Haul / Ebay Unboxing and Why Variant Covers are destroying the Comic Book Market / Experience!

THE BEST OF DC WAR COMICS AMERICA AT WAR  Edited by Michael Uslan

One of the great discoveries of 2018, in addition to me getting back into old back issue comics, and purchasing my first Golden and Atomic age comics, is my jumping into conflict or combat or war comics, with both feet.

The first conflict title that really grabbed me was OUR FIGHTING FORCES STARRING THE LOSERS. I have been reading comics for decades and somehow I managed to remain largely clueless to these comics. I mean I had seen war and western comics as a kid, and had no interest in them as most kids of my age at the time.

I think those books are very much something you have to grow to appreciate, much like the art of Jack Kirby.

But here many decades removed from that kid, this year I stumbled across the amazing run of Joe Kubert covers for OUR FIGHTING FORCES, and they just blew me away.

In an age where a lot of morons are using gimmicks like variant comics to sell multiple copies to a dwindling reader base , and publishers are playing into the gambling aspect of the speculators, who don’t even read the comics, they just oooh and ahhh over what amounts to pinups on the cover, rather than in the book where they used to be.

To the point where you have covers that are completely devoid of typography. Typography is part and parcel, of what makes s great, iconic cover. Another part of being iconic, is there being only one image,  per issue, a popular shared point of reference that an entire public can reference.

If you say Amazing Fantasy 15, or X-men 94, or Hulk 181, what makes all those issues so iconic, is they  bring up one agreed upon, and shared image in the minds of the audience.

Now covers have a minimum of 2 variants and often 10 times that many. At that point you have stopped selling stories, and are in the business of selling pin-ups. And if all you want is a pin-up, just download the damn cover images. Do not get me wrong there are some wonderful images being created for these ‘variant’ covers. But they are pin-ups or posters, they are not covers. They act against the very idea of a cover, which is a single, memorable image you can identify with that story. You weaken your own product, by dilluting and muddying the waters, with multiple covers, or multiple endings, or multiple versions. Plurality being the enemy of the iconic.

It is the reason modern comics are a speculator’s bubble, poised to burst. The whole market, much like the 90s, is built on speculation, and chasing the very transitory and ephemeral nature of what is hot. A lot of it is forced or manufactured rarity. Ooh this issue had a curse word in it, ooh this issue had a possibly risqué or controversial image.

It is completely manufactured market, based on very superficial minutiae, than in any way on content or quality.

DEATHSTROKE is consistently one of the best books DC comics is producing. Christopher Priest month in and month out delivering fantastic writing, with fantastic interior art.

Unfortunately all the speculator’s comment on is the cover variant.

While no doubt the creators are glad to have the numbers, having the readers is the real goal of this medium, and the real satisfaction of being a creator.

It is one reason that older comics, particularly from the Bronze Age, are getting so popular. The storytelling, the typography, the beauty, the singularity of vision, all stands out, especially in comparison to the lack of all of those things in most modern comic books.

Joe Kubert I really have grown such a HUGE appreciation for his story-telling, particularly his covers. He is such a master artist, and no-where is that more obvious than on his long and fruitful run in Conflict Comics.

Here without further ado are just a few of the must own LOSERS Joe Kubert covers (the complete essential run goes from OUR FIGHTING FORCES 123 TO 141. 19 issue run of AMAZING covers. And even though Kubert keeps doing the cover art till 151, I would say 141 is a good jumping off point for individual issues collectors.  After 141 DC would go for a more conventional , less experimental style, and those later issues lend themselves to just picking up in a collected trade format.

The more boring covers seems to coincide with the switch of Editors from Joe Kubert to Archie Goodwin. And then it would quickly bounce to Jack Kirby and Finally Murray Boltinoff who would see the series to its demise at issue #181. The series at its strongest, and the individual issues worth collecting, are issues 123 to 141.

Buy your issues here:

https://www.mycomicshop.com/search?tid=180611&pgi=101&AffID=200301P01

Use the link above, and get great deals, and help this blog keep putting out content.

 

Thanks!

 

You heard it here first!!! Forget about paying a fortune for the first issue of new book BATMAN DAMNED, a flash in a pan overpriced at cover price, book. And get something with real staying power, Joe kubert’s 1970’s run on OUR FIGHTING FORCES issues #123 to141!!

 

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THE LAST WORD: Joe Kubert’s BEST Comic Book Covers!!(Some of them)

I have an appreciation for the late, great Joe Kubert here in 2018 as an adult, that I really didn’t have for him as a kid. And much of that is down to exposure, as well as a broader scope of reading material.

As a kid, comics that interested me were what interested most kids of the latter 20th century. We were children of Stan Lee and Jack Kirby, Chis Claremont and John Bryne, Marv Wolfman and George Perez, David Kraft and Keith Giffen, Bob Haney and Jim Aparo. The very exciting and colorful, but delineated world of Superhero comics.

The Brave & The Bold #84 - Neal Adams

But then the late 80s happened, and creators like Alan Moore and Frank Miller and William Mesner Loebs created works that seemed to challenge and expand the horizons and genres and tropes of the medium. They were following in the footsteps of late 70s pioneers such as Doug Moench and Paul Gulacy, and the aforementioned creators, who all had their moments of scripting comics with an Indy sensibility before the term existed.

And now as an adult, having explored much of the growth of the mainstream comic industry from their golden age roots, to their big screen interpretations, here in 2018 I am revisiting some work that was largely before my time.

Namely the westerns and horror books and combat books, of the late 60s and early 70s.

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And this deep dive into this world (I mean I have gone deep in 2018), has solidified and cemented and revealed somethings. Most notably is 1/ The western comic books of Marvel Comics, the 12cent and 15 cent, etc comics, RAWHIDE KID, TWO-GUN KID, GUNHAWKS, MARVEL WESTERN, by mostly Larry Lieber, and Stan Lee, and Jack Kirby, and Gil Kane, and Herb Trimpe and John Severin are masterpieces. And these books are MUST OWNS. And many have not been reprinted. And while MARVEL COMICS were hands down producing some of the best Western Comics, some other notable comics in this genre are the painted cover LONE RANGER comics by Dell and Gold Key Publishing, and DC’s TOMAHAWK–

(Brief interuption to gush on Kubert’s TOMAHAWK. The last 25 issues or so of TOMAHAWK go from Neal Adams covers to the final ten which are Joe Kubert covers, from issues 131 to 140. There are not many people who can follow Neal Adams on covers, and be able to equal him.

When Neal Adams does a run of covers, those become the definitive sought after covers, especially during this period of the 60s and 70s in DC. Whether BATMAN or DETECTIVE or SUPERMAN or SUPERBOY, to this day the definitive covers for all those titles, are the ones drawn by Neal Adams, and with good reason. Neal Adams is a master artist.

So it is no small compliment to say not only does Joe Kubert’s ten issue cover run on TOMAHAWK equal the work of his good friend Neal Adams, they surpass them. As someone who just acquired those ten books this year, listen to me when I say they are INCREDIBLY undervalued, sporting both stunning covers and interiors, and no true fan of comics should be without them. If you can get them in high grade for $10 a book, that is a steal.

Get those issues at the link below. You get great comics AND you earn a few pennies to keep this blog’s lights on.

https://www.mycomicshop.com/search?tid=181351&pgi=101&AffID=200301P01

)

–and ALL STAR WESTERN & WEIRD WESTERN. All fantastic and I will be doing a bit on Western Comics in an upcoming post.

 

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And 2/ where the Marvel Comics  of yesterday ruled the WESTERN genre, the WAR or COMBAT genre was ruled by DC Comics. Largely because of two names the great Robert Kanigher and the great Joe Kubert. Both men master story tellers, one with words and one with images, and both men incredibly prolific and productive. My favorite TEEN TITANS story of the silver age is by Robert Kanigher, my favorite FLASH stories by Robert Kanigher. So I always meant to pursue Kanigher’s work into his combat/conflict/war books of the period, and I am finally getting a chance to do that in 2018. And what immediately sells these books is the iconic covers and visual storytelling by the late, great Joe Kubert.

Joe Kubert’s cover art on Our Fighting Forces #135

His work, especially pre the mid 70s, where his covers got to play with the typography and marrying that to the cover image… gold. Absolutely gold. To the point where covers for OUR FIGHTING FORCES and OUR ARMY AT WAR for a brief period in the late 60s, early 70s are cover art truly raised to the level of Art with a capital A. Why anyone would pay $4, $5, $6, and $7 for a brand new comic book (that can be found in the $1 bins or reprinted in a much better quality trade in a few months), when you can take that same money and get a classic issue from this period of comics… is beyond me.

It is work you are typically not going to see unless you go looking. Not many people are showing off 50 year old war comic book covers. In 2018 I have gone looking.

Let me show you some of what I’ve found. We will start with a taste of his unconventional and relatively rare Superhero work and move onto his more prolific genre work.

 

 

 

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SYFYWIRE’s Matthew Funk says it best when they say…

“G.I. Combat #88

Kubert’s contributions to the visual language of war stories can’t be overstated, and this cover proves as much. This is very Stanley Kubrick-style imagery, but the comic predates Full Metal Jacket by 26 years. Kubert was creating iconic, haunting, and cinematic images of war that would influence generations of storytellers.”

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When you think of great, iconic cover artists, the names Gil Kane, Neal Adams, Jim Steranko, Nick Cardy, and more recently Alex Ross come to mind. And all deservedly so. But one that arguably has gotten overlooked by the masses is Joe Kubert, and this is largely because he worked mostly in genres that did not get the attention back in the day. But now as an adult and getting into genres of Western and War and Horror, I am getting exposed to the work of great artists such as Joe Kubert, I am seeing much of it for the first time, and it is…. ASTONISHING. What really amazes me about Kubert is when he gets to play with Typography in his covers, and make that part of his story-telling, those are absolute game changers. Such as the above, and many of his Combat books.

 

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SGT ROCK

G.I. Combat (Volume) - Comic Vine

Our Army At War 254 - Sgt. Rock - Joe Kubert

Cover

Ready to own some of these great comic books?

Then use the link below and start ordering:

https://www.mycomicshop.com/search?q=our+army+at+war&pubid=&PubRng&AffID=200301P01

 

Where to buy NEW comic books right now, Sept 2018 Pre-orders! And What books to get! ALL THE REST EDITION!

This is the last day to preorder books that will be shipping in December at a discount.

Here are my suggestions for the books worth your time:

MARVEL COMICS

Nothing. I can recommend nothing from Marvel Comics. Marvel is GROSSLY overpriced.  Save your money and either pick up these issues for a $1 or $2 each in a few months, when they are no longer new, from the secondary market. Or wait till they get collected into trade paperbacks and read them from your local library for free. Or buy them used online for a fraction of what getting the individual issues would cost.  I grew up with Marvel Comics, and i think they still have some fantastic creators I would love to read on a monthly basis, Ta-Nehisi Coates CAPTAIN AMERICA , comes to mind. After much hate from the moronic bigoted internet crowd, the moronic antisjw nazis, it turns out Coates CAPTAIN AMERICA is shaping up to be great. The same with just about anything Al Ewing touches. Unfortunately these great creators are sabotaged by a unsupportable comic price, and horrible editorial and marketing decisions.

The movies quite frankly are a lot better, and a lot less disorganized, stupid, and at times ingrained bigoted than the comics. The comics play lip service to diversity, and it is great to see creators like Coates and Walker get a chance to start their vision, but inevitably Editorial steps in and ruins/aborts their process/ending. The comics back pedal from everything to try to pander to the racist anti-change and anti-diversity mob, who typically don’t even read the comics they complain about.

The movies so far under Feige’s reign have embraced diversity with no back pedaling or moronic denigration that makes up so much of what goes on in the comics when it comes to characters of color (‘Oh Well we can’t have the Black Nick Fury be his own man. Let’s explain him away as the son of a White Nick fury.’ What????? Yeah this is the stupidity and racist great ideas that is happening in Marvel Comics, by there non-writers of color and editorial department.)

So yeah, so far the movies are actually better by far than the comics. So stick with them for now. Or until they start following the stupidity of the current comic books.

DC COMICS

Unfortunately DC that was doing a good job of keeping their prices under $3 a comic, ever since hiring the trojan horse of Brian Bendis, they have adopted Marvel’s disastrous and customer offensive pricing policy. Of charging $4, $5, $6,and $7… for COMIC BOOKS!!!!

Absolutely immoral.

And I like Brian Michael Bendis as a creator, but I despise him as a shill for the company, and his arrogant frat boy attitude to companies milking the audience, and  his basic ‘ah they will pay the higher price. Lower prices do not sell.’ I’m ten years of proving Bendis is wrong. It is not diversity that is the cause of Marvel Comics’ inability to keep from bleeding readers, it is the bloody price of their books. Add to that the over abundance of ads, poor placement of ads, and atrocious paper quality and you have a company that is repeatedly slapping their customers in the face, then wondering why the customers are not sticking around.

DC will soon find they will have the same issue as Marvel Comics. They will keep the die hards for a while, the sheep who buy multiple issues and variants, and the speculators, but that is  a far cry from the millions of people a publishing arm of Times Warner should be reaching.

Besides their last $2.99 books, which word is they are going away soon… The only book over $3 that I get from DC, that I make an exception for, is Christopher Priest’s brilliant DEATHSTROKE. And that is going to change, as editorial has decided to reward the critical acclaim that series has received, by mixing it into their editorial marketing ploy, basically gutting Priest’s ability to tell unhindered stories with the character. Once Priest leaves, so do I.

So what is worth getting?

Here is my list for September Pre-orders:

Beyonders 4 On order 1 $2.59
Bitter Root Cvr D Williams 1 On order 1 $2.59
Cavewoman A Wizard A Sorceress And Meriem 1 On order 1 $2.59
Cemetery Beach 3 On order 1 $2.59
Cinema Purgatorio Vast Cvr 16 On order 1 $4.54
Dark Ark Cvr A Doe 11 On order 1 $2.59
Deathstroke (2016) Cvr B Var Ed 37 On order 1 $2.59
Dick Tracy Dead Or Alive Cvr B Tommaso 3 On order 1 $2.59
Feast Or Famine 1 On order 1 $0.98
Gideon Falls Cvr B Suayan 8 On order 1 $2.59
Hillbilly Red Eyed Witchery From Beyond 4 On order 1 $2.59
Infinite Dark 2 On order 1 $2.59
Infinity 8 7 On order 1 $2.59
Jook Joint 2 On order 1 $2.59
Leviathan Cvr B Guillory 4 On order 1 $2.59
Lightstep 1 On order 1 $2.59
Lodger 2 On order 1 $2.59
Magic Order Cvr A Coipel 6 On order 1 $2.59
Moth And Whisper 3 On order 1 $2.59
New World Cvr B Moore And Muller 5 On order 1 $2.59
No World Primer 2018 On order 1 $0.16
Oblivion Song 9 On order 1 $2.59
Outer Darkness 1 On order 1 $2.59
Proxima Centauri 6 On order 1 $2.59
Raid Cvr B Photo 4 On order 1 $2.59
Red Sonja Cvr A Caldwell 23 On order 1 $2.59
Rick And Morty Cvr A 44 On order 1 $2.59
Rick And Morty Presents Pickle Rick Cvr A 1 On order 1 $3.24
Shadowman Cvr C Veregge 9 On order 1 $2.59
Sideways 10 On order 1 $1.94
Silencer 11 On order 1 $1.94
Sink Cvr A Cormack 6 On order 1 $2.59
Skyward 8 On order 1 $2.59
Spawn Cvr B Mattina 292 On order 1 $1.94
Stellar 6 On order 1 $2.59
Terrifics 10 On order 1 $1.94
Unexpected 6 On order 1 $1.94
Walk Through Hell 6 On order 1 $2.59
Warning 1 On order 1 $2.59
Whispering Dark 2 On order 1 $2.59

Order yours here:

https://www.mycomicshop.com/subscriptionservice?AffID=200301P01

And tell them HT sent ya!!!!

🙂

 

 

Favorite Directorial Debuts of the 21st Century!

I recently did a post highlighting some of the best directorial debuts of the last century. A lot of classic greats such as Orson Welles  CITIZEN KANE, Branagh’s HENRY V, Ossie Davis’ COTTON COMES TO HARLEM (which for the time when it was made, 1970, was really revolutionary as far as staging chase scenes. It’s often over looked in great car chase films, however it is one of the first and best. And the movie as a whole is disarming, tinges of heart felt humor in it, but also a surprising bit of wrath, brutality and action).

This time around I wanted to cover some of the best directorial debuts of the still relatively new 21st century.

In our fragmented increasingly monotheistic film landscape, the importance of film that comes outside of the ever repressive Disney structure has never been more important (shame on you Disney for firing James Gunn. And shame on you Twitter for not deleting ten year old quotes when asked, and instead holding on to quotes and allowing them to be militarized and sold to neo-conservative/neo-nazi hatchet men with a desire to use social media, the stupidity of the masses, and the immorality and venality of corporations,  to destroy any and all opposition to their madness.)

So until Disney is broken up by Anti-Trust laws like it needs to be, we need alternatives to standard mass media. We need streaming and VOD, and that’s where the interesting films and filmmaker get a chance to have a life, and earn an income. We need a new generation of great and gusty filmmakers, and I am happy to say they are out there.

So without further ado, here are the best Feature film directorial debut of the 21st century:

Serenity

Serenity (2005)

15 | 119 min | Action, Adventure, Sci-Fi Director: Joss Whedon

Following (1998)

15 | 69 min | Crime, Mystery, Thriller Director: Christopher Nolan

Intruders PosterINTRUDERS (2015) –

Director:

Adam Schindler

 

The Evil Within PosterTHE EVIL WITHIN (2017) – It is NIGHTMARE ON ELM STREET but instead of a slasher film, is a perverted episode of TWILIGHT ZONE. A little known movie but worth seeking out.  Like most of these films it can be seen if you are an Amazon Prime member.

Director:

Andrew Getty

The Monster Project (2017)

THE MONSTER PROJECT (2017)

Director:

Victor Mathieu

last_will_and_testament_of_rosalind_leigh_xlg
THE LAST WILL AND TESTAMENT OF ROSALIND LEIGH (2012)

Director:

Rodrigo Gudiño  – To date the only feature film by Rodrigo Gudino, I love this film. However, It is one of the few director’s commentary I do not like, as his take on the movie runs contrary to the wonderfully unique atmosphere the film creates, and really talks you out of liking the movie, and his interpretation takes the magic, and wonderful horrific atmosphere. So a rare case of watch the movie, but avoid the special features and commentary. And I typically LOVE Commentaries.

Most Beautiful Island (2017)MOST BEAUTIFUL ISLAND-  Wow. I didn’t know at all where this movie was going. And that is how I suggest you go into it. Do not watch trailers or read anything else beyond this on it. I will say the opening pre-credit sequence…very masterfully done. Robert Bresson is arguably one of the greatest directors ever, and he mastered what is considered the empty frame, or the pregnant frame.  He created the camera opening on a vacant scene, and building expectation as you waited for that space to be filled. The opening of this movie has some of that Bressonian genius. But pushes it somewhere odd, depending who you are, and what you bring to the film, that opening scene may highlight how almost on an instinctual level their is a vouyeristic and somewhat predatory nature to how we look at people in groups, and what people we focus on. It is hard to explain, but you will arguably feel it in the motion and lack of motion of the camera in that opening sequence. And ends just as brilliantly and conflictedly.  A great film by star and first time director Ana Asensio.

JOHN WICK

A GIRL WALKS HOME ALONE AT NIGHT

CAPTAIN AMERICA WINTER SOLDIER

THE WITCH
SOUTHBOUND
STOMPING GROUND
CRAWL OR DIE
DEVOURED
CALL ME KING
A MESSAGE FROM THE KING
ABSENTIA
THE HOUSE OF THE DEVIL
LET THE RIGHT ONE IN
EUROPA REPORT
FRANKENSTEIN’S ARMY
AT THE DEVIL’S DOOR
THE TALL MAN
BONE TOMAHAWK
PONTY POOL
UNDER THE SKIN
THE ARROYO
BOY WONDER
Honorable mentions: IT FOLLOWS unfortunately is the 2nd film of its Director, or it would be at the top of this list. I consider it (along with A GIRL WALKS HOME ALONE AT NIGHT) one of the greatest Horror films made since Carpenter’s 1980s output.

For the love of all things good, STOP pressing and cleaning your old comics!!! You are DESTROYING them!

Watching these Youtube videos on line of people so-called pressing and cleaning their comics.

I can not believe what I am seeing  it is like giving baboons knives. 🙂

People do not press your comics yourself, and do not pay to have an ‘expert’ do it for you.

Why?

Few reasons.

1/All of these so-called experts are using t-shirt presses or steam irons to ‘improve’ your comic. They are all just winging it, with no real understanding of ph balances, and acidity and moisture content, before or after. It’s a bunch of hacks, each one with no understanding of reason 2.

2/ The application of heat and moisture to newsprint, jump-starts a chemical reaction in the pulp paper, the newsprint, that continues and accelerates long after the initial application is supposedly done. The process is called advanced deterioration. The two things you should never apply to pulp paper, to avoid early deterioration, heat and moisture. A whole slew of new and returned collectors are doing just that. In hopes of turning short term profits by slabbing and reselling their ‘hot’ comic. In the long term what they are doing is SHORTENING THE LIFE of that bronze, silver age or golden age comic.

It is far better that your comic has a spine roll in it, than you BURN IN heat and moisture and humidity deep INTO the fabric of newsprint paper. That as stated is kicking into high gear deterioration and breakdown of that pulp paper on a molecular level, that CONTINUES after you have it graded and slabbed in plastic.

And yes, it comes back on the surface looking flatter and squarer, but internally you have taken years (if not decades) off the life of that pulp paper.  And that deterioration process will continue, as well as the possibility for mold growth, IN THE SLAB. Particularly if there is not sufficient time between ‘pressing’ and slabbing.

I’ve seen warped books in a slab before, and the root cause appeared to be a disastrous ‘pressing’ job, immediately followed by slabbing that still humidity soaked book, in plastic.

Now of course the person who sells you the book, doesn’t care, as long as he is getting paid for the arbitrary grade on the slab, people only seeing the cover of the book in the slab, and having no idea of excessive humidity or ph levels in the actual pages of the book. So it becomes a game of hot potato, to not be the one stuck with this graded book, that when finally unslabbed from its protective case, will be found to be in worse condition than a similarly aged book that had not suffered heat and moisture intrusion.

So arguably people are paying more for slabbed books (that is what they call graded comics, that have been sealed in plastic after grading) that are actually shortening the life of their comics, that because of this mania of people seeking a ‘perfect’ cover, they are ruining the actual comic book pages by entrusting them to witch doctors claiming to ‘press and clean’ them.

And I’m sure there is at least one restorative service that is keeping ph levels and moisture content, in mind. However they are the conservationists at the Library of Congress, and are not the services selling themselves as pressers to help you increase the grading on your comic book. 🙂

This is not brain surgery. I do not know what it is about the 21st century , or America in the 21st century, where common sense is not common, and idiocy is contagious, and sought out over reason. How do we  jump on obvious idiotic band wagons like ‘Me too’ and ‘Let’s iron my old pulp comics!” 🙂

And before I get hate mail, I think crimes of abuse when proven in a court of law, people should of couse face the punishemnt prescibed. However, I think when punishment is applied by the mob, before the verdict is in, people losing their jobs, their families, their name before their day in court… that is not justice. And when you are making judgements on your biases and trama, and projecting your issues, or unapplied vengeance in your own life, over the facts of a case that has nothing to do with you, that is mob rule. That is lynch mob justice. That is a witch hunt. And calling it ‘ME TOO’ doesn’t make it any less so. Okay back to the regularly scheduled program.

I do not have a major issue with drycleaning, provided the person knows what he is doing, however If you love your comics, for the love of GOD, spread the word to have people stop pressing their comics. If you have to get out an overwrap or wrinkle, do it the old fashioned way, apply weight and time, to the book. Not heat or moisture.

That should be common sense to anyone over twelve years old, especially anyone who is a comic fan. The fact that it isn’t… disturbing.

Not trying to be belligerent, I’m a collector, so I hate the idea of people shortsightedly ruining collections, in this new speculator’s bubble we find ourselves in, a couple decades after the last speculator bubble popped.

Love the hobby guys, and avoid the snake oil salesman. 🙂

Here endeth the public service announcement. 🙂

 

The last word on Social Justice Warriors, the Anti-SJW movement, Nazis, and Comics!

Everything is political. Because we all have a point of view. And when things conform, or do not question our point of view, we tend to think of them as non-political. But everything is an expression of our values, from Mickey Mouse to Batman to Star Wars to Popeye. Everything has a moral perspective,  a concept of what is heroic, and what is villainous, based on where we were raised, and how we were raised, and sometimes.. if we are lucky, based on how we have grown.

You have a vocal faction these days, a minority, that wants to play the aggrieved party and the victim and label and attack others that they perceive as a challenge to their norms, they attack creators and they attack fans, and brand them with the label SJW.

This vocal faction using acronyms over the whole or correct word, the way traditionally oppressive, bigoted factions have done. SJW instead of Social Justice Warrior, PC instead of Respect, etc. It is the tactic of the Nazi, to use labels and intimidation to cloud reason. To call others what they are, closed minded, and intolerant. And on this web of lies and misdirection, hope to confuse the issue, and gain ground.

The issue is simple. Social Justice Warriors, as it relates to comics, is in the very origins of the super-hero. The fight for the under privileged against monied interests, and oppressive regimes. It is right there in the earliest issues of Superman, of Batman, of Captain America.

There were people back, in a 1940s America, who made death threats, and attacks against creators. People who attacked Jack Kirby and Joe Simon, for having Captain America, on the cover of Captain America #1, punch out Adolph Hitler, for effectively creating a Social Justice Warrior, and a social justice medium. The people railing against Social Justice Warriors and Comics back then in the early 1940s are the same ones railing against writer Ta-Nehisi Coates, and what they call SJW or Social Justice Warriors today, they are Nazis or they are ignorant.

Now if you are ignorant, that is not a crime as long as you don’t stay ignorant. We all wake up, if we are honest, everyday ignorant of something. And we all… if we are healthy, growing human beings… go to bed less ignorant than we started the day. We have read, we have talked, we have communed, we have learned,. we have grown, and we have thrown off at least one incorrect folly we held too. This is your chance to grow. If no one has pointed out to you the immorality of a rant against social justice warriors, in the social justice medium of comics… well I’m telling you.

Now when you go before God, you can’t say you didn’t know. 🙂

Now what you do with that determines, if you are just ignorant, a fool, or a Nazi. A fool and a Nazi are not going to change. An ignorant man however, if he be a man, will embrace opportunities to slough off the hates and misinformation of yesterday.

Will embrace places to grow,

Un-subscribe from those click-bait, hate mongering channels, posing under names completely contrary to what they are doing. Channels with names like We Love, and Diversity, but all they preach is hate.

A lot of you are subscribed to them out of habit.

Habit to give attention to lowest common denominator talk show type conflict and what passes for conversation. This Resident Trump did not win the popular vote, but he won more of the vote than he should have in a civilized country. Part of the reason is seen in Youtube, and across social media. We have become a nation that has traded talk show drama for dialog, and irrational rage and outrage, over reason.

That is a recipe for a falling down nation, a recipe for the end of days.

I say no.

I say no to lies.

I say no to misinformation.

I say no to collusion.

I say no to agents of chaos, seeking to subvert one of the few progressive mediums left…. comics. The majority of these fools do not even read the works or writers they complain about. You don’t like a writer or story, don’t read it. But to attack creators and mess with livelihoods because you don’t want anyone else to read the story… that is Nazism. And I won’t have it. Too many of those who paved the way for you even being here, sacrificed way too much, to let the hate they beat back… rise in the very hearts of their indolent children.

I say no.

I say it in what I subscribe to. I say it in what I buy. I say it in who I defend. And I say it in the face of a new American age of terror and witch-hunts.

This far, no further.

 

 

To not want to be challenged by your reading is a prerogative and right, at times we want the comfort of a simple narrative. Or a comforting narrative. And there is nothing wrong with that. But do not confuse that comfort,  with it being a non-political narrative. Even the lack of overt political stance in a work, is in and of itself political. Because there is no greater force in times of massive change, no greater political force, than the quiet, silence of the masses.’

—From SILENCE OF THE MASSES