MIKE GOLD: These Comics Really Suck Because…

Mike Gold

ComicMix's award-winning and spectacularly shy editor-in-chief Mike Gold also performs the weekly two-hour Weird Sounds Inside The Gold Mind ass-kicking rock, blues and blather radio show on The Point, www.getthepointradio.com and on iNetRadio, www.iNetRadio.com (search: Hit Oldies) every Sunday at 7:00 PM Eastern, rebroadcast three times during the week – check www.getthepointradio.com above for times and on-demand streaming information.

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8 Responses

  1. Kyle G. says:

    Looney Tunes are not about satire? That’s just flat out astonishing. This is a business I truely want to be in the depths of someday, but moments like this sound down right terrifying.

  2. mike weber says:

    A friend used to write for Disney’s Danish licensee.

    Got along fine with them, was allowed to use old and obscure characters and write fairly edgy stories.

    He had, OTOH, tales to recount of trying to deal with the US operation.

  3. Miles Vorkosigan says:

    Somebody, I don’t remember who, once asked when the Looney Tunes characters all stopped being iconoclastic smartasses and became cuddly marketing icons. I think that happened somwhere around the mid-Eighties, when Warner realized the had a goldmine they were sitting on, and since none of the original Termite Terrace guys still worked there, no one could bitch about their work being ruined. I figure that all of our energy needs could be solved if we ran wires down into the graves of Friz Freleng and Chuck Jones, since they’re probably spinning at about ten million RPMs right now.

    Not satire, my ass. Everything Chuck did was satire, and the material he did while Eddie Selzer ran Warner Animation is as pointed as it gets. And sorry, Mike, I’m preaching at the choir again.

  4. John Ostrander says:

    Not withstanding your great Looney Tunes story, there are places where you’re just WRONG, Mike. I’ve worked on STAR WARS properties for the past ten years and my own experience is that it was harder and more constrictive working on X-Men properties than it has been on SW properties. I have also created new characters and settings. No, i don’t get an extra penny for it but i didn’t get any money extra for Oracle from DC because Barbara Gordon already existed although NOT in the form we gave her. I knew the deal with Lucas Film Licensing going in and signed the contracts. When you get right down to it, Superman and Batman are licensed properties and plenty restrictive. I personally feel that the work I’ve done on SW is as good as anything else I’ve ever done. And I’ve had a good relationship with the people at LFL. I’m certainly not saying that the dopes such as you mentioned don’t exist; of course they do. And, yes, it’s another level of approval for the story that has to pass scrutiny. There are idiots everywhere and life is spent negotiating with, past, or against them. But not every licensed product has to suck.

  5. Glenn Hauman says:

    The problem can often be summed up by the observation of occasional ComicMix contributor Kim Kindya, who noted \”Nobody ever went to Hollywood to become a mid-level licensor approval executive.\”

  6. Jonathan (the other one) says:

    Looney Toons were never satire???

    Leaving aside the multitudinous counter-examples (most of their cartoons, in point of fact – they’re aired for an hour a day on Cartoon Network, to promote CN’s current attempt at reworking the characters), there’s an example so subtle, I didn’t notice it until about a week ago.

    In the Road Runner cartoons, the Road Runner and the Coyote were labeled with mock-scientific names at the start of each one. One particular cartoon gave the Coyote the “scientific” name of Hard-headipus oedipus. And I sat up and asked aloud, “Did they just call the Coyote a hard-headed motherfrakker in dog Latin??”

  7. I wonder if the ‘bitch who shall not be named’ had ever seen a Looney Toons cartoon?

    Maybe someone should show her those Looney Toons cartoons from the 40’s that were none to kind to people of color and get her reaction to them.


  8. Here is something else to consider is that some of licensors appear not to know which company is publishing a pair of perfect examples: Flash Gordan and John Carter of Mars Dynamite is publishing at least 4 John Carter titles and Marvel is publishing at least 2! Now Dynamite’s John Carter core title is almost a year old, now I know that Disney has a major John Carter film and it makes sense for Marvel, a Disney company, to publish a comic book about it.

    Now Flash Gordan has a mini-series from Ardden Entertainment, an upcoming mini-series from Dynamite, a hardcover from Dark Horse reprinting comics from Gold Key (or Dell Comics) and another hardcover reprinting newspaper strips from Hermes Press. Now the former two I understand since DH reprints a lot of classic comic, and the same with Hermes Press. But according to head Ardden if he had knew that Dynamite had already the license he wouldn’t have bother to do it.

    I don’t who owns Flash Gordan but either they don’t pay attention to know what is going on or they don’t care, but if I was running a comic book publishing company that I don’t think that I would want to business do with them.