Tagged: Batman

Review: Indestructible Hulk #1

indestructiblehulk_1_cover-296x450-7160376DC and Marvel revamp their characters a lot. A lot. They’ll give suits and names to new people, give them back to the originals again, come up with interpretations so far afield of the original that there’s nothing left but the name. And they all fail or succeed at varying degrees. While it may not actually be the case, Aquaman is generally considered to be the most-rebooted character in DC Comics. There were so many versions of him that he was declared “radioactive”, and left to lay fallow for many years until Geoff Johns had the time to come back to him and start him anew, largely by going back to basics. Not exactly ignoring everything that’s come before, but by creating a good enough current version that people were willing to forgive and forget the past.

After a bit of thought, I came to the conclusion that the most rebooted character in Marvel Comics is The Hulk. Not in the sense of a new origin or person in the suit, so to speak, but in the vibe between the character and his alter-ego. The battle for control between Bruce Banner and The Hulk has been there since day one. But the winner in the game, and the playing field on which the battle has taken place, has changed more often than Katy Perry after her third encore. The Hulk has been made intelligent, made less intelligent, been shot off into space, made MORE intelligent, been separated from Bruce Banner, been re-integrated, and any number of permutations of those scenarios in between. Some have lasted years, like Peter David’s awesome run, and some, like John Byrne’s, barely got out of the gate. Most recently, we’re gained three more Hulks of varying genders, hues and textures, the original Green guy has been separated from Banner (again, see above list), and Banner was some sort of Dr. Moreauesque madman that The Hulk was out to kill. In honesty, it’s gotten so incomprehensible that I had to walk away from it all and just wait for the inevitable turn of the wheel.

And turn it has.

DC took the plunge a year ago and rebooted everything, giving them a chance to wipe the slate clean for any character that wasn’t working at what they thought at their full ability, and subtly leave alone the stuff that was (i.e., Batman and Green Lantern). And largely, it’s been a success. Marvel, all the while swearing it isn’t a knee-jerk reaction to DC’s relative win, has chosen to drink from the same hole. They’re restarting their books, with new titles, numbering and creative teams (save for Dan Slott remaining on Spider-Man, for which we are all rightly thankful). The new books do not reboot the characters in the brute-force way that DC has, but with each new creative team comes the opportunity to take the characters in A Bold New Direction.

Mark Waid, who has recently shown great style and grace on Daredevil, has been handed the reins to The Hulk in his new title, The Indestructible Hulk. Like all the new titles, it features a new hook to hang the character on. Banner and Hulk are one again, And Banner has taken a new tack in the battle – management, as opposed to containment or cure. So he resolves to do as much as he can to make amends for The Hulk’s actions while he’s in charge, and when he’s not, places himself in trust of people who can point The Hulk in the right direction so he can at least smash things that need smashing. Both of these strategies are achieved by both turning himself in to, and applying for a job with, SHIELD. He makes the case for both by presenting an invention that can purify the atmosphere and eliminate airborne diseases, and by taking out The Mad Thinker virtually single-handed – I’ll leave it to you to determine which alter-ego does which.

It’s a neat idea that goes in new directions. Like Hank Pym and Peter Parker, most writers forget that Bruce Banner is a top-level scientist, one of the greatest minds in the world. But, as he says in the book, he’s largely courted not for his brains but his body. In the past, Banner’s role has largely been that of plot-device. When he’s not his own hapless sidekick that gets in trouble at the worst moments, he’s the guy who creates a device at the last moment to control The Hulk, or at least try to. Both Pym and Parker have gotten more of a chance to let their genius shine brighter, and so far it’s stuck. Giving Banner a chance to do the same is a good idea.

I have worries, or more correctly, facets of the same worry. Namely, the book is eternally named after the muscular side of the pairing, and I’ll be curious to see how long readers will read about a scientist before they demand they <a href=”

target=”_blank” rel=”noopener”>Get To The Fucking Monkey. Waid has done an astounding job at character work in his career, and it’s that talent that will be needed to make the readers care as much about the brains as they do about the brawn. The first issue goes a long way towards that goal – Hulk appears less than Banner does, and Banner’s scenes in a small town diner do more to drive the plot than the Hulk pager do. Banner talks a good game, but his words could just as easily be interpreted as those of an addict trying to explain how he’s got it all figured out, this time it’ll work, he can cope with his issues.

And that sort of leads into the other facet of my worry. Like Aquaman, Hulk has been re-imagined SO many times, it’s hard for me to imagine a take that will last. It seems almost as if Waid has taken that into consideration here. Anything, ANYTHING that Banner tries to do with The Hulk is one tantrum away from falling apart. This seems like a very good idea, and Waid’s writing makes me want it to last. But too often in comics is the desire, both by the readers and the company, for a character to return to first position. So as much as I like the new improved Hank Pym, I fear that another writer is going to revert him to the bitch-slapping paranoid. So too here – I dread the day that Banner’s best-laid plans go astray once again. This is a good enough take that I WANT it to succeed, though I know that it will be decided by a power over which Banner has no control: the readership.

PULP ARK 2013 GUESTS OF HONOR ANNOUNCED!

PRESS RELEASE- FOR IMMEDIATE RELEASE AND DISTRIBUTION

PULP ARK 2013 GUESTS OF HONOR REVEALED!
APRIL 26-28TH, 2013
10/15/12

Pulp Ark 2013, the Official New Pulp Creators’ Conference/Convention in its third year announced today its Three Guests of Honor for the Third year of the convention to be held in Springdale, AR.

“Pulp,” Tommy Hancock, Pulp Ark Organizer and Partner in Pro Se Productions, the company sponsoring Pulp Ark, “is a marvelous, massively diverse field…a style that has transcended its origins in the early 20th Century in cheaply printed magazines and found its way into every medium available to modern fans.  Classic characters and stories are finding new life with readers and enthusiasts today and new tales centered around original characters are exploding onto the scene as well.  This year, Pulp Ark 2013 will celebrate the variety that is Pulp in many ways.   Our Three Guests of Honor most definitely reflect both the differences and the common denominators in Pulp, both classic and new, both originals of today and inspirations of yesteryear.   I am extremely proud to announce that Joe Devito, Martin Powell, and Paul Bishop will be the Guests of Honor for Pulp Ark 2013 this year!”



Martin Powell has been a professional writer since 1986. He received early critical praise with the Eisner Award nominated Sherlock Holmes/Count Dracula graphic novel, Scarlet in Gaslight, which has remained in print for more than twenty-five years.


Powell has since written hundreds of stories in numerous genres, including mystery, science fiction, horror, and humor, and has been published by Disney, Marvel, DC, Moonstone, Wild Cat Books, and Sequential Pulp/Dark Horse Comics, among others, working with such popular characters as Superman, Batman, Tarzan, Lee Falk’s The Phantom, Frankenstein, The Spider, Kolchak the Night Stalker, The Avenger, and more.

He also a prolific author of many acclaimed children’s books, and is the creator of The Halloween Legion. His The Tall Tale of Paul Bunyan won the coveted Moonbeam Children’s Book Award for Best Graphic Novel of 2010.


Martin lives in Saint Paul, MN.


Joe DeVito was born on March 16, 1957 in New York City. He graduated with honors from Parsons School of Design in 1981 and studied at the Art Students League in New York City.


Over the years DeVito has painted many of the most recognizable Pop Culture and Pulp icons, including King Kong, Tarzan, Doc Savage, Superman, Batman, Wonder Woman, Spiderman, MAD magazine’s Alfred E. Newman and various characters in World of Warcraft, with a decided emphasis in his illustration on dinosaurs, Action Adventure, SF and Fantasy. He has illustrated hundreds of book and magazine covers, painted several notable posters and numerous trading cards for the major comic book and gaming houses, and created concept and character design for the film and television industries.

In 3D, DeVito sculpted the official 100th Anniversary statue of Tarzan of the Apes for the Edgar Rice Burroughs Estate, The Cooper Kong for the Merian C. Cooper Estate, Superman, Wonder Woman and Batman for Chronicle Book’s Masterpiece Editions, several other notable Pop and Pulp characters. Additional sculpting work ranges from scientifically accurate dinosaurs, a multitude of collectibles for the Bradford Exchange in a variety of genres, to larger-than-life statues and the award trophy for the influential art annual SPECTRUM.

An avid writer, Joe is also the co-author (with Brad Strickland) of two novels, which he illustrated as well. The first, KONG: King of Skull Island (DH Press) was published in  2004. The second book, Merian C. Cooper’s KING KONG, was published by St. Martin’s Griffin, in 2005. He has also contributed many essays and articles to such collected works as Kong Unbound: The Cultural Impact, Pop Mythos, and Scientific Plausibility of a Cinematic Legend and Do Androids Artists Paint In Oils When They Dream?in Pixel or Paint: The Digital Divide In Illustration Art.


2012 saw the release of Kindle and iBook versions of KONG: King of Skull Island that were accompanied by Part 1 of a cutting edge app version of the book. With the property in full development as a motion picture, other plans include the release of Part 2 of the interactive Kong book app, the beginning of a KONG: King of Skull Island YA series and Kong collectibles for the Cooper Estate.


Presently DeVito is painting covers for The All NewWild Adventures of Doc Savage (written by Will Murray), while also finishing the screenplay and developing imagery for his newest creation, a faction world of truly epic proportions tentatively titled The Primordials.


FB: Joe DeVito-DeVito Artworks


Paul Bishop is a thirty-five year veteran of the Los Angeles Police Department whose career included a three year tour as an interrogator with his department’s Anti-Terrorist Division and over twenty-five years’ experience in the investigation of sex crimes. For the past eight years, his various Special Assaults Units have consistently produced the highest number of detective initiated arrests and highest crime clearance rate in the city. Twice honored as Detective of the Year, Paul also received the Quality and Productivity Commission Award from the City of Los Angeles.

As a nationally recognized interrogator, Paul co-starred with his professional partner, bestselling author and prosecutor, Mary Hanlon Stone, as the regular interrogators and driving force behind the ABC reality show Take The Money And Run from producer Jerry Bruckheimer.  Based on his expertise in the area of deception detection, Paul continues to work privately conducting interview and interrogation seminars for law enforcement agencies, military entities, and human resource organizations.

   
Paul has had twelve novels published, including Hot Pursuit, Deep Water, Penalty Shot, Suspicious Minds, the short story collection Running Wylde, and five novels in his L.A.P.D. Detective Fey Croaker series – Croaker: Kill Me Again, Croaker: Grave Sins, Croaker: Tequila Mockingbird, Croaker: Chalk Whispers, and Croaker: Pattern of Behavior.  All his novels have recently been released in e-book format. 

Paul has also written feature film scripts and numerous episodic scripts for television, including such shows as Diagnosis: Murder, LA Dragnet, The New Detectives, and Navy Seals: The Untold Stories. 

Paul is currently writing and editing the monthly Fight Card series, 25,000 word e-novels, designed to be read in one or two sittings, inspired by the fight pulps of the ’30s and ’40s – such as Fight Stories Magazine – and Robert E. Howard’s two-fisted boxing tales featuring Sailor Steve Costigan.  His latest entry, Fight Card: Swamp Walloper (written as Jack Tunney) will premiere at the 2013 Pulp Ark convention.   He can be found blogging at www.bishsbeat.blogspot.com  and followed via twitter@bishsbeat.  A full list of his novels  is available at http://tinyurl.com/7x8xo5k



“These three,” Hancock stated, “represent a huge variety within Pulp today, but they all also show the commonalities of what Pulp is.  And as far as mediums, everything from books to comics to television to sculpture to painting and more is represented by these fantastic Guests.   It’s a privilege for Pulp Ark to have them as its centerpiece in 2013.”

Pulp Ark is a Writer’s Conference/Convention focused on ‘Pulp’ fiction.  Although defined narrowly by many, Pulp Ark promotes Pulp Fiction as multi genre multi medium storytelling that typically involves action, adventure, larger than life heroes and villains, and a strong focus on both plot and characterization.  “Pulp,” Hancock said, “began as a medium in which many great writers told a lot of wonderful stories and readers could pick ’em up a 100 or more pages at a time for a dime.  Although it’s no longer that necessarily, the sensibilities of Pulp storytelling, the style, the methodology, all the stuff fans have remembered and enjoyed for over 80 years about those kinds of tales, all of that is still around and available from all sorts of authors, artists, performers and companies.  That is what Pulp Ark is all about.”

Pulp Ark 2013 will be held in Springdale, Arkansas April 26-28, 2013 at the Holiday Inn Springdale Hotel and Convention Center in Springdale, Arkansas, 1500 South 48th Street, phone number- 1-479-751-8300.  For a peek at the venue, click HERE!  

pupark20137-2566867


PULP ARK 2013-Springdale, Arkansas!  For further information, go to www.prosepulp.com or contact Hancock at 870-834-4022 and/or proseproductions@earthlink.net.  Expect more Pulp Ark Announcements VERY SOON!

John Ostrander: Dueling Capes

ostrander-art-121014-5946860There are the Great Eternal Fanboy Questions. (The Eternal Fanboys sounds like a comic itself or a geek Goth band.) One of them is “Who is stronger, the Hulk or the Thing?” Or the variation “Thor or the Hulk?” You can even ask who is stronger – the Hulk, the Thing, or Thor, but that gets complicated and a little metaphysical.

The Classic Eternal Fanboy question, though, predating the others is “who would you rather be, Superman or Batman?” Supes can fly and has all those powers; he’s become sort of the Swiss Army Knife of superheroes as more and more abilities were added over the years, like super-breath. There are mornings when I’ve had super-breath. Not quite like Superman’s but still pretty potent. It had me grabbing the Kryptonite mouthwash.

Batman, on the other hand, is all dark and moody and mysterious and he has all those wonderful toys! And, underneath that cowl and cape, he’s human. One of the prevailing arguments in the debate is that we could never be Superman because he’s an alien from another planet but if we really worked at it, if we were as dedicated as Bruce Wayne, we could become the Batman.

In your dreams, pal. Never going to happen. All us Eternal Fanboys also have second lives as the Eternal Couch Potatoes. Maybe we could be Herbie the Fat Fury, who got his powers from special lollypops, but not The Batman.

As a comic book writer, I’ve been asked the question more than once (and have pondered the answer a few times) which character would I prefer to write – Superman or Batman? Most of you who know my work would probably guess Batman and, for much of my early career, it was true. My forte are dark, moody, violent characters and Batman certainly fit into that. Superman was this big blue Boy Scout with an annoying girlfriend and a personality almost as thin as the paper on which he was printed.

Over the years, however, that’s changed and these days I find I’m drawn more to the Man of Steel. I suppose it started with Christopher Reeve’s portrayal in the 1978 Superman movie. It was Superman’s humanity that struck me. That also came out in Grant Morrison’s superb All-Star Superman run, simply one of the best incarnations of Superman that I’ve seen.

For me, the heart of Superman, the basis of who he is, is not the powers that he has. It’s that he was raised on a farm in Kansas and those are the values that were instilled in him. At heart, he is Clark Kent. Not Kal-El of Krypton and not Superman. Not even the Clark Kent as perceived at the Daily Planet. At heart, at his core, he’s that Kansas farm boy. There is a humility in him; his upbringing is what defines him as a character and not his powers and that, I think, is how it should be. It’s who he is and not what he can do.

Batman has become a much darker and less human character over the years. It’s his way or the highway. He no longer tries to intimidate just the bad guys but his friends and co-workers as well. Batman is the central personality; Bruce Wayne barely appears and then only to serve Batman’s needs. He’s a compelling character, no question – but not one I feel drawn to as much anymore.

Maybe it’s just that I’m growing older but I value Superman – Clark Kent – for that humility, that humanity, and find that it speaks more to me. For all his being an alien, I think Superman is more human than Batman. So, for me, the answer to the Eternal Fanboy question is – I’d rather be Superman.

Your mileage may vary.

MONDAY: Mindy Newell

 

Quest of Drawers: How to be a convention sketch collector

The New York Comic-Con is just a few days away, and I’m packing up my necessities in my bag, along with my towel, and preparing for the show. Above all else, above my new Nintendo 3DS XL to score more SpotPass friends, above the mobile hotspot so I can post all those awesome cosplay pics,  above it all, is Norbert and my sketchbook. I’m a convention sketch collector.

v130-tanghal-300x357-3158660

Norbert at the Green Lantern Convention by Romeo Tanghal

Under the name The International Norbert Conspiracy, I’ve been collecting sketches of my mascot for over twenty years now, and I’m approaching five hundred sketches. The question I get asked the most often (aside from the obvious “What is WRONG with you?”) is “How do you get so many?”

There’s always someone heading to their first convention, and keen on scoring sketches. And they ask the hive mind where to start, who’s the best, how much do they cost, all the standard questions. And since I’ve been meaning to do this for some time now, here’s a run-down of some basic tips to get started.

First, a few basics. There’s a few ground rules you’ll need to keep in mind when you’re trying to get sketches from the happy helpful people at a convention. Even if it looks like OTHERS aren’t following those rules, follow them anyway. Usually, the artist will recognize it, and appreciate it, hopefully lighten their mood, and you may get a better sketch out of it.

BE PATIENT – The larger a con, the longer the lines. People are getting books signed, some others are also getting sketches, and some just want to get a minute or so to talk with someone whose art they like so much. And if they got on the line before you did, they get to go FIRST. And they get to take as long as the want. Usually, the artist will grasp there’s a line, and try to keep such interactions brief; not because he’s rude, but because he wants to make sure he gets to everybody. But if he doesn’t, don’t remind him. Don’t sigh, don’t make a show of looking at your watch, and don’t do that “wind it up” thing with your fingers. You will get there when you get there.

BE POLITE – OK, you’re talking with the artist now. Remember how much you hated that guy who was taking All That Goddamn Time with the artist? That’s YOU now, to the guy behind you, and so on. So even though it seemed like everybody else was taking forever, that does not give you license to do the same, and maybe a little more. If everyone followed that rule, the last person in line would be able to go full-term in a pregnancy by the time they get to the front of the line. If EVERYbody’s just a LITTLE polite, things go faster.

BE REASONABLE – Again, bear in mind there are people behind you. If you ask for a drawing of the entire Justice League, from every iteration, fighting the total population of Topeka, be prepared to hear there’s not enough time to do so. Be prepared to be happy with a headsketch, or a simple figure.

BE PREPARED TO PAY – This is something which has become more commonplace in recent years, for a number of reasons. First off, the vast majority of artists pay their own way to come to the show, and hope to make enough money at their table to cover their expenses, and then some in a perfect world. Hard to deny them that.

In the case of more popular or “Hot” artists, there is more than a small chance that the sketches they’re doing will end up on eBay as early as that night, making the seller quite a pretty penny. There’s nary an artist who hasn’t got a story of doing a piece for someone who swore it was for their kid, who was either sick, couldn’t make the show or some sob story, only to see the art up for auction before the weekend is out. So the prevailing mindset has become similar to that of the sports memorabilia business; “this guy’s probably gonna sell this, so I might as well get my cut”. And again, it’s a hard argument to dispute, as sadly, the odds are in greed’s favor. So in the case of more and more of the bigger artists, free sketches are harder to come by. They’re not impossible (tips to follow), but if you really want a piece by your favorite artist, assume it will cost you some money.

There’s an upside to this as well, If you’re paying, you have a bit more say in what he will draw for you, and you almost certainly will get a more detailed drawing than if you just got a quickie “con-sketch”. Some artists have started taking orders for commissions BEFORE major conventions as well. Check their Facebook, Twitter or other social network feeds and see; don’t be afraid to ask, either. That’s often a win-win situation as well – the artist can see some money before the show, can complete the piece more at hie leisure, and you’ll get it as soon as you walk up to him. Likewise, some will arrange to ship you the piece after the show. If you’re asking for a very intricate piece, don’t rule that out either.

Once you’ve gotten those rules memorized, here’s a few advanced tips…

Check the publishers’ signing schedules. At a big show, the publishers will have a steady stream of creators at their booths, signing and almost always sketching. While the artist is on his own at his table, he’s on the company’s clock at the booth. They’ll certainly be quick little pieces, but if that’s all you’re looking for, that’s perfect.

Get a sketchbook. A sketch on a piece of comic art board is easy to turn over to another person. But a bound sketchbook is a subtle sign that this is a piece you intend to keep. While it may not melt the creator’s heart, at least he won’t be grumbling to himself how much he thinks you’ll get for the drawing.

Bring reference. If you want a piece of Batman or Superman, odds are peple know how to draw them. But if your favorite character is less off the A-list…well, don’t be offended if they don’t remember how many frogs and buttons are on Sonar’s jacket (it’s four). Bring a couple pictures they can use as reference.

Try a theme sketchbook – The more fun you can make your collection, the more interested you’ll get the artist. Ive seem books with just drawings of one character, some with them all doing something in particular, and one wonderful collection of heroes draw in the style of Fisher-Price Little People. Make it something they’ve never drawn before, something that’l; interest them, get the creative juices flowing.

Troll artists’ alley. No, don’t go up and insult everyone, slow down and look at all those up-and-coming creators who are pushing their self-produced books. Say hi to the guys and gals who did one issue of a DC or Marvel title a year or two ago. There’s a lot of talent there and you’ve got no way of knowing who the fickle finger of fandom will touch next. A year later, they might have a line across the floor, and you’ll be kicking yourself for not getting them when you coulda.

Try, try again. Aside from a handful of artists who have simply been too busy to do a sketch, I’ve got a few who have actively refused to draw Norbert. In the first case, the time will come that they WILL have time; if not at this show, then another one. In the second case, unless there’s some specific reason they don’t want to deal with you, like you threw up on their shoes or something, there’s no harm in asking again another time. Maybe they were tired, or in a rotten mood. Give it another shot. If you need to, buy them new shoes.

As with everything at a convention, the goal is to have fun, without in some way ruining someone else’s. A bit of patience and decorum, matched with a good attitude, and you can have a nice time and get a fun new hobby started.

Captain Action Offers NYCC Purchasers Free Comics

ca-nycc-autog-thor-269-simonson-e1348688177214-5813542New York, N.Y. (September 25, 2012) –Captain Action Enterprises is proud to announce a New York Comic Con convention-only offer: fans and collectors receive free comics with every Captain Action toy purchase.  These comics include comics showcasing characters featured in the toy sets, including Spider-Man, Captain America, Hawkeye, Thor, Loki, and Captain Action.

And the first 66 customers will receive special autographed comics.  These comics are signed by top creators including Walt Simonson, Roger Stern, Beau Smith, Sean Chen, Mark Wheatley and more.

“New York Comic Con and ReedPop have been very good to us, and this is one small way of giving back,” said Ed Catto, Retropreneur and co-founder of Captain Action Enterprises.

Additionally, the Captain Action booth will be giving away stress ball “brains” to celebrate the return of Captain Action’s arch-foe, Dr. Evil. As an insidious alien, Dr. Evil’s striking countenance is topped off by his creepy exposed brain.  Available while supplies last, these Brains will be given away to all fans and no purchase is necessary.

“This will be a busy year for us at NYCC”, said Joe Ahearn, co-founder of Captain Action Enterprises.  “We’ll be debuting our second wave of Toys featuring Dr. Evil, Thor and Loki and our new merchandise from Titan. We’ll also have the legendary Walt Simonson and pulp author Jim Beard on hand to autograph copies.  Oh, and we have a panel and a big announcement too!”

Captain Action is based on the action figure created in 1966 by Stan Weston for Ideal Toys and sold internationally. The hero 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.

The line has experienced as strong resurgence, complete with an all-new toy line that debuted earlier this year.

“For our gift-with-purchase, we’re offering the best recent comics as well as vintage treasures.  Some gems include vintage Kirby Thors and a Romita Captain America, guest-starring Spider-Man.  We even have a few Wally Wood issues in there.  It’s our hope that we’ll reward collectors and provide a unique gift to younger fans, “ said Catto.

Captain Action is at booth #3136. The New York Comic Con is held at the Javits Center in New York City, from October 11 – 14, 2012.

REVIEW: Batman: The Dark Knight Returns Part 1

dkr-1-box-art-300x408-5015305Years in the making, Frank Miller’s The Dark Knight Returns was never intended to rewrite the rules for the Caped Crusader or become the template for a generation of storytelling. It was, though, the culmination of a series of events that occurred at DC Comics and in Miller’s professional development that nicely dovetailed together. The right book, character, and creator all arrived at the right time, when an audience was ready to accept the radical re-imagining.

Ever since the four-part story heralded the arrival of the Prestige Format and was the first entry in the current field of graphic novels, The Dark Knight Returns has been an influential touchstone to storytellers. Its use of character, page construction, color, and theme showed that four-color heroes can be used for darker concepts, exploring new ideas. As a result, people have been clamoring to see it adapted for the screen, any screen, so it could continue to thrill us. We were teased with the folk at Warner Animation paying homage to Miller’s art style and now-iconic imagery in Animaniacs and Batman the Animated Series.

dkr_r1_22695-300x168-1421279At long last, Warner Premiere has delivered their finest effort, paying tribute to the story written and pencilled by Miller, inked by Klaus Janson, and colored by Lynn Varley. Batman: The Dark Knight Returns Part 1 is out on home video, as a Combo Pack (Blu-ray, DVD, Ultraviolet) and shows the affection from the first frame.

Bob Goodman remained utterly faithful to the story, compressing the first half of the graphic novel into a brisk 76 minutes that still contains the moments you want. Commissioner James Gordon and Bruce Wayne have a nice, warm friendship, Alfred remains his acerbic self, and Carrie Kelly is gung-ho and awkward. The first half of the story deals with several threats to Gotham City, first the gang known as the Mutants and their muscle-bound leader who wants to own the town; and Harvey Dent, seemingly physically cured but proving his mind is as fractured as ever. And watching from confinement is a homicidal maniac long-thought drugged into submission.

silhouette-300x168-9408823The best thing director Jay Oliva, who cut his teeth on Man of Steel and Green Lantern: Emerald Knights), did was show us what Miller could only hint at: a 50-year old man who really has to struggle to keep up. He strains to climb a rope and isn’t fast enough to take down the mutant leader the first time they brawl (in fact their two fights is almost a template for the Batman-Bane confrontations in The Dark Knight Rises). This is a 50+ hero who hasn’t seen action in a decade, but we know from the opening scene he remains addicted to adrenaline and action. His return evokes the creature of the night that first established his reputation in the city and once more inspires the populace.

batman-300x168-4756800Visually, Miller’s beefed up main characters and gritty style is nicely replicated, complete with making Batman larger-than-life so he dwarfs Carrie and most other mortals. The story remains a future from the fixed point of the 1980s since the story is dependent on that particular view of America, which means so much of the technology appears antiquated by today’s standards but works wonderfully. There’s also a nice meta shout-out to other titles from 1985-87 that helped reshape comics: Crisis on Infinite Earths, Watchmen, and V for Vendetta.

inside-tank-300x168-3332752As usual Andrea Romano has assembled a stellar cast for the voices and while most will lament the absence of Kevin Conroy as Batman, Peter Weller more than ably fills the cape and cowl with gravitas. He’s older, wearier. David Selby’s Gordon has much of the same feeling which is nicely contrasted by Ariel Winter’s Carrie. Wade Williams as Dent and Michael McKean as a blowhard psychiatrist nicely round out the cast.

Interestingly, the packaging avoids imitating Miller’s style, a curious choice. Similarly, Miller, Janson and Varley’s lack of participation in the extras is glaring. They are merely represented with a digital comic excerpt from issue one of The Dark Knight. Instead, we get “Her Name if Carrie…Her Role is Robin” (12:00) with Grant Morrison, Mike Carlin, Alan Burnett, Bruce Timm, and others discussing the radical use of a girl as the new sidekick. There are some nice bits placing this in an historic context.  The 2008 “Batman and Me: The Bob Kane Story” (38:00) is reused here and we’re reminded of the egotistical Kane avoiding sharing credit with anyone.

On the Blu-ray is a Two-Face two-parter from Batman the Animated Series. There’s also a sneak peek of part two, due out in early 2013.

It’s a shame Miller wouldn’t participate and the film lacks a commentary track since bringing this to life appears to have been a labor of love for all involved.

Titan Merchandise gets in on Captain Action Action

New York, N.Y. (September 17, 2012) – Titan Merchandise, a leading international licensee of pop culture icons and Captain Action Enterprises, licensors of the popular Captain Action line, have teamed up to produce a series of T-shirts, mugs, I.D. holders and more.  These products will be on sale internationally in late 2012.

Captain Action is based on the action figure created in 1966 by Stan Weston for Ideal Toys and sold internationally. The hero 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.

The line has experienced as strong resurgence, complete with an all-new toy line that debuted earlier this year.

“I’ve been a massive fan of Captain Action since my late 60s childhood in the North West of England” said Titan director Andrew Sumner.  “Back then, my grandfather kept me supplied with a steady diet of US comic books and I was filled with excitement every time I read a Captain Action advertisement in the back pages, I would have done ANYTHING to own the action figure. Stan Weston’s costume design blew my mind, which was blown even further when I picked up Jim Shooter and Wally Wood’s first issue of the DC comic. By the time Gil Kane and Wally Wood’s classic, way-ahead-of-its-time issue five rolled around, I was hooked for life! It’s our absolute pleasure to be working with the awesome team at Captain Action Enterprises on such an iconic, brilliantly-designed property.”

“We’ve been big fans of all Titan’s products and are proud to be part of their line-up, “ said Ed Catto of Captain Action Enterprises. “From Doctor Who to Star Trek to the classic Hammer horror movies – Titan’s products always seems to be top-notch in quality and lovingly created.”

Current plans call for the first wave to include a distressed T-shirt with the Captain Action logo, a coffee mug and an I.D. holder.

The new products will debut at New York Comic Con at the Javits Center from October 11 to 14, 2012.

David Selby Relocates from Collinsport to Gotham City

Having made his mark as a villain for many of his 45 years in the entertainment industry, David Selby is only too happy to provide the heroic voice of Commissioner James Gordon for Batman: The Dark Knight Returns, Part 1.

Selby is best known for his long-running roles as Quentin Collins, the werewolf brother to vampire Barnabus Collins on the original series Dark Shadows, and as the ruthless, vengeful Richard Channing on the 1980s primetime soap opera Falcon Crest. Between those two series alone, Selby logged more than 500 episodes as an antagonist.

Finally, Selby gets a beloved protagonist turn as the everyman hero James Gordon, a straight-shooting, intelligent lawman bent on doing what’s right … with the help of his old pal, Bruce Wayne (and his alter ego, Batman).

Selby will be in attendance on both coasts for the World and West Coast Premieres of Batman: The Dark Knight Returns, Part 1. Selby is the lone actor on the September 20 post-screening panel at the Paley Center in New York, and he’ll be joined by co-stars Peter Weller and Ariel Winter for the panel discussion on Monday, September 24, at the Paley Center in Los Angeles.

After making his professional acting debut on Dark Shadows in 1968, Selby found fame on the large and small screens as well as Broadway. His film career runs the gamut from early starring roles opposite Barbara Streisand in Up The Sandbox and alongside Ron Liebman in The Super Cops to a memorable role as one of the key lawyers in The Social Network. On television, surrounding his 209 episodes of Falcon Crest, Selby has been seen on everything from The Waltons, Police Woman and Kojak to Ally McBeal, Cold Case, Mad Men, and HBO’s Tell Me You Love Me.

Selby is also one of the more learned actors around the industry, having earned a Master’s Degree from West Virginia University, and a Ph.D. in Theatre from Southern Illinois University. Beyond the stage and screen, Selby has written two volumes of poetry.

The affable Selby was happy to discuss his role as James Gordon following his initial recording session for the two halves of Batman: The Dark Knight Returns. Here’s what he had to say …

QUESTION: Having spent several hours in his mind, how do you see Police Commissioner James Gordon in this film?

DAVID SELBY: Because Bruce Wayne is Batman, and even though we all want to be heroes, Gordon is willing to take a quieter, more backseat role. I think he’s persistent, he’s calm. He’s a very practical man, like certain presidents. Lincoln was a very pragmatic guy, and I think Gordon is a very pragmatic commissioner.

Gordon is the type of guy that would think, “If I’ve gotta do it, and it’s going to make it right, and I look out and I know that my wife is going to be fine, and the children are going to be fine, then if a certain kind of justice is required to do this, I can live with it.” That’s my kind of Gordon. A very strong, practical guy.

QUESTION: In this film, James Gordon is 70 years old and about to retire. David Selby is now 70 years old. Usually it doesn’t matter in voice acting, but does that age similarity help increase the bond between actor and character?

SELBY: What are you saying? (laughs) That I’ve been playing this game for 50 years? (laughs harder) Well, I guess that’s true. You know the frustrations, the thinking of “Okay, I’ve got a few years to go, and there’s still one thing I want to do.” Maybe I want to play Macbeth. I don’t know. There’s definitely some parallels. Really, though, it’s the whole life experience – that’s the thing that ties me to Gordon. Having been around and seen what we’ve seen. I understand his frustrations. My God, all you have to do is pick up a bloody newspaper. It’s hard to not get frustrated. Sometimes the best thing to do is to avoid the paper in the morning.

QUESTION: Was there a centering emotion you used in James Gordon to help you focus on his motivations?

SELBY: For Gordon, what he wants to do more than anything in the world is that he wants to leave the world a little better place than when he came into it. And he thinks of how awful it would be to live your life and not be able to do that.

I like Gordon. Sometimes you have to draw the line in the sand, the morality line, and each of us has to decide how far you’re willing to go for success. Now if you’re battling the Mutants, you can go a long way. You can step over that line, as long as you know why you’re doing it. That’s my little take on that.

QUESTION: You had more than 300 episodes to get to know Quentin Collins for Dark Shadows. You spent 209 episodes creating Richard Channing for Falcon Crest. Today you had about four hours to become James Gordon. How do you develop a character that quickly?

SELBY: You don’t. You just sort of depend upon Andrea (Romano) and Bruce (Timm), because they know this territory far better than you. I did do a little research, though. I asked my son, who is a great aficionado of Frank Miller and all of these things. That was my first call. He gave me a great rundown, so there was a little preparation. So mostly you put yourself in the hands of those that know the character, and learn from their experience.

QUESTION: So your son is a Frank Miller fan. Do you have newfound street cred in the family?

SELBY: You can’t imagine. My son-in-law is a big fan, too. I’m in like flint now. I couldn’t have done better than to be able to make that call. “Do you know Dark Knight?” “What do you mean, do I know Dark Knight? Who do you think you’re talking to?” “Well, I’m playing the Commissioner.” “You’re playing James Gordon? You’re playing Gordon?!? Commissioner Gordon?!?!?” I never mentioned the Gordon’s name. (laughs) I just said the Commissioner. Oh my God. How special is that? I like that.

QUESTION: Did you read comics when you were a kid?

SELBY: We lived in a little community called Woodburn, where I grew up in Morgantown, West Virginia. There was a store down the street from where I grew up – a confectionary, you know, “beer on tap” – and they had a comic rack. Tom and Ann Torch owned the place – Tom would sit in the corner by the Coke machine and play checkers. And then guys would come in and order … Dewey would order egg in his beer, and all the regulars who lived in the neighborhood would be around. We could look in the comics, and they never once said “Put the comics down.” Now, once we graduated from comic books and went on to Sexology and Golden Nugget girls, then Ann and her sister Hortense got concerned. But as long as we stuck to the comics, it was okay, so I read all the comics. I’d also go two houses down to my friend Wally’s house – he had a lot of comics. But at the Richwood Confectionary, that was terrific place to grow up. Sit in there, drink a Nehi Orange for a nickel, and read your comics.

QUESTION: What was going on in 1966 that made it right for both Dark Shadows and Batman to premiere and explode in popularity?

SELBY: That was a special time in the 60s, and for whatever reasons these shows captivated the public’s imagination. Maybe we just needed it in the 60s. They were shows that allowed you to escape … shows that made life a little easier to cope. I think about New York City at that time and all the things that were going on. The corruption, the racial conflicts, the unrest at Columbia University. There were protests everywhere. Then there was Chicago, and the election in 1968. The assassination of Martin Luther King, the assassination of Bobby Kennedy. Vietnam was raging. And then you had these shows. I’m sure some sociologist is examining all of this and working it out. But I think those two shows, Batman and Dark Shadows, they fit that expression, “Whatever gets you through the night.” It is interesting that they both came out of that period. But maybe not. Maybe the times were right.

QUESTION: You’ve obviously had the experience. But do you like playing the villain?

SELBY: I’m not complaining – a lot of times the villain is the most interesting character. But I’ve played some awful people. I played a character who got rid of his own sister. In doing these characters, I like them, and you have to get your audience on your side somehow. They have to understand where you’ve come from. And maybe, just maybe, they’ll hang in there with you.