Luke Cage History: From Hero for Hire to Hollywood
TV, Comic Books
Here’s Tom, who you may recall as the author of Bill Reed’s theme song. – BC
“Comics are made to be in print and they’re made to be cheap and disposable… It’s nice that people are making one-of-a-kind original art objects, but still, the reason I read comics, as a kid, was in the newspaper and you just use that to wrap fish with. Having this cheap, accessible entertainment is something I believe in.”
The above quote, taken from an interview I did with Ms. Baumann in 2006, has been floating about in my head ever since my wife and I bought a discounted subscription to the Detroit Free Press. We received the paper from roughly January until this September, encompassing within its nine months the front-page drama of the Kwame Kilpatrick scandal that shook up the local political scene and restored my faith in the power of traditional print news media. It also saw the nine month renewal of my acquaintance with Rose Gumbo, Judge Parker, Satchel the dog and Rat the, um, rat.
If, in this day of graphic novels and hardcover absolute editions, the monthly stapled comic book is considered somewhat ephemeral, where does that leave the daily comic strip? Sure, the truly great strips, the masterpieces, they get the four-star treatment: consider The Complete Peanuts or the Calvin and Hobbes three book set cum medicine ball. And popular strips get those soft-cover treasuries.
But many comic strips will never be collected. They appear for one day and then– barring a pair of scissors and a refrigerator magnet– they’re gone. They’re cheap and disposable. They’re deliberately ephemeral, like political blog posts, like episodes of game shows, like newspapers themselves.
I’m attracted to ephemera, and to objects and works of art that have long out-lived their usefulness. I find that even when something’s been built to last only for a moment, when it is destined to fall apart between the space of two breaths, that a tremendous amount of artistry and craft is in evidence. Indeed, sometimes it is when a work of art is scheduled to self-destruct that the artist is the most creative, the most daring, the most ingenious: it’ll be gone tomorrow, so you can get away with more.
Now, I’m not trying to make any sweeping statements here; I’m not saying this is what goes on in the mind of this or that comics creator. And, as I said above, the more popular strips do get reprinted and I’m sure many of those creators write for the trade (though, given the particularities of the daily comic strip form, it doesn’t have the same effect on the episodic day-to-day output that writing for the trade has on a monthly comic book).
All I’m saying is, a lot of strips do not get the attention they deserve. Comics Curmudgeon aside, most of the comics blogosphere focuses on monthlies and trades. Partially, I think this might because of the extremely short shelf-life of a daily strip; you can’t exactly scour the back issue bins for a given installment of Mary Worth. But partially I think it’s also a bit of snobbery regarding the format: can you really create something worthwhile in the tiny three-to-four panel straitjacket?
Well, of course you can. And that’s what this column is going to be about.
* * *
Back in October, when I began thinking about this column, I wasn’t quite sure what I would be writing about, though I was leaning mightily in the direction we’re now facing. Living in Michigan, my finances do not allow me to even buy a couple of monthly comics from The Best Comic Book Store in Metro Detroit, Green Brain Comics (http://www.greenbrain.biz). And, in fact, those same finances prevented me from renewing our subscription, now at regular price, to the Detroit Free Press. How could I blog about comics without any comics to blog about?
What I did have, though, were some daily comics sections I had rescued from our recycling bin. I have roughly half of the dailies from a four and a half month period: from the end of May to the beginning of September. And, ever since I got the okay to do a column, I’ve spent much of my free time compiling a database of these strips to make them easier to find, scan in, and, finally, write about.
Having finally finished said database in the week between Christmas and New Year, I am now ready to actually start the damn column, which will be comprised of my observations and theoretical musings about the form, substance, and artistry of a splattering of daily comic strips published by the Detroit Free Press last summer.
It is, like daily comics themselves, deliberately ephemeral.
And that appeals to me.
NEXT TIME: The column actually begins with a look at one of the most ginormously entertaining characters on the funnies page, the one and only Ted Forth!
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