Tagged: comics

Juxtaposition: Two Books for Younger Readers with Words & Pictures

miss-peregrine-6617220Sometimes words and pictures come together in the same story. There’s more than one way of accomplishing this — comics is the most obvious, with the story told in a sequence of pictures and text (captions and/or dialogue), but there are other options — and books for pre-adults have typically made more use of pictures than those in the more adult portions of the library.

Remember: adults are dull and staid, and must not be upset or disconcerted by mere pictures in their very, very serious books. Children are more mentally flexible, and can handle the shock of the pictorial.

Teens are somewhere in between: they usually want to be adults, but they’re still young enough to question that dull stolidity, and still, sometimes, will gravitate to books with pictures in them. The two books I have in front of me today were published to be read by pre-adults of various ages — though I think the first had an older expected reader-age than the latter — and they’re chock-full of pictures. In fact, both of them are stories told through and about their pictures, in different ways — and, more interestingly from my point of view, neither of these books use the language and techniques of comics. They both use pictures as part of their storytelling, but come at it from different traditions, and don’t tell their stories from image-to-image the way that comics do.

Miss Peregrine’s Home for Peculiar Children is the more conventional of the two books; it’s a novel by Ransom Riggs (his first), illustrated by a sequence of real, mostly unaltered vintage photographs. (Riggs is clear about the “mostly unaltered” stipulation, since some of these are quite odd photographs, as with the cover shot, showing a hard-faced girl standing rigidly still a foot off the ground.) Those photos are part of the story in the most basic, literal way — every so often, a character talks about looking at a photograph, and then, lo! the actual photo appears on the next page.

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Green Lantern

1000156673brdlefo-300x402-6397171The problem with Green Lantern is that for something that was epic in concept, the film felt ordinary. It appears the producers looked at Iron Man and decided that was their template, retaining the look and feel from the comics, trying to ground it in reality with a likeable hero and monumental threat requiring the good guy to overcome his personal demons to save the day. The film cratered as a result, putting Warner Bros on the spot and casting a shadow over the new DC Entertainment administration. The film returns this week on Blu-ray from Warner Home Video complete with digital copy and some neat new bells and whistles.

The transfer is glorious and the CGI stuff really looks swell here but little of this sheen can mask the misfires, including the horrible GL mask Ryan Reynolds is forced to have painted over his nose. His Hal Jordan was recruited to join an intergalactic law enforcement corps, acknowledging the existence of extra-terrestrial life for the first time and rather than explore what all that meant, they kept dragging the audience back to Earth.

As a result, we got one scene of Hal being trained by Kilowog, but later hear the big poozer take credit for successfully preparing him for duty. We see Sinestro (Mark Strong) as the first among equals without being given any clue how the Corps worked as an operating unit or anyone really explaining things to Hal, like how often he needs to charge his ring (and recite the oath each time). We take no time to share with Hal the sense of wonder of meeting 3599 other lifeforms nor does anyone sit him down and say, “Hey, in your sector keep an eye out for the…”

That could have set this film apart from the Marvel Universe series and allowed Green Lantern to stand tall as a unique feature. Also missing was a memorable score (seemingly a dying artform), a theme for the GL Corps that could have stood alongside the theme to Superman or the Imperial March. James Newton Howard missed a terrific opportunity for immortality here. (more…)

All Pulp Interviews – Will Meugniot

  • News
  • October 5, 2011
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Prolific artist Will Meugniot has worked in comic book, animation, picture books, and more. All Pulp recently sat down with Will to talk about his career, his artistic influences, the differences between working in animation and comics, plus his pulp interests.

Click on the art for a larger view.

AP: Tell us a little about yourself and your pulp interests.

WM: I grew up in the 60s. It was a great time to be a kid interested in adventure fiction. Marvel and DC’s superhero revivals spurred many other publishers to enter the field, so you never knew what great comics you’d find when they finally opened the bales at the grocery store.

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N.E.D.O.R. Agents

A similar thing happened in paperback books. Ace discovered that some editions of certain Edgar Rice Burroughs books had fallen out of copyright, published them, and triggered a pulp revival, which brought everything from Otis Adelbert Kline to Doc Savage back into print.

Doc was my favorite of the pulp heroes, though I bought as many reprints of The Shadow, The Spider, Phantom Detective and Dusty Ayres as I could find and afford. Related to this, I’m also a big fan of the sound serials and have a collection of most of the non-westerns on DVD.

AP: What does pulp mean to you?

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Spider-Man Unlimited Vulture

WM: It means stories which focus on fast paced action in exotic locales and feature larger than life heroes and villains. On a personal note, I grew up in a small farming town and yearned for a larger life full of adventure. The pulp heroes pointed the way, and while I’ve never taken down a globe conquering miscreant, I have had a few interesting overseas experiences in my travels as a producer/director.
AP: When I think of Will Meugniot comics, I think of DNAgents (I’m proud to say I have the entire run) and FemForce. How did you get your start in comics and what is it that excites you about working in comics?
WM: First, thanks for thinking of my comics! So much of my time has been tied up doing animation that I really haven’t done as many comics as I intended.

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Tarzan. Dave Stevens inks

I first broke into the comics in the 1970s doing strips for undergrounds like The OK Comics tabloid and ‘ground level’ early direct sales books like Faeiry Star. My big break came when I sent Marvel a batch of sample pages featuring characters which didn’t have their own strips at the time: Guardians of the Galaxy, Ka-Zar, Nick Fury, and the one that paid off, Tigra. I did a couple of issues of that, then Marvel imploded and I was out, but fortunately, Tony Isabella showed Mark Evanier some of my uninked pencils. Based on them, Mark gave me work on the Tarzan and Korak comics he was editing for Edgar Rice Burroughs, Inc. That lasted for almost a year, but Marvel took the Tarzan license and the ERB line was cancelled, which was what sent me into animation.

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DNAgents

A few years later, my friend Dave Stevens came by the Marvel animation offices to score some free Xeroxes of his as yet unpublished Rocketeer. (Which was OK with the company, BTW – it was very ‘family’ oriented and Dave had worked for its previous incarnation, DePatie Freleng.) Dave told Rick Hoberg, Russ Heath and me about the new creator-owned comics movement, and got us excited by it. I phoned up Mark to see if he was interested, and that’s how DNAgents and the second phase of my comics career began.
The things I love most about comics are the creative freedom, and the ability to do a piece of art which is identifiably your own. Animation requires you to blend into the style of the series, and by its nature results in work which is largely anonymous by design. I’m thankful and surprised that so many people recognize my work in that field.

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Golden Girl

AP: I assume you get this question from time to time, but has there been any consideration of you and Mark Evanier doing more DNAgents stories?

WM: We’ve come close a few times, and I suspect we’ll do something with them in the next few years. Mark and I have stayed friends, but our careers have gone down different paths and it’s rare for us to have a big block of time free simultaneously.

I’m tightly booked for the next year or so with the N.E.D.O.R. Agents, a graphic novel of The Land That Time Forgot, Caspak (written by the great Martin Powell), and it looks like the pilot for an animated series I directed this summer clicked and the show will be in production as well.

The Land That Time Forgot: Caspak. The Step-By-Step Process
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Zombie Monkey Monster Jamboree

AP: The Zombie Monkey Monster Jamboree book by you and J. J. Hart looks to be a pulpy fun ride. Tell us a bit about the book and what inspired it.

WM: My friends Shannon Denton and Patrick Coyle started a line of picture books under their Actionopolis imprint and invited me to do one. Zombie Monkey was already written, and I loved the subject matter of boy scouts versus zombified monkies, so of course I said yes! I’ve also illustrated a couple of other children’s books for Actionopolis, Pandora, and my favorite, The Boy Who Cried Wolf. I think you can still get all of them on Amazon.

AP: Where do you, or would you like to, see the comic book industry in 5 or 10 years?

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Zombie Monkey Monster Jamboree

WM: I’d like to see it alive! This is a moment of incredible danger and opportunity for the industry. There is a clear shift in the way the medium will be distributed and that is going to ultimately affect its form. I don’t think print is going away, but I suspect we’re going to see a lot more print on demand and print to preorder books with the bulk of the distribution going electronic. Luddite that I am, I’m focusing on print at the moment, just because I love the feel of the physical product.

AP: With the advent of digital comics, the way many read comics has changed. What are your thoughts on digital comics and their impact on the industry and readers?

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Pyro-Girl Animation Promo Art

WM: There is a need to adapt to the market, and it’s clear many younger readers prefer reading on a screen. The upside is that distribution costs should be less in the long run. The downside is that many publishers seem to be ignoring their responsibility and need to help the current and very important to the industry’s long term health distribution system with the shift.

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Ultimate Avengers 2

AP: You’ve produced and directed several animation projects from The Real Ghostbusters, G.I. Joe, X-Men, EXOsquad, Jem and the Holograms, Conan, Captain Planet, Spider-man, Stargate, and more. How did you make the transition from comics to animation and what are the similarities and differences between them?

WM: The shift was an economic necessity for me at the time, and was achieved by dumb luck.
It started when Mark Evanier ran into Don Jurwich, producer of the Super-Friends cartoons. Don knew Mark had done comics and mentioned that Hanna Barbera was looking for artists with comics experience to help on the new action shows they’d sold for the 1978 TV season. Mark suggested I cold call HB and ask about it, so I did. The girl at the switchboard asked me whom I’d like to talk to and I said, “The producer doing the action shows.”

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FemForce 158

She hooked me up with Doug Wildey (creator of Jonny Quest), which resulted in my being hired as a layout artist on his Godzilla series. Doug was a huge influence and a great teacher. I started drawing storyboards on the side for him, and we both realized that doing boards came naturally to me, so Doug brought me in house as his assistant, handing out and editing boards on Godzilla and Jana of the Jungle. He even let me do the retakes and meet with the clients on some episodes, which was a rare and generous thing. My next boss after Doug was Tex Avery who was the storyboard supervisor on The Thing, a comedy cartoon about Marvel’s Thing. I had great basic training.

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Zombie Monkey Monster Jamboree

While they are similar in some respects, film and comics are two different beasts. One of the things I’m really enjoying about my current strips is going back to form with them and using all of the classic devices which are unique to the comic book: varying panel sizes (the aspect ratio is constant in film, but it doesn’t have to be in comics), internalized dialogue via thought balloons (much more fluid that doing a voiceover to convey thought in a film), and even visualized sound effects via display lettering.

AP: Who are some of your artistic/creative influences?

WM: Kirby, Wood, Ditko, Williamson, Colan and Frazetta are the main ones. I particularly admire Wood as an artist/writer.

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X-Men Storyboards

AP: What does Will Meugniot do when not making comic books?

WM: Professionally a lot of cartoons, either storyboarding or directing. Privately, I love old movies and non-fiction books about comics, movie serials and biographies. I also like just hanging out with my wife of 40 years, Jo.

AP: Where can readers find learn more about you and your work?

WM: I have a website: http://www.storyboardpro.com of which I’ve been very negligent, but features a lot of my art. My blog is www.maskedmayhem.blogspot.com I write about my interests there.

AP: Any upcoming projects you would like to mention?

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Zombie Monkey Monster Jamboree

WM: N.E.D.O.R. Agents is the big one at the moment. It has a 3 page preview in FemForce 156, a 26 page story in FemForce 157, and its own cover and 20 pages of story in FemForce 158. PREVIEWSworld is doing a Facebook promotion with me for the strip. If you ‘like’ their page, you’ll be able to follow the strip there and enter some contests to win original art, too.

AP: Are there any upcoming convention appearances or signings coming up where fans can meet you?

WM: I’m sorting that out now as part of the PREVIEWSworld promotion. Follow them on Facebook for updates about my appearances.

AP: You have served as a writer, artist, producer, and director. Are there any creative areas you’ve not been worked in that you would like to try your hand at doing?

WM: At some point, I’m going to do some low budget live action work as a director. It’s been offered me in the past, but I’ve just been too busy to take it on.

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Meet Vanity

AP: And finally, what advice would you give to anyone wanting to work in comics, animation, and/or art?
WM: The main thing is to DO IT. You’re not a writer unless you write. You’re not an artist if you don’t create art. Don’t let your fear of rejection stand in your way of doing.

AP: Thanks, Will.

FREE COMIC: SURVEILLANCE By Bobby Nash and James Burns

  • Uncategorized
  • September 26, 2011
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Check Out SURVEILLANCE – A free pulpy comic book tale by the Lance Star: Sky Ranger “One Shot!” creative team of Bobby Nash and James Burns at http://www.bobbynash.com.

X-Men First Class

When we first heard that the reboot of the X-Men film franchise was being set in the 1960s, there was a lot of head scratching going on. But once you stopped to consider the ages of the characters, a lot of it began to make sense. Of course, the first thing you need to do is totally forget about the source material. There are just too many elements that have been radically changed from the comics that it would just hurt your head. Instead, focus on the film as a prequel to a trilogy that more often than not has done a fabulous job adapting the merry mutants to the silver screen.

I’ve been a big fan of Matthew Vaughn’s work for a while now, so I was thrilled that he finally got a chance to try his hand at the X-Men. His work adapting other comics, Stardust and Kick-Ass, prove he has a good handle on what to keep, what to toss, and what to change. Here, he keeps the friendship between Charles Xavier and Erik Lensherr at the core of the story. Thankfully, Vaughn cast Michael Fassbender and James McAvoy as the leads because both do superb jobs.

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Michael George Murder Retrial Underway in Michigan

  • News
  • September 15, 2011

Christine Ferretti covers the retrial for the Detroit News:

Barbara George was regarded as a devoted wife with no known enemies. But in 1990, the 32-year-old mother of two met a grisly fate when she was fatally shot in the back room of the Clinton Township comic book shop she co-owned with her husband.

Macomb County prosecutors say Michael George dreamed of a “McDonald’s-like” comic store empire while he kept a secret apartment and engaged in affairs behind his wife’s back. They say he wanted to be rid of his “overweight” wife and ultimately killed her to do it. […] George, now 51, is charged with first- and second-degree murder, insurance fraud, false pretenses and firearm offenses.

This is the saddest line in the story:

Prosecutors allege the then-30-year-old George dropped his children off at his mother’s home on the night of July 13, 1990, returned to the store, and slipped through the back entrance to ambush his wife. Barbara George had been at the store alone planning a surprise 30th birthday party she was hosting for her husband that night.

Well, it certainly was a surprise for somebody…

FORTIER TERRIFIES ALL WITH NEW COMIC!

  • News
  • September 9, 2011
From Redbud Studios-

Five tales of suspense, the weird and the macabre brought to you in a variety of styles reminiscent of the “House of Mystery” type comics from the golden and silver age of comics. Join Ron and his cohorts in the danse macabre full of fun and creepy fun…

TALES OF THE MACABRE offers an opportunity for long-time comics writer Ron Fortier to showcase his skill and love of crafting solid short stories of the offbeat, strange and downright weird while allowing himself the chance to work with a number of up and coming independent artists.

Ron Fortier’s Tales of the Macabre #1 TM and © by each respective artist. Stories, logo and title of the book © & ™Ron Fortier. All rights reserved.

Now available from Indy Planet at http://www.indyplanet.com/store/product_info.php?products_id=5926

Upcoming Comics To Video Game Releases

  • News
  • September 7, 2011

This year has seen a ton of comics-to-feature-film releases, and the video game market is not different.  However, the trend to games doesn’t always yield positive results, as many are done as quick cash-ins to support the film releases (“[[[Thor]]]”, “[[[Green Lantern: Rise Of The Manhunters]]]”).  However, every so often, a tie-in turns into a gem (the latest “[[[Captain America: Super Solider]]]” game was a pleasant surprise), but when they work best is when they are using original material to tell the story.  There are three titles coming out later this year that gamers and comic fans alike should be looking forward to.  Below, you’ll find the most recent trailers for “[[[Batman: Arkham City]]]”, “[[[Spider-Man: Edge of Time]]]” and “[[[X-Men: Destiny]]]”, all due out in the next coming months.

[[[Batman: Arkham City]]]

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Table Talk – Looking Forward Through The Rear View Mirror

  • Uncategorized
  • September 7, 2011

Table Talk, where three writer- umm, authors, discuss the ins and outs of creating fiction for prose, comics and other outlets. This week, Barry Reese, Bobby Nash, and Mike Bullock chat about how far ahead they plot and how far back they work when building their characters.
Table Talk: Looking Forward Through The Rear View Mirror with Mike Bullock, Barry Reese, and Bobby Nash is now available at http://www.newpulpfiction.com/

REVEALED-THE SECRET ORIGINS OF BOBBY NASH!

  • News
  • September 3, 2011

The Secret Origins of Bobby Nash
by Joshua Pantalleresco

ALL PULP had a chance to talk to Bobby Nash about his works in both comics, his pulp origins and some of his upcoming projects.


AP: How did you get into pulp? Was it something you always saw yourself doing?

BN: It’s all Ron Fortier’s fault.

I had never thought about writing pulp per se. I was certainly a fan of pulp and pulp-style stories and I certainly wrote things in that vein, but I didn’t think about doing an actual pulp tale until Ron invited me to participate in what became Lance Star: Sky Ranger. That was back in 2005 after we met in person at Dragon Con in Atlanta. The rest, as they say, is history.

AP: I notice you’ve done properties created by other people, like Fantastix and Lance Star. What are the challenges that you face doing books like them in comparison with your own creations?

BN: Sometimes it’s easier than others, but writing pre-existing characters or characters that are owned by a publisher adds an extra set of eyes to the work. As a writer it’s my job to make sure the characters stay true to the vision of their creators. There’s a give and take that happens because there are things I may or may not have to do to keep continuity, but the publisher also allows for my style to come through the process as well. That feeling of collaboration can add whole new layers to the work.

AP: What are you working on right now?

BN: I’ve always got a few irons in the fire. Currently, I’m working on a comic script called Operation: Silver Moon with Rick Johnson, doing post comic script work on Bloody Olde Englund with Jason Flowers, and Domino Lady Vs. Mummy with Nancy Holder, Rock Baker, and Jeff Austin. In the next 3 – 4 weeks I’ll be working on short stories for various anthologies like The Danger People for New Babel Books, Blackthorn: Thunder of the Barbarian for White Rocket Books, Green Hornet: Still At Large for Moonstone Books, and The Wraith for Airship 27. Plus the usual bits for All Pulp, New Pulp Fiction, Lance-Star.com, and BobbyNash.com. There are other things as well. I bounce around quite a bit as deadlines approach.

AP: Can you tell a little bit about your first novel Evil Ways?

BN: Evil Ways is a mystery suspense thriller about a serial killer stalking a select group who have returned to their small North Georgia hometown for their ten year high school reunion. Also in town is FBI Agent Harold Palmer to visit his brother who owns the local newspaper. The Palmer brothers are pulled into the investigation to help the beleaguered small town sheriff who is out of his element.

Evil Ways started out as an experiment. I’d started the plot as a screenplay for a friend of mine who was interested in filming a movie. I wrote the script with real locations where I knew we could film. When that fell through I took certain parts of the script and reworked it into Evil Ways.

Evil Ways was my first published novel. Sadly, as of August 1, 2011 it is currently out of print, but I have been discussing getting both Evil Ways and its sequel, With Evil Intent released. Fingers crossed that will happen. I would love to continue writing Harold Palmer thrillers. Keep checking in at www.bobbynash.com for updates.

AP: Do you have a preference between prose and comics?

BN: Not really. It’s like prose writing and comic writing each works a different creative muscle so it’s hard to compare them. Writing comics is certainly a bit faster because a good bit of the work is shared with an artist, but each has its own unique challenges.

AP: What has been your favorite story to date?

BN: Wow. That’s a tough one. It’s like choosing between your children. Each book holds a special place in my heart, but Evil Ways stands out because it was my first published novel. I had a lot of starts and stops and with Evil Ways I wanted to prove I could finish a novel. The fact that people have read and enjoyed it was just icing on the cake.

Lance Star: Sky Ranger would be a close second because it really did send my writing into another area and it’s gotten some interesting notice as well.

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