How Tony Isabella turned to LGBT obsessions

Far-left veteran comics writer Isabella, who joined the transsexuality cult the previous year, spoke with the Buckeye Flame about how he took up the position he's sticking with now in his mid-70s, and predictably, they fully comply with his wishes to be regarded as a woman:

Cleveland’s own Jenny Blake Isabella, who previously wrote under the name Tony Isabella, has been a prominent comic book writer for decades. Recently, she has also become a queer icon in the comic community after coming out as transgender in 2025, at age 73.

The catalyst to Isabella’s transition journey came when she attended a queer comic book convention, Flaming River Con, just one year earlier. There, she had an epiphany: “I realized I was so comfortable around queer people because I was one of them… when I realized I was trans, you know, I started feeling better, more adjusted, and more like myself.”

Is it possible he's the kind of guy who was once described as "coming out of the closet" in past decades - meaning that he's homosexual, but until recently wasn't up to acknowledging it? Okay, that may not exactly be the problem, but what he strongly suggests is that he's become a self-hating man?!? If so, that's disturbing, and it's similar to self-hating Jews.

“I was thoroughly embraced by the comics community,” she said. “By and large, the comics book industry was so welcoming, and this Comic Con was the first Comic Con I did presenting as my authentic self, and it couldn’t have gone better. Nothing but love and respect and acceptance all across the board.”

Not only has there been more acceptance in the comic world, but there’s also been an expansion of what it means to be a superhero on screen. Queer characters and actors, like DC Comics’ trans superhero Nia Nal, played by transgender actress Nicole Maines, show the industry’s strides towards inclusion. The writers’ rooms, too, are diversifying.

“There’s a bunch of queer and even trans creators in comics,” Isabella said. “I was on a trans and non-binary creator panel at Comic Con, I was on an outed comic panel in Comic Con, and the people on that panel were just a fraction of the queer representation in comics.”

The way the industry went miles out of its way to accept such degrading beliefs and cultures, especially at the expense of heterosexuality - is disturbing, and one of the reasons why, despite their efforts to fluff-coat the whole subject, has plummeted in sales and respect over the past decade. And what "inclusion" are we talking about here anyway? I don't see serious efforts made to emphasize Armenian backgrounds in comicdom, or even Arabs who're Christian/Hindu/Buddhist/Zoroastrian adherents. Also, while it may not be mentioned, something tells me Isabella's unlikely to take issue with hostility to LGBT practitioners in the Muslim world, no matter what he says here. And if he has no concerns over such issues, then what he's telling them here is a sad joke and a blatant lie.

The publication turns to the time when Isabella created Black Lightning, and says:

What motivated Isabella to write Black superheroes came from the influences she received growing up in Cleveland, especially her time attending a comic book club at the Cudell Recreation Center as a high school student.

“My first Black friends were comic book fans who came from the East Side to the West Side for these meetings,” she said. “And I’m 17 years old. Diversity wasn’t in my language. I just thought it was unfair that my Black friends didn’t have more characters they could relate to. So I told myself that if I ever got into the business, I would try to work with and create characters of color.”

Well he sure seems to have largely abandoned that interest now, all for the sake of LGBT ideology, and he seems much more obsessed with that now, along with leftist political ideologies, and hostility to right-wingers like Donald Trump.

Eventually, Isabella saw her creation, Black Lightning, come to life in a different medium: television. Black Lightning, starring Cress Williams, aired on The CW Network from 2018 to 2021, following the retired superhero’s journey as he returned to action to protect his family.

For Isabella, the television adaptation was a delight to both witness and be a part of.

But was that because there's any far-left components to it, like hostility to law enforcement? Well that's why the TV show was nothing to celebrate, and another example of how Hollywood's going down the political drain.

Receiving multiple awards over the course of her career, Isabella recently became a 2026 recipient of the prestigious Bill Finger Award, named after the co-creator of Batman, Milton “Bill” Finger, given to those who have exemplified excellence in comic book writing.

And the saddest part is that they very likely complied with his wish for female pronoun references. On which note, if I notice correctly in one of his recent photos, he's wearing a wig? What are the odds he takes it off when he's at home? That would only make clear he's doing this whole act for show and virtue-signaling. And that's what makes this whole embarrassment additionally sad. I don't know if he ever worked on women's panels at conventions, but based on where he's been going, that's why he's unsuited for it, if he's going to take up a lifestyle/ideology that does more harm than good for women. It's devastating to think of how even the kind of punk subculture that was common in the 1980s has also been validated by today's woke belief systems. Based on some of his recent behavior on social media, that's why Isabella doesn't deserve the award he got. Besides, did he ever do any favors for Finger's memory in past decades? Chances are Isabella never did, which only makes this whole affair that much sadder.

The Comic Hero University store in Los Angeles

Voyage LA interviewed the manager of Comic Hero University, a specialty store, and he tells them that:

We’ve been impressed with Comic Hero University, but for folks who might not be as familiar, what can you share with them about what you do and what sets you apart from others?

Comic Hero University has always strived to be a place that breaks the stereotypes of comic book stores. We want to create a place that is community-first, business second (without sacrificing the business part so we can keep our doors open). We have a large number of products- comics, toys, and collectibles- to entice people to come inside, but the real gem is the people that work here who actively want to create the best experience for anyone new to the industry. One thing we did during the pandemic was create a pay-it-forward program where people could donate money to the business, and we’d use that money to buy comics that we could give away to kids (community first, business second). That program got national press at the time and helped us get through the dark pandemic days. We continue to run our business with the intent to bring new readers and kids who struggle with reading and comprehension, with the hope to build and create lifelong readers and help end the battle against illiteracy.

Here is a link to news report from NBC in regards to our program:

How do you think about happiness?

The moment I see a child pick up a comic for the first time and know that we have created a lifelong reader fills me with joy, as it gives what I do direction and purpose. People’s genuine joy and appreciation fill me with pride, knowing that I did a job well done.

Provided the comic in question is suitable for children, certainly it's something to feel great about. I just hope he doesn't rely heavily on Marvel/DC, based on where they've been going over the past quarter century, and there's plenty of independent creations that could use some notice, whatever age they're aimed for. That could, for all we know, be the way to avoid too many stereotypes about comics stores.

How the first Comicon was organized in the 1960s

BBC radio interviewed Bernie Bubnis, who was involved in organizing the first Comicon in New York as far back as 1964:

In 1964, a group of teenage boys organised a convention in New York – it became known as the first official Comic Con.

The idea began after 16-year-old Bernie Bubnis wrote an article in his comic book fanzine. But when no-one else took on the project, he rounded up friends to help.

Together, they booked a venue, arranged a date, sent out letters and posted ads. And for the star attraction, they invited legendary American comic book artist, Steve Ditko, co-creator of Spider-Man and Doctor Strange.

In late July, the doors opened on the first convention, kickstarting what’s become a worldwide cultural phenomenon.

Well that's interesting history alright. Of course, today, legends like Ditko are long gone, and the mainstream sadly long ceased to inspire, so sensible pop culture fans have to hope the organizers of modern conventions are willing to align with the best of indepedents to produce something worthwhile.

SDCC panel on Jewish influences in comicdom

San Diego Jewish World writes about a panel at the SDCC discussing the Jewish influences in comics history:

Comic-Con attendees packed a panel room to learn about the often-overlooked role that Jewish creators have played in shaping the comic book industry.

Mark S. Zaid, Esq., an Overstreet Comic Book Price Guide advisor, comic book historian, author, and creator of GI’s Rabbi); Danny Fingeroth, former Marvel editor and writer, author of Disguised as Clark Kent: Jews, Comics, and the Creation of the Superhero; and Dr. Andrew Fogel, historian of popular culture and author of Superman’s Jaw presented an engaging PowerPoint lecture titled “The Jewish Experience in Comics: Characters and Creators.”

The presentation explored how the Jewish identities and experiences of many of comics’ most influential creators shaped the stories they told and the heroes they created. The panel traced the origins of iconic characters such as Superman, the Thing, and Magneto, examined the personal histories of Golden and Silver Age comic book creators, and discussed whether Jewish cultural identity was intentionally woven into their work.

It's worth wondering if modern audiences appreciate all this in an era where Islamic antisemitism sadly rose after October 7, 2023. Similarly, do modern film audiences even appreciate the Jewish role in building Hollywood? The article unfortunately also brings up an ideologue who's dampened the impact of his notable GN:

The speakers also addressed how publishers approached sensitive subjects such as the Holocaust and examined the lasting influence of Art Spiegelman’s Maus and Will Eisner’s groundbreaking graphic novels on Jewish storytelling in comics.

While Eisner's writings hold up well, Spiegelman's recent, repellent politics can have the effect of damaging whatever impact he expected Maus to have for years to come. That said, who knows if anybody at these convention panels appreciates that Eisner's last GN, The Plot, also did research on Islamic antisemitism?

One of the panel’s most fascinating discussions centered on Nazi Germany’s reaction to Superman. Fogel displayed a German Secret Service newspaper article attacking Superman’s Jewish creators. Germany eventually banned Superman, portraying him as a symbol of capitalist propaganda designed to brainwash American youth. The article specifically criticized Jerry Siegel’s Jewish identity, referenced his circumcision, accused him of using Yiddish rather than German, and labeled him an Untermensch (subhuman). The publication argued that Superman was not the true Übermensch (superman), claiming he violated the laws of science by defying gravity, lacked proper masculinity because of his circus-like costume, and represented irrationality rather than Aryan ideals.

It's interesting they bring up this specific history, because "Nazi" was an acronym for "National Socialists". Do the panelists know that, and did they specify? And what's their own take on capitalism in an era where it's been all but shunned? It's also interesting the Nazi propaganda they cited considers science fiction and fantasy storytelling anathema to their beliefs, indicating they also despised entertainment written for positive reasons.

At the end of the article:

This was one of the most informative and thought-provoking panels I attended at Comic-Con. My husband joined me for the presentation, and despite attending Comic-Con for nearly 20 years, he walked away having learned numerous new historical connections between Judaism and comic books. It was an eye-opening experience that offered a deeper appreciation for the people and stories behind some of the world’s most recognizable superheroes.

Unfortunately, I have a sad feeling that whatever objectivity the panel had ground to a screeching halt when it came to modern issues, and wouldn't be shocked if the panelists would not say even a word about Islamic antisemitism, and whether it should be subject of any kind of comics storytelling. That's why these panels aren't as informative as they could be, yet nobody will point that out.

Eisner awards nominated pretentious scribes

Perhaps I was being too optimistic when I hoped earlier that the Eisner awards was coming off their biases of the mid-2000s. Oregon Public Broadcasting says 3 local scribes, one who's definitely overrated, were nominated:

Three of Portland’s prominent comic book creators, Rupert Kinnard, Kelly Sue DeConnick, and Sarah Shay Mirk, are nominated for Will Eisner Comic Industry Awards — the Oscars of the comic industry, named for one of the first comic artists in American history. This week, they’re traveling to San Diego Comic Con to speak on panels, sign books, and attend the awards ceremony on Friday night. [...]

While DeConnick’s book FML is up for Best Continuing Series, both Mirk and Kinnard are nominated for Best Comics-Related Book, which Mirk described as “the nerdiest, wonkiest category.” For DeConnick, this nomination is one of many throughout her career after winning the award for Best Single Issue in 2022. For Mirk, this marks nomination number four.

DeConnick's one of the scribes who ruined Carol Danvers as a superheroine in the past decade, all for the sake of "feminist" agendas, and wokeism. And what's this Kinnard known for?

Kinnard created the first Black queer comic strip characters, although he didn’t know he was first at the time. Born in Chicago in 1954, Kinnard moved to Portland in 1979 and helped start the queer newspaper Just Out.

He created The Brown Bomber, a nineteen-year-old superhero sporting basketball shorts and a home-made cape, and Diva Touché Flambé, a mystical grade school teacher who knocks sense into closed-minded streetgoers with her power of slapthology.

Together, the duo form Cathartic Comics, a strip that ran in newspapers in Portland and San Francisco, calling out injustice with wit, wisdom, and pride through an intersectional Black queer lens.

What's so special about that in the view of the leftists now running the Eisners? This is all woke cliche by today's standards. And then, here's what Mirk's known for:

Sarah Shay Mirk is a nonfiction comics journalist, publisher, and teacher at Crucial Comix living in Portland since 2008.

Their book Guantanamo Voices: True Accounts from the World’s Most Infamous Prison chronicles the experiences of former Guantanamo Bay prisoners and staff in the form of a graphic novel.

There's something mighty fishy about this book. What if it's apologia for terrorism, since many Islamic terrorists were incarcerated at Guantanamo, to keep them away from the USA's borders?

Kelly Sue DeConnick is a New York Times Bestselling comics author, known for her reimagining of the character Carol Danvers/Captain Marvel.

Her 2026 nomination for Best Continuing Series is shared with David López, the co-writer of FML, a graphic series from Portland-based publisher Dark Horse Comics.

"Reimagining" is precisely the problem, since, not only was Danvers made to look alienatingly masculine in the past decade, her background was forcibly changed as well. And forced, abrupt retcons were becoming pretty common beginning in the early 2000s, with some of J. Michael Straczysnki's machinations in Spider-Man just the beginning. Also notice how they don't refer to Danvers as Ms. Marvel, which is what she was originally titled in the late 70s when the late Gerry Conway first launched the original series at the time. What's so special about scribes who don't care about the source material? This only clarifies the Eisners continue to remain corrupted in whatever values they once had, and serve leftist causes more than anything else. That's why they're not worth paying attention to, any more than the Oscars in Hollywood.

San Diego artist attends Comicon for 35th year

ABC 10 News reports a California artist named Erik Arreaga is attending the SDCC for the 35th time:

Chula Vista comic book artist Erik Arreaga is drawing attention at Comic-Con this week for his 35th year in attendance.

Arreaga is hoping his new projects will keep San Diego comic book artists on the map.

Arreaga's said he's draws his inspiration for his comic book characters from the 1990s.

"So I feel that I carry that era here. My artwork has been known to be very gritty, dark, but with some great motion," Arreaga said.

And wouldn't you know it, this guy even runs the gauntlet of making me wonder if darkness is what he specializes in. I just don't understand why quite a few of the scribes who've made headlines like these always seem to care more about darkness than light. Then again, maybe I do understand - because the press favors those who do. And that's appalling.

But he is not staying in the past. He is creating characters that live beyond the comic book page — including one who exists exclusively on social media.

"I have a character that is not really in the book. You have to follow her on social media," Arreaga said. "I feel we have to move forward with creativity in our books and just bring in the new generation who are all on social media into comic books."

Well I hope he doesn't think his writing should be made to resemble social media. In the past 2 decades, I'd noticed at least a few stories where the writing was described as resembling a message board argument, such as a story Geoff Johns wrote in the Flash, and he's one of the most pretentious, overrated writers to have ever littered comicdom.

And if he really believes creativity matters, why did he turn to cliches like darkness? Any creator who can't be more open minded about brightness is not being seriously creative. I would hope there's a lesson in this, that modern creators who really want to prove they're creative will be willing to prove they're ready to work in optimism even more. Food for thought. Superman, for example, has been all but marginalized in terms of vision today, and that's something that has to be mended.

How publisher Z2 brought rock musicians to comicdom

Spin magazine wrote about the New York comic publisher Z2, which had a hand in bringing rock stars into comics, and trying out various projects, although there's troubling details turning up here:

The cultural connection between comics and music runs deep, from Kiss and their infamous 1977 stunt in which the band teamed up with Marvel to release a zine infused with each member’s actual blood, to My Chemical Romance’s Gerard Way, who worked at a comic book store and interned at DC Comics before he became a rock star (and later wrote the award-winning The Umbrella Academy).

More recently, Tom Morello, Puscifer, and even the world’s greatest rock ’n roll band, the Rolling Stones, have recognized the reciprocal relationship that fans have with both mediums. Earlier this month, the Stones released a limited edition of their latest album, Foreign Tongues, as a nostalgic Marvel collab package with inserts featuring Spider-Man, Wolverine, Captain America, Thor and Hulk.

Comics have inspired the biggest musicians in the world to create, to embody colorful characters, and to conquer worlds both real and imagined. So it was only a matter of time until someone with a passion for both sought to harness their undeniable superpowers into a fan-focused business model. New York based Z2—which will have a huge presence at Comic-Con International in San Diego this week—has built an empire by creating partnerships with the biggest names in music, releasing graphic novels and collectibles with top-tier artists and pop-culture icons. Distributed globally via Ingram, their impressive roster reps every genre and era including Gorillaz, Blondie, Elvis Presley, “Weird Al” Yankovic, Primus, the Blues Brothers, Tori Amos, Type O Negative, Joan Jett & the Blackhearts, the Grateful Dead, Machine Gun Kelly, Sublime, RZA, Mötley Crüe, the Doors, Kool Keith, Cypress Hill, Babymetal, Major Lazer, Sturgill Simpson, Poppy, and Yungblud.

I do know there have also occasionally been allusions to rock songs in comics of the past, and the U-Foes in the Hulk were inspired by a song titled "Waiting for the UFOs". And no doubt, there is plenty to consider from a historical viewpoint as to what potential the connections with any kind of music could have with comicdom. But Z2 annoys me when their representative brings up what must be one of their most prominent products:

The graphic novel, called Murder Ballads, was a noir-style tale about a record label owner who crosses paths with two blues musicians. The soundtrack featured a vinyl release as a companion, led by an undiscovered elder soul man Auerbach discovered named Robert Finley. Bernstein says it was “a lightbulb moment” and a new direction for the company.

“It was like, wait, this is what we’ve always wanted to do,” recalls Bernstein, who interned at Marvel Comics when he was 16 before going on to work in the music world, doing art direction for magazines including Guitar World, Revolver, Alternative Press, and Loudwire. “I had a lot of relationships with music artists already. That’s sort of the secret sauce here. I knew a lot of the musicians, so we were able to bring them over here. We already worked together and had built a trust.”

Whenever an emphasis is put on titles involving murder and violence, it becomes appalling, because it suggests the music world, rock-based or otherwise, has also succumbed to the kind of PC mindset movies and comics themselves have. Also note the talk of infusing actual blood into a magazine when KISS worked with Marvel, and that too has something unpleasant about it.

Music may be a great wellspring for comicdom, but as the above details involving dark themes suggest, the rock genre's advocates take a cliched route that isn't healthy in the long run. If the focus were pop music, would that genre's advocates offer a more inspiring perspective for comcidom? We could only hope. For now, this is another example of how those who could've impressed more than they did fell terribly short, and would do well to reevaluate their approaches if they really want to impress a wider, more open minded audience in the long run, and try themes that are more optimistic. Otherwise, what variety is there in entertainment at all?

A new franchise titled "New-Gen"

Variety announced there's a new comic being turned into a multimedia franchise called "New-Gen", which is reportedly distributed by Marvel:

New-Gen Universe, Inc. is launching its first consumer products initiative at San Diego Comic-Con, debuting an exclusive collector’s trading card set made with Cryptozoic Entertainment to celebrate its Marvel-distributed comic series.

Just 300 convention exclusive boxes exist worldwide for the July 23–26 event, making this among the rarest “New-Gen” collectibles released to date. Designed solely for the convention, the set also builds momentum for the upcoming 3D CGI animated series “New-Gen Nanobot Heroes.”

In the comic, twin brothers Sean and Chris learn their bodies have been enhanced by nanotechnology, thrusting them into a fight against the villain Deadalus within a futuristic world where nature and technology exist side by side.

“New-Gen” was created by J.D. Matonti, Julia Coppola and Chris Matonti and has grown from its Marvel-distributed comic book origins into a transmedia franchise spanning publishing, animation and consumer products. The Comic-Con cards give fans a tangible link between the source comics and the animated series still to come.

While I think it's great somebody wants to create their own franchise, and turn it into animation to boot, why must they rely on a publisher as unreliable as Marvel's become for distribution? They're being very foolish there. I wish the creators good luck in selling New-Gen, but would appreciate it much more if they found a different distributor instead. And perhaps if they focused foremost on the comics writing/illustrating, and not get carried away by turning everything into a whole franchise relying on toy merchandise, because that hasn't done many favors for comicdom in the end.

Kingston's first game convention gives a role to Canadian comics creators

The Kingston Whig-Standard wrote about the first video game convention being held in the Ontario city, where even comics creators had a role:

Indie game developers, esports competitors, comic book creators, and pop-culture enthusiasts gathered at Slush Puppie Place this past weekend for the inaugural Eh! Game Expo.

The event was a three-day festival that organizers hope will become an annual event in Kingston. The expo featured esports competition, cosplay, trading card games, artists and exhibitors from across Ontario and Quebec.

The event also included the Fight for the Throne esports tournament, bringing competitive players together for games such as Super Smash Bros. Ultimate, Street Fighter 6, Tekken 8 and other fighting titles.

Among those showcasing their creative work was Chris Cochrane, a longtime musician and teacher who moved to Kingston nearly a decade ago. That’s when he decided to revisit a dream he first pursued as a young artist: creating comic books.

For Cochrane, founder of Kingston-based Machete Comics, the expo was more than a business opportunity. He saw it as evidence that a community centred on comics, gaming and fan culture is continuing to grow in Kingston.

“I knew that I wanted to do comic books,” Cochrane said. “I figured this is a trilogy in life. This is the third chapter in a trilogy.”

Well good luck to him on his productions. But, the guy unfortunately couldn't resist bringing up a political complaint:

Cochrane cited recent trade tensions and the rising cost of selling books in the United States as key factors in swaying his interest more heavily toward Canadian stories and local creators.

“Because of the tariffs, one of my comic books costs about 40 bucks in the U.S. now,” he said.

Oh good grief, can it really cost that much, tariffs or none? I thought those applied more to distribution and delivery than the list prices on the books themselves. It would seem some Canadians just aren't willing to take issue with their local government and what it's doing wrong, and the aforementioned Tom Grummett was one such person.

I think more Canadian storytelling can be a great thing, but they should seriously leave grudges with the USA and Trump out of this. The same can be said for the video games industry.

A convention built on GI Joe in Augusta, Georgia

Fox54-WFXG gives a report about a comics convention in Augusta, Georgia built primarily on GI Joe fandom:

One of the biggest comic book conventions in the country came to Augusta this past weekend.

Joefest came back to Augusta for the ninth consecutive year. The convention is one of the biggest G.I. Joe conventions in the world and included a number of collector’s items, celebrity voice actors and comic book artists.

“This is my second year here, and we're having a blast with it,” vendor Jeff Mercado said. “I’m a big G.I. Joe fan anyway, so it made it easy to come. I have my own collection, so finding rare pieces that I want for my own collection, selling off some of my older stuff that I had from when I was a child, and then, I started getting into a lot of the other things. I try to just hit all the markets, you know, what everybody's into collecting, so I have a wide variety of stuff that we like to sell.”

Having a convention built on the Joes is great. But the trouble is, this is the kind of convention where collectibles are sold at huge prices:

The event included over 200 vendors serving over 15,000 people over three days. Vendor Jeff Mercado says that the collector’s items at the convention are worth thousands of dollars.

“I mean, we've got stuff here that's five bucks, 10 bucks, all the way up to a couple $1000 for a piece,” Mercado said. “I got some airplanes that go for 2,000 bucks. We got some tanks in here that range in the 100s, 200s. We cover a broad spectrum. There's all different kinds of collectors, so we try to have everything for every price point.”

Oh good grief. This sounds like another convention focused on selling to speculators, and that could even include those who buy toys for archiving in the vault. Indeed, what's the use of having old toys around if they're not going to be donated to museums anny more than old pamphlets are?

I think it's wonderful to establish a convention built around GI Joe as much as various other entertainment franchises. But that doesn't mean the speculator market should be mixed in with it, based on how high some of this stuff can sell, yet it's entirely possible it won't be played with or read, and end up locked in vaults till sold again at auctions. Indeed, toys can wind up being sold on auctions as much as Superman's most expensive back issues. And that makes the whole purpose of the toy industry look like a joke too.

A special event for art students at a Massachussettes library

The Greenfield Recorder covered a special project aimed at encouraging children to illustrate comics at a Sunderland library:

For many young readers, comics are a gateway into storytelling. From Monday, June 22, to Friday, June 26, the Sunderland Public Library is helping children take the next step from reading comics to creating their own.

Through a week of comics programming organized in partnership with the Boston Comics Arts Foundation (BCAF), local students will learn directly from professional cartoonists while exploring the fundamentals of visual storytelling. The program features award-winning graphic novelists Jarrett J. Krosoczka and Mike Curato, who will share their experiences as creators and encourage young artists to develop their own voices.

According to Deanna Soukiasian, cartoonist and education coordinator for the Boston Comics Arts Foundation’s Mass Makes Comics initiative, the program grew from a desire to make comics education accessible to more communities.

“In the community, there’s a growing desire for kids to learn visual literacy,” Soukiasian said. “Comics are for everybody, and learning is for everybody.”

Mass Makes Comics focuses on bringing educational opportunities to underfunded communities throughout Massachusetts. By partnering with libraries, artists and families, the organization works to ensure that students who are interested in comics have access to professional instruction regardless of their background.

Well that's great they want to encourage students to try their luck in illustration. But, I hope they recognize the vitality of being a talented artist and writer too, otherwise, how does an aspiring creator expect anybody to read his or her productions? It's also worth considering that if you inject heavy-handed leftist ideology into your work, that too could discourage potential audiences. Provided all involved are willing to consider that, their project and convention should work out well enough.

2 old interviews regarding the JSA

I found 2 interviews, one with the overrated David Goyer and the other with the late Len Strazewski, from an old Geocities JSA fansite that's now archived. First, here's the interview with Goyer:

Q2. How did you choose what storyline to start the new series with? Was it always intended to deal with the death of Sandman, and the rebirth of Dr Fate, or were there other ideas?

We always intended to begin the new book with the death of Wesley Dodds, but originally, this was going to be tied into a story involving the old Paul Kirk Manhunter clones. We shelved that (we'll be bringing it back later on) and decided to go for something much more epic -- the birth of a new Dr. Fate.

And that new Dr. Fate was Golden Age Hawkman and Hawkgirl's son Hector Hall, aka the Silver Scarab, who about 5 years later, was put back in the grave along with Lyta Hall/Fury, by none other than Geoff Johns himself when he took up the writing chores almost entirely solo. So what was the whole point of bringing them back into the fold? And what's so wrong with Kent Nelson and Inza Nelson that they wouldn't reverse their atrocious fate in Zero Hour?

That aside, while it may be one thing to write up a demise for Dodds, the way he was depicted committing suicide to prevent a hefty villain from possibly assaulting him to get more information out of him was disgraceful and forced, as were the other deaths depicted early in the series' run. The problem with how they did it is that they seem to think these other characters were some sort of a burden with no storytelling value to build around, and in the end, instead of just quietly letting them be dropped into limbo, they can only think of putting them to death through murder. Even suicide's very appalling. Yet they resort almost exclusively to such fates instead of death by natural causes and auto accidents, just to show how uncreative they actually are.

Q5. How has the reaction to the new JSA comic been in the DC offices? Positive?

Generally, DC has been very happy with the book. Sales are quite good and they like the way the fans have been responding. They've given us fairly free rein to do what we want.

Q6. What did you think of the 1992 JSA series by Len Strazewski and the late Mike Parobeck?

I enjoyed the short-lived '92 JSA series, but I thought it lingered a bit too much in the past, recycling the same (quite small) JSA rogues gallery, etc.

That was one of the reasons we introduced Mordru and (in issue #6) Black Adam. Later on, we will see a new Injustice Society. We wanted to expand the JSA's rogues gallery.

Oh, so here he's stealthily putting down Strazewski's work, which was cut short by editor Mike Carlin, yet when somebody like Goyer comes along, suddenly there's no complaints. Funny Goyer says Strazewski's work lingered in the past too much, when Goyer/Johns/Robinson's JSA wasn't all that different, despite what they say. And a big problem was how it didn't built legitimately or organically, based on how it stuck with the status quo set by Zero Hout, and there were at least 3-4 series at the time introducing new characters to replace the older ones, including how Oliver Queen was replaced as Green Arrow by a newly created son. In retrospect, none of the replacements aged well.

Q8. Why did you decide to explore the return of a new Dr Fate, and not the return of another JSAer, for e.g, a new Hawkman, new Spectre or new Sandman?

We decided to bring Dr. Fate back because the Spectre issue was already being dealt with in Day of Judgement.

Hawkman was a larger issue which is being worked out as we speak -- but at the time we were pitching the series, DC still wasn't ready to give us the green light on a Hawkman resurrection.

As for Sandman -- well, Sandy needed to be in the book from the beginning for obvious reasons. And we were prohibited from actually naming a new character Sandman by Gaiman and the Vertigo folks. In the DCU, that name is exclusively Morpheus' now.

Well at least this tells something. To think that a so-called called auteur who was since accused of serious sexual abuse would have that kind of "creative control" at the expense of the flagship DCU would even have veto power over what characters could retain the Sandman codename. Of course, one can reasonably wonder how Goyer and company feel now that a guy they possibly looked up to as a genius was discovered to be quite the opposite? Do they still consider what he did with Lyta Hall throughly acceptable? I don't know, but the next part of the interview certainly makes clear what kind of woke advocate Goyer really is:

Q15. Some fans have claimed that Dr Midnite (Charles McNider) was possibly gay. What is your opinion on this situation?

It is my personal belief that McNider may very well have been gay. If we have the opportunity, we may address it one day in a story.

It's definitely eyebrow raising when somebody blurs the differences between fiction and reality that blatantly. The Golden Age Dr. Mid-Nite is a non-existant person, and like various other characters of the times, was written as a cypher, so how and why do phonies like Goyer jump to these conclusions? And who are these fans they speak of? Not me. Talk about putting words in the fanbase's mouth! Some could say the way McNider was written might make him look gay, but since he's a fictional character, there's nothing to prove, period, except for that some overrated modern writers are some of the most shameless people around. And Goyer did go pretty woke in later years to boot. And what he said about She-Hulk and did with Superman was inexcusable.

Now, here's the 2nd with Len Strazewski, and some of what he tells is far more impressive what Goyer had to say, and tells quite a bit about what went wrong at the time when the editors decided they didn't want to sell according to merit in the early 90s. This is about both the 1991 miniseries and the regular series the followed the next year:

Q4. Was this series received well by fans, and DC alike?

Fans liked the 1991 series and most DC editors ignored it.

Q5. And what about the 1992 series? What's the story behind that?

(After the 1991 series,) Brian and I proposed the 1992 continuing series set in the present. Mike Parobeck worked with me on THE FLY and also on the mini-series, and the 1992 series was created with him in mind. He designed the look of all the characters for the series.

Q6. And was the 1992 series well-received?

Fans universally loved the 1992 series and DC editors hated it because they (as a group) had convinced themselves that no one was interested in older heroic characters. History has proved them wrong, of course.

What's additonally ironic is that at least a few of the older characters who weren't slaughtered during Zero Hour were put to use in JSA, and when that occurred, no complaints were made, and the editors didn't balk at Goyer/Robinson/Johns making use of them. One could validly wonder if Strazewski wasn't PC enough for their tastes that Carlin for one had to be so petty. There is one part here that's unfortunate, however:

Q9. Regarding the lineup of the 1992 series, why were characters such as Dr Fate, Power Girl or the Star-Spangled Kid not included? Were there plans to have them appear in the future?

No special reason not to include them. Dr Fate would have shown up eventually. Power Girl and Star-Spangled Kid never interested me much.

With all due respect, it's ludicrous to say they "never interested" you much when it all depends what talent you can bring to the table and what stories you can build around them. Although, the reason why Power Girl wasn't in those 10 issues was because the disgraced Gerard Jones was holding her hostage to his repellent stories in JLA. As for Star-Spangled Kid, a creation of Jerry Siegel, the only problem there was that Roy Thomas had already put Sylvester Pemberton to death towards the end of Infinity Inc, though if anybody talented enough wanted to, there were zillions of decent ways to resurrect the guy from the grave (and Thomas himself may have once said he'd regretted what he did with Pemberton). Instead, DC editors allowed Johns to exploit the role for his female counterpart creation, Courtney Whitmore, and for some reason, if there was any character in the past decade whom editors didn't demand be given a PC costume design unlike what Starfire sadly got, it was Johns' creation, who wore a tank top outfit, begging the question, why does he get a pass while other writers/artists don't on such issues? Now, here's what Strazewski addressed in regards to the late Mike Parobeck's art:

Q12. Some fans have stated that Mike's JSA work was "too cartoony". Personally, I thought it fit perfectly, but do you have an opinion?

As noted above. He was brilliant and his style is now the most copied style in comics. Among others, DC Executive Editor Mike Carlin said Mike's work was not appropriate for super-heroes and that was one reason why the JSA series was cancelled. Carlin also said he didn't like my writing. He was mistaken.

Again, Carlin was clearly a bad omen for comicdom as an editor, if anything, and some of the later projects he worked on certainly played quite a part in draining all that made DC/Marvel work in the first place. And as I may have noted before, if older characters like Dr. Strange and Mr. Fantastic could be loved by so many readers back in the day, then it's false to say nobody liked reading about older heroes.

Q13. Have you read the current JSA series, by David Goyer and Geoff Johns? If so, what is your opinion?

I haven't read it and probably will not. It would be unfair, I think, to do so. If it is really good, I'd be jealous. If it is really bad, I'd be angry. If it was mediocre, I'd be sad. I've met the creators and they seem like bright, creative, young guys. I am sure they are doing as well as their editors allow them.

Hopefully, he didn't read it and years afterwards, I myself reevaluated whatever I did read from Goyer/Johns/Robinson and realized it was grossly overrated to begin with, and otherwise insulting to the intellect. And Johns later willingly took part in the time-altering crossover Flashpoint, which led to the New52, and in the process, erased his stories from continuity for the sake of a new one that led nowhere fast, and was eventually reversed along with at least a few other horrible mistakes like Identity Crisis. But by then, it was long too late, and the damage Johns in particular engineered on his part was truly reprehensible.

As far as I know, Carlin's never apologized for being such a hypocrite, and of course, neither have Goyer/Robinson/Johns. If Strazewski got alienated from comicdom because of all that, it's understandable. Some PC advocates for decades have really brought things down to insufferable levels, and repairing all that will take an epoch. For now, I hope Strazewski's JSA stories will be reprinted in the DC Finest archives, and as for the later JSA, that's best avoided and forgotten.

Back issue bins can turn up interesting items, but why not trade collections?

CTV News wrote about what people find in back issue bins, at conventions like FCBD and the Calgary Expo:

If you’re the right kind of geek, there’s a good chance you’ve spent some time lately rooting through comic book back issue bins.

Calgary Expo and Free Comic Book Day are just freshly behind us.

Maybe you were hoping the next flip would bring you a particular something on your list for a mere dollar or two.

Maybe a successful dive through the cheap reads means getting exactly issues 520 and 521 of Journey Into Mystery.

Or maybe you were flipping aimlessly, and it was by the Comic Book Gods’ good grace you hit on the “fear-filled final issues” of that specific Marvel Comics series that someone else either didn’t want anymore or couldn’t sell at face value.

It was a rescue mission, regardless.

How comic book collectors approach it is what can vary, says Bill Bateman from Alpha Comics in Calgary.

“While some are looking for anything to fill in the blanks in their collections, others are looking for that elusive rare book that may have been missed by the store,” Bateman told CTV News.

“Some people show up with a binder of notes showing what they’re missing, (while) some have apps on their phones that do the job a lot faster, and some just know all of the books well enough.”

Sure, there can be gems to find in back issue bins, but if the same issues have been reprinted in trade collections, why must we hear about would-be collectors zeroing in almost entirely on said bins and not searching for paperback/hardcovers reprinting the very same issues? Why not even whether anybody wants specific issues reprinted, if they haven't yet been? That's what I never seem to see these news outlets bring up, nor do they interview people who do. But trade collections or paperback/hardcovers are what comprise the bulk of my collection now, and I think it's working a lot better that way, because thanks to the Marvel Epic Collections and the more recently launched DC Finest archives, I now own hundreds, perhaps thousands of old issues reprinted through these forms of collections for older comics. And these news companies don't want to talk about how great those can be for everybody who hopes to acquire a complete run of various classic series? That's just the problem here.

Rhiannon Mesler says comic book bin diving “runs on the same machinery that powers a slot machine.”

Likewise, the University of Lethbridge marketing professor and expert in consumer behaviour and decision-making says, “the same machinery social media platforms have spent fifteen years optimizing.”

“What makes it irresistible isn’t the find. It’s the unpredictability,” she says.

“Neuroscientists have shown that the brain’s dopamine system fires hardest not when reward arrives, but when reward arrives unexpectedly.

“And that the dopamine signal actually peaks when the odds are roughly 50-50, when you genuinely don’t know whether the next comic in the box is going to be ‘The One.’”

They make it sound more like a game of hide-and-seek than searching for the best reading material. Another clue the speculator mentality plays a part in this whole affair, which effectively ruins any attempt to sound convincing in their fandom.

In addition to the above, ComicBook also told about a guy who, with aid from his dad, managed to purchase at least 400 of the Amazing Spider-Man issues printed up till around the mid-90s:

Many times, comic book collectors are only interested in building a collection for bragging rights or to hopefully one day make money off of the collectibles. However, there are other times when a collector has a more personal reason for collecting memorabilia, and it has a purer meaning than just looking for the big bucks. In some cases, the idea of collecting comics or other items of memorabilia is passed down through the generations. In those cases, it is more about the relationship between a person and their parents, and that makes completing a collection something that means so much more.

This was the case for a Redditor known as joeltheconner, who just revealed that he finally completed his Amazing Spider-Man run of the first 400 issues. He then added that he has his father to thank for this fact.

In his post, joeltheconner wrote that his dad was a comic book collector and would take him to comic shops when he was a kid. However, he said that he was never as interested in comics until he was nine years old. “At the age of 9. My dad gave me a copy of ASM 300 to read. I was hooked instantly,” he wrote. “From then, we started collecting together. For two years we took our vacations to Chicago so we could go to the big convention up there.”

Around 1998, he said he lost interest and stopped collecting, and then moved on. However, he admitted there was something his dad had said to him before that he thought was cool. They discussed having the full run of a specific comic book title. He chose Amazing Spider-Man and decided he would collect the run of the first 400 issues. That led to a few years ago, when his dad asked if he was still interested in completing that collection. His dad then did something that meant the world to him.

His dad had his “prized” Silver Surfer comics, and he offered to sell those to the local shop to get credit so that his son could work on finishing his Amazing Spider-Man run. “I honestly tried to talk him out of it, but it sounded like a really fun thing for him and I to do together again,” he wrote. “From the first time I stepped back into a shop, it took me right back and I was hooked again. 2 years later, today I bought the last book that I needed to complete the run.”

That book was Amazing Spider-Man #2, which was the first appearance of the Vulture and which was the first book where Spider-Man fought a superpowered villain (Chameleon was the first villain in the debut issue). This man’s dad gave up a prized possession to work with his son to help fulfill a dream. It was obvious that it meant the world to this man. “It’s so hard sometimes for sons to tell their fathers what they mean to them, and I’m going to figure out a way to really tell him,” he wrote. “But thank you, Dad. I owe more to you in this life than I could never repay.”

While it's great for dads and sons to do all sorts of things together, it's simply ludicrous how somebody would like to get as much of Spidey when it mattered in pamphlets, but not in trade collections, which at this point is precisely what I own. As of now, I own, for example, the first 12 ASM Epic archives, and have plenty more coming after that, and hope the ASM run will be more or less completed eventually, so that then, I can try to buy complete sets myself, though admittedly, at this point I'm hesitant to buy those collecting the Clone Saga, which, while it may not be as awful as some other artistic humiliations to come down the pike later, was still very damaging to the Spidey legacy, and certainly the part where Peter assaulted Ben Reilly in frustration and accidentally injured Mary Jane when she tried to get him to stop, after which Peter just ran out of the laboratory in horror instead of doing what he could to mend the damage to MJ. That kind of scene is far more reprehensible than claiming Ben was the protagonist all along between 1975-95 (and it was soon confirmed by writers that Peter was the protagonist within that time frame, not Ben, in their efforts to apologize to Spider-fans they alienated).

And I have plenty more Epic Collection and Finest archives I've bought, including a few dedicated to Superman's series and spinoffs, all 3 for Black Panther, several for Daredevil, Iron Man, Fantastic Four, Wonder Woman, Catwoman, Dr. Strange, Justice Society/League, Punisher, Luke Cage, X-Men, Capt. America, Thor, Hawkman, Defenders, Moon Knight and even Excalibur. I also have several omnibuses to boot. And I hope other Spidey spinoffs like the 1976-98 Spectacular will see some Epic archives eventually too. That's what serious "collectors" should really be buying, and considering the back issues are highly likely to become increasingly expensive over time, if they really want to read this stuff, that's why they'll buy the trade collections.

So again, why are we still seeing this otherwise absurd news about people searching for back issues instead of paperbacks/hardcovers? That's another huge letdown with modern news coverage of comidom. Because in the end, it only hints they still don't take the medium seriously, otherwise, they would talk about all these reprint collections and how they can introduce new generations to older classics as a great reading pastime. And this demonstrates how the MSM continues to belittle the medium, by not highlighting a far more convenient approach to collecting notable stories of the past decades by today's standards. Unless something is done to dissuade speculators and collectors from back issues and try trade collections instead, the problem's going to continue for at least another decade or three.

Professional artists continue to take issue with AI

Creative Bloq reports on what real life artists have to say about AI at a convention in Lake Como. Trouble is, some of those quoted are some of the most pretentious, or worked on projects that do no favors for their reputations:

The spectre of AI is creeping into every aspect of our lives, and it has felt for some time as if artists and creatives in general are on the front line. We’ve heard how comic artists such as Stanley 'Artgerm' Lau have even told us, “In the future, there will be fewer artists like me – real artists”. [...]

David Mack, artist on Daredevil and creator of his own Kabuki series, who’s been a regular at Como for many years now, had this to say about AI and how it could affect both this show and in a wider context his own work and career: “I'm just focused on my work, making my work the way I like to make it, so I don't really have an interest in using it [AI], and I just like making stuff by hand. We're not machines, we're people.”

He adds, “We can't do everything precisely. Probably because of [AI], people who make handmade art will be more in demand. That'll be a more precious commodity because not everyone can replicate it. Talking about the tactile nature of things and a real 3D material object that exists in the physical world. People like that, and that'll probably be even more treasured, in the future, if more and more people lean towards prompting things on AI to magically just make something.”

I think when somebody who worked with Brian Michael Bendis on several issues of Daredevil and Avengers is one of the interviewees, it's hard to understand why we're supposed to care, since such work is basically meaningless. Certainly it would be great if what he tells will be so in the future. But that depends on whether they're talented or just overrated. And Mack is the kind of artist who decidedly belongs in the latter category.

As for Artgerm, he may have more talent in his own way, but he's also, most unfortunately, lent said talents to covers that were stapled onto poltical propaganda. That has the effect of dampening the impact.

British artist Gary Frank, whose career has included drawing Hulk for Marvel but who has now won plaudits as artist on Image’s Hyde Street, part of Image’s Ghost Machine imprint, had his own take on AI: “I think AI is possibly something which has its uses. I don't think that any of those uses include making art, because art is a human thing. The worry I've got is not so much that AI is going to replace people like me, because I'm known and people know I'm a real person.”

He explains it's the next generation of artists who could suffer more, saying: “My worry is the next generation coming through. So we're going to have to compete with dishonest actors who are using AI to fake stuff. We've already seen a little bit of this in the comic industry with people using AI to fake covers. So it's more whether it ends up making it difficult or impossible or damaging the prospects of young people coming through.”

Oh, and isn't Ghost Machine the insufferable Geoff Johns' project? Frank may be a talented artist too, but if this is what he's turning to lately, that also sours the milk. I just don't understand why artists like these are the ones the journalists are turning to for information on the topic...or maybe I do? Is it because their politics skew left?

Now that I think of it, what newer generations of artists could have to worry about is if AI is seen as a perfect substitute for real life talent based on politics. In other words, if a right-wing artist is looking for work, and the company is left-wing managed, they'd pass over him/her and resort to AI instead if that's what it took to avoid hiring somebody whose political platforms they hated. Not that you could expect artists like the above to comment on that issue, unfortunately. But no doubt, it's a valid subject, and some people are going to have to start asking whether it could happen.

What some specialty stores had to tell for FCBD

The Kingston Whig-Standard in Canada wrote about Free Comic Book Day, and told the following:

In Kingston, local comic retailers and educators say the day is about more than giveaways — it’s about challenging perceptions and encouraging people to explore a rich, expanding world of storytelling.

Okay, here's a challenging question: were any stories that aren't PC-influenced offered? Because that's the only way this current event will work well. But if nothing of the sort's offered, what's the use of continuing with it?

KRVN880 in Nebraska also wrote about FCBD, and says:

The free day isn’t a free for all. There’s a special selection of books just for this event.

“You’re not getting old books… we have completely brand new books,” Dame said. “Everything for Free Comic Book Day is brand new comics that were made specifically for this day from all your favorite publishers.”

Those publishers include Marvel Comics, DC Comics, and Image Comics. Many offer preview editions of upcoming series, while others release special standalone issues. Dame noted that Archie titles are a consistent favorite for kids.

The event is designed to appeal to a wide audience—from longtime collectors to families with young readers.

“Free Comic Book Day is for everybody,” Dame said. “It has stuff for the little ones and it has stuff for the big ones.”

Well sure, it can be for everybody, but when they emphasize new books rather than old, it risks suggesting the older ones aren't worth their weight compared to the new ones. Also, what if the individual pamphlets are little more than advertisements for something longer, but not better? Such is the case regarding recent fare from DC/Marvel, and quite possibly Image. Better still, just what items do they have for children, and from where? If they were dishing out stuff like this, that would be very bad, and the same could be said if they were dishing out political propaganda.

I'm sure there are some decent items that could be offered for FCBD and the recent rival event formed. But their failure to identify any of them clearly is problematic, and another reason why this is hardly an event to celebrate anymore.

Specialty store in Fremont runs FCBD with contributors to smaller business

The Fremont News-Messenger says a local store's brought over contributors for Aspen Comics to participate in their FCBD membership. But, there's at least one part here that's troublesome:

Locally, Rupp’s Comics will have four comic book world celebrities at his store to do signings and special sketchings, industry professionals from Aspen Comics Frank Mastromauro, Peter Steigerwald, Alex Konat and Chris Ehnot.

Mastromauro is a writer and the owner of Aspen Comics. Steigerwald is a comic artist with Aspen Comics that has done many covers for Marvel and DC. Konat began his career at DC, with the Gotham Gazette and has since also worked in the film world, doing PR for 20th Century Fox on many superhero titles. Ehnot’s art has been published in a list of award-winning publications that boggles the mind, but not the comic publishing industry.

[...] Rupp’s Comics store owner Chris Rupp has seen the evolution of comics from a rebellious frowned-upon genre, that teachers would take away from children, to the emergence of comics as collectibles and now returning as a rebellion to all the screens in our lives.

“This is international. I personally know stores in Italy and Paris that do Free Comic Book Day. To me, it’s just getting somebody to read, and put the phone down, or the iPad down and just read a comic book,” Rupp said. “Especially in this day and age, I think it was 25 years ago that Free Comic Book Day started, that the internet wasn’t so prevalent in our easy-access, every-day, every-second. I really feel that we need to take a break from technology and just read a book, or read a comic book.”

If they're not putting a heavy emphasis on Marvel/DC, and more of an emphasis on independent publishers, that's what'll make their specific event worthwhile. But, did they hint they consider comics merely "collectibles", and not enjoyable visual literature? Though the store manager does say reading's important, the part about collectibles dampens the part about reading being a good example. A shame, but that suggests even at this store, the collectible mentality's still prevailing, and it's something serious merchants need to move away from. Exactly why the continued use of pamphlets for storytelling needs to be abandoned.

A creator who's gender-swapped an established character in his own franchise tells us the industry's too reliant on already established franchises

Popverse says Robert Kirkman, co-creator of Invincible, spoke at the ComicsPro convention about how the industry's too reliant upon long-established franchises like Batman, Spider-Man and Transformers for comics and other such ventures:

Batman is one of the most popular characters in the comic book industry. Absolute Batman was the top-selling comic of 2024, and Batman’s monthly adventures regularly garner huge numbers, topping sales charts. Looking at data like that, it seems like the Dark Knight is a positive thing for the comic book industry. However, Robert Kirkman believes the overreliance on characters like Batman is hurting the medium long-term.

Kirkman, who co-created Invincible and The Walking Dead, explains that focusing on decades-old characters (which he admits he does as well) has kept the industry from exploring new things.

“Things have their day and then settle down,” Robert Kirkman says during a keynote speech at ComicsPRO 2026.

“I sometimes think the original sin of this industry, the thing that holds it back the most, is that we as an industry often refuse to move on. Batman was created in the 1930s. Spider-Man was created in the 1960s. Transformers was created in the '80s. Invincible was created in the 2000s. All of these started as new ideas. They had their peaks in popularity, and they’ve had new peaks and new valleys to varying degrees of success ever since.”

Of course, as long as Batman and Spider-Man bring in huge sales numbers, it’s doubtful that Marvel and DC will be giving them less of a focus anytime soon. Still, Spider-Man debuted two decades after many of DC’s most iconic heroes, and Invincible made his first appearance 40 years later. It might take a while, but the next breakout character is just waiting to be created.

But they don't actually bring in enormous sales numbers, and for years already, the supply of pamphlets printed up - and presumably sold - rarely go above a million copies. Interesting they cite Batman again instead of Superman, because all they've done is confirm a continuing problem with how the industry's similarly become too reliant upon the darkness in marketing. And Kirkman predictably doesn't address how Spidey's story quality and merit long collapsed, even before One More Day. So too has Batman's. If he won't address those creative issues, what he's telling won't carry much weight.

The argument presented by Kirkman at the convention does itself have value, but let's consider Kirkman's dampened the impact of his own by resorting to gender-swapping on the Invincible cartoon (and perhaps the comics are next?), instead of introducing a brand new female character organically without doing it at the original male character's expense. And what next, will the sex-swapped take even turn out to be a lesbian? Which would only compound another serious issue with modern entertainment: it's become disturbingly hostile to heterosexual relations/romance, if they even explore the concept of romance at all. How does Kirkman expect to improve upon an overt resort to nostalgia if he himself resorts to another sad cliche of modern times in Hollywood? Some established franchises have even suffered from worse than what Kirkman's cartoon series is now turning to.

And let's not forget Kirkman's also the co-creator of the Walking Dead, a horror-themed franchise. That's another sad issue with how modern entertainment's being marketed, and that too is something both comics medium and Hollywood have become far too reliant upon. That too needs to cease. Perhaps it's time they "moved on" from the horror genre too? For now, Kirkman needs to rexamine his MO and ask whether he's undermining his points by turning to the same playbook as his fellow leftists have pushed upon entertainment for years already. And he could also consider developing comics with romance themes, and show the courage to explain to everybody why romance is worth it.

Some Canadian creators won't travel to the USA this year

CTV News says some Canadian artists and writers either don't want to travel to the USA this year, in what they call "tumultuous times":

Much can change in a year.

Last April, with talk south of the border about 51st states, tariffs and the like really only starting to ramp up, Canadian comic book artist Tom Grummett (Superboy, Robin) was “thinking very carefully” about attending U.S. trade shows.

The Canadian artist had just finished a comic book cover poking fun at the situation.

Now, he’s steering clear of the country that’s home to many of the comic book properties he’s worked on.

“We’re staying strictly in Canada this year and likely next year,” he said.

It’s not a small stance to take.

The biggest shows on the comic book convention circuit are in the U.S.

But Grummett says there’s too much confusion around travel.

“We have no idea how to approach the border. We checked into what sort of paperwork we needed and (got) multiple, different answers,” he said.

“They can deny you entry for up to four or five years, I hear, so why risk that?

“We’re quite happy to stay closer to home.”

Canadian comic book writer Jim Zub (Conan the Barbarian) says he’s still doing U.S. shows, but fewer of them these days.

He says he knows of “a bunch” of his colleagues who won’t go at all.

He says there’s a bit of “bracing yourself” before travelling south.

“No matter how many times I cross the border, I’ve got Trusted Traveller and it’s relatively straightforward, but you always have that little tense moment,” he said.

“What if this time it’s different?”

From what's told at the start, the political climate does possibly have something to do with this. And that's very galling. They're allowing their potentially leftist dissent impede upon everything. Not that such ideologues are a big loss to USA conventions if that's how they're going to go about their business. But it still makes for bad PR to refuse paying a visit to the USA because you don't dig Donald Trump's policies or anything similar. Do these Canadian artists/writers/editors really think they're going to improve relations if they act like virtually everything a right-leaning politician does is inherently wrong? Maybe not, but their failure to avoid divisive steps on their part certainly speaks volumes.

It'll remain to be seen if the above creators from the great white north come to realize they're not doing any favors for their reputation by refusing to visit the USA or anywhere else just because they don't like the host country's politics. But who knows, they probably won't, and what'll be really reprehensible is if the leftists in comicdom solely blame Trump for that kind of selfish attitude. I hesitate to think what they might say if they were invited to visit Israeli conventions. I hope they know to be polite about that.

The Golden Age Green Lantern's co-creator gets no true respect today

The Vidette recently wrote about the late artist/writer Martin Nodell, who co-created Golden Age Green Lantern Alan Scott with the late Bill Finger (who also co-created Batman with Bob Kane), and is still a topic at some modern conventions:

Although renowned comic creator Martin Nodell died, his presence is still felt at comic conventions.

The Green Lantern has gone through many iterations in the decades since its inception. The first version, created by Nodell in 1940, was Alan Scott. When he died in 2006 at the age of 91, his son, Spencer Nodell, and great-grandson, Quinn Nodell, took it upon themselves to continue sharing his work.

According to Spencer Nodell, Martin Nodell spent many years renouncing the comic industry due to a lack of stability. By the time Spencer Nodell was born in 1947, he was trying not to associate himself too closely with the Green Lantern character. It was not until the 1980s that Martin Nodell began to embrace his connection to the character.

Although Martin Nodell renounced the Green Lantern legacy in his early years, Spencer Nodell said that the family was friends with Stan Lee, a renowned creator at Marvel Comics. According to Spencer Nodell, Lee offered Martin Nodell an illustrator position at the company that would become Marvel Comics.

Spencer Nodell explained how his father came to accept his place in the comic book community.

"In the 1980s, when Gary Colabuono, who ran the Chicago show and also owned several comic book shops in the Chicago area, said, 'Oh, you gotta come out to the shows. People wanna see you. They think you're dead,’” Spencer Nodell said.

Martin Nodell spent several decades late in his life attending conventions, leaning into his association with the Green Lantern. Spencer Nodell said that as Martin Nodell grew older, it became harder for him to sign items, so he began signing and stockpiling Green Lantern books in advance to sell to fans.

While it's great the senior Nodell re-embraced his connections as a co-creator with what he first conceived in the Golden Age, one can only wonder what he'd think today if he knew that 6 years after his passing, DC would corrupt his hard work by changing Alan Scott into a gay man, something they unshockingly still stick by till this day, much like how the disgraced Gerard Jones did something similar with Roy Thomas' creation of Obsidian from Infinity Inc? And let's not forget Marvel went a similar route with Iceman, undoubtably encouraged by where DC was going with their stable of characters. When they speak of "many iterations", it's sad but unshocking they won't bring up any of the PC pandering that's brought down charaters like Alan Scott any more than the rest of the comics industry.

In fact, do Nodell's children realize what's happened, and does it sit well with them the retcons by James Robinson tarnish the legacy of their dad's creation even more? If they do, yet choose to remain quiet lest they offend the leftist cultural hijackers, they've only failed their dad's legacy in the long run. Come to think of it, even Thomas, who created the 2 children of Scott in the pages of All-Star Squadron/Infinity Inc, is failing his own legacy if he never spoke out against the harm Jones led to over 3 decades ago when he forced his woke beliefs upon somebody else's creations, effectively encouraging abuse and exploitation of past veterans' creations for the sake of politicized agendas.

I highly appreciate Nodell for his contributions to comicdom, but it's regrettable nobody's willing to admit the GL comics themselves have been largely destroyed as reading material, due to all the bad storytelling decisions and editorial mandates that came down the lane after mid-1988. And Alan Scott, much like Hal Jordan, was one of the biggest victims of all the abuse. Anybody who continues to make a shambles of past writers' work is not respecting Nodell's memory.

Britain now has a town dedicated to the art form

The BBC recently announced there's a township in England that's been named as a comics-themed town:

Barrow-in-Furness has been named the UK's first "comic book town" in a bid to get more people reading.

Along with a new comic book festival, educational projects in primary schools and community activities will come to the Cumbrian town this year as part of the initiative.

The Lakes International Comic Arts Foundation (LICAF), which leads the project, said its research showed children's writing and reading ability could increase considerably when comic books were used in the classroom.

LICAF's director Julie Tait said the campaign recognised "the power of comics to transform reading and creativity".

"Special educational needs children particularly benefit, comics switch on in their brains in different ways," she said.

Okay, congratulations on what they've achieved. But it's to be hoped whatever they offer in education will have real value, and won't be some woke monstrosity that comes off more as indoctrination than education. Otherwise, whatever point this news is supposedly trying to make will be meaningless.