Before I get down to today’s main topic, I want to say that I’m thinking of all who may be in difficulties or have suffered damage or loss due to Hurricane Sandy. I know a lot of comics pros (and fans!) live in NYC, which was pretty hard-hit, and I hope that most of you there and everywhere else made it out of the storm with minimal inconvenience.

As it turns out, at least one of our community did not fare so well. NYC-area comics artist J.K. Woodward (of Peter David’s Fallen Angel and more) and his wife Monica lost pretty much everything in the hurricane. Darrell Taylor and J.K. have a weekly podcast called J.K.’s Happy Hour, and this week it’s all about the craziness that J.K. and Monica went through. You should seriously listen to it, because it’s nuts. (I got to, “The couch started lifting up and floating, and we realized we were fucked,” and I just started laughing in horrified disbelief, even though it’s really not funny. It’s just that unbelievably crazy. And J.K. is funny, even in the midst of his loss.)

In the aftermath of that, J.K. and Monica are trying to find a new place to live and to replace basically their whole lives (right down to their clothes! Yikes!), and they could really use some help. To help finance a new home, car, and household items, J.K. is selling original art here. Or, if you’d like to help them out but would prefer to give directly, they also have a PayPal account at jkwoodward1205@gmail.com. Alternatively, if you want to donate clothes (J.K. is an XL in mens’ tees) or household items, through at least December they can be sent to: J.K. Woodward, c/o Reiss Studios, 4301 22nd Street, Studio 206, Long Island City, NY 11101.

You can also keep up with how they are doing and any updates as to what help they might need at J.K.’s blog. It must be terrible to lose everything like that; but hopefully some of us in the community can help them get back on their feet!

And, now, onward to something a little creepy – which is appropriate, as I was reading it right before Halloween. “It” being a review copy of the graphic adaptation of actor Thomas Jane’s movie Dark Country, which is now available in hardback. Both the movie and the graphic novel are based on a twisty little story written by Tab Murphy. The graphic novel is published by RAW Studios, founded by Thomas Jane (The Punisher, The Mist, Hung) and in partnership with Eisner Award nominated illustrator/production designer Tim Bradstreet (The Punisher, Hellblazer, Criminal Macabre) and a crew of talented creators.

I admit I haven’t seen the movie (although now that I’ve read the graphic novel, I may just do so). So this review is all about the new hardback graphic novel, which actually contains three distinct parts: a “silent” scratchboard-style graphic story by Swiss artist Thomas Ott, the original short story by Tab Murphy, and a collection of information and images related to the making of the film.

I haven’t encountered that many silent comics before; although memorably, Frank Tieri’s Deadpool #61 in the “Funeral for a Freak” storyline (appropriately entitled “‘Nuff Said”) is one, and is very well done. But the Dark Country silent comic is very impressive – both in the unique style of art, which is alternately beautiful and ominous or even gruesome; and in the way it’s able to tell the story without a spoken word from any character. Done all in black and white, Ott’s style is pretty interesting (samples can be seen here), being simultaneously very precise and detailed, and diffuse due to the scratchboard technique. The style also contributes to the noir-ish mood of the story and to the impending sense of dread as it unfolds. It’s definitely a striking artistic work and story.

Reading Tab Murphy’s original short story is a slightly different experience, but no less enjoyable if you like suspense and horror. If you haven’t encountered the story before, I won’t spoil it for you; but I will say, it’s an interesting little tale with a weird twist that’s hard to get out of your mind; one of the kind that you want to read through again after you’ve finished it, to see how your own perception of the plot has changed. It starts out with a newly married couple driving from Vegas to Albuquerque through the desert at night, and gets ominous when they encounter a body in the road. I’m not a horror fan in the sense of “blood, guts, and slasher films.” What I do like, though, are psychological thrillers and stories that are terrifying because of their puzzles, twists, or dark mysteries; and this is something along those lines, and certainly worth a read if you enjoy that genre.

The third part of the hardback package is almost fifty pages of materials from the making of the movie, like background, storyboards, production notes, and still photos. Despite not having seen the film, I found this part really interesting. It’s a glimpse into Thomas Jane and Co’s creative process during production, in a detail I haven’t encountered before (being as most of my “behind the scenes” reading about movie production has been done piecemeal and by happenstance while clicking around online). From discussions about the influence comic books had on Jane’s vision to the process of making the film in 3-D to concept art and storyboards, there’s a lot to digest here, and it gives a nice glimpse into the development of a film from concept to screen. Also there are some great bits of art by David Allcock scattered about.

Altogether, the compilation of these things is pretty cool; and if you’re a fan of the movie or of noir, horror, suspense, or some combination of those things, I’d think this would be a neat addition to your collection. Just don’t read it before bedtime, or you might find yourself unable to escape dreaming of the Dark Country.

Wishing you all a sleep free of nightmares, and until next time, Servo Lectio!

E.T.A. And to wrap up on Halloween-themed things, it so happens that I have just entered my Arkham City Harley Quinn costume in a little contest. Winners get cool comics prizes! So if anyone is so inclined, please feel free to vote for me once a day through November 14, and maybe I can win! (In which case, I would most certainly choose the Harley Quinn prize. It’s only fitting). Thanks!!

TUESDAY AFTERNOON: Michael Davis and The Adventures Of Black-Man!

WEDNESDAY MORNING: Why Mike Gold Didn’t Cold-Cock Walter Simonson

Here’s a pre-Election Day piece from Nikkolas and Nicole Smith, recasting Sasha, Malia, Michelle, and Barack Obama in the style of Pixar’s The Incredibles. I see only two things wrong with it:

1. The slogan should no longer be “Forward”, but “Excelsior!”

2. This piece is just crying out for Mitt Romney as Syndrome. Or perhaps $yndrome. And I suppose there’s space there for Joe Biden as Frozone. Of course, if you do that, you have to show Mitch McConnell as the Underminer…

The Kid would never forgive if I used any other poster…

Wreck-It Ralph is very much of a new breed of Disney animation, showing both the freshness of new blood in the company, and a new attention to story with Pixar’s John Lasseter now holding court as the New Walt at the company.  Directed by Rich Moore (The Simpsons) and written by Moore, other Simpsons alum Jim Reardon, the film takes ideas from Toy Story, Who Framed Roger Rabbit, and Saturday Morning cult favorite Reboot.  The world inside videogames is alive; after hours they visit each other, attend parties and if their games were unplugged, roam the halls of Game Central Station begging for spare fruits and power-ups.

Wreck-it Ralph (John C. Reilly) is the antagonist of classic videogame Fix It Felix Jr., the titular hero voiced by Jack McBrayer.  After thirty years of being the bad guy, he examines his life and finds it lacking.  He attends the 30th anniversary party for the game at Felix’s penthouse apartment, and is made clear he is not welcome by the denizens of the apartment house whose job is his to demolish hundreds of times daily.  He attempts to show that he wants to be a good guy, and is told that he is a bad guy, will remain a bad guy, and that he must “go with the program”.  He embarks on a quest to “become a hero”, which he believes will bring him the love (or at least the penthouse apartment) of the people of his game.  He plans to “game jump” into another videogame, where he can take the role of good guy and achieve his dream.  His choice, the new sci-fi shoot-em-up Hero’s Duty, spearheaded by the gruff and buxom Sergeant Calhoun (Jane Lynch).  He makes it to the climax of the game, and earns a “hero” medal, but his ingrained predilection to destroy sends things into a shamble quickly, launching him screaming into the super-sweet cart-racer Sugar Rush, with a cy-bug, one of the baddies from Duty in tow.  He meets Vanellope Von Schweetz (Sarah Silverman), a bit of glitch code from the game who, like Ralph, wants to better herself and prove she can be a hero.  But according to the ruler of the land, King Kandy (Alan Tudyk), there may be a real danger if Vanellope lives out her dream.  And all along, the Cy-Bug from Hero’s Duty is multiplying into peppermint-striped hordes under the taffy swamps and rock-candy mountains.

The film takes a unique take from the first scene – Ralph is clearly portrayed as the bad guy, but not all that bad.  But in addition, like in many of the Farrelly Brothers comedies, he’s given a reasonable motivation for his unpleasantness.  According to the games opening cut scene, he was ejected from his home (a stump in the forest) in order to build the residential edifice at which he daily expresses his dissatisfaction.  The theme of the film is clearly about the upsides and downsides trying to be more than you were literally created to be – Ralph’s desire is honest, but like Vanellope’s, runs the risk of hurting many others.  The ecology of the game world has a bit of an edge as well – the idea of homeless videogame characters gets a laugh, but it’s an uncomfortable laugh for the parents.

You’ve already heard about the cameos.  Like the aforementioned Roger Rabbit, the film had gained great buzz by arranging cameos from scads of classic videogames and characters, including the combatants from Street Fighter, the cast of Pac-Man, and, The Kid’s personal favorite, Sonic The Hedgehog. Lesser-known games like Burger Time and Tapper make an appearance, the latter being the popular after-hours hang-out of the gaming world.  Like the appearance of actual toys in Toy Story, they give the world a sense of verisimilitude and realism, as well as provide for plugs of lots of classic games. Not to mention a few new ones.  As part of Sonic’s appearance, Ralph will be appearing in Sonic’s new game, Sonic & All-Stars Racing Transformed.  Even the legendary Konami Super-Code appears in the game.  No child of the 80s can sit through those scenes of Dig-Dug diving into the floor of the game station without being gobsmacked by nostalgia.

But in addition to the cameos the Disney creators do a great job of creating games that have the real look and feel of real games from various gaming eras.  Fix-It Felix Jr. is a game in the Donkey Kong / Crazy Climber mold, and and first look, it looks fun enough to want to play for real (and you can, at the film’s website, as well as Hero’s Duty and Sugar Rush). Hero’s Duty is a parody of modern first-person shooters like Halo, and Calhoun is clearly a kissing cousin of “Fem-Shep” from Mass Effect.  Sugar Rush also parodies the recent tactic of product placements in video games, by having actual product placements.  Felix and Calhoun almost meet their end in Nestle Quik-sand, are saved by Laffy Taffy, and while the boiling “diet cola” lake may be generic, the stalactites of Mentos above it are decidedly not.

The quality of the film can be best explained by an error of The Wife’s – when she saw the level of humor and clearly rich plot, she mistakenly assumed it was a Pixar release.  High praise indeed, and praise that Disney has worked hard to obtain.  The last few Disney releases have been quite a step up from a recent period of repetition, and that’s a good thing.

Pride, Prejudice and Zombies was a quirky, fun mash-up of genres that sparked a brief fad of similar works. Of the rushed releases to fight for shelf space, about the only worth successor was Seth Grahame-Smith’s Abraham Lincoln: Vampire Hunter.  This is early Abe; pre-White House, when the rail splitter used his axe in imaginative ways, keeping the frontier safe from the undead. Given the nation’s continuing fascination with Honest Abe, it was tailor made for Hollywood.

This summer, we got director Timur Bekmambetov’s interpretation and thanks to a script from Grahame-Smith, the finished product is pretty much what you expect: atmospheric popcorn fun. While attention has returned to the more somber Abe with Steve Spielberg’s forthcoming Lincoln, 20^th Century Home Entertainment has released Abraham Lincoln: Vampire Hunter on home video and it’s well worth a look.

Starring Benjamin Walker, the film’s protagonist looks perfectly capable of dealing death to vampires while cracking the occasional joke which was the man’s signature. The story sets out early in his life when he saw his mother poisoned by a vampire, named Jack Barts (Marton Csokas), and years later, after being trained by Henry Sturgess (Dominic Cooper), exacts his grisly revenge, setting Lincoln on his path to destiny. Along the way, he befriends shopkeeper Joshua Speed (Jimmi Simpson), working and living at the general store. And he meets his future wife, Mary Todd (Mary Elizabeth Winstead), when she was young, pretty and still sane. We rush through the 1800s at a pretty fast clip so suddenly he’s president and the Civil War is threatening.

His mission to eradicate vampires leads him to learn they all report to Southern plantation owner Adam (Rufus Sewell) and his sister, Vadoma (Erin Wasson). Adams offers Confederate president Jefferson Davis (John Rothman) his vampire’s allegiance in the coming war. Don’t come looking for a history lesson in the plot although it does nicely weave the vampires’ plight and desire for dominance into the slavery issue (slaves make for plentiful and tasty food it seems). Nor should you look for the vamps to follow the standard rules so the bitten become vampires instantly and Abe’s axe is dipped in silver, better for werewolves than vampires.

The film veers from playing it with tongue firmly in cheek to deadly serious and the shifting can be jarring and dissatisfying. Bekmambetov, best known for the stylish Wanted, does a better job with the look of the film, using a dark color palette and keeping things feeling eerie. His action is frenetic but unoriginal, which is a shame. His cast does what they can but the tone affects their performances, wasting some fine potential.

Thankfully, the transfer to disc is pretty flawless and sounds good. The Combo Pack comes with the standard Blu-ray, DVD, and a code for both an iTunes digital copy and UltraViolet copy. The extras are a standard assortment, starting with Audio Commentary with Writer Seth Grahame-Smith which is interesting although his wit needed more air time. The Great Calamity (7:43), is an interesting CGI-animated short about vampires in America as told by Edgar Allen Poe to Lincoln, featuring the story of Elizabeth Bathory. The Making of Abraham Lincoln: Vampire Hunter (75:21) is a five-part making-of documentary which tells you everything you need to know and then some. Lincoln Park’s “Powerless” Music Video (2:54) and theatrical trailer round out the assorted extras.

Let’s see – what were the big stories of this past week? Hurricane/Superstorm Sandy slamming the East Coast and turning off power as far away as Lapeer, Michigan. Yup. That’s the big one. President Obama wins re-election. Wait. That’s next week. George Lucas sells his holdings to Disney and Episode VII is announced.

That sounds like the one I’m going to write about.

Caveats: Although I write two Star Wars comics for Dark Horse, I know nothing more than any of you about this. I was as surprised as anyone when the story broke. I hesitated before writing this column for fear that someone might take this as an insider’s view. It’s not. It’s all just rumination and speculation on my part. We good?

There has been, of course, a cacophony of reaction all over the ‘net. Them underground tubes have been humming. Some praise, some wails of distress, some outraged howls of betrayal. Among Star Wars fans there has been a lot of speculation of what Episode VII would be like. Which part of the Extended Universe (EU) would be adapted? The Thrawn Trilogy? The New Jedi Order? Legacy?

The answer: none of the above. Official response has been that it would be “an original story.” Massive disappointment among the EU faithful and fears that the new Episode VII will make hash of the post Episode VI EU. I fully expect the new film to respect EU continuity as much as George Lucas did which was – not at all.

The reason why? If you’re not a EU fan, how many of those possibilities that I named up above made any sense to you? I’m guessing “none of the above.” The fans are important but there’s not enough of them. The first new Star Wars movie in decades? A sequel, not a prequel? Disney and Lucasfilm are going to be looking for Avengers type numbers and that means it has to be accessible to the general public. Heck, they’ll want it to be accessible to those who haven’t watched a Star Wars film ever. That’s not unreasonable. That’s why Disney made the purchase in the first place.

There are also concerns that Disney will “Disneyize” the franchise. That doesn’t make sense to me. Star Wars is very compatible with Disney as is. Also, Disney also owns Pixar and hasn’t messed with that so far as I can see. They own Marvel Comics and Marvel seems to be doing what Marvel does without much change, again so far as I can see.

Not every change is bad. I was one of the doubters when Paramount announced a re-boot of Star Trek. I ended up loving it. I also doubted when Daniel Craig was announced as James Bond. A blonde James Bond? That was just wrong. Now – I think Craig is one of the absolute best Bonds and I can’t wait for Skyfall.

There also has been speculation that the Star Wars comics would move from Dark Horse to Marvel Comics. Here you might think I have some reliable info, but I don’t. Dark Horse has the license at the moment; it was just renewed a few years back. Dark Horse is taking a wait-an-see approach and so am I.

There is history; the Disney Comics were at Boom! before Disney bought Marvel and then they got moved to Marvel Comics. And it would make sense, I suppose, to move the comics to the comic company Disney owns. On the other hand, several of the movie franchises are at studios other than Disney.

As I said, Dark Horse has a license. I have a vested interest to be sure – I have two SW titles out at Dark Horse, Agent of the Empire (the new arc, Hard Targets, has just started and the first arc, Iron Eclipse, has just been released in TPB form) and Dawn of the Jedi (the first arc, Force Storm, will be released on Christmas day, and the new arc, The Prisoner of Bogan, will be released November 28 and, yes, I’m hyping my own product, thank you very much). I’ve worked on Star Wars comics for about ten years. Would that continue if the license moved to Marvel? Beats me.

So is all this a good thing or a bad thing? It’s a thing. George Lucas has been talking about retiring for some time so it makes sense that he found a good home for his creations. He’s still around and I suspect he’ll have as much say as he wants in what happens. Things will change and that includes EU continuity. Does that bother me?

Not really. I don’t own any of the characters that I’ve worked on in the comics any more than I own any characters that I created at Marvel or DC. (I have a financial stake in Amanda Waller and that’s sweet but not ownership.) Fans often evince a feeling of ownership of Star Wars (or Harry Potter or Twilight or any other fan intensive franchise) but that’s not reality.

What we have (and I’m a fan as well) is hope, in this case maybe a new hope, that Episode VII will be everything we want in a Star Wars movie and the stories that come out of it and surround it will also be cool. Why do I hope? Because it’s in Disney’s best interest to do it right.

The galaxy will be watching.

Monday: Did Sandy Get Mindy?

Few made a bigger debut in the 1990s than Edward Burns who wrote and starred in The Brothers McMullen, which remains a quiet classic, often overlooked. These days, he is perhaps better known for his run on HBO’s Entourage, playing a version of himself. Thankfully, he continues to be a creative force, continuing to appear in and make movies. Still, his first offering is worth a look and thankfully, 20^th Century Home Entertainment has given us a new Blu-ray edition as part of their Signature Collection.

What makes his first movie so powerful is its storyline and sparseness. Working on a shoestring budget, the film lacked a large production crew, shooting on location without permission while his mom made lunch for whoever was on set that day. It was guerilla shooting fueled by passion and it all shows on the screen. As a result, you’re forced to focus on the characters and story and there’s plenty here.

At the funeral for his father, Finbar “Barry” McMullen (Burns) says goodbye to his mother (Catharine Bolz), who will be returning to Ireland. We then jump ahead five years to see that Barry and his brothers are all dreaming and struggling. Jack (Jack Mulcahy) and his wife Molly (Connie Britton), still living in the McMullen family home, are straining as she wants to start a family and he’s resistant to the notion (igniting an affair). Then there’s serial dater and would-be screenwriter

In an ironic touch Patrick (Mike McGlone), the most devoutly Catholic of the Irish brothers, is dating Susan (Shari Albert), a nice Jewish girl whose father wants to shower them with an apartment and give the man a job. Marrying her has Patrick scared. Barry is a serial dater and would-be screenwriter who is ending his latest relationship with Ann (Elizabeth McKay), leaving him homeless.

We pick up on the occasion of Molly’s thirtieth birthday party and then we follow the next eight months of their lives and it’s never short of fascinating as events force the three brothers to once more be living under the same roof, with all its ghosts and memories. In time we come to understand that the boys are mostly worried about recreating their parents’ loveless marriage, raising a cold family largely in caused by their father’s alcoholism. The cycle may be broken when Barry begins seeing Audrey (Maxine Bahns).

Overall, the performances are spot on and it’s refreshing to see Britton early in her career at a time she is shining on ABC’s Nashville.

This is well worth a second or third look and thankfully the Blu-ray transfer of the 16mm film is pristine. The disc comes with a commentary from Burns, honestly revealing the trick she used to get this film made while still working for Entertainment Tonight. Culled from previous versions is Fox Movie Channel Presents Fox Legacy with Tom Rothman (14:26) which reminds us this was the first release from the Fox Searchlight label. The Signature case includes a glossy insert with production notes about the film.

The notion is simple and appealing. The more the merrier. When DC launched “The Justice Society of America” back in 1940, the ideology was clear. Put more heroes into the book, and children would be more likely to buy it. And the children flocked to it for 57 issues. The rest, they say, is history. Lately, team books have been on my mind. What better way for a company to showcase many of their stars in a single place? And better than that? Where better to shove barely loved tertiary characters for the sake of filling a roster!

But with this notion comes obvious shortcomings, the biggest of which is what I plan on pissing and moaning about for a few paragraphs. Simply put? There’s too many teams, and too many shifts in the rosters for team books to be more than big distractions… and it’s starting to get under my skin.

So let’s start at the top. Too. Many. Teams. In a few months time, we’ll be privy to three Justice Leagues (and one alternate Earth Society), four (or more, it’s hard to say) Avengers teams, five X-Teams, Team Seven, Teen Titans, The Ravagers, Guardians of the Galaxy, and a new batch of Thunderbolts. How does a fan even begin? The problem is clear to me. While the appeal of jamming every available hero into a team is palpable for the sheer marketing of it all… all it’s doing is lowering the property values neighborhood wide.

One thing about team books is that they are truly hard to pull off well. Solo adventure books have a freedom to explore and expound. The plots can expand lengths of time, and space, or be confined to a single room and altercation. In team books, the ease with which one can be lazy is palpable. It’s simply par for the course to check in on all the pieces of your puzzle… advance the villains scheme a half step… rinse and repeat until the climax. Bring together the whole team. The McGuffin is found / the super-move is unleashed / the villain makes a crucial mistake. The day is won. Then end with some witty banter, make a few people kiss, and call it a day. I know I’m making sweeping and irrational generalizations here… but as I looked over the last batch of team-based books I’d read? This is exactly what they boiled down to. It’s also why the mainstay of my pull list are solo-outings, and indie books.

Let’s be clear, there have been (and will certainly continue to be) great assembling of teams. Joss Whedon, long before his box-office behemoth days, penned the single greatest X-Book I’ve ever been privy to. His Astonishing X-Men was layered, nuanced, and so beautifully written that it made me believe I could like the X-Men.

And I tried. One arc post-Whedon and I was back out. Why? Because of this modern mentality of the ever-changing team. It’s not enough that both the Big Boys churn out dozens of teams, but now each of those teams changes membership like I change ironic tee-shirts. I recall, in the late eighties, Marvel used to put the heads of the team members in the upper right corner… so you could tell the teams apart. Nowadays, they might as well link to the Wikipedia page of the comic on the inside front cover. Maybe they could text you mid-issue as the team roster changes.

What happens when you continually shift a team based on the needs of your arc, as a writer, I believe it shows your hand. Like the always-entertaining Justice League Unlimited cartoon where the League expanded to such depth that each episode could only follow a handful of heroes (something Jonathan Hickman is obviously turned on by), the team was obviously selected for very specific moments. It lessoned the impact when it came down to brass-tacks. And when a new writer picks up a team book and gets free reign to recruit, it’s becomes painfully obvious where the book will head. Whedon stuck to a core group of five muties, and only added one additional when it made complete sense to the narrative he was exploring. By limiting his team across four volumes of stories, he was able to truly explore the dynamics across the board, and present a total package. It was a time where in fact, the book was better because of the sum of its parts. This is in direct opposition today, where the Justice League, X-Men, and Avengers titles play Russian roulette with their ranks every six issues.

In essence, when you change the guard, you give away the ending. After the first arc of Astonishing, all the cards had been played, so-to-speak. By sticking to that roster? Whedon showed (like in the best ensemble sit-coms) the pudding is in the cracks. It’s not enough to use, abuse, and move on. When you’re stuck with one cast, you’re forced to explore relationships. When you can change stars on the fly? You’re telegraphing everything you plan on doing. And if you dare not use one of those shiny new toys from off the shelf? You’ve angered the fans who signed up in the first place. I can’t wait for my best friend to curse the heavens when Darkhawk is wasted in the upcoming Avengers: The Hunger Games in a few months. But I digress…

Is it too bold to ask for a great disbanding? Would sales truly plummet if Vibe doesn’t get to be in a book? And would Marvel simply cease to profit if Wolverine had only a solo title and a single X-Book? I tend to believe that in the world of team fiction… less is always more. Grant Morrison’s Justice League followed the Magnificent Seven ideology and lasted damn near four years. Try keeping the same smattering of supes for that long today and people might just get antsy. But then again, neither Marvel or DC will be happy to maintain a status quo for four months, let alone four years. Call me cranky, but the seams are starting to unravel a bit. It took five feeder movies to assemble a team worth two billion dollars.

Perhaps the powers-that-be should get the hint. A championship team takes time to build. Keeping them together is what makes a dynasty.

SUNDAY: John Ostrander