Tagged: Marvel

ComicMix Quick Picks – what day is it? March 32nd?

What it’s been like here recently…

cartoon from www.weblogcartoons.com

Just way too much stuff to go through, and we’ve been very busy with the print announcement and rushing to get things ready for the Previews catalog, and I have dozens of tabs open to blog about and consolidate. Wheeee!

So this will be more of a high-speed link dump from the last few days. Onward:

  • The cast and crew of Battlestar Galactica at the United Nations – "We are all Cylons. We are all Colonials." Alex Epstein’s take on the last episode of BSG: Seriously? That’s What You Got? My favorite comment on the finale, from Sabrina: "There can be no more spoilers for BSG, because they spoiled it themselves."
     
  • Don’t forget tonight’s Family Guy/Star Trek The Next Generation crossover.
     
  • Non-comics link of the day: John Mellencamp on The State of the Music Business:
    Over the last few years, we have all witnessed the decline of the music business, highlighted by finger-pointing and blame directed against record companies, artists, internet file sharing and any other theories for which a case could be made. We’ve read and heard about the "good old days" and how things used to be. People remember when music existed as an art that motivated social movements. Artists and their music flourished in back alleys, taverns and barns until, in some cases, a popular groundswell propelled it far and wide. These days, that possibility no longer seems to exist. After 35 years as an artist in the recording business, I feel somehow compelled, not inspired, to stand up for our fellow artists and tell that side of the story as I perceive it. Had the industry not been decimated by a lack of vision caused by corporate bean counters obsessed with the bottom line, musicians would have been able to stick with creating music rather than trying to market it as well.

    Hmm– maybe it is a comics link after all.

  • ‘The Phantom’ will be on SciFi or SyFy or whatever they’re calling it. Impress me: get Billy Zane to do cameos.
     
  • Speaking of SciFi’s name change: SciFi Founder Hates Syfy, Issac Asimov would have hated it, and yo9 for the win.


  • Dharma wants you… since the 70’s apparently.
     

Anything else? Consider this an open thread. (Cartoon by Dave Walker. Find more cartoons you can freely re-use on your blog at We Blog Cartoons.)

ComicMix Quick Picks – February 19, 2009

ComicMix Quick Picks – February 19, 2009

Today’s list of quick items that don’t fill a full post on their own:

  • If you haven’t read it yet, you simply must: about DIGITAL COMICS by ~Balak01 on deviantART. Now this is the way to think about digital comics, none of this clutch cargo animation going around. Marvel, take note.
     
  • Matt Smith locked into Doctor Who role with £600,000 deal. And most importantly, it’s a five year deal.
     
  • Missed this one: Two more actors reported to be in line for The Flash — and one of them is Neil Patrick Harris, who already voiced the Flash in New Frontier.
     
  • And speaking of Neil Patrick Harris, Trinity College in Connecticut is running live performances of Dr. Horrible. Everybody, sing along!
     
  • “Spider-Man” Arrested In Israel:

    Cops were called to the scene after receiving a flurry of calls from gridlocked commuters near the Rosh Ha’ayin intersection who reported a man in a Spiderman costume throwing ropes at cars, the improvised lassos presumably meant to substitute for the web-crawler’s famous mechanical web-shooters.”

    When the individual woke up in the hospital, he said that he had no idea where the costume came from.

    Clearly, this is going to be the evil costume’s fault. Via Haaretz

  • My favorite non-comics story of the day: Police: TV exec beheads wife who filed for divorce.
     
  • Joss Whedon to receive SFWA Bradbury Award. Created in 1992 by then-President Ben Bova and named after famed author and screenwriter Ray Bradbury, the Bradbury Award is a special president’s award presented for outstanding genre-themed work in a dramatic medium. "Like everyone who picks up a pen, I was a rabid Bradbury fan and as greatly influenced by him as any other writer I read," Whedon said. "To receive the award named for him is an honor I’d not dreamed of. In my defense, it didn’t exist back then. What did exist were the very lovely, very twisted and very human stories that warped my impressionable mind, and that I have tried, in whatever medium they will let me, to measure up to." Whedon will be honored during the Nebula Awards Weekend in Los Angeles, California, April 24-26, 2009.

Anything else? Consider this an open thread.

ComicMix Quick Picks – February 10, 2009

ComicMix Quick Picks – February 10, 2009

A collection of news items that have come in over the last few days while we’ve been recovering from NYCC.

  • KC Carlson is also recovering, but from a mini-stroke instead of con crud. Get well soon, big guy.
  • Brett Ratner directing Youngblood, according to Variety. So if you love what he did with X-Men 3… and Rob Liefeld continues one heck of a lucky streak.
  • Denys Cowan alerted me to the existence of a Black Panther trailer for the BET series this summer, but for some reason Marvel didn’t make it embeddable. Because, I presume, they don’t want to let people share and promote it. Way to go, Marvel. Go follow the link.
  • Rich Johnston for the win:
    Daniel Dae Kim, better known as Jin off of “Lost”, also attending the New York Comic Convention this weekend, in his capacity of being in “Lost,” “24,” “Enterprise,” “Angel,” “Hulk,” “Crusade” and all that. But he also wanted to walk around the show, buy comics, meet creators etc, without getting mobbed. So someone found him a “V For Vendetta” mask, letting Daniel walk around untouched for hours.
    As I start looking through all my photos…
  • And finally, Spider-Man cake wrecks. (Hat tip: Lisa Sullivan.)

Anything else we missed? Consider this an open thread.

Marvel stock settlement is finally paid out

Marvel stock settlement is finally paid out

Remember the last time comics were in serious economic troubles? Remember when Marvel went bankrupt?

Hard to believe in the days of Marvel movies making money like mad, but it was only twelve years ago that Marvel was bankrupt, in one of the most convoluted financial arrangements in corporate history. No, it’s not even possible to try and distill it all. Go read Comic Wars: Marvel’s Battle For Survival if you want all the details.

Now we hear from Ed Zanger that a piece of it is coming to a close, as stockholders from that time have just been paid a settlement from the shennanigans that went on at the time.

And the other big players in the battle? Well, Carl Icahn just put his 177-foot yacht, the Starfire, up for sale for $37.5 million– while Ron Perelman (right) is trying to sell his for $67 million so he can upgrade. Times are tough all over…

‘Star Trek: A Comics History’ Coming for Spring

‘Star Trek: A Comics History’ Coming for Spring

Hermes Press recently signed a deal to publish Star Trek: A Comics History, described as “the complete saga of the Star Trek universe in comic books and comic strips.” The March release is being written by Alan J. Porter, best known for his James Bond: The History Of The Illustrated 007. The 208-page, all color, large format deluxe trade paperback is expected to chronicle the four-color history of Star Trek from the first Gold Key comics to the English newspaper strip, to Marvel and DC’s Star Trek titles and the present-day comic and manga iterations.

Star Trek: A Comics History promises creator interviews, unpublished art work, and a detailed checklist of Star Trek comic publications.  At the TrekkBBS, Porter said, “My intention is to include an index of the various comics by Stardate. At least I’m compiling one as I do the research and writing. I probably won’t have the time to create a full timeline (ouch – sorry about the pun), so if a story spans several time periods it will most likely only be listed by the establishing introductory Stardate. – But this is a work in progress so who knows.”

He also defended the steep $39.99 for a trade paperback, noting that Hermes Press books are “all published on very high quality glossy archival paper and designed to last. They aren’t mass market paperbacks, they are closer to glossy art books – hence the price point.”
 

The Theory of Webcomics: A DC Wiki?

The Theory of Webcomics: A DC Wiki?

A few weeks ago, I discussed the usefulness of active, available archives for webcomics. Archives provide huge amounts of free content to draw in new readers; and they prevent continuity lockout by providing a way to easily go back and refresh your memory of previous events. With print comics, especially before the advent of everything getting collected in trade paperbacks, there really wasn’t a way to avoid that — which is a lot of why Silver Age stories needed to be as self-contained as they were.

Nowadays, people who are flush with cash can always go buy a TPB collection of stories they missed or forgot. Who the heck is this character in the latest issue of Ultimate Spider-Man? The editor’s note says he first appeared back in Ultimate X-Men #17. All it takes is one trip to Amazon.com, several days for delivery, and then reading time, and I’ll be caught up enough to understand what’s going on in the comic currently in my lap.

Of course, those of us with rent bills to pay have to make do with the lower-cost option: The internet. There are lots of choices to catch up on, say, DC Comics continuity: The DC Wikia, the Justice League Library, Heroes Wiki, and heck, even granddaddy Wikipedia itself.

But you know where you can’t go to figure out what happened in that recent issue of Batgirl you missed, or that Green Lantern plot point from 1988 that recently cropped up? DCComics.com.

Now, don’t get me wrong: If you want to see artwork previews, or check the list of everything that’s in print, or get a short graphic bio of most of the characters, DCComics.com is the place to go. But say you haven’t been following Trinity and want to catch up. If you go to the forum and ask for the best place to do so, they’ll point you to Wikipedia.

Of course, Marvel’s website already has their own version of the wiki and it’s pretty nifty, too.

So here’s my suggestion to DC: You need a wiki. You’ve got an army of fans just aching to show how much they know about the characters and storylines, as evidenced by the other wikis that crop up everywhere. You need accessible utilities that’ll help build a bigger audience, especially among younger people, who don’t have the continuity knowledge to get into most recent titles. You need to drive traffic to your website as effective advertising for your products, and keep people at your website, rather than shunting them off to an outside source. And you’ll want all of this to be under your nominal control.

Here’s how you do it: Acquire the Wikia content (I don’t know the legal channels, but I’m sure you could find them). Hire a few of your most OCD fans (and a couple of the ComicMix contributors come to mind) as moderators. Set a few ground rules (no spoilers for this month’s books, no speculation, no flaming), and let the fans go from there. Link in the original stories, history of the DC and other online content you currently have, and have the last line of the wiki entry for each ongoing book or characters be a link to a preview of the next issue. Heck, if you set up creator/author/artist pages right, you can have an “subtle” way of linking fans of one book to things that they would also want to buy.

Also, everything that currently in print? There should be a “Buy It Now!” icon. Not a tiny, blend-in-to-the-background “Subscribe to your favorite comics” down at the bottom of the page. That’ll also be really easy to transition to digital pamphlets when the time comes and the color ebook readers are ready.

Just because classic print comics and “webcomics” as I define them are different animals, doesn’t mean they can’t take lessons from each other about what works in terms of monetizing web content.

(On the odd chance someone official reads this and goes ahead with this idea, I’d also love to see a Showcase volume of my dad’s work from the 70s and 80s, particularly ‘Mazing Man. Also, a pony.)
 

Review: ‘Incredible Hulk’ DVD

Review: ‘Incredible Hulk’ DVD

Ang Lee’s [[[Hulk]]] film failed because he spent too much time on the Jekyll/Hyde aspects, the very ones that inspired Stan Lee.  After all these years, people wanted to see the Hulk leap and smash things.  When he leapt, we cheered, but there just wasn’t enough of it.

Director Louis Leterrier achieved a far better balance in this year’s [[[Incredible Hulk]]] which builds on the mythos while firmly settling into the new Marvel Cinema Universe. He wisely covers the obligatory origin materials during the title sequence and then gives us a story.

Unfortunately, the story just wasn’t as gripping as we had hoped.  The film, arriving Tuesday on DVD, is largely the Army hunting the Hulk as Bruce Banner searches for a cure.  While that worked fine in the 12-page [[[Tales to Astonish]]] stories, it’s not nearly enough for a feature film.  The biggest problem with Zak Snyder’s story is that the Super Soldier formula that is now linked to the Hulk and the Abomination is clearly able to turn people into weapons of mass destruction and all the military sees is a weapon.  Not a single person in uniform saw it as anything else and frankly, we’ve seen this theme before and done better elsewhere.

The notion that Emil Blonsky is a soldier towards the end of his career, with nothing to lose, and therefore more than willing to become the Abomination is a nice way to integrate the character from the comics to the film.  But, he’s as single-minded as everyone else in the story, which is a shame.

Penn’s script lifts the Mr. Blue character from Bruce Jones’ celebrated run on the title but reveals him to be Dr. Samuel Sterns, and frankly, I just didn’t buy their connection or the way Sterns suddenly switches from dedicated scientist to Colin Clive in [[[Frankenstein]]]. The fact that in the comics Stearns evolves into the Leader complete with big green head means he’s around should the movie franchise continue so hopefully he’ll be rounded out.

As presented, Leterrier’s film is pretty much A to B to C with pauses for Hulking out and destroying things until the climactic fight in Harlem.  I’ve certainly seen worse, but had hoped for something better considering [[[Iron Man]]], released just weeks prior, showed that serious issues could be addressed through fantastic means.
 

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Comic Mix Six – The Six Worst Comic Book Video Games

Comic Mix Six – The Six Worst Comic Book Video Games

Comic books, admittedly, don’t have a great history when itcomes to video game adaptations.  Hell,most games based on licensed properties have a certain stigma about them.  It probably stems from the fact that theyfeel like a cheap cash-in…a way to make a quick buck on a popular fad such asmovies, TV shows, and yes, comics.  Now,that’s not to say ALL comic book games are bad, no; but the genre does have itsshare of stinkers.  Out of all thepossible crap-fests out there, these are the top six games that should never beallowed near your console of choice…EVER.

Marvel’s Uncanny X-Men– 1989: NES

Back in the heyday of the Nintendo Entertainment System,they were making games for EVERYTHING. At the time, publisher LJN held the rights to the Marvel license, andsadly, churned out turd after turd.  Oneof their biggest steaming piles was this mess, based on Marvel’s MightyMutants.  What made this game sobad?  Well, sadly, the technology of theday seems to be the biggest culprit.  Thegame took a top-down view of the action, and since there was only so much youcould show in 8-bit, character details were pretty much non-existent.  That, combined with the muddy, dirty colorsof the backgrounds and you were lucky you could see anything at all, let alonewhich character you had selected. Nothing was recognizable, despite the fact that it had a decent sized rosterselected from the books.  Thankfully, it’sone of the few bad marks on an otherwise mostly successful game franchise.

Fantastic Four – 1997:Playstation

Ugh.  When you talkabout ugly games, two system generations ago, we had some DOGS.  3D graphics were all the rage, and polygoncounts were climbing higher and higher. Sadly, they still couldn’t figure out that muddy background thing, andso stuff tended to blend together – badly. At least this time you could see what was happening…but it wasn’tpretty.  Take a tried and true gameplaystyle, affectionately known as the “beat ‘em up”, and add comic’s firstfamily.  What could go wrong?  Well, how about poor control, terrible plotand just plain shoddy gameplay?  First,the game is about the Fantastic FOUR…so you have Mr. Fantastic, InvisibleWoman, Human Torch, The Thing and…She-Hulk? Wouldn’t that be FIVE?  Then, you have repetitive, lazy combat (anormal pitfall for the “beat ‘em up”) of miscellaneous enemies that are largein number and small in variety.  Add to thatthe poor hit detection, lousy control response and just a general sense of “whybother?” and you have this mighty gem.  Fantastic,indeed.

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Ultimatum Trailer

Ultimatum Trailer

Just in case you didn’t get enough advertising concerning the upcoming Ultimatum crossover, Marvel.com has released a trailer for it.

"They killed his children. They called his species a disease. They thought they were the ultimate race. Now he will have his retribution."

Review: ‘Typhon’ Vol. 1

Review: ‘Typhon’ Vol. 1

Typhon

Dirty Danny Press, $24.95

At 50, I’m pretty set in my comic book reading habits.  Having been raised largely on the output from DC Comics and Marvel, I have fairly mainstream tastes.  Now and then, though, I push myself to see what else is out there. As a result, reading Danny Hellman’s recently published [[[Typhon]]] anthology was an eye-opening experience.

The 192-page full-color trade paperback allows me the chance to see who else is producing comic book work.  Typhon takes its name from Greek mythology and is a creature with hundreds of hissing serpents, outdoing the Medusa. Venom was said to drip form their eyes and lava to be spit from their mouths. There are no super-heroes, no continuing characters, nothing based on a media property (although Droopy appears in one story).  Each tendril from the creature’s head is the product of the fertile imagination of the 42 creators who contributed to over the course of several years.

Hellman may be best known for his [[[Legal Action Comics]]] in addition to his own work at Time, Newsweek, Fortune, Forbes, The Wall Street Journal, and the Village Voice. Promoting the book, he said, “I realized that I was looking at a far more ambitious book than what I’d done previously. The work presented in Typhon covers a wide spectrum of what’s possible in comics, from zany, offbeat humor to unnerving existential angst, and on to chilling horror, all of it brought to life with breathtaking, cutting-edge artwork.

“Anthologies give us the opportunity to enjoy work by talented cartoonists who, for whatever reason, don’t produce enough material to fill out solo books. As an editor of anthologies, I’m excited to provide a showcase for artists and work that we might not see otherwise. Diversity makes for a richer comics scene.”

Everything he says is correct and to be applauded. I really enjoyed the colorful, inventive use of the page from Hans Rickheit, Rupert Bottenberg, Tobias Tak, and Fiona Smyth.  They created visually arresting images and used color in appealing ways. On the other hand, I could not make heads or tails out of Bald Eagles’ eight page head trip that is hard on the eyes and unreadable.

On the other hand, way too often I’d reach the end of these short works and scratch my head.  “What the hell was that all about?” was a repeated refrain. I’m used to stories about character or stories about something.  Yet, these works seem to be characters and situations that begin and end and say nothing.  Too frequently, I think the creators were out to amuse themselves, forgetting their audience. Rick Trembles’ “[[[Goopy Spasms]]]” feels like it was done because he could not because he had something say or share and was generally off-putting.

Hellman told Tom Spurgeon, “…It can be tough to pin down precisely what ‘good drawing’ is. Ultimately, beautiful art is a matter of taste. Drawing chops, anatomical knowledge, the ability to recreate the natural world in two dimensions and have it be both accurate and pleasing to the eye; these are important. But what’s really vital is that we connect with the art on an emotional, perhaps spiritual level.”

I’m all in favor of creative freedom but if someone wants my $24.95, then the editor of the collection has to step up and guide the talent to make certain their point, if there is one, gets across, from page to reader.  Here, Hellman spectacularly fails.

He kicks off the collection with his own “[[[The Terror in Peep Booth 5]]]” which looks and reads closest to a mainstream comic, complete with beginning, middle and end. After that, though, it’s all over the place.  Perhaps the most moving piece is Tim Lane’s “The Manic Depressive from Another Planet”.

I enjoyed being exposed to new voices and talents but come away disappointed that there are all these people with very little to say.