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The Predator & Predator 4 Movie Collection Coming for Christmas

LOS ANGELES, CA – The hunt for the perfect holiday gift is over. The universe’s greatest hunter returns in The Predator on Digital and Movies Anywhere November 27 and 4K Ultra HD, Blu-ray™ and DVD December 18. Fans can bring home a special edition Predator 4-Movie Collection, which includes Predator, Predator 2, Predators and The Predator on 4K Ultra HD™ and Blu-ray.

The hunt has evolved – and so has the explosive action – in the next chapter of the Predator series, from director Shane Black (Iron Man 3). Now, the most lethal hunters in the universe are stronger, smarter and deadlier than ever before….and only a ragtag crew of ex-soldiers and an evolutionary biology professor can prevent the end of the human race.

With the special edition Predator 4-Movie Collection, fans can experience four times the terror with a killer collection of action-packed Predator movies, plus four collector cards of the original film poster re-issue with some of the franchises most iconic quotes on the back. In Predator, Arnold Schwarzenegger wages an all-out war against an extraterrestrial that hunts humans for sport. Then in Predator 2, Danny Glover battles the fearsome creature in the urban jungle of Los Angeles. In Predators Adrien Brody leads a group of elite warriors on an alien planet targeted by a new Predator breed. Finally, in The Predator, Boyd Holbrook discovers that the most lethal hunters in the universe are stronger, smarter and deadlier than ever.

The Predator Digital, 4K Ultra HD™, Blu-ray™ & DVD SPECIAL FEATURES

  • Deleted Scenes
  • A Touch of Black
  • Predator Evolution
  • The Takedown Team
  • Predator Catch-Up
  • Gallery

The Predator 4K Ultra HD™ Disc Specification
Street Date:                December 18, 2018
Prebook Date:            October 30, 2018
Screen Format:          Widescreen 16:9 (2.39:1)
Audio:                         English Dolby Atmos / English AD DD 5.1 / Spanish DD 5.1 /
French DTS 5.1
Subtitles:                    English SDH / Spanish / French
Total Run Time:          Approximately 107 minutes
U.S. Rating:                R
Closed Captioned:      No

The Predator Blu-ray™ Disc Specification
Street Date:                December 18, 2018
Prebook Date:            October 30, 2018
Screen Format:          Widescreen 16:9 (2.39:1)
Audio:                         English DTS-HD Master Audio 7.1, English Descriptive Audio 5.1,
Spanish Dolby Digital 5.1, French Dolby Digital 5.1
Subtitles:                    English SDH, Spanish, French
Total Run Time:          Approximately 107 minutes
U.S. Rating:                R
Closed Captioned:      No

The Predator DVD Disc Specification
Street Date:               December 18, 2018
Prebook Date:           October 30, 2018
Screen Format:         Widescreen 16:9 (2.39:1)
Audio:                        English Dolby Digital 5.1, English Descriptive Audio 5.1,
Spanish Dolby Digital 2.0, French Dolby Digital 2.0
Subtitles:                   English SDH, Spanish, French
Total Run Time:         Approximately 107 minutes
U.S. Rating:              R
Closed Captioned:    Yes

PREDATOR 4 Movie Collection 4K Ultra HD™ & Blu-ray™ 8-Disc Specifications:
Street Date:              December 18, 2018
Screen Format:         4K UHD™:
                                 Predator & Predator 2: Widescreen 1.85:1
                                 Predators: Widescreen 2.40:1
                                The Predator: Widescreen 2.39:1

                                 Predator & Predator 2: Widescreen 1.85:1
                                 Predators: Widescreen 2.35:1
                                The Predator: Widescreen 2.39:1

Audio:                       4K UHD™:
Predator: English DTS-HD, Master Audio 5.1, English DTS Master
Audio 4.0, Spanish Dolby Digital 5.1, French DTS 5.1
                                 Predator 2: English DTS-HD Master Audio 5.1, Spanish Dolby
Digital 5.1, French DTS 5.1
                                 Predators: English DTS-HD Master Audio 5.1, English Descriptive
Audio 5.1, Spanish Dolby Digital 5.1, French DTS 5.1
                                The Predator: English Dolby Atmos, English Descriptive Audio 5.1,
Spanish Dolby Digital 5.1, French Dolby Digital 5.1

                                 Predator: English DTS-HD Master, Audio 5.1, English Dolby
Surround 4.0, Spanish Dolby Digital 5.1, French DTS 5.1
                                 Predator 2: English DTS-HD Master Audio 5.1, English Dolby
Surround, Spanish Stereo, French Dolby Digital 5.1
                                 Predators: English DTS-HD Master Audio 5.1, Spanish Dolby Digital
5.1, French Dolby Digital 5.1
                                The Predator: English DTS-HD Master Audio 7.1, English Descriptive
Audio 5.1, Spanish Dolby Digital 5.1, French Dolby Digital 5.1

Subtitles:                  4K UHD™ & Blu-Ray™:
                                 Predator: English SDH, Spanish, French
                                 Predator 2: English SDH, Spanish
                                 Predators: English SDH, Spanish
                                The Predator: English SDH, Spanish, French

Total Run Time:        429 Minutes
U.S. Rating:              R
Closed Captioned:    No

PREDATOR 4 Movie Collection Blu-ray™ 4-Disc Specifications:
Street Date:               December 18, 2018
Screen Format:         Predator & Predator 2: Widescreen 1.85:1
                                  Predators: Widescreen 2.35:1
                                 The Predator: Widescreen 2.39:1
Audio:                       Predator: English DTS-HD Master Audio 5.1, English Dolby
Surround 4.0, Spanish Dolby Digital 5.1, French DTS 5.1
                                 Predator 2: English DTS-HD Master Audio 5.1, English Dolby
Surround, Spanish Stereo, French Dolby Digital 5.1
                                 Predators: English DTS-HD Master Audio 5.1, Spanish Dolby Digital
5.1, French Dolby Digital 5.1
                                 The Predator: English DTS-HD Master Audio 7.1, English
Descriptive Audio 5.1, Spanish Dolby Digital 5.1, French Dolby
Digital 5.1

Subtitles:                  Predator: English SDH, Spanish, French
                                 Predator 2: English SDH, Spanish
                                 Predators: English SDH, Spanish
                                The Predator: English SDH, Spanish, French

Total Run Time:        429 Minutes
U.S. Rating:              R
Closed Captioned:    No

National Graphic Novel Writing Month 2018

National Graphic Novel Writing Month 2018! #nagranowrimo

National Graphic Novel Writing Month 2018

Yes, we got enough demand from you that we’re doing it again! For the month of November, we’re going to help you learn how to write a graphic novel! Stick with us for 30 days, and we’ll go over just about everything you need to know about writing for the specific requirements of comics!

It is our hope that by the time we’re done, you’re going to be well on your way to being able to show us your work, and be able to guide you to the next steps of creation. We also hope you’ll share these lessons with other folks far and wide.

First: let’s pull out some of the textbooks you’re going to want to read. Your first homework assignment is to get some of these from the library or the store.

We’ll recommend others as we go.

Second, let me tell you what this is NOT going to be.

This is not going to help you create your idea for a graphic novel. We’re starting with the assumption that you already have an idea for a graphic novel, and need help trying to write it.

This is not going to require you to be an artist. While there is a place for the person who can both write and draw, this is intended for the person who is going to be working with a collaborator or two. As such, you’re going to learn the best ways to write in order to make it easy for a collaborator– even it you don’t even know who’s going to draw it.

This is not even going to require you to have any drawing skills. If you can make stick figures, you’re qualified. Yes, you will have to draw stick figures.

This is not going to be genre-specific. Comics contain multitudes– superheroes, mysteries, science fiction, fantasy, humor, porn, educational materials, biography and autobiography, on and on and on. We’re not teaching you how to write Batman, we’re teaching you how to write comics.

And finally: This is not going to be a rah-rah confidence builder. There are plenty of places where you can get the types of affirmations to help during long nights staring at your wall, and you should make use of them if they help you– but this is for the nuts and bolts of writing for comics, and the only way to really learn that is to sit down and write them. These lessons are not to help you power through the creation of a comic, giving you “waytogos!” as you hit particular word counts during the month. In fact, there will be no word count goal in your creation process.

Why? Because it’s impossible to quantify how many words are needed to make a graphic novel. It could take 5000 words– or 500,000.

And on that terrifying note… see you tomorrow.


Book-A-Day 2018 #304: The Finder Library, Vol. 1 by Carla Speed McNeil

Now, I know that I tend to focus on the negative, even when the positive is much larger and objectively more interesting. I usually blame that on “editor brain” — when you spend years pulling apart stories for a living, it forms a habit that you just can’t break.

So let me say up front that Finder is pretty damn awesome, a smart series of graphic novels with real character depth, a quirky and involving world, tricky plots, and sharp people-oriented art. But it’s got some elements in its SFnal setup that people like me obsess about and complain about more than they deserve.

I’ll try to keep those quibbles minor, since they are minor. This is a great world that basically hangs together; it just has a central flaw that’s very common, very understandable, and yet often very annoying (to people like me who can’t just let it go).

Finder is supposedly set a few thousand years in the future, on an Earth hugely depopulated, devoid of any obvious larger governments than pseudo-zaibatsu “clans,” with people either living crammed into domed cities or roaming the outside wastes as nomads very much modeled on the American Indian in ways that are deeply unlikely. It’s not clear if massive numbers of people left the planet in the meantime, if there was at least one apocalypse to kill billions, or if population just dwindled for a long time. (The current society seems to above replacement rate, and so growing, but maybe only slowly.) And popular culture is, as far as we see, primarily devoted to digging up ephemera of the 20th century.

So, yes, to tick off the obvious SF-geek issues: that feels like much too far in the future for the focus on modern pop-culture; there’s no clear path from here to get to this world; there doesn’t seem to be any infrastructure to feed those people, let alone provide them with industrial goods; and the lack of any structure to society outside/above/between the clans seems unlikely at best — how do clans resolve conflicts, living together in their tight little cities?

Let me stipulate all that: those are issues with the world-building, and maybe creator Carla Speed McNeil tackles them eventually. In the first three storylines of Finder, collected as the 2011 omnibus The Finder Library, Vol. 1 , though, she doesn’t. This book has what was the first 22 issues of Finder the print comic — sometime later it turned into a webcomic — originally published between 1996 and 2001 and then collected into the first four trade paperbacks. (Sin-Eater, the first storyline, took up two books.)

Sin-Eater introduces the world through Jaeger, a roguish “finder” from one of the many tribal  “Ascian” cultures that live nomadic lives in the Empty Lands between those domed cities. He has a lot of strangeness of his own, for a 20th century reader, but he’s an outsider in the city of Anvard, so he’s our viewpoint for the strangeness there.

Jaeger is the on-and-off lover of Emma Lockhart Grosvenor, a married woman in Anvard. That is to say: she lets him live with her when he’s in town, but he’s only in town randomly, at long intervals, and utterly without notice. McNeil does not show Jaeger having similar arrangements in other cities — and I think she finds him more appealing than I do — but I see no reason why a man like him wouldn’t have a semi-regular fuck-buddy in all of the places he wanders through.

Emma is part of a mixed marriage that went bad. She’s from the artistic, ultra-feminine Llaverac clan; her husband Brigham Grosvenor is from the military/police clan Medawar. [1] Brigham was a military leader who took his family to the frontier outpost where he was stationed (and where Jaeger was something like a native scout and Brigham’s aide/pet) and there descended into what Finder doesn’t actually call paranoid schizophrenia. Emma got away with her three “daughters” — all members of Llaverac are referred to by feminine pronouns and tend to present as female in public, even if they are biologically male — Rachel, Lynne (who is male), and Marcie (Marcella) with Jaeger’s aid a few years ago, and has been hiding from Brigham since then.

Sin-Eater is the story of how that hiding eventually falls apart, how Brig finds his family again, and how it affects all of them. Jaeger, in what I think is his usual style, is both too clever by half and has a a strong restless tropism to do stupid random things, so it’s all mostly his fault. It’s also the story that introduces the world and explains, as much as McNeil wanted, how it works and what these people do.

The second story here, King of the Cats, is more self-contained and focused more tightly on Jaeger. He’s worked his way to another city as an armed guard on a giant armored bus — the wilderness is quite dangerous, with all of those native tribes and no farmlands — carrying members of the Steinehan clan to an amusement-park city (unnamed, as far as I can find), and wants to get inside mostly because they won’t hire him or let him inside. Jaeger is motivated, as always, but spite and whim as much as anything else.

Camping nearby is a large group of Nyima, an intelligent non-human race with pretty serious sexual dimorphism — the females are lion-headed humanoids and the males a a big question mark. (We learn that most males are semi-intelligence quadrupedal lion-types, but each group has a King, whom all of the females are “married” to, and who has bipedalism and increased intelligence because of a specific intervention by the females. This seems unlikely to be stable or natural, but I can only shrug.) They have an onerous contract with the unseen owners of the amusement park, which they can’t fulfill without destroying their culture and becoming essentially slaves there for the rest of their lives, and which they can’t break without incurring massive financial penalties. (Again: this is a warlike group of nomads in a world with no apparent larger government. McNeil makes the dilemma plausible, but the heavily armed and well-positioned Nyima appear to have a much stronger hand than the weak, unarmed locals.)

Jaeger, in his meddling way, solves the Nyimas’ problem, answers his own curiosity, causes a larger amount of trouble than usual even for him, and leaves at the end, happy and ready for another opportunity to meddle somewhere else.

And last in Volume 1 is Talisman, which I read before a few years back . This is Marcie’s story: she’s growing up from the little girl we saw in Sin-Eater, and I won’t repeat what I said then. (This post is long enough already.) The background details do make more sense if you come to Talisman in series order, though. Talisman is a story about the youth of an artist, which many artists are compelled to tell — McNeil does a good job of it, and her quirky world makes it specific and individual.

The most important thing for me to note at the end here is that I’m going to be actively seeking out Finder Library, Vol. 2. Some of the world-building might annoy me, but that always happens. McNeil’s people are real and have complicated flaws, her world is big and intricate and clearly is full of details she already knows that might never make it into a story, and her drawing is crisp and evocative and sophisticated. It’s good, real SF in comics form, which is rare, and it’s SF focused on people (often women) in a complex world, which is even rarer.

[1] How can there be a clan that specializes in “police” if there’s no government above them? They’d just be the street gang that runs the town, from their monopoly on violence. I’m hoping McNeil eventually explains the governance of this world, because so far I see nothing to keep one clan from eliminating another, or any mechanisms other than violence to solve inter-clan disputes.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

Review: Edgar Allen Poe’s Snifter of Terror #1

A few years back, the idea was that every new comic publisher would establish a cohesive interconnected universe.  Every one of their comic series would be just one part of a larger grand tapestry.

Times have changed.

Since it burst onto the scene, AHOY Comics has boldly said they want to make every comic different and surprising.   They certainly deliver on that promise with Edgar Allen Poe’s Snifter of Terror #1, available today in stores right on time for Halloween.

This comic is witty, creepy, gross …and so much fun. It’s packed full of content that, like a rotting corpse, it seems a little bloated. But in a good way.

The first story- and adaptation of Poe’s “The Facts in the Case of M. Valdemar” – is grim stuff. Tom Peyer opens the story with Poe serving as our horror host. But there’s so much fear and self-loathing. Just when you think it’s too far over the top, it goes over the top again. This chilling story is also an excellent tool for those dieting and seeking appetite suppression tools.

And no sooner is it finished that Edgar Allen Poe again takes center stage to introduce, again in a very unpleasant manner, the second story.

This is the one that really shines for me.  At first glance, “Dark Chocolate looks like a straightforward vampire story. But in reality, it’s a satirical farce of everything that’s near and dear to every kid who grew up watching Hammer monster movies and eating cereal for breakfast.

Mark Russell, who’s recent Flintstones series for DC Comics has been an unexpected, breakout hit, delivers a story that’s sweetly surprising on so many levels at the same time. It’s been too long since I’ve read a comic story by artist Peter Snejbjerg, and I worry I’ve forgotten just how talented he is.

The comics are rounded out by other features. Included is a short gag comic featuring Poe and a humorous Interview with Mark Russell. However, the poem “The Scallop and the Barnacle” by Celia Madrid is the one not be missed. It’s a grisly tale told with a dash of gallows humor and inappropriate language. Not what I was expecting, but so happy to have read it.

Next issue looks great too. The cover is very much in the lines of the “Attack of the 50 Foot Woman”, but starring Edgar Allen Poe in that iconic pose, of course. It’s nutty, silly and kooky – so it makes all the sense of the world for this comic.

Book-A-Day 2018 #303: I Die at Midnight by Kyle Baker

Some historical moments date much faster than others, and that can be deeply amusing if you lived through them. Y2K is the great recent example: it was a huge deal before it happened, and was forgotten and ignored almost immediately afterward when the popularized apocalypse failed to actually happen.

Kyle Baker’s graphic novel I Die at Midnight  is one of the small breed of Millennial Thrillers, set on New Year’s Eve of 1999. Amusingly, it was even published in a Y2K style, with a big “V2K Vertigo” imprint at the top left that everyone has since forgotten that DC’s Vertigo ever used at all. Interestingly, it has a copyright date of 2000, which makes it a late entry in this derby: most of your Millennial Thrillers came out in 1997-1999 to capitalize on the hype beforehand and promise horrible world-ending terrors on that fateful night.

Baker, though, is working on a smaller canvas: I Die is the story of one man, one evening, and the race to get an antidote to the overdose he just took.

Larry is that man: Muriel left him recently, and so he’s going to end it all on New Year’s Eve. But then she returns to him, right after he swallows the whole bottle of pills. And since nothing can go right in a comic thriller — which is definitely what I Die at Midnight is — he can’t get those pills out of his system until it’s too late, and his only hope is to meet up with a doctor acquaintance with that antidote before midnight, when it will be too late to save him. Midnight, of course, is only forty minutes away. And the only way they can meet in time is right in between where they are…which is, coincidentally, Times Square.

There are other complications, of course. There have to be. They are funny, and at least plausible, and they keep this story barreling forward exactly the way they need to. And the story ends the way it needs to.

I Die at Midnight is not a major Baker work. But it’s fast and funny and full of amusing moments and Easter eggs in the art. (Times Square in particular is awash in billboards for various Baker properties, mostly but not all in their imagined movie versions — I wished the book was physically larger so I could get a better look at all of the goofy stuff there.) And it will be funnier the more you remember the Y2K hoopla.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

Batman: The Complete Animated Series Box Set upped to 70,000 Units

BURBANK, CA (October 25, 2018) – Warner Bros. Home Entertainment has increased its run of Batman: The Complete Animated Series Deluxe Limited Edition to 70,000 to accommodate overwhelming demand for the most anticipated Blu-ray box set release of 2018. Remastered for the first time since its broadcast airing from 1992-1995, the stunning box set for $112.99 SRP will be available on October 30, 2018.

“As many fans and media have noticed, Amazon and other notable retailers were forced to suspend sales of Batman: The Complete Animated Series Deluxe Limited Edition due to unprecedented demand for this beloved series,” explained Jeff Brown, General Manager and Executive Vice President, Television, Warner Bros. Home Entertainment. “Sales surpassed our initial run of 30,000 limited edition box sets about four weeks ago and, rather than leave so many fans wanting, we implemented new production orders to accommodate the requests for this prized collection. A significant portion of those increased numbers have already sold, and all sites are accepting orders again.”

The impressive Batman: The Complete Animated Series Deluxe Limited Edition package features approximately 2,700 minutes of entertainment spread over 10 Blu-ray discs, plus the two bonus discs – not counting 11 specially-selected episodes with audio commentaries by cast and crew. In addition, Batman: The Complete Animated Series Deluxe Limited Edition includes an exclusive ensemble of collectibles highlighted by three Funko mini-figurines (Batman, Joker, Harley Quinn) and seven beautifully-designed lenticular art cards. The entire box set is housed in a stunning layflat-book with a dazzling slipcase. And a digital copy of all 109 episodes is included in the box set.

Produced by Warner Bros. Animation, the Emmy Award-winning series captured the imaginations of generations, setting the standard for super hero storytelling for the past quarter-century with its innovative designs, near-perfect voice cast and landmark approach to DC’s iconic characters and stories.  Batman: The Complete Animated Series Deluxe Limited Edition box set includes all 109 thrilling episodes, plus two bonus disks containing the recently-remastered, fan favorite animated films Batman: Mask of the Phantasm and Batman & Mr. Freeze: SubZero, The box set’s premiere bonus feature is, The Heart of Batman, an impressive 90-minute documentary on the making of Batman: The Animated Series that includes interviews with nearly three dozen members of the cast and crew, detailing the intricacies of production behind the landmark animated show.

BATMAN and all related characters and elements are trademarks of and © DC Comics.  © 2018 Warner Bros. Entertainment Inc.

Book-A-Day 2018 #298: American Century, Vols. 1 & 2 by Chaykin, Tischman, Laming, & Stokes

Here’s a lesson I could stand to learn: if I pick up a book in a field I’ve been following reasonably closely for my entire adult life, and that book came out during my adult life, and I can’t remember hearing anything in particular about it, it’s very likely that’s because the book is not actually all that good.

But let me pretend to change the subject!

Today I’m here to talk about American Century, a Vertigo series from around the turn of the millennium, written by Howard Chaykin and David Tischman and with art by Marc Laming and John Stokes. I found the first two collections of this series randomly a couple of months ago, and, since I’m reading everything I can get my hands on for this Book-A-Day run, they went into the hopper before too long.

I had, as far as I could remember, never heard of American Century. Now I know why.

Our Standard Chaykin Asshole this time is named Harry Block, and he’s the usual mid-career Chaykin hero: unsatisfied with his quiet suburban life in 1949, cheated on obviously by his mouthy, demanding, hot-to-trot wife [1], and called up for the growing conflict in Korea. So he bugs out, and American Century sets up to be the story of how he wanders through various unpleasant episodes in history over the next however-many years. In the end — I see from looking it up on the Comic Book DB  — there were twenty-seven issues, but only the first nine were collected into these two books.

And that’s probably because this is dull, difficult-to-follow, and boring. Harry Block should have been the American Harry Flashman , but Chaykin-and-Tischman aren’t Fraser, and even pure Chaykin would probably have gone in the same direction.

The two books are Scars & Stripes  and Hollywood Babylon ; I do not recommend that you seek them out.

In the first one, Harry changes his last name to Kraft and flies planes for smugglers in Guatemala during a simmering civil war between the American-backed government and Communist insurgents, with a side order of the evil profiteering US Fruit Company. Chaykin and Tischman make this boring, and Laming and Stokes manage to make a naked woman look unrealistic, which I thought was impossible for a mainstream comics team.

Hollywood Babylon brings Harry back to the states, to LA obviously, and to more Chaykinesque intrigue, this time among movie stars and a US Senator and a gossip columnist. This is also dull, and Harry only peripherally involved in any of it. (He also doesn’t narrate the stories as strongly as I think he’s supposed to: his voice isn’t distinctive and it isn’t pervasive.)

You’ve probably never heard of American Century. There’s a reason for that. I recommend you let it be forgotten once again.

[1] Remember that all of those things are bad in Chaykin-land: women should do what men tell them to do, and only be sexpot with the hero when he demands it.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

DC drops Details, Trailer for January’s Reign of the Supermen

BURBANK, CA (October 24, 2018) – The world must cope with the loss of Superman – and the sudden emergence of four would-be heirs to the title – in the all-new, action-packed Reign of the Supermen, part of the popular series of DC Universe Movies. Produced by Warner Bros. Animation and DC, the feature-length animated film arrives from Warner Bros. Home Entertainment on Digital starting January 15, 2019, and on Ultra HD Blu-ray Combo Pack and Blu-ray Combo Pack on January 29, 2019.

Reign of the Supermen will be available on Ultra HD Blu-ray Combo Pack ($39.99 SRP) and Blu-ray Combo Pack ($24.98 SRP) as well as on Digital ($19.99 HD, $14.99 SD). The Ultra HD Blu-ray Combo Pack features an Ultra HD Blu-ray disc in 4K with HDR and a Blu-ray disc featuring the film; the Blu-ray Combo Pack features the film in hi-definition. The Ultra HD Blu-ray and Blu-ray Combo Pack include a digital version of the film.

Reign of the Supermen finds Earth’s citizens – and the Man of Steel’s heroic contemporaries – dealing with a world without Superman. But the aftermath of Superman’s death, and the subsequent disappearance of his body, leads to a new mystery – is Superman still alive? The question is further complicated when four new super-powered individuals – Steel, Cyborg Superman, Superboy and the Eradicator – emerge to proclaim themselves as the ultimate hero. In the end, only one will be able to proclaim himself the world’s true Superman.

Reign of the Supermen is the second half of a two-part DC Universe Movies experience that began in August 2018 with The Death of Superman – the two films telling a more faithful animated version of “The Death of Superman,” DC’s landmark 1992-93 comic phenomenon. Superman Doomsday, the inaugural film in the DC Universe Movies series, told an abridged version of that comics story, but with a runtime of 75 minutes, the film was only able to focus on a core, singular storyline. The Death of Superman and Reign of the Supermen restore many of the moments and characters that fans hold dear to their hearts.

The Reign of the Supermen all-star cast is led by Jerry O’Connell (Carter, Bravo’s Play by Play, Stand by Me), Rebecca Romijn (X-Men, The Librarians) and Rainn Wilson (The Office, The Meg) as the voices of Superman, Lois Lane and Lex Luthor, respectively. The potent trio is joined by the DC Universe Movies’ returning voices of the Justice League: Jason O’Mara (The Man in the High Castle, Terra Nova) as Batman, Rosario Dawson (Sin City, Rent, Daredevil) as Wonder Woman, Shemar Moore (S.W.A.T., Criminal Minds) as Cyborg, Nathan Fillion (Castle, The Rookie) as Green Lantern/Hal Jordan, Christopher Gorham (Covert Affairs, Insatiable, Ugly Betty) as The Flash, and Nyambi Nyambi (Mike & Molly, The Good Fight) as Martian Manhunter.

Newly featured cast members include Cress Williams (Black Lightning) as Steel, Cameron Monaghan (Gotham) as Superboy, Patrick Fabian (Better Call Saul) as Hank Henshaw, and Tony Todd (Candyman) as Darkseid. In addition, the cast includes Charles Halford (Constantine) as Bibbo Bibbowski and The Eradicator, Rocky Carroll (NCIS) as Perry White, Toks Olagundoye (Castle) as Cat Grant, Max Mittleman (Justice League Action) as Jimmy Olsen, Paul Eiding (Ben 10: Omniverse) as Jonathan Kent, Jennifer Hale (Green Lantern: The Animated Series) as Martha Kent, Trevor Devall (Suicide Squad: Hell To Pay) as Dabney Donovan and Erica Luttrell (Salvation) as Mercy.

Producer Sam Liu (Gotham by Gaslight, Teen Titans: The Judas Contract) also directs Reign of the Supermen from a script by Jim Krieg (Batman: Gotham by Gaslight) and Tim Sheridan (Scooby-Doo and the Gourmet Ghost). Amy McKenna (The Death of Superman) is producer, and Alan Burnett (Suicide Squad: Hell To Pay) is co-producer. Executive Producers are Sam Register and James Tucker (Justice League Dark).

“Warner Bros. Home Entertainment is proud to continue the most popular Superman story of all time which began in The Death of Superman,” said Mary Ellen Thomas, Warner Bros. Home Entertainment Vice President, Family & Animation Marketing.  “Reign of the Supermen is the thrilling story of how the world reacts to the shocking death of its protector.  No true comic fan will want to miss this larger than life story of the heroes and villains who rise to fill the void.”

Reign of the Supermen Enhanced Content

Ultra HD Blu-ray Combo Pack, Blu-ray Combo Pack and Digital

Lex Luthor: The Greatest Nemesis (Featurette) – Evil Genius. Archenemy of Superman. Misunderstood hero? This documentary will look at one of the most renowned villains in literature and debate his ethics and motivations throughout his publication history and as the calculated anti-hero of Reign of the Supermen. We’ll also explore how Lex Luthor is emblematic of technology without limit, often demonstrating what effect unbridled power, resources, and influence can have on humanity. We’ll discuss the affinity for storytellers to associate Lex Luthor and with the field of science as they challenge our morals and integrity with real world issues such as cloning and what can happen if science fiction became science reality.

A Sneak Peek at the next DC Universe Movie, Justice League vs. The Fatal Five – An entertaining, insightful exciting look at the next animated film in the popular DC Universe Movies collection.

From the DC Vault: Superman: The Animated Series, “Heavy Metal”

From the DC Vault: Justice League Unlimited, “Panic in the Sky”

The 4K Ultra HD Blu-ray disc of Reign of the Supermen will featureDolby VisionTM HDR that dramatically expands the color palette and contrast range and uses dynamic metadata to automatically optimize the picture for every screen, frame by frame. The 4K Ultra HD Blu-ray disc of Reign of the Supermen will also feature a Dolby Atmos® soundtrack remixed specifically for the home theater environment to place and move audio anywhere in the room, including overhead. To experience Dolby Atmos at home, a Dolby Atmos enabled AV receiver and additional speakers are required, or a Dolby Atmos enabled sound bar. Dolby Atmos soundtracks are also fully backward compatible with traditional audio configurations and legacy home entertainment equipment.

Reign of the Supermen will also be available on Movies Anywhere. Using the free Movies Anywhere app and website, consumers can access all their eligible movies by connecting their Movies Anywhere account with their participating digital retailer accounts.

Fans can also own Reign of the Supermen via purchase from digital retailers beginning January 15, 2018.

4K UHD Combo Pack $39.99
Blu-ray Combo Pack $24.98
4K and Blu-ray Street Date: January 29, 2019
EST Street Date: January 15, 2019
Blu-ray Languages: English, Spanish, French, German
Blu-ray Subtitles: English, Spanish, French, German, Finnish, Danish, Japanese, Norwegian, Swedish
Running Time: 87 minutes
Rating: PG-13 for sequences of action violence

Exclusive! “The Weight of Time” from All We Ever Wanted

A Wave Blue World or AWBW is an independent comics publisher founded in 2005 with a focus on graphic novels, anthologies and art books. The founders, Tyler & Wendy Chin-Tanner, put an emphasis on publishing culturally relevant works including American Terrorist, Broken Frontier, and last year’s This Nightmare Kills Fascists which was successfully funded on Kickstarter last year and available on Amazon and through Diamond Previews now with order code SEP181563.

The editorial team of Matt Miner and Eric Palicki from TNKF is back, joined by AWBW publisher Tyler Chin-Tanner to bring us All We Ever Wanted. Where TNKF looked at issues facing us from a horror angle, All We Ever Wanted takes on the issues that affect our lives with a more optimistic approach. It’s a collection of 24 stories that present a brighter vision of the future, meant to inspire hope that together we can create a better world. The creators behind this anthology include veterans of comics like Howard Mackie and rising starts like Nadia Shammas and Eryk Donovan with a cover by Ariela Kristantina and a logo by Katrina Tan Kit.

Tyler of AWBW was kind enough to give ComicMix one of the 24 stories from All We Ever Wanted, “The Weight of Time” to premiere in its entirely on our site. This story examines how we view the queer civil rights movement and is written by Jarrett Melendez with art by Danica Brine and lettering by Taylor Esposito. If you like the story, please reach out to your LCS to have them order a copy for you with Diamond order code OCT181514 or send them this linkAll We Ever Wanted will be available on December 12th, so get your pre-orders in with your LCS as soon as you can!
















Book-A-Day 2018 #295: Love and Rockets: New Stories, No. 4 by The Hernandez Brothers

2011’s installment of Love and Rockets was very much the continuation of the year before: Jaime finishes up “The Love Bunglers” here, in four devastating chapters, and Gilbert continues to circle Hollywood with his characters Fritzi and Killer in two stories, one of them “fictional” within the world of Love and Rockets and one of them “real.”

That’s a good question, though: what is real? I still have my questions about the end of “Love Bunglers,” which has an element that I’m afraid is not exactly real.

(From poking through The Love and Rockets Companion, I’m guessing it is real, but I’m still withholding final judgment until I actual read later stories. It is so parallel to the end of L&R Vol. 1 that I don’t trust it. It’s also so much a wish-fulfillment for both characters and audience that it’s deeply out of character for Jaime’s work.)

So this is Love and Rockets: New Stories, No. 4 . The stories more or less alternate here, though it starts and ends with Jaime.

I’ve written about “Love Bunglers” twice recently in this series — just last week and when I read the revised version in Angels and Magpies  a few weeks before that. I don’t have much new to say about it this time, though it lays out interestingly in this book: Part Three opens with a one-page vignette about two unnamed long-married characters — I don’t think we’ve ever seen them before, or are meant to recognize them — with the woman’s thought overlaid as captions. And that moment is strongly parallel with the end of the book, a scene with Maggie and Ray. That’s not as obvious when the whole story is collected, and speaks to how Jaime planned the effect of the stories in a particular serial installment of L&R.

On the Gilbert side, “King Vampire” is another movie presented in comics form. Confusingly, it seems to star Killer as the young vampire wanna-be and Fritzi as an older vampire in a parallel plot, but the other Gilbert story in this volume, “And Then Reality Kicks In,” is a discussion between Fritzi and an unnamed guy about “the vampire project,” which won’t happen until she gets out of her current seven-year contract. So “King Vampire” is a movie from the future of Gilbert’s continuity, or something.

“King Vampire” is pulpy, violent, and full of sex, of course — that’s generally the point of Gilbert’s “movie” stories.

“And Then Reality Kicks In” is quieter, showing one long conversation that’s about more than it shows on the surface. If I remembered who that guy was, it would probably be a bit more meaningful to me, but I find the men of this era of Gilbert’s work to be pretty colorless and interchangeable.

Next week I’ll have a full book Love and Rockets stories from 2012 that I’ve never read before: this one was half-new, but from here forward it’s all stuff I haven’t read. It’s weird how you can realize you haven’t read one of your favorite comic series for close to a decade….

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.