Saturday, July 23, 2016 

Valiant sides with Hilary Clinton

I almost forgot I wanted to post about this, but the new Valiant's just made their sidings in this year's election clearer in an issue of the series starring Faith, and the saddest part is that a writer whose work I did appreciate years before is writing this story:
On November 2nd, just days before Election Day 2016, legendary writer Louise Simonson and Harvey Award-nominated artist Pere Perez present history in the making with a presidential milestone like no other! Faith Herbert, star of the highest selling independent superhero debut of 2016, is a shining beacon of optimism in a challenging world. Her day job as a blogger and journalist is about to bring Faith face to face with Democratic Presidential nominee Hillary Clinton…but it’s her daring alter ego as Los Angeles’ leading superhero that will have to save the day when a new threat emerges to imperil a pivotal moment that has all of America watching!
Just what everybody needs, a tale featuring an incompetent politician who didn't handle the Benghazi disaster properly, and didn't follow the State Dept. instructions with emails when she was a secretary of state. And what's the threat they speak of in the Faith story? Conservatives?

And it's a shame Simonson is penning this story, because she was once a writer I did appreciate. Now she's making the mistake of putting her politics at the forefront, and perpetuating an error too many comics writers are doing now, by going ultra-liberal and political in nearly everything they script. This upcoming book is nothing more than absurd electoral propaganda.

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Friday, July 22, 2016 

Bubble Zoom could make reading comics on phones easier, but not modern superhero stories

Tech Crunch talks about Google's new Bubble Zoom program for reading comics on computerized phones. To enlarge the word balloons is a clever idea. But making the most recent superhero comics the online offerings is not. They tell that:
For now, Bubble Zoom is only enabled within all Marvel and DC collected volumes (that’s about 2,800 comics in Google’s store — and they are all available for 50 percent off right now if you use the code SDCC2016), but Hartrell tells me that the team already trained the algorithm on millions of pages and plans to roll it out to other comics and manga over time. “We want to come to the world and say: we nailed all the styles and comics that are out there,” he said about the company’s slow rollout plans.
I'm sure there's other, far better choices out there, and that's why it's ridiculous they're starting off with such easy ones. After all, if few are reading their modern products on paper, there's little chance it'll be any different on a mobile screen. They had a big chance to make an unlikely choice by making arrangements with a smaller company like IDW, Dynamite or the revived First, who do have some titles worth and instead, they go for the obvious, and from what I can tell, it's with the newest output by far. All of which could be mired in crossovers, so they wouldn't be offering the best starting points for a newcomer.

The concept itself is creative. The comics they're formatting for phones, however, are not.

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Wednesday, July 20, 2016 

Greg Rucka tries to censor Frank Cho's WW art, so the latter quits DC

Artist Cho's left DC after issues with Greg Rucka, whom Cho feels is sabotaging his art drafts (Hat tip: Breitbart). He told them that:
All the problem lies with Greg Rucka.

EVERYONE loves my Wonder Woman covers and wants me to stay. Greg Rucka is the ONLY one who has any problem with covers. Greg Rucka has been trying to alter and censor my artwork since day one.

Greg Rucka thought my Wonder Woman #3 cover was vulgar and showed too much skin, and has been spearheading censorship, which is baffling since my Wonder Woman image is on model and shows the same amount of skin as the interior art, and it’s a VARIANT COVER and he should have no editorial control over it. (But he does. WTF?!!!)

I tried to play nice, not rock the boat and do my best on the covers, but Greg’s weird political agenda against me and my art has made that job impossible. Wonder Woman was the ONLY reason I came over to DC Comics.

To DC’s credit, especially [Art Director] Mark Chiarello, they have been very accommodating. But they are caught between a rock and a hard place.

I just wanted to be left alone and do my Wonder Woman variant covers in peace. But Greg Rucka is in a hostile power trip and causing unnecessary friction over variant covers.
I'm willing to give Rucka some credit for insisting Eddie Berganza not be an editor on the books he's writing, as a condition for returning to work for DC. But here, he's being very petty and laughable, and that's not a good sign. Let's not forget Rucka was one of the writers involved in the post-Identity Crisis storylines, like the tale where WW breaks Max Lord's neck to stop him from mind-controlling Superman into performing violent carnage, and instead of thanking her for saving him from winding up with blood on his hands, he damns WW for taking a life - no matter how out-of-character it was to begin with - to save many more innocent ones in danger of the effects. Batman was also depicted shunning her for this. I don't see how drawing WW in hot poses is such a big deal, but setting her up in a storyline to look like a baddie isn't.

Here's the draft as drawn by Cho:
What's so wrong with this that isn't so wrong with what dozens of other artists were drawing years before? In fact, what's so wrong with Cho's cover that isn't so wrong with the covers Greg Land drew for the Elektra series of the early 2000s when Rucka was writing it?

And of course, there's the Black Widow series from the MAX line and Perfect Dark covers to consider. Rucka sure is hypocritical on the topics.

To be honest, I think it's for the best Cho left, because so long as Dan DiDio and his ilk are in charge, I don't think Cho should be lending his talents to them for their sake. At the same time, while I oppose censorship, as Rucka's apparently advocating, I do think it's idiotic at a time when the industry's doing so badly to be relying so heavily on variant covers, because they don't a good story make. At worst, they're a waste of money, and only compound the image of comicdom catering to aging collectors who'll buy almost every variant cover, even though you could surely find the same pictures online, save to file and set as a desktop photo, or print them up and hang them on your house walls. Variants are only making poor substitutes for talented writing, and IMO, it could even make the artists look like they're making bad choices of where and how to put their talents. Just one cover illustration is enough, and while there's plenty of fine artists out there, that doesn't mean the publishers should be wasting so much money by employing almost every cool artist for the sake of variants as a short-term means for moneymaking.

That said, if Rucka caused so much trouble for Cho over peanuts when there's surely quite a few books out there featuring gore galore that's far more jarring, then I see no point buying what's bound to be a crummy story that'll likely get interrupted by the very crossovers Rucka was part and parcel of in the past decade. Many people have the chance to let Rucka know they disapprove of his hypocritical stance on artwork, and I strongly recommend they do so.

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How can they dominate if books have become secondary to movies?

In this recent CNBC article, they say Marvel's dominating sales, as if this were something new, when it hasn't been for a long time, and isn't particularly surprising even now. All without any critique of their publicity stunts either:
Who's king of the comic book nerds? Marvel Comics, that's who.

The creative powerhouse behind The Avengers, X-Men and Spider Man has led resurgence in both movies and comic books. In June, Marvel maintained its dominance as the top comic publisher with a market share of just over 44 percent, according to figures released on Friday by Diamond Comic Distributors, Inc. Marvel's dollar sales comprised more than 40 percent of the total market, the data showed.

Marvel's dominance was bolstered by "Civil War II," a new Marvel Universe story arc that has already ushered in the demise of two major characters associated with The Avengers.
Wow, and nothing's wrong with that? Naturally, they can't be bothered to answer why it's okay to knock off Bruce Banner and Jim Rhodes, nor why they don't see any value in them as storytelling vehicles for character drama.
DC Comics was a distant second, with June unit share of under 32 percent and a dollar share of 29.93 percent. Sales during the month were helped by DC's own universe-altering "Rebirth" storyline; two related Batman titles landed in the month's top 5 most popular comics.
While there may be some good news - that DC finally reversed all the nasty paths they took by killing off/villifying minor cast members during Identity Crisis - it's clear that they're still going to suffer some poor storytelling, and Dan DiDio's continued presence is enough to alienate plenty of people.
June was a mixed bag for comic producers, which reported double-digit monthly gains versus a year ago, but appeared to suffer in other comparisons.

Year to date, comic sales are down more than 8 percent from the same period in 2015, Diamond reported, with dollar sales off by nearly 4 percent. For the second quarter, comic book sales tumbled by more than 8 percent vs. Q2 of last year—but those losses were partly offset by strong graphic novel sales, which are comparatively more expensive.
As a matter of fact, some paperback compilations seem relatively less expensive than several issues of a pamphlet series are, by a few dollars. It's probably because the latter often costs 4 dollars these days, while the former can have cheaper advantages, and I'm sure a lot of readers would rather get the whole story together, rather than wait a month or two until the conclusions come out.
The sales underscore the changing economics of the comics business. For publishers, book sales have largely taken a backseat to the increasingly lucrative world of movie blockbusters, especially as the fan boy (and girl) audience has aged. Marvel is owned by Disney, while DC's parent company is Time Warner.
Predictably, they won't ask if poor scripting and political biases have ever brought down superhero comics, nor if the Big Two ever tried promoting them convincingly - and respectably - to crowds who just want tasteful escapist fare not laced with agendas. No doubt the leftist positions of the publishers are exactly what's keeping a lot of the press from lambasting them, and that's why they''re able to keep it up so shamelessly.

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Tuesday, July 19, 2016 

Manga publishers take to crowdfunding

An article in the Asahi Shimbun about a project being launched in Japan to help aspiring mangakas climb the ladder to higher ranks in publication.

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Monday, July 18, 2016 

The Big Two's audience is slowly abandoning them as they succumb to ultra-leftism

Breitbart's technology section wrote about how Marvel and DC's audience is becoming fed up with all their hectoring, yammering politics shoved without mercy into their modern products, including the female take on Thor, on which they make the following point:
The dialogue mirrored most sane reader’s thoughts during the issue, but we’re not all monsters. We are just loyal, long-time readers who are sick of our favorite characters being butchered by nose-ringed lesbians for the sake of diversity, and at the apparent expense not just of dialogue, story and creativity but also, it now appears, the commercial success of Marvel’s comic books line.

[...] Your mileage may vary on Trump disses. Plenty of readers will have smirked along at jokes made at The Donald’s expense. But increasing customer frustration at obscure third-wave feminism preoccupations shoehorning their way into Marvel’s comic books is starting to have an effect on sales. It turns out you can’t bully people into caring about “microaggressions.”
And from the most recent sales charts, it looks like Captain America: Steve Rogers hasn't sold through the roof either. They have only their sleazy, dishonest approach to marketing to blame for that one. First they make it sound like Steve's background was retconned into an evil man, then it turns out he was brainwashed after all, yet that doesn't mean the audience was wrong to feel angry. There are readers out there who realize just how crude and deceptive both Marvel and DC's executives have become, and became discouraged, turning to smaller publishers instead. Just about any and all of their new series today are plagued by their nasty little insults to the audience from a SJW-viewpoint:
“[A lot of misogynistic filth]”, “[Red Pill MRA Meninist Casual Racism]”, and even “[Unsolicited Opinions on Israel???]” were all speech captions in Angela: Queen of Hel, a Marvel comic that was cancelled after failing to set the world alight earlier this year. The comic started with nearly 40,000 sales on its first issue, but dropped to just below 25,000 on its second.

By the third issue, Angela: Queen of Hel was at just above 20,000 sales, and by the last issue, issue seven, just over 14,000 people bought a copy. That’s right: the comic lost over half of its audience within seven issues.

Is that because the comic industry hates women? Or could it perhaps be because readers don’t appreciate being bludgeoned to death with student politics — and because social justice warriors tend not to put their money where their mouth is.
Just what I've thought for a while: even SJWs aren't buying their comics - they're just taking up careers as troublemakers, complaining and complaining and complaining about lack of what they consider required steps for superhero and other mainstream comics, but in reality, they don't care to buy this stuff; just force it upon the more sensible audience and laugh at all the harm they're

In any event, we must still consider that those sales numbers are pure snoozers. Even movies with poor box office results still sell millions of tickets compared with the hilariously awful numbers of paltry thousands comics are getting. Something that Breitbart's writer should stress as well.

They've mentioned Tony Stark's "diverse" replacement, and bring up the character design:
[...] a fifteen year-old black girl with an Afro and hooped earrings.
Thinking back on this, and recalling the artwork I've already seen, they sure are reaching for stereotypical designs. After all, Afro-hairstyles haven't exactly been in style much since the early 1980s, and hoop earrings probably haven't been either. Why indeed would they want to give this new cast member a style that may not be popular now?

They also remind us that DC's not innocent either:
Other comic book publishers are hardly saints, of course. In an issue of DC’s Wonder Woman last year, the popular female superhero complained about a villain “mansplaining” to her before an ally punched him in the face for the crime. “The lasso compels truth, but it can’t stop mansplaining,” declared Wonder Woman as the “bad guy” had his teeth knocked out of his mouth.
And they actually began the whole diversity mishmash a decade before Marvel did, with an Asian Atom, a Black Firestorm and a Latino Blue Beetle. Yes, that was another of the paths they used Identity Crisis for setting up. Even now as they've published Rebirth, it'd be foolish to think they're cutting out that PC garbage.
“We’re seeing the worst falloff of Marvel and DC sales in the store’s 38-year history,” complained one comic book store owner in an industry forum. “Both companies are losing established readers who no longer feel that the company’s output reflects the sort of comics they enjoy.

“For the first time in store history, yesterday’s Marvel FOCs saw us ordering single digits on more than half of the line items in the Marvel section.”

Marvel’s readership is souring particularly fast. With the exception of some big-name comics whose characters have, thus far, escaped the SJW purge of anything remotely resembling a straight white male, Marvel readers are simply going elsewhere.
And they're doing the right thing to abandon ship. If there's anything from Marvel/DC they should buy, it's the older books from the Golden/Silver/Bronze Ages, where the writing quality is far better, and violence is far from graphic like today.
Here’s a newsflash for Marvel: race-baiters and gender warriors who complain endlessly about the “lack of diversity” in comic books don’t buy comic books. They’re interested in identity politics, not fun.

When your customers — lifelong comic fans — pick up the latest issue to find a smorgasbord of irrelevant, hectoring social and pop culture commentary, they probably won’t buy the next issue. Not because they’re sexists and racists, but because the stuff you are publishing sucks.

People read comic books to escape the real world, and readers have had enough of being called privileged cis white men, or misogynist MRAs, in the real world, let alone the one place they get to escape it. If you want to put these things in your comic books, go ahead, but readers are just going to stop buying them.
And it's hilarious how the publishers and their assigned writers/artists are bent on making the readers look like sexists and racists, but won't ponder whether they're wallowing in the same thing, as seen in 2004 with Identity Crisis and Avengers: Disassembled, among several other books they've published since. As I've said before and will again, if that's what they're going to do, it shouldn't be a shock when it turns out they're employing sexual harassers and assaulters to boot, or vice versa. Towards the end, they say:
...there’s trouble on the horizon, not just for the studio’s core intellectual property, but the creative integrity of its work, too. Serves them right.
Yup. All their mistakes of yesteryear are coming back and biting them, and sooner or later, it will bring them down altogether. It won't be a great day, but it will be a mercy upon the intellectual property.

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Sunday, July 17, 2016 

Another mistake made by Marz

On the week when France suffered another terrorist attack in Nice, Ron Marz wrote a pretty ill-advised comment that sounds like he doesn't want any justice done. First, he said:

But then he said:


Oh, so he's blaming the victim, is he? I can guess that he's implying the old blame-game approach, that "invading" countries like Iraq and Syria that harbor jihadists is the reason the barbarians attacked innocent people. Let's be clear: anybody who uses savagery on innocent people throws away any legitimacy their positions supposedly have. Marz's comments are insulting to any decent citizens of France who've been struck by this horror. He is such a defeatist. If he goes to Angouleme's conventions, sensible readers should avoid him. He has no business writing superhero comics, let alone adventure fare.

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Even cartoon adaptations are reaching the R-rated level

Here's an earlier CNBC report where we discover that the cartoons based on Batman, if any, are becoming less suitable for children, and certainly demand serious parental guidance:
Imagine this narrative of an upcoming R-rated movie: A homicidal maniac escapes captivity, kidnaps a high-ranking city official and subjects him to a litany of extreme degradation and torture. The story's protagonist races against the clock to rescue the victim — but not before someone close to both men suffers a grievous wound.

It may come as a surprise that the hero and villain in question are none other than Batman and The Joker. The synopsis describes the latest superhero movie — this one a cartoon video, no less — called "The Killing Joke" that's expected to be released in July. Based on an iconic graphic novel published by Warner Brothers' DC Comics in 1988, "The Killing Joke's" dark tone and decidedly adult content earned it a place in the pantheon of avant garde storylines. To date, many fans and experts consider it one of the best Dark Knight stories ever written.
Except possibly its own author, Alan Moore, who's all but disowned it because today, he's not so happy he went through with this, but is glad the editors at the time wouldn't approve of the idea Barbara Gordon end up raped after being injured.
"We're at a point now that we can choose to be as authentic to the source material," said Sam Register, president of Warner Brothers Animation, in a recent interview with CNBC. "'The Killing Joke'" had been on the slate for years, and the director felt it could be close to the source material.

"We didn't go for rated-R but we knew that would be a possibility," he said. "We decided to embrace it."

The soon to be released video, whose R-rating is a first for a DC superhero endeavor, is part of a fabric of highly lucrative comic book films that are darker and more violent. However, what has become increasingly apparent is that fewer of them are suitable for children and young adults.
I wonder if that includes any cartoons they've produced based on Superman, the Flash, and even Justice League? Maybe not yet, but they could be soon. What this hints is that children and teens aren't taken as a valid market much today, and that's not a good thing. It also suggests the same mentality that flooded DC's comics is now turning up in the WB animation department to boot. Even Marvel cartoons may not be immune to this.

I think this is the same cartoon SJWs wanted censored, and while I don't support censorship, I do know that if the approach used in the Killing Joke cartoon leaks into other animated products based on characters and series where the vision was anything but dark, it'll only devastate those properties too, and make them less appealing, as already seen in their output since the mid-90s. And that will only ensure the further decline of comicdom along with Hollywood.

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Saturday, July 16, 2016 

An old interview from 2014 about Wonder Woman featuring a plus and minus

When I'd last spoken about a topic involving the historian Tim Hanley, it was one where he was the interviewee. Now, here's an old entry from his site where he's the interviewer, and former DC editor Janelle Asselin the interviewee. On the plus side, she recognized what was wrong with the disgraced artist Justiniano:
TH: While you worked mainly on the Bat-books at DC, did you ever get to edit an issue with Wonder Woman in it?

JA: Actually, I worked on an entire graphic novel about Wonder Woman that will never come out! It was written by a couple of talented fantasy writers and focused a lot on the mythology of Wonder Woman. It was a really special project and a great experience (it was the only true graphic novel I worked on at DC as everything else was published in single issues before being collected) but there were some truly bizarre circumstances that led to the project being killed. It was because one of the creators, the artist Justiniano, was accused and then convicted of possessing child pornography. Internally the decision was made to halt all production on the book and cancel our publication plans immediately, which hit right as we were on the verge of finishing work on it. Justiniano was actually finished with his pencils completely, which made it insanely expensive at that point to have it redrawn. It’s sad because it was a gorgeous looking book, but I completely agree with the decision that was made because I cannot separate the creator and how they live their life from their work. While there were a lot of other lovely people working on the project who would’ve liked to see it published, I don’t think anyone ultimately disagreed that it should be shelved given the situation.
Certainly it should've been cancelled, though not simply because of inability to separate between art and artist: it's because, if publication would entitle Justiniano to a cut of any profits made on any sales, then ultimately it shouldn't go to press (and most people would hopefully be reluctant to buy a book illustrated by such a pervert. I vaguely remember owning a paperback years ago containing a Beast Boy miniseries Justiniano drew, written by the awful Geoff Johns and Ben Raab. I later sold it off at a used book store, at least 2 years before Justiniano's felony made headlines. My decision to part ways with it at the time was because it was a very mediocre book; maybe not as revolting as some of Johns' later work on the Flash, but still pretty tedious, and featuring elements that would pose a problem in his work later on, like pointless nostalgia, and even introducing an otherwise unexplained daughter for Madame Rouge. I thought it was also a waste of Flamebird, who, in the end, seemed to be in the book just so they could introduce a new costume that was less appealing than the one George Perez designed when he redeveloped Bette Kane in the late 80s.

On which note, from what I know about Justiniano's career, there isn't much memorable about his work, and he decidedly pales next to other artists more talented than him. Under Perez, Flamebird's costume (seen at the side) is colorful and spectacular. But as drawn by Justiniano, even the old design actually comes off pretty uninspired in the 1998 miniseries. Which never got the character the recognition they supposedly wanted to give her.

And back to Justiniano's felony now: they may have made a wise choice to cancel the project after he was arrested and convicted, but suppose this were a case where he'd accidentally sent that memory plug to one of his editors? It wouldn't be shocking if they'd let him off with a little more than a slap on the wrist, sent it back and asked him to give them the correct files instead, and swept the whole case under the rug, because profiteering at all costs is more important to them than morale, and we've seen how they handled the whole Eddie Berganza affair already. The only reason DC and other such companies distanced themselves from Justiniano is because he got caught...by outside sources in an unrelated situation. Who knows, even Asselin might not have balked at continuing work with him. I'm not sure if Justiniano's still in jail, but his career's been destroyed, and deservedly so. A lot of the books he worked on in the past will now either cease being reprinted for a while, or never be, since on the surface, they wouldn't want anybody to think they're giving him a share of the profits they might make. Not that most of his books were worth the trees wasted to publish them though, recalling the revolting setup used in Day of Vengeance.

And whatever the script quality of the shelved WW project might be, isn't it bizarre that a product written by a woman who might be more decent than some of their contributors of recent wound up saddled with a artist whose persona is grimy, while most other writers got artists far more rational working alongside them?

Now, here's the minus side of the interview:
TH: If you were to edit a Wonder Woman story, what would you be looking for in terms of the writer’s characterization of her and the artist’s interpretation of Wonder Woman?

JA: I think the difficult thing with Wonder Woman is that she’s come to be a symbol for so many that a lot of people don’t know how to make her a relatable character. She’s like Superman in that she’s so strong and symbolic that it can be difficult for writers and artists to accept that she can also have a personality. So I think I’d look for a writer to make her both the strong, symbolic character AND the realistic, relatable person she is capable of being. Other writers have done it. It can be done.

As far as art goes, I think she should be drawn as muscular and a warrior. None of this T&A bullshit. I like the costume being kept close to her original costume (it’s just too iconic to really change and have it stick at this point) but I love the idea of it being more like armor. That just makes more sense, right? I love the way Cliff Chiang draws her, too, even if it’s not perfectly my ideal. He’s just such a skilled artist that I’d be happy to see him draw that book forever.
Oh for heaven's sake! No, this is definitely not something I can get behind. We're dealing with a world involving plenty of surrealism, and she thought armor was such a big deal? WW was depicted in combat for many decades without donning armored outfits in every instance, and realistically speaking, it's actually difficult to fight while wearing the kind of armored plates the old Knights of the Round Table wore on the battlefield. I don't know if that's why the Celts of Britain lost to the Normans in remote times, but the armored suits common at the time were anything but helpful in battle. At best, they made it hard to move smoothly.

And that part about "T&A BS" is just her SJW side coming to the fore. It's not wrong for a guy to admire the female form any more than for a gal to admire the male form, and was more or less one of the ideas William Marston had in mind when he set out to develop WW in the Golden Age, so I don't see what all the fuss is about, nor do I see why somebody would want to be a fan of something that wasn't exactly what they envisioned when it was originally created.

What Asselin's implying is that it's wrong for today's artists and writers to conceive foxy costumes if they wish for a heroine. But all she's doing is insulting many decent scribes of yesteryear, since, if they were alive and active today, then the same argument would've applied to them as well. And if I wanted to develop a hot costume design for a heroine today - even a book owned by a private creator - I guess what she's saying means that I'd be wrong and a scumbag for daring to come up with one too, huh? As a guy proud of his masculinity, I feel very put off. I hope she's not trying to link one matter to the other, because there's plenty of decent dudes out there who know how to develop T&A with good taste, and read it the same way too. Not every artist/fan out there is a one-dimensional pervert like Justiniano turned out to be.

So that's a subject primarily about WW that's got an upside and a downside. If only we could hear from experts who aren't SJW types on these topics too.

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About me

  • I'm Avi Green
  • From Jerusalem, Israel
  • I was born in Pennsylvania in 1974, and moved to Israel in 1983. I also enjoyed reading a lot of comics when I was young, the first being Fantastic Four. I maintain a strong belief in the public's right to knowledge and accuracy in facts. I like to think of myself as a conservative-style version of Clark Kent. I don't expect to be perfect at the job, but I do my best.
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