Unless you haven’t been paying your electric bill, you probably are aware that the first James Bond movie, Doctor No, was released a half-century ago this week. You might not be as aware that several months earlier DC Comics released the comic book adaptation as part of its Showcase series. Editor George Kashdan said he didn’t understand why DC picked up the book except for the fact that the artwork was in hand and the rights must have been cheap.
Several months before that, the people who actually produced the comic book – Classics Illustrated’s British division – released the adaptation as issue 158Aof their series. This explains why DC’s comic had the look and feel of a Classics Illustrated title. Just to complicate matters, Dell Publishing released Doctor No in Europe as an issue of its Detective Stories title.
At the time, I couldn’t care less. I was an 11-year old comics fan and, like most my ilk, a voracious reader. The Showcase issue had a text piece that discussed Ian Fleming and his super-spy creation. The next time my parents schlepped me out to Marshall Field’s department store I sought out the paperback novels only to discover they cost an unheard of 50¢ apiece. Most paperbacks were 35¢, some were still 25¢. I reluctantly passed, but I kept an eye out for the movie. I almost forgot about it when Doctor No finally came out.
Like an amazingly high percentage of baby boomer men and near-adolescents, James Bond was the coolest guy I’d ever seen on the big screen, and I immediately became a fan. By now I was actually 12 and able to afford a 50¢ paperback, but I couldn’t find Fleming’s Doctor No. I settled for Live and Let Die, and I was enthralled.
Over the next several years I devoured every Fleming novel, even reading the new ones as they were serialized in Playboy (I looked a bit older than my age, particularly if I didn’t buy italong with my week’s comics). I was in line for the debut of every subsequent movie, and I followed the James Bond newspaper strip in the Chicago American. The latter was a British strip that quite faithfully adapted Fleming’s books, and in my mind most of those adaptations were better than the books themselves. Here’s a fun fact: Modesty Blaise creator Peter O’Donnell wrote the Doctor No adaptation. But I wondered why DC didn’t do any more adaptations.
So did Carmine Infantino when he became publisher. In 1972 he discovered DC had a ten-year option on Bond, and that option was about to run its course. He approached Jack Kirby and his old pal Alex Toth and probably others, but then something terrible happened: Sean Connery announced he was quitting the series. Carmine let the option expire.
Clearly, DC would have made a fortune off of 007 had they picked up the series when the second Bond movie was made. Or even the third, Goldfinger, which truly launched the mega-fad. But the company was starting to doll itself up for a sale and the folks in the trenches were busy with the imminent launch of the Batman teevee series.
Perhaps the most popular heroic fantasy figure in movie history, James Bond never achieved an on-going comic book series. Many movies were adapted, some by guys like Mike Grell, Tom Yeates, and Howard Chaykin. A handful of original mini-series and one-shots were released, but nothing more.
The movie series went on and on and on, but most Roger Moore entries were more reminiscent of Adam West than of Sean Connery. The series started to improve after Sir Roger outgrew the part and Barbara Broccoli took over as producer, and Daniel Craig’s reboot in 2006 brought new hope and great entertainment to the masses. As Adele fans know all too well, the next Craig Bond flick, Skyfall, comes out in a few weeks.
But I got to tell you, as a baby boomer Bond boy, I feel greatly cheated.
Not counting reprints of the newspaper strips, Tarzan of the Apeshas been in the hands of no less than seven U.S. comic book publishers. That’s roughly one outfit per decade. Most enjoyed long and healthy runs by the standards of the time, legal quibbles notwithstanding.
Currently The Lone Ranger is in the hands of Dynamite Publishing. In those same 70 years, John, Tonto, Silver and Scout enjoyed lengthy runs at Western Publishing (Dell and Gold Key, which were two separate companies) and a shorter term at Topps.
The 1970s property Planet of the Apes has been kept alive by comics publishers, initially Marvel and now Boom! Studios.
The Shadow? Five comics publishers, extending the life of the original pulp and radio hero by more than a half-century… and counting.
The original Twilight Zone television show was cancelled in 1964; the Western Publishing comic book series ran until 1982.
The list goes on and on. What is it about the comic book medium that keeps iconic characters and concepts alive when their originating media cannot?
Math.
Television audiences are measured in units of one million, and very generally speaking you need at least ten of them to survive. Movie audiences are measured in units of ten million dollars and you need lots of those to survive. Mass-market paperbacks, radio drama, pulp magazines and newspaper continuity strips are virtually dead. In most cases, more than just “virtually.”
Comic book audiences are measured in units of one thousand, and these days you can achieve regular publishing with only five or ten such units, depending upon costs and foreign revenues. It’s a lot easier to grab five thousand readers than it is ten million viewers or one hundred million dollars at the box office. All you have to do is appeal to each property’s hardcore audience.
And this is why comics thrive. Appealing to the hardcore, to the most faithful, requires reaching and maintaining a higher standard of entertainment. Us fanboys and fangirls are damn picky. Unlike the movies we do not necessarily demand “name” talent, but we do demand that the writers and artists remain faithful to the source material while telling their stories in a contemporary manner – while being awe-inspiring at all times.
In comics, we’ve got a special effects budget that has no limit and our turn-around time is usually shorter than that of other media, e-books notwithstanding. We can stay on the cutting edge. We are limited only by our skill and our imagination.
Most important, we have fewer cigar-chomping asshole businesspeople mindlessly calling the shots. Well, certainly at those publishers that aren’t owned by major Hollywood studios.
I’d be impressed – very impressed – if I were to see a Zorro television series or a movie that is half as good as the storyline just completed by Matt Wagner and John K. Snyder III in Zorro Rides Again. But, trust me, I won’t be holding my breath.
When it comes to the icons of heroic fantasy, we do it better.
Mars Attacks • Abrams ComicArt • hardcover $19.95, also available in electronic format. Publication date: October 1, 2012
There’s a seminal moment in every weirdo’s life where we experience something so outrageous our worldview is altered severely and forever. For Ray Bradbury and Michael Moorcock, it was Edgar Rice Burroughs. For nascent NASA scientists, it was Ray Bradbury and Buck Rogers. EC Comics begat a generation of filmmakers, satirists, and cartoonists. I have no doubt we will be appreciating the influence of The Simpsons and South Park as its early adopters enter the creative workplaces.
For me, it was Mars Attacks.
I love to collect things. I suspect if comic books were unnumbered I wouldn’t have made it to the Marvel Age. So I would dutifully check out the counter-spaces at my local drug stores to see what the Bazooka Joe boys at Topps were offering in the realm of what we now call “non-sports cards.” Their Civil War News series was as informative as it was gutsy. Their Space Race and Funny Monsters cards brought great entertainment to my pre-pubescent little brain. But nothing – absolutely nothing, not Rocky and Bullwinkle, not Mad Magazine, neither Ernie Kovacs nor Steve Allen – prepared this 11 year-old proto-nerd for the glory and the horror of Mars Attacks.
Briefly for those who are not in the know, Mars Attacks was a set of 55 trading cards issued in 1962 that told the grisly story of an invasion from space by everybody’s favorite bug-eyed naked-brain Martians. On the front was a masterful painting by the great Norm Saunders based upon sketches by the great Bob Powell and the great Wally Wood. On the reverse was the next part of the invasion narrative. Cattle were torched, subway cars were eaten by giant ants, soldiers were slaughtered, dogs were vaporized in front of their youthful masters.
Spoiler Alert: We win.
The concept and story, created by Topps’ creative director (and, later, seminal comics fan publisher) Woody Gelman and staff writer Len Brown, later of T.H.U.N.D.E.R. Agents fame, was breathtaking because it was over-the-line. Way over the line. So far over the line you couldn’t see the line in your rearview mirror if you stopped right after you crossed it. Simply put: in 1962 you did not torch dogs and soldiers and cattle and wrap it up in wax paper with a slice of bubble gum.
Were adults offended? Holy crap, yes! You’d think the Martians actually invaded and turned out to be Commies. Topps was inundated with complaints and boxes were removed from store counters. At first, the Bazooka-boys thought they’d simply tone down some of the more objectionable cards, but instead they squeezed the toothpaste back into the tube and withdrew their product… leaving nothing but the legend in its wake. A highlycollectible legend.
To celebrate the 50th anniversary of this historic event, Abrams ComicArts has released a hardcover book surprisingly called Mars Attacks. Forwarded by Len Brown and backwarded by Norm Saunders’ gifted daughter Zina, all the cards are reprinted (both sides) in their full glory along with the surviving sketches as well as the 1994 sequel cards and other great stuff, including artwork from Zina Saunders, Jay Lynch, Timothy Truman, Frank Brunner, Sam Kieth, Keith Giffen and a whole lotta other swell folk.
In addition to the aforementioned 1994 sequel cards, there have been several attempts to revive Mars Attacks including at least three comics series and a grandiose Tim Burton movie (forgive my redundancy). These have succeeded to varying degrees, but I think the concept is truly a product of its times. The bar of outrageousness has pole vaulted in the past 50 years, and these cards would barely raise an eyebrow if issued today.
But for its time, in its time, Mars Attacks brought the energy of rock’n’roll to the B-movies of the drive-ins and put it all on the doorsteps of the nation’s 11 year-olds. Its quick removal trusted it into legendary status. Abrams’ new book is a very worthy tribute.
Weird comics synchronicity. My cousin Penny met and married a guy named Ken Landgraff – and no, I had absolutely nothing to do with it. Some of you may Ken through his work for Marvel and DC back in the day when he drew Nightwing and Flamebird, Hawkman, and Wolverine. He also worked in the studios of Gil Kane, Rich Buckler, and Howard Nostrand, and he drew for Screw magazine. Kenny’s a very cool guy, and we’ve had mucho conversations about comics and pop culture over the years.
So there I was last week, out on Lawn Gisland (that’s Long Island for you non-New Yorkers) celebrating Rosh Hashanah with the family, imbibing lots of fine drink and dining on a cornucopia of fantastic food, laughing and just plain getting silly, when Ken asked me “Did you really put a used Tampax on the door of an editor at DC?”
And I was feeling no pain, as they say, and I just stared at him and went, like, “What the fuck are you talking about?”
Ken said that he had been told by – and I promised him I wouldn’t tell anyone who had told him this, so I’m leaving that person’s name out of this column – that I had taken a nicely bloodied Tampax and attached it to the door of some editor at whom I was pissed. He didn’t say if I had left a note or not.
Quick aside here. I just called Mike Gold and asked him if he had every heard this story about me. “No,” he said. “But under certain circumstances I would find that admirable.”
“That’s disgusting!” I said to Ken. (Also just now to Mike.) “Urggh!”
After making a face and blinking a few times, I said to Ken, “You’re serious?”
“Yeah.”
“Kenny, you don’t really think I would do something that disgusting, do you?”
“Well…”
Okay, I think to myself, we’ve all had a few too many here. Don’t get mad.
I said, “Kenny. My dear cousin. Have you ever known me to be bothered with signs and symbols when I’m pissed off? Have I not always been the first one on the soapbox with a bullhorn yelling fuck off! for the whole world to hear?”
“Yeah.”
Case in point. Check out my interview with Gail Simone in which I relate the story of how my comics career almost came to a very abrupt end if not for Marv Wolman. (Attention K-Mart Shoppers and All Aspiring Comics Pros: Do Not Try This At Home!)
Screaming fuck you and other assorted colorful catchphrases is not something to be proud of. Well, maybe a little. Depends on the circumstances. Sometimes telling someone to fuck off is exactly the right thing to do. Like when I was fired from a hospital for being Jewish.
Yep, you read that right, boys and girls. Li’l ol’ me and my yiddishkeit blood offended my anti-Semite bigot of a head nurse, who trumped up charges against me. How do I know this? Because my so-called friends at work told me that she would call me “kike” and “Hebe” behind my back. I call them my so-called friends because when I asked them to go to the administration with me to report this, everyone backed out, not wanting to “get involved.” This was before this modern age of what’s called “zero tolerance rules” at work.
Anyway, the bigot took me downstairs to a meeting with the administration, who offered me a chance to resign. Guess what happened when I brought up the bigot’s use of language about me? They gave me a blank piece of paper, said, “we’ll give you a few minutes to think about it. We’re sure you’ll do the right thing,” and left the room. I took that paper and wrote on it in big letters f-u-c-k y-o-u!!!! and walked out.
That’s an example of a circumstance in which the use of colorful language is appropriate and needed.
I don’t think using colorful language to a DC editor, especially when you’re just starting out, is the wisest thing to do. You may disagree with me, but frankly, I was lucky I didn’t get my ass kicked down the elevator shaft; besides, stories of your use of colorful language, or about how you hung a used Tampax on an editor’s door, will follow you around.
All the way to a Rosh Hashanah dinner with the family decades later.
And then you’ll stop wondering why offers of work dried up.
Martha Thomases: So much better! Karl Urban looked the part. The set, while not looking like the comics, had the gritty spirit of the comics. And the violence was terrifically cartoony.
And no Rob Schneider, although I did think he was the best thing about the first one.
Mike: Back in 1995I went in to the theater with really low expectations, given the Sylvester Stallone / Rob Schneider leads. They managed to live up to those expectations. This new one had enough blood to make Sam Peckinpah gag, but I dug it. It was meaningful blood.
I admire Urban playing true to the character and never taking the helmet off. Sly put his money right there on the screen. Sadly.
Martha: Urban kept his face still and his voice growled. I can remember the other characters. The kid who worked the computer for the bad guys has stayed in my mind. Those eyes. Dredd 3-D reminded me of Escape From New Yorkmore than Peckinpah.
Mike: Good point. Although Escape From New York reminded me of Grand Central Terminal at evening rush.
Lots of solid special effects with the eyes. It was a signature thing with this movie. I liked how both women leads looked like they had been drawn by Ian Gibson, which was exactly the right thing. The growling was right on target, although I’m afraid some people will think he was imitating Batman.
Martha: I also liked the way the women weren’t played as sexy femme fatales nor damsels in distress. None were there to be love interests, not even Judge Anderson. Although in a society where everything is filthy and no one can get a close shave, I am impressed that they take the time to pluck their eyebrows.
Mike: This one was very faithful to the comics, both in tone and in detail. You’re right about the cityscape, and the blocks looked more realistic (and less ironic) than in the comics.
They really understood their source material… maybe because the 2000AD publisher co-produced it. The dog wagging the tail, as opposed to the Warner Bros. approach.
Martha: I couldn’t tell when it went from real to matte/CGI. The city looked quite believable.
Mike: Like the Tales from the Crypt teevee show, they added nasty language to the dialog. Unlike Tales from the Crypt, no nudity. Which was fine: I, for one, would have to pluck my eyes out after seeing Judge Dredd naked.
Martha: But a naked Dr. McCoy would be a delight!
Mike: Yeah, that’ll be in Star Trek 2.2 for sure! Just to feel Spock’s indifference.
I did flash on how cool it would have been to have Joan Jett as the villain, but Lena Headey was absolutely great.
Martha: I don’t know who should get the credit for Urban’s performance. It was very flat, which is exactly right. Kind of show-offy in a non-show-offy way. I assume the director told him to do that.
Mike: JudgeDredd dominates. Unlike the comics, he can’t be unrealistically one head taller than everybody else so his performance had to make it seem that way. Given how everything was covered up except for his jaw and mouth, all he had to work with was his voice. Which came off great.
Martha: If I have a problem, it’s the McGuffin made no sense. It’s a drug called SloMo, which slows one’s perception of time. If you’ll living a wretched slum, why is that something you would want to do?
Although taking a bath on SloMo sure was pretty.
Mike: I agree with that, although heroin is much the same way – except you also get to distance yourself from your lousy reality. But it worked well for the big finish.
Martha: It worked for the torture threats, too. Made the bad guys seem really, really bad.
Mike: I think the middle of the movie was too drawn out. When Steven Moffatt wrote the Rowin Atkinson Doctor Who, he said the show was about chase scenes through endless corridors. In Dredd 3-D, they seem to think this was a good idea.
Martha: I kept thinking video games. I thought we going to have to go through all 200 levels.
Mike: The outrageousness of the early Dredd stores has since become commonplace in our culture. It lost all its shock value. And as much fun as that was, I think they were smart to avoid that today. It would have turned the movie into a comedy. But without Rob Schneider.
Martha: I eagerly await the Judge Death storyline.
Mike: Yeah, I hope it does well enough for a sequel. Not too sure about that, although the reviews weren’t universally horrible. Two-thirds were at least fairly positive.
What did you think of the Real 3-D?
Martha: It made the SloMo parts really pretty.
Mike: This is the new second move – ever – where I liked the 3-D effects, the first being The Avengers. This was actually better. But those middle scenes lacked ‘em, making them even slower for me.
Martha: Otherwise, it was subtle enough that I focused on the movie.
Mike: Good point. The gimmicks should never outweigh the story or the performances. Just try telling that to George Lucas.
Martha: The sparkle in the SloMo 3D is the only reason I could imagine the drug was any fun.
Mike: So, kids, just say no to drugs unless you’re in a 3-D theater. ComicMix cares.
Martha: 3-D Pixar movies are great in 3-D.
Mike: Yeah, well, personally I’m not a big fan of that animation style. This makes me very lonely. And they’re a waste of Randy Newman’s considerable gifts.
Martha: We will have to agree to disagree about that.
Mike: So I infer you liked Dredd 3-D… a lot?
Martha: A bunch. I would recommend it. I hope it does well so Box Office Democracy covers it. I should warn you that I did not hate the TotalRecall remake, so my opinion might not matter.
Mike: Of course your opinion matters. Consensual reality doesn’t apply to movies. And nice job plugging Box Office Democracy!
I would certainly recommend it to action movie fans and absolutely to comics fan. I think my response is about 90% of yours.
Martha: I would be interested to know how this movie is received by those who don’t know the comic.
Mike: I will be interested to see how it does in the UK as opposed to North America.
What are you looking forward to next?
Martha: I want to see Looker. I still haven’t seen The Master. And Bond. James Bond. The Man with the Iron Fists. Django Unchained.Cloud Atlas – the new Wachowski film. I am a social butterfly!
Mike: The trailer for Iron Fists was great, although you already warned me. It’s made by Michael Davis’s buddy Rza. And, yeah, as always I’m looking forward to the next Bond. Us baby boomers and our James Bond fetish.
That Ben Afflick movie Argo looks interesting. Then again, I’m hoping he’s in Avengers 2 as well. Or Captain America 2. Just to piss the hardcore off.
Martha: I love Ben. I even loved Jersey Girl.
I find that, if there is a theme in my movie preferences of late, it’s that I like to see cute guys in peril.
Mike: Damn. So Daniel Craig is cute? He doesn’t do that much for me. But M…
Martha: Is she in peril in the new one? I think the new Q is adorable.
So, yes, I think all ComicMix readers should go see this… if only to participate in this discussion in the comments.
Mike: Ever vigilant about the page hits! I agree, on both subjects. Thanks, Martha! We’ll see you here next week!
So it came to my attention by way of an amazingly nice lass that some forward thinking teacher-types are slowly coming around the bend. Yup, they are looking toward comic books, those evil things, as potential fodder for their classrooms. Gasp! And, as it would seem, this very nice girl asked me – little old me – to give my two cents on the matter. And because I love killing two birds with one stone, I figured this outta make a great li’l rant to share with you, my adoring public. Of course, I realize now I admitted to the glee I feel when I commit aviaricide. Well, there went my fan-base. Tally ho!
I know back in the olden days, comics were largely seen as kitchy wastes of ink and paper. Kids buried in them were potentially violent sociopaths just waiting to commit crimes of laziness. But by the time I was in school they were starting to be called graphic novels. Thanks in large part to the artsy works of Art Spiegelman, Joe Kuburt, and Will Eisner, the medium as a whole was slowly pulling itself out of the low-bro.
That being said, I was never assigned a graphic novel to read for a class. Nor was I able to select one for independent book reports or the like. Even within the realm of studio art classes I was nixed the ability to cite Alex Ross as a major influence without scoffs. But as Bob Dylan sings, “The times, they are a changin’.”
If I were to suggest opening up a classroom to comics, well, it’s a simple issue – do it. Comics are easily one of the best gateways to literacy I can think of. Truth be told, the first books our parents read us (and I’m reading to my own boy now) are gloriously illustrated. Dr. Seuss, a one-time newspaper comics guy, is just panel borders away from sharing shelf space with Daniel Clowes. In the earliest of classroom settings I’d start with the recognizable. Art Baltazar and Franco’s Tiny Titans is as accessible a comic as I know of. But more than just being kid friendly, the book is funny, bright, and charming. So much so that I was an avid reader of it long before I was even married, let alone a father. And because it uses semi-recognizable super hero sidekicks, it’s easy for kids to relate, and learn to read.
Tiny Titans aside, there’s always Jeff Smith’s tome of toonage, Bone. The long running series blends laughs, mysteries, and adventure. If kids can’t find something to love there? Well, then I’ll eat my hat. Come to think of it, I don’t own hats anymore. Note to self…
Beyond the early readers, the always-tough-to-please nine year olds (perhaps through 13 or 14?) are going to start dividing themselves. Girls have cooties. Boys are messy. The division of the sexes may make many a teacher feel like comic books will degrade into the capes and cowls for the boys and leave nothing for the girls. Nay, I say. Nay! Both the boys and girls can take heed that I myself grew to love comics at this tender age due to the long-running Archie series. And Archie, unlike his more heroic counterparts, seems to have found a way to stay with the times, without diverging into the too-real, too-gritty, or too-angsty. Consider also the Adventures of TinTin. Long before it was a computer-animated movie, it was a comic. A great comic. And don’t we all laugh a bit when we recount the Scrooge McDuck comics of yesteryear? That book was doing Inception long before Chris Nolan was firing up the vomit-comet to film anti-gravity fight scenes.
The real meat and potatoes for me though come right at adolescence. Here, our kids are primed to learn that comics are more than just good fun. The Pulitizer Prize-winning Maus (by the aforementioned Spiegelman), Jew Gangster (by the late and beyond-great Kubert), and A Contract With God (by Will Eisner) all help teach that the medium of comics transcends the super power set. And sure, they all hold quite a bit of Jewish lore to them… so allow me to expand beyond Judaica.
Mike Gold himself turned me on to Stagger Lee by Derek McCulloch and Kings in Disguise by Dan E. Burr. They are both amazing reads. And please, don’t get me wrong – comics at this tender age need not be without a twinge of the supernatural. Watchmen might as well be a high school freshman class in and of itself. Frank Miller’s Sin City and or 300 are far better on page than on screen, and on screen they were both pretty amazing.
And let’s not leave Marvel out of this. Kurt Busiek’s Marvels singlehandedly brought me out of a four year freeze of comic book reading. It’s insightful, and a beautiful take on super heroes from the human perspective. And I’ve little column space left to suggest even more here… Empire by Mark Waid and Barry Kitson, Astro City, Batman: Year One, RunawaysandY: The Last Manall spring to mind. But I digress.
Suffice to say, introducing comics to a literature program shouldn’t be that hard to tackle. The fact is the medium itself makes open discussion far easier to instigate. More work to enjoy than watching a movie, without the scariness of endless pages without something beyond words to look at means less barrier to entry. For those learning to read (or who have trouble with it) comics are a gateway drug to amazing new worlds. For those already well versed in literature, comics offer an endless string of independent authors bringing original takes on the world that combine their plots with art that tends to force us to stop and appreciate. Akin to indie films, comics at any age offer more than the commercial world. Thanks to a bit of knowledge gained at this year’s Harvey Awards (thank you, Ross Ritchie), I leave on this thought:
“The French codified it well: they call it “The Ninth Art.” The first is architecture, the second sculpture. The third painting, the fourth dance, then there’s music, poetry, cinema, and television. And ninth is comic books.”
Now, the question is: if it is indeed the ninth art of our world, comics should not be considered for the classroom. They should be compulsory.
A&D is the way my fellow classmates refer to the high school we attended, The High School of Art and Design in New York City. A&D is without a doubt the greatest high school on earth.
Really.
I know for a fact that my high school is the greatest high school in the history of the world. If you went there, you would think so also. Oh, before I forget, fuck the High School of Music and Art. They were our rivals as were those mofos from the High School of Performing Arts as well as the High School of Fashion industries can all kiss my ass.
School pride… yeahhhhhh!
All of the high schools I’ve mentioned are in New York City. None of them are as good as A&D but clearly they have something to offer. All of the schools I’ve mentioned are magnet schools for the arts. Remember that movie Fame?
Fame was the story of the High School of Performing Arts, or as they referred to it in the film, P.A. I have to admit I really liked the film but P.A. can still kiss my ass.
School pride… yeahhhhhh!
I won’t bore you with the list of bad ass comic book and other artists that graduated from A&D but it’s as impressive as shit. Check out this linkif you care to know just how A&D rolls.
I’m not writing this just to brag about A&D and put down our rivals, I’m writing this because the arts in this country are under serious attack. The GOP is threatening to pull funding from art programs like the National Endowment Of the Arts and the first thing cut in any high school budget are the music and art programs.
What kind of goddamn country would this be without art? What kind of comics will there be in a generation if comic artists don’t have places like A&D to attend? Like I said, all of the high schools I mentioned are in New York City.
New York leads the world in the arts. Coincidence? I don’t think so.
America needs and quite frankly wants the arts. The mega popular show, America’s Got Talent, had two – that’s two – artists in the finals.
If the comic book and related industries just turn a blind eye to the assault on the arts then we will get what we deserve. That’s work that sucks and leads to a continuing declining fan base and the death of comics.
Lastly, I’m sure you know I did not mean all the rude things I said about the rivals of A&D. They are great schools and I have nothing but respect for them. In case anyone is wondering I did my undergrad work at The Pratt Institute and I’d just like to say, fuck Cooper Union, the School of Visual Arts, Parsons and a special fuckyou to Art Center.
One great thing about Dragon*Con is that sometimes it inspires me to check out new shows or genre fiction, and sometimes it inspires me to re-visit a past favorite. After this year’s Battlestar Galactica panel I had a super-cravi ng to go back and watch the show again; thanks to Netflix I’ve been re-living the intensity that is BSG.
What I love about the show, as someone pointed out in the panel (BSG – Bright Shiny Futures Are Overrated) is that it uses the harsh situation that the few remaining members of the human race find themselves in to explore numerous complex themes that resonate with real world conflicts and historical events. Along with plenty of action and drama, it’s an intellectual show that challenges viewers to think about the choices being made, and highlights the complexity and imperfections of the main characters as they constantly make difficult decisions that will affect the whole of humanity. It’s also sometimes exceedingly grim – so much so that the first time I was watching it, I found that I had to take a break for awhile about half-way through the series and go watch something a little less bleak. But that is a testament to the way the show tries to confront the cruel realities that must be faced in times of war; and is balanced by the way it also celebrates the kindness and heroism that can be drawn out by the same intense situations.
Another thing that’s great about the series is that since it appears at first to be set in a far, far distant (though not technologically unrecognizable) future, it’s aged well. Also, in tune with the recurring theme that “all of this has happened before; and all of this will happen again,” the stories and interactions follow cycles of our own human interactions that we can identify with, so they do not seem not dated, and the themes are still relevant. If you haven’t seen it, I definitely recommend giving it a try. Even if you have, you may not have known (as I didn’t, the first time I watched) about the tie-in material like Razor and the webseries, so you could always check those out as well. In the meantime, here are a few words from some of the stars of the show, who I got to talk to while at Dragon*Con (although I sadly missed getting to chat with Katee Sackhoff).
While discussing film projects, James Callis (a.k.a. Dr. Gaius Baltar, who looks and sounds uncannily similar to his character in person, but is thankfully much nicer) shared with me the interesting tidbit that his favorite TV or film character – not one he wants to play, per se, but one he loves – is Frank-n-Furter from The Rocky Horror Picture Show (as played by Tim Curry). I can’t deny that he’s a fascinating character! And Callis’ favorite part of the con? “Meeting all of you guys.”
Jamie Bamber (a.k.a. Captain Lee “Apollo” Adama), who was wearing a fantastic “My Other Ride is a Viper” shirt, told me he’s currently involved in a new series based on Dr. Sanjay Gupta’s novel Monday Mornings(also starring Ving Rhames and Alfred Molina). The show will be produced by Gupta and David E. Kelley and is centered around the Monday morning morbidity meetings at a Portland hospital, where the doctors reflect on what went wrong the previous week. Bamber says, “I’ve seen the pilot, and it’s really the best start to something that I’ve ever done.” High praise, considering how awesome Battlestar Galactica was! And Bamber’s favorite part of the con is “catching up with old friends, like the Battlestar Galactica group and everyone.”
Michael Trucco (a.k.a. Sam Anders), who is super tall in person, let me know that next on his agenda is at least six episodes of season eight of How I Met Your Mother… “and I can say that my character takes a turn that’s… ‘ironically comical.’“ As for what he loves about Dragon*Con, that’s pretty much everything, i.e. “the panels and the Walk of Fame, as well as the interactions with the fans.”
Richard Hatch, (a.k.a. Tom Zarek, and also Captain Apollo on the original 1978/80 series) and I chatted about a number of upcoming events in his life, including (alert, alert!) a Battlestar Galactica con from May 23-26, 2013 in Houston, Texas, with actors from both the original series and the new series. And we just re-launched battlestargalactica.com, which is sort of like a Facebook for fans.” Also he recommends fans check out whothefrak.com. “We’re developing it into a reality show with me and some industry friends. I’m also hosting a cruise to the Mediterranean next year, and will be teaching my seminars and everything during the cruise.”
There’s also an album out called “From Apollo to Tom Zarek: The Battlestar Galactica Memoirs,” regarding his career in both of the series’.”And I’m also working on a big epic sci-fi series that’s in development called TheGreat War of Magellan, for which we are developing a game and a novel.” Whew! Busy times in the life of Richard Hatch! But he still has time for the fans, and at Dragon*Con, says “I love the Battlestar party and the steampunk ball and the panels.”
Thanks to the stars of BSG for their time and awesomeness! And that’s it it for this year’s Dragon*Con experience, but stay tuned, because Baltimore Comic Con, which is next up, was just as fun!
Until next week, Servo Lectio!
TUESDAY AFTERNOON: Michael Davis Goes Back To High School
WEDNESDAY MORNING: Mike Gold and Archie’s Sex Change
Yeah, I know. The illustrious Mike Gold has already written at length as to why the Baltimore Comic-Con is an amazing experience. But Mike’s career in comics is older than I am. I had thought, for only a second, that maybe I should just move on and try another column to piss people off. But here I sit, and man, I still can’t stop smiling. So, screw it, you’re gonna hear (again) about the Baltimore Comic-Con. Maybe you’ll get a different perspective. This was my first trip to the Charm City, and I think Mike may have underplayed just how awesome this shindig is. Oh Baltimore Comic-Con, how do I love thee… Let me count the ways.
As many here have read my recent tirades about the Wizard Conventions may know… I have been seriously duped. I was raised on a convention where I honestly believed that in order to make it successful, one needed the publishers (especially the big ones) to anchor the show. How wrong I truly was! BCC was a show where the publishers were truly secondary to the main draw – the creators. In one of several walks I took away from our own table, I realized I was feet away from a litany of personal heroes. Brian Bolland, Cliff Chiang, J.G. Jones, and Gene Ha only to name a few. And while there were publishers there, they were in non-monstrosities that made them feel a “part” of the show, not the driving force behind it. The driving force truly was the community of creators. And given that I was amongst them? It was one of the few times in my five years as one I felt comfortable owning the term.
Far cooler though was the chance to truly “meet” Mark Wheatley, Marc Hempel, and ComicMix’s Emily S. Whitten. Over an amazing dinner (joined by my amazing friends/Samurnauts Erik and Cherise Anderson, Unshaven Sales Machine Kyle, and the always tall Glenn Hauman) we swapped stories, histories, personal politics, jokes, and more. And sure the crab cake was some kind of life altering experience… but just the chance to be at that dinner table in the suburbs of Maryland was some kind of amazing that I’ll be chasing for years to come. I know this is not an experience one gets simply by being at this con… but this was one perk of writing for this site that certainly is continuing to pay off in spades – even if it’s in food and stories alone.
As Mike already mentioned, the show was the perfect length. No “preview night” to force an extra day’s parking money out of the creators… just a packed weekend of festivities. It was almost as if the show runners knew that the creators who got into town early might find one another prior, and take the responsibility themselves to find a good time in the city. Preposterous!
What Mike didn’t mention (mainly because he wasn’t there to sell…) was the positively unending crowd. For two days the traffic at the show was never sparse. Our booth was literally in the last aisle of the convention center, and there was rarely a time where there wasn’t a nice gaggle of comic fans walking past our table. Unshaven Comics walked into the con with a “it’d sure be nice” goal of 150 books over two days. On Saturday alone, we netted a personal record: 137 books sold. And Sunday helped us tip the total to over 200. That makes me beyond proud to announce with three more conventions still left on our schedule, we met our years’ goal of 1000 books sold. For three guys making books in their basement, selling only on the convention floor? I’d say Baltimore put the icing on a cake made of success.
And how about those Harvey Awards? Well, all points from earlier in the week stand true: We were in awe in attendance of living legends. Phil LaMarr was an amazingly hilarious host who proved that beneath all the funny was a legit fan. Ross Ritchie proved that beyond the Gutters’ continual assault on his character, he’s a humble and very passionate man. His call to action only cemented further Unshaven Comics’ love of the medium. And hey, the 30-pound gift bag they let us leave with was nothing short of super. It’s more than possible that it will take an entire career for me to get one, but mark my words: Unshaven Comics will take home a Harvey before we retire our pencils and Wacoms.
Suffice to say, the Baltimore Comic-Con showed me exactly what Wizard is missing in it’s conventions: comic book creators. We’re not a sideshow or a footnote to be hidden on the con floor. We’re the reason this industry exists – from the billion dollar movies we create to the never-ending stream of ideas. The BCC knows how to elevate and celebrate this fact.
As a creator and as a fan, I was (and am) awestruck at what I was witness to this past weekend. And sure it took a twelve-hour car trip to get there, but it was truly a small price to pay for a head full of memories I’ll be hard-pressed to replace…
Last week, I wrote about the awesome folks of Warehouse 13, whom I was lucky enough to meet after attending their panel at Dragon*Con. But they weren’t the only fantastic people at the con, oh no. In fact, Dragon*Con is always so packed with amazing guests that I never get to see or meet all of them, and am left lamenting the fact that I missed Dean Cain’s panel or never got to say hi to Jewel Staite or Sean Maher in the Walk of Fame, despite running around from hotel to hotel like a hyperactive kid in a candy store. But I did get to see and meet a lot of cool folks, and that’s what I’m here to share, so here we go!
The first event I got to was a fantastic Lord of the Rings panel, featuring Billy Boyd (Pippin), Craig Parker (Haldir), and John Rhys-Davies (Gimli). It was a blast. The first thing I have to say about it is very shallow but true: these guys have the most delightful accents! I think I could listen to Scottish, Kiwi, and Welsh actors answer questions all day. And oh, yeah, the questions themselves were pretty good too. I think my favorite bit was when Craig invited a fairly young boy named Orion who was slightly hyperventilating up onto the stage to ask his question (it’s cute when a kid’s that nervous. Adults…well, not so much). I heard through the grapevine later that this happenstance made the kid a minor celebrity at other panels, where people started looking for Orion. To which I say – only at Dragon*Con. I love that about Dragon*Con. My second favorite bit was hearing about how Billy used to read books while working at a bookbinder’s – by tearing out the pages he was finished with and tossing them away. Being an extreme book lover, I’d call that sacrilege, but…well, it does sound kind of fun. And then of course, John predicted that The Hobbit will be a game-changer and that we’re all in for a treat, so: yay!
Over the weekend, I had the pleasure of asking Craig and John a couple of quick questions (missed Billy, sadly. Maybe next year?). Craig is delightfully easygoing, and John is effortlessly charming and has that amazing presence that I associate with really good stage actors. And even though he had a plane to catch, he still took the time to sit down for a few and give me his full attention, which speaks to the sort of person he is. Here’s what they had to say:
Craig Parker:
What would you like to say about current or future projects?
“Actually, I’m a total bum at the moment, because I’m in the process of moving to the States, so everything’s just… everywhere, and I’m not working on anything at the moment.” (Hopefully it won’t be that way for long. I’m sure we’d all love to see him in something again soon).
What’s your favorite part of Dragon*Con?
“I don’t know whether it’s the visuals…the overstimulation of seeing something incredible everywhere you look; or talking with all of the passionate people. It’s an incredibly engaging weekend.”
John Rhys-Davies:
What would you like to say about current or future projects?
“Projects are falling by the wayside all the time – you know, there were two pictures I really wanted to do recently, but they didn’t work out. But now I’m doing Golden Boots, which is a movie about a little boy who wants to play soccer, and that takes place in Detroit, Michigan. I’m also working on Behind the Mask, which takes place in the pre-continental U.S.; and I’ll be the villain. It has a bit of swash; a bit of buckle; a bit of murder…and unfortunately the bad guys don’t win. I’m going to be in the new Pinocchio, which is a mixture of animation and drama – and I’ll be playing the bad guy. And I’m hoping that Flying Tigers will be shot in China early next year.”
What’s your favorite part of Dragon*Con?
”Obviously the people – it’s the chance an actor gets to meet the people who’ve been keeping him employed for the past forty years. You get to talk to them, and know who they are. I cannot tell you how valuable that is. When you work in theater the audience is right there, telling you “You’re good; you’re bad; you stink.” In film, you can lose sight of your audience; and then you can lose sight of yourself and your own true proportion.”
Words of wisdom indeed. Next up we attended the Buffy & Angel Q&A, featuring J. August Richards (Gunn), Juliet Landau (Drusilla), and James Marsters (Spike). James Marsters challenged everyone to embarrass him (they tried but failed); J. August Richards shared his opinion of Gunn’s story arc from street-savvy vampire hunter to lawyer and back (he was happy with the lawyer arc, and with Gunn going back to his roots when the story needed it); and Juliet Landau spoke about her voice work as the Little Sisters in Bioshock (and how she landed the role thanks to her acting as Drusilla).
The panel was a ton of fun, and I got to check in with J. August Richards afterwards. When asked what he’d like to say about current or future projects, Jay told me that he has something he’s really excited about, but he can’t talk about it just yet. Therefore – check back here on ComicMix in a week or two, when I’ll be interviewing J. August Richards about his newest, as-yet-unannounced project! Yay!
When asked his favorite part of Dragon*Con, Jay replied:
“The people! What I love about Dragon*Con is that it’s one of the rare instances where you get to be around fifty thousand people who are completely non-judgmental.”
Word. At the Buffy panel, Juliet Landau mentioned a documentary she’d made that was airing Saturday, Take Flight: Gary Oldman Directs Chutzpah, and my friend and I love Gary Oldman, so we checked that out as well. I hadn’t heard of it before, but it turned out to be one of the surprise best parts of the weekend. The film is a behind-the-scenes documentary of Gary Oldman’s artistic process as he creates a music video for a Jewish rap group (yes, that really is a thing!), and it is fantastic. I was either smiling or laughing for pretty much the whole thing, because the rappers are funny, and Gary Oldman in creative mode is a thing of joy and awesomeness, and Juliet & co. did an amazing job showing all of that. Juliet also did an excellent job in selecting the classical music that accompanies some parts of the film and really highlights the beauty of the more peaceful scenes.
When asked about what she’d learned in making the film, she replied, “Every set you’re on, you learn. One of the things about Gary on set – and all the best directors I’ve worked with, like Tim Burton and Joss Whedon, are like this – is that he is very focused on the work, but also on having fun. Everybody’s focused, but there really is a joy to be making stuff – that’s really palpable with Gary.” And it really is.
I got to chat with the extremely nice Juliet after the film, and she shared that the documentary is available for purchase on her website. I definitely recommend it, but fair warning: the song being filmed is pretty catchy, so if you watch it, I guarantee you’ll be singing, “Red Rover, Red Rover, send your best guy right over,” for at least half a day afterwards! Juliet also mentioned that her upcoming projects include The Bronx Bull (Raging Bull II), and Where the Road Runs Out. And her favorite part of Dragon*Con? “Meeting all the people!”
Also included in our mad convention dash was the Big Damn Heroes panel, with Adam Baldwin (Jayne), Jewel Staite (Kaylee), and Sean Maher (Simon) of Firefly and Serenity. Those three are like a comedy show once they get going. Highlights of the panel included Nathan Fillion making cameos on all of their cell phones (taking over the panel even when he’s not on the panel, as Adam said!) to check in repeatedly on, basically, how pretty Jewel was looking that day (it really was a hilarious gag, and she really is very pretty); an audience member contributing Firefly bourbon for them to drink; and Adam Baldwin being temporarily embarrassed to share with the crowd (he got over it).
Speaking of Adam, I also went to a Chuck panel where he talked about his role as John Casey; and even when he’s the only one on stage, he’s a riot. Adam answered questions such as whether Casey was really in the Navy or the Marines, and then ribbed fans for being that into the details of the show, noting that “It’s not real!” However, he clearly appreciates the fans who care enough about his characters (notably Jayne) to dress the part, and was particularly kind to a thirteen-year-old fan who was a bit nervous in asking her question. As I said, I sadly missed chatting with Sean and Jewel, but I did get to talk with the quick-witted Adam after the panels.
Adam reports that his newest project is the opening episode of Law & Order: SVU. “I’m joining the cast as a ‘replacement’ for the captain, Cragen, who…got himself in a little bit of hot water last season. So that has kept me a little busy.” As for his favorite part of Dragon*Con? “The people – lovely people who are very kind, and good old Southern hospitality. And the food’s great…you know, wine, women, good food! And the panels …and the utilikilts (pointing). There’s one right behind you.”
And so there was.
Meeting Adam was a lovely experience; and another highlight of the weekend was Jane Espenson’s panel. Jane is like the writer equivalent of actor Mark Sheppard, in that she has written for basically every awesome genre show I’ve ever seen. She’s also delightful to listen to. Her panel focused in a large part on her newest project, Husbands, a web series which can be seen online at lovehusbands.com. We watched an episode, and it’s very funny; and certainly a spin on the newlywed premise that we haven’t quite seen before, being about two gay men who have gotten married in haste and are now dealing with the consequences. She also encouraged people to check out Once Upon A Time over on ABC if they haven’t yet, and answered questions about the writing process, mentioning that she’d like to turn her blog musings into a book someday (yes please, Jane!). Writing tips she shared included her own approach to beginning to write for an established character by asking “what one incident is going to most poke at the character’s emotional core? Getting inside that is one of the best ways to train yourself to be a good writer.” As for her favorite part of Dragon*Con: “Meeting beautiful amazing people in costumes!”
Speaking of people who’ve worked on everything cool ever, I also got to talk with Rob Paulsen, voice actor for a million billion zillion of the toon characters we all know and love, including Yakko Warner, Pinky, and more from Animaniacs. He couldn’t possibly have known that’s one of my favorite cartoon shows ever, but that didn’t stop him from saying, “Hellooooooo, nurses!” as I and my two gal pals walked up to say hi, and, “You all make me want to say, ‘Narf!’” which got the conversation off to a fun start. Rob shared that since he was Raphael on the original Teenage MutantNinja Turtles, he’s pretty excited to be Donatello now on the new one. “And Sean Astin is Raphael, Jason Biggs is Leonardo, and Greg Cipes is Michelangelo, so that’s great.” He also suggested we check out his podcast, Talking Toons, which can be found on iTunes or RobPaulsenLive.com; and now that I know about it, I certainly will! As for his favorite part of Dragon*Con:
Rob: “The pretty chicks!”
Me: “He says, looking at us…”Rob: “Absolutely! I’m not the blind Turtle!”
Bless.
Walking around the Walk of Fame, I got to chat with several other actors and actresses, including Lee Arenberg, of Pirates of the Caribbean fame (“’Ello, poppet!”) who was enjoying meeting all the fans, and can currently be seen as Grumpy in Once Upon a Time. He also mentioned that he’ll be in the new season of Californication. Last of all I sawMira Furlan, who told me that she’s going to be in a new film starring Penelope Cruz that’s called Twice Born. She then opined that DragonCon was “fantastic – mad and fantastic,” and I couldn’t agree more.
Well! That’s the news for this week, but there’s even more to come, as I also got to attend the Battlestar Galactica panel and chat with those actors while at Dragon*Con and have more to say about that; we’ve got an exclusive chat with J. August Richards in the offing; and I’ve just gotten back from the fantastic Baltimore Comic Con.
So check back for more excitement next week, and until then, Servo Lectio!
Unless you haven’t been paying your electric bill, you probably are aware that the first James Bond movie, Doctor No, was released a half-century ago this week. You might not be as aware that several months earlier DC Comics released the comic book adaptation as part of its Showcase series. Editor George Kashdan said he didn’t understand why DC picked up the book except for the fact that the artwork was in hand and the rights must have been cheap.
