The Mix : What are people talking about today?

Wolverine vs. Sabretooth: Reborn Coming from Shout! Next Week

Wolverine vs SabretoothThe superstar team of writer and Executive Producer Jeph Loeb (Marvel’s Agents of S.H.I.E.L.D.) and Artist Simone Bianchi (Astonishing X-Men) team up to deliver the highly anticipated sequel to the gripping comic book action adventure WOLVERINE VS. SABRETOOTH.  This brutal, action-packed story deftly captures the epic finale to the biggest rivalry of the Marvel Universe in Marvel Knights Animation’s WOLVERINE VS. SABRETOOTH: REBORN DVD, available on home entertainment shelves nationwide on March 24, 2015 from Shout! Factory.

This thrilling Marvel Knights Animation adventure boasts unparalleled storytelling combined with rich visual animation and insightful bonus content. This deluxe DVD is collected in a unique comic book style packaging that bridges the comic book to DVD concept. Marvel Knights Animation’s WOLVERINE VS. SABRETOOTH: REBORN DVD is priced to own at $14.98 SRP.

Wolverine and Sabretooth have been locked in an endless grudge match that goes back longer than either can remember – or even imagine. The key to victory is eons old, and it’s certain to rock their world. It’s the epic finale to the duo’s greatest battle!

Total Feature Running Time: +/- 44 minutes

John Ostrander: Going Walkabout

GrimJackThey grow up so fast.

I’ve worked on/created a number of characters in my writing career, trying to define them through my writing. They exist first in my head and then become incarnated through my words and stories and the depictions by the artists. In some ways, they are like my kids – my murderous, nasty kids.

In the movie Stranger Than Fiction (one of my Mary’s fave films and the most atypical Will Farrell movie ever), the writer of a novel finds that her lead character – who she was planning to kill off – is a real person and comes face to face with him. I don’t think I’d ever want to do that for the main reason that I tend to make the lives of my protagonists pretty miserable. If I’m their creator, I’m a pretty asshole god. I have very good reasons for doing these terrible things – it reveals character and makes a better story. At the same time, I’d never want to meet any of them face to face. I’ve given them cause to do really nasty things back to me.

This is not a situation likely to come up… except that every now and then one of the characters goes walkabout. They slip away from my stories and show up elsewhere, doing and saying things that I never gave them to do or say.

With Jan Duursema I’ve created lots of characters for Star Wars in the Dark Horse comics I did for almost a decade. Two of them – Aayla Secura and Quinlan Vos – have shown up elsewhere. Both of them have shown up on the animated series, The Clone Wars, and Aayla went live-action in Episodes II and III of the Prequel Trilogy. In the animated series they gave her a French accent which threw me a bit – I never heard her that way in my head when I wrote her. In Episode III she was gunned down by her own troops who continued to fire shots into her back when she was down. That was harsh to watch. My baby!

Even my character GrimJack has done walkabout a bit. I was – and am – a big fan of Roger Zelazny’s Amber series of novels. Evidently, Zelazny was also a fan of GrimJack. In one of the later books, he introdued a character called Old John. Oh, you might have been using an assumed name but I knew it was you, Gaunt! Zelazny described him to a tee and caught his personality perfectly. We later got Mr. Zelazny to do an introduction to a GrimJack graphic novel. That was so cool!

The character that I created who has done the most walking about has to be Amanda Waller, the leader of the Suicide Squad. She has had the most incarnations in a variety of looks of anyone that I’ve created. Amanda has shown up in animated features on both TV and in films, video games, and television shows. On Smallville she was played by Pam Grier – which is beyond cool – and in Arrow she is considerably younger and more svelte. Hey, it’s the CW.

She’s also been in movies. Angela Basset played her in the Green Lantern movie. Okay, I know mostly no one liked the GL movie but – Angela Basset?! That’s amazing right there.

And, of course, there’s the Suicide Squad movie that starts filming any day now where she will be played by Academy Award nominated, Tony award winning star of How to Get Away With Murder actress Viola Davis. Boo-yah!

Amanda also sends home money. Every time she appears outside of the comics, I get what they call “participation”. If they reprint my work with her in TPBs, I get money. My Star Wars kids? Not so much. GrimJack? He would but so far he hasn’t. But the Wall? Oh yeah. Mo’ money, mo’ money, mo’ money – you bet. I love that Amanda.

It is interesting to see characters that you created or defined show up elsewhere (for example, I defined Deadshot although I didn’t create him). Sometimes it feels a little surreal. As I said, they started up in my head and then to see them and hear them walking around doing and saying things that I never wrote can be weird. It’s also nice. My kids are out in the world with their own lives. That’s interesting to experience.

Of course, would it kill them to call home now and then? Well, maybe not Gaunt.

 

Marc Alan Fishman: Agents of Angst

A caveat before I dig in: I’ve not seen this week’s episode of Agents of SHIELD (and screw typing all those periods!). That being said, I doubt the snark I’m about to wield will be undone over one episode. In fact, I bet my beard on it. But I digress.

With the ending of the limited run on Agent Carter, we’ve returned to the inhumanly angsty agents under Phil Coulson. And it didn’t take long into their mighty return for me to wind up longing for Manhattan in 1946 again. Funnier still to me is the fact that when Peggy was to replace Phil on the squawk box, I lamented even programming the DVR. SHIELD boasted new technology, a major Hydra conspiracy, ties to the modern day Marvel Movieverse™, and plenty of butt-kickery to enjoy. Peggy and pals could only promise pugilists and palookas, gender inequality, and light British tomfoolery. Oh how wrong I was!

What Agents of SHIELD brought back to the forefront when it returned to air, was the considerable yoke of backstory weighing heavily around its neck. And while serial dramas bank on intricate relationships, lofty past adventures, and plenty of narrative short hands, after the breath of fresh air Agent Carter offered up, it became plainly obvious how some of those crutches are useless to stand on with fresh legs ready to run again.

The intricate relationships between Coulson’s team – between Mack and Fitz, Coulson and Skye, May and Coulson, Skye and May, Bobbi and British Guy, Mack and Bobbi, and Simmons and Fitz – all flooded back without any real reintroduction. Because the show stopped at a mid-season finale, it was evidently pressured to return us only seconds after we’d originally left. It removed any chance for us to reacclimate to the beats of the show. It was jarring. It was slow. It was angsty as a high schooler being dumped at the prom. Without any runway to travel down, everything felt superficial – as if all the character-driven moments of the episode were just boxes left to be checked, not moments to be lived in.

While I know the past of the show enough to appreciate Agent Simmons’ new-found power-xenophobia, it simply read as the plot device it clearly is. Agent Coulson bounced between guttural barking and sappy moping. Mockingbird and her beau (whose name I still fail to recall) remain jovial… using their verbal foreplay to remind us that we truly know nothing about them outside what little we’ve been shown. Mack continues to just be a collection of ticks and tallies instead of a human being. Fitz now fully embraces his less-smart-but-still-as-smart-as-the-plot-demands device. Skye, crying through literally every scene she was in, reminds us that with great powers come great big cow eyes. And by the end of the episode – where the team sat together to have a last laugh and tribute to their fallen compatriot – the moment we should feel reconnected to the team hit me as cold and lifeless. They’re telling me how to feel. I could hear it being whispered through the end credits. Why?

Because over the course of all the episodes involving the fallen Agent Triplett, he served more as an expository device than a character. Triplett enjoyed being tied to Ward and Crazy Bill Pulman when he debuted. And shortly after a cocktease of is he actually bad or can we trust him, he was reduced to the black guy until Mack showed up. Then he become the black guy who knew a lot about the Howling Commandos. A soldier, made hero, all to serve as the unifying agent to reset the season. But his death was in vein. He was a sacrifice to the gods of smaller casts, or at very least to the only one black guy on a team initiative. His loss was there more to fluster Skye then make us care. And coming out of a Whedon-led writers room? That’s quite the sin.

The evidence that Agents of SHIELD needs to take a step back and find the wonder and joy it once had comes when we look to the contrasts between our potent proxies.

Over eight episodes, Peggy Carter came to life. More than a sweet red hat and some fine hosiery, she was built as a smart, tough, world-weary spy worthy of a position of power. We got to enjoy this through the contrast of the world built around her. And over those eight episodes, Peggy was able to prove to everyone else what she knew all along. It was fun, fitting, and fast without being frenetic.

In contrast we have Skye. Or Daisy. Whatever. Once our proxy as the savvy hacker fighting against the man, over thirty-two episodes she has forgotten that life altogether. Instead, her toughness is gifted to her via montages with Ward and May. Her smarts, written in pseudo-cyber speak when the plot demands it. And now, she’ll have some emotionally driven superpowers to round off any edges that formerly existed to her character. What was once a woman is now just a sum of plot parts. She is without joy and wonder. She strives for nothing more than the show demands of her week to week.

And it’s on her shoulders that Agents of SHIELD is failing to grab me back from the nostalgic clutches of Agent Carter. Here’s hoping a wormhole is open soon, so Peggy can knock some sense in her future fem fatale.

 

Irwin Hasen: 1918-2015

1024px-irwinhasen6-13-09byluiginovi-3249333

Comic artist Irwin Hasen, who helped create one of comics’ most famous orphans, Dondi, and created the DC Comics character Wildcat, died Friday morning at the age of 96.

There’s no way to do his history and storied life justice in a fast blog post, so we’ll be providing much fuller remembrances later.

Our condolences to his family and many friends.

Irwin Hasen photo by Luigi Novi.

Fred Fredericks, 1929 – 2015

Legendary comics artist Fred Fredericks died this week.

After attending New York’s School of Visual Arts in the period following the Korean War, Fredericks started drawing historical comics that attracted the attention of comic book editors. Before long, Fred was a regular at Western Publishing (Dell, Gold Key), where he drew such titles as The Twilight Zone, The Munsters, Mighty Mouse, Rocky and Bullwinkle, Mister Ed, Nancy, and Snuffy Smith. After working on several short-lived Civil War newspaper strips, Fredericks created the comics feature Rebel for Scholastic Scope, which ran for 30 years.

mandrake-the-magician-9171843In 1965, the year following the start of Rebel, Fred was selected by writer / playwright Lee Falk to take over the art chores on his daily and Sunday Mandrake The Magician newspaper strip. Fred drew Mandrake until the Sundays ended in 2002, but he continued drawing the daily feature until his retirement in 2013. Fredericks took over the writing chores when Falk died in 1999; he already had been lettering the strip. Overall, his stint on Mandrake ran nearly a half-century.

For 10 years Fred also inked George Olesen’s pencils on Lee Falk’s The Phantom Sundays, until Graham Nolan took over following Olesen’s retirement.

Fredericks returned to comic books in 1987, inking Alex Saviuk’s pencils on Marvel’s adaptation of the animated series Defenders of the Earth – a show that featured Mandrake, The Phantom and Flash Gordon. He went on to work on such Marvel titles as Punisher War Journal, Daredevil, Quasar, G.I. Joe, and Nth Man: the Ultimate Ninja. Around this time Fred also did a fair amount of work for DC Comics, including Who’s Who, Secret Origins, Showcase, and Black Lightning.

After his retirement in 2013, King Features put Mandrake The Magician into reruns, reprinting Fred Frederick’s work.

A personal note.

Around the time the Sunday Mandrake was coming to an end, I received a phone call from Lee Falk asking me if I knew where Fred might land some assignments. I gave him a few ideas, and later told Fred of a few more. As a “reward”, Fred sent me a package of original Mandrake art. Quite frankly, his entertaining me for decades was more than enough, but I was greatly moved by his generosity.

A man of great kindness and skill, Fred Fredericks played an important role in the world of post-WWII American comics, both strips and books. He kept Mandrake The Magician alive when all but a small handful of adventure strips fell by the wayside. Fred Fredericks will be missed by his great many fans worldwide.

(Photo above, left to right: Lee Falk, Lothar, Mandrake, Fred Fredericks)

 

 

 

 

 

The Point Radio: Getting POWERS On TV – Finally

The process of turning the Image Comics hit POWERS from book to TV wasn’t an easy one. Co-creator Brian Michael Bendis talks about all the bumps along the way, plus Susan Heyward and Eddie Izzard from the new Sony TV series share how they came on board. Plus Nestor Carbonell from BATES MOTEL talks about the path his character is on this season and what is really behind his relationship with Norma.

In a few days, we look at UNDATEABLE, headed back to NBC, and we head to the set with creator Bill Lawrence and comedian Ron Funches.
Be sure to follow us on 
Twitter @ThePointRadio.

The Law Is A Ass

Bob Ingersoll: The Law Is A Ass #349: DOC SAVAGE SAYS IT’S BRAIN SURGERY NOT ROCKET SCIENCE

TNDocSavage07CovRossDoc Savage didn’t know he was doing something wrong. Neither did I. To be fair to Doc Savage, back then things were simpler. To be fair to me, so was I.

I didn’t first learn about Doc Savage’s, shall we say, experimental, surgical procedures, in Dynamite Entertainment’s Doc Savage v1 #7. No I knew about them before, I just never thought about them. But I did know about Doc’s, shall we say, unusual surgical procedures.

Oh let’s stop beating about the bush. “The Law Is a Ass” hasn’t lasted this long by my being evasive. No, the column and I have made it through thirty plus years by my being up front with you. So I’m going to stop being coy. No more using words like “experimental” and “unusual.” I’m going to call Doc Savage’s surgical procedures what they really are; invasive.

For years after Doc Savage captured a bad guy, he shipped them off to a private medical facility in upstate New York, where they would undergo “a delicate brain surgery” that removed their criminal proclivities. Then Doc’s medical staff trained these people on how to live better lives. After this, Doc set them up with jobs and returned the now-reformed – forcibly reformed – criminals to the world, where they would lead productive lives. I don’t know how long Doc did this. His biography in the Doc Savage Wiki says that he did it in the “early episodes.” But Doc Savage v1 #7 says he was still doing it in 1988.

The same comic also had one of the surgeons who worked at Doc Savage’s upstate Serenity Convalescent Center outing Doc and his memory manipulating machinations on national television. Later in that story, we learned several people were suing Doc for violating their civil rights and robbing them of their free will. We also learned the case had gone to the Supreme Court. At one point in the story Doc actually appeared before the Supreme Court. At another point, Doc talked about what would happen in the case, “once the chief justices have heard all of the testimony.”

I don’t know what’s more wrong the fact that Doc Savage was talking about the “chief justices” of the Supreme Court of the United States hearing testimony or the fact that Doc Savage performed unauthorized, nonconsensual operations on unwilling patients. I do, however, know which one is easier to discuss. So I’ll start there.

The Supreme court doesn’t have chief justices. It has a Chief Justice. As in one. Not chief justices as in plural. Only the person appointed by the President of the United States and affirmed by the United States Senate to be the Chief Justice is called the Chief Justice. The others eight justices on the Supreme Court are called Associate Justices.

See? Wasn’t that easy?

In addition, the Supreme Court doesn’t hear testimony. The Supreme Court is a court of appeals. Trials in federal cases are conducted in federal district courts. Those are the courts of original jurisdiction, which is to say the courts in which law suits originate. The circuit courts are the courts that would hear testimony, not the Supreme Court. After a trial, the case may get before the Supreme Court. But it would get to the Supreme Court as an appeal, not a trial.

Under the Constitution of the United States, the Supreme Court can be a court of original jurisdiction in cases involving ambassadors and other diplomats and in cases where a state is a party. Generally, the only cases which the Supreme Court entertains as a court of original jurisdiction are cases when one state is suing another. Those are the cases where the Supreme Court would hear testimony. In all other matters, the Supreme Court only hears oral arguments. I’d explain what oral arguments are, but they’re boring. For 28 years I made my living making oral arguments to courts of appeal. Trust me, I know. They’re boring.

Doc Savage’s case involved a group of plaintiffs who are people, not states, suing Doc Savage, another person not a state, for depriving them of their civil rights. A civil rights suit would not be a case where the Supreme Court had original jurisdiction. So the Supreme Court would not be hearing any testimony in the case.

See? Still easy.

And it should have been easy for Doc. He had legal training, after all. And even if he didn’t,  one of his best friends and top aides, Ham Brooks, was a top lawyer. He really should have known better. Back in those days when I was simpler and didn’t have any legal training yet, I knew there was only one Chief Justice and that the Supreme Court didn’t hear trials. Read it in the newspapers. So I don’t know why Doc forgot. Maybe he was an early test subject in one of his own judgment jugglings jobs.

Now as to the actual lawsuit alleging Doc Savage violated the civil rights of several people with his surgeries, that’s where things get a little trickier. Doc started this procedure back in 1934. Things were a little more lax vis-a-vis civil rights back then. In 1883, the so-called Civil Rights cases reached the Supreme Court. In those cases, the Supreme Court ruled 8-1 that the Equal Protection Clause of the 14th Amendment applied to governments but didn’t apply to people. So when Doc started his cranial conversions in 1934, he couldn’t violate anyone’s civil rights because he was a person not a government.

In addition, back in 1934, the use of leucotomies – or to use their more common and more pejorative name, lobotomies– were gaining acceptance among doctors treating mental illnesses. Even though they were controversial and criticized by some, lobotomies grew in both popularity and frequency well into the 1950s. So generally accepted medical practice might not have disapproved of what Doc was doing.

In 1934, even the courts didn’t disapprove of non-consensual surgeries on individuals that were deemed to be for the greater good. In a rather famous case – Buck v. Bell 274 U.S. 200 (1927) – the Supreme Court upheld a Virginia statute which called for the compulsory sterilization of the intellectually disabled. In upholding the law, Justice Oliver Wendell Holmes wrote oh-so-sensitive explanation that, “Three generations of imbeciles are enough.” So I doubt that at the time Doc started gelding gray matter, the Supreme Court would have stayed his scalpel.

Things are a little different now. The courts recognize the existence of several kinds of civil rights. The civil rights which receive the highest level of protection in the courts are the so-called first-generation rights. In the United States, these are the ones specifically enumerated  in the Constitution which deal with liberty and political activity. In the past several decades, however, several unenumerated rights such as the right to privacy are finding their protectors in the courts, too.

Among the unenumerated rights which are starting finding acceptance is cognitive liberty. This is the freedom that people have to control their own mental processeses. In Sell v. United States 539 U.S. 166 (2003), for example, the Supreme Court imposed limitations on when a state could forcibly administer antipsychotic drugs to a defendant who had been declared incompetent to stand trial for the sole purpose of making him competent and able to stand trial.

So the odds of the courts ruling in favor of the people who are suing Doc Savage for civil rights violations because of his nonconsensual noggin noodling are getting better. I’d like to think the courts are ruling in favor of people not being forced to undergo treatment for their allegedly aberrant behavior, because we’re a bit more enlightened now. But given the nature of some court decisions in recent years, it might just be that the judges are worried people might start using those decisions to prove the judges, themselves, are insane. Maybe the judges aren’t enlightened. Maybe they’re just protecting themselves against any future faculty fiddling.

Martha Thomases: A Whale of A Comics Story

What do whales have to do with comics? I’m glad you asked.

According to this study, in times of trouble, whales turn to the post-menopausal females to lead them. They trust these elderly females to know where the food is.

Besides humans, whales are the only other mammals to live after menopause, sometimes decades longer. Males tend to die at 60, but it isn’t unusual to find a female whale at age 90 or more.

(For the record, but without any evidence whatsoever, I like to think whales would also respect a male who lived to be 90. Just saying.)

There’s a lot of money going into comic book companies lately. Valiant just entered a partnership rumored to be worth nine figures. That means at least $100,000,000. Another company, Black Mask plans to grow its audience, not just with comics, but with videos and movies. That kind of outreach isn’t cheap.

Reading these articles, I was once again struck by the way popular culture equates graphic storytelling with superheroes. Yeah, lots of comics have superheroes in them, but so do a lot of prose novels (like this and this for example). And there are successful movies based on graphic novels that have no superheroes, like this and this, again, just as examples.

But superheroes are considered to be a film category now, with seepage onto television (where it is often more successful, in my opinion), so the big entertainment money is looking for comic book properties to buy. And there are lots of graphic stories out there, in a variety of genres, that would make terrific movies. The challenge is going to be finding the best ones.

Which brings us to the post-menopausal whales.

Like other forms of popular entertainment, comic book publishers and fans are always looking for the next great thing. Historically, sometimes the next great thing is terrific, like the way the Beatles shook up pop music in the 1960s, or Alan Moore opened up comics in the 1980s. Sometimes, the next great thing is terrible, like Justin Bieber.

Most often, we don’t know which new thing is truly great until it has a chance to stand the test of time. A by-product of looking for the next great thing is that, too often, these same people fail to consider the possibility of failure when making their decisions. A few years ago, Jerry Ordway wrote about being overlooked despite the hundreds of millions of dollars his work had earned, either directly or indirectly, for Warner Bros. At any comic book convention, if you go to Artists’ Alley, you’ll see lots of other professionals, all successful at one time and still possessing awesome skills, who can’t get work.

Like the post-menopausal whales, these folks know how to find food in tough times. They know the difference between a good story and a bad story, and how to make a so-so plot into something thrilling.

If I were a Hollywood investor, in addition to my nine-figure deals, I’d hire a couple of these old pros.

(Ye Ed notes: The art, above, is of Black Lightning villain Tobias Whale. Get it? Whale! Look, trust me, you wouldn’t want to see my first choice.)

Box Office Democracy: Chappie

Chappie is an amazingly frustrating movie, perhaps singular in its ability to vex me. I enjoyed so much of it while I was watching it, director Neill Blomkamp is quite good at evoking an emotional response, but in the days since I’ve seen Chappie I have grown steadily angrier at it. It’s a movie that’s so tone deaf to the world around it and so unnecessarily. All of the pieces of this movie I enjoyed could have been contained in a framework that was not so brashly ignorant of the important issues it brings up only to causally discard.

(more…)