Tagged: DC

Here are your 2011 Harvey Award nominees

harvey_winner_logo-300x294-4733029Well, we know who we’re voting for and ComicMix will be on hand, covering events and news happening at next month’s Baltimore Comic-Con.

BALTIMORE, MD (July 5, 2011) — The 2011 Harvey Awards Nominees have been announced with the release of the final ballot, presented by the Executive Committees of the Harvey Awards and the Baltimore Comic-Con.  Named in honor of the late Harvey Kurtzman, one of the industry’s most innovative talents, the Harvey Awards recognize outstanding work in comics and sequential art. They will be presented August 20, 2011 in Baltimore, MD, in conjunction with the Baltimore Comic-Con.

Nominations for the Harvey Awards are selected exclusively by creators – those who write, draw, ink, letter, color, design, edit or are otherwise involved in a creative capacity in the comics field.  They are the only industry awards both nominated and selected by the full body of comic book professionals.  Thank you to all that have already participated by submitting a nomination ballot.

Final ballots are due to the Harvey Awards by Saturday, August 6, 2011.  Full details for submission of completed ballots can be found on the final ballot.  Voting is open to anyone professionally involved in a creative capacity within the comics field.  Final ballots are available for download at www.harveyawards.org.  Those without Internet access may request that paper ballots be sent to them via mail or fax by calling the Baltimore Comic-Con (410-526-7410) or e-mailing baltimorecomiccon@yahoo.com.

This will be the sixth year for the Harvey Awards in Baltimore, MD.  Our Master of Ceremonies this year for the 3rd year in a row will be Scott Kurtz (www.pvponline.com).

This year’s Baltimore Comic-Con will be held August 20-21, 2011.  The ceremony and banquet for the 2011 Harvey Awards will be held Saturday night, August 20.

Without further delay, the 2011 Harvey Award Nominees: (more…)

Green Lantern Limps Past the $100 Million Threshold

blake-lively-ryan-reynolds-green-lantern-thumb-420xauto-27679-300x191-8754649For those paying attention, Green Lantern’s failure to remain in the domestic box office top five has to be of concern to Warner Bros. The film took in an estimated $6,270,000, down a steep 65% from the second weekend which was already down a steep 66.1% from the opening weekend. This means that the core geek audience expected to revel in the galactic adventure multiple times decided once was enough and word of mouth was not positive enough to make up the difference.

Beyond that, the studio gambled on the 3-D effects being a lure but by the time the movie opened June 17, the warning signs were already crystal clear that 3-D was once more a passing fad and not a silver bullet to re-energize theater going habits.

After 17 days in release, the movie has taken in approximately $101,962, about a third of what was spent on production and marketing. The international box office has been anemic as well, with just $33.3 million taken in so after three weeks, the film has not cracked the $200 million barrier that would have at least allowed Warner and DC Entertainment to save face.

And while Warner has commissioned work on a second script, there is no guarantee that they will invest in an expensive sequel. The mantra among the fans is that it took Paramount two films before they got Star Trek right but DC had a lot riding on this as their first entry into the shared universe superhero market and attempting to compete directly with Marvel. A core difference between the rivals is that Marvel’s production arm is independent of studio interference while DC’s Creative Officer, Geoff Johns, still has to dance to Warners’ tune. There’s no direct evidence that Warner execs meddled in the film, but if they didn’t then the film’s disappointing commercial results has to be placed at Johns’ feet.

Should they choose not to go forward with a sequel, Green Lantern will continue to headline multiple titles from DC plus continue his animated adventures on the Cartoon Network. It will, though, limit his merchandising appeal which will affect the conglomerate’s bottom line.

How this may impact the films already in development, notably The Flash, Johns’ other baby, remains to be seen. In some ways, not having it before the cameras means there’s plenty of time to take the lessons learned and apply them. On the other hand, Marvel has already staked two key dates in 2013 (for Iron Man 3 and Thor 2) so if the DC Universe expects to compete on the silver screen, there has to be energy expended to get things rolling.

Bantam to Publish Games of Thrones Adaptation

  • News
  • June 29, 2011

gothrones01-cov-virgincen-300x450-9905506What will you do while awaiting the second season of HBO’s stellar adaptation of George R.R. Martin’s A Game of Thrones? Well, there’s that slightly overdue fifth book in the series coming in a matter of weeks then there’s today’s announcement that the first novel is being adapted for comics.

NEW YORK, NY – June 29th, 2011 – Bantam Books, an imprint of the Random House Publishing Group, announced today Alex Ross and Mike S. Miller as the cover artists for the comic adaptation of George R.R. Martin’s Game of Thrones series.

The series will be illustrated by Tommy Patterson and adapted and scripted by Daniel Abraham, the award-winning and bestselling author of The Long Price Quartet.  The first issue of the monthly comic-which will be published by Dynamite Entertainment-is planned to release in September 2011, with compilations of the comics in graphic novel form to follow under the Bantam imprint.

“It has been fifteen years since I first edited A GAME OF THRONES, and it is a genuine joy to be revisiting and adapting this landmark novel into a format that suits it so perfectly,” says Senior Editor at Random House Anne Groell.  “George’s writing has always been highly visual, painting rich, detailed and striking images in the reader’s minds and hearts.  And now seeing such a talented group of artists bringing that so vividly to life is truly exciting.  I couldn’t be more pleased with everything I have seen so far–and I can’t wait for what is yet to come!”

“It’s a real privilege and a treat to be involved with reinterpreting Game of Thrones,” says writer Daniel Abraham.  “It’s a brilliant piece of work, and watching the strength of that story come into a visual medium is fantastic.”

“George R. R. Martin’s Game of Thrones is the best book series I’ve ever read,” says cover artist Mike Miller.  “Not just in the fantasy genre, but in ANY genre.  Just as I hear people saying Game of Thrones is the best series on TV, I’m sure they’ll be saying the same about the comic book.  You can’t find a better writer anywhere than George, and I was very excited to get the opportunity to draw covers for the comic book adaptation.” (more…)

DC Comics: The Ultimate Character Guide

DC Comics: The Ultimate Character Guide
By Brandon T. Snider
DK Books, 208 Pages, $16.99

DK continues their line of lightweight, visually interested Character Guides. Joining the extant Marvel Universe and Star Wars books is a volume dedicated to DC’s heroes and villains, or at least some of them. With a mere 208 pages, there was no way this could be considered an ultimate guide, what with 75 years of characters to work with.

These franchises all share the complication that they are organic universes, ever changing so the books can, at best, capture a distinct moment in time. In each case, DK’s editors fail to tell you where that moment in time is for the dedicated fan. This volume, for example, shows us the current version of Aqualad but also includes the currently deceased members of the Fourth World (yeah, I know, they’ve been resurrected on Earth-51, but this book focuses only on New Earth). And Dick Grayson appears here as Nightwing, not as Batman II.

The entries, from young adult writer Brandon Snider, are all surface, skimping on details and often avoids origins or focusing on the elements that make characters unique. Adam Strange is no longer a trained archaeologist and Animal Man’s family is entirely skipped.

Visually, the book is attractive with a relatively consistent modern day look so if it was drawn earlier than 2005, it won’t be here. Unfortunately, the text and art don’t always mesh so you see the Cyborg Superman as he appeared in the Blackest Night stories but the text makes no mention of his role. Wonder Woman turns up in her new outfit but the text doesn’t address the current confounding status quo.

Most of the groups have appearances here with an odd assortment of rosters presented so it’s more a hodge-podge of group. Many members don’t merit their own pages with the classic Justice Society members getting omitted (with Spectre being merely Crispus Allen with no mention of him being the Wrath of God). Other incarnations of characters are either briefly referenced or skipped entirely, such as the multiple Atoms and Green Lanterns.

This can be a primer to the DCU and it does merit flipping through to verify names, heights, weights, and the like but just about every fact appears to be rendered irrelevant or dated just two months after the book goes on sale. That’s a shame because this could have proven to be an immensely powerful tool to support the revamped line. If Co-Publisher Dan DiDio really had been planning this move for over a year, there was ample time to coordinate with DK and this is just another missed opportunity.

Given that far more detailed and comprehensive data can be found online, DK’s challenge is to make these books relevant and to date, they have yet to figure out how to manage this feat, which is a shame since they usually do stellar work.

ALL PULP INTERVIEWS NOTED PULP ARTIST ROB DAVIS ABOUT SKY RANGER!

  • News
  • June 24, 2011

With the announcement of Lance Star: Sky Ranger joining the iPulp Fiction Library, ALL PULP wanted to introduce readers to some of the Honorary Sky Rangers involved with making these stories happen. Next up is Lance star: Sky Ranger Art Director and Designer, Rob Davis.

AP: Tell us a little about yourself and where readers can find out more about you, your work, and Airship 27 Productions?

RD: I’ve been a freelance artist since 1986 working on such diverse projects as a Saturday morning cartoon adaptation for Marvel to Star Trek books for DC and Malibu Comics. Presently I’m the art director/designer for Airship 27, which encompasses the actual design and look of each of Airship 27’s books to cover and interior illustrations. I’m also a comics publisher using the Redbud Studio Comics imprint to sell “print on demand” comics through IndyPlanet.com. Yeah, I’m busy!

AP: How did you become involved with the Lance Star: Sky Ranger series?


RD: Through my design work for Airship 27. We have been the publisher of the prose versions of the tales of Lance Star through anthologies and eventually novels featuring the pulp-era air ace.

AP: Who is Lance Star? What makes pulp characters like Lance and the Sky Rangers appeal to you as a creator, a reader, and a publisher?

RD: Lance is another star in the pantheon of pulp heroes in that he has a definite sense of right and wrong and will fight to the end to defend the right. In the pulp age aviators like Lance were like today’s astronauts in that they were envied for their daring flight into the atmosphere. It’s interesting to me to see what the interest was of pulp era readers in these cousins of Charles Lindberg and Amelia Earhart.

AP: Digital content has changed the publishing landscape. As a creator, what excites you about digital content? As a reader?

RD: As a reader it’s exciting to think about being able to carry my whole library of books with me in my new iPad. As a creator and publisher it excites me that we now have a new, thrilling and inexpensive outlet to get our productions out to the reader. The first few weeks after Airship 27 opened up our Airship27Hangar.com site we had phenomenal response! It’s exciting to put up another new book and see sales within just hours or minutes of the upload.

AP: As you are both a designer and artist, tell us a bit about your process for both the print and digital versions of the Airship 27 stories.

RD: Fortunately, there’s not much difference in the two. Since I have so many irons in the fire I don’t have a lot of time to devote to producing our digital versions. Mostly what I do is add the front and back covers to the interior PDF file that we send to our printing sources, reduce the file size (since digital screens need less resolution than traditional print) and then mark each page with a watermark to keep our books safe from pirating. The whole process takes less than an hour for each book. Add in the design time to create the online catalogue entry and within just a couple of hours we have a version of our latest masterpiece of New Pulp ready for viewing and enjoyment!

AP: Any upcoming projects you would like to plug?

RD: We have a number of different books in the Airship 27 pipeline. Right now my next illustrating gig for Airship 27 is calling to me: Robin Hood: Arrow of Justice written by Ian Watson, a very talented writer from the UK. This is the second of a three-part retelling of the Robin Hood legend and it is rollicking good fun! Ian is very gifted and his version of Robin Hood is a joy to read and illustrate!

AP: Thanks, Rob.

RD: Thanks for having me!

Release schedule for Lance Star: Sky Ranger tales on iPulp:

06/17: Lance Star: Sky Ranger – Vol.1 #1: Attack of the Bird Man by Frank Dirsherl (now available)

07/07: Lance Star: Sky Ranger – Vol.1 #2: Where the Sea Meets the Sky by Bobby Nash

07/27: Lance Star: Sky Ranger – Vol.1 #3: Talons of the Red Condors by Bill Spangler

For more information on iPulp Fiction’s offerings, please visit www.ipulpfiction.com

For more information on Airship 27 Productions’ offerings, please visit www.gopulp.info

For more information on Lance Star: Sky Ranger, please visit www.lance-star.com

For more information on Rob Davis, please visit http://homepage.mac.com/robmdavis/

Reviews from the 86th Floor: Barry Reese looks at Howard Chaykin’s The Shadow

  • News
  • June 23, 2011


THE SHADOW: BLOOD & JUDGMENT
Howard Chaykin
Published by DC Comics

This was the era of Watchmen. Of The Dark Knight Returns. It was the boom of grim and gritty. Howard Chaykin, whose brilliant American Flagg! was already a modern masterpiece, was chosen to bring The Shadow back to life for DC Comics. He elected to bring the character into the 1980s rather than stick to being a period piece and he approached The Shadow with obvious knowledge but not necessarily a fan’s reverence. He had no problem ramping up the sex and violence, while emphasizing the fact that The Shadow himself is a grade-A jerk.

We get to see Kent Allard’s transformation into The Shadow, as well as he met Lamont Cranston, via flashback — and we learn that the real Cranston is a major jerk. A jerk who still hates The Shadow, even in the 1980s. Killing off The Shadow’s old aides in order to draw the mysterious vigilante back to the scene, Cranston is aided by a slutty secretary and an idiotic clone. He hopes to force The Shadow to take him back to the lost city where The Shadow gained his powers but he doesn’t count on treachery in the ranks, nor does he realize just how dangerous his old enemy truly is.

Classic artwork from Chaykin and a story that hits on nearly all cylinders, this is one of my favorite pulp-to-comics transformations. Chaykin avoided being a pastiche by updating the character and refusing to place him on a pedestal. While the ongoing series by Andy Helfer that followed was a piece of steaming dog poo, this kick-off miniseries deserves a place on every pulp fan’s shelf. It’s proof that the classic pulp heroes can work in the modern day.

I give it 5 out of 5 stars.

A Day In The Life Of A ComicMix Guy

  • News
  • June 23, 2011

People occasionally ask me: so how do you fill your days working for ComicMix? Here’s what I did yesterday…

After getting up around 10 AM (because I’d been working overnight on various programming changes for the web site) I went into New York City to have lunch with authors [[[Dave Smeds]]] (X-Men: Law Of The Jungle), [[[Aaron Rosenberg]]] (World Of Warcraft, Eureka), [[[David Alan Mack]]] (Farscape: Scorpius for Boom!, Star Trek: Vanguard) and ComicMix contributors Alexandra Honigsberg and Kim Kindya, among others.

Headed off to a post-lunch survey of comic book stores, where I discussed with the owners about DC’s digital plans, and the meeting that DC will be having on Friday between their executives and various comic book store owners. We expect there to be fireworks a bit early this summer.

At one of the comics stores, also caught up with [[[Michael Uslan]]] (executive producer of the Batman films and author of [[[Archie Marries…]]]) who revealed that he’s in town to speak at the United Nations on Friday with Jerry Robinson (Batman artist and creator of Robin and the Joker) to address political cartoonists from all over the world.

Then after a brief meeting with a possible investor, I hopped a subway to Citifield, where I sat in Joe Quesada-provided seats with Peter David and his family to watch the Mets battle the Oakland A’s. Joe was a gracious host, and Peter and I spent a lot of time discussing an upcoming project of his we’ll tell you more about later this week.

It was a looooong game– started an hour late due to rain, and went to 13 innings. (The Mets won on a bases-loaded hit-by-pitch with two outs.) Between innings, I also played chess with Marvel Senior VP of Publishing, Tom Brevoort. I think it’s mate in seven moves, but I’m not sure for which of us yet.

But after the Mets victory, as I headed towards the number 7 subway station, I saw one more comics tie-in– our Friendly Neighborhood Spider-Man was there, alternately serenading us with Take Me Out To The Ball Game and his own theme song.

Then back here, setting up a few more things for the site before I had to drive a friend to a 5 AM flight. And after I get back from the airport, the morning press releases will be coming in.

So how was your day?

Batman Artist Lew Sayre Schwartz Dead at 84

  • News
  • June 21, 2011

lew-detective-300x410-4944089Lew Sayre Schwartz, one of the lesser known Bob Kane ghosts on Batman, died on June 7 at age 84 after a fall according to his son, Andrew. Schwartz began working for Kane as a ghost in 1948 and remained the principal artist under Kane’s name on the Batman features in Batman and Detective Comics until 1953. Art historians believe he produced at least 120 stories during this period.

Kane signed a new deal with DC in 1948 and hired Schwartz to help handle the workload. Schwartz’s work began with penciling the stories, letting Kane do the actual Batman and Robin faces, then ink the lettered pages. Kane was understood to have made frequent changes to the artwork, altering the main heroic figures and secondary characters.

Without benefit of credits in the stories, art experts can usually identify Schwartz work given the detailed backgrounds and his frequent staging of the action that carried less impact than the ones Kane himself composed. Some, including Eddie Campbell, consider Schwartz one of the finest practitioners ever to work for Kane’s shop.

Schwartz toured Korea in the aftermath of the Korean War, visiting the troops and returned feeling he no longer wanted to draw comic book stories. After leaving Kane’s studio, Schwartz went on to teach at what is now known as the School for Visual Arts.  During this period, he also did ghosting work on several comic strips such as Secret Agent X-9 spelling artist Mel Graff, as well as several weeks of The Saint.

In 1961, Schwartz helped form Ferro, Mogubgub and Schwartz which produced live and animated commercials, earning the company four Emmy Awards and six Clio Awards. Schwartz began drawing storyboards and expanded his creative role over time. They may be best remembered for their animated title design work on Stanley Kubrick’s 1964 masterpiece Dr. Strangelove. Schwartz even went on to direct a Barbra Streisand television special. (more…)

M.A.S.K.: The Complete Original Series Arrives in August

  • News
  • June 20, 2011

One of the earliest comics series I inherited as an editor was M.A.S.K., based on the toys and cartoon series. I have no recollection how or why DC Comics acquired the comics rights but it was handed to Mike Gold shortly after he arrived on staff. He tapped the versatile Mike Fleisher as the writer, helping burn off contractual obligations. Better, he assigned the artwork to Curt Swan who needed something regular to produce after losing the Superman assignments. Inking was Kurt Schaffenberger so at least it looked good. I helped Mike get the series up and running then edited it a few issues before I handed it off to Mike Carlin to wrap up.

I never played with the toys or watched the cartoon, but thanks to Shout! Factory that can be rectified as seen in the following press release:

This Summer, loyal fans and collectors can finally bring home one of the most enduring animated adventures from the 80’s when the long-awaited M.A.S.K.: The Complete Original Series DVD box set debuts nationwide on August 9, 2011 from Shout! Factory, incollaboration with FremantleMedia Enterprises. Poised to attract an audience of kids, young adults and parents who grew up with this animated series, this 12-DVD box set contains all 65 action-packed episodes – known to fans as the original series aired in 1985, as well as insightful bonus features.  A must-have for collectors to complete their pop culture video library, M.A.S.K.: The Complete Original Series is available for pre-order now from Amazon.com and major retailers. (more…)

GL Nabs a Mere $52.8 Million

  • News
  • June 19, 2011

glposter-300x443-6455954Analysts gaze into a crystal ball and make educated guesses about how well a film will open. This week, they used a Power Battery instead and suggested that Warner Bros’ Green Lantern would open between $50-60 million. Box Office Mojo just released the numbers and they are estimated the Emerald Crusader brought in $52.7 million, placing it at the lower end of the spectrum.

For comparison purposes, a month earlier, Thor, one of Marvel’s ongoing series of films, opened with a god-like $65,723,338. GL’s modest numbers certainly have to be disappointing to both Warner and their DC Entertainment division. Mixed to negative reviews from the mainstream media no doubt blunted the film’s opening weekend so the better indicator of its changes will be next weekend when we gauge how much of a drop off there has been. This would be the “word of mouth” barometer and a chance for the fans to spread the gospel or take in a repeat showing.

No doubt 3-D fatigue is also a factor in the lower numbers despite being shown on approximately 2700 screens. That recent trend has shown that 3-D may actually be once more a fad and not a new form of entertainment. The jury remains out on this issue.

Coming in second was Super 8, the original thriller from J.J. Abrams. It took in $21.3 million for a two week total of $72.8 million.

In third place was the debut of Mr. Popper’s Penguins, adapted from the popular children’s book, starring Jim Carrey. It took in just $18.2 million demonstrating recognizable name value doesn’t always bring in audiences. It certain show how far Carey’s marquee value has dropped.

Speaking of Marvel, their X-Men: First Class nabbed an addition $11.5 million in its third weekend, totaling a pleasant $119.9 million, almost ensuring it a sequel order any minute now.

Warner no doubt is taking comfort in the wild success of The Hangover II, which earned an additional $9.6 million for a cumulative total of $232.7 million after four weeks.

The Ryan Reynolds action flick, directed by Martin Campbell, was made for an estimated $150 million with a nearly equal amount spent on marketing and promotion.  It was plagued with a weak debut trailer in November that meant a new plan needed be created. The spring buzz turned around after several minutes were shown at Wonder Con and a steady stream of new trailers helped reshape public opinion.

Box Office Mojo Editor Brandon Gray has written that any opening short of $70 million would make a sequel questionable despite Warners already asking for script treatments. Obviously, worldwide box office may turn the tide as an increasing percentage of a film’s performance is now coming from overseas markets.

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