Foreword:
I thought we would talk about comics.
- "Blame video games, blame the Internet, blame Pokemon. But at least get out there and fight to get a share of the periodical market. At least spend the cash to promote trade paperbacks instead of letting Borders and Barnes & Noble just display them spine out at the ass-end of the science fiction section like they were some afterthought."
- - Chuck Dixon in an article
from Dixonverse
called "A Golden Opportunity…Missed"
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I took the test with some amusement and felt it was pretty darned close to being accurate. Other Dixonversers who took the test had results that may vary in opinion as to whether they felt it was accurate or not.
The Comic Book Ideology of Scott McCullar
Hey True Believers…
My pal, Jayme Blaschke, for whom I collaborate with to produce the Green Arrow Fansite up on the Internet with, posted an intriguing link to a website over at the Dixonverse Message Board earlier this week for all to see located at http://www.selectsmart.com/FREE/select.php?client=manmade .
This webpage allows you to take a test and it supposedly gives you the answer to the following questions:
Do you wonder what your comic book ideology is?
Who do you most align with
as far as the future of comic books?
I thought it would be interesting to take the 24 questions that were asked from this site (which were made up of "yes, no, and no opinion" answers for you to choose) and answer them here in a mock up interview with the additional tacked on question for me to answer "why?" I chose that answer. Perhaps it'll give those who visit this site and read or love comics the insight into some of my ideology about comics.
Please allow me to humor myself here and take a gander at these questions…
The Interview
Do you feel that in this current period that the comic industry is in danger of extinction and not as simply part of a cultural cycle? Why?
While I do think the comic industry is having problems with the decreasing number of readers and stores closing left and right, I don't think the comic industry will become instinct. I do believe it is a part of a cultural cycle and that now is the important time to advertise and reach out to a brand new readership.
Do you read superhero comics more regularly than any other genre? Why?
I have to admit that, yes, I traditionally read more superhero comics than most other genres. I have to say that I've mainly been a reader of DC Comics for 25 years and I do read other "super hero" comics from Marvel and other assorted publishers.
I do like good stories that are told well, whether they wear spandex tights and a cape or not. Still, a book like Lone Wolf and Cub that is a period piece taking place during feudal Japan ranks at the top of my interests. Not a piece of kryptonite in sight there.
Do you prefer Company-owned comics to Creator-owned comics? Why?
This may send mixed messages, but I do tend to lean towards the company-owned comics like Superman, Batman, Green Arrow, Daredevil, Punisher, etc. with my own reading interests and what I would like to one day write and/or draw. I'm attracted to the tradition and lifelong honor of some of these characters that have planted themselves into the lexicon of popular culture.
Still, I enjoy reading creator-owned comics just as well. Mike Mignola's Hellboy, Matt Wagner's Grendel, and Dave Steven's Rocketeer were some of the most predominantly mainstream "creator-owned" comics that I enjoyed. I do look for other independent publishers in comics and with online strips that also capture my fancy and entertain.
Do you feel comics should be targeted for younger audiences rather than more mature audiences? Why?
As a father to a six-year old daughter, I do say that it is VERY tough to find comics that are targeted for her age. I get the Justice League Adventures comic series based on the cartoon. I buy her the Powerpuff Girls comics. I get her some of the comics based on the Superman and Batman animated adventures because it appeals to all ages.
I wish there were more books out there that a six-year old and a thirty-one-year old could also enjoy. So, yes, I do wish publishers would start aiming books at 8 year olds instead of the over 18 crowd the majority of the time.
Do you believe "Bad girl comics for fanboys" is an effectual means of helping comics? Why?
This seems to be a bit of a loaded question. I've read a few "bad girl" comics in my day, but I still don't think that having a femme fatale with tits five times the size of her head on the cover in some sexual provocative pose on the cover of some comic that appeals to the horny-ness of a thirteen year old boy is the most effectual means to help the comics medium. Sure, sex sells, but I'd rather see solid storytelling with bold art be the means to effectually help the comics industry.
Are you a misogynist? Why or why not?
Am I a misogynist, meaning to those who don't understand the most basic use of the term, "do I hate women?"
No.
I do think, again this is a loaded question, as I am looking at how it pertains to the comics medium and my own views on life. I think that word, along with the word feminism, has been misused many times in our politically correct culture.
Look, my views about misogyny along with feminism equate to this: Ideally, I believe in the equality of sexes in just about every instance, but there will be times when this will not be true. Sometimes women will be more dominant and other times, men will be more dominant.
I believe women worldwide should have every opportunity to achieve their goals and do whatever they can to live a life of liberty and pursue happiness. In this male dominant world, I'd rather see equality be the norm where neither sex has the upper hand. I'd rather see a person be given every opportunity and judged for the content of their character to achieve along with the demonstration of their abilities rather than making prejudged evaluations on the basis of their sex, ethnicity, religion, or orientation.
How does this pertain to comics?
The comic industry will only benefit if comics could be written, drawn, and marketed at women readers who can find them accessible. With comics, in my opinion, still being a niche market, I'd hope at putting the medium back into the mainstream consciousness where comics were once again accessible to the mass market outside of comics specialty shops will catch the curiosity of female readers to pick one up.
This may take much rethinking on the outlook of who comics are aimed at and what companies could do for the potential female readership in a male dominant culture of reading.
Some of my favorite characters in comics are strong female heroines. I like seeing Black Canary and Oracle written as strong characters where "sisters are doing it for themselves."
I don't subscribe to the damsel-in-distress syndrome often portrayed in comics and film any longer as I used to. Helping humankind instead of the helpless fair maiden seems to attract me more in the role of fiction.
I do enjoy that my daughter's imagination is captured with cartoons and comic books about the Powerpuff Girls that helps her live an empowered life as a child that it is "cool to be a girl."
Here is a suggestion; I recommend a book called The Great Women Super Heroes by Trina Robbins as essential reading for every lover of comics. This book gives great insight into the history of women in comics and takes on this era's pseudo pornographic "bad girls" that represent many images of women in comics.
Do you prefer the serialized monthly format over the Graphic Novel format (OGN, TPB)? Why?
If I had my choice, there would be more 80 or 100 page giants out there with a main feature and a several smaller back up stories printed on some cheaper paper "as the norm". I love comics. I'll take what I can get.
The serialized 22-page format in a published monthly cycle is fine and most of my reading is ingested this way because this is the standard, but I tell you that more and more, I prefer the graphic novel format. I picked up Alan Moore's The League of Extraordinary Gentlemen in this format rather than the individual issues. The same goes with a bunch of other comics out there that I'd rather read in this collected format.
I've noticed that for the past year or two, I am actually holding off in buying some "monthlies" in lieu of waiting for it to be collected into a "trade paperback" edition (hopefully) with a soft cover.
CrossGen Comics is doing an excellent job with their Compendia and other collected volumes. I'm reading those stories on the websites first, and if they attract me, I'll buy the trade paperbacks instead of the monthly book.
I think it was Mark Alessi who said that they are offering stories to a consumer like Coca-Cola may offer it's beverage. You can buy it as a six-pack, two liter, fountain drink, and about 50 million other variations. You as the consumer ingest it the way you want to.
That appeals to me.
The danger is that if everyone holds off on the monthlies and waits for it to be repackaged into a trade paperback, sales may plummet and kill the monthly series for cancellation. It is a gamble.
Do you prefer American creators over those from the U.K. (England, Ireland, Scotland)? Why?
Man, I just want good stories told from whomever. Fuck, they can come from Iraq as long as it is good storytelling (…he said somewhat tongue-in-cheek).
Still, on closer inspection, my favorite comic book stories do tend to come from American creators for those of you who are keeping count. Perhaps it is a shared perspective with which many of us readers grew up with as these heroes tend to be classified as "American Icons."
Doesn't mean that Alan Grant can't relate and write a damn good Batman story or that Grant Morrison can't tell a good tale with the Justice League of America, but it sure does make for an interesting read when it is written by a Brit (even if might take a magic mushroom or two to wrap your mind around "Rock of Ages".)
My favorite music is still created, for the most part, by those artists from the U.K. (…he said as he listened to Sting while writing this.)
Does that help the counter balance?
I agree often with Chuck Dixon on his usually toted line that many of the writers from the U.K. usually end up shitting on the good old USA in one way or another within their stories. The writers from the U.K. bring a distinctive voice to the books and I do enjoy chuckling a time or two in my own personal reading entertainment, but I think the personalities of those writers from England, Scotland, Ireland, and such that many would like to stereotype can be the over-the-top bastards that get under the skins of us Yanks and make us itch.
I admit, I love it.
It doesn't go without a day now that I don't read something that Warren Ellis is writing.
Again, I don't care. I've heard it joked that if you are trying to break into comics with some certain editors with some of the bigger comic companies, tell them you are from the U.K.
Me? I can at least say that my ancestors were from Scotland and Ireland about nine generations ago. Does that count?
The thing is, each will develop insight into their own "local to global perspective" as you see how globalization versus diversity each has its benefits and pitfalls. It is my opinion that though we Americans have our differences with the rest of the world, the western culture we share with our Anglo brethren and allies of the 20th and 21st Centuries bonds us into a friendship makes us the best of friends. I think the friendly rivalries that we have with the differences of those comic writers, readers, and other citizens of the world outside the borders of the USA only makes comics a more diverse medium to celebrate and enjoy (…and sometimes get angered about!)
It is this dualism in life that intrigues me. It is symbiotic. Corporate greed in the name of manifest destiny abhors me if it robs the cultural identity and richness of other nations yet I recognize that globalization can improve the standards of living for many third world nations if they would partake of it.
But each situation is unique and the greater good versus the greater evil should be judged out on individual basis in my opinion.
While my national patriotism and love for my country here in the United States has been at a fervor and pride that is undaunted, I am still humbled when I look at pictures of this Earth from outer space and realize that we are still all just one world.
Watching television in another country and reading articles and other letters of opinion from the rest of the global community does make me realize that many in this world outside of my own borders see American patriotism as sometimes a form of global arrogance. I think the whole world can benefit from looking at the good, bad, and ugly with each other as we all work to cohabitate on this planet.
How did this turn into a global discussion?
I see that my brethren from England, Ireland, Scotland, (…and heck, even Canada!!!) all love comics too. As long as the stories they make allow me to laugh, cry, and feel emotions that entertain me for my buck, then I'll be the first in line to buy 'em.
Do you think the success of the industry hinges on the success of Marvel Comics? Why?
The funny thing is, I'm buying more Marvel Comics now than I have at anytime in my lifetime. While my younger brother is usually a "Marvel Man" first, I've always been one that read predominantly DC Comics. I still do.
But I do think that Marvel Comics is taking chances. They will make mistakes. They have made mistakes. I also think they will find success and I would love to do some work with them one day also. So, I might be biased.
But for the success of the industry?
They are one of the pillars. If they fail, it will hurt the industry tremendously but it will not bring on the ultimate failure or extinction of comics, in my opinion.
Where one falls, another will rise.
Do you feel that what the comic industry needs most is better marketing as opposed to better comics? Why?
Why does this have to be an either/or question? While there are excellent stories out there and the companies are getting off their duffs to attract new readership, I think BOTH things need to be improved ALWAYS as an ongoing project.
Should comic book companies attempt to cater to their potential audience forsaking their current audience? Why?
It is like that question posed in Star Trek: Do the needs of the many outweigh the needs of the few, or one?
The comic book medium needs diversity. We need our superheroes in tights. We need our war comics. We need our westerns. We need our love stories. We need character driven tales. We need plot oriented action and adventure escapism.
I do think that some flagship books (i.e. Superman, Batman, Spider-Man, etc.) should cater to a GREATER audience that includes six-year old kids that would also entertain adults. Each of these iconic characters still can have their "direct market" stories that are geared towards older audiences, but I do think that mainstream books should be aimed at a greater audience while some other books on the side or fringe can cater to the current audience.
Does that answer the question?
I mean, take The Question as written once by Steve Ditko and Denny O'Neil at various times in history. Take a look even at my favorite character, Green Arrow, as he has been written for the last twenty years. Not all books need to forsake their current audiences, though they may be small, when the relevant issues at stake for what makes a book tick our abandoned for the "globalization" (if you will) to take on a larger audience for the almighty buck.
That is when corporate greed versus creative vision needs to be judged and I often will lean towards the creative vision over the almighty buck.
But when you see Batman Animated Adventures appeal to a father and son, you know it has reached a broader audience when dad doesn't have to worry if the subject matter will be too intense. The success of the Smallville television syndicated series has renewed my faith that hopefully DC Comics will return their flagship character of Superman back to his iconic roots that all ages can enjoy.
Is it important that creators put out work on time rather than whenever they finish something? Why?
I believe a creator (or anyone in the professional field even outside of comics) should fulfill his or her obligations and meet their deadlines when it comes to work that they have promised to an editor and the audience.
Period.
It is all about work ethic. It is about trust. It is about content of character.
If a monthly writer or artist is unable to commit to a monthly schedule, then they should make arrangements to rotate in and out of the line up roster for a monthly book and allow someone else to get a turn at bat.
I also think some high profile writers and artists may need to consider taking on projects that they can fulfill and may need to consider work such as mini-series or certain story arcs that are created and completed in advance of solicitation if there is even a doubt that they won't meet their promised solicited deadline.
If they are unable to do it in a timely fashion, get out of the way, and let someone else who is capable to do it then do it. It irks me that some high profile creators can get two years or more to let a property stay in limbo until they can get to it when they are good and ready to make time for it because of other obligations.
If the involvement by a certain artist or writer becomes more paramount than the stories or characters themselves, then I think some things need to be weighed as to what is greater good or evil in allowing - for a better term not withstanding - slackers to do what they well wish.
Now, when it comes to "creator owned" work, then I think we have a whole new ballgame as long as a creator lets it be known up front at least 90 days in advance when an audience can look towards new work - and then they too should be held accountable for their word.
Is Stan Lee a genius? Why?
Yes.
'nuff said, true believer…
Are comics a niche medium? Why?
Now? Yes.
Then? No.
Comic books were a staple of Americana, but I think since the late 1980's, comic books have become a niche medium where you can find them mainly only at specialty comic shops that were sold through a direct market instead of infiltrating every grocery store and gas station at every street corner.
How I long for the good old days where comics were accessible for ALL kids, and yet, there could still be that niche for the select readers who have distinct tastes in their reading.
Are comics more art than entertainment? Why?
The art aesthetic can enhance the entertainment value. Is that a way to squirrel around the question?
I believe that comics are first meant to entertain and that art and great storytelling lends itself to make that entertainment happen.
This statement, coming from me, an art professor.
Does Vince McMahon WWF style grandstanding serve to typify comics as petty and small rather than really help comics? Why?
Beau Smith said in an interview a few years ago that one of the toughest things for a creator to do was "tweak your own horn" every now and then to gain attention. But it is sometimes a necessity. In the last few years, I've learned this more and more in my own happenstance, but it does help put your name out there in a P.T. Barnum like way for those who are trying to draw an audience into the tent.
Publicity, entertainment, and capitalism are all partners in bed.
It may mean that there are certain needs that have to be made that will shock and provide lowered standards of entertainment value in order to draw attention in some of these grandstanding maneuvers (…which I typically witness with the antics demonstrated by Quesadas and Jemas at Marvel).
It can sometimes be crude, embarrassing, and (yes) petty things that are done to bring business in a circus barker-like manner but it can be effectual though I generally disdain it.
That is why I drive a Saturn car.
Wouldn't it be nice that a well-drawn cover could entice a buyer to pick up a book, purchase it, and then go take it under some tree to sit down and read it instead of some gimmick or obnoxious "main event?"
Do you like creators who are "in your face" about what they think about the comics industry? Why?
I'm doing that right now with this interview by being a bit in your face. I actual enjoy reading the good, bad, and ugly from various comic book creators in what their own ideologies are or whatever it is they have to say.
The accountability is on me to be a receptive audience on whether I listen or not. I'm a big boy. I enjoy freedom of expression. I enjoy the diversity of points of view that can entertain and infuriate. More than once I've heard an "in your face" diatribe that has enlightened me or made me reconsider some of my own points of view.
Do you follow creators more than characters? Why?
I tend to follow characters that I love more than creators, though I do follow work by certain creators.
I'll follow characters like Green Arrow, members of the Justice Society, Batman, and many others I'm not listing here with just about whoever writes them.
Likewise, I will follow the work of creators like Chuck Dixon, Denny O'Neil, Scott Beatty (plug, plug, plug) along with other creators such as Steve Rude, Mike Mignola, Tony Harris, Geoff Johns, Mike Grell, Joe Kubert, Mark Waid, and Kevin Smith just to see what they do. I know I'm leaving out a lot more names here.
Not all of it will be to my taste, but I generally find myself liking the majority of what these folks do.
Do you see the Internet as a viable means of reading, soliciting, and enjoying comics? Why?
Yes.
I think websites can function as one of the means to distribute stories for consumption. CrossGen is leading the way, in my opinion, with www.comicsontheweb.com as an option to reading stories. I also love many of the independent "online comic strips" out there which exhibit some interesting work.
Websites can also function as a means to supplement comics with solicitation, news, behind-the-scenes pieces, interviews, and critical discussion.
Of course I may be biased when I work behind the scenes with Dixonverse.com and a whole bunch of other websites.
Isn't it best to just let comics be comics? Why?
Sure. Why not?
Would you rather read a book right now than a comic? Why?
Actually, I'd rather watch a movie in about 15 minutes from now.
I read books. I read comics. I enjoy both. I have no preference of one over the other.
Are comics capable of telling any story adequately if not
better than any other medium? Why?
This is a loaded question of sorts.
I do think comics can tell stories adequately, and in some cases, better.
Still, would you rather sit in the movie theater and watch the new Star Wars film by George Lucas or would you rather have that story told to you as a comic book adaptation? I can enjoy both, but each experience will be unique.
I do think comics are a magnificent way to marry writing with the visual arts. I love this medium, but it is not the end all and be all of storytelling because each medium has its own merits.
Should comics strive to move more toward short, and fun installments? Why?
I'd rather see some monthly comics gear towards having a few short stand-alone stories. Sure, the plot and other subplots can be introduced and continue into next month's issue in a serial-like manner, but I tend to cringe when a single story arc takes place for a year.
Do/would you mind buying comics from a chain bookstore like Barnes & Nobles? Why?
Not at all. You can usually find me in Barnes & Noble at least once a week as it is anyway. Already, they have the spin rack and a whole aisle full of graphic novels, which I think is great since those books present themselves with a longer shelf life by being in these formats.
It would be nice to see a broader selection of books expanded. I agree with Chuck Dixon when he wrote, "At least spend the cash to promote trade paperbacks instead of letting Borders and Barnes & Noble just display them spine out at the ass-end of the science fiction section like they were some afterthought."
Afterword
After taking the online quiz with the "yes" and "no" answers at that website, the results were given as to see what comic book writers I was like more.
Here are my results of who I had an ideology that was more like mine…
#1 Stan Lee
#2 Kevin Smith
#3 Scott McCloud
Go check 'em out and see what you come up with.
That's all folks.
See you in the funny pages,
Scott
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