Tagged: Marvel

Review: “Avengers” #19

avengers19_thumb-7406966CR Review: Avengers #19
Creators: Brian Michael Bendis, Daniel Acuna
Publishing Information: Marvel Comics, comic book, 40 pages, November 2011, $3.99

Perhaps the oddest thing about the Avengers property becoming Marvel’s flagship title the last few years is that there’s no underlying concept involved in its execution. It’s Marvel’s biggest superheroes (and some of its stronger supporting characters) teaming up to take on various super-baddie threats… and that’s really about it, as far as I can tell. It’s not a family, it’s not a community, it’s not a certain way of doing things; it’s everybody the fans think are cool put into the same room. In a similar vein, the writer Brian Michael Bendis recently announcing the conclusion of his run with that property surprised only in that there’s little in the way of a dramatic arc — at least not one I can see, from several steps back — that would indicate he was close to wrapping up whatever personal, creative business he might have brought to the series several years ago. In most ways that count, the defining characteristics of this comic book series lies in how it resists past signifiers. For all that it defines the current superhero mainstream, Avengers is one contrary comic book.

Marvel updates iPhone reader app to 3.0

  • News
  • December 2, 2011

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Marvel has updated its iOS app with a bunch of new features — however, the App store tells me that you will have to restore all your purchases after the upgrade. The new features sound worth it, however. What could go wrong?

To entice you, Marvel is running a big sale on stuff like SCHISM, ULTIMATE COMICS SPIDER-MAN, and other recent releases. That’s a nice way to get people up to speed with the current goings-on for future print or digital purchases.

All Marvel Digital Comics Will Be Available Same Day as Print

  • News
  • November 4, 2011
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And the other shoe drops…

Marvel is taking its entire line of comics “day-and-date” digitally, meaning you’ll be able to download all of the company’s comics on the its mobile app just as soon as they’re available in physical stores. That polishes off one of the few downsides to digital comics: Having to wait for the latest and greatest.

The line-wide rollout will be finished by the end of March, 2012, and unlike DC’s 52-title relaunch, day-and-date will be coming to individual titles on a staggered basis, mostly to coincide with new story arcs. The move covers all of Marvel’s comics except third-party licensed works—like the Stephen King The Stand books—and its sex-and-violence-riddled MAX imprint.

via Gizmodo.

Well, it certainly hasn’t hurt DC any. And considering that Apple is still heavily invested in Disney/Marvel, it was inevitably going to happen, it was just a question of timing.

But again, I have to repeat: we still don’t know what digital sales figures for comics are like. And until we know that, we can’t tell if it’s working, if it’s helping or hurting comics stores, and so on. Data, people… we need data.

Halloween Costume Contest — Send Us Your Marvel Super-Hero Pictures!

  • News
  • October 29, 2011

Kids and adults are no doubt dressing up for school and office parties in celebration of Halloween. Many of you will no doubt be dressed as Marvel characters and we want to see them.

Not only that, we want to publish your pics and name two as the best, awarding lucky winners with a complete set of [[[Avengers: Earth’s Mightiest Heroes]]] courtesy of our friends at Walt Disney Home Entertainment. That’s right, all four volumes can be yours if you impress us. Just go to our Contact Page, select “I’d like to submit a file for review!”, fill out the form and upload your picture.

Submission constitutes permission to publish your name and picture. The submission must be accompanied with your full name and address so winners may receive discs. Submissions must be timestamped by 11:59 p.m. Monday, October 31. The judgement of ComicMix’s expert panel of judges will be final.

Happy Halloween!

And as part of our Saturday Morning Cartoons section, here are some clips from the DVDs in question:

AVENGERS: VOLUME 3 – IRON MAN UNLEASHED

V3 Clip: Walk in Both Worlds (Iron Man, Thor, Black Panther)

AVENGERS VOLUME 4 – THOR’S LAST STAND

V4 Clip: Stuck in the Realms (Hulk, Black Panther, Iron Man)

V4 Clip: What Needs To Be Done (Giant Man, Ultron, Iron Man, Hulk)

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.

Captain America (the 1990 version)

In the wake of Batman’s success in 1989, it appeared to renew interest in movies based on comic books. One of the first, and one of the worst, was the 1990 version of Captain America. The film had actually been announced in the early 1980s from Cannon Films but in the intervening years, the studio folded and the right shifted a bit before Menahem Golan mounted it under his 21st Century banner.

The movie languished in development until the rights were about to expire so director Albert Pyun urged Golan to let him take a crack at getting the film made for about $6 million. Marvel actually approved the script that was shot and Pyun loved its take on America’s fascination with heroism. If only some of that love found its way onto the screen.

The movie was shot in 1989 but wasn’t released theatrically and was finally dumped on video in 1992, where it was met with derisive laughter from comic book fans. Now, MGM’s Limited Edition collection has released the film as part of its print on demand operation. The print used is pretty crappy and dark and the film is at best a curiosity for collectors and fans alike.

The horrific script from Stephen Tolkin (from a story by Tolkin and Lawrence J. Block) pays lip service to the source material and leaves you scratching your head at the shoddy story construction and utter lack of characterization. Significant changes were made, none of the better starting with giving Steve Rogers polio as an excuse to keep him from enlisting. Then there’s the Red Skull (Scott Paulin) now an Italian fascist, which never made sense. On the other hand, both this film and the current blockbuster made the unnecessary dramatic change in linking Cap and the Skull by having them both be products of the Super Solider formula.

There’s Matt Salinger as Cap/Rogers who is anything but the American ideal and fairly wooden in performance, perhaps because they give him nothing to work with. His first mission leads to the rocket that sent him to an icy sleep in Alaska. He’s found and inexplicably breaks free and rather than ask his rescuers anything, he runs all the way to Canada. There’s little time spent on his cultural isolation and his interactions with others is laughably minimal. (more…)

Happy 94th Birthday, Jack Kirby!

  • News
  • August 28, 2011
Jack Kirby Portrait

Image by J Garrattley via Flickr

And for his birthday, the co-creator of the Fantastic Four, the X-Men, Captain America, Thor, and the Hulk is trying to blow out Marvel’s corporate headquarters.

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DENNIS O’NEIL: The Weight of Fall

It’s the time of year when the world holds its breath. Back from vacation and if you’re old enough and lucky enough to be employed, fill the tank, Monday morning will be here before you know it, and if you’re going to school, either to sit in rows among the other students or to stand and teach… well, there are supplies to get – how late is Staples open? – and maybe some last minute reading and – one, two, three, all of us cop to it now – the anticipation: will the subjects be interesting, will the room’s other occupants be pleasant and/or pretty or trolls, will something that spins existence on its axis occur and change life forever and if you’re a lady who’s just retired after schoolmarming in four states for fifty years will you feel a tad blue – not that I know anyone like that – and, finally, will the English teacher get really frosted at having to read sentences that go on and on and on and on…?

No gold star for me? I’ll live with it.

If you’re a comics geek – and yes, we do know who we are – you may be feeling a bit disoriented. Not long ago, the days that cluster around the September holiday marked the end of major fan activity. The big conventions were history, the summer annuals lie all snug in their Mylar nests, the big publishers seemed to take a breather between those annuals and the big Christmas push to fill stockings with graphic novels, preferably in hardcover. Oh sure, all the regular titles appeared, but they were just … you know… stories. Nothing special. This year, though, there are several conventions yet to come, including the monster-doozie that occurs at the Javits Center in Manhattan, Marvel and DC are going digital, which will almost certainly change the biz, maybe a lot, and – what am I forgetting…?

Oh yeah. DC Comics is relaunching its whole line. Relaunching its superhero pantheon when print publishing is struggling to survive and reinvent itself in what may be the most turbulent climate since Gutenberg set his first stick of type: an important bookstore chain that according to one estimate accounts for maybe fifteen percent of retail sales is closing its many doors and an online retailer is altering the way business is done and nobody seems to know what the hell the e-book revolution will spawn.

All that is figure resting on the ground of a legislative system that seems hopelessly broken and huge environmental uncertainties that might affect publishing and everything else.

Plus…is the Mayans who say the world will end next year? Or am I thinking of that television preacher?

Yessir, Mr. D, the times they are a’changin’.

Ask me if I care. In about six weeks, the Rockland County foliage will begin its yearly display and, for a while, the daily trip to the mailbox will be reason for rejoicing. That will be enough now, and maybe forever.

Recommended Reading: The Will Eisner Companion, by N.C. Christopher Couch and Stephen Weiner. Disclosure: I contributed an essay to this book, but I’m not in the way of any royalties. If you know Eisner’s work, you’ll want to read it, and if you don’t…hey, it’s about time.

FRIDAY: Martha Thomases

 

 

MARC ALAN FISHMAN: “We Interrupt This Snark for a Shameless Plug”

Hello all. I thought I’d change things up a tad today… and not just tear into a character, creator, or comic that drives me bonkers. I figured instead it’d be fun to discuss a comic I actually love. OK, this may not actually count. Why? It’s my comic.

Unshaven Comics is my studio/self-publishing/merchandising pet project, alongside my brothers-from-other-mothers, Matt Wright and Kyle Gnepper. Back in 2006 we were lucky fuckers who were given a shot to make a book for an actual publisher. I won’t get into the details, but suffice to say we learned more lessons than we earned dollars. We wouldn’t trade that experience in for the world; especially because it’s how we came to meet Mike Gold. That’s not where the story ends though. In fact, it’s where it all begins.

Having finished a project on someone else’s terms, Unshaven Comics looked around for someone else to work for. Unlucky for us, publishing a tiny educational comic book about immigration isn’t the way to get on anyone’s radar. Thus, we looked inward. Why do a book for someone when you can do one for yourself, right? If comics aren’t going to pay our bills, it might as well be something we give a damn about. Thus, Disposable Razors was born. Pie-eyed, we pitched it to Mike. “Anthologies? They don’t sell.” And like happy drunks, we just kept on keeping on.

Disposable Razors conceptually isn’t a hard sell. For us? It’s an exercise. A single issue to tell a single story that leaves enough of a world developed that should we care to return to it, we can. Issue 1 was Kyle’s baby, Chasing Daylight, wherein a group of four guys learn about the frailty of friendship by way of a demon. Issue 2 was fishtastic: Iron Side: Living Will, wherein a retired geriatric superhero straps up his boots on one last mission before he meets his maker. And as I sit here looking at it… Issue 3 is now a reality as well. This time around the three of Unshaven lads really worked as a team (with Kyle penning half, Matt painting said half, and crazy me writing and drawing the other half). Issue #3 is homage to our childhoods. I need only give you the pitch on this one. The Samurnauts™! Astronaut Samurai led by an immortal Kung-Fu monkey fighting evil demon dinosaurs. I can’t even type that without smiling a little.

A recent exchange with my friends at ComicMix posed an interesting question. “What exactly are you looking for, Unshaven Comics?” In our wildest dreams, Marvel or DC comes to us and says “Hey, how about we give you a shot.” In our less-but-not-really-cause-it’d-be-amazing dreams, Image, Avatar, Boom or Dynamite comes to us and says “Hey, how about we give you a shot.” But in the real world? DC isn’t calling. Marvel ain’t either. Avatar and the like are after licenses, and their creative teams are generally established. Trust me, this kind of talk from me even two years ago, wouldn’t happen. I’m an admitted dreamer. But, getting married? A kid on the way? It has a knack for opening the bigger picture to a guy.

Unshaven Comics was founded because at the time, our early 20s, we had our future at our fingertips. We knew the traditional routes into comics. Matt could have easily made a portfolio, pitched himself to editors at con after con, and if he was lucky? Land a gig doing a backup in an annual. Once. And Kyle? Getting into comics as a writer is about as easy as… well… getting into comics as a writer. And me? A jack of all trades, a master at none. I can color. I can letter. I fancy myself a writer. And if I put my mind to it? I can pencil and ink. If I were lucky, a publisher might use me in a pinch (cough, The Original Johnson, Volume 2). But I digress… Like I said, we were founded on the idea that if we were to make it into the industry, it was all for one, and one for all. Insane? You bet your ass. But we wouldn’t have it any other way.

Doing our own books means I have to hang up the snark gloves and ask myself what I want to see in a comic. With backs against the wall, and your soul for sale for five bucks a pop, whilst sitting at a six foot table in the midst of real professionals? It’s exhilarating. And with every sale to a stranger, a knot in my stomach forms. Will they like it? Are fooling ourselves? Does the book look professional enough? Oh my god, is there a typo?

Sometimes, the reactions we get astound us. We had a girl buy book 1 on a Friday. She came back to the table on Saturday gushing. She bought book 2. Other times? We get slapped right in the jaws. Johanna Draper Carlson of “Comics Worth Reading” stopped by our table last year. She flipped through the issue and a long frown came upon her face. “This is just… not good. But I like your logo!” And she was off. She tripped a little over our now dead egos, and moved on. I could wax poetic as to why I think our comics are the bee’s knees… but frankly I’m the artist. Too close to my work to know if I should just be reading them, not writing them.

For the last five years I have given up a social life. Both my and Matt’s amazing wives have allowed their husbands to spend near every hour that isn’t at work, eating, pooping or sleeping… making comic books. Disposable Razors #3 in fact, was near 225 work-hours, last I counted. And those hours? Not 9 to 5. That’s every night after working day jobs. It’s weekends not spent relaxing on a couch, or watching a movie. From taking reference shots, scripting, penciling, inking, coloring, lettering, editing, reediting and prepping the book to print? The last four months of our life have been nothing short of exhausting. All for 36 quickly read pages of art and words. We’re tired. We’re cranky. We’re hoping people buy it, and don’t spit on us.

And we’ll do it all again tomorrow. Why? Because, when you’re living the dream, you never want to wake up.

SUNDAY: John Ostrander

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Fortier takes on CONAN THE BARBARIAN and Survives!!!

  • News
  • August 3, 2011
ALL PULP REVIEWS-Book Reviews by Ron Fortier

CONAN THE BARBARIAN

By Michael Stackpole

Berkeley Boulevard

Movie Tie-In

292 pages

It appears you just can’t keep a good barbarian down.  Conan the Barbarian is a hero and well known iconic figure in American fantasy. He was created by writer Robert E.Howard in 1932 via a series of fantasy stories sold to Weird Tales Magazine.  Howard was born and raised in Texas and spent most of his life in the town of Cross Plains.  As a boy he dreamed of becoming a writer of adventure fiction but was not successful until the age of twenty-three.

Howard’s Conan is a character whose literary imprint has been compared to such fiction greats as Tarzan, Count Dracula, Sherlock Holmes and James Bond.  With Conan, Howard created the genre known as sword and sorcery, inspiring a legion of imitators and giving him an influence in the fantasy field rivaled only by J.R.R. Tolkein.  On the eve of publishing his first novel, he committed suicide at the age of thirty. That he remains a highly read author, with his best works continuously reprinted speaks volumes for his place in the ranks of American masters.

As for Conan, he has appeared in hundreds of licensed paperbacks, Marvel comics, films, television programs, video games, roleplaying games, and even a board game.  In 1982 he came to big screen portrayed by bodybuilding champion turned actor, Arnold Schwarzenegger who recreated the role in the sequel several years later.  Producer John Milius had planned a trilogy, but the proposed third film, Conan the Conqueror was never produced.  Now, almost three decades later, the famous Cimmerian warrior from the mythological Hyborian age once again comes to the silver screen in a brand new production from Millenium Films, Lionsgate, and Paradox Entertainment.  And to promote what they hope will be a huge summer blockbuster, their marketing department commissioned a novelization of the screenplay by Thomas Dean Donnelly, Joshua Oppenheimer and Sean Hood.  The writer given the job was Michael Stackpole.

Many book lovers detest such novelizations believing them to be mere carbon copy retellings form the screenplays with nothing new to offer readers who plan on seeing the movie. In many cases, that is exactly all they get. On the other hand, when such a task is given to a true fan of the material, then what results is something much deeper and more complete than the screen treatment.  Stackpole is a gifted professional who clearly knows Conan and his original exploits as chronicled by Howard.  He not only tells the story laid out by the screenplay, but at the same time enriches it scene upon scene with authentic references to the Conan canon which totally elevates the narrative beyond being a mere reflection of the movie.

Born on a battlefield, young Conan grows up amongst the mountain people of Cimmeria and is taught to be a warrior from the day he can hold and wield a sword.  But as he matures, his father relates how his unique birth is regarded by seers as a powerful portent of the fate that awaits Conan. Not only will he be a great fighter amongst his people, but there are signs that he will one day be known throughout the civilized nations as mighty hero of unrivaled strength and daring.

As always, we have to assume that there will be people picking up this book who have absolutely no idea of who Conan is or Robert E.Howard, but have seen the trailers for the movie and are curious about it. For them, this is as good an introduction to Conan as any other that has come along in the past thirty years.  The book is fun and does its job well; it makes you want to go see the film.  So please, save me the aisle seat.

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