When last we visited Clark Kent and Lana Lang, they were at college, leaving Smallville behind and as Season Three of the syndicated series arrived, it came with changes. The first was that Superboy became The Adventures of Superboy and then the focus moved the characters from the well-named Shuster University to a quasi-internship at The Bureau for Extra-Normal Matters in Capitol City, Florida. Clearly, the actors were aging and the premise of them being in college stopped making sense, plus menace of the week stories was becoming tougher to make plausible on the static campus. The more plausible setting worked for super-heroes but certainly took something away from the civilian side of life, a similar issue plaguing Smallville in its latter seasons.
The third season, out now on DVD from Warner Archive, also brought the welcome removal of the annoying Andy McCalister, character, with actor Ilan Mitchell-Smith taking a curtain call in this season’s “Special Effects”. He was replaced in the cast with coworker Matt Ritter (Peter Jay Fernandez) and the Bureau chief C. Dennis Jackson (Robert Levine).
While there are certainly foreshadowing elements to the far more successful Smallville, the tone this season actually evokes memories of Robert Maxwell’s film nourish first season of The Adventures of Superman, which ran some thirty years earlier. Credit for this positive change, reflecting the adult reality the leads now found themselves, goes to producers Julia Pistor and Gerard Christopher, with DC Comics’ support and approval. Christopher, who inherited the cape the previous season, seems comfortable in the uniform and while no great actor, certainly was stalwart.
The thirty minute format remain inhibiting so character development was almost nil except when it played a role in the story such as “Rebirth” where Clark thought he took a life and hung up his cape. Every series has to explore alternate futures and this series honored that trope with both “Roads Not Taken” and “The Road to Hell”, the latter a fine two-parter with former Tarzan Ron Ely as an aging Man of Steel from a possible future.
On the other hand, several stories seemed mired in the past such as “Wish for Armageddon”, which felt like an antiquated Cold War story in the aftermath of the Berlin Wall’s collapse.
Luthor, Bizarro, and Metallo make return appearances as opponents while first timers included The Golem in a strong neo-Nazi story. Pa Kent (Stuart Whitman) turned up for an appearance, a reminder of when Clark’s life was simpler and dad was always there to guide the way.
Overall, it’s a stronger season than the preceding one, but also one that less resembled the comics fans wanted and appeared somewhat alien to the general audience, neither resembling the comics or the film series.
The transfers are fine overall and the made-to-order 26 episode, three-disc set comes without any bonus features.
Dan Didio has written the latest iteration of the character for Villains Month, part of the new Forever Evil crossover event. It ties up a plot arc that’s been weaving through the New 52 books since their inception – the villain’s black diamond has appeared in the short-lived Team 7 title, as well as CatwomanDemon Knights and even Sword and Sorcery. So clearly his return is intended to be a big one.
But this isn’t the first time DC has tried to make Eclipso into a top-echelon threat. Not by a long length.
People go on about how many times Aquaman has been revamped, but I gotta tell you, I think Eclipso has him beat. Originally a sort of Jekyll-Hyde pastiche, he was released from within scientist Bruce Gordon whenever he was caught in the shadow of an eclipse. Fortunately, eclipses are rather rare, so the character almost never appeared…oh, wait…ah, I’m being told that he could also appear under the shadow of an artificial eclipse, like a tea tray being used to block the light of a sunlamp. Well, that certainly changes things.
He had a run in House of Secrets that got reprinted quite a bit in the wonderful years of the 100-page Super-Spectaculars, where people my age got most of their knowledge of the golden age and early silver age of comics. He re-appeared on occasion when they needed a relatively generic and replaceable villain – he showed up in the Metal Men book as a Big bad, for pete’s sake.
It was with Eclipso: The Darkness Within that they first tried to make him into a major player. Eclipso was now a major force of evil, hidden on the dark side where he secretly tried to control and destroy the shards of a massive black diamond, the Heart of Darkness. But a visit by Lar Gand (Not the Legion’s Mon-El, but the post-crisis version…look, just read my history of the character if you feel the need to catch up) gave Eclipso the idea to use the diamonds to possess the heroes of Earth, just as he’d used the first/original shard to possess Gordon.
The series did well and spawned a Eclipso title, one of the few times a villain carried a book. Bruce Gordon was now being played as the Van Helsing to Eclipso’s Dracula, the Nayland Smith to Fu Manchu. The book didn’t last all that long, and Eclipso sank back into the mid-card.
ComicMixer John Ostrander got ahold of him during his exemplary run on The Spectre, and the history changed again. Not merely a demon of evil, Eclipso was in fact God’s first tool of Wrath, before The Spectre. Eclipso, it’s explained, cause the biblical Flood at God’s behest.
This version of Eclipso returned a number of times, possessing Superman, taking Alex Montez as a host in a great arc in JSA, and most controversially, taking over Jean Loring, who was in quite a state after the events of Identity Crisis.
But in there, we got another version of his origin. Now it’s explained that the black diamonds came from Apokalips, and Eclipso was created by Darkseid. That was one of those changes that turned vast gouts of the past of the character into the rubbish heap, and it was not taken well by fans.
The New 52 has seen fit to bring the character back to his “god of vengeance” position, though his connection to God has not been re-confirmed. With a number of appearances in several books, it’s a thread that has been in place for about all of the New 52. Dan Didio, who did a very good job with the first few issues of Phantom Stranger, does a good job here summing up the latest new history of the character, and making clear how big a threat he can be. Another small change – Bruce Gordon has now become “Gordon Jacobs,” likely to make the name more different from its original in-joke sources, Bruce Wayne and Commissioner James Gordon. He’s now being portrayed as a disgraced scientist, after an experiment with a solar-powered city goes terribly wrong. This sets Gordon up to be tempted by Eclipso, as opposed to merely possesed against his will. Like the spin made the the Phantom Stranger, it allows the character to be a bit more complex.
They’ve used Phantom Stranger to set up a couple other powerful Mystic characters – the first appearance of Raven was made there, though not mentioned by name, and that of her demonic father, classic Teen Titans foe Trigon, who also received a Villains Month issue.
Whether Eclipso will be a major player in Forever Evil, or if he’s being set up for an even later use is unsure. But with the amount of time they’ve spent into setting him up, there are clearly big plans for the character.
I believe a person has the right to commit suicide. No matter who says what, suicide might very well be our only inalienable right. Sixteen religious leaders, your entire family, all of your friends and all of your enemies can get together, kidnap you and hold an “intervention” (that’s sort of a pop-psych séance), and when all is said and done, you can still jump off a cliff.
But even I would admit that holding a suicide-themed contest is gauche. And, hey, I’m a punk rock fan.
Our friends over at DC Comics (who are now looking up “friend” in their online dictionaries) decided to run a new talent contest. According to their own web page “Harley Quinn is no stranger to a little breaking and entering for a good time and now, she’s going to help one talented artist break into comics with DC Entertainment’s Open Talent Search. That’s right, we’re looking for someone to draw one page of Harley Quinn #0 alongside some of comic’s most amazing talents, including Amanda Conner, Paul Pope, Bruce Timm, and a few other surprises, maybe even you!… If you think you’ve got what it takes to be published in this special issue, then put on your working hat and start drawing now, because an opportunity like this doesn’t come along very often.”
And, from that same page, here’s part of what they want you to draw: Page 15, Panel 4 – “Harley sitting naked in a bathtub with toasters, blow dryers, blenders, appliances all dangling above the bathtub and she has a cord that will release them all. We are watching the moment before the inevitable death. Her expression is one of “oh well, guess that’s it for me” and she has resigned herself to the moment that is going to happen.”
Actually, being familiar with both the character and the issue’s creators, I get the gag. Maybe that’s because the concepts of suicide and death doesn’t horrify me. Or maybe I’ve just got the same perverted sense of humor as writer Jimmy Palmiotti, artist Amanda Conner, and Co-Publisher Dan DiDio. But if you don’t frequent the Comic Book Donut Shop, it’s possible you just might not get it.
Here’s a couple thousand people who don’t get it: The American Foundation for Suicide Prevention, American Psychiatric Association and National Alliance on Mental Illness released a joint statement saying this whole thing sucks. To wit: “We believe that instead of making light of suicide, DC Comics could have used this opportunity to host a contest looking for artists to depict a hopeful message that there is help for those in crisis. This would have been a positive message to send, especially to young readers.”
Young readers? Really? Drop by a comic book shop sometimes, you cloistered shrinks.
The fact that the contest was announced a few days before the beginning of National Suicide Prevention Week probably didn’t help one bit. The story achieved national attention. You’d think Harley Quinn had just covered Ice-T’s “Cop Killer.”
DC Comics issued the typical mealy-mouthed apology “to anyone who was offended” (I hate that phrase; it sounds like being offended was the object’s fault and not the culprit’s), and Jimmy offered a much more sincere and explanatory apology, which was the right thing to do.
There are a lot of things one can’t rationally discuss in the commercial world without provoking kneejerk overreaction. After a lifetime in youth crisis intervention work, I can safely express the informed opinion that just about everybody who would have read Harley Quinn and then offed themselves already was a basket case waiting to take the pipe. You cannot bring down our mass media to the lowest common denominator.
However, given the fact that we live in a world where parents of a teenage suicide would sue a rock band for being responsible for their kid’s death despite the fact that literally tens of millions of others routinely and safely listened to that same song, DC’s move was unwise.
This column first appeared Monday at www.MichaelDavisWorld, a wonderful place where people speak their minds and everybody but Martha Thomases swears a lot.
Mike Gold performs the weekly two-hour Weird Sounds Inside The Gold Mind ass-kicking rock, blues and blather radio show on The Point, www.getthepointradio.com, every Sunday at 7:00 PM Eastern, rebroadcast three times during the week – check the website above for times and on-demand streaming information. Mike Gold is cool. No, wait. That’s fezes. Fezes are cool. Until the end of the year.
“And in each universe, there’s a copy of you witnessing one or the other outcome, thinking – incorrectly – that your reality is the only reality.”
– Brian Green, The Hidden Reality: Parallel Universes and the Deep Laws of the Cosmos.
• • • • •
Who are you?
Are you sure?
• • • • •
Are you Buffy Summers, the Slayer, the chosen one of her generation who stands alone against the vampires, monsters, and demons who threaten the world? Or are you Buffy Summers, a schizophrenic patient in a psychiatric hospital battling the unleashed horrors of your own id?
Doctor: Do you know where you are?
Buffy: Sunnydale.
Doctor: No. None of that’s real. None of it. You’re in a mental institution. You’ve been with us now for six years.
Spike: Put a little ice on the back of her neck. She likes that.
Buffy: Some kind of gross, waxy demon-thing poked me.
Xander: And when you say “poke”…?
Buffy: In the arm!
Buffy: They told me that I was sick, I guess crazy, and that Sunnydale and all of this — none of it was real.
Xander: Oh, come on. That’s ridiculous. What? You think this isn’t real just because of all the vampires, and demons, and ex-vengeance demons, and the sister that used to be a big ball of universe-destroying energy…?
Willow: Okay, all in favor of research? Motion passed.
Doctor: In her mind, she’s the central figure in a fantastic world beyond imagination. She’s surrounded herself with friends, most with their own superpowers.
Doctor: Together they face grand, overblown conflicts against an assortment of monsters, both imaginary and rooted in actual myth.
Doctor: Buffy, you used to create these grand villains to battle against. And now what is it? Just ordinary students you went to high school with. No gods or monsters, just three pathetic little men… who like playing with toys.
“Normal Again”
Buffy The Vampire Slayer
Season Six, Episode 17
• • • • •
Who are you?
Are you sure?
• • • • •
Are you Buddy Baker, married to Ellen Frazier, father to Cliff and Maxine, and living in San Diego? Or are you a character in a comic book called Animal Man, which was written by Grant Morrison and published by DC Comics?
(to read this page at full size, double-click on the image)
• • • • •
Who are you?
Are you sure?
To be continued…
At least, in this universe!
(citations copyrighted by their respective owners)
Into every comic book writer’s life – certainly if he or she works at all for the Big Two – some crossovers will fall. Maybe quite a few of them, especially these days. If you’re writing a series, it’s going to interrupt whatever storyline that you’re working on. Or you may get hired to work a fill-in connected to the series as I’ve done with the Forever Evil event over at DC with the Cheetah one shot running in Wonder Woman’s space. It’s totally deserving of your support to the point where I urge you to buy multiple copies. Give them out at Halloween to the kiddies.
Erm. Maybe not. It’s a tad violent.
Anyway, I know about crossovers from having had a series interrupted by them to having written the main event. They’re a special breed and have special demands and I’ve run hot and cold with the concept. I can’t dis them because they’ve done me good overall.
I plotted the series Legends which was the first DC company wide crossover following Crisis on Infinite Earths. The series, by design, served as the launching pad for several new series including the Wally West version of the Flash, a new Justice League of America, and Suicide Squad. Along the way I was asked to write a two-part crossover in Firestorm, then being written by series creator Gerry Conway who wasn’t interested in doing the tie-in issues. The theory was that, since I was plotting the miniseries, I would know what was going on and thus be able to better co-ordinate.
I was eager for the assignment. As I said, I was plotting Legends but this would give me the chance to plot and dialogue and get my foot in the door for more work. I knew Suicide Squad would be launching from the crossover but I hadn’t yet actually dialogued any DC characters.
Denny O’Neil had just come over to DC and was the new editor on Firestorm and that made me nervous. Denny was, and is, a legend in the industry and I was still pretty new and green. What could I possibly come up with that he wouldn’t think was lame? We met at a Chicago Comic Con and I took him out to a lunch at a vegetarian/organic restaurant (Denny likes those) and he was amenable to anything I wanted to do. He figures I was a pro (albeit a new one) and knew what I was doing. One less worry for him (although I’m certain that if I had sounded like a dolt he would have let me know).
The result? He was pleased enough at what I did to offer me the book when Gerry Conway left a few issues afterwards.
Crossovers can be a pain. Millennium, with Steve Englehart as the scribe, was published weekly and the concept was that every other comic published that week would tie into it. My week had both Firestorm and Suicide Squad in it and all the books that week were supposed to attack the same place (a Manhunter Temple in Florida). I asked what was the purpose of the temple and was told, “Anything you want it to be.” That wasn’t the question I was asking and it seemed to me that the five or six books that were out that week needed to be coordinated so we were all on the same page or we’d all look like idiots. So I came up with a plot for our week that would work with everyone else and we came off pretty well. I think DC also slipped me some extra cash for doing it and that was nice.
Invariably, the crossover is not going to be the best story in a given ongoing series (with the notable exception of the Cheetah one shot coming out very soon which I would really hate for you to miss) but there are reasons as a writer on a series connected to the event that you want to do good things with it. Sales can go up on those issues (I’ve had royalty checks – pardon me, incentive or participation checks – that tell me that) and there is the possibility of attracting new readers who may be sampling the book for the first time. You want them to have a good experience and come back. Anything that increases readership is a good thing. You want to make the story accessible enough for the potential new readers without alienating or boring your regular readers.
You also need to be flexible. Details and story elements in the main event can change as other editors chime in on it and/or publishing or even marketing. Those changes can radically alter your tie-in. It’s more work and it’s usually not more money and you have to hope he changes are not going to affect what you have planned for your own story further down the road. You need to roll with the punches and make the story work. Treat it as a challenge and an opportunity to make the story even better. In theory. Showing you’re a team player can make you more valuable and get you more work. Again, in theory.
Every story you write, especially for the Big Two, has parameters. You’re expected to make each one a good story, one worth the money that the reader is paying. Crossovers just add a few more parameters. The basic rule still stands – make it the best story you can.
In the last week, DC Comics has made me exhausted. I can’t keep up with my own outrage.
At first report, DC reportedly drove off J. H. Williams and W. Haden Blackman from the pages of Batwoman by decreeing that Kate Kane could not marry Maggie Sawyer, a storyline that they had been developing for more than a year.
How could this happen? DC had always been a leader in creating a diverse universe, or at least it did during my tenure there. We were so LGBT-friendly that I was able to work with GLAAD to get an awards category established for comics and graphic novels when they gave out their yearly prizes. And now they’re going all reactionary? That made no sense. The Internet rumor that they were doing this to suck up to Orson Scott Card made even less sense, and, happily, turned out to be complete paranoid speculation.
Was I going to have to boycott DC Comics, which I’ve been reading for 55 years?
Then, as it turned out, the news story was more complicated. The editorial edict was not against gay and lesbian marriage, but all marriages. I don’t think this is what we had in mind when we wanted marriage equality. The editorial theory is that a married hero can’t be interesting, but instead must be miserable and lonely to have a dynamic emotional life with a lot of story opportunities.
I understand what they’re saying here, but I think it’s lazy. It would be like saying that a hero can’t have a successful career, because poverty has more dramatic potential. However, having an editorial edict about marriage does make it easier to manage the stories from a brand perspective, as potential Hollywood blockbusters. Hollywood loves single heroes, considering them to be sexier and more appealing to the coveted 14-25 male audience. It’s letting marketing trump editorial, and, even worse, it’s letting paranoia about movie marketing trump comic book creativity.
Batwoman is currently one of my favorite books. It’s one that I show people who don’t think they would like superhero comics. Even when the story isn’t necessarily to my taste (Killer Croc doesn’t interest me that much), the artwork is always lushly gorgeous, the lay-outs intriguing, and the characters both enigmatic and engaging.
While I don’t know J. H. Williams, I consider myself to be a huge fan, and it upsets me to see him and his colleague treated so poorly. Editors are an important element of the creative process, and nothing I say should be considered anti-editor. However, it’s bad management for editorial to swoop down and demand changes at the last minute, especially on a story-line that was already approved. It’s no way to treat talent. It’s no way to run a company.
Was I going to have to boycott DC Comics, which I’ve been reading for 55 years?
The latest news as of this writing is that Mark Andreyko will take over Batwoman. I enjoy his work a lot, and, while I don’t think we’ve met, we’re Facebook friends and we seem to share a sensibility. I’m curious to see what he’ll do with Kate Kane, so I guess a boycott isn’t really an option, at least not for me at this point.
Here’s the thing. It’s been taking me longer and longer to read my comics every week. The pile will sit there for days, waiting for me to get interested. I’m writing this on Monday, and the “Villains Month” books have sat there since Wednesday. I’m not sure I care anymore. Treating artists and writers like cookie-cutters has made reading the books a chore. I don’t have to spend money for more chores. Chores surround me, for free.
Nagging about chores is something that ruins a lot of marriages. Way more than being the hero.
Please believe me, as I conclude last week’swell-reasoned and temperate dissertation on why comics fans should care – maybe – about the future of the US Postal Service, when I say I’m trying hard to wrap up this little opus before the USPS goes out of business.
But I’m not working as fast nor concentrating as well as I’d like because I’ve just been distracted by another “gotcha” courtesy of my BMK – Bad Mail Karma. It illustrates one of the more interesting by-products of the USPS’s ongoing effort to modernize, simplify and streamline its products and serviceseven as Congress calls for a postal austerity program:
When a customer confused by the ever-changing policies (that would be moi) makes a minor mistake, the USPS’s systems will helpfully turn it into an exhausting, nerve-wracking Major Hassle by preventing it from being corrected.
In my recent move back to Southern California, I managed to outsmart myself by sending ahead of me a USPS Priority Mail box of important items that I’d need before the moving van arrived with my everyday stuff. It has yet to arrive, some eight weeks later. It seems I used Priority Mail packaging that was not a flat rate box, but to which I incorrectly affixed flat rate postage generated online. OK, my bad.
That does not explain, however, why it took the P.O. four weeks to determine that that was the problem; why its online tracking system kept giving me information that contradicted the tracking data in the main USPS computer; nor why the package has now crossed the country four times, having been shipped back and forth between my old address and the new, each time being flagged in the system as undeliverable” or sent to “no such address.”
The helpful people I’ve dealt with at my local P.O. – six of them now, because the same people don’t seem to work there for more than five days in a row – can’t seem to figure it out, either. One “Letter Carrier Supervisor” told me, “I’ve been working here 30 years and I’ve never seen anything like this.” Of course, that may be because she apparently takes 147 coffee breaks a day.
This might also explain why she can’t get her direct reports to do what the three other supervisors have told me they will: When the package ricochets back here to Pasadena, they’ll call me so I can come pay the extra postage and pick it up. When last heard from, the package was at some “claims resolution” facility in Atlanta, but was supposed to be on its way back here. That was two weeks ago.
Now, imagine that this box had been, say, a shipment of comics from a private eBay seller for which you were waiting breathlessly. (Yes, small, private sellers often make honest mistakes. I hasten to add, though, that as someone who sells on eBay, I’ve been lucky – so far – not to make this kind of mistake with a customer’s package. And you can be sure I’m doubly careful now.)
This is a microcosmic example of the kind of thing comics fans will probably be saying good-bye to soon, mournfully or otherwise, having been left to the tender mercies of those even bigger screw-ups, UPS and DHL. The macrocosmic version is what I described last week: A stamp-related custom comic project that was extraordinarily successful for DC Comics (the aggregate print run for the nine CTC books I discussed added up to over 10 million) turned out to be a dismal failure for the USPS. This, only because the agency couldn’t secure the content approval from its licensors – the owners of several of the stamp subjects’ IT – in time to get the books out, to serve as collectors’ albums for the CTC series, at the same time as the stamps themselves.
And it’s too bad, really, this suicidal ineptitude, since comics fans once had a friend in the postal service. It was tangentially responsible for the creation of letters columns which, in the earliest days of comics fanzines and well before web sites and comment forums, became the principal means by which comics fans exchanged opinions about talent and continuity developments and, from the addresses printed, gained the means to interact and organize. These “LOC” pages came about because postal regulations required comics to have at least a page of text to qualify for their mailing rate. When the previous practice of hiring writers to create original prose fillers became prohibitively expensive, the “lettercols” were born.
Soon, those who self-identified as serious fans and collectors became the only readers who were so hell-bent on getting their monthly “fix” that they’d be willing to subscribe. But they were dissuaded from doing so because they didn’t want their mint-condition comics given a permanent vertical crease by being folded lengthwise to fit into a narrow wrapper, which was the only cost-effective way to send comics through the mail. So you can thank USPS, then, for killing this in favor of what took another decade to develop, with the growth of specialty retail shops: the pull-and-hold service.
Today, the Postal Service searches for new services it can providehttp://www.informationweek.com/government/security/postal-service-pilots-next-gen-authentic/240145559, to replace the ones it has screwed up so badly that they’ve become obsolete. One of its ideas is to get itself into the “identity management business.” The fact that the average citizen can’t figure out what, in fact, “identity management” is should in no way deter the USPS from this worthy goal. It might keep them occupied so that other companies will have to deliver all the packages, and our paychecks will all be issued by Direct Deposit and have no trouble finding their way into our bank accounts.
Of course, thereafter we’ll be unable to access our funds, because our identity will have “managed” to change – to that of someone we’ve never heard of in a zip code that hasn’t been invented yet. (Remind me not to tell you about how my previous address in Pennsylvania, a rural route which was given a normal house-number in “The Monroe County Readdressing Project” … with the result that my online change-of-address form couldn’t be processed properly because the old address wasn’t in the USPS database.)
Meanwhile, I’ve decided to stop oiling my old spinner-rack and instead donate it to a nursing home. I’m going to shop for comics via ComiXology exclusively, and work on figuring out how to get my new tech for promoting pacifism and conservation of labor, to make plastic staples. Once everyone on eBay is shipping via UPS, and we have the technology to totally recreate “floppies” in our own homes, the world’s Geeks – comic book division – won’t have anything to fear from the P.O. anymore, whatsoever.
I know that amongst many writings for ComicMix, I am essentially still in diapers in their eyes (and I’m guessing, so too, perhaps is Emily). And as much as I don’t want to make that a jab at their graying hair, and preference for dinner around 4 PM, I can only assume that when they see the whipper-snapper trying to make a point about time and wisdom they might bruise a hip from chortling at the thought. But I welcome their guffaws… Because they know as well as I, that what I speak is the truth. It’s a simple truth, of course, but a necessary one to restate every now-and-again.
As folks my age rage against the MTVs and their kin, I choose to take a step back. Miley Cyrus gyrating on teddy-bears is exactly what a 20 year old with all the money and none of the responsibilities of life should be doing for attention. She’s an artist the same way any of us may have been at 20. She has the chops, but for now, none of the wisdom needed to produce something of value. John Mayer, now 35 is really coming into his own on his albums. No longer fluffy songs about “making love,” and growing up… now he turns inward, and deftly pushes outward his wry humor, and seamless guitar playing.
So too, do artists in our field of comics perform much the same. Mark Waid, as amazing as he’s been for years, seems to only gild his bibliographic lily with each passing issue of Daredevil. And where young buck artists for Marvel and DC are chugging away at their boards in an effort to ape the house-styles of the day, soon they will see that taking a risk on what they actually want to do will end up paying their rent just as well if not better. And screw you, I’m am optimist.
I dawned on this fact over this past weekend. Matt (my Unshaven Cohort) and I were invited to do a workshop on how to create comics for a batch of wonderful kids at a local art gallery. Their ages ranged from 6 to 14 (I believe), and we had a ball. One of the first things I did was ask each kid in the class to come up with an idea to draw out. Ideas ranged from showing Sonic the Hedgehog becoming “Dark Sonic” to a chicken facing an existential crisis. I was floored, if only because the young man who pitched it to me was so crystal clear on the concept. Why did the chicken cross the road? To die, of course. Later this spiraled out into the zombie chicken apocalypse, but I’m getting ahead of myself.
The longer I thought about those kids, and their concepts, I was brought back to my own childhood. I can clearly recall in elementary school I created a trio of crime-fighting, mystery-solving kids (“The Cool Kids”), who I would draw over and over and over. I never actually got them into any unwieldy adventures, nor intricate mysteries. I’d spent all my time perfecting their look. Eventually (as in, a year later), I’d met Matt in class, and soon thereafter, moved into creating a complex continuity of comic characters. Matt and I bathed over entire teams of ‘original’ heroes. I’m nearly certain it took mere days for us to combine our cadres into a single cavalcade of crime-fighters. And amongst all of those long-lost creations, I can still pitch “The Human Blade” to you as the metal-made-man of true justice.
In my head (as I’m sure within those fine minds we melded with at the gallery), there were complex stories at the waiting. Emotional journeys, epic battles, and small character moments to be had. It is only now, with years of toiling at the art table (and blank script pages), do I finally feel like I have the tools to produce something of value. It’s not that I haven’t made product prior, mind you. But as with all artists, it’s time that has taught me that everything before right now is only as good as it could have been. In lesser heady terms… with age comes wisdom, and with wisdom comes a superior piece of art. Every comic Unshaven Comics has put out has clearly shown a progression of our styles, our scripting, and our abilities as story-tellers.
In more than one of the reviews we received back from fans of The Samurnauts: Curse of the Dreadnuts #2, we heard that there was “real progress” from issue 1. Not that they didn’t like issue 1 (and our sales to date are a testament to that…), but there was a clear and present evolution of our art within the 36 pages. I know for myself, I really pushed myself to get feedback throughout my creative process – something a younger me was too prideful to do. It was as if the passage of time (and the experience of doing it several times before) made me more able to produce something with nuance and an attention to craft. Preposterous, perhaps, but true none-the-less.
Rodney Dangerfield didn’t find his voice, truly, until he was well into his forties. Jack Kirby helped define an entire era of comics, at about the same time in his life. The older my personal heroes such as Kevin Smith and Quentin Tarantino get, I’ve found their works to mature with them. It’s a fact of life, perhaps, no? With age comes wisdom and foresight. And for we, the creatives, so too does our work evolve. Age is not just a number, kiddos, it’s a state of our well-being when we put our pens to the paper.
We begin our look at the new TV season with NBC’s BLACKLIST. Series star Megan Boone talk about how her role takes ongoing research, but on the plus side she gets to work with James Spader, while EP John Eisendrath promises the audience will get answers fast to the show’s mysteries. Plus Amanda Waller heads to ARROW and DC just ain’t too PC these days. Summer is past and now we are back with twice-a-week-updates – right here on ComicMix!
Last week’s column, about the apparent suicidal impulses of the US Postal Service, advanced what I hope is a baseless and purely paranoiac thesis: Because UPS, FedEx, and their ilk don’t cover every form of deliverable and are prohibitively expensive for many small-business shippers, we are in urgent need of alternative low-cost means for shipping parcels and other three-dimensional objects that can’t – or won’t – be deliverable to us in electronic form any time soon. That’s because the P.O.’s collapse might happen faster than we can create the infrastructure necessary to take up the (very minor) slack.
That would be a Geek Apocalypse. Some momzer with an encyclopedic memory of The Overstreet Guide won’t be able to profitably ship you that copy of Tales To Astonish #12 you bid too much for. And your ability to receive items like priceless Mr. Terrific maquettes, or the Talents’ endless flow of royalty checks for $.35, will be jeopardized. And then suddenly, one day, before you know it…entire vital industries start getting wiped out. Y’know, like Hero-Clix.
But it’s hard to be too sympathetic to the USPS’ increasingly strident argument that it needs more funding and a different budgeting process. Perhaps because there’s a reason it’s OK to bail out Detroit but not USPS: the auto industry hasn’t yet come up with a car that can go anywhere except the direction you’re trying to steer it in.
If all this leaves you unmoved to lament the coming Götterdämmerung in Mail Valhalla, perhaps you might shed a tear out of nostalgia. When the Post Office finally goes, so, probably, will the memory of some – odd and arcane, to be sure – pieces of comics history.
For example, whatever else USPS is trying to preserve, it isn’t a commitment to the goal expressed in huge letters on the New York City main branch: “Neither snow nor rain nor heat nor gloom of night stays these couriers from the swift completion of their appointed rounds.” That inscription is believed to have been carved by a young stonemason named Ira Schnapp, who went on to play a major role in comics history by designing the classic Superman logo and lettering most of DC’s top-tier output for roughly the first fifteen years of its existence.
Over the next 50 years, the USPS was indirectly responsible for some memorable, comics fanboy-beloved policies and procedures. I’ll discuss a few of those next week, when I perform the death-defying feat of ending this two-and-a-half part rant and starting a new one, establishing a premise that you will have forgotten by the time you conclude reading about it the following week.
Before USPS became irrelevant to comics, it resorted to printing comic book content, in a sense – such as with the 2007 Marvel Super Heroes series that put Spider-Man on a stamp. It was one such “issue” that inspired the project that arguably brought the uneasy alliance of comics and USPS to its disastrous apotheosis.
The negotiations for the use of Superman on a stamp to commemorate his create led to high-level talks that generated a custom comics initiative. This project, of which I was the alternately fascinated and appalled editorial supervisor, was The Celebrate The Century Super Heroes Stamp Album series. This was part of a much more ambitious campaign, The Celebrate The Century stamp series. It seemed like a simple, sure-fire plan: nine sets of stamps commemorating each of the nine decades of the 20th Century. The subjects of the stamps for the first half – the 1900s thru the ‘40s – were selected by a panel of scholars assembled by the USPS. The remaining stamps subjects would be chosen by polling…those notorious champions of intellectual rigor and high-mindedness, the American people.
Which means that our first five volumes were filled with cleverly-written, beautifully drawn, and impeccably researched two-page spreads in which Superman and his Justice League friends enlightened while entertaining on such worthy subjects as the League of Nations, the development of antibiotics, and the WPA. The latter half of the series featured third-tier super heroes no one had ever heard of, but which were chosen because they were minorities, got excited about I Love Lucy and the Slinky Toy.
We were on an aggressive schedule with a tremendous investment by the client: print runs in the millions. We managed to do the huge job of research, creating the Editorial, and fact-checking the first five books on the P.O.’s schedule, which required the comics-format albums to be on sale at the same time as the corresponding stamps. We didn’t get into trouble until we got to the issues based the stamps the Brand-Conscious American Consumer “voted in” – a slew of stamps featuring Other Companies’ trademarked intellectual property.
In the sort of bureaucratic failure of due diligence that has made USPS a company that could not lose more money if it subcontracted its shipping to Amtrak, the USPS had secured the rights to the images it used on the stamps, but not the clearance of, or payment for, use of the images in licensed products based on the stamps.
What ensued was a train wreck, with the rights-holders demanding outrageous and labor-intensive changes to the already-completed art before they’d be approved. Some of the licensors’ objections had to be negotiated away because they negated the very concept of the project itself.
The widow of a certain famous children’s book cartoonist withheld approval for over two months because she could not be dissuaded from what she seemed to think was a simple, reasonable request: that her late husband’s creation, which was the subject of the stamp, not be upstaged by a DC super hero character, and that the super hero who described the stamp’s history to the reader had to be deleted.
As Jules Feiffer once put it…a subtle pattern begins to emerge…
Next Week: “You’ve Got Mail!”…We Just Don’t Know Where It Is.
When last we visited Clark Kent and Lana Lang, they were at college, leaving Smallville behind and as Season Three of the syndicated series arrived, it came with changes. The first was that Superboy became The Adventures of Superboy and then the focus moved the characters from the well-named Shuster University to a quasi-internship at The Bureau for Extra-Normal Matters in Capitol City, Florida. Clearly, the actors were aging and the premise of them being in college stopped making sense, plus menace of the week stories was becoming tougher to make plausible on the static campus. The more plausible setting worked for super-heroes but certainly took something away from the civilian side of life, a similar issue plaguing Smallville in its latter seasons.
