The Non-Cartoonist Cartoonist ~ Dedication & Consistency

By James Donahue

When I first started reading comics, probably around the age of 11, I read a lot of the mainstream titles from Marvel and DC, Marvel’s G.I. Joe being the very first comic I remember collecting. Gradually, I drifted toward more off the wall small press and independent titles—Cerebus, Megaton Man, the really early issues of Teenage Mutant Ninja Turtles, and the like. One of my very favorite books of that era was Flaming Carrot Comics by Bob Burden.

I liked the Flaming Carrot because he was such a ridiculous character. His backstory is that he read 5,000 comics all in one sitting to win a bet, thereby suffering brain damage and in turn becoming a superhero of sorts himself. He wears a giant carrot mask with a flame on top (of course) and scuba flippers. His foes were always bizarre and original and he spoke a language seemingly all his own.

The biggest problem with being a Flaming Carrot fan was the schedule in which issues came out; as in, there really wasn’t one. You were pleasantly surprised when a new issue showed up, but it was completely unpredictable as to when this might actually happen. Flaming Carrot had five different publishers and thirty-one issues in the span of a decade. Dark Horse comics collected the older issues in a trade paperback for the first time years after the series started. So you can see how this could be frustrating to fans. I have no doubt that Bob Burden was dedicated to his character, but in the world of the part-time comic book artist or self-publishing company, consistency is very hard to come by.

In September of 2012, Burden ran a Kickstarter campaign to print a collected issue of older Mysterymen stories and some new material. His goal was $12,500 and he raised an amazing $42,048!

I really don’t know much about self-publishing. Right now, my simple three-panel comic strip only appears online on Facebook and one other website, and I have been woefully inconsistent in keeping to a regular schedule. I am not publishing a complete story, figuring out shipping and printing costs, or trying to get funding. I am just drawing and using the computer to scan and touch up the strip a bit before putting it online.

After about six months of doing strips, I printed some various promotional booklets collecting a variety of the strips and sent them off to newspapers and smaller magazines: The Village Voice, The New Haven Advocate and Hartford Advocate, and Mental Floss magazine, which I thought might be good vehicles for AKJ. Once again, it was all done on the computer—query letters were designed with a template and sent off to the printer with the click of a button. I included self-addressed stamped envelopes when they were shipped, but only received one back (with the comment sheet I included left blank, no less).

So all these years later I have a lot more sympathy and respect for Bob Burden, Eastman and Laird (Ninja Turtles), and Dave Sim (Cerebus), who were all self-publishing or part of small companies. To see their dreams become reality, they had to be creative not only in making their comics, but also in marketing and figuring out ways to get their work out there.

So how to follow suit? For me, the first step is to become more dedicated and consistent online, and then continue to learn more about the world of self-publishing. Online is good testing ground that creators in the ’80s didn’t have. It allows you to gauge whether there is enough interest to pursue publishing or syndication. These guys basically had to go through the printing process and just hope they didn’t end up with basement full of their comic books.

I may have to use the Flaming Carrot’s ability to achieve “Zen Stupidity” to face the world of online publishing without trepidation.

The Crusty Curmudgeon’s Comic Classics ~ A “Super” Problem

© 2013 Paradox Productions LLC

So what’s the problem with Superman? In a nutshell, it’s this: There isn’t one. But anyone with any creative custodianship over the character for the past forty years has been utterly convinced that there is. Because of this, the powers that be keep trying to change a character that does not need changing. They tweak his powers; they tweak his backstory; they even tweak his costume. And with every tweak, an iconic character and comic book masterpiece is lessened.

Like drawing over the Mona Lisa with crayons in an attempt to make it better, all that is accomplished is the ruination of something perfectly beautiful.

It wasn’t always like this. Superman was the very first comic book super hero and his success launched an entire industry. For his first quarter-century of existence, he was the world’s most famous and beloved super hero—and nearly every other super hero character that came afterward followed his formula almost slavishly. Indeed, the very term “super hero” is derived from the character named Superman.


Review: DC Universe Presents Volume 1: Deadman & Challengers of the Unknown

By David Rondinelli

Writers: Paul Jenkins and Dan Didio
Artists: Bernard Chang and Jerry Ordway
Publisher: DC Comics
Publication Date: December 2012

dc-universe-presents-deadman-challengers-of-unknown-volume1-dccomics-new52-jenkins-didio-chang-ordway-sook[1]If ever there was proof of comic books taking a more adult-oriented turn with the storytelling, look no further than DC Universe Presents Volume 1: Deadman & Challengers of the Unknown.

Comics fans nostalgic for the metaphysical stories that first gained momentum in the late ’80s (think Neil Gaiman’s Sandman and Mike Carey’s Lucifer) will enjoy the re-introduction of this ghostly character, part of the New 52.

The book starts with a brief recap of the murder of Boston Brand, an arrogant circus trapeze star who goes by the stage name Deadman. The story then quickly turns into a supernatural mind-warp. Summoned by a goddess known as Rama Kushna, Boston Brand is sent back into the world of the living as a ghost. As an act of penitence toward the higher powers, he’s charged with bringing balance back into the lives of the hopeless.

Deadman first caught my eye in Justice League Dark. I was so enthralled that it practically possessed me to seek out DC Universe Presents at my local comic shop. The first thing that struck me was the lack of conventional super hero action. On top of that, most of the story arc sees Deadman inhabiting the body an army veteran who’s lost his legs, which in theory doesn’t make for the most compelling action set-up.

Still, what it may lack in kicks and punches, it more than makes up for in substance. If readers enjoy exploring metaphysical questions on matters of God, salvation, and the afterlife, Deadman would sit nicely between works like Goethe’s Faust and Thomas Aquinas’ Summa.

The blend of urban fantasy and mystery also contribute to what makes this a compelling read. While sharing the body of a paraplegic, Deadman crosses paths with some very memorable characters and places. Whether taking a tour through Gotham City’s supernatural nightclubs or quite literally taking a ride with the devil on a rollercoaster, we are treated to writer Paul Jenkins’ views on questions plaguing humanity.

imagesCA07088ESome of the biggies include why bad things happen to good people (the answer being because they deserve it), and what human beings are to God (a failed experiment). The devil’s answers, straightforward and glib as they are, make the reader ponder if such cosmic forces can really be that simple. Either way, the devil, laid-back as always, doesn’t seem to be too concerned with the intellectual plight of humanity as much as he is in shedding light on the ulterior motives of goddess Rama. Most pressing of all, what is the meaning of life, especially through the eyes of someone who is already dead? The writers seemed to aim for the point that there are more questions than answers.

Reading Deadman as an exploration of these questions is really enjoyable. The fantasy elements used to tell the story are an unconventional break from your usual academic voice. Some butt-kicking scenes and horror elements, although not extreme, are also fun additions. For those who relish wondering about the meaning of life, it’s a fun way to explore this kind of soul-searching while combining it with superheroes.

The turns in the story took me down unexpected paths, allowing me to do some pondering of my own about where storytelling may be heading next in comics. Indeed, Deadman’s tale in DC Universe Presents aims at some new horizons. The fact that the devil is not out to get the lead character provides a bit of fresh ground in comic book storytelling.

As for the visuals, with his cohesive panels and tight angles, penciler Bernard Chang’s art is just as complex as the storytelling. Accolades are in order for the colorist (credited as “Blond”) as well, who weaves a gothic tapestry of Deadman’s signature white and red color scheme.

Where praise is in order for Deadman, however, it’s the opposite for the second feature in this book, Challengers of the Unknown.

STK462255.jpg.size-285_maxheight-285_square-true[1]The story follows a group of contestants on a new reality series (called Challengers of the Unknown) after their plane crashes. Writer Dan Didio takes a David Lynch-like approach to the story, hopping from setting to setting while straddling multiple realities.

Unfortunately, even Didio’s signature playful style can’t save this cliché-ridden mess. For starters, the characters are little more than shallow tropes: You have the nerdy genius, the trampy bombshell, cocky guy with too much testosterone, and the token minority character. There’s also a blonde girl named June Robbins who leads everyone into danger but, maddeningly, they continue to follow regardless.

Throw in a group of unexplained talismans, a possessed naked guy with a chewed-up face who likes to kill people with sharp objects, and you get a half-slaughtered cast of unmemorable characters. This team is an example of how some things can’t always be translated into a modern setting. The original team roster, created by the legendary Jack Kirby, was a non-super hero book that the publisher used to introduce or re-introduce new characters and then disperse them into other projects. It was also noted as an early influence for the Fantastic Four. Aside from footnote backstory and some nice covers, the comic’s only other interesting touch is the reality show/Lord of the Flies gimmick, but even that is better done in Marvel’s current title, Avengers Arena.

The jumbled plot, characters with no super powers, and predicable deaths makes this a B story that only feels at home in an anthology. Perhaps that was the intention, but with a final sentence that reads, “The End…for now,” one can’t help but think they should have stopped at half that thought.

All in all, Deadman anchors the volume and provides a real gift to readers, making this book worth picking up. Challengers of the Unknown, on the other hand, is about as high quality as the reality shows that provided its inspiration.

Recommended? Highly, if only for the Deadman story.

Pronto Presents: Editor-in-Chief Dominic Sparano

Welcome to a new monthly column on the Pronto blog. Pronto’s Treasurer and Events Coordinator David Rondinelli writes Pronto Presents, a series of interviews with people who work within Pronto or the comics industry in general. Our first interview, naturally, is with Pronto Comics Editor in Chief, Dominic Sparano.

Pronto Presents: Editor-in-Chief Dominic Sparano

By David Rondinelli

site photoIn the world of comics, most consumers scour the shelves to see their favorite characters take on larger-than-life conflicts. With an engrossing story and dazzling art, many might ponder exactly how it all comes together. It may take the leadership of a superhero to see the world to safety, but who are the leaders that guide the lives of these characters?

The answer is the mild-mannered everyman. Dominic Sparano, 30, is editor-in-chief of Pronto Comics and one of those men. A native of Huntington, Long Island, New York, Sparano received a master’s degree in art from Adelphi University. As an accomplished sculptor, inker, and illustrator, he has made several careers out of his hobbies. Light on his feet, he is also a ballroom dance instructor with a flair for cooking, writing, and travel. In this debut series, new to the Pronto Comics blog, Sparano opens up about what it takes to make a vision a reality.


The Crusty Curmudgeon’s Comic Classics ~ Thanos Done Right, Part III

Thanos Done Right, Part 3
“The question is: Where would it get you if something that’s a little bit ambiguous in the movie is made clear? It doesn’t get you anywhere.” ~ Joel Coen, Director

© 2013 Paradox Productions LLC

Read Part II exploring the original Thanos comics.

Written by Jason Aaron and illustrated by Simone Bianchi, the first issue of 2013’s Thanos Rising origin story starts with three pages of the adult Thanos returning to Titan before slipping into a flashback that takes us all the way back to the day he was born.

Already we’re on shaky ground here, as I’m not sure I like the idea of Thanos ever having been a child. I prefer the idea that a godlike character such as he emerges into the world as a near adult, much like the goddess Athena sprang fully grown from her father Zeus’s skull in ancient myth. But this likely would have been a minor complaint if Aaron could have followed up and written a childhood for Thanos that was suitably strange, alien, and thought-provoking. Unfortunately, he does not. In fact, he doesn’t even appear to try.