First off, to paraphrase John Ostrander:

God Bless Mike Gold.

Okay. Now….

One thing about being a writer.

Deadlines.

If you want to be considered a professional, you need to understand that deadlines are part of the job.

There have been a few times in my writing life where I have missed my deadline. It doesn’t engender good feelings on anyone’s part.

Missing a deadline is like being Aaron Rodgers in yesterday’s Giants/Packers game. It’s throwing one too many turnover. It’s getting sacked one too many times. It’s knowing that you’re letting down your teammates who are depending on you. In the comics world, it’s not just your editor, who will have to answer to his or her boss. It’s letting down the artist, the penciller, the inker, the colorist, the letterer. It’s letting down the production department. The scheduling department. The printers. The distributors.  It’s letting down the comic shop owner is dependent on monthly arrivals of books on a monthly schedule to help meet their monthly budget, including expenses and net profit.

Most importantly, it’s letting down your readers.

Remember 24? Each week the hour ended with a terrific cliffhanger, and the next seven days were murder. You haunted all the spoiler boards. You got into heated discussions on your favorite 24 message board about what could be next, how Jack was going to get out of this one. You twisted your brain trying to outwit the terrorists that are about to set off a nuclear bomb in Port Newark.

It’s the same with comics. Think about the last time you were heavily involved in some storyline that ended each month in a terrific cliffhanger. You can’t wait for the next issue.

And like any good comic geek, you talk about it all day and all night, surf the web looking for information on what’s coming up next, write the next chapter in your imagination.

And then you walk into the your friendly neighborhood comic shop and the proprietor tells you that the issue is delayed.

How many times has that happened?

What was your reaction?

Lots of cursing, I bet. Lots of swearing that you’ll never read an issue of fill-in-your-favorite-book-title-here again. And then you go home and log on to your favorite fan site and let everybody know what a dick the writer is, and not only will you never buy an issue of that comic again, you’ll never read anything by that dick again, you’ll never even buy a comic from that dick company again!!!!!

And then sales go down, and the comic is cancelled. The writer loses his or her job, the artist moves on to the next thing if he or she can, the editor is hauled into his or her boss’s office, and the domino effect continues. All the way down the line.

And just maybe because a deadline was missed once too often, your neighborhood comic book shop closes. And now someone else is out of work.

And most likely the penciller, the inker, the colorist, the letterer will get more work. The production department will move one. So will scheduling, and the printer, and the distributor. Even the editor will move on.

But the writer, the one who came up with the brilliant idea, the one who made the story come alive in the first place?

You’ll have the Mark of Cain on you. Oh, yes, word gets around.

And the only writing you’ll do is the weekly shopping list.

Oh, and writing out the checks.

If you can afford it.

Yeah.

There’s a reason why they’re called DEADlines.

TUESDAY: Michael Davis

I read an article in Entertainment Weekly about the collective failure of the Christmas movie season overall. Some, like Mission Impossible: Ghost Protocol, did well and some, such as The Adventures of Tintin, did much better overseas (where Tintin is a better known commodity) than domestically. EW opined a variety of possible reasons, including the economy and the concept that there wasn’t a real “tent-pole” movie. However, there were some really good films out – Hugo (which I loved), for one, and The Muppets. I have a thought on another possible contributing factor.

I know a number of people who will wait for the DVD of a movie or to see it on their computer, tablet, or smartphone. It seems to me a whole generation would almost prefer to see it that way now. And I can’t help thinking that’s a mistake.

Mind you, I’ve seen many movies that I missed in the theater via DVD, Sometimes, it doesn’t matter. A smaller intimate film can work just as well on a small screen. I probably won’t get to see Tinker, Tailor, Solider, Spy until it gets to my TV screen and I think that will be alright. However, I know other films suffer.

For example, I’d seen John Ford’s The Searchers for years on the small screen and loved it. One of John Wayne’s best performances (and, yes, folks, the man could act). Several years ago, I got a chance to see it in a movie theater in a restored print. The impact was startling. Yes, I knew about John Wayne’s charisma but you don’t really feel it until you’ve seen a close up of Wayne in this movie and the image is the size of a house. And the final shot – Wayne with his back to us, framed by a door that slowly shuts – well, until you’ve seen it on the big screen, you haven’t really experienced it.

Seeing the climax of Casablanca, with those big head shots of Ingrid Bergman, Humphrey Bogart, and Paul Heinreid cross cut from one to the other, has far greater emotional impact on the big screen.

It’s not just the images, either. With the surround sound you get in the theaters today, you’re really enveloped in the movie. Think of the opening of Star Wars, the original one (a.k.a. Episode IV, a.k.a. A New Hope) – the blast of the initial theme, the crawl that recedes into infinite horizon, and then the first space ship darting out and it seems forever only to be followed with an even bigger space ship, and the sound and the music and all sucking you in. Magic. The first time I experienced that, I was hooked.

I don’t see how you can get that on a smaller screen. When I watch movies on DVD that I’ve seen in the theaters, I bring with me the memories of what that theater experience was and it enriches the viewing that I’m having with on the smaller screen. If it comes to a choice to seeing a movie only on DVD or a movie channel or not to see it at all, I’ll take the small screen experience and do it happily. It gives me an experience of the movie – but I know that it’s not the same as seeing it in the movie theater where it was intended to be seen in the first place.

There’s one final aspect of the theater experience for movies and I’ll be the first to say it’s not always positive – it’s a communal experience. It’s a shared experience with others. Yes, some of those others can be boorish morons. I’ve had the people near me who continue to chat through the film, having a running commentary about the film or about some imbecilic portion of their daily life that could just as easily wait until they were outside. It’s become a good reason why I should never be allowed to carry a gun. Yes, I’ve had people who forget or refuse to turn off their cel phones and who chat or text through the film, oblivious and/or indifferent to the fact there are other people in the theater. Maybe if they could pull their heads out of their digital asses, we’d all be happier.

But I’ve also been with audiences that add immeasurably to the experience. We laugh, gasp, cry, cheer and so on together. The film finds bonds in common between us and that is something devoutly to be wished in this day and age when so many things around us keep tearing us apart, putting up walls, and suggesting we are all enemies.

The people making the movies meant for us to see it in a theater. That’s where its truest experience lies. I’ve heard of so many people today who simply shrug that off and all I’m saying is that I think that’s a mistake and they’re shortchanging themselves.

Treat yourself if you can. Go out to the movies.

MONDAY: Mindy Newell

Hack/Slash is coming to the silver screen, and that Conan guy is getting him there.

Director Marcus Nispel, responsible for the 2011 remake of Conan The Barbarian (you saw that one, didn’t you?) has signed on to this latest adaptation of a big-time Image Comics title initially published by Devil’s Due. He replaces Fredrik Bond, who evidently thought better of the project.

Written by Martin Schenk, Stephen Susco, Justin Marks, Benjamin Magid and Todd Lincoln (thus far), the movies is scheduled for release next year.

… or how I learned to stop worrying about Michael Davis and love his bombs.

So let’s just get this out of the way. The last Spanish class I took was senior year in high school. I did get an A in it. But between then and now I’ve filled my brain with other more important facts aside from the difference between juevos and huevos. One means balls. The other means eggs. But the one that means eggs also means balls… in the testicular vernacular. My bad.

Those who aren’t following the east-coast-by-way-of-living-on-the-west-coast-vs.-mid-west battle that’s taking place here in the hallowed halls of ComicMix, let me bring ya’ll up to speed. A few weeks ago, Michael Davis applauded DC’s reboot of their universe. He said it was a bold move by the powers-that-be, and while he didn’t love every single thing they did, his praise was for the top brass having the big ones to allow the universal reset. The following week, I said that the praise was silly. The reboot wasn’t really a reboot. It was slapping #1s on every book, rebooting a handful of titles and just assuming most everyone would take all their love and knowledge of the former continuity, and allow it to inform their reading of the new books. I think it’s not so much a bold move, as a lazy one that succeeded in doing exactly what the powers-that-be wanted it to do; it moved product, and created publicity. That doesn’t take balls. It takes a bottom line for net profits.

I was fine to leave the discussion at that: a gentleman’s debate on just how ballsy the move truly was. Michael Davis however, had other plans. He spent this week saying I was now Dead To Him, and proceeded bait me to tell all of you just how a snot-nosed punk (like me) might reboot the DC. For those who didn’t read his pitches, I recommend you do. Or actually let me save you the time; pretend it’s 1993 and go read some Milestone Books. Then look for all of them on the shelves today. Didn’t find ‘em? Me neither. So Mr. Davis, or as I now call you, … Mickey D… let me tell you (and the crowd forming around us) about how I might shuffle things around had I the One Ring, Sword of Omens, The Force, and the last name DidioLeeJohns.

Granted I don’t have the column space to denote 52 pitches mind you, but I’m chock full of ideas. Given the power, here’s a taste of what I’d do, with a real reboot:

Superman

Nothing needed to change from what they already are doing in Action Comics, really. Grant Morrison’s return to the Golden Age to draw inspiration makes me love this title and character again. The only thing I’d like to add? Agustus Freeman IV, a prominent member of the secretive “Metropolis Society” takes a young Clark Kent under his wing, to show how him to take his immeasurable power, and use it to the best effect for the greater good. But how does he know Clark’s secret? “I know a Kryptonian when I see one. And I haven’t seen someone from my homeland in 173 years.” Grant and Rags continue their collaboration.

Green Lantern

Fighter Pilot-Turned-Astronaut Hal Jordan is manning Ferris Aeronautics’ last hope for a government contract: an experimental small spacecraft using advanced propulsion technology. While out on its first voyage past Mars, a bright green light cuts across the sky. It impacts the red planet, hard. Always one to act first and think later, Highball Jordan lands to investigate. In a freshly made crater, an alien reaches out to Hal telepathically. “There isn’t any time. You must take me to Earth. I must see Doctors John Henry and Curtis Metca–” Before he can end his plea, a red flame engulfs the dying telepath. A vicious alien, with a fiery red glow, and an odd symbol etched into his chest, drips blood from its snarling mouth… hovering above menacingly. It lunges toward Hal. Grabbing the first thing that catches his eye, he flails a green obelisk at his attacker. Splorch! Hal throws the still smoldering crash victim into his shuttle, along with the now glowing green alien-smacker. He takes off towards earth, still pursued by the now-even-angrier blood-spitter. The ship lurches once. Twice. “Hal Jordan of Earth, you have the ability to overcome great fear. The war of emotion rages on. Welcome to the Green Lantern Corps.” A flash of emerald light, and the ship is hurdling towards a strange portal. Over the com system, Carol Ferris yells… “Hal! What’s going on?! We need the Sapphire back in one p–” Written by Geoff Johns. Art by Doug Mahnke.

Shadowpact:

Detective Chimp and a ragtag group of magically endowed heroes take mystically-themed odd jobs from out of their office… the back of the Oblivion Bar. First case? Getting June Moon put back together again, before the she tears the world into bits! (Hey, I loved this book when this was the pitch, and taking a few cues and characters from the already decent Justice League Dark would give this book a bit more levity, instead of unneeded angst. Plus, magic is cool.) Written by Gail Simone, art by Darwyn Cooke.

Teen Titans:

Everyone loves the circus… except Carmine Falcone. Don’t blame him though. Hally’s Circus turned down his offer for his family’s “amazing protection and accident insurance plan.” When the big top opened up that fateful night, it would never open up again. The only survivors? Dick Grayson, and Megan Moore. The Boy Wonder and the Girl of a Thousand Faces had their family taken away from them. Inspired by the heroes that have popped up around the world as of late (like the mysterious Batman of Gotham City, the Flash, and Superman) Dick and Megan vow to exact their revenge. But they can’t do it alone. A few Facebook messages later, a team of teens with amazing abilities unite to become the Teen Titans. Better not tell the adults. Written by Judd Winnick, art by Mike McKone.

Of course I have more pitches than these, but well, I only have so much space per week. I think I’ve made my point? The basic gist here is simple… Taking a chance by starting every book over, would allow a whole new set of readers an opportunity to get acclimated to characters they might otherwise feel are too heavy in history to start anew. And old fans can find that love of their characters, with just a few modern twists and a wink and nod. It’d be a move that – dare I say it – would take considerable huevos.

Or, you know… I could just make them all black.

SUNDAY: John Ostrander

Art: Alex Ross

Art: Alex Ross

Art: Alex Ross

Art: Alex Ross

Art: Alex Ross

“Scott [Beatty] has taken the groundwork laid by Eric [Trautmann] and Alex [Ross] in Flash Gordon and gone back in time to tell the tale of the Rise of Ming,” states Dynamite Editor Joe Rybandt. “This is the direct precursor to the story in Flash Gordon and presents the definitive origin of the universe’s most merciless dictator.”

Flash Gordon is the hero of a science fiction adventure comic strip originally drawn by Alex Raymond. First published January 7, 1934, the strip was inspired by and created to compete with the already established Buck Rogers adventure strip.

The original Flash Gordon comic strip follows the adventures of Flash Gordon, a handsome polo player and Yale graduate, and his companions Dale Arden and Dr. Hans Zarkov. The story begins with Earth bombarded by fiery meteors. Dr. Zarkov invents a rocket ship to locate their place of origin in outer space. Half mad, he kidnaps Flash and Dale, whose plane has crashed in the area, and the three travel to the planet Mongo, where they discover the meteors are weapons devised by Ming the Merciless, evil ruler of Mongo.

For many years, the three companions have adventures on Mongo, traveling to the forest kingdom of Arboria, ruled by Prince Barin; the ice kingdom of Frigia, ruled by Queen Fria; the jungle kingdom of Tropica, ruled by Queen Desira; the undersea kingdom of the Shark Men, ruled by King Kala; and the flying city of the Hawkmen, ruled by Prince Vultan. They are joined in several early adventures by Prince Thun of the Lion Men. Eventually, Ming is overthrown, and Mongo is ruled by a council of leaders led by Barin. Flash and friends return to Earth and have some adventures before returning to Mongo and crashing in the kingdom of Tropica, before reuniting with Barin and others. Flash and his friends would travel to other worlds and frequently return to Mongo, where Prince Barin, married to Ming’s daughter Princess Aura, has established a peaceful rule (except for frequent revolts led by Ming or by one of his many descendants). The long story of the Skorpii War takes Flash to other star systems, using starships that are faster than light.
 

Join the conversation on Twitter with #FlashGordon and on Dynamite Entertainment’s twitter page at https://x.com/DynamiteComics

LOST Veterans Elizabeth Sarnoff and Jack Bender join us to talk about their role in the new Fox series, ALCATRAZ, plus more with Jorge Garcia and Sarah Jones. DC drops the axe on 6 New 52 titles and Mark Millar creatures a universe.

Over the last two weeks I’ve taken more taxis than I did in all of 2010. I hate taking cabs. They’re expensive, and it frustrates me to sit in traffic watching the meter click. It makes me feel like Geraldine Chaplin in Welcome to L.A. I much prefer the subway, smells and all, because it’s cheap and fast.

I took the expensive cabs because I needed them. If we didn’t need the cabs, we would have been quite content to walk or take mass transit. The person with whom I was traveling couldn’t walk to a bus stop much less climb the stairs to the subway, and it was imperative that we get where we were going. Luckily, I can afford to do this when necessary.

What does this have to do with comic books?

DC Comics recently announced a price hike on some of their books. Naturally, customers aren’t happy about this. No one wants to spend more money if they don’t have to.

You know what? You don’t have to.

It’s possible to lead a productive and satisfying life without reading Batman comics the week they hit the stands. Or so I’ve been told. Billions of people do it. Some of these people will read the stories later, paying for them in a back-issue bin, or a trade paperback collection, or online when the price goes down. Most of the people on this planet will never read them.

It’s a choice.

I don’t know what financial pressures are behind DC’s decision to raise those prices. It could be motivated by editorial considerations. Maybe retailers told the publisher they needed a higher cover price to make a profit. Maybe Diamond needs the profit. Maybe DC does.

I’ve read on some bulletin boards that some customers feel this is stupid, that DC is taking that extra dollar from customers who will therefore have a dollar less to spend on other titles. This presumes that there are only so many dollars available, because there are only so many customers. Maybe that’s true in some markets, but, nationally, there are all those millions of people who haven’t yet bought a Batman comic. I would guess that those people would prefer to pay $2.99 instead of $3.99, but that as long as it’s under $5, it’s not that noticeable.

If you can’t afford to buy a comic the day it comes out, don’t buy it that day. Take a deep breath. Wait a week.

It’s okay. Stories keep.

Save your money for when you need that taxi.

SATURDAY: Will Marc Alan Fishman Take Up The Michael Davis Challenge?