Category: Columns

Marc Alan Fishman: Shameless Promotion

Marc Alan Fishman: Shameless Promotion

newbie

For those playing at home, DC Comics is looking for new talent to join their team. Artists had their shot last month, and now writers are able to apply until the end of this month. One of the requirements asks of the would-be employee: “[Provide] a short composition no longer than the space provided, which is equivalent to about a page, double-spaced and in size 12 font, or 2000 characters (with spaces). It should tell us why you want to be a DC comic book writer and how your background will add a unique perspective to our publishing portfolio.” Over the last week or so, I’ve noted a handful of my indie comic compatriots seeking advice on how to complete that request.

My advice? Feh! They wanted a quick and shameful ego boost. I’m not kidding, kiddos… I saw over a half dozen posts all resembling the following:

“DC wants to know why I want to write for them… and why I’d be good at it. Wah! Wah! I’ve never been good at promoting myself. So, please, tell me why you think I would be good at it.”

Underneath their cry for help came the long comment threads that promote stomach churning. Oh you’ve always been amazeballs dude! one cousin would chime in with. I love your stuff. Just tell them about your thousands of fans! a probable co-worker retorts. They should be so lucky to have you sweetie! would prattle from the keyboard of their parents in Arizona. And then, across those threads the original poster – people who I consider at least professional friends – replies to all: Oh, thank you everyone! I’ve always hated this kind of stuff!

Gag me with a spoon.

I read over DC’s submission guidelines like every other would-be hopeful. To be clear: I don’t mock anyone for applying. Lest we forget Mark Bagley broke into comics via a submission contest not much different than this one. But I certainly cry foul – a flagrant foul – against any writer who coyly dismisses their ability to self-assess. Same as I would for any visual artist, musician, filmmaker, photographer, or graphic designer. Because like any job offer we eventually compete for, self-promotion is an absolute requisite skill. And seeking peer review never includes panhandling for praise amongst those who can’t offer constructive feedback.

Shameless self-promotion is one of the first and most potent tools in the bag of a budding writer. In my own life, long before I walked the walk, it took a bit of talking the talk to act as means to an end. Had I not convinced the first publisher to take a chance on Unshaven Comics’ abilities, we may still be sitting around wondering when someone would give us a chance (and in that alternate reality, we don’t come to the realization we should be doing it on our own anyways). We never lied about what we could do. But we certainly took no shame in being able to #humblebrag our way through the first interview.

But more to the point, I reread what DC is asking for. Not unlike those silly first questions on a job interview, the powers that be want to know what their prospects consider to be their best quality. And they only want 2000 characters worth of said self-aggrandizing.

For those who need a reference as to how much actual content that is, re-read this very article to the middle of my paragraph citing Mark Bagley. Yeah. That’s a heap of personal praise, is it not? Thank god for our Facebook fans, lest we ever figure out what makes us tick!

I can’t shake the simple truth of it all. I think on literally any writer worth their salt, and I know there exists a bit of inner id that allows them to be the cock of the walk. I’m not saying writers need to outwardly exist as blurting blowhards. Heck, being in the presence of a living legend here on ComicMix, John Ostrander, belies a man who would be barely audible if he was plugged into a Marshall stack. But you better bet your left nut or ovary that John knows his worth, and as long as I’ve known him I’ve never seen a single appeal for acclaim from his admirers. But I digress.

Admittedly, like my bashful blatherskites, I did take a step back when it came time to fill out that particular question. To distill my personal brand in the eye of a major publisher, is to place my neck as far out as possible… and be willing to defend my position with my professional life.

And after brief consideration, I closed the form and went back to writing The Samurnauts. Ironic as it may be for some to read it, I freely admit I am not ready to write for DC. Or Marvel. Or Boom!, IDW, Avatar, Image, or Dark Horse. Because the truth of the matter is not resting on my talent, no. It’s just that I have far more to capture on the page on my own, then under the thumb of corporate masters.

And I came to that conclusion without having to ask a single person on Facebook.

The Law Is A Ass

Bob Ingersoll: The Law Is A Ass #388

MARIA HILL GETS A STANDOFF O

When last we saw The Avengers, several of their branches – The All New, All Different; the New; the Uncanny; and for all I know Steed and Mrs. Peel – were standing off against S.H.I.E.L.D. because of Pleasant Hill. As it’s been a couple of weeks since I’ve been able to write about Avengers: Standoff!, I thought a quick recap might be in order.

S.H.I.E.L.D. and its director Maria Hill got a hold of some fragments of a Cosmic Cube, a device which is controlled by the will of its holder and can reshape reality. It’s kind of like Green Lantern’s power ring but without the weakness to yellow or the need to make all its constructs curry the favor of Kermit the Frog. They used the fragments to create Pleasant Hill, an idyllic, all-American small town somewhere in Connecticut which was neither idyllic or all-American. See they populated Pleasant Hill with super villains whose memories had been wiped so that they believed they were non-powered residents of Main Street, USA. Various Avengers teams were getting ready to square off against Director Hill and S.H.I.E.L.D. because they didn’t agree with what had been done to the villains. Meanwhile, the super villains, who had regained their memories, were getting ready to square off against Director Hill, and S.H.I.E.L.D., not to mention the various Avengers teams, because they didn’t agree with what had been done to the villains either. And, for good measure, math students were getting ready to square off against Geometry teachers, because… Well wouldn’t you?

That’s where I left you last time I wrote about Avengers: Standoff! It’s also where I’m going to leave you this time, too, because the same things that kept me from writing columns for the past few weeks also kept me from reading comics for the past few weeks. I haven’t finished reading Avengers: Standoff! yet so have no idea how it ends. Or even if it ends. (Considering what goes on in comic books these days, that’s not as facetious as it sounds.)

Last column, I wrote about how Pleasant Hill prison violated the Eight Amendment to the United States Constitution and it’s prohibition against cruel and unusual punishment. My friend and fellow comic-book writer Tony Isabella didn’t fully agree with me. Oh he thought my analysis was fine, up to a point. That point being the USAPATRIOT Act. He didn’t think my analysis took into account what provisions might have been enacted to imprison super villains in a post-9/11 world.

I told him that because so many of the early villains in the Marvel Universe were super powered Communists, Congress in the Marvel Universe probably enacted it’s version of the USAPATRIOT Act in 1961, not 2001. However, considering the USAPATRIOT part of the USAPATRIOT Act is an acronym for Uniting and Strengthening America by Providing Appropriate Tools Required to Intercept and Obstruct Terrorism Act, it’s Marvel Universe version would probably have been called something like the Emergency Xenogenesis Containment and Elimination Legislation and Super-powered Individuals Oversight and Regulation Act.

So what affect would our hypothetical act have on a place like Pleasant Hill? Depends. No, I’m not claiming that the answer might make you poop your pants, I’m saying that some inmates in Pleasant Hill might be treated very differently from other inmates.

We know from our own real-life experience that people designated as enemy combatants are treated differently from US citizens under the USAPATRIOT Act. Prisoners who are not US citizens and classified enemy combatants can be held indefinitely and without being charged in places like the Guantanamo Bay detention camp. So prisoners in Pleasant Hill such as Helmet Zemo or Ulysses Klaw, who are not American citizens, could receive the enemy combatant designation. Especially Zemo. Even money says the government would designate a German national who headed the terrorist organization Hydra an enemy combatant without even a second thought.

Other Pleasant Hill inmates, such as Mr. Hyde, the Trapster, and the Absorbing Man are American citizens. I practiced law for 8 years after the USAPATRIOT Act was enacted, so I know from personal US citizens who became inmates didn’t lose their 8th Amendment rights. Even after 9/11. Thus, it would be harder for Director Hill or S.H.I.E.L.D. to deny the American inmates in Pleasant Hill of their constitutional rights, with or without our hypothetical congressional act.

When governmental agencies – such as S.H.I.E.L.D. – seek to curtail the constitutional rights of inmates, they must be able to show they’re using the least invasive means possible. That is to say, their method of imprisonment must be consistent with both keeping the inmates in while depriving them of the fewest number of constitutional rights possible as possible. Pleasant Hill wiped its inmates’ memories and personalities and replaced them with different memories and personalities. I still think that was an invasive and unconstitutional assault which deprived the inmates of their constitutional rights, and I think many courts would likely rule in this manner, even after our super-human control act.

Prisons in the Marvel Universe have power dampening mechanisms which can take away inmates’ super powers. Super villains without super powers are just as easy to keep in prison as normal prisoners; you know, the ones who aren’t being mind-wiped. So mind wiping them wouldn’t be the least invasive form of imprisonment.

Sure super powered inmates would be kept in facilities whose security was even more maximum than Alcatraz. Call it a supervillainmax prison. But I just don’t think courts would side with the mass mind-wiping of the inmates.

Moreover, Maria Hill obviously didn’t think the courts would side with her. Or anyone else. After all, she kept the Pleasant Hill prison a secret from three different Avengers teams, her bosses in the World Security Council, the courts, and pretty much everyone else in the world. If she thought she was on firm footing with Pleasant Hill, she wouldn’t have pussyfooted around in secret.

I’m sure that when Avengers: Standoff! ends – no, I haven’t suddenly gotten caught up on my reading, I’ve been writing this column – Pleasant Hill prison will be somewhat more public. Super hero/villain battles tend to make things public, even when they happen in rural Connecticut. Then after Maria Hill’s pet prison has been outed, the World Security Council will have to decide how do they solve a problem like Maria. Ms. Hill and allies must now face the music. And I have confidence they’ll do something to her. I wish I could be sure it would be something good, like them telling her so long, farewell, but it’ll probably be little more than a slap on the wrist. Still, a guy can do-re-mi-m, can’t he?

Martha Thomases: The Solution

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Once again I’m going to talk about the sexism in the comic book industry. Yeah, I’m kind of sick of it, too. However, this week, in a wave of optimism, I’m going to suggest a solution!

The subject is in the news once again because DC Entertainment finally issued a statement about the continuing charges that members of its editorial staff engage in sexual harassment.

As far as I know, there are no new charges this week. Instead, the pressure of fan reaction online and in the press must have finally reached the attention of someone at Warner Bros. corporate HQ, and the issue could no longer be ignored. It’s obvious that DC would like this to be ignored, and as evidence, I offer the fact that they released their statement on Friday afternoon, a time well known to publicists as a dumping ground because journalists, like everyone else, like to get a head start on their weekend.

I’m starting to feel bad for Eddie Berganza. He screwed up — badly — several years ago, and he accepted a demotion and did all the other things that the HR department demanded. He’s not the only person in comics to behave badly, but he got caught and he has paid at least a part of the price. Everything else that has happened since, up to including the alleged edict to ban women from working in the Superman office, is a mistake committed by management.

If Eddie really can’t control himself enough to work with women, he needs professional help. If there is a provable pattern of discrimination against women in the Superman department, that is a criminal offense whose blame goes to the people who enforce it. Unless publishing has changed monumentally in this century, editors — not even Senior Editors or Executive Editors — cannot ask a company to break the law on their behalf.

The solution is not to ban women from the Superman office (or the Spider-Man office or the Hellboy office, etc.) but to hire more women. Fill the place with women. Make acceptable and respectful behavior towards women something that happens all the time, every day.

I realize this is a radical concept, and it may be a lot to expect DC Entertainment to change when all of Hollywood behaves differently. Except that Hollywood, or at least a tiny part of it, is changing.

, the people who made the new movie, Neighbors 2: Sorority Rising, which opens today, were afraid they would be unintentionally sexist in their depiction of a modern-day sorority. To avoid this, they hired two women to consult about the script and the female characters.

Before the poor, oppressed straight cis men out there start hyperventilating about “censorship” or “political correctness,” thats not what’s happening here. The women are both writers and professional comedians. They were there to make sure the characters were real and funny, not bimbo stereotypes or delicate virgins.

I’m not suggesting that DC bring in consultants to vet every script or every page of art. Movies are a different medium, with one script (which may be rewritten constantly) and one production schedule. DC publishes more than 50 titles a month. Movie productions tend to each be a specific project, often with its own corporation or partnership, while comics are a continuing process from one legal entity.

Still, I think diversity consultants could be useful. In fact, I think there is an opportunity for just such a business. It would include people of color and people from other continents and people of diverse ages and sexualities and gender identities.

I think this company’s holiday parties would be so much fun.

If this works, it might be more efficient for DC to hire an actual Chief Diversity Officer. Yeah, it sounds like more bureaucracy, but companies are always adding new C-level executives. When I worked at DC, there was no such thing as a Chief Creative Officer. Now, DC and Marvel both have them.

Creativity and diversity go together. The sooner comics (and movies and music and television and theater and dance and publishing) realize this, the sooner we can talk about something other than Eddie Berganza. And won’t that be nice?

Tweets: Check, Please! Review

Hi Everyone! This week it’s just me, Maddy! And because it’s just me, I’m going to share with y’all my favorite web comic, Check Please by Ngozi Ukazu.

Eric Bittle is a pie-baking Georgia boy on an ice hockey scholarship at Samwell University in Massachusetts. That’s all you need to know….go read it! Actually, watch the video first, then go read it!

Oh, but wait….for our younger Tweeks fans or those who can’t abide “strong language” — this is about college hockey players, so there’s some questionable vocabulary in the comic and in the video.

Dennis O’Neil: The Boys Who Film Batman

Boy Who Loved BatmanMessrs. Pisani and Uslan, step into the spotlight, center stage and take a bow!

But before we deliver the plaudits, we should perhaps tell you who they are. Of course most of you already know, but there are always a few… well, I don’t want to call them “retards” because that is not politically correct and a crummy thing to say besides, so let’s just identify them as folk who choose not to mingle either physically or intellectually (by acquiring new information) and thus may not be acquainted with the existence of the gentlemen named above.

Mike Uslan is the possessor of the world’s only doctorate in comics, He is a professor at his alma mater, Indiana University, the recipient of a Daytime Emmy, a writer who once worked at DC Comics and he has a producer credit on every Batman movie released since 1989. (For more information, see Mike’s autobiography, The Boy Who Loved Batman, available from Amazon and other book stores.) Trust me – I could go on.

I don’t know exactly how to identify Ken Pisani. I met him a decade or so ago when Marifran, a camera guy, and sound guy and I joined him on a cavernous sound stage in lower Manhattan. The occasion was Ken’s interviewing me for a History Channel documentary on comics. The interview was extraordinarily good and Ken and his lovely wife Amanda have been friends ever since. I’d like to see Ken’s resume because I’m pretty sure he’s done a lot I’m not aware of – he does keep busy being a TV producer, a comic book writer/creator, a screenwriter, a novelist, an art director, a cartoonist…once upon a time, he even worked for Phil Seuling, the man who virtually invented the comic book direct sales market. Amanda knows the full catalog of Ken’s accomplishments. I, alas, do not.

Anyway, that’s Mike and Ken, and I hope they’re taking that bow.

The reason I mention them now is that Ken recently sent me some DVDs from a TV series that ran on Turner’s movie channel. The subject under discussion was the relationship of comic book to early movie serials. The format was the master of ceremonies talking with the comics expert who was – aw, you guessed it – our own Mike Uslan. After a few minutes informative conversation the MC screened two chapters of the serial we’d just heard Mike commenting on. The shows were educational and entertaining – more feathers for the Uslan cap – and they may have taught us comics geeks stuff that we didn’t know. This kind of historical background may not help us do stories, us creator types – I really haven’t decided about that – but it’s kind of nifty to know it.

By the way, in case you’re really out of touch… movie serials were short films shown with main features telling a story over 12 to 15 chapters, each chapter ending with the hero or other good guy in some kind in some kind of horrible quandary. The idea was, you’d return the following week to see how the hero escapes the quandary. Theoretically, you could return to see the hero squashed like a bug, but I don’t think that ever happened. At least, Mike didn’t mention it.

(Editor’s Addendum: Mr. Uslan has been back at writing comics every once in a while, and once again has given us some of the best stuff on the racks. His six-part Lone Ranger / Green Hornet series will be released by Dynamite Comics in July.)

Box Office Democracy: Money Monster

If your internet life is anything like mine you probably saw one too many articles this week on Money Monster and what it meant for the election, or what it meant that George Clooney made this movie and is a Hillary supporter, or why this movie exists when The Big Short already came out. I found it completely exhausting and it wasn’t representative of what this movie actually is. Money Monster isn’t a real piece of analysis about any kind of systemic flaws in our financial system; it’s John Q but with algorithmic trading instead of health care bureaucracy and George Clooney instead of Denzel Washington. It’s a fantasy and an understandable one, but one that feel light on substance and, ultimately, a little garbled.

The big problem Money Monster has is with its casting. George Clooney is a proven commodity as the slick huckster with a heart of gold, and throwing in some Jim Cramer caricature makes it so much better. Julia Roberts is the quintessential put-upon hard-working career woman and she’s firing on all cylinders reunited with Clooney to do a slightly less sexually charged version of their shtick from Ocean’s Eleven. Clooney and Roberts are fantastic but they pull focus from the character the movie should be about, the guy who is so angry with the injustice of the financial system he needs to take hostages, Kyle Bludwell. Kyle is played by English actor Jack O’Connell, who you might know from his turn on the British drama Skins or his medium-sized part in 300: Rise of an Empire, but who you probably don’t remember from anything. He does a good job and is honestly acting his ass off at certain points in this film, but even in those big moments it’s hard not be transfixed by the bigger stars on the screen. It makes Kyle’s rage about the injustices of our system and the lack of accountability seem like the less important problems than the dining habits of a TV host, and that seems antithetical to the movie’s message.

If we ignore the central political issue, and it sort of feels like the film wants us to, there’s perfectly good filmmaking in here. The studio hostage scenes are tense and it especially does a good job focusing on the fear and menace that the gun represents. The mystery elements feel sufficiently twisty and surprising, although my fiancée pointed out in the car home that it all really gets solved by one person asking one question to the right regulatory body and maybe it all would have come out without the events of the film but I can let that go. There are even some good moments of levity, which can be hard to balance with a film that wants to be on the edge of overwrought all the time. It’s nice to see Jodie Foster back directing features and she gets good work out of her actors, it’s just a shame to see the parts add up to less than a coherent whole.

There’s no way anyone in Hollywood sat in their office and said, “we’re going to make a movie about the financial crisis and we’re going to cast George Clooney and Julia Roberts and it’ll get middling reviews and open in third place in mid-May.” That’s just not how anything works. The previews we saw before this movie were prestige films with festival accolades and pre-made awards pitches, and it was like seeing the potential Money Monster was going to fail to live up to. This could have been a powerful statement on any number of topics, but instead was okay with being a good thriller and an offbeat character piece. Money Monster wants to be a big and important movie but it doesn’t get there, it doesn’t have a strong enough point of view or clarity of vision.

Molly Jackson: The Big Con!

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Did you hear all those panicked screams yesterday? The cold yells of people feeling their hopes dashed before their very eyes?

Yes, yesterday New York Comic Con announced that they were once again altering their ticket sales process. This changes nearly every year (just like DC’s logo!), so every time it happens it shouldn’t be a surprise… but it always is. The big steps are always taken to help the ever-growing hordes to buy tickets and make sure that they don’t game the system.

The newest hoop is the addition of fan verification for anyone who could potentially buy a NYCC ticket. What it really boils down to is this is just NYCC having everyone register on the NYCC website in advance. So if I and my three friends want to go, we need to pre-register. The other change is there will no longer be any VIP tickets or tickets sold at retailers. Everything will be online and announced to members through their email that they verified with. San Diego Comic Con has done the same thing for years, so this isn’t news to serious con goers.

Yet, this small step has built up a lot of discourse amongst fans. Now there are cries of despair and confusion about the system. Now people are convinced that they will never get tickets again and, therefore, the world will end. OK, I might be exaggerating a bit but you get my point. Truth is, this is going to fix things with attendance. Yes, you can’t sit on a line outside Midtown Comics for 10 hours to get a ticket, but that also means the 30 ticket scalpers ahead of you can’t do the same. Will some scalpers still find a way? Yes, of course they will. But NYCC has gone pretty far to make it harder for them.

The big problem with this is that it doesn’t go far enough. As of their announcement, all tickets are non-returnable, non-transferable, non-resalable and non-upgradable. I understand the need to keep tickets non-resalable and non-upgradable. Making tickets resalable flies directly in the face of stopping scalpers, so that is pointless to have. I doubt anyone (except scalpers) would disagree. I can also understand the non-upgradable. There are a limited amount of each ticket to appease the great fire marshal! If you anger the fire marshal, his wrath will rain down upon us all! Oh, and the con will be closed down. Let’s not piss him off.

Now, on to non-returnable and non-transferable. The same scalper warning could be put onto non-transferable. This could be abused by the exact people they are trying to stop. But, if you limited how many tickets could be transferred, like 1-2 by the original credit card holder, it could help fans manage the planning in advance. One argument I saw was for disabled persons that need someone to assist them. If the pass could be easily transferable if the assist person changes last minute, which would be a big help for the disabled fans in attendance. Most likely though, this would not be a change NYCC would make.

NYCC needs to make tickets returnable. If you want me and my party of four to commit almost five months out, give me a small safety net. As NYCC likes to tell us repeatedly, they are as big as or bigger than SDCC. Well, SDCC lets tickets be returned. If I can return my tickets, then why not let me? Put it on me to pay shipping if I already received it and then do a last minute sale online in September. Give fans a chance to go if they couldn’t get through the slog of people trying to buy tickets in June. Look at the fear and panic already. There will be no danger in not selling out.

At the rate all of the conventions are growing, soon a lot of fans will be locked out of conventions. That is a truth we can’t ignore. Geekdom has grown out of the basement and I don’t think it will ever be going back. How conventions react to this growth boom is a different story. They need to remember that their fans are still everyday people, who are incredibly passionate about their fandoms. Giving those loud, excited and social media savvy fans some wiggle room can only help conventions grow more.

Joe Corallo: Darwyn Cooke – A Personal Remembrance

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As many of you know Darwyn Cooke, beloved comic book industry icon, passed away Saturday May 14th after a battle with lung cancer. He was 53 years old. I could go into all of the facts, his accomplishments and merits in animation, illustration, and writing, but many of you already know them all or could easily gain access to them on the plethora of websites covering this tragedy. So in lieu of listing off his accomplishments, I’m going to talk about what Darwyn Cooke means to me.

Darwyn Cooke 1My earliest memories of Darwyn Cooke’s work was from Marvel’s X-Statix. Peter Milligan, Mike and Laura Allred crafted an incredible pop art critique of the direction we were going in our fame obsessed culture using mutants as the metaphor of choice. One of the artists that also worked on this was Darwyn Cooke. My younger brother James was not quite a teenager as this was coming out, but he knew right away that it was something special. It took me a little longer than James to really appreciate just how incredible artists like Darwyn, the Alfred’s and Paul Pope are, but not that much longer.

From there I would see Darwyn Cooke’s work pop up time to time. I was always attracted to it, but never really know where to jump in. For a few years I found myself travelling the country working on different political or advocacy campaigns and my comic reading was sporadic at best. One of the artists I fell in love with at that time was a collaborator of Cooke’s, Tim Sale.

Once I really settled back in New York in 2010, I delved into working on comics myself. By NYCC 2011, I had enough comic work done where I decided to get a table with my then collaborator Bob Wulff. This would end up being more of a learning experience than anything else, but we did end up having a table diagonally across from Tim Sale. More than a few times when he had a lull I’d walk over, chat with him, and get a couple of books signed, including Absolute Batman Long Halloween, the only Absolute edition I owned at the time. When I asked Tim what other Absolute editions he would recommend, he said without missing a beat, The New Frontier.

Not long after I picked it up and was blown away by how gorgeous the art was and how he lovingly and seamlessly crafted such a complicated and continuity heavy story in just the right way to make it all feel so straightforward and simple.

I would soon be given a copy of the first of the Richard Stark’s Parker graphic novel adaptation from IDW, The Hunter, by my friend Mike Bradley. He owned and operated Collectors Kingdom for over two decades before his sudden passing on April 6th, 2015. He was 48 years old. For a while I would stop in at least once a week to pick up comics, chat with Mike and the regulars there, and exchange recommendations. I thought of his love of Darwyn Cooke and how he gave me that book when I heard of his passing, and now Darwyn Cooke’s passing has brought this all full circle for me.

For NYCC 2012 it was announced that Darwyn Cooke would be one of the guests. I was excited at the prospect of meeting someone whose art I had grown to adore. Shortly before the convention, however, he had to cancel. This left me disappointed, but I figured it wouldn’t be too long until I’d get a chance to see him. After all, it’s not like he was going anywhere.

One year later at NYCC 2013 he was again announced as a guest and unlike the previous year, he remained as a guest. This time I would get to meet him. Darwyn Cooke didn’t have a table in artist alley, which made things more difficult. I saw that he had a panel on his life and career moderated by Paul Levitz on the last day of the con in the last time slot, and 4pm. Paul also wrote a heartfelt post on Darwyn Cooke’s passing you can read here. I planned my day around making sure I could attend.

Before I headed over to the panel, I dropped by artist alley to pick up a Superman sketch from my friend John Broglia. We chatted about the show, and it eventually came up that I was going to the Darwyn Cooke panel. John’s eyes lit up and he turned to his bag to dig out a copy of one of Darwyn’s Parker adaptations. John told me that every con he attends that Darwyn Cooke is at he tries to get a comic signed by him, and asked if I could get that signed for him. Having no idea if I’d even be able to get a signature from Darwyn Cooke at this panel, I said yes.

The panel was everything I hoped it would be. Paul Levitz facilitated a wonderful, engaging conversation about how Darwyn got his start in comics. Afterwards, the modest sized panel audience mostly dissipated as a handful of people stuck around, including myself. When it was my turn to talk to Darwyn Cooke, I didn’t do or say anything special. It was mostly niceties and a declaration of how much his work means to me.

I had three books for him to sign: the Parker book Mike Bradley gave to me, the one that I was getting signed for John Broglia, and copy of Absolute DC: The New Frontier. He signed the Parker books first. When it came to the Absolute, I told him that Tim Sale had told me about it a couple of cons back. After hearing that, he looked up at me and with a big smile on his face asked me my name. He proceeded to sign the book to me and did a quick head sketch. We shook hands, still with that big smile on his face, and I rushed back to artist alley to get John his book back as I ignored the loud calls from volunteers that the show was over.

There were at least a couple of other chances I had to see Darwyn Cooke again, but I didn’t. Some conflict or another would arise, and I’d think to myself how it’s more important that someone else who hasn’t met him yet got the opportunity to anyway. After all, it’s not like he was going anywhere.

Darwyn Cooke and his work in comics mean a great deal to me and countless other people. The brightness, optimism, and heart in his storytelling often seemed like the last stand of a losing war in mainstream comics against darkness, cynicism, and hate. Though others still work on combating this bleakness, to me he has been their greatest champion. Because of the work he has done, he’s left countless other people in his place to champion these ideals in his stead. Some of them you’ve heard of, some of them you’ll hear of soon, and I’ll bet some of them won’t even come into being until all of us here now are gone.

My condolences to his family, his friends, and to all the lives he’s touched. The world of comics is a darker place for now, but it won’t be for long.

Darwyn Cooke 3

Mindy Newell: Baa, Baa, Black Sheep

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“If I were to run, I’d run as a Republican. They’re the dumbest group of voters in the

country. They love anything on Fox News. I could lie and they’d still eat it up. I bet my

my numbers would be terrific.” – Donald Trump, People Magazine, 1998

“It is better to live one day as a lion than 100 years as a sheep.” – Benito Mussolini

Perhaps this is “bad business,” but before you do anything else, I want all of you to go over to Michael Davis World – yes, that Michael Davis, who happens to be my loooong time friend and fellow ComicMix columnist – and read Martha Thomases’s latest piece, entitled “Trump Card.” Then sit and think. Then read it again.

Then be afraid. Be very afraid.

I know I don’t often get political – oh, c’mon, who the hell do I think I’m kidding? – but this time I have to tell you that I am more consumed with fear for this country than even when the Bush administration sold the American public a bill of goods, the Brooklyn Bridge, a mule they swore was a horse, and lied us into the Iraq War. Which, if you understand history and current events, you’ll be able to follow the timeline that has brought us to the cliff on the edge of the abyss that is Donald Trump.

Ronald Reagan was called the “Teflon President,” but never in all my life have I seen a truer description of the “Baby Man,” as Jon Stewart calls the presumptive Republican Presidential candidate – no matter what he says, no matter what he does, no matter what is revealed, nothing touches Trump; criticism and truth slides off of him the way a well-cooked omelet slides out of a sauté pan, be it insults, lies, racial slurs, gender insults, religious attacks, or back-tracking.

No matter what they have previously stated on the record about never endorsing Trump, just about every Republican still in office or up for re-election in the fall is falling into line behind him, forgetting their oath to this country to protect it “against all enemies, “foreign and domestic.”

Speaker of the House Paul Ryan hems and haws and hems and haws, and I am actually disappointed in the man. Although I am unlikely to ever agree with his policies, there is no denying that Mr. Ryan is not stupid. But instead of having the balls to stand up and say “there is no way I am ever going to endorse this guy, there is no way this phony in an expensive suit is suitable for the office of the President of the United States, there is no place for a loose cannon like Donald Trump in the White House,” Mr. Ryan, like too many of his fellows, looks only to his own future. He could have simply laughed at the suggestion that Trump will fire him from the position of Speaker of the House if Ryan doesn’t go along with him – that alone shows how ignorant Donald Trump is about the workings of our government, as the Speaker of the House is not a contestant on “The Apprentice,” and cannot be fired by the President. He can only be fired by his fellow Republicans in the House… if they maintain the majority in the November election.

There are Republicans currently in office who are refusing to support Trump:

John McCain (R-AZ) and Lindsay Graham (R-SC) being the two biggest names, though both claim it is because he does not have “conservative bona fides.” Of course McCain is obviously worried about the Hispanic and Latino vote in Arizona, as he’s running for re-election in his Latino-heavy state. Hey, while I’d rather hear them both say it’s because he’s a loon, I’ll take it. However, there are more conscientious Representatives and Senators out there:

Rep. Scott Rigell (R-VA) loses points because he is planning to retire at the end of his current term, but he did send a letter out to his supporters which urged them to vote for anybody but Trump: “My love for our country eclipses my loyalty to our party, and to live with a clear conscience I will not support a nominee so lacking in the judgment, temperament and character needed to be our nation’s commander in chief. Accordingly, if left with no alternative, I will not support Trump in the general election should he become our Republican nominee.”

Rep. Carlos Curbelo (R-FL) said, early in the campaign “This man does things and says things that I teach my six- and three-year-olds not to say. I could never look them in the eye and tell them that I support someone so crass and insulting and offensive to lead the greatest nation in the world.” You go, sir! That’s what I want to hear! Representative Curbelo has also said that he will back either a third-party candidate or a write-in.

And yes, there are many Republicans whose names are not familiar to the national public, but are on the inside of Washington politics who are open about their opposition, such as Elliot Cohen, counselor to the State Department during George W. Bush’s administration, who tweeted “…I will oppose Trump as nominee. Won’t support & won’t work for him for more reasons than a Tweet can bear.” He also wrote an open letter to Trump, signed by 60 members of the GOP National Security committee which said: “Mr. Trump’s own statements lead us to conclude that as president, he would use the authority of his office to act in ways that make America less safe, and which would diminish our standing in the world. Furthermore, his expansive view of how presidential power should be wielded against his detractors poses a distinct threat to civil liberty in the United States.”

Max Boot, foreign policy adviser to Sen. Marco Rubio, and a fellow on the Council on Foreign Relations told the New York Times that “I would sooner vote for Josef Stalin than I would vote for Donald Trump. There is no way in hell I would vote for him. I would far more readily support Hillary Clinton, or Bloomberg if he ran.”

I don’t know if the “Republicans for Hillary” movement will gain any ground, at least in public, but I do think – and many people have derided me for thinking this – that a lot of them will quietly take advantage of our “secret ballot” system to indeed pull the lever or push the button or pencil in the box for the Democrat who would be our first woman President…or will “feel the Bern.” Maybe this isn’t brave of them, as they will be protecting their own Republican asses, but at the least they will be doing the right thing for the country. In fact, I will go so far as to say that I wouldn’t be afraid to bet that the Bushes (all of them, including the wives, kids, and assorted family members old enough) will be voting the Democratic Presidential ticket, whether it’s Hillary or Bernie, though I wouldn’t bet that on that outcome when it comes to their Senate, Representative or local races.

Last February the website Gawker punked Trump by sending him quote by Benito Mussolini, the fascist Italian dictator, which Trump retweeted. The quote was: “It is better to live one day as a lion than one hundred years as a sheep.” When confronted about it by Chuck Todd on NBC’s Meet The Press, and if the candidate wanted to be associated with a dictator, Trump said:

“Chuck, it’s OK to know it’s Mussolini. Look, Mussolini was Mussolini. It’s OK to – it’s a very good quote, it’s a very interesting quote, and I know it. I saw it. I saw what – and I know who said it. But what difference does it make whether it’s Mussolini or somebody else? It’s certainly a very interesting quote… I want to be associated with interesting quotes. And people, you know, I have almost 14 million people between Instagram and Facebook and Twitter and all of that. And we do interesting things. And I sent it out. And certainly, hey, it got your attention, didn’t it?”

That answer is pure Trump.

As for those 14 million followers on “Instagram and Facebook and Twiiter and all that?” As I told our editor Mike Gold today after seeing Captain America: Civil War, “Those yahoos think Trump is talking about a pizza parlor in New York called ‘Mussolini’s’.”

Open all night.

Oh, yeah. And Civil War rocked!!!!!!

 

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