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Mindy Newell: Success And Failure, Part 3

Picking up the thread…

College a no-go. Work a disaster. Israel a bust.

Spending a lonely night sitting in the terminal at Lod Airport (now David Ben Gurion Airport) waiting for my 5 A.M. flight to New York. Trying to ignore leering men. Struggling to stay awake. Not knowing where to go or what to do. Thinking I didn’t have a friend in the world. Nor a family. Believing they were so disgusted with me that my dad would rather foot the bill to keep me away from home than have me there. Wishing I was brave enough to go to Paris, London, Rome or Madrid. All I had to do was exchange the ticket.

That was the worst part, I think. Some part of me was mocking herself. Even as I checked in, as I was boarding, while I was finding my seat, some part of me was mocking, laughing hideously, scoffing and scorning.

Coward. Loser. Fuck-up.

Poor little lost girl.

I landed at JFK Airport. No one there to meet me.  Three hours later my mom and my Aunt Ida showed up.

Aunt Ida. She had an uncanny ability to show up when I was in trouble or unhappy, no matter where or far away I happened to be.

The first time was when I was staying at my Aunt Augie’s house on Long Island while my parents went on a trip. My aunt had gotten me an absolutely beautiful party dress to wear to a birthday party. Only it had a crinoline undergarment. Crinoline, for those of you too young to remember, was a god-awful material that looked like lace soaked in lacquer. It was as stiff as a board and scratched – no, stabbed – the skin. Well, my aunt put me in this dress and I was in pain. I cried and carried on and basically threw your average terrible childhood tantrum, even throwing ice cream into the face of the birthday girl. (I was really little, which perhaps explains my inability to simply tell my aunt that the dress “wasn’t working for me.”) Even after the dress came off, I continued to sob. After hours of this, the doorbell rang. Aunt Augie went to the door, and there stood her sister (my mom’s sister, too, of course), my Aunt Ida. I ran into her arms, screaming Fairy Godmother! Help me!! In her arms I quieted.  (Poor Aunt Augie. I so hurt her feelings.)

The second time that stands out in my memory is the time I was seven years old, and away at camp. I was climbing a tree. Climbing higher and higher, ignoring everyone far below me to come down. I climbed until I couldn’t climb any higher, and promptly fell off the tree. Whomp! A perfect executed, score ten, belly flop. My face kissed the pavement. Hell, my face tongued the pavement.  I remember voices around me. And lifting my eyes to see… my fairy godmother. Aunt Ida.

And here she was again, my fairy godmother. Come to rescue me from JFK airport.

Come to rescue me from myself.

Next week: “All you can do is open up the throttle all the way and keep your nose up in the air.”

First Lieutenant Meyer C. Newell

P-51 Mustang Fighter Jock

Separated from his squadron, shot up and leaking hydraulic fluid somewhere in the skies over Burma

TUESDAY MORNING: Michael Davis Isn’t Happy Until…

TUESDAY AFTERNOON: Emily S. Whitten Goes Splitsville!

 

“Midnight Hour” puts a retro comic-book spin on Father’s Day

On June 17, millions will celebrate Father’s Day with a card, a gift or a dinner. But “Lee Martin’s The Midnight Hour” has a unique way of saluting dad: with a chainsaw.

In this month’s all-new episode, “How I Dismembered Your Mother,” a grassroots family man named Bruno (Didrik Davis) discovers that his rebellious wife plans to divorce him and take with her their young son, he goes on a chainsaw-wielding rampage of death which ends with the show’s signature twist at “The Midnight Hour.”

This entry airs as the show’s fourth season draws to a close (the season finale, “Secret of the Blood Children,” airs in August) and is rife with drama, dismemberings and death. Watch for a powerful performance from leading man Davis as well as some stomach-churning special effects courtesy Brian Schoof.

“How I Dismembered Your Mother” airs every Thursday and Saturday night throughout the month of June, 2012. Visit www.leemartinsthemidnighthour.com for channels, times and a live streaming video simulcast link.

Sunday Cinema: “Ray Bradbury: Story Of A Writer”

In honor of the passing this week of the great Ray Bradbury, here’s a half-hour television documentary about him by David L. Wolper, courtesy of the Internet Archive.

Included is Bradbury’s “Dial Double Zero,” a short story about intelligence within a telephone system.

Enjoy. Me, I’m going to go memorize a book in his honor.

TALES OF THE ROOK GETS PULPED!

The Latest PULPED! is LIVE!  TALES OF THE ROOK GETS PULPED!  Join Tommy Hancock, Barry, Ron, Bobby Nash, Mike Bullock, and Perry Constantine for an extra sized helpin’ of everything you want to know about TALES OF THE ROOK, the latest release from Reese Unlimited, an imprint of Pro Se Productions!

http://www.pulped.libsyn.com/webpage/tales-of-the-rook-gets-pulped

Archie Comics CEOs end their court fight… for now

Have we achieved peace in our time? The Associated Press piece is skeptical…

The two CEOs of the company that publishes Archie Comics on Wednesday ended their court feud over control of the comics kingdom, but now some relatives are accusing both sides of funny business.

A judge on Wednesday signed off on a settlement between Nancy Silberkleit and Jon Goldwater, the co-CEOs of Archie Comic Publications, even as Goldwater’s nieces told the judge in court papers that they think both chief executives’ “hands are dirty.”

Manhattan state Supreme Court Justice Shirley Kornreich said the nieces weren’t in a legal position to weigh in on the settlement, but she noted that they could file a suit of their own. A lawyer for the nieces’ trust, Charles W. Grimes, said it “will be pursuing the requisite steps to protect the interests of the trust and its beneficiaries.”

The settlement ends — at least for now— a bitter and sometimes bizarre fight at the company that produces the congenial, more than 70-year-old comic that follows Archie, Betty, Veronica, Jughead and others through dating and other teenage adventures.

via The Associated Press: Archie comics’ 2 CEOs end their NY court fight.

Ray Dillon / Artist & Writer: My wife, Renae De Liz, is going to be okay, but she is in the hospital. :(

2011-06-womanthology-2-2161520Spreading the word: Renae De Liz, the creator behind Womanthology, is in the hospital, according to husband Ray Dillon:
Hi, everyone-

Been avoiding saying anything publicly because I didn’t want to cause worry prematurely and wanted to make sure I had more information and talked to our immediate family first.
Renae is recovering right now, just very slowly.
She has an infection that has spread into her blood and kidneys, as well as pneumonia and some other things we’re worried about, but I don’t want to say anything there until test results are back. As of today she’s doing a bit better and we’re told after perhaps a week in the Critical Care Unit she should be mostly recovered. It got really bad and we almost lost her. :( Been a very rough couple of weeks. We’re behind in work, income, communication, and our nerves are just shot from all this. (I can’t even think about the likely $30k or more in medical bills we’re racking up here with no health insurance and we don’t qualify for assistance…)
So, please understand that we’re unable to get back to everyone checking in on current or future projects, Womanthology copies, or anything else right now. Please give us 2-3 weeks. I’ll do my best during that time, but can’t promise to get back to everyone. Renae will likely be in CCU for a week or more, not sure how long she’ll be in a recovery room after that. My focus is taking care of her and the kids during this (which I can’t do at the same time because Critical Care doesn’t allow kids).
I just can’t keep up on all these messages right now, but I’ll do my best. If you could help by spreading the word so no one out there is getting frustrated by not hearing back from us sooner that would be amazing. Particularly on Womanthology. If you happen to see someone asking about it, please direct them here and to the updates on the Womanthology Kickstarter Updates page, which should answer all questions. Books and other rewards are in process as quickly as we can get them out. Most of them are done! But we’re sorry for any delay this might cause, if any. It’s mostly out of our hands at this point and just about everything is already on its way to the backers.So aside from a few pre-scheduled tweets and blogs to keep things running I’ll be away from the computer most of the time for right now.

Huge thank you to Stacie Ponder (check out her movies and comics!) for helping with the kids while I visit Renae and to Renae’s sister Kimberly De Liz (check out her art!) for offering to fly all the way over here to Maine to help with the kids.
And to everyone who already knows and has offered their support and love and everyone who surely will. Thank you.

Get Well Cards!

Oh, and if anyone wanted to send Get Well cards, flowers, chocolate, or anything like that to Renae that would be so sweet! You can send to our home: 18 Killdeer Road, Cape Elizabeth, Maine 04107 or directly to her hospital room Mercy Hospital, 144 State Street, Portland Maine, 04101 – Critical Care Unit c/o patient: Renae Dillon. (Keep in mind that is the Critical Care Unit so nothing too elaborate, but once she’s in her recovery room you could send real elephants and stuff). That would make her feel really loved and special (which she is!)

~Ray
www.RenaeDeLiz.com

Are We Taking Donations?

Wow! I’m overwhelmed the amazing support, love, and offers for donations. We’ve even gotten a few already! Wow! Thank you! Generous people!!!!!
The answer is:
Kinda?
Part of me (the scared part) wants to say, “Yes, please help!” But … some of you might remember a few years back, when we lived in Kansas, and we were about to have a baby and things with the home we were trying to buy (and had been living in for a year) fell through and we had to move in 30 days and didn’t know what we were going to do. Back then we asked for donations and took on a ton of commissions and new projects to try to raise the money to save the house. Despite all of our efforts (and yours) it still didn’t work out, but we moved to Maine and life is incredible here and we’re actually glad now that we didn’t stick our roots down there, even if we loved the house.Everyone was SO generous and helpful, and in fact we still owe some commissions from back then (moving across country and having a baby who didn’t sleep for his first 2 years is like jumping in a time warp). So I know we totally don’t want to be the people who are like “We need help AGAIN!” You know? And this is something that we can probably work out. We might be paying these medical bills forever, but it’s not the same as needing to raise a certain amount by a certain time to save a house or to have a major operation to save a life or anything like that. It’s just going to be some really, really bad debt that we were really hoping never to have. Taking a huge bite out of our future plans and the getting ahead of debt that we’ve been hoping to do forever, that’s for sure. BUT, right now we don’t have any dire need and there are a lot of people out there who probably do.

Also I can’t ask Renae our thoughts on this yet. She’d probably think you’re all amazing for wanting to but not want to bother anyone for the help. That’s just who she is.

SO, with that in mind (the fact that we’ve gotten an amazing amount of help before and this isn’t an urgent and dire need … at least not yet … knock on wood) if you still want to help and totally have it to spare (if you’ve got your own financial worries, please take care of you and yours first) then you can donate by clicking this button:

But please read the above information before you do that. We’ll probably be fine without donations, but of course they would help! But there are people who need it more, too. 
You’re all just super incredible people for being so sweet and supportive and wanting to help so much.
THANK YOU!!
~Ray

 

via Ray Dillon / Artist & Writer: My wife, Renae De Liz, is going to be okay, but she is in the hospital. :(.

REVIEW: Superman vs. the Elite

1000256214-w370-300x300-4442412In the 1940s, Jerry Siegel and Joe Shuster produced a two-pager for Life that showed if the Man of Steel were alive, he’d grab Hitler and Mussolini and bring them to justice, saving countless millions of lives. A nice bit of wish fulfillment during World War II.

In the 1970s, comic book writers began exploring what it really means to have someone as powerful as Superman operating in a world much like ours. Writer Elliot S! Maggin was among the first to bring up this theme more than once and was followed in subsequent years by a variety of others, reflecting the different perspectives of the creators and tastes of the audiences.

Just in time for Action Comics’ 775th issue in 2001, Joe Kelly became the latest writer to tackle the concept. After all, the world’s problems — ethnic strife, religious warriors, belligerent regimes, and destruction of the eco-system – could be easily handled by someone with the powers and abilities far beyond those of mortal men. But, does any one person be he human or Kryptonian actually have the right to impose a singular will on billions? As the problems appear to multiple, the need for a simpler solution can be awfully appealing.

Enter the powerful telepath Manchester Black. Accompanied by three others, his Elite appeared to be the heroes a stressed world population desired, offering a clear alternative to the hands-off employed by the World’s Greatest Super-Hero. With Doug Mahnke’s powerful artwork, the story was a nice, modern day take on the recurring theme.

Now, Kelly has adapted that well-regarded story into a 72-minute animated film, the latest from Warner Premiere’s direct-to-video series based on the DC Universe. Superman vs. the Elite, coming Tuesday, breezily handles the themes with heavy doses of action and wanton destruction. The film more or less follows the comic although there are changes for the format including the early appearance of Dr. Light to show this is a DCU tale. The Atomic Skull is also used as the recurring threat that practically begs for an ultimate solution and is a nice thread carried through the tale.

The story moves well, thanks to director Michael Chang who demonstrated a great facility for action with the wonderful Batman: The Brave and the Bold. And for a change, I found the score, from Robert J. Kral, to be exceptionally good. I tend not to notice the animated scores but this one stood out which is more than I can say for the lousy character design work. For a story based on the ultra-realistic work from Mahnke, this is overly cartoony for the subject matter. Superman looks like he has a broken nose and every character, save Lois Lane, is just too cartoony for their own good. For some unknown reason, the producers seem to think they need to redesign the look of the characters for each feature, a decision I strongly disagree with.

A saving grace, though, is the dialogue. The characters demonstrate real personality with affection, snark, humor, and a distinct point of view and it makes me miss Kelly’s work on mainstream superheroics. As delivered by George Newbern and Pauley Parrette, you feel the love that binds Superman and Lois. Robin Atkin Downes as Black and Melissa Disney as Menagerie are also terrific.

In a world where Superman is the premier hero, but not the sole super-powered figure, the arguments on the central theme is incomplete. At one point he says to Lois that Black targeted him alone, obviously because he was first and is the most powerful of the bunch, but it’s a discussion that should be held between the JLA (representing the full heroic community) and the world, maybe via the United Nations. As a result, the final arguments between Superman and the angry, power-mad Black fall flat and feel incomplete.

The animated adventure comes complete with the usual assortment of extras, although I’ve come to miss the DC Showcase shorts, often better than the lead feature. The commentary from Kelly and Eddie Berganza, the editor of the original story, is interesting, especially when Berganza questions Kelly about some of the choices he made in writing the animated script. There’s a 15 minute as Kelly discusses the Elite’s in-print appearances which is vaguely interesting but also incomplete as it doesn’t really give you a sense of their flash-in-the-pan role in the DCU (in fact, the two volumes collecting their Justice League Elite maxiseries are currently out of print). A variety of talking heads, including a soldier, academics, and animation exec Mike Carlin also explore the themes raised by the story, making for an interesting, if a little dry, featurette. The original comic is on hand in digital form although it’s a little tough to read and navigate but it reminds me of how powerful the art was, emphasizing the story’s point. Finally, there are some selected Superman Adventure cartoons from producer Alan Burnett and a 15 minute preview of this fall’s The Dark Knight Returns Part 1. Given the timing, it’s interesting to see a photo gallery for next month’s The Dark Knight Rises but no trailer for it.

Overall, this is an above average offering, the fourteenth from Warner Animation, and makes for entertaining viewing. The distracting character designs should be forgiven since it tells a story with a strong narrative point of view, something missing from too many of the others.

John Ostrander: Pop Food

ostrander-column-art-120610-9001984When I was back in college, a girl I was dating teasingly insisted that if I had to choose between her and a double chocolate cake I would have to think hard. “Nonsense, my dear,“ I told her, “You exaggerate. I would always choose you.” After a beat, I added, “With infinite regret for having lost that double chocolate cake.”

The relationship with that young lady did not last but my relationship with chocolate and, indeed, food in general certainly has. I’ve become a pretty good home cook over the past few years and I credit television for a lot of that.

I was not into cooking all that much for most of my life. Oh. I could feed myself and even – on occasion – make a really good meal. Then one day I was reading in the newspaper an article about a new show coming onto the Food Channel (which at that point I not only didn’t watch but disdained). It was Iron Chef (the original Japanese version) that was described as a cross between a cooking show and a sports event. Well, that intrigued me enough to sample it and, in short order, I was hooked. It was complete with play-by-play announcer, a field reporter, an analyst, and guest commentators who also were part of the judging committee.

The Chairman who presided over it all was also over the top – heck, the whole thing was over the top – with florid weekly attire. Weekly challengers would come in to challenge the three (later four) Iron Chefs and, while the whole thing may have been rigged, it was played straight.

It led me into sampling more of the Food Channel which in those days included Sarah Moulton, Mario Batali, as well as Rachel Ray and Bobby Flay until the Food Channel became one of the most frequent stops for me on the dial. I also started checking out some of the food shows on other channels such as PBS where I discovered America’s Test Kitchen and its sister show, Cook’s Country, which are my two favorites. Sarah Moulton eventually migrated over to PBS as well and there’s the indomitable Lidia Bastianich, the Italian cooking grandma who scares the bejabbers out of me. I would never cross Lidia. However, she’s a great cook, good teacher, and excellent communicator.

I’ve learned things from them over the years, especially America’s Test Kitchen, Cook’s Country, and Sarah Moulton. Tips around the kitchen, recipes, ways to prepare food and even how I think about food. I subscribe to some of the magazines and bought some of the cook books and, in general, have become a much better cook as a result.

Things have changed along the way, some not for the better, IMO. The Japanese producer took Iron Chef off the air. An American version followed, with William Shatner as The Chairman but it was (thankfully) aborted after only a few episodes. It was terrible. Food Network launched its own Iron Chef America and it’s been pretty good. A bit tamer than the Japanese version but very watchable.

The problem is that it also ushered in a generation of cooking competitions that now dominate the network. There are battles over cupcakes, you can get Chopped, there are even competitions to decide who will be the next Iron Chef (whose roster has grown from three to a bloated six or seven). To get a cooking show on Food Network you now have to survive a competition called Food Network Star. Only one winner – Guy Fieri – can honestly be said to have gone on to become a real Food Network Star. The others get a show that seems to last a season or two and they’re gone.

The competition shows so dominate Food Network that the parent corporation had to create a new channel, the Cooking Channel, to house the shows that actually are about cooking. Some of the best cooks who were teachers – Mario Batali and Sarah Moulton – left (or perhaps were forced out). I’m watching less of it.

I know on the regular networks they’re even doing a talk/food show called The Chew. It sometimes has Mario Batali or Iron Chef Michael Symon on it, both of whom I enjoy, and I’ve tried watching it sometimes during my daily lunch break but, in general, I find it unwatchable. I know Rachel Ray has also gotten a syndicated talk show on which she also does some cooking but she’s not a great interviewer. If I want that kind of show (and I don’t often) I’ll watch Ellen.

I’ve watched a fair amount of Gordon Ramsey’s Kitchen Nightmares. It’s formula – Ramsey is asked to come in and help a struggling restaurant, he finds food, décor, and/or sanitary conditions deplorable, hollers and berates everyone in sight, makes things better, and leaves somewhat akin to a surly Scottish Lone Ranger. I mostly enjoy it even though I learn nothing and it’s successful enough to have spawned a rip-off imitation on Food Network and about a bajillion other Ramsey starring shows. You cannot watch all the shows Gordon Ramsey does and have any sort of real life. It would just take up too much of the day. He’ll probably have his own cooking channel shortly – all Gordon Ramsey, all the time. I suspect his ego would like that.

For me, it’s about the food, and can a show make me learn something new or does it make me want to run out and cook. My Mary and I saw one of Julia Child’s later cooking shows when she was in a kitchen with her friend, Jaques Pepin, and they were making hamburgers. They concocted what they considered to be the quintessential hamburger. It got us drooling so much that we ran out to find a place that served good hamburgers. What we got wasn’t on the scale of Julia and Jaques’ but we had to have a burger – any burger. That’s how well Julia communicated and why she was the Master Chef of television. Gawd, just remembering it is making me drool some more.

Excuse me, I’ve gotta go find something to eat.

MONDAY: Mindy Newell

AIRSHIP 27 TELLS ‘TALES FROM THE HANGING MONKEY’ WITH ITS LATEST DEBUT!

SAILING TO ADVENTURE
Airship 27 Productions weights anchor and unfurls its sails to launch a new sea going series set in the lush, tropical paradises that appear like green jewels in the blue waters of the Pacific.
In the middle of the South Sea is the island of Motugra, so named by the natives. It has the only deep water port in this island chain.  On Motugra you’ll find THE HANGING MONKEY, an inn and bar owned and operated by Irish ex-patriot Corky O’Brien.  Here gather some of the most colorful rogues, scalawags and pirates ever to ply the trade routes of the Pacific during the late 1930s.
Enter and meet Khuna, the bar’s bouncer and former headhunter.  Miko, the slim and beautiful Chinese girl with the mysterious past.  One eyed Captain Nick Fortune, owner of the schooner Fortune’s Folly and air freight pilot, Jimmy Dolan. And don’t forget ace reporter, the lovely blond Grace Thomas.  All of these characters spring from the mind of writer Bill Craig as homage to the classic pulp island stories of yesterday.
Along for the ride, Craig is joined by Derrick Ferguson, Joshua Reynolds and Tommy Hancock.  Here are four fast paced, island adventures guaranteed to whisk your imagination to tropical paradises of warm breezes, swaying palm trees and crystal blue waters.  Where danger can lurk behind the smile of an alluring native girl and a man’s fists are as important as his wits. 
Painting teacher Daniel Ibanez provides the poster-like cover that perfectly captures the allure of these exotic stories while artist Clayton Hinkle adds nine interior illustrations plus a bonus section of character pin-up sketches.  All deftly plotted by Rob Davis, Art Director and edited by Ron Fortier.
So hitch up your gunbelt, cock your pilot’s cap and swing the door’s open…Welcome to The Hanging Monkey!
AIRSHIP 27 PRODCUTIONS – PULP FICTION FOR A NEW GENERATION!

Available at;
$3 digital download –
Amazon.com/Create Space
And soon from (www.IndyPlanet.com)

Marc Alan Fishman: In Defense of Modern Comics, Part 2

fishman-column-art-1206091-1902014Welcome back to the ranting and raving, kiddos. Be forewarned, some time has passed since my last article – one week to be exact – but I’m still angry as all get-out. For those just joining us: Tim Marchman’s review of “Leaping Tall Buildings” in the Wall Street Journal was an incendiary piece of trash. The review meant to blame the lack of universal love (and sales) of comic books due (in part) to the “clumsily drawn” and “poorly written” books themselves. Last week, I argued on the side of the artists. This week, I mean to tackle this asshat’s jab at the scribes of our pulpy tomes.

To say that, on the whole, modern comics are “poorly written” is just about the silliest opinion I’ve heard since my buddy told me “Ranch dressing tastes bad on chicken.” First off, ranch is delicious on chicken. More to the point, modern comics are writing rings around previous generations. We’re in a renaissance of story structure, characterization, and depth. Writing, much like art, is largely subjective when it comes to collective opinion. That being said, certainly anyone with minimal brain power might be able to tell good writing from bad. Easy enough for us all to agree that the Avengers was better written than the Twilight movies. OK, maybe that’s a bit unfair. Axe Cop is better written than Twilight… and it’s penned by a six year old. Either way, I’d like to think we the people (of Comic Landia) might defend the quality of today’s comics as being leaps and bounds better than books of yesteryear.

I know this might be daring (and insane) of me to say… but for those old farts and fogies that proclaim comics “aren’t what they used ta’ be!” – and imply the scripts are worse now than they were in the 60s or 70s – should go back to the nursing home, and yell at the TV until dinner. Call it a sweeping declaration. Call it mean-spirited. But I call it as I see it: Modern books are simply written better. Today’s comics – when they are good – embrace pacing, motif, and intelligent payoffs by and large far more than ever previously. I assume Marchman, while researching for his article, was only reading Jeph Loeb books. And if that’s the case? He’s probably right. But I digress.

Open a book today. You’ll see things that previous generations simply failed to execute properly. A modern comic is unafraid to let the art speak for itself. Not every panel needs an explanatory caption box anymore. Gone are lengthy thought balloons that explain away every ounce of subtlety. Writers allow their characters time to emotionally deal with their actions, and end books on a down note when needed. And as much as terrible crime against nature it is, modern writers are even willing to ret-con, reboot, or reexamine the past of a character to better flesh out their drive or motive. It’s been done before, I know, but never as good as it’s being done now.

Comic writers today (again, “by and large”) embrace risk like no other generation before them. Guys like Kurt Busiek and Robert Kirkman channel their love and admiration of tropes and stereotypes, and drill down to new and unique concepts that spin old ideas into fresh ones. Dudes like Grant Morrison and Jonathan Hickman layer super-psuedo science and lofty concepts within their stories to transform the truly implausible to the sublimely believable… a metamorphosis of story that a Stan Lee would not have ever delivered to the true believers. And what of our own ComicMix brethren, whose bibliographies aren’t complete… Would John Ostrander or Dennis O’Neil say that the scripts they write today aren’t leaps and bounds better than their earlier work? As artists (be it with brush or word), we always strive to evolve. That equates to the present always being better than the past.

Simply put, Marchman’s postulation that the scripting of current comics is to blame for the lack of sales in comparison to alternative media (like movies or TV) is hilariously wrong. While he’s quick to back his point with the cop-out “continuity” argument, he lacks the niche-knowledge necessary to know how idiotic he sounds. With the advent of Wikipedia, friendly comic ship owners, digital publication of archive materials, as well as countless other online resources… the barrier to entry for someone truly interested in buying a comic is the commitment to seek out the backstory. To blame the lack of sales on an arbitrary assessment of the quality of the stories, was made without considering the avalanche of amazing material being published today.

If I can use a trope from the bag of Seth MacFarlane, I’d like to end on hyperbole. You see, Mr. Marchman, if you want me to believe that comics today are poorly written? I’d like you to read current issues of Action Comics, Batman, Animal Man, Swamp Thing, Invincible Iron Man, Fantastic Four, The Boys, Dial H, Saga, Irredeemable, Star Wars: Dawn of the Jedi, Justice League, Green Lantern, Powers, Monocyte, The New Deadwardians, Batman Incorporated, Courtney Crumrin, Saucer County, Fatale, and Batwoman. Then get back to me. Until that time? Suck-a-duck.

SUNDAY: The Aforementioned Geriatric John Ostrander