---------------------------------------------------------------------- Ed Dukeshire and Mike Imboden Present: THE COMIC BOOK NET ELECTRONIC MAGAZINE ISSUE NUMBER 364 4/19/2002 Edited by: David LeBlanc - ComicBkNet@aol.com Winner of the 2001 EAGLE AWARD as FAVORITE COMICS E-ZINE! FREE VIA EMAIL SINCE FEBRUARY 1995 ______________________________________________________________________ C O N T E N T S ----------------------------------------------------------------------- [A] Submissions, mailing address, web page [1] On the Net ............................ David LeBlanc [2] Letters to the Editor ................. Your Page! [3] TRIVIA CONTEST ........................ Win *real* prizes! [4] Network Buzz .......................... News, gossip & rumors [5] Interview: Matt Howarth ............... Tim O'Shea [6] A View From the Cheap Seats ........... Rich Watson [7] Stream of Babbling .................... Tim O'Shea [8] Linnen's Look At Comics ............... Brian Linnen [9] Lightning Strikes ..................... Mike Gagnon [10] Graphic Novel Reviews ................. Amy Harlib [11] M.O.E. Reviews ........................ Paul Dale Roberts [12] My View: THE WATCH, FADE FROM BLUE .... David LeBlanc [13] 2001 Squiddy Award Winners ............ Carl Henderson [14] New Comic Book Releases List .......... Charles LePage [15] HYPE! Section ......................... Various ______________________________________________________________________ World Wide Web Home Page-->> http://members.aol.com/ComicBkNet Mailed by Yahoo!: http://groups.yahoo.com/group/ComicBookNetworkEmag AOL text copies in Sci-Fi Library II - Keyword aol://4400:3990 HTML WEB EDITION at -->> http://www.digitalwebbing.com/cbem featuring a week's worth of the online strips: Steve Conley's ASTOUNDING SPACE THRILLS AND DR. CYBORG by Alan Gross & Mike Oeming ----------------------------------------------------------------------- o \o/ _ o _| \ / |_ o_ \o/ o /|\ | /\ _\o \o | o/ O/_ /\ | /|\ / \ / \ |\ /) | ( \ /o\ / ) | (\ / | / \ / \ ----------------------------------------------------------------------- The ComicBook Network was founded by Ed Dukeshire and Mike Imboden ----------------------------------------------------------------------- If you wish to receive each issue automatically through your Email account, FREE, please send a message FROM that account TO: ComicBookNetworkEmag-subscribe@yahoogroups.com To UNSUBSCRIBE send a message FROM the account to be dropped to: ComicBookNetworkEmag-unsubscribe@yahoogroups.com See section [A] for the address to mail material to be reviewed. ______________________________________________________________________ All text contained within is copyrighted to the originating author(s). Except where elsewhere noted, The Comic Book Net Electronic Magazine is Copyright 2002 by The ComicBook Network. You may freely distribute or retransmit this file intact without alteration for noncommercial purposes only. Except for personal archiving, permission must be obtained from the individual authors to reproduce, retransmit, or publish any part of this magazine. Opinions expressed in this publication are those of the authors and do not necessarily reflect the views or opinions of the Editor, the Network Administration Team or the members and users of The ComicBook Network. ______________________________________________________________________ ----------------------------------------------------------------------- [A] E-Mag Info: Submissions, Back Issues, Web Page SUBMISSIONS ----------- To submit an article, review, column, etc. to our Emag, simply Email it to the editor at: ComicBkNet@aol.com You must include your REAL name and a valid Email address in order to be published in this Emag. Sorry, we do not accept anonymous columns. Reviews of mainstream books are welcome and we encourage reviews of indies and self published material as we feel that material deserves more exposure to the general public. If you write intelligent, coherent, and timely reviews of any comic book it will almost always be printed, so give us a shot. Commentary on the state of the industry, and personal observations and reflections related to comics are *most* likely to be included in our publication. PLEASE, no material on Gaming, role playing, collectible card games or other hobbies or collectibles other than comic books. That also includes plugs for web pages UNLESS they are concerned with print comic books. We do not promote web comics as we do not consider them to be comic books. SEND US YOUR WORK ----------------- We also accept product for review purposes. Advanced copies of comic books will not be returned but any comic books sent to us *will* be reviewed in the ComicBook Net Emag. Send all material to: David L. LeBlanc 84 Heather Circle Jefferson, MA 01522-1419 Material is generally reviewed in the order received and be advised that we work a few weeks in advance so your review may not be in the magazine immediately. Advanced copies are therefore encouraged so the review will occur prior to your product hitting the stores. THE Comic Book Net WEB PAGE http://members.aol.com/ComicBkNet ---------------- If you have access to the World Wide Web, please stop by and visit our web page! On our web page, you can find the latest issue of our E-Mag, as well as all back issues and an annotated index. You'll also find important information and other neat features like links to the HTML version of the current issue of this magazine at DIGITAL WEBBING, [http://www.digitalwebbing.com/cbem], some of the comic companies and creators' web pages and many other Comic Book related links! You can also find some of our back issues at America Online, by going to Keyword: COMICS, then choose the menu item _Comic Book Forum_ and then going to the _Comics Library_ from there. These are non-zipped text files. AOL search/keyword: aol://4400:3990 ______________________________________________________________________ ----------------------------------------------------------------------- [1] On the Net David LeBlanc ComicBkNet@aol.com Recently I was reminded of a column written for the Emag about four years ago. It was on a subject that is timeless in subject so I thought it would be good to review once again. Parts I will just copy and paste and some I will adapt with my own words. Thanks to Jim Murdoch for permission to use it. For various reasons many of us with web pages or a known internet presence get a lot of email promoting new comics. There is a right way and a wrong way to do this, so here's some simple do's and don't's DO personalize your message. "Hey, Jim, I saw you in CBEM. Here's some info about my comic." is far better than "Dear Comics Professional:" DO tell me in what context you want me to consider your book. Some of us wear different hats in comics: writer, editor, publisher, columnist, retailer, collector. Please tailor your message accordingly. DO send the same "cover letter" you'd send in any promotional package. A press release works in any environment. This is a personal pet peeve of yours truly. Sending a quality product for a free review and plug but not sending a cover letter with contact information, solicitation details, WHEN the product will be released information, even an Email address so I can notify the sender of the review being posted is a major oversight. DON'T use Jeff Mason's list of Industry Email Addresses. This is a reference tool, not a gold mine for publicity. Shotgun Emails at hundreds of people is SPAM. DON'T send binaries (attached image files.) without permission. You might be the Next Big Thing, but if you send a picture attached to your message it stands a good chance of being ignored, and in some cases reported to your postmaster as unwanted potential virus file. Put a line in your email that binaries are available upon request. DON'T ask me to go to your web site to get the basic info. I want the basic facts in the email and can go to the web page if I want more. Another peeve - on occasion I get a one liner with a link - nothing more. I don't have time to surf for all the details. People, SPAM is the 'Net-killer. A small press title has enough problems in today's market without deliberately p*ss*ng off the people they need to make it. Another take on this subject can be found at The Master List of comic book & trading card stores web site http://www.the-master-list.com Mark S. Adams is sensitive to the issue, since his site contains names and addresses that many aggressive folks have used to create spam Email in the past. Now, check out this weeks picks: ABSTRACT STUDIOS Strangers In Paradise Vol III #49 Molly & Poo, $2.95 CROSSGEN COMICS Crossgen Chronicles #7, $3.95 Crux #13, $2.95 DC COMICS Establishment #8, $2.50 Haven The Broken City #5 (Of 9), $2.50 JSA #35, $2.50 Supergirl #69, $2.25 IMAGE COMICS Rising Stars #18 (resolicited), $2.50 <--------Pick of the Week! MARVEL COMICS Mutant X Dangerous Decisions #1, $3.50 New X-Men #125, $2.25 PHOSPHORESCENT COMICS Watch #4, $2.95 Last minute congratulations to Mike Doran and all the crew at NEWSARAMA as well as Rich Johnston of ALL THE RAGE for their wins in this year's SQUIDDY AWARDS. Both provide lots of info every week to fans worldwide and we are grateful for their hard work. David LeBlanc - ComicBkNet@aol.com Editor The Comic Book Net Electronic Magazine ______________________________________________________________________ ----------------------------------------------------------------------- [2] Letters to the Editor If you want to comment on this or any previous issue, want to offer something for us to publish, or just want to shamelessly suck up to the editor to try and get your name in print send Email to: ComicBkNet@aol.com Note: Letters of comment, including those sent to the columnists, may be used in future issues of CBEM unless you specifically request us NOT to use them. Your Email address and/or name will be withheld upon request. +++++ Subj:marvel value stamps Date:4/18/02 1:53:34 PM Eastern Daylight Time From:tommac@frontiernet.net hello I'm trying to finish the two series A/B marvel value stamps that ran in comics from the early 70's 1-100 each set I only need 20 to finish both. as a result I have 122 extras on the pages but not in the comics. if you know where I can get any or trade with someone else like 3 for 1. because I have both series some in triplicate. any response would be welcomed Tom Mac Intyre ______________________________________________________________________ ----------------------------------------------------------------------- [3] [TRIVIA CONTEST] **THE FIRST PLACE TO FIND THE EMAG EACH WEEK IS ON OUR HOME PAGE!** IF YOU ARE DESPERATE TO WIN THE TRIVIA, GO THERE FIRST ON FRIDAY NIGHT http://members.aol.com/ComicBkNet QUESTION OF THE WEEK Prizes donated by Discount Comic Book Service at www.dcbservice.com where you can order most DC, Marvel, Image, and Dark Horse comics, statues and retail products for 35% off. +Submit your own trivia and win the CHEEZY PRIZE(tm) if you can stump+ +the readers! You MUST submit the correct answer with your question.+ LAST ISSUE'S QUESTION OF THE WEEK: Famous first words of which comic book character: "A few seconds more, and we'll know whether we have succeeded or not!" Bruce Banner debuted with those words before his rendezvous with a Gamma bomb. Gary Peterson got it first and he receives 911 Volume 2 from our sponsor. The previous week's winner gets Universe X Vol 1 TP. +++++++++++++++++++++++++++ THIS WEEK'S TRIVIA QUESTION: Nuck and Futz were supposed to be characters in what comic book series until the editors caught the joke? IMPORTANT RULES NOTICE Email your guess to ComicBkNet@aol.com or just REPLY to the message if you read the Emag in your mail. DO NOT quote the entire message! You MUST allow mail from ComicBkNet@aol.com to be notified if you win. The first correct answer to reach the editor wins the CHEEZY PRIZE(tm). The editor will be the sole judge as to which guess arrived first! Messages with more than one guess will be disqualified. Winners will forfeit their prize if the Email notification is not accepted from ComicBkNet@aol.com LIMIT: ONLY ONE PRIZE every 4 weeks PER PERSON! ______________________________________________________________________ ----------------------------------------------------------------------- [4] Network Buzz News, gossip and rumors from around the industry Comic book documentary to premiere Contact: Rich Henn rhenn@balmar.com As you know, over the course of the last year, I've been filming a documentary about the comic book industry, but leaning more heavily toward the self-publishing aspect of the biz. The film covers the development of 3 self-published titles, including FINDER by Carla Speed McNeil and the MONKEYSUIT anthology by a group of NYC animators. Throughout the course of filming, I've been able to get incredible interviews/footage with the likes of Joe Quesada, Frank Miller, Dave Sim, Colleen Doran, Dave Gibbons, Evan Dorkin, Charles Burns, Matt Wagner, Dean Haspiel, Jessica Abel and several others. It's been an incredible experience, and now finally the film is coming together. With over 30 hours of footage (try editing that down), I've still got to film the finale at SPX this September. The project would have been complete if not for 9-11, but as such I've been able to put together a preview for the convention season. The 20 minute preview, entitled "Scenes from Small Press: The Road to SPX" will be shown at the PITTSBURGH COMICON on Saturday, April 27th at 1:00 PM in the Monroe II (I believe that's upstairs in the Raddison/Expomart where they show the Sci-Fi and Anime films). There's only the one showing, so be sure to show up early! The preview features some of the greatest highlights captured this past year, including a piece from Frank Miller's fabulous Keynote speech at the Harvey Awards last year, plus clips of the interviews from Miller, Gibbons, Quesada, Doran and Sim. Also shown are scenes compressed from Carla Speed McNeil's development of FINDER #24. I'll have a booth set up as well to pimp TIMESPELL, so be sure to stop by and say HI! -Rich Henn- +++++ Hey, True Believer! CAPTAIN AMERICA is the latest Marvel Knights masterpiece -- and it's also the latest Marvel Trailer! Writer John Ney Rieber and artist John Cassaday have really hit a home run with the first issue-- and you'll be able to judge for yourself on Wednesday, April 24th! But if you just can't wait, you can go to http://www.marvel.com/comics/trailers right now to see what "Jumpin'" John Roberts has whipped up in his crazy computer lab! And for all you True Believers that like to look into the future, word is that the Trailer also includes art from the second issue, too! 'Nuff Said! Bill Rosemann Marketing Communications Manager Marvel Comics +++++ Spider-Man Swings Into Carl's Jr. ANAHEIM, Calif., April 19 /PRNewswire/ -- Spidey-mania is in full swing at Carl's Jr. as the company has kicked off its partnership with Sony Pictures Entertainment to promote "Spider-Man," to be released in theatres nationwide on May 3. For the next four weeks or while supplies last, participating Carl's Jr. restaurants are offering fans three different Spider-Man collector's cups. Spider-Man antenna toppers are also available at participating restaurants for 99 cents with any purchase. In early May, "Cool Combos for Kids" will feature one of four toys highlighting Spider-Man or his nemesis, the Green Goblin. Television spots featuring footage from the movie plus new original scenes have also begun airing. "We are pleased to be able to partner with Sony to help kick off the summer movie season with 'Spider-Man,'" said Stephen Buchan, senior vice president of marketing for Carl's Jr. "There is a huge Spider-Man following and everything we have seen about the movie looks terrific!" "Spider-Man" is the story of student Peter Parker (Tobey Maguire) who, after being bitten by a genetically altered spider, gains superhuman strength and the spider-like ability to cling to any surface. He vows to use his abilities to fight crime, coming to understand the words of this beloved Uncle Ben, "With great power comes great responsibility." +++++ Spider-Man Rocks! a New Musical Fusion of Rock-n-Roll, Hip-Hop And Theatrics Brings Comic Book Legend to Life at Universal Studios Hollywood New 'Live' Show Starts Spinning in a Blaze of Pyrotechnics and High- Flying Stunts on Memorial Day Weekend, 2002 UNIVERSAL CITY, Calif., April 18 /PRNewswire/ -- Universal Studios Hollywood spins a web of action adventure and intrigue in "Spider-Man Rocks!," an all-new musical performance of rock-n-roll, hip-hop and theatrics beginning Memorial Day weekend. Designed to appeal to the entire family, "Spider-Man Rocks!" recounts the comic book tale of Peter Parker, his school boy crush on the beautiful Mary Jane Watson and the infamous bite from a genetically altered spider that forever changed the high school student into one of the world's greatest living superhero legends. Capturing the essence of this classic Marvel Comic superstar, the stage performance is entwined with the danger and suspense wrought upon Peter Parker by his arch nemesis, the Green Goblin, and the ethical code by which Spidey lives his life: "with great power, comes great responsibility." A 20-minute live performance of adrenaline-pumping adventure, showcased in a 1,500 seat venue, "Spider-Man Rocks!" features a dynamic ensemble cast of dancing, singing and web-wielding actors. In show-stopping style, the performance highlights an elaborate display of stage pyrotechnics and high- flying stunts that literally propel the web- spinning Spider-Man more than 30 feet in the air at a distance of over 100 feet above the audience. Flashy costumes fashioned a la comic-book chic in a palate of vibrant primary colors and a backdrop of larger-than-life sets coupled with an eclectic musical score and rhythmic choreography will spring "Spider- Man Rocks!" to life. Featuring such unique and ground-breaking attractions as Terminator 2: 3D, Jurassic Park-The Ride, The Nickelodeon Blast Zone, the world- renowned behind- the-scenes Studio Tour and the new interactive "Special Effects Stages," Universal Studios Hollywood is the world's largest movie studio and theme park. Universal Studios Hollywood ( www.universalstudioshollywood.com ) is a unit of Universal Studios ( www.universalstudios.com ), a part of CANAL+, the TV and Film division of Vivendi Universal, a new global leader in media and communications. +++++ Opening: Wednesday, 24. 4. 2002, 7 p.m. TRINA ROBBINS She Draws Comics, an exhibit at the Secession gallery, Vienna, Austria Gallery and Grafisches Kabinett Since the sixties, the cartoonist and pop historian Trina Robbins has been a central figure in the women's comics scene in the US. She plays numerous roles: artist, producer, active networker and, in recent years, also a chronicler of the women's comics movement. The exhibition that she has put together for the Secession, She Draws Comics, displays the diversity of women's comics production in the USA with a broad selection of both historical and contemporary original drawings, comics and zines. The exhibition conveys historical and biographical backgrounds, but without leveling the diversity of individual approaches, and it illuminates aspects of production and distribution within the framework of emancipatory do-it-yourself strategies, the emphatic formulation of individual positions, and the industrial comic market. Although comics are a medium frequently used in art, the collection shown here was created outside the art context. Nevertheless, various threads and connections may be identified in the exhibition, which also tie into current discourses in the field of art. Different stations of a feminist language are evident in the exploration of topics of production and situatedness in the sense of a counter-public sphere. The spectrum of approaches ranges from science fiction and fantasy (Donna Barr), soap opera (Dale Messick), bitingly humorous newspaper strips (Nina Paley) to the genre of autobiographical comics, whereby the latter seems to dominate at the present. The author's stories deal just as much with conventional circumstances as with the unrelenting disclosure of psychological encroachment (Debbie Drechsler, Phoebe Gloeckner, Penny Van Horn). The picture-text stories are an ideal medium for discussing social and political commitment and expressing personal experiences at the same time (Jessica Abel, Julie Doucet, Leanne Franson). In their diversity, the ways of living presented in the comics reflect changes in the self-awareness of women and the changing ways of dealing with the politics of identity in recent decades. Even the titles, Tits & Clits in the seventies or Girlhero, Actiongirl and Slutburger in the nineties reflect the goal of defining the depiction and representation of women beyond stereotypes in the way concepts and terminology are taken over and reinterpreted. The exhibition offers a glimpse into women's production of comics in the USA, and Trina Robbins stands for this emancipatory intention with her entire life story. She is one of the protagonists of the underground comix movement. She published her first comics in the early sixties in New York (East Village Other). In 1968 she moved to San Francisco, the birthplace of underground comix, where she continuously collaborated in creating networks and platforms for women's production of comics, for example as founder of the Wimmen's Comic Collective and as editor of the anthology It Aint Me Baby. Women's Liberation. These collectives provided the framework for the first comics series that dealt with feminist topics like abortion, coming out, and sexuality. In order to prove that even comics that do not reduce their female characters to full-breasted sex wonders can be commercially successful, Trina Robbins drew and authored stories like Meet Misty, GoGirl and contributed stories to Barbie, which provided especially young girls with an alternative to the supermen and superheroes and their female appendages spawned by the male fantasies of power so favored by the industry. For instance, the mother and daughter team of the Go-Girl comics drawn by Ann Timmons not only battles against evil, but also with the problem that super powers and the ability to fly neither make them rich nor help them to win a relatively commonplace flame. Trina Robbins has published a large number of books and magazines, including From Girls to Grrrlz - A History of American Women's Comics from Teens to Zines (1999), an extensive documentation of the women cartoonist scene that she co-founded and strongly influenced. This book became the basis for Robbins' first presentations in Europe, which took place in 2001 at the Künstlerhaus Stuttgart and in conjunction with the exhibition First Story - Women Building/New Narratives for the 21st Century in Porto. Her most recent publication, The Great Women Cartoonists (2001), forms the point of departure for the exhibition at the Secession. For the catalogue comic book published on the exhibition, She draws Comics, Trina Robbins invited 28 colleagues to produce a comic book together, reflecting and representing different positions along a script drafted by Robbins. "The result I think, is the visual voice of Cartoonist Everywoman between covers. We are here, and we draw comics" (Trina Robbins, March 2002) In order to emphasize the publicizing aspect of the exhibition, the graphic artists team of Toledo i Dertschei was invited to design the exhibition. The graphical supporting structure that they developed for this exhibition equally makes use of the material of paper and the characteristic typographical elements of comic, integrating the broad spectrum of styles and stories into a reading theater. Artists in the exhibition include: Jessica Abel, Katherine Arnoldi, Isabella Bannermann, Valerie Barclay, Donna Barr, Alison Bechdel, June Brigman, Lee Binswanger, Ariel Bordeaux, Paige Braddock, Odin Burvick, Joyce Chin, Anna Maria Cool, Leela Corman, Julia Green, Diane DiMassa, Colleen Doran, Julie Doucet, Debbie Drechsler, Jan Eliot, Joyce Farmer, Mary Fleener, Fly, Ellen Forney, Ramona Fraydon, Leanne Franson, Phoebe Gloeckner, Roberta Gregory, Ethel Hays, Marian Henley, Lea Hernandez, Joan Hilty, Fran Hopper, Dorothy Hughes, Sabrina Jones, Molly Kiely, Fay King, Virginia Krausmann, Kathryn LeMieux, Caryn Louise Leschen, Marty Links, Sandra Bell Lundy, Lee Marrs, Barbara (Willy) Mendes, Dale Messick, Martha Orr, Nina Paley, Rina Piccolo, Lark Pien, Stephanie Piro, Barb Rausch, Lily Renée, Trina Robbins, Sharon Rudahl, Mary Schmich, Ariel Schrag, Kelly Seda, Marie Severin, Christine Shields, Barbara Slate, Leslie Sternberg, Hilda Terry, Anne Timmons, Carol Tyler, Penny Moran Van Horn, Lauren Weinstein, Mary Wilshire Further Information: Carola Platzek, T:+43 1 587 53 07-10; F:+43 1 587 53 07-34; E mailto:secession.pr@t0.or.atpr@secession.at +++++ Marvel HeroClix: Infinity Challenge Game to be Released in May; New Game Features Spider-Man, X-Men, The Hulk And Other Popular Marvel Comic Characters BELLEVUE, Wash.--(BUSINESS WIRE)--April 15, 2002--Marvel HeroClix: Infinity Challenge, WizKids new collectable miniatures game, will be available nationwide beginning May 1, 2002 to coincide with the release of the Spider-Man motion picture. Marvel HeroClix: Infinity Challenge is a fast-playing, tabletop strategy game that uses fully assembled collectable miniatures based on Marvel comic book characters. The figures are ready for play right out of the box. Each figure is pre-painted and stands on a unique Combat Dial base that contains all the information needed to play. The game features 50 different Marvel characters, allowing players to put together teams of super heroes and villains that battle in the Marvel tradition. An almost infinite number of teams can be designed, and strategies employed, in this simple yet complex game of comic book- style combat. Marvel HeroClix: Infinity Challenge plays on full-color maps, making movement easy. The combat is fast and elements such as "probability control", "knock-back" and the use of parked cars to smash opponents help to capture the unique flavor of the Marvel Universe. The rules take only about 20 minutes to learn, with a typical game lasting less than an hour. The Marvel HeroClix: Infinity Challenge game is available in starter sets that contain eight Marvel Comics' miniatures apiece and everything needed to play for a suggested retail price of $19.95; booster packs containing four miniatures retail for $6.95. The game will be supported with organized play at conventions and in- store tournaments as well as an expansion later in the year that will include more Marvel Comics characters. For further information, go to www.marvelheroclix.com. About WizKids Founded by Jordan Weisman, WizKids is a Seattle-based game developer and publisher dedicated to creating a new genre of games that is more accessible, sophisticated, and deeper than traditional adventure games. Note: A Photo is available at URL: http://www.businesswire.com/cgi-bin/photo.cgi?pw.041502/bb14 +++++ INTERNATIONAL HORROR GUILD AWARD WINNERS 14 April 2002 Neil Gaiman and Gahan Wilson presented the 2002 INTERNATIONAL HORROR GUILD awards recognizing outstanding achievements in the field of horror and dark fantasy from the year 2001 Saturday evening, April 13, 2002. The event took place during the World Horror Convention at the Radisson O'Hare near Chicago, IL. The Design Image Group sponsored the awards this year. The following were honored: NOVEL THRESHOLD by Caitlín R. Kiernan (Roc) FIRST NOVEL ORDINARY HORROR by David Searcy (Viking) LONG FICTION "Cleopatra Brimstone" by Elizabeth Hand (RED SHIFT) SHORT FICTION "Onion" by Caitlín R. Kiernan (WRONG THINGS) COLLECTION THROUGH SHATTERED GLASS by David B. Silva (Gauntlet Press) ANTHOLOGY NIGHT VISIONS 10 edited by Richard Chizmar (Subterranean Press) ILLUSTRATED NARRATIVE JUST A PILGRIM (5-issue miniseries) by Garth Ennis (writer) and Carlos Ezquerra (artist) (Titan Books) NONFICTION WILD HAIRS by David J. Schow (Babbage Press) PUBLICATION The Spook (Film City Productions; editor/publisher Anthony Sapienza) FILM GINGER SNAPS, directed by John Fawcett, screenplay by Karen Walton ART John Picacio In addition WILLIAM F. NOLAN was, as previously announced, was given a LIVING LEGEND award as previously announced. Mr. Nolan received a sustained standing ovation from the assembled horror fans and professionals. For additional information on the IHG please see www.ihgonline.org or e-mail ihg@ihgonline.org. +++++ KEVIN SMITH TO PROMOTE SPIDER-MAN/BLACK CAT ON NBC'S "THE TONIGHT SHOW"! For The 1st Time Ever, A Celebrity Guest Will Appear To Plug A Comic Book! The gang in the Bullpen has just learned that Kevin Smith, the mega-popular movie writer, director and actor -- and currently the world's most famous comic book writer -- will appear on NBC's "The Tonight Show" on June 24th... and he'll be there to promote his upcoming Marvel miniseries, SPIDER-MAN/BLACK CAT: THE EVIL THAT MEN DO! This is the first time in the show's legendary run that a panel guest will appear not to plug a movie or a TV show, but will instead go on camera with the express purpose of promoting a comic book. "I'm as proud of my work in comics as I am of anything I've done on film, so I thought 'Why not call up the folks at 'The Tonight Show' and see if I could talk about SPIDER-MAN/BLACK CAT on the show as a guest?," revealed Smith. "Thankfully, Jay (Leno) and Co. were really up for it and found me a slot on the show two days before the book hits the stands. What better way to call more attention to comics than by waving one around on late night's most-watched talk show? It's going to be a real kick to run a clip of Terry and Rachel Dodson's awesome artwork for the approximately six million folks who watch Leno each night. And the fact that it's a historical first as well makes it kind of fun." "This is just one more step in our attempt to take the world of comics to the masses, and Kevin is the perfect ambassador," stated Marvel Editor In Chief Joe Quesada. "Kevin has been a regular on 'The Tonight Show' these last few months, with his 'Roadside Attraction' bits and the 'Clerks' short, 'The Flying Car,' and Jay is a big Spidey fan. So when Kevin called me and said that he wanted to book himself on the show just to promote SPIDER-MAN/BLACK CAT, my head nearly exploded! This is a giant step for our industry and I hope retailers take note and plan accordingly for the traffic that this event will drive to their stores!" "Wow... and all I was hoping for was a promo poster," mused SPIDER-MAN editor, Axel Alonso. "Kevin's done so much to keep comics on the pop culture radar, and this is just another feather in his cap. I couldn't be happier." SPIDER-MAN/BLACK CAT: THE EVIL THAT MEN DO is a four-issue miniseries that puts the web-slinger on a collision course with his old flame, the red-hot Black Cat! It also serves as the launching pad for the new BLACK CAT series that will also be penned by Smith. Illustrated by the talented team of Terry and Rachel Dodson, SPIDER-MAN/BLACK CAT will debut on June 26th, and can be ordered from Diamond Comics Distributors until June 6th. +++++ April 15, 2002 Contact: Rob Vollmar Atomik Pop 918 West Main Norman OK 73069 Phone: 405-329-9695 E-mail: robvollmar@yahoo.com JAMES KOCHALKA SUPERSTAR INVADES NORMAN, OKLAHOMA FOR CONCERT, SIGNING ON FREE COMIC BOOK WEEKEND NORMAN -- Atomik Pop, Norman Oklahoma's premier pop-culture specialty store, proudly announces a James Kochalka Superstar mega-event to be held in conjunction with FREE COMIC BOOK DAY. The celebration begins Friday night, May 3rd, as James and his musical partner-in-crime, Jason Cooley, join a band of Norman locals for a high energy concert at the Norman American Legion Hall, located at 710 E. Main Street. Kochalka will perform songs from each of his albums including his latest release, DON'T TRUST WHITEY. The doors open at 8:30. Tickets are available for $6 in advance at ATOMIK POP or $7 at the door. The following day, Saturday, May 4th, Kochalka will appear at ATOMIK POP from 1:00 to 5:00 pm. Visitors will be able to browse through James' body of comic book work, including his latest book, JAMES KOCHALKA'S SKETCH BOOK DIARY VOL 2, and have their books signed by the man responsible for the madness. A resident of Burlington, Vermont, Kochalka is a talented musician and award-winning cartoonist with more than a dozen CDs, graphic novels, and comic books in print. His previous CDs include JAMES KOCHALKA SUPERSTAR, KISSERS, MONKEY VS. ROBOT, and CARROT BOY THE BEAUTIFUL. "DON'T TRUST WHITEY is a pretty fun album_the amazing thing is that although a lot of hard work went into its creation and it was a real struggle to complete, it sounds like a completely joyful eruption. You don't really hear the struggle, you hear the pure joy of musical experience," said Kochalka. Kochalka's comics have been published in numerous countries and have won and/or been nominated for several awards, including the Ignatz, Eisner, Harvey, and Firecracker Alternative Book awards. Animated videos based on his art and music have appeared on Nickelodeon, and Kochalka's MONKEY VS. ROBOT album was voted "Top Indie" album of 1998 by College 500, an organization of radio disc jockeys and programmers. "Each new Kochalka book is like the proverbial onion," according to fellow cartoonist Seth. "New layers are peeled away revealing greater depths to his deceptively simple world." Kochalka's achievement as an artist partially is the result of his uncomplicated style. "There's a casual familiarity in his tales, resulting in an off-the-cuff charm that seems to be Kochalka's greatest asset," said Ray Mescallado of THE COMICS JOURNAL. While visually unassuming, the appeal of Kochalka's comics is not limited to children. "My goals in making the comics are the same kind of goals that a painter would have. To discover and reveal something interesting about the human condition," said Kochalka. And how did Kochalka become a "Superstar"? "Mostly, I made it fun for people to consider me a superstar. It's like a joke that they play along with. People like to help make me more famous, because me being actually famous would be the best joke of all." ATOMIK POP, Norman's premier pop-culture specialty store, features the Midwest's most extensive selection of graphic novels and trade paperbacks, with an emphasis on independent comics, translated Japanese comics, and comics by women creators. We invite you to see the best of what comics has to offer and experience a Superstar in action this weekend. ATOMIK POP is located at 918 W. Main in Norman, Oklahoma -- just 15 minutes south of Oklahoma City -- and is easily accessible via I-35. Visitors needing additional directions are encouraged to call ATOMIK POP at (405) 329-9695 for assistance. Form more information, call ATOMIK POP at 405-329-9695. For more information on James Kochalka, visit www.indyworld.com/kochalka/index.html For more information on Free Comic Book Day, visit www.freecomicbookday.com +++++ "Spider-Man Through the Years" 3-Day Marathon Swings Into the ABC Family Lineup Memorial Day Weekend May 25-27 -- 7:00-9:00 A.M., ET/PT BURBANK, Calif.--(ENTERTAINMENT WIRE)--April 15, 2002-- Best Episodes from Four Decades of Animated Spidey Series Featured Each Morning of Holiday Weekend While the new Spider-Man movie "sticks" to the silver screen, an animated "Spider-Man Through the Years" marathon, featuring Marvel Comics' favorite wall crawler in first- ever episode plus classic and modern day episodes from the four Spider-Man series (from the `60s, `80s, '90s and new millennium), will be presented during the Memorial Day Weekend, SATURDAY, MAY 25, SUNDAY, MAY 26 and MONDAY, MAY 27 (7:00-9:00 a.m., ET/PT) on ABC Family. Each block will showcase Spider-Man's biggest battles with the most infamous villains -- the Green Goblin, Doctor Octopus and Mysterio -- and terrific teaming with other heroes -- the X-Men and the Incredible Hulk -- from each version of the animated series. The marathon's interstitial moments will feature trivia about the Spider-Man character. Based on the hugely popular Marvel comic book series "The Amazing Spider-Man," co-created by Stan Lee, the 1967-70 animated "Spider-Man" (with the catchy theme song) marked the web-slinging hero's foray into television. After appearing in about two dozen three-minute segments on "The Electric Company" in the 1970s, Spider-Man returned in a new animated series, again entitled "Spider-Man," then changed to "Spider- Man and his Amazing Friends" (1981-82, 1984-86), with two new compatriots -- Firestar, an original female character created for the show, and Iceman, a former X-Men member. The next animated version, which premiered in 1995 and ran for five seasons, pit Spider-Man against classic Marvel Universe villains, including Doctor Doom, the Vulture and Electro, and more modern bad-guys, including Venom and the Carnage Symbiote. Finally, in his most recent outing, "Spider-Man Unlimited," (1999-01) Spidey's in New York, but it's a different New York. Thanks to Venom and Carnage, he's stranded on the world known as "Counter-Earth," where humanoid animals rule and normal humans are the underclass. Though wanting nothing more than to get home, Spider-Man stays to fight for humanity. Episodes from "Spider-Man" (1967), "Spider-Man and His Amazing Friends," "Spider-Man" (1995) and "Spider-Man Unlimited" will air during the Marathon as follows: Saturday, May 25 - X-Men Crossovers 7:00-7:30 a.m. "The Power of Dr. Octopus" - 1967 - Episode 1 of this series, featuring the villain's first animated appearance 7:30-8:00 a.m. "A Firestar is Born" - "Amazing Friends" - Firestar explains her origin during an X-Men reunion (team's first animated appearance) 8:00-8:30 a.m. "The Mutant Agenda, Part 1" - 1995 - A cyborg seeks revenge on Firestar, her friends and the X-Men 8:30-9:00 a.m. "The Mutant Agenda, Part 2" - 1995 - Part two of the cyborg vs. Firestar, her friends and the X-Men Sunday, May 26 - Green Goblin Attacks 7:00-7:30 a.m. "To Catch A Spider" - 1967 - Features bad-guy group, The Sinister Six, including Green Goblin, Electro and Vulture 7:30-8:00 a.m. "Triumph of the Green Goblin" - "Amazing Friends" - The Green Goblin attacks as the gang attends a superhero costume party 8:00-8:30 a.m. "Turning Point" - 1995 - The Green Goblin kidnaps Spider-Man's girlfriend, Mary Jane, and flies her to the top of the Brooklyn Bridge 8:30-9:00 a.m. "World's Apart, Part 1" - "Unlimited" - Venom and Carnage stow away on John Jameson's space shuttle to Counter-Earth, Peter Parker designs a Nano-Tech costume with new features and hijacks a shuttle to go after them Monday, May 27 - Mysterio Materializes 7:00-7:30 a.m. "Return of the Flying Dutchman" - 1967 - Features all of Spider-Man's foes, including Mysterio 7:30-8:00 a.m. "Spidey Goes to Hollywood" - "Amazing Friends" - Mysterio cons Spidey into making a deadly movie; The Incredible Hulk guest stars 8:00-8:30 a.m. "The Haunting of Mary Jane Watson" - 1995 - After finally getting her big break in movies, Mary Jane comes to believe she's being haunted, or is it another one of Mysterio's tricks? 8:30-9:00 a.m. "World's Apart, Part 2" - "Unlimited" - When Venom and Carnage attack the revolutionaries' headquarters, Spidey helps drive them off. Jameson invites Spidey to join his cause, but he only wants to return to Earth ABC Family regularly airs two Spider-Man episodes Saturdays at 8:00 a.m. and 8:30 a.m. CONTACT: ABC Cable Networks Group David Gardner, 818/973-2128 (media) SOURCE: ABC Cable Networks Group/ABC Family/Disney Channel +++++ Warren Ellis gets Stranger in July with The Body Orchard at Avatar Combat magician and rogue SAS operative William Gravel returns to his roots with Strange Killings: The Body Orchard, a new tale of magic and madness from Warren Ellis and Mike Wolfer. The self-contained six issue saga begins in July from Avatar Press. "Body Orchard is the big movie version of Strange Killings, dealing with combat magician William Gravel's shadowy past even as it surges into the present to bite him on the dangly bits," says creator Warren Ellis. "There's something terribly wrong with Warren Ellis," notes fellow creator Garth Ennis. Fortunately, Avatar is giving him a chance to discuss his problems in depth. Good therapy for him, bloody entertaining for us. And there's dirty bits." The strangeness and depravity have their roots in Gravel's origins in this self-contained saga. Before his disgrace and removal to solo deniable duties, Sergeant Major William Gravel was part of SAS team Alpha One Four. He hasn't seen his teammates since his fall. He knows only that they're still in the job, doing the things he used to do. Which doesn't remotely explain why, while he's moonlighting in New York, the Alpha One Four team should be seen blowing away a newly- elected mayor -- a military man himself - and then vanishing into thin air... This series digs deep into William Gravel's magic past and begs an answer to one of the greatest combat magician secrets, what is the Body Orchard? "Adapting my treatment, Mike Wolfer gives us, in cinematic style, William Gravel trapped in a place where he has no friends, no future and no hope: America," adds Ellis. "Warren Ellis is going to tell us things that we won't want to hear," says frequent Ellis collaborator Mike Wolfer. "He told us of hideous lizards living within human hosts. He then ushered us into the autopsy of one of them. He told us of surgically altered Hollywood whores with grotesque, non-human orifices. Then he rolled the videotape. He told us of a prison composed of pulsating human organs. Then he walked us through its darkened halls. Warren has told us that the United States has always been a mere experiment; a societal lab rat of the British government. He has told us of combat magicians... And has hinted at The Body Orchard. Prepare to be shocked once again." Warren Ellis' Strange Killings: The Body Orchard begins in July 2002 with art plus regular and wraparound covers by Mike Wolfer. The saga will be a six issue mini-series for mature readers. For more information, email info@avatarpress.net or see our web site at www.avatarpress.com. +++++ INSIGHT STUDIOS GETS NAKED MARC HEMPEL'S BRAIN EXPOSED Baltimore - At a meeting held today at Insight Studios headquarters, publisher Mark Wheatley announced the launch of a new comic book mini-series by his long-time partner, Marc Hempel. The new series will begin in July and run three issues going by the title MARC HEMPEL'S NAKED BRAIN. MARC HEMPEL'S NAKED BRAIN is a many-faceted collection of comic strips. Wheatley was enthusiastic in his description: "I believe that comics is a language as distinct as English, French, Chinese or ancient Babylonian. And I also believe that there have been only a select handful of creative individuals who have used the language of comics as a native tongue. Just a few from that group are Will Eisner, Harvey Kurtzman, Bernard Krigstein, George Herriman, Alex Toth and Marc Hempel." Including Hempel in that group is high acclaim indeed, but Wheatley asserts that MARC HEMPEL'S NAKED BRAIN will offer the proof of his statement. "Marc is a master of the concise comic strip. Each issue of NAKED BRAIN is full of one page strips and gag cartoons - many that will make you laugh until you hurt. And if you know the language of comics you'll also be amazed at just how much this language is capable of communicating. Marc understands comics better than anyone I know - and here he pushes it way beyond any notion of 'limits'." Hempel's own thoughts were less bombastic. "Everything I create is an honest expression of who I am - hence the title of this series! Fortunately, my own personal take on popular culture, eccentric personalities and other quirky aspects of modern life seems to resonate with my readers," he stated. Evidently, this statement has substance, since an Internet comic strip version of NAKED BRAIN has been appearing on the www.SunnyFundays.com web page for about a year, attracting well over a million hits a month. But Hempel is quick to point out that, "Even though the comic book series has the same title as the on-line strip, there is much more to the comic book." The comic book will also present a series of gag cartoons by Hempel. "I've been developing these cartoons for several years with the plan that I'll start submitting them to mass market magazines. I've been showing them to the guys around the studios, and Mark Wheatley insisted on including them." Wheatley confirmed this and added, "Marc's gag cartoons are as funny and sophisticated as anything you'll ever see in The New Yorker. They offer instant access to anyone flipping through MARC HEMPEL'S NAKED BRAIN, and make it one of those rare comic books that can be sold to the general public with no explanation." MARC HEMPEL'S NAKED BRAIN will also include the much anticipated return of one of Hempel's most popular creations, TUG & BUSTER. Each issue of MARC HEMPEL'S NAKED BRAIN will include a short story or two about these endearingly maladjusted misfits. TUG & BUSTER originally appeared in a series of seven comic books self-published by Hempel in the late 1990's. One issue and a collected edition of the early TUG & BUSTER material eventually appeared through Image Comics. Currently the series is being translated for publication overseas. In addition to TUG & BUSTER, Hempel's credits in the comic book industry include work for Heavy Metal, Clive Barker's Hellraiser, Gregory, Mars, Jonny Quest, Breathtaker, Blood of the Innocent, Swamp Thing, The Dreaming and The Sandman: The Kindly Ones. Marc Hempel's Naked Brain will serve as a welcome addition to this highly regarded list. Another book, IS ART: the Art of Insight Studios collects Hempel's far ranging illustration work. It is also available from Insight Studios Group. Insight Studios Group, 7844 St. Thomas Drive, Baltimore, MD 21236, publishes books, comic books, and on-line daily and weekly comic strips. Insight Studios print titles are available through Diamond Comic Distributors, FM International, and Cold Cut Comics Distribution. Recent publications include the books, Jimgrim and the Devil at Ludd, and Titanic Tales. Insight also publishes the coffee table art book; Gray Morrow Visionary and comic book series Hammer of the Gods and Liberty Meadows, as well as the on-line strips Doctor Cyborg, Naked Brain and The Body. Insight Studios can be found on the Internet at www.insightstudiosgroup.com and www.sunnyfundays.com. Insight Studios Group supports the efforts of the toll-free Comic Shop Locator Service. Can't find a comic shop? Call (888)COMIC BOOK for the store nearest you! For more information please contact: Mark Wheatley insight@insightstudiosgroup.com phone 410 661 6897 fax 410 665 3597 Art/images are available. Please request The Short Attention Span packet via eMail. http://www.InsightStudiosGroup.com http://www.SunnyFundays.com http://www.LibertyMeadows.com http://www.DoctorCyborg.com +++++ From the SPLASH PAGE of Comicon.com at: http://www.comicon.com/splash/ COURT ORDERS ARTIST TO FINISH GRAPHIC NOVEL! Special To The SPLASH By Pedro Mota April 19: A European court has ordered a cartoonist to finish a graphic novel or pay $1000 EUROS per day to his contracted publisher. According to reports on UniversBD and in Bo-Doi #50, Author François Bourgeon, the creator of such popular titles as "Passengers of the Wind ", "Companions of the Twilight " and the " Cycle of Cyann ", had stopped work on the final volume of "Cyan" in protest of the sale of his publisher, Casterman to Flammarian. The sale last fall, which was conducted in secrecy, drew widespread and bitter protests from European authors. Bourgeon had originally begun the "Cyan" series at the magazine A SUIVRE. When publication ended in December 1997, Casterman kept the series going, but relations with Bourgeon soured. When Casterman was sold to Flammarion, Bourgeon announced he was taking an extreme decision, and "dropped his pencil". UniversBD cites the author: " I accept very badly that somebody with whom I do not have an agreement comes to raise the meters in the name of engagements which I did not even have with his predecessor! ". The new owners of Casterman took the case to court, and won. Bourgeon was condemned to provide the balance of the last album of Cyann at the beginning of this March, under penalty of having to pay a fine of 1000 euros per day of delay. To Bourgeon, this is a clear defeat of authors moral rights against the commercial laws of the market. Also, it means something totally unacceptable and of an absolute impossibility. "I do not accept nor cannot work with a rifle in the back, impossible " he said. In a field where author delays happen all the time, this must be the first time that an editor tries to impose the completion of an album by the means of a Court. +++++ From the Comics Continuum at http://www.comicscontinuum.com/: BLACK HEART BILLY FROM AIT/PLANET LAR Publisher Larry Young announced that AiT/Planet Lar's upcoming August book will be Black Heart Billy, by Kieron Dwyer, Rick Remender, and Harper Jaten. AiT/Planet Lar book designer and cover artist Brian Wood turns in his 10th cover with this project. "I have lunch with my pal Kieron nearly every Wednesday," Young said, "and a few weeks ago he let slip that he'd always wanted to finish up Black Heart Billy, the three-issue comic book which Slave Labor published two issues of before unceremoniously pulling the plug. He asked me if I wanted to collect it as a trade paperback, if he and Rick Remender and Harper Jaten rounded out the series and offered up the 'lost' third issue. "I was a little skeptical at first, I have to admit; I didn't immediately see the charm in the book. But I was on the phone with Bri Wood and told him we were thinking about putting out the BHB trade. 'You're mental if you don't,' I remember him saying; then he offered to not just design the cover, but produce new art for it as well, since he was such a big fan of Billy. I re-read the first two issues, and by the time I got to the corpse of Jerry Garcia in a Nazi robot body, I guess I was charmed into it." "BHB is an extension of the inner evil in my mind," Remender said. "But he's NOT evil. He's just frustrated. He's frustrated by every hypocritical, self-important pea brain he runs into. Unlike the rest of us Billy goes one step beyond thinking about doing something about it." TEAM RED STAR LEAVES IMAGE Team Red Star has announced it is leaving Image Comics and will begin self-publishing under Archangel Studios in July. "We're control freaks," Team Red Star's Christian Gossett told The Continuum. "As much freedom as Image offers a publisher, we've grown to a point where we want even more. This level of control and freedom we're asking for just isn't fair to ask of any other professional entity other than ourselves." Gossett provided The Continuum a list of upcoming projects: The Red Star #9: "Our farewell to image issue that is the triumphant climax to our second story arc," Gossett said. The second Red Star trade paperback: "Which will be much like our first one in terms of size," said. "A cool bonus is that this new TPB will be five issues long instead of four." The Red Star #10: "'Run Makita Run,' our Issue #10, is a special origin story for one of our most popular characters, Makita," Gossett said. "It's a big ol' 40-pager, which is cool cuz we haven't had a chance to tell so long a story in one sitting yet. The Red Star Relaunch: "New Publisher, new launch point," Gossett said. "Also, in our storyline itself, major change is happening after issue 9, so it really is much like a whole new series." Buddha Master & Angst Man: "This mad, crazed, profane comedy will be published through our buds at Oni Press," Gossett said. "They'll be making their debut in this summer's Oni Color Special. Last year's Oni Color Special had (Brian Michael) Bendis take some hilarious jabs at us, and as we discussed with him this year at Orlando Megacon, now its our turn!" SPIDER-MAN MOVIE UPDATE Although a teaser and a poster with the World Trade Center twin towers were withdrawn, the towers will appear in the Spider-Man live- action movie. The poster, with a reflection of the towers in Spider-Man's eyes, and the teaser, which showed a helicopter being caught in a web between the two towers, were removed right after the Sept. 11 terrorist attacks. "I think it's like our memories of a loved one," Spider-Man director Sam Raimi told the Associated Press of his decision to include the towers in the film. "Probably right after the death of someone we love, it's sometimes hard to look at their pictures. Then later, there's a need to look at them." Raimi said it was important for him to leave the skyscrapers in. "I didn't want to erase the image of the twin towers," Raimi said. "They're seen throughout the course of the movie, because we didn't want the terrorists to win." Look for more on Spider-Man Friday here in The Continuum. WITCHBLADE PREMIERE MOVED The two-hour season premiere of Witchblade has been moved by TNT to Sunday, June 16. The first two episodes are titled "Emergence" and "Destiny." They were originally scheduled for Monday, June 10. Ironically, June 16 is Father's Day and Witchblade star Yancy Butler's father, Joe Butler of the Lovin' Spoonful, is a guest-star in the episode. After the two-hour premiere, Witchblade movies into its regular time period, Mondays at 9 p.m., on June 17. +++++ From Newsarama at http://www.comicon.com/Newsarama/ A BRIEF GIFFEN UPDATE While speaking with Newsarama about his upcoming schedule, Keith Giffen confirmed that Suicide Squad will come to a close with issue August's issue #12. "It's gone," Giffen told Newsarama. "Sales never really leveled off. It was a slow decline, but it was still a decline. I'm going to miss it, but what are you going to do? If the sales don't warrant – DC has no choice. "I loved working with Paco [Medina], and Pete Tomasi was a great editor, and had a lot of fun doing the stories on a slow build. The funny thing is – for eight months I was castigated on message boards with messages like 'The Suicide Squad is horrible! I can't believe he's making fun of these guys now! I can't believe he's killing villains!' The name is Suicide Squad. Do the math." But then, after rumors of the book's cancellation begin to make the rounds, Giffen noted a change in the tenor of the messages. "As soon as the word 'cancelled' goes out, the messages turn into 'How dare they? How can we save this book?'" Giffen said, chuckling. "How did I go from bastard to angel in one week? I should thank Dan DiDio for taking the heat off – they all hate him now." According to Giffen, news of the book's imminent cancellation came his way early enough so that he was able to go back and tweak scripts and scenes in order to give the book a better feeling of closure with issue #12. "But, I should add that if people were complaining about the first eleven issues, they're going to have a ton to complain about in issue #12," Giffen added. DC has also confirmed for Newsarama that the series will end with issue #12. SHOOTER, MARVEL BACK ON THE OUTS Late last year Marvel Comics announced with some fanfare that their one-time Editor-in-Chief Jim Shooter would be make a return to the publisher, as a freelance writer of an eight-issue Avengers-related limited series starring Korvac, star of one of Shooter's most famous works, The Korvac Saga, along with another in-development Avengers- related project. At the time, Joe Quesada called getting Shooter back in good relations with Marvel one of the first goals he pursued as E-I-C. So while last winter saw the long-time frigid relationship with the publisher and their former chief begin to thaw, as the weather warms here in the states, conversely, the chill seems to have returned to the air between Shooter and Marvel. Newsarama has learned the Shooter/Korvac series in no longer in development, and once again any Shooter/Marvel pairing seems very unlikely any time in the near future. Asked to comment, Quesada and Avengers editor Tom Brevoort kept their comments brief, telling us only that the project "didn't work out". Asked to describe the prospects of another, different Shooter/Marvel project in the future, Quesada added, "I doubt that will be happening anything soon." Reached for comment, Shooter confirmed the cancellation of the project, and provided a little more insight from his perspective as to what seemingly went wrong. And as usual, Shooter didn't pull any punches. "I originally turned down Marvel's offer to do the series," said Shooter, asked why the project is no longer happening. "The money is pathetic, though I suppose it's good for these depressed days. Joe Quesada badgered me into doing it, and I agreed as a favor to him, and because I love comics. I thought it would be fun. After trying to work with Tom Brevoort, though, I gathered that it would not be much fun. More hassle than it's worth. " Also asked if other work with Marvel is a possibility in the future, Shooter added, "Don't know. Not interested." Likewise, Shooter doesn't seem to have any immediate plans for any work with the comic book industry. He continues to stay busy with the sci-fi film and entertainment company Phobos Entertainment. 'X-MEN's POWERS FIRED Tuesday morning Marvel Comics made an editorial change affecting their flagship family of books. Editor-in-Chief Joe Quesada has confirmed for Newsarama that X-Men editor Mark Powers – who among his titles handled the 'core' X-Men titles, New X-Men, Uncanny X-Men, has been let go by the publisher. Powers assistant, Pete Franco, was also let go in the move. Quesada described the move simply as a "restructuring" and declined to go into further details regarding the decision. Powers' titles will be moved to Wolverine editor Mike Marts' office, though Quesada added a few other titles may wind up being reassigned when the restructuring is complete. Powers was one of the few remaining Marvel editors who held editorships during the previous E-I-C administration at Marvel under Bob Harras. ALONE IN THE DARK COMES TO COMICS IN JULY Another videogame property makes the jump to comics in July when Image releases Alone in the Dark, a 44-page one-shot based on the game of the same name from Infogrames. The issue is written by Jean-Marc (Superman's Metropolis) Lofficier, with art by Matt (Birds of Prey) Haley and Aleksi Briclot. The property has been around for ten years, and is credited by many as the originator of the survival-horror game genre that later spawned Resident Evil. The first installment debuted as a PC game in 1992, and its latest incarnation, Alone in the Dark IV: The New Nightmare was released last year. Dimension nabbed the property late last year as a possible film franchise. The four games follow a rough timeline, and Lofficier said the comic will work to fill-in some of the holes that have been left between the games. A LETTER FROM ONI PRESS Dear friends and fans, Usually when I sit down to the keyboard, I end up typing out something about some cool, fun project we have going on at Oni. It's not often I have to work on something I really don't want to work on. This last week has been a difficult one for us-and it had nothing to do with distribution problems, late comics, or the normal sorts of things that make our lives stressful. It was a different kind of week entirely, and I can only take comfort that I am addressing you from the brighter side of the tunnel as things begin to improve. Our publisher, Joe Nozemack, had a sudden medical situation last week that required emergency surgery. I don't want to get into any more details than that out of respect to his family, who feel that such matters should be private. I can, however, tell you that the surgery was a success and Joe is now on the road to recovery. So, while there was a bit of a panic on Wednesday and all of our guts were in knots from worry, everyone can rest assured that the crisis was averted. Joe is one tough guy, and even his doctors are shocked by his resilience. His recovery has moved faster than anyone expected, giving us faith that things will ultimately get back to normal. I say ultimately as it will be a few more weeks before Joe can return to the office. Oni is a team of three, and when one of our men is down, it can be quite disruptive. Don't worry, though, because Oni takes its tack from Joe. We're a tough company, and thanks to his excellent management skills, he's left us with a lot of strength. There may be some bumps in the road while we wait for him to return, so please be patient with us (and particularly me!) as James Lucas Jones and I try to pick up the slack. Books will still come out, people are still going to get paid, and hopefully, we'll keep everything on track so when Joe comes back, he'll find Oni in as good a shape as when he left it. The plus-side of the week has been the reaction of our creative colleagues, and of some of our business associates, all of whom lent us their prayers and support. Every phone call, it seemed, I was dissuading someone from getting on a plane because they were determined to come out here and roll up their sleeves and lend James and I a hand. I know it's real easy for things in this industry to turn negative, but frankly, we should always remember that when it comes to a sense of community, comics is the best industry in the world (and trust me, whenever we start to forget, something comes along to remind us). Thanks to all of you for your trust and understanding. Finally, if anyone is interested in sending Joe well-wishes, please feel free to send them to the Oni offices (6336 SE Milwaukie Ave. PMB30, Portland, OR 97202). I know he will appreciate it. Thank you all for your time. We look forward to continuing to bring you great comics, so stay tuned. Sincerely, Jamie S. Rich editor in chief Oni Press VERTIGO's MACDONALD LAID-OFF Newsarama has learned that Friday Vertigo editor Heidi MacDonald was laid-off by DC Comics. Asked to confirm, a spokesperson for DC told us, "MacDonald is leaving DC." The spokesperson also told us her titles will be divided among current Vertigo editors. Titles MacDonald edited include Hunter: The Age of Magic, Transmetropolitan and the upcoming Y: The Last Man. MacDonald came to DC in March of 1999 after a stint as Senior Editor for Disney Adventures. She began at DC as editor of the Warner Bros. animated and the Cartoon Network, but later moved to Vertigo. Reached for comment Friday afternoon, MacDonald told Newsarama, "I'm sorry it didn't work out." LEE/LOEB DO BATMAN MONTHLY DC Comics has confirmed that beginning with October 2002's issue #608, writer Jeph Loeb and penciler Jim Lee will take over the monthly Batman series as its regular creative team, for what's currently tentatively planned as a year-long,12-issue run. Loeb, who will also write Batman beginning next year in his and penciler Ed McGuinness' new Superman & Batman ongoing series, is expected to continue the 'back-to-basics/essence of the character' approach that has served him on Superman and limited series like Batman: The Long Halloween and Dark Victory. For Lee, the obvious challenges will be to maintain a monthly schedule for the entire run and to convince readers that he can and will. The glass-half full perspective on those concerns is that Lee has been working on the assignment since last year and as of late February was 100 pages into the assignment (or roughly translated, 4 ½ 22-page issues), and is likely on his fifth or sixth issue by this time, effectively giving him another 12-18 months to keep issues #6-12 on schedule. Lee's pencils will be inked by Scott Williams using a brush (as opposed to pen) technique. Another question this raises regards the status of current Batman penciler Scott McDaniel, who is very highly regarded at DC, as well as exclusively signed and will likely be given a lot of input as to his own preferences for his next project [current writer Ed Brubaker is of course moving to Detective that month, replacing Greg Rucka]. A spokesperson for DC told Newsarama McDaniel is considered an important part of their creative roster and he's currently in discussions with Bob Schreck as to his next assignment. +++++ From Comics2Film at http://www.comics2film.com DAREDEVIL --------- Variety reports that Coolio is the latest actor to join the cast of Daredevil. The write up also confirms last week's reports that Ellen Pompeo is in the pic. http://www.variety.com SUPERMAN -------- On Smallville it's "no tights, no fights" but Anderson Jones of E! Online reports that won't be the case for the in-development Superman movie. Jones checked in with the movie's screenwriter J.J. Abrams (of Alias fame). "Superman will most definitely fly," Abrams told Jones, "and there'll definitely be a suit." http://www.eonline.com SPIDER-MAN, SPIDER-MAN ANIMATED SHOW ------------------------------------- TV Guide will hit newsstands Monday, April 22 with multiple Spider-man collector's covers (from classic artists) and a peek inside the upcoming movie. The issue also includes a look at Spidey swinging to TV over the years, as well as what other comic heroes will be battling at the box office. For a look at all five covers visit http://www.comics2film.com Rumor has it that the issue may also give us our first look at the upcoming Spider-Man animated show from Mainframe Entertainment. An animation director at Mainframe recently made a posting on the See-Gee Mayhem message boards indicating that there will be an image from the show. http://www.seegeemayhem.com/ +++++ From the DC Comics Online Newsletter at http://www.dccomics.com LUCIFER WRITER MIKE CAREY SIGNS EXCLUSIVE WITH DC British writer Mike Carey, who was nominated for four Eisner Awards in 2001, has signed a two-year exclusive agreement with DC. Carey has written LUCIFER since its inception as the miniseries THE SANDMAN PRESENTS: LUCIFER in 1999 and takes over as writer of HELLBLAZER with June's issue #175 (APR020489), solicited in the April issue of Previews (Volume XII, number 4).; "With LUCIFER, Mike's proven himself as a first-rate writer, deftly intertwining reality with an expansively-crafted mythology" says Karen Berger, Vice President - Executive Editor, VERTIGO "But what impresses me most about Mike's writing is his versatility. His first few scripts on HELLBLAZER show Constantine as raw, uncompromising and seductive as he's ever been Mike's well on his way to establishing a new direction and a new voice for the series." "This is a great thing for me in a lot of different ways," says Carey "I love VERTIGO, and I've got great relationships with the editors there, so that's a good position to be in. Now that I'm writing HELLBLAZER as well as LUCIFER, this gives me a period to consolidate my efforts and experiment on those two titles It also opens up the possibility of getting my hands in the DCU toy box For me super-hero comics, in all their ludicrous glory, are a very big part of what comics are about - and I think always will be about." Carey's writing also can be found in: LUCIFER: DEVIL IN THE GATEWAY (STAR13268) LUCIFER: CHILDREN AND MONSTERS (STAR14744) A new LUCIFER trade paperback, LUCIFER: A DALLIANCE WITH THE DAMNED, collecting issues #14 - 20, will be published in August. Upcoming projects include the hardcover graphic novel THE SANDMAN: THE FURIES, with painted art by John Bolton, and MY FAITH IN FRANKIE, a 4- issue romantic fable with art by talented newcomer Sonny Liew. SUBWAY AND JUSTICE LEAGUE JOIN FORCES IN KIDS' MEALS ACROSS AMERICA Sometimes the job is too big for just one hero, so Subway Restaurants, DC Comics and Cartoon Network join forces to bring the Justice League super-heroes to Subway's Kids' Paks. Kids and parents will love the toy premium promotion that features Superman, Batman, the Flash, Wonder Woman, Hawkgirl, Green Lantern and Martian Manhunter. The highly collectible toys will be available at participating restaurants May 20 through July 7, 2002. "We are thrilled to continue our partnership with DC Comics and Cartoon Network by featuring the Justice League, one of their most popular comic books and programs, in a Kids' Pak promotion," says Liz Safrey, Communications Supervisor SFAFT (Subway Franchisee Advertising Fund Trust) "These classic fun toys will be a big hit in our restaurants." "We are excited to team with Subway in the first ' Justice League' premium promotion for kids' meals," says Joel Ehrlich, Senior Vice President, Advertising and Promotions for Warner Bros. Consumer Products and DC Comics; "All eight of the Justice League premiums in the Kids' Paks are guaranteed to be wildly sought after by both kids and collectors." The Kids' Pak meal consists of a deli-style sandwich, small drink and a cookie. Additionally, one of the following toys will be available in each meal: Batman and Superman figurines are formed from a translucent material that is painted from the inside. These two classic heroes are rich in color and come with detachable bases featuring their individual emblems. The Flash and Wonder Woman are detachable figurines featured on crazy straws that twist to form the special shield icon of each character. Each toy also includes the character's emblem. Hawkgirl, Green Lantern and Martian Manhunter are classic articulated action figures. This superhero trio is ready for adventure. A detachable Justice League base is also included. The promotion will be supported with nationally produced point-of- purchase materials. HUMAN TARGET LIVE AT DCCOMICS.COM A mini-site for HUMAN TARGET: FINAL CUT (MAR020436) is now up at DCComics.com, with an introduction to the graphic novel, interviews with writer Peter Milligan and artist Javier Pulido, a look at the story's characters, and a Sneak Peek at the story's beginning. RUSH SOLICITATION: BATMAN: BRUCE WAYNE — MURDERER? TP The best-selling storyline that kicked off 2002 is available as a rush collected edition on June 12 in BATMAN: BRUCE WAYNE — MURDERER? (MAR025039), a massive 264-page trade paperback! "Many parts of this story are sold out, which is a clear indication of reader interest," says Bob Wayne, DC's VP — Sales & Marketing. "Now, fans who picked up BATMAN: THE 10-CENT ADVENTURE but weren't able to find all the subsequent chapters will be able catch up on what they missed." BATMAN: BRUCE WAYNE — MURDERER? features a riveting story and dramatic art by some of DC Comics' top talents, including writers Ed Brubaker, Chuck Dixon, Greg Rucka, Devin Grayson, and Kelley Puckett and artists Rick Burchett, Rick Leonardi, Steve Lieber, Trevor McCarthy, Scott McDaniel, Roger Robinson, Damion Scott, Pete Woods, and others. Topping the volume is the dramatic cover by Dave Johnson that originally appeared on the record-breaking BATMAN: THE 10-CENT ADVENTURE. A reprint of that shocking issue starts off the volume, with the entirety of these chapters of the groundbreaking storyline also included: DETECTIVE COMICS #766-767, BATGIRL #24, BATMAN: GOTHAM KNIGHTS #25-26, and BATMAN #599-600. Plus, relevant portions of NIGHTWING #65-66, BIRDS OF PREY #39-40 and ROBIN #98-99 are included in BATMAN: BRUCE WAYNE — MURDERER. "With the finale to the "Bruce Wayne: Fugitive" follow-up on the way in July's BATMAN #605, fans who missed the start of this story will be able to catch up on it from the beginning," adds Wayne. BATMAN: BRUCE WAYNE — MURDERER? is available for order now from your Diamond customer service representative or DC Direct Sales representative, with an order cut off date of May 17, for an in-store date of June 12. BATMAN: BRUCE WAYNE — MURDERER? will also be retro- solicited in the June issue of Previews (Volume XII #5), with a later in store date of July 17. Don't delay — place your order today! DC ANNOUNCES PLANS FOR WONDERCON 2002 WonderCon 2002 opens its doors this Friday, April 19, with several members of the DC Comics staff in attendance along with numerous DC writers and artists. The attending editorial staff includes Mike Carlin, Vice President — Executive Editor, DC Universe; Dan DiDio, Vice President — Editorial; Jim Lee, Editorial Director — WildStorm; and Scott Dunbier, Group Editor — WildStorm. A variety of DC writers and artists have been confirmed as guests of the convention, including Arthur Adams (TOM STRONG'S TERRIFIC TALES), Michael Bair (HAWKMAN), Ed Brubaker (BATMAN), Kurt Busiek (THE POWER COMPANY, JLA/AVENGERS), Paul Dini (WONDER WOMAN: PEACE ON EARTH), Jay Faerber (THE TITANS), Mick Gray (PROMETHEA), Devin Grayson (BATMAN: GOTHAM KNIGHTS), Tom Grummett (THE POWER COMPANY), Geoff Johns (HAWKMAN, THE FLASH), Peter Gross (LUCIFER), Pat McGreal (I, PAPARAZZI), Brad Rader (CATWOMAN), Greg Rucka (DETECTIVE COMICS, WONDER WOMAN: THE HIKETEIA), Jonathan Vankin (VERTIGO POP: TOKYO!), Matt Wagner (GREEN ARROW), Len Wein (SWAMP THING), Judd Winick (GREEN LANTERN), and Doselle Young (THE MONARCHY). Also on hand will be DC Editor Emeritus and Living Legend Julie Schwartz and Warner Bros. animation producer Bruce Timm. DC also will make three editorial presentations over the course of the convention: Friday, April 19th, 4:00 - 5:30pm: Eye of the WildStorm, with Dunbier, Lee and others Saturday, April 20th, 1:30 - 3:00pm: DC's Horizon, with Carlin and others Sunday, April 21st, 2:00 - 3:00pm: Evolving VERTIGO, with DC's Manager — Marketing Communications Adam Philips and others Sunday also will see this special session for retailers only: Sunday, April 21st, 12:30 - 1:30pm: DC Retailer Open Discussion, with Philips and Vince Letterio, DC's Manager — Direct Sales. WonderCon also offers two DC-themed presentations, which are: Saturday, April 20th, 11:30 - 12:30pm: Spotlight on Jim Lee Sunday , April 21st, 12:30 - 1:30pm: Power Company! Look for DC's presence at WonderCon at booth #313. For more information on the convention, visit its website at http://www.wondercon.com/pages/WCnew.html. POCKET SUPER HEROES AND FABLES AT DCCOMICS.COM New on DCComics.com are "Legion Try-Out," an animated preview featuring the DC Comics Pocket Super Heroes. A FABLES minisite is now live as well, with an introduction to the series, interview with writer/creator Bill Willingham, a look at the series' cast of characters, a cover gallery and sneak peek at issue #1. SNEAK PEEKS LIVE AT DCCOMICS.COM Retailers may now get an advance look at selected upcoming DC projects at DCComics.com's Sneak Peek section. Currently on the site are Sneak Peeks of THE FILTH #1, RESIDENT EVIL CODE: VERONICA BOOK 1, 100% #1, GREEN LANTERN: BRIGHTEST DAY/BLACKEST NIGHT, and the WONDER WOMAN: THE HIKETEIA HC, all of which are solicited in the April issue of Previews (Volume XII #4). Sneak Peeks will continue to be posted to DCComics.com in conjunction with solicitation in the future. We recommend that retailers make a habit of reviewing these Sneak Peeks as part of their order-placing process. THE ABSOLUTE AUTHORITY TO FEATURE WIDESCREEN PAGES Please note that THE ABSOLUTE AUTHORITY Volume One oversized slipcased hardcover, which was solicited in the March issue of Previews (Volume XII #3), features three pages of art by Bryan Hitch, Andrew Currie and Laura DePuy which were originally to be published in THE AUTHORITY: WIDESCREEN. THE ABSOLUTE AUTHORITY Volume One (MAR020415) has an in-store date of August 28, and is available for advance reorder. NEWS FROM THE MAINSTREAM PRESS THE MAY ISSUE OF CINESCAPE INCLUDES AN ARTICLE ABOUT THE UPCOMING DARK HORSE/DC COMICS MINISERIES SUPERMAN/ALIENS: GODWAR, IN WHICH ARNOLD T. BLUMBERG SPEAKS TO ARTIST JON BOGDANOVE. THIS ISSUE ALSO INCLUDES AN ITEM ABOUT THE BATMAN: DEFENDER OF GOTHAM GAME FROM WIZKIDS. NEWS FROM THE TRADE PRESS THE APRIL ISSUE OF TOMART'S ACTION FIGURE DIGEST FEATURES A ROUND-UP OF DC DIRECT PRODUCTS INCLUDING THE DARK KNIGHT STRIKES AGAIN PVC SET, THE PROMETHEA AND SOPHIE DELUXE ACTION FIGURE SET, THE HAWKGIRL JUSTICE LEAGUE ANIMATED MAQUETTE STATUE, THE CLASSIC JOKER MINI-BUST, THE SMALLVILLE: CLARK KENT, LANA LANG, AND LEX LUTHOR ACTION FIGURES, AND THE JLA FIRST APPEARANCE (THE BRAVE & THE BOLD #28) GIFT SET. THE MARCH/APRIL ISSUE OF TRIPWIRE HAS A COVER BY SEAN PHILLIPS FROM THE UPCOMING WILDSTORM PROJECT SLEEPER, WHICH TIES IN TO THE FEATURE ARTICLE "STORMY WEATHER," ABOUT WILDSTORM'S "EYE OF THE STORM" MATURE READERS LINE. THE "ON THE SHELF" COLUMN INCLUDES REVIEWS OF BIZARRO COMICS, 100 BULLETS: HANG UP ON THE HANG LOW, BATMAN: DARK VICTORY, AND THE NAME OF THE GAME, WHICH JOEL MEADOWS WRITES "SUCCEEDS IN ENCAPSULATING THE EXPERIENCES OF THOUSANDS OF DISPOSSESSED PEOPLE WITH CHARISMA AND ELEGANCE." SIMON AVERY LOOKS AT SEPTEMBER 11TH VOLUMES 1 AND 2, WRITING, "YOU DON'T NEED A REVIEW OF THEM, OR A RECOMMENDATION. READ IT OR DON'T READ IT. YOUR MONEY WILL BE WELL SPENT." KYLE BAKER IS INTERVIEWED ABOUT KING DAVID IN THE ARTICLE "BIBLICAL PROPORTIONS." NEWS FROM THE INTERNET Locus Online has posted a review of TOP 10 Books 1 and 2, with Philip Shropshire writing, "It is arguably the most science-fictional genre book Ever put out....I'm at a loss for words to explain just how enjoyable this series is." Also new at the site is a review of KING DAVID, with Claudia Lalumiére noting, "I loved the writing, the dialogue, the storytelling, the linework." SMALLVILLE, JUSTICE LEAGUE, STATIC SHOCK AND THE ZETA PROJECT EPISODE SCHEDULES DC HAS BEEN SUPPLIED WITH THE FOLLOWING EPISODE SCHEDULE FOR SMALLVILLE, STATIC SHOCK AND THE ZETA PROJECT ON THE WB AND THE ANIMATED JUSTICE LEAGUE ON THE CARTOON NETWORK. ALL TIMES ARE EASTERN AND PACIFIC: 4/20 (8:30 AM) "BENT OUT OF SHAPE" (STATIC SHOCK) 4/20 (9:30 AM) "HUNT IN THE HUB" (THE ZETA PROJECT – NEW) 4/20 (12:30 PM) "FURY, PT. 2" (JUSTICE LEAGUE) 4/20 (10:00 PM) "FURY, PT. 2" (JUSTICE LEAGUE – WIDESCREEN) 4/21 (7:00 PM) "LEGENDS, PT. 1" (JUSTICE LEAGUE – NEW) 4/22 (8:30 PM) "THE BRAVE AND THE BOLD, PT. 1" (JUSTICE LEAGUE) 4/23 (8:30 PM) "THE BRAVE AND THE BOLD, PT. 2" (JUSTICE LEAGUE) 4/23 (9:00 PM) "REAPER" (SMALLVILLE – NEW) 4/24 (8:30 PM) "FURY, PT. 1" (JUSTICE LEAGUE) 4/25 (8:30 PM) "FURY, PT. 2" (JUSTICE LEAGUE) 4/27 (8:30 AM) "DUPED" (STATIC SHOCK – NEW) 4/27 (9:30 AM) "WESTBOUND" (THE ZETA PROJECT) 4/27 (12:30 PM) "LEGENDS, PT. 1" (JUSTICE LEAGUE) 4/27 (10:00 PM) "LEGENDS, PT. 1" (JUSTICE LEAGUE – WIDESCREEN) 4/28 (7:00 PM) "LEGENDS, PT. 2" (JUSTICE LEAGUE – NEW) BE ADVISED THAT THIS SCHEDULE IS SUBJECT TO CHANGE. +++++ From Rich Johnston, THE 2000 SQUIDDY JOURNALIST OF THE YEAR, in his ALL THE RAGE Gossip Column at: http://www.SilverBulletComicBooks.com RUMOUR BARRIER "I accept that the following material is rumour and gossip, intended to entertain only. "I won't repeat the information inside as fact. I understand if I want the truth, I will go to Silver Bulletins. "I enter freely with my mind open and my blinkers off." Now, onto the rumours. Stonewall - Update Hell Cast All The Rage understands that Ron Perlman (Beauty And The Beast, Blade II) has been cast in the lead role for the upcoming Hellboy movie. Another one Nicolas Cage missed out on... This Has A Rumour Value Of 7 Out Of 10 Where's Walt? Walt Simonson is to draw a fill-in issue of CrossGen's The Path, namely #5, written by Harvey nominee Ron Marz. This Has A Rumour Value Of 9 Out Of 10 Warren Ellis To Write Superman? Warren Ellis' long-promised DC Universe title for editor Joey Cavalieri, who gave Warren work on Doom 2099 and 2099 Unlimited for Marvel way back, may well be a Superman maxi-series or so his pitch goes. The book, if approved, will follow the life of Superman, from his birth to his death. After Planetary finishes, this is promised to be Warren Ellis' last work in the superhero genre. Unless he takes up Authority again, that is. Ellis wrote a widely circulated column a few years ago entitled "Why I Will Never Be Allowed To Write Superman" which, reportedly, was well received by DC at the time. This Has A Rumour Value Of 8 Out Of 10 Glad To Be Green All The Rage understands that Green Lantern is likely to have a higher gay profile later this year. Already using a recurring gay character, Terry, he's likely to become much more prominent in the title. It also looks like media and promotion are to be managed by DC this time, in a way the Authority outing was not. It's been alleged that much of the animosity at DC towards Authority stems from that media outpouring, front pages on many newspapers and the lack of control that DC had over it especially the comparisons made between Apollo/Midnighter and Superman/Batman. Green Lantern writer Judd Winick, who also wrote and drew the gay- friendly Pedro And Me, isn't stopping there. In his Exiles book for Marvel, another main character has been outed. And it seems that its catching. John Byrne-created Maggie Sawyer has moved back to Gotham in the Batbooks, and her lover is also meant to be moving to town. I hear that X-Force will have an ongoing same-sex relationship (as much as anything is ongoing in X-Force). And then of course there's the return of Northstar to the X-Men. More to come. Including the last issue of Authority... This Has A Rumour Value Of 8 Out Of 10 Warren On Paul Action After a discussion about pacing in comics inspired by John Byrne's recent Slush Factory opinion column, it all kicked off between writers Warren Ellis and Paul Storrie on the WEForum. Paul wrote "As for the art vs. science thing, that doesn't fly. Writing is a craft. If we're really lucky or inspired or skillful, our craft brings about great art. Striving for art doesn't excuse ignoring craft. You certain don't in your work." Warren replied ""Craft" is just the lessons learned by repeated experience of the creation of art. I think I'm starting to understand why you're so boring, Paul. Onward." As handbags were raised across fandom, Storrie retorted, "@#&% you too, Warren. If I'd realized that you had actually had some kind of personal problem with me, I wouldn't be stopping by the forum. Thanks for clearing that up." Warren concluded with, "ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha ha "-- ha ha" This Has A Spat Value Of 3 Out Of 10 On The Waid/Groth Scale Smack My Pitch Up I understand that DC, in an attempt to recapture the creative initiative from Marvel, is to revamp their pitch process. Oral pitches are back, in an attempt to speed up and generate new pitches to produce new and innovative comics product. I hear that already a new Mature Readers super hero book by Garth Ennis and Darick Robinson has been signed off on, and there will be a big planned announcement about it at either the Philadelphia or Chicago convention. This Has A Rumour Value Of 6 Out Of 10 Is It But A Ruse? Will Mark Waid decline his Eisner nomination for Best Writer for Ruse? Currently he isn't telling. Or, at least, he isn't telling me. The Eisner is, after all, a more prestigious award in most circles than the Harvey, and there's not even a tenuous connection with his old, hated employees, Fantagraphics. This Has A Grasping At Straws Value Of 7 Out Of 10 Peter Milligan Is Watching You In a Mike Allred questionnaire at RetroXPunk, Allred was asked, "There was a scene in the recent issue, #125, where Spike announces the name change of the team to his mutants, citing the problem of the name's ownership and having to pay fees to the "old owners". This bears a striking similarity to the recent rumours revealed by Rich Johnston that Marvel is changing the title's name because they don't want to pay fees to Rob Liefeld... Did this sequence come as result to this rumour, and can you substantiate it?" Allred replied, "I can't substantiate the rumor, but can say the dialogue reflects what people are talking about. That's one of Peter's strengths on this book. He's a genius at spinning reality into our fictional world." Your mission, Peter, if you choose to accept it, is the get the phrase "Cabbage Monkeys" into the next available X-Force script. This column will self destruct in 15 seconds. This Has A Countdown Value Of 15… 14… 13… 12… What's In A Name The title of Neil Gaiman's upcoming Marvel Universe comic is 1602. But what does it mean? I've been told it's a reference to the manuscript "The City Of The Sun" by Italian writer Tommaso Campanella, written in 1602. The story tells of a utopian city built and lived in by seemingly perfect beings. One might presume 1602 will tell a similar tale. But with The Thing, Daredevil and Mr Fantastic... If true, this will undoubtedly give more fodder to some of Gaiman's critics who often deride him for showing off about what books he's read, rather than telling a story. But it's not the only explanation for the title Marvel are dealing with. Stuart Moore said, "You may quote me to the effect that there is NO TRUTH to the rumor that the title 1602 refers to the number of microscopic nanobots who, it will supposedly be revealed, actually built the Marvel Universe from raw matter two days before the events of FANTASTIC FOUR #1". Bill Jemas followed up by saying, "I will neither confirm nor deny the rumor that 1602 is the number of tiny razor-sharp teeth in Paul Levitz' mouth." Yes. Thank you people. Just what I wanted. This Has A Rumour Value Of 7 Out Of 10 Carry On Up The Charts How good is Diamond and DreamWave's relationship? Pretty damn good according to some rumours going around. Specifically the ones where the Free Comic Book Day issues purchased by retailers didn't make the count for the Top 100 selling titles so that Transformers would get the top slot and Ultimate Spider-Man, Justice League Adventures, etc, which sold significantly, more albeit at a nominal price, would not. On previous occasions, free books like Unity 0 made that chart. However, although there is cost to retailers, the comics are free to the public and could be regarded as just promotional items. Some have suggested that the above complaints are merely bluster to attempt to obscure that, for the the second month in a row, Transformers, from an indie company, has outsold all other PAID titles in the Direct Market, including the likes of New X-Men. In the same month that the Spider-Man movie is released. It's possible that Marvel's board might not look kindly on these events, especially when they realise Marvel used to own the Transformers licence and were also beaten by Titan Books to the trade paperbacks of their own old material. Two spins, different directions. This Has A Dyson Double Barrel Value Of 8 Out Of 10 Burnt Remains The monthly spin-off column to All The Rage, namely Burning Down The Curtain, has been dropped by PDF comics magazine Borderline. This Has A Rumour Value Of 10 Out Of 10 Richard, To Go I may well be coming to New York this autumn, for a week. Will be looking for publisher tours, bar brawls, semi-decent hotel recommendations or spare beds and at least one drive-by shooting. Offers welcome, at the usual address, twisting@hotmail.com. This Has A Rumour Value Of 10 Out Of 10 ______________________________________________________________________ ----------------------------------------------------------------------- [5] Interview Tim O'Shea tim_jen@mindspring.com Originally run at www.orcafresh.net This interview appears here with permission. A Name You Should Know If You Don't: An ORCA Q&A with Matt Howarth By Tim O'Shea There's so much that can be said about Matt Howarth, rather than leaving anything out, I'll just suggest you visit his website (www.matthowarth.com) once you're done with the interview. Thanks to Matt for his time and thoughts. Enjoy. Also thanks to good friend and book store genius manager (as well as the fellow who introduced me to Matt Howarth's work), Ron Eggleston of Atlanta's Book Nook, who assisted me in this interview. Enjoy! ORCA: Given the depth and variety of your career since the early 1970s, what projects come to mind that you may like to revisit in the near term? Howarth: Not much, actually. ORCA: In your bio (at http://www.matthowarth.com/) it says: "After this (1980-81), Matt forswore visual influences in lieu of the images his own mind could create when exposed to strange and unconventional music." What prompted this shift in influences? Howarth: I'm too easily influenced by other art styles. Using music as an instigational force frees me from any direct visual influences, allowing my own brain to generate the style and content of my work. There are instances of select images or concepts from music creeping into my work, but overall the influences are utilized with more abstract connections; it's a generalized application of different musical moods in conjunction with my creative flow. While working on Bugtown material, I'll listen to music of an intense nature (this can be agro industrial or even a particularly crescendo-heavy dose of electronic music); while doing science fiction material, I'll listen to spacier stuff. Very early in this self-imposed symbiosis, my listening habits gravitated toward instrumental music. With the removal of lyrics, the inspiring energy became purer, reacting on my mind with stimuli that was devoid of language triggers. I was able to enjoy a searing guitar riff and transform that appreciation into a visual of comparable grandeur. ORCA: You've rarely worked with the "mainstream" comic companies, the one thing I can remember is Star Crossed, your three issue miniseries for Helix/DC in the mid-1990s? Have you intentionally stayed away from the mainstream or has it just played out that way? (Personally I often find myself reading Marvel's PUNISHER and imagining "If only this book was more like the Post Brothers?") Howarth: I've done more mainstream material than the general public knows about...but some of it remains unpublished. Case in point: in the mid-Nineties I did an 18-page strip for GREEN LANTERN CORPS QUARTERLY with absolutely no terrestrial or humanoid lifeforms; a week after I handed in the work, DC Comics changed the legend, doing away with all alien GLs, and canceled the title before my strip saw publication. Before STAR CROSSED happened in the late 90s, I was working on a DOCTOR THIRTEEN one-shot book for the late Lou Stathis at Vertigo. A year after Lou's untimely death, the project saw completion and publication. (As an addendum to the earlier discussion about my use of music as an inspirational tool: when it came time to finish the DOCTOR THIRTEEN book, I was interested in keeping Lou's presence alive on the project...so every piece of music I listened to while inking the pages was chosen from stuff that I knew to be among Lou's favorites.) A few years ago, I was approached by DC and asked to write a JUSTICE LEAGUE OF AMERICA prestige series dealing with outrageous aliens and my usual brand of outer space weirdness. The art (which is not by me) for JLA: OMNIVORES is still in production. I've also written some fill-in issue scripts for some super hero series: GREEN LANTERN, and JUSTICE LEAGUE ADVENTURES. And I did some artwork for Warren Ellis' TRANSMETROPOLITAN: FILTH OF THE CITY. ORCA: Back in 1999, you did KEIF LLAMA: GAS WAR at Oni. Will you be doing any more work at Oni (and/or on KEIF LLAMA)? Howarth: I've always wanted to do more Keif Llama material. Nine issues of the KEIF LLAMA: XENOTECH series have been sitting in my studio for nearly a decade, looking for an interested publisher. Recently, I've done three short comic strips for OCEANS OF THE MIND, a digital science fiction magazine (www.trantorpublications.com). Two of those are new Keif Llama strips. And I'm currently working on a Keif Llama graphic novel called LOST, STOLEN OR STRAYED dealing with organic FTL technology. I'm done the B&W art, and as soon as I color the pages, I'll be self-publishing it in digital form. This is going to take a while, though, scanning and digitally coloring over 100 pages in-between working on other projects. ORCA: Would you agree that your work is a solid example of intertextuality (the complex interrelationship between a text and other texts taken as basic to the creation or interpretation of the text), given that music so greatly influences your creativity? Howarth: I never saw the point of narration or dialog explaining the visual content of a panel. The text and the art are two separate tools used to convey the story in the comic strip medium. There's no reason that the background art can't be as expressive as a character's dialog; there's no point in a character talking about things that are obvious to the reader from looking at the art. Just as there's no reason not to expand the concept of sound effects to include peripheral actions (like a tiny "nervous fidget" near a character's hands). ORCA: More recently you've been doing some all text novels, which leads me to two questions: What made you decide this format over telling the tale graphically? Howarth: You make it sound as if I've abandoned drawing, which is hardly true. I simply wanted to explore another outlet for my inexhaustive creative energies. There's a lot you can do with text that would become boring in a visual format. Deep characterization, examination of motives, the opportunity to play with words without having to rely on the instant visualization forced on the reader by giving them a picture to look at. I was personally amazed at the depth I was able to convey to the story when I wrote INDUCED LABOR, the first Bugtown text novel, which I digitally self-published (www.empireoftheclaw.com/bugtownmall/4x.htm). After dealing with the Post Bros for nearly three decades, I had initially worried that all I would do in a text format was retread existing concepts from the comics--but to my surprise, the novel allowed me to delve deeper into the overall legend, revealing aspects that the comics never had the chance to touch upon. ORCA: Will you ever try to do graphic novel adaptation of your all text work? Howarth: I don't really see the point of doing that. My mind is already over-fertile with too many unused ideas. Oddly enough, some of my text novels (TUNERS and BEYOND MEAT TIME) were based on unused comics scripts from the early Nineties. Notably in both occasions, the novels turned out to be much lusher than the original scripts, not only adding numerous levels, but actually disregarding the original storylines and pursuing more interesting developments. The third of the three strips I did for OCEANS OF THE MIND was called "Diver", dealing with freelancers cloud-mining a gas giant. While inking the art, I became captivated by a tangent which only played a small role in the story: that of a pirate radio station out in space. My mind generated a wealth of material from that idea, prompting me to go off and write a text novel ("Red Sky Radio") exploring those tangents. ORCA: The closest I can say I've ever gotten to listening to electronic music is an occasional Tangerine Dream, John Zorn, Steve Reich CD or maybe Peter Gabriel's PASSION (unless you count listening to HEARTS OF SPACE on public radio or the time I was up late one night watching NBC and getting to see THE RESIDENTS with Conway Twitty). So for folks musically stuck in the mainstream like me, what's a good electronic music primer? Howarth: Before I answer that, I'm going to wander through the evolution of my love affair with uncommercial music and how I've fused that interest with my work. I've already discussed how I employ music as an inspirational tool. During the early Eighties, some of my work took on more substantial connections to music. I did a series of comics (THE COMIX OF TWO CITIES) based on the lifeforms created by THE RESIDENTS in their "Mark of the Mole" trilogy of albums. I worked with David Allen on a comic strip that was published in tandem with GONG's USA tour in 1979. I also worked on an issue of IN THE SHATTERLIGHT that was used to promote a BAUHAUS tour of the East Coast in the early Eighties. I was doing cover art for a variety of cassette releases in the indie scene, and a few covers for some albums in Europe. These things would seem a natural evolution for someone with my musical interests. But I took things much farther as the Eighties continued. I began to feature guest appearances by real musicians in my comics, specifically in my SAVAGE HENRY series. By the time that series ended in the mid- Nineties, Henry had enjoyed adventures with the likes of The Residents, Nash the Slash, Conrad Schnitzler, Hawkwind, Klaus Schulze, Wire, Yello, Moby, Steve Roach, and more. Each appearance was authorized, with the musicians often interacting with me in the creation of these stories. By the end the Eighties, I had continued to find new ways of fusing music with comics. For several years (starting in HEAVY METAL and later as a weekly newspaper comic strip), I did "Sonic Curiosity", wherein I reviewed albums in comic strip form. Over the years, I've also written numerous music columns, reviewing alternative and independent music releases. Again, there has been an evolution from comic strip reviews to straight text reviews, but this time it's mainly because of the difficulty of interesting magazines in the comic strip reviews. Which smoothly leads to addressing your original query. Keeping in mind that my interests cross numerous genres, I'll break things down into a few classes. Ambient electronics: Steve Roach, Vir Unis, Robert Rich, Vidna Obmana. More lively electronics: Tangerine Dream and Klaus Schulze are both excellent masters of the genre (and might be easier to find), but there are a host of bands who are exploring this vibrant field with notable vigor, like: Airsculpture, Nemesis, Radio Massacre International, Kubusschnitt, Syndromeda, Ron Boots. Techno: System 7, the Orb, Banco de Gaia, Orbital, the Future Sound of London, Underworld, Loop Guru. Guitar stuff: Ozric Tentacles, King Crimson, Djam Karet, Porcupine Tree, Wire, Curve. Space rock: Hawkwind is the definitive form of this genre, but a heavy recommendation goes to Quarkspace, whose latest awesome album, "Drop", is only available as a free download from their WebSite (www.quarkspace.com). A forthcoming release by Quarkspace will feature a soundtrack by the band for a comic strip story by myself that will be included in the CD package. This brings my fusion of comics and music to an entirely new plateau, one that I've personally wanted to explore for over two decades. I can guarantee that a few of these suggestions are going to be difficult to find in local (or--shudder--chain) music shops. So I recommend searching for them online. The Links Pages on my Attic WebSite (www.matthowarth.com/links) will deliver you directly to a host of bands and indie record labels or music outlets. For those interested in a more in-depth selection of recommendations, my weekly music column can be found on my SONIC CURIOSITY Website (www.empireoftheclaw.com/soniccuriosity). ORCA: Strange question, but given that you're influenced by music while creating, has there ever been occasion that you've been inspired by one piece of music, and you've stopped the way you were doing a story (or changed it) because of the influence of another piece of music? Or does the inspiration/influence not work in such a clear cut manner? Howarth: My work habits are never restricted to set parameters. I'm constantly tinkering with things. The reasons for this are too diverse to accredit to any one influence. Sometimes I'll simply grow bored with my original idea and discard it for another notion that I find more interesting or unexpected. I must admit that "the unexpected" plays an overwhelming role in my storytelling, not only from the reader's POV, but from mine too. ORCA: Given the nature of your work, you've drawn some truly unique scenes in your comics. Can you point to one and say: "That's got to be the most unique thing I've ever done in a story." Howarth: There's an old self-published oneshot comic I did in the mid- Eighties called WRAB: PIRATE TELEVISION. There's a scene in which the characters do a show that's full of implanted subliminals. The actual subliminals were printed backwards on the other side of the page. Instructions tell the reader to hold the page up to a light if they want to consciously perceive those hidden messages. In the last issue of PARTICLE DREAMS, the centerspread was a pair of comic strips that the readers were supposed to cut out and assemble to create mobius strips, looping the piece of paper so that the story had no beginning or end. It's a clever format that I don't think many people have investigated, and one that (as usual) I took to extremes, creating a story that literally made use of this endless nature. ORCA: What's on the creative horizon for you in 2002? Howarth: Lately, I find myself doing a lot of graphic adaptations. Last year, I adapted a short story by Greg Bear for the 2001 WORLD SCIENCE FICTION CONVENTION's Program Book. For the 2002 SF WORLDCON, I've worked with Vernor Vinge adapting one of his short stories for ConJose's Program Book. I've also adapted an 8-page Arthur Conan Doyle story for GRAPHIC CLASSICS #2, and a 22-page adaptation of H.P. Lovecraft's "The Shadow Out of Time" for GRAPHIC CLASSICS #3 (considering the impact HPL's writing had on me at a very early age, doing that was a refreshing return to my roots). End note: Copies of nearly everything Matt Howarth has done are available directly from him. For a catalog, you can E-mail Matt (OneBugtown@aol.com) or send a SASE to him (PO Box 28325, Philadelphia, PA 19149 USA). Or you can check his online catalog at the Bugtown Mall (www.empireoftheclaw.com/bugtownmall). ______________________________________________________________________ ----------------------------------------------------------------------- [6] A View From the Cheap Seats Rich Watson cptsisko318@aol.com [A graduate of New York's School of Visual Arts, Rich Watson has been a self-published cartoonist since 1993, and whose output includes the superhero drama Celebrity and the romantic fable Rat: A Love Story. He currently resides in New York and gets his comics weekly from Jim Hanley's Universe and Midtown Comics. Rich can be contacted on his board http://www.revampscripts.com/board/Rich_Watson.shtml and is is featured on the website http://www.smallpresscomics.com/] SPX screwed the pooch The column I had planned originally this week is gonna be pushed back a second time (the LPC news delayed it the first time) on account of this unfortunate news. I got an e-mail last week from Ron Gravelle, my publisher at Landwaster Books, concerning the Small Press Expo this year. As you all know, last year SPX was cancelled due to the events of September 11. As a result, checks for the tables were refunded to everyone. Ron had spoken with executive director Greg McElhatton about securing a table for the 2002 show, and according to him they had worked it out. Last week Greg sent Ron the following message: "_I was approached by several people at Baltimore [Comicon, in October] – which I was at for only about an hour – and said the same thing to all of them. Namely, that the refund checks had already been mailed and if they wanted a table they would need to send in a new registration form. I did say that people were more than welcome to just mail back the uncashed refund check as part of their payment if necessary. "So, either you misinterpreted what I said, in which case I'm very sorry, or you were speaking to someone who had no authority to say that. Since e-mailing you at the end of February I've asked other people on the steering committee who were there if they'd said that to you, and no one remembers such a conversation. "At this point you're on the waiting list. I've given you priority over some other people who were also on it when you contacted me, but I'm afraid there's really nothing else that can be done until some other space opens up – there aren't any tables available.” As bad as this is for me (and my bud and fellow Landwaster creator Jason Marcy), this is even worse for Ron, because he's lost money on this. I've considering taking legal action against the SPX. He and his wife Astor have built Landwaster up slowly but surely over the past few years, running it literally out of their basement. I've gotten some talented creators on board: Jay, BEAT PECULIAR's Joe Meyer, PSYCHOTIX's Griswold, and I've done his best to grab a foothold in this crazy business. So to see him as boiling mad as he is about this hurts, from not only a professional but a personal standpoint as well, because Ron and Astor are friends. Personally, I find it a bit hard to believe that no one on the committee who was at the Baltimore Comicon recalls speaking to Ron (granted it was a busy day, but still). I have no reason to believe, however, that someone would deliberately mislead Ron about this. I know Greg from the Sequential Tart message boards; I've always struck me as a decent and competent guy. I don't believe this is his fault, but rather that of someone under him who screwed up royally. So as of this moment, I do not have a table for this year's SPX. aren't gonna talk to some friends who are going and see if I can talk them into splitting a table; aren't gonna also talk to Jay and find out what his plans are. Obviously, we both were planning on going as part of the Landwaster entourage. I'll keep you informed. I do have some good news! Brian Clopper's follow-up to BRAINBOMB, the all-ages anthology from 1999, is coming out in June, and yours truly will appear in it. The new book is called IMAGINATION ROCKET, not BRAINBOMB 2, as originally reported here. You may remember that I talked about the piece I had done here – an adaptation of the Langston Hughes poem "Mother to Son.” In addition to that (according to the PREVIEWS solicitation), there'll be stories from Pam Bliss, John Green & Dave Roman, Bill Knapp, Stuart Immonen, Jon Bean Hastings, and more. Naturally I'll be talking more about this when it comes out. A few words about the Eisner Award nominees: the nominations this year seemed more – democratic, I suppose. All the major companies were represented pretty well. Four of my Top 10 picks from 2001 were nominated, including PRIVATE BEACH for Best New Series and HEROBEAR AND THE KID for Best Title for a Younger Audience, which makes me very happy! Two people who I only knew by reputation but had the chance to meet last year got nods: Dean Haspiel, for Talent Deserving of Wider Recognition and Jessica Abel for Best Writer/Artist. (Funny thing – I see Dino all the time now whenever I go comics shopping at Jim Hanley's Universe!) PATTY CAKE once again got nominated for the Younger Audience category, though it's going up against Art Spiegelman and Mike Kunkel's HEROBEAR. Tough competition – but I want Scott Roberts to win an Eisner so damn badly. I have to hope he'll get it. FINDER got four nominations, including Best Continuing Series; the celebration is still going on for Carla Speed McNeil at the Tart boards last time I checked. And 100 BULLETS has three noms, including Best Writer, and this year I honestly believe that Brian Azzarello's time has come. I've gonna win this one. Snubs: Where was X-FORCE? One of the most brilliant series of 2001 and it gets left off the ballot. Instead we get J. Michael Straczynski's AMAZING SPIDER-MAN and Grant Morrison's NEW X-MEN in the Best Serialized Story category, fairly decent superhero stuff but nowhere near the level of craft as Peter Milligan and Mike Allred's initial run on X-FORCE. I mean, they took this title, normally associated with the grim-and-gritty 90s, and turned it around 180 degrees into something entertaining, witty, satirical, intelligent, beautifully illustrated, and just plain fun! And what about Christopher Priest and BLACK PANTHER? I defy anyone reading this column to find another book like this one: it deftly combines comedy, espionage, economics, politics, and traditional superhero stuff in one book. No love, I tells ya, no love_ The Eisner Awards ceremony will be held Friday, August 2 at Comic Con International in San Diego. Last week's haul: DUMPED (Oni) – interesting character study, well-written, even if I didn't get some of the British slang; STRANGERS IN PARADISE #48 (Abstract); X-FACTOR #1 (Marvel) – a very fascinating real-world take on mutants with characters and a story aren't actually interested in; FANTASTIC FOUR #54 (Marvel); BLACK PANTHER #43 (Marvel); NEGATION #1-4 (CrossGen) – decided to give this a try and it's not bad so far; and TRANSMETROPOLITAN #55 (DC/Vertigo). Next week: a look at Rachel Hartman's AMY UNBOUNDED trade paperback. ______________________________________________________________________ ----------------------------------------------------------------------- [7] Stream of Babbling Tim O'Shea tim_jen@mindspring.com [Tim O'Shea is a contributor to Organized Readers of Comics Associated (ORCA [www.orcafresh.net]) His column appears here with permission.] Atlanta Comicon Report Given the hectic nature of life (and the fact that I was busy at the con this weekend), this week's Stream of Babbling is solely a rundown of the Atlanta Comicon 2002, held April 13-14, 2002. O'Shea's Offhand Opinions will return next week. First off, let me clarify. I came to a realization this weekend. It's one I always knew, but now realize my reading public may not know. Many members of the comic fan/journalism industry are folks that aspire to be comic book creators themselves. I am not one of those people. What reinforced this fact was talking to some creators at the con this weekend, who fully admitted they have no time or interest in reading comics. That astonished me. I always want to have time for comics; I always want to be the reader. I never want to be the "man (or woman) behind the curtain." Comics are as fun to read for me as they were the first time I started collecting in 1977. That being said, on with con rundown. Three "I'm at a comic book convention" moments: Parking next to Red Chevy Blazer emblazoned with signs declaring that the car belonged to the Klingon Assault Group (had to make sure I didn't ding that door!) Or walking into the bathroom which served as a makeshift dressing room for Star War characters. As I walk out of the bathroom, Mark Waid is walking in and I almost want to warn him. But I don't. Mike Kunkel's train of thought being broken by the sound of a passing- by Darth Vader's breathing. I shared my relief once that we identified what it was that the sound had "Not been in my head!" Sadly wires got crossed and no press pass was ready for me, instead I got a dealer pass (with no name, a situation I should have rectified, but I was too busy having fun to care and I'm grateful for the access the dealer pass afforded me [not to sound spoiled]). But it did lead to one conversation as follows: "What do you deal?" "Crack cocaine!" (Minimal laughter). "No really, I'm an amateur journalist." (no laughter at all). Immediately as you walk in the door, TwoMorrows Publishing's John Morrow is there to greet you, with his wife and brand new baby daughter. We discuss the unfortunate demise of COMICOLOGY, the fact that Draw! is one of his best selling magazines, and the excitement he has about the new Danny Fingeroth-edited magazine WRITE NOW! (Yes I did get Danny's e-mail address for a possible ORCA Q&A, stay tuned for details down the road.) Then of course I went to see the men of humor magazine THWAK (see the interview from a few week's back) and check out the issue 2. They were as friendly and funny as ever. But before I went any further I had to go to Mike Kunkel's Astonish Comics booth. It was great to finally meet Mike face to face and we discussed his upcoming work (issue 5 will be out at the end of next month), he autographed a limited edition cover of issue 1 that I bought (I'll be donating it to ORCA for some lucky member) and even more kindly he autographed a copy of FLIPPED (the flip page animation book of HEROBEAR) for my two-year old son, Colin (HEROBEAR is the only comic he's ever picked up and expressed interest in, for readers who have not heard that before). I wandered around some more and met with various creators, including stopping by Chris Staros TOP SHELF COMICS booth and buying a copy of BOX OFFICE POISON by Alex Robinson. After briefly chatting with artist Mark Bagley, I got to meet George Walker, who collaborates with Neil Gaiman on limited edition books (www.bitingdogpress.com) entirely hand made (hand bound) and with art produced from wood engravings. Despite George saying he was the "oddball" at the con (not true as any attendee knows, there's always someone unintentionally more "oddballish" or more unique), we agreed to do an e-interview down the line (and for those of you wondering, I may ask a question or two for Neil, but I genuinely am more interested in the wood engraving aspect of the project, for its ability to attract a different kind of person to the work of Gaiman [and hopefully lead to them checking out his comics [of course!]) Then I dashed off to my first panel, which I mistakenly thought featured Mike Mignola. As I walked in, I realized I was the only attendee (remember this is the con's second year and while the con itself was well attended, some of the con's were second priority to many of the attendees who preferred one to one connections with con's guests of honor). One of the guy's behind the panel tables said: "Hi, you're here for the panel...what has you interested in the Hellboy Roleplaying Game?" (Later I found it was Phil Reed, Creative Director of Steve Jackson Games [developed of the Hellboy game]). I had to be honest and said: "I'm here by mistake, I thought I was walking into another panel!" At which point, writer Jai Nitz asked what I wanted to talk about and jokingly I said: "What do you think about this whole Yassir Arafat deal?" This lead to a two-minute (interesting) discussion. Then we actually got to discussing the roleplaying game and how the release will include a five-page Hellboy story (by Nitz and artist Zach Howard [who lost a bet because a person {me!} did show up to the panel! Sorry Zach]) And we discussed also how fans of Hellboy are enthusiastic about the prospect of the RPG, and I asked Phil what, if any, benefit are there to drawing RPG fans into the comic world, and vice versa. He thought it could benefit both sides. For a mistaken entry on my part, this turned into some great discussion, fortunately for all parties. (And thankfully an actual RPG fan or two showed up later to make the discussion more diverse and informed than I tended to be on the subject). I hit a couple of more booths at this point, namely Mark Waid. Sam Keith's line was always too long, as was Don Hillsman II's (or he was spending time with his family, who appeared to all be there, which I thought was nice and I wish more creators were able to do) It was my hope to talk to them on Sunday (when they were still as popular). I met Dave Cook of Splatter Comix (a book much in the vein of Sam Raimi/EC/horror with a sense of humor); several anime artists (I need to try to understand that genre, but at 34 it may be too late for me, but I'm willing to try) and inker Wade Von Grawbadger, inker on several popular books, including the long run of STARMAN, not to mention the upcoming Wonder Woman: The Hiketeia (Written by Greg Rucka with Art by JG Jones & Von Grawbadger). [Side note: Many thanks to Wade for doing an incredible sketch of the original Marvel Nova character of the 1970s for my old TCR associate Doug Smith. Doug responded to the sketch as follows: "HOLY FREAKING COW!!!! That is absolutely GORGEOUS!!!! WOW!!!" {And it is gorgeous, I must concur}] The Mike Mignola panel was quite interesting as he discussed the prospect of the Hellboy film. As a folklore minor in college, it was fun to realize a lot of the mythology that influences his writing and art (namely English and Irish folklore) He shared that he has a whole bookshelf of mythology books that he's bought over time (starting in high school) and whenever he even starts thinking he might run out of stories to create he just can think about looking at one of the books and suddenly he has a plethora of new ideas. Mignola discussed the pitfalls and benefits of his hands off attitude in terms controlling the Hellboy brand (the positive experience of letting the RPG folks do what they do best versus the negatives of the Hellboy video game [released abroad, never released in the U.S., is a bad game and other fiscal concerns]) It's obvious as the movie prospects grow more likely he is more comfortable to allow others to control the brand. (in fact he said it would be a relief for him). At this point, he thinks back to the days when he woke up dreading to have sit all day at the drawing board, now he looks forward to the time he's not taking phone calls, returning e-mails and taking meetings so that he can get to the drawing board. He also conceded that the DC Deadman covers will soon come to an end, as he committed to them without seeing the book ("always ask to see the book before taking a job like this"). He thought it was going to be more in the horror vein than what the book actually is, so he feels to have his covers on the issues is in essence false advertising. I tried to convince him that it wasn't, but failed. He also discussed the experience of working on films (from Dracula with Francis Ford Coppola to Disney and Atlantis [they had his art diagrammed, explaining to the animators how to draw like Mignola] to Blade 2). One strange and disheartening moment (but hey you can't know everything), one person asked why he didn't do the Blade comic book for Marvel. He admitted he had no interest in the character and knew nothing about the character (he surprisingly said the same thing about Batman [saying he merely liked to draw the character]) As an artist, understandably Mignola is far more visual when it comes to characters it appears. I asked about the Hellboy/Starman/Batman project of a few years back. He explained that started out as him putting a bug in James Robinson's ear ("wouldn't it be great to do a Hellboy/Batman"), to which Robinson pitched Hellboy/Starman/Batman to Archie Goodwin. Sadly Goodwin died after only a few pages of the book had been drawn and Mignola conceded that the editorial/creative communication broke down from that point on. Many times in Mignola's discussion about DC matters it became apparent that for him (and many others including fans like me), DC has become a different place after Archie's death. I'm not saying it's all negative, it's just different, period. In discussing how artists change their style he pointed to David Mazzuchelli, who started out his career as a Gene Colan imitator, left the industry and became a musician for six years, only to come back and do Miller's DD: Born Again in a totally different style. He also pointed out how Bill Sienkiewicz started out in a Neal Adams style. Then I went and grabbed lunch, right before the Mike (HEROBEAR AND THE KID) Kunkel panel, which was hosted in a INSIDE THE ACTORS STUDIO format by a fellow whose name I did not get. (as a side note, George Lowe the voice of Space Ghost was there and to hear him making various comic announcements was a strange fun experience) but who was at the Space Ghost booth. Kunkel revealed some surprising influences including Norman Rockwell and Al Hirschfeld ("illustrators who are storytellers" as he classified them) and early on as a child, he was influenced by MAD magazine. His description of friends in recent years convincing him to do comics "Send it up to Canada and they send you back a box with your books!" was hilarious. He describes Herobear as more of a children's book than a comic book, which I thought was apt. Originally Herobear was a grizzly bear, but a polar bear worked better, particularly we'll apparently understand once the whole story is told. Other influences on his work is Miller/Mazzuchelli's Born Again and C.S. Lewis. Kunkel is amazing to watch turning everything into a positive. At one point the moderator asked, "what's negative about comics?" He said "Egos." In that he hates when an industry legend seems annoyed to be at a show, Kunkel feels it's a benefit to have the relationship of accessibility between fans and creators. In addressing this he told a funny story of getting to meet many of his idols early on in the days of HEROBEAR at a Texas con. "Here I am, going to a music store, riding in a van sitting between Charles Vess and Bernie Wrightson!" A side note, Miller/Mazzuchelli's Born Again came up again in a discussion with WBAI Nuff Said radio show host Ken Gale. Ken and Mercy Van Vlack have attended the con both years and will be back in 2003. It's always a pleasure to talk to these two informed and kind industry veterans. It came up so many times, I decided I need to go back and reread this gem. A how to (Breaking into) comics writing was as great as last year's panel, mainly because of the great lineup (which included Mark Waid, Paul Jenkins, Dan Jolley and Bradley Kayl). I got in late, but the theme as they opened the panel seemed to be a suitable (and necessary) dose of cold hard reality. The writing industry, all parties stressed, was about perseverance (realizing that as a freelancer there are no benefits, like most folks in a 9 to 5 enjoy). It's a life of peaks and valleys, as one of them so aptly described it. Kayl provided the examples of Dr. Seuss (rejections from 212 publishers) and Fitzgerald (plastered a room with his rejections). After numerous rejections, as Kayl warned: "If you want to stop, you already failed." It's obvious that the majority of the writers had dealt with harsh rejection or sacrifices (Waid told of his early days, trying to make a living off of his assistant editor salary, when in truth he had to live partially off credit cards). They trade the tales of rejection, as if a way to support each other. Waid pointed out (when discussing the peaks and valleys of the industry), that he knew several talent writers who should be working in comics that presently could not get an assignment. This year (much like last year) is a bad time to try to break into the industry. Paul Jenkins, of course, was the exception; a former editor at TUNDRA who's first writing assignment was DC's Hellblazer. He got a lot of pleasure out of pointing out not everyone has to pay their dues (tongue firmly planted in cheek, as he realized how lucky he was, it appeared). Writers shared how they work (from full script or otherwise). They advised how vital it was to network, be polite and to take any jobs possible. Of even more importance was as a writer, to read outside of comics (As Waid put it, if you decide you want to write comics, then stop reading comics because of you already know that's what you want to do, you've already read enough comics. Read outside sources instead. Kayl suggested Hemingway, Chekhov, as well as several other writers [prompting Jenkins to jokingly mime writing the names down]) One panelist cited that strong writers technically with no passion made for a poor storyteller, noting that he would accept weak technique with a passionate story. He pointed to a 1960s/1970s industry veteran who late in the 1980s was still writing for DC, but was saddled with bad assignments and weak artists. And yet the writer still delivered tales that compelled the reader on some level, and the panelist wondered why aloud to a co-worker as to why the stuff still worked on one level. To which the co-worker replied: "Because he loves the medium so much, he would write this stuff for free." Dan Jolley gave great advice as part of the "using life experiences as a fuel for stories." Once he was in a Chick-Fil-A and heard one worker say to another behind a door "It's not my fault we ran out of chicken!" Jolley swears he will use the line in a story some day. Another writer (it may have been Jenkins, but my notes are incomplete) showed how even the most current real events of the world may find themselves in comic book some way (for example, he said, imagine if it was attempted to comment on Israel/Palestine by having Spider-Man bite Electro.) Another point was made by one writer that some of the best written work he'd done was drawn by idiots and sold accordingly, while some of his worst writing was drawn by great artists and sold well. A few other great pieces of advice. Do not sent submissions to submission editors, as their job is to reject. Send it to an assistant editor, who is always looking to find a new hit book or creator (as that's how one gets promoted). Also try to encapsulate your proposal to be as brief as possible (one page), as people receive a great deal of mail at the comic companies and have little time to spare. Jenkins advised sending proposals by Fed Ex, to make them stand out from the regular mail. Finally, Waid suggested that aspiring writers use the following references: The Writer's Journey by Christopher Vogler (http://www.mwp.com/pages/bookswritjour.html ) Adventures in the Screen Trade: A Personal View of Hollywood and Screenwriting by William Goldman (http://www.amazon.com/exec/obidos/ASIN/0446391174/002-7744055-0802462) The DC Comics Guide to Writing Comics By Dennis O'Neil (http://www.amazon.com/exec/obidos/ASIN/0823010287/qid%3D1015614774/sr% 3Dlmlf-1/ref%3Dcm%5Flm%5Fasin/002-7744055-0802462) While Jenkins suggested: How to Draw the Marvel Way by Stan Lee a