The debate between Bill Nye and Ken Ham really bothered me yesterday. You had Bill Nye explaining how science works while Ken Ham would say, “Well you see there’s this magic book written by cavemen three thousand years ago (half the age of the Earth) which isn’t even taken literally by the people who wrote it and that explains everything!”
The central ethos of Ham’s argument is that if you didn’t observe it then you can’t prove it… except if it’s in the bible, because then a wizard did it. This is at best a shaky logical position.
And yet through it all he kept claiming that the laws of physics hadn’t changed. “Naw dood I got papers BY TECHNICALLY REAL SCIENTISTS* that explain the starlight problem on my website!”
Honestly, Bill Nye is a terrible choice for this sort of event because you can’t fight stupidity with kind logic. It doesn’t work like that. It’s foolish to even try. A better choice would have been Penn Jillette, because he’d argue at the same stupid level as Ken Ham but he’d demand there be strippers at least. Boobs would have made the debate more interesting. The only way to argue with a Creationist is to treat them like a particularly stupid child. It won’t convince them but it will show everyone else that it’s not appropriate in this scientific age to say “Wizard did it” and be done.
(BTW: To any Creationists out there; you’re bringing glory to our homo overlord Alan Turing by using any sort of computer machine. All Hail Gay Satan!)
* - engineers who smoked too much Jesus
(February 20, 1962 – February 21, 2011)
Dwayne McDuffie was born and raised in Detroit, Michigan, the son of Leroy McDuffie and Edna McDuffie Gardner. He attended The Roeper School and went on to the University of Michigan, graduating with a bachelor’s degree in English, then earning a master’s degree in physics. He then moved to New York to attend film school at New York University’s Tisch School of the Arts. While McDuffie was working as a copy editor at the business magazine Investment Dealers’ Digest, a friend got him an interview for an assistant editor position at Marvel Comics.
Going on staff at Marvel as editor Bob Budiansky’s assistant on special projects, McDuffie helped develop the company’s first superhero trading cards. He also scripted stories for Marvel. His first major work was Damage Control, a miniseries about the company that shows up between issues and tidies up the mess left by the latest round of superhero/supervillain battles.
After becoming an editor at Marvel, McDuffie submitted a spoof proposal for a comic entitled Ninja Thrashers in response to Marvel’s treatment of its black characters. Becoming a freelancer in 1990, McDuffie wrote for dozens of various comics titles for Marvel, DC Comics, and Archie Comics. In addition, he wrote Monster in My Pocket for Harvey Comics editor Sid Jacobson, whom he cites on his website as having taught him everything he knows. In early 1991, he divorced his first wife, Patricia D. Younger, in Seminole County, Florida.
In the early 1990s, wanting to express a multicultural sensibility that he felt was missing in comic books, McDuffie and three partners founded Milestone Media, which The Plain Dealer of Cleveland, Ohio, described in 2000 as "the industry’s most successful minority-owned-and operated comic company." McDuffie explained:
"If you do a black character or a female character or an Asian character, then they aren’t just that character. They represent that race or that sex, and they can’t be interesting because everything they do has to represent an entire block of people. You know, Superman isn’t all white people and neither is Lex Luthor. We knew we had to present a range of characters within each ethnic group, which means that we couldn’t do just one book. We had to do a series of books and we had to present a view of the world that’s wider than the world we’ve seen before."
Milestone, whose characters include the African-American Static, Icon, and Hardware; the Asian-American Xombi, and the multi-ethnic superhero group the Blood Syndicate, which include black, Asian and Latino men and women, debuted its titles in 1993 through a distribution deal with DC Comics. Serving as editor-in-chief, McDuffie created or co-created many characters, including Static.
After Milestone had ceased publishing new comics, Static was developed into an animated series Static Shock. McDuffie was hired to write and story-edit on the series, writing 11 episodes.
His other television writing credits included Teen Titans and What’s New, Scooby-Doo?.
McDuffie was hired as a staff writer for the animated series Justice League and was promoted to story editor and producer as the series became Justice League Unlimited. During the entire run of the animated series, McDuffie wrote, produced, or story-edited 69 out of the 91 episodes.
McDuffie also wrote the story for the video game Justice League Heroes.
McDuffie was hired to help revamp and story-edit Cartoon Network’s popular animated Ben 10 franchise with Ben 10: Alien Force, continuing the adventures of the ten-year-old title character into his mid and late teenage years. During the run of the series, McDuffie wrote episodes 1–3, 14, 25–28, 45 and 46 and/or story-edited all forty-six episodes. McDuffie also produced and story edited for the second sequel series Ben 10: Ultimate Alien, which premiered April 23. 2010. He wrote episodes 1, 10, 11, 16, 30, 39 together with J. M. DeMatteis and 52.
McDuffie wrote a number of direct-to-DVD animated films featuring DC Comics characters - including Justice League: Crisis on Two Earths and Justice League: Doom. He scripted the direct-to-DVD adaptation of All-Star Superman, which was released one day after his death. Justice League: Doom was released posthumously in 2012.
McDuffie’s work was also seen on Ben 10: Omniverse, having shared story by credit on the first two episodes, “The More Things Change, Parts 1 and 2.”
A pioneer who paved the way for increasing awareness and diversity within the mainstream comic book industry as well as animation, Dwayne’s memory and contribution will never be forgotten. Rest In Power, brother.
I’ve drawn a few creepy twisty Odos before, but I really wanted to explore what it might’ve been like in the show aand I wanted to draw more Odo being twisty. So this little comic sprung out of that!
This was a fun exercise and I learned a lot while putting it together. Like how much I love drawing Quark.
Needs an eye pun, otherwise perfect
"Bob had gotten to the point where he never drew anything. Never drew anything on the Batman comics, anyway. [Sheldon] Moldoff was ghosting them all and when he didn’t, someone else did. The only thing I think Bob ever drew was when we’d be out somewhere, in a restaurant or someplace, and a pretty girl would come over to him and say, ‘Are you really the man who draws Batman?’ Then he could whip out a little sketch for her, a big sketch if she was wearing something low-cut and would bend over to watch him draw.
One day I’m over at his house to discuss this newspaper strip idea we had and he’s talking about who we might get to draw it. I was going to write it and we were going to get someone else to draw it. I’m not sure what Bob was going to do on it except sign his name. I said to him, ‘Bob, isn’t it disappointing to you that you don’t draw any more? You were once such a great artist.’ He wasn’t but you had to talk to Bob that way.
He said, ‘Oh, no. Let me show you something.’ He took me into a little room in his house. It was his studio. I didn’t even know he still had a studio. It was all set up with easels and things and there were paintings, paintings of clowns. You know the kind. Like the ones Red Skelton used to do. Just these insipid portraits of clowns, all signed very large, ‘Bob Kane.’ He was so proud of them. He said, ‘These are the paintings that are going to make me in the world of art. Batman was a big deal in one world and these paintings will soon be in every gallery in the world.’ He thought the Louvre was going to take down the Mona Lisa to put up his clown paintings. I didn’t have the heart to tell him.
So a few months later, I’m up at DC and I ran into Eddie Herron. Eddie was another writer up there and we got to talking and Bob’s name came up. Eddie said, ‘Did you hear? Bob’s getting sued by one of his ghost artists.’
I said, ‘How is that possible? Shelly Moldoff’s suing Bob? But they had a clear deal. Shelly knew he wasn’t going to get credit or anything…’
Eddie said, ‘No, not Shelly.’ Bob was being sued by the person who’d painted the clowns for him…”
Arnold Drake (via arecomicsevengood)
this worldending idiot is the guy that gets the credit for “creating” Batman btw, not the guy who actually did all of the work
Can’t wait to kick Bob Kane’s ass in the afterlife.
Will always reblog this story.
Hash Tag The Clown Painting Story(via twentypercentcooler)
The worst part about the latest Alan Moore interview thing (Well,second worse thing. Jesus Christ, the Galley Wag shit) is when he accused Grand Morrison of aping his entire body of work… and then you start realizing he didn’t pull that out of his ass. Marvelman? Zenith. Swamp Thing? Doom Patrol. Killing Joke? Arkham Asylum. From Hell? Bible John. Supreme? All-Star Superman. I could go on and on and on.
BTW, Nameless is gonna be Grant’s Neonomicon. Calling it now.