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ComicMix Columns & Features for the Week Ending September 7, 2008

It’s back to school time for the kiddies, and the promise of cooler weather at last for those of us who live in those parts of the US that still have seasons!  I love September, don’t you?  Particularly as it means the end of the political conventions and only two more months left in the Silly Season.  Here’s what we’ve had for you this past week:

Let me know when the rugrats are settled down and it’s safe to visit Staples again…

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Interview: Harry N. Abrams’ Charles Kochman

kochman-6099260Charles Kochman was recently named Executive Editor of Abrams ComicArts, a new imprint at Harry N. Abrams.  The publisher rewarded Kochman with the promotion and imprint in recognition of his successful efforts to celebrate comic books and graphic storytelling with best-selling books.  Kochman, a former book editor at DC Comics, joined Abrams several years back and has published a wide variety works that have garnered reviews and award nominations starting with Mom’s Cancer. His Diary of a Wimpy Kid has earned a place atop The New York Times best seller list and merited national acclaim.

Recently, Kochman sat dfown with ComicMix to review his career and where things are headed next.

CMix: How did you first get involved with publishing?

Charles Kochman: After an internship at Farrar, Straus and Giroux, my first paid job in publishing was at PlayValue Books, the licensing division of the Putnam Publishing Group. I started there right after graduation from Brooklyn College, in July 1985, working with my mentor and now friend Michael Teitelbaum. Everything I know about editing, and being an editor, I learned working at his side. Besides being a great guy, Mike and I shared a lot of common interests in music and movies and comics. Together we created a modest publishing program for our parent company, MCA Universal.

kirby-3381241The first book I edited with Mike was a Back to the Future movie storybook, adapted by Bob Fleming. In addition, we published books on licenses like Photon, The Bionic Six, and An American Tale. I also got to write many coloring and activity books, including ones on dinosaurs, unicorns, and the Universal monsters. It was good training. The dinosaurs coloring book actually hit the B. Dalton bestseller list for some reason, which shocked all of us, including our president. I still have the note he sent me where he wrote “Holy shit! Bravo!” on a copy of the list.

After PlayValue I worked at Bantam Doubleday Dell [from 1987–93], where I edited the Choose Your Own Adventure series. There I also edited books with LucasFilm on Star Wars and Young Indiana Jones, Encyclopedia Brown, and a great karate series called Dojo Rats. Given the complexity of the Choose Your Own Adventure books, which I edited on a monthly schedule for five years, I got to sharpen my editorial skills in a way that I otherwise couldn’t have had I been working on other less “interactive” titles. The books were also successful, so it raised my profile in the industry, attracting the attention of some executives at DC Comics.
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‘Bangkok Dangerous’ Leads Weak Box Office

bangkokYou can tell the summer is over just by looking at the box office gross chart and see that the cool films have arrived and we’re in a lull as people focus on school and the arrival of the fall television season.

The number film this weekend, based on Box Office Mojo projections, is Nicholas Cage’s Bangkok Dangerous, which didn’t even screen for critics so there was zero buzz surrounding the film.  As a result, it took in just $7,800,000 to nab the number slot, just a few hundred thousand ahead of Tropic Thunder, which grabbed $7.5 million for number two. With a total haul of $96,811,000, this is one successful comedy.

Showing surprisingly strength with a mere 29.1% drop off after three weeks of play is Amt Seadris’ The House Bunny with a total of $36,999,000. Comedy continues to do well as Pineapple Express remains in the week’s top ten with a total of $84,158,000, clearly profitable given its $27 million budget. On the other hand, Disaster Movie sits like the turkey it is, earning just $3.3 million this weekend.

Still in the top five is The Dark Knight, pushing its total take to $512,198,000 as its weekly numbers ease down.

Despite being disavowed by everyone but the audience, Babylon A.D. continues to chug along, grabbing $4,000,000 and bringing its total to  $17,198,000 which likely will make this yet another financial disappointment for 20th-Century Fox.

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R. Crumb Exhibit Opens in Philadelphia

Philadelphia’s Institute of Contemporary Art has opened an exhibit, "R. Crumb’s Underground", running through December 7.  As a part of ICA’s Comics, Animation and Graphic Novels at Penn – A Year-Long Celebration, the exhibit chronicles Crumb’s work from the pioneering early days of Underground Comix through his more modern works of art.

The 100+ works of art were originally selected and organized by Todd Hignite, the publisher and editor of Comic Art magazine in 2007 for San Francisco’s Yerba Buena Center for the Arts before coming east.

The retrospective was reviewed by The New York Timeswhich noted, “Whatever the aesthetic and formal attractions of his work, Mr. Crumb’s penchant for barging past the limits of good taste and political correctness into psychologically juicy and dangerously complicated territory is still the main draw. His most amazingly provocative creation is Angelfood McSpade, a young, inky black, big-breasted African woman in a palm leaf skirt who was inspired by racist caricatures of the ’20s and ’30s. Sweet-tempered and dimwitted, the long-suffering Angelfood is subjected to all kinds of sexual abuse in various episodes Mr. Crumb has drawn. In one hilarious strip in the exhibition she is abducted and molested by aliens in a U.F.O.”

The review also recommends visitors allot up to three hours to properly take in the exhibit. Institute of Contemporary Art, 118 South 36th Street, Philadelphia; (215) 898-7108.

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Why Game?

kids-playing-game-5-sized-6327316Often when I talk to new people the topic of roleplaying games comes up (particularly after I’m asked “so what do you do?”), at which point I learn whether they’re gamers or not. If they’re not I usually get the classic question, “What’s a roleplaying game?” Then I explain about tabletop gaming—most often I define it as “collaborative interactive storytelling, like a mix between improv theater and a staged reading.” Sometimes they ask a few more questions about how it works, but that definition is enough to satisfy most people. But then I may get the follow-up question: “Why?”

Why do we game? It’s a fair question, actually, and especially now with our preponderance of entertainment options. Why game when I could read a book, watch a movie, play a computer game or video game, surf the Web, play cards, play a board game, etc.? What’s so cool about gaming?

There’s the escapism aspect, of course. Had a rotten day at work? Slaughter some orcs or raid an alien enclave. Feel like you’re not getting enough respect in your life? Play the conquering general or the rescuing hero. But most of our other entertainment provides that as well, at least vicariously—you can sit back and imagine you’re John McLane or King Leonidas or Bruce Wayne, or lose yourself in the adventures of Harry Potter or Sebastian or countless others. And many of those other forms provide more immediate escapism, with far less effort. So there must be something more, something else a roleplaying game offers.

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Instant Obama cartoon

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We just received this cartoon, along with a note from Larry Hama (G.I. Joe, Bucky O’Hare, among others) saying:  "I emailed Dick Codor  who had just signed up to go to Philly to register voters, and I remarked "all we have to do is convince everybody under 25 to tell their grandparents that "if you don’t vote for Obama, hey, we’re gonna get pregnant and addicted to heroin," and within 20 minutes he sent back this cartoon!"

For the record, this argument worked on my father.

Early Review: True Blood

True BloodFor too long, paranormal dramas have been restricted to basic cable where they become weighed down with melodrama and morals that everyday teens can take away from each episode. I’d like to say that [[[True Blood]]] breaks that trend, but, sadly, it does not and with the exception of a few expletives and some exposed body parts, this show could certainly be made for ABC or the oh-so-hip CW.

From the Alan Ball, the creator of the acclaimed HBO series [[[Six Feet Under]]] comes the TV series based on [[[The Southern Vampire Mysteries]]] book series by Charlaine Harris about a southern telepathic waitress named Sookie Stackhouse who solves mysteries involving vampires, werewolves, and other such creatures. Keep in mind, this series was written four years before the nation’s newfound interest in vampires was peaked with Stephanie Meyer’s [[[Twilight]]] series. That said, this still isn’t safe from being called a watered down version of [[[Buffy The Vampire Slayer]]].

There were only a few scenes that were of interest to any fan of the vampire mythos, the rest establishing the faux racism storyline that seems to be the backbone of the show. In a world where vampires have “come out of the coffin” (not my turn of phrase) and are now publicly known, they become the new racial scapegoat for the scared and angry citizens of Southern America to abuse. This storyline borders didacticism by using “vampire” as a replacement for words like “black” or “gay” or even “cylon”. In a world where these immortal creatures walk the earth, why should they care what the clerk at the Quik-N-Stop has to say to them? Unanswered questions like these makes one realize why this series needs to be looked at like a Vampire Romance novel, instead of a replacement for something like Buffy or [[[Angel]]], much like watching [[[The New Adventures of Lois & Clark]]].

Outside of plot holes like that, the other two issues with the pilot were the pacing and acting. The pacing seems to be almost at a torturous level, leaving entire chunks of time where nothing more than a lot of pensive staring goes on. We understand that there is a lot of animosity between the vampires and the “mortals”, but they can rip your throats out, so stop looking like a pissed off toddler. The acting  (I won’t go into how bad the southern accents are) and motivation of characters just came across as inconsistent, as many of them were either set as “angry girl” or “delusional grandmother”. There was hardly any reasoning behind these emotions, and they felt unnecessary and distracting.

The ending left for a good cliffhanger and a want to pursue the next episode, which I encourage. This series will hopefully improve and become slightly more watchable, but this doesn’t seem like another Buffy the Vampire Slayer or even a Twilight, instead just a watered down amalgam of the two.  Rating 6/10

True Blood debuts on HBO Sunday evening at 9 p.m. and has a twelve episode season.

‘The Return’ Arrives at ABC

Greg Berlanti is rapidly getting busier in Hollywood.  In addition to his work with Marc Guggenheim and Michael Green on the screenplay to the Green Lantern feature film, he’s been working on the second season of ABC’s Eli Stone and Dirty Sexy Money and third season of Brothers & Sisters, all of which debut later this month. Variety reports that he must have a spare few minutes because he’s partnered with Rene Echevarria on The Return.  The science fiction series for ABC has a simple premise: aliens arrive on Earth.

Echevarria is now stranger to the genre having worked on Star Trek: Deep Space 9, The 4400 and Dark Angel.

Ramis Confirms ‘Ghostbusters 3’

The Chicago Tribune received an e-mail from creator Harold Ramis confirming the existence of Ghostbusters 3.

The e-mail missive reads:

"yes, columbia is developing a script for GB3 with my year one writing partners, gene stupnitsky and lee eisenberg.  judd apatow is co-producing year one and has made several other films for sony, so of course the studio is hoping to tap into some of the same acting talent. aykroyd, ivan reitman and i are consulting at this point, and according to dan, bill murray is willing to be involved on some level.  he did record his dialogue for the new ghostbusters video game, as did danny and i, and ernie hudson.  the concept is that the old ghostbusters would appear in the film in some mentor capacity.  not much else to say at this point.  everyone is confident a decent script can be written and i guess we’ll take it from there.
best,
harold"

The very mention of Judd Apatow shows the savvy thinking going into the third film. Apatow is the current tastemaker in comedy and once he gets involved, he brings with him a cadre of talents.  Reading between the lines, if the original team is on hand in some minor role, it’s clearly to mentor the next generation of slime hunters.  Imagine, if you will, the original quarter teamed with Seth Rogen, Jonah Hill, James Franco and Michael Cera, Jason Segel and Craig Robinson.
 

ComicMix Radio: Joss Whedon Spills The Back Story

Even if we are lucky enough to ever see another Serenity feature, there are far too many questions to be answered in one sitting. One of those is just who is Shepherd Book. Joss Whedon talks about why he chose character for a new Dark Horse mini-series, plus:

  • Buffy gets an MMO, Firefly gets put on hold
  • Ghostbusters ready for a revamp
  • Who is Lady Bullseye?

A week’s worth of pop culture in one refresing blast – Press the Button!
 

 

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