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Tweeks: Cosplay Dreams

11148818_799706823458348_1607683491225468985_oOne of our favorite parts of attending cons is watching the cosplayers.  We know that not everyone is a fan, and that’s too bad, because it’s such a creative way to show fandom.  Though maybe after watching the documentary, Cosplay Dreams 3D, those who haven’t embraced cosplayers will.  The film focuses on cosplay celebrities as well as those who just do it as a fun hobby.  It’s the stories about the people under the costumes that really make the movie.  Though the 3D effects and really cool costumes don’t hurt either.

At WonderCon, we not only got to see a screening of the movie, but we also had a chance to interview the filmmakers Christine and Gulliver Parascandolo (who are San Diegans like us — so we get why they would be inspired by Comic Con to make this movie). It’s very much Tweeks-Approved and once you watch our review, we know you’ll want to watch.

If you want to see Cosplay Dreams, you can find out where it’s playing on their Facebook Page.  Upcoming showings are at the LVL UP Expo in Las Vegas on May 31st or on the opening night of the New Media Film Festival in LA.

Denver ComicCon Had a Women In Comics Panel With No Women

no-girls-300x274-1327013“This weekend’s Denver ComicCon came under fire when attendees discovered that a Women in Comics panel had only male panelists. While a representative of DCC has defended the panel as “not about current women creators or anything to do with industry bias,” it seems odd that a convention with Trina Robbins, the eminent historian of women as creators and characters, as a guest would not invite her to join in on a discussion of the history of women in comics. While the misstep here is primarily on the panel organizers, it also raises a question of what obligation conventions have to moderate and comment on panels that are accepted.”

Read the whole article at ComicAlliance

Dennis O’Neil: Camelot 3000 and College Curricula

camelot-3000-550x301-1625933I must have been aware of Camelot 3000 back when it was appearing in 12 parts, from 1982 to 1985, me being a honkin’ big comics pro and all, and there were a lot of comics strewing my life. And, by then, I’d known the series writer, Mike W. Barr, for years. But I don’t know how many of the installments I read, if any. As mentioned above, there were a lot of comics around me and though I was a pretty dedicated reader of things in general, I might have skipped over any comic book in which I had no professional interest. If I did miss Camelot 3000, my bad.

A few hours ago, Mari and I were watching a video course offered by The Teaching Company – let us simultaneously bow our heads and cheer – taught by a charismatic professor named Dorsey Armstrong. It dealt with a subject we don’t know much about, so sure, we were happy to learn something. We’re glad we did. If you think I’m recommending the course, you’re right, and so you should know its title. Happy to oblige: . Dr. Armstrong had reached the section of her presentation that deals with the twentieth century Arthur and spoke of Marian Zimmer Bradley’s Arthurian novels – you might know The Mists of Avalon – and then she began to talk about Mike Barr’s comics. I perked up.

Before we get to the paeans, an observation:

The inclusion of a comic book series in a course devoted to “capital L” Literature is yet further evidence that comics, as both a narrative form and a commercial enterprise, have reached full parity with all other media. (That doesn’t mean that comics, or any other print medium, assembles the mountains of money that the movies adapted from them do. But without comics, those adaptations wouldn’t happen. Duh.)

Comics are an accepted part of college curricula. Live with it, scoffers.

So what is Dr. Armstrong’s opinion of Mike Barr’s comic books? In a word: praiseworthy. She briefly discusses the plot and Mike’s take on the characters and makes the whole shebang sound both interesting – a good read – and a worthy addition to a renowned series of tales, some of which have survived for centuries.

I assume that DC Comics’ excellent library survived the company’s recent monster trek west and that it includes Camelot 3000. And I assume that somebody is in charge of reprints, though I have no idea who that might be. But whoever has that job might want to have a look at Mike Barr’s old maxi-series and consider offering it to a generation of fans who may be totally ignorant of it.

REVIEW: Glee The Complete Season Six

glee-season-6-dvd-e1432672796798-1702214Glee lost me when it veered further and further away from its core concepts and refused to take its eyes off their initial stars and their forays into a magical version of New York City. I avoided the final season and from the recaps, it appears to have gone into gonzo land with little effort to ground the show in any sense of reality. As a result, I knew I wasn’t the one to fairly review the final season so I turned to a true Gleek, one of my Creative Writing students, and here’s what she had to say.

By Rachel Watson

Glee has many meanings and definitions that the thought of losing the series or saying goodbye is almost impossible. But all good things must come to an end and knowing Glee, it will end in a big musical number that we will remember.

The sixth, truncated and final season of the series is out now in a box set courtesy of 20th Century Home Entertainment. It opens with Rachel Berry (Lea Michele) learning that she is being fired from her TV show, causing her to return home to Lima, Ohio. Kurt (Chris Colfer) also returns newly single and together the two friends prepare to start a new glee club at McKinley High.

Despite there only being thirteen episodes, Brad Falchuck and the writing staff managed to fit in a wedding between not one couple but two as the expected lovebirds Kurt and Blaine (Darren Criss) finally tie the knot and in somewhat of a surprise, so do Santana (Naya Rivera) and Brittany (Heather Morris). Fans from the Brittana and Klaine fandoms were happy and tearful that their favorite homosexual couples were walking down the aisle to their loves in the view of their friends and family.

That it was two gay couples getting married speaks to the series’ overall strength and value. Of all prime time television, it was the one to consistently and bravely explore what it means to be a homosexual teen, coming out to friends and/or family, and enduring the same travails as their heterosexual friends experience.

Like every other season, the characters learn a lesson that better prepares them to become their adult selves. Rachel learns to conquer her fear, Kurt learns that love is worth fighting for, Santana learns to follow her own choices and even their adult guru, Mr. Schue (Matthew Morrison) learns that you can do things by the bend of a bow and the power of an arrow.

The music, as always, is enjoyable, the stroylines, over the top as they were this season, easy to follow and the best effort was “Dreams Come True”. Here, Rachel earns a Tony and says, “Being a part of something special does not make you special. It’s special because you are a part of it.” Hearing those words just brings tears to my eyes, but what brings warmth to my heart is when nearly the entire series cast appear on stage to christen the school stage as the Finn Hudson Auditorium in 2025 and then sing One Republic’s “I Lived”.

Glee may be over as a television series, but not as a fandom and family. We learn that we are different but all the same thing. Heart. We are the new New Directions each with a special song to sing. With every broken bone, we lived and Glee changed our lives through characters who were going through the same things we were.

Goodbye, Glee. You will be missed but your lessons will be shared for generations.

The four disc standard DVD-only set comes complete with the usual assortment of extras, the Juke box, and some farewell notes. Best are the final features on disc four: Glee: The Final Curtin and Looking Back Video Yearbook.

Michael Davis: The Problem With Jaden

jaden-smith-550x270-1214896

With the possible exception of the Black Panther, no other black franchise has garnered as much “it’s going to be a major movie or TV show” hype within the fan rumor mill than Static Shock. Finally the Black Panther is going to happen. As for Static Shock … kinda.

In 2018 the Black Panther movie will be released from what is now the best superhero moviemaker bar none, Marvel Studios. Static will make his way to the Internet as part of Warner Bros’ Digital arm later this year.

I find that rather disappointing.

More than any other black property, Static pretty much already owns the Internet. The massive amount of love Static has on the net is nothing short of extraordinary. In the 22 years since Static burst on the scene the admiration for the character has only grown and at no point shows signs of waiving.

That’s simply remarkable and considering the half of a half ass way Warner Bros. has “supported” the franchise. Unbelievable. I will concede, on one hand it makes perfect sense to exploit the immense allure Static enjoys on the net.

But…

On the other hand, Static is the only African American superhero with the overwhelming popularity created by African Americans and boy would it be nice to see him with a couple zillion dollars budget on the big screen or just a billion dollar budget on television.

Two white guys, Marv Wolfman and Gene Colan created Blade and I’m happy to say, Marv’s like family. I said as much to a sold out crowd at The Magic Johnson Theater on Blade’s opening night. When his name appeared in the credits, I could not control myself (story of my life). I leaped up and clapped like a maniac.

“What you clapping for?” Said a rather large black guy who was not amused at my outburst. Imagine that, someone pissed in a black theater over a loud outburst! Silly me, I should have remembered to only shout out during the movie.

“I know him.” I said, while eyeing the exits.

“Yeah? Is he a brother?” He retorted. Then I realized everybody black was now paying attention and except for a white girl some idiot had brought with him, everybody was black. Shit, I had to think fast…

“Yeah.” I said trying to sound hard. “He’s my brother.”

Big smile from the big guy and cheers from the audience. I sat down and my date put her arm around me. “Yo, white girl, what you doing?” I said as I took her arm from around my neck and whispered, “Hey, here’s some cash, take a cab back to my place.”

What?

Todd McFarlane created Spawn…Oh! Some of y’all didn’t know Spawn was black? Yep. Al Simmons, Todd’s black pal, was the real life inspiration for Al Simmons a.k.a. Spawn. I guess that means Spawn is no longer in the running for the Tea Party’s favorite comic book character.

Todd’s a friend, and as far as I know still white. Cyborg is another character from my brother Marv and George Pérez. George’s a great guy also a friend and he’s Latino. That’s close, but not black.

Luke Cage was created by Archie Goodwin and John Romita Sr. Both white guys, both part of comic book, each a dear friend. Archie gave me my first professional job in comics and when I met John I quickly forgot how I planed to kidnap him and hold him until Marvel brought back Gwen Stacy, my second love after Laurie Partridge.

What??

So, I had a thing for white girls! Get over it. I did!

Archie died in 1998, leaving a comic book legacy that will stand forever. He’s still widely regarded as the best-loved comic book editor, ever.

Sabre was created by Don McGregor and Paul Gulacy. Both white guys … sort of. Don’s so cool he could be black.

Don means the world to me so much so I’d take a bullet for him. He’s a wonderful writer (one of the best) and just as wonderful a person. I’ve never met Paul but he’s on a very short list of artist I wanted to draw like at one time.

There’s a few more famous black superheroes but trust me all were created by white guys, the grand daddy of them all, the Black Panther having sprung from the two coolest white boys, nah, scratch that, the two coolest creators in comic book history, period.

Stan Lee and Jack Kirby.

Stan was and still is the man and Jack will always be the king. Stan and I used to have lunch a couple times a week. His office at Marvel productions a floor above mine at Showtime in the Westwood Los Angeles office tower at which both companies were housed. I became friends with Jack a few years before the king of comics left the building forever. Sad, sad day.

Unless one of those fantastic creators are hiding a past which includes a white sheet and a southern drawl, African Americans had no better friend in comics. Much like those in Hollywood who dared create movies and TV shows around black people that were not bellboys, slaves or servants these men fought our fight before we were allowed on the battlefield.

Imagine the sheer balls it took Columbia Pictures to green light and then distribute the ground braking film, Guess Who’s Coming To Dinner? That film, a love story about a black man and white women, is still not shown in certain parts of the south. Released in 1967 during the height of the C=civil rights movement more than a few death threats were issued.

Now, imagine its 1966 a year after the assassination of Malcolm X. There’s another side emerging from the civil rights movement. The Reverend Martin Luther King’s non-violent approach was being challenged by those who cultivated Malcolm’s original “by any means necessary” doctrine.

No group was more ready to go to war against there oppressors than the Black Panther Party.

With that as a back drop Stan and Jack create the Black Panther in 19stillhanganiggerincertainpartsofAmerica66. That takes the kind of balls reserved for those few men and women with a sense of purpose, a goal, and selfless heart.

In a very real way the sons of Stan and Jack created Static Shock. Co-created by my former Milestone Media partners and I a great deal of our inspiration was the Black Panther, Luke Cage and Stan and Gene Colan’s Falcon. As a kid seeing those Black superheroes I have no doubt they brought us where we are today, African American comic book creators.

Static Shock may not be as well known as those black heroes but without a doubt it’s the most well known black superhero created by black people. It’s time that black kids see fully what they are capable of.

Any positive black face on television or in a film is important but we all know people of color are still the stuff of, “wow there’s a black (fill in the blank)” or “the (ditto) now has a black (ditto, ditto).”

Shock and awe still accompany way too many occurrences in America when a person of color is placed in a station denied until then. Kids of color need for those occurrences to become as commonplace as images of the black thug, lazy welfare mom or absent father.

That, my friends is my long-winded reason I find a live action Static Shock debuting on the net rather disappointing. The most successful black superhero created by black people will be seen in media outlets where black kids have less access than any other group.

Not a whole lot of MacBooks in the hood. Hell, not a whole lot of any book or computers. If there is a computer the odds are it’s the family computer. Everyone having their own is about as realistic as Ted Cruz giving a fuck about poor people.

Why Warner Bros. Consumer Products never made Static Shock toys when the cartoon was a mega hit is just as curious to me as to why Static has never been a movie or why a live action version can’t be on television.

Speaking of the live action version, there’s been a pretty hot rumor flying around that Jaden Smith will be playing Static Shock. People are losing their damn minds, clearly hating on the kid because of his off screen antics or secondly saying he can’t act and he will kill the show.

Bullshit. Jaden Smith will do fine.

Reggie Hudlin is the show runner and a better person to spearhead Static I can’t think of. If Jaden sucked (he does not) there is no way he would have that gig, Will Smith or not, Reggie wouldn’t cast someone not right.

I’m amazed people who call themselves fans of Static want that kid to fail.

Newsflash, fan boys and girls. If he fails so does Static.

I know a bit about Static.

Trust me, I should know, I’m not just a co-creator I’m the lead creator having created the Static Universe as part of the Milestone Dakota Universe. Static’s world is based on life and family growing up.

Despite what you’ve read as few so-called entertainment “journalists” do any background vettes Static’s my baby. Funny, an entire lying myth has been created, a lie, based upon lazy journalism printed somewhere else and copied over and over has now become reality to most.

That “reality” doesn’t make it true.

I’m the lead creator of Static Shock. I based him on my family and my life. That’s the truth. A lie may prevent most from knowing but like global warming the truth won’t go away and neither will I.

Jaden Smith is a good actor his personal life doesn’t make him a bad actor.

That’s also the truth. Hating him for no other reason except his idiosyncrasies is the stuff of simpleminded fools. He’s not playing himself, he’s playing Virgil Hawkins, A role he was born to play, in my opinion.

The problem with Jaden isn’t his off screen antics or his haters. The problem is a great many kids he was created for won’t be able to see him until some genius at the WB realizes just how important Static is.

That may take another kind of Static.

 

Mike Gold: The Daredevil Issue

Lately there’s been some controversy about the creator credits on the Daredevil teevee series. To be specific, the hubbub revolves around the use of the name and comments of some comics industry notables with respect to the issue. In other words, we have a controversy about a controversy.

Both are important issues, and are quite different from one another. But for the purpose of this particular polemic, I’m going to focus on the root issue, which is, as I understand it, as the creator of the costume used in the program, whether or not Wallace Wood deserves a creator co-credit.

The issues revolving around creator credits, a subset of the entire creators’ rights movement, are of vital concern. But they’re not very cut-and-dried. For example, there’s a good reason that the creator credit on Superman reads: “Superman created by Jerry Siegel and Joe Shuster.” That seems simple and straightforward. It is not.

I think we can all agree that Siegel and Shuster created Superman. If not; go away. I can’t deal with you. We may agree that they also created Lois Lane. Maybe. But, how about… Jimmy Olsen? Kryptonite? Perry White? Almost certainly not; all three were created for the Superman radio series and adopted by the newspaper strip, the comic books and the subsequent media manifestations. Okay, that’s just an example. I can cite dozens more. Maybe hundreds.

In the case of Daredevil, the first issue of the comic book was something of a train wreck. I read it off the stands and loved it, but I didn’t know that artist Bill Everett had enormous difficulty completing the issue and “various hands” were brought in to finish the job. Joe Orlando took over with the second issue, and Wally Wood followed Joe starting with issue #5, often with the credited assistance of Bob Powell. Bob penciled issue #11 and Woody inked it, and Jack Kirby and John Romita took over with #12. The briefness of Wally Wood’s tenure is not an issue here.

Woody changed the coloring of the costume from yellow-and-black to all-red in issue #7, which, coincidentally, costarred the Sub-Mariner – Bill Everett’s creation. The popularly held story, and there’s no reason to doubt it, is that Wood thought Everett’s costume was silly and that if the guy is called anything-devil, he should be in red.

So, some contend, because it is the Wally Wood costume that is being used in the television series, Wally Wood should get a creator’s credit.

I am second to no one in my admiration of and lust for Wally Wood’s artwork. I believe he was the first artist who’s work I could recognize by name – because Woody signed his stuff and Jack Kirby did not. But the immense quality of his craft does not enter into this argument.

There are comics creators, almost always writers, who believe that because they were the ones who came up with the original idea they were the true, and sole, creators of the property. Generally I reject this because comics is, first and foremost, a visual medium and the person or persons who create the visuals are also critical to the creation of the property. When I work on a creator-owned property, as I do almost exclusively these days, I insist the creators have a signed agreement stating their ownership positions. This makes life easier for everybody. I really do not care what those positions may be – as long as it’s not totally egregious, it’s not my business. If it is totally egregious, I know that it will blow up before long and possibly take the project down with it. That’s the only horse I have in the race.

After that point, things get a little tricky. Can you imagine the creators’ credits on any contemporary Superman story? Damn, the credits on Superman The Movie ran longer than some life-forms. Imagine adding the names of the people who came up with all the other characters and unique elements of the saga.

Of course, Batman’s “creator” will get his contractually due credit in next year’s Batman/Superman movie. I won’t get into the issue of just who created Batman right now; it has little to do with the Daredevil situation and, besides, my head would explode. Just consider my quotation marks to be editorial comment.

In my view, Wally Wood did not recreate Daredevil’s costume. As dynamic as the change was – and, damn, it certainly was – it was a coloring change and a tiny bit of alteration akin to putting that yellow circle around Batman’s bat. I know I just pissed a lot of people off and I’m sorry about that.

But it’s a tough one. Marvel notes all (or most all) of the writers and artists whose work is adapted for each movie and television show, and I think it drives my daughter crazy when I freeze-frame that part of the end credits because we’re both enjoying the “coming next week” teaser. But I’ve never seen the end-credits on Daredevil because, at least on my Netflix delivery system, the screen shrinks down to an unreadable size so that Netflix can inform me of how much time I have to not read those credits before the next episode starts. My guess is that for those who believe Woody’s name should be prominently displayed wouldn’t be satisfied, and I get that.

Comic book characters that survive for any length of time are like snowballs going down a ski-slope: they get bigger and bigger as they roll on. To me, the phrase “created by” refers to the people who started that ball rolling.

And my love of and respect for the work of the late Wallace Wood remains undiminished.

 

Emily S. Whitten: Literary Lacquers

I have a thing for rainbows. Ever since I was a little kid, I’ve always liked rainbows. Not the upside-down-smiley-face, fluffy-clouds-on-the-ends drawings of rainbows (I kind of don’t like those), but real, elusive, illuminated water droplets in the sky and spectrums created by prisms rainbows. I have even been known to run out into the rain to get pictures of a really good (really big) rainbow.

I also have a thing for nail polishes – my collection of colors and varieties is embarrassingly large – and have been known to play around with sort of complicated designs for kicks, including Teenage Mutant Ninja Turtle nails, Iron Man arc reactor nails, magnetic polish nails, and Union Jack nails. (And so many more, but I can’t find all the pictures, alas! You should have seen the Burberry nails.) I’m also always on the lookout for cool nail polish products, like for instance the Espionage Cosmetics geek nail wraps.

And of course (of course!) I love literature; and especially genre literature. So when I was browsing Etsy for some lilac jewelry to wear on April 28 in memory of Sir Terry Pratchett and stumbled upon a brand of a) holographic (rainbowy!) nail polishes b) inspired by literature, including a fair amount of genre literature, I was very excited. The pictures looked awesome, the descriptions were great (read them!), and the literary inspirations showed that the creator of these polishes is clearly a kindred spirit. I immediately wanted to try them all; so I contacted Literary Lacquers to see if I could get some samples to review, and the great gal behind the brand kindly obliged.

I was stoked to receive my samples a couple of days ago; a sentiment echoed by Catbug and Baby Groot. After much browsing of the many, many choices in the store, which included options from favorite literature like Discworld, The Dresden Files, Stardust, Lord of the Rings, Anne of Green Gables, The Chronicles of Narnia, A Wrinkle in Time, Harry Potter, Dandelion Wine, and so many more, I made my selections.

Based in part on what colors would actually look good with my skin (I craved Dandelion Wine but doubted it would work for me) I went with Phenomenal Woman, Strong Steady Hand, Avada Kedavra, The Mad Ones, Ether Binge, Swallowed Up In Blue, The Ultimate Outlaw, Marilla’s Amethyst Brooch, Laters, Baby, Sidewalk’s End, I’m Drinking Stars, and Goodnight Moon. I picked mostly holographics, given how much I love them, but threw in some other types for variety to see what the full line is like.

Right off the bat, I will say that they seem to be of a consistently good quality. They go on evenly, and with three coats (I do thin coats) they give me solid color coverage. (They could also be put over e.g. a light colored or silver or gold base coat for a light sheen on top.) They also seem to be fairly durable when it comes to chipping. I have only been wearing them for a couple of days; but in that time I’ve had no major chips and only a little bit of wearing off on the edges of a couple of nails (which happens with pretty much every polish I’ve ever tried).

Most importantly, the colors are great. Even though I have some difficulty in photographing holographic effects (they always look better in person!) here are photos of ten of the colors so you can see what they look like on and in comparison to each other. Also here are a couple of close-ups attempting to capture the holographic effect. And best of all for seeing the full effect, here’s a quick Vine video of Strong Steady Hand in action.

The pure holographics (Phenomenal Woman, The Mad Ones, Ether Binge, The Ultimate Outlaw, Sidewalk’s End, I’m Drinking Stars) all have a consistently high-quality holographic effect in bright light, and even in low light you can see a bit of a rainbow. The glitter holographics (Strong Stead Hand and Laters, Baby) have the same sheen, only outshone by the bigger glitter flecks. I really like these for the fact that the larger flecks of glitter add to the gradient rainbow effect of the holographic, and are of a brighter, more dimensional and holographic quality than glitter I’ve seen in other polishes. Swallowed Up In Blue, the holographic blue that also has a pink shimmer to it, is also particularly cool, because the holographic effect is as strong as the pure holos, but on top of it, even in low light, you can see the pink sheen over the blue.

Marilla’s Amethyst Brooch is one of the rare non-holos I chose; and although I always prefer rainbows, it has a good depth and rich purple glitter to it that is actually slightly more striking in low light than a pure holo. Goodnight Moon, another non-holo, is nice for its light purple sheen and tiny rainbow glitter, along with the bigger flecks, including moons. As with any of the larger glitter fleck polishes I’ve ever used, it needs to be applied with care to get the bigger flecks off of the brush and onto the nail, but it’s no harder to use than any similar polish I’ve used. Avada Kedavra, the only matte I chose (I like the look of mattes but have bad luck with them chipping) is very cool; without a top coat, three coats gives a nice slightly sheer black, with a much more evenly distributed coating of large glitter flecks than similar polishes I’ve tried; and chipping so far is no worse than for a regular polish. With a top coat, the mixed-in tiny rainbow glitter flecks are made brighter, which gives it a bit more pop.

Altogether, I am very impressed with this nail polish line (as well as with the cool themes and descriptions. You should read them! If you like any of the books that inspired them, the descriptions will make you feel happy and nostalgic for your favorites). I would not single out any color as a non-favorite; but I would say that my favorites of the pure holos by a small margin might be Phenomenal Woman, Ether Binge, and I’m Drinking Stars (the holos are particularly visible in them); and of the others, Strong Steady Hand (excellent bright rainbow effect!) Avada Kedavra (cool even glitter application, and can be worn two ways!), and Swallowed Up In Blue (good effects in both high and low lights!). In summary: I recommend!

So if you’re into literature, nail polish, rainbows, and the like, hop on over to Literary Lacquers and give some of these great colors a try. (And speaking of geek shopping, remember my recent column about it? Well I’ve just created a Pinterest board to show some of my favorite recent purchases. Check it out!)

And until next time, Servo Lectio!

REVIEW: Kingsman: The Secret Service

kingsman-the-secret-service-blu-ray-cover-art-481x586-e1432565013837-9352793You have to give Mark Millar a lot of credit. Not only does he possess a fertile imagination, but produces works that are ripe for cinematic adaptation. A cynic could tell you Millar does this by design, but I believe he’s just in tune with the current zeitgeist. As a result, just about everything he releases gets snapped up by Hollywood and if they’re all as successful as Kingsman: The Secret Service, we’re all the better for it. The incredible streak began with the wonderful Kick-Ass, which was brought to the screen by director Matthew Vaughn and they have successfully reteamed here.

kingsman-3-4904956The film is out now on Digital HD from 20th Century Home Entertainment, with the DVD combo set to follow. On the extras, co-writer Jane Goldman notes how the film and comic share the same DNA but changes had to be made from print to screen so the mass wedding execution is gone but replacing it is a nice bit of backstory about the espionage agency fronted by the perfectly cast Colin Firth. Director and co-writer Matthew Vaughn speaks at length about the changes he made from Millar’s story, most notably changing the antagonist to an older man to better match him against Firth.

kingsman-1-7571149The miniseries, now available as a collection, was from Millar and Dave Gibbons, an artist who knows a thing or two about clean storytelling, despite the mayhem and bloodshed inherent in spy stories. Millar and Vaughn agreed that spies had grown too serious and the films needed to loosen up which is why with a wink and a nod this doesn’t exactly send up the genre but is just over the top enough to be immensely entertaining. One of the best touches is the truncated subplot about celebrities being kidnapped with it being boiled down to just mark Hamill, who plays himself.

kingsman-4-e1432565352155-7835092The basic premise has Harry “Galahad” Hart (Firth) recruit “Eggsy” (Taron Egerton) to join the covert spy agency. The first third of the film is about the training Eggsy and the others have to survive before going into the field. The timetable winds up accelerated when the eccentric billionaire Richmond Valentine (Samuel L. Jackson) attempts “cleansing the population in order to counteract the effects of global warming”. Very Bond, but so much broader than most of his opponents.

Running the agency, located within the Kingsman Savile Row tailor shop, is Arthur (Michael Caine), who has seen it all and brings enough gravity to make the operation seem convincing. On the other hand, Mark Strong’s Merlin is everything you want in the most hawkish military man.

Yeah, there’s tons of action and special effects and humor but there’s heart, which grounds it and makes you root for Eggsy. As we learn, his father was in the service and there’s a bond between Galahad and Eggsy which is nicely developed.

There’s little doubt that the Digital HD format is great for mobile viewing and the 1080p image is crisp and flows without hesitation. If there’s anything to miss, it’s the DTS Lossless audio track but the AC-3 audio is just fine.

Without the physical confines of the disc, it also comes complete with the Blu-ray extras so the digital age continues to transform how we consume media. There’s 1:31 of extra material, broken into sections — Panel to Screen: The Education Of A 21st Century Super-Spy, Heroes And Rogues, Style All His Own, Tools Of The Trade, Breathtakingly Brutal, and Culture Clash: The Comic Book Origins Of The Secret Service — that covers everything from the miniseries’ creation, with Millar and Gibbons chatting, to the casting, production, stunts, etc. All of it is slickly assembled and fine to watch.

Yes, the box office was surprisingly strong and a sequel is on its way but the original is tremendous fun and is a fine addition to your video library.

Mindy Newell: Dear Supergirl…

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Superman: C’mon, Kara…don’t give up. You’ll make it. Pl…please…please stay with us.

Supergirl: I can’t. B…But’s it’s okay…I knew what I was doing…I wanted…wanted you to be safe. You mean so much to me…so much to the world.

Superman: You succeeded in destroying the machines.

Supergirl: Thank heavens…the worlds…have a chance to live…y-you’re crying…please don’t,,,you taught me to be brave…and I was…I love you so much…for what you are…for…how good you are…

The Death of Supergirl, Crisis on Infinite Earths #7 October 1985, Marv Wolfman and George Perez

Dear Supergirl,

I watched the teaser. And though I generally don’t watch them because of their usually really bad quality, the bootleg version of the pilot episode mysteriously showed up in my e-mail box the other day; by the time you read this I will not have been able to resist. You are my favorite super-heroine of all time.

How many times have I mentioned you, Maid of Might – one of your nicknames back in the day – on these pages in the last two – or is it three – years? The last time was just two week’s ago in Occam’s Razor.

I was heartbroken when Marv and George decided to end your life in Crisis. I mourned both for you and for the death of my childhood dream. And I mourned for the end of an era – of all the changes that Crisis wrought, this was the one that struck me at my core, this was the one that felt real, felt irreversible.

And I felt old.

And even though you came back, you didn’t come back the same. You were no longer your cousin’s secret weapon, you were no longer hiding in an orphanage as an ordinary Earth girl named Linda Lee. You didn’t have a Linda Lee robot to cover for you when you were off doing super-missions on your own or for your cousin, and you didn’t have a best friend in the orphanage named Lena Thorul, whom you didn’t know was actually the sister of Lex Luthor, your cousin’s arch-enemy.

You didn’t have a cat – the only thing I didn’t like about you, because I’m a dog person – and you didn’t have a super-horse named Comet – which was another reason I loved you, because I’m a horse person – for the “strange brand” marking his hide. You weren’t a member of the Legion of Super-Heroes, and you didn’t have three boyfriends: the 31st century green-skinned, brilliant Brainiac 5, the Atlantean fish-tailed mer-boy Jerro, and ordinary Earthling and fellow orphan Dick Wilson.

Fred and Edna Danvers didn’t adopt you, and you didn’t rescue them from certain death, blowing your secret identity, which of course your cousin agreed you absolutely had to do. And the people of Earth never celebrated and honored you when your cousin finally said that you were ready to graduate and step out on your own, so you never met the President and you were never honored at the United Nations.

Well, there is one good thing. You were never kidnapped by Lesla-Lar of the bottled Kryptonian city of Kandor and brainwashed into believing you were she, living her life as a respected scientist in a city in a bottle kept by your cousin in his Fortress of Solitude while she lived your life on Earth.

All that history, and more, wiped out of existence as if it never happened, never inspired the imagination of one little girl and, I bet, thousands, maybe millions, like her, who read comics and dreamed of things that never were but could be.

All that history to draw from, to borrow, to homage, to even reinterpret…all the things that could be….

…when you, Supergirl, make your first debut on network television this fall.

I don’t know whether to laugh and cheer…

…or to cry and mourn once again.

 

Ed Catto: Look Who’s Talking … or Who Should Be

It can be a pretty disappointing world out there. So often, our real word heroes stumble and reveal they are less than what they appeared to be. We see it all the time with politicians in whom we had once believed, celebrities we had once admired and even with high profile people who may have not even been on our radar until their fall from grace. “He really tweeted that?” “I can’t believe she said that to a parking attendant!” “Didn’t she know there was a camera recording it all?” These are just a few sentences we’ve recently uttered in exasperation around our household.

On the other hand, one of the cool things about fictional characters is that it’s unlikely that they’ll misbehave. It’s no secret in advertising that using a fictional spokesperson relieves a marketer of the fears of using a real-life spokesperson. When was the last time Tony the Tiger was caught in a compromising position by the paparazzi? I can’t imagine the Lone Ranger getting into drunken brawls. Of course, one of the actors who played him did. But another actor, Clayton Moore, took the role so seriously that in public he always made efforts to present his best self, understanding that he was representing the heroic ideals of honesty, kindness and selflessness exemplified by the Lone Ranger.

But I’m not going to simply go on about how most superheroes are depictions of good people and provide good role models. Like Geico always tells us, everyone knows that. Superman is a good fella and we should all strive to be honest like him. But there’s a bigger idea here.

Now that we’re in graduation season, when many of us will be listening to impressive graduation speeches (I just heard General Major Charles F. Bolden, Jr. of NASA speak at Gettysburg), a wry thought came to mind.

I’m realizing that one of the greatest strengths of 21st century heroic fiction found in so many comics and geek-focused movies is that not only do the heroes do the right things, but that they do things. They are doers. They are purposeful. I’m thinking of so many of protagonists (and antagonists) and realizing they have a baked-in entrepreneurial spirit and a clear sense of purpose. Nobody tells a superhero to create a brand, sew a costume and go on nightly patrol, but they do. There’s no corporation telling the Avengers they have to avenge, the Defenders they have to defend or the Teen Titans that they have to ..umm..Titan. But they do.

Looking beyond the traditional superhero formula from the big companies, we can see similar themes. Mark Millar’s Chrononauts are self-motivated and ambitious. Ed Brubaker and Steven Epting’s character Velvet is smart, canny and self-directed with an urgent sense of purpose. Valiant’s Kay McHenry is a courageous woman who’s ready to step into a bigger job.

And taking it a step further, what about the creative folks behind it all? Fast Company voted Kelly Sue DeConnick of Ms. Marvel and Bitch Planet as one of the most creative people in business. Mike Pellerito, the president of Archie Comics, seems to be always looing at the toys in his toy box and asking, “What if we did something different?” A guy like IDW’s Dirk Wood brings an off-the-chart level of personal passion and impish mischievousness to his publisher’s efforts and to the industry in general. CBLDF’s super-intelligent Alex Cox educates while fighting for the right of creative expression. Retailer Marc Hammond, of Skokie’s Aw Yeah Comics, puts it all on the line every day by creating an immensely enjoyable retail experience for hard-core fans, casual first timers and kids of all ages. And these folks are just the tip of the iceberg.

These great characters, both the real ones and the fictional ones, all have a personal passion. And more than that – they all share the very best qualities of entrepreneurship: persistence, adaptability, strong work ethic and the abilities to communicate and inspire. As I’m thinking about what kind of stuff to fill my head with, I’d argue that comic heroes and their creators’ messages are the healthiest “foods for your mind” in all of pop culture. Better than politicians. Better than celebrities. Better than movie stars. There’s innovative creativity to be sure, but it’s wrapped in the classic can-do attitude that’s at the heart of it and is at the heart of American business.

You know, the luminaries of geek culture can provide great ideas to next year’s graduation planners about the very best types of role models…and doers.

 

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