Tagged: Gail Simone

Mindy Newell: Life…

Newell Art 130408Last week’s column didn’t happen because I received a phone call at about 10 A.M. last Sunday from my mom. My dad was having another “episode,” his third. Meaning his brain was short-circuiting once more. It’s called “complex partial seizure disorder,” for the medically less-literate out there.

No one really knows why this is happening to him; before this started last Christmas Eve, he was in remarkable health for a man of 90. The only drug he took on a regular basis was one of the statins –anti-cholesterol drugs – and that was on a preventative basis. His blood pressure runs about 110/70, his heart rate about 65; his only major medical problem has been the deterioration of his eyesight because of macular degeneration and he was responding remarkably well to the treatment. Yes, he had had prostate cancer, but that was 30 years ago, and when his Prostate Specific Antigen (PSA) level rose, he started the androgen deprivation therapy and it dropped to 0.003 or something, i.e., normal.

So this week once again my dad lay in a bed in the ICU at Cooper University Hospital – big kudos to the staff there!!! – only this time he was intubated because the ambulance didn’t take my mom with them and I was driving like a bat out of hell down the NJ Turnpike and my brother (an MD at “the Coop”) was vacationing on Puerto Rico so there was no one to tell the trauma team that my dad is DNR and the protocol when a patient comes in having seizures is to intubate to ensure a patent airway.

Yesterday, exactly one week later, Dad woke up again. He was extubated this morning. He’s very weak, but he knew where he was, and he knew all of us. He also ate ice chips, a cup of Haagen-Dazs vanilla ice cream, Jello, and a ¾ of a bowl of chicken broth. The plan is to get him out of bed tomorrow. We’re going to take it from there.

So driving home I thought about my dad and this column and I thought about the portrayal of infirmity and illness in the super hero world. I had plenty of time because I again got stuck driving north on the Turnpike between Exit 7 and Exit 8A – a stretch of about 21 miles – in bumper-to-bumper, crawling traffic. It’s a section of the iconic NJ Turnpike that has been undergoing reconstruction for the last three years or so, which makes it prone for Delays Ahead: Be Prepared To Stop alerts, and I swear I think people slam on their brakes just to read the signs. What is it about one fender-bender that causes miles and miles of back-up?

Anyway…

The first picture in my mind was of Silver Age Superman gasping and choking and weakened as the radiation from Kryptonite, usually held or manipulated by Lex Luthor – poisoned him, finally turning him as green as the Wicked Witch of the West, indicating that death was near, just in a few panels. Kryptonite worked fast, unlike what happens to ordinary humans when exposed to radiation. Ordinary humans, exposed to radiation, don’t even feel it at first. The amount of time between exposure and the first signs and symptoms depends on the amount of radiation that has been absorbed. The first thing that usually happens is nausea and vomiting; headache and fever can also occur. After that, an individual with radiation sickness can have a period of remission, in which there is no apparent illness and the individual feels fine. Then the more serious problems start: hair loss, weakness, dizziness, bloody stools and vomit, weight loss, low blood pressure, fucked-up blood counts, cancer….a slow, painful, and debilitating death.

I guess Superman puking and having bloody diarrhea and going bald, getting infections and cancer and dying a slow, painful, and debilitating death wouldn’t have gotten past the Comic Code Authority back in the day.

Barbara Gordon, a.k.a. Batgirl, shot by the Joker in Alan Moore’s The Killing Joke (1988), was paralyzed and confined to a wheelchair – but through the talents of ComicMix’s own John Ostrander and his late, wonderful wife, Kim Yale, we watched Barbara go forward with her life: although initially (and realistically) portrayed with a reactive depression, Barbara comes to see that her life is not over. Gifted with a genius level IQ, a photographic memory, and possessing expert computer skills (including hacking) along with graduate training in library sciences, Barbara transforms herself in Oracle, an “information broker” to law enforcement agencies and the super-hero community. She also hires Richard Dragon (co-created by ComicMix’s own Denny O’Neil), a martial artist, to teach her combat and self-defense skills.

Gail Simone took the ball that John and Kim handed her and ran with it in Birds Of Prey…until, after DC’s 52 reboot, Oracle never existed and Barbara was mysteriously back on her feet. This – rightfully, im-not-so-ho – pissed off a lot of fans, because Barbara Gordon as Oracle was the preeminent role model for those living with disabilities. However, Gail has done a magnificent job with the post-Oracle Batgirl, allowing the character to go through PTSD secondary to her disability and recovery – although, as we all know, DC seemed to have a problem with that a few months ago. Luckily, DC recovered from that particular illness.

And now Power Girl, a.k.a. Kara Zor-L, a.k.a. Karen Starr, has breast cancer. Although I’m sure the intentions of the creative team are good and positive and totally above-board (and I do hope none of the creative team has had any kind of personal experience with breast cancer), somehow the cynic in me is smirking. Maybe because Power Girl has always been drawn with gi-normous bubble boobs that burst out of her costume like Mt. St. Helens blowing their tops? It’s like Sharon Tate’s character in The Valley Of The Dolls getting breast cancer. (Google or read the book or stream/rent the movie to get the reference.) It’s saying that the one thing that lifts (pun intended) Power Girl out of the crowd of super heroines are her mammary glands, so let’s mess with those.

It would have been more interesting to me if Sue Storm got breast cancer, or Lois Lane (isn’t she dead?), or even Wonder Woman.

Or what if Reed Richards, or Johnny Storm, or Bruce Wayne, or Hal Jordan, got breast cancer? Men get breast cancer, too, you know. More and more frequently, by the way.

I just hope the creative team does it research. And not just solve the problem of “how do we treat a woman who has breast cancer if she’s indestructible?”

That’s just so comic-bookey.

Breast cancer is real. People can end up in the ICU, hoping to get better, fighting to get better.

Just like my dad.

TUESDAY MORNING: Emily S. Whitten

TUESDAY AFTERNOON: Michael Davis

 

Marc Alan Fishman: Wrestling Is Fake; Comics Are Too

Fishman Art 130330OK, I admit it: I’m a pro-wrestling fan. I’ll even do you one better. I’m a smart-mark. Yeah, I’m not only a fan, I’m a fan of the business behind the product. I know the difference between an Irish whip, a German suplex, and an inverted front face buster into a crossbar arm-breaker. I’ve tried hard to bury this part of my nerd-quilt for a very long time. Almost six years. But here on the precipice of Wrestlemania, I find myself DVR’ing episodes and instigating debates with fellow fans. There is no denying, kiddos. Pin my shoulders to the mat. I’m not kicking out of this one.

Like most fans of the sport (and yeah, I use the term loosely), I was introduced to it while I was but a wee one. My father, devoid of any other real hobby or vice, would every-so-often bring home a taped pay-per-view from a friend or co-worker. And I would be allowed, even on a school night, to stay up and watch it to the end. It led me to watch the Saturday morning recap shows (as we didn’t have cable back then). It led me when I got the Internet, to seek message boards, news groups, and the like. When I got to college (and got cable), it was a twice a week obsession. The real question of course being simple: after the ‘nostalgia was gone well into my teen years, what kept me a fan? The sport and the business.

Behind the scenes, wrestling is a fascinating machine. Bookers and top-brass give shots to up and coming talent, challenging them to connect with fans. The talent themselves, having spent years on the road honing their craft (both being able to perform the moves, and project a character), are tasked with becoming stars and elevating the company that gave them the chance in the first place. Merchandise is made, and product is eternally analyzed. The art itself isn’t just on a TV screen, or a bingo hall… it’s in a board room, and in the locker rooms; where creative minds meet all for the sake of entertaining the niche-market built specifically around itself. Sounds familiar, doesn’t it?

Look down on it all you want, but for the money, pro-wrestling is a living breathing comic book presented for the masses every week. Hulking super men and woman battle one-another endlessly. They become heroes, turn villainous, unite to stop larger threats, and every couple years things reset. Some stories are played for high drama while others are strictly slapstick. Continuity is cited, forgotten, and brought back into the fold when it serves a higher purpose. Vintage characters come back for cheap applause and shock value. Most people hold the independent presentations to be “better, and closer to what the medium should be.” And my favorite similarity? Every smart fan thinks he knows what’s going to happen; and that he could write it better if someone would just listen.

That sounds awfully familiar, doesn’t it?

And how about I cite a little topical note to boot! This past week, we all saw DC implode just a little as the curtain drew back and spat out several creators running for the hills due to creative differences. Back in 2011, angered over his own creative differences with his contract and character, CM Punk walked out to the stage and took over the last few minutes of the weekly WWF show Raw. He proceeded to air his grievances about the business, and broke the 4th wall like it was made of paper.

Now, this could all have been a work (fake…) but it was treated just like Gail Simone’s exit off of Batgirl. Of course Gail bowed out gracefully, didn’t complain at all, and was genuinely amazing about the whole ordeal. Punk was a heel (a villain), so why not be a big baby about all of it, right? At the end of the day: Punk got the spotlight like he’d always wanted. Gail Simone is back on Batgirl. And as I type this, I’m betting dollars to maple-glazed bacon donuts… that DC editorial is saving the life of John Stewart.

Suffice to say I’m finding a way to let my freak flag fly again. Wrestling may very well be scripted, but so are my favorite comics. And just like a great moment in comics like Otto Octavious successfully taking over Peter Parker’s body, so too can I enjoy John Cena using a never-seen before hurricanrana in his repertoire in order to defeat his opponent and earn his title shot at the big pay-per-view. It’s serialized story telling, in either form. Replace super powers with inhuman tolerance for pain. Replace indulgent caption boxes and exposition dumps for long-winded promos littered with catch phrases. Don the t-shirts, and attend the conventions. Hell, if you think you can do better… maybe start doing it on your own, and sell your product in your backyard.

Wait, scratch that. Kids: don’t become backyard wrestlers. Or indie comic creators. You’ll end up on your back either way.

And for any of my smart-marks out there: I’m pulling for Punk to beat the streak. It won’t happen of course, but if he can destroy the Undertaker’s Urn after losing the match, he’ll keep all the heat, and it’ll give Taker and Punk one more match next month.

And for any of my comic-insiders out there: I’m personally hoping Otto dials back the megalomania just a skosh, and Slott keeps him under the mask for at least a year. And when it comes time to put Peter back in the drivers seat… Otto either gets a young new body or yields to death’s embrace for the greater good.

Natch.

SUNDAY: John Ostrander

MONDAY: Mindy Newell

 

John Ostrander: Getting Old in the Comic Industry

Ostrander Art 130310On his blog last week, Jerry Ordway wrote bravely and feelingly about being a pro in comics when your age is over 50. Here’s a man who has been a comic book star of long standing and now finds it hard to get any work. His skill, ability, and desire haven’t diminished; he’s just older (and more experienced) than he was back then. He had an exclusive contract with DC and, in its final year, the company treated him deplorably, not giving him any work but not letting him get any work elsewhere.

I completely sympathize with him and can echo many of his statements. Is there ageism in comics? Demonstrably, at least for talent. On The Other Hand… some of the top editors at both Marvel and DC are around our ages. If the theory is that the talent needs to be younger in order to “get” or appeal to the younger reader, why are the editors immune? I sometimes feel like I’m in the “Bring Out Your Dead” segment from Monty Python And The Holy Grail.

Me to editor: “I’m feeling better!”

Editor to me: “You’re not fooling anyone, you know!”

I can’t claim that it’s universal. Dark Horse has been very good in giving me work and, in turn, I think I’ve given them good work in return. But I don’t seem to get any replies to e-mails that I send to the Big Two. OTOH, there are writers my age (or thereabouts) who do get work. Often they’re good friends with the given editor or Editor-In-Chief. I can’t complain about that, either; it’s worked in my favor in the past and can still work for me. Randy Stradley over at Dark Horse has been a friend as well as an editor and I get work from him.

Editors are also under far more pressure these days to produce higher sales. I and others used to nervously kid that, even with companies that were large conglomerates, comics were relatively free to do what they wanted because the money their sales brought in were chump change to Corporate Masters. That’s changed; superhero movies and games and TV shows are all big business and rake in tons of money and with that comes greater corporate oversight. With that comes the desire for more sales (How do you determine if you’re successful in corporate America? If you sell more of whatever you make than you did before and/or more than the competition). With that comes other problems.

The comic book market has a finite number of buyers with a finite amount of money to spend on the product. Digital sales might change that and expand the market base but I don’t know if the figures are in on that yet. So – how do you increase sales in a finite market?

One of the truisms of Hollywood is that “Nobody Knows Nuthin’.” Often, the folks in charge don’t really know what sells or why. Oh, they have theories but most often they look at what’s sold and try to do more of that or see who sells and try to hire them. You might think, if that held true in comics as well, that guys like Jerry Ordway would get more work.

Ah, but in comics, they believe the fans have short attention spans and what works in “new.” Not new characters or concepts but new variations on what you have, i.e. Superman minus red swimming trunks on his costume. That’s new, right?

I’m not dissing the notion. Fans, especially male fans, get bored after a few issues. They want something they haven’t seen before. That’s where folks like Jerry and myself run into problems; it’s assumed by editors and perhaps by fans that they’ve seen all we have to offer. Doing something well is not the point; giving the fans something new with which to get excited is the point.

OTOH, the fan base is the fan base. It’s getting older as well and, from what I’ve seen, it’s not growing. Isn’t it reasonable to assume that they would want to see an old favorite like Jerry Ordway? The object of the game is to get the reader to part with their hard earned money to buy a given book; Jerry’s done that. Combine him with a writer like Gail Simone or Geoff Johns and you think that wouldn’t sell? He knows how to do the work and how to please the fans.

Part of the problem also is, to get more sales, you need either a) for the fans to have more disposable income to spend on comics and/or b) bring in more new readers, preferably younger readers. On the latter, I’m not so sure that ship hasn’t sailed. The time to bring in new readers is about when they’re ten. Comics didn’t do that; they didn’t produce kid friendly comics (they still don’t) and would-be readers got lost to the video game market.

And don’t get me started on how they’ve ignored female readers. That’s a column right there and Mindy and Martha write about more knowledgably than I. That doesn’t mean I won’t add my two cents as well at some point.

In fact, this whole topic needs everyone’s two cents. I picked this topic up because I think it needs to be pursued. If you want folks like Jerry (or, yes, me) to get more work, say so in letters, in blogs, in other columns. If you think that comics are stories, not just product, and who does them are not just widgets, say something. If the conversation dies, if no one cares, then there’s no reason for the companies to care, either.

Keep the discussion going.

MONDAY MORNING: Mindy Newell

TUESDAY MORNING: Emily S. Whitten

 

Mike Gold’s Top 9 of 2012

It’s the end of the year, so it’s time for still another mindless list of favorites – maintaining a cloying, egotistical annual tradition throughout the media. Once again, here are my self-imposed rules: I’m only listing series that either were ongoing or ran more than six issues, I’m not listing graphic novels or reprints as both compete under different criteria, I’m not covering Internet-only projects as I’d be yanking the rug out from under my pal Glenn Hauman, and I’m listing only nine because tied for tenth place would be about two dozen other titles and I’ve only got so much bandwidth. Besides, “nine” is snarky and when it comes to reality, I am one snarky sumbytch – but only for a living. On Earth-Prime, I’m really a sweet, kind, understanding guy.

Having said all that, let’s open that hermetically sealed jar on the porch of Funk and Wagnalls and start.

1. Manhattan Projects. If I had to write a Top 9 of the Third Millennium list, I’d be hard pressed not to include this title. It’s compelling, it’s different, it’s unpredictable and it’s brilliantly executed by writer Jonathan Hickman and artist Nick Pitarra. It turns out the scientists and the military leaders behind the creation and the execution of the Atomic Bomb had a lot more in mind than just nuking Japan… a lot more. And their plans run decades longer than World War II. Based largely upon real-life individuals who are too dead to litigate, each person seems to have his own motivations, his own ideas for execution, and his own long-range plan for how to develop the future. Yet the story never gets bogged down in political posturing or self-amusing cuteness – the latter being a real temptation for many creators. Each issue gives us the impression there’s more than meets the eye; each successive issue proves there most certainly was. If the History Channel spun off a Paranoia Network, Manhattan Projects would be its raison d’être.

2. Hawkeye. If you’ll pardon the pun, Hawkeye has never been more than a second-string character. An interesting guy with an involving backstory and enough sexual relationships to almost fill a Howard Chaykin mini-series, this series tells us what Clint Barton does when he’s not being an Avenger or a S.H.I.E.L.D. camp follower. It turns out Clint leads a normal-looking life that gets interfered with by people who think Avengers should be Avengers 24/7. He’s also got a thing going with the Young Avenger who was briefly Hawkeye. Matt Fraction and David Aja bring forth perhaps the most human interpretation of a Marvel character in a long, long while. Hawkeye might be second-string, but Clint Barton most certainly is not.

3. Captain Marvel. Another second-string character. Despite some absolutely first-rate stories (I’m quite partial to Jim Starlin’s stuff, as well as anything Gene Colan or Gil Kane ever put pencil to paper), the guy/doll never came close to the heritage of its namesake. This may have changed. A true role model for younger female readers and a very military character who uniquely humanizes the armed forces, Carol Danvers finally soars under writer Kelly Sue DeConnick and artist Dexter Soy – both as a superhero and as a human being. DeConnick doesn’t qualify as “new” talent, but this certainly is a breakthrough series that establishes her as a truly major player… as it does Marvel’s Captain Marvel.

4. Creator-Owned Heroes. Anthology comics are a drag upon the direct sales racket. They almost never succeed. I don’t know why; there’s usually as much story in each individual chapter as there is in a standard full-length comic. I admire anybody who choses to give it a whirl (hi, there, honorary mention Mike Richardson and company for Dark Horse Presents!), and I really liked Creator-Owned Comics. Yep, liked. It’s gone with next month’s eighth issue. But this one was a lot more than an anthology comic: it had feature articles, how-to pieces, and swell interviews. The work of Jimmy Palmiotti, Justin Gray, Steve Niles, Steve Bunche and a cast of dozens (including swell folks like Phil Noto and Darwin Cooke), there wasn’t a clinker in the bunch. I wouldn’t mind seeing follow-ups on any of the series featured in this title, although I must give a particular nod to Jimmy and Justin’s Killswitch, a take on modern contract killers, and on Steve’s work in general. This is no light praise: I’m not a big fan of horror stories because most of them have been done before and redone a thousand times after that. Niles is quite the exception.

5. Batman Beyond Unlimited. Okay, this is a printed collection of three weekly online titles: Batman Beyond, Justice League Beyond, and Superman Beyond. But it comes out every month in a sweet monthly double-length printed comic, so it meets my capricious criteria. Based upon the animated DC Universe (as in, the weekly series Batman Beyond and Justice League, and to a lesser extent others), these stories are solid, fun, and relatively free of the angst that has overwhelmed the so-called real DCU stories. Yeah, kids can enjoy them. So can the rest of the established comics audience. Pull the stick out of your ass; there’s more to superhero comics than OCD heroes and death and predictable resurrection. These folks have just about the best take on Jack Kirby’s Fourth World characters than anybody since Jack Kirby. That’s because Jack remembered comics are supposed to be entertaining. Honorable mention: Ame-Comi Girls. It’s based on a stupid (but successful) merchandising idea but it’s just as much fun as anything being published today.

6. Batgirl. O.K. The real story here is that DC Comics mindlessly offed writer Gail Simone from this series only to restore her within a week or so after serious (and occasionally, ah, overly dramatic) protest from both the readership and the creative community. But there was good reason: Gail took a character who was in an impossible situation and, against all tradition, put her back in the costume without resorting to ret-con or reboot, which have been the handmaidens of the New 52. She brought Barbara Gordon back to action with all the doubts, insecurities and vulnerabilities one would expect a person in her position to have, and she does so in a compelling way exercising all of her very considerable talent. This title thrives despite being engulfed in two back-to-back mega-non-events that overwhelmed and undermined all of the Batman titles.

7. Orchid. I praised this one last year; it comes to an end with issue 12 next month. That’s because writer/creator/musician/activist Nightwatchman Tom Morello has a day job and the young Wobblie still has a lot of rabble to rouse. Orchid is a true revolutionary comic book wherein a growing gaggle of the downtrodden stand up for themselves against all odds and unite to defeat the omnipresent oppressor. Tom manages to do this without resorting to obvious parallels to real-life oppressors, although the environment he creates will be recognizable to anybody who thinks there just might be something wrong with Fox “News.” But this is a comic book site and not the place for (most of) my social/political rants (cough cough). Orchid succeeds and thrives as a story with identifiable, compelling characters and situations and a story that kicks ass with the energy and verve one would expect from a rock’n’roller like Morello.

8. Revival. A somewhat apocalyptic tale about people who come back from the dead in the fairly isolated city of Wausau Wisconsin (I’ve been there several times; it is a city and it is indeed fairly isolated). But they aren’t zombies. Most are quite affable. It’s the rest of the population that’s got a problem. The latest output from Tim Seeley and my landsman Mike Norton, two enormously gifted talents. Somewhere above I noted how Steve Niles is able to raise well above the predictable crap and that is equally true here: the story and formula is typical, but the execution is compelling. That I’ve been a big fan of Norton’s is no surprise to my friends in Chicago.

9. Nowhere Men. I’ve got to thank my ComicMix brother Marc Alan Fishman for this one. Admittedly, it’s only two issues old and it has its flaws – long prose insertions almost always bring the pace of visual storytelling to a grinding halt – but the concept and execution of this series far exceeds this drawback. Written by Eric Stephenson and drawn by Nate Bellegarde and Jordie Bellaire, the catch phrase here is “Science Is The New Rock ‘N’ Roll.” Four guys start up a science-for-the-people company and that’s cool, but twenty years later some have taken it too seriously, others not seriously enough, and things got a little out of hand. Sadly, I’m not certain who understands that, other than the reader and one of the major characters. Science is the new rock’n’roll, and exploring that as a cultural phenomenon makes for a great story – and a solid companion to Manhattan Projects.

Non-Self-Publisher of the Year: For some reason, I’m surprised to say it’s Image Comics. They’ve been publishing many of the most innovative titles around – four of the above nine – all creator-owned, without going after licensed properties like a crack-whore at a kneepad sale.

No offense meant to either publishers or crack-whores; I said I’m really a sweet, kind, understanding guy.

THURSDAY: Dennis O’Neil

 

Mindy Newell: Gail Simone and the Mayan Calendar

According to many interpreters of the Mayan calendar, December 21, 2012 was to be the last day of the world. Were we going to go quietly, or in another Big Bang? No one knew. But some portents started happening as December matured.

A woman slept while a tornado ripped off her home’s roof.

More than 100 UFOs are seen along the India-China border.

A contestant on The Bachelor claims the producers brainwashed her.

Karen Berger resigns as Executive Editor of Vertigo.

And on December 9, 2012 (or thereabouts), Gail Simone is told her services as the writer of Batgirl are no longer required… via fucking e-mail!!!!!

Although I did once work at a hospital where the Director of Anesthesiology fired one of his staff via FedEx, and although Editor Mike Gold tells me that this is simply the snafu way that corporations use to rid themselves of the suddenly tainted, I personally think this is an unbelievably putrid, cowardly and totally unprofessional way to be axed, corporate or otherwise.

Gail Simone displays superb class; only tweeting I am very proud of what we accomplished with Batgirl and it was an honor to get to write Barbara Gordon again. Love that dame, as well as a longer post at her blog Ape In A Cape in which she thanks Scott Snyder, Bobbie Chase, Brian Smith, others at DC, and her fans for supporting her.

And the shit, in Newell’s unclassy words, hits the fan.

The comics world, not waiting for December 21st,explodes!

Twitter accounts overload. E-mail boxes are stuffed. Phones ring off the work. Websites, (ComicMix, BleedingCool, Wired, The League of Women Bloggers, The Beat) are “hot off the presses” with the news. Fan forums are abuzz.

Friday, December 21, 2012.

What happens in the Bat-offices will most likely remain between Gail and DC, although there will sure to be many rumors spread by many pundits. Fan outcry? Pushback from other pros? Some even speculate that it was a massive marketing ploy…

Friday, December 21, 2012.

According to some expert on the Mayans and their calendar, the date did not signify the end of the physical world, but simply the death of one cycle and the beginning of another.

Friday, December 21, 2012.

And for one extremely talented and deserving woman, it sure was!

Friday, December 21, 2012.

Gail Simone tweets: Here’s the thing. Gail Simone is the new Batgirl writer. 

Hmm….

Maybe those Mayans were on to something. Congratulations, Gail!

But don’t breath easy yet, girlfriend. According to the Huffington Post, German scientist and Mayan calendar researcher Nikolai Grube says the 13th Baktun (or cycle) may not actually be over until December 24, 2012.

That’s today, boys and girls.

TUESDAY MORNING (assuming there is one): Emily S. Whitten

TUESDAY AFTERNOON (assuming there is one): Michael Davis

 

Martha Thomases: The Wonderful Party

The responsible thing to do this week would be to write about The State of Women in Comics. With Gail Simone booted off Batgirl, coupled with Karen Berger’s departure from Vertigo, one can conjure all sorts of misogynist conspiracy theories, and one would have more than a 50% chance of being right.

But I don’t want to write about that. For one thing, I don’t have any inside knowledge, so I would only be speculating.

Here’s the thing. Comics is such a small world that I know both of these women. I worked with Karen for the better part of a decade, threw the launch party for Vertigo in my apartment when I couldn’t get DC to pay for it, and enjoyed her work a great deal. I don’t know Gail as well, but I’ve met her a few times, I love her writing, admire her work for the Hero Initiative, and think she’s a really classy person.

These are big names in the business. I am not. But comics is still low-profile enough that we are, more or less, peers. Or at least colleagues.

I was reminded of this last week, when I hosted our annual Hanukah party, the first one since my husband died. It was a bittersweet occasion, an event he loved very much. I thought it was an outrage that he wasn’t here for it, but I also thought it was important to continue the tradition. Life goes on, despite my best efforts.

My friends came out to support my son and myself, and that’s what friends do. The guest list isn’t just my friends from comics. It’s my friends from different aspects of my life, including my son and his friends. My apartment isn’t so large that the comics people can avoid the knitters, or the anti-war people can be in a room separate from my high school pals.

One of our guests is an aspiring comics creator whom I introduced to a few pros at New York Comic-Con last year. He happily told me about the other people in the business he’d met since then, and how great each of them had been to him.

That’s comics.

This is not to go all rose-colored-glasses on you. There are people in the business I don’t like. There are people in the business who don’t like me. There are people I don’t know, and more of them all the time. There isn’t any one of them I’d be intimidated to talk to.

And there isn’t anybody I wouldn’t defend against the attacks of the broader culture, the sneers of elitists who look down on the medium (fewer every day).

We’re in this together, and we have each other’s back. It reminds me of this lyric:

Faithful friends who are dear to us

Will be near to us once more

– “Have Yourself a Merry Little Christmas”

And that brings me to my wish for you this season.

Someday soon, we all will be together

If the Fates allow

Until then, we’ll have to muddle through somehow

So have yourself a merry little Christmas now.

Or, of course, the solstice holiday of your choice.

SATURDAY: Marc Alan Fishman

 

The Point Radio: THE HOBBIT An Much Expected Return To The Screen


This weekend, Peter Jackson’s HOBBIT – AN UNEXPECTED JOURNEY opens in theaters. We talk to cast members Martin Freeman, Richard Armitage and Elijah Wood on what is was like to return to the franchise after nearly a decade. Plus The FANTASTIC FOUR film moves forward, Gail Simone moves on and THE SAINT may be moving back to TV.

Take us ANYWHERE! The Point Radio App is now in the iTunes App store – and it’s FREE! Just search under “pop culture The Point”. The Point Radio  – 24 hours a day of pop culture fun for FREE. GO HERE and LISTEN FREE on any computer or on any other  mobile device with the Tune In Radio app – and follow us on Twitter @ThePointRadio.

Emily S. Whitten: Making Art and Words of Wisdom

It’s Friday night and I’m standing on the crowded floor of a packed concert with friends when suddenly, it hits me: the perfect little plot point to tie together two parts of the first storyline for the new comic I’m working on. Naturally I immediately have to make some notes before I forget the idea. Five minutes later I’m back to the show, but kind of wishing I could be in two places at once so I could enjoy the rest of the show and be working on the new idea at the same time. Too bad reality doesn’t work that way.

Instead, we all have our own little difficulties and stumbling blocks to get over when it comes to creating art – like procrastination, or writer’s block, or fear of failure, or what-have-you – and I’d just been hit by one of mine, which is definitely distraction. Or, to put a more positive spin on it, the way my brain seems to like multitasking all the time. Sometimes it can be a good thing – like when I haven’t worked on a story in a bit and suddenly an idea comes to me out of nowhere. But other times, the distractions come at all the wrong times, like when I’m in the middle of working on the story and something else comes along; or when I have a great idea but no good way to preserve it or to start working on it right away. (Thank goodness for the notepad-type apps on smartphones, at least, which have helped a little with that problem!)

Creating is a funny process. Sure, there are some universal fundamentals to it, but everyone does it differently. Some writers are prolific, while others take years to write one novel. Some comics artists want a detailed script from a writer, while others like a loose framework they can play with. Some people like to get feedback as they go; but others don’t want anyone else’s eyes on their work until they think it’s perfect.

No matter how different each person’s process may be, though, everyone has to face their own hurdles as they create, because, let’s face it – it’s not easy. Sure, sometimes it may feel easy – you’re barreling through a story or a page of art and everything is flowing out like it’s never going to stop; but then it does, or you get stuck on one paragraph or frame of artwork for a ridiculous amount of time; or you look up at your clock at three in the morning and wonder if everything you just made was terrible. Or maybe none of these things happen to you; but I guarantee something in your process feels like a struggle from time to time.

At times like that, I find it helps me to be painfully aware of my shortcomings, so that I can remind myself of ways to overcome them. The reminders may be deceptively simple – e.g. don’t get distracted; that other thing will still be there when you’ve run out of words to write about this idea; you need to stop doing everything else and get back to the story – but just by owning the flaws and actively calling my brain to attention to overcome them, I have a much easier time actually doing so.

I think this same concept can be applied all the way through the process – from the very beginnings of your creation through to the part where you’re hoping to share it with the world (presumably in a profitable way). And since all of us experience the process of creation and sharing that creation in different ways, I thought it would be neat to see what some successful folks in the comics industry might offer as their best advice for successful writing or making art; giving us a window into what these creators find most important to keep in mind throughout the process (or possibly what they’ve learned by overcoming their own challenges), and providing us with some helpful thoughts, reminders, or encouragements as we work on our own art.

Thanks to the handiness of Twitter, through which I solicited advice, these contributions are all coincidentally in the form of handy, bite-sized little mantras that we can memorize, put up on a Post-it somewhere, etc. as needed to help keep us all on track as we make good art amidst the busy whirlwind of life. So without further ado, here they are!

@VictorGischler: Know yourself. Look inward and identify in which direction your enthusiasm lies. Also coffee. Lots of coffee.

@GailSimone: No one looks back and says, “I wish I’d taken fewer chances.”

@Reilly_Brown: Have a clear goal in mind from the start. “Success” is if the audience gets your point.

@MikeSHenderson: Keep challenging your weaknesses, and never stop acting like a professional.

@AletheaKontis: My Best Advice = Shut Up & Write.

@FredVanLente: There can always be one more draft. Have fun. Be a good person before a good artist.

@Janet_K_Lee: Sit your butt in the chair is #1. #2 Be fearless. Always try to learn and try something new.

@PaoloMRivera: I always tell everyone to sculpt. As for writing, just make people care. That may not be advice, but that’s the goal.

@JimMcCann: Allow yourself to fail every once in a while. Then make it better. :)

@kabalounge (Georges Jeanty): Make sure you are telling the story and not just trying to show off your artistic skills.

@MOWheatley (Mark Wheatley): Write. Draw. Do it again. Do it a lot. Keep doing it. Do it some more. Then do it again.

@brubaker (Ed Brubaker): My advice would just be keep doing it. You can’t control success.

@BenMcCool: Work hard, often & with abundant passion. Also, resist urge to drunkenly hassle editors. [ESW note: This is very wise.]

@jpalmiotti (Jimmy Palmiotti): Don’t listen to others’ BS, and stay focused.

@DennisCalero: Write and draw as much as you can and take it seriously.

@SkottieYoung: Do it a lot then do it more after that. Then, you know, keeping doing it.

@jerhaun (Jeremy Haun): Honestly @skottieyoung has it right. It’s all about being the guy that just doesn’t quit.

@GeneHa: @skottieyoung Exactly. Dave Sim said everyone has approximately 10K bad drawings in them. Keep drawing until most are outta your system. Also look for people who draw things differently than you do. Why does it still work, or even work better?

@PatrickZircher: Marry money. [ESW note: Hee!] Also, read any interview in which a mature comic pro talks about the work itself.

@JeffParker: Keep it short, be extremely clear to the extreme. Directness is harder than it looks.

@PaulTobin: Don’t stop. Choose what you love, not what you think will sell.

Also, study what you love. Understand why. Give your voice freedom.

@DavidGallaher: Always keep making stuff.

@PeterDavid_PAD: Buy my book on the subject.

@JoeKellyMOA: Do what you do every day. Intentionally do bad drafts so you get to good ones. Know when to take a nap. Go out for inspiration.

@LForLloyd (David Lloyd): There are really good books recommended by professionals here, but practice makes perfect, too… : )

@JamalIgle: Be yourself. Cliché, I know, but I’ve had more success when I listened to my gut. Your voice is precious; hone it, shape it, no one can take it away from you.

@DeanHaspiel: Live. Love. Make. Don’t hate. Be true. Show up. Commune. Commit. Deliver. Repeat.

@ColleenCoover: Read comics from before you were born. Don’t keep trying to redo stuff if it’s not perfect. Learn from mistakes and move on.

@FrankTieri: Also, get used to hearing “no” a lot. Even after you break in.

Excellent words of advice from great creators, all of whom share their work and wisdom on Twitter (so I’ve provided their usernames in case anyone is wondering where to follow them). I hope you all find them as helpful as I do!

Thank you to everyone who contributed to this column, and until next time, Servo Lectio!

TUESDAY AFTERNOON: Michael Davis

WEDNESDAY MORNING: Mike Gold

 

Marc Alan Fishman: Fantastically Phoning It In

As I write this, my Bears are presently phoning in a performance so bad I’m opting to write my article instead. The game is on, yes. But, frankly, I’m not even paying attention. I guess I owe my bad-news-Bears a debt of gratitude, though. They are giving me the inspiration for a column this week.

Nothing grinds my gears more than a weak start. And this week past, a comic that should have been a touchdown upon reception was a weak three-and-out worthy of the finger wagging like no other. Matt Fraction and Mark Bagley’s relaunched Marvel Now Fantastic Four #1 was a let down of mammoth proportions. And it warrants a bit of a rant.

Generally speaking I like to keep my reviews (chock full of piss and vinegar) over at Michael Davis World. But I was too elated by Gail Simone’s Batgirl this week past to waste time setting fire the ‘Four. To be honest? I read the book, said “Meh,” and figured that I owed it to Fraction to give him some time to warm up. As I took a long and angry trip to my can in between botched Bear’s offensive drives, I flipped through the book once more. Maybe it’s the fact that my team is 20 points down and can’t move the ball more than my infant son. Maybe it’s the few pages I flipped to with glaringly awful moments that caused the rise in blood pressure. Either way, this book is bad.

Giving a favorite writer a pass because they’ve delivered solid performances in books prior is something I’ve done all the time. Hell, it’s the entire reason I still read Green Lantern. But it hit me; these are the pros. They are being given an opportunity I would literally kill for. Who or what would I kill? I dunno. An editor, probably. But I digress. Matt Fraction has written some amazing issue 1’s. His Invincible Iron Man, Defenders, and The Order all jump to mind. In each, Fraction is able to introduce his characters, set the tone of the book, and build a considerable world rich with continuity, but wholly original. In Fantastic Four #1, his dialogue is sloppy, his plotting predictable, and his tone is somewhere between “kiddie cocktail” and “phoning it in.”

For a man who likes the long game? Here he’s nearly parodying himself. Twenty pages of content, of which only two move the story in any direction forward. The rest? A wink, nod, and circle-jerk of continuity-heavy references and in-jokes. Number one indeed.

In The Order and The Defenders, Fraction proved to me he knew how to handle a team book. Moments are given to all the players, and in each tight scene he’s able to interject depth and clarity. He gave us a recovering alcoholic in Henry Hellrung. The other side of the coin to Tony Stark. He gave us a Steven Strange who was coherent of his foibles, but decidedly stubborn enough to ignore them. The key here was Fraction showing how he could take continuity and reshape it to match a new direction. That all being said… in a single issue of his Fantastic Four, he’s only able to deliver a single cliched plot direction, and a handful of watered down scenes built from scraps of Jonathan Hickman.

One of the few problems I had with Hickman’s run concerned the usage of ole’ blue eyes himself. The Thing was mainly sidelined due to the lack of punchable things in the very science-heavy arch. Given the pedigree of Red She-Hulk’s depiction in The Defenders gave me hope to see a Thing with a bit more depth, verve, and humor. Instead, Fraction warms up the tuba for a Yancy Street Gang joke on Ben Grimm. And when the Thing speaks? We get line after hackney’d line suitable only if he were being written for an SNL skit.

In other plot lines, we get yet-another scene of Johnny Storm showing that he’s the cocky brash ass we all know and love, and the totally mature death-defying wunderkind. He gives his cellphone number out to the gal he loves. Yippee. Sue gets to be the same invisible-to-the-fans mother role she was written to play. For a women I expect to be one of the smartest in the 616, she seems awfully daft here… not being able to read her rubber husband’s transparent motivations. And to round out the book? Franklin “Deus Ex Machina” Richards foretells of eeeeeevil afoot. It’s plot-by-the-numbers, and we deserve better.

Over in the art department, we get Mark Bagely. There was a time when I was truly enamored by his work. His work-horse attitude, and nuanced designs helped cement Ultimate Spider-Man’s first six arcs wonderfully. He was eventually poached by DC, where he was given Trinity – a series most of us would care to forget about, art included. Now back at the House of Mouse, he’s firing on all-cylanders… as a watered down John Romita Jr., delivering no memorable visual save for perhaps the last splash page.

Suffice to say, the Bears laid down and took it up the tail pipe tonight. After rereading Fantastic Four #1, I am clear in thinking Matt Fraction did much of the same. He came into the game with a crowd hungry for the next chapter. Instead, he spins his wheels, sputters trying to pick up pieces that were already left put back on the shelf neatly enough. This is not a new beginning. This is not Now. This is the a waste of my money and one I’m not likely to forget. I know the book will bounce back. But a loss is a loss. And this loss hurt something fierce.

SUNDAY: John Ostrander

 

Mindy Newell: I Didn’t Do It!

Weird comics synchronicity. My cousin Penny met and married a guy named Ken Landgraff – and no, I had absolutely nothing to do with it. Some of you may Ken through his work for Marvel and DC back in the day when he drew Nightwing and Flamebird, Hawkman, and Wolverine. He also worked in the studios of Gil Kane, Rich Buckler, and Howard Nostrand, and he drew for Screw magazine. Kenny’s a very cool guy, and we’ve had mucho conversations about comics and pop culture over the years.

So there I was last week, out on Lawn Gisland (that’s Long Island for you non-New Yorkers) celebrating Rosh Hashanah with the family, imbibing lots of fine drink and dining on a cornucopia of fantastic food, laughing and just plain getting silly, when Ken asked me “Did you really put a used Tampax on the door of an editor at DC?”

And I was feeling no pain, as they say, and I just stared at him and went, like, “What the fuck are you talking about?”

Ken said that he had been told by – and I promised him I wouldn’t tell anyone who had told him this, so I’m leaving that person’s name out of this column – that I had taken a nicely bloodied Tampax and attached it to the door of some editor at whom I was pissed. He didn’t say if I had left a note or not.

Quick aside here. I just called Mike Gold and asked him if he had every heard this story about me. “No,” he said. “But under certain circumstances I would find that admirable.”

“That’s disgusting!” I said to Ken. (Also just now to Mike.) “Urggh!”

After making a face and blinking a few times, I said to Ken, “You’re serious?”

“Yeah.”

“Kenny, you don’t really think I would do something that disgusting, do you?”

“Well…”

Okay, I think to myself, we’ve all had a few too many here. Don’t get mad.

I said, “Kenny. My dear cousin. Have you ever known me to be bothered with signs and symbols when I’m pissed off? Have I not always been the first one on the soapbox with a bullhorn yelling fuck off! for the whole world to hear?”

“Yeah.”

Case in point. Check out my interview with Gail Simone in which I relate the story of how my comics career almost came to a very abrupt end if not for Marv Wolman. (Attention K-Mart Shoppers and All Aspiring Comics Pros: Do Not Try This At Home!)

Screaming fuck you and other assorted colorful catchphrases is not something to be proud of. Well, maybe a little. Depends on the circumstances. Sometimes telling someone to fuck off is exactly the right thing to do. Like when I was fired from a hospital for being Jewish.

Yep, you read that right, boys and girls. Li’l ol’ me and my yiddishkeit blood offended my anti-Semite bigot of a head nurse, who trumped up charges against me. How do I know this? Because my so-called friends at work told me that she would call me “kike” and “Hebe” behind my back. I call them my so-called friends because when I asked them to go to the administration with me to report this, everyone backed out, not wanting to “get involved.” This was before this modern age of what’s called “zero tolerance rules” at work.

Anyway, the bigot took me downstairs to a meeting with the administration, who offered me a chance to resign. Guess what happened when I brought up the bigot’s use of language about me? They gave me a blank piece of paper, said, “we’ll give you a few minutes to think about it. We’re sure you’ll do the right thing,” and left the room. I took that paper and wrote on it in big letters f-u-c-k y-o-u!!!! and walked out.

That’s an example of a circumstance in which the use of colorful language is appropriate and needed.

I don’t think using colorful language to a DC editor, especially when you’re just starting out, is the wisest thing to do. You may disagree with me, but frankly, I was lucky I didn’t get my ass kicked down the elevator shaft; besides, stories of your use of colorful language, or about how you hung a used Tampax on an editor’s door, will follow you around.

All the way to a Rosh Hashanah dinner with the family decades later.

And then you’ll stop wondering why offers of work dried up.

TUESDAY MORNING: Emily S. Whitten

TUESDAY AFTERNOON: Michael Davis

 

Categories

Archives

Everything you need to make great comics!

comicmix-pro-300x69-2

Nucleus X

Bookshop Zaks