The Mix : What are people talking about today?
Marc Alan Fishman: Star Wars Sucks – For Now
Yup. I said it. I’ll say it again. Star Wars? It sucks. Of course I should clarify: I respect the Intellectual Property. I admire George Lucas for spinning a billion dollar franchise out of a single movie – appropriated from so many better films, novels, and concepts. And hell, I own a fair share of Star Wars merchandise (a run of John Ostrander’s Way Better Than Anything On Film comics, a lightsaber, and a handful of vintage videogames). But this past weekend, whilst looking for something to keep on in the background of yet-another drawing marathon, my dial ended up on Episodes I, II, and III.
Given that I recall astutely not liking them in theater, on DVD, or rebroadcast in any incarnation, I’ll freely admit I let them play because I was jonesing for a one-sided fight. And you, my dear readers (who I can plainly see unlocking the safety on your blasters under the table, and preparing to force-pull the ceiling down on top of my head…) get to listen to me rant a wee-bit.
First off, let me parry the obvious incoming attack. Episodes I, II, and III are canon. One is simply not allowed to pretend they didn’t happen. Midichlorians? Happened. Anakin acting like a whiny bitch? Happened. Padme acting worse than a CGI droid? Happened. And no amount of jamming ones fingers in their ears and screaming will make them disappear. Therein lies why I am so adamant at being so blunt in my opinion. By their very nature, this new trilogy drags down the series for me. I think I might be safe to say for many others… this may also be the case.
No matter how good the Clone Wars cartoon may have been… when it ends, you still end up with Episode III. Yes, John Ostrander and a plethora of other amazing writers have contributed to beautifully written comics, novels, and other in-canon fiction. Either way? Episode I, and II are there in living-breathing-CGI. Jar Jar exists, and no comic, video game, or brilliant fanzine will remove him from my mind.
Let me also sidestep your obvious escalation attempt. What about The Matrix, Star Trek, or any number of other brilliant-at-one-point-but-obviously-tainted-by-my-asshat-logic franchises? Perhaps I’m just being a dick, but somehow? I forgive them both. For what it’s worth… the least successful jaunts in each of those large franchises had a given quality to them that still made their respective parent properties still feel valuable. Sure Neo is Jesus, but at least he’s a badass Jesus, right?
The key to my argument comes from Lucas’ own love of technology. In every aspect, those episodes embody what can be so wrong with modern movies and our culture. Lucas opted to slight the artisans who once took his black and white screenplay and made a visceral universe in lieu of videogame artists. Not to slight those who make pixel-art mind you… but even with all the advances of computer-aided movie-making, there’s nary a person I know who doesn’t look at the The Phantom Menace, The Clone Wars, or Revenge of the Sith and not make a fleeting comment on how “it looks like a video game” in a very negative way. Combine with with absolutely wooden performances (from Oscar nominated actors and actresses mind you!), and the new trilogy clearly chose spectacle over heart.
The best examples of Star Wars all share a commonality; they present the fantastic grounded in very human emotions. Lightsabers are cool. X-Wings are too. But find me one person (over the age of 13, to be fair) who prefers Yoda backflipping like a crack-addled spider-monkey to the soul-filled voice and puppet work of Frank Oz? I’ll gladly argue them into submission. The crapulence of I, II, and III degrade IV, V, and VI in ways I wish weren’t true. As I said: you can’t ‘unmake’ them, and therefore everything they set up feels tainted to me.
The fact that they were the product of Lucas, and his team of yes-man make it feel all the worse. It wasn’t as if he’d handed the reigns to a new writer and director, wiped his hands of it, and shrugged off three profitable but largely uncelebrated films. Here, he presented what set up an amazing series of adventures, and pulled back the veil of mystery to uncover a story so dull, it actually weakened existing canon! How I wish I could fear Darth Vader, but now all I see is a whiny douche who had sand in his boots.
Well, they say time heals all wounds. So now, we sit at the event horizon. J.J. Abrams has been given the keys to the castle. While some find his new take on Trek to be more boom-boom than think-bam… it may very well be what Star Wars needs to really move on. A mix of practical effects and CGI (perhaps light on the lens-flares, mmm kay?), blended with original and new casts that take time to put themselves into their roles, and a story that dares to challenge its audience with more than trade politics and council debates could very well be the blaster-shot in the pants the franchise needs to be back on top. For the sake of all who are presently seething at me? I sure hope so.
May the force be with you… ‘cause it certainly ain’t with me.
SUNDAY: John Ostrander
MONDAY: Mindy Newell
The Point Radio: One More Time For THE VENTURE BROTHERS
THE VENTURE BROTHERS kicks off a new season on Adult Swim this Sunday at midnight. we talk to the brains behind the cartoon to see what is coming up, plus there is more summer TV this week with a new season of AMERICA’S GOT TALENT. Judges Howie Mandel and Mel B tell us why this season has a lot of differences. And Doctor Who…a racist? Really?
Take us ANYWHERE! The Point Radio App is now in the iTunes App store – and it’s FREE! Just search under “pop culture The Point”. The Point Radio – 24 hours a day of pop culture fun for FREE. GO HERE and LISTEN FREE on any computer or on any other mobile device with the Tune In Radio app – and follow us on Twitter @ThePointRadio.
Martha Thomases: Stripping for Summer
How was your holiday weekend last week? Mine was great. I spent Sunday sitting in the sun by a lake, talking about graphic storytelling.
There were six of us, plus a pre-teen who just wanted to play video games, a form of graphic storytelling perhaps but not one we are going to discuss. At least four of us had a jones for newspaper strips. Four of us liked comic books. And at least five of us liked gag panels. It’s also possible that all of us liked all forms, but I’m not sure, nor does it really matter.
I was especially intrigued by the love given to newspaper strips. When I was a girl, they were my favorite part of the newspaper. I read everything, even Mary Worth and Dondi. I loved Li’l Abner even when Al Capp went right-wing crazy.
But I loved the funny strips more. Peanuts, Blondie, and later Calvin & Hobbes My parents had a subscription to The New Yorker, and a book that collected New Yorker cartoons from 1925 to 1955, and it is from these that I learned what funny drawings looked like.
When I was old enough to appreciate the skills involved in graphic storytelling, I enjoyed Milton Caniff. And I wanted to like Little Orphan Annie and Dick Tracy, but they never grabbed me on an emotional level. I never had to read the next day’s strip.
By this time, I was rabidly into comic books. Instead of waiting weeks to read a whole story, as required by newspaper strips, I got the whole thing between two covers. I liked this better.
In modern times, there aren’t very many comic books that tell a complete story in a single issue. There are fewer and fewer newspapers comic strips (and fewer and fewer newspapers), and serial dramas seem much less popular than humor strips. And there are fewer and fewer markets for gag panels.
Each of these forms combine words and pictures. Each needs to communicate story and character quickly, in a small space. And yet, each is completely different, one from the other.
I personally don’t enjoy collections of newspaper story strips. I find that the form requires a grey deal of repetition, and it hurts my head after a while.
I frequently don’t enjoy collections of comic book stories for the same reason. The passing of time between individual episodes requires something that will jog the reader’s memory, but it is less effective in a collection. A graphic novel should stand by itself, and so should individual issues.
I love gag panel collections, and feel that is the best reason to have bookshelves in the bathroom.
Is there is any title that works best in all three genres?
Yes.
SATURDAY: Marc Alan Fishman
SUNDAY: John Ostrander
BOBBY NASH INTERVIEWED BY LISA COLLINS
Author Lisa M. Collins interviewed New Pulp’s Bobby Nash, the 2013 Pulp Ark Award Winning Best Author for her blog.
You can check it out here.
Get Ready to Blast Off With Carson of Venus!
CARSON OF VENUS is an all-new full color online weekly comic strip of interplanetary romantic adventure brought to you by writer Martin Powell and artists Thomas Floyd and Diana Leto. Carson of Venus is produced by Edgar Rice Burroughs, Incorporated. Look for Carson of Venus’ launch on June 1st!
Join the Excitement! For only $1.99 per month you can get Carson of Venus and the all-new TARZAN comic strip by Roy Thomas and Tom Grindberg– and there are more fantastic ERB comic strips on the way– at no additional cost!
Subscribe Today at http://www.edgarriceburroughs.com/comics/
Interview: The MC Bat Commander dishes on “The Aquabats Super Show”
Christian Jacobs started out as a child actor playing the slightly older Joey Stivic in the All in the Family spin-off Gloria. Since then, he’s not only triumphed as the creator of kid show juggernaut Yo Gabba Gabba, but as The MC Bat Commander, has been the charismatic leader of superhero ska band The Aquabats. After a long career in the clubs of the world (coming up on their twentieth anniversary) the band broke into television last year with The Aquabats Super Show on Hub Network. Lauded by critics and attracting kids in droves, the show’s second season premieres this Saturday on the network (check local listings).
Christian took the time to speak to ComicMix about the series and the long strange trip it took to the screen. He’s proud to get the show on the air, and even more happy for it to make a second season. “We’re blown away” he explained. “We would have been happy just to get ONE season. But having said that, we put a lot of blood, sweat and tears into that one season, and to be ‘one and done’ would have been a little disappointing. But if you take a step back and think about the miracle that The Aquabats even got to make a TV show…having a second season is just mind-blowing. A real-life band that got to make a fake, goofy show about themselves…I don’t think that’s ever happened before. You have shows like The Monkees, where the bands were put together by the studios; Big Time Rush, things like that. But a real band…being a part of that miracle, and getting to do it twice, is just unbelievable.”
The desire to get The Aquabats to the small screen has been part of the plan almost as far back as the band’s been in existence, Jacobs explains. “Right about the time we did The Fury of the Aquabats, Between that and Floating Eye of Death!, we did a pilot for Disney. And that was something we all thought was going to go somewhere. But looking back, looking at that pilot, I was all, ‘Oh, wow, THAT didn’t work out…’ “
He’s got a good idea as to why the show worked now, as opposed to years back – “It seems like the timing, although it’s been almost twenty years, the timing is almost perfect. I think the sensibilities in the show…kids are more sharpened to stuff that’s random and silly, and doesn’t make sense sometimes. I think maybe even more than kids, cause kids are always down with that. I think there’s enough shows that doing stuff like that, and being successful, that studios are letting things go. Like, there’s no chance there would have been an Adventure Time, fifteen, twenty years ago; it’s just too crazy and random. And that’s rad! And it’s the same with [us]; without a network like Hub Network, you don’t have a show like The Aquabats. Because people don’t wanna take risks.”
The show has been the hit with kids as it was intended, and that new audience has started to flow back to the band’s live performances. “We played a local show here, last summer, right after the show started airing. And the influx of young kids at the show definitely created the thought, “Wow, we definitely need to have a different show when we go tour; do a matinee and an evening show. It’s not that the crowd doesn’t mix, we have kids that want to slamdance and get rowdy, and that’s okay, it’s always been like that. But when you have SO many kids, nine and ten year olds, in the pit, it makes things a little bit different.”
Christian and the band are quite proud of the show. “What’s been great, and really gratifying, is that all of us in the band have been so close to the show, for so long…in the back of my brain…heck in the front of my brain, I’m thinking, ‘I hope kids like this, because I like it, I think it’s funny.’ I like all the references and everything in the show, but is it gonna resonate with kids? Cause it sure resonated with me, I like all that stuff, I think it’s stupid. But there’s a lot of inside jokes, a lot of references, that adults get, but kids maybe not so much. But the fact that kids do love it, and that’s the demographic we’re aiming at, that’s a big relief.”
Part of the show’s appeal is the constant barrage of references to pop culture, both old and new. Their mobile headquarters, the Battletram, is equal parts the eponymous vehicle from Ark II, the Doctor’s TARDIS, and the Big Baloney from The Kids From CAPER. “We want to wear our references on our sleeves. We don’t want to rip any of that stuff off, we want to glorify it; we want to say “How awesome was the stuff we grew up watching?” Now here it is again, in a big loaf. That’s what The Aquabats show is – it’s a loaf, it’s a big loaf of stuff. You can quote me on that. “
While trying to get The Aquabats on the air, Christian took a big of a turn and started looking at the state of entertainment for an even younger audiences. “We were really having trouble getting the Aquabats show sold, getting people to buy onto it. We had a couple of ten-cent pilots, and a couple of things we’d done, but we were having trouble getting people to say ‘OK, yeah, you can go and make your crazy show’. And a big part of it was the climate in TV at the time. Reality shows were just breaking, and they were just breaking HUGE. Survivor was getting really big ratings, so it was hard to get people behind our show. So my buddy Scott (Schultz, YGG co-creator) and I, around that time we were trying to develop the show, we started having families of our own. We were watching kids’ TV, and I noticed there was a big shift in younger kids’ programming. It seemed like everything was very compartmentalized, like “this show is for kids aged 1.5 to 3.2”. Very homogenized. Whereas we grew up watching The Electric Company, and Sesame Street and Zoom, all this variety. All this singing, and songs, and you never knew what was coming around the corner. And my parents would watch the shows with us, and chuckle, at like, Ethal Merman jokes. I didn’t know who Ethel Merman jokes, but my parents would laugh. You don’t get that from the majority of preschool shows today – they don’t have pop-culture references in them.
So we said, hey, let’s shift things up a bit; let’s keep The Aquabats in our pocket. What if we try and do a preschool show? Let’s try and do a classic magazine-format show that could include parents. That could have hip-hop and punk, and electronic and dance, and different things in the show. Not just musically, but visually; art, animation, and style. And almost immediately we thought, it has to be a show with walkaround characters, like The Banana Splits or H.R Pufnstuf. And we’ve got two walkaround characters we’ve already built (Cyclopsis and Weedy, who became Muno and Brobee respectively), and they got great responses live (at Aquabats shows). People would go nuts when they came out on stage, people loved the characters. So I knew right away, from the audience, that those characters would work.”
With next year being the twentieth anniversary of the band, Christian has more than a few events planned, including a new Cadet Summit (their recurring fan conventions) and most importantly to newer fans, new Cadet Kits. “Definitely next year! The cadet kits have always been such a rad thing, but we’ve always done it ourselves. It’s been very hard to find the right fulfillment partner, cause we need help. We can’t do it ourselves anymore; to put it in the envelopes, and lick the stamps, it’s crazy. “
Dennis O’Neil: Villains
Social commentary is pretty old news in science fiction, so I guess we shouldn’t be surprised that it figures prominently in what will probably turn out to be the summer’s sci-fi biggie, Star Trek Into Darkness.
Of course, if we wanted to be picky, or display our erudition, or be just a bit passive aggressive, we could point out that superheroes are science fiction, and there’s already one of those, a mighty successful one, on our local screens and another, cape furled, is waiting in the wings. But we’re not picky, show-offy or, heaven forfend, passive aggressive, so we’ll just elide past everything in the previous sentence and soldier on to the Trek flick.
I’m not a trekker, not by a stretch, but I have seen all the theatrical movies and a (pretty paltry) sampling of the video iterations. And one element has always bothered me – not a big bother, certainly not a pleasure slayer, just a nag somewhere in the far regions of whatever it is that passes for my social conscience.To wit: the implicit militarism in the Star Trek mythos.
I saw my first television Star Trek in the mid-sixties, when I was hanging with peaceniks and was recently freed from two absolutely humiliating years aboard a warship – pity me, but also pity the poor bastards whose hopeless task it was to cram me into regulations – and I was pretty sensitive to military stuff. And here came Star Trek, which, being science fiction, I was predisposed to like, but they were all wearing uniforms, the crew of the Enterprise, and they often carried sidearms and the ship itself was equipped with a futuristic version of heavy artillery and they had ranks and those ranks had a familiar sound to them: lieutenant, commander, captain, admiral…yeah, I’d met guys who carried those designations. They generally hadn’t been my pals.
Maybe back when Star Trek was but a blip on the zeitgeist, whoever was running the show did have the military in mind. But the current movie makes a point of letting us know that Star Fleet is not a military command. The ranks? Civilian vessels are run by captains and are manned by guys in uniforms.Rank does not necessarily equal warrior: duh.
(Squeaky little spoiler alert.)
What most pleases me is that the villains are not, in the final reckoning, demonized – that is they’re not portrayed as aliens.No, the chief evil-doer is your ol’ buddy the authority figure. And this is where the movie accepts the burden of social commentary: I am not the first to observe that the plot of the story is a reflection of the past decade of our history. And allow me the amusement of imagining that one character’s name on the first draft of the script might have been Cheney.
Because I’m writing these words on Memorial Day, and I have no wish to disrespect either the holiday or those it commemorates, let’s be clear: we should support our troops by giving them the equipment they need and by properly tending to their wounds and by granting them the benefits they’ve earned,and mostly by not sending them to be slaughtered in useless wars.
Now go see Star Trek Into Darkness.
FRIDAY: Martha Thomases
SATURDAY: Marc Alan Fishman
PRO SE EXPANDS AND WELCOMES GLOBAL RELATIONS AND ACCOUNTABILITY COORDINATOR!
Pro Se Productions, a continually expanding and growing company focusing on Genre Fiction, New Pulp, and cutting edge Action and Adventure Books and Anthologies, announced today the addition of a new position within Pro Se Administration- Global Relations and Accountability Coordinator.
“Pro Se,” Tommy Hancock, Partner in and Editor in Chief of Pro Se, states, “has grown tremendously since opening our doors so to speak in early 2010.  We have every single writer, artist, editor, and administrative person that’s done even one little thing to thank for that.  With the fact that we intend to produce the most books we have yet in our history this year and next year as well, it’s become necessary to bring in others to help handle the growth.  To that end, we created a position that actually has two duties- Marketing and Social Networking as well as managing day to day affairs from the Editor in Chief’s office.  Essentially, making sure I get my myriad projects and jobs done successfully.”
The Global Relations and Accountability Coordinator will act as executive assistant to the Editor in Chief and will handle daily operations outside of the Editorial/Writing/Creative Staff.  The GRAC will also assist the Editor in Chief in creation of and distribution of press releases, setting up blog and podcast appearances, and utilizing Social Media of all types to its fullest extent.
“Pro Se,” Hancock says, “has a great catalogue that will continue to grow and be even greater.  We’ve spent three years intentionally growing our personal library of books and now it’s time to promote them, old and new, from the first book published to the latest and greatest, with every technique and tool we can come up with.  And as our Global Relations and Accountability Coordinator, Beth Alvarez will help us do that and we are proud to welcome her to Pro Se Productions!”
Beth Alvarez is a previously self-published author residing in Memphis, Tennessee with her growing family. A voracious reader in her free time, Alvarez specialized in the study of fine arts with a focus on visual arts and teaching. An accomplished programmer, she has spent time working as a freelance web development specialist and graphics designer since 2005 and now adds Global Relations and Accountability Coordinator for Pro Se to her accomplishments.
Beth can be contacted at BethAlvarezProSe@gmail.com and will in the future be making contact with reviewers, bloggers, websites, other publishers, and other parties related to Pro Se business.
Pro Se Productions- www.prosepulp.com
Live From Alabama Phoenix Festival It’s The White Rocket Podcast!
Last weekend, New Pulp Author Van Allen Plexico was a guest at the 2013 Alabama Phoenix Festival. He spent some time with several other notables in attendance– Bobby Nash, Sarah White, Sean Taylor, Doc Osborn, Mike Gordon, and David Wright– discussing what they’re up to and what they think about the Festival. A good time was had by all! So load up on Zaxby’s and grab a seat in the Cahaba Center–good times await!
You can listen to White Rocket 025: Alabama Phoenix Festival now at http://whiterocket.podbean.com/2013/05/28/white-rocket-025-alabama-phoenix-festival/
The White Rocket episode is available via iTunes (subscribe and don’t miss an episode!) or you can visit the podcast site at http://whiterocket.podbean.com/
The White Rocket Books page at http://www.whiterocketbooks.com/
Part of The ESO Podcast Network.
