Tagged: Dark Horse

MICHAEL DAVIS: The Greatest Story Never Told

I’m convinced that there comes a time in every creator’s career when he or she has that one project that becomes the project. Be they a writer, artist, photographer, director or whatever, there comes a time when said creator realizes without a shadow of a doubt that they have created their baby.

Their triumph. Their masterpiece.

This is the project that they will not compromise on. There will be no quarter given creatively; there will be no major changes to the premise no matter what.

At the many Static Shock pitch meetings at major television networks we were asked if we would consider many changes to the original bible, which I wrote. Some of those changes bothered me, like Static’s mom being killed in a drive-by. How fucking stereotypical was that shit? But as bullshit as I thought that was it wasn’t a deal killer.

At one high level network meeting the question was asked “How about if we make Static…white?”

I said, “How about I bang your wife?”

True story.

OK… almost a true story. I did not actually say the part about his wife. But the network executive did suggest we make Static a white kid, which to me was just as fucked up as me asking to bang his wife. I did think about responding to him with the wife thing but he had a photo of her on his desk and lets just say…ugh.

Many changes were made to the original Static bible. Some I thought were good many I thought sucked. The show was a different story. I thought the show worked on every level regardless of my personal feelings towards the changes to the original bible. Static Shock was handled wonderfully and I have nothing but good things to say about the show.

But Static Shock was not just my baby and I had little to do with the show once it was on the air. But, I do have a baby.

Actually, I have three babies…damn I’ve got the perfect black father joke but I’m going to let it pass… like child support.

My first baby is a project called The Adjuster. I created the Adjuster over ten years ago and twice it came very close to becoming a reality. I refuse to let the Adjuster go just to get it made. Nope. The deal has to be right. The company has to be right.

My second baby is called The Underground. It’s a Dark Horse project and has been for a few years. If by chance Mike Richardson is reading this I will have the book finished this year. It’s a major undertaking and I’m as anal as I am black so it’s been a labor of love and frustration for the last couple of years. But, Mike, to be fair, you took a while approving the story…and I’m still traumatized by the Comic Con incident. You know the one…

Those are my babies and I’m blessed to have the Dark Horse deal and excited about the future of The Adjuster but there is one project which I consider my masterpiece.  I won’t mention the title as it’s currently being considered at a major publisher but I will share with you its journey that is a festinating one. I’ll call it Project X.

In 1998 I had a vision of what I thought was the greatest idea I’ve ever had. The idea was so good it scared me. It scared me because those types of “great ideas” usually suck. It’s never a good idea to think that your idea is a great one.

People lie and the one person people lie to the most are themselves. You may not think it’s lying when you convince yourself that something is a good idea but if you have to convince yourself then to me that’s a lie. But this idea was such a good idea and I was convinced it was great. So, clearly I was lying to myself.

Clearly.

Or was I?

I decided to ask three of the best writers in the industry if they thought it was a good idea. I asked Keith Giffen, Lovern Kindzieski and David Quinn.

They all said it was a great idea. Not a good idea, a great idea. Keith Giffen called it one of the greatest ideas he’s ever heard.

That’s Keith Giffen who said that.

Keith Giffen.

THE Keith Giffen.

After telling those three guys, I ran it past Dwayne McDuffie. He said it was such a good idea he wanted to write it. Not bad eh?

So, with all that love from four of the best in the biz I decided to pitch the idea to DC Comics and I did.  And…I sold the idea.

In 1999 I pitched and sold the idea to DC Comics.

Then things got a bit crazy. Nope, a lot crazy.

End, Part 1!

WEDNESDAY: Mike Gold Outs Critics

 

MICHAEL DAVIS: Game Change

I’ve seen the light.

I’ve seen the future of comics.

I had a meeting yesterday with a company that is going to change the game on the net and can change for comics and creators. I’ve haven’t been this excited since I was 17 and my very first real girlfriend Yvonne Stallworth said, “My parents won’t be home until the morning.”

At 17you know what that means, right fellas?

Poon tang…yeah.

Or in my case spending the night saying; “Please…please…please.”  Before you think I was begging for poon tang; “Please, Please, Please” is the title of a James Brown song I was singing… as I was begging for poon tang.

I can’t talk about the company or what they are doing…no that’s not true, I can talk about it but I’m hedging my bets just in case I’m wrong…which, by the way, I’m not.

That way if they crash and burn I’m protected and if they succeed I’m golden!

All the above said, I’m at a lost as to what was the last game changing moment in comics.

I guess it was the New 52 from DC.

I guess.

I’m not sure because to say something is a game changer is a big deal. Because it’s such a big deal I started thinking, what does it take to be a real game changer?

This is what I came up with. Areal game changer is a person or event that creates a new way of looking at things and years later that way has become the way.

So, with my personal criteria noted what follows are what I consider the most important game change decisions or people who have done so since I’ve been reading comics. You may disagree and if so feel free to amend, add or challenge some or all of my choices.

This list is in NO particular order.

  • Todd McFarlane’s Spider-Man
  • Image Comics
  • Jack Kirby
  • Stan Lee
  • Dwayne McDuffie
  • First Comics
  • Mike Gold
  • Milestone Media
  • Death of Captain Marvel
  • Death of Superman
  • The New 52
  • The iPad
  • The Killing Joke
  • Crisis on Infinite Earths
  • Secret Wars
  • Death of Barry Allen
  • Neil Gaiman’s Sandman
  • Neil Gaiman
  • Kirby’s fourth world
  • Death of Gwen Stacy
  • Dave McKean
  • Bill Sienkiewicz
  • San Diego Comic Con International
  • Teenage Ninja Mutant Turtles
  • Alan Speiegal
  • Arkham Asylum
  • Paul Levitz
  • Jenette Kahn
  • Axel Alonzo
  • Howard Chaykin
  • Dark Horse
  • Mike Richardson
  • Len Wein
  • Marv Wolfman
  • The A.P.E convention
  • John Jennings

Like I said the above list is in no particular order. Don’t send me comments about McFarlane being before Stan Lee, the list is in no particular order.

Duh.

Now. Have at it!

WEDNESDAY: Mike Gold

 

MIKE GOLD: John Carter Returns To Earth

I was about 14 years old when Ballantine Books started their reprint series of Edgar Rice Burroughs’ John Carter of Mars. Being a science fiction fan, a character fiction fan, and fan who’s attracted to anything numbered sequentially, I devoured the series. I re-read the first five books about 12 years ago and I enjoyed them, albeit with a nostalgically jaundiced eye.

I was both amazed and, oddly, not surprised (they’re two different emotions) when my father told me he was a John Carter fan. He started reading them around 1928 – by then, the first book was about 16 years old. Sharing this bond was quite comforting: both John Carter, my father, and I were created in Chicago over a 38 year span.

There have been numerous comics adaptations. The first was for the newspapers and for Dell Comics, created by Burroughs’ son John Coleman Burroughs. Gold Key tried a few issues; despite Jesse Marsh’s art, they were pretty lackluster. Later on, both DC and Marvel got into the John Carter business – sequentially – and those projects attracted an amazing line-up of artists, including Murphy Anderson, Dave Cockrum, Ernie Colón, Larry Hama, Carmine Infantino, Gil Kane, Frank Miller, Walt Simonson, and Mike Vosburg. Whereas the latter Marvel issues were written by Chris Claremont and Peter Gillis, the majority of the DC/Marvel runs (by far) were penned by Marv Wolfman, and that stuff is among my favorite of his. And that says a lot. Later on, Dark Horse did some crossovers with Tarzan, and John Carter even popped up in the waning days of the classic Tarzan newspaper strip. Currently, both Dynamite Comics and Marvel are publishing the character – the latter is tied into the new movie, and the former is tied into a lawsuit.

There had been a great many attempts to bring John Carter to the screen, both large and small. If you dig around, you’ll find the legendary cartoonist Bob Clampett’s test footage and sketches – they were amazing, and I wish he was able to sell the project. I remember going to the International Licensing Show in the early part of this century and seeing a huge display for an upcoming movie adaptation – some stunning artwork, particularly in their mammoth backdrop. Sadly, none of these projects came to be. There was a movie released just a couple years ago starring Antonio Sabàto, Jr. and Traci Lords, but because I’m a nice guy who always maintains a civil tongue, I won’t mention it again.

This Friday, John Carter of Mars finally makes his big-time movie debut. Produced by Disney – not coincidentally the owner of Marvel Comics – if you haven’t seen any of the trailers, commercials or ads for the movie you just might be Stevie Wonder. For many, many reasons, I have set the bar for John Carter pretty high. My dad died six years ago, so I won’t be able to see it with him. But I notice my daughter Adriane is pretty excited about the movie, and I hope to extend the family bond to her this weekend.

By the way, this is John Carter’s 100th anniversary. If you’re planning on sneaking a cake into the theater, please, don’t light the candles.

THURSDAY: Dennis O’Neil

 

MARTHA THOMASES: Hunger Games, Buffy, and Goldie

My friend, Goldie, said, “I’m reading the best book. You would love it.”

I was skeptical. My friend, Goldie, usually likes different kinds of books than I do. She likes historical novels with a sense of place. She enjoys literary fiction, with Serious and Important themes. Still, she is my friend, and I was curious. “What is it?” I asked.

“The Hunger Games,” she said. “I can’t put it down.”

“Isn’t that a young adult series?” I asked. Goldie is circling 60.

“It’s so good,” she said.

The next week, I found myself sitting around a lot and I managed to plow through the entire trilogy. At the same time, another friend (also older than me) and a woman whose job required extensive medical training both told me they were reading it.

Why are four reasonably sophisticated urban women, all but me with advanced degrees, reading a science fiction series aimed at tweens? Are there others like us? Are we statistically significant? Will the lines for the upcoming movie look like the Twilight audience, but now with more feminists?

Because The Hunger Games is definitely a work for those of us who have grown up with feminism. The heroine is brave, strong, skilled and smart. There is almost no mention of her beauty, or even if she is attractive. The two men vying for her affections never comment on her appearance. The challenges she faces throughout the books are about politics, the individual’s obligations to the larger society, and the repercussions of personal choices. She does not shop, talk about shoes, or even hang out with other girls. She doesn’t dislike other girls. She simply has no time for friends.

There is no comparison to serial science fiction in comics. Perhaps Buffy, the Vampire Slayer, but only because it’s based on a (deliberately) feminist television series, one in which the producer retains creative control.

The Hunger Games seemed to me most like the Philip Pullman series, [[[His Dark Materials]]], with the same mistrust of authority, the heroine with a mission whose scope is unknown to her when she begins, the complex and dystopian society. Pullman is a better writer, creating a richer world. There is no love triangle, but there are talking bears.

If you like your fictional worlds created for an adult audience, I highly recommend the books of [[[Elizabeth Hand]]]. The early ones especially are dense and humid, cheaper than a trip to Mexico and much longer-lasting.

Hand, along with Paul Witcover, created a series for DC in the 1990s. Anima was also big fun, mythic while also grungy and pulpy, a Rrriott Grrl for the DCU. Naturally, DC cancelled it before it could find its audience.

This is why there may be lines outside the theaters for the opening of The Hunger Games, but there won’t be lines outside the comic book store.

SATURDAY: Marc Alan Fishman

 

Valiant’s Bloodshot Hollywood Bound

  • News
  • March 1, 2012

modern-bloodshot-300x225-8655094Valiant Entertainment has been stirring things up as they prepare to relaunch their moribund line of characters in May. Now word has hit that Jeff Wadlow has sold a spec script for a Bloodshot film to be produced by Columbia Pictures.

According to The Hollywood Reporter, Wadlow, best known for the film Prey, came up with the notion for the movie and tracked down the rights holders, Jason Kothari and Dinesh Shamdasani, convincing them he was the right man to tackle the property. The script has been kicking around Hollywood since 2008 and was even considered for the developing comic line although that appears to have been abandoned. In March 2010, X-Men First Class director Matthew Vaughn was attached to direct a version of Bloodshot that may or may not have included Wadlow’s script. Wadlow, though, has been paid $450,000 for the spec script and that could swell to $1 million should the movie actually go before the cameras.

Original Films will produce the film for Columbia with Neal H. Moritz set to executive produce. In the announcement, Hannah Minghella, Columbia president of production, said, “The Bloodshot character has been a fan favorite for nearly two decades, selling approximately 7 million comic books globally. Because there have been more than 1,500 pages of storylines published, there is a rich legacy to draw from as we develop the screenplay.  Neal is one of the best action producers working today and we know he is the right filmmaker to take on this potential franchise.”

Moritz is no stranger to comics and pop culture icons, having most recently worked on the remakes of 21 Jump Street and Total Recall for Columbia, and adapting Dark Horse Comics’ R.I.P.D. for Universal.

Meantime, Brett Ratner was announced to be directing an adaptation of Valiant’s Harbinger in 2008 as he sought a franchise he could call his own. Since then, there has been nary a peep from Valiant or Ratner on the property’s development.

Valiant, founded in 1989 by Jim Shooter, will return after a decade’s absence with X-O Man of War in May. Former Marvel editor Warren Simons has been carefully assembling creative teams with a slow roll out apparently mapped for 2012 and beyond.

DARK HORSE PRESENTS ‘THE BLACK BEETLE!’

  • News
  • March 1, 2012
Official Press Release
Adding an exciting new layer to Dark Horse Presents, Dark Horse Comics is proud to announce a new three-part story by New York Times best-selling artist for Batman, and current Captain America artist, Francesco Francavilla: The Black Beetle!
The Black Beetle is centered on a pulp-noir character and takes place in a fictional universe that’s based in Colt City. Francavilla published several stories online and even put out an ashcan. When the ashcan sold out, Francesco quickly realized that many fans were interested in exploring this world with him. It was only a matter of time before Dark Horse approached him about bringing some Black Beetle tales to Dark Horse Presents!
“I’m working on a 24-page story, titled ‘Night Shift’ that will be spread over three issues of Dark Horse Presents. I am hugely influenced by pulp stories of the ‘30s and ‘40s, and wanted to develop a series that used that influence as a jumping-off point to explore some modern storytelling with fun twists. I think this will be a great introduction to readers who are new to this character and universe, but will also be an exciting new adventure for those who’ve been reading the online stories over the years,” Francesco states.
“As a huge fan of pulp and noir, working on my own characters and stories really gives me free reign to explore this world and create lots of fun scenarios and thrilling situations. The stories are definitely full of mystery and intrigue, plus I get to give The Black Beetle lots of cool and funky gadgets. ‘Night Shift’ promises to be full of action, excitement, danger, and double-crosses, so I am overjoyed to see this new tale in print, and hope this is the first of many more to come in Dark Horse Presents.”
For more on Francesco Francavilla’s art, check out his official website, www.francescofrancavilla.com, and his pulp blog, http://pulpsunday.blogspot.com.

 

JOHN OSTRANDER: Batter Up!

It’s spring training for baseball, a time when even Cubs fans can be hopeful despite knowing that, sooner or later, this year’s team will break our hearts as every Cubs team has done for over a century. Truth is, if the Cubs ever won the World Series, their mystique would be gone. Their legend is based on being losers.

As baseball season is upon us, and tonight is the Academy Awards, I want to look back not only at the game but at my favorite baseball movies. For my taste, there is something better about baseball films than there is in films for any other sport. There’s a duality to it; baseball is played by teams but it comes down to individuals – batter versus pitcher.

So here, in no particular order, are my favorite baseball films. I’m not saying they’re the best but they are my faves and I think every one of them is watchable. These aren’t the only baseball films I like and the list may not include your faves but there’s only so much space.

Moneyball stars Bard Pitt in his Oscar nominated role; the nomination is well deserved although his pal, George Clooney, will probably beat him out for the award. The movie does not deal with the game per se but with the business behind the game, focusing on Oakland A’s manager Billy Beane as he attempted in 2002 to win the World Series despite having very little money to work with. At the same time, it has most of a baseball film’s tropes – a team that has little chance, a maverick at the center of the story, a shot of redemption and so on. It comes at everything from a different angle but very worthwhile.

The Natural. Okay, it’s pretentious, it’s overwrought in places, heavy on the symbolism, Robert Redford at the start of the film is too old to be playing a rookie phenom and maybe even the score is over the top. For me, it works. When Roy Cobb hits the light-shattering home run at the climax and the Randy Newman score comes to its symphonic heights, I get chills. I stumble on it on the tube, I watch it all the way through. Great cast, too.

Bull Durham. Great comedy, great romance, sexy as hell, and terrific performances. Focusing on a minor league team is a great idea – players on their way up, players on their way down, players who aren’t going to get any better than this. Human, humble, great baseball scenes, loopy as hell. Costner, whatever else you may think of him, is almost always good playing an athlete and especially a baseball player. He does another great job playing a baseball player in a supporting role in The Other Side Of Anger. This is my second fave baseball movie.

A League of Their Own. “There’s no crying in baseball!” Tom Hanks, that line, and that scene alone merits the film’s inclusion here. Incredible cast overall – Geena Davis, Hanks, David Strathairn (almost always a MVP no matter what movie he is in), Madonna, Rosie O’Donnell and Jon Lovitz in what may be the film role I most enjoy him in. Or enjoy him in at all.  The movie also covers a story I didn’t know about – a women’s professional baseball league in the 1940s while World War II was on. A little sentimental here and there, but first class. Makes you wonder why there isn’t a womens’ professional baseball league today. Maybe we haven’t come a long ways, baby.

The Comrades of Summer. I’d be surprised if most of you knew this one. It was a made for TV movie in 1992. Personal bias – it stars Joe Mantegna who I knew back in my theater days in Chicago. Great guy and a wonderful actor. In this movie, he plays Sparky Smith, a resentful and recently fired baseball manager in the States who gets hired by the Soviet Union that wants to field a team for the upcoming Olympics where baseball will be a competitive sport for the first time. He’s resentful, the players are largely untrained and well nigh hopeless and the odds are long. Classic baseball film material. Aside: there’s a Russian street hustler, Voronov, in the movie who contributed more than a little to my creation of Vilmahr Grahrk in some of my Star Wars stories for Dark Horse.

Field of Dreams. My favorite, hands down. I came at it sideways. When it was first released, I had no interest in it. Then I heard the soundtrack playing in a friend’s car. I didn’t klnow what it was and my friend identified it for me. James Horners’ score for this film is one of my top five favorite scores of all times. Beautiful and haunting. The film hit one of the rerun movies houses in Chicago (the old Three Penny Cinema of fond memory; it’s now a rock joint called Lincoln Hall) and I wanted to see how the music worked with whatever the film was about. So Kim and I went.

Knocked. Me. Out. It has the element of mysticism that The Natural strived for but not so heavy handed. It has James Earl Jones playing a J.D. Salinger type character (in the book by W.P. Kinsella – it was called Shoeless Joe – from which the film was adapted, the character is J.D. Salinger) and Burt Lancaster in a warm and wise small part. Once again, Kevin Costner is the main character, Joe Kinsella, which he handles with humor and heart.

The film is about baseball, yes, and James Earl Jones has a terrific speech towards the end about the importance of baseball and the dreams it has. It’s about redemption and long odds and, most importantly, fathers and sons. The ending is perfect. “Want to have a catch?” I think every father-son relationship is imperfect (yes, probably every father-daughter one, too) and I tear up every time when that final scene plays out. It ends in hope and beauty – just as every baseball season begins in hope and perhaps some beauty.

There’s a few more I’ll mention in passing – the TV version of Bleacher Bums (not the movie version), performed by the original Organic Theater cast including the aforementioned Joe Mantegna. This is the definition of what it means to be a Cub’s fan. “No one ever went broke betting against the Cubs after the Fourth of July.” Soul of the Game about the Negro Leagues just as Jackie Robinson was about to break the color line. Delroy Lindo, Mykelti Williamson (currently seen in this season’s Justified) and Blair Underwood as the young Jackie Robinson. Great stuff. Dennis Quaid in The Rookie. Sort of The Natural without all the mystical hoohah. And the musical Damn Yankees for Gwen Verdon, Ray Walston, and the song (You Gotta Have) Heart. That’s baseball right there.

I think what unites all these films is a sense of redemption and of hope.  You need hope to get through life, even if you know better, even if you know that, in the end, your heart will get broken. Again. That’s what you have at the start of spring training, that this might be the year. Miracles happen. The Cubs might do it. I like myself better when I hope.

As the fabled Cub Ernie Banks used to say, “Let’s play two!” Batter up!

MONDAY: Mindy Newell

HANCOCK TIPS HIS HAT TO BPRD: BEING HUMAN!

  • News
  • February 15, 2012

TIPPIN’ HANCOCK’S HAT-Reviews of All Things Pulp by Tommy Hancock
BPRD: BEING HUMAN
Mike Mignola, John Arcudi, Scott Allie, et al
Dark Horse Comics
I’m a Hellboy Fan.  Probably not as well read as most, but a fan nonetheless.   Hellboy is a kind of visual Pulp that excites the senses for a variety of Pulp fans-Horror, mystery, fantasy, adventure, and on and on and on.   Although the quality of stories has varied at times, one thing remains true.  A Hellboy related Tale is never ever without weirdness and adventure.  Never.
The same holds true for the stories found in ‘BPRD: Being Human.’  There’s haunted woods, zombie plantation owners, werewolves, spirit eating demons, and that’s just the bad guys.  Although Hellboy makes an appearance, this collection focuses on other members of the BPRD and each story ties very strongly into the title of the collection.
This book is about the aspects of humanity that some members of the BPRD feel like they don’t have, others feel like they don’t deserve them, and still others are desperate to have some sense of humanity.   In that, the book hits home.  Each story, there are four, clearly illustrates just how human the strange beings that work with or alongside the BPRD actually are and how maybe the humans around them could take lessons. 
The art is stunning as usual.  Creepy, under your skin, making you study the shadows to see what might jump out at you.   Overall, the collection is solid.  The werewolf story is probably my favorite as it conveys its point amongst a ton of action in a very few pages.  The  Roger the Homunculus story started off strong, but didn’t really have a resolution that lived up to the beginning.  The other two stories were usual fare from the Hellboy realm, which means they were pretty solid.
FOUR OUT OF FIVE TIPS OF THE HAT-  The book made its point.  And did it with spooky art and fairly strong storytelling.

John Severin: 1921-2012

John Severin, Eisner Hall of Fame winner and one of the last of the legendary EC artists, died Sunday in Denver, Colorado. He was 90.

Severin was among the greatest draftsmen of the EC crew. He was especially well known for his western comics and war comics, but worked across many genres, including a 45 year stint drawing for Cracked magazine, doing numerous parodies and creating the definitive version of the company mascot, janitor Sylvester P. Smythe.

In recent years he had continued to work, with his last new material coming from Dark Horse last year on Sir Edward Grey: Witchfinder.

His family has released a statement:

Internationally acclaimed illustrator-­cartoonist, John Powers Severin (1921-­2012), passed away Sunday, February 12, 2012 at his home in Denver, Colorado with his family by his side.

He was 90 years old.

Throughout his sixty plus year career in comic illustration and cartooning, Severin gained world-­wide notoriety and is regarded by many fans, friends, historians, and colleagues as a truly distinctive and brilliant artist.

Long-time friend and former president and chairman of Marvel Comics, Stan Lee states, “He had an art style that was uniquely and distinctly his own.The minute you looked at his artwork you knew you were looking at a John Severin illustration; it could be no one else. Besides his inimitable style, there was a feeling of total authenticity to whatever he drew, whether it was a Western, a crime story, a superhero saga or a science fiction yarn. Not only was his penciling the very finest, but his inking, too, had a distinctive Severin touch that made every strip he rendered stand out like a winner”.

(more…)

Arcana

Arcana Joins With Benderspink To Launch Comics Line / R&D Lab

ArcanaContinuing the tradition of movie studios teaming up with comics companies to create properties that can be turned into movies (see: Disney/Marvel, WB/DC, Universal/Dark Horse, Legendary/Legendary, etc./etc.) we have the latest entry…

Benderspink and Sean Patrick O’Reilly’s Arcana Comics are launching ArcanaBenderspink Comics, a label that will publish under the Arcana brand. The idea: hatch comics that can be turned into movie and TV properties. The partnership comes out of JC Spink and Sean O’Reilly’s strong relationship after setting up the Arcana comic book Continuum at New Line. “What I thought made this a great partnership was that Sean not only knows how to make a great comic but he’s actually produced movies,” Spink said. “I don’t know any comic publishers that have his producing experience.” Benderspink partner Jake Weiner said that the comics label is a byproduct of the company’s increased focus on generating intellectual properties. “This is one of five IP creation deals we are entering into along with deals in mobile content/apps, Y/A publishing, videogames, and toys.”

Benderspink has already been tapping comics for films, as the company has percolating Y The Last Man at New Line, Area 52 at Summit, The Mighty at Paramount, Ghouly Boys at Mandate, and Undying Love at Warners. “Jake, JC, Sean, and I are looking to partner with other producers and then start shopping these projects to studios in the next few weeks,” Chris Bender said. “What we wanted to do differently was have studios option the projects inexpensively and then hire writers as the studio helps us develop the comic. I think this makes it a no lose proposition for everyone.”

Arcana founder Sean O’Reilly said the venture was a good fit because Benderspink is so steeped in comics. “And they produced one of what I think is the top 3 comic book movies ever with A History of Violence,” O’Reilly said.

via Benderspink, Arcana Launch Film-Friendly Comics Line – Deadline.com. Go there to read the concepts they already have movie posters for. (Comics? Finished comics? Hey, we can sell the concept just based on the movie poster of the comic… remember how well that worked for Cowboys and Aliens?)

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