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DC should just call itself “Bloodlines Comics” to better reflect where its priorities are (spoiler: stuck in 1993).

Survivors’ Club and Last Gang in Town ended last week.

Slash & Burn, by virtue of Vertigo’s lowest-selling title for April 2016, ended that month.

Seriously — are trade sales of Doctor Fate what keeps that book going? Paul — come back to the Legion!

I’m curious why Midnighter and Martian Manhunter, both great books that are being cancelled, are being kicked to the curb while Doctor Fate, selling worse than both of those, is apparently continuing post Rebirth? Makes no sense. Maybe you’re right, Steve, and it’s trades sell well?

RE: Green Lantern: Edge of Oblivion – I am still for about the 3rd month wondering why the numbers for GL: Lost Army are not included in the past counts.

As for Bloodlines, I remain convinced that DC has to do things with titles every once in a while for some reason in the family of trademarks/copyrights. There are too many times when older names get thrown out for no reason. Like “Star-Spangled Comics featuring G.I.Zombie” – why not just “G.I.Zombie”?

I know Stan Lee is a vampire, who’s finally getting ready to trade identities and go back into hiding for a while, but it really is striking the way Miller looks 20 years older than Lee.

Yes, Frank looks like he could be Stan’s father — even though Stan has a daughter who’s 7 years older than Frank.

Stan must be aging in “Marvel Time.”

Miller had to endure some serious chemotherapy sessions, didn’t he? That (and NeoConservatism) eats you up inside.

Bravo Frank Miller, for still finding the time and energy to do stuff for fun.

I’m surprised by Unfollow. Immediately picked up for TV, no one seems to even know it exists. In fact, I was looking for a copy of the second issue (as my store had only copies that literally had split open on all the bottom seams, part of that whole “We print crappier comics today than we did in the 60’s!” mentality the Big Two are using today, but I digress… ) and comic shop owners were all like “Unfollow? I’ve never heard of that title.” Boom.

And can ANYONE tell me what Survivors’ Club is actually about? I mean, I read the first issue and it made 99.8% no sense. Honestly, I pick up each issue that comes out, look over it in the shop and go “Nope, still making NO sense!” ;) I wanted to like it, too.

I thought creators were ditching Vertigo for Image because its page rates had gotten worse (see: Snyder, Morrison, Lemire). Something must have changed to spark all these launches.

Based on Diane Nelson’s description of Vertigo as reported by Variety at the Variety Summit in September 2015 it sounded like the creator-owned aspect is all but gone.

“Vertigo, which focuses on stand-alone fantasy stories, is an engine “for getting original IP into the company and feeding other businesses as well as our publishing business.”

http://variety.com/2015/biz/news/dc-diane-nelson-batman-vs-superman-marvel-flash-arrow-1201595124/

Superman Lois & Clark turns out to be an 8-issue miniseries in a tweet posted before the publication of this article.

Wow at Omega Men doing the usual Vertigo numbers.

“In DKIII’s case, even if you are very generous and assume that up to 200K of those copies went to customers who actually read them (and frankly I think that the number is likely closer to 150K), that means that over half of the total copies sold of DKIII #1 are either sitting unread in a bag and board somewhere or just taking up space on a retailer’s rack (and before too long in a retailer’s quarter box…)”

Dave, maybe don’t confuse sell-through with profit?

My basic line is that you can’t succeed in retail if you’re not keystoning cost-of-goods (doubling your whole cost), but the nature of Variants, both limited by number (1:25, 1:50 and so on) as well as retailer-exclusive covers (where the large majority of DK3’s 440k is going to *actually* come from) means that you might very well be keystoning COGs and yet still be liquidating the majority of your sell-in number.

I also suspect there’s a WIDE swath of retailers who are “just” breaking even on store-exclusives, but they view it as a marketing expense, and therefore are revenue neutral in their heads.

If someone has been selling comics for six years or more, and is still in business, and doesn’t show any signs of imminent closure… well, it’s probably safe to assume that their business model is absolutely no worse than break-even at which point the market needs to say “Sure, OK” — it’s only cases in which retailers are actively losing money that we should have the slightest concerns about their viability — and the impact on the greater market in the sense of “collapse”

*just because you don’t like how someone conducts commerce does not, a priori, make it a poor model*

(All said with the understanding that I personally believe variants, and marketing in that direction to be the equivalent to a disease: http://www.comicbookresources.com/?page=article&id=41000)

-B

@Brian: I understand fully well that retailers can be breaking even or coming out ahead on incentive variants even while leaving a large amount of the stock unsold. That was kind of my point. It may be good in the term for retailers and publishers, but long term it is bad for everyone.

I mentioned my August 2015 column with my variants rant, but neglected to link to it; it’s here http://www.comicsbeat.com/dc-comics-month-to-month-sales-august-2015-bombshells-return/

I suspect you and I agree far more than disagree on this.

@axspo This column was submitted several days before it was published on the site.

Nathan AAron–

I’m with you. I haven’t bought a book from ‘the big 2’ for years, but the premise (as advertised) for Survivor’s Club intrigued me.

I read the first issue, scratched my head, and never went back.

“Based on Diane Nelson’s description of Vertigo as reported by Variety at the Variety Summit in September 2015 it sounded like the creator-owned aspect is all but gone.”

But if it’s all about IPs for other media, I wonder if that’s the lure, and if there’s a major incentive if they get bought up.

I’m not gonna cry for vertigo as they launched al those new titles with a 3.99$ cover price and apparently stopped their 9.99$ pricing, and did not bother to communicate at all on what their new offer will be to promote this new line of titles.

And yes, I was quite early this month with my column, as I was the last one last month. :p

I wish someone would ask Miller about the 300 sequel. They published a few pages in Dark Horse Presents, and I believe that Mike Richards said that Miller submitted the first two issues before stopping (presumably due to health?) I’d love to see this some day.

Just don’t look, just don’t look, just don’t look.

A quick spreadsheet analysis of the Top 300 GNs:
(All dollar figures are (number of copies) x (cover price))

November 2015: 60,247 copies in the top ten

Top Ten $1,083,448.53

Top 100 $4,535,671.02

Top 300 $7,121,023.33

November 2014: 82,728 copies in the top ten

Top Ten $1,728,357.72

Top 100 $5,567,719.80

Top 300 $8,799,531.67

It is possible, actually quite likely, that given the high number of orders placed for the variant issues, many stores had less fewer dollars to spend on graphic novels.
November 2015: Top Ten comics: $9,826,431.81
November 2015: Top TWO comics: $4,557,996.97
November 2014: Top Ten comics: $3,584,439.18

Batman, the index title, ranked #13 in Nov15, #3 in Nov14 (107K : 115K)

The graphic novel drop partly owes to stronger competition: last November saw a new Walking Dead volume and the first Saga hardcover. Graphic novel performance was strong enough last year that I led with it in my analysis, which doesn’t usually happen: http://blog.comichron.com/2014/12/november-2014-comics-sales-estimates.html

Torsten and I posted at the same time. Yes, when we’re talking GNs at Diamond the numbers are much more sensitive to big hit releases; the Saga hardcover and the Walking Dead volume each kicked in about $400k last November, explaining half the overall difference.

When overall GN sales are in the $17-18 million range as they were this November, the lack of a single book like that lops off more than 2% from the category on its own.

(Well, they don’t explain half the overall difference, but rather half the difference in the Top 300 GN grouping. About half of GN dollar sales each month are uncaptured in the Top 300.)

Hmmmmmmm, Hazel’s wing reveal in Saga #31 is both indie and mainstream?

The obit writer got an important thing wrong: the first Godzilla film in 1954 predates the Kitaro series by six years. So I’d say the Godzilla franchise is more accurately the source material for the many, many giant monster films that followed.

In regards with the Frank Miller/Electra piece, I think most comic fans regard comic characters greater than their creators or contributors. So it is probably shocking for fans to read a creator not totally in love with a different interpretation of their creation.

But I also feel that the blogger is putting words in Frank Miller’s mouth… for click-bait.

Frank is allowed to have any and all opinions about his own creation that he wishes to express. I was in the room when he created her. He knew what he was getting into and he had a plan. Some of that plan came to fruition. True, promises were made. But the ownership of Marvel changed, Frank moved on to DC, etc. Things changed.

I have a personal attachment to Elektra, too. I provided her last name. I helped conceptualize her costume. I was there.

Time and commercialization march on. Frank — and every other commenter on the internet — has an opinion about it. Fine. Bring it. You’re allowed.

Well, I don’t understand the usefulness of this paper. I thought at one point that Miller would have added why he doesn’t like the TV version of Elektra. But no, nothing.

Of course, we can enjoy whatever we want, I agree on that but was an article (this long) needed ?

Elektra is my top, most favourite comic book character. I give Mr. Miller his due and I always will. However, excusing dismissive comments that affect real people (the actors themselves, other creatives given control of the character) is never going to happen with me. What he said wasn’t very nice and saying so isn’t an opinion, simply stating what should be obvious.

Him being Elektra’s “father” and all, you’d think he’d have her best interests at heart and let her go. Us simply folk are capable of seeing the character in different stories, in different universes, and still be able to determine who the “real” Elektra is. Having the character participate in an incredibly successful show is a good thing. Throwing shade on it is not just sour grapes, but immature and weirdly possessive. Elektra belongs to Marvel, not Mr. Miller. All due respect, of course.

Miller did create Elektra! And that gives him protective rights all the way. No creator is required to love an adaptation of their work, whether it’s deliberate (creator controlled work) or via the work for hire framework of mainstream comics.

I don’t know if you intend “work-for-hire” to mean that Miller created Elektra on a freelance basis for Marvel. But Miller doesn’t appear to have been a freelancer when he was writing and drawing Daredevil in the early 1980s. He was working for Marvel between 1979 and 1982 under contract. While I haven’t seen his specific agreement, there are enough Marvel creator contracts from that period in the public record for me to feel fairly certain he was in fact a staff employee. Perhaps Laurie Sutton can clarify this. But even if Miller was working for Marvel on a freelance basis, the paperwork for that would have clearly spelled out that the company owned and controlled everything he did for them

Marvel had agreed not to bring back Elektra without Miller’s approval, a very rare concession to the creator that was made while Marvel was still a privately owned company and the stakes of multi media aren’t what they are now.

I’m not sure about this, either. There doesn’t seem to have been any written agreement between Marvel and Miller to that effect. There’s just a claim that an editor made a promise to him. The editor, namely Ralph Macchio, doesn’t appear to have corroborated that claim. As such, it appears to be just a rumor.

But even if Macchio had promised that, it should have been understood that Macchio meant that it was for only as long as it was Macchio’s decision to make. I would think Miller was savvy enough to know that unless Marvel was willing to contractually grant him project approval, Macchio’s promise was not binding on the company.

When I met Miller at a signing for the first Sin City collection in early ’93, I asked him if he had any kind of agreement in place regarding use of Elektra by others. (Elektra Lives Again was a year or two old at that point. Marvel had not yet brought back Elektra, but they had brought back Bullseye, which negated the entire book, and it seemed like the writing was on the wall.)

Miller told me that, no, he had no agreement at all.

Now it may well have been that he just did not want to discuss his private business arrangements publicly (to some random nobody), and it may have been more complicated than he made out, but his answer to me (random nobody) at the time was straightforward enough.

I remarked “I’m surprised that we haven’t already seen “Elektra #1″ written by Tom DeFalco out there.” He responded “Well, when you do, do me a favor and don’t buy it,” which seems to me that he saw the same writing on the wall…

Comics fans, or at least those who post comments online, seem unique among fan groups in their disdain for creators who express displeasure over their treatment by the big companies.

I’m not aware that Frank Miller, or anyone else, has ever claimed that Miller had a “written agreement” with Marvel, re: Elektra. And I don’t think Miller, or anyone else, has ever challenged Marvel’s legal right to do with Elektra as it pleases.

What I HAVE heard/read Miller say is that the company promised him something and then broke that promise, and that he is unhappy about that. Which is a perfectly legitimate and understandable reaction. And yet it always seems to provoke the tired old “he should have known what we was doing” finger-wagging comments from fans.

Folks, if you’re not listening to this podcast, you’re missing a real treat. Heidi is often more candid on the podcast than she is in her writing. So listen in!

Softballs.

Pretty much a non-event, which I guess is progress for him. Given that a company has a product to hawk, it’s no surprise the questions were highly-filtered creampuffs.

Just generally, twitter is a completely awful medium for anything but disjointed pithy blurbs.

Based on that pic, my tweet question will be: “Where’s your signature red and black striped shirt or razor claws?”

Silly But True

It’s probably not an appropriate question for a non-family member (or close friend) to ask, but I would sincerely like to know if Frank’s ill or something. He doesn’t look well, and to be, uh, frank, some of his recent art has been…. not good. (Particularly considering all those variant covers that the 74-year-old Neal Adams recently cranked out, that look fantastic.)

Silly But True: At first glance, I thought a pic of Freddy has been posted here by mistake.

I’ll always respect Miller for the superb work he did in the ’80s, but I’ve found everything he’s done for the last 25 years to be unreadable. “Holy Terror” was the last straw for a lot of former fans, but I gave up on him after the second or third volume of “Sin City.”

He blew the doors off the 80s,

Well, I might be in the minority but if this is correct, I am glad to see Mr. Romita step away from the Superman title. His art does not work for me in the slightest. Maybe on a different character it would, but no way. This is, as far as I am concerned, good news.

I am still clinging to hope that some way will be found to have everyone forget that Clark = Superman, as well. For all the traffic and $$$ generated with Batman, I just cannot see why DC cannot make more of the first real Superhero (and best, IMHO).

Makes sense, JRjr’s art is almost as fugly as Miller’s.

It’s good to see Miller is doing better. It’s so odd to me that no site had mentioned his health issues.

Pretty cool looking and really looking forward to the series. Odd that they would use DKR artwork. Wouldn’t it make sense to use artwork from the new series? Not complaining– just noting.

Did the mini look good?

I do not believe the mini was there.

Hmm, Krypto seems dubious about this….

Hopefully Azarrello will keep Miller from screwing this one up. How does this work? Is Azarrello working from a Miller concept or something? Is Kubert pencilling it with Janson inks? May explain why the packing for the box set uses old Miller art.

We need to put out another Dark Knight Returns book this year! Let’s call it a trilogy!! Like we planned it all along!

Before I read the explanation below, I thought the “Your Logo Here” was some kind of weird joke about the blood forming a Bat-like shape.

Putting the retailer logo there is almost a brilliant idea, except it’s kind of weird to have two logos so close to each other and at a weird diagonal where it looks un-designed.

The initial joke I thought was there now makes me feel like this is a wasted opportunity: wouldn’t it be so much funnier to have the retailer include their store logo in an image where a villain is *doing something* to their logo? There’s a long tradition of destroying-the-logo covers, how great would be to have an incentive cover where DC or Marvel offers to have a character destroying YOUR logo?

Wait, they want fans to shell out that much money without even telling them what the content of the mini comic is gonna be? Where do they get the balls, honestly?

I really wish this made me excited and not several types of nervous.

Back in february 1979,DD158 came out drawn by Miller,and it was grea!.He was a rising star, and peaked in 86 when he did the dark knight series. The sequel 15 years later,l,was terrible, absolutly Godawfull.Same with his all star Goddamn batman.His star has greatly fallen.I dont care who draws it, as long as he writes it.The only way I’d pick this up is if it was a free comic day comic.

I try not to be too much of a negative-Nelly when it comes to unreleased comics, but this will probably be terrible.

It will, however, make DC a lot of money.

From what I’ve seen on the web poor Frank has cancer. He looked very healthy five years ago. He’s collaborating with another writer to make what might be his last Batman graphic novel. I knew something must have been wrong with his health when I saw his comments about the protests in New York concerning the 99 per cent on Wall Street. That and his deteriorating art and quality of his stories. There was a picture of him on Face Book in a wheel chair and he was very painfully thin. If Frank were here right now I’d give him my prayers and hope his cancer goes into remission. He’s too young to leave us now and I hope that he has a story to top Dark Knight Returns. The last one, “The Dark Knight Strikes Back” was a terrible disappointment .and I knew he needed more time to develop something really special. I hope Frank calls in his former collaborators, with inks by Klaus Janson and colors by Lyn Varley.

With Azzarello on board, it can’t be as bad as DK2, can it?? If it was just Miller, I’d say no thanks. Now I’ll wait for reviews.

In other words, Miller is now a man badly in need of a hit.

I remember when the Dark Knight Strikes Again came out, a friend asked me what I thought of it. I told him, “Godfather III was better.”

For what the current cover is showing is basically, “The Goddamn Batman” is upset that his utopia he created in The Dark Knight Strikes Again is in uproar and it’s all Superman’s fault (somehow), and now he’ll finish what he started. With the whole, [Batman v. Superman: Dawn of Justice] being readied what better way to show how cool Batman is (than to off your rival and new threat at the sametime; cause let face it … with The Death of Superman symbol, you can’t really conclude very much else). Bruce probably been waiting for somekind of insurrection by our Farmboy, and to off his entire family and allies, too show whom is the Master Race on his Earth-31 (sarcasm).

Considering what’s been learned since All-Star Batman & Robin, the Boy Wonder #1-9 TP and it’s predecessors’ that this Batman; will do anything to keep what he wants at somebody else’s price [see The Dark Knight Returns #3, Superman’s insight that lead to ASBAR revelation/Dick Grayson being the villain in TDKSA].

I am hopeful that with Brian Azzarello things won’t go off the deep end; but with DC Comics’ Batman Obsession currently in-check, I’m expecting more the one sided hero worship of all things Dark Knight.

If you remember, DK2 ended with Superman abandoning his moral code of conduct after much criticism from Batman and acting more aggressively. His last appearance had him hovering over the earth and ominously asking his daughter, “what will we do with our world?” So the “Master Race” of the title probably refers to the Superman family, now opposing Batman as a fascist elite rather than the government stooge Superman was before.

Miller has always been skinny, but in recent years he’s been gaunt and skeletal, and looks far older than his actual age of 58. If he does have cancer I hope he recovers. I’ve followed his career since Daredevil No. 158 (May 1979). While I haven’t liked anything he’s done in the last 20 years, I still have great affection for his DD, Ronin, Dark Knight Returns, Elektra: Assassin, and the Wolverine miniseries he did with Chris Claremont. His place in the comics pantheon is secure.

“That and his deteriorating art and quality of his stories.”

Yes, Miller’s work has deteriorated in recent years. But the same was true of the later work of Kirby, Caniff, Eisner, Colan, Capp and other greats. Their work also declined as they became old men. So Miller has good company in his decline.

Frank certainly didn’t look well when promoting the SIN CITY sequel last summer:

https://www.youtube.com/watch?v=se_UDX20rf0

Just curious if Daredevil will have all the episodes available at once like other Netflix series or will it roll out on a weekly basis.

Chris,
All indications are that it will release in the standard Netflix model (all 13 episodes will be available at once for your binging pleasure).

Post more. It’s fun to see old photos like this. Also, you should scan and post the article you wrote. It’d be interesting to see what you said at that time.

“Being young cute and skinny did not prevent you from dressing in very very unfortunate styles.”

Nope to that… chalk it up to living in the 1980s.

(From a fellow 80s relic, who was none of young, cute, and skinny, then and definitely not now.)

The matching polka dot socks and shirt!!! Classic. :D

Don’t worry; it’s all cyclical, though I guess it’s magnified a bit when you’re a younger age and tend to hit the trends to extremes. But so much of the style that people scoffed at from the 80s by the late 90s are what they’re wearing today, anyway. (The three-quarter length shirts haven’t come back yet, surprisingly, though.)

At the rate things are going today, we should be in for an unfortunate grunge revival soon… Get out those plaid shirts, folks!

I did love that old Golden Apple store. I would go there every week even though it was not in any way convenient because it had such an alive vibe new comic book day.

On the Beat! It’s a very put-together look that dates very well, especially when compared to the formless mufti worn by the schlubs around you in that photo!

That photo is fantastic.
In these kind of shots, the 80’s can look like a more colorful, alternate version of 20’s Paris.

At least you didn’t choose to base your hairstyle on Conan the Barbarian (as I did as a youth)

Look out ! There is an inflated Godzilla above you!
This is wonderful. And if you really want to talk fashion: add a hat and doesn’t Miller still dress this way?

Nice shoes, too! Are they blue suede? At least you don’t have huge fluffy hair and gigantic shoulder pads in that pic. You look great.

“In these kind of shots, the 80’s can look like a more colorful, alternate version of 20’s Paris.”

Does that make Miller the Hemingway of the ’80s, and Chris Claremont the F. Scott Fitzgerald?

Okay… I can’t find a match for the Zippy calendar…
Wait… it’s 1982? (You can buy the original art from Mr. Griffith for $950.)
The Far Side? Geez… not found either. (The gag? Godzilla driving a car with a license plate which reads “I 8 NY”.) 1985 publication in papers, so maybe 1986.
Betty Boop? Yes! 1987. (16-month calendar)

The Marvel graphic album of “Hooky” is 1986. (April 1986, according to Books In Print.)
The two DC titles are 1983.
“Magebook” is 1985.
Void Indigo? 1984.
Sword of the Swashbucklers? 1984.
The UNCLE fanzine? UF-2
https://d1466nnw0ex81e.cloudfront.net/n_iv/600/1073935.jpg
1985, 1986?
To the left, underneath, is the “Deadly Quest” softcover (UF-7), 1986.

So Autumn 1986 (as that’s when 1987 calendars shipped) at the earliest.

(Yeah, photo archeology is a hobby of mine. My faves? Times Square!)

They were talking about Elektra: Assassin, which was published from August 1986 to March 1987. (Those are the cover dates; actual publication dates might have been a bit earlier.) So it was sometime in that frame.

“They’re not people. They’re only lines on paper.”

FFFF —Frank Forever Forever Frank

Comics would definitely have a larger audience if everyone else thought that “graphic novels” sounded like porno.

I don’t know what’s more horrifying, that Frank Miller listens to schmatzy Rod Stewart ballads or that he didn’t realize that the song was about soccer:

“You’re an essay in glamor
Please pardon the grammar
But you’re every schoolboy’s dream
You’re Celtic, United, but baby I’ve decided
You’re the best team I’ve ever seen”

When Rodriguez showed up, I was so ornery. I ignored his first three phone calls. I wouldn’t even meet him in my home. I met him at a Hell’s Kitchen bar.
>>
I would guess he’s talking about a certain bar (could be otherwise called: Turquoise Wreckage) around 40th and 9th where he used to sit drinking (a few stools down from me). That’s one of the few rough spots left around midtown — still got some actual tough guys (the funckin’ PUNKS!) and the occasional bloody brawl – and the place even reminds me of Josies’ Bar in DD + some of the buxom bargirls have done dances for me on the bar- above puddles of lost beer re-flecting back up their skirts – when the place was otherwise empty …. Gee: had no idea Sin City Movie was (kinda-sorta) born in there – LOL!

Comics would definitely have a larger audience if everyone else thought that “graphic novels” sounded like porno.
>>
@gene phillips:
That’s a funny quip but really not such a joke: Penthouse Comix payed $800 as a standard page rate to artists in the 1990s (that would be about $2,000 per page as a standard rate for today – otherwise: about 10 times what a lot of people who do art for Marvel or DC seem to be making now) — and that’s because PHC offered something that people REALLY wanted — not something that was a loss-leader for the film-devision.

“I certainly do not regard working in Hollywood as a step up from comics, by any means.”

He certainly has an odd way of showing it.

“I believe there has been a crisis of masculinity in modern times, and the 1940s-style gentleman needs to make a comeback—the sort of man who opens the door for women and compliments them and does things for them.”

Out of curiosity, what gal has been lucky enough to rope in this hunk of man? Miller’s been married for several years, right?

“Comics would definitely have a larger audience if everyone else thought that “graphic novels” sounded like porno.”

I *regularly* have new customers (mostly parents) come into the store who, when given the tour ask (often in a whisper) what I mean by “graphic” novels.

Comics retailers: Educating the public, one customer at a time.

Sex is a form of conflict for Miller? This explains a lot.

@ Perkins – not sure if they are still married, but wasn’t he married to Lynn Varley, the colorist on Dark Knight Strikes Again?

BDP: That information is easily found: http://en.wikipedia.org/wiki/Frank_Miller_%28comics%29#Personal_life

Jackie – It was really more of a rhetorical question, but thanks for the link. I got to see a quick reminder of some of Miller’s Alex Jones-style musings.

I’m always amazed when guys like Miller, who go on and on with their Randian view of themselves as self-reliant worshipers of the individual, also spend an immense amount of time offering authoritarian edicts about how people should live their lives.

“spend an immense amount of time offering authoritarian edicts about how people should live their lives.”

He’s suffering from something called loneliness.

Frank Miller is a living man god… when the beautiful women of today are hideous old hags the young girls will still whisper the name “Frank Miller”… Anyone who stares too long at the burning footprints of Frank Miller will go blind and stumble unto the lowest corners of the earth and become a portion for foxes.

The 1940′s: When Men were Men and women were property!

or those young girls will say “frank who?”

It’s as if Don Martin drew a Sin City story!