* If you liked browsing for single-issue Marvel titles at Barnes & Noble or other major book retailers, you appear to be out of luck: Marvel Comics is no longer making single issues available to mainstream booksellers. This will either make Brian Hibbs very happy or cause his head to explode, I am not sure which. But if it makes him happy, I hope he realizes that it means many people will no longer even be aware that Marvel Comics exist in single issue form, and likely hasten the demise of new, single issue funnybooks as an actual thing that exists in the real world at all. So long, floppies -- it was nice knowin' ya.
* At The Tearoom of Despair, Bob Temuka makes a good case for Fury MAX: My War Gone By being the best comic of 2013. There are some Garth Ennis comics that leave me cold, and then there are Garth Ennis's Punisher MAX and Fury MAX comics, which are just brilliant. My War Gone By saw Ennis's words accompanied by Goran Parlov's pictures, making it even better. Parlov is a true comics storyteller in the classic sense, and Ennis and Parlov's stuff together always actually reads like comics to my brain, in an era when almost nothing calling itself comics actually looks or feels like what a comic book should be.
* Bleeding Cool has a preview of the imminent Bojeffries Saga by Alan Moore and Steve Parkhouse, published by Top Shelf and Knockabout.
* The Comics Reporter's holiday interview series continues with Tom Spurgeon chatting with cartoonist Nate Powell. I've liked and supported Powell's work since I first read Walkie Talkie back in 2002, and I'm delighted at the level of success he's achieved since then.
* Ted Rall looks at the inevitability of marriage equality, and what other basic human rights might be recognized next.
* Uncomics: Charles Simic at The New York Review of Books examines The Age of Ignorance. The piece highlights some of the most virulent and blatantly false memes spread by the Tea-Baggers on the far right for the past few years, like the "persecution" of Christians in the United States, climate change denial, Obama being a Muslim and more. Let's not forget the just-passed annual decrying of "The War on Christmas." Just to bring it all back around to comics, remember, Brian Hibbs believes the world wants every story told in comics form to be serialized in floppy comic books, no matter how little the true mainstream readership wants anything in that format, or how little even Marvel Comics wants them to exist anymore.
* Uncomics: James Howard Kunstler looks at The End of Pretend.
* Hey, it's the end of the year already. I wish I had something profound and witty to say about that, but it just kind of snuck up on me. This was a wild year of changes for me personally and professionally, and all I can say is I think I am in a better place than I was a year ago. I hope you are too. In lieu of a lengthy piece examining where we've been and where we're going, let me just say a very sincere thank you for making me a part of your internet reading experience. It's good to be doing this again on a (somewhat) daily basis, and I appreciate you taking the time to read what I post here. I hope you and yours have a happy and healthy new year.
Tuesday, December 31, 2013
Monday, December 30, 2013
Galaxy Newsbrief 123013: The Balance Between Two Worlds
* The creator of one of my favourite graphic novels of the past decade, Essex County (published by Top Shelf), is featured in the holiday interview series at The Comics Reporter: Tom Spurgeon talks to Jeff Lemire about working in the Canadian comics tradition, transitioning from alt-comix to corporate comics work (as a writer for DC's New 52), and how he balances between the two worlds.
* Spurgeon's interview with Colleen Doran was interesting to me because she talks about the difficulties of restoring old work to be reprinted in the modern day. I once talked to a doubtful comics creator who had been assured how easy the process can be, so it's good to see Doran being upfront about how nightmarishly complicated it can be. I learned as a broadcaster that you can make digital files different, but you can never make them better than the source material. I also appreciate her reminding everyone how shitty Checker Publishing's reprints can be. I'm still angry about what they did with Supreme, and that was what, a million years ago?
* The Comics Journal collects the best of their articles from the past year in their 2013 Year in Review. I don't know if I was aware that Dan Adkins had died this year; I wasn't aware of how far back his career had gone, probably because his work always looked contemporary to me, as opposed to, say, Al Plastino or Carmine Infantino, both of whom also died this year. And Joey Manley. I still can't believe Joey Manley is gone. Take time to read some of those tribute articles; a lack of knowledge about comics history is something I find irritating when talking to other people about the industry and the artform. The information is out there if you care enough to find it. If you don't, why bother?
* Salon's top superhero comics of 2013 list is up. I don't agree with some of the conclusions (Waid's Hulk is worth a read whether Simonson is drawing it or not; Mark Millar is way past the point where I would ever give him another try again on anything), but it's worth taking a look if you like the spandex and the punching.
* Spurgeon's interview with Colleen Doran was interesting to me because she talks about the difficulties of restoring old work to be reprinted in the modern day. I once talked to a doubtful comics creator who had been assured how easy the process can be, so it's good to see Doran being upfront about how nightmarishly complicated it can be. I learned as a broadcaster that you can make digital files different, but you can never make them better than the source material. I also appreciate her reminding everyone how shitty Checker Publishing's reprints can be. I'm still angry about what they did with Supreme, and that was what, a million years ago?
* The Comics Journal collects the best of their articles from the past year in their 2013 Year in Review. I don't know if I was aware that Dan Adkins had died this year; I wasn't aware of how far back his career had gone, probably because his work always looked contemporary to me, as opposed to, say, Al Plastino or Carmine Infantino, both of whom also died this year. And Joey Manley. I still can't believe Joey Manley is gone. Take time to read some of those tribute articles; a lack of knowledge about comics history is something I find irritating when talking to other people about the industry and the artform. The information is out there if you care enough to find it. If you don't, why bother?
* Salon's top superhero comics of 2013 list is up. I don't agree with some of the conclusions (Waid's Hulk is worth a read whether Simonson is drawing it or not; Mark Millar is way past the point where I would ever give him another try again on anything), but it's worth taking a look if you like the spandex and the punching.
Friday, December 27, 2013
Holiday Intermission
* I'm not sure if it'a an allergy attack or a cold that hit me like a brick to the head yesterday, but either way I'm feeling pretty lousy. Many thanks to my wife for picking up Mucinex and Kleenex for me last night. Regular blogging will resume as soon as I am feeling back up to speed. Thanks for your patience and happy new year!
Thursday, December 26, 2013
Galaxy Newsbrief 122613: How Far DC Comics Has Fallen
* CBR posts a Frank Miller cover for Detective Comics #27 that shows how far DC Comics has fallen since the days of Ed Brubaker/Darwyn Cooke/Cameron Stewart's Catwoman, and how far Frank Miller has fallen since Daredevil. Neither DC nor Miller is ever likely to recover from the places they've gone "creatively" in the past 15 years, but at least DC could have a change of management. I don't know how Miller got where he is or how he could possibly ever recover the gifts he once displayed as a creator. It's tragic, what's become of him as an artist. And reprehensible on so many levels that DC would even use that piece of art. What a depressing thing to wake up to on Boxing Day.
* In contrast, last night's airing of Doctor Who: The Time of the Doctor was wondrous, exhilarating, and an utterly satisfying conclusion to the Matt Smith era. I don't want to spoil it if you're late to the party, but like the 50th anniversary special, it had everything I wanted and more. The epic scope, the joyous tone and the very different way in which we transitioned into Peter Capaldi's Doctor were all just perfect. As a bonus, the storyline provides ample opportunity to revisit Smith's incarnation in the future, should the producers and Smith wish to do so. Not that I am in any huge hurry, because I am giddy with anticipation for Capaldi's era to get into full swing next year.
* One last Matt Smith recommendation, though -- make sure you check out IDW's 2013 Doctor Who Special, their final comic book featuring the Doctor, as the license is apparently going elsewhere. It's a great story, absolutely note-perfect and as fun and unpredictable as any great Doctor Who episode you could name. The central conceit of the storyline is so clever and the execution is so satisfying that I would dearly love to see it adapted into an episode of the show, but the comic is so grand that that's just a quibble. As TV-to-comics adaptations go, it's just about as good as it gets. Congratulations to Chris Ryall and everyone at IDW for all the great years of Doctor Who comics they produced, but especially this one. They truly saved the best for last.
* Tom Spurgeon's thoughts on Epic Illustrated (Marvel's Heavy Metal wannabe magazine from the '80s) echo my experience of the magazine pretty closely. It was different, but close enough to what my 16-year-old self thought of as comics to be just a tad mind-expanding; credit editor Archie Goodwin for pushing the envelope and understanding what the boundaries and possibilities were. It wasn't always great, but it was always interesting. And yeah, Galactus (and John Byrne, choke) showing up was really a deal-killer. There was an unspoken agreement at work between Marvel and the reader that was broken by that move, however "mature" Byrne aspired to make the work. Byrne aspiring to create mature comics is about as ironic as it gets, no?
* In contrast, last night's airing of Doctor Who: The Time of the Doctor was wondrous, exhilarating, and an utterly satisfying conclusion to the Matt Smith era. I don't want to spoil it if you're late to the party, but like the 50th anniversary special, it had everything I wanted and more. The epic scope, the joyous tone and the very different way in which we transitioned into Peter Capaldi's Doctor were all just perfect. As a bonus, the storyline provides ample opportunity to revisit Smith's incarnation in the future, should the producers and Smith wish to do so. Not that I am in any huge hurry, because I am giddy with anticipation for Capaldi's era to get into full swing next year.
* One last Matt Smith recommendation, though -- make sure you check out IDW's 2013 Doctor Who Special, their final comic book featuring the Doctor, as the license is apparently going elsewhere. It's a great story, absolutely note-perfect and as fun and unpredictable as any great Doctor Who episode you could name. The central conceit of the storyline is so clever and the execution is so satisfying that I would dearly love to see it adapted into an episode of the show, but the comic is so grand that that's just a quibble. As TV-to-comics adaptations go, it's just about as good as it gets. Congratulations to Chris Ryall and everyone at IDW for all the great years of Doctor Who comics they produced, but especially this one. They truly saved the best for last.
* Tom Spurgeon's thoughts on Epic Illustrated (Marvel's Heavy Metal wannabe magazine from the '80s) echo my experience of the magazine pretty closely. It was different, but close enough to what my 16-year-old self thought of as comics to be just a tad mind-expanding; credit editor Archie Goodwin for pushing the envelope and understanding what the boundaries and possibilities were. It wasn't always great, but it was always interesting. And yeah, Galactus (and John Byrne, choke) showing up was really a deal-killer. There was an unspoken agreement at work between Marvel and the reader that was broken by that move, however "mature" Byrne aspired to make the work. Byrne aspiring to create mature comics is about as ironic as it gets, no?
Tuesday, December 24, 2013
Galaxy Newsbrief 122413: It Ain't Digestion
* This Abhay Khosla 2013 Best-Of list is worth reading because I am always interested in Abhay's opinions; because he makes a reasonable observation about Jim Rugg's SUPERMAG (which I liked and gave a positive review, but still); and because it highlights once again how monumentally tone deaf, dumb and blind retailer Brian Hibbs is. Click over to the piece. Read Abhay's thoughtful observation on how Arrested Development Season 4 was received by the world at large, then scroll down to the comments to see Hibbs somehow try to conflate that with the "need" for every comic book story to be serialized in monthly, floppy pamphlets. Seriously, Hibbs, your "digestion time" argument might hold water if serialized comics were published daily, but the mainstream, real-world marketplace has rejected utterly monthly serialization for the stories it wants to read in comics form. Do you know what happens when you eat something and then wait a month to eat again? Hint: It ain't "digestion." Sorry, buddy. You still lose. Happy holidays anyways.
* At Comic Book Resources, Tim Callahan picks his 10 best comics of the year. I've read two of them, Fatale and Nemo: Heart of Ice, and wholly agree with his observations.
* And since it's the holidays...
* The Simple Dollar (my favourite personal finance blog) looks at micro-frugality and why it sometimes makes sense to make small changes in your life.
* A look at how collectibles revealed stuff from deleted scenes in Star Trek history.
* At Comic Book Resources, Tim Callahan picks his 10 best comics of the year. I've read two of them, Fatale and Nemo: Heart of Ice, and wholly agree with his observations.
* And since it's the holidays...
* The Simple Dollar (my favourite personal finance blog) looks at micro-frugality and why it sometimes makes sense to make small changes in your life.
* A look at how collectibles revealed stuff from deleted scenes in Star Trek history.
Monday, December 23, 2013
Galaxy Newsbrief 122313: It's The Holidays
* Here's a terrific piece on Alan Moore and The League of Extraordinary Gentlemen by Lance Parkin, writer of the recent Moore bio Magic Words. (I also interviewed Parkin recently at Trouble With Comics.) This piece makes me want to re-read all of LOEG immediately.
* And since it's the holidays...
* Uncomics: 100 pieces of advice from 100-year-olds.
* Uncomics: 11 sounds kids today have probably never heard.
* Uncomics: Did you even know there's a schism over how to use toilet paper?
* And since it's the holidays...
* Uncomics: 100 pieces of advice from 100-year-olds.
* Uncomics: 11 sounds kids today have probably never heard.
* Uncomics: Did you even know there's a schism over how to use toilet paper?
Sunday, December 22, 2013
Galaxy Newsbrief 122213: Assholes and Scumbags of the Comics Culture
* Here's an excellent autopsy of Scott Lobdell's loathsome non-apology for being a sexist asshole. I have to credit Yan Basque's Twitter feed for the link; Yan has really been a great resource for finding valuable commentary in the ongoing, gobsmacking revelations of just how many assholes and scumbags have been covered up by the culture of comics in recent years.
* The latest Tom Spurgeon holiday interview is with comics academician Brian Cremins. I have to admit that much -- most, really -- academic pieces on comics leave me befuddled, baffled and/or bored. I'm glad such work and the people who create it exist, but I'm not usually able to metabolize it in a way that becomes part of my thinking about comics in the same way that, say, reading Roger Ebert's The Great Movies books did. More succinctly, such writing is probably just over my head.
* Despite all that, I enjoyed the hell out of Spurge's chat with Cremins, possibly because my experiences with comics over the past 40+ years seem to be pretty simpatico with Cremins's own. Further, I find some of the ideas he expresses in the piece -- like that the quality of a given comic is not a factor for him, that he's more interested in its context and impact -- absolutely fascinating. It's not a point of view I think I would ever embrace as my primary lens through which I would view comics as a whole, but it's something I'd never thought about, and definitely merits a lot of consideration.
* The latest Tom Spurgeon holiday interview is with comics academician Brian Cremins. I have to admit that much -- most, really -- academic pieces on comics leave me befuddled, baffled and/or bored. I'm glad such work and the people who create it exist, but I'm not usually able to metabolize it in a way that becomes part of my thinking about comics in the same way that, say, reading Roger Ebert's The Great Movies books did. More succinctly, such writing is probably just over my head.
* Despite all that, I enjoyed the hell out of Spurge's chat with Cremins, possibly because my experiences with comics over the past 40+ years seem to be pretty simpatico with Cremins's own. Further, I find some of the ideas he expresses in the piece -- like that the quality of a given comic is not a factor for him, that he's more interested in its context and impact -- absolutely fascinating. It's not a point of view I think I would ever embrace as my primary lens through which I would view comics as a whole, but it's something I'd never thought about, and definitely merits a lot of consideration.
Saturday, December 21, 2013
Galaxy Newsbrief 122113: Happy Solstice
* That website with the annoying Big Lebowski logo tells you everything you need to know about The New 52, in case you were lucky enough not to have read any of these terrible comic books.
* Tony Isabella looks at how writing about political issues can really upset people who'd just rather he shut up about things that matter and get back to writing about funnybooks. Me, I enjoy his writing on both subjects.
* Kind of sorry to hear Anna Paquin's scene got cut from X-Men: Days of Future Past. Paquin was the third-best thing about the first X-Men movie (after Jackman's Wolverine and Stewart's Professor Xavier), but maybe director Bryan Singer is being faithful to the storyline he is adapting, in which Paquin's character Rogue did not appear (that I recall). What probably made her unnecessary to the film is that her Rogue was essentially Kitty Pryde with Rogue's powers, and someone else ended up playing Kitty (very well, at that) later in the X-movie franchise.
* Updates could be sporadic here between now and the new year. There's so little going on comics-news-wise that it's probably going to be tough to come up with enough to justify a post every day, unless you want to hear about how I am overdue for a haircut, still have holiday gifts to buy, or worst of all, have to pad with insights on the casting and editing decisions of superhero movies. But if you're stopping by regularly or reading me in your feed reader, I do want to thank you for finding a place for me in your regular internet habits, and I hope you and yours enjoy happy holidays and a great new year.
* Tony Isabella looks at how writing about political issues can really upset people who'd just rather he shut up about things that matter and get back to writing about funnybooks. Me, I enjoy his writing on both subjects.
* Kind of sorry to hear Anna Paquin's scene got cut from X-Men: Days of Future Past. Paquin was the third-best thing about the first X-Men movie (after Jackman's Wolverine and Stewart's Professor Xavier), but maybe director Bryan Singer is being faithful to the storyline he is adapting, in which Paquin's character Rogue did not appear (that I recall). What probably made her unnecessary to the film is that her Rogue was essentially Kitty Pryde with Rogue's powers, and someone else ended up playing Kitty (very well, at that) later in the X-movie franchise.
* Updates could be sporadic here between now and the new year. There's so little going on comics-news-wise that it's probably going to be tough to come up with enough to justify a post every day, unless you want to hear about how I am overdue for a haircut, still have holiday gifts to buy, or worst of all, have to pad with insights on the casting and editing decisions of superhero movies. But if you're stopping by regularly or reading me in your feed reader, I do want to thank you for finding a place for me in your regular internet habits, and I hope you and yours enjoy happy holidays and a great new year.
Friday, December 20, 2013
Galaxy Newsbrief 122013: Last Friday I Gave You My Heart
* The state of the artform and business of alternative comics is exhaustively analyzed in this Tom Spurgeon interview with Jaunty Sean T. Collins and Joe "Jog The Blog" McCulloch. The money quote, from Collins: "It's hard for me to imagine another 30-year anniversary of an alt-comix publisher after Drawn & Quarterly has theirs, maybe ever again." The whole thing, part of Spurgeon's holiday interview series, is pure gold. Go read.
* I wish I had more for you today, but I'm filled with apathy at the revelation that Scott Lobdell might be a sexual harasser too (say what you will, at least Brian Wood's work was interesting at one point); I'm filled with amazement that the guy from Duck Dynasty, who sells things men put in their mouths and blow, is in trouble for his comments on homosexuality; I'm filled with wonder that Glenn Beck still has no sense of irony; I'm exhausted beyond belief at the continuing Shia McNuggets revelations; and I have no more comics news to comment on.
* It's the last Friday before Christmas. It seems like there should be a name for today like there is for the Friday after Thanksgiving (Black Friday) or the Friday after Thursday (TGI Fridays). Maybe it should be called Last Friday and Wham could do a song about it. Anyway, the internet is about to get even less populated and my dozens of readers may dwindle down to even fewer, so I thought I'd take this opportunity to wish you and yours a wonderful holiday (or holidays, if you observe more than one). Me, I can't wait for Boxing Day.
* I wish I had more for you today, but I'm filled with apathy at the revelation that Scott Lobdell might be a sexual harasser too (say what you will, at least Brian Wood's work was interesting at one point); I'm filled with amazement that the guy from Duck Dynasty, who sells things men put in their mouths and blow, is in trouble for his comments on homosexuality; I'm filled with wonder that Glenn Beck still has no sense of irony; I'm exhausted beyond belief at the continuing Shia McNuggets revelations; and I have no more comics news to comment on.
* It's the last Friday before Christmas. It seems like there should be a name for today like there is for the Friday after Thanksgiving (Black Friday) or the Friday after Thursday (TGI Fridays). Maybe it should be called Last Friday and Wham could do a song about it. Anyway, the internet is about to get even less populated and my dozens of readers may dwindle down to even fewer, so I thought I'd take this opportunity to wish you and yours a wonderful holiday (or holidays, if you observe more than one). Me, I can't wait for Boxing Day.
Thursday, December 19, 2013
Galaxy Newsbrief 121913: Almost Exactly The Same Level Of Enthusiasm
* Mark Bernardin on what to buy the writer in your life this holiday season. I know what he means about fetishizing notebooks -- I have a Moleskine I bought years ago that I've barely written in because it just feels and looks so awe-inspiring that I am afraid to make a wrong move in it.
* Tom Spurgeon begins his annual holiday interview series with the cartoonist Paul Pope. Pope isn't someone whose work has ever registered deeply with me for some reason, but it's a great interview, as Spurgeon's always are, especially at this time of the year.
* KC Carlson remembers growing up with Peanuts collections every holiday season. Observant fans of Charles M. Schulz will see which collection inspired Fantagraphics to pay homage to its design for the cover of The Unseen Peanuts a few years ago among the illustrations to the article.
* Grant Goggans reviews one of those gorgeous Mickey Mouse collections published by Fantagraphics.
* Paul Rudd playing Ant-Man fills me with almost exactly the same level of enthusiasm that Ryan Reynolds playing Green Lantern did.
* Frank Darabont, first showrunner for AMC's The Walking Dead, is suing the network. Not because of how very badly the show has sucked since he was dismissed, but because of financial shenanigans keeping him from cashing in on the show's success, which seems inversely proportional to its quality. Sign of the times: Check out the very last line of the story.
* In case you missed it, here's Sergio Aragones drawing everyone who ever worked at Mad Magazine.
* Tom Spurgeon begins his annual holiday interview series with the cartoonist Paul Pope. Pope isn't someone whose work has ever registered deeply with me for some reason, but it's a great interview, as Spurgeon's always are, especially at this time of the year.
* KC Carlson remembers growing up with Peanuts collections every holiday season. Observant fans of Charles M. Schulz will see which collection inspired Fantagraphics to pay homage to its design for the cover of The Unseen Peanuts a few years ago among the illustrations to the article.
* Grant Goggans reviews one of those gorgeous Mickey Mouse collections published by Fantagraphics.
* Paul Rudd playing Ant-Man fills me with almost exactly the same level of enthusiasm that Ryan Reynolds playing Green Lantern did.
* Frank Darabont, first showrunner for AMC's The Walking Dead, is suing the network. Not because of how very badly the show has sucked since he was dismissed, but because of financial shenanigans keeping him from cashing in on the show's success, which seems inversely proportional to its quality. Sign of the times: Check out the very last line of the story.
* In case you missed it, here's Sergio Aragones drawing everyone who ever worked at Mad Magazine.
Wednesday, December 18, 2013
Galaxy Newsbrief 121813: This New Physical-Media-Free Age
* Tom Spurgeon unpacks his thoughts to date on the Shia Whoever plagiarism incident. I refuse to learn to spell his last name, despite having the spelling of names like Hornschemeier, Sienkiewicz and Straczynski memorized and readily available at all times. LaBoueif. LiBeeef. The Guy That Made Indy 4 Even Suckier. There you go.
* Robot 6 reports Dan Clowes is looking into his legal options.
* I don't really care about comics renumbering much anymore; I wish they'd left all the great superhero titles alone so that we'd be rapidly approaching issue 800, 900 or 1000 on many titles, but that ship sailed long ago and I don't read most of them anyway. But if you have a horse in the race, here's Marvel senior muckity-muck Tom Breevort weighing in. Me, I still think of Waid's Daredevil as a "new title," so, you know, wow. Whatever.
* This Peter Bagge strip on the Death of the Age of Stuff reminds me of my pal Tim. He hasn't adjusted to this new physical-media-free age and is always surprised when he finds DVD season sets on sale for like .87 cents.
* It's been a long time since I got excited about anybody's Previews solicitations, but IDW's announced Peanuts Artists Edition and Star Trek Gold Key Archives both have me giddy with anticipation, anticipation tempered only by a bittersweet twinge of fiscal restraint. That Trek Archives cover is beautiful.
* Shaenon Garrity reflects on the phenomenon of removing credit from webcomics and how it hurts cartoonists. Because you don't already get screwed enough, you know, just being a cartoonist. The internet: #ALWAYSINNOVATING.
* A big, big thank you to Augie De Blieck for his kind words about this blog in this week's Pipeline at CBR.
* Chip Zdarsky talks to Applebees.
* Robot 6 reports Dan Clowes is looking into his legal options.
* I don't really care about comics renumbering much anymore; I wish they'd left all the great superhero titles alone so that we'd be rapidly approaching issue 800, 900 or 1000 on many titles, but that ship sailed long ago and I don't read most of them anyway. But if you have a horse in the race, here's Marvel senior muckity-muck Tom Breevort weighing in. Me, I still think of Waid's Daredevil as a "new title," so, you know, wow. Whatever.
* This Peter Bagge strip on the Death of the Age of Stuff reminds me of my pal Tim. He hasn't adjusted to this new physical-media-free age and is always surprised when he finds DVD season sets on sale for like .87 cents.
* It's been a long time since I got excited about anybody's Previews solicitations, but IDW's announced Peanuts Artists Edition and Star Trek Gold Key Archives both have me giddy with anticipation, anticipation tempered only by a bittersweet twinge of fiscal restraint. That Trek Archives cover is beautiful.
* Shaenon Garrity reflects on the phenomenon of removing credit from webcomics and how it hurts cartoonists. Because you don't already get screwed enough, you know, just being a cartoonist. The internet: #ALWAYSINNOVATING.
* A big, big thank you to Augie De Blieck for his kind words about this blog in this week's Pipeline at CBR.
* Chip Zdarsky talks to Applebees.
Tuesday, December 17, 2013
Galaxy Newsbrief 121713: Insanely Wrongheaded
* Tom Spurgeon pointed to this terrible recolouring job on some old Kirby/Colletta Thor artwork. My 12-year-old self would not have thought it possible to make Colletta's inking look any worse than it did back then, but there's the proof. And a demonstration of the power of the insanely wrongheaded modern colouring techniques applied to art never meant to be ruined by them. Related: Here's a review I wrote of the TwoMorrows book about Vince Colletta.
* Johanna Draper Carlson has your disturbing quotes of the day, from a blinkered retailer and an oblivious reader, both toxic to comics as a culture. Brian Hibbs coming to tell you this is the exception rather than the rule in 3...2...
* Shitty actor steals from great cartoonist. Hopefully there's no way for him to squirm out of having to write Dan Clowes a big check to settle this asshole move. Tom Spurgeon comments.
* Johanna Draper Carlson has your disturbing quotes of the day, from a blinkered retailer and an oblivious reader, both toxic to comics as a culture. Brian Hibbs coming to tell you this is the exception rather than the rule in 3...2...
* Shitty actor steals from great cartoonist. Hopefully there's no way for him to squirm out of having to write Dan Clowes a big check to settle this asshole move. Tom Spurgeon comments.
Monday, December 16, 2013
Galaxy Newsbrief 121613: Somewhat Convinced
* Sequart's Julian Darius posts a comparison of Marvel's new Miracleman colouring to all the previous editions, leaving me for the first time somewhat convinced that Marvel might be getting this right.
* The Comics Reporter's readers weigh in on five comics they enjoyed in 2013 from five different publishers, in the latest Five for Friday. I might have participated in this one if I hadn't slipped and hurt myself Friday evening. So, hrm...
* My five: Nemo: Heart of Ice (Top Shelf); Superior Spider-Man (Marvel); Fatale (Image); Corpse on the Imjin (Fantagraphics); Jim Rugg's SUPERMAG (AdHouse Books).
* The Comics Reporter's readers weigh in on five comics they enjoyed in 2013 from five different publishers, in the latest Five for Friday. I might have participated in this one if I hadn't slipped and hurt myself Friday evening. So, hrm...
* My five: Nemo: Heart of Ice (Top Shelf); Superior Spider-Man (Marvel); Fatale (Image); Corpse on the Imjin (Fantagraphics); Jim Rugg's SUPERMAG (AdHouse Books).
Saturday, December 14, 2013
Galaxy Newsbrief 121413: Amazing
* Over at Trouble With Comics, guest blogger Kevin Fischer examines the differences between the comic and TV versions of the characters in The Walking Dead.
* Longtime comics reviewer Randy Lander lists his favourite new comic books of 2013. I haven't read most of the books he lists, but he makes a good case for all of them and I will probably check some of them out. I do like Slott's Superior Spider-Man quite a bit, although I agree with Randy that the inconsistency of the art takes away a bit of the fun. It's still been a wild ride for a concept I would have expected to get maybe one good six-issue arc out of.
* As a bonus, Randy's list is educational as well; I figured Black Beetle was a DC title.
* Speaking of walking, I'm always warning people to be careful of the icy spots on sidewalks, driveways and parking lots this time of year. I wish I'd warned myself last night walking from the car to the house, because I slipped and landed on my right knee, which is a bloody mess and my foot hurts too. So if you live somewhere cold and occasionally icy, man, be careful out there.
* This fan-created opening title sequence for Peter Capaldi's Doctor Who is AMAZING.
* Uncomics: This sequential series of photographs by a husband documentng his wife's battle against cancer is also amazing, for very different reasons.
* Longtime comics reviewer Randy Lander lists his favourite new comic books of 2013. I haven't read most of the books he lists, but he makes a good case for all of them and I will probably check some of them out. I do like Slott's Superior Spider-Man quite a bit, although I agree with Randy that the inconsistency of the art takes away a bit of the fun. It's still been a wild ride for a concept I would have expected to get maybe one good six-issue arc out of.
* As a bonus, Randy's list is educational as well; I figured Black Beetle was a DC title.
* Speaking of walking, I'm always warning people to be careful of the icy spots on sidewalks, driveways and parking lots this time of year. I wish I'd warned myself last night walking from the car to the house, because I slipped and landed on my right knee, which is a bloody mess and my foot hurts too. So if you live somewhere cold and occasionally icy, man, be careful out there.
* This fan-created opening title sequence for Peter Capaldi's Doctor Who is AMAZING.
* Uncomics: This sequential series of photographs by a husband documentng his wife's battle against cancer is also amazing, for very different reasons.
Friday, December 13, 2013
Galaxy Newsbrief 121313: I Want To Believe
* There are a lot of what I call "toxic cretins" within the culture of comics. There's a certain combination of entitlement, deflection, self-loathing, crazy-high self-esteem, an unwillingness to accept responsibility, and outright rage that seem to be common to these people; I've been targeted by a few of them over the years, and have come to realize the warning signs usually show themselves pretty early. Tony Isabella has written a fairly chilling document of his personal interaction with some of these people. Trust your instincts, folks.
Wednesday, December 11, 2013
Galaxy Newsbrief 121113: I'm Disappointed
* I'll reserve judgment until I have the thing in my hands, but my initial reaction to the new colouring of Marvel's Miracleman reprints is far from positive. CBR has a look, and there's a better comparison here. What I would have preferred is a straight-on scan of the Eclipse comics, primitive '80s colouring and all. I hate modern superhero comics colouring -- I've said before, it doesn't even register as comics to my eyes -- and I'm disappointed in how these new pages look, at least online and in low-rez.
* I also hate the lettering. That computerized font detracts from the art rather than seeming like an organic part of the page, as the original lettering does. Weird kerning going on in spots, too. God damn it, Marvel.
* This John Byrne Star Trek "photonovel" (available in comic shops today) looks pretty faithful. I'll give it a look.
* I also hate the lettering. That computerized font detracts from the art rather than seeming like an organic part of the page, as the original lettering does. Weird kerning going on in spots, too. God damn it, Marvel.
* This John Byrne Star Trek "photonovel" (available in comic shops today) looks pretty faithful. I'll give it a look.
Tuesday, December 10, 2013
Galaxy Newsbrief 121013: What's Taking So Long?
* Heidi MacDonald asks retailers if comics should devolve to the everything-is-serialized-first model that Brian Hibbs so passionately believes the market needs. The retailer input is good, but the gold is in the comments, especially cartoonist Roger Langridge's comment. Langridge is no stranger to serialization, and knows whereof he speaks.
* The cover to Action Comics #1 explained.
* Roger Green's dad was a Star Trek fan. I am too.
* Tony Isabella writes about the casual culture of theft at comics conventions.
* The cover to Action Comics #1 explained.
* Roger Green's dad was a Star Trek fan. I am too.
* Tony Isabella writes about the casual culture of theft at comics conventions.
Monday, December 9, 2013
Galaxy Newsbrief 120913: Gonzo Enough
* This week's issue of Alter Ego (published by TwoMorrows) is the "lost last issue" of the other CBG, the Comics Buyer's Guide. I am so old that I never quite stopped thinking of it as "TBG," its original acronym under original publisher Alan Light. The zine's mainstay writers were invited to participate in a tribute issue that serves also as the "final" issue of CBG. This is a great idea and the kind of thing I'd like to see more of. Where's the lost last issue of The Comic Reader? Amazing Heroes? Anyway, Comics Worth Reading's Johanna Draper Carlson has all the details.
* Also at CWR, Johanna talks about the possibility of Nathan Fillion playing Indiana Jones in a rebooted Raiders franchise. That's just gonzo enough that it could work.
* Tony Isabella lets loose on the defenders of child molester Ed Kramer and Dragon*Con.
* At The Comics Reporter, Tom Spurgeon runs down Time's top 10 graphic novels for 2013. There's one on the list I might read someday. No, not that one.
* Tom's Sunday Interview with Karl Stevens is worth checking out both for the spectacular artwork featured, and an interesting digression about Alternative Comics and how Jeff Mason sort of slid out of publishing. Mason's an interesting case to me in that, like a lot of people a decade and a half or so back, he really just wanted to publish some comics, and he did it really well for a little while there, and then, you know, reality. It's a story that has played out in many variations, from Absence of Ink to Speakeasy to CrossGen and probably a dozen more you could think of if you tried. Picturebox, I suppose. It's funny how a love of comics, ambition, energy, finances, luck and other elements sometimes give you Absence of Ink, and sometimes they give you, I don't know, Fantagraphics.
* This past Friday was one of those rare ones where I both see Spurgeon's Five for Friday call to action and have an opinion on it. So you'll find me among the responses to 2013 As A Year of Events. Go read them all, because it's a great subject and a reminder of what a busy and frequently depressing year this was. Just to give you a taste, my #4 event of 2013 was: "Everyone figures out that in addition to being an arrogant jerk, Brian Wood is also a sexist arrogant jerk. The internet comes alive with the sound of music, music about what an asshole Brian Wood is."
* Also at CWR, Johanna talks about the possibility of Nathan Fillion playing Indiana Jones in a rebooted Raiders franchise. That's just gonzo enough that it could work.
* Tony Isabella lets loose on the defenders of child molester Ed Kramer and Dragon*Con.
* At The Comics Reporter, Tom Spurgeon runs down Time's top 10 graphic novels for 2013. There's one on the list I might read someday. No, not that one.
* Tom's Sunday Interview with Karl Stevens is worth checking out both for the spectacular artwork featured, and an interesting digression about Alternative Comics and how Jeff Mason sort of slid out of publishing. Mason's an interesting case to me in that, like a lot of people a decade and a half or so back, he really just wanted to publish some comics, and he did it really well for a little while there, and then, you know, reality. It's a story that has played out in many variations, from Absence of Ink to Speakeasy to CrossGen and probably a dozen more you could think of if you tried. Picturebox, I suppose. It's funny how a love of comics, ambition, energy, finances, luck and other elements sometimes give you Absence of Ink, and sometimes they give you, I don't know, Fantagraphics.
* This past Friday was one of those rare ones where I both see Spurgeon's Five for Friday call to action and have an opinion on it. So you'll find me among the responses to 2013 As A Year of Events. Go read them all, because it's a great subject and a reminder of what a busy and frequently depressing year this was. Just to give you a taste, my #4 event of 2013 was: "Everyone figures out that in addition to being an arrogant jerk, Brian Wood is also a sexist arrogant jerk. The internet comes alive with the sound of music, music about what an asshole Brian Wood is."
Thursday, December 5, 2013
Galaxy Newsbrief 120513: It's Probably Me
* Apparently they've picked an actress to play Wonder Woman in some sort of filmed entertainment. I'm not interested enough to read past the headline, so I can't tell you who it is, but I do find Diana Tamblyn's thoughts on Wonder Woman interesting. By the way, Tamblyn's comics are uniformly awesome and you should buy and read them.
* Top Shelf has announced two new FUNNY funnybooks, by Alan Moore and Steve Parkhouse, and Liz Prince. I loved Prince's Will You Still Love Me If I Wet the Bed?, but Moore's Bojeffries thingy has never grabbed me when I've read it in the past. Given how little Moore comics work we see these days, and that this is a complete edition, I no doubt will give it one last try to see if it's me or the work that the problem lies with. It's probably me.
* Cartoonist Rob Ullman and I see eye-to-eye on the value of Comic Shop News.
* The shuttering of Picturebox makes USA Today. (Hat tip to Mike Thompson).
* Autobio cartoonist Jason Marcy announces he's doing something I want to read. (I like to read everything he does.)
* By the way, thanks to Tony Isabella and Heidi MacDonald for letting their followers know I started blogging about comics news again. I truly did not expect anyone would do that, and I am touched by the gesture. Thanks.
* Top Shelf has announced two new FUNNY funnybooks, by Alan Moore and Steve Parkhouse, and Liz Prince. I loved Prince's Will You Still Love Me If I Wet the Bed?, but Moore's Bojeffries thingy has never grabbed me when I've read it in the past. Given how little Moore comics work we see these days, and that this is a complete edition, I no doubt will give it one last try to see if it's me or the work that the problem lies with. It's probably me.
* Cartoonist Rob Ullman and I see eye-to-eye on the value of Comic Shop News.
* The shuttering of Picturebox makes USA Today. (Hat tip to Mike Thompson).
* Autobio cartoonist Jason Marcy announces he's doing something I want to read. (I like to read everything he does.)
* By the way, thanks to Tony Isabella and Heidi MacDonald for letting their followers know I started blogging about comics news again. I truly did not expect anyone would do that, and I am touched by the gesture. Thanks.
Tuesday, December 3, 2013
Galaxy Newsbrief 120313: Strangehaven Returns
* I start blogging comics news after a 10-month hiatus and three days in, news that Gary Spencer Millidge's Strangehaven is returning? Strange but true! According to Millidge, "Strangehaven will return in May 2014 after an eight year hiatus. New episodes...will appear in a newly revived comics anthology bimonthly, Meanwhile… published by Soaring Penguin Press." Millidge says Strangehaven will no longer be self-published as a standalone comic, but rather that he plans to produce 13-14 pages of Strangehaven per issue, and anticipates twelve episodes should be published over a two year period, comprising the fourth volume.
* Millidge says a number of factors got in the way of his self-publishing through Abiogenesis Press (the comic was distributed in the States by Top Shelf Productions; see their Strangehaven page here), but publisher John Anderson of Soaring Penguin offered Millidge full creator ownership and a substantial advance to revive the series. Millidge says "As John will testify, I still took a lot of convincing -- temporarily at least -- to abandon my self-publishing philosophy, and the contract took a long time to iron out. Ultimately, I had to choose between this opportunity to get the fourth volume of Strangehaven completed and out into my reader’s hands, or to let it remain in limbo while I continued to figure out a way of having my cake and eating it." Since the series was suspended, Millidge has authored two books about comics, Comic Book Design and Alan Moore: Storyteller.
* Strangehaven was one of the best comics being published in its era (it originally ran from 1995 to 2005; here's my review of #15), and I'm thrilled that it's returning in any form. Inspired by TV series like Twin Peaks and The Prisoner, Millidge's writing and art placed the book in the top tier of independent creator-owned comics, right alongside titles like Stray Bullets, Nexus and Love and Rockets. The eighteen issue run is available in three trade paperbacks: Arcadia, Brotherhood and Conspiracies. Millidge says all three are available via Diamond Distributors and from your local comic shop (they may have to order it for you), as well as from online booksellers and Millidge's own site.
* The other big news yesterday was the announcement that Dan Nadel is closing his alternative comics imprint Picturebox, Inc. Tom Spurgeon has all the details.
* Millidge says a number of factors got in the way of his self-publishing through Abiogenesis Press (the comic was distributed in the States by Top Shelf Productions; see their Strangehaven page here), but publisher John Anderson of Soaring Penguin offered Millidge full creator ownership and a substantial advance to revive the series. Millidge says "As John will testify, I still took a lot of convincing -- temporarily at least -- to abandon my self-publishing philosophy, and the contract took a long time to iron out. Ultimately, I had to choose between this opportunity to get the fourth volume of Strangehaven completed and out into my reader’s hands, or to let it remain in limbo while I continued to figure out a way of having my cake and eating it." Since the series was suspended, Millidge has authored two books about comics, Comic Book Design and Alan Moore: Storyteller.
* Strangehaven was one of the best comics being published in its era (it originally ran from 1995 to 2005; here's my review of #15), and I'm thrilled that it's returning in any form. Inspired by TV series like Twin Peaks and The Prisoner, Millidge's writing and art placed the book in the top tier of independent creator-owned comics, right alongside titles like Stray Bullets, Nexus and Love and Rockets. The eighteen issue run is available in three trade paperbacks: Arcadia, Brotherhood and Conspiracies. Millidge says all three are available via Diamond Distributors and from your local comic shop (they may have to order it for you), as well as from online booksellers and Millidge's own site.
* The other big news yesterday was the announcement that Dan Nadel is closing his alternative comics imprint Picturebox, Inc. Tom Spurgeon has all the details.
Monday, December 2, 2013
Galaxy Newsbrief EXTRA 120213: What Hibbs Isn't Saying
* I used to think Brian Hibbs was blinkered and a bit crazy; he called me on the phone once in a fit of pique about something or other I had said online, probably about how art comics hold more mainstream appeal than the insular, exclusionary superhero comics that retailers and "fans" ridiculously refer to as "mainstream." His response was, quoting from memory here, "Every reader who buys Love and Rockets also buys Superman." One of the many bad habits Hibbs has developed over the years has been to assume that what goes on in his store is what goes on pretty much everywhere else in the direct market, when in fact, from what I am told, his store is far superior to most (as I like to call them) superhero convenience shops, even if his perception of the direct market is far, far from superior, or even sane.
* In a post about the Kickstarter campaign undertaken by art comics giant Fantagraphics, writer-about-comics Johanna Draper Carlson mentions how Hibbs's hatred for "OGNs" (original graphic novels that have not previously been "serialized," that is to say, published in chapters as the floppy comic books the world has almost uniformly rejected in the modern era) is in stark contradiction to her own experience:
"[Hibbs] rail[s] against original graphic novels, the format that has kept me reading comics long into adulthood."
* Hibbs longs for a time when he could count on every customer of his comic book store to come in weekly and pick up their big, unwieldy pile of floppies. Hibbs, like most of the direct market, doesn't understand the near-universal preference for comics with a complete story and a spine (the dreaded "OGN"), probably would prefer that the people that love them shop somewhere else, and justifies his ass-backwards resolution with a bunch of baloney about how publishers should attempt to double, triple and quadruple-dip sales wherever possible. Get the rubes to buy the floppies, the hardcover, the softcover, and the Absolute Edition, or in Hibbs's world, you are #MadeOfFail.
* Johanna's response to this idea is exactly my own:
"I know old-fashioned comic retailers really rely on the habitual buyer coming in and dropping too much money weekly, but I don’t want to be that kind of customer any more..."
* The key phrase there is "dropping too much money," as in, if Hibbs can force you to come in every week, you're more likely to impulse buy that cool new action figure, or t-shirt, or statue, along with picking up your absurdly overpriced stack o' floppies. This is the same business model that supermarkets use, of course; the hope that you'll over-visit and over-spend. It's not illegal, but smart shoppers know the tricks and avoid them whenever possible. "I don't want to be that kind of customer any more." Damn right, Johanna.
* Then there's, as I titled the post, "What Hibbs isn't saying." Johanna absolutely nails it at the end of her post, figuring out the ultimate motive underlying Hibbs's, and by extension the direct market's, insistence that publishers and readers take all the risk while comic shops lay back and count the cash at the end of every Wednesday. To learn what Hibbs isn't saying, click over to Comics Worth Reading and read Johanna's entire post. It's all you need to know about the refusal of comic shops to evolve into the 21st century and embrace graphic novels as the comics the world wants now.
* In a post about the Kickstarter campaign undertaken by art comics giant Fantagraphics, writer-about-comics Johanna Draper Carlson mentions how Hibbs's hatred for "OGNs" (original graphic novels that have not previously been "serialized," that is to say, published in chapters as the floppy comic books the world has almost uniformly rejected in the modern era) is in stark contradiction to her own experience:
"[Hibbs] rail[s] against original graphic novels, the format that has kept me reading comics long into adulthood."
* Hibbs longs for a time when he could count on every customer of his comic book store to come in weekly and pick up their big, unwieldy pile of floppies. Hibbs, like most of the direct market, doesn't understand the near-universal preference for comics with a complete story and a spine (the dreaded "OGN"), probably would prefer that the people that love them shop somewhere else, and justifies his ass-backwards resolution with a bunch of baloney about how publishers should attempt to double, triple and quadruple-dip sales wherever possible. Get the rubes to buy the floppies, the hardcover, the softcover, and the Absolute Edition, or in Hibbs's world, you are #MadeOfFail.
* Johanna's response to this idea is exactly my own:
"I know old-fashioned comic retailers really rely on the habitual buyer coming in and dropping too much money weekly, but I don’t want to be that kind of customer any more..."
* The key phrase there is "dropping too much money," as in, if Hibbs can force you to come in every week, you're more likely to impulse buy that cool new action figure, or t-shirt, or statue, along with picking up your absurdly overpriced stack o' floppies. This is the same business model that supermarkets use, of course; the hope that you'll over-visit and over-spend. It's not illegal, but smart shoppers know the tricks and avoid them whenever possible. "I don't want to be that kind of customer any more." Damn right, Johanna.
* Then there's, as I titled the post, "What Hibbs isn't saying." Johanna absolutely nails it at the end of her post, figuring out the ultimate motive underlying Hibbs's, and by extension the direct market's, insistence that publishers and readers take all the risk while comic shops lay back and count the cash at the end of every Wednesday. To learn what Hibbs isn't saying, click over to Comics Worth Reading and read Johanna's entire post. It's all you need to know about the refusal of comic shops to evolve into the 21st century and embrace graphic novels as the comics the world wants now.
Galaxy Newsbrief 120213: Ho, Ho, Ho
* Tom Spurgeon has posted his 2013 Holiday Shopping Guide. Given how few comics attract my attention these days (both because I refuse to put myself through the monthly Previews ordeal and because I have tried to separate myself from much of the "comics culture" over the past year), I found this a particularly useful post. It reminded me that Matt Fraction's Hawkeye was both fun and accessible, so maybe I will take another look at that book at some point. Fraction's an interesting case to me, in that his writing almost always appeals to me, and yet nothing ever seems to stick in my consciousness over the long haul. I suppose there should be a place for disposable comics like that somewhere in my life. On the other end of the spectrum, also recommended in the guide is Peanuts Every Sunday Vol. 1, new from Fantagraphics, reprinting all the Sunday strips in full colour. This is the opposite of disposable comics, absolutely essential and sure to be appreciated by anyone lucky enough to get it as a gift this holiday season.
* Spurge's gift guide promises to be more useful to me in general as comics has become something that I would rather immerse myself in once a year or so rather than every Wednesday, so I know there'll be someone with taste and passion talking about comics in a place I'll remember to look about as often as I can stand to really dig deep. As a bonus, although I don't always agree with Spurgeon on issues relating to comics, I do respect him and his ability to explain his perspective. There aren't many people left writing about comics about whom I can say that.
* Off the top of my head, if you're buying comics-related stuff for holiday gift-giving, you should consider Lance Parkin's Magic Words, the wonderful new hardcover biography of Alan Moore. In addition to the terrific content, it's also a gorgeous little object. Moore and Kevin O'Neill's Nemo: Heart of Ice hardcover published by Top Shelf would make a great gift for the Moore fan who might not have realized the book ties into the expansive League of Extraordinary Gentlemen mythology. And Corpse on the Imjin, the Fantagraphics hardcover collecting Harvey Kurtzman's war comics, would be an awesome gift as well. In the non-comics category, Sol Republic sent along a pair of their JAX earbuds for consideration this holiday season, and my son grabbed them up so quickly I never got to try them. He tells me they sound great, much better than the previous earbuds he was using, and he likes that the cord is tangle-proof. They also come with some kind of setup so they work with your iPhone, but we don't have one, so I can't speak to how that all works.
* Spurge's gift guide promises to be more useful to me in general as comics has become something that I would rather immerse myself in once a year or so rather than every Wednesday, so I know there'll be someone with taste and passion talking about comics in a place I'll remember to look about as often as I can stand to really dig deep. As a bonus, although I don't always agree with Spurgeon on issues relating to comics, I do respect him and his ability to explain his perspective. There aren't many people left writing about comics about whom I can say that.
* Off the top of my head, if you're buying comics-related stuff for holiday gift-giving, you should consider Lance Parkin's Magic Words, the wonderful new hardcover biography of Alan Moore. In addition to the terrific content, it's also a gorgeous little object. Moore and Kevin O'Neill's Nemo: Heart of Ice hardcover published by Top Shelf would make a great gift for the Moore fan who might not have realized the book ties into the expansive League of Extraordinary Gentlemen mythology. And Corpse on the Imjin, the Fantagraphics hardcover collecting Harvey Kurtzman's war comics, would be an awesome gift as well. In the non-comics category, Sol Republic sent along a pair of their JAX earbuds for consideration this holiday season, and my son grabbed them up so quickly I never got to try them. He tells me they sound great, much better than the previous earbuds he was using, and he likes that the cord is tangle-proof. They also come with some kind of setup so they work with your iPhone, but we don't have one, so I can't speak to how that all works.
Sunday, December 1, 2013
Galaxy Newsbrief 120113: It's About Goddamned Time
* It's the first day of the last month of the year, World AIDS Day, the fourth day of a four-day weekend, a Sunday, and it's likely no one is online at all, anywhere. So, hi.
* It's About Goddamned Time is the name of a post at The Comics Journal, and it's the confluence of a number of interesting factors. It is, to be sure, the most sarcastic and cutting thing ever written by either Abhay Khosla or Tucker Stone, two writers who have pretty much made "sarcastic and cutting" their trademarks. It's also the peak moment of the ongoing "Brian Wood is Much More of An Asshole Than Most Of Us Ever Expected: The Sexism Edition," by which I mean to say, that after Abhay and Tucker's piece, not only should there be nothing left to say about the issue, but any security guard of buildings with more than three floors should keep a very close eye on Mr. Wood and keep him away from the windows. Or maybe don't. The piece is also noteworthy for showing just how much value and insight can be contained in that particular style of writing. I've especially admired Abhay's facility with this technique for a long, long time, and despite frequent criticism from "the fans," Abhay has shown again and again that there's a place for what he does. He and Tucker should win some kind of an award for this piece, which I would marry if I could. "You Too Can Comic Book," indeed.
* TwoMorrows sent along Back Issue #69, the title's 10th anniversary edition, with a nice Dan Jurgens cover. Jurgens is one of those artists pretty much disregarded in the modern era but who generally does an above-average job on his assignments and who deserves better than the industry has generally given him (see also Jerry Ordway). Inside is a nicely packaged, full-colour series of articles reminiscing on notable anniversary issues of the '70s and '80s. I hadn't realized Marv Wolfman conceived the modern idea of the anniversary issue in the '80s, with the extra-length stories that celebrated milestone issues of Fantastic Four and Amazing Spider-Man. Previously such longer tales were reserved for annuals only. I was interested in Wolfman's perspective on the industry standards of the day, as well as his thoughts on those two issues, both of which I bought new on the stands the day they came out. Many more such comics are looked at in the pages of Back Issue #69, and if you have any fondness at all for this era of superhero comics, you'll certainly find entertainment and insight galore inside. Congratulations to everyone at TwoMorrows on the big 1-0, and thanks for keeping the flame alive for a time when superhero comics were both cheaper and much, much better than they are today.
* Did you see Alan Moore's interview with The Guardian last week in which he said "I hate superheroes. I think they're abominations. They don't mean what they used to mean. They were originally in the hands of writers who would actively expand the imagination of their nine- to 13-year-old audience. That was completely what they were meant to do and they were doing it excellently. These days, superhero comics think the audience is certainly not nine to 13, it's nothing to do with them. It's an audience largely of 30-, 40-, 50-, 60-year old men, usually men. Someone came up with the term graphic novel. These readers latched on to it; they were simply interested in a way that could validate their continued love of Green Lantern or Spider-Man without appearing in some way emotionally subnormal." Predictably, this pissed off a bunch of emotionally subnormal people, primarily men in their 30s, 40s, 50s and 60s. Me, I'll be 48 in a couple of months and I recognize what Moore said as exactly right. Which doesn't mean there couldn't still be a whole lot of good superhero comics being published, it's just that there aren't, and haven't been for a long time, because that buffalo-herd of emotional subnormals votes with their dollars, and the corporations listen and act accordingly.
* Speaking of Alan Moore, if for some reason you're reading this but haven't been following Trouble With Comics, I recently did an interview with Moore biographer Lance Parkin, and also posted a list of my top 5 Moore works.
* Quote of the Day, from Christopher Butcher: "You aren't a badass, edgy artist who pushes boundaries if your women are naked but you're afraid to draw a dude's wang."
* It's About Goddamned Time is the name of a post at The Comics Journal, and it's the confluence of a number of interesting factors. It is, to be sure, the most sarcastic and cutting thing ever written by either Abhay Khosla or Tucker Stone, two writers who have pretty much made "sarcastic and cutting" their trademarks. It's also the peak moment of the ongoing "Brian Wood is Much More of An Asshole Than Most Of Us Ever Expected: The Sexism Edition," by which I mean to say, that after Abhay and Tucker's piece, not only should there be nothing left to say about the issue, but any security guard of buildings with more than three floors should keep a very close eye on Mr. Wood and keep him away from the windows. Or maybe don't. The piece is also noteworthy for showing just how much value and insight can be contained in that particular style of writing. I've especially admired Abhay's facility with this technique for a long, long time, and despite frequent criticism from "the fans," Abhay has shown again and again that there's a place for what he does. He and Tucker should win some kind of an award for this piece, which I would marry if I could. "You Too Can Comic Book," indeed.
* TwoMorrows sent along Back Issue #69, the title's 10th anniversary edition, with a nice Dan Jurgens cover. Jurgens is one of those artists pretty much disregarded in the modern era but who generally does an above-average job on his assignments and who deserves better than the industry has generally given him (see also Jerry Ordway). Inside is a nicely packaged, full-colour series of articles reminiscing on notable anniversary issues of the '70s and '80s. I hadn't realized Marv Wolfman conceived the modern idea of the anniversary issue in the '80s, with the extra-length stories that celebrated milestone issues of Fantastic Four and Amazing Spider-Man. Previously such longer tales were reserved for annuals only. I was interested in Wolfman's perspective on the industry standards of the day, as well as his thoughts on those two issues, both of which I bought new on the stands the day they came out. Many more such comics are looked at in the pages of Back Issue #69, and if you have any fondness at all for this era of superhero comics, you'll certainly find entertainment and insight galore inside. Congratulations to everyone at TwoMorrows on the big 1-0, and thanks for keeping the flame alive for a time when superhero comics were both cheaper and much, much better than they are today.
* Did you see Alan Moore's interview with The Guardian last week in which he said "I hate superheroes. I think they're abominations. They don't mean what they used to mean. They were originally in the hands of writers who would actively expand the imagination of their nine- to 13-year-old audience. That was completely what they were meant to do and they were doing it excellently. These days, superhero comics think the audience is certainly not nine to 13, it's nothing to do with them. It's an audience largely of 30-, 40-, 50-, 60-year old men, usually men. Someone came up with the term graphic novel. These readers latched on to it; they were simply interested in a way that could validate their continued love of Green Lantern or Spider-Man without appearing in some way emotionally subnormal." Predictably, this pissed off a bunch of emotionally subnormal people, primarily men in their 30s, 40s, 50s and 60s. Me, I'll be 48 in a couple of months and I recognize what Moore said as exactly right. Which doesn't mean there couldn't still be a whole lot of good superhero comics being published, it's just that there aren't, and haven't been for a long time, because that buffalo-herd of emotional subnormals votes with their dollars, and the corporations listen and act accordingly.
* Speaking of Alan Moore, if for some reason you're reading this but haven't been following Trouble With Comics, I recently did an interview with Moore biographer Lance Parkin, and also posted a list of my top 5 Moore works.
* Quote of the Day, from Christopher Butcher: "You aren't a badass, edgy artist who pushes boundaries if your women are naked but you're afraid to draw a dude's wang."
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