Archive for the ‘Creationism’ Category

It’s a Story about Jack and Jillian

Tuesday, August 26th, 2014

The story is pretty simple, really.

A young girl grows up knowing that her grandfather is one of the most talented and prolific comic book creators of all time. Unfortunately, he passes away before she was born and she never has a chance to meet him and to share a granddaughter’s love personally. Her entire life she hears stories about his generosity and accomplishments. As she grows into a young adult, she is surrounded by characters he created or co-created as they have become icons in popular culture. This all instills in her a great sense of pride and a strong attachment to maintaining her grandfather’s legacy. She creates and manages a successful, annual campaign intended to celebrate his birthday by raising money in his name and generates tens of thousands of dollars for a worthy charitable organization.

Nobody goes up a hill and dumps a pail of water on their head.

This Jack and Jill tale is a love story that continually gives back.

This is a story about Jack Kirby and his granddaughter, Jillian Kirby who, once again, is asking for our support for her Kirby4Heroes Kirby4Heroes.com campaign that this year celebrates what would have been Jack Kirby’s 97th birthday.  Jillian’s goal this year  is to raise $15,000 for The Hero Initiative, an organization that provides much needed support to comic creators that have fallen on severe hard-times due to health issues, age, and lack of income.

This charity is important to Jillian because she understands that some of the practices of the comic industry were not always fair to the people that created the comics we all enjoyed, leaving many of them destitute while characters they created continue to generate large revenue for the publishing houses.  Her grandfather was as much a victim of these practices as anyone but was always able to support his family and maintain a respectable lifestyle until his death. This is what she hopes for other comic creators who were not as lucky.

She has  gone “up the hill” merely to take the high road with no intention of “tumbling after.”

Jillian has chosen not to dwell on the widely publicized legal disputes involving her grandfather, family and Marvel. Her campaign is not intended to to support her or her family in any way other than maintaining the goodwill and legacy of her grandfather’s name by helping others in need and insuring that the contribution of Jack Kirby to the comics industry and popular culture is never forgotten.

Her efforts are noble and selfless and provides the comic industry with yet another positive female role model to be applauded.

She can’t do it alone and she needs all of our help.

August 28th is Jack’s birthday and comic shops across the country have joined Jillian’s campaign to donate a percentage of their sales that day to The Hero Initiative. Do your part by endorsing them with your patronage!

Of course there are other ways that you can become involved!

To find out visit Kirby4Heroes.com or HeroInitiative.org You can also join the Kirby4Heroes Facebook page where Jillian and her family post wonderful memories and art from Jack Kirby for everyone’s enjoyment.

What better way can you think of to wish the King of Comics a happy birthday than to help others in his name. With your continued support this Jack and Jill story can be “happily, never ending!”

Gerry Giovinco



The Secret Identity of Robin Williams

Tuesday, August 19th, 2014

There was no mistake that Robin Williams came into public awareness like most of our favorite superheroes do, in a garish costume that hid his identity. His was bright red with silver trim, his faced masked by the dark visor of a ridiculously huge space helmet. His character’s name was Mork from the planet Ork.

Rather than hide the identity of Robin Williams, Mork propelled him into public stardom, revealing his super powers. Where Mork could point his finger and make amazing things happen, Robin could do something greater. He could make the whole world laugh.

What an amazing ability he had to bring joy to a world that so needed it. His humor was spontaneous, infectious and, seemingly, never ending.

But Robin had another identity and power that he hid from us his entire life. One that we wish he had never shared. He had the ability to make the world weep.

Sure, we saw glimpses of this ability in his many brilliant dramatic roles. He knew how to reach into our hearts and stir up those feelings that moved us.

We were positive that was simply great “acting.”

The “real” Robin made us laugh!

This is what most of us wanted to believe, until his final “act” when Robin succumbed to his hidden self and demonstrated his other, more nefarious power, crushing the world with sadness.

Fortunately, he could only use that power once. Though his secret identity has been revealed, the shock and the sorrow brought by it will soon ebb,  overshadowed by the lasting  power of his laughter and talent that  the world will forever recognize him by.

Most of us can never say we actually knew the man. Those that were fortunate enough to call him friend or family wish they could have known better what only he knew about himself. He took his true identity, with all its pain, to his grave.

We can only know what the existence of Robin Williams continues to mean to us each, individually. His loss has taught us all to look deeper into ourselves and each other, to see beyond the surface, no matter how brilliant or dull, how perfect or damaged. To realize that we all have our own secret identities.

We all wear a faux self  that masks our true identities.  It is our secret defense mechanism that helps us to survive our greatest fears of the world and ourselves.  Call a it a facade, personality, likeness or attitude, it gets most of us through each day and through our lives.

Through this personal filter, most of us will chose to remember the Robin Williams that brought us so much joy. I can’t speak for him, but I will choose to believe that this is how he would like to be remembered.

Thanks for the happiness, Robin, whoever you are.

Signing out, Nanu Nanu…

Gerry Giovinco



When Diversity is a Gimmick

Tuesday, August 12th, 2014

Last week’s blog was focused on respecting diversity in comics. Diversity does plenty of good for the medium and the market as it creates an opportunity to broaden the audience and explore the boundaries of material offered.

But too often what is masked as an attempt at diversity is actually just a marketing gimmick, dependent on the buzz created by knee jerk reactions to  dramatic changes in major characters that have long been ingrained in our popular culture.

It has become a disappointing  and predictable common practice by publishers to boost sales figures by implementing any of the following strategies:

Kill the character.

Have the character get married.

Expose the character as gay.

Change the gender of the character.

Change the race of the character.

Any one of these options is a guarantee that airtime on The View will follow!

It won’t be long before Whoopi Goldberg will be waving a comic book featuring a traditional white male character that has returned from the dead as an, African- American lesbian about to get married to her same-sex partner!

This is not really a respectful implementation of diversity. This is merely pathetic evidence that the character has become so old and stale that the editors are willing to try anything to spice it up to get attention. It also broadens the corporations ability to protect the trademark, like when Stan Lee quickly generated a She-Hulk and a Spider-Woman after the suggestion that anyone could otherwise easily swipe the characters from Marvel.

Creating diversity in a product line in this manner is like mass producing Santa or plastic Jesus figures of all ethnicity just to appeal to all common denominators possible. It is a confirmation that the character in question is so ingrained in the public consciousness based on its most rudimentary properties that nothing else really matters other than the costume and the powers of that character.

So why change it?

Stan Lee once described Spider-Man’s success as being attributed to the fact that behind the costume Spidey could be any race and that allowed him to appeal to readers of all ethnicities because they could easily imagine themselves as him.

It is possible that idea of  the mask on so many superheroes has allowed whole cultures be able to relate to them, establishing the “modern mythologies” that the trademark owners of superheroes are so proud of?  If that’s the case, the audience has been responsible for diversity in comics through their own imagination.

The success of the Teenage Mutant Ninja Turtles is a great example. People don’t relate to them by race. They can’t. They are turtles! Individually they appeal to people by the color of their mask, their weapons and their personalities. That’s all! Ask anybody who their favorite turtle is and most will say, “the red one,” or “the purple one” and so on. Almost anyone can identify with a Ninja Turtle because they are essentially animals that we don’t usually identify by race or gender.

Someday it will be realized by the public that disrupting the foundation of iconic characters in the name of diversity is merely a marketing ploy that dilutes the property and minimizes its cultural impact.

Implementing diversity would be better served by developing new characters created by diverse talents that appreciate the differences of those characters first hand and are willing to target a specific audience. It all goes back to respect. Respect the talent. Respect the audience. Create great, diverse works and the gimmicks won’t be needed.

Making Comics Because We Want to,

Gerry Giovinco



Respect Diversity in Comics: It is the Heart of Independence

Tuesday, August 5th, 2014

Diversity is a hot buzzword in the comics industry lately, mostly because we are actually seeing examples of it. Many people have championed diversity for many years as a way of expanding the market and the medium. The expectation is that the broadening diversity currently experienced in the comics industry would be welcomed and celebrated but, unfortunately,  that is not always the case.

The comics industry has a long history of narrow vision when it comes to nearly every aspect of it which has been focused predominantly on white males. People that enjoy comics have been generally comfortable with this for too long. Now that things are changing so is the warm, fuzzy feeling of what has been familiar.

Diversity can refer to many things including race, creed, gender, and sexual orientation. In a comic shop it could simply refer to product diversity like books, clothing and toys. The important thing to remember is that diversity is good especially when it involves a creative medium that is as powerful and communicative as comics.

Heroes Con 2013 Cosplay group shot

Diversity in a medium like comics has the power to bring people together rather than push them apart. If we let it.

The first step to truly encouraging diversity is to actually respect it.  Many find it very easy to give diversity in comics “lip service” but struggle to walk the talk. Too many people squirm when they actually experience attempts at instilling diversity in the medium because deep down it violates their comfort zone and they are unwilling to muster enough respect for the tastes of the broader audience to accept that which is different.

I refuse to call it ignorance, prejudice, bigotry or even small-mindedness because that would be just as disrespectful. Expanding diversity means investing in a willingness to have such a variety of comics that there is product that can appeal to everybody.  It is not the industry’s place to segregate anyone for enjoying something that may be specific to them regardless if they are a minority or a majority. Respect goes both ways. That is how it is achieved. Mutually.

Those that champion diversity have to also accept that which has been homogenous for so many years because true diversity cannot exist without it. Let it be, rather than change it and use all energies to create something new. Then celebrate that. Celebrate all.

We celebrate our diversity everyday at CO2 Comics and are proud of it. That does not mean that we don’t still love the superhero comics that influenced us.  They inspired us to want to create something different and more diverse. Check out our creator page and you will find talented people of all ages, race, gender and orientation none of which matters more than the fact that we respect each and every one of them for who they are as individuals and for their tremendous talents and that they share with us.

Their diversity extends to their creations which are as unique and brilliant as each and every one of them. Their comics speak to the new, broader market place that is now so politically correct. Their comics deserve your respect for their diversity

If you consider yourself  a fan or champion of diversity in comics you owe it to yourself to read and enjoy the diversity we present here at CO2 Comics. If you respect what you find here, you will share it with your friends. Take the time to look, not just here but industry wide, and acknowledge the variety of comics created by others who are not the usual fare and be prepared to be impressed. The industry cannot be diverse if we are unwilling to recognize the diversity that is already there.

Our very special thanks to all of the creators that have ever chosen to break the mold.  We know, through all of your endeavors that the diversity you bring to comics is what truly equals creative independence. You have our respect and always will. You are our inspiration and why we continue to make independent comics.

Making Comics Because We Want to,

Gerry Giovinco



Groot and Rocket Raccoon: More Than Guardians of the Galaxy

Tuesday, July 29th, 2014

The world is about to get giddy over yet another Marvel movie as fans everywhere pace, feverishly waiting for the GUARDIANS OF THE GALAXY film to be released on August 1.

The reviews that are beginning to proliferate are overwhelmingly positive with an early 100% rating at Rotten Tomatoes!

Most of the early reviews claim that the breakout stars of the film are Groot and Rocket Raccoon which is awesome because they are credited to two creators with significant ties to the comic industry’s great charity, The Hero Initiative. The Hero Initiative supports comic creators that are facing difficult times, especially those  in the twilight of their lives. Please take the time to learn more about the mission of this organization here.

Nothing needs to be said about the tremendous creative contributions that the legendary Jack Kirby has made to the medium of comics. Many know that Kirby is responsible for at least co-creating most of the major characters in the Marvel Universe and that there has been an ongoing battle between his heirs and Marvel regarding compensation and copyright revision that is currently being considered to be heard by none other than the Supreme Court of the United States.

Your average movie goer may be surprised to learn that Kirby had his hand in the creation of Groot as well. Groot, who first appeared in TALES TO ASTONISH #13, published in November 1960 even predates all of the popular Silver Age Marvel characters!

Jump ahead 54 years and know that Jack Kirby, who passed away twenty years ago, would be celebrating his 97th birthday this month on August 28 and to honor his legacy, his granddaughter, Jillian Kirby,  is out beating the drums for the third consecutive year, promoting her Kirby4Heroes campaign. Jillian, in true Kirby heroic fashion, celebrates her grandfather’s birthday by cooperating with retailers and comic artists across the country to raise money for The Hero Initiative. Last year she raised over $10,000 and is shooting for $15,000 this year.

If you discover that you love Groot as much as everyone expects, please take your time to tip your hat to one of his creators by supporting the Kirby4Heroes campaign this month. Information on how you can participate can be found at www.kirby4heroes.com

As for Rocket Raccoon, his co-creator, Bill Mantlo, could be a poster child for The Hero Initiative’s wonderful work. Bill was the victim of a tragic accident that has left him severely brain damaged since 1992. According to Bill’s brother, Mike Mantlo, The Hero Initiative that was the first organization to step forward and help on behalf of the comics industry when Bill needed it the most. Mike says he will always be indebted to them for their kindness.

Bill remains in a long term healthcare facility but his brother continues to keep him connected with his fans by sharing information about him regularly on a Bill Mantlo facebook group page. Happily,  Bill is well aware of the excitement that is being generated Rocket Raccoon and is proud that his work is being recognized!

Guardians of the Galaxy is sure to be a blockbuster this year but it has a great opportunity to shine a high profile light on the real people that are responsible for the fantasies we enjoy in the comics and now on the big screen. Many of these creators are no longer with us but their genius continues to influence our popular culture in a huge way.

So when you are stuffing your face with popcorn and reveling in the exploits of Groot and Rocket Raccoon, stare deeply into their beady little CGI eyes and remember that they are more than just Guardians of the Galaxy. They, and every other character on that screen, are results of the labor of comic creators who are real people with real, lives, families, hopes dreams and, unfortunately,  tragedies and ill fortune.

Contributing to The Hero Initiative on their behalf is a great way to thank them  indirectly for the joy that their imaginations continue to inspire and to help those creators that may need a supportive hand from all of us.

Making Comics Because We Want to,

Gerry Giovinco



DC Comics’ Participation Plan – Magical Mystery Money

Tuesday, July 15th, 2014

It is no surprise that, with the Supreme Court considering listening to law suits brought by the heirs of  Superman creators Jerry Siegel and Joe Shuster as well as legendary Marvel creator, Jack Kirby in an epic battle over creators rights, DC Comics is attempting to preemptively save face by offering a new Participation Plan.”

Their timely effort is boorishly intended to make them look good in the public’s eye pending any fallout from a potential legal hell-storm that has already attracted support from every creative guild in Hollywood.

Their new “incentive” (as Marvel calls it) will share with creators net profits generated across all distribution networks including digital sales. As an added PR bonus, colorists will be included in the profit sharing for the first time, following Marvel’s lead.

Everything looks rosy!

Depending on who you believe…

Chuck Dixon, Steve Bisette

For every creator, like Chuck Dixon who has had nothing but a positive experience regarding how DC reports shared revenue there is a disgruntled one like Steve Bisette who feels that he is treated like a second class citizen.

As  outsiders, who are we to judge? Contracts are and should be private agreements and presumably they are negotiable and often different for each creator. History, however, has proven that these agreements, no matter how good they may seem or are intended, can often be subject to reinterpretation and malignment on favor of the corporation. Just ask Alan Moore who’s great Watchmen deal went sour fast.

Gerry Conway

Gentleman Gerry Conway has a very polite perspective on policing DC’s approach to participation packages that should raise an eyebrow or two. Imagine that in this day and age, DC admittedly cannot track the use of all its properties and accurately pay out without the support of its aging creators, many of which are far from tech savvy.  So they say.  Yet, in a heartbeat,  they can shut down a sculpture of a dead boy wearing a Superman shirt in Canada before bowing to social media outrage.

The bottom line is that DC is part of a huge entertainment company that specializes in cooking books when it comes to sharing revenue. This is not an indictment of Warner Brothers but of the practices of Hollywood accounting in general.

Anyone that has ever signed on to a royalty arrangement will tell you that, unless you are willing to march into the accounts payable office with an expensive auditor by your side, your relationship with the company paying you is one of blind faith.

DC is playing with magical mystery money when they tell a creator that they will combine net profits from all channels of distribution. These numbers are tabulated over a period of months and are calculated by an algorithm that would make Sheldon Cooper’s head spin! Most comic creators are just not equipped to challenge their word and are willing to accept what they get or be prepared to move on.

Alan Brennert and Barbara Kean, co-created with Dick Giordano

Combine this mystery math with vague language that can arbitrarily define characters as “derivitive” and suddenly there are creators like Alan Brennert campaigning for a moral victory over a $45 payout that is hardly worth a legal battle let alone sitting on hold for a half hour waiting for the problem to be addressed.

This is why contracts are important. Spell details out in black-and-white to eliminate the questions, provide all the answers and provide proof of the agreement.

Wait for it…

Now, DC says all transactions and agreements will be digital only!

Kiss that paper trail goodbye!

Can anybody say Comixology?

“I’m sorry, your digital contract was somehow erased from our server but don’t worry we will reinstate you with our current (and less favorable) Participation Plan. Any questions?”

Time to look for an Indy Publisher comic creators. At least you will own your work.

Making Comics Because We Want to,

Gerry Giovinco



The Power of Independence

Tuesday, July 8th, 2014

I fell in love with comics as a kid and eventually it became my dream to be a cartoonist. All I knew was that comics were incredible and the writers and artists were my heroes! The people that created the comics I loved stood on a pedestal in my eyes and were as big a any celebrity.

Surely the people that were responsible for the adventures of my favorite superheroes were as rich and famous as I expected.

I wanted to make comics and be like my heroes, so I immersed myself in everything I could find about the medium.

In the 1970′s there were not a lot of options. There were only a few comic book companies and there was not  much information on how to actually make comics. If you wanted to make comics it seemed that the only opportunity was to learn to draw in the acceptable style of those few publishing houses and don’t dare create any new characters unless you were willing to give them away to those publishers for a mere page rate that was as skimpy as could be.

How was it possible that the comic industry was the ghetto of the entertainment field? Most creators looked at working in comics as a slimy stepping stone to a bigger career in advertising,  television or film. Achievement wasn’t breaking into comics, it was breaking out.

Fortunately there was a generation of comic fans that had the same starry-eyed perception of comics as I did and were unwilling to accept the cold, hard truth that working in comics was a dead-end street.

One by one, these comic enthusiasts struck out into the world championing the medium that they believed in. They knew that the simple combination of words and pictures had power and was able to capture the imagination of large audiences. They believed that the people that had the ability to create these comics deserved to control them and to profit from them. They believed in creative independence.

It is not surprising that this independent movement began in head shops where underground comics gained a foothold in the imagination of popular culture and etched out a business model for grass root distribution to seedy establishments peppered around the country.

Soon comic shops began to spring up in similar fashion offering a fix of a different nature. The Direct Market for comic books sprouted in back-alley garages, flea market booths and trunks of cars. It was this testament to the love of comics and independent entrepreneurship that created opportunity for independent comic publishers to begin to achieve success and compete directly with the giants in the industry.

Just a few publishers of Creator Owned Comics

The Independent Comic movement has been going strong now for nearly forty years and has changed the face of comics forever. Comics are no longer a dead-end street but are now a viable art form with venue opportunity lurking at every corner.

Comics is no longer a medium controlled by just a few publishing houses with strict style limitations. Comics can be published by anyone and distributed globally thanks to current technology. Like any medium or business, it is a delicate balancing act between success and failure but it is invigorating to at least have the opportunity to try.

When I think back to how I imagined comic creators as rich and famous I realize how naive I was to believe that talent equaled wealth. I am glad however that I never lost the dream that making comics might equal happiness. Those of us that have that need  to make comics know that it is the same obsession that drives every artist, athlete or professional that does what they love.

Independent Comics created the opportunity for anyone with that drive to actually be able make comics. Independent comics opened the door to an endless possibility that did not exist unfettered in this medium when i was a kid.

This is why CO2 Comics continually celebrates  Independent Comics and deliberately was founded on Independence Day. We are determined to acknowledge that there is always more to comics than what the big companies have to offer.

Independent Comics have proved that comics are a unique form of creative expression and their richness is not found in the money they make but in the people that make them.

At CO2 Comics every day is Independence Comic Day!

Making Comics Because We Want to,

Gerry Giovinco



Independence Day 2014

Tuesday, July 1st, 2014

Independent Comics Day is upon us and this year, as usual, Bill Cucinotta and I celebrate our Independence as comic publishers on the anniversary of our  July 4, 2009 launch of CO2 Comics!

It is hard to believe that it has been five years since we began posting comics on the web and a lot has happened in that brief time!  We have since posted thousands of pages of comics created by dozens of creators. Those serialized comics and our weekly blog, together, have generated  22.5 million hits!

Beyond the web, we have published, in print,  two massive volumes of David Anthony Kraft’s COMICS INTERVIEW: The Complete Collection and six graphic albums that we are very proud of:

Steve Lafler’s Ménage à Bughouse, a single volume collection of the Bughouse trilogy and Doggie Style: The Complete Dog Boy.

Don Lomax’s The Heavy Adventures of Captain Obese,

Raine Szramski’s Heaven and the Dead City,

Chris Kalnick’s NON and

John Workman’s The Adventures of ROMA!

Collectively, between digital content on the web and books in print, CO2 Comics has already generated about six thousand pages of content for our readers’ enjoyment, yet we remain one of the Comics Industry’s best kept secrets!

This is fine by us because we know that true independence is earned by commitment, patience, hard work, perseverance and a belief in what we stand for. We know that there is value in flying under the radar, waiting for the moment when opportunity arrises.

Until then we continue to grow in strength and numbers, allying with creators that also appreciate the value of Independent Comics publishing to expand our content offerings!

This Independent Comics Day we are thrilled to announce six new projects that are in the works with impending release dates!

David Anthony Kraft’s COMICS INTERVIEW: The Complete Collection Volume 3 is nearing completion as we continue the fulfillment of the monumental 11 volume set!

Our relationship with DAK which has extended over thirty years and continues to grow as we now take on the formidable task of collecting two popular series formerly published under the COMICS INTERVIEW imprint.

The 36 issue run of SOUTHERN KNIGHTS is intended to be collected in a giant two volume set with well over a thousand pages of adventures of the “greatest superhero team in the South!”

The Complete  X-THIEVES, more accurately known as the Aristocratic Xtraterrestrial Time Traveling Thieves, will collect over 300 pages of the group’s intergalactic hijinks! Way too much fun to be packed between two covers!

Working closely with DAK and creators, Henry Vogel, David Willis and Mark Propst both of these features will finally be collected in handsomely condensed omnibus formats that will represent an an incredible library brought together by the joint efforts of the  CO2 Comics and COMICS INTERVIEW families!

Not all of our product, however,  will be massive collections that will buckle a bookshelf!

Raine Szramski’s HEAVEN AND THE DEAD CITY which continues its weekly serialization on our site is rolling into a a second volume for print! This beautifully painted work is a testament to Raines’ talent and long history in the medium.

Long time friends and free lance comic talents Bill Anderson and Rick McCollum have teamed with us to package their feature, SCREAMING MASKS! We cut our teeth in the indy comic market  with these journeymen creators and are excited to publish them, together on one of their own unique projects.

Finally,  my SLAUGHTERMAN title will  be collected in a single book after all these years. This seminal title which was significant in the launching of both Comico and CO2 Comics is due an archival packaging.

Yup! We have a lot on our plate and a lot for our readers to look forward to!

Please stay tuned for notifications of release dates and extended product descriptions as each product is rolled out in the coming weeks and months! We plan to charge into the next five years of CO2 Comics as dedicated to independent publishing and the creative rights of comic creators as we have ever been and we cannot wait to see what the future holds!

Happy Independent Comics Day!

Making Comics Because We Want to,

Gerry Giovinco



Praise for Print: the King of the Dinosaurs

Tuesday, June 24th, 2014

The recent announcement that Apple’s new iOS 8 for the iPhone and OSX Yosemite for the Mac will render older versions of the hardware obsolete is just another reminder why printed books are so valuable.

It is frustrating the amount of technology that is now antiquated and prevents us from enjoying entertainment that we spent our hard-earned cash on. Sift through any garage of a Baby Boomer, especially one like me that hangs on to everything and you will discover fossils of dinosaurs that can no longer deliver the enjoyment they were once capable of without hard-to-find, functioning equipment that can play them back if they have not already deteriorated to the point of complete uselessness.

Vinyl records, cassette tapes, 8-tracks, Super-8 film, Beta Max, VHS, floppy disks, Zip Drives, game cartridges for the Commodore VIC 20, and discs of games or programs for Windows 98 and Classic Mac OS all collect dust as they waste away,  overcome by each new spate of technological advancements.

It is no wonder that there is doubt about digital deliver of things like books, music film and comics because we know that eventually the content that we have purchased will become as useless as all that had gone before and once again we will be repurchasing something in a new format to satisfy the demands of our current technology.

The printed book stands alone as the perfect format. The book and its other printed cousins like newspapers, magazines and comics have withstood the test of time better than any other media.

As frustrated as we may become with the rapid changes is our technology rendering our media and devices useless it is comforting to know that we can stroll over to a shelf and still read our first comic, or our favorite book and it will deliver 100% of the same experience as it did forty or fifty years ago with the same ease. (Though some of us may now need bifocals to achieve that thrill!)

It is an irony that as advancement in technology eventually turns all media into useless bricks it is the most basic format of the printed book that will remain the true brick that builds the permanent foundation that supports everything else.

It is inevitable that my iPhone will be a brick soon, just another cell phone lost in my junk drawer, but my books and collection of comics will always be preserved, ready to deliver full entertainment value at my beckon call as they have for my entire life. Print deserves more praise than it gets, but it will always get it from me for it truly is the King of the Dinosaurs simply for its ability to survive and avoid extinction.

Making Comics Because We Want to,

Gerry Giovinco



A true, capitalism-endorsing conservative would let the market decide.

Dixon and Rivoche: Critical of the Right

Tuesday, June 17th, 2014

Give Chuck Dixon and Paul Rivoche a lot of credit. They certainly stepped outside the box in an effort to promote their new book, a graphic adaptation of Amity Shlaes’ THE FORGOTTEN MAN, by attacking  comic industry liberals in their Wall Street Journal OP-ED piece, How Liberalism Became Kryptonite for Superman.”

They managed to generate a lot of interest  and even had the opportunity to tout their book, published by Harper Perennial, on FOX NEWS!

Thank God that most of the hardcore conservatives that pay attention to these narrow-minded resources couldn’t care a rat’s ass about comics or they would have seen through the thin veil of deception that is so brilliantly dissected  by Janelle Asseline in her Comics Alliance piece, “Superhuman Error: What Conservatives Chuck Dixon & Paul Rivoche Get Wrong About Politics In American Comics.”

In their effort to be Uber Americans by defending the Political Right, Dixon and Rivoche tread on one of the most valued American liberties that comic creators have fought decades for, the right to freedom of speech and expression which is protected by the First Amendment.

Their endorsement of the Comics Code Authority, which was a direct product of McCarthy era conservatism and possibly the most strict code of censorship of any American medium, flies in the face of anyone who truly loves and values the most basic and fundamental principles of freedom set forth by the founders of this country.

It was particularly odd that both gentlemen conveniently ignored the comics history of the 1980′s where creators rebelled against the big publishers of superhero comics  and defined the potential of the Direct Market by working with Independent publishers that defied the rules of the Comics Code Authority.

Both Dixon and Rivoche saw their first works published by Independent publishers in 1984. (not the 1970′s as stated.)  Chuck Dixon’s EVANGELINE which, originally published by Comico, told a tale about a nun with a gun that was an assassin for the Vatican.Canadian Paul Rivoche illustrated Mister X published by Toronto based Vortex. His story was about a mad scientist that induced his own perpetual sleeplessness with a fictitious drug. These were not comics that any of the Code publishers would consider touching at the time!

It is ironic that these pioneers of “moral ambiguity” in comics should be so vocally opposed to its current existence in the medium!

The success and proliferation of similar independent projects eventually led to Marvel and DC’s softening and ultimate departure from the Code. This was  an orchestrated effort to compete with and eradicate Independent comics publishers  who had gained substantial  market strength.

The market dictated the newfound liberal mores with which comics were created! If audiences did not clamor for these new “left-minded” ideas we would all be reading comics with the seal of approval on it today. Worse, comic books would most likely have faced an inevitable extinction.

The comics of the 90′s that the two chose to credit with the moral departure were created by a  wave of young talent that cut their teeth reading comics and being inspired by the likes of Dixon and Rivoche. These upstarts recognized that it was time for a jailbreak and sought to distinguish themselves as the New World Order in comics.

Dixon and Rivoche are among many creators moderately associated with the old guard, despite their groundbreaking achievements, to be trampled by the inmates intent on running the asylum, finally free of the restraints of oppressive censorship (a page torn right from Dixon’s own Batman stories.)

Jerry Ordway has similar gripes but does not blame left leaning politics in his plea for work, Life After Fifty.
For many, like Ordway, it is rather an overwhelming lack of respect and appreciation for the contributions of creators that in the past would have been revered industry-wide.

Fortunately the Independent movement (not just of the 80′s and 90′s but that of the 70′s  Underground Movement, the Web Comic  Movement of the 00′s and the current Digital Movement) has solidified the rights that creators have to express themselves freely through the medium of comics. There is a now place  and an opportunity for any kind of comic regardless of “right” or “left” leaning politics. This is good for everyone, especially those with idealistic American values.

Without this new, expanding market for comics there would be no publisher that would have been interested in THE FORGOTTEN MAN, a comic not about superheroes and not targeted specifically at children. That would be a real shame.

Dixon and Rivoche should have remembered their true roots and celebrated their masterful execution of their own creative rights rather than endorse a close-minded, faux conservatism that could potentially crush other creators’ rights to freedom of speech and expression in a new witch-hunt reminiscent of the one perpetrated by Dr. Fredrick Wertham that led to the development of the restrictive Comics Code Authority.

Dixon and Rivoche need to ask themselves which Right is more important; the creatively inhibitive conservative views of the Political Right or our Inalienable Right to free speech and expression that has given comics the opportunity to flourish?

Making Comics Because We Want to,

Gerry Giovinco



A true, capitalism-endorsing conservative would let the market decide.


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