Tagged: comics

Batman’s Comedy of Eros, by Dennis O’Neil

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  • September 16, 2008

Way back in the late 80s, or maybe early 90s, an inker working on one of DC’s superhero comics rendered a female form rather more like the Lord made female forms than the mores of the time allowed. The editor dealt with the problem by putting a color hold – a purple one, I think – over what some would have deemed offensive nudity.  Sex always wins. The lady’s charms shone clearly though the purple haze and a fuss ensued.

I remembered this anecdote when I saw, in the New York Times, an item about a Batman comic describing “a two page action sequence that is filled with foul language…uttered by (a) heroine…

“A black bar covered the blue words, but it was too transparent and allowed the text to be read.” Sex always wins and maybe “foul language” at least doesn’t fight fair.

According to the Times, the print run was destroyed. Having made more than my share of blunders when I sat in an editor’s chair, I know how easily goofs like this can occur and I hope the ensuing fuss doesn’t devolve on the editor, whoever he or she may be. As a certain Secretary of Defense said, stuff happens.

But I’m curious.  Did the creative folk always intend the offensive language to be covered? Surely not. Why go to the bother and expense of lettering copy that no one will read? Easier, one imagines, to simply do the black bars in the first place, though as a storytelling strategy, that would be questionable; why pull the reader out of the story while they puzzle over the meaning of the black bars?

Okay, the copy was meant to be seen? Didn’t somebody wonder if such language could cause trouble and…I dunno – ask around?

Maybe someone saw it as a free speech issue. If so, I’d demur.

I think the First Amendment is the crown jewel of the Constitution, and, personally, I can be a potty mouth. Much of my choirboy vocabulary was left on an aircraft carrier and much of whatever was left in the gutters of the East Village, pre-gentrification. But I think the way things are marketed creates expectations, and it’s not playing fair with the customers to thwart those expectations. Anything – and I do mean anything – should be allowed in the public arena, but if one buys a book bylined Henry James, one should not be subjected to a story by Mickey Spillane.

Comics have come a considerable distance in the few years since I left editing. Hell and damn, once verboten seem okay both in comics and on TV, and a few gamier locutions are beginning to pop up. But I don’t believe the medium – comics – has evolved to the point where authentic street lingo is expected.

A final consideration: The question in matters like this is always a simple one. Does it help the narrative? Is the vocabulary the writer is using his way of showing off, or does it serve a larger purpose? Any vocabulary that tells the story is almost certainly the right vocabulary, though I’d expect to get argument on this. In the case of the Batman comic we’ve been discussing, I don’t know, and probably never will.

RECOMMENDED READING: Redemolished, by Alfred Bester

Dennis O’Neil is an award-winning editor and writer of Batman, The Question, Iron Man, Green Lantern, Green Arrow, and The Shadow– among others – as well as many novels, stories and articles. The Question: Epitaph For A Hero, reprinting the third six issues of his classic series with artists Denys Cowan and Rick Magyar, will be on sale in September, and his novelization of the movie The Dark Knight is on sale right now. He’ll be taking another shot at the ol’ Bat in an upcoming story-arc, too. 

The Theory of Webcomics: What are Webcomics?

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  • September 14, 2008

Help me Wikipedia, you’re my only hope! What are webcomics?

Oh, okay. They’re comics published on the web. That was easy. What else have we got? Over 18,000 exist, few are self-sustaining, blah blah blah, some are like newspaper comics and some are like graphic novels, yadda yadda yadda, sometimes use sprites, pixels, photos or 3D Poser art. Some are funny, some are not; and they cover a wide variety of genres.

But really, what are webcomics? “Webcomics” is the collective name we’ve given to sequential art that appears online. Scott Kurtz’s PvP is a webcomic, as is Scott McCloud’s Zot!, but so are the reprints available from Marvel Digital Comics and the online For Better or for Worse strips. Same name, wildly different products: Kinda like comparing a 1940s Superman story with Neil Gaiman’s Sandman or Harvey Pekar’s American Splendor. They’re all “comics”, but the similarity stops there.

We’re going to need a little more granularity: Typically, one will use the phrase “webcomics” to refer to creator-owned properties published originally and/or primarily online. Reprinted newspaper strips would still fall under “newspaper comics”, and reprinted superhero material would still be “print comics” or “comic books”. So our narrowed “webcomics” would include DC’s Zuda Comics, but not Marvel Digital or FBoFW. This is still hazy for cases like Diesel Sweeties, which started on the web, and published both on the web and in syndicated papers simultaneously (with different content) for a time; but it will do.

And that’s the definition I’m typically using and tend to focus on when I talk about webcomics. When I talk about how webcomics make money, I’m thinking about how Kurtz or McCloud would make money, not how Marvel would monetize their website. When I talk about “the most popular webcomics,” I don’t mean Dilbert. The collection of comics that are creator-owned, published online, usually maintained by one or two authors and typically full of geeky content are a community and a genre all their own, and deserve the same singular attention that we give to, say, sci-fi novels.

These are the comics that you find on Keenspot [link: http://www.keenspot.com/], Zuda, Blank Label, Dumbrella, Modern Tales, and similar collectives. These are the comics that get their start on Comic Genesis [link: http://www.comicgenesis.com/], Drunk Duck, or Webcomics Nation.

And yes, these are the comics that obey Sturgeon’s Law much more so than any others—after all, the barriers to entry are very low; anyone with a computer and a bunch of free time can create one. (I myself had a short-lived sprite comic, now gone from the web and never to be seen again.) This means they’re often drawn and written by hobbyists with limited time, no editors, and the occasional limited grasp of spelling and/or grammar. Which is, of course, the other reason I like to talk about them: There are some fantastic gems of comics to be found, if you know where to look.

I’m  going to be picking apart how these comics exist as an art form and what makes them different; discuss how they make money, why some do so much better than others, and which ones you really should be reading. Though be warned: The only thing that sucks up more of your free time that creating a webcomic is reading them.
 

Examining What Went Wrong With ‘All-Star Batman’ #10

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  • September 10, 2008

All-Star Batman & Robin #10 has caused some controversy since DC Comics announced it was recalling issues scheduled to be on sale today.  They described the problem through the Diamond Comics announcement that it was a printing error.

Apparently, Frank Miller’s expletive-filled dialogue was intended to be blacked out but the process employed failed to effectively do this.

The actual dialogue and scans of the offending pages can be found over at Comic Book Resources. According to Heidi MacDonald at The Beat, Miller insisted his dialogue be lettered in and blacked out.  The production approach clearly failed to achieve the desired effect but editorial judgment has also to be questioned.

According to former DCer Brian Pearce over at the DC Archives board, “What puzzles me is the suggestion that the dialog in the word balloons might have printed in a four-color black (essentially, solid black backed up with a small percentage of the other process colors), while the bar that was supposed to obscure it was just a flat black, and not adequately opaque. ‘Backing up the black’ as it’s called, is often used to give large flat black areas a more ‘rich’ (and less washed out) appearance, or to ward off problems with trapping (when registration is slightly off) — but what strikes me as odd is that there’s really no need to do that with a fine detail like lettering. It’s not really necessary, and against a white background, that would betray even the slightest misregistration. (And even as comics printing and coloring have become more elaborate through the years, lettering inside baloons and caption boxes was genenerally left as only black because it was easiest to strip out that detail from just that one plate for foreign licensees and reprints.)

“And before the usual suspects start speculating on who might lose a job over this, this is an error that would be difficult, if not impossible to spot without a very specific type of proof, or a press proof. (It was probably caught on one of the unbound ‘last chance copies,’ when the books have been printed and bound, but there’s still time to do something.)”

Copies are already being hawked at eBay and its likely that similar to similar recalled comics, such as the Elseworlds 80-Page Giant, it will remain a rare collectible.

Unnoticed in all this was that Action Comics #869 and DC: Decisions #1 were also recalled for other printing problems.  The reasons behind these two remain unclear.
 

Tech Report: E-Ink and Comic Covers

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  • September 10, 2008

A few months back I had heard that Esquire magazine was going to celebrate their 75 anniversary with an experimental  electronic ink technology. Basically batteries are sewn into the cover that power a flexible LCD screen. I was interested but wanted to see how it came out. Well, issues are hitting the stands now. Take a look at the video below:

 

The “animation” is limited. Kind of like web page banner ads, not television. (Yet.) But the first thing that sprang to my mind was how long before a comic company puts out a special edition comic featuring this? Back issues bins are overstocked with prismatic, die-cut, hologram, lenticular special editions from the 90’s. Collectors may have been burned but those suckers sold for the publishers.

What comic covers that come to my mind immediately are an Iron Man cover with lots of parts lighting up. Or the Batmobile with motion blur background. Or seeing that star field effect seen with Donna Troy, Alexander Luthor, Captain Marvel and other cosmic characters actually twinkling.

The only drawback is that the batteries only last 90 days. But hey, put an E-ink comic cover in a comic shop front window and see how fast they’d sell anyway.

‘Blackest Night’ stealing ‘Final Crisis’ thunder? by Alan Kistler

  • News
  • September 8, 2008

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The major event in DC Comics in 2008 is Final Crisis, written by Grant Morrison. Unlike many summer crossovers, Final Crisis is not its own event so much as the third story of a trilogy (the first two stories being the crossovers The Crisis On Infinite Earths and Infinite Crisis).

The opening premise is that all of the New Gods (celestial beings who inhabit a higher dimension) recently seemed to die, except for Darkseid, leader of the evil New Gods. Darkseid has found a way to survive through human hosts, his power fueled by the faith of his new followers under the prophet Libra. Determined to become ruler of reality, he has been resurrecting his sinister forces (an ability Kirby established decades ago) by placing their life-forces in new bodies as well. And since he has now learned the powerful "Anti-Life Equation", a prize he has sought for centuries, he is able to destroy free will in any who hear the equation, thus creating a new army of slaves.

So evil god-like forces have been freely walking among us and because the super-heroes didn’t realize it, they’ve been vulnerable to sneak attacks and manipulations. In short order, John Stewart, Hal Jordan, Batman, Superman and Wonder Woman were all removed from the game board in one way or another.

But this is a Morrison story so that means there are usually layers to be peeled away. There are other things going on as a result of Darkseid now attempting to break the universe down to serve his will. There is, of course, the matter of the Multiversal Monitors, beings charged with maintaining the structure of the multiverse, one of whom is also living among us as a mortal man, unaware of his true nature. And there is the return of Barry Allen, the second Flash, a hero who became energy and merged with the universe even while saving it during the first Crisis over twenty years ago. Barry’s sacrifice saved the universe during that story and in DC Universe #0, it’s implied that the universe itself has brought him back so that he can save it again. It’s also possible he is here as a reactionary force to Libra, who is his opposite number in the sense that this a villain who also seemingly died years while merging with the cosmos.

And Libra and Barry are not the only dead men to show up in this story.

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‘Ciudad’ set up at Paramount

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  • September 6, 2008

Oni Press has sold the film rights to their forthcoming graphic novel Ciudad to Paramount Pictures.  Anthony and Joe Russo (You, Me and Dupree) wrote the comic and will pen and direct the screen adaptation according to Variety. The comic was drawn by Ande Parks (Green Arrow).

The trade describes the premise as “story centers on a weary hostage extractor who travels to Paraguay’s Ciudad del Este, a border town considered one of the world’s most dangerous and corrupt locales, to save a kidnap victim.”

The duo researched the story for years, traveling to South Africa and intend to return to their grittier filmmaking style.

Oni Press has optioned four other properties to Universal Studios where they have a first look deal.  Their Scott Pilgrim film begins shooting in a few weeks.

 

DeCandido Returns to ‘Farscape’

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  • September 5, 2008

Saavy readers of Previews may have already picked up on this bit of news, but BOOM! sent out a release to ensure everyone was aware that Rockne O’Bannon was getting som ehelp turning Farscape into a comic book.  Here’s the release:

September 4th, 2008 – Los Angeles, CA – BOOM! Studios and The Jim Henson Company announced today that Keith R.A. DeCandido will be scripting the  Farscape miniseries from an original story by Farscape creator Rockne O’Bannon.

Using O’Bannon’s unique vision and richly detailed story, DeCandido will work with BOOM! Studios and The Jim Henson Company to bring fans the best comic this or any universe has ever seen!

Keith R.A. DeCandido has authored more than 30 novels, among them, the acclaimed  Farscape novel House of Cards, released in 2001. DeCandido also wrote three short stories in that universe for the show’s official magazine and role-playing game.

"Words cannot describe how thrilled I am to be returning to  Farscape. Writing House of Cards was one of the most enjoyable experiences of my career, and I was always sorry I didn’t get to do more work in the universe," said DeCandido.  "Re-immersing myself in the wild and wacky world of FARSCAPE has been a true joy, as the show remains just as brilliant in 2008 as it was at the turn of the century. (more…)

Superman Timeline

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  • September 4, 2008

As most of us know, this year marked Superman’s 70th anniversary. And as if that weren’t enough to engender conversation about the Man of Steel, Brad Meltzer’s new novel Book of Lies  has prompted quite a bit of discussion concerning Martin Siegel, who died during an armed robbery and whose son Jerome "Jerry" Siegel subsequently wrote the story of a bullet-proof alien who was invulnerable to all frailties.

So with all this talk going around about Superman’s beginnings, we here at ComicMix thought it was time to put together a small Superman time line. Please note, this time line is focused solely on Supermans’ adventures in the comics and not with his stories in other media.

1933 – Jerry Siegel and Joe Shuster publish their story “Reign of the Super-Man." In the story, the title character is a bald homeless man named Bill Dunn who gains telepathic powers from a mad scientist’s experiment and intends to take over Earth. After this, Siegel writes up a new version of Superman who is secreatly named Clark Kent and is, in fact, an alien named Kal-L, son of Jor-L and last survivor of the dead planet Krypton. Shuster does artwork for the comic strip and they begin to submit it. The story is rejected by 17 different publishers over the next five years.

1938 – Superman/Clark Kent is finally introduced in Action Comics #1. Although Siegel has plotted out the name of Superman’s parents and planet, none of these are actually named in this issue’s origin story. Superman is said to have great strength, resistance to conventional injury, and is able to leap 1/8th of a mile.

1939 – In Superman #1, the planet Krypton is finally named in the comics. It is also mentioned that Clark Kent was raised by a kindly, elderly couple. His adopted mother is named “Mary Kent” and it’s said that she and her husband died soon before Clark moved to Metropolis.

1940 – In Action Comics #23, Clark’s newspaper The Daily Star is officially renamed as The Daily Planet and Superman has his first fight with “Luthor, the mad scientist.”

1941 – Superman #10 features our hero actually defying gravity for the first time by hovering in the air. Previous to this, it was always stated in the comics that he could only leap over great distances. Superman #11 confirms that Superman can now fly, just like in the cartoons and radio shows.

1942 – Superman #17 reveals that the Man of Tomorrow has a hidden base known as the Secret Citadel, located inside a mountain range nearby Metropolis.

1945 – The character of Superboy (an adolescent version of Superman) and his hometown of Smallville are introduced in More Fun Comics #101. Initially, this is treated as a separate continuity from the mainstream Superman stories.

1948 – Superman #53 names Clark’s adopted parents as “John and Mary Kent.”

1949 – Kryptonite makes its first comic book appearance in comics in Superman #61 (originally, it was only used in the radio plays). In this story, Kryponite is colored red but in all subsequent stories it is colored green (other forms of Kryptonite with different colors will appear later on). In this same story, Superman finally learns the name and history of his home planet Krypton, even though readers have known such facts for years already. (more…)

invincible-11-4189338

Review: Invincible the Series

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During the 2008 San Diego Comic Con, MTV New Media debuted their new animated series based on Robert Kirkman and Cory Walker’s Invincible comic. Published by Image Comics, [[[Invincible]]] tells the story of Mark Grayson, a young man who inherits his father’s superpowers. It’s been released through various outlets: iTunes, Xbox, Amazon, MTV2, MTV.com, and MTV Mobile.

Instead of creating brand new animation, the series has decided to use the latest editing techniques to “animate” Cory Walker’s actual comic book art. Just use existing comic art and let the camera to give the illusion of movement. To younger viewers this may seem innovative, but it’s been done as far back as the Marvel Comics based cartoons from the 1960’s. It was used again, very artistically by MTV, when they brought [[[The Maxx]]] to television. Even more recently [[[The Watchmen]]] has been done in this style.

While the story and art deserve all the critical praise that the Invincible comic has received over the years, [[[Invincible the Series]]]’ biggest stumbling block is its editing. The MTV produced show has the same pacing as MTV’s promo spots, wildly kinetic with lots of flashing graphics and texts. Never let the eye settle for minute. This is fine for 15-second ad, but watching a full show like that is taxing.

In a one step forward, two steps back move, the show decided to include the actual word balloons from the comic. But instead of letting people read it, the text has a subtle shake to it. To emphasize energy, I guess. While nothing sits still on the screen, you would expect the parts you want people to read to be motionless.

A good way to judge an animated show’s sound is to close your eyes and listen. Does the soundtrack still create images of the action? In Invincible’s case, the answer is yes, but barely. The voice acting and sound effects are serviceable. They don’t do anything cringe worthy, but neither do they stand out. No Kevin Conroy or John Di Maggio here.

If the production calmed down, this could’ve been a great show that brought quality comic books to video formats. But as it is, I couldn’t stand watching this for more than a few episodes. And like I said, I’m a fan. Imagine the effect to someone who’s browsing MTV2 late at night.

Watch the first episode for yourself below. Let me know if you think I’m right or wrong in the comments section.

 

Review: ‘Howard Chaykin’s American Flagg!’

 

american-flagg-1794127Howard Chaykin’s American Flagg!
By Howard Chaykin
Dynamic Forces, July 2008, $49.99

Science Fiction has never been quite as successful in comics form as it seemed it should have been. Oh, sure, there have been plenty of vaguely SFnal ideas and premises – from [[[Superman]]] to [[[Kamandi]]] to the [[[X-Men]]] to the [[[Ex-Mutants]]] – but they were rarely anything deeper than an end to the sentence “There’s this guy, see? and he’s….” One of the few counterexamples was Howard Chaykin’s [[[American Flagg!]]], starting in 1983 – that series had many of the usual flaws and unlikelihoods of near-future dystopias, but it also had a depth and texture to its world that was rare in comics SF (and never to be expected in even purely prose works, either).

American Flagg! suffered from Chaykin’s waning attention for a while, and then crashed and burned almost immediately after he finally left the series, with a cringe-making overly “sexy” storyline utterly overwritten by Alan Moore. American Flagg! limped from muddled storyline to confused characterization for a couple of years afterward – but the beginning, when Chaykin was fully energized by his new creation and the stories he was telling, is one of the best SF stories in American comics.

The series has never been collected well, though a few slim album-sized reprints were once available, and may be findable through used-book channels. This Dynamic Forces edition, reprinting the first fourteen issues of the series, is quite pricey. (Especially for a book with no page numbers, and one in which the pages are precisely the size of the original comics – not oversized, as those previous album reprints had been.) This book has a strong, thoughtful introduction by Michael Chabon – which has already appeared in his [[[Maps and Legends]]] collection, presumably due to the delay in the American Flagg! book – a gushing afterword by Jim Lee, and a new short story written and drawn by Chaykin.

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