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Box Office Democracy: Guardians of the Galaxy

I have spent months telling everyone who would listen that I thought Guardians of the Galaxy would be the first flop of the Marvel Studios era.  While Iron Man and Thor were hardly household names before their recent turns they were the practically Superman wearing a Mickey Mouse costume compared with Star-Lord and Groot.

There’s also the inherent tendency for cosmic stories to end up feeling pretty nonsensical, maybe not more nonsensical than the Asgard stuff but audiences didn’t connect with Green Lantern and that seemed to be the closest comparable movie.  I thought this would be an emperor-has-no-clothes moment and would unravel the entire Marvel Cinematic Universe.

I’m happy to report I was a complete moron and while many of those ill portents might have been true James Gunn and his cast made such a thoroughly enjoyable movie that they don’t matter.

Guardians of the Galaxy is easily the funniest Marvel movie but it also derives its comedy in such a different way than most super hero movies.  Every super hero movie I can think of either has one character that’s responsible for generating 90% of the laugh lines (your Tony Starks or your Lokis) or by sort of having moments of acknowledging the absurdity of the premise (this was way overdone in the later Schumaker Batman films).  Guardians lets all five members of the team be funny and it helps so much.  It helps the plot (and I’ll get to why the plot needs a little bit of help) but it also lets the actors shine in these characters.

I knew coming in to expect great things from Chris Pratt but I was not expecting Bradley Cooper to turn in the best performance of his career playing a mutant raccoon.  I don’t even just mean he’s funnier in this movie than anything else, although he is, but he disappears in that character and I never thought I was hearing Bradley Cooper.  Vin Diesel steals entire scenes despite only ever saying three words.  This ensemble might not be better than Downey, Evans, Johansson et al. in the Avengers franchise but they fit their roles as good if not better than the big team and it’s stunning to watch.

I mentioned earlier that the plot needs a little bit of help and that’s not entirely fair.  As someone who has been reading comic books literally as long as I can remember I had no problem following what was going on.  The three people I went with who did not have that background had no idea what had just happened.  They enjoyed themselves immensely, and that should be the real measure of a movie, but they could not tell me who the non-Guardian characters were, what their motivations were, or what an “Infinity Gem” did.  They push through a lot of stuff without time for anything to sink in or without providing a lot of exposition and just relied on the general charisma of the rest of the film to carry the plot a little bit.  It worked flawlessly and is the biggest difference from Green Lantern, which explained everything in laborious detail, and had no joy anywhere to be found.

I still think there are flaws in the MCU road map (honestly, who is clamoring for a Doctor Strange movie?) but I can’t doubt them any longer.  I will anxiously await every movie they put out until they prove they can’t do it.  I went in to this movie thinking I wouldn’t like it at all and walked out with only a minor quibble about the use of slow motion.  Make mine movies Marvel.

Check Out a Clip from Batman: Assault on Arkham

Batman_Arkham_Asylum_Waller at boardWarner Animation has released an all-new clip from Batman: Assault on Arkham, the next entry in the popular DC Universe Original Movie series. The film is now available to own via Digital HD, and will be available on Blu-ray Combo Pack and DVD on August 12.

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Mindy Newell Discovers “Books”

Captain AmericaI discovered the All Souls trilogy by historian and fiction writer Deborah Harkness – I’m currently reading the final book, The Book Of Life (the first being A Discovery Of Witches and the second titled Shadow Of Night) and loving it, unable to stop, eager to discover how it all ends and yet not at all eager for it to end – quite by accident, which is usually the way I discover books.

I was browsing at Word, a terrific independent book store at 123 Newark Avenue in downtown Jersey City, New Jersey, and which deserves all the support in the world, as being an independent book store in these days of Amazon taking over the world is not only risky, but incredibly brave. BTW, I’ve never been in Word when it wasn’t crowded with bibliophiles. All of you, who love b-o-o-k-s know what I mean. There’s nothing like browsing in a bookstore, is there? Taking your time, picking up books, enjoying the heft and weight of them, feeling and enjoying the überzeist of shared love of the printed word that permeates the atmosphere.

According to the Encyclopedia Britannica website, “How soon after the invention of writing men began to make books is uncertain because the books themselves have not survived. The oldest surviving examples of writing are on clay or stone. The more fragile materials used for writing at various times have generally perished. The earliest known books are the clay tablets of Mesopotamia (that part of Asia fed by the Tigris and Euphrates rivers and their tributaries, and which we know today as Iraq, Kuwait, northeastern Syria, and part of southeastern Turkey and southwestern Iran) and the papyrus (a thin, paper-like material made from the papyrus plant, which still grows along the Nile delta) rolls of Egypt. There are examples of both dating from the early 3rd millennium B.C. The Chinese … were the third people to produce books on an extensive scale. Although few surviving examples antedate the Christian Era, literary and archaeological evidence indicates that the Chinese had writing and probably books at least as early as 1300 B.C. Those primitive books were made of wood or bamboo strips bound together with cords.”

The Greeks and Romans also used papyrus, binding them by using leaves at the type and bottom of the papyrus to form rolls (as seen in movies such as Gladiator and Ben-Hur). It was the Romans who expanded bibliography; they had a healthy book publishing trade which spread into Western Europe and Britain as the empire expanded. All straits of society during this period had access to these books, even the poor, while owning a private library was a mark of distinction among the upper classes.

During the early Christian era, the codex replaced the papyrus roll. By binding the papyrus leaves (the origin of our use of the word “leaf” when referring to book pages) this early book could be opened instantly to the exact text being searched for, eliminating the need to roll the papyrus until the text being searched for was found – not to mention having to reroll it. Also, both sides of the papyrus could be used.

By 2500 B.C. into the middle of the second century, vellum and leather, both made from calfskin, had replaced papyrus – the Dead Sea Scrolls, the first of which were discovered in 1946 in what is the West Bank of the disputed Palestinian territories, and which are the earliest known manuscripts of the Old Testament, along with other biblical era writings, are written on vellum and leather. Then, during the Dark Ages it was the monasteries that kept book writing alive. (A Canticle For Leibowitz, the 1961 Hugo Award winner for science fiction, by Walter M. Miller, Jr., tells the tale of Catholic monks in a post-apocalyptic United States as they strive to preserve the remnants of knowledge against the day that humanity rises from the nuclear ruins to rebuild civilization.)

The books of the 15th century resembled our modern book except that they were not yet printed, although paper, which had come to Europe and Britain from China through the middleman Arab trader, was rapidly replacing vellum and leather. Authors were writing in the language of their people, whose literacy was increasing, and the production and sale of books were boosts to Renaissance economies, which were increasingly reliant on the rise of the middle-class guilds.

And then came Johannes Guttenberg.

Guttenberg, who was originally a blacksmith and goldsmith before he became a printer and publisher, was born about 1398 and died in 1468. He was the first European to use movable type printing (invented in China around 1040 A.D.) and also created oil-based ink. Of course, as most of you know, he also invented the printing press. By figuring out how to combine these individual components into one practical system, Gutenberg enabled the mass production of printed books, which subsequently led to mass communication, a critical turning point in the rise of the civilization in which we live today.

Skip ahead 500 years to the birth of the comics industry in the mid-20th century, so beautifully captured by Michael Chabon’s brilliant and Pulitzer Prize-winning 2001 novel, The Amazing Adventures Of Kavalier And Clay – and anyone who claims to be a comics fan and has not read this book must have his or her Merry Marvel Marching Society membership immediately revoked. Think about what the comics industry, if it existed, would like – each story of Superman, Batman, Spider-Man, or the X-Men individually created, one of a kind, and probably locked up in the libraries of rich individuals and those of museums and universities dedicated to collecting rare art forms, to be taken out and displayed in occasional exhibitions.

The “man on the street” would perhaps, once in a while, buy a “black-market” version of Stan Lee and Jack Kirby’s Fantastic Four, smeared with mimeograph ink or supposedly “hand-copied” by some dubious “artist” who claimed to have seen the original. There would be no fandom to create the first comics convention in New York City in July, 1964 at a union meeting hall on 14th and Broadway, which was attended by 100 people, one case of soda, and George R.R. Martin (A Song Of Fire And Ice, i.e., Game Of Thrones) who was the first ticket purchaser. And there sure wouldn’t be a San Diego Comic-Con.

So the next time you browse Amazon or download a book on to your Kindle or iPad, or read a comic book on the web, stop and think about it. Think about the hundreds of centuries that it took to create that mass-produced copy of The Book Of Life or whatever novel you’re currently reading. Think about the thousands of years it took for you to hold that staple-bound, printing pressed copy Captain America #23 in your hands.

Think about it.

And don’t let real books, or real comics, become as dead as … Well, as dead as that first manor woman to “Fred Flintstone” a message into a tablet of clay.

 

Classic Doctor Who Debuts Monday On Retro TV

Starting Monday, August 4, digital television provider Retro TV will be presenting the surviving “classic” episodes of Doctor Who weekdays at 8PM.  the series will start as it should with William Hartnell as The Doctor in An Unearthly Child, and will continue in order, right through to the Sylvester McCoy series.

When broadcast television switched over to digital, stations received a bonus two digital sub-channels thanks to the extra ability to compress data.  Most stations had no plan of their own to utilize these stations, which allowed for the rise of third party programming providers like Retro, Me-TV and many more.  Offering mostly reruns of classic television, these channels have greatly expanded the number of classic shows available.  While most classic TV station were only available through cable subscriptions, these new channels are available over the air, allowing everyone to enjoy them.

Retro TV scored a double-hit this summer for science-fiction fans.  In addition to the adventures of the renegade Time Lord, they brought the travails of a man in space forced to watch cheesy movies with his robot friends back to the air when they premiered Mystery Science Theater 3000 earlier in the Summer.

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Retro TV brought MST3K back to the air earlier this summer.

“Bringing MST3K and Doctor Who to Retro TV has been a passion project,” explains Matt Golden, Vice President of Production,  “not only for myself, but others in the organization that love the shows and are thrilled to be able to share them with our audience. It’s for fans, by fans.”

Although the original broadcasts of Doctor were without commercials, Retro is doing everything possible to keep from editing the episodes.  “A few of the episodes will be slightly edited for time. That said, it’s the minority.” Matt Golden clarifies.  “For instance, of the first batch of episodes processed, there are only 20 out of those 121 episodes that are longer than we can support and thus need to be trimmed.”

“For the few that are over our prescribed durations, we’re making extremely judicious cuts, with careful consideration toward content and flow. Moreover, we’re not making any cuts that aren’t absolutely necessary, and the ones we have to make range from 30-60 seconds. We won’t be utilizing time compression, as episode-length speedup is more distracting and detrimental than subtle edits of a few lengthy establishing shots.”

This is not out of the ordinary.  Back in its original foray into American television, the Tom Baker episodes were cut for commercial content, not mention adding explanatory narration by Howard DaSilva.  Even BBC America edits episodes of the current series after their initial broadcast to accommodate ads.

retroWhoRetro TV plans to bring the show to the fans by way of attending major Sci-Fi conventions as well. “We had a great time a couple of weeks ago at Con Kasterborous in Huntsville, AL, where we spoke with Sylvester McCoy, Andrew Cartmel, and several groups of fans, clips of which will be making their way onto TV and social media in the coming weeks as we roll out Doctor Who. We plan to continue doing so, and are in the midst of finalizing the details for another couple of cons this year”

In the area of genre programming, Retro had fallen behind ME-TV, which carries the original Star Trek, Lost in Space and many more.  But with these two additions, Retro makes it clear they’re back in the game, with more to come. “I have a great love of sci-fi, fantasy, and horror, and feel that those genres have been somewhat underserved in our particular arena.” says Golden. “It’s all about the response, though, so if fans want to see more, they can help us out by making some noise: following us on Facebook and Twitter (and now on tumblr), calling stations in their markets to demand Retro TV, etc.”

Check the  Retro TV website for local affiliates in your area, and with your local cable company to see if they carry the channel.

John Ostrander: To Be A Hero

Doctor Who has aired a new trailer for the upcoming season that starts August 23rd*. You can <a href=”

it here. It’s our first real glimpse at the new Doctor played by Peter Capaldi and I think it all looks very promising. He’s very different from the past few Doctors. In some ways, he’s more reminiscent of the first one.

Something bugged me, tho. At the end of the trailer, he asks his companion, Clara, if he is a good man. She seems a bit flummoxed by this and answers, “I don’t know.”

My first reaction to the question was “I do. The Doctor is a good man. He’s a hero. He has saved the planet, the galaxy, all of reality about a bazillion times.”

Then I thought about it some more. Do you have to be a good man in order to be a hero? You don’t have to be a good person to be the protagonist; many good stories have been told using someone bad or even evil as the center of the story. Hero, on the other hand, is a different matter, isn’t it? A hero needs to have certain moral values – honor, nobility, courage, self-sacrifice and so on. They may have these qualities from the onset of the story or acquire them along the way. They can rise up as heroes as the story progresses or the qualities they already have can be tested.

The hero is something we might want to emulate. Superman in my youth was a big blue Boy Scout. Even Batman, for all the fact that he dresses more like a villain, was more of a hero in a traditional sense.

Then Marvel came along with its more complicated set of heroes. Spider-Man had a lot of hang-ups. At the same time, they were heroes because they rose to the challenges. They exhibited a certain honor, nobility, and so on.

The anti-hero seems more in tune with modern society. He or she is the protagonist of the story but not the moral center. Typically, they are in it for themselves and what they can gain or they are simply tossed around by life and not masters of their own fate. Kafka’s Joseph K in The Trial is an anti-hero because his choices simply do not matter. He is a victim and cannot change his own fate.

I tend to write more towards the anti-hero side of the scale. I like the moral complexity they present; it interests me as a writer. Even a good person will struggle to find the right thing to do in a given situation. J.K. Rowling in one of the Harry Potter books has her character Dumbledore say that the time is coming when people will have to choose between what is right and what is easy. There’s always a cost involved to do what is right.

Can you be a hero without also being a good man or woman, at least to some degree? I don’t think so. It may be difficult for the character to make the “right choice” but they need to have somewhere inside of them a degree of courage, empathy, honor and so on. George Bailey in It’s A Wonderful Life has to struggle with his frustration and sense of helplessness. He lashes out in anger towards the climax of the movie against people he loves. Yet even in his deepest despair, he will jump off a bridge to save what he thinks is a drowning man.

So, is the Doctor a good man? He certainly is a hero and, whatever his failings, he is a good man. The fact that he asks the question makes him a good man; a bad man wouldn’t care.

* Also coming to a handful of movie theaters, probably not near you. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Marc Alan Fishman: San Diego – How It Feels To Not Go

My name is Marc Alan Fishman. For eight years now, I have been an active comic book writer, artist, letterer, and publisher. For six years, my company Unshaven Comics has peddled our wares in the artist alleys at dozens of conventions. From the small, such as Kokomo, Indiana, and Orland Park, Illinois, to the large, like C2E2 in Chicago, and the New York Comic Con, we’ve put thousands of miles on our cars in an attempt to break-in to the industry we love nearly as much as our kin. But in all our travels, the furthest west we’ve sauntered was Minneapolis this past spring.

We’ve never been financially viable enough to venture to the Valhalla (or perhaps Ragnarok) of comic book conventions. The San Diego Comic Con is a nearly week-long mecca of geekery. For a small operation such as ours, it stands to dream that selling in the same fabled halls that stars and nerds alike flock to, could lead a sale of The Samurnauts to future fame and glory. Oh, how the mind races at the thought! But with each passing summer, those daydreams dissipate as the deluge of news coats my social media feeds. And here I sit, in the wake of yet another SDCC, ruminating on what it feels like to not be a part of the central hub from which our industry grows from. In short, it feels both amazing and frustrating.

It feels amazing because I’ve little doubt that amidst the choked-with-nerd floor-space there’s a frantic energy that isn’t conducive to how Unshaven Comics does business. We’ve parlayed busy cons, but I have a sneaking suspicion as fans fight for line position to see the Avengers assemble, or catch a sneak peak ten-second look at a movie not debuting for another calendar year there’s little desire to open one’s mind to a brand-new not-known comic, and even less among those few of the 130,000 attendees that are old school fans who are there (gasp!) for the actual comic books the show was originally built around. So I ask rhetorically: how easy is it to grab the attention of them when the entire show is one massive press-conference after another?

When every news outlet, blog spot, and nerd-based industry member is there first and foremost to get the scoop – and leak footage for click-baiting articles – on the stuff that gets them click-throughs, link-backs, and ad impressions… where does that leave artists in the alley? And when the alley itself is studded with industry veterans with well-known names and pedigrees… I say once more with bearded fervor: what chance do three Chicago kids with no known fans west of the Mississippi going to do to garner attention short of faking a medical emergency? Hmm, maybe that’d be a great hook. But I digress.

Simply put, it feels amazing to miss the SDCC because it means I can sit peacefully at home with the Unshaven till in tact. I can sift through all the news releases, teasers, and interviews at my leisure. I can do all of this and smell fresh as the morning dew. Those people in line waiting for a chance to get Chris Hemsworth to wink at them? Maybe not so much.

Which of course leads to why it’s so frustrating that I’m not there, nor have I ever been. The other side to the sword I wield cuts hardest when I realize I am only a spectator and not a shareholder. And to mock the size of the crowds is only to hide the desire to be in front of them. Even if the tides draw fans from the alley away to the exhibitors, there’s simply too many opportunities amidst the show-goers to not catch a few on our hook. And while the economics of it all likely falls no where near profitable when one considers the price of the table, transportation, shipping of merchandise, not to mention meals and other sundry expenditures… a sale to someone new is a sale to someone new. Unshaven Comics exists because of that conceit.

And while I’d lament that it’s not fair to pitch when you’re sitting next to a convention colossus like Katie Cook, much could be gained through smart networking and the camaraderie earned by being table neighbors. Simply by existing alongside those whose work we covet, creates a recognizability to those in power who work their way around the alley. Over the course of our businesses life, we’ve pushed issues on Dan DiDio, Ross Ritchie, and even Mike Gold. Of course, none of them said anything to us after purchasing the issue, but we figure it’s because they’re still in awe. In short: missing the con means missing the sale. And when that sale is the most likely to reach those within the industry we want to sell to? It’s a missed opportunity.

And what lamentation about San Diego would it be if I didn’t mention having to miss out on the Black Panel, and all of the sundry Michael Davis-related ventures. Having only known the Master of the Universe via e-mails and shared column space, I’m at a loss having never shaken his hand in person. And I say this not in jest. In every instance that I’ve been able to break bread with a fellow ComicMixer, it has been a memory saved for the archives. To miss out on San Diego, is to miss out on seeing people I’m honored to call friends.

And with that, so ends this little aside. Another year passes, and San Diego reverts to the whale’s vagina it’s known to be (don’t flame me, Ron Burgandy said it himself). Will Unshaven Comics ever make the journey out yonder to be amongst the gilded nerditry? As loyal Cubs fans utter, the motto remains:

There’s always next year.

 

The Point Radio: Hunting Monsters In The Real World

He’s no comic book character, but the real deal when it comes to hunting monsters. Trapper Tice and his team from AIMS (Appalachin Investigators of Mysterious Sightings) tackle creatures that look like Kirby creations on the hit show MOUNTAIN MONSTERS and he stops here long enough to reveal his secret origin. Plus we share our ComicCon memories and SHARKNADO breaks The Internet – again.

THE POINT covers it 24/7! Take us ANYWHERE on ANY mobile device (Apple or Android). Just  get the free app, iNet Radio in The  iTunes App store – and it’s FREE!  The Point Radio  – 24 hours a day of pop culture fun. GO HERE and LISTEN FREE  – and follow us on Twitter @ThePointRadio.

Watch a Deleted Scene from Divergent

0612176BTr1Divergent is arriving on home video next Tuesday and in anticipation of the Digital HD, Blu-ray, DVD, and OnDemand release, Summit Entertainment has released a deleted scene.

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SANTA MONICA, CA (May 20, 2014) –  Lionsgate (NYSE: LGF), the premier next generation global content leader, will release the electrifying first installment of the blockbuster action adventure franchise Divergent  on Blu-ray Combo Pack (plus DVD and Digital HD), DVD (plus Digital), Video on Demand and Pay-Per-View on August 5, the Company announced today.   The film will be available on Digital HD two weeks early on July 22.

Based on Veronica Roth’s #1 New York Times best-selling book series which has sold nearly 22 million copies worldwide, the film features an all-star cast including Shailene Woodley, Theo James, Academy Award® winner Kate Winslet and Ashley Judd. To date, Divergent has grossed nearly $150 million at the domestic box office and more than $250 million worldwide in its theatrical release on Lionsgate’s Summit Entertainment label, getting the ?new franchise off to a fast start.  The next three installments — Insurgent and Allegiant Parts 1 & 2 — will be released theatrically on March 20, 2015, March 18, 2016 and March 24, 2017, respectively.

Packed with bonus material, the Blu-ray Combo Pack includes the documentary “Bringing Divergent to Life,” an in-depth look at the making of the film plus the exclusive featurette “Faction Before Blood,” detailing the film’s future world. The Blu-ray Combo Pack and DVD both feature deleted scenes and two audio commentaries – one with director Neil Burger and one with producers Douglas Wick and Lucy Fisher. The Divergent Blu-ray Combo Pack will be available for the suggested retail price of $39.99 and the DVD for $29.95.

Divergent stars Shailene Woodley (upcoming The Fault in Our Stars), Theo James (Underworld: Awakening), Ashley Judd (Double Jeopardy), Jai Courtney (A Good Day to Die Hard), Ray Stevenson (Thor), Zoё Kravitz (X-Men: First Class), Miles Teller (The Spectacular Now), Tony Goldwyn (TV’s “Scandal”), Ansel Elgort (upcoming The Fault in Our Stars), Maggie Q (TV’s “Nikita”), Mekhi Phifer (ShowTime’s “House of Lies”) and Academy Award® winner Kate Winslet (Best Actress, The Reader, 2008). The film is directed by Neil Burger (The Illusionist, Limitless) from a screenplay by Evan Daugherty (Snow White and the Huntsman) and Vanessa Taylor (HBO’s “Game of Thrones”).

Divergent is a thrilling action adventure set in a future world where society has been divided into five distinct factions. But Tris will never fit into any one group-she is Divergent, and what makes her different makes her dangerous. Targeted by a faction leader determined to eliminate all Divergents, Tris turns to the one person she believes she can trust: Four, an instructor for the militant Dauntless faction, and a man full of dark secrets. Together, Tris and Four uncover a mind-bending conspiracy that will put their courage to the ultimate test…and forever link their destinies.

BLU-RAY COMBO PACK SPECIAL FEATURES*

  • “Bringing Divergent to Life” Documentary
  • “Faction Before Blood” Featurette
  • Deleted Scenes
  • Ellie Goulding – “Beating Heart” music video
  • Audio Commentary with Director Neil Burger
  • Audio Commentary with Producers Douglas Wick and Lucy Fisher
  • Temporary tattoo sheet
    *Subject to change

DVD SPECIAL FEATURES*

  • Deleted Scenes
  • Ellie Goulding – “Beating Heart” music video
  • Audio Commentary with Director Neil Burger
  • Audio Commentary with Producers Douglas Wick and Lucy Fisher
  • Temporary tattoo sheet
    *Subject to change

PROGRAM INFORMATION

Street Date: August 5, 2014

Price: $39.99 Blu-ray / $29.95 DVD
Title Copyright: Divergent © 2014, Artwork & Supplementary Materials ™ & © 2014 Summit Entertainment, LLC. All Rights Reserved
Rating: PG-13 for Intense Violence and Action, Thematic Elements and Some Sensuality
Feature Run Time: 139 Minutes
Type: Theatrical Release
Genre: Action/Adventure
Closed Captioned: NA
Subtitles: English SDH and Spanish
Blu-ray Format: 1080P High Definition 16×9 Widescreen (2.40:1)
DVD Format: 16×9 Widescreen (2.40:1)
Blu-ray Audio Status: English 7.1 DTS-HD Master Audio, Spanish 5.1 Dolby Digital, English 2.0 Dolby Digital Optimized for Late-Night Listening and English Descriptive Audio
DVD Audio Status: English and Spanish 5.1 Dolby Digital, English Descriptive Audio

Horror Lovers’ Bobby Timony Talks Zuda, Digital, Comics

creator009031-2623278Bobby Timony is an artist who’s co-creator of the popular comic strip The Night Owls, published by DC Comics’ Zuda imprint. He has been nominated for multiple Harvey Awards, including Best New Series, Best Online Series, and Best New Talent. His newest project, The Horror Lovers, is currently seeking funding via Kickstarter.

Bobby took the time to talk to us about Horror Lovers, Zuda Comics, and more in this exclusive interview.

ComicMix: Good morning, Bobby.  For starters, how did you start drawing comic books?

Bobby Timony: I can’t remember when it started. It seems I’ve been doing it all my life. My brother and I had school desks in our bedroom we would draw at. We had a hollowed out speaker flu of pens, pencils and magic markers. We would spend hours at a time sitting in our room making comics.

CM: What were your favorite comics growing up, and other influences on your work?

BT: The first comics I ever subscribed to were the Disney Duck comics that Gladstone was putting out. I loved Carl Barks and Don Rosa. I remember I set an envelope stuffed with $1 bills and my subscription form. I’m actually surprised the guy in the mailroom didn’t just steal my money.

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CM: Tell me about your experience with Zuda and “The Night Owls.”

BT: The Night Owls at Zuda was my first professional comics work. I had been setting up at small press shows with self published books before then, but this was the first time I actually got paid to do it.
I remember catching some flack from other web comics people who claimed I sold out and didn’t value my work as an artist. There were a lot of soapboxes and pedestals about how they could never give up their rights!

Well, I can’t speak for them, but I can say it worked out for me. In addition to getting paid for my work, I made valuable industry contacts, made some great personal friends, got nominated for several awards, grew my fan base exponentially, and in the end I even got all my rights back. So yeah, I think I won that one.

CM: You’ve created a lot of original comics and characters, both with your brother Peter and by yourself. Why is doing creator-owned work so important to you?

BT: I guess it has to do with why you get into comics in the first place. Some people just love the art and want to draw. Some love the characters and want to build on the stories they grew up with. Peter and I loved the medium as a means of unleashing our imaginations. We started by drawing our plushy stuffed toys into comics, giving them personalities. Then we moved on to our own made up characters. Although we had favorite characters we’d revisit, we never really settled on one that was going to be our signature achievement. We’d just say, “That was fun!” and then start something new. It’s just the way our brains work, I guess. By the time we were teens we had a whole rolodex of characters and ideas we had developed. We had fun organizing them on index cards and pulling a couple out at random.

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CM: In some ways, Zuda was a pioneer in digital comics. Now you’re working with Monkeybrain and Thrillbent. Can you tell us about these new projects, and how it feels being a part of this second great wave of digital comic books?

BT: Both Chris Roberson at Monkeybrain and Mark Waid at Thrillbent have told me that they really liked the work I did at Zuda. They probably wouldn’t have been aware of me without that, so I guess it does feel like the next logical step in my weird career path. I wouldn’t say I’m a digital comics pioneer. I think its more like I’m a guy whose been lucky enough to recognize and take advantage of a few great opportunities.

My Monkeybrain Comic is called Detectobot, and its about a robot Detective (obviously). I’m collaborating with Peter Timony again on that one. My Thrillbent comic is called Long Ago and Far Away, with Chris Mancini as the writer. It’s about a guy who saved a magical realm from evil as a child. Years later, the magical realm needs his help again, but he’s grown up to be kind of a schmuck.

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CM: What attracted you to the Horror Lovers project?

BT: I had been talking with Valerie D’Orazio about collaborating off and on for years. When she pitched the idea to me, it seemed like a good solid idea that had some legs, so I said, “What the heck, lets go for it.”

CM: What specific stylistic approach have you taken with Horror Lovers, in comparison with your previous work?

BT: With this project, I wanted to try something looser, more animated, more cartoony. I asked Val how cartoony she wanted to go with it, and she gave me the ok to do it however I wanted. So I did. The Horror Lovers is more rubbery and exaggerated than the Night Owls or Detectobot.

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CM: How do you make the humor and horror aspects of the comic work together?

BT: Humor and Horror go together like Peanut Butter and Jelly. The two styles seem to be made to work together. They’re complimentary opposites. They highlight their own strengths by contrast and comparison, like black on white.

CM: What has been your experience with Kickstarter so far? Have your backed a lot of kickstarters previously?

BT: I have backed a few kick starters, mostly comics, one video game. I’ve been a contributing artist to two kickstarter anthologies. Monster Elementary by Nick Doan, and Schmuck by Seth Kushner. I helped promote them both, and they were both successfully funded. This is the first project where I’m the sole story artist, so although Val is the one running the campaign, it really feels like its my Kickstarter.

And it’s been a lot harder than I thought it’d be. I guess I was hoping it’d go viral and take on a life of it’s own, but no. I really have to work to promote it.

I’d been planning to launch a Kickstarter in October to fund a deck of Monster Pin Up Girl playing cards, and this campaign has given me a lot to think about.

frankie

CM: What does your ideal future in comics look like?
My ideal future in comics is one where I have enough clout that publishers want to publish my dream projects without me even having to ask!

Seriously, though. I’ve been wanting to do an original Laurel & Hardy graphic novel for ages. I’ve talked to the license holders and I’ve talked to some publishers, but I don’t think it’ll ever happen unless I can raise up my professional profile enough where I can get someone somewhere to take a chance on Laurel and Hardy and me.
And that’s it, really. Yes I want money and prestige, and its all because those things enable me to work on the projects I love most. What I want is the freedom to do that.

 

Martha Thomases: Where’s My Batman?

Ever since I moved to New York in 1977, I wondered what it would be like if there was really a Batman.

Sure, Superman lived in a version of New York as well. So did the entire Marvel Universe. But Batman is the one who felt most like the way I lived, in my tenement apartment. Batman belonged in a city with fifth floor walk-ups.

I don’t mean that I looked up at rooftops for someone to fight crime. Even then, I didn’t normally feel physically threatened on the streets. And Batman was not going to stop the men who made disgusting comments to me as I went to work, did my chores, or met with friends. I might have been in my naïve 20s, but I knew that Batman wasn’t real.

My 20s were not only naïve, but pretentious. I hung out at CBGBs and The Mudd Club. I went to art openings at downtown galleries because I knew the artists. I stayed up all night and wore black, even though I had to be properly dressed at my very proper day-job at 8:30 AM. I knew the kinds of people who could help me stay up all night and get to work on time.

This was a different New York. There were local banks. There were local stores. There were local donut shops. Everything wasn’t part of a chain. Rents were, if not reasonable, at least affordable for someone working an entry-level job. There were bands forming and breaking up and reforming. There were alternative weekly newspapers, alternatives to the alternative weekly newspapers, poetry ‘zines and underground comix. There were community gardens and the beginning of the Green Markets.

In short, it was the kind of city where Batman would be noticed. Even the version of Batman that was then current, the urban legend thought to be a myth by most, known only to Commissioner Gordon and a few others.

I mean, this was a city where punk bands wrote songs about Bernhard Goetz and <a href=”

Gilmore. Certainly, rumors of a giant bat (or a man dressed like a giant bat) would capture the creative imagination. Patti Smith was writing songs about Rimbaud and Verlaine; of course she would have comments on what flew through the streets at night.

As would the <a href=”

Boys. I bet if I look closely, I can find myself in that video somewhere.

And then there is Bruce Wayne, reclusive billionaire. He’s like the opposite of Donald Trump. What would Spy Magazine have made of him? Would they send someone to dig into his affairs the way they did with Trump? Would he have a Spy nickname, like Trump did (“short-fingered vulgarian”)?

I like to imagine that New York-based fashion designers would include a lot more capes in their collections.

It’s more difficult to imagine Batman in present-day New York. While we have gang-related crime, it’s a much smaller part of our lawlessness than you’ll find in corporate boardrooms. The artists and musicians have been gentrified out of town by the international trust fund kids and their investment-minded parents. We have lots of problems, but they aren’t the kind can be fixed by someone bursting through a skylight.

We need a new kind of hero. Has anyone ever seen Elizabeth Warren and Batman in the same place?