Tagged: DC Comics

Review – Peter Cannon, Thunderbolt

Review – Peter Cannon, Thunderbolt

Peter Cannon Thunderbolt is back and Dynamite delivers it with style with a new number one that came out this week.

Dynamite has done a great job with taking old pulp concepts like Lord Of The Jungle and bringing them back with a new look and style, yet remaining true to the concept. Peter Cannon is no exception.

Issue one opens with the Thunderbolt battling a dragon. Experiments with nuclear testing caused a dragon to appear in the sky. It was subdued (for the moment) by the Thunderbolt and led countries to talks about nuclear disarmament. We flash forward two years later and Peter is looking miserable as he prepares to be interviewed on another talk show. The thunderbolt identity is known to the world. Peter did this to stop people from being hounded by reporters – now finds himself facing the challenges of celebrity and fame. Things didn’t go quite as expected and Peter seems to be searching for a way to overcome the distractions in his life.

Along the way, new and old acquaintances to the previous thunderbolt series make their appearances, foreshadowing future issues to come. The conclusion is unexpected and in a good way. Steve Darnall and Alex Ross managed to capture a lot of the qualities that made the character so intriguing, and manage to build an intriguing mystery to keep you coming back for more. Jonathan Lau’s Thunderbolt is impressive, but I think my favorite panel in the issue is peter, alone in his dressing, head down and drowned in shadow. In conveyed his personal happiness better than anything else in the whole issue. It’s the little storytelling things that make or break a good book and that little panel was a nice touch. A credit should also be shared with Vinicius Andrade for that as well.

Beyond the main story, Mark Waid introduces Pete Morisi Thunderbolt story never before published. A little bit of that Charlton fanboy in me squeed at reading this retelling of Peter Cannon’s origin. Who better to tell it then Morisi himself?

Originally, this story was going to be published for DC Comics in the Secret Origin’s anthology that Mark Waid was editing at the time. Due to unforeseen circumstances, the story never was published until now. In it you meet Peter Cannon, and get a great re-telling of his origin. You see him train and master the ancient scrolls to become the Thunderbolt. The hooded one, the man studying the scrolls before Peter was chosen for them, also appears and begins to become a thorn in Peter’s life, from his trials to the main plot of the first story.
Using his telepathy, the hooded one manipulates Lucifer Barnes into hatching a dinosaur egg and sets it loose in the city. As the thunderbolt, Cannon foils the plot and vows never ever to be that man again…until next time.

The final thing in here that’s kind of neat is the essay in the back written by Steve Darnall called Pete’s Dragon, which talks about the influences for the main story in the book which is a fascinating read.

You’d be very hard pressed to find a book this week worth the money paid for then with this. Two comic stories – including a Peter Morisi comic, a promising first issue and one of the amazing four covers for the book, all in all a great comic worth reading.

Diamond announces August 2012 Best Sellers

Avengers Vs. X-Men #9 from Marvel Comics, the best-selling comic book to specialty retailers in August 2012, according to information provided by Diamond Comic Distributors, the world’s largest distributor of comics, graphic novels, and pop culture merchandise.

DC Entertainment was August’s leading publisher in Retail Dollars, leading Marvel Comics 33.32% to 32.42%. Meanwhile, Marvel Comics edged DC Entertainment on the Unit Market Share for the month, 37.18% to 37.12%.

For the second month in a row, Geoff Johns and Gary Franks’ [[[Batman: Earth One]]], the original graphic novel that reimagines the early days of Batman, was the best-selling graphic novel to retailers.

Based on Warner Bros. Interactive Entertainment’s best-selling Batman: Arkham Asylum video game, Square-Enix’s Batman: Arkham Asylum Play Arts ~Kai~: Harley Quinn Action Figure was the best-selling toy product to comic book specialty retailers in August.

Earth’s most powerful heroes join the HeroClix campaign with the DC HeroClix: Justice League Expansion from WizKids/NECA, the best-selling games product to comic book specialty retailers in August.

TOP COMIC BOOK PUBLISHERS

PUBLISHER

DOLLAR

SHARE

UNIT

SHARE

DC COMICS

33.32%

37.12%

MARVEL COMICS

32.42%

37.18%

IDW PUBLISHING

5.88%

4.64%

IMAGE COMICS

5.75%

5.37%

DARK HORSE COMICS

4.92%

3.89%

DYNAMITE ENTERTAINMENT

3.19%

3.16%

EAGLEMOSS PUBLICATIONS LTD

1.83%

0.40%

BOOM! STUDIOS

1.52%

1.48%

VIZ MEDIA

0.96%

0.41%

ARCHIE COMICS

0.85%

0.82%

OTHER NON-TOP 10

9.35%

5.52%

COMPARATIVE SALES STATISTICS

 

DOLLARS

UNITS

AUGUST 2012 VS. JULY 2012

COMICS

6.49%

6.38%

GRAPHIC NOVELS

22.13%

19.48%

TOTAL COMICS/GN

11.23%

7.43%

AUGUST 2012 VS. AUGUST 2011

COMICS

19.27%

14.22%

GRAPHIC NOVELS

14.95%

24.74%

TOTAL COMICS/GN

17.80%

15.09%

YEAR-TO-DATE 2012 VS. YEAR-TO-DATE 2011

COMICS

20.51%

17.97%

GRAPHIC NOVELS

14.13%

12.78%

TOTAL COMICS/GN

18.41%

17.54%

TOP 10 COMIC BOOKS

RANK

DESCRIPTION

PRICE

ITEM CODE

VENDOR

1

AVENGERS VS X-MEN #9

$3.99

JUN120592-M MAR

2

AVENGERS VS X-MEN #10

$3.99

JUN120599-M MAR

3

BATMAN #12

$3.99

JUN120177-M DC

4

JUSTICE LEAGUE #12

$3.99

JUN120142-M DC

5

AMAZING SPIDER-MAN #692

$5.99

JUN120622-M MAR

6

BEFORE WATCHMEN: RORSCHACH #1 (MR) [*]

$3.99

JUN120129-M DC

7

AVX VS #5

$3.99

JUN120590-M MAR

8

BEFORE WATCHMEN: DR. MANHATTAN #1 (MR) [*]

$3.99

JUN120134-M DC

9

GREEN LANTERN #12

$2.99

JUN120196-M DC

10

DETECTIVE COMICS #12

$3.99

JUN120181-M DC

TOP 10 GRAPHIC NOVELS & TRADE PAPERBACKS

RANK

DESCRIPTION

PRICE

ITEM CODE

VENDOR

1

BATMAN: EARTH ONE HC

$22.99

MAR120234 DC

2

THE WALKING DEAD VOL. 1: DAYS GONE BYE TP

$9.99

JUL068351 IMA

3

SWAMP THING VOL. 1: RAISE THEM BONES TP

$14.99

MAY120280 DC

4

SUPERMAN: ACTION COMICS VOL. 1: SUPERMAN MEN OF STEEL HC

$24.99

APR120245 DC

5

BATMAN VOL. 1: THE COURT OF OWLS HC

$24.99

JAN120300 DC

6

HULK SEASON ONE PREMIERE HC

$24.99

MAY120746 MAR

7

SCOTT PILGRIM VOLUME 1 COLOR HC

$24.99

MAY121234 ONI

8

STAR WARS: THE CLONE WARS: SITH HUNTERS TP

$7.99

APR120041 DAR

9

THE WALKING DEAD VOL. 2: MILES BEHIND US TP

$14.99

SEP088204 IMA

10

FEAR ITSELF TP

$29.99

JUN120721 MAR

TOP 10 TOYS

RANK

DESCRIPTION

ITEM CODE

VENDOR

1

BATMAN: ARKHAM ASYLUM PLAY ARTS KAI: HARLEY QUINN ACTION FIGURE JAN128132 SQU

2

BATMAN: ARKHAM ASYLUM PLAY ARTS KAI: ARMORED BATMAN ACTION FIGURE JAN128131 SQU

3

TEENAGE MUTANT NINJA TURTLES RETRO COLLECTOR FIGURES APR121769 PLA

4

MARVEL SELECT: AVENGERS MOVIE ENEMY FIGURE JAN121705 DST

5

ALICE: THE MADNESS RETURNS SELECT FIGURE JAN121700 DST

6

BATMAN BLACK & WHITE STATUE: DARWYN COOKE APR120307 DC

7

AVENGERS MOVIE: IRON MAN MK VII ARTFX STATUE MAR121684 KOT

8

BATMAN BLACK & WHITE STATUE: DICK GRAYSON BY JOCK MAY120346 DC

9

FORBIDDEN PLANET: ROBBY THE ROBOT 12-INCH FIGURE FEB121668 X P

10

MARVEL UNIVERSE ACTION FIGURES JUN121848 HAS

TOP 10 GAMES

RANK

DESCRIPTION

ITEM CODE

VENDOR

1

DC HEROCLIX: JUSTICE LEAGUE APR121984 NEC

2

MARVEL HEROCLIX: CHAOS WAR BOOSTER BRICK APR121987 NEC

3

DOCTOR WHO ACTION BOARD GAME OCT101791 DIA

4

DC HEROCLIX: JUSTICE LEAGUE FAST FORCES 6-PACK APR121985 NEC

5

WONDERLAND BOARD GAME APR121345 ZEN

6

THE WALKING DEAD TV BOARD GAME JUL112137 CRY

7

THE WALKING DEAD COMIC BOARD GAME JUL112185 Z-M

8

MAGIC THE GATHERING TCG: 2013 CORE SET EVENT DECK APR121978 WIZ

9

MAGIC THE GATHERING TCG: 2013 CORE SET BOOSTERS APR121977 WIZ

10

PATHFINDER BATTLES: RISE OF THE RUNELORDS BOOSTER BRICK MAY128110 NEC

Data for Diamond’s sales charts — which include the monthly market shares and all top product charts — are compiled by Diamond Comic Distributors from a universe of over 3,500 comic book specialty shops located in North America and around the world. The account base includes brick-and-mortar comic book specialty shops, Internet merchants, and other specialty stores.

Unit and dollars sales are calculated based upon orders invoiced and shipped to Diamond accounts during any given month, which comprises initial pre-orders, advance reorders, and reorders, minus any copies that are received back from a title marked as returnable.

Please note that comics marked with an asterisk have had their reported quantities reduced due to retailer returnability, and thus may rank lower on the charts than their actual sales would reflect.

Mike Gold: Batman Is Batman, and I Am The Sweetheart of the Donut Shop

Back in the mid-70s the astonishingly gifted Neal Adams pointed out – in context of something else – that the issues of Detective Comics he drew outsold those Frank Robbins drew. Let me state: Neal was not putting Frank’s work down.

Nonetheless, I felt that comment lacked veracity, so – being an honest-to-Crom obnoxious brat hotshot at DC Comics at the time – I looked up the sales figures. It turns out Frank’s issues actually sold slightly better than Neal’s on average. But in those days of newsstand-only comics, the all-important sell-through percentages – that is, the percentage of comics sold out of the total print run – was a couple points higher. And each point over breakeven is pure profit, each point significant to the publisher and to the success of the title.

I am not putting Neal down; I think most people would have suspected his work would outsell Frank’s. But, really, the marginal victories contributed by the artists are less significant than the mere fact that ever since Adam West donned the cowl, Batman is Batman. It’s possible that really bad talent could torpedo the character, but it would take a while and management would notice and hit teams would be assembled.

I mention this by way of Marc Alan Fishman’s discussion in this space last Saturday of the recent brouhaha between Rob Liefeld and Scott Snyder. Scott went on about how his Batman (which, in my opinion, is one of the best monthlies DC Comics publishes these days) sells 80,000 copies and how it outsells Rob’s work at DC, from which Rob recently resigned.

Rob’s position is that such stellar sales are not due to the craft of the talent within as much as the fact that the book is called Batman and that Batman would be a top-seller even if Jason Todd wrote it. Scott said horse hockey (I paraphrase), and lots of folks agreed, including our own Marc Alan Fishman – the son I never had and if there were any hint he was he’d demand a blood test.

At this point, I need to point out the following: It was Marc who turned me on to Scott’s Batman. As he has repeatedly made clear, Marc’s not a big fan of The New 52. Yet he personally took every opportunity to inform me that Batman was an exception. I read the first three issues and told him I agreed.

I also need point out that I have never met Scott. I’ve met Rob, although I haven’t seen him since a San Diego show about a decade ago and I don’t think we’ve ever had a real conversation. I personally do not find his work of late to be compelling, but that’s my taste. There’s a reason why DC gave him all that work this past year, and he’ll always be a hero for creating Deadpool. Rob’s managed to make an impressive number of not-friends during his career, but that can be a positive mark of distinction depending upon the individuals and circumstances involved. I, on the other hand, am well-known as the sweetheart of the donut shop. I have no axe to grind against any anybody.

Batman receives much wider distribution than Savage Hawkman or Deathstroke. The latter titles are pretty much restricted to the comics shops and to e-comics sales; you can buy Scott’s Batman at a great many convenient stores, truck stops and the more enlightened supermarkets. This is because Batman is Batman.

His Batman outsells Rob’s New 52 titles in the comics shops, to be sure. Quality is in the mind of the reader and, unfortunately, when you’re dealing with Batman or X-Men or Oreo cookies, who’s got the better stuff simply is not as important as the brand itself.

Rob Leifeld is absolutely correct when he says Batman is Batman.

But bringing rational thought to a flame-fight is a buzz-kill.

Mike Gold, Marc Alan Fishman, and our fellow ComicMixers Emily S. Whitten, Glenn Hauman and Adriane Nash will be at this weekend’s Baltimore Comic-Con, mostly hanging around the Insight Studios and Unshaven Comics booths, annoying the innocent. Drop by and say hello.

THURSDAY: Dennis O’Neil

Joe Staton kills Aquaman in Dick Tracy

Aquaman killed — in Dick Tracy?

Joe Staton kills Aquaman in Dick TracyR.I.P. Arthur Curry– better known to the rest of the comics reading world as Aquaman.

In today’s Dick Tracy comic strip, by DC Comics veteran Joe Staton and Mike Curtis, aquarium director Arthur Curry is revealed to have been murdered. Arthur Curry is the secret identity of Aquaman. Even miscolored, you’ll notice the resemblence, right down to the scales on his shirt.

Curry was killed by a villain named Phishface a few strips earlier. We look forward to Dick Tracy bringing the killer to justice in the days and weeks ahead– and we are even more amazed that the killer wasn’t Geoff Johns.

Michael Davis: Milestones – African Americans In Comics, Pop Culture And Beyond, Part 3

Please read parts one and two before this installment.

The Comics Code Authority (CCA) tried its best to stop EC from publishing a particularly offensive (to them) comic book. The book they were trying to stop was Weird Fantasy #18 (April 1953); the story was called “Judgment Day.”

What was objected to was not a gory scene of a space monster under orders from a criminal ripping to pieces an earth girl who, clad in scant bra and panties, was an obvious sexual tease for 50s era yikoung boys.

What was objected to was the main character, an astronaut, was revealed on the last page in the last panel to be a black man. Wow, who knew that the Tea Party was alive and well in 1953 under the name Comics Code Authority?

Why am I surprised at this? The GOP thinks that a woman can’t get pregnant and everyone knows that’s science fiction but (sorry Peter) I digress…

The CCA demanded the story removed or the last panel changed to a white boy. ECs editor William Gaines, the publisher of Weird Fantasy, responded to that demand with “Fuck you.”

Three years later, Gaines reprinted the story in the final issue (#33) of Incredible Science Fiction.

William Gaines was gangsta.

Like Branch Rickey, the man who brought Jackie Robinson to professional baseball, William Gaines was a civil rights pioneer. Both were white men and although Gaines rarely gets any kudos for his civil rights stance, certainly not the way Rickey is remembered.

That shot fired in 1956 started a war in the comic book industry over black story lines, black characters and black creators and that war continues today. A war not nearly as difficult as it was in 1956 but a war nevertheless.

1956 meet 1993 meet 2012…

In 1993 Denys Cowan, Dwayne McDuffie, Derek T. Dingle, Christopher Priest and myself founded Milestone Media.

Milestone was a worldwide phenomenon making history with its ground breaking deal with DC Comics. At the time the deal with DC was the biggest joint venture deal ever done in comics.

The deal was not the reason Milestone was heralded. Milestone was rocketed in front of the public because the founders were four African American men. We were four because Christopher Priest left the company before Milestone published.

In the almost 20 years since Milestone came on the scene the company is still thought of as the penultimate African American comic book company.

That’s good.

That’s bad.

It’s good because Milestone accomplished something that was a long time coming. Milestone put black content on the map. Black creators, black characters and black story lines were propelled to the forefront of the American comic industry. Never before in comics long history has African American content captured the imagination of fans, retailers and the press.

It’s bad because Milestone is almost 20 years old and still the penultimate African American moment in comics. As a founder of Milestone that gladdens me as an African American creator it also saddens me.

Where is the next wave?

Within the African American comics’ community there exists splits’ that mainstream comic book readers for the most part are not aware of. Among most black creators Milestone is respected, but there are some young black creators who see Milestone as sellouts, Uncle Toms or worse. Some in the black comic book community have gone so far as to brand Milestone, House Niggers when discussing our groundbreaking deal with DC Comics.

This is the state of the very real divide within the black comics community.

There is a thriving independent group of young black creators who are doing bold and wonderful work. They publish with small indie houses or they self-publish. The stories they are creating are mostly Afro-centric, mostly positive but there are some which are anti-establishment, a.k.a. anti-white.

On the flip side of that there is a contingent of black creators who reject all other forms of publishing unless a major publisher publishes them and by major publisher I mean the two big boys, Marvel and DC. Lastly there are those black creators who would not publish with Marvel or DC if their lives depended on it, seeing both companies as comic’s answer to plantations.

With all the seemingly inexhaustible black talent out there I ask again…

Where’s the next wave?

Why is a new black anything (comic, creator, character) at Marvel or DC still seen as a breakthrough 20 years after Milestone and 58 years after Judgment Day?

Case in point, Marvel’s new half black, half Latino Spider-Man. That was a huge story, which captivated numerous news cycles. The recent cancellation of DC Comics’ New 52 Static Shock after only six issues sent shock waves (pun intended) throughout the industry.

The outcry from fans on the net went from, oh no Static was cancelled to Static was cancelled because he was black.

Here’s what Denys Cowan and I, co-creators of Static Shock and both black creators think, Static was cancelled because this hit, cool, teenage hero was fighting a giant fish.

Up until now there has been no serious attempt to showcase African Americans and the creative excellence, which has been a mainstay of the industry for as long as comics have been an American art form. Unfortunately at the beginning of the American comic book business, African Americans were depicted most often as horrible stereotypes.

I’ve seen that movie; Milestones: African Americans In Comics, Pop Culture And Beyond will not be that kind of show. 

Yes, there will me a nod or two to the depiction of those sad and hurtful images. However, this show will be about the vast talent and wonderful innovation that came from or were influenced by African Americans.

From the faceless contributions of those like William Gaines almost 60 years ago to the constant search for African American talent by Mike Richardson to the acknowledgement of contributions by people like Jenette Kahn, Marv Wolfman, Stan Lee and Jack Kirby this show will embrace the totality which is black comics.

Make no mistake; the overwhelming focus will be on black creators and their art. But let’s face it there would have been no Static Shock without the Black Panther.

It’s my hope that the show will feature not just the work of mainstream black creators but also work from those who consider themselves outside the mainstream as well as those who want nothing to do with the mainstream. I’d like the major comic book companies like Marvel, DC and Dark Horse to have sections devoted to them and their efforts to level the racial playing field but also let’s learn from the mistakes they made.

Independent and new companies will be invited to participate as long as the work from that company is quality. Let’s face it; some independent publishers simply suck.

I don’t care if you are the son of Malcolm X. If your work sucks you will not be represented in the show and I’ll keep you out by any means necessary.

Damn, I’m witty!

Writers from within and outside the comics industry will be called upon to write essays and reflections on the fight for acceptance and the triumph of arriving and exceeding expectations.

In America it’s no secret that African American culture is pop culture so it’s my objective to showcase that. I may fail, I may not be the guy that should have been chosen for this wonderful event but from the bottom of my heart I swear I will do the best I can.

If I fail, it’s my fault…and the Tea Parties…what?

WEDNESDAY: Mike Gold, Passion and Wonder

 

John Ostrander: Writing Fiction – You Can’t Make This Stuff Up

Back in 1986, I was selling DC Comics on the idea of the Suicide Squad. At the time I proposed it, the Squad would be a relatively subversive idea: the U.S. government would use supervillains on covert ops that were deemed in the national interest. Unofficial, unseen by the public, doing dirty work.

Between the time I sold DC on the idea and when the first issue debuted (May 1987), the Iran-Contra Affair, also known as Irangate, broke out. In it, the Executive Branch of Ronald Reagan’s White House were illegally selling guns to Iran and using the proceeds to fund the Nicaraguan Contras that had been banned by Congress via the Boland Amendment. So the U.S. government was engaged in illegal covert action already. Once again, reality made me look like a piker.

Reality has a way of doing that. There are things that happen in so-called “real life” that I would find it hard to sell to an editor.

Let’s take Rep. Todd Akin (Republican, Missouri), who is running for the Senate seat in that state. He famously said last week that, in the cases of “forcible rape” that pregnancy isn’t likely because “If it’s a legitimate rape, the female body has ways to try to shut that whole thing down.” (The New York Times covered the whole incident pretty well here. This is not some backwater goofball; he’s a six term congressman and is, or was, a member of the House Science Committee.

I don’t think I could sell an editor a character who believed something that fundamentally flawed. It is too much of a caricature. And yet it’s real.

Let’s take another case. Back in January, Tennessee State Senator Stacey Campfield, a Republican, claimed that it was virtually impossible for heterosexuals to get AIDS. I guess he never heard (or cared) about how AIDS has ravaged Africa – or, for that matter, America. Okay, this one I might get past an editor but again I’d be close to caricature and parody.

And down in Texas, Judge Tom Head said if President Obama is elected to a second term, it could cause a civil war. “He’s going to try to hand over sovereignty of the United States to the U.N. We’re not just talking a few riots here and demonstrations, we’re talking Lexington, Concord, take up arms and get rid of the guy.” He added: “Now what’s going to happen if we do that, if the public decides to do that? He’s going to send in U.N. troops. I don’t want ’em in Lubbock County. OK. So I’m going to stand in front of their armored personnel carrier and say, ‘You’re not coming in here.'”

The judge says he was quoted out of context but you can see a video of it here. He was quoted exactly. And he wasn’t foaming at the mouth or kidding; he’s was very matter of fact about it. And the interviewer is just sitting and nodding and going “Mm-hmm. Mm-hmm.”

Again, I don’t know if I can sell him as a character to an editor of fiction. I’m not sure I could sell his scenario to an editor. There are too many logic flaws in it. A fantasy should have a least some element of reality in it and this is just paranoia.

What links them all? They’re all right wing Republican conservatives with strong Tea Party connections. Individually, they are incidents. Link them together and they’re a narrative.

We’ll talk more about that next week.

MONDAY: Mindy Newell

Glee, Ad Council and Transportation Team for “Stop the Texts” Campaign

Washington, DC and Los Angeles, CA (August 22, 2012) – Today, the National Highway Traffic Safety Administration (NHTSA), the State Attorneys General and Consumer Protection Agencies and the Ad Counciljoined with Twentieth Century Fox Television and Twentieth Century Fox HomeEntertainment to unveil new public service advertisements (PSAs) featuring scenes from season three of Fox’s award-winning television series “Glee” to educate young adult drivers (16-24) of the dangers of texting while driving.

Earlier this year, the Golden Globe winning series made headlines when a pivotal cliffhanger episode ended with a shocking and catastrophic crash due to texting and driving. Quinn Fabray (Dianna Agron) was driving to her friends’ (Rachel and Finn, played by Lea Michele and Cory Monteith) wedding when a she received a text. She took her eyes off the road to read it and to type the words “On My Way” for a matter of seconds, but in her distraction she swerved out of her lane and was hit in a tragic accident by an oncoming vehicle. It was months before the audience and “Glee’s” millions of young adult viewers would know the fate of her character, but the message was clear: texting and driving can have horrific consequences.

The new television and digital PSAs employ this powerful scene to emphasize that five seconds is the average time your eyes are off the road while texting and driving – when driving at 55 miles per hour, that is enough time to cover the length of a football field. The PSAs direct young adult drivers to the Texting and Driving Prevention campaign web site, StopTextsStopWrecks.org, where teens and young adults can find facts about the impact of texting while driving and tips for how to curb the behavior.

NHTSA reports that in 2010, more than 3,000 people were killed and an additional 416,000 were injured due to distracted driving, which includes texting while driving. The “Glee” PSAs are part of NHSTA, the State Attorneys Generaland Consumer Protection Agencies and the Ad Council’s national Texting and Driving Prevention PSA campaign. Launched in October 2011, this campaign is designed to curb the behavior of young adults who text while driving, address the compulsion of this behavior and demonstrate to overconfident young adult drivers that it is not safe to text while driving.

[youtube]http://youtu.be/hfvUKq_xkfo[/youtube]

“Texting and driving is an epidemic on America’s roadways, but these crashes are preventable. Distracted driving does not just happen, it’s a choice,” said U.S. Transportation Secretary Ray LaHood. “The first line of defense must be personal responsibility by all drivers to put theirwireless devices away and keep their focus on the road, which is why we are working closely with our partners to build public awareness around this important safety issue.”

“This was a story we wanted to tell because we know the influence our show can have in starting conversations and raising awareness,” commented “Glee” executive producer and co-creator Ryan Murphy. “We were inspired by Oprah Winfrey’s campaign encouraging everyone to sign a pledge not to text and drive, which we all signed when we did her show a few yearsago, and we had been looking for an opportunity to tell the story of how a few seconds of carelessness could have a devastating impact on people’s lives. We’ve already heard from thousands of our fans how this story touched them, and we loved the idea of a PSA campaign to keep this important issue front and center.”

“’Glee’ has always told stories that speak to young people in an incredibly entertaining way, provoking conversation and raising awareness in the process,” said Dana Walden and Gary Newman, Chairmen of Twentieth Century Fox Television.  “When Ryan and the producers told us they were going to tackle this issue, we knew that beyond telling agreat, dramatic story about our characters, it could have very real impact on the lives of our viewers. We couldn’t be more proud of the work they and the cast have done on this incredible series.”

According to a new, national survey conducted by the Ad Council, there has been progress with the attitudes and behaviors among young adult drivers regarding texting while driving.  Fifty-one percent of young adult drivers report that they are “extremely concerned” about their peers texting while driving, which represents an increase of seven percent since September 2011.  Most notably, in regards to their current behavior, thirty-four percent of respondents said that they never text while driving, a significant increase from twenty-eight percent in 2011.

“Driving is one of the most dangerous activities for young adults. Texting while driving is a distraction that young drivers can live without,” said Connecticut Attorney General George Jepsen, the father of two teenage boys. “Drivers of any age should be aware that texting while driving may not only jeopardize the safety of themselves and others, but it can violate state motor vehicle laws against distracted driving and result in hefty fines or loss of driving privileges.”

“We are thrilled to join Twentieth Century Fox Television, Twentieth Century Fox Home Entertainment and ‘Glee’ to unveil a new series of public service ads to further extend our texting while driving prevention messages to their vast audience of young adult drivers,” said Peggy Conlon, president and CEO of the Ad Council. “Our latest research shows a nation that is now on the right track in improving the safety of our roads, but there is still more work to be done. We will continue to broaden our campaign messages to help reduce driver distraction, prevent injuries, and ultimately save lives.”

Since 2006, the Ad Council has partnered with the State Attorneys General to address reckless driving among teens. The “Stop the Texts. Stop the Wrecks.” campaign effort has received more than $20 million in donated media support to date.  For more than twenty-five years, the Ad Council and NHTSA have worked together on consumer safety PSA campaigns. Per the Ad Council’s model, all of the new PSAs will run and air in advertising time and space that is donated by the media.

‘GOD WAR’ DEBUTS!

The latest volume of James Axler’s OUTLANDERS series, GOD WAR, is available now.

OUTLANDERS:  GOD WAR
The heroes are at their lowest ebb, mankind has reached its darkest hour, and all of free will hangs in the balance.  With their numbers depleted and their trusted colleague in the thrall of the enemy, the heroic Cerberus warriors are forced into a multidimensional war between men and would-be gods with Earth as the prize.  Before this day is over, history will be remade forever.
This volume of the modern-day pulp sci-fi series is written by Rik Hoskin and finally draws together the threads he’s laid out over the past four years/15 books.  New readers should not be daunted, however – the book can also be read as a stand-alone.
About the author:  Writing as “James Axler”, Rik Hoskin has been the primary author of the Outlanders series since 2008 as well as contributing several volumes to James Axler’s Deathlands.  He is also a comic book author and has written Superman for DC Comics, helped develop a successful Spider-Man series for Marvel Comics’ European licensor, Panini and currently writes for Star Wars: The Clone Wars Comic as well as several younger readers titles.
iVerse Adds Contraband Comics for Digital Distribtion

iVerse Adds Contraband Comics for Digital Distribtion

(August 15, 2012—Waco, TX) – iVerse Media, creators of some of the world’s most popular and widely used technologies for reading and distributing digital comics, announced today that the company’s Comics Plus platform has been selected as the exclusive digital distribution platform for Contraband Comics, a new independent, creator-owned comics publishing initiative.

“We’re extremely happy and excited that Contraband Comics has decided to launch with us exclusively,” said Michael Murphey, iVerse CEO. “Their creative team is outstanding and, from the work we’ve seen so far, we know that our readers are really going to enjoy their lineup.”

“iVerse’s dedication to creator-owned projects is what we were looking for in a distribution partner,” said writer/artist and Contraband founder, Jon Goff. “Their ability to deliver content on a level that meets the high standards everyone at Contraband strives for made this a very easy choice for us. We plan to utilize the Comics Plus app’s many features to their fullest, as Contraband continues to roll out titles that push the envelope of storytelling and innovation.”

The first wave of Contraband titles that will be available exclusively on Comics Plus include:

  • BLINDSIDE by Marat Mychaels (creator/illustrator) and Jon Goff (writer) – The worlds of superheroics and espionage merge head-on in an all-out, bullet-riddled, adrenaline rush blockbuster! Debuts August 22nd exclusively on Comics Plus.
  • BIG HITTERS by Travis Sengaus (co-creator/illustrator) and Jon Goff (co-creator/writer) – This science-fiction action/adventure follows the exploits of a pair of sanctioned hitmen – called “Hitters” – as they navigate the seedy underbelly of an advanced post-war universe. Debuts September 5th exclusively on Comics Plus.
  • JACK RABBIT by Jim Hanna (co-creator/illustrator) and Jon Goff (co-creator/writer) – A supernatural crime-noir thriller that follows an ex-boxer-turned-private detective as he investigates the darker corners of 1930’s Los Angeles, where truth and myth merge in a surreal mixture of violence and hope. Debuts September 19th exclusively on Comics Plus.

“A big goal for us at iVerse is to help talented creators like Jon get their creations out to millions and millions of people,” said Steve May, iVerse Director of Business Development.  “There are many amazing creator-owned books out there just needing the right distribution partner to take them to the next level.  With talent like Jon, Marat, Travis and Jim on board, I have no doubt that Contraband Comics will quickly reach that level and grow beyond it.”

About iVerse Media. LLC

iVerse Media (http://www.iversemedia.com) is a digital content distributor focused on the world of comics and popular culture. Founded in 2008, the company was one of the first to launch digital comics on Apple’s iOS platform. As of April 2012, over 12 million products in the iOS App Store have been downloaded that are powered by iVerse, making the “iVerse Engine” one of the most popular and widely used platforms for reading digital comics in the world. The company is principally located in Waco, TX. For more information, visit www.comicsplusapp.com.

About Contraband Comics

Launched in 2012, Contraband Comics is a creator-owned, independent comic book publisher with a focus on providing quality titles across multiple genres. Founded by writer/artist, Jon Goff, and featuring a talented line-up of comic book creators, including Travis Sengaus, Marat Mychaels, Jim Hanna, Fco Plascencia, Comicraft and more, Contraband’s only goal is to entertain. Contrabrand Comics are available exclusively on iVerse Media’s ComicsPlus digital platform. Learn more about Contraband Comics on their Website: http://www.contracomics.com

About Jon Goff

Jon Goff has developed content for comic books, action figures and video games while working with many of the top companies across the entertainment industry, including The McFarlane Companies, 343 Industries, Microsoft Game Studios, Marvel Comics, MEGA Brands, Gentle Giant Studios, WETA Workshop, ABC Studios, Tor Books, DK Publishing, Prima Games and more. Jon’s credits include Tor Books’ Halo-themed anthology, Halo Evolutions, the monthly Spawn comic book title and The Adventures of SPAWN online comic. Follow Jon on Twitter: @Jonathan_Goff

About Marat Mychaels

Marat Mychaels (Grifter, Deadpool Corps) is a veteran of the comic book industry, having provided artwork for Marvel Comics, DC Comics, Image Comics and more. Marat’s current focus is the launch of his creator-owned title, Blindside, as part of Contraband Comics, along with steady work on DC Comics New 52 titles, including Hawk and Dove and Grifter.  Follow Marat on Twitter: @MaratMychaels

About Travis Sengaus

Travis Sengaus is an illustrator and animator from Calgary, Alberta, who has provided artwork for various comic, video game and animation projects. His credits include The Adventures of SPAWN online comic book and production work for Table Taffy Studios. Follow Travis on Twitter: @TravisSengaus

About Jim Hanna

Jim Hanna is an artist/writer based in Mesa, Arizona. He has provided art for Arcana Studio, Upper Deck, Red 5 Comics, Cryptozoic Entertainment and Marvel/The Hero Initiative. Jim’s newest project is the creator-owned title, Jack Rabbit, part of Contraband Comics’ initial wave of titles. Follow Jim on Twitter: @jimhanna