The Mix : What are people talking about today?

Emily S. Whitten: Stela – The New Style of Digital Comics

Stela_homeThere’s a new digital comics platform on the horizon, and it looks fantastic in its simplicity. The new mobile comics platform, coming to us in early 2016, is called Stela (pronounced “Steela”). It is a both an app and a publisher, being a platform optimized for smartphones that offers exclusive original content by award-winning writers and illustrators, including Evan Dorkin, Sarah Dyer, Joe Casey, Irene Koh, Brian Wood, Ron Wimberly, Stuart Moore, and many more.

The founders of Stela come from the comics, gaming, and mobile gaming industries; and its leadership includes Creative Director and Editor-in-Chief Ryan Yount, and Senior Editor Jim Gibbons (formerly of Dark Horse Comics). Stela intends to bring new content to the app every weekday, and will be available via subscription.

What’s interesting about the design of Stela is that not only is the app optimized for smartphones via heavy use of the vertical scrolling that we’re already so used to doing when we read Twitter, Tumblr, or news articles on our phones, but the comics themselves are also designed to fit this format. So while you may not see, for instance, wide splash pages in the stories, you will get a storytelling mode that doesn’t require pinching and zooming, or swiping in several directions to see a whole page. Instead, the stories, which look great on the iPhone, fit the vertical screen and are easy to read without a lot of fuss (which is great when you’re crowded on the Metro with barely one hand or finger free for scrolling, I can tell you).

I’ve been able to play around with an early version of the app, currently available on iPhones and other iOS devices, and in design, it’s super easy to use, and intuitive for anyone who’s used to consuming content on smartphones. Selecting a story to read is a simple matter of scrolling horizontally through a menu of covers; and once you’re in the story, you can easily access chapters, general info (synopsis and creator information), and a comments section, as well as a “like” button, from a main info page.

Stela_coverStory chapters are aligned vertically from newest to oldest; and once in the chapter, reading is a simple matter of scrollin’ on down. The app also saves your place in a chapter when you exit, so you can pick up exactly where you left off. To navigate in the app anywhere from the main menu for all stories all the way down to the individual pages is as simple as single taps and vertical swipes. In its logical organization and simplicity of use, the app is pretty exciting.

The sample content that is available so far is also worth paying attention to. The four stories that have a few chapters available, plus the sneak peaks at other upcoming stories, already showcase that the variety of styles and subjects in both story and art should offer something for everyone. From a Roman alternate history story with a realistic art style (Rome West, by Justin Giampaoli, Brian Wood, Andrea Mutti, and Wangjie Li) to a story about a haunted town with a somewhat more cartoonized look (Ghost FM, by Caleb Goellner and Wook Jin Clark) it’s clear the publisher is not limiting itself. Other offerings include Inheritance, a fantasy tale with beautiful art about a magical child living in a treacherous world (by Breakout Bit, Kinman Chan, Ryan Yount, Sam Lu, and Yumiki Hong), and The Winternational, an adventure story with a slightly stylized look, about an agent trying to use recently-acquired “powers of cold manipulation” for good (by Man of Action’s Joe Casey along with Luke Parker, Sonia Harris, and Brad Simpson).

After exploring the new platform, I turned to Senior Editor Jim Gibbons for further information on what Stela’s goals are and what we can expect. Here’s what Jim had to say:

What industry gap does the company see the mobile platform filling?

Jim Gibbons: Right now, comics are penetrating pop culture in a huge way with TV shows and movies. While we’re seeing very healthy numbers coming out of the direct market and implications show a growth of the audience, aided by digital comics as well, making it easier than ever before to find and buy comics, there are still a number of aspects that get in the way of bringing in new readers. Our goal is to make comics as accessible as possible by beaming curated content directly into your pocket for a small monthly fee. There’s less, “Where do I start?” and, “How do I get started?” Instead, you just pop into the app store, plug in your info, and you’re reading incredible comics within seconds.

Stela_reading1Do you see this as competing with, or complementing, other digital content out there? What is the vision for how this company will grow?

Jim Gibbons: Our goal is to provide great comics content to as large an audience as possible. I view it as complementary to comics, both physical and digital, that exist within the current comics industry. We’re a publisher curating mobile native content meant to be read on your phone. It’s not intended to replace current comics–more to make comics easier to take on the go, easier to read wherever you are, and easier to introduce to non-comics readers. The amount of people who own iPhones is massive. We’re looking to not only deliver comics for current comic book fans, but to reach into the mobile market and convert those iPhone owners into comics readers. Hopefully that leads our audience to the direct market much like we hope our curated, exclusive content brings people to us from the current comics audience, as well.

Why iPhone only? Will it eventually be elsewhere?

Jim Gibbons: iPhone is only the beginning. You gotta start somewhere, right? But the goal is then Android and beyond.

How is this priced, and how is it set up financially for creators? Is this going to change as it grows?

Jim Gibbons: The cost for readers will be comparable to the monthly subscriptions paid for streaming services like Hulu Plus, HBO Go, or Spotify. For creators, we’re paying competitive page rates up front for fully creator-owned content. Creators also receive money on the backend through revenue sharing. Readers who support our app and our publisher are directly supporting our creators. I like to think of us as creator-fueled as we fuel our creators! It’s a partnership and we’re in the business of making dope comics with our creative partners!

I’m sure we’ll change as we grow, but that commitment to our creators and the commitment to making engaging and rewarding comics for our audience will be a constant.

Stela_reading2Do you think this is going to change the way comics storytelling is done in bigger ways than just the app? What affect do you hope to see on the comics industry?

Jim Gibbons: While there are certain ways in which our vertical format affects storytelling, it’s still panel after the next as far as a reading experience goes. It’s been inspiring to see creators get excited about knowing exactly what image a reader will see, one after another. I mean, there’s no accidentally seeing a spoiler a few panels down or on the next page. In essence, every panel could be a reveal, and that allows for some suspenseful storytelling.

Hopefully, like all new ways of doing sequential storytelling, we’ll see our format introduce another way of thinking about comics into the minds of creators. Webcomics and comic folks on Tumblr have been playing with format for years. We’re just hoping that we can provide another great venue for those experiments and, in turn, just add another creative jolt to comics as a whole.

What’s the reaction been like from creators working in this format so far? (e.g. limitations resulting from the scrolling design, or any opportunities it’s created in design? How has it affected the storytelling?)

Jim Gibbons: There’s definitely been a learning curve, but primarily people have gotten really excited about the possibilities of the format and the delivery method. I’ve seen an enthusiasm and a speed to back it up on so many projects that I think comes from the thrill of being part of something new. I think each creative team has, in ways, found their own ways to utilize the format and I think they’re all—and hopefully readers will be too—excited to see what they’re adding alongside the innovations others are creating!

—

After spending some time with Stela, I’m definitely excited to see what else will be coming out of this new company. And although I’ll always love paper comics and their format, I also like having quality content to easily read while on-the-go; and for that, it looks like Stela may be the mobile comics platform I didn’t even know I was waiting for.

Until next time, stay tuned for more info and teasers of upcoming content on Stela’s Twitter, Facebook, Tumblr, and Instagram … and Servo Lectio!

Joe Corallo: Fyodor Pavlov, Artist Extraordinary

fyodor-pavlov-550x324-7606067

Last Thursday, Fyodor Pavlov, a person I’m honored to call a friend, had the opening reception for his exhibition at the Leslie-Lohman Museum of Gay and Lesbian Art.Titled Carpe Noctem: Eros to Thanatos, the exhibition celebrates the interlocking themes of queer desire, sex, myth and death. The opening reception featured not only wine and cheese, but music and burlesque performances. It was an evening of celebrating queer art in many forms, and something that the comic book industry should be aware of.

Fyodor is a queer artist, a Russian immigrant, and a New Yorker. His art has been commissioned both privately and commercially. Additionally, he works on comics including Baritarian Boy co-created with his partner Lawrence Gullo and Bash Back, his current web comic co-created both his partner and with writer Kelsey Hercs.

Bash Back is a queer mafia story. Here’s the quick pitch as taken from their page, “Thousands of of years of bloodshed, torment and ridicule. Now it is time to take what is ours. Retribution.” Sounds pretty tense, doesn’t it? Bash Back is a uniquely queer creation delving into a queer power fantasy; a subgenre that is scarcely seen or heard of in just about every entertainment medium, particularly as well thought out and diverse as this story. Their work on Bash Back speaks much better than I ever could on it, so please check it out here.

Lawrence and Fyodor, in addition to both being accomplished artists, produce and direct Dr. Sketchy’s for New York, the flagship of the Dr. Sketchy’s empire.

I could continue going about Fyodor’s many impressive artistic accomplishments, but it might be easier if you just check out his website here. The point is, the LGBTQ community has incredibly talented people in it like Fyodor Pavlov, and the comic industry should be aware of him and others like him, because they need him.

Mainstream comics have become more or less stale. The same stories happening to the same characters in an endless loop that recycles itself faster and faster. I own or have read more #1 issues of comics from the big two currently than I ever thought I would have when I was in grade school. Part of solving this problem is diversity. Just having people with different life experiences and points of views to tap into alone can help make fresh and new stories for a general audience.

Even beyond the mainstream, many of the smaller publishers get stuck telling similar stories as well. Over at Image, the incredible success of Saga has opened the floodgates for science fiction driven stories – over there. Some of the other smaller publishers putting out more autobiographical books still put out a great deal of graphic memoirs from predominantly straight white men coming of age. Not that they aren’t great reads, like Jeffrey Brown’s Clumsy, but we are still lacking in terms of LGBTQ stories.

Yes, we do get some. The big two have a couple of books with LGBTQ leads, smaller publishers seem to have more representation, but not a great deal more. Certainly not when it comes to characters leading books and pushing plots forward, and certainly not to the extent of that Fyodor, Lawrence, and Kelsey have gone in Bash Back. Comic companies need to be keeping an eye out for people like them for their very livelihoods. To stay relevant in a rapidly changing age.

One company that might be trying this is Aftershock Comics. A new publisher that already has some grade A talent attached, they released a comic last week by Marguerite Bennett titled Insexts. It’s a Victorian era lesbian body horror tale. I can’t imagine a major publisher taking a risk on this, or thinking that there is even much of an audience for this. However, from seeing the kind of stories that people like Fyodor put out and make available online, and the positive reactions they receive, I can say that it is very likely that this is exactly the kind of story that can sell right now. Fellow ComicMix columnist Molly Jackson feels this could be the book that blows up for Aftershock and helps to make them a major player in the field.

The comic industry is changing. The audiences are changing. The demands are changing. If the industry is as smart as I hope it is, they’ll see incredibly talented artists like Fyodor and try to snatch them up and help them navigate this brave new world. Not because these artists need the comic industry, but because the industry has never needed them to tell their stories more.

REVIEW: Mission: Impossible: Rogue Nation

mission-impossible-rogue-nation-blu-ray-cover-88Say what you will about Tom Cruise as a person but as an actor and producer, he is one of the strongest performers in Hollywood. For the last 19 years, he has been responsible for Paramount Pictures’ Mission: Impossible franchise and has turned it into a goldmine. The fifth installment, Rogue Nation, arrives tomorrow in a combo pack from Paramount Home Entertainment just as people worry about the granddaddy of espionage franchises, James Bond.

I was not alone in feeling disappointed by Spectre, a lax story, a waste of Monica Bellucci, and boring set pieces. In comparison, the three major action sequences in Rogue Nation are fresher, more exciting, and still works on repeated watching.

Cruise set out at the beginning to honor Bruce Gellar’s creation but also add new flavors by insisting someone different direct each movie.  Brian DePalma set the stage and satisfied fans while John Wu had a misfire but then they came back with J.J. Abrams, Brad Bird, and now Christopher McQuarrie. The latter, it seems, was an uncredited writer on the previous film, Ghost Protocol and has been a frequent collaborator with Cruise so seemed a natural to become the next director. It should be noted that the film was so successful McQuarrie will be the first repeat director.

images-1018976Whereas M:I 4 isolated Ethan Hunt and the IMF team because of things going awry in Russia, the new film takes things a step further, echoing Spectre’s thread that such agencies have outlived their usefulness. Without government support, Hunt cannot hope to uncover their shadowy duplicate agency, Spectre, er, the Syndicate despite the global consequences for failure.

The team is fractured as Hunt recruits Benji (Simon Pegg) to leave his dead end desk job and join him in Europe. Meantime, when Hunt and Benji go silent, IMF Chief William Brandt (Jeremy Renner) seeks out Luther (Ving Rhames) to come to their aid. In the mix is Ilsa Faust (Rebecca Ferguson), who may be working for the syndicate, some other agency, or out for herself. All Hunt knows is that she’s very good at what she does and comes to trust her when others remain suspicious.

downloadThe story, credited to Drew Pearce and McQuarrie, takes us around the world, uses inventive technology, and rarely lets up the pace while leavening the drama with some genuine humor and warmth between the characters. If there’s flaw, it is that Hunt remains a bit flat as a character, especially without any hint of his private life, which made Mission: Impossible III, a richer experience.

McQuarrie does a great job moving things along and the action sequences – Hunt on the airplane, the mandatory car/motorcycle chase, and the underwater computer bit – all work. While newcomer Ferguson has garnered the majority of the raves, a deadpan Alec Baldwin as CIA Director Alan Hunley should be credited with keeping things interesting. The final moments with the downfall of Solomon Lane (Sean Harris) is pitch perfect, replicating how many of the classic episodes ended.

The Blu-ray transfer is just swell, perfect for revisiting the film at home matched well with the Dolby Atmos soundtrack.

images (1)The film comes with several featurettes, all just long enough to give you the basics without getting boring. In some cases, I wish there was more, especially about the franchise as a whole but I suppose leaving them wanting more is better than boring us.

We open with Audio Commentary from Cruise and McQuarrie and you can sense how comfortable they are with one another, which transfers neatly into the film itself.

Lighting the Fuse (5:57) focuses mainly on McQuarrie’s involvement, as partner and director; Cruise Control (6:33) shines the same spotlight on Cruise’s role in the filmmaking process; Heroes… (8:06), profiles the recurring IMF agents plus Ilsa; Cruising Altitude (8:23), so how did they film that plane sequence; Mission: Immersible (6:45) is all about the underwater sequence with emphasis on the physical training required; Sand Theft Auto (5:35) explores the high speed vehicle chases; and, The Missions Continue (7:08) where cast and crew reflect on the franchise’s staying power.

The combo pack comes with a DVD and Digital HD code.

Mindy Newell: May The Force Be With Us

boba_fett_by_uncannyknack-d7r4mvm-970x545-550x310-9483557

Hans Solo: C’mon, baby, don’t let me down. • Star Wars: The Force Awakens

Five days and counting down.

Unless you live in France, where all new movies must open on Wednesdays. Or unless you live in the United Kingdom, where it premieres on Thursday, December 17. Or unless you live in Bayonne, NJ, where my local theater, Franks Cinema, is starting showings also on Thursday at 7 P.M. Which is weird because I haven’t seen anything, either on television or on the web, about the U.S. release date being moved up by one day.

Not that I’m complaining.

Of course I’m talking about Star Wars: The Force Awakens, J.J. Abrams’ newest baby, which he “adopted” from George Lucas when Disney bought Lucasfilm. To tell you the truth, I’m very nervous about the film, the saga having been tainted by the prequel trilogy – although Return of the Sith was somewhat saved by the final light saber duel between Obi-Wan and Annakin. Still, Lawrence Kasdan is part of the writing team, and he is responsible, along with the late Leigh Brackett, for what I consider the best of the Star Wars saga, The Empire Strikes Back.

Aside: Once upon a time I sent Marvel editor Louise Simonson a story treatment for What If? – it was an alternate version of Empire’s ending, in which the twist was that Darth Vader got to Luke, hanging on that weather vane or radar apparatus or whatever it was, before the Millennium Falcon. She called me and told me that she loved it, but since Marvel’s Star Wars was a licensed property, I couldn’t do anything that reworked the canon. That was my first experience dealing with licensed properties. And by the way, I think it is a major sin that ComicMix’s own John Ostrander and his work on Star Wars for Dark Horse, who inherited the license from Marvel, was cut out of the “new, official” history.

Anyway, like many of us I have been bemused by what it seems to me to be an overdosed marketing campaign launched by Disney, although in an online story dated December 8 by Robert Hackett for Fortune magazine, he quotes Disney CEO Bob Eiger calling the publicity machine “extremely deliberate” and “carefully constructed” and specifically saying “We are managing this with great care.” The article goes on to say that Disney has spent only $17 million on public relations, against the usual $50 million that movie studios typically spend on “blockbuster” movies.

Of course that $17 million doesn’t count the seven marketing partners that are flooding the airwaves, including Fiat Chrysler. To be honest, I do find some of these ads very clever and amusing. I just saw an ad for Dodge, which the company titled “The Force Gathers.” With “The Imperial March” ominously playing, a black Dodge Viper – a stand-in for Darth Vader – leads an army of white Dodge Chargers, Challengers, and Durangos, i.e., “Stormtroopers,” down a major metropolitan street, passing scared pedestrians and heading towards two very nervous parking valets standing in front of a theatre playing The Force Awakens. The fun twist is the homage to another major film that changed movies forever, as one valet paraphrases to the other, “We’re gonna need more valets.”

Still, part of me is sad and misses those halcyon days when a sci-fi fantasy space opera made on the cheap exploded onto the world through simple word-of-mouth. Those days, I think, are pretty much gone forever.

Star Wars: The Force Awakens carries a huge monkey on its back.

I really hope it doesn’t let us down.

Thanks and a tip of the Dark Helmut to Nerdist.com for the awesome hunk of art atop this column.

Ed Catto: Kim Draheim, Comic Shop Pioneer

Welcome to Auburn

My first regular comic shop, Kim’s Collectibles, was a cramped little store that shared a cramped little building with a barber. Old men would share war stories in the barber shop, while right next door kids would be flipping through the newest Peter Parker, The Spectacular Spider-Man. The small space got gleefully smaller with the long boxes of comics’ back-issues and bins of vintage vinyl records.

I stumbled across this treasure at the end of the story arc rainbow the day before they opened. And you can bet I made sure I returned the next day to make a purchase. But in 1975, especially in a little town like Auburn, nestled in the Finger Lakes region of New York State, we didn’t really know about comic shops. It would be a long time before being a Geek would be cool and “nerd shows” like the Big Bang Theory were waaaay in the future. But it was a glorious time to be a kid and fanboy.

I had the good fortune to catch up with Kim Draheim, the founder of Kim’s Collectibles (later called Kim’s Comics & Records) and he revealed some astounding things about those early days.

kim-draheim-illustration-7201887Kim explained that his path to opening a comic shop was not planned. He and his girlfriend were buying their weekly comics from a newsstand, but then decided to make a regular trek to a comic shop in Rochester. The so-called Flour City was way ahead of the curve, with two comic shops already located in that town. And he reminded me that back then, nearby cities like Syracuse had no comic shops. Queen City Bookstore in Buffalo had opened in 1969, but that was long drive from Auburn. New York had a couple of comic shops, but they had yet to catch hold in other major cities, like Boston.

So as Kim and his girlfriend made their weekly pilgrimages to Rochester’s The Fantasy Shop, there came a day when the owner suggested that Kim start his own comic shop. He had never considered it before. But in those early days, long before today’s monopolistic distribution model, The Fantasy Shop sold comics at a near wholesale price to Kim.

Kim knew that low rent would be important, and he found that little hole-in-the-wall in the Five Points section of Auburn, NY. The tiny brick building was owned by the barber, and he provided a separate storefront for Kim’s comic shop.

“Those little hole-in-the-wall comic shops are lost. Now they are they are all big and well lit … and that’s great. But there was a charm to those little comic shops,” Kim reminisced.

At that time, Kim reminded me, no one had ever heard of a comic shop. He had a hard time convincing his landlord that it would not be a porn shop. In fact, Kim had to give the barber all kind of guarantees that it wouldn’t be a porn shop.

The Community and the Comic Shop

Kim recalls how suspicious some parents were of the shop. Some thought he was dealing drugs. He was not. Other parents, and members of the small town, were supportive and would become friends.

One mother didn’t want her son to read comics. The boy was a voracious reader, however, and Kim would see time and time again that “readers read”. So many of his customers read not only comics, but also everything they could get their hands on.

There was an irony where one parent who was quite a drinker would give his son a $10 bill and say, “Go to that weirdo store”. The father would then spend an hour in the nearby bar. His comments probably reflected the mood of many folks in those days, i.e. reading “weirdo” comics was less healthy or productive than spending an afternoon in a bar.

“It’s funny, but I didn’t realize until later when my early customers grew up, how much it meant to them.” And local musicians, the other part of Kim’s Comics and Records, credit Kim for expanding their musical horizons. Several of them still have the first guitar that they purchased through the store.

The Early Days of Comics Distributors

I was curious how the distribution system worked in the early days. At first, Kim’s Collectibles would pick up comics from another store in Rochester. But quickly, he outgrew that system.

“We eventually worked with Capital then switched to Diamond Distributors. We were big enough so we were getting a 50% or 55% discount due to our big volume.” At least it was big volume for those days. “Today we wouldn’t get those discounts.”

In today’s world, where the vast majority of Geek retailing comes from one near-monopolistic distributor, it’s easy to come across complaints. “The one thing I do remember is customer service,” said Kim. When he would call his distributor “…everyone at Capital and Diamond knew comics” and was a fan or collector too.

What Made It Work … and What Didn’t Work

For a brief time, Kim left Auburn and sold the business to one of his best customers, Gary Amadon. Gary ran it for about three years, but the business went downhill without Kim’s passion as a fan of both comics and music. From the start, Kim had blended those two interests together for his retail store. “(Boston’s) Newbury Comics is an extreme example of a retailer who’s done this,” said Kim. To make it work in a small market, he realized he needed to use a blended model to ensure an income stream.

Kim also knew that as a retailer it was important that he didn’t let a fanboy’s collector mentality take over. He related a story about a time where Gary was astounded when a near-mint Amazing Spider-Man #2 was brought in for sale. And soon after, a second near-mint Amazing Spider-Man #2 was also brought in for sale. Gary, as a huge collector, bought both of those comics but couldn’t bear to sell either one. That was a lot of cash for a small store to tie up in non-saleable inventory.

A Return to the Business

Not long after, Kim returned to the Auburn area to start a family. They say you can’t go home again, but he decided to reboot the comic shop. He took it over from Gary.

And so it was time to re-negotiate with his landlord, the barber. Originally, Kim was paying $100 rent each month. That low overhead helped keep the business going. During renegotiations, Kim was concerned when the barber told him that he wouldn’t be able to give him the sweetheart deal any longer. “The price would have to be raised,” he told Kim in a serious manner.

“‘It will now be $110 a month’, the barber tells me,” said Kim with a laugh.

Upon his return to the store, Kim partnered with a super-fan named Thaddeus Foos. Thad had a great talent for grading comics, and together they took great pride that they never gouged collectors and always sold back issue comics at a fair price. They worked hard to ensure that nobody ever felt ripped off.

Thad, with a warm smile and infectious smile, helped make new customers feel welcome and continued the high standard of retailing authenticity for long-time fans.

His Greatest Regret

“I’ll tell you my greatest regret”, Kim confided. “It has to do with the astounding quality of superhero movies today. I feel bad that Gary Amadon died young. Gary loved superhero comics ten times as much as I did. He used to dream about quality superhero movies. He used to talk about it constantly.” With great sadness, Kim explained how much a super-fan like Gary Amadon would have enjoyed today’s big screen, and small screen, comic heroes.

It really has come full circle. Kim’s three-year-old granddaughter dons her red cape regularly to watch the new Supergirl show (over and over) with Grandpa.

Still Deep into Geek Culture

“Do you still read comics?” I asked.
“Absolutely!” he enthusiastically replied. Even after all this time, Kim’s still into Geek Culture.

Then Kim went on to explain that he drifted away from superhero titles, but his wife loves the superhero movies. Due to equal parts of nostalgia and habit, Kim still reads Conan comics, now published by Dark Horse. Conan was the title that pulled him back into comics, in eight grade, after he had “graduated from them” in fifth grade. He still likes several series such as Dynamite’s The Shadow, Drawn and Quarterly’s Berlin and Image Comics’ Stray Bullets. His favorite of recent years was Vertigo’s Scalped. “I kept waiting for it to jump the shark, but it never did.”
Kim still sells to a select group of fans. “To be honest – even now – when I get my new comics box I’m always excited. Even though I only purchase five to seven comics each month. And I’m always excited to look through Diamond Previews. It’s just a thrill.”

LEGO’s Justice League: Cosmic Clash Arrives March 1

 

1000576627BRDBEAUTY_ecbed26bBurbank, CA (DECEMBER 9, 2015) – It will take all the efforts of the Justice League – and a few of their super pals – to keep Brainiac from adding Earth to his miniaturized collection of planets in the all-new animated feature, LEGO® DC Comics Super Heroes – Justice League: Cosmic Clash. Produced by Warner Bros. Animation, DC Entertainment and the LEGO Group, the film will be distributed by Warner Bros. Home Entertainment on March 1, 2016 on Blu-rayTM Combo Pack, DVD and Digital HD. The Blu-rayTM and DVD releases will include an exclusive Cosmic Boy LEGO® figurine, while supplies last.

LEGO DC Comics Super Heroes – Justice League: Cosmic Clash will be available on Blu-rayTM Combo Pack for $24.98 SRP and DVD for $19.98 SRP.  The Blu-rayTM Combo Pack includes a digital version of the movie on Digital HD with UltraViolet. Fans can also own LEGO DC Comics Super Heroes – Justice League: Cosmic Clash on Digital HD on February 9, via purchase from digital retailers.

The brilliant, hyper-obsessive-compulsive, super-computer Brainiac is combing the universe for new additions to his collection of worlds when he stumbles upon a ripe planet for his taking – Earth. But Brainiac quickly discovers Earth has a “firewall” – the Justice League.  When Brainiac cleverly displaces several members of the Justice League to other time periods in Earth’s history, Batman, Flash and Cyborg must build and use the Cosmic Treadmill to race across time to retrieve their comrades – while members of the Legion of Super Heroes attempt to hold off Brainiac’s assault. Only time will tell in this battle for the fate of the Earth and the Justice League!

The cast of LEGO DC Comics Super Heroes – Justice League: Cosmic Clash features some of the top voiceover artists in the industry voicing the core Justice League heroes: Troy Baker (Batman), Nolan North (Superman), Grey Griffin (Wonder Woman), Josh Keaton (Green Lantern), Khary Payton (Cyborg) and James Arnold Taylor (The Flash). Phil LaMarr (Futurama, Static Shock, Pulp Fiction) joins the LEGO DC Comics Super Heroes realm as the voice of Brainiac. The Legion of Super-Heroes also assists the Justice League efforts, spotlighting the voices of Jessica DiCicco (Supergirl), Kari Walhgren (Saturn Girl), Yuri Lowenthal (Cosmic Boy) and Andy Milder (Lightning Lad). Also along for the fun is Phil Morris, reprising his Justice League role as Vandal Savage, and Jason Spisak as Captain Fear.

LEGO DC Comics Super Heroes – Justice League: Cosmic Clash is directed by Rick Morales from a script by Jim Krieg. Sam Register, Jill Wilfert and Jason Cosler are executive producers. Benjamin Melniker & Michael Uslan are co-executive producers, and Brandon Vietti is supervising producer.


“Warner Bros. Home Entertainment is excited to release LEGO DC Comics Super Heroes – Justice League: Cosmic Clash,” said Mary Ellen Thomas, WBHE Vice President, Family & Animation Marketing. “Fans of the LEGO DC Comics Super Heroes franchise can expect an action-packed and hilarious film as the Justice League battles to thwart Brainiac’s villainous plans”.

LEGO DC Comics Super Heroes – Justice League: Cosmic Clash Special Features include:

  • Featurette – “The Justice League: Caught On Camera” – They may be the world’s greatest crime fighters, but Superman, Wonder Woman, Green Lantern, Flash, Cyborg and Supergirl test Batman’s patience by flubbing their lines, missing their cues and basically stinking up the screen literally!

DIGITAL DISTRIBUTION ELEMENTS

LEGO DC Comics Super Heroes – Justice League: Cosmic Clash will be available for streaming and download to watch anywhere in high definition and standard definition on their favorite devices from select digital retailers including Amazon, CinemaNow, Flixster, iTunes, PlayStation, Vudu, Xbox and others. Starting February 9, LEGO DC Comics Super Heroes – Justice League: Cosmic Clash will also be available digitally on Video On Demand services from cable and satellite providers, and on select gaming consoles.

 

The Point Radio: CHILDHOOD’S END Comes To Life

The beloved science fiction classic CHILDHOOD’S END by Arthur C. Clarke is coming to SyFy this week in a special three night event – starting tomorrow night.  EP Matthew Grant and stars Mike Vogel and Yael Stone talk about their journey to bring this favorite to life. Plus there’s no doubt that Earth, Wind & Fire and Chicago are rock legends. The members share their favorite memories as well as talking about their continuing nationwide tour.

Follow us here on Instagram or on Twitter here.

John Ostrander: The Face We Show

Ostrander 2Every once in a while, I’ll come across a picture of me from back in my twenties and thirties or even earlier. I look at myself and what I was wearing and how I wore my hair (I had more hair back then to wear). I sometimes had a mustache, I sometimes had a beard, or even big sideburns and that was always a little bit odd. My beard especially came in sparse in some areas, tightly curled all over, and a touch red. Likewise, I sometimes let my hair grow long although it too was very curly so it never achieved any great length. It was longer on the sides than on the top of my head; I referred to as a bozfro.

I suspect a lot of people look at these older images of themselves and go, “What was I thinking?” And yet, it was a choice that I made. Part of it would have been influenced by the fads and fashions of the time but did I really think at the time that I was looking good?

Occasionally, the look was a little subversive. For two years in college I was both a member of the Reserve Officer Training Corp (ROTC) and the Theater Department. This would have been in the late Sixties so the two were not especially compatible. Every Thursday we were supposed to wear our uniforms to school and to ROTC. This got me odd looks in the Theater Department; we were usually a rag-tag looking bunch of semi-hippies. However, I also told the ones in charge of ROTC that I was in a play and thus has to keep my beard and long hair. (Not true usually but they didn’t know that.) At least once a month our commanding officer would announce to the assembled ROTC that the following week would be an inspection and we all should “shine your buttons, spit shine your shoes, get a shave and a haircut.” His eyes would then rest in me, “unless you’re in a play,” he would mutter.

That was a choice I made back then. Whether we realize it or not, we make those kind of decisions all the time. Every character that we write or draw makes those choices. Even if someone says, “I just throw on any old thing”, that is still a choice. It says something. It may be saying, “I don’t care how I look; fashion is not important to me.” Or it might say, “This way I’ll be invisible; I won’t look any different than anyone else.” It does say something. We are making statements about ourselves whether we intend to do so or not.

As much as the costumes they wear, heroes and villains are defined by the everyday clothes that they put on, the look that they assume. It says something about them. When I taught at the Kubert School, one of my lecture/assignments was to have the students research the clothes that the characters wore when they were out of costume. Bruce Wayne will wear something different than Peter Parker. They will shop in different stores. I wanted the students to be aware and be able to draw different types of fabrics. This all conveys something to the reader.

What a person chooses to wear says something about them, about who they are, about who they see themselves to be. It’s how they present themselves. It’s the same for all of us. What image of ourselves are we presenting? How do we want the other person to see us?

Every line drawn in a comic is defining a person, a place, the action, and every other bit of information. The reader takes it all in. It creates not only a story but a reality into which the readers invests themselves. If the artist, if the writer doesn’t put the information in there, it doesn’t exist.

Certainly, an artist can over render. They can noodle a page to death. They can add extraneous information, as can the writer. The key is to know how much information must be given, what can be implied, and what can be omitted. We don’t want to confuse the reader because that pulls them out of the story, out of the reality we are creating with them.

People, all of us, are like diamonds and each facet reveals some different perspective or glimpse of who we are. The question becomes what are we choosing to reveal and to whom and why, and what are we revealing without realizing it. That changes from moment to moment and person to person. As with us, so it needs to be with our characters. We don’t want to shortchange them or the reader.

That’s the job.

Marc Alan Fishman: To Err Is Inhuman

Agents of Shield

TV has been so very good to us lately, has it not? Last week, I talked about Gotham. Making the rounds this week with the newly-coined label mid-season finale came both Marvel’s Agents of S.H.I.E.L.D and DC’s The Flash. And boy howdy, could two shows be any more different.

The dichotomous execution of these shows has offered the comic book geek in me a chance to have my cake with a slice of pie on the side. The Flash is proving how DC can unravel the entirety of its wonderful bench of compulsory concepts and characters to build a universe that celebrates the source material; and now makes it flesh. Agents of S.H.I.E.L.D. is happy to borrow only the table scraps of the 616 and spin a story that we couldn’t otherwise enjoy from Marvel Comics. Coulson and his cohorts are wholly a product of TV – built with respect to the medium in which they were born, but taking advantage of slow serialized arcs, and universe building by way of deep character work. In the macro, both shows are proving to the muggles that the best kept secret to first-class content has been comics all along.

Thus far this season The Flash has been an exercise in glorious gluttony. Where the House of Mouse is carefully crafting a cohesive communal cinematic universe, DC is running hard and fast in the other direction. In the front half of Flash’s second season we’ve seen a Man-Shark, a telepathic gorilla, the introduction of Earth-2, Jay Garrick, Zoom, Dr. Light, Vandal Savage, Hawkman and Hawkgirl – complete with comic-appropriate backstory, the introduction of Vibe, the return of the Weather Wizard (now with his magic wand!), the Trickster, a new Firestorm collaboration, and, of course, Wally West.

In the same amount of time, Agent Coulson got a black rubber hand and a D-Class Joe Maduereira Inhuman who doubles as Blair Underwood. I’m simplifying of course. And to be clear, I’m enjoying both shows, sometimes in spite of themselves. That being said, I have a few bones to pick with both programs.

Agents hasn’t fulfilled the destiny I’d hoped for it with the introduction of the Inhumans at the tail-end of last season. Where I was hoping to see an expansion to the use and usage of superpowers on an otherwise powerless show, we’re treated to only a few banal lightning bolts, melting metal, or CGI’d force waves. Oh, and the chairman from Iron Chef America can make guns float. At times, you can almost see the straining budget buckle – which is funny, given how profitable the entirety of the MCU has been for ABC, owned by Disney, who owns Marvel. But I digress. The Inhuman situation has been treated with kid gloves thus far in the second season. Whole swaths of them have been slaughtered off-screen to boot – which kills any chance for we the audience to feel anything about the quasi-genocide. And then there’s Hydra.

We all know the slogan – “Cut one head off, blah blah blah”. As we dove-tailed into this past week’s episode, all plots converged on a distant planet (see also: California dessert set #245 with a blue gel cap over the lens) where [SPOILER ALERT] an ancient Inhuman brain slug took over the newly deceased carcass of Ex-Agent Ward. We were supposed to feel things at that moment. Vindication for Phil Coulson who had lost so much. Regret over no longer having Ward to eat scenery up (and, according to my wife, be nice looking). And I guess fear over the Ward-zombie that will likely pick things up where we left off when we return from a 10 week jaunt with Agent Carter.

But, alas, I felt none of those things. Coulson’s budding romance with the head of the ATCU was far too short-lived to feel pangs when it ended. Andm come on, no one is really dead in comic book shows now, are they? I can already see Fitz and Simmons restoring an otherwise brainslug-less Ward back to semi-conscience by season’s end. Unless the slug is in fact Mr. Mind, and Marvel and DC are pulling a fast one over on us.

Over in Central City (or is it Keystone? Crap on a cracker I can’t recall), The Flash can’t stand still long enough to take a breath. As I’d detailed above, in half of a season it feels like 80% of the Flash portion of the DC Encyclopedia has been covered – but only in the faintest of ways. The biggest drawback with so many new concepts being tossed out is the inability to savor any of them longer than they appear on screen. And to be clear: They’ve all been on screen exactly long enough to say their names, show off their CGI, be defeated or recruited, and then walk off screen until they’re needed again.

Take the Hawkpeople. In the two episodes they appeared, they were introduced, given their lengthy back-story, and involved in a side-story revolving around Hawkgirl accepting her newfound disappearing wings and centuries-old memory lapse. The episode prior to wings, she was slinging coffee – for about twenty seconds. Suffice to s Say the leap we have to take from “Oh, she’s cute” to “Oh, she’s decided to throw whatever life she had away to now become a super hero with a man she’s ostensibly just met, but now will be in love with…” is short enough to make me scoff by the time she’s walking off the set of The Flash right onto Legends of Tomorrow. Put a pin in that one, kiddos.

At the end of the evening we’re still living in a golden age of comic book teevee. In between the angsty dialogue and drab sets of Agents of S.H.I.E.L.D. lies a show that’s made names like Melinda May, Phil Coulson, and FitzSimmons worthy of the transition to pulp. And in spite of the breakneck pace of The Flash, we know the surface has only been scratched; the back half of the season can take a deep breath to start exploring the universe they broke the sound barrier to introduce in only nine episodes.

The Law Is A Ass

Bob Ingersoll: The Law Is A Ass #375

BATMAN IS THE WORLD’S GREATEST DEFECTIVE

For a man billed as “the world’s greatest detective,” Batman really sucks at his job.

Understand, by detective I don’t mean the guy who sneaks through the bushes to snap photographs of the secret meetings of some modern day Tryst-an and Isolde. I mean a guy who investigates, seeks out clues, and uses deductive reasoning to arrest criminals. A police detective.

The New 52 Batman does precious little clue seeking and thinks deductions are best left to H & R Block. Mostly he beats information out of lowlifes or threatens to drop them off buildings unless they tell him what he wants to know. He’s not so much Dick Tracy as he is Dick Cheney.

In the pre-New 52 continuity Batman had two great mysteries, who killed his parents and Joker’s real name. However, in Batman: The Dark Knight v 2 #0, Bruce Wayne learned Joe Chill killed his parents before Bruce even became Batman. So the post-New 52, Batman only had one major mystery: what is Joker’s real name?

Batman now knows the answer to that question. But not from any detective work. See, in Justice League v2 #42, Batman took over the Mobius Chair, the technological marvel that allows the New God  Metron to travel through time and space and store all the knowledge accumulated in his travels. When Batman took possession of the chair, the first thing he did was to ask for the chair to tell him the Joker’s real name.

The world’s greatest detective should have learned the Joker’s real name by detecting. By investigating. Looking for clues. Ratiocination. Batman shouldn’t have solved his greatest mystery by asking an upholstered Magic 8 Ball.

But taking the easy way out was the least of Batman’s detective failings. In Justice League: Darkside War: Batman#1, we discovered what else Batman did with the Mobius Chair and that really proved Batman, like all poor detectives, didn’t have a clue.

Batman used the chair to sift through peoples’ thoughts. He could see what criminals were planning and arrested criminals before they committed their crime. Which gave the Gotham Prosecutors Office an even worse record than Hamilton Burger’s score against Perry Mason. The Prosecutor’s Office had to release most of the perps Batman brought in, because they couldn’t prosecute someone for something they hadn’t done yet.

Our criminal justice system is funny that way. Crimes require both a mens rea, or guilty mind, and an actus reus, or guilty act. Without both, no crime has been committed. Especially the actus reus. That’s really, really got to be there. If no criminal act has been committed, then no crime has been committed. Or, as Tony Baretta might put it, if you don’t do the crime, you don’t have to do the time.

A good detective, let alone, the world’s greatest would-be police detective, would have known this. Batman didn’t.

I’m not saying Batman should have let the crimes happen just so that the perps could be prosecuted. But when a good detective knows when and where a criminal is about to strike, the detective conducts a stake out. (Which shouldn’t be confused with letting one’s T-bone thaw.) The detective waits and watches until the perp takes some affirmative step in furtherance of committing that crime, then the detective arrests the perp. That way the perp can be prosecuted for attempted whatever crime it was that the perp was about to commit.

After Commissioner Gordon scolded Batman for bringing the GCPD perps they couldn’t prosecute, Batman changed his tactics. He confronted four people, all armed with unregistered automatic rifles, who had driven somewhere near the Club Alpha to rob it. They shot at him. Batman didn’t arrest them. Instead, he teleported them to McMurdo Bay in Antarctica, where a Navy icebreaker would be passing in a few hours, to give the criminals time to “contemplate their actions.”

Batman didn’t turn them over to the police, presumably because he didn’t think they could be prosecuted, as they hadn’t actually robbed the Club Alpha yet. But once again he showed a marked misunderstanding of the laws that every good police detective should know by heart.

The perps had automatic rifles. Unregistered automatic rifles. New Jersey NJ Rev Stat § 25:39-5 makes it unlawful to possess unregistered rifles. The same statute also makes it illegal to carry a machine gun, which New Jersey defines machine gun as a firearm that doesn’t require the trigger to be pressed for each shot and which has a means of storing and carrying ammunition which can be loaded into the firearm. A fully automatic rifle meets both these requirements. So the perps who were about to rob the Alpha Club had broken the law. A good detective would have known that he could turn these perps over to the law because they could be prosecuted.

In addition, the perps shot at Batman. He didn’t die because the Mobius Chair protected him. The perps didn’t know that the Mobius Chair would protect Batman, so when they shot at him they committed attempted murder. Again, a crime for which they could be prosecuted.

Finally, a good detective would also know that when four people plan to rob a club at gunpoint, secure the guns that they’re going to use to rob the club at gunpoint, then drive to the club; they have committed a crime. They have planned to commit a crime together then committed at least one overt act in furtherance of their agreement. Two actually, getting the guns and driving the car. That means the four perps were also guilty of conspiracy to rob. So, again, if Batman was a good detective – you know, the kind who knows the law he’s allegedly upholding– he would have turned these perps over to the police to be prosecuted for conspiracy.

Even if the prosecution couldn’t get the attempted murder or conspiracy charges to stick, because Batman was the only witness to them and Batman can’t testify in the New 52 continuity; the weapons charges, they would have stuck. Once the police found the men in possession of illegal weapons, it wouldn’t have mattered that Batman couldn’t testify. The cops could have testified.

After committing these felony faux pas, Batman visited Joe Chill in his prison cell. He asked Chill how many people Chill had killed. “And remember,” he told Chill, “you can’t be tried for hearsay.”

Finally Batman got something right. Chill couldn’t be tried for hearsay. Hearsay is a rule of evidence, not a crime. However, if Batman meant that nothing Chill told him would be admissible in a prosecution for murder, because it would be hearsay, then once again Batman was more wrong than Hello Kitty sex toys.

Chill told Batman he had killed forty people. If Chill were to be prosecuted for any of those forty murders, his statements would be admissible. In these prosecutions Chill’s admissions would be a statement made by a party-opponent in the case. Many jurisdictions, such as Ohio, say such statements are not hearsay, so would be admissible. The other jurisdictions, like New Jersey, consider such statements to be hearsay. But they’d still be admissible because their rules of evidence make statements of a party-opponent an exception to the hearsay rule.

Okay, the statements probably wouldn’t be admissible, because the only witness to them was be Batman and, as I said earlier, Batman can’t testify. So Batman was right for the wrong reason. Still, a good detective would know the right reason.

World’s greatest detective? Please. Detective? Batman’s not even fit to hold Inspector Clouseau’s magnifying glass.

Categories

Archives

Everything you need to make great comics!

comicmix-pro-300x69-2

Nucleus X

Bookshop Zaks