On Thursday, February 16, 2011, in an interview with MSNBC’s Andrea Mitchell, Foster Friess, one of the billionaire funders of the Super PAC (Political Action Committee) backing Rick Santorum, said, “Back in my days, they used Bayer aspirin for contraceptives. The gals put it between their knees, and it wasn’t that costly.”

Ha-ha-ha-ha-ha-ha. LOL! ROFL! Hee-hee-hee! BWA-HA-HA-SNORT!

Not.

Funny.

Definitely not.

Defiantly not.

Watch this video from The Daily Show in which Jon Stewart masterfully attacks the crap coming out of the Republican’s mouths these days.

And this one.

The Republican Party has really stepped in it this time. They are so desperate. It would be funny if it weren’t so scary. Now they’re trying to switch the argument into one in which Obama is attacking Catholics. According to the Republicans, Obama has been a Muslim plant, a communist, and a socialist, a Kenyan (as in not born on American soil), anti-Christian, anti-Israel…

What next?

How nuts is the Republican’s newest election campaign? Watch Megan Kelly of Fox News, newly returned from maternity leave, as she defends the “entitlement program” maternity leave against right-wing radio pundit Mike Gallagher, who calls maternity leave “a racket.”

Several columns ago I talked about why I believed that Wonder Woman, a.k.a. Princess Diana of Themiscrya, would come down on the side of pro-life in the abortion debate.

I never considered about how she would feel towards the use of contraceptives.

Hmm…

What I think is that, at first, she wouldn’t understand it. As I said, coming from a place where natural procreation has been unknown for 3000 years and more, Diana would have a true reverence for pregnancy and birth – not to mention children.

However, as she became acclimated to the modern world – I don’t use the word “assimilated” because it is my writer’s conceit to think of Diana as a continual “stranger in a strange land.” I believe she would come to accept the importance of a “woman’s right to choose” contraceptives, based on her own experiences growing up on a island in which there are no men to place a “glass ceiling” on women’s abilities and/or aspirations. After all, her own mother, Hippolyta, is Queen in every sense of the word, a queen with the power of a king, such as this world has not seen since Elizabeth I of England. In Diana’s world, there is no question that a woman has the capability to be a front-line warrior or a priest – it’s a fact. It just is.

And I also think she would come to realize that using contraceptives – obviously – drastically eliminate the need for abortions. Yes, I still believe she would stand firm in her pro-life stance.

A final point. Diana comes from a theocratic society. However, it is an enlightened theocratic society that does not impose its religion on others. I believe she would find it inappropriate that those campaigning for the Presidency of this country are actively working to impose their faith’s beliefs on others.

Inappropriate?

No.

Dangerous.

Extremely dangerous.

TUESDAY: What Would Michael Davis Do?

Opinions are like assholes. Everyone has one. Every asshole has lots of opinions. What comes out of assholes frequently is a load of shit. Check the GOP Presidential debates for verification.

I say this, of course, in the middle of an opinion column sitting in the middle of lots of other opinion columns here at ComicMix. ComicMix, of course, sits in the middle of the Internet which, of course, is comprised mostly of opinion. So – which opinion matters? Outside of mine, of course. How can you tell?

I encountered a fan (well, not really a fan of mine) who wanted to tell me why I sucked. My basic response was: I should care because –? This offended the would-be critic; s/he had bought a book of mine and had a right to his/her opinion. I didn’t dispute that; the real question was – why should it matter to me? The fan got huffy; he/she/it thought I should want to hear that opinion.

Some fans – yes, I do. Others – not so much. One of my primary rules:  not everyone’s opinion matters. Not everyone’s opinion should matter. If everyone’s opinion matters, then no one’s opinion matters. How do you tell the difference?

Experience is a good place to start. Has the person giving you the opinion any experience in the field on which they are opining?

Does the opinion expressed have any facts to back it up? Real, verifiable facts, not ones made up to fit the circumstance (again, GOP presidential candidates; hell, all political candidates). Does it have some thought behind it? If they just want to express how they feel – okay, it’s how they feel but there’s no reason I should listen to it because there is no reason in it.

What is your experience with the person giving his/her opinion? Is it your history that you can trust, to a greater or lesser degree, what they’re saying? If I go to a movie and I read a review that mirrors my experience, then I know I can trust that critic’s opinion. It’s not that their perfect or that I am but I know our tastes are similar enough to make it less likely that I’ll waste my money.

Friends, relatives, colleagues – I know who they are and how trustworthy their opinion is on a given subject. We don’t have to agree, but I can listen with confidence. What they feel about it may be important to me but it’s because I know them. A stranger – well, not so much.

Also, just because someone knows something on one subject doesn’t mean they know anything on another. Come to me for an opinion on writing, story, or comics and I may have some thing useful to say. Ask me about NASCAR – well, I saw the Pixar flic Cars. Take anything I have to say on the topic with a lot of salt.

Editors – if I want to stay employed, I’d better listen to their opinions. I may disagree and I may express my disagreement but, in the end, the editor represents those who own the property or the rights so, unless that owner is me, I need to heed their opinions – even when I disagree.

One editor I had said I couldn’t use thought balloons because, after all, movies didn’t have thought balloons. I disagreed – I pointed out that they were different mediums telling stories in similar but different ways. To start with, movies moved. I couldn’t convince the editor; I worked without thought balloons.

Listening to opinions with which I disagree is important in general. I may not change my mind (or change the speaker’s mind) but I often walk away with a better insight into the opposing view and it can hone my own thoughts and opinions; I know better why I have the opinion that I do. These days, fewer and fewer people seem to do that. We look for only those who reflect our opinion, who agree with our dogma. Dogma is easy; no thought required.

We also should consider why we are being gifted with this person’s opinion. It’s the basic question a writer asks of his/her characters – what do they want? What’s the reason behind what they are doing? Does the person giving you their opinion care about you, do they want something from you, both, neither, more?

My mother was always of the opinion that I should get a teaching degree so I would have “something to fall back on” if my theater or (later) writing career didn’t pan out. I loved my Mom and I knew she was trying to look out for me but underlying that suggestion was her opinion that I wouldn’t make it in the field I chose. I knew that if I had something to fall back on, I’d fall back. Sometimes you have to perform without a net.

We are constantly bombarded with opinions these days and it becomes easier to take someone else’s opinion for our own. The issues are so complex and there are so many compelling issues vying for our attention that it’s easier to latch on to some pre-made opinion than to form our own. The times, however, demand we do the thinking necessary or, at the very least, know whose opinions we listen to and why.

IMO.

Monday: Mindy Newell Offers Her Opinion

Hot off the lips of far better men and women than I (aka all the other ComicMix columnists) comes a little discussion weighing in on all this legal mumbo-jumbo going on in comic-book-land. Not to be outdone (remember when I lit a wee fire under Michael Davis a few weeks back?), I figured I’d let loose a few witticisms on the injustices being faced by far too many comic creators these days. Or just as every week, I’ll bury my foot in my mouth making wild assumptions, and asking dumb questions. Either way, you’re entertained… right?

For those not following the drama, read a few posts (such as here and here) and catch up. Basically Gary Friedrich got torched by Marvel for having the gall to turn a pocket out to them now that Ghost Rider is making them a few greenbacks. Gary isn’t alone in doing this. The creators of Superman did it. The family of Jack Kirby did it. And even over in the land ruled by Robert Kirkman, his longtime friend is doing it. And in all the cases, there seems to be a very simple precedent: When the check was cut to these creators for their initial involvement, signing it waived their rights to own their creation. Before the 1980s these checks had the contract right there on the check. I assume in the Kirkman case there were contracts and papers and lawyers, etc. In any event, for a small-time creator like myself, it’s scary and sad to read. A large part of me is angry. A smaller, more Jewish part of me is saying “Didn’t they know what they were signing?”

Please note, I am Jewish. So, it’s cool for me to go there.

Honestly, I’m torn on the subject. On one hand you’d figure that the person who did the legwork creating something should see the eventual fruit of their labor, when the money starts flowing. Would Marvel or DC be anywhere near as big as they are right now without the hard work and creativity of guys like Jack Kirby, Bob Kane, Bill Finger, Stan Lee, Jack Kirby, Steve Ditko, and the rest? The short answer: Hell No!

Creating a character that becomes a cultural icon, even for five minutes, takes real skill. And a suitcase of money doesn’t make Spider-Man’s rogues gallery, or designs Superman’s iconic costume. When the profits from the Spider-Man franchise, or the Nolan Bat-Franchise started rolling in, is it wrong to think that the person who initially created the character be able to see a little cash come their way? Certainly, as a compassionate person, I say of course. I’m not looking to be a communist here, but seriously, are a few shekels sent to the Mr. Friedrich when Nic Cage’s movie sells a few pairs of Underoos really going break Marvel’s bank? I doubt it.

On the other hand… if the paperwork is all signed, these creators are up a creek without a paddle. When I signed on the dotted line for my car, it’s mine. Even if I hate it the second I take the keys from the salesman… I’m stuck with it. Not a perfect metaphor, but I think my point is clear enough, no? When Gary, or any of the aforementioned creators were given their assignments from their editors… was there not a discussion about compensation? Assuming there was, it’s really on the head of said creators to know exactly what they are getting into. At the end of the day, if you sell your soul to the Devil, there’s no way out of Hell. Even if everyone agrees that you got screwed. It’s your name on the dotted line, and it’s your duty to read every word above it.

Face facts, no comic book artist or writer I know is living in a mansion, with extra money flowing out of their pockets. The fact is as I write this very column, I’m scouring Craigslist for freelance gigs in hopes of earning a few more bucks so I don’t have to send my wife back to work, so we can barely pay for daycare for our son (who is only a few weeks old). If Marvel or DC came calling at my door right now and told me they wanted to offer me a book, I’d sign papers so fast they’d need a fire extinguisher to cool my hands off.

Why? Money. I need it. They have it. And I’m safely assuming most anyone working in comics before me was in the same position. And therein lies the problem. The bigwigs behind these publishers have all shared the same evil grin behind their creators’ faces. Having the rights to the characters means raking in all the money from all the avenues open to said characters. Movies, TeeVee, T-shirts, action figures, sippy cups, night lights, toothbrushes, online fan club memberships, cereal, and oh yeah… comics. There’s no doubt in my mind that those with the cash have maintained the mentality that it’s their money, and they’ll hold onto it by any means necessary.

Remember that whole #OccupyWallStreet thing? Well, I’m certain the people behind the people behind the people at both the House of Ideas and the Brothers Warner aren’t in the 99%.

At the root of all this is the human factor. Money doesn’t grow on trees, and when you need to pay a bill, you do what you have to do to pay it. If the check is sitting on your desk, and all that stands between your next meal is your integrity, do you starve with a belly full of pride? Do you go the route of Robert Kirkman or Mike Mignola, and take your million dollar ideas to places where they let you keep your soul? Well, it’s different for everyone in comics. And when the good guys like Paul Levitz (see John’s column) step down, who will be there to fight for the little guys? Cause let’s face it… the second someone turns heels and walks away with their idea, there’s a line out the door and around the block of people waiting for a chance to walk right in.

And I’ll be damned if I’m not one of them.

SUNDAY: John Ostrander Changes The Subject

This has been a week to experience anguish, not least of it over the upcoming movie based on Marvel’s Ghost Rider character. As you know if you read this site (for example, here and here), Marvel (or its corporate overlords) is behaving dickishly towards Gary Friedrich, one of the character’s creators.

Now, I’m not a fan of Ghost Rider. To the best of my memory, I’ve never read the comic. I haven’t seen the first movie, not even when I’m just mindlessly staring at the television. I’m not a big Nicolas Cage fan (although, when I’m mindlessly staring at the television, I’ll always watch Con Air, which is amazing if only for the sympathetic psychopath child molester played by Steve Buscemi).

But I really really really want to see Ghost Rider: Spirit of Vengeance. I adore the work of directors Mark Neveldine and Brian Taylor. Crank: High Voltage is the reason that the phrase “motion picture” was invented. If you haven’t seen it, really, run right out. Don’t just take my word for it.

They even took the terrible script that was Jonah Hex and made it boogie along. It helped that they had Will Arnett. I think all comic book movies should have Will Arnett, especially the ones that don’t have Samuel L. Jackson.

Should I deny myself the potential joy of a Neveldine/Taylor film for Gary Friedrich? I don’t think I know him. Who is he to me, or I to him? Why should I care what happens?

Well, it turns out, I should care, and you should, too. My life is greatly enhanced by the existence of creative people. Even creative people who sign crappy work-for-hire contracts because they are so short-sighted, they consider that feeding their families and keeping a roof over their heads was more important than their artistic integrity.

Been there. Done that. And if, by some miracle, my work gets optioned, I would much prefer sharing in the glory (and, maybe, the profits) to getting sued.

So, in the interest of karma, I will do my best to create the world I want to live in. Maybe I’ll go to the movie this weekend, maybe not. But I’ve already tried to do right by writers and artists everywhere by showing some appreciation here. If you’ve enjoyed my work, or Gary’s work, or anyone’s fiction, stop by and give what you can afford.

SATURDAY: Marc Alan Fishman Offers His 12 Cents

The Anime adaptation of Mary  Norton’s classic novel The Borrowers, known as The Secret World of Arrietty, opens tomorrow across the nation. Walt Disney continues its associate with Studio Ghibli with this release, featuring a stellar array of American vocal talent as seen in this picture with Amy Poehler, Bridgit Mendler, and the legendary Carol Burnett.

The G-rated film features the vocal talents of Mendler, Poehler, Burnett, Will Arnett, David Henrie, and Moises Arias. The movie was directed by Hiromasa Yonebayashi from a screenplay by Hayao Miyazaki and Keiko Niwa. Producers of the English translation, Kathleen Kennedy, Frank Marshall, hired Karey Kirkpatrick to handle the screenplay.

Residing quietly beneath the floorboards are little people who live undetected in a secret world to be discovered, where the smallest may stand tallest of all.

Arrietty (voice of Bridgit Mendler), a tiny, but tenacious 14-year-old, lives with her parents (voices of Will Arnett and Amy Poehler) in the recesses of a suburban garden home, unbeknownst to the homeowner and her housekeeper (voice of Carol Burnett). Like all little people, Arrietty (AIR-ee-ett-ee) remains hidden from view, except during occasional covert ventures beyond the floorboards to “borrow” scrap supplies like sugar cubes from her human hosts. But when 12-year-old Shawn (voice of David Henrie), a human boy who comes to stay in the home, discovers his mysterious housemate one evening, a secret friendship blossoms. If discovered, their relationship could drive Arrietty’s family from the home and straight into danger.

Notes:

• Hayao Miyazaki is one of the most influential and admired filmmakers working in animation today and is a major figure in the Japanese cinematic landscape. His films have inspired moviegoers and colleagues around the world, from Pixar’s John Lasseter to fantasist Guillermo del Toro to Chinese director Tsui Hark, and consistently top the box office in his native Japan.
• Director Hiromasa Yonebayashi, a top animator at Studio Ghibli, was responsible for the animation in a signature scene in “Ponyo,” in which Ponyo runs atop ocean waves.
• English language voice talent director Gary Rydstrom is a seven-time Academy Award^Òwinning sound designer/mixer (“Terminator 2: Judgment Day”). He joined Pixar Animation Studios as an animation film director in 2003.  His directorial debut for the studio was the Academy Award^®-nominated short film “Lifted,” and he directed the short film “Hawaiian Vacation,” which was released with “Cars 2” in June 2011.
• Kathleen Kennedy and Frank Marshall are highly successful producing partners whose films, separately and together, include The Curious Case of Benjamin Button, E.T., Who Framed Roger Rabbit?, the Indiana Jones films and the Jurassic Park films. In total, Kennedy and Marshall have earned 11 Oscar® nominations.
• English language screenplay writer Karey Kirkpatrick’s credits include Spiderwick Chronicles and Over the Hedge, which he also directed (with Tim Johnson).