I’m currently on a documentary kick and Netflix does have a few streaming that focus on comics or comic book culture. I figured this would be good for a laugh. Or at least a way to waste a few hours.

Comic Book Confidential
Even though this documentary was made in 1988, it still feels very relevant now. The primary focus is on alternative comics — works and creators outside the superhero genre, although those are definitely acknowledged — and I think that’s a side of comics that rarely gets enough attention historically. Yes, we all know about the rise of DC and Marvel, the stories of superheroes, all of that, but these underground creators contributed more than I think most people realize to the look and feel of comics today.

I was delighted to see how many of them are still working today — creators like Lynda Barry and Charles Burns are featured here, along with Jaime Hernandez and Art Spielgman. I also think the sight of an awesomely long-haired Frank Miller at the end being all self-important is quite incredible.

But really, if you want to know the history of comics and side of that history that doesn’t get nearly enough attention, this is a good place to start. I have no idea why more people haven’t told me to watch this documentary before. Nor do I have any idea why I haven’t watched it until now.

Starz Inside: Comic Books Unbound
This is from 2008, and already seems a bit dated (in contrast to Comic Book Confidential, which doesn’t), especially since it was made before the economy tanked and Spider-Man got rebooted and the manga market took a downturn. And it definitely shies away from any criticism of the movies covered here, even when it’s probably deserved.

But it’s actually a pretty decent overview of the history of comic book movies. While there’s plenty of typical studio talking heads, it does feature interesting creators like Paul Pope and Mike Mignola as well as director Richard Donner. The overall tone here is completely flattering, even when they touch on some of the goofy live-action projects Marvel did in the ’80s and ’90s (but no mention of the TV movies for Nick Fury or Generation X, even though the Spider-Man and The Hulk series got passing mentions. I think some things are better off forgotten). But case in point: There was no acknowledgment that Marvel is still making bad movies (Daredevil? Elektra? I somewhat like Elektra, but I’m not going to tell you it’s good).

Still, I like that they do pay some attention to non-superhero comic book movies like The Road to Perdition and A History of Violence as well as American Splendor. And although the “looking into the future” predictions aren’t quite accurate now, I still think it’s clear that comic book movies are big business. I was surprised by this. I wasn’t expecting too much from it, but underneath the breathless tone of “these movies are awesome!” there is something of substance here.

Confessions of a Superhero
This 2007 documentary isn’t so much about comic books, except in the most abstract of ways. Rather, it’s about four people who dress up as superheros (Superman, Batman, Wonder Woman and The Hulk) and let tourists take photos of them for tips.

Christopher Dennis loves Superman a little too much — he has an overcrowded apartment full of merchandise and memorabilia and rarely takes the costume off. Maxwell Allen has inflated claims of his past as a supposed mob enforcer (as well as his resemblance to George Clooney) and seems to take being Batman a little too personally.

On the other hand, Jennifer Wenger, who dresses as Wonder Woman, and Joe McQueen, who dresses as The Hulk, both seem to understand this is just a way to make money in between acting jobs.

Wenger comes across the best of all four — she’s the most down-to-earth and genuinely sweet. McQueen also seems to understand his limitations and has overcome hardship (he was homeless for a while).

The other two? They both have obvious problems. Dennis claims to be the son of Sandy Dennis, but her family says he’s not. His obsession with Superman comes across as a compulsion (and his apartment is nearly something out of Hoarders). Allen is charming enough, until his outlandish stories begin to pile up (he claims to be great at various martial arts, but one scene in a martial arts studio would say otherwise. Perhaps not surprisingly, both seem to think dressing up as superheroes will provide them with their big breaks.

It’s a little painful in parts and it’s more about these four lives than any deeper message. But there’s still something sad and fascinating about how people are delighted and happy to pay money to get their photos taken with someone — anyone — dressed as their favorite heroes. There’s some power there.

Maybe this time next year, I’ll have the Comic-Con documentary that Joss Whedon, Harry Knowles and Morgan Spurlock are making this year. I suppose we’ll see how that turns out.

It’s not a large exhibit, but what’s there is good. I liked seeing Spiegelman’s process — his sketches on graphic paper, revisions to the text and panel layouts — and how it all would come together in the final strip. While I never thought his work was really just thrown together, he’s much more of a technical artist than I thought. I’m glad I got to go.

The exhibit is up through July 26. Spiegelman himself will be at MOCAD on Wednesday. It’s $7 and I think tickets are still available (I see no indication anywhere otherwise). I, however, will not be since I’m back home (and sadly back at work — vacations are never long enough).

MOCAD is a neat space and I’d like to go back when I’m in Michigan again.

And sure, they need to stop writing these articles, but they make me a little sad for other reasons.

Kids like comics. Kids deserve comics. You know you had more than a few Archie Comics digests lying around and you probably enjoyed your share of Disney comics. This was long before you picked up any of the superhero stuff. You liked comics as a kid.

While there’s some exceptions, while everyone was busy trying to make comics all serious, people forgot about making comics for kids, or began to view them as somehow less interesting and inferior to the adult stuff.

Art Speigelman, whose Maus is often cited in those “comics aren’t for kids!” articles, and his wife Françoise Mouly, created Toon Books, comic-book style books for the youngest of readers, ages 4-8. And they are really awesome. I know I am often accused at having the same tastes as a 5-year-old, but I absolutely loved these. I was delighted to be provided with review copies of all three.

Spiegelman’s own Jack and the Box is probably for the youngest end of the target age group. It’s definitely a beginner’s book, with lots of repeated words and sounds as we follow Jack the rabbit as he plays with his new toy, a jack-in-the-box. Spiegelman creates plenty of inventive silliness with his bold art and color palette of muted primary colors. I found the jack-in-the-box to be a little scary looking, but there is still a playfulness to him. This reminded me quite a bit of the spirit of Dr. Seuss’ Cat in the Hat and that’s not faint praise. This belongs on your child’s shelf.

Despite the word balloons, Eleanor Davis’ Stinky feels like a classic children’s picture book. It brought back memories of Arnold Lobel’s Frog and Toad series for me. Our title character, Stinky, is a troll-like creature who likes everything that smells bad. He has a pet toad, lives in a swamp and dines on anything pickled. He gets scared when a new boy, Nick, approaches his forest. It’s a neat reversal of roles — the monster being afraid of the human — and Stinky, despite his habits, comes across as pretty sweet. Davis’ art is adorable and round, giving the story a gentleness. There are also funny visual gags, like sleeping bugs and a hedgehog with a clothespin over his nose. The ultimate lesson of not judging people (or monsters) by appearances is always a good one. I giggled a lot at this book and was quite charmed by it. While I know some children who I should probably share this book with, I may be keeping it for myself.

Mo and Jo Fighting Together Forever, written by Jay Lynch with art by Dean Haspiel, feels the most like a comic book out of all three. It’s probably for the older readers in the age range, too. Mo and Jo are squabbling siblings who are given a super-suit by the Mighty Mojo. After they rip it in half, their mom creates two new suits from it for each of them, each with different powers.

In true comic book style, the brother and sister pair each decide they have what it takes to fight Lizard-like Saw Jaw. Mo uses her stretchy arms and Jo uses his magnet boots, but neither can defeat Saw Jaw alone. So of course the siblings learn they have to work together in order to beat the bad guy. While that outcome was pretty obvious to me from the start (I am, of course, much much older than the target demographic of this book), getting there is fun. Haspiel has a great understanding of super hero conventions and enjoys playing with them. Lynch’s dialogue is snappy and the siblings’ exchanges ring true as they try to outdo each other. This is the perfect book for the budding superhero comic book fans in your life, and maybe they’ll learn something along the way.

When I wrote about the children’s comic panel at SPX, I joked that I hoped there would be articles proclaiming “comics aren’t just for adults anymore.” I love that there are more and more great comics out there for children now. Don’t get me wrong — I like that there are more serious and mature comics out there, too, but I think there’s plenty of room for all of it. I love that imprints like Toon Books are dedicated to that cause.