Tagged: Spider-Man

Marc Alan Fishman: The Small Con Job

Fishman Art 130323A week ago today, Unshaven Comics popped our 2013 con cherry with a bang right in our own backyard. OK, not literally our backyard, but certainly close enough given how far we’ll end up traveling this year in the name of indie comics. Our first con? A return trip to Orland Park (a way-south suburb of Chicago), and the newly minted DanCon: Spring show. It was, as they say, business as usual. Lucky for us? That business was good.

DanCon, founded by the appropriately named Dan Royer, is a testament to old-school comic conventions. Held inside the Orland Park Civic Center, the day saw hundreds of local friends, families, and fun-seekers roaming through the two medium sized rooms that held the nerditry. One room for creators, and one for dealers. Betwixt them were registration lines, homemade concessions, and a photo op area. In short? It was everything a li’l con should be… logistically speaking. But that’s not what this write-up is really about. Logistics are important of course (something WizardCon seemingly can’t get right to save their life), but what sets this show apart is the community created around it.

A smaller show breeds interaction. Between fans and creators and between the creators themselves. It’s rare amidst a large show for people to be as relaxed as they were at DanCon. And while there were no D-list celebrities or obligatory Batmobiles to increase admission (or table) prices… those who came, came to buy and enjoy themselves. Not to knock a larger show experience entirely of course; but here was a single day, a single experience, uniting show goers with the core essence of our little area of pop-culture: comic books.

Having attended dozen of shows over the last five years, it’s become clearer and clearer that we all really share a singular experience. Whether our specific offerings target tweens, kiddies, horror fans, cape-lovers, trekkies, or any of the other scads of specific would-be-nerds… we are all united in our persuit of admiration and celebration. With each successive show, comes a familiarity with fellow creators. And that begets a sense of camaraderie. It was fitting that the first three guys I gave the all-too-familiar “nod of hello” to responded with positive comments on my fatherly ability to capture photos of my son and share on Facebook. “Who cares about those Samurnauts, your son is awesome.”

Aside from being able to share war stories with compatriots like “Dashing” Dirk Manning, “Jesus-Lover” Jon Michael Lennon, “Lusts-For-Me” Leo Perez and Tom “My Last Name Seriously Is” Bacon… the real zeal of the day came from a pair of interactions that have filed themselves away as realizing you might just be making it after all.

The first? A fan came walking down the aisle… in one our shirts. Now, let me preface that in five years of actively selling our wares at shows, our only merch has been books and art. The tees that we sport are made on a website, where we literally let them rot, until we need a new batch. On the rarest of rare occasion, people ask where we get them, and we direct them to the site. Aside from a specific set of fans-turned-friends, we never expect to see ourselves out in the crowd. Suffice to say? Seeing one of our shirts unexpectedly was quite the treat.

And the second? Prior to DanCon, I took it upon myself to message a few friends who lived around the area about the show. One such acquaintance, a great gal I’ve known since junior high school, came out amidst her day with their family. Small talk was exchanged, some introductions to my wife and boy (who made a brief appearance), and then a purchase of our book for her son.

I should note that said son exchanged a few great accounts of his recent Spider-Manning to me via his Xbox, and I couldn’t help but wonder if that’d be my own scion in a few short years. But I digress. Not even an hour later, after my friend had left, she’d snapped the picture attached to this article. I know it’s a trope of so many in our position… but seeing even just one small fry immersed in a book I was a part of? It’s what makes so many lost nights and weekends worth it. Of course if said li’l dude shows up next year looking for more books? All the better!

Ultimately, I could think of no better way to kick off 2013 for Unshaven Comics. In this year, on our quest to raise enough capital to finance our way to San Diego in 2014… DanCon 2013 was a fitting start. Thanks in large part an admirable promoter (and his always nice wife and staff), and a well-thought-out convention built to support the community that seeks the intimate interaction a small con excels in. Little did you know, it’s not just affirming for the fans – it’s even more gratifying for creators!

SUNDAY: John Ostrander

MONDAY: Mindy Newell

 

Emily S. Whitten: GraphicAudio’s Marvel Civil War

Whitten Art 130319Apparently one of my goals in life is to absorb the Marvel Civil War storyline in every possible medium, since I’ve just finished listening to GraphicAudio’s audiobook version of the prose adaptation by Stuart Moore, having previously read the main collection of graphic novels and then reviewed the prose adaptation. Well, what can I say? I like the story. Since we as consumers of stories invest in heroes in a way we frequently don’t in villains, clashes between heroes can be the most complex and emotionally engaging; and Civil War is one of the most logical storylines comics has ever come up with to explain why superheroes would be fighting with each other instead of the villains.

Also I was curious about GraphicAudio, an audiobook company whose tagline is “A Movie in Your Mind.” They describe their products as “a unique audio entertainment experience that features a full cast of actors, sound effects and cinematic music,” which sounded pretty neat. And I was curious about how a graphic-novel-turned-prose-novel-turned-audiobook would turn out. The answer: pretty awesomely, actually.

I have to note here that while I listen to podcasts sometimes, I haven’t listened to many audiobook-type things prior to this. An occasional short story or poem that happened to be available in audio form for free, perhaps, but mostly when I consume literature it’s by reading. I did enjoy listening to The Green Hornet and other old radio shows that my dad had on tape when I was a kid…but that was a long time ago. A lot has changed since then, including, happily, the quality of recording and sound effects.

Now that I’ve finally tried a GraphicAudio audiobook, though, I’ve discovered that listening to one turns out to be a lot like listening to an old-timey radio show made modern, in the best way possible. Several things contribute to the quality of the experience. The first is the voices, which are very well cast. I don’t think there was a single character whose voice jarred me out of the story – all seemed well-suited to their roles. In one case, almost uncannily well-suited, since GraphicAudio somehow managed to find a Tony Stark voice actor who sounded remarkably like Robert Downey Jr. about 80% of the time. Once I got used to hearing almost-but-not-quite movie Tony, that was actually one of my favorite voice choices, since I love Robert Downey Jr.’s take on the role. The only other voice I had to get used to was the narrator, whose reading at first struck me as a tiny bit too melodramatic. However, as I got used to the style I mostly ceased to notice it. Overall, the voice experience was great.

The second thing that adds to the quality of the experience is the music. It was used sparingly but well to add to the mood and to break up scenes or chapters. Some of the superheroes also had their own little theme pieces that were recognizably about them. Captain America’s in particular was memorable.

The third feature that makes this much more than the usual audiobook experience is the sound effects, which illustrate the action well. Although I know the Civil War storyline pretty well, and I have a good recall of story details generally, there are little details of the story that I had forgotten even since my reading of the prose novel last summer, like the fact that it was raining at (SPOILER) Bill Foster’s funeral. However, after hearing the spot-on sound effects of the rain falling around Reed and the kids, or Tony and Happy, as they stood mourning, I doubt I’ll ever forget that again. Other details also came to life, through sounds like the “thwip” of Spider-man’s web shooters, or the “whoosh” of Iron Man’s boot jets firing up; and the sounds of rough fighting, like when Cap and Iron Man are duking it out, actually made me wince more than once. Even the rustle of sheets of paper, or any of the myriad of other small sounds in the recording, contributed to the overall experience, and truly did make it “A Movie in [My] Mind.”

Interestingly, I found the audio experience affected me slightly differently than either of my other consumptions of the story. I noticed myself feeling some emotions more, and, in particular, feeling even more frustration with *&^%$ futurist Tony Stark’s *&^%$ idiocy. (Sorry guys, but I’m with Cap on the whole individual freedom and privacy thing, and was always pissed that Tony “won,” despite the logic of his plans and what he was trying to do. Maybe part of that is because Tony is just so arrogant and unbending in this storyline. All that futurist stuff, while it may be part of what makes Tony good at his work and being Iron Man, is also super arrogant and always rubs me the wrong way.) I also felt the sadness of certain moments more, for example, or the anticipation before a fight, or tension for favorite characters during or after a fight (even when I knew how it would turn out). Aaaand, of course, inevitably, I laughed out loud at a few things while riding on a Metro train, which always makes me worried that my fellow commuters might think I’m a little crazy. But hey; that’s okay as long as I’m having fun, right?

And this audiobook was fun. Listening to the story this way was a rich and engaging experience. It’s also definitely reeled me in as a new GraphicAudio customer, and I am already planning to find some other good stories to accompany me on my further commutes and to the gym. In conclusion, if you can’t tell by now: I highly recommend this audiobook, and, from what I’ve heard so far, GraphicAudio as well.

So give it a try, and until next time, Servo Lectio!

TUESDAY AFTERNOON: Michael Davis

WEDNESDAY MORNING: Mike Gold

 

DOC SAVAGE! KING KONG! AND MORE FROM RADIO ARCHIVES!

  • News
  • March 3, 2013

RadioArchives.com Newsletter

 
March 1, 2013

It’s the 80th Anniversary of King Kong and Doc Savage
Radio Archives has some great King Kong and Doc Savage products for you in the next couple months. Four exciting products in fact and you can order the first one, Doc Savage: Skull Island today! Here’s Will Murray to tell you more:
“For eight decades, fans of both characters have tried to imagine a face-off between Doc Savage, the Man of Bronze, and King Kong, the Eighth Wonder of the World. These legendary characters debuted only weeks apart in the Winter of 1933. Now, I am privileged to have written the previously untold tale of what happened after King Kong fell from the Empire State Building, which just happened to be Doc Savage’s headquarters! Don’t miss this latest and greatest Wild Adventure of Doc Savage—Skull Island!”
 

Will Murray’s Monumental New Novel
Doc Savage vs. King Kong!
 
Eighty years ago in February, 1933 the Street & Smith company released the first issue of Doc Savage Magazine, introducing one of the most popular and influential pulp superheroes ever to hit the American scene. Doc Savage was the greatest adventurer and scientist of his era, and while his magazine ended in 1949, he influenced the creators of Superman, Batman, Star Trek, The Man from UNCLE and the Marvel Universe—to name only a few.
 
While that first issue of Doc Savage was fresh on Depression newsstands, RKO Radio Pictures released one of the most important fantasy films of all time. Everyone knows the story of how King Kong was discovered on Skull Island and hauled back to New York in chains, only to perish tragically atop the world’s tallest skyscraper, the Empire State Building.
 
As it happened, that was where Doc Savage had his world headquarters. For decades, fans have wondered: Where was Doc the day Kong fell?
 
On the eightieth anniversary of these fictional giants, Altus Press is proud to release the first authorized clash between The Man of Bronze and the Eighth Wonder of the World—Doc Savage: Skull Island. Written by Will Murray in collaboration with Joe DeVito, creator of KONG: King of Skull Island, Doc Savage: Skull Island is a new pulp epic.
 
The story opens when Doc returns from his secret retreat in the North Pole to discover the cold corpse of Kong lying on his doorstep.
 
“I know this creature,” Doc tells his dumbfounded men.
 
Tasked to dispose of the remains, the Man of Bronze then relates the untold story of his epic encounter with Kong back in 1920, after Doc returns from service in World War I, long before Kong became known to the civilized world as “King” Kong.
 
Doc Savage: Skull Island is a multi-generational story in which Doc and his father—the man who placed him in the hands of scientists who made him into a superman—sail to the Indian Ocean in search of Doc’s grandfather, the legendary Stormalong Savage, whose famous clipper ship has been discovered floating, deserted, her masts snapped by some incredible force.
 
The quest for Stormalong Savage leads to the fog-shrouded Indian Ocean and—Skull Island! There, Doc Savage faces his first great test as he encounters its prehistoric dangers and tangles with the towering, unstoppable Kong.
 
“When Joe DeVito brought this idea to me,” says Will Murray, “I knew it had to be written with reverence for both of these immortal characters. So I used the locale of Skull Island to tell a larger story, an untold origin for Doc Savage. It all started back on Skull Island….”
 
“Pulling off the first ever face-off between Doc Savage and King Kong was both challenging and exhilarating,” adds DeVito. “Will’s unique take on the tale scatters the primordial mists surrounding Skull Island long enough to reveal secrets of both classic characters hidden since their creation.”
 
Doc Savage: Skull Island has already been hailed as “The Doc Savage novel that Doc fans have been waiting on for 80 years!”
 
Doc Savage: Skull Island will be released in March, as the fifth entry in Altus Press’ popular Wild Adventures of Doc Savage series. Cover by Joe DeVito. $24.95.

 
 

 
The Strange Case of Dr. Jekyll and Mr. Hyde is considered one of the greatest tales of horror to date. When one of the best, but most underrated producers of the Golden Age Radio added in his production and vocal skills, a true radio serial classic was born and is now collected in Dr. Jekyll and Mr. Hyde, Volume 1.

Dr. Jekyll and Mr. Hyde is just one of over 300 radio series and serials produced by George Edwards over the course of his twenty year career in radio. Telling Robert Louis Stevenson’s classic tale of a man divided, this fifteen minute serial debuted in 1943, running for 52 episodes, and was produced by Edwards, a well-known Australian radio personality. The man behind other Australian series, such as Afloat with Henry Morgan and Adventures of Marco Polo lent not only his production skills to Jekyll and Hyde, but shared his amazing vocal talents as well. Edwards’ skill to do multiple voices in a single episode definitely fit the needs of Dr. Jekyll and Mr. Hyde.

Dr. Jekyll and Mister Hyde, Volume 1 collects the first 28 episodes, 7 hours, of one of the best serial adventures of the radio era. The intense pacing of each episode as well as the high quality production values and the talented voice acting of George Edwards and the rest of the cast make this a must have for any fan of Classic Radio. 7 hours $20.98 Audio CDs / $10.49 Download.
 
 
 
 
 
 
 
 

 

 

Will Murray’s Pulp Classics #22
by G.T. Fleming-Roberts
Read by Michael C. Gwynne. Liner Notes by Will Murray
 
 

In 1949, Popular Publications, which had been out of the hero business since the cancellation of The Spider in 1943, decided to renter the fading field. The Shadow was still going strong on radio, even if his pulp magazine had been folded a few months before.
 
Veteran mystery pulpster G. T. Fleming-Roberts was tapped to pen the new series under his own name. He had a knack for clever plots, contemporary dialogue, and avoiding the most egregious pulp clichés. In that post-war era, readers expected their heroes to be more realistic, so Fleming-Roberts and his editors went for broke.
 
Their hero, Daily World copywriter Lee Allyn—apparently named in a nod to serial Superman Kirk Alyn—was a meek horn-rimmed fellow who possessed few heroic qualities. But between midnight and dawn, thanks to a scientific experiment that went awry, he turned invisible—except for his floating disembodied eyes.
 
It was as if Clark Kent had learned to become as invisible as Lamont Cranston, but remained a mild-mannered newspaperman.
 
Captain Zero fought crime in small-town settings, aided by fellow journalist, Doro Kelly. He had a lot in common with the early Spider-Man. Luck—both good and bad—dogged his nocturnal forays. He was often outnumbered, not to mention outfought and outwitted. For Lee Allyn, fighting crime was no lark. Especially when you didn’t even have a car—never mind a super-car.
 
In his first bumbling case, City of Deadly Sleep, Captain Zero gets the tar repeatedly beaten out of him by rival gangs before pulling out a victory by the skin of his invisible teeth.
 
Unfortunately, despite a trio of well-crafted stories, the time had passed for heroes like Captain Zero. He expired after only three stories. But they are refreshingly different, and RadioArchives.com is proud to bring them to crackling life in a series of audiobooks narrated by the unseen Michael C. Gwynne.
 
Also included are a fascinating fact story featuring Sherlock Holmes’ creator, Arthur Conan Doyle, called “Elementary, my Dear Corpse!” along with Russell Bender’s tense crime tale, “Killer for Sale!” 7 hours $27.98 Audio CDs / $13.99 Download.

 
 

 

New Will Murray’s Pulp Classics eBooks

 
The best of timeless Pulp now available as cutting edge eBooks! Will Murray’s Pulp Classics brings the greatest heroes, awesome action, and two fisted thrills to your eReader! Presenting Pulp Icons such as the Spider and Operator #5 as well as wonderfully obscure characters like the Octopus and Captain Satan. Will Murray’s Pulp Classics brings you the best of yesterday’s Pulp today!
 

Over Manhattan fell the mystic murder-spell which had transformed America’s moneyed aristocracy into ruthless fiends and criminals! New York’s First Families, no longer the sturdy pillars of society, had launched upon a career of slayings and thievery that outdid even the Underworld! Against this high-hatted holocaust, the law was powerless. Only Richard Wentworth, as the Spider, could fight for a betrayed civilization — battling a Hindu horror league that had worked a monstrous miracle by turning the Best People into butchers! Total Pulp Experience. These exciting pulp adventures have been beautifully reformatted for easy reading as an eBook and features every story, every editorial, and every column of the original pulp magazine. $2.99.

 
Deeper and deeper New York had sunk in the toils of the Underworld czar — until its entire population had been regimented by the Black Police into a Kingdom of Crime! Everywhere marched the evil emperor’s cohorts, collecting the taxes that meant death; and the law was at a standstill. In that moment of desperation, one man had a heaven-sent inspiration. For now Richard Wentworth, as the Spider, resolved to fight the Underworld with its own merciless weapons. With New York’s own police commissioner at his side, he raised a fugitive, fighting legion of honest men who, like Robin Hood’s band of old, took the law into its own hands — to come from secret lairs, strike and punish criminals — then slip back into the shadows again! Total Pulp Experience. These exciting pulp adventures have been beautifully reformatted for easy reading as an eBook and features every story, every editorial, and every column of the original pulp magazine. As a special bonus, Will Murray has written an introduction especially for this series of eBooks. $2.99.

 
The United States forces have been driven to their last, desperate stronghold before the blood-maddened ruthless hordes of the self-styled emperor, Rudolph I, even as a courageous but blind nation, wrapped in the dreams of false security, had practiced the foolish doctrine of “It can’t happen here!” America’s patriotic Death Battalion was the last ragged hope of embattled patriots — the women of the nation who hurled themselves bravely and futilely against the war-mad forces of the Purple Invaders. When they fell before the terror-inspiring and deadly barrage of cholera bombs, a few stricken survivors turned for their hope of averting ultimate disaster to one man — Jimmy Christopher — who, as Operator 5, was to face the most overpowering and deadly odds in all his embattled career! Total Pulp Experience. These exciting pulp adventures have been beautifully reformatted for easy reading as an eBook and features every story, every editorial, and every column of the original pulp magazine. As a special bonus, Will Murray has written an introduction especially for this series of eBooks. $2.99.
 

In 1934 a new type of magazine was born. Known by various names — the shudder pulps, mystery-terror magazines, horror-terror magazines — weird menace is the sub-genre term that has survived today. Terror Tales magazine was one of the most popular. It came from Popular Publications, whose publisher Harry Steeger was inspired by the Grand Guignol theater of Paris. This breed of pulp story survived less than ten years, but in that time, they became infamous, even to this day. This ebook contains a collection of stories from the pages of Terror Tales magazine by Wyatt Blassingame, reissued for today’s readers in electronic format. $2.99.

 

Into the city of Bagdad, once host to the forty thieves and hot bed of ancient sin-has come the Dragon Lord of Crime, Wu Fang — his purpose and his mission Death — but death more ghastly than any the mind of man can conceive, wrested from the secrets of forgotten centuries and now employed in gaining the mastery of the earth. Wu Fang is a Chinese criminal mastermind and scientific genius. With his hybrid monkey-men, he plans to conquer America. He is member of various secret societies and has spies everywhere. Opposing him is Val Kildare of the F.B.I.  His aides, reporter Jerry Hazard, archaeologist Rod Carson and newsboy Cappy, help him in his battles against the sinister man of evil known as Wu Fang. $2.99.

 
 
99 cent eBook Singles
Each 99 cent eBook Single contains a single short story, one of the many amazing tales selected from the pages of Terror Tales and Rangeland Romances. These short stories are not included in any of our other eBooks.
 

From the measureless crypt of Time, Frazier called Sekhmet, Queen of the Lions. But the price he paid was dear… In 1934 a new type of magazine was born. Known by various names — the shudder pulps, mystery-terror magazines, horror-terror magazines — weird menace is the sub-genre term that has survived today. Terror Tales magazine was one of the most popular. It came from Popular Publications, whose publisher Harry Steeger was inspired by the Grand Guignol theater of Paris. This breed of pulp story survived less than ten years, but in that time, they became infamous, even to this day. This ebook contains a classic story from the pages of Terror Tales magazine, reissued for today’s readers in electronic format. $0.99.
 

Lovely Benedicta made lively plans to surprise her sweetheart and his cantina-dancer lady friend at the forbidden fiesta. One of the most popular settings for romance stories was the old west, where men were men and women were women. As many a swooning damsel could attest, “There’s something about a cowboy.” The western romance became one of the most popular types of magazines sold during the early and mid-twentieth century. $0.99.

 
All eBooks produced by Radio Archives are available in ePub, Mobi, and PDF formats for the ultimate in compatibility. When you upgrade to a new eReader, you can transfer your eBook to your new device without the need to purchase anything new.
 
Find these legendary Pulp tales and more in Will Murray’s Pulp Classics, now available at:
 

 
Search for RadioArchives.com in iTunes.
 
 
 
 
 

Receive an exciting original Spider adventure FREE! Part of the Will Murray Pulp Classics line, The Spider #11, Prince of the Red Looters first saw print in 1934 and features his momentous battle with The Fly and his armies of crazed criminal killers.
 
For those who have been unsure about digging into the wonderful world of pulps, this is a perfect chance to give one of these fantastic yarns a real test run. With a full introduction to the Spider written by famed pulp historian and author Will Murray, The Spider #11 was written by one of pulp’s most respected authors, Norvell W. Page. Writing as Grant Stockbridge, Page’s stories included some of the most bizarre and fun takes on heroes and crime fighting in the history of escapist fiction.
 
Even today Page’s scenarios and his edge-of-the-seat writing style are still thrilling both new and old fans everywhere. For those who have never read one of these rollercoaster adventures, you are in for a thrill. If you already know how much fun a classic pulp is, make sure you get a copy of this classic.
 

See what the Total Pulp Experience is for yourself. These exciting pulp adventures have been beautifully reformatted for easy reading as an eBook and features every story, every editorial, and every column of the original pulp magazine.
 
Send an eMail to eBooks@RadioArchives.com and start reading your FREE copy of  the Spider #11 within seconds! Experience The Best Pulps the Past has to offer in the most modern way possible!
 
 

 

A review by Jim Beard
 
If you’re like me, you probably wondered what exactly we’d be getting in the new Doc Savage novel, SKULL ISLAND, it being both a Doc story featuring King Kong and a way to celebrate the 80th anniversaries of both legendary creations. Well, after reading the book, I’m happy to report that author Will Murray’s put some definite heart and soul into it and crafted what is now my most favorite of the recent “Wild Adventures of Doc Savage” series of novels.
 
But, that said, it’s different from just about any other Doc book you’ve ever read, something we’re clued in on by the “Will Murray” byline and the absence of the traditional “Kenneth Robeson” house name.
 
For me, the story was literally one that I didn’t want to put down; it’s that engaging. It begins at the end, right after Kong’s infamous nosedive off the Empire State Building, which leads directly to Doc’s involvement – or, rather, his telling of a tale to his aides of when he first met the giant simian. Yes, the great majority of the novel is a flashback to Doc Savage’s early days and therein is found its fascinating core. In essence, what we have here is the heretofore Secret Origin of Doc Savage.
 
Doc and his father – yes, you read that right; his father – head off on a quest for Doc’s grandfather, Stormalong Savage, which takes them into strange waters and exotic climes…and ultimately Skull Island. There they run afoul of enemies of many different stripes and discover wonders beyond their imagining. And a humongous ape-like “god-beast” called Kong.
 
Murray’s defining of the relationship here between Clark Senior and Clark Junior is practically worth the price of admission alone. This is a young Doc, fresh out of World War I and not exactly the bronze hero of the pulp adventures we know so well, and it’s with that admission that I can see some potential backlash with diehard Doc fans. This is a Doc who has not quite found his mission in life yet, nor honed all his skills and formed his famous tenets – most especially the rule against killing. This Doc kills and kills in often savage ways, which at points drenches the narrative in a bloodbath that may even disturb some readers. But, and it’s important to point this out, there’s a method behind Murray’s seeming madness – it all leads to something and something significant, namely the forging of the Doc Savage of the famous pulp adventures. And Murray does this all with style and careful thought and exciting imagery and action.
 
One of the things I loved about this novel is its use of language, precisely that which flies back and forth between elder and younger Savage in many bouts of witty verbal “fencing.” Will Murray has obviously crafted all his Doc books with care, but in SKULL ISLAND I believe I saw even more attention to detail, to dialogue, to atmosphere and to adventure. The story moves right along, only slightly bogging down a bit past its mid-section, and really defines the term “page turner.” Murray gives this one his best and finest and the book benefits from that in ways too numerous to list.
 
As I said before, this is a story of origins. Here we learn the origin of Doc’s trilling, of his disdain of guns and his inexhaustible search for knowledge, even the origin of the Hidalgo Trading Co. hanger. We also discover more information on the Savage family then we’ve ever had revealed to us before and hints of not only some of Doc’s other early adventures – did you know he was on the Titanic? – but also those of his father and grandfather, both famous explorers in their own right. Heck, we even hear about Doc’s uncle, another adventurer in the family. I wouldn’t be at all surprised if the author is suggesting here that readers might care to hear more of these adventures, as separate works.
 
But, again, it’s the relationship between father and son that really stands out in the novel, one that careens between dysfunctional and loving, and it’s that which will stay with me for some time to come. In fact, knowing the fate of Clark Savage Senior in 1933’s MAN OF BRONZE will perhaps add another layer of pathos to your reading of SKULL ISLAND.
 
And, oh yes, King Kong is here, too. You will discover much more about his origins, also, as well as Skull Island’s original inhabitants. And that’s all fascinating as well. Dinosaur fans will especially have reason to love this book. Kong and his environs are not given short shrift in the slightest; the King looms over this book with all the weight and gravity he deserves.
 
In all, I’m a richer pulp fan for having read SKULL ISLAND. Will Murray takes our expectations and delivers upon them while still striking off on his own path, assembling a story that will please both Savage and Kong aficionados and remind us all just how cool pulp can be. There’s heart and soul here, like I said, and I for one can’t quite see how Murray will manage to top this one….but I know he will, somehow.
 
Get this book and settle in for a trip to the South Seas and beyond, Savage style.

 

Richard Wentworth, in the guise of his crime-fighting alter-ego, returns in two 1930s tales of The Spider. First, in “Builders of the Black Empire” (1934), swift and terrible death rides the waves as modern day pirates turn the seas into a battlefield, striking down majestic ocean liners and lumbering cargo ships with violent abandon. To defeat these seafaring slaughterers, The Spider must match wits with a criminal genius whose cruelty runs the gamut of terror, mass destruction and torture! Then, in “Satan’s Shackles” (1938), Wentworth hangs up The Spider’s guns and seeks peace and contentment in the rural countryside  while his fiancee Nita van Sloan recovers her health. But even here, a gang of vicious criminals is at work, threatening not only the citizens of Harper’s Falls but The Spider’s own hidden identity! These two exciting pulp adventures have been beautifully reformatted for easy reading and feature both of the original full color covers as well as interior illustrations that accompany each story. $14.95. On sale for $12.95, save $2.00

 

The Master of Darkness teams with Scotland Yard’s Eric Delka in two thrilling tales of international intrigue by Walter Gibson writing as “Maxwell Grant.” First, The Shadow investigates an international spy ring with the assistance of “The Man from Scotland Yard” (in his first appearance). Then, The Shadow and Delka’s investigation of missing submarine plans sets them on the trail of the legendary Parisian super-criminal, Gaspard Zemba, in Walter Gibson’s all-time masterpiece of misdirection! This instant collector’s item showcases both classic pulp covers by George Rozen and all the original interior illustrations of Tom Lovell, with commentary by popular culture historian Will Murray. $14.95.
 

 
 
The pulp era’s greatest superman returns in two action-packed novels by Lester Dent writing as “Kenneth Robeson.” First, what could cause an entire island to vanish into thin air? Doc Savage and his aides must unravel the strange secret of “Mystery Island” to save England from environmental armageddon. Then, the Man of Bronze (in a rare solo adventure) encounters a strange bearded giant floating in the Bay of Fundy. This double-novel collector’s edition leads off with a classic color cover by Emery Clarke, and showcases all of Paul Orban’s original interior illustrations and new historical commentary by Will Murray, writer of eleven Doc Savage novels. $14.95.
 
This is an authentic replica of an original pulp magazine published by Girasol Collectables. This edition is designed to give the reader an authentic taste of what a typical pulp magazine was like when it was first issued – but without the frailty or expense of trying to find a decades-old collectable to enjoy. The outer covers, the interior pages, and the advertisements are reprinted just as they appeared in the original magazine, left intact to give the reader the true feel of the original as well as an appreciation for the way in which these publications were first offered to their avid readers. To further enhance the “pulp experience”, this edition is printed on off-white bond paper intended to simulate the original look while, at the same time, assuring that this edition will last far longer than the original upon which it is based. The overall construction and appearance of this reprint is designed to be as faithful to the original magazine as is reasonably possible, given the unavoidable changes in production methods and materials. $25.00
 
 

 

By Dr. Art Sippo

 

In ‘The Pirate of the Pacific’, on their return from their arctic adventure in which they travelled underneath the north polar ice cap, Doc Savage and his crew are attacked by hostile aircraft.  Cleverly escaping from this trap, Doc returns to New York where he receives an urgent message from his friend Juan Mindoro of the island nation, the Luzon Union.  He and his country are in serious trouble and only Doc can help.  But the crafty Liung-Sun and his band of Mongol cutthroats roam New York seeking to kill Doc and anyone who might assist him or Juan Mindoro.  Sugar Magnate Scott Osborn become the target of the wily villain’s wrath.  But Liung-Sun is only the advanced agent for the infamous Tom-Too, the mastermind called the Pirate of the Pacific who is planning to overthrow the Luzon Union as a stepping stone to conquering the entire Pacific region.

 
Doc Savage finds himself in a series of battles fighting his way across the Pacific Ocean to the Luzon Union.  He becomes enmeshed in an all-out revolution that threatens to destabilize the entire region.  The powerful Juan Mindoro is in hiding for fear of his life.  Who is the mysterious Tom Too?  Can Doc and his crew of five aides defeat this horde of marauding pirates?  Doc and his crew find themselves in the midst of a war.  Can even they prevail against these odds? Find out when You pick up this and another full length Doc Savage novel in Doc Savage, Volume 6. Double Novel reprint $12.95

 
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John Ostrander: Revamp, Reinterpret, Regenerate, Reinvigorate

Ostrander Art 130303There’s been a lot of pushing the reset button in pop culture recently and I find the results interesting. J.J. Abrams rebooted the Star Trek franchise a few years back and, while some fans complained, I think it was successful. Certainly it was financially successful, which is what the Hollywood moguls really care about.

At the start of Daniel Craig’s run, the James Bond movies were also rebooted, culminating in the recent spectacular Skyfall, which – again this may be heresy to some – was the best Bond film ever. It’s visually stunning and takes Bond himself to greater depths and heights than I’ve seen up until now.

Sherlock Holmes has been reinterpreted into the modern age with two versions, the BBC’s magnificent Sherlock and Elementary on CBS. Both are true to the basics and it’s amazing how well the classic fictional detective gibes with modern times.

Of course, we’ve witnessed DC’s rebirth with the New 52. Again, you can argue as to whether it is artistically successful but I don’t think you can argue that it hasn’t been financially successful thus far. This summer will see a movie rebooting of Superman with Man of Steel. The Christopher Nolan Batman trilogy rebooted that cinematic history as The Amazing Spider-man did with that character’s movie version. X-Men: First Class reimagined Marvel’s mutants and so on. The next Star Wars chapter and the announced Star Wars solo films, while they will undoubtedly respect the previous movies, will probably play hob with what is known as the Extended Universe, the complex continuity that has sprung up around the films via novels, comics, games and more. Depending on how they turn out, that may not be a bad idea.

All my professional comic book writing career, I’ve played with and enjoyed continuity. I respect it but I don’t worship it and I don’t think it is cast in stone. Sometimes, continuity becomes like barnacles on the bottom of a boat and need to be scraped off in order to make the boat (or the franchise) sea/see worthy again.

One of the most successful franchises is the BBC’s Doctor Who and part of its longevity (it celebrates 50 years this year) is its ability to change the actor who is playing the Doctor. It’s built into the series; the Doctor is an alien being who regenerates from time to time into virtually a new character, played by a different actor. The new Doctor doesn’t look, act, dress or sound like any of the other incarnations. The re-invention is a part of the continuity and that’s very clever.

I think this is very healthy; characters and concepts can and should be re-examined and re-imagined for the times in which they appear. They have to speak to and reflect concerns that its current public has if they are going to remain vital and alive.

Can it be overdone or badly done? Absolutely. Some remakes get so far from what the character is about that they might as well be a different character altogether. You want to take a look at the essence of the character, what defines them, and then see how you get back to that, interpreting it for current audiences. Some folks revamp something for the sake of revamping or to put their stamp on the character. I don’t think that usually works very well. Change what needs changing, certainly, but be true to the essentials of the character or concept.

Have I always done that? I don’t think so; when I was given Suicide Squad, I didn’t go back to the few stories that were originally published and work from that. I created a new concept for the title. However, I did reference the old stories and kept them a part of continuity, albeit re-interpreting them. I think we played fair with the old stories.

On The Spectre, Tom Mandrake and I took elements from as many past versions of the character as we could while getting down to what we felt were the essentials. Really, our biggest change was not the Spectre himself but his alter-ego, Jim Corrigan. Originally, he was plainclothes detective in the 30s and our version reflected that. I think that was a key to our success.

Even with my own character GrimJack, after a certain point I drop kicked the character at least 100 years down his own timeline into (shades of the Doctor) a new incarnation. I gave him a new supporting cast and the setting changed as well. It made the book and the character fresh again and made me look at it with new eyes.

The old stories will continue to exist somewhere; they just won’t be part of the new continuity. At some point, that new continuity will be changed as well as the concepts and characters are re-interpreted for a newer audience. That way they’ll remain fresh and alive. Otherwise, they’ll just become fossilized and dead. Who wants that?

MONDAY MORNING: Mindy Newell

TUESDAY MORNING: Emily S. Whitten

 

Marc Alan Fishman: The Tabernacle of Technobabble

Fishman Art 130302I love psuedo-science. More than anything else, the “how” of super-heroes and science fiction is what initially draws me in. My first real memories of my impending nerd-dom stemmed from the Teenage Mutant Ninja Turtles; where I learned that radioactive interplanetary ooze, when liberally applied to animals, created anthropomorphic heroes and villains. And where most of my friends were just happy to have new action figures, I was always perplexed as to how a rhino and warthog, when exposed to said ooze, ended up a mutated state of similar weight and stature. But I digress.

When my attention made way towards comic books, the same curiosity drew me first towards the Marvel universe. Taken against the “crap fell outta the sky, and now you’re super-powered” methodology so many of the DC heroes, Marvel seemed to celebrate the polar opposite. Hulk, Spider-Man, Captain America, Iron Man… all products of science. And let us never forget those pesky mutants. Stan Lee, in the multitude of interviews he’s given over the years always laughed off his choices in the origins of his characters. I’d like to believe though, that there was a bit more to it than he’d let on. The majority of his heroes and villains share science as a passion, and profession. Their powers, results of experiments gone awry. Taken in context of the age in which they were born? It’s fairly easy to see the dots connecting; in the age of the atom, of course scientists would end up mutating themselves and the world at large!

After my recent converting toward Trekdom, I can now say without a shred of sarcasm that I hold Trek above Wars because of the technical bedrock beneath the naked green chicks. At their cores, both universes celebrate journeys. But only Trek dares to boldly go where no man has gone before. Not that Star Wars is without some awesome psuedo-science of its own… but in my mind, it came well after Lucas opened his universe to other collaborators. Men and women who sought to better the mythos with a little less Kurosawa, and a bit more Kelvin.

But what is it that appeals to me so? It’s that shred of plausibility that helps endear me towards creations that embrace it. In contrast, those worlds made of pure fantasy never caught my heart. Where my wife can’t wait for the next Hobbit or Harry Potter, I could honestly care less. Sure, I appreciate the characters themselves, and the plot and structure presented in their various forms. But at their core? They celebrate worlds without reason. Where a kid can ride a broom not because he’s found a way to displace gravity fields, but because his parents loved him a whole ton. Meh.

A cursory look at my bookshelf shows a plethora of writers whose work encompasses these similar feelings. Alan Moore, Grant Morrison, Jonathan Hickman, Warren Ellis, and the like all celebrate the art of technobabble. Their stories, as grand as they may become, still root themselves in panes of logic and reason. Their heroes and villains operate less on threads of sheer will, hope, or love. While their ultimate deus ex machinas may very well encompass those indefinable qualities in order to reach catharsis or conclusion… the worlds built around them all contain some form of believability that allows me to enjoy the work just a bit more than those who simply “wish hard”.

Remember when [[[The Matrix]]] first came about? Long before Neo was wearing his digital crown of thorns, the Wachowski brothers first tried to provide a foundation with which to build upon. And by the end of their first flick, I could enjoy Neo’s triumph over the machines not because of his amazing will to win the day, but because of his understanding of the laws of the program he was an avatar of. His triumph was one of science, not faith.

In Geoff Johns’s expansion of the Green Lantern universe, I celebrated the psuedo-science of the emotional spectrum. Certainly if we could believe that will was somehow a measurable source of energy, so too could be anger, avarice, love, compassion, hope, and fear.

But when Kronos, back with a vengeance, waged war on the Guardians who banished him so very long ago… what defeated him? A big Photoshopped beam from Hal Jordan. Sheer will. Used against a guy who had the weight of the entire emotional spectrum behind him. The scientist inside me screamed with righteous indignation. Based on even small amounts of actual logic, I was left aghast. One emotion, no matter how large (and Photoshoppy), should trump seven. Especially when the shooter of said super beam is merely a mortal man, and his opponent a crazy-assed demi-god. Johns failed to follow the laws of science he himself previously designed (so-to-speak). Simply put? Geoff wrote himself into a corner, and asked for a pass out of it. He flunked the exam. Of course given his captain of the football team status at DC, he slid right past the failing grade. Psuedo-science be damned.

In the universes we fictioneers build, there is an understanding between our words and our audience. To each creation comes a set of laws we play in and around. Those who do it best, gain my attention, respect, and money. Those who disregard it get my furrowed eyebrow and shaking fist. Consider this experiment open-ended. Where there is plausibility, there’s potential. And where there is potential… there’s the possibility of endless wonder. And where there is no need for that? Well, fuck it. Let it fall out of the sky. I mean, why not?

SUNDAY: John Ostrander

MONDAY: Mindy Newell

 

John Ostrander: That Shiny Nude Dude With The Sword!

Ostrander Art 130224Sometime tonight, in about the second hour of what will seem like a three day Oscar broadcast, my butt will go numb and I will ask myself, “Why am I watching this?” It happens every year and then the following year, I do it again. Am I a masochist? Do I just forget? Why do I care who wins what? I haven’t seen most of the films or performances nominated.

I’m not alone in this. Umpty-bum millions of people will tune in to the broadcast worldwide. It’s not the only movie awards show on anymore, either. You have the Director’s Guild, the Screen Actor’s Guild, the Independent Spirit Awards, the Golden Globes and more all handing out awards. That’s not even mentioning the Tony Awards or all of the different music awards or the People’s Choice Awards, The Emmy Awards or what have you. I’m surprised they don’t yet have the Awards Channel on cable; all awards, all the time. And the Red Carpet shows that precede them.

I understand why it’s a big deal to those nominated for the Awards (whichever Award it is) or to the Industry (whichever Industry it is) but why should it matter to anyone else? Why does it matter to me? Why do I watch? Why do any of us?

Let’s face it, fellow nerds – we aren’t represented. The films we mostly watched aren’t up for awards. Where’s the Oscar for the best actor in a superhero movie? Nominees would have to include Christian Bale in The Dark Knight Rises, probably Andrew Garfield in The Amazing Spider-Man, and then there’s The Avengers which could be a category all by itself. Who do you not include? Certainly Robert Downey Jr.’s turn as Tony Stark/Iron Man is amazing but how could you not include Mark Ruffalo who made a Bruce Banner/Hulk really work on celluloid for the first time ever.

And the support actors! Again, in The Avengers – Samuel L. Jackson (who should get an Oscar just for being Samuel L. Jackson) or Tom Hiddleston as Loki who almost steals the movie. Clark Gregg as Agent Phil Coulson who provides the heart and the reason to call the group The Avengers – where’s his nomination?

You can make the same argument for The Dark Knight Rises with Michael Caine’s Alfred who is heart wrenching, or Gary Oldman’s Commissioner Gordon who is really the moral center of all three Batman movies. Daniel Day Lewis was amazing in Lincoln but he only had a beard to cope with. Let’s see him put on Bane’s mask and do any where near as good as Tom Hardy did. C’mon – let’s handicap these races for degree of difficulty!

Anne Hathaway got a nomination (and will probably get the Oscar) for her role in Les Miserables but did you see that, my fellow nerds, or did you see her as Catwoman? Sally Field was great as Mrs. Lincoln but why isn’t she recognized as Aunt May?

And best director? Okay, okay – Ang Lee did a knockout job (or so I’m told; I haven’ seen it) of getting a boy and a tiger on a lifeboat in Life of Pi. Stephen Spielberg did an outstanding job in Lincoln, not only creating the characters of the Civil War but the setting, making you feel like You Were There. And there’s all kinds of talk about how The Academy snubbed Ben (Daredevil) Affleck on Argo.

I got two words for you. Joss Whedon. The third act of The Avengers with the attack on Manhattan by the alien hordes, balancing and making all the superheroes – the lead characters in their own movies – work well together. ‘Nuff said.

Why don’t these movies get Academy Award consideration? They made money. Gobs and gobs of it. So far as Hollywood is concerned, that’s their award except maybe for the grudging technical awards. Maybe it is. The folks doing those may have longer careers than those who get an Oscar tonight – because if there’s one thing Hollywood respects more than Awards, it’s cash.

So, yeah, I’ll watch the Academy Awards tonight. Force of habit, maybe. Maybe we’ll have to have an alternative award for folks like us – the Nerdies.

As a great man once said – Excelsior!

MONDAY MORNING: Mindy Newell

TUESDAY MORNING: Emily S. Whitten

 

Superheroes in your Sunday services?

  • News
  • February 21, 2013

Catholic priest Humberto Alvarez from the village of Ojo de Agua in Saltillo, Mexico, wanted to reach the children of the community, and found a unique way to do so– by wearing tunics with pictures of Superman, Batman, and Spider-Man on them.

In an interview for the magazine “Zocalo” in Saltillo, the pastor told he made ​​the decision during a Mass at the Cathedral of Santiago in 2012. His decision was supported by the Bishop, but not by many faithful who decided to retire because they did not accept comic characters on a sacred site. This has not overshadowed his success.

His outfit comes complete with a water pistol filled with holy water, with which he shoots “jet blessings” to the faithful children.

While religious comics have been around for a long time for a variety of denominations, this is a new one on us.

The original article is at La Informacion, which has more photos of his outfits. We, of course, will be patiently waiting for DC and Marvel to send cease-and-desist letters.

Marc Alan Fishman: Tough Act To Follow

The other week on my podcastFishman Art 130216 (to which you’re all listening, right? Right?) I lamented on a bold move I’d have to make after reading the incredibly terrible “Rise of the Third Army” event in the Green Lantern comics. I decided after following the book for nearly 15 years I would drop it. And I placed the blame squarely on Geoff Johns’ mighty shoulders. As if the lords of comic bookery heard my cry of exhaustion… Johns announced his stepping down from his emerald perch. And I looked up into the sky, and swear I saw a hawk wink at me.

And while I could spend the entirety of this column discussing why Geoff Johns’ name no longer comes with the reverence and respect it once did from me, I choose to digress to a more optimistic topic. With Johns and his entire GL crew stepping away, it will soon be time for new creative teams to grab the reigns of DC’s biggest B-lister and his C and D-list cohorts. And with that comes major cosmic boots to fill. Consider this my open letter to those new teams: reportedly, Peter Tomasi on the lead Green Lantern title, Joshua Hale Fialkov on Green Lantern Corps and Red Lanterns, possibly Robert Venditti or Justin Jordan on New Guardians, and Keith Giffen on Threshold. Please note: I write on Tuesdays for my column on Saturday, but all of this unsolicited advice still applies to those who actually land the jobs.

Before you new people even open up a blank word document to scribble down thoughts and ideas, go pick up Mark Waid’s Daredevil run over at Marvel. Now read it. Now read it again. Waid, in his own right, may be one of the most prolific and amazing writers in contemporary comicsdom. I asked that you pick up his DD run not only because it’s amazing but because it followed Brian Michael Bendis’ run, which lasted about a decade if I’m not mistaken. Waid proved that even with that much narrative weight attached to a character, he could find a fresh perspective and new legs. And he did it in spades.

Now that you’ve seen that it can be done, it’s time for you to do it yourself. Realize above all else that the issues and events before your run must inspire you, not weigh you down. Bendis drug Matt Murdoch to hell several times over. Waid took that and found a way to flip it. So too, will you have to do the same with the entirety of DC’s cosmic comics. But to be fair? If nothing else, Geoff Johns built you an entire universe to play in.

Over nine years Johns took a single Green Lantern – Kyle Rayner – forgot him, and in his place built an entire emotional spectrum of warring aliens. He reignited the Green Lantern Corps. He created depth with villains (who have since had a slight change of heart) like Sinestro and Atrocitus. He created mystery with Larfleeze, and the Indigo Tribe. He created the Blue Lanterns, who up ‘til this point were essentially hero support from D&D. He granted Krona his own epic end. He retconned in an entirely new origin for the Guardians. He even made another new Earth Lantern (who I’ll mention is totally not a terrorist). It’s easy to see how anyone walking into all of this might be overwrought by this newfound continuity. Where does one even begin?

If it’s not already clear to you: consider working a year (or more, Rao willing) without an event. Is it even possible? I beg of you to look to the past. Comics, albeit serialized soaps for teens and wish-they-were-still-teens, were born in an era where complete thoughts could be told in a single floppy issue. And while I’ve explored both the good and the bad of today’s modern “write for the trade” era writing styles, suffice to say after nine years of nothing but event-driven drama for my favorite sect of mainstream comic books? My white flag has been flying since the new 52 graced my longboxes.

At the core of every great run on comic books these days, comes a commonality of concept. I cite Grant Morrison or Scott Snyder’s runs on Batman, Jonathan Hickman’s run on Fantastic Four and FF, Bendis’ run on Ultimate Spider-Man, or Matt Fraction’s run on Invincible Iron Man or his current run on Hawkeye. With each of these books (and a few other fine examples I’m missing), the creators all present a singular vision of the hero and their world. They start from a seed, and grow their own microverses within their respective issues. And in each of these cases, they take into account the continuity that occurred before them, but choose to move past it. Our past informs who we are, but it doesn’t need to be what keeps up from moving forward. So too, are our heroes of pulp and paper.

A lesser set of writers would take the last scenes of however Johns and company ends their books and emulate where they thought they were going. But you, new creative teams… will do better. You will find the essence of your respective lanterns, and will build your own bold direction. You will celebrate nine years of new ideas with years of your own. You will refrain from creating more secrets hidden in lost continuity. You will refrain from crossing over the books because one of you had a great idea that needs everyone else in the pool. You will find ways to use heroes and villains that already exist, or create new ones that help elevate your stories. You will not feel the need to end every major arc with Hal (or John, or Guy, or Kyle, or Not Terrorist) reciting the oath and blasting something to oblivion. You will not give Kyle Rayner another new costume. You will not make John Stewart blow up another planet. You will not play emotional footsie between Hal and Carol.

You will go boldly where no one has gone before. And if you’re worth your salt, you’ll earn my subscription back.

Sunday: John Ostrander

Monday: Mindy Newell

 

Clancy Brown to attend Premiere of Lego Batman: The Movie – DC Superheroes Unite

LEGO Batman cover artClancy Brown, the quintessential voice of Lex Luthor, will walk the red carpet and take part in the post-screening panel discussion when Warner Bros. Home Entertainment and The Paley Center for Media present the World Premiere of LEGO Batman: The Movie – DC Superheroes Unite in New York on February 11, 2013.

Brown set the benchmark for all Lex Luthor voices with his iteration of the role for Superman: The Animated Series and Justice League/Justice League Unlimited, and he has reprised the voice in several TV series episodes as well as the DC Universe Animated Original Movie, Superman/Batman: Public Enemies, and now for LEGO Batman: The Movie – DC Superheroes Unite.

The World Premiere will include red carpet media interviews starting at 5:15 p.m. and the first-ever public screening of the film at 6:30 p.m.  Following the screening, cast and filmmakers will discuss the movie. Joining Brown on the panel will be TT Animation’s award-winning director/producer Jon Burton and director of photography Jeremy Pardon, and renowned videogame/animation actors Troy Baker (Bioshock Infinite, Batman: Arkham City) as Batman and Travis Willingham (Avengers Assemble, The Super Hero Squad Show) as Superman.

LEGO Batman: The Movie – DC Superheroes Unite, an all-new film from TT Animation based on its popular video game, finds Lex Luthor taking jealousy to new heights when fellow billionaire Bruce Wayne wins the Man of the Year Award. To top Wayne’s accomplishment, Lex begins a campaign for President – and to create the atmosphere for his type of fear-based politics, he recruits the Joker to perfect a Black LEGO Destructor Ray. While wreaking havoc on Gotham, Lex successfully destroys Batman’s technology – forcing the Caped Crusader to reluctantly turn to Superman for help.

Warner Bros. Home Entertainment has set May 21, 2013 as its release date for LEGO Batman: The Movie – DC Superheroes Unite on Blu-ray and DVD.

Brown made his very first theatrical appearance opposite Sean Penn in Bad Boys, and then forever sealed his place in fantasy villainy as The Kurgan in Highlander. Before playing an immortal, though, Brown etched his name in cult classic history as Rawhide in The Adventures of Buckaroo Banzai Across the 8th Dimension. Brown is regularly recognized from his standout performance as Captain Hadley in The Shawshank Redemption, as the centerpiece of HBO’s Carnivale as Brother Justin Crowe, and to fanboys across the planet as gung-ho Sgt. Zim in Starship Troopers.

Having lent his voice to nearly 600 animated episodes and films, Brown is also widely known as Mr. Krabs in SpongeBob SquarePants. His voice credits, to list just a few, include roles in The Batman, The Spectacular Spider-Man, Avatar: The Last Airbender, Jackie Chan Adventures, Wolverine and the X-Men, Phineaus and Ferb, Ben 10: Alien Force, Kim Possible, Duck Dodgers, Teen Titans, Buzz Lightyear of Star Command and Gargoyles.

The Paley Center in New York City is located at 25 West 52nd Street. There is no attached parking, however there is ample parking in numerous structures surrounding the Paley Center.

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