The always-smart Christopher Butcher has posted some thoughts about professional publishers using Kickstarter. He's referring to Digital Manga, which is putting out works by Osamu Tezuka using the crowdfunding site. They started by bringing Swallowing the Earth back into print, then listed a new license, Barbara (not a book previously published by them). Their newest effort is Unico, a color children's series. Chris has collected a set of his thoughts on the topic, of which these are only a few. (Some of the ones I skipped quoting are the more positive ones, too.)
- It is disconcerting to see what should be a well-invested professional publisher need to take 380 preorders before a book is published. It's only 380 pre-orders, that's not a huge amount, but that is presented as the crux upon which the project will happen, or not. It is incredibly disconcerting as someone who is worked in the publishing industry in which this publisher operates for the past 16 years. It is disconcerting as a fan of Osamu Tezuka.
- I feel it speaks to a lack of confidence in the product, and a lack of confidence in the publisher to see a return in their investment of licensing this property, or has been hinted, 'these properties'. '
- The basic acts of publishing are printing and promotion. If you are a publisher but you can't print or promote, are you still a publisher? Some very smart people say yes, and I'm honestly not sure, because you're unable to fulfill your basic roles and are counting on others to do that, and that's where my conflict is. '
- I have no doubt that the future is going to continue to change the definition of 'publishing' a great deal, and this is likely one such change. But it's a change and it's worth talking about and considering, rather than dismissing it as a new iteration of 'pre-selling' or 'pre-orders' or whatever.
Like Chris, I question how responsible this tactic is. It's working for them, but if a publisher doesn't even have the cash to cover printing bills, as they said in the Swallowing the Earth case, then what value are they providing? I don't have much to add beyond that ' this post is really just a way of saying, 'Yeah, what he said, we should be talking about this.'
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Wrath of the Titans is out today on Blu-ray and DVD!
Rosamund Pike as the warrior queen Andromeda
For this week's contest, thanks to Warner Bros., I have a copy of the Blu-ray combo pack to give away to one lucky reader. If you'd like to see more, Warner has posted a YouTube playlist with the movie's trailer and video clips, and here's the official description:
Sam Worthington, Ralph Fiennes, and Liam Neeson star once again as gods at war in Wrath of the Titans, under the direction of Johnathan Liebesman. A decade after his heroic defeat of the monstrous Kaken, Perseus (Worthington), the demigod son of Zeus (Neeson), is attempting to live a quieter life as a village fisherman and the sole parent to his 10-year-old son, Helius. Meanwhile, a struggle for supremacy rages between the gods and the Titans. Dangerously weakened by humanity's lack of devotion, the gods are losing control of the imprisoned Titans and their ferocious leader, Kronos, father of the long-ruling brothers Zeus, Hades (Fiennes), and Poseidon (Danny Huston). The triumvirate had overthrown their powerful father long ago, leaving him to rot in the gloomy abyss of Tartarus, a dungeon that lies deep within the cavernous underworld. Perseus cannot ignore his true calling when Hades, along with Zeus' godly son, Ares (Edgar Ramrez), switch loyalties and make a deal with Kronos to capture Zeus. The Titans' strength grows stronger as Zeus' remaining godly powers are siphoned, and hell is unleashed on earth. Enlisting the help of the warrior Queen Andromeda (Rosamund Pike), Poseidon's demigod son, Argenor (Toby Kebbell), and fallen gob Hephaestus (Bill Nighy), Perseus bravely embarks on a treacherous quest into the underworld to rescue Zeus, overthrow the Titans and save mankind.
To enter to win, please leave a comment below. Tell me who your favorite god is and why! A winner will be picked randomly from all entries on Wednesday, July 4. And tell your friends! Links and retweets are much appreciated.
(U.S. addresses only, no PO Boxes. Winner will be emailed to confirm address. If email is not answered within 24 hours or a valid email address is not provided, a replacement winner will be selected. Your email won't be used for any other purpose.)
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Matthew Dow Smith, comic book artist, has begun a series of posts at his blog covering his career in comics so far. He's a good writer, and beyond the fun of hearing how someone's life developed in an industry we both care about, his posts carry key lessons.
First, breaking into comics, teaches us that artists are easier to hire than writers.
Second, technological changes in delivery, the difficulty of coping with change in spite of its inevitability, and the change to digital comics.
Third, Disney and DC, learning that companies rarely want to pay you to be you; they prefer whatever's commercial.
Fourth (and the one I enjoyed most), a brief history of CrossGen, and the conflict between creator-owned and corporate. That's become a hot topic lately, but it was one ten years ago, too, because there still hasn't been a workable compromise between the two in the industry.
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Early this month because I'm going to be swamped, and I know I'm not going to have a chance to watch any more films.
Movies
Horrible Bosses (2011) ' I wasn't offended at some point, as I am with a number of modern comedies that feature gross-out scenes, but watching this was a complete waste of time. I don't feel as though as I gained anything after seeing the movie that I didn't already know or laugh at after seeing the trailer. I like Jason Sudeikis (Hall Pass), but I wish he had better taste in films, since I don't think he's done anything yet that's lived up to his talent.
Ladies They Talk About (1933) ' Barbara Stanwyck is a woman in prison in this pre-Code that's still enjoyable to watch today. She's a well-dressed distraction for a bank robbery who refuses to squeal on her compatriots, so she goes to jail. Her hard eyes reveal her schemes, even when she's pretending to be a silly rich woman, although later, her motivations are all over the place.
The characters and situations in the clink are entertaining, although I never believed that Stanwyck's hard cookie was stupid enough to engage in one of the later plots the gang drags her into. Watch for the moment when, new to prison, she's warned away from the cigar-smoking woman who 'likes to wrestle'. More interesting is her relationship with crusading reformer David Slade (Preston Foster), who's got a huge crush on her, and the jealousy it creates in another prisoner (Dorothy Burgess). That woman's mixture of hero worship and revival-style reformation is a potent cocktail of crazy.
Outcast Lady (1934) ' Constance Bennett stars as Iris, who can't be with the man she loves. Although they're neighbors and from the same background, she's penniless and her father was a drunkard (as is her brother), which means she's not good enough for Napier (Herbert Marshall, who's too old for the role of a struggling young man who does what he father tells him). So Napier (not the stupidest name in the movie, that's coming up) heads back off to India (they're all British, you see), and Iris winds up marrying Boy Fenwick (Ralph Forbes), a rich friend of the family who's loved her from afar all these years. (Yes, that's the stupidest name. I spent the first third thinking it must be 'Boyd' until I saw it written out.)
Then the movie gets strange. On their wedding night, Iris gets an anonymous note accusing Boy of an unspecified horrible crime that he spent time in prison for! Worse yet, it's true, so instead of living with the guilt of his secret, he jumps out the window! Iris won't have the real reason for his suicide revealed, for fear her brother's worshipful idolization of Boy will be shaken, so everyone thinks Boy killed himself because of her. The relationship between the brother (Hugh Williams) and the friend is fruitfully rich with symbolism, if you're into that kind of thing. Trying to save the brother doesn't help, since he winds up drinking himself to death anyway, this time out of hate for his sister.
That sends her into a downward spiral, and only seeing Napier will keep her from dying from an unspecified illness, only he's now married to a proper little thing named Venice (Elizabeth Allan) who calls him 'Naps'. I found the way people flat-out told others what they wanted and what they were thinking, especially this other family friend who kept showing up whenever anyone had a problem or concern so they'd have someone to explain it to, ridiculous. I have no idea why they were making such stage-y versions of the problems of the rich during the Depression. I guess for the same reason people today watch the Real Housewives shows.
Paul (2011) ' This kept pleasantly surprising me, from the way it beautifully expressed the joy of going to Comic-Con to Jane Lynch showing up as a waitress at an alien tie-in roadside store and cafe. Simon Pegg and Nick Frost are two sci-fi nerds touring America, checking out places like Area 51, when they find a runaway alien voiced by Seth Rogen.
Great cast, with Jason Bateman as an agent, Kristen Wiig as the fundamentalist daughter of an RV park owner, a voice cameo by Steven Spielberg, and Sigourney Weaver as a mastermind. The whole film is a love letter to geekdom, cute and funny.
Sin Takes a Holiday (1930) ' Not nearly as spicy as the title suggests, this is a rather predictable filmed play starring Constance Bennett as a secretary who marries her boss (the unknown-to-me Kenneth MacKenna). He proposes it as a way to deter his girlfriend, a woman planning to get divorced and marry him. Yes, that's right, he doesn't want to get married, so he gets married. Bennett accepts because it will give her enough money to travel and buy some nice clothes.
If anyone watches this today, it's probably for Basil Rathbone, who plays the charming roue' Bennett meets on her trip to Paris. As expected, when she returns home, her makeover, now that she can afford it, and her bringing a 'lover' makes her more attractive to her husband-in-name-only, and the couple then falls in love and makes their marriage real. The purpose of these types of films is to perpetuate the view of marriage as an important thing to respect, with almost a magical ability to bring those under it together, even if they enter it casually or for other reasons.
While watching this, KC asked me why there were so many arranged or otherwise paper marriages in these movies. I suspect it was because it allowed the writers to put the characters together more easily. We're looking at a time where single men and women weren't supposed to be alone together ' consider their reputations! Having them married allowed them to share more intimate settings. Plus, it forced them to keep being thrown into contact with each other.
DVDs
Ally McBeal Season 1 ' For a variety of reasons, most involving David E. Kelley and Robert Downey Jr., we bought the complete series when it came out, and we're just now getting around to watching it. I remember seeing the first episode when it was released ' actually, before, since I was splitting an apartment at the time with a TV critic who kept saying how terrific a portrait this was of the modern woman. I'm not so sure about that, but now, this is another memory time capsule of a time when everything was uncertain but people were still doing well enough to spend time agonizing about relationships between the sexes (instead of, say, how to keep food on the table). As with many of the more enjoyable series these days, it takes it a while to get going. I've missed Fish-isms and 'Bygones!'
Glee Season 1 ' It's quite odd watching this show get started, compared to where it is now. Matthew Morrison doesn't sing so much these days, and we see less of the teachers overall. The music was a bit more diverse back then, I think, as they had fewer choices available to them (back when they were an untested project). There were more fantasy numbers, too, whereas now they just throw the cast onto a stage. I don't miss the pregnancy plotlines at all, nor do I miss crazy wife.
I'm left full of questions about things I forgot the show did. When did Artie stop playing guitar? What happened to Matt Rutherford, the black football player/dancer who joined when Mike Chang did? Why did they stop writing Quinn as so sure of herself and knowing what she wanted, even if her desires were shallow? When did Tina quit looking like a goth skater? Does anyone remember that Rachel and Puck were together? Or that Kurt was on the football team? AND the cheerleaders?
Speaking of which, it's still powerful watching Kurt grow up and into himself. Otherwise, the show doesn't age well, since the plotlines are all over the place. It may end up being TV from a particular era, a touchstone at the time but quickly forgotten as people move on.
How to Lose Friends & Alienate People (2008) ' This is the fourth time, I think, I've tried to watch this, but this time, I finally finished it. It's got a good cast, anchored by Simon Pegg, but it's all just so unpleasant about everything. Pegg plays a British journalist who thinks he's so smart about how shallow Hollywood is but really wants to be part of that celebrity world, even if it means abasing himself and being hated by the famous. He jumps at the chance to write for a major American magazine and moves to New York City, where he has misadventures.
Pegg's character makes lots of comments about being too smart to be taken in by the celebrity culture, but his actions belie his words. He hates it verbally because he loves it so much internally. Jeff Bridges is his editor, Kirsten Dunst a fellow writer, Megan Fox the actress lust object represented by publicist Gillian Anderson. Lots of cringe comedy as Pegg's character gets embarrassed and humiliated. Based on Toby Young's memoir of his time at Vanity Fair, although revised to be a more traditional romantic comedy. Predictable, and not particularly funny.
Whisper of the Heart (1995) ' I was reminded of this movie due to its recent release on Blu-ray, so I dug out my DVD. The bit about rewriting the lyrics to 'Country Roads' doesn't get any better with age, but I could appreciate much more the suburban and country settings now that I've seen other Ghibli films. The boy's goal of becoming a violin maker strikes me as one of the odder job choices in fiction, but it's handled well. It makes me wish that Only Yesterday was available in the U.S., since that's josei to this film's shojo approach.
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Yes, I know I'm a month late. (At least delays in this activity don't result in spawning.) I had some thoughts on flipping through the June Previews catalog while stuck in the car driving down to Heroes Con. Marvel first.
Avengers Assemble #6
I have just figured it out ' Avengers Academy is this generation's Legion of Super-Heroes. Whole bunch of teen characters, all involved in each other's business, weird powers, watching them grow up, not always enough explanation for new readers of who all these people are' No wonder I like it!
I can't figure out why the Guardians of the Galaxy are getting a big push from Bendis and Marvel, as seen in Avengers Assemble #6. I know there are film rumors, but if I was in charge of green-lighting big-budget superhero movies, I think I might learn SOMEthing from Green Lantern in terms of cosmic = not successful. KC says that the Guardians have a devout fan-following. I guess those are people who like one or more of Bug, the green chick with not enough clothing, or a raccoon with a gun.
So I'm looking at this '50 Years of Spider-Man' page (shown right) with the four variant covers for Amazing Spider-Man, and they're striking graphic images, illustrating some of the best-known stories for the character. I get the origin, Gwen Stacy's death, the Venom possession, but then I hit the last one ' and my only thought is 'Does Spidey being overtaken by all these other characters and versions of himself symbolize Marvel's over-commercialization of the brand and the fracturing of the story into too many titles to follow?'
What is going on with Captain Marvel's hair? (See cover below.) It's got short sides and a bump on the crown of her head ' is it a reworked mullet? Is it meant to evoke some kind of finned helmet?
I will be checking out Hawkeye #1, because they are including Kate Bishop, and I like her, plus Matt Fraction's a good writer. I hope it has a sense of humor and isn't all grim avenging.
Captain Marvel #2 cover
I wonder how the guys at Marvel feel about creating and soliciting Disney Fairies Magazine. I can just see corporate telling them to get in line on the parent company product.
Back-to-back solicits for X-Factor and New Mutants both promise major changes. I would think that most of the Previews audience is old enough to know that there is never real change in superhero comics, and even the illusion of change is looking pretty threadbare these days. Unfortunately, 'another consistent story' isn't anything that can be pushed or plugged in the current environment.
The solicit for Deadpool Kills the Marvel Universe seems to radiate a certain contempt for his fans, but I also wonder just what makes him so popular. It is a little disturbing at times.
Shouldn't Dr. Strange be more popular than he is? It seems like a good concept, intriguing personality, nifty powers' I'm curious to see what Greg Pak and Emma Rios do with his Season One volume.
The body language on that Uncanny X-Men collection cover is messed up. They're supposed to be racing into battle, but they're all leaning back, as though they're in an old Memorex commercial.
As for DC, it's awfully difficult to make fun of their listings when I A) no longer read or care about the New 52 and B) they're running descriptions like this one:
Set in a Blade Runner-esque version of Brooklyn' this hip-hop retelling of William Shakespeare's Romeo and Juliet' is a mix of urban drama, samurai action, and classic Shakespearean theater' all written in iambic pentameter!
I do note that as a company battling over creator rights when it comes to their most famous character, they were careful to appropriately attribute Shakespeare's authorship not once, but twice. As though there were some other Romeo and Juliet we might confuse this with.
Also, Vertigo appears to be existing mostly on Fables and continually reselling Sandman, with a new Annotated volume, a new Death hardcover, and a complete series slipcase all new products this month. I was disappointed with the first Annotated volume, given the lack of substantial insight, mislabeled notes, and a general difficulty in reading the black pages, so I won't be continuing, but the other books make sense, since there are always people new to Sandman who want to read it. I hope DC appreciates just how much Neil Gaiman did for them. He created this work over 20 years ago, and they're still finding new ways to make money off of it.
Now that many people have stopped supporting Susan G. Komen for the Cure after their political tone-deafness (and the resulting revelations of how little of the funds they raise actually go for something useful instead of 'awareness'), Marvel is jumping to their side for National Breast Cancer Awareness Month this October.
During that month, 'the world's most popular super heroes -' Iron Man, Captain America, Thor, Black Widow, Wolverine, and more' will star on variant covers with 'special pink-colored costumes'. This I was intrigued by, since I couldn't wait to see a darling hot-pink-and-silver armor set on Iron Man or Wolverine in a nice shade of salmon. (I also was greatly anticipating seeing fanboy responses to these.) However, based on the three samples released, shown here, only the girl is actually getting a makeover.
The guys' covers look like typical poster poses, just run through a pink overlay. Here's the full list of participating titles:
Avengers #31
Captain America #18
Captain Marvel #5
Fantastic Four #611
Invincible Iron Man #526
Mighty Thor #21
Uncanny X-Men #20
Wolverine #315
Since these are limited variant covers available only through comic shops (and only those in the U.S., U.K., and Canada), expect to pay more *without* the extra money going to charity, unless retailers choose to donate the profit to the cause on their own.
However, all Marvel superhero comics that month, whether or not they have special covers, will have a 'special one-page advertorial educating readers about breast cancer'. Also, Marvel.com will feature special content for their audience 'and the women they love'.
It's a shame that the company is no longer scrappy enough to do something involving their bustier heroines. I'd pay attention to an ad that showed, say, Emma Frost talking about how it was particularly important for her to keep her breasts healthy, given how often they were on display.
I wasn't sure what to think of 21 Jump Street going in. I never watched the TV show, although I knew the premise. I also dislike watching Jonah Hill on screen, but Channing Tatum I enjoy, especially when he's displaying a sense of humor. Yet Hill won me over in the opening 2005 flashback, where he's decked out like an Eminem-wannabe, bleached hair and all. Clearly, he's not afraid to look stupid for the joke, which helps the movie stay funny throughout. It works well because it doesn't take itself or its characters seriously.
Tatum's character, Jenko, the cool-guy jock, winds up buddying up with Hill's character, Schmidt, when they both enter the police academy. Nerdy Schmidt tutors Jenko on the written exams while Jenko gets Schmidt through the physical workouts. The two dream of being badasses, but after messing up a bust as bike cops, they're sent over to an undercover unit looking for drugs in high school.
The clever part of the movie comes when, due to the guys messing up again, Schmidt is put in with the cool kids ' theater geeks in this case ' while Jenko hangs out with the smarties in chemistry lab. Both discover hidden talents as a result, and they wind up solving the case in spite of themselves (and with a full-scale action shootout). While it's funny to see them take on each other's roles, it also allows for some actual acting and character growth.
21 Jump Street works because Tatum and Hill commit to acting like teens, even when supposedly adult police officers. My favorite part of the film is when they show up at high school and they don't get how much being cool in school has changed, since they know nothing about climate awareness and avoiding homophobia.
Ice Cube, Jonah Hill, and Channing Tatum in 21 Jump Street
Also in the movie are Dave Franco and Brie Larson as two significant school kids, with Schmidt developing a crush on the latter. Rob Riggle plays a coach and Chris Parnell plays the drama teacher. Of particular note is Ice Cube as Captain Dickson, Jenko and Schmidt's boss. His scenes are few but memorable as he explains the plot to them and takes no crap in return. And yes, Johnny Depp, Peter DeLuise, and Holly Robinson Peete, all from the original show, make cameos.
I don't want to talk too much about what happens, since much of the humor comes from the weird twists the film takes. At least, that's how I wound up enjoying it a lot more than I expected to. It's not a classic, but it's enjoyable, especially if you don't have too many expectations and a high tolerance for profanity. I laughed at it. What more can you ask from an action comedy?
21 Jump Street is available on Blu-ray and DVD next Tuesday, June 26.
Special Features
There's a good mix of the usual extras on the Blu-ray. The commentary with Hill, Tatum, and directors Phil Lord and Christopher Miller carries on more of the same attitudes from the film. So do the twenty deleted scenes, almost a half-hour of additional or expanded material.
The featurette 'Back to School' (8 minutes) discusses how the movie came about and shows some behind-the-scenes footage. 'Brothers in Arms' (6 1/2 minutes) is similar but focused on the relationship between the two leads. In addition to a five-minute gag reel, 'Cube-O-Rama' is two minutes of filming Ice Cube's speeches.
There's also almost 5 minutes of 'Johnny Depp on Set', about how his cameo came together (but no participation from him). 'The Rob Riggle Show' focuses on that actor for 9 1/2 minutes. 'Peter Pan on the Freeway' spends 4 minutes on the making of the film's car chase scene. The bonuses are enough to provide a feeling of a full experience without being overwhelming. (The studio provided a review copy.)
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Writer: Peter David Penciler: Neil Edwards Inker: Karl Kesel Marvel, $2.99
Wow, a combination of two of my favorite superhero comic things: the girls' road trip and the uplifting message.
The wolfgirl Rahne has been indulging in a bout of depression after having, and hating, a baby god, so Banshee and Polaris take her on a road trip. There's a convertible and gossip and creative use of powers, but what makes this story so surprising is the women's destination. They wind up meeting of of my favorite weird supporting characters of the Marvel universe: John Maddox, one of Madrox's duplicates who's gone off on his own and gotten ordained as a minister. It makes for an odd but refreshing, even faithful, portrayal of religion, something we don't often see. More importantly, Maddox's little speech about forgiveness is actually touching and inspiring. I didn't realize I needed to hear it until after I'd read it.
I like the illustrations of the various expressions of the characters, which cover a gamut of moods. They can be a bit static, but they give me a good idea of what they're feeling. Since so many emotions are covered in this story, that's a good thing.
(I appreciate the character listing on the story so far page, but since when do we call Layla Miller 'Butterfly'?)
Back Issue #57
TwoMorrows, $8.95
Most of this issue is taken up by a lengthy interview with former DC Comics president Jenette Kahn, conducted by Bob Greenberger, and it's fascinating. I've only read about a third of it, and I've already learned so much about her career and how she came to DC. There are a lot of 'I don't remember' answers, as you might expect when talking about history from 25-35 years ago or so, but what is discussed is still worthwhile.
Backup article subjects include Dollar Comics, plans for a never-realized DC kids' line in the early 80s, the short-lived Wonder Woman Foundation, PSA comics, and the birth of Vertigo. Overall, it's a great issue that presents a lot of examples of some of the creative and outreach activities DC was once known for.
You can read a preview at the publisher's website.
Bad Medicine #1-2
Writers: Nunzio DeFilippis and Christina Weir Artist: Christopher Mitten Oni Press, $3.99
The first two issues of this new series wrap up their medical mystery just as it's getting interesting, which is a good thing. I was concerned that we were going to keep wandering through weird science pathology for much too long, but a simple setup/conclusion is nice to see.
Issue #1, which you might remember from this year's Free Comic Book Day, introduces Detective Huffman, who winds up investigating a dead body with an invisible head. There's a mystery involving a retrovirus, telekinesis, and an increasingly wacky gang of scientists.
The series reads so far like a blend of CSI and Law & Order, with more weirdness. It's very dialogue-driven, but Mitten's figures are nicely stylized, and he conveys the gritty feel of an urban environment. The art is something worth spending time with.
Like those procedural shows, I'm not sure the stories will be particularly memorable, but I'm curious to know more about the detective and Dr. Horne, who talks to a dead woman. Looks like the next story arc is a three-parter that involves either zombies or cannibalism.
Castle Waiting #16
by Linda Medley Fantagraphics, $3.95
After some uncertainty about the future of the series after the release of the second collection in 2010, I was thrilled to see Medley's down-to-earth fantasy continue. I was pleasantly surprised at how easy it was to pick up with all these characters, too.
This issue continues the celebration of everyday noble Jain and her baby's move into new quarters. It's also a callback to the original Castle Waiting story, The Curse of Brambly Hedge, as the original ladies-in-waiting to Sleeping Beauty go overboard with decorating. Patience, Plenty, and Prudence have furnished Jain's new quarters in outrageous fashion, leading to an amazing two-page spread by Medley. But it's her character work, the small bits of perfectly realized dialogue, that make this series so rewarding. Who else could spin a whole issue's tale around a group of friends relaxing after a move? It's fantastic, with her visually exaggerated characters, and yet so very realistic, in the warm feelings among the cast.
There are also plenty of hints as to what might happen in the remaining two issues of this storyline, with unusual creatures (who charmingly help watch the baby) plotting to save their space and hints as to the child's heritage. Plus ghosts. It'll all be beautifully cartooned, of course.
I've been pondering the question of how long comic readers should be asked to wait when it comes to independent work.
What started this off was Lea Hernandez's Kickstarter for The Garlicks, which ends tomorrow. Since it's only about a third of the way towards the goal of $40,000, it looks like it isn't going to make it.
(Update: Be sure to read Lea's comments below, where she explains more about her effort. And Alex, who's also run a long-term Kickstarter, has a good list of why some projects don't succeed in the comments.)
I'm part of the reason why. While I love her work and will buy her next book, I didn't contribute, because the project is set up to support her while she creates it. That means she's promising rewards to deliver a year from now (May 2013), and that's too far away for me to commit to.
I am more comfortable funding a project where the work already exists, one where the creator needs print costs. This doesn't apply to Lea's case, but one of the reasons why is that, if rewards deliver within a couple of months, I'm protected if something happens and I don't get what's promised. Within 3-6 months, I have the ability to do a credit card chargeback in the worst case, if the provider flakes out. On a more personal level, it's more rewarding to get a book or other rewards within a couple of months, as though it was similar to a preorder. Otherwise, it feels like throwing money into the wind.
Of course, if you have the resources to be charitable and make donations, supporting favorite artists without concern for what you get in return, then this isn't a worry for you. But at that point, Kickstarter reminds me of a popularity contest.
I would advise those planning Kickstarters to note that something in the range of $4-8,000 is more likely to be achieved than asking for multiple tens of thousands of dollars. Sure, there are plenty of success stories, but they've been run by people with huge followings and a long-term track record of delivering products of known quality. Also, anthologies, which have a much bigger crew of contributors working to get the word out. A Kickstarter is, on many levels, a measurement of trust, and if you don't have enough dedicated followers and a solid, substantial track record of doing what you say you will, you may not succeed.
Along similar lines, I got another email recently from a guy who seemed nice and funny who funded the first issue of his comic series through Kickstarter but wouldn't be able to do another until he sold enough digital and print copies to cover costs. The problem was that the first issue, while intriguing in its setup, didn't provide anything close to a complete story. Readers are asked to have faith that they'll eventually see another issue, which may or may not finish the story.
There's a problem of momentum here. It's hard enough, with so many options and so much competition out there, to get a customer's attention once. Expecting them to come back at some future undetermined time is foolhardy. I know the economics are tough for young creators, but I don't understand why anyone would release just part of a story for their first issue these days. Put out a complete work, so readers get a good idea of what you're capable of.
Superman vs. the Elite, a 74-minute original DC animated movie, opens with Manchester Black (Robin Atkin Downes) watching one of those immense banks of monitors so popular in comics. Since it was reminding him (and thus us, the viewers) about how depressing the world situation was ' war, extreme political viewpoints, living in fear ' I immediately became concerned that this was NOT the right movie for me to be watching in my currently delicate mental state. (I was laid off three weeks ago, and when I don't have enough to do, I get twitchy and obsessed in negative ways.)
However, then came the credits, which are done in a blend of 80s neon paste-up stripes and ransom-note-style cut text, layered with Ben-day dots and really old images of Superman. I'm talking 1940s Fleischer cartoons and Curt Swan drawings. It's as though someone tried to mash up punk band flyers with bright kiddie-safe colors. Weirdly jarring, especially coming after the Ellisian Black, but a good sign that this movie would not be as predictable as I feared it could be.
Superman vs. the Elite was written by Joe Kelly based on his story published as 'What's So Funny About Truth, Justice and the American Way?' in Action Comics #775. The comic is available in the Justice League Elite collection, art by Doug Mahnke with Lee Bermejo.
After the credits, an opening TV cartoon clip really brings home how stodgy Superman is perceived as a character, with an obvious 'crime doesn't pay' message and caricatures of old-fashioned bank robbers. For many people, he is stuck in the 50s, in the Adventures of Superman TV show, and making him relevant is a daunting (but worthwhile) task that I wish more creators would tackle. By having Clark and Lois watch this TV show proposal within the story, Kelly brings the problem to the forefront without being too heavy-handed.
It's not all that accomplished. I don't really buy that the UN would hold a hearing asking Superman why he didn't kill a supervillain. It seems a bit direct; I would expect that discussion to happen in the media, not on the political stage. But it foreshadows what's going to happen as Superman first befriends the Elite and then comes to disagreement with them over their methods.
Since I fondly remember Warren Ellis revitalizing Stormwatch and turning them into The Authority, the Elite (based on the latter) make me laugh, even when they're trying to be all scary and serious. How can you not giggle at a team with a drunk mystic who dresses like a ska skateboarder? Or a leader who says, 'Pam, I'm handing out ultimatums, please keep it in your pants'? Then they start killing terrorists ' a timely threat, one with lots of hot buttons ' and it all turns very serious.
There are a lot of meta comments and allusions for the older reader, from the Jay Ward-looking 'Superman Adventure' cartoon show using the Super Friends scene change sound effect to seeing editor Perry White fussing at a young Jimmy Olsen (both of whom I've missed seeing). Kelly clearly appreciates all the aspects of Superman's life, even including a scene at the Fortress of Solitude, staffed by working super-robots, and sending Clark home to get advice from his dad.
George Newbern, as Superman and Clark Kent, and Pauley Perrette, as Lois, do an excellent job, sounding just like they should. Newbern reminds me of Tim Daly's readings, which I appreciated, since he's the classic modern voice for me. As for Lois, I particularly like the hint of roughness in her voice, making it clear this is an accomplished woman who knows what she wants and is a worthy partner for him. She also wisecracks a lot.
I also loved that they're a couple, and she knows all of his identities. I miss that. I wish we had a lot more of them together conversing and flirting. If I were writing this movie (ha!), we'd have more of that and less of the required action, like the opening fight with the Atomic Skull. That's not why I watch the cartoons ' but I'm know that I'm weird that way. Most of the audience for superhero animation wants to see the superpowers, not the relationships. Still, my favorite part was seeing them together at the office. I like seeing the full scope of their life together, and it reminded me of how much I enjoyed Lois & Clark.
Speaking of animation, the movie looked better on my TV screen than these promo clips made me think it would. The character design is the weakest part of the movie, with simplified figures who can appear flat, but the overall impression once you add in the backgrounds, movement, and special effects was strong and successful. Lois and Clark look like people hanging out together when they're sitting on their couch watching the news or discussing current events. His shoulders are still square and she's still curvy, but it's a pleasure to see them look possible instead of like geometric shapes glued together, as some of the more exaggerated designs had it.
I went into Superman vs. the Elite fearing that it would depress me and make me feel left out of the audience (since what I want to watch isn't what they want to sell me). I came out thinking that this was the best of the original DC animated movies for providing both updated nostalgia and serious themes livened with comedy. This is a story that shows what can be done with Superman to keep him relevant today. By reflecting all the various aspects of his entire life, it's Superman the way he's supposed to be. He should be a father figure, someone who does the right thing and inspires us to do so as well. The whole point is that he's better than us.
Additional Thoughts on Philosophy
I do wish that more emphasis had been placed on how wrong the people were who supported the idea of killing the bad guys without trial, confident in a misplaced certainty. I suppose that might become too political or uncomfortable for the viewers. It's not just an argument between the superpowered, though, but a loss of the idea of aiming for a better way, even if it hurts and is harder to achieve. The question is really 'who do we want making the rules for us?' when we should be making our own rules, but that's way too hard for us to live up to. Instead, we want to be told what to do, and if that's the case, we need more role models like Superman, willing to sacrifice to do the right thing, not the expedient or popular one.
Ultimately, since this is a cartoon movie, while Black spouts off on the media a lot, this philosophical debate does boil down to characters slugging each other on the moon. Since the argument is that we wouldn't want to live in a world where might makes right, since we're all cowards and hypocrites when the violence turns against us, it's a mixed message. Especially since Superman has to beat up the bad guys to make them see that violence isn't the solution. (Such is the innate contradiction of the character.) Here, Superman scares us into seeing the right thing to do, which isn't the most elegant or advanced answer. A deep reading of the movie emphasizes our childlike moral status. We aren't willing to deny ourselves in order to reach an ethical outcome.
Special Features
I previously posted the trailer with a list of the Blu-ray disc's special features, which I will elaborate on here. The creative team audio commentary turns out to be Joe Kelly and Eddie Berganza, editor on the original story.
'The Elite Unbound: No Rules, No Mercy' runs 14 minutes, featuring Joe Kelly talking about the creation of the team and characters. I don't have much to say about it, but I found it interesting, especially in hearing Kelly's inspirations and influences. Plus, it adds more depth to the team characters who don't get much background in the film itself.
'Superman and the Moral Debate' is 17 1/2 minutes of talking heads ' writer Joe Kelly, exec Mike Carlin, Jaye Razor (credited as actor and military drill instructor), Gregory McNeal (law professor), and Miguel Unzueta (social psychologist) ' debating justice in our world and perceptions of our legal system. (Apparently no women have opinions on Superman and societal fairness.) McNeal at one point uses the phrase 'courageous restraint', which I really liked. The core debate is whether Superman's value system is relevant in a post-9/11 world.
The Batman: The Dark Knight Returns, Part 1 sneak peek runs 12 1/2 minutes, showing design sketches and original Frank Miller comic images. It's early days yet, but if they keep the color treatment they show in the preliminary art, without black lines, this will look impressive, distinctive yet updated. Commentary comes from producers Bruce Timm and Alan Burnett, writer Bob Goodman, my favorite voice director Andrea Romano, and director Jay Oliva (who reveals he was 10 when the original came out, the baby). Plus, we see the voice talent starting their work. (Random thought: Since the bad guys are the Mutants, I want to see a fan mash-up where the bad guys are replaced with footage from the X-Men movies.)
The sneak peeks at All-Star Superman and Superman/Batman: Public Enemies are similar, but for the previously released movies. As expected, the promised digital comic copy of Action Comics #775 turns out to be a few pages with a link to DC's webstore. The Dark Knight Rises photo gallery is just over a dozen images already released.
There's also a single-disc DVD edition of Superman vs. the Elite, which only includes the promotions for Dark Knight Returns, Dark Knight Rises, All-Star Superman, and Superman/Batman: Public Enemies. The two-disc DVD special edition will be released in late July.
As usual, I found the opening previews enlightening when it comes to seeing who the studio thinks the audience is. First was a trailer for the first season of My Babysitter's a Vampire. More and more, I realize that there are TV shows I've never even heard of out there, and many of them are aimed at kids. This is one of them.
Next came two minutes of actors (I assume, since they seem too well-spoken to be real kids on the street) talking about being needed as promo for the We Can Be Heroes effort, where you can 'join the Justice League to fight the hunger crisis' in Darfur. I'm bitter and jaded, I know, but all I could think was that if Time Warner gave a percentage of its profits instead of trying to entice its customers to donate, the crisis would be a lot further towards being solved. However, if that doesn't bother you, then the trailer is a good choice for a movie about responsibility and morality. (The studio provided a review copy.)
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KC and I are really excited to be heading to Charlotte, North Carolina, for the 30th Anniversary HeroesCon next weekend, June 22-24.
KC's latest Westfield column shares some of his favorite show memories in honor of its long life. His tale of being a 'designated walker', trying to get six inebriated pros home safely one late night, is hilarious.
Regarding this year's show, there's an impressive and extensive guest list posted, with a special focus on Indie Island, an area dedicated specifically to independent and alternative creators. You may also want to pay special attention to the programming and panels. There are a ton of interesting selections, but I'd like to draw your attention to these three, which I am moderating. (I didn't write the copy, though.)
Friday, 4:30 PM Room 203A WRITING FORUM: The Leap from Indie to Mainstream They can do it all ' find out how! Join Matt Kindt (Superspy) and Jeff Lemire (Animal Man) as they discuss the craft of writing and juggling multiple ideas!
Friday, 6:00 PM Room 208AB COVERS: The First Impression (Covers Mini-Series #1) Ever since the publication of the first issue of Action Comics (Clark Kent getting fired from his job at the Valet Car Park), it has been evident that a great cover makes the comic book. Join Johanna Draper Carlson (Comics Worth Reading) as she discusses cover art with Adam Hughes (Cover Run), Bill Sienkiewicz (Elektra: Assassin), Stuart Immonen (Avengers), and Lee Weeks (Daredevil).
Sunday, 3:30 PM Room 203A MANGA INSPIRED CARTOONISTS Its EAST vs. WEST but this time it's personal. Meet the Manga influenced artists Ben Caldwell (Wonder Woman), Becky Cloonan (Wolves), Sanford Greene (Deadpool), Jerry Gaylord (Zombies vs. Fanboys), and Jarrett Williams (Super Pro KO) with Johanna Draper Carlson stuck in the middle. EPIC!
Even though I'm not associated with it, you may also want to check out this panel at 2 PM on Saturday in Room 209, because Ben and Craig's presentations are always fascinating.
Echoes of '82'This year, to celebrate the 30th anniversary of Heroes Con, cartoonist Ben Towle and blogger Craig Fischer turn their attention to 1982, and ask: What are the comics, and comics events, from 30 years ago that continue to influence comics culture today? Ben and Craig zero in on three'Destroyer Duck #1, Love and Rockets #1, and the demise of Warren Publications early in 1982'and they've asked an all-star roster of creators (Jaime Hernandez, Louise Simonson) and commentators (Stergios Botzakis, Toney Frazier, Heidi MacDonald, Andrew Mansell) to join them in discussing these and other comics. We'll also beam in some off-site commentary from Kirby experts Steve Bissette, Geoff Grogan, Charles Hatfield, John Morrow and James Sturm. With a lineup like that, how can you resist pulling on your leg warmers and joining us for the fun?
When this show debuted on TNT last summer, it was quite popular for critics to bash it for being stupid. I'm not going to say the series is particularly smart, but its fans aren't looking for insightful, unique observations that advance the television medium. Like much of USA's lineup, a strategy TNT seems to be emulating, Franklin & Bash is excellent summer viewing. It's full of pretty people doing dumb thus entertaining things. It's wonderful escapist fantasy. You'll forget it after you see it ' which means the DVDs will always feel fresh ' but you'll laugh at least once an episode, and you may even secretly admire two bros who seem so successful without being properly civilized or giving up exactly how they want to live.
Franklin (Breckin Meyer, Clueless) and Bash (Mark-Paul Gosselaar, Saved by the Bell) are young lawyers. They work out of their home, which looks like a frat house, and they act like they're still in college, tossing footballs, having beers during 'team meetings', and throwing drunken weeknight parties. At one point, Franklin is described as 'F. Lee Bailey meets Barnum & Bailey'. He's the strategist, while Bash is the soulful one who uses his puppy-dog eyes to sway the jury while pining for his ex-girlfriend. (If you're curious, he also hot tubs nude in the first episode, shocking his new assistant (Alexandra Holden), who hasn't yet 'signed the waivers'.)
Bash (Mark-Paul Gosselaar) and Franklin (Breckin Meyer)
Franklin and Bash smack each other, fighting when they need a diversion from a press conference gone bad. They play videogames while working. They tan shirtless through their office windows. They bet on their cases. They kiss witnesses on the stand. They drink beer placed into evidence in court in order to argue against the legal limit for alcohol consumption ' and then continue the case drunk. They toss darts to see whether they should represent a jerk client properly or hang him out to dry in court. In summation, they're buddies trying to make lawyering seem cool again.
We've seen so many court shows that were serious, one that's unashamedly an outrageous character-driven comedy is welcome. Franklin & Bash is consistent lightweight entertainment that doesn't take itself too seriously ' or seriously at all. Under the stupid frat-boy pranks, some of the events are clever, and the personalities come through vibrantly. Sometimes, it's relaxing to watch a show that never has a 'Previously on' opening, and I always enjoy seeing a new episode. The second season is running now on TNT, in case you'd like to try it out for yourself, while this First Season collection is due out tomorrow.
Supporting Cast
Malcolm McDowell is the best thing on the show as a partner who brings the boys into his fancy law firm for some new blood. McDowell is always fun to watch, no matter what he's doing; here, he's playing the eccentric old guy who can do whatever he wants.
The boys' assistants are the agoraphobic, neurotic, hypochondriac, multi-phobic Pindar (Kumail Nanjiani) and streetwise Carmen (Dana Davis, previously the bitchy cheerleader on the 10 Things I Hate About You TV show). Most of the cast is doing a great job giving the show just what it needs. Reed Diamond, in particular, is part of McDowell's firm (and his nephew) and resents the boys for not following the rules that constrain him. Their existence offends him. He used to date Garcelle Beauvais, playing Hanna, another firm partner; the two team up for various schemes.
Reed Diamond and Anabella Casanova
The Episodes
This season is 10 episodes across three discs. Their first case in the 'Pilot' involves a guy who rear-ends another driver. The boys blame a sexy mattress ad, featuring a busty blonde in lingerie, hanging over the intersection. To make their case, they put the model on the stand and tell her to take her top off while testifying. That's the kind of 'strategy' that permeates their lawyering, although it is toned down later in the season. Another case that episode involves a dominatrix whose boyfriend testifies against her when she's charged with prostitution.
Malcolm McDowell and friend
In the second, 'She Came Upstairs to Kill Me', a widow (Natalie Zea) is accused of killing her much-older husband with sex. (The title is said to have been his last words.) 'Jennifer of Troy' features a woman (Jillian Bell) who thinks she was fired from a men's magazine office for being too attractive, while the boys' computer guy needs his reputation restored in Chinatown. In 'Bro-Bono', an old classmate ends up in a fight at a strip club, while a nasty divorce case includes a pre-nup and accusations of adultery.
Disc two has three episodes. 'You Can't Take It With You' finally brings non-sex-related cases, as a family argues over who owns a famous home-run baseball and Tom Arnold plays a dad who's regretting signing a contract to be on a reality show. It's one of the better episodes, even though Franklin and Bash aren't working together for much of it. 'Big Fish' stars Jason Alexander as a repentant corporate raider who wants to atone for his financial misdeeds when he gets a diagnosis that he's near death. 'Franklin vs. Bash' gets back to the smut, as two pole dancers are accused of theft from a client's home, and the boys end up facing each other in court.
The final three episodes are on disc three. McDowell's niece (Anabella Casanova), visiting from London, needs the boys' help in 'The Bangover' when she gets caught with pot (and appears before Tommy Chong as a tough-on-drugs judge). Meanwhile, Carmen is trying to break her addiction to her felon ex-boyfriend, who left a big bag of money. With all that happening, the episode should be better than it is, but 'Bachelor Party' brings things back, with James Van Der Beek as Bash's ex-girlfriend's new fiance. (Watching Gosselaar and Van Der Beek together, you can see how the woman's got a type ' they look like brothers.) There's also a case involving a private school teacher who slept with one of her students over the summer, thinking he was an adult. The season ends with 'Go Tell It on the Mountain', where McDowell is accused of killing his former partner on a mountain climbing trip 15 years ago while the boys take a case for a masked wrestler (Danny Trejo).
Additional guest stars include Kathy Najimy (a judge, episodes 1 and 8), Fred Willard (2), Harry Hamlin (4), Jenny O'Hara (4), Beau Bridges (5, as Franklin's lawyer shark dad), John de Lancie (9), Gates McFadden (10), and Tricia Helfer (10).
Special Features
There are lots of small promotional featurettes, split among the three discs:
Franklin & Bash Behind the Scenes (4 minutes) ' the stars tell us about their characters with show clips
Franklin & Bash & Friendship (2 minutes) ' similar, but includes the producers talking about the camaraderie, and the two leads play ping-pong
Creating the Cases (2 minutes) ' the producers reveal that they figure out the cases based on what they'd like to see in court that they've never seen, tethered by good lawyering (well, at least they achieved the first part)
Behind the Behind (1 minute) ' discussing Mark-Paul Gosselaar's nude scene in the first episode with lots of footage, blurred
Working for Franklin & Bash (3 minutes) ' about Carmen and Pindar
Malcolm McDowell Office Tour (1 1/2 minutes) ' the notable actor wanders around the set wisecracking
Man Cave Tour (6 1/2 minutes) ' similar to the Office Tour; Breckin Meyer, with help from Mark-Paul Gosselaar, walks us through the house set
Franklin & Bash Commercial (1 1/2 minutes) ' three 30-second fake ads for the law firm
Gag Reel (2 minutes) ' the typical line flubs and prop malfunctions
You can see the fake ads and other silly clips at the show website. (The studio provided a review copy.)
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Ah, yes, I forgot that we open with Peter Parker, Spider-Delivery-Man, with The Daily Show's Aasif Mandvi as his pizza shop boss. Oh, and Bones (Emily Deschanel) is the smart-aleck receptionist, with Elizabeth Banks as Miss Brant, Jameson's assistant. Already I'm having fun just seeing what these folks looked like eight years ago. (On Blu-ray, my first reaction is 'tired'.) Later, Joel McHale turns up as a banker.
Spider-Man 2 is immensely faithful to the comics. It captures Parker's struggles to balance friends, family, secrets, school, and a job in such a way many can relate. That's one of the many reasons Spider-Man was truly something new when he was created ' he was distinctly working-class with money struggles that none of the others had, most of whom were playboy millionaires or alien royalty.
His relationship with Mary Jane (Kirsten Dunst) is uncomfortable, here, as he turned her down at the end of the last movie in order to protect her. They still clearly care for each other, but things are even more complicated by the burgeoning success she's having in her modeling/ acting career. Plus, Peter is having confidence problems while heroing, running out of web fluid at key times and eventually determining to give up his secret identity in a powerful scene inspired by John Romita's comic art (with the suit left in a trash can).
The villain this time around is Dr. Otto Octavius, played well by Alfred Molina, in a story full of examples of how we hurt most those we love. His experiment kills his beloved wife, Spidey puts MJ in danger, and Harry Osborn (James Franco) has gone bonkers over trying to surpass his father's legacy. That helps balance out the weird way that Spider-Man and Doc Ock keep running into each other, as when the bad guy just happens to be robbing the bank where Peter and his aunt (Rosemary Harris) are trying to get a loan and she happens to be the one kidnapped. The resulting fight scene is pretty dynamite, though, with them crawling all over the buildings.
Still unanswered from the first movie is exactly what Spidey's webs are attached to when he's swinging madly through the city, but they're such great images. Best part of the film is still J.K. Simmons as the larger-than-life J. Jonah Jameson, especially when they're trying to name the new super-villain or in the costume scene (only in the extended version). This second time through, I enjoyed it more than I did previously, probably because my expectations weren't as high and I could take it for what it was.
Special Features
The Blu-ray has the choice of watching the theatrical or extended version. The latter has about eight more minutes, as detailed here, including a completely different elevator scene with Hal Sparks and more on MJ's love life in a conversation with a friend.
There are three commentaries available, one on the extended version with producer Laura Ziskin and screenwriter Alvin Sargent. The other two are for the theatrical version. The 'cast and crew' one has star Tobey Maguire; Sam Raimi, director; and producers Grant Curtis and Avi Arad. It was recorded in 2004, just after the movie opened in theaters. The technical commentary has Steve Johnson, who runs the company who created the animatronic aspects of Doc Ock's tentacles and is credited as Special Effects Supervisor, with Eric Hayden, puppetmaster for the film.
The 'Spidey Sense 2' trivia track from the Widescreen Special Edition DVD is not included, same as with the first movie Blu-ray. Also missing from the Blu-ray are a music video for Train's 'Ordinary' and four webisodes (from 1 1/2 to 2 1/2 minutes), on costume design, a comic-con Q&A from 2003, a spotlight on J. Jonah Jameson, and exploring Peter Parker and Mary Jane Watson together.
Carried over from the previous edition to the Blu-ray are a 7 1/2-minute blooper reel and these featurettes:
The 12-part 'Making the Amazing', over two hours of behind-the-scenes information
15 minutes of 'Hero in Crisis', about how sucky Peter's life is, featuring comic commentary by Stan Lee, John Romita, Jeph Loeb, and J. Michael Straczynski (the latter two credited merely as writers of Spider-Man comics back then), as well as the movie actors telling us what happens in the film
'Ock-Umentary: Eight Arms to Hold You' (22 minutes) about the origins of this movie's villain, plus Albert Molina talking about his take on the character and lots of special effects information
Left out was 'Interwoven: The Women of Spider-Man', a DVD extra (15 1/2 minutes) exploring how Peter interacts with Mary Jane, his aunt, Miss Brant, and other women in his life, including the goofy landlord's daughter. It has lots of comic information and a focus on the love story part of the movie. Stan is particularly entertaining talking about the differences between MJ and Gwen Stacy. The point is made that it took comic readers a long time to accept Mary Jane as the 'right' girl for Peter, especially in the face of Gwen's martyrdom (where she died a perfect sacrifice), and yet MJ is the one in the movie.
There's also a gallery feature on the DVD allowing you to see more of the Alex Ross paintings used in the opening credits to sum up the previous movie and 'Enter the Web', a feature that allows you to choose different camera angles for the filming of a scene taking place in the sunken lab. The two Easter Eggs, jokes involving Molina, are also missing. In one, he performs 'If I Were a Rich Man' with the aid of his tentacles. The other has a special guest showing off how to act with the arms.
New to me on Blu-ray was a five-part Visual Effects Breakdown, over a half-hour in total with John Dykstra, but I admit, I didn't watch it, since by this point, I was kind of extra'd out. I used to be so excited to see behind the scenes of cool films, but there's only so much new information any of them can provide once you've seen a lot of them. (The studio provided a review copy.)
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Want a fun read you can spend a lot of time with? Matt Youngmark's Thrusts of Justice brings the choose-your-own-adventure concept to a superhero story under his Chooseomatic Books line. This isn't for kids, though ' it's got sensibilities and themes more appropriate for teens or adults.
You're an unemployed reporter (timely!) who will most likely become a superhero ' or maybe a supervillain. There's a whole squad of other superpowered characters, an Earth-threatening alien attack to battle, a mysterious conspiracy, and different power sets to explore. You can become a space-faring armored Guardian, a mysterious night lurker, or something involving Plastic Man-like stretchy goo.
Most of the time, based on your choices, you die horribly, which makes it more fun to try and outsmart the book. I think that's fair, because sometimes, the book mouths off at you, especially if you try to be cautious and sensible. For example, if you don't take and put on someone's discarded superhero gear, it says
You're reading a choose-your-own-ending book about superheroes and immediately decide not to become one? Okay. No, it makes sense. If Nightwatchman comes back, he could be really mad. We're with you. You just caught us a little off guard is all.
Then your choice becomes which bar food to order. It can be a bit of a downer, especially since the survival endings are not entirely optimistic, but you'll come away knowing that superheroing is *hard*. The text gives you a good sense of what everything looks like and what's going on around you, although you remain the focus.
I'm still exploring all the possible paths through the book, deciding what to try next. I've been very entertained by it all, escaping into a modern superhero's world for a bit. If you enjoy this read, you may also want to try Zombocalypse Now, Youngmark's previous book. (The publisher provided a review copy.)
I was sent this set of Mountain Dew to show off the new Dark Knight Rises tie-in packaging. I particularly liked the green bubble wrap, which sets off the logo color nicely.
On the left is the 'thermo can', which has the DKR design and changes color when cold. You can see below how it turns green after you chill it. (I didn't take that photo ' it was part of this article with more details on the packaging changes and promotional deals.) The 'thermochromic ink' turns Dew green when cold enough.
The bottle on the right is a new, limited-time flavor, Mtn Dew Dark Berry. It's a hard-to-describe color that looks dark purple in the bottle but comes out bright blue. It tastes like blue raspberry, artificial, as through you're drinking melted freezer pops. (I suspect this is a feature, not a problem, for the audience who values Dew for the way it jolts you.) It'll only be available for two months if you want to sample it yourself.
Beginning Monday, visit DEWGothamCity.com for exclusive content related to the movie and video clips. You can also enter product codes for the chance to win prizes. That site launches June 18 in connection with a new Mountain Dew advertising campaign.
The Dark Knight Rises opens July 20. You can find out more about these Mountain Dew promotions at their Facebook page.
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Deadline Hollywood reports on a survey on entertainment consumption among US and UK consumers. It found that while 28% of US consumers said that movies were a 'frequent source of entertainment' two years ago, the most recent survey shows that figure at 3%. No wonder movie studios are so concerned!
The VP of Global Brand Marketing for Activision summed it up as, 'You can't market your way out of a bad product anymore,' because consumers quickly tell others on social media what they really thought. There are so many other options that if a movie doesn't sound good, it's easier and cheaper to watch something at home.
The usual speculation follows in comments about whether the decline is due to poor quality product, movies being too expensive, a bad experience in theaters (talkers, cellphones, ads), or some combination of all of the above. I think a smart way to approach the problem would be to target demographics that still go to the movies, when something is presented they want to see, like older viewers and women, but studio chiefs still seem interested most in chasing the teenage male.
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Out today is Superman vs. the Elite, and to promote the movie, Warner Home Video has provided the following interview with writer Joe Kelly. I really liked the movie, both for its character portrayals and the questions it raises about superheroics, and I was glad to see so much attention paid to the story creator. I think Superman vs. the Elite is the best DC animated film yet, and if you're curious, I encourage you to check it out.
Q: For the uninitiated, what was the genesis for the original story of this comic?
JOE KELLY: The germ for the story really came from a very visceral reaction I had to a comic I was reading at the time ' The Authority. It was a dark anti-hero comic. I really like The Authority and its characters, but there was an issue in particular that felt like it had pushed the boundaries of what makes a hero and what makes an anti-hero. I found myself getting 'fanboy mad', which I don't normally get. We had an anniversary issue, and I asked Eddie (Berganza) if we could directly address those characters. I wanted Superman to take those characters on. And that became the germ for Action Comics #775.
Q: As Action Comics #775 was a single issue, how much did you need to add to the story to make it a full-length film?
JOE KELLY: We wrote a lot of new content for the film, and it was funny looking back at the comic because I forgot how much is discussed rather than shown. There's so much going on between the panels. So it was very exciting to get to see the action sequences that were just hinted at. I'd always seen them in my head, now I get to see them played out in animation.
Q: What was the purpose of adding the Atomic Skull to the story?
JOE KELLY: We knew we needed a villain or a character that would externalize Manchester Black's argument against the revolving door jail policy. We wanted that parallel to be personal and easily identifiable. Originally, it was the Parasite, but he'd been used in a recent previous film, so it became the Atomic Skull. I really thought the Atomic Skull came out very cool. He worked well visually and for the story. Not having Parasite meant we lost a smidgen of the thematic approach ' the Parasite really fit well in terms of his name and what he does to the people around him. But that's just being picky.
Q: Do you have a favorite scene in Superman vs. the Elite?
JOE KELLY: I'm especially proud of the quiet scenes. It's very difficult to get quiet emotion in animation and to let the silence actually play on screen. But when you look at the quiet scenes in this film ' Pa Kent and Clark on the porch, or Lois and Clark on the couch ' those scenes really give us the chance to see Superman questioning himself with the people he trusts the most. And those scenes play beautifully in the film.
It's like in one of my favorite scenes ' just before the Elite takes over the airwaves and makes their grand announcement. I think it's in the original, but it really came to life for me in the film. Lois and Clark are having a little debate, and he asks if she believes that criminals deserve the Elite's sense of justice and punishment. And she says 'Some days I think they do.' That's just like a punch in the gut. It's really an awesome scene, especially because it's one of those moments in animation that you don't expect. The big battle with the Atomic Skull is pretty great, too. And the finale is awesome. But I love the quiet moments.
Q: Whose sense of justice do you side with: the Elite or Superman?
JOE KELLY: I'm definitely more in the Superman camp. There are plenty of people I get angry about, and the eye-for-an-eye mentality does flash though my head. I think it does for anybody. But at the end of the day, I do believe we need to aspire to higher ideals. Maybe I'm being naïve, and I may not be able to achieve those ideals myself, but we must make the attempt. You've got to try. My dad was a cop, and he had very strong opinions about this stuff, but he would straddle the line. He had his days when he'd think 'kill them all and let God sort them out,' but there were far more days where he believed that the law is the law, even if it's broken, and we live in the best country on Earth because of those laws. So that definitely informed my weird sense of justice.
Q: Did the voices of the actors portraying these characters match the voices in your head while writing the film?
JOE KELLY: The voice acting is so good in this film. Robin [Atkin Downes] is such a good Manchester. He's got all the snark and all the personality, and his line deliveries are so spot on for that guy. It's funny because everybody says the same thing: you can't do an actual Manchester accent and expect to be understood, but Robin's modified Mancunian accent is awesome. And understandable. The rest of the Elite's voices are perfect: Menagerie is scary and sexy; Coldcast wears his 'angry man' on his sleeve; and everyone giggles when The Hat comes on. I can't say enough about George (Newbern) ' I had heard his acting before, and he does such a great Superman. It's terrific to see George portray the range of emotion he gets to do in this story. And Pauley (Perrette) so knocked it out of the park ' I was immediately in love with Lois. Pauley gets all the smarts of the character. The two of them as a partnership really comes across, which is critical to the story. Lois keeps Clark grounded, and she's literally the only one that can tug on Superman's cape. Lois can bust his chops, and that comes through in Pauley's voice. She's terrific in the quiet moments, as well. Pauley sells it all so, so well.
Q: Are there other stories you've written as comics that you could see adapting to animation?
JOE KELLY: In the DC realm, I'm very proud of Justice League Elite because the characters that pick up from this story are darker and very layered. It's all about how messy you can get before you become a monster. I love that theme. If we could ever pull off Justice League Obsidian, that would be amazing ' it's just an insane, gigantic epic, and to see those characters animated would be incredible.
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Sherlock Holmes: A Game of Shadows is out today on Blu-ray and DVD!
For this week's contest, thanks to Warner Bros., I have a copy of the Sherlock Holmes: A Game of Shadows Blu-ray combo pack to give away to one lucky reader.
Watson (Jude Law) and Holmes (Robert Downey, Jr.) in his new car
To enter to win, please leave a comment below. If you've seen the film, tell me what your favorite gadget or invention from the film was; if you haven't seen it, which version of Sherlock on film is your favorite?
A winner will be picked randomly from all entries on Friday, June 15. And tell your friends! Links and retweets are much appreciated.
(U.S. addresses only, no PO Boxes. Winners will be emailed to confirm address. If email is not answered within 24 hours or a valid email address is not provided, a replacement winner will be selected. Your email won't be used for any other purpose.)
Moriarty (Jared Harris) and Adler (Rachel McAdams) in Sherlock Holmes: A Game of Shadows
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If you liked the first movie, you'll love this sequel, Sherlock Holmes: A Game of Shadows. There's more Irene Adler (Rachel McAdams ' but only at the beginning), more action sequences with slowed-down analysis by Holmes (Robert Downey, Jr.), more bromance bantering and innuendo with Watson (Jude Law).
It's all exciting and visually stimulating, but those expecting a more traditional Sherlock will again be disappointed. This film ramps up the parts that caused debate and dissension among fans last time. However, if you particularly like the extraordinarily close relationship between Holmes and Watson, you'll want to see the scenes where they dance together at a fancy dress event or a shirtless Holmes lies close to Watson on the floor of a small train compartment.
The new element this time around is the required appearance of Moriarty, played with aplomb by Jared Harris (whom you might recognize from his recent unfortunate run on Mad Men), although not at a high enough level to truly match Holmes. Also, Stephen Fry plays Sherlock's brother Mycroft, wonderful casting. Great Irish-flavored soundtrack, too.
After having recently watched the modern Sherlock, it was a bit of an adjustment to get back to Downey's period smart aleck. He's appealing, of course, but in a very different way, with the wisecracks and the wacky disguises. I know it's not necessarily wrong for Holmes to be so scruffy, but it is a departure from the usual visual portrayal. I would have rather there been some elegance to counteract the many scenes where he's scrawny and manic and beat up a lot. I expected, going in, the fighting and the shooting and the stunts and the costumes (including Downey in bad drag), but it would be nice to also see some deduction.
I also would have preferred to start with a mystery, not the scheming over a package with Adler, followed by Holmes' jealousy over Watson's impending wedding (to Kelly Reilly as Mary). It all felt a little too fan-fic-ish, especially once I realized the entire movie was based on Holmes pulling Watson away from his honeymoon so they could have adventures together instead. You know, if this character wasn't named 'Sherlock Holmes', we'd think he was insane and potentially sociopathic, the way he ignores the feelings of everyone around him. I got lost in the plot early and never quite kept up with what the characters were trying to do, although it involves protecting a gypsy woman played by Noomi Rapace.
If you're looking for a period action caper, or a retro superhero movie along the lines of Captain America, this is the film for you. If you're looking for complicated mystery, the TV series is more your speed.
Special Features
The main attraction is Maximum Movie Mode, hosted by a self-deprecating Robert Downey, Jr. taking us 'Inside the Mind of Sherlock Holmes'. It's as though he's standing in your TV, pointing to the movie running in the background and telling you more about making the film. Since a big part of the draw of this franchise for me is Downey, I loved getting more of him.
At various moments, you can also use the remote to choose to watch a gallery of stills expanding on a particular setting. Or you might see a scene filmed from a different angle or cast or crew talking through picture-in-picture video. There are seven Focus Points, short featurettes (between three and seven minutes each, 35 minutes total), available either through Maximum Movie Mode or separately from the disc menu.
Holmesavision on Steroids
Moriarty's Master Plan Unleashed
Sherlock Holmes and Dr. Watson: A Perfect Chemistry
Meet Mycroft Holmes
Sherlock Holmes: Under the Gypsy Spell
Guy Ritchie's Well-Oiled Machine
Holmes Without Borders
Even though I didn't care as much for the movie itself as I'd hoped I would, this was a very cool way to explore the film and how it was made. It doesn't go into much depth, but with the action caper approach of this film, I'm not sure it's needed. The DVD version has for extras only the first three Focus Points.
Also new to me this time around was the matching movie app. I had no idea Warner had created a movie app, similar to Disney's 'Second Screen', only instead of having the iPad follow along with the film, this app drives the experience. (Which also means you can download and play with it without owning the movie, making it a very comprehensive teaser.) Maybe I'm easily amused, but it was freaky cool when I tapped something on the iPad and suddenly the Blu-ray started up on the matching scene. Unfortunately, it only worked for me the first time, after which it kept telling me it couldn't find my player on my network. There is a manual mode that involves typing in codes instead of syncing the two together, but I didn't bother with it.
There are five sections to the app. The first, 'Motive: Genesis of the Story', was most interesting to me, because it talks about the original stories and their inspiration for the film. The copiously illustrated app includes video and audio clips as well as links to the movie on your TV screen. This section also has a timeline of key Arthur Conan Doyle and Holmes events as well as a list of previous Sherlock films and media appearances. (No mention of the BBC Sherlock, though.) The other sections are:
Events: Interactive Scene Breakdowns & Script Exploration ' script pages, set photos, and background on filming 11 different scenes
Persons of Interest ' character background and photos
Scene of the Crime: Europe in the 1890s ' about criminology, politics, and technology of the era, plus Gypsies
Surveillance: Tracking Game of Shadows ' traveling around the European locations
(The studio provided a review copy.)
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