Articles by rick-marshall
Thu Jun 26, 2008 — by Rick Marshall
'Diesel Sweeties' Opts Out of Print Syndication
Print loses the appeal for popular webcomic
When Rich Stevens announced that his popular webcomic Diesel Sweeties was entering into a significant print syndication deal more than a year go, it was big -- no, huge -- news for webcomic creators and the online publishing scene as a whole. Last night's announcement by Stevens that he was ending print syndication of Diesel Sweeties in mid-August might be even bigger news.
The situation, according to Stevens:
As of mid-August, DS is ending its run in newspapers and going back to being web-only! Why? Because I’m an optimist, I opted out.
In the meantime, long story short: This is my decision, I wasn’t fired, I don’t regret it and I’m not gonna blame anyone. No dissing Garfield. I am “crazy amounts of” looking forward to being my own CEO again. There will be nary a bump in schedule for the main webcomic.
While the statement Stevens posted on the DS website offers up a general idea of why he made the decision, his interview with Gary Tyrrell over at Fleen gets down to the details of the situation, including some thoughts on the difficulty for any new comic -- no matter how popular -- to get its foot in the newspaper door.
Overall, I think about 50 papers ran DS at one point or another. Some loved it, some hated, some didn’t care. It was a pretty respectable launch, especially in a down newspaper market. If I had no other creative outlet, I’d have stuck around. That’s a hell of a lot of people, even if they’re generally less interested than a web reader.. . .
It’s natural in these things for us geeks to spring on the “Evil Syndicate“, but I don’t blame ‘em for anything. They can’t force editors to dump 80-year-old comics and they can’t legally kill all the rabid Snuffy Smith fans who would set the world ablaze if he ever left print.
I’m not saying they aren’t working on ways to kill these people, but I don’t think radioactive nanodagger ink is ready for prime time yet.
Given the status of DS as one of the most popular webcomics on the 'Net, the question is whether Stevens' decision to "opt out" of what was a significant print syndication deal in favor of online distribution says more about the current publishing environment in the print world or in the online scene.
Be sure to check out the full interview with Rich Stevens over on Fleen.
Thu Jun 26, 2008 — by Rick Marshall
San Diego Comic-Con Gets 'Watchmen' Clips, Nite Owl's Ship?
Video interviews reveal clues about upcoming adaptation's future
There's a lot of Watchmen news hitting the 'Net these days, as we chase the shot of fake "Veidt Enterprises" commercials we posted earlier with some San Diego Comic-Con International rumors related to the big-screen adaptation of the groundbreaking graphic novel.
Cinematical has provided a nice synopsis of the interesting bits gleaned from several recent video interviews with Watchmen director Zack Snyder.
According to Cinematical (I haven't had a chance to watch the videos myself, so I'm taking their word for it), the videos indicate that there's a high probability of seeing the first clips from Watchmen prior to screenings of The Dark Knight next month. There should also be some extra footage shown during Comic-Con later that month, too. Additionally, Snyder hinted that Nite Owl's flying ship might make an appearance during Comic-Con.
Be sure to check out the Cliff's Notes version of the Snyder video over on Cinematical for a few more items of note, and when you have the time (there's around 10 minutes of video to watch), view the full interview over at Collider.
Thu Jun 26, 2008 — by Rick Marshall
Danny Elfman on Scoring Films Based on Comics
The 'Wanted' and 'Hellboy II' composer discusses craft and inspiration
From Beetlejuice and Batman to Nightmare Before Christmas and the recent remake of Charlie and the Chocolate Factory, Danny Elfman has provided the music that has turned good films into great films, and has been no stranger to scoring the big-screen adaptations of comic books. In a short time, movie-goers will be treated to another pair of Elfman-scored films based on popular comics, as the Emmy-winning and (many times over) Oscar-nominated composer has provided the music for Wanted and Hellboy II: The Golden Army.
SuperHeroHype recently snagged Elfman for a short interview about the process of finding the right sound for comic books, his inspiration and the difference between the two films from his perspective.
CS/SHH!: Was "Wanted," which has much edgier music, more fun?
Elfman: Well, they are each fun in a different way. "Hellboy" was a little more romantic and traditional, but I love paying homage to Bernard Herrmann, who for me is my master. Any time I get to do that it's a great joy. "Wanted" is like a whole other ballgame. I did a whole different thing: more synthesizers, percussion, and guitars. I had my guitar out. I was so glad that the two of them were so different.
Check out the full interview on SuperHeroHype.
Thu Jun 26, 2008 — by Rick Marshall
Jeffrey Brown and The Holy Consumption: From Chicago to Paris
Chicago collective works on display in French gallery
With only a matter of hours until much of the ComicMix team heads out to Chicago for this year's show, it's only right to post a story or two with ties to the ol' Windy City.
From June 21 to July 26, several members of the Chicago-area comic creators collective known as "The Holy Consumption" will have their art featured at Galerie Anne Barrault in Paris, France. Among the creators whose work is currently on display are Paul Hornschemeier (Mother, Come Home), Anders Nilsen (Dogs and Water) and Jeffrey Brown, the author of one of my favorite minicomic collections, I Am Going To Be Small.
The exhibit, titled "Midwest," promises to explore "the American Midwest, a huge, flat, agricultural area around Chicago, stretching over several states, swept by the winds, dotted with the Great Lakes."
IVY Paris News recently spoke with Brown about the exhibit and the notion of being an "artist" instead of a cartoonist:
Traditionally in comics, the final published book has been the 'art' - the drawings are just in service of the published version. In art school, I had the idea of the original drawings being the final work, imagining the book as it's own final result. I think there's an intimacy to the real, tangible marks on paper as opposed to the printed versions, where you still can get the story but you lose a little bit of that life that comes with the actual drawings. As for approach, I pretty much approach all of my art making the same way. It's all just having an idea and finding the way to express it.
The image posted here is Anders Nilsen's "Batman and Wolverine" (chosen for obvious reasons, with a larger version posted after the jump). More examples of the art on display (sans superheroes) are posted on the gallery website.
(via journalista)
Continue reading Jeffrey Brown and The Holy Consumption: From Chicago to Paris ›
Thu Jun 26, 2008 — by Rick Marshall
'Watchmen' Ad Contest Winners
Now with Ozymandias action!
Watchmen director Zack Snyder recently announced the winners of the "Veidt Enterprises Advertising Contest," in which YouTube users submitted commercials promoting fictional products of Veidt Enterprises, the company run by Adrian Veidt (a.k.a. "Ozymandias"). Contestants submitted the commercials for potential use in the upcoming big-screen adaptation of Alan Moore and Dave Gibbons' graphic novel.
While YouTube users voted on the Top Five commercials (the makers of which would receive a fancy new camcorder), Snyder recently announced the eight videos he'd be considering for use in the film. Among them was this throwback to Saturday morning toy commercials:
(via PopCandy)
Wed Jun 25, 2008 — by Rick Marshall
'Marvel Apes' Covers Debut
And you thought Spider-Man begging for brains was bad...
I have to admit, I'm a bit torn about the upcoming, four-issue Marvel Apes miniseries. On one hand, it's nice to envision a post-Marvel Zombies world. Even though I enjoyed the original Zombies stories (and a few of the dozen-or-so subsequent spin-offs, tie-ins and one-shots), it's long past time to put the living dead back in their graves and move the heck on.
So I'm glad to see the Merry Marvel Marketing crew find a new shtick.
On the other hand... it's monkeys. Marvel Apes, in fact.
Well, regardless of how you feel about the notion, EW.com recently posted several cover images from the series and the variant covers that will be popping up on other Marvel titles throughout the Apes run, depicting a variety of simian-styled Marvel characters. Pictured here is one of my favorites, the variant cover to Punisher: War Journal #3, due out September 3 (I've posted a larger version of the image after the jump). Be sure to check out the Rob Liefeld ape-ified variant cover to Cable #6, too. Words fail me.
Here's the synopsis of the Marvel Apes "epic," according to EW:
It begins when Marty ''The Gibbon'' Blank, a mutant chump with chimp-like powers, is ensnared in a science experiment gone wrong. He's jettisoned into a sinister alternate reality devoid of humans; here, all of our crime-fighters are now hirsute anthropoids. Joined by the fetching human scientist Dr. Fiona Fitzhugh, this wannabe villain (the Gibbon founded the Spider-Man hating/baiting Legion of Losers) is, in fact, recruited by the seemingly upright Ape-Vengers as he searches for a way back home.
The first issue of Marvel Apes is scheduled for a September 3 release. You've been warned.
Wed Jun 25, 2008 — by Rick Marshall
Embracing Continuity in Comics... and Life
Don't ret-con it, just move on!
It's no secret that continuity is equal parts bane and boon to comics, with no shortage of passionate arguments extolling its virtue and, in some cases, its status as the greatest threat to storytelling in the history of the printed word. Recently, comics blogger Hudson Phillips posted his own thoughts about the role of continuity in comics, including some thoughts on why you should think about your own life -- and all its embarassing moments -- the same way you think about continuity in comics.
According to Phillips:
Don’t be ashamed or where you came from. Embrace it. Then move on.
I think this is a great philosophy in life as well. There are some definite continuity issues in my own life. I’d love to erase parts of my past that I’m embarrassed or ashamed of… from getting into a bad relationship, ultimately ending in divorce - to letting one of the true loves of my life, music, slip through my hands - to throwing up at assembly in 7th grade or farting in algebra class in 8th.
I’d love to just get rid of my 30 years of continuity and start over. But just like in comic books… I can’t. What’s done is done. It’s out there, written in stone. There’s no changing it.
So, what choice do you have?
Head over to hudsonwrites.com for the full essay.
(via comicsreporter)
Wed Jun 25, 2008 — by Rick Marshall
Random Video: 1960s Batman Does 'The Dark Knight'
Campy meets gritty in Gotham... Why so serious, bat-buddy?
When I posted a link to a recent interview with Adam West on the current Batman film franchise, I had no idea that it would generate such a polarized discussion of the campy 1960s series that made West a household name among comics fans.
In the interest of meeting both sides somewhere in the middle, I hereby submit the following video -- featuring a mash-up of the trailer for the upcoming Dark Knight film with clips from the '60s-era Batman television series.
Can't we all just get along?
Wed Jun 25, 2008 — by Rick Marshall
Interview: Mark Wheatley and Robert Tinnell on 'EZ Street'
The comics biz is rarely easy - just ask the brothers of 'EZ Street'
For the last few months, I've spotlighted webcomic creators from all around the 'Net in my weekly interview series here on ComicMix. This time around, I'm staying a bit closer to home and chatting with the creators of EZ Street, the Harvey-nominated webcomic from creators Mark Wheatley and Robert Tinnell, published here at ComicMix, which concluded its 38-issue run last week.
EZ Street first kicked off in October 2007, and promised readers a look inside the lives of two brothers, Scott and Danny Fletcher, who were trying to make a go of it in comics after heading their separate ways earlier in life. One brother had turned his love of the graphic arts into a career in design, while the other decided to try his luck in the film industry. EZ Street chronicled their return into each other's lives and the ups and downs of collaboration, their personal relationships and the comics scene. Just prior to publication of the final episode of EZ Street, it was announced that Wheatley and Tinnell's series had been nominated for a Harvey Award in the category of "Best Online Comic" for 2008, joining popular webcomics such as Perry Bible Fellowship, Penny Arcade and Diary of a Wimpy Kid.
I spoke with the creative duo about the series' roots, working in an online medium and Lone Justice, the project that will soon jump from the pages of EZ Street and into a series all its own. Wheatley and Tinnell were also nice enough to provide the cover image for the first issue of Lone Justice. A full-size version of the image is available at the end of the interview.
COMICMIX: In stories like EZ Street, which use the creative process as subject matter and make the comics industry a central part of the plot, readers are often privy to a lot of the creators' personalities and experiences in the biz. How much of your personalities are in EZ Street? What parts of you and your experiences can readers see in Scott, Danny and their lives?
MARK WHEATLEY: Well, I think we got a lot of the real Mike Oeming, Neil Vokes and Todd Livingston into these pages. But the rest is fiction -- fiction that is true in the same way as any story I tell. Everything comes from my own life experience -- and in this case, Bob's life experience. Each of us has either experienced something damn close to what goes on in EZ Street, or we have been close to people who have gone through these moments of glory, loss and redemption. For me, since I've been running a comic art studio for over a quarter of a century, I've had a lot of close-up views of careers that almost made it, and careers that have self-destructed. There is really no shortage of people who have dreams, and people who lack the resources to follow their dreams, be it the courage, the finances or the support of people who believe in them. So yeah, EZ Street is the result of decades of personal research. That's why we called it "EZ Street" -- it isn't!
ROBERT TINNELL: I like to think that there's a lot of all creators present in both of them. As for me personally, I think they represent different elements of my personality as well as some commonalities. There were also instances where I took elements of Mark's passions and personality and wove those in as well -- as did he, of course. At the risk of repeating myself, I do hope we've tapped into some universal emotions on the part of creators.
To be more specific, I could -- but won't -- name very specific instances of EZ Street that were pretty much word-for-word recreations of real moments.
Continue reading Interview: Mark Wheatley and Robert Tinnell on 'EZ Street' ›
Tue Jun 24, 2008 — by Rick Marshall
The Fragile Nature of 'Geek Cred'
I liked these types of columns before they were cool...
Beware the power of words, folks. Over at Cinematical, the movie news site's resident "geek beat" contributor Elisabeth Rappe has taken a comment I left on one of her recent posts and turned it into a full-blown column, titled "The Touchiness of Geek Cred."
In the column, Rappe discusses the Survivor-esque mentality of geekery and the first time she realized that niche-culture gatherings like comic and science-fiction conventions weren't the friendly grounds she expected them to be. The ever-present drive to cull the herd and create a higher place on the social ladder is in full effect just as much inside the niche cultures as outside, she observes.
For geeks of the feminine persuasion, the environment is even more cut-throat, according to Rappe:
As a female, I find I have to prove myself even more. The first time I went to ComicCon, I fell into a casual conversation with a guy about the comic book movie spin-offs. I mentioned that I really wanted to see the eventual Wolverine, and he sneered: "You just want to see it because you're a girl, and Hugh Jackman is hot!"
"Hey," I replied tartly. "Wolverine is the best at what he does, and what he does isn't very nice."
"You know the catchphrase. I take that back."
Well, thanks. This is something a geeky girl runs up against often, and it is useless to fight it. Men can see Catwoman for Halle Berry, girls cannot see 300 for Gerard Butler. Frankly, I do it too. One woman I was friends with joined my online movie community solely to talk about Butler. She was horrified when the fanboys called her on it. But I too was aghast. "You can't just go in and talk about hot guys – you have to talk about Frank Miller first! You have to prove yourself a geek!"
Head over to Cinematical for the rest of the column.
Rappe's observations reminded me of a recent post here on ComicMix, in which I mentioned that I have yet to read any of the Harry Potter books and narrowly escaped a nasty tar-and-feathering by readers.
Tue Jun 24, 2008 — by Rick Marshall
Bob Greenberger on 'The Essential Batman Encyclopedia'
New Batman project finds ComicMix contributor at the helm...
I've directed you to Tom Spurgeon's "Sunday Interview" series before, but this time around, the ol' Comics Reporter has posted a special treat for ComicMix readers. Our very own Bob Greenberger, who most recently interviewed Bob Rozakis about his alternate-history project with Alter Ego and Back Issue magazines here on ComicMix, spoke with Spurgeon about his work on The Essential Batman Encyclopedia.
While Spurgeon and Greenberger chat at length about many interesting aspects of the Batman project that's currently being hyped heavily in the lead-up to the release of The Dark Knight, I'll admit that Greenberger's discussion of life at the Weekly World News office was one of my favorite elements of the interview.
SPURGEON: I've always wanted to ask someone who worked there -- what was your Weekly World News experience like?
GREENBERGER: Wild and chaotic and even more seat-of-your pants than Marvel under Bill Jemas. Our editor-in-chief Jeff Rovin would have us shoehorn in new stories the day before we were due on press. Our publishers sometimes changed their minds and wanted an entirely new cover story produced in two or three days. Yet, we got it down to a system where four of managed to edit, proof, layout and design the 48-pages every week without break too much of a sweat. The articles and columns rolled in, got scheduled and printed and we never had to stay late -- okay, maybe once or twice. We were all incredibly optimistic at the newspaper fortunes as licensing deals were getting signed and we were reshaping the magazine for new audiences and then we got canceled, largely because I don't think AMI ever understood the value of the brand until the week the news broke. It was an incredible delight and a heck of a lot of fun.
Head over to The Comics Reporter for the full interview.
On a side note, one has to wonder if Greenberger has ever tired of writing "Bat Boy" stories.
Mon Jun 23, 2008 — by Rick Marshall
Heroes Con: Elsewhere On The Grid
All the news that's news... and then some other random stuff, too.
Ah, convention season... when the wind-down from one show overlaps with the preparation for the next.
In case you missed our two-part report on last weekend's Heroes Con in Charlotte, NC, Van Jensen provided ComicMix readers with a great summary of all the important happenings from the the convention, including some interesting thoughts on DC's dilemma from the publisher's rumor-plagued Executive Editor, Dan DiDio, as well as the unfortunate overshadowing of the sizeable small-press crowd.
There are some great roundups of the show to be found elsewhere on the 'Tubes, too. Here are a few links to checkout if you want to read up on the show a bit more:
The Beat's Heidi MacDonald has a great wrap-up of Heroes Con: Day Two, including a few more quotes related to all of the DiDio madness that has swept the industry press.
DiDio described DC’s audience as a “collector market” but defended DC’s use of character deaths and upheavals at the same time by saying these plot devices always new for some one.
Mon Jun 23, 2008 — by Rick Marshall
Doctor Who in Review: Season Four, Episode #8 - Silence in the Library
Stay out of the shadows!
The hit BBC series Doctor Who
Every week, I'll do my best to go through the most recent episode with a fine-tooth comb (or whatever the "sonic screwdriver" equivalent might be) and call out the highlights, low points, continuity checks and storyline hints I can find to keep in mind for future episodes. I'll post the review each Monday, so you have ample time to check out the episode once it airs each Friday at 9 PM EST on Sci-Fi Channel before I spoil anything.
Missed a week? Check out the "Doctor Who in Review" archive or check out any of the past editions of this column via the links at the end of this article.
Keep in mind, I'm going to assume readers have already watched the episode when I put fingers to keyboard and come up with the roundup of important plot points. In other words, SPOILER ALERT!
Let's begin now, shall we?
Season Four, Episode #8: "Silence in the Library"
Continue reading Doctor Who in Review: Season Four, Episode #8 - Silence in the Library ›
Mon Jun 23, 2008 — by Rick Marshall
K9 To Receive New Look and 'Doctor Who' Spin-Off Series
I can haz new series, master?
Confirming rumors regarding the new spin-off series for K9, the much-loved robotic dog from Doctor Who, recent reports indicate that filming for the series will begin next month in Australia.
Bob Baker, who originally co-created K9, will write for the 26-part series, which will combine live action with computer-generated imaging for the half-hour episodes. There is no scheduled date for the series to begin airing.
Images of K9's new look were also released, showcasing the redesign Baker gave the popular character.
For more details, visit GallifreyOne.
Sun Jun 22, 2008 — by Rick Marshall
Original Hulk Concept Art, Character Designer Interviewed
Hulk smash puny design preconceptions!
The Incredible Hulk is still smashing away in theaters, but that doesn't mean we can't keep playing the "What If?" game with the Green Goliath's latest big-screen rampage.
Over at XSI Base, Incredible Hulk character designer Aaron Sims discusses some of the creative decisions made while conceiving the look of the latest Hulk -- as well as his nemesis, Abomination. Here, Sims addresses the difference between Abomination of the comics world and his big-screen counterpart:
The Abomination went many different directions. Some at the beginning were closer to the comic, but everyone felt it didn't make sense to what happening in the movie. They wanting it to look like it was growing from within and the bones and muscle would break through the skin.
While it's a fun read, the real treat in this article is the gallery of early designs for both characters, including the frightening Hulk seen here:
Head over to XSI Base for more design images and the rest of the interview.
(via Cinematical)
