Broken Frontier: index

iPods Anonymous

2007-09-23

I’m a bit spoiled. There isn’t much that I want, but that which I do want I don’t usually go very long without. I’ve never had much trouble convincing myself that what I want and what I need is one in the same. And electronics are no exception. Cell phones, video game consoles, DVD players, MP3 players, you name it. If it runs on electricity I’m probably obsessed with it. This is all within reason of course. I don’t live outside my means. I still don’t have a PS3 or the 1080P LCD television I so covet (one day damn you!). So when I heard that Apple was releasing new iPod of course I had to get one.

Before Steve Jobs big announcement, I had a 5th generation 30 GB black iPod. There was nothing wrong with it; it was a perfectly sufficient MP3 player for someone not suffering from an intense gadget obsession. Jobs announced 3 big changes in the iPod lines. Firstly, the über iPod is the iPod Touch, which is basically the iPhone minus the phone. While this fancy piece of equipment nearly made me soil my Darth Vader boxers, it has a couple undesirable factors. There are two versions available, an 8 GB and a 16 GB, and the 8 GB is a whopping $300! I need at least 30 GB and I refuse to pay more than $250. The next huge change was to the iPod Nano, now with a bigger screen and the ability to play videos. They made it a bit wider and shorter also. Not a bad addition to the line. The last and final change (and the one that excited me the most) was the iPod Classic. Basically the same iPod we’ve all come to love priced at about the average price of $200 and now starting with 80 GB!

What’s a nerdish, overweight, music aficionado to do?! The answer is simple. Ditch the current iPod in favor of the new 80 GB iPod Classic. And that’s exactly what I did.

There are only a couple changes when comparing the iPod Classic to the previous model. Apple must have gotten tons of positive feedback about including album covers in the interface because you can’t do much on the thing without seeing the album art. The new Cover Flow feature similar to that on iTunes is pretty but loses its appeal after a use or two. I’m sure it’s a rare occasion where a listener says, "Man! I can’t remember the name of that band. But I remember what the cover looked like. If only…" But seeing the album covers when an artist is selected is kind of cool.

Going from a 30 GB iPod to an 80 GB is like trying to pack up and move from your apartment in a Mini Cooper and then your friend lends you their 18-wheeler. Before I used to have quite a bit of music on my iPod and it was nearly full. Now I have all the music I did before, plus tons more, and I still have over 50 GB left to spare!

All the free space has also allowed me to put a couple movies on there. In case I ever find myself ridiculously bored. There are several programs out there you can purchase for a nominal price that will allow you to rip your DVDs into files that will play on the device. I’ve got on my iPod V for Vendetta, Army of Darkness, Matrix: Reloaded and the five Star Wars movies (I know what I said. Don’t you dare talk to me about the Phantom Menace.) I’ve never watched more then 30 minutes of video on my iPod without making my eyes bleed, but it’s nice to know it’s there.

I am very pleased with my decision. If you like your old iPod, then you’ll love the iPod Classic. More room, a couple fancier features, and a cool metal cover that will be tough to scratch. It’s bound to satiate your hunger for the latest gadgets…until the next announcement.

Mixed Emotions

2007-09-20

As we continue to propel ourselves even further into the 21st century, I realize that much of what was once a big part of our lives has now become completely obsolete. In a technologically-driven society like our own, it’s not surprising that fads come and go with the times, but as I myself grow older, I stand firmly behind the belief that one art form’s absence, recently lost due to the emergence of digital music, will have long lasting effects on generations to come.

I’m talking about mix tapes.

If your puberty was peaking during the decade-long pinnacle of cassette popularity then there’s a good chance you spent hours upon hours amassing a collection of message-filled songs for a certain person you longed for. For pop culture-obsessed teens filled with the usual awkward angst, mix taping was really the only plausible way to express all of your confusing emotions. Let’s face it, at the time you were doing it, it made complete sense to let Steven Tyler or Lionel Richie tell that certain someone that you loved them as opposed to doing it yourself. In fact, even though a single mix tape could take you an entire weekend to get right, you kind of enjoyed the process.

Unfortunately however, the rise of iTunes has essentially single-handedly destroyed the mix tape. Sure you could quickly whip together a love-soaked playlist for that special person in your life, but it would never amount to the blood, sweat and tears you could pour into making a one-of-a-kind Maxell cassette, complete with its own homemade label. The not-so-simple act of making a mix tape was enough to show someone you loved them, never mind the music you decided to dupe onto it.

So, in the wake of the sad realization that my future kids wouldn’t understand what it meant to make a mix tape, I decided to pull out my old radio/recorder and spend a few (hundred) hours creating one for my fiancé. Because we didn’t know each other when we were teenagers, this is the first time she’d get a sense of my mix taping skills, and ultimately, quite possibly the last.

Song 1:

Fred Wilhelm: Steady

First of all, if you aren’t familiar with Fred Wilhelm, familiarize yourself. He’s one of the most creative songwriters to come out of the last ten years and his lyrical wisdoms have a tendency to be both humorous and poignant at the same time, which to me, pretty much defines life. I put this song on my fiancé’s mix tape because it encompasses the early part of our relationship, which was basically an extremely hectic (and more often than not, stressful) time for both of us. (Go buy this song!)

Song 2:

Bob Seger: Against the Wind
The great Seger and his Silver Bullet Band gave us this song back in 1980, but just because it’s almost three decades old doesn’t mean it can’t (and does) hold up in the here and now. Highlighting those unforgettable days of being young, stupid and in love, Against the Wind speaks of our puppy love pasts while reminding us that we don’t have to be teenagers to be completely swept off of our feet by someone new. I realized this after meeting my fiancé.

Song 3:

John Legend: Coming Home
A haunting song by the soulful Legend, I chose this for the mix tape because I travel quite a bit for my job, and unlike most people, I don’t fly. When I travel across the country (either by car or train), it’s a long three or four day journey, and in that span, I have a lot of time to think about things. What are those things? 99.9 percent of the time it’s about going home.

Song 4:

Billy Joel: Make You Feel My Love
Originally written by Bob Dylan, Make You Feel My Love is hands down one of the greatest love songs of all time, which makes sense why so many singers have covered it throughout the years. (A great version was recorded by Irish artist Luka Bloom if you have the time to search it out.) One man’s quest to prove himself worthy to the one he’s head over heels for, the song features unforgettable lyrics that any true romantic has felt at some point in their lives.

When the rain is blowing in your face
And the whole world is on your case
I would offer you a warm embrace
To make you feel my love

Words I wished I wrote myself.

Song 5:

John Wesley Harding: I’m Wrong About Everything
Harding, one of my favorite singer/songwriters, strikes a relatable chord with a tune about the arguments had in relationships and that particular moment where all guys just agree to disagree in order to save face. Bickering and petty fighting tend to be a part of the game of love, but being able to admit you’re wrong (even when you’re don’t necessarily think you are) is a path we have all walked down at some point, whether we want to admit it publicly or not. It also has one of my favorite verses of all time, if for nothing else its subtleness.

You win the argument at the end of every night
I never know the perfect time to hit the bedside light
Then we lie awake and watch headlights climb the blinds
I want you to know what’s going on in my mind.

Who hasn’t been there before?

Song 6:

Poison: The Last Song

While the 80s hair band is known for their fluffy ballads like Every Rose has Its Thorn, I was drawn to a song they recorded long after they lost their mainstream luster. Released in 2000 on their Power to the People album, The Last Song tells the tale of a weary soul putting everything he has on the table for the one he loves. Frightened at the thought of giving himself over to someone fully, he promises to give her all he’s got, but in return he asks that she doesn’t break his heart. Truer words were never spoken, but always thought about.

Song 7:

Kenny Chesney: Road and the Radio

You either love or hate country music, but for me, Road and the Radio is the perfect definition of extended time spent on the highways of America (remember, I don’t fly), while also serving as a wake up call to my own happiness, and in a lot of ways, what led to my engagement to my fiancé.

Clarity and inspiration
Happiness is a destination that’s hard to find
It may take some time
But in my mind there’s something more
And I’ll open up a brand new door
And find the strength to close the ones I left behind

Because let’s face it, happiness is an elusive beast, so when you find it, ride it like the angry bull it is.

Song 8:

Journey: Faithfully

I’d give you some big, wordy reason why I put this on the mix tape, but the truth is, the sappy song makes chicks all weepy eyed and I thought it would score some serious bonus points.

Song 9:

Bryan Adams: (Everything I Do) I Do It For You

I just scored myself one more point with this one!

Song 10:

Jeffery Gaines: Always Be

Moody in its delivery yet passionate in its verbal embrace, Gaines’ Always Be made it on my mix tape not only for its lyrical power, but because my fiancé loves it and I’d be foolish not to put it there.

I know this sounds too good to be true
That I devote my whole life to you
And if my life should end, my love goes on
And you will always have this song

Damn that’s heavy.

Song 11:

Sam Cooke: Cupid

Recorded in 1961, this is the oldest track on my mix tape, and quite possibly my favorite. Simple in its arangment and a shining example of how stellar early mainstream music was, Cooke’s vocals suck you into the song and bring you back to a day when love (and life) was simpler.

Cupid draw back your bow
And let you arrow go
Straight to my lover’s heart for me

Song 12:

Eddie Money: I Wanna Go Back

Just because I am obsessed with the Money man (myself and another regular “follower” have started the Money Shots, a sort of Deadheads for the Eddie Money crowd) and because my fiance is sick to death of hearing this song.

Hell, if I’m going to have to listen to this mix tape, I might as well get something out of it!

Sweet Dreams

2007-09-19

“Sweet dreams are made of this, who am I to disagree?” But is living the creative dream all it’s cracked up to be? And, what are you dreaming of, really? Do you dream of being successful in comics? What does that mean? In this edition of The Story Factory I will attempt to answer some of those questions. I may not succeed, but I am happy to give it all I’ve got.

Is living the creative dream all it’s cracked up to be?

Creating, writing, drawing, inking, coloring, lettering, producing, marketing and selling comics is fun, right? Well, yes it is, but it is also hard work! It isn’t easy trying to create your own comic, even when you have 24 free hours in a day.

At this stage, I have one completed comic book story, my 10 page fantasy tale called Tiki’s Phayrie. I was shocked at how long it took to have 10 finished (penciled, inked, colored and lettered) pages done. From concept, to script, to finished comic took four months and involved one writer (Me), one artist (Michael Kasinger), one inker (Michael Cef), five colorists (Tyler Vogel, Mike G, Frank Cuonzo, Steve Harrison and Michael Toolan) and one letterer (Brant W. Fowler). This huge team effort delivered 10 great pages.

I loved seeing the final product come together, but it wasn’t easy. I had to pull together a team, motivate people who were getting paid $0 and ensure we met the deadline. On top of this, all of the work appeared to be for nothing when the book was dropped from the Fablewood anthology.

Tiki’s Phayrie went on to be published by Future Quake Press in the UK anthology MangaQuake. The final work was published in black and white; sadly the awesome work of five colorists was partially lost when I converted the files to grey scale in Photoshop.

I got a huge buzz seeing Tiki’s Phayrie in print; it was the culmination of a long held dream to be a published comic book writer. However the amount of work it took to make the whole thing come together was staggering.

For most of the time I have worked to break into comics, I have repeated ad nauseum that I am doing this for love and not money; that the reward of being published is enough.

Well, I hate to break it to you, but that is not the whole truth.

If you think I am a mercenary, or just up myself, let me know. Here is my reasoning; I have worked in media and PR for more than eight years, I have been an internet columnist for more than three and a half years and I have worked inside three comic book companies. Most people just don’t realize how much time goes into planning, plotting, character development, writing, revising and editing one 22 page script.

I work in the Australian media and I earn a good living from selling words, but my comic book words haven’t earned me much money at all. Yes, you can live the creative dream, but it’s unlikely you will live off the creative dream. If you really want to create comics, be prepared to work all day, then come home and start working again.

And, what are you dreaming of, really?

As a storyteller you deal in the fantastic, so focusing on reality is sometimes something that we don’t do too well. If you want to live the dream, you better define it early on, otherwise you haven’t got a goal to work towards.

Here’s my comics dream in a nutshell; to create my own characters and concepts, to write my own scripts, to work with artists to bring the scripts to life and to see my own properties published.

I don’t want to make a living from comics, but I also don’t want to spend money creating comics … so, my only chance is to hope that someone believes enough in my work to publish it. Luckily for me, there is at least one of these people in the world, so some time in 2008, my first full size creator-owned comic will be published. Sure, it won’t be listed in Previews, the print run will be small and the book will most likely lose money, but I will be living the dream.

The comic book property that will be published in 2008 is a supernatural, super hero horror book heavily inspired by the Underworld movies. More details will be revealed on my blog (www.jasonbereklewis.blogspot.com) in the near future.

On top of this idea, I have three other creator owned concepts that I want to bring to the comic book page … one day.

Do you dream of being successful in comics? What does that mean?

Success is in the eye of the beholder and it will mean something very different for each and every creator. At the end of the day, if you are churning the work out, getting your stories out there and having the time of your life … well, it doesn’t get much better than that!

Next: Minutes to Midnight.

The Black Parade Enters the Comic Store.

2007-09-18

Writers from other medium dabbling in comics are nothing new. In fact, the trend has picked up steam in recent years as writers known for their work in books (Brad Meltzer, Jodi Picoult, Stephen King), movies (Kevin Smith, Bob Gale, Richard Donner), and television (Damon Lindelof, Allen Heinberg, Jeph Loeb) have made comics their second home.

Recently, there has been an increase in the number of people from the world of music who are dabbling in comics. The Eurythmics’ Dave Stewart was the creative force behind Virgin’s Walk In series, Coheed and Cambria founder Claudio Sanchez’s The Armory Wars has found a home over at Image, and now My Chemical Romance’s Gerard Way is joining the crowd this week with The Umbrella Academy: Apocalypse Suite from Dark Horse.

Musicians, on the surface, do not seem to be as obvious a choice to become comic writers as novelists and screenwriters. Comics seem to be closer in style to books, movies and TV shows than songs and albums. But there are more similarities than you might think.

The connections between the world’s of popular music and comic books have been around for quite some time. Superman, Green Lantern, and Wolverine have made their way into more that one song. Comic artists have done album cover art-most notably R. Crumb’s cover for Big Brother and the Holding Company and Todd McFarlane’s for Korn. But the musical output of My Chemical Romance and Coheed and Cambria take the comics/ music connection to a whole other level.

Both bands are masters of the concept album. The songs are chapters in the larger stories that their records tell. All of Coheed & Cambria albums tell the story of The Armory Wars, the same story Sanchez is adapting to comics himself. Their four albums form three parts of the five-part epic and each one has a science-fiction flavor to its lyrical content.

My Chemical Romance’s most recent, Platinum-selling album, The Black Parade, tells the tale of a man called “The Patient”. The songs tell the story of the man succumbing to cancer and, afterward, reflecting on what was his life. It may be dark and a little bit morbid, but the story might feel right at home in a Vertigo Comic book.

Funny, I should mention Vertigo, because Gerard Way actually interned at DC before he started MCR, coming from NYC’s School of Visual Arts where he trained to be an artist—a comic book artist. He did the cover artwork for MCR’s second album, and lists Doom Patrol artist Richard Case as a major artist.

So, Way’s journey from superstar rock and roller to comic book creator seems almost preordained. And the seriousness that Way approached the project impressed Dark Horse. The singer provided the company with a tight, cohesive pitch he invested a lot of thought and preparation in. His dedication to the project brought around many naysayers. Way’s conviction to providing the best product he can is shown by him recruiting award-winning cover artist James Jean to do covers for the series.

Dark Horse returned the favor by going all out to make sure the series is seen by the most readers. They paired Way with hot artist Gabriel Bá, who has received mainstream acclaim for his work on Image’s Casanova series. The company also made the series its Free Comic Book Day offering for 2007, giving fans a sneak peek at what to expect from the series. Dark Horse also previewed the series on its MySpace page.

The Umbrella Academy is seven super powered individuals who were adopted at a young age by an alien who goes by the code name, The Monocle. He raises them to try and save the world and they form a dysfunctional sort of family. When one of the seven dies, they disband and go their own way. When the Monocle dies, they reunite once again and are drawn back together through a series of unfortunate events.

Some of you out there might think that Way is simply a dilettante dabbling in the world of comics to make a quick buck. But, in reality, he is a long time fan of the medium finally getting the chance to fulfill his dream. Don’t hate him for being a rock star. It’s not his fault that it’s easier to break into the music biz that it was to break into comics.

Also out this week:

Marvel Comics Presents #1:

I have an unmitigated love for the anthology series. Few may know that they are the type of comics all of today’s comics were based on. Back in the ‘30’s and ‘40’s, almost every comic was an anthology comic. This is where new characters would be born, daring takes on established characters would be tried out and creators would have the freedom to experiment.

Marvel brings it’s Marvel Comics Presents anthology back from the dead this week, and I couldn’t be happier. It will give top name creators the chance to work on characters they normally wouldn’t have the opportunity to, give some of Marvel’s lesser known characters a time in the spotlight, and give up and coming creators a time to shine.

Various (W), Various (A), Marvel Comics, $3.99.Ongoing Series.

Green Arrow/Black Canary Wedding Special #1:

This is it. After about thirty years of an off and on relationship, Ollie Queen and Dinah Lance are due to tie the knot. And this is the issue where it all will happen. That is, unless, Deathstroke and a bunch of the world’s worst villains can succeed in trying to stop it.

So, will Ollie and Dinah be married at the end of this issue? Perhaps a better question is: will Ollie still be alive at the end of this issue. Something big is going to happen in this issue, and the new Green Arrow/Black Canary series features Connor Hawke donning the quiver. Could Ollie be destined for the graveyard again? And if so, who will do him in? Deathstroke? Merlyn? Or perhaps that rogue Monitor who is killing continuity blips over in Countdown? Or are rumors of his death just overrated?

Judd Winick (W), Amanda Connor and Jimmy Palmiotti (A), DC Comics, $3.99, One-Shot.

Jack Kirby's Galactic Bounty Hunters #6:

This is it. The Mainframe’s search for his son is at an end. All that stands between him and reconciliation is a lopsided battle in Dangerland. How will he prevail against overwhelming odds? Can he afford not to?

Jack Kirby would have been 90 years old last month, but, unfortunately, he did not live to see this series to fruition. Working from his notes, Kirby’s daughter, Lisa, guided the series into reality, having a personal connection to the familial storyline—how it metaphorically dealt with her relationship to Jack. It is a bit ironic that considering the history Jack Kirby has had with Marvel Comics that the company’s Icon imprint might have just published the last comic story created by Kirby that we will ever see.

Lisa Kirby (W), Mike Thibodeaux (A), Icon/Marvel Comics, $3.99. Last Issue.

Criminal Macabre: My Demon Baby #1:

Seeing his ex-wife’s horrifying transformation into a minion of the vampire Nosferatu was a little bit too much for Cal McDonald. He has hit the downward spiral of drug abuse fast and hard. He is down so low that he can no longer see up. He’s homeless, hopeless and just wants to be left alone.

Unfortunately, that is not an option. There is a case that only he has the skills to deal with. A group of Satanists out in Southern California might have just succeed in bringing the Devil to life—in the form of a bouncing and beautiful baby. Could this little bundle of joy, one that looks so sweet and innocent, be the one who brings about the end of days? And if it is, what can Cal do about it?

Steve Niles (W), Nick Stakal (A), Dark Horse Comics, $2.99. Four-Issue Miniseries.

Countdown to Mystery #1:

Back in April, we were supposed to get the first issue of a new Doctor Fate series. Written by Steve Gerber and with art by Paul Gulacy, DC led up to it with a series of specials to raise consumer interest for the series. Then it never appeared.

In a blog post dated May 20, 2007, Steve Gerber announced that he was diagnosed with a disease called pulmonary fibrosis in 2005, a degenerative disease of the lungs which turns the insides of the organ into scar tissue. This renders the patient unable to breathe and is usually fatal. With Gerber, the disease is in its final stages. The only option for the creator is a lung transplant.

Gerber has been continuing to write Doctor Fate scripts and DC will be running them as part of this series. This is a classy move by DC. Just by having “Countdown” in the title might mean that it will sell more that the regular Doctor Fate series might have. And, from what I understand of the royalty agreements, this will mean more money in Gerber’s pocket to help with Gerber’s life-saving operation. So, this could be the one Countdown tie-in you should feel good about picking up. Not only will you be getting one of DC’s best characters written by a comics legend, you will be helping that legend out in his time of need.

Steve Gerber & Matt Sturges (W), Justiniano & Stephen Segovia (A), DC Comics, $3.99. Eight-Issue Miniseries.

###

William Gatevackes is a professional writer living in Mamaroneck, NY with his wife Jennifer. He also writes periodic comic reviews for PopMatters, is a weekly contributor to Film Buff Online and writes title descriptions for Human Computing’s Comicbase collection management software. Links to his writing can be found at his website, www.williamgatevackes.com.

Mulch? Check. Cheese Dip? Check

2007-09-11

Dark Horse is trying to tell us that it’s the 25^th anniversary of Groo. It’s not. It may be the 25^th anniversary of the character headlining his own book, but 2007 is the 26^th anniversary of Groo’s first appearance in comic pages and the character himself came to be quite a bit earlier.

Sergio Aragonés first came up with the concept for Groo in the mid-to-late 1970s. In an interview with Back Issue mgazine, Aragonés explained that he tried to shop Groo around to the various publishing houses of the day but was not satisfied with the response. It’s not that these companies did not want to publish Groo, it’s just that they wanted full ownership of the character. This was something that Aragonés was unwilling to hand over.

Around the same time or shortly after, Steve Gerber was beginning his lawsuit against Marvel for the rights to Howard the Duck, which Gerber created. Gerber friend Mark Evanier was in the process of putting together a benefit book to help the creator with his legal fees. Evanier went to his other friend Aragonés and convinced him this would be the perfect place for Groo to make his debut.

Groo first appeared in a back-up story in the pages of Destroyer Duck #1, the benefit book in question. The comic, which was cover-dated February of 1982 but was actually was published by Eclipse Comics in 1981, allowed Aragonés’ creation to see the light of day while at the same time allowing him to keep ownership of it.

That back-up story, and a second one in Pacific Comics’ Star-Slayer #5, caught the interest of fans. Soon, Groo was the star of his own series, the first issue of which was published by Pacific in 1982.

Evanier was brought on to help with the writing, Stan Sakai was brought on as a letterer, and Tom Luth took over the coloring chores from a man named Gordon Kent (the team of Evanier, Aragonés, Sakai and Luth still handle all appearances of Groo to this day).

Groo lasted at Pacific for eight issues before the company went out of busines. The title, after a one-shot special at Eclipse, then moved to Marvel’s “creator-owned” Epic line and lasted there for 10 years. After a 12 issue stay at Image Comics, Dark Horse Comics became the current home to the property.

The popularity of Groo might baffle the uninitiated. On the surface, it is a broad parody of Conan the Barbarian. Each book features essentially the same plot: Groo enters town. Mistakes and melees occur, usually caused by Groo’s stupidity. Groo leaves town worse off than he found it. If you never read Groo, you might wonder what the fuss is about.

But, speaking as a fan, Groo has to be one of the funniest books I have ever read. The plots remain similar, but each story is unique and individual. Readers know that Groo’s stupidity will wreak havoc eventually, but we don’t know when or how.

Add to that any number of the series’ recurring characters, new towns with new characteristics for Groo to work off of, and the running gags fans have come to expect (Has he mentioned Cheese Dip yet? Called someone a mendicant? Has he been called “slow of mind” in this issue?), you have a truly entertaining series.

Another reason why fans love Groo is the lengths the creators go to make them feel welcome. Groo is known for its letter column, a rarity these days, which is as entertaining as the series itself. Aragonés often puts things in the artwork, such as hidden messages and representations of the creators themselves, for fans to hunt down in each issue.

Fans of Groo who want more than just a one-shot anniversary issue, rest assured. A four issue miniseries, called Groo: Hell on Earth, is soon to come from Dark Horse.

>Also out this week:

Daredevil #100:

It’s an anniversary! Daredevil hits the 100 issue mark for the second time in the character’s history. Marvel is celebrating by offering us a 104 page issue, bringing on a bunch of guest artists, including some legendary names from the title’s past—John Romita Sr. and Gene Colan to name two, and using the issue to start off a new arc.

The Daredevil series’ have had a lot of ups and downs over the last 40+ years. But this incarnation of the title has consistently brought the character to new heights. From Kevin Smith and Joe Quesada to Bendis and Maleev to Brubaker and Lark, with a little David Mack for good measure, this version of Daredevil has been one of Marvel’s best books for 100 issues now. And it shows no signs of stopping.

Ed Brubaker (W), Various (A), Marvel Comics, $3.99. Ongoing Series.

Drafted #1:

It is one of the biggest roadblocks to world peace. Groups of people with centuries of hatred against each other, animosity passed down from generation to generation, who let petty squabbles break out into all-out war. How can anybody ever make these people work together?

Well, what if they were faced with a threat bigger than the both of them? What if they were faced with either working together or facing total annihilation? What if they had no other choice?

This is the basis for Drafted . Earth is facing an alien invasion. The odds are overwhelming. The history of enmity is soon forgotten. Every man, woman and child on Earth is now drafted into a war for their very survival, a war they might not win.

Mark Powers (W), Chris Lie (A), Devil’s Due Publishing, $3.50. Ongoing Series.

Suicide Squad: Raise the Flag #1:

To know John Ostrander’s Suicide Squad is to love it. From 1987 to 1991, DC’s worst villains were joined together into a “Dirty Dozen” style task force. Their mission: do whatever the Government wants. Their reward: A full pardon. The punishment if they don’t comply: Death or dismemberment. Needless to say, the series became a cult hit.

Now Ostrander and the Suicide Squad are back. This new, eight-issue series will wrap up loose ends from the previous series (like how Rick Flag survived that nuclear blast), reveal hidden secrets about the team’s past, and set the team up to play a role in the DC Universe. This is a perfect jumping on point for new readers and a welcome return for old fans.

John Ostrander (W), Javier Pina & Robin Riggs (A), DC Comics, $2.99. Eight-Issue Miniseries.

Thirteen Steps #1:

Justin Ullrich is a werewolf. He considers that to be a rather big problem. Unfortunately, nobody really wants to talk to him about it. His mother turns a deaf ear, his priest is no help and his buddy is more concerned with getting high. His ex-girlfriend? She’s a succubus, which means that she has an agenda all her own.

Where do you turn? Who can a person who grows a full-body pelt at a full moon talk to? If only there was a 12-step program for someone with Justin’s curse.

But there isn’t one, because with a problem as big as Justin’s, any program will need thirteen steps.

Phil Hester & Chuck Satterlee (W), Kevin Mellon (A), Desperado Publishing, $3.99. Ongoing Series.

JLA Wedding Special:

This would appear to be just another special DC is publishing to tie-in to the Green Arrow/Black Canary wedding event. It will allow us to eavesdrop on Dinah’s bachelorette party and Ollie’s bachelor party, but the special serves another purpose as well.

Written by Dwayne McDuffie, who takes over for Brad Meltzer on Justice League of America this month, this one-shot will let us know who will make up the new Injustice League who will plague the team in the pages of that series and how they joined the team. So, all of you JLofA fans out there, if you thought you could leave this issue off of your pull list, you might want to pick this one up. Or you might be missing something when McDuffie’s run on that title begins.

Dwayne McDuffie (W), Mike McKone (A), DC Comics, $3.99. One-Shot.

Heroes for Hire #13:

Heroes for Hire is one of Marvel’s better team books, but not one of it’s best sellers. The series could probably use any publicity it can get. Although, I’m not sure that it wanted the press it got over this issue’s cover.

The cover for this issue is reminiscent of what Manga fans call “Tentacle Porn”. I know absolutely nothing about Manga, but that sounds like it could upset some people. When the issue was solicited, the internet erupted in cries of sexism, especially considering the three female cast members on the cover are wearing far less clothing than they usually do inside the book. Forget the fact that it was a woman who actually drew the cover.

As far as I know, Marvel is going with the cover. But if they do, what will happen? Will less people pick up the title? Or more?

Zeb Wells & Fred Van Lente (W), Clay Mann & John Bosco (A), Marvel Comics, $2.99. Ongoing Series.

###

Scott McCloudâ��s Making Comics Tour Comes to Phoenix

2007-07-13

Samurai Comics in conjunction with the Art Institute of Phoenix is pleased to announce a special appearance by creator Scott McCloud.

The writer/artist of Understanding Comics, Reinventing Comics, and most recently Making Comics, Scott is considered in many circles to be the preeminent scholar of comic books and sequential art in the world.

In recent years, Scott has given Visual Lectures on Comics and Technology at destinations as diverse as Harvard University, Electronic Arts, The Smithsonian, Microsoft, and Pixar.

Scott is in the middle of his Making Comics tour, a tour that has taken him across the country, and across the world. Making Comics is a continuation of a series of books designed at giving both aspiring and professional creators an insider’s view into the myriad elements that go into creating comic books.

Scott will be appearing at the Art Institute of Phoenix, 2233 W. Dunlap Avenue, on July 20th for a Visual Lecture on Comics and Technology from 4:30-6:30 pm.

In addition, Scott will be doing a special meet and greet event with fans at Samurai Comics, 5024 N. 7th St, on Thursday July 19th from 7-9 pm. "Scott McCloud is simply amazing!" said Samurai Comics owner Mike Banks "anyone interested in creating their own comics, or even interested in learning about comics as an art form should come meet Scott and attend the lecture".

For more information contact Mike Banks at Samurai Comics, 623-872-8886, mike@samuraicomics.com or Kevin Hedgepeth at the Art Institute of Phoenix, 602- 331-7513

For more information on Scott McCloud, visit Scott’s website at www.scottmccloud.com

STUFF Magazine Puts Final Destination on the Hitlist

2007-07-13

Stuff Magazine's August issue ranks Zenescope Entertainment/New Line Cinema's comic series Final Destination: Spring Break at #6 on their Top 21 HitList. STUFF states "Cancun has never been wilder."

"We're thrilled to find our way on STUFF's HitList -- it's great when a hip, mainstream magazine covers an independent series like this.

It's a good step forward for us, and we're thrilled that independent companies continue to gain more recognition in this industry," says Zenescope's VP and Editor-In-Chief Ralph Tedesco.

STUFF's August issue, featuring the stunning Katherine McPhee on the cover, is now on stands. Final Destination: Spring Break and all of Zenescope's other hot comics can be found online at www.zenescope.com

Johnny Delgado is Dead

2007-07-13

Johnny Delgado is Dead is set to make its world debut on July 26th, 2007 in San Diego, CA, at the comic industry's biggest event, Comic-Con International. Created by Kompany X and published by Top Cow productions, Johnny Delgado is Dead centers on two childhood friends who are bound by the code of brotherhood, loyalty...and fate. Closer than brothers, one is destined to die and the other to secure justice as a tale of corruption and murder along the U.S./Mexican border unfolds.

This title was created by Kompany X founder John Leekley, the Emmy award-winning writer/executive producer of "Spawn: The Animated Series," Michael D. Olmos, director of the Dark Horse feature film Splinter and Roger Mincheff, the founder of Spacedog Entertainment and Executive Producer of Sony’s "The Covenant" and creates a modern Latino archetype Based loosely on the legends of Pancho Villa and Zorro, Johnny Delgado is Dead is groundbreaking by having broad appeal while based in the rich culture and lifestyle of the Hispanic community, one that has largely been ignored by the comic book industry.

Spacedog Entertainment approached Harley-Davidson Motor Company in the developmental stages of their comic project. The lead characters in the story, Johnny Delgado and Victor Reyes, personify the Harley-Davidson brand through their adventurous spirit and rebel attitudes. Growing up in a tough neighborhood, the young boys stayed off the streets by helping out at the local motorcycle shop where they gained their love of bikes and the freedom of the open road.

"We initially approached Harley-Davidson because our hero is a modern day Zorro and today Zorro’s steed would be a Harley. Nothing else would have made sense," says Roger Mincheff, CEO & President of Spacedog Entertainment. "There are brands that define a lifestyle. As our relationship developed, Harley’s rich brand helped us further develop the richness of our hero. The ability to use that image lends authenticity to the lifestyle portrayed in this story."

"After reviewing the project, we knew it was something that Harley-Davidson needed to support," says Matt Schmidt, Entertainment Marketing Project Manager at Harley-Davidson. "The theme of brotherhood is at the heart of our brand."

"As a proud member of the Latino community, it was a thrill to write something that honors those roots but at its core is just a great and classic story told through a visually stunning medium," says Michel Olmos (son of the legendary Edward J. Olmos). Mincheff and artist Chris Moreno are all of Latino descent, which contributes to the authenticity of the story.

Since 1992, Top Cow Productions has cemented itself as one of the leading comic book publishers in the business. With titles like Lara Croft Tomb Raider, Witchblade, The Darkness and Wanted , Top Cow has established itself as a pipeline for new franchises that resonate with the comic book audience.

"We're absolutely thrilled to be publishing this book and working with such talented writers as John and Michael, in addition to one of the great American motorcycle brands, Harley–Davidson" says Filip Sablik, Vice President of Marketing & Sales for Top Cow. "One of the things that excites us about this story is the appeal it will have to Latino communities as well as the entire comic book and graphic novel field."

Hero Initiative Offering a Face to Face with Stan Lee

2007-07-13

Bid NOW at http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=300129989278 to win the ultimate opportunity to hang with Stan Lee on a yacht on Friday, July 27, 2007 at this year’s San Diego Comic Con International! Six winners will receive:

-Photo and face time with Stan aboard the Illusion TV Yacht, which is anchored in the beautiful San Diego Marina right behind the convention center.

-Two of your own personal comic books signed by Stan Lee and then certified by CGC with the prestigious Signature Series label.

-Lunch prior to meeting Stan Lee courtesy of Hero Board Member/CGC President Steve Borock. Lunch will be with Steve and System Of A Down’s Drummer Extraordinaire and life long comic collector, John Dolmayan.

The Hero Initiative will also be adding a page on their website that commemorates the event. This special page will feature the winners with the scans of their Stan Lee CGC Signature Series books along with their photo of Stan Lee and their name underneath the picture. Think of it as worldwide "bragging rights" to show of to your chat board/ my space/ comic space/ and other friends from where they live to any place in the world!

This fantastic opportunity takes place on Friday, July 27. Lunch at the Marriott Hotel next to the Convention Center will run from 12:30 pm-1:30 pm and you will meet Stan Lee from 2:30 pm-3:15 pm.

The fine print: Your two items for signing by Stan Lee need to be received by Hero no later than Wednesday, July 18 so we can have Stan Lee sign them and get them finished by CGC prior to the convention. You will receive your items at the event.

Images featured on the auction’s page are not up for auction but only examples of what you will win. This auction is non transferable and is for the winners only – no additional guests are allowed.

For more information on San Diego Comic Con International, visit http://www.comic-con.org/cci/index.php .

To see the amazing 35’ Illusion TV Yacht, which seats 10-12 people and was generously donated by Illusion TV, visit http://www.seaforthboatrental.com/sailboats/boats/large-catalina350.php .

For more information on CGC’s Signature Series, visit www.CGCComics.com.

The Hero Initiative is the first-ever federally chartered not-for-profit corporation dedicated strictly to helping comic book creators in need. Hero creates a financial safety net for yesterdays' creators who may need emergency medical aid, financial support for essentials of life, and an avenue back into paying work. It's a chance for all of us to give back something to the people who have given us so much enjoyment.

Lazarus Rises!

2007-07-13

Juan Ferreyra returns to Image Comics' Shadowline this October with Lazarus , a full color mystery mini-series with an undeadly twist.

"I'm really happy to be back at Image," Ferreyra said. "My career started by working with Kristen Simon, the editor at Shadowline, on Small Gods, so it's a bit like coming home. To make it even more of a family affair, I created Lazarus with my long-time friend, co-writer Diego Cortes. These two factors make Lazarus the most personal work I've put out."

James Lazarus, the titular protagonist, is plagued by dreams of his death night after night. These dreams turn out to be far from fantasy as James discovers he's truly immortal during an attempt on his life. This puts him on an urgent search to figure out who is responsible for attacking him and why. The answers don't come easy. As James learns, immortality can be quite painful.

"Lazarus may be the best work I've seen from Juan," Jim Valentino, President of Shadowline, adds. "I've had my eye on him since he came on the scene, so to be able to publish the first work that's wholly his own is a real treat. In addition, the direction he's taken his art in this series is bound to turn a lot of heads."

Lazarus will hit stands October 17th with a cover price of $3.50.

The Umbrella Academy: Apocalypse Suite #1

2007-09-23

My Chemical Romance’s Gerard Way brings his comic book vision to publication, with a first issue that’s as rampantly creative as it is complexly structured.

In last May’s “Free Comic Book Day” offering from Dark Horse, The Umbrella Academy was featured in a preview short that had many readers salivating for more. Seven oddly-powered individuals headed by a sociopathic Victorian pulp-adventurer named The Monocle, thrown together like the mother of all dysfunctional families? What was this? The answer begins to come clear in Apocalypse Suite #1, wherein the origin of the kids and their mentor is plainly divulged, though with a veritable textbook of hidden story hinted at, yet to be revealed.

How much fun can a single book be? In TUA: AS #1, the Umbrella Academy kids attack an Eiffel Tower gone berserk, manipulated by a steam-run cyborg version of Gustave Eiffel himself! Meanwhile, The Monocle prepares for a future threat of…something (no one knows), and then we jump twenty years forward to the most startling news of all—the Monocle is dead, and now the kids, grown to adulthood and superhero-ish-hood, must return to face the whatever-it-is their “father” had brought them together for in the first place.

With Gabriel Bá on art chores (the man behind Image’s Casanova ), you know the book’s going to have a wild, anything-goes feel to it, and it does, but writer Way never lets it seem unsystematic, but rather the bizarre aspects of the story continue to flesh-out and set up the greater epic as a whole. The final result is an ongoing saga told in alternating pieces of pulp fiction action and weird sci-fi set-up, producing a book highly reminiscent of Dark Horse’s flagship title Hellboy.

Way is definitely from the Robert Kirkman and Matt Fraction generation of fanboy-cum-writers, influenced by the same, somehow ending up with a similar take on what modern comics should be. That’s far from a complaint (though it is a warning), and anyone who enjoys outlandish vistas populated by over-the-top characters who think and speak and act like everyday Generation X’ers, will utterly love The Umbrella Academy. Gerard isn’t as wordy as Kirkman, or as frivolous as Fraction, and in fact he seems, at the core, a stronger writer than either. There’s only a single issue (and a preview) to base that statement on, but so far so very, very good.

Bá’s art is pure eye-candy; even juggling two books he seems better than ever before. The action is wowing, the humor and drama spot on, and coupled by Dave Stewart’s wonderfully selected palate, the series takes on a life of its own, reading like a long established ongoing at the peak of its popularity and artistic expression.

All around, The Umbrella Academy: Apocalypse Suite is a glorious debut, one of the strongest, hands down, in many, many years, from Marvel, DC, Image, or even Dark Horse itself. It’s a very well thought out and brilliantly executed adventure yarn, with flavors of nearly every genre under the sun while yet retaining an actual, solid aesthetic that isn’t just a haphazard jumble of inspirations. It’s nothing groundbreaking, nothing that hasn’t been more-or-less the popular kind of comic within the industry since the new millennium began, but what it is , is one of the best of its type to see the two sides of printed paper. It’s derivative, but it’s wonderfully so, and artfully managed.

Marvel Comics Presents Vol. 2 #1

2007-09-23

Marvel’s long-lamented anthology returns for a twelve-issue monthly series, featuring wild stories about random characters by top-notch creative talent.

I admit, I was a ginormous fan of the first run of Marvel Comics Presents. It wasn’t always a quality book, but it was constantly surprising, and it offered up adventures too oddball for most major titles, characters too lower-tier for fans to have the chance to read of them anywhere else, and it spotlighted new and untried talent in bite-sized little chunks of comic book goodness. The relaunch differs in a few key ways: this new series is limited, running only twelve issues in all, and it’s monthly, unlike its previous incarnation which held a bi-weekly publication schedule.

That second part is a major issue, because it’s key. Each story inside MCP runs a mere eight pages in length, meaning that beyond the self-contained one-offs, the multi-parters are going to be slow torture for fans to follow on a monthly basis. The original MCP recognized this dilemma, and its longevity (a staggering 175 issue run, a lifespan unheard of for a US anthology) was primarily thanks to its bi-weekly status. Eight pages per—even at twice a month that totals only sixteen pages of product for each recurring creative team, eight pages shy of what a normal monthly would demand. How difficult could it have been, then? If DC can publish a weekly series (two of them, in fact, back-to-back) why couldn’t Marvel have reinstated this title with its original bi-weekly release schedule?

Nevertheless, monthly it is, which is ridiculous, but the stories within the new MCP are all worthy successors to the original, and definitely surpass many of the stories that appeared in Volume One’s twilight years. Most of the talent is well-known, or at least currently “hot,” though a smattering of names are new to the mainstream field. It begins with…

Vanguard by writer Marc Guggenheim and newcomer Dave Wilkins. This is part one in a twelve-part saga (spanning the entire run of the series). The Vanguard character is a golden oldie, but this looks to reinstate new blood into the role. Guggenheim’s script is serviceable, well structured though it unapologetically sounds like an episode of CSI: Miami or 24 or something of the like. It’s part political-thriller, part murder mystery, building toward the introduction of, I’m assuming, a new Vanguard. But the wonder of this tale definitely lies in Wilkins’ art—a gorgeous display of Ariel Olivetti style beauty, coupled with colors by Tony Washington that allow for a fully painted final effect. Wilkins’ is definitely going to move on to greater things. Remember the name.

Next comes The Girl Who Could Be You! , a new multi-parter starring Hellcat and written by Kathryn Immonen with art by fan-faves Stuart Immonen and Wade von Grawbadger. While Stuart and Wade are industry standards, Kathryn puts forth her first foot into the comic field, and while she seems an arguably strong writer, the actual story herein falls flat. It’s meant to showcase Patsy Walker’s (or is it Patsy Hellstrom?) frivolous side, turning her into a kind of Catwoman meets Betty and Veronica, which is amusing for the first two or three pages, but the flavor grows tiresome as the tale journeys ever on, and not a single aspect more of character or event comes into play. Worse, the story is “part one,” meaning there’s more, which I can’t say I’m thrilled about.

Third on the roster is Unfriendly Neighborhood by Stuart Moore and Clayton Henry, a tale featuring Spider-Man and…his intergalactic squad of Spider-Men. While a fan of both Moore and Henry, I didn’t think I’d like this little one-shot short, knowing it would be snarky and irreverent but likely little else besides. The duo surprised me though by offering up some highly imaginative moments within the usual inside-joke humor, and ultimately the tale stands as a very weird sci-fi “What If…?” rather than just one overlong (even at eight pages) Spider-Man roast.

Weapon Omega by Rich Koslowski and Andrea DiVito comes next, and along with Vanguard seems to be this series’ flagship epic, a twelve-part saga featuring the new Guardian introduced over in Omega Flight. Koslowski is best known for his much-lamented The 3 Geeks and the disturbing mature-readers graphic novel Three Fingers, though this’ll mark his first foray into mainstream spandex. He’s paired with the imminently talented Andrea DiVito (from Oeming’s run on Thor and the follow-up Beta Ray Bill series Stormbringer ) and the duo look to produce a truly exceptional action-adventure…with a little horror-filled twist. Koslowski’s script is funny, but not overly so, and he’s able to transition into darker territory fluidly, allowing for a fleshed out super-hero thriller that looks to be deadly damn good.

To Love a Man, Not a Monster is the final offering, a one-parter written and drawn by the inimitable Nelson. For an artist, Nelson proves that he’s got writer’s chops as well, more so than most writers, in fact. By far the most all-around satisfying story in issue #1, Nelson’s poignant look at the relationship between Alicia Masters and Ben Grimm/The Thing is wonderfully told, sympathetic without ever tumbling into sentimentality. And his art, of course, is phenomenal.

Marvel Comics Presents is off to a good start, though with two twelve-parters and the series announced to run only twelve issues, that takes a ton of the fun out of guessing “what’s next?”. Add to that the fact that it’ll be a full year before those longer epics reach their conclusions, and MCP Volume 2 isn’t quite the wonder it wants to be, definitely not what it should be. I’m happy to see it back, but if Marvel’s going to do a book like this, they need to be brave enough to a) make it ongoing and b) bi-weekly, so that c) readers can be just as enthralled by the stories and the possibilities as they were in the past. In its current form, however, I admit, it’d never last more than twelve issues anyway.

JLA/Hitman #1

2007-09-23

Tommy Monaghan is back in a welcome flashback story that brings the Hitman and the JLA together to face a menace from both their pasts…

Bloodlines. It was an early 90s crossover series that’s never going to attain the status of fan favorite. Not on this Earth anyway. Over a series of Annuals it gave the DCU a host of new characters who, having been bitten by a race of invading alien parasites, had gained super-powers rather than dying. A few of them spun off into their own short-lived books or miniseries (Gunfire, Loose Cannon, Anima, Argus, Blood Pack) but none had any lasting success. None, that is, except for Tommy Monaghan, the hard-drinking anti-hero who debuted in The Demon Annual #2 and went on to star for sixty-plus issues (including spin-offs and one-shots) of his own Hitman book.

Hitman’s story came to a definite conclusion, in a hail of bullets, a few years back. Tommy and I have some history though. Back in those pre-Internet days, when the only contact we fans had with the industry was through letter columns, I was rewarded for my persistent (and probably quite irritating – I was something of an angry young fanboy in those days!) letterhacking by receiving the first three issues of Hitman in photocopied black and white previews to advance comment on.

I instantly knew there was going to be something very special about Garth Ennis’s work on this book. Ironically, for a title with such a cynical subject matter (the adventures of a bunch of boozy assassins-for-hire), the real themes of the book were friendship and the relationships of Tommy and his supporting cast. Ostensibly a DCU book, Ennis was unable to go to the same extremes as in some of his other work and this meant the humor had to be tighter, cleverer and less reliant on the total gross-out crudity. Although there was some of that too! For me it’s far and away his best work. And yes, that does mean I rate Hitman over Preacher…

So, just like Suicide Squad last week, I found myself revisiting an old favorite and hoping against hope that I wasn’t going to be disappointed. And, once again, I’m pleased to say I wasn’t. Opening in the present day, a reporter questions Clark Kent about Tommy Monaghan’s links to Superman. It gives Clark the opportunity to tell, in flashback, a previously unknown part of Monaghan’s past when the potential return of the Bloodlines parasites led to the JLA taking the Hitman to their Watchtower on the moon to plan a defence against the aliens. Little do the heroes know but the Parasites are about to get their "retaliation" in first….

The most appealing aspect of this first part (of two) is the dialogue. As snappy and witty as ever, it’s particularly amusing in the context of Ennis playing with honest-to-goodness DC icons like the JLA. Outside of some great one-liners Ennis also pushes the boundaries of taste as far as he can in a DCU book (and in some cases probably overstepping said boundaries!). Supporting player Natt’s new girlfriend who, after a teleportation accident, has ended up with an elephant’s head provides one of the best gags later in the issue. As this is a family-oriented review I shall refrain from elaborating on some of the other subjects for humor, but there are some genuinely laugh out loud moments herein…

Plenty of old faces turn up. This couldn’t be an issue of Hitman (so to speak) without an appearance by Sixpack after all, and the proceedings are given a fitting sense of familiarity by the able storytelling of long-time Hitman collaborator John McCrea on the art chores. Perhaps my only concern, from an accessibility standpoint, is that so many past issues are referenced in footnotes that newer readers may well feel they’ve blundered into a huge in-joke that they’re excluded from. However, longer-term readers will love the sense of nostalgia this brings and the chance to relive classic moments from the past. Who can forget Tommy vomiting all over the Batman in Hitman #1 for example?

An unmissable treat that will hopefully prove to DC that more Hitman trades are needed. So pull a stool up to the bar, grab a beer and raise your glass to Tommy, Natt, Sean, Ringo, Hacken, Baytor and Sixpack. A welcome reminder that the 1990s really weren’t as bad as we sometimes think they were!

2007-09-21

The darkest shadows of self-judgment and loss are explored in this extremely atmospheric blend of Kafka-esque eccentricity and psychological Lovecraftian horror.

Miséréri Nobis (“Have Mercy on Us”) is a 232-page original graphic novel that chronicles the slow decline of three different characters, each lost within their own world of personal grief. First we encounter Mary, a single mother whose daughter is stolen away from her. Second, a detective named Robert Blackthorn, or perhaps it’s Larry Carroll, though in either case a man shouldering a heavy burden, a weight that threatens to drive him utterly insane. Then there's Izzy, a nineteen-year-old girl whose innocence was long-ago lost, and now she drifts aimless, waiting for an impetus to set things right. As the narrative weaves in and out of their lives, details slowly intertwine, everyone’s remorse pools, and it all builds to a singularly bleak, horrific climax.

Miséréri is Mat Festa’s first professional work, though it’s a remarkably complex one for a solo debut. Not only are its themes difficult, a chancy choice for any writer to traverse without risking melodrama and cheap empty platitudes, but its subject matter carries a similar weight. Fans who came across Mat during this year’s Wizard World Chicago Con rose a similar eyebrow when, after the creator showcased samples of his upcoming second work—an epic sci-fi adventure spanning four full graphic novels called Passage —he revealed that his sole completed, and therefore on-sale book, was the dark and heady Miséréri Nobis.

Regardless of these possible creative pitfalls, however, and regardless of its lack of instant genre allure, Festa manages a mature, highly accomplished work of comic book art. The book runs the gamut of human frustration and despair, as well as (seemingly) the whole damn range of black and white art possibilities. Moving from detailed to sparse, angular to liquid, gorgeously rendered backgrounds to an entire section told in nothing more than a child’s crayon sketches, the story is a cavalcade of artistic ingenuity. It reminded me of Dean Motter’s cult classic Mister X , both in substance and design, although the further I read, the more I felt the work could be compared to nearly anything (so many pieces, all present and accounted for) and yet still stand on its own, its own unique animal.

One nearly one-the-nose comparison, however, would be to Charles Burns’ long-celebrated Black Hole , a series in which the horrors of teenage sexual awakening are explored via a comparable synthesis of grotesque imagery and fantastical trimmings. Much like Burns, Festa stretches his imagery, his scenery, and his story’s events to fit more and more into uncanny milieus, until the full extent of the metaphor is no longer clear, and the possibility becomes: is much of what’s on display in some way “real?"

Like all good blends of the literary with the fantastic, Miséréri keeps things obscure, though not necessarily purely poetic. Take for example William S. Burroughs’ Naked Lunch—wherein it’s completely beside the point whether the story is one overlong homily on the dangers of junkie life or an actual weird sci-fi extravaganza. The horror and the oddity in Miséréri falls directly into this camp: it’s simply there, and it’s solid, and it’s happening, one way or the other. It’s as thrilling as any pulp tale wherein slithering tentacled beasties squeeze slime-encrusted limbs to break out onto our side of reality in order to rummage though our grey matter, and yet it boasts the additional merit of being a solemn, thoughtful, compassionate work, if, in the end (ironically) wholly without mercy.

Miséréri is an outstanding debut, though one that'll struggle to find the sizable audience it deserves. The graphic novel is published through ComiXpress, and is currently available only online, via the websites below. Miséréri Nobis is a fabulously realized meditation on so many unpleasant things, but if meditated upon by reading its story, they become fascinating and even compelling. The experience is well worth the price, and Miséréri is one of the few comic works I’ve ever encountered where I’d actually give it a re-read cred—there’s so much to take in, and in so many ways, re-reading is almost compulsory. How’s that for your money’s worth?

###

To order the book direct from ComiXpress, go to: http://store.comixpress.com/index.php?main_page=product_info&products_id=891

To preview its pages and see previews for Festa’s upcoming sci-fi graphic novel Passage, go to: http://www.comicspace.com/mat_festa/

Countdown to Mystery #1

2007-09-21

Steve Gerber’s Dr. Fate series at last sees the light of day, and it’s important to remember: buying this series will help save Mr. Gerber’s life.

A while back, Gerber was diagnosed with pulmonary fibrosis, a fatal lung disease that is incurable, though it can be operated upon in one way alone: lung transplantation. Supporting this series gives money to Gerber, who needs all the care and attention he can get while he struggles through this. Even beyond the transplant, there’s recovery considerations galore, and a consistent need for medical attention to keep the new lungs operating for as long as possible (most successful lung transplant patients have only a modest life expectancy, even after the fact). Not only is Countdown to Mystery a fantastic book (I’ll go ahead and say that right up front), but buying it means much, much more than just supporting a flush DC or your own long-held entertainment fetishes. It’s a single comic, guys, and it’s good. Do yourself a favor and chip in on this one.

Okay, now on to business, sans sympathy:

After the pre-Infinite Crisis minis and spin-offs, the post-IC specials, and a delayed premiere, the long awaited new Doctor Fate at last debuts—a down-and-out ex-psychiatrist named Kent V. Nelson (grand-nephew to the original Doctor Fate), a man abandoned by his family, his friends, his co-workers, now homeless, beaten to a pulp, and tossed into a dumpster where just happens to land…you guessed it…the Helmet of Fate.

Though lest we forget, Gerber’s Fate, within Countdown to Mystery, sits arm-in-arm with a surprisingly compelling Eclipso yarn, penned by Jack of Fables’ co-writer Matthew Sturges. On the surface, this is just another tale of Jean Loring/Eclipso, a combination of two characters as arbitrary yet compelling as when Hal Jordan was made into the Spectre, and like that event, it’s an amalgamate persona that has since cropped up again and again while achieving absolutely zilch in terms of character or storytelling potential. But this offering is a start: Sturges puts out a rewarding Eclipso tale, more so than any seen in years. It’s a story that promises to have an actual impact on the villain, too, and therefore it's one fans can scarce afford to miss.

Looking at the first half of the book, then—Descent into the Psychosphere —Gerber does a marvelous job on sending Kent Nelson through a spiritual kaleidoscope of continuity, re-treading both the recent history of the Helmet of Fate as well as the backstory of the newly presented Nelson himself. Unlike most reboot first issues of classic characters, wherein the necessary history can bog down all possibility of necessary momentum, Gerber channels his exposition through the character of Nelson himself, thereby killing two birds with one mighty-ass stone—the history of Fate is divulged, and Kent Nelson’s character is showcased in full, both his past and his present, and, most importantly, who and what he current is, both in body and in mind. It’s a great trick, to expose dry material through a lens of solid and unaffected character color, and you’d think more writers would manage it more often, but thankfully, after all the waiting, Gerber pulls off a fabulous, informative, and—above all else—entertaining first issue of Fate, with the promise of very exciting things to come.

Justiniano is a name known by most comic readers today, and he proves a brilliant choice for the mystical storyline of Psychoshpere, a tale revolving around such disparate elements as multiple dimensions and a destitute loser. His depiction of the celestial is just as on-the-nose as his gritty take on the current broken lifestyle of Kent Nelson, and when the story turns a corner and dives into borderline-horror at the end, Justiniano once again pumps out pages that flavor the event splendidly.

Moving on to the Eclipso half of the book—Occultation,handled by Bill Willingham’s cohort Matthew Sturges (he’s the new writer on Shadowpact and co-writer on Jack of Fables ). Sturges, like Gerber, is a guy able to oscillate between sincerity and humor at the drop of a hat, hardly accepting that the two aren’t wholly interchangeable and merely two sides of any story’s coin. Eclipso, though, is hardly a humor-filled character, and so Plastic Man is recruited to be the initial foil in chapter one, allowing for something more than the undiluted doom and gloom of a standard Eclipso yarn (which generally generates as much honest entertainment value as watching a television evangelist—larger than life and thunderous in approach, yet somehow utterly uninteresting).

There’s an opening sequence with the new Crispus Allen/Spectre, promising a confrontation between the Wrath of God and Eclipso in the near future, and the cliffhanger ending will have many wanting more (hint: here we go with yet another never-before-revealed secret retconned origin).

Artist Stephen Jorge Segovia is the man on board for Sturges' Eclipso epic, brandishing a polished style somewhere between Leinil Yu and Tom Mandrake. Segovia is a relative newcomer, having worked on a Witchblade mini and now this, though he’s been around for a long time, working as an artist assist and penciling images for numerous books in his home country of the Philippines—and it shows. His work is very elegant, highly atmospheric, and eminently readable. I’d look forward to the next seven chapters of A Syzygy in Plastic for his art alone.

Countdown to Mystery is everything you’d hope for in a new Steve Gerber book, and the Eclipso half is the best treatment that character’s gotten in years. The twist “secret origin” of Eclipso will take some suspension of disbelief, as do all secret origins (for, if the new information was truth all along, why has no one ever acted as though it were, ever, until now?). But it’s nevertheless a good twist, and a good companion to what’s looking to be a return to Gerber-greatness, if only for eight issues. Though let’s hope for more: more, more, more, from both Fate and from Gerber himself. If it’s anything like CTM, it’ll be well worth it.

###

For any who wish to support Gerber in a way beyond buying Countdown to Mystery and petitioning DC to keep his Dr. Fate alive, The Hero Initiative is raising funds to meet Gerber’s needs, and you can donate to them here: http://www.heroinitiative.org/

Out for the Count: 32

2007-09-24

Well Dinah and Ollie’s wedding night was certainly one to remember even if we were expecting something of that nature to happen. I cannot for the life of me imagine that anyone hasn’t picked up on the events in the pages of Green Arrow and Black Canary Wedding Special #1 as of yet, but it goes without saying it’s going to be discussed (and shown!) further down this page. So here we go once again with our Spoiler Warning: Read no further if you’ve not had your DC fix this week and don’t want to read about key story elements.

Events this week…

In Countdown #32: Pied Piper and the Trickster provide comic relief as they inadvertently crash Black Canary’s pre-wedding celebrations. Mary Marvel finally meets up with Eclipso while Jimmy Olsen is drawn further into The Cadmus Project. The Challengers from Beyond travel to a world where crime certainly pays and Wonder Girl and Supergirl discover that everyone’s a party pooper if you’re a teenage super-heroine…

The Players
(this week’s principal cast)

The Flash appears just prior to the events of Green Arrow and Black Canary Wedding Special #1 and the scenes at the Bachelorette Party also come from that one-shot. Lady Blackhawk’s walk back from Azerbaijan is a reference to her last appearance in Birds of Prey #107. The Challengers from Beyond were last seen in Countdown Presents: The Search for Ray Palmer: Wildstorm #1 and their appearance here seems to lead into Countdown Presents: The Search for Ray Palmer: Crime Syndicate #1. Serling Roquette was a supporting cast player in the last volume of Superboy. Ryan Choi was "abandoned to his fate" in The All-New Atom #15.

Elsewhere in the DCU
(stories this week that may, or may not, tie into the Bigger Picture)

The aftermath of Holly Robinson’s departure from Gotham is briefly honed in on in Catwoman #71.

See the repercussions of the death of a New God and more from the Suicide Squad in the pages of Checkmate #18 as the Fall of the Wall begins.

Major Countdown player Eclipso gets her own feature in Countdown to Mystery #1.

Find out what that broken green arrow in the Countdown house ads meant in Green Arrow and Black Canary Wedding Special #1.

More on Darkseid and the New Gods in Superman/Batman #40.

And finally the war with the Sinestro Corps rages on in Tales of the Sinestro Corps: Parallax #1.

Continuity Corner
(interesting tidbits from this week’s issues! )

The Broken Green Arrow – On their wedding night Green Arrow suddenly becomes violent and attempts to murder Black Canary. In the ensuing fight Dinah stabs Ollie through the neck, apparently killing him. There are two explanations that come to mind immediately to explain this sequence: either Ollie is being mind-controlled or, somehow, he has been replaced by an impostor, possibly during the invasion of super-villains during the heroes’ wedding.

This latter seems less likely. For a start there’s little time in which a switch could occur in the story. The climax to the battle, when the villains are taken out, is narrated by Green Arrow so it’s unlikely, though not impossible, that someone else could have taken his place. Adding further credence to the mind-control theory is that Oliver can clearly be seen sweating in one relevant panel as if trying to fight off someone’s influence. Most interesting of all is the position of a photo of Wonder Woman breaking Max Lord’s neck that’s situated on the floor during the struggle. It seems an odd thing to be included in that panel if it isn’t a clue of some sort. A disembodied Max Lord taking control of Ollie perhaps? (Also check out the photo of Big Barda holding a prone Mr. Miracle which also seems strange and incongruous amongst the other album snaps). (Green Arrow and Black Canary Wedding Special #1)

The Temptation of Mary Marvel – Darkseid claims not only a part in Eclipso’s origin but also to be her creator! Just how far is Darkseid manipulating all the major Countdown players? This isn’t the first time Darkseid has shown an interest in Eclipso. See Eclipso #10 (Aug 93) for more interaction between the two. (Countdown to Mystery #1)

Salvation Run – The captured villains from Ollie and Dinah’s wedding are collected by the Suicide Squad. Presumably this leads into their participation in Salvation Run. (Green Arrow and Black Canary Wedding Special #1)

The Search for Ray Palmer – Check out the Kingdom Come Superman’s hand in the Countdown house ad this week. Could this be a clue as to where the Atom is? Has he fled to Earth-22?

The Source Wall – The time frame of this adventure may well be pre-Countdown but Darkseid’s machinations here center on his desire to extricate Highfather’s staff from the Source Wall to restore his own powers. Given how central to Countdown the Source Wall has so far been this may well be of relevance in the future. (Superman/Batman #40)

Next week sees a visit to Earth-10 and more on those alternative futures that New Earth seems to have in abundance, not to mention the return of the Freedom Fighters!

Anybody call for a Hitman?

2007-09-20

DC’s 1993 annuals played home to the Bloodlines crossover. The storyline was not the most original, a race of extraterrestrial beings—part-Galactus-like, part James Cameron’s Aliens-like—came to Earth and started harvesting human beings for food. The parasitic aliens would feed on human spinal fluid. In most cases, this would kill the host, but in extremely rare cases, they left their victims with superpowers.

This was DC’s way of exposing comic readers to brand new superheroes with odds being that some of them would catch on. But out of the 27 annuals that year, only one became what you would call a success. And it was the one who was least like your typical superhero.

In the pages of Demon Annual #2, the aforementioned aliens attacked a Gotham City contract killer by the name of Tommy Monahan. Tommy was one of the lucky few who didn’t die but received powers—x-ray vision and telepathy. The powers didn’t really change Monahan much. They just made his job as a hitman a little bit easier.

Hitman wasn’t the only character from the Bloodlines crossover to get its own book, but he was the most successful. The Hitman series ran for five years, 60 issues, from 1996 to 2001. What separated Hitman from the crowd? The writing of Garth Ennis, the art of John McCrea, and the unparalleled creativity their collaboration brought to the series and the character.

Tommy Monahan is the type of antihero that Ennis excels at writing. He is a killer, make no bones about it, but he has his own moral code. He will not kill a cop, nor will he abandon a friend in need. He is also a romantic, longing for a woman who will share his life with him, but knows his job will keep him from ever finding one.

The stories ran the gamut from those grounded in the real world to those that were utter fantasy. Monahan faced off against the Mafia and shadowy Government agents, but also fought demons from Hell and zombified seals and sharks. Hitman was a series where anything could happen and usually did. A mob boss looking for vengeance on Tommy for killing his Siamese twin (while still being connected to said dead twin)? It’s in here. A demon composed of a squad of executed Nazis, working as a henchman for a lord of Hell? It’s in here.

Most artists would have a difficult time with the variety in Ennis’ writing. They would struggle to keep a unified look to the series as it bounced from one diverse story arc to the next. When Superman or Green Lantern would show up, they would seem out of place. John McCrea, however, made it look easy. His art in the series kept a gritty tone throughout, but was loose enough so that when more fantastic elements such as zombie alligators and octopi enter the scene, people are not taken out of the narrative. McCrea worked on all but one issue of the regular series and thank goodness he did. It might not have lasted five years if it had been anyone else.

But the success of any series comes down to the characters, and this is where Ennis and McCrea hit the home run. Every character in the series, not only Tommy but all of his supporting cast, is fully developed and richly defined. Each has an individual personality trait or two that sets them apart from the crowd and makes them unique. Ennis and McCrea instilled a sense of humanity into this band of killers and that made us readers root and care for them.

Less than half of the original series has been collected into trade paperback. The fate of whether or not the rest of the series is collected lies in the success of the JLA/Hitman miniseries. Bob Wayne admitted as much at the recent Baltimore Comic-Con. So it is absolutely vital that the Hitman fans who want the trades to continue pick up this new series.

But could a successful JLA/Hitman, which was originally supposed to be an arc in the JLA Classified series, mean a new ongoing series for Hitman? Well the last series ended in such a way that it seemed to put a nail in the coffin of character forever. But it was left vague enough that Tommy Monahan could come back. Let that be another reason for you to pick up JLA/Hitman, the main reason being that it’s likely to be great.

--William Gatevackes

Azzarello & Chiang Talk Doctor Thirteen - Part 7

2007-09-19

Everybody loves the underdog. Or do they?

With DC’s Doctor Thirteen: Architecture & Mortality -- originally serialized in the eight-issue Tales of the Unexpected mini-series -- writer Brian Azzarello and artist Cliff Chiang did the unprecedented and unexpected: They took characters long forgotten (or, in some cases, never remembered) in the mire of continuity and crossovers and slammed them together to create a kinetic, witty and – most importantly – FUN series that had no expectations or limitations.

Here, for your amusement, disgust and reading pleasure is an 9-part interview between Azz and Cliff, broken and sprinkled across the comic book press, where our beloved creators talk about their multi-layered story, the anxieties that come with being, well, creative in comics and hair plugs. Yes. But most of all, learn about how two guys tagged as “gritty” and “noir” created an energetic, colorful and off-the-wall story that made a gaggle of nobody characters into nobodies with at least one good story under their belts. Take it away, gentlemen.

PART 7

CC: …Have you met with a lot of resistance working outside of creator-owned books?

BA: I’ve had to compromise whenever I work in the DCU-- which hasn’t been too often, but was always on high-profile characters. I always get in trouble. This time I was taking on a high profile concept. I know at one point you got worried…

CC: I was really worried that the story would get eviscerated. If we couldn’t comment on things, the whole point of the series was gone.

BA: How often do you think your guts feelings are correct? Can you remember a time when they were wrong?

CC: No, I can’t, but I may be blocking that out. As a creator, your value is in your gut. It’s what makes you YOU, all those creative choices that feel like they’re coming from inside of you. You can’t be constantly second guessing yourself. At the same time, you’re not infallible, so it boils down to honesty. Most of my mistakes have been things I knew were wrong on some level.

BA: I agree; I know when I’ve done something I’m not happy with. So if I read how cool it was, does that make me wrong? I don’t think so.

CC: The book was pretty dense. There are a lot of jokes and references, and I’m pretty sure even I didn’t get them all. Is there one that you think flew over most people’s heads?

BA: Well, if I pointed it out, it kind of takes away the fun for those that did get it. What do you say we let them wear their smug expressions?

CC: If they bought all 8 issues, they’ve earned ‘em, that’s for sure.

BA: Is there one that flew over your head, specifically? I’ll spill…

CC: I don’t think so, but do I know I didn’t pick up on the Thomas Crowne Affair theme (Windmills of Your Mind) lyrics until a few months after it printed. I did want to ask about the bizarro prologues to each chapter. They didn’t tie into the story so much as set the tone for each chapter. What was the thinking behind them?

BA: To do exactly that; set the tone thematically. They didn’t work for you?

CC: No, they did, but it took a few chapters for me to realize we weren’t going to see a flat Earth in the story. Given the scope of the project, I had no idea if these things would tie in.

One of the things I noticed in the course of doing the book is that you write without a net. Things aren’t so tightly plotted out and outlined to death, and it allows you to roll with the punches and throw in new elements. Was this always your working method, or was it a gradual evolution?

BA: Oh, I had an outline, but it was a very loose one. It had to be, this story required thinking on one’s feet, because there was always the danger of having the rug pulled out beneath us. I guess it is the way I usually work; it makes discovery part of the process.

CC: What’s the weirdest job you’ve ever had?

BA: I sold women’s shoes in a major department store.

CC: Did you learn anything from it that you could apply to comics?

BA: Mmm… There are some women that make collectors in our biz look like pikers. Gimme a little insight into working with Trish.

To continue reading, visit Comics Should Be Good.

Broken Frontier: index

iPods Anonymous

Mixed Emotions

Sweet Dreams

The Black Parade Enters the Comic Store.

Mulch? Check. Cheese Dip? Check

Scott McCloudâ��s Making Comics Tour Comes to Phoenix

STUFF Magazine Puts Final Destination on the Hitlist

Johnny Delgado is Dead

Hero Initiative Offering a Face to Face with Stan Lee

Lazarus Rises!

The Umbrella Academy: Apocalypse Suite #1

Marvel Comics Presents Vol. 2 #1

JLA/Hitman #1

MisÃ©rÃ©ri Nobis GN

Countdown to Mystery #1

Out for the Count: 32

Anybody call for a Hitman?

Azzarello & Chiang Talk Doctor Thirteen - Part 7