Just in time for the San Diego Comic-Con Masquerade tonight, we bring you the return of Crazy Sexy Geeks with special guest, fashion authority Tim Gunn! This episode, the Project Runway mentor looks at Green Lantern with hosts Jennifer Ewing and Alan Kistler, superhero historian & Agent of S.T.Y.L.E. columnist for Newsarama.com (@SizzlerKistler)!
So the universe upheaved and a gap appeared in time and here we are, at the far end of that gap. (Or the near end, if we’re looking backwards. But never mind.) We’ve again grubbed residence in Comicmixland and vowed to deliver weekly blather.
But, with a deep bow to Bill Maher, we have new rules—or to be exact, just rules, since when I last did this nobody mentioned rules, though I did promise Mike Gold and myself to do at least 500 words per installment, lest I be mistaken for a carbuncle. The 500 word deal still holds, but Mike has added a new proviso; subject matter should be somehow related to comics.
Pretty draconian, huh?
Actually, Mike’s edict doesn’t much close any doors. First, a lot is happening in comics and related media per se and, second, virtually everything in our media-drenched, perpetual-news-cycling global civilization is connected. Always has been. Really. Remember the butterfly effect: The sumbitch flapping around a garden in Tokyo today will cause your hat to blow off next Tuesday and the breath I just took may have contained an atom that was once part of Cleopatra. (And, more painfully, the monetary crisis in Greece may bump your mortgage.) And we all come from the same place, out there among the stars in the baby cosmos.
So yeah, the world is a vast network of interconnections, and it’s a lot easier to see that now that it was a century ago. It shouldn’t be much of a rhetorical trick to write about comics and still acknowledge that other things exist, and are worthy our notice.
(I wonder: could you have a comprehensive knowledge of comics, beginning with [[[The Yellow Kid]]] and ending with…oh, I dunno – Chris Claremont’s run on [[[X-Men]]]? – could you know that and be ignorant of the history of the United States in the Twentieth Century? Maybe not.)
But where to begin?
Well, this week, nowhere. I’ve already burned away 329 of those 500 words and unless I want to content myself with knocking off a few haiku, there isn’t much room left for pontificating. But next week? Hey, this has been called the summer of the superhero movie, hasn’t it? And although I haven’t seen all of the films in question, and probably won’t in the next seven days (Thor has already hammered back to Asgard, which I think is somewhere just off Sunset Boulevard, and is not available for viewing) but doesn’t utter ignorance of my subject qualify me as a pundit? Darn right! And what’s happening behind the cameras—the changes in management—is worth a bit of uninformed opinionating, too.
A final note: In the previous incarnation of this feature, and in a comic book that the aforementioned Mike Gold and I worked on a couple of decades past, we recommended books we thought might amuse our readers. I’d like to continue recommending reading, but not every week, just when I come across something I think will be of particular interest to y’all.
With everyone buzzing about the revamped DC Universe or the surprisingly sweet Super 8, there’s another super-hero movie coming out this summer that you might not be aware of. A few weeks after Captain America opens, you can try the quirky romantic comedy Griff the Invisible, on August 19. Starring Ryan Kwanten and Maeve Dermody.
The official synopsis tells us:
The world can make us invisible. Courage can make us incredible. Love can make us invincible.
Ryan Kwanten (True Blood) stars in this totally unpredictable romantic comedy about the superhero in all of us. Griff (Kwanten), a shy and awkward office worker by day, finds escape from his ordinary life by assuming the identity of a fantastic superhero each night. Griff’s secret is jeopardized when he meets Melody (Maeve Dermody), a cute but unconventional daydreamer. She quickly becomes fascinated by his idiosyncrasies, which are equal only to her own. In the face of mounting pressure to live in the “real world,” it’s up to Melody to rescue GRIFF THE INVISIBLE for the sake of herself, Griff and their newfound love for each other.
The 93 minute PG-13 film was written and directed by Leon Ford, an actor perhaps best known for his work on HBO’s The Pacific. It currently has a limited release schedule so if you’re in the vicinity, you might want to check it out.
RELEASE SCHEDULE:
August 19, 2011 – Los Angeles, Berkley, San Francisco, New York
August 26, 2011 – Boston, San Diego, Seattle, Denver
Increasingly, publishers are making their titles available in digital form the day the print version hits shops. Today’s release from BOOM! is just the latest in this trend. Some retailers accept it as an inevitable realty, others cry about it. What do you, the readers, think?
PHILADELPHIA — Taking another step toward offering comics in stores and digitally on the same day, publisher BOOM! Studios says its new series, Elric: The Balance Lost will do just that.
The series, written by Chris Roberson and drawn by Francesco Biagini, is based on author Michael Moorcock’s fan-favorite fantasy hero Elric of Melnibone.
The book will be on sale in comic book shops Wednesday, but will also be available for download through BOOM! Studios own comics app and comiXology’s app, too. Unlike other publishers, however, the issue’s 10-page prelude will also be accessible on its own website at no cost.
“With Elric we’re not only focusing on print and mobile devices exclusively but getting out onto Internet browsers that billions of people use every day,” BOOM!’s marketing and sales director Chip Mosher said of the comic, which will retail for $3.99 in print and digital form.
“While there are only 25 million iPads out in the marketplace, there are billions of potential readers that have the ability to find comic books through the Internet,” he said.
Offering comics digitally and in stores on the same day is growing among publishers, with more and more of them embracing it as readers opt to read issues on tablets, smart phones and personal computers.
BOOM! first did so in January 2008 with the debut of its “North Wind” title and again a year later with “Hexed.”
At the end of May, DC Comics said it would start selling digital copies of its printed ongoing superhero titles through apps and a website the same day they’re released in comic shops, a move dubbed by the industry as day-and-date sales. That will affect the company’s superhero titles.
Similarly, Archie Comics began same-day digital and print sales in April, along with other smaller publishers.
Martin Harry Greenberg, the leading anthologist and packager of short science fiction, fantasy, and superhero prose stories, and senior editor of Tekno Comix, died at his home in Green Bay, Wisconsin on Saturday. He was 70.
Marty’s output was staggering– here’s one partial list of the books that he actually received credit on, and here’s another. Notice how little overlap there is between the two lists, and there are hundreds more where he did back end editorial, production, or most often financial work. Marty’s packaging company, Tekno Books, produced over 2,000 books since its creation, with more than 55 New York Times bestselling authors. His collaborators have included the likes of Tom Clancy, Dean Koontz, Nora Roberts, Deepak Chopra, Robert Silverberg, Jane Yolen, Esther Friesner, Ed Gorman, and the late Isaac Asimov. In the 90s, he lent his corporate name and expertise to Tekno Comix. He packaged the Further Adventures Of series of short story collections featuring Batman, Superman, Wonder Woman, The Joker, The Penguin, and Catwoman for Bantam Spectra in the 90s.
He is the only person to have won the Milford Award for science fiction editing, the Ellery Queen Award for mystery editing and the Bram Stoker Award for supernatural horror editing. He also received the Prometheus Award in 2005 and was one of the first recipients of the Solstice Award in 2009. He was also a professor of political science at the University of Wisconsin-Green Bay from 1970 until his retirement in 1996, where science fiction was often used as a teaching tool.
Like almost everyone else in science fiction, I’ve received a check from Marty at least once in my life on a book I didn’t even know he was involved in. He will be missed.
ALTUS PRESS • ALTUSPRESS.COM • MATTHEW MORING, PUBLISHER
ANNOUNCING ALL-NEW DOC SAVAGE NOVELS!
FOR IMMEDIATE RELEASE:
Announcing All-New Doc Savage Novels!
BOSTON, MA—JUNE 14, 2011: Altus Press is excited to announce the launch of The Wild Adventures of Doc Savage, the first in a new series of blockbuster novels starring the legendary pulp superhero in nearly 20 years.
Written by prolific pulp writer Will Murray, who has won acclaim for his unequalled ten-year tenure ghostwriting Warren Murphy and Richard Sapir’s Destroyer action-adventure series, The Wild Adventures of Doc Savage is a continuation of the well-received Doc novels Murray wrote for Bantam Books back in the 1990s, along with the late Lester Dent. The posthumous collaborations will be published under time-honored byline, Kenneth Robeson.
“These new novels are kicked-up, over-the-top exploits of the Man of Bronze, pitting him against forces and foes never before encountered,” promises Murray. “This is not some comic book scripter’s concept of Doc Savage. It’s the real deal.”
Fully authorized by Condé Nast, trademark holder of Doc Savage and based upon unpublished outlines and manuscripts originally written by Lester Dent, the originating writer of the seminal Street & Smith superman, and licensed from the Heirs of Norma Dent, The Wild Adventures of Doc Savage begins with a searing story set in the summer of 1936, The Desert Demons!
“I’ve always had an uncanny knack of writing novels that are more topical when published than when I wrote them,” Murray revealed. “Witness Nick Fury; Agent of S.H.I.E.L.D: Empyre. Published in 2000, it reads like a blueprint for the September 11, 2001 terror attacks on New York City and Washington, D.C., right down to the use of passenger aircraft piloted by terrorists to decimate U.S. cities.
“In The Desert Demons, a rash of unexplainable tornado-like outbreaks wreak havoc in California, calling Doc Savage and his men into action. And what action! Men and machinery are swallowed up by the scarlet cyclones, never to be seen again. Some chapters read like news reports of the Spring of 2011. Let’s hope we have a happy ending in real life! The entire Doc Savage cast is back for this reintroductory episode, including fan-favorite Patricia Savage.”
Murray also reunites with his other Doc Savage collaborator, award-winning artist and sculptor Joe DeVito, who will paint the covers from never-seen photographs of model Steve Holland, who posed for the best-selling James Bama covers as the living embodiment of the Man of Bronze. These vintage photos were donated to the project by Mr. Bama.
DeVito notes, “Working with Doc Savage again might best be described as revisiting old friends: both figuratively and literally. Collaborating with Will Murray, working from classic photos of the late Steve Holland provided by Jim Bama to illustrate the first super hero of them all… I guess I can also describe it as FUN!”
The Desert Demons will be released in July, followed by a second wild exploit, Horror In Gold, by late summer. Seven new novels are planned. Murray promises the familiar characters in their rightful time period, but with a definite edge to them.
“Since I wrote my last Bantam Books Doc,” Murray commented, “a lot of writers have taken a swing at the bronze man, and struck out. It was painful to watch. So Lester Dent and I have come out of semi-retirement to show everyone how Doc Savage is done. With the recent release of Python Isle, the first of my original seven Doc novels to be released as audiobooks by Radioarchives.com, I’m proclaiming this the Summer of Doc Savage. Doc is back. For real this time.”
The Wild Adventures of Doc Savage will be released in a variety of formats:
—6″x9″ trade paperbacks which will be available to bookstores and comic shops everywhere, as well as to individual purchasers through the official Wild Adventures of Doc Savage website, www.adventuresinbronze.com.
—6″x9″deluxe hardcovers which will contain an illustrated Afterword detailing the background creation of each novel, as well as bonus articles and biographies by Will Murray and others—available in this edition only. These will also include signed bookplates autographed by Will Murray, artist Joe DeVito, and “Lester Dent” (in facsimile).
—e-book formats available for all the most popular e-readers: Amazon Kindle, Sony Reader, Barnes & Noble Nook, and Apple’s iBookstore (for the iPad and iPhone).
AP: Joe, Welcome to ALL PULP. First, tell us a little about yourself please, sir!
JJ: Thanks! I’ve been a professional illustrator since 1978 when I sold my first cover to Heavy Metal magazine at the age of 18. Since then I’ve worked for just about every major comic company producing everything from covers to posters, trading cards, and fully painted sequential stories.
AP: You are involved in the FRANKENSTEIN MEETS THE WOLFMAN project coming up in FAMOUS MONSTERS OF FILMLAND magazine. How did you get to be a part of this adaptation?
JJ: Facebook is a wonderful thing! Martin Powell and I follow each other’s pages and realized we both had a love all things monster in common, particularly the old Universal Monsters films and Famous Monsters of Filmland magazine. Martin contacted me to inquire as to my interest in painting the cover to his filmbook adaptation for FM and I jumped at the opportunity! I have wanted to see that Famous Monsters masthead over a piece of my art since childhood. I can’t believe after all these years it’s actually happened! Cross one more thing off of my bucket list!
AP: The cover you’ve done for the magazine the adaptation will appear in looks fantastic. Was there any particular scene or maybe even other influence you drew inspiration from for that cover?
JJ: Well, when you think of that film the (much too brief) climactic fight is invariably the first thing that comes to mind. If you were going to paint one image to represent the movie that would have to be it! I had seen it painted before but without the surging water from the exploded dam. That is such a dramatic element I knew from the very start I’d be including it in the painting. I had thoughts about showing the dam blowing up through a window but decided against it for compositional and narrative reasons. If you know he film you know where the water is coming from and if you don’t maybe you’ll want to find out.
AP: As an artist, can you outline your process of creating a painting or drawing for a project? Are there any steps you go through, any particular techniques you use each time?
JJ: Geez, that is such an involved answer. Actual steps vary from piece to piece but in general I first try to determine what scene will make the most effective and eye catching image for the cover. It’s my job to get the potential reader to pick up the magazine in the first place. Once I decide on a scene I’ll work up a quick layout or two to see if my idea will work. I very seldom do more that one or two because my instincts are pretty well honed by now and I pretty much feel my first idea is always my best. Ninety percent of the time, at least.I’ll then send the sketch the editor/AD for approval and then proceed to the final art. I either photograph or gather the reference I’ll need for a particular job (in this case I scoured the internet and shot screen grabs from a DVD) and refine the initial idea before proceeding to paint. I work exclusively in quick drying acrylics which I find suits my temperament as I’m a very impatient painter and dislike waiting for stages to dry. I then scan the final art, clean it up in Photoshop and send it off to the client.
AP: What appeals to you as an artist about the monsters like Frankenstein and the Wolfman?
JJ: For me it’s the nostalgia and visual interest of the films. I think the Universal Monster series had some of the most imaginative set design and atmospheric cinematography that gave them a very unique look and feel. Many have tried to emulate them but never really seem to come close. Jack Pierce’s make up also set the standard for how those creatures should look. When you think of Frankenstein you think of Boris Karloff, not Kiwi Kingston.
AP: One question some might ask about this project is relevance. Is this a project aimed at old fans of classic monster movies or is it a project that hopes to bring in new fans? What role do you feel art plays in that?
JJ: Let’s face it, Famous Monsters has a fairly classic, older fan base. While I truly hope the revised magazine and the art will generate new interest among a younger demographic, based on how little interest my fiancee’s 18 year old son has in reading magazines of any kind, B&W movies or anything not digitally enhanced I’m not sure. I know that many of my friends who are painting covers for FM’s current incarnation are doing it for the coolness factor and some very fond childhood memories. We are just beside ourselves to be on the cover!
AP: Art plays a major role in Pulp Fiction, both historically and even in New Pulp work. Do you consider yourself a pulp artist and if so, why?
JJ: In many ways I do, and I often lament the fact that I was not working in the 60’s when pulp art was so prevalent in paperbacks. I am the biggest fan of artists like Robert McGinnis, Bob Abbett, Robert Maquire and Mitchell Hooks (among many others). I would be content painting pulp and genre covers all the time. I’ve done a lot of superhero work over the years but my real love is pulpy, noirish material. All the Conan covers I’ve done as well as the Edgar Rice Burroughs work definitely falls into that category to be sure.
AP: What other projects do you have in the works that might be of interest to our Pulpy audience?
JJ: Harkening back to the previous question I’m actually producing a series of faux 60’s style paperback images for a proposed calendar, and Im having a blast! I’m also currently painting the monthly covers for Dynamite Entertainment’s adaptations of Edgar Rice Burroughs’ Barsoom series. You can’t get much pulpier than that! I also may be illustrating the first two Tarzan novels for the 100th anniversary but that is still uncertain as of this time.
DC Comics has released information on the first ten titles of their September reboot, with creative teams and cover art.
Here we go, kids.
We already knew about JUSTICE LEAGUE #1 by our superstar creators Geoff Johns and Jim Lee. The cover to issue #1 is by Jim Lee and Scott Williams.
New York Times bestselling writer Brian Azzarello, author of The Joker and 100 Bullets, teams up with artist Cliff Chiang (Neil Young’s Greendale) for WONDER WOMAN #1. The cover to issue #1 is by Cliff Chiang.
Geoff Johns reunites with GREEN LANTERN and BRIGHTEST DAY collaborator Ivan Reis to bring you AQUAMAN #1. The cover to issue #1 is by Ivan Reis and Joe Prado.
Rising superstar Francis Manapul, fresh off his acclaimed run on THE FLASH with Geoff Johns, makes his comics writing debut in THE FLASH #1, sharing both scripting and art duties with Brian Buccellato. The Flash knows he can’t be everywhere at once, but what happens when he faces an all-new villain who can? The cover to issue #1 is by Francis Manapul and Brian Buccellato.
Writers Ethan Van Sciver and Gail Simone team up with artist Yildiray Cinar to deliver THE FURY OF FIRESTORM #1. Jason Rusch and Ronnie Raymond are two high school students, worlds apart – and now they’re drawn into a conspiracy of super science that bonds them forever in a way they can’t explain or control. The cover to issue #1 is by Ethan Van Sciver.
Entertainment Weekly dubbed him a “Geek God.” TV Guide seems to document his every move. Firefly/Serenity fans follow him in any direction he goes. We personally enjoy his tweets.
And all the while, Nathan Fillion contines to go his own way, his boyish charm and “ruggedly handsome” exterior constantly reflecting the enchanting attitude of the proverbial kid-in-a-candy-store.
Make no mistake, Nathan Fillion is having the time of his life.
Fillion’s primetime series Castle is enjoying its best ratings, cracking Nielsen’s Top 10 as the popular ABC drama culminated its third season. And despite the five-plus-days-a-week grind of 14-plus hours on set, Fillion still finds time to fulfill his own guilty geek pleasures.
Thus, on the Sunday of the Martin Luther King Day holiday weekend in 2010, the Edmonton-born actor could be found recording the voice of Hal Jordan for Green Lantern: Emerald Knights, an all-new DC Universe Animated Original Movie coming to Blu-Ray™, DVD, On Demand and for Download June 7, 2011.
Produced by Warner Premiere, DC Entertainment and Warner Bros. Animation, and distributed by Warner Home Video, Green Lantern: Emerald Knights weaves six legendary stories of the Green Lantern Corps’ rich mythology around preparations for an attack by an ancient enemy. As the battle approaches, Hal Jordan mentors new recruit Arisia in the history of the Green Lantern Corps, telling tales of Avra, Kilowog, Abin Sur, Laira and Mogo. In the end, Arisia must rise to the occasion to help Hal, Sinestro and the entire Green Lantern Corps save the universe from the destructive forces of Krona.
Fillion has starred in several primetime television series, including Desperate Housewives, Two Guys, a Girl and a Pizza Place and Buffy the Vampire Slayer. He has also developed a popular cult following as a pair of Joss Whedon’s heroic captains: Capt. Mal Reynolds in the space-western series Firefly and follow-up film, Serenity; and Captain Hammer in Whedon’s internet sensation Dr. Horrible’s Sing-Along Blog. Fillion returns to the DC Universe after his successful turn as Steve Trevor in the animated film Wonder Woman, having also performed voice work on Justice League, Robot Chicken, The Venture Bros., and several Halo video games.
The ever-genuine Fillion spent some time following his initial recording session to discuss comic book justice, the perils of space travel, his love of comic books and the origin story behind his famous Green Lantern t-shirt. Read on… (more…)
On Wednesday, August 31st, DC Comics will launch a historic renumbering of the entire DC Universe line of comic books with 52 first issues, including the release of JUSTICE LEAGUE by NEW YORK TIMES bestselling writer and DC Entertainment Chief Creative Officer Geoff Johns and bestselling artist and DC Comics Co-Publisher Jim Lee. The publication of JUSTICE LEAGUE issue 1 will launch day-and-date digital publishing for all these ongoing titles, making DC Comics the first of the two major American publishers to release all of its superhero comic book titles digitally the same day as in print.
DC Comics will only publish two comic books on August 31st: the final issue of this summer’s comic book mini-series FLASHPOINT and the first issue of JUSTICE LEAGUE by Johns and Lee, two of the most distinguished and popular contemporary comic book creators, who will be collaborating for the first time. Together they will offer a contemporary take on the origin of the comic book industry’s premier superhero team.
A separate letter went out to retailers, hinting at “a more modern, diverse DC Universe, with some character variations in appearance, origin and age. All stories will be grounded in each character’s legend – but will relate to real world situations, interactions, tragedy and triumph.”
There’s a lot of head-shaking going on at this move– Tom Spurgeon displays this POV quite well– but to me, this screams hard core brand consolidation, combined with simplification to make it easy for the new comic reader– who is absolutely expected to be a digital reader. It wouldn’t surprise me if DC started doing special digital subscriptions. For example: all 52 series digitally for $50 a month.
The real concern, however, has to be on the retailer side, who will suddenly find competition on all of their titles on books that have been ordered months in advance and may be non-returnable. Hopefully, DC will keep books returnable for the first few months while the impact on stores is figured out.
If nothing else, it could explain why DC wasn’t at BookExpo this year, as they were waiting to relaunch big.
