Tagged: Batman

Happy Birthday: José Luis Garcia-Lopez, Brian Bolland, and Mark Verheiden

dcp1g1-4128278Today is a popular birthday for comic book creators! Three very different comic book luminaries all share March 26.

José Luis Garcia-Lopez was born in Spain in 1948 but moved to Argentina in 1952. Growing up he worked on several Argentinian comic strips, and in the late 1960s he began doing romance titles for Charlton Comics. Garcia-Lopez moved to New York in 1974 to work for DC. He’s best known for his art on Superman.

Brian Bolland was born in 1951 in Lincolnshire, England, and began drawing at age 10. He went to art school and published work in various underground magazines, then met Dave Gibbons at a comic convention in 1972. Gibbons recommended him to Bardon Press Features and Bolland began drawing comics professionally. In 1977, he found work on the new British comic 2000 AD, and soon became a regular artist on Judge Dredd. In 1979 Bolland began working for DC Comics, doing both covers and shorts. Perhaps his most famous image is the cover to Batman: The Killing Joke.

Mark Verheiden was born in 1956. He started writing comics in 1987, creating The American for Dark Horse. The following year he wrote his first Aliens comic. Verheiden then wrote several Superman stories and a Phantom maxi-series for DC Comics. He also works in television and film, and has contributed scripts to Smallville and other series. He currently serves as co-executive producer of the popular Battlestar Galactica television series.

Interview: Brandon Jerwa on ‘Battlestar Galactica: Season Zero’

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  • March 26, 2008

Writer Brandon Jerwa has had a varied and interesting career since beginning in comics early in 2001. Not letting rejection deter him, he persevered and eventually landed a job as a writer for the G.I. Joe comic book series. Later, Jerwa took on other television tie-in comics such as Highlander from Dynamite Entertainment — which he co-wrote with Michael Oeming.

During that time, he also wrote a backstory series about the Battlestar Galactica television character Tom Zarek. Due in part to his success with Zarek, Jerwa next took on a new comic for Dynamite titled Battlestar Galactica: Season Zero — a prequel of sorts to the Sci-Fi Channel TV series.

Now, with Season Zero rocketing towards a thriling conclusion in issue twelve, ComicMix caught up with Jerwa to talk about how he became the "go-to" guy for Battlestar Galactica at Dynamite, what we can expect from Season Zero as it finishes up and what other plans Jerwa has up his sleeve.

COMICMIX: Brandon, for people who might not know, can you give us a bit of info on your background? Did you read comics as a kid?

BRANDON JERWA: My first comic was an early issue of Star Wars when I was 4 or 5. I had all those early issues and they were definitely a huge thing to me, but I think Spider-Man and Batman made their way into the house pretty quickly after that! I don’t really remember a time when I didn’t have comic books.

My parents were supportive of the habit, so I’d always get at least one new book every time we’d go the grocery store or Kwik-E-Mart (ah, those were the days) and a long road trip was a surefire guarantee of a big pile of comics.

CMix: What were your favorites?

BJ: My favorites as a kid were Star Wars, Avengers, all the Spider-titles, including the most awesome  one, Marvel Team-Up; along with Marvel Two-In One, Detective Comics, Power Man and Iron Fist, Justice League of America and Teen Titans. G.I. Joe obviously made a huge impression on me.

I also have an undying love for Rom: Spaceknight.

CMix: How did you get started writing comics?

BJ: Well, I’m told that I’m the exception to the rule. I was living with my wife and infant son in Portland, Oregon when I started. It was 2001 and I was unemployed, so I thought I’d use my time playing stay-at-home dad to shoot for the Big Dream.

I wrote two scripts – one a G.I. Joe pitch for Devil’s Due and an original superhero piece for Dark Horse. A few months later, Dark Horse had given me my first rejection letter, but Devil’s Due apparently thought I was the man for the job.

My two-part script was extended to four parts and became my G.I. Joe: Frontline arc "History Repeating." Just a few months after those issues hit stands, I was the new regular writer of G.I. Joe.

CMix: How much did you know about Battlestar Galactica before you started writing any of the comics? Are you a fan of the Sci-Fi Channel show or the original ’80s version? (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…)

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…)

‘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.)

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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:

killingjoke-recolor-6857965

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

 

‘Superhero Movie’ Review by Michael H. Price

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  • March 23, 2008

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The superhero, and I don’t mean sandwich, has been a staple of the popular culture since well before the Depression-into-wartime beginnings of Superman and Batman. Those characters’ nascent comic-book adventures of 1938-1939 served primarily to focus a popular fascination with superhuman struggles against extravagant menaces – but similarly conceived protagonists had existed all along in ancient mythology and mass-market popular fiction. And how better to explain the superior heroic intellect of Conan Doyle’s Sherlock Holmes and Seabury Quinn’s phantom-fighting Jules de Grandin, or the beyond-normal escapades of Robin Hood and the Scarlet Pimpernel?

People need heroes, he said – if I may adapt a thought from Mike Gold’s recent Hope Versus Fear commentary at ComicMix. Such characters spur the imagination to assume hope in the face of fearful real-world circumstances, even if their activities and abilities (and allegorical antagonists) seem patently outside the realm of possibility. And the spiritual generosity of superheroism is such that people are willing to fork over either hard-earned cash or Daddy’s Money to experience the fantasy: Hence the proliferation of super-hero comic books in the immediate backdraft and long-term vapor-trails of Superman and Batman, and hence those characters’ fairly prompt leap into motion pictures during the 1940s.

Many people regard the superhero movie phenomenon as a fairly recent development, traceable as “far back” as Sam Raimi’s Spider-Man breakthrough of 2002, or maybe to the perceived “antiquity” of Richard Donner’s Superman pictures of 1978-1980. Not by a long shot.

Nor are the inevitable superhero parodies – as seen in David Zucker’s collaborative production of Superhero Movie, due March 28 – any particular innovation. Just as there is something awe-inspiring about some guy in long-john tights, hurdling buildings or piercing the veil with a blast of X-ray vision, there also is something innately ridiculous about such a spectacle. Even some of the earlier superhero films, such as Columbia Pictures’ Batman serials of the 1940s, emerged as unwitting parodies despite (or because of) their more earnest aims.

The formal parodies are a rarer breed. Zucker had proved himself a capable spoofer with 1980’s Airplane! – a well-received lampoon of the large-ensemble disaster-movie genre – much as Mel Brooks had parodied such genres as the Western epic and the Gothic horror film (1974’s Blazing Saddles and Young Frankenstein) to pleasing effect. Both artists were springing from the influence of Harvey Kurtzman’s Mad magazine of the mid-century, with its recurring demonstration that a parody must harbor an affectionate understanding of the story it intends to spoof.

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Marvel Zombies: The Movie?

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  • March 22, 2008

Audiences love superhero movies. They also love zombie movies. What if… What if Marvel Studios decided to greenlight Marvel Zombies: The Movie?

Sadly, this is not reality. But Ojala Productions created a fan made, not-for-profit trailer for the popular comic book that gives us a peak and what could be. Similar to Batman: Dead End, the famous internet short where the Dark Knight squared off against Joker, an Alien and a Predator, Marvel Zombies was filmed  as a calling card to show studios Ojala Productions’ capabilities.

Click here to see the trailer. Warning: graphic portrayals of violence and gore

 

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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Full Cast Revealed for ‘Batman: Gotham Knight’

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  • March 19, 2008

Warner Brothers just sent out a press release announcing that the rest of the cast has been finalized for this summer’s Batman: Gotham Knight direct-to-DVD animated film.

Earlier, fans collectively breathed a great sigh of relief upon hearing that Batman: The Animated Series alum Kevin Conroy had signed on to voice the Dark Knight. Instead of filling the ranks with big-name stars (see Justice League: The New Frontier and Superman/Doomsday), WB picked up some lesser knowns to round out the voice talent.

Read the release carefully and you can pick up a few hints about the plot:

Gary Dourdan (CSI: Crime Scene Investigation) and Ana Ortiz (Ugly Betty) are heard in multiple segments of the six-story film as police detectives Crispus Allen and Anna Ramirez, key members of a special unit who learn to trust the Dark Knight’s motives. Parminder Nagra (ER, Bend It Like Beckham) supplies the voice of Cassandra, a mystical Indian woman who teaches Bruce Wayne to endure and manage his pain. David McCallum (Navy NCIS, The Man From U.N.C.L.E., The Great Escape) takes on the role of loyal servant Alfred. George Newbern (Father of the Bride) and Alanna Ubach (Legally Blonde) also join the cast.

The cast also features popular voice over artists Corey Burton, Rob Paulsen, Kevin Michael Richardson, Will Friedle, Jason Marsden, Jim Meskimen, Pat Musick, Scott Menville, Hynden Walch, Corey Padnos and Crystal Scales.

The bonus features on the double-disc release include a documentary on Bob Kane, a documentary about Batman’s villains, some of Bruce Timm’s favorite episodes from Batman: TAS and a sneak peak at the upcoming Wonder Woman animated film.

Batman: Gotham Knight hits shelves on July 8.

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