Tagged: John Byrne

DENNIS O’NEIL: Batwoman

Whenever my old employer, DC Comics, reprints some of my ancient work, it’s gratifying, particularly if what’s reprinted is one of the “socially relevant” stories Neal Adams and I did in the early 70s, but it can be a little disheartening, too.

The problem is, the stories are for the most part still relevant, and what does that say about the state of the nation? Environmental upset? Yep, still got it. Racism? The folks down in Florida could tell you about that. Addiction? That lovely singer is no longer with us. Overpopulation? Hasn’t improved. American Indians? Some of the nation’s worst poverty is found on reservations that don’t house casinos.

As one of Bill Maher’s guests said on his show last week, it seems unbelievable that birth control could be a factor in presidential politics in the in the twenty first century. I mean…birth control?

But occasionally a glimmer of light shows through the gloom. So let us smile and extend a salute to Batwoman.

Digression: Batwoman and I go way, way back. Fact is, I killed her 40-something years ago. Why? Don’t remember, exactly. Her demise was almost certainly a plot point in the days when comics stories were largely plot-driven, and she must have seemed to be good cannon fodder: a character who, although she was in the continuity, hadn’t done much in a long time and if we needed a snuffee, and I guess we did, she was a good candidate. I do regret ending her offstage; she probably deserved a death scene at the very least.

End of digression: Batwoman is back. Wait – make that a Batwoman, who has the same name(s) as the original, but a different lifestyle. She’s a redhead and…oh yeah, a lesbian. Big deal? In our world, it kind of is since, from the beginning of mass-marketed comics, redheads were forbidden.

Just kidding: it’s gay people who could not grace our little sagas and in this we were one with most other media. In television and most movies, sex of any kind was antiseptic – all those cardboard kisses! – and gay sex was way outside the limits. And if gayness was an element in a story, as in some of Tennessee Williams’ film material, it was no more than hinted at and its practitioners were going to suffer plenty before the last reel.

In comics? Well, one of the characters John Byrne created for his series Alpha Flight was gay, but not too obviously; John’s editor knew of Northstar’s orientation, but I’m not sure anyone else in the editorial department did, not at first. (I’m informed that later creative teams pulled Northstar further out of the closet.) And a couple of years back, Marvel let us know that the ol’ rannie from the western titles, the Rawhide Kid, was gay, news that managed not to shake any foundations. But on the whole, the Kid and Northstar and a few others, including the revamped Question, in private did icky stuff that wasn’t mentioned, except, maybe, in he gutters.

Now, Batwoman. Last week she received a media award from the Gay & Lesbian Alliance Against Defamation and nobody’s making any secret of the recognition.

Call it one of those glimmers I mentioned earlier. And be grateful for it.

RECOMMENDED READING: Free Will, by Sam Harris.

FRIDAY: Martha Thomases

 

MIKE GOLD: True-Life Nexus Comics

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“Right, Steve,” I replied.

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

“Yep.”

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

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

And I really miss working with those guys.

THURSDAY: Dennis O’Neil

 

MARTHA THOMASES: The Death and Marriage of Superman

The Internets (by which I mean, mostly, Facebook) buzzed this week with a YouTube video, The Death and Return of Superman. It’s really funny, written, directed, and starring Max Landis, son of one of my favorites, John Landis, and also the writer of this week’s box-office champ, Chronicle.

If you haven’t seen it yet, take a look:

[youtube]http://www.youtube.com/watch?v=0PlwDbSYicM[/youtube]

I like everything about this but the premise: that the powers-that-be at DC Comics decided to kill Superman because it was an easy way to draw attention to their flagship character and thereby increase his popularity.

Not true. If anything, in 1992, Superman was more popular than he had been since the John Byrne relaunch.

If DC was going to pull a stunt to make Superman more popular, they would have done it when I was first hired to be publicity manager at DC, in the summer of 1990. I remember going to a meeting about upcoming story lines, and being told that the big event for that fall was that the new Robin (Tim Drake) was going to get a new costume. Not just any costume, but one with a design actually approved by Tim Burton.

Oh, and Clark Kent was going to ask Lois Lane to marry him. And then she was going to say, “Yes.”

“That’s a much bigger story,” I said.

“No one cares about Superman,” I was told. “But the fans will want the first issue with the new costume. Push that story.”

I pushed them both, but, as instructed, I devoted more resources to Robin. I spent thousands of dollars having a costume made and finding an actor to wear the costume for a press conference. I got approvals up and down the Time Warner hierarchy.

For Superman, I sent out a simple press release. And that story exploded.

Over the next two years, Superman became more and more popular. The public followed the stories about Clark and Lois like they were Kardashians (only really in love). The wedding became such a hot story that Warner Bros. television wanted in, and created a series, Lois & Clark: The New Adventures of Superman.

There’s more money in television than in comics. The wedding would have to wait.

Here’s the part I didn’t know about until years later. The powers-that-be at DC needed a reason to stop the wedding. To their credit, they turned the problem over to the editors, writers and artists who worked on the series. Why would the wedding be postponed? Could Clark and Lois fall out of love?

No, that wasn’t in character. Even though they hadn’t taken vows, they were going to be together until death did them part (or, as fate would have it, The New 52). The only way to stall a wedding would be for one of them to die. Whose death would be more dramatically interesting?

The Death of Superman was never about killing Superman. It was about setting up the next storyline, World Without a Superman. These stories showed how the world went on without the Man of Tomorrow, and how he continued to have an impact on our lives.

We know Superman came back, and Landis does a great job of pushing the more ridiculous aspects to their (il)logical extremes. It’s funny stuff, and it’s funny because he actually knows something about comics.

Still, twenty years later, we’re still talking about it. The stories remain in print. Whether or not you liked it, the fact remains that the stories resonated with readers.

We all remember where we were when we first heard that Superman died.

SATURDAY: Marc Alan Fishman

IDW PUBLISHING OFFERS A FIRST LOOK AT COLD WAR #4

Former MI-6 agent Michael Swann is in Russia, working against time to prevent the Soviets from gaining nuclear dominion over the planet. But what he doesn’t know is that he may already be too late! John Byrne’s latest creation concludes its initial story, “The Damocles Contract,” here! Hopefully Swann survives to fight another day, but that remains to be seen…

Cold War: The Damocles Contract #4 is written and illustrated by John Byrne
32 pages.
$3.99.
In stores January 4, 2012

For more about IDW Publishing, please visit http://www.idwpublishing.com/
For more about John Byrne, please visit http://www.byrnerobotics.com/

Click on images for a larger view.

Review: “Cold War: The Michael Swann Dossier: The Damocles Contract” #1

There were three phases the entertainment industry went through during the Cold War. The first was “The Russians are Coming!” when movies and comics and what have you spat out tales of woe like I Married a Communist, in which we were warned that the enemy wore no convenient uniform or had any distinct facial features that could tip us off that he was the most horrible man in existence. Then you had the “Man, what would it be like if the Russians were coming?” phase where we had movies like Red Dawn and books like Red Storm Rising, trying to give us an idea of what a real shooting war with the Soviets would be like.

Now we’re in the “Man, remember when the Russians were coming?” phase, where we all get nostalgic for M.A.D and make video games about what it would be like to weather a Russian invasion, like in Call of Duty: Modern Warfare and the like, but in modern times. We’re suckers for traditional western wars, which probably has its roots in fetishizing World War II while forgetting that most combat veterans don’t like to remember what they did back then.

Beth nabbed issue 1 of this comic called Cold War: The Michael Swann Dossier by John Byrne since I professed my undying love for East vs. West in my Supergod review, and she thought this would be right up my alley. I like it a lot.Well, it’s kind of generic, but we’ll talk about that and whether or not it matters.

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It’s A Race Against Time In IDW’s COLD WAR #3

Cover Art: John Byrne

IDW’s COLD WAR #3 will be in comic book specialty shops on Wednesday, December 7th.
Cold War is written and drawn by John Byrne.
 
Former MI6 agent Michael Swann is racing against time to prevent nuclear dominion over the planet from falling into Soviet hands. Which is harder than it looks while preventing his own death aboard a train speeding across Europe in the dead of winter! The penultimate issue of “The Damocles Contract” rolls toward an explosive conclusion!
 
Cold War #3
32 pages.
$3.99.

Click on images for a larger view.

MINDY NEWELL: Chest Hair Or No Chest Hair

Walking home from food shopping, thinking about this week’s column. Thinking about all the “news that’s fit to print” (and some not) about the portrayal of women in comics. And I thought, has anyone written about the portrayal of men in comics? I’m talking down and dirty, hot stuff, glistening muscle, chest hair or no chest hair?, blue brown or green eyes, skin-tight costume, hunky super-duper M-E-N.

Distaff geeks unite!

I’ll start. Off the top of my head, and in no particular order:

  • Logan, a.k.a. Wolverine. Chest hair. Goddamn, he’s sexy.
  • Dick Grayson, a.k.a. Robin in New Teen Titans written by Marv Wolman and drawn by George Pérez. He looked like a guy I had a crush on in high school… and for years afterwards.
  • Clark Kent, a.k.a. Superman, drawn by Curt Swan, Jerry Ordway, John Byrne, and many others, up to and including Rags Morales and Jesus Marino.
  • Hal Jordan, a.k.a. Green Lantern. Just read recently that Julie Schwartz wanted him to look like Paul Newman. Explains a lot.
  • Scott Summers, a.k.a. Cyclops. Who’s behind those Foster Grants?
  • Peter Parker, a.k.a. Spider-Man. It was Revenge of the Nerds, thanks to J. Michael Straczynski and John Romita, Jr!
  • Adam Strange. Why can’t a Zeta-beam land him in my bedroom?

Now for the “live-action”:

  • Christian Bale makes delicious eye candy and engenders dirty thoughts as Bruce Wayne/Batman. But isn’t it odd that the comic version doesn’t make my “off-the-of-my-head” list?
  • Of course the true superhero, Christopher Reeve. “Easy, miss. I’ve got you.”
  • And I have always, always, always had a thing for Robert Downey Jr. Can’t tell you how many times I’ve watched Iron Man. Even sat through Iron Man more than twice just to look at him. Special mention for Sherlock Holmes.
  • Not so much for the blondes, generally. Though there is Chris Hemsworth as Thor. And Robert Redford (“See ya, Hubble”) in The Way We Were. And Jason Lewis as Jared Smith on Sex And The City – the scene where he shaves his signature long, blonde, thick hair in solidarity with Samantha as she loses her hair due to the chemotherapy, well, every man who has ever questioned why his girlfriend or wife left him should be chained to a chair ala Malcom McDowell in A Clockwork Orange and forced to watch that scene over and over and over until he screams Igetitigetitigetitigetit!

uh, sorry ‘bout that. where was i? she said sheepishly.

  • John Wesley Shipp as The Flash on the too-soon cancelled TV series.

No quibbling allowed on the next four. I am the columnist. I am allowed my all things Buffy. Anyway, maybe they started out as live-action characters, but they all appear in comics now. And don’t give me any lip about any of them not technically being superheroes. I don’t see you fighting demons and vampires and saving the world over and over again.

  • David Boreanaz as Angel, first on Buffy and then on the eponymous TV series. Broody, morose, dark and tragic. A vampire Hamlet.
  • Alexis Denisof as Wesley Wyndam-Pryce. I envy Alyson Hannigan.
  • James Marsters as Spike, a.k.a. William the Bloody. Just for the record, I’m one of those who believe in Spike and Buffy 4 Ever. S.W.A.K.
  • J. August Richards as Charles Gunn. He almost didn’t make the list, ‘cause his selfish actions led to the death of Fred, but I can’t deny that bod’!
  • Anthony Stewart Head as Rupert Giles. Loved him ever since the Folger commercials. ‘Sides, I’m a sucker for British accents. Ask John Higgins.

What’cha think of my choices, fellow geek women? Who are yours? Martha, y’ wanna start?

TUESDAY: Michael Davis

Can Michael Swann Fulfill The Damocles Contract?

Acclaimed comic book creator John Byrne releases his latest creation, former MI-6 agent Michael Swann on October 19, 2011 when IDW Publishing’s Cold War #1 hits stores. In Swann’s opening 4-part adventure, “The Damocles Contract,” the former secret agent is called on to stop a defecting British scientist from granting the Soviets complete nuclear dominion over the free world…

Cold War – The Michael Swann Dossier: “The Damocles Contract” #1
Written and drawn by John Byrne
Colored by Ronda Pattison
Lettered by Neil Uyetake
32 pages, $3.99
In Comic Book Stores October 19,2011.

Said IDW’s Chris Ryall on his blog of the book, “This is Byrne doing a British secret service (well, former secret service, as you’ll see) agent in a period setting, which has been a blast so far, seeing him handle new characters and a time period he’s not tackled before. The vehicles alone in issue 3 are worth the price of admission.”

In addition to the standard color cover there will be a black and white cover and a stylized, almost propoganda-style variant covers for each issue. The first issue is also being released as a full variant b&w version as well as the regular full-color issue, too.

In an interview with the Associated Press, Byrne explained, “He operates on a freelance basis, and occasionally his former bosses call upon him to handle something that is perhaps a bit too messy for Her Majesty’s Government to be involved with. So he knows that when he is called upon, things have reached some dire straits. His response to this is usually very straightforward and brutal.”

On his website’s forum, Byrne shared a few more details. “Altho set in the early days of the Cold War, this is NOT going to be a history book. I am playing quite freely with the order in which things happened in the real world. And I will not be tying Swann’s exploits to any specific year or sequence of years. Those with an awareness of the history of this period may spot a few landmarks — one in most particular plays an important part as a sub-thread to my overall tale — but no reason to start checking the History Channel in order to be able to follow what’s going on in this series!”

Cold War – The Michael Swann Dossier: “The Damocles Contract” issue #1 is in stores on October 19.

To learn more about Cold War and IDW, visit http://www.idwpublishing.com/

Below is a preview of issue #1.
Click images for a larger view.

Some Thoughts on DC’s New World Order

In 1986, as the Crisis on Infinite Earths was winding down, Marv Wolfman made the radical suggestion that DC indicate the universe had truly changed by altering the numbering on all the titles and restart everything with a #1. For a number of reasons, it was a great idea but the timing couldn’t allow the move. Years later, Dick Giordano indicated it as one of his greatest editorial regrets. However, he can’t be blamed since the Crisis was wrapping up while DC was still negotiating to relaunch its flagship heroes. At that time, only Frank Miller and David Mazzucchelli had been lined up for Batman: Year One while John Byrne was still being wooed for Superman, and very late in the process, Greg Potter and George Perez were circling Wonder Woman.

Had the stars aligned, it could have avoided two decades of constant revisions to the reality.

It now seems DC’s executive team has spent the last year moving the stars around. Today’s bombshell announcement indicates the rebooted line will kick off in September, with Justice League #1 previewing the new order on August 31.

I can only hope that DC has its house in order and can avoid embarrassing fill-ins and radical creative team changes early in a title’s run – problems which have plagued the core titles for the last few years.  The worst example may well be Batman: The Dark Knight, written and drawn by David Finch. After debuting in November, the fifth issue of this monthly series is not coming out until August and only then with a fill-in artist.

That aforementioned new Justice League book is coming from DC’s two busiest executives: Geoff Johns and Jim Lee. Sure, it’ll read well and look great, but will it be a monthly and for how long will the talent remain intact? At minimum, these new titles, all 50 of them, need consistent talent on board for at least the first six issues and fill-ins need to be carefully integrated. (more…)

ComicMix Six: Classic ‘Star Trek’ comics you should read

ComicMix Six: Classic ‘Star Trek’ comics you should read

After growing up from the little science-fiction show Gene
Roddenberry created in the 1960s, the venerable Star Trek franchise in recent years had just about worn out its
welcome in the eyes of all but its most devoted followers. Enter J.J. Abrams and
his high-octane, supercharged re-imagining of the classic series, resulting in
one of 2009’s most commercially and critically successful films, released today on DVD and Blu-Ray.

Star Trek’s
unprecedented popularity at the box office has also revitalized interest in
past adventures of Captain Kirk and the crew of the U.S.S. Enterprise. Many such tales have been chronicled in comics form
since the 1960s—while the classic series was still on the air! After
boldly going into our vast archives, we have emerged with six stories that we
consider worthy representatives of the more than four decades of Star Trek comics history.

In order of publication:

1: “The Museum at the End
of Time
” – Star Trek #15,
Gold Key Comics, August 1972

Love them or hate them, the Gold Key Star Trek comics occupy a special place in the hearts of old-school
Trekkies. The 61 issues—complete with crazy character likenesses as well
as the Enterprise belching fire from
its warp engines—helped to fuel fans’ needs for new Star Trek stories in the early 1970s. This story features the
Enterprise pulled through a cosmic vortex into a mysterious region where time
has no meaning. There, the crew finds all manner of trapped spacecraft and captive
beings—along with a ship full of angry Klingons! A tale typical of the
Gold Key run, this issue is noteworthy as being an apparent inspiration for
“The Time Trap,” an episode of the animated Star
Trek
series produced a year later by Filmation Associates. 

(Reprinted in Star Trek: The Key Collection, Vol. 2
, Checker Book Publishing Group,
December 2004)

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