Tagged: John Ostrander

MARC ALAN FISHMAN: To Sir, With Love… and Craposition

I’ve noticed lately the fine columnists here at ComicMix are paying tribute to a lovely woman I wish I could have met. It got my wheels turning. I’ve done plenty of moaning, groaning, hyping and griping up until now… but I’ve never paid tribute to those who helped shape me as I am. The desire to tell you all about my family is tempting, but it might be more apropos to give some love to special someone who directly changed the course of my career (and all of the subsequent creative endeavors). But enough preamble, eh? I want to pay homage to an amazing educator and mentor… Dean Auriemma.

Mr. Auriemma, or just Mr. A, was my high school art teacher for my sophomore and senior year in high school. Unlike your stereotypical art educator you might think of, he taught those willing to learn that art is a scholarly endeavor as much as math or science. A bit of backstory: The “art track” at my high school was a true four year journey, meant to be taken chronologically, ultimately ending with A.P. (that’s Advanced Placement, or college level) Studio Art. Well, the art bug bit me a year late, so I ended up taking both the junior and senior level courses both in my senior year. It wasn’t unheard of (as I recall one other student joined me in this undertaking), but it was certainly challenging. But I digress.

Mr. A made art hard. For me, this was (and still is) the most exhilarating concept I’ve ever wrapped my head around. You see, I was a very good student. Took all honors classes. Graduated in the top 5% of my class (of over 600 students). I’d happily admit that I coasted throughout High School without sweating over tests, and grades, and memorization. Not that I didn’t work hard mind you, but no class outside of Mr. A’s A.P. Studio Art ever put me in my place quicker. Mr. A never pulled a punch.

During critiques, he would tell me that I couldn’t draw my way out of a paper bag. He said my artistic prowess could best be described as “Craposition”… a term so beloved by the class, we used it as the title to our class mix tape. Best of all? His words rang true, because they absolutely were. I sucked. Beyond the harsh words though, came true support. Mr. Auriemma took time with me to show me where my strengths were, how to hone (and hide) my weaknesses, and explore not only technical proficiency but conceptual development at the same time.

One fond memory that sticks in my craw even today were Mr. A’s dreaded Gallery Journal entries. He forced our class to go to galleries every month and truly look (and write about) art. He challenged us to critique accepted “masterpieces” instead of simply enjoying them. He deconstructed a world most simply adhere to accept. In short, he forced each and every one of his students to take an intellectual leap beyond “I like this.” Most important, when I spoke and wrote of my love of comic books, and that art form, Mr. A did not once scoff. He knew that masters like Jack Kirby and Steve Ditko, and the modern artists that inspired me like Alex Ross and Mike Mignola, should be studied as much as Renoir, Titian, or Bacon. All art was equal in his class, so long as you could apply the lessons he taught to them.

The best panels and issues of modern comic books utilize complex composition, juxtaposition of focal points, value balance, and harmony all to visually communicate what only a 1000 words might. Again, I can’t hit on this fact enough; where some art teachers hand you a canvas and a brush and tell you to let your mind go wild… Mr. Auriemma did it too, but forced you to use the skills and tools honed over time to produce more than whimsy and feelings.

It doesn’t take a rocket scientist to figure out Mr. A’s lesson plan. Tough love gave me the drive to do better. His “acceptance” was earned through hard work and dedication. It was a tribute to these abilities that drove so many of us alumni to trek back to the hallowed halls of Homewood-Flossmoor High just so we could show him what we were doing in college. Certainly when Unshaven Comics published its first graphic novel, I raced back to his class room to show that I’d learned to draw out of that paper bag. OK, I won’t lie. Matt drew the first book… I just colored, lettered, and co-wrote it. But like JD looking for that hug from Dr. Cox on Scrubs, I wanted that approving “Good job, buddy” like Courtney Love wants attention.

Not even a few years after I’d been away at college, Mr. Auriemma got his masters in Education, became a top-notch school administrator, and is still to this day (to the best of my knowledge) now a principal. I dare you to find another Art Teacher that took that path. I bet you find a bunch of paint-strained smocks, and some weed.

Suffice to say, Dean Auriemma instilled in me a drive and determination that exists to this day. In fact, I happily admit that my love of A.P. Studio Art was so great, Matt and I still meet every Friday to work on our art projects. We may have grown beards, got wives, had sons, and bought houses… but thanks to Mr. A, we’re still just two kids in class, hoping one day to make it in the business. And if this bit of brown-nosing doesn’t land me that damned ‘A’ I’ve been after… I don’t know what will.

SUNDAY: John Ostrander and Humphrey Bogart

MINDY NEWELL: My Friend Kim

Kim Yale.

Kimberly Yale, as you know, was John Ostrander’s wife, and it was John’s beautiful tribute to her in his column WWKL? last week that has inspired me to write about her and our friendship.

Kim and I met over 20 years ago at a Chicago ComicCon when she chaired a Women In Comics panel to which I had been invited. I was a real newbie to the biz, wondering what the hell I was doing there, and completely awed to be meeting the real people behind the names on the splash pages of my favorite comics. So I was incredibly shy – yes, hard to believe, but completely true – when I went into the room where the panel was being held and walked up onto the dais. I didn’t know anyone…or at least, it felt like that. Although I do believe that it was Michael Davis  who had promised to come to the panel to cheer me on. Was it you, Michael?

This woman about my age with beautiful red-blonde hair and who just radiated confidence and energy came up to me and said, “Hi, I’m Kim Yale. You must be Mindy Newell. I am so happy to meet you.” I was flabbergasted. “How did you know that?” I said. “Oh, a little birdie told me,” she laughed. (Never did find out who that birdie was.) She introduced me to two of other panelists, Trina Robbins and Joyce Brabner – and they knew who I was, too! We stood talking as conventioneers started filling the room, and I started realizing that I wasn’t such an oddity after all. These were all bright, intelligent women who loved comics just as much as I did!

So the panel started, and we all introduced ourselves, and Kim, as chair, started the discussion with a question that I honestly don’t remember, but my answer was about how Supergirl – the original Supergirl – was such a powerful message for little girls growing up in the 50s, being Superman’s secret weapon and all. After the panel, Kim came over to me and said, “I absolutely loved what you said about Supergirl. I am so glad you’re in this business.”

That was the start of our friendship.

I lived in New Jersey, with the Big Apple outside my windows. Back then Kim and John lived in Chicago. Back before there were cell phones and calling plans, my phone bill zoomed up into the stratosphere with long distance calls to the Second City. I was going through some hard times, and Kim was always there for me, even when it was pushing towards the wee hours. (I’m pretty sure Kim’s bill went up, too.) When Mike Gold recruited Kim for an editor position at DC, she and John moved to Connecticut. Still long distance, but waaaay cheaper than calling Chicago. And, of course, I saw her in the office.

Some things I remember and hold close to my heart:

I was dating a guy who was going to Johnson & Wales in Rhode Island. Kim suggested that we meet at their house for a weekend – which was pretty much at the halfway point – and she and John would vamoose.

Kim and I were doing the Sex And The City thing, just two women sharing lunch and gossip and deep-down secrets at a terrific Italian restaurant a couple of blocks from DC one afternoon when all of a sudden Kim mouthed something to me. I’m a terrible lip reader and I didn’t have a clue what she was saying. “Huh?” I said. She mouthed it again. I said, “What?” again. This time as she mouthed the words, she discretely pointed her finger over my shoulder. The restaurant was loud with lunchtime clients, and I could barely hear her. This time, I said, “Kim, I can’t hear you. What are you trying to say?” Kim was exasperated; she whispered, “Tony Bennett is right there.” I said, in a very looooouud voice, “Tony Bennett!!!! Where?” Mr. Bennett turned around and said, “Right here, ladies.” I was mortified. He was laughing, and Kim was hysterical.

Kim and John sharing the Passover Seder at my parents’ house. Kim’s clear voice reading from the Hagaddah with interest and passion.

Kim calling me to tell me about some physical things that were going on with her, and the fear in her voice, and asking if she should go to the doctor.

John calling me to tell me that the doctors had discovered a second lump in Kim’s other breast while she was on the table.

Going to see Kim at Sloan-Kettering Memorial Hospital.

Kim telling me that she was going to beat this thing.

Kim looking so beautiful in her hats and scarves when she lost her hair from the chemo.

Kim at Morristown Memorial.

Sharing an intimate moment between John and Kim in the hospital a few days before….

Getting a call from John that I had better come right over.

Seeing Kim on the hospital bed set up in their living room, because she could no longer get upstairs to the bedroom.

Kim sick, wracked with pain, weak – dying – and yet still so beautiful and at peace.

John calling to tell me she was now truly at peace.

Kim’s memorial service, where I honored her by partaking in the bread and wine during the Mass. The minister understanding why I did it. The guests who knew I was Jewish completely shocked.

The spreading of her ashes in the garden under the flowers she had planted.

And in the present…

Sometimes, often, I know Kim is hanging around, keeping me company.

Kimberly Ann Yale.

A woman who ran with the wolves.

Kim.

My friend.

TUESDAY: Michael Davis

 

MARC ALAN FISHMAN: Animation Domination – Marvel Universe vs. DC Nation

Friends, we are at the dawn of a new and great age. The mighty Marvel Universe and the dynamic DC Nation each will have a block of programming on cable television. On Saturday mornings. Set those DVR’s to stun, kiddos.

Sure, both the House of Mouse and the Brothers of Warner have each ventured into the cartoon cavalcade before, and they were glorious times indeed. As I recall at their heyday, Spider-Man and the X-Men were in full force. Batman’s animated adventures become a power hour with the addition of Superman. And throughout the late 90s and early aughts we’d be privy to all sorts of spin-offs, short lived series, and some toons we may all wish had never seen the light of day. Don’t fret… I’ll have a whole column to dedicate to them soon enough.

The DC Nation block leads off with Green Lantern’s new CG series. Kids ken to the Clone Wars will find fast friends in Kilowog and Hal Jordan as they romp around space helping protect innocents from the wrath of the deadly red lanterns. Following the emerald knights is Young Justice – the continuing tale of a modified DCnU with a team of sidekicks turned proto-titans.

On the Marvel side of the coin, we’ll get the new Ultimate Spider-Man cartoon and the continuing saga of Earth’s Mightiest Heroes with … well… The Avengers: Earth’s Mightiest Heroes. Both blocks will feature fanboy-service by way of interstitial shorts, special segments, and probably a few bonus promotions. DC Nation shows on Cartoon Network, and Marvel Universe will show up on Disney XD. Thus far, DC is ahead of the curve with their block of programming having debuted two weeks ago. Marvel is launching in early April. I can safely report that DC came out of the gate very strong.

I admit I was very nervous about the Green Lantern series when the trailer debuted back in the summer. The Bruce Timm-meets-Clone Wars styling didn’t immediately strike me as being indicative of the quality of previous animated incarnations of DC property. But, like the true emerald enthusiast that I am, I gave the pilot a shot. I was quite impressed. While the character models are a bit too stylized for my personal taste, the writing is high quality. Hal comes across bountifully cocky. Kilowog as the buddy in this buddy-cop-cartoon works surprisingly well. The Red Lanterns are even given a bit of depth out of the gate, quelling most of my fears by the end of the first episode. If there’s any complaint I have thus far, is my fear of the series not exploring the true expanse of cosmic characters. and focusing too much on the Red Lanterns. Simply put, by the end of the season I want Larfleeze, damnit.

Young Justice has been a quietly rising star in DC’s animated belt. The “made cool for the preteen crowd” style keeps me coming back to soak up the fresh redesigns. And their treatment of Aqualad has done more for the character than Geoff Johns did in all of Brightest Day. While their treatment of Conner Kent is a skosh too angsty for my taste… they balance it out superbly with Wally West. The show has taken some time to get its sea legs firmly planted, but a slow burn of serialization paid off at the tail of their first season. Not every story they’ve done has been a complete winner, but the action sequences and cameos from adult league members has always kept things moving. Suffice to say, have it anchor the DC Nation shows their commitment to find new life after the Bruce Timm era-of-awesome.

Over at Marvel, I have to say I’ve never been this excited for a block of their programming. In the mid-nineties, they produced an Iron Man / Fantastic Four block that started strong and staggered stupendously. Their Spider-Man cartoons have always been solid. The X-Men cartoon tackled an amazing amount of comic milestones, but ended sloppily. With their Avengers cartoon though, they have achieved something I honestly did not think I’d see: a comic-inspired take on their quintessential team, done in a manner that is both accessible to new fans and a wink and nudge to their old base. With top-notch voice acting and a fearless plummet into a cadre of villains, the series has been nothing short of brilliant. Every team member has been given time to shine. Suffice to say it not only tows the line for Mickey… it makes me forgive them for releasing the Avengers cartoon from 1999. Wait. Scratch that. Nothing will make me forgive them for that. Seriously? Ant-Man as team leader!? But I digress…

Last, but not least, is ole’ Web Head. Ultimate Spider-Man appears to take its cue from the Brian Michael Bendis penned series, with a bit of a comedic bend to it. With a supporting “and his amazing friends” cast including Nova, Power Man, Iron Fist, and White Tiger… who among serious comic fans are salivating just a little bit? I suggest you check out the trailer, and get ready for the return to quality toonage from our pals over on the Disney float.

So as I’d said before… make sure to have those DVR’s at the ready. And for all you evil pirates, make sure the Torrent Bay is loaded. It’s a good day to be a comic book fan, cartoon lovers… Hop aboard the bandwagon before it takes off without you.

SUNDAY: John Ostrander

MARC ALAN FISHMAN: Batman Versus Spider-Man

In honor of Marvel’s next big event, I’ve decided to take a week off of thinking hard. Instead I’ll do what they’re doing: Wasting your time by forcing two characters to fight for your entertainment.

Of course I don’t have the resources to produce artwork. Nor do I have the time to create an actual script. Instead, I’ll just take this idea to a few different levels, and ultimately create enough sweeping declarations to get some beautifully angry comments. I love beautifully angry comments.

In this corner: Bruce “The Rich Kid” Wayne and his amazing belt of knickknacks! That’s right, it’s everyone’s favorite powerless pugilist… the billionaire with bats in his belfry, The Batman!

And in this corner wearing skin-tight underwear and a mask without a mouth hole… Marvel’s favorite orphan, Peter “I was a jerk once, and I’m paying for it every day…” Parker! That’s right, it’s the web-slinging, science-spitting, devil-befriending behemoth… The Sensational Spider-Man!

Now there are a few ways to tally the fight. Since I’ve got inches of column to waste, let’s start with the obvious: In a street fight with absolutely no planning, Spider-Man would stomp Batman into a bloody pulp. Bats may have one of the greatest minds in comics, but at the end of the day, no amount of gadgets and Kevlar will out-match a fighter like Spider-Man. Not only is Spidey more agile, he’s also got superior strength and maneuverability. Batman can use all the kung fu in his repertoire, but Spider-Man has the actual super-powers.

I will concede this though: if these two were pitted against one another and had any chance to plan the bout, Batman would knock Parker out like the Orkin Man. Batman’s tactics, gadgets, and ability to use his terrain to his advantage trumps Spider-Man’s physical prowess. And while Spidey is a super-genius… a brilliant fighter he is not. Simply put, with any amount of time to prepare, Brucey’s coming out bruised but boastful.

Fan-service aside, how about we put these two against one another by way of the TeeVee. On the silver screen, Bats takes the trophy. Spider-Man had a few live action cameos on the Electric Company, and a simply too-terrible-to-believe live action show. Batman had Adam West. And you can say what you want about those kooky cavalcades with Burt Ward… but the zeitgeist here nods towards the cape and cowl when it comes to overall quality. Somedays, you just don’t have a place to throw a bomb.

When the battle gets animated, that’s really where Spidey gets killed. Not for lack of trying. The late 60s gave us a decent Spider-Man cartoon. Spider-Man and His Amazing Friends was… a larf. In the 90s Fox Kids gave us a series that started strong, but became hampered by way-too-long season arcs, and an entirely forgettable last season – that saw the trope of guest stars used piss-poorly. In the mid-late-aughts the Sensational Spider-Man was fantastically done, but cut way too short. In contrast, Batman started slow (in the Super Friends, and then helping out Scooby Doo), but finished amazingly. Yeah The Batman in the early aughts was an atrocity, but Bruce Timm’s animated Batman Adventures wrote the bible on quality cartoons. And The Brave and the Bold was a campy trip that started off too-kiddie, but quickly found its footing in the hyper-kitsch fan-service delivery. By my count Bats wins by four Emmys.

OK, so Bat’s wins the battle of the silver screen. How about we take a trip to the movies? Consider my math: Spider-Man 1? A minus. Spider-Man 2? A solid A. Spider-Man 3? … D. Now over at the Batcamp, let’s take stock. The Adam West Bat-Movie? Don’t count. The Burton Bat-Films: B. The Schumaker Schlock? D… if I’m being nice. The Nolan-verse? Well, if there’s a grade above A, I’d give it. At the end of the day, there’s been more guano out there than there’s been Spider-poop. So I tip the hat to the wacky web-shooter in the battle of the big screen. And he can take that win to the sock-hop.

But how about where it really counts? On the page. I guess I’m sad to say I don’t have the proper license to weigh in on that particular bout. As I stated last week, my exposure to Spider-Man in comics-proper is poor at best. Admittedly I have a very extensive Bat-Collection, so I’m more than likely biased. Given my knowledge though of Spider-Man’s bullet-list of plot threads, I might still be inclined to tip the hat back to the Bat. He does have a few decades more history to draw on though, so it may very well be an unfair fight.

I will say this: In the time since my birth, Batman has had his back broken, his mantle stolen, his sidekick murdered, his life unraveled by several secret societies, his bastard son joining his menagerie, and has survived two or ten universal resets.

In that same amount of time, all I’ve really heard about Spider-Man that really stuck was that he nixed his marriage to Mary Jane to save Aunt May. And there was a clone saga people didn’t like. And he had an Iron-Spider suit. And a black suit. And a cosmic suit. And at some point was tied to an ancient race of animal totem warriors or something. In terms of only recognizable milestones (that haven’t been universally hated) … Batman would take the crown. Prove me wrong.

So there you have it. A few hundred words on an amazing battle. So it’s time for you weigh in. Was I too favorable to Time-Warner’s titan? Does Spider-Man have more going for him than a six-pack and a quip dictionary? Who has the better rogues gallery? Who has the better friends? Man, this could be a whole new column next week. I guess it depends on you, the gentle reader of my column.

At the end of the day, in the battle between Batman and Spider-Man? The winner is you.

SUNDAY: John Ostrander

 

MARC ALAN FISHMAN: How To Succeed In Comics Without Really Trying*

* OK, here’s the deal. You can’t. You can’t succeed in comics without blood, sweat, and tears. Or, better to say, if you can, I don’t know how. I know that once you break into comics and have enough dirt on editors and top brass… you can rest on those laurels for years. Ask Jeph Loeb. I also know if you can meet deadlines, even if no one would ever say your work did more than move things from point A to point B, you can still get a steady paycheck. Ask Scott McDaniel.

I was torn here on where to go. From that lead paragraph, I had two genuine directions. One would be an uplifting tale of how Unshaven Comics is succeeding in our goals through the triumph of hard work, and slow but substantial growth via winning over one fan at a time. The other article I could write is a shallow, mean, absurdly hateful piece directed at Scott McDaniel over something he posted on his website. Given that I’ve had a pretty brutal day, I’m inclined to get petty and stupid.

Since my M.O. in these columns is to provide a little Wikipedia’ing, allow me do as such. Scott McDaniel has been a working comic book artist for many years now. Titles include Daredevil, Nightwing, Batman, The Outsiders, and most recently Static Shock. A cursory glance over those titles should tell you that no matter how much I rant and rave here, Scott has the high ground; He’s worked at DC and Marvel. I’m still years away from getting my denial letters from either of them. That being said, I have a bone to pick with the good God-fearing fellow.

For those not following along, Milestone creator John Rozum was given the reigns of Static when it debuted in DC’s big reboot. After much ballyhoo, he was shown the door (or showed himself to it, in a sense), and McDaniel took the writing gig over. John let people know (here) (and here) (and here) his thoughts on it. Scott then issued a response of his own on his site, to clarify his take on the whole issue. His response was a 41-page letter issued to the interwebs detailing literally every conversation and his opinion on the matter. 4-pages. Single spaced. 12 point font. 20,000 words. To respond to John, and the industry in general on why he still worked on the now-canceled book. And as God as my witness? It makes me want to rub my feet on the carpet for a solid day, and then give Scott a static shock to the man-globes.

The basic argument came down to editorial. Rozum’s script was obviously not the direction DC wanted Static to go in. I would think many comic creators have been in this situation too. Hell, in Unshaven Comics we’ve had knock-out fights over single panels. What it comes down to though is what line a creator is willing to cross to make ends meet. The best comics being published today (many by DC, I would attest) work well only when all parties involved are on the same page (pun intended). Even four pages into McDaniel’s magnum dope-us I could figure out where all the hullabaloo was. Rozum wanted a grim and gritty take on Static that balanced the hero stuff with real-kid problem stuff. DC wanted a family-friendly-ish romp that went “all out” to draw attention to itself. Faced with an editor asking for something he really didn’t want… he all but “phoned-it-in” to make a few paychecks, before deciding to leave the title.

Some of the best comics work on a slow-burn concept. Where it takes five or six issues to really hit home. And truth be told, I tend to love those comics. Scott Snyder employs this process immeasurably well. But is Static right for such a treatment? In a perfect world, maybe. But let’s be honest. Static is most well known to be a “fun” character. His animated show was amazingly well done (until Shaq made a guest appearance, and they made Ritchie have super-powers). I have no doubt in my mind DC wanted to tap into that energy (pun doubly intended) for the relaunch. But I digress, no need to rehash all the details. I’ll let you read through them if you want. Suffice to say, Rozum zigged when he was asked to zag. His editor (a.k.a. The Boss), pulled McDaniel into the conversation early to swing things away from Rozum’s treatment. At the end of the day, no one saw eye-to-eye, and the book was sloppy because of it.

I forced myself to read through all 41-pages of Scott’s manifesto. I simply find it to be so amazingly crass that I couldn’t help but be bothered by it. At the end of the day, McDaniel didn’t do anything wrong. He followed orders, made his editor happy, and when it was obvious DC was gonna flush the series down the toilet with the rest of the poop, they saved a few dollars by letting Scott write it. Granted, I didn’t read Static, but if McDaniel writes as well as he draws… I’ll safely assume Static got into a ton of fights, stuff blew up, and then the moved on to the next plot point. I’ve read (and own) a few books by Scott. I’ve never loved any of them. I find his work to “feel” rushed. Whether it takes him any more or less time to complete than any other working artist today… simply put, I’m not a fan. And seeing him with more credits to his name on a book exponentially makes me steer clear. Remember when I wrote about the double-edged sword of artist-writers?

But, I digress once more. The point is simple. Scott McDaniel’s retort was unneeded, uncalled for, and ultimately a waste of pixels and bandwidth. Rozum had a reason to let the world know why he left the book, and what issues he faced at DC. Scott was (and perhaps still is?) drawing a paycheck from DC. To write 20,000 words on how Rozum made it hard to make the book successful (and reading Rozum’s own words, he all but admits his heart wasn’t in it in the first place)… is needlessly rubbing salt on a self-inflicted wound. I started this piece out discussing how one can succeed in comics. I can assure you one way not to do that, is spend 41-pages lambasting a fellow creator. If you read Michael Davis’ article this week, no doubt you know why it’s things like this, that make people think we’re all backstabbers and petty grudge-holders. Scott should have taken his paycheck to the bank, cashed it, and let people think whatever they wanted to think.

As Jesus would say: Do not resist an evil person. If someone strikes you on the right cheek, turn to him the other also.

SUNDAY: John Ostrander

 

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

 

MARC ALAN FISHMAN: Fantastic Flop – How I’d Reboot Marvel’s First Family

So I found myself with a bit of time to kill while my wife and mother-in-law went out and about for lunch. My week-old son and I decided it was time to enjoy a bit of cable TV goodness. A quick surf left with me few options. Food Network was showing yet-another cupcake show… USA was playing that episode of Everybody Loves Raymond where his wife is a shrew and his mother annoys him, and TBS was on Tyler Perry’s Black People Watch Everything I Put Out, Not That It’s Good. And FX? Callooh-Callay! They had on the Fantastic Four movie from a few years back. Given that I was still sporting half a nerd-boner for the Super Bowl Avengers spot, and the recent web-release of The Amazing Spider-Man trailer, FF seemed like the perfect way to wet my whistle for a bit of comic goodness.

Granted, I’ve seen the movie a few times. Saw it opening weekend, and didn’t hate it. Didn’t love it either, but somehow, it was one of those guilty “Hey, if it’s on, it’s really not that bad is it?” pleasures. A few hours later, my favorite ladies returned to a house with both their boys rife with a case of the cranky pants. I’m pretty sure my son Bennett had pooped himself. I didn’t have a mess in my trousers, but I had a tear in my eye. Seems I crossed that threshold where the movie stopped being “worth” the free cable viewing, and slid right into “Good lord, people paid money for this crap?” zone.

I could spend the remainder of this column dissecting how putrid the FF movie ended up being. But it’s old-hat, right? So, why not make this a turn for the positive. I’d like to outline four things Marvel can do to reboot the familial franchise into something… dare I say… more fantastic.

1. Explore the emotional origins as well as the basic plot points. We all know the bullet points by now, don’t we? On an outer space adventure… they got hit by cosmic rays. And that moment changed forever… in the most fantastic ways. No need to fear, their here… just call the four! Sorry, it was a damn catchy theme song. Suffice to say, the rocket ride with Kirby dots isn’t ALL that the origin of the FF is. You have romance between Sue and Reed. You have Ben, the stalwart pilot. Johnny, the joker, and comic relief. While these points were hit on in the last iteration, we miss the history. Use flashbacks (ala Batman Begins) to enhance our emotional ties to the characters. It’s not a race to the whiz-bang-special effects, when you have solid characterization. And each of the Four present a solid opportunity for fun beats.

2. Ditch the “We’re learning to use our powers until it matters at the end” montage. Face it. What killed Green Lantern (OK, one of the things that killed it…) was the age-old power development plot line. A solid 45 minutes of the last FF movie spent time building the revolvers it would later shoot at the movie’s climax. It’s just not needed. When you cross over into the sci-fi, plausibility takes a backseat to adventure. If we took time to dissect the fact that Luke Skywalker was able to get a shot into a teeny hole on a battle station that decimated nearly all of his backup (who were all far more experienced fighter pilots)… we’d go mad. Once you accept that “Comic Rays” can turn one man into a walking pilot light, and another into silly putty, you don’t need to spend an hour back-peddling to make us “believe” they’ll know what to do when it’s clobbering time.

3. The big villain? Mole Man. Follow me down the rabbit hole if you will. Batman Begins took a venerable B-Lister in Ra’s Al Ghul as its first antagonist. It was a smart choice. As Nolan said in countless interviews, the villain suits the arc the hero takes across the movie. In Spider-Man 2 (easily the best of Raimi’s Marvel contributions), we got a brilliant update on a pretty mort-worthy villain. And because Peter was learning to have balance in his life during the course of the movie, Doc Oc was a perfect foil. The Fantastic Four have a pretty decent rogues gallery. It’s easy to want to jump immediately to Doom or Galactus. But the first in a franchise needn’t aim so high. In both cases, those villains would outshine the stars of the film. First and foremost, it’s the FF that people should be ooohing and aaahing over. With Mole Man you have an obvious foe who will test the Four and their ability to become this odd family unit of world-savers. The villain fits the arc, as it were. Plus, it gives us a chance to recreate that iconic first issue cover on the big screen. And you know that’d be the bee’s knees.

4. Casting. Most every comic book film lands an amazing cast… even if they don’t get utilized properly. I didn’t hate anyone in the last FF iteration per say, but let’s be honest – Ioan Gruffudd looked OK but lacked the cockiness-by-way-of-supreme-intelligence. Jessica Alba was there for eye-candy only. Chris Evans stole the show, Michael Chiklis looked the part, but had no Yancy Street swagger. Ole’ Blue Eyes needs have a definitive balance between boisterous banter and tragic pathos. Some of this could easily be the scripting, but let’s say I was a casting agent? I’d cast accordingly: Jon Hamm as Mr. Fantastic. Uma Thurman as Sue Storm. Breaking Bad’s Aaron Paul as Johnny Storm. And Brendan Fraser as Ben Grimm. Hamm can pull off “the smartest man in the room, with ease. Thurman is equally weighted when on screen (and can pull off shorter hair, and heroic). Paul can sling insults, and certainly could look the part… And Fraser, who I know most would say is a stretch, is built big, can pull off a New York accent, and has more potential than most nerds give him credit for. And as my Mole Man? Paul Giamatti. He’s damn good in everything.

So there you have it. I know a new FF movie is already in the works… here’s hoping someone over at Marvel is trolling my articles, and a few of my hopes and dreams gets swept into the pre-production fracas. What do you think? Voice your opinion below, true believers!

SUNDAY: John Ostrander

MARC ALAN FISHMAN: Justice League Light Vs. Justice League Dark

This past week, I read both Justice League #5 and Justice League Dark #5. To say they are worlds apart is a bit on-the-nose, but suffice to say… it’s the truth. Justice League proper is loud, dumb, and thin. Dark is the polar opposite.

With an issue left to finish its first arc, Justice League needs a near miracle to turn my opinion around. In issue #5, Dark completed its first arc and I’m amazingly sold on it. Funny then that I didn’t bring that book home. My wife, and mother to our newborn son, bought it cause she loves Zatanna. Trust me, I have a millions reasons to thank her everyday. Now? I have a million and one. But I digress. This here column is meant to compare and contrast just why JL: Prime is poop, and Dark is dynamite. I hope Geoff Johns is taking notes.

Let’s start with the good. Both Leagues assemble a pretty stellar line-up. I know there are those out there that have a soft spot for the less-than-great Leagues of the past (like when they were in Detroit, or the amazingly crappy team from right-before-the-flashpoint), but let’s be honest: The present day roster takes its Magnificent Seven approach ala Grant Morrison’s run, and it was damned smart to do so. On the Dark side, we get a team-up that’s a veritable who’s who of the mystic arts.

With the Vertigo imprint now a part of the DCnU proper, we get to see stalwart mystic go-to characters like Deadman team up with John Constantine, amongst others. All in all, the teams work on paper, quite well. And John’s use of Cyborg as the would-be-everyman makes me forget all about the obvious affirmative action. The only character I wish they’d put on the Dark team would be Detective Chimp. Face it, monkeys equal sales.

Now that we got that out of the way, let’s dive into the bad, shall we? Justice League takes too many cues from the worst part of comics from the 1990s. Jim Lee is delivering amazing work, but at the cost of quality narrative. Splash after splash, action panel after action panel, and everyone always screaming, wincing, and punching. Also, all of it is on fire. Now, is Jim to blame for this? I don’t know. Geoff Johns is the man behind the script, so one might ask him if he intended the first arc to be so… typical.

For a guy who built a career on amazing origins, here he delivers his first disappointing one. Think of all the stereotypical team-forming storylines you can think of. Heroes meet, and think each other is the villain? Check. Egotistical in-fighting for control? Check. The evil-villain-from-out-of-nowhere who can only be defeated by having the team form? Check. That basic premise has been done to death in just about every team book, and funny enough? JL: Dark uses it too! But somehow, they pull it off. I’ll get to that later.

As I recall comics of my youth (those pesky ‘90s), it was always about the pop and sizzle, never about the words. It was all about who could beat up who and how, never why. Then I grabbed Watchmen, Sin City, books by Scott McCloud, and Kingdom Come and learned that comics can be stellar cape and cowl adventures… and use nuance and subtlety to end a story. Justice League throws all of that out the window, so we can make way for everyone taking time to ask what Batman’s powers are. Snicker.

Justice League Dark takes that same convoluted plot and smartly dampens it for characterization. The first arc is the antithesis to the uniting of individuals for the greater good. Instead we have severely independent agents being routed to stop something against their will. Over the course of the book, characters do fight one another, but it’s done with nuance. When Deadman threatens John Constantine, it’s because he cares for June Moon, who Constantine is obviously hurting in order to save the greater good. No puffed up chests and snarky dialogue.

And the big bad of the book? Well it turns out to be the misguided Enchantress, who lost control due to Madame Xanadu’s misguided tinkering. And at the climactic battle, when the score is blasting, and characters shout… it’s not the uniting of the mystical mavens of the greater DCnU that saves the day. It’s just Constantine doing his job. When the dust settles, the team, as it were, stand as independent as they were at the books’ beginning. It’s a bold move by Peter Milligan, who opts to dose his Justice League with a bit of realism. Realism, is a comic featuring a guy who has a super secret all-powerful vest? Yup. And it’s pretty darned cool.

I’ve merely scratched the surface here. Now, before you fire up the engines of hate, let me act as my own Devil’s Advocate. Justice League has had some great moments. As I mentioned before, I think Cyborg has been a real highlight of the book, and Johns’ Hal Jordon is a cock-sure treat, especially when he gets his ass whooped. And truth be told, the sales figures put me in my place pretty quickly. And Justice League: Dark isn’t exactly narrative fiction perfected. Over five issues Milligan utilized the “two characters show up somewhere, and spend their time questioning why they’re there scene” about 27 times. And as ComicBookResources’ Chad Nevett noted in his review of issue #5. Milligan may need to do a ton of back-peddling to assemble his team for the next arc.

Overall though, I think it’s clear: Justice League thus far has been far too busy trying to bring the “oohs and ahhs” while Dark spent its time trying to develop its characters beyond witty retorts, and punching. The books are clearly targeting different audiences, but even those who prefer eye laser blasts and Batarangs to backwards spells and Photoshop glow effects…clearly see where the flagship of the DCnU is aiming only at the lowest common denominator. If the DCnU is to make those who don’t read comics pay attention, modeling their mainstay book off of Michael Bay mentality isn’t the way to do it.

SUNDAY: John Ostrander

MARC ALAN FISHMAN: Trades vs. Monthlies – An Unpopular Stance

It seems when I write pieces here on ComicMix that are good-natured and optimistic, no one cares. When I get hot and bothered (and make sweeping declarations that demand debate), you get excited. So, you want riled up? You got it!

I think the comic book industry as a whole would be better off if it went digital for all monthly titles, and only printed graphic novels.

Settle down, settle down. You’ll have a chance to put me in my place in the comment section. Or you can skip my argument completely, and just go down to the bottom of the page, and start the flame war. Either way, my ego gets fed.

Let’s face it. Making a comic book every month isn’t easy. If it was, Justice League wouldn’t be two weeks late. But wasn’t there a big hard-and-fast rule in place stating no book would be delivered late, lest the creative team be removed for one that could keep up? Well I guess that only applies to talent who don’t exclusively work for the parent company, and have “Chief” on their business cards. But I digress.

Most comic books these days are “written for the trade.” Almost every cape on the racks today get four to six issues of a singular plot-line that crescendos into a final epic conclusion. Then, if we’re lucky, a one-shot to settle things down to the status quo. And the cycle repeats. In the case of other books (Matt Fraction’s Invincible Iron Man comes to mind) these arcs could last up to a year or even longer. This means that every month you get a bite of the candy bar. Wouldn’t it be nice to just eat the whole damned thing all at once? In an medium where the end product is sum of many parts, having all those parts only stands to make the whole piece better.

Brian Michael Bendis may physically have a disease preventing him from writing a book that isn’t deconstructed. And frankly, who disagrees that he works best in the bigger picture? I won’t ever buy singular issues of Ultimate Spider-Man. It’s too good in trade. The same goes for many other books I happen to get (or borrow with frequency); Invincible, The Sandman, Astro City, Y: The Last Man, Ex Machina, Fables… need I go on? In all of those cases, and so many more, collecting a book into a longer format makes for a more enjoyable experience. And when a trade it released, there is no waiting for that next chapter. I know there’s a massive caveat to that one folks, but I think the point is clear enough.

But Marc, you plea… If the industry went straight-to-trade, comic book shops would simply close up and die. Because right now, most comic book stores I know are so swamped with business they don’t even carry trades. Or action figures. Or magic cards. Or D+D. Or host local bands. Or have organized book clubs. The fact is, store owners lose more money stocking their shelves with every monthly book that comes out, and subsequently not sell them, then do they on carrying trades. One store in particular, Challengers Comics + Conversations in Chicago, told Unshaven Comics that they would only carry our book when it became a trade.

When I was told this by the very cool owner, my eyebrow raised. “We do far more business in trades than we do in monthlies man, sorry.” They even have a “Library” subscription where so many dollars a month guarantees you access to shelves of trades to “check out.” If I were a commuter and lived anywhere near the store, I’d be on that like Michael Davis on an Asian GoGo Dancer. My point being that brick and mortar stores could augment their current offerings and not lose their leases.

Monthly books allow fans to “sample” a title before committing to it. And those who follow along with my reviews (over on Michael Davis World, plug plug plug) know that recently I’ve committed to a “two bad issues in a row means I drop the title” policy. Thus far, that means I’ve dropped JLI, Red Lanterns, Green Lanterns: New Guardians, The Fury of Firestorm, and Irredeemable. If my dream came true, wouldn’t that mean I would stand to lose more money buying a multi-issue trade for a series I’d be unhappy with? I’m willing to eat crow on that one. To a point. You see, in the cases of all those books I listed, they all suffered from the same problems.

Predictable plots hampered by a repetitious narrative structure, or incoherent direction on the whole. As an example, Fury of Firestorm(s?) issue to issue took the same plot point (Danger! Transformation! Hitting!) and regurgitated it three times in a row. Through the fatigue, it becomes clear; the entire first arc takes place over one or two nights. Read as a whole though, the pacing wouldn’t be as troublesome to me. And in the case of JLI, where the plot was as by-the-books as you could get… I would contest that taken in 1 large chunk, it’s far easier to enjoy the staple “assemble the team and fight the giant evil” plotline when it’s not broken up into six parts. Especially when it fights for my attention with better-written monthlies like Batman, Action Comics, or Fantastic Four.

It’s a big argument, one that I hypocritically don’t even support on the other side of the aisle. Unshaven Comics made the decision to release issues in lieu of trades. But that, as Alton Brown would say, is for another show. I’d like to think I’ve given you enough to mull over. So, go ahead my bubbalas. Talk amongst yourselves. I’m getting a little verklempt. Trades vs. Monthlies… Discuss!

SUNDAY: John Ostrander

MARC ALAN FISHMAN: Make Mine Valiant

So, I’ve spent the last few weeks ranting and raving about DC. And face it, there’s still plenty there to mine. From their recent canning of six titles and announcing six more (none of which I think will last a year) to their recently leaked ”sticker logo”… I could have a field day continuing to bash and dash. But alas, I grow weary of being hypocritical. I bitch and moan about them a ton, yet the majority of the cash flowing out of my pocket to frivolity generally concerns a majority of DC books, and related merchandise. So, for now, I’m waving a white flag, and turning my gaze elsewhere. Somewhere dashing, daring, and dare I say… Valiant.

On May 2nd, Valiant Comics will be reborn. Their flagship title, X-O Manowar, will hit the shelves. I will admit freely to you all that I know nothing of the Valiant universe. Let’s quickly Wikipedia that, for those in a similar boat. Wow, what a story! In 1989, Jim Shooter, one of the Allman Brothers crew, and some other financiers tried to buy up Marvel. They didn’t get it. Thus Valiant was born! They got a few heavy-hitters, and released a line of books. In 1994, they got dumped by their initial investors, scooped up by then-important video game creator Acclaim, and died a slow and boring death as their continuity-heavy line became too heavy a load to bear. Legal battles and the like kept things grounded for a while, but as you’ll now note: it’s all been solved, and the line will reconvene with Free Comic Book Day 2012. And due largely to some lackluster books by DC, and Marvel’s Next-Big-Waste of Time, I’m at a loss for why I shouldn’t take this as a sign to give Valiant a shot.

A recent press release for the budding brand hyped the announcement of the creative team for X-O. Surrogates scribe Robert Venditti and Conan artist Cary Nord will unite to bring us a tale of a time-lost ancient warrior given amazing future technology and plopped on the populace in 2012. Color me intrigued. I happen to love the Surrogates original graphic novel, and sneak peaks at the pencils of Nord show me that the book will look amazing to boot.

But this leads me to the bigger question. What is Valiant’s battle plan? Will they rise up and be a contender with the Big Two? I doubt it. The marketplace is crowded as it is. Image, Dark Horse, IDW, Dynamite, Avatar, and Boom! all struggle to keep a cohesive line. Face it, each of those aforementioned second stringers all have one or two big fish, and then spread themselves thin on bargain-bin fodder from licensed properties that appeal to the niche audiences. Well… the niche of this niche, if you get my drift.

Mind you, I’m not trying to poop on the parade, I’m just wary for any “line launch” in a continually crowded comic rack. And a subsequent Google search doesn’t even have the company site at #1 in the rankings. What appears to be a company website is just a form with “Notify Me!” on it. Bad mojo my friends.

Let us consider Boom! Studios’ Stan Lee line, launched in 2010. Four books with solid concepts released very close to one another. The critics didn’t quite rave about any of them, and I rarely hear anyone discuss them at the shop when I pop in on new comic book day. Valiant certainly has picked a good time to strike, but I’m hoping it’s done more intelligently. Case in point?

Boom’s other cash cow, the Irredeemable universe. Launched as a single amazing comic, smartly spun off into a single other title that has refrained for years before crossing directly into one another. Join that to a solid base of fans consistently purchasing the book due to high standards of art teams and consistent writing… and you have something worth copying. While I myself have recently stopped my subscription to Irredeemable, I don’t knock those still following on. It’s the kind of model I hope Valiant is paying close attention to.

Ultimately, X-O Manowar‘s release got me genuinely excited for a new title to latch on to. With a strong creative team announced, and DC and Marvel knee-deep in their own crapulence, Valiant stands to gain a following again. If they stick to releasing solid books, refrain from event-driven releases, and put their books out on time… I see no reason why they won’t stick around for a long while.

Also, they should hire Unshaven Comics.

SUNDAY: John Ostrander

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