New Pulp Author Jim Beard chatted with Action Figure Insider about his latest novel for Airship 27, Captain Action: Riddle of the Glowing Men.
You can read the interview at www.actionfigureinsider.com/main/afi-interview-with-author-jim-beard
The New York Comic-Con is just a few days away, and I’m packing up my necessities in my bag, along with my towel, and preparing for the show. Above all else, above my new Nintendo 3DS XL to score more SpotPass friends, above the mobile hotspot so I can post all those awesome cosplay pics, Â above it all, is Norbert and my sketchbook. I’m a convention sketch collector.
Norbert at the Green Lantern Convention by Romeo Tanghal
Under the name The International Norbert Conspiracy, I’ve been collecting sketches of my mascot for over twenty years now, and I’m approaching five hundred sketches. The question I get asked the most often (aside from the obvious “What is WRONG with you?”) is “How do you get so many?”
There’s always someone heading to their first convention, and keen on scoring sketches. And they ask the hive mind where to start, who’s the best, how much do they cost, all the standard questions. And since I’ve been meaning to do this for some time now, here’s a run-down of some basic tips to get started.
First, a few basics. There’s a few ground rules you’ll need to keep in mind when you’re trying to get sketches from the happy helpful people at a convention. Even if it looks like OTHERS aren’t following those rules, follow them anyway. Usually, the artist will recognize it, and appreciate it, hopefully lighten their mood, and you may get a better sketch out of it.
BE PATIENT – The larger a con, the longer the lines. People are getting books signed, some others are also getting sketches, and some just want to get a minute or so to talk with someone whose art they like so much. And if they got on the line before you did, they get to go FIRST. And they get to take as long as the want. Usually, the artist will grasp there’s a line, and try to keep such interactions brief; not because he’s rude, but because he wants to make sure he gets to everybody. But if he doesn’t, don’t remind him. Don’t sigh, don’t make a show of looking at your watch, and don’t do that “wind it up” thing with your fingers. You will get there when you get there.
BE POLITE – OK, you’re talking with the artist now. Remember how much you hated that guy who was taking All That Goddamn Time with the artist? That’s YOU now, to the guy behind you, and so on. So even though it seemed like everybody else was taking forever, that does not give you license to do the same, and maybe a little more. If everyone followed that rule, the last person in line would be able to go full-term in a pregnancy by the time they get to the front of the line. If EVERYbody’s just a LITTLE polite, things go faster.
BE REASONABLE – Again, bear in mind there are people behind you. If you ask for a drawing of the entire Justice League, from every iteration, fighting the total population of Topeka, be prepared to hear there’s not enough time to do so. Be prepared to be happy with a headsketch, or a simple figure.
BE PREPARED TO PAY – This is something which has become more commonplace in recent years, for a number of reasons. First off, the vast majority of artists pay their own way to come to the show, and hope to make enough money at their table to cover their expenses, and then some in a perfect world. Hard to deny them that.
In the case of more popular or “Hot” artists, there is more than a small chance that the sketches they’re doing will end up on eBay as early as that night, making the seller quite a pretty penny. There’s nary an artist who hasn’t got a story of doing a piece for someone who swore it was for their kid, who was either sick, couldn’t make the show or some sob story, only to see the art up for auction before the weekend is out. So the prevailing mindset has become similar to that of the sports memorabilia business; “this guy’s probably gonna sell this, so I might as well get my cut”. And again, it’s a hard argument to dispute, as sadly, the odds are in greed’s favor. So in the case of more and more of the bigger artists, free sketches are harder to come by. They’re not impossible (tips to follow), but if you really want a piece by your favorite artist, assume it will cost you some money.
There’s an upside to this as well, If you’re paying, you have a bit more say in what he will draw for you, and you almost certainly will get a more detailed drawing than if you just got a quickie “con-sketch”. Some artists have started taking orders for commissions BEFORE major conventions as well. Check their Facebook, Twitter or other social network feeds and see; don’t be afraid to ask, either. That’s often a win-win situation as well – the artist can see some money before the show, can complete the piece more at hie leisure, and you’ll get it as soon as you walk up to him. Likewise, some will arrange to ship you the piece after the show. If you’re asking for a very intricate piece, don’t rule that out either.
Once you’ve gotten those rules memorized, here’s a few advanced tips…
Check the publishers’ signing schedules. At a big show, the publishers will have a steady stream of creators at their booths, signing and almost always sketching. While the artist is on his own at his table, he’s on the company’s clock at the booth. They’ll certainly be quick little pieces, but if that’s all you’re looking for, that’s perfect.
Get a sketchbook. A sketch on a piece of comic art board is easy to turn over to another person. But a bound sketchbook is a subtle sign that this is a piece you intend to keep. While it may not melt the creator’s heart, at least he won’t be grumbling to himself how much he thinks you’ll get for the drawing.
Bring reference. If you want a piece of Batman or Superman, odds are peple know how to draw them. But if your favorite character is less off the A-list…well, don’t be offended if they don’t remember how many frogs and buttons are on Sonar’s jacket (it’s four). Bring a couple pictures they can use as reference.
Try a theme sketchbook – The more fun you can make your collection, the more interested you’ll get the artist. Ive seem books with just drawings of one character, some with them all doing something in particular, and one wonderful collection of heroes draw in the style of Fisher-Price Little People. Make it something they’ve never drawn before, something that’l; interest them, get the creative juices flowing.
Troll artists’ alley. No, don’t go up and insult everyone, slow down and look at all those up-and-coming creators who are pushing their self-produced books. Say hi to the guys and gals who did one issue of a DC or Marvel title a year or two ago. There’s a lot of talent there and you’ve got no way of knowing who the fickle finger of fandom will touch next. A year later, they might have a line across the floor, and you’ll be kicking yourself for not getting them when you coulda.
Try, try again. Aside from a handful of artists who have simply been too busy to do a sketch, I’ve got a few who have actively refused to draw Norbert. In the first case, the time will come that they WILL have time; if not at this show, then another one. In the second case, unless there’s some specific reason they don’t want to deal with you, like you threw up on their shoes or something, there’s no harm in asking again another time. Maybe they were tired, or in a rotten mood. Give it another shot. If you need to, buy them new shoes.
As with everything at a convention, the goal is to have fun, without in some way ruining someone else’s. A bit of patience and decorum, matched with a good attitude, and you can have a nice time and get a fun new hobby started.
The film version of Rock of Ages, has a whiff of cannabalism about it. First, it took a series of 1980s songs and turned them into what has been branded a jukebox musical, since originality no longer matters on Broadway. The success of the stage version – five Tony nominations indicates someone liked it – led to it being optioned for production as a feature film. Broadway used to feed Hollywood source material and the trend has been reversed as risk adverse producers look for sure things, which are not necessarily quality things.
Thus, the film version of the musical based on a disparate collection of rock tunes, which were popular as I advanced through my adult years and saw my tastes changing, means I bring a series of prejudices to watching the film on the just-released Blu-ray. First of all, I am a big fan of many performers in the cast and applaud Tom Cruise for lightening up with several of his recent performances. He’s also backed by Alec Baldwin, Malin Akerman and Paul Giamatti. I also remain fond of Julianne Hough who is a far better dancer and country singer than rocker.
As happens, the movie adaptation was seriously reworked to accommodate the cast rather than cast around the script and soundtrack. Therefore, many numbers were cut, others mashed up, and several reassigned to different characters. This results in a movie largely unrecognizable from the stage version and a lesser effort at that. What made the show edgy and fun is replaced with watered down replicas.
The basic trio of story threads has would-be rock star Sherrie (Hough), arriving in Los Angeles and meeting Drew (Diego Boneta) so you have your love story. Then there’s the Bourbon Room, a doomed club in need of a miracle story that focuses on Dennis (Baldwin) and his fight against a mob led by Catherine Zeta Jones (still sexy), trying to shut it down. His last hope is a kick ass concert from Arsenal, fronted by Stacee Jaxx (Cruise), who is on the verge of going solo. Behind the scenes, his agent, (Giamatti) gums up the works.
Rock is meant to messy and fun and frenetic with high doses of energy. The voltage one expects from the music used, from Foreigner to Pat Benatar leans closer to a Smash rendition and the wattage is cut in half, robbing the movie of the verve the material deserves. It’s not all bad such as the pool table duet between Jaxx and Rolling Stone reporter Constance Sack (Akerman). But when you sing “I Love Rock n Roll”, you should be feeling ready to leap to your feet and dance, not check your watch.
Bad enough the core storylines are predictable as heck, but the movie telegraphs just about everything thanks to direction of Adam Shankman. None of the characters, save Jaxx, stands out, wasting plenty of potential from a stellar cast.
There are plenty of fun moments and Cruise is a revelation all over again. He rarely repeats himself and is excellent here, sabotaged by the lack of raw power around him.
You can watch the theatrical version or the extended version, with 13 more minutes of tedium. The highlight is the cut scene between Jaxx and Sherrie, as they sing “Rock You Like a Hurricane” and nearly copulate, which smolders better than the rest of the film.
The Warner Home Video release comes as a combo pack with the Blu-ray, DVD, and of course ultraviolet digital. They do a fine job transferring the film and sound to disc so it rocks as best it can.
Poison’s Bret Michaels kicks off the extras with two featurettes: “Rock of Ages: Legends of the Sunset Strip” (29:56) with real rockers Pat Benetar and Sebastian Bach, members of Styx, REO Speedwagon, Twisted Sister, Quiet Riot, Night Ranger, Def Leppard, Winger, Whitesnake, Dokken, Foreigner, Poison, Journey, Warrant, Faster Pussycat, Vixen, Extreme and W.A.S.P. reminiscing about the rock scene in their heyday. “The Stories We Sing” (12:53) brings back many of these rock stars to discuss their inspirations for the greatest hits such as “Sister Christian,” “Can’t Fight This Feeling,” and the perennial “Don’t Stop Believin'”. This one is well worth a look.
There’s also the eight-part “Defining a Decade” (35:34), hosted by Hough and Boleta, that displays some embarrassing awkwardness between them but they manage to take us through the production of the film. You also get a look at the Broadway inspiration which deserved more screen time.
“Any Way You Like It” was re-edited into a full music video starring Mary J. Blige and Constantine Maroulis (who originated the Drew Bolley role on Broadway) but it can be skipped.
Kelly Sue DeConnick rocks!
Women had made their mark as pilots well before World War II. Amelia Earhart, Jacqueline Cochran, Nancy Harkness Love, Bessie Coleman, and Harriet Quimby were some of the women holding records in aviation.
When war broke out in Europe, Cochran, Harkness and other women went to England to volunteer to fly in the Air Transport Auxiliary, which had been using female pilots as ferriers since 1940. These women were the first American women to fly military aircraft – Spitfires, Typhoons, Hudsons, Mitchells, Bienhams, Oxfords, Walruses, and Sea Otters under combat conditions.
In 1942, now in the war, the United States was in desperate straits for combat pilots. After much political maneuvering and bickering, it was decided to train women as ferry pilots, with Jackie Cochran enlisted to direct the program. 25,000 women applied; only 1,830 were accepted; of these, 1,074 passed the training and became Women’s Airforce Service Pilots, or WASPS. The WASPS flew over 60 million miles, piloting everything from trainers to fighters like the P-47 Thunderbolt and the P-51 Mustangs and the heavy bombers: B-17s, B-26s, and B-29s. They ferried new planes long distances from factories to military bases and departure points across the country. They tested newly overhauled planes. And they towed targets to give ground and air gunners training shooting – with live ammunition.
In 1959, an independent researcher named William Randolph Lovelace, who was part of the team developing the tests for NASA’s first male astronauts (who became known as the Mercury 7 – see or read The Right Stuff) became interested in finding how women would stand up to the same conditions; in 1960, he invited accomplished pilot Geraldlyn “Jerrie” Cobb to submit herself to this challenge.
The tests ranged from general physicals and X-rays to weird things like swallowing a rubber tube to test stomach acids, undergoing electrical shocks to test the ulnar nerve (found in the forearm), having ice water shot into their ears to test vertigo and reaction time, and dozens of other weird oddities. (See or read The Right Stuff to get an idea of the regimen.)
She became the first American woman to undergo and pass all three phases of the testing.
19 more women were invited into Lovelace’s program, which was funded by WASP director Jacqueline Cochran.
13 passed.
They became known as the Mercury 13.
I bring this up because writer Kelly Sue DeConnick is doing something remarkable in the new Captain Marvel series. Without publicity or blowing of trumpets, DeConnick is rewriting the possibilities – no, the actualities – of “women in comics.” Using the proud history of women in aviation, including the WASPs and the Mercury 13, DeConnick and her team, which includes artist Dexter Soy and editor Stephen Wacker, are presenting women who are just as smart, just as stupid, just as capable, just as frightened, just as full of bravado, just as confused, just as sure-minded, and just as fucked-up as any of their male counterparts.
Oh! I have slipped the surly bonds of Earth
And danced the skies on laughter-silvered wings;
Sunward I’ve climbed, and joined the tumbling mirth
of sun-split clouds, – and done a hundred things
You have not dreamed of – wheeled and soared and swung
High in the sunlit silence. Hov’ring there,
I’ve chased the shouting wind along, and flung
My eager craft through footless halls of air….
High Flight
John Gillepsie Magee, Jr.
By the way, Captain Marvel rocks!
Fly, girl, fly!!
TUESDAY MORNING: Emily S. Whitten, Neil Gaiman and Michael Chabon
TUESDAY EVENING: Michael Davis In France
With New York Comic-Con looming, there are those who want to know what exactly it will be like? For you, we have this video… (more…)
Star Trek: The Next Generation 365
By Paula M. Block and Terry J. Erdman
Abrams Books, 744 pages, $29.95
Let me state upfront that Paula and Terry have been friends for a long time, but I adamantly maintain that they were the ideal people to write Star Trek 365 and the recently released Star Trek: The Next generation 365. Why? Because Paula has been intimately involved with the franchise since the 1980s and knows every nook and cranny within Paramount Pictures to find rare images or information. Terry is an experienced film publicist and has a keen understanding of what people like to know and has an engaging way of sharing that with enthusiasm.
Being the series’ 25th anniversary makes this a nice companion volume to the series; chock full of images, architectural and production drawings, special effects pictures, and some on set antics. Every episode from each of the seven seasons receives not only a brief synopsis but then stories about the show, told from a wide variety of angles. You get some of the best known tales such as the banana clip that became Geordi’s VISOR to lesser known stories in how episodes were conceived. Some of the best are the ones demonstrating how a kernel of a story lingered until the right opportunity, or the right writer, or both, arrived to solve the conundrum. A good example is how long it took to produce the acclaimed “Darmok”.
Given how many images Paula approved for use through the years, she knew which ones to avoid in the hopes of finding a fresh look at the series. One approach meant leaning more towards the black and white shots the still photographer took that have rarely been used, and that adds a nice quality to the book. Many of these are behind-the-scenes and between takes shots of the cast relaxing, prepping or goofing off.
To find fresh nuggets of information about the 178 episodes, the pair interviewed dozens of people who worked on the show over the eight years it took from conception to finale. As a result, they got not only interesting new anecdotes but found additional graphics for use, especially from production designer Richard James and visual effects producer Dan Curry. Effects associate Eric Alba is also credited for coming up with a variety of candid photos for use. All of this enriches the book and ensures that it’s not a retread of previously seen images or twice-told tales.
The comes with a foreword by Ronald D. Moore, who got his big break with an unsolicited script and has gone on to a creative career among the stars. The 365 series of pop culture books are nice, compact treasure troves that are well worth a look.
So, the first Presidential Debate of 2012 is over. Romney appears to have won it, President Obama mostly didn’t show up, and moderator Jim Lehrer took an early retirement. So what’s the big take away from the event?
Mitt Romney wants to deep fry Big Bird.
What Romney actually told Lehrer was “I’m going to stop the subsidy to PBS,” adding, “I like PBS. I like Big Bird. I like you, too.” Earlier this year, he told Fortune magazine “Some of these things, like those endowment efforts and PBS I very much appreciate and like what they do in many cases, but I just think they have to stand on their own rather than receiving money borrowed from other countries, as our government does on their behalf.”
Of course, the fact is that the government doesn’t borrow from other countries specifically to pay for NPR and PBS. They borrow mostly to pay for the war in Afghanistan or, as they have in the past, the war in Iraq which they did to a very large degree. As Neil deGrasse Tyson trenchantly tweeted, “Citing PBS support (0.012% of the budget) to help balance the Federal budget is like deleting text files to make room on your 500 gig hard drive.”
But let’s leave that aside for a moment. Let’s leave aside all the policy wonk moments and the substantive issues and who lied and how much. This is a pop culture column so let’s focus on the pop culture moment – Sesame Street. Big Bird. That’s what they’re really talking about on Twitter, Facebook, and the blogosphere. And the message is that Romney wants to kill Big Bird.
That’s not what the man said. Agree with him or not, he doesn’t think that public funds should go to fund public television. I don’t happen to agree with him (any of you who don’t understand that I’m a liberal and support President Obama haven’t been paying attention) but I understand his view.
It seems to me that the comment was an off-the-cuff remark made in an almost jocular manner. After months of preparation (some would say years), Romney appears to have made an off-the cuff-remark and shot himself in the foot with it and then inserted the foot in his mouth. From the response, you’d think that Big Bird had replaced the eagle as our national emblem. And a reasonable question is – why?
One of my favorite moments in Oceans 13 (the second best of the Ocean films) is when a very irate Al Pacino is telling a very cool (as always) George Clooney that he’s going to get some guys after Clooney’s Danny Ocean and they know how to really hurt a guy. I’m paraphrasing all this but Ocean replies, “I know all the same guys you know and they like me better.”
That’s the deal here. Romney personalized his opposition to funding certain endowments. He could have left his point with the concept that he didn’t think the federal government should help subsidize things like PBS and, hence, Sesame Street. Instead, he adds Big Bird’s name to the conversation. A whole generation has grown up with Big Bird. Moms have planted kids in front of Sesame Street for several generations. They trust it. And the message that got carried was that Romney will make it go away.
Romney doesn’t get the impact of Sesame Street or of Big Bird. He certainly didn’t grow up watching it (neither did I; different generation) and maybe his kids didn’t, either. It’s not of real value to him and so he sees no problem if it disappears. Twitter, Facebook, and the blogosphere are suggesting that it matters to a lot of people.
To paraphrase Danny Ocean, we know Big Bird, Governor Romney, and we like him better.
MONDAY: Mindy Newell
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| Cover art: Joseph Arnold |
Author Mike Baron, creator of Nexus and Badger, has released his first prose novel, Helmet Head for Kindle.
About Mike Baron’s Helmet Head:
He was just a rumor to the one percenters–a monstrous motorcyclist dressed all in black who rode the back roads of Little Egypt cutting off the heads of other bikers with a samurai sword. But on one terrible stormy night, Deputy Pete Fagan discovers that Helmet Head is all too real and filled with a fury that won’t be satisfied until his demonic sword drinks deeply.
A print edition will follow from New Pulp Publisher, Airship 27 Productions. As soon as the details become available, All Pulp will share that news here.
Cover art is by Joseph Arnold who will be providing nine black and white interior illustrations for the Helmet Head print edition.
Columns / Glenn Hauman / News
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