Tagged: San Diego Comic-Con

Scribe nominees announced; DeCandido gets IAMTW GrandMaster

  • News
  • March 30, 2009

The International Association of Media Tie-In Writers is pleased to announce this year’s nominees for the 2009 Scribe Awards, which honor excellence in licensed tie-in writing—novels based on TV shows, movies, comics, and games. In addition, Keith R.A. DeCandido, whose Farscape series for BOOM! has just gone to third printings on the first two issues and a second printing on #3, will be awarded the IAMTW Grandmaster Award at the awards ceremony at the San Diego Comic-Con– assuming he can get a hotel room.

The nominees for this year’s awards are:

Best General Fiction Original

Burn Notice: The Fix by Tod Goldberg
Criminal Minds: Finishing School by Max Allan Collins
CSI: Headhunter by Greg Cox

Best General Fiction Adapted

Death Defying Acts by Greg Cox
Indiana Jones And The Kingdom Of The Crystal Skull by James Rollins
The Tudors: King Takes Queen by Elizabeth Massie
The Wackness by Dale C. Phillips
X-Files: I Want To Believe by Max Allan Collins

Best Speculative Fiction Original

Ghost Whisperer: Revenge by Doranna Durgin
Ravenloft: The Covenant, Heaven’s Bones by Samantha Henderson
Stargate SG-1: Hydra by Holly Scott & Jamie Duncan
Star Trek: Terok Nor, Day Of The Vipers by James Swallow

Best Speculative Fiction Adapted

Hellboy II: The Golden Army by Bob Greenberger
The Mutant Chronicles by Matt Forbeck
Star Wars – The Clone Wars: Wild Space by Karen Miller
Underworld: Rise Of The Lycans by Greg Cox

Best Young Adult Original

Dr. Who: The Eyeless by Lance Parkin
Primeval: Shadow Of The Jaguar by Steven Savile
Disney Club Penguin: Stowaway! Adventures At Sea by Tracey West

Best Young Adult Adapted

Iron Man: The Junior Novel by Stephen D. Sullivan
The Dark Knight: The Junior Novel by Stacia Deutsch and Rhody Cohen
Journey To The Center Of The Earth 3D by Tracey West

San Diego Comic-con 2009 4-Days already sold out

  • News
  • March 15, 2009

In March. Four months out. Yipes.

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However, you can still purchase individual tickets for each day. Yes, it will cost you $35 more. But you will get in. So order now. And then you can start worrying about hotel reservations.

Licensing the 11th Doctor Who

  • News
  • January 7, 2009

With Matt Smith taking on the role of Doctor Who, BBC Worldwide says the property will be one of its licensing priorities through 2009, series 5 featuring the new Doctor in 2010, and forward. BBC Worldwide has renewed and extended the Doctor Who master toy license with Character Options, which has held the license since 2005.  BBC Worldwide is developing new style elements for licensees for series 5 with product expected to be available in summer 2010, probably just in time for the San Diego Comic-Con. 

Meanwhile this year will see the release of a range of items, including the launch of Time Squad collectible figures in spring, followed by repackaged and revamped Cyberman Age of Steel products to tie-in with the holiday 2009 special.

So if you’re the sort of person who just wasn’t satisfied with spending two hundred dollars for a remote control Dalek to terrorize your pet with, you’re in luck. And thank you for helping to stimulate the economy, even if you’re adding to the international trade imbalance.

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‘Lost’ Secrets Unearthed

  • News
  • October 25, 2008

lost-1-1766559While the networks are busy slugging out the fall television season with competing series both new and old, the viewers are left without a shepherd to guide them towards true quality programming. In 2009, that shepherd returns, and its name is Lost.

ABC’s award-winning smash-hit Lost has gained an unbelievable following in its four short years. It’s often a show of balance as some mysteries get solved ("What’s in the hatch?") and some never do ("What’s the frickin’ monster?"). Despite some of the rockier terrain that seasons two and three trekked through, fans have stuck through the turbulent times by having faith that their loyalty would be rewarded.

When Lost returns early next year, the shape of that reward will come into sharper focus. Season five marks the penultimate year for the series, as showrunners Damon Lindelof and Carlton Cuse previously inked a deal with ABC to end Lost after six seasons. Since that move, each episode instantly gains a higher sense of importance for both the show’s mythology and its fans’ patience. Nary an hour can be wasted with so many pressing questions to be answered, and with Lost officially on the downhill end of the slope, Lindelof and Cuse promise that the series will shift away from generating mysteries and into "answer mode."

There’s still some months before the new season, but information about the plot, characters and more are slowly find their way onto the internet. We’ve done some digging around and compiled the following list of points regarding what you can expect from Lost in the future. Be warned, however, as there are some spoilers ahead. Proceed with caution…

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Fashionably Late, by Elayne Riggs

  • News
  • September 17, 2008

earamid2-1-6850803Whoever thought that lipstick would make major Silly Season news in the 21st century? Although I have to admit I’d rather hear about it being applied to pit bulls and pigs than human beings, but I’ve never had the best relationship with makeup, accessories and other fribbles, as this past week has reminded me.

Every September sees the re-emergence of Fashion Week here in New York City. In keeping with the acknowledgement that this Silly Season is in many ways sillier than most, this year Mercedes-Benz, the chief sponsor, has even decided to go with an election theme on the event’s home page. Maybe they want to emphasize how uselessly trivial it all is. Or, to be fair, how much “fun” people have ooh’ing and aah’ing at emaciated creatures who rarely resemble real people strutting the catwalks wearing creations that rarely resemble real clothing. And there are all sorts of tie-ins, one “big deal” this year being Target’s special “Bullseye Bodega” outlets in strategic areas of the city, only open this past Friday through Monday, which purported to sell high fashions at low (i.e., Target-level) prices.

Fool that I was, I ventured into one around noon on Friday, just out of curiosity, and found it to be the single most pretentious experience I’d ever witnessed. A cramped place with absolutely nothing of any practical value to me, but filled to the brim with a sea of people desperate for couture at closure level. I saw only one piece that would have fit me, a XXL man’s thermal top for around $35, but I’m afraid I just wasn’t in the market for one, and even if I were I could have gotten the same thing (sans designer label) for far less money by shopping at Amazon. That’s the kinda gal I am. But other gals seemed to like it just fine, so obviously one’s mileage may vary.

Even comic geeks have been able to get into the spirit of fashion this year.  My ComicMix colleague Martha Thomases has reported on the “Superheroes: Fashion and Fantasy” exhibit at the Metropolitan Museum of Art, and Rick Marshall covered the Marvel Fashion Show at the San Diego Comic-Con. There does appear to be a fun element to the idea of heroic costumes being more frivolous than practical, especially when worn by women. But even the guys are taken to task, and taken down a peg, by wry observations about their chosen uniforms. The word “capes” alone elicits either giggle-fits when watching Brad Bird skewer that fashion-don’t in The Incredibles, or sneers in comic pages wherein non-powered citizens dismiss the antics and lifestyles of the heroic and famous.

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Paul Levitz on Comics, DC and the State of the Industry

  • News
  • August 24, 2008

dclogo-00-5982662During San Diego Comic-Con, ICv2 conducted a fairly comprehensive interview with DC president/publisher Paul Levitz to chat about the state of the comics industry and the recent past, present and potential future. The interview was broken down into three parts, and each of them has some worthwhile questions and answers from DC’s head honcho.

From Part One, some frame of reference for the decision-making process when it comes to which characters/titles to put the spotlight on:

Some people think that Watchmen is a risky movie for presenting comics to a broad audience because it’s so dark. What are your thoughts on that?

The great successes are always the things that you can’t prove in advance will work or will not work. You get a Superman because it’s a departure from what was there before. There were ancestors of him in the creative process, but it represented a leap forward. And the same reason that my predecessors were nervous about putting him on the cover of every issue of Action Comics for the first few until they got the sales figures in, were the things that in part created the potential for him to be the breakaway at this time. I don’t think there’s a lot of mid-ground for Watchmen. I think it will either be very successful or it will be a passionate cult favorite. Everything we’re seeing so far indicates to me that we have a good shot at it being a breakaway.

From Part Two, an interesting observation of the economic status of what DC believes to be the typical comics buyer:

Do you predict any differences in how sales in the different channels will respond to the economic conditions?

The comic shop owners are still more vulnerable to the high intensity-high value customer. Luckily a high proportion of our customers are in industries that have been doing relatively well—high technology kinds of things tends to pop up fairly frequently in the descriptions of jobs in our field, so hopefully that’ll be sustaining. The bookstore side of the world, I think, is just vulnerable to all of the challenges that book publishing is having now. Even if the graphic novels are a very bright spot in their world, and they seem to be, book publishing is not having an easy time right now.

From Part Three, some insight regarding DC’s plans for webcomics and their Zuda program:

The screen is a powerful method of delivery for a younger generation and it’s going to be part of our business one way or another, hopefully in a very complementary fashion. I think we start doing print stuff on Zuda in early ‘09 in the current schedule. And that will be an interesting test to see how that translates over.

 

Paul Pope on Toys and “THB”

  • News
  • August 22, 2008

batman-year-100-1-00-2678935Over at the L.A. Times’ geek culture blog Hero Complex, T.J. Kosinski talks to celebrated creator Paul Pope (Batman: Year 100, 100%) about the upcoming re-release of his fan-favorite series THB, as well as what he sees as the "new canvases for comics."

According to Pope, the upcoming reprint of THB (due out in 2009) will feature quite a bit of new material — almost half the project, in fact.

Talking about clothing design, upcoming iPod artwork, and the possibilities of designer wallpaper was all very interesting, but what grabbed my attention most was the future of "THB," Pope’s independent comic begun in 1995. The futuristic series featured the exploits of a teenage girl, HR Watson, and her super-powered bodyguard, THB. That collection due next year will be half reprints and half unseen material.

While I was on the edge of my seat, Pope leaned back in his chair and opened up about "THB," referring to it as “his baby.” “I’ve been working on it this whole time,” Pope explained. In fact, he’s accumulated so much new material that the complete collection of THB will total four volumes.

Pope also spoke to Kosinski about joining the growing pool of creators who have turning their attention to the vinyl toy market. His "Masked Karimbah" figure was one of the major hits of San Diego Comic-Con, and Pope seems to be hitching his future success to both the collectible vinyl scene and his designer line of DKNY Jeans clothes hitting shelves next month. 

Framing The Question, by John Ostrander

  • News
  • August 21, 2008

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…)

Har-Asses, by Elayne Riggs

  • News
  • August 20, 2008

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…)

Review: Creepy Archives Volume 1

Pretty soon, this is going to turn into a review of Dark Horse’s [[[Creepy Archives Volume 1]]]. Hang in there; I’ll get to it, I promise.

I miss Archie Goodwin, particularly this time of year. He died 10 years ago from cancer at the ridiculously young age of 60. He was one of the best writers this medium has ever seen. In a field that sports the talents of Harvey Kurtzman, Will Eisner, Jules Feiffer, and Dennis O’Neil, Archie was of that highest caliber. If Archie ghosted bible tracks for Jack Chick, I would have read them. He was that good.

As a human being, he was even better. A life-long EC Comics fan (you could see it in his work, as well as in those with whom he chose to associate), for a couple years Archie and I had adjoining offices at DC Comics. We used to go out to lunch and talk about, oh, [[[Tales From The Crypt]]] and Ronald Reagan. Did I mention Archie was very politically aware? Read his [[[Blazing Combat]]] stories. Anyway, sometimes our conversations scared the Manhattan businessmen who sat near us.

Archie enjoyed that. I enjoyed those conversations immensely; I wish I could relive them.

So why do miss Archie “particularly this time of year”? This is convention season. No matter where we were, we would run into each other a couple times each year at various airport gates. He could be leaving from New York and I from Chicago and we’d run into each other on connecting flights in Denver. We could both be at a show in, oh, his native Kansas City and we could be flying to two different places, but we’d still share the first leg of our respective flights. At first it was uncanny; quickly, it became another fact of life.

I haven’t met all 6,500,000,000 people on this planet, but based upon my unscientific sampling I can state with complete confidence that there are few people with greater wit, charm, and intelligence. So there.

This brings us to Dark Horse’s Creepy Archives Volume 1. Archie started writing for Jim Warren’s Creepy with the first issue; by issue two he was story editor and issue four he was the sole credited editor. He wrote most of the stories and, therefore, did a lot to define the 1960s horror story while working with a lot of EC greats like Reed Crandall, Jack Davis, Al Williamson, Alex Toth, George Evans, Joe Orlando, Wally Wood and Frank Frazetta. As time progressed, he added younger talent like Gray Morrow, Neal Adams, and Steve Ditko.

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