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| << January21, 2006 - [ComicBookNetwork E-Mag] CBEM 559.09 |
January21, 2006 - [ComicBookNetwork E-Mag] CBEM 559.08 >> |
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============ AN: OK that helped in one way at least, do you read a lot of horror to be able to evoke such a mood so deeply? JHF: Here's what's funny. To me, Elk's Run isn't horror. It's suspense. I think just about every good horror movie is 95% suspense, 5% horror. AN: Ok I see that, I can agree I think. JHF: That's why most horror movies are a HUGE disappointment when they reveal the monster. AN: In Alien you almost never see the thing... JHF: The tensions gone. We've seen the monster. Exactly. AN: ... which might explain why Frankenstein never worked for me he is the big gorilla not so much horrifying as pitiable JHF: Ah, but Frankenstein's got the flip. The Monster ISN'T the monster. The Doctor is. AN: Ah, yes. JHF: And as the book goes on, he goes further and further towards ape shit crazy. That's lost in most of the modern translations. Or versions, rather. AN: Not in WAKE THE DEAD by our mutual pal Steve Niles nothing lost there. JHF: Yeah, Steve nailed it. He's really got an incredible knowledge of the genre that rivals just about any one else making Horror anything. Movies, Books, or Comics. What Steve does well, that is the reason my books don't sell, is to make a big idea that's easily digestible, and then, use it as the bones to lay a sophisticated character study on. I don't do that. My big ideas are much more abstract. AN: But... big ideas are important and in the end: your work on Elks Run will be remembered as a work that evokes enormous discomfort... JHF: Heheh. Well, part of that, and this threw a lot of readers, is there are no monsters. Just like Frankenstein. This is a story about father's and sons. AN: ... and that sense of something bad about to happen something indeterminable just there JHF: Yeah, definitely. And we try to end every issue on what is more than just an 'action' cliffhanger, but on an emotional cliffhanger. It's sort of the difference between the TV shows "Alias" and "Buffy." Alias always ends on a cliffhanger, usually involving Jennifer Garner holding a gun in someone's face. Buffy always ends on a cliffhanger involving a character having their heart ripped out. Symbolically. That makes Buffy better for me. AN: For me amongst the differences in your writing versus others, is that the pacing and emotional barometers are soooooo different from anything else JHF: Yeah, I've been slagged a lot for the pacing. AN: SLAGGED? JHF: Because it's not what people expect from comics. AN: By dumbasses? JHF: Heh. No comment. AN:: grumble grumble JHF: No, look, we're trained as comic readers to expect page 22 of issue 1 to be "Superhero reveals his power" or some simulacrum there of. "Villain reveals self." AN: feh JHF: I think that's a way to go. But, that's not structurally sound to me. Not for a limited series, anyways. AN: See I do not think of Elk's Run as a comic, so much as a paper movie, (trademark Jimmy Palmiotti) JHF: I write to a pretty distinct five act structure. Always. But, I try to find peaks and valleys with in the act structure to really drive home plot points and cliff hangers. But that's the thing; it's really created for comics. If it was a movie, it could never exist as is. The POV stuff is gone. Instantly. I've been asked to pitch my 'dream version' of the movie to people, and there's no way to do the movie and keep the POV stuff. There's just no room in a movie. THAT's why it's a comic. AN: It feels to me like a much better done Prisoner along with the Village without the bullcrap ending with teens and no booby. JHF: Well, you haven't seen the ending yet, so don't give me too much credit. AN: ok JHF: Heh. You should check out my blog about the boobies, too. Issue 6 does in fact have boobies in it. AN: WOO HOO... wait... man boobs? JHF: Nope. Take a look: www.joshuahalefialkov.com second or third post down. AN: ok ok, phe-uw JHF: Heh. AN: Man boobs might exist JHF: I know, I have them. AN: but I ain't interested in them, ... well ummm so do I... JHF: Neither's my girlfriend. AN:... ah yes, my son tells me I need a bra and I tell him go to your room. JHF: Heh. I like to keep mine 'sporty.' AN: anyhoo JHF: where were we. AN: FUSED TALES saw you join forces with Steve Niles on a wonderful property FUSED... JHF: Yeah, I'm a HUGE fan of it. AN: ... So with the assorted publisher history do you think of the work as just needing a good solid 12 issue run or more with same artists and writer Is FUSED TALES a placemark/bookmark so Steve can find a publisher? JHF: Yeah, it's a character that's never really gotten a fair shake, I think, because Steve has been typecast as 'the horror guy.' And, 2005 seems to be the year that he's proving everybody wrong. AN: I loved FUSED TALES btw. JHF: I don't know, really. I'd love to see the book get its well deserved moment in the sun. I think, as the anthology proves, there's a TON to be done there, and the character really is a unique take on a lot of pretty interesting issues. Glad you liked it. How'd you like my story? You can be honest. And you don't have to print this. AN: Well I liked it just fine but only read it through once today it came in the mail so I gave it more a look than a read JHF: Right on. It was fun to write. I think that would be a story that I'd do differently in afterthought, because the other two stories are sort of.. deeper and more though provoking. I was barreled under in Elk's Run and just needed a sigh of relief, so my story's really just a wham bam fun time. AN: So tell me what is upcoming from you? JHF: I wish I knew. AN: Any thing big in the works? JHF: The Speakeasy situation has been really tough on us. AN: Why? JHF: Well, we went from self-publishing to being under the Speakeasy banner, and it seems like as soon as the ink was dry on the contract, things at the company started going haywire. From the HUGE delay in issue 4 (it was due out over a month ago), to some marketing and PR snafus, it's just been rough. Elk's Run just isn't selling what it should, and it's become a crusade on our part to keep it going. So, while I do have a few other things going (including something outstandingly cool, that I just can't talk about yet), I can't really focus on other projects because the business side of Elk's takes precedence. Joshua Hale Fialkov.com ||| HOARSEand BUGGY.com ||| AN: Thanks Josh. Readers: Do not let the sales woes of this book confuse you. It is seriously good. I cannot suggest that everyone will like it, because of course we all like different subject matters and genres. But if you like suspense with a tint of horror, this is a book you need to pick up. And I am very happy to say, I think if you do, we will see more books from Josh in the future. That alone is worth your investment in the title. ***** Thanks to the many readers over the last 2 years. CBEM is fine place and I look forward to more. -- Alex Ness ||| The Land of Frost Box 142 Rockford MN 55373-0142 http://popthought.com/ http://robingoodfellow.com/ http://stlcomics.com http://slushfactory.com/columns/an/ http://hometown.aol.com/ComicBkNet/ http://landoffrost.blogspot.com/ http://www.livejournal.com/users/alexanderness http://myspace.com/alexanderness _________________________________________________________________ ----------------------------------------------------------------- COMICS OBSCURA Mike Curtis shandafa@cyberback.com [COMICS OBSCURA are facts Mike Curtis has dug out during his 30 years of collecting Superman and writing about comics. His website for his comic imprint is www.shandafantasyarts.net ] AS WELL AS TALKING ABOUT GLENN STRANGE Glenn Strange beat out several contenders to take over the role of the Frankenstein Monster in HOUSE OF FRANKENSTEIN, including fellow western star Lane Chandler, and stuntman Eddie Parker, who had played the part in much of FRANKENSTEIN MEETS THE WOLFMAN, doubling for the aging Bela Lugosi. Strange was also a "monster" on early television as well. He was seen in the first three part origin episode of THE LONE RANGER in 1948 as arch villain BUTCH CAVENDISH, as well as returning to the series later in the role. _________________________________________________________________ ----------------------------------------------------------------- [8] Suspended Animation Michael Vance & Mark Allen MiklVance2@worldnet.att.net http://www.starland.com/sus [Michael Vance, a professional writer since 1977 and has been published in dozens of magazines including Starlog and Jack and Jill, and as a syndicated columnist and cartoonist in over 500 newspapers. His history book, Forbidden Adventure: The History of the American Comics Group, has been called a "benchmark in comics history". He ghosted an internationally syndicated comic strip, and his wrote own strip, Holiday Out, that was reprinted as a comic book. Vance also wrote the comic books Straw Men, Angel of Death, The Adventures of Captain Nemo, and Bloodtide. He is listed in the Who's Who of American Comic Books and Comic Book Superstars. His short stories have appeared in dozens of magazines and recorded by actor William (Murder She Wrote) Windom. Suspended Animation, has been published for more than sixteen years, and Vance worked in newspapers for 22 years as an editor, writer and advertising manager. Mark Allen lives in Western Oklahoma with his wife and daughter. He has been a Baptist minister for over 15 years, and has also written for the Oklahoma news industry. Having indulged in comics for nearly 30 years, Mark now enjoys using the written word to share with others what he believes is a true, and extremely under-acknowledged, art form.] It's elementary, my dear Watson, that Sherlock Holmes was the greatest accomplishment of author Arthur Conan Doyle. But this world-renown sleuth was not Doyle's only successful creation. Graphic Classics: Arthur Conan Doyle (GCACD) is an anthology of his short stories adapted into comics, and, as is true with all anthologies, with varied results. At the least, it again brings attention to an ongoing debate among comics fans. What is more important in this art form, art or story? GCACD is loaded with dialogue and caption. The adaptations are written for "adults, yet [are] accessible to children ages twelve and up". That means that instead of it taking the ten minutes needed to read most comics, you will enjoy a long and satisfying experience with this collection. As is true with all anthologies, the quality of art varies as well. Almost all of the styles represented here lean to abstraction and minimalism, but that isn't a bad thing in and of itself. Indeed, most readers will find an entertaining mix of art that will tweek their interest. Artists Rick Geary, John W. Pierard and Nick Miller are standouts among a crowd of accomplished peers in this collection. Particularly fun is a story of romance war as told by Brigadier Gerard, one of Doyle's memorable characters. Gerard is an old windbag whose exaggerated stories are accepted and enjoyed by listeners who wink as he speaks. One suspects that, despite his words, Gerard never fired a shot. (Before it's forgotten, the answer to the earlier question is neither. Great comics are a seamless marriage of art and story in which neither is conspicuous to a reader.) This anthology is recommended for people who like to read and look. MV Graphic Classics: Arthur Conan Doyle/$11.95 & 144 pgs. from Eureka Productions/Arthur Conan Doyle; various artists/available at comics shops & www.graphicclassics.com. Order you copy of the all-Michael Vance horror paperback Apocris 1 at http://www.lighthousemediaone.co.uk/FutureProjects.html. For information on the exciting Oklahoma Cartoonists Collection and Toy and Action Figure Museum go to www.fourcolorcommentary.blogspot.com/ _________________________________________________________________ ----------------------------------------------------------------- COMICS OBSCURA Mike Curtis shandafa@cyberback.com [COMICS OBSCURA are facts Mike Curtis has dug out during his 30 years of collecting Superman and writing about comics. His website for his comic imprint is www.shandafantasyarts.net ] WELL HE KIND OF LOOKS LIKE HOWDY In the 1950's, physicians JACK WEINSTOCK and WILLIE GILBERT were asked by friend BUFFALO BOB SMITH to take over the writing chores on his hot TV series HOWDY DOODY. This they did until the series was cancelled in 1961. During those years, they found they enjoyed writing together, and adapted a humor book into a Broadway musical. In 1961, the same year, HOWDY bit the dust, Howdy look-alike ROBERT MORSE starred in Weinstock and Gilbert's hit musical HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING, later made into a 1967 movie. _________________________________________________________________ ----------------------------------------------------------------- [9] ComiX-Fan Reviews Eric J. Moreels x-fan@bigpond.net.au http://www.comixfan.com/xfan [Editor's note: Some of the following reviews have spoilers to plot details. This is a TEXT ONLY newsletter so those spoilers are not hidden by HTML code as they are on the ComiX-fan site.] ULTIMATE X-MEN #66 eviewer: Zachary Ayotte Story Title: Date Night, Part 1 Hot Child in the City Writer: Robert Kirkman Penciler: Tom Raney Inker: Scott Hanna Colorist: Gina Going-Raney Letterer: Chris Eliopoulos Production: Omar Otieku Assistant Editors: John Barber & Nicole Wiley Editor: Ralph Macchio Editor in Chief: Joe Quesada Publisher: Dan Buckley Published by: Marvel Comics Review Contains Spoilers In the 616 universe, downtime for the X-Men is usually the brief calm before the next inevitable storm. It seems that is a tradition that is enjoyed in the Ultimate Universe as well. In this case, as the issue title suggests, the calm comes in the form of a group of dates for the X-Men. It's nice to see the X- Men when they are "off duty" but I think the issue is more effective in introducing us to the newest writer to handle our Ultimate mutants, Robert Kirkman. Kirkman is a writer whose work I am not familiar with. I have not read The Walking Dead or Invincible but from what I have read on the Internet it seems that his ability to handle characters is part of the reason that those titles are so popular. That ability is one that he is beginning to demonstrate in his first issue on this title. The first few pages of this issue give the reader a feel for what it would be like to live in the X-Mansion with a group of people who are mutants and more importantly are teenagers. All of these teens have very unique voices and Mr. Kirkman has started to get a handle on how to write them. For me, the characters that stood out he most were Cyclops and Iceman, and to some degree Kitty. I think the way he handles Cyclops is great. He really has a feel for the social awkwardness that Scott faces when he isn't in a battle situation. He also has quite a feel for how Scott interacts with Jean. I loved it when he was talking to the professor on the second page and he says, "...she's been listening in. I think she made me say that." Iceman and Kitty are the other two characters that I think Kirkman has quickly taken to. The playfulness he gives those two characters is quite true to how they have been handled so far in this series. There are also two new characters introduced in this book. The first is a tall blonde gentleman who spends all of his time in this issue in his underwear running around a mansion in upstate New York. The other character is a new Ultimatized version of a character from the original X-Universe: Lilandra. The first character, the underwear man, is the biggest mystery in this issue. We do not know his name or much about him other than the fact that he lives in Upstate New York and seems to have killed his parents. This is the part of the story that I find most interesting. Kirkman reveals just enough about this character to peak my curiosity. I am also curious to know where Kirkman is headed with Lilandra Neramani who, on first meeting, does not seem to be from space at all but is instead the Majestrix of the Church of Shi'ar Enlightenment. Like Professor X, Lilandra seems like she may have a little more up her sleeve than here 616 counterpart. The thing the two versions of the character do seem to have in common is their role in the Phoenix storyline. Based on the cover and the appearance of Lilandra I would say that Jean's gradual transformation into Phoenix is reaching a peak. I am looking forward to this. I found Hellfire and Brimstone somewhat anticlimactic but have enjoyed the gradual development of Jean's powers and her character. Kirkman also flexed his humor muscle in this issue. The funniest moment for me was when the nurse enters Allison's hospital room after Nightcrawler and Colossus have teleported out and thinks that Ali is responsible for the 'porting smell. Vaughan liked to lend his sense of humor to the X-cast as well and I think the similarities here are a nice transition for the reader. I did have a few issues with certain elements of the writing. There were a couple of moments where I felt like Kirkman stepped out of the characters voice and was speaking directly to the reader. This is something that, if used correctly, can be quite effective. In this book, though, there were moments which fell slightly flat. The moment when Professor Xavier, the world's most powerful telepath, forgets Lilandra's name felt like it was set up purely for reader's reaction and not to fit the story. I think that if Professor Xavier were on a "date" with a woman that he not only finds attractive but whom he may soon be getting large amounts of money from then he would work a little harder to remember her name. And even if he could not remember it, he could just skim it out of her thoughts. Another thing that bothered me was the way he handled Nightcrawler's accent. I imagine accurately writing an accent is probably a trying task for any writer, I'm sure I would have trouble with it. That being said, I found Nightcrawler's accent in this book distracting. To me, vaan sounds less like the German equivalent of one and more like the German equivalent of a baby crying. While I am not familiar with Kirkman's previous works, I am familiar with Tom Raney's. When I read that he was to be the new artist for this book, I was excited. I typically enjoy his work. He seemed like a logical choice to me because proportionally I find his characters often look like teenagers. I opened the first page of this book and was a bit disappointed. It's not that the art is bad, but I just don't feel that it is up to par with his previous work. After I read it I went back and looked at my old Stormwatch trades and for me there was no comparison. The Stormwatch art is clean and detailed and clearly demonstrates Raney's talents. That was not the case with this issue. Wolverine's face felt bit loose throughout most of the issue. Some of the backgrounds were quite plain, lacking in much detail, save for what was necessary to clearly convey the environment of each panel. There are some great pages, though. The full-page spread of Sabertooth was nice and I thought the cover was great. He also handles facial expressions quite well. The rest just didn't leave much of an impression on me. It may have been the coloring, which I found a bit muted in this issue. Most of the wall colors in this issue are very drab as are some of the colors for the clothing. I know that both Hanna and Raney are capable of great work and I hope to see it in the upcoming issues. I am looking forward to the next issue, which is no small feat. If the many Internet sites that I stumbled upon are correct then Mr. Kirkman's characters should continue to develop nicely over the course of his run on this title. I have faith that Tom Raney's art will be up to his usual standards in the coming issues, forcing me to make room in my mouth for my foot. And maybe, just maybe, this will be the creative team that serves us up a piping hot plate of Phoenix. ART: 3.0 STORY: 4.0 OVERALL: 3.5 CABLE & DEADPOOL #24 Reviewer: Doug Glassman, doug.glassman@gmail.com Story Title: Sticky Situations When Deadpool met Spider-Man... Writer: Fabian Nicieza Artist: Patrick Zircher Letterer: VC's Cory Petit Inker: Udon's M3TH Colorist: Gotham Cover Artist: Patrick Zircher Editor: Nicole Wiley Editor In Chief: Joe Quesada Publisher: Dan Buckley Published by: Marvel Comics Cable Created by: Louise Simonson and Rob Liefeld Deadpool Created by: Fabian Nicieza and Rob Liefeld Now, don't get me wrong. Cable & Deadpool is one of my favorite Marvel titles, and one of the few that I collect on a regular basis. It's one of the funniest books published each month, mainly due to our friend Wade Wilson (although Nathan Dayspring Askani'son Summers provides some zingers now and then). However, I can't shake the feeling that this title is going in circles. At the start of this series, Cable wanted to use his powers to become a messiah. Then he depowered himself (accidentally disgracing Deadpool in the process). Now he's obtained a form of telepathy through the Dominus Objective... and once again, he wants to become a messiah. Nate, make up your mind! Is the techno- organic stuff in your arm screwing up your brain? The feeling of a spiralling title isn't helped by the now-classic first page pose of Deadpool in mid-battle against some sort of soldier. Other scenes (like Deadpool answering his phone in his mask) have also been repeated throughout the run, so it's definitely a theme that Nicieza is running with. I do have faith that the title won't stagnate. With that out of the way, I'd like to get to the main draw of the issue, which is visible right on the cover: Deadpool vs. Spider- Man. The two have met before, although they didn't know it, in the ingenious Deadpool #11. In that issue, Deadpool, thrown back in time during a fight with the Great Lakes Avengers (who were the Lightning Rods at the time), pretends to be Peter Parker during the events of Amazing Spider-Man #47. Aside from this inadvertent meeting, the Wall-Crawler and the Merc With A Mouth haven't crossed paths much. Actually, Spider-Man's presence in this story irked me at first, because I thought that Nicieza had made a massive continuity error by placing Peter Parker as a photographer for the Daily Bugle. While this is his most famous and well-known occupation, I was sure that he had become a high school teacher a few years back. Apparently, Peter became a freelance photographer in Marvel Knights Spider-Man. Serves me right for not following Marvel continuity closely... (Thanks to Minor Irritant over at the Allspark for explaining this to me.) So how was this summit of snarkiness? Well, aside from it being too short, the Deadpool/Spider-Man confrontation was pretty good, involving a discussion of superhero law that Jen Walters would've killed to hear. They trade insults and quips about team memberships, merchandising-where the real money from the comic is made-and Spider-Man's status among the people of New York. The fight even takes place on the Queensboro Bridge, which was featured heavily in the first Spider-Man film. The meeting between Deadpool and Spider-Man is believable within the framing of the story; sometimes, cameos can make no sense at all, but that is not the case here. This is a done-in-one story to a degree, though it certainly does lead into the next issue. Patrick Zircher's art is excellent as always. He has a fantastic talent for facial expressions, even with Deadpool, who wears a mask. As well, he can shift from the comedic to the dramatic in a pinch; considering the two main characters, this is sometimes necessary. He can go from a brooding Cable on one page to a tuxedoed Deadpool (mask and all) in an instant. Zircher's portrayals of classic Marvel characters, including Peter Parker (in both civilian clothes and as Spider-Man), J. Jonah Jameson, Nick Fury, and a very famous Avenger on the last page are also excellent and very much on model. Sadly, this is Zircher's last issue as Cable & Deadpool's artist, though he will provide covers for a few more issues. He came on the title at issue three and took over seamlessly from Mark Brooks. His replacement is Lan Medina, whose artwork I have never really seen. Cable & Deadpool, despite its rising numbers, is a book that could be cancelled if the sales shift too much, and I'm hoping that Medina doesn't rock the boat. You'll be sorely missed, Pat, but I'll be looking out for your work on Iron Man. Overall, Cable & Deadpool #24 is a good pause between storylines, giving the reader a breather after the complicated "Bosom Buddies" arc. It allows the stories to be broken up in novel ways instead of the tired, padded-for-the-inevitable-trade six-part arc. Other titles, like JSA, do the same thing-a three or four- part arc, followed by one or two breather issues that not only provide the characters some down time, but also allow new readers to try the title. If you're a new reader who wants to see what all the fuss about Cable & Deadpool is, a Spider-Man fan who wants to see him in a great cameo, or just someone looking for a funny comic to pass the time, you'll enjoy this issue. ART: 5.0 STORY: 4.5 OVERALL: 5.0 Thanks for subscribing to the Comic Book Network Electronic Magazine (CBEM) --------------------------->Disclaimer<--------------------------- This is an ANNOUNCE only mailing list, only the Editor can send messages to the list. No one else has access to the subscriber list. Replies to these messages will be received by the Editor ONLY, so you must CC: individual contributors if you want them to get your E-Mail. The E-mail to the E-mag MAY be used in future issues at the Editor's discretion UNLESS you specifically request that they not be. It is our policy to withhold names and/or Addresses, by request only, from letters of comment. All contributors are required to use their real name and have a valid Email address for their columns to be published. Send Email comments to: ComicBkNet@aol.com Material for inclusion in the Emag - press releases, solicitations, column submissions, Letters to the Editor, guesses for the trivia contest should be sent to ComicBkNet@aol.com The EDITOR, not the submitter, has final approval and edit rights on ALL material. Printed comic books and advanced copies for review in the Emag should be sent via US Mail or UPS to David L. LeBlanc 84 Heather Circle Jefferson, MA 01522-1419 TO Subscribe send a message FROM the intended address to: ComicBookNetworkEmag-subscribe@yahoogroups.com TO Unsubscribe send a message FROM the address to be dropped to: ComicBookNetworkEmag-unsubscribe@yahoogroups.com You may also unsubscribe from the Egroups Web page at the short cut below. Shortcut URL to the Egroup page: http://groups.yahoo.com/group/ComicBookNetworkEmag All contents COPYRIGHT 2006 The Comic Book Network. 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