From Howard Margolin of Destinies: the Voice of Science Fiction, we get this discovery of these cyrstal caverns buried a thousand feet below Mexico’s Naica mountain in the Chihuahuan desert.
This has been quite a year for Superman fans; the deadly remnants of planet Krypton were discovered in a mine in Serbia this past April (see Kryptonite Discovered By Scientist).
And if you look all the way down at the bottom of the cave, you can see Ursa and Non…
Well, going to the supermarket isn’t going to be much fun any more.
No doubt you’ve heard about the demise of the print version of The Weekly World News. It billed itself as the world’s only reliable newspaper, and it certainly was that. It was also one of the best-written newspapers in America.
The Weekly World News was a hoot. Its headlines always brought a smile to my face, and on more than one occasion I would be found laughing out loud while waiting in line at the Stop and Shop. No matter how outrageous the premise, each story was written absolutely straight, as though Saddam Hussein and Osama Bin Laden actually had a child or we really had space aliens in the Senate.
Well, maybe that last one wasn’t so reliable. That could be true, I guess.
Quite a number of people who had been in the comics business, including ComicMixers Robert Greenberger and Ric Meyers, were either on staff at the WWN or were regular contributors. The paper also published comics by Ernie Colón, Craig Boldman, Mike Collins, Danielle Corsetto, and Sergio Aragonés. We hadn’t seen such a line-up of first-rate comics talent in a weekly newspaper since Grit stopped running Steve Canyon, Mandrake The Magician, Archie and Blondie. (more…)
Yesterday was a very special day for lots of folks. In the baseball world a couple of home run records were set, in the political world attendees at the progressive blogosphere’s Nerd Prom (yes, they have one too) schmoozed with the Democratic presidential candidates, and we at ComicMix celebrated head honcho Mike Gold’s 57th go-round in life. All the incriminating photos my camera could muster can be found here. And here’s our review of what we columnist types have been up to this past week:
I finally got to meet all of Mellifluous Mike Raub‘s many M-named sons, and the one with the "S" name. He’s been busy as usual with the newest Big ComicMix Broadcasts:
I’m on vacation from my day job this coming week, so who knows, you might even see my byline again on something other than my column and this wrap-up…
I was never very interested in reading the Harry Potter books. I found the movies enjoyable but that interest never made me want to read the books. The cries of outrage I heard from hardcore fans after seeing the movies didn’t help matters much.
If reading these books made them enjoy the movies less, why should I bother? I kept this up for quite a bit until July 15th, six days before the release of book seven, when I decided I was going to get through the first six before Amazon delivered my mother’s copy on the 21st.
The time constraint this imposed was a daunting one. 3,341 pages in a little over six days was, I thought, an impossible task. What I didn’t know was that these books read like drinking water. There is nothing to make these a hard read as long as you are quick on learning the lingo of the series, the non-made-up words are all simple, and these are children’s books after all. I went through the first three books in just under two days and actually had to take breaks in the latter half of the week so I wouldn’t finish too soon. In one of these breaks I went to see the new Harry potter film in 3-D; I would like to recommend that wholeheartedly, the 3-D effect looks great, it’s a different experience entirely. I finished Half-Blood Prince late Friday night and went to bed eagerly awaiting the mail the next day.
I’ll only cover the last book briefly, as it seems that everyone everywhere is discussing it always. The last book arrived at 11 in the morning and I was finished 14 hours later. Anyone who complains that that ending was ruined for them has clearly never read any other book as that was about the only way this series can end and still be remotely satisfying. Rowling is a very good writer when she’s on but I doubt even she would have the chutzpah to let evil triumph over good. I also feel like she sells out Snape, by far her most interesting character, to give him this overwhelmingly noble motive. Love after all is the most powerful thing in the Harry Potter mythos. It removes any trace of ambiguity in his action.
Reading the books in short order let me get into the books in a consistent headspace. I didn’t grow with Harry; Harry lived the entire interesting part of his life in a matter of days. J.K. Rowling, too, for that matter. You can see her rise from unknown to richest woman in England as her books progress from the first, when she is quite clearly cramped by space constraints to Order of the Phoenix which is a bloated mess of decompressed narrative.
And you thought that could only be used to describe Brian Michael Bendis.
Well, I’m back from the San Diego Comic-Con, and if you’ve been reading ComicMix’s coverage, you can probably guess that it was no place to actually write a DVD review column. Get info, acquire more product, see what’s happening, sure, but actually write reviews of other DVD special features? Fergettaboutit.
Between my 8th Annual San Diego Comic Con Superhero Kung-Fu Extravaganza there, which takes up three hours of prime time for a couple thousand hard-core martial art movie fans, and the many DVD companies/people I hobnobbed with, I had no time to tell you that the discs to grab this week are the 300 Special Edition and Hot Fuzz. But I’m hoping you already figured that out.
So too late there. But since I was up to here as the “kung-fu guy” at the con, I can use this space to clue you in on some discs I should’ve mentioned weeks ago, as well as letting a monumental box set being released next week bring other recent travels into pretentious, self-absorbed focus.
First off, head to your sales place of choice and get the Dragon Dynasty editions of The 36th Chamber of Shaolin and My Young Auntie. When I began this column almost three months ago, I promised myself not to inundate you with kung-fu, samurai, or other such Asian titles. But what can I do? I originally discovered these films thirty years ago, because, to my eyes, they were comic book come to life — with actual people doing Daredevilly and Spidermanny things without the benefit of wires or sfx.
Since then, I’ve discovered, through research, that they’re much more than that, yet the original exhilaration I felt is still being revealed to fresh eyes … hopefully like yours. Especially since companies like Dragon Dynasty, controlled by the Weinsteins, are finally revealing the glory of timeless 1970’s classics in a manner befitting their excellence.
Who got special treatment at the San Diego?
These reserved seats went unused at an otherwise packed panel where last arrivals uncomplainingly sat on the floor. (Photographed after the panel broke up.)
Steven Okazaki’s documentary feature White Light/Black Rain: The Destruction of Hiroshima and Nagasaki will arrive August 6 over the HBO premium-cable network, marking the 62nd anniversary of the arrival of thermonuclear warfare. The film’s harrowing impact has been a matter of record since its in-competition run during last January’s Sundance Film Festival in Utah.
Though hardly the first of its kind, White Light/Black Rain proves a timely and emphatic reminder. It possesses a sharp consistency with the pioneering Barefoot Gen manga-turned-anime tales of Keiji Nakazawa, and with Masuji Ibuse’s novel Black Rain, as filmed in 1989 by Shohei Imamura. Okazaki’s film brings full-circle, East-meets-West, a persistent question raised by one history-in-the-making Hollywood epic of 1947, The Beginning or the End, which traces the Manhattan Project to a climax at Hiroshima and Nagasaki. (In its very title, The Beginning or the End had declared thermonuclear weaponry a topic of perpetual relevance. Further outcroppings since then have included 1982’s The Atomic Café, a pageant of A-bomb boosterism propaganda; and 1995’s The Plutonium Circus, concerning the Texas town most thoroughly identified with nuclear “preparedness” as a tax base.)
White Light/Black Rain finds its more persuasive voice in interviews with survivors of the bombings, illuminated by a gauntlet of harrowing archival footage. Its appreciation requires context, lest White Light/Black Rain be mistaken for an unprecedented re-examination. Its nearer origins lie in the graphic novels of Nakazawa, whose first-hand account of Hiroshima – he professes to have noticed the approach, followed by “a million flashbulbs going off at once” – yielded two Barefoot Gen animated movies of the 1980s. Nakazawa has aligned himself with Steven Okazaki since the 2005 documentary The Mushroom Club, a short-film stage-setter for White Light/Black Rain.
The bombings have amounted to fodder, both imaginative and factual, for the American motion-picture industry since well before that turning-point of World War II. In a time of reciprocal hostilities, the U.S. entertainment industry felt a duty to commit propaganda as a function of advocating an any-means-necessary end to the war.
WWII, of course, no more ended with the bombings than it can be said to have begun at any absolute moment. One war bleeds into another, like the ocean ignoring its explorers’ charted boundaries, over the greater sweep of history. It is a simpler matter to cinch the moment at which Hollywood – itself an occupied territory at the time, given the influential presence of the armed forces’ motion-picture production bureaucracy at studios large and small – began anticipating a bombing run over Japan as a matter of meeting the Axis powers’ aggression in decisive terms. (more…)
The Big ComicMix Broadcast for the weekend offers up news on getting AC/DC on your phone, the comic character who is headed to the big screen before he shows up in the comic stores and the start of another round of sold-out comics. Then there is the artist who shares his story of getting his dream job in comics just by watching TV, plus that little girl from New Jersey who took on The Beatles.
Want to know the Truth? Then Press The Button!
Three words you never expected to see all at once: KISS. yaoi. manga. Our illustration today is, I’m afraid, only the beginning… [via Journalista!]
Chris’s Invincible Super-Blog not only reviews a bunch of new comics, but also has a picture of Jughead with a jetpack.
Speaking of Jugheads, the Joplin Independent is in love with Archie’s Double Digest #5.
Greg Hatcher of Comics Should Be Good admits to loving Stan Lee’s Who Wants To Be a Superhero? despite the fact that it’s completely insane.
Graeme’s Fantasy Book Review has been on a Walking Dead kick – he’s just reviewed (and loved) volumes two through four.
Historical fantasy author Alice Borchardt has died at the age of 67; she turned to writing as a second career after working in nursing for thirty years. Borchardt was also the older sister of Anne Rice.
SF Scope analyzes the story choices in Gardner Dozois’s latest Year’s Best Science Fiction anthology.
Jerome Bixby’s Man From Earth is a profoundly unfashionable film. Written by Bixby before he died and directed by Richard Schenkman, it’s a science fiction movie with no aliens, no space ships, not even any explosions. It’s a thoughtful movie, intimate, with adult actors dealing with complex philosophical ideas.
When I was first reading science fiction, I liked the books with lots of talking and big ideas. I liked Isaac Asimov’s Foundation trilogy and the robot books, where scientists explained large concepts and the societies these concepts would inspire. I liked it so much that I could often overlook inane plots and cardboard characters. When the books were more literate, that was even better.
Jerome Bixby is a science fiction writer from the old school. He wrote episodes of Twilight Zone and Star Trek, including “Mirror, Mirror.” He wrote screenplays, including Fanatastic Voyage, which was based on his short story. Just before he died, he wrote the screenplay to The Man From Earth.
It’s a small film, produced on a shoestring budget of $200,000. The closest thing to a celebrity in the cast is William Katt, formerly the star of The Greatest American Hero. Also in the cast is Richard Riehle, a character actor you’ve seen in a zillion movies, Annika Peterson, Ellen Crawford, John Billingsley, Tony Todd, Alexis Thorpe and David Lee Smith as the central character, John Oldman.
There is only one set, a cabin in the woods, and the entire story takes place over the course of a single day. John Oldman is a university professor packing his belongings to leave for a new job. His friends, other professors and a student, have come with food and drink to wish him well. Over the course of the day, he tells them that, to the best of his knowledge, he’s 14,000 years old.
For the rest of the film, these highly educated, polite people argue with each other about whether or not such a thing is possible, or is Oldman pulling some kind of cerebral practical joke. They consider religion, anthropology, history, and the other fields in which they are expert. No one attacks Oldman for a DNA sample to run tests, no one pulls out an old photograph or other evidence. The devout Christian character feels threatened, but does not condemn Oldman to Hell, nor does she stone him. They talk from mid-afternoon until night, when the last few people at the party go out to look at the stars. (more…)
Columns / Glenn Hauman / News
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