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Comicscape - November 23, 2005

Speaking of Al, COMICSCAPE's own jokester-turned-fugitive-from-justice, Al Brown, just popped the question to his longtime girlfriend. After several deep, hearty guffaws, she replied, "No, really, what did you want to ask me?" Seriously, though, she accepted. It's tragic though not so much because she gained a husband, but because N.A.M.B.L.A. lost a charter member. The underground world of child exploitation suffered a deep loss when that gullible young lass agreed to marry Al. But don't worry Al's legend will live on, whispered in many a hushed, fearful tone throughout the child brothels of Thailand. Congratulations Al!

Last week's book-learnin', head-scratchin', college boy column about the necessity of comics as literature generated far less mail than those weeks when I write 2,500 words of "You know who sucks!?" But I got enough letters so that I don't have to trash them and actually write a real column. Before we get into the mail, I want to share something with those of you that may not read the more "academic" columns I write. I understand this is an entertainment website and we're talking about comic books. Hence, when I write that kind of column you know "The Metaphysical Implications of Batman's Existential Conflict and His Attraction to Boys in Tights" I always keep it at about 1,000 words and do everything I can to ensure that it's concise, funny, and compelling. Don't let the title scare you. Here are your letters.

Ko Peter writes, "This is the first time I have responded to a column."

I'm glad I got to be your first. It was special for me, too.

"I believe you had made a valid point. In the age where the technology rules and society lacks an attention span, it is crucial for this medium to aim for a higher level. I have been collecting comics since the age of 12, and the only reason for the medium was the artwork and if you think of the pre-Star Wars era."

I would argue that art has improved quite a bit since then, as well. Obviously, there are exceptions from both the Modern Age and those that preceded it, but overall, comics have improved dramatically.

"Comics are the only medium of escapism. An example would be the introduction of the Silver Surfer in the early issue of the Fantastic Four (it would be extremely great if this will made into the Fantastic Four [movie] franchise). CGI has obvious brought the visual medium to the pinnacle. But it is always the story which drives great literature. The popularity of CSI originates from the Sherlock Holmes novels. The uniqueness of Alan Moore's writing is he has managed to bring forward the classic literature medium into comics and I am glad someone has recognized his contribution to comics."

I don't think I'm the only one that's recognized him, but I agree that Moore took the medium to new heights. He has proven that it's not what you write, but how. Thanks for writing.

Charles Deus writes, "Your topic in this week's COMICSCAPE is dead on. The medium does have the potential for fine literature and it's nice when works of such quality are published. So, here is an email, amidst the numerous ones you will receive against your stance, in support of said stance."

Damn, it's really hard to do a letters column when everyone agrees with me. I remember when I used to get nothing but hate mail. Actually, Charles, all but one letter I received agreed with me and just expounded on the point. I expected to get some bomb threats or something, but people seemed to like the measured, critical approach to the Golden and Silver Age.

Brad Dade writes, "If the comics industry is to be taken as 'literature' by the general public, then it must start by taking itself more seriously. In the mid-to late 1980's we had WATCHMEN and DARK KNIGHT RETURNS. But we also had the start of SANDMAN, HELLBLAZER, V for VENDETTA, GIVE ME LIBERTY, etc. So what happened? Two things, The Death of Superman, and Image-fking-Comics! Both of these brought is the speculators who only saw comic books as a quick financial investment."

Here we go. I'll dig up the dead horse. You get the flog. Let's kick some ass.

"What did the industry do in response? Give 'em what they want! We had shiny, multiple covers, a dozen throwaway new series each week. We also had poor rushed art with awful (or no) story which usually shipped late or not at all. Each month brought the latest 'hot' artist or character that way too many people paid way too much money for."

And that's why everyone threw up their hands and quit reading and the industry fell into a deep, dark hole.

"Anyone looking for a YOUNGBLOOD #1? I can get you a good deal."

You know Leifeld's reissuing that with rewritten dialogue? That's like repairing a train wreck with a band-aid.

"How could the outside public accept comics as 'literature' in the middle of all this? It's not like there weren't any great reads during this period. PREACHER comes to mind. But they were pretty much unheard of outside you local comic shop. How can we as fans show the public that there are some great comic books that should be considered 'literature' assuming that the occasional great work come out that bears attention? Fans, don't be ashamed of your hobby. You, the thirty-something that never brings his comics to the office for fear of being mocked start showing off your hobby. Get conversation started with nonbelievers. Defend your habit! I bring in graphic novels from the library (why risk my own books?) to work all the time. Sure, I get the occasional joke sent my way, but you would be surprised how many people can be open minded. Forget bringing that copy of the WALL STREET JOURNAL to work everyday. Your coworkers know you only pretend to read it."

I always appreciate a constructive suggestion. I do have comics around work a little bit (as in, my day job, not this gig), but I rarely leave them out as conversation pieces. Unfortunately, comics are far off the radar for most people something they associate with childhood that gets a lot of movies made these days. Everyone there knows I read comics, but they express faint interest at best. But, you've definitely got a start there.

John Preusch writes, "I found your comments about early comics intriguing and it got me thinking about those early days of the art form. I think you're right about many of the early comic books being hard to read compared to some of the more sophisticated stories of the last few decades. I find this fact odd though, when you look to some of the earliest comics creators of the 20th century and see that they had already demonstrated mastery of the medium. The earliest comic books were collections of newspaper comic strips. Go look at Winsor McCay's Little Nemo, which ran from 1905-1914. 100 years later, I cannot think of a single artist currently working that approaches his mastery of the page. On top of that, the stories still hold up wonderfully. Looking at NEMO as well as other early adventure comic strips like FLASH GORDON and PRINCE VALIANT, which all hold up marvelously, one would have thought the earliest original comic books would have continued to tell stories of the same caliber."

I must admit, this is an era of comics of which I haven't read much. It's interesting to hear that they've aged so well.

"The expanded format should even have allowed the stories to get more sophisticated. I suppose the reason they didn't is because newspapers are read by adults, so the comics page had to be enjoyable reading for people of all ages, whereas no one thought an adult would pick up a book that contained nothing but the comics pages."

A lot of adults did read comics then, and everyone knew it. They were regarded as children's literature, but there's always been a healthy adult readership for comics something that so many critics ignore.

"Anyway, my point is that it took comics a long time to reach the point they are at now, but it shouldn't have when you realize some of the best comics work ever done was created when it was still considered a new medium."

I admit, I'm intrigued. Another reader mentioned that Will Eisner's THE SPIRIT still holds up. Looks like I've got more reading to do. And here's the one letter that kind of disagreed with me.

Max Straight writes, "Good article. It makes you think. I must disagree that comics did not begin to reach their potential until the 1970s though. Will Eisner's THE SPIRIT holds up to any comic book today. Jack Cole's "Plastic Man" is a also a fine example. The fact that a comic book that was drawn in the 40s is better laid out, easier to read and just plain fun in comparison to 90% of the comics out today is a fine achievement."

First, thank you for disagreeing with a measure of civility. That's rare in Internet discourse. Second, I think I need to pick up THE SPIRIT ARCHIVES from DC. I realize this is akin to saying, "Yeah, I ought to check out that Shakespeare guy sometime," but I just never got around to picking it up (THE SPIRIT, not Shakespeare).

"The comics created by Harvey Kurtzman that were reprinted by Kitchen Sink, (Hey Look, The Jungle Book, Goodman Beaver) are also masterpieces. Last but not least, The Carl Barks Donald Ducks are near perfect. The fact that a character that is owned by Disney can still be relevant is amazing. What you, and basically everyone in the mainstream, fail to realize is that a comic book is a different entity. No one should compare Sam Rami's SPIDER-MAN to the Stan Lee/Steve Ditko AMAZING SPIDER-MAN. And to be honest, the Stan Lee/Steve Ditko SPIDER-MAN is better."

I'm afraid I must respectfully disagree. I've never been a huge fan of Stan Lee's dialogue, and while I appreciate his impact and ideas, his writing always left me a bit cold.

"Comic books MUST be a blend of art and writing. If one or the other element is lacking, then the comic book failed. WATCHMEN is so great because the art complimented the story perfectly. A novelization of WATCHMEN would not work. Yes, the WATCHMEN is a novel. Yes it is a great book. So is MAUS. But just because one book out of an entire genre is on one list does not mean the genre is great. The sad fact is that super hero comic books that when collected can actually be read like a novel (not a collection of stories) are still not common. Hellboy, the League of Extraordinary Gentlemen are a few books that can be read as self contained novels. They are the exception, not the norm."

I agree. There's an inherent problem with ongoing series because the writers must constantly find new, interesting conflicts for the main character.

"The other issue that the writer fails to mention is that while most comics of the Golden Age sucked, comic strips in newspapers during the 30s and 40s were flourishing. E.C. Segar's Popeye, Little Orphan Annie, Wash Tubbs, and Captain Easy, TERRY AND THE PIRATES, Chester Gould's DICK TRACY, etc. all hold up to the list of great authors Kurt was writing about. Even with the limited format they dealt with, the authors created compelling stories with clean, well- drawn artwork."

Again, this is an area I failed to explore or mention. I should've looked into it and I thank you and the other readers for letting me know.

"Basically when the 50s rolled around, mainstream comics were stifled by the Comics Code and newspapers began their slow and steady decline to the point of stupidity. Luckily, by the 80s (Let's face it, the 70s were horrible. You did not mention one readable comic from the 70s. MASTER OF KUNG FU? MAN-THING? TOMB OF DRACULA?) comics began their slow and steady rise to quality."

The 70s weren't great, but I can read most of those titles you mentioned without cringing. I like TOMB OF DRACULA a lot, along with the other horror titles. Some of the black and white mature readers magazines Marvel published with the Punisher and Blade were quite good for their time. I thoroughly Roy Thomas's CONAN, as well. While a lot of Bronze Age comics weren't high art by any means, many of their writers started targeting adult readers.

"It's also disheartening that once again a writer who is trying to say how good comics are mentions KINGDOM COME (which don't get me wrong, it's a highly entertaining read) instead of a comic like LOVE AND ROCKETS, HATE, or EIGHTBALL."

If you like KINGDOM COME, why does it dishearten you that I recommended it? I always encourage readers to pick up independent and self-published titles. I wrote an entire column about it a few months ago. Unfortunately, I can't read every great title out there, and some of the small press titles are harder to get, particularly in light of Diamond's policies. While I'm not trying to make excuses, I can only do so much. However, I assure you that I'll read some of the stuff you mentioned and I'm glad you recommended them.

"I understand that you are trying to give props to the creators of the superhero genre, but you don't need to apologize for comic books before the 1970s."

I didn't apologize for them. I took many of them to task for writing pulp material that hasn't aged well. I merely acknowledged their immense contribution to the entire medium. Sometimes you have to take the bad with the good. Anyway, thanks for a thoughtful letter.

Carl Helmuth writes, "I have to agree with you that for the longest time the comic industry has been struggling to shed the image of 'kids only' then 'adults only.' Recent great epics like, V for Vendetta, Rising Stars, AKIRA, Sandman, and adaptations of some great grown up books like, The Vampire Lestat are shining examples of comics for grown ups. I hope that the industry will enter into an age where you don't have to have the kids' version, teen version and grown-up version of the same hero. Unfortunately, it seems like Marvel and DC have headed down this path with their major heroes. This provides for a lot of strange continuity issues and confusion."

Well, I don't think most readers confuse TEEN TITANS GO! with the regular title, but point taken.

"I think that the comic industry has hurt itself by not sticking to one continuity for major comic lines. Most of the best grown up comics have come out of the indie markets and are usually limited run series. I applaud some comic vendors for trying out more grown up lines, but at the same time they have limited themselves from really opening up to some more important issues in life. For example take the recent Marvel NEW AVENGERS, peter has his mask ripped off, which Spidey is it? The teen Spidey, the long-time Spidey we all know and love or the clone Spidey?"

I can't answer the Spider-Man question because I don't read NEW AVENGERS and I dropped the one Spidey title I used to read because of this THE OTHER crossover. However, I think adult lines open writers and publishers to more issues because content issues don't restrain them. In a mature readers title, the writer can address sex in all of its complexity and violence in all of its brutality.

"Point is that the industry has made it too hard for newbies to come into the market and discover these great stories. I usually stick to limited runs because they have a beginning, middle, and ending. I'm actually tired of books that go on and on and on facing one villain after another, then this one dies, then comes back... ugh."

That's why Marvel started the Ultimate line and DC started the All-Star line. I used to stick with miniseries for the same reasons, but I got hooked on heroes again when Ennis started writing THE PUNISHER.

"For some reason I'm still hooked on Batman, perhaps because it is still following the course laid out by Frank Miller's YEAR ONE, if they deviate from that then I'll probably lose interest. At least in Batman, there have been real continuity changes that have stuck for the most part (Jason... why... why... why...)."

Because DC shouldn't have killed him in the first place.

"The comic industry would do itself a great favor, by reassessing what they put out and doing more limited runs and epics with complete stories that, yes, end. What if Peter Parker or Bruce Wayne died, for real? It won't happen, but what if? Kal-El was killed only, as we all knew, to be brought back to life in a series of confusing stories. I used to love the Elseworlds books because it had some truly great new takes on characters we all love and people would die or change and it would stick."

I addressed this a few weeks ago dragging out characters long past their prime and I think it's something the publishers need to consider. I really like the Vertigo-style ongoing epics that usually wrap after about 70 issues.

"Time is a huge problem in the industry how fast do you age characters and develop them? Time is also an ally when you choose to develop a character. Most of them go through the motions and it's the same story after another with little change or drama or impact."

Readers fear change and publishers release what sells the best. That keeps them from taking risks.

"To summarize the problems in the industry:

1. Lack of permanent changes
   
2. Usually end up bringing back the dead guy/gal
   
3. Same old story
   
4. Too many versions of one character in production
   
5. Too many books on one character in production
   
6. Lack of closure (see #2)

Damn, this thing was a b-tch to code. That's it for this week, guys. Happy Thanksgiving, and remember only you can prevent forest fires!

New This Week
By Al Brown and Kurt Amacker

Al: Aw yeah, is it new comics time or what? Hell yeah it is. And it's Thanksgiving too, so let's spend some time this week remembering all the things we're thankful for. Like boobs! Oh yeah, and comic books too.

Kurt: I think breasts and beer unequivocally prove the existence of a loving, personal God.

DARK HORSE

BMW Films The Hire #4 (of 6) $2.99

DC COMICS

Authority The Magnificient Kevin #4 (of 5) (MR) $2.99

Batgirl #70 $2.50

Batman Gotham Knights #71 $2.50

Cartoon Network Block Party #15 $2.25

Catwoman #49 $2.50

Danger Girl The Ultimate Coll TP $19.99
Al: Hey, remember a couple weeks ago when I claimed that Danger Girl: Back in Black would probably be really fun? Well, if you still hadn't learned your lesson about not paying attention to anything I say, that crappy book probably ruined my pull with you for good. Sorry 'bout that.

Ex Machina #16 (MR) $2.99
Al: But I'm thankful for Ex Machina, which is just like "Commander in Chief" except not about a President or a woman, and with super powers. And good. Hopefully someone noticed Cinescape reader Bloodfish's suggestion about making it into an HBO series, because that was a really good idea.
Kurt: Brian K. Vaughan needs the "Can't Stop Kicking Ass" award for 2005. Yeah, I just made that up, but still!

Flash #228 $2.50
Al: Apparently this book is headed for serious change, which maybe explains why DC doesn't care about its quality anymore. I miss you, Geoff Johns!

I Cant Believe Its Not The Justice League TP $12.99
Al: I am not thankful for people who can't spell "it's" right. Hey Diamond: if you mean "it is", you use a hyphen. Otherwise you don't. It's easy.
Kurt: Dude, don't you mean an apostrophe? 'tard.

Jack Cross #4 $2.50
Kurt: Hippy protestor kills for the government. Contradiction? Nah.

JSA Classified #5 $2.50
Kurt: I could tell you, but it's classified. I'd have to kill you.

Loveless #2 (MR) $2.99
Kurt: The future of Al's marriage.

Lucifer #68 (MR) $2.75
Kurt: An apt description of Al's father-in-law. Have fun, bud!

Robin #144 $2.50

Tom Strong #35 $2.99

Vigilante #3 (of 6) $2.99

Wraithborn #3 (of 6) $2.99
Al: I am not thankful for Wraithborn, the first issue of which was slightly promising, and the second issue completely inane.

Y The Last Man Vol 6 Girl On Girl TP (MR) $12.99
Al: I am thankful for anything involving the words "Girl on Girl", and when it turns out that it's actually an awesome story I am even more thankful. By the way, Y gets a shoutout in this month's "Wired" magazine. Here's the weird part though: they mention pirates, ninjas and monkeys but they totally forgot lesbians. As Kurt and I have made overly clear, if you try to sell this series without the phrase "lesbian pirates" you're not trying hard enough.
Kurt: All right, I don't usually read porn comics, but I think they should do a nude variant of this arc.

Young Magician Vol 2 (MR) $9.99

IMAGE

Amazing Joy Buzzards Vol 2 #2 $2.99

Ferro City #4 $2.99

Industry Of War One Shot (MR) $7.99

Mage Vol 1 The Hero Discovered TP $29.99

PVP Vol 3 PVP Rides Again TP $11.99

Saint Germaine Vol 1 Shadows Fall TP $14.99

MARVEL

Amazing Spider-Man #526 $2.50
Al: So we're up to Part 6 of this crapfest and we still don't really know what's going on. Morlun's been, like, skulking around in the bushes for five issues now. Did you catch the Part 5, where Aunt May puts on an Iron Man suit and kicks some ass? No, I wish I was kidding. So far this is making me nostalgic for "Sins Past". Now that's bad comics!
Kurt: I'm glad I'm not reading this.

Arana Heart Of The Spider #11 $2.99

Black Widow 2 #3 (of 6) $2.99

Captain America #12 $2.99
Al: I am thankful for Ed Brubaker in general, and particularly for his note-perfect take on Captain America. One of the best. Ever.

Captain Universe Invisible Woman $2.99

Daredevil #79 $2.99
Al: This may be controversial, but I'm still thankful for Brian Michael Bendis. Despite getting a bit too big for his britches recently, he deserves some of the credit for a rejuvenation in the art of the comic book that started around five years ago.
Kurt: Yeah, I'm thankful for his run on this book. And boobs. I'm still thankful for boobs.

Marvel 1602 New World #5 (of 5) $3.50
Al: I am thankful that pretty soon Marvel plans to give Greg Pak a real job and stop wasting his talents on crap like this.

Marvel Adventures Flip Magazine #6 $3.99

Marvel Heroes Flip Magazine #6 $3.99

Marvel Knights Spider-Man Second Ptg Variant #19 $2.99

Nick Fury Howling Commandos #2 $2.99
Al: I am not so thankful for this utter waste of a perfectly okay idea.
Kurt: Thanks to UPS, I still haven't read the first issue. Thanks, brown!

Nick Furys Howling Commandos #1 Directors Cut $3.99

Punisher Max Vol 4 Up Is Down And Black Is White TP (MR) $14.99

Punisher Vs Bullseye #1 (of 5) $2.99
Al: Kurt is thankful that there's apparently a new editorial mandate at Marvel that there must always be at least one active miniseries called "Punisher Vs [anyone]".
Kurt: Up next: Punisher vs. Power Pack! Come to think of it, this is like the third "Punisher vs. [insert name here]" miniseries this year. Yeah, I'm a fan.

She-hulk 2 #2 $2.99
Al: I am thankful for the mighty Dan Slott, who is head and shoulders above any competition he might have in the category of "remembering that comics are allowed to be fun".
Kurt: And Greg Horn, for the hottest covers in the business.

Ultimate X-Men #65 $2.50

Uncanny X-Men #466 $2.50

X-Factor Visionaries Peter David Vol 1 TP $15.99

Young Avengers #9 $2.99
Al: I am thankful for comic books that come out of nowhere, sound really stupid, and then turn out to be awesome. I love surprises.

Questions? Comments? Let us know what you think at comicscape@cinescape.com.