Monthly Archive: November 2014

Marc Alan Fishman: Dear Marvel and DC…

Dear Marvel and DC,

It’s been too long since I’ve written you, and for that I am very sorry. I’d think it awkward, given that I was once a weekly reviewer of your monthly publications, but I’ve essentially all but given up on them over the last six months. And it’s not because of financial concerns, or even a matter of proximity. Certainly sparing ten to twenty bucks a week for a decent load of your wares from one of the fine comic shops mere blocks from my office was once a weekly delight. But over time, my pull list dwindled and dwindled. Each book in your respective repertoire began to feel repetitive, dull, or forced. And as insult to the injury… the shop I frequented only carried indie books they “knew would actually sell” unless I specifically sought them to be ordered and held. It was a dark time, and I flew a white flag.

I’ve done this in the past. Like a jilted lover, sometime absence makes the heart grow fonder. I figured I’d soon see the new announcements stemming from successful dalliances on TV and the multiplex. With a growing fan-base learning about Hydra and Kree maps, or hearing the name Black Adam whispered with Dwayne “The Rock” Johnson being cast, there was no doubt in my mind you knew that the world was set to look at your publishing ventures as potential incubators for those next great ideas.

And then, as if you’d not learned from past mistakes, you started announcing one major-huge-epic-don’t-miss-it-or-by-Rao-you’ll-be-out-of-the-loop-for-decades event after another.

I believe in tough love. It’s never easy to swallow, I know. In my life, it’s always followed by a period of reflection and growth. My high school art teacher said I couldn’t draw my way out of a paper bag. I went to art school and learned how. My college professor said I’d only get out of my art what I put into it. In response, I completed an 8′ x 10′ woodcut with a 1mm gouge. My first employer after graduation said I’d never amount to an art director. I’ve been one now for going on eight years. So trust me when I say that this comes from a place of kindness:

Your events, by and large, really suck.

Yeah, I know you’ve got sales data to prove me wrong. But you know what I have? I have an informed opinion. Civil War was cool. How did The Initiative do for you shortly after? Identity Crisis was excellent, until it got rapey. Fear Itself was novel for a hot minute until I realized it was a D&D campaign from 1996. Flashpoint, Countdown to Final Crisis, and yeah Final Crisis were worth more as toilet paper than as solid fiction. Oh, I’m sorry, I was supposed to read them in 3-D, and backwards because Grant Morrison said it’d make more sense that way? I said the same thing when I tried to convince my wife sweatpants were a viable option for date-night.

And here with both of you announcing and announcing cryptic apocalyptic coinciding crises sometime in the spring? It’s reminiscent of The Producers. I mean, how many dancing Charlie Xaviers will we need before we start guessing it’s all one big joke to you?

The fact of the matter is no amount of adjective-dropping will entice me away from my most glorious hibernation. You’ve both cried wolf far too many times now. Fool me once, shame on me. Fool me thirty-two times with multiple X-Men deaths and rebirths, time-bullets, time-vampires, ret-conned continuities, and multiple-multiverses… shame on you. You seem to forget that after every one of these universe shattering events comes fallout. Canceled series of stalwart brands. Bold new books that will be canceled long before their given a chance to find a rhythm and fan base. Not to be lewd about it, but guys, you can’t shit the bed and then expect us to clean it up with a smile.

I don’t care if Tony is going to be a power-sharing super-douche. Or that Alexander Luthor never really died. Or that Wolverine is dead until Shadowcat phase-pulls his rotting corpse out of his statue-self followed by a trip back through time using Booster Gold’s leftover suit. I don’t even care if you’re exploring new What-If universes with Spider-Gwen. It doesn’t get me hot and bothered that you’re potentially ret-conning away the New52. No matter your proposed gimmick, I’m not buying it.

At the end of the day, I smell your desperation a mile away. It wasn’t like this when Mark Waid was batting 1000 on Daredevil. It wasn’t like this when Geoff Johns was expanding the Green Lantern and Flash mythos without traveling outside the borders of their respective books. You know you can be better than this, but instead are trying to win over everyone with a grand sweeping motion. It’s just not necessary.

And when you realize that? I’ll be back in the shop with my money in hand.

Sincerely,

Marc Alan Fishman

Ex-Pat. Indie Creator. Bridge Burner.

The Law Is A Ass

Bob Ingersoll: The Law Is A Ass #333: SHE-HULK’S TRYING THE CASE AND OUR PATIENCE

SheHulk3Let’s see now, where were we before we were so rudely interrupted? Interrupted by me when I realized last week’s column was long enough, so decided to split it into two columns. Oh yes, She-Hulk V 3 # 9.

She-Hulk v 3 # 9 is Part Two of the three-part story, “The Good Old Days.” The titular good old days refer to a dock riot in Los Angeles in November of 1940, if that’s “good,” I think someone needs to invest in a new dictionary. The good old days also refer to the fact that during the incident Sam Folger died and now the grandchildren of Sam’s brother, Harold, are suing Steve (Captain America) Rogers for the wrongful death of their great-granduncle. Again, “good?” If you can’t afford a new dictionary, then at least bookmark dictionary.com.

Jennifer (She-Hulk) Walters was representing Cap and Matt (Daredevil) Murdock was representing the Foglers. Matt began his trial with the testimony of Officer McKinley, who told the jury what Harold Fogler said on his death bed sometime in 2014. Here’s Harold’s deathbed confession, as recounted by Officer McKinley.

In 1940, Harold left his mother and brother back in Brooklyn http://brooklyn.com/index.php and moved to Los Angeles. He fell in with a bad crowd. In early November, 1940, the bad crowd met in a warehouse near the Los Angeles docks to plan some trouble they were going to cause there. Harold stepped outside for some air where he was confronted by his little brother, Sam, who had left medical school and come across the country to accost Harold. Sam urged Harold to come back home to their heartbroken mother. Sam brought a friend with him, Steve Rogers, who was still in his pre-Captain America days.

Steve also started in lecturing Harold. And wouldn’t stop. Not even when the bad crowd hauled them into the warehouse. The boss tried to shut Steve up by pointing a Luger at Sam and threatening to kill Sam, if Steve kept talking. Steve kept talking. The boss killed Sam.

Now based on this account of what happened in Los Angels in 1940, Harold Fogler’s grand children were suing Steve Rogers, A.K.A. Captain America, for the wrongful death of their great-granduncle. They said Steve’s “wrongful act” and “neglect” caused Sam’s death.

I say what wrongful act or neglect?

In all U.S. jurisdictions including California, a negligence suit such as wrongful death has four basic elements which must be proven. The defendant must have owed the plaintiff a duty. The defendant must have breached that duty. The breach must have been the proximate cause of some injury to the plaintiff. And the plaintiff must have been damaged by said injuries.

I’ll tackle the injury element first, because it’s the easiest. Sam was killed. He suffered an injury. Death. Death’s the ultimate injury. But did Sam’s family suffer any damages from that injury?

But Sam’s not suing. He’s dead. I’m not so sure how Sam’s injury translates to Sam’s great-grandnephews. The family maintains that Sam would have become a doctor, a successful surgeon and provided for Harold’s family. But can they prove that?

Yes, Sam was in medical school but no one knows Sam would have become a doctor. He could have flunked out. It was 1940, so he could have been drafted and died in World War II. If Sam survived the war and became a doctor, maybe he would have practiced in some rural community in Appalachia where his patients paid him in pigs. Even if Sam had become the greatest and richest surgeon in the history of the United States, he had no legal obligation to provide financial assistance to his brother, his brother’s children, or his brother’s grandchildren. Any financial damages in this suit were speculative. At best.

Speculative damages was only the bad news for the Fogler family. The worse news was that as difficult as proving damages would be, that’s the least of their worries.

The Foglers had to prove Steve had a duty to Sam Fogler and that Steve breached his duty. We know Steve didn’t breach a duty by killing Sam, because the boss killed Sam. The Fogler’s theory of breach of duty was that Steve had a duty to stop talking when the boss threatened to kill Sam and by continuing to talk, Steve negligently caused Sam’s death. As far as I understand the law, Steve had no such duty and, thus, didn’t breach such duty.

The bad crowd committed several crimes against Steve and Sam. Kidnaping. Criminal Threats. Probably more. But those are enough for our purposes, I say in a blatant attempt to limit the amount of research I have to do. No one has a duty to submit to a crime.

If criminals running a protection racket threaten to bomb a store unless the owner pays them money, the owner has no duty to pay the criminals money. If the owner refuses to pay and the criminals bomb the store killing one of the store’s employees, the owner is not liable to the employee’s family for wrongful death.

The owner had no duty to submit to the criminals’ extortion demands. And, because he had no duty to submit, he did not negligently cause the employee’s death by breaching a duty. One can’t breach a duty one didn’t have in the first place. Indeed, most jurisdictions would call the owner a hero for standing up to the extortionists, not a tortfeasor who caused a wrongful death.

The owner’s refusal to pay protection may have resulted in the employee’s death, but it didn’t cause the employee’s death. The only people who caused the employee’s death were the criminals who committed the superseding, intervening act of intentionally bombing the store. They’re the only ones who should be sued for wrongful death.

In the same way, Steve had no duty to submit to the gang’s threats. So there’s no breach of a duty in his acts. Moreover, Steve’s refusal to submit didn’t cause Sam’s death. The boss, a superceding and intervening cause, caused Sam’s death by intentionally shooting him. The Folgers’ case is weak, on three of the four elements for negligence. Steve didn’t breach any duty to Sam by his actions. Steve’s actions didn’t cause Sam’s death. And any monetary damages Sam’s great-grandnephews may have suffered are, as I said earlier, speculative.

Personally, I can’t imagine why any lawyer agreed to take the case in the first place. I especially can’t see why Matt Murdock agreed to take the case. The world now knows that Matt is Daredevil. Matt was just disbarred in New York for, among other things, agreeing to represent a man who wanted to sue Daredevil despite the massive conflict of interests that’s inherent in suing yourself. I can’t imagine why Matt would set himself up for another potential conflict of interests complaint – not to mention a legal malpractice – by agreeing to sue one of his best friends. That’s hardly, as the Code of Professional Responsibility put it, avoiding the appearance of impropriety.

The story tried to explain why Matt agreed to take the case. It was because Steve asked him to take the case. According to Matt, Steve argued, “if I’d ever been his friend, if I cared about what he’d done as Captain America, then I wouldn’t pull my punches.” I don’t buy it. The explanation, that is. I bought the comic. Don’t go accusing me of shoplifting.

I don’t care if Steve and Matt were BFFs, field trip buddies, and even prom dates, Matt shouldn’t have fallen for Steve’s friendship guilt trip by taking the case. Matt should have told Cap, “I can’t take the case. It’s a violation of my professional ethics. And if you’ve ever been my friend, you wouldn’t put me into this situation by asking me to commit malpractice.”

Well that’s it for Part Two of “The Good Old Days.” I promise I won’t write about She-Hulk V 3 # 9 next week. But as it was only Part Two of “The Good Old Days,” I can’t promise that I won’t write about She-Hulk v 3 # 10 http://marvel.wikia.com/She-Hulk_Vol_3_10 and Part Three of “The Good Old Days” in a few weeks.

Can’t promise? I can practically guarantee it.

The Point Radio: CRISTELA and MARRY ME Make TV Comedy Magic

This season, some of the first cancellation casualties have been situation comedies, but beyond the cast offs there are two shows which have made their marks in ratings. Stand up superstar, Cristela Alonzo, brought much of her charm and her act to CRISTELA and she explains why it was so important for her to keep it old school. Meanwhile, NBC’s MARRY ME has plenty of comedy cred with stars Ken Marino and Casey Wilson who don’t even finch when you call them cute.

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REVIEW: Sing No Evil

Sing No Evil
By JP Ahonen and KP Alare
Abrams ComicArts, 181 pages, $24.95

Sing no EvilTranslating music, meant to be heard live, and print, meant to be imagined in one’s mind, is a challenging task. When the music is heavy metal, a very visceral sort of sound, the challenge is even harder. As a result, artist JP Ahonen and writer KP Alare are to be commended for trying but fail to achieve their goal. Sing No Evil, translated from NAME, is about music, friendship, love, rock, and sorcery. As a result, it wants to be too many things and falls short on every level.

The book is at its strongest when Ahonen fills spreads with the manic energy that goes into performing before a crowd. The words get out of the way and the pictures tell the story and we can imagine the chords and backbeat. Sprinkled across the book, they come as welcome breaks from a tedious story about a band that can’t get their collective act together even to perform at a local bar. We are meant to feel for Aksel, the guitarist who can’t sing and the stress his perfectionist attitude brings to his band Pekeros. The rest of the band — keyboard player Lily, bassist Kervinen and drummer Bear –cajole, support or scold Aksel. Lily is the most rounded of the characters in the story while there’s little appealing about Aksel. The dynamic should noticeably change when Lily recruits Aydin, the local pizza delivery guy, as their new singer, but he’s wallpaper. Kervinen is a seemingly ageless spiritual guide to Aksel but feels like a stock player.

SingNoEvilBear, by the way, is a real bear who fights off the urge to hibernate so they can make the band’s dream come true. Why the drummer is a real bear, who doesn’t speak but acts human in every other respect, serves to rob the story of feeling set in our world. And that’s before the demonic forces arrive in the final act.

The creators try too hard, stuff too much extraneous stuff into the story, robbing it of any real emotional depth so we wind up caring little for the band members or whether they achieve success or are another failed act.

The artwork and strong sense of color makes the book interesting to look at but just further emphasizes how weak the characters are and overall storyline is. I gather Ahonen is best known for Northern Overexposure, something I am unfamiliar with but I’d be interested in seeing what else he can do. Right now, though, this book is just plain disappointing.

Martha Thomases: Would Batman Drive A Ford?

In a story in the business section of Monday’s New York Times, there was a discussion of product placement in self-published (or small publisher-published) e-books.

Naturally, my first thought was, How can this be applied to comics?

First, let me start with a few definitions. There is a difference between product placement, such as having a character on White Collar drive a Ford Taurus and so-called “advertorial content,” or specially produced web content about the Ford Taurus driven on White Collar. One is a lucrative part of the creative process, and the other is, essentially, a licensed deal.

Comics have a long tradition of licensing characters to advertisers. Baby boomers have fond memories of the one-page adventures that showed how something as simple and delicious as a Hostess fruit pie could help solve crime. More recently, DC produced a bunch of ads for Subway showing how the avocados in their sandwiches helped Green Lantern save galaxies.

As far as I know, there have been no explicit acts of product placement in mainstream comics. Perhaps I’m being naive. In any case, if there are, they are not very effective in that I have not noticed them.

Would they make any difference? Would you, average consumer, be more likely to be a Ford Taurus if you saw Batman drive one? At least on White Collar, we see an actual car drive through an actual city, even if it is Toronto. One can observe the product being used by a flesh-and-blood human being, albeit an attractive, well-dressed one.

Not every appearance by a real product in entertainment is the result of product placement. Stephen King will often mention plebeian items like Excedrin or Turtle Wax in his books, and these mentions ground the characters in some semblance of reality. No agency is shelling out money for this. If they did, they would demand approval.

In any case, product placement in mainstream superhero comics would probably be too expensive to be worthwhile. Warner Bros. is not going to let Batman drive the aforesaid Taurus in the comics without first making a hefty profit for letting him drive one in the movies. The same goes for Disney.

That’s not parallel to what the Times story was about. In the story, the author got paid to include mentions of Sweet’n’Low in her book.

I’m not a big fan of artificial sweeteners, but I know a lot of people who are. They often have strong feelings about which brand is their favorite. I could probably read that book without noticing the placements. At the same time, I probably wouldn’t think, “This character has such a rich and satisfying life, one I, too, would like to have. I suppose I should eat more Sweet’n’Low.”

Would product placement be good for independent comics? Maybe. At the very least, it could help some creators make a profit, something I strongly support.

Would it compromise artistic integrity? It probably depends on the product and the creative team, and the way the deal is negotiated. For example, I’m writing a story now, in which my protagonist, a knitter, struggles to find her true calling in a complex world. I wouldn’t accept a deal with the United States Army for her to enlist and find meaning in her life, not for any amount.

But hand-dyed cashmere? In a heartbeat.

Who am I kidding. I would do it just to look at the color guide.

 

REVIEW: Hercules

HERC_BD_OSLV_3DEXTRASKW_MECHWhen your father is a god, your life is bound to be pretty interesting. As a result, it is never less than astonishing how often the story of Hercules ignores the rich source material, transplanting the demigod to whatever environment is currently in vogue with diminished results. Twice this year, we were treated to variant interpretations of the Greek myth with vastly different results. Coming in second and by far the inferior of the two, Brett Ratner’s Hercules is one of the weakest films of the year. Once more one wonders how Ratner keeps getting hired since clearly his limited directorial vision has been spent.

The film, out now from Paramount Home Entertainment, claims to be inspired by Radical Comics’ The Thracian Wars limited series, but veers far enough from it to be another story entirely. Hercules (Dwayne Johnson), cursed by Zeus’ wife Hera, has completed his twelve labors but remains a lost soul, wandering Earth. Thrace’s King Cotys (John Hurt) and General Sitacles (Peter Mullan) hire him to train their army, preparing it for a forthcoming war against Rheseus’ (Tobias Santelmann) forces. Herc, accompanied by his nephew Iolaus (Reece Ritchie), the amazon Atalanta (Ingrid Bolsø Berdal), and  Autolycus (Rufus Sewell), and his own nephew Iolaus (Reece Ritchie). Here’s a chance for screenwriters Ryan J. Condal and Evan Spiliotopoulos to breathe life into these people, using the late, great Steve Moore’s comics as inspiration. Instead, they come from central casting and the actors do little to make them interesting.

There are some nice moments but they come few and far between mindless, violent action and flat by-the-numbers strorytelling. You are not surprised by the plot twists, robbing you of the cathartic thrills a movie like this should be delivering.

These sword & sandal epics always look great when shot right and here, the high definition transfer is crisp, clean, and colorful. It is equally paired with the DTS-HD Master Audio 7.1 lossless soundtrack.

Among the extras is an extended cut that adds about three more minutes of vapid stuff, so you wonder why they bothered. Ratner and Producer Beau Flynn provide an audio commentary that acknowledges the dozens of previous screen incarnations and pays too little attention to the Radical publication. There’s An Introduction (5:32) from Ratner and Johnson; Hercules and His Mercenaries (11:07), which explores the supporting cast; Weapons! (5:24); The Bessi Battle (11:54), showcase the preparation going into filming the battle; The Effects of Hercules (12:28);  and an entertaining assortment of Deleted/Extended Scenes (15 clips, 14:38).

Tweeks: Fragile Delights!

fragile_chapter_01_by_shourimajo-d4acxghEven though this month has brought The Tweeks sickness, they are still super excited about November.  You won’t find Maddy & Anya pushing an early Christmas (Snowflake red cups on Halloween, seriously, Starbucks?) but you will find them celebrating what is currently making them happy— stuff like the new Marvel movies announcement, the spoiler about Tom Hiddleston in Avengers: Age of Ultron, new movies on Netflix, Halloween candy, and the graphic novel, Fragile— which may have cured the girls of their aversion to Manga!

Box Office Democracy: “Nightcrawler”

It’s been a long time since I’ve gone to a movie as cold as I did for Nightcrawler. I hadn’t seen a trailer or even had it described to me. I think I’d seen a poster but it wasn’t terribly clear what kind of movie I was getting in to even as the lights went down. What I got was a film that was remarkably gripping and deeply affecting, a portrait of a remarkably disturbing individual, and a scathing indictment of the TV news business.

Jake Gyllenhaal is doing his best work since Brokeback Mountain here and maybe in his entire career. Lou Bloom feels like a sociopath who has read every pop-business book to grace the non-fiction bestseller list in the past ten years. That isn’t close to a good enough description but it’ll have to suffice because the performance really needs to be seen to be believed. He radiates menace while scarcely ever doing anything or raising his voice. He’s a bad feeling given physical form; he’s a demon of mundanity.

(more…)

Dennis O’Neil: Television Is Sacred

Well, I predicted it.

Mari and I sat in the living room until about nine, and then she turned out a front light and we returned to our sacred duty, watching television.

Before we continue… You’re vexed by that last statement? Teevee watching a sacred duty? Eh? Okay, consider: Almost beyond doubt there is a television in every home in our village. And almost beyond doubt, each of those television sets gets turned on and heeded each and every day except for those belonging to our townsfolk who may occasionally leave screens dark for religious reasons. Now, there is nothing else that is in every – every! – domicile. Mezuzahs, bibles, Boy Scout oaths, crucifixes, copies of the Declaration of Independence, scientology tracts, Buddhist sutras, the collected works of Ayn Rand – sure, you’ll see those here and there, but not everywhere. But we all own televisions and we all watch them once in a while, or oftener, and anything that’s done by everyone must be important and – correct me if I’m wrong – isn’t it a short step from “done by everyone” to “sacred”?

Glad we got that settled.

And no, I don’t know what we watched. Like that matters!

The faithful among you may remember that last week I attributed our lack of Halloween trick-or-treaters to the difficulty of trudging to the top of our hill, especially if you’re afoot and coming from the center of town, and the few dwellings on our particular block, and the utter absence of businesses.

I may have been mistaken.

Tomorrow, as I write this, is the day we good citizens vote. My lefty/hippie politics are no secret and so it’s reasonable to suppose that my Political Enemies (for surely they exist) decided to nullify whatever polling place influence I might have by diverting such costumed visitors who were bound for my front porch.

“Hey kid,” they might have hissed at some fledgling goblin (and don’t these types always hiss!), “those people at the top of the hill have sprayed their lawn with Ebola and are brewing up cyanide lemonade in their kitchen.”

The youngster would flee and Mari and I would be alone on our couch as the hours ticked by which, as a matter of fact, is what happened. Then, my Political Enemies might suppose, I would become so despondent at my being ignored that I would climb into the attic, hunker down between stacks of comic books, put my thumb in my mouth, and moan until well past voting day.

Not going to happen. (At least I don’t think it will happen, though voting day isn’t until tomorrow and who can predict the future? But no – I’ll probably steer clear of the attic.)

And what about you? Did you avoid the attic? Did you do your duty and vote?

I certainly hope so.

Unless you’re a Political Enemy.

REVIEW: How to Train Your Dragon 2

how-to-train-your-dragon-2-blu-ray-cover-57How to Train Your Dragon was an immensely successful adaptation of Cressida Cowell’s charming children’s book. The story ended nicely and had we never revisited the village of Berk, we would have been satisfied. However, in film, success demands milking the cow as far as audiences allow so we now have a sequel. Unlike so many other money grabbing attempts, this once actually advances the characters without rehashing the past.

Growing up is never easy, it has fueled countless movies and novels through the years so it is a challenge to effectively tell a sequel to a beloved children’s tale where the characters actually change. DreamWorks Animation, though, accepted the challenge when they green lit a follow-up to 2010’s smash hit. The sequel arrived to great critical acclaim in the summer and now, Fox Home Entertainment is making it available now via digital download with the Blu-ray edition to follow on Tuesday.

Everything about this film feels more grounded and more mature with the animators carefully aging our main characters five years so Hiccup (voice of Jay Baruchel)  is a hairy teenager. Having achieved the unthinkable, peace with the dragons, they have integrated to make the village of Berk a unique place in the world. As a result, we pick up and see Hiccup, aboard Toothless, as they go out exploring. The problem now is that Stoick the Vast (Gerard Butler) wants him to come home and succeed him as chief.

First, though, Hiccup and Astrid (America Ferrara)  have to prevent Berk from being destroyed by a dragon army led by the mad Drago Bludvist (Djimon Hounsou). Through convoluted means, he now can hypnotize dragons and winds up taking control of Toothless, leading the siege that claims Stoick’s life while Toothless remains a prisoner. However, he is far from alone as he also encounters Valka (Cate Blanchett), a dragonrider who is revealed to be his long-lost mother.

The story, from writer/director Dean DuBois, nicely parallels the further maturation of both boy and dragon. Toothless may have the harder experience to recover from considering he is coerced into attacking a place he calls home and being somewhat responsible for the death of Hiccup’s dad.

At story’s end, Hiccup has been through the emotional wringer although he fortunately winds up in a better place as a result of the experiences, making one and all proud. Now, don’t get me wrong, despite the heavier emotional tone, the movie still has plenty of action and humor with excellent animation.

Streaming this via Digital HD is clean and clear so if that’s your preference, you have little fear. Additionally, the digitals download and Blu-ray come chock full of extras. First up is the short, entertaining adventure Dawn of the Dragon Racers (26:37). The bonus features include Fishleg’s Dragon Stats (12:04); Drago’s War Machines (2:56), as Gobber the Belch narrates an inside look at the fierce creatures; Berk’s Dragon World (4:19); Hiccup’s Inventions in Flight (3:32), and an assortment of  Deleted Scenes (12:13). Additionally, there is some interesting commentary from the production team: Simon Otto, Bonnie Arnold, Dean DeBlois, and Pierre-Olivier Vincent. Where No One Goes: The Making of How To Train Your Dragon 2 (54:39)– Writer-Director DeBlois guides us through how this went from notion to film.

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