Tagged: ComicMix

Shipping Late, by Martha Thomases

Shipping Late, by Martha Thomases

This column is unusual in that I’m starting to write it in the doctor’s office. There’s no emergency – it’s just time for my annual mammogram and breast sonogram, and the doctors are running late.

My appointment was for 11 this morning. I arrived at 10:30 because I walked faster than I expected, and because I wanted to get the paperwork out of the way. Also, I’m compulsively early. My mother raised me to believe that if I’m not at least five minutes early, I’m inconveniencing everybody else. My grandmother took this a step further, waiting at the airport in New York before our plane had even taken off from Ohio.

I’ve been here for two hours.

The world is made up of people who are on time and people who are late. I imagine that we each drive the other bonkers. I know that, when I’m waiting for someone to arrive who is more than 15 minutes late (which is the window I allow because, hey, the subway could be screwed up), I’m furious that I might be missing something just because the person I’m waiting for doesn’t have the consideration to think my time is valuable.

I don’t know what people who are late are thinking, but I imagine they are thinking that life is so complicated, and there are so many things that demand their attention, and nothing ever comes out as they plan. Perhaps they also think that meeting times are just an estimate, and it’s no big deal if they are late. Perhaps they think I have nothing better to do than wait for them, and that it’s privilege enough to bask in their glory.

Ahem.

Oddly, I am not bothered when my comics are late. I know that retailers are annoyed – and worse, since it’s their money on the line – but I’m not. When I walk into the comic book store for my weekly fix, I don’t particularly care which books are available. I like enough different kinds of stories that I’ll be able to find something I’ll enjoy reading. Even if it’s a skip week, there will be something I haven’t read, or a new magazine.

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Manga Friday: As Different As Possible

Manga Friday: As Different As Possible

I’ve generally tried to organize the weekly columns around some sort of theme, but sometimes themes just serve to hide the variety and depth of the comics world (whatever country it might be from). So, this week, I picked three books with nothing at all in common (except a Japanese origin), just because:

Nightmares for Sale, Vol. 1
By Kaoru Ohashi
Aurora, November 2007, $10.95

Nightmares for Sale is an old-fashioned kind of horror story, with two enigmatic characters – they appear to be a grown man (Shadow) and a young girl (Maria), but she’s older than he is – who run a store that’s usually a pawnshop. Nothing at all good can happen when they enter your life, though they usually don’t seem to be directly responsible.

Each story in this volume has a different set of characters – usually teenage girls, or the kind of adults that teenage girls want to become – who meet the pawnshop owners, and then come to nasty ends. A bullied girl triggers a curse on the friendship rings her tormentors made her buy for all of them, and nastiness follows. A model wants to appear beautiful in photographs, and gets exactly what she asked for…but no more and no less. A young woman meets an abused boy in the street, and learns that their connection is much deeper than she imagined. A young boy tries to pawn his baby sister. And so on.

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If You’re Not There, You Just Won’t Get It – Conclusion, by Michael Davis

If You’re Not There, You Just Won’t Get It – Conclusion, by Michael Davis

This is the last segment in this month long saga. If you are anything like me, you are sick of this. I mean four weeks of me reliving history is a bit much even for a guy who LOVES history. To that point, all I watch on TV is All My Children (the greatest show ever!), news, and The History Channel. I don’t even watch the shows I write or have created. I’m not kidding. I have never watched an episode of any show that I have been involved in.

I love history and I thought when I started writing this it would fill me with a wonderful sense of nostalgia.

Wrong. Now I’m just pissed.

Don’t get me wrong, Milestone is and will always be a BIG part of my life and career and I’m very happy to clear up some misconceptions about Milestone… particularly my involvement. Take a look at the previous installments to read about some of those misconceptions surrounding Milestone, Christopher Priest and DC’s “ownership” to name but a few.

Here’s my BIGGEST problem and the misconception that burns me to this day. There have been many, MANY articles and or books that have featured Milestone. A lot of them have said that I left Milestone quick, fast and in a hurry.

That, like the promise that Bush would be a good president, was a compete and utter lie. There’s more truth in the belief that the world is flat and women in L.A. don’t care about what you drive.

I was there the moment Milestone was created. I did not leave until two and an half YEARS after that. The writer Les Daniels (who’s books I enjoy, by the way) wrote in his book, DC Comics Sixty Years Of The World’s Favorite Comic Book Heroes (1995) “A fourth partner, Michael Davis, quickly left to run Motown Animation.”

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Review: ‘Zot! 1987-1991’ by Scott McCloud

Review: ‘Zot! 1987-1991’ by Scott McCloud

Zot! The Complete Black and White Collection: 1987-1991
By Scott McCloud
HarperCollins, July 2008, $24.95

There are those of us – only a few now, I bet – who keep hoping that Scott McCloud will finally get the comics-about-comics thing out of his system and go back to fictional comics. (1998’s [[[The New Adventures of Abraham Lincoln]]] is generally skipped over in these laments, as it is in all other discussions of McCloud’s career, including the one in this book.) Oh, sure, [[[Understanding Comics]]] was one of the great graphic novels of the early ‘90s, and a major roadmark towards the modern comics field, and [[[Reinventing Comics]]] and [[[Making Comics]]] have their strong points as well, but, we keep wondering, what about [[[Zot!]]]?

We were heartened when Kitchen Sink Press reprinted three-quarters of McCloud’s Zot! run in three nice trade paperbacks in 1997-98, and then disheartened again when KSP went under before finishing up with the fourth volume to collect “Earth Stories,” generally considered McCloud’s best stories. And since then, we’ve mostly just been waiting and hoping, living on crumbs like “Hearts and Minds” and McCloud’s other webcomics.

But now Zot! is back, in something like a definitive form, from one of those real big-time bookstore publishers that the comics field is so in awe of. HarperCollins has been McCloud’s trade publisher as far back as Understanding Comics, so their imprint on this book implies a lot about their commitment to comics, and to McCloud.

But maybe I need to back up a bit, for those of you who weren’t around for the days of Eclipse in the late ‘80s. Zot! was McCloud’s comics debut, starting with a ten-issue storyline in full color in 1984-85 and continuing with twenty-six more issues in black and white starting in 1987. Those color comics are now only available in the first, long-out-of-print, Kitchen Sink trade paperback collection of Zot! from ten years ago, though this book hints that they may be reprinted if Zot! 1987-1991 is successful enough. (And maybe then we’ll get Chuck Austen’s art from two “fill-in” issues from the time of McCloud’s wedding, plus all of Matt Feazell’s “Dimension 10½ “ back-up strips.)

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Review: ‘Wonder Woman: Love and Murder’ by Jodi Picoult and others

Review: ‘Wonder Woman: Love and Murder’ by Jodi Picoult and others

DC Comics got a lot of press last year when they signed up bestselling novelist Jodi Picoult to write their monthly [[[Wonder Woman]]] series – gallons of ink about her being the first female “regular writer” on the series, and about how this would finally catapult WW into the position DC keeps insisting she already has: a central, iconic figure whose comics people actually buy and read.

Well, more than a year has passed year later, and Picoult’s run turned out to be only five issues long – so much for “regular,” huh? – and also served primarily as set-up for one of the log-jammed line-wide crossovers, [[[Amazons Attack!]]] Picoult’s five issues were gathered into a classy hardcover, suitable for libraries (where I found it, actually) and real bookstores, with her name given huge prominence.

Assuming that the point of making Picoult’s name so large is to draw in the many readers of her novels, or other casual bookstore browsers, it’s fair to ask whether [[[Love and Murder]]] makes sense as a book in its own right, and provides anything like a satisfying experience to those new readers.

I haven’t read any of Picoult’s novels, unfortunately, but I also haven’t ever read Wonder Woman, and I haven’t read a mainstream DC book regularly in a few years – so, with my ignorance wrapped around me like a cloak, I dove in…

Wonder Woman: Love and Murder
Written by  Jodi Picoult
Art by Drew Johnson & Ray Snider with Rodney Ramos, Terry Dodson & Rachel Dodson, and Paco Diaz
DC Comics, November 2007, $19.99

Well, the first thing a seasoned comics reader notices is that the art team changes entirely twice during five issues, which is usually a bad, bad sign. Readers coming from the world of prose probably won’t notice that – the three art styles are all minor variations on today’s version of superhero-standard, and the transitions aren’t particularly jarring – but it is a danger sign, implying that something was going on behind the scenes.

And then, before the story actually starts, we get a one-page “Previously in Wonder Woman,” explaining how she killed Maxwell Lord in some other cross-over that we didn’t read and don’t care about, and now she’s pretending to be “Diana Prince” again, working at the Department of Metahuman Affairs with her face-changing partner Tom “Nemesis” Tresser under the literally iron-fisted Sarge Steel. (I’m not sure if we believe that, since Diana has some much trouble with ordinary life later that we doubt she could convincingly fake a history or paper trail to get such an impressive job.) OK, fine, that’s backstory, and we’ll get into a brand new adventure now, right?
 

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Video: Mark Wheatley and Jerry Carr Talk ComicMix

Video: Mark Wheatley and Jerry Carr Talk ComicMix

The crew over at FEARnet recently posted some great interviews with two of ComicMix’s best and brightest on the floor of San Diego Comic-Con. In the first video, Mark Wheatley offers up some thoughts on making a better monster with Frankenstein Mobster. You’ll find Wheatley’s credits currently gracing Hammer of the Gods 2 here at ComicMix.

In the second interview, Jerry Carr chats up FEARnet about the relaunch of Cryptozoo Crew, the series we told you about just a little while ago.

It’s a double-shot of ComicMix creators over at FEARnet, so be sure to check out these video interviews and tell the folks at FEARnet you want to see more of the ComicMix comics crew.

 

Interview: Elizabeth Genco of ‘Comic Book Tattoo’ and ‘Blue’

The past few months have brought a swell of attention to indie comics writer Elizabeth Genco, who scored a coup by having a story included in the Tori Amos Comic Book Tattoo collection from Image Comics, and then her graphic novel Blue — a modernization of the Bluebeard legend — sold well in part thanks to a plug from Brian Wood.

Genco took the time out of her busy schedule to chat with ComicMix about her music-infused projects and what it was like to work with an idol in Amos.

ComicMix: Let’s talk about the Tori Amos project first, since it’s the book of the moment. How did you get connected to that gig? Were you a fan of Amos previously?

Elizabeth Genco: I’ve been a fan of Tori’s for almost 15 years. Both she and her music have been hugely influential, especially in my creative life. Tori is very smart about how to create a creative career while staying true to your vision, and I learn from her. Of course, like many of her fans, her music has helped me through some dark times.

As for how I got involved, a few years ago, editor Rantz Hoseley and I got acquainted via Warren Ellis’ old board, The Enginge; he and I have been pals ever since. When he extended the invitation, I jumped onboard immediately.

CMix: How did you approach the assignment? Comics is such a visual medium, it’s not that common to hear creators be inspired by sound.

EG: I want to say that I’m not inspired by sound so much as I am by words — that is, lyrics. But the interesting thing about lyrics, of course, is that they take on a completely different meaning when you add the music. I would even go as far to say that 99 percent of the time, song lyrics are incomplete without the music. (Music is a huge influence on me, and I’ve aspired to be professional musician at several points in my life, especially when I was very young. So I’ve thought about this a lot, actually.)

Music inspires my writing quite often, and the process is usually the same. A line will capture my attention, and I’ll start noodling — following the thread, seeing where it goes. In this case, I decidedon the song and then went looking for that line.

As for the song itself ("Here. In My Head"), well, I spent all this time going through Tori’s catalog trying to find the right one before going, "Duh!" It’s been my favorite Tori song for years, so it wasthe obvious choice.

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Let’s Go Raise Us Some Dumb Kids, by Mike Gold

Let’s Go Raise Us Some Dumb Kids, by Mike Gold

Lately, my wife Linda and I have been watching the Maverick reruns on one of the many Starz channels IDW’s owners foists upon our cable system. Maverick was one of the very few live-action teevee shows I enjoyed as a kid, and I’m amazed to discover that it is actually even better than I remembered it. The writing, in particular, was amazing – a standard rarely reached by broadcast television today.

Then Linda noticed something. The show was rated TV-14.

The television ratings system was proposed by Congress 12 years ago, caving in to a bunch of professional busybodies who firmly believe that we, unlike our parents and their parents, are too stupid to raise our own children without their blue-nosed “guidance.” I don’t know if it preceded the V-chip or not and I do not care to look it up: the V-chip allows parents to completely avoid the bother of being involved in their children’s television experience by having a slide of silicon do their thinking for them.

The idea behind the TV-14 rating was not that parents shouldn’t let their kids watch these shows. According to the guidelines, “Programs issued the TV-14 rating are usually unsuitable for children under the age of 14 without the guidance of a parent or guardian.” Please note that last phrase: “without the guidance of a parent or guardian.” Since it has been proven that today’s parents are too lazy or too stupid or too “busy” to provide such guidance, they can fire up their V-chip and let the teevee do all the heavy lifting, thereby denying their children such fine writing and acting on shows from 1957 such as Maverick.

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Review: ‘The Dead Boy Detectives’ by Bryan Talbot and Ed Brubaker

By my count, there are four good reasons to buy [[[The Sandman Presents: The Dead Boy Detectives]]], now out from Vertigo.

First, it’s cheap, at a slight $12.99 for some 100 pages of comics.

Second, it’s a heckuva good mystery yarn with plenty of occult elements.

Third, it’s part of The Sandman world, and there are plenty of readers who snap up anything associated with Neil Gaiman’s creation.

But the last — and, for me, best — reason to pick up the book is that it further illustrates Ed Brubaker’s dexterity as a writer. I’ve long said that the thing that makes him so talented is that if his name wasn’t on the cover of his comics, you wouldn’t be able to recognize him as the author (also, his books are all quite good).

Unlike a Grant Morrison, Warren Ellis or Brian Michael Bendis, Brubaker writes comics without stamping his voice all over them. And, in [[[The Dead Boy Detectives]]], he shows off a wholly new voice, slipping seamlessly into the world of the ghostly boy sleuths and their London setting.

Like all great P.I. stories, this one begins with a girl, then gets all weird with shriveled dead bodies, witches and immortal creeps. It’s not quite unpredictable yet manages to be surprising.

But, mostly, the great characterization of ghosts Charles and Edwin and their childish interplay is what makes this one a winner. Well, that and the other reasons listed above.


Van Jensen is a former crime reporter turned comic book journalist. Every Wednesday, he braves Atlanta traffic to visit Oxford Comics, where he reads a whole mess of books for his weekly Reviews. Van’s blog can be found at graphicfiction.wordpress.com.

Publishers who would like their books to be reviewed at ComicMix should contact ComicMix through the usual channels or email Van Jensen directly at van (dot) jensen (at) comicmix (dot) com.

Manga Friday: Lawless, Winged, and Unconfined

Manga Friday: Lawless, Winged, and Unconfined

Poking through the stack of manga to be reviewed, earlier this week, I noticed several books featuring characters with wings of one kind or another. Quick to sense a theme, I dragged them together, and here they are:

Koi Cupid, Vol. 1
By Mia Ikumi
Broccoli, April 2008, $9.99

Koi Cupid is an all-ages series about cherubs-in-training – yes, cute little girls in white outfits, running around making people fall in love. It’s not quite as kawaii (cute, often cloyingly so) as it could be, though, so I came to think of Koi Cupid as actually fairly restrained.

(Of course, that’s by manga standards – recalibrate your cuteness detectors from American settings, or you’ll be instantly deafened by the alarm.)

Anyway, the story focuses on three cupids-in-training: Ai, the cheerful one; Koi, the shy one; and Ren, the way-ahead-of-the-others one. They’re taught by a full cupid named Rin, who is deferring her own promotion to Guardian Angel to continue to mentor them. Kou actually is a guardian angel who pops in for added firepower now and then; Sister Yuuri is a winged, talking cat who supervises the cupid training program, and Lizette is a sneaky demon who tries to foil their work, but whom Ai wants to be friends with.

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