Archive for the ‘Comic Books’ Category

Rise of the Gaurdians is almost like the Avengers or even the Expendables for elementary kids. It’s the story of Santa Clause, Jack Frost, the Easter Bunny, Mr. Sandman, and the Tooth Fairy teaming up to fight the boogey man.

Jack Frost is the introductory character. He gets recruited by the Man in the Moon to be the new Guardian. The conceit of this movie is that the Guardians protect children and get their strength from the beliefs of children. Apparently the Boogeyman ruled during the Dark Ages until Santa Clause and the other Guardians fought him off. Now (for some reason) he is back and wants revenge.

Santa is a sword wielding Russian tough guy, the Easter Bunny is a cynical Australian, and the Sandman doesn’t speak, but communicates through his sand. Jack Frost plays the reluctant hero. He’s encountered the group before, and doesn’t get along with the Easter Bunny. He’s upset because people don’t believe in him, and he’s spent his existence being invisible to humans. This angst leaves him vulnerable to seduction by the Boogey man, who tries to pass himself off as a sympathetic character. Jack Frost also has a secret past he’s unaware of, but that revelation is slightly underwhelming.
Rise of the Guardians is a good standard adventure for kids. I’d be curious what they would do with a sequel, specifically who they would face besides the boogeyman.

Also I must add that I saw this in 4D. Years ago I saw the third Narnia movie Voyage of the Dawn Treader in 4D, and the 4D was really stupid. The seat would vibrate a little and it was annoying. The 4D in Rise of the Guardians was great (and the 3D was actually good too for a change). The seats would move around as the characters flew through the air and sometimes it was almost like being on a roller coaster. There were other effects with the seats and lighting effects etc. At the end of the movie there is a scene where a bunch of sand is in the air and it’s kind of like fireworks. During that scene, in the actual theater bubbles shot out through the walls and filled the air. That was just magical. All in all a very worthwhile experience.

Jason vs Freddy vs Ash has an interesting origin. The 6 issue comic book series was in fact originally a screenplay to a potential Freddy vs Jason sequel. The film project got scrapped, partly due to Evil Dead creator Sam Raimi wanting to remake Evil Dead (which to date hasn’t happened yet). Wildstorm and Dynamite comics joined to adapt the screenplay into comic book form.

The first issue opens with the surviving characters from Jason vs Freddy returning to Crystal Lake 5 years later for closure. We get a recap of the last movie before finding Jason still alive and the two other characters soon aren’t. Meanwhile Ash Williams is brought in to the local department store (The Super Mega Ultra S Mart) to help out during the Holiday Season. The main plot of the book is that Freddy is trapped in Jason’s mind, where he discovers the Necronomicon is in the old Vorhees house. (This references Jason Goes to Hell, the Final Friday) Freddy wants Jason to get the Necronomicon and use it’s power to bring Freddy back. In a twisted Pinoccchio type fashion Freddy promises to turn Jason into a normal boy.

Hence the three lead characters all get some good interaction with each other meanwhile hapless youngsters get hacked to death. Ash and Freddy have a great initial encounter where Ash dreams of having his hand back. The funniest scene is perhaps the dreamlike sequence where Freddy poses as a teacher and scolds a young Jason in failing to get the book. Another scene with Freddy and Pamela Vorhees is wickedly twisted. The Christmas season leads to some unique scenes of Jason killing in the Christmas spirit. Later Jason imitates Ash with a machete hand ala/Ash’s chainsaw hand.

There’s also a few acknowledgments of the previous films of all 3 series. Jason’s copy cat killer in (F13 Part 5) is mentioned, and a character speculates another copy cat killer was in New York. (It was really Jason in New York, which was part 8, but the character wouldn’t know that). Jason’s killings in Springwood (Freddy’s Home) are also mentioned. Freddy knows nothing of the Deadites (The demons from the Evil Dead series), but Ash speculates Jason is a Deadite. It’s also revealed that Pamela Vorhess read the Necronomicon to a young Jason and it’s hinted that the same book brought Jason back to life.

The art in the gory scenes is a little goofy, but maybe that’s the point. Most of the character designs are good but I remember one panel where the anatomy was off and one character actually looked deformed. Ash has a forced exposition scene early on talking about the Necronomicon but other than that the story flows well.All in all it’s a fun crossover story that I’d recommend for slasher fans.

 

During an era when most comics seem to be skewed to older readers, Hopper Comics breaks the trend by publishing kid friendly comics. For the past few years they’ve published Jungle Trek and Breaking the Ice, while also making presentations at schools promoting reading and the importance of literacy. Hopper Comics founder Carlos Samudio talks about his inspiration, the challenges of the small press, his future plans, and just where the name Hopper came from.

Tell us why you decided to start Hopper Comics.

Hopper Comics actually started off right on one of America”s most horrible days ever recorded in history. I am referring to 9/11.  It was when I was watching the news coverage of all the people working that day in the Twin Towers in NYC, that died suddenly, it occurred to me that those people had no idea what was going to happen to them. They were going about their normal everyday lives, waiting for the work day to end so they could back to their loved ones, pets, friends, whatever, but sadly, they never got that chance. My epiphany popped up right there, I realized just then how precious life really was and how fast it could be ripped away from you suddenly before you have a chance to leave your mark on the world. What if that was me? What legacy would I have left behind? Would people even remember me? What accomplishments did I achieve before my death? I then decided I wanted to leave my small thumbprint on the world, and what better way to do that than try and make a difference in society by educating our youth with reading is fundamental.   So, that’s how Hopper Comics began.

That’s quite a story. On a lighter note, how did you pick the name Hopper?

I picked the name Hopper because of my love for Frogs and toads.
I’ve always been drawn to the little hoppers and their love for life and water.  They are water creatures and water creates life and therefore I respect them.  It was an easy choice for the naming of my small press company.

Your publishing line has expanded since you began. While many indie artist are struggling now what contributes to your success?

I believe name recognition and advertising in places where you will attract the most buyers is key in maintaining sales and exposure.  I have been going to comic conventions since 2004 and people now recognize Hopper Comics and already know the merchandise before they even come to the table- which is quite flattering really.

Your motto is “Reading is an adventure,” and you do many educational presentations at schools. What do you do in your school presentations and how do they relate to your publishing plans?

When I go visit elementary schools, it’s mainly to focus on reading and how it ties in with real world jobs.   I read a book to the children first and then answer questions about the book or my comic book company.  I try to get them involved by showing them examples of how a comic book is made or show them the latest pinups of my characters.  I always conclude my presentations by telling them -never say never.  If they put their mind to it, they can accomplish anything.

What can you tell us about your new book Tex Shield?

Tex-Shield is a book about a super hero based in Texas actually.  The character was created by Phil Hughes, a local Austin-ite.  Phil is a true Texan in that he believes everything that this state stands for.   He believes in the Spirit of Texas. and decided to use that to create a super hero with super powers that fights for the common good.  Tex-Shield draws on the energy of all the great fallen heroes from the Texas/Mexico war, to the heroes of the Alamo and even everyday heroes, such as soldiers, firemen, policeman and any other public servants that gave their lives for this state.  It’s a very powerful symbolic image and I believe a lot of people here in Texas share the same strong beliefs Phil does.  Plus the costume looks pretty darn cool!

Sounds awesome. How do you choose your clients/what books to publish?

I choose clients that have a fan base already in place, if there is a large or even a small audience that loves someone’s work and I see all the positive feedback related to a creator’s stories or characters then I contact them and tell them what I would like to do for them and if they like my pitch, I go ahead and publish them.  I take chances on people that are passionate about their creations and I DO notice if they give it 110% and that’s a major factor for me in publishing someones work.

While you publish your clients comics, you also write Jungle Trek yourself. Tell us how you came about writing that?

I wrote Jungle Trek 1-3 and I began that little tale back in San Diego in 2006 when myself and another of my artist went to San Diego Comic Con.  After the convention, I went back to my hotel room, trying to come up with a new angle to sell comics and out popped Mott and his jungle friends.  I can say I literally wrote the entire story that night-all three parts and then revised it and now its one of my best sellers.  The third and final issue should be out later this summer.

Tell us anything else you’d like to share?

Keep checking out our website http://www.hoppercomics.com for all the latest news and convention appearances.  Hop to it!

Carlos is also planning  a new line of graphic novels called Black Frog comics. Website coming soon.

       I’m not prone to fanboy rage these days, but I gotta call this one.

It’s been announced here http://www.heatvisionblog.com/2009/11/sgt-rock-francis-lawrence-akiva-goldsman-joel-silver.html that a Sgt Rock movie is in the works. Sgt. Rock is a DC comics character who fights Nazi baddies in WWII. He’s one of the great characters of war comics. Sounds like it’d make a good movie right, except it’s going to be set in the future.

           Yeah………………

       Really, I mean why even bother? Why not make a Superman movie where he’s a wizard, or a movie where Batman is a swamp monster. How about a Green Lantern movie starring Jack Black or a Catwoman movie where she gets powers from ancient Egypt… oh right.

           The article further states..

““Inglourious Basterds” notwithstanding, period war movies have not been in vogue in Hollywood for years, unless it was a more serious contemplation of the subject like “Saving Private Ryan.” Also, American jingoism went out of style after 9/11; even this summer’s G.I. Joe movie dropped the toy’s “A Real American Hero” tagline and made the action team internationally focused.

The studio hopes moving the time period to the future solves the dilemma.”

 

                      Whatever. It’s almost scripture now that when a movie respects it’s comic source material it does well. Regarding WWII, Isn’t Marvel making a Captain America movie set in WWII? Besides that we have endless reminders of movies being successful because they’re good, not because they’re trendy.

           So this is what DC entertainment is up too, and to think I got my hopes up. With any luck maybe after a few blunders like this Warner Brothers will just tap out and sell DC to Disney, putting Marvel and DC under the same roof.

A week after the Disney Marvel news, Warner Brothers announced DC Entertainment, a corporate restructuring for the purpose of bringing DC characters across multimedia platforms.  The head of DC entertainment is Diane Nelson, who oversaw the Harry Potter franchise.

Naturally numerous questions abounded, such as will we finally see a Wonder Woman movie? Will there be a Superman reboot? Will we finally see a JLA movie/shared universe to compete with the Marvel movie universe/Avengers movie?

My question is why wasn’t this done 10, 20, or even 30 years ago? The first Superman movie in 1978 was a gamble. No comic book movie had been a smash hit before. Once it did hit big, why did they not follow up with a Batman movie? (Tim Burton’s Batman came over ten years later, (89) and by that time the Superman film series died a horrible death) Plus, the late 70s-early 80s was the Star Wars era, so why not throw a Green Lantern movie into the mix? In the early 80s, fantasy hit big with Arnold’s movie Conan the Barbarian. A Wonder Woman movie anyone? It all could have tied together and we could have had a JLA movie by 1986. Comic books greatest year indeed.

But it didn’t happen, oh well. Maybe it can finally happen now. DC, and Warner Brother specifically, if they want it bad enough, can still go toe to toe with the Marvel Movie universe. Here’s to hoping it happens.

More about DC entertainment can be read here.

http://www.newsarama.com/comics/090909-DC-Restructuring.html

“NOOOOOOOOOOOOOOO!!!!!!!!!!!!!!!!!!!!!!!!!!!!” Was my reaction this mornng when reading what undoubtly will be the comic book news of the decade.  Disney is in fact buying Marvel Comics, who have been on a roll this past year with it’s self produced films and more on the way, including 2012′s fanboy dream The Avengers. The internet has truly broken in half as concerns immediately arose of Disney meddling with Mighty Marvel characters.  In the 24 hours since this news broke fans already speculated of  Marvel getting kidified, canning or softening characters like Punisher and Wolverine, and stupid crossovers like Goofy in X-men. Although some concern is legitimate, lets think this through.

First of all, really, a Disney Executive is not going to walk into Marvel offices and make the Punisher go away, put the Disney logo on all comics, cancel the Max Line, or tone down Deadpool and Wolverine. Donald Duck is not going to appear in the Avengers movie, and Mickey Mouse is not going to magically appear in the Amazing Spiderman. Mickey isn’t even used much by Disney anymore. Even if someday there is a Spidey Mickey story, it would be a special book done to appeal to kids, and if you have a problem with that, come on.

Disney has already stated that the licensing agreements with with Fox for X-men and FF characters, and Sony Spidey characters will stay in place, as will the distribution deal with Paramount. (They will stay in place until said agreements expire at least, the Paramount deal is for 5 films) They see that Marvel has properly managed it’s characters to be profitable and are not going to mess with that.

Disney has no reason to worry about Marvel’s mature MAX line or any other edgier books. Take DC comics for example. Being owned by Warner Brothers does not stop them from publishing edgy/mature titles in their Vertigo line  or their Wildstorm imprint. It’s not like Marvel isn’t a corporation themselves who already balance Ghost Rider with something like the Marvel Adventures line.

On the film front, the self financed Marvel Studios films are not adult themed anyway. Even if they were, they will still be made under the Marvel banner, just as Pixar makes Up under the Pixar logo. The Disney logo is only used on real Disney family oriented products. If you look they actually own ABC, ESPN, Dimension films, Miramax, among many other holdings.

Mirimax’s film library is a good example of why not to worry about this deal. Let’s look at some of what they’ve made and/or distributed; both Crow movies, Kill Bill 1 and 2, Pulp Fiction, Halloween 6,  3 Helllraiser movies; (Bloodlines, Inferno, and Deader) Clerks, Dogma, and Trainspotting. If Disney money went to Pinhead and Michael Meyers, I wouldn’t worry about Iron Man and the Hulk.

Plus look at the upside. Disney is a juggernaught of liscencing and distribution, which Marvel can take advantage of. Plus representatives from Marvel have already met with Pixar. Disney CEO Bob Iger says;

“We actually have had some conversations internally, and John Lasseter (from Pixar) met with some of the key Marvel creative executives fairly recently and the group got very excited pretty fast…..We had to say, ‘slow down guys, we haven’t done this deal yet…you can put a lot of creative, enthusiastic people in a room that can appreciate the value of great characters and interesting worlds, a lot can happen… sparks can fly.”

Imagine a Pixar Fantastic Four film, and I’m not even an FF fan.

Will there be Disney comics, probably. But why should Mickey Mouse comics bother anyone? So what if there’s a Hannah Montana comic, if you don’t like it don’t buy it.

(On a related note I wonder will Gargoyles or Tron come into the Marvel Universe, and will there be a revival of Crossgen, the comic company Disney bought years ago? What about Marvel characters in a Kindgom Hearts game)

One question is what will happen to the Marvel rides at Universal Studios. Time will tell.

What was so neat about Marvel was their autonomy as a company, which is why I, and many others, had the reaction we did. (Plus when I was 22 I hated Disney) It could have been worse, it could have been DC buying them. I would have hated that. My nerd dream was for Marvel to buy DC.

Let’s not be stupid fanboys about this. Disney is not dumb. They are not going to spend 4 billion dollars on a growing company and change the formula that made it work.

So until the Punisher sings a duet with Minnie Mouse, make mine Marvel!

An investor call session about the deal can be heard at

http://phx.corporate-ir.net/phoenix.zhtml?c=129198&p=irol-eventDetails&EventId=2413571

LOEG Century: 1910, is the first chapter of the third editon of the League. (Last years Black Dossier was just a supplement) While the first two editions were originally 12 issue mini-series, Century is/will be three small graphic novels. Part 2 will be released next year, and part 3 the year after that.

The story opens (In the year 1910 of course) with supernatural Detective Thomas Carnacki having a dream about a cult, as well as a strange woman on an island, that we know to be Captain Nemo’s daughter. He awakes to discuss the dream with gentlemen theif Mr. Raffles, and soon Mina Murray, Quatermain, and Orlando  arrive.

Mr Raffles and Carnacki are both from turn of the century British fiction. Mina and Quatermain are the common characters throughout the series. Both are now immortal after bathing in a secret African pool. Quatermain is now young again, and poses as the son of the supposedly dead Allan Quatermain. Parts of the story deal with the pressures Allan and Mina feel from being immortal, and subequently having to change identities.

Orlando is harder to explain, basically a gender changing immortal, whose life was detailed in Black Dossier, having met or actually was many of history’s great warriors.  Orlando in this story is male, very vain, and annoying. His team mates don’t believe his stories of founding London or actually having Excalibur.  One funny scene early on is him bemoaning having to shave, saying it’s worse than a woman having her period. Another laugh out loud moment is when arouses the anger of the group by smarting off to Mina. Quatermain tells him his words were the stupidest thing he ever said. His response is “Oh I don’t know, there was “Oh look, a wonderful horse.” That was at Troy.” Hilarious.

Other funny moments are Raffles making a comment to Quatermain (not knowing he’s immortal) about how everybody dies eventually. Also Mina notes she used to not be superstitious, which is why she now wears a scarf. (Dracula) One nice touch is a kitchy reproduction of the Nautilus, made for tourists.

Anyway there’s two stories going on here. One is the mystical villain Haddo, (A composite character of the fictional versions of real life occultist Aleister Crowley) getting preparing to bring the Moonchild into the world. The Moonchild being something akin to the anti-christ.

The other story is Janni reluctantly taking the mantle of her father Captain Nemo.  This also intermixes with the return of Jack the Ripper. These parts of the story are told in song, sung by some older woman who watches Janni, but herself seems unnoticed. It’s interesting that at first we assume the song is about Janni, but it’s actually about Jack. The plot threads sort of run into each other by the end. There’s a nice twist here or there, but the story’s strong points are in it’s character moments.

Of course we see other fictional characters in this story. There’s references to The Lost World, and in one panel we see Popeye.  We also meet Andrew Norton, who I believe is a modern fictional character who travels through time but can only stay in London.

Finally there are a few short prose pieces in the back, under the heading of Minions of the Moon. We get references to the Stone Monolith from 2001 the Space Oddyssey, as well as the erotic tale The Story of O.  We also learn that during the 60s Mina posed as the hero Vull the Invisible, in a failed attempt to form a superhero team called the Seven Stars. Finally the team is off to the moon to stop a war between two Lunar races and they see a frozen Moriarty flying through space. (from volume one)

It’s a little tricky to review this by itself, as it’s like reviewing the opening chapter of a book.  By now some of it’s good moments require reading the previous editions. My guess is the whole of century will be greater than the sum of it’s part. I’m looking forward to future editions and am curious for the Moonchild and Minions of the Moon stories. 4/5 stars. Until next year, Excelsior!

Wolverine Origins makes 2009 the 8th year in the last ten to see a Marvel Comics movie. (Exceptions were 99 and 01). In fact, this year is also only the third of those 8 years that we’ve only with only one Marvel movie. 2002 had two, and the rest had three. So far there have been three successful film trilogies about Marvel characters, Blade, X-men, and Spiderman. The Spidey trilogy alone made literally over 2 and a half billion dollars. In addition to those trilogies we’ve already had 2 Hulk movies, 2 Fantastic Four movies, 2 Punishers, Iron Man, Daredevil, Elektra, and Ghost Rider. That’s a total of 20 movies, all of which, except the last Punisher, turned a profit at the global box office. (There’s also Man-Thing, which was  intended to have a theatrical release but instead was shown on the Sci-fi channel.).

What a difference a decade makes. 10-15 years ago, Marvel was the poster child of bad movies, with low budget versions of The Punisher, Captain America, and a Roger Corman directed Fantastic Four film that was so bad it was never released. In the late 90s Marvel went bankrupt, and the comic industry itself was in a downward spiral.  Meanwhile DC was rolling with the Batman film franchise, until that was run into the ground with the infamously hated Batman and Robin.

Flash forward to today. How many DC movies have been released in the last 10 years? (Meaning DC Universe Characters, not counting Watchmen and The Spirit) There’s been 5. One of them was Superman Returns, starring Superman as a deadbeat dad. (????) Another was Catwoman. Catwoman, sounds cool right, except it was not at all based on the comic character, was completely unrecognizable to comic fans, and left non-fans with absolutely no bridge to get to the comics. Then there was Constantine, which wasn’t bad. Although the hardcore fans didn’t like it, it was a moderate success. Last is the new Batman series, including the juggernaut that is The Dark Knight. Batman seems to be the one thing DC does right. One would think that being owned by a major movie studio would be to DC’s advantage, but Warner Brothers has to make other kinds of movies besides superheroes. Sometimes, as Marvel has shown us, smaller is better. (In fact, a lot of average/non-geeky folk think Marvel publishes Batman and Superman.)

What Marvel was able to do in the last ten years, is license out different properties to different studios, allowing multiple franchises to be developed at once. This is why many years had not one but three Marvel movies. Fox did X-men and Fantastic Four, Sony did Spiderman, Lionsgate did Punisher, Universal did Hulk, New Line did Blade (Interestingly enough, New Line is owned by Warner Brothers, which in turn owns Marvel’s rival DC comics) and so forth. This gave great mainstream exposure to Marvel characters and helped revitalize the company. (Someone needs to write a book about the transition from a bankrupt Marvel to the powerhouse it is today) The problem for Marvel though, was they only saw a small portion of these movie profits, most of which went to the studios, who in turn take the financial risk of producing said movies.

The whole game changed last year with Iron Man and the Hulk, both produced and made by Marvel Comics themselves. In 2005 Marvel took a $525 million dollar loan from Merrill Lynch to produce a series of films, the rights to those films being collateral. The plus side to this is if the films are successful, it will create a huge new revenue stream for Marvel, plus Marvel will build it’s own film library for later distribution to TV, digital, and other channels. Most films have about a six year window of generating revenue, from box office, to DVD, pay per view options, airing on premium channels like HBO, and finally airing on cable and network TV.

The down side of this is that along with potential profits, they are also taking on potential risks. If the movies are not successful, Marvel will lose money, and either way they still have to pay back their loan to Merrill Lynch. In addition a lot of the big name Marvel characters are already movie franchises, namely Spidey, and the X-men. There aren’t too many big name characters left to film, exceptions being Captain America and Thor, which are in development now.

The counter side to that argument however, is that while there aren’t a lot of big names left, there are literally thousands of minor characters that are potential big screen franchises. The Blade film franchise, for example, was based around a third string character no one outside comics ever heard of, but was re-imagined, made cool, and starred Wesley Snipes, so presto, success. Again there are endless numbers of would be franchises waiting in Marvel’s library, surely all of them won’t hit the mark, but undoubtedly some of them will.

The final benefit of what Marvel is doing is that fans will finally get to see the first comic crossover film. Last years Iron Man and the Hulk are set in the same universe, with Tony Stark appearing at the end of Hulk. The upcoming Captain America and Thor movies will also be set in the same world, culminating in 2012 with the Avengers. That movie will show us the super heroic team of Iron Man, Hulk, Captain America, Thor, and probably a few others, like Nick Fury. Fury (played by Samuel Jackson) of course appeared in the post credit Iron Man scene, talking to Tony about the “Avengers Initiative.” Geek moment of the year for Marvel fans.

So I beg the question, why isn’t DC doing this? Furthermore why haven’t they started years ago? Given they’ve all been under the WB roof for decades, it shouldn’t have been too hard. Looking back, Superman Returns should have been Superman Begins. Instead of a love letter to the old movies, it should have restarted the franchise, and established a shared universe with Batman. More movies could have followed like Wonder Woman, Aquaman, and Green Lantern, building up to a Justice League movie starring all of the above, and maybe a few more like Martian Manhunter. As much excitement people have now over an Avengers movie, imagine the excitement building up to JLA.

Then imagine if Marvel and DC were going head to head with these movies, each summer both companies releasing an entry or two. Truth be told DC could probably outgun Marvel as far as JLA vs Avenger characters are concerned. In my opinion, there are more JLA characters that could carry their own movies than core Avengers characters. Either way, imagine the debates, the fandom, the hype, two entertainment juggernauts dueling it out for 5 summers straight. It’d be the comic book equivalent of wrestling’s Monday Night Wars.

But enough about comic movies, let’s talk about comics! Marvel hasn’t forgotten that it publishes comic books, and in the last few years published mainstream headline grabbing events. First was Civil War, the premise, due to a tragic accident the US government now requires super-humans to register with the government, or else be jailed. The result is a divided superhero community with some heroes now fugitives, and some villains chasing them for Uncle Sam. Next was World War Hulk, where the Hulkster returns to earth after being exiled into space by his fellow heroes, and boy is he pissed! Next was Secret Invasion, where shape shifting aliens (Think Invasion of the Body Snatchers) are not about to invade earth, but already have, replacing heroes and normal citizens alike. The tagline was, “Who do you Trust?” Currently running is the Dark Reign story, where Norman Osborne leads a band of villains disguised as heroes to protect the United States.

What do all these events have in common? They’re all simple to explain to a non comics fan, and all sound at least somewhat interesting. DC has also done big events recently, but if I were to try to explain them to you, it would take me 20 minutes, and you probably still wouldn’t understand anyway. Marvel Editor in Chief Joe Quesada is on mainstream TV shows like the Colbert Report NPR radio, and online at Myspace, hyping Marvel projects. Can you imagine the head of DC comics trying to explain Infinite Crisis to a television audience?

Into the digital realm, Marvel started a digital online comics experience where, for a subscription, you can read Marvel comic books online. This again got much mainstream attention, and almost crashed Marvel’s website upon initial release due to high volume traffic. DC has done.., some sort of talent search which sounds cool, but the conditions were initially confusing, and online Batman books are nowhere to legally be found. Little things like this are why Marvel has ruled the comics market for 30 plus years.

To be fair, DC’s Vertigo line publishes titles that may be more creative than much of Marvel’s output, it’s just that they don’t sell as well. The DC animated universe, a.k.a. their series of interconnected cartoons in the 90s and 2000s, put Marvel cartoons to shame. Comic’s first mega-crossover, Crisis on Infinite Earths, has never been topped. Kingdom Come is great, New Frontier is great, and finally Watchmen is simply the best comic book ever. When DC gets it right, they do it better than anyone else, but those moments are few and far between. Marvel seems to get it right more often, and has done more in recent years to get their characters in the public eye. If their own movies continue to hit big, Marvel will be rolling in dough. For this and many other reasons, even in this economic downturn, Marvel stock looks like a good purchase.

So until we see Superman punching out Darkseid on the big screen, make mine Marvel!

(Originally published on myspace on 5/3/08

       I’m a big fan of The League of Extraordinary Gentlemen, the Alan Moore comic featuring adventures of characters from Victorian era fiction and beyond. This past year I read the latest addition called Black Dossier. Before which I read an interview with Alan Moore about future additions of the League, including the soon to be released trilogy entitled Century. One of the themes of which will be the death of popular imagination. Moore states;
 
“one of the subtexts in Volume Three is not the government control of the imagination, but more the decline, whether intentional or otherwise, of the imagination, the popular imagination. We start out in the first episode in 1910, which has still got the kind of grandeur of the Victorian and Edwardian imagination on display. We go through 1968, which although a different period, very electrified and psychedelic, that we still have examples of the culture from that period which is very exciting. When we get to the third volume, which is set in 2008, it will become plain that the current landscape of fiction in comparison with what has gone before is a very sparse and relatively dull place. Orwell was almost exactly wrong in a strange way. He thought the world would end with Big Brother watching us, but it ended with us watching Big Brother. And it’s that kind of culture and the popular imagination that is a very strong subtext in Book Three. However, I think that although we’re talking about an increasing dullness in the fictional landscape, we do that very entertainingly and very excitingly”

(from http://www.comicbookresources.com/?page=article&id=11958)

             Being slightly mis-anthropic I’d carried similar sentiments in my heart for years, and reading this interview inspired a long essay on the pop culture franchises of my lifetime. It will never be published however, as I realized it’s bunk.

             Still, let me sum up. From a pop culture standpoint it was quite a time to be a boy during the 70s and 80s, and to some degree the 90s. The seventies had some of the best movies in any genre. Horror; TCM, Exorcist, Halloween. Drama; Godfather, Network, Taxi Driver, Rocky. Sci-fi; 2010, Alien, not to mention the all time franchise juggernaut that is Star Wars.

             Many of the above mentioned films had sequels in the 80s, while on TV a slew of new animated series aired. Most if not all had accompanying toy lines. The biggest were He-Man, Transformers, G.I. Joe, and Thundercats. Meanwhile tons of other not as successful franchises also made it to TV, like Inhumanoids, Sectaurs, M.A.S.K. Dino Riders, Bravestar, Centurions, Robotix, Wheeled Warriors, COPS, Ring Raiders, Silverhawks, Sky Commanders, and Spiral Zone.

             This was also the video game age, and in 2009 many of the big video game franchises are 15-20+ years old. Mario, Zelda, Castlevania, Metal Gear, Street Fighter, Mortal Kombat, Final Fantasy, Sonic, Resident Evil, Doom, etc.

             Going into the early 90s there was also an explosion of new comic book universes, Valiant, Ultraverse, Comics Greatest World, Warriors of Plasm, none of which survived. Image comics is still around with Spawn and Savage Dragon, DC comics bought Wildstorm from them which is still in business, and the Dakota universe is now incorporated in the DC universe.

             Anyway the point is these were all totally new characters. Transformers were imported from different Japanese toylines, and G.I. Joe technically wasn’t new, but all the G.I. Joe characters I grew up with were. Everything else was a totally new creation.

             The 90s had better quality cartoons like Batman and X-men, but they were characters that were 30-50= years old at the time. There seemed to be few, if any, new media franchises in TV animation, or movies for that matter.

             We’ve heard for years about Hollywood running out of ideas, as every blockbuster seems to be a sequel, remake, or an adaptation of a video game, novel, or comic. Iron Man may be considered a new media franchise, but the character is almost 50 years old. Even so, does it not take imagination to update Iron Man for today? Is bringing back a loved franchise truly being devoid of imagination?

             Still when researching for my now trashed essay I realized that it’s not like absolutely nothing new is out. I have no idea if these are any good, but in the last decade there have been new cartoons out like Alienators, Alien Racers, Avatar, and Dinosqaud. Let’s not forget Samauri Jack. There’s all kinds of new comics out from the indy press and DC’s Veritgo line. Video games still give us something new like Dead Space, and with movies the Matrix weren’t that long ago. Cloverfield is new. It’s just that now they all compete in a crowded market place with big names we know already like Star Wars, Marvel, DC, etc.

        Then there’s webcomics. The past 10-15 years has seen a gargantuan amount of webcomics being published online of every genre imaginable, from popular cartoonists to high school kids. Anyone with a PC can put an infinite of content online for no cost.

             So here is my new conclusion, the more money it takes to make something in a specific medium, (film, comics, etc) the less chance for original content to be developed, let alone succeed. Movies cost tens of millions of dollars to make and market. So for that much energy to go into a project, it’s safer to go with something that already has a built in audience and a recognizable brand name. Print comics and web comics can afford more new ideas on account of lower (or no) start up costs.

             Also as technology progresses, more kinds of media can be developed. The more kinds of media developed, the more outlets there are for the imagination. In the old days it was oral tradition and music. Then there was the written word. Then we had silent movies, then radio dramas, then talkies, then TV. Now we have video games, animation, board games, Role Playing, Card Games, Webcomics, Alternate Reality Games, and who knows what will come next. 
             On top of that, the means of production, even for video games and movies, have reached a more accessible level. Bemoan the state of popular music, until you hear amazing artists on Myspace. It’s gotten to the point where there’s so many indy films, games, comics, music, and whatever else that it’s impossible to keep track of them all.

             In the meantime it’s not like anyone stopped writing novels. Fight club author Chuck Palahniuk says novels are where the new freedom is at, as you can get away with more in a medium most people don’t pay attention too.

        While pondering all of this I thought back to old Alan Moore, who lives in the dead center of England and doesn’t leave the country much anymore. Alan is pretty much an expert on Victorian Era England, and of course has that nack of writing superhereos. However, he struck me as someone who I bet wasn’t online much. Does Alan surf? Does Alan know about said explosion of webcomics? My guess was no. Then I read his interview at http://www.comicbookresources.com/?page=article&id=20812, where he said; “I know absolutely nothing about contemporary culture. I am cut off from most inputs. I’m not connected to the internet in any way, I watch very little television”. There you have it. Alan is the best comic writer ever, but when it comes to this, he admits he just doesn’t know.

             So I will no longer join the ranks of Alan Moore and other career cynics, bemoaning the death of the popular imagination. It’s real easy to sneer at reality TV and endless remakes, but in a world of 6 billion plus, there’s tons of vibrant creativity happening. As long as there is one human breath on this planet, there will be imagination.

Good creating….

 

(Originally Published on Myspace on 11/27/08)