Or, more accurately, M.O.D.O.G.

Yes, everyone's favorite Mental Organism Designed Only for Killing seems to have found himself a new hobby, as well as a new home, in Invincible Iron Man. The new version of the big-headed bugger has taken a shine to genocide instead of just garden-variety killing, according to information released about the villain's upcoming appearance in the second issue of the Matt Fraction/Salvador Larroca series.

Marvel.com has posted samples of Larroca's new M.O.D.O.G. art, including this great image of Iron Man dragging the ever-creepy creature around by his hair.

The thing is, I'm not sure if the decision to shift his focus from "Killing" to "Genocide" makes him more or less dangerous. With a M.O.D.O.G., at least you have a good idea of who's on his hit list, right? But a M.O.D.O.K. - that's a different story. He wants to kill everybody.

Unless, of course, he's discovered the sweet serenity of regular meditation.

But don't give up hope yet, fanboys. Evidence shows that Sony is still going forward with their planned DC Comics Universe Online MMO. This week, Rich Johnston noticed in his Lying in the Gutters column a Craigslist ad from Sony Online Entertainment looking for Senior Levels Artists to work on the game. Before you start assembling your resume so that you can work with game consultant Jim Lee, be aware that the position has some steep requirements:

EDUCATION/EXPERIENCE
• Bachelor’s degree or equivalent development experience.
• 5+ years experience in game development using Maya and the Unreal Engine.
• Must have shipped at least two titles with heavy 3D content as a senior Artist with management responsibilities.

DC Comics Universe Online has been long in development with very few details released. It was announced for computers and the PlayStation 3 but it's unknown if cross-platform play will be allowed. It's not likely to come out any time soon, either, since no mention of the game was made at Sony's recent 2008 media event in London last week.

He closes his eyes, listens to the doctor...and wakes up in his 15-year-old body, back in 1985. He soon decides that some kind of hypnotic construct -- though he never internalizes that thought, or really acts as if it's true -- and that the whole scenario is designed to make him decide not to have his first cigarette, and thus stop smoking back up in his own time.

Now, I am a former science fiction editor, so I probably think about this stuff more than most people, but Andy never seems to really think through his situation, or quite decide how old he is. He never really thinks of himself as a 15-year-old; his self-image stays solidly middle-aged. But he also doesn't think through the consequences of that -- he thinks of other high-school students, who are exactly the same age he is, as "kids."

Continue reading Review: 'Too Cool To Be Forgotten' by Alex Robinson ›

-- Boom Studios plans a benefit project

-- Eric Stoltz lands on Caprica

-- Eli Stone is coming back

And then there's Jim Bowie. No, really! Press the Button and we'll show you...

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After Thomas left, Wolfman's friend Len Wein became editor-in-chief, but  a year later he passed the position on to Wolfman. Wolfman missed writing, however, and chose to step down as editor-in-chief a few years later so he could return to creating the comics himself.

While at Marvel, Wolfman wrote for Amazing Spider-Man, Fantastic Four, and Doctor Strange, but he is possibly best known for his work on Tomb of Dracula, including the creation of the vampire-hunter Blade.

In 1980, Wolfman returned to DC and created The New Teen Titans. He worked on Superman and Night Force, revived Dial H for Hero, and then launched the pivotal Crisis on Infinite Earths.

During the '90s, Wolfman focused more on animation and television, and in the 2000s he has written a novel based on Crisis on Infinite Earths, the novelization of Superman Returns, and an animated movie, Condor, for Stan Lee’s Pow Entertainment. Wolfman recently took over the writing for DC’s Nightwing series.

In 2007, he wrote a nonfiction book, Homeland: The Illustrated History of the State of Israel, which won the National Jewish Book Award and the Moonbeam Children’s Book Award, among other honors.

Theater lobbies littered with cardboard standees promoting Indiana Jones, Dark Knight, Hellboy II and other movies may be a familiar sight these days, but to paraphrase the Hulk, they're just "puny banners!"

Selected theaters across the country recently received life-size maquettes to promote the release of The Incredible Hulk on June 13. And when we say "life-size," we mean it! 

Measuring over 8-feet tall and as wide as a truck, simply standing next to one of the maquettes is enough to understand why that anonymous soldier in the classic Stan Lee/Jack Kirby origin issue called him a "hulking monster."

You have to wonder which movie theater employee gets to take this home.

After striking gold in the mid-‘80s with his work on the original Booster Gold series, featuring the solo adventures of a character he created, Jurgens continued his streak through the ‘90s with his seminal work on the "Death Of Superman" story. It was in this project that he created two of Superman’s most popular villains, Doomsday and Cyborg Superman. No stranger to major, universe-spanning events, Jurgens penciled both Armageddon 2001 and Zero Hour, the latter of which he also wrote. In the late ‘90s he created the Tangent Universe for DC and currently writes the ongoing DC series Tangent Comics: Superman’s Reign.

Last year, Jurgens returned to the character he created, continuing as artist on DC's ongoing Booster Gold series, but stepping aside as writer. The new series teamed him with superstar scribes Geoff Johns and movie executive Jeff Katz. Issue #9 hits stores this week, and continues the current “Blue & Gold” story arc. This arc recently saw the return of fan-favorite character Ted Kord, The Blue Beetle. And if Jurgens’ cover to this week’s issue is any indication, fans of the Keith Giffen/J.M. DeMatteis series Justice League International won’t be disappointed.

I spoke to Jurgens about his work on Booster Gold, Tangent Comics: Superman’s Reign and his career at DC comics.

COMICMIX: To start with, let’s talk about Booster Gold. What’s it like working with writers Geoff Johns and Jeff Katz on a character that you created so many years ago?

DAN JURGENS: There are times I just sit back and look at it and kind of have one of those “wow” moments. Just because it’s something that I probably didn’t anticipate doing.

CMix: Did you ever imagine when you were creating the character that he would last this long?

DJ: No. If you go back to those days, I hadn’t been in the business for that long. So any concept of what I might be doing, if anything 20-some years later, well it just was not anything that you stopped to consider. Whether it was Booster Gold, Superman or Spider-Man, or anything else. It just isn’t part of your thought process. At least it wasn’t part of mine.

CMix: How has the character changed since you first created him?

DJ: I don’t know that the character has changed a lot. If you go back to Booster’s first appearance, he was always supposed to be a fun, a joking sort of character, and he’ s still essentially that. I think his character’s become better defined. I think that his relationship with Blue Beetle is a really important element of who he is now, and of course that didn’t exist at the beginning. Like I said, I don’t know if his character has changed - and I think that’s part of the success. I think his character has been added to, amended and flushed out some but I think part of the reason we are succeeding is because his character has not changed.

CMix: How much are you involved in creating the story? Do they run ideas by you or are you completely surprised when you read a script for the first time?

DJ: Well, they write the script, send it and I take it from there. But we do talk reasonably often. We talk about ideas that we’d like to do and what we’d not like to do. So we certainly have, I think, a bit of give and take about the book and who Booster is. But that’s not to take anything away from them at all. The stories that are happening right now, certainly Booster’s journey through time, is absolutely due to Mr. Katz and Mr. Johns.

Continue reading Interview: Dan Jurgens on Booster Gold and the Tangent Universe ›

Deju vu

About 19 years ago, I was being pulled into the summer movie/blockbuster season anticipating two of the myriad entertainments soon to be playing at a theater near me. One was Tim Burton’s second Batman flick, with Michelle Pfeiffer as Catwoman and Danny Devito as a particularly nasty Penguin. Oh, and Michael Keaton in his final appearance as the Caped Crusader. (Back then, although he was not a barrel of laughs, he may have been just an eensy-bitsy too cheerful to qualify as a Dark Knight.) Batman was soaking up most of my professional life – I was editing the comic books – and I was writing a comics version of the screenplay, and so I had a distant, tenuous but real interest in the movie. And anyone who’s ever been involved with a Major Motion Picture knows that there is an excitement to such projects that ripples outward to touch even us at their distant edges. (Which may be why working in movies seems to be, for many, so addictive.) In sum: yeah, I was awaiting the Batman flick with more than idle curiosity.

But what I was really waiting for was Indiana Jones and the Last Crusade. Batman was my job; Indy was my hero. I may have been associating him with an earlier hero, Mr. Paladin, who was the central character in a once-popular, 30-minute TV western called Have Gun, Will Travel. What No-First-Name Paladin and Indiana Jones had in common, besides impressive looks and charisma, and the ability to look good riding a horse, a powerful sense of right and wrong, and great prowess in combat with either fists or weapons, was this: They were smart. More – they were readers! And more – they were even intellectuals!

Continue reading The Real Hero, by Dennis O'Neil ›

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Slate recently posted an analysis of the real-world dynamics of life on the wrong side of the law - and those who are forced to live and work with that dynamic every day - as echoed in GTA IV. While the landscape of the videogame is based on the New York City Metro area, the author contends that the true real-world equivalent of life in the GTA IV universe can be found in Chicago's South Side neighborhoods.

The last time I visited Chicago, I stopped by 59th Street, near Washington Park (and only a few short blocks from the picturesque University of Chicago). Two of the local gangs were fighting each other in full view for control of a prime sales spot, a hotel. For a monthly fee, the proprietor had promised to allow one gang to turn the place into a bordello—drugs, prostitution, stolen merchandise. For the gangs, winning meant more than simply getting rid of their enemy. Neither controlled the area surrounding the hotel. Anyone bringing drugs (or women, or guns, etc.) to the hotel would have to run the gantlet formed by other enemy gangs, who would be at the ready to shoot down the transporter.

Author Sudhir Venkatesh goes on to compare the decisions GTA IV's protagonist must make over the course of the game, and compares those choices to many of those made by residents of South Side streets where the criminal element provides the only semblance of structure.

Read the full article on Slate.com.

The series already spawned a live-action television show on TNT that lasted for two seasons. Plus, half naked women beating up bad guys with an awesome glove is the type of can't miss concept that Hollywood craves.

The producers hope to start production of the film in September.

(via SHH)

Lou came up to Toronto to play semi-pro hockey for the Grizzlies around 1950, and Vince followed him up in 1951 -- Lou was a solid, smart player, but Vince was a giant bull of a man, dominating the ice once he got angry enough. But, unfortunately for both of them, accompanying Vince on that trip in 1951 was his fiancee, Beth Morgan. Lou was strongly attracted to Beth, and, once -- the night after the Grizzlies made the playoffs that March -- Lou and Beth had quick, secret sex on a rooftop.

Continue reading Review: 'Ghost Stories' by Jeff Lemire ›

Every week, we'll have our best Who-philes go through the most recent episode with a fine-tooth comb (or whatever the "sonic screwdriver" equivalent might be) and call out all of the continuity checks, names dropped and storyline hints we can find to keep in mind for future episodes. We'll post our analysis 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 reading our review.

Missed a week? Readers can view past "Doctor Who in Review" features via the links at the end of this article.

Keep in mind, we're going to assume readers have already watched the episode when we put fingers to keyboard and come up with our roundup of important plot points. In other words, SPOILER ALERT!

Let's begin now, shall we?

Season Four, Episode #3: "Planet of the Ood"

Continue reading Doctor Who in Review: Season Four, Episode #3 - Ood Get Even ›

His first project was doing “in-between” art (the frames between the ones the main animators drew) on Fantasia. Strobl also worked on Pinocchio and Dumbo before joining the Army during World War II.

After the war, he decided to switch from animation to comics, and in 1947 he went to work for Western Publishing. Western produced comics starring characters from Disney, Warner Brothers, and Walter Lantz, and Strobl did a lot of art on Disney’s “Duck” books.

After 1954, he was responsible for the monthly Donald Duck comic. In the mid-'60s Strobl began drawing Disney comics for the international market, and from 1986 to 1987 he drew a daily Donald Duck comic strip for them as well. Strobl died on December 29, 1991.

Along with posing our own questions to Verheiden, we're also taking questions from fans -- so be sure to send your questions to me, your official BSG Weekly interviewer, after each episode airs at chris [at] comicmix dot com. New episodes of Battlestar Galactica can be seen every Friday at 10 PM EST on Sci-Fi Channel. You can read previous interviews via the links at the end of this article.

This week, Verheiden answers questions about the Episode #6 of Season Four, "Faith," which aired May 9, 2008. Note: These answers may contain spoilers, so read at your own risk.

COMICMIX (from reader Andy): Are all the things the Hybrid says supposed to mean something or is it only relevant to the story when she's actually speaking to Starbuck directly? For example, the "toy soldier will become pliant" was said at one point. That could refer to Adama, especially in light of what he says about changing his mind at the end of the episode?

MARK VERHEIDEN: I don't want to get into a line-by-line analysis of the hybrid's monologue(s), though it's always fun to write!  At any rate, it's safe to say that some of the babble represents the creature's very mysterious mental gymnastics. And, if you listen closely, certain writerly obsessions with The Wild Bunch and The Man Who Shot Liberty Valance.

Some of it is specific to the ship (repairs, altering temperatures, etc.) and some of it is very pertinent to the larger mysteries.  Maybe this will help: Every line is scripted, none of it is ad-libbed, so everything our hybrid says, she was meant to say.  As for interpretation, I leave that to you... 

CMix (from reader Leah): Why does Athena pull back at the last minute and not want to touch the dying Eight? And why does Anders show so much compassion for a Cylon when he was about to kill one shortly before that?

Continue reading Battlestar Galactica Interview: Mark Verheiden on Athena, Anders and the Hybrid ›