Category: Columns

Glenn Hauman: Do You Really Need To Say It?

Scènes à faire. Ever heard of it?

It’s an interesting concept that writers and artists encounter when they work, although they may not know what it’s called. It’s French for “scene to be made” or “scene that must be done”. In practical terms, it refers to a scene in a creative work that’s pretty much obligatory for the genre.

If you’re doing a story about a doctor, you will sooner or later have a dramatic shot of a patient on a cart pushed through swinging hospital doors. If you’re doing a story about a lawyer, sooner or later there will be an impassioned speech in front of a judge. If you’re doing a story about a little old lady in Maine who writes mysteries, sooner or later there will be a dead body. If there’s an evacuation, there will be a shot of a toy sadly left behind; if there’s a fruit cart during a car chase in an ethnic neighborhood, the fruit will become ingredients for a smoothie; if there’s a gun on the mantelpiece, it will be fired— on and on and on. ComicMix’s house metaphysician, Del Close, used to have a saying: “Never share a foxhole with a character who carries a photo of his sweetheart.”

And if there’s a superhero story…?

Sadly, you can probably come up with a lot of things in here that just seemed preordained to show up.

First off, it’s a one in a billion thing. A lightning bolt will hit a rack of chemicals that you’re near, a radioactive spider will bite you and not kill you, an alien will come down and give you a thingamabob of immense power, you’re the one in a generation prophecy made flesh, or a completely random mutation, or your billionaire parents were shot dead in an alley— you can list these as easily as I can.

At the same time or shortly thereafter, you get THE MOTIVATION. That’s the reason why they get dressed up and do what they do, and that is important, because that often reveals character. (It better reveal character, the person has suddenly decided to start wearing funny clothing outside and potentially be shot— “it seemed like a good idea at the time” just won’t do.)

Now: can you tell a superhero story without telling the origin?

Well, yes. Spider-Man: Homecoming avoided telling (or retelling) the more famous moments of Peter Parker’s backstory (although we do see how he gets various iterations of his suit) and instead focused on what he does now as a person. There was an early draft for a Green Arrow/Suicide Squad-ish movie called SuperMax where Oliver Queen was just tossed in prison with a bunch of supervillians and had to get out. No origin, no recap, just hit the ground running. The first X-Men movie doesn’t go into the backstory of all these mutants, just throws in the plot, the sides, the stakes, and go.

Some stories are even doing this now with fight scenes, because fight scenes rarely reveal character. The most extreme example that comes to mind was what Peter David did in Captain Marvel between issues #5 and #6, he had an entire cosmic crossover battle and destroyed the universe— and did it all off-panel.

The point? The point is: get to the point. We’ve seen the classic bits already, and many of us can pretty much take them as given. The point is not the origin itself— but how and why this changes the character.

We’ve seen the universe end before. Show me why your character wants to end it.

(Hat tip to Jim Valentino for Normalman #1.)

Box Office Democracy: American Assassin

I don’t really know what it’s like to be an actor and even less what it’s like to be an aging actor, but I have to wonder what made Michael Keaton take this role in American Assassin.  He signed on to play this role after being nominated for an Oscar for Birdman and having wrapped production on The Founder, so he had done two big meaty acting roles in a row and he chose…this.  Maybe the money was too good (and he didn’t know he would sign to be The Vulture a month later), maybe the phone just isn’t ringing off the hook for older actors if you aren’t in the Clooney-tier.  American Assassin is a bad movie and it makes Keaton look like a dime store Liam Neeson.  He should be doing better things than this, everyone in this movie should. Movies should be better than making movies like this.

American Assassin has all the narrative nuance you would expect from a movie based on a book written by a consultant on 24.  Mitch Rapp (Dylan O’Brien) is a man haunted by the murder of his fiancée by terrorists and turns himself in to a one-man terrorist vigilante.  He can speak Arabic, do MMA, and shoot a gun so he’s definitely capable of single-handedly infiltrating big secretive organizations and immediately talking to big-name terrorists.  He’s arrested in the middle of one of his operations and recruited in to a secret CIA terrorist-hunting squad led by Stan Hurley (Michael Keaton) who also does not play things by-the-book but also hates Mitch for not following the rules.  There’s a big hunt for a nuclear weapon that is being sold by a former protege of Hurley’s who also does not like following the rules.

The CIA depicted in this movie is an organization full of people who constantly belittle each other, don’t follow procedure or even direct orders, and play fast and loose with each other’s lives and the lives of millions of people if we take the whole atomic weapon thing seriously.  It’s kind of inconceivable to imagine this organization is capable of stopping any kind of foreign plot.  I understand that they want our protagonists to feel like rugged individualists (why else put “American” in the name honestly) but there’s never any contrast.  I can appreciate the plays-by-his-own-rules characters only if I have a baseline to compare them to.  This works in cop dramas a lot more easily because I know what a standard police officer looks and acts like; I have no such standard for black ops CIA operatives.  If all you ever show me are the iconoclasts they don’t stand out at all.

I honestly thought we were past the point of making movies as overtly racist as American Assassin but it would seem I am just naive.  There is one Middle Eastern person in this movie with lines that is not working with terrorists, and even he is working directly contrary to the interests of the US government but is just honorable about it.  Moreover, while all of the bad guys who get few lines and exist just to be chased and die are Middle Eastern, the grand schemer behind the whole plot is another white guy.  They made a movie about how all these brown people are evil and didn’t even have a meaty villain role to give to an Iranian actor.  It’s insulting, it’s sad, it makes the movie more predictable, and it shouldn’t be ok in this day and age.

Even if the politics weren’t a garbage fire, American Assassin just doesn’t have interesting action beats.  The very best scene in the movie would be the worst action scene in the most recent Bourne movie.  There’s a sequence where an agent gets murdered in the field and it leads directly in to a car chase where nothing happens and there’s no interaction between the two cars.  There’s an MMA-style fight that features someone getting a full mount on their opponent and then that same opponent immediately kicks them in the face.  I’m not a Brazilian Jiu Jitsu expert but that doesn’t seem possible.  Even the big finale featuring a live nuclear warhead doesn’t seem particularly important or impactful and I cared so little about the characters that as soon as the effects shots were over I was ready for them to fade to black.  I could not make myself care about the fates of these characters.

There’s no shortage of spy thrillers out there right now— I can’t imagine what made anyone look at the movie landscape, then look at this script, and think they had something worth making.  The best thing I can say about this movie is that it’s usually boring and only occasionally racist and/or confusing.   American Assassin is a movie with nothing interesting to say, nothing interesting to show you, and only a couple of reasonably interesting ways to point a camera at something.  This is a movie everyone involved with should be embarrassed about and if we’re lucky maybe everyone will just forget it ever happened.

Joe Corallo: Diversity, Comics, and the Culture War

There are so many things that have happened in the past week that I’d love to talk about. I’d love to talk about our successful Kickstarter campaign for Mine! which raised $9,360 over our goal. I’d love to talk about what I thought of Runaways #1. Unfortunately, what I need to talk about is Aubrey Sitterson and Diversity and Comics.

Aubrey Sitterson is currently writing one of the G.I. Joe comics over at IDW. He has a reputation for poking the bear when it comes to those on the right who are upset about decisions he’s made in changing characters and the roles of said characters in order to create a more diverse book that will appeal to new audiences; something that properties like G.I. Joe could always use. Last week on September 11th, Aubrey sent off a couple of tweets regarding 9/11. He talked about who has a right to be upset about what happened on that day and questioned the sincerity of some people expressing anger and grief over what happened.

While I agree with Aubrey’s politics in terms of pushing for wider diversity in comics, in comments regarding 9/11 were very inappropriate. They were not comments made to friends in private, or even on a private Facebook page; they were public statements made on his public Twitter account. I have every right to be offended by what he said as do many other people.

Freedom of speech is not freedom from consequences. I’ve been disappointed to see some reporting on the left side of comics politics that make it out as if Aubrey Sitterson’s comments didn’t mean what he said they mean, and that by being upset with his words that we are somehow allowing those on the right side of comics politics to score some sort of victory. While I don’t feel that he needs to be fired or anything like that, we don’t have to act like what he said was great and unworthy of criticism either. No one wants to hear your hot edgy take about 9/11 on 9/11. No one.

That being said, if the reason you’re calling for the firing of Aubrey Sitterson is because of Diversity and Comics, then we need to talk about that.

Diversity and Comics is the equivalent of a right-wing pundit for the comics industry; think Alex Jones’ Info Wars. He came to the scene earlier this year and his following has been growing massively on Twitter and YouTube. I hadn’t been paying too much attention to what he was doing, but over time he began to make very personal attacks towards writers I admire like Kwanza Osajyefo as well as personal friends and Mine! contributors Sina Grace, Gabby Rivera, and Mags Visaggio. He has stated that he wants a Comics Culture War. This is a problem that needs to be addressed.

What Diversity and Comics does, similar to what Trump and the far right often do, is to take a universally recognized problem and spin things to find a scapegoat they can rally around using bigotry and guttural emotions. Many people would agree that the comic industry could be doing better, or at least we would like to see it do better. Diversity and Comics takes those who are looking for an answer to why comics aren’t doing better and offers up a solution; it’s SJWs, the far left, women, queer and minority creators. This results in targeting specific creators and vile, personal attacks fueled by bigotry and hate being thrown around in an effort to try to force people out of comics that they don’t like. I don’t care to share any of those attacks in this piece.

People often talk about leaving trolls alone and they’ll just disappear. In this instance, Diversity and Comics has been growing his following this whole year. He has more Twitter followers than ComicMix, a Patreon where he brings in several hundred dollars a month, YouTube channel with over 37k subscribers and over 9 million video views, with many videos over 10k views a piece with hundreds of comments. I don’t see him going away anytime soon, and his followers and subscribers have grown between this past weekend and me writing this. Many people were wrong about how much support a candidate like Trump would have, and you may be wrong about how much support Diversity and Comics has too.

This is a sizeable group of people that exist. They want comics for them; them being cishet white guys and some outliers. In their effort to do so despite having the majority of mainstream comics already catering to them, they have made many creators at best feel unwelcome and at worst feel unsafe. It’s not a sustainable way to operate in a fandom the size of comics.

Some of the people involved will never change the way they feel or operate, and that’s how it is. Some of them got caught up in the rhetoric and maybe don’t truly believe the horribly sexist, racist, homophobic, transphobic and Islamophobic words used to promote the ideals of Diversity and Comics, but rather found his answers about the industry to be plausible on the surface. Those people may come back around one day as they see he does not have the real answers to the woes of the comics industry, but rather an agenda to craft a comics fan base in his own image.

Targeted creators do not want you to look at what Diversity and Comics is saying about them and reporting back. Don’t do that. It just hurts people. What you can do is if you see inappropriate behavior, nasty personal attacks, or threats to report them to Twitter or whichever platform you are using and see it on. The comics community is small, but we need to step up and help creators to feel safe and welcome.

Please help all of us to have a safer, more welcoming community for creators now and well into the future.

Mindy Newell: Outlander, The Scot, The Sassenach                 

July 9, 2016.

Droughtlander begins with the airing of the Season 2 finale, “Dragonfly in Amber.” Somehow millions of fans around the world must satisfy their continuing hunger for the Starz adaptation of author Diana Gabaldon’s book series that started with Outlander, first published way back in 1991.

Centering on the love story between 20th century Royal Army nurse Claire Beauchamp Randall Fraser (Caitriona Balfe) and 18th century Scottish Highlander James Alexander Malcolm Mackenzie Fraser, it encompassed the lead-up and beginning of the 1745 Jacobite Rising which climaxed in the final defeat of the Stewart claim to the British throne at Culloden Moor and the end of the Highland clan culture.

Interjection: Prime Minister David Cameron delayed the premiere of Outlander before the referendum on Scottish independence, so worried was he over its influence.

The millions of fans – and I am one of them – had to slate their hunger for more, more, more! through rereading the books (up to eight now, not counting the “sideways” shorter novels, novellas, and short stories, with Ms. Gabaldon hard at work on the ninth), rewatching Seasons 1 and 2 ad infinitum, relistening to podcasts (there are so many, but 31 are recommended here), and endless discussions on message boards and chat rooms.

Outlander had a built-in audience when it premiered on Starz on August 9, 2014, but, like me, I think many, many tuned in because of the involvement of Ronald D. Moore, who had ultra-successfully rebooted Battlestar Galactica for the Sci-Fi channel (now horribly called, im-not-so-ho, SyFy) and who had “made his bones” writing for Star Trek: The Next Generation (first episode: Season 3’s “The Bonding”), Star Trek: Deep Space Nine (writer and co-executive producer), and Star Trek: Voyager. He was also a consultant on the HBO series Carnivale, where he met Terry Dresbach, the costume designer. Here’s a great article about the couple from the New York Times.

Neither Ron nor Terry have disappointed.

The final episode of Season 2, the aforementioned “Dragonfly in Amber,” ended with the Battle of Culloden about to start. Jamie, believing that he will die in that battle, forced Claire, who is pregnant, to return to the 20th century (in one of the most heartbreaking scenes I’ve ever seen) for the sake of their unborn child, whom Claire will raise with her 20th-century husband, Frank. It also jumped ahead to 1968; Frank has died, and Claire and her child, now a 20 year-old young woman named Brianna, have returned to Scotland, where Brianna (named after Jamie’s father) discovers the truth of her heritage…

And Claire discovers that Jamie did not die that day on the moor.

Will she go back?

September 10, 2017.

Season 3 of Outlander premiered.

Droughtlander is over.

And last night, September 17, the story continued.

•     •     •     •     •

Next weekend, September 22 – 24, is the Baltimore Comic-Con. ComicMixers Mike Gold, Glenn Hauman, Joe Corallo, Evelyn Kriete and Emily Whitten. And I’ll be there as well!

But because I’m not sure if I’m working on Friday – yes, I’m back at work, though I’m wearing an ankle brace – if you’re looking for me, I may not be at the until Saturday. With my niece Isabel – OMG, she’s 17!?? How did that happen!? – who has discovered the joys of comic conventioneering and cosplay. I am so excited to be able to share my love of the medium with Izzy!

mine-logo-150x84-4025142•     •     •     •     •

A giant and heartfelt thank you to everybody who contributed and made Mine!: A Celebration of Freedom & Liberty Benefitting Planned Parenthood possible.

You did it!!!!

Ed Catto: On Target with Green Arrow and Richard Gray

Moving Target: The History and Evolution of Green Arrow by Richard Gray. Sequart, $17.99 paperback; $6.99 Kindle edition

Way back when, Green Arrow was sort of the “always a bridesmaid, never a bride” of the superhero set. For a long time, fans could enjoy a new Green Arrow adventure just about every month, but he didn’t enjoy the headliner popularity of his hero pals like Batman or even Wonder Woman.

That’s all almost forgotten now. Today, so many fans enjoy this modern-day Robin Hood in comics, on TV and with licensed merchandise.

For some, Green Arrow became “a thing” when he debuted on TV, first as one of Superboy’s pals in Smallville and then in his own series. (He was briefly on Saturday morning cartoons before that too.)

Comics fan, and local dad, Greg Parker started with the TV series and now reads the comics. “In today’s world of income imbalance and overall division, Oliver Queen represents someone willing to do the right thing, whatever that may be,” said Parker.  “Green Arrow has no superpowers. He simply wants to help defend his city from criminals and corruption. This is why we read about superheroes, someone doing the right thing regardless of the consequences to his fortune or popularity.”

For some fans, certain points of Green Arrow’s long comics career was their jumping on point. Many readers started to embrace this character during the groundbreaking Green Lantern/Green Arrow series by Dennis O’Neil and Neal Adams. Or it might have been when he finally headlined his own comic in a four-part mini-series by Mike W. Barr and Trevor Von Eeden. Other fans sat up and took notice during the 90s with The Longbow Hunters comic prestige series and the subsequent ongoing comic series by Mike Grell, Mike Gold, Ed Hannigan, Dick Giordano, Dan Jurgens and so many other talented folks. I should note that this iteration was shepherded by ComicMix’s own Mike Gold.

For me, Green Arrow was a “barbershop hero.” As a young boy, I distinguished the tattered comics I’d read in the barber shop from the new comics my dad would buy for me. For whatever reason, the local barber had a lot of old DC Comics with Green Arrow backup adventures. I never gave Green Arrow a lot of thought outside of getting my hair cut.

But one day I finally gained respect for Green Arrow. There was an adventure when a small child was confronted by a wild moose and Green Arrow saved the day with his “Antler Arrow.” I realized it takes a special kind of superhero to anticipate moose-related dangers, I realized.

I always liked the character after that. In my mind, it was years later, during the 90s Urban Hunter phase shepherded by Gold, Grell, Hannigan and others, when Green Arrow really grew up.

And It was during this Urban Hunter era that Green Arrow became a favorite of Australian writer Richard Gray. Those 90s comics were his starting point. Now he’s made himself something of a Green Arrow expert – searching out all the old stories and keeping up with the new comics, TV appearances and merchandise.

Gray wrote Moving Target: The History and Evolution of Green Arrow, which just debuted and is published by Sequart.

He revealed that as part of his podcast, he had wanted to create one article on Green Arrow. But then he found there was too much to fit into one post. One blog became seven blogs, and that eventually became a book.

Gray’s pal, Ryan K. Lindsay, had written a Daredevil book, referred him to Sequart and Moving Target happened.

As I started my interview with Gray, I first wanted to understand if his Australian POV was similar to that of standard US comic fan. I was familiar with Australian titles like Tip Top (reprinting DC titles in the 60s and 70s), but more recently I had heard about how wonderful the Australian Comic Shops are. And that always seemed to be during the Eisner Awards Spirit of Retailer discussions. Gray explained to me that Australians now get their comics about the same time as stateside fans do. So it’s easy to keep up with Geek Culture and characters like Green Arrow. The direct market made it happen, although he remembers when he started reading comics and every corner had a “card store” that sold comics.

It was really right about the time when Oliver Queen died, and Conner Hawke took over, that Gray became a big Green Arrow fan. His passion for the character was ratcheted up when Kevin Smith started writing the adventures of a “returned from the dead” Oliver Queen.

“I did miss Conner Hawke – he was underused,” recalls Gray. “The story I wanted to see was with the two Green Arrows. I wanted to see what the interaction would look like. I wanted to see two Green Arrows on a page.”

He’s less enamored with the recent changes to character in the New 52 and Rebirth, although he noted that the GA we know has seemed to return with the legacy elements.

But as the guy who wrote the book on Green Arrow, Gray asserts that for this character, all roads lead back to O’Neil and Adams era.

“It was during that period where they established he was a liberal and wasn’t afraid of standing up to the gods of the Justice League,” said Gray. “In the very first issue of that run – he’s holding up them up to task. But also proving, in the process, that he can be wrong too. Green Arrow’s single-mindedness can be a weakness for him.”Gray talks about how enjoyed seeing the character struggle as a regular guy. And he mentioned how a favorite Green Arrow story was from that Mike Barr and Trevor von Eeden series. I learned, in my recent research on the cult hit comic Thriller, a bit about this Green Arrow mini-series. Artist Von Eeden was assigned to his mini-series in order to slow him down and keep him from starting work on Thriller.  In retrospect, the Green Arrow series certainly holds up and Von Eeden’s art is spectacular.

There’s so much to Gray’s Moving Target, including:

  • Speedy – Green Arrow’s sidekick was always a favorite of mine. Gray does not disappoint and provides a meaty section focusing on Speedy.
  • Kirby – Likewise, Gray has a long chapter on Jack Kirby’s contribution to the series. Although Kirby’s run on Green Arrow was painfully brief, and how it important it has been in defining the character.
  • Interviews – There’s plenty of in-depth interviews too. Gray chats with long-time creators like Neal Adams, Mike Grell, and Chuck Dixon as well as some of the modern era writers like Jeff Lemire and Brad Meltzer.
  • Foreward – And while not really an interview, Phil Hester kicks it all off with a humble and insightful forward.

Moving Target covers a lot of ground with care and detailed analysis. There’s something here for every Green Arrow fan.

John Ostrander: The Family of Sociopaths

Commercials are the point of commercial TV. I realize that, for those of you who do only streaming services, this concept may seem a bit foreign, but your monthly fees take the place of paid commercials, assuming the streaming service isn’t double-dipping.

Advertisers buy time to pitch products and/or services and/or whatever and the amount that the channel can charge is based on how many people are watching and which demographic groups those people represent. That’s why an ad during the Superbowl costs so much.

You probably knew all that.

I tend to mentally surf commercials; they’re on but I’m tuned out. Some I wake up for because either there’s some element I like or it really annoys me and I want to throw something at the TV. An example of the former is a commercial with Mark Wahlberg as the spokesman at the end of which his mirror image turns into Sir Patrick Stewart who is, as he says, “more handsome, more talented… and more British.” All of which he is. JK Simmons had been doing a series of commercials for Farmer’s Insurance; it’s always a pleasure to watch JK Simmons. And their theme is memorably goofy: “We are Farmers, bum-da-bumbum bum bum bum.” I also love watching Sam Jackson in just about anything but I won’t get into his credit card commercials until he says “What have you got in your motherfucking wallet?”

I do wonder at the use of CGI English spokesowls. Several companies have them. Why? Why all at the same time? There’s also the use of pieces of classical music in the background of more than a few commercials. I often don’t understand why the use of a particular piece of music in a given commercial but maybe I’m not supposed to understand.

I’m also not a fan of the commercials that try to guilt you, whether it’s to adopt a pet or help a child in Africa or somewhere else. I appreciate that there is a great need but they really hammer on it. It’s gotten so that the moment I hear Sarah McLachlan start singing, I switch the channel. And I like Sarah McLachlan!

PBS pledge nights also fall under this truck.

And then there are the commercials that I hate so much, I remember them only so I will never use the company, product, or service being promoted. One is a car parts company that uses animation so cheap and primitive it hurts my eyes. Another is for a travel booking website that has a kindergarten teacher who is totally inept at her job. The kids have completely taken over the classroom and are running riot and all this forlorn cow can do is moan about how she is looking forward to her vacation. Put her on a permanent vacation. She doesn’t belong within five miles of a classroom. Children will die under her watch. She’s the Betsy DeVos of the kindergarten set. I’d change the channel if it wasn’t so much effort to find the TV remote.

The worst commercial is the one for another insurance company. It’s a family – mother, father, ten-year-old boy. We’re in a suburban front yard, Mom has just gotten back from who knows where (I suspect a covert affair) and Dad is holding a cloth to his face. Son reports that Dad got hit in the face with a swing (I suspect the son was on it at the time). Mom groans: there goes our Hawaii vacation. Dad says he really needs to go to the hospital. “There goes the air conditioner,” Mom sighs. Kid votes for going to Hawaii; Mom laughs and agrees, “Hawaii!” Dad appears to reluctantly cave in to the pressure.

This is a family of sociopaths. I’m supposed to identify with them? Please. That’s the problem with a lot of commercials for me – the person using/touting the product is a moron, an asshole, or a creep. Why should I want to buy what they want me to buy?

I understand that, in many cases, I am not the target audience. I can’t help wondering who is. Does the target audience find this funny? Will it entice them to buy the product or use the service? Please tell me it’s not so. I don’t want to totally despair on America.

Marc Alan Fishman: Facing My Fears

As I noted last week, Unshaven Comics’ trek to Hotlanta for the annual Dragon Con had me face down several fears all at once. As Unshaven Matt Wright was sidelined due to a babysitting emergency, the biggest fear for me was knowing that our terrific trio was reduced to a dingy duo. Beyond that, there was the continual fear that our little shtick will finally reach the point that it doesn’t garner the excitement we count on to close sales. Add that ennui to the more concrete fear that a ten-hour trip in the car while completing the Whole 30 diet – one that forced me to give up everything but lean protein, fruits and vegetables – would make what is normally a doable drive become something more akin to the trek undertaken by a ragtag fellowship of adventurers trying to ditch a silly ring.

Backup just a wee bit further and I was dealing with the fear of finishing our comic. In what was our second year without a new book to bring out to shows, the creeping horror of attending a show yet again without anything new to our names had forced me to use vacation time from my day job – and then working 12 hours a day to ensure we limped across the finish line. But once production was done on the digital end? Well, then came all the tiny nightmares: getting gigs of data over to our printer intact, checking proofs, correcting errors, and then awaiting the full order for Atlanta to be printed, cut, and stapled.

All of those fears aside, I also decided that life isn’t worth living unless you’re burning the candle at every conceivable end. Upon our return from Dragon Con, the awesome editors of Mine!, Joe Corollo and Molly Jackson were kind enough to allow me a chance to contribute to the book. I had a plan in place – to work hand in hand with a friend of mine very close to the cause, to produce something original and funny (a specific request by said editors). But life never works exactly as we plan, right? My collaborator went on an impromptu vacation, and I felt the pinch to produce my script sans net. This, above production woes or travelling drudgery scared the bejesus out of me.

For the last five years or so my comic series The Samurnauts has been a comfortable and fruitful universe to play in. The rules had been well defined by myself and my Unshaven cohorts. Our stories had been written and everything stayed right in my wheelhouse. That house, you ask? Taking those things I loved growing up, and putting a new twist on them to produce something that kids would enjoy, but adults could appreciate the layers built below the surface of the shiny comic action. But Mine! is a beast far outside the realm of immortal Kung-Fu monkeys and zombie-cyborg space pirates.

So there I sat with the blank screen blinding me. No collaborator to bounce ideas off of. A deadline perilously perched at the precipice of my palms. And no alliterative allegories alerting me to an able-bodied antiphon. If Sinestro were real? I could charge his ring from the sweat forming on my brow. Here, with this opportunity to be a part of a book alongside living legends (too many to mention), did I actually have a leg to stand on… or was I destined to tuck my tail between my legs and just scamper off to make some toys tussle with one-another.

In all of these situations, I am lucky now to be a father. To see in my two sons how fear (and the reaction to it) molds who we are. Be it my younger, Colton, timid and terrified of a two-foot tall Domo I was making wave, or my older, Bennett, scared to even open his mouth for a patient dental hygienist. In both of them, I see myself. Scared, and frozen as I try to check-down the possibilities. Would Unshaven Comics not sell well? Would Samurnauts simply remain forever incomplete? Would I have an original idea to sit in the same book with the likes of Mark Waid, Neil Gaiman, John Ostrander, or Brian Azzarello?

The answer came from one of the biggest mentors in my high school days. Dean Auriemma, my fine arts teacher, instilled in me the keys to overcoming my fear. Sadly, he didn’t know Hal Jordan from Michael Jordan, but I digress. The memory here is preserved like the dino DNA in Jurassic Park. There I was, sitting, mouth agape, at my drawing board. Before me strewn a hastily fastened together still life from which we were to create our work. Mr. A sauntered up behind me, and gruffly asked “What are you doing? Waiting for it to draw itself, buddy?”

I stammered back (not unlike Bennett when asked about the evil dentist) “I… I don’t know.”

Mr. A leaned back on his heels, and dropped a truth bomb that has resonated with me ever since:

“Just start doing what you know. If you wait for the answer to come, you’ll be waiting forever.”

And so too did every recent fear in my life fell before me. I put my head down and finished our comic. I stood up, and sold to every passerby in Atlanta. And damn it all, I started writing my script for Mine! By leaning in to what I knew, and soon thereafter, my script came together – as did Molly and Joe’s approval and acknowledgment.

It turns out we have nothing to fear but fear itself – in our brightest days … and darkest nights.

Martha Thomases: The Horror! The Horror!

It is more than a little likely that, as you read this, I am getting a root canal.

Dentists terrify me. Not on purpose — they are not the stars of It — but, nonetheless, they fill me with dread.

I’m sure that most people who go into dentistry as a career are motivated by a desire to help others, and yet, when I go to the dentist, I can’t help thinking about this movie and this scene.

A lot (not all!) of horror fiction is about the fear and loathing of our bodies. As children, they frustrate us with their limitations. We can’t fly, and we are not tall enough to reach the cookies. As adults, they frustrate us because they no longer do the things they did when we were younger, like stay awake all night on purpose, or digest spicy food.

I’m not really a fan of horror fiction. My life as an informed citizen has enough horror non-fiction. However, I understand that fiction provides a way for humans to process our fears in a healthy way. And I enjoy Stephen King books, not because they are scary, but because he has a gift for creating characters he seems to really care about. If we didn’t care about them, we wouldn’t be frightened by the threats they face.

20100414-rock-bottom-remainders-stephen-king-band-600x411-4004220(A friend of mine was in a rock band with King, and he says the conversations on the tour bus focused on body functions a lot.)

The horror and thriller genres are, to me, most effective in prose, when I can imagine the threats, or in movies, where a good director (and script) provide surprising jumps. Comics can’t do that, at least not in the same way. Comics can give the reader some vivid imagery, and there is no limit to the amount of blood and gore and mucus the artist renders on the page, but, in the end, it’s just a flat picture. We, the readers, come at these images at our own pace. We can rip them up or throw them across the room if we like.

For me, the primary exception is Alan Moore. From his first Swamp Thing stories, with Stephen Bissette and John Totleben, he made stories that haunted me long after I finished reading. It wasn’t just the insects (although they gave me the icks), but the way he treated the characters’ perceptions of their bodies. The stories inspired not only fear, but disgust and mistrust.

More recently, Moore has explored these issues and this imagery in Providence. I confess that I’m not a big Lovecraft fan, so these books are not my jam. Still, Moore, with Jacen Burrows, gets plenty creepy and ominous, and perhaps you will enjoy it.

There are scary stories about ax murderers and the like, but it is those with threats from within that freak me out the most. As a culture, we especially fear women’s bodies. In modern film, from Rosemary’s Baby to this week’s debut, Mother!, it seems that the men who make most movies are terrified about women’s ability to have babies. What if women decide they don’t want to? What if women want to have babies, but with somebody else? What uncontrollable forces inhabit the bodies of women that allow the creation of other beings?

There aren’t many horror movies from the perspective of the women who might have children, especially when they don’t want them. The closest I can think is Alien and, this day, I can’t watch those movies because I read the comics adaptation first. A monster who plants a fetus in my body against my will that bursts from my chest? No, thank you.

The lesson I learn from horror fiction is that I am responsible for myself, especially my own body and what happens within it. Nothing will make me immortal, alas, but the choices I made about food and exercise and how I go through life are my own. This is why it is so important to me to support Mine!. Without access to health care, people cannot make the choices necessary to live the lives we want. We need to get PAP tests and STD tests and mammograms and birth control. We need pre-natal and post-natal care. Today is the last day you can pledge, and I hope you will.

Any other being that grows in and comes out of my body should only do so with my permission. The alternatives are too frightening.

Tweeks: SDCC 2017 Recap

We know you’ve been seeing some of interviews over the last couple of weeks from SDCC, but this week, we thought we’d give you a peek at what we were doing when we weren’t locked up in the press rooms at the Hilton!

We talk about The Tick (which starts on Aug 25th on Prime), take you on the IMDboat and to the Graphix & Nat Geo parties, introduce you to Amazon Rapids (a really super cool reading app for kids that reads like a screenplay), talk about the Her Universe Hot Topic Fashion show, ask Qmx about their newest collectables, and you know, other stuff too.

Dennis O’Neil: Weather Woes

Hurricane Irma is pretty much done wreaking havoc, but the worst of it is very bad. And it’s not over. Much of the hurricane season is yet to come and the weather might still have some nasty surprises for us.

And, of course, there’s always next year.

So let’s have a show of hands (lots and lots of hands): all who agree that Superman be confirmed as our official patron superhero? The more recollective among you may remember that I have mentioned this patron superhero stuff earlier: I can’t say exactly when, but sometime. If you are a practicing pagan, please pause on your way to hell while I define “patron saint.” According to the ever-reliable Wikipedia, a patron saint is a person, having already transcended to the metaphysical, (is) able to intercede for the needs of their special charges.

Now, I don’t have a formal definition for “patron superhero,” but there’s no reason not to make one up if we have a mind to. After all, we can always change it later. Okay, a patron superhero is one whose life, persona and/or deeds can be identified with certain sort of problems and dangers to the common good. So maybe Captain Marvel – the one who changes from an overachieving youngster to a big dude in a red suit when he says “Shazam!” is the patron superhero of storms because a lightning bolt and a thunderclap accompanies the transformation. (The details of that transformation raise more questions than they answer. But back in his heyday, the post-war 40s, apparently nobody asked questions like that. At least nobody I knew.)

My suggestion that Superman be pronounced our patron superhero is not prompted by what Supes does – bend steel in his bare hands, change the course of mighty rivers, those riffs – but his identity. His true identity.

Surely you know the story. Kal-El is a scientist who insists that his home planet, Krypton, is about to blow up. Nobody believes him, and that nobody includes the savants and solons – the local authorities. Kal-El just manages to get his infant son into a spacecraft and into the sky when ka-BLOOEY! No more Krypton! But the kid makes it to Earth where he crash lands in the American Midwest, where the virtuous folk live. Stuff happens and eventually, the kid goes to a big city where he falls in with the executive of a printing company ad becomes a brand.

Here and now: we have had two category five hurricanes in the last month. Every weather-related catastrophe that has happened recently was predicted by scientists who warned us about Global Warming. And still, we hear from those who refuse to believe the evidence.

They should shut up.

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