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REVIEW: American Reunion

  • Uncategorized
  • July 9, 2012

american-reunion-bluray-300x325-7264922Great film comedies have memorable characters and incidents, usually showing a knack for brilliant casting, and covering turf previously untouched. In 1999, American Pie did all of the above and was a wonderfully funny bit of fluff. It gave us some fine performances, including a resurgent Eugene Levy, the bit with the apple pie, made band camp sound cool, and of course Shannon Elizabeth’s swell nakedness.

The sequels that followed, both theatrical and direct-to-video tried to cash in on the craze but merely retread familiar turf and got less and less funny. Poor Levy would back the truck to the bank to unload all the cash he got to make appearances to at least somehow connect the series together.

However, here we are nine years after American Wedding with American Reunion and it suddenly feels familiar and fresh at the same time. This time around, writer/directors Jon Hurwitz and Hayden Schlossberg, allow the original characters to age so we’re perfectly okay with revisiting them. It’s always good at a reunion to see who got fat, who lost hair, who has succeeded and who has never changed and we get that and more here.

While the storyline announces it’s been thirteen years since high school graduation, putting the characters at 31 or so, everyone looks way too old to be convincing, a danger of casting 20-somethings to play teens. So, what’s everyone been up to? Jim Levenstein (Jason Biggs) and Michelle (Alyson Hannigan) have the most interesting dilemma: married and deeply in love but burdened with jobs and an infant so their sex life is nonexistent, except in private, solo moments. Chris “Oz” Ostreicher (Chris Klein) is the most successful of the bunch, a sportscaster who gained national attention for appearing on a dance show. And then there’s Stifler (Seann William Scott), who has a lifetime subscription to the Peter Pan Syndrome and is drifting through life.

american-reunion1-small-660x440-300x200-5416983The gang, with new significant others, arrive for the reunion and everyone reverts to form, including Oz, who sees his ex, Heather (Mena Suvari), and is smitten all over again.

Time has passed, though as we see Levy now a widower still mourning his wife’s death while next door neighbor Kara (Ali Cobrin), who Jim used to babysit is now a gorgeous hot to trot 18 year old. It’s Kara who gets to have the memorable nude scene this time around and they cast well since she’s gorgeous and nicely handled the comedic aspects.

All the old gang including Kevin (Thomas Ian Nicholas), Finch (Eddie Kaye Thomas), Finch’s Mother (Jennifer Coolidge), John (John Cho), Vicky (Tara Reid). And others reprise their roles. Newcomers include Dania Ramirez as the ugly duckling turned into hot swan. As a result, all the old feelings, jealousies and behaviors are brought to the fore in interesting ways. It’s far from brilliant and mostly predictable, robbing the fourth film, out Tuesday from Universal Home Entertainment, of being spectacular. The funniest fresh bit may well be Oz losing the dance competition, hosted by Neil Patrick Harris in a nice cameo, to Gilbert Gottfried.

american-reunion-alyson-hannigan-dania-ramirez-300x199-9598836Like walking into the kitchen and the aroma of Mom’s fresh apple pie and being catapulted back to happier, simpler times, this film is a welcome addition to the series and a good chance to see familiar faces who don’t visit often enough.

The transfer to Blu-ray is well handled so the visuals and sound are sharp, not that the film needs either to be entertaining. The Combo Pack comes with Blu-ray and DVD both sold separately, plus an ultraviolet code. The Blu-ray comes replete with 12 bonus features and a commentary. The DVD has some of the features plus the commentary. Although sold as a package with the theatrical and Unrated version, there’s a minute that separates them so blink and you miss it.

Among the extras is a 10:32 “Reunion Reunion” which is all surface and the gag reel is surprisingly tame. Funnier is the “Ouch! My Balls” featurette focusing on the amount of crotch punching the film relies on. Of the handful of deleted scenes only one with Stifler is missed since it sets up the conclusion of his arc. Dancing with Oz and Hangin’ with Jason B are so-so pieces. Clearly the effort was to be funny on the feature itself. The best of the lot is the interactive yearbook where you can  select a character and trace their history across the franchise with clips, cast discussions , their most embarrassing moment and their favorite activities.

Peter David is “Pulling Up Stakes”

peter-david-is-pulling-up-stakes-4152439Fans don’t always realize how much of what they get to read on the marketplace gets out there despite publisher preconceptions.  History is filled with any number of books, ranging from A Wrinkle in Time to Confederacy of Dunces to Harry Potter, that hit the market and left in their wake a host of rejections from various editors because the stories didn’t fit in with what they were looking for.

Pulling Up Stakes first made its presence known at various conventions when I first started working on it.  I’d read sample chapters and enthused audiences begged to know when it was going to be done so that they could find out what happened next.

Yet when the book was circulated to editors, the reason for their passing on it were impressive, to say the least.

Pulling Up Stakes tells the skewed tale of Vincent Hammond, a twenty-something vampire stalker, who lives with his domineering mother in a small community of hunters tracing their lineage back to the French Revolution.  Vince, however, has a rather singular problem:  he’s a vampire.  And if his mother finds out, she’ll kill him.  Literally.  So he doesn’t dare come out of the coffin, so to speak and keeping his secret becomes further complicated when…

Well, we’ll get to that at a future date.

Little did I, or the fans who have loved the readings up to that point, know that that Pulling Up Stakes violated too many rules of the genre.  Editors who rejected it, however, didn’t hesitate to explain the problems.

First, if you have a vampire story, you have to have a female protagonist.

Second, men can’t write vampire stories.  That’s solely the arena of women writers.  Bram Stoker, Joss Whedon…you can suck it.

Third, humor doesn’t sell.  So apparently you’ve doomed yourself when your vampiric narrator says things like, “Sparklepires?  Come on.  Real vampires considered the Twilight books to be such a loose flow of unmitigated crap that they were typically referred to as ‘Vampirrhea.’”

So apparently by writing a humorous vampire story with a male protagonist, I managed to hit the trifecta of hopelessness.  No publisher would touch it.

And as you, dear reader, work on prying your slack jaw off the floor, consider how nice it would be to send a message to the publishers that maybe, just maybe, thinking outside the box now and then might be a nice idea, by letting everyone know that Pulling Up Stakes is going to be making its debut at Crazy 8 Press in just a few weeks.  Because you can’t keep a good undead man down.

Is Jim Starlin gearing up for a lawsuit over Thanos?

Jim Starlin has offered proof that he created Thanos, leading to speculation that he may launch a lawsuit against Marvel Comics.

The writer and artist has posted an early concept drawing of the Mad Titan from before he began working at the publisher, reports The Beat.

Interest in the character is growing following his cameo in The Avengers movie, the speculation of an upcoming Guardians of the Galaxy film and the announcement of a Thanos: Son of Titan miniseries from Joe Keatinge and Richard Elson.

“This is probably one of the first concept drawings of Thanos I ever did, long before I started working at Marvel,” Starlin wrote on his Facebook page. “Jack Kirby’s Metron is clearly the more dominant influence in this character’s look. Not Darkseid.”

“Both D and T started off much smaller than they eventually became. This was one of the drawings I had in my portfolio when I was hired by Marvel. It was later inked by Rich Buckler.”

Marvel is reportedly struggling to find records relating to the period in the mid-’70s when Thanos debuted in its comics.

“This is the second film that had something I created for Marvel in it – the Infinity Gauntlet in Thor being the other – and both films I had to pay for my own ticket to see them,” Starlin previously said.

“Financial compensation to the creators of these characters doesn’t appear to be part of the equation.”

AIRSHIP 27 ENTERS THE REALM OF LICENSED WORK WITH ‘CAPTAIN ACTION’ PULP NOVEL DEBUT!

CAPTAIN ACTION – PULP HERO!
Airship 27 Productions, one of the premier publishers in the New Pulp movement, and Captain Action Enterprises, licensors of the popular Captain Action toy line, have joined forces to produce the first ever Captain Action pulp novel, “Riddle of the Glowing Men,” by Jim Beard.  The book debuts this Aug. at Pulp Fest in Columbus, Ohio.
“We are tremendously excited to be working with Joe Ahearn and Ed Catto of Captain Action Enterprises,” said Airship 27 Productions’ Managing Editor, Ron Fortier.  “This is the first time we’ve ever put together a title based on a highly popular and successful license.”
Captain Action is based on the action figure created in 1966 by Stan Weston for Ideal Toys. He came equipped with a wardrobe of costumes allowing him to become many different heroes such as Batman, The Lone Ranger, the Green Hornet and many more. In 1967, Captain Action proved so popular that the line was expanded to include a sidekick, Action Boy and a blue skinned alien foe with bug eyes, the nefarious Dr. Evil.  The following year, DC Comics licensed the character from Ideal and published five issues of Captain Action featuring industry luminaries such as Jim Shooter, Wally Wood and Gil Kane.

Since 2005, Captain Action Enterprises, has been producing an array of exciting new collectibles, including statues, toys, comics, trading cards, and apparel.  Still, the one remaining venue the enduring hero had yet to conquer was that of a prose novel.  Enter veteran writer Jim Beard, a life-long fan of the character.  “Jim approached us late last year with this idea for a Captain Action pulp novel,” recalls Catto. “We were immediately intrigued by the possibilities and began seriously exploring the idea.”
It was Beard who then brought Ahearn and Catto to Airship 27 Productions.  “At the time I’d just finished my first book for Airship 27,” Beard elaborates.  “Impressed with their industry leading quality and professionalism, I knew they were the right people to usher Captain Action into the fast-paced world of pulpdom.”

The challenge of doing a licensed property appealed to Fortier and his partner and Art Director, Rob Davis and they signed on.  Their first goal was to assemble the finest art team possible. This was achieved by recruiting the talented cover painter, Nick Runge.  Runge’s work on such IDW titles as Angel & Terminator –Salvation has spotlighted him as being one of the finest new artists in the graphic field today.  Davis himself took on the task of doing the nine interior illustrations while also designing the entire package.

“Riddle of the Glowing Men,” is set in the sixties where secret agent, Miles Drake, aka, Captain Action, is attacked at A.C.T.I.O.N. headquarters by several assassins whose green skin glows as if radiated.  In the process of learning the identity of these killers and the reason behind their attack, Captain Action teams with a beautiful female Russian agent and their quest leads them to a hidden civilization under the frozen wasteland of Siberia. “Jim Beard has written a terrific, authentic Captain Action adventure,” applauds Fortier. “It perfectly captures the break-neck speed and thrills of the early pulps only with today’s modern sensibilities. This book is sure to appeal to both Captain Action fans and new pulp enthusiasts alike.”
Joe Ahearn and Ed Catto will be hosting a Captain Action panel at this year’s San Diego Comic Con with further details about other exciting plans for the classic hero.  Artist Nick Runge will also be present at his table in Artist Alley.  Fortier, Davis and Beard will be in attendance at Pulp Fest and will announce the book’s actual publication date.

About Captain Action Enterprises

As Retropreneurs, Captain Action Enterprises, LLC specializes in taking old properties and rejuvenating them for a new generation. Captain Action now appears in an on-going comic book series, lithographs, statues, action figures, T-shirts, model kits and an iPhone app. Additional properties include Lady Action, the Zeroids and Savage Beauty. For additional information, contact ed.catto@bonfireagency.com.


About Airship 27 Productions

Begun in 2004 to produce new novels and anthologies featuring classic, public domain pulp heroes of the 30s and 40s, Airship 27 Productions was one of the major factors behind the pulp renaissance which evolved into the New Pulp Movement.  Today they have over fifty titles in their ever expanding catalog, sell both hard copy and digital versions of their books and will soon be launching audio books of their titles. They can be found at airship27hangar.com



Mindy Newell: Sundry Summer Ruminations & Contemplations

  • Uncategorized
  • July 9, 2012

Saw my niece Isabel last week. She’s finished The Complete Bone Adventures, Volumes 1 and II and is now reading a collection of Calvin And Hobbes. She also told me that she’s in love with the Percy Jackson And The Olympians series by Rick Riordian; she had already read The Lightning Thief, and was deep into the second book, The Sea Of Monsters. Although by now she’s quite possibly onto the third title, which is The Titan’s Curse. She’s a fast reader. Based on her critiques, I have ordered The Lightning Thief from Amazon, and expect I’ll be ordering the rest of the series, too.

Last I heard Watchmen had not entered the public domain, so I will not be buying any of the Before Watchmen books. I think the whole idea stinks. I don’t understand how other creators who profess to respect creator’s rights could sign on to a rotten deal brokered on a broken promise by DC to Alan Moore. It’s a slap in the face to Alan, Dave Gibbons, and John Higgins. Oh, wait. John Higgins participated in this mockery? Says a lot about your character, doesn’t it, John? If you need money that badly, there are other ways to prostitute yourself. And that goes for the rest of you, too.

John Ostrander’s latest column about “bad things he hates that he loves” caused me to go to my DVD cabinet and pull out a couple of movies that I should despise but actually love:

World Without End (1956), in which a rocket ship returning from Mars breaks through the time barrier and deposits four astronauts on an unidentified planet, which turns out to be Earth in the year 2508, 400 years after a nuclear war. The surviving humans live underground and are dying out because the men are scrawny, weak, and unable to perform their manly duties. In other words, they’re impotent. Which sure sucks for them, because all the women of the year 2508 are curvaceous, beautiful, and very, very horny. The reason the humans don’t live on the surface is because of the “surface beasts” – the descendants of those who did not flee underground during the atomic holocaust – roam the countryside. They look like mutated Neanderthals, and all they want to do – well, the men, anyway – is get their paws on the hot tomatoes living underground. Our brave, resourceful – and, of course, American; this was the 50’s, remember – astronauts reinvent the bazooka (“The good ol’ bazooka!” one of the astronauts says with a backslap to his pal) and defeat the mutated Neanderthals, and help restart human civilization on the surface for the Eloi. Oops. Sorry, wrong story. The horny women get the horny astronauts in the end, so everybody lives happily ever after. Except for the impotent guys, I guess.

Queen Of Outer Space (1958) in which ZsaZsa Gabor plays a Venusian scientist on a planet on which once again all the women are curvaceous, beautiful, and very horny. Except for the Queen, who is curvaceous and very horny, but mysteriously wears a mask. But even though Venus is the planet of love, there’s not a man to be found. The story begins when our brave, resourceful, and yes, once again, American astronauts, on board their rocket ship – which looks exactly like the one in World Without End – and on their way to a space station in orbit above Earth, are hijacked to Venus by a strange red ray, which turns out to be the Beta Disintegrator. The ship crashed into snow-covered mountains that look exactly like the snow-covered mountains into which the ship from World Without End end-crashes. Turns out the Queen hates all men, and she imprisons the astronauts. But she’s got a hard-on for the Captain. “A Queen can be lonely, too,” she tells the Captain. The Captain decides to take her up on her, uh, offer to “get information.” This makes ZsaZsa very jealous: “30 million miles away from the Earth,” says one of the astronauts, “and the little dolls are just the same.” Because she has a hard-on for our Captain, too. (No, his name is not James Tiberius Kirk.) Anyway, just as the Queen goes in for the face-suck, the Captain rips off her mask, and – OMG! Her face is burned and scarred and horribly mutated! “Men did this to me,” the Queen says with hatred in her voice. “Men and their wars.” Then she seductively turns to the Captain. “You said I needed the love of a man,” she whispers as she puts her arms around him. “If you will be that man, I will let you all go.” But the Captain is trying not to vomit. Dumb ass. Put a bag over her head and do it for the flag. So the Queen sends him back and aims the Beta-Disintegrator at Earth. Talk about a woman scorned! You really have to see this movie!

It really sucks when your parents are sick.

Here’s the truth. The only thing I really hate about women’s costumes in the comics is that I’m not buff enough to wear any of them.

Political diatribe for the day: Vote for Romney, and we really will be living in the world of American Flagg! (We’re almost there now.)

I can wait for the Garfield/Stone Amazing Spider-Man to hit DVD. I loved the Maguire/Duns Spider-Mans. Perhaps if TPTB had moved the story forward, merely replacing Maguire/Duns with Garfield/Stone, I would have more interest.

Just finished The Lost Wife, a heartbreaking, “based-on-a-true-story,” and beautifully written story about a husband and wife, both Jewish, separated by World War II. He gets out of Europe, she is first is sent to Theresienstadt and then Auschwitz. Highly recommended!

In the middle of The Hunger Games. Loving it. Have to recommend it to Isabel.

TUESDAY MORNING: Michael Davis

TUESDAY AFTERNOON: Emily S. Whitten

“The Amazing Spider-Man” reigns with $65M weekend and $140M six-day start

  • Uncategorized
  • July 9, 2012

Audiences are rewarding “The Amazing Spider-Man” for being a very, very good film.

The fourth film in the Sony franchise faced high skepticism as the producers resorted to rebooting Spider-Man for the second time in a decade — and as “The Avengers” and “The Dark Knight Rises” have loomed large as the summer’s superhero tentpoles.

Turns out, Peter Parker’s origin story, in the right hands, is as resilient as a wrist-packed monofilament — even as the Marvel webslinger turns 50 this year.

“Amazing Spider-Man” continued to soar above studio projections by grossing $65-million domestically to win the weekend — doubling the take of last week’s champ, “Ted” — and lifting its six-day start to $140-million, according to studio estimates released Sunday. Final numbers are due Monday.

Buoyed significantly by the winning performances of Andrew Garfield (who has inherited the super-suit from Tobey Maguire for his own newly announced trilogy) and Emma Stone (as Gwen Stacy), “Amazing Spider-Man” has now grossed a strong $341.6-million worldwide.

As Spider-Man co-creator Stan Lee told Comic Riffs: Whoever decided to cast the talented Garfield as the new teen “Everyguy” should get a medal.

“Amazing Spider-Man” performed well right out of the gate, grossing $7.5-million Tuesday from midnight screenings; and through the Fourth of July, “Amazing Spider-Man” had grossed $58.3-million domestically and $108-million overall, according to the site BoxOfficeMojo.

“What a spectacular relaunch,” Sony worldwide distribution President Rory Bruer told the Hollywood Reporter, citing “the chemistry between Andrew and Emma” and “the out-of-the-box direction of Marc Webb,” who until now was best known for directiong “(500) Days of Summer.”

“Amazing Spider-Man” also benefited from its popularity with “family” demographics (25-percent of the film’s audience); its generally positive critical reviews and filmgoer scores; and its haul at IMAX theaters ($14.3-million).

”Spider-Man’s” performance dwarfed the domestic debuts of “Savages” (fourth at $16.2-million) and “Katy Perry: Part of Me” (eighth; $7.15-million).

Seth MacFarlane’s CGI/live-action “Ted” strengthened its claim as the R-rated comedy hit of the summer, grossing $32.6-million to raise its domestic total to $120.2-million. And Pixar’s animated “Brave” also remained strong, grossing $20.1-million to boost its domestic take to $174-million.

FUN WITH NUMBERS

  • Sony’s four Spider-Man films have now grossed $1.25-billion domestically and $2.83-billion worldwide.
  • “Amazing Spider-Man” had the fourth-best Independence Day weekend ever (not adjusted for inflation) — behind only two “Transformers” film (“Dark of the Moon” tops the list with $97.8-million) and “Spider-Man 2” ($88-million).
  • “Amazing Spider-Man” had the 12th-best weekend opening ever for Marvel character film — barely trailing last year’s “Thor” ($65.7-million) and “Captain America: The First Avenger”($68.05-million), though those two films didn’t open on a Tuesday.
  • And “Amazing Spider-Man” just beat the average opening for a Marvel character film: $65.57-million.

 

FIGHT CARD DEBUTS ‘A MOUTH FULL OF BLOOD’!

The latest release from New Pulp powerhouse publisher Fight Card is the first sequel in the series!



A year after the pulse-pounding action of Split Decision, Jimmy Wyler is back in Chicago trying to put his life back together. Working a job washing dishes in a late night diner, Jimmy vows to never get into a boxing ring again.

But then, someone needs him. Leo, a teenaged boy who fights hard against the city every day, could use a man like Jimmy. To help save him from his alcoholic father, and to save his only sister from a pimp bent on turning her out.
Jimmy must fight again. Fight for the ones who can?t fight for themselves. It will take him from fistfights in back alleys to no rules bouts with crowds screaming for blood and all the way back to the orphanage where he grew up. Along the way, blood will be spilled and knuckles will be bruised.
More white-knuckle action and epic fights from the Fightcard series.
Praise for Split Decision: It was unpredictable; it put its main protagonist through the ringer; and didn’t take the soft option for the resolution. It’s that kind of story. I finished it in one sitting. It’s that entertaining. Highly recommended.- Permission To Kill
Split Decision is a prime example of the sort of variety and adventurous storytelling we can expect from the Fight Card series, and I thoroughly enjoyed it. Highly recommended.- James Reasoner, author of Dust Devils and The Blood Mesa
Split Decision hooked me. Allow enough time to read the whole thing at one sitting, you’re not going to want to put it down.- Mike Faricy, author of Russian Roulette and Finders Keepers
Available now in Paperback on Amazon and as an Ebook for Your Kindle!

Now, Marvel announces Marvel NOW!

  • Uncategorized
  • July 8, 2012

marvel-now-5521470

Beginning in October 2012, Marvel starts a bold new chapter in its history, with Marvel NOW!, a publishing initiative extending into 2013 that will touch every major Marvel character from the Avengers to the X-Men to Spider-Man to the Fantastic Four and beyond.

Marvel.com spoke with Marvel Chief Creative Officer Joe Quesada, Editor-in-Chief Axel Alonso and Senior VP – Executive Editor Tom Brevoort to get all the details on what to expect from Marvel NOW!

Marvel.com: In your words, what is Marvel NOW!?

Axel Alonso: Marvel NOW! is the next chapter in the ongoing saga of the Marvel Universe. From October through February, we’ll provide at least one great reason for readers—old, lapsed or new—to go into a comic store each week: a new issue #1, featuring an exciting new creative team and driving concept, that’s an easy entry-point into the Marvel Universe. Each and every one of these launches is built to last.

Tom Brevoort: Marvel NOW! is a coordinated creative refresh across our entire publishing line, a unique moment in which the creative reins on virtually all of our quintessential series are being passed from one person to another. As a result, there’ll be both the excitement and uncertainty of seeing a new creative partnership handle characters and series that have been in other hands consistently for many years. And at the same time, this is the perfect instance for readers both new and lapsed to dip their toes back into the Marvel pool, in that all of these creators are going to be beginning their story-cycles during this time, so it’s about a clean a point of entry as there’s ever likely to be.

Joe Quesada: Marvel NOW! is the next step in Marvel story evolution and character evolution. It’s not a reboot. It is a universe-shifting catch-all, which really just tells fans that if you enjoyed Avengers vs. X-Men, get ready for what the outcome is because there’s some major, major changes coming to the Marvel Universe. A lot of changes to the character status quos, alter egos, costumes, creator shifts, design shifts, the way that we do our covers, digital shifts and the way we start delivering our books. We’re continuing with our evolution push as we start to embrace more and more of the digital world and its technology; the sky’s the limit with Infinite Comics, AR, and all sorts of things. As the technology changes we’re going to change with it and our fans are going to eventually tell us what it is that they really love out of all those things that we’re playing with. But it’s a big shift because it’s not just story and character. There’s also the way we tell our stories and the way we deliver our stories that are starting to change as well.

Marvel.com: What is the scope of this initiative?

Axel Alonso: It’s a sweeping initiative. Most of our core titles will be a part of it.

Joe Quesada: The scope is pretty huge. It’s pretty huge, but we’re also taking a very conservative tactic in the sense that we’re not just going to say “Hey, we’re just going to dump it all on you in one particular shot.” This is going to be a significant release that’s going to take place over several months so that we can do it properly, do it in a way that our readers can appreciate, and tell our stories in the right way. Because we do have a lot of moving parts here and I think it’s the fairest and best way to do this.

Marvel.com: What makes Marvel NOW! a good launch point for new readers or people who haven’t tried certain properties?

Axel Alonso: Marvel NOW! hearkens back to 11 years ago, when Marvel found great success employing a simple formula: great artist plus great writer plus great character plus great story. All of these creators are inspired and motivated to do their best stuff. At last week’s editorial summit, each writer shared his plans for their titles, and there isn’t a weak link in the chain. The only difference is that we are mindful that these stories are linked by the common backdrop.

Joe Quesada: A lot of characters and a lot of their stories are starting story arcs and different status quos right around this time. I know there are a lot of people out there who are lapsed readers, or future readers who don’t necessarily know exactly how to jump into comics because the idea of decades and decades of continuity is daunting to them. Now mind you, they should never have that fear regardless, but for us we’re putting a flag in the sand and saying “Listen, if you’ve had that problem before, just take a flier on us. Try Marvel NOW!, because we are not wiping the slate clean—we’re just trying to tell these stories from a clean point of view and allowing a good jumping-off point for new readers.”

Marvel.com: Is this a reboot of the existing Marvel Universe?

Axel Alonso: It is not a reboot. We don’t travel back in time, into the future, or to an alternate universe. Marvel NOW! respects the investment—emotional and financial—that long-term fans have made in the Marvel Universe, and this story takes place in a Marvel Universe they can recognize, one that grows out of Avengers Vs. X-Men. That said, these stories will be accessible to lapsed readers—the guy who likes, say, Captain America, but doesn’t know where to start—and anyone who saw a Marvel movie or heard the buzz about Marvel NOW!

Marvel.com: What role is digital technology going to play in Marvel NOW!?

Joe Quesada: There [are] really two answers to this, and I think both of them are right. It’s going to play a tremendously huge role, and I don’t know. And the reason I don’t know is because technology is changing every single—oh wait, it just changed again. It changes every second. There’s so much new stuff coming out that I can’t tell you what’s going to be the rage 12 months from now with technology. What I can tell you is that if it’s something that is applicable to things that we do for a living, we’re going to try it. And we’re going to see if it works for us. So it is the great unknown, it is really exciting, but it’s also something that we’re not going to be left behind wondering why we didn’t get involved in the world of digital much earlier. You know, we‘ve been involved in the digital world for a long, long time—longer than most publishers—so we are already ahead of the curve and we’re already getting a sense of what the readership is really thinking, what they’re not thinking, because ultimately it’s about the readers. It’s about making their experience a better one, a more convenient one, and really much more entertaining.

Marvel.com: What can you say anything else about the way the exterior appearance and the packaging of the books are going to change?

Joe Quesada: We [are] taking a hard look at the way we design our covers. I’ll tell you the history behind this. Tom Brevoort runs  these workshops for the junior editorial staff. Several months ago, he asked me to come in and do a talk on covers, cover design, what I feel makes strong covers, yadda yadda. So in preparation for that meeting, what I decided to do was, I wasn’t going to come in with a slide presentation or a keynote presentation of comic book covers that were successful. I wanted to look outside of comics and to the industry that I think is the most successful when it comes to poster work or cover work, which would be the movie industry throughout the ages. So I started going through all my huge library of movie poster reference, everything from the earliest days of filmmaking to today, the modern era, and I started pulling images from different eras of things that I think, images that I think work. Certain designs that I thought worked, whether they were abstract or literal, and presented this to the group. And as I was going through each one of the images, it really sort of dawned on me as I looked at the movie posters that we have a standard rule in the world of comic books which is the comic book logo should appear on the top third of the cover. Now, we’ll deviate from that every once in a while, but the norm you have got to say that 90 percent to 95 percent of comic books have the logo at the top third of the cover. And that is something that has historically been done in comics because historically comics were sold in a newsstand, and the way that books and magazines are racked on the newsstand, the only thing that you really get to see for the most part is the logo of the magazine or the book. And that’s what people look for, and they pull it out, and if the image grabs them they buy it or they don’t. So, looking at the world that we live in today where we really don’t have much of a newsstand presence anymore and looking at how our readership, even when they buy stuff at their local comic shop, very few comic shops actually rack their comics the way that a newsstand did. You can actually see the entire comic cover standing alone next to other comic covers, but the top third isn’t really all that important. Then I think about the readership that orders their books from their local comic shop in advance. What they do is they go through the Marvel catalogue and they see the covers, sometimes they’ll see a thumbnail of a cover, and that’s really what they’re basing it on—and obviously the synopsis of the story or whether this comic is their favorite book or no,  And then, thinking about all the fans that are going to start picking up their books digitally, and the imagery that they will see in say their tablet, for example, it became very, very evident to me that there was absolutely no reason anymore to continue having our logos on the top third of the cover.

That’s not to say that we won’t, but I thought about maybe we should give our cover artists the opportunity to design their covers in a way—because now they can do a whole image like a movie poster—so that your reader’s eye is captivated by and they want to buy that book while at the same time letting us know what that book is so that the logo doesn’t have to appear there. So now we’re going to start looking at our covers as design work as a whole, and placing the images in places that are most attractive and that catch the eye in the best way. So if that means that if it’s an Iron Man cover and Iron Man’s head is on the top left side of that cover and the logo is on the bottom right, if that’s the thing that’s going to grab the readership, then that’s what we’re going to do. So it’s a challenge to our cover artists to think more in terms of design. We’re leaving the canvas open to them to work with as much as we possibly can. Because our covers carry a lot of information. They have ratings, they have UPS, they have all these things. So we’re designing our covers so that all these things aren’t locked in a specific area of the cover so that for the most part the canvas is empty for the artist to do their thing. So we’re just going to look at different methodologies by which to attract readers to our books, because more than anything that top third thing—that’s thinking from the 1930’s. So it’s time for us to move on.

Marvel.com: What does the preview piece you worked on tell us as far as what kind of characters are going to be coming to the forefront of Marvel NOW! and what changes are in store for them?

Joe Quesada: Well I think you can certainly glom several things from that piece. Number one, costume changes. Number two, you’ll see characters there that you wouldn’t necessarily think would be in a piece like that. I think readers can assume that we’re going to make a big push with certain books and create certain books that involve a lot of these new characters. And also just changes to certain status quos based upon costume design and what happened. Even Cyclops. He’s very prominent in that piece, He looks very different, but definitely prominent. And who knows if that’s even Scott in that costume? But the goal was to sort of give a quick, encapsulating view of a piece that says “Well, it’s going to be different.”

Marvel.com: Who are some of the creators prominently involved with Marvel NOW! that you can reveal at this time?

Tom Brevoort: Rick Remender and John Cassaday on UNCANNY AVENGERS, Brian Bendis and Stuart Immonen on ALL-NEW X-MEN, and Jonathan Hickman and Jerome Opena on AVENGERS, with Adam Kubert, Dustin Weaver and Mike Deodato also contributing to that twice-a-month series, plus Jonathan and Steve Epting on NEW AVENGERS. But this is just the tip of the iceberg.

Joe Quesada: We’ve got a lot of great changes coming up with our creators. I think two creators that have me very excited right now are, first, Jonathan Hickman and what he’s going to be bringing to the Avengers; if you really want a very clear road map of where the Marvel Universe is going to be taking you in the next four to five years, then you cannot not read AVENGERS. You have to.

And then the other creator that has me really excited is old time favorite Brian Bendis. Brian is working on two very significant projects for us. One of them is ALL-NEW X-MEN. I have not seen Brian this excited about writing comics in quite a long time. Between ALL-NEW X-MEN and his other secret project that he’s working on, which I think many people are going to find surprising, he is operating on all cylinders. I mean he is just a shot out of a cannon. This is like Brian Bendis circa 2002, where he’s salivating to get all the stuff that he’s doing.

The first series to fall under the Marvel NOW! banner will be UNCANNY AVENGERS, a new ongoing title launching in October, written by Rick Remender with art by John Cassaday and featuring members of the Avengers and the X-Men on one team for the first time facing a returned Red Skull out to exterminate the mutant race.

Marvel.com: Why was UNCANNY AVENGERS chosen as the first title for the Marvel NOW! initiative?

Axel Alonso: UNCANNY AVENGERS is the first book that delivers a snapshot of the Marvel Universe in the aftermath of AvX. This is a team composed of Avengers and X-Men that’s put together to deal with a specific threat, but that eventually becomes something much more than that.

Marvel.com: How does UNCANNY AVENGERS represent the post-Avengers Vs. X-Men Marvel Universe?

Tom Brevoort: Back in AVENGERS VS. X-MEN #1, Captain America and Cyclops had a pointed conversation before fists started flying about how, whenever a threat to mutants has arisen, the Avengers have seemed pretty remote; Cap articulated his position, but in the fallout from AvX, Cap and the Avengers, having gone through a bunch of stuff and having walked a mile in the X-Men’s shoes, are feeling like there’s some truth in what Cyclops had to say. So the Uncanny Avengers squad is being put together as a direct response to that, as a proactive attempt to provide support of the civil rights of the world’s mutant citizens, and to provide physical and superhuman aid in those circumstances where either mutants are threatened by non-mutants, regular humans are threatened by mutants, and every other iteration in-between. In essence, as we attempt to bridge the divide between the Avengers and the X-Men as entities within our publishing world, UNCANNY X-MEN will be the primary bridging book, a place where the team is as likely to battle Apocalypse as The Red Skull, and where long-established X-characters will stand side-by-side with long-established Avengers characters, in a very public manner.

Axel Alonso: Several years ago, we wondered why the roster of “Earth’s Mightiest Heroes” didn’t include Spider-Man and Wolverine, and the Avengers became our flagship franchise. A team composed of X-Men and Avengers is an equally seismic event—a must-read title for Avengers fans and X-Men fans, and they aren’t always the same audience.

Marvel.com: How was the creative team of Rick Remender and John Cassaday selected?

Tom Brevoort: Rick pitched the book right before one of our recent Marvel editorial retreats, as something that could naturally grow out of AvX. And we’re always looking for interesting projects to entice John into doing more work for Marvel.

Marvel.com: What characters can you tell us will be part of Uncanny Avengers?

Tom Brevoort: Among the characters that will make up the team are Captain America, Wolverine, Thor, The Scarlet Witch, Rogue and Havok, with a few other surprises waiting in the wings. There’ll also be a funeral in the first issue.

Marvel.com: What type of threat does the returned Red Skull pose to this team and to the Marvel Universe?

Tom Brevoort: The reborn Red Skull will have a strong anti-mutant agenda that will put him in direct opposition to the Uncanny Avengers and their mandate of attempting to inspire greater human-mutant cooperation. The new Skull will also possess a new set of powers obtained in a very creepy way, as well as his own team of foot soldiers, people whose lives were shattered by mutants who’ve been rebuilt at a genetic level to turn them into what we’ve jokingly been calling the Skull’s “S-Men.”

In November, writer Brian Michael Bendis and artist Stuart Immonen will premiere ALL-NEW X-MEN, with the modern day Children of the Atom facing the original team—Cyclops, Iceman, Angel, Beast and Jean Grey—brought forward in time to a Marvel Universe unfamiliar and shocking to them.

Marvel.com: Almost a decade ago, Brian Michael Bendis reinvented the Avengers franchise; how do his plans for the X-Men compare?

Axel Alonso Brian is bringing the original X-Men—the [Stan] Lee and [Jack] Kirby X-Men—into the present, and they’re here for the long haul. They’re going to see what the world has become, the hard road that got them here and, indeed, who made it this far. That’s going to make for years of fascinating stories.

Marvel.com: What characters can we expect to be featured in ALL-NEW X-MEN?

Axel Alonso: The current X-Men cast—or those who made it out of AvX alive—the Lee and Kirby X-Men, and a few surprises.

Marvel.com: What makes having the original X-Men in the present day Marvel Universe an intriguing proposition?

Axel Alonso: These characters grew up aspiring to live the dream of Charles Xavier. They’re going to come into a world that’s very different from that dream. And they’re going to come face to face with what they’ve become—future versions of their very selves—or, weirder still, come to terms with the fact that they didn’t make it this far.  Imagine you’re young Jean Grey and you just crash landed in 2012. Get my point?

Marvel.com: How was Stuart Immonen selected as the artist for All-New X-Men?

Axel Alonso: The stars were just aligned to make it so. He’s the perfect fit for this title.

Writer Jonathan Hickman and artists Jerome Opena and Steve Epting will reinvent Earth’s Mightiest Heroes this December in the bi-weekly AVENGERS as well as a revamped NEW AVENGERS, featuring an expanded roster, ambitious mission statement, and broad imperative that pushes forward into the 21st century.

Marvel.com: How is Jonathan Hickman changing the mandate of the Avengers franchise?

Tom Brevoort: First off, it’s important for you to know that, while we’re not ready to tell you any more about it, Jonathan will also be writing NEW AVENGERS as well as AVENGERS.

I mention that because the second thing you need to know is that, like AMAZING SPIDER-MAN, AVENGERS is going to be shipping twice a month. So there’ll be three Hickman-written Avengers comics coming out every 30 days—two issues of AVENGERS and one issue of NEW AVENGERS.

I can tell you that NEW AVENGERS will be an absolutely essential sister title to AVENGERS, intrinsically linked to what’s going on in that book. Together, the two will function as Black and White, Day and Night, Life and Death.

The main imperative for the Avengers coming out of AvX is a need to think bigger. Had the Avengers been better prepared, better manned, better equipped, the events of AvX might have been able to have been dealt with in a much shorter order. So we’ll be fielding a very large core team comprised of 18 or so characters—spanning the key players in the “Marvel’s The Avengers” film, mainstays of the current team such as Captain Marvel—Carol Danvers—and Spider-Woman, classic Avengers of the past such as The Falcon, some established Marvel characters of note that have never been Avengers before, and a number of completely new, though familiar, characters as well. And we’ll be keeping things in motion—not every hero will be featured in every issue and there’ll be smaller groups tasked to deal with rising situations as they crop up.

In typical fashion, Jonathan has laid out plans for literally years of stories—at our recent Editorial Retreat, I worked out that he’d broadly plotted through issue #63 at this point. And like his work on FANTASTIC FOUR and SECRET WARRIORS, the scale just gets bigger and bigger and bigger as you go, with payoff leading to payoff leading to payoff.

AVENGERS is the crown jewel of the Marvel publishing line, especially after the juggernaut success of the movie, so we’re going to be treating it as such, with the best characters, drawn by the best artists, coming out on a frequency that will help to propel story velocity and that will reward readers month after month after month in a big way.

For all the latest on Marvel NOW!, stay tuned to Marvel.com!

——

Official Press Release

The most popular characters. The most acclaimed creators. The most ambitious stories. This is Marvel NOW!.

This Fall, the Marvel Universe heads in an exciting all-new direction, as the industry’s top creators join the top super heroes, including Iron Man, Thor, Captain America, Hulk, Spider-Man, Wolverine and more, to deliver all-new ongoing series, each beginning with issue #1! Marvel NOW! is the culmination of Marvel ReEvolution, the groundbreaking new initiative to evolve the comic book experience through innovation.

It kicks off in October’s UNCANNY AVENGERS #1, from the team of Rick Remender and John Cassaday and continues with jaw-dropping new Marvel NOW! series nearly every week through February.

“There’s never been a better time to check out comics than Marvel NOW!” said Axel Alonso, Editor in Chief, Marvel Entertainment. “This isn’t a reboot or a reimagining—Marvel NOW! is all about looking forward, building on our rich history of great stories and delivering new ideas.”

In UNCANNY AVENGERS #1, the Avengers and X-Men must join forces to overcome the greatest challenge either team has ever faced, one so devastating that neither can afford to do it alone! Can Captain America’s newly assembled team find a way to peacefully co-exist while also dealing with the game-changing repercussions of Avengers Vs. X-Men?

Then in November, Marvel NOW! expands to all corners of the universe with launches including ALL-NEW X-MEN #1 by Brian Michael Bendis and Stuart Immonen, AVENGERS #1 by Jonathan Hickman and Jerome Opena, on-sale in December, and NEW AVENGERS #1, by Hickman and Steve Epting =, on-sale in January 2013.

“We brought fans the biggest comic book event imaginable in Avengers Vs. X-Men and now we’re taking the Marvel Universe to an exciting new place, beginning with Uncanny Avengers #1,” said Tom Brevoort, SVP, Executive Editor, Marvel Entertainment. “If you’re a long-time fan, all the stories you’ve read will give you even more enjoyment of what’s happening now—we’re not abandoning our past. But if you’re a new reader, this is where you’re going to learn just why Marvel comics are unlike anything else you’ve ever read. And no character is left unaffected by Marvel NOW!.”

Every comic book bearing the Marvel NOW! branding includes a code for a free digital copy of that same comic on the Marvel Comics app for iOS and Android devices. Additionally, each issue #1 of Marvel NOW! series features special augmented reality content available exclusive through the Marvel AR app, including cover recaps, behind the scenes features and more that add value to your reading experience at no additional cost.

“This is the natural next step of the Marvel ReEvolution, as we evolve every facet of Marvel publishing,” explained Joe Quesada, Chief Creative Officer, Marvel Entertainment. “You’ve seen us craft new digital storytelling formats like Marvel Infinite Comics and bring added value to our comics with Marvel AR. Now our print comics leap into the future with a cinematic new look for our covers, exciting new designs for our biggest characters and stories that will send you on the kind of journey you can only get at Marvel.”

This October, Join The ReEvolution as Marvel NOW! kicks off with UNCANNY AVENGERS #1, ushering in a new era for comics and the perfect jumping on point for new readers. The biggest creators bring you the biggest characters in the biggest stories…and it’s happening NOW!

To commemorate the historic release of UNCANNY AVENGERS #1 on Wednesday, October 10, participating retailers can host special advance release parties the night before! That’s right, you can experience the biggest new series launch of the year on Tuesday, October 9 at select retailers, who’ll also have limited edition giveaways exclusive to these events.

 

Stan Lee Talks About His Cameo in The Amazing Spider-Man

The Amazing Spider-Man Stan Lee Banner

Before you head out to see “The Amazing Spider-Man,” now in theaters and IMAX 3D, watch Spidey’s creator Stan “The Man” Lee as he shares more about his cameo in the film in a special vignette below!

Check out the full clip right here on Marvel.com, and for more Webslinging-action, see Spidey outrun New York’s finest or school Flash Thompson in some basketball. Better yet, get a glimpse of the villainous Lizard as he terrorizes Gwen Stacy!

 

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A CLick Survival Guide for Comic-Con International

With Comic-Con International, ak.a. San Diego Comic-Con, now just days, almost hours, away, those traveling to the extravaganza are packing to hit the road. There are several noteworthy survival guides we can recommend to those of you less familiar with what it’s like being there. Tom Spurgeon at The Comics Reporter has his valued 150 tips, the gold standard of advice.

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But our friends over at Click Communications has also assembled a witty Survival Guide of their own. Click is a leading media public relations firm and we’ve been dealing with them for years. They talk the talk, walk the walk, and have plenty of good pieces of advice to share along with thumbnails on many of the properties near and dear to their hearts. While Tom’s tips are good for everyone, even veterans, this guide is great for newcomers and those who don’t speak Geek as fluently as the rest of us.

They explained to us, “This guide began as a way to offer some helpful tips—and a little entertainment—to anyone working the Con who might not count down the days ‘til July the way we do.  Now in its fifth year, our simple How-To manual has grown into something that “n00bs” and nerds alike can appreciate. This year, the guide also features original artwork from some talented, up & coming comic book artists: Tess Fowler, Tony Fleecs, and Scott Arnold.”

Since you’ll be stuck on lines for a good portion of the con, they have even come up with a useful way to pass the time: The Click Communications Comic Con Survival Kit Contest!

Enter to win a Survival Kit of your very own by visiting our blog, or join us in playing Comic-Con Bingo.  Grab the Bingo card from the back of the Guide and share your pics online via Facebook, Twitter, or Pinterest to line up your finds to win fabulous prizes while in San Diego.  For more information, and to enter to win, visit either here or here.

Now for Click’s OBLIGATORY DISCLAIMER:

Click’s Comic-Con Survival Guide is just a little something they put together for your information and our amusement. There’s zero guarantee that the information they found online is 100% reliable.  After all, release dates change, actors need rewrites, directors run out of budget, writers go…insane. Things happen. Since we all know that, no one should take any of the information contained within as locked-in gospel or anything. Okay?  Okay.

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