERATING PROCEDURAL

Seriously writers and producers of Rosewood, you don’t have to make it this easy for me.

Rosewood is a new TV series on Fox. It’s a police procedural; but to make it different from all the other procedurals it has a gimmick: the main character takes a drug that unlocks the full potential of his brain. No, wait, it’s that the main character is a naked amnesiac with tattoos all over her body.

Sorry I get confused. There are so many of these procedurals on TV that they’re starting to mix into one giant alphabet soup of NCSICIS.

Dr. Beaumont Rosewood, Jr. is an independent pathologist in Miami. When someone dies and the grieving family or friends aren’t satisfied with the findings of a standard autopsy performed by that incompetent government pathologist, they plop down 5k – 7,500 for a rush job – to hire Rosewood and all of his state-of-the-art equipment for an independent autopsy. So every week, Dr. Rosewood will look into some homicide and then proceed to procedural with Homicide detective Annalise Villa to solve that murder, because the police and their incompetent government pathologist could never do it on their own. (How many multi-millionaires took their talents to South Beach, anyway? Are there really enough super rich grieving family and friends to keep this pricey pathologist in practice?)

In the pilot episode of Rosewood, Dr. Rosewood and Detective Villa investigated the murder of a young woman. After they spun their wheels (literally; they showed Rosewood’s classic GTO convertible so many times, GM must have coughed up for product placement) for thirty-three of the show’s forty-five minutes – because wheel spinning’s the procedure of procedurals – they settled on their prime suspect. I’d say they found said suspect, because he was the only one left after they eliminated everyone else, but that wouldn’t be true. The first time this suspect was even mentioned in the show was when Rosewood and Villa decided he was the killer.

Said suspect was a

SPOILER ALERT!

high-end Miami DJ with a yacht from which he held spun platters and held parties. Sometimes he’d even take the party to Mexico, where he’d pick up black cocaine that had been molded so that it looked like records and smuggled it into Miami by mixing it in with his other records. The victim was one of his party girl dancers, who learned what he was doing. So he killed her.

In order to investigate the DJ, Rosewood and Villa went to one of his parties. Villa danced with the DJ. Then, while Rosewood created a diversion, Villa went below deck, knocked out the security guard who was guarding the below deck area insecurely, and proceeded to search the DJ’s living quarters and office. She found the black cocaine. She also found the DJ, who chose this plot-appropriate time to come below deck.

The DJ pulled a gun on Villa, because what’s a cop show without a cop in jeopardy? The DJ proceeded to confess to the murder, because what’s a cop show without a bad guy who monologs? Villa disarmed the DJ, but he got away and started to run, because what’s a cop show without a chase scene?

Not to worry, Rosewood and Villa caught him.

(Oops, forgot to SPOILER ALERT that “they caught him” bit. If you didn’t see the police catching the murderer in a police procedural coming, sorry I spoiled it for you.)

And, I’m sure they took the DJ to trial. I’m just not sure on what charges.

Murder? I’m not sure they have the evidence to make that charge stick. The second Villa searched the below deck area without a warrant she made an illegal search. The cocaine disguised as records that she found would be inadmissible. hat would make proving the DJ’s motive difficult.

Drug smuggling? Same problem. Illegal search, inadmissible evidence.

What about the fact that the DJ confessed to the crimes? Well here’s the thing, Villa got the DJ to confess by talking to him while he held the gun on her. She exploited her initial illegal search to get the confession. The Fruit of the Poisonous Tree Doctrine says any evidence obtained by exploiting an initial illegal search is also inadmissible. So the DJ’s confession probably wouldn’t be admissible, either.

Moreover, even if the confession wasn’t Fruit-of-the-Poisonous-Tree inadmissible, it was inadmissible for another reason. When Villa was dancing with the DJ, she slipped her phone’s bluetooth headset into his pocket. What he said was broadcast to some nearby police officers who had recording equipment bonded to Villa’s bluetooth.

Which begs the question, how powerful was Villa’s bluetooth? If I leave my phone in the kitchen and walk to the bedroom, my phone drops the bluetooth connection. How were some police officers who were several dozen yards away able to keep the connection open?

It also begs a more important question; hasn’t anyone connected with Rosewood heard of wiretap laws?

Seriously, how long would it take to research illegal wiretap laws in Florida? Exactly as long as it takes to type “Florida illegal wiretap law” into Google then hit the Enter key. That simple task immediately produces a link to Florida Statute 934.03.

Okay, it takes a little longer. You also have to read the statute.

Or you can trust me when I say I read the statute and it makes using an electric device – like a bluetooth – to intercept an oral communication a crime. So Villa’s bugging the DJ was also an illegal search, because it broke the law. (Breaking the law, how much more illegal can you get?)

But don’t worry, Rosewood and Villa can still get the DJ on another charge. See, while he was running away from the police, the DJ grabbed a girl at gunpoint used her as a hostage. Then he was captured.

While I had the Florida statutes keyed up, I also read Florida Statute 787.01. So if you’re still willing to trust me, I can tell you in Florida, a person who abducts another person (i.e., like grabbing her at gunpoint) to use as a hostage is guilty of kidnapping. When the DJ kidnapped the girl, he committed a new crime. Even better, the kidnapping was sufficiently attenuated from Villa’s illegal search, that the fruit of the poisonous tree doctrine wouldn’t apply to it.

So good news Rosewood and Villa, you can convict that bad old DJ on something. Maybe not murder. Or even drug smuggling. But kidnapping ain’t exactly chump change. And it’s extra special good news, considering your bad police work almost botched the case entirely. Remember Columbo’s gimmick was that he only pretended to be incompetent.

Although…

These procedurals all have some gimmick to differentiate them from all the other procedurals on the air. As gimmicks to separate you from other procedurals go, having investigators who are actually incompetent might be kind of fun.

Martha Thomases: New and Bright and Shiny

papergirls-1671934My knee is feeling much better. Thanks for asking.

More than a year ago, I shared my resolution to sample more new books. How’s that working out?

Two comics I bought last week show why trying new stuff is great.

Well, I mean, if trying a new series by two talents who have proven themselves over and over again can be called “new” stuff. Brian K. Vaughan and Cliff Chiang are at the top of their game in Paper Girls. The story of a group of four girls who deliver the morning newspaper in suburban Ohio, these two men manage to capture a lot of what it feels like to be pre-pubescent and female.

Of course, it’s much much more than that, with dreams and fights and scary creepy guys wrapped in mysterious robes. The creative team has a lot to play with, even if they limit themselves to the toys in the first issue.

americatown-5153608(In an odd bit of synchronicity, the New York Times had an article this past Sunday about the disappearance of the word “tomboy”. I’m not sure if the main characters in Paper Girls are tomboys or not. The series is set in the 1980s, so they wouldn’t refute the Times’ thesis, which is too bad, because it is the kind of petty inconsequential fluff that the paper likes to equate with feminism.)

I also bought the third issue of Americatown, by Bradford Winters, Larry Cohen and Daniel Irizarri. When I bought the first issue, I was really proud of myself because I’d never heard of any of those guys. It turns out that Winters and Cohen have careers in television and movies, and are probably much more well known to the general public than the comic book talent I follow. I mean, Winters created The Americans, which I’m sure has more viewers than any comic book out there.

airboy-4-5926475The premise is what intrigued me. In the near-future, the United States is no longer the economic and political utopia we present ourselves to be today. Large numbers of American citizens emigrate to other countries in an attempt to find a better life. The series looks at a group of people who sneak into Buenos Aires, and their attempts to avoid the law, find work, and take care of their families.

There’s a lot of entertaining detail here. The “Americatown” of the title makes me reconsider the stereotypes and downright racism I bring to a visit to Chinatown or Little Italy. And speaking of racism, I found it much easier to identify with the plight of the undocumented immigrants in this story because they look a bit like me and they speak English. Maybe this reflects poorly on me, but it shows the good stuff that can happen if more people read this series.

Have I picked up any duds lately? Yeah, probably. I didn’t like Public Relations at all, thanks to creepy sexism and jokes that weren’t funny enough. If you’re reading it and you like it, perhaps you can tell me what I’m missing. Please continue to enjoy anything that makes you happy.

Now, if only issue four of Airboy would come out ….

Tweeks: Top 13 (Not Scary) Halloween Movies Part 2

This week we close out our Top 13 (Not Scary) Halloween Movie List with the numbers 6 through 1.  We disagree about Hocus Pocus, but come together on all things Tim Burton and Winnie The Pooh.  You’ll also find out in this week’s episode what food Anya should dress up as for Halloween and learn about her famous Pants Dance.  There’s also some girl crushing on Wednesday Addams and a our favorite non-musical Disney Channel Movie series.

 

Dennis O’Neil: What Is Science-Fiction?

Hannes Bok

We saw a science-fiction movie a few days ago. And you shrug: so what? Is there a multiplex in the land of the free that isn’t showing science-fiction? Especially if you count superheroes as SF?

There are a couple of answers to that question. Let us discuss.

When SF first began to creep onto the nation’s newsstands, and much less frequently into its bookstores, it was pretty easy to identify. It dealt with science, technology, distant worlds, extraterrestrials and, with few exceptions, the future. The heroes tended to be stalwart, competent, practical. Scientists, or maybe military guys. The odd engineer or two. The women were…there. Plots turned on the kind of stuff stalwart, competent and practical gentlemen might find themselves involved in. Endings were generally optimistic. (We might encounter evil aliens out there between the stars, we noble humans, and they might give us a lot of grief, but in the end we kicked their ass, or whatever passed for an ass on tentacled monsters.) Fine prose was not much of a concern. Plot and plain vanilla storytelling – those were foremost. The literati scoffed. If it’s good, the canard went, it isn’t science-fiction.

Then came the changes, as young and very smart writers who valued literary niceties and had spent some time in science classes began to explore the genre. They experimented and expanded SF’s parameters, but one rule of their predecessors remained pretty much inviolate: Writers weren’t allowed to contradict was known about the real world. They could extrapolate and, in effect, guess about where new technologies and scientific discoveries would take us, but they couldn’t just make this kind of stuff up.

By this criterion there hasn’t been much so-called “hard science-fiction” on screens for years. (We might rationalize the mini-miracles in, say, Star Wars, and your correspondent might not be above such activity, but explanations aren’t included in the script.)

As for comic books… the editor-god of the field, Stan Lee, once told me that readers will believe what we give them because we give it to them. In other words, they want to be entertained, not educated. No harm in that.

But twice recently, as a matter of fact, I have experienced hard SF in my local multiplex. Last year there was Gravity and though some eminent scientists complained that plot events couldn’t have happened as they were depicted, by and large the movie stuck to what is. Great flick, too. And that SF movie we saw a few days ago: It’s called The Martian and like Gravity it begins with a scientific blooper, one that the film makers were apparently aware of from the git-go and were willing to ignore for the sake of storytelling. Like Gravity, The Martian delivers plenty of entertainment while sticking pretty closely to those pesky facts.

I doubt that anyone would refuse to call The Martian science-fiction, despite the relative lack of glitz and spectacle. So yes: it’s SF.

All those other movies, the superheroes and all that play fast and loose with those facts?. Are they not SF? Maybe that should wait till next week.

The Point Radio: The Soska Sisters Serve Up Scares For Cash

Incredibly talented, especially adorable and defiantly twisted. They are The Soska Sisters, Jen and Sylvia, accomplished horror film directors, Marvel Comics writers and now creators of a terrifying new game show. The Twisted Twins spill the news on HELLEVATOR and how much fright it takes to grab $50,000 on The Game Show Network. Then Matt Passmore, star of USA Network’s SATISFACTION, lays out a few spoilers for what’s ahead on season 2 of the steamy drama.

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