Smashing a guitar on stage is cool, or at least was cool when Pete Townshend of the Who popularized the act in the mid-1960s. The Who breaking their instruments in one form or another was the No. 1 spot on VH1’s 100 Greatest Rock & Roll Moments on TV and among the Top 50 of Rolling Stone‘s “50 Moments That Changed Rock and Roll.”
But what does it really mean? Townshend admitted it started as an accident that then became sort of performance art. When you think of a band smashing their instruments these days, it seems like this big rebellious expression. It’s a statement that only lasts up to a certain point. Bands that are just starting out can’t really afford to break their stuff; it’s all they have. Big-name bands, however, can go hog wild and break everything, knowing full well that their manager or their label is going to produce new instruments at the end of the show.
Knowing that, the act loses meaning and seems wasteful. Matthew Bellamy of Muse holds the Guinness World Record at breaking the most guitars in one tour, with 140, and that just sounds expensive and cruel.
That said, I’m not sure whether Brian Michael Bendis is Pete Townshend or Matthew Bellamy.
WARNING: There’ some mention of this week’s issue of Uncanny X-Men, so grab your copies of Issue 30 and read along!
Prince Armory, which created that unnerving Joker armor and the breathtaking Loki armor, has gone medieval on a galaxy far, far away, unveiling a version of Darth Vader that’s both beautiful and frightening.
Jokingly referred to as the “Darth Knight,” the custom mask, helmet and suit are made of leather. If you want other details, like, say, the price, you’ll have to contact Prince Armory. However, I imagine it’ll cost you … and they don’t accept Republic Dataries.
Eleven-year-old Rowan has the same complaint that a lot of fans do — that there simply aren’t enough comics, movies and toys featuring female superheroes. So she wrote a letter to DC Comics, saying, “Please do something about this. Girls read comics too and they care.”
Today, DC answered.
The letter, posted Wednesday this week on the blog of family friend David M. Perry, garnered a lot of attention on Twitter. “I love superheroes and have been reading comics and watching superhero cartoons and movies since I was very young,” Rowan writes. “I’m a girl, and I’m upset because there aren’t very many girl superheroes or movies and comics from DC.”
The goes on to point out the disparity between the number of toys based on male heroes and those based on female heroes, not to mention the lack of a Wonder Woman television series. “Marvel Comics made a movie about a talking tree and raccoon awesome,” she notes, “but you haven’t made a movie with Wonder Woman.”
Illustrator and comics creator Sarah McIntyre has a new challenge for her fellow artists: Get some diversity into your characters. And by “diversity,” she means more variety in facial structures, because the fact is that often all an artist’s characters, especially female characters, look alike.
Take Archie Comics costars Betty and Veronica, for instance: Same face, different hair. (Off-topic: Writer Michael Uslan actually announced plans last year at a New York Comic Con panel for a comic in which the two finally realize this and switch places.) “I see the same identikit thing with superhero women: visually interchangeable except for hair colour and costume,” McIntyre writes in an essay at The Huffington Post. ” I remember wondering about that, even as a kid. As a grownup, I watch illustrators post drawings on Twitter, and many of them have these same faces and idealised bodies.”
Developer 800 North has teamed with artist Tommy Lee Edwards and media company Spark and Roar to create a comic based on its first-person shooter video game Dino D-Day.
Debuting in 2011, the game is set in an alternate history where Adolf Hitler discovered a way to resurrect dinosaurs to create a massive army.
Titled Operation Genesis, the comic tells the origin stories of the game’s two lead characters — Colonel Nigel Blythe-Crossley and Captain Jack Hardgrave — through a unique collaboration: Spark and Roar’s Gregory R. Little wrote the story, for which Edwards created full-color layouts. Then 800 North’s Abe Scheuermann and Brian Ulrich used the game as “a virtual prop house” to create the necessary images.
Trumpeting the yearlong 10th-anniversary celebration of its Graphix imprint, Scholastic has announced new projects from Jennifer L. Holm and Matthew Holm, Kazu Kibuishi, Raina Telgemeier and Mike Maihack.
The brother-sister team of Jennifer L. Holm and Matthew Holm (Babymouse, Squish) have created a Sunny Side Up, a semi-autobiographical for readers ages 8 to 12, set for release Aug. 25, the same date as Craig Thompson’s previously announced Space Dumplins.
When Brian Michael Bendis appeared last week on NBC’s Late Night with Seth Meyers, he did more than promote Playstation Network’s Powers adaptation and Marvel’s Secret Wars. He also offered up some comic-book recommendations.
In “Comic Book Gateway,” a video shot backstage at Late Night and released this week, the writer suggests some titles for newcomers. While he gives nods to Marvel’s Guardians of the Galaxy and Star Wars, Bendis devotes most of his time to creator-owned comics.
Nobrow Press co-founder Sam Arthur once described the company’s mission as “to publish books that deserved to be printed — and by that I mean they needed to exist as tactile objects that people [can] collect and cherish.” This has been borne out over the years as Nobrow established itself as a publisher that paid painstaking attention to the production process.
Given that, it’s not surprising that it took Nobrow seven years to go digital, and when it did, it came up with a digital solution that addresses the physical aspects of its comics.
Conventions | At a press conference Thursday to kick off FanXperience, the Salt Lake Comic Con spinoff event, Salt Lake City Mayor Ralph Becker declared Jan. 29, 2015, as “Salt Lake Comic Con’s Day of Heroes.” Organizers, who have capped ticket sales for the second annual event at 70,000, say they expect a sellout. The Deseret News also looks at the origins of Salt Lake Comic Con in a profile of founders Dan Farr and Bryan Brandenburg, who were introduced to comic conventions not as fans but as entrepreneurs. FanX continues through Sunday. [KSL.com]
Festivals | Reporter Alex Turnbull files a video report from the Angoulême International Comics Festival that includes segments on the tributes to the Charlie Hebdo cartoonists, the Belgian cartoonist Hermann, and a 24-hour comics challenge. [France 24]
For a while now, it’s been hard to avoid talking about some sort of Multiverse.
Between Forever Evil, Futures End and World’s End, The Multiversity, Convergence, and recent looks back at Crisis on Infinite Earths, the grand structure of DC Comics’ cosmos has come back into the spotlight. Even Marvel is jumping into the deep end of the infinitely varied pool. (All things being equal, there will be another Crisis post next week, so the talk will continue at least in this space.) While I’m inclined to leave Battleworld and its ramifications to the experts, it’s all been reminding me of a “Power Girl Problem” — and no, it’s not costume-related. This week we’ll talk Kara Zor-L and a few other continuity tangles, with an eye towards avoiding future pitfalls.
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Paul O’Brien sums up the basic difficulties nicely:
Using footage from The Avengers, Captain America: The Winter Soldier, Iron Man 3 and the trailers for Ant-Man and Avengers: Age of Ultron, among other sources (some of which I don’t recognize), he’s crafted a pretty solid narrative that pits Tony Stark against Steve Rogers, with Black Widow, Falcon, Bucky Barnes, War Machine and even Scott Lang left to choose sides.
It’s pretty compelling, and the closest thing we’re likely to come to any actual Civil War footage for at least six months or so.
Marvel has had a lengthy relationship with toy company Funko, and now the two partnered for something new: Marvel Collector Corps, characterized as a first-of-its kind subscription box service for exclusive Marvel collectibles, apparel and accessories.
The debut box, which ships in April, will feature items from Avengers: Age of Ultron, including an exclusive 6-inch Iron Man Hulkbuster Pop! vinyl figure (below), a T-shirt sporting one of four exclusive designs, another stylized vinyl figure and two premium accessories.
Akira creator Katsuhiro Otomo has won the Angoulême International Comics Festival’s Grand Prix, marking the first time a Japanese artist has received the event’s top honor. Just five non-Europeans have earned the award.
Jeremiah artist Hermann and Watchmen writer Alan Moore were also finalists for the award, presented annually in recognition of lifetime achievement to a living comics creator. The winner traditionally serves as president of the jury for the following year’s festival.
At first glance, The Multiversity: Guidebook #1 — this month’s chapter of Grant Morrison’s grand epic exploring DC Comics’ Multiverse — looks like a somewhat-skippable book, supplemental material of the sort that the publisher used to release under the title Secret Files & Origins.
Everything seems to bear that out, from the content advertised on the cover (like the already well-traveled map of the Multiverse) to the artists involved (Marcus To and Paulo Siqueira are good, but not of the same superstar status as previous Multiversity artists) to the particular Earths the cover boys come from (the Batman on the left is from Morrison’s new version of the world of The Atomic Knights; the Batman on the right is an off-model drawing of the character from an Earth introduced in Morrison’s brief Action Comics run).
Second and third glances confirm that initial assessment of this book’s importance. On flip-through, you’ll note that about half of its 70 pages are devoted to illustrated prose in an airy, space-filling format, defining each of the 52 Earths and identifying a few of the key players.
But once you start reading the thing? Well, on a purely conceptual level, as a piece of comics writing and a piece of comics writing about comics, it’s probably the most ambitious, important and fascinating chapter of The Multiversity to date. And that’s in addition to being an extremely timely reminder of how to “read” DC’s continuity-realigning storyines and just what, exactly, it is that makes DC Comics and the DC Universe so special in the first place.
As Comic Book Resources noted earlier this month, painter Alex Ross is creating limited-edition variant covers for Marvel’s new Star Wars titles that will be sold exclusively through the artist’s online store at AlexRossStore.com. We’ve already seen the painting of Luke Skywalker created for Star Wars #1, but today ROBOT 6 can exclusively reveal the Alex Ross Store variant for Star Wars: Darth Vader #1.