For this week’s Mix-Up, we showcase Theamat over on DeviantArt, who presents us with his take on the X-Men as drawn by Pablo Picasso… although I wish this piece would have been titled Genosha.
See the full size piece at DeviantArt. (Hat tip: BoingBoing.)
Is reading comics genetic? Is there a gene that dictates whether or not you’re going to be a comics lover?
I don’t remember when I first fell in love with reading comics. Hell, with reading, period. Just got off of the phone from my mom, who said that by the time I was in kindergarten I always had my nose in a book, which puts me at about four years old. She also said that I was reading at the third grade level
“What about before kindergarten, Mom?”
“You would go to our bookshelves and pull out a book and turn the pages and talk to yourself as if you were reading.”
“Was I?”
“I don’t know, I don’t remember. Oh, and you loved to look at the illustrations.”
“You mean picture books?”
“No, I mean the illustrations in Last Of The Mohicans and Alice In Wonderland and The Three Musketeers. You got milk stains over our Book-of-the-Month Club leather-bound copies with the N.C. Wyeth drawings and drove your father nuts.”
I still get food and drink all over my books.
“What about comics?”
“I just remember that you always read them.”
“That was in the ‘50’s, right? Weren’t you worried that I was going to corrupt my poor innocent brain?”
“No. You were reading, that’s what was important.”
“But did you ever read comics? Did Daddy?”
“Nope. Neither of us.”
“And Glenn never read them, either, right?”
“You were the only one.”
Are comics genetic? Is there a gene that dictates whether or not you’re going to be a comics lover?
Just got off the phone from Alixandra.
“Hey, Alix, you weren’t really a comics reader when you were a kid, right?”
“Nope. Well, Betty And Veronica.”
“But I don’t remember you reading them the way I do, right?”
“Right. But I loved reading.”
“But not comics. Not like me.”
“No.”
So reading comics isn’t genetic. There is no gene that dictates whether or not you’re going to be a comics lover.
But…
Several weeks ago I went out to dinner with the family – mom, dad, my brother and sister-in-law, and my soon-to-be 12 years old niece, Isabel.
She had Jeff Smith’s The Complete Bone Adventures Volume 1 on her lap, and was trying to surreptitiously read without getting caught or getting food on it.
I was so impressed. Not for trying to sneak reading while out to dinner with others – that’s not exactly polite social manners, is it? – but for having discovered Jeff Smith’s totally cool story on her own.
I love Bone, too, Isabel.
Isabel loves comics. Has it been my influence? I’m not sure. Meaning, what came first, the chicken or the egg? I remember giving her a full year’s worth of Louise Simonson’s Power Pack for her 5th birthday – I think it was her 5th birthday, this is what happens to your brain on menopause; girls, don’t do menopause if you can avoid it – but was it because I knew she loved comics or was it because I wanted to turn her on to comics?
She has a huge collection of Archie, including the graphic novel that collects stories from the beginning to the present. Favors Veronica over Betty (she looks like little Ronnie, but she hates when I tease her about it) and thinks Reggie is mean, Jughead is dumb, and Midge and Moose are cool. Izzy really likes the Archie Marries Veronica/Archie Marries Betty storyline. But she’s not so much for the “new look” – she goes for the classic.
Me, too.
I’ve got a comic book she made for me when she was six. It’s about a vampire. Isabel loves vampire stories.
Me, too.
So reading comics is genetic? There is a gene that dictates whether or not you’re going to be a comics lover?
Damned if I know.
TUESDAY MORNING: Michael Davis Expletive Deleted
TUESDAY AFTERNOON: Emily S. Whitten, Women, and Costumes
There you have it, three chances to win a one-of-a-kind prize, and do Meteor House a favor in the process. If you enjoy their books, entering the contest by any of the three methods is a great way to say thank you. However, you only have a week to enter as the deadline is midnight eastern on June 30th. On July 1st, the winner will be chosen and notified.Oops, one more thing I should remind you of: Don’t forget to preorder EXILES OF KHO by June 30th. If you do so, your name will appear in the book on the acknowledgments page. Since only a small number of copies will be printed beyond the number preordered, if you don’t preorder, there is a very good chance you will miss out on the tale of how Sahhindar significantly influenced the course of events in the ancient civilization of Khokarsa.
Mike Croteau
The Official Philip José Farmer Web Page
www.pjfarmer.com
Terry Beatty, artist of the Phantom Sunday newspaper strips is offering some of his Phantom artwork for sale in order to raise the funds to replace the computer he uses to digitally pencil, letter and color the strip.
From Terry’s blog:
The process here is that I print the pencils (done in Manga Studio) in blue (a 50% cyan usually), along with the lettering and borders in black, on 11 x 17 bristol board, and then ink the art traditionally by hand with brush and pen. Some of the blue “pencil” lines can show through — but it’s usually rather subtle and doesn’t detract from the art at all.
This is then scanned for color, which is done in Photoshop. In some cases, repeat panels are digital printouts as well — and the logo panel is always printed — the modern equivalent of a “paste-up” — but without the eventual rubber cement stains or faded photostat! Sound effects lettering — and once in a while, some of the more mechanical background lines, are digital as well.
As an incentive to buy now, I’m going to include with each Phantom page purchased, a randomly chosen page of original artwork from my files of comic book pages inked by me. I’ll also toss in a few surprise extras just to sweeten the deal. Prices include shipping in the US — overseas shipping will have to be calculated and added in, as that can add up a little too much. I’m also dropping some of the prices a little from the prices I’ve had on these at comic book shows.
Art here is all from Sunday strips that have seen print, starting with the first page from the current Power House gang story (sorry, all but one “Shadows of Rune Noble” pages are gone — and I’m keeping that one). I do have pages that have not seen print yet — but can’t show them publicly, for the obvious reason.
Check out the pages and prices at http://terrybeatty.blogspot.com/2012/06/original-phantom-art-up-for-grabs.html
To promote the release of The Amazing Spider-Man in theaters on July 3, a number of events are taking place in New York City this week, starting with the cast of the movie appearing on The Today Show tomorrow morning, and continuing across all five boroughs from museums and zoos to Yankee Stadium and the Empire State Building.
Take a look at the schedule of events here.
CBLDF has joined forces with the National Coalition Against Censorship and the American Booksellers Foundation for Free Expression to write a letter in defense of Alan Moore’s Neocomicon (Avatar Press), which has recently been challenged in the Greenville, South Carolina, public library system. Objections to Neonomicon were raised by a patron after her teenage daughter checked out the book, which contains adult themes. The book was correctly shelved in the adult section of the library, and the teenager possessed a library card that allowed access to the adult section.
CBLDF joined NCAC and ABFFE in sending the following letter to the Library Board of Trustees at the Greenville County Public Library:
Dear Board Members,
On behalf of the National Coalition Against Censorship, the American Booksellers Foundation for Free Expression and the Comic Book Legal Defense Fund we strongly urge you to keep Alan Moore’s Neonomicon in the Greenville Public Library. This book has reportedly been challenged by a member of the community who claims its “sexually graphic” images make it inappropriate for the library.
Removing this book because of objections to its content is impermissible under the First Amendment. As the Supreme Court said in Board of Education v. Pico, the Constitution does not permit “officially prescribed orthodoxy” which limits what people may read, think, speak, or say. The fact that we are confronted with images and not words does not make a difference—the courts have ruled that images, like words, constitute symbolic expression and are protected by the First Amendment.
Neonomicon is a horror graphic novel which explores themes present in the works of fantasy writer H.P. Lovecraft, delving into complex issues of race, crime and sexuality. Moore and artist Jacen Burrows use the visual nature of the graphic novel medium to more fully examine the subject matter found in Lovecraft’s original work, achieving a commentary both on Lovecraft and on the horror genre itself. The authors deliberately disturbing depictions of sexual violence are included as a critical comment on how such subject matter is handled elsewhere within the genre. The book recently won the Bram Stoker award for “Superior Achievement in a Graphic Novel.” Its critical acclaim testifies to its artistic value which is aided, not eclipsed, by its sexual content.
Alan Moore is one of the most influential and acclaimed authors in both the graphic novel category and the larger literary culture. His body of work includes Watchmen, which Time Magazine named one of the 100 best English-language novels published since 1923. His works also include the graphic novels V For Vendetta, League of Extraordinary Gentlemen, From Hell, and Lost Girls, all of which have enjoyed tremendous critical acclaim. Neonomicon continues Moore’s explorations in appropriating classic literary characters and themes in the service of post-modern storytelling. It is an essential work by an author who is indisputably a master within his field.
The book was appropriately shelved in the adult section of the library. The fact that it was withdrawn by a minor, whose mother had given written permission for her to borrow materials from the adult section, is no basis for removing the book—an action that infringes the First Amendment rights of adult library patrons. Indeed, the removal of the book during the review process is itself problematic, since any government suppression of material because of objections to its viewpoint or content transgresses constitutional boundaries. As a legal matter, the harm has been done, even if it is later rectified.
The book meets the criteria that form the basis for the library’s collection development policy. Removing it because of sexual content not only fails to consider the indisputable value of the book as a whole, but also ignores the library’s obligation to serve all readers, without regards to individual tastes and sensibilities. If graphic violent and sexual content were excluded from the library because some people object to it, the library would lose ancient and contemporary classics, from Aeschylus’ Oresteia to Toni Morrison’s Beloved.
We strongly urge you to respect the rights of all readers to read and think freely, and to reject the notion that the views of some readers about the value of literature, or its “appropriateness”, maybe imposed on all. By keeping the books on the library shelves you will demonstrate respect for your readers and their choices, for the professionalism of the librarians who serve the reading public, and for the First Amendment and its importance to a pluralistic democratic society.
Please consult NCAC’s resource “Graphic Novels: Suggestions for Librarians” (http://ncac.org/graphicnovels.cfm) or contact us if there is anything we can do to help.
Sincerely,
Joan Bertin
Executive Director
National Coalition Against Censorship
Chris Finan
President
American Booksellers Foundation for Free Expression
Charles Brownstein
Executive Director
Comic Book Legal Defense Fund
You can view a PDF of the letter here.
Please help support CBLDF’s important First Amendment work and defense against library challenges such as this by making a donation or becoming a member of the CBLDF!
In October, one gay icon meets another, in Archie Comics.
Kevin Keller #6 will co-star George Takei, best known as Lieutenant Sulu. And it was at a comic convention that George met Kevin’s creator Dan Parent and succumbed to Parent’s request that the two meet in person. George and Kevin, that is.
Here’s hoping Kevin’s future husband doesn’t get too jealous from seeing this photo…
Thanks to Buzzfeed.
This is the first ever documented Spider-Man fan film, and the first (unofficial) live action appearance of Spider-Man from way back in 1969. This was produced by Donald F. Glut, who at the time was writing for Warren Magazines (Creepy and Eerie) and would later go on to write Captain America, The Invaders, Conan, and Kull for Marvel, and what he may still best be known for, writing the novelization for Star Wars: The Empire Strikes Back.
This was Don’s last amateur film (he had produced many other fan films before this) before moving on to write for classic cartoons like Transformers and Spider-Man and His Amazing Friends.
At one company I worked at, I received a contract and, in the boilerplate text, there was a new phrase, something that I didn’t understand. I asked my editor about it; he didn’t understand it either and shrugged and said, “Just sign it so we can get the project going.” I went on to a business manager who didn’t know what the phrase meant either but said, “Oh, John – we’re all friends here. Don’t worry about it.” I continued to pursue it up through a corporate counsel who finally told me what it meant.
The phrase said that the company could do anything they wanted to my scripts, change them as they deemed fit, and publish them under my name without even telling me. Once I understood what the phrase meant, I wanted it taken out (I had more leverage in those days and was able to do that). My reasoning – all I had to trade on was my name. An employer hires me based on my track record and that track record is based on what has appeared under my name. That’s my livelihood and I couldn’t let someone else change my work without the right to remove my name.
In general, I have liked, respected, and gotten along well with the editors for whom I’ve worked. They, however, are not the company. They may represent the company but they are not the company. They may leave, get fired, die or in some other manner not wind up employed at the company. It’s my “hit by a bus” theory. If everyone at a given company I know went out for lunch together and got hit by a bus, all I would have is the contract that I signed.
Despite what some politicians may have told you, companies are not people, too, my friend. They are “people” only as a legal fiction; the law treats them as a “person” in the sense that they can sign binding contracts, sue or get sued, and enter into other legal situations that supposedly can only happen between two “people.”
You do not have a relationship with a corporation; you have a relationship with people who work at a corporation. Corporations are not family. They are not sentient, they are not cognizant, and one could argue they are rarely intelligent. Multinational corporations and conglomerates do not belong to any one nation and their loyalties belong to no one nation but rather to themselves and, in theory, their stockholders, although top executives can make sure they get their bonuses even if the company fails.
Corporations do not believe in equality; corporations are hierarchical, usually male dominated, and white. Management is the top echelon and the workers, who do most of the heavy lifting, are drones. In artistic matters, they will tell you that the people with the money are more vital than the creative types. After all, creative people are a dime a dozen; another will be around in a minute or two. The guys with the money are the ones taking the financial risk and, thus, are more valuable. You can always get another idea to fund. Theirs is the corporate mindset – it’s the money that matters most. Artistic ideas are just widgets as are their creators.
Despite a remarkably boneheaded Supreme Court decision, money does not equal free speech. It enables you to buy the soapbox from which you can exercise your free speech and the more money you have, the bigger soapbox you can buy. The money that corporations have enables them to buy extremely large soapboxes outfitted with loudspeakers that common citizens cannot afford. This electoral cycle we’re seeing unprecedented amount of spending both by corporations and by individuals made rich by their corporate holdings. That creates an imbalance between the legal fictions that are corporations and the humans that are the actual citizens.
I’ll grant that all this sounds like I really hate corporations. I don’t. They are a necessity. I respect them when they act in a manner deserving respect, and I respect their power. I simply don’t think they are more important than the individual and that their rights should supercede those of the average citizen.
The preamble to the United States Constitution refers to “We, the People”, not “We, the Corporations.” When the framers of the Constitution said that its purpose was “to secure the Blessings of Liberty to ourselves and our Posterity” they weren’t talking about the legal fictions that are corporations.
I don’t expect corporations to be my friends no matter what their corporate spokesmen and animated logos may tell me. I know who my friends are, I know who my family is, and they aren’t legal fictions. Nothing personal; corporations aren’t persons. It’s business for them and that’s how it is for me.
MONDAY: Mindy Newell
Columns / Glenn Hauman / News
Stephen Colbert, we have your writer for “The Chronicles of Amber”!
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