The Mix : What are people talking about today?

Iron Giant gets Dusted Off, Gains New Scenes for Theatrical Run

 

The_Iron_GiantThere is a ton of coming out this week now that Comic-Con International is here. But this news release has us very, very excited considering this underrated animated classic is getting a chance to enchant a new generation of viewers.

 

Burbank, CA, July 8, 2015 – Warner Bros. Pictures is proud to announce that the animated action adventure The Iron Giant will be re-released this fall, remastered and enhanced with two all-new scenes as The Iron Giant: Signature Edition.  It will be released in theaters for a limited engagement through Fathom Events.  The Iron Giant: Signature Edition arrives to theaters for a special event screening on Wednesday, September 30 at 7:00 p.m. local time, with an encore event in select markets on Sunday, October 4 at 12:00 p.m. local time.

The ticket on-sale date and theater locations for The Iron Giant: Signature Edition will be announced this August online atwww.FathomEvents.com. The event will be presented in select movie theaters around the country through Fathom’s Digital Broadcast Network.

When The Iron Giant arrived in theaters, it was hailed as an “instant classic” (Joe Morgenstern, The Wall Street Journal).  “Imagine E.T.as a towering metal man, that’s the appeal of this enchanting animated feature” (Roger Ebert, Chicago Sun-Times).  And the world soon learned another “giant” had arrived as well: filmmaker Brad Bird, who made his stunning directorial debut with this film and has gone on to win two Oscars, as well as worldwide acclaim for his work on both animated and live-action features.

Winner of nine Annie Awards, The Iron Giant is the tale of an unlikely friendship between a rebellious boy named Hogarth (voiced by Eli Marienthal) and a giant robot, voiced by a then little-known actor named Vin Diesel.  The voice cast also included Jennifer Aniston and Harry Connick Jr.

The film was produced by Allison Abbate and Des McAnuff from a screenplay written by Tim McCanlies.  Adapted from poet Ted Hughes’ book, The Iron Man, The Iron Giant was first released in the summer of 1999 by Warner Bros.

Following the re-release of the film in theaters, a high-definition version of The Iron Giant: Signature Edition will be available to purchase from digital retailers in the fall of 2015.

Molly Jackson: Bummed Out

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The San Diego Comic Con starts today, and I couldn’t be happier that it will all be over soon. For the past month all I’ve been getting are emails inviting me to events, panels or to get exclusives at the world’s big geek event. And guess what? I’ll be stuck at home, not attending any of them.

It’s a bummer to see all the amazing things happening without me. Yes, the entire event is covered completely on the web. Any big announcement or reveal is up for the world to see in a matter of seconds. Even so, being there in the center of things is a much different story.

I’ve been to SDCC a few times, and each time has been a remarkable experience. While, yes, I do get to go to NYCC (now the largest comic con in the US) each year, it just isn’t the same. San Diego literally becomes the convention hall. Outside the con, you are still completely surrounded by geeks day and night. Going to this is the closest I’ve ever gotten to being one of the cool kids at spring break. The experience of attending SDCC is unlike anything else.

It’s not just about the 24/7 party. As I have written before, I see people at cons that I never see at any other time. Friends who that I might only see at cons or chat with online on occasion. And every year, I always seem to meet someone new.  I could spend the whole con just booth hopping from one to another, chatting it up with the staff and fans and have a grand time.

Starting today, throughout the country (or maybe even the world) Not At Comic Con events will be happening. I am not the only bummed out fan. These events are just a shadow of the craziness that ensues at SDCC but still a great way to get some quality geek time.

So here I’ll be, bummed out and stuck in humid NYC. At least I will have plenty of time to clear out my inbox. And, just maybe, next year I’ll be back in San Diego.

 

Mike Gold: Buying Comic Books

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For most of those of you who are lucky enough to have grown up near a comic book store, you may be unfamiliar with those hallowed days when we had to go to our local drug store, candy shop), grocery store, and/or newsstand to get our four-color fix.

Right there among the legitimate journals, next to the “men’s sweat” magazines that cover-featured well-dressed Gestapo agents torturing hapless well-endowed American women who somehow got caught up in the war effort, beside the farm magazines and the science monthlies and the news weeklies, awaited our favorite comic book characters ripe for the plucking. We didn’t have fanzines, let alone the Internet, to tell us what was coming out each week. New titles and new characters simply appeared at one or another outlet – no one place had them all – and that element of surprise was vital to our bouillabaisse of comic book entertainment.

Each Saturday my friends and I would hike down Devon Avenue from Kedzie to Western Avenue on Chicago’s north side, stopping at seven or eight different stores that met our needs. Mind you, some of us – most certainly yours truly – had already gone to as many as three different drug stores located nearer to our school. Oh, sure, we did lots of other things kids did back then, like lag baseball cards and scarf down Vienna hot dogs and mock the adult passersby and wise off to the police who seemed to hate us kids (I wonder why?). But that part of our itinerary varied from week to week. The constant was gawking at all those comic book racks.

Afterward we would go to one of our sundry abodes to read our stash, often sharing purchases with one another. Then we would discuss what we read. I remember when my best friend declared he did not think my favorite artist, Joe Kubert, actually knew how to draw. Another in our group declared he was uninterested in the embryonic Marvel Comics line because they were all written by the same guy. “If Stan Lee got hit by a truck,” my pal surmised, “they’d be up shit’s creek.”

Well, I certainly would have been. Fantastic Four #1 came out right when I turned 11 and I was just beginning to tire, just a little bit, of DC’s domination of the superhero genre. Marvel’s continuous growth stoked my interest in the medium.

As Flo and Eddie informed us, before too long those sing-along days were lost to us forever. Contrary to the popular belief of the time, it wasn’t television that really killed comic book sales. It was the slow death of all those mom’n’pop stores as families bought cars, moved out to the suburbs, and shopped in malls and chain stores where the profit margin on a ten or twelve-cent comic book was way too thin to justify retail floor space. Comic books that had been selling a half million or more copies drifted downward to maybe 100,000, and then even lower. Sell-through percentages spiraled down from 70% or more to 40% or less.

Cast-off from the growingly elitist science-fiction fandom, comics fans got organized. Comic book stores started popping up and the wondrous Phil Seuling cut deals with the publishers to get their wares directly into those comics shops. Phil saved our beloved medium’s ass.

The sad by-product of this was if you didn’t live near one of those comics shops, you were out of luck. The average age of the average reader went up as you pretty much had to have access to a car to get to a direct sales store… assuming there actually was one within driving distance. For most… no soap.

It was a deal with the devil but the comic book remains alive in America. Unfortunately, those kids today who live within walking distance of that one-mile stretch of Devon Avenue have exactly zero places to buy comic books and those other three drug stores are all out of business.

Life changes for better and for worse. But it was really fun to be surrounded by all those newsstands.

 

Emily S. Whitten: It’s Comic-Con Time!

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The San Diego Comic Con starts tomorrow, and OMG I am all in a tizzy getting prepped for it. Which kiiiiind of means I didn’t have time to write a long, thoughtful, in-depth column about anything this week. Not only because I’m busy, but also because when I get excited, it’s like Fireworks! Going! Off! In! My! Brain! And then long, thoughtful columns are overtaken by things like Rorschach answering dating questions, or incoherent babbling about imaginary stuff. So you can imagine what my brain looks like right now.

However, for those of us heading off to SDCC and looking for some tips, I can refer everyone back to my Comic-Con Prep 101 guide from last year. Check it out for a list or a reminder of all the basics you should think about when packing for and prepping for a con.

I can also share a few tips specifically for San Diego. Of course, a good place to start when planning for SDCC (which you totally should be completely ready for by now, right? Right??) is the official app, where you can put your own personal wish-list schedule of panels together (while recognizing you’ll only actually make it to maybe 1 in 10 panels you want to attend, if you’re anything like me and over-commit). You can also see what guests might be out there that you want to track down for autographs, commissions, and more. You can also head over to the official site for the list of San Diego Comic-Con exclusives exclusives to see what you absolutely must snag on the con floor.

Then you should consider your after-hours plans. While a lot of the parties are “invite only,” there are still a ton of good things going on at night. For a couple of good round-ups of the parties and get-togethers, check out the Hollywood Reporter’s list or Variety’s list. I’m planning on SherlockeDCC and the Geek Nation/Epic Pictures parties. Another good place to poke around is Facebook. A lot of the free parties have event listings on Facebook, which will also link you up to “related content” so you can find even more parties. The two I’m eyeing that have Facebook pages are the J!NX PRESENTS: Gabe Eltaeb’s Second Annual Comic Kickoff Fundraiser and the Fashionably Nerdy Cocktail Hour and Mixer.

And of course, there are other peripheral events to be aware of; one of the biggest of which is Zac Levi’s awesome Nerd HQ. Even though the Conversations (200-seat panels featuring awesome celebrities, sold for $22 each and with proceeds going to Operation Smile) sell out in a hot second, there are also other things going on, like free gaming, and usually Thursday and Saturday night parties. And then there’s also SlamCon, the mysterious moving party that you need to hunt down via Twitter to attend. And then there’s the occasional thing that makes you go, “Bwuh?” but in a good way; like Elijah Wood DJ’ing at Bang Bang tomorrow night (come on, I’m so there; I hear he has a kickin’ vinyl collection). All in all, there’s more than enough to see and do while in San Diego for the con.

So there you go! Some on-the-fly tips off the top of my head (which is about to fly off in excitement) about how to experience the San Diego Comic-Con, at least the way I like to do it.

So get out there, have a blast, and until next time, Servo Lectio!

Mindy Newell: 232.7° Celsius

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“There is more than one way to burn a book. And the world is full of people running about with lit matches.” • Ray Bradbury’s opening words to his coda in the 1979 edition of Fahrenheit 451

Good friend and fellow columnist Martha Thomases’ latest column made me remember an incident from my childhood, back when I was in grammar school at P.S. 29 on Staten Island, NY. But more on that in a bit.

The autoignition point of paper – autoignition being that temperature at which a substance will spontaneously burst into flames – is anywhere from 424 to 475º F (218 to 246º C), dependent on the type of paper, i.e., thickness, density, composition, and atmospheric conditions. It is also the source of the title of Ray Bradbury’s 1953 dystopian masterpiece, Fahrenheit 451, which takes place in a future American society in which books are not just banned, but outlawed. Those who are found to be harboring not only have their books taken and burned, but their homes, too, are set aflame by “firemen” whose job is to search out and destroy any type of literature.

In this bleak Tomorrowland, America is a land in which E Pluribus Unum has been replaced with Ask Me No Questions, I’ll Tell You No Lies; those who live in this world are not individuals, but automatons, walking through life, but not living it, with no thoughts of their own.

What is both ironically amusing and extremely aggravating to me is that Fahrenheit itself has been subject to expurgation, censoring and banning. That’s right, a novel about the dangerous suppression of individuality was itself earmarked for the bonfire. Yes, I know, it is the height of absurdity, but it is true.

In 1967, at the height of the ‘60s social revolution, its publisher – Ballantine Books – released an edition for its high school books program which censored the words “hell,” “abortion,” and “damn,” altered at least 75 paragraphs, and changed character situations that were felt to be detrimental to the fragile minds of teenagers – a drunk man became a sick man, the cleaning of a belly button became cleaning ears.

Both censored and uncensored versions were available until 1973, when Ballantine decided that the public should read only the expurgated version. This continued until 1979, when Bradbury found out about it. Understandably, he went berserk:

 “Do not insult me with the beheadings, finger-choppings or the lung-deflations you plan for my works. I need my head to shake or nod, my hand to wave or make into a fist, my lungs to shout or whisper with. I will not go gently onto a shelf, degutted, to become a non-book.”

Lucky for Bradbury, noted and brilliant science fiction editor Judy-Lynn del Rey had recently been brought in to revitalize their science fiction line, and stepped in here as well. So the novel, in all its dystopian glory, has been back on the bookshelves, available to all discerning and thinking readers for 36 years. And no one has complained.

Oh, yeah?

1987: Bay County School Board, Panama City, Florida. Superintendent Leonard Hall institutes a three-tier classification system. Fahrenheit 451 was assigned “third-tier” status, meaning that it was to be removed from the classroom for “a lot of vulgarity.”

1992: Venado Middle School, Irvine, California. Students were given Fahrenheit 451 to read. All the “bad” words were blacked out.

2006: Independent School District, Conroe, Montgomery County, Texas. A tenth grade student was assigned to read Fahrenheit 451 as part of Banned Books Week. She stopped reading it after only a few pages because of the “bad” words and the scene win which a Bible is burned. Her parents demanded to that the novel be banned – this during Banned Books Week, get it? – because they said it was violent, portrayed Christians as yahoos, and insulted firemen.

All these attempts to censor, purge, and ban Bradbury’s tour de force ultimately failed. But stay tuned. The other major theme of Fahrenheit 451 is the manipulation of society through mass media and technology.

On the other hand, don’t stay tuned.

•     •     •     •     •

 “Having the freedom to read and the freedom to choose is one of the best gifts my parents every gave me.” • Judy Blume

Although I didn’t consider myself to be so, apparently I was one of those super-bright, obnoxious kids who love to read and are reading waaaaaaay above their grade level that annoy the shit out of Marians the Librarians – well, at least we did in the olden days.

So, like I was saying, I was seven years old and attending P.S. 29 on Staten Island, New York. So one day I go to the school library to search the stacks for something to read. I discover The Black Stallion by Walter Farley. Being head-over-heels with anything that had to do with Equs caballus – or is that Equs caballi? – I wanted it. Only it was on the highest bookshelf. I took a chair from one of the tables, dragged it over, got up on the chair, stood on tiptoe, and clutched the book in my hot, greedy fingers. I got off the chair and walked over to the checkout desk.

Marian the Librarian wouldn’t let me have it.

I cried all the way home. I even cried when I got into my house.

My mom wanted to know what was wrong.

“Oh, yeah?” she said. “Don’t you worry, Mindy.”

The next day my mom walked me to school. Only she didn’t drop me off in the schoolyard, she walked into the school with me and right to Marian the Librarian’s office.

“I understand you wouldn’t let my daughter read the book she wanted,” she said.

“Well, you must understand, that book is for eighth-graders,” Marian said.

“So?”

“Mindy is not in the eighth grade.”

“My daughter wants that book.”

“I’m afraid I can’t let her have it.”

“Don’t you ever tell my daughter she can’t read something. Ever.”

I was sent to class at that moment, so the rest of this is hearsay, but the way it’s been told at family dinners and gatherings over the years it seems that once I was out of the library my mother let Marian the Librarian have it. Stuff about Joe McCarthy and Nazis and book burnings and threats to go to court if she had to and a few choice “bad” words thrown in for good measure. Granted, the story has most likely been embellished since that day when Laura Newell, R.N. defended the Bill of Rights against one harried school librarian, but you get the idea – and of course I got the book…and any other book I wanted to read that was found in the library of P.S. 29 on Staten Island, New York.

My mother blew out a lit match that day.

Ray Bradbury, author of The Martian Chronicles, The Illustrated Man, Something Wicked This Way Comes, I Sing the Body Electric, Something Wicked This Way Comes, Dandelion Wine, The Fog Horn, and Fahrenheit 451 – and so many other timeless classics – died on June 5, 2012 in Los Angeles.

Judy Blume is the author of the classic young adult novels Are You There God? It’s Me, Margaret, Tales Of A Fourth Grade Nothing, Freckleface, It’s Not The End Of The World, Forever, and so many other. Her first adult novel, Wifey, was published in 1978. Ms. Blume’s latest book is the adult novel In The Unlikely Event.

 

Ed Catto: The Spirit at 75, part 2

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In last week’s column I started to explore some of the history and issues of managing a brand in its 75th year. As I mentioned, I have had the privilege of managing several brands with long histories, most notably Oreo. I know how tough it can be to keep a brand respectful to its roots, yet relevant for today’s passionate consumers.

1-the-spirit_347_the_school_for_girls-2224479This week the San Diego Comic-Con will be celebrating the 75th anniversary of Will Eisner’s The Spirit, so I was eager to speak with The Will Eisner Foundation’s Carl and Nancy Gropper. And it made sense because they also live the same town as I do – and we have a fantastic local restaurant for breakfast meetings. And I love breakfast.

I was curious how the Groppers got involved with the foundation, and Carl explained that Will Eisner was his uncle. Growing up, Carl lived in New York City and Eisner lived in White Plains. On weekends, Carl and his brother would visit their uncle in “the country” and sleep over on a pullout couch. Initially, he had no idea who The Spirit was, but he and his brother would stay up late discovering a curious treasure: hardbound collections of the actual Spirit newspaper stories. This was in the fifties, after The Spirit’s weekly adventures had ended.

2-spirit-lorelei-8727523They both were enthralled with their uncle’s adventures of The Spirit. But they felt like they were the only two Spirit fans in a world that had forgotten the hero.

“Who else knew about the Spirit?” Carl said. “Our friends didn’t. It was ancient history. We were 5, 10 or whatever. There were no <reprinted> collections in those days. We might be reading comics, but they were Superman and Batman.” Nancy agreed and added that she was a fan of Archie and Veronica at that time.

Carl explained further that during this period, Eisner was focused on “running the business”, meaning his studio, PS Magazine and the booklets he’d regularly create for Fortune 500 companies. “He was a businessman. Man, was he a businessman!” said Carl.

3-pgell-4132002Essentially, Will Eisner didn’t maintain The Spirit “as a brand” for this period. In fact, Carl suggests that it wasn’t until the release of Jules Feiffer’s classic book The Great Comic Book Heroes, which featured a segment on the Spirit, that the public “relearned” about the Spirit. This classic collection was one of the early “real books” about comics. Feiffer started it with a wonderful essay and then reprinted early adventures of heroes such as Superman, Batman, Captain America and … the Spirit.

Seeking to understand Uncle Will through his nephew’s eyes, it’s no wonder that Eisner was leaving The Spirit behind and exploring new things. One of the great qualities about Will Eisner, according to Carl, was his continuous experimenting and pushing things forward. “He believed the medium could do anything”, said Carl.

4-great-comic-book-heroes-feiffer-8726813And Eisner was also eager to expand his relationships to include others who were trying new things. For example, Eisner forged a relationship with Dennis Kitchen. Carl told the story how at one of the old Phil Seuling comic conventions, Dennis Kitchen was hoping to meet Eisner, only to find out Will was actively looking to meet him.

Eisner created his first graphic novel, A Contract with God and Other Tenement Stories in 1978, and then continued to produce nineteen more graphic novels. All the while, he returned to the Spirit for an occasional illustration or project.

5-spirit-and-batman-detective-comics-600-p65-2643954Nancy paused a moment to remark about the type of person Will Eisner was, and fondly remembers him as very warm and kind. She recollects that Eisner was very modest and had no idea about of his substantial contributions to the industry. “It isn’t by chance that the Eisner awards are named after Will. In our opinion, he’s the best person to be acknowledged for this,” added Nancy.

But for the here and now, just how does a brand celebrate a 75th Anniversary? The Eisner Awards at San Diego Comic-Con this Friday, the annual “Oscars-style” ceremony for the comics industry, will embrace the anniversary theme. The annual San Diego Comic-Con Souvenir book will spotlight the 75th Anniversary with a gorgeous Michael Cho illustration on the cover, and Spirit articles and artwork within. And after the San Diego Comic-Con, Geppi’s Entertainment Museum in Baltimore, a leading venue of pop culture, comic and graphic novel art, will feature a Spirit exhibit. (More details on that soon!)

6-sdcc-cover-spirit-cho-7854468How do they define where to take the brand in the future? “We’re only trying to do what Will would’ve wanted to do, ” said Carl.

 

Box Office Democracy: Terminator Genisys

If you have somehow made it this far without seeing the last theatrical trailer for Terminator Genisys then I urge you to stop reading this now and go see the movie. There is a terrible spoiler in the previews for this movie and if you’re still pure in this regard go and don’t look back. Everyone else stick around because I am pissed.

(more…)

The Back Half of Scary Go Round by John Allison

John Allison has spent most of the past twenty years chronicling an ever-proliferating series of strange events in and around the small British town of Tackleford, somewhere in darkest Yorkshire. More impressively, he’s done all of this in public, on the Internet, most days of the week, for free. And he’s done it in comics form.

First up was Bobbins , which I haven’t made a serious study of yet, but was in the traditional newspaper strip-comic format and focused on the staff of Tackleford’s City Lights magazine, with perhaps some supernatural eruptions. After Allison closed that down around the turn of the millennium, he launched a new series with a somewhat overlapping cast of characters called Scary Go Round , which itself ended in 2009. SGR was formatted like a comics page, which made it easier to collect in book form and (possibly) allowed Allison to write more complex stories and include more of his quirky humor and details in each update. It also was clearly fantasy: characters visited Hell, were turned into zombies, and battled giant monsters to save the world. (Though Allison’s offhand tone and character-based plotting turned all of those elements into something very different from what you’d expect.) That strip was entirely collected into eight volumes, though — in the way of the webcomic — it’s also still all available online, as are Allison’s other strips.

For the next round of stories, Allison switched format again, to a double-tier newspaper style, which gave him a similar number of panels per page to SGR but with a more compact feel. That strip was called Bad Machinery , and it followed up the end of SGR to focus on two “teams” of tweens at the local school, who solve mysteries in competition with each other. Allison still includes supernatural elements, but they tend to be more subdued in Machinery than they were in SGR, making his stories better controlled and more focused on characters. He also clearly designed Machinery for eventual book publication, with long story arcs that each fit cleanly into a single book. (See my reviews of the three Machinery books to date: one , two , and three .)

Allison has also made a number of related print comics in various formats over the years — including Expecting to Fly , which appeared online first — and there’s a 2013-2015 run of Bobbins , just to confuse things even more. Since Machinery in its turn ended last year, he produced a transitional story called “Space Is the Place ” (with part of the Machinery cast going to a space camp in Wales). And he’s also been writing a monthly comic called Giant Days — confusingly, this is also the title of a major SGR storyline, plus an earlier sidebar print project — for a different art team, which may or may not have a Tackleford connection. (I haven’t seen it yet, since it’s only in floppy form so far.)

So Tackleford is a place that Allison knows well, and has been telling stories about in a variety of ways for a long time. It’s his Yoknapatawpha County or Castle Rock — the core of a world that extends out to many places. With that said, though, Machinery feels more focused on Tackleford than SGR did — maybe because the main characters of Machinery were kids, and limited in their ability to go other places and do other things.

I’ve been a fan of Machinery for a while, but only recently started diving back into Allison’s archives. The first four SGR collections are currently unavailable to most readers in book form — I believe ebooks are still obtainable in the UK, but not elsewhere due to a stupid recent tax law in that backwards country — but books five through eight are still out there, most easily obtainable in the US from Topatco . And so that’s how I got those books — Great Aches, Ahoy Hoy!, Peloton, and Recklessly Yours — and finally read a big wodge of SGR for myself.

What strikes me most about this slightly-less-formed version of Allison’s world is how consistent he’s been in his concerns: his stories have focused on smart, sarcastic women with a goal in mind — Shelley Winters as the exemplar for SGR, Charlotte Grote for Machinery, with plenty of others including Amy Chilton and Dark Esther — in a world of slightly slower, bemused men who end up along for the ride.

Unlike the Machinery books, each SGR volume collects a number of stories, adding up to about eleven months for each book. (More or less, to allow for full stories in each one.) Allison also includes notes on each storyline and some sketches and similar material at the end of each book, in the old way to entice freebie online readers to actually pay money for something.

These books, covering the strips from early 2006 through the end in late 2009, show serious growth in Allison’s art style, from a cleaner version of the look he began SGR with in 2002, drawn on a computer, through a hand-drawn middle period and a brief “hand-drawn, but much bigger originals” period before settling back onto the computer. (Where I think he’s stayed ever since.) The first story of Great Aches is in that early, flat-computer-color style, but everything else has a energetic hand-drawn look which well suites Allison’s frenetic characters and zigzag pacing.

The stories are a bit sillier and more anarchic than Machinery, and Allison’s notes make it clear that he spent this period making it up as he went along, diving into long stories without necessarily having a clear idea of how he’d get to the end. But even if the stories are somewhat shaggier and less formed, they’re still Allison stories, with unlikely turns of plot and deflation always waiting in the wings. And his dialogue was whip-smart from well before this period, full of witty asides and great cross-talk that always feels plausible enough while still not conforming to the way real people ever did or would talk. (That is a good thing: people talk badly almost all of the time. Fiction is to make things better and more interesting.)

So, in conclusion: John Allison is awesome. Buy his books, read his comics, enrich him with your dollars and pounds and more exotic currencies. Start here, start with Bad Machinery, go crazy and drop all the way back to the beginning of Bobbins in 1998 to get the full John Allison experience from the beginning. It’s all good. 

Note: I’m not including the usual Amazon links this time, because that’s a very bad way to read and/or buy Allison’s older work. You can get the Bad Machinery books there if you want, but the others are available other places more easily. And, honestly, for a webcomic you should just read a bunch of it online first — surely we understand that by now?

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

John Ostrander and the Vampires of Gettysburg

KrosWar is always a horror story. Terrible things are done and people kill one another in violent ways for what must have seemed very good reasons to them at the time. Sometimes, not always, the war is necessary. Opposing Hitler and the Nazis in WWII was necessary; wasting lives and dollars in Iraq was not.

The Civil War seemed necessary and inevitable. The United States was lurching towards the conflict since the country was founded. As Abraham Lincoln said in his “House Divided” speech on June 16, 1858 (a speech considered by many to have lost Lincoln the Senate election in Illinois that year), “I believe this government cannot endure, permanently half slave and half free.” The issue would have to be settled and settled in blood, in war, with horror.

This past week we observed the 152nd Anniversary of the Battle of Gettysburg, the climatic battle between the forces of the North and the South. The war would go on until 1865 but at this point it became a war of attrition. The South was not going to win after Gettysburg. The killing, the horror, would go on.

The Battle of Gettysburg is also the setting for Tom Mandrake’s and my new project, Kros: Hallowed Ground. Coincidently, we launched our Kickstarter campaign on the eve of the anniversary. (You can find our Kickstarter right here)

Oh… and we added vampires.

You might ask yourself, “Why did you do that, John and Tom? Surely the events of that great battle are dramatic enough on their own.” They are, and don’t call me Shirley.

The difference is that we’re not telling the story of the Battle of Gettysburg; we are using the Battle as the setting and the backdrop for the story we are telling. The Battle of Gettysburg is a huge tale and has consumed many, many books from different authors in its telling. While you can tell the story from many different perspectives according to who you focus on, there is no one character of the battle that can be called  the main protagonist or antagonist. That’s not ideal for graphic fiction; you want one central character around which the story revolves. That’s what we’ve done.

“But why vampires?” You are insistent on that, aren’t you?

I’ve long been interested in what I call narrative alloys – combining elements of one genre with another. Robert E. Howard created Conan and other sword-and sorcery works by combining historical fiction and what was referred to as “sword-and-sandal” with supernatural stories, especially monsters. When I created GrimJack, I smushed together sword-and sorcery with hard-boiled noir detective fiction. When creating Agents of the Empire in Star Wars, I combined James Bond with Star Wars.

In combining the Civil War with horror fiction, I’m hoping to underscore the horror that was the Civil War. Too often I’ve read fairly bloodless accounts that focus on dates and names, troop movements and the order of battle. I think your skin should crawl when you read about the Battle of Gettysburg. We give you two Battles of Gettysburg; one by day and one by night. The concept is that Civil War battles would call to vampires who, like carrion birds, descend on the battlefield when the cannons and the rifles fall silent. The vampires come to feed on the wounded. Imagine for yourself the horror you would feel if you were badly wounded and still lay upon the ground where you fell and then, in the dark, a monstrous creature comes to suck the remaining life out of you and you are helpless to stop them.

That makes my skin crawl and I’m betting it will do the same for you.

Our protagonist is a vampire hunter – a dampyr – named Kros. This time, however, he discovers that he cannot fight alone and soldiers from both the North and South must come together to fight a greater evil that may literally consume them and everyone they care about. I want the reader to see the Battle through new eyes and to feel it viscerally. Tom Mandrake will make that happen. He is doing the best work of his storied career; his art creeps me out sometimes and I know what’s coming!

You can get a peek at all this at our Kros: Hallowed Ground Facebook site and, of course, the Kros: Hallowed Ground Kickstarter site.

Tom and I are editing ourselves on this which you might say makes us unsupervised. We intend to make Kros: Hallowed Ground the way we want it to be. What we want is to make your skin crawl.

Fans willing, we’ll do just that.