Tagged: Arts

Martha Thomases: Neil Gaiman – And Failure

If you haven’t already seen this video, rush right over here and listen to Neil Gaiman give a commencement address at the University of the Arts in Philadelphia last week. In his inimitably charming manner, Neil advises the new graduates on how to approach a life in the arts.

He is wise and he is insightful, and he inspires me to riff on a few of his tenets. And, because I’m me, I’m going to quibble with another.

The best thing he says is the scariest: Fail. You can’t be an artist if you don’t fail, frequently and spectacularly. You have to make mistakes, and you have to make them in public, or it least in front of an editor or a curator or a choreographer or a director who will be a witness. If you don’t make mistakes and fail, you don’t test your limits, you don’t discover who you are and what kind of art you are capable of creating.

It’s not enough to just make mistakes, or we would all be successful artists. You also have to learn from the mistakes you’ve made. Sometimes the lesson isn’t obvious – Neil describes how he misspelled the name “Caroline” as “Coraline” and thus was born a brilliant story – but if you don’t learn, you’ll keep making the same mistake, expecting it to suddenly produce success. And then you are an executive in the DC marketing department, not an artist.

He also talks about not taking jobs just to make money, which is a fearless thing for a young artist to attempt. Money is important, especially when you don’t have any. It pays for rent and food. It allows you to clothe yourself so you are presentable and can get other jobs. Sometimes the artist has children at home, and a hungry baby really doesn’t understand why artistic integrity is a thing. Like making mistakes, this is where the true nature of the artist is revealed. You can make the sacrifices for your art, and learn from them, as you learned from your failures. Maybe you’ll learn that the life of the artist isn’t for you.

That’s no disgrace. That’s real life.

And now, here’s my quibble. Neil tells the kids in the audience that, whatever happens to them, they should “make good art.” If the cat dies, “make good art.” If you lose a leg, “make good art.” If you can do it in the bad times, you can do it in the good times.

I’m in favor of good art. There should be more of it. However, one of my personal demons, when I sit down to write, is the fear that my work isn’t good enough. I’m much better off attempting to make art, without sweating whether or not it meets anyone’s standard of “good.” A writer writes because she has to write. An artist makes art because she has to make art.

“Good” comes with luck, practice, inspiration and skill.

SATURDAY: Marc Alan Fishman

 

DENNIS O’NEIL: Who Needs To Be A Superhero?

File this under Art Imitating Life Imitating Art.

Or maybe, clothes don’t make the (super) man.

Last month, the New York Times ran a story – front page, no less – about ordinary citizens putting on costumes, giving themselves superheroish names, hitting the streets and combating real-life crime. Apparently, they mostly content themselves with non-violent intervention, or calling the cops, though one guy in Seattle was arrested after pepper-spraying a street fight.

They even have an organization called The Black Monday Society.

It’s been creeping into the zeitgeist for a while, this business of plain Janes and Joes putting on odd clothing and assuming alter egos. There’s been at least one movie that uses the idea as a springboard – it’s called “Super” and it’s popped up on cable channels hereabouts – and it was the core of a weekly television show titled “Who Wants To Be A Superhero?” hosted by my one-time boss, Stan Lee. (Stan: If you’re out there and asking that question, I’m not raising my hand.)

I imagine that for most members of the Black Monday Society, the masked-and-caped patrols are a hobby, a slight mutation of the dressing up at comics and science fiction conventions that can make a good time of just sitting in a hotel lobby and watching the fantasies parade on past. And hey, maybe the Black Mondays are actually of some service to heir fellow citizens. What’s not to like about blowing the whistle on some creep breaking a vacationing neighbor’s basement window, or directing a befuddled partygoer to the nearest bus stop? But here’s the catch: these well-meaning people are not superheroes, and neither are you, or I, or Stan, or Ryan Reynolds, or anybody else who ever trod the planet. We are not faster than a speeding bullet, we can’t outpower a locomotive nor leap over tall buildings, and if we were ever bitten by a radioactive spider we’d need medical attention. As a species, we homo sapiens need medical attention pretty often, and we especially need it when we meddle with strangers who are bigger, stronger, meaner, or have better weapons or ornery friends or, as almost happened when congresswoman Gabrielle Giffords was shot, a good Samaritan packing a gun mistakes the heroes for the villains.

The psychosexual aspects of role playing in dangerous contexts were touched on in Watchman, still the high water mark in comic book superheroics, and the perils of being a self-appointed vigilante were the subject of last week’s episode of Harry’s Law, which dealt with a young woman’s putting on a Wonder Woman suit and bashing abusive spouses.. I’d been watching the show for about 20 minutes before I remembered that its co-writer, and the show’s creator, the prolific and generally excellent David Kelley, was also honcho on a Wonder Woman series that NBC decided not to air. The episode was unusually glum for a Kelley production, with the faux WW ending up in therapy, but it did give the producers an excuse to put a gorgeous Erica Durance in that costume.

Several decades ago, the mythologist and sage, Joseph Campbell, warned of the dangers of conflating myth with fact. A news story and a fable tell different kinds of truth and it might be unhealthy to confuse the two. So maybe we’d all better save our superheroing for the next convention costume parade and find other ways to help our neighbors.

FRIDAY: Martha Thomases

 

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MIKE GOLD: Movie Theaters Suck

gold-column-art-120118-4888446I’ve said it before, and I can’t say it enough: John Ostrander is my oldest friend and a virtual brother. We grew up as Northsiders in Chicago, as Cubs fans and as comics fans, and we believe that politics is a more interesting version of cage wrestling. I’d take a bullet for the guy, I’d pull it out of my ample gut, put it on a chain and give it to him. I’d leave it to John to wash it off.

In this space last Sunday, John explained why he loves going to movie theaters. I agree with his points; I think I agree with each and every one of them. But we differ in the conclusion.

Movie theaters suck. They are stupidly expensive. They are a drive to a long parking lot. For the price of a mid-sized carton of popcorn at the multiplex, you can make enough of the stuff to feed most of East Asia. At least one asshole (someday me) is going to forget to turn his cell phone off. Other assholes are going to be texting like a crackhead chicken playing tic-tac-toe on a hotplate. Because they have to pay so much to get into the joint, half the audience thinks they can abandon the concepts of common decency and babble like a crackhead chicken playing tic-tac-toe on a hotplate.

By the way, that’s not necessarily the teenaged and young adult half of the audience. I’ve had to tell yentas old enough to be my grandmother to shut the hell up, even resorting to whispering to one “shut up and learn some fucking manners!”

Oh, yeah. Did I mention the commercials? Commercials?? Really? Commercials? That’s just an insult. I don’t care if it reduces the already outlandish ticket price. That’s like selling a bag of shit for only $12.00.

But it’s the other part of John’s argument that I wish to address.

Last year, our ancient 35” cathode ray tube died. Soul daughter Adriane and I immediately performed CPR, to no avail. After sitting in stunned silence for a while, I mentioned I had planned on this happening eventually. The very next morning – no time to sit shiva – we went out and bought a 55” LED HDTV, 240 mHz, with Wi-Fi. Later on we enhanced the sound system and still later found a Blu-Ray player in a box of Post Toasties. Combined, the whole operation cost less than the 35” CRT it replaced – and I’m not even talking constant dollars. For the price of two-dozen movie theater outings, we can conquer Hollywood.

Nonetheless, Adriane asked why I was insistent on getting a 55” screen. I said that when she’s 60, she’ll understand. I also warned her I’ll be moving the couch a couple inches closer to the screen each year.

It is not the same as seeing a movie in a real theater… but it’s damn close, particularly on Blu-Ray. If there’s somebody babbling at the screen, chances are it’s me and I am exceptionally entertaining. The popcorn is better and comparatively free of charge. If my cellphone rings, I turn it off. There’s no driving involved. I don’t even have to get dressed – sometimes.

And there are no commercials.

Different strokes for different folks, and I’m not knocking John’s choice. I’m sure the theaters in the Flint Michigan area are less expensive than they are in the New York metro area. Still, John and I grew up going to many (if not all) of the same, glorious movie palaces that were often better than the movies they showed. If I had a chance to do that again, I’d do it in a heartbeat. And I haven’t sworn off going to the movies, but these days it’s a rare event involving a large group of friends, an impulse choice, or a multiplex in the middle of nowhere but within a short drive of whatever motel I’m staying at off an Interstate.

But I’ll try to go to a matinee.

THURSDAY: Dennis O’Neil

MINDY NEWELL: Meeting Deadlines

First off, to paraphrase John Ostrander:

God Bless Mike Gold.

Okay. Now….

One thing about being a writer.

Deadlines.

If you want to be considered a professional, you need to understand that deadlines are part of the job.

There have been a few times in my writing life where I have missed my deadline. It doesn’t engender good feelings on anyone’s part.

Missing a deadline is like being Aaron Rodgers in yesterday’s Giants/Packers game. It’s throwing one too many turnover. It’s getting sacked one too many times. It’s knowing that you’re letting down your teammates who are depending on you. In the comics world, it’s not just your editor, who will have to answer to his or her boss. It’s letting down the artist, the penciller, the inker, the colorist, the letterer. It’s letting down the production department. The scheduling department. The printers. The distributors.  It’s letting down the comic shop owner is dependent on monthly arrivals of books on a monthly schedule to help meet their monthly budget, including expenses and net profit.

Most importantly, it’s letting down your readers.

Remember 24? Each week the hour ended with a terrific cliffhanger, and the next seven days were murder. You haunted all the spoiler boards. You got into heated discussions on your favorite 24 message board about what could be next, how Jack was going to get out of this one. You twisted your brain trying to outwit the terrorists that are about to set off a nuclear bomb in Port Newark.

It’s the same with comics. Think about the last time you were heavily involved in some storyline that ended each month in a terrific cliffhanger. You can’t wait for the next issue.

And like any good comic geek, you talk about it all day and all night, surf the web looking for information on what’s coming up next, write the next chapter in your imagination.

And then you walk into the your friendly neighborhood comic shop and the proprietor tells you that the issue is delayed.

How many times has that happened?

What was your reaction?

Lots of cursing, I bet. Lots of swearing that you’ll never read an issue of fill-in-your-favorite-book-title-here again. And then you go home and log on to your favorite fan site and let everybody know what a dick the writer is, and not only will you never buy an issue of that comic again, you’ll never read anything by that dick again, you’ll never even buy a comic from that dick company again!!!!!

And then sales go down, and the comic is cancelled. The writer loses his or her job, the artist moves on to the next thing if he or she can, the editor is hauled into his or her boss’s office, and the domino effect continues. All the way down the line.

And just maybe because a deadline was missed once too often, your neighborhood comic book shop closes. And now someone else is out of work.

And most likely the penciller, the inker, the colorist, the letterer will get more work. The production department will move one. So will scheduling, and the printer, and the distributor. Even the editor will move on.

But the writer, the one who came up with the brilliant idea, the one who made the story come alive in the first place?

You’ll have the Mark of Cain on you. Oh, yes, word gets around.

And the only writing you’ll do is the weekly shopping list.

Oh, and writing out the checks.

If you can afford it.

Yeah.

There’s a reason why they’re called DEADlines.

TUESDAY: Michael Davis

 


MARTHA THOMASES: Death Cab For Batman?

Over the last two weeks I’ve taken more taxis than I did in all of 2010. I hate taking cabs. They’re expensive, and it frustrates me to sit in traffic watching the meter click. It makes me feel like Geraldine Chaplin in Welcome to L.A. I much prefer the subway, smells and all, because it’s cheap and fast.

I took the expensive cabs because I needed them. If we didn’t need the cabs, we would have been quite content to walk or take mass transit. The person with whom I was traveling couldn’t walk to a bus stop much less climb the stairs to the subway, and it was imperative that we get where we were going. Luckily, I can afford to do this when necessary.

What does this have to do with comic books?

DC Comics recently announced a price hike on some of their books. Naturally, customers aren’t happy about this. No one wants to spend more money if they don’t have to.

You know what? You don’t have to.

It’s possible to lead a productive and satisfying life without reading Batman comics the week they hit the stands. Or so I’ve been told. Billions of people do it. Some of these people will read the stories later, paying for them in a back-issue bin, or a trade paperback collection, or online when the price goes down. Most of the people on this planet will never read them.

It’s a choice.

I don’t know what financial pressures are behind DC’s decision to raise those prices. It could be motivated by editorial considerations. Maybe retailers told the publisher they needed a higher cover price to make a profit. Maybe Diamond needs the profit. Maybe DC does.

I’ve read on some bulletin boards that some customers feel this is stupid, that DC is taking that extra dollar from customers who will therefore have a dollar less to spend on other titles. This presumes that there are only so many dollars available, because there are only so many customers. Maybe that’s true in some markets, but, nationally, there are all those millions of people who haven’t yet bought a Batman comic. I would guess that those people would prefer to pay $2.99 instead of $3.99, but that as long as it’s under $5, it’s not that noticeable.

If you can’t afford to buy a comic the day it comes out, don’t buy it that day. Take a deep breath. Wait a week.

It’s okay. Stories keep.

Save your money for when you need that taxi.

SATURDAY: Will Marc Alan Fishman Take Up The Michael Davis Challenge?

 

MICHAEL DAVIS: The New DC 52 – Is It All That?

Most people in the industry know that my best friend is Denys Cowan.

Denys is one of the greatest comic book artists that the business has ever seen. He’s the artist a lot of other artists look at and as to underscore that fact he’s been nominated for not one but two Eisner awards for best penciler.

He has worked for every major publisher out there. He’s one of the few artists that commands respect from both Marvel and DC without pissing one or both off.

That’s rare.

There’s not a major publisher out there that would not consider it an honor to have a Denys Cowan project under their imprint.

Denys is really hard to impress when it comes to comics.

Me?

I like what I like but I don’t have the depth of knowledge about comic books like Denys does.

Both Denys and I both think the new DC 52 are just wonderful comics.

I’ve got a less than stellar history with DC comics. That said, they are and have always been my favorite comic book universe since I was a kid.

It’s not just nostalgia I’m thinking about. I feel that way because I think DC comics has done some great creative stuff in the last 20 plus years. The second silver age was 90% DC in my opinion.

Denys looks at comics from a much more artistic point than I do, but we are both fans of the New 52.

So, are Denys and I on crack? Is the New 52 as good as we think?

WEDNESDAY: Mike Gold

 

Joe Simon

Joe Simon: 1913 – 2011

One of the last of the founding fathers of comic books, writer/editor/artist/publisher Joe Simon, died yesterday at the age of 98.

Joe was the first editor at Marvel Comics, then called Timely Comics. After creating Captain America with artist Jack Kirby, the team moved over to DC Comics to create the Guardian and the Newsboy Legion, the Boy Commandos, and Manhunter and take over the Sandman feature. The “Simon and Kirby” team were the first to receive regular cover credit. In the past several years, both Marvel and DC has reprinted all of this material in hardcover.

After World War II, the team reunited to form their own comics imprints, Prize Comics and Mainline Publications. In those endeavors they created the romance comic (Young Romance) and published titles including Boys’ Ranch, Black Magic, Bullseye, Foxhole, In Love, Police Trap and Young Love. They also created what at first was a knock-off of their own Captain America titled Fighting American. By the end of the first issue, Fighting American became a straight-forward yet satirical series lampooning the excesses of the anti-Communist hysteria at the time.

Their final creative collaborations occurred after the team formally split up following the dissolving of their imprints: they created The Adventures of the Fly and The Double Life of Private Strong (a.k.a. The Shield) for Archie Comics at the end of the 1950s, which was another knock-off of their Captain America, complete with military theme.

On his own, Joe Simon did an enormous amount of work for his friend Al Harvey and Harvey Comics, including covers to many of their newspaper reprint titles such as Dick Tracy and co-creating their short-lived mid-60s superhero line. More significant, in 1960 Joe created one of the few successful Mad Magazine imitations, Sick. It differed from most of the many, many competitors of the era in that Sick was both well-drawn and actually funny.

Returning to DC Comics at the end of the 1960s, he created and edited Prez, Brother Power the Geek, Outsiders, and The Green Team, and reunited with Jack Kirby for a one-shot featuring their take on Sandman.

His autobiography, [[[Joe Simon: My Life in Comics]]], was published earlier this year by Titan Books. Preceding that was a personal history of comics, [[[The Comic Book Makers]]], was co-written with his son Jim.

In the past several years, Titan Books has been publishing The Simon and Kirby Library, starting with [[[The Best of Simon and Kirby]]] and continuing with [[[The Simon and Kirby Superheroes]]], [[[Young Romance: The Best of Simon & Kirby’s Romance Comics]]], and [[[The Simon and Kirby Library: Crime]]]. This series was compiled and edited by Joe’s long-time friend and agent, Steve Saffel.

Joe was the recipient of the Inkpot Award in 1998 and the Will Eisner Comic Book Hall of Fame award the following year.

Joe Simon was one of a handful of creators without whom the American comic book field would not be as we know it today. To say he will be greatly missed would be to overstate the obvious.

MICHAEL DAVIS: I’ve Got A Secret

This week I received a very early Christmas gift! It’s something I’m dying to tell everyone, but I have to be cool for at least a little while.

However…

If I tell people what it’s not then I can talk about it without talking about it! And… if someone guesses what it is, how is that my fault?

Well, except that I opened my big mouth in the first place and talked about what it wasn’t thus giving raise to what it could be so someone could guess, except for that, how is it my fault?

I mean really.

There’s an old TV game show called I’ve Got A Secret. The object of that show was to figure out the secret of the contestant on the show. This was done with questions being asked by a panel.

I’ll give clues as to what my secret is and will if someone guesses cool! If not and some of you out their want to send me questions to answer that help you along, great!

If no one plays that means no one will win the fantastic prize!

What’s the prize? No idea, but when I figure it out it will be fantastic!

So here are the clues!

It’s a huge deal that features comics.

It features a book but not a comic or graphic novel.

Some of the biggest names in the industry are involved.

The project will take a year to complete.

It’s not a TV show or movie.

It’s not a benefit or comic convention.

It will be newsworthy in comics and mainstream.

It’s not a new comic company.

That’s all I’m going to share because there are way too many nerds and geeks out there that can figure this out very quickly.  Yes, I am a proud and geek and I know just how smart my people can be.

Let the guessing begin!

Send your e-mails now to my erstwhile editor, mike@comicmix.com

WEDNESDAY: Mike Gold

Spandexless Talks: Bernie Mireault & To Get Her

Photo by Kathryn Delaney, taken from Bernie Mirault’s blog

by Matthew Horowitz

Lean in close. No, closer.

To Get Her is a comic for people who like comics rife with detail and nuance. Set in Montreal,  To Get Her chronicles the oft-fought battles of a ten year relationship, and the emotional casualties inflicted on both sides. In this corner, Gordon Kirby, highly sympathetic cartoonist that quits a paying job washing dishes to return to his art. In this corner, we have Janet Ditko (yeah, Kirby and Ditko, I enjoyed that too) the long suffering breadwinner of the couple who longs for a more rewarding existence. 

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