Category: Columns

Box Office Democracy: La La Land

I like musicals and I think it’s a shame that the film musical is mostly a relic of the past, dusted off a couple times a decade for a big revival and then set in the back of the closet for a few more years.  La La Land is a generally competent film that I just can’t make myself stomach.  It’s well-made, the script is good, and the chemistry between Emma Stone and Ryan Gosling is frankly delightful.  But it’s not a movie I liked.  It’s so convinced that it’s fresh and wonderful just for being a big Hollywood musical that they didn’t bother to make a good musical, or a compelling love story, or to cast more than three people.  La La Land is cuter than it is good, and I’m just not feeling like loving a cute movie right now.

La La Land is the kind of self-congratulatory nonsense that Hollywood loves to reward with gold statues and is invariably met with countless articles about how out of touch the entertainment industry is.  This is a movie about a struggling actress and her boyfriend, a jazz pianist obsessed with doing things the old-fashioned way.  These aren’t particularly relatable characters, and I say that as someone who lives in Los Angeles and knows a fair number of struggling actors.  It’s the Hollywood that exists in movies and, honestly, mostly older movies at that.  It is, however, the kind of Hollywood that the Academy of Motion Picture Arts and Sciences loves to believe exists and will happily shower awards on movies that depict it as such.  I’m sure that’s just a happy accident.

The biggest problem I have with La La Land is it isn’t a very good musical.  They cast actors who can sort of sing and kind of dance instead of getting any dedicated singers or dancers in leading roles.  John Legend is in the movie but he only gets one number and it isn’t a naturally occurring number, it’s a musical performance within the movie.  Aside from an opening non-sequitur and an early ensemble number, everyone but Gosling and Stone get locked out of musical numbers for the rest of the way.  It hardly feels like a magical world where everyone breaks into song, and more of a look at two people who break in to song while the rest of the world looks on.

By “the rest of the world” I really mean a shockingly sparse cast of extras.  I live in Los Angeles, but I certainly don’t live in the Los Angeles depicted in La La Land.  That Los Angeles is a place where a couple can always be alone wherever they are and whatever they’re doing.  If they’re hanging out in Griffith Park there’s no one to be seen, if they’re going to a revival movie theater playing Rebel Without a Cause there’s barely five other people in the house, and if they’re breaking in to the observatory there’s not even a security guard there.  I’m not saying that scenes need to be a realistic level of crowded, but between no crowds and a sparse supporting cast the world in this movie feels so sparse.  You could set La La Land on an arctic research lab and you’d only have to change some dialogue about what LA really cares about.

The most damning thing I can say about La La Land is that I saw that movie two days ago and I could barely hum you the tune of any of the songs (I think I have one of them but it might just be “Blue Skies” by Irving Berlin) but I’m still singing “You’re Welcome” from Moana at basically any opportunity.  It’s a movie that seems to be hitting with a lot of people I know but I just stay in the theater thinking about how this would have been a better movie if they made it back when they really cared about making a good musical.  La La Land isn’t West Side Story, it isn’t even Newsies.  It’s a novelty, it’s a love letter to an Los Angeles that only existed in 40 year old movies, and it feels like a cynical attempt to get Oscar attention.  There’s a version of La La Land I would have liked, but this one is too low effort and too calculated for me.  Maybe next time.

Emily S. Whitten: Fan2Sea – Sailing Away After the Holiday!

Christmas is coming, the goose is getting fat. Time to frantically decorate your home, buy everyone presents, and pretend you’re going to get your Christmas cards out before the New Year this time. Well, at least that’s the plan if you’re me.

One of the challenges I face every year is what gifts to get for other adult family members, because as a friend pointed out recently, usually if it’s something they really need they’ll just go out and buy it themselves! Which leaves you guessing what they might not need but might like, or going for the more extravagant gifts that they wouldn’t buy on a whim.

There are lots of holiday gift guides out there, even for geeks and nerds like us (well I assume you’re a geek or nerd too, if you’re reading this). And for fandom convention-goers. But if you’re going for the bigger-ticket holiday gift, here’s a suggestion for something you couldn’t have bought in past years because it didn’t actually exist; but could totally get now for your con-going friends (or for yourself, because let’s be honest, sometimes we buy ourselves Christmas gifts too. Because we’re worth it!) And that is, dun dun duuuuun: a ticket to a comic-con cruise!

Yep, that’s right! I’m talking about Fan2Sea, the cruise ship comic-con that’s sailing out of port this January 19-23! I’ve talked about the cruise before with one of the team who created it, as well as interviewing one of the cool cosplay ambassadors who will be featured, but if you missed all of that: Fan2Sea is a four-day cruise on a Royal Caribbean ship, leaving out of Tampa, Florida before hitting Key West and Cozumel, Mexico as well. It has been designed and created by an amazing team of folks who generally spend their days designing the coolest theme parks out there; and it features a metric ton of excellent guests and panel programming from some of the hottest geek properties out there: The Walking Dead, Stranger Things, and Guardians of the Galaxy on the TV and movie side, and Deadpool and Batman on the comics side. The guest list is super exciting; and just from previous interactions or interviews I’ve had with some of these guests, I know the programs are going to be fun, interesting, educational, unpredictable (I’m looking at you, Michael Rooker), or all of the above.

Now that the full schedule for the con is out, I can see just how many unique and cool things are going to be happening, including a ton of stuff that goes beyond the usual panels – from themed cocktail or pool parties, DJ nights, and pub quizzes to comics masterclasses, cosplay tutorials, and gaming panels. And they’re even offering some super-special things I’ve never seen done at another con, like dinner and a movie with Sin City creator Frank Miller. Not only that, but the main panels themselves are scheduled in such a way that if you have to miss one because you’re out and about enjoying the cruise or shore excursions, you’ll have the opportunity to catch it at another time. That soothes my FOMO a little bit; and is also a very savvy programming move given how much is going to be on offer here.

Of course, all of that doesn’t even count the part where you’re going to be on a cruise! Themed around all the stuff we like best and populated entirely by Our People – guests and other fans of this stuff. Imagine doing all the things you’d usually do on a cruise – hanging by the pool, rock-climbing (yep, there’s a rock-climbing wall!), relaxing at the spa, playing mini-golf (they’ve got that too!), shooting hoops, going to the casino, chilling at the bar, catching a movie…but doing it all in a genre con atmosphere themed just for you. Just…wow. This cruise is going to be so cool. Not to mention it also gives people the opportunity to, e.g., visit Mexico, something I’ve never done, and maybe even explore some Mayan ruins (or zipline through the forest. Not going to lie, I totally want to try that)! Plus chill on the beach in Key West, explore the Cuban district of Tampa… Man: this is going to be the best thing ever! I am so excited to be going. And you could be, too!

So if you want to make your geeky con-going friends (or yourselves!) super happy with their holiday gifts, give a think to buying a ticket to the best con adventure you could possibly have. Ticket pricing begins at $399, and includes meals, taxes, port fees, panels, parties, and more. And if you use the code “IRONMAN” on your purchase, right now you can also get 10% off! You heard it here, folks.

Now get out there and book your adventure so we can sail away together.

And until next time, Happy Holidays and Servo Lectio!

Joe Corallo: Critical Thinking

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%e2%80%a2motorcrushpromo1Last week I picked up a copy of Motor Crush #1, the new Image comic with all the buzz, created by the team that brought us the Batgirl of Burnside, including Brenden Fletcher, Babs Tarr, and Cameron Stewart. Part of what motivated me to pick up this comic was the report at Bleeding Cool that some retailers admitted that they did not order Motor Crush for their stores because they didn’t think their customers would buy a new comic with a black female lead.

I got around to reading this comic a few hours after picking it up, and it really was a good, fun time. We follow the sci-fi adventures of racer Domino Swift as she fights biker gangs and the world around her of both legitimate and illegal racing is fleshed out before us. Other than perhaps getting a little lost reading one or two of the action sequences, it was a smooth and enjoyable read.

%e2%80%a2iceman_teaser-600x922There is one thing about the book that stands out to me though.

No one attached to the book is black. The entire creative team and the editor, Jeanine Schaefer, are white. The letterer, Aditya Bidikar, is Indian which is important as we don’t have enough Indian voices in Western comics. This does, however, leave the book without a single black voice attached.

Is that important?

It can be for a few reasons, one of which is related to how comics compares to other media. In prose, you’re often dealing with an author and an editor so you have little room to add more voices. When it comes to television and film, you have much larger groups of people working on them and the characters are played by real people. Maybe the creators are all white, but if the characters are black, they’re played by real people who can be admired and idolized who can benefit from that in their careers and inspire other people to be actors. In comics, particularly mainstream American comics, you can easily end up with teams of  between four and a half dozen or more working on a single story. If a team that isn’t black is making a comic with a black protagonist you have a situation where only non-black creators are making financial and professional gains from a book while many black and other marginalized creators aren’t getting the same levels of press and encouragement.

%e2%80%a2bitchplanet_vol1-1Is that what we want? It’s worth pondering.

Also worth considering: this team in particular is the same team that was involved in the horrifyingly transphobic and misguided Batgirl #37. That issue is so infamous to me I didn’t even have to look up the issue number; I just know it. The team created a terrible villain using dated trans tropes that disgusted me to the point where I didn’t read anymore of that Batgirl run until issue #45 to read Alysia’ Yeohs wedding – and that wasn’t enough to bring me back in. The damage was done.

The team apologized for the events of issue #37 and the collected edition was edited to remove some of the most damning content. Do I believe we have to chase every creative team out of comics who make big mistakes like this? Absolutely not. However, that doesn’t mean I’m going to trust that creative team with handling certain characters outside of their own experiences. Sometimes it’s important to have a team with people from a community you want to do a comic about to avoid a Batgirl #37 situation.

To a lesser extent, but with more consistency, we saw this happen with Iceman in different X-Men comics the last couple of years. I’ve been critical of how Iceman has been handled by Bendis as well as Lemire and Hopeless. Now Marvel is moving in a new direction with Sina Grace, a queer man, at the helm on the new Iceman solo series. Though the series isn’t out yet, I’m familiar with Sina’s other comics works and this seems like a step in the right direction.

There are also examples of comics that do have representation on the teams that have been wildly successful. Another title at Image, Bitch Planet, has been a big hit. Though Kelly Sue DeConnick is mostly writing women of color, her co-creator is Valentine De Landro, a black creator whom I’ve been a big fan of since his tenure on Peter David’s X-Factor, and the two of them together pulling from their own knowledge and experiences have crafted a brilliant comic that towers above most of what you’ll find one the shelves and spinner racks. Without a black voice behind Bitch Planet we might be getting a very different book that could easily be missing those high notes.

While I do believe it is important to have at least some representation in your comic of the people you’re writing about, it’s still possible to put out a good comic without that. Motor Crush #1 is a fun read and is worth considering. If supporting black characters in comics is important to you, definitely give this a chance. If supporting women in comics is important to you, Babs Tarr and Jeanine Schaefer are worth supporting. If supporting creators of color is important to you, you’re gonna have to look elsewhere.

Mindy Newell: Spam In A Can

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“Anybody who goes up in the damn thing is gonna be Spam in a can.” • Chuck Yeager (Sam Shepard), “The Right Stuff” (1983), Written by Tom Wolfe and Phillip Kaufman based on the book by Tom Wolfe (1979), Directed by Phillip Kaufman

john-glenn-friendship-7Henry Luce: “Now, I want them all to meet my people who will write their true stories. Naturally these stories will appear in Life magazine under their own bylines. For example, “by Betty Grissom,” or “by Virgil I. Grissom,” or…

Gus Grissom: “Gus!”

Henry Luce: “What was that?”

Gus Grissom: “Gus. Nobody calls me by…that other name.”

Henry Luce: “Gus? An astronaut named “Gus?” What’s your middle name?

Gus Grissom: “Ivan.”

Henry Luce: “Ivan…ahem…well. Maybe Gus isn’t so bad, might be something there…All right, all right. You can be “Gus.”Henry R. • Luce (John Dehner), Virgil (Gus) I. Grissom (Fred Ward)“The Right Stuff” (1983)

“Godspeed, John Glenn” • Scott Carpenter, Cmdr, USN, Project Mercury upon the launch of Friendship 7

To warp a phrase, and with apologies to my friend Peter David… But I’m digressing again…

February 20, 1962. 2:30 P.M. It is almost time to be dismissed from my 2nd grade classroom at P.S. 29 (which is still there, at the corner of Slosson Avenue and Victory Boulevard on Staten Island, New York), but no one is looking at the big clock on the wall. Mrs. Krieger – a woman with a softly wrinkled face and gray hair styled in a “1950’s Lois Lane” short, curled pageboy – is leaning against the closets that hold our winter coats and galoshes. We are all watching the television in front of her desk. She has pulled down the window blinds and shut off the lights. Walter Cronkite is talking over the picture of the white Atlas rocket standing in its gantry at Cape Canaveral, steam roiling out from its bottom. At the very “tippy-top” of the giant rocket is a tiny silver-gray fir cone. Inside that little metal capsule – officially the Mercury-Atlas 6, but more famously christened “Friendship 7,is astronaut John Glenn.

I wonder what it’s like to be him, strapped into a chair, the door bolted shut – “Spam in a can” – as the countdown winds down. What is he thinking? Is he scared? Is he excited? What if something goes wrong? What if the rocket blows up?

10 – 9 – 8 – 7 – 6 – 5 – 4 – 3 – 2 – 1…

2:47 P.M. After over two hours of delays, and almost four hours since he entered Friendship 7, John Glenn is launched into orbit. The class erupts into cheers.

Seventeen years later, with the publication of Tom Wolfe’s The Right Stuff, we learned that Glenn’s mission did not go off without hitches that could have turned a moment of national triumph into national disaster.

A scheduled test to determine whether or not a pilot could fly the capsule manually became more than a test when it was discovered that a failure of the yaw attitude control jet forced Glenn to abandon the automated system and use the manual controls; Glenn flew the second and third orbits, plus re-entry “by the seat of his pants.”

NASA decided that three orbits were enough – instead of the possible seven – when telemetry revealed that the heat shield was loose. Without this heat shield, the astronaut and Friendship 7 would burn up in the atmosphere upon re-entry. It was determined that only the retrorocket pack was holding the heat shield in place. Normally, the retro pack would be jettisoned after re-entry, but Glenn determined to leave it in place to “steady” the heat shield. “It made for a very spectacular re-entry from where I was sitting,” he later said about the big chunks of burning material flying by the capsule’s window in that laconic manner that all pilots seem to have when discussing life-or-death situations; I know this personally from talking with my dad about some of his WW II, uh, adventures. “Fortunately, it was the rocket pack [and not the heat shield falling apart] or I wouldn’t be answering these questions.”

Splashdown occurred in the Atlantic Ocean four hours, 55 minutes and 30 seconds from launch, only 40 miles from the planned landing zone.

John Glenn was a real hero, as were all the men of the Mercury Project, as are all the men and women who have followed in their footsteps, going where no one has gone before.

The Right Stuff, book and movie, is not only the story of the test pilots at Edwards Air Force Base in the high desert of California, and of the men who became the astronauts of Mercury Project, the first manned missions into space, but also of the political machinations behind the “Space Race.”

I also believe that that it qualifies the era as the time in which promotional news and public relations began to dominate not only our political discourses, but also our entire culture; Tom Wolfe himself made the equation that “the astronauts [were like the] single combat warriors from an earlier era who received the honor and adoration of their people before going forth to fight on their behalf.”

Before any of them went up into space, before any of them had even stepped into a mock-up of the capsule, before even a rocket was successfully launched, the seven Mercury astronauts were hailed and wined and dined and given houses and sports cars and money from “sponsors” like Henry R. Luce’s Life magazine in exchange for “exclusive” interviews and peeks into their home life. And the military and government loved it, because the project needed funding. The storm of media trumpets around the Mercury 7 created such a storm of patriotism around them that no Congressman in his right mind would have denied NASA money. As Fred Ward’s Gus Grissom says in the film, “No bucks…no Buck Rogers.”

In the mirror universe of today’s media, the only thing that corporate media trumpeted Donald J. Trump’s bid for the presidency in the search for ratings, i.e., funding, so that few mainstream media outlets, including MSNBC and The New York Times, could not help but to enable Trump’s victory. Indeed, the coverage afforded Trump “free funding,” as every outrageous lie and tweet spawned more and more airtime. His campaign rallies were televised as if he were Jesus returned, delivering second and third Sermons on the Mount. Only his sermons involved making fun of disabled reporters, of disavowing sexual harassment and assault, of denying climate change as a Chinese hoax, and of vowing to “build a wall and making Mexico pay,” to “lock her up,” and to “drain the swamp.” Of “making America great again.”

And the hordes believed and cheered and honored and adored and rewarded him with the Presidency.

With the expected pick of Exxon CEO Rex Tillerson as his nominee for Secretary of State, Trump has completed his scam. And at Forest Lawn Cemetery, a snickering can be heard coming from the gravesite of W. C. Fields: “Never give a sucker an even break.”

In 2016, the American people wanted Project Mercury and the Mercury 7. They wanted America to be great again. They wanted a hero.

What they got was Spam in a can.

Ed Catto: Craig Yoe Gets Super Weird

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%e2%80%a2super-weird-heroes-madam-fatalLast week we discussed three books that each took a whimsical look at the sillier side of superheroes. This week, we take a deeper dive with Craig Yoe and his latest book Super Weird Heroes.

Craig is a prolific author and/or creator with a fanboy streak a mile wide. His impressive books range the gamut from Archie to Zombies and just about everything in between. Two of my recent favorites are Haunted Horror (Vol. 1) and Zombies! The Chilling Archives of Horror Comics.

Surprisingly, Yoe has never published a superhero book. “I started out reading Little Lulu and Uncle Scrooge,” said Yoe. When he outgrew characters like that, he thought he was putting comics behind him.

%e2%80%a2kangaroo-man-jpgBut when some junior high friends turned him onto early Marvel heroes, like Fantastic Four and Spider-Man, he found he was hooked on comics again. Since then, he’s always had a soft spot for them. “When I started Yoe Books,” said Yoe, “I thought superheroes were so strong… they didn’t need me.”

But then as he gathered vintage comics for his other geek culture projects, he couldn’t help but also stumble across some of the most fascinating, albeit obscure, heroes.

Yoe noted that it wasn’t as easy to get old superhero comics. Because this particular genre is so strong, so many collectors seek out these comics. To find and buy the comics, he was competing against collectors with some deep pockets.

Who’s Your Favorite?

Yoe was hard pressed to pick a favorite. But he was excited to speak about a few in particular.

%e2%80%a2bullet-girl-splashCaptain Hadacol has a fascinating story. A southern senator created the medicine, Hadacol – with at least 12% alcohol. (It may have had more). The hero, Captain Hadacol, gets his powers from drinking this “medicine!”

The Deacon was a mafia-type criminal who was crawling through the woods to escape his pursuers. When he came across a church and broke into it, he donned a priest’s outfit to become… the Deacon. And the Deacon’s sidekick was a young boy who was beaten by bullies to become… Little Nicky.

“The sidekicks are so much fun,” said Yoe.

And one of the most interesting sidekicks is Bullet Man’s ‘assistant’ Bullet Girl. In the story that Yoe features, Bullet Girl get’s fed up with Bullet Man’s chauvinist attitude – and quits! This particular story is illustrated by the legendary Ken Bald.

And to sweeten the pot, Yoe also offers readers a page of original artwork from another Bullet Man adventure.

%c2%b6super-weird-heroes-book-back-coverYoe tracked down several of the golden age creators and he found that even they didn’t remember these obscure superheroes. “I get the impression that back in the day, the editors told the writers and artists to just go and create their own heroes,” Yoe said.

These are the plucky heroes – the heroes that didn’t stick. They were often published by smaller publishers with precarious printing schedules.

The Look and Feel That’s Real

Yoe takes great strides, in all his reprint books, to present the material in all their newsprint glory. Many companies who publish vintage comics clean them up and then publish them in slick color. But Yoe Books takes the opposite approach.

%e2%80%a2super-weird-heroes-book-the-deacon-copy“We like the reader to get into the book so they feel like they are reading an old comic, maybe in the forties under a tree, purchased from a candy store,” said Yoe.

“Also, you can’t tell, but if one of the panels is blurred, we spend hours and hours and to ensure they look good and are readable. We didn’t overly correct when it’s out of register. We work to ensure they are not misprinted. We monitor every single panel and make sure the color has a nice fidelity,” said Yoe. “ We make sure the comics look old.”

Who’s it for?

These superheroes have broad appeal. Super Weird Heroes is available at brick and mortar bookstores and IDW has received major orders from bookstore chains. And there’s been strong interest from comic shops. “There’s no better retailers in the world than comic shops, right?”

superweirdheroes-%e2%80%a2“There’s something here for everybody,” proclaimed Yoe. “Hard core collectors will love this and kids will too. “

In fact, Yoe told me the tale of a shipment of books arriving at his home. “My six year old boy saw the box, grabbed one and asked ‘Will you read this to me?’”

Yoe estimated, using the Overstreet Comic Book Price Guide, that it would cost a collector $105,280 to acquire all the comics with these stories.

“It’s the best Holiday bargain ever,” said Yoe.

John Ostrander: Suicide Squad Redux

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Oh, you lucky kids.

As I pointed out last week in this column, there is a plethora of John Ostrander related material out there this month for you to buy. You’d think it was Christmas or something.

In the previous column occupying this space, I talked about the first volume of my Heroes For Hire series put out by Marvel. This week we’ll look at Volume 5 of Suicide Squad from DC that is coming out December 27. This one is titled Apokolips Now and the major story arc in the volume takes the Squad to the home of the nastier set of New Gods, Apokolips.

Lots of stuff happens in this volume. Three members of the team die, some walk away, some long running subplots are put to rest – including the revelation that Barbara Gordon is Oracle. By the end the volume, the Squad’s existence has been exposed and so has Waller’s running of the team… and she winds up in prison. Lots of story is crammed into this one TPB.

I want to focus for the moment on the first story in Volume 5. It’s one of the Personal Files that my late wife and co-writer, Kim Yale, and I would do from time to time. Each Personal File would center on one character and through them we would see other members of the team. There was never a mission in the Personal Files; you could think of it as an “All Sub-Plot” issue but I think they were highly effective and, as I recall, very popular with the readers.

This time we focused on Father Richard Craemer who was the spiritual adviser to the Squad. That probably sounds odd but the Squad was secretly headquartered in Belle Reve prison that had an active convict population and Craemer was also prison chaplain. In addition, Craemer was also a qualified psychological therapist and served the Squad that way as well.

Craemer is one of my favorite characters and Kim and I had a very definite agenda in creating and using him. At the time, almost every time you would get a priest or minister or preacher of what have you in comics, they were hypocrites – venal, and frankly rather despicable characters. That simply wasn’t either my nor Kim’s experience. That’s not to say those types aren’t out there and the revelation of pederasts among the clergy is well documented and, frankly, sickening. But not every member of the clergy is like that. It became a cliché, a stereotype.

However, Kim and I both had near relatives who were in the clergy. Kim’s father, the Reverend Richard Yale, was an Episcopal minister, a Navy chaplain and a counselor. My mother’s sister, Sister Mary Craemer, was an administrator at Mundelein College in Chicago and later was very active on behalf of senior citizens. Both were very good people and we wanted a character who would reflect that. And as you may have noticed, we borrowed from the names of them both to create the name of our character.

Father Craemer has a lot of humility and a great sense of humor which he needs in dealing with Waller and the members of the Squad. He listens and he treats everyone with empathy. It’s a known fact of my background that I studied to be a priest (one year, in my freshman year in high school, and my so-called “vocation” came from an overdose of Going My Way).  It’s possible that Craemer, to some extent, might be a projection of what I would have hoped I would be as a priest. Not entirely; Kim was a part of his make-up as well.

Craemer has sessions with several members of the Squad and its support staff; the session with Count Vertigo dealing with manic/depression comes to mind and I’ve heard from those in that community that it was a very accurate portrayal.

I so enjoyed Father Craemer that when he left the Squad I brought him over to The Spectre to be the spiritual advisor to the Wrath of God. Craemer never got the easy gigs.

All in all, I think Richard Craemer was a very successful character and there’s a reason for it. We thought the character through. Just don’t write the cliché. If that sounds obvious, well, a lot of basic writing rules are obvious.

So run out and get yourself a copy of the latest Suicide Squad collection. Get several. Give them out as gifts. People will thank you. And if they don’t, well… I do.

Marc Alan Fishman: Rejected!

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This past week, Unshaven Comics was once again given the most sincere and polite brush off from a show promoter to be a part of the Artist Alley. The show was ReedPop’s C2E2, in Chicago.

For the record: Unshaven Comics has never missed exhibiting at this show. We consider it our home show. But a few years back, we were denied access to the part of the floor where we feel the most comfortable. We were faced with a hard choice — pay over twice the cost to have a table in the Small Press area, or forgo the show. We bit the bullet. We sold our beards off. And we still made profit.

For the record, Unshaven Comics is not a small press company in my estimation. We’re a studio that produces a single book, penalized for having the gall to want to share a single 8-foot table.

I’m not going to lie: I’ve been bitter ever since. Bitter still now, the third year in a row I have cut a check for a larger sum of money than I’d like, to ensure our localish fans know we still are alive and well.

Am I mad at the promoter, ReedPop? No. I don’t even fear repercussions for posting this op-ed. Reed isn’t concerned about the comings and goings of a speck of dust on the outskirts of the indie comic market. For as much as I’d like to inflate my resume of comic bookery, the simple truth is if Unshaven turned off the lights in the studio tomorrow maybe a few dozen people would really notice. I’m not saying this for pity. I’m just well-aware of the beast we’re trying to slay. In the land of content, he who can only produce (at best) a book a year, is not high in demand.

ReedPop, as all show promoters, are in business to do one thing: get butts in a building, spending wads of cash. And with the advent of on-demand printing, digital publishing, and affordable content creation tools out there, the industry feels choked to the nines with creators all vying for the same spaces. Granted, some of these artists are just trying for a quick smash-and-grab, applying a few filters and a few simple style choices to produce a litany of printed kitsch meant to attract the lowest common denominator. This is a topic for a whole other piece.

At the end of the day, show promoters must choose from those who apply for their space who will best attract those aforementioned butts. Whatever their selection process may be, Unshaven Comics must adhere to the same application rules as literally every other artist in line. Whatever boxes we check or don’t check off is all in the eye of the beholder. But this article isn’t really in defense of those choices. I am not a show-promoter. I know some amazing show-promoters. They have an unenviable job in my humblest of estimations. I write this week to tell you honestly how it feels to be told we’re not good enough.

But before I do, let me dog-pile on the pity party. C2E2’s rejection of Unshaven for their Alley wasn’t the least bit surprising to me. Since we’ve upgraded to the small press area the last few years, I believe we’re earmarked as suckers who they know will pay… and so we pay. And we still make it work. So it goes. It’s the combination of their rejection compounded on being recently turned away on a pair of smaller local shows that really shook me more than I’d honestly thought they would.

To hear from shows that are in my backyard declining to offer my studio a spot while I see literally dozens of my friends and colleagues being welcomed as guests of honor leaves me feeling truly rejected. On the precipice of finishing the final chapter in our Samurnauts mini-series (seriously… it’s being colored right now. We’re so close I can almost taste it.), 2017 is a do-or-die year for me and my bearded brethren. Every show counts. Every show is an opportunity to declare victory over a beast that has taken five years to slay. And to be told we’re not good enough, while our friends are lauded with social media call-outs is a gut punch I’m finding hard to shake off.

We have an amazing fan base. That I can include people like Mike Gold, Martha Thomases, John Ostrander, and Glenn Hauman amongst them is one of those little factoids that keep my heart beating and pen moving every night. That we still have fans — strangers met at conventions who have purchased our wares and continue to support us — clamoring for Unshaven to continue to fight our way into any show that will have us? Well, it’s the lit matches I’ll continue to use every time our fire begins to dim.

And I know right now, this article may be reaching any number of compatriots in the exact same boat as my little production house. Talented, driven creators being denied access to tens of thousands of potential customers… all so the guy who just sells posters of cheesecake pinups or indie darlings whose ‘zines aren’t worth the artisanal rice paper they’re printed on can hock their wares next to the same standby medium-famous artists and celebrities that are always there. Well, to you, I say be bitter with me.

We live in a gilded age, whether you believe it or not. There are more cons out there now than ever before. So, if ReedPop says no, so be it. Take the anger and the money you would have dropped on that show and find another. And another. Take your books to the local comic shop, and offer to do a signing. Do anime shows. Book shows. Craft fairs. Flea markets. Go anywhere and everywhere. And keep making your comics and art. The more you produce, the better you’ll become. The better you become, the better your product. And eventually, the better your product, the more people will notice. Those people have butts. And those butts wind up walking into big shows. And with that…

…you just might be see the acceptance you deserve. If you don’t believe me, be my guest and quit. More room for Unshaven Comics.

The Law Is A Ass

Bob Ingersoll: The Law Is A Ass #397

HOMER SIMPSON’S NOT AN ABETTING MAN

I probably shouldn’t do this. But you know me. Even if you don’t, I know me. Know me well enough to know that, it doesn’t matter whether I should do it. Like the Mean Widdle Kid, I dood it.

(Boy, there’s a joke that you either won’t get or won’t want to admit you’re old enough to get.)

The Simpsons is a comedy show, satirical and not to be taken as an accurate portrayal of anything. The same applies to the comic books based on The Simpsons. Even if The Simpsons were supposed to be as realistic as a Rembrandt, their stories take place in Springfield, whose chief of police is Clancy Wiggum. Let’s face it, if Clancy’s the chief law-enforcement officer, then the laws he’s enforcing have probably been simplified so he can understand them. The Springfield law defining arson is probably, “Fire bad.”

So I can forgive the legal error contained in the story “In the Swim” from Simpsons Illustrated #24. But I can’t forget it. And I’m simply not going to not write about it. Hence what comes next.

In the story, Mr. Burns has invited all the employees of the Springfield nuclear power plant on a Family Fun Cruise. Turns out, however, that Burns was only throwing the party as a distraction while he illegally dumped the plant’s nuclear waste into the Springfield Channel. When Lisa Simpson pointed this out, Burns advised her not to tell anyone. “Remember, in the eyes of the law, everyone on this boat is an accomplice.”

And that’s all the set-up you need or get. Now it’s on to the meatier part of the column: the legal analysis.

So in the eyes of the law, would everyone on the boat be an accomplice to Mr. Burns’ illegal dumping?

No.

Okay, that analysis wasn’t so much meat as it was pink slime. Let’s see if I can’t get the meat content up to that of two all-beef patties hold the special sauce, lettuce, cheese, pickles, onions, and the sesame seed bun.

In the United States, the concept of aiding and abetting is fairly simple. Anyone who actually commits a crime is guilty as the principal offender. Anyone who aids, abets, counsels, commands, induces or procures its commission, is an aider and abettor (or accomplice) and is punishable as if that person were also a principal offender.

If I, for example, agree to drive the getaway car while you rob a liquor store, I’m helping you and am as guilty as you of the robbery, even though I didn’t actually rob it. See, that’s fairly simple. But it’s only half a beef patty. Let’s add more.

The aiding and abetting statutes also require that the accomplice be acting with the same kind of culpability as the principal offender. In other words, the accomplice has to know the principal offender is committing a crime and wants to help the principal offender commit it. So if I help you, but I don’t know you’re committing a crime, I’m not guilty as an accomplice.

In our previous example, if you ask me to pick you up in my car outside a liquor store, but I don’t know you’re robbing the store, I’m not aiding and abbetting your crime, even if I do drive your getaway car.

That principle applied to our story for a time. At first, no one knew what Mr. Burns was up to. And because they didn’t know what he was doing, they weren’t accomplices. Then Lisa Simpson had to spill the beans and tell everyone. So now that they do know what he was doing, are they accomplices to his dumping?

Ah another layer to the analysis. A little more beef. But the answer is the same as before. Even though everyone on the boat knew what Mr. Burns was doing after Lisa shot off her big mouth, no one other than Waylon Smithers. did anything to help him. They weren’t aiders and abettors, because they didn’t aid him.

The law actually has a name for this principle. We call it the Mere Presence Rule.

The Mere Presence Rule is kind of an oddity in the law, because it means exactly what it’s name implies. The rule dictates that if you are merely present when a crime is being committed, you are not guilty as an aider and abettor.

If you’re standing on a corner when that hypothetical criminal from a few paragraphs back robbed the liquor story, you’re not guilty as an aider and abettor, even if you didn’t do anything to stop him. As long as you didn’t do anything to help or encourage the criminal, you are not an aider and abettor.

If you were a passenger in the car while the robber went into the liquor store and then came out and drove away but did nothing to help him, you’re not guilty as an aider and abettor. Not even if you knew in advance that the other person was going to rob the liquor store. As long as you didn’t assist or encourage the robber, you’re not an aider and abettor.

Sure the law might question your decision not to get out of the car and tell someone what was going on when it stopped. (The law might also question your choice of friends. I mean, this friend of yours has robbed how many hypothetical liquor stores now?) However, the law does not require you to do anything to stop the crime; not even telling somebody else that it’s happening. The law only requires that you don’t do anything that actively assists or encourages the criminal.

Getting back to the Simpsons story, all of the nuclear power plant employees were merely present when Mr. Burns illegally dumped nuclear waste in the Springfield Canal. They didn’t do anything to encourage or assist him. They were too busy playing Limbo and drinking some yellow liquid with umbrellas in them. So Mr. Burns and the story were wrong to say that everyone on the boat was an accomplice to his illegal dumping.

Let’s face it, to be an accomplice Homer Simpson would actually have had to do something. And I don’t think he’s got any accomplice-ments to his credit.

Martha Thomases: Not Your Children’s Camp

geek-summer-camp

Do you like winter? I don’t. I mean, I enjoy the first few snow days when the city is clean and white, and I like to wear sweaters and other soft warm clothes. I like to curl up in a cozy chair with a book and a glass of whiskey.

What I don’t like is the darkness, and the gloomy skies that come with snowfall.

So I was delighted to discover this website, which promotes something called the Epic Nerd Camp. I need extra fantasy in my life, now especially.

Did you go to sleep-away camp when you were a kid? Did you get picked on and bullied because you wanted to read comics and science fiction instead of playing capture the flag?

I did.

But I also loved a lot of camp activities. I liked shooting arrows at the archery range and thinking that I was an Amazon warrior or a member of Robin Hood’s band. I liked paddling a canoe, and learning how to tip it over and get back in, because those seemed like useful skills if I ever had to escape from a super-villain.

And I loved making s’mores.

Epic Nerd Camp is a week-long event that takes place in Starrucca, Pennsylvania, a town with which I am entirely unfamiliar. There are two five-day programs (August 12 to 16, and August 16 to 20). Instead of the usual camp stuff that required team sports and traumatized me as a child, the emphasis is on cosplay, quidditch, swordplay, circus stuff (trapeze, high wire, unicycle, juggling etc.) and games.

Lots and lots of games. Several game publishers are among the camp’s sponsors. Since I’m not much of a gamer, this is where they start to lose me. However, at $499 for five days, four nights of food and lodging plus all kinds of activities, it seems like a reasonable price. You can also pay an extra $60 for the goodie bag.

Unlike the camps I went to as a kid, the bunks offer a certain amount of privacy. And even more unlike the camps I went to as a kid, there are co-ed bunks. And alcohol is allowed – although you have to bring your own.

Looking at the photographs on the website, Epic Nerd Camp looks like a great time. The people in the photos are overwhelmingly white, but they have all kinds of body types. The FAQ makes a point that it is an LGBT-friendly place.

On this overcast day, it is delightful to think about a week in the woods, making and using my magic wand or learning how to walk a tightrope. On the other hand, I’m not a big fan of any activities that require insect repellent.

I suppose I could take the cosplay construction classes, along with mask-making, and cover myself sufficiently to avoid any bugs. They have needlecrafts, which usually includes knitting, so perhaps there is a screened-in room for us to knit. I wonder if I could combine the knitting and the cosplay to make my superhero outfit, just like Martha Kent.

That was something my old camp never offered.

Tweeks: Tales of Hairspray Live Teenage Extras

If you think you saw us in the background at the Corny Collins Show on NBC’s Hairspray Live! last night, you did!  We were cast as extras on the best live TV musical NBC has done & we’re here to tell you all about it.