Cover Art: Mark Maddox

Press Release:

FROM MOONSTONE IN MARCH 2013

The Red Menace
Author: James Mullaney
Cover: Mark Maddox
258pgs, 4” x 6”, $6.99
ISBN: 978-1-936814-43-5

By the author of “The New Destroyer, the Adventures of Remo Williams!”
         
WHO IS THE RED MENACE?

In the 1950s, the mysterious masked figure was a shadow and a whisper in Cold War corridors from Moscow to Beijing. Where walked the Red Menace, America’s enemies knew fear. And death.

Then in 1960 the whisper grew silent.

Twelve years later, Patrick “Podge” Becket thinks he’s escaped the spy game for good, but into his restless retirement steps a ghost from his past; a bitter Russian colonel with nothing to lose and the means to wreak worldwide destruction.

Aided by brilliant inventor and physician Dr. Thaddeus Wainwright, the Red Menace is reborn for a new generation. But it’s a whole new world out there, and if he doesn’t watch his step the swingin’ Seventies might just find him RED AND BURIED!

Learn more about Moonstone Books at http://moonstonebooks.com.

Well, I haven’t heard Adam Sandler’s Chanukah Song yet – the Festival of Lights starts at sunset on Saturday, December 8^th – but I did hear a rant about the War on Christmas on the radio the other day.

Yep, it’s that time of year again. Hallmark Channel has preempted Little House On The Prairie for sickly sweet (and cheaply made) movies with a Christmas theme. Wal-Mart and Target are pushing black Friday – great name for a villain, by the way – and have introduced something called pre-black Friday. Christmas catalogs have been smushed into my mailbox, and the department store halls are beginning to be decked with boughs of holly, fa-la-la-la, la-la-la-la I’ve even caught some Christmas commercials on the TV (although the deluge is yet to come.)

So this year ye olde editor Mike Gold and Big Kahuna Glenn Hauman decided to get in on the act of Christmas before Thanksgiving and decreed that this week all of your ComicMix columnists offer their own catalogue of gifts – courtesy of that big Santa’s Workshop in the sky and on the web, Amazon – for the holidays. Which includes Chanukah, and don’t forget Kwanza!

So in no particular order, here we go:

1. Jane: The Woman Who Loved Tarzan. Robin Maxwell. 2012 marks the centennial anniversary of Edgar Rice Burroughs’s greatest creation, and Ms. Maxwell, an award-winning historical fiction novelist, has done him proud. Written with the approbation of the Burroughs estate, this is the book for every woman who ever played at being Jane Porter and for every man who ever wanted to be the Tarzan with whom Jane falls in deep, instinctual, forever-and-a-day love. Maxwell’s Jane is no wallflower Edwardian ingénue. A medical student at Cambridge University and an amateur paleoanthropologist, Jane and her father join an expedition into West Africa, and…well, you’ll just have to read it. The novel has garnered praise from such notaries as Jane Goodall and Margaret George, and was featured in the Washington Post and the Huffington Post. Find it here.

2. Battlestar Galactica: The Complete Series (Blu-Ray And DVD). Starring Edward James Olmos, Mary McDonnell, Michael Hogan, James Callis, Katie Sackoff, Tricia Helfer, Jamie Bamber, Grace Parks, and more. Executive Producer Ronald D. Moore. This ain’t your father’s Battlestar Galactica! Critically hailed, beloved by fans of science fiction and fans of great drama alike, Moore and his cast (Edward James Olmos as Commander/Admiral William Adama, Mary McDonnell as President Laura Roslin, Michael Hogan as Colonel Saul Tigh, Katie Sackoff as Lt. Kara “Starbuck” Thrace, Jamie Bamber as Captain Lee “Apollo” Adama, James Callis as Dr. Gaius Baltar, Grace Parks as Lt. Sharon “Boomer” Valerii/Sharon “Athena” Agathorn/Cylon Number 8, Aaron Douglas as Chief Galen Tyrol, Tahmoh Penikett as Lt. Karl “Helo” Agathorn, and Tricia Helfer as the enigmatic Cylon Number Six) weaved a truly epic saga of humanity struggling to survive after devastation. It’s political. It’s sociological. It’s personal and intimate, cosmic and theological. Love, hate, friendship, enmity, jealousy, revenge, forgiveness, life, death. It’s all there. So Say We All! Find it on Amazon.

3. Percy Jackson And The Olympians Hardcover Boxed Set. Rick Riordan. This recommendation comes from Isabel Newell, 12 years old, cellist, equestrienne, singer, and avid reader. Percy Jackson is a good kid, but he’s always getting into trouble…like once there was a snake in his bed and he had strangle it with his own hands! And then he was attacked at school by the Furies! Can he help that he always end up getting expelled from school? (And there have been a lot of schools!) Turns out Percy just happens to be the son of Poseidon, God of the Seas! Which just happens to make Percy not only a demi-god, but a child mentioned in the Great Prophecy! This amazing series gives Harry Potter a run for the money, and is for everybody of all ages who loves mythology and wonder and adventure! Find it on Amazon.

4. Casablanca. Starring Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Raines, Peter Lorre, Sydney Greenstreet, Conrad Veidt, and Dooley Wilson. Produced by Hal B. Wallis, Directed by Michael Curtiz, Screenplay by Julius and Philip Epstein and Howard Koch, with music by Max Steiner. Julie Schwartz once told me that there is only one story: Boy Meets Girl. Boy Loses Girl. Boy Gets Girl. This is the essence of what is probably the greatest movie every made by hook or by crook – did you know that pages were constantly rewritten even as filming went on, and that no one knew how it was going to end? Okay, Rick loses Ilsa, but he does get Louis. See, Julie was right! Find it here. Oh, and check out John Ostrander’s wonderful series of columns on Casablanca, right here at ComicMix.

Okay, time to toot my own horn. Mike asked us to recommend something we had written. Hmmmm….

I want to recommend Wonder Woman #86, Chalk Drawings by the great George Pérez, me, and the wondrous Ms. Jill Thompson. It is the story of the aftermath of Lucy Spear’s suicide; there are no easy answers to suicide and it was my decision to reflect that. I’m immensely proud of it and the work that we three did together, and I’ve always been sorry that it did not get the attention it deserved. Find it here.

Oh, and one more thing. Give a gift that really counts for something and truly reflects what the season is all about: donate to the Red Cross, or the Salvation Army, or any of the great charities helping people to recover from Sandy.

That’ll be your gift to me.

TUESDAY MORNING: Emily S. Whitten

TUESDAY AFTERNOON: Michael Davis

James Bond, as a movie franchise, has been around for fifty years and the franchise celebrates in magnificent fashion with the latest installment, Skyfall. For me, it’s definitely the best thus far of the Daniel Craig Bond movies and it may be my choice for the best of all the Bond movies. I know that “best” is, as often as not, a personal, subjective opinion rather than an objective choice. People can cite certain criteria as the basis of their opinions but who determines the criteria? For example, there are those who regard and will always regard Sean Connery as the best Bond and anything else is heresy.

Let’s look at Skyfall in context of the past fifty years of Bond films. On my list of the best Bond films are From Russia With Love, Goldfinger, and Daniel Craig’s first outing as Bond, Casino Royale. As much as I really enjoyed the latter, Skyfall is superior.

To start off, we have an A list director in Academy Award winner Sam Mendes (for whom Craig played in Road to Perdition, made from Max Allan Collins’s graphic novel). Together with cinematographer Roger Deakin, there are some stunning visuals in the film. This is the best-looking Bond movie ever.

The action set pieces, including the opening, are breathtaking, as are the opening credits by Daniel Kleinman, who also did several other Bond films including Casino Royale. The visuals in the opening credits actually play into the story and what has just happened onscreen with a hallucinatory effect.

A Bond film also heavily depends on its villain and with Javier Bardem’s Silva we have one of the greats. You can detect a touch of Heath Ledger’s Joker in him but not blazingly so. He smiles, he laughs, he’s brilliant, he’s predatory and he lusts for Bond’s body. Bardem knows how to both underplay the character and take him over the top. Considering that the character doesn’t even appear for the first hour or so into the film, the impact is indelible.

A Bond story doesn’t always have to make sense; it often provides the framework for the derring-do and the action but this one actually digs a bit into both the character of Bond and of his boss, M, played by the stunning Judi Dench. She is so tough and no nonsense that she could have been a white, British Amanda Waller. The most important relationship in the film is between M and Bond and ultimately it’s very touching, very human. The story doesn’t just keep everything very status quo; the situation and the characters are challenged and there is change.

The movie lets Bond fail early on, lets him get seedy, lets him fall off the mark in his skills so that he has to work to reclaim them. It addresses the question of whether or not Bond and M are dinosaurs, are they truly needed in this age of computer wizardry. (Yes, they are.) It also addresses the fact that Craig, and Bond, are getting older. In the Roger Moore era, it was glossed over as they gave Moore turtlenecks to hide his wattle. Here, Bond looks older, more worn, and it is suggested to him that he has lost a step or two and maybe its time for him to retire.

The movie pays service to the Bond films of the past without being strictly tied to its continuity. It doesn’t reboot the franchise so much as evolves it. During much of the Moore era, the franchise just got silly and even later incarnations didn’t change things much. Then the Bourne movies came out and the status quo changed. Bond had to change as well and that started with Casino Royale but has found its culmination here. At the same time, the Bond franchise doesn’t shy away from its past; there is a suggestion that between the last film, Quantum of Solace, and now many of the previous Bond adventures may have taken place, specifically Goldfinger. It redefines Bond and his world so that they work for today.

Skyfall digs deeper, attempts more, looks better, and challenges both the characters and us, more so than any other Bond film. Yes, I’m including From Russia With Love and Goldfinger. That’s why I’m saying it is the best Bond film ever. And don’t we want it that way? The best is not the past; it’s now and, hopefully, in the future. When people ask me what is the best story I’ve written, I always say, “The next one.” I hope to go to my grave thinking that. Gives us something to work for and to look forward to. Me? I can’t wait. Bring on the next Bond!

MONDAY: Mindy Newell

Calling all daikaiju (giant monster) fans:

One of the contributors to Mechanoid Press’ MONSTER EARTH anthology, Jeff McGinnis, has provided a FREE bonus story called THE IMPOSSIBLE DREAM: A Monster Earth Bonus Story.

You can red it here.

As a rule of thumb (the very same thumb I referenced not seven days ago), I stay away from licensed books. How did I come to that rule? It’s one engrained in my loathing of fan-fiction. Gasp! I’ve never, ever, (ever-ever) appreciated the world of fan-fiction. The whole notion that one’s love of a property goes so far they must appropriate the universe another writer created for their own nefarious purposes seems weak to me. Why limit oneself to the rules of another’s whims when the post-modern world allows for infinite homage, pastiche, and appropriation? Given the pre-sales of My Little Pony: Friendship is Magic (go Katie Cook!), I’m obviously in the wrong.

But Marc, you fickle bastard, you’ve just argued yourself into a corner! You, who have lamented on countless occasions how you’d love to write for Marvel and DC… don’t you realize if you were given a run on Green Lantern, Batman, or the Slingers, you would in essence be “limiting oneself to the rules of someone else’s whims?” Too true.

And when DC and Marvel hire me, you’re welcome to call me a hypocrite.

There’s nuance to this argument, and my greater point stands true. Writing for mainstream comics is its own beast, one I’m sure to tackle soon. For the time being, stay with me.

The fact is that amongst the small presses (still large enough to get rack space) are almost entirely engrained with this unyielding genre, save perhaps for Image or Valiant. Certainly we know why: licensed properties bring with them a given fan-base. For much of Dark Horse, IDW, Boom, and Dynamite’s catalogs are siphoning life-force from the lost and misspent youth of their target demographic. And since I’m no Bob Wayne, I simply don’t know how well it’s boding for any of them. The ideology that the comic buying audience at large is desperate to read more tales set inside the Hellraiser, Battlestar: Galatica, and the Ghostbusters seems legitimate, if only on paper (heh). But when I see the book on the shelf, it is truly taxing to find reason to open the gates again on properties built elsewhere.

Perhaps it’s my fear that licensed comics seem far from canon (that is to say that their contributions will hold true forever). Perhaps it’s my fear that adding to existing canon makes it harder to enjoy. I can’t tell you how many times my unshaven cohort Matt has given me the verbal Wikipedia entry on all that has gone down in Transformers extended properties (novels, comics, soft-core porn). And every time? My eyes glaze over, and I’m immediately reminded that I’m happy to have the G1 box set and Beast Wars and call it a day. It’s this fear of the overwrought rules and backstory one needs to know that stifles any anticipated joy in reading a licensed book.

But what if the teams involved are at the top of their game? Creative teams be damned. Truly, if you told me Alex Ross would paint over a Mark Waid script of G.I. Joe… and that it was the best work ever put out by either one of them… I’d still sooner spend my paycheck on a Grant Morrison Doom Patrol graphic novel or maybe some new socks.

Lest you think I’ve never even given a book like this a chance, allow me a simple anecdote. An amazing columnist for the Chicago Daily Red Eye (think hipster news for the daily commuter) Elliot Serrano had been given the opportunity to write a new Army of Darkness comic. Given that it was a slow week, I decided I should support my fellow indie creator (and he was nice enough to interview me for his blog twice) and give it a chance. I’d never purchased an Army of Darkness comic in the past. My knowledge of the source material was limited to the handful of viewings I’d had of Raimi’s film. And to his credit, Serrano’s pen wasn’t weighed down too heavily by the yoke of backstory that came with the property.

That being said, the book suffered terribly from Serrano having to forcefully hit the beats the license (and, no doubt, the legion of deadite fans) demanded. What we were left with? I quote myself from my MichaelDavisWorld review:

 “The book has moments of clarity, but they are dragged down by the wishy-washy plot and cardboard cutout of a protagonist. I think I’ll go put on my copy of the movie, and bury this necronomicon deep in a long box… in hopes that the evil spirits lurking within don’t wreck havoc on my soul.”

Given that I thought Elliot’s writing was better than what he’d showed on page only proved to me that the book was not intended for me. While fans of the AoD universe were heralding it as a success, I was left back in the starting blocks wondering why the book shifted tone more than Mitt Romney (ooooh, semi-late reference burn!).

Suffice to say, licensed books have their place. There’s been great examples of those who made great leaps of fiction balancing the properties’ beats while adding to the canon. John Ostrander’s run on Star Wars is still sold out at my local shop. And Joss Whedon’s continuation of the Buffy: The Vampire Slayer into a “9^th season” via comics helped fans continue their love affair with the series. There is a place for these books, indeed. The fact is unless you yourself are a die-hard lover of the property in question, the book is wasted space on the rack. And for someone who is now actively seeking originality at the shop… no amount of lightsaber fun will turn me toward the dark side. Simply put? A licensed book is a license to limit your sales to those who are familiar. Everyone else? Find some place else to read.

I would like to note that if the powers that be would like to license Exo-Squad to Unshaven Comics, I will voluntarily lop off my left leg, and then proceed to write and draw the best damned Exo-Squad comic is history. And I can guarantee that it’ll be a top seller… to the 40 or so people who still love the property.

SUNDAY: John Ostrander