My Recap of Wizard World Chicago 2008

Well, I’ve had a few days to decompress from my annual trip to Chicago, Illinois for the big Wizard World comic book convention. Nowadays, it is just as much a pop culture convention with movies, television, wrestling, and gaming as it is comic books.

If I’m doing my math correctly, this is the 10th year in a row that I’ve attended. What a long and strange trip it has been. Those first three or four years that I attended were always pinnacle points of the year that I always looked forward to. The Shooting Star Comics days when we had a booth were later filled with good, bad and sometimes ugly moments. I miss them and then again, I don’t.

It has been almost two years since Shooting Star comics as a company was together for our last hurrah in Chicago. Though at the time, our future was uncertain and we were hoping to turn it around, but by Christmas 2006, those that remained (and who were actually talking) decided that it was time to close shop.

Last year, I spent most of my time (like this year) working on my health. The closure of Shooting Star knocked the wind out of my sails a bit and I did not want to attend the convention in 2007. I wanted to take a break – but I came up after hearing that my pal, John Morgan Neal, was coming up to Chicago (which happens to virtually be my backyard as it is only a three hour drive from my home). So I went as a civilian without a table or booth to promote anything because I wanted to see John.

This year too, I admit that I wasn’t exactly sure if I wanted to go. To be quite honest, I didn’t want to go this year where I felt even more like a poser. Sure, I’ve worked on some comic projects this year. I finished production for one of Chuck Dixon’s book that was sold this summer. I wrote an adaptation for a 64-page graphic novel that is coming out next year. I was working on artwork for a comic that I had hoped to have finished by now, but wasn’t able to. But, I had nothing to promote or sell this year either. It is all in production.

Still, my pal Erik Burnham got two tables in artist alley for me to share with him, Michael Hutchison and Chuck Dixon. I appreciated it very much. I was thinking about skipping this year, but it had been two years since I had seen him, Chuck Dixon and my pal Sean Taylor. So, like last year, I made the trip to see my friends.

Along with those guys, I also saw other friends such as Ethan Colchamiro, Scott Hileman, Phil Hester, Jennifer Ford, Gordon Purcell, Drew Geraci, Richard Kohlrus and some of the other usual suspects. It was also great to reconnect with Lance Stahlberg and hear that he is doing well with his new position at Haven Distributors (formerly Cold Cuts) and to also see an old friend, Matt Hansel, who replaced me on the O’NEIL OBSERVER that Denny O’Neil and Bob Brodsky produced. It was fantastic to see that Ape Entertainment is succeeding with Brent Erwin and crew. I picked up Christopher Mills’ FEMME NOIR while I was there. It was great to meet new folks like Bobby Nash and Mike Oeming.

I did miss a few folks who weren’t able to make it. John Neal and Todd Fox of course instantly come to mind. I also missed Chris Franklin – but I usually talk to him about once a month or so.

But I also miss my pal, Gregg W. Noon. It has been nearly two years since I’ve heard from him. I almost expected him to walk in. I keep thinking we’re going to have a Han Solo and Lando Calrissian moment like in THE EMPIRE STRIKES BACK when we see each other again where I’m not sure if he’s going to want to punch me or hug me. I hope it is the latter. I miss the big guy and our conversations. I still don’t know if the sting of the end of Shooting Star Comics has quit hurting or not. I don’t know if I will ever see or hear from him again. That’s the hardest part.

It still stings for me a bit, but it is getting better. The end of Shooting Star and the aftermath. But it all happened for a reason. I’m proud of the guys who have gone on to do some other work in comics. Especially Sean Taylor who has had a stellar year.

Well, I gotta admit that I felt a bit awkward going to Chicago over the weekend and seeing a lot of the old faces and many many new faces. I went to the Hyatt Regency Hotel and bar on Friday night. They’ve remodeled it to look like something out of “Logan’s Run.” I could easily stereo-type the crowd, but I won’t. It was just that line from Sesame Street where it is sung “…which one doesn’t belong with the other” came to mind.

I was talking to my pal, Sean Taylor, and told him that night in the bar that I’ve never felt more out of place than that point that night. He said he felt right at home with the crowd. I don’t know how to translate that for my own self.

I’ve come to realize that for at least these next two years, I’m not going to be able to work in any time consuming capacity as a comic book writer or artist. It’ll just be little things here and there that I can squeeze in to my spare time. I hope that I’ll finally finish these new THRILL SEEKER pages to have a new book or two out for next year. I’ll take on some writing gigs if they come my way, but freelancing isn’t something I’m actively pursuing because I have a “day job”, karate training and family obligations. I see possibilities (that I cannot discuss yet) where I think I’ll be able to more actively pursue freelancing in a few years and to get back more into comics. At this point, it’ll probably be independent comics.

I’m digressing, but the big two – DC Comics and Marvel Comics are not the same places they were just four years ago. Nuff said for now.

As for the convention experience itself… well, I think this year ran smoother than last year as it was put on by Wizard. I hear rumors that this was the last Wizard World Chicago comic convention. We’ll see. I enjoyed the Dixonverse dinner, hanging out with Chuck, Erik, Sean and crew. I enjoyed doing sketches for those few hours that I had a chance to participate.

But I’m pledging now… I’m not going to the convention again unless I’ve got new books to promote or sell. So, I’d better finally finish these various THRILL SEEKER projects this year where I’ve revamped things and have new tales of Yellow Jacket, the Emerald Mantis and a few new characters. Also, Sean has a few projects for me to draw, I have a few other independents to write. Maybe I can justify going next year where I won’t feel like a poser. LOL.

As for “fanboy moments”, I had one for myself. I got to meet Chase Masterson and my pal, Sean Taylor, took our picture together. She is a torch song kind of singer and actress – probably best known as playing Leeta the Dabo Girl on Star Trek: Deep Space Nine back in the 1990’s. That’s when I fell in love with her.

She seemed pleasantly surprised when I told her that I had listened to some of her jazz songs. Some of them Irving Berlin or Gershwin covers.

So, here is my incriminating photo with her courtesy of Mr. Taylor. What happened in Chicago was supposed to stay in Chicago, so I beat him to it so he wouldn’t blackmail me for artwork or something.

I’ve always had a weakness for sultry singers that are usually redheads who sometimes like to have a little fun by going blonde. I get myself in trouble with those kind of girls…

Nuff said on that too. ;)

Scott

Back from California

 

It's been a while since I've blogged. And for good reason.

Well, from June 6 – June 16, I was on a Clark W. Griswold-styled family vacation out in California. Roxie and I took the kids out west for a getaway.

We flew out to San Diego and rented a van. We hit the beach on our first day there and then we spent some time at Sea World, the San Diego Zoo Preserve and Legoland.

From there, we drove north and went to Universal Studios and Hollywood for a day. We also spent a few days at Disneyland. I lost my hat on a water ride at one point.

From there, we drove up to the Sequoia Mountains and checked out the Redwood forest. While I was there, I accidentally ended up about 8 feet from a rattlesnake in the wild. Interesting. But I survived to tell the tale. I was looking out for bears instead.

We drove through Fresno. I used to live there from 1973- 1979 and attended kindergarten through second grade there. I saw my old home and my old grade school.

Finally, we made it up to San Francisco and avoided the fires south of Monterrey. It was much colder there, but we did go to Alcatraz and went on a tour of all of the San Francisco sites. After ten days, we finally caught a plane and headed home.

Since then, I've playing catch up at work. Lots of catch up work.

We missed seeing the world's biggest ball of twine, but we saw plenty of other things. California is pretty crazy. Nuff said and we survived.

 

JAWS appears courtesy of Universal Studios, California.

Interview with me in the SJ-R (from May 22, 2008)

This article appeared in my local newspaper last week where I was interviewed by the State Journal-Register.

Each week, the newspaper spotlights someone in the community who works in entertainment and/or the arts.

I stayed out of the spotlight for years, but they caught up with me.

You might have to click on the image to make it enlarge in your browser in order to read.

 

 

Courtesy of the State Journal-Register (Springfield, Illinois)

Battling Asthma (Inhaler Free?)

I’ve waited to post this blog for a while now because I wanted to see if it was a fluke, but I realized today that I’ve just hit my two month mark on something extraordinary that I thought I would finally write about.

I haven’t had to use my various inhalers for my asthma in two entire months.

TWO MONTHS!

I used to use my preventative inhaler twice a day and my emergency inhaler (for actual asthma attacks as they were happening), sometimes, three times a day, because of my asthma and shortness of breath. I was going through one emergency inhaler per month. Sometimes two albuterol inhalers. I pretty much had to use that emergency inhaler ALWAYS at least once a day. I had it in my pocket at all times. Sometimes I even panicked and had to stop everything if I forgot to take it with me. I would go back home because I was so dependent on it and frightened to be without it.

But I haven’t had to use any inhaler for the past two months. For me, that is remarkable because I have been dependent on inhalers for my entire life since about the first grade.

Now, I’m not saying I no longer have asthma or I’m cured. I have had two minor asthma attacks in these past two months… once from incense burning mixed with a woman’s perfume that walked past me. The other time was from someone burning leaves outside in my neighborhood as I was getting into my wife’s car. Those scents triggered asthma attacks but I was able to “breathe” through it and stop them on my own without using an inhaler. I relaxed, got in the right mindset, and concentrated with breathing techniques that I learned in karate which relaxed the constriction in my lungs so that I wouldn’t have to use my inhaler.

Everything returned to normal with my breathing and I made it through those two minor attacks. I probably should have used an inhaler on the second attack from the burning leaves, but I managed. I put my training to the test.

I’ve even been able to start cutting grass again – and this time, without a mask.

I do take asthma very seriously. It is a medical condition that some call a disability. It has hindered me my entire life. My wife’s uncle died of an asthma attack. My entire family, in-laws, outlaws and all of the above, are concerned about me.

But I’ve quit carrying my inhaler in my pocket. Maybe not the wisest thing, but I’m not going to be psychologically dependent on it any longer that I just have to reach in my pocket for the quick fix. It isn’t my crutch that I constantly carry with me. Honestly, after the first month of not having an asthma attack, I just plain started to forget about carrying it. Amazing.

I do have those emergency inhalers in key spots at home, at work, at the dojo, in my car, etc. so that they are always just a few extra reaches away, but I’m striving to only use them if I feel it is imperative to my life and if I possibly am unable to get my breathing under control. It is a choice that I’ve made for myself.

I feel for the first time in my life that I have taken the upper-hand and control over my asthma. There perhaps is also some mind over matter where I’m psychologically taking it on also. I mainly credit it to two things in my life… karate, and perhaps even some recent chiropractic care that I’ve received. More on the latter later, but first with karate…

With Yoshukai Karate, I’ve been working out several times a week for a year-and-a-half in which breathing is imperative to the art and techniques. Since earning my brown belt in March, I’ve been practicing a new kata called Niseishi. This kata has a very strong emphasis on breathing techniques that I’ve been particularly working on for the last 2 months.

2 months – Coincidence?

The kata uses both calm and explosive techniques that take 24 steps to make. Some have likened this kata to the ebb and flow of the ocean. This kata feels so right for me. The breathing is such an important aspect of the Niseishi kata that I practice in my Yoshukai Karate training.

It is my understanding, that Dr. Tsuyoshi Chitose, a Chito-Ryu Karate sensei who taught Yoshukai instructors Sensei Yamamoto and Sensei Foster, originally learned the kata from Okinawan Karate Master Aragaki Sensho*. Chitose O’Sensei also made minor modifications to the breathing techniques in the kata for health reasons based on his medical background.

And all these years later, I’m benefiting from it.

(* A point of digression, but I’ve been reading a couple of books on Okinawan masters and was just reading about Aragaki Sensho by coincidence before I realized he had originated the kata based upon some of the Chinese dragon styles of kempo.)

Dr. Chitose noted in his book, Kempo Karate-do – Universal Art of Self-Defense, the following about the benefits of deep breathing during training: The thorax widens and the diaphragm gets pushed down, the volume of the thoracic cavity increases and because the pressure within the cavity changes, air naturally flows in the lungs, which increases lung capacity and allows oxygen into the blood, which increases energy, another benefit of Karate-do training.

He also noted in his studies that the average lung capacity of someone that does not do exercise is 3350 cubic centimeters. A swimmer’s lung capacity is 4900 cubic centimeters. A karate practitioner’s average lung capacity is between 6000 - 7000 cubic centimeters.

What I notice is that I believe I’ve been only breathing with 33% to 45% air capacity in my lungs for most of my life in everyday life and normal breathing. It always felt like I was breathing with only the top third of my lungs. I took a breathing test in November 2006 with a pulmonologist when I my regular doctor sent me to this specialist for my asthma and sleep apnea. Shortly after that initial breathing test, I returned to karate in January 2007 after being away for more than a decade.

I took the same follow up breathing test in November 2007. My pulmonologist did a double-take right in front of me when he looked at the comparative results. He said that I had doubled my lung capacity in one year with my breathing and even he couldn’t believe it. Again, credited to the deep breathing of karate, weight loss and exercise.

Six months later and I’m breathing better than I believe I ever have in my entire life. I truly believe that the deep breathing exercises in association with working out in karate, a bit of zanshin meditation I do with breathing now, and especially deep breathing exercises with kata has allowed me to open up air passages and tubes that have been closed. I’m breathing deeper and deeper into my lungs and opening my diaphragm. There is a lot of visualization that I do while breathing that I believe helps when I breathe air in and tighten my core to expel the air for conditioning of my body so I can take a physical hit in karate by an opponent. I also breathe out all of the stale air at the bottom of my lungs and then breathe back in deeper.

I first heard Sensei Dugan state over a year or so ago that karate will eliminate asthma. I constantly had shortness of breath when I sparred or performed kata. No disrespect intended, but I doubted him. Not me. I’ve had asthma my entire life where I dealt daily with usually at least one attack. Doctors used to say when I was a child that I would outgrow it. It only got worse.

Karate gave me the tools to improve my health. Sensei Dugan was right. Karate has allowed me to take control of my breathing and mindset in ways I did not foresee when I got back into it after all these years. I feel more positive than I have since I was probably about 16.

But, there is something else that I have to acknowledge that I believe might also possibly be helping me. I’ve been seeing a chiropractor named Dr. Tana Frisina since December. The time frame where I began was about a month after my follow up trip to the pulmonologist where we saw I had doubled my lung capacity.

For these past six months, I’ve receiving chiropractic care at the insistence of my wife. I had a back injury that has bugged me for 20 years, arthritis in my hands, and some injuries from sparring.

The basic principle of chiropractic care is that spinal adjustments can improve many health problems that are related to the nerves, skeleton and muscles. Problems such as spinal conditions can be helped, and it can also assist to improve a person’s general state of health and wellness.

Spinal joints that are not working properly can irritate the nervous system. Chiropractors use manual treatments, referred to as spinal adjustments, to realign the joints of the spine. Once the mechanical structure of the spine is working properly, the body is able to maintain its own health and wellbeing.

In my particular case, I injured some of my vertebrae during my teen years from a diving board accident where x-rays have shown that vertebrae misalignment and pressure were pinching nerve endings in my spinal column that are associated with respiratory function. Those subluxations that caused my spine to pinch certain nerves made me more prone to asthma attacks according to Dr. Frisina.

She has been working on a series of adjustments to relieve the pressure while I’ve been more actively involved with yoga-like stretching and warm ups in karate.

Now, I know that there is great debate about the benefits of chiropractic care. Some think chiropractics are quacks. I still have my skepticisms but I’ve felt that it truly has made my quality of life better. More and more as I deal with the Eastern side of medicine and theory, I’m learning more about joint control and pressure points in both karate and chiropractics. I tend to believe there is something there with the holistic aspects that many in traditional thought kind of poo poo the ideas.

Balance and alignment are integral to karate. It is integral to chiropractics. It is integral to living and health. I’m working on getting aligned.

I'm embarrassed to say that I spent nearly 20 years letting my body go. I’ve spent almost 2 years now on the path to recovery. I cannot undo all the damage that I’ve done that quickly, but I’m seeing with patience, strength and persistence, I’m continuously improving. I still have a long way to go. I’m still unhealthy in many aspects, but I’m healthier than I have been in a decade. I feel like I'm at a turning a point of change in my life and with my health.

Each day, I’m feeling a little bit better than the day before.

I just have to remember to breathe first.

Bring On the Night – I saw The Police in Concert One Final Time

 

For one last time in my life, I saw The Police in concert last Saturday night on May 10, 2008 at the Allstate Arena in Chicago, Illinois. It was about a mile from the convention center where I annually attend the Wizard World Chicago comic book conventions in Rosemont.

I drove up to Chicago with my good friend and fellow Police fan, Kathy Wheeler. Together, we’ve seen Sting in concert about four times. As I’ve mentioned in my blog before, my wife Roxie isn’t a fan of Sting or The Police. She isn’t a fan of most musicians that I enjoy and so she is okay with me going out to concerts with Kathy, or my old high school pal, Ron Rice. She’s happy these two will keep an eye on me and see that I don’t get in to too much trouble.

Kathy summed it up exactly on her blog that it has been a whirlwind year that started with a rumor that The Police would reunite. Which lead to the long world-wide tour. Together, we saw The Police last July in St. Louis. That was the first time I had a chance to see my favorite band together.

Last Saturday’s show was a great performance and they were more in synch with each other even than last year. They are currently on the last leg of their reunion tour and will end it forever in a few weeks from now in New York City where they say that it’ll be their final performance forever together.

I had a fun time with Kathy. We got to meet up with other Police fans at a dinner before the concert at Shoeless Joe’s Sports Bar & Grill. Elvis Costello and the Attractions opened up for The Police. It felt very much like a double-bill. He is another musician who I enjoy listening to. Sting came out on stage to do a duet with Elvis on the song, “Allison.”

We sat what was basically the fifth row off to Sting’s side of the stage. Kathy’s camera took some limited video and so she got some great shots that she has placed on her website and on YouTube. I’m posting a few here on my blog courtesy of Kathy where you can see our vantage point. (Also, check out Kathy’s side at http://www.stingfield.com/ for more pictures and video).

Like Kathy, I think my favorite songs of the night were the opening of “Bring On the Night” and “Demolition Man”. I also enjoyed the rousing versions of “Voices Inside My Head/When the World is Running Down ,” “Every Little Thing She Does is Magic,” “So Lonely,” and the closing “Next To You”.

Heck, I enjoyed the WHOLE show and stood the entire time and grooved with the music. It’ll be a night I’ll never forget.

Like Kathy, I also feel appreciative that our favorite band came together after 20 plus years to reunite to give us fans (and themselves) some closure. We can now all accept that it is the end.

An article in today's SJ-R Newspaper where I was interviewed

 

 Courtesy of the State Journal-Register (Springfield, Illinois)

 

This article appeared today in my local newspaper – the State Journal-Register in Springfield, Illinois.

The reporter, Nick Rogers, was asking me about my opinions on this summer’s films that were all comic book based. Here were a few of my answers above in the article (you can also follow the link to the sj-r.com website.

While I knew he would pick and choose from the answers I gave him, I did give him my opinion on several more aspects that I knew would be cut and edited for space for the article.

Here were my unedited answers:

Q: Other than the usual built-in bankable aspects of these Adaptations, do you see any other reason why there are so many of late?

As a movie watcher, I think Hollywood has been guilty the past several years of eliminating original screenplay films and are banking the majority of movies now on adaptations, remakes, sequels and films derived from existing properties that include a large portion of action-packed comic book based films. When they can make a film that is based on a well known property, they’re banking on a built in audience to bring in the big bucks. With the success of past films in this genre, they’re banking on a formula that has had more hits than misses as of late. I also think that the people who have finally ascended to positions of power in Hollywood that green light these types of films are huge comicbook fans themselves. Combine the development of CGI technology that will bring these comic tales to life that they read, a bankable summer blockbuster formula, anddecades of built-in storylines and character development to draw inspiration from just makes this genre an appealing prospect to bring to the big screen. It’s what they know and think is going to work.

There is a warning to all this… Hollywood keeps dipping back into the wellover and over with these comic book-based films. The well may dry upeventually as it now looks to 2nd and 3rd tier characters that the average Joe has never heard of. I read yesterday in bewilderment that there is even an Ant-Man film in pre-production. I couldn’t believe it. When and where do you stop?

Warner Brothers owns DC Comics and wants to exploit their library of titles in their stable. On the other hand, Marvel Comics is going to license everything, including Ant-Man, because their coffers are paid for by these licensed films and the products that derive from their intellectual properties. They’re going to try and license as many of their characters as they can to see they get a piece of the box office dollar –though there is going to be an over-saturation of these type of movies at some point and a backlash.

The impact that this is having on the actual comic books themselves isthat they are almost purely becoming fodder for film deals and back-end bonuses to collect into trade paperbacks so that they sell as graphic novels in bookstores. The monthly periodical is in peril. I’m amazed at even how many independent comic book companies are intently going after acquiring those film deals in order to have the next “Men In Black”success story.

Q: Also, which ones are you looking forward to and which ones are you skeptical about?

Even with the over-saturation, I actually think this summer’s offering ofcomic book based films is going to largely be successful in both box office draw and critical acclaim for a change.

Outside of INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL, the film I ’m most anticipating this summer is IRON MAN. Here is a second tier character that the producers are taking a gamble with. While we comic book fans love and know the character, not all of America knows him like Superman, Batman or Spider-Man.

Robert Downey, Jr. is going to own this role as Tony Stark aka Iron Man. He is a complex character that we’ll see change throughout the film because of his ordeals while retaining his humor and edge. The kid in all of us is going to love seeing him in those armored suits. The special effects I’ve seen with Iron Man in action are mind-blowing and I believe some of the undertones of this film with politics, our culture and the war will make this a bit more relevant. I hope this one lives up to the hype of the trailers most of all.

There is already a sense of foreboding in THE DARK KNIGHT with the recent death of Heath Ledger who stars as the Joker. It will be strange to watch his posthumous performance where he stated shortly before his death that portraying this homicidal character was very demanding on his mind. There will be an eerie allure that probably hasn’t been felt by this generation since Brandon Lee died while making THE CROW.

Even though we’re focusing our talk about Ledger, we cannot forget that perhaps Christian Bale is perhaps the best cast actor today that could play Batman. His performance in BATMAN BEGINS had him owning the role too, unlike Brandon Routh in SUPERMAN RETURNS as the Man of Steel. I suspect that this Batman sequel will be another successful film in the series.

Now, the comic book geekboy in me is really looking forward to HELLBOY II:THE GOLDEN ARMY. I greatly enjoyed the first film with Ron Perlman starring as Mike Mignola’s monster fighter and paranormal detective that happens to be a “good” demon. I’ve perhaps have read every publication the character has been in since the character debuted in 1993 and this series has perfectly captured the look, feel, action and humor of the series. It probably won’t be as box-office successful as the other comic book based films this summer, but I think it’ll be better than the first Hellboy movie. Comic fans will enjoy this film.

It is commonly held just by about everyone that Ang Lee’s HULK film was a disaster. I believe that Ed Norton is going to redeem this franchise as he has been perfectly cast to play the Hulk’s alter ego as Dr. David Bruce Banner. We’re going to see INCREDIBLE HULK that is more like the television series and 1970’s comic. The first film was accused of being“too cerebral” in most reviews. My own son asks me to fast-forward to the“Hulk smash” good parts on the DVD. I have high hopes that this new film will keep the attention span of all ages watching it and will excite.

Of all the films that I’m most skeptical about this summer is actually SPEED RACER. I’m sure the visuals will be exciting, but I believe the casting and storyline will spinout. I’ve got a feeling that we’ve seen the best we’ll see in the trailers. I’m sure it has potential to be a boxoffice success dollar-wise with all the marketing that has gone into it, but in the end it’ll be forgettable I suspect and won’t find critical acclaim from the pop culture geeks who once maybe watched the cartoons in re-runs 20 or 30 years ago.

Photos from San Diego Comic Con 2004

 

Photos from Wizard World Chicago 2003

 

Scott McCullar's Comic Book Ideology (2002 Interview)

 

Foreword:

I thought we would talk about comics.

 

"Blame video games, blame the Internet, blame Pokemon. But at least get out there and fight to get a share of the periodical market. At least spend the cash to promote trade paperbacks instead of letting Borders and Barnes & Noble just display them spine out at the ass-end of the science fiction section like they were some afterthought."   - Chuck Dixon in an article from Dixonverse called "A Golden Opportunity…Missed"

  
I took the test with some amusement and felt it was pretty darned close to being accurate. Other Dixonversers who took the test had results that may vary in opinion as to whether they felt it was accurate or not.

---

The Comic Book Ideology of Scott McCullar

Hey True Believers…

My pal, Jayme Blaschke, for whom I collaborate with to produce the Green Arrow Fansite up on the Internet with, posted an intriguing link to a website over at the Dixonverse Message Board earlier this week for all to see located at http://www.selectsmart.com/FREE/select.php?client=manmade .

This webpage allows you to take a test and it supposedly gives you the answer to the following questions:

Do you wonder what your comic book ideology is?

Who do you most align with as far as the future of comic books?

I thought it would be interesting to take the 24 questions that were asked from this site (which were made up of "yes, no, and no opinion" answers for you to choose) and answer them here in a mock up interview with the additional tacked on question for me to answer "why?" I chose that answer. Perhaps it'll give those who visit this site and read or love comics the insight into some of my ideology about comics.

Please allow me to humor myself here and take a gander at these questions…

 

The Interview

Do you feel that in this current period that the comic industry is in danger of extinction and not as simply part of a cultural cycle? Why?

While I do think the comic industry is having problems with the decreasing number of readers and stores closing left and right, I don't think the comic industry will become instinct. I do believe it is a part of a cultural cycle and that now is the important time to advertise and reach out to a brand new readership.

Do you read superhero comics more regularly than any other genre? Why?

I have to admit that, yes, I traditionally read more superhero comics than most other genres. I have to say that I've mainly been a reader of DC Comics for 25 years and I do read other "super hero" comics from Marvel and other assorted publishers.

I do like good stories that are told well, whether they wear spandex tights and a cape or not. Still, a book like Lone Wolf and Cub that is a period piece taking place during feudal Japan ranks at the top of my interests. Not a piece of kryptonite in sight there.

Do you prefer Company-owned comics to Creator-owned comics? Why?

This may send mixed messages, but I do tend to lean towards the company-owned comics like Superman, Batman, Green Arrow, Daredevil, Punisher, etc. with my own reading interests and what I would like to one day write and/or draw. I'm attracted to the tradition and lifelong honor of some of these characters that have planted themselves into the lexicon of popular culture.

Still, I enjoy reading creator-owned comics just as well. Mike Mignola's Hellboy, Matt Wagner's Grendel, and Dave Steven's Rocketeer were some of the most predominantly mainstream "creator-owned" comics that I enjoyed. I do look for other independent publishers in comics and with online strips that also capture my fancy and entertain.

Do you feel comics should be targeted for younger audiences rather than more mature audiences? Why?

As a father to a six-year old daughter, I do say that it is VERY tough to find comics that are targeted for her age. I get the Justice League Adventures comic series based on the cartoon. I buy her the Powerpuff Girls comics. I get her some of the comics based on the Superman and Batman animated adventures because it appeals to all ages.

I wish there were more books out there that a six-year old and a thirty-one-year old could also enjoy. So, yes, I do wish publishers would start aiming books at 8 year olds instead of the over 18 crowd the majority of the time.

Do you believe "Bad girl comics for fanboys" is an effectual means of helping comics? Why?

This seems to be a bit of a loaded question. I've read a few "bad girl" comics in my day, but I still don't think that having a femme fatale with tits five times the size of her head on the cover in some sexual provocative pose on the cover of some comic that appeals to the horny-ness of a thirteen year old boy is the most effectual means to help the comics medium. Sure, sex sells, but I'd rather see solid storytelling with bold art be the means to effectually help the comics industry.

Are you a misogynist? Why or why not?

Am I a misogynist, meaning to those who don't understand the most basic use of the term, "do I hate women?"

No.

I do think, again this is a loaded question, as I am looking at how it pertains to the comics medium and my own views on life. I think that word, along with the word feminism, has been misused many times in our politically correct culture.

Look, my views about misogyny along with feminism equate to this: Ideally, I believe in the equality of sexes in just about every instance, but there will be times when this will not be true. Sometimes women will be more dominant and other times, men will be more dominant.

I believe women worldwide should have every opportunity to achieve their goals and do whatever they can to live a life of liberty and pursue happiness. In this male dominant world, I'd rather see equality be the norm where neither sex has the upper hand. I'd rather see a person be given every opportunity and judged for the content of their character to achieve along with the demonstration of their abilities rather than making prejudged evaluations on the basis of their sex, ethnicity, religion, or orientation.

How does this pertain to comics?

The comic industry will only benefit if comics could be written, drawn, and marketed at women readers who can find them accessible. With comics, in my opinion, still being a niche market, I'd hope at putting the medium back into the mainstream consciousness where comics were once again accessible to the mass market outside of comics specialty shops will catch the curiosity of female readers to pick one up.

This may take much rethinking on the outlook of who comics are aimed at and what companies could do for the potential female readership in a male dominant culture of reading.

Some of my favorite characters in comics are strong female heroines. I like seeing Black Canary and Oracle written as strong characters where "sisters are doing it for themselves."

I don't subscribe to the damsel-in-distress syndrome often portrayed in comics and film any longer as I used to. Helping humankind instead of the helpless fair maiden seems to attract me more in the role of fiction.

I do enjoy that my daughter's imagination is captured with cartoons and comic books about the Powerpuff Girls that helps her live an empowered life as a child that it is "cool to be a girl."

Here is a suggestion; I recommend a book called The Great Women Super Heroes by Trina Robbins as essential reading for every lover of comics. This book gives great insight into the history of women in comics and takes on this era's pseudo pornographic "bad girls" that represent many images of women in comics.

Do you prefer the serialized monthly format over the Graphic Novel format (OGN, TPB)? Why?

If I had my choice, there would be more 80 or 100 page giants out there with a main feature and a several smaller back up stories printed on some cheaper paper "as the norm". I love comics. I'll take what I can get.

The serialized 22-page format in a published monthly cycle is fine and most of my reading is ingested this way because this is the standard, but I tell you that more and more, I prefer the graphic novel format. I picked up Alan Moore's The League of Extraordinary Gentlemen in this format rather than the individual issues. The same goes with a bunch of other comics out there that I'd rather read in this collected format.

I've noticed that for the past year or two, I am actually holding off in buying some "monthlies" in lieu of waiting for it to be collected into a "trade paperback" edition (hopefully) with a soft cover.

CrossGen Comics is doing an excellent job with their Compendia and other collected volumes. I'm reading those stories on the websites first, and if they attract me, I'll buy the trade paperbacks instead of the monthly book.

I think it was Mark Alessi who said that they are offering stories to a consumer like Coca-Cola may offer it's beverage. You can buy it as a six-pack, two liter, fountain drink, and about 50 million other variations. You as the consumer ingest it the way you want to.

That appeals to me.

The danger is that if everyone holds off on the monthlies and waits for it to be repackaged into a trade paperback, sales may plummet and kill the monthly series for cancellation. It is a gamble.

Do you prefer American creators over those from the U.K. (England, Ireland, Scotland)? Why?

Man, I just want good stories told from whomever. Fuck, they can come from Iraq as long as it is good storytelling (…he said somewhat tongue-in-cheek).

Still, on closer inspection, my favorite comic book stories do tend to come from American creators for those of you who are keeping count. Perhaps it is a shared perspective with which many of us readers grew up with as these heroes tend to be classified as "American Icons."

Doesn't mean that Alan Grant can't relate and write a damn good Batman story or that Grant Morrison can't tell a good tale with the Justice League of America, but it sure does make for an interesting read when it is written by a Brit (even if might take a magic mushroom or two to wrap your mind around "Rock of Ages".)

My favorite music is still created, for the most part, by those artists from the U.K. (…he said as he listened to Sting while writing this.)

Does that help the counter balance?

I agree often with Chuck Dixon on his usually toted line that many of the writers from the U.K. usually end up shitting on the good old USA in one way or another within their stories. The writers from the U.K. bring a distinctive voice to the books and I do enjoy chuckling a time or two in my own personal reading entertainment, but I think the personalities of those writers from England, Scotland, Ireland, and such that many would like to stereotype can be the over-the-top bastards that get under the skins of us Yanks and make us itch.

I admit, I love it.

It doesn't go without a day now that I don't read something that Warren Ellis is writing.

Again, I don't care. I've heard it joked that if you are trying to break into comics with some certain editors with some of the bigger comic companies, tell them you are from the U.K.

Me? I can at least say that my ancestors were from Scotland and Ireland about nine generations ago. Does that count?

The thing is, each will develop insight into their own "local to global perspective" as you see how globalization versus diversity each has its benefits and pitfalls. It is my opinion that though we Americans have our differences with the rest of the world, the western culture we share with our Anglo brethren and allies of the 20th and 21st Centuries bonds us into a friendship makes us the best of friends. I think the friendly rivalries that we have with the differences of those comic writers, readers, and other citizens of the world outside the borders of the USA only makes comics a more diverse medium to celebrate and enjoy (…and sometimes get angered about!)

It is this dualism in life that intrigues me. It is symbiotic. Corporate greed in the name of manifest destiny abhors me if it robs the cultural identity and richness of other nations yet I recognize that globalization can improve the standards of living for many third world nations if they would partake of it.

But each situation is unique and the greater good versus the greater evil should be judged out on individual basis in my opinion.

While my national patriotism and love for my country here in the United States has been at a fervor and pride that is undaunted, I am still humbled when I look at pictures of this Earth from outer space and realize that we are still all just one world.

Watching television in another country and reading articles and other letters of opinion from the rest of the global community does make me realize that many in this world outside of my own borders see American patriotism as sometimes a form of global arrogance. I think the whole world can benefit from looking at the good, bad, and ugly with each other as we all work to cohabitate on this planet.

How did this turn into a global discussion?

I see that my brethren from England, Ireland, Scotland, (…and heck, even Canada!!!) all love comics too. As long as the stories they make allow me to laugh, cry, and feel emotions that entertain me for my buck, then I'll be the first in line to buy 'em.

Do you think the success of the industry hinges on the success of Marvel Comics? Why?

The funny thing is, I'm buying more Marvel Comics now than I have at anytime in my lifetime. While my younger brother is usually a "Marvel Man" first, I've always been one that read predominantly DC Comics. I still do.

But I do think that Marvel Comics is taking chances. They will make mistakes. They have made mistakes. I also think they will find success and I would love to do some work with them one day also. So, I might be biased.

But for the success of the industry?

They are one of the pillars. If they fail, it will hurt the industry tremendously but it will not bring on the ultimate failure or extinction of comics, in my opinion.

Where one falls, another will rise.

Do you feel that what the comic industry needs most is better marketing as opposed to better comics? Why?

Why does this have to be an either/or question? While there are excellent stories out there and the companies are getting off their duffs to attract new readership, I think BOTH things need to be improved ALWAYS as an ongoing project.

Should comic book companies attempt to cater to their potential audience forsaking their current audience? Why?

It is like that question posed in Star Trek: Do the needs of the many outweigh the needs of the few, or one?

The comic book medium needs diversity. We need our superheroes in tights. We need our war comics. We need our westerns. We need our love stories. We need character driven tales. We need plot oriented action and adventure escapism.

I do think that some flagship books (i.e. Superman, Batman, Spider-Man, etc.) should cater to a GREATER audience that includes six-year old kids that would also entertain adults. Each of these iconic characters still can have their "direct market" stories that are geared towards older audiences, but I do think that mainstream books should be aimed at a greater audience while some other books on the side or fringe can cater to the current audience.

Does that answer the question?

I mean, take The Question as written once by Steve Ditko and Denny O'Neil at various times in history. Take a look even at my favorite character, Green Arrow, as he has been written for the last twenty years. Not all books need to forsake their current audiences, though they may be small, when the relevant issues at stake for what makes a book tick our abandoned for the "globalization" (if you will) to take on a larger audience for the almighty buck.

That is when corporate greed versus creative vision needs to be judged and I often will lean towards the creative vision over the almighty buck.

But when you see Batman Animated Adventures appeal to a father and son, you know it has reached a broader audience when dad doesn't have to worry if the subject matter will be too intense. The success of the Smallville television syndicated series has renewed my faith that hopefully DC Comics will return their flagship character of Superman back to his iconic roots that all ages can enjoy.

Is it important that creators put out work on time rather than whenever they finish something? Why?

I believe a creator (or anyone in the professional field even outside of comics) should fulfill his or her obligations and meet their deadlines when it comes to work that they have promised to an editor and the audience.

Period.

It is all about work ethic. It is about trust. It is about content of character.

If a monthly writer or artist is unable to commit to a monthly schedule, then they should make arrangements to rotate in and out of the line up roster for a monthly book and allow someone else to get a turn at bat.

I also think some high profile writers and artists may need to consider taking on projects that they can fulfill and may need to consider work such as mini-series or certain story arcs that are created and completed in advance of solicitation if there is even a doubt that they won't meet their promised solicited deadline.

If they are unable to do it in a timely fashion, get out of the way, and let someone else who is capable to do it then do it. It irks me that some high profile creators can get two years or more to let a property stay in limbo until they can get to it when they are good and ready to make time for it because of other obligations.

If the involvement by a certain artist or writer becomes more paramount than the stories or characters themselves, then I think some things need to be weighed as to what is greater good or evil in allowing - for a better term not withstanding - slackers to do what they well wish.

Now, when it comes to "creator owned" work, then I think we have a whole new ballgame as long as a creator lets it be known up front at least 90 days in advance when an audience can look towards new work - and then they too should be held accountable for their word.

Is Stan Lee a genius? Why?

Yes.

'nuff said, true believer…

Are comics a niche medium? Why?

Now? Yes.

Then? No.

Comic books were a staple of Americana, but I think since the late 1980's, comic books have become a niche medium where you can find them mainly only at specialty comic shops that were sold through a direct market instead of infiltrating every grocery store and gas station at every street corner.

How I long for the good old days where comics were accessible for ALL kids, and yet, there could still be that niche for the select readers who have distinct tastes in their reading.

Are comics more art than entertainment? Why?

The art aesthetic can enhance the entertainment value. Is that a way to squirrel around the question?

I believe that comics are first meant to entertain and that art and great storytelling lends itself to make that entertainment happen.

This statement, coming from me, an art professor.

Does Vince McMahon WWF style grandstanding serve to typify comics as petty and small rather than really help comics? Why?

Beau Smith said in an interview a few years ago that one of the toughest things for a creator to do was "tweak your own horn" every now and then to gain attention. But it is sometimes a necessity. In the last few years, I've learned this more and more in my own happenstance, but it does help put your name out there in a P.T. Barnum like way for those who are trying to draw an audience into the tent.

Publicity, entertainment, and capitalism are all partners in bed.

It may mean that there are certain needs that have to be made that will shock and provide lowered standards of entertainment value in order to draw attention in some of these grandstanding maneuvers (…which I typically witness with the antics demonstrated by Quesadas and Jemas at Marvel).

It can sometimes be crude, embarrassing, and (yes) petty things that are done to bring business in a circus barker-like manner but it can be effectual though I generally disdain it.

That is why I drive a Saturn car.

Wouldn't it be nice that a well-drawn cover could entice a buyer to pick up a book, purchase it, and then go take it under some tree to sit down and read it instead of some gimmick or obnoxious "main event?"

Do you like creators who are "in your face" about what they think about the comics industry? Why?

I'm doing that right now with this interview by being a bit in your face. I actual enjoy reading the good, bad, and ugly from various comic book creators in what their own ideologies are or whatever it is they have to say.

The accountability is on me to be a receptive audience on whether I listen or not. I'm a big boy. I enjoy freedom of expression. I enjoy the diversity of points of view that can entertain and infuriate. More than once I've heard an "in your face" diatribe that has enlightened me or made me reconsider some of my own points of view.

Do you follow creators more than characters? Why?

I tend to follow characters that I love more than creators, though I do follow work by certain creators.

I'll follow characters like Green Arrow, members of the Justice Society, Batman, and many others I'm not listing here with just about whoever writes them.

Likewise, I will follow the work of creators like Chuck Dixon, Denny O'Neil, Scott Beatty (plug, plug, plug) along with other creators such as Steve Rude, Mike Mignola, Tony Harris, Geoff Johns, Mike Grell, Joe Kubert, Mark Waid, and Kevin Smith just to see what they do. I know I'm leaving out a lot more names here.

Not all of it will be to my taste, but I generally find myself liking the majority of what these folks do.

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Do you see the Internet as a viable means of reading, soliciting, and enjoying comics? Why?

Yes.

I think websites can function as one of the means to distribute stories for consumption. CrossGen is leading the way, in my opinion, with www.comicsontheweb.com as an option to reading stories. I also love many of the independent "online comic strips" out there which exhibit some interesting work.

Websites can also function as a means to supplement comics with solicitation, news, behind-the-scenes pieces, interviews, and critical discussion.

Of course I may be biased when I work behind the scenes with Dixonverse.com and a whole bunch of other websites.

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Isn't it best to just let comics be comics? Why?

Sure. Why not?

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Would you rather read a book right now than a comic? Why?

Actually, I'd rather watch a movie in about 15 minutes from now.

I read books. I read comics. I enjoy both. I have no preference of one over the other.

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Are comics capable of telling any story adequately if not better than any other medium? Why?

This is a loaded question of sorts.

I do think comics can tell stories adequately, and in some cases, better.

Still, would you rather sit in the movie theater and watch the new Star Wars film by George Lucas or would you rather have that story told to you as a comic book adaptation? I can enjoy both, but each experience will be unique.

I do think comics are a magnificent way to marry writing with the visual arts. I love this medium, but it is not the end all and be all of storytelling because each medium has its own merits.

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Should comics strive to move more toward short, and fun installments? Why?

I'd rather see some monthly comics gear towards having a few short stand-alone stories. Sure, the plot and other subplots can be introduced and continue into next month's issue in a serial-like manner, but I tend to cringe when a single story arc takes place for a year.

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Do/would you mind buying comics from a chain bookstore like Barnes & Nobles? Why?

Not at all. You can usually find me in Barnes & Noble at least once a week as it is anyway. Already, they have the spin rack and a whole aisle full of graphic novels, which I think is great since those books present themselves with a longer shelf life by being in these formats.

It would be nice to see a broader selection of books expanded. I agree with Chuck Dixon when he wrote, "At least spend the cash to promote trade paperbacks instead of letting Borders and Barnes & Noble just display them spine out at the ass-end of the science fiction section like they were some afterthought."

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Afterword

After taking the online quiz with the "yes" and "no" answers at that website, the results were given as to see what comic book writers I was like more.

Here are my results of who I had an ideology that was more like mine…

#1 Stan Lee
#2 Kevin Smith
#3 Scott McCloud

Go check 'em out and see what you come up with.

That's all folks.

See you in the funny pages,

Scott