Fried Gold wrote:We're a local comic shop. For local geeks.
Buy em online from thecomicguru.com.
Brian Cronin wrote:COMIC URBAN LEGEND: The rolling boulder scene in Raiders of the Lost Ark was an homage to a Carl Barks' Uncle Scrooge comic.
STATUS: True
The fact that George Lucas and Stephen Spielberg's Indiana Jones was at least partially inspired by Carl Barks' classic Uncle Scrooge comics is fairly evident, as Indiana Jones' globe-trotting searches for lost artifacts are extremely similar to Uncle Scrooge's similar trips (along with his nephew Donald and his other nephews, Huey, Dewey and Louie). This fact was made quite clear when George Lucas wrote the introduction to the 1980's collection of Carl Barks' comics, Walt Disney's Uncle Scrooge McDuck: His Life and Times, and spoke directly about the influence
Fievel wrote:Superman Saves Family's Home
Very cool story in these troubled times of all-too-common foreclosures.
Pacino86845 wrote:AICN's Ambush Bug interviews Pentouse Pet about comic books!
Interview includes poignant questions such as "What are you wearing now?" and lots of loud breathing into the telephone receiver. Check it out!
George Khoury examines the impact of Alex Ross and Mark Waid's "Kingdom Come" limited series on the mid-'90s comic industry, the story's genesis and Ross' original intent.
TheButcher wrote:From CBR:
"THY KINGDOM COME, THY WILL BE DONE"George Khoury examines the impact of Alex Ross and Mark Waid's "Kingdom Come" limited series on the mid-'90s comic industry, the story's genesis and Ross' original intent.
In September, we examined the impact of the classic "Kingdom Come" story on the DC Universe and the comic industry as a whole. This month we look back with Alex Ross upon the "Thy Kingdom Come" storyline that encompassed the third volume of "Justice Society of America" #1 - 23 along with several one-shots.
The return of Ross to "Kingdom Come" was plotted with Geoff Johns, DC's current writing ace, and mainly illustrated by Dale Eaglesham and Fernando Pasarin. Amongst his co-plots, cover art, and various interior pages, the event would see Ross accomplish his first solo written and illustrated book in "Kingdom Come Special: Superman."
Zack Smith wrote:We’re going to do something a little different here at Newsarama...
This past year marked the 70th anniversary of Captain Marvel’s first appearance in 1940. If you didn’t know...well, neither did we until the Captain Marvel spotlight panel at San Diego Comic-Con this part summer. So we decided to do something about that.
With the Big Red Cheese getting a new spotlight with the Superman/Shazam: The Return of Black Adam animated DVD and Chip Kidd and Geoff Spear’s new book Shazam!: The Golden Age of the World’s Mightiest Mortal, we wanted to give Captain Marvel the birthday celebration he deserves.
So, for the next few weeks, we’re going to take you on a trip through Captain Marvel’s history from the 1940s to the present. But this isn’t just any trip – guiding you will be some of the names most associated with the character over the years, who’ll be sharing their thoughts on the character and some incredible anecdotes. Who all did we get? Read on to find out.
But that’s not enough for us, so every installment will include a wide variety of original and rarely-seen art provided by some of the industry’s best comic artists and the generous collectors at Comic Art Fans. And what’s more, each installment will feature an all-new piece of art created exclusively for this series!
To start off, here’s a special piece from an idea by yours truly entitled “Captain Marvel’s 70th Anniversary.” It was penciled and inked by Rick Ellis (http://www.elliscomics.com) and colored by Grace Allison (http://www.gracifer.com). Click on the thumbnail for the full version.
All right, let’s get into the series we could only call...
An Oral History of SHAZAM, the World's Mightiest Motal
The Original Captain Marvel - The Fawcett Years: 1940-1954, Part One
Rich Johnston wrote:Last year, Bleeding Cool reported how both Ardden Entertainment and Dynamite Entertainment were both publsihing Flash Gordon comic books, somehow seemingly sharing the same licence – though Dynamite’s book has yet to bve published or scheduled.
Well, now two more publishers have entered the fray, over classic Flash Gordon strips – indeed the very same material.
British publisher Titan Books are publishing Flash Gordon: The Alex Raymond Sunday Strips Vol. 1, in the USA as well as the UK.
But IDW Publishing are also publishing the Ultimate Alex Raymond Collection: The Definitive Flash Gordon and Jungle Jim, offering both Sunday strips together.
This could get confusing. Especially when Dark Horse have licensed the Flash Gordon comics to reprint, while Checker BPG still has copies of the same material available in the market.
So that’s currently six potential Flash Gordon publishers. Any more for any more?
Ron Marz wrote:The fans want to know. Some of them want to know everything: who's working on what, what's going to happen, what's coming out next. For those fans, it's about what's over the horizon rather than what's here now. It's no coincidence traffic on comic-oriented websites shoots up when solicits are released. I've even seen some fans admit to getting more excited for the solicits than the actual comics.
I'll be the first to admit, I don't understand that level of "need to know" -- the people who would rather read Wiki spoilers than the issues themselves. That's akin to studying the menu instead of eating the meal, but to each his own. I think that mindset is fueled, at least in part, by the ever-increasing interconnectivity of titles in the Big Two respectively, pushing readers toward keeping track of a universe-wide storyline and its myriad tie-ins.
But that's just the stuff that makes it to the shelves. If those "need to know" fanboys ever realized the number of projects that are discussed, planned and even pitched, yet never get off the ground, their heads might explode. Most of the creators I know have projects like that in a drawer somewhere -- stories cooked up via phone and IM and email, creative teams put together over drinks at a con bar. But for reasons as varied as the projects themselves, they never come to fruition. Once in a while, word leaks out and we hear about something like the Mark Waid-Mike Wieringo Aquaman pitch, or the Morrison-Millar-Waid-Peyer Superman revamp. But most of the time they disappear without a trace.
Good projects don't always get approved, and bad projects don't always get turned down. Pitches are killed in the cradle for reasons from quality to scheduling, from budgets to office politics, even just sheer bad timing. My own list of almost-but-not-quite includes:
* A Hulk-Ghost Rider graphic novel with painted art by Joe Chiodo.
* A 64-page Batman story with overtones of Poe's tales, set in Arkham Asylum, with art by Claudio Castellini.
* A Martian Manhunter prestige-format one-shot drawn by Bryan Hitch.
* A period Hawkman-Green Lantern adventure, set during World War II, with art by Dusty Abell.
* A companion to the Batman-Tarzan project I wrote at Dark Horse, featuring Superman and John Carter of Mars.
* A retelling of the Arthurian legends, but featuring the Green Lantern cast.
The one I regret more than any of them, though, is a project called "Altered Egos," by me and artist Cully Hamner, one of my best friends and favorite artists. Here's how it went. And how it didn't.
TheButcher wrote:Shelf Life: And Here's the Pitch...Ron Marz wrote:The fans want to know. Some of them want to know everything: who's working on what, what's going to happen, what's coming out next. For those fans, it's about what's over the horizon rather than what's here now. It's no coincidence traffic on comic-oriented websites shoots up when solicits are released. I've even seen some fans admit to getting more excited for the solicits than the actual comics.
I'll be the first to admit, I don't understand that level of "need to know" -- the people who would rather read Wiki spoilers than the issues themselves. That's akin to studying the menu instead of eating the meal, but to each his own. I think that mindset is fueled, at least in part, by the ever-increasing interconnectivity of titles in the Big Two respectively, pushing readers toward keeping track of a universe-wide storyline and its myriad tie-ins.
But that's just the stuff that makes it to the shelves. If those "need to know" fanboys ever realized the number of projects that are discussed, planned and even pitched, yet never get off the ground, their heads might explode. Most of the creators I know have projects like that in a drawer somewhere -- stories cooked up via phone and IM and email, creative teams put together over drinks at a con bar. But for reasons as varied as the projects themselves, they never come to fruition. Once in a while, word leaks out and we hear about something like the Mark Waid-Mike Wieringo Aquaman pitch, or the Morrison-Millar-Waid-Peyer Superman revamp. But most of the time they disappear without a trace.
Good projects don't always get approved, and bad projects don't always get turned down. Pitches are killed in the cradle for reasons from quality to scheduling, from budgets to office politics, even just sheer bad timing. My own list of almost-but-not-quite includes:
* A Hulk-Ghost Rider graphic novel with painted art by Joe Chiodo.
* A 64-page Batman story with overtones of Poe's tales, set in Arkham Asylum, with art by Claudio Castellini.
* A Martian Manhunter prestige-format one-shot drawn by Bryan Hitch.
* A period Hawkman-Green Lantern adventure, set during World War II, with art by Dusty Abell.
* A companion to the Batman-Tarzan project I wrote at Dark Horse, featuring Superman and John Carter of Mars.
* A retelling of the Arthurian legends, but featuring the Green Lantern cast.
The one I regret more than any of them, though, is a project called "Altered Egos," by me and artist Cully Hamner, one of my best friends and favorite artists. Here's how it went. And how it didn't.
Timothy Callahan wrote:It may be difficult for some of us to remember a time when semi-annual "Event" comics weren't the norm in the mainstream superhero world, but before "Crisis on Infinite Earths," the concept of a line-wide crossover was practically non-existent. Sure, you had the JLA bopping around with pals from parallel worlds and you had Captain Marvel fighting the assembled Monster Society and you had Spider-Man swing by the Baxter Building every once in a while, but Marv Wolfman and George Perez's twelve issue celebration/course-correction of the DCU begat something that comic book readers have lived with ever since: the idea that once every year or two, some series will tie into everything else and it will star all your favorite characters and nothing will ever be the same again.
Unless another series follows up with a complete reversal of everything in the first series.
But with "Flashpoint" and "Fear Itself" coming up and with nostalgia in the rear-view mirror, Robot 6 and Spinoff Online's own Graeme McMillan kicked off an email discussion on that holy trinity of post-Crisis event books. "Legends," "Millennium," and "Invasion!" The three comic book series that shaped the lives of young Tim and young Graeme and pointed a way for event comics ever since.
Actually, it was all Graeme's idea...
Timothy Callahan wrote:Last week, the nimble-minded Graeme McMillan and I began our discussion of the holy trinity of post-"Crisis on Infinite Earths" series by looking at "Legends" and debating the merits of "Millennium." We conclude the discussion this week as I set Graeme straight on what good event comics look like. As in, not-"Millennium," but rather, "Invasion!"
Who doesn't love a good dinosaur comic? Augie's going gaga over the "Age of Reptiles Omnibus," with over 350 pages of beautiful silent storytelling. Also, are bi-monthly comics late comics? Perhaps not.
Timothy Callahan wrote:Last week, I talked at length about Nick Fury and dipped my toe into a discussion of "Secret Warriors." One of these days, I'm going to look at a few single issues from Jonathan Hickman's series and use them as jumping off points to think about what he's doing, and what it all amounts to. And write about all of that. But I may not get to it this week.
Because, first, as always, a digression.
I've been reading a lot of "The Comics Journal" issues from the late 1970s and early 1980s recently, now that Fantagraphics is beginning to make its archives available online, and in those dwindling days of the Bronze Age, pre-"Maus," pre-"Watchmen," many of the interviews and essays end up circling around the same few concerns again and again: (1) The medium of comics has great potential, but most comics of the time are terrible; (2) Since mainstream comics is a corporate affair, what's "good" is defined largely by what sells best, and there's no clear barometer of quality beyond that; (3) The median age for a comic book reader was, at the time, 11.8 years of age; (4) Writers like Steve Gerber may well have been "good writers," but they weren't "good for comics."
It's fascinating to see the history of comics play out in real time by reading these 30-year-old "fanzines" (which is what "The Comics Journal" was called by pretty much everyone who refers to the magazine within its pages, even though it was already much more than that within the first few years of its existence) and reflect on how much the industry has changed and yet how the same questions and concerns from 1980 still pop up in conversations around the comic book water cooler today.
And I'm pretty sure we can look at these topics through the lens of 2009-2011 Jonathan Hickman superhero/superspy comics, and that will give us something to ground the discussion in. That's the plan anyway. So let's see what shape emerges, this week or next.
ROBOT 6's Tom Bondurant reviews "Flashpoint #1," and despite some reservations says "'Flashpoint' has a lot of potential, and right now it’s off to the best start of any of Geoff Johns’ recent big-event miniseries."
CSBG's Greg Burgas takes an in-depth look at the first issue of DC's new crossover event, "Flashpoint," examining and dissecting the miniseries' entire first issue, page by page!
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