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.
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…
I read an article in Entertainment Weekly about the collective failure of the Christmas movie season overall. Some, like Mission Impossible: Ghost Protocol, did well and some, such as The Adventures of Tintin, did much better overseas (where Tintin is a better known commodity) than domestically. EW opined a variety of possible reasons, including the economy and the concept that there wasn’t a real “tent-pole” movie. However, there were some really good films out – Hugo (which I loved), for one, and The Muppets. I have a thought on another possible contributing factor.
I know a number of people who will wait for the DVD of a movie or to see it on their computer, tablet, or smartphone. It seems to me a whole generation would almost prefer to see it that way now. And I can’t help thinking that’s a mistake.
Mind you, I’ve seen many movies that I missed in the theater via DVD, Sometimes, it doesn’t matter. A smaller intimate film can work just as well on a small screen. I probably won’t get to see Tinker, Tailor, Solider, Spy until it gets to my TV screen and I think that will be alright. However, I know other films suffer.
For example, I’d seen John Ford’s The Searchers for years on the small screen and loved it. One of John Wayne’s best performances (and, yes, folks, the man could act). Several years ago, I got a chance to see it in a movie theater in a restored print. The impact was startling. Yes, I knew about John Wayne’s charisma but you don’t really feel it until you’ve seen a close up of Wayne in this movie and the image is the size of a house. And the final shot – Wayne with his back to us, framed by a door that slowly shuts – well, until you’ve seen it on the big screen, you haven’t really experienced it.
Seeing the climax of Casablanca, with those big head shots of Ingrid Bergman, Humphrey Bogart, and Paul Heinreid cross cut from one to the other, has far greater emotional impact on the big screen.
It’s not just the images, either. With the surround sound you get in the theaters today, you’re really enveloped in the movie. Think of the opening of Star Wars, the original one (a.k.a. Episode IV, a.k.a. A New Hope) – the blast of the initial theme, the crawl that recedes into infinite horizon, and then the first space ship darting out and it seems forever only to be followed with an even bigger space ship, and the sound and the music and all sucking you in. Magic. The first time I experienced that, I was hooked.
I don’t see how you can get that on a smaller screen. When I watch movies on DVD that I’ve seen in the theaters, I bring with me the memories of what that theater experience was and it enriches the viewing that I’m having with on the smaller screen. If it comes to a choice to seeing a movie only on DVD or a movie channel or not to see it at all, I’ll take the small screen experience and do it happily. It gives me an experience of the movie – but I know that it’s not the same as seeing it in the movie theater where it was intended to be seen in the first place.
There’s one final aspect of the theater experience for movies and I’ll be the first to say it’s not always positive – it’s a communal experience. It’s a shared experience with others. Yes, some of those others can be boorish morons. I’ve had the people near me who continue to chat through the film, having a running commentary about the film or about some imbecilic portion of their daily life that could just as easily wait until they were outside. It’s become a good reason why I should never be allowed to carry a gun. Yes, I’ve had people who forget or refuse to turn off their cel phones and who chat or text through the film, oblivious and/or indifferent to the fact there are other people in the theater. Maybe if they could pull their heads out of their digital asses, we’d all be happier.
But I’ve also been with audiences that add immeasurably to the experience. We laugh, gasp, cry, cheer and so on together. The film finds bonds in common between us and that is something devoutly to be wished in this day and age when so many things around us keep tearing us apart, putting up walls, and suggesting we are all enemies.
The people making the movies meant for us to see it in a theater. That’s where its truest experience lies. I’ve heard of so many people today who simply shrug that off and all I’m saying is that I think that’s a mistake and they’re shortchanging themselves.
Over the weekend I started to read Stephen King’s new book, 11/22/63: A Novel. I’m not very far into it, as King writes long and I like to luxuriate in his enjoyment at having a story to tell and his great affection for his characters. And also, I have things to do.
It’s a time-travel story, and so far it’s set in 1958. I was five years old then (King was 11), and some of my memories of that time are clear. As he describes children playing in Maine, I remember what it was like for me in Ohio.
We played Cowboys and Indians, Cops and Robbers. We played House, and School. None of us had Barbies yet, but we had stuffed animals so we could play Zoo. We made mud pies. We played Kick the Can and had squirt gun fights (see above re: Cowboys and Indians, etc.).
What we didn’t have, in our fantasies, was fantasy. Nobody did any time-traveling. No one went into outer space. There were no Ninja Turtles (or ninjas), no Transformers. There were hardly any Princesses.
When I was a bit older and could read, I liked Greek mythology and fairy tales and comic books, but hardly any of my friends did. Like them, I enjoyed Nancy Drew and The Bobbsey Twins and Cherry Ames, but I wanted more. My mom had some of her storybooks from when she was a girl, and I loved them, with their old illustrations. She introduced me to the works of Edith Nesbit,and I discovered a new way to imagine. Instead of gods and goddesses, nymphs and demons, or royalty protected by fairies, this was fantasy rooted in the real world.
Until I read his Books of Magicin which Neil Gaiman thanks E. Nesbit, I’d never met another person – besides my mom – who had read those stories. If you haven’t read The Railway Children, you’re in for a treat.
From there, my local librarian introduced me to Madeleine L’Engle’s A Wrinkle in Time. Not knowing it was a classic, I took it for science fiction and read the short story anthology, Tomorrow’s Childrenand from there I discovered Isaac Asimov, Ray Bradbury, Robert Heinlein and others.
Again, none of my friends were into these books. We might have shared a love of Salinger because by this point we were going through puberty and no one else could understand our intense psychic and spiritual pain. Still, I was the only one mesmerized by the explicitly alternate realities of science fiction writers.
Things are different now. There are involved fantasies for every age group. HBO offers Game of Thrones for adults, and J.K. Rowling has sold hundreds of millions of copies of the Harry Potter books. Star Wars and Star Trek and Doctor Who are cultural milestones, something every culturally literate person is expected to reference. The Avengers movie and the new Batman movie are expected to dominate next year’s box office. Sometimes it seems like half the bookstore shelves are devoted to vampires and/or zombies. And then there’s that Stephen King fellow.
I’d like to think it’s because we’ve become a more tolerant culture, one open to more different perspectives. I only know that genre fiction has brought me a lot of joy. I hope it has the same effect on the rest of the world, especially as we time-travel into the future.
Editor’s Note: That’s Ms. Nesbit up there, looking back at you.
The good news is, the Christmas gift list is shorter this year.
The bad news is, the Christmas gift list is shorter this year.
But enough gloom, for ‘tis the season to be jolly, ‘tis it not?
And judging from the number of cars in the mall parking lot, the season ‘tis jollier’n hell. Don’t these shoppers know about the mess the economy’s in?
Did I mention fa la la la la la?
And now a quick trip into the Chamber of Curmudgeons, significantly emptier since Andy Rooney’s gone. But (entering the chamber) I am the guy who once commissioned a magazine cover depicting a skeleton in Santa Claus garb holding an empty sack, so my curmudgeon cred is intact. And I proclaim:
It used to be so much easier, dang it!
Buying gifts for comics geeks, that is. Because there really wasn’t much choice. Back in the Pleistocene, when I was reading my first comics, Batman or a Superman might serve as an also-gift, what’s called a stocking stuffer, but even a not-too-bright gradeschooler knew that a comic cost only a dime and there had to be something else under the tree.
Later, much later, after the first Batman hardcover graphic novels turned out to be good sellers – best sellers in the limited world of comics – an editor or two was yearly tasked with producing a hardcover for the holiday trade. It was sometimes difficult for the editors, but a good deal for people seeking a present for that snotty nephew who always had his head in them funny books. A couple of sawbucks and – problem solved.
Now… big changes. As a stereotype, that kid with the buried head no longer exists. Comics have attained full parity with other forms of story delivery. You’re not expected to be dumb if you read the stuff. You can, with good conscience, buy a graphic novel for almost anyone you know who likes to read. Or use something comicy to introduce a reader to something he/she hasn’t yet discovered, and might enjoy. You doubt? Hey, Maus won a Pulitzer.
But your choices aren’t limited to Art Spiegelman’s masterpiece. Lordy, no. The monster book mart in the aforementioned mall has a wall full of comics stuff: manga, hardcovers, paperbacks, reprints, originals…that’s not counting the novelizations of movies over in the science fiction section and…that’s not counting the growing list of books about comics.
Cost? All the way from four-five bucks to – brace yourself – four hundred American dollars for the deluxe edition of Star Wars comics published by Abrams and also available in a more modest edition. (Okay, I wrote the introduction. But I don’t get royalties. We’re honest curmudgeons here in the Chamber.)
My recommendation? How about, all of the above? Or: if you’re a book person, you probably like to browse. So browse, on online or off. If you’re likely to be the gift recipient, drop hints. You know how to do that. You’re smart. You’re a comic book reader.
I feel a great disturbance in the Force– as if millions of viewers suddenly cried out in terror and suddenly switched off their TVs. I fear something terrible has happened…
Glee will welcome Chewbacca for the Fox musical’s upcoming Christmas episode.
Series stars, including Harry Shum, tweeted pictures with Chewie last month. Last week, Matthew Morrison — who also directed the Christmas episode — revealed additional details. “We’re doing a Christmas special within the episode of Glee and it’s a throwback and a tribute to the Star Wars holiday special and the Judy Garland Christmas special,” Morrison said.
But will Jane Lynch have the same raw sexuality of Bea Arth– oh, you don’t know what we’re warning you about? Okay, you asked for it… here’s The Star Wars Holiday Special:
Universal is releasing [[[Cowboys & Aliens]]] on DVD today and they have sent out some preview clips. The set below focus on the delectable Olivia Wilde.
Happy Life Day, everyone! Watch it quick before the lawyers take it down…
(And you do know all the Whos in Whoville are Time Lords, right? Now that Steven Moffat’s remade A Christmas Carol and The Lion, The Witch, And The Wardrobe he’s doing that next year.)
In my circle, my disdain for broccoli is pretty well known. I call them “tiny trees” and I don’t like their smell, their taste, or their texture – but I have eaten them. That’s how I know I don’t like them.
Recently, Dark Horse Comics finally announced the new Star Wars project that Jan Duursema and I are working on. Jan and I have worked on two other series together – Star Wars Republic and Star Wars Legacy – to the praise of a lot of Star Wars fans. This is in addition to my already announced Star Wars spy series, Agent Of The Empire. (plug plug plug plug)
The new series is Dawn Of The Jedi and it goes back and tells the origins of the Jedi Order which, we hope, will have some interest even to the fans who have only watched the movies. We’re doing our best to make it accessible even to those who are not conversant with the large Star Wars story known as the EU (Extended Universe). However, even with all that effort, I know some readers won’t even try it because it’s Star Wars.
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.
