The Mix : What are people talking about today?

Joe Corallo: Maxwell’s Demons

Vault Comics is one of the biggest stories on the indie comics scene this year. With publisher Damian Wassel and editor-in-chief Adrian Wassel at the helm, Vault has created a line of science fiction and fantasy comics with seasoned veterans like Tim Daniel doing design and art direction as well as books like Fissure and rising stars including David Booher on Powerless and Alien Bounty Hunter (with producer Mark Wahlberg) and Natasha Alterici on Heathen.

This past week I was able to chat with Deniz Camp and Vittorio Astone about their new comic at Vault, Maxwell’s Demons.

JOE: What’s the elevator pitch for Maxwell’s Demons? What’s the hook?

DENIZ: Maxwell’s Demons is the story of Maxwell Maas, the greatest mind of his generation. Told in a series of standalone stories, each focused on Max at a different point in his life and arranged non-chronologically, it is the story of transformational greatness, as a boy of cosmic importance struggles against the horrors and wonders of a science fiction universe. He’ll journey to other universes, face alien assassins, fall in love, and confront his own demons in as mind-bending a fashion as possible. At the heart of it all is Max himself, his own abilities and inadequacies, and the changes he goes through, externally and internally.

VITTORIO: Nothing to add here, Deniz summed up the story perfectly.

JOE: How did this book come together? Were you both already collaborating, did you find each other?

DENIZ: I wrote what would eventually become the first issue of Maxwell’s Demons on my own. It was shorter, about 12 pages. I found Vittorio while browsing DeviantArt and was immediately struck by his work, his ability to capture scale and shadow and light. All of these, I knew, would be crucial to Maxwell’s Demons, so I browbeat him into working with me! When he said he was game, I expanded the page count and added content, and when he said he was game for more, I built a bigger, more intricate pitch for the series and the world, knowing that he could handle anything I asked of him. So far, he’s destroyed every expectation and hope I had! Vittorio will have his own take, I’m sure!

VITTORIO: Before Deniz contacted me, I had a completely different idea regarding my career. As many Italian artists, my goal was to find a job in the French comic book market, so, at the beginning, Maxwell’s Demons should’ve been just a brief diversion for me. But the potential of this series and Deniz’s talent convinced me to see where this story goes – and being a part of i

DENIZ: Vittorio says “talent”, but what he’s not saying is he means my talent for kidnapping his loved ones and holding them hostage. All’s well that ends well, though!

JOE: Well whatever you did, it’s working! So what made Vault Comics the perfect home for Maxwell’s Demons?

DENIZ: Vault has been amazing! At its core, Vault is a family and feels as such. I talked to Adrian and Damian (EiC and Publisher of Vault, respectively) just after their coming out announcement. By then we had already been producing Maxwell’s ourselves, and had many completed pages to show. They’ve been amazingly supportive of the book, and of us as creatives. They understood what we were going for right from the start, and gave us the freedom to pursue our most avant garde and strange formal ambitions, while helping us keep the story and the characters clear. It’s a better book for their involvement; richer, clearer, and more intentional. I’m incredibly grateful, and I think spoiled for all other publishers!

VITTORIO: Vault is fantastic! Adrian and Damian are always helping us in the creative process with their advice. And working alongside many talented artists is something that really pushes me to give my best. In general our working environment is always fresh and cheerful, except for when
Deniz writes too much complex stories and I have to menace him with a voodoo doll. True story.

DENIZ: This is a true story, but this ever-expanding rash and string of bad luck is a small price to pay for great comics!

JOE: I’m glad to see it’s working out! I also see a little bit of an Adam Strange influence in Maxwell’s Demons. What were some of your influences both in the story and the aesthetic?

DENIZ: Maxwell’s Demons was influenced by a lot of science fiction, and some of that pulpy scifi was in the DNA of the first issue, especially in the aesthetic: Flash Gordon (He’s a miracle!!), Buck Rogers, Adam Strange, John Carter, etc. But Maxwell’s Demons is a modern book, and we’re pulling from a diverse range of modern and retro influences to create something that feels new, and (hopefully) surprising. Rather than another world, in the first issue.

VITTORIO: Like Deniz said, pulp sci-fi was a big portion of our inspiration. Calvin and Hobbes was too. Max is, in fact, very much like Calvin, save from the fact that Calvin is often visiting other worlds just in his imagination. Also, we wanted his design to be somewhat naive, to better contrast with the dark tones of the story.

JOE: Maxwell himself is portrayed as a very lonely, yet determined kid. How did you both handle balancing this on the page for the readers to create a flawed and troubled yet sympathetic protagonist?

DENIZ: We’re all flawed, troubled-yet-sympathetic protagonists, right? (Well, everyone except Martin Shkreli, maybe. He F***** w/ the Wu Tang Clan).
Despite the absurd scifi trappings, Maxwell’s Demons is a very personal book for me, and I think it has the potential to be personal for a lot of readers. We’ve all felt isolated, by our intelligence or our inadequacies or interests or appearance. We’ve all had our best moments, and our worst. What I’m hoping to do with not just Max, but with all the characters in the book, is to show that dimensionality, to constantly upturn your understanding of the characters and your expectations as a reader. At the heart of Maxwell’s Demons is the thesis that not only do people change over time, but how the world sees them changes over time, too, as our understanding grows, or as the human being becomes subsumed by the legacy they leave behind.

VITTORIO: I think every one of us felt, at least once in his lifetime, alone because the way he saw the world. It’s very common when you’re a teenager, I think.
Max it’s defined not only by his intelligence and his adventures, but also by the regular, boring (often cruel) world around him, which is the reason why he built a portal to new universes in his closet.

DENIZ: Our metaphors are…unsubtle. :)

JOE: Maxwell has a very complicated relationship with his father. How did you both work on conveying this relationship in a way that would ring true to readers that may also have complicated relationships with family?

DENIZ: You can’t ever know how people will take these things, but speaking for myself: I wrote it from my own experience. When you’re a child, the world is a place of stark contrasts; people are heroes or they’re villains. The older you get, the more you come to understand that everyone’s just doing the best they can with what they’ve got. As a boy, even a very brilliant boy, I’m not sure Max can see it that way, but we can.

VITTORIO: In issue 1 Max’s father is very two-dimensional. But as the story goes and grows (and Max with it), we start to better explore and know this character, to see that he’s not just bad, but a complex, yet flawed, human. After we completed issue 1, Deniz wrote a beautiful epilogue to the story, to have a better view on him.

DENIZ: Most of issue 1 is told from Max’s perspective, and his father is very much one thing from Max’s perspective. But with the backup we’re able to get a story from Max’s father’s perspective, and that’s necessarily smaller, more intimate, with a less sharply defined morality.

JOE: Over the course of the first issue one thing I did notice was that there didn’t seem to be any female characters. While Maxwell’s Demons at its core is about a struggle between a father and son, will we be seeing any female characters introduced in future issues?

DENIZ: Yes! One particular female figure hangs over the whole series, but we’ll meet a very powerful female character in issue 2, and another (very different, but equally powerful) female character in issue 4. Vittorio has done an amazing job designing both, I might add.

VITTORIO: As Deniz said, later on the series we’ll see important female characters too. Which is good, because they are the one I usually have more fun designing!

JOE: Many comics today often feel that they are written for the trade paperback which isn’t necessarily a bad thing. We tend to get first issues with big cliffhangers that leave the reader unable to really tell you what the first issue was about. Here, while Maxwell’s Demons doesn’t answer all your questions, it does feel like a complete story which is very refreshing. What made you both decide to take this route with the series?

DENIZ: Thanks for saying so! I love comics as a medium, and I believe in writing to the medium and the format. Maxwell’s Demons is coming out in 24 page single issues, and each of those issues will be complete story. I want readers to come back because of the content, not because they got a 1/5th sliver of a story that’s unsatisfying on its own. The more you read, the more you’ll see that we’re actually telling one complex narrative, with connections and plot points that modify the issues that come before and foreshadow what comes after, but you can pick up any individual issue and get a complete story. In keeping with “writing to the medium”, future issues will feature a lot of experimentation in layout and the narrative tools that are unique to comics.

VITTORIO: I think this is one of Maxwell’s Demons’ strengths. Each issue is about a given moment in Max’s life, and they can be very far away in time from each other (you’ll see in issue 2!), so having a complete story simply was the best choice of narration.

JOE: Thank you both so much for taking the time to chat with me! Before we wrap up, is there anything else you’d like to add?

DENIZ: Just that we’ve poured our hearts and souls and brains into this book, and I genuinely believe it’s going to be one of the most ambitious and beautiful books you’ll read this year. I hope you’ll give us a chance! Thanks for the opportunity, Joe!

VITTORIO: ’Max’ is the biggest and greatest project I’ve worked on so far and I’m proud of it and my co-workers! Hope you’ll like it!

Maxwell’s Demons hits comic shops October 11th.

Ed Catto: One Man’s Treasure

You know the old saying: One’s man’s trash is another man’s treasure. That applies to me and my pals so often.

Now, I realize I’m very blessed: I have a great bunch of friends. I share interests and/or a long history with each them. I guess that’s part of the definition of a friend. But we don’t all love the same stuff. And when it comes to Geek Culture, a bunch of my friends just aren’t that into it.

I pity those fools as I flip through the latest PaperGirls.

Freddie P is that type of friend. He’s a long-time pal. We grew up in the same small town, kept in touch through college and lived near another in those wild just-a-few-years-outta-college days. After that, we always stayed in touch. We’ve watched each other’s families grow up. We laughed in good times and were always there in tough times.

My pal and his effervescent wife, Mare, just came for a visit. We had way too much fun catching up and enjoying some of the local wines and craft brews. I’m now in the Finger Lakes NY region, and this place is just crawling with ‘em.

There was one thing that I didn’t expect. Freddie surprised me by bringing his dad’s stash of comics. He wanted to me to evaluate them, see if they were worth anything.

He carted up three tattered old boxes with about 100 comics. Spoiler Alert: there was no Action Comics #1 in the lot. But there sure were a lot of treasures. As near as we can figure, this collection was cobbled together at different times over the years. Some comics his dad collected and some he would’ve snagged from garage sales. The Freddie P Collection is a nutty, mixed-up combination of wildly different comics.

Some of the wacky highlights include:

Walt Disney Comics
There’s a bunch of gorgeous Walt Disney Comics and Donald Duck Comics in this collection. These stories were reprinted several times, and these particular comics are not from the first run. But they are still pretty old. Most are from the late 40s and early 50s. They are joyous to read and some of the features, like the one-pagers on the inside front covers, make you smile from ear-to-ear.

Treasure Chest

I really wasn’t that familiar with this anthology series, but I’m glad there were a bunch in the boxes. Treasure Chest is a “wholesome” comic that was distributed in Catholic schools until 1972. Each issue contains an eclectic mix of stories many with non-traditional themes. One issue sports a fantastic Reed Crandall cover. Another features an Eisenhower biography inked and penciled by Joe Sinnott. It’s gorgeous!

Barbarians at the Gate

This paragraph may be painful for collectors. There’s a copy of Marvel’s Conan the Barbarian #1 and Kull the Conqueror #1. They are both in pretty good shape, except for the fact the corner boxes of each have been clipped out. Was it a kid making a collage, a trademark lawyer, or a young Joe Jusko preparing for a later-in-life painting series? We may never know the truth. Grrr…

Still Watching the Detectives

For some reason, there’s a bunch of late 60s issues of Detective Comics (starring Batman and Robin) but not a single issue of Batman. As you may know, both titles were published concurrently since the early days of the industry. What type of kid would buy only Detective Comics but not Batman comics? Another mystery.

There’s even a copy of Detective Comics #414, one of my favorites, which I had written about here.

What’s that you say, Archie?

There’s a bunch of Archie comics here, but one in particular really grabbed my attention. One adolescent, probably just learning about sex and sexual terms, had vandalized modified the characters’ word balloons so they are each saying obscene things. It’s childish, tasteless and hilarious. It had me snickering and I just had to read the whole thing.

Two’s Company
Those old Marvel “split books” would force two characters to share one comic. There were some real economic reasons for this, but there’s no denying that each issue is jam-packed with a lot of story! Comparing and contrasting these treasures with so many of today’s comics’ decompressed storytelling, one is amazed by how long it takes to read each comic. This collection contains: Tales of Suspense #96 (starring Captain America and Iron Man), Strange Tales #160 (starring Doctor Strange and Nick Fury, Agent of S.H.I.E.L.D.) and Tales to Astonish #72 (starring Sub-Mariner and The Hulk).

License to Thrill

It’s easy to forget how many licensed comics there were on the racks back on the day. The collection included these comics:

  • Get Smart
  • The Three Stooges
  • The Fantastic Voyages of Sinbad
  • Lassie
  • Voyage to the Bottom of the Sea

and last, but least:

  • Lancelot Link Secret Chimp

War is Heck

There’s just a smattering of war comics here, but what they offer a fantastic across the board representation of the genre Sgt. Rock, Capt. Storm, Sgt. Fury and the Howling Commandos, Air War stories, Combat and Sad Sack. The covers are particularly compelling – I can see why some kid snagged them all those years ago.

Metal Men

I never loved the Metal Men. Not even those issues with the Walt Simonson art. I kind of learned about these quirky robot heroes via reprints and the occasional Brave and the Bold team-up. So for me it wasn’t a big thrill to stumble across an old copy in this collection. But the weird part is that there are two issues of Metal Men #28 here! Seems like a pretty ordinary Metal Men adventure to me. The Metal Men fight bad guys, and get destroyed, and get rebuilt and then something happens with their responsometers and all the while Platinum, the female Metal Man, gets lovey-dovey with Doc Magnus (which still seems creepy to me). How did one kid in 1967 ever end up with two issue of Metal Men #28?

I’m going to take this collection to the Buffalo Comic Con this weekend (I’m a panelist on the Kirby panel) to find some fans who might treasure these comics. Maybe I’ll find some buyers. Who knows? Freddie P didn’t think these were treasures, but I sure do.

•     •     •     •     •

Thanks to Jeff Vaughn his merry band of dedicated and detail-oriented compatriots who publish the Overstreet Comic Book Price Guide. Of course, we all know it’s great for estimating the value of comics. But The Overstreet Guide is indispensable when it comes to understanding the complicated numbering of series like Walt Disney Comics and Treasure Chest. (Full Disclosure: I have contributed articles to the Guide.)

John Ostrander: The Ultimate Illegal Alien

I’m indebted to Fox News anchor (and blogger) Todd Starnes. About two weeks ago – okay, I’m late to the party again – he posted a commentary entitled “Superman defends illegals against angry American.”

In his complaint, Starnes gripes about a scene in the most recent Action Comics where “Superman comes to the rescue of a group of illegal aliens – under attack from a white guy wearing an American flag bandana and waving around a machine gun… Instead of rounding up the illegals and flying them back to where they came from, the Man of Steel snatches the white guy and with a menacing look snarls, ‘The only person responsible for the blackness smothering your soul – is you.’”

This upset Mr. Starnes no end and has provided me with grist for this week’s column.

I could start by pointing out that the incident is fiction (or fake news) and that Superman is not real but I’ll give Mr. Starnes the benefit of the doubt and assume he already knows that. Although the guy is the host of Fox News and Commentary so maybe one shouldn’t assume. But we will.

Superman stops the assailant from killing these people (the alleged illegals). And this is a bad thing – because? Maybe Mr. Starnes is conflating the First and Second Amendments in the Bill of Rights and suggesting that the use of the machine gun on illegals is an expression of free speech.

Okay, I’m joking. Sorta.

This is what Superman does. This is what Superman is supposed to do. Defend people (and they are people) like these. Would it be better if he let them die at the hands of this asshole no matter how good of a reason he thinks he has? That is Superman’s job. Deporting them afterward? He’s not I.C.E. – that’s not his job. He has no legal status to do that any more than I do or Mr. Starnes has.

What I’m really indebted to Mr. Starnes for is his observation “Clark Kent is technically an illegal alien – a native of Krypton.” (Okay, technically Kal-El is the illegal alien.) Supes came to this planet, this country, in a rocket and was found by the Kents in a field who then adopted him. No border guards or checkpoints. No visa. No green card.

Who better to symbolize what an immigrant, legal or otherwise, brings to this country? Kal-El’s strengths, his abilities, his character has immeasurably aided his adopted country. He represents Truth, Justice, and the American Way in all the best senses. He is not a rapist or a drug dealer or a terrorist as some would have us believe. Superman represents the best of immigrants, legal or illegal – and us.

So, thank you, Mr. Starnes, for this timely reminder. The Man of Steel is indeed an illegal alien. We should try to make him the face of the illegals and remember not just his powers and abilities but the fact that he also from small-town America and that Superman is a good man.

 

Marc Alan Fishman is Looking for Inspiration

Thanks in part to a very mystical social media maven, Unshaven Comics has recently enjoyed a bit of a renaissance on our Facebook page. With an increase of likes and, more important, engagement, I’ve been able to hold some really great conversations with our glut of fans. Most recently (as of my writing this), I brought up the question of our favorite artists. I did so because, to me, nothing immediately draws us all into the world of comic books before the art… pun wholly intended.

It’s the depiction – be it overtly bright and heroic or gothic and moody – of worlds impossible to live in that ultimately usher us into the pulp. The writing may, in turn, drive us further into our individual fandoms, but I’ll always believe that the visuals of comic bookery are inherently tied to our collective appreciation. Individual artists will hold our attention more than others. As such, I wanted to share with all of you a collection of these illuminated illustrators of whom I have felt a deeper connection to, that ultimately led me on my own long and winding path to being a creator myself.

Alex Ross

When tracking my love of comics, no artist comes to mind for me personally before Alex Ross. While I may have seen plenty of amazing illustrators in my youth prior, it was Ross and his affinity for the photorealistic that stopped me cold and forced me to enter into my now life-long love affair with sequential fiction. To see Batman, Superman, and Green Lantern per his brush, I was able to bridge the gap that had long stood between what felt like toy-box fodder and an art form. Not to dismiss the pantheon of amazing artists before him mind you. It was merely seeing heroes and villains in a new medium that opened my eyes to the potent pulp of Kirby, Ditko, and the like. Alex Ross makes the impossible seem possible, and because of it, his work on Marvels and Kingdom Come still remain my go-to examples when asked how best to break one’s self into the medium as a fan.

It was Alex Ross’s use of photo reference that calmed my own shaky nerves when it came time for me to dive into interior art. Knowing that I could use the tools of my fine art upbringing to help me build the worlds of the Samurnauts, I was able to overcome my lack of a skillset in creating something from nothing. It had long prevented me from ever trying to make comics. Seeing how Ross walked the line from a photo to a finished panel helped me, in my own meager way, do the same.

Mike Mignola

And let’s just go ahead and leap to the antithesis. Mike Mignola is one of those artists that captivated me the second I saw his angular and moody artwork. The way he balanced his awkward forms with garish shadows and minimal detail helped me see how an artist could make a world alien to our own even more alien. And because his work is most often simply colored, he helped me find an affinity for a less-is-more approach to a comic. While I myself can’t say that I see any of his influence in my own work… I oftentimes find myself with a comic or two of his on my side-table when I am in the very beginning of planning a page. And while someday I may trust myself to push my own style into a Mignola-esque direction, until then, I can simply enjoy the work he produces.

Mike Allred

Like many of my specific generation, my honest-to-Rao first look of Allred’s work was the animated intro to Kevin Smith’s Mallrats. Mike Allred’s simple-retro-hipper-than-thou art leaped off the movie screen far better than the dialogue deluge of Smith’s Generation X stoner flick ever could. Subsequent deep dives into the X-Statix, Madman, X-Force, and others only deepened my considerable admiration. And above Ross or Mignola, Allred’s work is presently on the tip of my own tongue – artistically speaking.

Mike Allred’s clean lines, kinetic figures, and throw-back style is 1000% what is pushing me towards my newest endeavors in the medium. With my forthcoming submission in Mine! to the subsequent spiritual sequel in the Samurnauts series, I am working hard to push my style into a similar vein. At present, my odd mashing of photo-realistic figures with overly fussy coloring served its purpose; continuing to revisit Allred’s work is forcing me to do what the best artists do… reinvent myself to become more myself such as it were.

Next week, I’ll be focusing on the yang to the artist’s ying. Excelsior!

 

Could S.H.I.E.L.D. Have Gotten That Warrant? Search Me.

Could S.H.I.E.L.D. Have Gotten That Warrant? Search Me.

 

 

 

 

To be honest, I no longer remember what Jane Foster did to make S.H.I.E.L.D. agents go all the way to Asgardia to look for her back in The Mighty Thor vol 2 # 9. But, to be honest, it probably no longer matters.

Whatever it was that Jane had done might to attract S.H.I.E.L.D.’s attention have been undone, when Kobik , those fragments of a Cosmic Cube that had coalesced into a little girl, changed the back story of the entire Marvel Universe to make Captain America an agent of Hydra. So it’s possible that whatever Jane had done, she didn’t do anymore.

Moreover, the people that were interested in Jane Foster were agents of S.H.I.E.L.D. But we’re talking about agents of S.H.I.E.L.D. under the old regime. You know, back when S.H.I.E.L.D. thought restraint was something you found in a BDSM club and overreach was what you did to get the salt at a crowded table. We’re hoping it no longer feels that way under the new regime or that it would still care about Jane Foster.

Att the time, it mattered to S.H.I.E.L.D., however, so we got this nonsensical scene in The Mighty Thor vol 2 # 9. (Boy will I be glad when Marvel goes back to legacy numbering. Cubes and supermodels’ hair should have volume, not comic books.) S.H.I.E.L.D. wanted to know what Jane Foster’s relationship was to the new Thor and, rather than simply reading the recap page of any issue of the comic, it obtained a warrant to search Jane’s quarters in Asgardia. S.H.I.E.L.D., presented its warrant to the officials of Asgardia, and tole them they intended to execute said warrant and search Jane Foster’s quarters with Asgardia’s permission or without it.

Whether S.H.I.E.L.D. actually conducted the search or what they found – the comic cut away from the agents and never returned to them – is the little question. But big question is how the hell did S.H.I.E.L.D. to get that warrant in the first place?

See there’s this little thing called jurisdiction. Jurisdiction isn’t the question of whether a judge has a stuttering problem, it’s the question of in what geographical areas the judge has the authority to issue rulings that would be binding. State court have the authority to issue rulings that cover the state in which they sit. Federal courts can issue rulings covering the districts or circuits in which they sit. The United States Supreme Court can issue rulings covering the entire country. And a tennis court can only make rulings on no-fault matters.

The problem with S.H.I.E.L.D.’s warrant is that Asgardia is a foreign country or realm or whatever it is. And whatever it is, it certainly isn’t the United States. United States courts have the jurisdiction over the United States not over foreign countries.

Look at extradition, which isn’t some Christmas custom you gave up for Lent. If United States courts could issue arrest warrants that were valid in other countries, we wouldn’t have to rely on foreign countries arresting people within their borders then extraditing them back to the USA. But we can’t, because our courts have no jurisdiction over foreign countries, so we do.

Better yet, look at nuclear proliferation treaties and the verification problem. The United States wants the ability to be able to search countries like Iran and North Korea to verify whether nuclear weapons are being built there. If the United States courts had jurisdiction over these foreign countries, they could issue and enforce search warrants. Verification wouldn’t be a problem. That verification has to be negotiated into a treaty leads one to the inevitable conclusion that United States Courts don’t have jurisdiction over foreign countries.

But what about the International Court of Justice, also known as the World Court? Does it issue search warrants? I don’t know. But if it does, could S.H.I.E.L.D. have gone to the World Court to obtain a search warrant for Asgardia? Maybe once, but not now.

If Asgardia were still sitting above Broxton, Oklahoma, then S.H.I.E.L.D. could have gone to a the World Court to get a search warrant, because Broxton and Oklahoma are both part of the world. (True some of the states have been talking about secession, but they only want to secede from the country not the world.) However, Asgardia isn’t in Broxton anymore. It moved. First, bang zoom, to the Moon and then into orbit around Saturn. People who visited Asgardia said it was out of this world. Now it actually is.

Asgardia isn’t part of the planet Earth anymore. Which means that the World Court would lack jurisdiction over it, because Asgardia isn’t just a foreign country, it’s an extra-terrestrial country.

I know of no judge on the planet Earth that would have had sufficient jurisdiction over Asgardia to issue a valid search warrant. And I know of no extra-terrestrial judge who could have issued the warrant either.

Please don’t start telling me about all the extra-terrestrial judges in the Marvel Universe such as Ronan the Accuser or Judge Kray-Tor. Maybe they could only have issued the warrant, but they could only have done it if S.H.I.E.L.D. had gone to them requesting it. And do you think S.H.I.E.L.D. went to one of them to get the warrant?

I don’t. But I cheated. I examined the actual search warrant those S.H.I.E.L.D. agents were flashing using the low-tech equivalent of that tired TV trope, “zoom and enhance”, a magnifying glass. I read the small print that was actually on the warrant. It was issued by a New York state court in Westchester County. Not Ronan or Judge Kray-Tor or Diana Ross and the Supreme Intelligence. So, case closed.

And that leaves only one remaining question. Why the frak didn’t I think to examine that search warrant under a magnifying glass several paragraphs ago, before I started to write about the World Court or extra-terrestrial courts, and spare myself all that typing?

Martha Thomases: TV or Not TV?

As I was watching the 2017 Emmy Awards last Sunday, I thought about how much the television industry has changed. It’s a cliché to say that this is the Golden Age of Television, but, in many ways, that is true.

However, that is not what I want to talk about.

Women and people of color won an unusually high percentage of awards. I mean, women always win in the “Best Actress” categories, but there were women (and people of color) (and queer people) winning in the writing and directing categories as well. This didn’t go unnoticed. To quote from Master of None writer Lena Waithe’s acceptance speech “And last, but certainly not least, my L.G.B.T.Q.I.A. family. I see each and every one of you. The things that make us different, those are our superpowers. Every day, when you walk out the door and put on your imaginary cape and go out there and conquer the world — because the world would not be as beautiful as it is if we weren’t in it.

Those words describe my favorite thing about superhero comics.

Winning awards, especially in the entertainment industry, is not necessarily a matter of quality. A lot of awards get won by people who are good at marketing, or who are owed the most favors. This year seemed to me to represent a real sea change.

There are so many ways to watch “television” these days that sometimes I wonder if we should find a different noun. If I’m watching on my phone (which I never do, because I am old and my eyes are as well) or my computer, is that TV? Maybe, but websites aren’t referred to as “magazines” even when the content is the same. Is it fair to make broadcast television, which is subject to restrictions from government licensing and advertisers, compete with cable and streaming companies? Is it fair to ask me to judge which awards are appropriate when I haven’t seen everything, and I’m already paying for four premium services? Am I made out of money here?

This abundance is, to my mind, a good thing. There are so many different kinds of things to watch. I’m not into reality television but, if you are, there are all sorts of non-fiction programs. Some are good and some aren’t. I very much want to like the Emmy-winning Atlanta, but I can’t figure it out, and I’m fine with that. It’s okay that everything good is not for me. It’s great that there is something good for everybody.


Instead of fighting over pieces of the pie, creative people (including, in this instance, producers) have made more pie.

More than 25 years ago, when Milestone Media started publishing, this was their attitude. Instead of complaining that the Big Two comics publishers were run by white men, with heroes who were white men, aimed at an audience of white men, Milestone created new characters to appeal to new audiences. Those comics sold like crazy until DC, for whatever reasons, screwed up the marketing. Even now, if you go to a comics convention, you’ll see cosplayers in Milestone-inspired costumes.

Not everyone is happy about this. Insufferable preppie Tucker Carlson who looks and sounds like a lot of the guys who were popular in my high school, and now think high school is the way the entire world is supposed to work, used the Emmy Awards as an excuse to lambaste Ta-Nahiei Coates. Not that Coates needs any advice from me, but he should be fairly pleased that he is such a good writer that he’s getting under Carlson’s skin. If I was Marvel, I would promote Black Panther with Carlson’s clip.

I think it is because there are so many ways to watch “television” these days that we have so much good TV. I think we can apply the same lessons to comics and graphic storytelling. I love my local comic book store but, if I was a new customer, I would be lost trying to find something to read. Bookstores, with a longer history of appealing to different tastes, would work better for my introduction to the medium. And, if I wasn’t ready to invest in printed paper, I’d appreciate a way to sample things online.

Online comics are no more my thing than Survivor (not that they are similar in any other way), but both attract millions of eyeballs every year. Both provide a way for creative people to earn some money and express themselves.

Time and the marketplace will determine what’s good and/or what people want.

Notes, Vol. 1: Born to Be a Larve by Boulet

Boulet is one of those European Cartoonists who are so cool they only need one name, like Herge. (And several others — I feel like there’s a lot of them, but can’t be bothered to research the question right now.) Or maybe it’s not a coolness thing — perhaps it helps them avoid the social shame of being known publicly as a cartoonist? Or maybe it just fits better on a comics page as a signature?
So many possibilities.

Anyway, his real name is Gilles Roussel, but he works in comics as Boulet. And he started a blog in 2004, which seems to be what really pushed his career forward and gave him some momentum. (2004 was a good year for blogs — most of the years since, not so much.)

The blog has been collected in several volumes in French, under the overall title Notes. (Wikipedia lists four volumes, but that’s only through 2010. Actually, that Wikipedia entry seems to stop listing anything as of about 2010, which leads me to believe it hasn’t been updated this decade.) Last year, Soaring Penguin Press — which I’ve never heard of before, though I immediately like them for their name — had the first volume translated and published it in the UK. And somehow one copy of that edition found its way to an independent bookstore in New Jersey and finally into my hands.

That book is Notes, Vol. 1: Born to Be a Larve . (Not sure why it uses the French spelling “larve” rather than the English “larva,” but that’s just my editor-brain kicking in when no one asked it to.) And it collects roughly the first year of that comics-blog, plus some framing pages of Boulet talking to a woman (his editor? a friend? another comic-blogger? she doesn’t seem to be a girlfriend,  and I can’t find anywhere she’s named) about assembling and organizing this very book you’re reading.

The new material (well, “new” as of 2008 when the book was assembled) comments on and contextualizes the older blog entries — this is a fancy way to say that Boulet and his unnamed female interlocutor talk about the story on the previous pages, and Boulet sometimes gives more details about those stories.

Because this is the kind of blog that’s based on real life. (They all supposedly were, and it can be hard to tell how much any individual blog is “real,” I suppose, but this is mostly day-to-day life-of-a-cartoonist stuff.) There’s some stories about conventions, and some stories about daily life as a cartoonist, and the inevitable here’s-the-dream-I-had-last-night-because-I-can’t-think-of-anything-else-this-week entry. All of the old blog entries are in color — some seem to be watercolored, and some are more traditional spot color (by Boulet, presumably) over pen-lines. The new stuff is mostly black-and-white, except for the orange of Boulet’s hair. (Which is a fun design element, and also shows how much his style loosened up between the initial blog entries and this book.)

Some of the stories are a single page, but they’re generally longer than that — enough to tell a little story, or run through a series of events. The stories themselves are not dates, though Boulet mentions several times how much trouble it was to find all of them and put them in the correct chronological order.

So this is a book of parts — Boulet explicitly worries about that in his framing material up front, and revisits the idea at the end — like a book of short stories. It’s all things that happened to this one French cartoonist (even if some of them, as with many creative folks, were things that happened entirely in his head) over the course of a year more than a decade ago.

(By the way, the blog is still going, and there’s an English version now — the latter is available here .)

If you’re the kind of American whose conception of “comics” is entirely filled by people in bright colors punching each other, this is very much not the book for you. I hope there aren’t actually that many of you, but — since I’m a pessimist — I tend to assume you’re the majority, you thick-knuckled vulgarians you. But, for the rest of us, this is a neat book by an interesting creator, and for other comics-makers, it’s an intriguing look into a life in comics in a somewhat different market and ecosystem.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

Tweeks Supernatural Interview Pt 1

Supernatural will begin it’s 13th Season on October 12 on The CW. That is only three weeks away! So to catch you up to speed, here is our interview with Jensen Ackles (Dean), Jared Padalecki (Sam), and Misha Collins (Castiel)!

The possible spin off that was announced at SDCC, Wayward Sisters, is mentioned briefly. We’ll bring you more info on that when we have it, but so far we know it will be an episode during this season of Supernatural that will serve as the pilot. It will star Kim Rhodes as Sheriff Jody Mills, Briana Buckmaster as Sheriff Donna Hanscum, Kathryn Newton as Claire Novak, Clark Back as Patience Turner, and Katherine Ramdeen as Alex Jones.

I Told You So by Shannon Wheeler

I can’t claim any connection to the cartoonist Shannon Wheeler, despite the name similarity. Oh, he lives in Portland, as does my brother — but I think that’s as close as it gets. The Wheelers are a vast clan, with our fingers in all of the world’s pies, and Shannon’s branch is very distant from my own.

But, still, he is a Wheeler, and thus one of the best in the world at whatever he chooses to do, by the power of that exceptional name. In his case, first there was the hit comic Too Much Coffee Man (in several formats, for a long time, and not quite done even now). But he’s also been working seriously on New Yorker-style single-panel cartoons for at least a decade now, with some success in that fine magazine.

And, since he’s a guy who publishes the cartoons he makes — a man wants to eat, and his audiences wants to laugh — I’ve seen two books of those cartoons so far: I Thought You Would Be Funnier and I Don’t Get It .

I don’t actually know how many of those books there are, now — I have a vague sense Wheeler has been putting out one a year, since since when or until when is less clear — but I found and read another one last month: I Told You So , published in 2012.

This one is loosely organized by place — San Francisco, New York, Portland, The Suburbs, The Internets, and Unexplored Places — which are, more or less, where the respective cartoons take place. It’s as good an organizing principle as any other, I suppose.

And it’s full of single-panel cartoons, in the arch, somewhat artificial New Yorker style. (All art is artificial, of course — that’s what makes it art. So that is in no way a dig.) Wheeler has a classic cartoony style here, full of tones and soft edges, that primes the reader to look for this kind of humor. (Well, it does for me, at least.)

Again, he is a Wheeler, and therefore excellent at what he does. It’s no surprise he was good at this kind of cartoon. If you like New Yorker-y cartoons, Wheeler has a number of these little books full of them, and so far I can recommend them all.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

Glenn Hauman: Do You Really Need To Say It?

Scènes à faire. Ever heard of it?

It’s an interesting concept that writers and artists encounter when they work, although they may not know what it’s called. It’s French for “scene to be made” or “scene that must be done”. In practical terms, it refers to a scene in a creative work that’s pretty much obligatory for the genre.

If you’re doing a story about a doctor, you will sooner or later have a dramatic shot of a patient on a cart pushed through swinging hospital doors. If you’re doing a story about a lawyer, sooner or later there will be an impassioned speech in front of a judge. If you’re doing a story about a little old lady in Maine who writes mysteries, sooner or later there will be a dead body. If there’s an evacuation, there will be a shot of a toy sadly left behind; if there’s a fruit cart during a car chase in an ethnic neighborhood, the fruit will become ingredients for a smoothie; if there’s a gun on the mantelpiece, it will be fired— on and on and on. ComicMix’s house metaphysician, Del Close, used to have a saying: “Never share a foxhole with a character who carries a photo of his sweetheart.”

And if there’s a superhero story…?

Sadly, you can probably come up with a lot of things in here that just seemed preordained to show up.

First off, it’s a one in a billion thing. A lightning bolt will hit a rack of chemicals that you’re near, a radioactive spider will bite you and not kill you, an alien will come down and give you a thingamabob of immense power, you’re the one in a generation prophecy made flesh, or a completely random mutation, or your billionaire parents were shot dead in an alley— you can list these as easily as I can.

At the same time or shortly thereafter, you get THE MOTIVATION. That’s the reason why they get dressed up and do what they do, and that is important, because that often reveals character. (It better reveal character, the person has suddenly decided to start wearing funny clothing outside and potentially be shot— “it seemed like a good idea at the time” just won’t do.)

Now: can you tell a superhero story without telling the origin?

Well, yes. Spider-Man: Homecoming avoided telling (or retelling) the more famous moments of Peter Parker’s backstory (although we do see how he gets various iterations of his suit) and instead focused on what he does now as a person. There was an early draft for a Green Arrow/Suicide Squad-ish movie called SuperMax where Oliver Queen was just tossed in prison with a bunch of supervillians and had to get out. No origin, no recap, just hit the ground running. The first X-Men movie doesn’t go into the backstory of all these mutants, just throws in the plot, the sides, the stakes, and go.

Some stories are even doing this now with fight scenes, because fight scenes rarely reveal character. The most extreme example that comes to mind was what Peter David did in Captain Marvel between issues #5 and #6, he had an entire cosmic crossover battle and destroyed the universe— and did it all off-panel.

The point? The point is: get to the point. We’ve seen the classic bits already, and many of us can pretty much take them as given. The point is not the origin itself— but how and why this changes the character.

We’ve seen the universe end before. Show me why your character wants to end it.

(Hat tip to Jim Valentino for Normalman #1.)

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