Spreading myself thin, all for you.
The sets, costumes, and overall staging is beautiful and breathtaking — not necessarily worth $120 for a ticket, but definitely something you don’t see every day. I mean, you don’t see a dead skunk on the road every day either, but Spider-Man: Turn Off The Dark is better than a dead skunk on the road. Spider-Man: Turn off your brain | The Beat
And make no mistake, this kind of thoughtless racism needs to be laid at comics’ doorstep at least as much as it does at Eisner’s. Comics is a language, a system of abstract visual signs with an agreed-upon meaning, and like how in Twain’s day “nigger” was a relatively commonplace part of English, in Eisner’s this kind of racial caricature was a part of the comics lexicon. There are still problems with the language of comics — a notable one being the way hourglass figures and balloon breasts are the medium’s most common code for “woman” — but time was that dinner-plate eyes and inner-tube lips were just as common a code for “black person”. Eisner certainly deserves as much blame as anyone else for propagating such a grotesque aspect of his field, but Ebony White’s appearance was sprung from the generalities of the era’s action comics, a character design as nondescript in its milieu as the Spirit in his suit and domino mask was. Racism was a part of the world once upon a time, and as such it was a part of comics. And it’s hardly left the world, let alone America, let alone American comics — but at least there are certain things you can’t do in public anymore, and this is most definitely one of them. Ebony White will always ensure that The Spirit isn’t presented in the grand fashion the work’s aesthetic value merits. In a way that’s poetic justice, a casual racism that no doubt endeared Eisner’s work to a populist audience in its day now preventing it from getting over to the world at large in ours. And there the story would end, if Ebony White wasn’t such a good character. DEATH TO THE UNIVERSE: Your Monday Panel 49
hat’s the first page of the first chapter of The Wizard of Oz, written (of course) by L. Frank Baum, and illustrated by W.W. (William Wallace) Denslow. As you can see, Dorothy is leaning on the first letter of her own name, standing beside a Kansas wheat stalk. She stares into a mysterious fairie twilight…and not coincidentally, also seems to be staring into the book itself, with its own mysterious fairie treasures. Dorothy is about to enter the story, and she’s also the story itself; she’s an image and a name. You can’t show her without showing the start of the book. Dorothy and the Wizard in Letters - comiXology