Tagged: DC

‘Star Trek: Year Four’ Review

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  • March 26, 2008

When I was a wee lad of, oh, let’s say 13, to hear the words "untold tales" was a thrill in itself.

"What’s that, you say? In this story, I will discover that Wolverine met Spider-Man’s parents for about an hour several months before the web-spinning super-hero was even born? And it turns out Green Lantern’s landlord was once involved with the Russian mob? Awesome! How did I live before now?"

But now, I am in my mid-20s, long past the prime of life, and my standards are a mite higher. A story that fills in gaps of the past for its own sake just isn’t enough. It must also be a good story by itself. It must be able to entertain me and interest me and, if at all possible, elicit emotional reactions from me that would make even a positronic android react with a cry of "Neat!"

And so, let’s talk about the first comic book miniseries entitled Star Trek: Year Four (IDW Publishing), which was written by David Tischman and penciled by Steve Conley, and which has recently been collected as a trade paperback. In the original Star Trek TV series, Kirk informed audiences every week that the Enterprise was engaging in a "five-year mission" of exploration. Sadly, the show was cancelled after its third season. Tischman and Conley’s series attempts to inform us all about just what happened next, long before the time that the Star Trek films picked up. (more…)

ComicMix Exclusive Interview: Joe Lansdale on ‘Pigeons from Hell’

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  • March 25, 2008

Joe Lansdale is a prolific author of horror stories, both short and novel-length, including Drive In and Bubba Ho-Tep.  He’s also no stranger to comics, having partnered with Timothy Truman for projects featuring  such characters as Jonah Hex and The Lone Ranger, and has even written for Batman: The Animated Series and other television series.

This spring, Dark Horse Comics is releasing his four-part miniseries, Pigeons from Hell, adapting a story by Robert E. Howard.  It’s Lansdale’s first time working with artist Nathan Fox, and he recently sat down for a brief chat with ComicMix and a preview of the first issue.

COMICMIX: Thanks for agreeing to chat, Joe.  This is not your first work with Robert E. Howard.  You previously wrote a Conan miniseries. So tell me, what is it about Howard that you like?

JOE LANSDALE: Howard has always appealed to me because there is a raw storytelling talent at work, and he has a Texas background, and like me, he lived in a small town where the sort of profession he pursued was not entirely understood. I always thought he appealed to the little boy in all of us, and by that, I mean that part of us that loves a good raw story. He appeals to that aspect in all of us. Like Jack London, The Call of the Wild is eternal. I don’t think Howard had the same depth that some of London‘s work had, but it has the same primal element, if not the social element. Thing is, I don’t consider that bad or lesser, just different.

CMix: Did you ask to write Pigeons from Hell, or was it an assignment?

JL: I think it was mentioned to me by the film company that has Howard’s work, because I had written the Conan miniseries. It had been well-received, and I mentioned Pigeons From Hell, and it was thought an update might be fun, since Dark Horse had already done a literal adaptation, so, it just sort of snowballed from there and Dark Horse was for it. [It was] kind of an accident.

CMix: How did you approach expanding and adapting a prose work into a four-issue miniseries?

JL: I tried to use the original story as the frame, and I tried to bring younger contemporary characters into it. Howard’s work was of its time, and it could be casually racist, so I wanted to avoid that. I also added more mystical elements. Again, a perfect adaptation had already been done for the comics before, and there was a really good Thriller episode of the story years ago, though now it seems a little dated, so I wanted to approach it in a different manner. I think the story is still true to the original in most ways.

CMix: What is it about Howard’s work that you think still makes it relevant today?

JL: I think it’s the pure storytelling. You can learn to be a better writer with effort and time, but that is something that seems almost inborn, though I’m not sure how to explain it. But he has it, and the work is recyclable and constant. (more…)

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11 Batman Stories to Read Before Watching ‘The Dark Knight’

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  • March 24, 2008

Batman Begins and its upcoming sequel, The Dark Knight, are both feature films that deal with Bruce Wayne at the beginning of his career as a crime-fighting detective. But some in the movie audience may be curious about how these rookie years unfolded in the continuity of the comics.

So, here at ComicMix, we’ve put together a timeline of the stories you should read (and the order in which to read them) to learn about Batman’s early days. This list is focused on collected storylines from the single issues and one-shot stories rather than individual issues, and includes what is deemed to be currently in continuity within the mainstream DC Universe (so certain stories such as BATMAN: Year Two are not included). If a story’s place in the greater Batman continuity is uncertain, but hasn’t been directly contradicted by other stories, we’re including it.

Please note that this is focusing on Batman’s early solo years and is, as stated above, a timeline. Therefore stories such as Arkham Asylum and The Killing Joke, while famous, aren’t being included here since they take place much later in Batman’s career.

ADDED NOTE: If you like this, be sure to check out our related article, the Top Six Greatest Joker Victories.

Now let’s begin …

batman-yearone-9930894Batman: Year One – It all starts here in this story by Frank Miller (Sin City) and David Mazuchelli (DAREDEVIL: Born Again). After years of learning how to be a detective and training in the martial arts and ninjitsu in the Far East, Bruce Wayne returns to Gotham City to begin his war on crime. Learn how he first met a young Lt. James Gordon (who would later become the famous commissioner of the GCPD) and hot-shot District Attorney Harvey Dent, as they all try to free their city from a corrupt police department and fight against the mobster known as Carmine “The Roman” Falcone.

This comic also features the reason Bruce Wayne chose a bat as his symbol and his first encounter with Catwoman. The end of this story leads directly into another item on our reading list, BATMAN: The Man Who Laughs.

Batman and the Monster Men – In Year One, you might notice a large gap of time that passes between November and December. This story, written and drawn by Grendel’s Matt Wagner, takes place during that gap and reimagines one of Batman’s earliest stories from the Golden Age of Comics. Meet Bruce Wayne’s early girlfriend, Julie Madison, and watch his first encounter with the sociopathic Professor Hugo Strange. This story also introduces the proto-version of the Batmobile.

Batman and the Mad Monk – Another Golden Age story is brought into the modern day by Matt Wagner with this follow-up to Batman and the Monster Men. Following his encounter with the monsters of Hugo Strange, Batman now faces a potentially supernatural enemy and a deadly cult. Batman’s car truly becomes the Batmobile in this story and we also see the developing partnership between him and Jim Gordon. And see just what happened to make the Dark Knight lose the first serious love in his life. (more…)

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‘Doom Patrol: Planet Love’ Review

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  • March 24, 2008

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And so we come to the end. It’s taken DC Comics sixteen years to collect all of Grant Morrison’s classic run on Doom Patrol, but it’s complete now. I don’t know if new readers coming to Morrison’s Doom Patrol in 2008 can understand how different that series was in the early ‘90s – the era of million-copy runs, of the Image founders becoming Marvel superstars and then packing up to become “Image,” the biggest boom that superhero comics have ever seen.

There was bombast in the air, then, on all sides. Superheroes were long past their days of stopping bank robberies and foiling minor criminals. The era of cosmic threats all the time had been inspired by Secret Wars II and the first Crisis, and had grown through Marvel’s summer crossovers and everyone’s monthly gimmicks. You couldn’t swing a cat without hitting a would-be world conqueror, or a megalomaniac with an anti-life formula, or some other unlikely threat to everything.

You have to remember that background when you read Morrison’s Doom Patrol, just as you have to remember the stolid seriousness of ‘80s superheroism when you read his Animal Man of the same era. Morrison wasn’t parodying what everyone else was doing – he’s only very rarely been one to specifically poke fun at other creators – but he was pushing it further, in the direction of his own obsessions and ideas, than anyone else was willing to do. (Take a look at his Arkham Asylum for another example; it’s the epitome of the “crazy Batman” idea that percolated all through that time — the concept that Batman attracted so many damaged and insane villains because he was inherently damaged himself.)

(more…)

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Recolored ‘Killing Joke’ Compared to Original

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  • March 23, 2008

 

Brother J at PopCultureShock recently posted a comparison of interior art from the original Alan Moore/Brian Bolland one-shot Batman: The Killing Joke and DC’s new, recolored "Anniversary Edition" of the story.

The $17.99 hardcover edition was recolored by Bolland himself, and the result is a very different atmosphere for the classic tale:

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The post also contains another page-to-page comparison that’s certainly worth checking out.

 

ComicMix Radio: Catchin’ Up With Darwyn Cooke

Basking in his well-deserved glory for Justice League: New Frontier, Darwyn Cooke teases us a bit on his next turn at DC’s core heroes, plus:

— Transformers’ bad guys get a turn

— Jericho peters out

— Comic Fans take center stage next season on the SciFi Channel

—  We solve one trivia question and toss out another that is worth an  exclusive Graham Crackers Comics variant — and you win by e-mailing us at: podcast [at] comicmix.com

Spring is here, so relax and Press The Button!

 

 

And remember, you can always subscribe to ComicMix Radio podcasts via badgeitunes61x15dark-1598352 or RSS!

On This Day: Mark Waid

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  • March 21, 2008

Born on March 21, 1962 in Hueytown, Alabama, Waid entered the comics industry in the mid-1980s as an editor and writer for Fantagraphics Books’ fan magazine, Amazing Heroes.

He soon moved to DC as an editor on Secret Origins and Legion of Super-Heroes. In 1990, he shifted from full-time editorial to freelance writing, and in 1992 DC hired him to write The Flash. Waid stayed with The Flash for eight years and can be credited with establishing Wally West as a worthy bearer of the Flash name and costume. Waid then moved to Marvel to work on Captain America.

In 1996 he went back to DC to produce his best-known work, the mini-series Kingdom Come with Alex Ross. He also wrote the follow-up series, The Kingdom, and has since written JLA, Impulse, Empire, Fantastic Four, and others.

In July 2007 Waid joined Boom! Studios as Editor-in-Chief. He’s stated since that all of his future creator-owned work will be with Boom!

Review: ‘The Last Days of Krypton’ by Kevin J. Anderson

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Everyone knows the basic story of [[[Superman]]]. Baby Kal-El, last survivor of the planet Krypton, rocketed to Earth by his parents Lara and Jor-El, found by a nice couple in Kansas, raised to be Clark Kent AKA Superman. But what about the story of Krypton before Kal’s birth? What about the lives of his biological parents?

In this hardcover novel published by Harper Entertainment, Kevin J. Anderson ([[[Captain Nemo]]], [[[Hopscotch]]], [[[Star Wars: Darksaber]]]) gives us a story of the ill-fated planet and its people, who are so tranquil and advanced in science that they have stopped dreaming and questioning reality. One man, Jor-El, still dares to dream — but finds his technology constantly censored by the Science Council and by Commissioner Zod. Eventually, Jor-El meets someone much like him, an artist named Lara Lor-Van who never hesitates to speak her mind, and the two fall in love. When disasters begin to occur, Jor-El and Zod may have to join forces to save their planet from destruction. But is Zod really concerned about the benefit of Krypton or is he plotting his own take-over?

In the foreword to this novel, comic writer Marv Wolfman (New Teen Titans, The Crisis On Infinite Earths) stated that Kevin J. Anderson’s goal was to create a story that took elements from all of the various and contradictory interpretations of the planet Krypton, its society and just why it was destroyed. (Did the sun go supernova, was it destroyed by a shifting orbit or was it a victim of a war involving terrible weapons?) The result would then be a tale that would allow everyone to at least find one or two familiar elements and would be entertaining for people who knew very little about the Superman mythos.

Unfortunately, that is not quite what we get. But more on that later. First, I should mention there are many good scenes here and there, as well as some touching moments. Of particular note is Anderson’s version of the first meeting between Jor-El and Lara Lor-Van. It involves danger and nice characterization and the date that it leads into shows just why these two fall for each other. Too often these days, we are shown a couple who are in love but who don’t really show this in their actions, requiring the writer/director to spell things out by having their characters awkwardly say things such as “I’m blinded by your love.” (Are you listening, George Lucas?!)

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The Weekly Haul: Reviews for March 20, 2008

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  • March 20, 2008

After skipping town last week, I’m back with an all-new spate of reviews for this week’s comics issues. Lots of super hero fare this week, with a few studs and a whole lot of "meh."

Book of the Week: Captain America #36 — I know, I know. Not a very out-there choice. But, c’mon, this is simply the best superhero book coming out right now. Ed Brubaker sets it up perfectly to test Bucky, the new Cap, by pitting him against some serious supervillains. And we get to see how Bucky is different from Steve Rogers, for good and bad.

And while Bucky brawls his way through that challenge, the defining moment of the issue comes when Bucky can’t summon the Captain America aura to calm a riotous crowd. And, if that’s not enough, Butch Guice’s fill-in art is so good that I didn’t realize he’d replaced Steve Epting until I looked back at the credits.

Oh, and then – SPOILER – there’s that little cliffhanger that a certain dead person might not be so certainly dead.

Runners Up:

The Brave and the Bold #11 — Here’s another "can’t go wrong" series (at least until Mark Waid jumps ship). The Challengers see just how tough Megistus is (and just how crazy), then Superman and Ultraman have a zany little team-up only after Ultraman impersonates Clark and runs roughshod through the Daily Planet newsroom. The too-big, too-fun antics culminate in one of those straight-from-the-silver-age moments, when Megistus throws a Green Lantern (the actual lantern, not a hero) into the sun and turns it green. Bad news for Ultraman and Superman.

The Immortal Iron Fist #13 — I’d be calling this book the best of the week if it weren’t for a weaker than usual outing from artist David Aja. His work isn’t as polished as usual, which means it’s still decent but not great. That aside, this Seven Cities of Heaven storyline is finally coming together in a big way. What’s really remarkable about this issue is how Brubaker and Matt Fraction keep up the excitement with only a couple punches thrown. It’s a perfect setup to the big brouhaha coming down the pike next issue, and offers the line of the week when Danny finally reveals his plan to the villainous Xao: "So we can get out, you dumb son of a bitch."

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Faith Based Economics, by John Ostrander

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  • March 20, 2008

333832254_1bdb784010-8275717I don’t know much about economics. It’s all voodoo to me. Unfortunately, the same appears to be true of the corporate bosses of Bear Stearns, the “hallowed” investment bank that was sold over the weekend for pennies on the dollar to JPMorgan Chase. That was made possible by a thirty billion (“B” billion, not “M” million) dollar hand-out from the United States Federal Reserve Bank to cover Bear Stearns assets that would be “difficult” to sell off, meaning the U.S taxpayer will be stuck holding that bag.

“How could this happen?!” Actually, how could it not? Bear Stearns, along with a lot of other investment banks, were using “mortgage based securities.” Essentially, as I understand it, they lent the money to the guys lending the money to the people who were buying homes. Mortgages. They issued and traded bonds that used these mortgages to secure the money for the people who bought the securities. So long as those mortgages were prudent, it was not necessarily a bad idea.

However, the guys making the mortgages invented a new category – sub-prime mortgages. Many of those mortgages were given to people who didn’t have the funds really to make the payments and weren’t going to have them. That’s okay. Just re-finance! And the “worth” of the houses being bought kept going up and up. Anyone with half a brain knew that the housing market was WAAAAAY over-priced. It was crazy.

The reason the houses and land were worth that much was because everyone agreed they were. They believed it as deeply as any Born Again Christian grabs hold of the Bible. The loaves and the fishes with which Jesus fed the multitude didn’t multiply as much or as fast as some of the housing prices. It had to be true. Shout down the un-believers and naysayers. Except, of course, it all wasn’t true.

(more…)

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