"Deadpool" Screenwriters Talk Political Correctness, PG-13 Petition and the Merc's Mouth
Comic Books, Film
Digital comics | Japanese publisher Kadokawa will relaunch its English-language e-book service BookWalker on Oct. 8 with 700 new manga and light novel titles. BookWalker, which includes a website and iOS and Android apps, debuted last year with a library of Kadokawa books, including Sgt. Frog and Neon Genesis Evangelion, some of which have also been published by Viz Media and Dark Horse. The new site will include a wider range of books from other Japanese and North American publishers. Kadokawa also runs ComicWalker site, which offers free chapters of manga in English. [Anime News Network]
Creators | Colin McEnroe interviews Zippy creator Bill Griffith about his new book, Invisible Ink, which is the story of his late mother’s affair with a cartoonist — or, as McEnroe puts it, “Zippy Meets Freud.” [NPR]
Political cartoons | Cartoonist Ted Rall, who was cut loose last week by the Los Angeles Times after the Los Angeles Police Department cast doubt on a blog post he wrote for the newspaper about being stopped in 2001 for jaywalking, has posted an enhanced version of the audiotape of that incident, which he says backs his version of the story. [aNewDomain]
Creators | Stan Lee waxes philosophical in an interview conducted at Boston Comic Con: “I think people need somebody to look up to as a role model, you know? Just like people need to believe in God, you need to feel there’s someone somewhere who can help you because you’re aware this is not a perfect world.” [Boston Herald]
In the near future, some sort of sentient operating system has awoken and taken over the world, transforming its inhabitants into cyborgs that then either kill or assimilate the rest of the population. To try to prevent this apocalyptic nightmare, Batman Bruce Wayne sends Batman Terry McGinnis into the past to stop that operating system from being created.
I know parts of that plot might sound familiar, but notice the presence of Batmen in it, so obviously I am describing The New 52: Futures End, DC Comics’ weekly series set five year in the future, where McGinnis is trying to alter his past to save his future.
I wonder if DC could send someone back in time, whether they would have altered the storyline of Futures End a bit. It’s always difficult to tell exactly how well a particular series is selling — in part because of the insane way the direct market sells comics, in part because publishers don’t typically release numbers — but one expects DC might have had higher hopes for Futures End, given that this year’s theme month of September is devoted entirely to tie-ins to the storyline, as the company has suspended much of its New 52 line and replaced it with
52 42 Futures End one-shots.
(Note: Post title is taken brazenly from a Mystery Science Theater 3000 riff on the serial The Phantom Creeps.)
When DC announced Grayson in April, I wrote about the dangers of separating Dickie G. first from his mentor, and then from his friends in the Titans. Because Grayson is predicated on removing Dick from the superhero realm entirely, I’ve been ambivalent (at best) about this book. Even after reading the first issue — which was a good introduction to the series, and which stood on its own nicely — I still have some concerns. Most of these come from a desire (perhaps unwarranted) to judge a series in a larger context. Therefore, today we’ll talk both about the debut issue of Grayson (written by Tim Seeley and Tom King, drawn by Mikel Janín, and colored by Jeromy Cox), and whether that sort of big-picture evaluation is fair to it.
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First let’s get some of the obligatory historical perspective out of the way. Dick Grayson has been around for almost 75 years, longer than just about all of DC’s A-listers, including The Flash, Hawkman, Wonder Woman and Green Lantern. Moreover, Dick/Robin has been adapted for various non-comics venues for almost as long, starting with radio and movie serials in the 1940s and continuing right through to today’s Teen Titans Go! Many of these more recent adaptations either alluded to, or showed directly, Dick’s transition to the Nightwing identity; and collectively they speak to the general public’s awareness of the character and his particular dramatic functions.
I’ve found the new Justice League United to be a rather surreal reading experience, until this point, for all sorts of reasons: It’s hard to believe DC launched this series to replace the much-ballyhooed — 52 variant covers! — Geoff Johns/David Finch Justice League of America after a mere 14 issues; it’s weird to see DC quietly reversing its “holding the line at $2.99″ policy with a Marvel-ous price point of 22 pages for $3.99; it launched with a zero issue that was actually a must-read first issue so that the story chapters and the issue numbers are now forever out of sequence; it featured Hawkman having an arm lopped up only to grow it back the next issue because Nth Metal; it featured an attempt to give the old grim-and-gritty treatment to Ultra the Multi-Alien; and so on.
However, the single most surreal aspect of the book may be one that’s suffused so much of the New 52, but is particularly present in the team books that rely on shared history (despite the fact that there isn’t really any shared history). In Justice League United, writer Jeff Lemire and penciler Mike McKone have assembled a rag-tag group of superheroes — Animal Man, Green Arrow, Star Girl, Hawkman and Supergirl — led by Martian Manhunter, whose place in the new DCU and relationships with the other Justice Leaguers is still ambiguous.
Conventions | Clem Bastow notes a disconnect at Oz Comic-Con in Melbourne, Australia, where women were a slight majority in the audience but were severely underrepresented as guests; DC artist Nicola Scott was the only woman in the comics contingent. Organizer Rand Ratinac said it was purely a matter of availability: “We offered for literally dozens if not hundreds of different guests, we always do, because you’re dealing with people whose schedules they sometimes can’t lock in until a month before the event. This time, of the people that we wanted, there were just a lot of guys that were available. Next year, it could be a whole bunch of girls; it all just depends who can come.” But Scott points out that there are simply fewer women in superhero comics than in the other sectors of the industry and superhero creators are what brings the audience in the door. [The Guardian]
With the pace of announcements beginning to pick up as we inch closer Comic-Con International, DC Entertainment has unveiled its lineup of convention-exclusive variant covers: Batman #32, Superman #32, Grayson #1 and Harley Quinn Invades Comic-Con International: San Diego #1.
Those covers will be available for purchase at the Graphitti Designs booth (#2314). In addition, the Diamond Previews booth (#2401) will have a variant for Scooby-Doo, Where Are You? #47.
Conventions | Organizers of the growing Asbury Park Comicon have announced that, after three years, they’re relocating the New Jersey convention to the Meadowlands Exhibition Center in Secaucus and renaming it East Coast Comicon. Founders Cliff Galbraith and Robert Bruce say the nearly 40-mile move was triggered by a sharp increase in rates at the Berkeley Oceanfront Hotel in Asbury Park, but the hotel’s manager thinks it’s because the venue couldn’t accommodate the dates requested by organizers. The inaugural East Coast Comicon will be held April 11-12, 2015. [Asbury Park Press]
Passings | Amadee Wohlschlaeger, who drew the comic strip Weatherbird for the St. Louis Post-Dispatch for 70 years, has died at age 102. Weatherbird, which debuted in 1901, is the oldest continuously published comic in the United States, and Wohlschlaeger (who went by just his first name) is one of just four cartoonists to draw it. He was named one of the top 10 sports cartoonists in the country, and his drawing of Stan Musial inspired the statue at Busch Stadium. [KSDK]