Having been born into money and married to a wealthy businessman, Ellen Fromme was used to the finer things in life. Little did she know a trip to the local opera house was about to send her spiraling into madness…
Death Angel, the first New Pulp Fiction hero from the mind of Mike Bullock, debuted in Phantom Doubleshot #1 from Moonstone Books in 2009. Death Angel has since been met with critical acclaim from fans and fellow creators alike. Further adventures of Death Angel take place in Death Angel: Hung Jury, also available for download from Amazon and Black Bat: Black Death volume one, a graphic novel from Moonstone Books.
Death Angel: Dominion part two is slated for release in October, with subsequent installments coming monthly.
In my moment, it’s Labor Day. (In your moment…watch me shrug.) That being so – that Labor Day reality – it seems appropriate to think of unions and a cause dear to my heart.
Unions have not been consistent, not in my limited experience. An anecdote? Right after graduating from college, my friend Don Tonelli and I went to San Francisco. No agenda, just a long ramble to somewhere we’d never been. While in the Bay Area we visited my uncle Oscar, whom I’d seen once very briefly when I was a tot, and who was the subject of a bemused mention at clan gatherings. Oscar was a marvelous old man who kept us entertained and fascinated for most of a week. Among his entertainments were stories of the early days of the unions, when he and other skilled craftsmen went to meetings in large groups, armed with rifles, defying the fat cat bosses and their goons, demanding decent wages and working conditions. Back then, unions were the good guys.
But by the time Don and I shared wonderful hours with Oscar, unions had changed. Not for the better. The story went like this: unions had been infiltrated by criminals and had becomes nests of bullies and mobsters. Pretty damn shady enterprises, all in all. We baby blue staters grouped them with society’s ills. We didn’t consider that they provided insurance plans and pension plans and sundry other benefits, including a sense of the pride in working for a living. We were young. We were slow to look at both ends of a question. And, besides, it felt righteous to be pissed off.
Lately, I’ve grouped unions with the good guys again. They are among the few sources of campaign financing that can compete in fund raising with the billionaire-favored superPACs, and so they help blue collar voices to be heard. And they still provide those benefits. Those benefits are important.
We comics guys have never had unions. The closest thing to a union in our world was the Academy of Comic Book Arts, created by a motley crew of freelancers in 1970. ACBA, as we fondly called it, didn’t attempt to negotiate with the publishers, though that was discussed at early meetings, and in the end, did little to provide those important benefits. What it did do was present yearly awards for exemplary work, and that is no small task. But those awards weren’t of much use if your kid was sick or the rent needed paying.
No unions, no benefits. Good luck.
And this brings us to my heart’s dear cause: The Hero Intiative. Which is what, exactly? Here’s a paragraph from the organization’s website:
The Hero Initiative is the first-ever federally chartered not-for-profit corporation dedicated strictly to helping comic book creators in need. Hero creates a financial safety net for yesterdays’ creators who may need emergency medical aid, financial support for essentials of life, and an avenue back into paying work. It’s a chance for all of us to give back something to the people who have given us so much enjoyment.
If you get a chance to help H.I., you should take it.
Ever see a movie or read a comic book that just sucked? Ever wonder how that god-awful piece of shit came to see the light of day?
I have. Not only have I wondered how something so terrible can get made, I’ve done stuff and wondered how in the hell I managed to pull it off something so bad and someone paid me for it.
I vowed never to make that mistake again, which is why all my current projects are at least two years in the making. I just signed a deal to write another novel and my first novel has yet to come out. I could write any book in three months but I’m smart enough (now) to take the long road when it comes to content. My latest book deal calls for me to deliver the first draft in a year. Do I need a year? Nope. Will I take the year? Yep.
I’ve learned the hard way that just because you can do a thing in five minutes does not mean you should do that thing in five minutes. Ask any woman, if you get my drift.
Some creative people do as much as they can as fast as they can for a variety of reasons, chief among those reasons, particularly for new creators, is money.
Money is the reason, in my humble opinion, that some new creative people find themselves with a wonderful opportunity and completely fuck it up. Case in point…
Some time ago someone called and told me of the sweetheart deal he had made with a major entertainment company. Frankly I was very surprised because the idea (in my opinion) was just horrible and all the work this person had done that I knew of was just not professional enough to warrant the sort of deal he was talking about. But what do I know?
I have no right what so ever to judge what anyone creates or what some company wants to pay for. My opinion as to what is published or made into a TV show or movie means nothing except to me in reality.
But… as a person who is in the position of green lighting projects for the various production and publishing companies, my opinion matters if you bring something to me. Even then I may not the final decision maker depending on the type of deal I’m in with what company. All that said, the project I’m talking about I would not pitch to anyone I have a relationship with. Besides, the person who has the project somehow secured a deal with a major player and they don’t need me anyhow.
The way the project is being handled it’s only a matter of time before the company writing the check will either pull funding or replace the creator who brought it to them. The project is ripe with production problems and personalities that will cause the funding company to bail or take away all the decision making from the creator who sold his rights to the funding company.
Why has this not happened already? Because the company writing the checks is new to the comic book business and they don’t know what’s bullshit and what’s not. But no one can keep up a smoke and mirror con job forever, eventually someone in the funding company will not give a fuck about the potential of the idea. They will start to wonder why the creator and his team have missed every deadline and call someone outside of the creator’s team to see what the fuck is up.
Sensing he was in trouble, the creator called me and asked me to be involved. I listened to the pitch because the company they had the deal with is huge. After the pitch I took a meeting with the team putting it together and realized that these guys were way out of their league. I explained to them where I saw real problems and cautioned them that the funding company would eventually see the same problems as I and grasp that the business plan and projections the creator and his team presented were unattainable at best and just bullshit at worst.
My comments were met with scorn and disbelief. Who was I to criticize them? They were the people with the deal. They were the people who were now in business with a major entertainment company. Who was I to rain on their parade?
I was the guy the entertainment company called a few weeks later and asked to take over the project.
I declined. It’s just too much trouble, I don’t have the time and working with the creator whose days are numbered would be a nightmare.
This really is a dream project for the creator and rather he listened to me or not I do so wish it works out. I hope that the funding company does not get to a point of no return and decide because they already spent X amount of money they have to publish to recoup at least some of that money back.
That, by the way, is one of the reasons you see shitty product in the entertainment marketplace. Corporate decides that although the product is shit someone will buy it and instead of losing one million dollars they lose nine hundred thousand.
I hope I’m wrong and as bad as the project is it does gang busters in sales. I hope if that happens and the creator is still involved with the project he will count his blessings and not make the same mistakes again.
I also hope for a threesome with Salma Hayek and Angelina Jolie while Jennifer Lopez makes me a egg sandwich and Kim Kardashian feeds it to me. I think that has a better chance of happening.
The Creativity of Steve Ditko • Craig Yoe • With essays by Mykal Banta, Mike Gold, Jack C. Harris, Paul Levitz, and Amber Stanton • IDW/Yoe Books • $39.99 retail
It’s only fitting that I start a review of a book about Steve Ditko by raising an ethical question. Is it proper for a critic to review a book in which he has an essay, no matter how brilliant, poignant and vital that essay might be?
I don’t care. The latest tome from YoeBooks, The Creativity of Steve Ditko is so magnificent such petty concerns such as objectivity do not matter. Anything I can do to help direct the masses towards this effort is in service to a greater cause and, besides, I don’t get royalties.
There have been a number of books about Ditko, one of America’s most important comics creators who is as reclusive as he is gifted. In fact, this one is a sequel to Yoe’s The Art of Ditko, which I haven’t read – not because I’m not in it, but because I’m a cheap bastard. Creativity runs over 200 over-sized pages and weighs over three and one-half pounds, supporting my argument for electronic publishing as I suspect the majority of its audience consists of aging baby boomers who can only keep the book on our laps for a short period before reaching for Depends. I’m hard-pressed to suggest what Yoe could have cut.
There’s tons of artwork, including lots of large reprints of Ditko’s work including many full-length reprints of sundry horror and mystery stories. Steve always said he wants his work to speak for itself; here, it doesn’t speak – it screams. Loudly. The photographs are particularly interesting, as Steve hasn’t been seen in public since roughly the time we crawled out of the sea.
As one would expect from the man who ran one of America’s foremost design studios after his stint as creative director, vice president and general manager of Jim Henson’s Muppets with enough awards, honors, yadda yadda yadda, to sink the Titanic, The Creativity of Steve Ditko is as exquisitely designed as a fifth dimensional cathedral. I particularly admire Craig’s patience: it must have taken him forever to find so many top-shelf Ditko stories from Charlton that were actually printed on-register.
I don’t know if Steve would like this book. My feeling is, probably not. He simply doesn’t like the attention, although I’m unlikely to debate the right to privacy issue with him. But whether he likes it or not, Ditko deserves that attention – and he deserves all of the effort that Craig Yoe has lavished upon him.
Please read parts one and two before this installment.
The Comics Code Authority (CCA) tried its best to stop EC from publishing a particularly offensive (to them) comic book. The book they were trying to stop was Weird Fantasy #18 (April 1953); the story was called “Judgment Day.”
What was objected to was not a gory scene of a space monster under orders from a criminal ripping to pieces an earth girl who, clad in scant bra and panties, was an obvious sexual tease for 50s era yikoung boys.
What was objected to was the main character, an astronaut, was revealed on the last page in the last panel to be a black man. Wow, who knew that the Tea Party was alive and well in 1953 under the name Comics Code Authority?
Why am I surprised at this? The GOP thinks that a woman can’t get pregnant and everyone knows that’s science fiction but (sorry Peter) I digress…
The CCA demanded the story removed or the last panel changed to a white boy. ECs editor William Gaines, the publisher of Weird Fantasy, responded to that demand with “Fuck you.”
Three years later, Gaines reprinted the story in the final issue (#33) of Incredible Science Fiction.
William Gaines was gangsta.
Like Branch Rickey, the man who brought Jackie Robinson to professional baseball, William Gaines was a civil rights pioneer. Both were white men and although Gaines rarely gets any kudos for his civil rights stance, certainly not the way Rickey is remembered.
That shot fired in 1956 started a war in the comic book industry over black story lines, black characters and black creators and that war continues today. A war not nearly as difficult as it was in 1956 but a war nevertheless.
1956 meet 1993 meet 2012…
In 1993 Denys Cowan, Dwayne McDuffie, Derek T. Dingle, Christopher Priest and myself founded Milestone Media.
Milestone was a worldwide phenomenon making history with its ground breaking deal with DC Comics. At the time the deal with DC was the biggest joint venture deal ever done in comics.
The deal was not the reason Milestone was heralded. Milestone was rocketed in front of the public because the founders were four African American men. We were four because Christopher Priest left the company before Milestone published.
In the almost 20 years since Milestone came on the scene the company is still thought of as the penultimate African American comic book company.
That’s good.
That’s bad.
It’s good because Milestone accomplished something that was a long time coming. Milestone put black content on the map. Black creators, black characters and black story lines were propelled to the forefront of the American comic industry. Never before in comics long history has African American content captured the imagination of fans, retailers and the press.
It’s bad because Milestone is almost 20 years old and still the penultimate African American moment in comics. As a founder of Milestone that gladdens me as an African American creator it also saddens me.
Where is the next wave?
Within the African American comics’ community there exists splits’ that mainstream comic book readers for the most part are not aware of. Among most black creators Milestone is respected, but there are some young black creators who see Milestone as sellouts, Uncle Toms or worse. Some in the black comic book community have gone so far as to brand Milestone, House Niggers when discussing our groundbreaking deal with DC Comics.
This is the state of the very real divide within the black comics community.
There is a thriving independent group of young black creators who are doing bold and wonderful work. They publish with small indie houses or they self-publish. The stories they are creating are mostly Afro-centric, mostly positive but there are some which are anti-establishment, a.k.a. anti-white.
On the flip side of that there is a contingent of black creators who reject all other forms of publishing unless a major publisher publishes them and by major publisher I mean the two big boys, Marvel and DC. Lastly there are those black creators who would not publish with Marvel or DC if their lives depended on it, seeing both companies as comic’s answer to plantations.
With all the seemingly inexhaustible black talent out there I ask again…
Where’s the next wave?
Why is a new black anything (comic, creator, character) at Marvel or DC still seen as a breakthrough 20 years after Milestone and 58 years after Judgment Day?
Case in point, Marvel’s new half black, half Latino Spider-Man. That was a huge story, which captivated numerous news cycles. The recent cancellation of DC Comics’ New 52 StaticShock after only six issues sent shock waves (pun intended) throughout the industry.
The outcry from fans on the net went from, oh no Static was cancelled to Static was cancelled because he was black.
Here’s what Denys Cowan and I, co-creators of Static Shock and both black creators think, Static was cancelled because this hit, cool, teenage hero was fighting a giant fish.
Up until now there has been no serious attempt to showcase African Americans and the creative excellence, which has been a mainstay of the industry for as long as comics have been an American art form. Unfortunately at the beginning of the American comic book business, African Americans were depicted most often as horrible stereotypes.
I’ve seen that movie; Milestones: African Americans In Comics, Pop Culture And Beyond will not be that kind of show.
Yes, there will me a nod or two to the depiction of those sad and hurtful images. However, this show will be about the vast talent and wonderful innovation that came from or were influenced by African Americans.
From the faceless contributions of those like William Gaines almost 60 years ago to the constant search for African American talent by Mike Richardson to the acknowledgement of contributions by people like Jenette Kahn, Marv Wolfman, Stan Lee and Jack Kirby this show will embrace the totality which is black comics.
Make no mistake; the overwhelming focus will be on black creators and their art. But let’s face it there would have been no Static Shock without the Black Panther.
It’s my hope that the show will feature not just the work of mainstream black creators but also work from those who consider themselves outside the mainstream as well as those who want nothing to do with the mainstream. I’d like the major comic book companies like Marvel, DC and Dark Horse to have sections devoted to them and their efforts to level the racial playing field but also let’s learn from the mistakes they made.
Independent and new companies will be invited to participate as long as the work from that company is quality. Let’s face it; some independent publishers simply suck.
I don’t care if you are the son of Malcolm X. If your work sucks you will not be represented in the show and I’ll keep you out by any means necessary.
Damn, I’m witty!
Writers from within and outside the comics industry will be called upon to write essays and reflections on the fight for acceptance and the triumph of arriving and exceeding expectations.
In America it’s no secret that African American culture is pop culture so it’s my objective to showcase that. I may fail, I may not be the guy that should have been chosen for this wonderful event but from the bottom of my heart I swear I will do the best I can.
If I fail, it’s my fault…and the Tea Parties…what?
Hello, everyone! After last week, I figured it’d only be fair that I give Wizard World a little hand up, since I was so quick to toss them into the gutter. Suffice to say I saw a ton of responses via Facebook, Twitter, etc. in support of my disappointing feelings at this past Wizard World Chicago. So, with all eyes from their ivory tower now squarely pointed at me*, I shall make an epic journey for Wizard, giving them the laundry list of things I’d like to see them do to reclaim their former convention glory.
Remember what started this whole shebang – comic books. Just because you can’t lay claim to the publishing giants does not mean with some delicate planning, you can’t land the amazing creators behind said publishers. Suffice to say, if you bring them, the fans will come. People love Marvel and DC. But they don’t come to the convention just because there’s a chance to see DC Direct action figures and snag some Marvel posters. More often than not? The mainstay of your crowd – the real comic fans – want a chance to meet the creators behind their favorite book. Whatever Wizard did to shun so many artists and writers? Well, it’s time to send out some apologetic gift baskets, and comp the way for the names that will draw in the most people.
And if you should be so lucky to entice a gaggle of cool creators, the next step is simple: plan a convention that celebrates the medium through intelligent discussion and good old-fashioned fun. What this means? Programming. Even in the larger convention halls, your crowd can peruse the show floor in about two hours, if they take it slow. This means that there is time in every show-goers’ schedule to enjoy something more than just spending their money.
In my youth, I recall amazingly fun panels: the Silver Age Trivia Contest, hosted by Mark Waid, the CBLDF Sketch-off, where top names like Jim Lee and Phil Hester jammed on audience suggestions for charity, as well as countless “how-to” panels where small gatherings of 50 or so fans got live demonstrations on everything from digital inking to script writing. At their core, the conventions are here to celebrate comics, not (just) corral all our cash.
Next up on the list? The non-comic stuff. Hey, I freely admit that these shows have grown to encapsulate all of Nerdtopia. And it’s cool if the show plays well with others. Comic geeks are also Trekkies, Jedis, Whovians, Vampires, and Otaku. So bring on the D-List Sci-Fi Channel celebutaunts. Bring on the retired WWE wrestlers. Create a dais of former Starfleet Captains and Wookies. Just don’t make them the sole reason to come. And better yet? Find a way to reduce the gouging. No need to pay for a show floor ticket, if you’re only there for some pictures. In the past, there was a nice area off the main floor where photo ops and autograph seekers could assemble. Do it again and you can bring back something all good shows have… a laid back traffic flow, instead of a jam of fanny packs and unwashed masses.
The last bit I’d like to touch on is something I yearn for: the promotion of the little guy. For a company like mine, these conventions are the single best way for us to gain a following. We sell books, hard, and do our best to connect to every fan that walks past our table and makes eye contact. With just a little help from show promoters (ahem, Wizard World…) we “indie guys” could have access to the fans en masse. And that could make all the difference in the world. Back when Wizard was huge, tickets came with a grab bag of materials. Offer the opportunity for indie creators to make samplers to place in these bags. Offer up panels to unknowns, who can help lead discussions, debates, tutorials, and demos. Con attendees interested in the content alone might then be converted into legit fans.
In short, Wizard World is well within the grasp of greatness. A few apologies, a few comps, and a few good planners could help take their show from the doldrums their in right now, and slowly rebuild them to be what they once were. The first step though is to admit there’s a problem. As the industry slowly crawls towards the advent of creator-owned content, the convention circuit will quickly become the single best way to connect fans to the industry. Don’t lose sight of that just because you can nab Sookie for a few autographs. We’re the reason these shows started, and dag nabbit, we’re the ones who can make them great again.
* I’m safely assuming that Wizard scours the net for mentions of their cons, and have no doubt flagged me as a ne’er-do-well on their hit list.
I haven’t talked about Deadpool around here for, oh, say, two whole minutes, right? Time to rectify that!
You know why Deadpool’s my favorite character in the whole wide world of comics? Well, actually, there are several reasons, but one of them is that no matter how dark the character gets, there is also levity there. And call me grandiose, comparing the adventures of a wisecracking merc to the daily toil of Real Life, but really – that can be a true reflection of what we experience. In the depths of disaster sometimes we just have to laugh (possibly inappropriately), and in the midst of our merriment, suddenly one little sentence may bring the room down. That’s life – a perfectly imperfect mix of random ups and downs.
What’s important about the often unexpected comical moments is that they remind us that it’s not all doom and gloom out there, even when sometimes it’s been feeling like it is. And if we don’t get enough laughter in our lives, I fear some of us might turn into this guy. As I’m sure everyone knows, Joe Kubert passed away a few days ago. I didn’t know Joe personally, but I know and like some of his work; and I had a nice chat with one of his sons at a con; and I know several artist friends who have gone to his school (in my home state of New Jersey, no less, which makes it extra-cool). All in all, I’ve never had a bad thought about him, and admire him as much as I do any of the other Greats in comics (yes, he most certainly was one of the Greats, with a capital G). But even if for some reason I hadn’t been a fan, or even if I hated his art (which I don’t), I’d never, ever, have posted something like what that supposed fan of comics said; and then failed at properly apologizing for such insensitive and offensive comments.
The comparison that was made is just inexcusable, and Mike Romo has a good discussion of that at the iFanboy link, so I will not rehash it all here. But I will say that as a fan, I am continuously disappointed in other fans who turn their dislike of a piece of creative work into a giant, seething, pulsating ball of wrath and disgust, to be lobbed at creators and fandom and the internet so we can all experience the pus and bile of some fan’s misplaced sense of entitlement as it oozes down our screens.
Okay, that metaphor was disgusting. But then, I feel disgusted when I read shit like that. And it really does all boil down to entitlement – fans who think that their hateful view of whatever-it-is is more important than the fact that they are throwing vile words or accusations at a Real, Live Person who most likely doesn’t deserve them. A person whom they might even have admired at some point (or still do admire). Likening an upstanding and recently deceased comics creator who worked on a comic you don’t think should have been made (Before Watchmen) to a man who failed to report child sexual abuse is an extreme example, of course, but still; this isn’t anywhere near the first time I’ve seen this kind of disproportionate hatred towards someone whose only fault was making a creative work someone else didn’t enjoy.
Look, I’m not saying we can’t critique what we don’t like. I’m a true believer in the importance of free speech and discussion. But that also means that if you’re being an asshole on the internet or in fandom, I have a free speech right to call you out for being an asshole. And calling hardworking people who make their living making comics “known hacks” or “scab artists” because you don’t like their work or work choices is being an asshole. [See also: anyone who’s ever said so-and-so “raped their childhood.” Because using the word “rape” in that context is another form of entitlement; in which the user assumes it is more important to dramatically emphasize their disappointment in Prometheus than to not casually throw around a word that has terrible connotations for over 17.7 million women and 2.78 million men in America alone. Plus, I just hate that phrase.]
But I digress. Neil Gaiman once wrote a fantastic journal entry on entitlement issues which I think every fan ought to read and re-read. In fact, if someone ever wrote a computer program in which that entry popped up every time some entitled asshole was about to hit “post” on a needlessly vitriolic diatribe about creative works and people they hate, I’d be ecstatic. (Seriously, hackers – stop making useless pop-up viruses and get on that.)* But since that’s not the case as yet, I’d also be happier if we all just read that entry, and tried to remember before hitting post that creators are real people with real feelings and families and needs to put food on the table and all of that. And that it’s probably not necessary to wear a t-shirt saying a real person sucks just because you didn’t like a movie about aliens.
Maybe we could also just run a little test in our heads, similar to the one I wish misogynists would use before speaking (“How would you feel if someone said or did that to your mom/sister/favorite female person in the whole world? Or to you?”) in which we think about how we’d feel if someone likened, say, our dad or our best friend to a guy who ignored reports of child molestation. I’m pretty sure for most of us, that would make us remember that it’s not all about us, and hit the delete key before doing something asinine. So maybe we can all give that some thought before posting something so unwarrantedly hostile about what is, as Romo said, “just comics” (and other pop culture).
Or, as the LOLcats would say: we can fan moar better; and then maybe instead of encountering so much petty bitching, we will instead be rewarded with more things that remind us that life is not all doom and gloom – like this and this. (You’re welcome.)
So until next time, Servo Lectio!
* Disclaimer: I am not actually encouraging anyone to hack anything. Please do not go and do this and then say it’s all my fault, hackers. Thank you.
TUESDAY AFTERNOON: Michael Davis’ Milestones, part two
This past weekend Unshaven Comics attended our fifth Wizard World Chicago Comic Convention … as creators. As fans, we’ve been going to this every year since 2000. It is, for all intents and purposes, our home show. We sell the most books, meet the most fans, and generally enjoy an amazing time. Some, if not all of this is derived by selling the most books, but don’t quote me on that. I am quite proud to report that we hustled and bustled our way to our “soft goal” of a 10% increase in sales over the year past. 333 books left our table, and into the eager hands of friends, fans, and passersby who were lured by the pitch of Kung-Fu Monkeys and Zombie Cyborg Space Pirates. For that? We’re elated creators.
That being said, this was easily the worst Wizard World we’ve ever been a part of –be we just fantastic fans or curmudgeonly creators.
Where to begin: how about show length. As I recall this show used to be over a Saturday and Sunday. Then they added Friday. Then they added “preview night.” This year? They made it a full four days. Hey if it works in San Diego, right? Wrong. When the two largest booths on the convention floor are Chevy and “Smell Like An Avenger” and your panel listings fit on a black and white 11 x 17 photocopy? You don’t have four days worth of con. You have a weekend con stretched to the absolute limit.
Next? The floor plan. There’s a saying, I’m not sure if Wizard is familiar, that goes: If it ain’t broke, don’t fix it. It’s a great saying. Since Wizard obviously hasn’t heard it (and they most certainly are reading this) let me make it clear as the Invisible Woman. For 20 years the show floor has followed a very simple layout. Enter into the exhibitor zone with small press booths behind them, move to the dealer zone, and then the Artist Alley. Autographs and appearances? Wrapped right into the exhibitor booths. This year? They littered exhibitors with dealers all over the floor, put the autograph area smack dab in the middle of the convention hall, and then shoehorned the Artist Alley in the back third of the hall, split by a few jutting walls and the ATM.
And just to stick it to artists on the far end, they placed the photo op zone right at the end of the hall, ensuring a lengthy queue that stretched into the alley at all times during the convention. Nothing better for book sales and fan interaction like a line in front of your table that only cares about snagging that shot with Lou Ferigno, right? Wrong.
Far too many of my friends extended smiles coldly bookended with sighs of exasperation. Our neighbor from Mid-Ohio Con, the always amazing Eliza Frye, was forced to move her table three times. Three times! Which meant this show, which she flew in for, was a wash at best. Our close personal friend and arch nemesis, Dan “Beardo Comics” Dougherty, was one of the unlucky ones shoehorned near the photo op booth. He “made table” (as we in-the-know like to say) but didn’t quite reach his personal goal. Given that he makes comics for a living? This means less living for Dan. On one hand, I’m glad my arch nemesis failed. On the other hand? He’s an awesome creator who got the shaft by Wizard.
Concerning our Unshaven table… life was somewhat better. Our neighbors, both very awesome in their own ways, out-flanked our paltry table decorations with elaborate PVC and metal shelving installations. Our roll-up sign, and clear plastic tabletop book holder certainly didn’t impress. So much so that we heard from several fans after the show that they simply didn’t find us. It didn’t help that we were table “3113,” but there were no markings on the show floor (or provided program map with font size only Hank Pym could read) that would have assisted people in finding us. It also begs to note that prior to the show, Wizard e-mailed all the artists asking who we might want to sit next to. We listed six friends, all similar in fame and similar in style. We sat nowhere near them. While traffic on the floor itself was steady, it was always apparent how weary the fans were. Suffice to say (and it’d been said before) four days for a two day show does not make for an energetic crowd. Had it not been for our fevered pitching, I doubt we could have even topped the prior years’ sales.
Ultimately the show was just okay. Most creators saw enough sales to warrant their appearance. Most dealers left pissed at their spotty placement. I’m sure all the celebrities enjoyed being the star attraction of the show, in addition to getting to charge anywhere from $20 to $50 for signing their name.
There was a time when Wizard World Chicago was the crown jewel of a Chicago comic geek’s summer. Nowadays? It’s a second rate flea market peppered by those of us fighting in the trenches to earn one fan at a time. Will we be there next year? In order to be successful, we have to be. Will be bitch about it then, too? You better believe it. Wizard has a whole year to improve upon the car wreck they displayed a weekend ago.
In the simplest terms: Put the show floor back the way it was, attract more comic creators and publishers to return, make panels that celebrate the medium that spawned the creation of the show itself; You’re not San Diego, and you’ll never get close. It’s time to own that, Wizard. Excelsior.
Footnote: Post show, we received an e-mail from Wizard asking all creators to “put a good word in” for them to respective fan bases and with other creators. Nothing like owning up to shared feelings of failure, right?
(August 15, 2012—Waco, TX) – iVerse Media, creators of some of the world’s most popular and widely used technologies for reading and distributing digital comics, announced today that the company’s Comics Plus platform has been selected as the exclusive digital distribution platform for Contraband Comics, a new independent, creator-owned comics publishing initiative.
“We’re extremely happy and excited that Contraband Comics has decided to launch with us exclusively,” said Michael Murphey, iVerse CEO. “Their creative team is outstanding and, from the work we’ve seen so far, we know that our readers are really going to enjoy their lineup.”
“iVerse’s dedication to creator-owned projects is what we were looking for in a distribution partner,” said writer/artist and Contraband founder, Jon Goff. “Their ability to deliver content on a level that meets the high standards everyone at Contraband strives for made this a very easy choice for us. We plan to utilize the Comics Plus app’s many features to their fullest, as Contraband continues to roll out titles that push the envelope of storytelling and innovation.”
The first wave of Contraband titles that will be available exclusively on Comics Plus include:
BLINDSIDE by Marat Mychaels (creator/illustrator) and Jon Goff (writer) – The worlds of superheroics and espionage merge head-on in an all-out, bullet-riddled, adrenaline rush blockbuster! Debuts August 22nd exclusively on Comics Plus.
BIG HITTERS by Travis Sengaus (co-creator/illustrator) and Jon Goff (co-creator/writer) – This science-fiction action/adventure follows the exploits of a pair of sanctioned hitmen – called “Hitters” – as they navigate the seedy underbelly of an advanced post-war universe. Debuts September 5th exclusively on Comics Plus.
JACK RABBIT by Jim Hanna (co-creator/illustrator) and Jon Goff (co-creator/writer) – A supernatural crime-noir thriller that follows an ex-boxer-turned-private detective as he investigates the darker corners of 1930’s Los Angeles, where truth and myth merge in a surreal mixture of violence and hope. Debuts September 19th exclusively on Comics Plus.
“A big goal for us at iVerse is to help talented creators like Jon get their creations out to millions and millions of people,” said Steve May, iVerse Director of Business Development. “There are many amazing creator-owned books out there just needing the right distribution partner to take them to the next level. With talent like Jon, Marat, Travis and Jim on board, I have no doubt that Contraband Comics will quickly reach that level and grow beyond it.”
About iVerse Media. LLC
iVerse Media (http://www.iversemedia.com) is a digital content distributor focused on the world of comics and popular culture. Founded in 2008, the company was one of the first to launch digital comics on Apple’s iOS platform. As of April 2012, over 12 million products in the iOS App Store have been downloaded that are powered by iVerse, making the “iVerse Engine” one of the most popular and widely used platforms for reading digital comics in the world. The company is principally located in Waco, TX. For more information, visit www.comicsplusapp.com.
About Contraband Comics
Launched in 2012, Contraband Comics is a creator-owned, independent comic book publisher with a focus on providing quality titles across multiple genres. Founded by writer/artist, Jon Goff, and featuring a talented line-up of comic book creators, including Travis Sengaus, Marat Mychaels, Jim Hanna, Fco Plascencia, Comicraft and more, Contraband’s only goal is to entertain. Contrabrand Comics are available exclusively on iVerse Media’s ComicsPlus digital platform. Learn more about Contraband Comics on their Website: http://www.contracomics.com
About Jon Goff
Jon Goff has developed content for comic books, action figures and video games while working with many of the top companies across the entertainment industry, including The McFarlane Companies, 343 Industries, Microsoft Game Studios, Marvel Comics, MEGA Brands, Gentle Giant Studios, WETA Workshop, ABC Studios, Tor Books, DK Publishing, Prima Games and more. Jon’s credits include Tor Books’ Halo-themed anthology, Halo Evolutions, the monthly Spawn comic book title and The Adventures of SPAWN online comic. Follow Jon on Twitter: @Jonathan_Goff
About Marat Mychaels
Marat Mychaels (Grifter, Deadpool Corps) is a veteran of the comic book industry, having provided artwork for Marvel Comics, DC Comics, Image Comics and more. Marat’s current focus is the launch of his creator-owned title, Blindside, as part of Contraband Comics, along with steady work on DC Comics New 52 titles, including Hawk and Dove and Grifter. Follow Marat on Twitter: @MaratMychaels
About Travis Sengaus
Travis Sengaus is an illustrator and animator from Calgary, Alberta, who has provided artwork for various comic, video game and animation projects. His credits include The Adventures of SPAWN online comic book and production work for Table Taffy Studios. Follow Travis on Twitter: @TravisSengaus
About Jim Hanna
Jim Hanna is an artist/writer based in Mesa, Arizona. He has provided art for Arcana Studio, Upper Deck, Red 5 Comics, Cryptozoic Entertainment and Marvel/The Hero Initiative. Jim’s newest project is the creator-owned title, Jack Rabbit, part of Contraband Comics’ initial wave of titles. Follow Jim on Twitter: @jimhanna
Just last week, the CBLDF website was recognized by Tom Spurgeon with The Comics Reporter for our “content explosion,” and we want to do more! CBLDF is looking for contributors to add to our already spectacular roster of bloggers. Whether you’re a journalism student looking for experience, a passionate fan of comics and Free Speech, or an educator and librarian who wants to share your experiences, CBLDF is looking for your voice!
Each member of our website team will be asked to identify and/or generate content about relevant Free Speech issues for www.cbldf.org on a weekly or semiweekly basis under editorial guidance from the Web Editor. The Web Editor may assign specific articles for coverage, but contributors will otherwise have flexibility in choosing what they write about. Our current contributors cover stories and generate original posts that run the gamut from the history of comics censorship to the international suppression of cartooning voices.
The blogging positions are voluntary. Articles will be seen by visitors to www.cbldf.org and cross-posted on CBLDF’s Facebook page, Twitter feed, and weekly newsletter, ensuring that several thousand people will see the articles. Contributors will be able to work from anywhere, set their own schedules, build writing and blogging experience, and boost their resumes. In doing so, contributors will support the important First Amendment work of CBLDF.
If you are enthusiastic about the First Amendment, a good writer, and able to take editorial direction, you’re a perfect candidate — apply today!
To apply, please send your resume and a writing sample to betsy.gomez@cbldf.org.
ABOUT THE COMIC BOOK LEGAL DEFENSE FUND
Comic Book Legal Defense Fund is a non-profit organization dedicated to the protection of the First Amendment rights of the comics artform and its community of retailers, creators, publishers, librarians, and readers. The CBLDF provides legal referrals, representation, advice, assistance, and education in furtherance of these goals.
Just last week, the CBLDF website was recognized by Tom Spurgeon with The Comics Reporter for our “content explosion,” and we want to do more! CBLDF is looking for contributors to add to our already spectacular roster of bloggers. Whether you’re a journalism student looking for experience, a passionate fan of comics and Free Speech, or an educator and librarian who wants to share your experiences, CBLDF is looking for your voice!
