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The Journey, Man 13: Look! Up in the Sky!
Columnist Wayne Rée shares his discovery of comic books, from his start as a super-hero fan to his evolution into a believer of the power of the art form of comics.
All-Star Superman by Grant Morrison & Frank Quitely
So far in this here column, I’ve touched on superheroes and appreciating comics’ history – so, it seemed only inevitable that I got down to focusing on the Man of Steel himself.
Inevitable, yeah, but the truth is, I’ve been putting this particular edition off. See, I’d never really read Superman till fairly recently, which isn’t really a problem, but … hoo boy. Look, this is kind of embarrassing to admit, so I’ll just come out and say it. I was one of those guys.
That’s right: I used to think Superman was boring.
Goody two-shoes
But let’s be honest here: Chances are, plenty of you have been one of those guys too. “Superman’s too much of a boy scout. He’s not relevant in today’s world. He’s just sooooo dull!” I’ve heard ‘em all before because, at one point, I used to spew them all myself.
It was an easy thing to do when you were a kid in the 90s, a time when it was soooo cool to be angsty and we demanded that our characters had to be more “grim and gritty” (whatever the hell that means). And it didn’t help that everyone else I knew felt that way too. As filmmaker Max Landis put it in his short film The Death and Return of Superman, “Nobody gave a [redacted] about Superman.” I mean, yeah, we all looked back fondly on the Richard Donner films, but that was it.
But that all changed for me in 2009. I started to give a [redacted] – and indirectly, it was because of the Fantastic Four.
Writer of steel
Mark Waid is an incredible author of comics like Kingdom Come, as well as the scribed of widely popular runs on The Flash, Daredevil and Fantastic Four.
That last book, in particular, was why I attended his 2009 writers’ festival talk in Singapore. I was a huge fan of his take on Marvel’s first family (with the late, great artist Mike Wieringo) and I just wanted to meet the guy, shake his hand and thank him.
Mark Waid
So, I sat in for his talk and that’s when I discovered he was a big Superman guy. No, wait. Scratch that. Mark Waid was the biggest Superman fan I’d ever met. Ever. I’d say a good 75% of his talk that day was about why Superman was the greatest superhero ever. And while I wasn’t a convert that day, my interest was certainly piqued.
The first Superman comic that I actually purchased was All-Star Superman by Grant Morrison and Frank Quitely. It was a colorful, sometimes hokey, but always fun book that first introduced me to what I’ve come to realize is one of the defining traits of the character. But I’ll get to that later.
Anyway, I still didn’t give big blue much thought again after All-Star Superman, not till last December
The reading list
I was making my annual list of resolutions that I was inevitably probably going to break and for some reason, I thought, what the heck. Let’s give Superman the proper shake he deserves. I mean, I wasn’t an angsty little kid any more and his message of hope kind of stuck with me. Ah, but where to start?
So, I turned to a couple of friends who’re pretty big Superman fans. (They’re no Mark Waids, but they’d do just fine.) They eagerly handed me a reading list of what they felt were good Superman comics for a novice like me and I was off.
Superman: Birthright by Mark Waid & Leinil Francis Yu
“An ideal to strive towards.”
When I finally found some of those comics, I sat down and read them. And I reread them. And I went out and looked for more. And I read those too.
And truth be told, I’m mostly done with that reading list, but I’m already looking for even more. Because that defining trait I mentioned earlier? In the very best Superman stories out there, that trait shines like a beacon.
Books like Waid and Leinil Yu’s Superman: Birthright or Kurt Busiek and Stuart Immonen’s Secret Identity – the one thing that they have in common is that they show you why Superman, the oldest superhero around, was the first of many.
Because when you’re an angsty kid, you don’t consider it. That there had to be a reason he endured all this time. And, finally, I figured it out. His greatest defining trait? It’s something that many of my favorite heroes have reflected in some form or another since the last son of Krypton crash landed on earth.
That trait is hope.
And, if you ask me now, there’s nothing boring about that.
Wayne Rée’s been writing professionally for about ten years. He’s worked in everything from advertising to publishing, and was even part of the team that created Singapore’s very first tattoo magazine. He dabbles in screenwriting and photography, travels way too much, and is currently putting together his very first short story collection. He blogs about his upcoming book, storytelling and other things at http://waynereewrites.com.
The Journey, Man 12 – Adaptability
Columnist Wayne Rée shares his discovery of comic books, from his start as a super-hero fan to his evolution into a believer of the power of the art form of comics.
Batman directed by Tim Burton, starring Jack Nicholson and Michael Keaton
I love going to the movies. Always have. I’m not a scholar of fine cinema or revolutionary filmmaking. I know a thing or two, sure, but at the end of the day, I just like catching a flick with friends and having a good time.
Iron Man 3’s opening in just a few weeks, so it seemed only right to talk a little about that love for moviegoing. After all, my journey, man, wouldn’t be complete if I didn’t talk about comic films – specifically superhero films, for two reasons.
Comic films in general means a pretty broad list to cover. We’re talking everything from Ghost World to Dredd here. But superhero films? That’s a more specific subset. And, more importantly, there’s an emotional connection I have with superhero films that goes deeper than other comic films.
“Where does he get those wonderful toys?”
That connection started when I was a kid, naturally. Anyone from my generation will tell you that the ’80s were a golden age for genre films. If you were a fantasy fan, you had Princess Bride. If you loved sci-fi, you had Blade Runner. And if you loved superheroes, you had Tim Burton’s Batman.
Yeah, I’d seen Richard Donner’s Superman, but Batman? Hoo boy. That was a different ball game altogether. And for the next half of a decade, the Batman films were the standard by which superhero flicks were measured. Hell, I can still unapologetically dig Batman Forever. Of course, to be fair, there were all that many superhero films out there anyway. Which is why, when Batman & Robin came out, I was devastated.
It was disappointing, simply because it seemed like this marriage of two of my favourite things was coming to an end. You got to understand: This was a film so bad that George Clooney eventually apologised for it and Joel Schumacher (the man who helmed easily one of my favourite vampire flicks of all time) practically faded from the spotlight.
As far as I was concerned, that was it for superhero movies. And then Wesley Snipes came along.
Blade directed by Stephen Norrington, starring Wesley Snipes and Stephen Dorff
“I was born ready, mother—”
I’ve pointed out before that I’ve always been a Marvel guy. So, when Blade hit the big screen, you’d think I was ecstatic. But I wasn’t. Well, not initially. At first, I just couldn’t believe that the character that Wesley Snipes so perfectly brought to the screen was the same dude with the goofy 70s shades from the comics.
But it was, and after I got over that disbelief, I was all in, baby. I mean, come on. It was a Marvel character, no matter how obscure, that was translated into a genuinely kick-ass film.
The best thing about Blade, however, wasn’t just that it was an awesome film; it was a precursor to even more superhero films. Which made me happy as can be… for a little while anyway. That marriage of my loves was back, sure, but it was a marriage that was riddled with problems.
Quantity and quality
A glut of superhero films was released in the decade or so after Blade. But for every X-Men 2, there was an Elektra. Sure, I was glad to have these larger-than-life characters back on screen, but was the excitement of seeing Spidey swing through New York worth the awkward scripts that came along with Raimi’s web-slinging trilogy?
Pretty soon, I’d kind of had it. It actually felt worse than the this-is-over sensation that came with Batman & Robin. If we’re going to use the matrimonial analogy again, it became a loveless marriage. It just wasn’t exciting anymore.
What it needed was a second honeymoon. (I’ve totally lost control of this analogy, haven’t I?)
Batman Begins directed by Christopher Nolan, starring Christian Bale
The Dark Knight Returns
And lo and behold, just like in the ’80s, Batman heralded a new era of superhero films with the aptly named Batman Begins. But they were different this time. It seemed like the one good thing that came out of that glut was that studios were learning that they couldn’t get away with releasing substandard films for our favourite colourful characters.
Christopher Nolan, Jon Favreau, Kenneth Branagh, and eventually Joss Whedon were names that were starting to get attached to these movies. Directors that carried weight, not just with your average moviegoer, but with us nerds and geeks too. Sure, we had Green Lantern, but crappy superhero films were comparatively fewer and farther between.
The new golden age
Last year, when I sat and watched Avengers for the first time, I swear to you, I was nearly moved to tears. Hell, I still get a little misty-eyed every time I hear Alan Silverstri’s theme from the show. Can you blame me though? For the first time since Burton’s Batman, I’m looking forward to watching superhero films regularly again.
Y’know… just catching a flick with friends and having a good time
Wayne Rée’s been writing professionally for about ten years. He’s worked in everything from advertising to publishing, and was even part of the team that created Singapore’s very first tattoo magazine. He dabbles in screenwriting and photography, travels way too much, and is currently putting together his very first short story collection. He blogs about his upcoming book, storytelling and other things at http://waynereewrites.com.
Op-Ed: Hate is not a belief
In a special op-ed, columnist Wayne Rée examines a recent controversy in comics.
Adventures of Superman #1 (cover by Chris Samnee)
Last week, Chris Sprouse – the artist that was scheduled to work with writer Orson Scott Card on DC Comics’ new anthology series The Adventures of Superman – left the project. Sprouse’s departure, unsurprisingly, has reignited the flame of controversy that has surrounded Card and DC since the initial announcement of the Ender’s Game author’s involvement.
Some fans are calling for the publisher to remove Card, citing his anti-gay marriage stance as one of the reasons why Card should stay away from comics’ most prominent bastion of Truth and Justice. Some fans, however, think it’s unfair to blacklist a writer based on his beliefs.
And I agree with both those parties. DC Comics shouldn’t drop Card because of his beliefs.
Hear me out. I was raised Catholic, but left the faith a couple of years back. I’ve seen a lot of people pick out pretty unsavory passages from the Bible to show just how ‘vile’ and ‘despicable’ religions like Catholicism are. And, granted, these excerpts don’t exactly paint the church in a positive light.
I, however, have seen for myself that religion can be, and usually is, more than just passages from a book. Most of my friends still identify themselves as Catholic – and they’re all good people. I’m sure a lot of you could say the same thing about your religious friends too, regardless of what god or gods they worship. Because religion and hate are not synonymous concepts.
Orson Scott Card isn’t a hateful person because of his religion. Mormonism, no matter what its teachings, should never be used as a reason to can his Superman story.
But Card isn’t just a person who believes that homosexuality isn’t natural; as a board member of the National Organization for Marriage, a body dedicated to blocking the legalization of gay marriage, he’s a man who’s actively trying to stop people who’re in love from tying the knot. People whose sexual orientation does not, in any way, harm others. Simply put, he’s preaching hate.
As Michael Hartney so perfectly put it in his open letter to DC Comics, “There’s a difference between having conservative political beliefs and being an active force of bigotry and hatred.”
So, like I said before, no, I don’t think DC Comics should drop Orson Scott Card for what he believes in.
But hate is not a belief.
Wayne Rée’s been writing professionally for about ten years. He’s worked in everything from advertising to publishing, and was even part of the team that created Singapore’s very first tattoo magazine. He’s currently putting together his very first short story collection. He blogs about his upcoming book, storytelling and other things at http://waynereewrites.tumblr.com. And contrary to what you might think, he really likes Ender’s Game and the Bean series.
Confessions of a Cranky Comic Book Cartoonist: Now It Can Be Told! – “I Was the Alien Superman!”
Columnist Scott Shaw! brings his perspective as an experienced professional cartoonist and active participant in the comic book industry for more than 40 years. Get an insider’s look at the art form from someone in the trenches every day.
While you’re still enjoying your trick or treat treasures, here’s a rare installment of Scott Shaw!’s Now It Can Be Told that reveals a particularly memorable Halloween that changed the way Scott thought about comics forever!
Now It Can Be Told is a web-comic Scott creates as part of the web-collective Act-I-Vate. This story never appeared online though, and was first seen in Streetwise, an anthology of autobiographical stories published by TwoMorrows Publishing in 2000.
Click the comic for a closer view.
Scroll to the bottom for a better look at the classic comic that inspired Scott’s costume.
World’s Finest Comics #105 was published by DC Comics in late 1959 and featured cover art by legendary Superman artist Curt Swan. The cover story was written by Bill Finger, the uncredited co-creator of Batman and other related characters, and drawn by Dick Sprang who defined the look of Batman for twenty years starting in the mid-1940s.
World’s Finest Comics #105 (November 1959)
Scott Shaw! — yes, that exclamation point has adorned his name since junior high school — currently writes and draws comic books starring the Simpsons for Bongo Comic, The Adventures of Captain Rochester for Rochester Electronics, and his autobiographical comic strip, Now It Can Be Told! for Act-I-Vate, as well as performing his live Oddball Comics show. He just finished storyboarding four episodes of Cartoon Network’s Annoying Orange animated show, is finishing a new 8-page Now It Can Be Told! story for Dark Horse Presents (“I Covered Myself With Peanut Butter To Become…The Turd!”) and will be drawing an upcoming Mark Evanier-written Garfield comic book story for Ka-Boom. He’s currently writing and drawing on the first Annoying Orange graphic novel – split with Mike Kazaleh – for Papercutz.
Dig Comics: Hero Quest
Columnist Miguel Cima, director/host of the award-winning documentary Dig Comics, looks at what makes comics so great, and what’s holding them back.
If you know me, you know I don’t read a lot of superhero comics these days. Of course, I used to read ONLY superhero comics. Most of us who grew up on comics in the last few decades probably know what I mean. I was strictly a “Make Mine Marvel” guy for most of my childhood, only getting deep into DC post-Crisis. It was an important and magical experience, to know a full pantheon of heroes, gods, monsters, strange worlds, other realms, quests, visions…it was a unique opportunity for the 20th century. Sure, every culture ever had its religions, filled with all of its figures, places and events. But none which were created so recently, so freshly and relevantly. Modern printing allowed for tales to be disseminated as never before, not only textually but graphically, giving us perhaps as many far-out tales of battles and adventures in a few years as all the carved hieroglyphics of an entire dynasty. And there we all were, common people able to read, with easy access to experience vast mythology. I always feel pity when I think of those who passed by the so-called “universes” of the Superman or Fantastic Four variety. It’s a very special thing.
Often I consider that so many comics fans in America are really just fans of a particular mythology, or perhaps a few mythologies (think titles like Hellboy or Savage Dragon). For me, being a true comics devotee means not limiting yourself to one type of comic book experience – in fact, not limiting yourself at all, at least from overall genres and styles (naturally, within each, there will be varying degrees of quality). So why do I limit myself from superhero comics? I mean, if I take my own advice, then surely, I should be giving the current titles more of my time, right?
Spider-Man by Donald Soffritti
I can tell you why I don’t read MOST superhero comics that I used to read. The obvious: how many decent stories does any character really have? What can you possibly read that has not been written so many thousands of times over the past seven plus decades? Of course the answer is: not much. At least, not much if you stick to continuity. The absurdity of trying to pretend that figures like Batman and Spider-Man are not both well over the hill is evident in the industry practices of rehashed gimmickry and slight variations. One hero is dead (but always comes back to life). Another has some experience which “changes everything” even if it’s only a slight variation on a storyline from thirty years ago. And on top of that, somebody has to manage an ever more complex, more populated mythos which requires the preservation of all concurrent storylines, across dozens of monthly publications, for endless years, and all to meet the demands of shareholders. Gone are the days when these legacy characters were the product of visionaries, hungry not just for expression, but for money to put food on the table. The commercial product has been fully pried from the risk-taking art form that started it all. Yes, of course, there are the exceptions to the rule, but I don’t know how much I care to seek them. They are too few, too meager. I don’t put any blame on the creators working in the genre right now. First of all, it’s by far the most lucrative. And by and large, the folks behind the work are true fans. Getting the chance to write and draw that character you grew up with and getting the chance to add your stamp to the legacy must be very appealing indeed. But it’s not working for me, and I often wonder why it works for anybody. How many “reboots” before you finally get sick of reboots? How many perfectly predictable resurrections before you realize, continuity has lost all meaning?
The Batman Chronicles by Bob Kane and Bill Finger
Fortunately, I have found some remedies for myself to fill these needs. First of all, I use the time machine. I’ve been jumping into all of the old stuff I never read. DC has an excellent line of affordable trade collections of the original comics from their core pantheon called DC Chronicles. Way cheaper than the hardback DC Archives collections (and printed on pulp, which I find far cooler), I have been digging in to Superman, Batman and Green Lantern, all in the order they appeared in titles like Action and Detective and DC Showcase. Sure, I’ve read a lot of this stuff, one-offs in reprints and such, but this completist line allows me to see ALL of it from the start, a real history project where you can see the more unfettered creators lay down the genesis of the legacy titles. Marvel Masterworks is another great option, but their trade paperbacks are not as competitively priced, and never on pulp (damn!). But that’s all you’ve got for right now, and all that awesome history is there too, from Fantastic Four to Iron Fist and just about everything from Marvel’s Silver Age. And I’ll sometimes nibble at “alternate reality” stories, tales of the characters outside of the continuity like Warren Ellis’ Old Man Logan storyline or DC’s retired Elseworlds imprint. Unfortunately, entire reboots like the Ultimate universe in Marvel or The New 52 are subject to the same robust brand management interference which those other examples of limited series are put through. And as such, are plagued by the same afflictions.
Irredeemable by Mark Waid and Peter Krause
And so I seek superheroes in other places besides DC and Marvel. Recently, I burned through Mark Waid’s Irredeemable series with great relish. Waid took the 20th century archetypes, offering instant recognizability (but with no TM infringement), and ran with a tale that brand managers at the big corporate publishers could never allow, including closure. (It helps that besides having an original story, Waid also has his own publishing house, BOOM! to be as free as he wants to be.) Marvel uber-author Ed Brubaker played his own games with his Incognito series (limited though it was, and on Marvel’s Icon imprint, to their credit). The aforementioned Savage Dragon by Erik Larsen is another excellent example of a guy giving us old-fashioned superhero fun without the expense of convoluted continuity (even though the title is getting long in the tooth itself!). I could mention more and more, but you get the idea – it’s not superheroes I have a problem with, it’s just the idea of a market dominated by this single genre (Marvel and DC run 70% of the North American market) and the idea that despite the inherent quality control issues when churning out so much pulp (or whatever slick paper is) carrying such intense corporate pressure (the far more profitable movie, video game, and toy branches of Time Warner and Disney depend on the publishing arms), the audience pushes most of its money on this heavily trod-upon ground. I wish more of you would venture out to discover humor, history, horror, high art, human dramas and so on, just like you do on TV and at the movies. But that’s just a dreamer’s lament. And I’ll be honest with you. I want to keep getting new stories from the same old characters. And I do. Just not entirely in comics.
The Avengers: Earth’s Mightiest Heroes on Disney XD
Sadly, I nowadays get most of my Marvel/DC superhero action not through comics, but on TV. For the last twenty odd years or so, DC in particular has offered wonderful superhero mythology, starting with Batman: The Animated Series followed closely by Superman: The Animated Series which, following this continuity strictly or not, smoothly transitioned into Justice League and Justice League Unlimited. Here you could feel the freedom of the creators. They were given far more leeway with the legacy characters. And even after a series ended, new series could create a new vision with its own angle. You can see this in such diverse shows as The Batman, Batman: Brave and the Bold, Young Justice and Green Lantern: The Animated Series. I don’t love and watch ALL of these shows, but EVERY superhero fan is bound to love one or more of them. Marvel doesn’t have quite as long of a track record with high-quality shows, but of late, we’ve seen outstanding efforts with shows like Wolverine and the X-Men, Iron Man Armored Adventures, Spectacular Spider-Man, The Super Hero Squad Show, Ultimate Spider-Man, and particularly with Avengers: Earth’s Mightiest Heroes. This show, like the Justice League run and the current Young Justice offers just the right blend of childish escapism, adult themes (but not TOO adult), long episodic tales, fights and violence (but not TOO violent) mixed with healthy, respectful nods to works new and old from the source material. It is ironic that in animation – a far more expensive process than comic book publishing, requiring teams of dozens rather than perhaps 10 people (sometimes just ONE) – there seems to be a lot more room to move for talented storytellers to play with the standard bearers of the legacy books. And it’s not just freedom for them, its freedom for me, the audience, who can enjoy new tales of old friends without getting bored, still surprised from time to time, able to see these tales in fresh places where you can feel a far more steady creative control, for good or ill (again, I do NOT love all of those animated shows, but I sure do love more than a few).
Which brings me to this final bummer: I don’t like writing about TV in this column. I want to write about comics. And that means writing about something other than superheroes. But at least now you know why. And maybe somebody in the right place will take it to heart. I interviewed Stephen Christy, editor-in-chief of Archaia Entertainment, at Comic-Con a few years back for the Dig Comics project. I asked him the same thing I asked all the publishers I talked to: if you were god and could run DC and Marvel, what would you do? His answer stuck with me, and I paraphrase: “I would kill all the titles, except about 12-15 of the core books, assign top creators to those and limit the output.” He may have a point. After all, there’s a hell of a lot to pretend you can manage in one continuity without a lot of not so awesome comics. I would combine that effort with killing all continuity periodically and maybe give some creators a chance to take the characters for their own ride, rather than tack their decisions to a committee. And if you try to make your new continuity too close to your old one, you’ll lose. If you are keen on continuing to publish 50 or more titles, how about letting multiple continuities run at once? Let the market decide which one it likes. And if one falls out of favor, save the space for a new subset of creators. But do something besides the same old tricks, at least if you want to see my money again.
Argentinean-born New Yorker and NYU film school graduate Miguel Cima is a veteran of film, television and music. He has worked for such companies as Warner Bros., Dreamworks and MTV. An avid comic book collector since he could read, Miguel began writing stories in 4th grade and has not slowed down since. He is a world traveler, accomplished writer, filmmaker, and comics creator. He is the writer, director and host of the award-winning documentary Dig Comics. Follow Dig Comics on Facebook. Read more of Miguel’s comic book recommendations.
Confessions of a Cranky Comic Book Cartoonist: Why I Don’t Dig Most Superhero Movies! >Gasp!<
Guest columnist Scott Shaw! brings his perspective as an experienced professional cartoonist and active participant in the comic book industry for more than 40 years. Get an insider’s look at the art form from someone in the trenches every day.
Why I Don’t Dig Most Superhero Movies! >Gasp!<
By Scott Shaw!
Back in prehistoric times – you probably know ‘em as “The Silver Age Of Comics” – when there were no superhero movies, comic book letter columns often ran letters suggesting which then-current actors would be suitable for casting in the roles of various superheroes. Most of us had seen the Adventures of Superman television series (1952 – 1958) – and at one of San Diego’s many naval base theaters I saw a single chapter of one of those Commando Cody serials (the inspiration for Dave Stevens’ Rocketeer) – so the notion of a motion picture starring a superhero didn’t seem impossible…
Except that, for me, at least, the concept of a live action superhero movie wasn’t something I was particularly anxious to see. I’d seen a 1943 Superman theatrical short, “The Underground World” on Channel 6’s cartoon show hosted by “Uncle Russ” – and that immediately convinced me that when it came to funnybook superheroes, animation was the best way to approach this sort of material (even though I was unable to convince my chums at Rowan Elementary School that the cartoon I’d watched existed at all!)
You see, I always dug the fact that, in comic books, superheroes were intentionally exaggerated characters who could routinely accomplish outrageous, unbelievable super-deeds. I never wondered what it would look like if superheroes were “real”; they were un-real and that was the way I liked ‘em: imaginary characters doing impossible things. I already had my fill of “real” in everyday life. (Yeah, I explained this in greater detail in last month’s Confessions of a Cranky Comic Book Cartoonist column. If you haven’t read it, go read it now right here. Don’t fret, I’ll wait for you.)
That said, I find that most live-action superhero movies actually diminish the long-underwear-and-capes crowd. No human physiognomy can possibly duplicate the musculature, foreshortening and poses of characters drawn by such “extreme” cartoonists as Jack Kirby, Gil Kane and Steve Ditko, among many others. And when it comes to depicting an awe-inspiring character like Galactus, as in 2007’s Fantastic 4: Rise of the Silver Surfer, the audience gets a vague computer-generated effect. (On the other hand, the only thing the makers of that unfortunate sequel did right was the CG depiction of Norrin Radd; the gimmick of the character’s skin becoming tarnished as he loses “the power cosmic” was not only clever, it was something that would have been nearly impossible to pull off in the pages of a four-color funnybook.) In other words, the human body and CG special effects can possibly duplicate – or even come close to – what I love about comic books.
Another thing I dislike about most superhero films is the apparent necessity of spending one-third to one-half of their lengths to establishing the starring character with a “secret origin”. Sure, the audience might not know the specifics of a character’s back story, but they certainly know who the lead super-character is if they’ve already bought their ticket, popcorn and soda. Such famous characters’ origins are anything but secret! Can’t the origins be told along the way or in a flashback well within the body of the film? Or better yet, do it like it was in 1996’s The Phantom. (More on that in a few paragraphs!) The linear method, with a hero’s (or villain’s) origin taking up the entire beginning of the film reminds me of many 1950s monster movies in which we know what monster is behind the mysterious destruction, disappearances and deaths long before any of the characters because we saw the ads and poster first! In other words, it’s padding, pure and simple. The fact that the upcoming Amazing Spider-Man movie will once again retell the origin of the web-spinner is so superfluous, it makes me want to skip seeing the film altogether.
And what is it about Hollywood’s fascination with the “dark” side of superheroes? Tim Burton started that trend with his Batman film (1989), but I assume that was Warner Bros.’ intention in hiring the wunderkind to separate the dramatic Dark Knight from the lingering public association with the campy treatment the Caped Crusader received in ABC’s Batman TV series (1966 – 1968). But ever since then, most superhero movies have displayed similar dark tones, if not even darker. Superhero films don’t have to be silly or dead serious, folks; there’s plenty of other approaches in between the two extremes. But it should surprise no one reading this column that I’d much rather watch Cartoon Networks’ late, lamented Batman: The Brave and the Bold teaming up with the likes of Kamandi and B’wana Beast than Christian Bale’s The Dark Knight Rises featuring Bane, a bulky supervillain who looks like one of those idiots who compete in the Guinness Book of World Records’ category of “most cigarettes smoked at one time”. Sheesh.
Oh, I almost forgot… There are waaaaay too many effin’ superhero movies. There, I said it, O’ True Believers. Deal with it.
But to demonstrate that I don’t hate all superhero flicks, here’s a list of my favorite superhero theatrical movies so far (a baker’s dozen plus a runner-up) and why I dig ‘em so much:
RUNNER-UP: The Green Hornet (2011)
I know that this film was very unpopular with fans, but I thought that it followed a unique logic: if a goofy, wealthy and pudgy young playboy decides to become a superhero, it stands to reason that he’ll become a goofy, wealthy and pudgy young superhero, which is exactly what Seth Rogan does in this movie. And although there are a few cringe-inducing sequences in The Green Hornet (the fast-action make-out in the garage and that fight between Britt Reid (Rogan) and Kato (the quite appropriate Jay Chou) that seems to go on longer than the fight in John Carpenter’s They Live) I think that director Michel Gondry (Eternal Sunshine of the Spotless Mind; Be Kind Rewind) did a great job handling an action movie, especially with a death-trap via heavy construction equipment that bury our heroes inside their extremely cool battle-car, the “Black Beauty”. But my real reason for including The Green Hornet here is a brilliantly directed scene that takes place toward the end of the movie. In it, as a befuddled Britt Reid struggles to connect a number of seemingly random crimes, director Gondry takes us inside the crime fighter’s mind, using animation to show how he manages to piece together the various elements into a now obvious crime wave. I’ve never seen this sort of visual shorthand used in any other movie, but as a cartoonist, I absolutely loved it.
NO. 13: Blankman (1994)
Although by most accounts an embarrassment, I like the fact that this comedy’s lead character, ultra-nerdy inventor-without-a-budget Darryl Walker (played by Damon Wayans in full-throttle geek mode) has what I consider to be by far the best-ever motivation to become a costumed superhero: Darryl’s read enough comic books to think it’s a cool and lofty goal. Additionally, I dig the casting of Jason Alexander as the publisher of a particularly lowbrow tabloid newspaper (remember them?) and Jon Polito as an obnoxious-but-deadly mobster. Also, don’t miss Blankman’s hilariously shoddy R2D2-esque robot assistant, J-5 (as in “Jackson Five”). And finally, the story builds to a fight scene that’s a clever parody of similar sequences in ABC’s Batman TV series. And speaking of which…
NO. 12: Batman: The Movie (1966)
Essentially a bigger-budget, all-star feature length version of ABC’s Batman TV series, Batman (as it was originally titled; “The Movie” was added for the DVD and Blu-Ray editions) was made to exploit the phenomenal national response to the first season of the TV show. Although the iconic presence of Julie Newmar’s Catwoman is missing (The Time Tunnel’s Lee Merriweather attempts to fill the role here), the art direction, the costumes, the set design and the animated sound effects are all here, making Batman: The Movie one of the two feature films to most successfully capture the look of a Silver Age comic book. (The other one’s the movie based on Topps’ infamous set of trading cards, Mars Attacks, directed by Tim Burton.) For decades after viewing Batman during its theatrical release, I was ambivalent about the campy approach of this Leslie H. Martinson-directed film, which is even more comedic than the TV series it’s based upon, but after my son Kirby wore out two VHS tapes of Batman while watching them back when he was a little, how can I help but love it? (My second-hand affection for this movie even accidentally led to my contributing an interview to the exclusive bonus material for Batman: The Movie’s Blu-Ray disc conducted in the wake of doing the same for a DVD set of the first season of Hanna-Barbera’s Richie Rich cartoon series, upon which I worked as a layout supervisor!) Yo ho!
NO. 11: Adventures of Captain Marvel (1941)
According to the FF’s co-creator Smilin’ Stan Lee, this extremely low-budget movie was never intended to be released, a fact unknown to its crew and cast. Apparently, it was made (but as planned, never released) only because Germany’s Constantin Film Produktion – the studio that then owned the rights to make a Fantastic Four movie – would have lost that opportunity if it did not begin production by a certain date. Whatever the circumstances, this film’s cheesy production values actually work in its favor, tying it to the cheapie sci-fi and monster movies of the 1950s, an obvious source of inspiration to Smilin’ Stan and Fantastic Four co-creator Jack Kirby in the stirrings of the Marvel universe. Check out some of the covers for the early issues of Fantastic Four funnybooks; it’s no accident that they greatly resemble the posters for such then-recent drive-in movie fare like Invasion of the Saucer Men, It! The Terror From Beyond Space, War of the Colossal Beast and their ilk!
NO. 9: The Phantom (1996)
This high-quality production amply demonstrates that it’s not at all necessary to “camp it up” in a superhero film; if you successfully (and faithfully) translate a comic book property – or, in this case a comic strip property, although cartoonist Lee Falk’s Phantom has starred in hundreds of comic books here and especially abroad – the tone of happy adventure should come across as being just campy enough. (Although in this case, Treat Williams does portray The Phantom’s gleeful villain by chewing its gorgeous scenery non-stop.) But the very best thing about The Phantom is how it begins, with a five-minutes-or-less intro that begins with “For those who came in late…”, immediately recapping the purple-clad jungle hero’s back-story, his generational history and his mission statement… and that’s all the secret origin that the film’s Australian director Simon Wincer felt the audience needed! How frickin’ refreshing is that?!? And since the Phantom (although American in origin) has been Australia’s Number One favorite comic character for decades, it becomes immediately obvious that Mr. Wincer digs the character – nicely played by Billy Zane – as much or more than his fellow Aussies. And The Phantom gets extra points for including the great Patrick McGoohan (Secret Agent; The Prisoner) in its cast as the Phantom’s ghostly father!
NO. 8: The Specials (2000)
Rob Lowe (as “The Weasel”), Thomas Hayden Church (as “The Strobe”) and Jamie Kennedy (as “Amok”) star in this story of “the sixth or seventh best superhero team in the world” but features precious little special effects-assisted (CG or otherwise) superheroics whatsoever! Instead, The Specials focuses on the team’s internal politics, sexual liaisons and competition to see who can get the juiciest licensing deal for their action figure. The polar opposite of the typical summer superhero blockbuster, The Specials is utterly unique and highly recommended by this cranky comic book cartoonist.
NO. 7: Spider-Man 2 (2004)
Since this is a sequel, we thankfully don’t have to suffer through another superhero origin. Even better, the origin story that is included is that of Dr. Otto Octavius, AKA villainous Doctor Octopus (wonderfully portrayed by Alfred Molina) who is actually much more interesting and likable than his funnybook counterpart. For that matter, even his mechanical arms have personality to spare!
NO. 6: Batman: Mask of the Phantasm (1993)
Hey, it’s a full-length animated feature film by the same talented folks – writers Alan Burnett, Paul Dini, Martin Pasko and Michael Reaves and directors Eric Radomski, Bruce Timm, Kevin Altieri, Boyd Kirkland, Frank Paur and Dan Riba, among others – behind Warner Bros. Animation’s industry-altering cartoon show Batman: The Animated Series. Do I need to state any more than that? Well, perhaps I should add that the voice of the legendary Dick Miller (Little Shop of Horrors; Bucket of Blood; Not of This Earth) is on the soundtrack! Woo hoo!
NO. 5: Captain America: The First Avenger (2011)
Set during World War II – which instantly makes the premise infinitely easier to accept – this is the exception that proves the rule about superhero origins in films. When puny patriot Steve Rogers (how could this possibly be the same Chris Evans who played the Human Torch in those tediously mediocre Fantastic Four films?) voluntarily chooses to climb into Dr. Erskine’s transmogrifying device – not to kill Nazis but because Steve doesn’t like bullies – we realize he’s already a hero. As much fun as the rest of the movie is, Cap’s origin story is the heart of the film. And as bonuses, we get a look at the original Golden Age Human Torch on display at the World’s Fair and a cameo appearance by Dum-Dum Dugan and the rest of the Howling Commandos (albeit minus Nick Fury!).
NO. 4: Superman (1941)
Remember “You will believe a man can fly!”, the line used to promote 1978’s Superman, the seminal superhero film that every person this side of Krypton – except me – loved? Well, I didn’t believe it, just as I never believed that the Man of Steel could somehow turn back time. (I’m not just being picky; Superman’s inability to change the past was one of the primary “rules” of all those Mort Weisinger-edited super-comics I read as a kid.) The only part of the entire film that I actually dig is when Superman prevents The Flying Newsroom helicopter from crashing, so sue me. But the original seventeen Superman cartoon shorts produced by Fleischer Studios and their successor Famous Studios from 1941 to 1943? Those I love, and I know I’m not alone. Hey, there would never have been a Batman: The Animated Series – nor umpteen other superhero cartoons – if not for those incredibly influential Superman shorts. They may not have much in the way of character development, but when it comes to showing how cool superheroes can be, they’re still the ones to beat (with the possible exception of my No.1 pick, below. No peeking!)
NO. 3: The Avengers (2012)
Okay, who doesn’t dig The Avengers? It took a while for me to get around to seeing the movie, and although I was skeptical despite everyone’s rave reviews, I’ve gotta admit I enjoyed it. The best things about The Avengers were, in my opinion: 1.) The film showed how much fun superheroes can and should be. Thank you, Joss Whedon. 2.) Mark Ruffalo’s Hulk was finally the version of Ol’ Jade-Jaws that we’ve all been waiting for. 3.) Tony Stark asking Bruce Banner if his method of avoiding Hulking out was “a big bag of weed”. That may be the single greatest alibi of all time: “Yes, officer, I am in possession of this big bag of weed, but it’s to prevent me from Hulking out!” I can’t wait to test it. 4. Loki calling the Black Widow “a mewling quim” – an antiquated form of the despised-by-every-female “C-U-Next-Tuesday word”. 5. The lack of credits at the front end of the film. 6. The shawarma scene that followed the movie’s end credits!
NO. 2: Popeye the Sailor Meets Sindbad the Sailor (1936)
For decades, a debate has raged around the famous sailor man: is he or is he not a superhero? (Of course, Popeye’s opinion is “I yam what I yam!) Even though he doesn’t wear a colorful costume nor maintain a secret identity, I’d say that any super-strong, do-gooding human being who can’t be killed (a fact repeatedly established by his creator, cartoonist Elzie C. Segar) certainly qualifies as a superhero. Of course, he has been one of my favorite comic strip, comic book and animated cartoon characters for over half a century, so I may be a wee bit prejudiced, but since this is my list and not yours, I’m treating him as a superhero and that’s that. Popeye the Sailor Meets Sindbad the Sailor is one of the Fleischer Studio’s masterpieces, a cartoon tour de force that not only stars Popeye, Olive Oyl and J. Wellington Wimpy, it also feature Bluto in the role of Sindbad, the top dog on an island populated by hundreds of monsters, wild animals and giant mythical creatures. Despite the odds, Popeye emerges triumphant, and even sings a few songs along the way. This animated “featurette” – longer than a short but much shorter than a feature film – also includes some jaw-dropping dimensional effects that pre-date CG wizardry by many decades. In general, Popeye the Sailor Meets Sindbad the Sailor compresses all of the over-the-top action and excitement of most modern superhero movies into a mere 16 minutes. Well, blow me down, what could possibly be better than that? Well, how about…
NO. 1: The Incredibles (2004)
For my money, superhero movies just don’t get any better than this. It’s got all the action and fun of my favorite comic books. (Fantastic Four, anyone?) It’s got dozens of original characters, yet there isn’t a single origin story in sight. It introduces a world where superheroes not only exist, they all know each other and interact to a degree that none of the Marvel or DC universes have on film to date. It’s a family comedy about a super-powered family, yet it’s built on a solid and somewhat grim premise about what it’s like to be middle-aged, in a marriage gone stale and on the downhill side of your career. How many other superhero movies can boast those universal themes? The Incredibles features elements of design, style and pop culture that were at their peak in 1964 (the early Marvel Comics universe; Ian Fleming’s James Bond, Secret Agent 007 in Goldfinger (complete with a John Barry-esque score); Hanna-Barbera’s Jonny Quest, Gerry and Sylvia Anderson’s “Supermarionation”, etc.), yet it’s not considered to be a “retro” movie. It’s wildly exaggerated, but has moments that display a subtlety that animation rarely exhibits. Thank you, Brad Bird. Thank you, Pixar. Once again, you’ve shown us that even in a blockbuster of a superhero movie, it’s the story that matters most, even if we’ve never seen its stars before or since. I can’t imagine a better superhero movie in existence.
Y’know, I’m more than a little surprised that I have such good things to say about so many superhero movies after all, even if many of ‘em aren’t the ones that show up on other folks’ lists of favorites. I’ll bet that there are at least a few entries on my list that you weren’t even aware of, right?
But here’s something that’s really got me stymied: the onetime young and perky Gidget and The Flying Nun cast as Aunt May Parker in this month’s upcoming The Amazing Spider-Man?
Aw, c’mon, say it ain’t so, Sally Field!
(And in the unlikely chance that I actually survive the almost-upon-us San Diego Comic-Con International, I’ll see you back here next month with more cranky comments!)
– Scott Shaw!
Scott Shaw! — yes, that exclamation point has adorned his name since junior high school — currently writes and draws comic books starring the Simpsons for Bongo Comics, The Adventures of Captain Rochester for Rochester Electronics, and his autobiographical comic strip, Now It Can Be Told! for Act-I-Vate, as well as performing his live Oddball Comics show. He just finished storyboarding four episodes of Cartoon Network’s Annoying Orange photo-animated show, is finishing a new 8-page Now It Can Be Told! story for Dark Horse Presents (“I Covered Myself With Peanut Butter To Become… The Turd!”) and will be drawing an upcoming Mark Evanier-written Garfield comic book story for KaBOOM!
Growing Up a Gay Comics Reader Part 5: Top 10 Hottest Male Comic Book Characters
For a special weekly series during the month of June, guest columnist Dane Hill shares his experiences as a gay comics reader and the power of being represented. Read Part 1 here, Part 2 here, Part 3 here, and Part 4 here.
To end Gay Pride Month on a fun note, I thought I would do the ultimate comic geek exercise and count down the hottest men in comics, according to my personal gay southern-grown tastes. So, without further ado, Dane’s Top 10 Hottest Comic Book Characters. Or Dane’s Comics Boyfriend Wish List:
10. Lightning Lad (Garth Ranzz) / Karate Kid (Val Armorr)
Ok, I’m cheating here. Sue me. The Legion of Super-Heroes is what got me started in this hobby. Of all the Legionnaires, Lightning Lad and Karate Kid stories gave me the most thrill. LL’s costume is probably my favorite costume of all-time. While Karate Kid was my favorite Legionnaire, period. [pauses to think] Hmm, you could just as well add Ultra Boy, Timber Wolf and Element Lad to the list. Colossal Boy was pretty cool too. Ah hell, just say half the male Legion and be done with it. Long live the Legion! (Favorite artist: Neal Adams and Mike Grell)
9. Sunspot (Roberto “Bobby” da Costa)
The New Mutants was my favorite series and what introduced me to the Marvel Universe. I got in on the ground floor when they debuted with a graphic novel. And while southern-bred Cannonball should have been more my type, I was always attracted to Sunspot, a beautifully dark-skinned and lean South American who turns into a silhouetted strong man crackling with power when energized. His look was perfection. And his hot-headed loner attitude pinged my young gaydar. (Favorite artist: Sal Buscema and Bob McLeod)
8. Hellstorm (Daimon Hellstrom, aka The Son of Satan)
The ultimate bad boy. I mean, he’s the son of the Devil for pete’s sake! Oh, and his costume is to be shirtless. Yeah, I’m shallow. But I’ve always taken notice of his appearances. (Favorite artist: the dude’s half-naked, I’m not picky)
7. Falcon (Sam Wilson)
One-time partner to Captain America, he was one of the first action figures (Mego!) I played with. I remember finding the openness of his costume completely fascinating, and constantly peeking underneath the costume all the time. To this day, I find that Mego figure more titillating than the character in the actual comic. Yeah, I’m a weirdo. (Favorite artist: Mego)
6. Angel (Warren Worthington III)
I mean, come on… he looks like an angel, for God’s sake! Rich and classically handsome features. Did I mention he has wings and LOOKS LIKE AN ANGEL?? (Favorite artist: John Byrne and Alan Kupperberg; favorite costume: red with golden halo symbol on chest, blue variant costume a close second)
5. Iceman (Robert “Bobby” Drake)
A sentimental favorite from his Spider Friends days. A jokester who’s never quite grown up. Cool and handsome, plus how slick are those ice slides of his? Not to mention, at one point when he iced down, he was shown in his skivvies! Bobby is the fun boyfriend that I would enjoy taking home to Mom to torment. (Favorite artist: also John Byrne and Alan Kupperberg)
4. Kevin Keller (Kevin Keller)
As American as apple pie, new to comics but already a fan favorite. He’s the Mr. Popular we all crushed on in high school, or wanted to hang out with after school. Smart, athletic, handsome. Oh god, just ask me to the prom already! (Favorite artist: Dan Parent)
3. Northstar (Jean-Paul Beaubier)
Comics’ first openly gay man. A second-rate character who exploded onto the A-list when he came out of the closet. Once a hot-headed and self-absorbed mess, he’s matured over the years into the no-longer-eligible bachelor we see today. Plus, what’s up with his exotic elvish features? Yum! (Favorite artist: John Byrne)
2. Superboy (young Clark Kent / Kal-El)
An orphan with a tragic history, mysterious and full of unmatchable powers. Searching to find his role on this new planet, while discovering the extent of his abilities. I’ve always enjoyed following Superboy more than Superman, if that makes sense. Mainly because of his Legion of Super-Heroes membership. Alien or not, sign me up. I’ll take me an alien boyfriend if they come looking like him! (Favorite artists: Neal Adams and Mike Grell)
1. Captain America (Steve Rogers)
THE perfect All-American man for the guy looking for someone with old-fashioned values. Well, those values don’t come any truer than someone displaced from that actual era where the term “old-fashioned” comes from. If he wasn’t the perfect boyfriend before, once the equally perfect Chris Evans was cast in the role of Cap for Hollywood, there was no other character that could begin to compete with this hunk of gentleman. Hmm, Steve and Dane Rogers-Hill… I like the sound of it! (Favorite artists: Mike Zeck and John Byrne)
Honorable Mention: Spider-Man (Peter Parker)
Down-on-his-luck nerd, who just so happens to be a hot adorkable genius. Sure, the whole spider thing is a little creepy. But damn, he fills out the tights nicely. And funny as hell. Gotta love a man with a great sense of humor. Still, my phobia of spiders drops him out of the Top 10, which is par for the course for his luck anyway. (Favorite artists: Todd McFarlane and Ron Frenz)
Confessions of a Cranky Comic Book Cartoonist: How I Became a Comic Book Reader, a Comic Book Collector…
Guest columnist Scott Shaw! brings his perspective as an experienced professional cartoonist and active participant in the comic book industry for more than 40 years. Get an insider’s look at the art form from someone in the trenches every day.
“How I Became A Comic Book Reader, A Comic Book Collector, A Comic Book Fanboy, A Comic Book Convention Organizer, A Comic Book Character, An Underground Comix Book Creator, A Comic Book Cosplayer, A Comic Book Retailer, A Comic Book Professional… And A Cranky Comic Book Cartoonist!“
I was born in 1951. I assume it wasn’t with an overly moist funnybook clutched in one of my tiny pink fists, but with me, you never know.
Approximately three years later, I began to teach myself how to read using comic books. Their mysterious combinations of words and pictures proved irresistible to me, and I became determined to unlock their delicious secret. Somehow, I vaguely remember an issue of Dell Comics‘ Woody Woodpecker was responsible for my big breakthrough moment.
Now I was a comic book reader.
My childhood occurred roughly during child psychologist and author (Seduction of the Innocent, 1953) Dr. Fredric Wertham’s war on comic books. His theory was that comic books caused juvenile delinquency because every juvenile delinquent he’d ever interviewed had read comic books. (By that reasoning, milk also caused juvenile delinquency!) Decades later, I asked my elderly mother why they bought me so many “funnybooks” in such times, but her only response was, “They seemed to be really important to you.” Yep, that’s me, all right, then and now.
CBS Television Presents Tom Terrific!
Not long after I turned five, I was hospitalized for a tonsillectomy, a childhood rite of passage in those days. It meant that, for at least three or four days (and scary nights), I was away from my parents and my home in a children’s ward with dozens of young strangers. The only good things about the rather traumatic experience were all the ice cream and the huge pile of funnybooks that my folks brought me. I still remember a few of the titles in that tower of pulp: Dennis the Menace, Mighty Mouse, Zippy the Chimp, Tom Terrific, Captain Kangaroo (strange, to my knowledge, my parents were never stockholders in CBS); and my first-ever “realistic” comic book, an issue of Superboy, cover-featuring “The One-Man Baseball Team!,” probably the first and last time I ever cared much about sports. One thing was certain; I’d never received so many new funnybooks at the same time in my young life. Soon, I owned a lot of funnybooks, so many, in fact, that I had to sort them into small stacks: funny ones featuring comic strip and animated cartoon characters; exciting ones featuring Superman and Batman and Congorilla and, of course, the scary yet cool ones featuring lots of monsters! That’s when I realized I was not just a comic book reader.
Now I was a comic book reader and a comic book collector.
Early on, I decided that I wanted to be a cartoonist, primarily due to the influences of Dr. Seuss (The King’s Stilts, McElligot’s Pool, If I Ran the Zoo), Jay Ward (Rocky and His Friends), William Hanna and Joseph Barbera (Ruff and Reddy, Quick Draw McGraw, The Flintstones), Mort Walker (Beetle Bailey) — and from comic books, Sam Glanzman’s Kona, Monarch of Monster Isle and George Gladir and Orlando Busino’s Tales Calculated to Drive You Bats.
Tales of Suspense by Jack Kirby
I saw my first Jack Kirby-drawn comic book story around then. It was either in DC Comics‘ Secret Origins No. 1 (featuring a reprint of approximately half of the origin of the Challengers of the Unknown) or Marvel Comics’ Tales of Suspense No. 11. (If it was the latter, my mother made me put it back on the rack because she thought the story “I Created Sporr, the Thing That Could Not Die!” looked like it would give me nightmares and instructed me to purchase a nice and safe Space Mouse funnybook instead. (Decades later, I got revenge on her by naming her only grandson after the cartoonist who drew “Sporr”!)
In the late 1950s and early 1960s, I loved many four-color gems of the Silver Age of Comic Books, many of which featured dinosaurs and/or talking purple gorillas on their front covers. I’m sure that this was when my tastes in Oddball Comics began to develop.
In the middle of 1961, I saw most comics go from a dime to 12¢, except for Dell Comics, which jumped to 15¢. The moment when I was told that I was a nickel short of the cover price of the latest issue of Daffy Duck was one of the most traumatic events of my young life. And even though DC Comics published on the inside of the front cover of all of their comics a full-page apology/explanation for their price hike to 12¢, my ability to perform mental mathematics has never been the same.
In 1964, I had my first letter to a comic book editor published; it was in DC’s Challengers of the Unknown No. 40 and I was suggesting a sequel to issue No. 35’s “War Against the Moon-Beast”. I even sent editor Murray Boltinoff a color sketch of a revived version of that ol’ moon-beastie that was more than slightly influenced by the makeup in the 1958 monster movie, War of the Colossal Beast. (Geez, was I a nerd, or what?) That same year, I finally jumped on board with the early Marvel superheroes a little more than two years into their existence. My first purchase was Fantastic Four No. 29 and that entire run of issues by Jack Kirby and Stan Lee on FF has remained my favorite superhero comic book series ever since.
I was lucky to attend junior high and high school with a surprising number of fellow geeks, weirdos and nerds, many of whom followed their instincts to become writers, artists, scientists and booksellers. In 1968, two of those friends and I attended my first fan convention, the 26th annual World Science Fiction Convention, AKA WorldCon and BayCon, in Berkeley, California. Being surrounded by nearly 1,500 oddballs that shared my interests and outlook was a transforming experience, to say the least.
Now I was a comic book reader, a comic book collector and a comic book fanboy.
Feds 'n' Heads by Gilbert Shelton
Later that year, I bought my first underground comix in 1968, Gilbert Shelton’s Feds ‘n’ Heads. I had already loved Gilbert’s “Wonder Wart-Hog” in Shelton’s Help! and Drag Cartoons, and the short-lived Wonder Wart-Hog Magazine, but I found his “Fabulous Furry Freak Brothers” to be even funnier, with some of the best timing on the printed page ever seen in funnybooks. Joining Jack Kirby, Gilbert Shelton became my second primary inspiration as an aspiring cartoonist.
Along with some of my high school buddies and some other fans, I was one of the kids who organized the first San Diego Mini-Con in March, 1970. This directly led to the San Diego Comic-Con in August, 1970. Over the next few years, my involvement with what would eventually grow to become San Diego’s Comic-Con International, I met dozens of fans, retailers and professional writers, artists and editors, many of whom are still my friends. In fact, more than 43 years after that first mini-con, I’ve attended every day of every year of the San Diego Comic-Con and proud of it. I’ve really got to get a life.
Now I was a comic book reader, a comic book collector, a comic book fanboy and a comic book convention organizer.
I met Jack Kirby in 1971. He seemed pleased when I told him that he was my favorite cartoonist. Not “artist”, “cartoonist”. Almost immediately, Jack offered to transform my friends and I into characters in Superman’s Pal, Jimmy Olsen No. 144 (December, 1971); we became “The San Diego Five String Mob,” assassins disguised as a rock band, summoned from Apokolips to Earth on a mission to bump off Superman.
Now I was a comic book reader, a comic book collector, a comic book fanboy, a comic book convention organizer and a comic book character.
Gory Stories Quarterly with Scott Shaw!'s The Turd
My first professional sale to a comic book was “The Turd” in Ken Krueger’s Gory Stories Quarterly No. 2 ½, published by Shroud Press in 1972. Ken was a longtime fan, retailer and publisher, as well as being one of Comic-Con’s founders, but he was also willing to pay me – a kid whose cartoons had only appeared in school newspapers and fanzines – for my story about a sewer monster made of living feces.
Now I was a comic book reader, a comic book collector, a comic book fanboy, a comic book convention organizer, a comic book character and an underground comix book creator.
In the summer of 1972, I attended the 30th annual WorldCon in Los Angeles. There, I was awarded a special award for a masquerade costume I made out of eighteen pounds of peanut butter, based on my character, “The Turd”.
Now I was a comic book reader, a comic book collector, a comic book fanboy, a comic book convention organizer, a comic book character, an underground comix book creator and a comic book cosplayer.
In 1975, I moved from San Diego to Los Angeles, where I became the manager of the comic book store American Comic Book Company in Studio City. I even set up my art studio in one the shop’s back rooms, so I could create new comic book stories when I wasn’t selling old ones.
Now I was a comic book reader, a comic book collector, a comic book fanboy, a comic book convention organizer, a comic book character, an underground comix book creator, a comic book cosplayer and a comic book retailer.
Captain Carrot and His Amazing Zoo Crew! by Roy Thomas and Scott Shaw!
The next year, I met Marvel Comics editor Roy Thomas at the ACBC, and he asked me to write and draw a back-up story for Marvel’s What If? No. 8, “What If the Spider Had Been Bitten By a Radioactive Human?” (My late, great friend Dave Stevens, creator of The Rocketeer, helped me out on a few panels; the difference between our styles is obvious.) This eventually led to Roy and I co-creating Captain Carrot and His Amazing Zoo Crew! for DC Comics a few years later… and surprisingly, it didn’t hurt Dave’s career a bit.
Now I was a comic book reader, a comic book collector, a comic book fanboy, a comic book convention organizer, a comic book character, an underground comix book creator, a comic book cosplayer, a comic book retailer and a comic book professional… and I’ve worked as the latter for more than forty years now, on an assortment of characters for a variety of publishers.
So why have I gone to the trouble of informing you of my history in the wacky world of funnybooks? Well, when my friend Corey Blake asked me to contribute a regular column for The Comics Observer, it occurred to me, “Why not? I’ve already done everything else related to comic books!”
I suppose this is just my way of letting you know that, although my new column here “Confessions Of A Cranky Comic Book Cartoonist!” will be a forum for me to rant, rave, observe and criticize the art and business of comic books, it won’t come from an uninformed opinion.
After all, I’ve earned the right to be a crazy old coot, dammit.
I’ll see all of you back here next month for some of that ranting and raving I promised.
– SS!
Scott Shaw! — yes, that exclamation point has adorned his name since junior high school — currently writes and draws comic books starring the Simpsons for Bongo Comic, The Adventures of Captain Rochester for Rochester Electronics, and his autobiographical comic strip, Now It Can Be Told! for Act-I-Vate, as well as performing his live Oddball Comics show.
Confessions of a Cranky Comic Book Cartoonist is © 2012 Scott Shaw!
Dig Comics: Whither Inspiration?
Guest contributor Miguel Cima, director/host of the award-winning documentary Dig Comics, begins a new series of essays looking at what makes comics so great, and what’s holding them back.
I’ve spent most of my professional life working on the business side of things. There’s plenty of “conventional wisdom” you will find repeated. One of the biggest refrains you will hear is “stick to what works” along with the time-honored “go for the lowest hanging fruit” admonition, which in some ways seems kinda, I don’t know – dirty? When you look at the comic book market in the United States of America today, you can be sure these same sorts of creeds echo wildly within the vaunted halls of the two corporations which control 70% of the market. Marvel and DC surely have been practicing this sort of stalwart capitalism approach to their respective properties long before Time Warner or Disney entered the scene. It’s been known for a long time that using the go-to legacy characters to frontline your product armadas is the surest way to keep the lights on. But what’s funny is that were it not for risk and a trust of the artist rather than fallback to formula, neither Superman nor Spider-Man would even be with us right now.
The well-known back stories for many of the greatest superhero characters is often the same. You had a flailing company or a starving artist simply FORCED into innovation by intense need. You can see the creators of old gumshoeing their way from meeting to meeting in New York, overstuffed portfolios in hand (loose pages bursting out the sides), wondering if they’ll have to paint a barn next week just to make rent. Or you could take the legendary image of the furniture being repossessed from the publisher’s office as a handful of geniuses tap the inner depths of their creative spirit and issue forth entire mythologies to be as enduring as Aphrodite and Gilgamesh, saving the company from ruin in the same stroke. The bean-counters could never have made any of these true-life tales happen: a trust of the artist to really innovate was necessary.
Gilgamesh cries for comics
Sure, in the scenarios above, there’s this element of desperation, of necessity being the mother of inspiration. But funny enough, one of the most successful purveyors of modern mythology actually used success to fuel an ever-evolving artistry – and his most important role wasn’t as an artist. Walt Disney was far more the manager behind the scenes than an animator. And he had true vision. Rather than make every single movie after Steamboat Willie about Mickey Mouse and his little gang of friends, he always was sure to promote new properties, worked on by new artists who would take his company to the next level. That tradition has largely stayed alive to this day in the company. Of course, Mickey still makes the company a lot of money. But every couple of years, we have whole new worlds introduced to us, be it Peter Pan or Dumbo during Disney’s lifetime, or Beauty and the Beast or Toy Story in the more modern era. I doubt that Disney could have grown significantly had it stayed perched in one little pantheon of never-ending and continuous characters, relegated to one genre, targeting just one audience group. Such a business model would even contradict “conventional wisdom” – don’t ya think?
Lois Lane cries for comics
Well, by now you know my punch line – this is PRECISELY how Marvel and DC do most of their business. The scheme is simple: keep pimping the capes to the same aging comics fans and call that an industry. I guess it works in terms of market share. But it’s a losing game in the long term, as seen by the ever-declining readership much lamented these past 15 or so years. Not that they need to worry much. I mean, are Marvel and DC really comic book companies any more? One may not be blamed for pondering that perhaps now, they are more brand managers for licensing carefully crafted empires based on the iconic rosters of the beloved in their respective stables. All the continuity and/or reboots are meant to keep the base calm while experimenting with how to manage which character’s evolution to ensure the greatest market share possible. As such, we face another often-lamented paradox, Marvel and DC are what’s keeping the comics business alive, even while they sort of ensure a decline due to inbreeding. After all, Superman, Phoenix, Batman, Spider-Man, Captain America and so on can really only “die” so many times before anybody even paying a little attention realizes, this industry has been reduced to running on transparent gimmickry, offering less and less as time goes on by way of a compelling story or revolutionary art. In the long run, this will turn into a huge net loss of readers, if not an overall decline of the industry itself.
Rather than seem pessimistic about the future of American comics, I would make the simple suggestion that all of you who are either long-time comic book fans losing interest in the stuff coming out, or those of you interested in comics but can’t cut through the impenetrable pitfalls of pointless universe continuity, try to find comics ELSEWHERE. There are plenty of them. There are so many great creators out there working hard, I blush in the embarrassment of riches we have at hand. There is a whole world out there of fantastic stories and art just bursting to be noticed and superheroes are just the beginning. There is horror, drama, humor, history. There is high art, surrealism, crime thrillers, and political commentary. Comics are just like the movies and literature and TV and music – there’s ALL SORTS of different types of stuff out there. There are artists who belong on museum walls next to Van Gough, Picasso and Rembrandt. There are entire publishing companies dedicated to giving singular artists the opportunity to realize unique visions, banking on the creative drive, rather than simply handing out operating manuals for 70-year old characters. Innovation is not dead, and it doesn’t need to rely upon – nor be deterred by – economic considerations.
Sweet Tooth by Jeff Lemire
So what’s my point? Well, I wanted to expose a problem, the decline of comics readership in America, and towards fixing that problem, I have a set of requests.
First, I would ask all my fellow long-time comics fans to leave their comfort zones and support alternative comics companies, artists, writers, and especially GENRES. It’s so odd: a film buff is likely to see all sorts of movies, yet the comics fan by and large sticks to just one paradigm – guys in tights beating each other up. When you go to the movies, you are as likely to watch The Lord of the Rings, Harold and Kumar, and Inglorious Basterds as you are to see Thor, Green Lantern, and Iron Man. So start small – check out some other fantasy books, some humor comics, maybe even a war story. Move that loyal weekly dollar from demanding the same crap over and over to a fresh surprise every Wednesday. I’ve been doing it for years, and it’s been richly rewarding. And yes, I still buy superhero comics from time to time, so I am not saying go cold turkey, just cut back and try some spinach for once, humans cannot live on Twinkies alone.
Second, I would ask anyone remotely interested in giving comic books a try, but are turned off by the likes of Wolverine and The Dark Knight to seek out alternative comics. Where to find them? Well, that’s easy if you know where to look. Starting small, I would visit the websites of comics publishers that aren’t Marvel and DC. Don’t know any? Here’s a small sampler to start with: Fantagraphics, Drawn & Quarterly, Dark Horse, Image, IDW, Top Shelf, First Second, NBM, Archaia, BOOM!, PictureBox and Gestalt all come immediately to mind. Just looking at the list now, I see human drama, history, vampires, alternate superheroes, kids comics, true crime and even licensed material from the worlds of TV, film and literature. You could also try your local comic book store – but try and find the largest, best serviced one in your area (most “regular” shops won’t even carry a lot of this stuff, just the supes). Also, if you like what you see on the publisher’s websites, you can use Amazon’s suggestion generator to find comics you may also like.
Criminal: The Last of the Innocent by Brubaker & Phillips
My last request is to Marvel and DC. For god’s sake, would you just make comic books again? Would you let more new artists create more new worlds and use your considerable resources to reach out to more new readers? Would you please end the superhero fan regime? Yes, there are exceptions to your practices. DC’s Vertigo line has offered a plethora of non-superhero works by some terrific artists. And Marvel’s Icon line has allowed some established artists to really strut their stuff unconstrained by the machinations of the superhero continuity. But great works like Jeff Lamire’s Sweet Tooth and Ed Brubaker & Sean Phillips’s Criminal aren’t exactly selling like hot cakes. Yet they should. Fostering works like these will manifest an image of a company to be trusted with the innovative choices it makes, just as a major studio can be a seal of quality come Oscar time. Take some chances, ladies and gentlemen of that world – act like the superheroes whose temple you worship upon. Cultivating an environment of inspiration is not just a great thing to do for the world of art, it will also turn out to be good business.
Argentinean-born New Yorker and NYU film school graduate Miguel Cima is a veteran of film, television and music. He has worked for such companies as Warner Bros., Dreamworks and MTV. An avid comic book collector since he could read, Miguel began writing stories in 4th grade and has not slowed down since. He is a world traveler, accomplished writer, filmmaker, and comics creator. He is the writer, director and host of the award-winning documentary Dig Comics. Follow Dig Comics on Facebook. Read Miguel’s comic book recommendations.
Comic Books Have Heart: Hero Initiative Raises Money for Creators in Need
You might not think it, but the comics community has a big heart. One great example is The Hero Initiative, a Los Angeles-based charity that raises money for creators who are in dire straits (not the band but the financial situation). Here’s a video I put together of a special event held at Meltdown Comics this past Saturday night.
For you savvy comics folks, that’s writer Mark Waid of Kingdom Come fame yelling out “you’ve made a powerless enemy”. He and producer Tom DeSanto were probably the most generous bidders. Mike Malve of Epic Digital Media was the winner of the Alex Ross cover in the video above. The entire night raised about $15,000 for The Hero Initiative.
