Valiant Entertainment has been stirring things up as they prepare to relaunch their moribund line of characters in May. Now word has hit that Jeff Wadlow has sold a spec script for a Bloodshot film to be produced by Columbia Pictures.

According to The Hollywood Reporter, Wadlow, best known for the film Prey, came up with the notion for the movie and tracked down the rights holders, Jason Kothari and Dinesh Shamdasani, convincing them he was the right man to tackle the property. The script has been kicking around Hollywood since 2008 and was even considered for the developing comic line although that appears to have been abandoned. In March 2010, X-Men First Class director Matthew Vaughn was attached to direct a version of Bloodshot that may or may not have included Wadlow’s script. Wadlow, though, has been paid $450,000 for the spec script and that could swell to $1 million should the movie actually go before the cameras.

Original Films will produce the film for Columbia with Neal H. Moritz set to executive produce. In the announcement, Hannah Minghella, Columbia president of production, said, “The Bloodshot character has been a fan favorite for nearly two decades, selling approximately 7 million comic books globally. Because there have been more than 1,500 pages of storylines published, there is a rich legacy to draw from as we develop the screenplay.  Neal is one of the best action producers working today and we know he is the right filmmaker to take on this potential franchise.”

Moritz is no stranger to comics and pop culture icons, having most recently worked on the remakes of 21 Jump Street and Total Recall for Columbia, and adapting Dark Horse Comics’ R.I.P.D. for Universal.

Meantime, Brett Ratner was announced to be directing an adaptation of Valiant’s Harbinger in 2008 as he sought a franchise he could call his own. Since then, there has been nary a peep from Valiant or Ratner on the property’s development.

Valiant, founded in 1989 by Jim Shooter, will return after a decade’s absence with X-O Man of War in May. Former Marvel editor Warren Simons has been carefully assembling creative teams with a slow roll out apparently mapped for 2012 and beyond.

 “…and I’d also like to thank the guy who parks my car on Wednesday nights and the waiter at the Chinese restaurant we ate at last month and, oh, I almost forgot – forgive me – the young mom with the wild mane of reddish hair at the deli counter yesterday, oh lordy, she was gorgeous! And who else? Mr. Electricity Man who puts the electricity through the wires so my television set can light up with pictures and stuff and…”

On the subject of the television: the one that’s in the room above my head will, within the hour, be colonized by show-biz elite because this is the magic night when my sweetie and I part video-viewing company. She’ll be watching the Academy Awards and I’ll be…doing something that isn’t watching the Academy Awards. Why? Well… I feel consternated by mountain-size helpings of glitz and besides, no superhero movies are up for any of the prizes. (Those Hollywood philistines! Didn’t they see The Green Hornet?)

Though the red-carpet trodders do have things in common with superheroes. For openers: costumes. Listen, I’ve been to Hollywood – I’ve even been to three movie studios – and people don’t wear stuff like that on the street. Just as Batman only dons his cape and cowl on certain occasions – often involving dark rooftops and maniacs – these performers apparently wear their special finery on ceremonial occasions – maybe only this ceremonial occasion – and then shed it and put on, you know, clothes. And the wearing of it doesn’t even please everyone: expect the snarkfest to begin late tonight and continue through tomorrow’s cable news cycle: eyebrow archers who probably have AFTRA union cards commenting uncharitably on couture, coiffure, décolletage, footwear, anklewear, wristwear, neckwear and, if someone is just a tiny bit daring, even underwear, providing all the glorious entertainment of hearing a couple of preadolescents discussing the best looking child in the seventh grade who, of course, isn’t them.

Costumes not enough? Then add masks. Oh, not the kind of masks you wear on Halloween, nor the kind that Catwoman and Spider-Man wear to work (unless one of the trodders decides to make a Fashion Statement and harvest really major snarkery.) The masks I refer to are not donned, they’re applied with brushes and pencils and powder puffs and fingertips and…I don’t know…trowels?

Like our superheroes, these actors have something to hide – insecurity? pimples? – and I don’t think we see them at their best on Oscar night. Weirdly enough, we do see them at their best when they’re most hidden – when they’re saying others’ words and, in some cases, even mimicking others’ gestures. When they’re doing their jobs. That’s how I like to enjoy them, how I like to remember them, as wonder workers who can, however briefly, transform my world and maybe and brighten my existence for the two hours I sit in darkness.

My pick? I thought you’d never ask. I gotta go with The Artist. By the time you read this, we’ll know if I’m right. And you can do me the favor of not giving a damn.

FRIDAY: Martha Thomases Gives A Damn

The Universe Of Super Heroes has been serving Jacksonville, Florida for twenty years this year. We want to stick around for at least 20 more! Come make sure that happens! This Friday from 11 AM to a very late closing time, they will be doing a large sale and fundraiser. Manager Stephen Ezell writes:

We will be having fun at the shop! There will be a full size Tardis, and the best “Doctor Who” ever will be up here fixing things with his wit and sonic screwdriver!

11ish AM We open and will be having a back issue sale! The sale will last all day! All Back issues Buy 4 issues get one free (equal or lesser value of the lowest priced issue bought.)

5:00 to 6:00 PM CASH MOB! Spend more than $20 CASH within this hour and get a prize!

7:00 PM We will have a Raffle so be sure to buy a ticket for only $2.
Prizes will be revealed the day of.

9:30 PM we will start the Show! Jackie Stranger, DigDog, Tuffy, and Ghostwitch will be rocking in the stacks! BYOB, and stick around for some fun!

Remember folks, that’s the  SAVE THE UNIVERSE PARTY!at Universe of Super-Heroes, 2724 Park Street, Jacksonville, FL 32205. Tell ’em ComicMix sent you.

Hardly a day goes by without my asking myself “How did all this crappy art get published?”

Now, before all you upstarts get bent out of shape, please appreciate the fact that I’ve been asking this question since about the time Freedom 7 was launched. (Note to self: After gawking at Brian Bolland’s Blog, please don’t look at anybody’s comics art for at least three hours. You’re not giving them a chance.) The difference is, there are a hell of a lot more comic books being published these days. Whereas I think the comics medium beats out Sturgeon’s Law, there’s a hell of a lot of crappy art out there, and much of it is below what I consider to be professional standards.

Over my career I’ve spent a great deal of time evaluating newbie portfolios, and while I feel doing this at the larger, crowded conventions generally gives the young wannabe short shrift, like most geriatric editors I’ve developed a mental go-to list of comments that, if followed, will likely give direction to the newcomer. Since I’ve grown anti-social of late, I’ll share some of these points with you.

Stare at something other than the comics you grew up with. And don’t spend all that much time staring at comic books published before your birth – yeah, study the classics like Toth, Kubert, Kirby, Kane, Maneely, Wood, Adams, Barks and Toth, but learn from the great newspaper strip creators like Milton Caniff, Frank Robbins, Floyd Gottfriedson, Alex Raymond, and Frank Godwin. Spend some time gawking at the great illustrators like J.C. Leyendecker, Maxfield Parrish, Norman Rockwell, Howard Pyle, and NC Wyeth. Go to a few art museums. There is no more enjoyable way to pay your dues.

Get a large jar and label it “Photoshop Copy Machine.” Every time you use Photoshop or any other graphics program to copy your art so that you can use it later in lieu of drawing something new, put $20.00 in the jar. When you fill it up, donate the money to The Hero Alliance or CBLDF. The eye tires of the same old stuff, particularly when you repeat the same image within a few pages. Sometimes there is a solid storytelling reason to rerun your work within the same story, but like all dramatic effects these are few and far between and should only be used sparingly.

Get a smaller jar and label it “Son Of Photoshop Copy Machine.” Every time you use Photoshop or any other graphics program to copy somebody else’s art, put $10,000 in the jar. Then find some other fulfilling way to make a living. I suggest procuring a domino mask, a striped shirt, and a gun.

There’s an old adage that proclaims “color will save it.” More often than not, this statement is attributed to the late DC Comics production whiz Sol Harrison, who got his start as an engraver on Superman #1 and in his spare time did watercolors. Unfortunately, Sol was wrong. Color will not save bad art. Not even the most heavy-handed computer color. Bad art is bad art. Or, to be less subtle, shit stinks.

Go buy a copy of [[[Gray’s Anatomy]]]. Not the teevee show, silly, the book written and drawn by Henry Gray first published 154 years ago. Whereas the book has been updated frequently, the human body has not. I am not concerned with your religious predilection, but no matter which hoary thunderer or cosmic muffin you might worship, if you intend to draw the human figure for a living this is your new bible. I cannot stress this more highly.

Study storytelling. As the artist, you carry the burden of telling the story. You are not an illustrator illuminating somebody else’s story: you’re the person putting it across the plate. Your friend over there should be able to get a good sense of the story by looking at your unlettered original art. Go get Will Eisner’s Graphic Storytelling and Visual Narrative, and Will Eisner’s Comics and Sequential Art: Principles and Practices from the Legendary Cartoonist and Scott McCloud’s Understanding Comics. Take these three books, add the aforementioned Gray’s Anatomy, and don’t pick up the pencil or the Wacom tablet until you have studied and thought about each and every word in these four books.

Do not stop drawing. Question your alleged need to watch television, play video games, associate with people, eat, and bathe. Each of these activities takes valuable time away from your perfecting your craft. Trust me; once you get an assignment with a deadline, you won’t have time to watch television, play video games, associate with people, eat, or bathe.

Don’t give up. A newbie comic book artist who had just blown a couple deadlines once told me “If I can’t do this, I might as well flip burgers.” Well, today this guy is not flipping burgers. He became a comic book writer.

Drawing comics is no different than any other vocation: you’ve got to learn your stuff. Don’t look at the worst people being published and say “I can do better than that.” We’ve got enough crap. Aim high and don’t jump into the water until you know you can swim to the other side.

THURSDAY: Dennis O’Neil

Pro Se Productions announces the latest issue in its Award Winning Magazine line!   Recognized as the Best Pulp Magazine for 2011 by the Pulp Ark 2012 Awards, Pro Se Presents #7 Brings Thrills and Chills Like None You’ve Ever Seen! Fan Favorite The Silver Manticore returns for another story! Noted New Pulp Author Van Allen Plexico debuts his latest novel character, HAWK, in a story exclusive for Pro Se! And Frank Schildiner’s newest Weird Hero, Lee Cohen, Monster Mobster, debuts and is featured on this stunning cover by Sean E. Ali! Get Scared, Spaced, and Masked all in this issue of PRO SE PRESENTS! 

Pro Se Presents #7 is now available in print for $6.00 at Amazon, at https://www.createspace.com/3807811, and at www.prosepulp.com!  Also available for $1.99 as an Ebook on Kindle via Amazon, on the Nook via Barnes & Noble, and in all formats at www.smashwords.com!

Featuring the fantastic Formatting and Design work of Sean E. Ali, including a stunning cover spotlighting Schildiner’s story, as well as interiors by Ali and Rowell Roque,  Pro Se Presents #7 continues the Pro Se Mission of Puttin’ The Monthly Back Into Pulp!