Tagged: DC

MICHAEL DAVIS: Who To Blame… Part 1

I’ve had a very interesting career in comics.

I’ve done some pretty interesting things in my career. Co-founded Milestone Media, created The Action Files, the only line of comics taught as a curriculum in the school system and created another universe, The Guardian Line, for African-American churches and Christian book stores.

When DC comics launched Piranha Press in 1987 I was the artist chosen to illustrate the first series for the line. The Black Panel, a comics and entertainment forum I started over a decade ago, is now in development as a TV show as is The Littlest Bitch (TLB) a book I co-wrote with David Quinn.

David and I first conceived TLB as a graphic novel on the New Jersey turnpike almost 20 years ago. We were driving home from The Kubert School where I was teaching a master illustration class and David was my guest speaker that day.

Speaking of TV, Static Shock, based on the character I co-created, can still be seen on a Disney channel, which cracks me up because Disney turned it down quick, fast and in a hurry when we pitched it there 10 years ago.

I’ve done some other pretty note worthy things (I think) in comics but I’m most proud of my mentor program. Some of the biggest names in comics have come through my program. I won’t bore you with the names but I will say that because of my self-funded mentor program I have four city proclamations and a school auditorium named in my honor.

I’ve also managed to carve out a bad boy type of reputation in the industry. That reputation has many origins, depending on whom you get the story from but that story is for another time. I will tell you this: when it comes to getting that bad boy rep, I have no one to blame but myself.

I don’t tell you some of what I’ve accomplished in comics to impress you but rather to impress upon you that is there is plenty of blame and help to go around and there lies within a tale, which just may help someone who’s trying to break in now. Sooo…

In 1987 I was offered and was right about to accept a position overseeing the art department at a very prestigious prep school. This was a dream job. They were going to pay me a fat salary, give me an on-campus apartment as part of my compensation package and all my meals were free. The only thing I had to pay for was my phone bill as there was also a clothing stipend.

That was a dream job, so why didn’t I take it? Those of you who hate me are thinking ‘Oh why, oh why, did that loud mouth mofo not take that job?’

In fact, I was going to take it. I had started packing my bags when Denys Cowan talked me into going to the Mid-Ohio con with him. As fate would have it I went to the Mid-Ohio Con to attend a very small but very cool comics convention.

It was clear when we got there, Denys knew everyone and everyone knew Denys. I did not know a soul there. Denys would often leave me alone to go and talk to some one, which left me to wander aimlessly around the convention. It was during one of these aimless walks that I met John Ostrander.

Wait a sec-before I go on I should let you know that I was (still am) a comic’s geek. Although I had a very good career going as an illustrator it was my dream to somehow work in comics.

John and I hit it off very well and before I knew it he was inviting me to Mike Grell’s room to watch the Sable pilot. I thought I had died and gone to Comic Book Heaven. I adored Mike Grell’s work. At the time he was my favorite artist on the planet! Later when Denys arrived I causally mention that I was going to Mike Grell’s room to watch the premier of his new TV show.

The look on Denys’ face was priceless. It said “how the hell did you manage that?” We still had some time (I told Denys he could come as my guest; you should have seen that look) so we decided to browse the convention floor.

If you know me, you are well aware I talk to everyone. I mean everyone. I’m just wired that way. Standing at an artist’s table looking at their work without uttering a sound is just freakin crazy to me.

Little did I know the two guys I was now chatting with would go on to change the industry in a huge way!

End of part 1.

WEDNESDAY: Mike Gold

The Point Radio: Joel McHale Grows Up


We talk more with Joel McHale about the new season of COMMUNITY, how he’s taking himself a little more seriously and what’s up with Jeff & Annie. Then we showcase another new NBC comedy –  FREE AGENTS with Hank Azaria and Kathryn Hahn, plus FRINGE fans can relax. We found Peter Bishop – and he’s at DC Comics.

The Point Radio is on the air right now – 24 hours a day of pop culture fun for FREE. GO HERE and LISTEN FREE on any computer or mobile device– and please check us out on Facebook right here & toss us a “like” or follow us on Twitter @ThePointRadio.

Happy 70th Birthday, Aquaman!

Happy 70th Birthday, Aquaman!

Today is a very, very special day in the history of Aquaman–it’s his 70th birthday! And when we say 70th birthday, we don’t mean the birthday DC Comics has seen fit to give him within their continuity–that’s January 29. No, we mean that on this day seventy years ago–September 25, 1941–More Fun Comics #73, Aquaman’s debut appearance, hit newsstands…

So, with Aquaman hitting the big 7-0, and his new series only days away from debuting, the Shrine thought it a tribute fit for a king to reach out and collect birthday greetings from various writers, artists, and performers, all of whom have been involved with the Sea King in some way over these seven decades…

How do you blow out birthday candles underwater? For that matter, how do you light them?

via The Aquaman Shrine: Happy 70th Birthday Aquaman!.

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JOHN OSTRANDER: Story Telling

I love stories. I love reading stories, I love hearing stories, I love telling stories.

I’ve been like this as far back as I can remember.

The way my mind works is that I see stories everywhere. Back when I was going to Chicago’s Quigley Prep Seminary in my freshman year of high school, I had to take the elevated train down to school and back at least five days a week. In those days, the first seat in the first car was a single seat right by the front window. When I could get it, I’d watch the tracks as we went. I’d assign one person’s life to one of the rails and another person’s life to the parallel rail and, at junctions, where another set of rails could switch you to another set of tracks, I saw those parallel lives coming together but then another junction would come and those lives would no longer travel on together. I projected a story onto the rails.

Yeah, I was an odd kid.

Sometimes I would come home after dark, especially during the winter, and when I could I’d sit by the train window and watch the apartment buildings as we passed them with rows upon rows of windows. Most would be dark or have the shades drawn but, every so often, the window would be lit and the shade would be up and you’d see someone in the window, just for a few seconds. You’d catch a bit of their life and wonder what the rest of it was like.

Years later, I lived in an apartment that was a half block or less from the train tracks. I lived on the third floor and I knew, from my previous experience, that if the lights were lit and the shades were up, people from the passing trains could look into my life just as I glimpsed into others. That seemed fair.

What I learned from this is that we play many parts in our lives. We are the leads of our own stories (or should be) although, as Charles Dickens, in the opening of David Copperfield, wrote: ”Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show.” We can be the hero or villain in our own life and sometimes are both. In the story of other peoples’ lives, we assume different plot functions – supporting character, antagonist, cameo, walk-on. We are part of so many different stories.

We are all stories; we are all storytellers. As my former rector, Revered Phillip Wilson, used to say, stories are the atoms of our social interactions. We use story constantly in our own lives, to convey experience, tell a joke, share an experience. Stories are how we understand the world into which we have been born. The stories we tell shape us both as a people and a nation.

The stories often get told and re-told just as DC Comics is now re-telling its stories. Events get altered because it makes a better story. When Del Close was telling portions of his life story in Wasteland, he was never concerned about the facts (although there were often some kernels of fact in the story) – he was concerned with what was true, what was good for the story.

A good story always reflects the storyteller and Del’s stories always did. Del lives in his stories just as Dickens lives in his stories just as Shakespeare does in his. As I do in mine. The stories aren’t real in that the events haven’t happened but they are hopefully true; lies told in service to the truth.

So – what’s your story?

MONDAY: Mindy Newell

MARC ALAN FISHMAN: UltraFish — What I’d Do Were Malibu Mine

Welcome back to the Fishtopia, gentle readers. Once again, I’m refraining from dumping all over DC. I know, bold move. But boldness is what I’m known for. Boldness, being Jewish, and uhh… having a beard. I thought I’d tickle my fantasy bone today and open a door to a magic land. Come with me, won’t you? We open on a cool, crisp Chicago late afternoon. A chilly breeze blows through my thick beardly-locks. The lake air wafts past my nose, bringing with it the scents of a city. A hotdog dragged through the garden. Buttery deep dish pizza choked with cheese and sausage. Hipster-douchebags in knit caps, skinny jeans, and too much Old Spice. Ahhhh. I gaze longingly at the Lake. A lonely boat drifts in the distance. My iPhone rings. Oh! It’s Marvel calling.

Me: Hello?

Them: Marc-E-Marc! It’s Axel!

Me: The Axe-Man! What’s the happy haps?

Them: So we just have to get you on the payroll here. It’s been too long!

Me: I know, I know. What do you have in mind? Another Slingers mini? Maybe Matt and I can knock out that Darkhawk book we keep pitching to you?

Them: Oh no, bubbala. I got something better. Something you’ve been dying for.

Me: No.

Them: Oh… oh yes.

Me: Say it. I want to hear you say it.

Them: OK Fish. Malibu. It’s yours.

At this point my legs go a bit limp. I find a bench. All is right with the world.

It’s no secret. I loved Malibu Comics’ Ultraverse. I owned nearly every book they published. If a genie were to grant me three wishes… bringing them back is the first thing I’d ask for (after world peace and a carb and calorieless Mac and Cheese). For those who aren’t familiar, let me dial up the pop-tart sized Wikipedia entry for you to wolf down before we proceed.

In 1993, a small publisher, Malibu Comics, decided to put out a line of superhero books. Hey why not, everyone else was doing it! The “Ultraverse” as it were, was a fun romp not beleaguered by decades of history (like Marvel or DC), knee-deep in boobs and guns (Ahem, Image…), nor entrenched in wads of super-science and hyper-continuity (like Valiant). Malibu’s line was just about the fun. Characters with barely believable backstories fighting baddies with a wide array of appropriated super-powers. As a 12-year old, I ate it up like a church group at a Sunday buffet. Yeah, I went there.

Fast forward to the mid-nineties… and sales dropped. Turned out all those issues of the Death of Superman weren’t worth thousands, and people were getting tired of counting the flaps of Spawn’s cape in a book of 17 splash pages. Marvel picked up the ashes of the now unpopular Ultraverse, and laid them to rest after a failed crossover. Ever since, I’ve wanted to grab those dirty ashes and reanimate them to their former glory. Here’s how…

Keeping things to their own li’l separate universe would be key. Call me crazy, but usurping an entire universe and rewriting continuity just to force a few has-beens into a modern setting seems like the dumb kid trying to wedge the square into the circle hole. Sound like anyone you know? Nah, me neither. Anyone here reading Voodoo and Grifter yet? But I digress!

I would make a batch of four or five books, akin to Marvel’s successful (turned boring, turned Jeph Loeb nightmare, turned interesting again) Ultimate line. A solid solo adventure book. A sturdy team book. Something to explore the fantasy/sci-fi angle. Maybe a nice villain-centered book. And then? A book with Wolverine in it. Hey, even in my wildest dreams, I need to sell some books. Allow me to pontificate.

My solo book? Prime. Here’s a character that begs to brought back. Taking the original Captain Marvel concept (a boy who can transform into a 20/30 something super-man), but adding a pinch of angst… makes this a title to appeal to teens and not-teens alike. Billy Batson is gee-golly-gosh cool. Seriously. I loved Mike Kunkel’s Johnny DC title. But we ain’t talkin’ about Billy.

Prime’s alter-ego is (was) Kevin Green… troubled youth. With a chip on his shoulder and an attitude problem, he’s the quintessential anti-Batson. Where a Peter Parker or Clark Kent have that “boy next door” charm, and a happy demeanor in and out of costume… Kevin is at that perfect age where he knows all the answers, and still can’t get girls to dig him. But when danger is afoot, he activates his liquid flesh power, and becomes the hyper-muscular Prime. Unlike a Marvel or Captain America though… Prime is instinctively still a teenager. He’s quick to anger. Quick to fight. And he’s powerful enough that no one is going to tell him otherwise, by force or not. Add in some crazy scientist arch nemesis and robots to trash? Maybe a love triangle where Kevin has the hots for a teen girl in high school, and a seductive Super Heroine as Prime? The book practically writes itself! Will Kevin lose his virginity to the super-slut, or save himself for prom? And how can he fight the evil mutant army, when he still needs to clean his room!?

How about a team adventure? Well, look no further than The Strangers. When a group of seven random passengers aboard a San Francisco trolley get hit by sentient alien lightning, they are imbued with super powers. They must unite to fight a mysterious eighth citizen who’s bent on taking over the city! OK, simple pitch aside, what I loved about The Strangers back in the day still holds true now. The pure oddity of powers given matched with completely dissimilar character types makes a book that never stops being fun for fun’s sake. The team is led by an art school student with Firestorm level matter-altering powers (and he doesn’t have the restriction of needing to know how to convert matter a la Ronnie or Jason). His best friend, a hot-head with a Guy Gardner level chip on his shoulder, is constantly trying to steal the spotlight. There’s a street urchin who’s more interested in using his super speed to score and sell drugs. A fashion designer who could care less about her new powers… she’s got a business to run. And did I mention the team has a hooker-android with electrical powers that may be remotely controlled by a mad scientist? What wouldn’t this book have people?!

OK, one more before I go. Mantra. For the sword and sorcery set who dig a little gender bending to boot. A warrior cursed to live eternally is reborn once more, after a thousand years… but this time, in the body of a woman! Having to acclimate himself to a modern world he’s not ready for, in a body he can’t get used to! It’s a fish out of water, with boobs. Marvel at Mantra as she fights against evil modern-day warlocks and demons… while trying to get the hang of sports bras and depilatories. Sex and the City meets Dungeons and Dragons, folks. Come get some.

Of course, you can’t actually get some. Malibu’s contracts were coated in leagues of red tape and legal roadblocks. Marvel tried to unearth the Ultraverse in 2005, but it go no further than a wish on the wind. And while no one of importance cared… I cried that lone American-Indian-on-the-side-of-the-road tear. Normally, I’d figure out a nifty way to end my column. A nice summation told via a pun or a wicked barb aimed at a worthy foe.

But I’m too sad right now. So I’m just ending with a bitter plea. Someone out there give me a million dollars, so I can go make this happen. No? You’re a bunch of jerks!

SUNDAY: John Ostrander

Are People In Comics Really Crazy?

Are People In Comics Really Crazy?

the joker (based on a Dave McKean work)

RESPONDING to years of declining readership, DC Comics — the publisher behind Superman, Batman and other superheroes — recently reintroduced itself with 52 new titles, featuring characters and story lines that better reflect today’s diverse sensibilities. But it remains to be seen whether that diversity will include more accurate portrayals of mental illnesses. Although the reintroduction is in full swing, it’s not too late for DC to use its unique and influential position in American pop culture to combat harmful stereotypes.

via Putting the Caped Crusader on the Couch – NYTimes.com.

MARTHA THOMASES: Of Soap and Comic Books

The big news in pop culture this week is not comics (although I’m excited about seeing Cliff Chiang’s Wonder Woman), but on television. Specifically, today is the last episode of the long-running soap opera, All My Children.

How long-running is it? The show started in January of 1970. Since then, it’s run for an hour a day, five days a week, except for holidays. Soap operas don’t do re-runs in the summer. They need new stories and they need them now.

I had always sneered at soaps before I watched AMC. I’d tried to watch General Hospital when Elizabeth Taylor was on, just to see what all the fuss was about, and I couldn’t get into it. A friend of mine got a few days’ work on AMC, though, and out of loyalty, I tuned in.

It was hilarious. My friend, a fashion model in real life, was cast as a nemesis of Erica Kane, a fictional fashion model. My friend was six feet tall. Lucci might be more than five, but that’s in heels. They had their skirmishes on staircases so Lucci could look her in the eye.

Still, the absurdities didn’t prevent me from developing an attachment to the characters. I liked Tad the Cad and his lovely sister, Jenny. Their mom, Opal, was a hoot. It didn’t bother me when characters would marry the same person two or three times. Even with a 15-year gap, I could still catch up with the show when I started to watch it again in the late 1990s.

Soap operas are a form of mass-market entertainment aimed primarily at women. They get their name because, traditionally, they’re packed with ads for soap – laundry soap, dishwater detergent, shampoo and bath products. To attract this audience, they tell women-centric stories, where love and family are fought for, and there are very few fist-fights, on staircases or otherwise. On soap operas, before they have sex, men light dozens of candles and scatter rose petals on the bubble bath they just drew.

Soaps started to lose their audience when middle-class American women entered the workforce in large numbers. Today, the networks can’t justify the expense to cater hire large casts for scripted dramas that run in the daytime.

However, while soaps lost audiences in the afternoons, they gained influence on prime-time television. Not just shows like Dynasty and Dallas, but most dramas have developed the kind of intricate, long-form serial stories you find on soaps. Buffy, the Vampire Slayer, Homicide: Life on the Street and Mad Men are just a few critically acclaimed and award-winning shows that show their foamy influence.

What does this have to do with comics? Mainstream comics also show soap influence. When I started to read comics, every issue was self-contained, and most stories were about the fights and the powers. Now the characters have more developed emotional lives, and readers are as caught up with the personalities as they are with determining who would win in a fight.

The audience for pamphlet comics is shrinking more quickly than the audience for daytime soaps, and it was never as large to begin with. At the same time, comics’ influence is everywhere. Not only are comics optioned for the movies and television, but the kind of story-telling techniques developed for comics has been as influential to the current generation of filmmakers as the French New Wave was to my generation.

So maybe there aren’t that many people who want to go to a direct market store, but there are a lot of people who might want to read graphic stories. The growth in bookstore sales of graphic novels proves this, and we’ll see if digital delivery grows the audience as much as we’d hope.

When DC was preparing to launch the line of science fiction comics that eventually became Helix, I remember having a conversation with editor Stuart Moore. It seemed to me that he had an interesting line that would appeal to fans of the genre, but I wasn’t sure how they would find the books if they didn’t already go to comic book stores. There were critics who might consider reviewing the Moorcock series, but they’d want to see the entire storyline. Why can’t we publish graphic novels first? I wondered.

The answer, unfortunately, was a combination of inertia (this is the way we’ve always done it) and a market model that wasn’t about to change for the chance of success with a few titles. The only hit to survive the line was Transmetropolitan, and I’m willing to bet it has sold more copies in collected form than it did as a monthly title.

It’s been bittersweet watching the last few episodes of AMC. The writers are taking ridiculous chances (returning characters from the dead) and giving most of the long-running characters some happiness. I felt the same kind of affectionate sadness at the last month of the DCU titles. Maybe it was sentimental, but I liked it when Bruce Wayne got a note from his long-dead father (then alive in an alternate universe), in which Thomas told his son how proud he was of him.

That was the kind of thing that could happen in the Valley.

Dominoed Daredoll Martha Thomases will have to find something else to watch as her treat for getting work done.

SATURDAY: Marc Alan Fishman

DENNIS O’NEIL: The Original Reboot

All hands brace for a confession….Yeah, you got me. I admit that all the noise surrounding DC Comics’ reboot or relaunch or reinvention…whatever you call it, all the dust raised by this activity has caused me the occasional twinge. I worked in the comics trenches for a lot of years and some of it I still miss. Not all, oh no, but – sitting with bright, talented, convivial people in a room and doping out stories to tell…that was one of life’s joys and I’m guessing that the stalwarts at DC have spent a lot of time recently doing just that.

But they aren’t the first to redact the company’s pantheon of superheroes. Way back before you were born – most of you, anyway – Julius Schwartz did pretty much the same thing. The year was 1956 (I told you that you weren’t born yet) and comics, and their primary contribution to pop culture, superheroes – they’d been sickly for about a decade, ever since some politicians, editorial writers and assorted busybodies had convinced a lot of citizens that comics were spawns of evil. (To be fair, changing publishing and retail realities had something to do with comics’ decline, too.) As Julie told me the story: he and his fellow editors were having a meeting and someone decided to revive The Flash, a once-popular character that hadn’t been seen for years. Julie’s words as I remember them: They all looked at me and I said, I guess I’m it.

They did, and he was. He didn’t merely produce a carbon copy of the original Flash, though. With writer Robert Kanigher  and artists Carmine Infantino & Joe Kubert, Julie gave the world a new Flash – new costume, new origin, new identity. He left the original concept intact – the world’s fastest human – and altered everything else to make The Flash and his world reflect this, the world we non-fictional beings in habit. Julie and his merry men taught those of us who followed them how to do it: leave whatever made the character popular and unique alone, and modernize the rest.

There was no particular fuss over Julie’s work, back in 1956. For him, it was just another day at the office. The network of fan publications was at best just a’borning, as were conventions, and websites, like this one, weren’t even science fiction because, as far as I know, nobody had even thought of them. Sure, some dedicated readers may have reacted, but the world at large…yawn. And that may have been where Julie had an advantage over his editorial descendants.

Imagine doing this complex task with hordes of the curious looking over your shoulder, waiting to see if you fail, some of them, human nature being what it is, maybe hoping you’ll fail. And of course, regardless of how well you perform, a lot of your audience will find fault because they’ve been establishing an emotional attachment to these characters for years – for decades? – and any significant changes is going to seem…well, dammit, wrong! Pretty daunting, huh?

I haven’t read any of the new stuff yet. Have I just convinced myself that I shouldn’t?

Recommended Reading: The Ten-Cent Plague: The Great Comic-Book Scare and How It Changed America by David Hajdu

FRIDAY: Martha Thomases

Wednesday Window-Closing Wrap Up: September 21, 2011

Wow, this one’s even more embarrassing than usual– some of these windows have been open on our browsers since August. Let’s get them out of here…

Nothing will ever make him change his mind. Logic won’t do it. Integrity won’t do it. The evidence of his own two eyes won’t do it. The sage counsel of his most trusted advisors won’t do it. The awareness that he owes his life, and his son’s life, and the lives of everybody he knows, won’t do it. J. Jonah Jameson, publisher of the tabloid Daily Bugle, will never admit that he was wrong.

We just have to clean out our browsers more often…

Jack Adler: Tribute To A Comics Original

Back in 1937 a King Features Syndicate staffer was given the job of taking over the coloring and engraving their fairly new full-page weekly comic, Prince Valiant. It was a remarkable assignment; one that only a truly talented artist could perform. The job was given to a 19-year old named Jack Adler.

That assignment was his full work load: he had a week to do it, and given the complexity and beauty of Hal Foster’s work, Jack needed every minute of the work day to make his deadline. Given this workload and his youth, we can forgive him for making a politically incorrect faux pas. His boss was taking an executive on a tour; clearly, this executive was a comics fan who really new his stuff. He asked Jack all kinds of questions that were answered perfunctorily without the teenager taking his eyes off of his work. Finally, his boss cleared his throat and Jack swiveled around just in time to meet the executive’s glower.

The executive was the incredibly powerful William Randolph Hearst, the owner of the joint and a man used to deference.

Jack Adler kept his job. That’s quite a tribute to his talent.

Adler went on to a career in comics that lasted for nearly a half-century. Teaming up with his friend Sol Harrison – the engraver on, among other projects, Superman #1 (the first one), the two revolutionized the world of comics color. They recreated the engraving system at the New York Daily News, they helped organize for the engraver’s union and they wound up at DC Comics. Continuing to color – particularly covers – Jack became assistant production manager in 1960 and was promoted to production manager when his boss, friend Harrison, became DC’s president.

Of all his work, Jack is perhaps best known for his wonderful wash covers in the late 1950s and early 1960s: Sea Devils, Green Lantern, Adam Strange, Challengers of the Unknown and others.

A passionate photographer, an audiophile and a watercolor artist, Jack was quite the Renaissance man. I used to joke that he invented papyrus; he thought it over and said no, he would have invented a paper that would absorb color more efficiently.

Jack was saddled with all kinds of allergies and medical conditions and, during his final days at DC, needed help to get through the workday. But he still hung on and was a frequent advisor to a number of so-called independent comics publishers; Adler gave me all sorts of suggestions when we were doing the original First Comics.

Oddly, he might have been better known outside of the comic book donut shop because his cousin, Howard Stern, mentioned him frequently on the air.

Jack Adler passed away Sunday night at the age of 94.

Stern dedicated the opening of Tuesday show to his “super cool Cousin Jack,” calling him a “genius” photographer who supported his passion by becoming a comic book artist.

I called Jack Adler my friend.

 (Caricature by Neal Adams)

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