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For anyone in that weird cross section of humanity that enjoys Margaret Cho and superhero comics, this next item of news is sure to bring nirvana to your soul.
Cho is doing a comic book called Last Hero Standing, a riff on the Last Comic Standing reality TV show, I guess.
Here’s the info:
Cho has joined up with Märchen Dreamfaktory’s Creative Director, Tony Mark, to create a graphic novel. With a working title of Last Hero Standing, the comic will follow the exploits of super heroine Misty, an aspiring comic and the only super hero to survive an all-out attack from the super villains.
"Margaret’s fans will definitely recognize her edgy humor," says Mark. "I think the premise gives her a lot of room to express herself in her own voice, but also the freedom to have fun in a way she never has before."
Utilizing the in-house talents of Art Director Gary Laib and artist Chris Ewald, Märchen Dreamfaktory plans to have the graphic novel on shelves by early 2009.
Having previously announced Bionic Commando and Lost Planet comics coming from Devil’s Due, Capcom is bringing even more of their hit games to comic books. In a joint press release with DC Comics, they announced that the WildStorm imprint will publish comics based on Resident Evil and Devil May Cry. Details, like who’s writing and drawing it, or when it will be announced at a later date.
Devil May Cry follows demon fighter Dante in a gothic anime influenced world with over-the-top weapons. It’s been previously released as best-selling manga from Tokyopop, but this will be the first time content has been created by American comic artists.
Jim Lee must really like playing Resident Evil. Back in the pre-DC Comics era, WildStorm published a pretty successful comic/fan magazine based on the horror survival game. If you’re living a sheltered life, Resident Evil tells the story of pseudo-law enforcement officers battling the amoral Umbrella Corporation and their continual involvement in zombie plagues.
On a side note, have you seen the trailer for the Capcom-produced CGI movie Resident Evil: Degeneration that was shown at San Diego Comic-Con? You’ll never travel through an airport the same way again. (Video posted after the jump.)
The Onion A.V. Club offers yet another entertaining and creative look at pop culture, this time ranking the "most unflattering moments" to appear in autobiographical comics.
They come up with a list of 30 instances of awful humanity, though I’m sure the list could’ve been much longer. For instance, not a single mention of Jeremy Tinder is an Asshole, which seems like a goldmine for this type of enterprise.
Here’s a sample from Marjane Satrapi’s Persepolis:
When a boyfriend cheats on her, she falls apart; eventually, she makes a sullen escape back to her family in Iran, where she mostly finds them comforting, but she itches under the loss of liberty. Caught away from home in makeup and with a male friend, she distracts her potential persecutors by inventing a charge against a stranger, and self-righteously abusing him as he’s carted away to who knows what unpleasant fate. But the worst part comes when she later brags and laughs about her cleverness to her grandmother, who righteously, furiously reminds her of her family history and her responsibility to others.
It’s finally official. On Saturday in San Diego, IDW announced a new project based on Peter David’s Sir Apropos of Nothing series of novels, to be written by Peter with art by Robin Riggs. “Art” as in pencils, inks and colors — or, as those wacky Brits say, “colours.” Don’t ask me why, they have enough trouble pronouncing words correctly without trying to spell them right as well. Anyway, Robin and I are both pretty excited about this miniseries, and not only because the offer came at the same time as my current job offer so it means we both get to celebrate employment at the same time.
First of all, it’s Peter, whom we’ve both known for a long while and who’s an absolute delight even though he’s never introduced us to his equally-famous friends like Harlan Ellison and Billy Mumy. Secondly, I love the character of Apropos… well, not exactly “love,” he’s kind of a despicable rogue, but I love his adventures, and I love the conceit of a character who’s supposed to be secondary and an afterthought suddenly being the protagonist of his own stories. It’s kind of like if women were lead characters in their own right instead of love interests and fridge fodder! What a concept!
Anyway, the other reason I’m loving the idea of Robin doing a Sir Apropos comic book series is, even though it’s going to be parodying bits of Stephen King’s The Dark Tower, art-wise Robin wants to bring to it a sort of Hal Foster Prince Valiant vibe. I think the first story Rob and I ever did together, a 2-pager called Sailor’s Wife, had this sort of feel to it, and the whole medieval atmosphere worked really well with his penciling style.
So Rob has been immersed in Foster these past few weeks, going over all his Prince Valiant collections, studying them for inspiration and visual ideas. He even taped together a number of 11 x 17 sheets to make a page (see photo) the size at which Hal Foster originally worked. It’s easy to see how much more illustrative you can get when you’re working 30 x 40. But it takes a true master to know how to draw so that no detail is entirely lost in the reproduction. (more…)
Mike Mignola, creator of Hellboy has certainly been a star in the comics scene for some years but the spotlight must be shining a little brighter now that his franchise includes two hit movies. We were lucky to get a chance to talk to him briefly at the show this year about the future of his book, the impact of the movies on his own storytelling, and the difficulties of letting go of the art chores on the book.
“If I get hit by a bus tomorrow, I don’t know what’s going to happen to the book,” said Mignola about the notion of passing the book off to other creators. He said he couldn’t imagine letting go of the character the way Todd McFarlane has let other people work on his most popular creation, Spawn.
When asked if, given that, it was hard to stop being the artist on the book, Mignola said it was at first — but he really likes the look of the book these days and he’s fond of the work Duncan Fegredo has done for the book. “Besides,” said Mignola, “if I was still doing the art it would take forever.”
Readers of Hellboy are undoubtedly aware of the way Mignola uses real-world mythology, so we asked him what we should be brushing up on for his upcoming books. He said they were going to be doing a take on some British mythology and that the content would be similar to the second film in a few ways.
We also asked if he was concerned that Guillermo del Toro’s film franchise seems to be building to a very different conclusion than his comics are. “The only thing that worries me is that the third movie will come out too soon,” said Mignola. Adding that he had a very firm plan for the comics and that this plan might take 15 years to be realized in the comics.
The flood of video game/comic book crossover news continues as the trailer to Mortal Kombat vs. DCU debuts. Check it out below:
The comic book veteran was smiling as he leaned forward to read the lettering on the button fastened to my lapel: Let’s Legalize Pot. His mood changed instantly, to one of anger. He snatched the pin off my jacket, flung it into a wastebasket, and stalked from the room.
That was in 1965 and before I relate another incident from the same era, let me offer a quick clarification. I don’t like marijuana. Never have. The circumstances of my rather bumpy life have, at times, put me close to it and of course, like William Jefferson Clinton and maybe just one or two other pols, I sampled it and found it usually did little for me. Which is not to say I didn’t have addiction problems. No siree. My love of alcohol cost me a marriage and a job and a lot of dignity and some trips to the hospital. But pot? Usually just made me cough. That button? Well, although the evil reefer was not my drug of choice, I thought that if booze and nicotine were legal, evil reefer should be, too.
This was not conventional wisdom in 1965 (and still isn’t) and, although, as we discussed last week, comics guys like the man I outraged were outsiders, they were not rebels. No, they were outsiders by birth and circumstance, not choice, and their values were pretty much those of mainstream America. They wore suits and ties to work, they paid taxes and owned homes, went to church or temple, voted, behaved themselves. Many had served honorably in the war. They were patriots, they were good citizens. They knew, because they had not learned otherwise, that our nation was menaced by godless Communism, that elected officials were as honorable as they themselves were, that what was good for General Motors was, in fact, good for America, that the atomic bomb was an invaluable part of Liberty’s Arsenal and, oh yeah, that the Devil’s Weed would likely corrupt any youth who got a whiff of it. They were my parents, my relatives, and the folks in my old neighborhood.
It went a bit overshadowed amid the madness of Comic-Con, but there was some big news out of New York last week as publisher Harry N. Abrams announced the creation of a new comics imprint, headed by Charles Kochman.
Kochman was recently promoted to be executive editor of the publishing company, and he told Publishers Weekly it was a natural fit to take on more comics.
Kochman will direct the new imprint, which will launch with four new titles: The Art of Harvey Kurtzman: The Mad Genius of Comics by Denis Kitchen and Paul Buhle; The Art of Jaime Hernandez: The Secrets of Life and Death by Todd Hignite, designed by Jordan Crane with an introduction by acclaimed cartoonist Alison Bechdel; Secret Identity: The Fetish Art of Superman’s Co-creator Joe Shuster by Craig Yoe; and Whatever Happened to the World of Tomorrow? by Brian Fies, the creator of the award-winning Web comic/book Mom’s Cancer.
Abrams publisher Steve Tager said launching a new imprint “made sense. We’ve published comics and pop culture titles in the past—we’ve sold half a million copies of the Art of Walt Disney—so Charles is building on a history that Abrams already has. But he brings a passion and experience in the category. He’s brought in more graphic novels and launching an imprint just makes sense in this marketplace.” Tager said the imprint will be able to cross-promote with Abrams’s children’s book line, special markets department and internationally—he noted that Kirby: King of Comics, Mark Evanier’s biography of comics artist Jack Kirby, is a bestseller for Abrams U.K. “We’ve been coming to Comic-con for several years now and our education in the category continues,” said Tager. “And our designers and sales reps all love Charlie’s books; he focuses on the little things and that’s what makes his books special.”
An area DC Comics has been pushing hard is animated adaptions of the company’s comic book properties, including last year’s Justice League: The New Frontier, which earned an Emmy nomination.
At a Comic-Con panel, DC publisher Paul Levitz and others discussed upcoming animated projects, including Wonder Woman. Newsarama has a wrap up:
Noveck says “Wonder Woman” is not an adaptation of a specific comic, like “Justice League: The New Frontier.” Instead, it features an original story by “Wonder Woman” comics writer Gail Simone and Michael Jelenic, with the screenplay by Jelenic. That approach was decided on because the character can be a tricky one to get right, Levitz says.
Voice director Andrea Romano says they like to use a lot of name actors for these projects and joked that fans can often tell what she’s watching on TV and in the movies by who she casts. She says, for example, she liked very much the film “Waitress,” which played a role in her casting Keri Russell as Wonder Woman. Russell was right for the part because she can convey both strength and the vulnerability the character needs as she adjusts to living in the world of men.
Other cast members include fellow panelist Nathan Fillion as Steve Trevor, Alfred Molina as Ares, Rosario Dawson as Artemis, Virginia Madsen as Hippolyta and Oliver Platt as Hades. Romano says Platt had to record his lines in New York and couldn’t be filmed in the booth because of the distance — which turned to be a good thing when his starched shirt made so much noise he ended up having to work shirtless.
Columns / Glenn Hauman / News
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