Tagged: Iron Man

DENNIS O’NEIL: On Writing Comics

DENNIS O’NEIL: On Writing Comics

  • News
  • September 18, 2007

 

I don’t remember a lot about the first time I ever did a cable TV show. It must have been in the 1980s because I know I was working for Marvel, and it was probably on one of those public access channels which still exist but never seem to have anything on them. The evening’s host might have been Carl Gafford. I do recall, to a certainty, that my co-guest was Jo Duffy and we were debating a topic with, surely, international if not cosmic consequence. To wit: which is the better technique for producing comic book scripts, the so-called Marvel method or the full-script method.

Why the networks, or at least the New York Times, did not report this momentous colloquy I know not. Just another example of the ineptitude of American journalism, I suppose.

Jo had the Marvel side of the dialogue and I championed the full-script side. I have no idea what either of us said or did, but it’s now years later and we’re both still alive, so it couldn’t have been too bloody.

Which brings us, via a prolix pre-digression, to this week’s topic. I put it to you, my friend: which is better, Marvel style or full script?

But before you answer, let’s be sure we’re all talking about the same things and that’ll require some definitions. Here we go.

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DENNIS O’NEIL: Comics Education

DENNIS O’NEIL: Comics Education

  • News
  • September 11, 2007

If you’re a dedicated reader of movie end credits, the name Michael Uslan might be familiar to you.  If it isn’t…let’s remedy that.

If you know of Mike, it’s probably because he was executive producer of all the recent Batman flicks, including Catwoman and The Dark Knight, coming to a theater near you next June.  He’s also been involved in producing a lot of other stuff for screens both large and small.  And he’s done considerable writing, some of which was for comic books.  I first met him when he was a law student at Indiana State University in Bloomington, where he was teaching the first accredited college course in comics and a related correspondence course; he was nice enough to invite me to meet his class.

Mike’s latest project – and here we come to this week’s real subject – is a documentary movie on comics super heroes to have its world premiere on September 15 at the Montclair Art Museum which is located, no surprise, in a town called Montclair in a state called New Jersey, a short drive or train ride from New York City.  The movie screening is part of a much bigger deal, an exhibit of about 150 examples of comics art and related stuff at the museum that is currently there and is not leaving until January 13th of next year.  The screening is scheduled for 4:30 in the afternoon.

And if you’re still not satisfied, if that isn’t enough…On October 13th the museum will shelter a panel discussion on comics which will put Mr. Uslan, Danny Fingeroth, Tom DeFalco, and me in front of anyone who cares to show up, listen, ask questions.  Genuflecting and flinging rose blossoms at us are optional.

I haven’t visited the exhibit yet, but everything I know about it indicates that it’s worth going a bit out of your way to see. If you do – go out of your way to see it, that is, or even if you plan to see it without going out of your way – you might want some info. You can get it by visiting www.montclairartmuseum.org or phoning (973) 746-5555.  And while I’m in reporter mode, one final thing, the museum’s address is 3 South Mountain Avenue, Montclair, NJ 07042

I believe that at one time it would have been customary to, at this point, urge you to “be there or be square.”  Aren’t we glad that time is past!

And aren’t we glad that comics have come to a place where respectable institutions promote and host educational efforts on their behalf?  Well, yes, with some qualification.  Producing comics isn’t the informal, loosey-goosey business it once was, and so maybe a little less fun.  And I, for one, am not entirely comfortable with all this respectability.  I’m not happy that pretty young women behind checkout counters call me sir, either.  But better respectability than oblivion and, come to think of it, better being called sir than oblivion, too.

RECOMMENDED READING:  Walden and Civil Disobedience, both by Henry David Thoreau.

Dennis O’Neil is an award-winning editor and writer of comic books like Batman, The Question, Iron Man, Green Lantern and/or Green Arrow, and The Shadow, as well as all kinds of novels, stories and articles.

ANDREW’S LINKS: Knitted Hellboy

ANDREW’S LINKS: Knitted Hellboy

  • News
  • September 10, 2007

Comics Links

They’re sold out now, but for a brief, shining moment, the world had a chance to buy knitted Hellboy dolls. (Figures? Plushes? What do you call these things?) [via Newsarama]

This weekend, The New York Times dug through Stan Lee’s boxes of old photos for an article about the places he’s lived.

Comic Book Resources interviews Kent Williams.

The Friends of Lulu are looking for new board members, sayeth The Beat.

The Beat lists Diamond graphic novel sales charts from 2006 and 2007 (to date).

The Harlan Ellison/Fantagraphics legal matter just will not die…even after the supposedly final settlement, Ellison has now balked at posting the required-by-the-agreement 500-word rebuttal by Fantagraphics’s Gary Groth to three specific claims Ellison made about Groth. The unposted statement, and Ellison’s lawyer’s “not gonna do it” letter, are in the middle of this long post at The Beat.

Comics Reporter interviews Warren Craghead. (No, I didn’t know who he was, either. But CR likes him…)

The ComicBloc interviews Sean McKeever.

Some guy named Dan Stafford:

1)    wrote polite letters to various comics folks, like R. Crumb, Joe Matt, and James Kochalka, asking some questions.

2)    got letters back from same, with answers to those questions.

3)    Posted the results here.

The Bookseller (the UK’s magazine of bookselling) recently reported that UK manga publishers have had to beg the big chains over there to expand the space devoted to manga. Either the UK market is vastly different from the US, or Waterstone’s just isn’t that interested in making great piles of money…

Comics Reviews

The Joplin Independent reviews the Marvel comics adaptation of Rudyard Kipling’s The Jungle Book.

The Globe and Mail reviews a bunch of graphic novels and comics, starting with Sara Varon’s Robot Dreams.

Hannibal Tabu of Comic Book Resources lists his “buy pile” for this week.

Brian Cronin of Comics Should Be Good reviews Nick Abadzis’s Laika.

Greg Burgas of Comics Should Be Good reviews this week’s comics, starting with Action Philosophers! #9.

Greg Hatcher of CSBG reviews a pile of stuff he got for free.

From The Savage Critics:

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BIG BROADCAST’s Stories Behind The Sounds!

BIG BROADCAST’s Stories Behind The Sounds!

  • News
  • September 10, 2007

Some ups and some downs this week in our little pop culture playground. DC takes a few steps back with some scheduling issues and then brings Jim Shooter back in the spotlight, while the internet seems to be crammed with some very taste time wasters.

•  If you miss the premiere of the Iron Man footage on MTV’s The Hills Monday night, it will show up on Tuesday on Apple’s trailer site.

•  The questions rare on concerning that J.J. Abrams "monster" flick, and there are continued updates, opinions and more than one red herring (as far as I’m concerned) here . If you are at work, keep a hand on the speaker so the scary sounds don’t freak out the guy in the next cubicle.

•  Speaking of controversy, the fight over "the best costume in comics" rages on and you can see one list of choices now here.

•  You probably already went there days ago, but in case you still haven’t seen Alex Ross’ amazing cover to DC’s upcoming Heroes hardcover, it is here

Meanwhile, here at the ComicMix Hall Of Justice, we are gearing up for our own Big Week. If you are lucky enough to be at the Baltimore ComicCon, you know what I mean – but the rest of us will see AND hear it right here on the site in a couple of days!

Summer Box Office Closing Report

Summer Box Office Closing Report

  • News
  • September 5, 2007

The summer is now officially over and our minds are already beginning to turn to… the Christmas movie season.  But first, let’s take stock and see where we are with comic book-based movies.  We have just one left for release this year, the feature version of Steve Niles’ 30 Days of Night, but that’s waiting for the appropriate Halloween period.

Much has been made of the $4 billion summer box office and how it set a new record, until you adjust for inflation and then it doesn’t beat 2002.  Studios say that’s okay, because the hits will also prove strong sellers this holiday season in DVD (regular, HD-DVD, Blu-Ray, collect them all!).  With average ticket prices creeping up to $6.85 (it’s $10.25 in Connecticut, where on earth is it only $6.85?), the receipts have also risen.

Here’s an updated look at the genre films released this year with their total box office to date followed by their budgets. Again, following that logic, 300 remains the clear winner by traditional Hollywood logic.  When all the home video sales get counted next spring, we’ll see if that remains the case.

Ghost Rider, $115,802,596 / $110,000,000

300, $210,250,922 / $65,000,000

TMNT, $42,273,609 / $34,000,000

Spider-Man 3, $336,530,303 / $258,000,000

Fantastic Four: Rise of the Silver Surfer, $131,451,007 / $130,000,000

Stardust, August 10, $31,912,000 to date / $70,000,000

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DENNIS O’NEIL: The Missouri Mafia

DENNIS O’NEIL: The Missouri Mafia

  • News
  • September 4, 2007

 

There we were, in Cape Girardeau, Mo. at a convention chatting with fans and signing autographs – yes, the Missouri Mafia together again.

There is an element in the preceding sentence that’s wrong. It’s the word “again.”

Before I explain, a warning: the subject of this week’s blather is so trivial, so insignificant that it does not merit a footnote in the most comprehensive of comics histories, even if that footnote is in a type font so tiny one could use it to put the whole of next year’s New York Times on the head of a pin, presumably near the dancing angels.

Where was I? Oh yeah, in southeast Missouri with Roy Thomas and Gary Friedrich, being very well treated by the convention sponsor, Ken Murphy. The occasion was a reunion of the aforementioned Missouri Mafia – i.e., the three of us. I don’t know who first used the term Missouri Mafia, which Roy, in a recent email called “a dumb phrase,” or why. It was probably because we three, in the late 60s and early 70s, were working as writers at Marvel Comics (and Gary and I also wrote for Charlton) and we were not only from Missouri, we all had a connection to a particular parcel of the state. I was working as a reporter for the Cape Girardeau newspaper; Gary and Roy were childhood friends who lived in Jackson, about eight miles from Cape.

To make a story I’ve told probably hundreds of times as short as possible: Roy was editor of what was unquestionably the best comics fanzine, Alter Ego, and had just accepted a comic book job in New York. I did a story on him for the paper, a month later he sent me Stan Lee’s writer’s test, I did it and then Roy and Stan offered me a job, which I accepted. A year or two later, Roy recruited Gary and…voila! The Missouri Mafia.

The Mafia’s ranks were augmented by the eventual arrival on the scene of Steve Gerber, who, coincidentally, graduated from my alma mater.

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DENNIS O’NEIL: The Senator is Golden

DENNIS O’NEIL: The Senator is Golden

  • News
  • August 28, 2007

If a man is to be judged by his enemies, Patrick Leahy is golden. He was, as was widely reported, told to do an anatomically impossible act on himself by our always-classy Vice President, the Honorable Dick Cheney, and badmouthed by James Dobson, leader of Focus on the Family. Great foes to have.

Mr. Leahy, as most of you probably know, is Senator Leahy of Vermont, chairman of the Senate Judiciary Committee, currently trying to get a couple of friends of The Honorable George W. Bush to obey the law by telling the truth and honoring subpoenas.

I like Pat Leahy’s politics and especially his humanitarianism and I liked Pat Leahy before I knew much about either because he invited me to lunch a few years ago, along with my wife and a number of other comic book guys. Senator Leahy, it turns out, is a Batman fan and not shy about saying so in public. Lunch was in the Senate dining room that day, and although my mistrust of what we’re forced to call The Establishment is reasonably sincere, I have to admit that this butcher’s kid from North St. Louis was pretty impressed with himself, sitting at a big table with a living, breathing senator, surrounded by the nation’s movers and shakers. Later, our host wrote an introduction to a collection of comic book stories and later still, had cameos in two of the Batman movies.

According to the Journal News, my local Gannett paper, and reported by ComicMix last week, the senator will have an actual part in the next batmovie, The Dark Knight, and will donate his acting pay to a children’s library in Montpelier. (No word yet on whether Cheney or Dobson will be in the cast, but don’t get your hopes up.)

I mentioned the senator’s humanitarianism, which brings me to our second encounter with him. In 1996, at the instigation of Jenette Kahn, then DC Comics’ publisher, we did some comic books about the landmine problem. Before Jenette dragooned me into a meeting full of impressive people, I hadn’t known there was such a problem. But there was, and is, and it consists of the existence of millions of small explosive devices scattered throughout the planet. In theory, their targets are soldiers, but in practice, they kill and maim many, many civilians, especially children. So the Superman guys did a book, to be translated into the appropriate languages, which showed what landmines are and what to do if you see one, and we Batman guys did a book, in English, designed to raise awareness. And that’s where we reencountered the senator. Every year, he works to help landmine victims. You don’t hear about this much, and he makes no political capital from it; having spoken with him about those victims, I’m convinced that he does what he does sincerely, because it needs doing.

Anyway, to finish the story, the senator and I eventually found ourselves sharing a rostrum as we worked to publicize our comics and the landmine problem they addressed.

I’ve done nothing about the problem since. Not so the senator, and that’s one of the reasons he’s a genuinely good guy.

I’ll bet he’ll be just fine in the movie, too.

RECOMMENDED READING: The Tipping Point, by Malcolm Gladwell

Dennis O’Neil is an award-winning editor and writer of comic books like Batman, The Question, Iron Man, Green Lantern and/or Green Arrow, and The Shadow, as well as all kinds of novels, stories and articles.

D2DVD REVIEW: Strange Thrills

D2DVD REVIEW: Strange Thrills

What to do with Doctor Strange?

That’s a question Marvel creators have been asking ever since Steve Ditko left town with the original Eye of Agamotto. A lot of people gave it a shot over the past five decades, and, to be fair, several did a first-rate job. But they had a hard time recapturing the original magic.

This week, Marvel Studios released its [[[Doctor Strange]]] D2DVD, and, being a self-contained 75-minute effort, they took some liberties with the ever-evolving and sometimes contradictory comics versions. Overall, I think they did a good job.

This D2DVD is not quite a superhero effort; certainly, not as defined by their previous animated movies ([[[Ultimate Avengers]]] 1 and 2, [[[Iron Man]]]). They keep the most basic elements of the various origin stories and they don’t really alter anything of substance: Stephen Strange is still starts out as the egotistical, self-absorbed, money-grubbing surgeon supreme and within and hour and a quarter is fast-tracked to beatific altruistic sorcerer supreme. Which, if you think about it, is not a good thing for Strange’s master, The Ancient One.

Along the way, though, we see Strange’s journey to supremacy, we get to appreciate his frustrations and see him grow past his ego and get redeemed. Oh, and he gets to fight Mordo and Dormamuu and a boatload of demons along the way. Our Japanese friends could learn a thing or two from Doctor Strange’s approach to limited animation: Marvel took full advantage of the fluidity of the animation form to allow for the mystical poop to really pop.

Of course they made Wong politically correct, so I guess my desire for an all-Asian cliché-fest crossover with the Blackhawk’s Chop-Chop isn’t going to happen any time soon. And they even teased us with a sequel set-up.

The supplemental documentary is first-rate. Not as first-rate as the extras on the new [[[Popeye]]] box-set, but damn good. Their “[[[Origin of Doctor Strange]]]” delves fully into the comic book roots, showing off a lot of art, giving Stan Lee and (particularly) Steve Ditko their due, and interviewing the hell out of the always-eloquent Steve Englehart, whose own run as Doctor Strange writer (much of it with Frank Brunner as artist) was among the series’ very best.

Overall, a nice effort from supervising director Frank Paur and writer Greg Johnson. I suspect all but the most anal-retentive [[[Strange]]] fans will enjoy the experience.

DENNIS O’NEIL: On The Road Again

DENNIS O’NEIL: On The Road Again

  • News
  • August 21, 2007

Jack Kerouac’s novel On The Road is 50 years old.

“And this has exactly what to do with comics?” demands the snotty guy in the corner. Well, actually, not much, but maybe if we stretch, a little something. Patience, please.

If you know people my age, or a bit younger, you may have heard On The Road stories. Mine is pretty banal: I was fairly unhappy at school (I was always fairly unhappy at schools, except when I was actively miserable) and I read and had my mind altered by Kerouac’s book which is, among other things, a paean to travel and the highway. So, one morning, I went down to breakfast, borrowed about forty bucks from my father and, blowing off university exam week, got on a bus for New Orleans.

Once there, I didn’t do much: checked into a Y, hung out, walked around, had a friendly lady on Bourbon Street offer to teach me everything about life for only five dollars. I kind of guessed what she was talking about and, being the Good Catholic Boy that I was, politely declined. Then I boarded another Greyhound and went home. No hitchhiking, not that trip, though there was plenty later. (And, by the way, don’t try this at home. Hitchhiking in the 50s and 60s was not without hazards, but not nearly as dangerous as it is now.)

“Did someone mention comic books? This column, this whole dern website, is supposed to be about comics.” The snotty guy in the corner again. Okay, be at peace, brother, and give me another paragraph or two.

Kerouac was, as I’m sure everyone except the guy in the corner knows, the most famous and visible member of a loose confederation of novelists, poets, and musicians that became known as The Beat Generation. I’ve never heard, or read, any of them even evidencing knowledge that comics existed. But they were contrarians that believed that most conventional wisdom was erroneous, that genuine American values involved peace and understanding and, incidentally, that maybe mainstream literary and critical folk – the Establishment – did not own the last word on artistic matters.

Jump ahead a few years to the mid-60s and here we are, on college campuses, and what are the bright rebels reading? Well, a few – those who still wear ties on Sunday – are still delving into Catcher In The Rye, and a few more are grokking Stranger In A Strange Land, but the real nonconformists, the bright ones, are into comics, particularly Marvel comics.

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