Congrats to ADDTF for one solid year of reading comics naked.

Also, welcome back ADD and In Sequence.

Did I miss anyone?

 
The Journal of M.O.D.O.K. Studies

My love for comics is, to most people, a great big mass of contradictions. It appears that I favour serious works of comic literature and dislike all superheroes. I have also been told that I am too critical of most comics, and should just relax and enjoy them. On the other hand, I am quite unconditionally fond of what others might perceive to be garbage. The truth of the matter is that I have such a varied interest in so many aspects of comics, their history and creation, that in a sense I can enjoy most any comic that comes my way, so I don't know where this supposed hyper-critical stance of mine comes in. I believe that it stems from finding more worth from an old National romance title or issue of Spooky, the Tuff Little Ghost then from the latest issue of the Authority. By looking at as wide a spectrum of comics as possible, I tend to make the superhero genre only about 10% of my current readings, and that's probably a more generous share then it deserves. This, by default, relegates the majority of modern comics' output to the backseat.

I apologize if I'm not making much sense, but this is the best I can do after allowing such thoughts to bubble away in my head for quite a few years. The bottom line is, I don't hate superheroes at all. I just don't afford them the same amount of attention as the comics community does. Also, what interests me about comics isn't necessarily what's currently on the market. It's not that I'm looking for any kind of return to the "good ol' days", just that another ill-considered theory of mine is that the older comics are somewhat fascinating for the reason that they have distinct, blunt and unapologetic concepts that were meant to be disposable plot devices. Red, Gold and Crystal Kryptonite, the Bottle City of Kandor, Bizarro, Talking Gorillas, Earth-2, etc. The list could go on forever. Not that any of these things can't or haven't been done in other mediums, or even in comics in recent years. It's just that when they were created, it was with an eye towards disposability, as if an idea could be used and never seen again, and the writers and editors of the Silver Age could just fling off another dozen half-baked ideas before lunch. Now, when these concepts are used in modern comics, there are constraints and rules. You can't just have Superman grow a giant head without making a big deal and a four issue story arc about it.

The bottom line is, for me, these kind of weird symbols are what I love about superhero comics. Modern readers seem so jaded that they need superheroes to be almost life-like to suspend their disbelief, while I can easily slip into a world where there's a Legion of Super-Pets or Gorilla City. Most people assume that my infatuation is for irony's sake, but the joy I get from these wonderfully weird comics is sincere. Which brings us, finally, to M.O.D.O.K.



I received the first issue of The Journal of M.O.D.O.K. Studies a few days ago. Regular readers of this blog know I've been anticipating it's release for ages. Everyone loves M.O.D.O.K. He is one of the greatest examples of what I'm talking about, a giant, misshapen head with an acronym for a name that floats around in a hoverchair making threats to take over the world. It's always surprising to me that so many know and appreciate M.O.D.O.K., one of those things where when you meet someone brave enough to voice their affection you know you've met someone who understands. M.O.D.O.K., would-be world conquerer and despot, has inadvertently created an unshakable bond among strangers the world over.

I'll admit to not being overly impressed personally by the first issue of the Journal of M.O.D.O.K. Studies, but this is only because I am such a fan of his exploits that I already knew much of what was written. However, this is quite possibly as good as an introductory issue can get, and seeing as it's initial simplicity is for the benefit of the novice, I can't possibly complain. Also, parts of this issue hint at the future development of the magazine, and all signs point to Harvey and Eisner nominations for Best Comics Journalism. You heard it here first.

In it you will get a passionate editorial detailing the scope and mission of the magazine, the first part of an ongoing history of M.O.D.O.K.'s appearances starting with his premiere, and various pin-ups and selected panels by noted comic artists. Quite possibly my favourite section (aside from the Bi-Beast/M.O.D.O.K. pin-up by Orkanobo) was the interview with Bob, the Angry Flower creator Stephen Notley on his tribute to M.O.D.O.K. and on the threat M.O.D.O.K. might pose to Canada.

JMS : When you drew M.O.D.O.K. in your strip, did you feel your personal urge to kill rising or subsiding?

SN : No, my personal urge to kill remained low.

In addition to these treats I also received two trading cards, one of the Rhino and the other of Rogue, member of the X-Men. Both were personally signed by the respective superhumans, which is just about the best gift one could possibly hope for.



George Tarleton, editor of The Journal of M.O.D.O.K Studies, is publishing a periodical that has been a long time coming. While other magazines like the Comics Journal, Comic Book Artist and Comic Art Magazine might shed light on the critical history of the comic medium, only the Journal of M.O.D.O.K. Studies finds the depths hidden within a creature who to all outward appearances is designed only for killing. The answers may surprise you.

To order, send $2 US to

George Tarleton
PO Box 948
Athens GA 30603

Don't send checks, leave money orders blank, and well-concealed cash is fine. For more information, you can check the Comics Journal message board.
posted by Steven at 12:11 AM