Gilbert Hernandez is a cartoonist of extremes. Just looking at his work related to the Palomar/Luba set of stories, he ranges all the way from the joyous porn of Birdland to the (equally joyous, in very different ways) kid-friendly stories from the turn of the century about Venus.
Venus also appeared in stories that aren’t kid-friendly, which could make sharing a book like Luba and Her Family (which has the bulk of those Venus stories) with an eight-year-old somewhat problematic. But, luckily, there is a just-the-kid-stuff Venus collection:The Adventures of Venus.
As far as I can tell, this small book — it has half-size comics pages, and less than a hundred of them — entirely consists of stories also in Luba and Her Family, so most people will not want to buy both of them. (Some people, naming no names, might have bought both of them thinking they were different things.)
The long, weird story about the “blooter baby” was original to this book, which otherwise collected all-ages material by Hernandez from the late-90s comic Measles. (It was a multi-author anthology, so he had just one Venus story each issue.)
Venus is fun and spunky, but these are mostly the lesser stories about her — concerned with normal kid-activities like soccer and with her social interactions. The other Venus stories, the ones not specifically aimed at kids, give her more depth and make her more interesting, though they probably are unsuitable for this age range — she’s exposed to knowledge of a whole lot of the illicit sexual pairings going on in Hernandez’s work in that era. (Including her own mother.)
So this is a perfectly nice book for a young audience. The only place it leads, though, is somewhere its target audience can’t follow, which could be a problem for a household that combines inquisitive young readers and copies of those other Hernandez books. And anyone older than that should just get Luba and Her Family, which has all of these stories and a lot more.
The second wave of Batmania was ignited in 1989 when Tim Burton finally got a big screen adaptation of the comic book hero into theaters. It was such a wild success in terms of merchandising that Warner Bros wanted more and quickly. Since features take two to three years, they needed something sooner and the success of their Tiny Tunes and Animaniacs encouraged them to bring the Dark Knight back to television.
Thankfully, the project was placed in the hands of Alan Burnett, Bruce Timm, and Paul Dini who were not only fans of the character but the earliest cartoon fare. Taking a visual cue from Burton and a stylistic one from the Fleischer Brothers Studio, they produced a Batman cartoon unlike anything from the 1960s or 1970s. Batman the Animated Series was sampled on prime time in September 1992 before launching on Fox Kids and for three seasons, there was nothing quite like it.
The episodes have been collected before; including a beautiful DVD box set in 2008, but now, Warner Home Entertainment has remastered the files for high definition and gifted us with Batman: The Complete Animated Series. This lush 12-disc collection has not only every episode of the series but the two feature films – Batman: Mask of the Phantasm and Batman & Mr. Freeze: SubZero — it spawned as well.
Not only did the series look grim and gritty, it was blessed with a Danny Elfman theme, further connecting it with the features. The stories were far from kiddie fare as the writing staff took the gruesome, tragic, and mentally deranged rogues and reinvented them for the small screen. This is where Mr. Freeze got an origin that made you feel for the scientist, and benefitted from the Mike Mignola redesign.
One of the series’ greatest strengths was in its voice casting, led by Kevin Conroy (Batman), Clive Revill and Efrem Zimbalist Jr (as Alfred), Melissa Gilbert (Batgirl), Brock Peters (Lucius Fox). The villains were led by Mark Hamill’s Joker, Richard Moll (Two-Face), Arleen Sorkin (Harley Quinn), Adrienne Barbeau (Catwoman), Paul Williams (The Penguin), Ron Perlman (Clayface), Ed Asner (Roland Daggett), and Roddy McDowall (The Mad Hatter). The show also paid tribute to the first era of Batmania with Adam West portraying The Gray Ghost.
Dini and Timm struck a nerve when they created Harley Quinn, designed as a one-off character but everyone fell in love with her, from the design to Sorkin’s voice. She has become DC’s answer to Deadpool in terms of ubiquity and is getting her own series on the DC Entertainment streaming service (although Sorkin is being replaced with Kaley Cuoco).
There was something for children, teens, and adults in every episode with visuals taken from the comics, stories adapted from the comics by scribes including Len Wein and Martin Pasko. It was such a well-crafted show that it earned multiple Emmy Awards and critical acclaim while the features, in lesser hands, crashed and burned.
The Blu-ray scans of the film negatives means we’re presented with the original 1.33:1 aspect ratio but the look is cleaner and clearer than ever before. This series was among the last to be predominantly hand animated and you can enjoy every frame. The video accompanying this review demonstrates the differences. The audio is offered as a 2.0 DTS-HD Master Audio lossless audio track and sounds tremendous.
The 12-discs are lovingly packaged with fine graphics and offer viewers the 109 episodes in production order, including the ones entitled The Adventures of Batman & Robin and The New Batman Adventures. Most of the Special Features from previous editions are replicated here so you get commentary from Timm, Dini; writer Michael Reaves; directors Glen Murakami, James Ticker, and Dan Riba; and producers Eric Radomski, Boyd Kirkland, and Kevin Altieri. (Missing are the Timm intros from the 2008 box set but it’s a minor quibble.)
Shades of the Bat: Batman’s Animated Evolution is absent with the 22-minute featurette replaced with the three-part Heart of Batman, hosted by Dini. Reunited for the discussion are Dini, Timm, Radomski, Burnett, Fox’s Jean MacCurdy, now-retired voice director Andrea Romano and her finds, Conroy and Strong. Hamill’s is included via welcome archival footage.
The feature film discs are replicas of previous editions so some animated episodes are repeated as bonus features.
The Limited Edition box set also includes seven lenticular animation artwork cards, and a set of three Funko Pocket POPS figures: Batman, Joker, and Harley Quinn. There is also a Digital Copy code and initially, there was a problem with SD not High Def versions available and Warner has been working on the issue, promising an upgrade in the future.
Andi Watson, I think, started off expecting to tell stories of action and adventure in comics, with a fantastic flair, but kept finding those stories turning more personal and character-focused as he told them. (I could say “more mundane,” but that sounds like an insult. It isn’t: life itself is mundane. But it sounds that way.)
That happened on a large scale with his first major series, Skeleton Key, which I re-read earlier this year. And it happened on a smaller canvas with Geisha, the four-issue series that he created in between the main run of Skeleton Key and the four-part “Roots” coda in 1999.
The Complete Geisha is the 2003 book that collects all of the Geisha work up to that point — I think there might be some later short stories, but this could be it. It collects the main four-part story from the fall of 1998, a one-shot follow-up from 2000, and a few short related stories.
There’s no geisha in the book — at least, not any obvious one. Jomi Sohodo is an android raised in a human family — this seems to be rare, if not unique — who wants to be an artist, even though it’s heavily hinted that her line was designed as sexbots. She doesn’t want to work in the family bodyguard business, as her three human brothers do, but it’s paying work, and she has a hard time selling her paintings, so she ends up, over the course of the original story, in the family business. And that leads to drama and complications, as the body she guards is a top model with an angry ex-manager/boyfriend and her new art patron is a nasty gangster.
I don’t know if Watson expected to tell a story of androids in human society, or if the sexbot thing was ever supposed to pay off. But Jomi is the only android we see, in a society that I think is supposed to be full of them, and he seems less interested in the running around and bodyguarding than he is with Jomi’s struggles to get into the art world and the compromises she has to do along the way.
The one-shot, two years later, is in Watson’s softer mature style — and I could mean both the art and the story. There’s more shading in the art, rounder edges , and very little “action” in the usual comics sense. And it’s about Jomi as a person, particularly her relationship with one brother starting a new band, rather than anything plottier.
So this is transitional Watson, starting from the story he thought he wanted to tell (or that he thought the market wanted, or someone told him to make for that market) towards more individual stories like Love Fights or Little Star. Transitions are quirky, individual things, and Geisha shows some of that in its shape, but it’s still a good Watson comic about art and family and finding your place in the world.
Day 4 of #NaGraNoWriMo! Last time, I told you that a full script for comics can look very deceptively like somethings it should never be… and those are plays: both traditional stage plays and screenplays.
Why? Because they simply don’t describe the same things.
The single most important difference between a play script and a comic book script is that a comic story is made up of single frozen moments that express something, most often either an action or an emotion.
Plays don’t do that. Plays describe ongoing action and motion, and comics are not built to do that, as they’re made out of single images. You’re not writing in documentary, you’re writing in newspaper photographs.
Take one of the most famous photographs of all time:
You can’t tell if someone just put on his hat. You can’t even tell if someone is blinking. What you can tell is that each person is doing a specific action, some of which are in reaction to other actions.
That’s the best you can hope for– that each person in the shot gets an action, and that the image expresses something.
When describing a scene in a film/TV script, one can describe continuous actions with great economy. For instance, a line of action in a screenplay might read, “Porter gets up from the table, picks up the phone, and uses it to smash in Resnick’s skull.” The reason this direction works in a screenplay is that it’s a blueprint for a motion picture—emphasis on motion. That one sentence might end up being depicted with a half-dozen different shots edited together in a film, but in the script, one needs to describe only the continuous series of actions.
Comic-book scripts are not blueprints of moving action but instructions from which an artist will render sequences of static images that imply movement by breaking down an action into decisive images across any number of panels.
What that means for the story you’re telling is the one thing you may have hoped you’d never have to deal with as a writer… math.
In case you missed it this summer, Disney Home Entertainment is releasing The Incredibles 2 on disc this Tuesday, giving you something to do after you vote. In anticipation of this release, the studio has begun sending out some of the bonus material to be found on the Blu-ray.
For starters there’s the Fashion of Edna Mode. Edna “E” Mode (voice of Brad Bird) possesses impeccable design sense, a keen understanding of cutting-edge technology and an unmatched skillset. A creative visionary, she longs for the return of Supers so she can once again create functional yet cutting-edge supersuits.
Concept Art – Edna Mode Fashion Models – Concept art features design work by Deanna Marsigliese and Tony Fucile, highlighting Edna Mode’s fashion show and her rival supersuit designer, Galbaki, who craves fame and attention yet ultimately did not make the final cut of the film.
There’s also a deleted scene called Fashion Show that apparently never made it out of the animatic stage.
Day 3 of #NaGraNoWriMo. Now that you’ve decided the format your graphic novel is going to take, you have to decide how you’re going to write it. For that, we have to discuss the two major schools of comics writing: Plot First vs. Full Script.
Plot First is occasionally known as “Marvel method” because Stan Lee used it a lot when he was creating the Marvel Universe and writing eight books a month in the 60s— he would pitch a plot to artists like Jack Kirby, Steve Ditko, Don Heck, etc., discuss it with them and maybe type up a quick page or two for notes. Then the artist would pencil the story, after which Stan would script the captions and dialogue to fit the art. The advantage for the writer is knowing what the art looks like, and how much room there is for text, when scripting. The disadvantage(?) is that the writer loses control over pacing and composition of the art, and may get surprised when the art comes back and there’s this silvery surfer in the middle of the story, or some other addition or omission. We don’t recommend this method at all unless you have an existing relationship with the artist and editor and trust them.
It can also lead to a sort of laziness on behalf of the writer: Frank Miller’s recent one line in a plot that John Romita Jr. turned into TEN PAGES of artwork.
Full Script: writing a complete script with panel descriptions, based on which the artist then draws the story. Advantages: the writer has more control over layout and pacing, although an artist will still find ways to misinterpret your script. Disadvantages: it takes longer to write (and may not save the artist any time), and you may need to tweak your dialogue and captions to fit the art anyway.
Because we don’t want to slough too much of the writing onto the artist for our purposes, we’re going to discuss Full Script. There’s one other method, but we’re going to save that for a bit later in our discussion, because we’re going to use elements of it in writing our script.
So what does a full script for comics look like? Well, it can look very deceptively like something it should never be… which we’ll discuss tomorrow.
With fan anticipation reaching a fever pitch, DreamWorks Animation Television is excited to announce that She-Ra and the Princesses of Power will now debut November 13th exclusively on Netflix.
To celebrate the earlier release, DreamWorks has released a new trailer unveiling never-before-seen footage and a preview of the series theme song titled “Warriors.”
Inspired by the popular ‘80s animated series, DreamWorksShe-Ra and the Princesses of Power tells the epic story of an orphan named Adora, who leaves behind her former life in the evil Horde when she discovers a magic sword that transforms her into the mythical warrior princess She-Ra. Along the way, she finds a new family in the Rebellion as she unites a group of magical princesses in the ultimate fight against evil.
Aimee Carrero (Elena of Avalor) stars as Adora/She-Ra, Karen Fukuhara (Suicide Squad) as Glimmer, AJ Michalka (The Goldbergs) as Catra, Marcus Scribner (black-ish) as Bow, Reshma Shetty (Royal Pains) as Angella, Lorraine Toussaint (Orange is the New Black) as Shadow Weaver, Keston John (The Good Place) as Hordak, Lauren Ash (Superstore) as Scorpia, Christine Woods (Hello Ladies) as Entrapta, Genesis Rodriguez (Time After Time) as Perfuma, Jordan Fisher (Grease Live!) as Seahawk, Vella Lovell (Crazy Ex-Girlfriend) as Mermista, Merit Leighton (Katie and Alexa) as Frosta, Sandra Oh (Killing Eve) as Castaspella, and Krystal Joy Brown (Motown: The Musical) as Netossa.
THE ORVILLE THE COMPLETE FIRST SEASON
From Emmy®* Award-winning executive producer and creator Seth MacFarlane (Family Guy, Ted, Cosmos: A SpaceTime Odyssey), The Orville is a live-action, one-hour space adventure series set 400 years in the future that follows The U.S.S. Orville, a mid-level exploratory spaceship. Its crew, both human and alien, face the wonders and dangers of outer space, while also dealing with the problems of everyday life. The ensemble series stars MacFarlane as the ship’s Captain, Ed Mercer, and Adrianne Palicki (Marvel’s Agents of S.H.I.E.L.D., Friday Night Lights) as his ex-wife, who’s assigned as his First Officer. Additional cast members include Penny Johnson Jerald (24, The Larry Sanders Show), Scott Grimes (American Dad!, Justified), Peter Macon (Shameless, Bosch), Halston Sage (Neighbors, Goosebumps), J Lee (American Dad!, The Cleveland Show), Mark Jackson (That Royal Today) and Chad L. Coleman (The Walking Dead, The Wire).
*2002, 2016, 2017: Outstanding Character Voice-Over Performance; Family Guy
2002: Outstanding Music and Lyrics; “Family Guy”
SPECIAL FEATURES
The Orville at PaleyFest 2018
Inside Look
Directed By
The First Six Missions
Designing the Future
The Orville Takes Flight
The Science of The Orville: Quantum Drive
The Science of The Orville: Alien Life
Crafting Aliens
A Better Tomorrow
TECHNICAL SPECIFICATIONS
Street Date: December 11, 2018
Screen Format: Widescreen 1.78:1
Audio: English Dolby Digital 5.1
Subtitles: English SDH, Spanish, French
Total Run Time: Approx. 526 minutes
U.S. Rating: TV-14
It’s Day 2 of National Graphic Novel Writing Month– and we haven’t even started writing yet!
Good!
“Good?” I hear you cry. “How can that be good? I see all those novel writers who have started posting their word counts! Some of them are thousands of words ahead of us!”
Big deal. Writing a novel is easier. We have to know things first. Novel writers can just put one word after the other after the other, and keep going until they run out of steam or story. If it runs short, it’s a novella; if it runs long, it’s a trilogy. What if they had to write to an exact length?
I’m not just talking about the length of the novel. I mean writing to the exact length of each page– each page has a maximum 210 words, no more. And every scene has to end at the end of a page. And each chapter has to be exactly 22 pages long. And…
You get the idea. Even when a prose book is heavily reformatted, as with this new tiny book format, the text itself barely changes. With comics, that’s not going to be the case.
That’s why the most important thing to know before you start writing your graphic novel is the format– how your book will end up being initially published. Comics are a very regimented format— so much so that large comic book companies will produce art boards of a specific size for artists to use— and knowing those formats will inform how you create your work.
Take a look at these books.
Notice that every single one of these are a different page size than a “regular” comic book, and as a result, each one of them will have different storytelling challenges. Only so many words will fit on a page, only so many panels, only so much action and detail, and you’ll have to plan accordingly.
Length of the book matters too– is it 22 pages? 48? 120? 300? Are you reading it all at once, or is it spread out over months? Reintroducing your characters and setting in a monthly comic is one thing– it’s been a while between issues for your regular readers, and there’s a chance that this comic is the first issue a new reader may pick up, so it makes sense to introduce them. But if you read them in a collected omnibus format, being reminded every 22 pages or so that his claws cut through steel plate as easily as rice paper gets tired quick.
Similarly, if most people are going to be reading it in a collected format, you’ll have to accept that those 4-page digressions you put in the back of the monthly edition are going to be skipped over by a lot of people when they read it now.
Bear in mind that there are also technical and practical limitations to what you can actually print. If you decide that your graphic novel is going to be, say, 8″ by 9″, you’re going to be hard pressed to find a printer that can produce your books in that size and it’s likely to cost more. And while we’re talking about price, remember that every page you add is going to cost more to print, and unlike prose books you can’t use a smaller typeface to make it fit in fewer pages. In addition, your printer may be able to offer you a discount if your page count is a multiple of 16 or 32…
So that’s your first challenge: what do you think your graphic novel is going to look like? What’s your format?
Universal City, California, October 30, 2018 – Enjoy the delightfully thrilling tale of a mysterious house where things, including the inhabitants, are not what they seem to be. The House With a Clock in its Walls arrives on Digital and via the digital movie app MOVIES ANYWHERE on November 27, 2018, as well as on 4K Ultra HD, Blu-rayTM, DVD and On Demand on December 18, 2018. Based on the classic children’s book and praised as “creaky, freaky haunted-mansion fun” (LA Times), The House With a Clock in its Walls features over 60 minutes of bonus content including an alternate beginning and ending, stunning featurettes, deleted scenes, a hilarious gag reel, and feature commentary. Enchanting from start to finish, it’s the perfect adventure for families during the holidays.
Full of wonder and adventure, The House With a Clock in its Walls mesmerizes audiences of all ages and keeps the magic alive when stars Jack Black (Jumanji: Welcome to the Jungle, Kung Fu Panda), Cate Blanchett (Ocean’s 8, Thor: Ragnarok) and Owen Vaccaro (Daddy’s Home, Mother’s Day) arrive as Uncle Jonathan, Mrs. Zimmerman and Lewis Barnavelt. In the most unexpected places, fantastical events, miraculous twists and suspense filled moments ensue in this “zany kids adventure” (The Hollywood Reporter) that soon captivates adults as well. In the tradition of Amblin classics, master frightener and director Eli Roth’s The House With a Clock in its Walls is a family-friendly fantasy film that “stands alongside the ‘just for kids’ classics of the 1980’s and 1990’s” (Forbes).
In The House With a Clock in its Walls directed by Eli Roth (The Green Inferno, Cabin Fever), Lewis Barnavelt (Vaccaro) goes to live with his Uncle Jonathan (Black) in a creaky and creepy mansion with an eerie tick-tocking heart. But when Lewis soon finds out he’s in the presence of magic practiced by his uncle and neighbor Mrs. Zimmerman (Blanchett), his new town’s dreary aura boosts to life in an exciting and dangerous way. Based on the beloved children’s classic book written by John Bellairs and illustrated by Edward Gorey, The House With a Clock in its Walls is written by Eric Kripke (creator of TV’s “Supernatural”) and co-stars Kyle MacLachlan (“Twin Peaks,” Inside Out), Colleen Camp (Clue), Renée Elise Goldsberry (“One Life to Live”), and Sunny Suljic (Mid90s, The Killing of a Sacred Deer). It is produced by Mythology Entertainment’s Brad Fischer (Shutter Island) and James Vanderbilt (Zodiac), as well as Kripke.
BONUS FEATURES EXCLUSIVE TO BLU-RAYTM, DVD & DIGITAL:
Warlocks and Witches – Go behind the scenes with the enchanting cast of The House with a Clock in Its Walls
Finding Lewis – A look at the casting of Owen Vaccaro
Jack’s Magical Journey – A look at the unique dynamism and magic that Jack Black brings to the character of Jonathan Barnavelt
The Great Cate – The cast discuss Cate Blanchett’s wonderful performance as Florence Zimmerman
The Terrifying Isaac Izard – Watch Kyle MacLachlan’s creepy evolution from living icon to undead-warlock
Movie Magic
The Ultimate Haunted House – Join filmmakers for a guided tour through the incredible house at the center of the film
Automatons Attack – A behind-the-scenes look at the mechanical horrors involved in this chilling sequence
Pumpkin Puke – Behind the scenes with the cast and an army of spooky, snarling, vomiting pumpkins
Moving Pieces – Filmmakers and cast discuss the amazing clock room set
Baby Jack – A behind-the-scenes look at the creepy Baby Jack sequence
Tick Tock: Bringing the Book to Life – Filmmakers discuss how they adapted the book for the big screen
Eli Roth: Director’s Journals – Director Eli Roth takes viewers behind the scenes
Candler Mansion
Newnan, GA
The Chair
Comrade Ivan
New Zebedee Elementary
Wrap Day
Owen Goes Behind the Scenes – Armed with his own camera, Owen guides viewers on his own journey behind-the-scenes of the movie
Around the Set
Behind the Camera
The Big Interview
Downtime on Set
Theme Song Challenge – Eli Roth and the cast are challenged to come up with a theme song for the film
Do You Know Jack Black? – The cast compete with each other to see who knows Jack Black the best
Abracadabra! – Eli Roth performs a magic trick for Owen Vaccaro
Jack Black’s Greatest Fear – Eli Roth and Owen Vaccaro play a prank on Jack Black
The Mighty Wurlitzer – Composer Nathan Barr discusses how he created the film’s unique and distinct score
BONUS FEATURES ON 4K ULTRA HD, BLU-RAYTM DVD & DIGITAL:
Alternate Opening and Ending with Commentary by Director Eli Roth and Actor Jack Black available
Alternate Opening
Alternate Ending
Deleted Scenes with Commentary by Director Eli Roth and Actor Jack Black available
More Books, Please
A Horrible Practical Joke
Tarby Ditches Lewis
Eat Up
Play for Him
Get Out of the Way
Time Is of the Essence
The Clock That Never Breaks
12 Minutes to Go
Gag Reel
Feature Commentary with Director Eli Roth and Actor Jack Black
The film will be available on 4K Ultra HD in a combo pack which includes 4K Ultra HD Blu-rayTM, Blu-rayTM and Digital. The 4K Ultra HD disc will include the same bonus features as the Blu-rayTM version, all in stunning 4K resolution.
4K Ultra HD is the ultimate movie watching experience. 4K Ultra HD features the combination of 4K resolution for four times sharper picture than HD, the color brilliance of High Dynamic Range (HDR) with immersive audio delivering a multidimensional sound experience.
Blu-rayTM unleashes the power of your HDTV and is the best way to watch movies at home, featuring 6X the picture resolution of DVD, exclusive extras and theater-quality surround sound.
Digital lets fans watch movies anywhere on their favorite devices. Users can instantly stream or download.
MOVIES ANYWHERE is the digital app that simplifies and enhances the digital movie collection and viewing experience by allowing consumers to access their favorite digital movies in one place when purchased or redeemed through participating digital retailers. Consumers can also redeem digital copy codes found in eligible Blu-rayTM and DVD disc packages from participating studios and stream or download them through Movies Anywhere. MOVIES ANYWHERE is only available in the United States. For more information, visit https://moviesanywhere.com.
FILMMAKERS: Cast: Jack Black, Cate Blanchett, Owen Vaccaro, Renée Elise Goldsberry, Sunny Suljic, Kyle MacLachlan Visual Effects Supervisor: Louis Morin Music By: Nathan Barr Costume Designer: Marlene Stewart Edited By: Fred Raskin ACE Production Designer: Jon Hutman Director of Photography: Roger Stoffers ASC, NSC Executive Producers: William Sherak, Tracey Nyberg, Laeta Kalogridis, Mark McNair Produced By: Bradley J. Fischer p.g.a., James Vanderbilt p.g.a., Eric Kripke p.g.a. Based on the Novel By: John Bellairs Screenplay By: Eric Kripke Directed By: Eli Roth
TECHNICAL INFORMATION 4K ULTRA HD: Street Date: December 18, 2018 Selection Number: 61201229 (US) / 61201252 (CDN) Layers: BD-66 Aspect Ratio: Widescreen 16:9 2.39:1 Rating: PG for thematic elements including sorcery, some action, scary images, rude humor and language. Video: 2160p UHD / HDR 10 Subtitles: English SDH, Spanish and French Subtitles Languages/Sound: English Dolby Atmos and Dolby Digital 2.0, Spanish and French DTS-HD High Resolution Audio 7.1 Run Time: 1 hour 45 minutes
DOLBY ATMOS® SOUNDTRACK The House With a Clock in its Walls Blu-ray™ and 4K Ultra HD will 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.
TECHNICAL INFORMATION BLU-RAYTM:
Street Date: December 18, 2018 Selection Number: 61198236 (US) / 61199978 (CDN) Layers: BD-50 Aspect Ratio: Widescreen 16:9 2.39:1 Rating: PG for thematic elements including sorcery, some action, scary images, rude humor and language. Subtitles: English SDH, Spanish and French Subtitles Languages/Sound: English Dolby Atmos and Dolby Digital 2.0, Spanish and French DTS-HD High Resolution Audio 7.1 Run Time: 1 hour 45 minutes
TECHNICAL INFORMATION DVD: Street Date: December 18, 2018 Selection Number: 61198234 (US) / 61199979 (CDN) Layers: DVD 9 Aspect Ratio: Anamorphic Widescreen 16:9 2.39:1 Rating: PG for thematic elements including sorcery, some action, scary images, rude humor and language. Subtitles: English SDH, Spanish and French Subtitles Languages/Sound: English Dolby Digital 5.1 and Dolby Digital 2.0, Spanish and French Dolby Digital 5.1 Run Time: 1 hour 45 minutes
Length of the book matters too– is it 22 pages? 48? 120? 300? Are you reading it all at once, or is it spread out over months? Reintroducing your characters and setting in a monthly comic is one thing– it’s been a while between issues for your regular readers, and there’s a chance that this comic is the first issue a new reader may pick up, so it makes sense to introduce them. But if you read them in a collected omnibus format, being reminded every 22 pages or so that his claws cut through steel plate as easily as rice paper gets tired quick.
Similarly, if most people are going to be reading it in a collected format, you’ll have to accept that those 4-page digressions you put in the back of the monthly edition are going to be skipped over by a lot of people when they read it now.
