January 8th, 2014


Telling/Sharing/Owning Stories Together?

If Shia LaBeouf never made a dime off the stories he helped tell/make in movies with his acting, he might have a pinkie toe to stand on to esthetically defend his present thesis [click link below and read full article, specifically his Tweets]. But the fact that he's a millionaire, thanks to storytelling franchises like Transformers, etc., that he acted in and got paid for, derails his own "share/change/own stories together vs anti-profit" philosophy.

We all tell/share stories but some of us make it our job. And, that's why, for better or for worse, we have copyrights. We can agree that no story is wholly original but the way we tell/show/deliver our individual stories/ideas is what makes them/us unique and that's why we can't let plagiarism slide. Hell, even parody and homage is a slippery slope but at least I give props to those who helped inspire me and my way.


I'll admit, there's a certain spirit to LaBeouf's cut-and-paste rah-rah-rants but he's not the guy to discuss remix culture.

What Shia LaBeouf Tweeted via ✔ @thecampaignbook:

"we used to sit in a circle around a campfire and tell stories and share them and change them and own them together because they were ours

now our stories are owned for profit we buy corporate property and call it our culture enriching others as we deplete ourselves"

Don't give up your day job

When I was at Katz's Deli the other night, there was a thin, handsome man sketching in a book a couple of tables away from me. He was scribbling a portrait of a pal off his iPhone. I asked him if he was a cartoonist and he laughed and said "no." I think he laughed because he knew he wasn't good enough. I complimented him on his art and we talked for a minute. I admire anyone who's willing to practice in public. I went back to my table to apply more mustard to my round potato knish and a woman came up to the aspiring artist and asked to take his picture and sign a paper napkin. He complied. Apparently, he was a young actor on some TV show. I never got his name or what show he was acting on but I dug the fact that he was cartooning on the side. I wanted to say to him, "Don't give up your day job because comix will kill you!" but he probably already knew that.

Bleeding Cool reviews THE FOX #3

"The Fox from Red Circle/Archie Comics this week has one of my favorite covers so far, and that’s saying something considering there have been variant covers by Paul Pope, Fiona Staples, Darwyn Cooke to name a few, and the covers have always had such a crisp and clear design element that they are entirely distinctive on the shelf. This time we get a kind of lava monster which, in keeping with the Silver Age homage of the book, might remind you of the Human Torch, but it really takes me back to some of the earliest appearances of the Torch in Golden Age strips—so visually distinctive that they stay in your mind. But we open issue #3 with such a bizarre and mythological situation that it becomes a magnet for psychological interpretations of hero stories. Paul Patton, aka The Fox, is standing with and extra his own severed head in hand, uncertain what it means to him to find it on a pike outside a cave as he tries to save the Diamond King from his enchantment into a terrible being. Will his “sly, foxy brain” be enough for the denizens of this underworld journey. This is what Carl Jung and later Joseph Campbell called the “midnight journey”, where a hero passes through a kind of land of the dead facing terrors and overcoming versions of themselves. In essence, they have to reject what they don’t want to be in life before they can create a self they want to be. Here lots of beasties assault the Fox and he has to come up with tailor-made solutions to handle and reject each, all while abusing his “doll head” severed head in disgust by bouncing it around with him.

The Fox is facing “death’s slobbering oral cavity”, purple but memorable prose from Dean Haspiel and Mark Waid, and in essence, this is the issue we’ve been waiting for when the confusion and sleights of hand The Fox has faced in his transmogrifying adventure become pointed, with a direct goal and purpose he’s willing to pursue fully. At great personal risk. The pride of place in this issue is taken by Haspiel’s double-page spread that features a cut-away of the Fox’s journeys through different tunnels, and we see multiple versions of his gymnast-like antics through them. It reminds me of 8-bit video games, great illustrated books from fairy tales and mythology, and even paintings of hellish lands like those produced by Heironymous Bosch. But there are some surprise guests toward the end of the book you’ll have to read to believe. The Fox #3 is a solid and visually powerful installment in a well-planned miniseries, ramping up the pace and significance of the storyline while giving you room to pause on the striking imagery."

--Hannah Means-Shannon, Bleeding Cool