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Marc Alan Fishman: Justice League Unblemished

Justice League UnlimitedJustice League Unlimited was recently collected into a single Blu-Ray disc and, while I happen to own its on DVD – as well as literally everything else Bruce Timm and his menagerie created – it still stirred up a sense of unbreakable joy and nostalgia in me.

I use the term nostalgia in spite of the show itself being broadcast during my early to mid-twenties, mind you. I use it because we all know that nostalgia indicates that sentimental longing for a better time. And while we’re living in a veritable gilded age in terms of comics-to-TV live action adaptations, the animated realm is devoid of any direct counterpart to serious pulp storytelling. Sure Teen Titans Go! is on, and a handful of Marvel properties as well. But none of them hold a candle to Justice League. The absolute best episode of Avengers: Earth Mightiest Heroes – now over five years old – couldn’t shine the boot of the worst episode of any of Timm’s League.

I dare you to disagree.

What made the show so amazing, amongst countless reasons, would be its scope. With an unrivaled cast that built from the solid foundation of the holy trinity of DC (Batman, Superman, and Wonder Woman, in that order), and then peppered in perfectly distilled amalgams of dozens upon dozens of characters, they truly communicated to the world at large what the DCU encompassed.

No other cartoon has come close to the depth of the presented roster of heroes and villains. Beyond the bench though – and trust me, we’re gonna hit on that in another column soon – the actual storylines we got to follow held sway as mature tales that balanced wide-eyed action with well-focused moral debates.

Take perhaps the Cadmus arc, wherein Superman ultimately learned the potent lesson that he may have adopted Earth as his home, but his home wouldn’t turn a blind eye to the sins of his past. This was, of course, a nuanced and layered issue. The secret projects erected in the name of self-defense came only after Supes had inadvertently become the pawn of Darkseid. While we comicsphiles might have given the Big Blue Boy Scout a pass for succumbing to the plot-of-the-week, we couldn’t have expected all people would share in our leniency.

To see episode after episode building the case for the world being all but backed into war with the heroes that swear to protect it… in the name of being proactive? Well, ain’t no episode of Pokemon that’s coming anywhere near that neighborhood. From the birth of Galatea (Power Girl, by way of cloning Supergirl), through to the tet-a-tet between Batman and Amanda Waller, Justice League Unlimited proved that cartoons could be more than a series of punches and CGI set-pieces. They could be compelling prose that live action movies and TV shows are still too afraid to touch. It helps when the networks just think cartoons are for kids, eh?

And what of the merging of Brainiac and Lex Luthor! What was first presented as a delightful nod to the villain tag teams of our pulp and paper (or perhaps the stop-motion, animatronic, special effect laden action films of Generation X), soon grew into an apologue on addiction. Beyond an excuse to let Flash say the words “Speed Force” without so much as a quip, the arc cemented Lex Luthor as somehow a more complex beast than our beloved Batman. Here was a man, self-made as the Dark Knight, given his ultimate prize; infinite knowledge and power. And when it was ripped away from him? We were given a long-running serialized epic as Lex chased what could only be described as the ultimate high. In the end, Luthor even saved humanity by offering Darkseid the Anti-Life Equation (oh, you didn’t know? Halliburton invented that). Simply brilliant.

So, yes, I long for the days where a Saturday morning cartoon could strike to tell the most complex stories in the lexicon of comic lore. While the world of today has Gotham, The Flash, Supergirl, Agents of S.H.I.E.L.D., Agent Carter, Daredevil, Jessica Jones, Arrow, Teen Titans Go!, and Walking Dead

my heart belongs to Bruce Timm’s Justice League. Because that, my friends, is how cartoons were meant to be made.

The Point Radio: You Must Binge THE HIGH CASTLE

It’s a weekend made to binge! MAN IN THE HIGH CASTLE has dropped from Amazon Prime video, and if you don’t know what all the buzz is about, we have stars Alexa Davalos and Luke Kleintank plus visionary show runner Frank Spotnitz to fill you in. Plus with a title like ADAM RUINS EVERYTHING, Adam Conover is making a lot of noise on his Tru TV series.

Follow us here on Instagram or on Twitter here.

Martha Thomases: So This Is Thanksgiving

Bugs Bunny“When I’m worried and I can’t sleep

I count my blessings instead of sheep

And I fall asleep counting my blessings”

“Count Your Blessings” by Irving Berlin

Next week is Thanksgiving, and so I’m trying to remind myself that I have many reasons to be thankful. First, of course, I am grateful for my family and my friends (human and otherwise) who make my life so entertaining.

But you didn’t come here to read about how fabulous my life is. You want to read about comics. And so, I present to you, Constant Reader, those things about comics for which I am most grateful.

  • Image Comics. Back in the 1990s, I agreed with the founding principles of Image (creator ownership and control) but didn’t really like what they published, which to me looked like a lot of scratchy drawings of women with gigantic tits and tiny little ankles. Now, however, I find myself buying a few Image titles every week. Was I wrong in my original impression? Maybe. Are they publishing a more diverse list now? Definitely. In any case, they provide me with more joy.
  • Boom! Studios. I confess that I originally mostly picked up the Boom! titles when Mark Waid worked there, because I strive to be loyal. He is no longer editing their books, but they publish a lot of things I like. I told you how much I like Americatown. I started Last Sons of America and that looks promising, too. They publish lots of cool stuff, including Last Sons of America, Adventure Time, Lumberjanes, and Mouse Guard. You could do worse.
  • Forbidden Planet. I am fortunate enough to live in a place where there are many different comic book stores near my home, and a high percentage of them are excellent. However, for more than three decades, Forbidden Planet has been the one I go to most often. A lot of that is location (they are near the subway station that goes where I need to go on Wednesdays), but I also like the vibe. When I go, I’m greeted by name. The folks at the check-out know I want a paper bag, not plastic. They recommend books they think I’ll like. Some people have a favorite bar where everybody knows their names. I have Forbidden Planet. I hope you have a local comic shop that makes you feel just as special.
  • Kids. Every day, there are opportunities to turn kids on to the fun of comic books. After I get my stack on Wednesdays, I go to the hospital where I volunteer on the pediatric floor. I’m there to teach knitting, but there are some kids who don’t want to knit. If I have a Simpsons comic or another age-appropriate title with single-issue story, I’ll often give it away. Every child, even those without hair or with a port in his chest, lights up in beauty with a glorious smile at the sight of a new comic.
  • The revenge of the nerds. Sometimes I wonder if comics are really mainstream now, or if I simply live a life in which that can pass for truth. But, really, there is at least one television show based on a comic book on prime time just about every day. “Superhero” is now a movie genre, one taken (mostly) seriously by respected film critics. The New York Times Book Review publishes best-seller lists for graphic novels in hardcover, paperback and manga formats. Comics are now so respectable that parents try to make their kids read them.
  • Comics! Let’s not forget how great they are. Even when I’m irked by some current controversy and what it means about our sociopolitical climate, I still love the feeling of sitting down to a fresh stack of comics, with my cat purring next to me on the armrest.

And, as always, I’m thankful for you and your indulgent attention. Happy holidays, folks.

Tweeks: Maddy’s Spoiler-free Review of Magnus Chase & The Gods of Asgard

This week we review Rick Riordan’s latest book, Magnus Chase & The Gods of Asgard.

Wait, who are we kidding…this is Maddy and this is my review. Anya hasn’t even finished the first Percy Jackson book yet (but if you would like to talk about BuzzFeed & Scream Queens, she’s your girl).

The first book in the Magnus Chase series has Mr. Riordan taking on Norse Mythology as we follow a 16 year old homeless Boston boy on an adventure after finding out his dad is the god Frey. This is a spoiler-free review, so instead of spilling the plot details, I compare this Loki to Tom Hiddleston’s version in the MCU and I tell you about what this Thor likes to binge watch.

Dennis O’Neil: Green Arrow For Mayor?

Green Arrow…and when I’m mayor I’m gonna build a big high wall all around the city to keep the bad criminals out and what’s more I’m gonna make the bad criminals pay for it. • Excerpt from Oliver Queen’s stump speech.

Well… not really. I haven’t heard Ollie’s speech yet (and perish forbid that I’d use this as an opportunity to lampoon a real office-seeker) and as far as I know, Ollie hasn’t perpetrated any campaign oratory yet, but it’s only a matter of time, right? Because he is running for public office. Wants to be mayor of the town. Hmph!

The venue where this is happening is a television show titled Arrow and this season it’s been edging closer to its comic book progenitor. The lead character is now calling himself Green Arrow just as his comics iteration has been doing since his introduction in More Fun Comics #73 (1941). These Wednesday evenings, when the show airs, he has taken to wearing a mask, just like his comics counterpart. How this affects the concept of his having a secret identity, I don’t know – didn’t a lot of citizens get looks at his maskless self in earlier seasons? Maybe not. It’s possible – dare we say “likely?” – that I missed a plot point or two.

Finally – and this may be news even to you comics folk – the comics GA also ran for mayor. If memory serves – and won’t that be the day! – the story appeared in the 70s and was almost certainly written by Elliot S! Maggin. (He likes the “S” followed by an exclaimer, and what the heck, it’s his name). Elliot was, and probably still is, a follower of politics who twice went to far as to be a Democratic candidate.

Now, we’re not in the draconian rules business here, so you won’t catch me decreeing that superheroes should never seek public office. Because I don’t absolutely know that to be true and if I did make such a pronouncement some wretch might come along and prove me wrong.

But it seems to me that superheroes and politicians occupy different, and maybe irreconcilable, domains. Politicians are, almost by definition, men and women of the people who work within the system and deal mostly with human-scaled problems. Superheroes, again by definition, are not of the people; they are differently abled and what’s superhuman about them causes them to attack problems beyond the capabilities of our uniformed public servants. Look at the early Superman stories: as his powers grew, so did his foes. It makes no dramatic sense for a chap who, at his mightiest, wrangles planets to chase jaywalkers.

So conflating superheroics and politics seems to be cognitively dissonant – two ideas occupying the same cerebral turf and bumping into each other. And that might be compromising the superhero essence more than is desirable.

Or it might not.

Maybe Elliot Maggin could clarify this for me. I wish I hadn’t misplaced his phone number.

Box Office Democracy: “The Peanuts Movie”

I was a huge fan of Peanuts when I was a kid. I can vividly remember staying up late in bed reading collections of the comic strip until I could barely keep my eyes open. This should make me the ideal audience for The Peanuts Movie, but instead it just serves as a reminder of how far this franchise has fallen. I have this hipster-esque longing for a time before Peanuts became so damn commercial (a time that never existed in my lifetime, mind you) and back before the Schulz estate seemed locked in a nefarious race with Jim Davis of Garfield to see who can make the most money with the least amount of artistic effort. The Peanuts Movie is a soulless movie stitched together from the corpse of a very soulful comic strip.

The script for The Peanuts Movie feels like it was stitched together from three episodes of an abandoned TV show. There are definite segments (Charlie Brown wants to learn to dance, Charlie Brown is a genius, Charlie Brown prepares for a talent show) and these segments build to a conclusion, are broken up by a Snoopy vignette and are then largely forgotten about by the rest of the movie. It never feels like a story worthy of a feature film, and the story doesn’t feel unique to the Peanuts characters or universe. I also despise how much they’ve sanded down the characters so that they barely feel evocative of the characters from the comic strip. There’s no philosophy or nuance; every character is just the first two adjectives you would use to describe them at the very best. These were characters with a rich history, and to see them basically reduced to catchphrases and rote characterization is sad. (Also, and this is an incredibly nerdy nitpick, having Charlie Brown, Linus, Lucy, Marcy, and Peppermint Patty in the same classroom is a flagrant violation of canon and it makes the world feel smaller. This is not a complaint worth seriously considering.)

I didn’t much care for the visual style either. The 3D models look ok and the characters are unmistakable but the trademark narrow eyes tended to bleed on to the noses and looked weird. The hair was textured a little too realistically for the cartoonish feel of the rest of the world. I don’t know how easy any of these problems are to fix, but they both led to moments where instead of focusing on what was going on in the film I was taken with how disturbing this character or that looked in the moment. Like the script, the animation feels like it would have been good enough for TV and just never got the upscaled treatment for the silver screen— except that’s not the origin of this movie and it just looks cheap for no discernable reason.

Ultimately, I don’t think the goal of The Peanuts Movie is to entertain children so much as it is to appeal to the nostalgia of their parents. Between It’s the Great Pumpkin, Charlie Brown and A Charlie Brown Christmas mid-November is peak awareness of the Peanuts characters, assuming we aren’t getting a blitz of MetLife ads. This is a movie designed to bring up warm fuzzy feelings in parents while pacifying their children for 90 minutes, but there’s no artistry in this film… just a simple boring regurgitation for the sake of a quick buck. This would be antithetical to the comic strip as it was in the 1960s, but seems par for the course for the latter-day commercialism and exploitation of the brand that dominated Schulz’s later life and his heirs. I’m not always fond of Bill Watterson being so inflexible with people wanting to let Calvin and Hobbes branch out in to merchandise or other media, but if it means I’ll never have to watch anything as dreadful as The Peanuts Movie starring those characters I’ll have to accept it.

Emily S. Whitten: Looking With the Heart

the-little-prince

“People where you live,” the little prince said, “grow five thousand roses in one garden… yet they don’t find what they’re looking for…

They don’t find it,” I answered.

And yet what they’re looking for could be found in a single rose, or a little water…”

Of course,” I answered.

And the little prince added, “But eyes are blind. You have to look with the heart.”

The Little Prince has always been a favorite of mine. It was the first book I read in French, and I still prefer to read it in French, despite being a little rusty on the language. It is also particularly appropriate to quote as I think about what happened in Paris last week. Not only did the book engender in me a fondness for the French language and culture, but it also contains an important message that I feel we should remember in times like this.

There are a lot of reactions to what happened in Paris. Appropriately, there is mourning, and outrage, and sympathy for Paris and for those who have lost people (and I extend my sympathy to them as well). As appropriately, but also somewhat obscenely in the face of such destruction, there is posturing and arguing and debating about the root causes of the attack and the best responses.

People are blaming political policies, organized religion, and entire cultures for what happened. And while in the smaller sense we know who particularly has claimed responsibility for the attacks, in the larger sense, these people are not all wrong. There may be elements of all of these things and more at work in what happened; and even though it sometimes seems to me that ego is as much a part of why certain people step into the limelight to try to address the impetus for the attacks and the best way to respond to them and try to prevent them from happening again, of course it is also necessary to do so.

Today, I don’t feel like doing so. What I feel like doing is reminding myself and everyone, instead, of the importance of looking with the heart. There is so much hatred, violence, and destruction out there; and if we let it, it can consume us. But there is also a lot of beauty to be found; in individual people, in nature, in art and our creations.

I think it can be very easy to lose sight of this, in the face of such sadness and destruction and hate, and of devastating events with global impact; but it is imperative that we remember. Because while geopolitical issues, and religious disagreements, and what-have-you are very important and shape our world; so too are all of the individual lives we touch each day and the care we take over our own actions. These things are what make us who we are, and what make us, in a way, more human. And while I can’t always control what angry, hateful, misguided people choose to do, I can at least control my own reactions and state of mind.

There are a couple of concurrent interesting themes that run through another favorite book of mine, Terry Pratchett’s Small Gods. In it, it is shown how a character named Vorbis is evil not only because of what he does, but because of what he makes other people into – in other words, how he influences them to start thinking and behaving like him, in part through his assumptions about what all of humanity is like. At the same time, the protagonist Brutha influences The Great God Om (in Discworld books the gods are influenced by their interactions with humans) to realize that humanity can’t only be looked on as a whole, because each individual life is as important as all of them. Or, to quote from one memorable scene in which Om storms Dunmanifestin, the home of the gods, and in the process converses with a somewhat lesser god who is still learning about the value of numbers (P’Tang-P’Tang, who looks like a very large newt and has a whole fifty-one followers):

“Is one less than fifty-one?” said P’Tang-P’Tang.

“It’s the same,” said Om, firmly.

“But you have thousands,” said the Newt God. “You fight for thousands.”

“I think,” [Om] said, “I think, if you want thousands, you have to fight for one.”

I can’t imagine the mindset of people who think that a point being made by killing random people is more important than the people themselves. But I can see that these are clearly people like Vorbis, who have lost sight of the importance of the individual, and that in order for us not to be turned into something like them in our reaction to their heinous actions, we need to remember it. We need to remember that each person out there is unique, and is someone’s parent, child, lover, or friend; and that our care for others is what makes us human. After all, as the little prince observed, “To forget a friend is sad. Not everyone has had a friend. And if I forget him, I may become like the grown−ups who are no longer interested in anything but figures…”

We are so lucky to live in a world of endless variety, and the most endless of that variety is the sea of humanity we swim in. I can’t fully comprehend why some people choose to disregard this and instead work to destroy it. All I can choose is to recognize it myself, and act accordingly. Because even in a world where there are terrible people; or even annoying people, or people you might not choose to interact with on a daily basis, the alternative to being surrounded by this sea of diversity is frightening. Again, a concept Pratchett conveys so well in Small Gods, when Vorbis has died, and is alone with Death on the black sand of the vast desert that he must cross to reach judgment:

“Don’t leave me! It’s so empty!”

Death looked around at the endless desert. He snapped his fingers and a large white horse trotted up.

I SEE A HUNDRED THOUSAND PEOPLE, he said, swinging himself up into the saddle.

“Where? Where?”

HERE. WITH YOU.

“I can’t see them!”

Death gathered up the reins.

NEVERTHELESS, he said. His horse trotted forward a few steps.

“I don’t understand!” screamed Vorbis.

Death paused. YOU HAVE PERHAPS HEARD THE PHRASE, he said, THAT HELL IS OTHER PEOPLE?

“Yes. Yes, of course.”

Death nodded. IN TIME, he said, YOU WILL LEARN THAT IT IS WRONG.”

Indeed, what would we be without everyone else out there? We should remember how lucky we are to be a part of humanity, and act accordingly, and with the remembrance that everything we do is our choice, and changes our world in ways that can’t be undone. Because after all, as Terry (through The Great God Om) once said:

“I. This is Not a Game.

    II. Here and Now, You are Alive.”

My sincerest condolences and sympathy to everyone who has been affected by the Paris tragedy, which is all of us; and let us always remember that this life is not a game, and that each choice we make matters, and that each person in our world is very, very important.

Until next time, Servo Lectio.

Molly Jackson: John Scalzi Got Me Again

The End Of All ThingsAuthors go out of their way to provoke emotions. I understand that. And authors do an amazing job of balancing that impact. However, they aren’t writing for automatons, so each person’s reaction is different. That reaction is where it can all go wrong.

Some authors just have a way of getting to me but John Scalzi in particular. Have you ever read his work? He has a great conversational tone that can suck a person right into the story. After reading his book Redshirts, it ruined TV for me for at least a few months. Over a year later, I yelled at him at Book Expo America. It’s true. I have witnesses. Afterwards, I realized how cathartic it was. I felt unburdened and relaxed. Which brings me to my point. He did it to me again.

While at NYCC, I had a chance to pick up a copy of his new book, The End of All Things, which is in the Old Man’s War series. (Read the first book and you will be hooked.). It is a collection of short stories following the political turmoil in this universe. While I was getting it signed, I made a point of telling him about how traumatized I was from Redshirts. At that point, I was still a little upset but mostly I was over it.

Fast forward to last week. I had finally picked it up to start reading (still struggling with my reading list) and well, I had to stop reading because way too many feels. He sacrificed an important character in a way that was too emotional for me. I really wish I could go into details but I can’t without spoilers! Safe to say, this rocked me once again. They don’t give time off for emotional scarring from books.

Now, I know this all might seem like I’m angry at the writer. I’m not, really. Scalzi is one of my favorite writers. Look at the emotion he invokes in me. The impact his writing has had on me and now all of you. I willingly go on this roller coaster. And yes, sooner rather than later I will finish reading The End of All Things.

So think about the books that have made you so emotional. The writers that still impact you long after the book is finished. Hunt them down; seek them out. Let them know that their writing affected you. I yelled at Scalzi. He was happy that his writing made a lasting impression. Let your writers know how you feel. Yell and everything.

Interview: Gary Gerani & Robert V. Conte on Star Wars Cards

Cover On November 17th (the 37th anniversary of Life Day) Abrams ComicArts released Star Wars: The Original Topps Trading Card Series, Volume One, the first in a series of books reprinting all of the Topps trading cards for your perusal. We sat down and talked with the authors, Gary Gerani and Robert V. Conte, over their love of collecting, the historical value of preserving memorabilia, and where they think Star Wars will head in the future.

ComicMix: How was your experience working with Topps and Abrams ComicArts on this book?

Gary Gerani: Fine. The editors at Abrams were terrific. Most of the people connected with the project were fans, people who wanted this book as much as buyers did.

Robert V. Conte: Abrams didn’t have much of the content needed for this first volume. Surprisingly, neither did Topps. Fortunately, I have a massive STAR WARS collection including the trading cards and related promotional materials. We struck a deal and here we are!

CM: Gary, what inspired you to seek employment at Topps back in the 1970s?

GG: I was embarking on a career as a freelance writer, so I took any jobs that were available and seemed interesting. Being a Brooklyn kid, I grew up with Topps products, and knew the company was located in nearby Bush Terminal. It was Len (MARS ATTACKS) Brown of Topps that invited me into the fold. It turned out to be a lifelong professional relationship, great for both sides… I get my pension in a couple of years!

RConte face on card BCM: What inspired your love for Topps trading cards?

RVC: From childhood, I’ve collected trading cards, comic books and records. Topps was mostly known for baseball, football and other sports cards. Fortunately, the company offered a variety of non-sport subjects including KING KONG, JAWS 2, SUPERMAN: THE MOVIE and others that I just loved. Hence, I couldn’t resist the chance to be involved with this project!

CM: Did you collect the cards when they were first released?

RVC: Absolutely! I had seen STAR WARS in Summer of 1977 shortly before starting second grade. Several kids at my school traded their doubles of the first (blue border) and second (yellow border) series of cards. One kid was the only girl in the bunch, so I developed an immense crush and started buying the cards to impress her. It didn’t work!

CM: What is your favorite card or sticker in each of the five series and why?

GG: Don’t know if I really have favorites, to be honest. Certainly the infamous Threepio card (Series 4, Card #207) has nostalgia value for me…

*NOTE* The first printing of this card shows an unsuitable “appendage” below C-3PO’s torso that, once discovered, was removed and the entire series was reprinted. The revised card is actually more scarce than the original!

RVC: For me, my absolute favorite image is Series 1, Sticker #7 — “Lord Darth Vader.” It was the first one when I intentionally collected multiple copies of to place them anywhere including my schoolbooks!

CM: So who made the decision to color Chewbacca’s eyes blue on the first series of stickers?

GGerani face on cardGG: That would be the late, great Topps Art Director, Ben Solomon. He loved doing stuff like that, despite our protests.

CM: Did you like the bubble gum in the packs?

GG: Sure. I grew up chomping on those frequently stale slabs of pink.

RVC: I loathed Topps gum because it was too thin and dry. Donruss offered softer, thicker and yummier gum with its trading cards. Sorry, Topps!

CM: What sales figures were considered “excellent” back in 1977?

GG: I forget how many cases constituted a hit. STAR WARS went through the roof instantly, I can tell you that.

CM: To your knowledge, did other non-sport cards outsell STAR WARS?

GG: Amusingly, the only other movie/TV property that came close during this era was CHARLIE’S ANGELS. We did five series, just as we did five series of the original STAR WARS in ’77/’78.

RVC: I am completely shocked to learn this. Never underestimate the power of beautiful women!

CM: After sales of STAR WARS trading cards skyrocketed, did Topps create other card sets in the same genre to meet or exceed those sales figures?

GG: The success of STAR WARS did ignite a number of sci-fi properties, such as STAR TREK: THE MOTION PICTURE, BATTLESTAR GALACTICA and CLOSE ENCOUNTERS OF THE THIRD KIND. You can add SUPERMAN, THE BLACK HOLE, and ALIEN to that list. In many cases, we didn’t expect these films to outsell STAR WARS, which was king of the hill. E.T. did amazingly well for us, as I recall. But we had problems getting material for additional series, so there’s only the one.

RVC: Funny, I remember vividly coming home with a few packs of ALIEN cards in 1979. My mother couldn’t believe that a “bubble-gum card company” would market an “R”-rated film to children. They went into the garbage before I had a chance to eat the gum!

CM: Why do you think trading cards cross into many different fandoms (for example, geek fans and sports fans)?

RVC: Trading cards were once the ultimate platform for photo sharing. Before the digital age, they were the most inexpensive way to amass dozens of images that were not published anywhere else. For collectors, seeking a set of tangible photos with behind-the-scenes text and story remains appealing as ever.

GG: To some degree that’s true. A card set really is like owning a collection of mini- photographs.

CM: In 1977, Wonder Bread released its trading cards independently, via grocery stores and supermarkets, to millions of American homes. Did those cards impact sales of the Topps cards?

GG: Made very little difference, really. No envy factor here. One product seemed to help another back then.

RVC: From a then-child’s point of view, the Wonder Bread cards were basically a preview set for the upcoming Topps cards. Fortunately, I successfully persuaded the publisher to reprint them inside the book. Collecting those 16 images had fans hunger for more… and the five series of Topps’s STAR WARS cards fed that demand.

CM: If either of you wrote the STAR WARS cards for the first time today, what would you change?

GG: I’d get rid of the puzzle backs and add more text.

RVC: As a devout fan, I would hope for more varied images; some pics in the five series were too similar and I recall being slightly disappointed.

CM: What is the most exciting thing about this book?

RVC: For me, it’s the opportunity to share with my family and friends a book that was mostly compiled from cards, wrappers, boxes, and promotional materials that I amassed between seven and nine-years-old. I’m approaching 50 now so it’s completely surreal!

GG: There’s always a place for pocket-size Americana. Entertainment cards are still widely categorized as “non-sports cards,” since the classic baseball card is what people think of first. It’s just a fun format, something we fondly associate with our childhood.

CM: Gary, you have been involved in many STAR WARS Topps projects. What has been your favorite part of working with Topps?

GG: The ability to create wonderful products, and the opportunity to art direct some of the greatest illustrators of our time.

CM: Of the card sets you wrote for Topps, which were your favorites?

GG: I’d say the STAR WARS WIDEVISION sets and the first few STAR WARS GALAXY. I created and named the Widevision format, and Greg Goldstein (now president of IDW) was key in nailing the technical process we used to digitally select the wide frames directly from film prints. That interesting process happened at the Telecine Research Center, right near Universal Studios in Los Angeles, CA.

CM: Do you still write card sets for Topps?

GG: Even as we speak I’m finishing up a set based on the new WARCRAFT movie, along with a new STAR WARS EVOLUTION series. THE FORCE AWAKENS is obviously due for a card set treatment, and I’m on standby for a trip to San Francisco for material gathering. Companies with a license for the new film have been forced to be very, very patient.

CM: Who has Augie Napoli’s original art used on the boxes and promotional material?

GG: Augie’s family. It’s hanging in their living room, on Staten Island.

CM: How do you share your geeky enthusiasm for pop culture with your kids/friends/family?GG: They see it when they just look around at my surroundings! I collect original art, movie posters, the works. Always have and always will.

RVC: My children think I am the ultimate hoarder of everything. If they ask me about anything related to Pop Culture, I usually have the answer. Impressive to some. Scary for others!

CM: As professional creators, you both have been lucky enough to be involved with multiple pop-culture franchises. Which current franchise, if any, is your dream job today?

GG: I’ll think we’ve been talking about it. Nothing beats STAR WARS. I’m a huge fan of classic horror movies, so doing sets like UNIVERSAL MONSTERS ILLUSTRATED was a genuine treat.

RVC: I’ve had opportunity to contribute to the legacies of some of the most iconic intellectual properties on the planet. GODZILLA, JAMES BOND 007, KISS, and SESAME STREET included. At this point, BATMAN, SPIDER-MAN and MICKEY MOUSE are on my shortlist. Fingers crossed!

CM: What do you feel is your biggest accomplishment in the pop culture world to date?GG: In 1977 I wrote FANTASTIC TELEVISION, the first book to deal with sci-fi, horror, and fantasy on the small screen. It was very well received. Later, in 1988, I co-wrote the screenplay to Stan Winston’s supernatural thriller PUMPKINHEAD, which has become a cult movie admired by people like Stephen King and Anne Rice… not to mention Woody Allen. And, for what it’s worth, I guess I’m still the Card King, having written, edited and art directed more trading card sets than anyone else. Hundreds of ’em!

RVC: Most of my fans come from the heavy-metal music community. During KISS’s 1996-97 reunion tour, I helped remaster and repackage over twenty albums by restoring the original elements, track listings, cover art, etc. I also consulted on two compilation albums and designed merchandise including lunch boxes, books and — you guessed it — trading cards! Most of my contributions are still in-print and, seeing my name in over a dozen languages worldwide today, is overwhelming. Sharing that with my kids is the greatest gift ever.

CM: What are your current projects?

GG: I’ve got six books coming out next year (three of them Abrams SW related), and a John Travolta racing car movie I co-wrote will be shooting in 2016 as well, right after he finishes GOTTI. I’m also doing a documentary about Steven Spielberg’s original TV composer Billy Goldenberg (DUEL, among others), not to mention various card sets for Topps. So yeah, I keep myself busy.

RVC: I’ve contributed my collection for the next three volumes of STAR WARS: THE ORIGINAL TOPPS TRADING CARD SERIES including THE EMPIRE STRIKES BACK, RETURN OF THE JEDI and STAR WARS GALAXY. I’m also writing a graphic novel — a memoir influenced on my life. I’m scheduled to co-author another book focused on arguably once of the most revolutionary forms of entertainment in history. I consult for companies that specialize in classic intellectual properties. Throw in an upcoming crowdfunding project and I think that’s a good start for 2016.

Mike Gold: Super-Puberty!

bud-collyer-superman

I was walking through Grand Central Terminal yesterday on my way to one of our more entertaining ComicMix senior staff meetings. Grand Central is my favorite place in all of New York City – the massive cathedral ceilings, the stunning pre-Great War architecture, the clean and open lanes for pedestrian traffic… It’s really very inspiring, and, indeed, I was inspired to write this particular column.

For absolutely no reason whatsoever, I started thinking about Superman’s adolescence. Oh, I was influenced by the first issue of Max Landis’s Superman: Alien American, a solid and worthy start to the mini-series. But that, in turn, reminded me of some of my favorite Superboy stories from my ancient and decrepit youth – those where Pa Kent patiently taught his son how to manage, deploy and exacerbate his Kryptonian powers.

SuperboyThose were sweet stories with which most members of its target audience could identify. Our parents were busy teaching us how to ride our bikes, build model planes and monsters, and make decisions based upon common sense and not on impulse. Learning how to fly was just one step beyond.

We already knew that young Clark would make it into adulthood, but discovering the hows and the whys was quite comforting. However, given the Comics Code Authority as well as the marketing sentiments of the time, there were areas undocumented in Superboy and in Adventure Comics.

I am speaking of the dreadful but necessary curse of puberty, and I am addressing this subject from the perspective of boys in the very early Sixties. Girls had their own crosses to bare, but neither Clark nor I are in any position to comment from experience. I’d say something like “but I can only imagine” but that would be really creepy.

Obviously, Clark would start growing hair in places previously barren of foliage. Being smart than the average bear, he would have understood this and probably feel he was becoming a man. But those are super-hormones kicking in. That would be particularly messy, and it could have been rather dangerous to his family, to the farm animals, and to the buildings on the Kent Farm property. We’re better off not knowing. For one thing, the cover shot would be against Code.

As puberty intrudes, Clark’s voice would start to change. To be specific, it would crack. I do not know what sort of impact such cracking sound would have on nearby windows, champagne glasses, eardrums… think of the Grateful Dead using a chalkboard as a heavily amplified musical instrument. Before long, his voice would settle down into a nice adult groove, but I think Clark might “keep” his pre-puberty voice for Clark and his post-puberty voice for the Man of Steel. Hey, it worked for Bud Collyer (pictured above), the first actor to play the role on radio and in the Fleisher cartoons.

He’s also go through rather amazing growth spurts that would wreck havoc with Clark’s civilian clothing and the Kent family budget. All parents go through this, but not on a Kryptonian scale. He’d shred his clothes and shoes, and probably confuse the hell out of Krypto.

Of course, if Clark was a typical American Earthling entering adolescence – and he was raised to be just that – that X-Ray vision would help him get though many a dark night. No need for him to smuggle in copies of Playboy and Caviler. But, being raised in Kansas by caring members of society, I would think that Clark would quickly understand that with great hormones comes great guilt.

At least I’d hope so.

A few years later, The Who would record “I Can See for Miles.” Well, Clark could do that already. Would his concern for his secret identity stop him from reacting to Lana Lang slipping out with Pete Ross? I doubt it.

Being of that age, Clark would quietly use his powers to turn that date into the road show for Carrie. He’d stop Pete and any other potential suitors cold. If Clark Kent were Reggie Mantle, Archie Andrews would be a priest.

Thankfully, Clark Kent is not Peter Pan. I’m sure he would endeavor to do the right thing. But, puberty is a bitch… and high school is worse. All this is in preparation for one single event.

Losing one’s virginity.

Losing one’s super-virginity.