A Haunting (The Anointed #3)

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There is one other area the All-Star vote differs from the presidential campaign. Despite having so much at stake -- not only selection to the team but the contract bonuses that go with it -- we haven't seen any attack ads. At least not yet. With the rise of the Super PACs and the proliferation of outside financial interests, you know it's just a matter of time until we see ones like these:. We see video and still images of a smiling Prince Fielder in a Detroit Tigers uniform while cheerful music plays in the background.

But the music shifts to a haunting melody, and the video changes to darkened images of Fielder in a Milwaukee Brewers uniform as we hear this ominous voice-over.

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But Prince Fielder played the first seven years of his career in the National League. Was he reviewing this? As some one who is not immersed in comics culture, I really appreciate the balance of historical information, critical opinion, and academic contextualization Hatfield manages. I imagine it will go a long way to foster acceptance of the comic book medium in American academic circles, which is probably a good thing. But now I have a little confession to make.

I know. Well, so be it.

Many people who were repelled by other Kirby comics must have gobbled these romances up like candy. Sour candy. Superego candy. One appeal of the Simon and Kirby romances is that, as Hatfield observes, Kirby put a lot of his class anger into them. The woman who stars in this episode tries to pretend she comes from a high-born family in order to win her high-born man.

She ignores her own low-class mother when she collapses in the street. She trades one sort of shame for another. She goes back to her family and gets her man too. The same message is pounded in over and over in the romances. But in the end she goes back to the boyfriend she grew up with. She never should have tried for a fancier shoe.

These romances are period pieces; they are dated, in a way that Captain America is not. The figures remind me of something out of a Vogue pattern book.

Different bodices. Different trim. Different moral high-grounds. They also look just like the kind of comic that Lichtenstein used to use and maybe mock in his paintings. It's hard to imagine Lichtenstein copying Cap or The Hulk. I kept thinking of a line from Dorothy in The Wizard of Oz.

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But the moral is clear: Stick to your roots. There's something to be written about the mothers of cartoonists, but that's for another day These stories are dreadful in a way but also kind of wonderful. Soap operas for men. They aren't heavy like soap operas. They are light like soap operas. The stars of the romances have no history.

Without any background whatsoever, you can pop into them and pop out of them.

A Haunting (The Anointed #3)

Each woman is any-woman -- spunky but tame, campy but prim, the girl next door with a sense of adventure. And like soap operas, they are trashy, compulsive entertainment. That's it. I've weighed in as the token gal. It's been fun hanging out in your locker room. Before we wrap there's something I'm a little curious about.

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Going in my assumption would have been that while Kirby was the more accomplished of the two, Steve Ditko would be considered essentially in the same league. I would have seen them as rough-hewn talents who produced significant bodies of work in adventure comics in the period when newspaper comics were no longer hospitable to adventure -- not that either was sufficiently genteel for newspaper comics in the best of times.

I assumed it was the consensus that the two were basically comparable. Anyway, what I was wondering is, would the panel consider Kirby and Ditko to be peers or do you consider Kirby to be on another level altogether? Kirby's a better visual artist. A, I find Ditko's imagination to be somewhat more paranoiac and addicted to rationalization than Kirby's more generous and open-ended vision.

I just wanted to chime in here and thank everyone for such a great roundtable. I'm sorry to have been absent the last couple weeks -- our newborn baby has consumed all my time surprise! But, I can break long enough right now to say that I'd put Kirby above Ditko as an artist and writer. But I'd place Ditko ahead of Kirby as a uniquely observant cartoonist whose ability to imbue his characters with nuanced emotions well, between and , say is hard to top.

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Also, Ditko's psychedelia was more delicate and way more influential than Kirby's, which I appreciate, though this is a minor point. Suffice to say that for scope, vision, and level of achievement, Kirby wins out. Ditko remains a fascinating story, though, and one that is mostly untold. What Dan said if I write a book about comics, it's going to be called "what Dan said" except when he disagrees with me. But also maybe this: I have framed on my office walls about six Jack Kirby pieces that number keeps changing and three Ditko Amazing Spider-Man pieces.

When collector folk come around, they react to one or the other of artists from nostalgia or aesthetics or narrative or something else. My wife, however, hates Ditko. She has a very good eye for abstract art and photography, and has led me many places I would never have gone. She pointed out that unlike Kirby, Ditko doesn't make allowances for how they eye travels from panel to panel.

October 28 – November 3

The motion is chaotic and when you look at the page design as a whole, there's a lot of interruption to the flow. And even though Jack's anatomy is often crazy, it makes sense emotionally. She tapped the Goblin's arm in panel 3 and pointed out that it makes no sense, and that unlike Kirby, there's no hyper-realistic reason for it making no sense. I had her read a few early ASM issues and she tossed the Essentials back with a shrug. Kirby wasn't. He also, unlike every cartoonist I can think of, never drew porn.

Even Romita did a nude Medusa. Some of Kirby's women are erotic, but there's never as far as I can tell been a Kirby nude. Mebbe too big a kettle of fish to open here at the last minute, but I've always been curious about that. I think Ditko's plotting, emotional engagement, humor, expressive gestures and overall weirdness make him interesting.

I've wondered how working with Stanton influenced him I read Blake's book but can't remember that information too well.

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