If you’ve ever read anything from Clifford Meth, you know he can be a ferocious writer, and ferociously talented. We like that sort of thing here, and that’s why we’ve published his stuff in the past. He’s compiling his columns and essays into a book, and you have a few hours left to pre-order it on Kickstarter:
Comic Book Babylon gathers icons HARLAN ELLISON, STAN LEE, ALAN MOORE, FRANK MILLER, JOE KUBERT, GENE COLAN, DAVE COCKRUM, WALTER SIMONSON and NEAL ADAMS into a conversation with CLIFFORD METH where anything goes. Among other stories, you’ll learn how & why X-Men co-creator Dave Cockrum became the first Marvel artist to receive a monetary settlement and lifetime royalties for his creations after years of suffering and virtual banishment… You’ll meet a well-known Hollywood film producer who doesn’t like to pay his writers (until someone squeezes his face)… You’ll read Harlan Ellison saying things no one else would publish…
This fascinating book collects Meth’s decades of comics columns and essays–some too outrageous to publish in their day–and adds never-before-revealed material. Everything is brought to life with sensational illustrations by the celebrated and beloved Marvel/DC artist MICHAEL NETZER.
What’s achieved is a startling look at the REAL villains and heroes of comics. Introduction by STAN LEE. Art by NETZER. Rants by METH. Join us!
Patiently standing in the checkout line at Stop & Shop today (which was mobbed because tomorrow is the first night of Passover) I did what so many of us do – browsed the covers of the tabloids. Kim Kardashian has gained more than 40 pounds during her pregnancy. And here I didn’t even know she was enceinte! Kate Middleton, who is also pregnant, fell while attending a royal function because her heel got stuck in a grating! (Oh, no!) Jennifer Aniston reveals her wedding dress! (Somehow I doubt that.)
And then my eyes fell on a special Star magazine edition called Star Trek Collector’s Edition: Into Darkness Special.
Yeah, I couldn’t resist.
It features such things as “100 Greatest Star Trek Moments” (which were strangely not listed in order) and “The Women Who Rule Outer Space” with pictures of Jeri Ryan as Seven of Nine and Jolene Blalock as T’Pol on the cover (but no Katherine Mulgrew as Captain Katherine Janeway inside?..
Which gave me the idea to list some of my favorite and most hated Star Trek what-nots. So, in no particular order:
Best cliffhanger – ST TNG, Best of Both Worlds, Part 1. “Mr. Worf – Fire!” Everybody hold your breath for a week.
Worst resolve – ST TNG, Best of Both Worlds, Part 2. “Sleep, Data.” So incredibly anticlimactic.
Best episode – ST TOS, The City on the Edge of Forever. Edith Keeler dies as she is supposed to. The universe wins. The Nazis lose. So does Jim Kirk.
Best line – ST TOS, The City on the Edge of Forever. “Let’s get the hell out of here.” No histrionics from Bill Shatner. Perfect delivery.
Best Captain – Oy. I’m not going there.
Best First Officer – Spock.
Worst. Episode. Ever. – ST TOS, Turnabout Intruder. Total histrionics from Bill Shatner. Also sets back women’s liberation 3,000,000 years.
Best Chief Medical Officer – ST TOS. Leonard H. McCoy, M.D. The good doctor also makes an appearance in the pilot episode of The Next Generation, in which he irascibly tells Data that he sounds like a Vulcan, even though “I don’t see any pointed ears on you, boy.”
Most Wasted Character – ST TNG. Deanna Troi, Ship’s Counselor. Tell your troubles to the bartender, says Guinan.
Sexiest Character Male. – ST TOS, first season. Bill Shatner, you were one hot Canadian Jew!
Sexiest Character Female. – ST TOS. Yeah, I know, if you’re of the opposite sex – from mine – you’re going to say Jeri Ryan, she of the silver catsuit. Me, I’m going with Nichelle Nichols.
Coolest Villain – ST DS9. Gul Dukat. A villain of dimensions.
Best Vulcan – ST TOS and ST TNG. Sarek
Best Human Wife to a Vulcan – ST TOS. Amanda
Best Lt. Saavik – Kirstie Alley. Did Sam Malone know that Rebecca was a
Vulcan?
Best Couple – ST DS9. Lieutenant Commander Worf and Chief Science Officer Lieutenant Jadzia Dax.
Best Bajoran – ST DS9. First Officer Major Kira Nerys.
Cutest Navigator – ST Voyager. Ensign Tom Paris.
Best Episode – ST TOS, The City on the Edge of Forever. With apologies to Harlan Ellison, I think the aired episode is better than his original teleplay.
Best Episode – ST TNG, The Inner Light. Picard lives a lifetime in twenty minutes. He also learns to play the flute.
Best Episode – ST DS9, In the Pale Moonlight. Sisko and Garak maneuver the Romulans into war. Like Bush and Cheney maneuvered us into Iraq. Sisko suffers a moral crisis over his decision. Garak doesn’t. Neither do Bush and Cheney.
Best Episode, – STVoyager – One Small Step. “The Yankees, in six,” Seven of Nine whispers to the dead to astronaut.
Best Episode – ST Enterprise – Carbon Creek. T’Pol’s grandmother gives the secret of Velcro to a financially needy college student. Let’s face it, they all pretty much sucked.
In 1984, The Terminator was a relatively low budget ($6.5 million) action-adventure film starring Arnold Schwarzenegger, hot off Conan and Linda Hamilton pre-Beauty and the Beast. Written by James Cameron and Gale Anne Hurd, it was a fun little science fiction film of a potential future that needed to be avoided. Things blew up and Arnold stoically told a cop and the audience, “I’ll be back.” No one knew at the time that the film would trigger such an enthusiastic response, giving us sequels, comics, novels, and a television series. Suddenly, SkyNet, John Conner, Sarah Conner and the Terminator T-800 model would become a part of the social fabric of pop culture.
It also got Cameron sued by Harlan Ellison, who successfully argued that the story lifted a lot from the classic “Soldier” story penned for The Outer Limits.
Little wonder then, that when Blu-ray discs started showing up, it would be among the first from Sony in June 2006. Since then, it periodically gets dusted off, cleaned up, and rereleased, most recently in 2011. Now, 20th Century Home Entertainment assures us the latest edition, out now, is “the ultimate high-definition experience”.
Looking back, the film feels small, just as it did then, hinting at the apocalyptic future and tossing around concepts and elements that would be explored later. This was all about Kyle Reese (Michael Biehn) traveling back in time from 2029 to find and protect Sarah Connor (Hamilton) from the android killing machine. We’re told the machines have taken control of the world and humanity is fighting for relevance and survival. Connor, a single waitress will give birth to mankind’s salvation. Also in the mix are police detectives Lt. Traxler and Det. Vukovich (Paul Winfield and Lance Henriksen, respectively), trying to stem the mayhem.
The film is definitely a product of the early 1980s as seen in the wardrobe and hair styles, but that makes it all the more charming in some ways, when 2029 seemed so awfully far away.
The Terminator‘s transfer compared with the 2006 release shows that a fine improvement with better contrast and black levels so the film’s visual clarity is superior. The film, surprisingly, was shot with a mono track so only so much can be done to improve what was there so Cameron went back and remixed it later. And it is that soundtrack in DTS-HD MA 5.1 that we find yet again.
Included on the disc are special features matching the 2006 release: Deleted Scenes, the short piece on Creating The Terminator: Visual Effects & Music, and Terminator: A Retrospective. The fun pieces that were included in the 2001 DVD version, such as the Other Voices documentary, remain AWOL, meaning this is not quite “ultimate’ at all. Still, if you don’t have it in your library or have not seen this in a while, the new edition is well worth your time.
Astronaut Neil Armstrong’s death last week at 82 brings to mind… well, an awful lot of stuff. If I were to put it all in one folder, I would name that folder “Passion and Wonder.”
Passion is the binding force of our lives. Wonder is what keeps us moving forward, what propels us into the future. Passion and wonder combine to create the most vital force in nature.
Passion plus wonder is a formula. Passion plus wonder equals H.G. Wells. Passion plus wonder equals Alice Guy-Blaché. Jerry Siegel and Joe Shuster. Nicola Tesla. Bessie Coleman. George Washington Carver. Ray Bradbury. Jack Kirby. Terry Gilliam. Michael Jordan. Sinead O’Conner. Alan Moore. Passion plus wonder equals Harlan Ellison. Martin Luther King, Jr.
Passion plus wonder equals Neil Armstrong.
If not for passion and wonder, our 21st Century would look exactly like Galileo’s father’s 16th Century. Most of us would be living in small villages, never venturing more than 25 miles from the place of our birth. Not that it would be boring; avoiding boredom requires a sense of wonder.
Our culture tends to encourage and, upon occasion, even honor creativity. We are very lucky – previous generations received less support… if any. If you have the passion and the sense of wonder to go out there and create, you have the obligation to do so – both to yourself and to society.
Pursue your passion and create.
It does not take courage. Courage is a retroactive designation for the act of putting one foot in front of the other and finishing something. It’s not up to you to determine its ultimate value. Your job is to pursue your passion, employing your sense of wonder. Posterity is in the eye of the next generation.
Neil Armstrong already stepped on the Moon. You must step into the future.
I got the idea for this series when I received a call and was told a project of mine was turned down because “Black doesn’t sell.” I was told to my face more than once by a certain asshole “when it comes to entertainment, black means death.”
Really, Bruce? How you living now, motherfucker? I’m going to guess it’s nowhere as good as I’m living, bitch.
Yeah, I tend to hold grudges but in my defense I’ve been pretty good lately. I’ve been known to rant like a mad man from time to time. In fact when I first started in the industry I did and wrote some shit that got me tagged as the “bad boy of comics.”
You know what I did upon hearing that? I changed the name of my studio from, Michael Davis Studios to Bad Boy Studios and, yes, this was before Diddy.
Why embrace what many think is a negative? Anger. I was very angry back in the day. I figured if people wanted a bad boy I’d be a bad boy.
How that work out for me?
Very well, actually.
Now, young creators, just don’t think you can develop an asshole, take no prisoners, attitude and the world will beat a path to your door. That road is paved with the bodies of many mofos who think that personality equals talent. It does not. People put up with Harlan Ellison’s shit because Harlan is the real deal, or to put it plainly, Harlan is one of the greatest writers to ever pick up a pen: Harlan once told Frank Sinatra to fuck off.
This was during the time when Frank was not only the biggest star in the world but he was also hanging out with more than a few wise guys, if you know what I mean. Harlan takes no shit and he calls a spade a spade. Harlan’s opinions are bigger than life but there is not a single publisher on this planet that would not love to publish a Harlan Ellison project.
But if you think that just being a bad ass is a great way to secure a rep and thus secure a career, you are an idiotic asshole or a Right Wing radio host and that shit will not work in comics.
How did (do) I get away with the occasional rant? Because I deliver the goods. I’m real good at what I do and I generate revenue and it’s all about the revenue.
I’m nowhere, even remotely in Harlan’s league but the people I work with know what they are getting with me and either they don’t care about my rants or they don’t think about them.
Why don’t they care? Would you care if the million dollars someone was bringing you were old or new bills?
It’s all about the money folks. It’s all about the Benjamins. It’s all about the cash. It’s all about revenue.
One day I realized that even though it had worked for me, anger was not the only way to fight against what I thought were injustices some wanted me to endure.
I figured I’d just cool out and not let little things bug me. Why be angry?
So over the past few years I’ve been mostly “rant free” on the comics and entertainment front. Politics is another matter; I regularly lose my mind about that over at www.MichaelDavisWorld.com.
While working on this series of articles I started to get angry. Angry like the Michael Davis of old. The Michael Davis of old that was the “I don’t give a fuck” Michael Davis.
My plan when I started writing these series of articles was to make my case in parts one through three and bring in some of my heavyweight black entertainment friends to underscore that black does indeed sell in this, my final installment.
So much for the plan.
I was on the phone with the director Bill Duke when the anger I’ve tried my best to curtain over the last few years returned with a fury. I told Bill I’d call him back and sat down to write this last segment and, yes, the old Michael Davis is back.
Back and I’m mad as fuck.
Hollywood’s unofficial “Black doesn’t sell” attitude is simply bullshit and the more I think of it the madder I become.
It’s all about the revenue and black properties and people generate revenue in every category of entertainment. Hell, in music and sports we are the rule, not the exception. You don’t see anyone saying that the white players in the NBA who fail is because they are white. No, they fail because they are not good enough, just like the black players that fail.
Duh.
I don’t have to call my Hollywood black powerbrokers to underscore that black does indeed sell. Take a look at what has been done across all entertainment areas. Every single one of the people on my list to call has made a grip in Hollywood and not just selling to black audiences. The Cosby Show was the most successful sit-com on television. Will Smith and Denzel Washington are two of the biggest box office draws ever. In fact, Samuel L. Jackson is the highest grossing film actor…ever.
Black doesn’t sell? Give me a fucking break.
Black projects sell like crack… if done right. That’s goes for every damn project in Hollywood. If done well, the project will do well.
Every time a black project does not do well Hollywood makes black creators in effect show their papers like a freed slave at a southern checkpoint. The black President of the United States of America has been vetted by the CIA, FBI and scores of other agencies. He has showed his birth certificate time and time again and yet some on the right continue to insist he show his papers, again, like a suspected slave stopped in the middle of Alabama in 1850.
Well it’s not 1850 and Hollywood is not Alabama. It’s 2012 and there’s a brother in the White House and Samuel L. Jackson is the highest grossing film actor… ever. If the leader of the free world and the king of the box office are both black don’t insult the intelligence of the people who buy those tickets you sell Hollywood with your “Black doesn’t sell” lie.
I am under no misconception that the Far Right inbreeding bastards will stop the attack on the President, but I still harbor some hope that the entertainment industry and hell yes this includes some comic book publishers will stop condemning projects because some black projects have failed, its stupid and has to stop.
In comics it’s not just a black thing either, projects that feature women fail and that’s reason for some publishers to be wary of the next project featuring women no matter how bad ass the idea is.
That’s just stupid.
Stupid. Stupid. Stupid.
The new Static Shock series was not cancelled because Static was black. It was cancelled because Static was fighting a giant fucking fish.
Grow the fuck up, Hollywood. It’s all about revenue and any project that succeeds or fails in this day and age does so on its creative merits or many other factors, bad marketing, horrible word of mouth, opened on the same weekend as Avengers II.
Reasons for a movie failing or succeeding are many. Making the reason black people is a bullshit reason. Granted if there is ever a movie called Kill All White People and it starred an all-black cast of white people hating black militants and the story line was to kill all white people and that movie failed then Hollywood would have a point.
Then, yes, if that was a real project, black meant death… on more than a few levels, if you think about it.
I know how hard Hollywood hates change, so here’s my idea. Ready, Hollywood? Keep that silly black doesn’t sell bullshit line when a film that features a black storyline or actor in a leading role fails. Keep that but the next time Will Smith or Sam Jackson star in a film that makes a zillion dollars say the reason it did so is because they were black.
I’d be OK with that, but somehow I don’t think you would be.
I wasn’t sure what to write about this week. Then I read Martha’s column about Neil Gaiman’s commencement speech at the University of the Arts in Philadelphia, and I watched the video. Then I read Denny’s column about what it takes to get hired. So I thought I might put my two cents in by telling you a bit about my experiences with success and failure.
When I graduated from high school back in the dark ages, I didn’t really have a clue what I wanted to do. No, that’s not it exactly. I knew I was going to college because… well, it was what was expected of nice Jewish girls of a certain economic class. I had some vague idea about going to medical school; mainly, I think now, because when I was young I would tell the adults who asked that I was going to be a neurosurgeon – they always laughed when I said that, that I distinctly remember – but don’t ask me why I picked that particular specialty. Maybe because of Ben Casey, or maybe because I just liked the sound of the word itself. Anyway, that autumn I would be off to Quinnipiac College – it wasn’t yet a university in 1971 – as a biology major, because that seemed a good idea for someone who wanted to be a doctor. Quinnipiac wasn’t even my first choice; that was Boston University and the College of Nursing.
My parents were proud of me.
My friends were impressed.
My boyfriend tried to warn me.
But me?
I was just along for the ride.
My first semester at Quinnipiac was a disaster. Besides the usual freshman blues, gaining 10+ pounds, and having a stick for a roommate, I hated my classes. It was all hard science and math, and my professors were incredibly boring. Except for English 101. My professor was a hippie and the textbook was the Playboy College Reader, and no, it did not contain the Playmates of the Months. It was chock full of the truly great and weird and fascinating articles, stories, and interviews found within Playboy – yes, they are really in there, folks. I read stories by Harlan Ellison and Isaac Asimov and Philip Roth. I read interviews with Alex Haley and Timothy Leary and Ken Kesey. There were articles about the Vietnam War, Black Power, and Richard Nixon’s administration. My professor led us in fascinating discussions and I got to write some really cool papers on some really far out subjects.
Without telling my parents, I switched my major for the second semester to English with a minor in Women’s Studies. I took Introduction to Science Fiction and An American History of Women along with other rockin’ classes. I started to feel really good about myself – successful – and lost the 10+ pounds.
Then I came home for the summer and all hell broke loose.
“English?” my mother scoffed. “What are you going to do with that?”
“Women’s Studies?” my father yelled. “What, you need to go to school to learn how to be a woman?”
“You’re not going back,” they both said. “You’re going to go to work and learn the value of a dollar.”
To their eyes I was a failure.
And my mirror backed them up.
To be continued…
TUESDAY MORNING: Michael Davis’s Head Hurts
TUESDAY AFTERNOON: Emily S. Whitten’s Fangirl Tribulations
Weasels Ripped My Flesh! A shirt-ripping, gut-punching anthology of two-fisted writing, ripped from the pages of long-lost men’s adventure magazines of the 1950s, ’60s and ’70s. Outrageous, 100% true tales of sex, crime, combat, jungle goddesses, beatnik girls, LSD experiments, animal attacks … and nymphos. Always nymphos.
Weasels Ripped My Flesh! Showcasing rare, bare-knuckle stories by some of the toughest writers ever to punch a typewriter: Lawrence Block, Mario Puzo, Bruce Jay Friedman, Robert F. Dorr, Harlan Ellison, Robert Silverberg, Walter Kaylin, Walter Wager, Jane Dolinger, Ken Krippene and more.
Weasels Ripped My Flesh! Edited by Robert Deis, with Josh Alan Friedman and Wyatt Doyle.
Coming this summer from New Texture. Man up.
For updates, watch this space—and subscribe to the MensPulpMags feed on their site, here.
The Weasels Ripped My Flesh! Facebook page is here.
Please take a moment to look at the graphic that accompanies this article. Chances are you seen it before on the net or right here on ComicMix when Glenn posted it a few days ago.
Shit.
I’ll admit it’s clever as shit. It’s interesting as shit. It’s thought provoking as shit.
I came across this on Facebook and I must admit I was mad as shit when I read it. I was even madder when I saw it was a marketing ploy. Don’t get me wrong. It’s a great marketing ploy and I freely admit that shit.
I went to the website and the Facebook page of the person who put it up. After reading some of the stuff on the Facebook page I was disappointed that I was so upset. Why? Because this is the sort of person I should like. We share a great many thing with regards to politics and he seems like a great guy.
Really.
But I know a wee bit about the comic book industry and I know a wee bit more about building franchises and a wee bit more about mentoring talent.
I also know you do not do any of that shit with fear.
In any and I mean any part of the entertainment business you will find incredible success and dismal failure. That’s not the industry’s fault. The industry was not set up for you to be either an incredible success or a dismal failure.
That shit is on you.
Are there barriers to entry?
Yes. Tell me, what profession does not have barriers to entry? There are barriers to entry for everything.
That’s what school is for. That’s what working on your craft is for. That’s what life experience is for. That’s what you go to comic conventions for.
If you want to work in comics, you go to comic book conventions to learn the industry not to hang out with your 20 friends in one hotel room with the sole intention of going to the Twilight panel to kiss the ass of the movie company so they will give you a glimpse of that bullshit movie which is the same movie as the previous 15 but “this time it’s personal.”
Yeah, I called the Twilight movies bullshit. That’s my opinion.
The Twilight franchise?
Brilliant.
I don’t have to love a thing to respect a thing and I respect the shit out of the Twilight franchise. When it comes to how they run that shit I’m Team Edward all the way.
Instead of going to a portfolio review or a small press panel the young creators who will fall for that “call me” ploy from the comic industry poster spend their time trying to catch a glimpse of Jim Lee at the DC Comics panel. Jim is not there to talk to you about getting into DC he’s there to sell you the books you are already buying.
So, how does any of the above help your career?
It doesn’t.
The graphic depicts the comic book industry as an industry of people who will try and stab you in the back. Really? You think Jim Lee wants to stab you in the back so he can steal your idea? That great idea that you drew with a ballpoint pen, inked with a magic marker, colored with Photoshop 0.1 in tones of nothing but blue?
No.
You know why Jim Lee does not want your great idea, which all your family and friends have convinced you will be bigger than Superman?
I’ll tell you why, because if you have been reading comics and using that as your only education and attending Twilight like and not career oriented panels at comics conventions then most likely your idea is shit.
Why would all your family and friends tell you had created the greatest thing since Star Wars? I’ll tell you why; your family and friends love you. They are bias as shit.
Think of what you say to that fat ass 300-pound girlfriend when she’s asking you if she looks fat in that dress.
Fat 300-pound girlfriend: Do I look fat in this dress?
You: No.
You lie. You lie because you want to tap some of that fat ass. Guess what? She knows you are lying. She’s 300 pounds, dude. She would look fat in stranded in the middle of the ocean.
Your family and friends are yourfamily and friends; they are supposed to lie to you. Your family and friends they don’t know shit about what makes a concept a good idea.
Secondly, your “bigger than Superman” concept was drawn with a ball point pen, inked with a magic marker, colored with Photoshop 0.1 in tones of nothing but blue and your can’t spell so your lettering sucks also.
Is the comic book industry fair?
No.
Does some projects that suck get published?
Yes.
Is there an “old boy” network at many publishers?
Yes.
Are there people who don’t want you to succeed?
Yes.
Welcome to Earth, motherfucker. Or more specifically, welcome to the real world of grown-up business.
In every single business on the planet there are unfair policies, projects that suck that get green lit, cliques of people who won’t let you in and people who do not want you to succeed.
Fuck that shit and fuck them.
Learn the game before you hook up with somebody who claims he can help you with your “franchise.”
Franchise?
Give me a fucking break. Learn to write, learn to draw. Ask Jim Lee for advice not an autograph. Stand in line to hear Marv Wolfman or Harlan Ellison talk about writing. Stop standing in line to see clips from a movie you are going to see anyway.
Comic creators like giving advice. You will be surprised to see how much you can learn from an conversation about that creators craft. Set realistic goals for yourself. Seek criticism from people that know what they are talking about.
Here’s a hint. Make appointments with people you would like to talk to. All they can say is “no” but would not a “yes” make your day and help you?
Take classes, go to school make an effort to learn the industry.
Yes, think about your own Franchise!
Yes, build, your own Franchise!
But before you call someone to help you do something that they have not done, do the work that’s needed to achieve your goal. Yours – not someone else’s.
When you do all of that and more, when you have gotten to a place of excellence in your craft and still don’t succeed, try again and again and then again.
Frankly, if you are that good you won’t have to keep trying because you will succeed.
Anything less, anything quick, anything that does not involve the kind of commitment to your the craft is just bullshit.
Harlan Ellison, once called “the 20th century Lewis Carroll” by the Los Angeles Times, invites you to explore his 56-year career in four new books.
These four volumes, designed to bring Ellison’s writing to a new generation of readers while collecting rare works for his long-time fans, gather classic stories, entertaining essays, unpublished teleplays, and the author’s never-before-reprinted second novel from 1960.
The Sidekick Foundation is a new confederacy that seeks to generously aid comics creators in need of financial and medical assistance. Sidekick’s board of directors and advisors consists of established, respected comics professionals who have agreed to support the organization’s initiative which, in its first year, shall be to donate 90% of all generated proceeds directly to those in need.
“Sidekick was established by Clifford Meth, whose work on behalf of comics creators in need is well known,” said Jim Reeber, president of Aardwolf Publishing and Secretary of Sidekick. “By adding the weight of some of the industry’s most respected names to his own, I believe Cliff can help more people than ever before and do so more effectively.”
“I’ve spent the last three years working for well-known charities and non-profits,” said Meth, a former Executive V.P. of IDW Publishing and recent spokesman for Kars4Kids. “Regardless of the cause, the one thing that always irked me was how much money goes to the overhead of charitable organizations. While it may be legal to only give away a small portion of collected proceeds, I find it ethically unacceptable. The Sidekick Foundation will not have a paid Director nor full-time staff. Most work will be done by volunteers allowing the foundation to keep expenses to a minimum.”
Sidekick’s Board of Advisors includes Neal Adams, Harlan Ellison, Joe Sinnott, Tom Palmer, Herb Trimpe, and Morris Berger (former president of IDT Entertainment and chairman of IDW Publishing).
“I’m particularly proud to have Neal Adams and Harlan Ellison with us,” said Meth. “Neal laid the foundation for art returns and his work on behalf of Superman’s creators is legendary, while Harlan Ellison is a stalwart champion of creator’s rights. With friends like these in your corner, you can move mountains.”
Sidekick will debut at New York ComicCon on Sunday, October 16. Artist David Lloyd (“V for Vendetta”) will be drawing for Sidekick at the Cadence table #3153 from 12:30 to 1:30 pm. In addition, Clifford Meth and writer Don McGregor will be selling donated art as well as items from the late Gene Colan and Dave Cockrum, among others. Future signings and events are planned from artists Michael Netzer and Bill Messner-Loebs.
