Derrick Ferguson Hires HUGH MONN, PRIVATE DETECTIVE
At the very end of 1973 I was lurking about in a Woolworth’s in downtown Montreal. I was suffering from my worst case of comics envy ever.
I was seduced by the graphic novels rack. That’s not what it was called, but that’s what it was. Dozens of titles by Jean Giraud (a.k.a. Moebius), Phillipe Druillet, and all kinds of master comics creators the likes of which we had not seen in the States. Beautiful stuff. I could follow much of the storytelling but little of the story itself.
I was also seduced by the wide range of subject material, with nary a cape in sight. Western, science fiction, private eye, romance, ennui-ridden existentialism, and stuff that seemed as though it was influenced by lysergic acid diethylamide the likes of which we never had on St. Mark’s Place. In short order I stumbled upon equally awesome material from Japan and Italy and, possibly, Mars. I experienced a beautiful work covering the widest range of subject matter imaginable. But in comics, such a range was not imaginable, not in the United States.
A couple years later the National Lampoon folks started up Heavy Metal, and while it wasn’t as interesting as it could have been, the new magazine got this material out there. At worst, it was a gallon of water brought to the desert. At best, Heavy Metal was a door opener.
One might think that a logical way of dealing with my comics envy would be to learn a foreign language – certainly French or Japanese. No such luck. Like most Americans I’m lacking in the foreign language learning gene: I took five years of Spanish and lived (and now live) in neighborhoods with or near a significant Latino population and I can barely mumble a few phrases, “perdóname” being my most heavily used.
38 years later a lot of wonderful material has been translated – but that’s not the best part. The best part is, the American comics medium has grown to the point where we now create stories that cover many of the genres that we see overseas. Not anywhere near all, but many. We still don’t have comics for senior citizen grandmothers the way they do in Japan, but we’ve gone a lot further than the 1973 diet of capes, muscles, some horror, a few klutzy teenagers, and a smattering of “children’s comics.” For one thing, we are finally seeing something of a return of children’s comics, thanks to outfits like Boom! and Ape.
Sadly, we’re not seeing a lot of sales in these categories. Most comics shops really can’t afford to risk stocking them in any depth and then promoting them to the appropriate audiences, and most publishers – maybe all of them, now that the tide has changed at DC and Marvel – really can’t afford to help them in any dramatic and useful way.
Maybe electronic distribution will change all that. Clearly, it’s the best way right now to attract new readers, but the promotion budget has to be there and that ain’t easy.
Still, it’s a start. A good start.
THURSDAY: Dennis O’Neil
With a resume that could best be described as the very definition of awesometasticness, Will Meugniot is a working legend. Given the opportunity to sit down with him–if only through these odd and twisted halls of the interwebs and Skype–I was tempted to simply pelt him with geeky question after geeky question. Allow me a quick explantion: Reading through his resume, Will Meugniot has worked on an amazing array of projects anyone in Generation X or before would swoon over. As a storyboard artist, writer, producer, and director for (amongst other things) Captain Planet, EXOsquad (aka EXO-Force as you’ll see in our next installment), Jem, Slimer and the Real Ghostbusters, and comics like Tigra, The DNAgents, and Vanity… suffice to say I had a hard time not grilling the poor man for several days.
As we mentioned previously, Will is writing and drawing a brand new comic with an old school feel. The N.E.D.O.R. Agents will be hitting your local comic shop shelves, today (November 9th, 2011), and Will was nice enough to sit down with me to give all you ComicMixers the 411. And don’t worry, we totally dish on his work in animation, later this week. Read on!
COMICMIX: Before we get ahead of ourselves, could you tell me, and all of those butchering your name from above how we pronounce your last name?
WILL MEUGNIOT: It’s pronounced Min-Ee-Oh. I think many people have [butchered my name] in the past. Mark Evanier and I used to dub ourselves “The most unpronounceable team in comics!”
CMIX: First and foremost, let’s talk about what brings you here today… the N.E.D.O.R. Agents… Give the ComicMix readers the ‘elevator pitch’ of the project.
MEUGNIOT: First and foremost, it’s a piece I myself would want to be reading right now. N.E.D.O.R. Agents is a period piece; taking these characters from the 40s and reviving them into 1965. I’m treating them the same way other publishers treated revival characters like Captain America, Green Lantern, Flash, and characters of the period were. This is an update for the atomic age. It places these classic characters of the 1940’s in the world of 1965, and the race to space. Of course the race is interrupted by aliens who are already invading Earth!
CMIX: And are the characters being “retconned” here into starting their careers in 1965, or have they simply been elsewhere?
MEUGNIOT: Well, actually the reason these characters haven’t been seen since the 40’s (as you’ll find within the story) is because they have been secretly forming a covert team of superpowered individuals to fight an impending invasion. Now 20 years after the creation of that agency, we’re catching up with them and their super kids!
Meanwhile, Spider-Man co-creator Steve Ditko still doesn’t see a single dime from the show. Or the movies. Or the comics. Or any of a thousand different licenses of the character he co-created. So if we’re going to start talking about copyright infringement, let’s go back a bit, hmmm?
NEW YORK (AP) — Director Julie Taymor sued the producers of “Spider-Man: Turn off the Dark” Tuesday, saying they violated her creative rights and haven’t compensated her for the work she put into Broadway’s most expensive musical.
Charles Spada, an attorney who filed the suit on behalf of the Tony Award-winning director, said Tuesday in a statement that “the producers’ actions have left her no choice but to resort to legal recourse to protect her rights.”
Rick Miramontez, the show’s spokesman, was not immediately aware of the copyright infringement lawsuit, filed in U.S. District Court in Manhattan. Taymor was not available to comment.
The lawsuit seeks half of all profits, gains and advantages derived from the sale, license, transfer or lease of any rights in the original Spiderman book along with a permanent ban of the use of Taymor’s name or likeness in connection with a promotional film without her written consent. It also seeks a jury trial to determine her share of profits from the unauthorized use of her book, which the lawsuit said was believed to be in excess of $1 million.

Here’s an interesting holiday recipe – take a popular stoner comedy franchise, toss in some claymation and even a musical number. It’s A VERY HAROLD & KUMAR 3-D CHRISTMAS, destined to burn up DVD shelves after it escapes theaters. We talk to John Cho & Kal Penn about how they’ve changed even if their movie counterparts haven’t. Plus more with Ed GHelms on how THE OFFICE still owes so much to Steve Carrel, and DC breaks even bigger comic sales records in October.
The Point Radio is on the air right now – 24 hours a day of pop culture fun for FREE. GO HERE and LISTEN FREE on any computer or mobile device– and please check us out on Facebookright here & toss us a “like” or follow us on Twitter @ThePointRadio.
A long time ago in a galaxy far, far away…
That line has nothing to do with this column. I just love starting a piece with “A long time ago in a galaxy far, far away…” I mean how cool is that?
A long time ago in a galaxy far, far away…
I started to look at comics differently. Up until that moment, comics were just a great vice in my life. Sure, I wanted to work in comics. Sure I loved comics but until that moment, comics to me were a simple, can’t do without, pleasure.
But… One day I was sitting in my study…what? yes, I had a study! That’s where I went to… study. So, one day I was sitting in my study when a bat smashed through my floor to ceiling window. At that moment I knew my path. My path was clear… That freakin’ bat must die!
Have you any idea how much a floor to ceiling window costs? A lot!
The bat was bouncing off my very expensive walls! Hey! When you see this shit in the movies and by this shit I mean people chasing a bat, rat, bird or whatever around their house, it’s all bullshit. In the movies the point is to get rid of the nuisance and provide comedy relief. The reality? It’s about killing the nuisance and avoiding bat blood on the walls of your Manhattan loft. After securing the bat, I started to…
Oh, you want to know what happened to the bat? Look, PeTA would be up my ass if I wrote what happened to that bat. I really don’t need to hear from those people so I’ll just say this, my .38 is missing a bullet and replacing a door is not that hard.
However, none of that is important. What is important is, at the very moment when my bat problem was over I realized that comics were not just a way to spend another lonely night after masturbating.
What? Oh, like you don’t!
At that moment I stuck upon an idea.
That idea?
The Art Of The Deal.
To put it another way, a step-by-step overview of a comic book deal.
So… starting next week I’m going to share with you in detail the inner working of one of my comic book deals. From idea to printed graphic novel.
I’ll use an existing but not yet finished deal from start to finish so if it goes south you will know why.
So fasten your seat belts, it’s going to be a realistic ride.
WEDNESDAY: Mike Gold
HEAR ME, DUCKBURG! NO LONGER AM I THE WATERFOWL YOU KNEW! I AM FIRE! AND LIFE INCARNATE! NOW AND FOREVER…
…oh, we lose the Disney license after this issue? Maybe not so much on the forever, then.
The DARKWING DUCK/DUCKTALES crossover event twenty years in the making continues right here! Picking up from DUCKTALES #6, this issue marks Part 4 of “Dangerous Currency.” This is it fans — the last Disney single issue from KABOOM! has arrived. It’s the end of an era as we say goodbye to Disney at KABOOM! Don’t miss this landmark final issue from the relationship that put kids comics back on the map!
DARKWING DUCK #18
Written by Ian Brill
Drawn by James Silvani
SC, 24pgs, FC, SRP: $3.99
COVER A: James Silvani
COVER B: Sabrina Alberghetti
Diamond Code: AUG110926
It’s Daredevil vs. the Bruiser: Round One, as Marvel is pleased to present your first look at Daredevil #6! From the critically acclaimed creative team of Mark Waid and Marcos Martin, Daredevil must go head to head against a contract fighter who can’t be put down and making Matt’s life a living nightmare. How Daredevil survives, you’ll have to read to find out.. but the result makes him the most dangerous man in the Marvel Universe. Get in on the action this November in Daredevil #6!
DAREDEVIL #6 (SEP110560)
Written by MARK WAID
Art & Cover by MARCOS MARTIN
FOC – 11/7/11, ON SALE 11/30/11
Back in August, I told you about Griff the Invisible, a small indie film about a would-be super-hero feature the terrific Ryan Kwanten. The movie opened and closed in the blink of an eye, probably while you were on line to see Rise of the Planet of the Apes, and you missed out.
Vivendi Entertainment is releasing the film on Blu-ray and DVD on November 15 so you get a second chance at catching this charming film.
Better, we have been given three DVDs to give away. Here’s what you need to do in order to win:
By 11:59 p.m., Saturday November 12, tell us what super-power you most desire and how you would use it to fight for truth and justice. The final decision of the ComicMix judges will be final.
In case you missed it, here’s the trailer.
Synopsis
Griff (Kwanten), a shy and awkward office worker by day, finds escape from his ordinary life by assuming the identity of a fantastic superhero each night. Griff’s secret is jeopardized when he meets Melody (Dermody), a cute but unconventional daydreamer. She quickly becomes fascinated by his idiosyncrasies, which are equal only to her own. In the face of mounting pressure to live in the “real world,” it’s up to Melody to rescue GRIFF THE INVISIBLE for the sake of herself, Griff and their newfound love for each other.