Tagged: Erik Larsen

Marc Alan Fishman: Bill Cosby, Subway Jared, and Arthur Suydam

Fat AlbertAre there good guys anymore? Perhaps just you, my loyal readers. This past week we’ve seen enough to be stark (no, not Tony) raving mad.

First, the Associated Press finally caught Bill Cosby with his pants down – so to speak. Any more of his bluster is now faced with the truth that under oath he admitted to having drugged women prior to engaging in sexual activities.

Speaking of sex crimes… Subway’s own Jared Fogel was detained this week under suspicion of owning child pornography. To be fair, he may yet be absolved – a former employee of his was previously caught with the same material – but the PR damage is done.

And in our little neck of the blogosphere, artist Arthur Suydam was caught pilfering adjacent tables at a recent comic-con akin perhaps to Hitler’s taking of Poland. Maybe I’m being a bit harsh? I was all soft and gooey last week. Screw it. Let’s get snarky!

The story, as Artie would have you believe, was that he arrived at the convention and was shown to his table. He set up as normal, and life was wonderful. Apparently you see, the promoters mistakenly displaced several artists in order to meet the request of Arthur taking on four tables in the Artist Alley. Now let’s be clear: no one was denied a table space. However, the promoters did have show materials (guides, programs, etc.) with those aforementioned detainees placed next to Suydam. Clearly as folks made their way around the show, trying to find those people who clearly weren’t Arthur resulted in a stalwart fans having to do a bit of unnecessary sleuthing to trip over their intended artists. Was Arthur in the wrong?

I’ve only a little doubt that he took up four tables rightfully. As I recall at several shows I’ve been at with him, he does typically squat over a larger footprint than others. This is necessary so he can display his mammoth one-note zombified prints. I’ll not deny he has artistic talent. And as a businessman, if he’s somehow able to make profit by paying for what constitutes a vendor-sized space selling his posters? Who am I to nay-say his entrepreneurial spirit!

Wait! I remember… I’m an indie creator who has to play by the rules with conventions. Conventions that likely never let individual artists usurp multiple tables within the Artist Alley. Why? Because the exhibition space is sold for those needing more than an eight-foot table to their name. And while Arthur himself may be more noteworthy due to his run as a Marvel Zombies cover artist then, say, a completely unknown artist, that shouldn’t necessarily grant him carte blanch to take a table away from someone who deserves an opportunity to be at the show too.

Now, I’m not a convention promoter, nor am I an event coordinator. But certainly if someone asked me to purchase multiple alley tables, my instinct is to immediately offer a space on the show floor proper, if real estate is so sought-after. The only time I’d be apt to let a man become his own island is if my Alley has more space than interest. At the comics convention Suydam attended, I sincerely doubt there weren’t a few people on a waiting list who would have chomped at the bit to be at the show. Instead, the comic convention world at large had an opportunity to call out Arthur on his bad practices.

It would seem, akin to the aforementioned Cosby, that Arthur Sudyam is a long-time criminal offender without an actual rapsheet. Many folks who can continue to enjoy their anonymity came forward during Tablegate (or the better coined #Sudyamized) to denote their stories of Arthur usurping space much like the shuffling zombies of his milieu. And given that Sudyam had to have his people respond to the allegations that swam across Bleeding Cool, Comic Book Resources, and Newsarama, it only makes him feel that much more guilty.

Beyond the small guys proclaiming their hatred, the well-named (and wonderful) Erik Larsen and Mark Waid stood tall to declare their spite as well, showcasing Sudyam’s posting of twitpics with obviously Photoshopped crowds to prove his, ah, drawing power.

Artie’s response: In a few words, he chalked it up to his people posting on his behalf as a representation not only of his line but the con experience in general. No harm, no foul he said. Sorry. I cry foul.

Simply put, Arthur Sudyam’s enterprise preys on show promoters, and blots out the sun of neighboring booths. While it’s not like he himself forces gawkers from lingering away from smaller tables to his mountain of material… it stands to be noted that it’s purveyors like him that make Unshaven Comics feel infinitesimal when all we have to our names is a 30” wide pop-up banner. But the mob has spoken, and Arthur Suydam’s name is unmistakably synonymous with ill-will. I’d consider that a win for the good guys.

 

Marc Alan Fishman’s Snarky Synopsis: The New 52 – Futures End #7

futures-end-3921556Written by Brian Azzarello, Jeff Lemire, Dan Jurgens, and Keith Giffen. Art by Aaron Lopresti, Art Thibert, and Hi-Fi.

I beg you, dear reader, to not skim over the author credits in this review. Azzarello. Lemire. Jurgens. Giffen. A master of noir, the macabre, cape and cowl, and team action. I want you to let those names and their respective bibliographies soak into your brainpan.

And now, I want you to forget it. All of it. Forget amazing runs on Batman, Animal Man, Justice League, Superman, and 100 Bullets. Why? Because Futures End doesn’t read like it even strolled adjacent to the parks where any of those celebrated authors lived. Instead, we get another chapter that advances banal plots that all lead towards the next editorial status quo to deal with in the next publishing quarter (or year, or what-have-you). If you don’t care to stick around to read the maple-syrup-thick snark I’m about to lay out on this waste of thought and talent, then take these words and call it a day: Futures End is a passionless money suck, and is yet-another-symptom in the ever-ailing world of big-comic event-driven fiction.

To sum up the issue itself is to merely check off the minor plot points that continue the threads of the litany of plots. In the Phantom Zone, Agent Frankenstein fights Black Adam. He wins, but loses a limb. I guess we should care about that, but the guy is literally sewn together bits already. Losing one bit doesn’t really lend itself to intense dramatic action, does it? Elsewhere, Deathstroke and Hit Girl (or whatever her name is – which doesn’t matter because she’s clearly being presented like Hit Girl) discuss adding Grifter to their team. Grifter is told this, and basically seems fine with it. Oh the melancholy! Then there’s Firestorm, who visits a memorial celebrating the loss of life he had a hand in creating. Joy! And we cap off the book with a skirmish in the park – Terry McGinness (Batman Beyond, don’t cha know) and Mr. Terrific fight while the Key and some ne’er-do-wells discuss being bad.

Time for a bit of a digression, kiddos. You see, not that long ago, there was this weekly book called 52. It was penned by a fantastic foursome of their day. To be fair, all four men are still incredible. Mark Waid, Grant Morrison, Geoff Johns, and Greg Rucka. Each man basically took a single story set inside the ever-shifting DCU, and over the course of 52 issues laid it out in tandem with the other three.

Over the course of that year-in-comics, there were certainly issues akin to Futures End where really there was more moving of chess pieces than there was definitive action and progress. But by and large, each issue was worth the read. Each issue contributed a very dissimilar set of heroes and villains that ultimately came together to showcase the richly detailed universe that houses half of the most recognizable licensed characters in all of creation… and then placed them dutifully on the shelf, and played with the want-nots, has-beens, and forgotten ones instead. It was the best of times.

Futures End #7 is the worst of times. As I alluded to above, the book just reads as passionless plot. I take that opinion to heart, as I myself am amidst the writing process on something of similar direction. In the era of writing for the trade, the middle chapters fall prey to only existing as means to the eventual end. Because they serve so many masters, they end up feeling hollow. Things happen. Stuff moves forward. But when you cram an issue with no fewer than five plot lines, and literally nothing gets resolved, or any twists are revealed… the trade becomes an end not worth waiting for. At least, not when the scripting and pacing do not take into account that every issue could stand to be a jumping on point. FE #7 not only craps on that concept, it revels in it.

Allow me to admit it straight up: I haven’t read a single panel of any previous issue of Futures End. Outside the pithy knowledge I have that this is some kind of epic that has to do with robotic evil duplicates from an alternate timeline or dimension, and at some point Luthor will run the Justice League… I know nothing. Picking up the seventh issue is of course complete reader-suicide. I don’t know why Frankenstein is in the Phantom Zone. I don’t know why Ronnie Raymond is to blame for whatever tragedy befell his kin. I don’t have the slightest clue what Terrifitech is, or why Batman Beyond is trying to blend in as a bum (who apparently drops fifty dollar bills because… the Internet?). But I digress. Simply put: I shouldn’t have to know any of those six-issue long backstories to enjoy a good comic.

If it’s the absolute I believe in now – having been a weekly reviewer for nearly three and a half years (and a fan and reader for two decades) – it’s that Erik Larsen was right. Every comic stands to be someone’s jumping on point. And it’s issues like this one that lend me to believe why comic books continue to ebb and flow but never seem to be more than a niche medium clinging to life in between the blockbuster movie adaptations. Stories like 52 actually attempted to prove that comic books still had sway – and that Alan Moore isn’t just a crazy loon in a castle. By making a book that used the continuity and novel-length girth of plots, DC proved that a comic book need not be a cartoon or mega-plex people pleaser. Futures End instead returns to the roots (and not that Jack Kirby / Steve Ditko / Stan Lee kind) of the industry; kitchy low-brow action stories that only target those who want a punch, kick, and an occasional tit. Sorry, we’re better than this.

When the credit-roll on your book reads like a who’s-who of modern top talent.. when your art team delivers admirable visuals to the script… when you have literally an entire universe of characters – including the top-shelf ones – at your disposal… when you have the carte blanche to create with compatriots that each in their own right could handle the book by themselves, you are not allowed to phone in an issue. Hell, you’re not allowed to phone in one panel. For fuck’s sake, you’re not even allowed to trip up over a single Rao-damned word balloon.

Future’s End is indicted on all counts. This was a lazy chapter in a lazy crossover that feels more by-the-numbers than seat-of-your-pants. It aspires to do nothing other than advance plot at a snails pace – sans style, sans grace. For shame, DC. For shame Brian Azzarello, Jeff Lemire, Dan Jurgens, and Keith Giffen.

 

 

SDCC: CBLDF’s Comic-Con Welcome Party!

sdcc-cbldfs-comic-con-welcome-party-9487935Kick off Comic-Con with the greatest stars in comics to celebrate 20 Years of Image Comics and the power of free expression at the Comic Book Legal Defense Fund’s Comic-Con Welcome Party! Starting at 8:00 PM on Thursday, July 12 at the Westgate Hotel, the CBLDF Comic-Con Welcome Party is jam-packed with amazing people and cool stuff! This party is sponsored by Image Comics, TFAW.Com, Black Phoenix Alchemy Lab, & Threadless!


Experience Creativity with Image Comics greats including:
Ales Kot, Amanda Conner, Ben McCool, Ben Templesmith, Brandon Seifert, Charles Soule, Chris Giarrusso, Cory Walker, Dan Brereton, Darick Robertson, Deborah Vankin, Dexter Weeks, Dirk Manning, Edwin Huang,Eric Shanower, Eric Stephenson, Erik Larsen, Gerry Duggan, Glen Brunswick, Jim Mahfood, Jim McCann, Jim Valentino, Jim Zub, Jimmy Palmiotti, Joe Keatinge, John Layman, Joshua Hale Fialkov, Joshua Williamson, Kody Chamberlain, Kurtis Wiebe, Mark Poulton,Matt Hawkins, Michael Moreci, Moritat, Nate Bellegarde, Nathan Edmondson, Phil Noto, Richard Starkings, Ron Marz, S. Steven Struble, Scott Tuft, Sina Grace, Steve Seeley, and many more!

revival-cover-low-res-195x300-1364256Get The Exclusive Goods: Free gift bag, featuring a CBLDF party exclusive edition of Revival #1 by Tim Seeley & Mike Norton from Image Comics, and other special thank yous from CBLDF supporters including Valiant and Threadless!

See The World Premiere of “The Day The Saucers Came:” Be the first to see the latest Comics-On Tees from Threadless featuring Neil Gaiman’s “The Day The Saucers Came,” featuring artwork by John Cassaday, Brandon Graham & Ben Templesmith at a special fashion show! Get your tees straight from the source at the party!

Smell Awesome At The Black Phoenix Alchemy Lab Trading Post: BPAL will make their only Comic-Con appearance at the party, setting up a one-night only display of fragrances, including the world premiere of new fragrances based on Neil Gaiman’s Coraline!

Check Out The Amazing Items In CBLDF’s Comic-Con Auction, sponsored by TFAW.Com & Valiant Comics:
Check out all the amazing original art up for grabs at Saturday’s CBLDF Comic-Con Auction live!

Come support Free Speech and experience the best of Comic-Con at the CBLDF Comic-Con Welcome Party Thursday at the Westgate Hotel, 1055 Second Avenue, San Diego, CA 92101 from 8 PM to 11 PM! This party is FREE for CBLDF Members. Non-Members, suggested $10 – $20 donation at the door, please.

ABOUT IMAGE COMICS
Image Comics is a comic book and graphic novel publisher founded in 1992 by a collective of best-selling artists. Image has since gone on to become one of the largest comics publishers in the United States. Image currently has five partners: Robert Kirkman, Erik Larsen, Todd McFarlane, Marc Silvestri and Jim Valentino. It consists of five major houses: Todd McFarlane Productions, Top Cow Productions, Shadowline, Skybound and Image Central. Image publishes comics and graphic novels in nearly every genre, sub-genre, and style imaginable. It offers science fiction, romance, horror, crime fiction, historical fiction, humor and more by the finest artists and writers working in the medium today. For more information, visit www.imagecomics.com.

ABOUT THREADLESS
We’re awesome people from all over the world who make mind-blowing art. Our process starts when a great idea is born in an artist’s mind. (That could be you, that could even be your grannie!) The artist submits their idea to our site, where our community of 1.5 million debates, discusses, and votes on that idea. If the idea gets a really good score, we make it into a tee, tote, hoody, or tube sock. (That last one isn’t true… yet.) Then, as long as folks keep buying that product, we keep rewarding that artist with loadsa money, prizes, and exposure. So people who buy from us support great artists and their great ideas. Neat, huh? Join us at Threadless.com. Threadless ~ Make Great Together.

ABOUT THINGS FROM ANOTHER WORLD
Founded in 1979, Things From Another World is the premier retailer of comics, toys, collectibles, and pop-culture geek goodness, both in Portland, Oregon and online at http://www.TFAW.com.

ABOUT BLACK PHOENIX ALCHEMY LAB
We specialize in formulating body and household blends with a dark, romantic Gothic tone. Our scents run the aesthetic gamut of magickal, pagan and mythological blends, Renaissance, Medieval and Victorian formulas, and horror / Gothic-themed scents. By utilizing our knowledge of homeopathy and aromatherapy, the conceptual theories of hermetic alchemy, and the aesthetic artistry of perfumery, we have mastered the art of encapsulating allegorical ideas into singular olfactory experiences. We are the first of our kind, and have over fifteen years of practical experience in the field. Our expertise shows.

We pride ourselves on the artistry of our products, and our skill in their creation. All of our products are hand-blended here in our laboratory. Integrity and dedication is vitally important to us, and we do our best to provide the best possible product and slavishly good service to all our clients.

ABOUT THE COMIC BOOK LEGAL DEFENSE FUND
Comic Book Legal Defense Fund is a non-profit organization dedicated to the protection of the First Amendment rights of the comics art form and its community of retailers, creators, publishers, librarians, and readers. The CBLDF provides legal referrals, representation, advice, assistance, and education in furtherance of these goals.

Ostrander Auction: a shirt with dozens of signatures

This just got dropped off to comix4sight‘s booth by Jon at EB30.us: the shirt they got almost everybody to sign at last year’s convention. And signatures keep getting added: here’s John Jackson Miller (the other monthly Star Wars writer) adding his name, and George Perez added Wonder Woman– this to a shirt that already had Warren Ellis, Peter David, Adi Granov, Gail Simone, Whilce Portacio, Jim Valentino, Humberto Ramos, Dan DiDio, Erik Larsen, the list goes on and on. (And yes, you’ll be getting a list along with the shirt and a certificate of authenticity.)

Small(er) picture of the shirt here: (more…)

Comics All Over The Place

flash-9618160

Comics Reporter reviews 1-800-MICE #2, All Flash #1, and Magic Hour #2.

Chris’s Invincible Super-Blog reviews this week’s comics, starting with All Flash #1.

Greg Burgas of Comics Should Be Good also reviews this week’s comics, but he starts with Annihilation: Conquest – Quasar #1.

At the All-New, All-Different Savage Critic(s):

  • Graeme McMillan reviews World War Hulk #2
  • Douglas Wolk reviews mostly the advertisements in Giant-Sized Marvel Adventures The Avengers #1
  • McMillan is back to review All Flash #1
  • And someone named Jog really likes Brendan McCarthy and Peter Milligan’s Rogan Gosh one-shot from 1994.

 

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