Tagged: Spider-Man

John Ostrander: Happily Never After?

ostrander-art-130929-150x151-9092045There was some discussion when the creative team on DC’s Batwoman, J.H. Williams and W. Haden Blackman, resigned after editorial decided that the title character, Kate Kane, would not be allowed to marry her fiancée, Maggie Sawyer. DC has tried to clarify that they are not anti-gay marriage but anti any marriage. Dan DiDio, DC co-publisher, stated at the Baltimore Con that heroes (at least in the Batman family) shouldn’t have happy personal lives, no marriages. They sacrifice personal happiness for the greater good. That’s what makes them heroes. Or so we’re told. DiDio said, “That is our mandate, that is our edict and that is our stand.”

That’s one viewpoint.

I can argue it both ways. Comics are fantasies and fairy tales tend to end with “And they lived happily ever after.” It is assumed that, after that point, the story gets mundane. It becomes about the ho-hum aspects of living day-to-day. The romance is gone. The tension of “will they/won’t they” no longer exists.

That has not been my experience. The living together, the commitment to one another, gets challenged all the time. The percentage of marriages that end in divorce or infidelity, according to some, is about 50%. Happily ever after is not a given.

I’ve discovered part of the challenge is seeing past who you thought the other person was and to see who they actually are. You discover much more about the person you love after you’ve become a committed couple. In addition, that love you share grows and changes (or changes and declines) as the people in that relationship grow, decline, and change. The love the two feel, for better or worse, may not be the same five years in. All of that can be very dramatic.

However, it’s not something pop culture tends to show. Most TV shows resist having their romantic leads become a couple, and certainly not married. Moonlighting famously teased about its two leads becoming a couple for way too long. Castle, of which I’m a big fan, is dealing with that now and we’ll see how that turns out. Every once in a while, you get a show or series that counteracts that – the movie series The Thin Man, based on the characters of Nick and Nora Charles created by Dashiell Hammett, were sexy and funny and had a wonderful marriage. They are, also, the exception in pop culture.

Marvel can be no less guilty of this than DC. The decision was made to have Peter (Spider-Man) Parker and Mary Jane Watson not just no longer married but to make it so they were never married. In order to do that, they had to employ the devil. That’s sort of convoluted.

I dislike DiDio’s edict because it is just that – an edict. It doesn’t allow for a story to follow through. It is dogma applied instead of thought, creativity and imagination. It’s the same rationale that the Roman Catholic Church applies to celibacy in its priesthood: that the priest/hero sacrifices their own personal happiness to better serve. It’s codswallop in both cases. The RC rule ignores the fact that other denominations have married clergy and it actually works out mostly fine.

Look, I can certainly see that Batman has no time or perhaps inclination to be married. That makes sense within the confines of who the character is. There were and are different circumstances for others like Batwoman. In storytelling, one size does not fit all.

I’ve been doing some work for DC and I hope to do more and when playing in their sandbox, I’ll respect their rules, even if I disagree with them. However, Williams and Blackman had the rules changed on them at the last moment and I respect their decision to walk. I’d like to think I would do the same.

MONDAY MORNING: Mindy Newell

TUESDAY MORNING: Emily S. Whitten

 

John Ostrander: Realistic Fantasy

Ostrander Art 130922I’ve often maintained that the best fantasies are ones that have one foot firmly set in reality. We need something to which we can relate. We are asked to enter into a “willing suspension of disbelief,” as coined by the poet Samuel Taylor Coleridge. However impossible or implausible in reality an event in literature is, we accept it. Quite simply, we’re being told a story and we concede reality to get on with the story – up to a point.

When Superman first appeared in 1938 he was a fantastic character but, in those early stories, he fought real-life villains and situations – slums, gangsters, crooked politicians, corrupt cops and so on. The United States, like most of the world, was still deep in the Great Depression. World War II was looming. For so many people, the reality was that the banks had failed them, the courts had failed them, the police failed them, the system had failed them. With Superman, the Little Guy had a hero who worked outside that corrupt and broken system, working for them, working to achieve justice. Superman was originally very anti-establishment and that may have been his greatest power.

Then came the War and Superman was co-opted, along with the other heroes, to fight the Axis, to bring down the Nazis. Reasons had to be given why he didn’t just fly to Berlin and take down Hitler. That was the reality of the situation and the fantasy was having a harder time fitting in.

After the War, Superman became fully co-opted by the Establishment. His biggest concern was his girl friend, Lois Lane, learning his secret identity.

Marvel came along in the 60s and introduced a psychological realism – the heroes had neuroses, psychological problems, issues that they needed to work out. Spider-Man was the poster boy for the neurotic new hero and it resonated. After all, to put on a mask and go out to fight crime, you had to be a bit crazy. Peter Parker had money troubles, work troubles, girl troubles; he was bullied in high school and it was all compounded by his choice to be Spider-Man. However, he couldn’t stop. He was driven by the death of his Uncle Ben for which he held himself partially responsible. Great fantasy, solid reality.

The reality became more of a soap opera as time went on. What was once fresh became cliché. Like Mickey Mouse (oddly enough, since The Mouse now owns Marvel), Spider-Man went from being a character to being a franchise to being a product and a corporate symbol.

Marvel’s New Universe wandered in at some point and one of its claims was a new realism. One of the boasts was that, when their heroes or villains lifted up a building, you could see broken plumbing underneath. I ask for a little more reality than that and the line eventually folded.

Milestone Comics came in and it had a solid dose of reality, setting their heroes in the African-American community and reflecting that truth. One of my favorite books was the Blood Syndicate; one of the tags for it was “They’re not a team. . . they’re a gang.” That was different and reflected a new reality. Sadly, Milestone didn’t last long enough to get old.

DC has re-launched itself with the New 52 and Marvel has Marvel Now but both, to my taste, veer still more towards fantasy and soap opera. The storylines have gotten more convoluted and event driven.

And then there’s Art Spiegelman’s Maus – the classic hat adroitly combines both fantasy and reality. By using mice as Jews in Germany during World War II, Spiegelman heightened the reality and made what might have been unbearable to look at very readable and very compelling.

After 9/11, the comics industry spoke to the tragedy. More than one person wished that Superman had been real that day. Then maybe he could have prevented the planes from crashing into the World Trade Center. None of the books that came out of that horror, to their credit, tried to do that but, at the same time, they were one shots. There was no lasting effect in the books unlike New York City and our national psyche. Failing to do that made them all a little impotent. The Punisher continued to hunt and kill gangsters; wouldn’t it have been more realistic to have him go after terrorists at home and abroad?

Take a look at the real world around you. How much of it is reflected in your comics? What drove Superman in his earliest incarnations – a hero outside the system, working for justice that the Little Man can’t get – is as or more prevalent today as it was 75 years ago. Look at the news – is any of that reflected in the comics you read? How would a hero deal with terrorists? What if a superhero was a member of al-Quaeda? How can we pit our angels against our demons in such a way as would, as Shakespeare put it, “hold a mirror up to nature”.

I enjoy comics; I enjoy reading them and I enjoy writing them. I do. They can be good entertainment. They could also be more. They could stand, I think, a little more reality.

Or maybe that’s just me.

MONDAY MORNING: Mindy Newell

TUESDAY MORNING: Emily S. Whitten

 

Martin Pasko: A Brief History of Mail Power Fantasies

Pasko Art 130905Last week’s column, about the apparent suicidal impulses of the US Postal Service, advanced what I hope is a baseless and purely paranoiac thesis: Because UPS, FedEx, and their ilk don’t cover every form of deliverable and are prohibitively expensive for many small-business shippers, we are in urgent need of alternative low-cost means for shipping parcels and other three-dimensional objects that can’t – or won’t – be deliverable to us in electronic form any time soon. That’s because the P.O.’s collapse might happen faster than we can create the infrastructure necessary to take up the (very minor) slack.

That would be a Geek Apocalypse. Some momzer with an encyclopedic memory of The Overstreet Guide won’t be able to profitably ship you that copy of Tales To Astonish #12 you bid too much for. And your ability to receive items like priceless Mr. Terrific maquettes, or the Talents’ endless flow of royalty checks for $.35, will be jeopardized. And then suddenly, one day, before you know it…entire vital industries start getting wiped out. Y’know, like Hero-Clix.

But it’s hard to be too sympathetic to the USPS’ increasingly strident argument that it needs more funding and a different budgeting process. Perhaps because there’s a reason it’s OK to bail out Detroit but not USPS: the auto industry hasn’t yet come up with a car that can go anywhere except the direction you’re trying to steer it in.

If all this leaves you unmoved to lament the coming Götterdämmerung in Mail Valhalla, perhaps you might shed a tear out of nostalgia. When the Post Office finally goes, so, probably, will the memory of some – odd and arcane, to be sure – pieces of comics history.

For example, whatever else USPS is trying to preserve, it isn’t a commitment to the goal expressed in huge letters on the New York City main branch: “Neither snow nor rain nor heat nor gloom of night stays these couriers from the swift completion of their appointed rounds.” That inscription is believed to have been carved by a young stonemason named Ira Schnapp, who went on to play a major role in comics history by designing the classic Superman logo and lettering most of DC’s top-tier output for roughly the first fifteen years of its existence.

Over the next 50 years, the USPS was indirectly responsible for some memorable, comics fanboy-beloved policies and procedures. I’ll discuss a few of those next week, when I perform the death-defying feat of ending this two-and-a-half part rant and starting a new one, establishing a premise that you will have forgotten by the time you conclude reading about it the following week.

Before USPS became irrelevant to comics, it resorted to printing comic book content, in a sense – such as with the 2007 Marvel Super Heroes series that put Spider-Man on a stamp. It was one such “issue” that inspired the project that arguably brought the uneasy alliance of comics and USPS to its disastrous apotheosis.

The negotiations for the use of Superman on a stamp to commemorate his create led to high-level talks that generated a custom comics initiative. This project, of which I was the alternately fascinated and appalled editorial supervisor, was The Celebrate The Century Super Heroes Stamp Album series. This was part of a much more ambitious campaign, The Celebrate The Century stamp series. It seemed like a simple, sure-fire plan: nine sets of stamps commemorating each of the nine decades of the 20th Century. The subjects of the stamps for the first half – the 1900s thru the ‘40s – were selected by a panel of scholars assembled by the USPS. The remaining stamps subjects would be chosen by polling…those notorious champions of intellectual rigor and high-mindedness, the American people.

Which means that our first five volumes were filled with cleverly-written, beautifully drawn, and impeccably researched two-page spreads in which Superman and his Justice League friends enlightened while entertaining on such worthy subjects as the League of Nations, the development of antibiotics, and the WPA. The latter half of the series featured third-tier super heroes no one had ever heard of, but which were chosen because they were minorities, got excited about I Love Lucy and the Slinky Toy.

We were on an aggressive schedule with a tremendous investment by the client: print runs in the millions. We managed to do the huge job of research, creating the Editorial, and fact-checking the first five books on the P.O.’s schedule, which required the comics-format albums to be on sale at the same time as the corresponding stamps. We didn’t get into trouble until we got to the issues based the stamps the Brand-Conscious American Consumer “voted in” – a slew of stamps featuring Other Companies’ trademarked intellectual property.

In the sort of bureaucratic failure of due diligence that has made USPS a company that could not lose more money if it subcontracted its shipping to Amtrak, the USPS had secured the rights to the images it used on the stamps, but not the clearance of, or payment for, use of the images in licensed products based on the stamps.

What ensued was a train wreck, with the rights-holders demanding outrageous and labor-intensive changes to the already-completed art before they’d be approved. Some of the licensors’ objections had to be negotiated away because they negated the very concept of the project itself.

The widow of a certain famous children’s book cartoonist withheld approval for over two months because she could not be dissuaded from what she seemed to think was a simple, reasonable request: that her late husband’s creation, which was the subject of the stamp, not be upstaged by a DC super hero character, and that the super hero who described the stamp’s history to the reader had to be deleted.

As Jules Feiffer once put it…a subtle pattern begins to emerge…

Next Week: “You’ve Got Mail!”…We Just Don’t Know Where It Is.

FRIDAY: Martha Thomases

SATURDAY: Marc Alan Fishman

 

Mike Gold: And This Is How The World Ends!

Gold Art 130828OMG! OMG! Did you hear who they’ve signed to play Batman in a whole bunch of movies, starting with Man of Steel 2? No, not Anthony Weiner. And not Ann Coulter –she’s already signed to play Nick Fury in the S.H.I.E.L.D. teevee series. No, Warner Bros. found somebody far worse. They hired the very personification of celluloid evil: Ben Affleck.

Yes, I’m sure you heard of this. So did literally tens of thousands of “fans” who were so upset they signed a petition condemning the action. And seemingly hundreds of thousands went to Facebook, to Twitter, hell some even reactivated their My Space accounts to express their extreme displeasure. Yea, verily, Ragnarök is upon us!

To quote the immortal William Shatner, get a life. You’re entitled to your opinion; if you don’t think Ben Affleck is a worthy actor, that’s your opinion. In my opinion, you’re wrong – Ben Affleck is a perfectly fine actor on his worst day. Besides, it doesn’t matter who’s inside the rubber suit. Lassie would look fine in the Batsuit, as long as she didn’t try to lick herself.

The question is, can the performer handle the role of Bruce Wayne? Quite frankly, this is not a tricky part to handle. Any handsome high school senior who did The Great Gatsby can do it. It’s hard to imagine Affleck turning in any less a performance than Michael Keaton – who I thought was fine – and a better performance than Keaton’s first two successors.

I realize it’s heresy to say this, but that’s never stopped me before: Christian Bale didn’t have all that much to do as Bruce Wayne. When he did, he was fine but nobody was wailing about his being cheated out of an Oscar (Registered Trademark, AMPAS, All Rights Reserved, Watch Yer Ass).

I’ll even defend the Daredevil movie. Ben Affleck wasn’t what was wrong with that movie, and, honestly, in my opinion it wasn’t a bad movie. We had come to expect better Marvel superhero movies, but it was better than both Hulks and either Fantastic Four. More important, the director’s cut was actually a good movie. Not Spider-Man 2 good, not The Dark Knight good, but a solidly entertaining movie with some fine performances. Direct your wrath at whomever cut the theatrical print.

Besides, Affleck can’t help but walk all over Henry Cavill. It’s the approach to Man of Steel 2 that concerns me. The first one was totally misguided. It wasn’t Superman. Actually, it was Batman.

I’ll say one thing for the hiring of Ben Affleck. It shows that Warner Bros. is willing to put their money where their, well, their sundry body parts are. Signing him to a multi-movie contract shows they’re in it for the long haul. It shows they understand what Robert Downey Jr. did for the Marvel movie universe.

And if there’s ever a Marvel/DC crossover movie – calm down; this is just a what-if – I can’t think of a more enjoyable pairing than Robert Downey Jr. and Ben Affleck.

Besides, we already know Bruce Wayne and Tony Stark sit on each other’s board of directors.

THURSDAY MORNING: Dennis O’Neil

THURSDAY AFTERNOON: Martin Pasko

 

Marc Alan Fishman: All Ages Be Damned!

Fishman Art 130810According to Robot 6 and a few other comic blogs Paul Pope pitched an all ages Kamandi series to DC. Upon hearing it, supposedly, DC responded “You think this is gonna be for kids? Stop, stop. We don’t publish comics for kids. We publish comics for 45-year olds. If you want to do comics for kids, you can do Scooby-Doo. Well, I don’t know how true that is, but it certainly brings a few thoughts to mind.

Let’s say that the statement was in fact true. We don’t actually know the context in which it was said. I’ll assume Pope can tell sarcasm apart from snark. So, if DC actually had the balls to be so rude to such a great talent, they’ll deserve the continued flack they seem to be gunning for on what feels like a daily basis. There’s so many things wrong with what they said… so much so I don’t even know where to begin. How about the beginning.

“We don’t publish comics for kids.” You don’t say. I recall a while back DC had a whole line of comics for kids. I assume though, that it wasn’t profitable, even with the acclaimed Art Baltazar and Franco’s Tiny Titans, and Mike Kunkel’s Billy Batson and the Magic of Shazam. Oddly enough though, when I type “DC Comics for Kids” into Google, I seem to be directed to dcnationcomics.kidswb.com! How odd that a company that doesn’t publish comics for kids seems to do just that. Of course my only real options for DC kids comics these days are Scooby-Doo, Looney Toon, Lil’ Gotham, and Adventures of Superman, I might tend to agree that they indeed don’t. Not to knock Superman or Lil’ Bats, but comics for kids amongst the big two always seem to be cordoned off, and rarely beloved. To be even more fair? The only time I’ve personally ever cared to peruse an all-ages book by either Marvel or DC has been Tiny Titans. Then again, I’m not the target audience of less-than-mature comic books.

I’m also not 45, but I get the potential point they are hypothetically making. That point though, is a terrible one. No company in their right mind should be aiming to please 45 year olds. While I plan on being a comic book reader until I’m unable, I freely admit that a comic (and let’s be bland and say traditional super hero comics) should be targeting a younger market. Go back and read something from the silver age. Stan Lee and his ilk wrote simplistic stories with solid doses of emotional depth. It was only when the industry went goth––and started getting mean, and angry – did the product by-and-large seem to start aging with its audience. The point though is this: yes… teens, tweens, and toddlers alike seem to not be embracing the super heroes as much as the Yuhi-Ohs or whatever. What a load of bull-pucks.

This is where I’m perhaps the angriest. There seems to be the insane undercurrent within our niche industry that somehow, someway we need to reach the kids. How the future of our livelihood depends solely on our ability to make ankle-biters know we’re here with funny books. Guess what? We won, years ago, and no one noticed!

Go to Target, Wal-Mart, and the like. Do you see Avengers T-Shirts? Do you see Batman underoos? Do you see an entire aisle of toys that are comic related? Because I do. Go to the electronic sections of the same stores. Do you see the literal wall of DVDs that are comic book related? If you don’t, you’re blind. Facts are facts: Super-Heroes of Marvel and DC are in the zeitgeist. And while comic sales are seemingly no better (as in, kids aren’t rushing in droves to their local comic shops like we all seem to hope…), the fact that the movies, TV shows, and merchandise is out there. For those kids who want more than a movie, show, or toy to play with, there will always be comics. Hell, that’s exactly how I myself came into the industry!

If I were to play devil’s advocate for only a second, I can see between the poor choice of words spoken to Mr. Pope. He pitched a character that by and large is unknown. And while his name brings with it an audience, a Paul Pope Kamandi book doesn’t necessarily come close to the potential profits of a Paul Paul Batman book. At the end of the day, as much as we may love those tertiary characters deep within the catalogues of DC and Marvel… those two companies don’t stay in the black because of them. Marvel makes its money on Spider-Man, the X-Men, and the Avengers. DC does with Batman, Superman, and to a lesser extent Wonder Woman / Green Lantern / Flash. Show me the bottom-line earnings of a Kamandi or a Ka-Zar book, and I’ll show you why DC offered Paul Scooby-Doo.

That being said, I’d personally love to see his pitch and take on the character. He’s incredibly talented. And just as I would have wanted to see the Static Shock John Rozum originally pitched for the New52. To me what this pull quote really makes me think is this: There needs to be a way for Marvel and DC to allow amazing creators to drive their own ship, and still make money. Reduce their pre-production / up front pay in lieu of per-piece pay. Release the book digitally only, and then collect it into a printed trade if the sales permit it. Open up the catalogue and let creativity be the driving force of what you put out. Certainly we know that the pulp and paper market will only live so much longer. And beyond that? When a creator wants to deliver an all-ages title? Embrace it! A comic that can be read and enjoyed by more than one demographic only increases the possibilities of readership.

You think you can step on creators as much as you want? Why don’t you just go back to publishing Scooby-Doo.

SUNDAY: John Ostrander

MONDAY: Mindy Newell

 

John Ostrander: The Essence

Ostrander Art 130804A week or so ago I was talking about how in the Man of Steel movie they had Superman kill someone. No spoiler alert: if you haven’t seen the movie yet, it’s your own damn fault. It did violate one of the traditional tenets that marked Superman as Superman – he doesn’t kill. Lots of innocent bystanders must have also died during his battle with Kryptonians in Smallville and Metropolis but hey – collateral damage.

I did note, however, that characters that have been around a lot need an updating to keep them relevant to the times in which they are being read/watched. The question to me is – how much change is acceptable before you’ve altered the character so much that they are no longer really that character. What defines each character? What are the essentials?

I read in a recent Entertainment Weekly that Andrew Garfield, the current movie Peter Parker/Spider-Man, suggested that the next Mary Jane actually be a guy. Have Peter explore his sexuality with a guy. Even the director, Marc Webb, when asked if he had heard Garfield’s idea, seemed to do an eye roll.

That idea certainly isn’t traditional Peter Parker and got some discussion, but is it that far off? I’m not saying I endorse the idea but wouldn’t it make Peter more contemporary, something to which younger readers/viewers might relate? Would a bi-sexual Peter Parker be any less Spider-Man? Would a Peter Parker in a lip lock with a guy be more shocking than a Superman who kills?

The comics’ Spider-Man has taken it further. In the book, Spider-Man’s old foe Doctor Octopus has taken over Peter’s body and life and identity of Spider-Man with Peter looking real dead and gone. Otto Octavius is now Spider-Man. WTF?

The powers are the same, but the character sure isn’t. Is it the powers that define who Spider-Man is or is it the man behind the mask? If the latter, is this really Spider-Man?

This isn’t the only character to which this has happened. Iron Man has had people other than Tony Stark in the armor. Batman has had a couple of people under the cowl. And let’s not start on Robin. Or Batgirl.

The stories of Sherlock Holmes have also lent themselves to numerous interpretations. There are currently two TV series that put Holmes into modern day. I only really know the BBC series, Sherlock, but despite changing the era it feels so Holmesian to me. It feels like they got the essentials right.

I did it myself with my own character GrimJack. First I killed off the main character, John Gaunt, then I brought his soul back into a clone of himself and then, eventually, I had him reborn into another person, James Edgar Twilley, although again, it was the same soul. Munden’s Bar remained but the supporting cast was different and I had bounced the whole thing down the time line a hundred years or so and the setting of Cynosure was also changed.

I knew why I did it at the time. I felt my writing was getting stale and the character was as well. We hadn’t been around all that long but I felt we were getting tripped up on our own continuity. Sales were eroding. My editor asked me to come up with some way of making the book dangerous again.  That’s how I chose to do it.

Was it still GrimJack? Yes, I felt it was – in its essentials. An alienated and violent loner in a strange city living by his own code. Same soul, two lives. It still felt like GrimJack.

I’m willing to bet that most re-examinations of a given character or concept stems from that – to look at it all with fresh eyes, to make the reader/viewer do the same. To me, that’s trying to get to the essentials.

Maybe we aren’t all agreed as to what the essentials are in any given character or concept. That may vary from person o person, fan to fan. I think that’s why there are quibbles right now about Man of Steel; if Superman not killing is essential to the character, there’s a problem with the newest version. On the other hand, if “do not kill” rule is just like wearing red trunks, then it’s not essential. Is the Man of Steel Superman?

That comes down to you.

MONDAY MORNING: Mindy Newell

TUESDAY MORNING: Emily S. Whitten

 

Martin Pasko: The Age of Michael Jackson Comics

Pasko Art 130801Before I Do This Thang for the week: I’ve been getting messages from readers. Apparently, I do have them. Or, as Bob Hope might have said, “I know you’re out there, because why else would Dolores be propping me up in that direction?”

These messages I’m talking about are all “Why do you use so many links?” Clearly, if you’re asking this, you’re not clicking on them. Hint: Some – not all, or even most, but some – of them don’t lead where you might assume they do. They are instead meant to be weird, “disconnective,” hit-or-miss jokes in and of themselves. So, as the most celebrated member of The Hair Club For Men once put it, “’Nuff said.”

Now, on to That Thang. Meaning I have to stop vamping with jokes about what I didn’t learn in San Diego the weekend before last, and, God help me, actually come up with a third and final part of my highly speculative and putatively uninformed rant to go with the first and second parts. [I say “putatively” because Richard Feder of Fort Lee, New Jersey, writes, “Aren’t the comics selling better than ever? What should I do?” (And, no; no link this time. Get off your fat ass and Google it.)]

If you’re just joining me here for the first time, please feel free – unless your ass really is too fat to allow you to lean over and reach your mouse or trackpad – to check out those previous parts. And maybe click on some on those links you’ve been skipping over. Go ahead. I’ll wait. It’s not like I have anything better to do.

Back now? Good.

One thing Iwasn’t joking about last week: SDCC really didn’t shed much light on whether the Big Two might be incrementally but profoundly changing how they think about creating and marketing comics. Specifically, that they might have to take back total creative control from the freelance talent, to better justify their claim that comics help generate new, original movie and TV properties – titles and characters that aren’t mere spin-offs from the oldest, best-known super hero “brands.”

But I remained in the dark not, as I facetiously suggested, because of the conditions endemic to the con itself, but, rather, because the Big Two’s massive “booths” at least appear to still be doing their dog-and-pony shows in much the samo-samo way as they have been since the beginning of The Gastrotrich Super-Star era and the annual “continuity stunt.” You know – the age of what I like to call Michael Jackson Comics. As in, “We’re going to keep rearranging our face because it gets us publicity even though we don’t entertain anybody anymore. (But we do have a few pet chimps who clap for us when we do it.)”

At first, superficial glance, little seems to have changed this year. There were the same long lines of people waiting for something, but you couldn’t quite be sure what because the crowds were too dense. And there were the same old book signings by the Flavors Of The Week – those comic book “creators” who have been rocketing out of obscurity and vanishing back into it just as fast, ever since Hollywood’s “‘bankable’ star” mentality was first applied to four-color pamphlets by, if memory serves, Jenette Kahn. She was the first Big Two publisher to wonder, for example, whether Superman might not sell better if it were John Byrne’s Superman.

And it did.

For a while.

Thirty years ago.

But this year at SDCC, when I took a closer look at those exhibits, and let my eye follow carefully where that long line was snaking to, it seemed as if more and more of those people were queueing up for a chance to glimpse some “teaser” footage from an upcoming movie or TV show, and the lines to buy signed copies of Flavor of the Week’s Superman or Smokin’ Hot Newcomer’s Spider-Man were shorter. The “brand” – the property – was what was making the loudest ka-ching, ka-ching.

But the people who decide what will be presented in these exhibits seem not to notice, and persist in announcing new comic book titles whose selling point is presumably the name of the creative talent rather than the super hero brand. Meanwhile, superhero feature films continue to succeed without being dependent on major stars in their casts, a phenomenon that is a reflection of a larger, industry-wide paradigm shift.

The early warning signs might be barely noticeable, but I really think they’re there. And it’s getting harder not to wonder whether someday – maybe sooner than even cynical me suspects – Disney and Warners will have convinced themselves that they can endlessly exploit their existing brands, through reboots not unlike those in the old annual face-changing stunts, without any help from their four-color pamphleteers. And if their comic book divisions will have ceased to yield new brands they can add to the product mix as break-out hits, they might start to wonder whether all those Flavors of the Week and their pamphlets are any use to them at all.

LATER TODAY: Emily S. Whitten Returns!

FRIDAY MORNING: Martha Thomases

SATURDAY MORNING: Marc Alan Fishman

 

 

Shailene Woodley’s First Kiss

Shailene Woodley’s First Kiss

  • News
  • July 24, 2013

Since Shailene Woodley got trimmed out of next year’s Amazing Spider-Man 2, we thought you might want to take a peek at her current work, next month’s The Spectacular Now. The clip features the first kiss between Aimee (Shailene Woodley) and Sutter (Miles Teller), highlighting the end of a sequence filmed in one long take. Below, director James Ponsoldt provides a quote about shooting one of his favorite scenes in the film.

[youtube]http://www.youtube.com/watch?v=t78dfyS6kMs[/youtube]

“This is one of my favorite scenes in the entire movie. I always knew I wanted to film in it one long, continuous, unedited take, walking and talking with Aimee and Sutter, feeling like we — the audience — are part of a natural conversation that ebbs and flows from goofy and awkward to serious to emotional to flirtatious and nervous to…a first kiss. I wanted the scene to feel as natural as life. Of course, it meant that the burden was on Shailene and Miles to nail the scene (in a long take, everything has to come together perfectly — or else the shot is useless) — and our camera operator had to back-pedal for 5 minutes on a muddy, slippery path,” explained director James Ponsoldt.

“What Shailene and Miles ultimately did in this scene is so casual and unguarded and spontaneous that some people think the scene was improvised. It wasn’t. Shailene and Miles are just that great as actors — so present, so connected to their roles, and so willing to embrace whatever happens in the moment (bumping into a tree branch or swatting a pesky mosquito, hearing rumbling storm clouds, etc.).

“To put it simply, here’s why this scene is one of my favorites: it actually feels like two people falling for each other.

“I’ve seen this scene over a thousand times and I still get chills when Miles and Shailene kiss. I’m so, so inspired by their beautiful work.”

SYNOPSIS: With sly humor and an intensity of feeling, THE SPECTACULAR NOW (directed by James Ponsoldt) creates a vivid, three-dimensional portrait of youth confronting the funny, thrilling and perilous business of modern love and adulthood. This is the tale of Sutter Keely (Miles Teller), a high school senior and effortless charmer, and of how he unexpectedly falls in love with “the good girl” Aimee Finecky (Shailene Woodley). What starts as an unlikely romance becomes a sharp-eyed, straight-up snapshot of the heady confusion and haunting passion of youth – one that doesn’t look for tidy truths. The film was written by Scott Neustadter and Michael Weber (500) DAYS OF SUMMER and also features wonderful supporting turns from Brie Larson, Kyle Chandler, Jennifer Jason Leigh, and Mary Elizabeth Winstead.

Distributor: A24

Release Date: August 2nd (NY/LA), August 9 (Expands), August 23 (Nationwide)

Director: James Ponsoldt

Writers: Scott Neustadter & Michael H. Weber

Starring: Miles Teller, Shailene Woodley, Brie Larson, Mary Elizabeth Winstead, Jennifer Jason Leigh and Kyle Chandler

Runtime: 95 minutes

Rating: R

Genre: Comedy, Drama

All Pulp Interviews Bad Tiger-Final Interview- Steven Wilcox!

  • News
  • July 24, 2013

For the last interview in the BAD TIGER STUDIO series, ALL PULP takes on Steven Wilcox, Artist!

ALL PULP: Tell us about yourself, your personal background, and how you got into writing/art/etc.
 
SW: I have been drawing, in some form or another, since I was able to hold a pencil – even before I could write. My dad cultivated my love of drawing things like Batman and Spider-Man into a love of comic books by subscribing to several titles when I was growing up. The love of drawing and love of comics seemed to go hand-in-hand for me. As my tastes matured, so, too, did my art ability. 
 
AP: What is your role at Bad Tiger?
 
SW: At Bad Tiger, I’m the co-creator, penciller, inker and colorist of The Black Viper: Enemy of Evil strip.
 
AP: In our modern society, some would say that there’s nothing new or original anymore.  What makes Bad Tiger stand out?
 
SW: While there is “nothing new” these days there are new ways of presenting old ideas and themes. Bad Tiger wants to be known as the New Home of Pulp Adventures!
 
AP: What are your inspirations, influences for the work you do?
 
SW: Personally, my wife of twenty years and my four children inspire me in everything I do. Artistically, I find inspiration in a lot of artists, mostly comic book artists like John Byrne, Alex Ross, Arthur Adams, Mike Mignola, Tim Bradstreet, and Jim Lee to name a few. Outside of comics, I love the work of Norman Rockwell and Alphonse Mucha.
 
AP: What do you think appeals to the public about heroic/genre fiction and/or comic strips?  Why will people come to Bad Tiger?
 
SW: Because most of us grew up on comics and pulp adventures, and like the old fashioned storytelling of ouryouth, we tend to make our comics/stories the way we would want to read them…
 
AP: Last question! Say whatever you’d like to about Bad Tiger, yourself, or the experience!
 
SW: Working with Bad Tiger has been a joy. They embraced a character that me and my co-creator Justin Jude Carmona came up with a few years ago and gave him a home. We’re about to embark on adventures of The Black Viper that haven’t been sitting in a drawer for a few years, (the first two episodes were done in 2008 or 2009).
 
BAD TIGER STUDIO- www.badtigerstudio.com

Emily S. Whitten: Conventions Ahoy! NADWCon and SDCC

Emily S. Whitten: Conventions Ahoy! NADWCon and SDCC

Guess what, ComicMix readers? Convention season is upon us! Hurrah!

“Aw, shucks,” you say. “I can’t make it to any conventions.”

Fear not, faithful friends! I am here to save the day by attending and reporting back for you. And I am psyched about it. Yes, I’ll probably need to hibernate my con exhaustion away afterwards, but man, I love the energy and excitement of a good con. And good thing, too, because this year, I’m planning to attend The North American Discworld Convention; San Diego Comic Con; Dragon*Con; Baltimore Comic Con; the Small Press Expo; New York Comic Con; and Capclave. Whew!

NADWCon and SDCC are right around the corner, so I’m extra excited about those! Here’s what I’m looking forward to:

The North American Discworld Convention

The NADWCon is taking place in Baltimore, MD from July 5th to 8th, and memberships are still available! I highly recommend this con for any Terry Pratchett enthusiast. Anyone who knows me even a little bit knows I’m a huge Discworld fan. You may or may not also know that I actually co-founded the NADWCon, and served as Vice Chair, Webmaster, Programming Coordinator, and Guest Liaison for the 2009 NADWCon, and as Chair and co-Guest Liaison Coordinator for the 2011 NADWCon. Good times!

This year, though, I’m super excited to be going to NADWCon as just a fan. I’ll get to go to all of the panels I never saw while I was running around like a chicken with my head cut off organizing things! I’ll get to sit down for more than five minutes with my Discworld friends! I’ll possibly make it to breakfast at least once! Woo!

I’ll also, all things permitting, be continuing what is by now the tradition of interviewing some Discworld luminaries at the con. I first interviewed author Terry Pratchett himself at the UK Discworld Con for two whole hours in 2008, and what a treat that was! I interviewed Terry again, along with agent Colin Smythe, artist Bernard Pearson, and audiobook reader Stephen Briggs in 2010 (Scroll down if you’d like to hear those interviews here). The nice thing about interviews with Terry or about Terry, though, is that he’s so prolific and interesting that there’s always new ground to cover; so I’m really looking forward to catching up with the Discworld crowd!

In other exciting things, the Program Guide for the con is now up, and it looks fantastic. On Friday I might chat with Ian Mitchell and Reb Voyce, make my own Octavo or coat of arms, or watch the new Sir Terry documentary about orangutans! On Saturday I’ll actually be speaking at a panel about costuming, but I might also try my hand at scriptwriting, learn how to commit the perfect murder (oh, Pat, what would we do without you?), or revisit my fencing days with a lesson in swordplay. Sunday I am most certainly attending the Gala Banquet, but might also learn the trade tricks of the Guild of Thieves! And on Monday, if I am not exhausted yet, I may watch what I am betting will be the craziest puppet show ever (and will, among other things, feature the Neil Gaiman puppet that took the stage at Neil’s DC signing on June 21). Seriously, this con is going to be so much fun! And less than two weeks after it, I will be going to…

San Diego Comic Con

This will be my first time at SDCC, and I am preemptively preparing to be totally overwhelmed. However, I’m also overjoyed, because so many of my awesome friends will be there, and there will be mega-tons of amazing events happening all the time. Here are some things I’m especially looking forward to:

1) The preview and Q&A panel for I Know That Voice, a documentary all about voice actors that’s coming out this fall. As readers may have noticed, I find voice acting pretty darned fascinating, so I can’t wait to see this film, which features over a hundred of the best voice actors in the business discussing their craft. In fact, I’ve already signed up for the VIP email list on the IKTV website; and you can too, if you want to get VIP-only updates about the film, reserve a spot to pre-order the DVD for purchase before the general public, and be entered in a poster contest where every 100th entry wins a poster signed by voice actor John DiMaggio. Pretty cool!

FYI, the IKTV team is also running a Cartoon Voice Imitation Contest via their Facebook page, encouraging anyone who does impressions of favorite television cartoon voices to post a short video of their impression(s) (1 minute or less) to the page by July 31, 2013, at 11:59 p.m. PST. John DiMaggio and the IKTV team will review each post and on August 5 will pick the top three, who will win an autographed poster signed by some of the star cast members and an I Know That Voice DVD autographed by John DiMaggio. What a great way to be heard by the folks in Hollywood! I’d enter myself, if I did any impressions!

I’ll definitely be checking out the IKTV SDCC panel. Here’s the panel information:

“John DiMaggio (Executive Producer of IKTV, also voices Bender from Futurama, Jake The Dog from Adventure Time, IFC’s Out There and many more!) brings the cast and crew of IKTV together for an exclusive sneak peak at the most anticipated film about voice over (in animation and video games) ever made! Included in the panel will be John DiMaggio, Billy West (Futurama, Ren and Stimpy), Rob Paulsen (TMNT, Pinky and the Brain), Dee Bradley Baker (Clone Wars, Ben 10, American Dad), Fred Tatasciore (Hulk, Ben 10, Mad), Tom Kenny (Spongebob Squarepants, Brickleberry), Andrea Romano (25-time Emmy nominated, 8-time Emmy winner for Animaniacs, Pinky and the Brain, and more!), Tommy Reid (producer, IKTV), and Lawrence Shapiro (director, IKTV). You won’t want to miss this panel, especially with this bunch! You never know what’s going to come out of their mouths! July 18, 4:45-5:45 p.m. (Room 6BCF)”

I’ll also be interviewing John DiMaggio and Tommy Reid while I’m there, and maybe a few other amazing voice actors (like Rob Paulsen!) so stay tuned for that! And while we’re here, don’t forget Rob Paulsen is coming to The National Press Club in Washington, D.C. on August 1. Get your tickets now!

2) Hannibal, Hannibal, Hannibal. Yes, folks, the cast and crew of the show about Hannibal the cannibal are going to be at SDCC, and I am hungry to hear from them (sorry, I couldn’t resist). The panel, entitled “Hannibal: Feed Your Fear,” will feature Emmy-Award-winning executive producer Bryan Fuller (Pushing Daisies), director David Slade (The Twilight Saga: Eclipse), Martha De Laurentiis (Red Dragon), and star Hugh Dancy (playing Agent Will Graham). It’s listed for Thursday, July 18th from 6:45pm – 7:45 p.m. in Room 6A.

As with many things, I (affectionately) blame my friend Cleolinda for getting me into Hannibal with her excellent recaps and discussions. But the show has done a great job of keeping me fascinated all on its own. I can’t wait for the panel, and am hoping to get a few minutes with the panelists, as well!

3) Psych! Oh, man, I just love this show. Somehow it’s cleverly managed to walk the line between heartfelt and meaningful and hilarious and totally goofy for seven seasons, and there’s another one to come! The Psych panel is set for July 18 and will be moderated by Cary Elwes, and include James Roday, Dulé Hill, Corbin Bernsen, Maggie Lawson and Timothy Omundson, along with Kirsten Nelson. Also joining the panel are creator and executive producer Steve Franks, and executive producers Chris Henze and Kelly Kulchak. I’m so there! I’ve also already got my ticket to the advance screening of Psych: The Musical (airing this winter), and you can get one too, at the link. I’m keeping my fingers crossed that there will be time to check in with the cast of the show as well!

4) So many other cool panels! Who knows what I’ll be able to fit in, but I’ve got my sights set on covering at least some of the events for author Neil Gaiman’s new Sandman work; ongoing TV shows Arrow, Bones, Futurama, Supernatural, Agents of SHIELD, Once Upon A Time, Dexter, The Legend of Korra, and Teenage Mutant Ninja Turtles; new shows Almost Human, Sleepy Hollow, and The Tomorrow People; and upcoming movies Ender’s Game, The Hunger Games: Catching Fire, The Amazing Spider-Man 2, The Hobbit: The Desolation of Smaug, The World’s End, and (maybe) some Marvel movies. I’m also planning to cover The Black Panel and the Body Image & Women in Entertainment panel if I can (I’m ambitious!). And maybe more, since new events are being announced all the time. This site seems to be keeping up with them pretty well, and of course there’s the Unofficial SDCC Blog, which has tons of information.

5) A Gathering of Nerds! Although it’s not part of SDCC proper, I’m hoping to stop by at least one Nerd HQ event and see what they’re all about. Chuck actor Zachary Levi’s pet project raised $140,000 for Operation Smile last year with its Conversations for a Cause, and featured a slew of cool events and guests while doing it. I haven’t even attended yet and I’m already a fan – I like the mix of philanthropy with fun!

6) Exclusives! Oh so many exclusives! I’m going to try not to go tooooo crazy, but I must admit I’ve already pre-ordered the Marvel Minimates Deadpools Assemble set; of course I want the Deadpool Kills variant cover and the glow-in-the-dark Deadpool bobble-head; and I will elbow people out of the way with all of my elbowin’ strength for the Deadpool Corps set. I also think the Teenage Mutant Ninja Turtles #1 variant cover by Steve Conley is adorable, not to mention it comes from my friends at Awesome Conventions! And speaking of cute, I so want Batgirl from DC’s Super Best Friends Forever. I also have to admit the Game of Thrones throw pillow and poster set are pretty nifty.

7) And let us never forget the parties! I’m hearing about new ones every day, and who knows where I’ll end up, but at the very least I plan to be visiting with our very own ComicMix crowd at the Michael Davis World After-the-Eisner’s-Party – and what could be better than that?

So stay tuned in the next few weeks, when I’ll be sharing all of my convention adventures. And speaking of conventions, if you’re a D.C. local (or even if you’re not) please consider supporting the Awesome Con DC 2014 Kickstarter, which has just 4 days left to meet its goal (and through which you can get that cute TMNT variant cover I mentioned as a reward!). The Kickstarter needs less than $8,000 more in donations to succeed, and to allow the con organizers to make next year’s Awesome Con DC bigger and better than ever. This year’s con was awesome (heh), and I’d love to see them get funded.

Thanks; and until next time, Servo Lectio!

TUESDAY AFTERNOON: Michael Davis, Hell, and High Water

WEDNESDAY MORNING: Mike Gold

 

Categories

Archives

Everything you need to make great comics!

comicmix-pro-300x69-2

Nucleus X

Bookshop Zaks