Tagged: ComicMix

The Variant Question, by Mike Gold

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  • December 17, 2007

Despite my firm belief that I know everything about everything, I humbly admit there is something about this variant cover thing I don’t understand. Therefore, I’m tossing these questions out to you, the public, for comment. I’m not really trolling for comments; I honestly don’t understand this stuff.

I got into this because I just finished filling out my part of the retailer’s order form for Diamond distributing. My wife will do so tomorrow, my daughter already did. None of us are particularly interested in variant covers. In fact, I can’t recall any of us ever ordering one, let alone juice up our orders so we can procure one of those “for every ten you get one” deals.

Some publishers release as many as five different covers on damn near each title they publish. Some only restrict themselves to two, and then only occasionally. I understand how the device works as a sales incentive for comics shop owners, but, really, do you – as a reader – enjoy this? Do you usually buy alternate covers? All of them? Some of them? Only particular artists? Do you ever pay a premium for one?

More important, if you can’t get one at your store, do you buy it at a premium on the collector’s market? If there’s an alternate cover out there you want, do you track it down online or at conventions or sic your friendly neighborhood retailer on the quest?

Collecting mania aside, there’s really nothing new about alternate covers – the magazine business has been at it since the invention of the staple. In our little donut shoppe, it goes back at least as far as 1956 – Mad #28 had three variant covers. About 15 years ago, our hobby (as opposed to art form) was consumed by gimmick covers: prisms, holograms, lenticular pasties, all kinds of stuff. More recently, we’ve even combined the two with the variant gimmick of the “pencil” cover. Yep, you’re paying more for an unfinished product. (more…)

A Spacious Odyssey

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  • December 16, 2007

On this occasion of the 90th birthday of Sir Arthur C. Clarke, why not curl up in the capsule with a good ComicMix column or three?  After all, any sufficiently advanced ComicMix column is indistinguishable from magic!  Here’s a bunch from which to choose from this past week:

Now it’s time to leave that capsule, if you dare… Dave?  Dave?  ("Dave’s not here, man!")

The Posthumous Persistence of George E. Turner, by Michael H. Price

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  • December 16, 2007

George E. Turner is a familiar name among serious movie buffs – a pivotal figure in the realm of film scholarship, as influential these many years after his death as he was during a lengthy prime of productivity. George’s authorship alone of a book called The Making of King Kong (and known in its newer editions as Spawn of Skull Island) would be sufficient to cinch that credential.

But add to that George’s hitch during the 1980s and ’90s as editor of The American Cinematographer magazine and resident historian of the American Society of Cinematographers, and you come up with a pop-cultural impact of formidable staying power, beyond the reach of trendy distractions.

Where George preferred to limit his interests to the prehistory of filmmaking and the first couple of generations of Old Hollywood, he nonetheless kept a hand in current developments: His last job in a seven-year span of purported retirement was that of storyboard artist and second-unit director on the hit network teleseries Friends. And as a fan, he was as fluent in the continuing story-lines of The X-Files and Buffy the Vampire Slayer as he was in the history of RKO-Radio Pictures or the careers of Boris Karloff, Claude Rains, Tod Browning and Val Lewton.

The Friends storyboarder hitch is significant: Even those who are most familiar with George Turner’s film scholarship – for example, a chronic-to-acute genre-history series that he and I launched in 1979 with a book called Forgotten Horrors – scarcely know of his parallel career as a commercial artist and gallery painter, a comics artist and newspaper illustrator, and overall an accomplished talent in practically any medium one might care to mention. His higher degrees, after all, were in commercial illustration (from the American Academy of Art and the Art Institute of Chicago), and before he re-invented his career in Hollywood during 1978-80 he had spent some 27 years as the editorial art director of a daily newspaper in Northwest Texas. (more…)

We Are Family, by Martha Thomases

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  • December 15, 2007

family_clean12-4183176The holidays! That glorious time of year, so beloved by People of Faith, who celebrate not only their respective religious holidays but also their prized Family Values! A love of family, they say, is what separates the Godfull from the Godless. Atheists and agnostics do not have family values.

Humbug.

Family is pretty much the definition of primal. Children are, traditionally, the result of sexual activity, which is something animals do (plants, not so much). Our relationships with our parents, or at least our mothers, define our existence, as mammals and as humans. We yearn simultaneously for closeness and independence, approval and self-reliance.

More recently, family is a social construct that facilitates pacing on property, so that parents can leave their possessions to their children instead of to the Church or the State. And when property is involved, so is greed, envy, revenge, and other emotions that make stories fun to read or watch (living this stuff is way less interesting). From the Greeks through Shakespeare, the Tales of Genji and more, blood and money make families tick.

Families are the font of comedy, too. What would comedy be like without guilt, and what kind of guilt would there be if we didn’t have families? Or fear and resentment?

(more…)

I’m Dreaming of a Celluloid Christmas Part Deux, by John Ostrander

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  • December 13, 2007

We now return to my list of Christmas movies, begun last week. And thanks to all of you for your responses and your own suggestions.

How better to begin this round than with How the Grinch Stole Christmas – the cartoon TV special, not the bloated movie that was a vehicle for Jim Carrey. I mean, do I really have to say that? Dr. Seuss, Chuck Jones, and Boris Karloff, Thurl Ravenscroft – the voice of Tony the Tiger – singing “You’re a Mean One, Mr. Grinch” which is one of the great modern Christmas songs. All in twenty-two minutes. Perfect.

Actually, let’s spend a moment’s meditation on both the Grinch and Scrooge. They are certainly cousins. And I think we not only identify with them at their curmudgeonly worst but we are meant to do so, especially these days. Yes, they are both monsters in some fashion – but we also identify with a good monster, do we not? They act out what we feel about the holiday season – Humbug! Oh the noise, noise, noise, noise! – and the gaiety that is being forced upon us, especially these days in the over-commercialization of the holiday.

Maybe we feel locked out of Christmas – by choice, by belief, by our own religion – and we rightfully feel resentful. Christmas time is also a time of depression for many people, especially if we think we should be feeling like something out of Norman Rockwell – and don’t. The Grinch and Scrooge both give voice to our inner misanthrope and God love ‘em for it. Even if they do change by the end.

Since we’re talking about TV specials at the moment, let’s add A Charlie Brown Christmas – the first Peanuts TV Special and the best one. The story is true to classic Peanuts which also makes it true to kids. Other Peanuts TV specials would be tied to other holiday times of the year and would twice more, as my memory recalls, return to Christmas itself. The later Christmas Peanuts stories, however, never seemed to have a central story as this first one does. At it’s heart in the original is Charlie Brown’s choice of a Christmas tree – a forlorn little twig that he thinks has character and the rest of the gang thinks is awful. By the end, however, with some love and kindness, it turns out to be a fine Christmas tree after all.

(more…)

Round yon donuts, mother and child

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  • December 11, 2007

Much thanks to Media Goddess Martha Thomases for inviting me and fellow ComicMixers to her annual Chanukah donut party on Sunday.  Here are a couple of happy guests, Liz Glass and Madeleine Grace Baker.

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More pictures (expandable to larger sizes, yet) on my blog.

Shh! Reviews of two Wordless GNs for all ages

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  • December 11, 2007

These two books were both published as graphic novels for younger readers, by very different publishing houses – Owly comes from the small, quirky comics-oriented press Top Shelf, while The Arrival is a rare graphic novel from the childrens’ publishing juggernaut Scholastic – and they have interestingly different reasons for being wordless.

Owly is more obviously for kids; it’s drawn in a somewhat fussy comic-book approximation of a clean-lined animation style, with big eyes and heads on small bodies. The characters, with the possible exception of a friendly storekeeper, are all clearly meant to be kid-equivalents; this is a world like Arnold Lobel’s “Frog & Toad” stories where pseudo-children live on their own and deal with kid-sized issues themselves. It’s pretty obviously wordless so that even kids who can’t read yet can follow the story. (Talking about wordless comics can cause troubles with explaining just what “reading” means in a particular case – there are a lot of kids who can “read” the Owly books even though they can’t decode words in English yet.)

In the first three books, our main character, Owly, has made friends with a worm (Wormy – not Dave Trampier’s character, though), a snail, a butterfly, and what I think is a chipmunk (or maybe a field mouse). The stories are all about friendship: learning to trust each other and to make friends with creatures that you suspect might want to eat you. Since these characters are all in a sweet all-ages comics story, everything works out fine, but I do have to wonder about the lesson. (Or maybe this is exactly the lesson kids need right now, since they already get way too much of the opposite lesson: to hate and fear anything unexpected, strange, or different.)

In this book, creator Andy Runton introduces yet another character, an opossum. He, too, is scared of Owly – as an opossum should be; owls are serious predators, and real-world owls are probably the scariest, nastiest things these kind of small animals will ever know. (If Owly runs much longer, Runton’s reliance on the introduce-a-new-character-who’s-scared-of-Owly plot could cause trouble; it’s hard to have a large cast in a book where no one speaks or has names in the main story.) Everything works out well in the end, of course, though it gets a bit weepy along the way. Some kids who are physically able to follow this story might find it emotionally hard to take. But, if they’ve read the first three Owly books, they’ll be expecting the friendly, happy ending.

The Owly books do have some appeal to adults, particularly mushy, sappy adults who have young children (like myself). People who exclusively read mainstream comics would probably find Owly intensely sappy; I think it’s exceptionally sweet. I like Owly and his friends, and I want to see them happy. (more…)

Shazam! The Monster Society of Evil Review

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  • December 10, 2007

The old Fawcett Captain Marvel (as opposed to all of the other Captains Marvel since him) is a character that pretty much all comics kibitzers agree should be handled with a light, semi-humorous touch, kept out of tight continuity, and allowed to be fun. But we’re usually left deploring the situation when he’s given yet another grim ‘n’ gritty makeover to be “relevant” and to shoehorn him into continuity. But Jeff Smith is on our side – as a million comics bloggers have mentioned before me – and his Captain Marvel is much closer to Otto Binder & C.C. Beck’s than it is to Judd Winick’s.

Smith spent his first decade-plus in the comics industry working on one long story – the bestselling and critically acclaimed Bone – so the first thing The Monster Society of Evil does is prove that he’s not just a one-trick pony. (It also shows, by implication, that the center of gravity of the field has still not shifted: even a massively successful independent creator, who could do anything at all for his second major project, will still have a tendency to want to work on a superhero for the Big Two, featuring a character created decades before he was born and owned by an international conglomerate.) Smith, as we all suspected, is just a good storyteller, and the odds are that he’ll have a lot more stories to tell over the next few decades.

The Monster Society of Evil is a very loose retelling of the story from Captain Marvel Adventures of the same name, serialized over more than twenty issues during World War II. (Which, incidentally, proves that it wasn’t all “Done in One” stories back in the Good Old Days – there have always been different kinds of stories.) The original story was very much a serial, like the movie serials of the day, with cliffhanger endings and escalating dangers from episode to episode. It’s a fun roller-coaster ride, but, re-reading it these days, it’s also very much of its time. (more…)

Presidential candidate Ron Paul picks his super-hero favorite

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  • December 10, 2007

ronpaul_flag-3417888As part of the run-up to the presidential primaries next year, ComicMix asked Texas Congressman Ron Paul who his favorite comic book super-hero might be.  We think this is at least as revealing as their favorite movies, favorite books, or favorite chocolate-chip cookie recipes.

Candidate Paul, running for the Republican nomination on a Libertarian platform, was happy to respond. From Congressman Paul:

 

"My favorite comic book superhero is Baruch Wane, otherwise known as Batman, in The Batman Chronicles.  "The Berlin Batman," #11 in the series by Paul Pope, details Batman’s attempts to rescue the confiscated works of persecuted Austrian economist, Ludwig von Mises, from Nazi Party hands. 

“Batman’s assistant Robin writes in the memoirs, "[Mises] was an advocate of individual liberty, free speech, and free thinking… and so, should I add, the Berlin Batman." Batman, a Jew in hiding in Nazi Austria, was willing to risk his life for the sake of the promulgation of freedom, and I find this to be super-heroic."

batman-chronicles-11-pg18-4306055

From The Batman Chronicles #11, written and drawn by Paul Pope, colors by Ted McKeever, letters by Ken Lopez. ©1998 DC Comics.

 

Let’s Go Burn Some Books, by Mike Gold

  • News
  • December 10, 2007

I haven’t seen the movie The Golden Compass, but I will, and soon. I don’t care if it’s a complete piece of crap – I want to see it because the Religious Right told me not to.

They say that sort of thing a lot. Here’s what pissed me off. They said the author of the books upon which the movie is based, Philip Pullman, is an atheist. They’re afraid that if your children like the movie, they might actually pick up the book and read it. Somehow, the book will destroy their belief in the unigod.

Now that seems a little paranoid to me, but even if it happens, well, damn, we sure don’t want kids to make up their own minds – overruling the evidently flimsy influences of their parents, their relatives, their pastors, and their friends just by reading a damned book, right?

This sort of thing frightens me. According to these folks, we live in a Christian nation, founded by good Christian god-fearing men who were really, really stupid when they built religious freedom into our Constitution.

I’ll tell you what scares me even more. Last week, Republican presidential candidate Mitt Romney said, and I quote, “Freedom requires religion just as religion requires freedom.”  Say what? Historically, organized religion and its militant outreach has been an astonishingly awesome suppressor of freedom. That’s history, folks, and we’ve had a hell of a lot of wars, crusades, pogroms, inquisitions, cross-burnings, and Jihads to prove it.

“In recent years, the notion of the separation of church and state has been taken by some well beyond its original meaning,” Romney went on to say. “They seek to remove from the public domain any acknowledgment of God. Religion is seen as merely a private affair with no place in public life. It is as if they are intent on establishing a new religion in America – the religion of secularism. They are wrong.” (more…)

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