Some of you may not come here for either the comics or the politics (or the music or the movies or the obscenity-laden rants about commercials). You might be a friend of mine who comes here to read about what’s going on in the life of Sean T. Well, long story short, my wife is being hospitalized for anorexia.

She’s doing okay about this, I guess. Obviously she never thought things would get this bad, as cliched as that sounds, so she’s ready and willing and able to get better. But I think the diagnosis, and the severity of the treatment, has shocked her quite a bit. Me, I’m sad she’ll be gone for so long (three weeks), but happy she’ll be getting the attention and treatment she needs. If nothing else, she’ll have a little free time everyday to reread Blankets for the umpteenth time.

If the situation permits, she’ll be blogging through her stay at the treatment facility: Expect her to be candid on this one and funny on this one (though the two blogs do not have a mutually exclusive hold on those qualities). You can also email her your well wishes at lucyhoney23 *at* yahoo *dot* com.

So please bear with me if blogging is occasionally sporadic throughout the next month or so–I’ll be driving to and from the center, which is about two and a half hours away, quite a bit. But we firmly believe that you can’t keep a big bad anorexic and her geeky husband down, so you’ll be hearing from us, back to our old selves, in no time.

Franklin Harris points out that the blogosphere (not just the comics subdivision) is all over the egregious Jesus Castillo non-decision. He’s also pointing out that some say Castillo’s counsel is partially to blame.

This sure won’t stop me from encouraging you to support the Comic Book Legal Defense Fund, though.

(Don’t fret because of the comicsy inside joke in the subject–this is a political blog entry! Remember those?)

Yesterday morning, as the Missus and I enjoyed our complimentary continental breakfast at a Days Inn in western Pennsylvania, the Fox News morning show Fox and Friends was doing a story on the bias of the New York Times. Despite the fact that I agreed with virtually every word they said about The Old Grey Propagandist, after a couple of minutes I wanted to put my fist through the screen.

First of all, have you ever seen Fox & Friends? If there exists, anywhere on Earth, a more annoying group of airheaded blow-dried anchorzombies, please, Donald Rumsfeld, call in a couple of MOABs and blow that place to motherloving Kingdom Come.

Second, where in hell does Fox News get off calling ANYTHING biased? The painfully, transparently phony incredulity of the show’s host as they discussed the issue–“So you’re saying that it’s not just the opinion page, but that the regular stories are slanted? Might there be rules of journalistic ethics that this violates?”–was so patronizing that I nearly choked on my donut.

I’m not one of those people who sits around decrying Fox News as the end of journalism as we know it. All news is biased, and thanks to outlets like the NYT and BBC, this is true, ahem, now more than ever. Moreover, despite how annoying their protestations of innocence may be, Fox is pretty nudge-nudge wink-wink about the whole “fair and balanced” routine–as most of their viewers could tell you, they watch it because it’s conservative. Finally, Fox News is something I’ll occasionally watch (or watched, back when I got it on my cable package) for entertainment value, and certainly not for news–in other words, I know the deal, and won’t get bamboozled. But this segment was so egregiously phony and condescending that, to me, it called into question the entire enterprise. Conservativism–even the poorly thought out inconsistent big-government cultural-conservative mishmash advocated by FNC–shouldn’t have to equal stupid.

Which brings me to Fox News Channel’s decision to sue Al Franken over his use of the phrase “Fair and Balanced” in his next book, an anti-FNC screed. Apparently they’re worried that someone might mistakenly conclude that Franken works for Fox.

Bullshit.

This is a big corporation bullying someone into not criticizing them any longer, and is as egregious a violation of the First Amendment as you’re likely to see (unless, of course, you’re Jesus Castillo). In protest (at the behest of Neal Pollack; link courtesy of Tegan Gjovaag), I’m going to be using the phrase “Fair and Balanced” as often as is humanly possible.

And I assure you, I don’t work for Fox News.

First things first: I’ve got Doctor Strange news for NeilAlien! During one of the many Marvel panels at which Joe Quesada was present, an audience member asked Joe about the status of J. Michael Straczynski (I just checked my Amazing Spider-Man trade paperbacks to get the spelling of that name (the Nietzsche of comics) straight once and for all)’s Doc Strange series. “Wait and see” was his answer. Hey, it’s better than Joe’s response to all the questions he fielded about Kevin Smith’s perpetually delayed books: “Dude, you know as much as I do.”

Anyway, yeah, WizardWorld Chicago. All in all, well worth the 30 hours spent in transit (we’re counting bathroom breaks and stops for caffeine free Diet Pepsi, which for some awesome reason is available everywhere outside of the tri-state area). The Missus, K, and I all really needed a break, and we got one. The ladies actually were pleased that this is the dorkiest of the big comic conventions–less pressure to act like a hipster, more freedom to run around harassing backyard wrestlers, letting fanboys grab their asses, and wearing shirts that read “JEFFREY BROWN’S NEXT BOOK.” (Yes, that actually happened.) For a complete neophyte’s perspective on the con, check out my wife’s two blogs, where she posted extensively on the subject: start here and scroll up; then start here and scroll up.

Me? I was divided on the matter. I’m the first to admit that unlike Dirk, I’ve never outgrown superheroes. Well, technically I outgrew them during college (during which the only comics I read were by Alan Moore, Chris Ware, Frank Miller, and Erik Larsen (okay, so he’s an exception)), but now I fiend for the good superhero stuff like it’s crack. Hearing the future plans of guys like Mark Millar and Brian Michael Bendis is an unabashedly geeky thrill for me, because it’s the work that these guys are doing (along with Grant Morrison and the whole New Marvel regime) that, along with altcomix people like the Highwater crew, got me back into comics in the first place. Basically, my entire life-plan changed because I really liked Ultimate Spider-Man. Point is, WWC is a superhero mecca (moreover, Wizard founder Gareb Shamus (who I didn’t get to see) has never been anything but wonderful to me), and therefore I was tickled to be there. (In addition, it was entertaining to watch the promised DC/Marvel Conflagration fizzle out into a series of non-announcements (mainly “We’ve got nothing to say about Grant Morrison’s replacement on New X-Men at this time” and “We’ve got nothing to say about Grant Morrison replacing anyone on Superman at this time”): turns out the whole shebang was essentially the product of one guy publishing some rumors, attributing them to one side, then attributing them to the other, then saying that it’s all proof that Anything Goes in the Knock-Down Drag-Out World of Mainstream Superhero Comics.)

On the other hand, Jesus, people, but enough with the fucking superheroes already! The problem here is that there seems to be no distinction between The Good Stuff and, well, early ’90s X-books. Good God, but if I saw one smelly, poorly groomed retailer trying to unload his back-issue bins crammed to bursting with Bishop mini-series, I saw 200. Do you know how hard it was to find ANY alternatives to the spandex set, aside from at Top Shelf’s table? Answer: So difficult that I literally came home with no purchases. (In fairness, Chicago Comics had a small but well-stocked booth; but unlike every other retailer there they weren’t discounting books on Sunday, so I didn’t buy. I guess this is their way to compensate for stocking books so good that no one buys them.) Meanwhile, you had folks like Marvel’s old-school editor Tom Brevoort claiming that Marvel came to WWC but not San Diego because SD isn’t really about comics anymore while WWC is. Though my strong suspicion is that Marvel’s reasoning owes much more to Wizard pitching in a bit with set-up costs than to anything else, that’s really neither here nor there: It’s just kind of a bummer to see Brevoort (surprisingly Catholic in taste when it comes to comics–he edited the James Sturm/Guy Davis/R. Sikoryak altcomic in superhero clothing Fantastic Four: Unstable Molecules, after all) spout such a goofily optimistic assessment of a con that’s at least as much about action figures as it is about their four-color antecedents.

I think Dirk is right (I tend to) when he says that all this emphasis on superheroics is shuffling the deck chairs on the Titanic, given the momentum manga has built up and shows no signs of relinquishing. That’s why two Marvel pseudo-announcements made me as happy as anything else at the con. The first was that they’ll be producing a book called 15 Love, about a teenage girl tennis player. If the sample copy at the Marvel booth is any indication, it’s following the same photo-cover formula as Millar’s Trouble so as to ape YA fiction books, it’s got Chynna Clugston-Major style American manga art, and there isn’t a superhero in sight–as far as I know it doesn’t turn out that this girl grows up to be Sue Storm Richards, either. Second, when I asked the Marvel panel whether they had any plans to experiment not just with manga-style art or even manga-style storytelling but manga-style format and trade dress (as readers of ADDTF know well, this is my Number One Piece of Advice to the Industry), Joe Q. responded with a big smile and a “wait and see.” (A little bird told me that Ultimate Spider-Man, which is shonen manga in everything but art style and name, is slated to be the first recipient of a manga-format edition–it’s the perfect choice, if you ask me….) Since I agree with Jim Henley that the real obstacle to widespread readership isn’t superheroes (sure, they’re too overrepresented, but most normal people don’t mind them) but the format of the comics themselves, this has me quite hopeful. See, Dirk? Amidst all that furniture rearranging, someone’s working the bilge pump after all!

Wow. A quick look around the comics blogosphere shows you how much is going on around here: a mere three days out of surfing range and I’ve got a bajillion things to link to. Here goes:

Bill Sherman reviews two very solid superhero books that came out recently–the second installment of the creepy meditation-on-sexual-assault “Purple” storyline in Bendis’s Alias and the first issue of Straczynski’s Justice League dissection Supreme Power. Both issues prove, among other things, that good superhero writing works soooo much better with good superhero art, provided in these cases by Michael Gaydos, Mark Bagley (out of character indeed!), and Gary Frank (who’s like a much lessy goofy Steve Dillon). He also points out that a quote from a good song goes a long way, a rule I hope to prove true by sticking a Bowie quote into every comic I ever write.

Speaking of “the good stuff,” in the aforementioned Journalista article, Dirk Deppey questions the utility of moving Garth Ennis’s Punisher over to the mature-readers Max line, opining that it’ll yield little more than additional “fuck”s. But during the Marvel panel at WWC (confirmed by Grant Morrison (who has his own things to say about manga (and toys!)), while Alan David Doane has Mark Millar (and in so doing, had a 50% scoop of WWC’s big announcement).

Big Sunny D offers some thoughts on the most recent issues of Morrison’s New X-Men. I happen to disagree with Sunny’s take. As far as I’m concerned, the more Morrison tackles petri-dish worlds, the better, and to judge by his Newsarama interview, his decision to do so basically precipitated his exit from Marvel, so it was a ballsy move to boot. Also, though artist Chris Bachalo’s work during the Proteus storyline in Ultimate X-Men was gratingly claustrophobic to my eyes, I think he’s really outdoing himself with this arc–angry, jagged, kinetic. But it takes diff’rent strokes to move the world, or in this case, The World.

Eve Tushnet makes the connection between superhero stories and opera. Though Frank Miller has been talking about this for years (and indeed did so directly to me during my interview with him for A&F a couple years back), it really took the film version of Daredevil to solidify this connection for me. (Of course, it helps that The Missus is an opera singer herself–I’m more familiar with the stuff than the average fanboy.) Eve, since you were curious, I talked about what I saw as the commonalities between these two types of spectacles here.

Since we were listening to the seemingly omnipresent WCBS NewsRadio 880 AM broadcast as early in our trip back from Chicago as central Pennsylvania, we heard quite a few reports on Marvel’s big stock bonanza. Till Dirk gets his claws into it, why not check out this Newsarama piece on the subject?

In non-superhero news, what hath Blankets wrought?

Finally, thanks to Brian Azzarello, Brian Michael Bendis, Jeffrey Brown, CB Cebulski, Marshall Dillon, Mike Doran, Jann Jones, JG Jones, Mark Millar, John Miesegaes, Mike Norton, Chris Staros, (especially) Craig Thompson, everyone at the Top Shelf booth, and all other pros who extended a friendly hand during WizardWorld; to Bill, Dirk, and Alan for linking to my dispatches from the con; to everyone I temporarily deafened by putting the up-to-11 remastered version of Iggy & the Stooges’ “Your Pretty Face Is Going to Hell” on the jukebox at Knuckles Friday night; and to the Missus and K for coming with me.

And no, that’s not a reference to this blind item.

(But PS: You know this other blind item? Tune into the comics internet tomorrow, when methinks it won’t be so blind anymore. Spectacular!)

Methinks my big WizardWorld wrapup will have to wait till Tuesday night at the earliest, since the Missus and I will be driving back home till then and you’ve got less time at these hotel business centers than Angelina Jolie did to catch her breath at ComicCon. The nutshell version till I can expand on it a bit: It was the best of cons, it was the worst of cons.

Here’s a quick NerdNews update from the last day of the con:

* Captain America will be taken away from Chuck Austen (who, as Dirk Deppey points out today (no time for a link–click on the blogroll!) and as I’ve pointed out many times, is at his best when he’s at his sleaziest, and his Cap run is snoozy, not sleazy) and given to writer Bob Morales (of Truth fame–or in fanboy eyes, infamy) and artist Chris Bachalo (whose weird work currently graces the pages of New X-Men). It’s great to see Marvel reward the author of a quality book that didn’t sell, ignoring the latter and paying attention to the former.

* For those who care, Mark Waid and Joe Quesada promised more Mark Waid Fantastic Four work in the future. The Marvel Meltdown theory takes another hit in the gut with that little fence-mending announcement.

* Letters pages will be back, meaning letterhacks can complain about the cast of X-Force being gone in more than just X-Statix.

See you, everyone!

Oh, great. Now I see that ADD is alerting his readers to come here for regular WizardWorld updates, just because I happened to say that I’d actually be offering them. When will people learn not to believe what I say?

Oh well, here goes: There’s going to be an Ultimate Carnage, (essentially the evil twin of Venom, himself the evil twin of Spider-Man–in other words, this was not a character many people expected to appear in the stripped-down world of the Ultimate books) in the pages of Ultimate Spider-Man soon. (Hey, I’m at WizardWorld–you were expecting maybe an update on Chris Ware’s Rusty Brown graphic novel?) The reason I bring this up is because Bendis said Carnage would be someone we’ve already met in the series, and later on in the panel had to fend off rumors that the Ultimate version of high-school bully Flash Thompson was gay. “What’s his secret, then?” “You’ll just have to keep reading.” No one else seemed to put two and two together, so, uh, you heard it hear first: Ultimate Carnage will be Flash Thompson. I think.

Moving on, scuttlebutt has it that Jim Lee’s return to monthly drawerings of comic books is lighting a fire under the ass of the other non-Erik Larsen Image founders. Marc Silvestri is already a done deal on the final New X-Men arc, but will we see even the most famously prodigal artists cum millionaires cum whipping boys head back to monthly work?

You know, it’s just a lot of fun to be at a comic convention with two women who don’t really read comics, and certainly aren’t immersed in the geek culture of these things. I basically keep up a running stream of “And that guy played the Incredible Hulk and that guy played Willow and that guy played R2-D2 and that guy draws Batman and that guy writes Captain America and that guy runs Image and that guy writes Wolverine and that guy runs Marvel and that guy wrote Clumsy…” Hmm. Do you have that “one of these things is not like the other?” song in your head all of a sudden?

Finally, another blind item: Which friend of mine was involved in a threesome in which the guy insisted on referring to her and the other lady involved as Jean Grey and Rogue?

Blind Item: Which spectacular scribe came thiiiis close to starting a fistfight with a certain gutter-dwelling internet rabble-rouser–in front of an enormous line of signature-seeking fans (and yours truly) at the Marvel booth, no less?

As that little anecdote might indicate, I’m having a good time here at WizardWorld. A lot less alt-comix representation, which is extraordinarily depressing, but the presence of Craig Thompson is quite a boon to the spirits (especially those of my wife).

I also got to spend some time with Mark Millar, who turns out to be about 180 degrees from the cocky persona he’s constructed for his press releases. He’s an awfully friendly, smiley guy who seems genuinely tickled pink to be doing what he does for a living, as well as pleased that so many people seem to enjoy it too. Today he announced that he and Brian Bendis will be tag-team writing Ultimate Fantastic Four, which, given Bendis’s knack for dialogue and Millar’s for action, might well be the comics equivalent of Jay-Z and R. Kelly’s The Best of Both Worlds, only with less statutory rape. Seriously, I jones for those Ultimate books like they’re horse or something. This should be a pip.

You know, the events of today once again made me think of Gary Groth’s criticism essay. I said to Gary at San Diego that I thought he was presuming too much of comics creators to double as critics as well, and offer harsh criticisms of the work of their peers. My assumption was that most people simply don’t want to be seen as an asshole or a troublemaker. But I think that once you get to know a person who you’ve only previously known through their work, you recontextualize that person’s output based on their personality and thought patterns as you’ve seen them in action. If you get a favorable impression of the person in question’s heart and mind, you’re liable to take another look at their work and find strengths where you’d once (in ignorance?) seen weeknesses. This actually happened to me with Gary’s fellow Fantagraph, TCJ editor Milo George. Back when Milo and my communications with another had gone no further than me getting called a dumbass by him on the TCJ messboard for saying something apparently overly reverential about Frank Miller and DC Prez Paul Levitz, I extrapolated that his callous disregard for the feelings of his readers translated into a badly run magazine. But now that our e-relationship has extended beyond that somewhat into some illuminating conversations about the workings of the Journal (preceded by a mutual apology for our messboard snippiness), I find that I’m able to appreciate aesthetic and critical decisions he’s made for the Journal with which I once disagreed.

In essence, then, Gary’s complaint may well be valid, but I think it’s an unavoidable dilemma in a medium as inbred and insular as this one, where everybody knows your name. It’s more than a question of not shitting where you eat–it’s that once you get to know someone, you get to know where they’re coming from, and where they intended their work to go, too.

Another fun day here in beautiful scenic Rosemont. Once again, the Missus and her friend K ran around causing trouble whilst I geeked out in panels about the future of Daredevil and whatnot. K seems to be auditioning for the role of the main character in Jeffrey Brown’s next book (don’t you love altcomix inside jokes?), so that’s pretty cool.

Actually, I really do love the panels at these things–there’s something just shy of insane about a place where fans of a particular writer or artist can grill that artist in a totally freeform Q&A session for literally an hour and a half at a time. After my sources revealed to me that Marvel wasn’t going to be flooding the zone with Big Announcements To Counter DC’s Momentum or whatever, I was able to sit back and enjoy these things for the “only in comics, kids. only in comics” phenomena that they are. Today’s panels featured Brian Michael Bendis and Joe Quesada, and as usual I left feeling very optimistic about the future of mainstream comics after hearing these guys talk about them. Quesada seemed audibly grateful to have fielded at least as many questions about Peter Bagge and James Sturm’s Marvel work as he did about whether Power Pack would be returning any time soon. (He also VERY strongly denied Rich Johnston’s theory that Marvel started the rumors about all those big creators leaving Marvel: “Guys, think about that for a second–that would be like me starting a rumor that my wife was leaving me for another man.”) And Bendis displayed the same love of craft and joy in the work of writing that came through in the interview I did with him for A&F. I found that even mere discussion of his continued collaborations with artists Alex Maleev and Michale Gaydos got me jazzed up to go home and pore over the intricate, moody work those two artists have produced for him. (Also, after a question touched on autobio comics, he asked the eternal question, “Is that really how Joe Matt masturbates?” Good times.)

We capped off the evening with dinner with Craig Thompson, his lovely girlfriend, and her very cool cousins. It’s really a pleasure to be able to talk to the guy about his book–or anything, really–without the discussion devolving into the acrimonious free-for-all now in progress at the TCJ.com message board. It’s also a pleasure to see just how non-emo the guy is in person–again, an example of how personal knowledge of a creator can lead to an enhanced understanding of the work, not a watered-down willingness to take it apart.

The one big drawback to this show? Nearly every dealer sells almost exclusively crappy back issues. At San Diego, you can come home with more graphic novels than you can shake a stick at. Here, you’re lucky if you can find any, outside of Top Shelf’s prime-real-estate table. But what WizardWorld lacks in altcomix collections, it makes up for in the fact that I stood about one foot away from Sean Astin in the hotel bar last night.

At approximately 1:00am, the fire alarm began going off here in the beautiful Hyatt Regency O’Hare. I say began because it went on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, and on, for about 20 bloody minutes. Now it’s over, and we’ve moved on to an automated voice repeatedly asking for everyone’s attention and that they’re assessing the situation and asking for everyone’s attention and that they’re assessing the situation and asking for everyone’s attention and that they’re assessing the situation and–well, I’ll let you know how it turns out.

Thank you, Anonymous Fanboy Alarm Setter Offer, for creating an impromptu pajama party consisting of now wide-awake people standing around on the walkways on every level of this big atrium-style hotel. If Wolverine were here, he’d raise his brewski in salute to you while nodding his shadow-cloaked head in your direction. Then he’d get on a motorcycle and drive off and go on a berserker attack with his adamantium claws and then he’d have sex with a lady. Also, ninjas!

One of the simultaneously exhiliarating and depressing aspects of the comic book medium is the extraordinary level of accessibility of big-shot creators to Joe Fanboy. (Exhiliarating because hey, it’s fantastic that anyone can meet their idols; depressing because this means that even the biggest, best creators on Earth aren’t important enough to warrant handlers and bodyguards and PR flacks and all the other intermediaries that stand between most famous folk and the hoi polloi.)

This ease of access extends to fanGIRLS, too. Witness The Missus’s account of meeting Blankets author Craig Thompson. And by “meeting” I mean–well, read it for yourself. I think she made an impression on the guy.

Appy polly lodgies for the absence, but I’ve spent the last couple of days driving aaaaaall the way from Long Island to Chicago to cover the WizardWorld comic book convention. It’s been fun; also, during the trip I gained a whole new appreciation for the Britney Spears tune “Boys.” I guess one can’t begrudge the Neptunes for still wanting to work while the Ol’ Dirty Bastard is in prison.

So it appears I will be posting occasionally during the con. I’ll even try to bring you updates on all the big DC/Marvel scuttlebutt that’s supposed to be announced here. And I’ll probably do some namedropping as well.

As an example, here’s update number one: Within an hour of checking into the hotel, I had my first Lou Ferrigno sighting!

Dirk Deppey has the depressing scoop on the ignominous end of the Jesus Castillo obscenity case. For those who are unaware, Castillo was arrested and convicted of obscenity charges for the “crime” of selling an adult comic book, from the adult section of his comic book store, to an adult. Why is this a “crime”? Because all comics are for kids–at least according to the Texas D.A. that prosecuted him, and all the various juries, judges, and appellate courts that heard the case. In other words, please go support the Comic Book Legal Defense Fund, which bankrolled Castillo’s defense, an undertaking as costly as it was just.

In much less grim news, Mark Millar is previewing his four (!) upcoming titles for various publishers. I know I’ve kicked the Scotsman around a bit for Trouble (and his politics, and his press releases) but with three (!) of these new books looking like revisionist superhero tales of various stripes (one of which will feature the masterful widescreen art of JG Jones), it looks like Millar is once again playing to his quite considerable strengths. (I always liked his first arc on The Authority better than Warren Ellis’s, for example, and his Marvel titles (particularly the first arc of The Ultimates and the entire Ultimate X-Men run) are sexy, unpredictable popsplosions.)

(I guess it’s odd that I’m an evangelical supporter of an anti-evangelical graphic novel. Oh well…)

Ask and ye shall receive: Eve Tushnet offers her own, as-yet-undecided perspective on Craig Thompson’s magnum opus. I think she hits on one of the most interesting questions about the book, one that I haven’t unravelled despite actually interviewing the guy about it: To what extent is Craig’s narrative voice unreliable? That is, does he really believe everything is as “perfect” as the narrator depicts it? And is he really as sincere in his teen-year convictions as the narrator makes it seem? In addition, she offers some insight into the relationship between evangelical fundamentalism and kitsch art, one I hadn’t thought of before. Finally, it’s always fascinating to hear about what makes for “good comics” for people who aren’t already immersed in the art form. This book has people like Eve and my wife Amy talking about comics, which is a damn good thing for this incredibly insular medium.

Meanwhile, over on the TCJ.com messboard, the illustrious Scott Bukatman leads an exodus from the interminable, intolerable fightin’-’bout-the-Baby-Jesus Blankets thread, and is generating some interesting discussion (provided this one doesn’t get bogged down in a chat about the book’s price point, or the fight Lorna Miller apparently wants to pick with Coop…).

(See that? It was a complex pun involving “love and marriage, love and marriage go together like a horse and carriage” and “putting the cart before the horse.” Ha.)

Senator Rick Santorum continues to say deeply creepy things about love, sex, and marriage. Moreover, they’re things that are just as troubling to heterosexuals as they are to homosexuals, though thanks to our wonderful news media you’d never know it. This time around, he argues, quite passionately, that marriage is about procreation, not love. Among the many troubling logical extensions of this belief are the notion that there’s nothing really wrong with arranged marriages, and that infertile couples, or (God forbid) couples who simply don’t want to have kids have invalid marriages. I feel that it needs to be repeated: This man is a senator.

With each statement, Santorum makes a little more apt my half-joking comparisons of the GOP’s cultural conservatives to the Taliban. He’s a true reactionary, a bona fide fundamentalist and theocrat, and he has no business being a major player in a major political party.

Anyway, Andrew Sullivan is all over him; scroll down for a related discussion of how the Roman Catholic Church has officially condemned homosexuality but never felt moved to make similar statements about slavery. God help us all.

The Roxython continues over at Bill Sherman’s, where he juxtaposes an eloquent review of Roxy Music’s third album, Stranded, with an extremely funny run-down of overused words found in Roxy reviews. Isn’t it that kind of conjunction of the unexpected that made “Mother of Pearl” such a great song, Bill?

(BTW, gentlemen, a propos of Roxy’s gorgeous album covers, I seem to recall rather thoroughly, ahem, enjoying the cover of Country Life when it appeared in Rolling Stone’s 100 Greatest Album Covers issue when I was in seventh grade or so… )

I’m not so nuts about the most recent story arc in Mark Millar’s The Ultimates. Normally I’m peachy keen on the “decompressed” storytelling style, in which big events are stretched out over several issues, but this alien-invasion plot seems reeeeeally stretched to me. A couple of issues ago, we spent an entire installment watching the Wasp get chased around a base being told, repeatedly, that there was no escape; meanwhile, her compatriots Thor, Iron Man, Nick Fury and Captain America spent their half of the issue putzing around an abandoned island that might as well have had a big Hollywood-style sign that read “DEATH TRAP” on a mountaintop somewhere. This issue felt like more of the meandering same to me, with some Authority rehashing thrown in for good measure. Besides, I’m kind of soured on Millar’s dialogue, as I’m fond of pointing out. Still, I’m holding out hope for a good conclusion, and of course Bryan Hitch’s art is always pretty much stunning. Anyway, point is that Johnny Bacardi liked this last issue just fine, and in his review he emphasized the book’s main strength–the delightfully sleazy reimagining of these iconic characters’ personalities. That makes the book worth picking up even when other aspects of it are driving you nuts.

Johnny B. also presents his own “Top Twelve Comics Everyone Should Read” list, a la Dave Hill (and myself, incidentally). It’s a really idiosyncratic list–his and mine have literally no overlap. Check it out.

Over at Rich Johnston’s column… well, I think “yeesh” is the word for it. Still and all, it’s pretty entertaining to watch Marvel work us online rumormongers like the rented mules that we are.

Dirk Deppey has a round-up of some of the recent wave of very public Fanta-bashing, including an update on the Rick Veitch vs. TCJ grudge match, and a breif foray into mocking humorless Pro-Gay Comics Creators who spend their time and energy attacking equal-opportunity offenders like Angry Youth Comix creator Johnny Ryan instead of the Taliban wings of Roman Catholicism and the U.S. Congress, who present a much clearer and more present danger to the lavender set right about now.

In the “ADDTF today, Journalista tomorrow” department, here’s a link to a purportedly anti-Semitic cartoon, drawn by Tony Auth for the Philadelphia Inquirer, that’s making the rounds in the warblogosphere lately (courtesy of LGF). Initially, I thought, “That’s not really anti-Semitic, just knee-jerkingly stupidly anti-Israel, which sadly isn’t so rare a breed of editorial cartoon. The Star of David is Israel’s political emblem, after all, so I guess that makes it less ‘offensive,’ though it certainly doesn’t make it any less ‘dumb.'” That’s all I thought was going on–until I discovered that Auth swiped the image from the goddamn Nazis. Check it out. Everything old is new again, eh?

(Not to digress too much from the comics stuff, but I remember reading, and I often repeat to others during discussions of the Israeli-Palestinian conflict, that anti-Semitism seldom occurs without some ostensibly “real” political greivance to give it some street cred: “Those Jews are all Communists!” “Those Jews are all capitalists!” “Those Jews are agitating for war!” “Those Jews are agitating for peace!” “Those Jews are spreading the plague!” “Those Jews are waging genocide against the Palestinians!” Just because you’re paranoid don’t mean they’re not after you, and just because your complaints about Israel may have some validity don’t mean you’re not, for all intents and purposes, an unreconstructed Jew-hater.)

Finally, a quick musing on something depressing about Tim Sale’s recent exclusive contract with DC, and his refusal to work with any writer other than Jeph Loeb: Having seen some of this guy’s original pages at San Diego, I feel like he’s an art-comics creator struggling to be free. The elegant line work, the expressionistic composition, the sheer languid beauty of his stuff–this guy could be the next Dave Mazzuchelli, if he wanted to be.

Steven Den Beste argues persuasively that the proposed anti-gay-marriage Constitutional amendment is an affront to everything we hold dear and sacred as a country and a democracy. Um, yeah, basically.

Jim Treacher “sings” the “praises” of David Rees and Rolling Stone as only Jim Treacher can. (You’ve got to understand, Jim, David understands things. He understands things in a way only Jann “Peaceful Easy Feeling” Wenner can, uh, understand.)

Yes.

A recent TCJ.com messboard thread cleared up a lot of pre- and mis-conceptions I had about the inner workings of the Comics Journal, a magazine with which I think most comics lovers have had a love-hate relationship. Editor Milo George gave me permission to reprint, and thus preserve for posterity, his extremely informative post on the question of the Journal’s review policies in particular and “mission” in general. I think you’ll find it quite educational.

—–QUOTE—–

There are eight bazillion reasons why the reviews we publish aren’t up-to-the-moment; nearly all of the publishers don’t send me review books in a timely manner — I generally get a big box of a pub’s latest releases two or three times a year, so most of them have been out for a few months before I even see them. Publishers often send review books to someone here who isn’t me, which means that I often get books late or not at all. A lot of the small-fry non-comics publishers who put out comics are amazingly tight with review copies — if I had a quarter for every time I’ve heard “But I already sent Fanta a review copy [not addressed to you],” I could afford to buy most of the books I need — which slows things up. Some critics are agonizingly slow — I have a think piece that I commissioned for the 2001 Year In Review that’s still inching toward completion [when it’s done, it’ll be fucking great, though] — some critics are good but require scads of rewrites before I have something I’m proud to publish. But most importantly, despite finally have a big enough wrecking crew to cover everything that deserves timely coverage, I don’t have enough pages to publish the crit I have in the increasingly claustrophobic two-interview 128-page format. At the moment, Gary’s considering a change in format that would get all the stuff I like — twice as much [thus much more timely] criticism, all of the columns, some comics, Blood & Thunder, Newswatch, On the Boards, Viva and my recast of the multi-interview format in each issue — as well as solve a number of sales issues involving cover features, which would in turn allow the magazine to cover worthy subjects that would be sales death in the current format.

That said, I don’t view the JOURNAL’s criticism section as an ENTERTAINMENT WEEKLY-like source for comics readers to use to help them decide if they want to buy FUNNYBOOK X or not, nor do I think that people will “digest” a work and have no need for another examination of the work, ever. I think the JOURNAL should be dedicated to giving readers more tools to engage the material they read and new ways to view the art form, not tell them what to buy or give people something to pass around at a comics book of-the-month club and never look at again. For example: I’ve never read 1994, I’ll probably never read 1994, but I don’t think a season’s gone by in the last 12 years that I haven’t read “Seduction of the Ignorant,” Carter Scholz’s magisterial essay about 1994. When I was a TCJ reader, it was no hair of my ass that UNDERSTANDING COMICS wasn’t examined in depth for a few years; I was happy to read a few genuinely interesting essays about UC in TCJ #211. Most of them were good reads, they enriched my reading of UC and helped me to better articulate my thoughts on the book. [The same can be said for Dylan Horrocks’ essay on the form chapter of UC that was scheduled for the UC issue but appeared two years later.] I do my very best to shoehorn as much crit as I can into every issue, but I’m more interested in making the section [and my chunk of magazine] a satisfying, cohesive read, not picking and slotting the articles chronologically. There’s no expiration date for good criticism.

I really don’t have an overarching take on the magazine’s mission because I’m kept out of the Newswatch war room, and news is half of the magazine’s mission. It probably results in a subtly schizophrenic magazine, but not distractingly so. In the 4/5 of the magazine’s pages I’m responsible for, I’ve worked to broaden and deepen the field of magazine’s coverage — launching columns on manga, web comics, cartoonist craft, world comics and, fingers crossed, one devoted to editorial cartoons starting late this year; going outside of the direct-market funnybook field for interview subjects, like Sickles, Flessel, Bolling, Rooum, Herge, Panter, John Cullen Murphy, Fort Thunder, Keiji Nakazawa, McGruder, Griffin and Steve Bell; and doing what I can to run the best, most interesting crit I can get in the Firing Line and Bullets — to give readers a better sense of the medium’s big picture as well as show them the little details of the subjects examined. That’s as close to a mission statement as you’ll get from me at the moment; the rest is all run by instinct.

As for no review of DIARY OF A TEENAGE GIRL: I have a pretty good idea of what comics I want to short list as the books of the year. Until I discovered [this week] that the book came out late late last year, I had plans to name it as one of them, with a review on one of my best writer’s back-burner. With pages at a premium, I’d rather run a review of a work I know isn’t a book of the year now than run a review of something that will be a BotY now and then figure out how to cover it in the Year-In-Review section in February. Anyway, I have one of the magazine’s best writers working on a DIARY review, due toot sweet, as we speak.

We’ll have to agree to disagree about the noteworthiness of Grant Morrison’s X-Men, though.

— Milo, big honkin’ narrow-minded elitist