izombie # 1 (Plus Variant Thoughts)

Writer: Chris Roberson
Artists: Michael Allred
Colors: Laura Allred
Publisher: Vertigo
Published: May 2010

This is an intriguing story. Gwen is a zombie. By day she works as a grave digger. By night she solves mysteries with her ghost gal pal Ellie. Oh, and the these mysteries are instigated by Gwens meals, namely, newly dead folks brains. Umm!

The art is great, and the premise is promising...it'll be interesting to see where this one goes.

Also check the variant cover by one of my favourite artists, Darwyn Cooke.

I really don't like the whole variant cover thing going these days. Usually the art is pretty fantastic, but still...

Take for instance, the variant for this particular issue (see just below). It's fantastic. Probably one of Cookes finest, but what I'm not a fan of is the cover price. This issue was priced at $1, which is an introductory price for the first issue. Great. However, at the comic shop I go to, the Cooke variant cover was marked up to $10! That's a 1000% markup! As much as I love Cooke's work, I can't justify spending $10 for a 30 page comic. There are some some shops in Toronto that mark up all variant covers to $20, which is even crazier!

I wonder if retailers actually sell any of these variants. They must, considering how many are being produced these days. While I'm not 100% familiar with the economics of comics, I have a few ideas as to why variants are so pricey.

1) They're considered 'rare' as retailers have to purchase a certain amount of comics before they can receive a variant.
2) They usually have stellar artwork for the cover. Usually.
3) They have to be pricey so retailers can make up costs for the extra issues they had to purchase just to get the variant.
4) Hardcore fans and collectors will buy them.

Whatever the reason, I just can't get behind buying a variant cover with a cover price of $10 to $20 bucks. That's just too much. It would be better if variants were treated like rewards instead of priced up comic books. The loyal fans who really want a variant would make sure they were the first in line on new release Wednesdays. It's a win-win. The store gets customers in regularly, and fans pay regular price for a variant cover. Anyway, here are some variant covers that are awesome, and I'll never own.

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Black Spider Man Follow Up

You know, sometimes I just do stuff without really thinking it all the way through.

Take for instance, photoshopping a J. Scott Campbell pic to make Spider-Man/Peter Parker black. I thought I was doing something that would be enlightening...in some ways I think it succeeded, and in others, failed miserably.

Based off some of the negative reaction I witnessed on this topic, I think I have a relatively good idea of what is going on here.


The image in question is of Spider-Man kissing Black Cat, while MJ looks on, shocked.
Gut reaction: Tense love triangle. I feel bad for MJ, I dislike Black Cat and Spidey's actions.


But once Peter Parker becomes black, the image takes on a whole new level of meaning. If we considered ourselves truly unbiased, colourblind individuals, then when we see the second image, we shouldn't have any change in our gut reactions.

But we do. Why?

Nothings changed. It's still a tense love triangle scene. But now when we see MJ's shocked look, instead of feeling bad for her, we feel confused, repulsed, offended. Instead of interpreting her reaction as just a hurt lover, we now see a manipulative edit I did to associate her feelings of hurt and shock with Peter Parker being black.

But I didn't make that association. I just changed his skin colour.




There is no such thing as a "colourblind, unprejudiced person." Colour matters, differences are real. Accept that people are different. Embrace those differences. Love those differences. Only then will those differences disappear.


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Black Spider Woman

Good Girl Art Terry Dodson

Spidey Super Stories # 11

Writer: Jean Thomas

Artists: Winslow Mortimer, Mike Esposito, and T. Mortellaro

Publisher: Marvel

Published: 1975

With the new Spidey film in works, there has been a call for Donald Glover to audition. The debate has been whether Peter Parker/Spider-Man can be black...this whole debate kinda reminds me of todays issue.

After having one of Peter Parker Spidey bindle webs fall into Valerie's hands, she gets the idea to be a superhero!

And after a few training sessions, The Sensational Spider-Woman is born!

Spidey seems ok with this...

Then trouble strikes! The Vulture! Good thing Valerie is there!

And after Valerie's wall suction cups fall off, Spider Woman is no more. The End?

This is a fascinating story. It has a black Spider-Woman, but the fact Valerie is black has no bearing on the story. Valerie's a down on her luck gal, who has her luck turn around when she dons the costume of Spider-Man. And then in the end, she returns to just Valerie, while the real Spider-Man continues his adventures.

This tale has certain elements that are surprisingly similar to the plight of Don Glover and his quest to don the mask of Spider-Man. He's wants to have some of the fun as it were, be a hero. And as much as internet fans photoshop him into the costume, at the end of the day, he'll most likely not be the next Spider-Man. But, unlike Valerie's story in this issue, where she did become Spider-Woman and happened to be black, Don Glover will not be Spider-Man because he is black.

Call me jaded, but the proofs in the pudding. Take for instance the up-and-coming movie The Last Airbender, where 3 of the 4 lead actors are white and are dressed to look Asian/Inuit. If Hollywood won't even cast Asians/Inuit to play originally intended Asian/Inuit characters, they sure as hell won't cast a Black actor to play a White Peter Parker/Spider-Man. (Note: I am not comparing skin colours, but actors to character roles).

But, I'm ambivalent on the issue. Part of me wouldn't want a black actor to be cast as Spider-Man because it would be a gimmick at best. However, another part says yes to a black Spider-Man because characters of such resonance shouldn't be determined by what colour their skin is. Another part of me says why should there be a black Spider-Man when they're are so many other great characters who were written as black. Then again, when I close my eyes and think of Spider-Man and other heroes I enjoy reading, they are always white; my own mind is "white washed" - maybe a simple change of colour could shakes things up for the better?

As a thought experiment on the debate, I photoshopped this image together. Sorry to J. Scott Campbell!

I don't know about you guys, but after looking at this image, I think a world of fresh, controversial, and exciting stories could be culled from making Peter Parker/Spider-Man black.

*****Update*****

So I added this photo to a comic site and the responses I got were awful, and then it opened up the doors for really bad comments. I don't get it. This image wasn't created as a form of blackface. It's trying to imagine what a world would be like where Peter Parker/Spider-Man is black. And as the image suggests, just because Peter's black, doesn't mean his supporting cast would be black as well. I think that is what would be so awesome about a black Spider-Man - he'd tackle racial politics. So this image can be taken a number of ways. Is MJ shocked at Peter cheating, or is she shocked at a black man and a white woman kissing, or both? What exactly would happen if Spider-Man was black?

On a related note: Years ago I saw Joey Jeremiah (Pat Mastroianni) and Snake (Stefan Brogren) do a live show where they talked about their experiences growing up filming Degrassi. One of the stories that stood out was when Degrassi started airing down in the States, their biggest complaints they received weren't the episodes where they tackled child abuse, abortion, drugs, suicide, etc, but the episode where BLT (black) and Michelle (white) kissed. Wow. Living in Canada, where we embrace (or at least pretend to) our differences, I find this to be perplexing. Colour is just that - colour. It makes our world brighter, better, and beautiful.

So either people are offended by this rendition because it's photoshopped, or they immediately think it's a blackface, or they are offended at the potential racial politics therein. I don't know. Any thoughts?

Check out my follow up!



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Solo: Mike Allred

The Goon #8

Liberty Comics # 2

Writers: Various

Artists: Various

Publisher: Image Comics

Published: October 2009

This is a comic dedicated to promoting and supporting the Comic Book Legal Defense Fund. The CBLDF is dedicated to ensuring that free speech in comics is protected. I'm all for this.

This particular issue has a number of standout tales from some of comics top talent. I won't go into all the individual stories, but some standouts are Paul Popes Loverman, Chynna Clugston Flores "I Beg Your Pardon" and well, all of them actually. The art is top notch and the stories thrill, titillate, and tickle your senses. And isn't thrilling, titillating, and tickling worth protecting?

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Art & Beauty

Patsy Walker

All Star Superman # 10

Writer: Grant Morrison

Artist: Frank Quitely

Colorist: Jamie Grant

Publisher: DC

Published: May 2008

All Star Superman is probably one of the finest stories to emerge in the last decade. I was reminded of this particular issue after reading an interview with Grant Morrison. (It is a great interview, and I highly recommend it.)

Issue 10 has Superman continuing his journey to make things right and do as much good as he can before his inevitable demise due to solar poisoning. In this issue Superman creates life, frees an imprisoned nation, cures all disease, and in one of the most touching moments in the series, saves a life.

With one page, broken into 5 panels, Morrison, Quitely, and Grant reminded me why I love comics. As Morrison states, one of the things he hoped readers of All Star Superman would take away with them was that a few words and some figure drawings would have the ability to "make you cry, make your heart soar,..."

Well I nearly lost it in this issue. I've been feeling glum as of late. Very glum. But after reading this issue I feel a little better. This is going to sound weird, but I really like that Superman chooses to save us not because he can, or because he needs to, but because he wants to...(alluding to Mark Waid)...it's nice to know that Superman believes in us. That we're worth it.

Breaking Into Comics - The MARVEL Way # 2

Writers: Various

Artists: Various

Publisher: Marvel

Published: May 2010

This comic was a great way to introduce fans to some up-and-coming talent in the Marvel U. Breaking Into Comics is a showcase for new talent, who describe their experiences on getting hired by Marvel as well penning/illustrating some great stories. This particular issue has 5 tales, centred around a choice selection of Marvels characters: The Fantastic Four, Thor, The New Mutants, Psylocke, and Deadpool.

Of particular note was the New Mutant tale illustrated by Gabriel Hernandez Walta. The story is dark, very disturbing, and all grown up for a bunch of teenage muties. Hernandez Walta delivers top notch artwork. His work is foreboding, menacing, and deliberate. Just beautiful. After reading the tale, I couldn't get it out of my mind. It has such force.

The remainder of tales are great as well. With these folks propelling Marvel Foward, I'd say DC has their work cut out for them...then again DC has got Batman and Grant Morrison...

Here's a collage of some images from Breaking Into Comics:

Heavy Metal Presents Moebius

Writer/Artist: Moebius

Publisher: Heavy Metal

Published: June 1979 (based on the intro by Federico Fellini)

Moebius, the alter ego of Jean Girand, is a force unto himself. Moebius's work is a psychedelic blend of space, time, and power. His illustrations force the viewer into a new realm of experience.

This issue is a showcase of some of Moebius work...I won't go into detail as I think the art speaks for itself.

Martial Arts, Authorized Training Manual: Michaelangelo and the Art of the Nunchaku

Writer: Peter Brody

Artist: Jason Rogers

Publisher: Solson Publications

Published: 1986

This gem is an authorized training manual on the art of the nunchaku, with illustrations of Michaelangelo providing the lessons. Need I say more?

Yes.

This manual is a great resource for kids to learn how to wield a dangerous weapon. I love it. When I was a kid, nunchucks were the holy grail of weapons. However, I missed the boat on this issue back in '86, and had to rely on Bruce Lee movies as my learning guide. I think I've done well over the years with my nunchucku skills. 100 bludgeoned can't be wrong, right?

One thing, I love about this issue is the illustrations are full bodied, composed of clean lines. So, if your kids are too young to take up the art of pummelling sticks, the comic makes for a handy colouring book.

I have a huge love of colouring books. Here's a link to some of my work on colouring books.

Also here are some odd ads in a training manual: Texas Chainsaw Samurai, and Sultry Teenage Super Foxes. Only in comics...

Fearless Dawn # 1 - Free Comic Book Day

Writer/Artist: Steve Mannion

Publisher: Asylum Press

Published: May 2010

Probably one of the more provocative covers for a free comic book in recent years. Fearless Dawn is a superhero of sorts. She's, she's, well I'm not 100% sure, but she has a weird bat/antler type hat, a leather vest, leather slacks, tattoos, and a whole of fiestyness - which make her a superhero in my books!

In the eight page preview, she's storms Manitoba (?), to take down illegal suppliers of the deadly COMBAT DRUG! Basically she mows down a bunch of nazi type individuals, with the last page having her confront a drugged up baddie. Good stuff. The art is a nice blend of pin-up cheesecake with visceral action. Mannion seems to like drawing attractive ladies fighting military-esque monsters. Which is awesome.

The remainder of the issue has more previews of Asylum Presses other works. There are some good stuff...but to me Fearless Dawn is the highlight. Check the site for more in yo face awesomeness. But before you head on over, check out some kick-ass art below.

THB - Comics From Mars # 1

Writer/Artist: Paul Pope
Publisher: Adhouse Books
Published: July 2007

Comix-365 is back! And what better way to kick start things with one of my favorite artists/writers: Paul Pope! (That, and I just recently met the guy in Toronto at the TCAF show - but more on that later.)

THB is one of those comics that is largely overlooked by the mainstream. This is a shame...I consider this series a diamond in the rough. It's the perfect cross between adolescent rockabilly and high-minded Sci-Fi. This particular issue has four tales. The first is an awesome 5 page graphic of Popes futuristic sport, Zoo Ball. The second is a history lesson from the main character HR, and the third is, well I'll let Pope describe: "Fun! Comics - The UR-PEOPLE are the unseen continuity mechanics living between sequential phases of meta-fictive time/space." This is in my opinion the best tale of the four. It has a certain quirkiness, not unlike the film "Being John Malkovich" but crossed with a Disney-esque pedigree. Finally the final tale concerns the famed Bumble Hipshakes that only a certain gangster on Mars can make.

As stated above, a few weeks back I attended Toronto's The Comic Art Festival. It celebrates and discusses comics, with a focus on independent creators. The reason I attended was to catch the panel discussion between Paul Pope and Dash Shaw. The panel was neat. It was cool to actually hear some thoughts and opinions from one of my favorite comic creators. He seems like a nice guy, a bit introverted, but not in socially-shy way. What I found interesting during the discussion, is that Pope is bit of a paradox. He comes from indie roots, produces amazing indie works, but also has an active and widely sought out style by mainstream press. He's been in GQ, Playboy, has worked for the big guys, DC and Marvel, and so on... one of the possible reasons for this dichotomy stems from his work on THB.

As I had mentioned earlier, THB has yet to capture a mainstream audience. There have been an handful of issues over the years, and while each are golden reads, THB's stunted success seems to be bit of a frustration for Pope. Here's a magnificent series, but it has yet to be fully appreciated. And Pope wants to be appreciated. As an artist, this is paramount. While producing art for a singular audience is rewarding in of itself, it is so much more rewarding to have a larger audience embrace and demand more of your artwork. THB is series that screams to be appreciated, not just because it's awesome, but because it bleeds awesome. So, as Pope mentioned in the discussion, one way to get his message, his art, his way of thinking out was to tackle the superheroes. He want after the big guy - Batman. He wanted to reach a larger audience. What better way than the greatest fictional comic character in history?

What is interesting about this statement, is that it worked. On me. I never heard of Paul Pope until I read Batman Year 100. I was blown away. I got it. I saw and embraced the Paul Pope vision. Now I'm hooked.


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