Wednesday, June 19, 2013

June-ish Links

  • An old signed Jack Kirby badge from San Diego Comic-Con is up for auction. The description claims it's from 1970, but Michael Hamersky points out that it wasn't called "San Diego Comic-Con" until 1973.
  • Marc Tyler Nobleman posted a previously unpublished three-part interview he conducted with Jerry Robinson from 2006. Part 1, Part 2, Part 3.
  • Ken Quattro addresses the historical question: What was Archer St. John's relationship to Harry Chesler and how did he figure in St. John's entry into comic book publishing? I haven't actually read it myself yet, but Quattro always provides fascinating and incredibly well-researched pieces.
  • If you're close enough to attend classes at Indiana University-Purdue University Indianapolis, I might suggest signing up for their newest course this summer, The History of American Comic Books and Graphic Fiction. Although, be forewarned: "Students will be required to read as many as 30 comic books." (Sarcastic emphasis mine.)
  • OK, I know you've read plenty of reviews of Man of Steel, including Mark Waid's, but Mark D. White's thoughts about it are worth a read at too.
  • The Billy Ireland Cartoon Library & Museum is looking for a few good docents. Great opportunity if you're in the Columbus area!

Tuesday, June 18, 2013

Discovering The Broons

This photo with the really lousy lighting shows part of a tabletop that was découpaged with comic strips. We stumbled across it in a Scottish-themed restaurant/bar we went to last night. The table was actually large enough for four full pages and sixteen individual strips but, as far as I could tell, it was the only table in the place decorated like this.

I wasn't familiar with the strip or even the style of the creator(s), and the pages didn't include any obvious mentions of the creators or even the name of the strip. But I did some digging this morning, and I believe it was a strip called The Broons, originally created by R.D. Low and Dudley D. Watkins in 1936. I didn't see any contextual cues to suggest when these particular pieces were written, and I'm not familiar enough with the artistic styles of the various artists to use that to date the pieces either.

I don't really know much beyond the Wikipedia entry but I thought it was kind of a neat way to display some Scottish heritage in the restaurant itself, and a fascinatingly unexpected place to learn about some comics I'd never heard of before.

Happy Birthday, Gru

"I'll be there before you know it, I'll be gone before you see me."

Monday, June 17, 2013

Check Out Kat Leyh

Back at C2E2, I picked up a small book called Pancakes from Yeti Press. It's by Kat Leyh and, despite only being a seven page story, it was one of the best single issues I picked up at the show. I've been meaning to get around to a proper review of it, but haven't been able to. Let's just say that it's a small moment of happiness between two people that is just brilliantly executed on several levels. And I'm totally not doing the book justice here. Reminds me a bit of Terry Moore.

But then I picked up Leyh's series Bird Witch this weekend at CAKE. It's got a slightly different look to it, but many of the same sensibilities. Very positive vibe presenting gender and race issues as complete non-issues. Like how half the cast of Red Dwarf were black but that was NEVER brought up in the show? People are people, and it didn't matter how much pigment you had in your skin. Same idea in Bird Witch -- only with gender and race. (I do wish "Uncle Ollie" could have been "Aunt Sally" or a non-descript "Cousin Chris" or something, but that's only for one short scene towards the end of issue #3 and I may have to revise that opinion depending on how Uncle Isaac gets portrayed in subsequent issues.) Again, I'm totally not doing these books justice.

But Leyh's is not a name I'd heard before a couple months ago, and I suspect that it's a name not many of you are familiar with either. So I wanted to call attention to a very deserving artist, and I really hope to see much more of her comics work in the future! (Publisher RJ Casey tells me she's working on a sequel/continuation of Pancakes and the Bird Witch story isn't done yet either.) You can find samples of Leyh's work on her website, though I urge you to pick up print copies if you're able. Fantastic stuff!

Saturday, June 15, 2013

Sweet Home Chicago

A few months ago, I moved to the Chicago area. I went to C2E2 and a Lucy Knisley signing about month ago. I went to CAKE today. (Fantastic show. I'll be writing up a summary/review for MTV Geek shortly.) I've been to half a dozen new (to me) comic shops without having gone out of my way from anything. The ALA conference is in a couple weeks, and a number of signings at various shops around town in the next month or so. I've moved twice and helped the S.O. move once, so I've been super-busy and haven't actually been to any number of other small shows, exhibits and signings that I've heard about. Not to mention the stuff that I missed because I didn't even hear about it until after the fact!

I'm very much a pro-technology guy. I design/manage web sites for a living. I have a great appreciation for being able to work and collaborate on projects without actually having to be in the same time zone. But in the short time I've been in Chicago, I have to say that I've been exposed to a much wider array of works and people associated with the comic industry than nearly four decades in Ohio. That's not to say that there's nothing going on there, certainly! The Billy Ireland Museum is in Columbus, there's lots of Superman related landmarks in Cleveland, and it's been the home to comic creators from Winsor McCay to Jeff Smith. But there seems to be a much greater concentration in the Chicago area than I had even been aware of before moving here.

You can still work and get your name out there from wherever it is you call home. You can still interact with people remotely via Twitter or Facebook or whatever. But if you're in a physical location that caters more towards your passions, there's a lot to be said for that. There's a lot to be said for being around others who can really engage and energize you where you really need it. Chicago's not the only city with a good comics scene, to be sure, but if you're really jazzed by a well-done comic -- whether that's something featuring superheroes or it's a hard-stapled mini-comic or some sprawling accordian-folded piece that's 26 feet long -- getting into an area where others are also jazzed by those same things can do wonders for you.

Friday, June 14, 2013

How Do The FF Pay For All That Stuff?

Here's an old piece I wrote for my now-defunct FFPlaza web site, looking at how the Fantastic Four are able to pay for all the whiz-bang toys they have. As all the things that I wrote for that site, it's a few years out of date now, but the basic premise and the histories in it are solid.

The Fantatsic Four have spent years protecting the Earth from all sorts of disasters, often with the help of one of Reed's inventions. But where does he get those cool toys? Sure, Reed has the intelligence to design and build them himself, but you can't build a transpatial breach detector from stuff you found in a junk yard! It requires a lot of money. But where does all that money come from?

Nathaniel Richards, Reed's father, was a genius. He amassed a small fortune during his early career as an engineer, designing creative new inventions for large corporations. He bought a house in California while sending Reed off to several colleges and universities. During Reed's schooling Nathaniel invented a time-machine. It remained untested until he could set up a self-perpetuating trust fund for his house's "landlords" (Mr. and Mrs. Peacock) in the event that he was either killed or could not return. He also left two billion dollars for Reed to finish school and get his start in life comfortably.

After Nathaniel's disappearance (and presumed death) Reed did finish school and began working on a government-funded project to build a rocketship. It was during this time that the alien Gormuu tried to conquer Earth and convinced Reed to work even harder on the project. Unfortunately, that also convinced the U.S. government that more money should be funnelled into weapons research and Reed's project was cancelled. Reed continued on the project, using the remains of his father's inheritence for funding. It was only after Reed's financial resources were all but depleted that the Fanatstic Four tested the still-unshielded Pocket Rocket.

Upon receiving their awesome powers, the Fantastic Four used the remains of Reed's money to leave for New York to set up in the Baxter Building. Reed used most of it buying the rights to the top five floors. At this time, Reed also tried to earn more money by playing the stock market until a market crash sent them deep into debt. The quartet had to live almost solely on credit and soon had to resell the floors back (Fantastic Four #9). They continued renting until the Sub-Mariner approached them with a movie deal. The FF had enjoyed success as super-heroes/celebrities and their film did relatively well because of that. Their royalities primarily allowed them to pay off their creditors, but it also gave Reed the idea to incorporate the group legally. Although Johnny, Sue and Ben each own equal portions of the Fantastic Four, Inc., Reed himself owns 51% of the stock and subsequently always has the final say in the group's endeavours. He then designated that the royalties from all his future patents be directed to the group instead of himself. This is perhaps Reed's greatest stroke of financial genius. Many of his inventions have been revolutionary and their effects have been felt world-wide.

Much of the technology he has invented was quickly incorporated by super-powered beings. The most notable is probably unstable molecules. Their instability allows them to be incredibly resilient to drastic changes in heat, cold, pressure, density, etc. making them ideal for superhero uniforms. Nearly every Marvel Universe hero and villain has a suit made of Reed's unstable molecules giving the FF a somewhat more regular income.

The group continued to have an ever-increasing amount of debt and Reed was eventually forced to sell his shares to Interlocking Technologies, Inc., run by Mr. DeVoor. (Fantastic Four #160) Although DeVoor was merely a pawn working in conjunction with Arkon to instigate an inter-dimensional war, their plot was foiled and Reed bought back his shares of Fantastic Four, Inc. at a substantial loss to Interlocking Technologies, which was soon after dissolved.

The Fantastic Four continued to lease the top floors of the Baxter Building. Reed was able to make some modifications to the building structure, but was obviously limited by the owners and landlord. Exercising a clause in their contract, Reed used much of the money saved up from his patents to buy the building outright in FF #244. This gave the group a greater monthly income since other tenants now began paying them rent. The team was able to live quite comfortably for some time.

One of the biggest monetary travesties since the FF's incorporation was the destruction of the Baxter Building. (Fantastic Four#278) Although it was undoubtably insured, Reed's designs for Four Freedoms Plaza were considerably more costly than what the insurance company would pay out for their previous headquarters. Given their financial status, however, construction of the incredibly expensive building went smoothly. It was not until the top half of Four Freedoms Plaza was destroyed during the Infinity War that the FF truly felt the repercussions of their new headquarters' expense. Reconstruction was delayed considerably until the team could regain some of their assets. A decided benefit, though, was that Uatu had "borrowed" nearly all of their equipment during the Baxter Building's destruction and returned it shortly after Four Freedoms Plaza opened, thus saving Reed from having to reconstruct those items as well.

In Fantastic Four #371, Johnny accidentally destroyed a significant portion of the Empire State University campus. In order to avoid a multi-million dollar lawsuit, the FF agreed to build an athletic center and a science laboratory for the school. While a sizeable amount of money in itself, part of the agreement also stipulated that Reed's scientific patents be turned over to the school. The sudden lack of income, coupled with the funding of building construction, nearly sent the team into bankruptcy. Much of their equipment was sold off and they were in financial dire straits until Reed was able to obtain patents on his newly created inventions. Although it has never been expressly stated, Reed has probably bought back several of the more important patents (unstable molecules, Fantasticar, and Time-Sleds for example).

After the FF's return from the Franklinverse, the Fantastic Four found that most of their equipment was missing (Reed's father had hidden it in the Negative Zone) and their headquarters had been given to the Thunderbolts. While their water-front warehouse was returned to them, they still found themselves in a financially tight situation. While waiting for his patents' stipends to be returned to the Fantastic Four, Reed took up a professorship at Empire State University. This gave him access to a great deal more equipment, although he stopped using it once he had set up Pier 4 as their new headquarters.

For the record, below is a partial listing of Reed's inventions and discoveries that have been expressly mentioned or shown in the comics. While it is unclear which have and have not been patented, it can be assumed that Reed has at least applied for patents on all of these items.
  • Unstable Molecules
  • Pocket Rocket
  • Fantasticar (Models I, II and III)
  • Electronic X-Ray Camera
  • Thing Exo-Skeleton
  • Thermal Plasma-Generating Body Suit
  • Invisibility Ray
  • Extendable Tactile Sensory Artificial Limbs
  • Reducta-Craft
  • Sky-Cycles
  • antidote for Inhuman Molecular Allergy
  • Meson Particle Smasher
  • Thought Projector Helmet
  • Anti-Matter Gun
  • Wind Bomb
  • Fireproof Plastic
  • Beta-Ray Gun
  • Radiabsorber
  • H.E.R.B.I.E.
  • Negative Zone Explorer, Model 1
  • Molecular Re-Integrator
  • Time-Sleds (Rosebud's II and III)
  • Sub-Photonic Spectro-Analyzer
  • Brain-Patternizer
  • Encephalograph
  • Oscillation Jackets
  • Microwave Pulsator
  • Encaphalizer
  • Trans-Temporal Reflector
  • Dimensionally Transcendental Probe
  • Wormhole Shuttle
  • Transdimensionalizer
  • Neuromantic Disruptor
  • Electromagnetic Meson Velocirator
  • Transpatial Breach Early Warning Detection System
  • Transpatial Analyzer
  • Spectral Analyzer
  • Psiotactile Furniture
  • Holographic Endoplasy Projector

Thursday, June 13, 2013

Twisted Dark Review

I have to admit that I wasn't quite sure what to expect when I started Twisted Dark, the anthology book by Neil Gibson. (Full disclosure: I was provided with a comp copy.) I talked to him a bit at C2E2 and got a really positive vibe from him, but he's a relative newcomer to writing comics, so there's always a bit of a gamble in that. But either because or in spite of that, I was impressed.

The book consists of tweleve stand-alone stories of varying lengths. The stories also range from small, intimate moments to coups on a national scale. There are eleven artists who worked with Gibson on the pieces, and their styles also vary considerably. And though I didn't recognize any of their names offhand, they all seemed to be good storytellers as well as illustrators.

Thematically, the stories all tie together by examining some of the darker sides of humanity. Not necessarily the full depths of human depravity (though there is a bit of that), but those dark corners where people contemplate suicide or take a small sense of pleasure in others' misfortune. That the stories all have something of a twist to their conclusion is where the book's title is derived from.

Now the danger of using the twist ending is that they can become hackneyed really quickly. Less skilled writers will inadvertently telegraph the twist well in advance, making the actual twist itself completely expected. Which is pretty much the exact opposite of what makes the twist work. What surprised me in Twisted Dark was that, even knowing that a twist of some kind was coming, the specific nature of the twist and when it occurred still came as a surprise (to me, at least). Gibson smartly did not rely on the same handful of gimmicks to get to the conclusion of each story, but seemed to go about it a different way each time. It was harder to see where the stories were going, and it was only when the twist was revealed that you realized you'd come to the conclusion. With a dozen different stories, presented in a way which invites reading them in close succession, this is impressive.

When I talked to Gibson, he noted that he basically had had a day job, and finally decided that in order to break into comics, he'd have to just quit and devote his full time and energy to it. If I recall correctly ,his first convention here in the States was Boston -- which was obviously cancelled due to the marathon bombing. But Gibson stood out on the street corner and gave away the books he brought with him. At C2E2, he surprised me a bit by having a good-sized booth towards the front of the show floor, instead of the more typical table at the Artists' Alley in the back.

He's definitely putting his money where his mouth is, and he's got the writing chops to back himself up! I'll be keeping my eye out for other work of his in the future. Twisted Dark retails for $12.99.