You may have noticed Ol’ Webhead leave his mark, and not just on the walls… the phrase “the Mark of the Spider-Man” is mentioned by Captain Stacy and is hidden within the webbing towards the end of the trailer. The site markofthespider-man.com takes you to a site with six screens filled with static, but I’ll bet my last Spider-tracer that if you keep an eye on that new site over the next week, we’ll see all sorts of new stuff revealed on those screens.
The Amazing Spider-Man comes out July 3rd, and stars Andrew Garfield, Emma Stone, Denis Leary, Rhys Ifans, Sally Field, and Martin Sheen.
When I was a kid around 12 years old I met another kid around the same age while at the library. This was a big deal because I was black and he was white and I had no white friends, so at the time this was an historic meeting for me at the time.
We were both at the same table at the library both working on a book report. We regarded each other only with sly looks while trying to avoid eye contact with each other. I lived in a housing project and I just knew that David lived in the real nice houses that were not to far from the projects in distance but light years away in lifestyle. For about an hour we played that cat and mouse “look, don’t look” game.
We played that game until David put away his notebook and replaced them with a stack of comics that could choke a horse. I’d never seen that many comics outside of my home. Never had I seen anyone carry that many comics around.
Then I noticed something incredible. All the comics were brand new. I’ve carried comics around with me on many an occasion: grandma’s house, dentist’s office, car trip (which I only did once because I can’t read in a car; it gives me the worst headache, even now) or to a friend’s house to trade.
Whenever I’ve carried comics around, they were never a stack of new comics – never. At 12 I don’t think I’ve ever brought more than three comics at one time. Not that I didn’t want too; I just could not afford it. Now, here in front of me were at least 30 brand new comics that this snot nose white kid was showing off.
I did not want to stare but I could not help it. I was mesmerized by the wealth of comics this kid had in his possession.
I hated that kid.
I hated that I had one comic on me that had no cover.
Bleeding Cool reports that Al Rio, best known for his work for Wildstorm, Marvel, and Zenescope, died this morning in an apparent suicide. He was 49.
Al Rio, born Alvaro Araújo Lourenço do Rio on 05/19/62, was raised in Fortaleza, in the northeast of Brazil. Al began his career in Rio de Janeiro, Brazil, as an artist in the early ’90s, illustrating books for a local English School.
After working as animation director at this same company, Al became an animator in Brazil for Disney, working on such properties as the syndicated Aladdin animated series.
Upon joining the comics-centric international art agency Glass House Graphics in the mid-’90s, Al began working for DC Comics, though his “big break” came from succeeding J. Scott Campbell on Wildstorm’s Gen 13. From there, Al, best known for his versatility and his ability of drawing some of the sexiest women in comics, went on to draw for Marvel, Vertigo Press, Dark Horse, Chaos! Comics, Avatar Press, Crossgen, Zenescope, Image, and more — drawing titles such as his own series Exposure, as well as Captain America, DV8, Voodoo, Purgatori, Lady Death, X-Men, New Mutants, Spider-Man, Vampirella, and Star Wars, among many others.
Al is survived by his wife Zilda and their three children, Rene, Adrielle, and Isabel. His funeral will be held on Wednesday, February 1st, on Cemitério São João Batista, in Fortaleza, Brazil. Contributions may be made to his family on his behalf through Kickstarter, and condolences may be sent to his family through terry@alrioart.com.
It seems when I write pieces here on ComicMix that are good-natured and optimistic, no one cares. When I get hot and bothered (and make sweeping declarations that demand debate), you get excited. So, you want riled up? You got it!
I think the comic book industry as a whole would be better off if it went digital for all monthly titles, and only printed graphic novels.
Settle down, settle down. You’ll have a chance to put me in my place in the comment section. Or you can skip my argument completely, and just go down to the bottom of the page, and start the flame war. Either way, my ego gets fed.
Let’s face it. Making a comic book every month isn’t easy. If it was, Justice League wouldn’t be two weeks late. But wasn’t there a big hard-and-fast rule in place stating no book would be delivered late, lest the creative team be removed for one that could keep up? Well I guess that only applies to talent who don’t exclusively work for the parent company, and have “Chief” on their business cards. But I digress.
Most comic books these days are “written for the trade.” Almost every cape on the racks today get four to six issues of a singular plot-line that crescendos into a final epic conclusion. Then, if we’re lucky, a one-shot to settle things down to the status quo. And the cycle repeats. In the case of other books (Matt Fraction’s Invincible Iron Man comes to mind) these arcs could last up to a year or even longer. This means that every month you get a bite of the candy bar. Wouldn’t it be nice to just eat the whole damned thing all at once? In an medium where the end product is sum of many parts, having all those parts only stands to make the whole piece better.
Brian Michael Bendis may physically have a disease preventing him from writing a book that isn’t deconstructed. And frankly, who disagrees that he works best in the bigger picture? I won’t ever buy singular issues of Ultimate Spider-Man. It’s too good in trade. The same goes for many other books I happen to get (or borrow with frequency); Invincible, The Sandman, Astro City, Y: The Last Man, Ex Machina, Fables… need I go on? In all of those cases, and so many more, collecting a book into a longer format makes for a more enjoyable experience. And when a trade it released, there is no waiting for that next chapter. I know there’s a massive caveat to that one folks, but I think the point is clear enough.
But Marc, you plea… If the industry went straight-to-trade, comic book shops would simply close up and die. Because right now, most comic book stores I know are so swamped with business they don’t even carry trades. Or action figures. Or magic cards. Or D+D. Or host local bands. Or have organized book clubs. The fact is, store owners lose more money stocking their shelves with every monthly book that comes out, and subsequently not sell them, then do they on carrying trades. One store in particular, Challengers Comics + Conversations in Chicago, told Unshaven Comics that they would only carry our book when it became a trade.
When I was told this by the very cool owner, my eyebrow raised. “We do far more business in trades than we do in monthlies man, sorry.” They even have a “Library” subscription where so many dollars a month guarantees you access to shelves of trades to “check out.” If I were a commuter and lived anywhere near the store, I’d be on that like Michael Davis on an Asian GoGo Dancer. My point being that brick and mortar stores could augment their current offerings and not lose their leases.
Monthly books allow fans to “sample” a title before committing to it. And those who follow along with my reviews (over on Michael Davis World, plug plug plug) know that recently I’ve committed to a “two bad issues in a row means I drop the title” policy. Thus far, that means I’ve dropped JLI, Red Lanterns, Green Lanterns: New Guardians, The Fury of Firestorm, and Irredeemable. If my dream came true, wouldn’t that mean I would stand to lose more money buying a multi-issue trade for a series I’d be unhappy with? I’m willing to eat crow on that one. To a point. You see, in the cases of all those books I listed, they all suffered from the same problems.
Predictable plots hampered by a repetitious narrative structure, or incoherent direction on the whole. As an example, Fury of Firestorm(s?) issue to issue took the same plot point (Danger! Transformation! Hitting!) and regurgitated it three times in a row. Through the fatigue, it becomes clear; the entire first arc takes place over one or two nights. Read as a whole though, the pacing wouldn’t be as troublesome to me. And in the case of JLI, where the plot was as by-the-books as you could get… I would contest that taken in 1 large chunk, it’s far easier to enjoy the staple “assemble the team and fight the giant evil” plotline when it’s not broken up into six parts. Especially when it fights for my attention with better-written monthlies like Batman, Action Comics, or Fantastic Four.
It’s a big argument, one that I hypocritically don’t even support on the other side of the aisle. Unshaven Comics made the decision to release issues in lieu of trades. But that, as Alton Brown would say, is for another show. I’d like to think I’ve given you enough to mull over. So, go ahead my bubbalas. Talk amongst yourselves. I’m getting a little verklempt. Trades vs. Monthlies… Discuss!
How many times have you thought that, or dreamt it, or talked about it? I think everybody does. It’s in our natures, y’know?
“If I knew then what I know now…”
What would you do?
I wouldn’t be a nurse.
I’d go to film school. UCLA or NYU. I’d aim to be a film editor.
I love movies. So, in keeping with Mike Gold and John Ostrander’s columns about the movies, I thought I would list some of my favorite movies and why I love them. In no particular order. Because every time I pick one as my “all-time fave,” I remember another and hastily move that one to the top spot.
Casablanca: Two men. The woman they both love. And Nazis. Who doesn’t love this move? Humphrey Bogart. Ingrid Bergman. Claude Raines. Sydney Greenstreet. Paul Henreid. Peter Lorre. Conrad Veidt. And Dooley Wilson. Who doesn’t love this movie?
Strasser: What is your nationality?
Rick: I’m a drunkard.
Who doesn’t love this movie?
Renault: And what in heaven’s name brought you to Casablanca?
Rick: My health. I came to Casablanca for the waters.
Renault: Waters? What waters? We’re in the desert.
Rick: I was misinformed.
Who doesn’t love this movie?
The Searchers: In the post-Civil War West, two men relentlessly follow the trail of the Indian who killed their family and took the youngest daughter in the post-Civil War West. One wants to save her. One wants to kill her.
“That’ll be the day.”
As John Ostrander said, John Wayne’s greatest role. Also starring Jeffrey Hunter and Natalie Wood. And directed by John Ford.
Bridge On The River Kwai: “Be happy in your work.” In the hell of a Japanese prisoner of war camp in World War II Burma, a British colonel’s ego and pride blind him to his collaboration with the enemy as he leads his regiment in building a bridge that will stand for the ages. Sir Alec Guinness. Sessue Hayakawa. William Holden. Jack Hawkins. Directed by David Lean.
“Madness. Madness.”
The Best Years of Our Lives: Three World War II veterans and their families adjust to life after the war ends. Fredric March. Myrna Loy. Dana Andrews. Virginia Mayo. Teresa Wright. And Harold Russell, who lost both his hands, which were replaced by hooks. Directed by William Wyler. As significant today as when it first premiered in 1946.
Ben-Hur: The proud scion of an aristocratic Jewish family. The ambitious Roman who was once his best friend. Set against the background of the Roman Occupation of Judea during the time of Christ, it’s a story of love and hate, sin and redemption, blame and forgiveness. Charlton Heston. Stephen Boyd. Jack Hawkins. Haya Hayareet. Sam Jaffee. Finlay Currie.
Quintas Arrius: “Your eyes are full of hate, forty-one. That’s good. Hate keeps a man alive. It gives him strength.”
There’s also The Godfather I and II. Gandhi. Saving Private Ryan. Waterloo Bridge. Star Wars and The Empire Strikes Back. Forbidden Planet. You’ve Got Mail. Alien and Aliens. The Day The Earth Stood Still (the original, not that travesty with Keanu Reeves). Lost Horizon. Bringing Up Baby. Mr. Lucky. The Lion In Winter. Basically, anything with Katherine Hepburn and/or Cary Grant. And more.
Movies based on comics? Spider-Man 1 and 2. Superman 1 and 2. Iron Man. Captain America. Thor. The Road To Perdition. Ghost World.
Watchmen? Not so much.
I’m sure I’m missing quite a lot, but what the hell…
Producers of Broadway’s “Spider-Man: Turn Off the Dark” have fired back in their legal fight with one-time director Julie Taymor, claiming the woman who they once called a visionary later failed to fulfill her legal obligations, wrote a “disjointed” and “hallucinogenic” musical, and refused to collaborate on changes when the $75 million show was in trouble. In a countersuit filed Tuesday in U.S. District Court for the Southern District of New York against Taymor and her company, LOH Inc., the producers argued that the show “is a success despite Taymor, not because of her.” The lawsuit, which quotes from several private emails from members of the creative team, further exposes the deep rift that has opened between former collaborators who seemed to have reconciled — at least through forced smiles — on the red carpet this summer when the musical finally officially opened.
Remember, these people are arguing about more money than Steve Ditko has ever received for co-creating Spider-Man. So when they talk about what they’ve “created”, feel free to laugh at them.
Long-time DC Comics and Marvel colorist Tom Ziuko (The History of the DC Universe, Superman, Batman, The Shadow, Hellblazer, Looney Tunes, Spider-Man, Captain America, Tomb of Dracula, etc.) has been facing some difficult medical issues over the last two years, including kidney failure, neuropathy, and, most recently, emergency surgery to repair a strangulated colon.
According to the Facebook page started by Gary Mann for Tom, “Tom is a freelance artist, unable to afford health insurance, and the last year has been brutal for him…. Tom is currently recuperating at home, although still unable to return to work full-time. Early last year, Tom’s friend and fellow freelance artist Alan Kupperberg mounted an effort to help raise some funds for him; and a great non-profit organization, The Hero Initiative, has played a major role in helping Tom to survive during this last year, keeping him afloat and literally saving him from becoming homeless. But Tom continues to face a mountain of medical bills, personal expenses and debt.
“And so I appeal to those of you who may have been touched by Tom’s work over the last three decades; in that you might be able to contribute to assisting him financially while he continues his recovery. I know that times are tight right now for everyone, but any contribution you might be able to make, no matter how small, would be both beneficial and greatly appreciated by Tom.
“If you want to contribute directly to Tom’s assistance fund, you can do so at Paypal — the account name is — chroma999@aol.com.
“And whether you’re able to contribute funds or not, you can write to Tom directly on Facebook, or at his email address (atomica999@aol.com) in order to send him get-well wishes, to say hello and wish him a speedy recovery, or just to let him know if you’ve enjoyed his work over the years.”
Disney XD will launch Marvel Universe, a dedicated Marvel programming block, with the new series Ultimate Spider-Man as its centerpiece, on SUNDAY, APRIL 1, it was announced today by Gary Marsh, President and Chief Creative Officer, Disney Channels Worldwide at the Television Critics Association Press Tour in Pasadena, California. Marvel Universe on Disney XD will be the ultimate place for fans to find exclusive Marvel content, including new animated short-form series, live-action interstitials and the series return of The Avengers: Earth’s Mightiest Heroes. The block will be home to Marvel’s biggest superstars, such as Spider-Man, Iron Man, Hulk, Thor, Captain America and many more to introduce dynamic stories of action, adventure and heroism to a whole new generation.
Marsh said, “Iconic Marvel heroes and villains and stories with core values of accomplishment, discovery and growth make Marvel Universe a perfect complement to Disney XD and a destination for parents and kids to experience together.” (more…)
Shit. Five more minutes. Just five more minutes. One eye open, I grapple for the phone. Shit. Goddamn it. There it is. Flip it open. Hit the snooze button.
Quiet.
I snuggle under the covers.
And I’m wide awake.
The Giants are playing the Falcons today in the first round of the NFL playoffs. Kickoff at 1 p.m. Probably there are people already at the stadium, setting up their tailgating parties, firing up the grills, sipping hot coffee or tea (and, sadly, guzzling the first beer of the day.)
Glenn (my brother) is probably on the road already, driving up from the New Jersey suburbs of Philadelphia. Probably almost all of Philadelphia is rooting for the Falcons to kick the Giants’ collective ass. It’s not easy being a Giants fan down there.
Okay, I’m up. It’s cold. Shit, yesterday it was over 60°. Today, not so much. Good football weather thought. I put on my robe. Go into the kitchen. I squint at the bright light as I flip the switch. Turn on the stove for my cuppa tea. Can’t do anything without my cuppa.
Go into the bedroom. Put my robe on. Shit, it’s really cold. Good football weather, though. ‘Specially for the Giants. The Falcons play indoors. The cold and the crazy winds at Giants Stadium – I refuse to call it Metlife Stadium – will hopefully work against them. I turn on my computer.
The teapot is whistling. I pour my nice cuppa tea. Last night I prepared everything; the steaks are marinating, hot dogs are in aluminum foil, the cooler and the grill are pulled out and ready, utensils, paper plates, everything’s set. Glenn’s bringing the Bloody Marys and the charcoal. Food tastes better without that propane smoke.
Got about an hour, hour-and-a-half ‘till Glenn gets here. All I gotta do is sit down and write my column. Then take a shower and get dressed.
I wonder how Eli is feeling? Where is Victor Cruz right now? Is Justin Tuck already in the locker room? Is Mathias Kiwanuka having tea too? Or coffee?
What’s going through the minds of the Giants? And the Falcons, for that matter?
I wonder about superheroes and their evil doppelgangers. What if their battles were scheduled? What if they watched films of last week’s battle? What if they studied playbooks? Would they be replaying that sack, thinking “if only I’d just stepped to the left?” Would they be thinking about that perfectly thrown right hook that somehow missed? What would they do, what would they think about before going up against each other?
7:30 a.m. The doorbell has rung. This column is now interrupted because Glenn is already at my door and we’re going to the Giants game! Go, big blue!
5:55 p.m. I’m back. Giants won! 24 – 2. (Falcons got a safety due to a bullshit call by the end zone ref who threw a flag 25 seconds after the play was called dead. (I really, really, really hate when the refs do that.) Gotta admit the first quarter sucked (for both teams), and the second quarter wasn’t much either, although the Giants did score a TD to make it 7 – 2 at the half. But the second half rocked!
Okay, where was I?
Right. Got it.
Wouldn’t it be interesting to write a story about the hours before an “epic battle” between the hero and the villain? You never actually see the fight scene – well, maybe the first punch, the way Rocky III ends, y’know? You just build up the tension going on inside the hero, inside the villain. It could start like my morning did, with the alarm clock shattering the deep sleep of Peter Parker and Mary Jane – sorry, but I prefer that “timeline.” And Electro was up all night, couldn’t sleep, thinking about his past battles with Spider-Man and letting his inferiority complex eat at him. Captain America wanders the streets of Washington, D.C., past the Capitol building and the monuments, ending up at Arlington cemetery, while the Red Skull visits Auschwitz, remembering the “glory” of the Third Reich. Doctor Strange spends the night in deep meditation, while the Silver Dagger ponders God and the Catholic Church at the Basilica of St. Peter in Rome.
I could go on – and end up writing a story treatment and then some asshole will read it here, and I’ll get all pissed off, so I’ll stop here.
Before my brain starts playing tricks on me and I get all upset that I’m not actually writing these things anymore because, y’know, Mindy Newell is a has-been and Mindy Newell is a bitch and Mindy Newell never really had any talent, just a great set of gams which she used to get work, and…
I was suffering from the condition she described so well in a recent column – being blocked – and she supplied the cure as well. She talked about the difficulty in writing fight scenes in superhero comics and then claimed both I and Denny O’Neil know how to do it. I’m not always sure that’s true with me but it did give me this week’s topic. Thanks, Mindy!
On the surface, writing a fight scene might not seem that difficult. You have two steroid queens pounding the poo out of each other, right? What’s the big deal? Actually, there are a number of things to keep in mind.
Let’s start with the pragmatic. As with movies and television, fights in comics are depicted, not simply described. In the credits for both film and TV, you can find the position of “fight choreographer” and, yes, it’s very like a dance choreographer. Think of fight scenes as very violent dance. Rhumbas with a right hook. Cha Chas with a karate chop.
The fight needs to be imagined in steps so as to be clear, effective and – in movies and TV – safe for the participants. The fight also has to build in intensity. There’s a great film by Walter Hill called Hard Times (1975), starring Charles Bronson, James Coburn, and Strother Martin about a bare knuckle fighter working pick-up fights around New Orleans during the Depression. There are several fights in the film and not only do they have to build individually but overall the fights have to build with greater physical and emotional intensity throughout the film to the climax.
In comics a fight scene needs one clear, definable move per character per panel. Also, for best impact, the blow is begun in one panel and then completed in the next. When possible, you end the page with one character about to strike and start the next page with the blow connecting or the other character blocking or dodging. Part of the magic that happens in between panels is that the reader “sees” the motion but only if the action in both panels is clear.
You also want to think of variety. Punch, block, counterpunch, block gets old real fast. In boxing, a boxer will go for the head, the ribs, stomach and so on to mix up the blows. In comics, you can include head-butts, kicks, leaps, martial arts moves and so on. You can also imagine a variety of different settings. Where the fight takes place can determine what fight can take place.
Different characters have different fighting styles. Spider-Man is an acrobatic fighter; the Hulk… well, Hulk smashes. Unless your character has made a change in their fighting style as part of the story, have them fight the way they are supposed to fight.
Just as important as the moves is the fact that the fight is a scene in the story you’re telling. All the rules for a scene apply – what does the character want, how badly do they want it, how far are they willing to go to get what they want? What does it tell us about the character, what does it tell them about themselves? What is revealed, what is concealed? How does this scene move the story ahead? The story is not there to justify a fight scene; the fight scene is there to advance the story. If it doesn’t, it wastes space.
There should be an ebb and flow in a fight scene. The outcome should not be a foregone conclusion for either party. Motivation will play a key factor in any fight. Maybe your character keeps getting knocked down but keeps getting back up. Keep in mind that the opponent is not always another person; it can be time, it can be physical obstacles, it can be the weather, it can be something inside of the characters themselves. All these should be factors in a good fight scene.
Finally, leave room for the artist to work their magic. When working plot instead of full script, I often just gives the basics to the artist – what’s at stake, what are the beats in the action, what is the outcome – and let them choreograph it. The artist is not your hands; the artist is your partner.
It boils down to this: you’re telling a story and that involves conflict. Conflict reveals character – who someone is as opposed to who they think they are. A fight scene is that conflict in its most physical, graphic form but it’s still part of the story. When in doubt, tell the story.
