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Well, I was going to put up a special Thanksgiving-themed post for today, but I was having a heck of a time finding a cover and/or a panel that I was happy with. (If you must have one, may I suggest this issue of Comic Cavalcade? And wouldn’t you think the Flash would be able to catch a turkey?)
However, I checked our store stock, and it turned out that we did have a copy of Superman’s Girlfriend Lois Lane #20, where the story I discussed here originally appeared! As I had noted, a tier of panels was edited out of the reprint, so as your special Thanksgiving treat, I’m reproducing them here. And, as I had figured, it’s more slams at the gals, courtesy Clark Kent:
There’s a look you don’t often see on Clark’s face anymore.
Happy Thanksgiving, everyone, and I’ll see you tomorrow.
First, thank you to everyone who responded to my query in my previous post, letting me know that the titles on my weblog look fine. Apparently it is just the work computer. Ah, well.
Second, I’ll probably be doing my new comics day round-up on Friday, since tomorrow is Thanksgiving and all (though I will still have at least one post tomorrow…tune in, won’t you?), but I did want to note a couple new arrivals:
It’s Only A Game, Charles M. Schulz’s other syndicated comic (created with Jim Sasseville) is now out in a nice volume from Nat Gertler’s About Comics. Very nicely done, and belongs on your shelf right next to Fantagraphics Complete Peanuts and the Li’l Beginnings book.
The Best of The Legion Outpost from TwoMorrows collects articles from the old Legion of Super-Heroes fanzine…as a longtime Legion fan, and a lover of old fanzines, this is right up my alley. Also, there’s a drawing of the Legion of Super-Pets (along with Groo’s dog Rufferto) by Sergio Aragones hidden within these pages…now you want to see a copy, don’t you?
And, yes, I might as well get it over with…pal Dorian was quoted in the newest issue of The Comics Journal. Right there, on page 55, in the “Fighting Words” column. Gosh darn it. But I’m not jealous! No, of course not! Just because he’s lording it over me, and probably will be doing so for the forseeable future….
Okay, okay, all kidding aside…I’m glad he got in there. He’s a smart guy, and a rational thinker, and I’m glad to see his thoughts get out there to a larger audience. A victory for the ACAPCWOVCCAOE* is a victory for us all**!
* I don’t even have to say the name “Associated Comics and Pop Culture Webloggers of Ventura County, CA And Outlying Environs” to myself anymore in order to spell the acronym. How sad is that?
** I realize this last sentence as a whole is really kinda geeky. But then, I am writing a comics weblog, so it’s just more sand for the Saraha, you know?
Just a couple things this morning:
X. Do the titles on my posts look odd, by any chance? Up there, where it says “Does this look funny to you?” – are the letters smooth, or are they all pixelated? Every time I look at my page on the work computer (er, not that I’m goofing off or anything) the title font isn’t drawn correctly, since the font apparently isn’t in the work computer’s system. Is this a problem with my site common to many of you, or is it just our store’s machine? (If it is a widespread problem, I’ll just have to change the font to Comic Sans. Everyone loves Comic Sans, right?)
Y. Honestly, I have no idea – Altavista Babel Fish, you have failed me again! – but I love my German friends. I’m particularly intrigued by the phrase “Da kann Mr. Sterling ja gar nicht anders als den Satan mit dem Beelzebub auszutreiben…”
Z. For no good reason whatsoever, here’s the track listing on a Christmas mix CD I made a couple years back for in-store play:
1. “Just Call Me Scrooge” – Fishbone
2. “Frosty the Snowman” – Man or Astroman?
3. “Merry Christmas to Me” – Swoon 23
4. “Jingle Bells” – The Honeydippers
5. “Lonely Christmas” – Sloppy Seconds
6. “Santa’s Beard” – They Might Be Giants
7. Sound byte: “Prancer and Dancer and Donner and Blitzen and Vixen and Nixon…eh, Nixon? Consarn it, I get those names mixed up….”
8. “Run Rudolf Run” – Mojo Nixon And The Toadliquors
9. “White Christmas” – Elizabeth Elmore
10. “Merry Christmas…If That’s Okay” – cast of Mystery Science Theatre 3000
11. “All I Want for Christmas” – Kayla Brown
12. “I Wish That Every Day Was Christmas” – Toothpaste 2000
13. “Hepcats Holiday (Night Before Christmas)” – The Honeydippers
14. “Children Saw Mommy Kissing Yellowman” – Yellowman
15. “Chistmas Wrapping” – The Waitresses
16. “Merry Christmas (I Don’t Want to Fight Tonight)” – The Ramones
17. “The Christmas Wrong” – The Evolution Control Committee
18. “Santa’s Got A Brand New Bag” – Murphy’s Law
19. “Li’l Drummer Boy” – The Bomboras
20. Sound byte from Bugs Bunny – “Somebody oughtta teach that little humbug some Christmas spirit!”
21. “Mr. Grinch” – Mojo Nixon And The Toadliquors
22. “O Tannenbaum” – They Might Be Giants
23. “A Patrick Swayze Christmas” – cast of Mystery Science Theatre 3000
24. “Hard Candy Christmas” – Angie Heaton
25. “Silent Night” – Dickies
26. “Christmas at Ground Zero” – “Weird Al” Yankovic
27. “Hooray for Santa Claus (Theme from Santa Claus Conquers The Martians)” – Sloppy Seconds
28. “Christmas Time Is Here (Vocal)” – Vince Guaraldi
29. Sound byte – “Thank you Santa for bringing happiness to the children of Mars” / “And the Christmas spirit to all of us.”
So my headache from this morning has mostly gone away, but I can still feel it lurking in my head somewhere. Boy, that was nasty.
But you don’t want to hear about my head…you came here for some comic talk! And awaaaaay we go!
1. Pal Dorian was talking about how some comics were and weren’t selling at our store, and that reminding me of a related topic…my X-Men comic sales theory. It’s not 100% perfect, not all-inclusive, and only barely tested in the wild, but my observation of our store’s comic saver service has brought me to formulate this theory, which may be stated as follows:
The critical acclaim of an X-Men series is inversely proportionate to the number of regular longtime X-Men fans that series has as readers.
Okay, maybe a bit wordy, but it’s just a little something I’ve noticed. For example, New X-Men by Grant Morrison, District X, X-Force/X-Statix by Milligan and Allred, and (to a lesser extent) Madrox…all X-titles mostly rejected by our local X-fans, but read by people who normally don’t get any X-titles. I had people on my comic saver lists who asked for every X-title except Morrison’s X-Men, and added it back on as soon as Austen took over. And I had just as many people on my savers who only got Morrison’s run.
I’m not trying to slam X-fans…I mean, if your favorite comic in the world is Academy X, God bless you, I’m glad you enjoy it. But it’s interesting to notice that the X-titles that mangage to attract a non-traditional audience (rather than forcing the regular X-fans to squeeze another $2.99 book into their budgets) seem, in general, to repel the people who normally enjoy the X-Men.
2. A fun thing we do every week is the Marvel Order Adjustments, where we get to alter our initial orders of Marvel titles about three weeks before the titles are released…presumably so we can adjust our orders based on actual sales of the previous issues. This is a little tricky to do with first issues, certainly, but boy, I appreciate it when I can do it to second issues of Marvel’s latest turkeys. For instance, Spider-Man: India – Sweet Mother McCree, this comic couldn’t be more of a dog if it were humping my leg. We sold three…one to a person who gets all Spider-Man, regardless; one to a person who gets all Marvel first issues; and the third to parts unknown. Points to Marvel for trying something different (sorta), I guess, but boy, I’m slashing orders on #2 to the bone.
Identity Disc was another Marvel dust-collector…there was nothing really wrong with it, I guess – it’s Robert Rodi on writing chores, after all – but Marvel fans just plain didn’t want it. When I was calling in the order adjustments on that issue, the distributor rep on the other end of the line replied “popular choice,” so I’m guessing every other retailer on the planet had the same experience with this title. (In fairness, Identity Disc did have a brief flurry of back issue sales, but that was quite some time ago.)
One I really thought about this week was the forthcoming Offical Marvel Universe Handbook – Golden Age. We didn’t order a lot on this to begin with, but given how much of a hard sell even the Wolverine handbook was, I had to reconsider. Particularly since, when I was talking to someone about this comic, I actually had to pause for a few seconds to recall Marvel (rather, Timely) Golden Age heroes. Me. A person who sells these funnybooks for a living. Who has to know this stuff. Sure, anyone can remember the easy ones right off (original Human Torch, Sub-Mariner, and, God help us, the Whizzer). Maybe Namora. But how about Sun Girl? I only remembered her because we’ve had copies of her comics in the store. Anyway, the point is that if I, Mr. Sad Old Fanboy, had to hesitate to think of the names of Marvel’s old heroes, most modern comic fans certainly aren’t going to remember, or care, about them. It’s not like DC Comics, who have managed to keep their Golden Age heroes, if not active, then at least in the public eye, making it easier to sell products featuring them.
Well, who knows? Maybe we’ll sell a few to people genuinely curious about the pre-Marvel Age characters. I might even pick it up myself.
3. On the other hand, we get to increase orders on the successful Marvel titles, but there’s an inherent problem in that, one touched upon by Dorian and myself on repeated occasions. Say you order 50 copies of Spider-Man’s R/C Racers #1, of which you sell all 50. You get a chance to adjust your orders on #2, so while you originally ordered 45, you bump it up to 70. Then you receive your copies of #2. You sell 50 right away. You then sell maybe another 5 or 6 copies…you might have sold more, but some of the late-comers who pick up #2 ask you for #1. You tell ’em sorry, but #1 is sold out, and Marvel has none for reorder and no plans to reprint it (except in the eventual trade paperback, as soon as #6 hits the stands). Thus, #2 goes back on the shelf, unbought.
That’s why I’m not planning on upping orders on Avengers: Earth’s Mightiest Heroes #3. We can’t get more 1 and 2, so why bump up orders much beyond what we sold of those issues? It sold fairly well for us, and people seemed to like it, but I don’t want to be stuck with extras.
I did bump up orders on Strange #2 and Madrox #2, but as Dorian has noted, the lack of #1s has hurt their sales.
4. We did sell out of Space Ghost #1. Luckily, I was able to order more from DC. Okay, I know, you know, and Dorian knows this comic isn’t any good…but boy, people sure snapped it up. I ain’t sayin’ no to that money.
Well, I have a blinding headache and I’m about to go off to work (always a winning combination), so all I have for you at the moment is this link to a PDF preview of the forthcoming AiT/Planetlar release Couriers 03. Good stuff, sez I.
Also, go read pal Dorian’s post about what’s selling and not selling at our store. I may have a word or two to add on the subject when I get back home tonight (assuming my pounding brain doesn’t pop out through my eye-sockets).
Issue #94 of Superman’s Girlfriend Lois Lane (August 1969) brings us a reprint of a Kurt Schaffenberger story from issue #20 of the same series…”Superman’s Flight from Lois Lane!” You know, for a comic that’s actually starring Lois, it sure doesn’t show her in a good light most of the time…and this story is no exception, as it focuses on the great lengths Superman goes to in order to get away from her!
The story opens with Clark and Lois preparing to jump out of an airplane for a little skydiving, apparently an assignment for the Daily Planet. However, Clark’s chute has a malfunction and doesn’t open, resulting in Clark hitting the ground fairly hard:
After his crash landing, Clark manages to get his chute open and, using his super-breath, billows it open and shoots himself back up into the sky to make it appear as if he never hit the ground. Lois misses all this, as, after noticing Clark’s initial chute difficulties, she covered her eyes in terror, not opening them again until Clark had successfully returned to the skies.
Upon returning to the Planet, Lois sits at her desk and ponders the day’s events: “Hmm…if Clark is Superman, he could have done something to that parachute while my eyes were shut!”
Clark notices the usual “is Clark Superman?” gleam in her eye, and decides that he’s had enough trying to protect his dual identity around Lois: “Things would’ve been different if I hadn’t become Lois’ co-worker on the Planet!” Thus, Superman’s solution? Quit the Planet? Hit the streets, looking for “Help Wanted” signs? Put his resume up on Monster.com?
Nope…he travels back in time, to the day that he first started at the Daily Planet! Superman arrives on the very day that he was to accept his job at the great metropolitan newspaper, somehow sidestepping the whole paradox of being in two places at once, since no mention is ever made of the younger version of himself being present at the same time as his older self.
Anyway, he takes a peek inside the Planet with his x-ray vision, “for old time’s sake,” and sees someone placing a want-ad for a radio disc jockey…with Lois Lane, who’s filling in for the classified ads girl. For some reason, Clark decides that being a disc jockey would be a perfect job for him, since it would require staying in a small room and changing records about every three minutes and having to say something on the air about as often, thus leaving him plenty of time for his super-life. That previous sentence was dripping with sarcasm, in case you were wondering.
So he gets the job the old-fashioned way, by cheating his ass off:
He lands the job, of course, and is immediately assigned a young and pretty assistant named Liza Landis…yes, it’s the old “L.L.” thing again. Clark lets her know that he prefers to be left alone while he’s on the air, which she readily agrees to. “She’s discreet,” Clark thinks with no foreshadowing whatsoever, “thank goodness she won’t be a pest like Lois Lane!”
Mixmaster Clark then proceeds to become a hit deejay (that’s Liza at the far right):
The name of his show is “Songs with Clark Kent.” Good God, could he be more square?
So Clark continues to live the good life…acting as Superman by day, spinning some tunes at night. One evening, during a show, he finds himself nostalgic for Lois and checks in on her with his super-vision. Sure enough, she’s up to her neck in trouble, so Clark strips down to his super-suit, and pulls a convenient Clark Kent dummy out of an even more convenient secret panel that somehow has been fit into his booth. He dumps the dummy in front of the microphone and goes off to save Lois’s bacon. Reaction to the dummy is mixed:
Finishing his rescue, Superman zips back to the studio and switches back into his Clark duds after hiding his dummy. But, as he flies in, he manages to activate Liza’s amazing “leap of logic” powers in the next room:
She sneaks into the studio, only to overhear Clark announcing the record he apparently was just playing: “You have just heard a rare platter from the record-library, of the sound of Superboy in super-flight! It was recorded years ago!” Luckily this station had such a record, as Clark managed to overhear Liza’s comments as he flew in, and whipped out said record to cover his tracks.
Somehow Liza manages to jump to the conclusion that Clark and Superman are one and the same, and beings a campaign of terror to prove this theory: “If I can prove he is Superman, he may think I’m so clever, he might want to marry me!”
Clark has his own thoughts on the matter: “I can’t believe it! Liza is turning into a worse pest than Lois!” That’s hardly fair, since by that point all she’s done is 1) barge into the studio after hearing a loud “WOOOOSH”-ing noise, which I think we’d all would have done, and 2) tried to cut Clark’s hair with a pair of scissors to see if he’s invulnerable, which, okay, is a little forward, but still not up to Lois’ usual standard of excellence.
Liza’s final trick involves dumping some sour-smelling perfume on Clark, then rushing to go smell Superman at one of his scheduled public appearances at City Hall. Yes, to go smell him. Superman manages to outwit this cunning scheme as well, and Liza, ashamed of her behavior, quits her job at the radio station. Clark shows his usual sympathy and tact:
Anyway, the next day, Lois Lane shows up to interview Clark Kent for a story on the life of a deejay. “I’ve received permission from the radio station to study you day and night!” she says, causing Clark to dash out the door shouting “I QUIT!”
Superman then returns to the present day, having resigned himself to being unable to escape his fate via time travel, since quitting the Planet and getting a job at, I don’t know, The Los Angeles Times, seems to be beyond his abilities. He’s already proven he’s willing to cheat to get a job, so what’s stopping him?*
At the end, everything is back to normal, and apparently Lois retains no memories of having briefly met Clark as a disc jockey several years back. But no time travel story is complete without the wacky twist ending:
Clark’s not into the plus-sizes, apparently. You’d think Superman would be a little more open-minded than that. Also, either Lois has had a great deal of cosmetic surgery, or being a radio station owner’s wife is highly stressful, since Liza looks like she aged a lot more than Lois did, judging by their relative appearances in the flashback and in present day.
A couple of final notes:
Since this was a reprint of a story from several years earlier, all references to the “current” year were altered to represent the time of the reprint’s publication, 1969. In some panels this is done rather seamlessly, such as when Superman is travelling back in time and the years are shown flashing by in the background. In the next to last panel, though (and I realize it’s hard to tell in my scan), the “1969” is very obviously relettered.
According to the Grand Comic Book Database, the reprint is missing one tier of panels from the final page. I didn’t think to check to see if we had a copy of the original in stock, so I don’t know if those missing panels clear up all the time travel paradox shenanigans in this story. More likely, it’s just additional complaining about what trouble those pesky females are.
* Not to mention the fact that Clark originally got a job at the Planet by writing a scoop about himself. Journalistic ethics? What are those?
1. Upsetting phone call to the store yesterday:
Me: “How can I help you?”
Boy on phone (maybe 12 or 13): “How old do you have to be to go?”
Me: “Excuse me?”
BOP: “How old do you have to be to go to your store?”
Me: “Um…there’s no age requirement. Anyone can come in, whether you’re 5 or 55.”
BOP: “Okay, just checking…thanks!”
I make sure that the front of the store has family friendly merchandise…newspaper strip reprints, children’s comics (Disney, Archie, etc.), the giant Wall O’Manga, some boxes of bargain comics, no posters of large-breasted women wielding bloody swords*…and this is the thanks I get.
2. Commenter George came close to hitting it right on the head, as it were…the sole purpose of Batman’s terrifying statue was to be knocked over on top of the bad guys. Even better, the base of the statue was apparently made of a fast-melting wax, so that Batman was able to toss a heat-pellet at its base, causing it to immediately melt away and drop “Humpty Dumpty” right on top of the intruding alien creature (don’t ask). Whether the statue served the same purpose in that theoretical Storyville adventure mentioned on the plaque, as commenter George wonders, I have no idea…like commenter Bob, I wonder if any such Storyville story exists.
3. The latest Smallville brings us yet another head injury for Lex, probably leading to the true reason for his eventual villainy…brain damage. At any rate, since it appears that Lex’s pop Lionel has had an honest-to-goodness jail cell conversion (as a result of his “miraculous” healing caused by exchanging “life energies” with Clark in a previous episode*), that leaves Lex as the sole regular cast member in the “villain” role. Of course, he hasn’t really been much of a villain so far…he’s been a jerk at times, but nothing that would result in supposedly fated life-long conflict with Superman. Plus, most of rough patches between Lex and Clark have mostly been Clark’s fault, stemming from either Clark trying to keep his powers a secret, or from Clark just being outright unreasonable. That could play into the Silver Age comics’ origin of the Superman/Luthor enmity, with Clark having a hand in creating his own worst enemy, but I expect instead that we’ll see Lex do something completely evil and irredeemable on his own near the end of the series, and that’ll be that.
3a. While it was nice to see Jane Seymour in this episode, I’m not sure the cost of having her in the episode (an extension of the “Lana possessed by a witch” story I hoped we were done with last time) is worth it.
3b. According to the Kryptonsite rumors page, Smallville‘s Chloe Sullivan may be introduced into regular DC Comics continuity…perhaps in her own series.
* You should see some of the promo posters we receive…parents would burn me in effigy if I put some of these things on our walls.
** Sometimes there just aren’t enough quotation marks. Just picture me rolling my eyes as I wrote that entire parenthetical aside.
from Detective Comics #279 (May 1960) – art by Sheldon Moldoff & Charles Paris
So I’ve been writing an awful lot on this website lately, and I realize that’s a lot of huge chunks of text for you all to wade through. If you do willingly inflict my disjointed ramblings upon yourself, you have my appreciation.
Don’t worry…I’ll have another funny comic panel tomorrow to break up the monotony!
In other news:
Pete Von Sholly revives the John Stanley classic Melvin Monster with a full 32-page web-only comic book! Here’s the link to the press release, and from there you can read the whole darn thing. Fun stuff!
Peter David reprints an old “But I Digress” column in which he discusses writing movie novelizations. One of the books discussed: his rather liberal (and highly recommended by yours truly) adaptation of Return of the Swamp Thing.
Holy frijole – H kicks ass and takes names with his look at the Comic Buyers Guide Top 1,600 Comics list. Our store’s copies showed up today, and…hoo boy, H earned his merit badges if he waded through that whole thing. (Am I right in that there was no mention of Love & Rockets in that list? Wha-HUH?)
I have here in front of me a photocopied preview of the forthcoming AiT/Planetlar release Proof of Concept. It’s an anthology of short science fiction and/or fantasy/horror stories, all written by publisher Larry Young, and illustrated by several different artists. The stories run from the amusing (kids find a spatial anomaly in their backyard) to the compelling (a crew of time-travelers must pursue their insane former captain through time and space) to the downright bizarre (a future world populated entirely by clones of Abraham Lincoln). There are a variety of art styles at work here, ranging from Steven Sanders and Jeff Johns’ cartoony style in “Zombie Dinosaur,” to the rough-hewn, but still appealing, art of Paul Tucker in “The Camera.” All the artists are nicely matched to the mixture of tones Young presents in his stories.
Aside from being a collection of entertaining stories, Proof of Concept has an additional purpose: showing just how to sell a story to a reader and/or publisher. Don’t just go on and on describing every nuance of your new, terrific, and completely original idea: give us a hook, like, say, “zombie dinosaurs!” There you go; what’s more high concept than that? However, instead of explaining how to sell your idea (as Young had done previously in the excellent True Facts), he shows you, complete with interstitial sequences (illustrated by Kieron Dwyer) featuring Young pitching his various ideas to a friend over the phone. Each discussion begins with Young setting out the hook (“Anne Rice meets The Fugitive“), spends the next couple of panels adding details to the hook, and then following up the interstitial with the hook in action as one of the anthology’s stories. It’s a clever gimmick, and drives home the importance of having a direction to your story…all the pretty art and clever dialogue in the world can’t save your script unless there’s a strong idea at the core.
My only minor complaint about the book is that the stories are mostly just excerpts from longer works…once you really get into the story, it abruptly ends and goes on to the next. (The only story that appears in its entirety is “The Bod,” a previously-published work by Young and John Heebink.) It’s a whole lot of set-ups, and not a whole lot of payoffs. Ultimately, though, that really doesn’t count as a complaint, since it supports Young’s point that stories with a strong (or, at the very least, catchy) ideas will grab your attention and not let go. As it is, this is still one heck of a sampler book, and I wouldn’t mind seeing any of these stories in a fuller format. It’s entertaining and it’s educational, and a must-read for any aspiring writers, particularly those interested in the adventure genre. Keep an eye out for it in December.
EDIT: Pal Dorian has his own review…we’re twinsies!
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