Tagged: Star Wars

Dennis O’Neil: Mark Twain and The Seven Basic Plots

O'Neil Art 140424The day is bright, the Earth is coming back to life – Tuesday was Earth Day, even there are a flurry of birthdays in the offing… I mean, you don’t really expect me to work, do you?

So, instead of trying to be original (and good luck with that, mi amigo) we’re going to delve into the innards of the computer and see what we can haul out.

Ah, what have we here? “Seven Basic Plots.” Okay, that’ll do, but first… a small and probably totally unnecessary spoiler alert: If you’re a person who feels that looking at things like plot lists, taking writing classes, reading how-to-write books will compromise your vision or creativity or wreak some other harm… maybe you should cut out now and return, if you like, next week, when the topic will be completely different, unless it isn’t.

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The Point Radio: The Doors Close On WAREHOUSE 13

SyFy is bring the curtain on WAREHOUSE 13 with a last run of six original episodes that begin next Monday (April 14th) on the network. Stars Eddie McClintock and Joanne Kelly, along with show runner Jack Kenny, talk about how it feels to say goodbye in such a short window. Plus 2014 has not been a banner year for comic sales and even the zombies could’t keep stores alive in March.

THE POINT covers it 24/7! Take us ANYWHERE on ANY mobile device (Apple or Android). Just  get the free app, iNet Radio in The  iTunes App store – and it’s FREE!  The Point Radio  – 24 hours a day of pop culture fun. GO HERE and LISTEN FREE  – and follow us on Twitter @ThePointRadio.

The Point Radio: Creating Creatures With Henson

Brian Henson and the company formed by his late father, Jim, are taking their talents to a new reality based competition show on SyFy. Brian talks about why he’s doing the CREATURE SHOP CHALLENGE and what his toughest creations have been on the big and small screens. Plus DOCTOR WHO comic fans get some freebies and Fox stakes some claims in the box office.

THE POINT covers it 24/7! Take us ANYWHERE on ANY mobile device (Apple or Android). Just  get the free app, iNet Radio in The  iTunes App store – and it’s FREE!  The Point Radio  – 24 hours a day of pop culture fun. GO HERE and LISTEN FREE  – and follow us on Twitter @ThePointRadio.

John Ostrander: Sequels and Prequels and Remakes, Oh My!

Fox Movies has announced the possibility of re-making the musical [[[West Side Story]]] because Steven Spielberg has evidently expressed an interest in doing so. A part of me, a large part of me, wonders if that’s a good idea. The original won ten Oscars and is considered a movie classic. So – why? Why do a remake? It might be different but will it be better? How likely is that?

It puts me in mind of Gus Van Sant’s shot by shot re-make of [[[Psycho]]]. Why did he bother other than as an artistic exercise? Why did the studio okay it? One of the justifications I heard is the younger generation won’t go to the original because it’s in black and white. Seriously? They can’t be that shallow.

At one point there was talk of doing a re-make of [[[Casablanca]]] as a film. That was fortuitously abandoned. There was a TV prequel to it in 1983 that lasted about a season. There was also a TV remake of Going My Way which starred Gene Kelly in the Bing Crosby role and Leo G. Carroll in the Barry Fitzgerald part. This one actually had a large impact on me; I was in the 8th grade at that point and it made me want to be a priest. My “vocation” lasted only a little longer than the series. But the TV series was my first experience with the material and so the TV series was always my “real” Going My Way.

Famously, there was the [[[Godfather]]] sequel that was better than the first film. Less fortunately, there was another sequel which was lesser than either of the previous two films. Likewise, the sequel to the first [[[Star Wars]]] film was, by most peoples’ account, the best film of the series while the third one was far from that. Then Lucas, in his supreme wisdom, went back and did a prequel to the original trilogy. The technology certainly was superior but the story – not so much. For myself, I wanted to know what happened next – which was the basis for the [[[Star Wars: Legacy]]] comic book series that Jan Duursema and I did. Disney, having bought the franchise, will do a bit of both – they’ll push on to Episode VII, set thirty years after [[[Return of the Jedi]]], but they’re also developing stand alone films about young Han Solo and young Boba Fett. So they’re looking forward and backwards. That could make you dizzy.

There’s nothing inherently wrong with a sequel, prequel or remake. It depends on the reason you’re making it and/or the story you have to tell. Sometimes you look at your earlier work and you see the flaws and think, “Man, I’d love another shot at that.” You feel you’re better at what you do, you’ve deepened as a person, you have more to bring to the material. The danger, of course, is that you could “improve” it to death.

Perhaps the remake is an existing property that you didn’t create. Me, I’d love a shot at [[[The Shadow]]]. Love it or hate it, Howard Chaykin achieved his own vision of the character when he took it on, as did Andy Helfer with artists Bill Sienkiewicz and Kyle Baker. Not traditional and perhaps neither were MY vision of the character but they were interesting and valid and reflected its creators.

I’ve done my own fair share of prequels, sequels, and remakes. Some have worked, some haven’t but in each case I tried to get down the essential concept of the book or character. My run on DC’s [[[Suicide Squad]]] was partly a continuation but mostly it was a re-make. The big question should always be – what story do I have to tell? Is it worth telling? Is it worth the reader’s time and money?

When you get right down to it, those are the same questions for any story you tell – new or remake. The story should always be its own justification.

Photo by nickstone333

Green Lantern: The Complete Animated Series Due March 18

GreenLanternBDWarner Archive Collection continues to treat fans to Blu-ray™ releases of popular animated television with Green Lantern: The Comlete Animated Series coming March 18. The complete 26-episode series – on Blu-ray™ to best display the series’ stunning CG artistry – is now available for pre-order via Amazon.

Green Lantern: The Complete Animated Series is Warner Bros. Animation’s latest take on the intergalactic missions of Hal Jordan and his comrades in the Green Lantern Corps. Beautifully rendered on a breathtaking scale, Green Lantern: The Complete Animated Series is Warner Bros. Animation’s first completely CG-animated series.

Josh Keaton leads the way as the voice of Hal Jordan/Green Lantern, alongside voice-acting stars Kevin Michael Richardson (as Kilowog), Grey DeLisle (as Aya) and Jason Spisak (as Razer). The stellar guest cast includes Robert Englund (A Nightmare on Elm Street), Ron Perlman (Hellboy), Clancy Brown (The Shawshank Redemption), Wayne Knight (Seinfeld), Juliet Landau (Buffy the Vampire Slayer), Kurtwood Smith (That 70s Show, Resurrection), Phil Morris (Smallville), Brian George (Seinfeld) and many more.

Executive produced by Sam Register (Batman: The Brave and the Bold, Ben 10), and Bruce Timm (Batman: The Animated Series), Green Lantern: The Complete Animated Series is produced by Giancarlo Volpe (Star Wars: The Clone Wars) and Jim Krieg (Justice League: The Flashpoint Paradox).

In addition to Blu-ray releases of Beware the Batman and the upcoming Green Lantern: The Complete Animated Series, Warner Archive Collection (WAC) has also recently distributed a DVD collection of Marine Boy, Season 2. WAC is also set to distribute The Jetsons: The Complete Third Season on DVD later this spring.

Read Every Issue of Starlog for Free

Starlog 7The complete run of Starlog magazine has been scanned and made available over at archive.org. For those unfamiliar with the publication, it began life as a one-shot magazine about Star Trek. After art directors Kerry O’Quinn and Norman Jacobs were left high and dry by the publisher, they took all the existing material and decided to turn it into a magazine celebrating all science fiction on television and film. O’Quinn reached out to his friend David Houston to edit the new publication, dubbed Starlog and it debuted in the first half of 1976.

At the time, other publications covering the field appeared infrequently or failed to gain newsstand distribution in sufficient numbers to thrive. These included The Monster Times, Castle of Frankenstein, and Cinefantastique. Covering only aspects of science fiction was Warren Publications’ Famous Monsters of Filmland so there was a niche to be filled.

Starlog’s approach was to mix episode guides with news and features, interviews and columns covering books to conventions. Houston set the tone and handed off the reins to Howard Zimmerman as sales figures showed increases so the mag went quickly to a monthly schedule. As a result, there was an audience in place a year later when 2th Century Fox’s latest offering, Star Wars, opened in May 1977. The issue sold out and the magazine’s place in the hearts and minds of fans was cemented.

Much as Star Wars ignited a new round of SF on film and the small screen, Starlog’s arrival signaled a new round of magazines, both domestic and international, to cover the genre. Over the course of its life, Starlog presented fans with their first looks at upcoming events and studios used it to tease fans. As a result, they were the first to have images from Paramount Pictures’ first Star Trek feature film and again were the first show off designs for the Enterprise-D.

Its success led to other titles such as Cinemagic for budding filmmakers and Future Life for those who liked hard science with their daily dose of fiction. The most successful of the new launches was 1979’s arrival of Fangoria which dared to go deeper in its coverage of horror and gore than FMOM. They were the first nationally distributed newsstand title to cover comic books, comic strips, and animation with Comics Scene. Starlog Press also developed a thriving back issue and mail order business along with guidebooks and other one-shots.

The company became a launching pad for many writers and artists as Ed Naha went to Hollywood where he cowrote Honey, I Shrunk the Kids; and DC Comics became the next destination for editors Robert Greenberger, Eddie Berganza, Mike McAvennie, and Maureen McTigue.

After Zimmerman stepped down as editor, Dave McDonnell, who joined staff in 1983, took over and ran with the title through good times and bad until the company was sold off and the print edition shut down. He gamely ran a web-based version of the title until that too was closed. The digital archive is a treasure trove of things that never were, columnists whose opinions stirred up sharp debate, and ran deep interviews that went beyond the basics. It never evolved with changing times and technology thanks to short-sighted business decisions so spinoffs such as a radio program, retail store chain, and branded direct-to-video films died aborning.

The magazine ha been rediscovered by fans through John ZIpper’s Weimar World Service which recently did an issue by issue blog.

John Ostrander: Bad Boys, Bad Boys

Ostrander Art 140119I was watching perhaps my favorite new TV show of the season, The Blacklist, last Monday. James Spader’s Raymond “Red” Reddington exacts a fierce revenge on those who wronged him. Reddington has done terrible things throughout the series and yet I find myself drawn to him, even rooting for him. I doubt that I’m the only one.

It’s not the first time for me. There was James Gandolfini in The Sopranos and, to an even greater extent, Michael Chiklis in The Shield. Who is the real center of The Dark Knight – Christian Bales’ Batman or Heath Ledger’s Joker? It’s a tradition that goes back a long way – the most interesting character in Shakespeare’s Othello isn’t the title character but Iago, the great and cunning villain of the play.

I really enjoy writing the bad guys as well. My favorite Star Wars creation? Probably the rogue and con man Vilmahr “Villie” Grahrk. Over at DC, I had a whole series centering on the villains – Suicide Squad. My faves among them – probably Amanda Waller, Captain Boomerang, and Deadshot. It’s not hard to spot. Hell, even John Gaunt, GrimJack, is not a hero except maybe by default.

So… what is the attraction? I am, by most accounts, a nice guy. So where does all this come from? The bad guys have to come from somewhere inside of me. Why are all of us attracted by the Joker, or Hannibal Lecter, or Raymond Reddington and the others?

Going back to my acting days, it was always fun to play a villain. First of all, they usually had the best lines. More important, I think the villains do things that you and I have atavistic urges to do, but our own conditioning, our own morality, keep us from acting on those urges. By identifying with the bad guys, by emotionally investing myself with them and their acts, I do the crime without having to worry about paying the price. I get the thrill without having to worry about the consequences.

I especially enjoy writing characters like Captain Boomerang. Boomerbutt (as others called him) was remarkably well-adjusted in a rather reprehensible way. He knew exactly who he was and he was happy with it. No angst, no desire to make himself better. Nobody liked Captain Boomerang more than Boomerang himself; it might be safe to say that he was the only one who liked Boomerang at all. He was fine with that as well.

Another secret of villains is that they don’t think of themselves, for the most part, as bad. They may think that the rules don’t apply to them but they feel they have the perfect right to do what they’re doing.

I don’t like every villain. Simple thugs and bullies – not very interesting. Same goes for the megalomaniac who wants to rule the world. Usually they’re pretty one note. No, give me the guy or gal with intelligence or at least a low cunning, a sense of humor, a worldview of some kind, a touch of theatricality and who has no compunction about doing what they do. Ah, that’s a villain I can sink my literary teeth into!

MONDAY: Mindy Newell

TUESDAY: Jen Krueger

WEDNESDAY: Mike Gold