In today’s edition of The New York Times, the Sports section features an article on our Original Johnson strip. George Gustines does a nice job placing Johnson in American and boxing history. If you haven’t checked out the story from Trevor Von Eeden, it’s still running with new pages every week here at ComicMix.
Robert Tinnell has spent the last half decade racking up credits as a graphic novelist with The Black Forest, The Wicked West, and Sight Unseen splashing blood across the comic book pages. Now, Mark Wheatley and Robert Tinnell, the creative team behind last year’s Harvey-nominated webcomic/graphic novel EZ Street, follow up with Lone Justice: Crash. LJ:C, like EZ Street, will run for free right here at ComicMix beginning Jnuary 12, but that’s not where the similaritites end.
In EZ Street, central characters Scott and Danny Fletcher set to work on a comic book project featuring their character, Lone Justice. Lone Justice: Crash is in fact Wheatley and Tinnell’s take on what that book would be. Featuring the art of Wheatley (Frankenstein Mobster, Mars) and co-scripted by Tinnell (Feast of the Seven Fishes), Lone Justice: Crash takes place during the Depression, but given this era’s economic troubles will most certainly resonate with the modern reader.
Lone Justice: Crash follows the exploits of the titular character, who was first introduced as the creation of Scott and Danny Fletcher, themselves characters in Tinnell and Wheatley’s EZ Street. Occupied for years successfully battling crime as Lone Justice, millionaire Octavius Brown has let his own finances slip to the point of ruin. Now destitute, unable to even effectively re-arm his weaponry, Brown must live amongst the masses of homeless in the city. It is there that he learns the true face of evil, and from nothing is reborn as a true defender of the innocent. Combining the thrills of two-fisted pulp action with a storyline that parallels much of our nation’s current socio-economic struggles, Lone Justice: Crash represents a sincere effort to deliver what comics can do at their best: an entertaining message.
Our friends over at FearNet posted this trailer:
While we’re inundated with good, classic and fairly crappy Christmas specials, we here at ComicMix take note of what we think may be the first holiday special surrounding Three Kings Day, a.k.a Little Christmas, of the day when the three kings arrive to see the newborn baby.
Nickelodeon will air its Dora Saves Three Kings Day, on Tuesday, January 6, at 8 p.m. We’re not sure how Dora the Explorer will accomplish this miracle but Nick wants to make sure we’re all aware of the impending event with the following planned:
• A two-minute sneak peek at the episode and clips from a song from the show, along with additional episodes, will stream on Nick Jr. Video from Monday, December 29. The entire episode will be available on Nickjr.com from January 7.
• The two-minute sneak peek, song and episode clips from the episode will be available on various wireless carriers also from December 29.
• Nickelodeon on Demand will offer a sneak peek, shorts and song clips from the episode, as well as additional Dora episodes Throughout January.
Fine, we’re running low on cute titles to our previews of the Lost Season 4 DVDs (here’s Bob’s review and here’s the first preview). Consider yourself lucky we didn’t do Electric Bogaloo.
In this one, the producers talk about one of the big reveals in the series and some of the alternate endings they shot as coverage, in case something got leaked. If you haven’t seen season 4 yet, there are SPOILERS inside. You’ve been warned, we don’t want to hear you complain later.
Keep coming back to ComicMix for more previews.
ACME Novelty Library, No. 19
By Chris Ware
Drawn & Quarterly, October 2008, $15.95
First of all, it’s just struck me how odd it is that the cartoonist universally referred to as “Chris Ware” is only credited as “F.C. Ware” – and that in tiny indicia and similar eye-straining matter – in his own stories and publications. One might almost posit a crippling social phobia or overwhelming shyness on the cartoonist’s part, a personality much like his usual viewpoint characters. (But then one remembers never to assume an artist is anything like his creations; it’s rarely useful.)
The last annual issue of [[[ACME Novelty Library]]] – number eighteen, for those who have difficulty counting backwards – collected the “Building Stories” sequence, mostly from The New York Times Magazine’s “Funny Papers” sections, but this volume returns to “Rusty Brown,” the long story that ran through most of issues sixteen and seventeen and does not seem to be done yet. These pages, a typically arch and distanced note by Ware informs us, “originally appeared in somewhat different form in the pages of [[[The Chicago Reader]]] between 2002-2004, and thus should not be interpreted as an artistic response to recent criticisms and/or reviews of this periodical.”
This time the focus isn’t on the title character, but on his father Woody – first, through a dramatization of a science-fiction story by Woody (luridly, but honestly, titled “[[[The Seeing Eye Dogs of Mars]]]”) and then through a sequence of events in Woody’s life as a young man in the ‘50s, fresh out of school and working as an obituary writer on a newspaper. Those events do lead to the writing of “[[[Seeing Eye]]],” and, near the end, back to the frame story of Rusty’s youth in the 1970s.
Do I need to tell you that young Woody Brown is painfully shy, ridiculously introverted, barely in control of his emotions, socially inept, clueless when it comes to the most basic patterns of living in a society, and completely unable to make any of his thoughts or feelings clear in any form of communication under any circumstances? Or did you already assume that when I mentioned that he was the main character in a Chris Ware comic?
Continuing our previews of the Lost Season 4 DVDs (here’s Bob’s review and here’s the first preview) here’s how they come up with the soundtrack. Because when I think of Lost, I think of that memorable theme music… man, I could just hum that melody for days.
Keep coming back to ComicMix for more previews.
Yes, even more previews of the Lost Season 4 DVDs (here’s Bob’s review and here’s the first preview). Here’s how they do the shooting in one of the loveliest places on the planet, and make it look like every other place on the planet.
Keep coming back to ComicMix for more previews.
Serialized television has seen a decline in ratings after becoming all the rage, ignited largely by the originality and quality of Lost. Created by J.J. Abrams, Carlton Cuse and Damon Lindelof, the series had an intriguing premise, an intricate mythology and a sprawling cast, but they never took the focus off the characters. We got to know them, one by one, and came to care what happened. As several regulars died off, we were repeatedly told, this is a dangerous situation and everyone was vulnerable. This season, more favorite characters are wiped away in dramatic fashion and helps inform those who survive.
Of course, the fun of the series is also seeing the dead come back to appear in flashbacks and hallucinations so no one stays away from the show for good.
The third season was accused of losing that tight focus and its audience began to dwindle. In spring 2007, ABC and the producers agreed to an end date for the show, spring 2010, and that freed the producers to finish plotting out the series in broad strokes. We go the first hint of that in the season finale which had the first flash forward, showing us a suicidal Jack insisting he and Kate have to return to the island.
As a result, we were eager for the fourth season, the six-disc DVD collection, which goes on sale Tuesday and were not disappointed. The freighter that has arrived proves not to be from Desmond’s beloved Penny but on behalf of Charles Widmore, who seems to be out to control the island and its secrets. From that point, we delve into sixteen episodes which furthered everyone’s character arcs while introducing new wrinkles and new cast.
As one would expect, Jack and Locke are at odds as Locke’s spiritual side says they have to remain on the island while Jack remains committed to getting everyone off. The cast splits and we follow both sides with Locke’s crew taking over the compound used by The Others, who have fled.
A Kennedy Miller Mitchell representative has told Dark Horizons that their report of George Miller no longer being attached to Warner Bros.’ Justice League film was inaccurate.
The website ran the report from a fan who said he saw Miller on Australia’s Sunrise Morning Show and provided quotes. Garth Franklin dutifully reported the news which just about every genre-related website, including ComicMix, also ran. Apparently, Miller did not appear on the show and the normally reliable source appears to have misled the site.
All the rep would say for the record is that both JL and Mad Max are being “worked on” without elaboration. Warner Bros. has had issues getting the JL made, first with tax-related issues for filming in Australia and then with a refocusing on their super-hero franchises in the wake of Marvel’s summer successes with interconnected threads creating the Marvel Universe on screen.
Following the conclusion of Batman R.I.P., there’s been a tremendous amount of speculation on what will happen to the Dark Knight next. Luckily, ComicMix is on the case!
New images reveal that the latest interpretation of the Batman will be taking cues from the widespread financial troubles that all of us are going through, proving that even billionaire Bruce Wayne isn’t immune from the gyrations in the market, and even Wayne Enterprises can be caught in the credit crunch. But even though times are tough, the Batman is tougher.
Of course, he does have to tighten his utility belt a bit. Instead of the gaz-guzzling tanks and jet engines on wheels of years past, the new Batmobile is prepared for oil shortages and supply disruptions.
Columns / Glenn Hauman / News
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