Recently, DC Comics has made a big deal over the fact that the Earth where the New 52 comics have been telling stories is the Main Earth. This is to clearly separate it from the Earth-One seen in the hardcover graphic novels – the first of which, [[[Superman: Earth One]]] came out to great acclaim last year and the next, [[[Batman: Earth One]]] is due out later this year. It also paves the way for people to understand that the Main Earth is not the same homeworld as the events seen in two second wave releases in May: Earth-2 (featuring the Justice Society of America) and World’s Finest, which features Power Girl and the Huntress of that world trapped on Main Earth. And while we were initially told this Earth-2 would be the home of World War II’s mystery men the reality seems far from it.
So what, you wonder, became of New Earth which resulted from the events of Infinite Crisis? We were told that it was altered through the events depicted in the Flashpoint event last summer, which in turn revised reality which gave us Main Earth.
Michael Rosenbaum makes his triumphant return as the beloved voice of The Flash in JUSTICE LEAGUE: DOOM, the next entry in the popular, ongoing series of DC Universe Animated Original PG-13 Movies. The film will be available everywhere on Tuesday.
Rosenbaum brought his own playful, gregarious, sometimes sarcastic personality to Flash for the Justice League and Justice League Unlimited animated television series, setting the standard as the voice behind the “fastest man alive.” Rosenbaum is one of eight actors returning to their original animated voice from the Justice League series.
Fanboy crowds also hold Rosenbaum in high esteem for his impressive performance as Lex Luthor for seven seasons of Smallville. He’ll soon be seen opposite Bradley Cooper and Kristen Bell in ‘Outrun,” and he’s currently in production on “Old Days,” a triple threat for Rosenbaum as he is writer, director and star of the film
Justice League: Doom finds Superman, Wonder Woman, Flash, Green Lantern, Martian Manhunter, Cyborg and Batman on their heels when a team of super villains discover and implement the Dark Knight’s “contingency plans” for stopping any rogue Justice League member. The story is inspired by Mark Waid and Howard Porter’s much-heralded JLA: Tower of Babel.
Produced by Warner Premiere, DC Entertainment and Warner Bros. Animation, the all-new Justice League: Doom arrives today from Warner Home Video as a Blu-Ray™ Combo Pack and DVD, On Demand and for Download. Both the Blu-Ray™ Combo Pack and DVD will include an UltraViiolet™ Digital Copy.
Any interview with Rosenbaum is well worth the price of admission, as you just don’t know which direction the answer might come from. (more…)
When Mark Waid joined the creative team on JLA, he told a pretty terrific story about Batman’s secret protocols for neutralizing the Justice League of America falling into Ra’s al Ghul’s hands. In the “Tower of Babel” story, he used it to take out the League in order to execute a plan for world domination. It made for a fine story arc that allowed Batman to leave the team for time and resonated with fans given the weighty thematic material. It has endured in memory and prompted Warner Premiere to approve JLA: Doom, an adaptation as a part of their ongoing series of direct-to-DVD animated features
The resulting production, on sale tomorrow, is bittersweet because it marks the final script from the talented Dwayne MacDuffie. And it needed series editing which clearly was not done, making it a deeply flawed adaptation of the source material. The dramatic core is here, but given short shrift in two brief scenes while the remainder of the story is a series of chaotic and badly choreographed fights strung together. Any semblance of characterization for the heroes or villains is seemingly accidental as the story allowed the JLA to trade blows with a variety of familiar villains. (more…)
If you’ve been a fan of Warner Bros.’ direct-to-DVD DC Universe movies, you are no doubt eagerly awaiting the February 28th release of Justice League: Doom.ComicMix’s ownGlenn Hauman and Mike Gold attended a press screening of the movie, along with the mandatory press conferences and post-game roundtable discussion. We decided to take a conversational approach to our preview – not quite a review, as we’re avoiding spoilers. Still, if you’re extraordinarily anal retentive (the fanboy/fangirl affliction), you might want to just look at the pictures.
Glenn: The story, and the universe, felt familiar – not just because we’ve known these characters forever, but because it was Dwayne McDuffie’s take on them, his POV from Justice League and from Justice League Unlimited. One of those “you don’t realize how much you miss it until it’s gone” things.
Mike: DC’s animated universe came about organically, from the original Fox Batman Adventures through Doom… with major exceptions like that Teen Titans and that unnecessary and initially unwatchable TheBatman series a couple years ago. Dwayne played a major part in that Justice League animated universe to be sure, but those Batman and Superman series created the foundation of this universe, as well as the bouncing off point for many of the actors.
Glenn: Speaking of the DC animated universe: one thing that was weird for me, throwing a new bit of unexpected unfamiliarity, was meeting Kevin Conroy, the voice of Batman for two decades, because he just doesn’t quite look the part in real life – he looks more like the Scarecrow. I found myself mentally covering up his face from his nose up, superimposing a cowl on him. Or am I just that weird?
Mike: Yeah, Conroy is pretty skinny and he’s got a great face. But I think he’d be perfect as Jason Blood or Orion of the New Gods.
Glenn: Conroy as Jason Blood, live action? Oh, that works really well.
The quintessential voice of the Man of Steel – primetime television star Tim Daly – once again returns to his original animated role of Superman in JUSTICE LEAGUE: DOOM, the next entry in the popular, ongoing series of DC Universe Animated Original PG-13 Movies.
Daly set the standard as the voice behind the world’s ultimate super hero for Superman: The Animated Series as well as in several animated movies and video games. While fanboys hail his vocal performance as their point of recognition, the Emmy nominated actor is known well throughout the world for his primetime television series roles, including eight seasons on Wings, an intense recurring role on The Sopranos, a memorable turn on HBO’s landmark mini-series From The Earth To The Moon, and his current ABC hit series, Private Practice.
Daly has joined the festivities surrounding the West Coast Premiere of JUSTICE LEAGUE: DOOM on Thursday, February 16 at The Paley Center for Media in Beverly Hills. The actor will appear for red carpet interviews and take part in the panel discussion following the film – alongside his co-stars Phil Morris (Seinfeld, Smallville), Paul Blackthorne (The River), Oliva d’Abo (The Wonder Years) and Susan Eisenberg (Justice League, Justice League Unlimited). Also confirmed to attend is director Lauren Montgomery and dialogue/casting director Andrea Romano.
Warner Home Video will distribute JUSTICE LEAGUE: DOOM on Blu-Ray, DVD and for Download on February 28, 2012.
Daly took a few minutes to offer answers to some questions that haven’t been posed to him – lately.
QUESTION: What’s the crux of JUSTICE LEAGUE: DOOM from Superman’s perspective?
TIM DALY: Well, as usual, it’s all about saving the planet. But first, the Justice League has to save the Justice League. Batman disappoints his colleagues in the Justice League by having a plan to stop any rogue Justice League member, and by allowing those plans to be stolen. Superman understands Batman, though – he really has created these contingency plans for a pretty noble reason. He’s trying to protect the world by inserting some checks and balances into this system, realizing that the Justice League has an incredible amount of power, and he wants to make sure that they always use that power in a way that’s not destructive. (more…)
It’s that time again… here are the preview materials for DC Comics releases for May 2012.
As you can see, DC is clearly getting excited about the imminent arrival of The Dark Knight Rises with new movie statues showing Anne Hathaway, Christian Bale, and Tom Hardy, the return of Grant Morrison and Chris Burnham’s Batman Incorporated and the long awaited arrival of Batman: Earth One by Geoff Johns and Gary Frank, and the Talon appearing in every single Batman book this month… and even All-Star Western?
Plus, with the return of Earth One, we also get the return of Earth Two– and the return of the World’s Finest.
Shall we get into it? Let’s!
As always, spoilers may lurk beyond this point. (more…)
Denny O’Neil used to have a T-shirt that proclaimed “Growing old is not for sissies.” As I get older, the hard truth of that keeps coming back to me. Case in point.
Two days ago, there was an article here in ComicMix about Gary Friedrich who lost his case against Marvel about participation in the monies made from the movie (now movies) of Ghost Rider, which he created at Marvel. Among other reasons cited by the judge, U.S. District Judge Katherine Forrest, was that Friedrich gave up his rights to the character when he signed checks that had, above the signature line, language requiring him to give up any rights to the character.
I’ve done that, too. You had no choice in the matter in those days. If you wanted to cash the check, you had to endorse it and you had to endorse it beneath the legal crap. There was no negotiation, there was no discussion. It was, to be blunt, coercion.
The name, Ghost Rider, had also already been used at Marvel as one of the Western characters they had – said character, again, being created by Gary Friedrich. Friedrich also had to sign a document giving up all rights – and why wouldn’t he? This was seven years before the first Superman film with Christopher Reeve showed up, six years before George Lucas made Star Wars and showed there was a ton of money to be made off of ancillary rights such as toys et al. You signed those documents because that’s what was necessary to get the work. No movies were being made, no toys were being made, there were no video games – the only money to be made was from the work itself. There was no indie market in those days where you could take your ideas. You made the deal that was there to be made.
The judge had to base her decision on what were the legal facts – and they said that Marvel owed Gary Friedrich nothing. Without Friedrich, however, the property doesn’t exist. From all reports, he’s not in good shape. He could use the money – even a taste.
What is he owed?
Injury to insult department. The judge has not only told Friedrich to stop saying he created Ghost Rider, he was ordered to pay Marvel seventeen grand in damages.
Friedrich owes Marvel $17,000.00!
He’s not the only freelancer in this position. Years ago, I saw Gene Colan and his wife at a convention and I steeled myself up to go say hello to someone I thought (and think) was one of the unique great talents in the industry. He was having eye troubles at the time (with which I would come to completely empathize) and he was, to be honest, a little angry and bitter. Like other old pros, he felt cast aside and forgotten by the industry and he warned me to make sure I had money in the bank or find something else I could do. I wish now I had taken his advice more strongly.
This is not to say there are not groups like the Hero Initiative out there who do tremendous work in helping people who have given to the industry but there are financial limits to what they can do. There is no equivalent to a union or a guild in this industry; if you even think of starting one, you’re gone. John Broome, fabled writer in the Silver Age, found that out.
What is owed to any of those who built a company, built this industry, and then got left behind?
I won’t pretend; I’m more or less in that boat and it scares me. I’m luckier than some; with Amanda Waller, who I created, I’ll see some participation for her use in the Green Lantern movie, just as I did for her use in Smallville and Justice League Unlimited. I think that’s fair and, fortunately, legally binding. Thank you, Paul Levitz.
But what about others, like Gary Friedrich, who worked before there was any such notion? There is, as always, a wide distance between what’s legal and what’s right.
What is owed to those who came before, who did the work on which later, more lucrative, works are built? The contracts, the law, says nothing is owed.
Does that seem right to you?
It doesn’t to me.
If you agree, tell Marvel, tell their parent company, Disney, that they owe the creator something, contract or no contract. Fans can do something and it can be effective. Gary Friedrich isn’t one of the big, great names in comics. But he created Ghost Rider and, legally or not, they owe him.
Susan Eisenberg, the beloved voice of Wonder Woman in the popular Justice League and Justice League Unlimited television series, reprises her role for the next DC Universe Animated Original Movie, Justice League: Doom.
Eisenberg will join several of her voicecast colleagues for the West Coast Premiere of Justice League: Doom at the Paley Center for Media in Beverly Hills on February 16.
The event is completely sold out. However, a very limited number of VIP seats are still available to fans through the Los Angeles Times/Hero Complex, as well as the Justice League: Doom Facebook page. Fans should keep their browser focused on those two pages for details of the giveaways.
The all-new, PG-13 rated Justice League: Doom will be available February 28 from Warner Home Video as a Blu-ray™ Combo Pack, DVD and for Download. Both the Blu-Ray™ Combo Pack and DVD will include an UltraViiolet™ Digital Copy.
Eisenberg has focused her career in voiceovers for animation, video games and commercial use. In addition to her work for the past 12-plus as Wonder Woman for Justice League and Justice League Unlimited television series and the DCU films Superman/Batman: Apocalypse and Justice League: Doom, Eisenberg can also be heard in a variety of animates series, including Jackie Chan Adventures, Scooby-Doo! Mystery Incorporated and The Super Hero Squad Show, as well as video games like Star Wars: The Ford Unleashed – Ultimate Sith Edition and Command & Conquer 4: Tiberian Twilight. She is one of nine actors returning to the booth to record their original Justice League roles for the film, Justice League: Doom.
In anticipation of the West Coast Premiere, Eisenberg gladly offered some recollections and thoughts regarding her years of voicing Wonder Woman, including flirtations with Batman, her personal memorabilia collection, and the real reason Wonder Woman flies an invisible plane.
QUESTION: What do you recall of earning the role of Wonder Woman some 13 years ago?
SUSAN EISENBERG: I can remember it vividly – because it was a big deal. It felt like a real life-changer, so it’s a huge memory for me. It was 1999, and I remember going to the call back and being with Andrea (Romano) and Bruce (Timm). Even the dialogue is still clear in my memory. And when I got the call that I got the role, it really had an impact on me.
Most jobs in voiceover don’t make you feel like they’re going to change your life, but this one did. And in many ways, it really did. I got to work for six years on a series, and I’d never done something that long term. And I was chosen to voice this wonderful, iconic character … and through these movies, I get to continue that role. It’s been fun and kind of surprising – people obviously know Wonder Woman, but it’s wonderful when they care that much that they actually recognize and acknowledge your work as the character. I walk into other jobs and people still say, “You’re Wonder Woman, right?” That’s really a kick.
QUESTION: What’s special to you about playing Wonder Woman?
EISENBERG: Wonder Woman is truly iconic. Everyone knows her. There’s something wonderful about playing a character who is recognized throughout the world. And I love her strength. I love that she stands for something and that she believes in what she believes. She’s very, very loyal and faithful and, in the beginning, I got to play her more vulnerable, and now I get to play her more adult and stronger. She’s a wonderful character.
QUESTION: You don’t have the benefit of weekly recording sessions to keep the voice fresh in your mind. How do you jump back into this role without a hitch?
EISENBERG: Working with Andrea and Bruce is a great because they were there at the start – Andrea has always directed me in this role, so she knows what she’s looking for. Listening to her direction is the first trick. Reading the script a few times also helps, especially to find the attitude and the voice. And as a refresher, I like to go online, check out YouTube, and play some old clips, or watch some of my DVDs. That helps to get me back in that space – and then Wonder Woman is right there in my head. But honestly, it’s not a huge leap for me – she’s pretty much in there all the time, anyway.
QUESTION: How much of what you do with Wonder Woman is through a change in your voice, and how much is really acting and attitude?
EISENBERG: A lot of it’s attitude. That’s why, if I’m speaking just normally, it’s not as if somebody next to me would ask, “Do you play Wonder Woman?” But then when I do the attitude and lower the register slightly, you will see this smile of recognition on the face of a little kid … or a true fan. And that’s always fun.
QUESTION: Who recognizes you more – kids who watch cartoon, or the adult devotees of the genre?
EISENBERG: Kind of both, and the reactions are different, but similar. It’s really nice to have people who are so passionate about these characters. So you get the 6-year-old child who has watched the cartoon and their eyes get big when they recognize that you’re this person behind the voice. But then you get the 40-something-year-old who has been watching, and loves this world, and loves this universe, and reads the comic books, and cares deeply about the genre. That’s fabulous, too. Just to have fans is a very cool thing. No one can complain about that. It’s good.
QUESTION: Wonder Woman has some very long battles in Justice League: Doom with a lot of physicality required in the vocal performance. How’d you handle that?
EISENBERG: The initial recording session is pretty straight-forward – we save most of the impacts and grunts and physical action for the ADR session. But as I was reading the script, I just kept thinking of Dwayne (McDuffie) and thinking, “You really layered it on me, didn’t you!” I’m going to have to be electrocuted and hit over the head and punched over and over and punch back over and over. You often have to be physical to sound physical. So – that’s a truly exhausting day.
QUESTION: What’s it like to have the gang back together again?
EISENBERG: You know, it’s thrilling because it’s a grand reunion. I get to be reunited with Michael Rosenbaum and Kevin Conroy and Carl Lumbly and that’s like having the League back together, if you will. I didn’t that expect that to happen, and I could not be more thrilled. Driving to the recording session, I was just so excited that we’d be in a room together. It is just so comfortable coming back into this. It’s the best gig in town. And anyone who does voiceovers would say that.
QUESTION: What are the scenes that appeal most to you in this film?
EISENBERG: I always like the quieter moments. So I like my scenes with J’onn, because those two characters really can relate to each other in so many ways, and I also liked my scenes with Batman. In both cases, those were some of the quieter moments with some emotional content. I enjoy the scenes where I have to kick some butt, too. But I truly enjoy the interplay with the other characters and the actors that play them.
I’ve never been shy about my feelings with Batman and Wonder Woman because, first of all, I love Kevin and I love working with Kevin. I think he’s amazing as Batman. And I love Batman and Wonder Woman together, and I think the fans do, too. You can go on YouTube and find all these wonderful videos of the two of them – showing their romance, put to music – so you know the fans love them together.
Playing Diana gives you a lot of different angles and emotions to play. Diana is very serious – she’s not like Flash where she’s funny and throwing out the one-liners. When she’s funny, it’s not necessarily intentional that she’s funny. And so I love the other aspects of her, when she gets to be flirty with Batman or when she gets to be funny with Flash or more earnest with J’onn. I especially like to play the flirty and hint at that romance between the characters. That’s a lot of fun.
QUESTION: How much equity to you take in this character?
EISENBERG: I’m enormously proud that I get to play her – it truly is a privilege and an honor. People have definite, strong opinions of Wonder Woman, and she’s known everywhere. She is this embodiment of female empowerment, and that’s a thrill, too, because there are little girls and little boys and they’re watching this and seeing that she’s so strong and so tough and righteous. It’s great to be able to provide that example of heroics through this character. I’m a guardian of that, and I don’t take it lightly. And every time I get asked to voice the role, I feel grateful – each and every time. I hope I keep getting to do it.
QUESTION: Has playing Wonder Woman changed you?
EISENBERG: In several ways. I think I’ve grown up with this part. I got this role 10 years ago, and just working alongside my fellow Justice League actors and with Andrea and Bruce has changed the way I work. And learning about this universe has changed me. You can’t have a part like this and not feel changed by it, because it’s enviable to have this job and play this character. There’s humility attached to that. You know you’re lucky. And that changes you, also.
QUESTION: What’s your attraction to voiceover work?
EISENBERG: I grew up doing radio commercials for my father’s business in Woonsocket, Rhode Island, and I loved it. My father and my sister worked together – they would write the copy for me, and I would do the commercials for them. There’s something just so freeing about being behind a microphone as opposed to in front of a camera. There’s no worry about your hair or lipstick – on camera you get so self-conscious. Sure, there’s a self-consciousness in a room recording with other actors, because you want to be good. That’s just performance anxiety. I’ll take that any day over that camera and all those people staring at me. Some people are so natural with the camera – the can just pretend it’s not there. I am so aware it’s there.
QUESTION: What Wonder Woman memorabilia do you have at home?
EISENBERG: I have a lot of pictures and some beautiful cels – all gifts from the Justice League and Justice League Unlimited. And some small things that people have sent me – mugs and little toys and notebooks with her on the cover. When we first started, we all ran out and bought our own action figures, so that’s right at the forefront of my bookshelf.
Best of all, I have all the scripts from the series. I keep them in a big bookshelf in my closet. I’m nostalgic about that stuff. It’s very sentimental to me to. It was a big deal this job – it really does mean the world to me. So I kept all the scripts.
QUESTION: Wonder Woman can fly. Why does she need an invisible plane?
EISENBERG: Because she likes to go in style. And why should she always be flying when there is a plane that can do it for her? I mean, why not have the private jet if you can have the private jet? Right? You’re going to begrudge her a private jet? I don’t think so.
This past week, I read both Justice League #5 and Justice League Dark #5. To say they are worlds apart is a bit on-the-nose, but suffice to say… it’s the truth. Justice League proper is loud, dumb, and thin. Dark is the polar opposite.
With an issue left to finish its first arc, Justice League needs a near miracle to turn my opinion around. In issue #5, Dark completed its first arc and I’m amazingly sold on it. Funny then that I didn’t bring that book home. My wife, and mother to our newborn son, bought it cause she loves Zatanna. Trust me, I have a millions reasons to thank her everyday. Now? I have a million and one. But I digress. This here column is meant to compare and contrast just why JL: Prime is poop, and Dark is dynamite. I hope Geoff Johns is taking notes.
Let’s start with the good. Both Leagues assemble a pretty stellar line-up. I know there are those out there that have a soft spot for the less-than-great Leagues of the past (like when they were in Detroit, or the amazingly crappy team from right-before-the-flashpoint), but let’s be honest: The present day roster takes its Magnificent Seven approach ala Grant Morrison’s run, and it was damned smart to do so. On the Dark side, we get a team-up that’s a veritable who’s who of the mystic arts.
With the Vertigo imprint now a part of the DCnU proper, we get to see stalwart mystic go-to characters like Deadman team up with John Constantine, amongst others. All in all, the teams work on paper, quite well. And John’s use of Cyborg as the would-be-everyman makes me forget all about the obvious affirmative action. The only character I wish they’d put on the Dark team would be Detective Chimp. Face it, monkeys equal sales.
Now that we got that out of the way, let’s dive into the bad, shall we? Justice League takes too many cues from the worst part of comics from the 1990s. Jim Lee is delivering amazing work, but at the cost of quality narrative. Splash after splash, action panel after action panel, and everyone always screaming, wincing, and punching. Also, all of it is on fire. Now, is Jim to blame for this? I don’t know. Geoff Johns is the man behind the script, so one might ask him if he intended the first arc to be so… typical.
For a guy who built a career on amazing origins, here he delivers his first disappointing one. Think of all the stereotypical team-forming storylines you can think of. Heroes meet, and think each other is the villain? Check. Egotistical in-fighting for control? Check. The evil-villain-from-out-of-nowhere who can only be defeated by having the team form? Check. That basic premise has been done to death in just about every team book, and funny enough? JL: Dark uses it too! But somehow, they pull it off. I’ll get to that later.
As I recall comics of my youth (those pesky ‘90s), it was always about the pop and sizzle, never about the words. It was all about who could beat up who and how, never why. Then I grabbed Watchmen, Sin City, books by Scott McCloud, and Kingdom Come and learned that comics can be stellar cape and cowl adventures… and use nuance and subtlety to end a story. Justice League throws all of that out the window, so we can make way for everyone taking time to ask what Batman’s powers are. Snicker.
Justice League Dark takes that same convoluted plot and smartly dampens it for characterization. The first arc is the antithesis to the uniting of individuals for the greater good. Instead we have severely independent agents being routed to stop something against their will. Over the course of the book, characters do fight one another, but it’s done with nuance. When Deadman threatens John Constantine, it’s because he cares for June Moon, who Constantine is obviously hurting in order to save the greater good. No puffed up chests and snarky dialogue.
And the big bad of the book? Well it turns out to be the misguided Enchantress, who lost control due to Madame Xanadu’s misguided tinkering. And at the climactic battle, when the score is blasting, and characters shout… it’s not the uniting of the mystical mavens of the greater DCnU that saves the day. It’s just Constantine doing his job. When the dust settles, the team, as it were, stand as independent as they were at the books’ beginning. It’s a bold move by Peter Milligan, who opts to dose his Justice League with a bit of realism. Realism, is a comic featuring a guy who has a super secret all-powerful vest? Yup. And it’s pretty darned cool.
I’ve merely scratched the surface here. Now, before you fire up the engines of hate, let me act as my own Devil’s Advocate. Justice League has had some great moments. As I mentioned before, I think Cyborg has been a real highlight of the book, and Johns’ Hal Jordon is a cock-sure treat, especially when he gets his ass whooped. And truth be told, the sales figures put me in my place pretty quickly. And Justice League: Dark isn’t exactly narrative fiction perfected. Over five issues Milligan utilized the “two characters show up somewhere, and spend their time questioning why they’re there scene” about 27 times. And as ComicBookResources’ Chad Nevett noted in his review of issue #5. Milligan may need to do a ton of back-peddling to assemble his team for the next arc.
Overall though, I think it’s clear: Justice League thus far has been far too busy trying to bring the “oohs and ahhs” while Dark spent its time trying to develop its characters beyond witty retorts, and punching. The books are clearly targeting different audiences, but even those who prefer eye laser blasts and Batarangs to backwards spells and Photoshop glow effects…clearly see where the flagship of the DCnU is aiming only at the lowest common denominator. If the DCnU is to make those who don’t read comics pay attention, modeling their mainstay book off of Michael Bay mentality isn’t the way to do it.
Take to the Skies with Captain Midnight and Commander X: New Comic Book on the Horizon from Moonstone Books and Nemo Publishing
At the end of this year, Nemo Publishing and Moonstone Books will publish a cross-over one shot comic book featuring the legendary Captain Midnight and Commander X from Nemo Publishing’s “The Undersea Adventures of Capt’n Eli” graphic novel series. This 28 page, full-color book will be written by longtime DC Comics writer and editor Brian Augustyn. Artwork and co-plotting will be by Jay Piscopo, author and illustrator of “Capt’n Eli.”
“When real life casts long shadows over us and time seems to be running out, that’s the time to look to the skies for the antidote to modern worries,” said Augustyn. “I couldn’t be happier to be working with Moonstone, Nemo, and my great friend Jay Piscopo on this thrilling and timely project.”
This new book will feature guest stars from other Moonstone books, including Airboy and the Air Fighters, and will pay homage to the great heroes of yesteryear, particularly aviation heroes.
“I’m a huge fan of Captain Midnight and what Moonstone has done with the character. I see this as an opportunity to introduce new fans to this once very popular hero from American pop culture,” said Piscopo. “Working with a friend and a creator I admire so much and to team up with Moonstone is a dream come true.”
Captain Midnight is relevant today because he existed in a time similar to our own when the United States was in the midst of economic upheaval and the world was at war.
Augustyn noted “Captain Midnight has been a multimedia legend for 70 years and remains as vital today as when he first took wing. As ever, Cap delivers sky-high adventure and heroism in the classic style. Commander X is completely in sync with those ideals and will be the perfect partner in crime-fighting. Featuring the Air Fighters only makes it all that much more thrilling.”
Piscopo think it’s perfect timing to reawaken these WWII era characters and see what made them strong and interesting. “These characters stood for ideals; particularly the ideals of freedom, equality and fighting against fascism. The superhero genre blossomed during WWII because this is what they stood for.”
More about Moonstone Books: Moonstone publishes fine and distinct comic books, graphic novels, and prose featuring classic and new heroes in thrilling tales of adventure, mystery, and horror including wayward thriller-adventure heroes like Kolchak the Night Stalker, Buckaroo Banzai, Captain Action, The Green Hornet, The Avenger, The Spider, The Saint, The Justice Machine, Domino Lady, Zorro, The Phantom, Operator 5, G-8, The Green Lama, Honey West, Sherlock Holmes, Airboy, Zeroids, Secret Agent X, The Phantom Detective, and more. www.moonstonebooks.com
More about Brian Augustyn: Augustyn is an award-winning comic book editor and writer. He got his start in the industry in 1984 as an editor for Tru Studios’ “Trollords.” He then edited “Syphons” and “Speed Racer” for NOW Comics. In 1987, he joined DC Comics, starting out as a co-editor on “Action Comics” during its period as a weekly title. He then went on to edit “The Flash,” “Justice League” and the “Impact Comics” line of titles. Augustyn was recognized for his work in the industry with the Wizard Fan Award for Favorite Editor in 1994.
More about Jay Piscopo and Nemo Publishing: Piscopo is the author and illustrator of Nemo Publishing’s “The Undersea Adventures of Capt’n Eli” graphic novel series and “The Sea Ghost #1: The Sea Ghost in the Machine” comic book. Captain Midnight and Commander X are similar and unique in that they both were created as a vehicle for advertising a product. In the case of Captain Midnight, it was Ovaltine in the 1940s. Commander X is part of the Capt’n Eli universe of characters tied to the Capt’n Eli’s line of hand-crafted sodas from Portland Maine. Capt’n Eli is the namesake of real-life World War II veteran Eli Forsley who was also the inspiration for Capt’n Eli’s soda. Read the story behind the story at this link. On the web atwww.captneli.com and www.theseaghost.com.
. ComicMix’s own Glenn Hauman and Mike Gold attended a press screening of the movie, along with the mandatory press conferences and post-game roundtable discussion. We decided to take a conversational approach to our preview – not quite a review, as we’re avoiding spoilers. Still, if you’re extraordinarily anal retentive (the fanboy/fangirl affliction), you might want to just look at the pictures. 
