Pete Bagge gets the hipster mentality just right — back in 1991. From Hate! #7.
Pete Bagge gets the hipster mentality just right — back in 1991. From Hate! #7.
Greg Hunter reviews Fukitor for The Comics Journal:
Intentionality becomes a consideration while reading comics like this. Here are two ways to consider “Operation Cockblock!”: 1) Karns uses satire as a pretext to include content that’s upsetting by design; 2) Karns’s ambitions as a satirist outstretch his gift for satire to such a degree that the story is a near-total failure. Not all art has a social intent, and not all art is best viewed in these terms, but we can certainly judge ostensible social comment by its follow-through. Fukitor manages little with respect to race except the visual parroting of hateful tropes.
It’s possible Karns doesn’t consider the reactions of readers while drafting his work. Not likely, but possible. If he does consider reactions, we can posit that shock is not merely expected but desired. So criticizing Fukitor because of its harsh content feels uncomfortably like playing a game that Karns has arranged. But Fukitor can also be critiqued on the grounds of its eventual boringness. By the end, viscera fall with plodding monotony.
As I’ve said before, there’s nothing shocking about Fukitor, satirical or otherwise. It just draws on the same wellsprings of racism, sexism and bullying as everything it’s “inspired” by. It’s the alternative comix version of Identity Crisis, a deeply cynical attempt to exploit aging fanboys’ confusion of maturity and adult material with asshole behaviour. Are we sure, in fact, that Jason Karns isn’t a Mark Millar pseudonym, because the trolling style is the same.
And if Fukitor is just a giant troll attempt, it’s overshadowed by that of its new publisher. The first book in Fantagraphics new F. U. imprint (and I see what you did there), it’s a clear statement of intent, and a giant troll to pretend that this book, out of all the interesting work being done, is good enough to launch this new imprint. One of the great things about Fantagraphics is that it has always been in the forefront in the fight for artistic freedom in comix, but it does lead them sometimes into tedious épater le bourgeois territory, like it seems to have done here. You can, if you squint, draw a line from certain of Crumb’s racist fantasies and Bagge’s more outrageous libertarian strips to what Karns does here, but it doesn’t make it more interesting, here in 2014, to again see yet more racist, sexist power fantasies get preferable treatment just because it offers the illusion of transgression, when in actuality it does nothing but riff on the same tired old stereotypes already all over mainstream media offerings.
This post by Sigrid Ellis, about Chris Claremont, the X-Men, Kitty Pryde, hiding in hindsight pretty blatant lesbian flirting from the Comics Code Authority and telling Rogue you think you might be gay is adorable in its dorkiness:
I re-read this scene over and over again. I knew, now, in 1992, what this looked like. This looked like Spin-the-Bottle or Truth-or-Dare, it looked like the drunk and stoned random kissing games people played in the dorms on a weekend night. It looked like a challenge thrown down and accepted. I stared at the art. Courtney or Sat-Yr-9 or whoever was seducing Kitty Pryde. And Kitty was saying yes.
Davis knew something about Claremont’s intentions that I did not know, and drew what he thought a lesbian relationship, with willing participation from both parties, would look like. Kudos to him, it looked rather a lot like the same-sex flirting I saw monthly at the GLBUnion dances – licking of the fingers, et cetera. What I did not know is that Claremont included this sort of girl-on-girl sensuality in all of his comics, hiding it from the CCA as heterosexual female friendship. It wasn’t until 1992 and Davis’s fairly blatant art that I got the hint; actual straight women maybe don’t feel this way about their friends. It was entirely possible, I realized slowly, that finger sucking and licking was not a strictly heterosexual activity among friends.[...]
I can blame Claremont – and I do – for my not coming out earlier than I did. But I also have to credit him for slipping queers into my comics when the CCA forbade it. When I did finally come out to myself, the X-Men didn’t judge me. They accepted this new form of oddball difference the same way they’d always accepted me; with open hands and an invitation to be a hero once more.
The flirting and licking of fingers all happened in Excalibur #24, which was in hindsight quite blatant about it, but which went completely over my head when I first read it back in 1992 or so as an out of context back issue. I just thought it was a fun wish fullfillment story, but with the subtext, well, text visible behind it, i’ts slightly creepy as well?
Not for the not so hidden lesbianism of course, but because you have an adult woman seducing a fifteen year old girl. As the very first page points out this is Kity’s fifteenth birthday, so Courtney Ross, clearly an older woman, getting all flirty with her is a bit dodgy. Though not as dodgy as Kitty’s previous relationship with Collossus, when she was thirteen and had just joined the X-Men and he was at least eighteen. The inappropriateness of that relationship was never brought up in the books as far as I know, certainly not when I was still reading them. The only time people were upset with Pyotr was when he broke off the relationship.
Of course, reading The X-Men as a teenager all this passed you by. Kitty may have nominally been thirteen or fifteen but since she was thirteen for years it was easy to lose sight of it, especially as she was usually drawn slightly more mature than that, though she never suffered from/enjoyed the most common super power as much as her team mates…
Bill Purcell is a volunteer at Comic Con International, apparantly on the committee for San Diego Comic Con, which as you know Bob, is the largest comic con in the English language area and possibly the world. He’s also a racist asshole who’s been aggressively tweeting about the Ferguson verdict ever since the grand jury reached its decision not to prosecute yesterday. It’s the standard entitle white man obnoxiousness coming out in public, a reflex action he can’t help, with of course the usual threats against people taking offence at him. Bigot gotta bigot.
Disappointing but not unexpected is some of the response he’s had. Rich Johnson is jealous:
We don’t have the same freedom of speech laws like the US does, and I wish we did. Part of defending free speech tends to be defending the speech of people you find abhorrent – otherwise what value does it have? I’m reminded of the ridiculous attempt from Lawrence O’Donnell to censor the free speech of Comic-Con organiser Jackie Estrada‘s husband, Batton Lash.
While Mark Waid and Tom Spurgeon argue people shouldn’t call for Purcell to be fired:
The whole thing sounds dumb, right? It is! But this is also an interesting thing. I agree with Mark Waid when he suggests here that calling for Purcell’s position or volunteer job or whatever based on expressions of stomach-turning dumbassery isn’t something that communities should do as a general rule. One hundred percent. But there’s a growing element in comics culture that feels differently, and I think most institutions have to account for that in some way. I also think there’s a line to be drawn between staking out a position, no matter how loathsome or stupid, and engaging with your customer base in a way that’s carries even a hint of threat, or is simply so unpleasant and bothersome so as to disrupt and distract someone from the business of their day.
Now I do understand where they’re coming from; the US comics field has had a great many traumatic experiences with censorship, from the original Comics Code Authority to the Friendly Franks prosecutions in the eighties and the first reflex is always to defend the right to free speech, no matter the content. But free speech isn’t consequence free speech and it’s not censorship to point out that somebody like Purcell isn’t helping the San Diego Comic Con more friendly toward people of colour.
And lord knows comics don’t need more problems with white male entitlement and hostility towards people of colour; it’s history in this regard is just as troubling as its censorship troubles have been, but self imposed. To have somebody who has been quite open in his ties to San Diego be able to spout more of this hatred without consequences just reinforces the idea that people of colour are unwelcome in comix. It makes the convention that less safe to visit, knowing such an outspoken bigot is involved, somebody who has actually been threatening people with violence as well. And those are not idle threats in a country where lynching as a white people’s passtime is still within living memory, while on average two black people are killed by cops each week.
There’s a choice here that we have to make. Either we make it clear by deeds as well as words that hatred and threats like Purcell’s have no place in comix, or we sacrifice the safety of people of colour, of women, on the altar of free speech, which always seems to favour the incrowd, the already connected, the white. Because of what he said and the way he said it, Purcell should be removed from any involvement with the Comic Con unless the con thinks the rights of a bigot to have his free speech be consequence free outweights the rights of people of colour to be safe at their convention.
Is when you can keep up with the attempt to land a probe on a comet half a billion kilometres away from Earth by updates to a popular online comic.
And seeing the excitement online about the landing today, it puts to shame the notion that we need manned space exploration to keep people interested.
I’m not a cartoonist myself, but I can’t pretend James Sturm’s The Sponsor didn’t hit home for me. It’s childish, it’s stupid to feel envious of people who do better than you, you should always focus on your own achievements rather than measure them against other people, art is not a zero sum game, but damn if I don’t feel that sting of despair sometimes. Even in something as ephemeral as blogging, it does hurt now and then not to have a little bit of pretend internet fame like blogger X.
And then I read my own posts back and I realise why that is.
There’s been a bit of controversy about this comic though, as some people felt this wasn’t a gentle satire of creative insecurity, but rather an attack on a specific young, upandcoming cartoonist. Unfortunately this seems to have mostly been alluded to rather than actually discussed, with this debate mostly happening via various back channels, leaving those of us not plugged in clueless as to why this was problematic.
I posted this comic to MetaFilter partially to see if somebody could enlighten me and Narrative Priorities at the very least put her finger on why there was a bit of unfortunate undertone to the strip, something I noticed myself as well:
There is some not-so-great subtext to the particulars of how this specific comic was executed. The dismissive comment about “online crap.” The fact that these are two male cartoonists referencing another male cartoonist while they try to bear up under the weight of a woman cartoonist’s success — which is treated like some kind of tragedy that these men have to suffer through. The fact that this isn’t just about how this particular young male cartoonist is having a rough time and not getting the attention he’d like, or how there’s some larger trend in comics that’s bumming him out, but rather a single woman’s life and work and accomplishments trotted out as if they’re slaps across his face, when ACTUALLY her life and work have nothing to do with him.
But I think that the gender of the rival is incidental, if unfortunate, to the comic’s main point, which is more to mock this angst than it is to validate it, even if it’s done sympathetically. If Sturm had set out to mock or attack the more successful rival, he would’ve been meaner about it.
As to who would’ve been the cartoonist supposedly targeted by Sturm, Narrative Priorities reports says most people seem to think it’s Lucy Knisely, which I can sort of see as she is young, very successful for a cartoonist and deservedly so. It just seems such a roundabout way to go about attacking somebody.
And the discussion about it has annoyed me, because it has been so coy and been the same sort of whisper networks and back channels that have been so problematic in other contexts. These sort of things need to be done out in the open, both so that readers can make their minds up based on all information available and so Sturm can defend himself against the accusations, rather than have it hanging over his head as something “everybody knows”.
Amongst all the news of more, many more superhero blockbuster movies to be put out by Marvel, was one announcement that made very happy, until it didn’t:
11:16 a.m. — Feige points out the Russo brothers in the audience, and says, “they reinvented the franchise of Captain America, they shattered and changed everything going forward, and they will be back for Captain America 3.” The subtitle for the film (out May 6, 2016) will apparently be Serpent Society. (Some disappointed faces in the crowd, hoping for Civil War.)
After that Avengers 2 footage showing the hard feelings between Rogers and Stark, Feige says he’s been having second thoughts about that Serpent Society subtitle for Captain America 3. A new title card appears, giving the fans what they want: Civil War.
Maybe I’m alone in this, but I’d much rather see Captain America versus the Serpent Society, rather than a movie rethread of what was probably the dumbest story Marvel has ever published (perhaps second only to Alice is a skrull). It’s not just that Civil War made no sense and makes even less in the movies, for all the reasons John Seavey lays out here, but that it goes against the very core principles of the Marvel Universe: righteous rebellion against overbearing authority.
Let’s not forget that Steve Rogers himself was a premature anti-fascist when he socked Adolph Hitler on the jaw, a year before the US would enter World War II. Or that the foundational act of the Silver Age Marvel Universe is the Fantastic Four stealing their rocket from the army to launch into space, against the wishes of the military brass.
Civil War went against this, by arguing that the establishment is right, that superheroes cannot be trusted without supervision by a quasi fascist, paramilitary organisation.This is supposed to be realistic, like heroes using torture, but it’s a very adolescent sort of realism. Despite the attempts to dial down the worst effects of the Civil War, much of the MU still suffers from this sort of realism, of endless stories of heroes torturing and killing and forming shadowy groups to take the though decisions that can’t be left to lesser people and the even more endless talking about it. Marvel’s cinametic universe also suffers a lot from this, but this is more an artifact of the post-Bush political landscape it was constructed in, rather than a deliberate decision to piss on seventy years of Marvel history.
The Serpent Society on the other hand, for all that it’s used here as a dumb punchline, was actually a pretty good attempt at creating a realistic supervillain group, one without delusions of grandeur, not wanting to rule the world, just wanting a proper dental plan and decent legal coverage. that’s right, the supervillains team up to form a union, to defend themselves not against the heroes, but the harsh realities of Reagan’s economy.
It’s a typical Gruenwald sort of story, where you have a core of realism in an old school, bronze age capes vs capes superhero story. Gruenwald always worked within the confines of the monthly superhero comic grind, a fact that might have worked against the recognition of him as a writer, at his best when he was on Captain America. Having a bunch of second and third tier snake themed villains team up for union benefits is brilliant, makes complete sense in the context of the early eighties Marvel Universe, but isn’t the sort of easily recognisable, signposted “realism” you have to hit comics fans over the head with for them to get it.
But still, wouldn’t you’d rather see Captain America, the ultimate Roosevelt Democrat, taken on a bunch of unionised everyman supervillains banded together because of the economic regression than whatever the movies will make of Civil War, no matter how much shipping fuel a Tony/Steve catfight will give the fanfiction writers?
Allow me to hijack the ongoing controversy in the online comix communities about the evils of cosplayers and how they don’t spent enough at comic conventions to make a tangentially related point:
I think Denise Dorman’s railing against the ‘instagram’ generation is hilarious but actually has a point–she’s just not using the best terminology to describe what is an actual phenomenon–before 5 years ago, no one (in their right mind) would go to a show thinking that they were an ‘attraction’ without buying themselves an exhibition space, a booth, an artist alley table, something. However, in the last few years the number of people who think that a badge (whether paid for or comped) entitles them to an audience within a convention space is on the rise dramatically. It’s been pegged as cosplayers, and honestly there are more cosplayers at shows than ever, and more professional cosplayers who are going to shows to make money and build an audience. Cosplayers attending shows as businesspeople, who aren’t contributing to the economy of the show.
As you know Bob, comics cons started as spinoffs of existing sf fandom, by people who were steeped in the mores and history of fandom and the original comics cons were very much like the sf cons, by fans for fans, with little to no distinction between fans and pros and without looking to make a profit. Where comics fandom went wrong was that conventions went commercial in the first place, which started at the very latest in the mid eighties. As the comics industry itself collapsed but cons like San Diego grew year on year, that commercialisation just grew more blatant. It’s the same thing you see with niche cable channels: they may start out with all kind of lofty aspirations and call themselves The Learning Channel, but if the money’s in crappy reality shows, that’s what they’ll end up doing. There’s no money in selling comics, so you get expensive nerd toys instead.
Cosplay meanwhile, for all its “professional” cosplayers, is still pretty much done for the love of the characters and the art itself. At worst it’s a symptom, not a cause of the difficulties comics have in being visible at comics cons. Chris Butcher is right when he says that:
The changing convention landscape is inherently shitty for people who make comic books. Art comix, indy comics, mainstream comics, whatever comics, the changing makeup of conventions is hostile to people who want to make and sell comics at comic conventions. And let me be clear, this is comic books and graphic novels, as opposed to ‘prints’ or crafts or whatever manner of tchotchkes makeup most exhibitor tables these days. Basically, comic book conventions are aggressively attracting an audience who don’t necessarily value books, or comic books.
What seems to be missing in the (American) comics convention landscape is what you still have in science fiction: a thriving fan run, non-commercial con scene. There’s Dragoncon, but there’s also Worldcon. And whereas science fiction writers may drown in the media orientated atmosphere of the former, they can thrive in the latter. The fan conventions help build and retain an audience that might otherwise not exist.
But perhaps the dismal state of mainstream comics cons is due to the dismal state of the (supposedly mainstream) superhero comic. Superheroes are more popular than ever, but the actual comics seem to be bought only by an aging and shrinking fanbase. New fans meanwhile are drawn in by movies, tv shows and cartoons, anything but comics and hence are at best interested in comics as a tertiary activity. In such a climate it’s no wonder people like Dorman find themselves struggling. They’re cut off from their audience and the new people don’t know who they are nor why they should spent $50 or more on a sketch. That’s not going to change by banning cosplayers. That can only change if you get more comics cons not run for profit, not aiming to maximalise its audience at the expense of a focus on comics, have more people, pro and fan both, go there for the love of comics, not as a business.
I’ve always had a fondness for Ms Marvel/Carol Danvers, one of those also ran characters you encounter as a kid and feel kindly towards. She was of course a distaff spinoff of Marvel’s first Captain Marvel character, from the same time as Spider-Woman and She-Hulk, created to defend a trademark. Her first series was so-so, though Chris Claremont did his best to make something from it, in its later issues linking it indirectly to his X-Men and Iron Fist series, to little avail. She also had a brief stint in the Avengers, leading to the infamous mindrape in issue 200, later resolved by Claremont in Avengers Annual 10. After that she’s taken to the X-Men as a supporting character, Claremont always loyal to his characters…
Her costume during most of her run was godawful, as you can see from the first picture, a bad knockoff of Mar-vell’s one with added skin. Why the exposed stomach and legs? God knows. Over time they at least closed up the stomach gap, but it remained a dull costume. When Dave Cockrum came aboard for a few issues late in her run, the first thing he did was change it for a much better one, though as you can see there was still the focus on t&a, but at least Cockrum was a good enough artist to use a mirror rather than have her be one of those broken spine girls to show off both. I always liked this costume, even if, yes, it was designed to tittilate. It’s such a seventies Cockrum design what with the mid riff shawl and all that. Cockrum would be back to design Carol’s next costume, Binary in Uncanny X-Men #164
That’s how things stood for Ms Marvel for a while, until she got brought back in the late nineties as part of Busiek’s Avengers and took the name Warbird, then inevitably went back to her old codename and costume. Busiek also gave her alcoholism, which I hated at the time, yet again crippling what could’ve been the strongest person on the team; Ms Marvel just couldn’t get a break. That is until she got a new, longer lasting series as sort of a Marvel counterpart to Wonder Woman or Power Girl in the early noughties, Bendis nostalgia driven New Avengers series finally accomplishing something worthwhile. Not long ago she got yet another relaunch as the new Captain Marvel, severely pissing off Monica Rambeau once again. With that came a new, more respectable costume that I never liked until I saw it on a Ms Marvel cosplayer at LonCon. For once there’s a superhero costume that actually looks better in real life than in the comics. Suddenly the various elements came together in a way they didn’t on the page and looked good. A good cosplayer can of course make any costume work, no matter how ridiculous, but many female costumes do look a bit …uncomfortable? This didn’t.
I really like J. Caleb Mozzocco’s handy little guide to the characters in Guardians of the Galaxy and their creators:
And, if a lot of people make a lot of money and there are a lot of accolades being thrown about, then a lot of credit is going to go to a lot of people, from whoever cut those winning trailers to the designers and animators who got Rocket’s fur to look just so to Gunn himself. If comic book people get any credit, chances are it’s going to be as a collective (i.e. “Marvel”) or under a “Special Thanks” near the end of the end-credit scrawl (IMDb has comics writers Dan Abnett and Andy Lannning receiving writing credit; if that’s on the screen near the “written by” credit, then that’s awesome).
I especially like his idea of making a donation to The Hero Initiative equal to the cost of the movie ticket, to help that charity help out comics creators screwed over by the comics companies. Of course it would be better if the comics industry as a whole, and especially the Big Two, should treat their employees better and let the people who actually created the characters that are now making millions in movies for them have a little bit of the slice as well. Still, it was nice that Marvel arranged for a private screening of the movie for Bill Mantlo.
Remember Bill Mantlo? Marvel’s most prolific writer in the eighties, about the only one who could make something as uninspiring a toy as ROM into an actually readable, perhaps even good comic. When Shooter was ousted, Mantlo got less and less work, dropped out of comics to try and become a lawyer, then had a car accident that left him paralysed and penniless. Thanks to the Guardians movie, no less a newspaper than the New York Times wrote about Mantlo:
Like millions of moviegoers over the weekend, Bill Mantlo watched “Guardians of the Galaxy,” the Marvel Studios space adventure that sold more than $172 million in tickets worldwide in its first four days of release.
The film’s success is particularly meaningful to Mr. Mantlo, 62, a comic-book writer who helped create one of the movie’s main characters: the foul-tempered, gun-wielding anthropomorphic Rocket Raccoon.
Mr. Mantlo did not see “Guardians of the Galaxy” in a theater, but in his bed at the nursing home where he is being cared for after a 1992 accident in which he was hit by a car and left with brain damage.
Michael Mantlo, his brother, said Bill owed his health partly to Medicaid and partly to the grass-roots efforts of comics fans, who not only made donations on his behalf but also brought attention to his involvement in creating a character whose value to Marvel had suddenly mushroomed.
As Michael explained in a telephone interview, the focus on his brother has encouraged the studio to reconsider its obligations to him. “The more often Bill’s name gets mentioned, and the more often he is given public credit for something that he did, the easier it is for me to go to Marvel and say, ‘You might want to consider raising your offer.’ ”
It was only the negative publicity around the first Superman movie that finally got Siegel and Shuster a small part of the millions DC/Warner had made of their characters, it’s good to see Michael Mantlo taking advantage of that for his brother here. Bill Mantlo deserves it.