Tagged: DC Comics

MINDY NEWELL: My Friend Kim

Kim Yale.

Kimberly Yale, as you know, was John Ostrander’s wife, and it was John’s beautiful tribute to her in his column WWKL? last week that has inspired me to write about her and our friendship.

Kim and I met over 20 years ago at a Chicago ComicCon when she chaired a Women In Comics panel to which I had been invited. I was a real newbie to the biz, wondering what the hell I was doing there, and completely awed to be meeting the real people behind the names on the splash pages of my favorite comics. So I was incredibly shy – yes, hard to believe, but completely true – when I went into the room where the panel was being held and walked up onto the dais. I didn’t know anyone…or at least, it felt like that. Although I do believe that it was Michael Davis  who had promised to come to the panel to cheer me on. Was it you, Michael?

This woman about my age with beautiful red-blonde hair and who just radiated confidence and energy came up to me and said, “Hi, I’m Kim Yale. You must be Mindy Newell. I am so happy to meet you.” I was flabbergasted. “How did you know that?” I said. “Oh, a little birdie told me,” she laughed. (Never did find out who that birdie was.) She introduced me to two of other panelists, Trina Robbins and Joyce Brabner – and they knew who I was, too! We stood talking as conventioneers started filling the room, and I started realizing that I wasn’t such an oddity after all. These were all bright, intelligent women who loved comics just as much as I did!

So the panel started, and we all introduced ourselves, and Kim, as chair, started the discussion with a question that I honestly don’t remember, but my answer was about how Supergirl – the original Supergirl – was such a powerful message for little girls growing up in the 50s, being Superman’s secret weapon and all. After the panel, Kim came over to me and said, “I absolutely loved what you said about Supergirl. I am so glad you’re in this business.”

That was the start of our friendship.

I lived in New Jersey, with the Big Apple outside my windows. Back then Kim and John lived in Chicago. Back before there were cell phones and calling plans, my phone bill zoomed up into the stratosphere with long distance calls to the Second City. I was going through some hard times, and Kim was always there for me, even when it was pushing towards the wee hours. (I’m pretty sure Kim’s bill went up, too.) When Mike Gold recruited Kim for an editor position at DC, she and John moved to Connecticut. Still long distance, but waaaay cheaper than calling Chicago. And, of course, I saw her in the office.

Some things I remember and hold close to my heart:

I was dating a guy who was going to Johnson & Wales in Rhode Island. Kim suggested that we meet at their house for a weekend – which was pretty much at the halfway point – and she and John would vamoose.

Kim and I were doing the Sex And The City thing, just two women sharing lunch and gossip and deep-down secrets at a terrific Italian restaurant a couple of blocks from DC one afternoon when all of a sudden Kim mouthed something to me. I’m a terrible lip reader and I didn’t have a clue what she was saying. “Huh?” I said. She mouthed it again. I said, “What?” again. This time as she mouthed the words, she discretely pointed her finger over my shoulder. The restaurant was loud with lunchtime clients, and I could barely hear her. This time, I said, “Kim, I can’t hear you. What are you trying to say?” Kim was exasperated; she whispered, “Tony Bennett is right there.” I said, in a very looooouud voice, “Tony Bennett!!!! Where?” Mr. Bennett turned around and said, “Right here, ladies.” I was mortified. He was laughing, and Kim was hysterical.

Kim and John sharing the Passover Seder at my parents’ house. Kim’s clear voice reading from the Hagaddah with interest and passion.

Kim calling me to tell me about some physical things that were going on with her, and the fear in her voice, and asking if she should go to the doctor.

John calling me to tell me that the doctors had discovered a second lump in Kim’s other breast while she was on the table.

Going to see Kim at Sloan-Kettering Memorial Hospital.

Kim telling me that she was going to beat this thing.

Kim looking so beautiful in her hats and scarves when she lost her hair from the chemo.

Kim at Morristown Memorial.

Sharing an intimate moment between John and Kim in the hospital a few days before….

Getting a call from John that I had better come right over.

Seeing Kim on the hospital bed set up in their living room, because she could no longer get upstairs to the bedroom.

Kim sick, wracked with pain, weak – dying – and yet still so beautiful and at peace.

John calling to tell me she was now truly at peace.

Kim’s memorial service, where I honored her by partaking in the bread and wine during the Mass. The minister understanding why I did it. The guests who knew I was Jewish completely shocked.

The spreading of her ashes in the garden under the flowers she had planted.

And in the present…

Sometimes, often, I know Kim is hanging around, keeping me company.

Kimberly Ann Yale.

A woman who ran with the wolves.

Kim.

My friend.

TUESDAY: Michael Davis

 

Which is the Real DC Earth?

  • News
  • March 12, 2012
Characters of the Multiverse duel in an issue ...

Image via Wikipedia

 

Recently, DC Comics has made a big deal over the fact that the Earth where the New 52 comics have been telling stories is the Main Earth. This is to clearly separate it from the Earth-One seen in the hardcover graphic novels – the first of which, [[[Superman: Earth One]]] came out to great acclaim last year and the next, [[[Batman: Earth One]]] is due out later this year. It also paves the way for people to understand that the Main Earth is not the same homeworld as the events seen in two second wave releases in May: Earth-2 (featuring the Justice Society of America) and World’s Finest, which features Power Girl and the Huntress of that world trapped on Main Earth.  And while we were initially told this Earth-2 would be the home of World War II’s mystery men the reality seems far from it.

 

So what, you wonder, became of New Earth which resulted from the events of Infinite Crisis? We were told that it was altered through the events depicted in the Flashpoint event last summer, which in turn revised reality which gave us Main Earth.

 

Except…

 

(more…)

MIKE GOLD: John Carter Returns To Earth

I was about 14 years old when Ballantine Books started their reprint series of Edgar Rice Burroughs’ John Carter of Mars. Being a science fiction fan, a character fiction fan, and fan who’s attracted to anything numbered sequentially, I devoured the series. I re-read the first five books about 12 years ago and I enjoyed them, albeit with a nostalgically jaundiced eye.

I was both amazed and, oddly, not surprised (they’re two different emotions) when my father told me he was a John Carter fan. He started reading them around 1928 – by then, the first book was about 16 years old. Sharing this bond was quite comforting: both John Carter, my father, and I were created in Chicago over a 38 year span.

There have been numerous comics adaptations. The first was for the newspapers and for Dell Comics, created by Burroughs’ son John Coleman Burroughs. Gold Key tried a few issues; despite Jesse Marsh’s art, they were pretty lackluster. Later on, both DC and Marvel got into the John Carter business – sequentially – and those projects attracted an amazing line-up of artists, including Murphy Anderson, Dave Cockrum, Ernie Colón, Larry Hama, Carmine Infantino, Gil Kane, Frank Miller, Walt Simonson, and Mike Vosburg. Whereas the latter Marvel issues were written by Chris Claremont and Peter Gillis, the majority of the DC/Marvel runs (by far) were penned by Marv Wolfman, and that stuff is among my favorite of his. And that says a lot. Later on, Dark Horse did some crossovers with Tarzan, and John Carter even popped up in the waning days of the classic Tarzan newspaper strip. Currently, both Dynamite Comics and Marvel are publishing the character – the latter is tied into the new movie, and the former is tied into a lawsuit.

There had been a great many attempts to bring John Carter to the screen, both large and small. If you dig around, you’ll find the legendary cartoonist Bob Clampett’s test footage and sketches – they were amazing, and I wish he was able to sell the project. I remember going to the International Licensing Show in the early part of this century and seeing a huge display for an upcoming movie adaptation – some stunning artwork, particularly in their mammoth backdrop. Sadly, none of these projects came to be. There was a movie released just a couple years ago starring Antonio Sabàto, Jr. and Traci Lords, but because I’m a nice guy who always maintains a civil tongue, I won’t mention it again.

This Friday, John Carter of Mars finally makes his big-time movie debut. Produced by Disney – not coincidentally the owner of Marvel Comics – if you haven’t seen any of the trailers, commercials or ads for the movie you just might be Stevie Wonder. For many, many reasons, I have set the bar for John Carter pretty high. My dad died six years ago, so I won’t be able to see it with him. But I notice my daughter Adriane is pretty excited about the movie, and I hope to extend the family bond to her this weekend.

By the way, this is John Carter’s 100th anniversary. If you’re planning on sneaking a cake into the theater, please, don’t light the candles.

THURSDAY: Dennis O’Neil

 

MARTHA THOMASES: Hunger Games, Buffy, and Goldie

My friend, Goldie, said, “I’m reading the best book. You would love it.”

I was skeptical. My friend, Goldie, usually likes different kinds of books than I do. She likes historical novels with a sense of place. She enjoys literary fiction, with Serious and Important themes. Still, she is my friend, and I was curious. “What is it?” I asked.

“The Hunger Games,” she said. “I can’t put it down.”

“Isn’t that a young adult series?” I asked. Goldie is circling 60.

“It’s so good,” she said.

The next week, I found myself sitting around a lot and I managed to plow through the entire trilogy. At the same time, another friend (also older than me) and a woman whose job required extensive medical training both told me they were reading it.

Why are four reasonably sophisticated urban women, all but me with advanced degrees, reading a science fiction series aimed at tweens? Are there others like us? Are we statistically significant? Will the lines for the upcoming movie look like the Twilight audience, but now with more feminists?

Because The Hunger Games is definitely a work for those of us who have grown up with feminism. The heroine is brave, strong, skilled and smart. There is almost no mention of her beauty, or even if she is attractive. The two men vying for her affections never comment on her appearance. The challenges she faces throughout the books are about politics, the individual’s obligations to the larger society, and the repercussions of personal choices. She does not shop, talk about shoes, or even hang out with other girls. She doesn’t dislike other girls. She simply has no time for friends.

There is no comparison to serial science fiction in comics. Perhaps Buffy, the Vampire Slayer, but only because it’s based on a (deliberately) feminist television series, one in which the producer retains creative control.

The Hunger Games seemed to me most like the Philip Pullman series, [[[His Dark Materials]]], with the same mistrust of authority, the heroine with a mission whose scope is unknown to her when she begins, the complex and dystopian society. Pullman is a better writer, creating a richer world. There is no love triangle, but there are talking bears.

If you like your fictional worlds created for an adult audience, I highly recommend the books of [[[Elizabeth Hand]]]. The early ones especially are dense and humid, cheaper than a trip to Mexico and much longer-lasting.

Hand, along with Paul Witcover, created a series for DC in the 1990s. Anima was also big fun, mythic while also grungy and pulpy, a Rrriott Grrl for the DCU. Naturally, DC cancelled it before it could find its audience.

This is why there may be lines outside the theaters for the opening of The Hunger Games, but there won’t be lines outside the comic book store.

SATURDAY: Marc Alan Fishman

 

MIKE GOLD: Important Advice For Comics Artists

Hardly a day goes by without my asking myself “How did all this crappy art get published?”

Now, before all you upstarts get bent out of shape, please appreciate the fact that I’ve been asking this question since about the time Freedom 7 was launched. (Note to self: After gawking at Brian Bolland’s Blog, please don’t look at anybody’s comics art for at least three hours. You’re not giving them a chance.) The difference is, there are a hell of a lot more comic books being published these days. Whereas I think the comics medium beats out Sturgeon’s Law, there’s a hell of a lot of crappy art out there, and much of it is below what I consider to be professional standards.

Over my career I’ve spent a great deal of time evaluating newbie portfolios, and while I feel doing this at the larger, crowded conventions generally gives the young wannabe short shrift, like most geriatric editors I’ve developed a mental go-to list of comments that, if followed, will likely give direction to the newcomer. Since I’ve grown anti-social of late, I’ll share some of these points with you.

Stare at something other than the comics you grew up with. And don’t spend all that much time staring at comic books published before your birth – yeah, study the classics like Toth, Kubert, Kirby, Kane, Maneely, Wood, Adams, Barks and Toth, but learn from the great newspaper strip creators like Milton Caniff, Frank Robbins, Floyd Gottfriedson, Alex Raymond, and Frank Godwin. Spend some time gawking at the great illustrators like J.C. Leyendecker, Maxfield Parrish, Norman Rockwell, Howard Pyle, and NC Wyeth. Go to a few art museums. There is no more enjoyable way to pay your dues.

Get a large jar and label it “Photoshop Copy Machine.” Every time you use Photoshop or any other graphics program to copy your art so that you can use it later in lieu of drawing something new, put $20.00 in the jar. When you fill it up, donate the money to The Hero Alliance or CBLDF. The eye tires of the same old stuff, particularly when you repeat the same image within a few pages. Sometimes there is a solid storytelling reason to rerun your work within the same story, but like all dramatic effects these are few and far between and should only be used sparingly.

Get a smaller jar and label it “Son Of Photoshop Copy Machine.” Every time you use Photoshop or any other graphics program to copy somebody else’s art, put $10,000 in the jar. Then find some other fulfilling way to make a living. I suggest procuring a domino mask, a striped shirt, and a gun.

There’s an old adage that proclaims “color will save it.” More often than not, this statement is attributed to the late DC Comics production whiz Sol Harrison, who got his start as an engraver on Superman #1 and in his spare time did watercolors. Unfortunately, Sol was wrong. Color will not save bad art. Not even the most heavy-handed computer color. Bad art is bad art. Or, to be less subtle, shit stinks.

Go buy a copy of [[[Gray’s Anatomy]]]. Not the teevee show, silly, the book written and drawn by Henry Gray first published 154 years ago. Whereas the book has been updated frequently, the human body has not. I am not concerned with your religious predilection, but no matter which hoary thunderer or cosmic muffin you might worship, if you intend to draw the human figure for a living this is your new bible. I cannot stress this more highly.

Study storytelling. As the artist, you carry the burden of telling the story. You are not an illustrator illuminating somebody else’s story: you’re the person putting it across the plate. Your friend over there should be able to get a good sense of the story by looking at your unlettered original art. Go get Will Eisner’s Graphic Storytelling and Visual Narrative, and Will Eisner’s Comics and Sequential Art: Principles and Practices from the Legendary Cartoonist and Scott McCloud’s Understanding Comics. Take these three books, add the aforementioned Gray’s Anatomy, and don’t pick up the pencil or the Wacom tablet until you have studied and thought about each and every word in these four books.

Do not stop drawing. Question your alleged need to watch television, play video games, associate with people, eat, and bathe. Each of these activities takes valuable time away from your perfecting your craft. Trust me; once you get an assignment with a deadline, you won’t have time to watch television, play video games, associate with people, eat, or bathe.

Don’t give up. A newbie comic book artist who had just blown a couple deadlines once told me “If I can’t do this, I might as well flip burgers.” Well, today this guy is not flipping burgers. He became a comic book writer.

Drawing comics is no different than any other vocation: you’ve got to learn your stuff. Don’t look at the worst people being published and say “I can do better than that.” We’ve got enough crap. Aim high and don’t jump into the water until you know you can swim to the other side.

THURSDAY: Dennis O’Neil

MARC ALAN FISHMAN: How To Succeed In Comics Without Really Trying*

* OK, here’s the deal. You can’t. You can’t succeed in comics without blood, sweat, and tears. Or, better to say, if you can, I don’t know how. I know that once you break into comics and have enough dirt on editors and top brass… you can rest on those laurels for years. Ask Jeph Loeb. I also know if you can meet deadlines, even if no one would ever say your work did more than move things from point A to point B, you can still get a steady paycheck. Ask Scott McDaniel.

I was torn here on where to go. From that lead paragraph, I had two genuine directions. One would be an uplifting tale of how Unshaven Comics is succeeding in our goals through the triumph of hard work, and slow but substantial growth via winning over one fan at a time. The other article I could write is a shallow, mean, absurdly hateful piece directed at Scott McDaniel over something he posted on his website. Given that I’ve had a pretty brutal day, I’m inclined to get petty and stupid.

Since my M.O. in these columns is to provide a little Wikipedia’ing, allow me do as such. Scott McDaniel has been a working comic book artist for many years now. Titles include Daredevil, Nightwing, Batman, The Outsiders, and most recently Static Shock. A cursory glance over those titles should tell you that no matter how much I rant and rave here, Scott has the high ground; He’s worked at DC and Marvel. I’m still years away from getting my denial letters from either of them. That being said, I have a bone to pick with the good God-fearing fellow.

For those not following along, Milestone creator John Rozum was given the reigns of Static when it debuted in DC’s big reboot. After much ballyhoo, he was shown the door (or showed himself to it, in a sense), and McDaniel took the writing gig over. John let people know (here) (and here) (and here) his thoughts on it. Scott then issued a response of his own on his site, to clarify his take on the whole issue. His response was a 41-page letter issued to the interwebs detailing literally every conversation and his opinion on the matter. 4-pages. Single spaced. 12 point font. 20,000 words. To respond to John, and the industry in general on why he still worked on the now-canceled book. And as God as my witness? It makes me want to rub my feet on the carpet for a solid day, and then give Scott a static shock to the man-globes.

The basic argument came down to editorial. Rozum’s script was obviously not the direction DC wanted Static to go in. I would think many comic creators have been in this situation too. Hell, in Unshaven Comics we’ve had knock-out fights over single panels. What it comes down to though is what line a creator is willing to cross to make ends meet. The best comics being published today (many by DC, I would attest) work well only when all parties involved are on the same page (pun intended). Even four pages into McDaniel’s magnum dope-us I could figure out where all the hullabaloo was. Rozum wanted a grim and gritty take on Static that balanced the hero stuff with real-kid problem stuff. DC wanted a family-friendly-ish romp that went “all out” to draw attention to itself. Faced with an editor asking for something he really didn’t want… he all but “phoned-it-in” to make a few paychecks, before deciding to leave the title.

Some of the best comics work on a slow-burn concept. Where it takes five or six issues to really hit home. And truth be told, I tend to love those comics. Scott Snyder employs this process immeasurably well. But is Static right for such a treatment? In a perfect world, maybe. But let’s be honest. Static is most well known to be a “fun” character. His animated show was amazingly well done (until Shaq made a guest appearance, and they made Ritchie have super-powers). I have no doubt in my mind DC wanted to tap into that energy (pun doubly intended) for the relaunch. But I digress, no need to rehash all the details. I’ll let you read through them if you want. Suffice to say, Rozum zigged when he was asked to zag. His editor (a.k.a. The Boss), pulled McDaniel into the conversation early to swing things away from Rozum’s treatment. At the end of the day, no one saw eye-to-eye, and the book was sloppy because of it.

I forced myself to read through all 41-pages of Scott’s manifesto. I simply find it to be so amazingly crass that I couldn’t help but be bothered by it. At the end of the day, McDaniel didn’t do anything wrong. He followed orders, made his editor happy, and when it was obvious DC was gonna flush the series down the toilet with the rest of the poop, they saved a few dollars by letting Scott write it. Granted, I didn’t read Static, but if McDaniel writes as well as he draws… I’ll safely assume Static got into a ton of fights, stuff blew up, and then the moved on to the next plot point. I’ve read (and own) a few books by Scott. I’ve never loved any of them. I find his work to “feel” rushed. Whether it takes him any more or less time to complete than any other working artist today… simply put, I’m not a fan. And seeing him with more credits to his name on a book exponentially makes me steer clear. Remember when I wrote about the double-edged sword of artist-writers?

But, I digress once more. The point is simple. Scott McDaniel’s retort was unneeded, uncalled for, and ultimately a waste of pixels and bandwidth. Rozum had a reason to let the world know why he left the book, and what issues he faced at DC. Scott was (and perhaps still is?) drawing a paycheck from DC. To write 20,000 words on how Rozum made it hard to make the book successful (and reading Rozum’s own words, he all but admits his heart wasn’t in it in the first place)… is needlessly rubbing salt on a self-inflicted wound. I started this piece out discussing how one can succeed in comics. I can assure you one way not to do that, is spend 41-pages lambasting a fellow creator. If you read Michael Davis’ article this week, no doubt you know why it’s things like this, that make people think we’re all backstabbers and petty grudge-holders. Scott should have taken his paycheck to the bank, cashed it, and let people think whatever they wanted to think.

As Jesus would say: Do not resist an evil person. If someone strikes you on the right cheek, turn to him the other also.

SUNDAY: John Ostrander

 

MIKE GOLD: True-Life Nexus Comics

I first saw Nexus at one of those ancient Chicago Minicons we used to run at the beautiful and even ancienter Congress Hotel. The Minicon was an intense show held roughly every month, no matter the weather or the proximity of the latest Chicago Bears game. We had about 75 dealers tables, admission cost 75¢, our dealers and attendees drove in from a 350 mile radius, and the whole thing was over within five hours; less, if the Bears were playing that Sunday.

Our guests came from a similar radius, and frequently you’d see Jill Thompson, John Byrne, John Ostrander, Joe Staton, Paul Kupperberg, and a dozen or more at the tables near the entrance… as well as more than a few who were breaking into the business. Mike Baron, who lived about 80 miles north in Madison Wisconsin, was one such newbee, and when they launched their magazine-sized Nexus #1, he and artist Steve Rude gave me a copy. I consumed it that evening, and became a fan. Big-time.

Maybe a year later, Mike showed up at the Minicon dressed as The Badger. He looked and acted perfect in every way, as though Mike Baron was The Badger. This set my spider-sense tingling.

When their publisher went blooie, I aggressively pursued the opportunity to pick up both titles for our fledgling First Comics company. Both fit our line perfectly: superheroish but not traditional superhero, with a cutting edge provided by a writer and by artists who each had an evolved worldview. Like most of the best creative talent in all endeavors, Mike and Steve had their own individual connections to reality. Badger artist Jeff Butler was, as I recall, pretty straight-forward.

So when I came to actually negotiating terms with the defunct rights-holder Capital Comics, First Publisher Rick Obadiah and I drove up to Madison – Rick went to the University of Wisconsin and knew all the words to “On Wisconsin,” which helped us get a great table for lunch – and had our meeting in the offices of their now former-art director, Richard Bruning. Yeah, Rich is an old fart, too.

We were able to resolve all issues except one, and that one was so minor I can’t remember it today. I recall it wouldn’t have affected Capital Comics at all, but it would give First some needed flexibility. I held firm. So did Capital publisher Milton Griepp. Milton turned to Rich as a mediator, and Rich said he understood my concern. Bless you, Rich. Milton still held firm.

Mike decided he had enough. He walked over to the window behind Milton and opened it, proclaiming he had had enough of this shit and was going to lower himself out the window and hang there until we reached a deal. Then he started to lower himself out that window.

Did I mention the window overlooked the Wisconsin state capitol building?

At that very moment, I wanted to publish Nexus and The Badger more than I wanted oxygen. I sat poker-faced, Rick looked at me in shock, and both Rich and Milton were sort of… dismissive. As if this sort of thing happened with Mike every day.

“Well,” Milton said to Mike who was hanging out the window behind him, “if you feel that strongly about it, I’m okay with this.” Mike came back into the meeting room and we had a deal.

No matter how good those comics were – and Nexus and Badger were very good – that meeting was better. These guys possessed unique minds, and they put their heart and soul into their work.

I’ve had a lot of interesting situations with both Mike and Steve since: the real story of Sonic Disruptors is one that I will tell one day, now that everybody involved is no longer with DC Comics. And I’ll share just one story about these guys.

One day, I’m at First Comics and I get a call from Steve. “Hey, man. It’s the Dude.” Yep, it sure was. Imagine Maynard G. Krebs as one of the most talented artists in the world, circa mid-1980s. “Hey, I, like, just got a call from Rich Bruning! You know he’s out in Hollywood now!”

“Yes, I know…” I responded, waiting with bated breath for the Dude’s next words.

“Well, Rich told me he was working on the Nexus movie, doing all kinds of great design work.”

At that moment, I knew two things: 1) There was no Nexus movie, and 2) If I just shut the hell up, I’d find out what’s going on and probably have a wonderful ride. The Dude continued.

“I guess you forgot to tell me, huh? I know you’ve been busy.” Steve wasn’t pissed at all; he assumed I had a busy schedule and would have gotten around to it. This realization, even though it was based on a very faulty assumption, showed more thought and consideration than I’ve seen from a great many creators. I was genuinely moved.

“So, I gotta ask you, what’s up with the movie? Can I work on it?”

Passing up a great straight line, I sucked in all the air in my Evanston Illinois office and slowly let it out. “Steve. Listen up. Have you ever heard of the phrase ‘pulling your leg’?”

“Yeah, sure. That’s like somebody’s playing a joke on you, right?”

“Right, Steve,” I replied.

“So… you’re saying Rich was playing a joke on me!”

“Yep.”

“Oh.” Without pausing he added “Hey, that’s great! Really funny! Thanks for telling me!”

Damn. I didn’t know Emily Litella had a son.

And I really miss working with those guys.

THURSDAY: Dennis O’Neil

 

MICHAEL DAVIS: Shit And The Comic Book Industry

Please take a moment to look at the graphic that accompanies this article. Chances are you seen it before on the net or right here on ComicMix when Glenn posted it a few days ago.

Shit.

I’ll admit it’s clever as shit. It’s interesting as shit. It’s thought provoking as shit.

I came across this on Facebook and I must admit I was mad as shit when I read it. I was even madder when I saw it was a marketing ploy. Don’t get me wrong. It’s a great marketing ploy and I freely admit that shit.

I went to the website and the Facebook page of the person who put it up. After reading some of the stuff on the Facebook page I was disappointed that I was so upset. Why? Because this is the sort of person I should like. We share a great many thing with regards to politics and he seems like a great guy.

Really.

But I know a wee bit about the comic book industry and I know a wee bit more about building franchises and a wee bit more about mentoring talent.

I also know you do not do any of that shit with fear.

In any and I mean any part of the entertainment business you will find incredible success and dismal failure. That’s not the industry’s fault.  The industry was not set up for you to be either an incredible success or a dismal failure.

That shit is on you.

Are there barriers to entry?

Yes. Tell me, what profession does not have barriers to entry? There are barriers to entry for everything.

That’s what school is for. That’s what working on your craft is for. That’s what life experience is for. That’s what you go to comic conventions for.

If you want to work in comics, you go to comic book conventions to learn the industry not to hang out with your 20 friends in one hotel room with the sole intention of going to the Twilight panel to kiss the ass of the movie company so they will give you a glimpse of that bullshit movie which is the same movie as the previous 15 but “this time it’s personal.”

Yeah, I called the Twilight movies bullshit. That’s my opinion.

The Twilight franchise?

Brilliant.

I don’t have to love a thing to respect a thing and I respect the shit out of the Twilight franchise. When it comes to how they run that shit I’m Team Edward all the way.

Instead of going to a portfolio review or a small press panel the young creators who will fall for that “call me” ploy from the comic industry poster spend their time trying to catch a glimpse of Jim Lee at the DC Comics panel. Jim is not there to talk to you about getting into DC he’s there to sell you the books you are already buying.

So, how does any of the above help your career?

It doesn’t.

The graphic depicts the comic book industry as an industry of people who will try and stab you in the back. Really? You think Jim Lee wants to stab you in the back so he can steal your idea? That great idea that you drew with a ballpoint pen, inked with a magic marker, colored with Photoshop 0.1 in tones of nothing but blue?

No.

You know why Jim Lee does not want your great idea, which all your family and friends have convinced you will be bigger than Superman?

I’ll tell you why, because if you have been reading comics and using that as your only education and attending Twilight like and not career oriented panels at comics conventions then most likely your idea is shit.

Why would all your family and friends tell you had created the greatest thing since Star Wars? I’ll tell you why; your family and friends love you. They are bias as shit.

Think of what you say to that fat ass 300-pound girlfriend when she’s asking you if she looks fat in that dress.

Fat 300-pound girlfriend: Do I look fat in this dress?

You: No.

You lie. You lie because you want to tap some of that fat ass. Guess what? She knows you are lying. She’s 300 pounds, dude. She would look fat in stranded in the middle of the ocean.

Your family and friends are your family and friends; they are supposed to lie to you.  Your family and friends they don’t know shit about what makes a concept a good idea.

Secondly, your “bigger than Superman” concept was drawn with a ball point pen, inked with a magic marker, colored with Photoshop 0.1 in tones of nothing but blue and your can’t spell so your lettering sucks also.

Is the comic book industry fair?

No.

Does some projects that suck get published?

Yes.

Is there an “old boy” network at many publishers?

Yes.

Are there people who don’t want you to succeed?

Yes.

Welcome to Earth, motherfucker. Or more specifically, welcome to the real world of grown-up business.

In every single business on the planet there are unfair policies, projects that suck that get green lit, cliques of people who won’t let you in and people who do not want you to succeed.

Fuck that shit and fuck them.

Learn the game before you hook up with somebody who claims he can help you with your “franchise.”

Franchise?

Give me a fucking break. Learn to write, learn to draw. Ask Jim Lee for advice not an autograph. Stand in line to hear Marv Wolfman or Harlan Ellison talk about writing. Stop standing in line to see clips from a movie you are going to see anyway.

Comic creators like giving advice. You will be surprised to see how much you can learn from an conversation about that creators craft.  Set realistic goals for yourself. Seek criticism from people that know what they are talking about.

Here’s a hint. Make appointments with people you would like to talk to. All they can say is “no” but would not a “yes” make your day and help you?

Take classes, go to school make an effort to learn the industry.

Yes, think about your own Franchise!

Yes, build, your own Franchise!

But before you call someone to help you do something that they have not done, do the work that’s needed to achieve your goal. Yours – not someone else’s.

When you do all of that and more, when you have gotten to a place of excellence in your craft and still don’t succeed, try again and again and then again.

Frankly, if you are that good you won’t have to keep trying because you will succeed.

Anything less, anything quick, anything that does not involve the kind of commitment to your the craft is just bullshit.

WEDNESDAY: Mike Gold Gets Sentimental

MARC ALAN FISHMAN: Creators Are People Too

Hot off the lips of far better men and women than I (aka all the other ComicMix columnists) comes a little discussion weighing in on all this legal mumbo-jumbo going on in comic-book-land. Not to be outdone (remember when I lit a wee fire under Michael Davis a few weeks back?), I figured I’d let loose a few witticisms on the injustices being faced by far too many comic creators these days. Or just as every week, I’ll bury my foot in my mouth making wild assumptions, and asking dumb questions. Either way, you’re entertained… right?

For those not following the drama, read a few posts (such as here and here) and catch up. Basically Gary Friedrich got torched by Marvel for having the gall to turn a pocket out to them now that Ghost Rider is making them a few greenbacks. Gary isn’t alone in doing this. The creators of Superman did it. The family of Jack Kirby did it. And even over in the land ruled by Robert Kirkman, his longtime friend is doing it. And in all the cases, there seems to be a very simple precedent: When the check was cut to these creators for their initial involvement, signing it waived their rights to own their creation. Before the 1980s these checks had the contract right there on the check. I assume in the Kirkman case there were contracts and papers and lawyers, etc. In any event, for a small-time creator like myself, it’s scary and sad to read. A large part of me is angry. A smaller, more Jewish part of me is saying “Didn’t they know what they were signing?”

Please note, I am Jewish. So, it’s cool for me to go there.

Honestly, I’m torn on the subject. On one hand you’d figure that the person who did the legwork creating something should see the eventual fruit of their labor, when the money starts flowing. Would Marvel or DC be anywhere near as big as they are right now without the hard work and creativity of guys like Jack Kirby, Bob Kane, Bill Finger, Stan Lee, Jack Kirby, Steve Ditko, and the rest? The short answer: Hell No!

Creating a character that becomes a cultural icon, even for five minutes, takes real skill. And a suitcase of money doesn’t make Spider-Man’s rogues gallery, or designs Superman’s iconic costume. When the profits from the Spider-Man franchise, or the Nolan Bat-Franchise started rolling in, is it wrong to think that the person who initially created the character be able to see a little cash come their way? Certainly, as a compassionate person, I say of course. I’m not looking to be a communist here, but seriously, are a few shekels sent to the Mr. Friedrich when Nic Cage’s movie sells a few pairs of Underoos really going break Marvel’s bank? I doubt it.

On the other hand… if the paperwork is all signed, these creators are up a creek without a paddle. When I signed on the dotted line for my car, it’s mine. Even if I hate it the second I take the keys from the salesman… I’m stuck with it. Not a perfect metaphor, but I think my point is clear enough, no? When Gary, or any of the aforementioned creators were given their assignments from their editors… was there not a discussion about compensation? Assuming there was, it’s really on the head of said creators to know exactly what they are getting into. At the end of the day, if you sell your soul to the Devil, there’s no way out of Hell. Even if everyone agrees that you got screwed. It’s your name on the dotted line, and it’s your duty to read every word above it.

Face facts, no comic book artist or writer I know is living in a mansion, with extra money flowing out of their pockets. The fact is as I write this very column, I’m scouring Craigslist for freelance gigs in hopes of earning a few more bucks so I don’t have to send my wife back to work, so we can barely pay for daycare for our son (who is only a few weeks old). If Marvel or DC came calling at my door right now and told me they wanted to offer me a book, I’d sign papers so fast they’d need a fire extinguisher to cool my hands off.

Why? Money. I need it. They have it. And I’m safely assuming most anyone working in comics before me was in the same position. And therein lies the problem. The bigwigs behind these publishers have all shared the same evil grin behind their creators’ faces. Having the rights to the characters means raking in all the money from all the avenues open to said characters. Movies, TeeVee, T-shirts, action figures, sippy cups, night lights, toothbrushes, online fan club memberships, cereal, and oh yeah… comics. There’s no doubt in my mind that those with the cash have maintained the mentality that it’s their money, and they’ll hold onto it by any means necessary.

Remember that whole #OccupyWallStreet thing? Well, I’m certain the people behind the people behind the people at both the House of Ideas and the Brothers Warner aren’t in the 99%.

At the root of all this is the human factor. Money doesn’t grow on trees, and when you need to pay a bill, you do what you have to do to pay it. If the check is sitting on your desk, and all that stands between your next meal is your integrity, do you starve with a belly full of pride? Do you go the route of Robert Kirkman or Mike Mignola, and take your million dollar ideas to places where they let you keep your soul? Well, it’s different for everyone in comics. And when the good guys like Paul Levitz (see John’s column) step down, who will be there to fight for the little guys? Cause let’s face it… the second someone turns heels and walks away with their idea, there’s a line out the door and around the block of people waiting for a chance to walk right in.

And I’ll be damned if I’m not one of them.

SUNDAY: John Ostrander Changes The Subject

 

DENNIS O’NEIL Dons Bardo

You guys know what the word “bardo” means, right? You don’t? Oh gosh, I’m sorry. Last week I threw a Catholic factoid at you and this week I’m hitting you with something from Tibetan Buddhism which, for pity sake, isn’t even Christian! (What is wrong with me? Why can’t I just pass the test, toss the text, and cruise down to Steak’n’Shake like the rest of the kids?)

Never mind. Here is a definition of “bardo” provided by my favorite oracle, Wikipedia:

The Tibetan word Bardo means literally “intermediate state“ – also translated as “transitional state” or “in-between state” or “liminal state.” Used loosely, the term “bardo” refers to the state of existence intermediate between two lives on earth…The term bardo can also be used metaphorically to describe times when our usual way of life becomes suspended, as, for example, during a period of illness…

The jury is still out – way, way out – on the “two lives” business, but the bardo concept is a useful expression of something most of us experience, sometimes often. The in-between place. The “what-happens-next” region.

This time of year is bardo territory. Between the seasons. Between warmth and cold. Holidays are past and…now what?

My personal bardo? Well, last fall the Brigade of Evil Kidney Stones attacked and sent me to the hospital four times and resisted counterattack – we’d say “valiantly” if they were the good guys. State-of-the-art medical science has been only partially successful against them. I imagine the last one, who may or may not be still lurking in my innards – the X-Ray is yet to come – standing boldly and snarling, You throw sonic waves at me, puny mortal? I spit on your sonic waves!

Doctor Doom, eat your heart out.

I began teaching my NYU course last week, thus hauling myself from the between-semesters bardo.

The world of comic books is also emerging from a bardo, kind of. DC’s relaunch of its entire superhero pantheon is past. The new stuff is making its way apace, with, already, a few casualties and a few replacements. Both DC and Marvel seem to be doing some kind of reorganization. (Full disclosure: This is a guess – less than a guess: I couldn’t be further out of the loop if I lived on Pluto.) The effect of the new technology on our favorite narrative medium is still a big question mark. (By the way, I’m having difficulty learning about said technology. Wonder why.)

It’ll all be resolved, soon or late, and the bardos will come and go…

But look! Down there! The space between the end of this column and the beginning of the next! What the heck is that? Do you think it could possibly be…?

RECOMMENDED READING: I first encountered the word “bardo” as part of a title “The Bardo Thodal, often translated as “The Tibetan Book of the Dead.”  My sketchy understanding of it is that this is a set of instructions for the newly dead to help them negotiate the afterlife. It had a vogue among the counterculture in the fabled Sixties and then dropped off my radar. So maybe this is not a recommendation, but rather a mention; now you know the thing exists.

FRIDAY: Martha Thomases


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