Tagged: DC

ComicMix Goes National, Part 1

It’s always nice when a convention takes place in your own backyard, a mere express bus or train journey away, and despite the weather turning chillier this is a great time of year to be out and about in NYC.  Michael Carbonaro has been running his bimonthly Big Apple comics and media expos for at least a dozen years now, and every November he gathers industry luminaries and showbiz greats together in his signature extravaganza, the National.  Naturally, ComicMix was there this year, and although I could only make it on Saturday I snapped plenty of photos and talked to lots of friends!

ComicMix Media Queen Martha Thomases knows how to keep her hands busy at the booth; the pink cashmere layer in her latest knitting endeavor felt absolutely gorgeous!

Here was the view of the left side of our row, with Bob McLeod in the foreground, then my husband Robin Riggs (I shuttled the few feet between the CM table and our location for much of the day), then Scott Roberts, and in the background Rodney Ramos.  More on those two below.  In fact, more of everything below! (more…)

If I Ruled The World, by Michael Davis

s138-6203089Everybody that hates my guts just got a chill when they read the title of this article. Michael Davis ruling the world? Oh HELL NO!

As unlikely as that scenario is (I said unlikely but nothing is impossible and I am working on it) but in the unlikely event that I do someday rule the world this is how I would roll.

How will I come to rule the world? With love, kindness, respect and with unrelenting optimism. If that fails, I am the only person who will have a powerful DEATH RAY that could wipe anyone or anything off of Earth.

WORLD POLITICS

The French will shut the hell up about how they superior in all things art. The US will recognize other countries rights. Canada will just go away. On second thought, let’s keep Canada and get rid of France.

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Residual Effects, by Elayne Riggs

elayne100-1758150I was going to continue my review of art I like, but since last week the new DC comp box arrived and I want to catch up before I write any more about that. Plus, I had a fairly major lifestyle change, more about which later. Meantime, the Writers Guild of America strike is into its second week and, while a resolution still seems fairly far away, I think it’s done a lot of good already in terms of consciousness raising. As with other recent revelations a lot of Americans have had, many people are starting to question why such a modern and powerful country seems so backwards when it comes to its citizens fairly sharing its bounty, whether that means providing health care for all or living up to its humane ideals in its treatment of captives or celebrating and supporting the collective strength of productive workers.

I think the WGA strike has resulted in a lot of folks who’ve never heard anything but anti-union talk since before Ronald Reagan fired the PATCO workers rethinking that knee-jerk (but craftily cultivated) attitude. They’ve learned that about half of WGA members are unemployed or underemployed in a given year, and they don’t buy the studios’ insistence that the strike is “millionaires versus billionaires.” They’ve learned that professional writing, like a lot of other entertainment-related professions that seem all-fun from the outside looking in, in fact represents a lot of hard work and long hours. They’re learning to deeply mistrust the line they’ve been fed for so long, a version of the famous Peter Stone dialogue from 1776 that “most men with nothing would rather protect the possibility of becoming rich than face the reality of being poor.” Nowadays it’s become imperative to protect the reality of being able to survive. And they understand that residual payments are the way most WGA members survive between the relatively few successful gigs they’re able to score.

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Joe Strummer and Selling Out

timnjoe-2172608I was at the old Chicago Comicon back in 1989, walking the corridors of the old Ramada-O’Hare hotel with my old pal Timothy Truman when an intense fan grabbed Tim by the arm.

“How could you,” the fan said, and I paraphrase. “How could you sell out?” He sported a gaze of disappointment and hostility. Tim didn’t ask what he was talking about. He knew. He had started supplementing his income by working for “the majors” – at that time, DC Comics. Not that First Comics and Eclipse Comics were any less corporate with many of the evils associated therewith; DC and Marvel were just bigger and better at it.

“Hey, I wanted to do a tribute to Gar Fox,” Timothy replied, and I continue to paraphrase. “I liked doing it.”

The fan staggered off muttering about things like big business and working for the man and such. I’m about as Red Cat as they come in comics (with the probable exception of Mark Badger), but I understood one thing: if you want to work on a corporate-owned character, you’re going to have to work for the corporation, and (as Martha Thomases noted earlier today) by their rules. That’s how gravity works.

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TV Eye by Martha Thomases

A few thoughts on the Writers Guild of America strike, and what it means for comics – and you!

• If the history of comics has shown us anything, it’s the fact that the more satisfied the creative talent is with their deal, the better our choices in entertainment. The rise in independent comics that started with the undergrounds in the 1960s forced innovation on what had been a stodgy industry, not only in terms of subject matter but also in terms of revenue sharing and creator-owned properties.

• Television and movies are much more collaborative efforts than comics, so sharing copyrights and trademarks can be much more complicated. That’s why, in those media, the accepted standard payments are residuals and royalties. Even though the comics industry has been paying royalties for over a decade, I have not seen it make any difference in the bottom line at Warner Bros. or Marvel. When profits are shared, everyone profits. (Aside: Yes, I know studio accountants can magically make profits disappear. That’s a separate rant.)

• It’s kind of hilarious that people expect a flood of Hollywood talent to descend on comics during the strike. For one thing, most of the major publishers book up their talent on regular books for at least six months to a year. For another, the major publishers offer deals that are much worse than what the studios are offering. DC or Marvel may consider original graphic novels, but they’ll want to retain ownership, just as they do with all their other properties. (more…)

With Great Power… by Michael Davis

It’s no secret that I think that people who worship celebrity are idiots. I mean, come on; do these people really think that Britney is thinking about them? Every night on a popular entertainment news program they have something called “Britney watch.” That is just nuts to me. This show follows Britney Spears everywhere. I mean EVERYWHERE! If she goes to Starbucks there are camera crews watching her sip from a cup. I’m not kidding.

Most of the people we hold up as stars are also looked up to by many as heroes. Really? With that in mind I wondered what would happen if our super heroes acted like today’s stars.

My apologies in advance to DC, Marvel, Archie and everyone else. Hey guys, satire is good for the soul!

High above the skies of Metropolis an epic battle rages. For hours Superman and the evil super villain have traded blow after terrific blow. Neither asking for quarter neither granting any. Finally Superman looks into the face of the evil super villain and shouts, “You can’t win evil, super villain!” The evil super villain produces a green rock from behind his back. He thrusts it out at Superman who withdraws in terror! “ Kryptonite!” Superman says the word as if its very mention is painful to him. The evil super villain flies closer to Superman who is struggling to remain airborne. “Now you will die!!” The evil super villain declares as Superman plummets from the sky! (more…)

Mix Picks Chicks Flix, by John Ostrander

Generally speaking, I’m a guy. When I get dressed, I’m usually not worried about the ensemble, just about whether it’s relatively clean. I’m not concerned about my “looks,” considering that at my age I haven’t got many looks left to consider. My sweetie Mary likes how I look and that’s good enough for me.

Thing is – I’m not really a “guy’s guy.” I don’t follow sports all that closely but that’s because I’m mostly interested in my home teams. Because I’m at heart a Chicago boy, that means that – with the exception of certain comparatively rare periods of time – following sports is an exercise in masochism, especially as I am a Northsider, which makes me a Cubs’ fan.

I’m not into the whole “alpha male” thing, either. Never was, never will be. If “winning” is that big a deal to the other guy and it’s not over anything important to me – fine, I don’t care. He wins. If the jerk in the other car HAS to zoom around me, cut me off, and gain 2.5 seconds – okay. I continue on, generally catch up at the next stoplight, pull in behind him and then mime laughing at him, pointing at his car, so he can see me in the rear view mirror. I never said I wasn’t petty.

I also don’t always give in. People who assume that get a surprise when it’s on something that matters to me – or I’m just feeling contrary and cranky. (more…)

A Few of My Favorite Things, by Elayne Riggs

elayne100-1811653Back in the days of Usenet, I used to hear a lot of variations of “Why are there so many negative reviews and so few positive ones?” As one of those reviewers who not only discussed the art half of comic books but who also wrote a lot of positive reviews in my 4½ years of doing Pen-Elayne For Your Thoughts, I would see this manifest more as “Why are the threads responding to the few negative reviews so long, as opposed to those on the far more numerous positive reviews?”

The answer was pretty self-evident to most of us reviewers. In general it’s much easier for people to perpetuate clever putdowns, or to pile on a negative thread, than it is to engage in the vocabulary of positive discussion. One of the things we would identify as a next-to-useless post would be someone merely typing “Me too” or “Ditto.” It added nothing of substance to the online dialogue, it just took up bandwidth. But it had the opposite effect of the real-life etiquette advice that “If you can’t say something nice, don’t say anything at all.” It became “If you can’t add something of substance to a discussion rather than just agreeing with the original poster, you’re better off not contributing at all.” I suspect that what some of them actually meant was “Bored now. You’re being too nice; throw us some raw meat.

And of course, that was a shame. I’ve never found it that hard to say good things about comic books. I love comic books. I buy and read quite a wide variety of graphic literature, and as I’m generally not in the assumed demographic for much of it I’ve learned to adjust my tastes accordingly — that is to say, there’s still some subject matter that doesn’t appeal to me, but I’ll generally try to give most of my chosen reading a fair chance, and I think I tend to be easily pleased. Nitpicking details, while worth noting in a review, has never weighed as important to me as how the work made me feel, whether it held together as a whole and moved me during the time it took me to read it.

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Getting Good and Scared, by John Ostrander

Have a nice Hallowe’en? Was the Great Pumpkin good to you? Did you grab a few treats, pull a few tricks? Watched a nice scary movie or two? Seen a few Saws? Are you ready to get back to the real world?

The real world has gotten a lot scarier than anything Stephen King is putting out or that Hollywood is dreaming up. Crude oil is hitting record highs. Drinking water is drying up on both a national and an international level. The American housing market is in the toilet and likely to remain there. About a year from now we’ll be electing a new president and a new Congress, which means that we’re about to hit the hardcore election season during which little or nothing of substance will be done in Washington.

“Old news,” right? Heard it all before. Maybe we should summarize what it all means quickly and simply, the way Americans like it. Unless there are drastic changes made, America is going into its decline. Unless you’re in that upper small percentile of Americans that are really rich, the quality of your life is going to decline as well and not get better.

Fact? Not yet. By the time it’s a fact, it’ll be way too late to change. No, this is a projection based on facts. When I was a teacher at the Joe Kubert School, teaching writing to artists (an interesting task), one exercise I would give teams of students was to create a future based on facts derived from the research. The scenario had to be a reasonable extrapolation from existing facts or events and they had to explain the reasoning.

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The Legend of Grimjack, Vol. 8: Review

Yes, we’ve hit the point where reprints of medium-level ‘80s comics can run to eight volumes – and, since the comic in question is GrimJack, that is perfectly dandy with me. Since GrimJack was gone for a good decade (before the recent Killer Instinct miniseries, and, of course, these trade paperback reprints), I suspect that some of you might not know what the man and his world.

Well, let me quote myself to bring you up to speed:

John Gaunt, aka GrimJack, is a cop/secret agent/PI in an aggressively multi-dimensional (and arbitrarily immense) city, and he walks down those mean streets, yadda yadda yadda. It’s hard-boiled fantasy adventure, in a setting where anything can pop up and probably will. Everybody betrays everybody (especially the dames), and everybody but our hero is corrupt as all hell. This is the kind of comic that the comics world thinks of as being vastly different from superheroes, even though John Gaunt:

  • wears the same clothes all the time, which instantly identify him
  • saves people (and the world) regularly
  • has what amounts to a codename
  • has a couple of similar friends who he "teams up" with on occasion
  • appears in 4-color pamphlet form

This volume reprints issues 47 to 54, right in the middle of the 81-issue run, with stories that originally saw print at the end of the ‘80s. Most of this book consists of the end of a long storyline that started in the comics collected in Volume 6 and saw John Gaunt killed and resurrected, among other changes. That big storyline (which doesn’t seem to have an official name) had kicked off when Tom Mandrake took over penciling this series, which was the first time he and Ostrander worked together extensively. (They would later rack up long, successful runs on Spectre and other series at DC.) (more…)