When my mother asked me why I was buying up all the comics I could, I made an attempt to satisfy her underlying problem. “I’m not wasting my money, Mom, these comics are worth money!” She bought that. Years later, she asked me when I was going to sell them and enjoy the tidy profit. Wouldn’t you know it? All those copies of Night Man and Mantra weren’t worth the paper they were printed on. And my Walgreens copy of Cyberforce: Bloodstryke? Nary a nickel would be given to me by any one aside from maybe Marc Silvestri. Had I been smart enough, I would have picked up the holo-foil variant cover, and nabbed me a dime.

You see kiddos, when I got into comics, the ‘Variant’ cover ruled the land. In the go-go-nineties, when people suddenly thought comic books were highly coveted collectables, the publishers followed suit by releasing a veritable tidal wave of ‘comicas con variantas.’ Short supply equaled high demand, and before you know it… even your next-door neighbor (who can’t tell Batman from Man-Bat) is collecting comic books. Me personally? I couldn’t care less. Have a seat. Get comfy. Let me pull out my jar of poetry wax. It’s time to polish up the Rant-O-Tron 5000.

Collectables by and large bother me. The idea that you would purchase a toy, a poster, a print, or a talking rubber fish all with the notion that it’d eventually mint you a tidy profit seems ludicrous to me. Toys are meant to be played with. Art is meant to be displayed. And those talking rubber fish? They’re meant to be in RVs in the south.

The same goes for comic books. Maybe I’m alone in this sentiment (and I hope in fact that I’m not) but comic books are meant to be read. Comic books as collectables just irks me a bit. Scratch that. Comic book collectors who don’t enjoy the medium for anything other than the potential profit? They irk me.

Unlike commemorative plates, baseball cards, or Hollywood memorabilia, comic books are made with the intent to entertain. Writers sat at typewriters concocting amazing fantasies for their fictitious creations. Artists slaved over their drawing boards meticulously adding nuance, detail, and action to the written word. And a literal team of other players had their hands in the pot… from the letterers, colorists, inkers, designers, and editors who spent their work week fretting over deadlines to eventually put their book on a store shelf… and you don’t even take the time to read it? Next time do me a favor, buy a limited edition Billy Bass.

But Marc, you protest, what about those smart people who minted thousands upon thousands for their rare Action Comics #1, or Detective Comics #27? What about them, indeed. Neither were a “Holo-Foil Sketch Blank Autographed Variant.” And 75 years from now, if you think your copy of the “B” cover of Justice League 2011 will be worth thousands of dollars more than the standard “A” cover… well, you are welcome to dance on my grave if it’s true.

Suffice to say, I’ve never bought a comic strictly for the purpose of profiting. And for those who do, while I don’t deny you the right to spend your money however you see fit: I scoff at you on principle alone.

For the publishers who produce them, it must seem like a brilliant idea. In John Ostrander’s piece a few weeks back, we learned that the comic book market is such that the publishers don’t sell to the consumers. They sell to retail shops who in turn sell to us. So their spin-off squeeze play is nothing more than an attempt to hike up sales a bit more. Dynamite alone must produce an Alex Ross variant every other week, for every other book they publish. In turn the shops might feel compelled to order enough of the base book to “earn” those packed-in variants, and in-turn mark them up for sale to the saps, err, collectors who come into their stores. I love Alex Ross’s work kids, I do. But they day I’m chasing down a Green Hornet Year One Sketch Cover Variant C, break a NASCAR Jeff Gordon plate across my face. Before anything else, a comic is there to be read and enjoyed.

Agree? Disagree? You know the drill. Let me have it below.

SUNDAY: John Ostrander

In the wake of his success with Captain America: The First Avenger, there’s little surprise that Marvel’s owner, Disney, is releasing the Blu-ray edition of director Joe Johnston’s earlier comics adaptation, [[[The Rocketeer]]], on December 13. The underrated film was released 20 years ago and was a faithful adaptation of Dave Stevens’s homage to the serial heroes of the 1930s.

Starring Billy Campbell (The OC, Enough), the movie also featured early work from Jennifer Connelly (Blood Diamond, The Dilemma) and also starred Alan Arkin (Little Miss Sunshine, Get Smart), and Timothy Dalton (The Tourist, Chuck). The movie was written by the team of Danny Bilson and Paul De Meo, who went from this to adapting The Flash for CBS.

The press release from Disney says the film has been given state-of-the-art digital restoration and enhanced high definition sound. Unfortunately, the lack of bonus features in the announcement is cause for concern.

For those unfamiliar with the concept (shame on you), here’s the official synopsis: The discovery of a top-secret jetpack hurls test pilot Cliff Secord into a daring adventure of mystery, suspense, and intrigue! Cliff encounters an assortment of ruthless villains, led by a Hollywood screen star who is a secret Nazi spy. With the help of his actress girlfriend, the young pilot battles enormous odds to defeat his foes who are anxious to use the device in an evil plan to rule the world. The dangerous mission transforms the ordinary young man into an extraordinary hero.

This is a light modification of a panel in  Legends of the DCU: Crisis on Infinite Earths #1. I could go either way on making Batman’s costume black and gray or blue and gray, but for a creature of the night, the yellow belt made no sense, and the panties were just too 1940s.

My Batman’s personality is inspired by the 1960s “New Look” Batman: he’s a detective who has mostly made peace with the fact that he can’t bring his parents back from the dead. He doesn’t like putting Robin in danger, so Robin is a supporting character, someone who goes undercover in places where Batman can’t and who usually has adventures on his own or with the Titans. Their styles are so different that they shouldn’t team up often: Batman’s inspiration is the creature of the night; Robin’s inspiration is the people’s hero, Robin Hood. The only reason Batman trains Robin is because he realizes that the kid will fight crime no matter what Batman does, so he might as well do what he can as mentor and friend.

The Bruce Wayne playboy is not a “cover”. Batman thinks of himself as a soldier or a spy who works hard and parties hard. He knows he needs R&R to keep doing his duty, and he wants fun that won’t result in anyone becoming too fond of him. He’s an adrenaline junkie, and sometimes, late at night, he wonders if he has a bit of a death wish. If so, so long as it helps him do his job, he’s fine with that.

The capes can become rigid and serve as gliders. Otherwise, why are acrobats wearing capes? Other than they look cool? Which, I grant, in a comic book is never automatically the wrong answer. The trick to making the original Robin cape work is to use the collar. George Perez understood that.

But I would be tempted to make Robin’s cape green.

As for the Batmobile, its time has passed. Batman and Robin should patrol from a Batplane that can hover in place.

Will Shetterly is the creator of [[[Captain Confederacy]]], the author of [[[Dogland]]], and the co-creator of [[[Liavek]]] with his wife, Emma Bull.

The godfather of eBooks has passed away. Michael Stern Hart, the founder of Project Gutenberg, died on September 6, 2011 in his home in Urbana, Illinois, at the age of 64.

Hart was best known for his 1971 invention of electronic books, or eBooks. He founded Project Gutenberg, which is recognized as one of the earliest and longest-lasting online literary projects. He often told this story of how he had the idea for eBooks: He had been granted access to significant computing power at the University of Illinois at Urbana-Champaign. On July 4 1971, after being inspired by a free printed copy of the U.S. Declaration of Independence, he decided to type the text into a computer, and to transmit it to other users on the computer network. From this beginning, the digitization and distribution of literature was to be Hart’s life’s work, spanning over 40 years. By the time of his death Project Gutenberg hosted over 36,000 items in its collection in 60 different languages, and was frequently highlighted as one of the best Internet-based resources.

Hart was an ardent technologist and futurist. One of his favorite speculations was that someday, everyone would be able to have their own copy of the Project Gutenberg collection or whatever subset desired. This vision came true, thanks to the advent of large inexpensive computer disk drives, cheap bandwidth, and to the ubiquity of portable mobile devices, such as cell phones.

Michael S. Hart left a major mark on the world, and everyone who has ever toiled in electronic publishing, or who enjoys reading anything off of a computer screen, text or comics, owes Michael a great debt. The invention of eBooks was not simply a technological innovation or precursor to the modern information environment. A more correct understanding is that eBooks are an efficient and effective way of unlimited free distribution of literature. Access to eBooks can thus provide opportunity for increased literacy. Literacy, the ideas contained in literature, creates opportunity.

Michael and I corresponded back in the early 90’s, when I was trying to build a commerce system so people who wanted to could sell books online. Michael was always supportive, even though he worked with public domain works and I tried to make a system where authors could be paid, because he knew more eBooks to read, of any kind, was always a good thing for the world.

In July 2011, Michael wrote these words, which summarize his goals and his lasting legacy: “One thing about eBooks that most people haven’t thought much is that eBooks are the very first thing that we’re all able to have as much as we want other than air. Think about that for a moment and you realize we are in the right job.” He had this advice for those seeking to make literature available to all people, especially children: “Learning is its own reward. Nothing I can say is better than that.”

His is survived by his mother, Alice, and brother, Bennett.

Special thanks to Dr. Gregory B. Newby for portions of this obituary.