Joe Johnston knows how to direct adventure films but watching his growth as a director has been a pleasure. His first offering, Honey, I Shrunk the Kids was a visual effects feast, thanks to his training at Industrial Light & Magic. He followed up in 1991 with his first comic book adaptation, Dave Stevens’ Rocketeer and while the movie is far better than the critical reaction or box office would indicate, it still lacked that certain spark of delight for a summer blockbuster. Over the intervening years, Joe has continued to direct films that has shown steady growth as he has more subtly integrated effects with characterization with the family friendly Jumanji and the heart-warming October Sky. It was all good training as he took on what has become his highest profile project yet, Captain America: The First Avenger.
Clearly, he has learned his lessons as the critics – both mainstream and geek alike – have raved over the film while the $65 million it earned over the weekend proves he delivered a film people wanted to see. There were many obstacles challenging Johnston so that he managed to overcome them with aplomb is quite impressive. First of all, he had to turn a brief origin story from Captain America Comics #1 into a story that was plausible for modern day audiences. He had to fill it with winks and nods to the comics continuity that has been built around that Joe Simon & Jack Kirby tale of a man being turned into a super-solider. Then there was all the spadework that was required to prime audiences for the next installment in the Marvel Film Universe, next summer’s The Avengers.
Joining me for the Saturday matinee were two neighbors who only knew the character by name so while I sat there geeking out like the rest of you over the little touches, they were thoroughly satisfied with the story from beginning to end. (I had to spend dinner annotating it for them which was a fun test of memory.) (more…)
Marvel Studios has reacquired film rights to the characters of Blade and The Punisher according to Chief Creative Officer Joe Quesada. He announced this during his Cup O’ Joe panel during Comic-Con International, but cautioned the audience that this did not mean either was being put into active production.
As a result of these acquisitions from New Line Cinema and Lionsgate, respectively, this leaves the X-Men, Ghost Rider, and Fantastic Four franchises still under 20th Century-Fox control while Sony continues to produce Spider-Man films. A Ghost Rider sequel with Nicholas Cage returning as Johnny Blaze is in the works while a reboot of the FF is in pre-production. X-Men: First Class performed so well this summer sequels are already on order.
Marvel has indicated that as the first cycle of films based on their best known heroes chugs along, the focus is shifting to their lesser known characters, most likely leading off with Doctor Strange and Edger Wright’s Ant-Man. At present, none of these projects have been given release dates meaning they are far off.
At the Marvel Television panel conducted by their VP Jeph Loeb, it was shown that the ABC pilot for Alias Jessica Jones continues to move through the production process, and would include Luke Cage in the supporting cast. Cloak & Dagger is also in development for ABC Family.
2012 will see The Avengers on May 3 followed by Amazing Spider-Man over July 4 weekend with 2013 already ticketed to screen Iron Man 3 and Thor 2. Beyond that, the calendar and options remain wide open even though lead actors including Chris Evans, Chris Hemsworth, and Samuel L. Jackson are signed for multi-picture deals. Evans, for example, has a nine picture deal with Captain America and The Avengers only covering two of the nine.
Wait, wait, wait… are there Muppets in this poster?
In spite of the giggle factor, this may be an important milestone– this may be the first official crossover between Disney and Marvel properties, promoting both Captain America: The First Avenger in theaters now, and The Muppets coming out in November.
Marvel Comics released a wide variety of posters at the San Diego Comic-Con this weekend with Chris Evans as Captain America, Robert Downey Jr. as Iron Man, Chris Hemsworth as Thor, Jeremy Renner as Hawkeye, Scarlett Johannson as the Black Widow, Mark Ruffalo as the Hulk, Samuel L. Jackson as Nick Fury, Clark Gregg as Agent Phil Coulson, and Cobie Smulders as Agent Maria Hill, all in advance of the May 2012 release of the Avengers movie directed by Joss Whedon, and all making a giant poster after it’s all, ahem, assembled.
The images were created by Marvel Studios Co-Visual Development Supervisor Ryan Meinerding and Charlie Wen. Check ’em out.
I wrote last time about digital comics and I realize there was another big question for me as we cross the digital Rubicon into this brave new world: will there be letter columns?
Now you might point out to me, “John, most comics don’t have letter columns now.” I’ve always felt that was a mistake. In fact, I think it’s one of the reasons for the decline of comics, if not of the entire Western Civilization as we know it. My first work in comics appeared in a letter column. During the Overlord saga in Thor, I pretty much figured out who the mysterious Overlord really was. (I think it was Odin or some manifestation of Odin or something.) I even was awarded a Mighty Marvel No-Prize for my efforts, which was supposed to be for service above and beyond the call of duty to Marvel before they cheapened it for giving it out to every slob who wrote in and said, “Make Mine Marvel!” and yes it still burns me today that they did that but never mind. (For those of you who are interested, the No-Prize consisted of a an envelope mailed to you that clearly stamped “No Prize” on the front. You opened the envelope and it was empty – there was no prize! That was the gag. My first reaction was that somebody slipped up and forgotten to include my No-Prize in the envelope. I did eventually get the joke. I’m not always real swift but I get there.)
I had a better letter published in a Savage Sword Of Conan. One story had Conan betrayed by his female companion and he snarled at her, “Waitress!” Of course, they meant to say “Traitress!” Obviously, an error no one caught but my letter tried to prove that it wasn’t an error but a nice bit of characterization, showing that Conan obviously had bad experiences with female serving staff; thus, the worst thing he could call the wench was “Waitress!” I remember my closing line was, “After all, have you ever seen the big Cimmerian lug tip?!” I figured the letter was clever enough to make the letter column, and it did.
To lay the groundwork for next week’s premiere, or in anticipation of San Diego Comic-Con, or simply to take some of the wind out of Harry Potter‘s sails, Paramount and Marvel released four new clips from Captain America: The First Avenger.
First how Steve Rogers (Chris Evans) got the job from General Hammond (Tommy Lee Jones) and Dr. Erskine (Stanley Tucci):
Hello all you crazy-awesome ComicMix fans. For those who don’t know me (and when you share a space with guys like Mike Gold, John Ostrander, Martha Thomases, Michael Davis, Denny O’Neil, and Mindy Newell? I don’t blame you!) allow me to introduce myself by way of witty, snarky banter. I figured if I am to come out of the gate anew with a comic focused op-ed piece, I might as well start by swinging for the fences. So, let me point to the rafters over center field, and take the biggest swing I can.
Simply put: DC’s Flashpoint is a ten-pound turd in a five gallon bowl.
I use this nasty language, mind you, because I “covered” the event for a podcast I do from time to time… and have spent my hard earned dollars on this bloated excuse to sell toys, and piss off fans.
In June, DC boldly told the world they are “star-wiping” their universe to engage the next era of fans, by removing that pesky continuity. So, while those new and shiny number ones are getting printed, why not release yet-another-epic-that-will-change-the-universe-as-we-know-it™ event? “Flashpoint” was to turn the DCU on its ears. It chortles in every issue with its logo emblazoned on the title card, that it gives us a world where “everything you know has changed in a flash…” My ass. What they’ve done instead, is created an unnecessary mega-crisis for no better reason than “going out with a bang”. So for all us fans who don’t mind a little history to go with our comics… we’re treated to DC choosing to end their current universe’s life on yet-another-Crisis.
In a nutshell, Flashpoint is DC’s attempt at taking an obvious Elseworlds story and shoehorning it into continuity. I honestly don’t care how many well-produced interviews they have Dan DiDio do celebrating the ‘ground breaking’ idea. I don’t care how many Newsarama, Comic Book Resources, or Bleeding Cool articles are written kissing the ass of all the creators involved (and yes, all three have since reviewed many of the series’ minis very poorly). To tell the fans that this event will matter, is akin to the DCU toking up a massive joint, and blowing the Funion fumes right in our face in hopes we’ll get the munchies. I’ve not seen better hype for a dumber product since The Phantom Menace.
On DCU’s “The Source” blog, they asked some hard hitting questions to this effect:
The street date for the home video release of Thor has been revised to September 13 and it appears the disc will come with an interesting bonus feature. Marvel Studios reportedly shot two short films feature SHILED agent Phil Coulson (Clark Gregg) intended to be included with the DVD releases of Thor and Captain America: The First Avenger (presumably available fore the holidays).
Film School Rejects reports that Marvel Studios has not directly denied such a plan or that if successful, more shorts may be shot for inclusion in the theatrical releases of future films, possibly starting with 2012’s The Avengers.
Coulson, like his boss Nick Fury (Samuel L. Jackson) has been a recurring player since 2008’s Iron Man and helps unify the Marveul Universe on screen. For example, at the end of Iron Man 2, we saw him on site where Thor’s uru hammer Mjolnir landed in the desert, a scene replicated in Thor. Coulson is already in The Avengers, being directed currently by Joss Whedon, and set for a May 4, 2012 release.
The Marvel Universe films continue to roll out with Iron Man 3 ticketed for May 3, 2013 and Thor 2 recently staked out a July 26, 2013 slot. Sequels to Captain America are also expected but unscheduled while the next round of original heroes — including Edgar Wright’s Ant Man, remain a source of speculation with possible announcements coming at Comic-Con International next week.
At the con, the first trailer for The Amazing Spider-Man, from Sony and not part of the Marvel Studios’ universe, is said to be screening. The film itself is due in July 3, 2012.
ALL PULP thanks Peter Miller – docsavagetales.blogspot.com – very much for providing this Guest Review AND a Creator Interview to go with It!
Mystery Men #1 and #2 of 5 Written by David Liss Art by Patrick Zircher Published by Marvel Comics
DC comics made a big splash when the First Wave Universe premiered. They were making pulp comics in a new way. Not set in the past, not set in the DC Universe, but set in their own universe. They hyped it as cel phones and airships. What they created, combining pieces of the past—Doc Savage, the Avenger, The Spirit—with non-super-powered DC characters like Batman and the Blackhawks, was a failed mess. In most of the books the world seemed just like our own except for an extra airship or two. The best book was the Spirit, but even Spirit fans didn’t seem to love it.
Now Marvel has taken a stab at New Pulp and I think they are on to something great. Mystery Men takes place in New York in the regular Marvel Universe in 1932. As far as I know, this is the earliest a series has been set in the MU. The heroes (thus far) are not super-powered. The villain, however, is another story. He exudes occult mystical powers.
Mystery Men follows a millionaire playboy with a Robin Hood complex. He puts on a mask and calls himself the Operative. The Operative is trying to unravel a criminal conspiracy among the New York elite that is led by a frightening occult powered character called the General. The Operative is trying to find a killer.
Also involved in the case is another masked hero, the Revenant. He looks a bit like Moonknight and acts like the Shadow. He seems to have gotten the corrupt NYPD on his case and after crossing paths with the Operative, he decides they should work together.
The Operative doesn’t want the help and the fact that the Revenant is black doesn’t make it any easier, but we know they’re getting together. Issue #2 introduces the Rockettrix (not her real name, but the best description) with ties to the murder.
David Liss has nicely tied together a trio of pulp characters that I want to see more of. The story is good so far and the characters are charming, crude, tough, fascinating, and believable. I like the book a lot so far. Hopefully sales will be good enough to have the title continue.
I haven’t mentioned the art yet. The art is GREAT. Patrick Zircher’s style feels right for the period, but is modern at the same time. The entire first issue is done with horizontal panels, giving it a very cinematic style. The art is clear and direct and reminds me a little bit of Steve Bryant (Athena Voltaire). That is a compliment, by the way.
The second issue continues with the horizontal panels, but does break them up a bit. The colors by Andy Troy are also excellent, clean and subdued, but with color motifs to help define locations.
The final page of each issue so far has been an essay. Issue One’s article is by the writer, David Liss, and he discusses the thrill of adding to the beginning of the Marvel canon. He relates how he decided that the social issues of the 1930s would not be glossed over—that racism, sexism, poverty, and worker’s rights would play a part in the narrative. They do, and I think he has used them in his story well.
In the second issue, artist Patrick Zircher discusses the design path of the character’s looks.
I really hope these essays continue.
Go out and buy this great bit of New Pulp, you won’t be disappointed.
Interview with David Liss
The first two issues of Mystery Men are out and they are terrific. The essay at the back of the first issue tells a bit about the genesis of the project, but I was wondering about your background with pulp and the history of the 1930s. Had you studied the era or was this an excuse to do just that?
It really was more of an excuse to learn about the 1930s. Over the years I’ve read various things from and about the period, and, of course, there are films. Like anyone who enjoys comics, I have always found a lot to love in the pulp era, but this was my first serious creative engagement with the period.
Have you read much original pulp of the era? If so, what titles or characters are you familiar with?
I’ve read a lot of pulp crime over the years, and I’ve read most of Robert E. Howard’s Conan stories. I have not actually read that much of the primary heroic pulp, though I have read the original stories of some characters like Doc Savage and the Spider. And then, of course, many of these characters have ongoing legacies in comics and other media that I’ve read.
Are you aware of the “New Pulp” movement – contemporary authors writing new stories set in the classic pulp era?
Yes, I have several friends who have contributed to some of these new pulp anthologies, and I have another new pulp project of my own in the works, though I can’t yet talk about it. I love the revival.
So far it seems that the 3 main characters – The Operative, The Revenant, and Sarah Starr have no innate super-powers. The villains do. Will we be seeing super-powered heroes in Mystery Men?
Hmm. Best to stay away from spoilers, but I will say that the amulet the General is after is packed with all kinds of surprises.
How did you go from writing historical mystery novels to comics?
I was asked! Marvel editor, and pulp-enthusiast, Bill Rosemann read one of my books and contacted me to ask if I liked comics and would I be interested in writing them. The answer was yes & yes. My first project for Marvel featured the pulp hero, the Phantom Reporter.
Are you a long time comics reader or are you new to the genre?
I was away from comics for the period of time I was in graduate school, when I lacked the time and money for comics — or just about any leisure activity — but otherwise I’m a lifelong fan.
What titles or characters are your favorites?
Some of my long-time faves include Daredevil, Spider-Man, Punisher, Captain America, Batman, Superman, Legion of Super-Heroes & Martian Manhunter, but I’ve always followed the story more than the character. My investment has always been less in titles and individual heroes than which creators are putting together good comics, so I’ll read just about anything with a cool story.
What writers or artists excite you?
On the writing side, these days my favorite creators are probably Robert Kirkman, Mark Millar, Brian Bendis and Ed Brubaker. I feel like I’ve been very lucky, because in my projects at Marvel I’ve been paired with some of the best artists out there. Francesco Francavilla and Jefte Palo, who have been doing the art for Black Panther, are both fantastic. And then, of course, there’s Patrick Zircher’s phenomenal work on Mystery Men. In terms of detail and beauty, as well as art that advances character and story, Patrick’s work on this book is about as good as it gets.
With everyone buzzing about the revamped DC Universe or the surprisingly sweet Super 8, there’s another super-hero movie coming out this summer that you might not be aware of. A few weeks after Captain America opens, you can try the quirky romantic comedy Griff the Invisible, on August 19. Starring Ryan Kwanten and Maeve Dermody.
The official synopsis tells us:
The world can make us invisible. Courage can make us incredible. Love can make us invincible.
Ryan Kwanten (True Blood) stars in this totally unpredictable romantic comedy about the superhero in all of us. Griff (Kwanten), a shy and awkward office worker by day, finds escape from his ordinary life by assuming the identity of a fantastic superhero each night. Griff’s secret is jeopardized when he meets Melody (Maeve Dermody), a cute but unconventional daydreamer. She quickly becomes fascinated by his idiosyncrasies, which are equal only to her own. In the face of mounting pressure to live in the “real world,” it’s up to Melody to rescue GRIFF THE INVISIBLE for the sake of herself, Griff and their newfound love for each other.
The 93 minute PG-13 film was written and directed by Leon Ford, an actor perhaps best known for his work on HBO’s The Pacific. It currently has a limited release schedule so if you’re in the vicinity, you might want to check it out.
RELEASE SCHEDULE:
August 19, 2011 – Los Angeles, Berkley, San Francisco, New York
August 26, 2011 – Boston, San Diego, Seattle, Denver
Joe Johnston knows how to direct adventure films but watching his growth as a director has been a pleasure. His first offering, Honey, I Shrunk the Kids was a visual effects feast, thanks to his training at Industrial Light & Magic. He followed up in 1991 with his first comic book adaptation, Dave Stevens’ Rocketeer and while the movie is far better than the critical reaction or box office would indicate, it still lacked that certain spark of delight for a summer blockbuster. Over the intervening years, Joe has continued to direct films that has shown steady growth as he has more subtly integrated effects with characterization with the family friendly Jumanji and the heart-warming October Sky. It was all good training as he took on what has become his highest profile project yet, Captain America: The First Avenger.
