At Capcom’s CAPTIVATE media event in Hawaii last week, they announced what some fighting game and comic book fans have been dreaming of for the past decade: A return to the most successful 2D fighting franchise of all time. Featuring fighters from Marvel comic in battle against the popular characters from video games published by Capcom, what started as “Street Fighter VS X-men” has gone on to be one of the largest and innovative fighting game franchises ever. Now, after 10 long years of waiting, we finally get our wish.
The ever popular YAHOO MOVIES site has released a 100 Movie list that serves many purposes. It’s a great conversation piece, a nice look at film classics from the last two decades and an amazing shopping list for NetFlix. Managing Editor Sean Philips explains just how the list came together and what happened when some biggies didn’t make the cut. Plus KICK ASS slides ahead in the Box Office and Marvel unleashes a wall of X-MEN first issues.
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The list is out. Pretty straightforward, with a few surprises (No Todd Klein or John Workman for lettering? And was Whatever Happened To The Caped Crusader not eligible?)
Our congratulations to all the nominees. We’ll be starting the betting pools in 3… 2…
Best Short Story
• “Because I Love You So Much,” by Nikoline Werdelin, in From
Wonderland with Love: Danish Comics in the 3rd Millennium
(Fantagraphics/Aben malen)
• “Gentleman John,” by Nathan Greno, in What Is Torch Tiger? (Torch
Tiger)
• “How and Why to Bale Hay,” by Nick Bertozzi, in Syncopated (Villard)
• “Hurricane,” interpreted by Gradimir Smudja, in Bob Dylan Revisited
(Norton)
• “Urgent Request,” by Gene Luen Yang and Derek Kirk Kim, in The
Eternal Smile (First Second)
Best Single Issue (or One-Shot)
• Brave & the Bold #28: “Blackhawk and the Flash: Firing Line,” by
J. Michael Straczynski and Jesus Saiz (DC)
• Captain America #601: “Red, White, and Blue-Blood,” by Ed Brubaker
and Gene Colan (Marvel)
• Ganges #3, by Kevin Huizenga (Fantagraphics)
• The Unwritten #5: “How the Whale Became,” by Mike Carey and Peter
Gross (Vertigo/DC)
• Usagi Yojimbo #123: “The Death of Lord Hikiji” by Stan Sakai (Dark
Horse)
Best Continuing Series
• Fables, by Bill Willingham, Mark Buckingham, Steve Leialoha, Andrew
Pepoy et al. (Vertigo/DC)
• Irredeemable, by Mark Waid and Peter Krause (BOOM!)
• Naoki Urasawa’s 20th Century Boys, by Naoki Urasawa (VIZ Media)
• The Unwritten, by Mike Carey and Peter Gross (Vertigo/DC)
• The Walking Dead, by Robert Kirkman and Charles Adlard (Image)
Best Limited Series or Story Arc
• Blackest Night, by Geoff Johns, Ivan Reis, and Oclair Albert (DC)
• Incognito, by Ed Brubaker and Sean Phillips (Marvel Icon)
• Pluto: Urasawa X Tezuka, by Naoki Urasawa and Takashi Nagasaki (VIZ
Media)
• Wolverine #66–72 and Wolverine Giant-Size Special: “Old Man Logan,”
by Mark Millar, Steve McNiven, and Dexter Vines (Marvel)
• The Wonderful Wizard of Oz, by Eric Shanower and Skottie Young
(Marvel)
Best New Series
• Chew, by John Layman and Rob Guillory (Image)
• Do Androids Dream of Electric Sheep? by Phillip K. Dick, art by Tony
Parker (BOOM!)
• Ireedeemable, by Mark Waid and Peter Krause (BOOM!)
• Sweet Tooth, by Jeff Lemire (Vertigo/DC)
• The Unwritten, by Mike Carey and Peter Gross (Vertigo/DC)
Best Publication for Kids
• Lunch Lady and the Cyborg Substitute, by Jarrett J. Krosoczeka
(Knopf)
• The Secret Science Alliance and the Copycat Crook, by Eleanor Davis
(Bloomsbury)
• Tiny Tyrant vol. 1: The Ethelbertosaurus, by Lewis Trondheim and
Fabrice Parme (First Second)
• The TOON Treasury of Classic Children’s Comics, edited by Art
Spiegelman and Francoise Mouly (Abrams ComicArts/Toon)
• The Wonderful Wizard of Oz hc, by L. Frank Baum, Eric Shanower, and
Skottie Young (Marvel)
Best Publication for Teens
• Angora Napkin, by Troy Little (IDW)
• Beasts of Burden, by Evan Dorkin and Jill Thompson (Dark Horse)
• A Family Secret, by Eric Heuvel (Farrar Straus Giroux/Anne Frank
House)
• Far Arden, by Kevin Cannon (Top Shelf)
• I Kill Giants tpb, by Joe Kelly and JM Ken Niimura (Image)
Best Humor Publication
• Drinky Crow’s Maakies Treasury, by Tony Millionaire (Fantagraphics)
• Everybody Is Stupid Except for Me, And Other Astute Observations, by
Peter Bagge (Fantagraphics)
• Little Lulu, vols. 19–21, by John Stanley and Irving Tripp (Dark
Horse Books)
• The Muppet Show Comic Book: Meet the Muppets, by Roger Langridge
(BOOM Kids!)
• Scott Pilgrim vol. 5: Scott Pilgrm vs. the Universe, by Brian Lee
O’Malley (Oni)
Best Anthology
• Abstract Comics, edited by Andrei Molotiu (Fantagraphics)
• Bob Dylan Revisited, edited by Bob Weill (Norton)
• Flight 6, edited by Kazu Kibuishi (Villard)
• Popgun vol. 3, edited by Mark Andrew Smith, D. J. Kirkbride, and Joe
Keatinge (Image)
• Syncopated: An Anthology of Nonfiction Picto-Essays, edited by
Brendan Burford (Villard)
• What Is Torch Tiger? edited by Paul Briggs (Torch Tiger)
Best Digital Comic
• The Abominable Charles Christopher, by Karl Kerschl, www.abominable.cc
• Bayou, by Jeremy Love, http://zudacomics.com/bayou
• The Guns of Shadow Valley, by David Wachter and James Andrew Clark,
www.gunsofshadowvalley.com
• Power Out, by Nathan Schreiber, www.act-i-vate.com/67.comic
• Sin Titulo, by Cameron Stewart, www.sintitulocomic.com/
Best Reality-Based Work
• A Drifting Life, by Yoshihiro Tatsumi (Drawn & Quarterly)
• Footnotes in Gaza, by Joe Sacco (Metropolitan/Holt)
• The Imposter’s Daughter, by Laurie Sandell (Little, Brown)
• Monsters, by Ken Dahl (Secret Acres)
• The Photographer, by Emmanuel Guibert, Didier Lefèvre, and Frédéric
Lemerier (First Second)
• Stitches, by David Small (Norton)
Best Adaptation from Another Work
• The Book of Genesis Illustrated, by R. Crumb (Norton)
• Charles Darwin’s On the Origin of Species: A Graphic Adaptation,
adapted by Michael Keller and Nicolle Rager Fuller (Rodale)
• Fahrenheit 451, by Ray Bradbury, adapted by Tim Hamilton (Hill &
Wang)
• Richard Stark’s Parker: The Hunter, adapted by Darwyn Cooke (IDW)
• West Coast Blues, by Jean-Patrick Manchette, adapted by Jacques Tardi
(Fantagraphics)
Best Graphic Album—New
• Asterios Polyp, by David Mazzuccheilli (Pantheon)
• A Distant Neighborhood (2 vols.), by Jiro Taniguchi (Fanfare/Ponent
Mon)
• The Book of Genesis Illustrated, by R. Crumb (Norton)
• My mommy is in America and she met Buffalo Bill, by Jean Regnaud and
Émile Bravo (Fanfare/Ponent Mon)
• The Photographer, by Emmanuel Guibert, Didier Lefèvre, and Frédéric
Lemerier (First Second)
• Richard Stark’s Parker: The Hunter, adapted by Darwyn Cooke (IDW)
Best Graphic Album—Reprint
• Absolute Justice, by Alex Ross, Jim Krueger, and Doug Braithewaite
(DC)
• A.D.: New Orleans After the Deluge, by Josh Neufeld (Pantheon)
• Alec: The Years Have Pants, by Eddie Campbell (Top Shelf)
• Essex County Collected, by Jeff Lemire (Top Shelf)
• Map of My Heart: The Best of King-Cat Comics & Stories,
1996–2002, by John Porcellino (Drawn & Quarterly)
Best Archival Collection/Project—Strips
• Bloom County: The Complete Library, vol. 1, by Berkeley Breathed,
edited by Scott Dunbier (IDW)
• Bringing Up Father, vol. 1: From Sea to Shining Sea, by George
McManus and Zeke Zekley, edited by Dean Mullaney (IDW)
• The Brinkley Girls: The Best of Nell Brinkley’s Cartoons 1913–1940,
edited by Trina Robbins (Fantagraphics)
• Gahan Wilson: 50 Years of Playboy Cartoons, by Gahan Wilson, edited
by Gary Groth (Fantagraphics)
• Prince Valiant, vol. 1: 1937–1938, by Hal Foster, edited by Kim
Thompson (Fantagraphics)
• Queer Visitors from the Marvelous Land of Oz, by L. Frank Baum, Walt
McDougall, and W. W. Denslow (Sunday Press)
Best Archival Collection/Project—Comic Books
• The Best of Simon & Kirby, by Joe Simon and Jack Kirby, edited by
Steve Saffel (Titan Books)
• Blazing Combat, by Archie Goodwin et al., edited by Gary Groth
(Fantagraphics)
• Humbug, by Harvey Kurtzman et al., edited by Gary Groth
(Fantagraphics)
• The Rocketeer: The Complete Adventures deluxe edition, by Dave
Stevens, edited by Scott Dunbier (IDW)
• The TOON Treasury of Classic Children’s Comics, edited by Art
Spiegelman and Francoise Mouly (Abrams ComicArts/Toon)
Best U.S. Edition of International Material
• My mommy is in America and she met Buffalo Bill, by Jean Regnaud and
Émile Bravo (Fanfare/Ponent Mon)
• The Photographer, by Emmanuel Guibert, Didier Lefèvre, and Frédéric
Lemerier (First Second)
• Tiny Tyrant vol. 1: The Ethelbertosaurus, by Lewis Trondheim and
Fabrice Parme (First Second)
• West Coast Blues, by Jean-Patrick Manchette, adapted by Jacques Tardi
(Fantagraphics)
• Years of the Elephant, by Willy Linthout (Fanfare/Ponent Mon)
Best U.S. Edition of International Material—Asia
• The Color Trilogy, by Kim Dong Haw (First Second)
• A Distant Neighborhood (2 vols.), by Jiro Taniguchi (Fanfare/Ponent
Mon)
• A Drifting Life, by Yoshihiro Tatsumi (Drawn & Quarterly)
• Oishinbo a la Carte, written by Tetsu Kariya and illustrated by Akira
Hanasaki (VIZ Media)
• Pluto: Urasawa X Tezuka, by Naoki Urasawa and Takashi Nagasaki (VIZ
Media)
• Naoki Urasawa’s 20th Century Boys, by Naoki Urasawa (VIZ Media)
Best Writer
• Ed Brubaker, Captain America, Daredevil, Marvels Project (Marvel)
Criminal, Incognito (Marvel Icon)
• Geoff Johns, Adventure Comics, Blackest Night, The Flash: Rebirth,
Superman: Secret Origin (DC)
• James Robinson, Justice League: Cry for Justice (DC)
• Mark Waid, Irredeemable, The Incredibles (BOOM!)
• Bill Willingham, Fables (Vertigo/DC)
Best Writer/Artist
• Darwyn Cooke, Richard Stark’s Parker: The Hunter (IDW)
• R. Crumb, The Book of Genesis Illustrated (Norton)
• David Mazzuccheilli, Asterios Polyp (Pantheon)
• Terry Moore, Echo (Abstract Books)
• Naoki Urasawa, Naoki Urasawa’s 20th Century Boys, Pluto: Urasawa X
Tezuka (VIZ Media)
Best Writer/Artist–Nonfiction
• Reinhard Kleist, Johnny Cash: I See a Darkness (Abrams ComicArts)
• Willy Linthout, Years of the Elephant (Fanfare/Ponent Mon)
• Joe Sacco, Footnotes in Gaza (Metropolitan/Holt)
• David Small, Stitches (Norton)
• Carol Tyler, You’ll Never Know: A Good and Decent Man
(Fantagraphics)
Best Penciller/Inker or Penciller/Inker Team
• Michael Kaluta, Madame Xanadu #11–15: “Exodus Noir” (Vertigo/DC)
• Steve McNiven/Dexter Vines, Wolverine: Old Man Logan (Marvel)
• Fiona Staples, North 40 (WildStorm)
• J. H. Williams III, Detective Comics (DC)
• Danijel Zezelj, Luna Park (Vertigo/DC)
Best Painter/Multimedia Artist (interior art)
• Émile Bravo, My mommy is in America and she met Buffalo Bill
(Fanfare/Ponent Mon)
• Mauro Cascioli, Justice League: Cry for Justice (DC)
• Nicolle Rager Fuller, Charles Darwin on the Origin of Species: A
Graphic Adaptation (Rodale Books)
• Jill Thompson, Beasts of Burden (Dark Horse); Magic Trixie and the
Dragon (HarperCollins Children’s Books)
• Carol Tyler, You’ll Never Know: A Good and Decent Man
(Fantagraphics)
Best Cover Artist
• John Cassaday, Irredeemable (BOOM!); Lone Ranger (Dynamite)
• Salvador Larocca, Invincible Iron Man (Marvel)
• Sean Phillips, Criminal, Incognito (Marvel Icon); 28 Days Later
(BOOM!)
• Alex Ross, Astro City: The Dark Age (WildStorm/DC); Project
Superpowers (Dynamite)
• J. H. Williams III, Detective Comics (DC)
Best Coloring
• Steve Hamaker, Bone: Crown of Thorns (Scholastic); Little Mouse Gets
Ready (Toon)
• Laura Martin, The Rocketeer: The Complete Adventures (IDW); Thor, The
Stand: American Nightmares (Marvel)
• David Mazzuccheilli, Asterios Polyp (Pantheon)
• Alex Sinclair, Blackest Night, Batman and Robin (DC)
• Dave Stewart, Abe Sapien, BPRD, The Goon, Hellboy, Solomon Kane,
Umbrella Academy, Zero Killer (Dark Horse); Detective Comics (DC);
Northlanders, Luna Park (Vertigo)
Best Lettering
• Brian Fies, Whatever Happened to the World of Tomorrow? (Abrams
ComicArts)
• David Mazzuccheilli, Asterios Polyp (Pantheon)
• Tom Orzechowski, Savage Dragon (Image); X-Men Forever (Marvel)
• Richard Sala, Cat Burglar Black (First Second); Delphine
(Fantagraphics)
• Adrian Tomine, A Drifting Life (Drawn & Quarterly)
Best Comics-Related Periodical/Journalism
• Alter Ego, edited by Roy Thomas (TwoMorrows)
• ComicsAlliance, www.comicsalliance.com
• Comics Comics, edited by Timothy Hodler and Dan Nadel
(www.comicscomicsmag.com) (PictureBox)
• The Comics Journal, edited by Gary Groth, Michael Dean, and Kristy
Valenti (Fantagraphics)
• The Comics Reporter, produced by Tom Spurgeon
(www.comicsreporter.com)
Best Comics-Related Book
• Alan Moore: Comics as Performance, Fiction as Scalpel, by Annalisa Di
Liddo (University Press of Mississippi)
• The Art of Harvey Kurtzman: The Mad Genius of Comics, by Denis
Kitchen and Paul Buhle (Abrams ComicArts)
• The Art of Osamu Tezuka: God of Manga, by Helen McCarthy (Abrams
ComicArts)
• Manga Kamishibai: The Art of Japanese Paper Theater, by Eric P. Nash
(Abrams ComicArts)
• Will Eisner and PS Magazine, by Paul E. Fitzgerald (Fitzworld.US)
Best Publication Design
• Absolute Justice, designed by Curtis King and Josh Beatman (DC)
• The Brinkley Girls, designed by Adam Grano (Fantagraphics)
• Gahan Wilson: 50 Years of Playboy Cartoons, designed by Jacob Covey
(Fantagraphics)
• Life and Times of Martha Washington, designed by David Nestelle (Dark
Horse Books)
• Queer Visitors from the Marvelous Land of Oz, designed by Philippe
Ghielmetti (Sunday Press)
• Whatever Happened to the World of Tomorrow? designed by Neil Egan and
Brian Fies (Abrams ComicArts)
As sophists worldwide are aware, HaRav, HaGoan, HaWriter Adam-Troy Castro’s “Dear Magneto” essay is currently challenging more than 3000 years of Talmudic wisdom on the subject of homo-superior-phobia. Consequently, we stood in line, knee-deep in rain and runoff, for nearly sixteen hours along with hundreds of the revered Talmudist’s loyal chassidim, just waiting for a brucha from the tzadik… and once we’d gained an audience, we, in our unmitigated chutzpah, dared post these four kashas to the scholarly sage in the spirit of the coming festival of the Passover.
Why is Magneto different from all other super villains? Unlike the vast majority of super-villains (among them Graviton, who “can crack the planet in two and still can’t get laid”), Magneto has character; he’s been wronged, he has a case, he’s pursued his ideals to their logical extreme and, like a tragic Shakespearean villain, it has brought him nothing but personal tragedy. He has lost his friends (Xavier), his wife (Magda), the love of his children (Wanda and Pietro), the respect of the people who could have become his community (the X-Men) and his potential (which, it’s clear, was limitless; a man with his smarts could have changed the world for the better). Magneto is a guy who made all the wrong decisions for all the right reasons, and my “open letter” can be seen as an attempt at an intervention.
How does a serious science-fiction writer read comics—sitting or reclining? Eating.
Your X-essay is getting lots of attention–and rightly so. Is it read best when dipping or not dipping? It must be read, footnotes and all, at one sitting for the full effect.
Which Jewish comic character would you like to write and would Doc Samson eat matzoh, or is that too high in carbs? Benjamin J. Grimm. Or that other famous Jew, Kal-El. (Actually, I always suspected the ’70s Oliver Queen of being Jewish; he had the attitude.) I don’t know if Doc Samson eats matzoh or not, but I’m sure as hell happy that Bruce Banner doesn’t. The last thing we need is the Hulk, constipated.
Rashi notes that HaRav Adam-Troy Castro (the Hugo-, Nebula- and Stoker-nominated author who has also penned four Spider-Man novels) is also responsible for the Andrea Cort novels, EMISSARIES FROM THE DEAD and THE THIRD CLAW OF GOD; and the upcoming illustrated books Z IS FOR ZOMBIE and V IS FOR VAMPIRE, both with Johnny Atomic. There’s some secret projects that he’s working on, too, but that would be telling.
For more Semitic ado about nothing, visit EVERYONE’S WRONG AND I’M RIGHT (the blog of author Clifford Meth) at thecliffordmethod.blogspot.com.
For a limited time (till the end of this week) Benbella Books has posted Adam-Troy Castro’s essay “Dear Magneto” from the book The Unauthorized X-Men:
Let’s imagine a future where you’ve taken over. Baseline human beings
are not an issue, for whatever reason. Either they’ve been
exterminated, or the mutant gene has become so dominant that everybody
possesses a superpower of some kind, or they’re just living underground,
working crap jobs like processing sewage, or sweeping the streets, or
telemarketing. Whatever. They’re irrelevant.
Everybody worth talking about has superpowers.
Further, let’s posit a fellow whose superpowers are minimal. He can
jump fifteen feet straight up, bench-press about a thousand pounds and,
while not quite bulletproof, will not be harmed by most knives. You know
the type I’m talking about. In the world you’re living in, he wouldn’t
last thirty seconds against the likes of Spider-Man, but he might be
able to give Daredevil or the Punisher a few anxious moments, on a good
day. He’s clearly a mutant, clearly a guy whose chromosomes buy him a
place in this mutant paradise of yours, but not a person who poses any
serious threat to the entrenched power structure.
Do you know what the citizens of your mutant paradise would call this
man? I mean, aside from his given name?
Human, that’s what they’d call him.
Your citizens would inevitably develop a value system similar to that
demonstrated by comic book readers, who are known for deriding mutants
with less-than-impressive powers as lame. They’d look upon a guy like
our bulletproof high-jumper and say, well, he’s not really all that.
He’s practically normal. He’s almost (shudder) Batman.
Glenn Hauman promised yesterday that I’d deliver a “fuller explanation of what’s been going on” vis-à-vis my piece “Welcome to Hollywood.” So in the interests of keeping this story alive (because you haven’t lived until you’ve heard the words, “You’ll never work in this town again”) I’ll try to squeeze in another few inches.
Jason Brice and his site Comics Bulletin (formerly Silver Bullet Comic Books) have run my “Meth Addict” (formerly “Past Masters”) column without interference since 2004. Among other things, the column was a linchpin in helping secure an important financial settlement for Dave Cockrum that allowed the X-Men co-creator to live his last few years in relative comfort. Good for you, Jason Brice. If we never do another good deed together again in our wretched little lives, that may have been enough.
The yanking of “Welcome to Hollywood” after CB’s EiC Jason Sacks (the other Jason) had already accepted it and promoted it was a joint decision between the two Jasons shortly after the column was live. I wasn’t in the room when things got weird, but I imagine the conversation was fairly tame and thoroughly professional and went something like this:
Jason: Are you crazy?!
Jason: Huh?
The pair discussed the matter and decided that what I’d written was a little too dangerous for CB. Jason Sacks then pulled the short straw and sent me the following: “Jason and I have decided to pull the column out of concerns about CB’s exposure to potential legal action.”
Within moments, the story was live at Harlan Ellison’s site (“Read it…love it,” wrote Harlan) with offers from others, including comics pros Tony Isabella and Michael Netzer, to re-post. I called Glenn H. because I particularly admired how he’d pointed to the competitive website’s initial story on his own front page. “Want it?” I asked. “Yup,” said Glenn.
Did the Jasons abandon Mr. Meth in his hour of needful spleen venting? Not hardly. “I want to emphasize that as the editor of the piece and editor-in-chief at ComicsBulletin I both support and encourage Cliff to do everything he can to expose the horrible acts of this scumbag,” writes Jason Sacks at Harlan Ellison’s website. “It sounds like Richard Saperstein is the exemplar of exactly the sort of lowdown ripoffs of creative types to whom Mr. Ellison has dispatched his most scathing scorn.”
In conclusion, I’m sure you agree that it would be a case of chronic irony if the story of how my column was pulled and reposted somehow obscured the far-more-important tale of what occurred with The Futurians movie, the Snaked movie, and my brief love affair with Richard Saperstein.
Savvy interweb surfer types may have noticed the viral campaign that hit the web last week; The stark white text on black background declaring that ‘Stan’s Back!”. Clicking it brought them no more information, rather, just a quick detour to a larger version of the ad. But, we here at ComicMix are glad to inform you just what’s going on.
Stan “The Man” Lee is returning to the industry he helped shape! That’s right. The creator of a few lesser known characters you may have heard of (The Incredible Hulk
ring a bell? No? The Fantastic Four? Still nothing? How about Spider-Man? The X-Men…?) is coming back to comics with a bang! Or more appropriatley… a BOOM! Stan Lee’s POW! (Purveyors of Wonder) Entertainment, Inc. has teamed up with Boom! Studios to announce the release of three superhero titles slated to hit stands later this year.
Word around the campfire is that the Incorruptable and Irredeemable Mark Waid will helm one book, with a promise of 2 more “A-Listers” to be brought on under Stan’s forthcoming imprint. Shortly after hearing that news, we had to catch our breath. When we got back to the campsite, the fire was already extinguished, and the supplies were gone. While this assured us that yes, Mark Waid is Evil… they were nice enough to leave a note on the ground that declared “More Information To Come Soon…”
Consider yourselves now in-the-know. Stay tuned for more edification.
We’ve all had that argument with our mothers, haven’t we? “Why do you keep all those old comics in your bedroom?” …“Duh, mom, cause they’ll be worth tons of money one day, geez!”. And your mother, frugal as she is, looks at her collection of porcelain cat figurines, and laments. “They better be!”
Well, sleep well tonight. As it’s been widely reported across the inter-webs, a CGC graded 8.0 (Very Fine) copy of Action Comics #1, whih we all know contained the debut of Superman, was sold for (pinkies to your mouth, gentlemen…) one million dollars!
The sale was brokered by Stephen Fishler and Vincent Zurzolo of ComicConnect.com. As covered well here, the copy of Action Comics is only 1 of an estimated 100 left in existence. Of those out in the world, the CGC Census lists only 42 copies, including one unrestored copy sitting at 8.5 VF+, and three restored copies at 8.0 or higher.
So, what does all this mean? Consider that amidst a nation in recession, with high numbers of unemployed citizens, and general financial malaise rampant throughout the nation, one more feather can be placed in the ‘Recession-Proof’ aftermarket for printed comic books. Sorry Apple enthusiasts; No iPad copy of Uncanny X-men will mint you one shiny nickel whilst there are printed copies and collectors out there. Now, obviously don’t expect all your copies of slabbed “Ultraforce” and “Darkchylde Summer Swimsuit Spectacular” are gonna mint you a cool Milly’… but hey, you never know. And your mother won’t know either.
Kars4Kids, the national
car-donation program that benefits children, and Newark Beth Israel
Children’s Hospital in Newark, NJ, distributed a generous,
unique donation from the estate of Dave Cockrum, co-creator of Marvel
Comics’ popular X-Men series. The donated comics were part of Cockrum’s
personal collection.
“My husband loved to help people—he was
generous to a fault,” said Paty Cockrum, widow of the popular artist
and creator who died in 2006 from complications resulting from
diabetes. “Dave was extremely happy that the characters he created—such
as Storm, Colossus and Nightcrawler—became a part of the childhood
memories of millions of children. He knew that was his legacy. Dave was
also an avid comic book collector. I’m delighted that kids in need will
benefit from his personal collection.”
The comics were given
out on February 19 to children who
are hospitalized.
Kars4Kids
is a national organization providing for the spiritual, emotional and
practical needs of children from impoverished or dysfunctional
families. The national, 501(c)3, non-profit organization was
established in 2000.
, 
The list is out. Pretty straightforward, with a few surprises (No Todd Klein or John Workman for lettering? And was Whatever Happened To The Caped Crusader not eligible?)
As sophists worldwide are aware, HaRav, HaGoan, HaWriter Adam-Troy Castro’s “
For a limited time (till the end of this week) Benbella Books has posted Adam-Troy Castro’s essay “
Glenn Hauman promised yesterday that I’d deliver a “fuller explanation of what’s been going on” vis-à-vis my piece “Welcome to Hollywood.” So in the interests of keeping this story alive (because you haven’t lived until you’ve heard the words, “You’ll never work in this town again”) I’ll try to squeeze in another few inches.
Savvy interweb surfer types may have noticed the viral campaign that hit the web last week; The stark white text on black background declaring that ‘Stan’s Back!”. Clicking it brought them no more information, rather, just a quick detour to a 
We’ve all had that argument with our mothers, haven’t we? “Why do you keep all those old comics in your bedroom?” …“Duh, mom, cause they’ll be worth tons of money one day, geez!”. And your mother, frugal as she is, looks at her collection of porcelain cat figurines, and laments. “They better be!”
Kars4Kids
