Expansive, Vivid Account of Comix History Worth the Read
By Dan BrownBrian Doherty’s superlative new book Dirty Pictures is not a history of comics, it’s a history of comix. There’s a difference.Comics are the mainstream titles you know, like those produced by DC and Marvel. Think Wonder Woman, Batman, The Amazing Spider-Man, Captain America, all those costumed do-gooders. Comix, on the other hand, is the name given to the underground picture-and-word books made, starting in the late 1960s, in San Francisco and other American cities by rebel publishers who skirted the law, and certainly violated the limits of good taste.Comics publishing was an industry with its own system of censorship, the Comics Code Authority, which was in place until relatively recently. Comix were famously published exactly how their creators drew them, legal consequences be damned.It’s hard to imagine anyone getting hauled into court for selling an issue of, say, The Fantastic Four, but a few individuals did get busted for selling comix. An example of an underground issue that stirred up legal trouble is the one that parodied Walt Disney character Mickey Mouse in lewd detail.I expected to learn a lot about comix before I cracked Dirty Pictures. What I didn’t foresee is how much I would learn about the comics industry as a whole from the 439-page volume, which I recommend to anyone with more than a passing interest in the history of comic-book publishing in North America. Not only is Dirty Pictures informative, but Doherty – by day an editor for Reason, the libertarian magazine – also does a great job of transporting the reader back to a time when “an underground network of nerds, feminists, misfits, geniuses, bikers, potheads, printers, intellectuals and art-school rebels revolutionized art and invented comix,” according to the book’s subtitle. Doherty introduces the reader to Robert Crumb, Art Spiegelman, Robert Williams, and other key figures. Crumb, the leader of the comix movement, is the guy who popularized the phrase “Keep on truckin,'” which appeared on seemingly every car bumper in the 1970s.You may know Spiegelman as the creator of the 1987 graphic novel Maus, an account of his Holocaust-survivor father’s life told using cartoon animals that earned a Pulitzer Prize. Less well-known is how the genesis of Maus began in underground comix years prior to that.Williams is now known as the artist whose racy 1978 painting of a robot and a partially clad woman served as the original cover for the Guns N’ Roses album Appetite for Destruction (it would be swapped out for a safer image after an outcry from retailers and the public).Famous comix titles include Snarf, Zap, and Young Lust. They were published by companies with such dodgy monikers as Rip Off Press, Last Gasp Press and Head Imports. They were typically one-offs, with notable exceptions, since they didn’t follow a regular monthly publishing schedule. The cartoonist Bill Griffith, who went on to syndicate his Zippy the Pinhead strip in conventional newspapers, is quoted in Doherty’s book saying, “ For me, when I use the word (comix), I mean work that will wake you up, work that allows you to be able to see more, to become more receptive, more alive” Doherty wisely conducted fresh interviews with many of the artists from the San Francisco scene to bolster his research. Those interviews are just one element that makes this book required reading. And while you might think his account of those heady days would suffer because of the fading memories in the minds of those who were there at the creation, the author peppers each chapter with contemporary records, like the letters they wrote to each other back in the day.Comix publishing was, according to Doherty, a “loose, friendly, strange business.”This exhaustive history draws a direct line from Mad magazine founder Harvey Kurtzman to the underground creators of the 1960s to the autobiographical graphic novelists of today. If you want to understand how we ended up with the comics industry we have in 2023, Dirty Pictures is one of the best places to start.Dan Brown has covered pop culture for 30 years as a journalist and also moderates L.A. Mood’s monthly graphic-novel group.
Not Every Comic Has To Be A Movie
By Dan BrownFunny thing about the ongoing writers’ strike in Hollywood: It got me wondering what, exactly, movie writers do in our age of superhero cinema.If most of the top-grossing motion pictures are comic-book adaptations, or based on video games, or derived from other existing pop-culture properties like toys, books, and plays, what exactly does being a screenwriter in 2023 mean?At the moment your favourite superhero or villain makes the leap to the big screen, there’s already a reservoir of years or even decades of source material to draw from.In the case of the latest example, Blue Beetle, the DC comic do-gooder had been around since the end of the Great Depression.No Tinseltown scribe had to struggle to figure out an origin story for Blue Beetle. The same goes for Superman, Batman, Captain America and the rest. The villains who oppose these heroes are likewise well-established at this point, along with the supporting players and settings. So where exactly does the writer figure into the process?Or, to cite an example I used in a previous column: No one at Marvel Studios had to invent Thanos or the Infinity Stones because artist/writer Jim Starlin saved everyone the trouble by establishing all of these plot devices back in the 1970s. The hard part was done decades ago.So here’s a wacky thought: If it’s not the WGA members who are doing the creating in the first place, why not just cut them out of the process entirely?Since the major story elements of most franchises have been in place forever, let’s save the strikers any more agony by going the extra step: Let’s call for a temporary moratorium on making comic movies.That’s right. Why not just leave the remaining franchises unadapted? Crazy proposal, I know. Call me a heretic.But bear with me.I’m well aware film versions of comics and graphic novels are a tradition by now. Some fans even enjoy the movies that result.I’m also aware of how comic enthusiasts love to speculate about upcoming adaptations. Dream-casting is an industry unto itself, and the debating didn’t start with the internet.I remember reading an Uncanny X-Men letter column during the John Byrne/Chris Claremont years in which then-famous names were bandied about in the hopes a studio would produce a movie relating the adventures of our favourite mutants. If I recall correctly, one correspondent suggested Charlton Heston had the requisite gravitas/menace to play Magneto.That adaptation never happened, and maybe it’s a good thing it didn’t.That’s right: I’m saying not every comic has to be a movie. Even the popular and well-regarded comics.I realize it’s a financial imperative for Disney to exploit Marvel until every last cent of value has been squeezed out of its vast library of characters, but humour me for a moment. I think you and I can agree these are days of diminishing returns. Some adaptations, maybe even the majority, should never have been greenlit. God knows I worship Jack Kirby, but Eternals did not leave much of an impression on the collective imagination. Same goes for She-Hulk and Ms. Marvel. How many Suicide Squad films have there been? Do you know anyone who's clamoring for a series about Wonder Man, the obscure Avenger? I fear the truth is that comic fans will value comic-book characters and stories only if they become fodder for a motion picture, thus earning Hollywood’s seal of approval.But sometimes it’s all right for the comic to be the end of the line. Sometimes the comic itself can be the final statement. I'm here to tell you: Your favourite comic series is a valid art form whether or not it eventually gets cannibalized for use on the silver (or small) screen.Maybe I’m giving the folks at Marvel Studios too much credit, but in the Disney+ Hawkeye miniseries the producers included a scene in which Clint Barton attends a Broadway musical based on the life of Captain America called Rogers: The Musical. A TV show that imagines a stage production about a hero from the movies who was based on a comic character in the first place? I thought it was a sly comment on adaptations run amok.So my plea to my fellow pop-culture fans and everyone else in the comic world is this: Let’s allow the original, comic version of some stories to be the final word. A comic or graphic novel doesn’t have to be turned into a movie or a show or a game for it to be an artistic masterpiece all on its own.Sorry, writers of Hollywood. Once the strike is resolved, perhaps you could go back to plundering cheap paperback novels to find ideas for your scripts. That’s worked out all right in the past. Dan Brown has covered pop culture for 30 years as a journalist and also moderates L.A. Mood’s monthly graphic-novel group.
Why I Love London Ontario Comic Book Fans
By Dan BrownThis week’s column is a list of all the things I love about comic fans in London, Ontario. It’s a totally subjective exercise, and your list – if you were to draw one up – would likely be different.Of course, only a fool or a madman would try to describe all the things that make such a big group of people unique. Yet that’s exactly what I’m going to try to do.Comic fans at large get a bad rap as a complainy, cynical bunch who are never satisfied. My experience with London comic fans, and Forest City geeks in general, has been totally different. There are thousands, maybe tens of thousands, of such fans in our city, and I have found them to be earnest, genuinely enthusiastic people who just want a space of their own to pursue their enthusiasms.Sure, there’s the odd cynic, but broadly speaking I’ve found the comic and pop-culture fans here to have pure hearts and creative minds.I base this view on my work as a journalist covering pop culture, documenting the geek scene in London over the last couple decades, as well as trips to area conventions and fan gatherings, plus my conversations with many involved in the local comics biz.My sense is that what London comic fans want is simple: Compelling characters in interesting situations. If Marvel and DC, the Pepsi and Coke of the comic industry, can’t give them those bare-bones requirements, it’s not the fault of comic readers, who don’t want gimmicks but just solid stories.This coming weekend will feature arguably the biggest gathering of genre fans in Canada at Fan Expo in Toronto. When I visit the local equivalents, like Forest City Comicon, I’m struck by how young the attendees are, or perhaps “young at heart” is the better way to describe how they carry themselves.I’m also struck by their creativity, which you can see in the form of cosplay. I still remember the steampunk Doc Ock that made a stir at the first FCC in 2014. The costume was that good. And if I had to guess based on costume choices, I would say manga and anime fans are the biggest subgroup within the local cosplay community.The fans who patronize FCC have made the event worth remembering and you can count on it to be a peaceful, fun forum that gives comic devotees a chance to hang out with other fans in person. I never hear complaining there. As a group, they generate such a beautiful, positive energy.Comic devotees also appreciate how there is a genuine geek calendar in the Forest City now, with events like FCC, Tingfest, London Comic Con, and Free Comic Book Day being fixtures that are part of the annual roster of things to do. Those Londoners who love comics and have made reading and collecting them their favourite pastime also take pride in the way Southwestern Ontario has developed into a hotbed of comic talent.They love that Jeff Lemire is from Woodslee in Essex County. They love how Seth, the father of the autobiographical Canadian school of graphic novels, spent his childhood in places like Strathroy and Tilbury. They cheer when they see London depicted in the pages of It’s a Good Life if You Don’t Weaken.They likewise love that Stuart Immonen lived in London. And they claim Derek Laufman, Diana Tamblyn, DS Barrick and A.Jaye and Alison Williams as their own. Want to make a London comic fan laugh? Just remind them how Bryan Lee O’Malley couldn’t get a job at L.A. Mood selling comics, yet went on to create Scott Pilgrim!Of course, I could be wrong. I could be way off the mark in my feelings. Maybe this is more of an aspirational list, or perhaps I’m flattering myself by describing what I wish comics fans, including yours truly,, were like.It’s possible. But I don’t think so.And if I am mistaken, let me know in the comment box below where I’ve gone wrong! You tell me: What do you love about being a comic fan in London?Dan Brown has covered pop culture for 30 years as a journalist and also moderates L.A. Mood’s monthly graphic-novel group.
Why the Paradox of Continuity Fascinates Me
By Dan BrownThis is the kind of thing I think about on a muggy August afternoon . . . Imagine, for a moment, you’re reading a Spider-Man comic book. Doesn’t matter which title. Let’s just say Spidey is battling a bad guy like Doc Ock, as he often does.You’re reading the issue from cover to cover. It’s a good one, combining explosive art with expertly crafted writing. It’s so engrossing, you get wrapped up in the fight scene.You finish the comic and think, “Wow. That one was a cut above, too bad it had to end.” You set the Marvel creation down, sitting there for a moment just basking in the resulting positive vibes. It’s true: There’s nothing like reading a damn good comic.Then something starts nagging at your peaceful mind. You pick the issue up again, flipping through it. Looking at the fight scene a second time, you feel an increasing sense of unease. What could be troubling you?There, you spot it: The battle has been so fierce that there is a big rip in the webhead’s costume. (Remember, Spider-Man’s duds aren’t made of unstable molecules, like the uniforms worn by fellow Marvel heroes the Fantastic Four.) You flip back and forth between early in the skirmish and the end, after the festival of punching and body blows is over. You’re not imagining things. You have noticed a huge inconsistency.In a panel on page 10, the hole is on the right side of the familiar blue-and-red costume. Yet on page 15, it’s on the left. How could the artist, writer, and editors have missed such a glaring detail?This isn’t a minor trifle. Marvel has built its brand on realism, on how their heroes have everyday problems. Unlike the lofty, godlike, emotionally constipated characters in the DC stable, Marvel heroes are more engaging because they are like Marvel readers, who have earthly, common concerns. When Spider-Man isn’t fighting crime, for instance, his time is occupied by mundane pursuits like making sure he doesn’t miss the next rent payment. His costume won’t magically repair itself, so there’s sure to be a panel in the following issue depicting Peter Parking mending the tear by means of a thread and needle.In fact, in its heyday, Marvel even came up with a system for dealing with this kind of blooper when devoted readers would write in to complain about continuity errors. The company’s editors would hand out No-Prizes – which were represented by an empty envelope – to eagle-eyed fans.But here’s the thing. Out of all those letters about the mistake, not a one of them will contain a complaint about the obvious, larger inconsistency: A human being can’t get superpowers from the bite of a radioactive spider.In other words, comic enthusiasts are willing to swallow a big lie (the entire premise of Spidey’s existence), but will choke on a small one (the hard-to-locate gash in his costume).This is the central paradox of continuity, and it fascinates me. It suggests comic readers are more bothered by tiny details than huge, overarching concerns.I define continuity as the expectation in a made-up milieu that the same laws of science and nature that govern our own universe also apply. For instance, as time goes on, we expect Parker to age, to get older as the years pass. And indeed, at one point in the Spider-Man continuity he leaves high school for college. That’s how things would work in the real world, right? Makes sense.The part that captivates me is how fans will make allowances for gigantic diversions from those scientific principles, then jump on relatively minor ones.After all, if you accept that a guy can gain the proportionate strength of a spider after being chomped on by an irradiated insect, then why does every other detail in the story have to be “real?” What does it matter if anything else in the story is consistent?If you have any theories that explain this selective suspension of disbelief, I’d love to hear them! Dan Brown has covered pop culture for 30 years as a journalist and also moderates L.A. Mood’s monthly graphic-novel group.
Comic Book Sale Caused by Superhero Discountman Appearance
Every once in a while, in the vast universe of comics, a new hero emerges—one that might not fit the traditional mold but resonates with fans nonetheless. At L.A. Mood Comics and Games, such a hero has risen: Discountman! Who Exactly is Discountman? Legends often have humble beginnings. Our enigmatic hero, Discountman, might not have come from a distant planet or been bitten by a mystical creature, but his power is one every comic aficionado cherishes: the power of unbeatable savings. Known in the inner circles as Gord, this unassuming figure is a testament that not all heroes wear capes. This hero, with his gentle demeanor, creates a legacy by making comic dreams more accessible. The Comic World's Best-Kept Secret Every hero has their story. While Discountman's real identity remains shrouded in mystery, what we do know is that his appearances are rare, usually during spectacular comic book sales, and always bring joy to the comic community. He's the unsung sentinel watching over budgets while ensuring fans don't miss out on their favorite reads. Great Comic Discounts From Friday, August 18th to Saturday, September 2nd, Discountman’s magic is palpable across L.A. Mood Comics and Games: 25% off on all wall comics and premium books: Whether you're a seasoned collector or a newcomer to the comic world, this range promises to introduce you to stories that will be cherished for ages, waiting for you at a fraction of the price. 50% off all back issues in white boxes: Thousands of tales await in shaped universes, legendary characters. Now is the time to complete those missing series or discover a new favorite at half the cost! These are perfect for those who love diving deep into the comic world's history and discovering hidden gems. A huge selection of Indie, Marvel, and D.C. comics await. Journey Through L.A. Mood Comics and Games Situated inside 100 Kellogg Lane in London, our store isn't just a commercial space; it’s a journey through time and imagination. With walls adorned by vibrant artwork and tales of heroism, betrayal, love, and camaraderie, L.A. Mood is a testament to the artistry and narrative prowess of comic creators. Digital vs. Tangible: The Unbeatable Charm of Physical Comics In an age of digital consumption, there’s an irreplaceable charm in holding a tangible paper comic. Feeling its weight, smelling the print, and being able to physically turn a page adds layers to the reading experience. This sale, an in-store exclusive, champions this very charm. A Clarion Call to Comic Lovers Heroes, anti-heroes, sidekicks, and even villains—here’s your chance to rally! Step into a realm where each corner holds tales of valor, each shelf introduces you to new worlds, and Discountman ensures your adventure doesn't burn a hole in your wallet. Conclusion Every epoch has its heroes. While the comic world is filled with the likes of Superman, Wonder Woman, Thor, Batman, Wolverine, and Spider-Man, at L.A. Mood Comics and Games, Discountman reigns supreme. As pages turn and stories unfold, remember that this hero ensures you dive deep without financial constraints. Embark on this journey with us, and let's celebrate the legacy of comics together.
R2-D2 and C-3PO Never Did This
By Dan BrownA bunch of robots walk into a bar, but they aren’t the strangest thing about the place.That’s the premise of Robot Comics No. 0, which Bob Burden – famed in comic circles for creating Flaming Carrot and the Mysterymen – published in 1987 as a one-off “cultural oddity,” to use the eccentric creator’s own words.The book describes one crazy night down at the Blind Pig, a bar where a mummy plays banjo in the corner, two guys with axes for heads scuffle, scuba divers float through the air, beans spill out of the pay-phone receiver, and a man walks by, carrying a tombstone in anticipation of his own imminent demise.Welcome to Bob Burden’s imagination. If you’ve ever had a frantic bout of drinking at a dive that didn’t make sense to you in the morning, yet was still a lot of fun, you’ll be able to relate. The whole thing plays like an extended scene out of a Flaming Carrot comic, and indeed, Carrot supporting players like Uncle Billy and the Artless Dodger are part of the watering hole’s crowd.Those readers with long memories and unconventional tastes know Flaming Carrot (and his sometime allies, the Mysterymen) as the blue-collar hero whose mask is, well, a flaming carrot. His secret origin: After reading 5,000 comics in one sitting, the poor wretch suffers brain damage, becoming Palookaville’s B-list protector in the process.So if you’ve read any of the Carrot’s irregularly published exploits, you will grok what Robot Comics No. 0 is all about.As with all of Burden’s work, this slender volume is a riot of invention. This bar could only have come from his fertile, twisted mind, and I was lucky enough to find a copy in the bargain bin at L.A. Mood just before the summer.The surreal comic makes for engrossing reading on a muggy August afternoon.By way of introduction, Burden says he composed the tale decades prior to its publication as an exercise in what he calls “electra-fiction.” The artist/writer says the panels “exploded on the pages with no bounds of reason or any attempt to conform to known standards. It is, in essence, experimental literature guised as a leaking barrelful of rip-snorting, foot-stomping belly laffs.”I call it the cartoon equivalent of jazz. Or a nonsensical salad stocked with one random ingredient after the other.There is no plot, no A to B story, just a profile of an unforgettable night in a drinking establishment whose existence defies logic.If you’re a fan or student of tavern-derived literature, you could also classify it as Burden’s answer to the classic New Yorker piece by Joseph Mitchell, McSorley’s Wonderful Saloon.Indeed, the evening’s events are narrated by a nameless reporter who figures, “As a journalist and an artist, I ought to record it all for posterity.”What does he observe? Harry Lime, from the Third Man, appears in one panel in all his Wellesian glory. The house band’s cover of Neil Diamond’s Cracklin’ Rosie upsets a patron. One of the bar’s many denizens refers to two of the Three Stooges. And then the female (?) robot leaves in the company of a Maytag repairman. Of course, several bodies are buried at the local drive-in theatre following the night’s mayhem.If all of that sounds like your kind of madness, it’s worth hunting down this little-known Bob Burden creation.No wonder his motto is “The wild shall wild remain!”Dan Brown has covered pop culture for 30 years as a journalist and also moderates L.A. Mood’s monthly graphic-novel group.
