Tagged: DC

‘Justice League: The New Frontier’ Tops Xbox LIVE Videos

  • News
  • March 5, 2008

Justice League: The New Frontier, DC Comics and Warner Bros. Animation’s direct-to-DVD adaptation of Darwyn Cooke’s critically praised miniseries, was the top movie rental last week on Xbox LIVE’s Video Marketplace. The film, which imagines the DC superteam in the midst of the Cold War, took the top spot on most days since its release on on February 26.

Scott Nocas, a Marketing Manager for LIVE’s Video Store said, "With the great success of Superman: Doomsday on Xbox LIVE just after last year’s Comic-Con, Warner Bros. and Xbox were excited to bring another DC Universe animated movie to our consumers. We continue to see great engagement with the movie, and other DC Comics content on Xbox Marketplace."

Currently available at no charge on the service is a bonus feature that includes interviews with comic luminaries Jim Krueger, Mark Waid, Marv Wolfman, Rich Fogel and Darwyn Cooke himself.

Retail sales numbers for New Frontier have not been released yet but the film is expected to have done well. In fact, some retailers are actually having a difficult time keeping the film in stock, making the Xbox LIVE film an even more attractive option.

Wombat, a gamer from the popular CAGcast podcast, recently recounted his own experience trying to buy the Blu-Ray version of the film at a Circuit City in Union Square, NYC. "Naw, man. I bought the last one yesterday, sucka," an employee told him.

Owch.

If you’re still waiting on your copy, feel free to spend some time reading the ComicMix review of Justice League: New Frontier, checking out photos of the Series 2 line of "New Frontier" toys, or just watching the trailer for the film posted after the jump: (more…)

Review: Teen Titans Year One

teentitansy1-6915716The other day I was talking to James Kochalka, creator of Superf*ckers and the upcoming Johnny Boo children’s books, and he mentioned how difficult it is to find superhero books for his kids. Such offerings are mostly limited to comic book adaptations of cartoon series that were adapted from comics, he said, and “they’ve been pretty bad.”

For DC, the lifeline to younger readers has long been the Teen Titans, most recently through the TV spinoff Teen Titans Go! and Tiny Titans, which is almost too innocent for its own good. Now we also have Teen Titans Year One (issue #3 is out tomorrow), the “origin” story from writer Amy Wolfram.

The book succeeds on a number of levels, primarily in how it manages to be appropriate for kids without dumbing down. There are serious threats and the group faces violence and danger and interpersonal hangups. The art also perfectly fits the tone.

While I’ve enjoyed the series thus far, I doubt it’ll serve as a jumping-on point for any kid looking to get into comics. Another thing Kochalka complained about was how the youth-oriented Marvel and DC comics rely on readers coming into the book to have a firm understanding of the mythos, and that’s certainly the case with [[[Teen Titans Year One]]]. New comics readers will be fairly lost, if not out and out discouraged by the lack of exposition.

The Year One tag also only hampers the series, forcing it into a ridiculously incongruous existence amid decades-old comics. For instance, these Titans use cell phones and instant messaging, devices that weren’t around when the Teen Titans debuted. That’s nit-picking, to be sure, but when an editor’s note tells me this storyline happened right after [[[The Brave and the Bold]]] #54, I can’t help but be yanked out of the plot.

Van Jensen is a former crime reporter turned comic book journalist. Every Wednesday, he braves Atlanta traffic to visit Oxford Comics, where he reads a whole mess of books for his weekly reviews. Van’s blog can be found at graphicfiction.wordpress.com.

Publishers who would like their books to be reviewed at ComicMix should contact ComicMix through the usual channels or email Van Jensen directly at van (dot) jensen (at) gmail (dot) com.

Interview: Fabian Nicieza Talks New ‘Captain Action’ Comic

  • News
  • March 3, 2008

Writer Fabian Nicieza’s career spans over twenty years with stints at Marvel, DC and Darkhorse Comics. During that time he’s plotted, edited and written some of the most popular comic books around including Thunderbolts, Cable and Deadpool and Uncanny X-Men.

Recently, Nicieza competed against many other accomplished writers for the chance to bring one of the most beloved heroes from the ‘60s, Captain Action, back to the pages of a brand-new comic book series set to hit stores later this year. His pitch was selected and he’s now hard at work bringing Captain Action back to life.

ComicMix caught up with Nicieza to ask him a few questions about the Captain Action comic, his earlier work, his future and if a hero created and deeply-rooted in the ‘60s has a place in today’s comics culture.

COMICMIX: For people who might not know, can you give us a bit of info on your background? How did you get started writing comics? What were your favorites growing up?

FABIAN NICIEZA: I grew up reading comics. Out of college, I interviewed at both Marvel and DC, eventually landing a job at Marvel in 1985. After a couple years of learning the ropes, I started selling some stories to editors. I kept writing and working on staff, eventually, reluctantly, becoming a full-time writer.

I grew up reading Batman and Superman, then gravitated towards Marvel — Fantastic Four, Spider-Man, Avengers. Then "offbeat" series like Conan and Captain Marvel. Offbeat for an 11 year old, I guess.

I also got lots of Superman, Justice League, the Engelhart/Rogers Detective run. I bought both Marvel and DC through the early ’80s, until I got the job at Marvel, then I got everything for free for a while.

CMix: Free is nice. How much did you know about Captain Action before you started 
writing the comic? Did you ever read the original?

FN: I read the original DC comic, but only because the toy was my favorite as a kid. I had the figures and lots of the costumes. (more…)

Review: Brian K. Vaughan’s ‘Batman: False Faces’

batmanfaces-1-4292282With the recent and much heralded conclusion to Y: The Last Man, the continued strong run of Ex Machina and a gig writing for Lost, Brian K. Vaughan is living pretty high on the hog nowadays. But it can easily be forgotten that Vaughan wasn’t always a superstar writer, and the new collection of comics from his formative years at DC serves as a telling picture of the artist in progress.

In Batman: False Faces ($19.99), we’re taken back to Vaughan as a struggling writer, working a day job at the psychiatric ward of St. Vincent’s Hospital in New York. Three stories in the collection feature Batman or his rogues, and the fourth sets Wonder Woman against Clayface.

As Vaughan writes in his introduction: “[A]nyone who thinks that pitting a character made of magical clay against friggin’ Clayface isn’t a totally awesome idea is a dirty communist.” True enough. But while the setup is golden, the execution isn’t. What could have been a deeply introspective story is more cursory and trivial, while also moving a bit too slowly in places.

The Batman stories (which Vaughan wrote later) show the expected improvement. Further exploring issues of identity, Vaughan takes a thoughtful look at Batman’s two-bit-criminal alter ego Matches Malone in one story, and then he explores the diseased mind of the Mad Hatter. When Hatter says, “The only way you shall ever comprehend insanity is by ducking the shallow gerund,” Vaughan reveals the savvy and linguistic dexterity that would go on to make him a star.

[[[False Faces]]] isn’t for everyone, but for Vaughan devotees or those interested in the development of a talented creator, it’s a must-have collection.

Other People’s Sandboxes, by John Ostrander

  • News
  • February 28, 2008
 
This column has its roots in Mike Gold’s column this week. While it’s not necessary to read Uncle Whizzy’s Wazoo this week,  it is recommended – as it is every week. Loves my UWW on Monday!
 
I’ve spent a lot of my writing career in other people’s sandboxes and, in general, have had a great time. Sometimes I wonder if I haven’t spent a little too much time in those sandboxes. My career might have been better served with a few more original creations such as GrimJack (and I’m working on some that will appear here on ComicMix eventually) but, as they say, hindsight is 20/20. Hindsight also often sounds as if one is looking out one’s butt – which certainly explains many of the utterings we hear from political pundits these days. However, that’s a different topic for another time.
 
Brother Gold’s column this week was about whether or not a strip or a character or a series should continue after its creator’s death (or their choice to discontinue work on said property). His point was that in many cases we would not have some very fine stories using those properties were that not the case. Nor would we have had some very notable careers. For example, Frank Miller first made his name taking over the very moribund Daredevil book at Marvel and making it the most talked about book in the industry. Alan Moore was known to those us who could get their hands on 2000 AD and/or Warrior (and thus first saw Miracleman, a Captain Marvel rip-off character that he performed surgery on and made into something very new) but his first big American title was when he took over Swamp Thing and re-invented not only the character but its whole mythology.
 

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New Info Revealed on ‘Batman: Gotham Knight’

  • News
  • February 26, 2008

batmangothamknightsmaller-3709383Previously, my ComicMix colleague Rick Marshall brought you a first look at DC Comics and Warner Bros. animated direct-to-DVD anthology Batman: Gotham Knight. The film, designed to fill the gap between Batman Begins and Batman: The Dark Knight, features the work of several notable writers including Josh Olson, David S. Goyer, Alan Burnett, Jordan Goldberg, Greg Rucka and Brian Azzarello.

This time around, thanks to an official press release, I can also let you in on some more details about the film, including who the directors are and the release date. According to the site, directing the anthology stories will be Shojiro Nishimi, Futoshi Higashide, Hiroshi Morioka, Yasuhiro Aoki and Toshiyuki Kubooka.

In addition, the stories in the anthology will include "thrilling new adventures of Batman that spotlight several of Gotham City’s most dangerous villains, including the fearsome Scarecrow, the freakish Killer Croc and the unnerving marksman known as Deadshot."

Batman: Gotham Knights comes out on DVD and Blu-Ray on June 8th.

 

The Super-Hero Car, by Dennis O’Neil

  • News
  • February 26, 2008

When we last looked in on our intrepid, tv-watching old guy – that’d be me – he was waiting to treat himself to the premiere of Knight Rider, a remake of an old series.

 
Okay, I watched it.
 
I can’t really compare it to the original, which aired at a time in my life when television had a very low priority. The episode I do remember seeing annoyed me, just a bit, I think, because he talking car seemed to be as much a – brace for a pun – deus ex machina as…oh, say, the shafts in Green Arrow’s quiver or the items in Batman’s tiny utility belt compartments; whatever the hero needs, that’s what’s there. But, as noted, I was never a real Knight Rider watcher.
 
Having made that confession: the show I saw last Sunday didn’t seem to be awfully innovative. The one blatant updating was that one of the good guys was a gay, black woman, a character who probably would not have appeared on network television during the original Knight Rider’s heyday.
 
And that talking car? Pretty nifty, I have to admit – similar to the original, but a bit improved. For example, it changed colors at the twiddle of a dashboard thingy, which brings us to the aforementioned Batman.
 

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Review: Crossing Midnight, Vol. 2

The news of Mike Carey writing a fantasy/horror comic set in Japan sounded too good to be true, and when Crossing Midnight debuted more than a year ago it struggled to live up to that promise.

Carey created a deep and supernatural world to backdrop his story of mystery: Two twins, Toshi and Kai, were born on either side of midnight, leaving each with an otherworldly power and putting them at the mercy of dark forces. But Jim Fern’s stiff art and some uneven storytelling held the series back. When sales weren’t strong, the rumors of a looming cancellation kickstarted.

After the so-so showing of that first arc, I gave up on the series. But, when Vertigo sent over a copy of the second volume (the cover seen at right is from DC’s website, but isn’t the cover on the actual book), Crossing Midnight: A Map of Midnight ($14.99), I realized I just didn’t give the series enough of a chance.

The volume picks up with Toshi, the female twin, struggling as a slave under an apparently evil spirit. She must fly through Japan at night, cutting unpleasant memories from people’s dreams and collecting them for some unrevealed purpose.

Following the archetype of most stories featuring children, Toshi’s impudence puts her and others into danger as she squares off against one of death’s faces. Perhaps because of the more fantastical nature of the content in this volume, Fern’s art loosens and adeptly adapts an ethereal tone. Later, Eric Nguyen takes over on art and, if anything, is an improvement.

Meanwhile, Kai stumbles onto a group of “telephone club” girls — early teens working essentially as prostitutes — and must help save them from an evil spirit that’s on the prowl. While this storyline feels a bit tangential to the larger theme, it is easily the high point for the series. Carey clearly has strong opinions of such clubs (he denounces them in a postscript) and how deplorable it is that they operate uncensored.

It is only then that the book goes farther than dipping a toe into Japanese culture, and Carey unleashes his horror-writing instincts. Sadly, the series seemed to be finding its footing just as the rug was being pulled out from under it. As Carey wrote on his Web site, [[[Crossing Midnight]]] will be wrapped up at issue #19.

Carey wrote that he knew a cancellation might happen, and all the plot threads will be wrapped up in that final issue.

A World of WonderCon: The Coverage Round-Up

  • News
  • February 25, 2008

From the stories coming out of WonderCon, it looks like the San Francisco convention is quickly approaching the high profile of its San Diego counterpart, with similar big-name announcements, celebrity appearances and, well, masses of stormtroopers popping up during the show.

Here’s a rundown of some of the highlights:

Saturday night’s Iron Man panel featured director Jon Favreau answering questions about the film — and the potential for a sequel — before showing off new footage from the film. SuperHeroHype has a great recap of the panel and footage. SHH also sat down with Favreau for a recorded interview that they’ve made available in downloadable mp3 format.

As for your dose of convention drama, Blog@’s Graeme McMillan ignited a veritable sh*tstorm around the InterWebs when he chose not to report a portion of the Bill Willingham Spotlight due to the creator’s request. Apparently (and this is what I’m gleaning from the online chatter), Willingham revealed some spoiler-esque info regarding Fables and an upcoming Fables-related project and subsequently asked reporters not to report on any of it. McMillan obliged, and was later dragged from his hotel room by an angry mob of comics fans, savagely beaten, then tarred, feathered and dumped in the bay — or the online equivalent, at least.

McMillan’s Blog@ associate J.K. Parkin not only reports on all of this, but also makes sure to get a word-for-word recap of the information that caused all of the ruckus.

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Filling The Big Shoes, by Mike Gold

  • News
  • February 25, 2008

 

After much discussion with friends and the unwashed and bewildered, today I have decided to weigh in (again) on one of the many ongoing and irresolvable debates that have haunted the hallowed halls of comics academia since time immemorial. The question: when the instigator of a series retires from his or her creation, should the series be retired as well?
 
It seems a lot of creators and many fans think it should. To this, I say “ka-ka.”
 
I understand that a creator’s vision is important, and I strongly feel that creator should have the word on continuing the feature. For many creators, such choice was denied to them when they signed their publishing contracts. That was exploitative. Today, well, creators should know better. And many do: there are financial advantages to allowing a continuation of the feature, and there’s the idea that, to quote John Ostrander from the Stuart Gordon play Bloody Bess, “My words… my words shall live forever.” It should be the creator’s call, and there’s nothing wrong with deciding either way. Of course, after you drop dead your estate will likely overrule you, but that’s a matter between the dead you and your living family.
 
Aesthetically… well, that’s another matter. Bitch and moan all you want, but the replacements generally work out pretty well. 
 
If DC retired Batman when Bob Kane left the character 40 years ago, we never would have had the masterworks of Dennis O’Neil, Steve Englehart, Neal Adams, Marshall Rogers, Frank Miller and a legion of other superlative storytellers. Carl Burgos and Bill Everett were not involved in the Marvel Age resurrections of their Human Torch and Sub-Mariner (respectively), but all those Lee and Kirby stories sure were swell. Spider-Man didn’t truly take off until after Steve Ditko left; John Romita, Gil Kane and many others took Peter Parker to heights previously unimagined by the publisher.
 

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