Alan Moore famously has a love-hate relationship with superhero comics. Well, I mean, a lot of people love or hate superhero comics, and plenty do both. The difference is that superhero comics hates and loves Moore back.
In the late ’90s, after he’d cast a magic incantation cursing DC Comics and all of its wares, swearing never to work for them again under any circumstances, Moore started his own line of superhero comics, under the not-at-all-self-aggrandizing label of America’s Best Comics. And then his publisher sold the entire company to DC anyway, pretty much simultaneously with the launch of the ABC line.
(It’s almost enough to make one believe that deep Northamptonian magic doesn’t actually do anything!)
One of those ABC books was Promethea, with art by J.H. Williams II and Mick Gray. I read the first collection sometime in the early Aughts, and didn’t remember a whole lot about it. (I do remember that nothing I saw of America’s Best Comics, then or later, impressed me all that much. But I can be hard to impress when it comes to superhero stuff.) Since I’m reading giant stacks of comics-format books this year to feed the maw of Book-A-Day, I figured I might as well try Promethea, Book 1 again.
(I’m still not that impressed. This is not a surprise.)
Promethea the character is a legacy hero, one of many in Moore’s work — he’s been very fond of having his main character be one of a million versions of the same thing, from the Captain Britain multiverse to the Parliament of Trees. This time, the original of Promethea is a fourth-century girl in Egyptian Alexandria bodily transported to the realm of story by the god Thoth-Hermes, and somehow because of that gets to be the template for a series of mystically-powered superwomen starting at the end of the 19th century in the US. Since Moore always has miles of notes, I’m not going to ask what Promethea was doing for the intervening thirteen centuries, because he’d probably tell me in great detail in some tedious end-of-book text feature.
Our brand-new Promethea is Sophie Bangs — that name sounds much more like a camgirl than a superheroine, but OK — in a mildly science-utopian 1999, a slightly alternate comic-book-universey version of the real world her story was published into. She’s a college student researching the legend of Promethea, providing both the natural opportunity for a lot of infodumping and the reason why she gets saddled with the glowy caduceus staff and form-fitting bronze armor.
There are, of course, equally mystical evil people who want to snuff out this new Promethea before she comes into her full powers, and they try to do so. But most of the story here, from the first six issues of the Promethea comic, is an extended tour of the Immateria, the lands of story and myth, in the company of each of the recent dead Prometheas in turn.
That tour is not over at the end of this book; nothing is actually resolved by the last page here and Sophie/Promethea is heading out into a promised two more sections of the Immateria to learn more lessons from more dead predecessors. Why this is where the vast and cool intelligences of DC chose to end this particular book is beyond me; I suspect they believe that their target audience doesn’t understand the idea of stories “ending” anyway, and so don’t bother wasting time with such things.
But I am a well-known cynic.
Promethea is a perfectly adequate superhero comic, with powers and characters that make more sense than many of its competitors. Williams and Gray draw well, and get some inventive page designs out of it. You could certainly do worse than this.
It feels as if Mark Wahlberg is casting about for a franchise to call his own. The actor, who recently bailed on the remake of The Six Million Dollar Man, may have found it in his fourth outing with director Peter Berg, Mile 22.
This action-adventure film, out now from Universal Home Entertainment, introduces us to CIA operative James Silva (Mark Wahlberg). He’s been tasked by Overwatch leader John Malkovich with bringing an asset, police officer Li Noor (Iko Uwais), to the secret Mile 22 facility so they can extract the life-threatening secrets he holds about the whereabouts of several radioactive cesium isotope dirty bombs. With that thin, familiar set-up, he’s off and running and we’re breathless trying to keep up.
We travel to interesting locales (Colombia filling in for Indonesia), have one set piece after another, watching Jason Bourne/Ethan Hunt/James Silva avoid being blown up, shot, stabbed, or beaten to death. The action is decorated with all the latest surveillance tools and cybersecurity wizardry so it looks good.
Lauren Cohan plays Alice Kerr, Noor’s handler who was wounded prior to the film’s main story and is seen dealing with the after effects and repercussions. Her arc is surprisingly good and helps ground the film from floating away at warp speed. Her performance and Uwais’ make the film more enjoyable than it should be.
One has to credit Lea Carpenter, in her debut screenplay (doctored by Graham Roland) for providing us with the template for adrenaline-filled adventure with a likeable lead. If only he weren’t so cardboard – maybe next time.
The movie comes as a Blu-ray DVD, Digital HD multiscreen extravaganza and has a fine high definition resolution and audio track
The picture in its 2.39:1 aspect ratio and DTS-HD Master Audio 7.1 sound quality on the Blu-Ray are solid as expected and the special features include interviews from the premiere on the red carpet with the cast, six behind the scenes featurettes along with soundbites and B-Roll.
The Blu-ray special features are as lightweight and forgettable as the film they support. These include: Overwatch (1:36), detailing the para-military division in Mile 22; Introducing Iko (1:48): shining the camera on international action star Iko Uwais; Iko Fight (1:47), more or less continues the previous piece focusing on his training and choreography; Bad Ass Women (1:44) has actors Lauren Cohan and Ronda Rousey and writer Lea Carpenter, celebrate female empowerment; BTS Stunts (1:56); Modern Combat (1:56) shows what goes into making one of these films, which requires multiple cameras and carefully planned cinematography to capture the death-defying stunts; and finally, Colombia (3:45), a travelogue of sorts.
Ever since Loggins and Messina tugged on our heartstrings with the wistful ‘70s ballad “House on Pooh Corner”, the notion of saying goodbye to childhood playmates has tinged A.A. Milne’s delightful Winnie the Pooh stories. It was seemingly inevitable that the song would be turned into a story, which more or less explains this summer’s Christopher Robin. The film, out now from Walt Disney Home Entertainment is incredibly predictable but still charming in its own way.
We have an adult Christopher (Ewan McGregor) who has married Evelyn (Hayley Atwell) and they have a daughter Madeline (Bronte Carmichael). However, the joy of childhood is gone in his life, replaced with drudgery, as he has become the London equivalent of the salaryman, working for a gray luggage company with inept management.
While the audience is shown that the inhabitants of the Hundred Acre Wood gang – Winnie the Pooh (Jim Cummings), Owl (Toby Jones), Tigger (Jim, Cummings), Eeyore (Brad Garrett), Rabbit (Peter Capaldi), Kanga (Sophie Okonedo), and Roo (Sara Sheen) – are aware Christopher has grown and left them behind, they have no real sense of time.
Circumstances, though, allow Pooh to enter Christopher’s world and they have an awkward reunion, as at first, he’s delighted to see the “silly old bear” but has already given up his much-needed family vacation to find a plan to salvage the company or fire half the staff. Pooh becomes an impediment, as he has to bring the playmate back to the Wood.
Once home, we know he’s going to reconnect with his childhood, resolve the work issues, rekindle his family connections, and all will be well with the world. So, the question comes down to execution. The screenplay by Alex Ross Perry, Tom McCarthy, and Allison Schroeder is serviceable but lacking in whimsy and charm so director Marc Foster does what he can. The CGI is a delight and the interaction of humans and animals works just fine.
Foster makes an interesting choice in having London and the Wood but darker, overgrown, and less than welcome, equating the two is odd when we’re expecting more of a contrast. They certainly stand out in sharp contrast to the visual humor and wide-eyed reactions when people meet the animal gang for the first time.
The film is entertaining enough but you wanted more than the expected. At least the high definition transfer, retaining the original 2:39:1 aspect ratio, nicely captures the tonal differences in location. It comes with a fine 7.1 DTS-HD Master Audio mix as well.
The Blu-ray, DVD, and Digital HD multiscreen pack offers up some nice, not great, special features. We start with “A Movie is Made for Pooh,” (5:28) the standard behind-the-scenes featurette with cast and crew chatting it up; “Pooh and Friends Come to Life,” (3:16) Carmichael narrates this look at the 3-D CGI renderings required for the production; “Pooh Finds his Voice,” (2:43) Cummings gets the well-deserved spotlight and he nicely credits his predecessor, the late Sterling Holloway; and then we end with “Pooh and Walt Become Friends,” (2:43) which revisits Walt Disney’s introduction to Pooh via his daughter Diane, and what happened next.
For those who use the Digital HD at Movies Anywhere, you get an exclusive feature: “In Which…We Were Very Young” (3:51), which gives us insight to the real Christopher Robin.
I spend more time than is reasonable worrying if I’m doing things right. Even worse, often what I mean by “right” is “fitting the rules I made up myself, which I haven’t bothered to clearly codify.”
Obviously, a healthy person would not spend time on anything like that, but I am a blogger, and so clearly not that healthy.
So my first question after reading Gilbert Hernandez’s standalone 2013 graphic novel Julio’s Day was whether it really counts as Love and Rockets. Oh, sure, two excerpts from it appeared first in the New Stories paperback series, but most of this story didn’t, and it has no connections with any of his other L&R work. (On the other side of the argument: a lot of his L&R work has no connection to the rest of his L&R work; he’s been more likely to go off on tangents than his brother Jaime.)
Since I’m writing this here now, you’ve probably already assumed that I decided it counted. And I did. But I had to worry the issue for a while first.
The next big question is whether it’s way too reductive to call Julio’s Day the story of the hundred-year-life of a completely closeted Mexican gay man. And that’s a nice label, but it doesn’t reflect what the book is actually about. Julio himself isn’t really all that central to his own story to begin with: he’s pretty colorless for a Gilbert Hernandez protagonist, overshadowed his entire life by the more vibrant members of his family.
As usual for Hernandez, “vibrant” is not at all the same thing as “positive.” Julio’s uncle Juan is one of the most distinctive characters here, and he’s a deeply damaged person, compelling to sneak away with baby boys and do unspecified things with them. The rest of Julio’s family, and the few others they interact with, are quirky in similar Gilbert Hernandez ways, but Julio himself remains transparent, the void at the center of his own story.
Like Palomar, this town is somewhere in Latin America. Also like Palomar, Hernandez will not be any more specific than that. Julio’s life matches pretty closely to the twentieth century, from small bits of internal evidence, but that’s all background: Julio is not involved in any great issues, and barely any small issues. He just lives here, for a long time, while other things happen around him, mostly far away.
There’s a hundred pages of incidents and no real overall plot: this is a story of episodes, moments over a hundred years when Julio was there to witness them. (Or was somewhere else: the two pieces published in L&R follow other members of his family on journeys, first his father and then his grand-nephew.)
In typical Hernandez fashion, there are bizarre, horrifying diseases and deaths, and many random, mostly unhappy events — a long life in a Gilbert Hernandez story is a sequence of sad and shocking moments, ended only by death.
The title is ironic at best, as well: not only is this the story of a hundred years, not a single day, but Julio never really had a day, either literally or metaphorically. His grand-nephew poses that question to him near the end, and that’s the source for the title — but Julio was never in the right time or place to seize that day, and maybe was never the person who could have seized that day.
Does that make Julio’s Day a cautionary tale? It’s not focused enough for that, and I think Hernandez would deny that impulse — he’s never been one to make a single lesson with a story. Gilbert Hernandez stories aim for the complexity and confusion of real life: too many things happening to too many people to turn it into a single narrative, and all of the lessons possible in there somewhere.
And I suspect Julio’s Day is the kind of book that rewards multiple readings, to trace the connections, personal and visual, over this long century, from the moment Julio opens his mouth to be born until the moment his mouth hangs open in death.
I read the first volume of Martian Confederacy nine years ago, around the time it came out, but clearly didn’t love it enough to jump into the second book any time quickly.
But time wounds all heels, and, during a business trip recently, I remembered that I had The Martian Confederacy, Vol. 2: From Mars With Love on a device, and so read it to keep the Book-A-Day streak going. (If you think that “streak” is filled with the book equivalent of a lot of bloop singles, well, you’re not wrong.) As with the first book, it’s written by Jason McNamara and drawn by Paige Braddock, and both of them will probably be very surprised to see this post pop up if they have the usual Google ego-searches active. (I’m sure they’ve done plenty of other stuff since this, and I like to believe that everyone gets better, too.)
Martian Confederacy has a veneer of seriousness and drama, but it’s a loose, ramshackle construction that fights against that seriousness every step of the way. (I called it “the Dukes of Hazard on Mars” the first time around, and I stand by that.)
As the cover gives away, central this time is a love story between our somewhat lunkish (but good-hearted) hero Boone and Lou, his android roommate (platonically, up to this point). They set off to investigate the abduction of the children of a friend of Lou’s — there’s a big hole in the side of their trailer and everything — and end up being shanghaied by the Alcalde into investigating a wider problem, and breaking his rules to get off the planet and find the culprits.
You see — and you’ll want to be sitting down for this — there’s a planet-wide child theft ring, which nobody has heard about for some reason, and the Alcalde (corrupt, the only law/government on the entire planet, no apparent thugs to actually enforce his edicts but he acts like someone will do what he decrees) tells Boone and Lou that they need to solve the problem before he (the Alcalde) comes back from his honeymoon. Oh, and they’re specifically ordered not to leave the planet, though the instant they start to think it about, it’s clear the kids were all kidnapped to somewhere other than Mars.
That’s how From Mars, With Love is the whole way: superficially plausible as long as you don’t think about anything for even a second, and full of very durable cliches mixed with random oddities. (The Alcalde’s new wife is two women, connected upside-down at the torso, and they flip around semi-randomly, taking over the personality and activity of the single person they seem to be legally.) The universe is pretty crapsack — slavery (at least of non-human sentients) is legal, kidnapping kids is pretty common, and everything is pretty beat-up and junky. And the plot is the usual combination of fighting and let-me-tell-you-what’s-really-happening, with the kind of ending you’d expect from a story like this.
I have a feeling the creators took it a bit more seriously than I did, but that’s OK: you should commit to the things you’re doing. As far as I can tell, this is where the series ended — two collections of outlaw medium-future adventures, sticking it to The Man on the red planet. It’s unique, I’ll give it that: it’s definitely one of a kind.
Hey, remember Minx? (Don’t worry, a lot of people don’t.)
DC Comics launched that imprint in 2007 to great fanfare, with a raft of interesting creators (many from outside the comic-shop) world and a focus on fiction for teen girls that was unusual for comics of the modern era. It flopped in barely a year, though: that’s why you might not remember it.
Other companies, before and since, have published plenty of very successful books for this audience — I need only mention the name Raina Telgemeier. But DC didn’t manage to do it: maybe because they were too locked into their usual distribution channels, maybe because “DC Comics” turned off those girls, maybe because the stars just weren’t right. But it did flop.
But somehow, without realizing the connection, I had a publicity copy (in electronic form) of the Dark Horse book The New York Four, from 2014, which also included the aborted sequel The New York Five, which was done for Minx but never published by them. (And I mean literally not realizing; I figured it out while starting to type this.)
But now I’ve knocked off one more Minx: I think the only ones I haven’t seen now are Burnout and Token.
The New York Four (the original graphic novel) was also, in a way, a follow-up to Local, a Brian Wood/Ryan Kelly comic about an aimless young woman from a year or so before. But this one is more obviously made for the teen set: every one of these four women has A Problem, presumably one that some segment of the target audience would relate to. (I don’t think it was that mercenary, but we do have The Catfished Girl, and The Stalker, and The Sugar-Daddy Chaser, and The Outer-Borough Slut, if you want to be reductive.) The first story focuses almost exclusively on The Catfished Girl, Riley, who is also said to be a bookworm (we don’t see this) from a demanding family whose older sister ran away for mysterious reasons seven years before. The other three are supporting characters in the Riley story in Four, though the slightly shorter Five is more balanced. A different structure, one that let each woman have an independent story that the others supported, might have been better, but even this structure didn’t make it out into public unscathed, so I’m not really complaining.
The characterization is thoughtful but tends to be one-note — each of the Four is mostly her issue, which is underlined by one of the organizing principles of both Four and Five: they’re all taking part in an unlikely get-college-kids-to-take-high-school-exams-regularly program, which is also inexplicably well-paid, and they have to meet regularly with a psychiatrist as part of this program. It’s entirely possible that Wood is basing this fictional program on something similar or identical in the real world, but it seemed incredibly bizarre and unlikely to me, a convoluted way to get his characters into reality-TV style “tell your story into the camera” moments.
Kelly’s art is lush and detailed, with all of the people distinctive and real. He gives this book a lot of depth, down to body language — look at main character Riley on the cover! can’t you tell a lot about her just from that? — and facial expressions.
But it feels like there’s just too much here, and Wood ends up giving short shrift to the fact that these women are in college — we barely see them in class, and they don’t interact with other students at all. I suspect that he had a novel’s worth of ideas for a novella-length story. And I can’t help but compare it to the John Allison-written Giant Days, which started slightly later and was in pamphlet-format comics originally, which let it give each of its (only three) young women the spotlight in turn.
There’s a lot of good in The New York Four, and it could have been better if it and Minx had been a success: I expect Wood and Kelly would have done further stories, and maybe even followed these women all the way to graduation. Oh, well. Failure is the way of the world…and that’s a lesson you can also get by readingThe New York Four.
This book came out of a particular moment, and a particular place — England, in the mid-80s, during one of its periodic frenzies about “offensive” material in comics form. But it’s more generally applicable, to any nation that claims a heritage from an Abrahamaic religion (which includes, I’ bet, 95%+ of the people reading this.)
It’s a book that was created to make a point. An obvious one, for people who actually knew the truth, but Bible-thumpers are regularly ignorant of many of the horrible lessons contained in the thing they thump.
The title gives it away, of course: Outrageous Tales from the Old Testament. All the murder and rape and war and human sacrifice and “take my virgin daughters instead of my male guest” that can be crammed into 68 pages, by a crew of major and semi-major names from the independent UK scene at the time. The book was edited and assembled by someone, but that person is never named — it’s some editor at Knockabout Publications at the time, but I have no idea who that is.
To be blunt, Outrageous Tales is pointedly saying the the source of a lot of people’s moral compass is full of horrible lessons and shocking stories and thoroughly evil deeds, many of them very much in the name of You Know Who. (Almost as if it were a collection of legends from a savage group of desert tribes from more than a thousand years!)
So Neil Gaiman writes a long section adapting a whole bunch of the book of Judges — one of the ones that doesn’t come up much in the modern day, since it’s full of horrible things and the main lesson is “do what God says or die horribly, and maybe die horribly even if you do” — turning it into something very much like an EC Comic. Mike Matthews does the very twisted “host” art for the opening and closing sections, with other artists (including Dave McKean) doing the bits in the middle.
Other greatest hits of the Bible include an Alan Moore/Hunt Emerson take on a long list of “kill people who have fucked in this incorrect way” from Leviticus, with Emerson gleefully depicting a rapidly shrinking Israelite tribe killing their fellow tribesmen who broke each rule in turn. Kim Deitch does a straight adaptation of the book of Job, without any of the rib-nudging of many of the other stories, and it’s still horrifying, since Job’s is a horrifying story. Brian Bolland has Elisha cursing forty-two boys to be eaten by bears for calling him “Baldy,” and Dave Gibbons turns the angels of Sodom and Gomorrah into something like aliens. (Which, in retrospect, seems to be slightly off-message.)
There are a few other stories tucked into the niches in between, but it’s not a long book — only 68 pages, as I said. And it is all pretty much the same tone: can you believe what’s in this old book of laws and stories?
I can believe it, but I am the guy who won the Bible Olympics as a teen two years running. (It was a very liberal church, so this material was never an emphasis — but what teen boy isn’t fascinated with the horrible Old Testament stuff?) You may not need this book to learn this lesson. In fact, that’s the real problem with Outrageous Tales: the people who most need to learn this lesson will never learn it from a book like this.
But most lessons are like that, aren’t they? If they were easy, they wouldn’t be real lessons.
DENVER – November 9, 2018 – Superman’s greatest adventure – his death and rebirth – will be unveiled in a special two-day exclusive theatrical event as Warner Bros. and DC join forces with Fathom Events for a double feature presentation of the previously released The Death of Superman and the first in-theater screening of the all-new Reign of the Supermen nationwide on January 13 and 14, 2019.
As the second half of the double feature, Reign of the Supermen will be seen nationally in theaters ahead of its Warner Bros. Home Entertainment release on Digital starting January 15, 2019, and on Ultra HD™ Blu-ray Combo Pack and Blu-ray™ Combo Pack on January 29, 2019.
The Man of Steel meets his ultimate match when the monstrous, unstoppable creature Doomsday comes to Earth – hell bent on destroying everything and everyone in his path, including the Justice League – in the action-packed The Death of Superman. In the second half of this two-part landmark tale, Reign of the Supermen finds Earth’s citizens – and the Man of Steel’s heroic contemporaries – dealing with a world without Superman. But the aftermath of Superman’s death, and the subsequent disappearance of his body, leads to a new mystery – is Superman still alive? The question is further complicated when four new super-powered individuals – Steel, Cyborg Superman, Superboy and the Eradicator – emerge to claim themselves as the ultimate hero. In the end, will any of them prove to be the real Man of Steel?
Fathom Events, Warner Bros. and DC present The Death of Superman / Reign of the Supermen Double Feature in more than 500 select movie theaters on Sunday, January 13 at 12:55 p.m. and Monday, January 14 at 8:00 p.m. (all local times), through Fathom’s Digital Broadcast Network (DBN). For a complete list of theater locations, visit the Fathom Events website (theaters and participants are subject to change).
The two-part film is an animated adaptation of “The Death Of Superman,” DC’s’ landmark 1992-93 comic phenomenon, and features an all-star voice cast led by Jerry O’Connell (Carter, Bravo’s Play by Play, Stand By Me), Rebecca Romijn (X-Men, The Librarians) and Rainn Wilson (The Office, The Meg) as the voices of Superman, Lois Lane and Lex Luthor, respectively. The trio is joined by Jason O’Mara (The Man in the High Castle, Terra Nova) as Batman, Rosario Dawson (Sin City, Rent, Daredevil) as Wonder Woman, Shemar Moore (S.W.A.T., Criminal Minds) as Cyborg, Nathan Fillion (Castle, The Rookie) as Green Lantern/Hal Jordan, Matt Lanter (Timeless, 90210) as Aquaman, Christopher Gorham (Covert Affairs, Insatiable) as The Flash, and Nyambi Nyambi (Mike & Molly, The Good Fight) as Martian Manhunter, as well as Cress Williams (Black Lightning) as Steel, Cameron Monaghan (Gotham) as Superboy, Patrick Fabian (Better Call Saul) as Hank Henshaw & Cyborg Superman, Charles Halford (Constantine) as Bibbo Bibbowski and The Eradicator, and Tony Todd (Candyman) as Darkseid.
“Superman is one of the most iconic Super Heroes of all time, and this double feature event will give fans an opportunity to come together to celebrate the franchise,” Fathom Events VP of Studio Relations Tom Lucas said. “We are excited to partner with Warner Bros. again to bring back The Death of Superman and introduce fans to Reign of the Supermen.”
“Warner Bros. is proud to join forces with Fathom Events to culminate the year-long celebration of Superman’s 80th anniversary with a double-feature big screen presentation of The Man of Steel’s most heralded adventure,” said Mary Ellen Thomas, Warner Bros. Home Entertainment Vice President, Family & Animation Marketing. “’The Death of Superman’ was a monumental moment in comics history, and these films – expertly produced by Warner Bros. Animation and DC – capture the enormity of that story in terms of both action and emotion. Seeing both films, on the big screen, gives the fans another vehicle to unite and celebrate this beloved Super Hero and this landmark tale.”
The Los Angeles neighborhood of Westwood is home to The University of Southern California, better known as U.C.L.A. It’s a trendy area filled with upscale shops and expensive restaurants.
I’ve never been a fan of Westwood U.C.L.A or trendy, expensive restaurants. I doubt if I ever will be. But because God gets a kick out of such things my new Viacom offices were in Westwood, the reference library I was compelled to use was at U.C.LA, and a trendy, expensive restaurant was where I was on my way to have lunch with Stan Lee.
Stan was kind enough to bring with him Jack Kirby… and the Black Panther.
Together the three may have saved my ass.
Showtime Networks and Marvel Productions were both housed in the same Westwood high-rise. I was just moving into my new offices at Showtime; helping me do so was Adah Glenn.
Adah is a fantastic artist I met some years before. She used her considerable wits to land herself a gig at Motown Animation when I was not hiring. That I assure you is no easy feat.
Adah was placing a box on my desk with one small problem. She missed the casually.
Crash!!! The unmistakable sound of breaking glass when the box hit the floor filled the room.
“I hope that wasn’t my Tiffany lamp,” I said.
“I think I just saw Stan Lee in the lobby” she said, not hearing or not caring about my statement. I gazed over to the box then to her. I did that repeatedly knowing she would get the hint and pick up the box.
She didn’t get the hint.
Instead, she looked at me with no indication whatsoever she’d dropped the box.
“I wish I’d thought of something to say to him. Do you know Stan Lee?” she asked.
Flipping my eyes back and forth as fast as I could I told her; “Yep.”
Nothing. It was like the girl was in a trance, and I’d had enough.
“Adah!!”
“What?”
“Ya wanna pick up that box you dropped?”
She looked down and was surprised to see the box at her feet.
“I do that? My bad.” She bent down to pick up the box and said; “Mike, do you know Stan Lee?”
“I know Stan pretty well…”
Crash!!!
When later that month I was sitting down with Stan over lunch I recounted that story. He has a hard time believing anyone would react that way. I had a hard time believing Stan didn’t know how he rolled.
I’d met Stan as a fan in the 80s. Although it was a while before we became friends, it was memorable when it happened. I saw Stan walking across the San Diego Comic Con Convention floor in 1993, the first year Milestone had a booth.
“Hey Stan Lee! come on over; you’re the first contestant on The Price Is Right!” I yelled. Why? I meant just to say “hey Stan Lee come on over” but the rest just came out.
Stan, much to my surprise, came over. “What do I win?” He said with a huge smile. The Milestone partners all scampered over and said hello to Stan who gave Denys Cowan a “There he is.” When shaking Denys’ hand acknowledging to all there he and Denys knew each other. That made Denys BMOC (big man on campus) and HNIC (ask a black person) for a bit.
That is until Derek Dingle asked Stan “How do you know Michael?” Before he answered I chimed in with “Stan and I were in the Crips together.” Stan co-signed with; “Those were the days.”
Those were the days indeed.
Stan and I had just done a drive by when we decided to ditch the car and ran into the woods. It was dark as such we were taking care not to make any noise less so we were not discovered. At one point Stan whispered “Something just landed on me.”
It took my eyes a second to adjust to the darkness, but once it did I saw what it was and informed Stan; “It’s a spider…man.”
That’s when I created Spider-Man, but Stan will never acknowledge that or his illegitimate son Spike.
That’s how I opened the Stan Lee Roast at a 1994 convention event. By that time Stan and I were on a friendly basis. In 1995 Stan was kind enough to come by the Motown Animation booth at SDCC to wish me well and take some photos.
“You drive that thing on the street?” Stan asked as we stood in front of the Motown / Image Comics Van. The way he asked the question was so funny I couldn’t answer from laughing so much.
Stan and I talked about our history among a great many things over lunch, but mostly we talked about my new venture at Viacom. Since the deal closed the feeling I had made a major blunder was growing. “I gave up my golden parachute to follow a dream, and I’m beginning to think it was a mistake.” I said to Stan.
I told Stan about the comic book reading program.
“That’s a good idea but a hard sell.” He said.
“It’s sold, but now I’m not so sure it’s a good idea,” I responded.
“It’s a great idea. I should know because I did it when I was in the army,” Stan said. Then he told me how he produced the line of instructional comic books for the armed forces. Years later when at Marvel he tried to get comics in the school system but couldn’t crack that market.
Stan Lee couldn’t crack a market? I’m thinking gethefuckoutofhere!
I was convinced he told me that to make me feel better. He assured me he was serious and explained how it was a big deal to get into the schools.
He told me following a dream is rare for most people and said my dream was a noble one because it involved making something to benefit others namely kids with problems reading.
“You unquestionably helped a million kids with a problem reading I’m sure. You certainly helped me.” I told Stan that and how in the fourth grade he and Jack Kirby almost made me kill Ronnie Williams when I slammed a metal backed chair over his head.
“Why on earth did you do that?” Stan inquired through his huge grin. I explained how Ronnie took my copy of Fantastic Four # 73 and I wanted it back. Jack Kirby and he (and some advice from my mother) gave me the strength to get it back.
“Don’t forget the chair.” Stan deadpanned.
I realized this was a good a time as any to tell Stan something else he helped me with, my self-esteem. “Thank you for creating the Black Panther. How much flak did you get back in the day?”
He looked at me for a sec and then said; “Some, but it was the right thing do we thought.”
That may have been the understatement of my comics career. The Black Panther was all my comic book buddies, and I could talk about when we discovered him. Then it was the Falcon, Luke Cage, the Prowler and on and on.
It goes without saying Stan and Jack paved the way for Brotherman and Static, inspiring black creators of today with black heroes from our yesterday. I don’t know any creators of color from my generation who would not give those Lee and Kirby creations at least a nod.
Stan and I made lunch a pretty regular thing while we were both at that Westwood high-rise. Stan moved on launching Stan Lee Media where I almost ended up heading “Stan Lee Kids,” but that’s another story. I moved on not long after Stan left the building.
Stan was right. Comics in the schools were a good idea. My Action Files over twenty years later is still in schools. Some time back they started selling on Amazon (without the Teacher’s Guide), and to my knowledge, the program is still the only curriculum based comic book reading program sold in American schools.
In my mind, Stan has a real place in the history of current black comic characters. Those who don’t think so are welcome to that opinion.
The sheer guts it took to create the Black Panther during the time Jack Kirby, and he did so is enough for me.
They didn’t have to, but they did because ‘it was the right thing to do.’
The last time I saw Stan, it was bittersweet. He was the same old Stan holding court in the lobby of the Marriott. But when I shook his hand and looked into his eyes it was evident my Stan was gone. He didn’t remember me.
“Stan is pushing 100. He can’t remember everything and everybody” I was told this by one of Stan’s entourage who meant well but dropped me even to a deeper sadness. As I started to turn and walk away, this young lady must have seen the grief on my face and touched my arm stopping me.
She said; ” With age, God wipes away many things to lessen our burden. His long life may soon be over that’s not a bad thing he must be exhausted. He may leave us, but he will be at peace.”
Stan “The Man” Lee has died at the age of 95, according to news reports.
If you need biographical information about his life and his achievements, we strongly recommend his autobiographies Excelsior!: The Amazing Life of Stan Lee and Amazing Fantastic Incredible: A Marvelous Memoir, because no one could tell Stan’s story better than he could himself. (We presume if you read ComicMix, you already know how important he was to comics. ‘Nuff said.)
