Your Mom's Basement

February 19, 2009

DC ANNOUNCES WATCHMEN II

by the YMB Staff

YMB has learned that early last year, DC Comics began taking submissions from writers for a top secret project... a sequel to the opus "Watchmen."

"With the movie coming out, it just makes sense to capitalize on that," DC Executive Editor Dan DiDio is quoted as saying at a recent secret conference call with retailers. "We got, literally, tens of submissions and picked the best one."

"We figured that Hollywood was going to make a sequel anyway, and this way we get to maintain control of that. And with this one we don't have to deal with Moore, which is nice."

Who is the writer tasked with writing the sequel to one of the most beloved comics of all time? None other than fan-favorite John Byrne. Byrne explained the sequel's premise on the call: "Basically, there are a lot of continuity errors in the original book and I wanted to explore those and fix them. Those get fixed as we follow the basic plot of the book, which is: What if the extra-dimensional squid monster Ozymandias created was real? And from another dimension? And there were more of them? And they actually did decide to invade Earth? Dr. Manhattan said at the end of the first volume that he was going to go off and create life. What if he decided to create evil, psychic, Earth-enslaving squids?"

Art will be handled by none other than fan-favorite artist Frank Quitely. The artist said on the call: "DC gave me a huge lead time, six months, and I've absolutely got the first issue just about done. I'm even going to draw some of the other issues, too."

Byrne continued: "I have no idea what this guy is drawing half the time, but the civilians seem to like him, so whatever."

"John's giving me a lot of great stuff to draw, and I hope to be able to draw some of it. The fight between Omni-Rorschach and Dr. Manhattan in issue eleven should be fun. Hope I get around to it." Always-a-bridesmaid-never-the-bride-on-big-event-comics Doug Mahnke will provide art for "whatever Frank doesn't bother getting to," DiDio revealed.

This fall readers will be able to uncover all the secrets still waiting to be revealed in the Watchmen universe! How did Rorschach survive Dr. Manhattan's disintegration? Did the newspaper publish his journal? Do the members of the power-pop tween band (and children of Nite Owl and Silk Spectre) Nite Spectre have powers? And is Ozymandias gay? "Watchmen II" is scheduled to be released the same week the movie hits DVD/Blu-Ray.

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Posted by YourMomsBasement at 11:11 AM

December 04, 2008

A Brief History of Alan Moore Being Pissed Off

by the YMB Staff

It started as a throwaway side item in a reputable British tabloid:

"Angry Alan Moore Throws Rock at Moon"

Alan Moore's decades of anger came to a head this past Sunday night when he was witnessed throwing a stone at the moon. Cursing, the acclaimed comic writer called the moon, "a wee little bastard" and a "white magic hole of the devil." He went on to lament about how everyone and thing that ever wronged him came down to the moon and its "intricate evil lunar phases."

Then the story exploded throughout comic fandom a week later after it was written up as a "yellow lighted" item in Rich Johnston's CBR column, Lying in the Gutters. Johnston spent most of the item explaining the British activity of "moonlobbing."

"Once properly sauced, you then throw the heaviest rock you can skyward, all while cursing the heavens. It can be done during the day, but the most proper time for moonlobbing is, obviously, at night. Moonlobbing played a significant part in my parody comic "Civil Wardrobe" which is still available for order through Diamond."

From there, the story hit every comic blog and message board, eliciting such questions as the following from a stunned and confused fandom:

"Isn't Alan Moore all rich and stuff? What's he got to be angry about?"

The sources of Alan Moore's anger are many, but worth documenting in order to understand why he felt the need to moonlob in the first place. Telling the tale of his woe backwards (because it's a fancy narrative technique he would approve of), let's start with the most recent affront to his person...

2008 - The latest bit of anger from Mr. Moore is directed at the upcoming adaptation of "Watchmen." In regards to the ongoing legal dispute he said, "Will the film even be coming out? There are these legal problems now, which I find wonderfully ironic. Perhaps it's been cursed from afar, from England, and I can tell you that I will also be spitting venom all over it for months to come."

2005 - Joel Silver implies that Moore endorses the upcoming film adaptation of "V for Vendetta." Moore is quick to correct this and have his name removed from all press for the film and has his fee for the film given to the comic's artist, David Lloyd. Silver continues to insist that Moore liked Matrix: Revolutions.

2003 - Bill Jemas extends the hand of friendship to Moore and asks him to pitch to Epic and give him full creative control. Moore pitches a new Darkhawk serial where Chris Powell gets roaring drunk and breaks his amulet in a fight over payment to a $20 hooker. This left Chris in a half human/half Darkhawk configuration. The maxi series was to comprise of 12 issues of Chris wandering around the world trying to find out who he really is. And beating up hookers. A few months later Epic folds before publishing a single issue. Moore drops his clothes and begins to shear himself in front of a church congregation.

2002 - The ABC line gathers momentum and more properties are being optioned for film and television. To help sell the concept, major studios court various actors to play key characters (Demi Moore as Cobweb, Jean Claude Van Damme as SMAX, Julian Sands as Greyshirt and a CGI'd MacAulay Culkin as Jack B. Quick). Moore vomits for three weeks straight!

2001 - DC pulps an entire print of "League of Extraordinary Gentlemen" #5 because of an ad for "Marvel Douche" that was in the issue.

2000 - DC vetoes a L. Ron Hubbard-related Cobweb story, causing Moore to get so publicly angry at DC that the company scuttled all plans for Watchmen 15th anniversary merchandise, including a hardcover and action figures.

1999 - Moore picks an old Superman villain, Starshine "The Hippy With The Please Power!" and pitches a new series whereby he remembers who he is and sets out to use his alien-gifted-talent to change the world for the better. DC welcome it but due to an administrative failure, it doesn't end up under the Vertigo imprint but rather Johnny DC. The first issue is pulped prior to distribution because of a scene where Starshine tells a corrupt dictator to "Please" stick his head up his arse. Moore falls to the floor and fakes an epileptic fit.

1997 - Moore pitches a mini-series surrounding old Marvel character, Kismet. Having been rejected by Warlock and Quasar in the mating stakes, Kismet now wanders the Marvel Universe to find the next perfect mate. Once rejected she moves on, down the heirarchy. Guest starring Hercules, Ant Man, Jack of Hearts, Howard the Duck, Forbush-Man and Gambit. Marvel gives the thumbs up, but then wants the main character changed to be Ms Marvel. Moore throws his toys out the pram!

1994- Grant Morrison steals his magic schtick.

1989 - Moore is passed over for the chance to write the screenplay for Return of Swamp Thing. He then swears vengeance on Hollywood.

1988 - DC evades paying royalties on Watchmen buttons by calling them "promotional materials."

1986 - DC refuses to let Moore use their recently acquired Charlton Comics characters in his opus "Watchmen." As retaliation, Moore injects a long subplot in the story about pirates just to "bore the wankers to death."

1985 - Marvel makes Eclipse change Marvelman to Miracleman, leading Moore to write to Marvel to tell them off and tell them he'll never work for them. Marvel shrugs at some rookie Brit not wanting to write X-Men or something.

1971 - Moore continues his passion for drawing by creating his own mini comic books using an A4 sheet folded in 8. A local journalist picks up a copy from his younger brother and likes it so much he wants to feature it in his newspaper. However, due to a printing problem, it is credited to Patrick Moore, famed British astronomer. Moore goes home in a terrible huff!

1963 - Loses his favorite sled when he is taken from his childhood home to live with a rich industrialist in the big city.

1961 - Moore completes a drawing of his school in crayon. Another child in his class asks to "translate" his drawing into another medium: finger paints! Moore kicks the other child in the shin.

1953 - Moore is from his mother's womb untimely ripped.

So, there you have it. A lifelong history of anger that ultimately couldn't not lead to moonlobbing. That's right Mr. Moore, I used a double negative there. What're you gonna do about it, huh?

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Posted by YourMomsBasement at 12:00 PM

November 13, 2008

HACKOWEEN Interview Part 3

YMB: Now that it's over, what is your fondest memory taken from working on this story?

DREW EDWARDS: I think seeing the art come in daily. While I liked writing it, it's not the favorite of everything I've ever penned. But the art team lifted it up into being something more than the sum of it's parts. I think it's the best looking story I've done by far. And I've worked with some really talented people so that's saying a lot.

BRIAN CROWLEY: Honestly, there's two. Tim's generous offer is first one and then Drew's excitement is two.
It's two different guys at very different points in their comic book careers and it was just awesome to be the liaison.
Another thing is that Erik Larsen offered use of Savage Dragon to Tim Seeley back when he did the very funny book "Lovebunny and Mr. Hell" and so Tim approached lending Drew the use of Cassie and Vlad as being a good guy the same way Erik Larsen was a good guy to Tim... which is a really awesome thing to do.

RUSSELL HILLMAN: It's been a blast all the way through - from thrashing out the initial draft with Drew to getting the final nod on the script, to getting all the art through from everyone. This has been a hard slog for everyone involved, but a worthwhile one.

SCOTT D. SIMMONS: I was part of a great team who all worked well together and were supportive and encouraging to each other. And just seeing the awesome pages coming in from David, and then sitting down and inking them was fun and a challenge. I just really enjoyed the whole experience. It's work but it's also fun; there are not many things you can say that about.

MARC LEWIS: Honestly, all of it. From the very beginning where Drew, Brian and I were sending page 3 back and forth to nail the correct look and mood for the book to now. It's been a blast.

BRIAN CROWLEY: Marc and Scott nailed everything and were both professional in handling critique and nailed deadlines each and every time.

DREW EDWARDS: At the risk of this turning into a massive love-in. I think everyone involved pushed themselves to do their a-letter best. And the results show. This thing is super slick and professional looking.

DAVID BALDEON: The fun of working with the characters, getting them to unsuspected places, discovering new ways to make them tell things only with their faces, their body language... Getting to know them and learn what they allow you to do. That has been the absolutely best of the project by far.

BRIAN CROWLEY: I just want to add that David is destined to be a comic superstar... his pages just kept blowing us away. His line, sense of guesture in the bodies and the emotion he conveys is phenomenal... David built a really solid foundation from Drew's script.

DREW EDWARDS: Oh yeah, David's amazing!

DAVID BALDEON: Wow, thanks guys.

DREW EDWARDS: While I am applauding everyone else though. I want to give some praise to two people whose work often isn't as clear cut as the art teams.

Russell...man...you've keep this thing a float more times than you can know.

I also want to thank Claire, the diva who maintains my site. She helped me deal with a lot of last second issues. A lot of which isn't even seen by the reader. And she did with bells on. So thank you.

And finally, Mr. Tim Seeley. The guru of gore himself. For allowing this whole thing.

There's my Oscar speech. Ha!

YMB: What do you think Hack/Slash fans will take from it?

DREW EDWARDS: For most of them it'll probably just be a quick, fun, read with their favorite characters in it. Beyond that, I can't even guess.

BRIAN CROWLEY: I think the Hack/Slash fans love the rollercoaster ride that is Hack/Slash. Cassie and Vlad get around... sometimes she's in a Star Wars like Hell dimension run by "Elvis," sometimes she in "Archie Land" sometimes she and Vlad fight lupine children and sometimes they clash with superheroes. Hack/Slash is fascinating because ANYTHING can happen... so running into the world of Solar City where anything goes... is awesome.

RUSSELL HILLMAN: Hopefully, enjoyment. Enjoyment and an interest in Halloween Man. I'll settle for enjoyment.

SCOTT D. SIMMONS: I hope they find it a fun romp with their favorite characters taking on crazy powered zombie characters and interacting with the Halloween Man crew, who are characters we hope they will also like. There's blood and guts, heroism and humor. I think they'll like it alot.

DAVID BALDEON: Hopefully, they'll enjoy the ride. I've just gone through the whole story (both parts) and its just non-stop fun, awesome, gross, heroic, intimate things happening all the time!. Hopefully that's what they´ll take from it.

MARC LEWIS: Many of the fans I've already talked to have liked the idea of this crossover. I think they'll take away the fun that Drew pours into his characters more than anything.

YMB: Do you think this will help Halloween Man crack the mainstream?

DREW EDWARDS: Naturally I hope it will. But we've been the "little engine that could" for so long that I'm not even doing stuff with that in mind. I'm just trying to do the best comic I can.

BRIAN CROWLEY: I hope so... I think that some of the other potential developments with DDP will really help. I think the work that Drew, Russell, Jesse and Nicola had done was just ready to burst out the gate and it's long overdue... this is a world ripe for animation, video games, and action figures and it seems inevitable.

RUSSELL HILLMAN: I hope so. We've worked so hard on this, I hope we get some recognition.

SCOTT SIMMONS: I hope it does get more exposure. Halloween Man is a project I whole-heartedly believe in and has become one of the few projects I have said that I would enjoy helping with for some time. I work on this project because I believe in it and the people who make it happen. I'll always support the Halloween Man projects and Drew as much as I can.

DAVID BALDEON: It should. I think it is a very good, exciting story that puts together two characters (or sets of characters) that fit surprisingly well. Drew has done a great job in presenting his characters to the mainstream public without the need to overexplain things, just giving them hints... "Hey guys, there's a lot more stuff like that in here, a lot of things have happened before and a lot are gonna happen from now on". I keep on remembering one of my favourite comic book moments, when I got my first Avengers issue. I read it and I knew only two or three of the characters in there. No idea about Wonder Man, about Yellowjacket, the Wasp, suddenly this Hawkeye guy phones them talking about some other Quicksilver guy... I had absolutely no idea what they were talking about. But you could see they had known each other for a long time, there was an underseen current there and that made me want to know more. I think there's the same kind of stuff here, on the Halloween Man side. A "this is only the tip of the iceberg, come in and see more" feeling. So storywise yeah, it should certainly help Halloween Man crack the mainstream.

MARC LEWIS: It will push the title more into the public eye.

YMB: Was that the main motive of everyone involved?

DREW EDWARDS: My only motive was fun. I did this because it was enjoyable to do. I'm certainly not getting rich off it. If anything I've lost money. But at the end of the day, you climb a mountain because it's there right?

BRIAN CROWLEY: My main motive was from the get go was to ask Tim for advice on Drew's behalf and when Tim was kind enough to offer use of Vlad and Cassie, my motive was then to make sure that Cassie and Vlad were treated right and look out for my friend. As the project moved forward and I took on more of a project management role in things... and my goal was to make sure that this baby was born smoothly.

RUSSELL HILLMAN: I just wanted to help everyone do their best and craft a story that people would like. That's what I'm here for.

SCOTT D. SIMMONS:
For myself, I got involved in the project because Drew asked me to, and I enjoyed working with him on the origin story.... and with David as the penciller, I knew it was going to be a great project. One of the reasons I left a certain job years ago was to be able to be involved in making comics, either for myself, or for others, and Halloween Man was one of the projects that I am lucky enough to have become involved in. It is a pleasure to work on.

DAVID BALDEON: I guess giving the character a shot at the mainstream was indeed a reason for most of us involved, but my principal one was just "Can I do that?". Hackoween is WAY different from what I've done so far, and certainly very different from my own personal projects. That kind of challenge by itself is enough to tackle the job. But it would be great if this meant some huge exposure for the Halloween Man bunch.

MARC LEWIS:
My main motive was to finally have a chance to work on Halloween Man.

YMB: Any closing thoughts on Hackoween?

DREW EDWARDS: The has been the wildest ride I've ever been on and I hope everyone sticks around for part two.

BRIAN CROWLEY: I still hate the name Hackoween... sorry Drew!
Seriously though, I think that Drew and Tim are two guys that I care a great deal about and any benefit that comes to the two of them as well as David, Scott, Marc and Russell is a huge bonus to the whole process. As cliche as it may sound... alot of hard work went into this and ultimately I think that comes through in the finished product.

DREW EDWARDS: You know, I know you and Russell hate the name. But it still makes me laugh every time I read it. So I can live with that. :D

RUSSELL HILLMAN: I've grown accustomed to it.

DREW EDWARDS: You should accept it's awesomeness and let it rock you like a hurricane! :D

RUSSELL HILLMAN: Wait 'til you see what happens next!

SCOTT D. SIMMONS:
I am so happy I was a part of the project. Thanks, Drew, David, Brian, Russell, and Marc! And special thanks to Nicola Scott for helping me get involved in Halloween Man, and also my wife and parents for their support and belief in me.

DAVID BALDEON: Stay for part two. I honestly think it is even cooler than part one!

MARC LEWIS: Go read it! Now! Um, why are still reading this article? Go to halloweenman.com then the comics section and click on Hackoween. Go on scoot.

Read the Hack/Slash & Halloween Man crossover "Hackoween" here.

Read the first part of the interview here.

Read the second part of the interview here.

Posted by YourMomsBasement at 12:00 PM

November 04, 2008

HACKOWEEN Interview Part 2

by the YMB Staff

YMB: Was it hard to nail down the voices of Tim's characters?

DREW EDWARDS: Very. Vlad more so than Cassie. I've known girls like Cassie, where is...Vlad is...well...Vlad. I was a fan of Hack/Slash prior to doing this, so that helped. But I made sure I had the ENTIRE run when I started doing this. I wanted to make sure it was right, since Tim trusted me with his characters.

YMB: If this is successful, would you do a sequel?

DREW EDWARDS: Oh hell yeah! I'd love to do another one. This time with Solomon and company in Cassie's world.

YMB: Have you built a relationship with Devil's Due from this?

DREW EDWARDS: Yes. Without giving away to much, we'll be saying A LOT more about this very soon. But the answer is a big, bold, steaming pile of yes.

YMB: Your favorite Halloween Man character?

DAVID BALDEON: I'm torn between Solomon Hitch the Halloween Man himself and Lucy. Sol is mad fun to draw, but Lucy is simply a pleasure. Aside of her being a hottie (which to me as a penciller is not that important), she as a character is in a place where a lot of different emotions and points of view have to be shown. Plus, intelligent characters are very fun to draw, the way they think through things, the way they analize... Can I call it a draw?

MARC LEWIS: I love Morlack! You know a guy is "Billy Bad Ass" when he feels perfectly safe and threatening in a pair of slippers and a bathrobe!

RUSSELL HILLMAN: Drew's put the spotlight onto Nicko a little more in some of the scripts I've read recently, and I'm becoming more and more fond of him, but I'd be lying if my answer was anything other than MAN-GOAT. Now and forever, The Power of a Man-Sized Goat is what I need.

DREW EDWARDS: Lucy. She's the heart of the comic.

SCOTT D. SIMMONS: Solomon is awesome in his appearance and character, such a great visual appeal to him... and I also like Lucy alot. It's like they are meant to be together, and you really can't separate the two. Lucy is based on Drew's wife, Jami, and he really writes her great, and you get a sense with his stories that he is really really in love with her.

BRIAN CROWLEY:I really dig Lucy and Morlack... I think both of them are quirky and interesting and I think Man-Goat is very lovable.

YMB: Your favorite Hack/Slash character?

DAVID BALDEON: No contest here, Cassie Hack herself. She is tough as nails, she is smart, she takes no crap from nobody... But is ready to be amazed and shocked and a bit overwhelmed by what she is going through in the strange world she is in during the crossover. I found that about her while drawing, and thought it made her a very likeable character, and absolutely made sense with what I've read of her. Hopefully, I'd have been able to translate that into the actual drawing. But yeah, she absolutely won me over.

MARC LEWIS: Vlad, or more appropriately Cassie's responses to Vlad. They're like Penn & Teller except one doesn't talk much...wait that doesn't work :D

DREW EDWARDS: Vlad. Ironically, the harder of the two to write.

RUSSELL HILLMAN: I've just been rereading all my Hack/Slash back issues, and I've got to say Vlad. Cassie is deep and complex, and I especially love when she lets that show, but Vlad's speech patterns and reactions to common things make him an unexpected joy in so many moments.

SCOTT D. SIMMONS: Cassie. Her look is very cool, her attitude is cool .... and she is the more emotional of her and Vlad, which means she comes off as a deeper character with alot of past issues and mental stability things that can be brought up and built upon. I really enjoy reading tragic characters in fiction, because they are the most flawed and interesting.

BRIAN CROWLEY:Cassie and Lisa... Lisa is the sweet girl we've all known. Cassie is so rough around the edges that you have to love her.

YMB: Was this any different than working on a more straightforward storyline?

DAVID BALDEON: Not really. At the end of the day, it comes to the fact that things happen and you have to tell them in a manner it is understood by the reader. Maybe the timing is a bit different because there's a lot of comedy in there, but all in all it is simply one story to tell. Of course there are "technical" differences, but they're just that: technique, mechanism.

MARC LEWIS: No. My job as colorist is to set the mood. The script almost always tells you the type of mood you're to bring.

DREW EDWARDS: Speaking only for myself, yes it was. Because for one, you have to make it an "event" without leaning to hard on what everyone thinks an "event comic" is. Plus I was writing Tim's characters, which of course was a new challenge.

RUSSELL HILLMAN: We probably went through more drafts on this than most other scripts, trying to get the characters to line up perfectly. On top of that, Cassie and Vlad are Tim's toys, and we have to give them back to him in the same condition they were in when we borrowed them - whereas with the regular Halloween Man cast, I can suggest that Drew put them through all kinds of crap.

SCOTT D. SIMMONS: Not really. Some of my favorite comics are crossovers.

BRIAN CROWLEY:I think it was. Certainly figuring out how to work characters as reality based as Vlad and Cassie into Solar City.

YMB: Seems like this has a lot of parody elements. Is that a good thing? Bad thing?

DAVID BALDEON: Not necessarily bad, nor good. I'm a believer of Things Done Properly, and I'd go with a well crafted parody rather than with a clumsy serious drama any day of the week. I really think comedy (and inside that there's parody) is a tremendously serious thing, and in no way a lesser genre. So as long as the parody is well and honestly handled, as is the case, it's great.

MARC LEWIS: Oh, it's such a GOOD thing! There were many times that I would bust out laughing while working on this!

DREW EDWARDS: Good thing. Easily, a good thing. For one, it's a very light layer of parody and it's done out of love rather than malice. Which I think is where all the best spoofs come from.
And secondly, the goofiness of it, is part of what makes it different. Like I've said elsewhere, this is like is Mel Brooks and Michael Bay teamed up to make a splatter movie.

RUSSELL HILLMAN: It's loving parody, mixed in with a healthy amount of tribute and homage, and Halloween man has a long tradition of all of those. Like Doctor Who, Halloween Man is best when its roots are showing.

SCOTT D. SIMMONS: I think it's part of the overall charm of the story. Halloween Man stories usually poke fun at traditional archetypes and elements of either movies and comics or both. I think it makes the whole things really fun and tongue-in-cheek, while still allowing the core of the story to be these two characters from different universes mixing it up with each other and then later on helping each other out. The whole crossing of universes sort of calls for the parody in a way.

BRIAN CROWLEY:It fits well with the satiric elements of both franchises... I think in retrospect some trimming could have been done... but the best steaks have a bit of fat on them.

YMB: What are the stylistic differences between Hack/Slash and Halloween Man?

DAVID BALDEON: Tough one... They obviously come from the same type of background and influences. I'd say they have the same kind of difference that the Coen Bros. and Sam Raimi have. Both come from the same place, but the Coens add a certain pinch of dark, brooding humour whereas Raimi chooses Tex Avery. And both end up being awesomely cool.

MARC LEWIS: Hack/Slash has always seemed darker in tone to me than Halloween Man. Halloween Man, at its heart, is a love story. (at least that's my opinion)

DREW EDWARDS: Well, for one my characters are a little older. Cassie and Vlad, to me...read like they're barely out of their teenaged years. Solomon and company are a bit older and are more in that adult place. I mean they're both "young" characters but when you how they interact, Solomon certainly takes on the "older brother" role.

As far as the two comics themselves go, Hack/Slash almost totally references 70's and 80's slasher films. Whereas with Halloween Man you have elements of Hammer, Universal, 50's sci-horror, silver age comics, etc. I mean we look at the slasher genre too, but I don't think we're as deeply rooted in that as Tim's world. Halloween Man has that retro-cool thing going on.

Having said all that, I think Halloween Man is the sort of thing most Hack/Slash fans would enjoy if they gave it a chance.

RUSSELL HILLMAN: The world of Hack/Slash skews a lot closer to our world than Halloween Man does - or at least, on the surface. I'm going to take David's Coens/Raimi idea and go one step geekier - Halloween Man is the Robert Rodriguez to Hack/Slash's Tarantino. Some of the influences are the same, but Halloween Man is a couple of steps further away from the real world.

(Of course, that comparison makes this story either Grindhouse or From Dusk 'Til Dawn, which I'd be quite happy with... or possibly half of Four Rooms. Oh. )

SCOTT D. SIMMONS: Halloween Man may be a little more light-hearted, and Hack/Slash more dark. As far as the story goes, it seems to me (from what I have read), Cassie hunts monsters because she feels it's her mission and duty, and Solomon seems to have most of the time been dragged or forced into the situations. Sort of the reluctant hero, yet honorable and heroic.

BRIAN CROWLEY:Primarily the fact that Hack/Slash is very much set in "reality" where as Halloween Man is set deeply in a really wonderful and rich fantasy world. Halloween Man is day glo... Hack/Slash leans towards almost noir.

YMB: How are they the same?

DAVID BALDEON: That's half answered in the previous question. They come from the same place in a way. Maybe saying they're brothers might be too much, but they certainly are cousins. So there's the family likeness.

MARC LEWIS: Um, I'd like to use my lifeline and pass this one to Drew.

DREW EDWARDS: Well, they're both cut from the same cloth at the end of the day. They play on the concepts of the genre. And hardcore fans will pick up on all of the references. Like I said, Hack/Slash fans should find a lot to enjoy.

SCOTT D. SIMMONS:
Both Cassie and Solomon are tragic characters. Neither of the two characters asked for the horrible things that happened to them and now they are sort of still finding their purpose and place in the world.

BRIAN CROWLEY:Both have characters with troubled origins that are fighting a monster within. Both are loners with a surrogete support system built around them.

YMB: Would you like to work on a straight Hack/Slash story?

DAVID BALDEON: Hell yeah!

MARC LEWIS: LOVE TO!

DREW EDWARDS: No. I wouldn't want to step on Tim's toes. It's his baby. Cassie and Vlad are wonderful characters though.

RUSSELL HILLMAN: You mean, how many people would I kill to be involved? I'd say at least a dozen.

SCOTT D. SIMMONS: I would enjoy working on Cassie again, yeah. Both Vlad and her are visually appealing characters.

BRIAN CROWLEY:I have worked on straight Hack/Slash stories as a letterer... someday I'd love to write or illustrate a oneshot.

YMB: Hack/Slash is slated to be a movie from Rogue Pictures. Any thoughts on casting?

DAVID BALDEON: I know there's a lot of talk about Megan Fox (Tim, if you're reading this: I'm an experienced storyboarded and would be glad to be involved in that one if needed... That's probably the closest I'll ever get to be to Megan Fox!). Megan is a great choice, but my personal model to draw Cass has been Sharleen Spiteri, the lead singer for Texas. And I'd go with Tim Robbins for Vlad.

MARC LEWIS: Two words: Ellen Page. She would be perfect for Cassie.

DREW EDWARDS: Cassie should be played by an unknown. I know a lot of people keep saying Megan Fox and I see that. But Fox looks a tad to "cheerleadery." Cassie needs to seem like she could kick your ass and can't think of any young actresses that can pull off that hat trick.

(Don't kill me Tim.)

SCOTT D. SIMMONS: I suppose Megan Fox (Transformers), Anne Hathaway (Get Smart), and Jennifer Morrison (House) would be my top picks for Cassie right now. I know they may be older than Cassie, but there's this show called Smallville.... Actors and actresses can believably play younger people within about 10 years.

BRIAN CROWLEY:Megan Fox, Megan Fox, Megan Fox as Cassie. She's interested and it seems like perfect casting... Her or Kat Dennings as Cassie. Michael Clarke Duncan as Vlad would be awesome.
Or Kane Hodder or some big dude with a voice over by a better actor.

RUSSELL HILLMAN: There needs to be some. It would make the movie a lot more interesting.

Megan Fox would work very nicely as Cassie. Ellen Page has the look, and could pull it off, as does Kat Dennings. If I've got to add a name that the others haven't already mentioned though, I'd go for Gemma Arterton, although she'd have to go back to her St Trinian's look.

I don't see many complaints about that one, though..
For Vlad, it depends just how deep into the prosthetics thing they decide to go, and how big they want him to be.

Knowing that David's Cassie is based on Sharleen Spiteri just makes me love her all the more. Him too.

BRIAN CROWLEY: Gemma who?

RUSSELL HILLMAN: Arterton.

BRIAN CROWLEY: she'd be great!

YMB: What other comic book/movie properties would you like to see crossing over with Halloween Man?

DAVID BALDEON: Needless to say, I'd LOVE to see (and draw) an Army of Darkness/Halloween Man crossover!

MARC LEWIS: Army of Darkness would make for a fun mix. Marvel Zombies would be wonderfully ironic!

DREW EDWARDS: My dream is Jason vs. Solomon. I even have a story line dreamed up. Another good one would be Hellboy I suppose.
You could easily do a Fantastic Four crossover where they team up to take out the Marvel Zombies.

But I'll go out of left field and say Dr. Who. Solomon fighting Daleks would kick ass.

RUSSELL HILLMAN: Anyone that's interested. Hopefully at some point we'll be in the position to do other properties the favour that Tim has done us. For existing properties, hmmm. The obvious choices are things like Hellboy, Supernatural or Buffy/Angel, and I'd love to mix Halloween Man in with the cast of Middleman sometime, but for a leftfield choice, how about something like Blue Monday?

SCOTT D. SIMMONS: I think Doom Patrol would be a good fit, and frankly, because I love both, I'd like dibs on being part of drawing it. Doom Patrol has the mad scientist, the Frankenstein guy in a robot body, the "Invisible Man" motif, and the 50-foot woman. I mean, c'mon... the series to me (as Arnold Drake and Bruno did it) always came off as a homage to the old monster movies.... and things like monster movies are what inspired Drew to create Solomon Hitch. Seems perfect.

BRIAN CROWLEY:I think that Hellboy, Angel, Buffy, Xombie and many others from Marvel or DC would work well.
Drew and Tim both love Savage Dragon and I think that would be awesome.

YMB: Favorite horror comics?

DAVID BALDEON: Hands down, Robert Kirkman's The Walkind Dead

MARC LEWIS: Halloween Man of course.

RUSSELL HILLMAN: As the token Englishman, I have to say Hellblazer and Moore's Swamp Thing at this stage. Some of the Wildstorm Friday the 13th books were pretty good, and there's this little known book you might have heard of called Hack/Slash?

DREW EDWARDS: Modern or old?
I love old EC stuff and Marvel's bronze age monster comics.
Now days I groove to Loaded Bible, Black Forrest, and Wicked West.

SCOTT D. SIMMONS: Other than these two, no.
I read a Swamp Thing when I was a kid, and Superman/Aliens (cool art by Kevin Nowlan), but I don't think I really have anything in my collection that qualifies as a straight-up horror comic.

BRIAN CROWLEY:Hellboy, BPRD... beyond that it varies.

YMB: Where would you like to see Halloween Man in five years?

DAVID BALDEON: That's easy. On print, side to side with all the previously mentioned titles and playing the outsider, mad fun part in the horror comics universe.

MARC LEWIS: Published by a major publisher and I wouldn't complain if I was still coloring it.

DREW EDWARDS: On toys ,lunch boxes, and on Adult Swim of course.

RUSSELL HILLMAN: Over the last five years, the quality Drew's writing has come on in leaps and bounds (there's a wealth of incredible scripts that most people have yet to see that will blow you away), so I'd like to see that reflected in audience size. Over the next five years, I'd like to see us in print regularly from a name publisher, at the very least in talks for a trip to the big or even small screen. By that time, I'd like to have the full cast in action figure form on my shelf, and I'd like Drew to be making the money he so rightly deserves for all the work he's put into this book over the years.

I'd like some money too, please.

SCOTT D. SIMMONS: With a ongoing printed series, toyline, and a big-budget movie in the works. An animated DVD would be cool to see.

BRIAN CROWLEY:Animated series, Action figures, movie in the works, maybe a sucessful DDP series bookending Hack/Slash.

YMB: Would you like to plug any other projects you have going on?

DAVID BALDEON: Not ready yet.

MARC LEWIS: No.

DREW EDWARDS: Well, next weekend I'm hosting 24 Hour Comic Day at Cheesecake and Crime here in Vegas. Join the insanity.

RUSSELL HILLMAN: Just this one for now.

SCOTT D. SIMMONS: Oh yeah. I have a great comic called WANNABEZ that I have been doing with Brant W. Fowler. I am the penciler and inker, and Brant is the creator, writer and letterer. It's a humor and action book about people who think they've been granted superpowers by radioactivity from a meteor shower in New England. They see strings of coincidences as proof of powers and they run around dressed up in outfits trying to fight crime. The underlying theme is about believing in yourself and being more than you are. Our website is www.wannabez.com and among plenty to see there, we have a bunch of pictures up from our booth at Mid-Ohio Con where Wannabez #0 debuted. We have been getting the issues out to some retailers, and look to hopefully have issue #1 out by Christmas.

Other than that, people can also check out my website www.scottdmsimmons.com for more information on other projects like Global Comic Jam, Deadly Cinema, and things that will be coming up very soon for my own creations in December.... and of course, WANNABEZ and HALLOWEEN MAN!

BRIAN CROWLEY:I've done some work in the Halloween Man trade that should be coming from DDP soon. I did lettering and pinup in Loaded Bible that's in that trade that everyone should grab and then I'm doing work for Tom Stillwell's Honor Brigade and a book we're working on together called "Underneath" which is top secret, and then hopefully in mid 2009 "Hamster Rage" will begin at HamsterRage.com, weekly webcomic deal.

YMB: Do you you think comics will survive the current economic crisis?

DAVID BALDEON: I do. They've been caught in a better place than they were 5 or 10 years ago. They're going to suffer, like eveyone else, but they'll come through.

MARC LEWIS: I actually think we'll see an influx of consumers. When times get hard people tend to retreat into entertainment.

DREW EDWARDS: If we can get prices down, I think the economic crisis could end up be fairly good for comics. They're still a relatively cheap form of entertainment after all. Now, more than ever people need escapism.

RUSSELL HILLMAN: Not all of them. Titles will die, maybe even some of the smaller publishers will go down, but comics overall will survive. They've lasted so long and through so much, I'm pretty damn sure they're unkillable.

SCOTT D. SIMMONS: Seeing how they got a big boost early on with the superhero boom in the 30's and 40's when the Depression was going on, I'd say yes. Comics are by and large still "cheap entertainment" (man, I mean look at the cost of going to the movies!), and sequential storytelling has been around since paintings on cave walls. The days of Image-style market speculation are long gone, but the serious collectors, the fans, and the kids will always be there looking for a floppy, a trade, or a webcomic to help them healthfully escape the real world for a bit.

BRIAN CROWLEY:I don't know... it's going to be really bad and I think several companies are going to fall to it, if it gets any worse. I'm willing to bet aside from the big four (DC,Marvel, Dark Horse, Image) only 5 other "big" companies at best remain by March. I really hope I'm wrong, but the tremors are just starting.

YMB: How do online comics like Halloween Man factor into that?

DAVID BALDEON: Heavily. The web has changed everything and will continue to do so. Printed comics will go on existing, of course, but the chance to publish and promote comic books for almost nothing is going to help the industry (and the indies, and the authors, and pretty much everyone else involved) a lot. Web comics will probably be one of the few that can see this crisis as a chance to grow, improve, expand and claim for a position of honor in the bussiness.

MARC LEWIS: I honestly don't know.

DREW EDWARDS: Well, they're free for one. You can't beat that. I think you'll see more stuff like Zuda over the next few things. The big boys will start to see the value in it and we'll no longer be the ghetto of the industry. But it's going to be a slow process.

RUSSELL HILLMAN: Again, not everything will make it. Those most likely to make it are those where the creators put their heart and soul in, and where you can see and feel that on every page - and going on that, Halloween Man will last forever.

SCOTT D. SIMMONS: Right now, Halloween Man comics are free to view.... so it isn't a factor. Even if someone can't view at home, they can see it at a library, a friend's house, or well... haha, work when the boss isn't looking. Don't get in trouble!

BRIAN CROWLEY:I don't know. They say Entertainment thrives in recessions and down economies... but how that would affect a webcomic... I just don't know...
Paper publishing is going to be dead soon as a whole with the exception of books... at least by 2012. So hopefully that will work out for Halloween Man as they have homefield advantage with HM on the web... and certainly with Hack/Slash as they've done this crossover and that really sexy Suicide Girls crossover online. I mean Cassie as a Suicide Girl was HOT!

YMB: Who do you see Halloween Man or Cassie Hack voting for?

DAVID BALDEON: Jonathon 'The Impaler' Sharkey, of the The Vampires, Witches, and Pagans Party.

MARC LEWIS: Um, Phone a Friend please.

DREW EDWARDS: Solomon is an independent and Cassie doesn't vote.

RUSSELL HILLMAN: They will follow their hearts, and vote for the candidate that they feel represents their interests, that will best serve their country, as everyone should. However, one of the key elements of a secret ballot is that it's a secret, so I'm afraid I can't tell you who it will be.

Of course, it also depends who is running in their respective universes. I know IDW has the rights to Obama and McCain - would they be up for a crossover?

DREW EDWARDS: Halloween Man vs. Sarah Palin has a nice ring to it. Now that's really scary.

SCOTT D. SIMMONS: The only comics characters that ever really seemed to have it clear and out in the open were Green Arrow and Hawkman... maybe even Hal Jordan. I think only Drew and Tim could tell you for sure about Cassie and Solomon.

BRIAN CROWLEY:Solomon is in "Texas" but Solar City seems progressive so I think even though the conservatives have him surrounded the HM gang votes Obama.
I don't think Cassie or Vlad vote... but if they did vote, they're liberal and would both vote Obama.

DREW EDWARDS: Well, the world Halloween Man takes place is very much an alternate reality. So Obama and McCain might not even be running there. Also, keep in mind they'd be coming off of 8 years of Vincent Price as President, not Dubya.

Read the Hack/Slash & Halloween Man crossover "Hackoween" here.

Read the first part of the interview here.

Posted by YourMomsBasement at 12:00 PM

October 28, 2008

HACKOWEEN Interview Part 1

by the YMB Staff

YMB: Tell us about Halloween Man.

DREW EDWARDS (writer, creator of Halloween Man): Halloween Man is a digital/web comic I've been doing since I was 18. It's not perfect, but it's a lot of fun. If heroic zombies, sexy mad scientists, talking goats, and foul mouthed wizards seem like your idea of a good time. Then you've probably found your new favorite comic. And...get this..wait for it.....it's a love story.

I think it's the sort of thing that a lot of Hack/Slash fans would end up digging on.

YMB: What made you want to write a crossover with Hack/Slash?

DREW EDWARDS: Mostly for the fun of it. You don't do something like this because you're trying to reinvent the wheel. You do it because it makes for tasty "junk food." The character fit well together. Once it was purposed to me, it seemed like a very natural thing to do. I mean it doesn't seem out of left field like say....Halloween Man vs. Tiny Titans.

YMB: How much involvement did Tim Seeley have with the writing process?

DREW EDWARDS: He was pretty cool about giving everyone their breathing room. Early on he gave me firm list of "Don't do THIS" and then he checked in from time to time. But over all, he was very hands off. Which was actually scarier than if he had been breathing down my neck the whole time. I felt like I had to do right by his creations.

YMB: When did you first get involved with Halloween Man?

DAVID BALDEON (artist): I think it was three years ago more or less I started posting some of my pencils in the Millarworld forums. Drew contacted me to pencil a 12 page story called Duel, a madly fun Halloweenman gig complete with zombies and headless riders. Then I got the chance to give my version of Halloweenman's origin in a remake version of the original story (I proudly shared credits with the very talented Nicola Scott).

RUSSELL HILLMAN (editor): About five years ago. Drew had written the Halloween Man Christmas story faster Santa Claus! Kill! Kill!, and was assembling an art team. I read the script out of curiosity, and loved it. Drew types as fast as he speaks, which can be pretty fast at times, so it was filled with typos. I offered to look it over, and Drew accepted. I filed down some of the rough edges and made a few suggestions. Drew liked what I'd done, and sent me a few more scripts to polish. Five years later, I'm still here.

BRIAN CROWLEY (letters): in 2004 I did a rough pinup and talked to Drew about doing some stuff for Halloween Man that never materialized because I moved onto working for DDP and that took up a huge amount of my time. That and I'm kinda slow.

MARC LEWIS (colorist): Through email conversations with Nicola Scott who happened to be doing a three page short entitled "Necromantic" (at least that's what the pages were titled). Unfortunately, (for the story) I got another gig. I had also got to know Drew through the Millarworld.tv forums as just about everyone else.

SCOTT D. SIMMONS (inker): One of my favorite artists, Nicola Scott, sent out a ComicSpace bulletin asking for an inker to help her with a project where she was the penciler. I sent her a message volunteering enthusiastically and showing samples, and soon I was inking two pages for her, and she came back to have me do two more. This was for the re-telling of the Halloween Man origin, aka "Zombie in a Black Leather Jacket (Revisited)". When she got snapped up by DC, the story had to be finished up by a new penciler, and I was brought on board fully by Drew to work on inking those pencils. The new penciler was of course, David Baldeon, and they were looking for an inker who wouldn't leave out the details of his line work. Not only was I faithful to his work, but I tried to add texture and little details that he really seemed to like.

YMB: How did you get involved with the crossover?

DREW EDWARDS: It's all Brian's fault! Brian is the one who got Tim and I talking. The whole kind of grew out of that. Personally, prior to this happening I never would have imagined doing it. Halloween Man is just this little DIY comic and Hack/Slash is a pretty big deal.

DAVID BALDEON: Drew e-mailed me offering me the gig and the rest is history!

MARC LEWIS: Drew and I had been emailing for a while about doing something. When I sent him my latest batch of comic samples he put me on the crossover.

RUSSELL HILLMAN: Drew emailed me as soon as Tim gave him the OK, and I was in from the get-go.

BRIAN CROWLEY: I was kinda the one who got the ball rolling. I was working at Devil's Due as the Staff Letterer and then eventually become the Graphic Designer and Tim Seeley and I were chatting at the Patrick Brower's Christmas party (Owner of the awesome Challenger's Comic Shop in Chicago) and I mentioned to him something about Halloween Man. Long story short, Tim offered to let Drew use Cassie and Vlad in a crossover. Anyone who knows Tim Seeley shouldn't be surprised by this, he's one of the most gracious and generous guys I know. He likes sharing ideas and letting others play with his toys because every three seconds he's thinking up something brand new.
So then with the crossover in getting things geared up I've taken on a Project Manager/ Art Director role and liasoned with DDP to get us setup with an FTP and a few other exciting things that hopefully we'll discuss at a later date. Thankfully with this book, my days as a letterer end for good.

SCOTT D. SIMMONS: It was an honor to be asked by Drew to be the inker on Hackoween. I guess he was pleased with the Zombie pages I'd done with David, that he asked me to do it. In the meantime, while we waited through the whole process and for David's pages, Drew had me inking "God of Machines" and also got me hooked up as a penciler and inker for a project involving his lovely wife Jami Deadly. So, by keeping me around, I guess I don't suck, haha.

It's amazing to see David's pages roll in, and think "I get to ink this beautiful piece of art!" I am humbled and amazed by this experience, and working with these talented people and these great characters is just alot of fun.

YMB: Had you read Hack/Slash before you got involved with this?

DREW EDWARDS: Certainly. I really respect what Tim has done with it. I also have to say that I love...love....LOVE Loaded Bible as well. Which has Jesus kicking vampire ass in a "Mad Max" type world.

SCOTT D. SIMMONS: I was familiar with the character of Cassie Hack, and was excited about being able to work a project involving her. It seemed like a really fun crossover. It totally makes sense to see these characters lay into each other based on what they are used to expecting in their own universes. And it's a crossover that a casual reader can come into a understand who either Cassie or Solomon are.

MARC LEWIS: No, I hadn't and to be honest I still haven't. Sorry, Tim. My LCS is 30 minutes away and they don't carry the book.

DAVID BALDEON: I have to be honest and say no. As far as I recall, there has been no spanish edition of Hach/Slash, so I had no real notion of it until not long before begginig with the crossover. Once I got into it, of course, I have read quite a big deal of it. Real fun read, by the way. I kept on thinking that pairing this two characters was an excellent idea... and I was pencilling it!

RUSSELL HILLMAN: I had heard about it, and the idea of the final girl fighting back against slashers interested me, but for some reason I hadn't picked it up. As soon as Drew told me he'd had the nod to start working on the crossover, I hit up my LCS for research materials, and had to kick myself for not picking it up sooner - this book is great! Cassie and Vlad are awesome characters, and in the time I've been reading, the book has gone from strength to strength.

There are probably a bunch of people out there like me, and hopefully this will persuade them to pick up Hack/Slash too.

BRIAN CROWLEY: Since I was working at DDP, I had. Prior to working at DDP, I had noticed it on the rack and assumed it was a Buffy knockoff... which I think some cynical fans do. But man, once you crack open the books though you realize that it's a much, much different take than Buffy but equally as good in quality and execution. Then you talk to Tim and realize that he's never watched Buffy and that he and Whedon have this bizzare hivemind of genuinely similar ideas but with Hack/Slash they have the bizzare Tim Seeley twist. The stuff he puts Cassie and Vlad through in the ongoing series is just gut wrenching... I mean what other heroine gets two of her toes ripped off in the first issue? Or Vlad hooking up before Cassie to save her from the demon world Nef? And friggin Pooch? I mean I watched Tim draw Pooch. The boy just ain't right.

YMB: Favorite horror movies?

DAVID BALDEON: I'm a Carpenter guy. The Thing, The Fog, Halloween... Love the storytelling. Aside from Master Carpenter, I'd go with the classics: Whale's Frankenstein, Night of the Living Dead, Hellraiser, The Fly, Alien... I had too much fun with The Evil Dead to consider it horror but I guess it counts... The Shining! Way too many to count, I guess. I just can't name only three of them.

MARC LEWIS: Alien. That movie scarred me for life. I'm obsessed with it. Cabin Fever was truly a creepy, disgusting movie. Honestly, the slasher flicks never scared me.

RUSSELL HILLMAN: The original Halloween, Rosemary's Baby, Psycho, Freddy vs Jason, the original Dawn of the Dead, Gremlins, the original The Wicker Man, Jaws, Evil Dead 2, American Werewolf in London... so many more.

SCOTT D. SIMMONS: I like a variety of films and maybe tend to lean most towards sci-fi and fantasy... so Aliens, Gremlins, and Nightmare on Elm Street parts 3, 4 and 5 really appeal to me in the "horror" genre. Gremlins is a yearly tradition to watch, and my wife and I enjoyed watching The Shining too. Other than those, the Alfred Hitchcock movies are great classics, as I grew up watching older movies. And I was lucky enough a few years back to see a special showing of Vincent Price's The House of Wax in 3-D, in an old style movie theatre, complete with a live organ/piano player... which was a really cool experience.

DREW EDWARDS: I just want to say that I'm digging the Joe Dante/Gremlins love here.

RUSSELL HILLMAN: That's because Gremlins is a great movie.

A Hackoween crew movie marathon would be a great night in.

DREW EDWARDS: Next Halloween we'll do that. LOL

But we'll have to add the Howling for more Dante love.

DREW EDWARDS: This is such a loaded question with me. I probably name off a different list depending my mood. Today I'll go with:

Brides of Dracula, Friday the 13th Part VI: Jason Lives, the Invisible Man, Mad Love, Halloween, An American Werewolf in London, Jaws, Texas Chainsaw Massacre part 2, the Old Dark House, and Night of the Living Dead.

BRIAN CROWLEY: I tend to like humor with my horror so Evil Dead 2 and Army of Darkness rank high, as well as Hellboy, Ghostbusters, Fright Night, Lake Placid, Gremlins, and Shaun of the Dead rank high.

But here's my dark horse pick... Demon Knight.

RUSSELL HILLMAN: Yeah, Demon Knight is great.

BRIAN CROWLEY: Loaded Bible is awesome...

Drew... no Hammer horror love?

DREW EDWARDS: Brides of Dracula is Hammer horror my friend. It's by Terence Fisher, who is probably one of my favorite directors.

And it has the ultra yummy Yvonne Monlaur in it! Hubba hubba!

Read the Hack/Slash & Halloween Man crossover "Hackoween" here.

Posted by EdContradictory at 12:00 PM

May 21, 2008

Dear Penthouse, I mean, DC

Dude. HE DREW THE TONGUES.

The cover for Titans #5 by Ian Churchill:

Really, DC? Was this necessary?

You know, when actors are simulating make-out sessions in movies, we never see the tongues. You know where we do see the tongues? Porn.

JUDD WINNICK IS LEADING YOU DOWN A DARK AND STICKY PATH, DC. Come towards the light.

(And of course, the very day I notice this, Hollywood Tuna posts a picture of Joss Stone doing a lesbian makeout scene for some indie movie with some tongue clearly evident in one of the pics. But don't be fooled, DC. That's an INDIE flick. It's "art." Or that's what I've been told to say if I want to keep wearing my beret.)

Posted by Eugene at 01:00 PM

May 08, 2008

Dear DC: Superman Prime was a big oopsie of an idea

Dear DC:

Superboyman-Prime was a humdinger of a bad idea. Hoo boy, was it ever a stinker. I hate to lay it out to you like that, but there it is. Sometimes, the band-aid has got to come right off.

A Superman counterpart who is selfish, whiny, evil, and self-motivated? Really, DC? What the Didio were you thinking?

Look DC, there are characters you can turn evil and there are characters you can't. People bought into Tony Stark acting like a big ol' dick and getting Captain America killed, but dude, Iron Man ain't Superman. (By the by, the failure the first time Marvel turned Iron Man evil was strictly due to the leather jackets the Avengers wore at the time. I can prove this with pie charts and venn diagrams, but that's a different topic for a different day. And did Marvel try to turn Captain America evil? Well, did they? Of course not, DC. Shame on you.)

You could have gotten away with it if you turned a Batman counterpart evil. The guy saw his own parents gunned down in cold blood right in front of him. Bound to fuck a kid right up. So if you wanted to turn a counterpart of his evil, I'd be right on board with that idea. Hell, Batman created the Brother Eye satellite and that turned into a big ol' batch of steaming evil, right? Plus, the guy's a control freak. He's the jealous husband wearing the wife beater who keeps his wife on an allowance of $2 per week. A Batman from a parallel universe going nuts isn't an awful idea.

But Superman? Really? Who thought this was a good idea? Superman is the Big Blue Boy Scout. He's the hero that inspires other heroes in the DCU. He doesn't lie to his mother, steal from his boss, or cheat on his wife. He's truth, justice, and the freakin' American way. He's more than just a hero, he's a goddamn ideal. He should be incorruptible. And what do you guys go and do? You take a counterpart of his and turn him into this . . . imbecile on the right (image courtesy of our friend Tommy at SayItBackwards, one of the best comics-related blogs out there; Tommy kind of likes the idea of an evil Superman, and HE'S WRONG, but he still has a top-notch blog).

I'm cool with the black costume, DC. I'm even willing to live with the second grade dialogue. Really. Personally, I think "Kill you to death!" should be made into t-shirts. You'd make a mint. So seriously, I don't hold any of that against you, baby. But what ever possessed you to do the unthinkable and corrupt Superman?

Okay, sure, this is not our Superman. This is the Superman of Earth-Prime. Thing is, you always implied to the reader that the Superboyman from Earth-Prime was going to grow up to be pretty close to our Superman. That's right, you did. Don't go saying you didn't. I know what you said. Are you calling me a liar? Are you calling me a liar? I didn't think so.

And our Superman CANNOT BE CORRUPTED. He cannot be driven insane, he cannot lose hope, and he cannot be so despondent at the state of the universe that he decides, "Oh well. Fuck it. Gonna blow that sumbitch up an' start over." He should always persevere. Always. He doesn't scar his own chest and he doesn't maim magical imps from the fifth dimension with his heat vision.

Superman is an ideal. You don't turn an ideal evil DC, you just don't. I don't want to hear it about Ultraman, either. He was evil from the get go. That was the whole point of the character. He wasn't ever going to be the Superman that we know, and thus, was never corrupted. So don't even go there with me.

So fix it, DC. Please. I'm beggin' ya. We've been through a lot together, haven't we? Come on, baby. Don't be like that. We can make this work.

I don't know who this Paperghost dude is, but I'm guessing he made the image on the right and he's got the right idea.

Posted by Eugene at 10:30 PM

April 24, 2008

Rescued By Nerds

YourMomsBasement is proud to present RescuedByNerds!

What exactly is RescuedByNerds? Well, it's a new sister-site to YMB that focuses on long-form content. From now on, RBN will be your source for the interviews, reviews and columns you've come to love with a regular rotating cast of writers. Meanwhile, YMB has moved to a group-blog format that will continue its personality-driven commentary, parodies, and satire.

RBN is made up of Mike Collins, Ash, Erin, RichB and everyone's favorite crazy uncle, Larry Young. RBN kicks off this week with exclusive NYComicon coverage. Drop by and let them know what you think. If anyone is interested in writing for RBN, or contributing in any other capacity, please drop Mike a note.

Posted by YourMomsBasement at 12:00 PM

April 11, 2008

Check Out These Webcomics...

Here are some other webcomics YMB enjoys...

High Moon
In His Likeness
Wondermark
Toothpaste For Dinner
Tom the Dancing Bug
OnlineComics.net

Posted by EdContradictory at 09:00 AM

April 09, 2008

Voices Of Fandom

According to the most recent Mighty Marvel Mailer, "Ultimates #4 has been pushed back to 6/11 and #5 to 8/6."

But hey, fanboys and fangirls. It's all good. What's a couple more months? Isn't the quality of Joe Mad's art more important than his being on time? Won't it be worth the wait?

...well, you're entitled to your opinion.

Posted by Goody at 07:57 AM

April 08, 2008

Can YOU answer 22 questions about YOUR #3?

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Posted by EdContradictory at 07:30 AM

April 07, 2008

Notes From the Attic #1

I WOULD BUY YOUR BOOK IF...

An occasional series of marketing suggestions to the creators of today's comics.

I WOULD BUY MOON KNIGHT IF...

The title character shouted his own name when going into battle:

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Posted by Mr. Farrell at 11:03 AM

March 20, 2008

Interview with Tomas Giorello

by Julian Solis

Tomas, to start the interview, tell us a little about yourself. You’re no newbie artist and you’ve done a large amount of work on Star Wars comics and trading cards for Wizards of the Coast. How did you originally start working for these companies?

Thanks to the generosity of people like Ron Marz, in the case of Dark Horse or Anthony Waters and Darrell Richie in the case of Wizards.

Ron knew me through samples I did for Crossgen and introduced me at a convention to his Dark Horse friends and that’s where the Star Wars experience came from.

I met Anthony and Darrell in San Diego and within ten minutes of talking they took me to the Wizards booth and introduced me to the trading card editor.

How did the switch from Star Wars to Conan happen?

The Conan editor, assistant editor back then, had his office next to the Star Wars editor and saw pages of mine for their series as they arrived, it seems he liked them and when he took over the book and with Nord leaving the series, he proposed me to continue with it.

What was the most attractive aspect of working on this book?

First of all because this was none other than Conan and exactly the opposite of Star Wars.

I had already been working on covers and stories for four years with the rigorousness of actor likenesses, the exhausting work of starships, weapons, etc. and it seemed like a great opportunity to not only handle a book, but to let loose and to do something a little more intense and to my liking.

With Star Wars, even if I enjoyed it greatly, I was more limited. All that documentation work and technology can sometimes “harden” your style a bit, which is exactly what happened to me.

On Conan, on the other hand, I can be looser and more chaotic. I think I’ve advanced more on this Conan period that I have in the past few years.

Were you a fan of the character, be it in comics, the original stories or movies?

Yes, completely. Not so much on the printed page, even if I’ve read a lot of the stories, but mostly on the art side. Seeing monsters like Buscema, Adams and Alcala - among others – blew my mind when I was young and I still enjoy it today. Besides, I obviously watched the movies a thousand times.

Regarding the art style of the comic, how much of the same look that Cary Nord established for the book do you intend to keep and how much do you plan on distancing from it?

It’s not something on which I really plan on, I’m not that conscious of those things even if I do notice them. I would like to maintain certain pre-established lines because I think they are really useful and to keep my style at the same time. But if tomorrow comes and they don’t fit anymore I wouldn’t hesitate in changing everything.

I think it’s more about the work looking coherent with itself and for it to flow, that’s what concerns me, specially now on the first few tries, but I can’t deny that I’m a bit darker and more obsessive than Nord; we’ll see where this takes me in the future.

How would you describe your style on the Conan book?

As I mentioned, I’m a bit more detailed and darker. I like the idea of a savage Conan, laconic but with brains.

I hope to be able to express that and the violence that accompanies him everywhere.

When drawing the characters and the world of Conan, do you use reference from previous artists?

Of course, it would be a crime not to, but at the same time I think it would be very poor of me to limit myself to that. I think it has more to do with certain things that put you in the mood or that help you not stray from the essence of the character to re-interpret them later in my own way instead of copying poses or images from others.

I think that’s the correct way of using reference unless, of course, it’s a job like Star Wars, where the characters and other elements have to be exact.

How would you describe the new Conan book, compared to the one that is ending?

I think it will be more intense, Conan is a little more seasoned in that part of his life, he’s growing up and gaining experience. He’s definitely leaving behind being a young daredevil to become a very dangerous man. This could be called his mercenary phase.

These days it’s rare for writers and artists to stay on a book for long. Do you have a goal in mind as to how long you’d like to be working on Conan?

A LONG TIME! (laughs) I think that I’d like to, at least, take the character from stage of his life to the next one (which includes a lot of time and effort), just like Nord did by showing us a teenaged Conan looking for adventure and to prove his worth to another one turned into a thief.

Do you have any more art books planned for the moment?

No, not for now. I’d love to sit down to paint and sketch a thousand different things that pop into my head. The publication of Women and Monsters that came out here had some of my older work and I’d like to show the kind of things that I can do nowadays, things that don’t necessarily have to be reflected on the stories on which I’m working at the moment because they may have nothing to do with the aesthetic that I’m required of at that moment. But well, I’ll eventually have the time…!

Posted by YourMomsBasement at 12:00 PM

March 06, 2008

Interview with Tim Truman

by Julian Solis

To start, tell us a little about the relaunch. Why is now the right time to do it?

It seemed a new way to refocus attention on the book. the Conan title has always been one of Dark Horse's best seller, and remains so. However, there are a lot of titles out there and from time to time you have to wave a flag in the air to draw some attention, especially when you have so many exciting things in the works. For one thing, the book has a more elaborate, powerful look to it, via a new artist, Tomas Giorrelo. As people are seeing in the last four issues of the current Conan title, Tomas' visual realizations of Conan and his era are very dynamic and incredibly detailed-- a great combination of modern comics drive and Frazetta-style classic fantasy illustration.

But the main thing we want to draw attention to is that Conan is entering a new phase of his career, which is in accordance with Robert E. Howard's own outline of his life. REH divided Conan's life into very distinct, chronological periods. Occasional "filler" stories aside, the main arcs in the Conan title told the story of the first phase-- the earliest wanderings of Conan, the post-teen aged thief, fresh from the Cimmerian hills. Conan the Cimmerian moves us into the second phase that Howard's chronicled, when Conan became a mercenary and, later, a pirate. So the new title is a great way of marking that second era in Conan's life, on his long road to kingship.

You've said that the book will be more focused on following Conan as he matures and moves from one adventure to the next and with fewer stand alone stories. Do you have a specific point in his life that you are aiming for or looking forward to reaching?

TT: In the Conan title, readers have seen our youthful hero take some pretty hard knocks, physically and emotionally. He's been betrayed by some people he cared about, and that betrayal lead to the grisly death of his partner, Nestor the Gunderman. Nestor was one of the few true friends Conan has ever made, and REH indicates in Rogues in the House that Nestor's death made an impact on Conan-- so much so that he hunted down and murdered the priest whose schemes had led to Nestor's execution.

In any case, I've been trying to lay some very careful threads that lead to events that come to a climax in the last four issues of the Conan title (#'s 47-50)-- our adaptation of the unfinished Howard tale, Hand of Nergal. I guarantee that for those who've been following the book, issue #50 will be a gut-wrenching read, where all the various threads finally come together. Things happen that make Conan yearn to return home. His first encounter with "civilization" has left a bitter taste in his mouth. He wants to get back home to people whose ways and values he can understand. It's a natural response, I think. He's a mountain boy. Growing up in rural Appalachia, I knew a lot of people who would return home to the hills after venturing into the outside world. It's a thing that kids do. Some venture out again. Some decide to stay. We know that Conan decided to leave Cimmeria again. Why?

Conan the Cimmerian will mainly cover what I suppose one could call the transitional period of Conan's long career-- moving out of his early years as a thief and vagabond and into his early days as a mercenary in the Hyborean lands of Koth and Corinthia. But first, he makes a return to his homeland, the gray, mountainous country of Cimmeria. This is in accordance with information that Conan's creator, Robert E. Howard, left us in a letter he wrote to some fans in the 1930's, just before his death.

This left me with a question: what made him return home? By merely mentioning it as part of Conan's career chronology, REH obviously considered it to be a matter of at least passing significance. Considering that Conan makes the journey right before he turned to a new page in his overall career, I thought it provided an excellent way to do a tale that would dig deeper into the Cimmerian's head.

Doing so also gives us a chance to explore the life of another character who has always intrigued me: that of Conan's grandfather, Connacht. Howard tells us that it was Connacht's tales that inspired Conan to venture outside of Cimmeria. Connacht had also left the hills, years before, and had adventured in the lands to the east and south. However, Connacht when returned to Cimmeria he never left again. This presented a question that I couldn't resist: why did Conan and Connacht arrive at these different decisions? Contrasting the lives of the two men and the exploring possible reasons for the choices they made presented a challenge that I couldn't resist.

The Connacht tales will be told in "flashback" sequences drawn by the great Richard Corben-- one of my favorite artists. The first arc is seven issues long. Issues #1 and #2 feature lengthy Corben sequences, to get things going and set the mood. The Corben sequences in issues #3-7 are shorter-- 6-8 pages each. The Connacht sequences work in tandem with the main storyline. As Conan wanders through Cimmeria, he thinks back on the tales that Connacht told him and draws new lessons from them.

Both Richard and Tomas are doing amazing work. They really bring the Hyborian era alive, in a very fresh way.

Do you have a specific period for which you are commited to the book or are you on it for the long run? Could we maybe see you a few years down the line wrapping up Conan the Cimmerian #50 to launch Conan the King #1 a few months later?

Oh, no, it wouldn't come that quickly. Conan's overall saga would take years to tell. In addition to the "official", finished Conan stories that I try to pick up on those suggestions and use them as linking threads between the tales, and use them as the basis of new tales. In most cases, any "original" stories that I write will be directly related to events that Howard might mention in some obscure paragraphs buried within larger Conan tales, or questions that might arise when, in accordance with the chronology we're using, we try to bridge one of Howard's original stories with the next. Even though Howard wrote the original tales "out of order", time-line wise, he seems to have had a pretty precise overview of his character's life. Still, there are a few contradictions here and there that have to be worked out. It's a pretty daunting task, but also a lot of fun. Frankly, I find it pretty similar to the research I did for the real-life historical books I did, Wilderness (the fourth printing of which is available through Timothy's website, http://www.timothytruman.com) and Straight Up to See the Sky.

As far as my own commitment goes, I'll like to be around for as long as Dark Horse will have me. They seem to be quite pleased with what I've been doing, and now that we have Tomas Giorello on board as our regular artist we'll be moving full speed ahead, balls to the blade.

We know Richard Corben's classic work, and have gotten a taste of Giorello's work in the current Conan title. Besides the issue of the Rogues in the House arc that Tomas did, readers really see him unleashed in Conan 47-50. Is your approach to working with him different than working with Cary Nord or Paul Lee?

Quite. Though each of them are really fine adventure artists, it's hard to think of four artists whose work methods and techniques are so dissimilar. I loved working with all of them, though.

To be quite honest, I inherited poor Cary when he was at the end of his tether. He'd spent about three years on the book and was getting the itch to move on to something else. Though I love his incredible drawing abilities, Cary's lateness really made things incredibly difficult at times. We'd just get a story going and then would have to interrupt it, which effected the narrative drive that I wanted to establish. God bless him, though-- he was on the book for a long time and he'd put a lot of sweat into the pages that he did. There are panels in the final issue of the Rogues in the House that are among the best drawings that I've ever seen anyone do, anywhere.

Paul Lee's a really illustrator, and I really hope to work with him again. A total pro. His work was less prosaic than Cary's, but it had a realistic, almost cinematic edge to it. When I'd write for him I'd have to keep his penchant for realism in mind, and in the scripts I'd be a little more detailed when describing the more fantasy-oriented stuff that I wanted thrown in there.

I've completed all the plots for the Corben sections of the new title and have dialoged three. At the time he started the sequences, Richard needed the script for the first installment rather quickly and so I just did it "plot" style (or"Marvel-style", as it's sometimes called: plot first, artist draws from plot, then the writer writes captions and dialog to the finished art.) Since Corben is such a sterling, experienced storyteller, we felt real comfortable doing it that way. Cary, Paul and Tomas are a bit less experienced, so the editors always like me to do complete finished scripts for them, like movie scripts. However, I really like working "plot" method. It's a more playful way of working together and it gives the artist more of a chance to add more of their own personality into the overall storytelling and composition.

As or Tomas Giorello, while he'd done some comics work before, but he's done far more work as an illustrator. So, at least for now, I give him pretty detailed full scripts-- descriptions of "camera" angles, special effects and such that I might leave to the imagination of someone who'd been doing comics for years. However, the boy is catching on quick! He makes these huge leaps with every scene he draws. His art for #48 and #49 were miles ahead of the work he did for #47. Right now, I'm waiting anxiously to see what he's cooking up for the series closer, the double-sized issue #50.

(A bit of side-trivia: It's weird, but with Conan 47-50 and the Conan the Cimmerian #0 16-page special, readers are seeing his most recent work. For reasons that are far more complicated than readers would want me to get into, the two sequences he did for Conan the Cimmerian #1 and #2 are actually earlier work, done at a time when the Corben sequences were being prepared for the regular Conan title.)

What are some Robert E. Howard adaptations that we will see in the new series?

As described above, the first arc, "Cimmeria" is mainly an original tale inspired by Robert E. Howard's poem of the same title, and information that REH gave us in letters.

After that, we move apace through the chronology that we've been relying on (inspired by the one developed by Conan scholar Dale Rippke). The order of the next three Howard adaptations would be "Shadows in the Moonlight", followed by "Black Colossus" and "Queen of the Black Coast" . In between, there will be short prequel episodes, to set up the tales, expand on various hints that Howard might imply and show Conan transitioning to the locations of the tales.

Your love for Conan, even before writing the book, is well documented. How is your approach different when it comes to the process of writing him as opposed to writing characters that may be nothing more than just a job?

Well, to be honest, I've seldom done work that's been "just a job." I've been lucky enough to be able to regulate my career so that I basically do special projects or long term projects that really, really interest me. I've turned down a lot of offers over the years simply because I didn't think I could get into the material.

Writing the Conan books is different only because the Howard stories were among my earliest, most important influences. So I approach the work with a special reverence and hope to get it right. I pretend that Howard himself is being given the adaptations for his approval.

It obvious that different characters appeal to different audiences around the world. Superman and Batman, for example, are huge in America whereas Asterix, Tin Tin or The Metabaron are huge in Europe. Conan seems to have successfully reached out to a global audience and endured in people's minds for the past 75 years. Why do you think it is that makes this character so enduring and appealing?

You know, I get asked that question a whole lot.

My stock answer is that Conan is the alpha dog. Everyone wants to be the alpha dog. Conan shows the way.

Other than that, I must admit that looking for answer to that very question is one of the most interesting things about working on the book. Discovering it would be like finding the Philosophers Stone of adventure writing.

Other than working on Conan, you recently went back to one of your most famous characters - Grimjack - along with John Ostrander, the original writer of the book. How would you describe that experience?

It's been great-- first with the Grimjack: Killer Instinct miniseries and graphic novel from IDW and now as an online comic and eventual graphic novel for Comixmix. Grimjack: The Manx Cat (To see all episodes of The Manx Cat for free, go to: http://www.comicmix.com/title/grimjack-the-manx-cat/ ). Working with John-- and drawing Grimjack-- is ways great. I'm particularly excited about some episodes that are coming up, featuring some characters that John and I have been talking about for the last few years, St. John of Knives and his partner, St. Dryden-- the Goblyns. They are two renegade priests of a religion called the Church of Ephemeral Salvation who lived in an earlier era of Grimjack's multi-dimensional stomping grounds, Cynosure. Or perhaps "incarnation" is a better word than "era", given the nature of Cynosure. Anyway, they are demon-hunters-- enemies of monsters, vampires, killers and kings.

Apart from your work in comics, you have also had a side project for a while: Odin the Wanderer. Based on Nordic myths and as a book that will appeal to both children and adults, it sounds like a very interesting and unusual piece of work. How is that project progressing?

I've been doing a lot of thinking about it lately. Sort of itching to get back to it. I haven't been able to work on it for a while, given my workload on Grimjack and Conan. However, after I finish Grimjack I hope to take a break and get back into it. I might develop Odin as a graphic novel rather than as an illustrated prose story. Or something that's a combination of both.

Between Grimjack and Conan, I'm sort of reaching a blood 'n' guts saturation point of late. It would be great to kick back and do something that's a little different-- and Odin is certainly different. So, unless something comes up that I just can't refuse, I'll either be doing Odin or something with a humorous angle to it. I love doing adventure material-- it's certainly what I've built my career on. However, Odin would give me a chance to explore some full color techniques I developed for book and CD illustration, as well as some some storytelling and compositional possibilities that have been on my mind for the last few years.

I've also been thinking about doing a wild humor piece, science fiction stuff but really broadly drawn. I've been wanting to work with my son, Ben, who is a great writer, so he might be writing something for me.

We'll see what happens. First, I have to finish the Grimjack episodes.

Posted by YourMomsBasement at 12:00 PM

January 30, 2008

Brian Wood Announces ‘Public Domain’ Rights Reversion and Free Download

BROOKLYN, NEW YORK – January 30, 2008 -- Brian Wood announces the immediate and full reversion of publishing and other media rights for the Channel Zero designbook Public Domain.

First published in 2002 by AIT/Planet Lar, Public Domain is a collection of extras generated in 1996-98 during the creation of Wood’s first graphic novel Channel Zero. Consisting of unused pages, character designs, short stories, photography, and illustration, Public Domain is 145 pages of black and white artwork that is now available as a free PDF download here: www.brianwood.com/downloads

“This book is low res, rough and grainy, created mostly with ink, a photocopier, and a glue stick”, Brian Wood said. “I love it, it’s a look back to my time in art school before I owned a computer and I made mini comics and zines by hand. I’m a big process junkie so I was happy to assemble this material in the first place, and even happier now to make it widely available online.”

Channel Zero and Channel Zero: Jennie One (with artist Becky Cloonan) is still in print and orderable via your local comic book shop and through online shops.

Brian Wood is currently writing DMZ and Northlanders for DC/Vertigo, The New York Four for DC/Minx and Local for Oni Press. He can be found at www.brianwood.com.

Posted by YourMomsBasement at 12:00 PM

January 23, 2008

Mysterious Monks!

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Posted by YourMomsBasement at 12:00 PM

January 16, 2008

Interview with Duane Swierczynski

by Mike Collins

How did you go from editing Philly’s City Paper to becoming a novelist and now comic book writer?

The first two happened more or less simultaneously. I sold The Wheelman to St. Martin’s in August 2004, and a month later, I was offered the City Paper job. When good things happen, they tend to happen in double-barrel assaults.

The comic thing happened thanks to Ed Brubaker. A year ago I sent him an email telling him how much I dug Criminal, and it turned out that he’d read The Wheelman the week before. Ed introduced me to Warren Simons and Axel Alonso at Marvel. I sent them some of my books, and after a few weeks of thinking This will never happen, This will never happen, I was pitching ideas and receiving my first assignment.

Does working as an editor influence your fiction writing?

Oh yeah. The job forces you to pay attention to story structure and tightening language—the news hole is only so big. But this job has also exposed me to a ton of stories, pieces of which usually end up in the novels (and now, comics). David Simon, the creator of the HBO series The Wire, calls this process “stealing life.” I like that a lot.

I’d like to start out with The Blonde. What influences went into this?

The most obvious inspiration was the classic noir D.O.A. (Not the Meg Ryan remake, by the way.) But it’s also very much my version of a Cornell Woolrich “headlong through the night” story, where a cast of characters is racing against a deadline. Usually, at dawn.

The book starts out with a bang and the action doesn't stop until the final page. Was it hard structuring a story that takes place across one night?

Actually, I like restrictions—especially with time. The Wheelman takes place over one long weekend. The Blonde is one night. My next one, Severance Package, is pretty much three hours on a Saturday morning. Ultimately, I hope to write my magnum opus: a thriller that takes place in just 38 seconds.

Delving into spoiler territory for people who haven't yet read the book, The Blonde character is infected with an experimental nanotech tracking device set to explode if she gets more than ten feet from someone. It's quite a bombshell from an otherwise straight noirish story. Why did you want to add in a science fiction element?

I don’t think it’s all that science fiction-ish. I’m sure right now there’s somebody out there, funded by the Pentagon, working on something similar. In fact, I’ll bet someone is watching me type these words RIGHT NOW…

What kind of research, if any, did you do for the technological aspect of the book?

Not much beyond Wikipedia and a few pieces from New Scientist, to be honest. I suck at science.

Aside from Kelly White, The Blonde, the book features a seemingly indestructible government agent named Kowalski. How much fun was he to write?

Kowalski’s a blast to write, because he’s smart, tough, and more than a little nuts. He’s kind of my Polish Punisher. I’m eager to bring him back in another book.

Philadelphia itself is largely a character in your books. As a born and raised Philadelphian myself I still feel the inexplicable siren song to return home. Do you plan to continue using Philly as the main setting in your future novels?

Yes, unless the story begs to be set elsewhere. I have a love/hate relationship with my city (as do most Philadelphians, I think), so it’s fun to slap it around and brag about it at the same time.

I was going to toss in a question about the Eagles, but after this latest loss to the Giants I am just too bitter...is the city bordering on suicide watch?

I’m not exactly a sports guy, so I think I’d be confused if I woke up one morning and thousands of people had killed themselves overnight.

(Hey, that’s not a bad idea for a novel…)

Severance Package is your next book due out in late May. Is "Battle Royale meets Office Space" a fair description?

That’s pretty dead-on. It’s about a boss who wakes up one morning and decides to kill his employees, one by one. (I think we’ve all worked for bosses capable of this.) I’m really excited about the extras with this one—St. Martin’s went above and beyond. Tomm Coker illustrated the cover, and Dennis Calero contributed eight illustrations for the interior. All of the art is just amazing.

Moving over to comics, how did you end up writing for Marvel Comics, and how did a guy who's only written a few comics so far land the plum assignment of relaunching Cable's new monthly spinning out of Messiah Complex?

A combination of luck, timing, and a series of incriminating photos of Axel Alonso.

But really, Axel’s completely to blame. He’s great at pairing writers with their ideal material, and he had me at hello with Cable. Exactly why will become clear when the series begins this March.

You've done a Moon Knight annual, an issue of Punisher and now the upcoming Cable. Do you have any other comic projects lined up?

I do—including a one-shot featuring a wildly-popular Marvel character—but I can’t spill just yet.

Axel Alonso has a reputation for finding and developing new talent. How does it feel working with him?

I’ve never met a better story man. Axel knows how to pinpoint the logic flaws in your story as well as helping you amp up the key moments. What’s been great is that I live fairly close to New York, so it’s easy to pop in once and a month and bat around ideas with Axel. A lot of the (hopefully) surprises in Cable were cooked up over a few frosty pints around the corner from the Marvel offices.

Understanding that Messiah Complex still has a long way to go, what can you tell us about your take on Cable? What kind of stories are you looking forward to telling?

Cable’s kind of a spiritual soldier/superhero. There’s something priestly about him, yet at the same time, there’s something John Rambo about him. It’s a neat contradiction. (Then again, my best friend from high school is a Catholic priest who loves to shoots guns on weekends. So I kind of get it.)

As for what to expect: I love telling stories were the main character is screwed. From page one of issue #1, Cable’s in it up to his neck—kind of literally. From the beginning, Axel stressed the importance of making the rules of the game very clear. So once you understand Cable’s predicament, you’ll be primed for the arcs to follow.

It was cool to plan the series this way, because this is usually my m.o. when I write crime thrillers: start with someone in a really effed-up situation, then watch the character squirm until the very last page.

We know you weren't writing Cable back in the day, but we have a challenge for you regardless: Can you justify the pouches he used to sport? What would you say he was carrying in them? The many, many pouches. . .

I’m not sure what he used to keep in there, but now it’s probably baby wipes. Maybe a little diaper rash cream. And if he’s like any fathers I know, little airport-sized bottles of bourbon.

You have Ariel Olivetti as your artist on Cable. What's that relationship been like?

Really great. I can’t tell you how happy I was that Ariel came on board. I’ve been a fan of his since picking up Punisher War Journal #1 more than a year ago.

As for the working relationship: There is the language barrier thing—though Ariel’s English kicks the ass of my Spanish any day of the week. But mostly, it’s been me learning how to communicating an image to an artist, which is not necessarily the same thing as communicating an image to a reader. I try to be specific as possible without ruining Ariel’s fun.

How much interaction do you have with the other X-title writers? The X-Men have historically been difficult to manage in that there are so many books with a lot of the same characters appearing in them. Has it been a challenge so far?

At first it was a matter of getting up to speed with the seismic events of “Messiah CompleX”—I started plotting Cable while knowing just the bare bones of the story, not the finer details.

Going forward, I’m definitely going to be comparing notes with my fellow X-writers…

Can you say yet who the villains in the book will be?

I can’t—I don’t want to ruin it for you! But there’s a huge clue somewhere toward the last third of “Messiah CompleX.”

Are you on Cable for an arc or two, or are you planning on being on the book for an extended run?

I’m in it for the long haul. Axel, the boys in the X-Office (Nick Lowe, Will Panzo) and I have kicked around ideas for at least the next two years.

What can readers expect from your first issue?

Let’s see: Knives. Grenades. Beer. Bullets. Time travel. And at least one really, really messy diaper change.

For people unfamiliar with you or not a fan of Cable’s previous series, what would you say to get them to give either your novels or Cable a shot?

Argh, Mike. I’m so, so bad at the hard sell. I hate talking anybody into anything. I only lasted three days in a telemarketing job. I kept wanting to apologize.

But I will say that if you’re even the least bit curious, Cable #1’s a great place to jump into the post-“Messiah CompleX” world. And if you like fast-paced stories with plenty of violence and dark humor, my books might be worth a glance.

(Feel so dirty now. Need to shower…)

Posted by YourMomsBasement at 12:00 PM

January 07, 2008

There's Something About Harry

YMB knows that everyone is desperate to know what One More Day has changed in the life of Peter Parker, but what about the other guy? The one whose life was changed beyond just a marriage never happening, the guy who was dead before this all started?

YMB posed ten "yes or no" questions to Marvel Executive Editor Tom Brevoort to find out what we could about what has (and hasn't) changed for Harry Osborn. (We wanted to make sure we hit the important points: Harry's marriage and kid and his relationships with dad and Peter, so there's a bit of overlap here and there, but we think we covered all the bases.)

But first Mr. Brevoort had a quick disclaimer for the upcoming Brand New Day stories...

Quickie disclaimer: there are a couple of questions in here whose answers can best be found within the pages of the BRAND NEW DAY series of stories in AMAZING SPIDER-MAN in the weeks and months to come. So for those questions, I'd ask that you all sit tight, the answers will reveal themselves--but we do have them worked out, and you'll enjoy them a lot more reading them in stories.

1. Is Harry Osborn married to Liz Allen?
He was, yes.

2. If not, were they together as a couple at one point?
Yes.

3. If they were together as a couple, did they live with Peter Parker and Mary Jane Watson in the same building at one point?
They lived in the same building with Peter at the very least--I'm hesitant to say too much about the Peter/Mary Jane relationship that might tip our hand to what's coming up in AMAZING. So on part of this question, the answer is wait and see.

4. Does Normie Osborn still exist?
Yes.

5. Did Liz ever run Oscorp when Harry or Norman Osborn were not around?
Yes.

6. Does Harry know his father was/is the Green Goblin?
Wait and see.

7. Was Harry ever the Green Goblin?
Yes.

8. Are Harry and Norman on good speaking terms?
Wait and see.

9. Were Peter and Harry roommates once?
Yes.

10. Does Harry know that Peter is Spider-Man?
Wait and see.

So, we know that Peter and Harry were still roommates. We know Harry was the Green Goblin. And we got hints about two of the bigger issues fans were wondering post-OMD. First, Peter and MJ did not make a deal with the devil that wiped Normie Osborn out of existence. So that's good. And second, people are wondering if Peter and MJ weren't married, did they at least live together at one point? And while we got a "wait and see" on that, we do now know that at least Peter still lived in the same building as the Osborns at a time when in previous continuity he was married. So... maybe they did. Guess we'll wait and see...

Posted by YourMomsBasement at 09:00 AM

November 17, 2007

LIVE BLOG: Pint o' Joe from Dublin Comic Con

Opens the floor to questions.

Marvel West does movies and video games might not have answers to those questions.

What comic should people be reading but aren't reading for Secret Invasion?

8 month story. New and Mighty Avengers. Might do tie-in miniseries. Creator summit in December.

Would guess there will be a Frontline. Strong possibility.

There are plans for more New Universal. No Larocca, new penciller. Ellis has two scripts in. April/May-ish 2008.

Invaders April/May. Will run concurrently with Secret Invasion.

Weekly comics? Bagley doing it at DC post latest crisis? Spider-Man thrice monthly. There were talks about a weekly book like a Marvel Comics Presents. Big undertaking, many variables. Probably not at Marvel, though.

More new characters? Don't seem to sell well in superhero books. Particularly with solo titles. Runaways has worked. Difficult to launch new characters.

Lateness of comics? Professionalism? Worth waiting for? Doesn't seem to be getting better. As a fan, can't stand it. Are lessons being learned? Marketing gets overzealous. News leaks, and ccompanies jump the gun. Hitch has six issues of F4 done so that book will run straight through. With One More Day, they thought they were far enough ahead but it didn't work out. Not making excuses but sometimes life gets in the way.

Not sure what happened to the lost Kirby/Lee F4 issue. Coming out soon. But doesn't know the annswer to that.

Rich Johnston said Marvel might pursue publishing ROM now that license ran out? Yes. Marvel (and Bendis) are interested. Hasbro even put G.I. Joe license up recently.

Next films? Iron Man, Hulk, Punisher 2 with Newman from Seinfeld as Microchip, Wolverine, rumors of Edgar Wright doing Antman. Rumor of Black Widow with Rebecca Romijn.

Is New Warriors ongoing now? Not sure. Thinks so. Outlining issues up to 18, he thinks.

Trying to get some older guys to come back for some things. No definite plans right now.

Bendis is doing Daredevil: The End. With some of the past artists returning.

Announcements: Two first time announcements. Including a new project from an Irish writer.

Sequel to Marvels? Three issues ready or so. Want it all done before soliciting.

X-Factor continuing, some roster changes post-Messiah Complex.

Variant cover to Messiah Complex. X-Men 205. Cyclops and glowing guy. Nezno?

Finch's cover to New X-Men 44. Finch covers link up.

Variant Cassiday cover to Astonishing 24, Kitty and Lockheed.

Last regular issue then Giant Sized.

Astonishing will be more closely tied to other titles post Messiah Complex.

Adj-less X-Men ending. X-Men Legacy launching. Scott Eaton main artist. Flashbacks iin each issue by a different artist. First one John Romita Jr.

Garth Ennis project for Marvel. War is Hell. Cassiday doing covers. Chayakin doing art. Sketch shown of cover. Phantom Eagle in first arc. Hardcore. MAX title, possibly.

Loners in Marvel X-Mas Special. Loners doing Secret Santa.

Avengers Fairy tales #1 in Spring. Captain America as Peter Pan, frozen in ice, Scarlet Witch as Wendy, Wasp as Tinkerbell. Four issue miniseries. Issue 2 is Wizard of Oz with She-Hulk, then Alice in Wonderland. Issue four, Tony Stark as Gephetto and Vision as Pinocchio.

Punisher Fairy Tales?

New NYX series, female creative team, writer from outside of comics.

Messiah Complex no delays. All planned out meticulously.

Next big event? Planning to focus on title books. But editorial can get pressured to create another event to increase sales.

Variant covers back? Weren't those supposed to stop? Marvel's gotten worse recently 1 in 25, DC 1 in 10. CB loves Variant covers so he's the wrong person to ask. But maybe marketing won out in the argument.

Had idea to do glow in the dark cover that would reveal skrulls for Secret Invasion.

2 fill in art issues for Thor, main artist's staying on it.

One More Day late due to artwork was ahead for issues one and two. Issue three is done. Cranking along on issue 4.

Halo licensing keeps requesting art changes. Patterns on boots, gun details.

After Marvel Zombies 2, probably going on hiatus.

Marvel Apes, Marvel pirates, Marvel vampires all been discussed.

Online subscription service. Doesn't know if you will be able to download it ever. Comics still feeling out online distribution. Royalties?

Bryan Singer and Ultimate X-Men? Larocca and Kirkman are team for the foreseeable future. Michael Turner still slated for an Ultimate project after Soulfire.

Posted by YourMomsBasement at 11:57 AM

November 14, 2007

America's Next Captain America!

AMERICA'S NEXT CAPTAIN AMERICA!

After his stunning death in Captain America #25 (until they retcon it), the minds of fandom immediately turned to wondering when and how his replacement would come. Like Azrael to Batman, like Kyle Rayner to Hal Jordan, like those other four dudes to Superman, like Ben Reilly to Peter...er... Comic book fanboys knew it would just be a matter of time before someone new picked up the shield. (until they retcon it)

It was no foregone conclusion as to who would next wear the mantle of Captain America. Thousands of characters applied, both comic and otherwise. We here at Your Mom's Basement managed to get an inside look at the top ten of the many, many contenders to pick up the shield, and we bring you excerpts from their interviews.

NUMBER 10: RICK JONES! (circa 1963)

Con: poor dental care.

Why I should be the Next Captain America, by Rick Jones. Whoa, sorry! I felt like I was back in high school again for a second there. Or grade school, maybe. This is squaresville, dad. Hey, I don't think I'm the cat for this canary, if you dig where I'm coming from. Sure, I was Bucky for a little bit. That was just because ol' Cap needed me to help him shake the cobwebs up a little bit. Yeah, he had me sling the shield once or twice, but that was just for kicks! I killed a squirrel by accident. Boy, was Cap ever sore!

Listen buddy, Cap was Cap. You're not replacing him anytime soon, not unless the real Bucky comes back with a metal arm or something. And like that's gonna happen. I'll DIE before I even think about replacing Cap! So I gotta go splitsville, the Hulk is calling.

NUMBER 9: Georges Batroc!

Con: Is America ready for a Captain America with a mustache?

Batroc ze Lepair! Oui oui? Non? Non?! Zut alors! Pourquoi Batroc ze Lepair est non le new Capitain Les Estats-Unis? C'est possible Batroc, he would make, how you say...ze most formidable new Capitain Les Estats-Unis! Il est tres beau! Il est tres skeeled wit' ze savate, ze French form of les kickboxing! Batroc's moustache est magnifique! Who is you to say zat hees moustache is not the moustache of a Capitain of America? You Americans, so close-minded non? I weep at your pathetic...je ne sais quoi.

NUMBER 8: MATT SALINGER! (star of the Captain America made-for-TV movie)

Con: NERRRRRDS

Hi! I'm Matt Salinger, you might remember me as Burke from Revenge of the Nerds or from my many appearances on television or when I played the role... of Steve Rogers, Captain America.

And you might remember my dad, reclusive author JD Salinger, who penned us up the classic novel The Catcher in the Rye. So I think I'm uniquely qualified to understand American legends who disappear when their country needs them most.

When Captain America threw his mighty shield, I was there. When Cap stood firm against totalitarians, facists and phonies, I was there. When Captain America got drunk and cheated on mom, who was there to pick up the pieces?

No, it wasn't Reb Brown.

Remember, when you think about America, Salinger is as American as it gets.

NUMBER 7: PETER FONDA! (as 'Captain America' from the film Easy Rider)

Con: The drug test.

Oh wow. The colors. The colors man. The red and the white and the big blue, blue. You gotta love the colors man. I'm not really digging the chainlink...chain...aww, what's it called? Chainmail? Yeah, the chainmail. I'm not digging the chainmail, man. It feels like...heavy. It's constricting me. I'm gonna take this off, man. Live free or die, man!

Whoa, sorry I...I'm not ready for this. But see, I got the helmet! All painted up in that red, blue and blue. And blue...man, I should be Captain America because I AM Captain America! Not just because of that movie I did. I've seen this country far and wide man, I've seen every facet of this big bluetiful American Diamond we call Earth America. I'll fight injustice on my hog, just cruising through the backroads of this big nation of ours with me and my helmet and a whole lot of really good acid. What do you mean Cap doesn't do drugs, man? I am Captain America, and I'm ON a whole lotta drugs.

Blue. Aw man, wow.

NUMBER 6: MODOK!

Con: that ain't smoke

I, MODOK am best suited to become America's Next Captain America because I have changed my name to MODOC! As in 'Modified Organism Designed Only for to be Captain America!' APPROVE me or suffer my wrath!

The question of whether or not I can sling his mighty shield is moot! MOOT! My supreme mental powers is what shall cause criminals to yield, not this red white and blue discus! My stubby arms are irrelevant!

...and I shall need larger wings for my cowl! LARGER! Like unto the wings of an American Bald Eagle! I shall sever them myself, to show how TRULY I long to be the next Captain America!

NUMBER 5: AXEL "ACCESS" ASHER!

Con: complicated publication rights sue to the shared ownership with DC, complications due to his unabashed sucking
Why I should be the next Captain America: well, guess where I've been for the past ten years since my last appearance in the classic DC Vs. Marvel: All Access. You'll never guess. Go on. Guess. Why aren't you guessing?

Hey, screw you! I've been practicing for days with my very own training shield! Nobody can sling a shield like me! Except for the original Cap and maybe USAgent...oh, he is applying too. I didn't know that. I thought he was in Canada? Well listen, I get that maybe I'm not qualified to be the next Captain America. But with my contacts in the Distinguished Competition I can make all sorts of crossovers happen for you guys at the House of Ideas. BIG crossovers. If you want a slice of that big inter-company crossover cheddar, you come and talk to Access.

NUMBER 4: WOLVERIIIIINE!

Pro: he's the best there is at what he does

You wanna sell comics? Well I'm the best there is at what I do, and what I do is sell comic books. I'm in three or four monthly comics as is, what's another one? Alright scrubs, listen up, 'cause I don't want to have to waste more time jawin' with you than I have to. The ol' Canucklehead is going to be the new Captain America 'cause I'm the best there is at what I do. And what I do...isn't very pretty. If you need anymore reason than that, I got six adamantium ones for you right here. What? Come on now. I'm barely Canadian anyway.

NUMBER 3: BRIAN MICHAEL BENDIS!

Con: is not a fictional character like Batroc or Matt Salinger are

Yeah, I think I should be Cap.
Really.
(No, really.)
Why?
I have always - always - believed in what this country stands for.
YOU KNOW THAT!
And I have intimate knowledge and respect for the Avengers, and the great teams that have defended this country (except Tigra. I guess there's always Tigra. Fleabag.).

In short --
(too late)
-- I'm your number one candidate for Cap.

NUMBER 2: USAGENT!

Pro: ..............has good teeth.

Yeah, so I think my prior job experience speaks for itself. So you know the suit will fit me at least! A ha...ha. So I've been Captain America twice now (I am counting my time as a New Invader, thank you) and served with distinction. What? ...well yes, I suppose I do define 'distinction' with wholesale manslaughter and abuse of force. What are you getting at?

Listen buddy, my parents were killed! Right before my eyes! Wouldn't you go a little...I will NOT calm down! Do you wanna GO? What, are you gonna cry? Do you want me to make you cry? All right, let's finish this thing. I said shut up! ...well I meant to say it. So I can throw the shield just about as well as Rogers did, but I have a lot of trouble getting it to actually, y'know. Bounce back to me. All the time. Sometimes it does, then it ends up...what? Do you want me to snap your clavicle?

NUMBER 1: THE WINTER SOLDIER!

Pro: has been handled for the most part entirely by Ed Brubaker, Brubaker being entirely awesome

Maybe I don't even wanna be the next Captain America. Ever think about that?

Posted by YourMomsBasement at 08:34 AM

October 31, 2007

Working Stiffs: An Interview with the Halloween Man Creative Team

Texan Drew Edwards blended his love of comic books, horror movies, and psychobilly music and created Halloween Man, a hero to freaks everywhere.

Born on October 31st, every important event in Solomon Hitch's life happened on Halloween... Even his death. Reborn as a super-powered zombie and fueled by the power of the horror movie sequel, Solomon now protects the citizens of Solar City, Texas from otherworldly monsters as… Halloween Man!

Joined by his love, super-scientist and fashionable woman-about-town Lucy Chaplin, his randy sidekick Man-Goat, the bookish best friend Nickodemis and streetwise wizard Morlack, they fight a tireless crusade against evil in all its forms.

Halloween Man is a cult hit comic on the web and some of his greatest adventures will soon be collected in book form with the publication of Halloween Man: Superdeformed.

YourMomsBasement talked with some members of the HM creative team, including Nicola "Birds of Prey" Scott, about their involvement with the series.

So, how did you all start working on the Halloween Man comic and in what capacity?

JESSE FARRELL (colorist and letterer): My addictions had dragged me right into the gutter of human existence: the gutter. So starved was I for that elusive high that I was actually melting down and drinking crayons (a trick I'd learned in my youth to blank out the pain of grade school), I discovered a tattered, black and white ashcan edition of Halloween Man floating by me in the brackish streetwater. I lifted it to my reddened eyes; my fingerprints had left colorful impressions on the cheap newsprint. Soon, I found myself coloring pages, which I submitted to Drew Edwards (or rather his team of agents at Halloween Man Industries, LLC). Well, my story might have ended there had those good people not rescued me from oblivion.

Halloween Man saved my life. Halloween Man taught me to read.

RUSSELL HILLMAN (editor): Hi. I'm Russell Hillman, Editor.

I'm pretty sure that all three of us came on around the same time, or at least for the same story - it was late 2003, and Drew was trying to scare up some artists for his Christmas jam story, Faster Santa Claus! Kill! Kill! and had posted the script in the creative forum over at Millarworld. I was reading through the script, and two thoughts sprang to mind. The first one was "This guy is GOOD!", and the second was "Apart from his typing."

(Knowing Drew as I do now, I can tell you that he types about as fast as he speaks - which at times can be very fast indeed - and he comes up with new ideas even faster, so it's no wonder that his scripts are occasionally heavy on the typos.)

I offered Drew my assistance, and he accepted, so I went through the script and smoothed out a couple of the rough edges. Drew liked what I'd done, and asked me to take a look at another couple of scripts, and things snowballed from there.

As for what I do now - well, I often dismiss my contribution as minimal. My standard line is that Drew writes "A man enters the room" and I change it to "A man in a hat enters the room," but there's a lot more to it than that. I act as a sounding board when he's sketching out the plot, I cast a careful eye over the scripts, making suggestions for dialogue and visuals wherever they occur to me - but I don't want to suggest I'm anything approaching a co-writer. This is the house that Drew built, I'm just there to clean the windows (and occasionally suggest repositioning some of the furniture ).

I'm also one of the biggest fans of this book out there - the main reason I do this is so that I can read the stories before anyone else. Oh, and I'm a bigger fan of Man-Goat than anyone on the planet, probably even more than Drew. I can prove this with some kind of science.

NICOLA SCOTT (penciller): Yeah, like Russell said, I think we all entered Halloween Man Land on the same story, the X-mas jam. There were quite a few artists contributing pages, just one or two, and I seem to remember having pages 1 and 4. I was the first to finish, and Drew was happy with what I'd added, so he asked me to draw the epilogue, a last minute addition.

A few weeks later Drew asked if I'd be interested in drawing a three part story, Villain/ Icons/ Hero, and while working on that the opportunity came up to get a short HM story published and I ended up drawing that too. It was that series of events that kinda galvanized us as the core group. Obviously Drew writes faster than I can draw so the are many many stories penciled by other artists but over the years we've managed to build a pretty big body of work together.

You see tons of online comic collaborations that fizzle out after just a little bit of time. What is it about Halloween Man that made you guys want to commit to it? What engenders such loyalty? The characters? The concept? Drew himself?

RUSSELL: For me, it's a combination of all of those things. I knew Drew from the boards before I got involved, but that wouldn't have kept me around if I hadn't liked the characters... and they wouldn't have kept me around if they weren't in good, well-written scripts.

There are times when I'm reading one of those scripts, and I come across a scene or a character or a line of dialogue that almost feels like it was written for me. I stick around because I'm a fan, pure and simple.

JESSE: Drew has compelling personal style; onetime when my work was late he had a couple of "cowpokes" come over and "explain" what the "dead" in "deadline" really means to uppity Yankees like myself.

NICOLA: To start with, for me, it was definitely the characters. I didn't quite get it at the beginning but I knew I loved it. By the time Drew asked me to do the three part story, he and I had been communicating a lot more and were really starting to click. I'd also started chatting and flirting late nights with Jesse and it just seemed that we were all pretty jazzed about what we were working on and where it might go.

It was during that prep time for Villian/Icons/Hero that I went back to all the work previous artists had done and started really trying to define all the characters for myself. I was having so much fun and we were all really starting to gel.

So, let's get into the characters a little bit. Who's your favorite? And which character do you feel you made the greatest contribution to?

JESSE: Who's my favorite character? I've always been partial to Popeye.

RUSSELL: I make absolutely no secret of the fact that my favourite character is Ron Rollins, Man-Goat. When I read through a first draft of a script, I will actually cheer if he says his catch-phrase "The Power of a Man-Sized Goat!" - I honestly am that easily pleased.

Now Ron isn't the most admirable of guys - he'll drink you under the table, fight someone else over the table and then shag the barmaid on the table - but he's a stand-up guy and he's got Solomon's back. While I'm not like him in any way, he appeals to the most basic blokeish part of my brain. The main thing to me is - he's fun. He's Hercules meets Volstagg, with Ben Grimm's sense of humour and Ralph Dibny's sense of shameless self-promotion.

I don't know that I've made a greater contribution to any one character, just little moments here and there. I know that I've helped Drew develop more of a back story for Ron, but that's for a couple of upcoming projects. There's a story where we get to meet another of Ron's relatives (we've briefley met his father, Lord Pan), and something I'm actually writing myself (with much assistance from Drew) - THE SECRET ORIGIN OF MAN-GOAT.

NICOLA: For me, I suppose it should be Lucy but I actually had a slower time getting her right than any of the others.

It's actually Halloween Man himself, Solomon. After reading through some previous stories, and the scripts I was about to start on at the time, I starting to think of Sol as quite sexy, despite his disfigurement and undeadedness. He has a hard as nails facade and a soft gooey center. There was that brooding, swarthy quality that drives girls wild so I just drew him sexy. In fact I think that would be my greatest contribution. He's not Uba, just your everyday, swaggering around kinda sexy. And I gave him a jack 'o lantern baseball shirt!

Let's look at the short story "Necromantic" that you all worked on. While it's got your expected Halloween Man monster bashing, it also explores the relationship between "Solly" and Lucy. And it reads like it might be more personal story to Drew than your regular Halloween Man romp. What was the genesis off this story and your involvement? Why do you think it was important to tell?

NICOLA: Necromantic was one of those stories where there's character development and is quite essential to understanding who Solomon is, so I think Drew wanted his core group on it. It is a very pure and simple telling of Sol and Lucy's history and illustrates why they are such a strong couple. I think it's one of the best things Drew has written.

RUSSELL: To tell you the truth I don't really recall much of the creative process on that one - it may even have been one of those ones that came through to me fully formed, ready for final checks. When I came on board, Drew already had a whole load of scripts in various stages of development that he sent over. He's always quite a bit ahead of the stuff that you see as far as scripts are concerned - I'd say that if every script that I've edited so far was drawn, there would be enough to last at least a year.

As Solomon and Lucy's relationship is a vital part of the story, it was important to show how they met and what adversity they have to go through in their daily lives. It's not easy being an undead monster hunter with half a face, or being the girlfriend of one - for some reason, people seem not to like having Solomon around. He's kinda icky looking, and he tends to show up whenever weird stuff is going on. The fact that it's not usually there because of Solomon, and that he's actually the one that saves people's lives from the weird stuff doesn't seem to matter to them. They want the safe, clean-cut, normal looking superheroes, the Sentinels of Justice. To them, he's just as bad as the monsters he fights.

There are many other stories to be told about Lucy and Solomon's lives before Solomon died - some of which are already written, some have yet to be written, and others that exist only in Drew's head to inform other things. One day you'll find out about Solomon's parents, for instance, and why he came to work for his girlfriend Lucy Chaplin's family. Then there's Lucy's first experiments with super-science, or the various encounters between Lucy and Man-Goat's fathers.

Even if it weren't for the important relationship stuff, I'd love it just for the big panel of Solomon and Lucy fighting the clockwork vomit monkeys. That's super tight.

JESSE: I don't have an actual answer yet, I just have to tell Russell how much I am hating on him for that.

May all your hats be super tight, Russell!

RUSSELL: So they fit well and don't blow away in a strong wind?

Thank you Jesse.

I put super tight in there just to be annoying. Please change it to liquid awesome... unless you really want super tight to stay there...

JESSE: No, no... Keep super tight. It's the new "awesome." All the kids say so. Don't you want to be relevant?

RUSSELL: Rarely if ever.

What have been some of your favorite moments working on Halloween Man and working with each other?

NICOLA: Being so far away keeps me feeling pretty out of the loop and I haven't had the chance to really do much corresponding over the last couple of years. All I can say is that I do giggle to myself quite a bit as I get to draw some pretty outlandish things thanks to Drew's scripts.

RUSSELL: This goes back a couple of years. Wizard World Texas 2005, final day. Drew and I had spent the whole weekend selling comics, and doing fairly well. Then this girl walked by, and I pointed her out to Drew.

"See the bird over there with the tattoos? The psychobilly lookin' girl?"
"In the Munster Koach t-shirt? We have GOT to sell her a book!"
"Yup. She's our audience personified. If we can't sell to her, we're doomed."

So she came by. And she started to look at our wares. Drew complimented her on her t-shirt, and we started to give her the soft sell. What the book was about, the influences, why this comic had pretty much been written for her, and she had to buy a copy.

She wasn't sure. 2 bucks, 2 books? Ennnh.

So we switched up to the harder sell. Filling her in on all the background details. Who Solomon was, who Lucy was, what brought them together and what kept them together. Her boyfriend was getting kinda wound up, and she still wasn't biting.

She walked away.

We carried on selling books and chatting, and every so often, one of us would say to the other:

"Damn, why couldn't we sell to Munster Koach Girl? I can see us struggling to sell to (*points*) that guy or that guy, but she looked like she was BORN to read Halloween Man!"

It REALLY grated on us.

So much so that we decided to take some direct action.

I can no longer remember which one of us was the idiot that came up with the idea, and which was the idiot that agreed, but we scoured that entire convention floor until we found her. Then we approached her, and made our offer.

"Earlier on, we tried to sell you on our books, and you wouldn't go for it. Now, we're so ABSOLUTELY CERTAIN that you'll like them, we're not only going to give you them, we're also going to GIVE you 2 dollars to take them off of our hands."

Her boyfriend looked bemused at the transatlantic weirdo squad that had effectively just hunted down his lady. She told us we were nuts, but she still took the books.

And the 2 dollars.

THAT is how far Drew and I have gone to get this comic into people's hands.

JESSE: Russell's answer is now my favorite thing about Halloween Man.

Halloween Man: Superdeformed will be available at your local comics shop in the near future. Meanwhile, check out the new www.HalloweenMan.com.

Posted by YourMomsBasement at 12:00 PM

October 30, 2007

Last Minute Edition- David Gallaher on High Moon and Zuda.com

interview by the YMB Staff

How did you get involved in Zuda and what was the working relationship like?  How involved was DC Comics?

Kwanza, my editor, asked me to pitch the story. I found my artist and my own letterer, and submitted the finished project. There was very little editorial guiding or input, which is awesome, in a way, but really - it lets me stand or fall on the merits of our strip.

How do you plan on crushing your competition at Zuda?

I plan on crushing my competition with exceptional art, compressed storytelling, a fun concept, and a few other things.

How different has it been working on an online comic as opposed to a printed one?

When you are writing a standard comic, every right-handed page is supposed to give the read incentive to turn the page. With Zuda, literally every screen has to give the readers an incentive to click further. As a writer you have to adapt your strip to the new reading rhythm of the format. I have 8 screens, or literally, 4 full-sized comic pages to get my readers' attention. How many comics can you name off hand that get a reader's attention, reveal essential plot and character information, and are enjoyable by page 4? It doesn't happen often in the era of decompressed storytelling.

Where did the concept for High Moon come from? 

For over a decade I've wanted to do a Civil War tale with werewolves, HIGH MOON was an extension of that thinking. The title and details came to me over three years ago, in a dream, when I was dying. Seriously.

How did you link up with your artist, Steve Ellis?

I had met Steve several times over the course of various conventions and such, but when we started talking at the New York ComicCon about werewolves, the project just developed naturally.

What more can you tell us about the main character, "enigmatic drifter" Matthew Macgregor?

He's not a drifter, so much, but that element is certainly part of his character. He's really more loosely based on Marshall Matt Dillon from Gunsmoke than anything else. As a character, Matt is very stubborn, 'an unchanging man in a changing time' is I believe how I pitched him. His favorite book is 'The Prince,' and some of his other character traits and details can be found over at the High Moon Production Blog.

What else can readers look for from you?  Any past work readers can seek out?

I have another project with a mainstream company, that I totally can't talk about yet. If you like what you see in HIGH MOON, drop by my website: DavidGallaher.com for other projects. And if you like what Steve Ellis does with HIGH MOON, you are going to love THE SILENCERS and CRIMSON DYNAMO.

Zudacomics.com and High Moon go live today, October 30th!

Posted by YourMomsBasement at 12:00 PM

October 24, 2007

Interview with Larry Young

by Ash Aiwase

Is Black Diamond #4 where all hell breaks loose?

Oh, yes. Actually, this one was pretty fun to do as it's what I like about comics as a form: that the words on their own can create a nice little story, and the pictures on their own can tell a tale... but put the two together and it's where comics shine.

Plus, in this one, everyone dies, with two more issues to go.

What's the process between you and Jon Proctor like? Is it collaborative or directive? How much back and forth goes into each issue of Black Diamond?

I just give Jon the script, and he works his magic. I've worked enough art director jobs and production management and paste-up stuff that the last thing I want to do is tell somebody how to be creative. I think in the whole six issues, I've only asked him to tweak two things. The art is all Jon... the way I figure it, he's not telling me how to write, so I'd be a chump if I told him how to draw.

Where did you find Proctor, anyway? I think the only thing I've seen him do was Gun Theory with Daniel Way.

Jon sent me an email with some sample pages, and I really responded to his illustration style. I like guys who don't look like anything else in comics, and ol' Jon sure is unique. Anyway, I sent him back an email that is basically the inside front cover narration and asked if that sounded like something he might like to help me bring into the world. He was pretty enthusiastic about it, and we started up.

From a publishing perspective, have you and Mimi noticed anything different about publishing a monthly or semi-monthly book?

As opposed to doing stand-alones? Sure, I'm a lot busier doing six ads and six covers and writing six solicitation copy slugs and doing all the attendant marketing. But there's also a steady cash-flow that has retailers ordering more of the backlist. So, it's a pain in the ass, but that's what the kids want. Now, sure, anecdotally, there'll be people who wait for the trade, but that's just a delivery option. And it's getting so the audience is about split in two. I'm telling you; there are folks who have picked up BLACK DIAMOND not even knowing who we are, and there are folks who have said to me to stop wasting time and just put the thing out as a trade. Well, from my perspective as a creator and a publisher, doing both allows us to reach both ends of the chain, you know?

The format of each Black Diamond issue - main story, plus text and back-up - was that influenced in any way by the "Fell" or "Slimline" format?

Not at all. If anything, it was influenced by the ASTRONAUTS IN TROUBLE floppies we originally produced, where we had main story, text pieces, and back-up stories; but back in 1999, in those halcyon days of yesteryear, we just called them “comic books.”

Where have you been finding all the guys for those back-ups, anyway?

Just as I find anyone; folks pitch me stuff, I want to work with them. Someone has a good idea for something and lets me know; someone just strikes us as if they know what they’re doing. People helped me get a leg up into comic books, and I like to do the same. Nothing makes me happier when someone who we’ve published makes a career out of it. They know who they have to thank when they put their head down on the pillow, and that’s awesome.

When is The Black Diamond trade coming out, anyway?

It's not on the schedule yet, but it's a good bet I can put one in your hands next summer at San Diego. Tentpole action at its finest, right?

Jon Proctor's cover aesthetic - not unlike Becky Cloonan's approach to the Demo covers - has given Black Diamond a unified look on the stands. Does Diamond's new barcode mandate change the approach that you and Jon are taking to covers?

Naw, all that did is make sure we don't do any more floppies. I think we'll see PREVIEWS getting thinner because of this, though, and more webcomics and POD things appearing.

Really? Why's that?

Well, because it costs so much more money to slap the UPCs on for monthlies. For us, why bother? Just do OGNs, as we already have the infrastructure in place.

Speaking of Demo, it was announced a few weeks ago that the publishing rights to Demo have reverted back to Brian Wood and Becky Cloonan, and the name "Vertigo" has been making it around the rumor mill. Any comment?

Nothing other than of course I wish B&B the very best of luck with it. They know no one other than Mimi and me would have greenlit that one, and they started a nice big avalanche with it. It's awesome.

People forget that the first graphic novel we published that I didn't write was NOBODY, an Oni book. And we did CHANNEL ZERO, an Image book, and SKY APE, a Slave Labor book. JOHNNY DYNAMITE was a Dark Horse book, and SHATTER was done originally by First. We'll have a former DC book out before the summer, if all the Is get dotted and Ts get crossed. These things all slide around for various reasons. Although I'm pretty sure if Karen Berger asked me to do ASTRONAUTS IN TROUBLE as a DC/Vertigo book, even I'd say yes. It's the difference between MLB and Triple A ball.

You mentioned Johnny Dynamite - what's this about a Dick Wolf (Law & Order)-produced television show? There's a pilot being shot, and it's going to be all greenscreen?

Pretty cool, huh?

There's also a Couriers movie in production, right? I remember hearing that things were moving forward during San Diego Comicon, are there any new updates on the status of the movie?

If you read my interview on Ain’t It Cool News:

…you’d see we don’t like talking about this stuff until it’s all in the hopper. I’d hate to be saying this is shooting before the strike and then end up like Eddie Murphy in STAR TREK IV. Sometimes shit just doesn’t happen, and you look silly talking about stuff before it’s a done deal.

It's been five years since True Facts. How do you feel about the way the landscape of self-publishing and promotion has changed with the rise of the webcomic, social networking sites like MySpace and Facebook, and DC's new Zudacomics line? Were you to write the same book today, what would be different?

Even though it's our fourth best-selling book, I'm not sure there'd be a need for that kind of thing, today. As you note, all the information and access to a potential audience is out there already and in use by folks in their regular day-to-day. If I were to tackle such a thing, I think instead of telling everyone where the signposts are to get them from on step to the next and encourage 'em along, I'd probably start further along the process and instead of devoting a chapter on how to write press releases and where to send 'em, say, I'd probably start off assuming the reader was hip to that or at least knew how to use google, and spend more attention on stuff like hand-selling and such.

Is it true that Jason Aaron originally pitched The Other Side to AiT/Planet Lar?

I seem to remember our former creative exec Ryan Yount bringing me the paper pitch on Aaron’s Viet Nam tale, but it’s not exactly an AiT book, is it? And, c’mon, this sort of stuff happens all the time, people bringing projects around to likely candidates to see who will bite. I know [artist Cameron Stewart] wasn’t involved at the point we saw it, because I’d have a clearer memory for it…

I haven’t seen the Vertigo version, but I’m sure it’s excellent, with Cameron involved.

So how's Walker? What's parenthood been like for you and Mimi, and do you see it changing the way y'all do business at all?

Man, he’s the coolest. Being a dad really agrees with me. It doesn’t really change our way of doing business so much as making us more efficient, you know? I have to schedule my time a little better now that there’s a little dude counting on my attentions. And it certainly has made my idea of what a Big Deal is change dramatically. Dealing in funny books, there’s a whole lot of prima donnas and people with inflated senses of entitlement and whatnot. Not everyone, mind you; not even most. But there’s a whole lot more than you run into in the granite-cutting trade, say. And, I gotta admit, when I was a younger man, I’d ride a few horses and put ‘em away wet, if you know what I mean, and because you’re from Austin and have drunk a lotta Lone Star, I know that you do.

But, now? I gotta kid, man. Somebody has some crazy-ass demand or pitches a fit about something? No problem. I can deal with whatever you wanna throw, as long as my kid is still breathing, you know? My kid is happy, and healthy, and drawing breath? Everything else is dealable. No worries.

 

What's next on the AiT roster? What books are coming out after The Black Diamond?

Well, I hate talking about stuff that’s not signed, but we’ve contracted for Tony Lee and Paul Peart-Smith’s next, DODGE AND TWIST, which is OCEAN’S 11-meets-OLIVER TWIST, and the GEARHEAD guys, Dennis Hopeless and Kevin Mellon’s next, CUPID. We’ve got two books by Shannon Denton and one by Omaha Perez in the hopper, I think, although anything can happen as we haven’t signed paper yet, and of course the four books I’m working on. Those aren’t ready to announce, but I think it’s safe to say Josh Boulet, the artist on the BLACK DIAMOND #4 back-up will be drawing one. He’s a hot talent, man, and I’m gonna make him famous.

What's the status on the Astronauts in Trouble movie?

There's always something going on with the astronauts. Who doesn't think embedded reporters on mankind's return to the moon isn't a
going concern? The thing's been optioned three times, and I'm sure it's out there in the consciousness. I sure do get a lot of atta-boys
on that subject. Meetings are being held; the moon is being discussed.

Did I hear you say something about Roger Corman?

I'm not sure I can talk in public about that. Meetings are being held; emails are being exchanged. PROOF OF CONCEPT is being looked at
by interested parties. My MTV STAR TREK special is being screened. Love is all around.

Thanks for your time, Lar. Happy Birthday from all of us at Your Mom's Basement!

Posted by YourMomsBasement at 12:00 PM

September 18, 2007

Zero Killer #2 Advance Review

by Mike Collins

For those who haven't read issue #1 of Arvid Nelson's promising post apocolyptic series let's begin with a quick recap...Zero's world is different from our own. In his world the Soviet Union and the US exchanged nukes decimating most of the world.

Manhattan is flooded. It's skyscrapers are now home to various violent gangs at war with each other. Enter Zero, a "trashman" or bounty hunter paid by ganglords to bring in renegade gang members. Last issue Zero saved Stark from a group of renegade gang members he was tailing. Stark has now become his unwanted sidekick.

Issue #2 opens with Zero and Stark making their way out of the remains of the Chrysler Building. Traveling through the flooded city they spot a JOCOM chopper moving through the skyscrapers. A masked sniper fires on the chopper sending it crashing into the still standing World Trade Center's North tower.

All of this happens in the first few pages of the issue.

Zero's world is slowly starting to come into focus. We see his home in the remains of the Empire State Building, his burgeoning relationship with Stark as well as meeting one of his friends. It still isn't much, but it's an enticing trail Arvid Nelson is leaving for the readers. We begin to get some sense of what may have happened to Zero.

The issue ends on a cliffhanger which should bring even more of Zero's world into view. We begin to see who the different factions are and that there is still some sort of government presence though it's looking like a fialry sinister one.

The art continues to be impressive. Matt Camp is a find. He has a very clean, mainstream style that I think will win over regular comics readers. Camp's storytelling is strong and he is really delivering a creative world. It's a good combination between artist and writer.

For people looking for a book a little different than the normal superhero fare I'd suggest giving Zero Killer a look. It's a more fantasy based take on a post apocolyptic New York than DMZ and well worth a read.

Posted by YourMomsBasement at 10:00 AM

Interview with Arvid Nelson

by Mike Collins

Mike Collins: For people not familiar with Zero Killer, can you give them an idea of what the book is about?

Arvid Nelson: Sure, the simple description is that it's the bastard child of Akira and The Warriors. It's set in New York City, present-day, but in this world there was a nuclear war in 1973.

MC: Who was the war between and what were the effects on the rest of the world?

AN: The war started between Israel and her neighbors, and escalated into a global exchange between the United States and the Soviet Union. In the world of Zero Killer, the United States never dropped bombs on Hiroshima and Nagasaki. This lead to the Soviet Union having more influence in Asia, which meant the Yom Kippur War -- in 1973, yes -- went very badly for Israel, the exact opposite of what happened in reality.

MC: How did you come up with this timeline that you use as the history of Zero's world?

AN: I think it's one of those stories I've been writing my entire life. When I first learned about the destruction of Hiroshima and Nagasaki, I thought it was unbelievably horrible. I mean, it *was* unbelievably horrible. But I think you can make a pretty strong argument that the alternative would have been a lot worse.

It's one of those complicated subjects...

But the idea for Zero Killer really gelled during 9-11.

MC: You're a New Yorker right? The opening shot of issue one is really jarring in that you have a still standing but largely destroyed World trade Center. Did you want to immediately let people know that this book takes place in a very different timeline that our own?

AN: Yeah, exactly right. I live in New York City, and that's one of the central ideas of Zero Killer.

It's the complete opposite of our world. Nothing BUT the Twin Towers are left standing. Africa is on top of the world, the United States is on the bottom.

MC: You mentioned that 9/11 really gelled the idea for Zero Killer. Can you go into that a little more?

AN: Sure -- as terrible and awful as 9-11 was and is, about the same number of people as died in the attacks die of starvation in Africa every day. About 3,000 children die of hunger every day in Africa, I think that's an accurate number.

I just don't understand why things like that aren't more widely covered in the United States. The Minnesota bridge collapse is the most recent example -- don't get me wrong, it's a terrible tragedy... But how many people in the United States are aware of the fact that 6 million people in India were left homeless due to flooding at exactly the same time?

So Zero Killer was created, in part, as another way of looking at the world. We have so much to be thankful for.

MC: I think you're right. We Americans seem to be fairly ignorant of the rest of the world. I think it's fairly on purpose.

AN: Yeah, and it's too bad. I believe American and Americans could be such a positive force in the world, if only we paid a little bit more attention!

MC: What can you tell us about your central character Zero?

AN: Zero is a "trash man", he's a bounty hunter who tracks down renegade gang members. The ruined towers in New York City are all inhabited by different gangs, one gang per skyscraper, each with its own distinctive way of dressing, its own culture, and so on.

When people get out of line, Zero brings them in. It doesn't make him very popular.

MC: In a time when there are very few minority leads, was it a concious decision to make Zero African American?

AN: It was conscious, for a few reasons. First of all, it was just a way of making the Zero distinctive, of making him stand out.

I also try to put some distance between myself and my characters, and I'm white.
But really, I wanted to write a black character that's not constantly spouting ghetto slang or acting stereotypically "black". It's amazing to me how negative portrayals of black people generally are. And it's not in line with my perception of reality. Most black people I know don't talk like that. So I'm trying, hopefully, to make Zero a little more "real".

MC: Zero reminds me a bit of the Clint Eastwood archetype. The very quiet, very deadly stranger. Will we learn more about his life as the series continues?

AN: Yeah, we sure will. Zero has a complicated past. We're definitely going to penetrate that Clint Eastwood exterior, especially starting with Issue 3.

MC: The setting of the book is a wild one. A decimated, largely flooded Manhattan island. We see the World Trade Center and the Chrysler Building. What other NYC landmarks might we see?

AN: Pretty much anywhere is fair game, but the Empire State Building will figure into the story soon. Also, if the rest of the story gets greenlit, we'll see The Cloisters, which is in reality a museum of Medieval Art on the northern tip of Manhattan.

MC: Let’s go through some of the factions in the book. Can you give some information on the various gangs, where they reside and where they fit in the pecking order of Zero’s world?

AN: Sure -- roughly speaking, the gangs are divided into two groups, the Downtown gangs and the Midtown. The Downtown gangs have a much worse reputation than the Midtown. All the gangs fight amongst each other.

The Chrysler Building is controlled by the Black Cats, and Empire State is controlled by the True Bloods. The Disciples and The Riffs control the Twin Towers. The Jokers control the Pan-Am building, the present-day Met Life building.

These are some of the bigger gangs, the more powerful ones. There are lots of smaller, petty gangs that inhabit the smaller buildings.

MC: What kind of economic system does this world have?

AN: It's feudalism -- the gangsters are the nobility, who rule through force or the threat of violence. Beneath them are the artisans and craftsmen who grow food, fix and build things. Then there are the outcasts, who live on the lowest levels of the towers -- the people too sick with radiation poisoning or whatever illness to be productive.

So the towers are literally social pyramids. The gangsters live on top, the outcasts on the bottom. It's easy to move down, virtually impossible to move up.

MC: Are there any plans to explore the societal aspect of this world?

AN: Absolutely. You'll see it starting in Issue 2.

MC: Aside from the gangs and people like Zero, there are other survivors. What role do they play in the story? Will there be a larger supporting cast?

AN: Yeah, there's a militarized, bastardized version of the United States government called JOCOM. They exist in large, underground complexes. And then there is Africa. Like I said, Africa was never hit by the nukes in 1973. So it's undergone a renaissance.

We will definitely see some more cast members appear in Issue 2! Lots of surprises in store.

MC: Talk a bit more about JOCOM if you can. They are really sort of a malevolent, almost shadowy force right?

AN: That's right. They're very sinister. Completely militarized society. They swoop down into the towers in helicopters and kidnap people for unknown purposes. The people they kidnap are never seen or heard from ever again.

MC: I liked the scene in issue one where the technologically advanced chopper scares the hell out of everyone.

AN: Glad you did! There's more where that came from in Issue 2.

MC: So in Zero's world JOCOM is still actively creating new technology while the rest of the US is decimated?

AN: Exactly. And since there are no ethical constraints on research, they've come up with some really bizarre, horrific technologies.

MC: And is it safe to assume we will be exploring that as the book progresses?

AN: It is. Again, we'll learn the full extent of it should the entire series be greenlit, but there will be more than a good taste in the first six issues.

MC: On the Zero Killer site there is mention of “La Via”, a religion that has sprung up in the ruins of Manhattan. Can you talk a bit about that?

AN: Sure, it's a syncretic religion, a combination of Voodoo, Santería and Pentecostal Christianity. It's polytheistic, with "Jah" and his son "Esuchristus" at the head of the pantheon.

MC: We know that NYC is largely destroyed. What can you tell us about the state of the rest of the world? Will Zero travel outside of Manhattan?

AN: No, not really. I want to leave certain things up to the reader's imagination.

MC: What can readers expect in the next few issues of the series?

AN: Expect to learn a lot more about Zero's character, what motivates him beneath that cool exterior. Expect to learn more about the power dynamics of the world of Zero Killer, and some of the weird technologies that have been developed.

There will be a lot of action, too.

MC: I was really impressed with Matt Camp's art. Tell us a bit about him and your working relationship...

AN: Matt and I go waaaay back, Rex Mundi, my other comic, came out at the same time as Shadows, a comic Matt drew. I had been searching for an artist for Zero Killer for a long time, and I just happened to meet up with Matt at a comic book convention in New York.

I very nearly smacked myself in the head when he showed me his portfolio. He was perfect for Zero Killer! It was right under my nose, all along...

MC: I know that the series is scheduled for an initial six issues. What are the chances it will continue beyond that?

AN: It all depends on sales. I hope it does well, because I feel great about the writing, and the art is turning out better than I ever dared to dream!

MC: What kind of feedback have you gotten so far?

AN: It's been really good. I think people are waiting to see what happens in the next issue, and that's exactly what I wanted. Issue 2 is when the story takes off.

MC: What else is coming up from you Arvid?

AN: Well, this month something I wrote for DC is coming out -- JSA Classified #29, the first of a three-issue miniseries.

I'm also writing Kull the Conqueror for Dark Horse, it's an adaptation of a Robert E. Howard character.

MC: Is there anything I didn't cover that you would like to touch on?

AN: Just the website, I guess! www.zerokiller.com There's lots more information there!

Posted by YourMomsBasement at 09:30 AM

August 30, 2007

Top 10 Dirty Secrets of the Comics Industry

10. Comic books are purposefully made to degrade over time. Due to factors like sun, heat, water, and cheeto-stains.

9. Letters in letter columns are all made up.

8. Actual superhero battles: mostly concluded by choke holds.

7. "Stan Lee" is a psuedonym shared by moonlighting DC writers such as Joe Gill and Robert Kanigher; the man we know as Stan Lee is just a beatnik hired for public appearences.

6. Superman? Not that great an idea.

5. Joe Quesada knows that every single person that reads comics actually does post on the internet.

4. The name "comic books" is a misnomer: they are never funny.

3. Four color comics? Black and white aren't really "colors."

2. Outcome of superhero battles fixed in advance by editors.

1. Comic books? Actually for small children.

Posted by YourMomsBasement at 08:30 AM

August 11, 2007

WWC: Civil War and Rememberance

Joke about panel not starting late...

Quesada, Millar, McCann.

Starting with questions.

Comics dealing with rest of world's reaction to Civil War? Anything said outside of America, even I'm not interested. There's something about other countries that's just crap. -Millar

Any ideas shot down? When you kill Black Goliath and unmask Spider-Man there's really no where else to go.

No one's nervous about saying a crazy idea.

Anything you'd do different? Feels slightl

Posted by YourMomsBasement at 12:30 PM

August 10, 2007

WWC: Mondo Marvel

Here we go...

Joe Quesada's lost some weight. Good for him.

Starting a bit late. Apologies. Bad weather cancelling flights from New York. Marvel staff not here.

Genndy Tartakovsky does Cage, writing and drawing.

Silver Surfer: In Thy Name. Tan Eng Huat and Simon Spurrier.

Liefeld joins them on stage.

Punisher: War Journal. Cory Walker taking over art. Kraven art shown.

Killraven. Robert Kirkman and Rob Liefeld.

Killraven has Cap's shield. Placing him firmly in Marvel U. Post-apocalyptic. Gladiator in the future. Marvel artifacts still around.

WWH. Aftersmash. Post-WWH. "You will be floored by the creative team when they are announced."

Penance: Relentless. Paul Jenkins and Paul Gulacy miniseries.

Questions:
Timelines messed up due to rushed storylines? Do best to keep conituity straight. But a story in one issue may only be a day in MU and they all fit together. Mighty Av is a Monday. New is a Tuesday. WWH is probably Wednesday and Thursday. Astonishing X-Men is maybe a week-long story, but it's stretched out. WWH is only a couple of days long.

MIllar's Civil War talk of nerdgasm. Are you writing to tell best story or give fans what they want? Trying to give you what you need. If they wrote for fans wants stories wouldn 't have changed since 1970.

Bendis has been planning Skrull reveal for three years.

Working on Young Avengers.

Status of She-Hulk's powers confusing. It happens when you publish so many books. And it's always been an issue since the beginning of comics. Therein lies madness.

Runaways #28 in October.

New Defenders comic? Might be.

Will be a Micheal Turner annnouncement soon.

Two scripts in for Ult. Hulk vs. Wolverine. Waiting for rest.

Irredeemable Ant-Man. Can it be saved? People are voting with dollars.

Beyonder revelation leading to Secret Wars 3? No.

Danny Ketch in Ghost Rider again? Don't know.

Skrulls in New Avengers going to tie into skrulls in Annihilation? Maybe.

Nick Fury may raise his head some time next year.

Will Marvel publish catch-ups for crossovers like they did for Annihilation? Hopefully.

No plans for Force Works.

If Spider-Man had an hour to fight the Hulk who would win? "You guys aren't dating anybody, right?"

Didn't plan Back in Black to coincide with Spider-Man 3. Was pushed back due to Civil War delay, so it just got timed out right.

Trade sales are taken into account when determining future of series.

McGuinness and Mad on Ultimates starting when? December 2007 Ultimates 3? Ed's run after that.

Endangered Species ending happy? Have to read it.

Will 616 Nick Fury have plastic surgery? (Think he was wondering if Fury will look like his Ulttimate counterpart when he returns.) Answer was no.

Ultimates news towards end of this year. Too early to talk about.

Will Clint Barton be back as Hawkeye? Read the books.

Do trades hurt monthly sales? Would make sense that they did. But there are three customers, those who like monthlies, those who like trades, and those who like both, but all classes of customers seem to be increasin. Might change someday.

Planned Cap's death in a different context. Surprised when by time of publishing it became more culturally significant.

No drawing plans after One More Day.

Spider marriage. Ultimate is the way to do Spider-Man due to lack of trappings with that character.

Will Xavier's relationship with the X-Men improve? Read the books. Change occurs in upcoming Messiah Complex.

Has Bendis created any new villains besides Geldof? "Geldof was awful." Lot of new villains in Brand New Day.

Eye of the Camera (Marvels sequel) still being worked on. Three issues in the can.

More Nextwave? Up to Warren.

Captain Marvel will show up in November. Reed and Weeks. Classic old school.

Toyed with idea of bringing back Captain America Blue, Captain America Red, and Captain America White. (Joking.)

Back to Spider-Marriage again. Marriage keeps them from telling very best Spider-Man stories.

For most people, Spider-Man is single.

Posted by YourMomsBasement at 04:26 PM

August 09, 2007

Wizard World Chicago Coverage!

Thursday:
Premiere Night

Friday:
Mattel panel (11 am)
DC Nation (2 pm)
Mark Millar Q&A (2 pm)
Mondo Marvel (3:30 pm)
Vertigo (5 pm)

Saturday:
DCU New Worlds Order (11 am)
Marvel Civil War & Remembrance (12:30 pm)
Tricia Helfer signing (3 pm)
Cup o' Joe (3:30 pm)

Sunday:
Wizard Mega Movie Panel (12:30 pm)
Wildstorm (12:30 pm)

Posted by YourMomsBasement at 04:00 AM

August 01, 2007

Interview with Francis Manapul

Interview by Julian.

Francis Manapul's art is mostly known for his work in Top Cow books such as Witchblade and Necromancer but, starting this summer, we will see him going from the characters he's best known for to new properties and working with one of the biggest publishers in the world. This new direction starts with Iron and the Maiden, created and written by Jason Rubin and published by Aspen Comics. Francis was kind enough to take some time off the drawing table and talk to us about his upcoming work.

How did you become attached to the Iron and the Maiden project?

FM: When my contract ended at Top Cow I decided that it was time to try something different. I had been working there since I was 19 and felt that, after having drawn most the characters in the Top Cow universe, it was time for a change.

I was then put in touch with Jason Rubin through a third party, he liked my art and when I found out that Joe Madureira and Jeff Matsuda were involved with the project I immediately wanted to get involved with the project. The whole thing had a very good look to it as Jason had a very clear vision of what he wanted to do and that was something I wanted to be a part of.

How is your art in Iron in the Maiden different from your previous work?

I guess it's different because I'm working off Joe's and Jeff's designs and that was basically the groundwork for the book. When I was talking to Jason he was cool with allowing me to do what I did but he also wanted me to keep the level of excitement that Joe and Jeff were putting into the art.

The first few pages were a tough transition because I was trying to incorporate what Joe and Jeff did but at the same time make it work with what I did but by issue #2 I was much more comfortable with it. It's different from what I did at Top Cow but it's not that much of a stretch, as my work wasn't that much in the “Top Cow style,” which made the transition easier but at the same time tough because Jason already had the look that he wanted for the book. This time my art is less dark and the book has a more Capcom, animated style and they shot directly from my pencils.

How was is different to work on a completely new property as opposed to doing Witchblade or Necromancer, which had existed for a while before you worked on them?

It didn't really feel all that different, the reason is that when I came on to Witchblade they already had a look defined by past artists that worked on the book prior to myself and there was a lot of reference to look at. With Iron and the Maiden they already had a lot of pre-production reference artwork when I came on board, all the structure was already there. The basis and foundation already existed; Joe and Jeff had already finished that work when I came to the project. There was already an established bible to what the look of the book was going to be.

Jason already had a very specific vision of what he wanted, which I found very refreshing for a book that was just starting out.

What is it about this book that you think will appeal to people? What makes it different from other books out there?

I think that, first of all, the look of the book is fairly different from what is out there. The setting is basically the yesterday's tomorrow kind of look, for example in the way clothing is. It's that 40s sort of era with futuristic elements to it. I'm not sure there are many books out there with a look like that.

It's also a very action-oriented title, like an action blockbuster movie. Many books out there have a very dark or serious tone; this is a very fun book. It has cool villains and a Dick Tracy kind of feeling... it's very classic that way, it has a very fresh look and a very fresh taste in that kind of genre. It's a very interesting book and a very fun read.

How was the creative process in this book? Did you get the reference material and started working by yourself? Did you interact or consult with Joe Madureira or Jeff Matsuda?

When I came on board Joe and Jeff had already designed the characters. I didn't need to make stuff up, the world of the book was conceived already. The main look for Iron and Angel were already designed by Joe, which left me, for example, to design Angel in regular civilian clothing. For Iron they already had a very specific look. As I worked and new villains appeared in the book I had Jeff's designs to use for reference. I also want to give credit to Blur Studio, who did a great job designing elements like the weapons, cars and the world of Iron and the Maiden.

Jason Rubin said that he would be open to come back to the property and do a continuation of the story. Would you come back to the book if given the chance?

Definitely. I'd love to come back to work on the property in the future. Working with Jason was a creatively rewarding experience, so hopefully we can do it again!

Will you be at any of the summer cons this year?

I'll be at Wizard World Chicago (http://www.wizarduniverse.com/conventions/chicago.cfm) and the Toronto Comic Book Expo (http://www.hobbystar.com/ComicConToronto2007/CC_Main.asp).

Watch for Iron and the Maiden #1 coming out on August 1st. I also have a graphic novel coming out from French publisher Delcourt titled "Sept Guerrieres" which will be coming out in the first half of 2008 (and hopefully an American publisher will publish an English translation for us French-impaired.)

You can keep up to date on Francis' work at his official website (http://www.francismanapul.com) and his blog (http://manapul.blogspot.com)

Read a review of issue #1.

Read our interview with Jason Rubin.

Posted by YourMomsBasement at 08:30 AM

July 31, 2007

Advance Review: Iron and the Maiden #1

"The Hard Way" reviewed by Mike Collins.

Naughty Dog founder Jason Rubin takes his first steps into the world of comics with a creator owned series being published by Aspen.

Iron and the Maiden takes place in a sprawling retro futuristic cityscape where men wear 1930's suits and cars fly. It is vibrantly brought to life by pencilers Francis Manapul and Joel Gomez with colors by Danimation. The time period isn't specified but we are told a great war ended twenty years ago that brought about advances in technology but it has been subverted through Prohibition.

If the first issue is any indication this should be an entertaining series. Issue one begins with title character, Syndicate hitman Michael Iron, disrupting Sunday service to twist the arm of an obviously corrupt Cardinal. Things go from bad to worse when Iron finds half the police force waiting for him outside.

Making a daring escape Iron makes his way back to his boss, the inspired Big Daddy. Here we learn a bit more about the organization Michael Iron works for and how far their criminal reach is. This meeting also sets in motion the rest of the series. Iron and a small crew are sent to collect outstanding gambling debts from former special forces soldier John Chase, who is at home with his family, including daughter Angela and two small children.

In a manic scene everything goes to hell. Iron turns out to be a better man than either he or the reader is expecting and a whole lot of blood gets spilled. The issue ends with a seriously wounded Iron and Angela Chase, the Maiden of the title, on the run with Big Daddy's forces closing in.

I think Rubin, Manapul and Gomez deliver an entertaining first issue that shows promise for the rest of the series.

Posted by YourMomsBasement at 12:00 PM

June 27, 2007

Mike Carey on X-Men #200

interview by Mike Collins

For people who haven't kept up with your run on X-Men so far, can you give a quick synopsis of how we got to the opening of issue #200?

Oh man, where do I start?

Rogue got really sick fighting Pandemic. He infected her with a virus that makes her touch instantly fatal to any living thing. Then she absorbed eight billion alien minds in order to defeat a Shi'ar death machine called the Hecatomb. So now she's not just sick but losing her mind, too. Defeating the Hecatomb also caused the destruction of a large part of Cable's island home, Providence, and Cable has ongoing problems arising out of that, but the main crisis facing the group is Rogue's progressive deterioration.

Going further back, the mutant race, homo superior, is facing extinction because Wanda Maximoff altered reality so that most living mutants lost their powers and no new mutants could be born. Exodus, the ex-leader of the Acolytes, and Mister Sinister, both seem to have taken it into their heads to do something about that.

Oh, and Mystique has been coming on to Iceman something fierce. They even shared a kiss. I mean, a kiss that wasn't primarily about cardio-pulmonary resuscitation.

We open with a prologue in the French Quarter where a new character makes his debut wreaking havoc in an elevator. Who is this mystery man and why does he hate clowns?

You should recognise that guy. He's a Marauder, and not new at all. The long, white hair might be a clue...

Rogue is certainly a little worse for wear when this issue starts. How much damage has she undertaken between her run ins with Pandemic and Hecatomb?

I think she's in a worse state than we've ever seen her in, although you could draw parallels with the Claremont storyline in which the personalities she'd absorbed started to wake up inside her. This is like that, only on such a titanic scale that her own mind is being washed away in the flood. And she can't reach out for help: she has to be rigidly on her guard against even the most fleeting skin contact with a fellow X-Man. It's as close to Hell as you can get, in many ways.

Some fans are going to go wild with the developments in the relationship between Bobby Drake and Raven Darkholm. You've been planting the seeds for a while. Are you happy with how their relationship has played out?

It's... not played out yet. There are some major beats still to come, in #201 and then in #203. But yeah, I'm happy. I know that there have been some dark mutterings from certain quarters about the whole thing lacking credibility. Looking back, I think every last beat makes perfect sense.

What makes *less* sense, on the surface, is how Mystique behaves towards Rogue in this issue. There is, or there seems to be, a huge and insane contradiction. Again, I'd just say wait and see and all will eventually unfold.

Another very interesting interlude features the return of two Marauders, Vertigo and Scalphunter. Is it safe to infer that someone is in some trouble?

A whole bunch of someones. And part of the point of this story arc is figuring out who and why. This isn't about revenge. It's something subtler, more insidious, and ultimately much, much bigger.

Another moment sure to please many fans is the long awaited return of Gambit, and in his previous form no less. What can you say about Gambit's current allegiances and what it is he is seeking?

I'd prefer to let readers draw their own conclusions here. As we know, Gambit has a long and complex and largely tragic history with Mister Sinister. But yeah, here he is. We know Apocalypse's machines changed Remy a lot. We also know that Sunfire came up with a rationale for them both seeking out Mister Sinister, and that Remy accepted it.

Beyond that... read the story. And don't stop until you get to X-Men #207. THEN we'll talk.

Cable is another character from your squad being put through the wringer. Between Hecatomb's rampage through Providence and what Gambit and Sunfire do to him, Nathan is looking to be in pretty bad shape. How much of a role will Nathan play in this arc as well as Messiah Complex?

Well, I think #200 provides a pretty resonant answer to that question, so I'll just say this: Fabian Nicieza has forgiven me. Kind of.

We took Cable back to an earlier stage in his life, in a way - took him from his statesman role back to the gun-toting mercenary. And we played out the cost of that decision both in the X-Men and (much more) in Cable and Deadpool. There was really only one way that was going to end.

Moving back to Mississippi, all hell breaks loose. You have not one, not two, but three of your current roster be revealed as Marauders. Did you know all along who were going to turn out to be working for the other side?

We knew two of the three all along. The third we argued back and forth, but in the end we decided that she made the most sense as the new host for Malice. It's funny, because everyone was waiting for her to become a threat to the X-Men for a completely different reason, and now... BLAM!

This part of the planning was a lot of fun, in a dark way. With one of the three, in particular, we get a retrospective explanation for a lot of stuff that people read - - and were meant to read - - differently. I can remember really enjoying the moments in Chris Claremont's first X-Men run when he did that kind of stuff - set things up ages in advance and then did the killer reveal just when you'd forgotten all the build-up. Like when the X-Men's fight with Magneto on Muir Island freed Proteus from his cell...

The last scene in the issue is a doozy. Mystique revealed as a traitor after shooting Rogue point blank in the chest. How much fun was that one to write?

Oh. [laughs] I thought we were being coy about the actual details. Is there going to be a spoiler warning on this?

No, it wasn't fun. It actually kind of hurt. It's weird. You get protective about certain characters, even while you're heaping all kinds of inconceivable misery on their heads. I know how the story ends, and I know both the causes and the outcomes of everything that happens, but still... you know...

I remember once reading a review of a Macbeth production. The reviewer said it was the best Macbeth he'd ever seen, and when the actor playing Macbeth said "We will proceed no further in this matter" he actually BELIEVED it - even though, obviously, the play is written a certain way and we know that he does proceed. He does kill Duncan.

In the same way, there are certain dramatic moments that still hurt you when you read them, even if you know that things won't stay that bleak, that dark. Phoenix's first death, say - the real one. Rogue leaving Gambit in the snow. That kind of thing.

But the rest of the issue... oh, that was fun.

Mike Carey discusses the start of his X-Men run.

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Posted by YourMomsBasement at 11:00 AM

June 13, 2007

Interview with Greg Pak

by Mike Collins

For people who might not have followed Planet Hulk can you bring us up to speed on what's happened recently and how we've gotten to World War Hulk?

Last year a group of so-called Marvel "heroes," including Mister Fantastic, Iron Man, Black Bolt, and Dr. Strange, decided the Hulk was too dangerous for planet Earth, tricked him into a shuttle, and shot him into space. The Hulk ended up on the savage planet of Sakaar, where he bonded with a group of monsters and rejects and went from slave to gladiator to rebel to conquering emperor. The Hulk united the tribes of Sakaar, married the woman warrior Caiera the Oldstrong, and became the Green King. And then... disaster. The shuttle that brought the Hulk to Sakaar exploded -- destroying a million people in Crown City, including the Hulk's queen and unborn child. Now the Hulk and his Warbound gladiator allies are on their way to Earth, determined to wreak terrible vengeance upon those they blame for the destruction of their world.

(Incidentally, the hardcover of the "Planet Hulk" saga hits stores on June 13, the same day that the first issue of "World War Hulk" comes out.)

World War Hulk weaves its way through three main books, Incredible Hulk, World War Hulk and WWH: Frontline. Can you talk about what's going to be going on in each of those books?

The epic story of the Hulk's quest for revenge against Mister Fantastic, Iron Man, Black Bolt, and Dr. Strange is told in the five issue "World War Hulk" miniseries, written by yours truly with art by the legendary John Romita, Jr. This is the blockbuster movie take on the story, packed with every essential, giant moment of action and emotion. The "Incredible Hulk" #106 to #110, written by me with art by Gary Frank, Leonard Kirk, and Carlo Pagulayan, tell the story of those Marvel heroes crazy enough to side with the Hulk when he returns. The story includes key figures from the Hulk's supporting cast, including She-Hulk, Doc Samson, Namor, and Rick Jones as well as an unexpected group of new allies that includes Hercules, Angel, Namora, and self-appointed Hulk champion Amadeus Cho. "Incredible Hulk" #110 should be of particular interest to Hulk fans -- Amadeus's mission reaches its terrifying climax with a shocking revelation of the essential nature of the Hulk. Finally, "World War Hulk: Frontline," written by Paul Jenkins, is the street-level view of reporters and cops struggling to do their jobs in the midst of the mayhem of "World War Hulk." Fans of Hulk's Warbound companion Korg the Kronan definitely won't want to miss his star turn in this series.

You've got two of the more famous Hulk artists in recent years coming back for this event. Can you talk a little bit about working with both Gary Frank and John Romita Jr.?

Both of these gentlemen are legends and an absolute pleasure to work with. Nobody draws mighty Marvel smashfests like John Romita, Jr. -- his images have such incredible weight and power they practically burst from the page. And I marveled with every page that Gary Frank sent in -- I tend to ask artists to cram way too much into the foreground, midground, and background of every panel. And Gary always got every detail in there and more while keeping the images clean and gorgeous and powerful. While I'm at it, let me plug Carlo Pagulayan, who penciled much of the "Planet Hulk" saga and returns for "Incredible Hulk" #109 and #110 and Leonard Kirk, who just turned in his last amazing pencils for the Rick Jones/Miek confrontation story in "Incredible Hulk" #108. All of these pencillers are eating this story alive and I can't be happier.

WWH is another "event" comic. Do you worry that fans might be a little burned out after Civil War?

One great thing about "World War Hulk" is it's an entirely accessible epic that won't require you to trace a story through twelve different titles or pick up a million books in which you have no interest. You can get the whole big story just by reading the "World War Hulk" miniseries. And then if you want to go a bit deeper (and I know you do!) you can grab "Incredible Hulk" #106 to #110. And then when you're hooked, you can go nuts with "Frontline" and all of the other awesome tie-ins.

The other great thing is that "World War Hulk" is the culmination of a story that's been building for over two years. The pot's been simmering for a long, long time, and I think we're all ready for it to blow its lid.

Everyone's obviously excited about the big moments coming up in World War Hulk, as Hulk faces off with the members of the Illuminati. But what smaller moments should fans be looking forward to as the series progresses?

Look for unexpected moments with Hiroim the Oldstrong, Iron Fist, and, yes, a skinny dude named Bruce Banner in the pages of "World War Hulk." In the "Incredible Hulk" books, keep an eye out for Namor's appearance and the moment when Herc meets Hulk in #107, the Rick Jones/Miek showdown in #108, and the shocking reveal in #110.

What role if any will Amadeus Cho play in World War Hulk?

Genius-kid-on-the-run Amadeus Cho is the seventh smartest person on the planet and a self-appointed Hulk champion who's taken it upon himself to round up the heroes crazy enough to take the Hulk's side when the Green Goliath returns to Earth. His story began in "Incredible Hulk" #106 and continues in #107 (hitting stands on June 20), #109, and #110 -- wherein he precipitates the climactic revelation I've been ballyhooing. Amadeus is a cocky and confident as they come -- and he's utterly convinced that the Hulk's a hero, not a monster. The big question whether the hero in his head matches the vengeful Green King whom he's about to meet face to face.

Whose idea was it to put Hulk in a tiara?

It's a diadem, my friend, not a tiara. And yeah, those are action figures, not dolls, see?

And yes, it was my very awesome idea. You can even seen a little prototype drawing I made of the diadem in the extras in the back of the "Planet Hulk" hardcover (and did I mention that hits stores on June 13?).

The Hulk is a character with a lot of history and many different incarnations. You have the dumb Hulk, the smart Hulk, Joe Fixit...which version of the Hulk is your favorite?

The smart but savage Hulk that appeared in those very first Stan Lee Hulk stories. That's the version that Peter David left us with and the version that's hacked and slashed his way through "Planet Hulk" and into "World War Hulk." The great thing about that version is that he's smart enough to learn and grow and develop emotionally but savage enough that you're never quite sure which way he might fall on that hero/monster divide.

Looking back on Planet Hulk, are you happy with how it turned out? Anything you wish you had done differently?

I just re-read the whole run, and at the risk of sounding too full of myself, I gotta say I love it. I think everyone involved with the book went above and beyond, working hard to make every panel and every page sing. The one thing that has occurred to me is that we might have been able to tempt a few more readers into picking up the book during the "Civil War" if we'd had a backup feature set on Earth -- like the Amadeus Cho/Reed Richards tale in "Incredible Hulk" #100 -- running throughout the series. At the same time, we needed all the pages to tell the epic tale we told, and that one Amadeus Cho appearance in #100 set up "Incredible Hulk" #106 pretty nicely, so I can't complain.

Aside from your work in comics you've mentioned doing some work in film. Can you talk a little bit about that?

I went to NYU Grad Film and am probably best known in the film world for my feature "Robot Stories," which played in 75 festivals, won 35 awards, and is now available on DVD from Kino.com. For more about my current film projects, please check out my website www.pakbuzz.com for the latest screenings and updates.

You're largely identified with the Hulk. Are there any other characters out there you'd like to take a shot at?

You bet. Magneto, Storm, and Dr. Strange are all characters I've really enjoyed writing in the past as supporting characters -- I'd love the chance to work with any of those characters as leads.

Why should readers want to pick up World War Hulk?

'Cause it's your and my favorite kind of story -- an epic of action and emotion in which every mind-blowing set piece has enormous emotional repercussions.

And 'cause my big green buddy here says buy it.

Watch our video interview with Greg Pak at the last NYCC.



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Posted by YourMomsBasement at 08:00 AM

May 22, 2007

Interview with Matt Silady

by Ash Aiwase

Anyone who's seen The Homeless Channel in mini-comic form or on your website knows that you've got a unique art style. Could you describe your process? What was your motivation for developing your style?

The motivation for developing the style was one of necessity. Simply put, I didn't know how to draw. But the story really starts with Rob Osborne giving me some advice back at the second annual Isotope Award ceremony. Now, when I say "advice," I should be saying COMMAND. As in, "I command you to stop whining about not being able to find an artist and go figure out how to do it yourself!" When a man who is only 938 steps away from World Domination tells you to do something, you get off your ass and do it.

If you flip through The Homeless Channel, you'll get a quick idea of how those efforts have progressed. Basically, I start with photos, break them down into blacks and whites in Photoshop, print them out on 11 x 17 paper in light cyan, and then ink over the pages with a brush and acrylic india ink. With each page I work on, I'm getting more and more confident with my "drawing" ability. While I still use the photos, I don't feel like I am as limited by them as I was in the beginning.

I don't know if it's really all that unique though. Tony Harris, Alex Maleev, and Tim Bradstreet all seem to pull it off pretty damn well.

Oh, and I hear there's some new kid named Alex Ross who's used photo reference to put out a couple comics too.

Where were a lot of the photos used in constructing The Homeless Channel shot?

Oh gosh. All over the place. You know, any given panel can be made up of four or five separate photos. One shot for each actor. A couple for the backgrounds. I've used photos taken in Davis, Berkeley, San Francisco, Las Vegas, New York City, and Chicago. The cover is a photo I took in Oakland. I got in trouble snapping photos down in a BART station once. The security guard started getting all Homeland Security on me. But by the time I was halfway through my explanation that I'm a comic book creator and I take these pictures for backgrounds and I use Photoshop and it's about a woman starting a cable network, the guard just rolled his eyes and waved me along.

Some of the shoots have been a lot of fun though. The girls would dress up like they were getting ready for prom and I'd reimburse everyone for their time with food and wine.

I've heard your dialogue compared to Aaron Sorkin's (Sports Night, The West Wing), and I see a little of Amy Palladino-Smith (The Gilmore Girls) in the banter as well - did any of those shows have any bearing on the way you write dialogue? How do you get inside your characters' heads?

Gilmore Girls, eh? Now that I think about it, I can see where that comparison would come from too. I don't think I've seen a full episode of the show (although, I've stumbled on it a couple times flipping through the channels.) From what I watched, I'll take that as a compliment. The thing about these shows is that while there is a ton of "banter," it's not just empty speech. Sorkin writes some thick scripts for an hour of television. But when these television writers are on their game, all that banter pays off in the end. Each bit of dialogue adds something to the overall effect.

This is one of the reasons I hold off on the final scripting until I've finished the art. I know what I "want" the characters to say. But when I step back and look at the scene honestly, I can figure out what they actually do say. This helps prevent me from trying to impose "clever" dialogue on characters who just want to say what they mean. Sometimes the actor's expression will point me in the right direction. Sometimes dialogue just emerges from the natural rhythm of the scene.

It's less about getting inside the characters' heads and more about getting myself quiet enough to listen to what they have to say. Sounds pretentious, I know. But it seems to work for me.

Does it completely weird you out that Darcy Shaw looks eerily like your girlfriend?

Yeah, it was pretty strange at the beginning of the process. Because it's not just my girlfriend. It's cousins and colleagues and friends. At one point, I called up my Mom before she came out to California for a visit and I said, "I need you to pose as a homeless woman and Dad to be a newspaper editor."

She said, "Sure thing, I'll be the editor and your Dad will be the homeless guy."

Since you don't argue with Mom, I rewrote the script.

But as the project progressed, the actors started to morph into the characters. And the characters also inherited certain qualities from the actors. Sometimes, as was the case with Darcy's protege, Peg, the model really defined the character for me. All I had to do was step back, take the pictures, and the job was done.

For an independently published book by a first-time creator, The Homeless Channel has had an incredible amount of buzz. How do you get your book into people's hands?

Well, the buzz has had a nice, slow, healthy build. It's only in the last couple months that it's really started to take that exponential turn. It's not good if all the publicity peaks too early. We've really tried to time our promotional pushes with the pre-ordering period and the week of the actual book release.

Before working with AiT, the only way one of the mini-comics got into a person's hands was if I put it there myself. I hand sold the book at conventions like the Alternative Press Expo. I also made the first chapter available at my website for free right off the bat. And my leg work early-on seems to have paid off because when AiT made the offer to publish the book, they also opened a lot of doors in terms of marketing and promotion. I was able to walk right in.

There were some nice breaks along the way too. Warren Ellis has mentioned the book on his blog a couple times. We got our story picked up by the Contra Costa Times. Fortunately, we had the promotional infrastructure already in place to take advantage of these sudden spikes in interest.

What does the future hold for you? Can you tell us anything about your next project?

My next project is actually already underway. I'm doing some preliminary background shoots and casting the characters. It's a whole new story going in a whole new direction for me both thematically and artistically. I don't want to say too much more than that. I'm trying to let it grow sort of organically and whatever I tell you now probably won't be true anymore by next week.

Beyond that, I hope the future is full of surprises. And it looks like it's going to be a great summer. I'm heading to the San Diego Comic-Con and Wizard World Chicago. I can't wait to get to the theater and see Knocked Up. We've fired up the grill once already and probably will again this weekend on Memorial Day. Life's good. Heck, I've got my first book coming out tomorrow. It doesn't get any better than that!

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Posted by YourMomsBasement at 08:00 PM

Interview with Jason Rubin

by Mike Collins

What is the premise behind Iron and the Maiden?

JR: Iron and the Maiden is a cross between Escape from New York and Beauty and the Beast set in a high tech, alternate universe 1930's.

For a first time comic writer you were able to get some big names in Joe Madureira and Jeff Matsuda to do some design work for you. What did they respectively bring to the book?

JR: I am a first time comic writer, but a seasoned world creator. But in the video game industry we spend weeks or months designing characters before we go into production. I didn't want to give up that thoroughness, so I looked for the best comic people to help me design the game that way. Joe is a superhero, and his superpower is making anything he draws look incredibly cool. It may not help fight crime, but it sure comes in handy when you are trying to bring a character stuck in your head to life. Jeff is also a superhero, and one of his superpowers is seeing beyond single character to an entire cast of characters and how they interact with each other to make a greater whole. Together, they are an unstoppable superforce.

Tell us a little bit about your creative team...

JR: From the start I wanted the books to be incredibly detailed. One of my all time favorites is Hard Boiled, and although there may not be another individual that can channel Geoff Darrow, I wanted to take a stab at it. Francis and Joel made an incredible team splitting foregrounds and backgrounds on the early books, and as Francis became more comfortable with the material, he started doing incredibly detailed pages entirely on his own. The first page of every book is an incredibly detailed scene from The City Iron lives in done by Joel over a period of weeks. Financially, it makes no sense, but this is a labor of love, and I think it's worth every penny. And Danimation was my first choice for color. He is incredible with light, and crazy enough to take on the task of coloring that detail.

Aspen isn't known for creator owned work, this is a first for them right? How did you go about choosing them to publish your book?

JR: I had a very early meeting with Mike and Frank at Aspen courtesy of Joel, who was working there at the time. I think Iron came at a great time for them. And they are just the right sized shop to both give the books the focus they need, and have the reach to get them out there. It made sense for everyone.

In a time of continually late shipping books, how important was it to you to have all four issues finished before soliciting the series?

JR: As a reader, I can't stand late, or worse, discontinued series. And as a first time creator, who also was financing the books, I figured there might be some suspicion that I would lose interest, or otherwise fail to deliver. The best way to solve that is to finish the last book before you put the first book on the shelf. It's the best experience for the reader.

Are you a big comic book fan in general? Who or what are you following?

JR: I'm a binge consumer of entertainment. I don't watch TV for months, and then I do the entire 5 season DVD collection of some show in a week. I don't read books for years, and then I do a series in a month. Ditto games and movies. I hadn't read many comics since my teens, but after leaving Naughty Dog, my video game company, I met Barry Levine who was at Dark Horse at the time. He got me to go in a comic book store and pick up a comic or two. Six feet vertical of books later (no exaggeration) I had caught up with the last few years. My favorites are probably Transmetropolitan and Preacher, but I also loved Batman: Hush and many other series.

You've got some big names contributing alternate covers for the series including Jim Lee, Michael Turner, Joe Mad and Chris Bachalo. How did you go about getting them involved? Anyone you weren't able to fit in this time?

JR: Every connection is a different story. The thing I like about the comic book industry is that every person I called answered the phone and was more than willing to give their opinion, dispense advice, and more often than not willing to contribute in some way. I wish the whole world were so friendly.

Now that you have the first four issues completed, can you look back and talk about the process of writing the book? Was there anything that was more or less difficult than you imagined?

JR: Writing comics is far harder than I originally anticipated. I have an incredible amount of respect for those that do a book a month... or worse, multiple books a month. And it comes with its own set of challenges that are entirely unique to the format, for example surprises can only happen on page turns that make it a task that takes time and practice to get right. I couldn't fit a whole arc in 21/22 pages, so I just broke that rule. The worst moment is when you realize that you want to add a plot point to the beginning of a book, and it pushes a page so all of your reveals are shot. You start over. It's tough!

Do you expect to do more comics work in the future? Anything else coming up on that front?

JR: I had an incredible time doing Iron and the Maiden. If the public likes it, I would love to do more. There is definitely room for continuation of the story. And I have a lot more ideas that want to get out.

Fans of your video games are going to be interested to know if Iron and the Maiden will make their way to next gen systems. Are there any plans for that?

JR: There is nothing concrete with regards to Iron and video games. I've been working on a web-based mashup technology at www.flektor.com for the past year, so I have barely had time to think about it, but I'd love to see Iron become a game. All of the elements are there.

Finally, for anyone not familiar with you or the new book, what would you say to get them to give it a try?

JR: I don't believe that there is any other opportunity to see so many talents collaborate on a series of books as there is on Iron and the Maiden. But Beyond that, the story, setting, and world will be something totally different. Page for page, Iron is packed with a lot of bang for the buck.

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Posted by YourMomsBasement at 09:00 AM

May 15, 2007

Interview with Marc Guggenheim

by MikeSpins

Marc Guggenheim is a successful television writer who has recently returned to the realm of comics (he was once an intern at Marvel) with projects at both Marvel and DC. YMB's MikeSpins spoke to him about his work on Blade and Flash: The Fastest Man Alive (the latest issue of Flash, #12, is in stores Wednesday).

You are a writer for television as well as video games. What's the allure for you in giving comic books a try?

I was a comic book fan long before I was a fan of anything, including TV and certainly video games. So the allure was always there in the form of pure wish fulfillment. The trick was breaking in and it turned out it was easier to break into television than comics.

What was your experience like working on Wolverine?

It was a dream, actually. It should have been a nightmare -- a high profile gig, company-wide crossover, a character of Wolverine's stature... But the series wrote like butter and dealing with Axel Alonso and Humberto Ramos was the least stressful thing I could imagine.

Was it intimidating taking on such a popular character, especially considering your run was tied into Civil War?

It should have been, but to be honest it was far more intimidating living up to the trust Axel placed in me by giving me the book for seven issues. He was going very far out on a very fragile limb and I didn't want him to look like an idiot.

Were there any editorial complexities you experienced working on such a large event?

Not as many as you'd think. Axel was great in terms of keeping me in the loop on everything that was planned vis a vis the event. I was also lucky insofar as my pitch accidentally had Wolverine off on his own for 99% of the arc, so there was very little interaction with the "complexities" of a company-wide event. I think the only thing I had to service was getting Namor into the story but out by Part 4. That was the only trick -- and even that turned out to be fairly easy. If Axel hadn't been so accommodating with my crazy ideas, it might have been a different story -- literally -- but it was all very painless.

Are you happy with how your Wolverine run turned out?

I'm extremely happy with it. In fact, as I write my second Wolverine arc now, I find myself stretching to top myself. That first arc was one of those happy accidents where everything falls into place.

Anything you would have done differently in retrospect?

Burned off even more of Logan's flesh. Kidding. Seriously though, it's a good question, but I can't think of anything specifically. After I complete a project, I tend to move on to other things. I don't look backwards and I definitely, DEFINITELY don't re-read my stuff.

Your next big project was relaunching Blade. Why do you think the character does well as a movie property but has had trouble catching on in comic form?

I think it has a lot to do with the genre Blade operates in. Blade is, fundamentally, a horror character. I can pair him with Wolverine or Spider-Man, but he's basically a horror guy. The horror genre has historically done extremely well in movies and is less commercially successful in comics. I think it comes down to that.

How would you describe your run on Blade for people not familiar with it?

In a single word, I hope, "fun." I'm just trying to make Blade an enjoyable and accessible read each month. Towards that end, each issue tells two self-contained stories -- one set in the present and the other in Blade's past. But there's an over-arching mythology built into the series to reward regular and repeat readings.

Howard Chaykin is the artist on Blade. What's it like having him on the book?

It's like having Elvis sing my songs -- if I were a songwriter. The guy's a legend and is every bit as good today as he was twenty years ago -- if not better. Plus, he's a total gentleman and a consummate professional. His pages come in brilliant and they come in like clockwork. Our first twelve issues will come out in the span of 12 months and be produced by the exact same creative team. That's a rare accomplishment these days and it could only have been achieved through the involvement of an artist of Howard's artistic and professional calibre.

Ok, I have to ask this. What exactly is a "gunarm" and why is Blade getting one?

Heh. Technically, we've been calling it a "gunhand." This was the brainchild of Blade editor Aubrey Sitterson. I think he suggested it because he thought I wouldn't be crazy enough to do it. Basically, it's a prosthetic that fits on to the stump of Blade's left wrist and allows him to shoot at people. What happened to Blade's left hand? He bit it off. No, really.

What else can we look forward to on the title?

Lots of stuff: A reunion with Spider-Man, a guest appearance by Union Jack, the return of Hannibal King and the payoff of all the little plot threads I've been weaving into the book since issue 1.

You've also written a title for Marvel, Hyperion vs. Nighthawk. Why did you decide to set the series in Darfur?

One of my goals is to try to tell stories that could only be told with the characters I'm writing for. In this case, Marvel asked me to do a Hyperion vs. Nighthawk mini and I started with thinking about what is important to each of those characters. What do they care about? What do they care about enough to fight over? And it occurred to me that Nighthawk's primary motivation is race and racial issues. What's the ultimate racial issue on the planet right now? If you ask me, it's the genocide -- even President Bush has called it genocide -- going on in Darfur right now.

Let's move on to your newest project, The Flash for D.C. You're a longtime fan of the character right?

Yes. Very longtime. I grew up reading the Cary Bates and Carmine Infantino issues...

You've only been on the book for a short while. What's fan reaction been like so far?

It's been overwhelmingly positive, which is wonderful. The Flash fans are especially passionate and loyal and they deserve to be happy about the Flash. I don't write to pander, but I am gratified that people seem to like what I'm doing.

The Flash is one of handful of "legacy" characters that seem to "pass on the mantle" every now and then. What is it about the concept of the Flash that makes it able to survive multiple characters under the mask?

Good question. My initial reaction is that the answer has less to do with the Flash concept than it has to do with the characters who have inherited the mantle. I think if you look at legacy characters, the ones that work are the ones with compelling characters taking up the mantle. Wally West and -- and I know I might be in the minority here, but I believe that's a temporary thing -- Bart Allen certainly fit that bill.

Your Flash is Bart Allen. How does it feel to be writing the start of Bart's career as one of comics more legendary characters?

It feels great. There's a sense that there are a lot of stories to be told, new ground to travel. After writing "ageless" characters like Blade and Wolverine, I really like taking on someone who's a rookie.

Following up on that, what do you see in Bart that's different from Wally and Barry? What sets him apart within the legacy?

Well, the rookie thing, for sure. He's also a very different person from Wally and Barry. He's got his own personality, for better or worse. Bart is a lot more, ahem, impulsive than Barry or even Wally was. Plus, he's got more of a sense of humor. He grew up in virtual reality -- which is a difference right there -- and there's a part of him that still considers everything in life to be one big videogame.

What can you tell us about your run?

Essentially, it's Bart's trial by fire. By my first issue he's come to terms with the fact that he's gonna be the Flash and my first arc deals with the repercussions of that decision. Since this is the Flash, that has to include throwing down with the Rogues. It's a rite of passage for any Flash and I'm throwing Bart into the deep end of the pool immediately -- perhaps before he's truly ready.

We're hearing something really big happens in issue #13. Anything you can tease us with?

How about some dialogue: "I. Am. The. Flash!!!"

If you were able to write any former Flash which one would you choose and why?

Good question. I'd have to say Wally because I love what Mike Baron and Mark Waid did with the character. That having been said, I want to say -- for the upteenth time on the Internet -- that I am not bringing Wally back during my run.

Are you still working in television these days?

Absolutely. I just finished the first season of Brothers & Sisters and recently found out that my pilot, Eli Stone, was picked up to series, so I'll be focusing on that, TV-wise, next season.

Discuss this article in our forum.

Posted by YourMomsBasement at 05:00 PM

April 25, 2007

eatin ur universez

Posted by YourMomsBasement at 12:00 PM

April 24, 2007

Advance Review: Hellboy: Darkness Calls #1

Hellboy is back! Igor Bromhead is back! Hecate is back! Hellboy's cousin Harry is back!

*ahem*

Darkness Calls" brings Hellboy back to his roots after he went off to fiwander the Earth in "The Third Wish" and "The Island". Igor Bromhead (the pain in the ass from "Box Full of Evil") returns and this time he's managed to conjure and gain control of one of Hellboy's most powerful enemies. In a very, very clever way it must be said. Other enemies have recovered one of the horns Hellboy broke off at the end of the Giurescu affair and carved it onto an effigy of Hellboy. Again, very clever and smart writing. It seems Hellboy's been sloppy in his past adventures, leaving many loose ends that seem to be coming together quite quickly in a noose.

As he recovers at his cousin's from the events of "The Island", he takes a walk and meets three travellers on the road. They tell him tales of the long dead witch hunter Henry Hood. But, this being Hellboy, Hood might not be quite dead and the three travelers have other plans, as Hellboy finds himself bound as they raise the witches Henry Hood hung for "a gathering of witches like none before in the history of the world."

Duncan Fegredo does a great job on the art. It's different, to be sure, but familiar enough, particularly in the architecture. There's a lot of great stuff being set up and it's great seeing all these elements of Hellboy's past coming back into play. There so many wonderful little moments, but going over them would ruin the book, so I won't. But the gift Harry gives Hellboy, the way Bromhead gains control, and the reveal about the travellers is all great, great stuff. I wasn't sure where Hellboy was going to go after his last adventures took him out of the his (and the audience's) comfort zone. It's good to see him back in the thick of it again, cursing at the evil as only he can.

Discuss this article in our forum.

Posted by YourMomsBasement at 09:00 AM

Advance Review: Johnny Hiro

"Big Lizard in my Backyard"
by Fred Chao
Publisher: ADHouse
What It Will Set You Back: $2.95

Johnny Hiro. Have you heard of him? Me neither. It's not really his occupation... it's just his name. But don't tell his girlfriend Mayumi, she believes that Johnny is something out of this world. And it just so happens that Johnny would become a hero just so he can have one more moment with Mayumi. His opportunity comes to pass as an enemy of Mayumi's mother comes to the the Tokyo of North America: New York City.

Johnny loves Mayumi. Remember that. That is the key to this entire issue. Johnny loves Mayumi. Loves her so much that he has flashbacks, not of their life together, but of every time he has had great bodily harm inflicted upon himself due to a course of carelessness. We learn that Johnny isn't the most cautious of person. That, or he loves being placed in slings that hold his broken body up while his bones heal themselves.

For his one act of courage, he is paid back by being tossed into the air about the great city of New York. Falling, falling to earth: David Bowie sits in awe at home wondering what death will happen. Lucky for our hero, Hiro's fall is broken by a car.

The absurdity of this comic will provide a great deal of joy for most readers. It's refreshing. It follows a basic logic. Love. Anything else, including all the laws that we have built around science, is hearsay and can't be proven. There is no logic except for love. Scott Pilgrim has a lot of logic, it's all video game logic and some pop culture logic, the same can't be said for Johnny Hiro. Johnny is all love.

Johnny and Mayumi in a Brooklyn apartment,
S-L-E-E-P-I-N-G in their bed.
First comes Gozadilla from Japan,
Then comes a kidnapping,
Then comes Johnny running into a pole.

We get a recap as to why Gozadilla has come all the way from Japan to seek out the daughter of the one who had defeated him many years ago. When you're a monster that has wreaked havoc on a city for ages, once your ass gets taken out, that's it. You become a parody. Even worse than that, you know you've become a parody and now have to prove yourself again as a threat.

Off to New York he heads in search of the daughter of the woman who had stopped him years before. I won't even ask how he got her address. If I say anything else, I'll ruin how Gozadilla is stopped. Or how the entire affair is wiped from the city's memory.

I'll leave you with this sample of the closing dialog:

Hiro: We're not gonna get our security deposit back, are we?

Mayumi: I love you, Hiro.

Hiro: I love you, too.

I love this book.

Posted by YourMomsBasement at 08:00 AM

Review: Tales From the Farm

Essex County Vol. 1
Tales From the Farm
by Jeff Lemire

Superheroes, hockey, and separation. That's Tales From the Farm, in a nut shell. Don't get me wrong, that's an over-simplification of the entire story. It's like saying World War II was just a skirmish where some people died. Tales From the Farm is a story told in four parts. It's one whole year in the life of a few people in Essex County in Canada. It's touching, haunting, and there are moments when the world seems better because this book was written.

Lester just lost his mom to cancer. His mom was a single mother, Lester never knew his father and, once she is gone, he is made to live with his uncle. His uncle, a single man with no children of his own, takes in the son of his beloved sister to live on a farm in Canada that's very far removed from children and the childhood that we are brought up to believe in as the "perfect childhood." It's far from everything in the world.

Jeff Lemire's line work is thick and chunky. It's a teenage girl crying after the prom after her date leaves her for the girl that screwed the entire football team because she was bored. That's how chunky Lemire's art work is in Tales From the Farm. The line work is as chunky as it is expressive. So expressive that you want to try and remember your own childhood being that expressive. Instead... you get left with stick figures and blocks.

And yet this story is perfect.

A year out of the life of Lester.  Lester lives with an uncle that he's afraid of and becomes fast friends with the gas station attendant. There is already a strain on the relationship between uncle and nephew. It grows over time. And once you stretch something, it tends to either snap or come back together.

Tales from the Farm has emotional weight for all children who never knew their parents, that same emotional weight that Blankets had for the emo/love struck crowd. My parents are both alive and kicking, but I never knew them. I knew the motions that they repeated. I knew the parts that they played for me and my siblings. Tales From the Farm is a book that speaks to me. It was the moments in my entire childhood that happened to me compressed into a year.

Growing up.

To most kids (I'm lumping in people over the age of 18 here as well), growing up is a verboten word. To a hard-core Christian it's saying premarital sex. To a Hasidic Jew and Muslim, it's offering a pork sandwich. To kids, growing up is a something that happens to someone else, never you. Some will grow up and do so for the better and retain the same wonder that they had as children. Others just get older and lose their wonder but remain children.

Lemire crafts a wonderful story about a child growing up. That not the best part, it gets better… but if I told you that, I'd ruin the entire story.

Posted by YourMomsBasement at 07:45 AM

Review: Feeble Attempts

Feeble Attempts
Jeffrey Brown
Top Shelf, five dollars AMERICAN!

My drug dealer gave me my first Jeffrey Brown comic. Actually, being a good drug dealer, he sold it to me, promising that if I didn't like it he'd give me back my money. Being a good junkie, I purchased what in my mind looked to be nothing more than a crudely drawn comic.

Before I go any further, I should mention that by "drug dealer", I mean the guy who sells me my comics. They, the comic shop owners, function just like a dealer, getting me to "sample" new things so I'd be forced to purchase more and more shit. I don't do drugs nor condone their use, but there are a few people out there that do need a joint to calm the heck down. Marijuana can be a gateway drug, but some people just smoke joints. That's it. Never touch crack, meth or any of that other goofy shit, they just smoke pot. X-Men comics are the same way. I'm a good junkie and I love to sample around. My dealer gets me all the good exotic stuff.

So, back to the review (a late review might I add), of Jeffrey Brown's Feeble Attempts. Anyone who has picked up a Jeffrey Brown comic knows that the autobiographic items are always drawn slightly sketchy. It's a huge contrast to the complexities of what is happening in the stories: Modern (born after 1970 and before 1983) American Guy Stories of breaking up and just strange relationships in general. The fear you end up feeling about all the strange shit that goes on in your head, that no matter how unique you think it is, there are 4,329 people as we speak, going through the exact same thing. The stories that Brown writes are a nice contrast for art the he brings to the table.

These really aren't those stories. Not really, ok maybe two, or three if you want to stretch it. But these aren't like Brown's other stories that Top Shelf has published, or AdHouse for that matter. Feeble Attempts is a different animal from the same genus than Brown's other works.

These stories at times are a bit rougher in terms of Brown's artwork than what I'm use to seeing. All of these stories are collected from a various amount of sources that had picked up the stories to run their various publications. These happen to be Brown's favorite.

I can see why. They are nonsensical in some places and completely, slightly, pretty damn funny OK, mind altering in other. Stories about religion, super-heroes™, love (2, 3 tops, I swear), shit jobs and the fucked up things you do by accident as a child.

Yeah those things. WithaBBgunnonetheless!

Jeffrey Brown's Feeble Attempts are best done in a "pick up, read story, and then put down again" fashion. All the stories are fairly disconnected from each other and some are different beats from another, so putting the book down (letting your memory of the last story fade from short term, getting squished into long term while you do whatever) allows you to enjoy the next story that much more. Doing it all in one sitting is too much. It's too much Brown for anyone to handle, even Artie: the Strongest Man in the World.

I made this mistake, trying to read four stories in one sitting. I couldn't. I switched what I was doing. Drawing for a little. Read another story. Watched a little of a movie. Read another story. Ate some food. Pooped and read another story.

It made the stories seem easier to digest that way. These aren't the long form stories that Brown generally creates. These are short Brown, stories for us to read between getting on and off the bus.

For five dollars, you get enough Brown that (if you weren't doing a review), could almost last a week if you stretched it (keeping it on your person like a manifesto for some strange cult of slackers that will some day, y'know, not today or anything, maybe next year when we have a better idea of what we want to do and stuff, will rise and take over the world). A day if you love the craft: this was the second re-read (spread out over time) one story at a time is a lot better than several stories all at once. 50 minutes if you are doing a review: first re-read of the entire book (I really did everything above in 50 minutes, except for the pooping). 20 minutes if you're completely insane: yeah, this one, doesn't allow you to really take everything in and enjoy the story, instead you get a jumbled mess of stories in your head, take your time with this book enjoy it. It's a small price for a good quantity of quality stories (the best one is on page 17... I only say this because this still happens to me).

I encourage you to get Feeble Attempts. If I owned a shop and was your dealer, I'd even give you a money back guarantee. C'mon, you know you can't resist that, there's nothing to lose. Just try it.

Posted by YourMomsBasement at 07:30 AM

April 10, 2007

Last Minute Edition- C.B. Cebulski on Loners #1

interview by Mikespins

For people not familiar with The Loners can you give us a little recap on who they are?

The Loners actually used to be called Excelsior and debuted in Runaways Vol.2 issues 1-6. They're a superhero self-help group who are trying their best to put their pasts as teenage heroes behind them and live normal lives out in L.A. But once you have their powers, can you ever truly give up the lifestyle?! The current members as we start the series are Darkhawk, Ricochet, Turbo, Green Goblin, Julie Power and Spider-Woman. There will also be a few surprise guests along the way as well.

Who came up with the idea behind those Jason Pearson covers? Was that all Pearson, or do the retro-John Hughes themes tie in with the comics themselves?

As an admitted John Hughes nut, I had the original idea which I suggest to editors Molly Lazer and Bill Rosemann. They shot it over to Jason who we knew was going to be doing the covers, and he batted it around for a bit and mulled over the posters. He finally decided he could make them truly unique by adding his own style and textures and he really changed them from simple homages to amazingly original pieces of art. He added things like the wonderful L.A. map background and text on issue one, and then the incredible chair imagery above Ricochet's head on issue two! No one does it like Jason!!

The Loners are really a support group for heroes trying to get away from the super hero gig. How hard is it to pitch a book about a cast who no longer want to be heroes, at least on the surface?

It wasn't easy, let me tell you that. I pitched it in May two years ago after I quit Marvel and it is finally seeing the light of day this week. Phew! It originally started out with them as an actual team again picking up where they left off in Runaways, but Tom Brevoort encouraged me to explore the self-help angle more. A couple conversations with Brian Vaughan about how he handled the characters helped me get my head around them more. Ultimately, everyone has habits and vices that we try to shake and quit, but can't, so we've all been there. This book is about the emotional attachment we all have to certain things we love but want to give up. While no one really knows what it's like to be a superhero, everyone can relate to the core emotions and feelings these kids are going through in making the decision to try and cast away one of the things they love most.

The support group idea is an interesting one. In the Marvel Universe mutants are standins for the disenfranchised and marginalized. Metaphorically who are The Loners?

I think each of the Loners is in the group for a different reason. One might be compared to an alcoholic, who knows he's addicted to his power and is afraid he might get out of control if he doesn't stop. Another might be the outsider, who's uncomfortable in the super hero clique and is trying to put their costume behind them to fit in with the "normal" crowd. Each character ends up being a different metaphor.

How much fun has it been to take a cast of "forgotten" characters and try to bring them back front and center? Are there any new members coming up we haven't seen yet?

It's been a blast! I'm a comic book geek if there ever as one and I read all the books starring these characters as they were coming out; Power Pack, Slingers, New Warriors, Darkhawk, Green Goblin... It's a thrill for me to be able to write them all into one title. There are some new members coming too. We've already seen the Mattie Franklin Spider-Woman character in the first issue previews. Rumor has it the Gen Xer formerly know as Penance joins as well. :) Plus, there is that mystery character that everyone keep guessing about that no one has gotten right yet. Plus, I just got approval for a villain's appearance that will have people scratching their heads at first, then begging for more!

Will Rick Jones continue to play a role in The Loners?

No, while Rick financed the Loners first mission as Excelsior, he's going to be kept busy with the impending return of the Incredible Hulk from space.

What role do you see the Loners occupying in the post-Civil War Marvel Universe?

They're taking registering to the extreme. They decided to sign up, but it's simply a gesture as they're trying to get out of the game entirely. They want no part of the post-war antics that are going on in New York. But that said, L.A. is their turf now, and when some of the Civil War fallout spills over to the West Coast, what will they do?

The first issue features a few characters falling off the wagon so to speak. Is this going to be a continuing theme in the book?

Yes, there will always be the worry that they won't be able to stay away from their costumes and their powers for various reasons. Peter Parker had Uncle Ben to teach him that "with great power their must also come great responsibility". These kids are trying to learn that lesson all on their own and at a different time in their lives.

Do you have longterm plans for the group? What's coming up?

While we're only scheduled for six issues for now, if sales are up and we get to continue, I have the next two arcs, up to issue 18, planned out. There are a few other "blasts from the past" that I have slated to show up that I'm sure people will get a kick out of!

For people who might not know about The Loners what would you say to get them to give the book a try?

I look at the series as more of an ensemble cast teen drama than a superhero comic, which I hope many readers will find as a breath of fresh air. Even if you're not a fan of capes and tights, you might dig Loners as the main characters in the book don't really want to be there anyway. :)

Review of Loners #1.

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Posted by YourMomsBasement at 09:30 AM

Advance Review: The Loners #1

review by EdContradictory

The Loners! Ben Urich (the Green Goblin)! Michiko Musashi (Turbo)! Chris Powell (Darkhawk)! Julie Power (Lightspeed)! Johnny Gallo (Ricochet)! Brought together by fate and circumstance to help each other... give up being superheroes?

The Loners are a superhero support group/twelve-step program to help former teen heroes "kick the habit" and stop putting themselves and their loved ones at risk. Support groups for superheroes is an idea that has popped up a couple of times in the last few years. Zatanna was in such a group during her Seven Soldiers miniseries and even Superman was seeing a psychiatrist at one point. This is the first time I've seen the concept applied to the Marvel Universe and it really is something that lends itself very well to Marvel's angsty teen heroes. That is what the Loners are all, or were, for the most part, nineties teen heroes, many from the "what were they thinking?" part of the nineties. Their status as "relics" from the nineties gives their plight to give it all up a little extra pathos.

The break-out character from the first issue would seem to be Julie Power. Unlike the rest of the former teen heroes, Julie has had her powers since childhood and thus has had a harder time separating who she is from who her powers make her. As a long time Power Pack fan, it's great seeing one of the Power kids getting a higher profile in the Marvel Universe.

The problem for group leaders Ben and Michiko is that not everyone in the group seems ready to give it all up. But are they still putting on the tights because there's still good they can do, or is it just because they haven't hit rock bottom yet with their particular kind of "addiction"? Apparently the pull of the superhero-ing is so strong that quite a few characters don't even make it through the meeting before they're back on the street "one last time" taking down some M.G.H. dealers.

Loners is really good. Karl Moline's art is excellent as usual. He draws great, distinct characters, fantastic background details and perspective, and his action scenes are clear, dynamic, and fun. He and C.B. Cebulski work well together and the opening scene is particularly strong. I'm definitely on board to see where this series is going. And to see who else "falls off the wagon."

Interview with C.B. Cebulski



Discuss this article in our forum.

Posted by YourMomsBasement at 09:00 AM

Last Minute Edition: Dan Abnett on Nova #1

interview by the YMB Staff

Annihilation's success seemed to surprise many, being set completely away from Earth and the recent Civil War event. Why bring Nova back to Earth in the very first issue?

DnA: Rich is an Earthman, and his career in the New Warriors links him inextricably to the tragedy that kicked off Civil War, so it would be remiss, we felt, not to deal with those issues at the start of the new series. Bringing him back to Earth also grounds Nova in reality, despite his cosmic hero status, and it also gives us the opportunity to show how much he has matured and changed. He's not the second rate kid hero from the teen team any more. He's one of the most powerful heroes in the Marvel Universe. Rich may be shocked by the way Earth has changed since he last visited, but Earth (and its heroes) is going to be just as shocked by the changes in Nova.

That said, the first issue is very much cosmic based.

Returning to Earth, one might think Richard Rider's going to be in a position similar to many returning veterans of foreign wars, where the people he's returning to really don't and can't understand what he's seen and been through. How will Rider cope with the events of Annihilation when he's back on Earth?

DnA: That's exactly what we're shooting for. Rich finds he doesn't fit any more. No one really understands - or is that interested - in a cosmic war far, far away. They've had Civil War to contend with. Rich doesn't really recognise or like the new world he finds himself in.

We see from the solicits that Nova's going to be going at it with the pro-registration side of the Civil War within the first couple issues of the new series. Having not been involved in the Civil War conflict and just returning to its aftermath, how does he perceive what happened to Earth's heroes and the New Warriors specifically?

DnA: He's shocked, and unhappy. He also sees himself as a cosmic peace keeping agent, a sanctioned officer, rather than a "costumed superhero", so he finds it quite an imposition to be dragged into the registration debate. He doesn't need to sign a piece of paper to prove he's trained, responsible and accountable. That all came with the job when he joined the Nova Corps.

We've also seen in the solicits that Nova will be going toe-to-toe with his former teammate Robbie Baldwin, now known as Penance. Will Nova's past as a New Warrior play heavily into his new adventures on Earth?

DnA: Like we said, we couldn't not go there. A couple of the NW members will show up in issues two and three, Penance (Speedball) being the most dramatic.

Will future Nova adventures take place in outer space, tying in with the new Annihilation series, or will he be staying on Earth for the foreseeable future? Now that there seems to be a resurgence of interest in Marvel's cosmic side, any chance of Nova crossing over into the Shi'ar Empire? We're wondering how the new and improved Nova might match up against the Imperial Guard, Vulcan, the Starjammers, etc.

DnA: We don't want to give too much away. A key theme in the opening arc is whether Nova wants to stay on Earth or return to the stars. It's a tough choice. Where is he needed the most? Where do his allegiances lie? You'll have to read the book to find out what he decides.

However, it's no secret that issues 4 through 7 of Nova tie in with the Annihilation: Conquest event, so whether he chooses Earth or the stars as his long term focus, we'll be seeing some high speed, heavy duty cosmic action for the next story arc at least, as Nova gets called up for another tour of duty.

Discuss this article in our forum.

Posted by YourMomsBasement at 08:30 AM

April 03, 2007

Last Minute Edition - Dan Slott

interview by Mikespins

Spinning out of Marvel Comics' Civil War event is the new title Avengers: The Initiative written by Dan Slott and drawn by Stefano Casselli. Dan Slott makes a quick stop into the Basement to tell you why you should be reading his new book.

For anyone who hasn't followed Civil War can you give a quick recap of where things stand now and how your new book ties into the overall story?

Well, the Civil War is over and Iron Man's side, the pro-registration side, won. And now what you're going to find out in The Initiative is that everyone who registered as part of Tony Stark's 50 States Initiative program has to go through superhero training since that was the promise of the whole registration act: from now on our heroes will be responsible, they'll be trained as perfect first responders and that's what the Initiative is about.

It's about the boot camp, Camp Hammond, which is actually set up at Stamford, Connecticut, the city the New Warriors blew up, as a hub for all the super hero training. It's a way for Tony Stark and the people of the Initiative to say to the people of Stamford, "From now on, from this day forward this will never happen again." All our heroes are going to be responsible, everyone is going to be held accountable. There will be oversight, and since so many heroes are going to be flying in and out of the Initiative, this is now superhero central. It's going to be the safest spot on Earth.

In the first issue one of the recruits asks the question "What happens if we don't pass?" How long will readers have to wait for an answer to that question?

Very Soooooooooooooon!

Take us through the process the recruits face...

There's going to be a whole measure of things... This isn't the Xavier Institute. This isn't about just learning to use your powers. This is about being a first responder. If someone in the real world, if you suddenly got into a car accident, you'd want a trained paramedic. The last thing you'd want is a stranger showing up in a mask. If someone just ran up to you in a Nixon mask and said "I can pull you out of this car," you'd be like "no, I don't think you should move me yet."

What the Initiative is about is you're going to learn everything and some of that will happen on camera, but there's all kinds of different elements. There is the kind of element that you're in a school almost like the X-Men and Harry Potter and you're learning all these skills but it's also a military operation. And it's very much like the Grrrrr red meat Larry Hama G.I. Joe stuff going on where we're going to have to fight the forces of Hydra and we're going to have to hunt down rogue heroes and we're going to be sent on dangerous missions. It's bizarre, it's this weird mix of all these different things.

It's going to be very strict military training, there's going to be training in other skills too, from CPR to superhero ethics, to you name it. Anything you would need to be a superheroic first responder, whether it's a fireman, a paramedic, a policeman, the whole gamut. They're here to serve the people of the Marvel Universe now and they're going to be accountable for all of their actions. That said, there's also going to be a lot of learning on the fly as you go to dangerous situations and dangerous missions.

Aside from the Avengers training the new recruits, it's mostly new characters right?

Well, there is going to be a strong supporting cast which is the people running the base and these are heroes and characters we've seen before in the Marvel Universe and some new ones too. The staff on the base includes War Machine, pretty much running the whole shebang, Yellowjacket, who is doing a lot of stuff in the lab because it's kind of hard to fill a 50 State Initiative and, like we've seen with The Champions, some heroes are going to have to be made.

Working with them in the lab is an ex-Nazi supervillian, you get Henry Peter Gyrich, who is kind of like your liaison to the armed forces, he's the Secretary of Superhero Armed Forces. And Justice from the New Warriors, who's been through it all. He's been a prisoner in the Vault, he's been a member of the New Warriors. He's been an Avenger. He's really seen the superhero world, especially as a young hero, from so many different angles, being best friend of the Thing, an admirer/protoge of Captain America. This is a character with a really rich history, especially for teen heroes, and he's going to serve as the teen counselor on the base. And we have a new character, The Gauntlet, who people have seen glimpses of, tiny glimpses of, in the She Hulk book, and he is your drill sergeant. So, right there you have a really rich supporting cast of characters and they are also going to be fairly main characters too.

And for the new characters that come in, if they make it through the process then they get assigned to one of the fifty states, so who knows how long we'll see these characters or whether fate will be kind to them.

You will see new characters and old characters and classic characters and there's going to be a lot of characters coming in to be guest instructors and characters who might need a refresher course in certain things. Like maybe you need to relearn lifeguard procedures and how to save a drowning victim or maybe you'd like to learn how to properly enter a burning building and deal with things that a fireman would have to know. So, at any point, even long-established characters could be trainees for certain areas.

Who would you out of the new characters think readers are going to take to?

You know I thought it was going to be a certain character, I don't know. I think fans will make up their own minds. I really can't predict this time around. I really thought it was going to be Trauma, there's stuff going on with Trauma that I really like, but I was just working on a script today and, boy, Hardball, once you get to know him and who he is, he's really fun to write. And so is Komodo and there's a lot of new characters running around.

For anyone sitting on the fence about the book what would you say to sway them to give The Initiative a try?

All the people who were arguing about Civil War and who enjoyed arguing about Civil War are really going to like this book. Even if you think you hate the 50 States Initiative you're going to like this book. One of the things I think Civil War did really well, was it brought up tricky issues. The thing sold like gangbusters. Everybody read it. Even people who claimed they weren't reading it were reading it and you would see on internet boards and on message boards everybody going at it. Arguing over different points and talking about the story.

If you liked that debate, if you liked taking part in that, you're going to like this book because it really isn't a pass on the 50 States Initiative and nor is it a condemnation of it. Everyone is going to have different points of view in this book. And you're going to look at this book and at times think that the Initiative is a positive force in the world and other times you're going to look at it and go "Ohhh that makes me feel weird. I don't know how I feel about that."

This is a book for people who like exploring the Marvel Universe and arguing about it.

Posted by YourMomsBasement at 03:00 PM

IDW for June 2007

Transformers: The Movie Adaptation #1
Kris Oprisko (w); Alex Milne (a)
Kicking off a month-long spectacular event to celebrate the July 4 opening of the big-screen TRANSFORMERS movie! The official adaptation of Transformers: The Movie picks up directly where the Movie Prequel leaves off—the TRANSFORMERS’ brutal war has come to Earth and perhaps our only chance for survival may be with the young boy who just might hold the key to ending the war forever. Each issue of the adaptation will offer 32 ad-free pages and include concept art, interviews, and additional never-before-seen material. Subsequent issues of the official adaptation of Transformers: The Movie will be released on a weekly schedule throughout the month of June. Issue 1 features a special wraparound cover by interior artist Alex Milne (The Transformers: Megatron Origin)! Issue 1 will be in stores on June 6.
*Retailers: See your order form for special incentives
FC • $3.99 • 32 pages

Transformers: The Movie Adaptation #2
Kris Oprisko (w); Alex Milne (a)
The special movie adaptation continues with issue 2 in stores on June 13!
FC • $3.99 • 32 pages

Transformers: The Movie Adaptation #3
Kris Oprisko (w); Alex Milne (a)
The special movie adaptation continues with issue 3 in stores on June 20!
FC • $3.99 • 32 pages

Transformers: The Movie Adaptation #4
Kris Oprisko (w); Alex Milne (a)
The special movie adaptation concludes with issue 4 in stores on June 27!
FC • $3.99 • 32 pages

Transformers: The Movie Prequel TPB

Simon Furman, Chris Ryall (w); Don Figueroa (a)
The live-action Transformers movie is finally upon us! But the spectacle unfolding on the big screen isn’t the whole story. Read the beginning of the story right here! In this four-part prequel to the film, travel from CYBERTRON to Earth as we see for the first time what momentous events led to the TRANSFORMERS bringing their war to our world.
TPB • FC • 120 pages • $19.99 • ISBN: 978-1-60010-066-6

Transformers: The Best of Simon Furman HC

Simon Furman (w); Don Figueroa, Geoff Senior, more (a); Don Figueroa (c)
This career-spanning hardcover looks at legendary Transformers writer Simon Furman’s amazing output throughout the two decades he’s worked on the ROBOTS IN DISGUISE, from his earliest beginnings through his current work. This collection compiles his U.K. work from 1985 through his G2 and War Within comics to his present IDW comics work and beyond! The premiere presentation of Simon’s immense body of work.
HC w/ Dustjacket • FC • 272 pages • 12.5” x 8.125” • $50.00 • ISBN: 978-1-60010-058-1

The Transformers Magazine #1

Furman, Budiansky, Mick (w); Don Figueroa, Jose Delbo (a) Robby Musso (c)
Hearkening back to the great b&w comic book magazines of yesteryear, this debut magazine offers three classic tales from three different eras—spanning THE TRANSFORMERS’ amazing run of over twenty years. This special 8-1/2” x 11” magazine format contains stories from the early Marvel days (issue #42, “People Power”), days to the Dreamwave (Generation 1, Vol. 3, #1) adventures to the all-new chapters of TRANSFORMERS lore from IDW (Stormbringer #1), all underneath a brand-new cover from artist Robby Musso (Transformers Spotlight: Ultra Magnus). This collection is a true treasury for long time fans as well as an excellent introduction for new fans.
*Retailers: See your order form for a special incentive
$7.99 • B&W • 8-1/2 x 11 • 72 pages

The Transformers: Target 2006 #3 (of 6)
Simon Furman (w); Jeff Anderson, Will Simpson (a); Nick Roche, retro art (c)
The special reprint of this beloved U.K. TRANSFORMERS tale continues here with two new chapters in one comic! On CYBERTON, the WRECKERS continue to train for Operation Volcano. STARSCREAM is shocked with the discovery of MEGATRON’s new and unlikely alliance with the AUTOBOTS. And GALVATRON reveals a secret to JAZZ. Writer Simon Furman and artists Jeff Anderson and Will Simpson continue this epic tale. Nick Roche once again provides an all-new cover re-creating a classic scene from the issue!
*2 Regular covers will be shipped in a 1-to-1 ratio.
*Retailers: See your order form for special incentives
FC • 32 pages • $3.99

The Transformers: Escalation TPB

Simon Furman (w); E.J. Su (a)
The saga of the Transformers' secret war on Earth—begun in The Transformers: Infiltration—continues with Phase Two: Escalation. With the monumental menaces of MEGATRON and Ore-13 looming, the AUTOBOTS could be forgiven for thinking things couldn't get much worse. But, as OPTIMUS PRIME musters his response to the mounting threat, the Machination strikes—with shocking and tragic consequences! Simon Furman and E.J. Su present the next chapter of their masterful TRANSFORMERS tale.
TPB • FC • 152 pages • $19.99 • ISBN: 978-1-60010-084-0

The Transformers Spotlight TPB

Simon Furman (w); Robby Musso, Nick Roche, M.D. Bright, Rob Ruffolo (a)
Collecting a series of five one-shots focusing on some of the best-loved (or loathed) characters from the TRANSFORMERS Universe–HOT ROD, SIXSHOT, SHOCKWAVE, NIGHTBEAT, and ULTRA MAGNUS. Each Spotlight is written by long-time Transformers scribe Simon Furman, whose words accompany artwork by the likes of Nick Roche, M.D. Bright, Rob Ruffolo and Robby Musso.
TPB • FC • 136 pages • $19.99 • ISBN: 978-1-60010-068-0

Spike: Shadow Puppets #1


Brian Lynch (w); Franco Urru (a); Urru, David Messina (c)
Angel once put a stop to an evil children’s show, but not before being turned into a puppet during his fight. Now, fresh out of the Asylum, it’s Spike’s turn! Writer Brian Lynch and artist Franco Urru (Spike: Asylum) reunite for a miniseries that sees Spike and Lorne heading off to Japan to stop the latest Japanese kids’ show… Smile Time! Will they become “puppetized” themselves? And along the way, find themselves in a fight with hundreds of ninja-puppets, reuniting with fellow Asylum inmates, and be at extreme odds with one other? We’re not telling (but, um, yes)! Fellow Angel-ofile David Messina (Angel: Auld Lang Syne) provides a cover of puppety variance, too!
*2 regular covers will be shipped in a 1-to-1 ratio.
*Retailers: See your order form for a special incentive
FC • 32 pages • $3.99

Spike: Premiere Edition HC

Peter David, Brian Lynch, Scott Tipton (w); Joe Corroney, Franco Urru, Fernando Goni (a)
Wisecracking, skull-smashing Spike is out on his own in this oversize Premiere hardcover collection from IDW. Whether he’s chasing Dracula through the ages (Spike vs. Dracula), investigating an unusual “treatment” center (Spike: Asylum) or just mixing it up with his old enemies (Spike: Old Times, Spike: Old Wounds, Spike: Lost & Found), Spike keeps his cool—and it shows. Presented in a special oversized format for the first time, this collector’s edition is sure to make the Spike fans in your life “vamp out” all over again.
HC w/ Dustjacket • FC • 384 pages • 12.5” x 8.125”• $75.00 • ISBN: 978-1-60010-083-3

Angel: Auld Lang Syne TPB

Scott Tipton (w), David Messina (a & c)
While tracking a mysterious cult in Los Angeles in hopes of solving a kidnapping, Angel
Finds himself face to face with some familiar faces—faces he shouldn’t be seeing! As if that isn’t confusing enough to our embattled vampire with a soul, what is Spike doing lurking around in the shadows? Find out for yourself in this collection featuring the greatest head-to-head Angel/Spike battle ever! From writer Scott Tipton and David Messina, the creative team on Star Trek Klingons: Blood Will Tell!
TPB • FC • 128 pages • $19.99 • ISBN: 978-1-60010-063-5

Fallen Angel #17

Peter David (w); Joe Corroney (a); Corroney, Billy Tucci (c)
Presenting the first chapter of a special two-part tale guest-starring Billy Tucci’s popular character, Shi! To make this book even more special, the comic will be presented as a flip-book, with the story presented from Fallen Angel’s perspective on one side, and Shi’s on the other. And wait, there’s more—illustrating Shi, the Sohei Warrior’s chapter is Shi creator Tucci himself! Handling art duties on Angel’s chapter is special guest-artist Joe Corroney (Spike vs. Dracula). And it’s all wrangled together by writer Peter David, with full input from Tucci. When Shi comes to Bete Noire looking for vengeance, you can bet her appearance isn’t going to go unnoticed by Fallen Angel…
*Retailers: See your order form for a special incentive
FC • $3.99 • 32 pages

Star Trek: Klingons: Blood Will Tell #3
Scott Tipton, David Tipton (w) David Messina (a); Messina, Joe Corroney (c)
They say history is written by the victors: Blood Will Tell continues its look at the other side of the coin in the battle between Starfleet and the Klingons! Still struggling against the treaty with the Federation, the Klingon Empire looks for a new way to conquer: behind the scenes, one planet at a time. Can a single Klingon tame a world? Commander Krell aims to try! From the creative team that brought you Angel: Auld Lang Syne.
*2 regular covers will be shipped in a 1-to-1 ratio.
*Retailers: see your order form for special incentives
FC • $3.99 • 32 pages

Star Trek: The Next Generation: The Space Between #6

David Tischman (w); Casey Malone (a) Joe Corroney, Photo (c)
Jean-Luc Picard has always been an explorer, traveling the galaxy to seek out new life and new civilizations, but after seven years as captain of the Enterprise, he makes a startling discovery—scientific information from the Enterprise's mission logs has been used to develop deadly weapons systems. Is Starfleet involved? And if so, how high does the conspiracy go? Ignoring direct orders from his superiors, Picard launches an all-out offensive on the secret base where these weapons are stored. Picard is not about to see his mission perverted for military use and strategic control. Five single-issue stories come together in the explosive, action-filled conclusion of "The Space Between," IDW's hit Star Trek: The Next Generation mini-series.
*2 regular covers will be shipped in a 1-to-1-to-1 ratio.
*Retailers: See your order form for a special incentive
FC • $3.99 • 32 pages

Tank Girl: The Gifting #2
Alan C. Martin (w); Ashley Wood (a & c)
As the spring of 2007 rolls softly into the summer of 2007, I hear you asking, "How can this year get any better?" But it can, my friend, with one simple purchase—Tank Girl: The Gifting # 2. A perfect blend of the sublime and the ridiculous, brought to you by Tank Girl writer and Co-creator Alan C. Martin and the format-smashing, antipodean wunderkind artist Ashley Wood. Featuring the first part of the epic "The Innocent Die First,” the concluding installment of the cryptic Booga tale, "The XZ-38,” and a cracking pin-up of bonkers beauty Barney, too.
*2 regular covers will be shipped in a 1-to-1 ratio.
*Retailers: See your order form for a special incentive
FC • $3.99 • 32 pages

Tank Girl © 2007 Hewlett and Martin. All Rights Reserved.

Ashley Wood’s 48 Nude Girls
Ashley Wood (a & c)
Ashley Wood is proud to present 48 all-new drawings… or should we say “all-nude” drawings? That’s right, this title ain’t just hyperbole, folks. So if you prefer your art to be clothing-free, this one’s for you! Soft-bound in an attractive 11” x 11” format, you can finally add some more Wood to your collection.
FC • 48 pages • 11” x 11” • $11.99 • ISBN: 978-1-60010-098-7

Metal Gear Solid: Sons of Liberty #9

Alex Garner (w) Rufus Dayglo & Ashley Wood (a); Ashley Wood (c)
Sometimes, even a worst-case-scenario can deteriorate—and that's exactly what happens to Raiden in the ninth installment of Metal Gear Solid: Sons of Liberty. Being betrayed by his idol Solid Snake is bad enough, but then he falls into the clutches of Solidus and later learns the terrible truth behind Colonel Campbell and Foxhound. Is there any hope of Raiden salvaging his mission?
*2 regular covers will be shipped in a 1-to-1 ratio.
*Retailers: See your order form for a special incentive
FC • $3.99 • 32 pages

30 Days of Night: Eben and Stella #2

Steve Niles, Kelly Sue DeConnick (w); Justin Randall (a & c)
As we get closer to October’s release of the 30 Days of Night film, Eben and Stella have returned. Stella thought she was just boosting a car from some punk vampire and now she finds herself in an untenable parental role. But to who, or what? Even worse, Eben is being used to create a whole new breed of modern bloodsuckers. Featuring art by Aussie newcomer Justin Randall, hand-picked for the gig by Ben Templesmith himself!
*Retailers: See your order form for a special incentive
FC • 32 pages • $3.99

Richard Matheson’s I Am Legend

Steve Niles (w); Elman Brown (a)
Richard Matheson's classic novel of fear and vampirism—the tale of the last human on an Earth overrun by the undead—is going to be a major motion picture starring Will Smith this Winter. But if you want to see an illustrated version of Matheson’s story as he originally wrote it, writer Steve Niles and artist Elman Brown deliver a faithful and terrifying adaptation. This special new printing comes complete with a new cover, too.
TPB • B&W • 244 pages • $19.99 • ISBN: 978-1-60010-086-4

The Complete Jon Sable Freelance, Vol. 7

Mike Grell (w & a)
Continuing the re-presentation of the entire saga of Mike Grell’s classic character, Jon Sable, Freelance. This seventh collection delves deeper in creator Mike Grell’s First Comics run, featuring issues 34-39, where Sable encounters white slavers, travels back to Africa, and more.
TPB • FC • 168 pages • $24.99 • ISBN: 978-1-60010-045-1

Super Bad James Dynomite TPB

Marlon Wayans, Shawn Wayans, Keenen Ivory Wayans, Xavier Cook, Mitchell Marchand (w), Robert Reed, Darren Huang, Ming Chi Cheng (a)
Take a trip into the imagination of Marlon Wayans—the comedic giant behind White Chicks, the Scary Movie franchise and more—with Super Bad Jame Dynomite! Part Shaft, Black Belt Jones and Superfly all rolled into one… minus the cool and the black belt, Dynomite is the hapless hero who finds himself locked in an ongoing struggle against a nasty, one-handed pimp named Kane who has kidnapped his girl, gotten him locked up, and has a real flair for the dramatic. Will Dynomite ever rescue his lady, or at least get some much-needed sexual healing? Find out in this collection presented by IDW Publishing and 5-D Comics including bonus materials straight from the Wayans Bros.!
TPB • FC • 136 pages • $19.99 • ISBN: 978-1-60010-062-8

Posted by YourMomsBasement at 11:00 AM

AiT/PlanetLar and ADHouse for June 2007

We have the combined solictations for both AiT/PlanetLar and ADHouse for the month of June.

AiT/PlanetLar

June is SHOW LARRY SOME LOVE month at AiT/PlanetLar. With their latest offering of Black Diamond and re-solicitations of of some of Larry Young's greatest hits.

Black Diamond #1 (of 6)
Larry Young, Jon Proctor
Fifty years from now, an elevated highway spans the nation. Initially a
response to international terrorism, the US government grounds commercial
airline flights and builds THE BLACK DIAMOND, a dangerous road full of
gearheads and misfits, drug runners and grey-market tech heads, all
driving illegal 1970s muscle cars in a nomadic, breakneck existence. But
when the government decides to clean up THE BLACK DIAMOND heading east and
when his wife is kidnapped to be used as a hostage by forces loyal to the
road, Dr. Don McLaughlin, DDS, has to borrow his brother-in-law's illegal
1973 Mercury Cougar to get on the highway and rescue his wife... 150 feet
above and 100 miles an hour faster than anything he's ever known.

Black Diamond #2 (of 6)
Larry Young, Jon Proctor
Kate Maddox has a problem: she's been kidnapped by a couple of guys and
held against her will in a seedy apartment. That's not the problem,
though; her kidnappers just aren't that bright, and when you've been
shanghai'ed, the least you could expect is some snappy conversation. The
Big-Man Conversation, though, is being had by Army General Cooper and oil
baron Dixie Johnson about the state of the world, while Doctor Don is
headed Kate's way on the elevated highway of the future, as he picks up an
unwitting passenger...

Planet of the Capes
Larry Young, Brandon McKinney

A strange visitor from another planet, a dark and brooding super-patriot, a rampaging monster of destruction, and an interdimensional princess cross over from their world to ours. It's what happens when they find themselves in need of the sort of help that only superheroes can provide; it’s a stab at the presently-ingrained superhero archetypes without any of the intrigue of corporate intercession. Each one of the main characters represents one of the familiar superhero archetypes, but they also represent certain factions of the comic book industry, too. It's allegory and adventure from the writer of ASTRONAUTS IN TROUBLE and the artist of SWITCHBLADE HONEY.

Proof of Concept
Larry Young, Damian Couceiro, John Flynn, Steven Sanders, Jeff Johns, Paul Tucker, John Heebink, Kieron Dwyer

A collection of short adventure stories by the writer of ASTRONAUTS IN TROUBLE and PLANET OF THE CAPES! A young clone of Abraham Lincoln discovers the secrets of his past in EMANCIPATING LINCOLN! A reluctant vampire flees mobilized vanhelsing units in a future he never thought he’d see. This time, they’re out for his blood, in HEMOGOBLIN! A rag-tag group of time-travellers chase their insane captain through every moment of eternity in FOR THE TIME BEING! Soldiers versus undead monsters in ZOMBIE DINOSAUR! A Hollywood starlet gets even more famous once she turns invisible, in THE BOD!

Astronauts in Trouble: Collection
Larry Young, Charlie Adlard, Matt Smith

They're astronauts and they're in trouble...

This is the collection of the three best-selling graphic novels and is available as hardcover or softcover.

If you're interested in The Making of Astronauts in Trouble, this book's got behind-the-scenes secrets and even the original scripts, just as the artists first saw them.

ADHouse's May and June releases.

Johnny Hiro #1
by Fred Chao. Published by AdHouse Books

This FANTASTIC FIRST ISSUE finds Johnny Hiro dating the daughter of a 1970's Tokyo Action-Girl. Unfortunately, Gozadilla is out for revenge! The excitement never ends, even though Johnny Hiro really wants it to...

The Aviary
by Jamie Tanner. Published by AdHouse Books

Enter the strange world of the Quiet Bird-Man; a world of mysterious corporations, foul-mouthed robots, drunken ghosts, amputee comedians, wealthy simian pornographers and canine scientists; a world of disasters, murders and masquerade balls. Jamie Tanner has been slowly weaving this dreamlike and darkly funny tale in various anthologies and mini-comics for the past several years. Now the whole scope that is THE AVIARY is available in a lush 312-page collection.

Superior Showcase #2
by Various. Published by AdHouse Books

A year in the making... This THRILLING SECOND ISSUE of the comic that is all about heroes that are super (SUPERIOR SHOWCASE!) returns with the uber-talents of Maris Wicks, Farel Dalrymple and Joey Weiser! Hot-young-star Wicks shows you what superbeings are inside us all! AdHouse-Alumn Dalrymple gives us an episode from the adventures of Hollis! New-comer Weiser shows us the powers of the Tree Frog! Smack! Bam! Pow!

Posted by YourMomsBasement at 09:30 AM

March 21, 2007

Interview with Mindy Owens

by Ash Aiwase

Mindy Owens is living every hardcore comic fan's dream. As webmistress of the premier Runaways fansite, Mindy's enthusiasm for Marvel's Runaways knows no bounds, and Marvel took note. Runaways Saga #1, her comic-writing debut, bridges the gap between Brian K. Vaughan and Joss Whedon's runs on the title.

Mindy took time out of her busy schedule to graciously answer a few questions for us here at Your Mom's Basement.

Tell us about yourself and when you first got into comic books in general.

Though I lived most of my life in California, I was born in Maine and have had this strong sense of Maine pride as long as I can remember. Maine is pretty much known as two thing: Lobsters and Stephen King. Seeing as lobsters are pretty damn expensive here on the west coast, I read as much Stephen King as I could get my hands on instead. And my mom strongly encouraged this even though my teacher scolded her for letting her 11 year old daughter do a book report on The Stand. But growing up on a diet of the spooky and supernatural lead to me to being drawn to "Buffy the Vampire Slayer" and I couldn't get enough of it. They started putting out a Buffy the Vampire Slayer comic and I just had to have it. This forced me into comic shops for the first time and those places are very intimidating to females and people just getting into comics, which I was both.

I was lucky enough to go to A-1 Comics in Sacramento, who treated me great and had no problems that I was only there because of Buffy comics. But it wasn't until the X-Men movie came out and I fondly remembered all those characters from the X-Men cartoon show, which drove me into other comics. Like a lot of people, X-Men was my gateway comic, but I also was a huge fan of Battle Pope and Crimson in my early days of reading. X-Men also brought me to the world of message boards which expanded my comic reading horizon.

Due to message boards, I went from a so-so fan to a hardcore one pretty fast. Maybe it was because of how quickly I became a hardcore fan of comics, that I have a falling out with them. It just seemed that all of a sudden about 5 years ago there was nothing good comic-wise coming out. And it took just one comic to get me back in much harder-core than before. And that was Runaways...

What drew you initially to Runaways? What made you take that extra step from just being a fan to becoming an evangelist for the book?

Runaways was this breath of fresh air for me. It was a really fun book that had likable characters and was well written. It also had really well written female characters which sometimes a lots of comics can't seem to get right without doing the "angst-y good girl", the "bland super goddess", or the "bad girl with a heart of gold". So it was nice to finally read female characters who wouldn't read as archetypes. Even though I love all the females in Runaways, Chase is my favorite character so I'm not sure what that says about my argument.

I became an evangelist for Runaways after I noticed the online presence of Runaways love was really small. It seemed most people had written this off as a kid's book and it was really one of the best comics currently coming out. So I started pimping it out to anyone who would give it a chance and even made a website so people could read up about Runaways and why they should be reading it. And little by little, more and more people started talking about Runaways. Marvel also made an ingenious decision by publishing them as digests, which at the price of 7 bucks, put Runaways onto a really big number of people's bookshelves. Runaways now has a strongly devoted fanbase and many vocal supporters so I'm no longer worried that Runaways is about to be canceled.

What was the time line like for your involvement in Runaways Saga #1? When were you originally approached by Marvel and how long did the process take from conception to delivery? Did your initial involvement change as the project moved forward?

C.B. Cebulski contacted me on New Year's Eve asking if I could help him out with something. The Saga had already been in Previews, so I just assumed he needed some help with some continuity questions. Turns out that help he was interested in was help co-writing the Saga itself. So I summarized all the points we wanted to talk about and C.B. broke it down to specific beats and page numbers. I had the first shot at writing the whole thing in Molly's voice and C.B. then fixed everything and did some great revisions and added his bookend story. We both tweaked it a bit more and I also chose all the panels that would go along with Molly's entries. We did the whole thing in a little less than two months. I don't feel my initial involvement changed much as we progressed in it, as there was a lot of back and forth between us, but I'm very glad and proud of this and honored that C.B has asked me if I wanted to co-write another thing with him.

What was the collaborative effort like? Did you and C.B. Cebulski have delineated pages or was it a more organic effort? Did you work through the story over e-mails and conference calls, or were there more discrete assignments that each of you handled independently?

This was definitely a team project. Aside from the bookend story that C.B. did by himself, the rest was a ton of back and forth via e-mails. E-mailing him the first go at the draft was a nerve-wracking time as I spent so much time fine tuning everything. Would an eleven-year old say it like this? Does this flow right? Have I used this word too many times? Molly's pretty tough to write and doing all those pages in her voice? Yikes. So yeah, I was pretty nervous that C.B. would read it and hate it or find it to be a giant mess. But he loved it and changed some stuff around so it flowed even better and this Saga turned out better than the two of us could have hoped.

We know you've been a fan of the Runaways characters for a long time, but were there any surprises as you started to write the characters directly? Did you find one voice surprisingly hard or surprisingly easy to write?

Well it was just Molly who I wrote, but she's a really tough character. Molly misuses words and acts like, well, an eleven-year old but she's also got this great fierce intelligence too. So when I was writing all of this I had to play a balancing act of that. Go too far in either direction and suddenly she's acting too young or too old or just plain out of character.

Has Brian K. Vaughan seen the story that you and C.B. have put together? What was his reaction to it?

I showed him the first part of the finished Saga to him at WonderCon and he really liked it. And that was after I accidentally called his wife by the wrong name, so I guess that really says something.

We've heard a rumor that you might have some more comic-related work coming up. Can you tell us anything about that or tease us with some information? Did the work come as a result of working on Runaways Saga #1? Will it be for a big company or a smaller company? Pre-existing characters or new?

There are two more projects that C.B. and myself will hopefully (nothing has been signed yet) be working on for Marvel. We've already begun on one and the other will start after we finish the current one. I can't tell you too much info about them other than yes, they came about because of the Runaways Saga. Marvel really loved it and said it was the best Saga they've put out.

When are you going to relaunch Cloak & Dagger with Adrian Alphona?

I wish! Adrian is an amazing artist and I would give my right arm to work with him. As far as relaunching Cloak and Dagger I think every writer and then some have sent in pitches and have all been shot down. I haven't sent in my pitch yet, but I have a pretty good one kicking around in my head that I really should. Cloak & Dagger need some love and they are such great characters, I would love to write those two especially at a time where the two are back to being underground like when they started out.

Now that you're a superstar Marvel writer, are you going to go all "diva" on us and stop hanging out your plebeian friends at the Isotope?

Considering I'm talking 5 classes, working 6 days a week, and doing all of this at the same time, I can honestly tell you guys that I love the Isotope with all my heart and will always want to hang out with you guys. Unless the alcohol runs out. What do you want from me? I'm full blooded Irish...

And lastly, because we must know, did the paycheck have Spider-Man printed on it?

I haven't gotten it yet, but I believe it was sent out on the 16th which means I can tell you guys sometime this week.

Thanks for your time, Mindy. We couldn't be happier for you!

ADDENDUM: Shortly after this interview was completed, Ms. Owens did call the interviewer and informed him that yes, Spider-Man was on the paycheck as well as the envelope in which the paycheck was sent.

Discuss this article in our forum.

Posted by YourMomsBasement at 09:00 AM

March 20, 2007

ADVANCE REVIEW: Transformers: Movie Prequel #2

The Transformers: Movie Prequel #2
by Chris Ryall, Simon Furman, and Don Figueroa
from IDW Publishing

advanced review by EdC

So... we're now at issue two of the Transformers: Movie Prequel comic, setting up the premise and characters for this summer's blockbuster Transformers movie.

And the question is, what's being set up? There are really only two Transformers in the issue, Megatron and Optimus Prime, and Prime is only in flashbacks. But who are these characters? Will the same fans who nearly rebelled after seeing how different these characters looked from what they were used to react negatively if these same characters act differently, too?

The movie Megatron is more singular and driven in his goals than some previous incarnations. Prime has launched the Allspark into space and Megatron has given chase. The Allspark is obviously meant to stand in for the matrix, but we can't have Megatron searching for a 1999 Keanu Reeves movie, now can we? This Megatron seems to not care as much about ruling over others, he wants only the Allspark, and, in fact, he'd destroy Cybertron to get it. Prime, on the flip side, is just as driven to protect the Allspark. He has sent it far into space, dooming Cybertron to what Megatron calls a "slow death." Whether that means the movie Prime is more ruthless, desperate, or reckless than other versions we're used to, we don't really know yet.

Movie Megatron, rather than throwing underlings at the problem, has thrown himself at the Allspark, nearly destroying himself crossing the cosmos in an attempt to possess it. He crashes through the Earth's atmosphere, and overheated and depleted of Energon, then falls through the Antarctic ice, freezing and shutting down.

The story then jumps forward to 1898 and Captain Witwicky and his exploration team have found something beneath them in the Antarctic ice. The captain, despite the warnings of his crew, starts to dig. And what he finds leaves him both blind and mad.

Two mysterious men, who seem like they might be from some kind of Generation 1 version of the League of Extraordinary Gentlemen given the curiosities in their possession, decide to follow up on what Witwicky found and a year later, in their Antarctic research facility, they've unearthed what they call the "Mega-Man".

The story then jumps ahead again to 2003 and to a military base in Colorado that has just confirmed the arrival of an object from space that transformed upon touchdown.

It seems to the military that Mega-Man has a relative...

I honestly wasn't sure I liked the first issue of this mini-series when I initially read it, but, I like it more after this second issue. The art is nice, with flashbacks shown in black and white, nice coloring, and, I must admit I like the look of the movie Megatron more after again seeing him in action (until he freezes, anyway) in this issue. The story jumps forward abruptly here and there, but I really enjoyed what this issue has set up. It moved at a brisk pace, touched on a lot of interesting ideas (I wish we'd stayed in 1900 a little longer), and set up a lot things that will pay off in the movie (at least that's what I suspect based on the movie spoilers I've read).

I was one of those fans who nearly rebelled after I saw the designs for the movie... but I'm liking them more and more now, and, really, if the movie prequel comic can overcome my bitching about how the movie Megatron looks, well, it must be pretty good.

Discuss this article in our forum.

Posted by YourMomsBasement at 09:30 AM

March 07, 2007

Greetings from the Big Two

Not announced at Wondercon... Marvel and DC comics have been in a "crossover" mood. Coming together like a story about a Kingpin and Darkseid team-up written, drawn, and inked by John Byrne, comics' Big Two have buried the hatchet to work together one more time... and make some cash.

Yes, in an attempt to give the gift that keeps on giving (and the moolah that keeps on coming) Marvel and DC are launching a line of greeting cards. Each one has a classic character or two in an iconic pose, with a message of hope or love inside.

Dubbed "Heroes for all Occasions", the first set is due for release this summer.

As usual, we here at YourMomsBasement.com have the exclusive pictures. Yes, believe us, you won't see these anywhere else:

Discuss this article in our forum.

Posted by YourMomsBasement at 12:00 PM

February 28, 2007

NYCC: Greg Pak

Part 1

Part 2

Posted by YourMomsBasement at 12:00 PM

NYCC: Dan DiDio

Posted by YourMomsBasement at 11:45 AM

NYCC: Christos Gage

Posted by YourMomsBasement at 11:30 AM

NYCC: Brian Wood

Posted by YourMomsBasement at 11:15 AM

NYCC: Percy Carey and Ron Wimberly

Posted by YourMomsBasement at 11:00 AM

February 26, 2007

NYCC: Dan Slott

Part 1

Part 2

Read the live blog of the Avengers: The Initiative panel.



Discuss this article in our forum.

Posted by YourMomsBasement at 12:00 PM

February 24, 2007

NYCC: Cup O' Joe

28 minutes of computer charge... Let's see how far we get...

Arthur Suydam exclusive to Marvel.

Annihilation: Conquest- Prologue. Abnett, Lanning, Denham, Briclot. June 2007.

Briclot, cover artist, from gaming.

Three minis and four issues of Nova.

Gage and Basaldua on Annihilations: Conquest- Quasar.

Annihilation: Conquest- Starlord. Cover with Rocket Racoon in it. Howling Commandos in space. Groot, Captain Universe, Deathcry, Mantis, Bug from Micronauts, and Rocket Racoon.

Annihilations: Conquest- Wraith. New cosmic character. Been a while since there's been a new one. Space Daredevil/Crow type character. Western element to it.

Minis lead into Annihilation: Conquest, Abnett, Lanning, and Raney.

Enders Game story from Orson Scott Card. Red Prophet hardcover ONLY. The Gold Bug.

Publishing Heroes Intiative charity covers in a book.

Marcos Djurdjevic exclusive and will do interiors.

Mystic Arcana, event to focus on magic in Marvel universe. Do for magic what Annihilation did for cosmic.

Handbooks, the one shots, then a handbook.

Black Knight, Illyana, Scarlet Witch, Sister Grimm from Runaways.

New Avengers/Transformers. Moore and Kirkham. July 2007. Tie in with IDW book.Set on Latveria border...

Halo, Bendis and Maleev.

Q&A:
Marvel Apes will happen.

That's it for YMB here...

Posted by YourMomsBasement at 05:30 PM

NYCC: Stephen King's Dark Tower- The Gunslinger Born

No video aside from Marvel's own camera is allowed...

Ticketed event. Jae Lee, Peter David, Ralph Macchio, Richard Isanove, Robin Furth, Joe Quesada, and Stephen King.

Rare to have one of the greatest authors, possibly ever, on a panel. it was hard for him to break into comics...

Being able to publish Dark Tower is a coming out party for comics to reach out into mainstream and let them know that comics has grown out of the "ghetto" of just children's literature.

Not just a boon for Marvel, but for all of comics. Midnight releases very successful.

Star Wars scout troopers "guarding" stage.

Standing ovation for King...

Goes straight to Q&A...

Just started reading book, should I be wary of spoilers? No spoilers. Get over this spoiler shit, man. The comic just kicks ass.

How intimidating to adapt a book that has reached so many people? The most intimidating is that it goes to "Steve" for review. Just do the best job you can. Labor of love. No impact on writing style, per se.

Katie told me to tell you you're the greatest. "No, Katie is the coolest." If I donate 100 to your favorite charity will you sign my copy of the book? "...No." *Laughter*

Wonderful marriage as comic fans check out the book and book fans check out the comic. Great to be seen by so many people. Might work with other authors in future, but now it's all about Dark Tower.

When you saw the artwork, did it live up to what's in your head? I'm in awe of what these artists did. Very gratifying.

Back and forth about Mets/Yankees with questioners. "Yankee fans don't ask questions, they know all the answers."

What was message of last book, theme of disappointment? Was that intentional? Overall theme is of evolution. You don't get what you want immediately. Sometimes you don't get it right the first time. Evolutionary process. When you do long volume work, like Potter, when you get to end, you're always going to piss off fans, because it's over and there's nothing you can do at the end that will satisfy them.

Always new material or will you adapt stories? Building up to battle of Jericho hill.

Lee thrilled with look. It's been so long, he's "forgotten how to ink".

More Dark Tower comic series in future? Up to King. Up to Quesada. King: there's always more stories.

"If you keep calling me Mr. King, I'm going to kick your ass."

When you wrote Gunslinger, did you know about Mordred? No. The story tells itself, in a sense. Your job is to just stand back.

What's it like for Quesada to sit next to "his lordship"? You had to be there for the first meeting. King asked to take the boards with him and Quesada knew he had him. Asked years ago, what is the holy grail to get to work in comics? King was the answer.

Would King ever work on a Marvel character? If something comes up in his mind, these are the people he'd go to, but right now he can't think of a superhero he'd like to write.

Why did you remove his fingers? "I didn't remove them, they got bit off." He was the most surprised person that it happened.

King never knows who's going to return in his books or show up again.

Darabont on series to adapt Dark Tower? King said no to everyone until recently. Fear of it not being a good movie. Been working on it since his 20s. Generally he doesn't give a shit about movie adaptations. If they're bad he still gets royalties on the book.

But with the comic, he knew this team was as good as it gets. Comic was so well received it rekindled his interest in a movie. With Darabont's plate so full, he optioned it to the Lost guys for $19 because he trusts them.

David sees himself as a professional liar/fabricator. It's nifty to get paid for it. The paycheck is all that separates him from the guy walking down the street muttering to the voices in his head.

I know you like to be in your movies, can we expect to see a character drawn after you in the comic? Lee says he's bad with likenesses, so probably not.

Media suggestions? Writes about that in Entertainment Weekly. Whatever you're reading is great. Don't let thought police take whatever that is away.

Distrustful of technology.

What made you choose to adapt this part off Roland's life? We talked about what the doorway in to this series might be like. There's a blank spot in the middle of his life from the books. He wants to see Roland be the only one to get away over a pile of dead bodies.

Do you ever think of actors when visualizing characters? I never see 'em. Doesn't know how to explain it. Doesn't see characters, it's like he's behind their eyes. Maybe if they looked in a mirror...

The Dark Tower is a first draft. Sees it as still in progress. Special Editions? Now that he knows how it ends, there's more he can do with it. When he got done, he realized that certain elements should have been introduced earlier. I know now some things that I can do. Would like to go back and might even novelize their comic book.

Art is never finished, only abandoned.

Any Marvel characters besides Dr. Doom? Don't mistake us for people who know where we're going.

What's on your t-shirt? Oh, this is a Shaun off the Dead t-shirt. *applause*

Clarifies, there will be no Lucas-y special edition, don't worry.

Like going to Disneyland for King when visiting Marvel office.

Lee thought it was cool being escorted in by Stormtroopers today, that was his "geek moment" during the process.

"You colored Jae better than you colored me". Well, it works better when you have a better artist. *laughter*

You write so many different kinds of books do you have to get into a particular mind set to do that? "No. Once you start the mindset comes."

Because I feel pretty good, I have more of a tendency to think about if I had croaked. If I'd ended up in a wheelchair. What I do with that accident is that it gets plugged into the work like everything else in my life. Turn it into leftovers. ...that doesn't make any sense. Well, shit.

Thanks, ovation, end.

Posted by YourMomsBasement at 01:00 PM

February 23, 2007

NYCC: Avengers: The Initiative

Heard in crowd that in Nova #3, Nova fights Penance. Not sure if that's news or not...

Civil War over... now the aftermath.

Bill Rosemann editing Nova and Ms. Marvel.

Oeming writing Omega Flight and Ares.

Slott writing She-Hulk, Initiative, and FCBD Spider-Man issue.

McCann, sales and marketing.

Initiative, Bendis, Ellis, Silvestri, March 2007, Iron Man holding Cap's battered sheild.

Ed Brubaker Steve Epting March 7 2007, McGuiness cover.

CW: The Confession. Cap put behind bars in preview art.

Stefano Caselli now exclusive to Marvel. With Slott on Initiative. Jim Cheung covers.

Price to pay for being pro-reg. You're drafted. You're in the army now. EVERBODY in in the book.

SHIELD has drafted She-Hulk to fight Hulk bad guys in the absence of a Hulk.

She-Hulk #18, ten seconds later, Hulk #106.

Cover of Nova #3, Nova DOES fight Penance. April 2007. Abnet, Lanning, Chen, Granov.

Essentially the Lone Ranger of space. All the power, all the responsibility. Entire galaxy. Stressed to limit. Knows that Civil War happened, doesn't yet know why. Finds out when he returns. T-Bolts called in. Raising Nova to A-List.

Knaufs, Zircher, Parel. Iron Man: Director of SHIELD. On sale next week.

Ms Marvel, raises her game against higher profile villains to be "the best of the best". Joins Avengers, strikes deal with Tony for access to SHIELD to go after worst of the worst.

Something is brewing in New Avengers, watch closely. Will go toe to toe with Mighty Avengers.

Omega Flight, original idea from Millar, idea evolved. Pretty open characters to work with. Putting alpha male American in Canada.

Paco Medina on New Warriors. Cover image shows character defacing Iron Man poster.

Cherniss, Johnson, Briones, Turner. Sub-Mariner, June 2007

Tease of Thor. Kissing Sif.

Barry Kitson now exclusive to Marvel. MATT FRACTION AND KITSON ON CHAMPIONS.

Questions and Answers:
Avengers The Initiative #2 deals with other countries dealing with America's superhero army. As does Omega Flight.

New Great Lakes Avengers one shot. Great Lakes Initiative (GLI).

Is the natural progression of the Marvel Universe really a superhero army? Yes. Why? Civil War. "No civil liberties" meme in Marvel books? She-Hulk 20 deals with those issues.

Originally Marvel was reflective of things like fear of radiation, war, space race. Marvel still reflects real world. Only natural that artists would express the events around them. That's the core. It resonates with us now. Stories of the fantastic with an underlying metaphor that is real.

Whether you believe in pro-reg or anti-reg, it was government acting responsibly based on wants of citizens on the Marvel Universe. In Civil War #7, we saw the average person wanting registration, and that was why Cap gave up, because he did not see the bigger picture that Tony Stark did. Cap realized he was not representing what the people wanted with registration.

Team forms in issue one on Mighty Avengers, they even fight in issue one, and it was STILL written by Bendis. *Laughter.*

Ares steals the book.

New villain underworld brewing. Organized crime developed its power base during war in the real world. Big thing coming two years away.

Slapstick in Initiative #1. Who's on the NJ team? Will tease it out over time. Delaware? No one's in Delaware. *Laughter.* Those who do bad in training end up in the less important states.

Even Swamp Thing wouldn't take New Jersey. *Laughter.*

Will we see a new take on Mandarin? Kim Jong Il? Very definitive version coming up in Iron Man.

What kinds of new characters in Initiative? Komodo, who stole some on Connors serum.

Jarvis role defined in Mighty Avengers #1.

Deadpool in Great Lakes Initiative.

Spider-Woman and Ms. Marvel share history and are now on two different Avengers teams. Key scene between the two of them in The Initiative.

What did Joss Whedon do to help resolve Civil War? Still can't say. But will be answered within a month. Will tell in Joe Friday on Newsarama. Deadlocked about exact ending. Couldn't figure it out. Discussing for hours. Joss came in, was presented the two sides, and said, are you crazy, it must be this. And his reasons were so sound story-wise that they went with it.

USAgent is the Marvel Universe's Ted Nugent, opinionated, but wants to be a hero for the right reasons.

How is Marvel's draft different than New Universe's? More people reading. And Pittsburgh does not blow up.

X-Men were registered de-facto during the 198. Read Initiative #3.

If you lived in the MU and were constantly wondering if your car would still be there in the morning, if you'd be able to walk to work without having a bus thrown at you, you'd want registration.

Cap realized the people felt that way. Now heroes are all licensed, sanctioned, and trained. Tony spearheaded this and he's the only one with the names.

If Civil War ended with status quo re-established, it would be unfulfilling.

Is Thunderbolts still about redemption? They're really evil now. Those themes will be explored but he can't give anything away.

Is the registration act written down somewhere for consistency?

If you get through training your registration gets upgraded to hero license.

Upcoming She-Hulk issue (#21) will fix 90% of all Marvel continuity issues.

Posted by YourMomsBasement at 05:30 PM

NYCC: World War Hulk

Joe Quesada moderating...

Bill Rosemann, will be working on tie in book for event.

Christos N. Gage will be writing two books for event.

Frank Tieri writing Gamma Corps.

Pak writing Incredible Hulk.

Jim McCann will be marketing.

Quesada starts off with a joke that Hulk just eats Earth.

Peter David wrote Prelude.

WWH, five issue miniseries and four IH issues tying in to the main book.

Five covers form giant image of Illuminati fighting Hulk. Last cover hidden. Secret who Hulk fights at end.

Images from book: Giant ship appears over New York, Hulk projects his image into Times Square

Incredible Hulk 106-109, Pak, Gary Frank, will follow those who side WITH Hulk. Hercules, Angel, and others on cover.

World War Hulk: X-Men 1-3. Gage and DiVito. Great cover image of Hulk about to pop Xavier's head like a blister. McGuinness cover.

Hulk shows up at Xavier's. Doesn't know about 198. Distress call due to Hulk possibly eliminatingg rest of mutants in the world in his rampage. Dream project for Gage.

WWH: Gamma Corp. Tieri and Ferreira. "Villain" book. General Ryker back from Dogs of War storyline. Puts together military unit to bring down Hulk. Think team from "Predator" with gamma powers.Deals with consequences of having Hulk in the world.

WWH: Frontline 1-6. Jenkins and Bachs. Follow up to Civil War Frontline. Street level look at the event. Multiple stories. Lead story with reporters Ben Urich and Sally. Danny in backup story (Sally's cop boyfriend). Two page humor bit in back of book.

Pak says tie-in scripts look amazing so far.

Gage says WWH #1 is phenomenal and the reason comics are better than movies.

Iron Man 19 & 20 tie in to WWH, Tony's first big challenge as director of SHIELD. Changes dynamic. Gigantic defense organization at his beck and call, but it's a grudge match. Does he put these soldiers in harms way over that? Gage writing.

Humbug in Heroes For Hire can talk to the Brood.

Ghost Rider ties in as well.

Avengers The Initiative #4 also ties in. More from Slott in next panel.

Young Avengers one-shot for WWH. Loeb and Finch.

Question answers:
Tony will be trying to change culture of SHIELD. Will meet resistance.

Century will be in WWH.
Mystery hero at end.

Illuminati #2, each member has an Infinity Gem, will be addressed in WWH why they don't use those.

Everyone will try to go head to head with Hulk. Get to see all the heroes try.

Idea came from summit, came before Civil War. Had gotten away from Hulk smashing, more a mystery book for a time. Summer event could be "Spartacus in space". While planning for Planet Hulk, Loeb or Bendis mentioned doing Civil War. Decided to do that concept first, decided Planet Hulk worked better coming after Civil War.

Why follow up tie-in heavy CW with another event with tie-ins (35 tie ins over 4 months)? Smaller number of tie ins than Civil War. There was a lot of chopping in Civil War event. A lot was whittled down. If you just read WWH main title, you will get a complete story. Entire X-Men story takes place in 47 minutes during the main storyline.

Quesada hates when tie-ins are required for the story. Civil War tie-ins added to story but weren't required. You were "absolutely cool" just reading main Civil War book.

Squirrel Girl is Ronan (not really).

Hulk writers always seem to take a different spin on Hulk, what is the core of the book, then? Creators bring their flavor. Consistency of character helped along by editor. Hulk has always been about radical changes. At first he only changed at night and was crafty. Then was savage and cavemen like. Not inconsistent, book is about who is the hero and who is the monster and as Banner grows the thing that comes out of him changes.

Reed and Sue back together on cover? Not in FF team, but are in book. Just back to fight? Maybe.

(Kid asking) Will Hulk fight Venom in WWH? Check Gamma Corp for villain action.

Venom will show up this summer.

Hulk/Juggernaut rematch? Won't say one way or the other. Don't want to spoil.

Quesada like the current ratio of event books to regular books. Fans want these event books right now. It goes through cycles, but this is what they want now. Permanent event culture? Less than 10% of total number of books from Marvel in a month is part of WWH. X-Men used to be one quarterly event after another. What is an event 10 titles? Is the big Spider-Man story an event? Quesada believes so.

Avengers: The Initiative, Stark has put Rhodey in charge of 50 State Initiative. Every registered hero is drafted. Initiative is superhero boot camp, training for these registered heroes. In WWH, they throw their superhero army after the Hulk.

WWH starts immediately after She-Hulk #18. Like ten seconds after. Jen learns what Reed and Tony did to her cousin.

Everybody runs through The Initiative. In #2 Rangers team in Texas, plus all the flying heroes dealing with a Hydra air attack.

Maestro is similar in image to Planet Hulk Hulk. Won't speculate on connection. By end of WWH, you will see an interesting angle on that possible connection.

Will see how this all effects Banner. Hulk 103, Banner appears on Planet Hulk.

And Planet Hulk will not end with someone crying and giving up.

Posted by YourMomsBasement at 04:30 PM

February 22, 2007

Guide to NYCC

IT IS UPON US. This gathering, this confluence of geekery on one of the finest cities in the world. And it's gonna be better than last year, I have faith. I'm talking about the New York Comic Con, the new hotness on the comic convention scene. Last year was a smashing success in terms of demand, a learning experience as far as the con was run, and for me, just an absolute blast. So this year, YMB is offering you EXTENSIVE coverage of the con, from our network of intrepid reporters, editors, staff writers, freelancers, friends, family, and Black Adam.

And to kick off Con Week, we begin with the guide to New York.

GETTING AROUND
It never ceases to amaze how many people have lived in this city for years and have absolutely no concept of how to get around it. It's very simple.

THERE'S A REASON WHY WE'RE NOT THE FATTEST CITY IN THE COUNTRY
Walk. Seriously. You're underground in a subway, stressed out in a car, not really paying attention from a cab. The best way to see the sights in the city is to get out there on foot and gawk. Walking is the best possible way to get around, assuming the trip is reasonable. One thing you MUST remember when wandering the city on foot: STAY TO THE SIDE OF THE SIDEWALK. Nothing, ABSOLUTELY NOTHING irritates a New Yorker more than tourists meandering down the sidewalk, slack-jawed and staring up at the tall buildings, then randomly stopping in the middle of the sidewalk/street like they're the only ones there. If you stop like that, prepare to get mowed down by at least three people who are walking close enough behind you to not be able to get out of the way.

Anyway, Here's a rundown of what you need to know to walk around the city:

When you exit the Javits Center, look straight ahead. That's crosstown, the avenue numbers will be going down. Now look left. That's uptown. The street numbers will be going up. And look right: downtown. The numbers all make sense as long as you avoid lower Manhattan (then you get name streets, and you really need to look at a map).

LEARN TO LOVE THE SUBWAY
The subway is your friend. Granted, the nearest subway will be 8th Avenue (4 blocks east of the Javits Center), but if you want to go anywhere outside of the immediate vicinity of the Javits Center, you'll need it. Metrocards cost $2 per ride, and you get one free transfer between subway and bus. If you're going to be here for the weekend, a $10 Metrocard (which gives you one additional free ride) should be enough to cover you.

CABS
Good luck. You'll get more bang for your buck on the subway, and if it's too short a trip to take on the subway, you might as well walk.

DRIVING
Take a cab.

WHAT'S WHERE IN NYC
If you've got a guide with you, a friend from the city who knows their way around, you'll have no problems. But if you're new in town and you're feeling adventureous, here's a brief summary of Manhattan.

Upper West Side
Up there is Columbia. Pampered rich kids drinking on daddy's tab. On the plus side, here and the village are the only two places you'll find beer pong (the other being the village). On the minus side, there's Columbia kids everywhere.

KEEP AN EYE OUT FOR:
Dog crap during the day (Yuppies love their puppies, but not cleaning up after themselves so much), 19 year old vomit after dark. Yes, you most certainly can hold your liquor, sweetheart.

BARS:
I'm partial to The Abbey on 103rd and Broadway. Quiet place, cheap beer, and you tend to avoid the vast majority of the Columbia kids, although they don't really card, so the Columbia kids that are there are usually right around 18. There's also Smoke on Broadway between 105 and 106th Streets, a nice jazz club that'll have a cover every night of the con. And if you're up here and itching for beer pong, check out The West End, on Broadway and 113th.

RESTAURANTS:
One of the many Dallas BBQs in the city is located up here, on 72nd between Columbus and Central Park West (HUGE booze portions). There's also an all you can eat sushi place down the block. Look for the "All You Can Eat" sign. And there's Big Nick's Pizza/Burgers, on Broaway between 76th and 77th. All quality, reasonable options.

SUBWAYS: 1, 2, 3, A, C, B, D

Upper East Side
These people have more money than they know what to do with, so they decide to spend it on $10 beers. It's a nice neighborhood, but it's out of my price range. One positive, however, is this is where they hide a lot of the Red Sox bars.

KEEP AN EYE OUT FOR:
Celebrity sightings. A bunch of them live up here.

BARS:
coughcoughSCOREScoughcough. I'm sorry, frog in the keyboard. O'Flanagans, on 1st Avenue between 65th and 66th is a nice little Irish pub, cheap beer, live music, and a decent crowd. There's also coughSCOREScough the Baker Street Pub, which is roughly the same deal.

RESTAURANTS:
I...I think I've only eaten up here in bars. But I think Scores has a buffet.

SUBWAYS:
4, 5, 6

Midtown
This is where the tourists go. Everything's around here. Obviously, Midtown Comics has both locations here, along with Jim Hanley's Universe (technically, I think it's Gramercy, but who's counting?), the BIG ass Toys R Us, chain restaurants, Broadway, and touristy bars and restaurants that are overpriced and overcrowded. I'm not saying to avoid the area, because if you want to catch a show or do some touristy shopping, this is the place to be. But if you don't feel like any of that, if you're in the city for comics, booze and friends, there are better places than Midtown.

KEEP AN EYE OUT FOR:
Four Freedoms Plaza in Times Square. And if you want to catch a Broadway show, check out the TKTS booths on 47th and Broadway or (there's another one in a hotel right there). They sell same day tickets to shows at up to 60% discounts. Just don't have your heart set on the Lion King or Dirty Rotten Scoundrels, because those are the first to go.

BARS:
Lots. But they're lots expensive. Mustang Sally's on 7th Avenue between 32nd and 33rd is a fun little place, as is the Blarney Rock on 32nd between 7th and 6th Avenues, but beware: there's a Rangers game on Saturday night, and St. John's (BELOVED ALMA MATER) is playing Duke at the Garden Sunday afternoon, so both of these bars will be full during and immediately following both games. A little further uptown is Rudy's, a complete shithole with cheap (and actually pretty good) house beer, a decent jukebox, and a good atmosphere. And check out 44th Street between 8th and 10th Avenues-there's a whole bunch of nice bars that aren't divey at all.

RESTAURANTS:
Even the theme restaurants are gonna gouge you. It's NOT going to be cheap to eat in this neighborhood. If you don't mind splurging a little, Ruby Foo's on 49th and Broadway is very much worth the money. And there's rumored to be a Brazilian BBQ place on 44th between 9th and 10th.

SUBWAYS:
Everything. The entire subway system is designed to get you here. Except the G.

Union Square
Between Forbidden Planet, Cosmic Comics and MOCCA, this place is the NYC comics mecca. You've also got my favorite city movie theater, the good Virgin Megastore, and some good bars and restaurants are all down here. You'll get the full array of expensive to divey, rock to hip hop, and our kind is always welcome.

KEEP AN EYE OUT FOR:
Hippies. Hippies in tie dye. Hippies with dreads. Hippies with bikes. Hippies with megaphones. Hippies with messages. Hippies with nonsensical messages. This is where almost all the anti-war protests, anti-globalization protests, anti-NYPD's bicycle policy protests start and or end.

BARS: Wander a little. You'll find a bunch of good ones. You may want to check out Bowlmor Lanes, a half club/half bowling alley, on University Place between 12th and 13th.

RESTAURANTS:
The Blue Water Grill may be my favorite restaurant of all time. Of course, someone else was paying, but holy crap was that food amazing.

SUBWAYS:
N, R, Q, W, 4, 5, 6 to 14th Street.

The Village
Picture the Upper West Side. Now instead of entitled (and drunk) Columbia kids, change them with entitled (and drunk) NYU kids. Add in a healthy dose of bridge and tunnel youths (kids from the outer boroughs, Long Island or New Jersey) and you have the Village.

KEEP AN EYE OUT FOR:
Failed reality television wannabes. Pay particularly close attention to the Growing Up Gotti asshats-you'll know them when you see them: vertically striped button down shirts, $200 jeans, white sneakers, unnaturally spiked hair, George Hamilton's skin and a glass jaw.

BARS: Again, tons. For beer pong, go to Off the Wagon on McDougal and Bleeker. There's live music at probably half the bars in the west 4th Street/Bleeker Street corridor. And you can taste the world at the Peculiar Pub, but be aware: the tip is included in the cost of the drink.

RESTAURANTS:
A bunch, but I almost always end up at this falafel place on McDougal Street. Best street food EVAR.

SUBWAYS:
Again, everything. You're looking for the Chambers Street, West 4th Street, or Bleeker Street stations.

The Rest of the City
If you're willing to venture out of the comfortable areas of the city (the number grid), there's probably too much for you. Chinatown has some amazing food (N/R to Canal St.). The Lower East Side has a TON of hipster bars (F to Delancey St. and if you walk north on Essex, you can walk two blocks east or west and find a bar on almost every block between here and 14th Street). Tribeca has The Patriot (E/1 to Chambers Street), with hot waitresses and ridiculously cheap beer.

And shit, if you're willing to leave the cold comfort of Manhattan, Williamsburg and Park Slope have some FANTASTIC comic shops, bars and restaurants (LOVE YOU, BROOKLYN MONSTER FACTORY!), and Queens has an incredibly diverse selection of food. And if you want to go where the geeks are, check out the Beat's NYCC page to find out where the parties are. I think I'm going to try and hit the PCS party on Saturday night. But really, what you should do in a city like New York:

Get lost. Not in the rude, condescending, stereotypical New Yorker sense. But in a nearly literal sense. Go to neighborhoods you haven't been to. Try restaurants you just walked by. When you hear a loud bar, go in. Try it all. It's a great town.

Posted by YourMomsBasement at 09:00 AM

February 21, 2007

An Interview with John Paul Leon

by Casey Ontiveros

John Paul Leon has had a long career in the comic industry, starting off at Dark Horse, then moving to Milestone to work on Static, and finally working on the Wintermen for Wildstorm. His work evokes a sense of Alex Toth, with sparse uses of negative space to get the idea across without having to draw every single wrinkle.

We here at Your Mom's Basement took time from a very busy J.P. Leon to interview him. We are very fortunate for this and to get some interesting news about theBLVD.

YMB. For those that don't know your work (I doubt there will be many here who don't know what you have done in the past), can you give us a quick run down of your personal favorites that you have done in the past?

JPL. I'm probably best known for my penciling work on Earth X a few years back. Also as the original artist of Static from the old Milestone days in the early 90s. As far as personal favorites, I'm pretty fond of the book I'm working on now for Wildstorm, The Winter Men. I also look back fondly at my run on Challengers of the Unknown in the mid 90s. Those that are really curious are invited to browse my site at http://www.johnpaulleon.com/

YMB. Static was one of the reasons, at least for myself, to pick up Earth X and Challengers of the Unknown (the few back issues I could find), it was probably one of the best things to come out of the mid-nineties boom and in some people's opinion, out of Milestone, would you like another return to the character if given the chance?

JPL.Thanks. I don't know. I did return to the character in 2000 for the Static Shock mini. Although artistically it was a very difficult series to get out for me I enjoyed returning to the Milestone world form a very different artistic perspective than I had from when I first started out. What I'm trying to say in a very convoluted way is that I was a different artist in 2000 than in 1994. This made the material fresh for me again. That was fun. What was no fun was that I just couldn't make a damn line then without whiting it out and repeating it over and over. Everything just looked like shit to me at the time and the boards ended up weighing five pounds each because there was so much damn white-out on the page. I was very unhappy while doing it and afterwards, looking at it.

YMB. Why didn't you return to the Earth X franchise?

JPL. Didn't want to jump back into that story again right after doing Earth X. Felt I had done it, for better or worse, and Universe X, for me, would have just been more of the same.

YMB. There are a few readers here who absolutely love Wintermen. In fact, there are a lot of people who loved the Wintermen. Pros and fans alike, it has a style unlike a lot of comics out there right now. With the planned Special that's suppose to come out, do you feel like it's doing justice to the series, wrapping it up in that way, when the higher ups at DC/Wildstorm cut it down to 6?

JPL. Thank you for that. I'm glad people are liking the book at least! I think the special will be satisfying to everyone but it is a little compressed. I'm working on it now and, although I think it all works, it would have been nice to do the full eight issues. The story is very textured and we were planning on devoting an entire issue to the Siberian, a character who we haven't met yet, so a lot of his importance to the overall picture has been compromised. That's unfortunate. But the special issue will make for a dense read. Hopefully one day we will see a collection.

YMB. How much research did you have to do for the Russian text and some of the locations for the Wintermen?

JPL. The locations and Russian imagery reference has been pretty thorough. I have a lot of books and old National Geographics all over my studio. I've been living with this stuff for a few years now! Google images has also been very helpful. In any story, authenticity is very important. The illusion of authenticity at least! Moreso in this book I felt, because not only do you want people to believe this stuff is existing in the real world, or at least a world very similar to our own, but the location is crucial to the story. We wanted to try and take the reader into this world of contemporary Russia so that the texture of that world becomes almost more important than the plot of the story.

As far as the Russian text goes, we have been lucky enough to be working with John Workman as our letterer. John was able to enlist the help of an old friend, Mark Pennington to do the transliterations into Cyrillic text. I believe Mark used to do Russian translations for the Navy but I may be wrong about that. Anyway, I think Mark's help with this has really added a whole other texture to the book. It wouldn't be the same without his help. Thanks again, Mark!

YMB. I was actually keeping an eye out for places that I'd been to in Moscow and checking the written words. I was impressed beyond belief how much detail was placed into everything.

JPL. That's good to hear. I worry constantly that I'm missing so much that is crucial to the place since I've never been to Moscow. Sometimes I have the experience that after having had to draw something, a prop or location, I actually encounter it in real life and then realize I missed it when I drew it. Just missed it. Didn't do it justice. So I wake up nights thinking I'm not doing justice to contemporary Moscow. It's too late now. I know if I ever go there I will be kicking myself nonstop for missing that and that and that!

YMB. The BLVD virtual studio that you hold with Bernard Chang, Sean Chen, Tommy Lee Edward and Trevor Goring, and this has made me wonder, how does it work? Are there rapid IMs between the five of you about ideas you have or scans being sent back and forth to ask if it looks right because there is a twinge of doubt that there is something off with the image that you and your studiomates are working on?

JPL. You got it.
Also, we try and print up a sketchbook each year and set up at conventions together.
This sort of covers the next question too... We will be doing another sketchbook by San Diego this year. Also, and this is pretty exciting for us, we're honored to have Walter Simonson joining us this time around as a guest of theBLVD.

YMB. That's pretty amazing to have Walter Simonson joining you on the third Sketchbook. Are there still plans to release this book through BOOM! again or will you release it independently like the first one was released?

JPL. We will be printing this one ourselves although the format will probably be similar to the second volume. Square bound, comic book size.

YMB. Your art has a very realistic feel to it. I can't imagine how you play with the people to make them seem as personable as you do? When working, on anything, what is that one thing that you enjoy capturing over anything else?

JPL. The thing that excites me the most is when something comes off in a way that is not what I had expected that adds something to the story. It's tough to verbalize. It can be something as simple as a prop or location, or a facial expression combined with a piece of dialogue that is not what you might expect. When I read a script I usually get a first impression of what I think I should draw in a scene. Usually if I find that this first impression is simply a knee jerk reaction that is supplying the most obvious , generic choice , I will try to deliberately not do that! I mean, comics are generally so filled with stereotypes, who needs more of that!? It is a challenge to try to be at once specific and simple, without falling back on the trappings of symbolism.

YMB. You've done a great deal of work for the Batman Begins film, how did it feel creating a new artistic direction for Batman for the screen?

JPL. All the work I did for Batman Begins was for DC licensing. Similar to what I did for Superman. So this was not actually conceptual work for the film but working from existing model sheets, photographs, and on location at Shepperton Studios in England. We had access to the sets and costumes. That part of it was great. We got to see first hand the level of detail and thought that went into the film. When I say we I mean, DC flew out several artists to England for an intense one week work session at Shepperton. There was myself and Tommy Lee Edwards, Scott McDaniel, Mark Stutzman, and James Hodgkins. It was a great experience.

YMB. Are you also doing work for the new Batman movie that Christopher Nolan is directing?

JPL. As of yet I haven't been contacted for this one.

YMB. You did some work on the new Superman Returns books. How much was give and take on the amount of interpretation that you were allowed to do with the material?

JPL. Well, there wasn't much give and take. Licensing work tends to be pretty restrictive in that they want you to stay as close to the reference material as possible. I guess the thinking behind it is to try to appeal to as large an audience as possible. So with something like the character turn arounds they want you to be very faithful to the photos. I guess this makes sense because other artists will be working off your drawings and you wouldn't want to be too "interpretive" with it.
The children's books were a little different. I was allowed a little more room with drawing the actual characters but the stories themselves were very controlled. For instance, I did the illustrations for the sound story book published by Meredith books. If you've seen the film you know that there is a Kryptonian island that is featured towards the end of the picture, as well as the crystals that Lex uses to hatch his land-grab scheme. All this was in the initial script Brandon Snider turned in but was eventually cut to save these "reveals" for the film. The book could have been much better.

YMB. This really goes with the question of adaptations for license materials like the Superman material that you worked on: Do they give you a rough cut of the movie so you know what the movie will be like so you can get familiar imagery to the products that people are purchasing from what they've seen.

JPL. Actually they provided me with photographs. Scenes from the actual movie as well as studio photographs of the actors in costume.

YMB. Are you still using traditional mediums (pencil, pen, inks) or have you started to try drawing on a computer?

JPL. Yes. All hand drawn in pencil, then ink. The old fashioned way. Don't think I could get used to doing art directly on the computer. I am not friendly with them. There is a physicality to drawing that I could not get on a computer. I always feel, on the rare occasion when I color something, that the piece doesn't truly exist if it's just in the machine. I need to have it on paper.

But I scan things in and look at them on the monitor all the time. I think this has affected the way I work, what I think about while I work, in some way, though I can't say for sure how. MB similar to when artists first started to see reproductions or copies of their own work. Looking at something on a screen is different than looking at a copy, and that is different than looking at an original. David Hockney has written a couple of interesting books on this subject. Also the fact that, on the machine, you can blow something up that was minuscule in the actual drawing to the full size of the monitor is interesting. You can look at large sections and it gives a different perspective.

Discuss this article in our forum.

Posted by YourMomsBasement at 09:00 AM

February 15, 2007

Super Love

Your questions about love, sex, and relationships are answered by some of your favorite superheroes.

Dear Super Love,

I worry that I am not satisfying my girlfriend. She sometimes talks about her past boyfriends and mentions how, you know, "large" they were. She always says it as a joke and I don't think she realizes how much it hurts me.

I was wondering if you knew of any safe, non-surgical options that could increase my size, you know, "down there."

Thanks.

-Feelin' Small

Mr. Fantastic Responds:

Dear Feelin’,

In response to your query about the inadequacies that you are having in intimate moments, I would suggest that you take it upon yourself to try and reproduce the accident that has given the multiverse a great deal of relief from catastrophic events. In essence, create a rocket with inadequate shielding and go into a cosmic ray storm. Ms. Richards has never been happier. How else do you think I wooed her away from the Atlantean in the speedo? I mean, by God, have you seen his abs?

Dear Super Love,

My husband and I were first married a year ago, and financial concerns have recently forced us to move in with his parents. They've been supportive in most every respect but one: they refuse to let us share a bed. We're both 24 years old, and have been married- in the eyes of God no less- for over a year, but they don't think it's "appropriate" for us to share a bed. Can you believe that?! I am grateful that they took us in when we needed a leg up, but how can they be so old-fashioned?!

Sincerely,
Stuck On the Sofa

The Batman Responds:

Dear S.O.S.:

...my parents are DEAD.

Punk.

Dear Super Love,

I've always had a problem with premature ejaculation during intercourse. I've tried everything from desensitizing creams to masturbating a few hours before, but nothing seems to help. My girlfriend is patient, but I can't help feeling guilty and embarrassed. Help!

-Can't Control It

The Hulk Responds:

RAR! Puny human too anxious! It important to have lengthy foreplay and communicate with lover before human play put-it-in game! All about talking, talking, talking! Stupid puny humans never talk to Hulk, always attack! Why attack Hulk? Hulk just want to be left alone!

Stupid two-pump chump must talk to girlfriend about fears and concerns! With love and understanding, soon you be comfortable enough to go for hours! HOURS! RAR!

Stupid premature ejaculation never happen to Hulk! HULK IS STRONGEST ONE THERE IS!

Dear Super Love,

I'm having girl trouble. Yes, I have to admit that I'm not the most confident person in the world, but people look up to me. I've been in a relationship for many years and now there is someone else that has come into the picture.

This new woman makes me feel free. It's something that I've never really had a chance to feel before. I don't want to hurt my current girlfriend, because we've been through hell and back several times over. I need help on what to do here.

Sincerely,
Confused in New York

Cyclops Responds:

Dear Confused in New York,

....

Dear Super Love,

I had been trying (unsuccessfully) to catch the attention of a secretary in the office for months now. I thought the best moment to make a move would be at the office Christmas party. So at the party itself we all drank a lot, and I think she drank a little too much... and we hooked up. I really like her, but she's been really cold and standoffish to me ever since the party. I wish we hadn't gotten together under the influence of alcohol. Do you have any advice? How can I bridge that gap?

Help!
-Cast a Gimlet Eye

Iron Man Responds:

Yoou dont hav to worry about it friend! a little social lubricant goes along way trowards any solid relationshp. And the best relationship iz the one that only lasts a evening! Aha hah ha.. .so yeah if all else fails just sel the company and move onto another place! In the future, you shd hire an uglier secretary like Mrs arbogast. That way no hanky panky happens no matter HOW much bubbly you drink! And if theres no hanky panky, theres no way that yer compnay will be stolennnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn

Dear Super Love,

My wife and I have been married 16 wonderful years. We met in grad school, and embarked on similar career paths upon graduation. She's wonderful. A great mother to our two boys, a fantastic wife (who's still beautiful and sexy after all these years), and a successful professional.

It's that last bit that's proving to be the problem. See, we're in the same profession, but she's advanced up the career ladder much faster than I have and now makes nearly twice what I do. To be honest, there are times that I don't feel quite like a man.

I know it's the 21st Century, but I was raised to believe that a man provides for his family. I'm supportive of my wife's career and all, and my salary isn't too shabby, but how do I get past this inferiority complex?

---Trying to Imitate a Modern Dude

Wonder Woman Responds:

Dear TIMID:

Grow a set. Why the Gods see the need for my people to develop ties with Patriarch's World, I will never know. "Still beautiful and sexy after all these years"? What is that supposed to mean? Unless you're the lone mortal man incapable of growing doughy in his midsection and retain his entire glorious mane into his mid-life years, you're hardly one to talk, tubby.

You're whinier than Aquaman.

Dear Super Love,

My husband recently started acting... different. Missing dinners, keeping odd hours. I'm worried that he's having an affair. What should I do?

Sincerely,
Nervous in South Dakota

Hellboy, BPRD, Responds:

Nervous,

Sounds like you got a vampire there. Your best bet is to either set him on fire or cut off his head with a big sword. Might also be a doppelganger. Whomping him upside the head with an iron horse shoe should reveal the demon. Then, cut off its head with a big sword.

Dear Super Love,

I'm a 23-year-old woman and my boyfriend is 24. He and I have been together almost eight months now and sexually active for most of that time. We've both been tested and are tired of the inconvenience and expense of condoms and are looking into other forms of birth control. I'm thinking about the pill, but I'm concerned about possible hormonal side effects. What do you recommend?

-Looking for Options

The Question Responds:

Can man's union with woman be complete without a vow? Can that bond created in matrimony be rent asunder by any man? Children may play at love, but only adults face the world as husband and wife. Children should not have children.

Which are you: woman? Or girl?

Dear Super Love,

I'm in a bit of a dilemma here. My girlfriend has offered to set up a threeway with one of her friends for my birthday. The thing is, I am not at all attracted to the friend with whom she has arranged this. She's already gotten the ball rolling on it, so I need a way to back out gracefully and without hurting our friend’s feelings. Please help.

Yours, Triple Threatened

Spider Jerusalem Responds:

Can that festering void in your brainpan even conceive of how long it's been since a female of our species managed to even fucking gaze upon my bits without vomiting up an extra pancreas? I ought to hunt you down just so I can cut off your nipples and fill them with salt that was harvested from the waterlogged corpse of your pederast father who was killed at fucking sea for trying to fuck a whale's blowhole, you fucking useless fucking gonad-sniffing fuckhair. Fuck.

Dear Super Love,

My girlfriend of the last six months has been trying to spice things up in the bedroom. In an effort to keep our romance lively, we've been consulting the Kama Sutra in a never-ending parade of increasingly varied and crazy positions. Sure, the sex is fun, but it's the soreness and stiffness -and not the fun kind- the next day that's bugging me out. Should I try to slowly move our sexual repertoire back to where it was or hire a physical therapist to help me recuperate from our lovemaking?

-The Beast with Two Backaches

Captain America Responds:

Face front, citizen!

Discuss this article in our forum.

Posted by YourMomsBasement at 10:00 AM

February 07, 2007

Interview with Leinil Yu

by Mike Collins

Your highly anticipated run on New Avengers is about to start. How did you get the assignment?

As we all know, there was a delay on the plots for Ultimate Wolverine vs. Hulk #3 and I was doing a slowburn projects in the meantime as well as various covers. I got an email from Joe offering me the chance to do New Avengers on a regular basis. They told me while negotiating my deal to move to Marvel that they'd give me the best projects possible, I didn't know they'd give me THE best on-going project ever. It's awesome!

Brian Michael Bendis continues to write the book. Were you nervous at all to get such a high profile project with one of Marvel's best selling writers?

I love Brian's work and of course, I'd love to be among his favorite artists to have ever worked with him! I think I am extremely fortunate to have worked with huge superstar writers through out my career and Brian is another golden name on my resume. I did have some hard time getting the plots translated correctly during our first issue but after issue 27 onwards, I think I got the hang of it and I hope I did his writing justice.

With such a large cast of characters to draw have you found a favorite? Anyone you haven't quite gotten down yet?

I love every one of them. But honestly, I guess I find myself drawing Ronin with the least enthusiasm given that the book is just filled with Marvel's Best Characters Ever. I'm overwhelmed really that I get to draw my favorite Marvel Characters and it seems to me that I can stay in this book for ever and be completely satisfied for life.

Understanding that you can't say a whole lot on the plot what can people expect from New Avengers?

Lots and lots of intense action and character driven stories! This is definitely the best work I've ever done in my life.

Your style continues to evolve. Can you talk a little bit about how you approach taking on a new book?

I'm using my Silent Dragon style on this book as it is a bit on the gritty side. I think it's very cross-hatching heavy as opposed to Highroads and Superman: Birthright (two books that I am very proud off) which are a lot more cleaner and more animated. If you really look carefully, it's the same drawing style with a couple thousand cross-hatches thrown in on my Marvel work. I love hatchings as they create beautiful textures and set the mood. It's the most enjoyable part of my work actually as I let my hands go crazy and see little random accidents happen that I leave on the page to really make it look organic and raw.

Though I over-do it sometimes, I always have my handy pen-eraser to knock off excess lines.

Also, drawing a dozen characters per page is quite taxing, but at the same time, I just love drawing faces a lot and it just makes the effort all worth it.

Please explain the art process for your work. Your pencils are colored directly without being inked?

I know a lot of inkers aren't too happy with my current style but I really think it's a worthy alternative to inked work. It may not be as clean and slick, but it also has its advantages such as production speed (Fed-Ex times) and total control (no mis-drawn small faces). I did have the opportunity to work with the industry's best inkers and I love the work we produced together. Dexter Vines, Mark Morales, Rich Friend and Gerry Alanguilan are phenomenal and we've produced the best work that I am most proud of.

I do have some issues with some internet posts about how totally great my work is with inks and how disgusting my work is without inks. I really think there is an agenda embedded in these statements. Seriously, if it's not as good but surely it's not totally crap. If "inkless comics" is really bad, it will die out naturally. No need to bash it and create an artificial fuss. I am not doing digital inked comics though. It's just plain penciled comics and I have no intention of hiding it or making it look like inked.

What if anything can you say about Ultimate Wolverine vs. Hulk? When do you think the next issue might ship?

I think we are still acquiring all the plots and finishing a lot of issues before we resolicit it so the fans will have nice, continued Damon Lindelof goodness. I do have the plots for issue 3 though!

Between the delay on Ultimate Wolverine vs. Hulk and your first issue on New Avengers being pushed back a bit because of the delays on Civil War, has it been tough for you?

I would love to have a more consistent output so the fans won't forget me. That's why I jump on every opportunity to do a cover here and there and short stories like Civil War: Choosing Sides. It's tough but I'm lucky to still generate regular buzz on my work. 2007 will be a crazy year for me, so watch out guys!

You've also done some popular creator owned work on High Roads and Silent Dragon. Do you plan on doing more creator owned projects in the future?

I have no plans yet, as I intend to make my indelible mark in the Marvel Universe. I am enjoying my Marvel gigs immensely and I'm in this for the long haul.

Is it difficult living in a different country and working on an American comicbook? How does that process work?

It's tremendously easy and has very little impact on the production side. The Internet makes everything so easy that a guy from California has very little advantage over me except for cheaper phone bills.... but I am more of an email guy, so it matters very little. I can email my pages in minutes.

I would love to be able to attend more comic cons though, so that's the main difference.

Aside from New Avengers you also have a few other projects you are doing for Marvel. Can you talk a little bit about them?

Fallen Son #1 is about half done and coming out soon! This is looking great.

This is a dream come true as well, working with Jeph. We have been talking about working together for years now, even before my time at DC, but circumstances were not for us. He is such an awesomely selfless guy that he even introduced me to some great people who I ended up working with instead of him.

Finally, a whole Jeph Loeb and Leinil Yu Issue!

Anything else coming up from you Leinil?

More New Avengers goodness! I'm very excited and I'm so glad I have a wide audience to show off my stuff.

Leinil Yu can be found online at www.LeinilYu.com.

Discuss this article in our forum.

Posted by YourMomsBasement at 09:00 AM

January 10, 2007

Look Back In Anger: 1996

by the YMB Staff

YMB was cleaning up the basement last week and found something... Wizard issue number 65. Their "year-end spectacular" for 1996. As we begin 2007, YMB thought a look back to the state of the industry a decade ago might be worthwhile.

Won't you join us in a little trip down memory lane? We'll go dancing in the dark. We'll go walking through the park and reminiscing...

So, what was happening in 1996?

Well, in the greater realm of film geekdom, Star Wars buzz was slowly building. New trading cards and action figures were out. Later in 1997, the original films would be re-released and then Lucas would announce the production of the first new Star Wars film in more than 15 years.

In superhero movie news Kevin Smith was announced as the scribe for the new Superman film. The hype around "Batman and Robin" with new Batman George Clooney was building. Chris Columbus (who would later direct Harry Potter) was attached as the director of a Fantastic Four movie. And principal photography on the big screen version of "Steel" was completed. Each one a smash success.

*Ahem.*

In comic news, in January 1997, a new series called Thunderbolts was just about to launch. They'd already appeared in an issue of Incredible Hulk and the buzz was building on these new heroes. Of course, fans were also about get one of the last truly great surprises in comics when it turned out the Thunderbolts were actually a disguised Masters of Evil, taking advantage of the lack of heroes in the Marvel Universe after the battle with Onslaught. Given the sieve-like leaking during Marvel's latest event, Civil War, one wonders if such a shocker could be kept secret in today's world of the Internet and gossip mongering. Probably not.

DC had announced The Kingdom, a monthly book to follow of the heels of the hugely successful Kingdom Come miniseries. Written by Mark Waid, with input from Alex Ross, and interiors by Gene Ha, the book would start bringing elements of the future-set miniseries (like villain Magog) into the current DCU. The book never happened, of course. The Kingdom eventually saw life as a crossover event in 1999 that introduced Gog and Hypertime, but with no input from Ross after the creators had a falling out. Meanwhile, later in issue 65, Wizard covered a Ross art gallery show where you could buy interior pages of Kingdom Come for $500. $500!

Wizard continued their issue with a look forward at 1997 by highlighting eight artists to watch for in the coming year. Where are they now?

Michael Turner does covers and work for the big two and runs Aspen Comics. Jeffrey Moy works in video games. Steve Skroce did storyboards for 1999's The Matrix. Jim Calafiore has a secret project at DC after working for years on various X-books. Lee Moder will be drawing a new Painkiller Jane book after a hiatus away from comics following his work on Stars & STRIPE. Cary Nord draws Conan the Barbarian for Dark Horse after getting his big break in 1996 drawing Daredevil. Ian Churchill has drawn Uncanny X-Men and Supergirl. And Carlos Pacheco is on DC's flagship Superman title with Kurt Busiek.

Wizard then looked back at the year that was, highlighting the ten biggest stories of 1996. Where were you when you found out about...

Marvel's Heroes Reborn stunt? (The Avengers and Fantastic Four sacrificed themselves and were relaunched in a pocket universe.) Rob Liefeld leaving Image? (Lee and Liefeld had gone back to Marvel for Heroes Reborn and Liefeld left Image in September.) The rising star of writer Garth Ennis? (A little book called Preacher from Vertigo.) The success of Marvel's Onslaught crossover? (Psst, it was Professor X all along.) Kingdom Come blowing away expectations? (With an epic throwdown between Superman and Captain Marvel.) Self-publishers joining up with larger studios? (With books like Strangers with Paradise looking for safety under Wildstorm's Homage banner as the industry slumped.) Superman getting married? (Just in time to coincide with TV's "Lois & Clark"). The rise of comic-themed toy lines? (From newcomers Toy Biz and McFarlane Toys.) The end of the Spider-clone Saga? (Thank God. Even if they had to bring back Norman Osborn to do it.) And the unexpectedly not so awful Amalgam event? (A decade later and people still want more Spider-Boy.)

If you were like most comic geeks a decade ago you were maybe in your local comic shop and found out about them from the grumpy store owner, or possibly you were walking to class and heard about it from your buddy who reads comics and takes it all a bit "too seriously", or, if you read it in Wizard, you were probably on the crapper.

Ah, 1996... when Spawn #1 still guided for nearly $20.

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Posted by YourMomsBasement at 11:30 AM

December 20, 2006

Superhero New Years Resolutions

by the YMB Staff

Deadpool: Kill less people with Lenny Bruce's corpse. Start using with Bea Arthur's corpse. (Note to self: kill Bea Arthur.)

Mr. Fantastic: Might as well get that Playboy mansion pass Susan always said no to. Unstable molecule pajamas here I come!

Cyclops: Women don't make me complete, I am fine on my own. Women don't make me complete, I am fine on my own. Women don't make me complete, I am fine on my… Oh hey--

Batman: Try to use the bat-moped more instead of the other vehicles - it's just sitting there gathering dust.

Hank Pym: Don't accidentally invent any killer clone/robots this year.

Spawn: Get more sun.

Cable: Take less gear on missions - I never even need most of those guns and it costs a God-awful bundle when I invariably get thrown out of a jet or something and lose most of them, and it's really starting to kill my back carrying it all. Also, while I'm at it, I've got to stop with the eye glowing whenever I'm near Rachel - OK, so I had that funny dream about her... but even though she isn't my sis, she kinda is.

Swamp Thing: Get a new camera that won't give me red eye when the family photos come back.

Wolverine: I'm the best there is at what I do... But is there room for improvement? I want to make this Logan's year to shine.

Hulk: Hulk need to renew membership to Hello Kitty Fan Club.

Ghost Rider: This year I resolve to actually make the time to get out and walk a bit more. Sure, a mystical chopper fueled by the screams of the damned and hellfire gets you from point A to B quicker, but you never get to stop and appreciate the life's little miracles like you do when you're on a nature hike, or even just a stroll down the street.

Beast: Quit buying National Geographic tapes for pornography.

Discuss this article in our forum.

Posted by YourMomsBasement at 09:30 AM

December 13, 2006

Top 15 Comic Book Catchphrases

by the YMB Staff

1. "Sweet Holiday Season!"
Luke Cage, in Heroes for Hire #2, replacing his "Sweet Christmas!" catchphrase with something more inclusive.

2. "Stop laughing at my little Dick!"
Batman to the Joker in issue #127 (as the Joker laughed menacingly at Robin).

3. "Not in the face! Not in the face!"
Aquaman, in Aquaman #34, while being punched in the face.

4. "I am the Law!"
Judge Dredd in one of those comics Americans have never read but nod and pretend they did when talking to British comic fans. He was that guy Sylvester Stallone played in that movie. With the helmet.

5. "Stupid, stupid rat creatures"
If you're a big Bone fan, then you know where this quote comes from. If you're a big, throbbing, Bone fan.

...

Bone.

6. "This psychic knife is the focused totality of my psychic abilities!"
Psylocke, while fighting Magneto in X-Men #17. Right after Rogue had said "I dare not touch someone, less Ah absorb their powers and memories, sugah." And before Storm said "Goddess!" And then Colossus said "By the White Wolf!"

7. "Not like this!"
Hawkeye ...on his wedding night with Mockingbird. From the flashback in West Coast Avengers #23

8. "Does Nightwing have to cut a bitch?"
Nightwing, to future Robin Tim Drake during the "Lonely Place of Dying" arc in Batman #441.

9. "I know we were raised as brother and sister, but so what? I'm German Euro-trash."
Nightcrawler regarding his love Amanda Sefton in Uncanny X-men #237.

10. "By the Whore-y Hosts of Hoggoth!"
Dr. Strange, in the classic 70s story "The Hoggoth's Swingers Party" in Strange Tales #43.

11. "By Hera, I could humiliate you worse than if you were caught f*&king a pig in the middle of the town square!"
Wonder Woman to Cheetah, Wonder Woman #43

12. "In brightest day, in blackest night, No evil shall escape my sight, Let those who worship evil... yadda yadda yadda."
Shortened, hipper 90s version of Green Lantern oath introduced in 1998 in Green Lantern #105 during Seinfeld's heyday.

13. "I'm the best there is at what I do..."
Rick Jones, in the Incredible Hulk #4, right before breaking out his harmonica.

14. "YEEEEARGH!"
Howeird Deen, AKA the vile Doctor Vermont, in issue #4 of "Liberality for All".

15. "With grape powder, comes grape drink to end the thirsty."
Uncle Ben to a young Peter Parker, describing his love for grape Kool-Aid mix. Peter misheard what he said.

Discuss this article in our forum.

Posted by YourMomsBasement at 09:30 AM

December 06, 2006

Superhero Christmas Shopping Lists!

Reed Richard's Christmas Shopping List

For Sue: A romantic dinner out on the town. Create a hologram of myself to go with her.
For Johnny: "The David Spade Collection" on DVD
For Ben: Finish that "turn him back human" thing, if I have time. Otherwise, "Talledega Nights" on DVD.
For Franklin: Finish his new robotic play mate, the Omni-Robotic-Playmate-Humanistic-Artificial-Neuronet.
For Namor: Pants.

Danny Rand's Christmas Shopping List

For Cage: Yellow shirt (preferably with no shirt buttons). Possibly with easy-rip stitching.
For Matt Murdock: New mask after I punched out eye holes in his old one.
For everyone else: Silver tongue dollars.

Bruce Wayne's Christmas Shopping List

For Clark: WayneTech Brother-I GPS.
For Diana: WayneTech Brother-I GPS.
For Hal: WayneTech Brother-I GPS.
For Ollie: WayneTech Brother-I GPS.

Logan's Christmas Shopping List:

For Storm: Six pack of Michelob.
For Kurt: Six pack of Heineken.
For Peter: Six pack of Stroh's.
For Kitty: Hmm... is she old enough? ...Fine, six pack of lite beer. Pabst.

The Abomination's Christmas Shopping List:

For the Leader: Size 47 "Gamma Irradiates Go For Longer" baseball cap
For Doc Samson: "Gamma Irradiates Do It Glowingly" t-shirt

Hal Jordan's Christmas Shopping List

For Kyle Rayner: gift certificate to Starbucks. Twenty...no, five dollars.
For Guy Gardner: a new haircut bowl.
For John Stewart: Custom made JLU Animated John Stewart as a Darkstar figure.
For Alan Scott: Novelty glass eye with a smiley face in the pupil.
For Hector Hammond: 100 Gallon cowboy hat. No, ten.
For Sinestro: Mustache wax.

Tony Stark's Christmas Shopping List:

For Matt Murdock: Iron Devil Armour
For Marc Spector: Iron Knight Armour
For Danny Rand: Iron...Fist Armour

Darkseid's Christmas Shopping List:

For Superman: Death, Pain, Desolation. All that Darkseid IS, I impart to the last son of Krypton for his Earth Celebration.
For Orion: Merry Christ Birthing Day, my scion. So, too, shall you bear witness to the full fury of my power. Your legendary rage is naught compared to mine.
For Scott Free: I shall grind you under the hell of my boot. Your intestines shall feed my parademons. Enjoy your "Happy New Year." It shall be your last.
For Desaad: "Best Friends" Earth Hummel figurine.

Discuss this article in our forum.

Posted by YourMomsBasement at 10:00 AM

November 14, 2006

GALACTUS IS COMING!

YMB's crack investigative team has unearthed the long rumored, but never confirmed, collaboration from 1983 between Marvel's Chairman Emeritus Stan Lee and religious comic tract creator Jack Chick.

Long out of print and now only infrequently stumbled upon in the odd truck stop bathroom (as all good religious witnessing tracts should be) YMB is now able to present to you "Galactus is Coming!"

Discuss this (parody) article (that Stan Lee and Jack Chick actually had nothing to do with) in our forum.

Posted by YourMomsBasement at 08:42 PM

September 15, 2006

Christos Gage Interview

by the YMB Staff

Union Jack

Why Union Jack? And why now?

Union Jack is a character a lot of people love. I've honestly been amazed by how many fans he has, whether it's from the Invaders run in the '70's, the Roger Stern/John Byrne storyline in the '80's, or people who just discovered him in the current Captain America arc by Ed Brubaker and Steve Epting. As for “why now,” UJ's appearance in that book gave us the perfect opportunity to put him back in the spotlight; it was Ed Brubaker who suggested it, in fact. Add to the mix that our penciler Mike Perkins (who draws alternate arcs on Cap) is both British and a huge UJ fan; that the current UJ's first appearance in Captain America #253-254 is one of my all-time favorite stories; and that editor Andy Schmidt was very fond of him from his time editing The Invaders, and it seemed like a natural.

Many fans were happy to see a return to the classic Union Jack costume - was that difficult to do given his recent appearances in other titles?

Not at all. We had to settle on a costume pretty early, since he'd be appearing in Captain America four months before UJ #1 hit the stands. Once we all started talking, it became apparent that everyone from Ed and Steve to me and Mike to Andy and Tom Brevoort wanted the classic costume back. It was unanimous.

Aside from his recent appearances in Captain America, did you draw on any past stories for your series? The Raab/Cassady mini? The Stern/Byrne run on Cap in the 80s?

There aren't any direct tie-ins; we really wanted the story to be accessible to new readers. However, UJ's history plays a key part in the subtext of what's going on. Andy told me from the start that he wanted a story that could only be about Union Jack; not a generic superhero tale in which you could plug, say, Captain Britain into UJ's place without anything changing. So I went back and looked at his history, especially the Stern/Byrne issues that introduced the current UJ, and realized that what makes Joey Chapman distinct from his predecessors is his working class background. The entire character arc for the miniseries grew out of that.

Is Union Jack's tenure in the Knights of Pendragon still in continuity, and if so, what does that mean?

Yes, but we're not referring to it in the miniseries because it doesn't really have a direct effect and would probably just confuse new readers. But if you check Union Jack's bio on Marvel.com (most of which I wrote), you'll see that he still has the Power of the Pendragon. Basically, it increases his natural abilities to or slightly above peak human levels, like the super-soldier serum does for Captain America. It also boosts his endurance and healing, so he can take a beating - and believe me, that's going to come in handy.

Will we see more vampires in this mini?

You'll see a few on pages two through five of issue one; that's it for now. With Marvel releasing a new Blade monthly, we wanted to show a different side of Union Jack than the vampire fighter.

How much research did you have to do for the mini?

A good amount, because I wanted the British setting to feel authentic. All I can say is thank God for the internet! I researched MI5 (Britain's secret service) quite a bit, both on and offline - Ed Brubaker recommended a 1970's English TV series called “The Sandbaggers,” and Mike Perkins suggested the recent “MI5.” It was helpful that Mike's British, because I could run things by him - he vetted all the dialogue and geography for authenticity - and while on vacation in London (he lives in Florida now), he took lots of photos. Virtually every exterior in the comic is true to life!

Are you hoping that this will result in a higher profile for UJ in the Marvel U?

That would be nice - he's a great character. I'd love to see the international side of the Marvel Universe used more.

So how will Civil War: X-Men affect your use of obscure Israeli mutant Sabra? Or will it not?

The Union Jack miniseries takes place before Civil War, and occurs almost entirely over the course of one day, like an episode of 24, so it's really not a problem. Marvel editorial has handled the coordination well; in fact, the Mike Perkins-designed new costume for Sabra is being used by the X-Men: Civil War creative team. I guess it spoils the fact that Sabra survives the UJ miniseries, but I'd imagine that isn't a huge shock to anyone.

What side would UJ fall on in the current Marvel Civil War?

He admires Captain America so much it would be tough not to be on his side, but I think UJ would also understand the pro-reg side's arguments in terms of superhumans needing accountability and training, given the risks their activities pose to innocent civilians. The question is whether he'd trust the government to implement the Act responsibly. Ask again at the end of the miniseries…

Any plans for more work with UJ after the mini wraps up?

Mike and I would love to, whether it's regular minis the way they used to do with Venom or some type of ongoing, like an Invaders book. It'll all depend on sales and reader reaction, so anyone who wants to see it happen should buy early and often and send Marvel lots of letters!

Stormwatch

Again, why Stormwatch?

Jim Lee and the folks at Wildstorm wanted to relaunch the Wildstorm Universe. I had been discussing a pitch with them that would have been self-contained, like The American Way; one day editor Ben Abernathy asked me if I thought it might work as a Stormwatch series. Approaching it that way opened up so many new story possibilities…it fit perfectly! My premise was about using the types of characters who have traditionally been in the background of comics - tech guys, girlfriends, sidekicks and the like - to explore the mean streets of a superhero universe in a book with the feel of Gotham Central meets the Suicide Squad. Given that so many other Wildstorm books take a widescreen, global or even cosmic view of things, this seemed like an ideal way to show the parts of the Wildstorm Universe that we don't get to see in those titles.

Does this incarnation tie into any previous incarnations of the team? How is it different?

Yes, there is a direct relationship to the original Stormwatch comic, from the early Image days to the end of Warren Ellis' tenure. The two familiar characters you'll see returning are Jackson King and Fahrenheit; the other core team members are all new. But they're living in the shadow of the famous Stormwatch Prime, the post-human crisis response team of previous volumes. The difference is that both Prime and our Post-Human Division are operating under a much tighter budget; they no longer have the unlimited resources of years past. P.H.D's job is to find creative, cost-effective ways for normal human authorities to take down post-human threats before they become big enough to demand Stormwatch Prime's attention.

Do you have a favorite Wildstorm storyline? Are you allowed to reach back to the pre-Worldstorm material in what you're writing?

I guess my favorite storyline would be the very first Warren Ellis run, starting in Stormwatch #37 and culminating in “Change Or Die,” which ran through issue #50. It really redefined superhero comics in ways we're still seeing today. I am allowed to reach back to the pre-Worldstorm era, and will be doing so, but in ways that will not require the reader to have a knowledge of Wildstorm history to follow the story. To use the first issue as an example, there are both new and classic villains in it. I treat both the same way: as if they've always been around, but the reader hasn't seen them before. A new reader will be told that The Ferryman is a supernatural entity who feeds on the energy released by death, and that Deathtrap is a post-human mercenary who can materialize weapons in his hands seemingly out of nowhere. A longtime reader will know that Deathtrap's appeared before and the Ferryman hasn't…but in terms of understanding what's going on, it won't matter. All the information you need to follow the story is in it.

How coordinated are the relaunch titles? Is there any kind of theme running through them?

If there's a theme, it's excitement and accessibility. We want both longtime fans and people who've never picked up a Wildstorm book in their lives to be excited about the Worldstorm relaunch and to feel like we're making it easy for them to get in on the ground floor of this new era for the Wildstorm Universe. As far as direct coordination, the various titles do all happen in the same world, but aside from some background stuff like offhand references to the Wildcats' HALO Corporation, you won't be seeing any out-and-out crossovers in the short term (except for Wildcats and the Authority, both of which are written by Grant Morrison). Down the road I'm sure we'll be getting into some of that, but the editors want the books to establish themselves and stand on their own before that happens. No one wants readers to buy all the books because they feel they “have” to. We want them to buy them because they've got great stories and great art…because they WANT to buy them all.

Along those lines, how much freedom did you have to run with the concept, or were you constrained by the other launch titles and what they were doing?

The only constraints had to do with what characters I could use. For instance, I couldn't use any of the former Stormwatch members who are now in the Authority, because they have their own book. Aside from that, there's been a tremendous amount of freedom - I've been amazed at just how much. It seems to be the management style of Jim Lee, Ben Abernathy, Scott Dunbier and the other WS folks to let the creators have a lot of latitude, which I think is why they've attracted top names like Garth Ennis, Grant Morrison and Gail Simone. We're being encouraged to push the envelope creatively, which is something I think every creator gets excited about.

Other Stuff

How do you feel about how an element from your Deadshot miniseries (his relationship with his girlfriend and daughter) has been picked up on by other creators? Do you look for ways to add to the continuity, or do you look to meet the ends of your own ideas first?

I think it's great. I figured they'd be killed off within a few months of the miniseries' end, because it's a fast, easy way to do the “Deadshot on a rampage” thing, but Gail Simone has proven once again why she's such a great writer by using Deadshot's relationships to flesh him out as a character. When I write a story, telling a good tale is the first and only goal, but when others respond to things I've done enough to make it an ongoing part of continuity, it's really flattering and satisfying…especially when the creators are as talented as Gail and the artists she's collaborated with.

Any intentions to return to Deadshot? Or any intentions to do any work for DC proper?

Funny you should ask! I recently wrote a single-issue story for my original Deadshot editor Joey Cavalieri that features Batman against Deadshot. I believe it's going to appear in Legends of the Dark Knight #214, but I could be off by an issue or two. Phil Winslade is illustrating; I loved what he did on The Monolith and, having seen his layouts, I can't wait for the finished product. The story explores the different ways Batman and Deadshot use intimidation to their advantage. After Batman scares a crooked accountant into testifying against a mob boss, the boss hires Deadshot to take him out. Batman thwarts the initial attempt on the opening day of the trial, but the accountant hears Deadshot is after him and clams up - he won't testify. With only a few days left for the prosecutors to put their witness on the stand, Batman must race the clock to find a way to get Deadshot out of the picture somehow. It's a done-in-one tale, and it was an absolute blast revisiting Deadshot, who I love to write.

What are the characters that you would like to work on that you haven't had the chance to?

I tend to gravitate towards the quirky and obscure, like Devil Dinosaur or Enemy Ace, but there's always a hankering to take a shot at the icons like Spider-Man (which I've done), Batman (check) and the Avengers. If I had to name one, I would love to write the Suicide Squad at some point…with Deadshot on the team, of course.

How is it moving from screenplays to comics? What are the advantages and disadvantages?

The advantages have to do with already being familiar with telling stories in a visual way; I'd imagine it's a lot harder for a novelist, who is used to describing everything verbally. But you still have to remember that each medium is different. The main disadvantage is remembering that comics don't employ motion; each panel is a moment frozen in time. I still sometimes find myself calling for more actions in a single panel than the artist could possibly draw. Even Superman has to pick up a truck before he can throw it!

Mark Millar recently wrote about how Hollywood will start to draw away the comic talent from comics, leading to a decline in the industry - you seem to refute this. What is your take on things?

I believe Mark is talking specifically about artists, who are less able to juggle both fields the way writers like me, Javier Grillo-Marxuach, Marc Guggenheim or even the super-busy likes of Joss Whedon can. It would certainly suck to lose the likes of Bryan Hitch and John Cassaday, though I fault no one for pursuing exciting (and lucrative) opportunities when they're offered. But, having worked in both comics and Hollywood, I can tell you that working in comics is more fun, more creatively satisfying, the people are nicer and saner, and the end product is a lot more likely to be true to your vision. I suspect that anyone who does jump ship will be back.

Union Jack hits stores next week, September 20 and Stormwatch: PHD #1 comes out on November 8.

Discuss this article in our forum.

Posted by YourMomsBasement at 07:00 AM

August 31, 2006

Anonymous AOL Searches?

compiled by the YMB Staff

Just a few weeks ago, web giant AOL got in trouble, according to the New York Times, for publishing online a "list of the Web search inquiries of 658,000 unnamed users from a public Web site". The list was published "on a new Web site (research.aol.com) [and] meant to endear AOL to academic researchers by providing several sets of data for study". Instead, it drew the ire of bloggers who "complained that the information was so detailed and personal that it could compromise the users’ privacy".

So what did AOL do again this past weekend? They published a brand new list "of 20 million search inquiries collected over a three-month period"! Outrageous! Shocking! Do they not realize the deadly power of the blogger! Do they just not care that someone at eblogger, their mom, and maybe three or four friends will read a scathing attack come Monday?

Anyway, one of the "anonymous" searches struck our researchers here at YMB as... oddly familiar. See if you don't see what we mean.

(Is that enough set up? Good.)

Here's the list of searches that AOL published for anonymous user number 34789048:

34789048 Marvel Comics
34789048 Spider-Man
34789048 Spiders with seven legs
34789048 secret identities are for losers
34789048 how to kill off married superhero spouse
34789048 "Frank Miller" Googlefight "Mark Millar"
34789048 Mark Millar $$$$$$$$$$$
34789048 Does scottish count as English?
34789048 civil war winner
34789048 American civil war winner
34789048 appomattox
34789048 Madrox the multiple man
34789048 Madrox the multiple man -"gay porn"
34789048 Ash superhero
34789048 Chuck Austen comeback
34789048 Making Sure They Never Publish Those Pictures
34789048 How To Dispose of Blackmailer's Body
34789048 IMDB "Jay and Silent Bob Strikes Back" + Quesada
34789048 Joe Quesada +Eliza Dushku
34789048 "Joe Quesada" -Quesadilla
34789048 "Joe Quesada" +awesome
34789048 "Joe Quesada" +best Colbert Report appearance ever
34789048 Bill Jemas
34789048 Bill Jemas misses Joey Q?
34789048 Jem Ass
34789048 Jam Ass
34789048 Ham Ass
34789048 Dan Didio Phone Number
34789048 Paul LEvitz email
34789048 making friends of enemies
34789048 make up sex
34789048 distinguished competition
34789048 douchebag company
34789048 dinosaur charity
34789048 Detective comics
34789048 Delicious comics
34789048 Delicious cocktails
34789048 Tom Cruise Cocktail
34789048 Marvel stock price
34789048 selling stock
34789048 golden parachute
34789048 CGC 9.8 Daredevil: Father #1
34789048 Late comics
34789048 Late comics okay
34789048 Brian hibbs big mean jerk
34789048 Joe quesada smash brian hibbs

Posted by YourMomsBasement at 08:00 AM

August 29, 2006

GONE BUT NOT FORGOTTEN: LSH V4, PART 3

by Pete Goodrich

LSH #11:

Now I was a fan of this title in the 80’s. Not a diehard (at that time I was still a Marvel Zombie. West Coast Avengers 4-eva!) but this was when the seed for my later Legion fanboyism was planted. That was the original Giffen run, with Levitz as writer; the entire brawl with the Legion of Super-Villains. Brilliant stuff. It got me into the characters. One issue had a huge chart with a rundown of all of the LSH members past and present. And even then at the tender age of nine did I ask “who or what the hell is a ‘Matter-Eater Lad?’ What a dumb name!” And I was and am right. His powers too.

I actually think this is kind of awesome.

But as dumb as the name (and powers) might be, the character himself is another story. Particularly in the pages of LSH #11. Aside from the wealthy Chameleon Kid, Tenzil Kem (M.E. Lad) probably did the best of all the remaining Legionnaires. Now a planetary senator for his home planet Bismoll and holovid star, this opens the door for him to get back to Earth. His holovids are just shills for an intergalactic insurance company framed around bad examples of archaeology, in this case explaining the discovery of the long-lost Batcave for proof that at one time, Abraham Lincoln was several stories tall. Yeah.

Tenzil is actually back on Earth in an effort to get Brek Bannin (Polar Boy) out of prison, where the corrupt Earthgov has been holding him for 2 years on treason charges. One hilarious courtroom scene later and Tenzil does the job. The things they did with Tenzil in v4 are among my favorite ‘funny’ comics out thee, but aside from that this is one of my favorite character revamps ever. One of the goofiest characters ever turned out to be one of the funniest. Just very well done.

The more I think about it, the better his super-power becomes.
Go, Matter-Eater Lad! Gnaw your way to freedom!

Also in this issue we see more of the repercussions of Roxxas’ rampage from the prior issue. Just a couple pages, but we learn (in order) that Roxxas is still on the loose, we then see Roxxas on the loose (and killing doctors), we see Brainiac 5 checking in on his patients (Celeste Rockfish is at deaths door), and then we see that Jo Nah is not actually dead, just teleported deep, deep into the Dominion. OR IS HE?! Well, he is, but there’s a bit of a twist we’ll see later.

SIGNS OF THE TIMES: Multimedia! Movie ads for Quick Change and Darkman (odd that they pimp this movie here when Marvel did the adaptation comic), but the back cover? An ad for Swamp Thing; the TV series. I seem to remember enjoying that TV show. Or maybe I’m thinking of the sequel to the original Swamp Thing movie, which was not very good. The suit looked good at least.

LSH#12:

Three big things happen this issue, two of them being things that are annoyingly left dangling for most of the series.

One: The group organizes, and brings down Roxxas. Well, bring down in that they pick him up after he succumbs to his injuries. Jo Nah (who we see is trapped in some far-flung Khundish outpost…OR IS HE?!) had really beat the crap out of him in issue 10. So the Legionnaires opt for the heroic route, and save his life. The news picks up on the reunited LSH, much to the chagrin of the Dominators on Earth. As this is exactly what they were hoping to avoid, they are understandably upset.

Two: we get introduced to Kent Shakespeare, ex-Legionnaire on the ocean world of Quarantine. Great name, that. He’s doing battle with the Fatal Five’s Persuader (who looks a lot cooler in this dirty future than he did in his original run) in an undersea hospital, and not faring well. In the background we see that the Science Police (and former LSH member Colossal Boy) are unable to intervene.

Three: Celeste is saved from death by the Glowing Green Ball of Mysterious Mystery that we’d been seeing for several issues. Through flashbacks, we learn that she’s actually a cousin of Leland McCauley (intergalactic rich guy, sort of like an evil RJ Brande) and also that Celeste once discovered a dead Green Lantern! The Glowing Green Ball of Mysterious Mystery heals her entirely, and dissipates.

They never come back to that. Not for the remainder of the Giffen/Bierbaum run. Celeste just fades into the background. Another writer (Tom McCraw) brings her to the front of the line for his run, but we’re not getting into that here as I only want to focus on the good stuff of v4. For that matter, Kent Shakespeare doesn’t get a lot of face time in this series either. He’s introduced as a former Legionnaire, gets to rejoin the team in time, and then…they never get into his history for the remainder of v4. Disappointing. One flaw of this title is that with such a massive cast (and massive number of subplots) a few things get left unresolved, or underestablished. This issue brings us two examples, but trust me: there’ll be more.

Fun fact: Kent Shakespeare’s original super-hero name was ‘Impulse,’ making him the first hero to hold that name. Thought I assume he had a ‘Lad’ or ‘Kid’ or ‘Boy’ attached to that at one point. I don’t know, they never get into his past.

SIGNS OF THE TIMES: Another inner front cover ad for Darkman, but there are more house ads than anything else this time around. Lobo #1 for a dollar! And an ad for some run in the Superman books for whatever the hell the ‘Krisis of the Krimson Kryptonite’ was all about. I find those three initials distressing. Back cover has an ad for the Atari Lynx, which they intended to be serious competition to Nintendo’s Game Boy Which is to say that it was a failure. The Nokia N-Gage of its day!

Failure!!

LSH#13

Hokay. This is the ‘State of the Universe’ issue, and it tackles perhaps twenty separate storylines. One at a time!

Shakespeare fights and takes down the Persuader. In the background, Gim Allon (“Colossal Boy”) ties to find an excuse to use his old powers again, to no avail. He does hook Shakespeare up with a ride towards Winath, so he can rejoin the LSH.

We see Science Police director Circe take a verbal beating from her Dominator masters. They’re not happy with her. There’s a Dominator battleship hovering in orbit above Earth, too.

After the Persuader’s arrest, we see his old cohort from the Fatal Five Mano apologizing to his boss, criminal mastermind ‘Starfinger.’ I’m sure the Bond reference sounded a lot less dumb in the 1960’s.

Jo Nah is trapped between the Khunds and Dominators. Turns out the Dominators are the ones he actually has to worry about, as they shot the Khunds.

We get a page with Laurel Gand beating the bejesus out of some Khunds. I get the impression this is a regular thing for her.

We get a page of funny with Tenzil and Brek as they try to deal with the repercussions of their trial from 2 issues back. It ends with Tenzil’s powers actually coming in handy.

More from Winath: Rokk Krinn and Garth Ranzz (my spell-check hates me right now) are looking for a new headquarters, we get a bit with Kono and Furball (Timber Wolf, in a heavily mutated form) and Rokk and Shrinking Violet take a moment to touch base about what they both went through at Venado Bay. Flashback issue a-coming.

Epilogue features…Glorith! Who is not dead. Turns out when she rewrote the universe back in issue 5, she wrote herself in as ruler of the planet Baaldur. She and the Time Trapper have one last face to face where the Trapper insists that she needs him to continue to control the universe, and Glorith kills him. It’s a one-sided argument. She leaves the issue fully intending to conquer the universe.

Solid issue. A lot of things get addressed, and this is where the seeds for a number of future storylines are planted. The back of the issue gives us a little text piece that explains further the shape of the universe as it is for that period. The Khunds control most of the universe from past aggressive action (and come back huge in issue #15) with a commanding 32%, another 29% of the universe is unaffiliated, the United Planets has a mere 24% together, with the Dominion closing out the rear with just (Earth) 9% of the universe.

SIGNS OF THE TIMES: More movie ads! For terrible movies! Well, Tom Savini’s Night of the Living Dead remake was pretty good, if unnecessary. But there is nothing good or necessary about the film adaptation of Stephen King’s Graveyard Shift, which adorns the back cover. I say that as a fan of bad movies, too. This was a thing that stood out to me back in the day: “Wow! Comics have movie ads now! People will finally take comic books more seriously now!” …I don’t quite know what led me to that, but that’s what it was. House ads: we see an ad for the classic original Books of Magic, some assorted fantasy comic advertisements, and one thing stands out to me at the end that I would actually like to read: a Superman annual by Chris Claremont and Michael Golden. Claremont at his prime and Michael Golden? I need this annual. Action Comics #3.

LSH #14

More with Kem: this time he and Brek tangle with Evillo; another character from way back in the day. Ahh, Evillo. Prince Evillo, ruler of the planet Tartarus. You can tell from the name the guy used to be a villain. And with a name like ‘Evillo,’ he’s just gotta be from the 1960’s. Well while he is an antagonist in this issue, but he’s no longer a pure villain; having joined the United Planets. He’s still up to no good, trying to rape Tenzil’s sidekick/aide-de-camp Calorie Queen and then exiling Tenzil to his personal realm of darkness. He escapes eventually with the aid of Sugyn (think outer space Viking- another refugee from the 60’s) and ends up freeing all of the other exiles of Evillo’s, basically showering the planet with zombies. I loved every page of it. Go to Ebay.

The original Prince Evillo.
The FUTURE is NOW!

Tenzil’s story ends with him headed to Winath to rejoin the LSH. Other subplots addressed feature Jo trying to hijack a ship out of the Dominion, and back to the United Planets, and Garth taking Cham and Rokk to their eventual new headquarters.

SIGNS OF THE TIMES: More ads for the Lynx, and for the remade Night of The Living Dead. The best thing about that remake? Well aside from the stronger version of Barbara in this: Tony Todd as the lead. That guy’s great. There’s a great house ad (Brian Bolland art!) for the very first Robin miniseries. Tim Drake’s been around for sixteen years as of November. It doesn’t seem like that long, does it?

Next time around: the reborn Legion goes to war! The outer universe! Flashbacks! Dr. Fate Original Recipe!

Read Part 2.

Discuss this article in our forum.

Posted by YourMomsBasement at 08:00 AM

August 03, 2006

GONE BUT NOT FORGOTTEN: LSH V4, PART 2

by Pete Goodrich

LSH#4
Deceased member Mon-El returns from his grave, mysteriously. He checks in with his lady friend (Legionnaire Shadow Lass) and reveals that the Time Trapper (much like Mon-El thought dead in the prior, Baxter LSH series) was in fact not; and was up to no good. (there’s some other stuff in there with the Trapper and a false relation of Mon-El who are inhabiting Mon’s subconscious, but the hell with that. No one cares, and it’s unimportant in regards to the rest of the overall story) They then go to track down Brainiac-5, supergenius of the LSH for answers.

So a problem here was how the Legion related to Superboy in this post-Crisis, post-Byrning time. As Superboy no longer existed yet was still an integral part of the Legion’s creation , they were in a bit of a bind as the inspiration of the group was no longer in continuity. But then came the one big-ass retcon among the many retcons in the Legion’s long history. And it came in issue 4, which was entitled: “Untitled.”

Enter the Time Trapper. Manipulator of…time, the Trapper reveals (after a fight scene in which the Trapper gets whupped on pretty serious by Mon-El) he’s been pulling the strings the whole time, setting up the Legion to serve his own ends. Now it gets a little convoluted. Here's the rundown:

1) The Time Trapper wanted to rule all of time, but would not have been able to cause of the interference of Mordru. (JSA readers recognize the name as a big ol’ threat, but at this point he was just a generic-ish wizard who wore a hat that even Thor thought was a little doofy.) In fact, Mordru would have ruled the universe for some thousand years had the Trapper not done his thing.

2) In order to get around this, the Trapper created an alternate earth in a pocket universe so that when 30th century man attempted time travel, the Trapper rerouted them al to his own li’l Earth. On this Earth he created “A timeless legend of teen valor,” being Superboy, who then went on to inspire the Legion who then in the future fought back Mordru, Darkseid, and all sorts of other bad guys including the Time Trapper.

So! The Trapper tells Mon-El that if they kill him: their entire timeline will be wiped out as if it never happened. Mon-El decides that while everything the Trapper said might be true: he’s still too much of a dick to be left alone. So he kills him.

A heroic sacrifice that dooms an alternate
reality to 1000 years of Mordru's tyranny.
Nice job!

Signs of the times: can you say ad for Tango and Cash on the back cover? Knew you could! Some fine synergy on Time-Warner’s part. They’re still pimping the VHS release of Batman pretty hard, and we get some house ads for the Atlantis Chronicles, Adam Strange (the Kubert series), and Time Masters; a book I almost bought at Heroes Con this year, but ultimately decided that money would have been better spent on a coffee. I bet I was right.

LSH#5

So here we are, in the new 30th century. Mordru has been ruling the Earth for seventeen years at this point, and the universe for however much longer. (it doesn’t say) Mordru’s Earth is a lot more low-tech than the 30thC we’re used to. He is in fact, a cruel leader as one might imagine. There is a resistance however, one that is seeking a way to change things back to what they were. In the ‘corrected reality,’ a resistance group involving Rond Vidar, Douglas Nolan (known as Ferro Lad in the previous reality before he died) and Mysa (formerly the White Witch of the Legion, now an other-dimensional concubine of Mordru) conspire to restore the prior reality with the aid of Glorith (killing herself for the spell-which they did not mention), another of Mordru’s concubines. And away they go.

It sucks to be Glorith.

We see the switch between a Durlan and a black-haired woman (Phase, formerly of the L.E.G.I.O.N.; a title that is both gone and forgotten) which was the double secret genesis of the LSH. More on that later. Everything goes white again, as we hit the History Eraser Button. The shiny, candy like button.

Signs of the Times: another ad for Tango and Cash adorns the back cover. Even then at the tender age of sixteen, did I recognize the film for the turdburger that it is known as today. We also get an insert for the Clive Barker movie Nightbreed (which I remember as being pretty neat) that ultimately ended up as an Epic (Marvel) comic. A little weird, that. The house ads are all the same, except in issue #5 we get to see an ad for the “Superman/Flash race: 1990.” Which I assume ended with them working together to bring down Mr Mxyzptlk; a name I have just spelled from memory. I am geek:read me roar.

I wish I could pick up the pace a little bit, but there's all sorts of retcons that need to be addressed. Now if you think I missed something important, or just want to discuss the stuff I’ve left out (like the Legion Omnicon info pieces, which are really quite cool) please take it to the forums and we can go from there. As for now: I have 33 more issues to cover.

LSH #6

Back to reality and the main storyline, the Rimbor group has traveled to Tharn, the Sorcerer’s World to try and rescue the White Witch from Mordru. Through the aid of a versatile Probe spy (these things are better than a Mac) Mordru sends them on a magical mystery tour of their worst moments: Chameleon Kid’s death duel with his brother, newbie Legionnaire Kono’s near rape at the hands of more space pirates, Ultra Boy flashes back to his origin, only with the added bonus of his deceased wife Phantom Lass, and Cosmic Boy revisits Venado Bay(the incident where he loses his powers, essentially crippling him), only with his deceased brother added in. This extra detail snaps him to the fact that this reality is false.

We also see that the bestial sidekick known as Furball is actually ex-Legionnaire Timber Wolf, hopelessly mutated after the effects of something called ‘Black Dawn.’ They do not show Black Dawn until both Giffen and the Bierbums are gone from the title, and the final explanation is actually pretty poor considering it took them so long to get to it. I say that as a big fan of the character, and freely admit my geeky bias.

We get an intro to Laurel Gand, a Supergirl analogue introduced to take the place of Supergirl (see previous comment on Superboy related retcons) as she gets ready to fly to the rescue of the above five Legionnaires.

And we also see that as a cover for actually hiring the psycho, Earthgov stooge Sun Boy has hired a PI with the unlikely name of Celeste Rockfish to track down Roxxas. She enlists the aid of Devin O’Ryan (a reporter for the Daily Planet- 1000 years young!) and Bounty, an, er…bounty hunter. More on her later. Both of them actually, as the Celeste character was shaping up to be pretty interesting…until they forgot about her for like twenty issues. They get to Trom (site of Roxxas’ first genocide- you never forget your first!) and hook up with Element Lad.

At this point in the series, I was getting pretty stoked for the all-new, all-different LSH. No more dumb code names, grim AND grittier stories, a bleak and desolate future…yeah, I ate it up with a spoon. It was a new take for the DCU; where the future was always so bright before it was now tarnished and…well, it worked. It wasn’t a cheap invigorating twist like breaking Batman’s back, or turning Hal Jordan evil. It made it darker, but it made sense and it worked without seeming cheap.

In the future, Batman drives a cell phone.

Signs of the Times: Ahh yes, an ad for Batman: Digital Justice. Polygonal! I’ve never actually read this, and I have no intentions of doing so as I’m pretty sure the product as read today would either make me laugh uncontrollably, or just sneer with disgust. I’m pretty sure my phone has better images than this thing did. And on the back cover we have an ad for the mega-hit Adventures of Ford Fairlane. How the Diceman’s star never soared as high as it could have I will never know. And giving us a glimpse of what fandom was before the internet we see a ballot for the CBG 1989 Fan Awards. I forget who won. I forget what CBG even looked like.

LSH #7

Big Fight Issue. Laurel Gand goes to rescue the captives, and does battle with Mordru’s vampiric Secretary of State Vyrkos. He’s a vampire type of character, Giffen uses the shadowy face look that he uses later on little known Marvel character Lunatik. As al this is going on, we see Rokk’s dinner with Mordru. It’s really well done, just a splash page and text detailing both points of view of the principals. It’s just so…adult. Not in the XXX sort of way, but in the mature sense. And not in that ‘mature’ sense either. Just two enemies discussing their plans over dinner. It’s the kind of confrontation you’d expect from Batman and Ra’s Al Ghul, shortly before they throw down with cutlasses. I liked the Rokk/Mordru thing because it showed how far they’d come from their prior renditions as goofy wizard and goofy future hero. Mysa (The White Witch) returns with them as they make course to Winath, to pay respect to Blok.

Also returning to Winath are Jan “Element Lad’ Arrah, Celeste Rockfish, and crew. Best of all, a fake ad in the back dedicated to the Probes, treated just like those old ads for the Apple 2E’s. The Probes promise 1000 words a minute, apparently. It’s done in the style of a Hewlett-Packard ad, or perhaps what Apple used to do back in the day before their current thing with the kid from Galaxy Quest and that one dude from the Daily Show.

Signs of the Times: in the Johnny DC rundown, we learn that Gilbert Gottfried spent some time at the DCU with Scott Lobdell in order to brush up on his comics knowledge for an appearance on the old pre-Smallville Superboy show. That’s a surreal visual. AFLAC! More ads for Ford Fairlane, and an ad with the Crash Test Dummies advocating buckling up.

We feel the same
way about much of
your career, buddy.

Issue #8

We get another POV on the origin of the Legion, but from here we can see exactly where the Time Trapper’s manipulations took place. But it works. As retcons go, it’s not the worst. It builds off of what had gone before and ties it into the editorially mandated restrictions, but while still making it fit. The old origin is the same (three super-powered teens team up to save the life of rich industrialist RJ Brande, he rewards them by funding their super-hero club) but this time it is revealed that Brande was shunted in time from the 20th century through the manipulations in issue 5, as his connection to the 20th century hero Valor (the revamped Mon-El) would influence his decision to aid the Legion.

Basically, Brande survived the Invasion! Crossover and had hooked up with the L.E.G.I.O.N. for a spell, before getting ripped forward in time to found the LSH. He is replaced by an amnesiac Phantom Girl, for reasons…I do not know. Seriously, I have no idea why she had to be sent back in time to match Brande. A later annual sort of implies that it was Glorith's revenge on Ultra Boy for screwing with her plans to control the universe, but I’m actually a little hazy on the 'why' behind the switch. Brande makes sense, but Phantom Girl...huh?

We also touch base with the Legionnaires, who have been sent to the far end of the universe by Mordru, who decided to be a dick about giving them safe exit from his planet. We find out that Laurel Gand has had a daughter with Rond "Second String LSH Associate" Vidar, which promises future problems with Brainiac 5. See, the character is no longer Supergirl, but the pre-Crisis love thang (for she died in the Crisis, thus ending the aforementioned love thang) that she and Brainy had is still in continuity.

A little confusing, I know. But bear with me. Art’s by Chris Sprouse, in what looks like his earliest work. It’s very solid, but not nearly as tight as he would become on Tom Strong, or the recent Ex Machina special. He does a good job of blending aspects of the older 50’s envisioned LSH and mixing it in with a slightly dirtier future.

Signs of the Times: Inside Cover: an ad for the then-upcoming Dick Tracy adaptation, which DC did a comic book adaptation of. Kyle Baker did the art, and it was a million times better than the movie was. Johnny DC brings us news of the impeding Batman/Grendel crossover with Comico, which I believe ended up coming out maybe 7 years after this announcement. It was worth the wait. And inside the book they again pimp the Adventures of Ford Fairlane. Nobody cares now, nor did they then.

It's all good.

Issue #9

Flashback city. The origin of Laurel Gand, who was created to fill the hole that Supergirl once would have been in. It gives her bio (the framing device shows that Roxxas is watching it, to brush up on his enemies) as a young Daxamite, who as a kid managed to destroy an entire Khund army. The rep she earns from this follows her character throughout the remainder of the series, as the Khunds make repeated efforts to track down and kill her.

The style is…well, it’s very much like what I saw of the LSH from the old reprints I’d read. Cheesy. I liked it for filling in the gaps in her character; as in doing so they help fill in gaps in the history of this new Superboy/Girl-less continuity. But while I acknowledge the necessity of such a flashback issue, I wish that they’d done more with the current continuity. And Giffen didn’t do the art so meh on the whole.

Also in this issue: Roxxas learns that Earthgov has sent Celeste Rockfish: PI after him, and he freaks out; thinking that they’d betrayed him. Which…they sort of did. He then learns that the whole crew will be reuniting on the planet Winath, so he sets off for them. And we also see a green, glowing orb of mysterious otherworldly energy floating in space that is also mysteriously headed to Winath…mysterious.

Signs of the Times: Inside cover gives us another Dick Tracy ad. Inside of the book gives us an ad for Robocop…2. Or as an old friend of mine would refer to it several years later “Robocop BOO.” The back cover? “Get yoah ash to Mahs.” Yes, an ad for Total Recall. Arguably one of Arnold’s finest movies.

Issue #10

Roxxas comes to town, and goes to town on the Legion. All of the former Legionnaires are back together, and slowly getting the same idea: lets reform. But the budding LSH reunion is almost obliterated as Roxxas has stealthed onto the planet to do some damage. During his rampage, he finally comes out and reveals that Earthgov is being secretly run by the Dominators, but its to Celeste who he promptly beats into a coma. So you know. Your secret is safe with me! He wrecks them pretty good though. Aside from beating the Space Bejesus out of Celeste (who gets her leg blown off for good measure), reformed villain Mekt Ranzz is beaten and let for dead, mysterious bounty hunter...Bounty is also beaten and left for dead (shot too), Jo Nah is disintegrated after laying a hellacious beating on Roxxas, and Chameleon Kid Reep Daggle gets shot in the head. It’s a heavy issue. After the last two recapfests, it’s nice to bring the focus back onto the main plot. And better yet, to have Roxxas kick the shit out of them. It’s a little impressive seeing how easily the goofy bastard (he's still dressed like Austin Powers...in spaaaaaaace!) runs through the Legionnaires.

We get to see more of that mysterious green orb in space, but just for a second. I think they were going to go with something crazy cool with this, but ultimately pussied out. More on that later too. But best of all the last page gives us a glimpse of the latest returning Legionnaire: Tenzil “Matter-Eater Lad” Kem. He had one of the worst names, and a power granted by some stoned writer; but Legion of Super-Heroes v4 took a lame- even for the Silver Age- character, and made him awesome. One of the best parts of the series as a whole; especially if you’re a Giffen fan like I am.

I swear to God, they
make this guy cool.

He gets his own issue coming up. Join me here next edition, or swing through our forums and we can talk more about this fantastic old series of comic book. If this is all new to you, you missed out.

Signs of the Times: Same movie ads as before (Total Recall and Robocop 2) excepting one for Arachnophobia. Remember when they started using movie ads in comic books? Back then I thought it was the craziest thing ever, and that comics were then due to kick into the mainstream. Yeah. As an aside, the Robocop mini that Avatar had put out? Based on Frank Miller’s original script for Robocop 2? A million years better than what we did get. I wish Hollywood had gone with that instead. And in 1990 you could get 12 issues of a comic by spending between $9 to 21 bucks. Can you believe that?

Read Part 1.

Discuss this article in our forum.

Posted by YourMomsBasement at 12:00 PM

July 25, 2006

GONE BUT NOT FORGOTTEN: LSH V4

by Pete Goodrich

For a long time, the ‘Standard of LSH Excellence’ for me has been the long-ago Legion of Super-Heroes Volume 4. Following the ‘Baxter’ series (I believe known as such due to the better stock of paper used to print) started in 1989 and ran up until 1994; when Zero Hour hit and revamped the Legion from top to bottom. But all I’m going to cover are the first 38 issues of this series. For these are amongst the best revisionist super-hero/sci comics I have known, and so few people remember them now. I've never seen anything like it since.

Sure, the Legion of Super-Heroes has always been somewhat scorned in the past. Maybe it was the names? I’m willing to bet that had something to do with it. All the ‘Lad’s’ and ‘Lasses’ do sound kind of cheese, if you know what I mean. So I’m sure that when people think ‘Legion’ the first thing they think of is “Dipshit Lad versus the Space Dragons!” and then write it off as silver age garbage and never look back. But LSH v4 (as I will refer to the run for the rest of this article) is solid, space drama. They don’t run from their admittedly cheesy past, but they use it. And they use it well.

I’m a big continuity fan in comics. I like it- no, I love it when a title reaches back and uses what was done in the past to craft something new and different. And v4 does not shy away from what was done in the past instead they use it to make something that was quite contemporary for the time, and holds up even today. Well, holds up if you’re a tremendous geek for continuity, character development, and the 9 panel grid. I loved the 9 panel grid.

The majority of the issues were done by Keith Giffen, Tom and Mary Bierbaum, and Al Gordon. Brandon Peterson, Paris Cullins, Coleen Doran, and Jason Pearson all worked on the series as well; my favorite of the bunch being Jason Pearson's work on the title. I think it's some of Keith Giffen’s best work, before he ate that page of acid that led him to the style he used on Image’s Trencher. Don't get me wrong, I really like Giffen's more abstract style as well. But I really appreciate the dirty future he gives us in v4, it truly suits the darker 30th century that these issues takes place in. And as Giffen did the art chores on the earlier LSH series (written by current DC overlord Paul Levitz) it's really fitting to have him draw the broken down future of his own series.

Warning: While the majority of what is to follow will be a straight forward explanation of what happens and what works in a given issue, I may refer to some concepts that are in fact perfectly natural for a LSH fan, but not so for others. I’ll try to address all of them in the body here, but if I miss something feel free to bring it up in our forums.

Legion of Super-Heroes V4, #1:
5 Years Later

Not unlike the current wave of “One Year Later” DCU titles (could they have gotten the idea for that from here?...after all Keith Giffen is deeply involved in 52) this starts off in 2994, Five Years after the conclusion of the previous series. I only recently found those issues in a quarter bin a year ago. The close of that series wasn't all that special. This is a setup issue, giving us the background of what has happened to Earth and to the United Planets (like the space UN) since that five years has passed. Basically, everything is screwed. The UP has collapsed into bankruptcy, Earth has broken away from the UP (as have other worlds) entirely, and the Legion of Super-Heroes has been disbanded.

We don't get a full picture of how dark the universe has become since the Legion and UP fell apart, but we do get little slices. Rokk "Cosmic Boy" Krinn is on his home planet of Braal, left in ruins after a failed war with neighboring planet Imsk. We get a little Rambo moment from Rokk as he flashes back to something known as Venado Bay; where the former team leader had lost his powers. He is then recruited by teamate Reep "Chameleon Kid" Daggle to restart the Legion, in an effort to well; be super-heroes. We don't get to see how fully messed up the universe is at this point, but it's coming.

We get to see bits of other former members, like Dirk "Sun Boy" Morgna; who is a government shill for Earthgov. Earthgov being the ruling body of our planet. We learn as the series goes on that theres a lot of shady business going on behind the scenes at Earthgov. We also get a moment with Salu "Shrinking Violet" Digby, as she is dishonorably discharged from the Imskian army; where she too has the hard-bitten war veteran thing going on. She leaves the army prison, and heads out to join up with Ayla "Light Lass" Ranzz elsewhere. We also get a scene in the dark with someone sketchy, who'd just been released from prison to attend to some nefarious details.

This was some serious comic book to me. I knew these guys as the heroes with the silly code names and the doofy costumes, and here they are and everything is so grim, and...well gritty. I don't like coining thisphrase; as is gotten something of a bad rap to it. But face it: the grim and gritty approach to superheroics can be awesome if it's handled right. And here; it was.

The backup text features lend more insight into what happened to the universe since we last saw the Legion. An Omnicom (think futuristic Blackberry) entry details how the United Planets had suffered a massive economic collapse and fell apart, a pair of documents detailing the hostility between Earthgov and the LSH, and finally an advertisement for condos situated in the former LSH headquarters, staffed by Validus-styled robots. Would you want a Roomba made to look like an interplanetary destroyer? …me too.

SIGN OF THE TIMES: The back cover features an ad for ‘Bill and Ted’s Excellent Adventure” on VHS. I'd forgotten about all the 'funny' fake reviews from Socrates and such they used for that ad campaign. I guess a bad joke from Genghis Khan is still better than Roger Ebert calling it a turdburger. And inside the back cover, we have an old DC checklist, and also ‘news with Johnny DC.’ In this issue we see an announcement that David Lloyd and Grant Morrison will be doing a little fill-in on Hellblazer issues #26-27. And they did, and those were awesome.

Legion of Super-Heroes V4, #2:
…no title. I’m as susprised as you.

Now again: there's going to be some silly names for these people. Bear in mind a lot of these characters were supposed to be from the future, not from Earth, and were created in the Silver Age. So we're going to get some goofy stuff here. Roll with it. It's no worse than Knightsabre, Bloodwraith, or Killgore. In fact, I'll argue that "Matter-Eater Lad" is a lot less lame than "Warstrike."

Former "Ultra Boy" Jo Nah is back on his home world of Rimbor, and is smuggling ersatz ‘Silverale,’ Silverale being not unlike the Red Bull of the 30th century. The Khunds (evil alien empire, they showed up in the Rann-Thanagar war, IIRC) send in a pair of android assassins in to take him out, but mainly to get his sidekick Kono, she being a traitor of some sort to the Khund race. So we get some fight scene, and after the fight scene we get a little slice of what had happened with Jo and his longtime love Tinya "Phantom Girl" Wazzo. It did not end well. We also get a moment with Shvaughn Erin (old school Legion ally) being spied upon by Circe, director of the Earthgov secret police. It’s sketchy. This is only scratching the surface as to how sketchyEarthgov really was.

Oh, and at the end of the issue we get to see who the shadowy character was from the end of issue 1: it’s Roxxas the space pirate. He's on the move, and ready to cause some problems. Before you write this off as cheesy bullshit, he’s not the kind of space pirate who’d make you walk the ‘space plank’ (I don’t think…) but the kind of space pirate who committed genocide on the planet Trom, home of LSH member Element Lad. And like I said, get over the names.

The 9-panel grid (Giffens layout of choice back then, likely inspired from the same layout being used so prominently in Watchmen) really impresses on one particular page. An explosion of a city block, broken up into nine separate but connected panels. Good stuff.

SIGNS OF THE TIMES: News with Johnny DC mentions 'star in the making' Chris Bachalo, there’s a free poster for the horror movie “Shocker” (saw it, there's a cameo from John Tesh in the middle of it but aside from that there's no redeeming value to this film) in the middle of the book, and the back cover as an ad for “Speed Zone,” starring ‘big stars like’ Melody Anderson, Peter Boyle, Donna Dixon, and John Candy. Yeah, 'big stars.' Not classy enough to earn the rights to be a Cannonball Run sequel.

Legion of Super-Heroes V4, #3:
Still Untitled.

In this issue we see Blok (my favorite Legionairre) die. I dug this character a lot; he was prominently featured in one of the very first LSH comics I'd ever read, aside from his own natural perks (made of stone, super-strong, Swamp Thingy speech patterns) and this issue bummed me out a lot. When I was 14 and reading this, I think I consoled myself by convincing myself that they killed him off because he was just too much cooler than the rest of the LSH put together, and more powerful to boot. And today I realize that I was so very right.

Roxxas the Butcher (who if I remember correctly in his earliest appearances did not wear lipstick or dress like Austin Powers) takes him down on behalf of the Dominators, the banana-headed aliens behind the long past DCU mega event “Invasion.” In this issue we see that the Dominators are pulling the strings behind Earthgov, and so we can also surmise that they were the ones behind the smear campaign and government harassment that eventually led to the LSH dissolving. Roxxas was loosed into the wld from Labyrinth (space prison linked to a tiny red star by a bolt of electricity- shit Morrison, do something with THAT idea) to try and put a stop to the Legion reforming, hence him blowing Blok up ino a pile of rubble.
We also learn that Science Police (it sounds better than Secret Police. Also, they're not a secret.) officer Shvaughn Erin is working behind the scenes on behalf of a resistance group, presumably to bring down Earthgov. More on that in subsequent issues.

On Winath we see that a number of former Legionairres are all living together in an interstellar, clothing optional farming community, the former Saturn Girl (Imra Ardeen), Lightning Lad (Garth Ranzz), Lightning Lass (Ayla Ranzz), Lightning Lord (Mekt Ranzz, a reformed villain), and the newly-released-from-an-Imskian prison Shrinking Violet (henceforth to be referred to as 'Vi.') are all together, so Roxxas mails the broken pieces of Blok to them for a funny. The bastard. And here they plant the seeds for what was at the time a controversial character development for a pair of characters...the seeds of a love thang, were born.

Lesbians? In a comic book? In 1989?
Shocking! And more on this later. A lot more.

We also get a glimpse of Mordru, the Dark Lord who some readers only know from the pages of JSA. Well he started in the pages of the LSH, tho admittedly when he started out he was just some old wizard archetype in a Thor helmet. Now he’s ruling his own world, and using a series of mystically-modified Probes to spy on a number of former Legionairres. The Probes are a very interesting population in this series, and one that doesn’t ever really get explained as much as I would have liked. Blue and eyeless, they seem to be used as some sort of weird android administrative assistants in every corner of the galaxy. It's like if the Blue Man Group and our office copier had babies. Oh yeah, Mordru also has a Green Lantern in captivity (former LSH supporting guy Rond Vidar) and is torturing him for giggles. Eeeeevil.

Also the text pages give some more background info on the Winathian contingent of ex-Legionairres, and some detail on the Validus Plague, which will lead us to the reintroduction of Brainiac 5; one of my favorite characters from this new series. The letters pages (remember letters pages?!) has bios on the creators behind this title, and an ad for a subscription to the comic book adaptation of the TV syncated Superboy series from long ago. Smallville 1.0!

SIGNS OF THE TIMES: The “News With Johnny DC” and the back cover of the comic both pimp the hell out of the upcoming VHS edition of “Batman,” for only $24.95. Added bonus within that VHS scial release: that Diet Coke ad that Michael Gough did way back when. They also have an ad for the very first (and arguably the very best) Elseworlds, “Gotham By Gaslight.”

We’ll stop here for now, as the next few issues take us into some heavily-convoluted territory. Okay, it’s sort of convoluted here as well but the next few issues are a bit of a continuity nightmare that stemmed from the Superman relaunch, so We might as well start fresh with those. Stick with it, once we get past these “hey, we need to retcon a bunch of shit” issue we start getting into some high quality space opera.

Discuss this article in our forum.

Posted by YourMomsBasement at 08:00 AM

July 20, 2006

Interview: Tad Williams - The Next

by Rajan Khanna

Tad Williams is an enormously successful, bestselling fantasy author (Tailchaser's Song, Otherland, Shadowmarch) who recently made his foray into comics with a 6-issue miniseries for DC Comics, called "The Next". Issue 1 is on the stands now. We talked to Tad regarding this series and other upcoming comics work.

1. For those who haven't read the first issue yet, who are the Next and what are they the next of?

The Next are young people from our future (except a little sideways.) Maybe it's better to say they're from one possible future. They're running away from their rather oppressive government, the Iron Ring, but are forced to make an unplanned stop in our time and reality.

2. Old time members of your message board, Shadowmarch, recall that you grew up a fan of the Marvel Universe. What made you go to DC with this concept?

I approached DC originally with a radical re-launch of Captain Marvel Junior (because they own the Big Red Cheese) which didn't work out because of other things going on with the property. But it led to conversations and me sending other proposals. They liked THE NEXT so we went from there.

3. As a writer of large fantasy novels, how was it switching to comic
scripts? Was it something you enjoyed or was it challenging?

It's actually a relief to write short, and also to be able to leave
so much of the work to the talented people drawing the comics.

4. Do you think that prose writers are more or less suited to writing comics?

Well, as with anything else, it's how well you adapt to the change of
medium. I'm wordier than your average comic book writer because I'm a wordy writer in general. That may drive some comic readers crazy. Then again, you won't feel like you paid for a book that was all illustrations and only about three lines of dialogue that you finish in thirty seconds...

5. How was your experience working with artists, Dietrich Smith and Walden Wong?

Great. I only worked directly with Dietrich, who I thought did
really nifty work. As I'm looking at the proofs (I just proofed
number 3) I'm appreciating what he did more and more. You've
reminded me that I need to call him or drop him an email and tell him again what nice stuff he did. (He can pass along my similar
sentiments to Walden and Rob Leigh, the letterer, and Chris Chuckry, the colorist, who all did excellent work.)

6. Superman appears in this series, and is even featured on the cover of the first issue. Was it always your intention to set the mini in the DC universe or was that something that came about afterward?

No, that sprang from a concern on DC's part that they wouldn't be
able to sell the comic at all without someone recognizable in it, so
they asked me if I could put Superman in. I felt as though I was
being offered the keys to Dad's expensive car. Yeah, take the big
guy out for a test drive? Sure! I promise I won't scratch him up
too much.

7. Did you have to do any research into the DC Universe to prepare for this series?

Not this one so much, because it's fairly self-contained, but the
next project I'm working on (THE FACTORY) is chockablock with
connections into the mainstream DCU. Also, me being me, I'm looking into some of the more obscure corners of it, and resurrecting some of the more obscure characters.

8. Are there any other guest stars that we can expect to see?

I think the only "real" DCU characters in THE NEXT are Superman and Metron, but we will definitely see a great deal more of both of them.

9. The Next is a 6-issue series. Any plans to revisit the title if there is interest down the road? Or is this a self-contained idea?

I'd love it if there was interest in continuing THE NEXT. Although
the minseries has what I think is a quite satisfying conclusion, I've
left it so that it can go forward from there if anyone so desires.

10. Back in our first interview with you, you mentioned a second project with DC. Is that still progressing? Any information that you can share with us?

Yes, as described above, it's called THE FACTORY, and we're only
really trying to settle on how long it will be, six or twelve issues.
The basic premise is that it's the (secret) location where beginning
supervillains break in, where henchfolk are trained and hired, etc.
But if course the minseries will have its own very complex story
featuring some pretty well-known DCU characters and more than a few surprises. One in particular will answer a major fanboy question and -- I hope -- create a major villain for years to come.

11. Are there any established comic properties that you'd like to take a crack at? Any artists that you would love to work with in the future?

At DC, I'd love to have a shot at making Martian Manhunter something really interesting (to me.) I think I could do some interesting things with some Marvel characters as well -- Daredevil, Iron Man, Captain America -- but I also like to invent new characters, especially villains.

12. Any other plans to do more comic work, either directly written by you, or adapted from your fiction, like the Burning Man?

Other than THE FACTORY, and a one-shot IBIS story as part of DC's 52 (which I haven't started writing yet so I can't say anything intelligent about it), who knows? I still have all that other writing to do, too, which at last count was about four books in progress and two awaiting publication.

I tell my kids, "What do you mean, you're bored? I'd pay MONEY to be bored!"

Thank to Tad for this interview. I urge people to go out and pick up this series and give it a shot. You will certainly get your money's worth.

Check out our prior interview with Tad Williams.

Discuss this article on our message board.

Posted by YourMomsBasement at 01:34 PM

July 12, 2006

Interview with Mike Carey

by Mike Collins

1. When we last spoke you had just been announced as the new writer on X-Men. After all the interviews and online commentary how did it feel to actually sit down and start the first script?

It's hard to describe. The first script on any new project is always hard. You have to get the feel for the individual voices of the characters you're writing, and you have to get the "big voice", the pace and tone of the story, the way the narrative is articulated, right too. It's slow, at first, and then if it's working you get the sense of it building and building, and by the end you sort of slipstream along because there's only one way it can go.

All those processes were compounded here by the fact that this was a book with thirty years of continuity - or forty-three years, if you go back to the first publication of X-Men#1. That's a little intimidating. I wouldn't want to exaggerate, but there's a sense in which you feel the weight of all that history sitting on your shoulder. And there's a part of you that's muttering "can I do this?" the whole time.

But it was exhilarating, too. I mean, how could it not be? To get my hands on those characters, to write the X-Men, after reading them for so long... The only analogy I can think of is, you've got a friend with a top-of-the-range Porsche 928 S, and he's giving you a lift somewhere, and then out of the blue he says "would you like to drive for a while? I'm getting tired here." And you turn the key and it's all there, in your hands, all that perfect engineering. Lousy metaphor. I'm not a car fetishist, and I don't even like driving these days, because in London you can't go a hundred yards without hitting a jam, but it's a bit like that - something you coveted but never expected to own, but, well, there you are. You can't own it - it's too big to own - but it's in your hands.

2. Your first issue begins the "Super Novas" arc. How would you describe your intial storyline?

I designed it to be a sort of inexorable build from tension to crisis to carnage. There's a sense in which, from the moment Sabretooth walks through the doors of the mansion in #188, the action doesn't stop until the big confrontation in #193. That gives a slightly false impression, though, because of course there's a lot of other stuff going on in there as well. I needed to define characters and relationships, and I needed to build the mystery as to what the Children are and how they're different from the threats that are already out there in the X-verse.

And of course I'm also seeding references to some later stories in there - particularly, for the story that comes to a head in #200. We start getting hints about that from #189 onwards.

2A. Speaking of defining character relationships, how is that going so far? You have a main team that many people scratched their heads over, including Sabretooth and Mystique. It's a great chance to have the team constantly at odds with each other isn't it?

Oh yeah, you bet. That was what I was aiming for, really, and I'm enjoying playing with the ramifications of that. I wasn't interested in creating controversy for its own sake - honest - but I was very much interested in having a team that had that richness of past interactions and past tensions to draw on. It's like scripting a comic book set in the house of Atreus. Pure madness, but dark, resonant madness.

The first arc is really about bringing the team together, and obviously we're already feeling the strain at that point - but it's nothing compared to what's going to come later.

3. The cover to issue #188 gives us our first glimpse of the Children. Who are they and where do they come from? Kind of a scary looking bunch...

Well, I don't want to give too much away here. Who are they? They're your children, and mine. Where do they come from? From a sealed environment called the Vault - and that's their full name, the Children of the Vault. They're not mutants and they're not humans: they're an intended solution to a problem, but now they've become a problem in their own right - and the thing that brings them into play at this moment in the history of the Marvel Universe is M-Day. Moreover, they don't have super-powers - but they have something that's even better in a way. And yeah, they're very scary. They even scare Sabretooth, who isn't exactly a timid sort of guy.

3a. Where did the idea for the Children of the Vault spring from? Can you give us any more details on who they are individually?

Hmm. I'd rather not get too specific here. The initial idea was to have a threat that wasn't mutant in origin - that wasn't even super-powered, arguably - but came in at right angles to what we already know and worked in its own scary way. The Children can do things that normal people can't do, but the explanation doesn't have anything to do with the usual logic of superpowers. And they can actually use each other's abilities if they need to, which makes them pretty formidable.

But the scariest thing about them is the way they see the world. Even the affection of the Children is dangerous, as we get to see in #191.

Individually... I'll just throw out a few names. Sangre. Serafina. Perro. Fuego. Aguja. I guess you can spot the common theme there...

4. How long is Super Novas and what is it's main focus?

It's a six-issue arc, running from #188 to #193. There's a double focus, really: it's partly about defining the Children and building up to the big confrontation between them and the X-Men, and it's partly about creating my team - which is anything but a smooth and automatic process. it's more of an accretion around a core - Rogue, then Iceman and Cannonball, then the others, with a few interesting question marks around the edges.

And in the middle of that, of course, we've got the return of Northstar and Aurora.

5. How do Northstar and Aurora fit into the story?

By means of a set-up. They're rather ruthlessly used by the Children to achieve a specific goal, and we'll see some very nasty stuff happen as a result of that. As you know, Aurora is in a fragile state, psychologically, emotionally - and Northstar is very literally not himself. What happens here is going to move them onwards, but initially not in a good direction.

7. You're a new voice in the world of costumed super hero's. How would you describe your writing style for people not familiar with it?

Hmm. Kind of a hard question. My style has tended in the past to lean very heavily on strong (I hope) back-and-forth dialogue and on character. That's not likely to change, although I hope I've proved with my work in the Ultimate universe that I can do compelling action scenes as well. I've got a name for being poetic and allusive, but that's mainly because it's my Vertigo work that's got me noticed. I can work in very different styles from that.

8. I'd like to talk about your main cast in more detail. What kind of character arcs do you have planned for them? How do they fit into your overall run?

Again, I have to be careful what I say because I don't want to give too much of the game plan away in advance.

Rogue is team leader and emphatically at centre stage. She's chosen for that role because she can improvise and take risks - because she's hard for an enemy to predict, as Cyclops says in #188. I want to bring the boldness and directness of her character to the fore, and I want increasingly - through the events of the first few arcs - to take her to a point where a lot of her self-doubts and regrets about the past don't seem quite so important any more: where she's acknowledging her strengths, and where she's more comfortable with herself. Even her relationship with Mystique is going to change, not so much because she's prepared to forgive and forget as because Mystique's emotional hold on her - which is very much a legacy of her childhood - is going to lessen.

Iceman and Cannonball are the other two strong veterans in the team - leaving out Cable, whose experience and situation are somewhat different. I want Bobby, like Rogue, to start using his powers in a wide range of striking and innovative ways, so we stop thinking of him as just the guy who can make ice slides - like Frozone in the Incredibles. In terms of his character arc, though, he's going to get into a relationship which will make him re-assess himself, his life, his core values. If we see Rogue becoming stronger and more assertive in these early issues, we may see Bobby becoming more hesitant in some ways and more uneasy about choices he's made.

Cannonball is also going to have a relationship which screws him up in a more direct and immediate way. He's going to descend into a crisis whose outcome is not at all clear. Having established him as the "safe pair of hands", steady as a rock sort of guy - one of the mainstays of the team - we kick all of that security away and watch how he reacts to a situation where things aren't so clear cut and where his whole life is at stake.

Sabretooth has no character arc in the accepted sense of that phrase. Don't expect him to change. He's too self-centred to compromise, too ruthless to want to. But he's got some surprises in store for him, and he's not going to come out of his time on the X-Men roster unscathed.

Mystique, by contrast, is so malleable in some ways that you can't get a handle on her at all. She's a survivor, a pragmatist - someone who reads the ground, reads the situation and does whatever is necessary to survive. We do see her change, but we're not sure how far the changes are real, how far they're just a concession to the place where she finds herself. Something is going to touch her, though, more deeply than she believes she can be touched, and it's not going to be easy for her to get over.

And at some point she and Rogue are going to have to fight each other for something that they both need but only one of them - or maybe neither - can have.

9. Is there a theme that you are working with for Super Novas and beyond?

Not so much, no - unless the forging of the team and the relationships within it is a theme. The stories intertwine and inter-relate, and as always in the X-Men there'll be revelations about the team members which arise out of the missions and the threats and the decisions they have to take. But I'm not banging a specific drum. I suppose in Supernovas there's an underlying concern with the kind of Darwinian competition you get when space is limited and habitats are threatened. And later on, too, the X-Men will meet another contender for "who takes over when humanity kick the collective bucket?" That's probably just a reflection of the stuff that's on my mind right now.

Meeting the alien, in yourself and elsewhere. That's the theme, if there is one.

10. Pan. You made a somewhat mysterious mention of a potential adversary on your site. Is there anything you can say about him/her/it/them?

If the Children have had their humanity stripped from them by someone else, for reasons that you could call mistaken but idealistic, Pan (not his full name) has voluntarily given away his own humanity in order to gain an advantage in the ultimate game of survival of the fittest. He's the reason why both Lady Mastermind and... someone else who I don't think we've named yet... are present in the X-mansion in #188, and he's someone who Rogue comes to have a very personal grudge against. He's a very nasty piece of work - physically and morally repulsive, and more or less impossible to kill. I think he'll be one of my scariest bad guys.

11. Aside from the main cast who else might we see in the initial story arc?

Well there's Lady M, of course. And someone else who guested in Uncanny a few issues back, but otherwise hasn't been seen in X-circles for ages. Val Cooper, for obvious reasons. Northstar and Aurora you know about. A former mutant named Pasco who we don't get to know well enough to become attached to. Lots of Astonishing and New X-Men characters popping in for cameos. And someone who'll come to be the main antagonist in the second arc, but who we won't even recognise as a threat when we first see them.

12. Your team goes on the road. Where are they headed? Can you reveal why they leave the mansion as a home base?

I can't say anything about where, but as for why, it's kind of the obvious reason. Life at the mansion has become unbearable - very tightly circumscribed, very tightly controlled and observed. My team come to the conclusion that they can do a lot better by being outside of that situation.

The new base is a very peculiar one, and roads are about the one transport infrastructure that it can't use. It's better by sea or air or almost anything else.

13. The cover to issue #190 is a bit of a jaw dropper. Will inter-team fraternizing be one of the themes of Super Novas?

Well, only in the background, as it were. These are beats I'm hitting partly because they help to ramp up the tensions in the team from the start, and partly because they're hard to resist when a perfect opportunity comes up. I'm not going to be leaning hard on the old mix-and-match mating dance aspect of things: just allowing characters to come together - romantically, sexually or otherwise - when it seems natural and appropriate. Which I admit still makes that cover something of a surprise. It's absolutely spectacular, isn't it? Admit that it made your pulse quicken just a little...

14. How tied into the current Marvel Universe will X-Men be?

Depends what you mean, really. We acknowledge the big events that are going on in the MU, because that's our setting. But they only impact on the story we're telling at a couple of removes, at least to begin with. You won't see a lot of Civil War references in X-Men, for example.

15. Going forward where do you see this title going? What comes after Super Novas?

After Supernovas we're going to have an issue or two where the team are sort of dealing with the after-shocks of the events they've just been involved in. That's when the move out of the mansion becomes official, and when the team roster is - for the time being - finalised.

And then in #196 the X-Men take possession of their new home and realise that there's a menace already there before them - a menace which is both new and old, and very, very nasty. The possibility exists that they've been manipulated into a trap that was set up a long time before. That story arc (no title as yet) will feature the return of a villain who for my money was about the scariest and most formidable the X-Men ever faced, and who this time has brought reinforcements.

16. For me, your book seems very much like a Vertigo take on the X-Men.(I mean that in a good way!!) Will your stories have more of a dark nature to them?

There are certainly going to be dark elements, but I'm not thinking in terms of bringing a Vertigo sensibility to the book. My goals are more specific than that. There's a danger that when you start talking about "dark", people assume the worst - heroes who are so morally ambivalent and so ruthless that they become repellent; battles where everybody loses; carnage for the sake of carnage. I'm not interested, really, in taking the book in that direction. I'm not saying, by the way, that that's what Vertigo books are about either. It's just that word "dark" and the overtones it's accreted around itself ever since Miller's The Dark Knight Returns.

Yes, I want the book to have a scary edge. I want the threats the X-Men face to be genuinely disturbing and monstrous, and for the reader to feel that everything is at stake. I'm not interested, though, in the kind of coarsening of the fictional world that sometimes accompanies those goals. I'm not going to drag the X-Men themselves through the mud and make them behave in ways that destroy the dramatic illusion. They'll face some hard choices, and they'll go through terrible experiences, as you'd expect. But they won't suddenly turn out to have been bastards all along, if that makes any sense.

17. For readers still on the fence about X-Men, what would you say to them to entice them into giving it a try?

I'd say take a look at Chris's covers for #188 and #190. If you're not interested enough to pick up the issues after seeing those images, go read a funny animal book.

18. What else are you working on Mike?

For Marvel I'm doing Ultimate Fantastic Four, taking over when Mark MIllar's run finishes with #32. Pasqual Ferry is doing the art, and we're having the time of our lives. Cosmic warfare, casts of thousands, superpowers you never heard of, the works. I'm also writing an Ultimate Vision miniseries, which picks up where Ultimate Extinction ends. I've got one or two other projects in the pipeline, but that's enough to keep me busy and happy in the meantime.

At Vertigo I'm doing the Faker miniseries with Jock and a new monthly, debuting later this year, with Jim Fern. We think we've finally got a title we like for that one, but it's early days so I'm not going to say what it is.

I've got an OGN coming out under the Sandman Presents umbrella later this year or early in 2007, and another book with Sonny Liew and Marc Hempel probably hitting the stores a little while after that.

And I'm pitching a book that I'll be co-writing with my daughter, Louise. How cool is that?

19. Aside from your comics work you are also a novelist. Can you tell us a little about your novels?

They're supernatural crime thrillers set against the backdrop of the rising of the dead. The protagonist, Felix Castor, is an exorcist living in London at this time - our time, just after the turn of the new millennium. And the streets are filling up with revenants. You've got the dead who come back in the flesh, as zombies; in the spirit, as ghosts; in stolen flesh, as werewolves, and so on and so forth. So suddenly there's a great demand for exorcists, and Castor is one of the guys who steps up to the plate. He's not religious or anything, he just has this gift: he can perceive the dead and he can bind them. And he makes a living at it, kind of like a Raymond Chandler private detective, working for a set fee plus expenses.

The first novel, The Devil You Know, has Castor taking on a job at a London archive. There's a faceless female ghost in among the book stacks and she's scaring the staff, so he's brought in to bind and banish her. But he gets interested in the question of why she's there, if this isn't where she died - and things sort of snowball from there. At one point, someone raises a succubus - a sex-demon - to kill him, and this demon, Ajulutsikael, known as Juliet, becomes a main character in the book.

I'm writing the series for Orbit in the UK and Hachette in America. The first book is already out, and the second, Vicious Circle, follows in October. I'm halfway through the third book now and still going strong. I hope ultimately there'll be at least half a dozen of them, with a big revelation and resolution coming at the close of book six.

20. Thanks for taking the time to speak with us again Mike!

My pleasure.

Posted by YourMomsBasement at 08:05 AM

Interview with Chris Bachalo

by Mike Collins

1. Mike Carey was kind enough to go into some detail on his thought process for your Super Novas arc on X-Men. Can you tell us a bit about how you approach not only working with a new writer, but on a different title with a different cast?

Usually, when working with a new writer, we touch base and I may ask him what he'd like to see from me and we go from there. MC's script are nice in that they are full scripts complete with dialogue and aren't so compacted that there isn't room for improvisation. When reading a script I often have snapshots of images that I'd like to expand upon and if there isn't sufficient room to do so it can be frustrating. I was rummaging through some books a few months ago and ran across Millers and Darrow's Hardboiled series. Amazing work. I really enjoy the covers with the figures and white BG's and i wanted to emulate that layout somewhere. I ended up using it by expanding on one of the early scenes in XMEN 188 by adding a double page spread featuring Rogue. And, I expanded upon that as I plan on using it as an element throughout the entire arc. MC has been terrific thus far regarding my liberal interpretations of his script. He says everything looks "brilliant", though I fear that one day I'll visit his study and there will be a pic of yours truly tacked on the dart board riddled with puncture marks. MC's work, having read through three scripts thus far, has been "brilliant". His handling of the characters is well thought out, the use of sub-plots well conceived and his dialogue precise. It's the best X-Material I've ever worked on and I'm having the time of my life.

2. Mike has spoken greatly of your concept design for this run, specifically your character designs. Where did your design ideas come from for the looks for the team as well as their adversaries The Children of the Vault?

Let me say that I'm super happy to have had the opportuntiy to re-imagine most of the characters on this title (Thanks MM!!. For me, there is nothing worse than working on a book with characters designed by someone else. When the time came to jump on X-MEN I was pleased to learn that I could modify the look of the line up. Mostly, the modifications were small things: I like Rogue's classic green and I added a cape to fit her new role in the book. Capes make a character a little more imposing--see Magneto, Batman and Superman--and she will be more "imposing" in Carey's book. I liked Dazzlers look in AOA. We're not using that any more, so I thought I'd take the essence of that costume and use the sexy nasty look for Lady Mastermind. Mystique, I like her classic garb with the white and Golden skulls. Sabertooth, I enjoyed the look I gave him in New X-Men so I ran with that and gave him a mountain man scheme, which I feel is more indicative of his feral nature. In regards to The Vault Kids, I read over MC's description of the characters and reacted. I always keep in mind the personality type of the character and what they'll be doing. Originally, Aguja was the "B" personality and Serafina the "A". Upon reading up on them I suggested that it may better if their personality traits were reversed. With costumes, If the character flies, its often best to keep they're tights simple. If they crash into things, perhaps armor is best. If they a swim, perhaps camoflauge blue and green are required. I also try and imagine what kind of person the character is and what they do: Serafina is a techy so I gave her kind of an underground, independent, insular, dark, spendsloadsoftimeinfrontofacomputerscreen gothic look. Aguja, the "A" type, is an intolerant blonde in green armor, a mini and fires sheer light daggers.

3. What can you tell us about Super Novas?

That a supernova is a stellar explosion that produces an extremely bright object made of plasma that declines to invisibility over weeks or months. There are several different types of supernovae and two possible routes to their formation. A massive star may cease to generate fusion energy from fusing the nuclei of atoms in its core and collapses inward under the force of its own gravity , or a white drawf star may accumulate material from a companion star until it reaches its Chandrasekhar limit and undergoes a thermonuclear explosion. In either case, the resulting supernova explosion expels much or all of the stellar material with great force.

That's my smart ass answer. Though it was better than what I do know which is virtually nothing. You'd have to ask the Mike's about that. I have a rough outline for about 12 issues, but i think its been modified a few times. What I do know is that the first six issue arc talks about the Children, who they are and how they were made. By whom I don't know. There are various subplots being sprinkled throughtout the arc so pay attention. It's good stuff.

4. I know Rogue is an all time favorite of yours. Are there any other characters you’re enjoying drawing for this run? Any that you wish Mike had left out?

I begged, well almost begged, the Mikes to make Rogue a more interesting character and they've made her A+. She's tough and decisive and the best part is that MC has given her a sense of humor. She cracks me up and she's really pissed at her mother. Mystique is going to be fun. She's kinda dark and unpredictable. In the beginning, the Mikes were debating on whether or not to bring Cable on board. I sort of cringed at the idea of having him in the book as I don't think he's very interesting and I don't have a good take on him. I'm still waiting to see how that works out as he joins the title in issue 190. Jury is out on Iceman. Cannonball is fun. Nice costume (Hah!), but he's still a work in progress for me. Same with Lady Mastermind and Karima Shapandor. MM liked the way I handled Karima in Uncanny and wanted to see more. She's the one character I've been chatting with MC about as she is very new and undefined. What's been a nice surprise is that Emma, Scott and Hank have been regulars in the book thus far. Emmas always fun. Last but not least, is ST. I'm having the most fun with him. He has a lot on his plate at the beginning of our arc and I'm having fun beating him up.

5. You’ve worked on several different versions of the X-Men. What is it about the characters that keeps you coming back?

I like that the X-Men exist more in a sci-fi world like Bladerunner, Mad Max and Star Wars than in a super hero world. I've never been a Superman super hero kind of guy. I collected Ghost Rider, Werewolf by Night and Deathlok as a kid. Mutants are a nice fit.

6. Aside from your regular penciling duties you also had a hand in designing the much talked about Iron Spider-Man costume. Can you talk about that process a bit?

Axel called me one day, shared with me what they were doing and asked if I wanted to take a crack at the redesign. As is my nature, I went in little darker direction than what the final JQ version looks like. I had Matt Wagners Grendel in mind: Sleek, dark, dangerous with very little color, big white eyes , Black Widow venom blasters and Doc Oc extra arms.

7. Do you enjoy taking a crack at re-designing other characters?

Not a whole lot. Its the very hard part of the job for me. Same with designing covers or designing anything for that matter. Its the part of the job where I earn my money. If designing was a road trip the first one hundred feet would start with the steepest hill imaginable, more like a cliff, with the rest of the journey being a gentle down grade for about twenty miles. Its that cliff where I blow my brains out and sometimes when I get to the top and the results aren't there and its back down the hill. Fuck! I go through this on every cover. Certain characters are easier than others. Rogue was easy enough as was Mystique but Cable is proving to be a dog. I'm kind of all over the map with Karima as well. If you look closely you can see her details changing from scene to scene and from cover to cover. I can't make up my mind with her. Notice, I've yet to show a head to toe shot of her. And its the details I'm talking about. The big pieces are fine, its the little ones that define the character and make him or her interesting that I'm stuck on. Thats why I keep dogging MC, because I'm looking for that detail to hang my hat on.

8. Continuing from your recent Uncanny run, the covers on X-Men are fantastic. How do you go about deciding what the cover image will actually be? Do you try to incorporate a story element or just work on an image that will stand out on the racks?

A little of everything. When designing the covers the idea is to sell what the book is about and attract as much attention as possible so those goals are always in the corner of my mind when putting together ideas. First thing is to get my hands on the script or plot. Hopefully, I have this a few days with it before getting started so that I can start thinking about what to do. If this goes well, I may have 2-5 ideas that I can put on paper, so when times up and I have to go up that cliff, I can find a quiet spot in my day and I put them down fairly quickly. Some are white bread ideas like the group shot on issue 191, others may be an idea pulled from the story like the covers to issues 190 and 192 and others may be character shots like Uncanny 466 with Rachel staring coldly in front of the hot and cracked earth X-Logo or Sabretooth in chains on the 189 cover. If the idea is good, it should be fairy simple and colored with a low range of colors. Issue 190 is a good example. Its simple, with minimal characters and a very low range of color. The subject matter is engaging and it'll stand out like a beacon on the shelves. Cover of the Month in Wizard 179!! I'll tell you, I thought it was the worst cover I'd ever drawn when I sent the pencils off to Tim. I was depressed for two days. Fortunately, it shined with inks and colors.

9. You will be working primarily with Tim Townsend and Jamie Mendoza on X-Men. Does having two inkers change the way you go about penciling the issue?

There may be a few adjustments I make but I more or less I pencil the work and let them apply their excellence. I do try and break up the pages in scenes so that they can have a good idea of what is going on.

10. Outside of penciling comics you’ve mentioned that you’ve done some design work for some big name companies like Oakley. What kind of work do you do outside of comics?

That varies from job to job. With Oakley, I did concept work for just about no reason. They asked me to draw girls in various costumes. I asked what they were going to be used for and they didn't know. I designed a small logo for the Around the World in Eighty days movie. I didn't have time for all the material they wanted me to do. I met the director Frank Coraci which was pretty neat. His new movie is Click with Adam Sandler The new X-men Gameboy just arrived in May. I did heads for that. I've been pretty much sticking to comics of late.

11. Is there anything else in the pipeline coming from you Chris?

I always have a few covers in the loop: More Withblade covers coming up this fall and an Iron and Maiden cover which is a new book from the creator of Crash Bandicoot. I just finished a Meltdown cover. I think I may be working on a Treasurey book with a group of ten artists lead by Erik Larsen. The deal is everyone gets eight pages to write and draw anything they want. I'm not sure what kind of fiction you'll get from ten artists but it should look good. The sexy is that it will be published treasurey size. That'll be a first for me. I say "I think" because I've yet to start and its due in August. I 've an idea and I just need to put it on paper. I have to finish my Hipflask book first. It's been five years on that one. Looks good, though Richard Starkings hair has slid from the top of his head to his chin during that time. I'm sure their is a big pic of me on a big dart board in his office....

Thanks for taking the time to talk to us again Chris!

Yep. Godspeed!

Posted by YourMomsBasement at 08:00 AM

July 03, 2006

HeroesCon: JMS PANEL

by Ed Conley

At last weekend's HeroesCon in Charlotte, North Carolina, fans got a much closer experience with their favorite creators than they might get at other cons. J. Michael Straczynski's marathon panel was no different. Answering questions over two hours, fans got an intimate look at his writing process, his battles, and his career.

Attendance was pretty much split evenly between Babylon 5 fans and Spider-Man fans. The B5 fans got to find out that Warner Bros. has approached Straczynski about doing more live-action B5. It will be something smaller than a film and may start up in August. It will not deal with B5's Telepath War. He also just sold a movie to Ron Howard that could be in production by January. Sam Raimi is interested in a Rising Stars TV series. And he has another deal that he cannot discuss until the San Diego Comic-Con.

Mr. Straczynski had just returned from a Marvel retreat where they planned out the next year. Ominously, he told the crowd that "terrible things" are coming for poor, put-upon, Peter Parker. He also has a new book from Marvel in November. Which re-establishes a major "mis-handled" character.

He also jokingly mentioned how he wanted to "kick the crap" out of fellow comic scribe and Marvel Civil War architect Mark Millar for not knowing who won the American Civil War.

After it was decided to do the Spider-Man unmasking in Civil War #2 and not the main Spider-Man book, he focused on just telling the story so that the unmasking would happen in the best way possible. The winning argument that decided where the unmasking would take place, the infamous "Super Girl and Flash didn't die in their own titles, they died in Crisis on Infinite Earths", turned out to be specious, as Straczynski realized later that neither character actually had their own title at the time. He decided to write everything that led up to the moment, let them have that one page, then continue right after that. As he views Civil War as all action, in Amazing Spider-Man he wanted to cover the personal and political consequences of Peter's decision. For example, The Daily Bugle can now sue Peter for fraud over the photos he sold them.

As a comic writer, Straczynski tries to find the edges. He believes that if you don't fail sometimes, you're not doing it right. Taking a character to the point of no return and either pulling them back or pushing them over is one of his jobs as a writer. In line with that writing on the edge, he addressed the controversial Sins Remembered storyline, where we found out Gwen Stacy once had children by way of Norman Osborn. The point of Sins Remembered, Straczynski said, was to give Gwen Stacy a spine. She made a mistake, had to confront the mistake, and tell Norman she was going to marry Peter and raise the kids.

He doesn't mind that fans get upset. Joe Quesada once told him people always hate the current Spider-writer. The reason being people identify so strongly with Peter, that they take it personally. And if the writer doesn't "get" Peter in their mind, then the writer doesn't "get" the reader. He said another controversial storyline, The Other, suffered from too many editorial fingerprints. That and each author went off and wrote what they wanted and not what necessarily needed to be written to keep the overall story coherent. The upcoming Ultimate universe/Supreme Power crossover he is involved in is much more tightly plotted.

Straczynski likes writing Peter and MJ as a married couple and feels May, Peter, and MJ form a strong pyramid. But, if told to turn MJ into a cockroach for a year, he'd find a way to write it. He said Joe Quesada has proposed something cool to handle the Spider-Marriage. He also wants to address Spider-Man's supporting cast more now. Particularly in reference to the unmasking. And he intends to use more of the "classic" rogues gallery.

By end of year, Straczynski says they hope to bring Spider-Man "back" to more what Lee, Kirby, and Ditko intended.

Posted by YourMomsBasement at 07:00 AM

May 05, 2006

52: The Blog

YMB's 52: The Blog can now be found at
www.YourMomsBasement.com/52Blog/

Posted by YourMomsBasement at 09:00 PM

April 25, 2006

52: The Blog

by Ryan Higgins

Week -3

For the past 2 years, DC Comics has built a level of excitement for their books unseen since they killed Superman in the early 90's. From Identity Crisis to Infinite Crisis, not only is fan interest the highest it's been in forever, sales are through the roof, with Infinite Crisis the best selling comic book since Jim Lee's run on Batman a few years ago. While there are those among comic fans who are not interested in big mega crossovers, many readers love them. And why shouldn't they? Characters are killed, relationships are destroyed, villains are beaten down, and the good guys win in the end.

Don't they?

"A year without Superman, Batman, and Wonder Woman. But not a year without heroes." This is the tag-line for 52, the weekly series from DC that launches in 3 weeks. The "real-time" series tells the tale of the entire DC Universe over the course of an entire year, from the (assumingly) shocking ending of Infinite Crisis to the beginning of One Year Later, the one year jump every DCU book took a few months before the Infinite Crisis miniseries even finished. But what happened to Superman, Batman, and Wonder Woman? We'll find out in the next few weeks, as both Infinite Crisis #7 and 52 #1 are scheduled to ship on May 10th.

Many of you, however, already know all of this. The real point of this blog isn't so much to talk about spoilers and theorize about future events (although that will happen quite a bit), but it's more for an inside look into the thought process on a retailers ordering, promotion, and fan interest of 52.

My name is Ryan Higgins, and welcome to 52: The Blog.

Since 1997, I’ve worked at Comics Conspiracy, a comic book shop located in Sunnyvale, California. My job has changed over the years, from the guy behind the counter that rings up customers, to what it is now, which is pretty much the guy in charge of everything: ordering, reordering, organization, dealing with customers in the store and online, manager, window cleaner, webmaster, and everything else in between. It’s a challenging task, but one I’ve done for a few years now, and I’d never give it up.

Sunnyvale is a fairly large city, over 130,000 people. Much smaller than big cities like San Francisco or Los Angeles, but still, a fairly populated place. I’ve heard many stories of other parts of the country with only one comic store per town, or even less, but Sunnyvale, and the neighboring cities do not have this problem. Within 25 miles of us is at least a dozen other stores, with a good number up the coast and into San Francisco. The Bay Area is home to, personally, the greatest selection of comic book stores in the country. There is literally a store for every type of comic book reader throughout the Bay Area. With this much competition, we’re still able to sell tons of copies of Infinite Crisis. I hear cries of the comic industry dying, and that no one is interested in mainstream superhero comics, but I sure as hell don’t see it!

The hardest part of the job is the initial orders comic stores place every month through Diamond, the largest (and, really, only) comic book distributor for new material. In the case of 52, this was even harder than normal. How many copies of a weekly series, without Batman, Superman, and Wonder Woman, would people buy? Infinite Crisis is the single best-selling book we’ve sold since I’ve worked here, and I’m sure it’s giving books like the Death of Superman and Turok #1 a run for its money. The great thing about Infinite Crisis, though, is that it’s actually a good book. Sure, it’s not everyone’s cuppa tea, but personally, IC is just about the best thing ever. How do I order a follow up book to a best-selling book? A 52-issue weekly book, at that?

Each issue of Infinite Crisis sold about 160 copies here. We’ve moved over 200 copies of #1, but that is the first issue of a major Event Comic with 2 covers by arguably two of the best artists in all of comics. 52 looks to be a little more…personal… than the massiveness that is Infinite Crisis. With a few weeks before #1 ships, the store already has 20% of it’s subscribers signed up for 52, and I know for a fact that more than half of them are down for the entire series, for better or worse. As is usual with these types of things, I expect at least a dozen or more subscribers to sign up for 52 once the first issue ships.

My initial thought was 100 copies. That’s on par of New Avengers, Civil War, Astonishing X-Men, and other high-end books. Clearly less than Infinite Crisis, but that’s to be expected. I don’t think any book released any time soon will sell in the same league as IC.

Then DC turned around and gave me a reason to increase my orders even higher.

To be continued…

Posted by YourMomsBasement at 07:00 AM

March 21, 2006

Read, Not Dead: The Question

by Sanjay Shah

This column is about great comicbooks runs that deserve to be collected for more widespread future reading.

The Question. DC Comics, 1986.

36 Issues and 2 Annuals.

The Start.

The Question was Zen Buddhism, well choreographed fight sequences, hard boiled pulp with a new age ideology, a blank faced seeker of the truth, utterly corrupt institutions, a comic unafraid of complex issues and an exploration of evil and the weakness of man.

The question really was how did veteran writer Denny O’Neil and artist Denys Cowan cram all this in successfully within their 36 issue run?

The character was originally invented by original Spiderman artist Steve Ditko in the 1960s for Charlton Comics and was a sounding board for his personal views on objectivism and moral absolutism. He was a TV reporter who went out and fought various crimes as a faceless (thanks to a special mask) vigilante. He only made some limited appearances and the character wasn’t used again until the mid-eighties when Charlton was bought by DC.

Alan Moore initially wanted to use him and the rest of the Charlton heroes for what eventually became reworked into The Watchmen. Ditko’s Question was a large influence on Moore’s sociopathic character of Rorschach, a man of absolute and uncompromising morals. But Denny O’Neil, who started out at Charlton, had other plans for him.

The Change.

Denny and Denys reintroduced The Question, a.k.a. Vic Sage, in the first issue of his title. It was without the comics code and later DC felt they needed to have a mature readers warning on the cover due to the contents of more sophisticated themes of sex, and violence. Cowan was inked by Bill Magyar who nicely softened some of Denys’ crosshatching and complimented his art. Malcolm Jones III took over on inking from issue #22.

Denny decided to change everything about the Question, he implemented his own eastern philosophical ideas which were in some ways a complete turn to the ones Ditko had for the character. Denny was an editor on the now legendry Frank Miller run on Daredevil, Miller had made the character his own and brought in ideas of Daredevil’s catholic childhood, infused hardboiled characters within the superhero genre, strong influences of Will Eisner's The Spirit comic, martial arts and beautiful choreographed of fight sequences. These all may have influenced O’Neil when he reworked The Question.

After I found out about the Ditko version, I did wonder why Denny O’Neil didn’t just make a new character up rather than change this one so drastically. But upon rereading the series recently it’s interesting to see why O’Neil did what he did by putting a character with absolute ethics into the moral ambiguities of the, then, modern 1980s. The character development alone made for interesting reading.

I found these in the back issue bins when the run was nearing its end. It was the fantastic Bill Sienkiewicz cover for the first issue that made me pick it up and it was the cliff-hanger ending and complex characters that made me seek out more. Denny even had a recommended reading book at the end of each issue.

The First Year

1 - The first issue introduces us to the Ditko version of The Question, violent, arrogant and absolute in his beliefs. Even his other role of TV reporter Vic Sage (a.k.a. Charles Victor Szasz) he comes across as an unsympathetic bastard. He works out of Hub City, a place that makes Gotham seem as bright as Metropolis. We are also introduced to Vic’s girlfriend Myra, he’s also pretty callous in his relationship with her. Vic shows a slightly warmer side with his scientist pal and the creator of The Question’s mask, Aristotle Rodor, who seems to be the only person that Vic really opens up to.

O’Neil understood that in order to really shake things up they must be destroyed and reworked. The end of the first issue The Question is beaten senseless by Lady Shiva (hired by the power behind Hub City, Reverend Hatch), then Hatch’s goons beat him with a metal pipe, shoot him in the head and then he’s dumped for dead off the Hub City docks. And that was only his first issue.

2 – Vic is such an asshole that you almost cheer when you think he’s been killed. The series may have been very short livied though if we didn't find him waking from a coma in a hospital. He's been rescued and saved by Lady Shiva, who felt him worthy enough to be trained to fight properly. When out of hospital, he meets Richard Dragon, who’ll tutors him, we have the compulsory montage of