Tagged: DC

Watching the Train Wreck of “Final Crisis”

9672_400x600-4073908I may as well just get this out of the way up front: in my opinion, Final Crisis #3 is one of the worst comic books I’ve ever read.

Coming into this event season, I had high hopes for DC to regain some of the Infinite Crisis magic, but after three issues (sorry for the delay, but I was away from comic shops and the Internet) the latest and likely not last Crisis has clearly entered the realm of train wreck.

And yet many comics critics posted some largely favorable reviews. "I can’t wait to see what happens next!" said one not atypical reviewer.

Throughout many reviews, the critics looked at writer Grant Morrison’s approach of stringing together flashes of disparate stories into making a larger narrative and praised how new and challenging it is. There didn’t seem to be a single bizarre element he used that couldn’t elicit a glowing remark.

When reading those comments, I immediately recalled this quite-good essay by B.R. Myers on The Atlantic Monthly Web site. Writing about contemporary literary fiction, Myers complains that today’s writers have become obsessed with style at the expense of substance.

We are supposed to have entered a golden age for fiction, he writes, and yet readers don’t pick up literary fiction en masse, or much at all. Myers offers a simple explanation: the books are all self-absorbed fluff, and the nuts and bolts of telling a story have been left by the wayside.

Which brings us back to Final Crisis.

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Interview: “Gears of War” Writer Josh Ortega

Gears of War is one of the bona fide hits of this generation of high-end videogames. When you want to show your friends (or justify the cost to your significant other) the difference between your Xbox 360 and your last game system, this is the disc you pop in.

Taking place on the planet Sera, Gears of War tells the story of how the Coalition of Ordered Governments (COGs) had just ended a world war when subterranean monsters emerged from the ground. Called the Locusts, the monsters have guns and weapons that rival the COG’s arsenal. The plot centers on the experiences of Marcus Fenix, a military prisoner released to join a war that is not going well.

Veteran comic writer Josh Ortega (Necromancer, Frequencies) was brought onboard by developer Epic Games to work on the story and deepen the Gears universe. He’s become an integral part of the Gears of War 2 team and DC Comics has announced that he’ll be writing the Gears of War comic for their WildStorm imprint. He took a few moments to let us know how the war effort was going.

COMICMIX: For our readers who are not up on all things COG and Locust, can you tell us in your own words whom you are and your involvement in building up the Gears of War universe?

JOSH ORTEGA: I’m the lead writer for Gears of War 2, I write the comic book for DC/WildStorm, and I also consult on the Gears of War franchise. I work closely with Mike Capps (Epic President), Cliff Bleszinski (Design Director), Rod Fergusson (Senior Producer), and the crew at Epic Games to make sure everything that I write fits in with what’s going on in the rest of the Gears universe, and vice-versa.

CMix: Why is the story set on the planet Sera? Why not Earth? Is this some sort of past, future, or just an unrelated world with humans on it?

JO: Setting it on a different planet allows for a lot of storytelling freedom. If it was set on Earth, many people would draw parallels where there weren’t any, and by the same token, certain parallels that we do want to draw might feel a bit forced or obvious if we set the story on our own planet.

It also allows us to have freaky creatures like the Locust, which, to the best of my knowledge, do not actually exist on Earth.

 

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Framing The Question, by John Ostrander

There’s a lot of buzz on the Internet this last week stemming from new Image partner Robert Kirkman’s video-taped manifesto calling for … well, I’m not exactly certain what he called for. A subsequent article/interview on Newsarama said it was “a call to arms for fellow creators to focus solely on their original stories, instead of the licensed work from the big two comic book companies, Marvel and DC.” Although he is also quoted later in the article as saying, “I want everyone to understand, I’m not saying no one should aspire to write for Marvel and DC characters … I’m just saying that it shouldn’t be the pinnacle of a comic book career.”

The article adds: “While Kirkman sees contemporary creators who try to do both creator owned works, and books for the big two, he believes they’re hurting their opportunity to succeed with their original stories.” It then quotes Kirkman further: “You can’t put your feet on both sides of the fence you have to take that plunge … if I’m doing Invincible and I’m also writing Spider-Man, and I’m giving fans a choice to try my unknown book, or Spider-Man who they know, they’re going to choose Spider-Man.”

OR … maybe some of those fans try Invincible because they really like what the writer is doing on Spider-Man. The savvy ones follow the talent – whether it’s the writer or the artist. The majority, however, are reading Spider-Man because it’s Spider-Man and it doesn’t matter if a hundred monkeys are typing it – unless the monkeys do something really dumb with it like use a Mephisto ex machina to get rid of a pesky marriage or bring out a clone or something. Stoopid monkey!

The point is … more readers get exposed to the writer as a result of his work on Spider-Man. A fair question to ask is – did the sales go up on Kirkman’s own creator owned books after he started writing the webby wallcrawler at Marvel? If not, then he had no benefit from doing it. If they have gone up, however, then at least part of the reason will be his stint at Marvel.           

As I understand it, Kirkman wants to re-energize/save the comics’ industry. If all the established talent left DC and Marvel, he thinks the two companies would have to “re-focus the majority of their titles to the teen audience.” The established creators would then work on creator owned books, revitalizing the industry. (more…)

“Voltron” Film Moves Forward, “Robotech” in the Works?

Variety reported earlier this week that the big-screen adaptation of the popular anime series Voltron: Defender of the Universe has been moved forward into the "turnaround" phase of production, bringing the project no one really expected to see in theaters closer to fruition. According to Variety, a Fox-based financing and production agency is looking to secure a moderate budget for the film, akin to a film like the recent adaptation of Frank Miler’s graphic novel 300.

The film’s producer, Mark Gordon Co., plans to attach a director within the next week to the script written by Justin Marks — a name which seems to be popping up on a long list of adaptations these days, Marks has also authored scripts for a film based on the DC superhero Green Arrow, as well as adapations of the He-Man cartoon and the Hack/Slash series published by Devil’s Due.

Marks’ take is described as a post-apocalyptic tale set in New York City and Mexico, where five survivors of an alien attack band together and end up piloting the five lion-shaped robots that combine and form the massive sword-wielding Voltron that helps battle Earth’s invaders.

Also of note is a mention at the end of the Variety article that Voltron was one of several "giant robot" stories optioned after the success of Transformers in theaters. Warner Bros. secured the rights to another 1980s anime series with a massive, loyal fanbase in North America, Robotech.

You can read a review of the Voltron: Defender of the Universe script over at The Latino Review, which gave Mark’s adaptation of the series amazingly high marks.

And just in case you’re feeling nostalgic, YouTube has the original opening from the 1980s Voltron series.

Tom Cruise Considers “Sleeper” Adaptation

The Hollywood Reporter recently indicated that Tom Cruise has taken a fancy to Ed Brubaker and Sean Phillips’ gritty superhero-noir series Sleeper, and seems inclined to set the adaptation project up at Warner Bros. with Sam Raimi tagged as producer. Cruise has been "loosely" attached to star in the big-screen version of the DC/Wildstorm title, which was one of the more adult-fare comics to come out of the publisher in recent years.

However, with all of the hub-bub surrounding the Warner Bros. adaptation of Watchmen these days, THR reports that the studio is being meticulous with its pursuit of the rights to Sleeper.

Even if Cruise opts not to do "Sleeper," his interest in the project is propelling it forward, despite complicated rights issues that must be sorted out. Raimi and Donen have long been fans of the book, and the project could have found homes at Sony and Regency if those issues hadn’t been so complex.

"Sleeper" takes place in the same publishing universe as other Wildstorm books, and integrally featured characters from the company’s flagship title "WildC.A.T.s" as well as characters from another book, "Gen 13."

Here’s an aspect of the story that’s also of note — apparently, Sleeper isn’t the only Wildstorm title being considered for adaptation:

Both "WildC.A.T.s" and "Gen 13" had been set up at different places around town and some of those deals were made before DC bought the imprint in 1999.

It’s a tangled web for sure, but of all the series being optioned lately, this one seems like an entirely viable story for the big screen. Although one has to wonder whether they’ll tone down the high level of violence and sexual themes in the story… and if so, will it still pack the punch that made it a favorite of so many readers (including myself)?

Har-Asses, by Elayne Riggs

I must confess, I didn’t read a lot of San Diego con reports this year. My SDCC attending days are probably well behind me; in addition to Robin just not being as into comic conventions as my first husband Steve was (maybe it’s because, for many pros, conventions are part of their job, whereas for the rest of us they’re part of a hobby), between hotel and airfare costs the darn thing has just gotten ridiculously expensive, and that’s if you can get a room or a flight or even admittance at all.

Plus, there’s the mobility thing, which has started becoming less of an issue now that my new job has increased my physical activity to a level it hasn’t seen in a number of years and my 50-year-old body is responding accordingly, much to my surprise. Of course, this year’s excuse has also been the job thing; after being out of work over half the year, I wasn’t about to make plans to travel anywhere further than New Jersey during the first few months of my new employment!

But, aside from the always-enjoyable pictorials that many folks uploaded to their blogs, the two posts that piqued my interest the most this year had to do with harassment. Yes, we’re still talking about harassment in this day and age. But, as has been pointed out recently in response to hypocritical and sanctimonious politicians presuming to lecture Russia from their own lack of moral high ground with admonitions like “this doesn’t happen in the 21st century” — well yes, yes it does. Anything that’s happening now is by definition happening in the 21st century. One can certainly argue that we as a civilization ought to have moved beyond sexual harassment by now, but one can argue we should have moved beyond various forms of discrimination and intimidation hundreds of years ago as well. It’s still happening even today, and it still needs to be addressed.

Fortunately in the 21st century we have an amazing communications tool that, to our collective knowledge, has never existed before in the entirety of human history. This electronic paper trail certainly has its flaws, but it also helps hold people accountable when there’s no other recourse. So when Rachel Edidin writes an open letter decrying the behavior of someone at San Diego who sought hugs from unwilling strangers, it gets discussed in an open forum where all sorts of interesting observations are made. One commenter noted it wasn’t "necessarily a male privilege thing," while Rachel herself added "I was generally hella impressed with the general respect for personal space at SDCC. In crowds packed shoulder-to-shoulder, I encountered only a very little bit of pushing, and aside from Creepy Hug Guy, I didn’t have a single encounter that made me uncomfortable." Someone else pointed out that "In Canada pestering a stranger for physical contact is a form of criminal assault even if it’s not intended sexually." (more…)

Robert Downey Jr: “F*ck DC Comics”

iron-man-photo-downey-jr-9492303Sure, we know that actors occasionally lose themselves in the role and start acting like their characters in real life. Robert Downey Jr. may have been concentrating too much on his Tony Stark role from this summer’s Iron Man movie in this interview with Moviehole.com.

What’s got everyone buzzing? Well, here’s an excerpt:

"My whole thing is that that I saw ‘The Dark Knight’. I feel like I’m dumb because I feel like I don’t get how many things that are so smart. It’s like a Ferrari engine of storytelling and script writing and I’m like, ‘That’s not my idea of what I want to see in a movie.’ I loved ‘The Prestige’ but didn’t understand ‘The Dark Knight’. Didn’t get it, still can’t tell you what happened in the movie, what happened to the character and in the end they need him to be a bad guy. I’m like, ‘I get it. This is so high brow and so f–king smart, I clearly need a college education to understand this movie.’ You know what? F-ck DC Comics. That’s all I have to say and that’s where I’m really coming from."

Yeah. Don’t be expecting a call to play the Riddler anytime soon, Bob.
 

The Real World, by Mike Gold

In an environment where we debate the finer techniques of villains who travel the galaxy to gobble up planets for lunch, the awesome realities of day-to-day life have a habit of intruding upon our vocations and hobbies. Sometimes, the intrusion of reality shatters us completely.

Last Thursday night, 20 year-old Robbie Greenberger lost his struggle with leukemia, surrounded by his family. That’s a real-world horror of incalculable proportion; as we all know – yet, from time to time, must ignore – that sort of thing happens somewhere to somebody every minute of the day. And there’s no villain afoot to acknowledge our outrage.

Robbie was the son of Robert and Debi Greenberger and brother of Kate. For a long time, Bob was an editor and administrator at DC Comics and at Marvel, and an occasional comics writer. He’s also written a ton of Star Trek novels and stories and is editor of the Famous Monsters of Filmland website. Bob is also part of the ComicMix crew: he’s been involved in behind-the-scenes activities for quite some time (you’ll be seeing the fruits of these labors anon), and he’s contributed nearly 50 articles and columns to our site. He’s a real pro.

I remember when Deb went into labor with Robbie. The father-to-be showed up at DC’s offices, ready for work. I asked him if… well, if he was crazy. No, Bob just wanted something to do while waiting, and he had deadline stuff to clear off. He politely asked if it was okay if he were to leave early to join his wife at the hospital.

Unfortunately, I also remember working with Bob on Thursday. I knew the family was at the hospital with Robbie 24/7, doing what they could, giving Robbie comfort. Through Wi-Fi and cell phone, Bob was able to keep busy and meet his deadlines. There’s a strength there that would put a super-hero to shame.

I don’t know how Bob, Debi and Kate will be able to deal with this. There’s a saying that a parent losing his or her child is life’s greatest tragedy; by definition, you really can’t compare. Life has no “11” on the dial; we all max out at “10.”

But the Greenberger family is not alone, not by any stretch of the imagination. Our love and our support will always be with them.

Contributions in Robbie’s memory may be made to The Tommy Fund for Childhood Cancer, Yale-New Haven Children’s Hospital, 20 York Street, New Haven, CT 06511-3202.

Mike Gold is editor-in-chief of ComicMix, and is proud to have shared many a credits box with Bob Greenberger.

Robbie Greenberger, R.I.P.

robbie-1-4900308We are incredibly sad to have to report that Robbie Greenberger, son of DC and Marvel alumni and ComicMix contributor Robert Greenberger, passed away on Thursday evening after a months-long struggle with leukemia. He was 20.

He is survived by his father, mother Deb, sister Kate, and everyone who knew him, all of whom are staggered by the news. Bob has been blogging about the entire course of treatment, and has written up the final week.

Friends may greet the family Sunday from 3-5 p.m. and 7-9 p.m. in the Spear-Miller Funeral Home, 39 South Benson Road., Fairfield. A Mass of Christian Burial will be celebrated Monday, August 18, 2008 at 1 p.m. meeting directly at Saint Pius X Church 834 Brookside Drive, Fairfield. Interment will be private at Oak Lawn Cemetery, Fairfield. In lieu of flowers contributions in Robbie’s memory may be made to The Tommy Fund for Childhood Cancer, Yale-New Haven Children’s Hospital, 20 York Street, New Haven, CT 06511-3202 (www.tommyfund.org). For information or to offer an online condolence, please visit www.spearmillerfuneralhome.com.

“Watchmen” Trailer Prompts 1 Million Sales in ’08?

The New York Times is reporting that DC has ordered around 900,000 additional copies of Watchmen printed since the trailer for the film adaptation of the graphic novel debuted last month. Only 100,000 copies of the Alan Moore and Dave Gibbons project sold last year, but DC’s president and publisher, Paul Levitz, says he expects to sell more than a million by the end of 2008.

“As far as we can tell from our conversations with the book industry people, there has never been a trailer that did this,” said Paul Levitz.

As we reported late last month, Watchmen has occupied a prominent spot on various bestseller lists for the last few months due to anticipation of next year’s feature film adaptation of the project, due out March 6, 2009.

Click here for information about where you can view the trailer, or you can view a gallery of images from the Watchmen trailer here on ComicMix.