Read Crisis (1985) up until Flashpoint (2011), and figured it deserved a lot of discussion.
So am organizing an event for lovers of comics to meet and catch up with the characters they once loved, and can love again.
Event flows from 5pm - 10pm. Although some elements will be unique, the general theme will be one of embracing the love of comics with others.
We all grew up dealing with boredom, and for many of us, comics became one kind of answer. It's fun to immerse oneself into a creative team's world for awhile. It widens our imagination, and leads us to possibilities that may turn into careers or lifelong loves.
Many of us leave this world behind as grown-ups. It serves its purpose, but then we move on. Nothing wrong with that. Perfectly natural. Why, even in marriage vows, there's talk of leaving behind childish things. One thing that shouldn't be left behind is a sense of idealism and new possibility. This can take many forms, but there is usually something positive in the motivation.
Once upon a time, there was a famous shelving of comics, as "bad for you" and "leading teenagers into juvenile delinquency. The comics industry created a Comics Code Authority to be an inspection on whether comics were maintaining a wholesomeness, and avoiding "dangerous" modes of expression. To be sure, "market forces" are a dubious gauge of "moral development," but it's become the norm to "discover" entertainment and educational material in an unending game of "hide and seek."
How do we know what's good, anymore? So-called "politically correct" material may put a "spotlight" on what's questionable, or even bad, but "human buzz" is the best test of what's entertaining, and more informed opinion can give us clues about what has real staying power in the field. Good examples for staying power in Jack Kirby, so-called King of Comics, particularly in the 1960s, and Neal Adams' work in the late 60s and early 70s. Highlights from different eras define different genres, like Will Eisner's Spirit, and Carl Barks' Donald Duck.
After the 1980s, a time of Frank Miller, Alan Moore, and Neil Gaiman, the comics industry went through surges of better production values, but less universally recognized talent. Some work broke the "entertaining value" but it's debatable about the "education" elements.
So what makes the cut? Does it matter? That's why we need discussion, based on fun, creation, and shared experience.
Come join us Wednesday, December 9, 2015, above Cobra Collectibles at 555 Sargent Ave., between 5pm and 10pm, and we'll make Winnipeg's discussion part of the Red River Comics Clubs Report on Comics in the 21st Century and beyond.
