This week’s roundtable at New Pulp Author Sean Taylor’s Bad Girls, Good Guys, and Two-Fisted Action Blog focuses specifically on comic book scriptwriting. Sean posted the top three questions he hears often at conventions or from those wanting to start writing comics or looking to turn an indie movie or small press novel into a graphic novel.
Sean assembled a collection of comic book writers (many familiar to New Pulp readers) together to find out what they had to say. The writers include: Jim Beard (Ghostbusters Con-Volution, Star Wars Tales, Hawkman Secret Files) Mike Bullock (Lions, Tigers, and Bears, The Phantom) Erik Burnham (Ghostbusters, TMNT Splinter, A-Team) Percival Constantine (Femforce, Kagemono, All-Star Pulp Comics) Ron Fortier (The Green Hornet, Popeye, Street Fighter) Dan Jurgens (Superman, Booster Gold, Teen Titans, Captain America) Roland Mann (Cat and Mouse, Ex-Mutants, Switchblade) John Jackson Miller (Star Wars Knight Errant, Iron Man, Mass Effect) Michael Avon Oeming (The Victories, Powers, Thor, Red Sonja) Bobby Nash (Lance Star: Sky Ranger, Fuzzy Bunnies from Hell, Domino Lady vs. The Mummy) Jenny Reed (Around the World in 80 Days, Charles Darwin) Janet Stone Wade (Jetta: Tales of the Toshigawa)
Got The Avengers DVD on the day of its release and watched it all over again. My Mary and I enjoyed ourselves immensely and, from all indications, so did a lot of other people since its big screen release made more money than all but two other films.
Yes, previous Marvel films (Iron Man 1 and 2, Thor, Captain America, and the last Hulk film) all built up to it. It was great how it took the basic stuff we knew about all of them, including the initial Avengers comics, and was true to them but do you know what really made The Avengers such a juggernaut?
It was accessible.
You don’t need to know anything about the comics. You don’t need even to know anything about the other films. Everything you need to know to sit back and enjoy the movie is in the movie. Yes, if you know your Marvel lore it adds to the enjoyment but the fun of the movie and your understanding of the story is not predicated on that lore.
Over at DC, the Silver Age began when the legendary Julius Schwartz (hallowed be his name) took a bunch of character titles and concepts from the Golden Age, re-imagined them for what were more contemporary tastes, and re-ignited the superhero comic. He wasn’t concerned with continuity with the Golden Age, which was itself never too concerned with internal continuity; he wanted to sell comics.
When Marvel started (as Marvel) back in the Sixties, it started with all new characters at first so they didn’t have continuity problems. Even when they worked in Golden Age characters like Captain America and Namor, you didn’t need to have ever read any of the old stories. Everything you needed to know about those characters were in the stories.
Say that you’ve seen the movie The Avengers and you’d like to read a comic based on what you saw. So you go into a comic book shop and find: The Avengers, The Uncanny Avengers, The New Avengers, The Secret Avengers, Avengers Assemble, Avengers Academy, Dark Avengers, and, if you hurry, Avengers Vs. X-Men. This doesn’t include The Ultimates, which might be closest to the movie. Which one do you choose? And, if you do choose one, can you understand the story? Is it accessible or so caught up in past or current continuity as to not make sense to a casual reader?
I’m not excluding DC either. Say that you saw and liked The Dark Knight Rises and would love to know what happened next. So you go to the comic book store and you will not only find nothing that would tell you what happened next but nothing that isn’t tied to a crossover.
Look, I’m well versed in the ways of continuity. I’ve mined it for my own uses. However, when I started my run on Suicide Squad I essentially dropped everything but the title, even redefining the concept. Yes, I made use of continuity but I never assumed that the reader of the new book would know anything about the old series or care about the old characters.
I work in Star Wars and believe me when I say that the continuity there is as dense and complicated as anything at Marvel or DC. I’ve learned how to negotiate those reef filled waters by either creating new characters or going forward or backwards or even sideways in time. I research the continuity where my stories touch upon it but I don’t get tied down to it.
The ones who care about continuity are the fans and the hardcore fans care about it most. I’ve had all sorts of fans who want to tell a story based upon some obscure plot point that doesn’t fit quite snuggly enough into continuity (or how they perceive it) and explains it all. It’s hard to tell stories based on continuity alone. They’re bloodless. Story comes from characters and their desires and interactions.
This summer we’ve seen a load of very successful superhero movies – The Avengers, The Dark Knight Rises, The Amazing Spider-Man (itself a reboot from the last Spider-Man movie which was out only about five years ago). So there is a market out there. Yes, yes – comics and movies are two different media but the concepts are the same in both. Do we want to attract even a portion of that audience? For the survival of a medium we love, all of us – fans and pros alike – need to say yes.
The way to do that is with well-told stories that are accessible to all readers. Mary and I know a friend who watched The Avengers with her grandson and both enjoyed it. And they enjoyed watching it together. That’s something we should aim for.
In the end, if continuity gets in the way of a really good, accessible story, then I say – continuity be damned.
Space Operas have been around since Flash Gordon and Buck Rogers first burst forth in America’s funny pages. They certainly had their pulp counterparts from E.E. Smith’s Lensmen series to Edmond Hamilton’s Captain Future series and many others. Then with the advent of television American children were inundated with such TV series as Tom Corbett – Space Cadet, Space Patrol and dozens of others all culminating in the 1960s with Gene Roddenberry’s “wagon train in space,” Star Trek. Of course the eventual jump to the big screen was never far off. Sci-fi space operas had been around since the serials but none were so audacious and clearly proud of their comic and pulp roots as George Lucas’ Star Wars franchise.
Which brings us full circle to the advent of New Pulp Fiction and a classic genre that never really went away thanks to likes of Frank Hebert, Jack Vance and E.C. Tubb. Now you can add another name to that list of extraordinary space opera creators in Van Allen Plexico. From his ground breaking comic inspired Sentinels series to the Vance inspired, “Lucian – The Dark God’s Homecoming,” this writer has jumped into the deep end of the imagination pool with no hesitation as this new novel proves.
Long ago, in a galaxy far, far away (sorry, I just couldn’t stop myself) the known universe was looked after by a computer intellect that spanned space and was called The Machine. To enforce justice and order it created, via cloning, a small group of unique warriors to command its military forces. They were known as the Hands and chief amongst these were Eagle, Falcon, Condor, Raven and Hawk. When an insidious evil appeared from nowhere to threaten the peace and security of the universe, the Hands were deployed to battle this mysterious foe known simply as the Adversary. Although the Hands were successful in thwarting their enemy, they did so at a tremendous cost none of them could have foreseen. One day The Machine suddenly went silent and the elite members of the Hand were found cut off and isolated for the first time in their existence. Some were betrayed, captured and destroyed while others vanished without a trace.
The universal empires began to collapse and a new Dark Ages descended throughout the realms of mankind. Thus it would remain for nearly a thousand years until one day, on a distant space station, a new Hawk was awakened. Unfortunately the process was interrupted before all memories could be downloaded and the revived warrior found himself suffering from amnesia while at the same time thrust into combat on a space station combating bug-like alien invaders.
Hawk manages to escape aboard a small space programmed to respond to his commands and during his flight the craft’s artificial intelligence attempts to fill-in the missing gaps to his actual identity. As if doesn’t wasn’t trouble enough, Hawk’s travels soon bring him to the aid of yet another awakened Hand; this one a Falcon whose damaged body has been augmented with cybernetic parts. Upon being rescued by Hawk, Falcon is at first suspicious of his savior unwilling to believe a “new” Hawk has been allowed to be cloned. This particular attitude only piques Hawk’s curiosity all the more and he begins to pester his former ally about his mysterious past.
Soon the two become aware that Hawk’s rebirth is tied to various alien confrontations throughout this sector of the space all indicative that the once defeated Adversary is back and once again and eager to pick up with his quest for domination. Mysteries continue to pile on while our duo attempt to piece together the secrets of the past in hopes they will somehow provide a solution to the threats now facing them.
Plexico’s ability to drive a narrative at light-speeds is unquestioned and even though the book comes in at a whopping page count, its pacing moves the reader along fluidly with each new chapter adding to both the plot and its inherent suspense all leading to a very satisfying climax. An ending, by the way, with ample potential for sequels starring this great cast of characters.
Still, the amnesia-plagued-hero seeking his identity is a plot Plexico has now used in several of his titles and is quite frankly becoming a bit too familiar. As much as I admire his work and look forward to each new book, it is this reviewer’s hope that his next protagonist won’t be saddled with this same repetitive ploy. That would be a real misstep in a stellar writing career thus far. That said, “HAWK – Hand of the Machine,” is a solid space opera that is guaranteed to entertain you.
About Flash Gordon and the Heroes of the Universe: Flash Gordon and the Heroes of the Universe showcases artwork by two of the finest Flash Gordon illustrators, Alex Raymond and Al Williamson, as well as numerous other science fiction cartoonists. The artwork and memorabilia on display, representing space adventure creations from Buck Rogers to Star Wars, provides evidence of the significant impact that these heroes of the universe have had on American culture. Flash Gordon, which first appeared in 1934, was created by Alex Raymond (New Rochelle, 1909 – Stamford, 1956) and has impacted countless science fiction creators including George Lucas, director of “Star Wars.” Lucas claims, “Had it not been for Alex Raymond and Flash Gordon, there might not have been a Star Wars.”
One of the most influential artists in the history of his genre, Raymond is credited with having created “the visual standard by which all such comic strips would henceforth be measured.” The exhibition will also include original artwork by Al Williamson, who continued Raymond’s creation and put his own imprint on the way the character was drawn and presented. Writer and cartoonist Brian Walker, who served as curator for Fifty Years of Bailey Bailey at the Museum in 2001, is serving as the guest curator for this exhibition. He has been the curator of more than seventy exhibitions and is the author of numerous books on cartoon history.
Flash Gordon and the Heroes of the Universe is made possible, in part, by support from King Features Syndicate, A Unit of Hearst Corporation, as well as the annual support of Premier Partners: Aquarion Water Company, First County Bank and Purdue Pharma. The Stamford Museum & Nature Center would like to thank Cori Williamson, Peter Maresca, Jim Keefe, Bill Janocha, Steve Kammer, Bob Fujitani, Brian Walker and the Strong Museum for lending artwork and artifacts to this exhibition.
About the Stamford Museum & Nature Center: Stamford Museum & Nature Center is a 501(c) (3) not-for-profit organization dedicated to the preservation and interpretation of art, the natural and agricultural sciences, and history. The Museum is a vital cultural and educational resource for the community, and a focal point for family activity and interaction, seeking to inspire creativity, foster self-discovery, and nurture an appreciation for lifelong learning through exhibitions, educational programs, and special events that enhance the visitor’s experience of our unique site.
A mysterious creature is on a vendetta to track down the men who wronged him, and there’s only one left, a man he calls…the Doctor? Quite a start for this western-themed outing, the first for the show since 1966’s The Gunfighters. Spoiler alerts are in full effect, mind the fellows with the guns, and let’s mosey into this town and see what’s going on…
A TOWN CALLED MERCY by Toby Whithouse directed by Saul Metzstein
A western town in 1870 has been barricaded behind a field that prevents food delivery. The being behind it, known only as The Gunslinger, had demanded the town turn over an alien only referred to as “The Doctor”. So when The Doctor arrives in the town, the welcome is a bit…cold. He learns quickly that he is not the one being searched for – another alien came to this town some years ago, and has been their savior and protector from a number of deiseases and natural disasters. Alas, it turns out he’s being chased for a very good reason – he was a scientist on his home world, one who converted many of his own people into cyborg warriors to win a massive war. When they were “decommissioned”, one survived, and he is the one placing the town under a one-man siege. The Doctor is in a strange position – can he bring himself to hand over a war criminal to meet his just demise?
An episode quite heavy with drama and portent, one far more about The Doctor’s life and past than the ostensible bad guy of the story. Once again, we get a look at how The Doctor has grown darker when he doesn’t have any friends about him. Matt Smith is doing a very good job of playing a man far older than his looks, and carrying a heavy load of acts.
GUEST STAR REPORT
Ben Browder (Isaac) may be known to you. He played John Crichton on Farscape, Cameron Mitchell on Stargate SG-1, and Sam Brody on Party of Five. He even got to do another genre western – he played Bat Lash on the Justice League cartoon.
Adrian Scarborough (Kahler Jex) has most recently been seen in the remake of Upstairs Downstairs, and a long list of work in British film and television, but fans of Mark Gatiss’ friends The League of Gentlemen will recognize him as the surgeon turned children’s clown Mister Jolly in in Reece Shearsmith and Steve Pemberton’s project Psychoville.
Garrick Hagon (Undertaker) is one of less than 30 actors who have appeared in both the original and new series of Doctor Who. He first appeared in The Mutants back in 1972. He’s had a long career in both film and TV. And oh, yeah, he played the most famous character to be almost entirely cut out of Star Wars – he was Biggs Darklighter, Luke’s best friend, who said Luke was “never going to get out of here”. His big scene on Tatooine was cut out, and has yet to be restored – it only exists in a couple photos from an early storybook adaptation of the film near its release. Some footage in the rebel base was restored in a recent special edition, but there’s still a sense of “Who is this guy” to the whole thing.
Toby Whithouse (Writer) is an old hand on the series, having written four episodes for the new series before this (and one for Torchwood), and is also the creator of Being Human, another popular genre series, and one sharing a number of castmembers with Who.
Saul Metzstein (Director) did the previous episode, and will be back with two more episodes in the second half of the season.
THE MONSTER FILES – One could argue that there is a monster in this episode, though not of the most commonly accepted variety. The Kahler are described by The Doctor as one of the most ingenious races in the galaxy. Considering the work he did improving the lifestyle of the town of Mercy, that certainly appears to be so. Alas, that ability to build things carries over to engines of war, and when one is in the middle of a war, one becomes short-sighted, not considering the long-term results of one’s choices.
The Gunslinger is a more obvious monster, but one doing things for a more just reason, if a bit personal. We’ve seen no end of cyborgs on Doctor Who – from the obvious example of the Cybermen, there’s The Captain from The Pirate Planet, the Toclafane, the converted final members of the human race in Last of the Time Lords, and even monsters like the Loch Ness Monster (Terror of the Zygons) and the Peking Homunculus (Talons of Weng-Chiang) qualify.
BACKGROUND BITS AND BOBS – Trivia and production details
UNDER WESTERN SKIIIIES – This episode is steeped in history in a very real way. It was filmed at both “Mini Hollywood” and “Texas Hollywood”, a pair of combination movie sets and tourist attractions in the Andalusia area of Spain. Mini Hollywood was designed and filmed for Sergio Leone’s classic For a Few Dollars More. When it was later used for The Good, The Bad and the Ugly, it was bought by the extras and made into a tourist attraction. The two site have been used for dozens of classic films, including a staggering list of “Spaghetti Westerns”, like the aforementioned Leone films.
This isn’t the first time the show has used standing sets. The Fires of Pompeii was filmed in Italy on the same sets as HBO’s series Rome.
IT’S WRITTEN ALL OVER YOUR FACE – The face mark of the Kahler are unique, and as individual as a fingerprint. This is similar to the spot patters of the Tenctonese on the short-lived Fox series Alien Nation.
“Has someone been peeking at my Christmas list?” We learned only last week that The Doctor still has a Christmas list.
“I speak horse; his name’s Susan, and he wants you to respect his life choices” Once again, subtly slipping the non-traditional gender roles into the series without making a big thing of it. Even as a gag, it gets across an important point. Oh, I’m sure some will complain te topic’s not being taken seriously enough, but some people have made never being happy their career.
“You’re a mother, aren’t you? There’s kindness in your eyes. And sadness.” Jex sees a lot in The Doctor’s eyes later, but he’s not the first to sense Amy’s emotions. Vincent Van Gogh sensed that Amy had “lost someone”, even though at the time she wasn’t even aware of it.
BIG BAD WOLF REPORT
“I’ve matured – I’m twelve hundred years old now” The Doctor’s age has accelerated greatly in the last couple of seasons. He jumped from nine to eleven hundred years old in the period he was traveling alone when he came back to see the Ponds in The Impossible Astronaut, and now, in between visits to see them, has aged another hundred. Assuming he’s not just pulling numbers out of his Stetson, he’s spending a LOT more time alone than we’d ever seen before. The tenth incarnation traveled alone for quite a bit in between the four specials of the last Tennant season, and he got quite arrogant, almost swaggering in his demeanor. Last episode we saw him cast judgment on Solomon, and he almost does the same here to Kahler Jex.
“Looking at you is like looking into a mirror, almost” Jex makes The Doctor confront his own choices, the people whose deaths he’s been responsible for, and the ones he’s killed personally. The episode is about how one atones for those choices, and whether or not that atonement balances things out. There was a similar comparison at the end of The God Complex when the minotaur draws a similarity between himself and The Doctor.
“See, this is what happens when you travel alone for too long.” When he starts pushing Jex towards the border of the town, you expect it’s because he’s hoping the people of Mercy to stop him, to realize that they need to project their friend, and you realize no, he really is just handing him over to the Gunslinger.
We’ve seen a lot of discussion on the effect The Doctor’s companions have on him, even more so than the other way around. Donna Noble cogently pointed out that “Sometimes you need someone to stop you”. The periods we’ve seen him alone in recent seasons have resulted in a much more hard man. Matt Smith said he’s certainly become a “darker” character of late, and the choices made in the past two episodes are examples of that.
“That’s how it started, Jex turned someone into a weapon.” Which is exactly what Mad Dalek Caan accused The Doctor of doing to his Companions. And the longer he is without a Companion, well…someone has to be the weapon. Note that The Doctor is wearing, drawing, and is ready to use a gun, something he abhorred only a short time before. That’s not a mistake, it’s very deliberate writing.
NEXT TIME ON DOCTOR WHO – Little boxes, on the roadside, little boxes made of…well we don’t quite know. The return of UNIT, and The Power of Three, coming in a week’s time.
As I’ve said before, I enjoy movies most in the theater, on the big screen, where they were meant to be seen. Yeah, you run the chance of having rude fellow audience members who are talking or have their heads buried up their electronic asses with their cell phones, but I minimize that by going to a lot of matinees. One of the (few) perks of being self-employed and, besides, it feels like I’m playing hooky.
Since I like the big screen experience, I like the Imax experience. That’s a big big screen and usually great sound as well. My Mary and I went to see The Dark Knight Rises there. Imax costs more but I felt it was really worth it.
I also like to see old movies on the big screen and have seen a number, including Casablanca and The Searchers. In upcoming months, there will be one-night showings in movie theaters of The Bride of Frankenstein, E.T. and To Kill a Mockingbird. I know all of them well but the chance to see them in a movie house will be a treat.
Recently, to celebrate the arrival of Raiders of the Lost Ark on Blu-ray, the film was issued in the Imax theaters, initially for one week only but since extended. Did I and my Mary go to see the first and best of the Indiana Jones movies? Oh, you bet! This is the film that, far more than Star Wars (IMO), made a star of Harrison Ford.
One of the things I really wanted to see was that giant marble that chases Indy during the opening sequence. Yup, it looked every bit as cool as I thought it would. The other great set pieces looked great in Imax as well – the fight around the plane that’s supposed to fly the Ark out of Tanis, Indy going after the truck (“Truck? What truck?”) and that whole action sequence inside, outside, and below that truck.
I also saw things I didn’t appreciate before. The landscape surrounding Indy and the others where he threatens to blow up the Ark was in greater detail, as was the climatic sequence where the Ark is opened.
It still has all the great lines and tropes “I don’t know. I’m making this up as I go.” Shooting the scimitar-wielding thug. “Trust me.”
And, of course, it still has Marian, Indy’s romantic foil and partner. What the next two films largely lack is Marian. She’s his equal and she brings him down to Earth. Indy’s pursuit of the Ark can make him an asshole; his pursuit of Marian makes him human. The best part of the most recent film was re-uniting him with Marian. Lots of dopiness in Kingdom Of The Crystal Skull but bringing back Marian was worth the price of admission, as far as I’m concerned.
While the film was a fine transfer, there were some problems. Some of the close ups in dark rooms were hard to see and muddy and, for me, not all the characters were always as sharp and clear as I might have liked. Part of that, I’m sure, is that the film was never meant for Imax and that film technology has really improved since Raiders was first made.
One thing I didn’t expect and was really impressed by was the sound. Imax generally has amazing sound and I was hearing incidental sounds all around me that I had never heard before. I don’t know if that will be part of the Blu-ray package but I hope so.
Of course, intact were some of the things that never made sense. Our intrepid hero gets over to the Nazi sub and climbs on to the conning tower. If it submerges, however, he drowns. And if it stays on the surface, the sub’s captain should be up on the conning tower. The sub travels quite a ways according to the map in the movie so this always strained my credulity. And how does Indy get himself, Marian, and the Ark off the Nazi island towards the end? Never addressed.
However, this is all more than counterbalanced by the fact that this is just a plain fun movie. One of the best action adventure movies out there with one of John Williams best scores. Lots of humor, top notch performances, and it just grabs you by the eyes and doesn’t let go.
As my Mary and I were leaving the theater, another couple – in their thirties – were also leaving. The young woman said she really enjoyed it and then said she had never seen it before. I was envious. What a great way to get introduced to a great movie.
Avengers Vs. X-Men #9 from Marvel Comics, the best-selling comic book to specialty retailers in August 2012, according to information provided by Diamond Comic Distributors, the world’s largest distributor of comics, graphic novels, and pop culture merchandise.
DC Entertainment was August’s leading publisher in Retail Dollars, leading Marvel Comics 33.32% to 32.42%. Meanwhile, Marvel Comics edged DC Entertainment on the Unit Market Share for the month, 37.18% to 37.12%.
For the second month in a row, Geoff Johns and Gary Franks’ [[[Batman: Earth One]]], the original graphic novel that reimagines the early days of Batman, was the best-selling graphic novel to retailers.
Based on Warner Bros. Interactive Entertainment’s best-selling Batman: Arkham Asylum video game, Square-Enix’s Batman: Arkham Asylum Play Arts ~Kai~: Harley Quinn Action Figure was the best-selling toy product to comic book specialty retailers in August.
Earth’s most powerful heroes join the HeroClix campaign with the DC HeroClix: Justice League Expansion from WizKids/NECA, the best-selling games product to comic book specialty retailers in August.
TOP COMIC BOOK PUBLISHERS
PUBLISHER
DOLLAR
SHARE
UNIT
SHARE
DC COMICS
33.32%
37.12%
MARVEL COMICS
32.42%
37.18%
IDW PUBLISHING
5.88%
4.64%
IMAGE COMICS
5.75%
5.37%
DARK HORSE COMICS
4.92%
3.89%
DYNAMITE ENTERTAINMENT
3.19%
3.16%
EAGLEMOSS PUBLICATIONS LTD
1.83%
0.40%
BOOM! STUDIOS
1.52%
1.48%
VIZ MEDIA
0.96%
0.41%
ARCHIE COMICS
0.85%
0.82%
OTHER NON-TOP 10
9.35%
5.52%
COMPARATIVE SALES STATISTICS
DOLLARS
UNITS
AUGUST 2012 VS. JULY 2012
COMICS
6.49%
6.38%
GRAPHIC NOVELS
22.13%
19.48%
TOTAL COMICS/GN
11.23%
7.43%
AUGUST 2012 VS. AUGUST 2011
COMICS
19.27%
14.22%
GRAPHIC NOVELS
14.95%
24.74%
TOTAL COMICS/GN
17.80%
15.09%
YEAR-TO-DATE 2012 VS. YEAR-TO-DATE 2011
COMICS
20.51%
17.97%
GRAPHIC NOVELS
14.13%
12.78%
TOTAL COMICS/GN
18.41%
17.54%
TOP 10 COMIC BOOKS
RANK
DESCRIPTION
PRICE
ITEM CODE
VENDOR
1
AVENGERS VS X-MEN #9
$3.99
JUN120592-M
MAR
2
AVENGERS VS X-MEN #10
$3.99
JUN120599-M
MAR
3
BATMAN #12
$3.99
JUN120177-M
DC
4
JUSTICE LEAGUE #12
$3.99
JUN120142-M
DC
5
AMAZING SPIDER-MAN #692
$5.99
JUN120622-M
MAR
6
BEFORE WATCHMEN: RORSCHACH #1 (MR) [*]
$3.99
JUN120129-M
DC
7
AVX VS #5
$3.99
JUN120590-M
MAR
8
BEFORE WATCHMEN: DR. MANHATTAN #1 (MR) [*]
$3.99
JUN120134-M
DC
9
GREEN LANTERN #12
$2.99
JUN120196-M
DC
10
DETECTIVE COMICS #12
$3.99
JUN120181-M
DC
TOP 10 GRAPHIC NOVELS & TRADE PAPERBACKS
RANK
DESCRIPTION
PRICE
ITEM CODE
VENDOR
1
BATMAN: EARTH ONE HC
$22.99
MAR120234
DC
2
THE WALKING DEAD VOL. 1: DAYS GONE BYE TP
$9.99
JUL068351
IMA
3
SWAMP THING VOL. 1: RAISE THEM BONES TP
$14.99
MAY120280
DC
4
SUPERMAN: ACTION COMICS VOL. 1: SUPERMAN MEN OF STEEL HC
$24.99
APR120245
DC
5
BATMAN VOL. 1: THE COURT OF OWLS HC
$24.99
JAN120300
DC
6
HULK SEASON ONE PREMIERE HC
$24.99
MAY120746
MAR
7
SCOTT PILGRIM VOLUME 1 COLOR HC
$24.99
MAY121234
ONI
8
STAR WARS: THE CLONE WARS: SITH HUNTERS TP
$7.99
APR120041
DAR
9
THE WALKING DEAD VOL. 2: MILES BEHIND US TP
$14.99
SEP088204
IMA
10
FEAR ITSELF TP
$29.99
JUN120721
MAR
TOP 10 TOYS
RANK
DESCRIPTION
ITEM CODE
VENDOR
1
BATMAN: ARKHAM ASYLUM PLAY ARTS KAI: HARLEY QUINN ACTION FIGURE
JAN128132
SQU
2
BATMAN: ARKHAM ASYLUM PLAY ARTS KAI: ARMORED BATMAN ACTION FIGURE
PATHFINDER BATTLES: RISE OF THE RUNELORDS BOOSTER BRICK
MAY128110
NEC
Data for Diamond’s sales charts — which include the monthly market shares and all top product charts — are compiled by Diamond Comic Distributors from a universe of over 3,500 comic book specialty shops located in North America and around the world. The account base includes brick-and-mortar comic book specialty shops, Internet merchants, and other specialty stores.
Unit and dollars sales are calculated based upon orders invoiced and shipped to Diamond accounts during any given month, which comprises initial pre-orders, advance reorders, and reorders, minus any copies that are received back from a title marked as returnable.
Please note that comics marked with an asterisk have had their reported quantities reduced due to retailer returnability, and thus may rank lower on the charts than their actual sales would reflect.
This is an all-new clip from BATMAN: THE DARK KNIGHT RETURNS, PART 1 featuring The Mutant Leader giving his televised declaration of war on Gotham City, Commissioner Gordon and Batman. The Mutant Leader is voiced by Gary Anthony Williams, best known for his recurring roles on “Malcolm in the Middle” and “Boston Legal,” as well as voiceovers as Riff Tamsom on “Star Wars: The Clone Wars,” Uncle Ruckus on “The Boondocks,” and Mongul in “Batman: The Brave and the Bold.” Williams’ casting as the bad-to-the-bone Mutant leader belies his true calling in comedy — he is co-founder and artistic director for the L.A. Comedy Shorts Film Festival in Hollywood.
BATMAN: THE DARK KNIGHT RETURNS, PART 1, the next entry in the popular, ongoing series of DC Universe Animated Original Movies, arrives September 25, 2012 from Warner Home Video as a Blu-ray™ Combo Pack and DVD, On Demand and for Download. The PG-13 film is produced by Warner Premiere, DC Entertainment and Warner Bros. Animation.
The heroes are at their lowest ebb, mankind has reached its darkest hour, and all of free will hangs in the balance. With their numbers depleted and their trusted colleague in the thrall of the enemy, the heroic Cerberus warriors are forced into a multidimensional war between men and would-be gods with Earth as the prize. Before this day is over, history will be remade forever.
This volume of the modern-day pulp sci-fi series is written by Rik Hoskin and finally draws together the threads he’s laid out over the past four years/15 books. New readers should not be daunted, however – the book can also be read as a stand-alone.
About the author: Writing as “James Axler”, Rik Hoskin has been the primary author of the Outlanders series since 2008 as well as contributing several volumes to James Axler’s Deathlands. He is also a comic book author and has written Superman for DC Comics, helped develop a successful Spider-Man series for Marvel Comics’ European licensor, Panini and currently writes for Star Wars: The Clone Wars Comic as well as several younger readers titles.
