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The Lion King gets Signature Collection Treatment in August

BURBANK, Calif. (July 16 2017) — It was announced today at D23 Expo that in August, one of the biggest animated films in history—The Lion King—joins the highly celebrated Walt Disney Signature Collection. The coming-of-age masterpiece, filled with humor and heart, breathtaking animation and soul-stirring Academy Award®–winning music (1994: Best Original Score and Best Original Song, “Can You Feel the Love Tonight”), arrives on Digital on Aug. 15 and on Blu-ray and DVD on Aug. 29.

Audiences will fall in love all over again with the treasured classic, and a new generation of fans will laugh with Timon and Pumbaa, cry with Simba and Mufasa, burst into song, and find their place in the “Circle of Life.” The Walt Disney Signature Collection release includes over three hours of classic bonus material and exclusive,  brand new features inviting viewers to sing along with the film’s award-winning music, observe recording sessions, step inside the story room, witness the evolution of a villain, and join Nathan Lane (voice of Timon) and Matthew Broderick (voice of Adult Simba) for an extended conversation regarding the legacy of The Lion King.

The Lion King follows the adventures of Simba, a feisty lion cub who cannot wait to be king, as he searches for his destiny in the great “Circle of Life.” The film earned a Golden Globe® for Best Motion Picture—Comedy or Musical and inspired a Tony Award®-winning Broadway musical that is currently the third longest-running musical in Broadway history. In 2019, a reimagined live-action film, helmed by Jon Favreau, will delight audiences with the thrilling retelling of the original tale utilizing groundbreaking technological advances—as only Disney can do.

The Lion King is the fifth title to join the Walt Disney Signature Collection, which includes groundbreaking films created or inspired by the imagination and legacy of Walt Disney, featuring timeless stories and characters that have touched generations. It takes its place alongside Snow White and the Seven Dwarfs, Beauty and the Beast, Pinocchio and Bambi.

Bonus Features:

BLU-RAY, DIGITAL*:

  • Brand New Sing-Along Version
  • Audio Commentary – View the film with commentary by producer Don Hahn and co-directors Roger Allers and Rob Minkoff.
  • Visualizing a Villain – Against a backdrop of live dancers and the animated “Be Prepared” sequence, artist David Garibaldi paints a masterpiece of evil.
  • The Recording Sessions – Watch rare footage of the actors recording their roles, matched with the final animation. Intro by Roger Allers and Rob Minkoff.
  • Nathan and Matthew: The Extended Lion King Conversation – Nathan Lane (Timon) and Matthew Broderick (Adult Simba) offer candid and hilarious insights into their Lion King experiences.
  • Inside the Story Room – Co-directors Roger Allers and Rob Minkoff present archival footage of five original story pitches.

o    Circle of Life – See how color creates emotion and meaning in the film’s iconic opening.
o    Simba & Nala – See how elements proposed in story meetings evolve into what appears onscreen.
o    Simba Takes Nala Out to Play – …And, sometimes what seems funny in story meetings never makes it into the film!
o    Hakuna Matata – Co-directors Roger Allers and Rob Minkoff sing, act and dance their hearts out as they pitch the “Hakuna Matata” sequence.
o    Rafiki and Reflecting Pool – Co-directors Roger Allers & Rob Minkoff pitch a sequence that became the emotional heart of The Lion King to Producer Don Hahn.

  • Music & More – Sing along to your favorite songs from the movie!

o   “Circle of Life”
o   “I Just Can’t Wait to Be King”
o   “Be Prepared”
o   “Hakuna Matata”
o   “Can You Feel the Love Tonight”

  • Galleries

o   Visual Development – Explore a gallery of striking artwork that inspired the movie’s look and feel.
o   Character Design – Trace the development of the film’s unforgettable characters through early concept art drawings.
o   Storyboards – Examine storyboards created in the development of The Lion King.
o   Layouts – Feast your eyes on layouts created in the development of The Lion King.
o   Backgrounds & Layouts – Journey through a gallery of landscape paintings that shaped the world of The Lion King.

  • Classic Bonus Features (Digital Only) – These offerings from prior home entertainment releases include hours of bonus material, such as bloopers, audio commentary, deleted and alternate scenes, and in-depth journeys into the music, film, story, animals and stage show.

*Bonus features may vary by retailer

DISC SPECIFICATIONS:

Product SKUs: Blu-ray Combo Pack (Blu-ray, DVD, Digital Copy), Digital HD/SD, DVD
Feature Run Time: Approximately 89 minutes
Rating: G in U.S. and Canada
Aspect Ratio: Blu-ray Feature Film = 1080p High Definition / 1.78:1, DVD Feature Film = 1.78:1
Audio: Blu-ray = English 7.1 DTS-HDMA, Spanish and French 5.1 Dolby Digital Language Tracks
DVD = English, Spanish, and French 5.1 Dolby Digital Language Tracks
Subtitles: English ESL, English SDH, French & Spanish

Mind MGMT and Flutter Comics Developed for TV

Mind MGMT and Flutter Comics Developed for TV

UNIVERSAL CABLE PRODUCTIONS AND DARK HORSE ENTERTAINMENT RENEW FIRST-LOOK DEAL;

 

ANNOUNCE DEVELOPMENT OF POPULAR COMIC BOOKS “MIND MGMT,” “FLUTTER” AND HIT PODCASTS “TANIS,” “THE BRIGHT SESSIONS” FOR TV 

“The Blacklist” Producer Dan Cerone to Develop “Mind MGMT”

 

Katherine Lindberg and Marc Rosen (“Sense8”) To Adapt “Flutter”

               

“The Son’s” Lee Shipman and podcast creator Terry Miles To Adapt “Tanis” With Sam Raimi (“Evil Dead”) and Debbie Liebling (“South Park”) Producing

 

Gabrielle G. Stanton (“The Flash”) To Adapt “The Bright Sessions” With Creator And Star Lauren Shippen

 

UNIVERSAL CITY, CA- July 17, 2017- On the heels of their “Umbrella Academy” series pick-up on Netflix, Universal Cable Productions and Dark Horse Entertainment have renewed their first-look deal to continue developing and producing scripted programming from the distinguished publisher’s comic book library, as well as new original material. UCP continues to roll out its impressive genre development slate with Dark Horse Entertainment’s “Mind MGMT,” from Matt Kindt, to be developed for TV by Dan Cerone (“The Blacklist”); “Flutter” based on Jennie Wood’s acclaimed LGBTQ comic, being adapted by Katherine Lindberg and Marc Rosen (“Sense8”); “Tanis,” based on the hit podcast, to be developed by Lee Shipman (“The Son”) and Terry Miles, creator of the podcast, and produced by Sam Raimi (“Evil Dead”) and Debbie Liebling (“South Park”) through their company POD 3; and “The Bright Sessions” being adapted for television by Gabrielle G. Stanton (“Grey’s Anatomy,” “The Flash”) and the creator and star of the podcast, Lauren Shippen.

 

“Dark Horse Entertainment is a comic mastermind with deep knowledge of the genre and an expertise in developing content” said Dawn Olmstead, Executive Vice President of Development, Universal Cable Productions. “We’re excited to continue to partner with Mike Richardson and Keith Goldberg as we kick off our series Umbrella Academy on Netflix and shepherd the many adaptions we have set up around town.”

 

“Dark Horse is proud to continue its partnership with Universal Cable Productions. Our companies have worked together closely with great success. We have some exciting projects in the works and couldn’t be happier about continuing the relationship,” said Mike Richardson, President of Dark Horse Entertainment.

UCP and Dark Horse are developing the popular graphic novel from New York Times Best-seller and artist Matt Kindt “Mind MGMT,” which will be adapted for television by Dan Cerone (“The Blacklist”). The series follows a true crime writer searching for the truth behind a mysterious airline flight who discovers a secret government agency of spies with psychic abilities. Henry Lyme, the former top agent, has gone rogue and is working to investigate and dismantle the organization.

 

“Flutter,” is based on the critically acclaimed, award-winning LGBTQ graphic novel series created and written by Jennie Wood with art by Jeff McComsey, published by 215 Ink, about a teenage shapeshifter who turns herself into a boy to get the straight girl that she has a crush on. Katherine Lindberg and Marc Rosen (“Sense8″) are writing the television adaptation.

 

Additionally, UCP and Dark Horse are developing two podcasts for television:

 

“Tanis,” is based on the serialized, bi-weekly podcast. The series follows Nic Silver on his search to unravel what he thinks might be the last great mystery of the internet age. “Tanis” is what happens when the lines of science and fiction start to blur. Lee Shipman (“The Son”) is attached to adapt with podcast creator Terry Miles. Sam Raimi (“Evil Dead”) and Debbie Liebling (“South Park”) will produce through their company POD 3, along with Dark Horse.

 

“The Bright Sessions,” is a science fiction drama that follows a mysterious therapist and her unique set of patients, each struggling with a supernatural ability. Created and written by Lauren Shippen, the podcast has been downloaded over 6 million times in under 2 years and was widely recognized as one of the best podcasts of 2016. The development for television is being written by Gabrielle G. Stanton (“Grey’s Anatomy,” “The Flash”) and Shippen.

 

The studio and publisher previously announced the active development of “Harrow County,” based on the comic book written by Cullen Bunn (“The Damned,” “The Sixth Gun”) and illustrated by Tyler Crook (“Bad Blood”), and the Eisner award-winning “Concrete” from comic legend Paul Chadwick.

 

“Mind MGMT,” “Flutter,” “Tanis” and “The Bright Sessions” are the latest additions to UCP’s impressive genre development slate, including two projects from John Carpenter’s recently announced overall deal “Tales for a Halloween Night” for SYFY and “Nightside.”  In addition to the recent series pick-up of “Umbrella Academy” on Netflix with Dark Horse, UCP is currently in various stages of production and script development on a range of series including: “Happy!” for SYFY; “The Sinner,” “Damnation,” and “Unsolved: The Murders of Tupac and The Notorious B.I.G” for USA Network; “The Purge” for USA Network and SYFY; “All That Glitters” for Bravo; and “Impulse” for YouTube Red.

Joe Corallo: Unmasked Is Back!

Well, I haven’t highlighted a Kickstarter in about a month so I’m going to end that dry spell right now.

Last week Michael Sarrao launched a Kickstarter campaign for his latest graphic novel, Unmasked Volume 2: Promethean. Unsurprisingly, this is the follow up to Unmasked: The New Age Heroes Volume 1 which was Kickstarted back on August 26, 2012. Maybe slightly more surprisingly this is also a follow up to Unmasked: Signal the 32 page one shot which bridges the events of Vol. 1 and Vol. 2 that was also funded on Kickstarter back on April 13, 2014. Both volumes were illustrated by John Broglia and Signal was illustrated by Anthony Gregori.

In total, this will be Michael Sarrao’s fourth comic book Kickstarter. All of his previous campaigns have been successful, and this campaign is only a week in and well on its way to reaching its goal. Michael was kind enough to send me a digital copy of the first chapter of Volume 2 so I can tell you all about it.

Before I get into it I’d like to talk a little bit about Unmasked in general. The story takes place in the fictional city of Seastone where superheroes debuted in 1938 and prominent through the 90s but were absent in the 2000s to be replaced by a more ruthless and violent group of heroes. This captures the interest of a rookie reporter, Paige Cruise, whose father was the world’s foremost superhero expert but has since gone missing. Paige Cruise is out to find out who these new heroes are and is on a mission to unmask them with mixed results.

Now you, loyal reader, may be saying to yourself, “Oh I guess Paige, a reporter, does a lot of research and snooping around to find out who these superheroes really are,” and I have to tell you, “Not exactly, no.” Then you might say, “Well she doesn’t just burst onto the scene and physically grab heroes masks off their faces, right?” To which I have to tell you, “Actually, that’s exactly what she does.” Yes, she physically grabs heroes masks off. I know, it sounds cheesy, but that’s the point. Unmasked is basically a blend of campy Silver Age comics fare played straight with a Watchmen aesthetic. Yes, the threats are all real, but they were in the Silver Age too.

Okay, you’re caught up now? Good. Onto the new stuff!

Unmasked Volume 2: Promethean opens more or less where the series left off. Paige Cruise is still on her quest to unmask heroes though now she herself openly desires to be one, we’re introduced to more chaotic players like Deathdevil, and we learn more about the past of the superheroes in this world.

Where Unmasked: The New Age Heroes Volume 1 feels heavy on the Watchmen tone, Volume 2 blends new elements together and has more of a The Wicked + The Divine tone to it. I love that Image series so I’m not complaining. Michael Sarrao plays a dangerous game here balancing some of the cheesier elements of superhero stories while keeping the tone consistent and getting the reader to take the story seriously and keep the stakes high.

This is the superhero comic you wanted to make and everyone told you no and gave you a long list of why you shouldn’t; mostly because there are just too many places it could all go wrong. Michael has not only successfully handled this material, but he did it his way and has two successful Kickstarters under his belt with this material alone and soon to have a third in the Unmasked-Verse when the Volume 2 campaign wraps up.

I do have to say that none of this would have likely happened for Michael if he didn’t get John Broglia to do the artwork. I may be a little biased because John is one of my favorite people working in comics right now, but he expertly executes a concept that walks a thin line. He gives Unmasked a pop art vibe, with the vital help of colorist Paul Little, elevating the story far more than any words could. Just skimming through these pages you can interpret the tone of this book flawless. It’s a necessary skill in comics, but difficult to master. John Broglia makes it look all too easy.

Having read the first chapter of Unmasked Volume 2: Promethean I can honestly say it has a lot of promise and it’s a stronger start than the first volume. If you’re into indie superhero titles, this is required reading. Check out their Kickstarter campaign and think about donating.

Join me next week when I interview a comic creator on a new project and then the week after when I get back to writing really pretentious stuff!

Disney Rolls out 4K Ultra HD, Blu-ray for 5th Pirates

BURBANK, Calif. (July 14, 2017) — From Disney and Jerry Bruckheimer Films, it was announced today at D23 Expo, that Pirates of the Caribbean: Dead Men Tell No Tales—the fifth film in the now-iconic Pirates of the Caribbean film franchise—will sail home on Digital in HD and 4K Ultra HD™ on September 19, and on 4K Ultra HD™/Blu-ray™ Combo Pack, DVD and On-Demand on October 3.

Pirates of the Caribbean: Dead Men Tell No Tales is a rollicking new tale of the high seas, infused with all the elements of fantasy, humor and action that have resulted in an international phenomenon for the past 13 years. Johnny Depp returns to his Academy Award®-nominated role as the outrageous, swashbuckling scoundrel Captain Jack Sparrow, and is joined by Oscar® winners Javier Bardem (Best Supporting Actor, No Country for Old Men) and Geoffrey Rush (Best Actor, Shine).

Fans who bring home Pirates of the Caribbean: Dead Men Tell No Tales will experience the nonstop action in stunning 4K Ultra HD format, the ultimate home entertainment experience with next-generation high dynamic range (HDR) visuals and Dolby Atmos® immersive audio.

Bonus material includes a collection of behind-the-scenes, making-of stories, including a conversation with directors Joachim Rønning and Espen Sandberg; a sit-down with the two young newcomers who play Henry and Carina; the secrets behind the menacing new villain, Salazar, and his ferocious ghost sharks; an on-set visit with Jack’s first mate from all five films; a chat with Sir Paul McCartney who appears as Uncle Jack; and a discussion about the franchise’s legacy; along with hilarious bloopers, deleted scenes and memories from producer Jerry Bruckheimer’s photo diary.

The rip-roaring adventure—packed with humor, suspense and jaw-dropping special effects—finds down-on-his-luck Captain Jack feeling the winds of ill fortune blowing strongly his way when deadly ghost sailors, led by the terrifying Captain Salazar (Bardem), escape from the Devil’s Triangle bent on killing every pirate at sea—notably Jack.

Bonus features include*:

BLU-RAY & DIGITAL in HD:

  • Dead Men Tell More Tales: The Making of a New Adventure – Get unique access into the making of this exciting new Pirates of the Caribbean movie with this collection of revealing and entertaining stories that you can view individually or as a “play all.”
    • A Return to the Sea – Two talented filmmakers, Joachim Rønning and Espen Sandberg, team up to bring Pirates of the Caribbean back to the screen. Hear how this new chapter of the tale was developed.
    • Telling Tales: A Sit-down with Brenton & Kaya – Meet Brenton Thwaites and Kaya Scodelario, the young actors behind Henry and Carina. The two sit down together for a revealing conversation on becoming a part of the Pirates of the Caribbean film franchise and its continuing legacy.
    • The Matador & The Bull: Secrets of Salazar & The Silent Mary – Oscar-winner Javier Bardem reveals more about his menacing new character and the foreboding ship he helms.
    • First Mate Confidential – Go on-set along with Kevin McNally, the affable actor behind the feisty Mr. Gibbs, Captain Jack’s reliable first mate from all five movies.
    • Deconstructing the Ghost Sharks – Peer below the depths at how these ferocious, mythical monsters were designed and brought to life.
    • Wings Over the Caribbean – Captain Jack has a memorable encounter with Sir Paul McCartney – rock ‘n’ roll royalty.
    • An Enduring Legacy – Take one more look at the Pirates of the Caribbean: Dead Men Tell No Tales  experience and the impact of “Pirates of the Caribbean” — the movies, the ride and beyond.
  • Bloopers of the Caribbean
  • Jerry Bruckheimer Photo Diary
  • Deleted Scenes
    • Highwayman
    • Henry Turner Learns a Lesson from Captain Jack
    • A Whale in Poseidon’s Tomb
    • Alternate Coda: Murtogg & Mullroy “Flogging”

DVD:

  • First Mate Confidential

Pirates of the Caribbean: Dead Men Tell No Tales is produced by Jerry Bruckheimer and directed by Joachim Rønning and Espen Sandberg, with the screenplay by Jeff Nathanson (Catch Me If You Can, Indiana Jones and the Kingdom of the Crystal Skull) and story by Nathanson and Terry Rossio.  The executive producers are Mike Stenson, Chad Oman, Joe Caracciolo, Jr., Terry Rossio and Brigham Taylor.

The film stars Johnny Depp (Fantastic Beasts and Where to Find Them, Disney’s Alice Through the Looking Glass), Academy Award® winner Javier Bardem (No Country for Old Men, Skyfall), Brenton Thwaites (The Giver, Maleficent), Kaya Scodelario (The Maze Runner films, upcoming The King’s Daughter), Kevin R. McNally (Pirates of the Caribbean franchise, Macbeth Unhinged), Golshifteh Farahani (Paterson, Body of Lies), David Wenham (Lion, 300: Rise of an Empire), Stephen Graham (Pirates of the Caribbean franchise, Gangs of New York) and Academy Award® winner Geoffrey Rush (The King’s Speech, Pirates of the Caribbean franchise).

SPECIFICATIONS:

Product Offerings: Digital = 4K UHD with HDR (HDR-10 or Dolby Vision), HD, SD
Physical = 4K Ultra HD Combo Pack (4K UHD with HDR-10, Blu-ray, Digital in HD/SD), Blu-ray Combo Pack (Blu-ray, DVD, Digital in HD/SD), DVD
On Demand – October 3rd – check with your local provider
Feature Run Time: Approximately 129 minutes
Rating: PG-13 in U.S., PG in CE, and G in CF
Aspect Ratio:  2.40:1
Audio:  4K UHD Blu-ray = English Dolby Atmos, English, Spanish and French 7.1 Dolby Digital Plus, English 2.0 Descriptive Audio
4K UHD Digital = English Dolby Atmos (platform dependent), English 5.1, English 2.0
Blu-ray = English 7.1 DTS-HDMA, English 2.0 Descriptive Audio, Spanish and French 5.1 Dolby Digital Language Tracks
DVD = English, Spanish and French 5.1 Dolby Digital Language Tracks,
English 2.0 Descriptive Audio
Subtitles: Physical =  English SDH, Spanish and French Subtitles
Closed Captions: Digital = English; DVD = English

Mindy Newell: Of Storms And Sun

It feels like a month. Two months.

It has been only two weeks.

A dark and stormy two weeks.

The reason I wasn’t here last week was that my 91 (and a ½) year old mom has been suffering the frailties of old age, including a steadily increasing dementia secondary to a history of micro vascular cerebral bleeds and a thalamic stroke a week before my dad died. It’s a retrospective blessing, as I’m not sure she remembers that he is dead, always referring to him as being “away.” That either means that she has confused my brother, who is the spitting image of my father, with him (and at the time of that statement Glenn was in China in his capacity as physician for the Philadelphia Orchestra), or that her time sense is displaced and believes that he is still flying his beloved P-51 in the CBI Theater of Operations during WWII.

The only time she “awoke” to my father’s death was at the funeral – “Taps” had been played, the flag draping his coffin folded and handed to her – she thanked the officer, though it was clear that she didn’t really “get” what was going on – and then, just as the casket started to be moved to the graveside for internment, she wailed, a cry of the banshee that reverberates across the cemetery and which will echo in my heart for the rest of my life, sinking to her knees between the arms of my brother and myself, crying out, “No. Oh, no!… Don’t take him!” It was chilling and heartbreaking – and then she seemed to withdraw again, and for the rest of the day, she was quiet.

Anyway, on July 3rd in the late afternoon, my mom fell and broke her hip. All things considered, it was a “simple” break, and she spent Independence Day in the OR of Cooper University Medical Center in Camden – the “Coop,” as it is called, and it is one hell of a wonderful hospital. Of course I was there, and in the Recovery Room she knew I was there despite the anesthetic dream state, and I even got her to apologize to her nurse for making her come in on a holiday. So the operation was a success, as the saying goes, but…

No, she didn’t die. In fact, she was out of bed and in a chair the next morning and even walked a little bit. She was transferred back to her nursing home on Thursday evening, and… here comes the “wait”…

…became agitated and confused, climbed out of her “geri-chair,” (which looks like a Barco lounger or a Lazy-Boy), and fell on her face and head, resulting in a subarachnoid hemorrhage.

Immediately transferred back to the “Coop.”

My brother and I talked… she was in the Trauma Intensive Care Unit, but we treated her conservatively. Monitoring, yes, but nothing else. This means not even a feeding tube. It is what she wanted – both of my parents’ Advanced Directives were/are 10 pages of legalese that could be summed up in a single sentence: “Leave us alone.”

Over the next day or so, she stabilized. She knew I was there, able to give me a kiss and even took some ice cream, ice chips, and bacon from Glenn. We have now transferred her back to the nursing home, as there was/is no reason for her to be in the hospital. In fact, new orders: Do Not Admit to Hospital. She is on hospice and receiving comfort care.

And then, on Wednesday, I was walking into work, and…well, this is what I wrote on my Facebook page:

“So the klutz (me) is walking into work on Wednesday, and she trips on the irregular sidewalk and goes down… gets up, helped by a Good Samaritan, assuring him the klutz is all right. Start to walk…okay, it hurts, but I come from the school of “walk it out,” and thinking, eh, I sprained it…

“Fucking broke my ankle!!!!”

I actually went into work, changed into scrubs, got my assignment and tried to work. In my first room, the anesthesiologist noted my swelling-and-turning-colors ankle. I told him what happened; he said I’d better put some ice on it. I went into the post-anesthesia care unit and got ice. When I told the other nurses what happened, they said that since it happened on hospital grounds I’d better report it. I soon found myself in a wheelchair on the way to the ER and X-rays.

And that’s how I found out I fucking broke my ankle!!!!

All things considered, I was very lucky. Read that as: it could’ve been worse. For those of a medical nature or with anatomical interest, it’s an avulsion fracture of the distal tip of the left fibula. Which means that when my ankle twisted, the ligaments and tendons stretched and pulled the some of the bone off. As I said to my friend, Dr. Glenn Atlas, “strong ligaments and tendons.”

Like my brother and me deciding to treat my mom conservatively, my wonderful orthopedic surgeon said he could treat the fracture the same way. I was in a splint for two days, and now can use a walking boot, though I’m not running a marathon, or even a 5K, or even a mile, for that matter. Mostly I’m staying off of it as much as possible.

Oh, and I’m also out of work for at least six weeks.

Which means – and bringing this back to comics – I have plenty of time to write.

So, I’m working on a story for a major project that ComicMix has put together that we’ll be announcing in a bit over a week. And I’m also putting together a proposal for a graphic novel. It’s been a long time between comics work for me – gotta say I’m filled with a little bit of trepidation, but also feeling the blood of creation bubbling and roiling in my veins and my head is full of sequential panels and dialogue.

This has been some dark and stormy two weeks.

But maybe, just maybe…and “fer shur” eventually –

The sun will come out.

Ed Catto: The Power of Walter Simonson

In 1977, the Syracuse Post Standard blazed the headline “Comic Book Confab Listed” to announce the second Ithaca Comic Convention. Actually, I think it would be more appropriate to say they whispered the headline. It was scrunched in the middle of a crowded page. The article listed professional comic guests such as Walter Simonson and Al Milgrom. I’m not one-hundred percent sure if that’s how my family found out about that second Ithaca Comic Con way back then. It may have been from seeing a flyer on the bulletin board at Fay’s Drug Store. That used to be a legitimate marketing venue too. But the big takeaway is that back then, the concept of a comic-con certainly wasn’t understood.

“People meet to buy and sell old funny books?” The very notion sounded absurd.

Today’s comic conventions and “cons” are part of the nation’s everyday lexicon. Any gathering gets a little extra oomph by adding “-con” as a suffix. Every Comic Con held anywhere in the country gets a modicum of respect and “Comic-Con International” (commonly referred to as San Diego Comic-Con, or simply SDCC) is right in the center of pop-culture radar.

At the Confab

It was at that Confab in Ithaca that I first met Walter Simonson. I was already a big fan. His Manhunter in Detective Comics, written by Archie Goodwin, had made every fan sit up and take notice. At the time of the convention, he was illustrating a black and white Hulk magazine story that told lost tales of the character’s early days in the Marvel Universe. It was called a continuity implant back then, but I simply realized it was a fresh, outstanding story. I was elated to meet the guy drawing it at this Ithaca Comic Con.

You know how sometimes we meet our cultural heroes and they are really jerks? We spend all this time worshiping a celebrity’s accomplishments, only to have it all come crashing down when they reveal an unappealing side to their personality in a personal meeting? We all have probably experienced that type debilitating letdown.

Well, meeting Walter Simonson was the polar opposite of that. He was kind and patient with me and to everyone there. He was a big talent wrapped in a smile wrapped in supportive enthusiasm.

It’s no one wonder he’s still often referred to as ‘the nicest guy in comics.”

”You will hear similar stories from many comics professionals,” said J.C. Vaughn of Gemstone and The Overstreet Comic Book Price Guide. “Walter Simonson was the first comic professional to talk to me one on one as if I were an actual person. Never mind that he’s Walter Freakin’ Simonson, one of the greatest comic artists to walk the planet; he’s also Walter Simonson, a genuinely good guy (we could use more of both). To hire him (twice!) to do covers for the Guide has been a joy, real wish-fulfillment stuff.”

RAGNAROK

More recently, I met with Walter and his wife Louise at his home to discuss his latest project, Ragnarok. It’s a fantastic IDW series that reimagines the Norse legends, including Thor, in a completely different setting than the Marvel version. He used the phrase “Norwegian Zombie” to describe it.

And reinforcing his humble nature, he’s quick to point out two of his collaborators on this project: Laura Martin and John Workman.

During this visit, Walter showed me pages of issue #10. This is a moving issue that explores the distortion of a brand. Basically, Thor finds the symbol of his hammer is being used for something rotten. Where are the trademark and licensing lawyers when you need them?

As with so many Walt Simonson stories, it’s full of power, action, and majesty. But my favorite moment was at the story’s finale when a woman is kneeling and we, as the readers, have a view of the soles of her feet. It’s a usual image for a comic, for whatever reason, but rendered with care and love. “I had to ask Weezie to pose for that,” laughed Walter. He meant that he needed to ask his wife Louise to serve as an artist’s model in order to render the character’s feet correctly.

Let’s talk about Louise Simonson for a moment. She’s quite an impressive creator. Like Walter, she’s humble and soft-spoken. That’s especially impressive as she has every right to be boastful and proud. Her accomplishments are many, but I am always struck by her kind and gentle manner. I’d tend to think that she’s a huge part of the Walt Simonson mystique. Any man married to a woman like Louise Simonson would clearly want to do his best each and every day.

Plus: she made a mean breakfast when I visited. We really must devote another column to this fascinating person at some point down the road.

Walter also revealed a bit of his own personal background and how it influences his latest series. He spoke to me about his family history in North Dakota, and the wheat farms of the 1800s. There seemed to be a sense of adventure about it all and a respect for the “giants of the earth.” His parents even kept an extensive library that contained a few mythology books from the 1890s. The lessons of this all stayed with him well into his years learning design at the Rhode Island School of Design.

He summed up so much of his background and learning in his mantra for storytelling, “Play by the rules, but still surprise.”

SDCC

This week at the San Diego Comic-Con, publisher IDW has a clever marketing promotion centered on Walt Simonson. Lucky fans will be having dinner with Walter, receive two of the enormous and lovingly crafted IDW Simonson books, get them autographed, and receive a sketch or two. Not surprisingly, the unique event quickly sold out.

I asked IDW’s Director of Special Projects, Scott Dunbier, to speak a little about Walter. He offered a clever and genuine response:

“What can I say about Walter Simonson that hasn’t been said before? Blah blah blah legendary creator blah blah blah brilliant run on Thor blah blah blah nicest guy in comics. Sure, all those things are true. But best of all, I get to work with him and talk to him on a regular basis. I’ve got a great job!”

There may be another big night at San Diego Comic-Con for Simonson. The Eisner Award Committee has nominated him for the Hall of Fame. To be fair, there are many other deserving creators on that impressive list. I have no idea how the judging actually works, but I certainly wish him luck.

This week Walter and Weezie will be at the epicenter of pop culture at the San Diego Comic-Con. And I’m sure they’ll continue to inspire many more people.

John Ostrander: The Digital Dog Ate My Homework. Honest.

When doing my writing lectures/classes, near the start I always ask who in the class would consider themselves to be storytellers. A few raise their hands and then I tell everyone to raise their hands.

We’re all storytellers. We all use story in our daily lives. They’re the atoms of our social interactions. The example I give is if you’re a student and you’re late with your homework assignment you should have a good reason why. Make it a good story. “My dog ate my homework” no longer qualifies – if it ever did. In fact, given how much everything is done on computer these days, it would have to be “My digital dog ate my homework.” It’s not any more compelling than the old version, but it might be considered moderately clever.

Deadlines remain a factor long after you leave school and nowhere is that truer than in comics. In his editorial capacity, my good friend Mike Gold once warned me I had moved past deadline and was approaching the funeral line. He also once rang the doorbell of a truant artist (he happened to be in the artist’s home town on other business). Editors showing up on your doorstep can be unnerving.

In my earliest days as a pro writer, I did everything on typewriter (first manual and then electric; rumors that I chiseled them on stone tablets are just mean). I didn’t have a computer until later and, even when I did, some companies (including DC) were not equipped to receive them electronically. So that meant printing them up on my dot-matrix printer and then rushing them off to FedEx for overnight delivery.

Unless you called in your package by a certain time, usually much earlier than you had the work done, you had to take the package to the nearest FedEx office. If you didn’t hit the office by closing time (usually around 6 PM), you had to make the Midnight Run to the main FedEx office out by the largest airport around. More than once, Kim was the driver while I finished collating the pages, stuffing them in the envelope, and addressing the delivery slip. Let me tell you, Speed Racer had nothing on Kim. She’d run stoplights and take stop signs as suggestions to be ignored. Often, we’d meet other local freelancers also making the death defying Midnight Run. It almost got to be a club.

It was something of a step up when I could fax the script in; that could be done at any time. It still wasn’t completely convenient. These days it’s all done electronically. For instance, this column will never see paper.  As soon as it’s finished, it’s a rush to Hotmail and then to the hallowed halls of ComicMix. It doesn’t have quite the same romance as the Midnight FedEx Run but, on the other hand, there’s a lesser chance of a traffic fatality. And fewer chances for an alibi although the possibility that my steam-powered computer (a.k.a. the digital dog) ate my column is potentially truer than the classic excuse.

Of course, all this could be avoided by simply buckling down and doing the work on-time but, hey, where’s the fun in that?

Right, Mike?

Marc Alan Fishman: The Push of the Pull Box

As a rite of passage to become an official “Comic Book Nerd,” the pull box subscription is a near-impossible-to-ignore piece of the puzzle. For those playing along at home: the other parts include strong unwavering opinions you’re willing to argue over until your death, an ability to rattle off superhero minutiae without the use of Wikipedia, and typically a small collection of not-always-well-fitting graphic tee shirts. But I digress.

The pull box, for the uninitiated, is a service wherein a customer subscribes to weekly comics, and are held by their local comic book store for purchase. Every store does this a little different, but the big takeaways remain fairly standard: Pull box subscribers are offered a bit of a discount (often progressively increasing with order size) and are usually honor bound to come in and “clean out the box” as often as they’re able to.

For perspective, I asked my own local comic book retailer (Joe Bullaro of The Zone in Homewood, IL) about pull boxes, and he put it quite succinctly:

“I couldn’t imagine a store succeeding without a pull service… but I think many stores can fail because of one. “

For the store, pull boxes are mostly guaranteed sales. When customers are engaged with their store, and the current draw of monthly titles, there’s a wonderful symbiotic relationship. Back in my subscription days, a weekly trip to the comic shop was one looked forward to as seeing a good friend. Witty banter about what was occurring in the books I followed locked in step the way one might gab about their favorite TV shows. Each issue an episode. Each story arc picked apart for organic and passionate discussion. As Joe would denote to me “…it’s a community. It creates a bond between a customer and their store.” Loyalty feeding into prosperity.

But the pull box system is not always a box of roses. Joe was quick to add “…people abandon 100’s of dollars of books and don’t [always] communicate [their] reasons.” While some stores combat this by tying customers’ boxes to an on-file credit card… smaller stores know doing so limits customer’s desire to be officially subscribed to anything. Call it a fear of commitment. So it becomes a double-edged sword. Attempt to guarantee that pull boxes are clean, and potentially carve away swatches of your buying public. Even in my quaint little suburb, a comic fan is not necessarily limited to a single store to procure their fiction.

In addition to the potential fallout of customers who choose to inexplicably abandon their boxes, comes the actual work involved at the store to maintain the boxes in the first place. Every subscription to a book comes with a two-month ordering window. The book sits outside the regular order the store may keep for their off-the-shelf offerings. This means, for example, ordering 50 copies of Detective Comics to fulfill 40 different pull boxes, and keep 10 issues on the shelf for new comic book day when the issue arrives. And if the book is popular, like Detective Comics is, well, this is perfectly fine. But place your order on a more obscure title (even one from Marvel or DC) and you now place a bet: that your subscriber will buy the book, and if they don’t, placing it on your shelf isn’t taking up space a better book might inhabit.

And then, of course, there comes the issue of annuals, double-drops, mini-series, new creative teams, or the dreaded crossovers. A fan of Green Lantern may be faced with a dozen options in a given month. And they need to commit two months in advance to ensure what they want is held back for them. It’s a dangerous game when the love of a character or book begins to wane.

A few years ago, I made the choice to stop being a weekly subscriber. Faced with a less-than-enthusiastic opinion of the constant cycling of Epic Crossover, New Series Debut, Dwindling Sales, Book Cancellation, Repeat, I ultimately decided my comic purchases should be curtailed to graphic novels and indie titles procured at conventions I attended. While I have never personally abandoned a pull box before, I have been guilty of racking up massive back issues of books I slowly grew tired of. Wednesday Comics, Countdown to Final Crisis… thy name is mud.

So, where to leave the debate? Like so many things in this world, there’s a spectrum between black and white. As a necessary evil, the pull box can keep a store open perhaps almost as often it can wind up a debtor’s downfall. As a means to create a community and store culture, it can unite masses under common interests, or create the sparkling debate that ingrains a base of customers to their local store.

For me, it’s a matter of maturity and conservatism that prevents me from being a card-carrying member anymore. But I’d be lying if I said I didn’t miss walking into a shop, to be greeted warmly with a fresh pile of books awaiting my geeky eyes.

Sword & Sorcery Heroes Make 4K HD Debuts

PROGRAM DESCRIPTION

Experience the exhilarating adventures of the legendary heroes in the most amazing picture quality available today when both Conan the Barbarian and The Legend of Hercules arrive separately on 4K Ultra HD Combo Pack (plus Blu-ray™ and Digital HD) on September 19 from Lionsgate. In Conan the Barbarian, Jason Momoa portrays the vengeful warrior on a quest to find and kill the evil warlord who murdered his father when he was a boy. Directed by Marcus Nispel (The Texas Chainsaw Massacre) and written by Tehomas Dean Donnelly & Joshua Oppenheimer and Sean Hood, the film also stars Stephen Lang, Rose McGowan, Rachel Nichols, and Ron Perlman. From director Renny Harlin (Die Hard 2) and written by Sean Hood and Daniel Giat, The Legend of Hercules, a Summit Entertainment release, tells the origin story of the mythical Greek hero, played by Kellan Lutz.

Both movies are available for the first time on 4K Ultra HD, which provides over four times the resolution of full HD and includes High Dynamic Range (HDR) to deliver the brightest, most vivid and realistic color with the greatest contrast. The action-packed films Conan the Barbarian and The Legend of Hercules will both be available on 4K Ultra HD Combo Pack for the suggested retail price of $22.99 each.

CONAN THE BARBARIAN OFFICIAL SYNOPSIS

A quest that begins as a personal vendetta for the fierce Cimmerian warrior soon turns into an epic battle against hulking rivals, horrific monsters, and impossible odds, as Conan realizes he is the only hope of saving the great nations of Hyboria from an encroaching reign of supernatural evil.

THE LEGEND OF HERCULES OFFICIAL SYNOPSIS

Banished by his stepfather, the king, Hercules slowly becomes aware of his true origins as the son of Zeus. As he learns to harness his demigod powers, Hercules gathers an army to fight his way back to his kingdom in this action-filled epic.

CONAN THE BARBARIAN BLU-RAY/DIGITAL HD SPECIAL FEATURES

  • Audio Commentary With Director Marcus Nispel
  • Audio Commentary With Actors Jason Momoa and Rose McGowan
  • “The Conan Legacy” Featurette
  • “Robert E. Howard: The Man Who Would Be Conan” Featurette
  • “Battle Royal: Engineering the Action” Featurette
  • “Staging the Fights” Featurette
  • Theatrical Trailer

THE LEGEND OF HERCULES BLU-RAY/DIGITAL HD SPECIAL FEATURES

  • Audio Commentary with Director Renny Harlin and Actor Kellan Lutz
  • “The Making of The Legend of Hercules” Featurette

CONAN THE BARBARIAN CAST

Jason Momoa              Game of Thrones, Justice League
Rachel Nichols            G.I. Joe: The Rise of Cobra, Star Trek, Continuum
Stephen Lang              Avatar, Don’t Breathe, The Men Who Stare at Goats
Rose McGowan          Charmed, Nip/Tuck, Grindhouse
Leo Howard                Kickin’ It, G.I. Joe: The Rise of the Cobra
Ron Perlman                Hellboy, Sons of Anarchy Hand of God”

THE LEGEND OF HERCULES CAST
Kellan Lutz                  Twilight franchise, The Expendables 3, The Comeback
Gaia Weiss                  Vikings, Mary Queen of Scots
Scott Adkins                Doctor Strange, The Expendables 2, The Bourne Ultimatum
Roxanne McKee         Dominion and Hollyoaks, Wrong Turn 5: Bloodlines

CONAN THE BARBARIAN PROGRAM INFORMATION

Year of Production: 2011
Title Copyright: Conan the Barbarian © 2011 Conan Productions, Inc. All Rights Reserved. Artwork & Supplementary Materials © 2017 Lions Gate Entertainment Inc. All Rights Reserved.
Type: Theatrical Release
Rating: Rated R for strong bloody violence, some sexuality and nudity
Genre: Action, Adventure, Fantasy
Closed Captioned: N/A
Subtitles: English, Spanish, English SDH
Feature Run Time: 113 minutes
4K Format: 2160p Ultra High Definition 16×9 Widescreen 2.40:1 Presentation
Blu-ray Format: 1080p High Definition 16×9 Widescreen 2.40:1 Presentation
4K Audio Status: English Dolby Atmos, French 5.1 Dolby Digital Audio, English 2.0 Dolby Digital Optimized for Late-Night Listening
Blu-ray Audio Status: English 5.1 DTS-HD Master Audio™

THE LEGEND OF HERCULES PROGRAM INFORMATION

Year of Production: 2013
Title Copyright: The Legend of Hercules © 2013 Hercules Productions, Inc. Artwork & Supplementary Materials © 2017 Summit Entertainment, LLC. All Rights Reserved.
Type: Theatrical Release
Rating: Rated PG-13 for sequences of intense combat action and violence, and for some sensuality
Genre: Action, Adventure, Fantasy
Closed Captioned: N/A
Subtitles: English, Spanish, English SDH
Feature Run Time: 98 minutes
4K Format: 2160p Ultra High Definition 16×9 Widescreen 2.40:1 Presentation
Blu-ray Format: 1080p High Definition 16×9 Widescreen 2.40:1 Presentation
4K Audio Status: English Dolby Atmos, Spanish 5.1 Dolby Digital, English 2.0 Dolby Digital Optimized for Late-Night Listening, English Descriptive Audio
Blu-ray Audio Status: English 7.1 DTS-HD Master Audio™, Spanish 5.1 Dolby Digital, English 2.0 Dolby Digital Optimized for Late-Night Listening, English Descriptive Audio

Tweeks: Spider-Man Homecoming Review

There’s so much to discuss. Like how much we love Tom Holland. Like how Zendaya was all over the marketing for a meh role in the actual movie. Like Donald Glover. Like how it’s so refreshing to have movie teenagers actually look & act like real teenagers. Like how Spiderman compares to Wonder Woman. And other stuff too, but you have to watch.

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