The Mix : What are people talking about today?
Ray Bradbury U.S. Stamp Campaign
All Pulp has been informed of a petition to commemorate the life of noted author, Ray Bradbury (who passed away on June 5, 2012) on a stamp from the United States Postal Service.
In a career spanning more than seventy years, Ray Bradbury has inspired generations of readers to dream, think, and create.
A prolific author of hundreds of short stories and close to fifty books, as well as numerous poems, essays, operas, plays, teleplays, and screenplays, Bradbury was one of the most celebrated writers of our time.
His groundbreaking works include Fahrenheit 451, The Martian Chronicles, The Illustrated Man, Dandelion Wine, and Something Wicked This Way Comes. He wrote the screen play for John Huston’s classic film adaptation of Moby Dick, and was nominated for an Academy Award.
He adapted sixty-five of his stories for television’s The Ray Bradbury Theater, and won an Emmy for his teleplay of The Halloween Tree.
You can learn more about, and sign if interested, the petition at http://www.gopetition.com/petitions/ray-bradbury-us-stamp-campaign.html
Brave Salutes Father’s Day
In case you missed it, Brave opens on Friday but first, they honor Father’s Day (despite the holiday not existing at the time of the film).
Set in the rugged and mysterious Highlands of Scotland, Disney•Pixar’s Brave follows the heroic journey of Merida (voice of Kelly Macdonald), a skilled archer and headstrong daughter of King Fergus (voice of Billy Connolly) and Queen Elinor (voice of Emma Thompson). Determined to change her fate, Merida defies an age-old custom sacred to the unruly and uproarious lords of the land: massive Lord MacGuffin (voice of Kevin McKidd), surly Lord Macintosh (voice of Craig Ferguson) andcantankerous Lord Dingwall (voice of Robbie Coltrane), unleashing chaos in the kingdom. When she turns to an eccentric Witch (voice of Julie Walters), she is granted an ill-fated wish and the ensuing peril forces Merida to harness all of her resources—including her mischievous triplet brothers—to undo a beastly curse and discover the meaning of true bravery. Directed by Mark Andrews and Brenda Chapman, and produced by Katherine Sarafian, Brave is a grand adventure full of heart, memorable characters and signature Pixar humor. Opens on June 22, 2012, in Disney Digital 3D™ in select theaters.
Sunday Cinema: Every Mystery Science Theater 3000 movie (and then some)
In the not-too-distant past, 1988 A.D… there was a guy named Joel, and then another guy named Mike, both of whom worked as janitors at Gizmonic Institute, and who ended up getting tormented by mad scientists. But you already knew that, I’m sure. In fact, you may (like me) recognize far, far too much of this comprehensive and hyper-condensed tribute to Mystery Science Theater 3000 and a whole lot of related stuff like Turkey Day, Rifftrax, Cinematic Titanic, and on and on and on.
Now keep in mind you can’t control where the clips begin or end…
How many of these have you seen? Worse, how many of these had you seen before the MST3K bots got their hands on them? And which were your favorites?
John Ostrander: Death and Comics
At a convention I was at some years past I was having dinner with, among others, Howard Chaykin and Joe Rubinstein. Howard is always an interesting dinner companion; whether you agree with him or not on a subject, the conversation is going to be interesting. I didn’t know Joe Rubinstein much before that – except by his talent – but he raised a serious point with me. Joe knew about my late wife, Kim Yale, and her death and what he was interested in seeing coming from me was a story or stories about how you cope with the grief and the mourning that comes with the death of a loved one. It’s an interesting challenge and, while I’ve had some ideas about how to do it, I have yet to answer it.
I don’t think that comics, as a medium, deals well with death. It’s become a plot device, a sales gimmick, since we all know the character who has died is going to be back. I was staggered at the time of the Death of Superman storyline and by the number of people I knew who contacted me and breathlessly asked, “Is he really dead?” I pointed out that DC had too much money to lose from Underoos alone to let Kal-El stay dead.
Sure enough, Superman got better.
I will say that DC dealt well with the aftermath of Superman’s apparent demise in the World Without Superman follow-up storyline. There was real feeling, real emotion, by individuals and by the general population. And life went on without Superman.
That’s what happens. Your world ends; life goes on. The one you loved doesn’t come back. You cope however well or badly. You recover or you don’t.
I’m not saying that killing off a character can’t be effective or shouldn’t be done. When I was doing Suicide Squad over at DC, I was something of a literary mass murderer. I killed off lots of characters – mostly villains. I even killed off my own GrimJack character and brought him back albeit in a different, cloned body. I then reincarnated him somewhere further down his own timeline and, eventually, killed off that incarnation as well. So, how is that different, you ask.
Reincarnation doesn’t give you back the same body; it gives you a different one. The resiliency of the Doctor Who series rests on the title character’s ability to regenerate or reincarnate. Completely different actor, very different personality traits. There is change. That’s the difference and a key one.
Over at Marvel, the Pearly Gates is a revolving door. Captain America dies; oops, he got better. (Okay, it was really a “time bullet” but it was sold as the death of Captain America.) His teen sidekick in WWII, Bucky, dies in action. Oops, no, he gets better decades later. Both “deaths” generated interesting stories but is there anyone who really thought that the original Captain America wasn’t coming back?
Actions have consequences and death does as well. Grief should be shown; tears should flow. One of the major flaws, for me, of the first Star Wars film is that Luke barely sheds a tear at the death of the only parents he’s really ever known but then gets mopey about a mentor he’s known only a few days. Whereas, in the Harry Potter films, especially the later ones, when a character dies we see real grief and sorrow. It matters to the characters and therefore matters to us. And, yes, Harry dies and comes back to life but that doesn’t change my argument. His death grew out of the story and was, in fact, demanded by it; it was the way to resolve the story. That includes his resurrection. My gripe is with deaths that simply are “events” and meant to push sales.
Death in comics is too easy because resurrection is too easy. It doesn’t mean anything most of the time. It’s a cheat. Life – and death – doesn’t work that way. If death doesn’t mean anything, does life?
Monday: Mindy Newell and how she got that way.
“In Our Mothers’ House” Restricted Access in Utah School District
With the President’s recent open approval of same-sex marriage; a federal appeals court striking down the Defense of Marriage Act (claiming it unconstitutional); the success of Life with Archie #16, featuring the marriage of a gay character; and Marvel and DC’s inclusion of prominent storylines about gay characters, one may surmise it is easy for everyone to access constitutionally-protected LGBT materials. This is not the case, as students in a school district north of Salt Lake City will have to get parental permission before checking out a book about a lesbian couple raising a family, according to a recent article on the Huffington Post.
The book In Our Mothers’ House by Patricia Polacco is at the center of these prohibitive policies due to a complaint by the mother of a student who checked out the book, which features a family led by a lesbian couple and how they use love to give them the strength to overcome intolerance.
From the Huffington Post article by Jennifer Dolner:
Students in a Utah school district will need permission from their parents to read a book about a lesbian couple raising a family following the decision by a special committee to keep it behind library counters instead of on bookshelves.
The book In Our Mothers’ House, by Patricia Polacco, became the subject of controversy in January when the mother of a student who brought the book home complained to the school.
‘The book is still in the library and children can still have access to the book as long as they have written permission from their parents,’ said Chris Williams, a spokesman for the Davis School District, which covers an area north of Salt Lake City.
Dolner goes on to relate that the book has been challenged in libraries around the country:
The Davis district is not the first place parents have raised concerns about the book, which was published in 2009. A 2011 report by the American Civil Liberties Union of Texas shows the book was banned in several schools in that state.
Williams said a school-level committee made up of teachers, administrators and parents decided that access to In Our Mothers’ House should be restricted to students in grades 3 through 6. When that didn’t satisfy the parent, a district committee was petitioned to address the issue.
In late April, the district committee voted 6-1 that the book could stay in the collection, but should be kept behind the counter, instead of on shelves. A letter informing parents of the decision was sent out in May.
Williams said in the article that what’s objectionable to one person is not to another. Thusly, a person’s objection to legal material (that is not defined as offensive or profane by law) has led to a subjective decision to restrict access to said material. These policies, therefore, are based on personal ideologies, not law, and are in violation of a national canon of free expression.
Similar outcries and boycotts have been made by special interest groups, such as One Million Moms, against the comic industry for its depiction of gay characters. In February, One Million Moms lobbied to have an Archie comic removed from shelves and encouraged people to boycott the comic.
From a CBLDF article by Betsy Gomez:
One Million Moms — a division of the American Family Association, a conservative non-profit organization that ‘promotes traditional family values’ — recently made news over their boycott of retailer JC Penney over hiring lesbian TV host Ellen DeGeneres as a spokesperson. They are in the news again with recent reports that they will be boycotting Toys ‘R’ Us over the display and sale of Life with Archie #16, which features the marriage of openly gay character Kevin Keller.
Despite the group’s efforts, the comic stayed on the shelves and even sold out.
More recently, the group has taken similar actions against Marvel’s Astonishing X-men #51, featuring the marriage of the mutant Northstar to his same-sex partner, and DC’s “outing” of the Green Lantern, according to an ICv2.com article.
From the ICv2 article:
American Family Association ‘project’ One Million Moms has added Marvel and DC to the list of comic publishers that it opposes because of their inclusion of gay characters. The group argues that the companies ‘want to indoctrate [sic] impressionable young minds by placing these gay characters on pedestals in a positive light.’ The group was reacting to the announcement by Marvel that its character Northstar would marry his same sex partner in Astonishing X-Men #51 (see A Gay Wedding for Marvel). DC announced this week that a major, iconic DC character would be revealed as gay next month (see DC Character to Come Out). ‘These companies are heavily influencing our youth by using children’s superheroes to desensitize and brainwash them in thinking that a gay lifestyle choice is normal and desirable,’ the group said.”
Though One Million Moms public objections are constitutionally protected speech, banning comics and books (as in the case of Texas schools banning In Our Mothers’ House) due to moral, political or religious ideologies violate these First Amendment rights.
From the First Amendment Center’s website FAQs concerning speech, schools and books:
School officials cannot pull books off library shelves simply because they dislike the ideas in those books. In Board of Education v. Pico, the Supreme Court ruled that school officials in New York violated the First Amendment by removing several books from junior high school library shelves for being too controversial.
The Court said the First Amendment protects students’ right to receive information and ideas and that the principal place for such information is the library.
However, in Pico, the Supreme Court also said school officials could remove books from library shelves if they were ‘pervasively vulgar.’ The Court noted that its decision did not involve school officials’ control over the curriculum or even the acquisition of books for school libraries.
•••
School districts should develop policies on how to handle challenges to books, and how to ensure that decisions regarding removal of books from the library or the curriculum respect the Constitution and reflect sound educational policy. School officials must also ensure that a book is not removed simply because a concerned parent or special-interest group dislikes its content.”
Visit the non-profit organization First Amendment Center’s website for more information.
LGBT publications, from books to comics, are often challenged, banned or subject to restrictive access policies in libraries. These materials are legal, non-obscene, and protected speech, but they often suffer the consequences of personal, religious, and moral dogmas that infringe on free speech and free access.
Please help support CBLDF’s important First Amendment work and reporting on issues such as this by making a donation or becoming a member of the CBLDF!
Justin Brown is a journalism graduate of the Indiana University of Pennsylvania.
UPDATED: Vote In The Finals of the Mix NSFW Webcomics Tournament– Go Get A Roomie vs. Oglaf!
UPDATE 3 AM, 6/22: Holy cow, a lot of money has come in this round– $65.75 for Oglaf and $500 for Go Get A Roomie! We’ve modified the vote totals accordingly, adding 263 votes to Oglaf and 2000 to GGAR, but there’s still time for your favorite to win, either by voting, getting your friends to vote, or by buying votes with proceeds going to the CBLDF!
At long long LONG last– the Finals of the Mix May Mayhem (well, it’s not May anymore) NSFW Webcomics Tournament!
So far, we’ve raised over $650 for the Comic Book Legal Defense Fund, and now we’re down to the final two contestants– Go Get A Roomie going head to head against Oglaf!
Here are the updated brackets… and remember, these are NSFW comics, so be careful when you click through to look and read them! (more…)
Marc Alan Fishman: In Defense of the Modern Comic – Continuity
One more time to the well I go! As with my articles over the last two weeks … I’m taking to task one Tim Marchman of the Wall Street Journal. He quipped that the comic industry is in a tailspin in part because of “clumsy art, poor writing, and (and I’m paraphrasing…) the clinging-to-continuity.” I’ve defended the art. I’ve defended the writing. I might as well finish off the trifecta of telling this putz where to shove his opinions, right? Even if it gets Mike Gold in a tizzy.
It’s the argument I hear (and honestly have made myself… whoops) time and again; Modern comic books are too hard to get into because they have a nearly-impossible-to-grasp forever-changing mythology. In fact, this very argument was brought to life (and a live audience) to WBEZ (Chicago’s NPR affiliate) at a well-attended debate. At that debate? Tim Seeley, Mike Norton, and a handful of other local comic artists and writers. Suffice to say, the argument has legs. Long, tall, sultry legs. Legs that start at the floor, and go up to the heavens. The kind of legs that keep lesser men at bay. OK, I’ll stop with the leg analogy. I get it. Really, I do. “If I want to read Spider-Man, I need to read decades worth of stories to understand what’s going on!”
Bull-poop.
Sorry, my son is watching me type.
Huh. Now there’s something to latch on to – my son. Soon, Bennett will gain the power of language and communication. And I plan to read him a comic book every night before bed. Why? Because I want to teach him, from as early an age as possible, that comic books (and their never-ending back-stories) are entirely accessible. From the simplest base of knowledge – sometimes rooted only in the musings, opinions, and un-fact-checked thoughts of another comic book fan – enjoyment is not hindered by a lengthy back story. In fact, when handled well, a story with a rich history only yields further desire to immerse ones’ self in the adventure further.
Case in point? GrimJack
When “The Manx Cat” hit shelves, I nabbed it, tepidly. Knowing nothing of the adventures of the beret-wearing, bar-owning, sword-gun-and-sorcery-using mercenary, I still made the purchase. The issue was clearly meant to attract a new reader (as DC did with relaunching their entire line, and Marvel does when they append a “.1” to a book’s numbering). As I recall, the inside front cover didn’t have a lengthy history report. Over the course of six issues, I learned what I could from what John Ostrander presented. Some of it was easy enough to latch on to. “This guy’s been around the block a few times. Seems to have an elaborate network of operatives, friends, and history around this universe.” Other things made me scratch my noodle. “He’s obviously referencing a previous adventure the older fans know. Hmm. Sounds interesting. Maybe I’ll go back and check it out…”
And therein lies my point. All it took was a spark of interest, and I dove in. Comic books are akin to other serialized mediums – Professional Wrestling and Soap Operas come to mind. Before your eyes roll, and you snort loud enough to make the cat wake up, hold tight. When I uttered (err, typed) those phrases, did the hair on the back of your neck raise up just a little? Well, suck it up, nerdlinger. For the “big two” in the industry… their wares aren’t really all that different from Vince McMahon’s steroid showcase, or the major networks’ never-ending dramas of soapy nature. The fact is the very root of comic books is tied to the idea of serialization. To proclaim it being part of the reason the comic book business is failing is like saying wrestling is failing because it’s fake.
Now, to be fair, Marchman may very well be commenting on modern books being “written for the trade”, which I covered last week. When you walk into the store today, and want to check out The Avengers (cause you just saw that kooky flick, don’t-cha-know…), the first issue you pull off the shelf may be right smack dab in the middle of some zany plot you’ve no clue about. Reading 20 pages of content piling on top of two, three or four previous episodes makes for an nearly impossible-to-enjoy experience. I guess you’d throw up your arms, and leave the shop. Maybe go into the back alley. Buy some drugs. I mean drugs don’t care about history, do they? And they’re just as addictive… Damnit comics! You made another near-fan a drug addict.
Here’s the rub: It’s a lame excuse. If you came out of the movie theater jazzed about the Avengers, a quick jaunt to your local fiction house would help satiate your new-found-taste for muscles and fights. A well-picked trade, or handful of issues later (let’s say about $20 worth, or less if you go digital), you can then start pulling off the rack, right afterwards. Will you know everything going on? No. But if the books are written and drawn well enough? I bet you go back and fill in the gaps. I did with the Fantastic Four, not that long ago. Without any knowledge of the years Hickman spent building his nuanced epic arc, I jumped in head first (right after Johnny “died”). And over the course of the following year? The book rose to the top of my pull list. And now, I’m going back through his entire run. Because I want to know more. All it took was the first step – and admitting my previous excuse for not buying the book was just that… an excuse.
Suffice to say, Marchman’s point about barrier to entry is just a sly dodge away from the real issue (which is more about the Direct Market, availability, and proper marketing by Marvel and DC to potential fans). For those people who say “I’d get into comics, but there’s too much backstory to get through,” what are they really telling you? Jim Gaffigan had it right all along:
“You know my favorite part about that movie? Not reading.”
SUNDAY: Did Somebody Mention John Ostrander?
FORTIER TAKES ON MERKABAH RIDER 3!
NEW ‘OLD MAN’ STORY TO APPEAR IN ASIMOV’S!
The September 2012 issue of Asimov’s Science Fiction (appearing via online sources and in bookstores in mid-July) will feature a new novella about the variously named character from William Preston’s “Helping Them Take the Old Man Down” (Asimov’s, March 2010) and “Clockworks” (Asimov’s, April/May 2011), who was conceived in part as an homage to Doc Savage.
The new story, which takes place in 1925, sends readers back to the first adventure of the man who will, in time, become “the Old Man.” Be sure to look for “Unearthed” in the September Asimov’s.
For those who want to read the stories in the sequence they’re intended to be read, you can now purchase “Helping Them Take the Old Man Down” and the prequel “Clockworks” in ebook format at Amazon. Both novelettes appear bundled together for $2.99 at the following links:
http://www.amazon.com/Helping-Them-Take-Clockworks-ebook/dp/B008BC4EME/ref=sr_1_1?ie=UTF8







