Tagged: comics

JOHN OSTRANDER: The Secret Death of Bees

Okay, I’m officially getting freaked out now.

It started with a small remark from the redoubtable Bill Moyers when he appeared on Bill Maher’s Real Time show on HBO. I started to do some research based on his remarks and it came to a head recently with an MSNBC report on their website. It’s a real life event called “Colony Collapse Syndrome.” What’s it about?

The sudden death of honeybees.

“And this affects me – how?” you might ask. “I don’t use honey. I’m strictly a Splenda man. (Or woman.)” The fact is, a lot of food crops need to be cross-pollinated to come to maturity and the principle way of doing it is with the honeybee. About one-third of the American diet depends on cross-pollination and the honeybees that do the job are dying out and nobody really knows why.

According to the MSNBC article, 80% of the cotton crop is pollinated by commercial honeybees. Same for 50% of the soybean crop. Use cotton or soybeans much? 60% of the alfalfa crop is pollinated the same way. Alfalfa hay is a staple for cows – low cost, good nutrition for the bovines. Drink milk? Having a Big Mac attack? Scarcity of an item increases its price and you can bet a jump in the price of alfalfa hay will be passed on to the consumer. Same for cotton or anything made with soybeans. How much do you feel like paying for your jeans? I haven’t even gotten into the fruit and nut cross-pollination done by bees – almonds, for example, are 100% dependent on bee pollination.

Cereal grains aren’t affected so we wouldn’t starve. We’d have to do without a number of items, though, or pay a heck of a lot more for them. Oranges, grapefruit, and tangerines, for example, are all 90% dependent on commercial honeybees for the cross-pollination. You could have your Cheerios in the morning but having milk to put on them or an OJ to go with it might be tougher to get or a lot more expensive to use.

As my Mary, a farmer’s daughter, also pointed out to me, alfalfa, soybean and clover crops (clover is also cross-pollinated) put nitrogen back into the soil. Very important in crop rotation. If you just plant corn all the time, you deplete the soil and – wham! – you’re headed for a dust bowl situation. There are indirect as well as direct effects from the death of honeybees.

What’s really weird is what’s happening with the hives. The onset is sudden. The beekeepers, after a few days, find that a hive suddenly is empty except for the queen and some very young workers. Bees don’t do that. They protect the hive at all costs. In the case of hives afflicted with CCD, the workers just disappeared.

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VINNIE BARTILUCCI: ComicFest from the inside

VINNIE BARTILUCCI: ComicFest from the inside

In the early 90’s I had made a fair to middling name for myself in comics fandom. I was a regular on the CompuServe forums, was running a comics APA of my own, THWACK!, and had started submitting to CAPA-Alpha. I had started writing articles for Wizard magazine, which is how I made friends with Pat O’Neill, their first Editor-in-Chief.

One night Pat contacted me to tell me that Gareb Shamus (Wizard‘s owner) was looking to do a comics con, and wondered if I was interested in running it. Well, he was close to being right — it was a friend of Gareb’s, David Greenhill, who had made a fortune in the sports card industry, and was looking to move to comics. Not as a speculator (there were soon to be plenty of them) but as the promoter of a comics show.

David’s idea was to bring a lot of the "business" of the card industry to comics. His ideas were good – too many comics shops were (and still are) run as if they were hobbies, and most comics shows didn’t make any attempt to market to the general public. He planned to change that. He planned to hire a major PR firm to push the show, get the publishers to invest in the show both financially and with publicity, a lot of big ideas. He just didn’t know how to actually run a show.

Well neither did I, but I wasn’t tellin’ him that…

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DENNIS O’NEIL: On triskadekaphobia

DENNIS O’NEIL: On triskadekaphobia

Do my hands tremble as I type these words? Are there creaks and groans coming from the room behind me? Is the air chill and sticky?

What could be happening?

Ah, I think I have it! Triskadekaphobia – that must be it! And what is triskadekaphobia? My computer’s dictionary defines it tersely and simply: An irrational or obsessive fear of… (that number between 12 and 14.) (Parentheses and paraphrasing mine.)

This is the that number of these whatever-they-ares that I’ve written and that, my friends, is scary. That it is also irrational goes without saying, at least to the non-believers among you.

My irrational fear of… that number is not exactly new. If you look at any of the comics I’ve written in the last dozen (nor baker’s dozen!) years or so, you won’t find the dialogue balloons and captions on any single page totaling that number unless the editor added or subtracted or conflated something, in which case it’s on his or her head. And if I’m doing a script and reach the end of page 12, I either quit or make myself charge on until I get to page 14, even if I run out of steam half way through that page.

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MICHAEL H. PRICE: Spider-Man 3’s spectacular overkill

MICHAEL H. PRICE: Spider-Man 3’s spectacular overkill

It helps to remember, now that a third Spider-Man epic has arrived to herald the school’s-out season at the box office, that the title character had started out as the comic-book industry’s least likely recruit to the ranks of super-heroism.

The idea of a human being with the proportionate strength of a spider had been kicking around since the 1950s. Comic-book pioneers Joe Simon and Jack Kirby seem to have arrived there first, with an undeveloped concept known as the Silver Spider. The inspiration ran afoul of a publishers’ bias against spiders and other such crawly creatures, the bankable success of Batman notwithstanding. But Simon and Kirby steered the basic notion into print in 1959 with a change-of-species Archie Comics series called The Fly – capitalizing upon an unrelated but like-titled hit movie of 1958.

By the early 1960s, Kirby was slumming at a low-rent publishing company that was soon to become the influential Marvel Comics. Kirby and writer Stan Lee had recently found competitive leverage with a band-of-heroes comic called The Fantastic Four – grimmer and edgier than the fare offered by big-time DC Comics. DC’s Superman and Batman franchises anchored a line of costumed heroes who got along well enough to have formed a super-heroes’ club.

Lee and Kirby’s retort to DC Comics’ Justice League magazine had been a Fantastic Four whose members quarreled and exchanged threats and insults. After Kirby had raised the Silver Spider as a prospect, Lee and Steve Ditko envisioned Spider-Man as a teen-age nebbish, afflicted with superhuman abilities by a bite from a radioactive spider. Artists Kirby and Ditko combined qualities of strength and neurosis in the character design: Superman’s alter-ego, Clark Kent, wore eyeglasses and feigned social withdrawal as a disguise; Spider-Man’s alter-ego, Peter Parker, wore eyeglasses because he was a nearsighted dweeb.

The embryonic Marvel Comics, having little to lose and plenty to prove, launched Spider-Man in a failing magazine and hoped that somebody might notice. Sales figures spiked against expectations. Lee’s unsophisticated attempts at philosophical depth struck comic-book readers of the day as comparatively profound. Spider-Man’s début in his own title involved a violent misunderstanding with the members of the Fantastic Four.

Sam Raimi’s Spider-Man movies date from times more recent (2002-and-counting), but they recapture well that early stage of 45 years ago in which Peter B. Parker, alias Spider-Man, marks time between altercations by wondering whether he deserves to be saddled with such responsibility. Raimi’s Spider-Man 2 (2004) is generally regarded as one of the more mature-minded comic-book films, reconciling sensationalism with provocative ideas.

Editor’s Note: SPOILERS after the jump…

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Free Comics Day hits The Big ComicMix Broadcast

Free Comics Day hits The Big ComicMix Broadcast

Primed for Free Comic Book Day? Pumped up or punked out At Spider-Man 3? We cover it all on the Big ComicMix Weekend Broadcast, including news on Casper”s return, the next Superman Movie, More Star Trek in comics, and a quick drive by from Flo & Eddie! Plus we conclude our Comic Book Masters Series with a visit from an Oscar winning cartoonist who helped bring back The Golden Age Of Comics!

Press The Button – or no free comics for you!

Batgirl’s bid for equal rights

Batgirl’s bid for equal rights

Oh sure, we could link to the Avi Arad interview, or the many mainstream news articles on Free Comic Book Day, but everyone else is doing that, plus due to burnout from another killer work week we aren’t going anywhere today.  Not to our local comic stores, not to the movies, not even outside for any fresh air.  We just can’t justify reading and watching brand-new stuff whilst there’s so much almost-new stuff which we have yet to peruse.

Okay, we cheated a little and read some MySpace Countdown even though we’ve only just finished 52 #48 and won’t even get the last few issues of that title for a few weeks.  (We know 52 is finished because Greg Rucka sounds even more burnt out than we do.)  If we were the impatient type we could probably read them at a comic shop today — but no.  We’re getting a bit old for this.  We actually remember a time, for instance, when women weren’t paid nearly as much as men, as pointed out in this PSA from over 30 years ago which Tom Peyer found:

Ah, nostalgia.  Thank goodness that sort of gender discrimination’s no longer going on!

Mickey Mouse Welcomed Back to School

Mickey Mouse Welcomed Back to School

Comic books have had a love/hate relationship with teachers ever since the first titles were published 70 years ago.  These days, with graphic novels and manga filling school and public libraries, they have become a staple in children’s reading.

As a result, Maryland is now formally bringing them back into the classroom.  Superintendent of Schools Nancy Grasmick entered into a relationship with Disney Publishing Worldwide publishing’s education division to craft teaching aids using Mickey Mouse and friends.  Activities include creating their own comic books, something that has captured the kids’ imaginations.

According to reports from Associated Press, the pilot program was begun last year and is being used in eight third grade classes in the state.  Disney was presented Maryland’s reading standards for the grade and then tailored comic book material to meet the guidelines. The program includes lesson plans for the teachers and comic book activities for the students.  Mickey’s adventures will now help children learn how to craft a plot and understand characterization.

"Reading is such an important activity for all children, and using comic book-related lessons offers teachers an important new tool to draw students into the world of words," Grasmick said in a statement. "This project enhances other work that goes on in the reading class. Comic books and graphic novels cannot replace other forms of literature, but they can be an entry point for some reluctant readers."

Teachers interviewed have been supportive and with the program now underway, Disney and Maryland are looking at more modern characters and materials to supplement the curriculum.

"I don’t think that is where I want my 9- or 10-year-old child spending their time in school," Timothy Shanahan, president of the International Reading Association told Maryland’s The Daily Times. "It might be a choice of reading 1,000 words versus 300 words. You don’t want it to replace more substantial reading."

With Disney now owning the CrossGen properties, including Abadazad and Meridian, there are plenty of age-appropriate characters beyond the legendary Mouseketeers to pick from.  It’s also interesting to note that the program is being launched in Maryland, home to Diamond Comics and owner Steve Geppi, who holds the domestic license for the classic Disney comic books.

(Artwork copyright Disney Corporation. All Rights Reserved.)

Irwin Hasen suffers stroke

Irwin Hasen suffers stroke

Our friend Tony Isabella tells us that comics legend Irwin Hasen is recovering from a stroke.

Tony provides Irwin’s definitive history: "Hasen is, of course, the talented artist and writer whose many credits include a 31-year run on the newspaper strip "Dondi," and comic-book covers and stories for such characters and titles as the Atom, Big Town, Detective Chimp, Flash, Gang Busters, Green Lantern, Justice Society of America, Our Army at War, Secret Hearts, Strange Adventures, Wonder Woman, and dozens more. He’s won the National Cartoonists Society award for best story strip and taught at the Joe Kubert School of Cartooning and Graphic Arts and the School of Visual Arts. If you have seen Irwin at conventions, you know that he is a snappy dresser, always friendly, and a teller of some of the best comics and life stories ever heard on a panel. I’m crazy about him."

Reports are that he’s on the mend and in good spirits. Irwin has been a frequent convention guest and always has a kind word for the fans. We always wish him nothing but the best.

(Artwork copyright All-American Comics Inc., renewed by DC Comics. All Rights Reserved.)

MICHAEL DAVIS: The Boulevard Of Burning Bridges

MICHAEL DAVIS: The Boulevard Of Burning Bridges

I’m about to put together a major deal with a powerhouse entertainment company. I’m putting a group of people into that deal and I have a bit of a problem. I know this guy who is MAD talented. He’s a superstar professional and I have known him for years. Bringing him into this deal would help him get to the next level in his career. It would be great for me also but I’m thinking… is he too much trouble?

I have a pretty good idea what most people think of me. I have a reputation of being brilliant or lucky. People are always amazed at what I manage to get myself into. Some people love me, some people hate me. I once cared about what people think about me, now I just don’t. Why people, why any person would spend his or her time thinking about someone else’s demise is beyond me. You know what I think of those people who wish me ill?

I don’t think of them. It’s too much trouble.

For my entire career I have said that DC Comics does the best books in the industry. Mike Richardson would disagree with me and Dark Horse has done fantastic books but I just think that DC does the best books. I am and will always be a part of DC’s history. Milestone, Static Shock and being the illustrator on the first ever project from Piranha Press makes me part of their history.

I will most likely never work with DC again.

Not because I don’t want to, but because they see me as too much trouble.

I’m lucky enough – no that’s not right; I’m good enough not to have to work with DC. I have put together some major deals that have to be respected regardless if you like me or not. I think my résumé should count for something at DC. It doesn’t. Would I work with DC if a deal made sense? Yes. Would they work with me? Most likely not. Why? Long story, not important – let’s just say that we agree to disagree. Just so we are clear – I have a great deal of respect for DC Comics and their chief Paul Levitz. And here’s the thing about Paul you never hear if you disagree with him he’s man enough to listen even if he thinks you are wrong. I think Paul will go down in comics’ history as a great man.

For whatever reason, DC Comics thinks I’m too much trouble and they have every right to run their business without me and I respect that. I think it would be too much trouble to try and convince them to be in business with me. So we won’t work together. That’s cool – as I said I’m good enough with what I do to not need DC comics. I could be wrong about why we won’t work together but with all due respect to the powers that be at DC they could be wrong also. So I will most likely just have to enjoy what I consider the best books in the comics industry from the cheap seats. They on the other hand will not have the benefit of my ability to do what I do. I’m not vain enough to think they need me.

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JOHN OSTRANDER: You say it’s my birthday

I share my recent birthday with a bunch of notables; unfortunately, the most famous is Adolf Hitler. I thought it would be it would be good to use the day in part for some ruminations – where I am, where I’ve been, what I foresee, fear, et al. Actually, I can do that any day of the year; a birthday is really just a number and some of what we ascribe to that date is arbitrary. Still, might as well make use of what we got.

One thing that is about my birthday fixed is that I share it with my twin brother, Joel. Joe and I are fraternal twins; we don’t look alike, sound alike or even sometimes think alike. Joe is a conservative Republican and I decidedly am not. Joe is a life member of the NRA; I decidedly am not.

However, when I called him on our shared birthday – which I always do – he picked up the phone and started doing his Elmer Fudd imitation, which I also did. It’s the way we start every phone conversation, usually with Elmer singing something inappropriate. We’ve been doing this long before Robin Williams did. We agree that Elmer is vastly unappreciated and has an extraordinary range, from the Stones and Springsteen to show tunes (he has an affinity for Lerner and Lowe – Fudd doing “Why Can’t the English Teach Their Children How To Speak?” from My Fair Lady may be the definitive rendering of that song). He also can do Shakespeare, especially Hamlet, and could play Stanley in Tennessee Williams’ A Streetcar Named Desire; “Stehwwwwwaaaaaa!”

That is part of what forms me – family. In addition to Joe I have three sisters – Marge, Jane, and Pat. All wonderful people and all of them have dirt on me – as I do on them. I have an Aunt Helen who is going to 100 years old in June; her father also lived to be 100. So there is that in my DNA, although my father died much younger than that.

We lived across the street from the Roman Catholic church that I attended; I literally played in its shadow. While these days I am something on an agnostic – my gag is that I’m not dogmatic about it – I am very specifically a Roman Catholic agnostic. The god I have questions about is the image formed by the Roman Catholic upbringing. I was raised pre-Vatican II, back in the days when the Masses were in Latin. That also may be in my DNA.

I’m one of the baby boomer generation. I can’t quite remember a time before television but I remember a time when it was all in black and white. I can still reel off the names of most of my favorite shows – Zorro, Rocky and Bullwinkle, Ernie Kovacs (I was a strange kid), Fractured Flickers, Beany and Cecil, Garfield Goose (a Chicago kids TV show), Jack Paar when he had on Oscar Levant or Jonathan Winters (I was a very strange kid) and others. I remember the British invasion; as an early teen, I ushered at the Beatles concerts in Chicago. I was resistant to the Beatles until I saw A Hard Days Night; that’s when I became a fan. All part of my cultural DNA.

I got into theater because a Catholic girls H.S. was looking for boys to be part of their next production. A girl I liked attended that school and – well, c’mon. Being one of a few boys inside a girls’ high school? Of course you’re going to go there. I almost never saw the girl but the teacher/director – Mrs. Crawford – thought I had potential. I discovered the stage and that would form a great part of my life for the next almost twenty years. It also helped make me into the writer I am today.

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