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------------------------ Yahoo! Groups Sponsor --------------------~--> Has someone you know been affected by illness or disease? Network for Good is THE place to support health awareness efforts! http://us.click.yahoo.com/rkgkPB/UOnJAA/Zx0JAA/bGIolB/TM --------------------------------------------------------------------~-> +++++ Items found in Rich Johnston's "Lying in the Gutters" column at http://www.comicbookresources.com/columns/ which are all rumors or gossip so take any of it with a BIG bucket of salt! Rich was chosen Best Comics Journalist in the 2003 Usenet Squiddy Awards, his fourth consecutive win. Write to Rich at: richjohnston@gmail.com This is a bit from Rich's latest version of Lying in the Gutters. For now he is trying investigative journalism instead of rumors. Full text can be found at: http://www.comicbookresources.com/columns/?column=13 MOORE SLAMS V FOR VENDETTA MOVIE, PULLS LoEG FROM DC COMICS Alan Moore, co-creator of the "V For Vendetta" comic, has publicly disassociated himself from the upcoming Warner Brothers movie project based on the comic book and written and produced by the Wachowski Brothers. And as a result, he has cut his remaining ties with DC Comics, including future volumes of the "League Of Extraordinary Gentlemen." Moore has promised future "League" comics will be published by a US/UK collaboration between Top Shelf and Knockabout. And in this spirit of bonhomie, Alan Moore decided to propose to his long term girlfriend and co-creator of Lost Girls, Melinda Gebbie. She accepted and they have announced their engagement. OTHER NEWS IN BRIEF Simon Furman is returning to the IDW Transformers title as writer. However, the artist won't be a Dreamwave alumni, rather EJ Su, previously known for his Voltron work. In mid April, Phyllis Hume was made redundant as DC's International Director, after working there licensing DC's characters and stories internationally for many number of years. This story was not covered by the comics press at the time. Uri Gellar has admitted to buying up as many copies as he can of "Daredevil" #133 on eBay. It's the issue he appears in, fighting alongside Daredevil. And contact me on richjohnston@gmail.com _________________________________________________________________ ----------------------------------------------------------------- [5] My Life With Comic Books Paul Howley pmca@together.net http://www.thatse.com A brief introduction: My name is Paul Howley, owner of the Eisner Award winning pop culture collector's store known as "That's Entertainment" in Worcester, Massachusetts. Some people have called me the "luckiest man in the comic book business." My store has been around for over twenty-four years and it's been a long and interesting combination of events and people that has brought my store to its current place. It is not my intent to boast or brag about my store or my life. I just want to tell you my story. In many instances, my wife remembers things a little differently, but this is the truth as I remember it. The current cast of characters: Paul Howley: age 42 Mal Howley: my wife Adam Howley: my son, age 17 Cassy Howley: my daughter, age 12 MY LIFE WITH COMIC BOOKS: THE HISTORY OF A COMIC SHOP-Part 117 I have a customer named Pete (not his real name) that I've known for many years. Pete used to set up at flea markets and toy conventions selling old collectibles, but he didn't deal in comic books. One day, he came into my store and offered to sell me a lot of six 1950's comic books including three sequential Batman comic books and three sequential Detective Comics, all in gorgeous condition. Since Pete had never dealt in vintage comic books before, I asked him where he got these. He explained that his teenage son had regularly done yard work for a neighbor and that one day, in addition to the money he was paid, the neighbor invited the son into his basement to show him something. As they walked downstairs, the neighbor said he had recalled that the boy enjoyed comic books, so he wanted to give him something special. He opened up a steel closet unit and randomly pulled out the top three comics from two of the stacks. The neighbor had saved these comics since they were first published and he apparently had no idea how valuable they were. The boy expressed his gratitude and brought the comic books home to show his father. Pete knew that these were quite valuable and convinced the teen that he should sell these to my store because the money was needed more than the comic books. Because I had a good feeling that these issues would sell within a year, I was happy to buy them and made Pete a very generous offer. I also told Pete that this collection of comic books could be worth a small fortune and that he should tell his neighbor that there is a strong market for them before he gave them all away to someone else. Pete agreed and said he'd do his best to convince his neighbor that he should allow me to make an offer on the collection. Over the next few months, when Pete would come into my store, he would explain hat the "time just didn't seem right" to approach the neighbor about the comic book collection, so there was nothing I could do about it. For some reason, Pete seemed reluctant to move forward. I offered to pay Pete a generous commission for securing this collection for me and he seemed interested but several more months passed before I saw Pete again. I didn't want to pressure him about the collection but the thought that this amazing group of rare comic books could end up disappearing really bothered me. Pete told me that he had actually seen the comics and he estimated that there were about 1500 comic books, mostly published by DC Comics, and all from the 1950's. He wasn't able to look through any of the stacks to see what particular issues were there but he was able to notice that most of the books on the top of each pile was a superhero title like Batman, Superman, Action Comics, Adventure Comics, etc. I told Pete that he needed to be honest with the owner of these comics and tell him that I was a serious buyer. Without seeing the books, I estimated that the comics would be valued at a minimum of $10,000. If certain "key" issues were included, the value could easily be $30,000 or more! I suggested that Pete should offer him $10,000 as a minimum price so that the owner would know that he had a very desirable collection. Unfortunately, Pete got greedy. He figured that if I were willing to pay $10,000 for the collection, he'd try to make a low offer to the neighbor and then resell the comics to me at a huge mark- up. Instead of being honest with his neighbor Pete thought he'd be "clever." Pete offered his neighbor $600 for the whole collection and even though the neighbor had no idea of the true value of the comics, the offer wasn't enough to interest him in selling them. Now there was no way that Pete could make the man a fair offer without revealing his previous scheme to take advantage of him. I suggested that Pete should give me the neighbor's phone number so I could try to buy the collection from him and still offered to give Pete a "finders fee" if I got the comic books. Pete (still trying to be "clever") said he'd continue to try to find a way to buy the comics directly from his neighbor. As it turned out, Pete ended up with nothing. A local comic dealer needed some carpentry work done on his home and he hired a local carpenter. When the carpenter arrived to start the job he noticed the comic books lying around and he said, "Hey, I have an uncle that has a bunch of old comic books. Would you be interested in them?" Within a week, the carpenter arranged for the other comic book dealer to view the collection and make an offer on it. As the dealer walked down into the basement, he noticed that the first comic book on one of the piles was a gorgeous copy of Detective Comics #225 featuring the important key first appearance of The Martian Manhunter, a character long-considered to be the first new "silver-age" superhero. This book alone was worth almost $4000! The dealer was able to buy the whole collection for a reasonable price and he made quite a nice profit on it over the next year. I certainly wished that Pete's greed hadn't prevented me from buying this collection. Next chapter: My wife, Mal, opens a full-time store. _________________________________________________________________ ----------------------------------------------------------------- [6] Lines On Paper Bruce Canwell bruce.canwell@verizon.net [Freelance writer Bruce Canwell is a New England native who has worked for both DC and Marvel Comics. His essays have appeared in TOMORROW SF, THE CORTLAND REVIEW, COMIC BOOK WEEK, the PORTSMOUTH (NH) PRESS, and AMAZING HEROES. In the summer he is often found at Fenway Park; in the winter, he enjoys playing high-stakes poker against really dumb opponents.] Installment 51: Aftermath October 23, 1998 was my personal Black Friday. My father died at 10:35PM that day; six hours earlier, a purge at Marvel ousted Tim Tuohy and Joe Andreani, the two editors for whom I had been developing monthly and mini-series (DEATHLOK and NICK FURY). There was nothing I could do to keep my father alive, but could anything be done to save my comics assignments? I could not immediately turn to answering that question -- my mother needed help in the weeks following my father's funeral as she began to learn how to carry on by herself. Traditionally, my father had been the one who did the taxes, handled insurance matters, and controlled countless other mundane but necessary details of day-to-day living. Now my mother had to assume these responsibilities and when she reached points where she needed assistance -- either someone to make a call for her, or to interpret documents, or sometimes simply someone to answer questions such as, "This makes sense to me, does it make sense to you?" -- I did my part to lend a hand. It was mid-November when my mother closed her New England lakeside summer place and prepared to venture south to the winter home she and my father had bought in Florida the previous winter. My brother and I made that trip with her, driving her south, helping her get situated over her first handful of days back in the Sunshine State. Both my brother and I hated to leave her there. She was now alone in a place where she had lived a mere handful of weeks; she had only cursory relationships with her neighbors, only a sketchy knowledge of the layout of the town. Yes, she was just a half-hour's drive from her eldest daughter, but that is still enough separation so she was on her own much of the time. Her success or failure in this new home was on her shoulders, nobody else's. Fortunately, my mother is a gutsy lady. She succeeded much more than she failed, she learned from her mistakes when she made them, and she came to welcome new experiences (and has since traveled throughout the U.S. and to the Caribbean, Canada, and Australia). It helps that meeting new people always comes easily to her -- far more easily than it comes to her children, truth be told. My mother encountered her share of pitfalls during that first year following my father's death, but she overcame them all. # The best thing I had going for me in the last weeks of 1998 was that I was not alone in either of the projects I was developing at Marvel: my artist friends were doing their best on our behalf while I was attending to family matters. Lee Weeks, my partner on the FURY material, talked up our three- issue miniseries concept, "The Claymore Vendetta," to every Marvel editor he knew. Alas, these were tense, tenuous days at Marvel -- approvals were hard to come by and editors embraced a time-honored bureaucratic tradition: "One negative factor outweighs a dozen positive factors." In the case of FURY, an editor could justify his lack of enthusiasm by pointing to the lackluster sales figures on the last Nick-based miniseries, FURY/AGENT 13. Pointing out that sales may have lagged because that two-issue story had been . . . shall we say? . . . uninspired was both logical and truthful, but logic and truth were not enough to sway an editor to our cause. Remember the stories from a few years ago about George Clooney backing away from a proposed NICK FURY live-action vehicle after his people were put off by the 2002 "Max Comics" FURY series? I am utterly convinced that film project would have happened had "The Claymore Vendetta" seen print. It (and the follow-up ideas Lee and I were developing) contained the sort of ideas Hollywood eats up with a straw, and our Nick Fury was the type of guy Clooney would have gladly played. Somewhere, there is a parallel universe where exactly that happened -- sadly, it would take a trip to that universe to prove what I know in my heart is true. # Soon after leaving my mother in Florida, I learned from my compadres Sal Velluto and Bob Almond that Marvel had assigned a new editor to replace Tim Tuohy on DEATHLOK. Given the internal controversy swirling around this upcoming new series during Tuohy's final days -- my DEATHLOK concept versus "Deathlok as SHIELD Agent 18," stand-alone title versus integration with the other new books also scheduled to debut in May of 1999 -- the new editor faced plenty of decisions. Sal, Bob, and I hoped to influence how he made them. After all, my pitch to Tuohy was the catalyst that revived interest in DEATHLOK in the first place, and the artists and I had invested much time and even more enthusiasm developing our vision of the character. We were creatively and financially motivated to stick together and be the team that re-launched DEATHLOK, using whatever concept Editorial ultimately selected. My team called this new editor, each of us leaving messages asking to speak with him regarding DEATHLOK. I made at least three calls, each one polite and professional: I introduced myself as the writer who had been working with Tim Tuohy on Deathlok's revival, referenced the 5-page preview story Sal, Bob, and I had produced, noted that I was aware of the uncertain status of the concept to be used (but was interested in discussing either concept), then said I hoped to be able to speak with the editor about moving forward with the project at his convenience. This editor, it seemed, used his voice mail to screen calls, because not only did he never answer the phone when Sal or Bob or I called him, he also never returned any of our calls. # Having made those calls, I decided it could hardly hurt to contact the editors with whom I had worked in DC's BAT-office while I waited for a reply on DEATHLOK. At this time at DC, the entire BAT-line was devoted to "No Man's Land;" the beginning of the "outside writers turning to comics' movement was gathering steam during this story-arc. I had an excellent idea for a "No Man's Land" story (the arc had devoted several pages to persons who wanted to LEAVE the Gotham City after it was isolated from the nation -- I had a concept revolving around a guy from Bludhaven whose wife was in Gotham on business when the tunnels and bridges were, a guy who wants to get INTO the city to find his spouse), but I was told most of the "No Man's Land" assignments had been made and the BAT-editors were in discussions with other writers to fill the few remaining slots. If one of those discussions did not pan out, I might get a call . . . but clearly, the message was: "Don't hold your breath." That was the last time I spoke with any of that era's BAT-staff: before we reached the first anniversary of my father's death, most of them left their editorial posts at DC. Subsequently, I had two or three pleasant conversations with Joe Illidge, one of the replacement BAT-editors, but Joe's tenure at DC was not long enough for us to build up any energy on a project. # My best chance at landing DC work came in the middle of 1999, when Joey Cavalieri and I were involved in cooking up an Elseworlds project. Artist Sergio Cariello was between gigs at the time and he sought me out to discuss the possibility of doing something together; it was Sergio who provided me an introduction to Elseworlds editor Joey Cavalieri. Elseworlds was an imprint DC started in 1991, its stated purpose was to take heroes "from their usual settings and put [them] into strange times and places, some that have existed or might have existed, and others that can't, couldn't, or shouldn't exist." There had been several fine Elseworlds specials (one of my favorites was BATMAN: HOLY TERROR, by the always-excellent Alan Brennert and artist Norm Breyfogle), but more than a few softballs had subsequently appeared, scenarios that amounted to little more than easy "What if" stories -- "What if Kal-El had been found by the Waynes instead of the Kents?;" "What if Bruce Wayne instead of Hal Jordan had been picked as Abin Sur's successor?" I pitched a handful of ideas to Joey for a variety of different projects ("Your stuff seems pretty articulate and well-worked- out," he commented back to me in an April 28th, 1999 e-mail). My SUPERMAN/BATMAN Elseworlds idea, titled "Dark Scourge," struck both Joey and I as being a cut above the average. Joey asked for a presentation he could take up the editorial chain for approval; I had it in his hands by mid-May. By that time, Joey and I had spoken by phone a few times and were building a friendly, professional rapport. We expected "Dark Scourge" to get approval, and I was looking forward to re-establishing some traction within the industry. It was a discouraging day in June when Joey called to tell me DC's Powers That Be turned down our project, giving no more concrete a reason than, "We don't want to do it." Joey was sincerely surprised and disappointed by this news. Word quickly followed that the Powers felt Elseworlds focused too much on Batman and Superman; they now wanted to see Elseworlds involve a broader range of DC characters. All well and good, I suppose, but try to find a compelling Elseworlds premise for the Martian Manhunter or Hawkman. I was not up to that task and it seems no one else was, either -- Elseworlds eventually faded away, the editorial dictum to broaden the imprint's scope unfulfilled. # By this time, Marvel had launched its "M-Tech" books, featuring Joe Casey and Leonardo Manco as the creative team on DEATHLOK, with SHIELD Agent 18 shoehorned into the title character's cyborg carcass. The book would run for twelve issues, and though its editor never returned my late-1998 calls, he did affect my life some months after DEATHLOK # 1 hit the stands. He left Marvel to take a new job at DC . . . in the BATMAN editorial office. # As the sun set on the 1990s, I made a realistic assessment of my position in relation to the comics business. What did I have to show for another year of long hours and little sleep? With my BAT-contacts gone, replaced by an editor who might feel uncomfortable dealing with me, doors no longer seemed open at DC. Marvel was even more tightly shuttered: my editors were now more than a year departed, while the company's ongoing business concerns contributed to a most unsettled editorial picture. Industry-wide, sales had dropped precipitously, with gloom-&-doom talk ascendant. Persistence is a wonderful thing, and I believe I have at least slightly more of that quality than the average schmoe. There comes a time, however, when one must ask, "Am I being persistent or foolish?" I demonstrated the former in the weeks following that Black Friday of October 23 1998 . . . but sometime during the subsequent fifteen months, I feared, I had crossed the line. From that day to this, I have made no further attempts at writing comics professionally. _________________________________________________________________ ----------------------------------------------------------------- [7] Suspended Animation Michael Vance & Mark Allen MiklVance2@worldnet.att.net http://www.starland.com/sus [Michael Vance, a professional writer since 1977 and has been published in dozens of magazines including Starlog and Jack and Jill, and as a syndicated columnist and cartoonist in over 500 newspapers. His history book, Forbidden Adventure: The History of the American Comics Group, has been called a "benchmark in comics history". He ghosted an internationally syndicated comic strip, and his wrote own strip, Holiday Out, that was reprinted as a comic book. Vance also wrote the comic books Straw Men, Angel of Death, The Adventures of Captain Nemo, and Bloodtide. He is listed in the Who's Who of American Comic Books and Comic Book Superstars. His short stories have appeared in dozens of magazines and recorded by actor William (Murder She Wrote) Windom. Suspended Animation, has been published for more than sixteen years, and Vance worked in newspapers for 22 years as an editor, writer and advertising manager. Mark Allen lives in Western Oklahoma with his wife and daughter. He has been a Baptist minister for over 15 years, and has also written for the Oklahoma news industry. Having indulged in comics for nearly 30 years, Mark now enjoys using the written word to share with others what he believes is a true, and extremely under-acknowledged, art form.] Stickleback/47 pages and $6.95 from Alternative Comics/available at www.indyworld.com/altcomics and at comics shops. I don't generally care for under-ground comics because of their glamorization of drugs and alcohol, promiscuous sex, rebellion against authority, profanity, and nihilism. But I did enjoy Stickleback. Sure, there is a bit of profanity, but Stickleback is a profane man living on the edge of society and trapped by an angst created by his own personality. His narrow world of apartment, cat, tiny wadded up toilet paper people, and one nutty friend, could produce nothing healthy. On the prose side, believable dialog and thought-provoking characters do much to recommend this title. Plot, however, is not the point of Stickleback. His cat destroys his toilet paper statues, and Stickleback meets a nagging friend with a disgusting fingernail at a restaurant. That's all, folks. Visually, the artist's thick, simple line creates a distinctive style that interests the eye and is suited for its story. In addition, Stickleback's pipe-cleaner limbs struggle to rupture the thick panel borders that restrict his world and create a claustrophobic, oppressive atmosphere. Stickleback is a wonderfully rich, subtle character study drawn by a cartoonist with the ability to communicate more than is obvious on its surface through a near flawless marriage of word and art. Graham Annable is one talented cartoonist, my brother. And the overriding, saving grace of this alternative title is that his characters are not painted as normative. Hurrah! Stickleback is recommended for thoughtful adults. Buy it today. MV MINIVIEW: Last Chapter and Worse [Andrew and McMeel] This is Gary Larson's last collection of his marvelous, single panel comic strip The Far Side. For those from Mars and unaware of this bizarre comic strip, an example: picture a restaurant full of alligators in which, framed by the window where a live chicken perches, an alligator cook barks: "Chicken UP!" Still available at book stores, some on-line book outlets, and even garage sales, MV For information on Vance's short stories, comic books, and available work, query MiklVance@Yahoo.com. _________________________________________________________________ ----------------------------------------------------------------- [8] ComiX-Fan Reviews Eric J. Moreels x-fan@bigpond.net.au http://www.comixfan.com/xfan [Editor's note: Some of the following reviews have spoilers to plot details. This is a TEXT ONLY newsletter so those spoilers are not hidden by HTML code as they are on the ComiX-fan site.] EXCALIBUR #13 Reviewer: Patrick James justmeandpsylocke@yahoo.com Story Title: The Devil's Own, Part Three of Four - The World is Mine Does three pages constitute a prelude? Written by: Chris Claremont Pencils by: Aaron Lopresti Inks by: Greg Adams Colored by: Avalon's Rob Ro Lettered by: Tom Orzechowski Cover by: Aaron Lopresti & Tim Townsend Assistant Editors: Molly Lazer Edited by: Stephanie Moore Supervising Editor: Tom Brevoort Editor-in-Chief: Joe Quesada Publisher: Dan Buckley I have several things to say about this book. But the primary thing to address, I feel, is referred to above. Being a House of M Prelude made tons of people go out and buy this issue, just to know what's going on with Wanda, Magneto, etc. before the big event hits. However, what we get is the finishing of a story the creative team was working on for the last two months and exactly three pages of House of M-related action. And even those three pages only served to segue into the next issue. The guest appearance of Dr. Strange was barely more than a cameo. I find Marvel marketing to blame you for mislabeling this issue. Excalibur #13 is no more a prelude to House of M than the last two issues have been. In fact, it was probably less of a prelude, having had less page-time and significant action related to the Scarlet Witch and her condition. So, as a House of M Prelude, this issue was a big gigantic flop. However, Claremont was probably not trying to write a House of M issue, but an Excalibur issue, and on that front, the results are not nearly so miserable. The story involving Zanzibar, Viper and the Weaponeers wraps up this issue with enough little moments for each character directly involved to prove that Claremont can indeed carry a decent-sized cast. The interplay between Callisto, Viper and Archangel is the most interesting dialogue in the issue, though verging slightly on cheesy as the romantic hints hit like anvils falling from the sky. But Callisto's speech to Viper about the future generations of mutants is thought-provoking, though not a new concept in the world of the X-Men. The waxing philosophic gets cuts short, though, as Shola arrives to save the heroes, providing a few strangely comic panels that seem out of place. Claremont still manages to provide characterization on the whole, though, giving everyone their own voice and working to flesh out the weaker characters while still allowing the heavy-hitters to carry the issue. He does particularly well working on Husk, though perhaps that can be attributed to the fact that she operates almost the entire issue without her love interest at her side. She really does seem to come off much stronger on her own, as is proved here. The results of the story are a little drab, especially coming off the news that Excalibur has been cancelled after #14. The storyline involving Zanzibar and Courtney Ross are likely not to be addressed again for some time now, which makes it hard to care that anything has happened. As for the art, Lopresti does a fine job giving each character a unique look and body language. However, those previously mentioned random comic panels seem largely to have root in the art of those panels, which makes me cringe. Also, Lopresti's Husk, in metal form, really just bothers me. Had he chosen to go with a more smooth look, with fewer lines, the colorist could have created the metallic effect and shadows. However, the finished product just looks messy and creates a lumpy figure to the character that is aesthetically unappealing. Also, having chosen to make General Umbaja's daughter look more distinct may have been beneficial as well. I found myself frequently thinking, in the early pages, that Hub had shown up from nowhere only to realize it was still the daughter. Overall, I'd say the issue was fun, which is not quite what I was expecting. But sometimes be surprised can be very pleasant, and such was the case here. ART: 3.0 STORY: 3.5 OVERALL: 3.0 Thanks for subscribing to the Comic Book Network Electronic Magazine (CBEM) --------------------------->Disclaimer<--------------------------- This is an ANNOUNCE only mailing list, only the Editor can send messages to the list. No one else has access to the subscriber list. Replies to these messages will be received by the Editor ONLY, so you must CC: individual contributors if you want them to get your E-Mail. The E-mail to the E-mag MAY be used in future issues at the Editor's discretion UNLESS you specifically request that they not be. It is our policy to withhold names and/or Addresses, by request only, from letters of comment. All contributors are required to use their real name and have a valid Email address for their columns to be published. Send Email comments to: ComicBkNet@aol.com Material for inclusion in the Emag - press releases, solicitations, column submissions, Letters to the Editor, guesses for the trivia contest should be sent to ComicBkNet@aol.com The EDITOR, not the submitter, has final approval and edit rights on ALL material. Printed comic books and advanced copies for review in the Emag should be sent via US Mail or UPS to David L. LeBlanc 84 Heather Circle Jefferson, MA 01522-1419 TO Subscribe send a message FROM the intended address to: ComicBookNetworkEmag-subscribe@yahoogroups.com TO Unsubscribe send a message FROM the address to be dropped to: ComicBookNetworkEmag-unsubscribe@yahoogroups.com You may also unsubscribe from the Egroups Web page at the short cut below. Shortcut URL to the Egroup page: http://groups.yahoo.com/group/ComicBookNetworkEmag All contents COPYRIGHT 2005 The Comic Book Network. 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