Get out your white suit, your tap shoes and tails, let’s go backwards when forward fail, and movie stars you thought were alone then now are framed beside your bed — “Everything Old Is New Again,” written by Peter Allen and Carole Bayer Sager
Every commercial storytelling medium that achieves any sort of longevity finds itself inventing recurring themes and concepts, often inadvertently. The kids today call them “tropes” but I’m old enough to remember when they were simply called “do that again so we can pay our bills.”
This is not to suggest comics have abandoned the trope motif. Nothing could be further from the truth — except Donald Trump. If we stopped using all the contemporary comics tropes we’d have nothing but panel borders and staples. But I miss the occasional use of a number of little used or ignored formats and concepts. I’m going to list a mere five; I’d do more if I had a functional attention-span and this wasn’t a holiday weekend.
5. Backgrounds
There was a time when most comics stories had backgrounds, unless they were inked by Vinnie Colletta. You know, stuff going on or simply being there to establish environment or allow for some foreshadowing. Some artists would drop “eyeball kicks” into their backgrounds to lighten the mood. Let us not forget that minimizing or not drawing backgrounds is a great way to pick up deadline time.
Now we have computers that deploy palettes that contain three million more colors than the naked eye can distinguish. We can go apeshit with our computers and the color artists have a lot more range and so it is intuited that the need for filling space with backgrounds isn’t necessary. Well, not to this guy. Let’s cut back on the cutting back on backgrounds. Continue reading “Brainiac On Banjo: Five Comics Tropes I Want Back!”
That Mad Magazine cover shot to your left (well, it’s to my left) with the old-timey Harvey Kurtzman logo is on what purports to be their final mostly new-content issue. If it looks familiar and you haven’t been to the supermarket in the past five days, you may have noticed it in Quentin Tarantino’s latest movie, 
Writer / artist Batton Lash died Saturday of complications from a “very aggressive” form of brain cancer. Whereas he was fighting the disease for several years, according to his widow Jackie Estrada it recurred two months ago.
Batton racked up quite a number of assignments, including The Big Book series from Paradox/DC Comics, the Eisner Award-winning Radioactive Man for Bongo (a Simpson’s spin-off title), and one of my personal favorites – the story is as good as the concept – Archie Meets The Punisher for Archie Comics. Recently, he produced The First Gentleman of the Apocalypse for David Lloyd’s Aces Weekly.
Batton made no secret of his political views and worked with James D. Hudnall on an anti-Obama feature for Andrew Breitbart. He endured some criticism, and I should point out that he counted among his friends any number of left-leaning members of the comics community, as well as at least one outright radical.