Jessica Jones is the next up in Marvel’s series of Netflix TV shows, and I am beyond excited for it. I was excited for Daredevil, I loved Daredevil, I am excited that there’s going to be more Daredevil; but if possible, I think I may be more excited to see Jessica Jones than I was even to see Vincent D’Onofrio playing the Kingpin. Why? I’ll tell you why.
Jessica Jones is an odd duck in the Marvel universe. When the story opens, she’s not a hero (anymore) and she’s not a villain. She’s tried the hero thing, and has now made the choice to walk away from it. She’s had a horrific traumatic experience, and is now trying to live life on her own terms. In fact, she’s pretty much the Harry Dresden of NYC (without the male gaze and other weird holdovers from the early Dresden Files books. Sorry, Jim Butcher; I’m a huge Dresden fan, but those early stories have a few issues).
Like Harry, she comes from a tortured past of literal manipulation and has major trust issues; wields a ton of power; and because of her abilities, keeps getting sucked in, no matter whether it’s what she wants or not, to the greater world of the super-powered heroes and villains. And also like Harry, her past, her powers, and her present issues often make her life a big ol’ mess; and have given her some serious attitude. I love the complexities and rough edges of her character; and I love that Marvel appears to be presenting a three-dimensional, imperfect (and therefore human and relatable) woman as the second headlining female in the Marvel Cinematic Universe, following on the excellent and nuanced performance of Hayley Atwell as Agent Carter. Jessica Jones is a no-nonsense badass with a rebellious streak and (well-founded) control issues, and she’s not trying to make friends; but she also has a heart that is still looking to do good.
This is illustrated in the Netflix tie-in comic that I picked up at NYCC. Written by Brian Michael Bendis, with art by Michael Gaydos (the same writer and artist team who did the original 28-issue comics series), the comic references Daredevil’s run-in with Turk in the Daredevil Netflix series, and shows Jessica Jones tracking Turk down; but not to inflict Daredevil-style justice on him. Instead, she’s there to collect on child support payments that he owes. As she says, “I don’t know what messed-up house you grew up in that made you think it’s okay to be the way you are; but you brought kids into this world, and if you can’t be there for them like a grown-up, the least you can do, I mean the very least, is provide for them; so that maybe the cycle of nonsense that created you stops with you.”
It’s an interesting sentiment to punch home in the tie-in introductory book; and it emphasizes that in Jones’ world, a) your past doesn’t provide an excuse for you not to try to fix your future (something she’s dealing with herself); and b) what she cares about are the individual responsibilities and characters of the people she deals with.
Although I confess I am not deep into the lore of Jones in the comics (I haven’t explored too far into the MAX line, although of course I have all the Deadpool stuff), from what I know the original series also took this track of being more personal and less grandiose, so it seems Netflix is sticking with the flavor of the source material, which is great. Netflix is also sticking with the gritty, intense feel of the MAX line of comics. The show’s trailers continue in the dark vein of Daredevil, and Krysten Ritter has so far done an excellent job of conveying Jessica’s complex character in the trailers. It’s clear from her portrayal that this character’s story is deep, and messy, and complicated; and that makes for good TV. This is the kind of character I can’t help but want to see more of.
Netflix also looks to be delving into even darker, more disturbing territory than Daredevil with the introduction of Jessica’s nemesis, Killgrave (the Purple Man in the comics), played by David Tennant (who is always good value, as the Brits say, so I’m looking forward to seeing him in this). Although I don’t know all of the indignities Jones suffered at the hands of Killgrave, even the thought of someone having the power to manipulate one’s behavior is chilling, and the hints of her past in the trailers are über creepy; so I’m sure what we’ll see in the show will be pretty terrifying. And I like that, as with the Kingpin, the villain here didn’t start out as e.g. an all-powerful god of mischief, or the ruler of his own little country. He did, however, start out as a spy, so it will be interesting to see what they might do with that in the show.
It will also be cool to see how Luke Cage (played by Mike Colter) starts to fit into the Netflix/Marvel universe. He’s the next character slated to have his own show, and he appears in the Jessica Jones trailers and is listed as appearing in all episodes. Given that Jones and Cage have both a working and a romantic relationship in the comics, it makes sense to introduce him here; but I’m curious to see how he fits while she is the main character; and to what extent she will then be appearing in his series. Regardless, in the brief appearances I’ve seen so far, I’m liking the character.
The bottom line as we ramp up to Jessica Jones is that it looks like we’re in for an intense, chilling, suspenseful, intricate story enveloping a character with a fascinating tale to be told, possibly set as an investigative procedural; and I really love investigative procedurals. It also looks like Netflix is going to continue its strong start with Daredevil as we move into round 2 before going on to Luke Cage, Iron Fist, and finally, The Defenders. It’s an ambitious undertaking, but it seems that Marvel’s idea of tying this string of shows into each other and then into an ensemble cast affair may just turn out to be as awesome in reality as it sounds in concept. And on that note; when Jessica Jones rolls around on November 20, I am so. There.
Last week I met with my friend Kelsey to get a tarot reading. I brought along my copy of Rachel Pollack‘s Arthur C. Clarke award winning novel, Unquenchable Fire, to lend to her. Beyond being a novelist, Rachel Pollack is a well-published authority on tarot, a transgender woman who tackles the subject in her different works, as well as having written comics.
She wrote Doom Patrol for two years following up on Grant Morrison and Richard Case’s popular run on the series over twenty years, when it moved from DC’s main line to the Vertigo imprint. Her run built on the bizarre nature of Grant’s image while creating new characters.
The most important of which was Kate Godwin, a.k.a. Coagula, DC’s first – and to date only – transgender superhero, with the power to coagulate liquids and dissolve solids at will. Prior to joining the Doom Patrol, she tried out for the Justice League, and it’s implied that she was rejected in part for being an out transgender lesbian activist, brandishing a pin on her jacket stating, “Put a Transsexual Lesbian on the Supreme Court.”
Rachel Pollack was able to use the character of Coagula to discuss trans issues and to inform readers who were unaware of these issues as to what it means to be trans. She even crafts a brilliant moment in storytelling where a transcendent being requires the strongest example of a man and a woman, and Robotman and Coagula are the man and woman the best personify those genders, driving home the fact that a trans woman is a woman. Period.
So decades before the biggest and most active push for more diversity and representation in comics on the page and behind the scenes, DC had a trans superhero written by a trans woman. You would think that’d be a bigger deal, wouldn’t you? It would seem to fit right into what people have been clamoring for, doesn’t it?
That’s not to say that DC hasn’t created trans characters before; they just haven’t been superheroes. Wanda from Neil Gaiman’s Sandman run was trans, and has been both embraced by fans keeping it in the context of the time it came out and criticized in hindsight. Shvaughn Erin, the Legion of Super-Heroes Science Police Liaison, was trans but that has since been retconned and she’s back to being cisgender. Gail Simone put in the effort and created Alysia Yeoh, Batgirl’s transgender roommate for her New 52 run on the book, and often incorrectly sited by blogs and news sites as the first true transgender character at Marvel or DC. Unfortunately, after Gail Simone left the book, Alysia Yeoh has mostly faded into obscurity and the team that took over Batgirl afterward was quick to fumble on trans issues. They have since apologized and the issue in question has been modified to remove the transphobic dialogue in subsequent reprints.
I am not counting any characters that are magically trans, or have powers that allow them to change their genders, because that’s not a trans character and you shouldn’t count those either. Marvel has even less trans representation.
If you haven’t heard of Rachel Pollack’s run on Doom Patrol, it’s probably because it’s never been reprinted. And if you haven’t heard of Coagula, it’s for the same reason. Her stories have never been reprinted. After Rachel Pollack’s run on Doom Patrol ended, no one seemed to know what to do with the character, and she would appear just a little more before being unceremoniously killed off.
In order for me to read those stories, I used a combination of eBay and multiple comic shops to find all the issues. You should be able to find all the issues reasonably priced if you feel so inclined. It’s a fantastic run, and a worthy follow up to Morrison’s Doom Patrol. Rachel Pollack, in my opinion, is the last writer that truly understood the Doom Patrol.
I’ve been seeing a lot of articles written lately about the efforts DC has been putting in to making more diverse comics. If they’re really invested in that, why not bring back their only trans superhero and reintroduce Coagula to a new generation of readers? Or at very least just reprint Rachel Pollack’s Doom Patrol run? Reprinting those issues in a couple of trades or so would be a great start for DC to show that they have an interest in trans representation.
And while they’re at it, they could hire a few trans writers and artists, too. We have more openly trans writers and artists working on comics now than at any other point in the history of the medium. They’re here, they’re queer, many of them could use the opportunity to craft stories at DC or Marvel, and we could all benefit from the opportunity to read them.
The most painful thing about The Last Witch Hunter is how clear it is that Vin Diesel is passionate about the material and is having an amazing time. Almost every profile piece I’ve ever read on Diesel has mentioned his love of Dungeons & Dragons, or that he wrote the introduction for their 30th anniversary retrospective book, or that his character in xXx had a tattoo with the name of his D&D character on his stomach; his nerd credentials are beyond reproach and they’re on full display in this film. Unfortunately instead of turning that knowledge and experience in to a quality fantasy movie, we’re given a film that is about as interesting as listening to the guy behind you in line for Star Wars tell you stories about how amazing his character is in his buddy’s D&D game.
The Last Witch Hunter suffers immensely from a lack of stakes. It features an immortal badass killer, Kaulder, who not only can’t die but any injury he suffers heals instantly Wolverine-style. All of the supporting characters are seemingly introduced immediately before being put in peril so you have to really bond with them quickly to feel anything at all for them. Michael Caine, the only actor in the cast capable enough to overcome this script problem, is imperiled off-screen and is afflicted with some kind of curse that is barely explained nonsense seemingly designed so they could have their emotional moment but still bring Caine back for the sequel. Things ramp up dramatically toward the end of the movie when they strip Kaulder of his immortality and directly imperil the entire world or maybe just New York City (and honestly is there even a difference) but by then I was just too far-gone to care.
Reportedly, this script came about from Vin Diesel telling one of the screenwriters about one of his Dungeons & Dragons characters. While I’m not sure any movie should come about through a story like that, it makes his investment in this movie palpable. He believes in his character and every silly nonsense word that comes out of his mouth. In a weird way, it’s one of my favorite performances of his career because he’s trying to put this movie on his back and just make it better through sheer force of acting. Diesel isn’t on that rare level where he can make a movie better just by trying harder, but I can appreciate that effort even if it isn’t quite enough.
There isn’t enough original stuff in this movie to make it feel worth the time and effort of making it. Fantasy is so well trod these days there’s nothing in the flashback scenes that I haven’t seen in Game of Thrones, or Lord of the Rings, or even How to Train Your Dragon. The contemporary stuff at its very best feels like a slightly reskinned version of Men in Black and at worst like an episode of Charmed. I sort of liked their take on a bar for witches (even if that’s not exactly new ground) but my enthusiasm was dashed when the place is destroyed within five minutes of being introduced on screen. Nothing feels like a fresh take, or a new use of metaphor, or a deeper look at a theme, it’s just recycling stuff we’ve seen and hoping the new arrangement proves compelling and it doesn’t.
I often complain about movies feeling too compact or too drawn out, and The Last Witch Hunter is in a strange limbo in between. Everything feels too rushed and there isn’t any space for the story to breathe or for the characters to reveal themselves to us, but also I left that 106-minute movie convinced it had been two and a half hours long. It might be an impossible task to make this a compelling film narrative. This is a story that would work much better in a novel: it would have proper space to build, internal monologues could make exposition a little less clunky, and the stakes could be more clearly defined.
Unfortunately, I don’t think I would want to read that novel either.
Given its setting during the Christmas season and with “Let it Snow! Let it Snow! Let it Snow!” playing as the credits rolled, Die Hard rapidly became a beloved Holiday classic. So, it’s no surprise to see 20th Century Home Entertainment kick off the Holiday gift giving season with the release of Nakatomi Plaza: Die Hard Collection. All five films in the series along with a bonus disc are packed into the base of a plastic replica of the famous locale of the first film. The structure measures 15″ high, mounted on a base which measures 7 1/8″ square and will stand proudly atop your mantle or bookshelf, a reminder of the series; enduring popularity despite the premise wearing thin with each installment.
The first, with Detective John McClane (Bruce Willis), attempting to stop terrorists led by Hans Gruber (Alan Rickman) from killing everyone at a holiday part attended by his ex-wife (Bonnie Bedelia), is riveting, taut, and filled with some wonderful human moments from the major characters. McClane is world-weary everyman merely trying to survive, risking all to save the woman he still loves, encouraged by a lone cop (Reginald VelJohnson) via walkie-talkie.
Adapted by Steven E. de Souza and Jeb Stuart from Roderick Thorp’s Nothing Lasts Forever and The Detectives, the film was expertly directed by John McTiernan. The critical and box office success led 20th Century Fox to order up a sequel.
Set in a deserted airport terminal, McClane is called to do the impossible a second time and with less satisfying results although it was nice seeing Dennis Franz play a different kind of cop.
The third installment followed the then-popular trend of mismatched buddies and they wisely paired Willis with Samuel L. Jackson, playing a different kind of everyman. They ran from one end of Manhattan to another, avoiding a sniper who turned out to be Gruber’s brother (Jeremy Irons), seeking revenge.
The last two focus more on John and his children, one at a time, in increasingly hard to swallow premises, made good only by the interplay between father and offspring.
So, if you already own either the wonderful Die Hard Collection, Die Hard: 25th Anniversary Collection or the Die Hard Legacy Collection, do you need this one? Well, do you have room for the tower? Do you want the bonus disc with an hour of stuff? The box containing the discs also comes with a 32-page booklet with some BTS photos and there are collectible cards featuring the antagonists.
For the record, the box contains the Blu-ray versions of Die Hard, Die Hard 2: Die Harder, Die Hard: With A Vengeance, Live Free or Die Hard (includes Unrated Version), A Good Day to Die Hard (includes Unrated Version) and a code for their digital HD versions. The bonus disc is not available digitally.
Decoding Die Hard (1:47:01) contains seven featurettes: Origins – Reinventing the Action Genre; John McClane – Modern Day Hero; Villains – Bad to the Bone, Sidekicks – Along for the Ride, Fight Sequences – Punishing Blows, Action – Explosive Effects; and, The Legacy – The Right Hero for the Right Time. All of these are repurposed from the Die Hard: 25th Anniversary Collection.
The collection in one form or another is well worth having as Bruce Willis is always fun to watch regardless of how preposterous the premise.
“Don’t believe everything you read or hear, remember a large part of our world is made up of fiction!!” • Victoria Addino
“Reality is merely an illusion, albeit a very persistent one.” • Albert Einstein
“Reality exists in the human mind, and nowhere else.” • George Orwell,1984
“Am I the only one who knows? I’ll bet I am; nobody else really understands Grasshopper but me – they just imagine they do.” • Philip K. Dick, The Man in the High Castle
I haven’t read The Man in the High Castle, by Philip K. Dick, for many years, not since my “Introduction to Science Fiction” class in my freshman year at Quinnipiac University.
I didn’t love it, even if it had won the Hugo Award for Best Novel in 1963, and even though it was one of those books during the 1960s that was blowing everybody’s mind in Haight-Ashbury and anywhere else where people were tuning in, turning on and dropping, and even though my professor waxed on and on about its brilliance. (BTW, I started college in the fall of 1971, the tail end of the social revolution was coming to an end – im-not-so-ho – since the spring of 1970 with the killing of college students at Kent State by the National Guard, and eventually lead to “Dance Fever with Deney Terrio,” “Disco Duck,” and polyester jumpsuits.)
That’s not to say I didn’t appreciate it, or I didn’t understand it. I just find Dick to be very depressing. Okay, okay, you can all guffaw and snicker at that, so let me rephrase: I find reading Dick’s works to be heavy going; his themes are overall incredibly morose… y’know: life sucks, and then you die.
No matter what life you perceive as yours.
The Man in the High Castle professed to be an alternate history – what if the Axis powers, i.e., Nazi Germany and the Japanese Empire, less Mussolini’s Italy, had won World War II? – with what I guess you can call a twist ending (I won’t give away any spoilers here), but what it’s really about, and what is at its heart, is its questions on the nature of reality and the human response to what is a perceived reality.
This afternoon I watched the first two episodes of The Man in the High Castle on Amazon Prime, produced by its eponymous studio. Produced and co-written by Frank Sponitz (The X-Files), it’s a beautifully crafted series, obviously done with love, and is a “triumph of world-building,” as Entertainment Weekly put it. It captures the darkness, dreariness, and depressiveness of the book; more disturbingly, it also reveals the psychological acceptance of a “it-is-what-it-is” acceptance of life under the Reich and the Japanese Empire by the American public, with very little display of “heroic Resistance fighters” to be seen. But there is resistance; and that is what drives the story, at least on the surface.
My one complaint is that it’s very slow going; just like the book, you really have to pay attention. No bathroom breaks allowed!
Though I’m interested to see how Sponitz and his fellow writers handle what is a very complicated ending that asks very existentialist questions, I don’t think I’m going to be rereading the book any time soon. To paraphrase Sex and The City:
I moderated a panel at New York Comic Con called The 7 Archetypes of Comic Shops. My All-Star panelists included several outstanding comic shop retailers. It was a fascinating time with lots of surprises – remind me to tell you about Marc (Aw, Yeah) Hammond’s Frank Gorshin story someday. We had a packed room and it evolved into a celebration of smart retailing and Geek Culture.
The new kid on the block was Jeff Beck, an ambitious retailer who just opened a comic shop called East Side Mags in Montclair, NJ. It’s a great store and you might remember I was impressed when I visited it during my marathon comic shop travels on Free Comic Book Day. I sat down with Jeff and here’s what he had to say:
Ed Catto: Jeff, your store looks great. Can you tell me how long you’ve been retailing, and the backstory of how you decided to open East Side Mags?
Jeff Beck: ESM has been open for almost a year and half now. I worked retail when I was in high school and college but never in a management position. Just a floor guy or stock room guy. Nothing special. I went to college for music recording/radio/audio engineering and ended up in the Audio Visual industry while trying to find a job more geared to what I studied. I ended up working for a major corporation that provides AV services in hospitality environments. My position was Sales Manager but I had extensive knowledge in setting up equipment, operation, etc.
I worked in this capacity for about a decade – working in hotels and conference centers. I met my mentor (and one of my closest friends) Nicholas Cox, whose open door policy of management exposed me to the ins and outs of running a business. We discussed P&L statements, payroll, management tactics, operational details, etc. and he really gave me the opportunity to understand what it was like to run a multi-million-dollar department. My last “tour of duty” was with a privately owned conference center company (startup) in Manhattan in which I worked (again) as Nick’s right hand man after we both had left PSAV. I loved working with Nick and we saw high levels of success.
I wasn’t satisfied though. I needed to be my own boss and had always dreamed of owning and/or running a comic store, as I’ve been a collector for over 20 years. With the knowledge I had, I began to work behind the scenes of my regular job to put a business plan together. Studying sales statistics, perusing websites, blogs and message boards for 2½ years, I finally had a viable business plan and saw growth in an industry most thought would “go the way of the buffalo” in this digital age. The day came, I dropped five resignation letters, and I was off.
Having been turned down for small business loans by five banks, three co-ops and a government agency whose management “switched hands” and froze their loan program, I decided to cash out every account I had in my name and went all in! And here we are today – each day better than the last – and from here, the sky’s the limit!
EC: It’s cool that your store name doesn’t have the word “comics” in it. Was that intentional?
JB: Yes. I guess. I needed a cool name that reflected my rise to being my own boss so I chose East Side Mags. East Side Mags is the name of a song by a NJ punk band called The Bouncing Souls. When I first saw them play, it was in a skating rink in West Orange called JT SkateZone! Now they tour the world and play with big name acts, the Warped Tour, etc. They went from being grassroots to being a highly successful musical act and that’s what I wanted to achieve as well. That this particular song came on in my car while waiting to meet with another prominent retailer who had agreed to meet with me and, being off one my favorite albums, seemed fitting. Especially where the “Mags” is concerned. I have had one person – a food delivery guy – who thought I was a gun store. He couldn’t have been more wrong!
EC: What type of clientele do you have? Is that what you expected?
JB: My clientele is really very diverse. It reflects the research I did but you never really expect to see what you see until you’re there. It’s like seeing pictures of the Grand Canyon then actually going to the Grand Canyon! I would say that my customer base is almost half female – showing a greater number of female readers as per the reporting I had seen from several news outlets. Also, I have a lot of kids and families as we have an extensive kids section of all ages material – great for kids to come in and grab whatever they see that interests them – without parents having to be concerned about content.
EC: It looks like you are very involved in the local community. Is that important to you?
JB: Community is very important to me. Anyone can open a shop anywhere but they’ll close their doors just as fast as they open if the community doesn’t find value in what the business does. Because of this I am very focused on the community at large, constantly adjusting our products and services to accommodate a diverse community.
EC: What are some of the activities you’ve planned at ESM?
JB: We host a monthly movie night where I rent a 6’ screen, projector and sound system, but instead of collecting money, admission consists of healthy food donations that are then brought to local food pantries. Bring a bag of brown rice – you get to see a movie! That deal can’t be beat!
We also host local (and affordable) art from local artists around North Jersey/Central Jersey and constantly rotate it to keep things fresh. We sell the artwork on a consignment basis so that the artists’ costs are covered and the remainder is split 50/50, ensuring the cost doesn’t come out of the artists’ half of the sale. We also work with the Montclair BID (Business Improvement District, also known as Montclair Center) and host art walks, sidewalk stroll sales, etc. and we stuff shopping bags with menus and business cards of other businesses around Montclair to help promote other businesses to our customers.
EC: What activities are ahead?
JB: We continue to do all the things already mentioned and I’m also looking into hosting vintage video game tournaments and free play as a possibility.
EC: Can you talk a little about how you’ve laid out your store, and what you feel the ideal mix of Geek Culture items is?
JB: Comic book stores, by default, are visually overwhelming. If you’re a fan or even know a little about it, you walk in and are immediately floored by the variety of comics, toys, accessories, t-shirts, etc. that are available. We have a large wall clearly marked with new arrival tags where the new issues are put up each week. We have large, customized bins to hold back issues – some going back to the 60s or earlier. On the opposite side of the store we have a large wall housing toys, action figures and novelty items. Trade paperbacks and graphic novels make up the other part of that large wall, with mature trades separated from Teen or Teen Plus trades. Above the toys and trades, we have shelving that displays the local artwork mentioned earlier with tags showing the artists’ names and where they are from in New Jersey.
We have a few glass cases housing statues and the more interesting or expensive/breakable items and a few spinner racks with more action figures and toys. We utilize some of the space for pop up tables with featured items. Right now Star Wars is pretty big deal, so we have a table of all different kinds of Star Wars merchandise.
We have two large chalkboard walls as well. One, right next to the new issues, is used for listing all the new comics that arrive each week to allow customers an easy (and colorful) layout of “what’s new” that week and roughly where they can find it along the new release wall. The second chalkboard wall is for the customers and kids. We keep a small bucket of chalk next to it that kids can use to draw absolutely anything they want.
Then we take a picture of the wall post it on our website. The sales counter, where the register is, has cards, some art and smaller items that people can look through. Behind the counter, on wall shelves, we have the “wall books” – basically any comic valued at $10 and up that we display and sell but do not leave in the bins due to the overall value of the comics themselves. Some items include or have included Iron Man #55 (first appearance of Thanos), Amazing Spider-Man #300, X-Men #1 from 1963, etc.
EC: During FCBD, you had the most extensive offering of Free Comics. Can you explain your strategy and provide any results or follow-up?
JB: Diamond Distribution has a number of titles available for retailers to purchase on FCBD. Some retailers, I guess, don’t get copies of everything and everyone has their own strategy when it comes to picking comics for FCBD. I got X number of every single comic that was available to me to purchase and essentially got rid of everything!
Granted they are free, but we also had a ton of people buy things in addition to the free comics. I think people saw the generosity in making the widest selection available and minimal prohibition (customers could take one copy of as many titles as they wanted) so they bought items as well to show support back to us for the great spread! It was a very “Do unto others” type situation. People felt the love so they showed us love in turn and it was an amazing day!
EC: What are some of the most surprising things you’ve learned?
JB: I’m surprised at the number of indie comic book writers and artists there are out there! In a digital age when so many publications are being pushed to iPhones, tablets, etc. there are so many people out there with pen and paper, writing, drawing and marketing their own works on paper! I get at least two emails/phone calls per week with someone asking if we’re interesting in carrying their comics. I’m also surprised at how many people come into the shop and are interested but have never read a comic! We make first time recommendations for so many people. A lot of people must have had some negative experiences or something because they always tell us they wanted to [get into comics] but didn’t for some reason – someone must have turned them off to it.
But we thrive on a welcoming atmosphere where people of any level of comic knowledge can feel comfortable and our recommendations make it easy to get into the books! Like superheroes? No problem. Like love stories? No problem. Like zombies? Vampires? War stories? Different takes on historical events? Kung Fu? Music? Animals? Robots? Outer Space? Clowns? Feminism? Masculinity? We can find something for ALL OF THOSE!
EC: What’s your favorite comic and do you market it extra hard at your store? JB: I don’t know if I have a favorite per se but there is definitely a strategy to the comics I read each week. Yes. I read each week to keep up on what’s going on. I make sure I read the more popular titles like Batman, Spider-Man, Superman, etc. I read as many #1s as I can get my hands on and try to keep reading into the #4 or #5 issues to get a handle on the story arc so when customers inevitably ask about a title, I have an answer for them instead of “Well, a lot of people buy it so it must be good” mentality. I also have a lot of indie/self-published works that I read as well and probably push those more than major titles – based on the fact that they are written and drawn both by an indie writer/artist who doesn’t have the benefit of DC or Marvel or Image putting out and distributing their work. I can’t say I push any titles in particular extra hard but try to see what the customer likes and focus on that. Being that I read a wide range of titles, I honestly feel that I can find something for anyone based on their taste in movies and/or TV shows.
EC: What’s your experience with comic conventions and where do you see them going in the next few years?
JB: I think comic cons are great! There seem to be an awful lot of them these days but when they’re done right – they exceed expectations! Organized, lots of talent, focusing more on the comics with a little media thrown in is where it’s at! I think as long as comics are accessible to people and tie into movies and TV (mainstream), comic cons aren’t going anywhere any time soon! It’s also great for comic fans because it gives them a chance to meet the minds behind their favorite comics and get their comics signed or get a sketch or commission done by their favorite artists, ask questions with regards to inspiration or favorite story and really interact with the people who make/create the things they love so much. Where else can you do that?
EC: Is it true you are a newlywed and had a unique Pop Culture theme for your wedding?
JB: I’m a big Star Wars fan so once we were announced man and wife, I grabbed my original Han Solo plastic blaster from my childhood, my wife put on a headband that gave her Princess Leia buns, my best man put on a Chewbacca mask and my wife’s man of honor held a plastic light saber. The audio guys played the throne room music from Episode IV and we marched down the aisle as man and wife! We also gave out Lego Star Wars key chains to all our family and friends as wedding favors!
I usually don’t watch horror films or TV shows, and that might surprise some people. After all, I’m known to have written some horror stories, such as DC’s Wasteland. My standard response is that I would rather give nightmares than get them. A bit flip perhaps, but largely true. I have an active imagination (from which I make my living) and the concepts and images from a horror story can stick in my head long after I’ve seen the show.
For example, I went to see The Exorcist when it first hit the movie theaters and, oh my, it played heavily on the atavistic fears of my Roman Catholic altar boy choir boy upbringing. I slept that night with the lights on despite being of college age. Actually, I was in bed but I didn’t sleep that much. Part of me was convinced that the ol’ debbil was gonna git me.
This is an explanation of why I didn’t watch Penny Dreadful when it first showed on Showtime. Recently, however, I got a chance to get caught up with the first two seasons. I didn’t binge watch them; the most I could take was two episodes at a sitting. I found them too unsettling.
The show is set in Victorian London and deals with a number of supernatural threats. A team of sorts is drawn together including an African explorer (Sir Malcolm Murray), his mysterious African servant (Sembene), a witch (Vanessa Ives), an American gunslinger (Ethan Chandler), Dorian Gray (of The Picture of fame) and Doctor Victor Frankenstein and his Creature(s).
If that sounds reminiscent of League of Extraordinary Gentlemen, well, it is… in concept. It is also extraordinarily well done. The show’s creator is John Logan and, I believe, he has also written all the episodes. You may know Mr. Logan from his work on other movies such as Skyfall and the upcoming Spectre, as well as Hugo, Rango (such an odd and interesting film!), and Gladiator among many others. A very talented writer and that talent is in full display here.
The production values are first rate – the sets, the costumes, all the details. Think Downton Abbey with vampires. The cast is also primo – and you have an odd James Bond connection with Timothy Dalton (Bond at one time) playing Sir Malcolm and Eva Green (who was Vesper Lynn in Casino Royale) joining John Logan. Harry Treadway, who plays Dr. Frankenstein, was also in the TV mini-series about Bond’s creator, Fleming.
Josh Hartnet portrays Ethan Chandler, the American gunslinger with a dark and secret past. Despite that past, the character is one of the most decent persons in the show. Sembene is portrayed by Danny Sapani who shares a Doctor Who connection with Billie Piper (Brona, Lily) who, of course, was Rose Tyler on Doctor Who. (Yes, I’m nerding out.) You see quite a bit more of Ms. Piper here. Quite a bit more.
I don’t know Reeve Carney who appears as Dorian Gray, but he’s very effective in a very unsettling role.
My favorite character, however, is Frankenstein’s Creature, played by Rory Kinnear (another Bond connection – he’s been Tanner in the last few Bond films). He is a monster, yes – he can be brutal and murderous and full of rage. He is also the most heart-breaking character in the show. He knows what he is and, by his very appearance, knows that he has no place where he fits in. He suffers most from ordinary humans (who can be the biggest monsters in the show). His longing, his despair, his rage all make him, as one character says of him late in the second series, the most human of them all.
The reason I like the show so much is the characterization. All the characters have multiple levels and all are flawed. My own theory is that you can’t really experience horror unless, on some level, you sympathize with the characters. If you don’t feel something for them, you won’t feel anything for what happens to them. You can be shocked, yes, but you don’t really feel anything. What is the point if you don’t feel? Horror is something that happens to people that we know. There can be sensation, sure, but if you don’t identify with those going through the horror, it means nothing. It’s just incident.
I should probably also mention that there is violence and sex and nudity (both male and female, although mostly female); this is pay-cable TV, after all. If any of that might bother you, give the show a wide berth. None of it ever seems gratuitous to me. I should also mention that the second season is even more unnerving than the first. A third season is projected for next year and I approach it with both anticipation and dread.
I realize that I’m late coming to the Penny Dreadful party but I think the show can be streamed and certainly it’s available on DVD and Blu-Ray so I feel justified in recommending it which I do most heartily. If I was writing horror for TV, this is the type of story I would like to tell.
Walt Disney Home Entertainment has announced that Marvel Cinematic Universe: Phase Two Collection will be a 13-disc Amazon exclusive.
SYNOPSIS:
The limited edition, 13-Disc Marvel Cinematic Universe: Phase Two Collection invites you to hold the greatest power in the cosmos in your grasp – an orb containing one of the legendary Infinity Stones! Plus Blu-ray 3D™, Blu-ray™ and Digital Copies of all Phase 2 films, in collectible packaging designed by artist Matt Ferguson. This set overflows with stunning Marvel memorabilia, including a gold-foiled page from the book of Dark Elves, an ancient drawing from the Morag vault, Avengers and S.T.R.I.K.E. uniform patches, a replica of the Tony Stark Tattoo from Marvel’s Iron Man 3, and much more!
CONTENT: Marvel’s Iron Man 3 (Blu-ray 3D + Blu-ray + Digital Copy)
Marvel’s Thor: The Dark World (Blu-ray 3D + Blu-ray + Digital Copy)
Marvel’s Captain America: The Winter Soldier (Blu-ray 3D + Blu-ray + Digital Copy)
Marvel’s Guardians of the Galaxy (Blu-ray 3D + Blu-ray + Digital Copy)
Marvel’s Avengers: Age of Ultron (Blu-ray 3D + Blu-ray + Digital Copy)
Marvel’s Ant-Man (Blu-ray 3D + Blu-ray + Digital Copy)
1:1 Prop Replica of the Orb
PLUS an Exclusive Bonus Content Disc with 166 minutes of bonus material and more!
BONUS FEATURES: From Here To Infinity: Phases 2 & 3 Of The M.C.U.
Journey back through Marvel’s Phase 2 films, from its launch in Iron Man 3 through its fulfillment in Ant-Man, to see how individual characters grow and change, how their relationships with each other evolve over time, and how the universe itself expands with each story. Listen to filmmakers discuss the first set of Phase 3 films– Marvel’s Captain America: Civil War, Marvel’s Doctor Strange, and Marvel’s Guardians of the Galaxy 2 – and discover there are no limits to the adventure!
Phase 2 Tag Scenes: A Making-Of: Learn the story behind the post-credit sequence in Marvel’s Phase 1 and 2 movies, and explore how the scenes connect and unify the far-flung characters and worlds of the Marvel Cinematic Universe.
Marvel One-Shot: The Consultant w/Audio Commentary By Clark Gregg Marvel One-Shot: A Funny Thing Happened On The Way To Thor’s Hammer With Audio Commentary By Clark Gregg Marvel One-Shot: Item 47 With Audio Commentary By Louis D’Esposito, Max Hernandez, Titus Welliver And Jesse Bradford Marvel One-Shot: Agent Carter With Audio Commentary By Louis D’Esposito And Hayley Atwell Marvel One-Shot: All Hail The King With Audio Commentary By Drew Pearce And Ben Kingsley Iron Man 3: Deleted Scenes Iron Man 3: Preproduction Creative Thor: The Dark World: Deleted Scenes Thor: The Dark World Preproduction Creative Captain America: The Winter Soldier: Deleted Scene With Audio Commentary By Anthony Russo, Joe Russo, Christopher Markus, Stephen McFeely Captain America: The Winter Soldier – Preproduction Creative Guardians of The Galaxy: Deleted Scenes Guardians of The Galaxy: Preproduction Creative Avengers: Age Of Ultron: Deleted Scenes Avengers: Age Of Ultron: Preproduction Creative: Hulk vs. Hulkbuster Ant-Man: Deleted Scenes Ant-Man: Preproduction Creative
RELEASE DATE: December 8, 2015 PRODUCTS: Blu-ray 3D, Blu-ray and Digital HD AUDIO: Blu-ray 3D, Blu-ray, Digital HD = English 7.1 DTS-HDMA, French-Canadian 5.1 Dolby Digital, Latin Spanish 5.1 Dolby Digital, English DVS 2.0 Dolby Digital LANGUAGES: English & Spanish, French SUBTITLES: English, French & Spanish
The world lost just lost another shining light: a brilliant artist who regularly shared his vision of heroes and adventures as he created countless pages of comics and an upstanding gentleman who shared his vision of living life with courtesy, kindness and class as he led by example.
Murphy Anderson passed away Friday at age 89. He had been struggling in recent years, but it’s still a crushing blow to those who loved the man and his work. Murphy, a prolific comic artist, was in facet one of the first wave of “fanboys” to turn professional. He was a big Lou Fine fan, and you can see wisps of that great artist’s work in Murphy’s figures and rendering. Murphy was also an enormous Buck Rogers fan and would one day professionally illustrate the adventures of this hero. He had a rich career in comics’ Silver and Bronze Ages, but also enjoyed great entrepreneurial success, managing the Army’s PS Magazine and running his own color separation business.
Murphy was an especially important artist in the Sixties, establishing the artistic gold standard of many iconic heroes for a generation of fans. His Justice League covers showed the world exactly how the leading DC heroes should look. His images of heroes like Hawkman and the Atomic Knights provided clear and engaging thrillers with solid storytelling. And his inking over so many great artists, from Gil Kane to Carmine Infantino to Curt Swan, provided something close to a house style that reflected the refined, best-in-class attitude of the DC line of that day.
Murphy was one of those rare artists who could compose fantastic stories with full artwork (pencils and inks), and yet, with his fine and precise inking, partner to make almost any artist to a little bit better. Even usual pairings, like Murphy inking over Neal Adams’ innovative and hyper-realistic pencils, produced memorable artwork, visual singing in perfect harmony.
A Gentleman and His Women
The females that Murphy drew were consistently pretty, but demure. They all combed their hair, had applied their make-up ‘just so’ and had spotless complexions. Any young man would feel confident in bringing a girlfriend who looked like a Murphy Anderson woman home to mother.
For me, that all changed when DC adapted Edgar Rice Burroughs’s John Carter of Mars series. In this series, a cavalry solider adventures on Mars amidst exotic landscapes and bizarre aliens. But many of the Martian cultures eschewed excessive clothing. And the strip’s love interest, the beautiful Dejah Thoris, was no exception. She was a raven-haired beauty with whom the hero was madly in love. And when Murphy drew her, it was very easy to understand why any man would be head-over-heels for her.
This series also provided Murphy opportunities for creative and non-traditional panels and page layouts. But these innovations were lost to many of us, as the eye was distracted by the beautiful figures and lush inking.
Years later, during one of my lunches with Murphy, I brought along several John Carter comics issues of Weird Worlds for Murphy to autograph. I hadn’t realized it before, but his son, Murphy, Jr., who often accompanied us, was a dead ringer for John Carter!
Man And Superman
For me, the quintessential Superman will always be inked by Murphy.
As the Silver Age wound down, Murphy’s inks on Curt Swan’s 70’s Superman helped update the character, making him a little hipper and more relevant. Murphy’s inks rejuvenated the strip, with a more realism, longer sideburns and a vulnerable humanity. For me, the images of Superman casually eating a Kryptonite meatball (the deadly substance was temporarily rendered harmless) helped humanize the character in ways previously never imagined.
Murphy was a one of the most polite gentlemen I’ve ever met, and surely was not comfortable with being asked to “fix” the Superman renderings of Jack Kirby in Jimmy Olsen or Mike Sekowsky in Supergirl. But he was a true professional, and the editorial dictate of the day demanded that Superman look “on point”. And while I hate to see other artists’ work modified in this manner, now one could argue that a Murphy Anderson Superman sure looked like the real Superman.
One time as a child, my family was visiting my dad’s alma mater, Cornell University, for his Homecoming. After the football game, we were shopping at the campus bookstore and I found a curious book. It was called The Gospel According to Superman by John T. Galloway, Jr. The cover showed Superman, rendered by Curt Swan and Murphy Anderson, flying over a small town church. At that time, the last thing I was interested in was theological philosophy, but I somehow knew this was legitimate and important because it had the ‘”real” Superman on the cover. And although I couldn’t have articulated it at the time, the “real” Superman meant an image rendered by Murphy Anderson. My mom and dad thought I was nuts when I started begging for this strange, hybrid book, but as they were more understanding than even Ma & Pa Kent, in the end they relented. I read the book, but I really loved that cover.
About this period, there was a life-sized Superman poster offered via mail order in the DC comics. The 6-foot poster, rendered by Curt Swan and Murphy Anderson, was impressive and overwhelming. Superman was flying up through the clouds complete with a peace sign hand gesture. I’m not sure why, but I brought it to my Second Grade class and it was hung on the blackboard for a day. I might have trying to impress my beautiful teacher, Mrs. Beardsley, but that’s another story for another day. I’m sure my thinking then was “What woman wouldn’t be impressed with Murphy Anderson art?”
The first time I met Murphy was in 1984 at an Ithaca Comic Convention. Now, the year before I had the distinct pleasure of being the inker for a penciled Superman image provided to us by Curt Swan. It was a valiant effort, but I was certainly no Murphy Anderson when it came to inking. As you have gathered by now, my visual“ gold standard” for Superman was the character as inked by Murphy Anderson.
At the convention, I thought maybe this provided me a kinship to Murphy Anderson. While I’m sure he was mentally rolling his eyes at me, I recall his overwhelming politeness. He almost made me feel that he and I were part of an exclusive club, having both inked Curt Swan. That’s preposterous, of course. But somehow Murphy’s most amazing talent, far beyond his art skills, even surpassing his entrepreneurial efforts, was his amazing ability to make a person feel special by just speaking with him.
Ready for Action
Murphy was the quintessential artist for one character even though he never drew the character’s comics adventures. In 1966, Murphy Anderson was chosen to be an important contributor to a toy called Captain Action. Much the same way that Barbie could become a teacher or an astronaut, or GI Joe could become an infantryman or a frogman, Captain Action could become other superheroes via costume sets. For many of these toys, the packaging artwork was expertly provided by Murphy.
He created images for the packages featuring heroes like Batman, The Phantom, Flash Gordon, Superman, Aquaman, Superboy, Robin and Aqualad. As the line progressed, Murphy also created impactful representations of Captain Action on in a variety of poses for expansion sets. And when the line was extended to include heroines, Murphy outdid himself with gorgeous packaging illustrations for Batgirl, Supergirl, Wonder Woman and Mera, the Queen of the Seven Seas.
Years later, Joe Ahearn and I would acquire the rights to Captain Action and one of the first things we did was to bring Murphy back onto the project. How thrilled we were when he agreed to pencil and ink a new Captain Action comic cover! He agreed to recreate the classic Batman and Robin rooftop image, which was originally a poster by penciled Carmine Infantino and inked by Murphy. In the updated version, it’s Captain Action and his sidekick, Action Boy, on the rooftop, as Lady Action flies by in the Sliver Streak. Gerry Gladston, the CMO of Midtown Comics, loved the idea and we made the cover an exclusive variant.
We had discussed him doing another cover for Captain Action. The vision for this was to pay homage to Justice League of America #1’s cover, where the Flash and Despero were playing a game of Kalanorian chess – using JLA chess pieces. My vision was to have Captain Action facing off against Dr. Evil with chess pieces of all the Captain Action costume sets, but it wasn’t meant to be. At that point, Murphy just didn’t feel he could pull it off with the standard of excellence he demanded of himself.
* * *
Murphy was a Tarheel, who made good in New Jersey, and was surrounded by a loving family and adoring fans. I had studied his thoughtful inking for most of my life, but when gifted with his friendship, I soon realized that there were so many bigger lessons to be learned from this humble, kind-hearted man. Murphy we’ll miss you and thanks for showing us how it’s done.
Marc leans back on his heels as the audience hoops and hollers. His co-band leaders John Linnell and John Flansburgh wrap up their intro song, a peppy reprise of “Ana Ng.” The auditorium simmers down a tad as the music fades.
So… uhh… have you heard the news lately? Have you seen this? Seems that Fox News was amazed that Captain America wasn’t as pro-conservative as they’d thought. Have you heard about this? Yeah! It seems they missed the whole Civil War too!
The band hits a quick rim-shot and sting of “Doctor Worm.”
Ehh, don’t blame me if you didn’t laugh. My writers stink. And to totally honest, when I read this story I didn’t laugh either. Not only because it wasn’t surprising that Fox News blew something out of proportion without vetting their sources, but because I’ve never found that channel to be funny at all. It’s the same reason I stopped laughing at Donald Trump’s campaign speeches.
So, what’s with all the rage? Sam Wilson – the current Captain America – is a black, liberally-minded super-hero. Amusingly, Steve Rogers – the currently elderly former Captain America – is a white liberally-minded super-hero. I admit that I’m not privy to the recent issues of Marvel’s most patriotic pugilist, but I know enough about the characters themselves to understand why Fox News (and a few other right-winged blowhards) are torn up over the recent pulp. Within the aforementioned issue, the “Sons of the Serpent” – a white supremacist group who likely thought Hydra was too Jewish – are taken to task by Wilson-Cap after they spout some Trump-esque declarations and threaten illegal immigrants with punishment by way of the power vested in me by the aforementioned God, Nature, et cetera, et cetera.
The only thing truly funny to me about the backlash by any media is how they’re attempting to rattle the cage of other non-comic book readers. They believe a conservative person who may or may not be a comic book fan to become upset over the political beliefs of a fictional character. What’s next? People storming at the gates of the WWE because John Cena supports his gay cousin? Perhaps a million-man march in Washington over reruns of The West Wing? The fact is that fictional characters are fiction. Meaning their views are at the behest of their creators. And Captain America, by way of Nick Spencer, is a progressive who wants to take a stand on the issues of the day. Is he wrong in choosing that direction for the character? Nope. Not even a little bit.
Marvel (and by proxy, their master Mickey Mouse) is wanting to capitalize on the continued success of their movie and TV franchises and get new fans into the comic book stores. By offering stories that aren’t ripped from the movies(shush, real comics fans), they are offering a tangential product that showcases how comics can build bigger universes than the motion-media can. And by incorporating storylines with characters charged by the same issues the populace is currently facing… they are making the attempt to attract people seeking more than just muscles and fights.
It’s at this point, Marc sits down at his set desk. Camera 1 rolls into a tight shot, as the title card “This is not a Seth Myers impression” flashes on screen.
What’s really awesome is that this is truly the first time ever comic books at Marvel (or any publisher for that matter) is using their medium to tell modern stories about the world around them. Because, you know, it’s not like the X-Men were an allegory for the civil rights movement. Or that the Iron Man was response to the Cold War when he debuted. Or that the current Batwoman, the new Earth Two Alan Scott, or Northstar were gay and had to deal with any relevant issues pertinent to their sexuality. Kudos to this new black Captain America for being literally the first comic book character to ever deal with a modern issue head on!
The audience laughs knowingly.
Ultimately, it wouldn’t matter to me personally if Sam Wilson were a progressive or tea-party member. I’d give no second care if Charles Xavier (or his ghost… I’ve lost count of his whereabouts) turned out to be a Nazi sympathizer all along. Hell, it’d paint his past fights with Magneto in whole crazy new lights! But I digress. The point is simple: Fiction is not reality. Making a stink over any piece of it is only relevant to the quality of the piece itself, not the politics that drive it. As with all comics characters: there are aspects to each character that must ring true. For Captain America – be he Sam Wilson, Steve Rogers, or Bucky Barnes – he must stand up for the people of his country. And that sentiment runs far deeper than any party line.
Cue the musical guest tonight, Neil Young, with special players Tom Morello, and Bernie Sanders on Xylophone.
