Newsflash: Multiple Women Were Fond of Ed!

This hasn’t gone viral (yet), but I’m sure when the “trained ninja” staff at comics’ most lethal gossip site finds out about this, that will change in a hurry. It’s a post from Reddit from a month ago:

The Death of Socrates and What We Athenians Should Do About It

One argument that will surely trigger me in 2024 and beyond goes something like: “For all we know, Ed suffered from depression and was already suicidal.” If you have the temerity or foolishness to run this notion past this 62-year-old cartoonist, you had best be on the other side of the table and prepared to run like hell and disappear into the crowd when you do so. And make sure somebody’s ready to capture all this on their smartphone, too—the video will surely go viral.

Toxic Alan Fans and Their Disappointing Discourse

The author of X-Amount of Comics: 1963 (WhenElse?!) Annual assails the paucity of critical debate surrounding the work ...

X-Amount of Reader Mail!!

Letters, oh, we get letters … this one from no less a personage than former major domo at Cartoon Books and Monroeville manager of Half-Price Books (and splitting image of X-Ray Boy) Andries Mulder!

The Uneducation of J.K. Rowling

 In late December, 2019, I became aware of J.K. Rowling's bizarre "Sleep with any consenting adult who'll have you" Tweet, which marked, for me at least, the beginning of the Harry Potter author's rebranding as an irrational transphobe and hatemonger. In the annals of fandom, there had never been a case of an author so completely contradicting the core ethos and popular appeal of her work (i.e., don't listen to the grown-ups who want you to conform and tell you that you are a freak and should be ashamed; what is special about you is the source of your power, a power that just might save the world) in such few words.

Unsolicited Submissions and Inappropriate Suggestions

 Please Don't Pester the Cartoonist (unless you’ve got the cash up front)!

As an artist since the age of five and later as a published cartoonist, I’ve always gotten suggestions from fans and friends. Many are thoughtful and well-meaning, and every once in a while, some comment or remark will spark a useful idea somewhere down the road. But rarely are they directly inspirational.

The Lies of Comicsgash!

The Culture Wars Comes to Funnybooks

One of the more insane trends to take place in recent years is a "movement" started by a small, irrelevant coterie of has-been comic book creators dubbed Comicsgate (which makes little associative sense to someone of my generation, unless its leaders are trying to lay claim to Nixonian paranoia - not exactly the most admirable moment in our Nation's history). But the present moment isn't particularly admirable, either.

Among their specious claims is a convoluted theory that various retcons and rebootings affecting entirely make-believe storylines involving stupid corporate-owned trademarks has something to do with the fact that these fairly lackluster and mediocre creators no longer are as actively employed on the superhero assembly line as they want to be. The result is these disgruntled hacks have taken to the internet (what else?) and started calling people hateful names, ordered bans and boycotts of particular creators, titles, and companies, and threatened violence against a number of innocent bystanders who by all accounts seem only to be doing their jobs.

Trying to give an account of their hopelessly muddled ideology end-to-end is impossible, so it's best to take their incompatible lies one by one:

Lie #1: The movement is a "consumer-led revolt." This is clearly false; it's a small number of vocal (which is to say, whiny) writers and artists who for a brief time drew prominent titles in the Marvel and/or DC pantheon, and now find themselves without gigs. They thought they were essential to the perpetuation of certain namby-pamby, vacuous and hollow franchises, but they found out this was not the case, and they resent it.

Lie #2: The talent brought in to replace the Whiners is inferior because the selecting criteria of editors and publishers was ideological and/or identity-based. False; there is little evidence that comics are any more or less hacked-out, mindless, and unoriginal as ever, or that the level of work is any more less inspired or insipid as it's been since the early 1970s.

Megaton Man visits the pretentious hacks on the superhero assembly line in Return of Megaton Man #2 (Kitchen Sink Press, August 1988). In those days, the Culture Wars was only a gleam in the eye of Morton Downey Jr. ...

Lie #3: Beloved characters and franchises are being ruined by inorganic, top-down imposed makeovers to conform to said ideology and/or identity-based criteria. False; no intelligent human being could possibly care less that Scuba Man used to be straight, WASP newspaper reporter Kyle Kildare and now is involuntarily celibate, ambidextrous, undocumented Dreamer and lesbian activist Fortuna Primigenia, or that his (her) mutant robot sidekick Willy has been replaced by a self-levitating smartphone that sounds like a Burbank voice actor doing a bad impression of Lin-Manuel Miranda doing a wisecracking, hip-hop Bugs Bunny. (Besides, Scuba Man has always been stupid, no matter what his/her/its creators have tried, and nobody really cares.)

Lie #4: The comic book industry is being taken over by Left-Wing Ideologues. False: the comic industry was started by left-leaning liberals and always run by them; read one of Stan Lee's Soap Boxes circa 1972, for Christ'ssakes. People with imagination and talent have always tended towards social compassion, inclusion, and just plain hanging out with other social misfits like gay people, free-thinkers, and other mild-mannered types. Some of these people actually embody understated Judao-Christian ideals without voting for billionaire rapists. It's called Art, not Fox News.

(If anything, the industry has been taken over by humorless haptics who stopped developing before the concrete operational stage, are severely repressed closet cases who get hardons from back issues of Soldier of Fortune magazine, and can't draw a woman who's more true to life than a mid-sixties Barbie doll.)

Lie #5: The Whiner's short-lived careers are the result of an engineered conspiracy by said Ideologues. False: writing and/or penciling corporate superheroes has been a career with the life expectancy of a gnat since the days since Kirby, Kane, Romita and Buscema. Gene Colan was famously fired by Jim Shooter while arguably at the height of his creative abilities; I attend comic book conventions with creators from the 1990s who could still be happily churning out monthly comics for Marvel and/or DC and still aren't even old enough to join AARP. The Comicsgate generation has been put out to pasture too soon? Sign up for food stamps and stand in line; it's a long one. If you want job security, next time become J.K. Rowling or George Lucas; i.e., originate something, don't just learn to cut out cookie cutter capes and cowls for a Big Company paycheck, then complain when your particular cookie shape is no longer in vogue.

The labor dispute metastasizes into an all-out assault on creative liberty! From Return of Megaton Man #2.

Lie #6: Having someone to blame for your plight will make things better. False; try reading some of the characters you helped perpetuate for the past few years. Did they gang up and pick on people and threaten violence? No, they were heroes - albeit make-believe; if they had to punch someone, it was out of self-defense or to right an actual wrong, not because Life dealt them a crummy hand this time. Conspiracy theories may be comforting (and make for entertaining storylines in fantasy material), but to actually believe them is to become unhinged, pathological, and dangerously disturbed. Grow up and create something that reflects positive human values, and stop hating.

Lie #7: Sales would be great again if companies would just go back to the classic formulas, i.e. manly (white) men and curvaceous babes. False: the print medium is dying, in case you hadn't noticed; and sales figures are bound to decline regardless. Marvel and DC would have gone out of business in 1983 if it wasn't for their media and licensing revenues; for decades, print comics have been a loss-leader and farm system for ideas for much bigger movie and TV series tie-ins, a break-even proposition at best. And they ran out of ideas well before 1974; if you think the cosmetic monkeying with identity politics has any more substance than mutants, robots, and the cloned Gwen Stacy, you have seriously lost touch with reality. Besides, editors and publishers have a fiduciary responsibility to throw everything at the wall to see what sticks; or have you lost your faith in the Free Market?!

Like everything else, at the bottom of every creative complaint is ... wait for it ... MONEY! From Return of Megaton Man #2.

Why doesn't everybody just sit back down and draw their little Men in Tights and fight their Culture Wars on paper (and in their ring-bound sketchbooks, if Marvel and DC won't send you their custom blue-lined Bristol board anymore)? And if nobody wants to pay you for the works of your imagination anymore, let alone cares, at least you've done something personally therapeutic and kept your poisonous hatred to yourself.

Morons.

___________
Update: See if you pass the Ms. Megaton Man Social Justice Warrior Litmus Test!

Conventions of Contemporaneity: An Anxiety Dream

I had a dream last night that I attended a current San Diego Comicon (in reality I have not attended the biggest comic book convention in the world since 1996, and by all accounts it is now almost ten times bigger than it then was). Upon entering, one was completely overwhelmed by an island of booths containing a Wonder Bread display, of all things (simulated loaves of Wonder Bread stood as pillars holding up a canopy over the space), followed by islands that were fully-furnished convenience stores so that attendees would not have to go outside the hall and out into downtown San Diego to shop for necessities. (No doubt this symbolized how commercial and insular comic book conventions have become -- you don't even get to experience the wonderful city you are visiting at all.) With my portfolio, I finally found my way to artist's alley (I had not bothered to reserve a space in advance); I did not recognize any of the younger people there, and nobody recognized me, although only a few artists had set up this early in the show.

Patrick Daugherty, director of the Frank L. Melaga Art Museum, pondering the placement of my work yesterday. Some of Frank L. Melaga's paintings from the permanent collection are on the facing walls, while my works are on the floor waiting to be hung and in the showcase in the background.

I saw a group of artists seated on a raised podium, about eight or ten young people, mostly male but some female, all dressed remarkably alike in black with ball caps or berets like a paramilitary volunteer police militia, and thought I spotted Billy Tucci among them, but he kept disappearing behind the heads of other people. This group must have been his entourage, although they all seemed to be sketching or autographing, although no fans were yet present.
 

Pages from Alan Moore's "In Pictopia," which I drew in 1986, and two Megaton Man splash pages, one from 1989 and 1999.

I finally ended up in an internet cafe somewhere in the dealer's room, populated mostly by young Asian men, who were all buzzing about their laptops. (I suppose mobile device now dominate comic book conventions as they do everything else, although this had not been the case the last time I was at the San Diego Comicon). For some reason I was table hopping -- I'm not sure if I was giving advice, showing my work, explaining how to find my stuff online, or just trying to get connected myself. When I finally sat down to get online myself, I realized my laptop was missing. I looked everywhere for it, and came to the realization that it had been stolen. (Why would any of these people with their much slicker devices steal my old clumsy thing with nothing on it?) Then I woke up.

The showcase is a mixture of artists and comics that influenced me as well as some of my own art, including "Batman Upgrade 2.0" from DC's Bizarro World (2005).

No doubt this dream came to me because I had been helping to hang my gallery exhibit of old and new cartooning and life drawings last night, and had attended a small comic book show in Youngstown last weekend. I have been doing a great deal more cartooning since this past spring than I have in many a year, since I returned to college and earned my PhD. I don't think of any of this as a "comeback," in part because I have little idea what I would be coming back to. Am I being sucked back into the scary world of comics, and is this dream a portent of what it will be like? Anxiety!