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Today's date is, of course, January 6 and it marks the fifth anniversary since the violent attempted coup of the US Capitol. My thought for today's post would then be to re-run the review I posted last year of two works of speculative fiction showcasing alternative possible outcomes. The difference between when I wrote this a year ago and now is that Donald Trump is once again in the White House and has pardoned literally every person who was involved in the insurrection.

In re-reading what I wrote last year, I detect in my reviews a note of optimism despite their being dystopian fictions. There's more than a hint of, "Wow, we sure dodged THAT bullet" even with the 2024 election then behind us and knowing that Trump would step back into the Oval Office a couple weeks later. Sitting here now in 2026... well, let's just say that the scenes of militias marching through the streets depicted in Rogue State hits a little different in a year when we've had ICE patrols kidnapping people from their homes.

Anyway, here's what I wrote about the books last year...



January 6 was over this past weekend, and it marked the anniversary of Donald Trump goaded thousands of his followers to storm the US Capitol and kill any members of Congress they found in order to overthrow the US government. So far, around 1200 people have been formally charged with federal crimes associated with the attempted coup with about 60% of them having been sentenced with an averag sentence of a little over three years in prison. (Far too lenient, if you asked me.) But rather than go over what did happen, I'm looking today at what could have happened by way of two comics: Rogue State by Matteo Pizzolo and Carlos Granda, and 1/6 by Alan Jenkins and Gan Golan. Both comics start from the premise of "what if Trump got his way?"

Both books approach the idea a bit differently. 1/6 is more direct and literal -- the insurrection happens exactly as Trump wanted, the election results are over-turned, and Trump stays in the White House. Rogue State doesn't have the coup as successful but the Supreme Court reinterprets the 2nd Ammendment, effectively making any armed group of citizens a de facto militia, fully deputized as law enforcement but unbeholden to actual laws. While the corrupt President is technically out of office, he (who is not actually Trump, but a thinly disguised surrogate) still holds the sway of the military and the police, including most of these right-wing militias. In both cases, though, martial law is enacted and anyone who doesn't pledge fealty to Trump is either "disappeared" or simply killed on the spot and, not surprisingly both titles follow a few characters in whatever loose network of a resistance has been building.

Rogue State runs closer to my most extreme fears of where Trump is trying to get to: armed soldiers literally marching down the street and shooting at basically anyone that don't like the look of. I do recognize that this is an extreme that isn't likely to happen, certainly not out in the suburbs where I live. Even if things do go that far south, armed groups of soldiers patrolling my street on foot is just not something I'm going to see out my window. It's a horrifying visual and it might make sense in more urban environments like we see in Rogue State, but at worst we'll get three or four fucknuts driving around in their oversized pick-up truck. Still frightening, but at a ever-so-slightly diminished capacity.

1/6 is less extreme, I suspect, because it's a deliberate attempt to hew closer to what could/would in fact happen. Martial law is imposed here as well, but it's only the official military and police, and much of their monitoring is through flying drone cameras, and tracking people's digital behavior. It's still very much dystopian but there are fewer open demonstrations of violence in the streets, primarily because it's made clear the military/police will face no repercussions for using deadly force. While that is also the case in Rogue State, it seems early enough after things go to sh*t that many citizens are still incredulous that police and their deputies can murder people pretty indiscriminately.

I'm intrigued by both stories, mainly because both focus on the journey of one person and how they become an active part of the rebellion. They both do a good job of setting up the particulars of their worlds; 1/6 rolls the plot along at a quicker pace while Rogue State spends more time setting up the protagonist's background. One isn't necessarily better than the other in this case; they just have different modes of storytelling and they both work reasonably well here. Personally, I did prefer 1/6 a little more, but that has more to do with my personal tastes in storytelling than the craft on display.

Both titles are still ongoing and I have no idea how/where they might go with these bleak tales. Do the protagonists win and Trump gets what's coming to him, or do they take a more 1984 direction and showcase just how bad these types of dystopias can get? The second issue of 1/6 was just released last week and the collected edition of the first three issues of Rogue State comes out in early February. I think they're both worth picking up because most people do not seem to understand just how close the US got to these types of outcomes in 2021. Yes, these are works of speculative fiction but if you consider either as too wildly impossible to happen, then you're part of why all those asshats thought they could storm the Capitol and get away with it in the first place.
When I reviewed Lucas Wars back in September, I relayed a bit about reconciling some family lore with functional timelines to estimate that I probably first saw Star Wars in the spring of 1978, which would've been part of the film's original theatrical run despite debuting a year earlier. Yes, it was legitimately in first-run movie theaters for that long! Despite seeing it during its initial run, though, I've never actually seen the original movie. See, while George Lucas famously made a slew of alterations to the movie in the late 1990s, he had actually begun making changes in the first weeks and months after its May 1977 opening. If you didn't see the movie until August of that year, you got some altered special effects from some of the lasers and a different audio track with minor dialogue changes.

When the movie got re-released to theaters in 1981, Lucas added the "A New Hope" subtitle to the opening crawl and made some additional effects updates on the opening scene with the ships in space. When the movie came out on VHS in 1985, there was yet another new audio track (mostly with just slight changes in the timing of dialogue) and the accompaying LaserDisc version was sped up by 3% to keep the entire movie on a single disc. The 1993 LaserDisc version cleaned up the prints and made some color corrections. So even before the "Special Edition" version hit theaters in 1997, Lucas had been modifying his film. Admittedly, he was mostly just tightening things up around the edges before, but my point is that unless you saw the movie in theaters in the first two, maybe three, months that it was out, you have never seen the original version.

I find myself thinking about this because I've spent the past couple weeks setting up a home media server to host movies and TV show files locally. I had set something up for music a year or two back, but I wanted to expand that to video after seeing and increasing and accelerating news tidbits about this or that show being suddenly removed from one of the streaming services. I don't want to hunt through a long list of brand names with a plus on the end of them just to find a show I was already in the middle of watching. So I managed to salvage and repurpose an old laptop with a new 8TB plugged into it, and started throwing MP4s on there for shows and movies I either already enjoy or have been on my TO WATCH list.

And what struck me was coming across some 'oddities.' Spider-Man and His Amazing Friends, for example, has been on my TO WATCH list on Disney+ because I want to see how well it holds up after several decades. But when I went to download it, the episode count was wrong. It turns out they don't have the Red Skull episode because it features some Nazi symbolism. OK, fair enough, but they also then re-ordered half the episodes. So the collective experience is different than what was intended. Once I got copies of everything, I had to manually re-order them and find a bootleg copy of that Red Skull episode if I want to see what the original series looked like.

And when I went to check out Daria -- which I'd seen clips of but never got around to watching -- I learned that it originally used a variety of then-popular songs as incidental background music. Due to copyright and licenses problems, they opted to simply remove all the music rather than either A) pay the appropriate royalties or B) add in similar-sounding-but-less-expensive alterantives. The show, as it's been seen since the original broadcasts have effectively been without a soundtrack. It shouldn't surprise you, though, that some enterprising fans ripped the DVD releases and went about adding all the original music back in. That's obviously not up for streaming anywhere, but you can find digital copies if you know where to look.

I bring this up because comics do this kind of ongoing tampering as well. I first saw this back in the 1980s when I was initally getting into the Fantastic Four. I was trying to learn as much as I could about their history, but the reprints were few and far between back then. But I was pleased in 1984 when I found Fantastic Four Special Edition #1 which reprinted the old and hard-to-find (i.e. expensive when you're 12) Fantastic Four Annual #1. Except it's not really a reprint of FF Annual #1. The original page 18 was removed, and John Byrne provided a brand new five-page sequence that expanded that portion of the story. It's done reasonably well, with Byrne doing a fair job mimicking the original style of Jack Kirby inked by Dick Ayers but my point is that it's not the original.

But we see that in virtually every reprint. In the case of anything originally published before, say, 1995, the reprints are being re-colored. Maybe they're trying to adhere closely to the originals, but maybe not. I made a post not quite a year ago about how the Masterworks had changed the racial diversity of background characters by making some of them Black. And for particularly old reprints where even the original line art isn't available, they'll scan actual finished comics and try to manually strip out the color. These days, that generally involves scanning the page and digitially erasing everything that isn't black but there's some inevitable touch-ups that have to happen as well. And this was even more significant before computer work became the norm -- Greg Theakston used to bleach comics pages to get rid of the color, but this would also lighten the black marks pretty considerably as well and he'd wind up having to re-draw/re-ink not insignificant portions again.

In many -- probably even most -- cases, these changes are insignificant. They have zero impact on the vast majority of readers' thoughts about the story. I've watched more than a few reaction videos to the original Star Wars and, while people will not infrequently comment on how good the CGI is for 1977, not realizing the actual CGI portions are from two decades later, they're very much more invested in the story. They laugh at the banter between C-3PO and R2-D2, and take great interest in the potential love triangle set up between Luke and Leia and Han, and cheer when the Death Star blows up. So who are we to say that Lucas was wrong?

But the question you need to ask yourself is: why am I trying to get into this story? Is it just to get the general gist of it, so I have a vague notion of what people are talking about? Or are you interested in what exactly readers got back in the day? For me, personally, I tend to be more interested in the original. Even if it is a technically inferior version, because I want to see the piece with as much context as I can. And that necessarily includes whatever artifacts -- whether of the materials used or the imposed limitations from money-holders -- were present in the original.

Which is part of why I have a huge library of physical comics. In most cases, I want to experience the story in the same way a fan did originally. That often means the original floppies. I obviously can never experience the full cultural/social context those issues were published in/during/around but the closer I can get to that, the better for my purposes. But that obviously requires more effort on my part, trying to track down originals and/or reprints that alter nothing.

Just something to keep in mind the next time you reach for a shelf full of trade paperbacks instead of rifling through the dollar bin.
Here are this week's links to what I've had published recently...

Kleefeld on Comics: The Peace & Harmony Carol Team
https://ift.tt/6kbNqMr

Kleefeld on Comics: Chaplin Showcases Foster
https://ift.tt/vS0iaR4

Kleefeld on Comics: Answering the Unasked Questions
https://ift.tt/xMsnK6h

Kleefeld on Comics: Happy New Year, Mr. Cheer
https://ift.tt/g0l4j2r

Kleefeld on Comics: Years Are Like Candy Bars
https://ift.tt/NI608Jx


I think I disagree with ol' Chuck here. 2025 seemed like an eternity!
It Was Only A Dream by Winsor McCay circa 1903-05.
Heidi MacDonald, over at The Beat, asked "people from across the spectrum of the comics industry" some questions " to talk about the year coming and the year past, and to give us a preview of what they have cooking for 2026." Not surprisingly, Heidi didn't ask me, but I thought I'd take a moment to answer the questions on my own here.

What was the biggest comics industry story in 2025?
The whole Diamond Distribution mess, hands down. I saw some folks answer the attacks on free speech; those are absolutely a big deal and indeed a much larger story... but it's also much larger than just the comics industry. We have indeed seen cartoonists' speech clamped down on in 2025, and I don't think that should be taken lightly, but they weren't singled out any more than any other journalists. So the entire Diamond Distribution saga -- everything from the original Chapter 7 to driving publishers out of business to newer distributors trying to fill the gaps to lawsuits about back stock and payments to... -- that strikes me as the biggest comics industry story of 2025.

What will be the biggest comics industry story in 2026?
2025 was insanely turbulent just in general. Not only was distribution radically disrupted, but publishers has to figure out on-again-off-again tariff issues repeatedly as many of their vendors and suppliers had radical shifts in how much they had to charge thanks to that walking shitstain in the White House. On top of which, we're in a Jenga-style economy where a single nervous brick can spell disaster. All of this means a great deal of business uncertainty. To mitigate that, I think publishers are going to lean into known quantities and we will see a large number of licensed and cross-licensed material. We're going to see more Batman/Deadpool type books. I recall seeing an announcement about a Fantastic Four/Planet of the Apes crossover for early in the year already. We're going to see more publishers farm out previously licensed material to other publishers as well -- Titan just announced they're going to put out an omnibus edition of some of Marvel's Conan comics. There's going to be a lot more blurring of lines of who's allowed to print what characters because publishers are looking for more known quantities that have an inherent fanbase built in from another IP holder.

What guilty pleasure (of any kind) are you looking forward to in 2026?
I don't harbor guilt about any of the pleasures I indulge in. I don't hide something I like or feel embarrassed about liking it because I'm not the intended and/or typical audience.
That said, I haven't seen/heard about any upcoming comics projects that I'm especially excited about. I still enjoy the comics I regularly read, but I'm not aware of anything out of the ordinary in the works there. I have seen several announcements about some upcoming action figures from Fresh Monkey Fiction that have me pretty interested, though. They have a not-Buckaroo-Banzai they've shown off a prototype for, and there are some digital renders of their Red Riding Hood that could be easily repainted into an Alice in Wonderland. (I'll do the custom myself if they don't make an official one.) Plus they're planning on some generic thug/criminal types characters that will be useful as well. I've been happy with the handful of their figures I already have, so I'm looking forward to seeing what things materialize from them.

Do you have a local comics shop? What do you like (or love) about it?
I haven't done a local comic shop since COVID started. I'm still very concerned about my health and try not to go anywhere I don't have to. Virtually all of my comic purchases these days come from either MyComicShop.com or Bookshop.org. Between the two of them, pretty much everything is available and it's all delivered to my front door, so I don't have to worry about catching COVID again just in order to read some new comics.
Over the weekend, I re-watch Charlie Chaplin's film Modern Times. I'm not a huge Chaplin fan -- his Tramp character is a jerk to everybody, and he often punches down from even his lower position as a tramp -- but Modern Times does offer some interesting commentary on life here at the end of 2025. Working in a job that drives him crazy, dealing with automation, a wealthy business class that idles away their time in the office while simultaneously yelling at employees to work harder and faster... the parallels are easy to spot.

What stood out in this viewing, though, was that Chaplin's boss at the start of the movie is 'busy' putting together a jigsaw puzzle in his office while the workers toil away on the factory floor. The boss soon tires of the puzzle and reaches for the funny pages of the newspaper. And what is plainly visible is a full page showcasing the Tarzan comic strip...
I did some digging but couldn't pinpoint which specific installment it was, but Dave was able to help me out and discovered it was the October 7, 1934 strip...
That's a Sunday strip, of course, and it was Hal Foster doing the artwork at that time. While the daily strip had begun in 1929, the Sunday strip had only been running since 1931. It had been started by Rex Maxon, but Foster took over the Sundays beginning on September 27, 1931 and stayed on them until 1937 when he left to start Prince Valiant.

Modern Times began filming on October 11, 1934 so it seems likely this particular scene was one of the earliest ones shot and they simply used the most recent Sunday paper that was available. If filming had begun much later, they likely would've needed more lead time to prep the paper. You see, in the earliest 'talkies' the sound engineers had a lot of difficulty with newspapers. The microphones were either so close/sensitive that they picked up all the paper rustling noises that would overshadow people's voices, or the microphones were so far away/weak that they couldn't even capture people speaking in the first place. There was some time, then, where any large papers used on film were basically soaked to dampen the rustling noises.

(One of the films where this abundently evident -- to me, at least -- is in the Marx Brothers picture The Cocoanuts. The large map Groucho holds during the viaduct/vy not a chicken joke is visibly drenched. The Cocoanuts was technically a few years before Modern Times so things may have improved by the time Chaplin was filming but he wrote and directed it like it was a silent picture, having all of the sound added in afterwards. This was an artistic choice on his part; he felt that having the Tramp speak would ruin much of the character's appeal. But as a side benefit to this, he didn't need to worry about how loud the newspaper rustling might be since there was no audio being recorded during filming in the first place.)

In any event, I find it interesting/entertaining to come across older movies and shows that feature comics as background props, and see if I can track down what exactly they are. (Although obviously this time, I had some help! Thanks again, Dave!)