The Mix : What are people talking about today?

FIGHT CARD’S RUMBLE IN THE JUNGLE!

Rumble In The Jungle, The latest release from Fight Card Books is now available.

PRESS RELEASE:

AVAILABLE NOW!
FIGHT CARD: RUMBLE IN THE JUNGLE

HELL’S KITCHEN, 1953
Brendan O’Toole is on a downward slide. When his wife dies in a freak car accident, he quits his job and hits the bottle hard. Half tanked in the ring, he allows himself to be knocked out, ending his boxing career.

O’Toole, hits rock bottom. After a night of boozing, he is brutally mugged and left for dead. But O’Toole has friends, even if he can’t see it. One of them is Danny Reilly, a barman with a heart of gold. He arranges for O’Toole to join a construction crew set to work on a hotel being built in the Central African jungle nation of Sezanda. It’s O’Toole’s last shot at redemption.

SEZANDA, CENTRAL AFRICA, 1954

As things begin to look up for O’Toole, the Sezandan government is overthrown in a military coup. All foreigners are taken prisoner and locked in concentration camps. O’Toole is sent to the worst, Hell Camp XXI, under the control of a brutal ex-Nazi, Kommandant Krieger. Krieger has a special way of keeping his prisoners under control. In the camp, he has erected a boxing ring. And anyone who steps out of line is forced to face off against his man-mountain, wrecking machine, Crator – a man whose sole purpose is to inflict pain.

Fate has destined Brendan O’Toole to don the gloves one more time, in a fight not just for his life, but his very soul.

Fight Card Author David Foster gives us the lowdown on Fight Card’s January 2013 release, Fight Card: Rumble in the Jungle here.

REVIEW: Frankenweenie

frankenweenie-cover-02-e1357574584170-2250268Most of ComicMix’s readers know that Tim Burton made his live action Frankenweenie short (starring Barret Oliver, Shelley Duvall, and Daniel Stern) while at Disney and was too quirky for the Mouse House so left to carve out a career of his own. The short was visually stylish, creepy, and filled with affection for the horror films of his youth. Since then, he has created his own brand of horror (Edward Sciossorhands, Legend of Sleepy Hollow) and has reinterpreted classic works (Batman, Alice in Wonderland, Dark Shadows, Planet of the Apes) with varying success.

Last fall he finally released a feature-length version of Frankenweenie and while it underperformed at the box office, it is a creatively satisfying effort, and a great family feature. This can now run with The Nightmare Before Christmas as annual Halloween viewing for which I am grateful.

As with most great tales, this is a love story. In this case, it’s about a boy, Victor (Charlie Tahan), and his dog Sparky. When the beloved pet dies in a car accident, Victor uses his scientific genius to bring Sparky back to life. While some see this as a noble thing, Victor’s parents, Mr. and Mrs. Frankenstein (Martin Short, Catherine O’Hara), worry that their son is overly involved with the dog and lacks human friends.

A boy and his dog is classic and Sparky is your typical dog, although he now has trouble keeping all his parts intact, notably his tail.

When the local boys hear about the successful experiment, things begin to go off the rails. Victor may have Sparky back but things have certainly not gone as planned and that’s where the film’s charm and humor shines through in a well-plotted expansion of the original tale. That said, things do drag the further we move on, as if Burton said all he had to say and needed to stretch to get to a proper running time, 87 minutes, for a feature.

Burton stayed true to his vision, retaining the black and white, evoking the great Universal horror films of the past. And like them, this is filled with winning supporting character — Mr. Rzykruski (Martin Landau), Edgar (Atticus Shaffer) —  enlivening the overall story.

The film is being released by Walt Disney this week in multiple formats including the four-disc combo pack — 3-D, 2-D, DVD, digital — and the Blu-ray comes packed with fun extras starting with  “Captain Sparky vs. The Flying Saucers” (2:30) — a new short with Victor and Sparky watching the title home movie; “Miniatures In Motion: Bringing Frankenweenie To Life” (23:00) minutes), your typical behind-the-scenes featurette;  Frankenweenie Touring Exhibit (4:30) 1/2 minutes); the original Frankenweenie short film (30:00); “Pet Sematary”, a music video from Plain White T’s. The first few featurettes are eye-opening in the effort that goes into making these stop-motion films. Burton, executive producer Don Hahn, producer Allison Abbate, and animation director Trey Thomas exhaustively cover the production, shot at the London-based Three Mills Studio.

This is the most entertaining video release of the week and comes highly recommended.

Review: Superior Spider-Man #1

superior_spiderman_1-4857387That last page is going to calm a LOT of people down.

With the seven hundred issue run of Amazing Spider-Man ended, Marvel has started this new odd hybrid Spider-Man in a new title, Superior Spider-Man, which premiered this week.  Writer Dan Slott has presented one of the most controversial plot twists in comics in some time and set it up in a new book.  And it works exceedingly well. (Spoilers ahead.)

SUPERIOR SPIDER-MAN #1
by Dan Slott
art by Ryan Stegman, color by Edgar Delgado

(more…)

NANCY HANSEN’S PROPHECY’S GAMBIT DEBUTS FROM HANSEN’S WAY AT PRO SE PRESS!


Pro Se Productions, a leading Publisher of Genre Fiction and New Pulp, announces the release of the latest work from one of Pro Se’s most prolific and popular authors, the imagination behind the Pro Se Imprint, Hansen’s Way-Nancy A. Hansen!

From Fantasy Author Nancy A. Hansen’s very own imprint- Hansen’s Way- Comes PROPHECY’S GAMBIT, the follow up novel to Hansen’s stunning best selling novel debut FORTUNE’S PAWN!

 Left to pick up the pieces of a life in upheaval after her harrowing adventures in FORTUNE’S PAWN, young Callie makes a disconcerting discovery: she is carrying the child of a clandestine and forbidden union. While the mundane existence of a barmaid in a frontier town holds its own challenges, the world around her is realigning in a most sinister and dangerous way. Calculating eyes, benevolent and malicious, are now turned in her direction; and Callie finds herself in the midst of ever-increasing intrigue to control her destiny. Will this headstrong and courageous young woman—who has within her the spark of life that could bring together a diverse legion of defenders—survive long enough to carry this pregnancy to term? Or will Callie forfeit her place in legend and history to protect the shameful secret of her unborn child’s heritage and unknowingly sacrifice everyone else’s hopes and dreams in the process? Find out in PROPHECY’S GAMBIT by Nancy Hansen-part of her Hansen’s Way imprint from Pro Se Productions!  Featuring Cover Art by Terry Pavlet, Format and Design by Sean E. Ali, and Ebook Design and Format by Russ Anderson!

Available at Amazon in print-  http://tinyurl.com/9w7upok  Also available at at Pro Se’s Createspace store- 
http://tinyurl.com/arghf3r for $15.00And for $2.99 on your Kindle at http://tinyurl.com/agol29y.   The Ebook is also available at www.smashwords.com and for your Nook at http://www.barnesandnoble.com.


A writer of fantasy and adventure fiction for over 20 years, Nancy Hansen is the author of the novel FORTUNE’S PAWN, and anthologies TALES OF THE VAGABOND BARDS and THE HUNTRESS OF GREENWOOD— all available from Pro Se Press under her imprint Hansen’s Way. Her short stories have been featured in many issues of Pro Se Presents. She is also Assistant Editor and head cheerleader for the company. She has contributed stories to both Airship 27 and Mechanoid Press anthologies as well. Nancy currently resides in beautiful rural northeastern Connecticut with an eclectic cast of family members, and one very spoiled dog.

Pro Se Productions-www.prosepulp.com

For Review Copies and Interviews with the Author, please email proseproductions@earthlink.net

Mike Gold: Funny Books

gold-art-130109-1168451It used to be, when I was about to go home from the San Diego Comic-Con or some other show that required a stupidly long plane ride, I’d drop by the dealer’s area (you know, that ever-shrinking portion of the main floor where people would actually sell comic books at a “comic book convention”) and I’d blow about twenty bucks on stuff to read on the return trip. These purchases were almost exclusively of “funny” comic books.

Sadly, we have come to the point where, in the world of contemporary comics, the phrase “funny comic books” has evolved from a redundancy to an oxymoron and the funniest comic around these days is Deadpool – a title with a death count high on the Tarantino scale.

No, the funny books I’m referring to were, well, funny. One of my favorites was Bud Sagendorf’s Popeye, a somewhat maligned title because the Snoots insist upon comparing it to E.C. Segar’s newspaper creation. Whereas Sagendorf was Segar’s assistant on said feature, they were produced at different times for different audiences and they occupied different landscapes. You tell a story differently in a newspaper strip, usually ending each day with both something resembling a punch line as well as a hook or a cliffhanger to bring the reader back. In comics back in those ancient times, stories were self-contained with a beginning, a middle and an end.

And Bud Sagendorf’s Popeye was brilliant. He certainly got the characters right, employing Segar’s entire cast and adding a few great characters of his own. The stories were as compelling and entertaining as anything on the stands at the time – and we’re talking about a period that encompassed Carl Barks’ Uncle Scrooge, John Stanley’s Little Lulu, and Shelly Mayer’s Sugar and Spike.

Yes, I just compared Sagendorf to Barks, Stanley and Mayer. If you don’t like that, well, in the words of Mike Baron, you can bite my Twinkie.

Our pal Craig Yoe has brought this stuff back to the masses in IDW’s Classic Popeye series, and I see they’ve begun to anthologize their “early” issues (I think they’ve published six issues so far, so “early” is relative only to Doctor Who fans).

But that’s not why I’m writing this. Fooled you, didn’t I? Opening with a 385-word digression. My journalism teachers would plotz. No, I’m writing about a one-shot comic released last week that, on the face of it, seems like a cheesy exploitation gimmick or, in other words, my kind of comic book.

The aforementioned folks at IDW possess the Mars Attacks license as well as the Popeye contract. People think this is because IDW’s Chief Operating Officer Greg Goldstein was a honcho at Topps, the bubble gum people who created and own Mars Attacks. I don’t think that’s the reason. I think it’s because Goldstein has the same strain of arrested development that I do and, instead of growing up, we got into the comics business.

So IDW is doing what every other publisher does with such a property: they’re squeezing the licenses until their eyes pop. Which is why we’ve now got, of all things, Mars Attacks Popeye.

The effort of writer Martin Powell and artist Terry Beatty (yep, the guy who draws The Phantom Sundays and Ms. Tree and Batman and stuff) and edited by the professionally unusual Craig Yoe and Clizia Gussoni, this is one funny, clever and well-produced comic book. It didn’t have to be that; it easily could have been a stupid cheesy exploitation gimmick. No, in the finest American tradition, it is a solidly amusing and entertaining cheesy exploitation gimmick.

Stylistically, Mars Attacks Popeye is done as a Popeye comic in the finest Sagendorf tradition. It employs almost all of the Popeye cast going back to 1919 (not that I really should give away Olive Oyl’s true age) and they take on the advancing army of bubble gum card fame – this time, under the provocation of Popeye’s very own Doctor Doom, the Sea Hag.

Look, you’ve probably got an extra four bucks on you, but if you don’t roll a school kid or something and check it out. It’s about time we got us a funny funny book.

THURSDAY: Dennis O’Neil Gets In A Crossword

 

UCHRONIC TALES: THE STUDIO SPECTER IS NOW AVAILABLE!

Cover Art: Mike Fyles

New Pulp Author Peter Miller’s Uchronic Tales: The Studio Spectre is now available for ebooks at Amazon, Smashwords, Barnes and Noble, and Kobo, with more ebooks and a print version this week. Cover art by New Pulp Artist Mike Fyles.

PRESS RELEASE:

Uchronic Tales: The Studio Specter is now available!

The Uchronic Press is proud to release Uchronic Tales: The Studio Spectre. This action packed novella by W. Peter Miller (Jungle Tales Vol. One) features cover art by Mike Fyles (Amazing Spider-Man, Iron Man Noir.)

Investigator Clark Tyler is joined by a new hero—The Jade Monk—as they are thrust behind the scenes and into the line of fire in Hollywood’s Golden Age.

A spirit is on the loose and terrorizing the cast and crew of The Mayan Mummy and it is up to these unlikely allies to get to the bottom of the secrets behind… The Studio Spectre.

The Claim– Coming Soon!

The third exciting pulp adventure featuring Ace Insurance investigator Clark Tyler is now available in ebook form on the following platforms: Kindle, Nook, Kobo, and Smashwords. iBook and Sony stores should follow soon…

A print edition will also follow soon.

Next up – Uchronic Tales: The Claim – it all comes full circle as I finally release the expanded version of the first thing I wrote that got me into this whole pulp writing thing.

Cover Art: Mike Fyles

About Uchronic Tales: The Studio Spectre–
Is the ghost of Triumph Pictures haunting the studios biggest star? When scares turn to murder, Clark Tyler is on the case in his third exciting Uchronic adventure. Tinsel Town is turned upside down when the Spectre is on the loose. Clark Tyler teams up with the Jade Monk to face the mystery and terror of the Studio Spectre.

Clark Tyler returns to the Uchronic past in another exciting novella also featuring an exciting new hero, The Jade Monk.

The set of Triumph Pictures latest epic is threatened when accidents and tension plagues the set of starlet Fay Reynolds’ newest picture, The Mayan Mummy.

Action, thrills, and double crosses careen across the silver screen and it is up to Clark Tyler and his new friends, Kendo Foster and the mysterious Jade Monk, to solve the case and save the studio.

The Studio Spectre is action in the classic pulp hero style and adventure in the tinseltown in the 1930s.

Clark Tyler is also featured in the other Uchronic Tales novellas – The Zeppelin and The Horn.

Learn more about Uchronic Tales here.

“Go Get A Roomie!” gets a Kickstarter

roomie-6237633

We are incredibly fond of Go Get A Roomie! here at ComicMix. The comic won our May Mayhem NSFW Webcomics Tournament back in May, and their fans voted with their pocketbooks as well, raising hundreds of dollars for the Comic Book Legal Defense Fund to put them way over the top.

And now, they’re putting it all down on paper.

Since its first page, the comic has been there to corrupt the world with fond smiles and happy sighs. If it can continue to do so through a new printed form, it would make a dream come true. Not only will the first book of Go Get a Roomie include all of chapters 1-12, but countless other extras as well! Bonus chapter, illustrations and sketches, redrawn comic strips, drinking game, kitties, a sneak peek at a secret project, and much more!

via Go Get A Roomie! Book One by Hiveworks Comics — Kickstarter.

They’ve already blown past their initial goal of $20,000 in the first day, so it’s going to be funded, but they have lots and lots of stretch goals… at $30,000 they’ll throw in some extra charms and stickers free for everyone ordering at least a book. At $50,000 they’ll throw in a bonus book only chapter on top of the mini chapter already being put into the book, and at $75,000 they’ll get Little one plushies made and add them to anyone getting at least a book. Lord only knows what they’ll do if they hit $100,000– but I think they better start planning for it.

Watch the video– then go get your own Roomie!

Superhero Movies and their Sad Perfect Badass Messiahs

Entertainment Weekly, of all places, presents one of the most thoughtful essays on superhero films and how– similar they’re all becoming, and even worse, how many other movies are aping them to great financial success and overall boredom.

Superhero Movies have evolved to the point where three of the genre’s standard-bearers can embody radically different filmmaking styles – this is a good thing, right? Well, maybe. But the problem is, when you dig underneath the three films’ respective stylistic excesses – and they are excesses; few genres in film history are more fundamentally decadent than the Superhero Film, with the ever-expanding budgets and the swooping digital-effects-crane-shots and the ruined cityscapes and the supervillains planning to conquer/pillage/destroy every city/world/galaxy in sight – there is a depressing sameness to lurking within each movie’s basic DNA.

via The Superhero Delusion: How Superhero Movies created the Sad Perfect Badass Messiah, and what that says about America | PopWatch | EW.com.

Michael Davis: Dark Saturday Knight

davis-art-130108-1522096I finally watched The Dark Knight Rises last Saturday.

Just a short recap: personal demons of mine kept me from seeing the film when it opened because of the shootings that happened during an opening night screening.

The first day the film came to Blu-Ray I brought a copy and planed a Dark Knight Rises night, complete with all the man cave fixings. That week another mass shooting happened and again I put the film on hold. Then Sandy Hook happened and again I put the film on hold.

I freely admit that I’m a pussy when it comes to confronting my own demons. I also freely admit that because of those demons I’ve made stupid decisions and reacted quickly instead of smartly.

Comics, animation, video games and the like take up a great deal of my time and my life, but they are not all my time or all my life.

I was not ready to see The Dark Knight Rises and waited until I was.

The film was, in a word, great.

I don’t regret waiting I don’t regret not seeing it on the big screen because the film was so badass I could have watched it on an iPhone and loved it.

On another note…

Dwayne McDuffie was a dear friend and creative partner of mine. I have yet to watch All-Star Superman, written by Dwayne, which debuted around the time of his death. I’m just not ready. But it sure is something to look forward to.

WEDNESDAY MORNING: Mike Gold Laughs!

 

REVIEW: House at the End of the Street

house-at-the-end-of-the-street-3792594There are flashes of characterization, wit, and warmth in House at the End of the Street, making you hope it is a cut above your modern day horror film. The movie largely focuses on the mother and daughter tandem of Sarah (Elisabeth Shue) and Elissa (Jennifer Lawrence), as they struggle to start fresh in a town after divorce. They can only afford to rent such a nice house because it is situated near the home where a young girl murdered her parents so is tainted. Of course, right there, you know the daughter is still around. Then we learn the son, who had been living with relatives when the heinous act occurred, had moved back in. And we’re off.

The movie, said to be inspired by a short story written by Jonathan Mostow, probably worked better as prose, where more could be done to set mood and character without falling into the tropes that reduce this to a cookie cutter thriller that fails to really thrill. The best thing it has going for it as some twists and turns towards the end that are interesting but are not explored (nor will I discuss so as not to spoil it for fans).

What makes the movie interesting to watch is the cast, headed by Shue, who hasn’t done much interesting work since Leaving Las Vegas, but makes the most of the underwritten role of the mother tightening her grip on the teenage daughter she loves, realizing she’s losing her at the same time. Lawrence, a major star thanks to Winter’s Bone and The Hunger Games, also doesn’t really get enough to work with but plays the new girl at high school rather well. Her scenes with Max Theriot, the boy next door, are some of the best in the film.

Had screenwriter David Loucka and director Mark Tonderai –two men with negligible credits — played more with the mother/daughter, new girl in town threads, this could have been a far richer, more believable tale. Instead, they fell into the trap of using that as window dressing, focusing instead on the mystery of who is trapped under the floor of the cursed house. The soundtrack by Theo Green adds a level of suspense that the perfunctory photography fails to deliver.

The disc coms with the 101-minutetheatricalversion and the unrated 107-minute version, which is just more of the same, making it all the more disappointing. The promised shocking added twist is interesting and could have made the film more interesting, and certainly more of a Hitchcockian thrill ride as promised in the short extra “Journey Into Terror” where the cast and crew heroically make it sound like the film was worth the effort. For Lawrence, this is one of those she will keep on her resume and probably never talk about again.

This release, out now from 20th Century Home Entertainment comes with both versions on a Blu-ray disc and the standard DVD and digital copy are on the second disc.