Stuff White People Like But This Brown Man Can't Stand #4: Unfunny jokes about former enemies of the U.S. when they experience national tragedies

Joan Rivers defended Gilbert Gottfried's controversial Twitter jokes about the disaster-stricken Japanese by saying comedians cope with tragedy through humor and then using her plastic-and-adamantium-coated face as a shield to protect Gottfried from the bullets from his angriest critics. I'm all for using humor to cope with tragedy, but when someone uses it to slam the victims of a terrible situation like Gottfried, Family Guy writer Alec Sulkin, several conservatards and countless others on Twitter did, it's not funny at all.

I appreciate how The Daily Show, The Colbert Report and my favorite new podcast Sklarbro Country handled the disaster in Japan and managed to find humor in the situation without veering into anti-Asian racism. Stephen Colbert came up with the funniest bit of disaster-related humor when he described the earthquake/tsunami/radiation crisis as a "disaster-ducken."

Meanwhile, the Sklar Brothers, whose hilarious podcast pokes fun at the often odd and insane behavior of sports celebrities, elbowed New York Liberty guard Cappie Poindexter in the face for her moronic tweets about the disaster being God's payback for Pearl Harbor and the way Japan treats their own people in "there" country.

"That's who we want commenting on this disaster. A guard from the WNBA. Yeah, we don't wanna hear from the head of the Red Cross or anybody from the State Department. We wanna hear from a women's professional basketball player," joked Randy and Jason, who were so appalled by Poindexter's tweets that they resurrected their discontinued "Douchebag of the Week" segment and picked "the Alexandra Wallace of the WNBA" as the segment's first-ever female douchebag, or "Douchebaguette of the Week."

"Now is not the time to blame Japan for anything, even Sudoku," said the twin brothers. "Leave them alone!"

Now is the time to help Japan, so I've taken part in the SIUniverse for Japan online auction to support GlobalGiving's Japan relief fund. For the next few weeks, fans of the 2009 graphic novel Secret Identities: The Asian American Superhero Anthology can bid on artwork and other items donated by Secret Identities artists and writers like myself.

I've donated a couple of pieces of artwork that will be up for bid. One of the items is a poster of an illustration of Hideaki Akaiwa, an ordinary office worker in Miyagi prefecture who was named "Badass of the Week" for refusing to wait around for rescue workers and venturing out on his own with scuba gear and duct-taped-together plastic wrapped around his legs to rescue tsunami survivors like his wife.

When I first heard about this badass, I kept thinking, "Damn, this is like a real-life Sea Hunt," as in that old TV show I've never watched but I'm familiar with from the "By this time, my lungs were aching for air" running gag during Mystery Science Theater 3000's Lloyd Bridges/Rocketship X-M episode and Bridges' own spoof of his old show during Hot Shots! Part Deux. I Googled Sea Hunt, stumbled into old covers from the comic book version of Sea Hunt and drew for the auction a sketch of Akaiwa that I modeled after those covers.

Like Akaiwa has done for his family members and neighbors, go lend a hand to the disaster victims now.

APRIL 9, 2011 UPDATE: Here's my illustration of Akaiwa, entitled "Hideaki Akaiwa: A Real Life Superhero," which is now up for bid. It's a 20" x 24" poster that's printed on heavyweight coated paper.

APRIL 17, 2011 UPDATE: Sold! To Gary in Arlington, VA!

APRIL 21, 2011 UPDATE: The other item I donated to the auction is an illustration of Harold & Kumar Go to White Castle that I did for my upcoming self-published print compilation of the most responded-to posts from this blog. The title of the book--and this is the first time I've posted the title here--is I Suck at Math: A Trio of 10 Articles About Pop Culture.

My Harold & Kumar drawing is a 14" x 23" poster that's printed on heavyweight coated paper. It's now up for bid.

MAY 10, 2011 UPDATE: Sold! To Quentin in Concord, NH!

Dwayne McDuffie (1962-2011)

Dead at 49, Dwayne McDuffie was an incredibly prolific comics and TV animation writer who, as a story editor and frequent scriptwriter for Justice League Unlimited, helped make that cartoon the most satisfyingly written DC Animated Universe show since Batman: The Animated Series. But McDuffie's greatest contribution remains Milestone Media, the indie comics company he co-founded in the '90s to make the way-too-white superhero genre more diverse and to give comics writers and artists of color more opportunities behind the scenes.

"It showed that there could be actual black people in comics," wrote comics reviewer David Brothers in a Black History Month tribute to McDuffie and Milestone that he posted a couple of weeks before McDuffie's death yesterday. "The company was full of people who looked, acted, and talked like people I knew. This is a big deal, believe it or not."

It was also a big deal for Asian American readers like myself who grew up in a multiracial world that wasn't being reflected enough in superhero comics (sadly, it still isn't) and were looking for comics that featured Asian characters who were raised in America like we were and weren't foreigners in corny dragon-themed or martial arts-themed costumes that were the Asian equivalent of the "headband and yellow disco shirt" that The Boondocks once joked about in regards to Luke Cage's costume. Milestone responded to the lack of Asian American characters in superhero comics by creating the immortal hero Xombi and Third Rail, a Korean member of the Blood Syndicate, a superhero team comprised of gangbangers who were mutated by radioactive tear gas during a police crackdown on gangs. Latino and gay characters also inhabited the Milestone universe.

The most popular and enduring Milestone creation is McDuffie's Static character, a.k.a. Virgil Hawkins, a constantly bullied inner-city high-schooler who gains the ability to manipulate electricity after being exposed to the aforementioned radioactive tear gas. When the original Static comic debuted in 1993, I was glad to finally come across a comic about teens where the high school setting was hardly as clean-cut as Riverdale High or whatever campus subjected Peter Parker's Spider-Can to frequent wedgies. In other words, Ernest Hemingway High resembled the school I went to. Virgil's campus was beset by gang violence and racial conflict, elements that were watered down but still addressed in Static Shock, a more kid-friendly animated version that McDuffie was also involved in.

Billy Nguyen, Private Eye: Jimmy J. Aquino's Lacuna Matata, Part 4

The previous installments of "Lacuna Matata" have been about TV shows only I and maybe you remember. In this penultimate installment, I'm shifting gears and focusing on an obscure comic book I wish I bought when I had the chance.

Nineteen years ago, Comic Shop News touted the first issue of an offbeat Caliber Press series called Billy Nguyen, Private Eye, written by John Hartman and starring a Seattle-based Vietnamese gumshoe who, for some reason, was drawn with a Sub-Mariner-like face by artist Stan Shaw. The Namor resemblance was one of many in-jokes in a satirical P.I. title that broke the fourth wall Moonlighting style and had Nguyen acknowledge he was a character in a comic.

CSN's stills from Billy Nguyen looked interesting, but what was especially cool about the comic was that for once, the hero, even with the Namor hairdo and pointy ears, looked like many of the folks from my predominantly Vietnamese part of town. That's something you didn't--and still don't--see everyday.

So what do I do when I strut into the comic shop and leaf through a copy of the first issue of the first comic with an Asian American hero I ever came across?

Stupid me who at the time wasn't used to comics that didn't involve superheroes, Star Trek or Dick Tracy skims through Billy Nguyen #1, thinks, "This comic's too weird," and then closes it and puts it down.

I now regret putting that comic back in its rack. I don't even remember what I bought instead. It was probably some lame comic based on The Adventures of Ford Fairlane or Doogie Howser or something.

Secret Identities: The Asian American Superhero Anthology

Billy Nguyen never took off and faded into obscurity (it's so obscure the Thrilling Detective entry about the character isn't even sure how long the Caliber incarnation lasted: "2 issues?"). Meanwhile, I grow up to become an angry Asian man, develop an Asian American consciousness and decide that one of my major goals in life is to create a tough, assertive and humorous Asian American hero like Nguyen, whether it'd be for comics, TV or film, so that I can help diminish the stench left by white writers(*) and their stereotypical creations, like that corny and effete assclown Charlie Chan. When Secret Identities: The Asian American Superhero Anthology chose me to develop a new Asian American hero, I couldn't believe one of my goals was becoming a reality.

(*) Not all of them are clueless about the Asian American experience. The two most relatable Asian American male characters on the big screen in years, Harold and Kumar, were created by Jewish guys--Jon Hurwitz and Hayden Schlossberg.

Once in a while, someone puts out a comic about a detective or cop of color like Angeltown or Gun Fu. Every time such a comic drops, I try not to pass up the opportunity to buy and support it, after I stupidly rejected Billy Nguyen #1 when I was a kid.

This post is essentially a plea for someone, anyone, to revive this character. There aren't enough Asian American protagonists in the detective genre. Does Hartman still own the rights to Nguyen? Because if nobody wants to try to revive him, then maybe I should do it.

An old G.I. Joe comic has eerie parallels to Laura Ling's ordeal

I posted about this recently on my Twitter page. While searching my storage boxes in my parents' dusty garage for some old Starlog issues because I wanted to look at a couple of Starlog articles about Gerald Fried and the making of The Rocketeer, I stumbled into a stack of '80s Marvel G.I. Joe comics written by Asian American comics author Larry Hama, whose work is admired by all of us creators from Secret Identities: The Asian American Superhero Anthology. (Quick Kick--one of the few Asian American heroes in '80s comics and voiced on the original G.I. Joe animated show by none other than Dr. Pierre Chang--was Hama's creation. A chat between Hama and Secret Asian Man creator Tak Toyoshima appears in Secret Identities as an interstitial feature drawn by Tak.)

At the top of the stack of G.I. Joe comics I unearthed from the garage was one of the first comics I bought for myself, G.I. Joe #61 from July 1987, which is notable for two things: a badass Mike Zeck cover depicting Snow Job, a wounded Quick Kick and a mad-as-hell Stalker in the middle of a shootout (one of my all-time favorite comics covers) and some early Todd McFarlane artwork that Marvel rejected because it didn't meet their standards. Marvel replaced the future Amazing Spider-Man and Spawn illustrator with Marshall Rogers, whose late '70s Batman comics I've always dug (one of Rogers' Batman stories was later adapted by Batman: The Animated Series into "The Laughing Fish").

But McFarlane's scrapped art actually isn't the most interesting thing about issue #61, which, like many of Hama's other G.I. Joe comics, is grittier than the bloodless, Star Wars-like '80s animated series and Paramount's upcoming G.I. Joe: The Rise of Cobra. (Uh, Stephen Sommers, I think you've gotten your '80s cartoons mixed up. The shiny skintight power suits aren't G.I. Joe. That's Silverhawks, pal. And that long-winded Rise of Cobra title is terrible. It's not going to attract non-fans who think it's a documentary about health insurance for the unemployed.)

Hama's story in #61 centers on the Joe unit's attempted rescue of an American reporter who's arrested on trumped-up espionage charges in the fictional country of Borovia.

While re-reading #61, I couldn't help but think of recent headlines involving captured journalists, like the North Korean detainment of Current TV staffers Laura Ling--a correspondent for Current's Vanguard and the younger sister of reporter and ex-View co-host Lisa Ling--and Euna Lee.

Hama's comic makes me wish that a special ops unit would sneak into North Korea and bust them the hell out of there.

Those of us former or current journos who are worried about Ling and Lee's impending trial (and hope they are released like captured Iranian American journo Roxana Saberi recently was) should read the LiberateLaura Twitter page, which has been posting both updates on Ling and Lee's case and links to candlelight vigil announcements and press coverage. I first learned about the page when its tweeter replied to my tweets about the 1987 G.I. Joe issue.

A lot of bloggers are blasting the Al Gore-owned channel for not publicly acknowledging the ordeal. Current continues to air Ling's past Vanguard segments as if nothing awful has happened to her. For instance, the channel has lately put Ling's segment about Vietnamese bird flu into heavy rotation because of its relevance to the swine flu problem, but Current Tonight host Rawley Valverde didn't mention his colleague's present situation at all during a recently recorded intro that preceded the bird flu segment. The channel's silence must be due to legal reasons--as angry asian man notes, not even Ling's family members can publicly "go into detail regarding her ordeal due to the sensitive nature of the case"--and what I assume is the Current staff's discomfort with having two of its reporters become the story.

By the way, when will newspapers and blogs stop posting the same two blurry DMV driver's license photo-quality pictures of Ling and Lee? Are these papers and blogs lazy or what? Ling wasn't exactly reclusive in her line of work, so how can that be the only picture these papers and blogs have of her?

The Black List: Neal Evans ought to do more scores

While checking out Vol. 2 of the excellent Elvis Mitchell/Timothy Greenfield-Sanders documentary series The Black List, which premiered on HBO last night, I really dug the wall-to-wall yet laid-back and pitch-perfect score by Soulive keyboardist and first-time scorer Neal Evans. The series' cool main/end title theme can be streamed on Evans' MySpace. (There was a lot of terrific original scoring on the tube last night. Besides Evans' Black List score--which is as multifaceted as the range of different black experiences that are captured in the doc--I also enjoyed Jeff Richmond's tinkly "hunting for Liz's boobies picture" theme for piano and flute during the latest 30 Rock.)

Former UC Santa Cruz students like myself will get a kick out of The Black List: Vol. 2 because two of the interviewees are from UCSC's past (Angela Davis was a longtime History of Consciousness professor there, and ex-SNLer Maya Rudolph graduated from the Porter part of campus and majored in photography). Also, there are a couple of film music-related bits in Vol. 2 that are noteworthy (no pun intended). Melvin Van Peebles briefly recalls working on the Sweet Sweetback's Baadasssss Song soundtrack with a then-unknown-and-starving band--Earth, Wind & Fire--and in my favorite Vol. 2 segment, Ghost Dog and Afro Samurai composer RZA discusses how he found empowerment through chess tournaments, martial arts flicks like The 36th Chamber of Shaolin ("The Asian history was remarkable and special... That brotherhood right there helped me spawn the brotherhood of the Wu-Tang Clan") and Silver Surfer comics.

Rizz's admiration of Norrin Radd is similar to how many of us Asian American writers and artists have felt empowered through the comics medium, whether it's reading comics about heroes with AA-like experiences and identifying with those characters--even though they're of a different color--or creating comics with actual AA characters like the tales in the Secret Identities anthology (see how I tied it back to Secret Identities? April 14 in stores everywhere). His story about Wu-Tang fans who have asked him during his college lectures why he's not keeping it real and why he's trying to ditch the hood is heartbreaking. Who'd have thought RZA's segment would be the most introspective and moving part of the doc?