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.
If you you’re inclined to keep an eye out, heroes pop up like Kleenex. Steve Niles just made the cut.
At the 2010 Baltimore Comic-Con Harvey Awards dinner, Mark Waid offered a courageous keynote address which offered a simple message: digital comics are here to stay, there is an international bootlegging community and we as creators and industry doyens must learn to deal with it. For this, Mark was roundly booed, hassled and harassed by his peers. Astonishingly, one of his tormentors was the otherwise quite gentlemanly Sergio Aragonés.
I don’t recall if Steve Niles was at the dinner, but if not, it’s likely he heard about it. Suggesting that any acknowledgement of those who pirate comics is akin to taking a dump on the bible. This is true throughout the media: records (yeah, it’s okay to call them “records;” look it up), movies and teevee shows, even books. And you thought nobody was reading.
The media industry’s response to this has been to advocate passage of the Stop Online Piracy Act, a.k.a. SOPA. Simply put, SOPA allows any intellectual property (IP) owner to legally compel any Internet Service Provider (a.k.a. ISP; we’re shooting for the entire alphabet this week) to kick off any website suspected of copyright infringement.
Well, here’s a clue for you. Well over 99% of the websites on the Internet infringe copyrights and trademarks. Pick-ups of news items, graphics used to illustrate anything, sound bytes and even some You Tube links – they are all infringing upon somebody’s IP. You rip off the Superman logo font because you’re artistic and just being cute? Well, that logo is a registered trademark, and you are now Lex Luthor.
So Steve, bless his 30 Days of Night heart, took a stand. “SOPA does more than go after so-called ‘piracy’ websites,” said he. “SOPA takes away all due process, shuts down any site it deems to be against the law without trial, without notification, without due process… Nobody seems to give a shit, or either they’re scared. Either way, very disappointing. I guess when it affects them they’ll get mad… I know folks are scared to speak out because a lot of us work for these companies, but we have to fight. Too much is at stake.”
He tweeted all these comments; I got them from our pals at Digital Spy, except they asterisked “shit.” We here at ComicMix are beneath that.
Here’s some facts. Every time somebody unlawfully downloads IP – and note I said “unlawfully” because it is unlawful – the media racket sees that as a lost sale. This is overwhelming bullshit. People sample, people are curious, people’s friends make a recommendation and said people check ‘em out. There’s plenty of stuff that you’d check out before laying down your plastic sight unseen. The actual number of downloads that defraud the owner (which is usually not the creator) is a fraction of the total. These downloads are still illegal, but IP moguls should pull the stick out of their ass and tell the truth when they are babbling about how much bootlegging is costing them. They are liars.
There are a great many services that allow you to legally purchase IP, and the largest of these is Apple’s iTunes, which offers music, television, movies, books, magazines, newspapers, software (a.k.a. “apps”) and probably jpg’s of papyrus scrolls. As of around October 2011 – the date varies by category – iTunes has sold over 16 billion songs, about one half-billion movies, videos and teevee shows, some 20 billion apps, and Crom knows how many books, magazines and newspapers.
Here’s the rub: in each and every one of these approximately 40,000,000,000 cases, the purchaser could have downloaded the damn thing for free. In most cases, it is far easier to illegally cop a boot than it is to purchase one. Let’s start with the fact that you don’t need to have a credit card or room left on your credit limit to procure your illegal bootie.
So. 40 billion downloads from just one – the biggest one – online merchant in a world that only houses seven billion people. That’s an average of four and one-half perfectly legal downloads for each and every person, including babies in the Amazon who don’t even have access to Amazon.
Hey! People are inherently good. Go know!
Of course SOPA is being supported by all the big IP companies, including Disney (Marvel) and Time Warner (DC). If only they were so moral about how they treat their creative talent, without whom both companies would constitute another real estate bust.
On the other side: Facebook, Google, Twitter and Wikipedia, the latter of which threatens to disappear should SOPA pass. Then students will actually have to do research, and we can’t have that.
Also standing proudly on the other side: Steve Niles. Good for you, pal.
It’s the end of the year and everybody’s got their Top 10 list, and since I went to journalism school I’m obligated to list mine. I’m looking at titles that were released in 2011 because cover dates are meaningless. I’m not looking at original graphic novels or reprint projects, even though in dollar volume they constitute the majority of my purchases. Besides, original graphic novels are done to very different standards. Finally, some of these titles are done by friends of mine; I refuse to disqualify them because they just might buy me lunch. Having said all that…
#1 – Life With Archie Magazine (Archie)
Top of my list for the second year straight. Two stories – Archie marries Veronica, Archie marries Betty. Parallel worlds which converge, but that’s not why this book is great. There’s very real character development here, layered on personalities that existed for 70 years without it. We watch them grow, not into adults, but as adults. Better still, the most interesting character in both series is Reggie Mantle! Paul Kupperberg writes this, with art from Norm Breyfogle, Fernando Ruiz, Pat and Tim Kennedy and a host of others.
#2 – Tiny Titans (DC)
If you see this as a kid’s comic, that’s great, particularly if you’re a kid. If you see this as a brilliant loving satire of DC Comics and its convoluted universe, that’s great too, particularly if you’re an “adult.” Art Baltazar and Franco are pushing towards 50 issues here, and there ain’t a clunker in the bunch.
#3 – Elric: The Balance Lost (Boom)
Michael Moorcock’s Eternal Champion has been in the hands of a lot of comics creators and a lot of comics publishers, and the output has been… inconsistent. This latest series is among the very best: all of the various shades of Elric are here, and interweaved through the storyline are very contemporary elements and environs. Good stuff from Chris Roberson and Francesco Biagini.
#4 – Daredevil (Marvel)
Once again, Mark Waid does what he does best: he takes a well-established character that, like all well-established comics characters, has been covered in paint about a dozen too many times and strips it back down to the wall, preserving everything that made the character work while imbuing it with a contemporary environment. On this series, he’s going just that – and he’s doing it better than ever. Penciler Marcos Martin ain’t no slouch, neither. This is a real superhero book.
#5 – Justice League Dark (DC)
This one’s my surprise of the year. While very little of DC’s New 52 answers the question “why bother,” this one takes a bunch of characters of a somewhat mystical nature and thrusts them, Justice League like, into a trauma vastly larger than any one of them… and maybe all of them. Sort of like The Defenders, with all the style and John Constantine’s wit. Peter Milligan’s DC work has been inconsistent for me (I tend to prefer his U.K. work), but I’m glad I checked this one out. Mikel Jann draws the series. Very different… and very good.
#6 – Fly (Zenoscope)
I reviewed Raven Gregory and Eric J’s series about a recreational drug that gives kids the power to fly way back here. I liked it then, I like it now. Of course it’s out in trade paperback, so if you blew me off in August, give it a shot now.
#7 – Red Skull (Marvel)
Retrofitting a backstory onto a well-established character is a gambit that is often ill conceived and, worse, boring. Not this one. Greg Pak and Mirko Colak take us back to the villain’s adolescence where we learn – definitively – where his allegiances truly lie… and why. The fact that it’s got the best covers I’ve seen on a mini-series in a long while doesn’t hurt, either.
#8 – Batgirl (DC)
I don’t have a clue about how this series fits into any continuity, current or past. I’m told it does. What I do know is that this is a series about a young woman who’s trying to reestablish herself as a superhero after enduring traumas that shattered her body and soul. She’s not necessarily great at being a superhero, but she’s giving it all she’s got. This is exactly what I expect out of Gail Simone, and that is a very high standard. Adrian Syaf offers solid and exciting storytelling.
#9 – Action Comics (DC)
I went here because of Rags Morales’ art – I’d buy Kellogg’s Frosted Flakes if Rags drew the box – and I stayed for Grant Morrison’s innovative and engrossing script. This is the all-new young Superman, before he figured out what to wear on the job. It’s set well before the all-new older Superman in his eponymous title. I don’t know how this leads up to that, and I don’t care. This is supposed to hold up on its own, and it does. I’ll get over the slap in history’s face with the numbering (if such lasts); this is the best-produced Superman title in a decade-and-a-half.
#10 – To my friends who didn’t make this list: each of you came in tied for #10. Now go fight it out.
Notice how there aren’t any teevee or movie tie-ins? I never warmed up to that stuff. Not even as a kid. Which means it took me a while to realize Steve Ditko actually drew Hogan’s Heroes.
I have no doubt that within weeks at least two of the above-named will start to suck. Like all commercial media, comic books are subject to the whims of the lords and ladies of irony. But as a professional cynic, these titles and perhaps another half-dozen meet and exceed my bizarrely encrusted standards. Your opinions might differ, and that doesn’t necessarily mean you’re wrong.
Of course not.
Extra: Happy birthday wishes to fellow columnist Marc Alan Fishman, who turns 30 today and, therefore, is old enough to know better. His son turns 0 in about a month.
Extra-Extra: Thanks to Gatekeeper Glenn for saving my life this year.
Holiday-themed comics have long been a tradition, along with holiday-themed… everything else. That’s cool; if you can’t make a buck pushing Santy Claus, when can you?
As far as our four-color medium is concerned, we inherited the tradition from the newspaper strips. These guys went all-out, and back when there were still a lot of continuity strips stories would be interrupted for Christmas and New Years (Hanukkah rarely, Kwanza, Ramadan and Saturnalia never) or, better still, holiday themes would be incorporated into the ongoing story. This was carried over into proto-comic book form when Will Eisner and his largely Jewish crew produced their annual “Christmas Spirit” story.
Outside of Santy-themed covers, it took a while for the comic book publishers to reliably produce annual holiday fare. The two that lasted the longest where Archie’s Christmas Stocking (with variations on that title, including the all-embracing evil “holiday” word) which started in 1954, and DC’s Rudolph The Red-Nosed Reindeer, licensed from Robert L. May, who owned the glowing streetkill. That title commenced in 1950. Dell had special Christmas editions of the various Disney and Warner Bros. cartoon characters, and before long most other publishers jumped on the sleigh.
As a child, Rudolph The Red-Nosed Reindeer confused me. That’s a statement you don’t often read, but it’s true. The original series ran for twelve years, which meant twelve issues. All were unnumbered. At some point I understood DC didn’t number their first issues (I later discovered why), but I knew Rudolph to be an annual event. A collector even as a child, I wanted to know how many issues I had missed. The title continued in various formats – giants, tabloids – until it was no longer worth the licensing fee. Yet holiday-dedicated superhero comics continued; DC was way ahead of the curve with its Holiday Special (sic) going back at least to 1980.
This year, we continue to have holiday output from Archie – including a trade reprint of Stocking stories – and a pretty nifty tome from Marvel that first appeared as individual digital stories. This latter book is one of my favorite Marvels of 2011. But unless I overlooked a page in the Diamond catalog, nothing from DC Comics. No Christmas title, no Holiday title, nothing from the company that pretty much started it all.
At first I thought Mark Waid just didn’t need the money this year and is probably overbooked writing every seventh title published. But then it dawned on me.
Maybe Bill O’Reilly is right. Maybe there is a War On Christmas. After all, those bleeding hearts at Warner Bros. studios now have full control of the company, and Bill and his friends at the New York Post keep telling us they’re heartless bastards. I guess this is proof.
O.K. Fine. I’ve got my Marvel holiday comic, and my Archie reprints, and besides, I firmly believe there ain’t no sanity clause. But I’m sentimental enough to wish you-all a wonderful holiday season.
It’s Daredevil vs. the Bruiser: Round One, as Marvel is pleased to present your first look at Daredevil #6! From the critically acclaimed creative team of Mark Waid and Marcos Martin, Daredevil must go head to head against a contract fighter who can’t be put down and making Matt’s life a living nightmare. How Daredevil survives, you’ll have to read to find out.. but the result makes him the most dangerous man in the Marvel Universe. Get in on the action this November in Daredevil #6!
DAREDEVIL #6 (SEP110560)
Written by MARK WAID
Art & Cover by MARCOS MARTIN
FOC – 11/7/11, ON SALE 11/30/11
In honor of the memory of Minck Oosterveer, who passed away last weekend, BOOM! Studios is offering all issues of Mark Waid and Oosterveer’s The Unknown and The Unknown: Devil Made Flesh for free through all their digital partners — comiXology, iVerse, Graphicly, and mydigitalcomics. It’s a very good story, albeit a bit weird reading it now, with its themes of life after death.
Take a look and see just what made this guy so good. Here’s a preview of the first ten pages of The Unknown:
Renee Witterstaetter passes on the sad news that Minck Oosterveer, a Dutch artist best known in this country for his work on The Unknown for BOOM! and Ruse for Marvel, was killed on September 17 in a motorcycle accident. He was 50.
Born July 19, 1961, he grew up in The Netherlands with European comics, but was soon more interested in American comics, especially the newspaper comics of the 1930s-50s. The pulp-ish, direct style and the usage of black and white in the realistic artwork of Milton Caniff, Alex Raymond, and Will Eisner attracted his attention, although he also showed a Herge style in some of his more cartoony work. After working for a studio on productions like ‘Tom & Jerry’, ‘Sesame Street’, ‘Paddington’, ‘Ovide’ and ‘Spider-Man’, Minck moved in the direction of another stylistic forte, working with Willem Ritstier on the series ‘Claudia Brücken’ for the franco-belgian publishing-house ‘les editons Lombard’ and Tintin-magazine . Minck also became known for ‘Jack Pott’, ‘Zodiak’, ‘Rick Rolluik’, ‘Arachna’, ‘Excalibur’, ‘Nicky Saxx’ (pictured above in a picture to benefit MoCCA), ‘Storm’, and ‘Ronson Inc.’.
Minck Oosterveer debuted in American comics with Zombie Tales for BOOM! Studios. He’s best known in the US for his collaborations with Mark Waid on The Unknown for BOOM! and Ruse for Marvel.
Ricky Gervais is one busy guy – from his new HBO Special, to his animated series and now a second shot at hosting the Golden Globes. Ricky talks about what he has planned for the second time around, plus his thoughts at being credited with “creating” the mock-umentary. Also, Mark Waid is back at Marvel – via Crossgen – and IRON MAN 3 gets a new director.
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Don’t forget that you can now enjoy THE POINT 24 hours a Day – 7 Days a week!. Updates on all parts of pop culture, special programming by some of your favorite personalities and the biggest variety of contemporary music on the net – plus there is a great round of new programs on the air including classic radio each night at 12mid (Eastern) on RETRO RADIO COMICMIX’s Mark Wheatley hitting the FREQUENCY every Saturday at 9pm and even the Editor-In-Chief of COMICMIX, Mike Gold, with his daily WEIRD SCENES and two full hours of insanity every Sunday (7pm ET) with WEIRD SOUNDS!
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TV and movie vet Alan Alda explains why he came back to television for 30 ROCK and how that show compares to his days on MASH, plus Mark Waid sez Bye To Boom and NetFlix just became even cooler!
And be sure to stay on The Point via , RSS, MyPodcast.Comor Podbean!
Follow us now on and !
Don’t forget that you can now enjoy THE POINT 24 hours a Day – 7 Days a week!. Updates on all parts of pop culture, special programming by some of your favorite personalities and the biggest variety of contemporary music on the net – plus there is a great round of new programs on the air including classic radio each night at 12mid (Eastern) on RETRO RADIO COMICMIX’s Mark Wheatley hitting the FREQUENCY every Saturday at 9pm and even the Editor-In-Chief of COMICMIX, Mike Gold, with his daily WEIRD SCENES and two full hours of insanity every Sunday (7pm ET) with WEIRD SOUNDS!
CLICK HERE TO LISTEN LIVE FOR FREE or go to GetThePointRadio for more including a connection for mobile phones including iPhone & Blackberrys.
It’s already become a bit legendary this week– the self-described “long vodka-fueled rant” that Mark Waid delivered as the keynote speech at the Harvey Awards. However, unless you were one of the two hundred or so people in the room, you didn’t actually hear his speech. You might have read the speech Mark intended to give, but Mark himself said he almost immediately went off his notes.
So what was actually said? And was there really booing from some audience members?
Now you can listen for yourself. After a brief intro by Scott Kurtz, we have the full speech from Mark Waid here, as caught by Phil Merkel.
And after you’ve heard it, discuss what he had to say about publishing, filesharing, and making a living in the future in the comments.
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
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