Tagged: Image Comics

‘Liberty Comics’ 2nd Printing Coming December 3

‘Liberty Comics’ 2nd Printing Coming December 3

ICv2 reports that Image Comics’ Liberty Comics, an anthology benefiting the Comic Book Legal Defense Fund, has raised nearly $27,000 for the charity.  The comic, which shipped in July and sold nearly 17,000 copies its first month, was a joint effort of Image, the creators involved, and Diamond Comic Distributors, all of whom donated their revenues.

Liberty Comics, edited and conceived by current IDW editor Scott Dunbier, included top properties and creators:  Hellboy by Mike Mignola, Danger Girl by J. Scott Campbell, The Boys by Garth Ennis and Darick Robertson, Criminal by Ed Brubaker and Sean Phillips, plus shorts by Mark Millar, Darwyn Cooke, John Paul Leon, Art Adams, Rick Veitch, Sergio Aragones, and Mark Evanier. 

A second printing, featuring a Thor cover by Walt Simonson, will be in store December 3. 

Image Publisher Eric Stephenson explained the company’s involvement.  “We couldn’t be more proud to support the CBLDF and their never-ending battle to defend our medium’s first amendment rights,” he said.  “Considering Image’s place in the industry as a bastion of independent, creator-owned comics, we feel they’re one of the most important institutions in the industry and look to support them at every chance we get.”

‘Torso’ Grows Legs

‘Torso’ Grows Legs

Bill Mechanic, the former chairman of 20th Century Fox and now founder of independent production company Pandemonium, told Collider that the long planned adaptation of Brian Michael Bendis’ Torso is heading into production soon.

"Torso is moving right towards the starting gate," Mechanic tells the site. "We’ve got a screenplay and we’re waiting for Paramount to decide when to make it."

He also confirms what many have heard: David Fincher will direct the feature.

"I’m hoping we’re shooting in March or April … [so] it should be [Fincher’s next project]," says Mechanic.

And while he has a ton of faith in the project, he does admit that there will be departures from the source material, much in the way that the movie Fight Club broke off from the novel.

"Torso the movie, which may not be called Torso the movie at the end of the day … makes the book better reading because it doesn’t follow [the book] literally," Mechanic says.

Though he’s known today for revitalizing The Avengers, killing all the mutants in House of M and making Skrulls a threat again in Secret Invasion, Brian Bendis’ roots as a comics creator go back to his days at Caliber Comics. He published a string of noir crime comics with Caliber, including Fire (1993), A.K.A. Goldfish (1994) and Flaxen (1995). His most known early works are Jinx (1996), which is the namesake of his Web site JinxWorld, and the comic in question, Torso (1998). It may be hard to believe with top artists Leinil Yu and others illustrating his work, but Bendis actually illustrated a large part of his early work, including Torso. Bendis also co-wrote the novel alongside Marc Andreyko (DC’s Manhunter).

Torso is a historical fiction limited series published by Image Comics. The story focuses on the "Torso Murderer," an actual serial killer in the 1930’s who left behind only the torsos of his victims, making them very difficult to identify for police without DNA testing. The investigator on the case and protagonist of Torso is Eliot Ness, Cleveland Chief of police and one-time head of the Untouchables, the police task force that enforced Prohibition and went after crime lord Al Capone.

Though no official casting has been made, Mechanic did tell Collider that "a lot of things being written [online] about [the film] are probably true." Jake Gyllenhaal and Matt Damon are the two actors long rumored for Torso, so perhaps they’ll be the guys to star in the feature.

Review: ‘Flash Gordon’ #1

Review: ‘Flash Gordon’ #1

Full disclosure: I had edited a [[[Flash Gordon]]] comics series at one point in my life. It was the third greatest nightmare in my professional life. Not the part about working with the talented and understanding Dan Jurgens; Dan’s a class act and a fine storyteller. No, working with King Features Syndicate was akin to Sisyphus’s task, except the big rock was a huge boulder of shit and pushing it up that mountain happened in the dead of the hottest summer in the innermost circle of hell. And I’ve lightened up on this over the years, too. And so, on with the show.

There may be no greater icon in comic strip history than Flash Gordon. Sorry, [[[Buck Rogers]]]. You came first but Flash had better art and story, and a much, much better villain. Creator/artist Alex Raymond is generally regarded as the greatest craftsman in the field; so great, in fact, that after Dave Sim recovered from producing 300 consecutive issues of [[[Cerebus]]], he started up on a series called [[[Glamourpuss]]] that, oddly, is all about Raymond’s work.

Flash was the subject of what is also generally regarding as the three greatest movie serials ever made due, in no small part, to the performance of actor Charles Middleton as Ming The Merciless. And he had all the other media tie-ins: a radio series starring Gale Gordon (yep; Lucille Ball’s foil), a teevee series staring future Doc Savage model Steve Holland and a teevee series on Sci-Fi last year that was completely unwatchable, various animated series, a movie feature and another one in pre-production and numerous comic books by people including Archie Goodwin, Al Williamson, Reed Crandall, and Wally Wood, and licensed items. When Raymond went off to war, he was replaced by a series of artists nearly equal to him in talent: Austin Briggs, Mac Raboy (my favorite), and Dan Barry.

There’s a reason why Flash Gordon attracted such top-rank talent. Sadly, that’s also the same reason why Flash Gordon is an icon and no longer active in our contemporary entertainment: nostalgia. Flash Gordon was a product of his times, a wondrous visionary made irrelevant by real-life heroes such as Laika the dog, the first living being to orbit the Earth, and Yuri Gagaran, the first human being to orbit the Earth. Only Yuri returned alive, but I digress.

Science fiction was rocked to its core. It took talent like Harlan Ellison, Michael Moorcock, and Gene Roddenberry to re-purpose the genre, to focus more on the social aspects of the genre and extend those concepts out into the future. If you’re going to make Flash Gordon work in the 21st century – or the last four decades of the 20th, for that matter, you’ve got to distill the concept down to its essence and rebuild according to the mentality of our time.

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Reviewing Kyle Baker

Reviewing Kyle Baker

I was taking stock recently, reviewing the silver past and anticipating a golden future when I was struck by the fact that for the past six months I’ve given books by Kyle Baker to friends and relatives on every possible gift giving occasion and then some.  This speaks well of Mr. Baker, whose line of books now covers every possible demographic.
 
For the very young or people who just don’t like to think about a nemesis more personal than hunger or gravity, there is his autobiographical work of family theft known as The Bakers.  As a comic or a collection these gag panels, comical strips and full-length comic novellas start small and suck you in to a quite often very complicated gag, a combination of motives and subplots only a very accomplished technician such as Mr. Baker can execute.  They are wonders of timing and staging that show how valuable he must have been during his sojourn in the Hollywood cartoon business, and how his talent for real-life details would have driven the kidvid fantasists to make his work there living heck.  Everything in The Bakers universe can be imitated by a real family and has probably bedeviled your real family in its time.
 
In the book-shaped The Bakers: Babies and Kittens (Image Comics), the second book of it’s kind (after The Bakers: Do These Toys Belong Somewhere) Mr. Baker confounds the people who have spent their lives in a futile flight from cute.  Like R. Crumb, his command of the medium and knowledge of what the eye likes (before the consciousness can muck things up) seduces his audience into taking a ride it thinks it has been on before, and a kiddy ride at that.  But the plastic elephant takes a wrong turn and you’re soon in a fix that Ricky Ricardo and Harold Lloyd would shudder to consider.  He then spares us the usual sitcom sermon and leaves the world of The Bakers as delightfully unbalanced and full of comic inevitability as it was in the beginning.
 
Comics is a near perfect medium today, unencumbered by commercials, your neighbor’s cell phone, the sponsor’s amoral code of standards, the way the electronic media is really after your time.  No, you’re in the driver’s seat, Mr. Comic Reader (or should I say “Mrs.”?).  It’s your choice:  Read it one panel at a time, sit down and read the whole thing at once.  Laugh.  Read that panel over again (you don’t have to wait till summer or even to download it).  Put it down on the coffee table and read it again later, or recommend it to your roommate.

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Over $70k Riased for Siegel House

Over $70k Riased for Siegel House

The fourth and final week of the auction to raise funds to restore Jerry Siegel’s childhood Cleveland home has begun. The auction runs through 11:59 p.m. on September 30, 2008.

After two weeks, the $50,000 goal was met and exceeded.  At the conclusion of week three’s auction, organizer Brad Meltzer reported that more than $70,000 has been raised. “In every city I’ve been to, people are throwing in a few bucks, completely unprompted,” Meltzer told Comic Book Resources. “This is the week that will decide the extent of the work we do on the house. So even if you don’t bid on the walk-on part in Heroes, thanks to all who buy a shirt or donate even ten bucks to the cause. It all matters.”

The Glenville Development Corp. has scheduled September 27 as the day they clean the Siegel homestead on Kimberly Avenue. Volunteers are being sought to rake, sweep, plant flower bulbs (in red, blue and yellow of course) and paint and make small repairs to porches and the exterior of some houses.

The top money-earner has been the $14,101 bid for an illustration by Jim Lee to depict Superman and the auction winner.

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Framelight Productions Forms to Adapt Graphic Novels

Framelight Productions Forms to Adapt Graphic Novels

Framelight Prods. Has opened its doors for business and has promised to take edgy and innovative graphic novels and turn them into exciting feature films for Fanboys of all ages. They also happen to be fairly obscure properties.

According to the Hollywood Reporter, the company is fronted by producer Jeffrey Erb and entrepreneur Robert Robinson Jr. They have financing to produce up to eight films over the next five years with budgets ranging from $20 to $80 million.

Their first announced projects include the obscure Dr. Deth with Kip and Muffy which ran in the color incarnation of Marvel’s Bizarre Adventures.  The short series was written by Larry Hama, better known for his work on Bucky O’Hare and G.I. Joe, and artist Bob Camp. The violent series was noteworthy given the innocent appearing artwork akin to Peanuts belying the horrible events being depicted.

They have also optioned Deadworld, originally published by Caliber Press, later Image Comics, and now available through Desperado. Created by Gary Reed, the zombie series was a forerunner for the genre that continues to this day.

Sins of the Fallen and a version of 1001 Arabian Nights were also optioned from Joe Brusha and Ralph Tedesco’s Zenescope Entertainment. The former posits that the vilest criminals throughout history were fallen angels with an agenda.

"We don’t want to traditionally option a title; we want to partner with the creator on every aspect of the production," Robinson, founder of communications companies Xportical, B2BCast and Supply Marketing, told the trade.

"We weren’t the only producers wanting to make movies based on these creators’ babies, but we were the only ones inviting them in as co-producers," said Erb.

The new studio is constructing offices at Norristown Studios, a 300,000-square-foot studio and soundstage facility being built in Pennsylvania.
 

‘Torso’ Seeks Tax Breaks in Cleveland

‘Torso’ Seeks Tax Breaks in Cleveland

Torso, the film adaptation of Brian Michael Bendis’ graphic novel, is looking to start shooting in early 2009.  The movie, set to star Matt Damon as the famed Elliot Ness, is looking to film in Cleveland but is seeking tax breaks to make extended shooting financially reasonable.

As reported in the Cleveland Plain Dealer, producer Bill Mechanic is seeking tax breaks or will lens interior scenes in Michigan, with its 40% tax incentives, and only shoot on location for exteriors.

"It all comes down to what’s the best place to get our movie shot for the least money," Mechanic said. "We want to shoot the entire movie, the interior and exterior shots, in Cleveland because that’s where the action takes place and so we wouldn’t have to relocate the crew. But without incentives, it doesn’t look like we can afford it."

The state’s legislation is stalled at the capitol.

Torso tells the story of the grisly Kingsbury Run murders where 13 people died between 1934 and 1938.  Ness, then the city’s safety director, never found the killer. It inspired Bendis and Marc Andreyko (Manhunter) to cowrite the graphic novel version of other story with Bendis providing the artwork. The six issue miniseries was later collected by Image Comics as Torso: A True Crime Graphic Novel, releasing it in 2001. The miniseries won the 1999 Eisner Award for "Comic Book Excellence, Talent Deserving of Wider Recognition".

The film rights were sold in January 2006 with screenwriter Ehren Kruger handling the adaptation for director David Fincher.  Mechanic is set to produce alongside Don Murphy, Todd McFarlane and Terry Fitzgerald.

Review: Invincible the Series

Review: Invincible the Series

During the 2008 San Diego Comic Con, MTV New Media debuted their new animated series based on Robert Kirkman and Cory Walker’s Invincible comic. Published by Image Comics, [[[Invincible]]] tells the story of Mark Grayson, a young man who inherits his father’s superpowers. It’s been released through various outlets: iTunes, Xbox, Amazon, MTV2, MTV.com, and MTV Mobile.

Instead of creating brand new animation, the series has decided to use the latest editing techniques to “animate” Cory Walker’s actual comic book art. Just use existing comic art and let the camera to give the illusion of movement. To younger viewers this may seem innovative, but it’s been done as far back as the Marvel Comics based cartoons from the 1960’s. It was used again, very artistically by MTV, when they brought [[[The Maxx]]] to television. Even more recently [[[The Watchmen]]] has been done in this style.

While the story and art deserve all the critical praise that the Invincible comic has received over the years, [[[Invincible the Series]]]’ biggest stumbling block is its editing. The MTV produced show has the same pacing as MTV’s promo spots, wildly kinetic with lots of flashing graphics and texts. Never let the eye settle for minute. This is fine for 15-second ad, but watching a full show like that is taxing.

In a one step forward, two steps back move, the show decided to include the actual word balloons from the comic. But instead of letting people read it, the text has a subtle shake to it. To emphasize energy, I guess. While nothing sits still on the screen, you would expect the parts you want people to read to be motionless.

A good way to judge an animated show’s sound is to close your eyes and listen. Does the soundtrack still create images of the action? In Invincible’s case, the answer is yes, but barely. The voice acting and sound effects are serviceable. They don’t do anything cringe worthy, but neither do they stand out. No Kevin Conroy or John Di Maggio here.

If the production calmed down, this could’ve been a great show that brought quality comic books to video formats. But as it is, I couldn’t stand watching this for more than a few episodes. And like I said, I’m a fan. Imagine the effect to someone who’s browsing MTV2 late at night.

Watch the first episode for yourself below. Let me know if you think I’m right or wrong in the comments section.

 

If You’re Not There, You Just Won’t Get It – Conclusion, by Michael Davis

If You’re Not There, You Just Won’t Get It – Conclusion, by Michael Davis

This is the last segment in this month long saga. If you are anything like me, you are sick of this. I mean four weeks of me reliving history is a bit much even for a guy who LOVES history. To that point, all I watch on TV is All My Children (the greatest show ever!), news, and The History Channel. I don’t even watch the shows I write or have created. I’m not kidding. I have never watched an episode of any show that I have been involved in.

I love history and I thought when I started writing this it would fill me with a wonderful sense of nostalgia.

Wrong. Now I’m just pissed.

Don’t get me wrong, Milestone is and will always be a BIG part of my life and career and I’m very happy to clear up some misconceptions about Milestone… particularly my involvement. Take a look at the previous installments to read about some of those misconceptions surrounding Milestone, Christopher Priest and DC’s “ownership” to name but a few.

Here’s my BIGGEST problem and the misconception that burns me to this day. There have been many, MANY articles and or books that have featured Milestone. A lot of them have said that I left Milestone quick, fast and in a hurry.

That, like the promise that Bush would be a good president, was a compete and utter lie. There’s more truth in the belief that the world is flat and women in L.A. don’t care about what you drive.

I was there the moment Milestone was created. I did not leave until two and an half YEARS after that. The writer Les Daniels (who’s books I enjoy, by the way) wrote in his book, DC Comics Sixty Years Of The World’s Favorite Comic Book Heroes (1995) “A fourth partner, Michael Davis, quickly left to run Motown Animation.”

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Interview: Elizabeth Genco of ‘Comic Book Tattoo’ and ‘Blue’

The past few months have brought a swell of attention to indie comics writer Elizabeth Genco, who scored a coup by having a story included in the Tori Amos Comic Book Tattoo collection from Image Comics, and then her graphic novel Blue — a modernization of the Bluebeard legend — sold well in part thanks to a plug from Brian Wood.

Genco took the time out of her busy schedule to chat with ComicMix about her music-infused projects and what it was like to work with an idol in Amos.

ComicMix: Let’s talk about the Tori Amos project first, since it’s the book of the moment. How did you get connected to that gig? Were you a fan of Amos previously?

Elizabeth Genco: I’ve been a fan of Tori’s for almost 15 years. Both she and her music have been hugely influential, especially in my creative life. Tori is very smart about how to create a creative career while staying true to your vision, and I learn from her. Of course, like many of her fans, her music has helped me through some dark times.

As for how I got involved, a few years ago, editor Rantz Hoseley and I got acquainted via Warren Ellis’ old board, The Enginge; he and I have been pals ever since. When he extended the invitation, I jumped onboard immediately.

CMix: How did you approach the assignment? Comics is such a visual medium, it’s not that common to hear creators be inspired by sound.

EG: I want to say that I’m not inspired by sound so much as I am by words — that is, lyrics. But the interesting thing about lyrics, of course, is that they take on a completely different meaning when you add the music. I would even go as far to say that 99 percent of the time, song lyrics are incomplete without the music. (Music is a huge influence on me, and I’ve aspired to be professional musician at several points in my life, especially when I was very young. So I’ve thought about this a lot, actually.)

Music inspires my writing quite often, and the process is usually the same. A line will capture my attention, and I’ll start noodling — following the thread, seeing where it goes. In this case, I decidedon the song and then went looking for that line.

As for the song itself ("Here. In My Head"), well, I spent all this time going through Tori’s catalog trying to find the right one before going, "Duh!" It’s been my favorite Tori song for years, so it wasthe obvious choice.

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