Ides of March Eve

Friday, March 14, 2008

Today is a really good day. The evidence:

1. It's "π Day," 3.14. Please notice that I've manipulated the post time to read 1:59 (p.m.), which pointlessly carries the digits of π out three points further. (If I wanted to do it right, I'd calculate that 0.159 of a day equals 3 hours 48 minutes 58 seconds, and reset the post clock to 3:48:58 a.m. But I'm not that big a nerd.)

2. A few days after 20 years ago tomorrow, I was doing this:

Apologies for the picture's stripes.
A new scanner is on order.

My two little pooquita chiquitas celebrate their birthday tomorrow, and Karen and I are taking a cake, gifts, and a couple of their girlfriends to spend the day at their all-grown-up big-girl university. In contrast to 20 years ago, I think today if they ganged up and used some strategy, they'd have a fair chance of taking me. Good thing I instilled all that respect when I had the chance. Right, girls? Right?

3. One other reason.

I hope you have a great weekend, I think I will.

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One Of Those Days....

Sunday, March 9, 2008

Below is my impromptu ranking of some artistic media I've used. On top are those with which I have the most practice, can usually achieve the look I intend, and enjoy working. The farther down the list a medium falls, the more likely it is to make me waste many frustrating hours before throwing away the result.

#1. Ink and brush
#2. Watercolor
#3. Acrylic
#4. Pastels
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#10. Oils
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#34. Wacom tablet and computer
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#73. Dog poo and a wiggly twig
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#652. Gouache

Stupid gouache.
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Shake shake BOOM! rattlerattlerattlerattle

Thursday, March 6, 2008

I felt this cute little earthquake about eight minutes ago.


An amusing trifle, really; just a magnitude 2.2 that wouldn't be noteworthy at all except the US Geological Survey says its epicenter was 5 km directly below my house. Someday the Gates of Hell will open up in my backyard and you'll all be sorry. But I'll be sorrier.

I Can See My House From Here

I find this photo very moving.

That's a picture of the Earth and Moon as seen from the planet Mars. Frankly, I didn't know we had anything in the Martian neighborhood with optics good enough to take a shot like that, and at first suspected it was a fake. But it's real, shot by the High-Resolution Imaging Science Experiment (HiRISE) on the Mars Reconnaissance Orbiter currently orbiting the red planet. Usually it's pointed down toward the ground. By the way, NASA says that's the west coast of South America in that picture, and in a higher-res version I can just make it out.

What strikes me is that we go to all the trouble of sending these spacecraft out to explore the unknown millions of miles away, yet are moved most powerfully when they point their cameras back at us. It's the same reaction the world had when the Apollo 8 astronauts became the first humans to see the far side of the Moon first-hand* and photographed Earth rising over the lunar horizon as they flew back around. To paraphrase Carl Sagan, everything you know and love, everything that ever happened in all of human history, all the life we have knowledge of anywhere in the universe, is on that fragile little blue sphere.

I've seen a few photos like this before. As I recall, one of the Voyager probes photographed the Earth-Moon pair as it soared away from us on its way out of the solar system. We send surrogate eyes out only to look back and see ourselves more clearly. These pictures get me every time.

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* The Soviets took the very first pictures of the far side of the Moon via unmanned probe, which is why most of the craters back there have Russian names.

In Praise of Pioneers

Tuesday, March 4, 2008

A recent discussion at an Internet watering hole got me thinking about pioneering cartoonists, comic book artists and writers, and the lack of respect they get. The business has always been cruel to its veterans--comic books much more than comic strips, I think, but both find new voices more compelling, new styles more diverting. They eat their old. That's the way of the world, the way of business, and I understand it. I expect a profit-driven publisher (and publishers who aren't profit-driven don't publish long) to put out what sells.

What pains me is that fans go along.

The newspaper comic strip is just over a century old. Comic books have a history almost as long--at first, many of them existed to reprint newspaper strips--but turned a corner when Superman debuted in 1938, 70 years ago this June. Before the invention of television, comic strips were a major mass medium of entertainment and cartoonists were stars. Millions of comic books were sold every month during the "Golden Age" that began with World War II and lasted about a decade after (again, probably not coincidentally ending with the proliferation of TV). Into the 1970s, comics and cartoons were important and popular cultural touchstones in a way that many, including I, believe they haven't been since and probably won't be again.

That wasn't that long ago! A lot of very creative people who did that work are still alive. A few of them would still love to work. Not many of them get the opportunity.

Attending the big San Diego Comic-Con the past three years, I've gotten used to seeing cartooning pioneers sitting ignored in Artist's Alley, their view blocked by a long line waiting to meet the superstar wunderkind sitting at the next table. I dunno.... I've got no business telling people what to like. But to me, being a fan of something means having an appreciation of its history and the contributions of those who came before. To me, those fans lining up at the wrong table are like baseball fans who worship Barry Bonds but have never heard of Willie Mays.

(It's not the same thing, but I remember reading about a convention whose guests included "Star Trek" actors and Apollo astronauts. The actors drew huge crowds while the astronauts sat alone, chuckling to each other that fans would rather meet people who pretended to explore space than those who actually had.)

I can't say that the experienced pioneers deserve work; that's for the market to decide. But they deserve acknowledgement and respect. I've been lucky to meet a few. I never know what to say and I'm sure I always manage to sound like an idiot fanboy. It seems to come down to "thank you for your work, it means a lot to me," which is pretty weak but I think is better than nothing.

I'd take Willie Mays any day.

Top to bottom: Jerry Robinson, Irwin Hasen and Gene Colan,
talented pioneers and gracious gentlemen all. Look 'em up.

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