Author: Mike Gold

More Manga!

According to an article at Publisher’s Weekly by our friend Calvin Reid, Tor Book is teaming up with Seven Seas to release original manga titles as well as obtain manga licenses such Takashi Okzaki’s popular Afro Samurai.

Seven Seas founder and president Jason DeAngelis noted “it’s an exciting time for the manga industry,” and said the partnership with Tor “will enable us to expand the manga market, bringing all sorts of new and varied content to fans.” Tor is well-known in the science-fiction field and has published a handful of graphic novels, but no manga. Seven Seas has produced many English-language manga generally created by non-Japanese creators outside of Japan.

The first volume of Kzaki’s Afro Samurai is expected to be released next August.

Heroes – Volume Two, a bitchy review by Mike Gold

Warning! Spoiler Alert! If you’ve got the past half-dozen episodes of Heroes TiVoed, you just might want to skip this review. On the other hand, if you’ve got the past half-dozen episodes of Heroes TiVoed, I just might be able to add six hours to your life.

 

Once upon a time, some clever Hollywood people hired some talented comics people to help create a teevee show about a bunch of human with abilities far beyond those of mankind. It was a pretty good show – maybe it could have benefited from the loss of any three characters – and it was successful. The Peacock gods smiled upon the program, and thus it was renewed.

And it turned into a meandering piece of crap.

“Heroes – Volume Two” consisted of the first, and because of the writer’s strike maybe only, 11 episodes of its second season. Having a story arc that was a half season long was a good idea. It was their only good idea.

They introduced a number of new characters, and most of them seemed to have been killed off. They played the “good guy is really the bad guy is really the good guy” bit like Ginger Baker played the drums on “Toad.” By the tenth episode, you couldn’t tell who was being naughty and who was being nice – except for Sylar, the show’s only consistent villain. And the actor, Zachary Quinto, went straight from Heroes to Spock The Next Generation, which makes him a de facto good guy for ever and ever. (more…)

Speaking Ill Of The Dead, by Mike Gold

51zhqnwb11l-_ss500_-2489854As we were driving back east from two weeks in Detroit, Columbus, Chicago and Toledo – next time, I’m getting a campaign bus – we heard the news of Evel Knievel’s death. No, this blather isn’t about him, although I do think that saying you’re going to take your motorcycle and jump over 50 school buses loaded with nuns and orphans and then strapping rockets to the bike is cheating. Nope, this blather is about Irwin Allen, noted dead movie and television producer/director/writer and former cover story in Modern Asshole magazine.

Allen was best known for his disaster movies, “disaster” in the sense that the plots involved some sort of serious event (The Towering Inferno, The Poseidon Adventure). His connection to Knievel? When I was at DC Comics back in 1976, he called me in a fit of pique about his upcoming movie, Viva Knievel! It seems he heard we were doing a big ol’ comic book teaming Superman up with Muhammad Ali, and he thought a Batman vs. Evel Knievel companion volume was a lovely idea.

I didn’t, and as it turned out somebody quoted my arguments to him. Irwin was more than mildly annoyed. He called to try to talk me out of it, not that the decision to make or not make such a comic book was anywhere near my capabilities at the time. His technique was rather unique: instead of sweet-talking me or convincing me of the error of my ways, he used invective and attack. He wanted to know where some 26 year-old pissant got off sabotaging (honest) a big Hollywood macher like him. He started screaming an unending list of curse words that would have impressed George Carlin. He threatened my unborn children, promised to destroy my career (coming short of “you’ll never have lunch in this town again,” as I was in New York City) and I think there was something in there about my mother and an orangutan.

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Raiders of Lost Knowledge, by Mike Gold

A couple weeks ago, Linda and I were at the Norman Rockwell Museum for the opening of their graphic novels exhibit. If you can get to Stockbridge Massachusetts before the end of May, I highly recommend it. Even if you can’t get there by then, I highly recommend the Museum.

Well, I think I managed to break my record. I actually went off-subject in my very first paragraph. When I read this online, ten days from now (I’m writing ahead because I’ll be at the Mid-Ohio Con), I will really be embarrassed. But, again, I digress.

We were there at the invitation of the Museum and of Mark Wheatley and Marc Hempel. We did a graphic novel called Breathtaker, which was both published by and loathed by DC Comics. Joke’s on you guys: we were at the Rockwell. Anyway, it seems I’m digressing once in each paragraph. I promise I’ll be more linear.

Dave Sim, of Cerebus fame, was among the dozen or so honorees. Well deserved; he’s possibly the only single cartoonist to pull off a 6,000 page graphic novel. Dave, Linda and I got into a lengthy conversation about the medium and its future – occupational hazard, that – and in the course of discussion Dave suggested it was possible – possible, mind you – that it takes a higher level of intelligence than average to be attracted to the graphic storytelling medium (I think Dave called it “comics”). The Simpsons’ Comic Book Guy isn’t the exception, he may be the rule. And I’ll admit that most of the Mensa people I know are into comics, but that’s probably because a lot of comics people I know were in Mensa. And most of them couldn’t get laid there, either.

But we, as a micro-society deviant or otherwise, do seem to have a thirst for knowledge. So, with the kind permission of our DVD Extras columnist Ric Meyers, I can highly recommend the Young Indiana Jones DVD box sets. Not so much for the teevee movies contained therein, which I rather liked even though they lacked the action and pacing of the theatricals, but for the documentaries. The first box set (of two) contained 12 discs and some 38 documentaries, each running about 15 to 30 minutes. (more…)

Barry Bonds, Alex Rodriguez, and the High Price of Irony, by Mike Gold

Last Thursday, Alex Rodriguez signed a 10-year contract in excess of a quarter billion dollars that allows him to continue working for the New York Yankees, a team about which, in the interest of full disclosure, I couldn’t care less. A couple hours later, the government indicted San Francisco Giants player Barry Bonds for lying to a grand jury.

That’s a nice slice of irony. When Rodriguez “quit” the Yankees he announced his decision during the final game of the World Series, effectively destroying the momentum of the business’s most holy event – particularly if you’re from Boston. Still, it was bad form and I enjoyed seeing those chickens come home.

So now A-Rod (not to be confused with L-Ron or Kal-El) gets a nice locker at the new Yankee Stadium. But what goes around comes around and then goes around again: part of Rodriquez’s deal is that he gets all kinds of bonuses for accomplishing major feats that will inure to the financial benefit of his employer. Among these is breaking Barry Bonds’ home run record. I love irony.

That’s just become a whole lot easier. Bonds is without a contract and is now, effectively, unemployable. Like Willie Mays, he’s now standing still and breaking his record is much easier. Not that A-Rod doesn’t already have enough money to buy Mongo air-turf from Prince Vulcan, but still, we probably won’t have to worry about asterisks for very long.

While still wallowing in the synchronicities of irony, I listened to Dave Ross’s editorial on CBS Radio. Dave pointed out that Bonds is over 18 and if he wants to pump dangerous drugs into his veins, that’s his right. Dave lives in Seattle; they think like that up there. If it violates the rules of Major League Baseball, that’s the business of Major League Baseball and not our courts. He lied to a grand jury in 2003? It didn’t physically harm anybody except himself and gamblers. If a grand jury looked into lies that actually harmed people in 2003, Dave pointed out, they wouldn’t have any problem finding people to indict.

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Mighty Marvel MONEY Society

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They say that imitation is the sincerest form of flattery. It’s a shame they didn’t get it right.

Several months after ComicMix started posting serialized new comics for free, several weeks after ComicMix started posting complete previously-published comics for free, and, what, about a year after Newsarama started posting Powers and Kabuki and other titles for free, our friends at Marvel Comics have started reprinting their classic fare online – for ten bucks a month.

"We did not want to get caught flat-footed with kids these days who have the tech that allows them to read comics in a digital format," Marvel president Dan Buckley told USA Today. "Our fan base is already on the Internet. It seemed like a natural way to go."

Well, Dan, welcome to the club. We’ve been saving you a seat for a while now. By the way, since you’re charging so much money for all this, how much cash do the writers and artists get?

We’re Going To Get Our Flying Car

Baby boomers have been whining about this since the turn of the century. Well, we’re about to get our wish. Sort of.

According to Sharon Gaudin at IDG, we’re about to get our flying car. Terrafugia Inc. is currently creating a prototype of The Transition, a 19-foot, two-seat "roadable light-sport aircraft" that is both road-worthy and air-worthy.

I know you’ve got to start somewhere, but the prototype kind of misses the point. "We’re not going to have a flying car, as people think of it, for a while," chief operating officer Anna Dietrich told IDG. We don’t have the infrastructure to deploy roadable planes. We need runaways instead of roads, and the FAA is likely to demand drivers have a pilot’s license. Typical government buzz-kill crap. Actually, since you’ll need a pilot’s license and you’re restricted to airport take-offs and landings, there’s no real benefit to The Transition over traditional small airplanes which seat twice as many people, except you won’t need to take a cab to the airport.

The flying car will be available in 2009; they’ve already taken orders for about 40 of them. This means there will likely be more Transitions in the air than there ever were Tuckers on the road. The machine will sport an anticipated price of $148,000; chrome detailing will be extra.

(Thanks and a tip of the hat to Rick Oliver.)

Coming Soon To A TV Near You, by Mike Gold

The television and movie writers strike is entering its second week. The picket lines are being staffed by more stars than there are in the heavens. The writers are looking for their fare share of DVD revenue – currently, approximately three to four cents per sale – and of commercial Internet action – currently, zilch.

Ironically, as teevee shows are starting to go on early hiatus, us folks back home are beginning to turn to DVD purchase and rentals to fill the downtime, lest our sets stare blankly back at us.

This one seems simple. If somebody is making money off of your work, you deserve a fair share of the action. Or even a taste. Anyway, something more than an insult. Collective bargaining is genuinely American; it mirrors the very values of fair play that we were all taught in school. Just like “socialized medicine,” there is nothing left wing or communistic about it – despite what some of our right wing politicians, corporate magnates and the liars at Fox News babble incessantly babble.

We need to look no further than the deposed leader of Disney, Michael Eisner. “It’s a waste of their time. “(The studios) have nothing to give. They don’t know what to give.” Oh, really? These clueless number crunchers who “earn” eight digit compensation packages strictly solely off of the sweat of the artistic community (writers, directors, musicians, performers – 90% of whom are largely or completely unemployed at any moment in time, et al) have nothing to give? How about starting with me, and give me a break. (more…)

Joe Strummer and Selling Out

timnjoe-2172608I was at the old Chicago Comicon back in 1989, walking the corridors of the old Ramada-O’Hare hotel with my old pal Timothy Truman when an intense fan grabbed Tim by the arm.

“How could you,” the fan said, and I paraphrase. “How could you sell out?” He sported a gaze of disappointment and hostility. Tim didn’t ask what he was talking about. He knew. He had started supplementing his income by working for “the majors” – at that time, DC Comics. Not that First Comics and Eclipse Comics were any less corporate with many of the evils associated therewith; DC and Marvel were just bigger and better at it.

“Hey, I wanted to do a tribute to Gar Fox,” Timothy replied, and I continue to paraphrase. “I liked doing it.”

The fan staggered off muttering about things like big business and working for the man and such. I’m about as Red Cat as they come in comics (with the probable exception of Mark Badger), but I understood one thing: if you want to work on a corporate-owned character, you’re going to have to work for the corporation, and (as Martha Thomases noted earlier today) by their rules. That’s how gravity works.

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Batman Pisses Off Hong Kong

Hong Kong is generally considered to be one of the most polluted major cities in the world. Its beautiful skyline is virtually invisible due to a permanent haze, and the water is so dismal that the producers of the next Batman film, The Dark Knight, killed a scene where Batman was to drop from a plane into the harbor because the water quality could pose a significant health risk to the stuntmen.

Well, now the shoe is on the other foot. The Dark Knight producers asked the owners of 60 buildings facing a waterfront to keep their lights and signboards on all night for a week to make for a more visually stunning scene.

For some reason, environmentalists went ape. The amount of energy that would be wasted by such a stunt would be insane in a city half as polluted as Hong Kong.  "We welcome the filming of Batman in Hong Kong, but why do we need to keep the lights on to make the backdrop?" Green Sense project manager Gabrielle Ho told The Associated Press. "It seems like film-making is coming before environmental protection. We believe producers are able to create the same effects via post-productions works, but instead they are asking us to turn on so many lights, wasting so much energy," Ho concluded. (more…)