NBC’s REVOLUTION is evolving, and that’s something that the cast and creators want to be sure viewers are aware of. Series star, Tracy Spiridakos, and new writer Rockne S. O’Bannon (FARSCAPE, ALIEN NATION) talk about what has been happening on the show since the lights went back on and where it is headed this season. Plus motte Big Box Office for Marvel and DC racks up another good month in comic stores.
The Art of Archie, edited by Victor Gorelick and Craig Yoe, Archie Books, hardcover, 158 pages (oversize), $29.99 retail
O.K. I won’t mince words. This is one hell of a book.
Over the past 72 years there have been perhaps a dozen definitive Archie universe artists: Archie’s co-creator Bob Montana and teammates Bob Bolling, Dan DeCarlo, Joe Edwards, Al Fagaly, Harry Lucey, Dan Parent, Fernando Ruiz, Harry Sahle, Samm Schwartz, Bill Vigoda and Bob White. Unless you’re a dedicated fan it’s easy to take their work for granted, but each has his own distinctive style, a style that usually relates to the time of his tenure. If The Art of Archie: The Covers does nothing else, it teaches us each artist’s individual style and that goes a long, long way towards giving credit where credit is due. Which it is.
But the name of this book is The Art of Archie: The Covers, and as such these artists were challenged with a task that American super-hero artists really don’t have. Sure, sometimes they sell a story that’s inside the comic – although most “golden age” comics sported generic poster covers, a trait since imitated in the direct sales era of multiple, variant, gimmick covers. The Archie guys had to sell the comic by attracting the attention of the newsstand browser. Of course poster covers rapidly wear thin, and so the Archie artists usually had to sell a strong gag as well. The situation almost always had to be funny, often without dialog, and for the initial decades their space was limited by the largest banner logos in the history of the medium.
Of course, if they didn’t do a brilliant job of this the Archie line would have gone the way of the publisher’s super-hero line. You can open up to any two-page spread in The Art of Archie: The Covers (designed by co-editor Craig Yoe) and see wonderful examples of how the artists met this task. To any fan of the form, it is breathtaking.
There’s copy here, good stuff explaining who’s who and what’s what. But the overwhelming majority of space is devoted to the covers: full-page reproductions, quarter-page reproductions, and uncolored shots from original art. Whereas the entire panoply of Archie titles is not covered (it’s amazing how many individual Archie universe titles there have been; possibly even more than Richie Rich), many of the more obscure titles are represented. I would have had a serious attitude problem if they hadn’t included Archie’s Mechanics.
Reproductions run from the feature’s initial appearance in 1941 all the way though this year, and include a number of variant and hard-to-find covers. This is truly one comic book book where you can simply stare at the pictures. Any comics fan worthy of the label should have this one on his or her shelf.
Yesterday, Henry Cavill, Amy Adams and Man of Steel Director Zack Snyder sat with special host Kevin Smith for an exclusive fan event on Yahoo! Movies. The cast and crew talked all the things Man of Steel, in anticipation of Tuesday’s home video release of the summer blockbuster.
The event also included a featurette of the sit-down discussion between Zack Snyder and Michael Shannon about the making of Man of Steel.
The other night, My Mary and I were looking for something to watch on the tube. She had recorded Fly Away Home, the 1996 film by Carroll Ballard, starring Jeff Daniels, Dana Delaney, Anna Pacquin and Terry Kinney. We’ve watched it many times and I think we even own a copy of it. It’s wonderfully acted and beautifully shot; if you ever watch it, try to see it in wide screen. Some of the shots of Canadian Geese flying are breathtaking.
One of the things that struck me (again) was Mark Isham’s soundtrack and the haunting song that opens and closes the film, 10,000 Miles, sung by Mary Chapin Carpenter. (You can find it on YouTube, along with the lyrics.) It was one of the pieces of music that I played over and over again during that year of grieving after my wife, Kim Yale, died. Music was, and is, one of my coping mechanisms in life and hearing that song brought me back, not to Kim’s life or death, but that time of grieving, of learning to live without her, of starting my life again. Not to the grief itself but to the memory of that grief.
It’s that time of year. Here in the Midwest, the leaves fall from the trees, the days get shorter and darker, it’s colder as we head towards year’s end. Labor Day comes, signaling an end to summer. We lurch towards Halloween and All Saints Day (or Day of the Dead) with its skulls and ghosts and reminders of mortality. The harvest comes in and the fields look bare even as we celebrate Thanksgiving. Christmas is coming, yes, but so is Winter Solstice, the shortest day of the year. The cycle completes as the old year dies and a new one begins.
It’s not grief I feel now but a rise of melancholy. It’s always a part of me and, I think, always has been. I’m not sure of its origins – I went to many wakes and funerals as a boy, seeing people in caskets who I had known when they were alive, and I know it made an impression on me. I wouldn’t say that I treasure my melancholy but I do value it. I’m aware of death as part of life and that, I think, has informed my work as a writer. I enjoy life immensely and I don’t wallow in melancholy. It is simply there, a constant, and it makes me value those who are there and the joys and pleasures of life. Knowing they will all pass doesn’t make me depressed. Shadows help define an object and my melancholies help define my joys.
Every morning, I see a photo of my Dad sitting atop a shelf that he made for me and my brother when we were boys and I say, “Hi Dad.” I remember him and I miss him and I still love him just as I remember and miss and still love my Mom and Kim and friends and relatives and even pets. I miss places that are no longer there. They all still live in my mind and heart and I still know their stories. They all still have a value to me and are still helping to shape me into who I am.
It’s that time of year to remember and feel, to harvest our emotions, and value what we have. That’s what I’ll be thankful for as we approach Thanksgiving – the shadows as well as the light.
*And not stick your foot in your mouth, come across like an idiot, or otherwise embarrass yourself.
The other day I hopped into Facebook because, you know, why not be pseudo-social, right?. I noted in my news feed that the show-runner from the Kokomo (Indiana) Comic Con was pleading to his friends, customers, and followers to help him live a dream – to secure Denny O’Neil for the 2014 Kokomo Comic Con. I figured since I shared column space with the living legend, I might be able to lend a hand. I made some introductions via e-mail, and well… the gentlemen are ironing out the details. Suffice to say, I love their con, and hope to see Denny there next year. Heck, I hope I see John, Mike, Michael, Emily, Martha, Mindy, Adriane, Glenn and everyone who reads my column there! But then again, like the aforementioned show-runner, I am a dreamer.
Several times throughout my life I’ve been able to meet men and women I greatly admired. And in every instance I wedged my foot so far down my mouth, I passed shoelaces. It’s taken many years, many opportunities, and a few lucky breaks to finally figure out the best way to meet someone I admire and come out of said meeting with my feet solidly beneath me. Consider this my three easy steps for not making the same mistakes I did.
Look where you are.
When you come across that special celebrity / comic writer / artist / C-List celebrity from a reality show you enjoyed back in 2008, do yourself a favor and look where you’re about to initiate a conversation. Are you bumping in to them in a coffee shop or are you in a receiving line at a convention? Context is key. If you’re running into them in a setting where they might be trying to live their life, be considerate. Yes, they may hold significance to you and your life would not be complete without telling them exactly how they’ve impacted your experiences as a night nurse in the Lackawanna County Jail… but let them get that cup of coffee. If they don’t look like they are in a terrible hurry, then go on, cowboy.
How did I learn this lesson? I ran into Mark Waid at the Chicago Comic Con about a decade ago. He was perusing some long boxes deep in the heart of the dealer room. Without warning, amidst hauling out a pile of Scrooge McDuck comics, I bolted up to him, and immediately started blabbing away. He smiled, gave me a curt answer to one of the 1,000 questions I stammered out, and pulled his focus back towards the dealer. I turned a brighter shade of red, and limped away. Flash Fact: Creators don’t walk the show floor looking to be interviewed. Sometimes they’re just enjoying being a fan.
Think before you speak.
I know it’s cliché. But it’s a long-standing piece of advice for a reason. A big thing we geeks tend to forget in mid-frenzy is that our heroes are in the industries we love… but that doesn’t automatically make them as fervent, opinionated, or as knowledgeable in the minutiae of their specific craft as we may be. I like to equate this to the person at the office party who bends his co-workers ears off about work. Your heroes are people. They have likes and dislikes that don’t always align perfectly with what they do for a living. While I myself love talking comics, I also love the Chicago Bears, haute cuisine, and the acoustic-stylings of the Barenaked Ladies. So too, might Wil Wheaton have more interest in the finer points of liberal politics over phaser settings.
Simply put, when you have an opportunity to have a little repartee with an esteemed person of note? Be original. Sure, you can tell them you love their work. But in the day and age of the Internet, Wikipedia, and social media, why not have a question about something outside of the norm? I’ve found that when I catch someone off guard with a question, comment, or anecdote they weren’t expecting? It breaks the ice, and moves the conversation beyond the normal small-talk that dissipates without even a lingering memory. My case in point: Pitching to Dan DiDio to buy my book because the stickers I threw in with the deal “are totally better than those ten cent rings you’re giving away for Blackest Night.” And you know what? He bought the book, and laughed.
Remember it’s not a pitch meeting, job interview, or investment opportunity.
When you come face to face with someone you admire, there just might be that catch in your throat… that little voice in your head that says “Hey, when will you ever have this chance again! Tell them about how you can save the franchise!” Obviously though, it’s not gonna happen. Trust me when I tell you this: I’ve spent the last five years finding every way possible to dance around the idea that I’m one joke, one conversation, one chance blurb away from landing that big gig I’ve always wanted. I’m now older, wiser, and weary; conventions are where deals get started, yes, but not because you want them too.
I’ve been lucky enough to have breakfast with a CEO of a company I would shave my face to be a part of. I broke literal bread with the man. I was witty. I listened attentively. I asked leading questions. I even got an industry veteran to vouch for what good work I was doing. And you know what? I’m not working with that company now, and can safely say it’s not on the horizon either. Lucky for me, the breakfast was damned tasty and the next time I saw that CEO he waved hi and asked me how Unshaven Comics was doing.
Sorry for going a bit long today, kiddos. I’m just looking out for you. Next time you run into that retired wrestler, cosplaying sexy Spongebob, or Kevin Smith at the Quick Stop? Remember: look where you are, think before you speak, and don’t waste your opportunity to make a memory in lieu of begging for a job they don’t have the power to give you on the spot. Shake their hand. Tell them why you love their work. Ask about their favorite album released in the last year, and then leave on a laugh. Those coveted creators and celebrities are just human, and as such, it’s worth it to enjoy making a human connection with them.
The new series REIGN is catching a lot of buzz on The CW Network, we talk to the cast and creators about the good and bad parts of a show based on such a famous, and tragic, historical figure. Plus Bye Bye Blockbuster and Netflix (with Marvel) drops a bomb on the fans.
When Siegel and Shuster first designed Superman’s costume they didn’t have other superhero costumes to copy. Instead they modeled his outfit on circus performers, which made sense. Circus performers needed outfits that sparkled, that attracted the eyes of the audience, but also were flexible enough to permit them to perform their amazing feats. In case you were wondering, that’s why Kal-El wore his underwear on the outside – like a circus strongman.
When it came time to dress super heroines, the same rules applied – almost. The outfits seemed to be modeled on magicians’ assistants as much as acrobats, that is, for women who were there to be stared at, not to move. This is perfectly understandable when you think about it. They people designing the clothes were the ones doing the staring, not the wearing.
Anyway, this has bothered me for at least the last twenty years, when the costumes (and the physiques they covered) became more extreme. Women with enormous breasts, tiny waists and legs longer than stilts wore costumes that defied gravity and exposed their most vulnerable parts. The costumes provided no breast support and most gave the wearer a permanent wedgie. Even when I was running and wore lycra tights (feeling like The Flash, and always wishing DC had licensed that product category), I didn’t wear them so tight that you could see my individual ass cheeks in such detail.
Clearly, no man had ever tried to move in such an outfit.
Last week, thanks to the wonders of the Internets, I saw some examples of what super heroines might wear if they had a choice. A woman I’d never heard of, Celeste Pille
, sketched a few examples.
They are wonderful. While I don’t share her antipathy for capes or long hair (although I agree that both are impractical in a physical fight), it’s breath of fresh air to see costumes a woman can wear and still move.
Gone are high heels. Gone are costumes cut down to, or up to there. If the character needs armor, it covers the places that are most likely to get stabbed or shot at, or that she most wants to protect. Characters who might get cold wear pants.
And while I don’t know that I would hire Ms. Pille to draw comics (not enough information on her story-telling abilities), she does know a few things about how women’s bodies fit together. Women who are human and need strength have big arms and thighs. If they have big breasts, they wear sports bras because while men might find flopping breasts arousing, most women find them inconvenient at best.
If I have any criticisms, it’s that almost everybody needs more pockets. But that’s my criticism of real life as well.
It’s been a while since we’ve done one of these, and this time we’re bringing in Sara Raasch to mix things up a bit with Glenn Hauman as we talk about Thor: The Dark World.
Glenn: So. How long have you been waiting for this film?
Sara: I was actually less hyped about this than any of the other Marvel films. I enjoyed Thor, but of the Marvel Cinematic Universe Phase One, excluding The Incredible Hulk, it was my least favorite.I didn’t buy tickets till after a friend saw it at the premiere. The thing that made me choose to go to the opening night screening rather than waiting was Loki. I really feel like he and Banner stole the show in The Avengers. So as it became clear that he was going to have a large role in Thor: The Dark World, I became more excited about it.
Glenn: What worked for you here that didn’t work as much in the first film? What improved for you?
Sara: I liked that the movie took itself more seriously than the first film and that it did away with the sorta slapstick Greek god fish outta water humor. I was glad he grew out of his petulant teenager phase.
Glenn: Thor was really Thor, in other words. Not so much humbled as humble.Although he still has trouble making his parents happy.
Sara: True. But that’s true to the comics and his back story.
Glenn: In so many ways, the story of Thor is one of family— not dysfunction, per se, but disapproval. In the first movie, Thor was a headstrong kid who couldn’t make his dad happy. In this one, he’s a more mature individual and he still can’t make his dad happy– and this time, it’s more Dad’s fault.
Sara: Yes, but even within that, they are all dedicated to each other.
Glenn: Very true. Thor and Frigga are still even loyal to Loki, at different levels.
Sara: The other thing that I found so much improved from the first movie was the size of the world. The first movie seemed very small. So much of the film was spent in that town in the middle of the desert. Where as in Thor: The Dark World we got to see Thor and crew across the 9 realms.
Glenn: And even on Earth, we get London and Greenwich as compared to New Mexico.
Sara: And then the Asgard sets were stunning.
Glenn: Did you see the film in 3D?
Sara: I did, which I normally wouldn’t do– I hate 3D movies. But I really wanted to see the 5 minutes of Captain America: The Winter Soldier footage.
Glenn: Do you feel the actors improved, or the characters and what they were given to do?
Sara: In general, both. I felt like the acting was consistently good with a few exceptions. Zachary Levi’s character fell flat for me. And as always, Kat Dennings plays Kat Dennings.
Glenn: But not as annoyingly as in 2 Broke Girls, so thanks for small miracles.
Sara: I thought Christopher Eccleston was good, but not exceptional, which is shocking becuase in general I love Eccleston.
Glenn: Eccleston was good, although it led to a particular moment of dissonance— when you see dimensional rifts opening up over England, my instinctive reaction is to wonder where the Time Lord is— and here he’s on the wrong side.
Sara: Fantastic!
Glenn: And while we’re on the subject of bad guys… your object of affection…
Sara: So, okay, I’m obviously biased here, becuase I think Tom Hiddleston is the bee’s knees.
Glenn: You and half of the female audience for these films.
Sara: That being said. I really do think he’s a great actor. And I thought Loki was well done. For me the interactions between him and Thor really worked. And It was nice to see his character get at least a glimmer of redemption after the events of The Avengers.
Glenn: The thing that the movies have brought in a way the comics didn’t get for a long time if ever, is the family bond between these two. Only recently (he says, revealing his age) have they acted like siblings.
Sara: And I thought that really came across. Even after Loki denies his adopted Asgardian legacy, these two really are brothers. And they are each driven to achieve greatness and glory in their own way
Glenn: And they may still do so, although… well, why ruin the surprises?
Sara: You know I have a strict no spoiler policy!
Glenn: Yep. So we won’t even mention the fun cameos. However, we can say to stick around to the very end of the credits for two add-ons, right?
Sara: Yes, reasonable to say.
Glenn: How about the rest of the cast?
Sara: Wait, there were people in this movie other than Tom Hiddleston?
Glenn: Yes. The one with the big biceps? The crazy guy without pants? The hot chick in the leather armor?
Sara: Can I be Sif when I grow up?
Glenn: Well, I won’t complain if you grow up to be Sif.
Sara: I thought Chris Hemsworth did an excellent job as Thor. He has the range as an actor to pull of his machismo bravada as well as his softer moments with Natalie Portman.
Glenn: Hemsworth showed more charm than his previous outings, as though he’s finally found the right balance to play at being a Norse thunder god, a prince of the realm, and still a guy who can’t quite get everything to work perfectly and is a bit troubled by it.
Sara: I’m not sold on the chemistry between him and Portman.
Glenn: Me neither, but there’s certainly more here than, say, with Hayden Christiansen.
Sara: I was gonna reference that.
Glenn: Well, when you have that kissieface moment on the lake right out of Episode II–
Sara: Ugh. Ohh, how can we forget Idris Elba reprising his role as Heimdall. I was super disappointed that he was not, in fact, cancelling the apocalypse.
Glenn: He was actually the one character that seemed a bit diminished from the first film.
Sara: His performance felt pretty phoned in. He seemed one dimensional, and in general Elba can act, so I can’t help but wonder whos fault it was, his, the writers, the directors.
Glenn: I blame whoever had the idea to have him take off his helmet. It made him… fallible, rather this bronze guardian. So— is it worth seeing again?
Sara: I’d watch it again. In 2d this time. Like I said, I’m not big on 3d in movies in general and I didn’t feel that the 3d in Thor: The Dark World was either particularly groundbreaking, well done or integral to the movie experience.
Glenn: I think this was an upconversion job, and it really didn’t need to be. But with this film we now have scale that we didn’t have before, now that the origin movie’s out of the way. Granted, there’s still a lot of setup being laid for the next few films…
Sara: NO SPOILERS! But yes, I’m excited for the next pieces of the MCU Phase 2. As long as Marvel can avoid another misstep a la Iron Man 2.
Glenn: Well, the tough one is two films down the road. Can we at least tell people to rush to see it or next week’s Agents of SHIELD may be spoiled for them?
Sara: Yeah I think that’s fair game.
Glenn: Watch the film! And hope that the TV show measures up.
Sara: Fingers crossed for a Loki cameo next week!
Glenn: Hey— no spoilers, remember? We post this, and those women who just can’t get enough of Tom Hiddleston are going to be all a-flutter.
In case you weren’t already aware, The Middleman campaign on Indiegogo has just a few days left before concluding. It has proven to be a great success already, but there is still time for fans of both the TV show and the comic to get in on the action.
The Middleman‘s creator, Javier Grillo-Marxuach, was kind enough to sit down with us and answer a few questions about the crowd-funding campaign and the incredible world he hopes to bring back to life with your support.
ComicMix: To begin with, how would you describe The Middleman comic and the TV show to someone who has never seen or read it before? Javier Grillo-Marxuach: It’s basically Gilmore Girls meets Men in Black… uh, ok, that may not be the best explanation… it’s the story of Wendy Watson, a young art school graduate with few prospects who – after an encounter with a giant monster at one of her temp jobs, is recruited by The Middleman: lone operative of an organization so secret that even he does not know who they are. Joined as a team, The Middleman and Wendy fight all threats extra-, infra-, and juxta-terrestrial, dispatching monsters, aliens, robots and mad scientists while always living up to the Middleman motto “fighting evil so you don’t have to.”
CM: What inspired you to create The Middleman in the first place and what were the influences behind it? JGM: At the time I wrote the original script – in 1998 – there were a lot of “monster of the week shows” on the air – like Buffy, The X-Files, Angel, Charmed, what have you – and I felt that the genre as a whole lacked a certain “genre awareness” – every one of these shows featured people fighting aliens and monsters and so on, in a hermetic universe in which there seemed to be no popular culture and all these mythologies needed to be explained fresh. I thought – “if a geek lived in these universes, no one would have to explain zombies to her!” Also, I wanted to bring a little optimism to the genre – a lot of these shows dealt with the idea that I call “the tragedy of heroism” the notion that being a hero will mess up your life (just ask Peter Parker) – I wanted a lighter, more affirming take on the genre.
CM: When you decided to resurrect The Middleman, why did you choose the crowd-funding route over more conventional methods? How has the crowd-funding experience been for you and the project? JGM: Because we have an established property with a small, but devoted fan following, crowd funding has been a glove-like fit and an extraordinary experience. I think crowd funding is a great way for someone like me, who has a property for which there is demand, but maybe not enough demand to catch the attention of the major studios. Through crowd funding we have about a thousand pre orders for our new book – to a company like Disney, which owns the media rights to The Middleman, that’s not a large enough amount to move the needle – to us it’s more than enough to make a great product that truly does honor to the characters and to republish our old adventures in an exciting way. Our fans have really stepped up to make this new book, and the webstore reprinting all the legacy material, and the cast reunion/live reading possible – so in addition to everything else, the experience has been enormously validating.
CM: Your crowd-funding project has been tremendously successful. Since the campaign has already surpassed its goal, what stretch rewards can contributors look forward to at this point? If your current top stretch goal ($85,000) is surpassed, do you have plans for another one? JGM: Well, we have five days to go as I write this, so I am not placing bets on getting to our second stretch goal – but it all boils down to this, if we go past the 85,000 we will put any additional money into maybe doing a new book in color, or additional middlebooks down the line… it is all about keeping the Middleman alive.
CM: If you could tell one story in The Middleman setting that hasn’t been told yet, what would it be? JGM: The great thing about The Middleman is that we have established that there have been Middlemen all through history – thanks to the crowdfund, we are going to reprint a one-shot called “Legends of the Middleman” which we originally put out in ’06, and tells the stories of barbarian Middleman, Victorian Middleman (in which he face “The League of Professional Jealousy” when Phileas Phogg, Van Helsing and Tesla team up to stop him from solving all their cases) and World War II Middleman… in the TV show we did a story about a cryogenically frozen Middleman from the 60’s (played fabulously by Kevin Sorbo!)… but if i had my pick of any setting… I would do a Gerry Anderson Supermarionation Middleman story in which he teams up with the Thunderbirds!
Our thanks to Javier Grillo-Marxuach for taking the time to speak to us. Be sure to check out the crowd-funding campaign over on Indiegogo while there’s still time. I think I speak for all of us when I say I’m very excited for The Middleman‘s return.
