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IGNITION Sci-Fi Graphic Novel – The Outerhaven

Comic book and graphic novel publisher ABLAZE takes readers on an astonishing galactic journey to the heart of a mythical and folkloric word, transformed into a captivating space opera… in the Filipino way, by announcing the acquisition of MYTHSPACE: IGNITION and the launch of a Kickstarter campaign for its publication.

MYTHSPACE: IGNITION is a 6-story graphic novel collection exploring a universe where ancient tales and folk creatures from the Philippines – Tikbalangs, Kapres, Manananggals – were inspired by real extraterrestrial civilizations. From a young man’s journey into myth, to a Kapre war, to the coming of age of a Manananggal, these stories (now depicted in full color) will take readers on a
unforgettable journey both strange and familiar.

The collection was edited and written by Paolo Chikiamco and features stories from a cadre of acclaimed Filipino illustrators including Koi Carreon, CR Chua, Borg Sinaban, Jules Gregorio, Paul Quiroga, and Mico Dimagiba.

Mythspace: take off with Koi
Monsters are myth and aliens are fiction – that’s what Ambrosio Magkalas believes, not his crazy Lola stories about Nuno and Kapres riding robots from space. But now she’s dead, and Ambrosio is about to learn that she wasn’t so crazy after all… Artwork by Koi Carreon and lyrics by Paolo Chikiamco.

Mythspace: Black Mark with Paul Quiroga
A story that gives readers a glimpse into the shrewd Nuno’s restless society, where political fanatics (who tint their skin to signify party loyalty) have the government in a persistent state of stalemate. Yet legend has it that there is a faction that transcends politics: the legendary Black, a task force authorized to take extreme measures to protect Nuno society. Helmless Mang, an outcast on his home planet, is about to discover that black people are both more powerful and more terrible than the stories would have you believe… Art by Paul Quiroga and lyrics by Paolo Chikiamco.

Mythspace: Devourers of Light with Jules Gregoire
The reasons for the age-old hatred between the Kapre and the Laho are revealed in this tale. At a turning point in history, the Laho lead an inter-species alliance to punish the Kapre for breaking a galaxy-wide taboo…but when Apex Supreme Barkarilkarilmon loses patience with the other races, the Laho take independent action – with disastrous consequences for the Kapre race. Art by Jules Gregorio and lyrics by Paolo Chikiamco.

Mythspace: Uncommon land with Mico Dimagiba
It’s hard being a detective on a planet of shapeshifters. But Inquest Haskra’s life takes a turn for the worse when he is hired by a Laho to find a missing gem to prevent the outbreak of civil war. But does Haskra really want to help a member of the race that destroyed his home planet? Art by Mico Dimagiba and lyrics by Paolo Chikiamco.

Mythspace: humanity with CR Chua
In a galaxy where humans have no rights, Danny and Marta work as slaves in the mines of Kataw. But when they are miraculously saved by something out of legend, they must decide what freedom means to each of them and what they are willing to pay for it. Art by Cristina Chua and lyrics by Paolo Chikiamco.

Mythspace: Spreading wings with Borg Sinaban
Ri-En, Books and Zu are orphans who earn their living in the slums of an aging space station, under the protection of their mentor, Ka-Ang. But Ka-Ang’s health deteriorates, and the three friends hatch a desperate plan to save him – one that puts them on a collision course with the station’s worst criminal gang, as well as one of the fearsome and immortal “Sixths”. Art by Borg Sinaban and lyrics by Paolo Chikiamco.

To support the project, go to the Kickstarter page here: https://www.kickstarter.com/projects/223713900/mythspace-ignition

Source: press release

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Disney’s Avengers Campus Honors Marvel Legend Stan Lee

While Avengers Campus – a heroic attraction within Disney California Adventure Park – is already a tribute to the Marvel Cinematic Universe, the park has now incorporated a plaque to officially commemorate the legacy of prolific Marvel Comics creator Stan Lee.

Disney Parks unveiled the commemorative plaque on Twitter, sharing that visitors can find it near the Avengers campus at California Adventure Park in Anaheim. The latest addition to the park is adorned with a quote from Lee that reads, “That person who helps others just because it should or must be done, and because it is the right thing to do, is indeed without any doubt a true superhero. This same quote was used as a dedication to Lee in Spider-Man: Into the Spider-Versewhich featured one of the comic book legend’s final film cameos.

RELATED: Marvel’s Agents of SHIELD Coming to Disney+ in Mid-March

Lee’s plaque outside the Avengers Campus celebrates 100 years of True Believer’s legacy and influence in the comic world. Before the 95-year-old writer passed away in 2018, he had the opportunity to star alongside the characters he co-created in a series of beloved cameos. Despite his absence, Lee’s presence still looms large in the upcoming installments of the MCU. Spider-Man: No Coming Home was the most recent project with a planned homage to Lee incorporated into its script.

Opening in summer 2021, California Adventure’s Avengers Campus includes a Ant-Man and the Wasp-inspired restaurant, not forgetting the inspired rides Spider Man and guardians of the galaxy, among other attractions. Lee isn’t the only legend honored by Avengers Campus, mind you. Near guardians of the galaxy stroll, visitors might notice bizarre multicolored patterns adorning the floor. These are based on “Kirby Krackle”, a visual technique pioneered by the late artist Jack Kirby, who was instrumental in Marvel’s success. Still, Lee’s dedication to the park gives visitors a moment to reflect on the legacy of the comic book creator to whom the MCU owes so much.

Doctor Strange, the reality magician created by Lee and the late artist Steve Ditko, takes center stage in the upcoming MCU film, Doctor Strange in the Multiverse of Madnesswhich is due to hit theaters on May 6.

KEEP READING: Disney+ is officially the streaming home for Daredevil, Jessica Jones and more

Source: Twitter

Why Batman, the World’s Greatest Detective, Couldn’t Find a Child

About the Author

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Indie Comic The Unearthians is developing a live-action adaptation

Moras Productions and the Kaczmarek Digital Media Group announced earlier this month that they had reached an agreement for KCMG to portray the acclaimed 2019 comic book series. The Unearthians. Omar Mora, owner of Moras Productions, is the creator and writer of the original 2019 comic, which launched at Comic Con International in San Diego in 2019. The 12-issue maxi-series drew positive reviews, including on Comic Book Resources. ‘ list of the top 10 independent titles of this year. KDMG represents original concepts for TV series and movies, working with decision makers from major digital retail platforms including Amazon, Netflix, Hulu, Hallmark Channel, BET Network, Starz Network, and more.

Moras Productions is an independent Los Angeles-based production company focused on movies, TV series, and comics. The announcement was unclear, but it seems likely Mora will write the script for the adaptation they’re buying.

“I’m thrilled to have KDMG in our corner. They can open great doors for our story. I can’t wait to start pitching our series to studios and big streamers. I already have plans for three seasons and But I don’t want to get ahead of the curve, I just want to secure Season 1. It’s always good to be prepared,” Mora said. “I really like our story. It’s a new take on vampirism, where they come from and what happens when they interact with extraterrestrial beings. I can’t wait to see it in action and share it with the world.”

You can see the official synopsis of The Unearthians below.

The Unearthians is an original sci-fi story where good versus evil clash for a greater cause and an unconventional team comes together to fight fascism and the powerful. An action-packed sci-fi tale, two best friends are abducted and transported to an underground base somewhere on earth. During the abduction, Mateo and Carter set out to uncover the truth when they discover the dark agenda the aliens have in store for not just Earth, but the entire galaxy. With the help of other beings – Naurax, Ecraptor and Flex – they decide to fight this injustice. But Mateo and Carter also have a secret of their own, which they will use to their advantage; a secret the aliens never saw coming – they are vampires.

Things are still in their infancy, with no clear indication of how close a deal is, or even if they’re aiming for a feature film or TV adaptation.

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RIP Miguel Ángel Sanjurjo, creator of JIBARO SAMURAI and Puerto Rican giant of independent comics

It is difficult to determine the exact moment when I met Miguel Angel Sanjurjo, ‘Guelo’ to his friends. It’s hard because he was so ingrained in Puerto Rico’s indie comic scene, so present, that he feels like he’s always been there. Like I always knew he was there. That’s perhaps the best way to describe Sanjurjo’s place in our comic community: a constant supporting presence that’s impossible to separate from the very idea of ​​comics on the island.

Simply put, Sanjurjo was a loud creative force, in your face, and he wanted you to make comics.

News of Sanjurjo’s passing reached his fans and friends on February 15.and2022. His domestic partner Carmen A. Gagot Velez posted the announcement on social media, briefly commenting on Sanjurjo’s recent health issues.

Sanjurjo cemented his comic book legacy with the hugely popular Jibaro Samuraia series he released under his own imprint titled Algaro Comics. The comic’s first issue came out in 2007 and ran for over 10 years in a sort of interconnected anthology format that featured stand-alone stories about Goyo Gotay, a Puerto Rican samurai who fought evil in feudal Japan. The character wore classic samurai robes, but he wielded a machete as a katana, and his headgear was uniquely Puerto Rican: a wide straw hat known as a “pava” (which can also be described as an inverted Chinese coolie or a bamboo hat). ).

Miguel Sanjurjo
Jíbaro Samurai, by Miguel Sanjurjo

Sanjurjo liked to inject Puerto Rican phrases and words into his story, which made his version of feudal Japan very Creole (Puerto Rican only). Every time Goyo unleashed one of his signature attacks, for example, he shouted “Yuca Slash!”, referencing a type of food readers would immediately recognize as their own.

Goyo was accompanied by a martial arts-trained goat called Mofinga (a play on the word “mofongo”, another staple of Puerto Rican cuisine made from green plantains). Together they would fight characters like Dracula or aid in the misadventures of Don Quixote and other pop culture figures. Sanjurjo often turned to literature to find characters that would test Goyo’s skills while enriching the world he was sworn to protect.

Each Jibaro Samurai The story attempted to top the previous one, with alien invasions and literary icons coming to Goyo from all sides. Being a particularly self-aware type of story, not a single page was without a comedic element adding to the flavor. In fact, it’s what kept the action fast, kinetic and explosive. It was obvious that Sanjurjo’s artistic style in Jibaro Samurai was inspired by the classic cartoon samurai jack and it captured the spirit of this show in terms of action. The story, its humor and its heart, however, were all Sanjurjo’s.

Goyo Gotay from Jíbaro Samurai

In addition to this comic, Sanjurjo has also worked on individual artworks featuring experimental geometric form similar to that seen in stained glass art. Well-known fictional characters and popular Puerto Rican figures and symbols were among his most impressive, though his abstract sci-fi/fantasy pieces had a sense of eerie wonder that made them a delight to dissect.

I had the opportunity to interview Sanjurjo as part of my Puerto Rico Comic Con ’19 cover for cartoon beat, an event he has never missed (having one of the most eclectic stands on the floor each year). He offered one of the smartest and most practical advice I’ve heard for new comic book creators: publish your work but never forget to socialize and make sure you produce as many one-shots as possible. in the beginning.

Sanjurjo was adamant about the importance of showing up to conventions, the necessary task of talking to people and offering help in the community building process. On top of that, in terms of self-publishing, he’s always said it’s better to come up with stand-alone stories that showcase your ability to tell a story from start to finish rather than starting a series that you don’t may not be able to continue later, for whatever reason.

It’s advice I’ve given repeatedly whenever I’ve spoken to creators at indie conventions, always quoting the man who invented it. This desire to create comics and build a community of creators has always been at the forefront of Sanjurjo, and he has conducted himself in accordance with this vision.

By Miguel Sanjurjo

Sanjurjo was a towering figure who embodied the kind of knowledge and authority we should all aspire to project, the welcoming and collaborative kind who is as invested in creating culture as it is in building strong, lasting bonds. The Puerto Rican comic community is losing one of its strongest and most supportive voices for Sanjurjo, and that loss will be felt, but the work he did and the advice he gave will remain. . That’s the thing with giants, they leave quite a footprint behind.

Descansa en paz, Guelo.

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Stan Lee’s incredible love affair with his wife allowed Spider-Man

Like the other characters he drew, she did not exist. Or at least he didn’t think so.

The story that followed was told by Father Willy Raymond, president of Holy Cross Family Ministries, who heard Lee tell the story at a Hollywood luncheon about seven years ago. (Over the years, the comic book king has told versions of this story to dozens of journalists, with small variations.) The Catholic priest was then national director of Family Theater Productions, a faith-based film studio established in 1947 by Father Patrick Peyton. , which is now considered for sainthood.

Father Willy was there as a guest of his friend Adam Jablonski, whose wife had placed the winning bid for lunch with Lee at a charity auction. Jablonski, a big Lee fan, was there with his son Kevin. While eating salads at a posh Los Angeles bistro on Sunset Boulevard, Lee mentioned his wife, Joan, prompting a question about how long his marriage lasted.

“Oh,” replied Lee, “I’ve been married for 65 years to the most beautiful woman in the world.”

The comic book storyteller then told the unlikely story of how the two met. He described his post-war habit of drawing the woman of his dreams, with vibrant red hair, sparkling eyes and plump lips. He worked on the drawing every day, doing minutes improvements to his face.

Then, one day in 1947, his best friend saw the drawing. “I know her,” he told Lee, who replied that the sketch was not of a real person. “No,” insists his friend. “I know where she lives. It’s a hat pattern.

So Lee got her address and went to meet the girl of his dreams the next day. “Before me was the most beautiful creature on God’s earth,” he told the three men at lunch. “Then when she opened her mouth and spoke in a singsong British accent, which I loved, the first words that came out of my mouth were, ‘I’m going to marry you.'” (In other versions of the story, it was a cousin and not a friend who connected them, and it was Lee himself who decided that she looked like his drawings. It wouldn’t be out of place for a master storyteller to move a few details here and there to make an impact.)

Of course, since this was real life and not a fantasy sketch, there were some complications. For one, Joan was married to someone else at the time. She later admitted in an interview that her first marriage was a “big mistake” and that she was ready for a divorce when Lee proposed.

The other snag was that Lee wasn’t the only suitor. Other men had made clear their intention to marry a soon-to-be single Joan. When she flew to Reno for the divorce, Lee said he needed to maximize his chances by being there with her. An hour after Joan was released from her first marriage, she said “yes” to Lee in a ceremony presided over by the same judge who granted the divorce.

While it may not be your typical romance, theirs was enduring: The pair were married for 69 years – until Joan’s death at 93 in 2017. (Lee died a year later at age 95.)

And for superhero fans everywhere, that was crucial. Joanie inspired Mary Jane Watson, Peter Parker’s first love in the Spider-Man saga. More importantly, she persuaded Lee to hold his own in the comic book business.

In 1961, Lee was ready to quit in frustration. He didn’t feel the love of his editor, Martin Goodman, who insisted on “lots of action, lots of fight scenes, not too much dialogue,” he recalled in a 2017 video interview with Marvel Creative Director Joe Quesada. Lee preferred witty jokes and compelling characters in his comics.

“Why don’t you make a book the way you want to make it?” he remembered Joanie telling him. “The worst that can happen is that he fires you, but you still want to quit. At least you will have him removed from your system.

So Lee did just that. He worked with freelance artist Jack Kirby to create the Fantastic Four comic book, which sold like boxes of chocolates before Valentine’s Day. With that, the Marvel Universe was booming. Lee and Kirby created new titles almost at will. Iron Man. The Incredible Hulk. Thor. Daredevil. The list goes on and on.

“[Joan] gave me the best advice in the world,” recalls Lee, then adds with admiration: “She is responsible for my universe.

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Raising Dion Season 2 Locks Down Black Struggles

Raising Dion Season 2 spoilers follow

An evil Crooked Man stalking a superpowered 10-year-old doesn’t seem like the most natural breeding ground for exploring the Black experience, but that’s what Raising Dion is. Amidst the chaotic world of a propelled boy and a single mother’s journey to raise him, there’s a lot to unpack.

Creator Carol Barbee does a brilliant job of barely veiling heavy background with three-dimensional heroes and villains, cool powers (who didn’t want to teleport or set things on fire?), friendship goals and just a little romance.

Yet if you lift, just a little, beneath all the glare, you get real black struggles portrayed through the lives of powerful people and the dynamic between the haves and have-nots.

“Thinly” is a pretty apt way to describe his approach. Right off the bat, season two draws parallels between casual racism and instinctive comments and reactions to powerful people in the most unexpected ways.

netflix

Alisha Wainwright’s Nicole Warren has spent the past two years learning to adjust to life with a motorized child. Learning to embrace it and protect it doesn’t stop it from making a classic though. faux pas when she meets her son’s motorized trainer, Tevin (How to Get Away With Murders Roma Flynn).

His dislike of his powers is evident despite the fact that he uses them to protect her – albeit milk spray from a broken cappuccino maker, but still. The smell of stale milk is not exactly eau de parfum.

The blunt tone she uses and the deadpan look she gives Tevin while saying, “You’re energized,” leads Tevin to ask, “Did it just get cold in here?” then, “[Have] do you have something against powerful people? »

Nicole tries to tone down her response by saying, “I like powerful people” (Oh boy, here we go), prompting Tevin to say, “Yeah, some of your best friends are powerful.”

Sound familiar? If you’re unlucky enough to have had a similar interaction, your insides probably just recoiled. Flashbacks of someone doing something mildly to overtly offensive and covering up their actions with “It’s okay, my best friend is black.” (Warning: this is never acceptable and this phrase should be banned.)

Fortunately, Nicole manages to make amends for her transgression so that we can forgive her and start loving her again.

However, the similarities do not end there. Barbee uses evil Biona employee David Marsh (Josh Ventura) in a subtle way to illustrate a huge problem facing the black community.

ja'siah young as dion, sammi haney as esperanza, raising dion season 2

netflix

Right from the start, there was something uncertain about David. His dishonest smile didn’t help, but his eagerness to exploit powerful people by finding a way to exploit their gifts didn’t make the best first impression.

He tries to pass it off as a humanitarian act with cliched lines of “ending hunger”. His true intentions were further revealed towards the end of the season when he wanted to monetize them for his own financial gain.

Harnessing the gifts and talents of the black community without fair compensation has long been a source of contention. You only need to lift the lid to find wage disparities piled atop a list of grievances stretching back to the plantations.

However, he gets his reward. Rebuffed by Biona and staring unemployment in the face felt like satisfying justice. However, his new partnership with Crooked-Man Pat could see him rise once again. Only season three will tell.

Closer to home is the conversation between Nicole and her sister Kat (Jazmyn Simon). Kat – the doctor – starts the season fresh after a trip to Ghana, quoting phrases like: “Sankofa. It means to go back and get it.

It’s a beautiful reflection of the conversations and accomplishments that are happening right now in the black community. The desire to explore one’s roots for a deeper, more meaningful connection can sometimes seem distant, especially if you grew up or reside in the western world. We see what you’re doing here, Kat.

Kat also brings up the pressures of parental expectations when she reveals that she only became a doctor because her parents wanted her to. Nicole replies, “You were always the good girl.”

This seemingly innocent exchange is layered. This reflects the pressure to succeed and excel academically and to use this education to gain professional employment, as well as the need to please and be obedient and the competitiveness this creates between siblings.

Barbee brings it all together near the end when Nicole suggests that a powerful person take her place as the speaker representative on Biona’s advisory board.

“Decisions are made and it doesn’t matter who’s in the room,” Nicole says, asking teenage Janelle Carr (Aubriana Davis) to step into her shoes.

The importance of controlling your own narrative and being present so that changes can be made to benefit your community is so integral to the fight for equality. Barbee is demonstrating that beautifully right now.

In fact, his approach to the show as a whole was a natural way to infuse mainstream media with heavy but necessary context, finding a way to entertain and educate all in one.

alisha wainwright as nicole warren, ja'siah young as dion warren, raising dion, season 2

netflix

This isn’t the first time she’s used the show to talk about the hardships facing black people. In season one, Nicole has a heart-to-heart with Dion (Ja’Siah Young) where she discusses racism.

“Sometimes other people are going to be scared of you,” Nicole tells Dion.

“Because I have powers?” he asks.

“No, it’s not about powers. It’s about people treating you differently because of the color of your skin.”

It’s a huge concept for the then eight-year-old to grasp, but a necessary discussion that needs to take place. We saw this evolve in season two where Nicole became fiercely protective of Dion, worried about real-world threats as well as the supernatural.

Barbee’s desire to post various issues echoes the intent of comic book creator Dennis Liu, who wrote the original content from which the show is adapted. In an interview with Deadline, Liu said, “I started this project many years ago because I wanted to see more diverse representation in film and television.

“More than ever, we need more stories told from different perspectives and my hope with Raising Dion is to create a cinematic experience for all families that will lift your spirits and make you laugh and cry.”

Raising Dion season two is available to stream on Netflix now.

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Bad Blood Reveals New Cover, Gets Comic Book Release

the Deadpool: Bad Blood graphic novel is making a return to comic book stores this spring. Deadpool creator Rob Liefeld teamed up with writers Chris Sims and Chad Bowers to deliver Deadpool’s first original graphic novel in 2017, and now the action-packed story is making a comeback as a miniseries. serialized comics. New prints available in April will include new cover art from Rob Liefeld, who transformed the Merc With a Mouth from a popular X-Men and Marvel Comics character into a feature film superstar played by headline-grabbing Ryan Reynolds. of two tentpole films with a third in the works from Marvel Studios.

“I don’t know which call was better, the one from 2017 when Marvel told me DEADPOOL: BAD BLOOD was the #1 graphic novel of the month or the call from last month when Marvel told me they wanted to break the 100 pages down into a mini-series for an audience that might have missed the first time!” Liefeld said. “Deadpool! Cable! X-Force! Kane and Thumper’s debut! This is my favorite work, a personal work, and I’m so thrilled that we’re releasing it in a brand new format! Get it on hand in April !!!”

ComicBook.com can exclusively reveal one of the covers of Deadpool: Bad Blood, which shows Wade Wilson holding a gun in one hand and a sword in the other hand. His signature red and black costume also shows some light damage. We also spoke to Liefeld, who provided details on the graphic novel’s single-issue release.

“You know, it was an idea. Marvel approached me with it, and I was super excited. It made sense. It was five years later,” Liefeld said of Marvel’s decision to to go out Bad blood again. “And the icing on the cake is that I was at my retailer yesterday to buy some books and he said he was going to order it as a new issue one of Deadpool because a lot of people couldn’t afford a hardcover in 2017. And that was music to my ears.”

Liefeld also added what he loved about the story: “It’s still my favorite work. I love everything about it. The pacing, the design, the characters, the coloring, the script, it’s really great. And, so I just think, digging it out and breaking it up into singles is exciting. And when they said, “We want to do new covers,” and of course, because the graphic novel was 100 pages in a row. Now it needs page breaks and new entry points. So it will be, each issue will have new pages making it easier for it to be published in a different format.”

Finally, the creator of Deadpool also revealed new details about its sequel, Deadpool: Badder Blood.

Deadpool: Badder Blood if it were to be released as a single, it’s way beyond the two numbers,” he said. It’s been drawn, colored, and finished for two issues worth the work, and is in Marvel’s hands. The idea is to ride Badder Blood on the heels of Bad blood. And even. I dig it. I really like working with guys. I really enjoy working with everyone at Marvel and the Synergy. And when they want to flip the switch, it’s exciting because when you have something you believe in, it’s even more exciting. A guy said to me yesterday “I love how excited you are about everything.” Well, double for that. I’m really excited for this. You and I are old enough to know that in the 90s when Friends and Seinfeld ruled on Thursday nights, they couldn’t have new episodes all the time, could they? And they had a campaign that said, ‘If you haven’t seen it. This is new to you!'”

The description for Deadpool: Bad Blood reads: “Wade Wilson has been shooting, stabbing and teasing people for a long time. He’s made a lot of enemies. But the one he just can’t place is the brutal Thumper, who can’t stop hating. “Show up out of the blue to pound him into jelly. What’s Deadpool’s past connection to that beefy pestle? Wade has as many clues as you! So he decides to enlist the help of an old friend: Domino. Can he and Domino get to the bottom of things before Deadpool meets his maker again?The answers may lie in a secret mission from years ago that brought Deadpool and X-Force together.

Deadpool: Bad Blood #1 goes on sale April 6, with Deadpool: Bad Blood #2 following April 20.

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Why The Walking Dead Creator Robert Kirkman Is Being Sued For Prime Video’s Invincible

In 2021, Amazon Prime Video launched the superhero anime series Invincible. The series received acclaim from viewers and critics alike while becoming a smash hit for the streamer. Now, Invincible and The Walking Dead Creator Robert Kirkman has found himself at the center of a lawsuit over rights and source material.

In a lawsuit (via THR), comic book colorist William Crabtree alleged that the Walking Dead the impresario sued him to give up his involvement in the popular comic book series. Crabtree claimed that he and Kirkman were the co-creators of the historical comic as he was the colorist for the first 50 issues. The lawsuit alleges that by agreeing to this arrangement, Crabtree lost the opportunity to generate income related to Invincible. Official trial documents allege:

Kirkman falsely told Crabtree that Crabtree’s rights and financial interests in the Work would remain unaffected if he signed the Author’s Certificate and that the document would simply make it easier for Kirkman to market the license to the Work, which which would result in greater benefits for both.

The lawsuit also made allegations about Robert Kirkman’s character, saying that “fraud and deception have become standard business practice for Kirkman” and “apparently where his true creative aptitude lies”.

William Crabtree alleged that he and Kirkman entered into an oral agreement in 2005 that the artist would get 20% of the profits from sales of the comic book and 10% of any revenue generated from any film or television projects associated with the property. Crabtree claimed that he continued to receive payment from Robert Kirkman regarding their deal as Invincible went through two failed adaptations before taking off as an Amazon Studios series. He alleged that the Prime animated series was a turning point because Kirkman allegedly told Crabtree about his participation in the series.

The lawsuit further alleges that he questioned Kirkman about collecting recurring royalties and claimed that the Walking Dead the creator called the payouts a “bonus”. Kirkman is accused of reducing Crabtree’s contributions to “work for hire” status. William Crabtree seeks to regain his status as co-creator and to collect the profits generated by the comic.

This lawsuit marked the second time Robert Kirkman and attorney Devin McRae, who represents William Crabtree, have crossed paths over a comic book. In 2012, Kirkman was sued by artist Tony Moore for similar issues related to The Walking Dead. The two parties have settled their dispute for an undisclosed sum.

After becoming a resounding success, Invincible was picked up for two more seasons with live-action movie possibilities. Of course, the series is one of multiple comedic adaptations by Kirkman, and the Walking Dead The TV universe isn’t going away even as the original series nears its end. As more developments stem from this lawsuit, follow CinemaBlend for the latest.

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MLB items sold for millions at auction

One of the keys to sports economic success is nostalgia. Sure, there are current stars who win the hearts of fans, but there’s always a reminder of a past that was happy or, for some, even better than the present. This is where classic objects, Souvenirs, increase their market value.

It is sure, in 50 years, the peaks Cristiano Ronaldo wore during his real Madrid the game may cost millions; just like the boxing gloves that Canelo Alvarez used as a deadly weapon to destroy rivals, or the Dominican first baseman’s iconic cap Albert Pujol.

In fact, talking about baseball, there have been classic pieces related to past superstars that have been sold at a very high price. Auctions are great fun places to witness the power of nostalgia because, as a fan, how much would you be willing to spend to own some of your MLB idols?

The most expensive baseball memorabilia sold at auction

Babe Ruth 1919 Commercial Contract. When Sultan of Swat move from boston red at New York Yankees, he would never have imagined that the paper he signed to formalize his transfer would be worth it. Actor Charlie Sheen sold this item at auction for $2.3 million. Sheen bought the contract, which is the copy of the Yankees in the 90s.

Jackie Robinson’s 1947 jersey. Being the first African-American in MLB is a powerful reason to consider Robinson an all-time baseball icon. the Brooklyn Dodgers The jersey he wore in his rookie season in 1947 sold for $2.05 million at an auction in 2017.

1927 Babe Ruth Championship Ring. Before this item was sold at auction, the record for the highest price sold for a championship ring was $460,000. However, just like The Bambino did on the field, his Yankees championship ring exceeded established limits with a sale price of $2.09 million, still in 2017.

Lou Gherig 1937 Jersey. Another article from the New York Yankees. The iron horse wore this garment during one of his last elite seasons. A family received the jersey as a gift from George Weiss, a historic Yankees general manager, and sold it for $2.58 million.

Marc McGwire 70th home run. The comic book creator Todd McFarlane paid $3 million for this item in 1999. It was auctioned off by the fan who caught the ball, Phil Ozersky. Unfortunately for the buyer, after McGwire agreed to use steroids to enhance his performance and his record by Barry Bonds in 2001, the price of the ball dropped to $300,000.

Document “Laws of Baseball”. The very beginning of today’s MLB universe began with this play written by Daniel Lucius “Doc” Adams in 1857. Rules such as minimum ball weight and the length of the widest part of a bat baseball were first indicated there. Doc’s creation was sold for $3.26 million.

Babe Ruth 1920 Jersey. Clothing worn by baseball’s greatest player is one of the auction’s top sellers. This one belonged to Ruth in her freshman year with the New York Yankees and was purchased in 2012 by an auction house, which paid $4.42 million.

Babe Ruth “Yankees” road jersey. The best-selling baseball memorabilia item of all time. It was sold for $5.64 million, and it was carried by The big boom during the Murders Row era, a late ’20s era considered one of the best versions of the New York Yankees. What’s amazing about the jersey is that it’s the only time in team history that the word “Yankees” has appeared on the front.

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Fiction publisher

Singapore Shelf: Vampires on the MRT in a new manga


SINGAPORE – In this monthly column, The Sunday Times features seven ready-to-go home books that readers can delve into, with a particular focus on comics this month.

1. Geungsi Vol. 1: Geungsi in the house

By Sean Lam
Comics / Paperback / 296 pages / $ 19.26 / Available here

Stand aside, Twilight. Western vampire lore may be dominated by the scintillating leeches from Stephanie Meyer’s romantic saga (2005-2020), but for Singaporean comic artist Sean Lam, it is the jiangshi of Chinese folklore who reigns immortal.

The reanimated corpse, which hops with outstretched arms and empties its victims of their life force, has become popular in Hong Kong comedy horror films such as Encounters Of The Spooky Kind (1980) and Mr. Vampire (1985), which Lam grew up watching.

Previously based in Los Angeles, he returned to Singapore for a break in late 2019 and was stranded here by border closures linked to the Covid-19 pandemic. He decided to use the time to work on his first local graphic novel.

“I have worked with various publishers and writers over the years, but I had never had the opportunity to make my own book until now,” says the 43-year-old, who is best known for his two-part manga adaptation of Larry Niven. Ringworld award-winning science fiction novel (1970).

Lam, who aspired to be a comic book artist from an early age, moved from Singapore to Japan to intern with a small comic book publisher in his twenties. He was then sought out as an artist by Macmillan Publishing in the United States.

During the pandemic, he wrote, illustrated and self-published the first volume of Geungsi (jiangshi in Cantonese), a horror manga series set in the heart of Singapore.

Shaun, an ordinary employee, takes a sneaky photo of a beautiful woman wearing sunglasses on the MRT, only to find out that she is a geungsi. Infected by her, he is saved by Meng, a slayer, and the two become reluctant allies.

Lam’s geungsi are an amalgamation of Western and Chinese vampire tropes – they drink blood instead of draining energy and are able to move around during the day.

He plans to expand the series to other parts of Asia, with geungsi and killers clashing in Hong Kong, mainland China and more.

If all goes well, he hopes to one day bring his Singaporean vampires to American comic book conventions like Comic-Con International in San Diego.

“I hope to bring this Asian folklore to the West and present it to readers there,” he says.

2. The DKD Once – & – Marvelous


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Fiction publisher

Graphic novelist turns to education to tell the stories of farmers in central Wisconsin


WAUSAU, Wisconsin (WSAW) – Ginseng isn’t just a root, not for the people of central Wisconsin, at least. It’s a story of the people and places where she grew up, binding individuals brought up with her in an eternal knot, like Craig Thompson.

“I worked up to 40 hours a week when I was 10 and was paid a dollar an hour, which in my young brain translates to one comic book per hour.”

He currently lives in Portland, Oregon, but grew up on the east side of Marathon, about 10 minutes from Wausau. He said that while he enjoyed some of the grueling work of pulling weeds and harvesting roots in front of his brother, they both dreamed that one day they would come out of blue collar work, a day to tell stories through comics.

Thompson is now a graphic novelist often drawing inspiration from his upbringing in Wisconsin. He typically writes 600-page graphic novels, but said there was a point in his career when his job in some way didn’t fill the physical labor of a ginseng farm. With Writers’ Block and a desire to create a work of non-fiction, he sought inspiration from his roots. After spending time living in Los Angeles and seeing “Hollywoodians writing about Hollywood people” all the time, he believed there was an opportunity to tell stories of people elsewhere in the country. His mind kept turning to ginseng and all the stories that come with it.

“The pleasure of this project is not that it all comes from my head, you know, it comes from interactions, conversations and interviews. “

In 2019, he started those interviews by chatting with the people he worked for around Marathon decades earlier. He learned that there were not many small farmers left.

“They had all given up growing ginseng around the same time in the early 2000s because the industry had collapsed.”

“It takes four to five years to mature. You have to plan ahead, you have to get the job done, and it’s a tough crop to grow. There are probably less than 150 of us growing it now, ”said Will Hsu, president of Hsu’s Ginseng.

Hsu accepted Thompson’s offer to participate in his “Ginseng Roots” project.

“Favorite part of my story is probably our family history. “

Hsu’s parents, Paul and Sharron Hsu immigrated from Taiwan in 1969. A few years later, Paul Hsu’s mother in Taiwan fell ill; he sent her some ginseng and they believe the root is responsible for his recovery. This led them to attempt to grow ginseng.

Will Hsu grew up doing all the farm chores, such as weeding, spraying pesticides and fertilizers, and harvesting roots. He eventually quit to pursue higher education and began a separate career. At least a decade later, his father was diagnosed with cancer, so he returned to the farm and his father recovered quickly.

Hsu’s ginseng has since grown into one of the best-known brands in the world. As part of the series, he also explained Wisconsin’s central role in a global market, especially Chinese, and the dynamics of global trade.

“You can’t find it anywhere else. So, this is something special about ginseng and something special about being from Wausau, Wis. “

One of the smaller farms still around is a farm known as Vang Ginseng. Chua Vang, the owner and operator, now calls him Abraham Ginseng in honor of his late father, Abraham Ga Yi Vang.

“I grew up doing that, you know. That’s all I know, since I was 8 years old.

Her father was a child soldier, 15, in the Secret War in Laos during the Vietnam War. Vang details his father’s legacy and his partnership with the CIA and his Hmong people during the war in the book. He and his pregnant wife were able to cross the Mekong River to a refugee camp. The two and their new baby, a daughter, were sponsored to come to the United States as refugees and resettled in Tennessee.

The couple had other children there, including Chua Vang, but most of their extended family have been relocated to central Wisconsin. They eventually moved to the area after finding out that ginseng could be grown there.

“’85, I tried, you know you’ve grown an acre at a time and here we are,” Chua Vang said with a laugh.

He said his father’s experience during the war led him to be brought up with great discipline and dedication. So even though the job was tough, and he made her miss his Saturday morning cartoons, he said it shaped his character.

“When my dad approached me and asked me if I wanted to take over or not,” he said it was one of his favorite sections. “I think that part is one of the parts that I love about it and the way Craig drew it, he’s a great artist.”

Chua Vang and Will Hsu said the comic book series medium tells the stories in a unique way that most other methods cannot capture, and reflects many of the lessons of ginseng.

“It teaches you the patience of ginseng,” Hsu explained. “You know, you’ve read a comic and now you have to wait months for the next installment. Well, if you are planting ginseng seeds, you have to wait years before you harvest anything.

It’s kind of like a book, which Thompson says can take years to write and could be a complete failure, but that’s the risk.

“It must be a labor of love because of the kind of inconsistencies and ups and downs, high risk, you know,” Thompson concluded.

There will be a total of 12 comics that Thompson said he would eventually pull together into one great graphic novel. Thompson said he wanted production of the series to be as local as possible, using a publisher in Minnesota and a printer in Eau Claire. The first nine in the series are now available at specialty comic book stores and online through Publisher, Uncivilized, Amazon, Barnes & Noble, and other retail stores.

Copyright 2022 WSAW. All rights reserved.


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Fiction publisher

Islamic comic book content finds growing audience


(RNS) – During a panel in November at the famous San Diego Comic-Con, Sohaib Awan described “Beyond the Forest”, an upcoming series of graphic novels, as “a Muslim Narnia”, referring to fantasy novels written by British author CS Lewis (a series which itself includes a handful of references to Islamic culture).

“Beyond the Forest”, by Noor Yusuf, Tati Nuari and Anny Maulina, focuses on a group of children guided by a supposed “wise woman” who helps the group travel to a mystical land in a magical mihrab – or a prayer niche that points to Mecca. The fantasy series is part of Fictional Frontiers, a new initiative announced at Comic-Con, which aims to support Muslim voices with key roles in the development of creative storytelling.

Fictional Frontiers will launch in early 2022 as a fully digital subscription platform for telling stories that often, but not exclusively, have an Islamic frame of reference. While comics will be a key part of the content offered, Fictional Frontiers also hopes to develop prose, poetry and video.

“Graphic novels are often a way to test new stories and new ideas that are ultimately developed into TV shows or movies; everyone is hungry for great content right now, ”said Awan, CEO of Jabal Entertainment, which is behind this new effort.

The initiative’s first two comics were announced at Fall Comic-Con, including “Beyond the Forest,” which draws on fantasy themes. The other, “MODAL”, a sci-fi series written by Ink and Hack and drawn by Dedy Koerniawan, takes place in the near future, where data is used to micromanage the lives of ordinary people.

As July Comic-Con draws 130,000 attendees to San Diego, the smaller fall event focuses on industry insiders for next year’s developments.


RELATED: UFOs and Science Fiction in Muslim Culture Go Far Beyond “Dune”


Awan, who is both of Czech and Pakistani descent, had no intention of getting into the comic book industry when he came up with the idea for a comic book series. But its unique story of battles between jinn and aliens has caught the attention of one of the major publishers in the comic book industry. When the publisher offered to buy it, the Philadelphia-area lawyer found himself refocusing on his creative endeavors.

Sohaib Awan. Photo courtesy of Fictional Frontiers

“I just knew there would be interests in dynamic storytelling outside of superheroes, wizards and dragons,” Awan told Religion News Service. Awan started the Fictional Frontiers radio show, initially focusing on the Philadelphia area. It has become, as Awan said, “the only weekly radio show in the country devoted to serious discussion of popular culture.”

Awan’s partner in the new Fictional Frontiers initiative also has a background outside of the comic book industry. Sarah Mughal is a literary fiction writer who practices kung fu in her spare time and has experience in creating more inclusive spaces for creative content. Mughal founded #APIpit, a Twitter pitch event in May 2021 designed to draw attention to self-identifying writers and illustrators in Asia and the Pacific Islands. A second event is planned for 2022.

“The entertainment industry has often limited representations of Islam to certain archetypes acceptable to Muslim characters and an overuse of the desert aesthetic as well. Yet most Muslims are not from the MENA region, ”Mughal told RNS, referring to the Middle East and North Africa.

The Pakistani-Canadian writer is based in the suburbs of Toronto. His writings are inspired by the Koranic tradition and are also devoted to exposing the violent history of colonialism.

The duo believe the initiative comes at the right time as the consumer base of comic book stories has diversified. The November panel was reportedly the first since the event’s inception in 1970 to feature Islamic content developed and written by Muslims.

But while Muslim heroes are not yet visible on the big screen, fans of Muslim comics are increasingly finding themselves at comic book conventions, such as the attention-grabbing Muslim women group that appeared at Comic Con. from New York dressed as different Avenger characters.


RELATED: The “Dune” novels are inspired by Islamic motifs and have in turn inspired Muslim artists.


The San Diego Comic-Con 2019 event included a panel titled “SuperSalaam: Muslim Nerds, Geeks and Fandom”. Equally of note was Blair Imani, a Muslim woman who attended the cosplay panel as the character of “Star Trek” Geordi LaForge – with the addition of a hijab.

His costume garnered international media coverage and praise from LeVar Burton, the actor who played LaForge in the “Star Trek: The Next Generation” television series. Imani reported Comic-Con attendees opposite her inclusion of a hijab, but she pointed out that LaForge may have been of Muslim descent, given that the fictional character was born in Somalia.

While Fictional Frontiers and Muslim cosplay may be popular reflections of the growing engagement of Muslims in comics, a number of new initiatives are underway by major studios to bring Muslim actors and heroes to the screen. . Egyptian-American actor Abubakr Ali was chosen this year to play the hero of Netflix’s upcoming “Grendel” series. He is the first Arab Muslim to be cast as a superhero in a major franchise.

Meanwhile, Disney is working on the new “Blade” and “Ms. Marvel” streaming series. Both projects will include significant Muslim talent. “Blade,” which begins filming next year, will feature two Muslim Americans in leading roles – actor Mahershala Ali in the title role and Bassam Tariq as the film’s director. “Ms. Marvel,” slated for release in early 2022, will be the first comic-book-based streaming series to feature a Muslim character in her lead role.



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Book creator

What is ‘Station Eleven’ 2021 about and what is it based on? Book parcel


If you purchase an independently rated product or service through a link on our website, STYLECASTER may receive an affiliate commission.

Now that Eleven station landed on HBO Max, many are wondering what to expect from the limited series. Presented as a dystopian drama, the show is surprisingly different – and much more promising – than many of its genre. So what Eleven station more or less exactly?

Well, believe it from the showrunner himself: “It’s a show about a small group of interconnected people before, during and after a pandemic,” Patrick Somerville recently said. Entertainment tonight, adding that “the fault line at its center is this major disaster.” Again Eleven station is more comparable to shows like Leftovers-another fan favorite on HBO, rather than post-apocalyptic dramas such as The walking dead, because it explores more existential questions about humanity and meaning even in the face of disaster.

If you’re wondering why so many fans think this fictional pandemic show is still worth watching in the midst of our real one, keep reading; we have the feeling that you will be pleasantly surprised to see what Eleven station is really about.

What is Eleven station based on?

Eleven station, a 10-part limited series from HBO Max, is based on a 2014 sci-fi novel by Emily St. John Mandel from the same period. The book, which has sold over 1.5 million copies to date and won the Arthur C. Clarke Award among others, has seen renewed interest in 2020 and 2021 following the events. of our current global crisis. And that’s because the story itself revolves around a fictional pandemic and its aftermath, making HBO Eleven station perhaps the most timely show on television today.

Image: Courtesy of Knopf Doubleday Publishing Group.

Of course, the limited series debuts at a time when its themes are likely to touch quite close to viewers. Yet that doesn’t mean that Eleven station will leave audiences already tired from the pandemic feeling even worse after watching. If anything, critics are touting the series as a momentary balm after nearly two years in our own pandemic. Viewers can start watching Eleven station knowing that the novel itself is rooted in hope despite the difficulties that surround its characters.

“It’s a story where civilization crumbles, but our humanity persists – maybe there is something people wanted to absorb,” author Mandel said. Squire recently. “At the same time, at the start of the pandemic, I remember the difficulty of adjusting to a life of pure uncertainty. I wanted clues as to how this might play out or how it might end. I wanted certainty for the future. Maybe that’s why people asked Eleven station, to try to force us to face what might happen.

What is the Eleven station book on?

Eleven station follows a group of characters navigating the start and aftermath of a devastating pandemic, triggered by an illness known as the Georgian Flu. The novel begins with a production by Shakespeare King Lear, during which a famous actor named Arthur Leander falls dead in the middle of the performance. While his death was believed to have initially been caused by a heart attack, it quickly becomes clear that the actor was one of the earliest victims of the Georgian flu.

The plot follows a whole series of characters who are related – in one way or another – at this very moment. There’s Jeevan, an audience member who tries to resuscitate Arthur and ends up welcoming Kirsten, a child actor who was part of the production of King Lear and is separated from her parents in the process. Readers also get to know Miranda, Arthur’s ex-wife and the creator of a sci-fi comic book, which the following novel and HBO series are named after.

Other figures include members of the Museum of Civilizations and a group known as the Traveling Symphony, nomadic creators who strive to maintain centuries of art and culture in the wake of this global collapse. Their mission indicates Eleven station central theme, which is that living to survive alone isn’t really a way of life at all – and that art and expression, above all, gives us a reason to stay alive every day.

Eleven station is available to stream on HBO Max. Here is how to watch Eleven station online for free.

Our mission at STYLECASTER is to bring style to people, and we only offer products that we think you will love as much as we do. Please note that if you purchase something by clicking on a link in this story, we may receive a small commission on the sale.

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Writer market

Rick and Morty boss opens heartbreaking season 5 finale speech


Rick and morty Writer Jeff Loveness opened up about the inspiration behind Mr. Poopybutthole’s heartbreaking speech in the Season 5 finale.

Based on a short film parody Back to the future, the wacky comic book comedy follows cranky mad scientist Rick Sanchez and his anxious but kind grandson Morty Smith, as they embark on a bunch of interdimensional time adventures.

The Adult Swim animation, created by Dan Harmon and Justin Roiland, aired its most recent episode in September. In his post-credits scene, the recently divorced Mr. Poopybutthole opened up about how the episode allowed Morty to learn more about Rick’s complicated past and openly considered what to do when realizing who was really their loved ones.

Cartoon Network

Related: Rick and morty to make fun of Dune with hilarious crossover

He went on to explain that people generally don’t have as much time as they thought, which left the series on a bittersweet note, according to fans. Now, Loveness has explained how – and why – that moment came …

“I remember specifically writing Mr. Poopybutthole’s monologue on my back, feeling… not at my best,” Loveness recalls in a behind-the-scenes featurette on the Fifth Chapter Blu-ray. “You could tell I was going through a rough time, maybe putting some of my failures in her voice.

Rick and Morty season 5

Adult swimming

Related: How? ‘Or’ What Rick and mortySeason 5 finale twist just changed the series forever

“I just remember being on the couch during confinement, carrying my soul through Mr. Poopybutthole’s voice, and I just remember thinking, ‘Yes. You did. You wrote. something real. ‘”

Just a few weeks ago, Adult Swim confirmed that the show will be back in 2022 – which hopefully means more laughs and potentially devastating thoughts on life and loss are on the way.

Rick and morty Aired on Adult Swim in the US, and on E4 and All 4 in the UK.

This content is created and maintained by a third party, and uploaded to this page to help users provide their email addresses. You may be able to find more information about this and other similar content on piano.io


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Book creator

Marvel comic artist kids demand copyrights at Brooklyn Fed


BROOKLYN, NEW YORK – The heirs to the comic book artist who created superheroes Captain Marvel and Falcon are accusing Marvel of retaining valuable copyrights that should belong to them, court records show.

Artist Gene Colan’s son and daughter filed a counterclaim against Marvel Characters Inc. on Tuesday challenging the company’s ownership of the iconic characters, according to Brooklyn Federal Court records.

“Gene Colan worked day-to-day, in his own premises, using his own instruments and materials, and thus he bore the entire financial risk of creating the [characters] in question ”, indicates the lawsuit.

“[Marvel] attempts to rewrite history by claiming that Colan equipment was “work made for hire” originally owned by … so-called predecessors. “

Patch contacted attorneys representing the heirs of Colan and Marvel Characters Inc. but did not receive immediate responses.

Nanci Solo and Erik Colan, the late artist’s children, are among a group of artists and landowners who have sought this summer to end Marvel’s copyrights in characters including Spider-Man and Thor, according to court records.

The artists brought their claim under the Copyright Act, which allows artists to terminate the assignment of copyrights after 35 years if they provide two years’ notice.

Marvel sued the artists in September, filing lawsuits in federal courts in Manhattan, Brooklyn and Los Angeles, and demanding that termination notices be declared invalid, according to files and reports.

Marvel arguing that the creators were paid workers who had already been paid and therefore were not covered by copyright law, according to legal documents.

But Colan’s heirs contend their father was not a salaried worker but a freelance artist who was underpaid for his contributions, which included purchasing equipment and creating screenplays, the lawsuit says.

They also dispute the contributions and writing credits given to Stan Lee, who they say accepted the credit but did not contribute to the story, according to legal documents.

“Authors have generally accepted unilateral subsidies, preventing them from sharing the success of their works,” argues the lawsuit.

“The results were often supremely unfair, as when a work was found to have lasting commercial value but only enriched the publisher.”

Colan’s characters have made and are making comic book history.

His character Falcon, a man from Harlem who was able to fly and control birds, became the first black mainstream superhero when he appeared in a Captain America comic book in 1969.

Captain Marvel – recently played by Brie Larson in a 2019 film and more to come – made headlines by successfully foiling the “sexist trolls” who tried to criticize his movie, Vox reported at the time.

According to a report from Polygon, Captain Marvel was created to tap into a burgeoning feminist movement and to establish The Marvel brand on the name.


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Fiction publisher

Superman circumcised? beats the “tough” competition to win the title of the strangest book title


Roy Schwartz says he’s deeply honored to win the Diagram award for the weirdest title of the year for his book Superman circumcised?

“Anyone can win the Pulitzer. It’s something special,” said the New York author. As it happens host Carol Off.

The Diagram Prize is an annual competition run by the UK trade publication Bookseller, where users can vote for the strangest title of a book published in the past year. Last year went to Canadian anthropologist Gregory Forth for his book A dog peeing by the side of a path, on Indonesian animal metaphors.

The content of the book does not matter. The organizers don’t even read them. In an interview with As it happens last year, the Diagram Prize coordinator, Tom Tivnan, presented it as “the purest literary prize there is.”

Schwartz beat suitors such as The Russian way of life; Miss, I don’t care; and Hats: A very unnatural story.

“The competition was tough, but I’m glad she took up the challenge,” he said.

“The subject is serious”

But don’t be fooled by the title. Schwartz’s is a well-documented, serious work of non-fiction.

“The headline is cheeky and playful, and it’s meant to be fun and kind of signal that even though the topic is serious, it’s still fun read, and I don’t take myself seriously,” he said. declared.

He says the true nature of the text is summed up in the caption: The Complete Jewish History of the World’s Greatest Hero.

“The medium of the comic book is a Jewish invention, and the superhero genre is a Jewish invention, just like jazz is an African-American invention. And I wanted to explore both the historical context and the thematic content.” , did he declare.

Superman’s origin story is that of Moses.-Roy Schwartz, author of Is Superman Cirumcised?

Superman debuted in Action comics Number 1 in 1938, and was designed by writer Jerry Siegel and artist Joe Shuster, both Jewish.

Superman’s character, aka Clark Kent, is canonically Christian. But Schwartz maintains that his stories and themes are deeply rooted in Jewish culture and tradition.

“The easiest thing to point out – and it was pointed out before me – is that Superman’s origin story is that of Moses. It’s a baby that was put in a ship to save it from destruction. imminent of his people and sent adrift to an unknown fate, “he said.

“He stands, you know, in the midst of thick vegetation, he was raised by people who are not his own with a new name, and as an adult he takes it upon himself to become a great savior. . “

Superman made his debut in 1938 in Action Comics # 1. (Timothy A. Cleary / AFP / Getty Images)

And Superman made his debut on the cusp of WWII amid the rise of Nazism in Germany.

“Siegel explains in detail how the rise of Nazism in Europe and domestic anti-Semitism in America – which was far more important than what collective memory likes to recognize here – really was the impetus to create this character,” a- he declared.

“Before he was known as the Man of Steel, he was known as the Champion of the Underdog. And before he saved the world from alien invasions, he really took on the tyrants of the world, including many, many positions. Nazi-ins, and then comes war, the real Nazis. “

So why not just write it down as Jewish?

“The thing to do in 1938, when Superman made his debut, had to pass. The idea that a character was Jewish was a mistake. It wouldn’t even occur to them, much less something than an editor. would touch, ”he said.

Schwartz says the book actually answers the question posed in the title – but “it’s a very Jewish answer, which is to say: [it] depends.”

“There is a fictional Superman and a real Superman. And the fictional Superman is an alien from planet Krypton. He grew up in Kansas. He is chronically Christian, generally Methodist or Protestant. He is not Jewish,” a- he declared.

“But there is also a real Superman, who is a fictional character in the real world, in our world, and this character is very Jewish. He was created by Jews. He was manipulated by Jews for the most part. of his life. And it is very rich in Jewish themes and symbolism. “

Superman circumcised? was published by McFarland & Company in 2021.


Written by Sheena Goodyear. Interview conducted by Kate Cornick.


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Book creator

Tim Jones’ Sour Grapes: Honesty


Here are this week’s Sour Grapes, enjoy!

About Tim Jones / Sour Grapes

Tim Jones is the creator, artist and screenwriter of the hugely popular self-syndicated comic, “SOUR RAIPES”; a comic strip about “Aesop”, a wretched flying dog and his strange friends, all living in a problematic and troubled world. Sour Grapes is currently published in several newspapers in Rhode Island, Massachusetts, California and Texas
and is also available online.

Tim grew up in Attleboro, Massachusetts and now lives in Smithfield, Rhode Island with his wife and two daughters. He has been a freelance designer for over 20 years. Tim is a member of the National Cartoonists Society and a Fellow of the Association of Rhode Island Authors (ARIA). He has created several Sour Grapes compilations and coloring story books. Tim teaches comics and lectures at local schools and libraries. He also appears at various book signings, comic book events and conventions.

Tim Jones is the creator, artist and screenwriter of the hugely popular self-syndicated comic, “SOUR RAIPES”; a comic strip about “Aesop”, a miserable flying dog and his strange friends, all living in a problematic and troubled world. Sour Grapes is currently published in several newspapers in Rhode Island, Massachusetts, California and Texas
and is also available online.

Tim grew up in Attleboro, Massachusetts and now lives in Smithfield, Rhode Island with his wife and two daughters. He has been a freelance designer for over 20 years. Tim is a member of the National Cartoonists Society and a Fellow of the Association of Rhode Island Authors (ARIA). He has created several Sour Grapes compilations and coloring story books. Tim teaches comics and lectures at local schools and libraries. He also appears at various book signings, comic book events and conventions.

More from Tim Jones


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Book creator

The Instituto Ciência na Rua launches a cartoon for children and young people to celebrate the bicentenary of the independence of Brazil


The story of Brazilian independence has already been told and told in prose, poetry, cinema, theater, music and in all kinds of real and virtual mediums and methods. Creatively, in color and in retrospect, the Instituto Ciência na Rua launched on November 29 the comic strip “Against time: a journey of 200 years”. The project, aimed primarily at children and young adults, will consist of 84 pages and will be published weekly on the Institute’s website, with the hope of producing a printed book after the online publication cycle.

The proposal of the comedy on the bicentenary of independence is to actively bring the story to life with the central character, stimulated by the words, colors, graphics and, above all, the smallest details of each historical period.

Initially, still coordinating ideas to build stories, the creator of the project, journalist, researcher and president of the Ciência na Rua Institute, Marilos Mora, conducted several surveys with historians and designers. After many recommendations and careful organization, he then brought together some of the most famous professionals and specialists from the final team to integrate the Bicentennial Headquarters project: São Paulo João Paulo Jarredo Pimenta, professor in the Department of History from the University of São Paulo (USP), specialist in the history of the independence of Brazil, and minors Igor Marquez (screenwriter), Anna Cardoso (designer) and Hina Crimson (colorist).

time travel
Against Time: A 200-Year Journey begins a historical journey, starting from the present to step back in time and (re) tell the story of Brazilian independence. The central character of the comic book is a young black woman and a student of modern history. The fictitious “time capsule” first appeared in 1817, in the midst of the Pernambuco revolution, passing the year 1822, after the centenary of independence (1922), and progressing to 1972, the year of the next. centenary and the most difficult period of the military dictatorship, in the full government of General Emilio Garastazo Medici.

“When he returns to his starting point in 2022, the character brings with him a new understanding of Brazilian history. It seems to suggest a dystopian view, but in fact it’s very modern and real, ”reveals historian Joao Pimenta. “The aim was to show the effects of violence, racism and other factors that eventually shaped and shaped the Brazilian state, nation and national identity as they are today,” adds he does.

For screenwriter Igor Marquez, the bicentennial comedy puts the character “in position” to take a fresh look at parts of the story, by actively participating and experimenting, and as a result, she was able to demystify some traditional narratives by comparing “” The “real” and “official” story.

Igor worked with the idea of ​​listing facts that are not well known and reconnecting them with others, so as to be of interest to children and adolescents, based on bibliographical and historical references, based on knowledge and studies of Professor João Pimenta.

“My inspiration was to play the script from that time, to present the facts in the first person – the character who travels through time – but not in an educational way, but in a fun way, for the reader to learn (and teach). In other words, indirectly the character can report events and show how our history today, at the present time, is reflected in our customs and our identity, ”explains Igor.

Lines, colors and tones
To translate the story and the screenplay into images, the harmony between artist Anna Cardoso and colorist Hina Crimson was essential. Cardoso argues that in order to bring all the contexts of the story closer together, he imprinted a more popular view in each graphic. “The big challenge was to create a visual translation of the story through lines, colors and tones, even to enhance the real historical points that are told on a journey through time. This is essential when considering a comic book for children and young adults, very adapted to the colors and tones of the screens, and different from the content displayed on paper.

The project
Marilos Mora, the creator of the project and current president of the Instituto Ciência na Rua, drew her powerful inspiration from her own experience of wonderful reading of picture books, since childhood, when she consumed everything at hand, of Bolinha, Luluzinha, Os Sobrinhos do Capitão, even Rubber Man and Superman And all Marvel.

“Since I created Ciência na Rua, my goal has been to approach science in its broad aspects, and this also includes the human and social sciences, to contribute particularly to the development and education of children and adolescents. . Although our approach to comics has a fictional aspect, the great asset is the solid historical basis, in co-creation with people who think and study the history of Brazil, from new perspectives and contexts ”, explains Marilos.

With a total of 84 pages, the Ciência na Rua comic will be launched online with four main pages. Then it will be twice a week, from mid-December to the end of May 2022, and from June there will be three pages per week, until the end of September 2, on the eve of the official date of the bicentenary of history. . The independence of Brazil.


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Tim Pilcher, Head of New Comics for Showmasters London Film & Comic Con


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At my second comic book convention in three weeks (Thought Bubble last week, San Diego Comic-Con next), I went to the London Film And Comic Con this weekend, hosted by Showmasters. The comic book side of the show is run by a friend of Bleeding Cool Tony lee – or at least it will be for the next two days. Because next year, the rise will be one Tim pilcher.

Tim Pilcher at the London Film & Comic Con, with support from Gary Whale.

At the time, Tim Pilcher was the publisher of DC Comics when Vertigo had an office in the UK under Young Art. He worked for Humanoids, is co-editor of Soaring Penguin Press, author of the comic book industry gossip book BD Babylon, and co-author with Dave Gibbons Eisner nominees How comics work. But what he hasn’t done yet is host a comic book convention.

Tim Pilcher, Head of New Comics for Showmasters London Film & Comic Con
Doesn’t Tim look happy?

Expect Tim to access his rather extensive contact list after decades in and around comics, to invite all kinds of American and European comic book creators to the London Film And Comic Con in July of next year. . Not having it the same week as San Diego Comic-Con can help that as well. As for Tony Lee? Well, he’s about to release his detective story written since the start of the pandemic, which has kept him pretty busy,

Tim Pilcher, Head of New Comics for Showmasters London Film & Comic Con
London Film & Comic Con

The London Film and Comic Con is held twice a year in London and focuses on films, cult television, games, anime, cosplay and comics, hosted by Showmasters Ltd and currently held in Olympia London near by Hammersmith and Earl’s Court. It all started in 2004 with the same company that organizes the Autographica and Collectormania events. The convention houses a large hall of dealers selling memorabilia related to movies, comics and science fiction, as well as original movie props, as well as guest lectures, professional photo shoots, photo shoots. autographs, cosplay events and exhibitions.

Posted in: Comics | Tagged: lfcc, london movie and comic con, tim pilcher

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The DC Comics version of “Stan Lee” was actually two people


Like Marvel, DC Comics had their own character “Stan Lee” who shaped the company into what it is today – and he’s actually two people.

by marvel Stan lee is virtually unrivaled as a comic book creator, but did he have a counterpart in rival DC? “Distinguished Competition,” as Marvel calls the company, is known to be home to pillars of superheroes such as Superman, Batman, Wonder Woman, and many more. However, DC was not shaped primarily by one person in the same way that Marvel and Stan Lee were – but that doesn’t mean there were some important figureheads who worked in the business and have it. cast in the publishing center that it is today. In fact, there were two of those people.

From 1961 on, Stan Lee’s comic ideas at the time were unknown. Superheroes without a secret identity treated like celebrities (the Fantastic Four), a gunmaker who saw his mistakes (Iron Man), and a teenage superhero who was the main character rather than the sidekick (Spider- Man). These heroes struggled with so-called “ordinary” issues as often as they fought supervillains – Peter Parker struggled to pay rent, Reed Richards and Susan Storm struggled in their marriage, etc. DC heroes were mostly created by different writers and as such didn’t have a unified creative vision like Marvel’s, so it’s up to two writers / editors to innovate: Julius Schwartz and Gardner Fox.

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Related: Stan Lee Purposefully Created The Worst Version Of Wonder Woman

Gardner Fox was a longtime editor at DC Comics and oversaw the company’s flagship books, particularly Superman and Batman. It was Fox’s idea to re-equip Batman in the mid-60s and get him away from the Silver Age silliness that defined the character and ultimately the Adam West. Batman TV show. He also pitched the idea of ​​a new superhero team book. The Justice Society first appeared in All-Star Comics # 3 in 1941, including Hourman, Doctor Fate, The Flash, Green Lantern, The Atom, Hawkman and others. The updated group would eventually become the Justice League of America.


Justice League Alex Ross

Julius Schwartz would influence the business in another way – by introducing the concept of legacy characters. In 1956, Schwartz relaunched popular brands like The Flash and Green Lantern, but bestowed the titles on new characters. Barry Allen was a forensic chemist who was struck by lightning and bathed in chemicals that allowed him to run at superhuman speeds; Hal Jordan was a test pilot who encountered an alien member of the Green Lantern Corps and obtained a ring, empowering himself as a Green Lantern. The reinvention of two of DC’s main heroes as sci-fi icons brought the Sparkle and The Green Lantern brands are regaining their popularity.

Overall, while Stan Lee’s ideas on the page were entirely new and imminently noticeable, Gardner Fox and Julius Schwartz had an equally profound impact. Neither man will be remembered for their characters or their individual plots. But with their work behind the scenes, they’re just as influential for DC as Stan lee was at Marvel Comics.

Next: Marvel’s Bitterness Over The X-Men Movies Has Become Hilarious And Insignificant


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Spider-Man brand battle unfolds in comics as real-life copyright dispute brews in real life


While a Legal battle looms over Marvel Comics Spider-Man character copyright, a similar trademark battle begins to unfold in the Marvel comics.

Miles Morales: Spider-Man # 32 cover (Image credit: Taurin Clarke (Marvel Comics))

Within November 10 Miles Morales: Spider-Man # 32 by writer Saladin Ahmed and artist Christopher Allen, something is happening in what amounts to a comic book post-credits scene that could be the start of something big – something Marvel Comics mentioned was happening Somehow would produce in August.

Spoilers ahead for Miles Morales: Spider-Man # 32.

Miles Morales: Spider-Man # 32 ends with the titular Spider-hero and his colleague Starling successfully fending off an attack from Taskmaster, only to be faced with something you can’t fight with your fists: the meaning of legal papers.

An anonymous legal team operating from a limousine with hover capabilities descend to the rooftop where Miles Morales / Spider-Man and Startling are located, and a colleague looking for a lawyer comes out and hands over a case with papers that Miles soon becomes engulfed.

“Unknown individual operating in an unauthorized capacity under the brand name Spider-Man!” The lawyer said there. “We represent Beyond Corporation in legal matters.

Miles Morales: Spider-Man # 32 preview (Image credit: Christopher Allen / Guru-eFX / Cory Petit (Marvel Comics))

“This notice is to let you know that by operating under the Spider-Man name you are violating our client’s legally registered trademark,” he continues. “You are required by law to forgo the use of Spider-Man’s name and likeness … immediately.”

Asked by Starling about what is going on, Miles replies “I don’t know … but you better believe that I will find out …”

In the mainstream continuity of Marvel Comics, Miles Morales shares the Spider-Man name with his creator Peter Parker – with his blessing. But back in October 6 Amazing Spider-Man # 75, it was revealed that Beyond Corporation had purchased the trademarks and copyrights of Spider-Man.

During the time that Doctor Octopus took over the body of Peter Parker and became Spider-Man (the so-called ‘Superior Spider-Man‘), Otto, still the businessman, officially registered the Parker Industries name – the company Peter (and Otto as Peter) ran. When Peter regained control of his body, he wound up the business by Amazing Spider-Man # 790 – without knowing that with this went the mark of his superhero name for Spider-Man.

Turns out Beyond Corporation stepped in and bought him, and found his own person to be his new corporate Spider-Man: Ben Reilly, the ’90s clone of Peter who replaced him for a while. time as Spider-Man.

In Amazing Spider-Man # 75, Ben officially became Spider-Man again – and while breaking the news to Peter, he didn’t ask that the original Spider-Man cease to be, you know, Spider-Man… he expressed ownership of Beyond and Ben’s right to the mantle.

Miles Morales: Spider-Man # 32 preview (Image credit: Christopher Allen / Guru-eFX / Cory Petit (Marvel Comics))

Now, it looks like Ben Reilly’s benefactors, Beyond Corporation, are applying their newly purchased brand to have at least one Spider-Man, Miles Morales, stop using the name.

This story will apparently come back on repeat with the December 15th title Amazing Spider-Man Amazing Spider-Man # 81, starring Miles Morales: Spider-Man writer Saladin Ahmed steps in to write a story the company describes as “the new Spider-Man vs. the new Spider-Man !!!”

Amazing Spider-Man Cover # 81 (Image credit: Arthur Adams (Marvel Comics))

According to prior solicitations from upcoming comics, Beyond will follow this portion of legal documents with Ben Reilly serving punches to get Miles Morales to drop the mantle. But as the Arthur Adams and Arist Deyn covers show, Miles Morales responds.

As this story coincides with a Spider-Man trademark dispute happening at the same time, the estate of the late Spider-Man co-creator Steve Ditko filed a lawsuit against Marvel over the issue. copyright of these same characters, is difficult to understand, sources inside Marvel tell Newsarama that this fictional story set in comics was conceived before the trial of Ditko’s estate was known to the creators involved.

Find out more about it fictitious Spider-Man branded fight in Amazing Spider-Man # 81 from December 15th.

There have been more than a few Spider-Men in Marvel Comics, and we’ve tried to categorize them all with our best Spider-Mans article.


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Learn HOW TO CREATE COMICS THE MARVEL WAY in Mark Waid’s New Book


Publishers Marvel Comics and Simon & Schuster have announced an upcoming book for anyone who has always wanted to make a comic book but didn’t know where to start. How to Create Comics the Marvel Way is written by an industry veteran Mark Waid, and “will provide an insider’s look at the unique methods that have made Marvel storytelling an integral part of modern pop culture.” The book features a cover of Waid’s Impulse and Champions collaborater Humberto Ramos and colourist Edgar Delgado, featuring famed comic artist Steve “Captain America” ​​Rogers drawing Spider-Man’s latest adventure as his fellow heroes watch.

Here’s how Marvel and Simon & Schuster describe How to Create Comics the Marvel Way:

With over 30 years in the comic book industry as a writer, publisher, publisher, reporter, and retailer, no one is more qualified to deconstruct the magic of Marvel storytelling than Mark Waid. Drawing on her own experiences working with dozens of artists and creating some of the most beloved Marvel stories of all time, Waid takes readers every step of the way in the collaboration process. Throughout the book, Waid not only explains the technical details of comic book creation, but also highlights the unique approach that has made Marvel the favorite publisher of comic book readers for over six decades. The result is a graphic fiction masterclass that can be enjoyed by aspiring comic book creators and new Marvel readers alike.

The title of the new book is naturally a game of Stan lee and John Buscemais seminal How to draw comics the Marvel way, a book that came out in 1984 and is still in print to this day. It should not be confused with either How To Read Comics The Marvel Way, a mini-series in four issues of Christophe Hastings and Scott Koblish which was announced in the earlier times of 2020 and has yet to find its way into Marvel’s release schedule.

Although he is primarily known as a writer, Waid has also worked as an editor and publisher in the comic book industry, so he should approach How to Create Comics the Marvel Way from an interesting point of view. In a statement announcing the book, Waid described what he had in mind as he put the book together:

“Creating a book like this is a unique opportunity for me, and it’s exciting. My goal was to write the kind of user manual that I wish I had when I started. No matter what discipline calls for you – writing, art, coloring, lettering, or all of the above – you’ll come out of How to Make Marvel Comics the Way with the tools and advice you’ll need to bring in your favorite heroes. and the villains to life on the page.

The New How To Guide is Waid’s latest interesting Marvel project. In 2019, Waid wrote History of the Marvel Universe, a six-issue mini-series featuring artists Javier Rodriguez and Álvaro López, in which Waid incorporated 80 years of Marvel continuity to create a timeline as close as possible to a definitive timeline for Marvel U.

To look for How to Create Comics the Marvel Way arrive in stores on July 5, 2022.


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New DC Gods movie canceled due to Snyder cut, director says


Ava DuVernay strongly implies that Warner Bros. has canceled his film, New Gods, due to narrative conflicts with Zack Snyder’s Justice League.

Writer and director Ava DuVernay strongly suggests that Warner Bros. canceled his film DCEU, New Gods, due to narrative conflicts with Zack Snyder Justice League. The film was first announced by the studio in 2018 and would have followed the titular characters of the same name, who debuted on the pages of DC Comics in 1971. Coincidentally, the New Gods share the same creator – legend from the comic book industry, Jack Kirby – like Marvel’s Eternals. Although the New Gods and the Eternals exist in separate continuities belonging to two rival societies, the books shared many thematic and aesthetic similarities, such as the titular characters of both franchises comprising an immortal race of divine beings.


Unfortunately, Warner Bros. announced earlier this year that DuVernay’s New Gods would not advance to the studio. Although no explicit reason was given at the time, some have speculated that the narrative overlap between New Gods and Zack Snyder Justice League may have played a role in the abrupt cancellation of the first. Before DuVernay and Tom King could finish writing the script, Snyder had already incorporated many key aspects of New Gods’ lore in her new cut of Justice League including mother boxes, the anti-life equation and – arguably the most famous new god – Darkseid.

Related: Justice League: What Is Darkseid’s Anti-Life Symbol In Snyder’s Cup

DuVernay may have subtly confirmed this theory in a recent interview with the Radio Andy show (via SiriusXM). She says Warner Bros. “chopped” New Gods “based on some of the things that were going on with another movie in this world.” At the time of writing, Zack Snyder Justice League is the only DCEU film to have addressed New Gods lore to a substantial extent. Thus, it is highly likely that the “another movie” it refers to Snyder. Check out the clip below:

Despite New Gods’ cancellation, Warner Bros. has made it clear that the project will remain in the hands of DuVernay and Kings if it were to proceed in the future. It appears the studio is currently focused on crafting their most iconic heroes (as evidenced by the upcoming list of Batman, The Flash, and Aquaman-centric projects) before expanding into their more esoteric cosmic lore. Ideally, the duo would return if the studio chooses to continue the New Gods in the future.

However, the studio may have dodged a bullet by removing New Gods. Criticism embargo for upcoming Marvel Studios film Eternals recently lifted, which could become the MCU’s first “rotten” rating on Rotten Tomatoes. Given the similar subject matter between the two franchises, it’s possible that Jack Kirby’s mythical sci-fi epics were just too hard to adapt for the film. Warner Bros. also showed no interest in pursuing Zack Snyder’s vision for the DC Universe, so it makes sense that the Snyder Cut was a key reason behind New Gods get canceled. Either way, given the work DuVernay and King have already put into the project, hopefully the movie will someday come to fruition.

More: New Gods: Every Confirmed Character That Would Have Appeared

Source: SiriusXM

  • The Batman (2022)Release date: 04 March 2022
  • DC League of Super-Pets (2022)Release Date: May 20, 2022
  • Black Adam (2022)Release Date: Jul 29, 2022
  • Lightning (2022)Release date: November 04, 2022
  • Aquaman and the Lost Kingdom (2022)Release Date: December 16, 2022
  • Shazam! Fury of the Gods (2023)Release date: June 02, 2023


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Rob Liefeld brings X-Force back to its’ 90s heyday in Killshot


Original X-Force creator Rob Liefeld returns to the storyline he first pitched in the 90s for an action-packed single number!

The original X-Force the series has blown away X Men fans when the first issue came out in 1993, and now this milestone is celebrating its 30th anniversary with the creator of X-Force Rob liefeld back to the series for the next one-shot X-Force: Coup de grace! Liefeld was responsible for transforming the New Mutants team into a next generation X Men delivers something entirely to him, and far more brutal, in the form of X-Force. While the X-Force title took on a different meaning in the X Men scenario, X-Force: Killshot will bring fans back to the original team for a high octane story that only the ’90s could deliver.


In the current X-Force scenario, the team no longer operates outside of the X-Men but rather is its successful squad. Since all the mutants gathered in Krakoa and transformed the island into a sovereign nation, the X-Men have become more of a country’s army, subject to the same scrutiny as the rest and therefore restricted by the agreements. international peace programs. In other words, if wrongdoing occurs in a country where the X-Men are not allowed to operate, they cannot help those who might be in danger. The Silent Council of Krakoa found a solution to this problem in the form of X-Force, their own special operations team that operates outside the law.

Related: Marvel Already Admitted X-Men’s Gambit Is Secretly A Top Hero

The original X-Force was not even as political as the current race. by Liefeld X-Force was simply following a team of mutants who would use deadly force against an enemy if the situation called for it, while the X-Men would always go for life. The X-Force team weren’t afraid to get their hands dirty in pursuit of mutant justice. The special one-shot will bring fans back to this simple, action-packed world, not only in style, but also with characters that are both good and bad. X-Force: Coup de grace will be written and drawn by Liefeld and will focus on the original members of X-Force, including Cable, Shatterstar, and Domino, who will split into five factions scattered over time in order to defeat this iteration’s nemesis: Stryfe.





Stryfe is a Cable clone who was raised and then abandoned by Apocalypse who only wishes to kill his heroic counterpart and rule every timeline with an iron fist. Stryfe was shot during the 90s crossover event Song of the X-Ecutioners, a story in which he was the central villain. While Stryfe is believed to be dead in the crossover, the villainous clone is back for another shootout with Cable and the rest of the original X-Force, and now it looks like the fate of the timeline is in danger.

Although originally an X-Force villain, Deadpool will apparently also join the team in this fight through time with Stryfe. Not only will Deadpool be involved, but the relatively new Rob liefeld The character Major X, who was not introduced in the ’90s but was later written into the narrative in a limited series, will also join the upcoming fight. So far, information on the specifics of the one-shot is limited, but if it delivers on the promise of bringing the X-Force back to its’ 90s heyday, then the information available is all available. X Men fans should know how to get into the action-packed high octane for sure X-Force: Killshot! The X-Force: Killshot anniversary special will be available for purchase on November 24.

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Marvel Confirms One Enemy Even Hulk Couldn’t Defeat


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The Golden Age of Comic Book Creators has arrived, with talent from Welland to Oshawa on display at FAN EXPO


By Glenn Hendry

Posted on October 25, 2021 at 4:51 p.m.

Are we entering a golden age of comic book creators in Canada? And do they all live in the GTA?

A quick survey of the talented artists, writers, and comic book makers on Artist Alley at last weekend’s Fan Expo in Toronto would certainly lead you to believe that with over 50 of the roughly 60 artists in attendance at the show, originating from the great white North.

To be fair, those numbers are going to be skewed by the ongoing pandemic and border restrictions still in place, but still, nearly 90% of talent on display at one of the biggest pop culture and comic book conventions in the world. North America are this top heavyweight with the Canucks that must mean something to you.

Ramon Perez, an artist raised in Oshawa and trained at Sheridan College (Hawkeye, Stillwater) who now resides in Toronto’s Parkdale neighborhood, says the wealth of comic book talent here did not happen overnight.

“There has always been a great Canadian art scene here, especially in Toronto. This is one of the things I noticed when I left the Shwa, ”he said, adding that he had not considered a career in comics until he graduated. graduating from Sheridan College and discovering so many comic book artists who lived in the GTA.

“There is a great comic book art community here.”

Perez has since helped cultivate this community at the Royal Academy of Illustration and Design – better known as the RAID studio, which was founded by his collaborator on their comic book Stillwater owned by their creator, Chip Zdarsky, in 2002.

RAID acts as an incubator for new talent, as well as a scalable creative agency and many local talents have partnered with the studio to help market their projects including Andy Belanger (Montreal), Scott Hepburn (Toronto) and Dax Gordine (Welland), which markets its webcomic Forest Folk for all ages through the collective.

Toronto’s Jason Loo (GI Joe, Fantastic Four and Toronto’s newest superhero, The Pitiful Human Lizard) agrees with Perez on the sense of community and that the ‘golden age’ Comic Book Creators has been with us for over a year.

“I think we reached this ‘golden age’ some time ago and it has prospered ever since,” he said. “I have seen more and more talent every year. And we are all so supportive of each other.

Hamilton’s Greg Hyland, meanwhile, hasn’t noticed any new infusion of comic book talent in GTA because “it’s always been there.”

“I started in 1990 and it seems to be the same. There is a lot of talent here.

Rossi Gifford, a Scottish illustrator who moved to Toronto to be part of the art scene here, was busy in a sketch duel on stage with fellow Toronto colleague Megan Huang when asked the question, said the talent – Not to mention the closeness to the major comic book companies like Marvel and DC – that’s what drew her here, and it’s that oft-mentioned sense of community that keeps her here.

“Everyone here seems to know each other. “

The global reputation of the GTA and the multiculturalism of Canada’s largest city are the main reasons the region has become such a hotbed of artistic talent well known in the industry, noted Ken Lashley, billed as an artist “superstar. On the Exhibition Fan Program.

Lashley, who grew up in Burlington and now lives in Mississauga, has worked as a colorist, designer and cover artist on major titles such as Suicide Squad, Superwoman, X-Men Gold and Moon Knight. He believes it’s the diversity of Toronto that makes it so attractive to find talent.

“We’re very international here and our location close to the United States makes it easy for businesses to find us,” he said. “And I think the melting pot of cultures that we have helps too. We have a very diverse talent pool in the GTA and that means a diverse group of voices and styles. “

Anthony Ruttgaizer (or Anthony Kingdom James when he dons the tights – and still does occasionally at age 47 – on the local pro wrestling circuit) is a Toronto-based comic book writer and illustrator (Heroes of Homeroom C ), a podcaster (The Handsome Genius Club) and an event promoter and host.

In fact, he was difficult to find for an interview on Sunday because he hosted the skit duels that took place most of the day, but he found the time to talk about this “golden age” of artists. comics.

“You can tell just by watching Artist Alley how good the talent is, and most of it is here in GTA,” he said, pointing to the stands in front of him to prove his point. “It’s only a matter of time before some of these artists become the next Darvin Cook or Ken Lashley, and there’s the RAID studio as well.”

“There is so much good talent here. It is simply a matter of making yourself known and developing its properties.

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Announcement of the 2021 Ringo Prize winners – Multiversity Comics


The 2021 edition of the Mike Wieringo Comic Book Industry Awards, honoring the best comics and creators of 2020, was held last night at Baltimore Comic Con. Stan Sakai won the award for best cartoonist and best series for “Usagi Yojimbo”, while Sarah Andersen won both webcomics categories for “Fangs” and “Sarah’s Scribbles”.

Matt Kindt and Matt Smith won the Ringo Spirit Award for their BOOM! Studios series “Folklords,” while Marvel’s Creative Director Joe Quesada received the Hero Initiative Award of Excellence and Gene Ha received the organization’s Dick Giordano Humanitarian Award.

Now, without further ado, here are the rest of the winners of the evening:

Best Cartoonist (Writer / Artist): Stan sakai

Best Writer: James Tynion IV (“Wynd”)

Best artist or designer: Jamal Campbell (“Distant Sector”)

Best inker: Sanford Greene (“Bitter Root”)

Best Letterer: Aditya Bidikar (“Ice Cream Man: Quarantine Comix Special”)

Best Colourist: Tamra Bonvillain (“Once and a Future”)

Best Cover Artist: Momoko fishing

Best series: “Usagi Yojimbo”, IDW Publishing

Best Single Issue or Story: “The OZ” by David Pepose & Ruben Rojas, self-published

Best Original Graphic Novel: “Pulp” by Ed Brubaker and Sean Phillips, Image Comics

Best Anthology: “Be Gay, Make Comics”, IDW Publishing

Best Comic Book: “Metalshark Bro 2: Assault on Hamzig Island” by Bob Frantz, Kevin Cuffe & Walter Ostlie, Scout Comics

Best webcomic: Sarah Andersen’s “Crocs”

Best humorous webcomic: Sarah Andersen’s “Sarah’s Doodles”

Best Non-Fiction Comedy: “State of Kent: Four Dead in Ohio” by Derf Backderf, Abrams Books

Best Children’s Comic or Graphic Novel: “Twins” by Varian Johnson and Shannon Wright, Scholastic Graphix

Best presentation in design: “Dave Cockrum’s X-Men Artifact Edition,” IDW Publishing

In addition, the Fan Awards went to:

– Persephone from “Lore Olympus” for Favorite Hero.
– Emma from “My Deepest Secret” by Hanza Art for Favorite Villain.
– “Midnight Poppy Land” for the new favorite series.
– Lilydusk, creator of “Midnight Poppy Land”, for the new favorite talent.
– Rocketship for preferred publisher.

Congratulations to all the winners of the year. You can see the rest of the nominees here and watch the live stream of the ceremony (which starts around 1 hour and 10 minutes) below:


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11 biographies of comic book creators


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Superheroes may be fantastic, but their creators are very human: imperfect, flesh-and-blood individuals with talent and vision. In some cases, these real-life personalities are even more complicated and intriguing than the characters they put on the page.

Perhaps this is why there have been so many biographies of comic book creators in recent years – so many, in fact, that SDCC @ Home has devoted a whole panel to discuss four of the most recent. All of the books featured there are also featured here, along with a number of others on writers, artists, etc. Some of these are names you have probably never heard of before; others that you know better than your own. All of them have worked hard and often mercilessly to bring us the comics we love.

Like the comics themselves, white men – both as authors and as subjects – dominate this list. Fortunately, more recent studies seek to reverse this trend, as you can see below.

American Daredevil: Comics, Communism and the Battles of Lev Gleasom by Brett Dakin

Although he can’t remember well today, Lev Gleason was a comic book giant of the Golden Age. He even invented a whole new genre of comics: the detective comic. Ironically, the police comics helped hasten the demise of his own business (although his blatant Communist sympathies didn’t help in the ultra-paranoid 1950s). Gleason’s great-nephew, Brett Dakin, paints a compelling portrait of an influential and fearless publisher.

An illustrated portrait of Bill Finger with a tilted shadow of Batman's hood behind him

Bill the Boy Wonder: Batman’s Secret Co-Creator by Marc Tyler Nobleman and Ty Templeton

If you’ve ever seen a cartoon, a Batman movie, whatever, you’ve seen “created by Bob Kane” marked somewhere in the credits. But was he yet? Nobleman and Templeton argue (and it’s now generally accepted among fans) that the answer is a harsh “ish”. This short, illustrated biography tells the story of Bill Finger, who never received the credit he deserved for bringing one of comics most iconic characters to life.

If you want Kane’s version of events, you can check out his 1989 autobiography, Batman and me. Given the appearance of his tombstone, however, I am preparing for some terminal self-glorification.

Drawings of influential women from early comics

Women in comics: characters, creators and culture in the golden age by Peyton Brunet and Blair Davis

Now available for pre-order, Cartoon women is a necessary counterweight to the male-centric biographies that dominate this list. Brunet and Davis take a fresh look at the early days of comics, focusing on the women who helped grow the industry – and who were later erased from the history books.

Various images of Gardner Fox and his work

Forgotten All-Star: A Biography of Gardner Fox by Jennifer DeRoss

Fox was a most unlikely candidate for an influential comic book creator. A lawyer hit hard by the Great Depression, he ended up writing comics for extra income. Along the way, he happened to help invent or reinvent icons like Flash, Hawkman, and Batgirl. He even, as I pointed out earlier, invented the very concept of a superhero multiverse.

A collage of characters drawn by black designers and photos of the artists themselves

Invisible Men: Black artists who pioneered comics by Kevin Quattro

Like I said in the intro, comics have long been dominated by white voices. However, it was not always so seamless. In the early days, when comic book creation was nowhere near as respectable as it is today, color designers, including black men, were more common. Kevin Quattro’s Eisner Award book pays homage to these men, both as individuals and as contributors to an industry that seems eager to forget about them.

Elms at his desk drawing and samples of his work

Jackie Ormes: the first African-American cartoonist by Nancy Goldstein

Once upon a time, “comic book” did not refer to the comic strip books but to the comic bands. Jackie Ormes was the only black designer of her time. A talented and influential artist, Ormes nonetheless clashed with the FBI: unsurprisingly, in the mid-1950s his leftist politics were unpopular with the US government.

Hulk's fist breaks towards the reader

Kirby, king of comics by Marc Evanier

In comic book history, there is only one man with the talent, versatility, vision, and impact to call himself “King”, and that man is Jack Kirby. Kirby’s friend and collaborator Mark Evanier tells the story of his life and how his seemingly endless creative energy enabled him to help create the Marvel Universe. The book also includes plenty of original Kirby artwork to drool over.

A caricature of Marie Severin at her desk, surrounded by Marvel characters

Marie Severin: The Mitheuse Mistress of the Comic Strip by Dewey Cassell with Aaron Sultan

Colorists usually don’t get as much attention as these glitzy artists and writers. (They weren’t even regularly credited until the ’60s!) Of all the colorists, Marie Severin, who has spent decades working on some of Marvel’s biggest titles, is perhaps the most famous – and rightly so. title ! Cassell and Sultan tell his story through interviews, photos and of course, works of art.

An image of Stan Lee smiling and pointing at the reader

A Wonderful Life: The Incredible Story of Stan Lee by Danny Fingeroth

Lee is arguably the most famous – and most polarizing – figure in all of comics. This is probably why there are biographies about him everywhere. This book isn’t even the only one on Lee coming out this year! However, Fingeroth knew Lee and his associates personally, which gave him a unique perspective from which to write.

For Lee’s own take on his life story, you can check out his 2002 autobiography, Excelsior! : The Amazing Life of Stan Lee.

A collage of images by and by Otto Binder

Otto Binder: The Life and Work of a Comic Book and Sci-Fi Visionary by Bill Schelly

While his work on the Superman franchise (and this guy, I guess) is best remembered, Binder’s influence extends far beyond superheroes. In this book, you’ll learn all about how Binder’s work changed science fiction as we know it, as well as the terrible personal tragedies that darkened his later years.

A comic book style image of Superman's legs hovering over a cityscape

Super Boys: The Amazing Adventures of Jerry Siegel and Joe Shuster – Creators of Superman by Brad Ricca

No list of creator biographies would be complete without a book chronicling the lives of the very first superhero creators, Siegel and Shuster. Even if you know the general rhythms of their history – how they created Superman together, sold the rights for $ 130 and had to fight for decades for even a small slice of the profits – this book will teach you. a lot about the Ohio teens who started it all.


Don’t have enough creative biographies? Discover these literary biographies, or these autobiographies of musicians!


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Reading and writing

Richard Schultz, designer who made the outdoors modern, dies at 95


Richard Schultz, the ingenious industrial designer whose furniture collections for Knoll, the design lab that streamlined American interiors, is one of the classics of modern design, who died Sept. 28 in Princeton, NJ. He was 95 years old.

He was in poor health, his son Peter said.

Rust was the catalyst for Mr. Schultz’s project most durable design: a sleek, clean-lined outdoor chair made of plastic mesh, aluminum tubing and a pair of wheels.

Florence Knoll, Mr Schultz’s boss, had taken a few metal chairs from sculptor and designer Harry Bertoia to his seaside home in Florida, and they had rusted. (The Bertoia chairs are another Modernist classic, made by Knoll, which Mr. Schultz had helped form.) She asked Mr. Schultz to make something that could stand up to the elements.

At that time, in the early 1960s, as Schultz wrote in “Form follows technique: a design manifesto” (2019), most of the outdoor furniture appeared to have been designed before the French Revolution, “with stamped metal, bouquets of flowers and leaves.” It was period furniture.

Mr. Schultz set to work creating exterior pieces without extraneous curves.

The lounge chair from the Leisure collection, as it was called – a name that made its designer wince – was an instant hit when it hit the market in 1966. The Museum of Modern Art acquired its stylish prototype for its permanent collection. More than five decades later, it’s still in production.

Writing in The New York Times in 1999, William L. Hamilton said he was “always as sharp to see and to sit as a summer suit.”

An older, more whimsical outdoor piece, Mr. Schultz’s Petal Table, was inspired by Queen Anne’s lace, with separate teak ‘petals’ growing from individual metal rods that come together at the base. The smart design allows the petals to expand and contract with the elements. It too was quickly acquired by MoMA.

CreditKnoll Archives

These two museum pieces, “the table, with its large petals and the chair, with its driving wheels,” wrote Paola Antonelli, senior curator of architecture and design at MoMA, in an email, ” Always struck me like two figures of a silhouetted silhouette. Comic book from the 1960s, materialized in real life by an equally accurate and upbeat maker. For an Italian design enthusiast, this was “America” at its best.

By the early 1990s, Mr. Schultz had been on his own for decades, selling his designs to various furniture companies, including Knoll, when he started working with cardboard and then sheet metal, drilling holes in the material to simulate the dappled shade of sunlight. piercing leaves and cutting pieces into simple shapes to make chairs and sofas for a collection he called Topiary.

“I wanted to design a chair that looked like a shrub cut to look like a chair,” Mr. Schultz said. “I am fascinated by the way the sunlight passes through the leaves of the shrubs. This piece of furniture acts as a filter of light, disappearing in nature. Sometimes the pattern looks like flowers. Covered with dew, it seems alive.

However, the major manufacturers of outdoor furniture found this work too strange to buy, said Peter Schultz, so he encouraged his father to do it himself. He did it, with the help of Peter, an architect. Knoll had abandoned the Leisure collection in the 1980s, and father and son also produced it. The company gave Mr. Schultz the license and the molds it was made from, and he quickly renamed it the 1966 Collection. In 2012, Knoll purchased the collection.

Moses Richard Schultz was born September 22, 1926 in Lafayette, Indiana. Her father, Bernard, owned a chain of local clothing stores; his mother, Mary (Howard) Schultz, was a housewife. As a child, Richard made steam engines in the family basement, and his mother thought he should be an engineer. As it turned out, math wasn’t his strongest subject, so he dropped out of Iowa State University and enlisted in the Navy, where he worked as a radio operator.

After his military service, he entered Chicago Institute of Design, an industrial design school founded by a former professor of the Bauhaus, Laszlo Moholy-Nagy, otherwise known as the nouveau or American Bauhaus, that is to say, dedicated to the promotion of good design in everyday objects.

After graduating in 1950, he spent the summer drawing in Europe. He showed up at Knoll’s New York office, walk-in, and was hired locally by Florence Knoll based on his sketches.

His future wife, Trudy Busch, worked in the planning department and they got married in 1953. As her son Peter recalled, Mr. Schultz was not much of an office guy, and so Ms. Knoll has it. sent to Pennsylvania. , where the Knoll factory was located, to work with Harry Bertoia.

Mr. Schultz marveled at Mr. Bertoia’s process of designing from the materials he worked with, rather than making a sketch or a model. To create what would become the Diamond chair, Mr. Bertoia fashioned a rough platform to sit on, then carved wire shapes around him, becoming thinner as he went. It was Mr. Schultz’s job to help him operate the chair. (They used the rubber shock absorber gaskets found in car engines, for example, to anchor the seat to the chair frame.)

“‘Form follows technique’ is more of a central idea than ‘form follows function’,” wrote Schulz, noting the Bauhaus principle. “If comfort is a given, then what controls form is the choice of materials and technique. “

In 1972, Knoll laid off its designers; it was much cheaper, the company realized, paying royalties instead of salaries. Mr. Schultz purchased tools with his severance package and opened a design studio on his property, 49 acres of farmland in Bally, Pennsylvania.

There, his family lived on a farm outfitted with Mr. Schultz’s prototypes, reused bits and pieces from Knoll’s development studio, and furniture he had made himself. The lampshades were made from accordion-folded drawing paper or Japanese rice paper lanterns.

Money was tight and Ms Schultz went to work as a waitress at a local restaurant. The Schultzes couldn’t afford new tires, so the family car, a Morris Minor, was prone to punctures. “There was a time when I would have liked to have an ordinary father who was an executive and drove a Cadillac,” said Peter Schultz.

In 1978, family fortunes improved when Mr. Schultz designed an upholstered office chair called a Paradigm and he was snapped up by a Michigan furniture company.

Besides his son Peter, Mr. Schultz is survived by two other sons, Steven and David, and four grandchildren. Ms Schultz died in 2016. Their daughter, Monica Fadding, died in 2006.

Mr. Schultz has often said that he and his colleagues at Knoll do not design to meet the demands of a market. They did what interested them, and they had a boss who encouraged their explorations. “Good design is good business,” Ms. Knoll told them.

“There was no market for such designs,” Schultz wrote in his design manifesto. “There was no style that architects and designers were trying to fit into. But, in modern times at least, there was something in the air: a zeitgeist that existed and could be felt by those working at the time. There was great optimism. We lived in the present and we invented it as we went along.


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Book creator

Talk about ‘MAÑANA: Latinx Comics From The 25th Century’ with JOAMETTE GIL


Located throughout Latin America in the 2490s, MAÑANA: 25th Century Latinx Comics (available now in English & Spanish) presents readers with a radical array of futures, ranging from post-apocalypse to liberationist utopia, to the magical realism of a slice of life. With over 270 comic book pages featuring 27 young adult sci-fi stories from Latinx creators in the United States and Latin America, Joamette gil is the editor of a project of such scope, as well as the head of Electric and magic press, the editor of MAÑANA. Joamette is also a designer, illustrator and letterer in several other projects. Our own reporter Duna had the chance to chat with Joamette about MAÑANA, its creation, its editorial process, its range of diverse visions for the future, etc. Here is the result.

Comic Watch: Thanks so much for speaking with us, Joamette! Well, first of all, can you tell us where the idea of MAÑANA came, and what are the things that helped it flourish in the 50+ creator anthology that we get?

Joamette Gil: MAÑANA, as a concept, arose out of two disparate places: the excitement I witnessed among my fellow Latins when Star Wars started recruiting more Latin actors, and the desperation I felt in the face of the child separation crisis at the border. Our imaginations revolve around the stars and the future, but our realities are complicated by violence and trauma, making many of us doubt a future. I wanted this anthology to reflect as many different Latin American cultures as possible and as many versions of the future as possible. We did the work of matching writers with candidate artists, and the result was the greatest creative team we’ve ever worked with at P&M Press.

CW: You are the editor and senior editor of Power & Magic Press, the press behind the edition. MAÑANA. How did this project get started?

JG: P& M Press started in early 2016 with the call for applications for POWER AND MAGIC: Queer Witch Comic Book Anthology. In a nutshell, I was not happy with my experience working in comics so far, especially the low pay. P&M Press is my way of giving other BIPOC and queer creators the chance to work on projects that center their experiences, treat them with respect and pay them fairly.

Desiree Rodriguez, Naomi Franquiz

CW: I have noticed the emphasis on LGBT + creators and creators at other intersections both in MAÑANA and in the other press anthologies. What do these diverse perspectives – sometimes in multiple ways – add to the books?

JG: They are the beating heart of our press! Adequate representation by / for / of marginalized people has never existed in the Americas. The most well-known and mundane story can become instantly fascinating just by inserting a BIPOC or queer person, because that’s how rare it is still to see us centered in any medium. But beyond adding us to the stories we already know, BIPOC and LGBTQIA + people have totally original experiences and perspectives that have yet to be told to a large audience. This is what interests P&M Press: the freedom of marginalized creators to invent and reinvent freely.

CW: Most visions of hegemonic sci-fi narratives (white, wealthy, European, male) focus either on a future completely detached from the past (“progress”) or on a future that repeats past failures, especially . In MAÑANA we have links with the past that seem much more enriching to us from the past and look at it in a totally different way. How do you think these voices can bring something different and important to science fiction?

JG: MAÑANA’s stories cover many different visions of the future, some totally utopian and others… rather dark! Darker futures always contain a seed of hope, if not a way out of potential disaster. Ultimately, each story is very human, focusing on the impact of the future on people’s bodies, relationships, working lives, beliefs, lifestyles, and philosophies. The past is omnipresent, as it indicates what each character values, how they live, what they have never known, and which choices were mistakes. In that sense, it’s a very Latin book. The shadows of colonization, capitalism and environmental destruction are there, as are the light of revolution, indigenous survival and black joy.

Ashley Gallagher, Mar Julia

CW: Some comparisons have been made of how many visions of dystopian fiction in pop culture tend to make their “scandalous and horrific futures” basic things that many BIPOCs already relate to: poverty, oppression, the emphasis on survival rather than passion. How do you think this futuristic story written by Latin challenges this vision?

JG: MAÑANA challenges this by ignoring “horrible futures” for the purpose of teaching empathy or warning the reader to “beware of consequences!” Whenever the future is far from perfect, our characters use their ingenuity to survive and thrive together despite everything (sounds familiar to you?), Or the story goes that our characters learn something about life under the circumstances. For example, in “A dream of a thousand stars” by Alberto Rayo and Sebastian Carrillo, the indigenous peoples of the Andes are the ones who master interstellar travel and harness the power of several suns… which leads to very, very big social problems. The story follows two queer Andean women (a scientist and a soldier) on a mission to save all lives. It merges the themes of human potential, pride, cooperation and religious conflict, in a future scenario that would be absolutely frightening.

Alberto Rayo, Sebastian Carrillo

CW: As the publisher of the book, how did you approach your writers by addressing themes that are somehow related to the land and its people (even though it’s a vast land and a great amount of cultures) ? Do you think this is any different from editing a supposedly “pure” book?

JG: Excellent question! I decided early on that I wouldn’t accept story pitches taking place anywhere the creators weren’t originally or had never lived. The rest is not much different from how I would edit anything, fictitious or not. One of my jobs as an editor, in my opinion, is reading and asking questions when elements of a specific culture that I’m not familiar with appear in a script, both to check for accuracy and to get a feel for what is respectful and what is not.

CW: In addition to being an editor, you are also a designer, illustrator and letter writer, having done comics for The Nib, Everyday Feminism and for Power & Magic Releases, and lettering for projects like Archival Quality (which was a 10 / 10 for our reviews) and Mooncakes. How do your experience as a publisher and your experience as a creator intertwine, and what do you like most about these multiple activities?

JG: Comics have fascinated me for a very long time, so I’m truly grateful that I was able to participate in almost every aspect of their creation! I would say this is my greatest strength as a publisher. I understand how every aspect of the process works, why it matters, how it can go wrong, and most importantly, what it feels like to make a comic.

Joamette gil

To follow Electric and magic press To Twitter, to have MAÑANA now in their shop, and follow Joamette to Twitter and Instagram for more! You can also watch our video interview here with designers Alberto Rayo and Desiree Rodriguez on MAÑANA!

Talk about ‘MAÑANA: Latinx Comics From The 25th Century’ with JOAMETTE GIL



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Book creator

Keanu Reeves Brings ‘Rated-R’ Comic Book Superhero to Life Before Joining MCU


There have been a lot of rumors that Keanu Reeves is joining the Marvel Cinematic Universe. But before taking on a role in Marvel, the actor brings his own comic book character – BRZRKR – to life for Netflix.

Keanu Reeves created “BRZRKR” for Boom! Comics

Keanu Reeves at the movie premiere | Tommaso Boddi / WireImage

Reeves is an actor, writer and musician. But in 2020, the 57-year-old superstar added the comic book creator to her list of accomplishments.

BRZRKR – the new Boom! series he wrote and created with Matt Kindt and Ron Garney – started as a Kickstarter campaign, receiving a whopping $ 1.45 million in funding from fans. And when the first issue of the comic came out in March 2021, it became the best-selling original title of the century, with over 650,000 copies sold.

BRZRKR tells the story of a half-God half-human called B, or Berzerker. The Immortal Warrior, who looks a lot like Reeves, has fought many armies over the past 80,000 years. Now, in the present, he works with the US government and takes on assignments deemed too dangerous for anyone.

The first 12 issues of the comic book series are published as three arcs of 4 floors. The first four issues were collected and published as a graphic novel on October 5, 2021.

“BRZRKR” is coming to Netflix

RELATED: Keanu Reeves’ directorial debut failed; Could this comic book movie be next?

Netflix adapts BRZRKR for two projects – a live action film and an animated series. Reeves will be the executive producer and star of both. And in a recent conversation with Collider, he revealed that while he wants the film and series to stay true to certain elements of the comics, he also wants the writers and directors working on the projects to bring their own flavor and tone.

“We work with Netflix, which has been very cool,” Reeves said. “They’re going to let us do an R-rated story, which is cool. My ambition or hope is not to make a filmed version of the comic so that they have things in common, certainly the main character and his kind of rules, but that we can take him elsewhere as well.

“For me, I hope to be inspired and influenced… there are rules to the story, but I also want other creators to make their version of it,” he added. “So I’m hoping to do a different version of a metaverse where, in the sense of having different storytellers with a set of rules, but going to other places with it.”

Reeves noted that he and the BRZRKR are in the process of finding an animation company to work with. And he revealed that they hired Project power screenwriter Mattson Tomlin for the live action film.

Keanu Reeves isn’t working on any MCU movies next year

RELATED: Keanu Reeves’ last action hero started with just one ghoulish image

Reeves is filming John wick 4. And in his interview with Collider, he suggested he could start filming BRZRKR as early as June 2022. But he also revealed that after completing the John wick after that, he did not plan anything.

That said, it’s safe to assume he’s not working on any MCU projects in 2022, which means he could finish playing B before facing off against a Marvel superhero. But that doesn’t mean Reeves’ MCU debut won’t happen eventually. Because, along with the fans, Marvel boss Kevin Feige is eager to bring the actor into the fold.

“We talk to him for almost every movie we make,” Feige said. ComicBook.com in 2019. “We’re talking to Keanu Reeves… I don’t know when, if or ever he’ll be joining the MCU, but we really want to find the right way to do it.”


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Fiction publisher

A Comic Book Story: Dark and Modern Ages


Every September 25, fans, collectors, readers and creatives come together to celebrate National Comic Book Day. While comics have been around since the late 19th century, the comics we know today have gone through several different iterations and continue to evolve over time. In honor of the auspicious day celebrating comics and their creators, I’m going to dig into the history of comics: the dark age and modern age of comics, which included the rise of anti-heroes and comics. independent publishers, more cohesive storytelling, and the downfall of the comic book industry (spoiler: she might have come back).

Just to be clear, the “Dark Age” of comics isn’t used the way most people think of the term. On the contrary, the Dark Ages saw the comics and their heroes become rougher, more violent, and more adult. In a way, it almost mirrored the shift in cinematic tone from the late 1970s to the 1980s. Simple good and bad morals were out, while more morally ambiguous stories and characters were all the rage.

The dark age of comics

In my post on the Silver and Bronze Ages of Comics, we ended with a revitalization of the comic book industry through new writing and illustration skills, a greater variety of characters. (non-superheroes) and the rise of more specialized comics. bookstores. It is widely believed that the Dark Age of Comics began in 1985 with the release of the DC series. Crisis on Infinite Earths. This 12-issue series was released for DC’s 50th anniversary as a comic book publisher and primarily acted as a way to create cohesion between all of the different superheroes and their different iterations, as well as to connect the inconsistencies. of the plot. For example, Alan Scott of ’40s Green Lantern could, in fact, exist alongside Hal Jordan of’ 60s Green Lantern thanks to the existence of different Earths. This idea is still popular today (i.e. the CW Crisis on Infinite Earths epic crossover episodes) and this paved the way for other comic book publishers to create epic crossover series, such as Marvel’s Secret wars. Ultimately, the DC Crisis on Infinite Earths was a huge success and probably saved the company from bankruptcy.

Cover of Crisis on Infinite Earths # 1 (April 1985). Art by George Pérez / Image via Wikimedia Commons

The Dark Ages of comics ended around 1996, but from the mid-80s to the mid-90s readers saw an increase in comics about anti-heroes. Characters like Venom have had their own series, and superheroes who were previously “whiter than white bread” were now described as neurotic and tormented; they often resorted to violent methods to cover a whole range of psychological and sexual problems. True to the “dark” part of the Dark Ages of comics, there has also been an increase in dark and pessimistic stories, like Alan Moore’s. Watchmen, Frank Miller Batman: Return of the Dark Knight, and the death of a legend in Superman’s death. While these comics were aimed at a more mature audience, major publishers (DC and Marvel, respectively) still wanted to retain their young fans, so they began to create imprints to cater to both their family content and to their more violent and mature content. . For example, DC’s Vertigo Comics reimagined obscure DCEU characters in sharper contexts, and Marvel Knights brought back less popular characters and allowed writers to develop them more freely (Black Panther and Daredevil did extremely well in these comics).

The Bronze Age of Comics saw an increase in non-superhero comics and this trend continued with the Dark Age of Comics, with the industry adding more non-fiction works. The autobiographical story of Art Spiegelman Maus was about a Jewish family living in Nazi Germany in Poland. It ended up winning the Pulitzer Prize and, I would say, showed that comics and graphic novels (a term first appeared in the 1960s) could be used as an educational tool (think how school curricula now include titles such as Congressman John Lewis March, or that of George Takei They called us enemy).

comic book history: dark and modern ages Maus/ Image via Pantheon Books

Smaller, independent comic book stores had started to appear by the Bronze Age, which also brought in a host of independent comic book publishers. Many creator-owned companies were formed due to disputes between creatives and executives, the most famous of which was Dark Horse Comics (founded in 1986 and still in effect). The advantages of these new publishing houses were that they could specialize in more specialized subjects and that they had more creative freedom over their stories and characters. Hellboy and City of sin both are from Dark Horse Comics and were one of the first companies to translate manga for English speaking audiences.

Unfortunately, the comic book dark ages wasn’t a good time for female characters. Most of them were drawn and written in an overly sexualized and misogynistic way. An entire “Bad Girl” comic book subgenre appeared in the 1990s, featuring witches, demons, vampires, and more in stripper outfits. They starred in supernatural stories with borderline porn plots and a lot of gore.

The comic book dark ages ended with the sales collapse of the comic book industry and many publishers ended up downsizing. Thanks to a combination of unpopular dark series, unpleasant characters, excess merchandise, and too many collector’s editions and series that weren’t selling, many were struggling to keep afloat and Marvel has finally declared bankruptcy in 1996.

The modern era of comics

The modern era of comics is believed to have started with the release of Alex Ross kingdom come in 1996, which focused on a growing conflict between the traditional “out of touch” superheroes of yesteryear and a new group of amoral and irresponsible vigilantes. Comic book publishers got together and brainstormed better business plans and were decidedly more selective about which projects to focus their budgets on. Marvel went through intense legal battles and struggles to repay their debt and they were finally rescued in 1997 and merged with a company called Toy Biz. They also had to auction off the film rights to some of their characters (Spider-Man went to Sony, Hulk went to Paramount, and 21st Century Fox bought the rights to Daredevil, the X-Men, and Fantastic Four) resulting in some of the most complicated chords that are still being worked out to this day. Of course, we all know that Marvel eventually rose from its ashes. After the success of Iron Man, Disney bought Marvel in 2009 and the rest, as they say, is history. DC has also done very well, although some might argue that they lack the cohesion of the films and series that Marvel has perfected. They’ve also brought back their popular characters (as well as some lesser-known ones) thanks to the Arrowverse on the CW and the success of films like Aquaman and Shazam!

Graphic novels, manga, and digital comics have become commonplace and have come under the umbrella term “comics”. Many in the education field are fans of these formats because they allow students to learn about subjects in a non-traditional way, something that resonates with many people, especially since we have found that ‘there are different ways to learn. In a 2019 analyst report by Milton Griepp, it was found that the market was dominated by graphic novels, Japanese manga, and manga-inspired books, which could also be seen in the comic book store data. . Graphic novels accounted for 41% of bookstore sales and manga 28%, while superhero genre books represented less than 10%.

If you want to know a little more about the history of comics, watch this video interview with Watchmen artist Dave Gibbons:

Oddly enough, the comic book dark ages are still alive in a way thanks to Hollywood. The popularity of darker superhero movies and series (Christopher Nolan’s 2008 The black Knight and the success of the Watchmen movie and the Watchmen on HBO) shows that there is still interest in a wide range of styles, storylines, and characters. And of course, the success of the Marvel films cannot be ignored, with an estimated gross total in the billions. Comic book conventions have also become “it” events, a far cry from their beginnings in the 1970s. Tickets sell out as soon as they become available and the event draws thousands of fans, cosplayers and celebrities from across the country. foreground.

One thing that has come to light recently is the toxicity of superhero fans. With the rise of social media, fans have more influence than ever before over what they think should be made available and what they want to see. While it’s important that the characters and storylines resonate with people, it also helps shine a light on the influence audiences should have. Many industries have had to learn to navigate and interact with their fans and customers as the internet has made it possible for everyone to share their opinions and the comic book industry is no different. What is encouraging is that the passion for these characters has lasted for over a century.

It’s very cool to think about how comics came to be and how influential and integrated they have become into our society. Whether you’ve always been a fan of comics or these articles have sparked your interest, I hope you’ve learned something! Please check out my articles on the Platinum and Golden Ages of Comics and the Silver and Bronze Ages of Comics. This Comic Book History: The Dark and Modern Ages is my last post on the subject.

National Comic Book Day is celebrated every year on September 25. How do you usually celebrate it?

Did I miss anything in my article on comic book history: the dark and modern ages? Let me know in the comments below!

Featured Image via DC Comics

Keilin Huang is a freelance writer who enjoys the Oxford comma, reading her endless stack of library books, and Reeses’ cups of peanut butter. She thanks her father for introducing her to his Superman comics and probably specialized in journalism thanks to Lois Lane.


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Writer market

TuneGO Launches Custom Platform For Music Artists To Enter NFT Market


Creators are flocking to the NFT market, and musicians are clearly no exception. While they share some industry attributes and considerations with the larger art community on the blockchain, they also have unique challenges and considerations – managing rights and royalties and dividing projects between them.

This is the path that TuneGO, which already operates a technology platform that creates a digital footprint for metadata associated with individual songs and tracks, is heading towards its expansion into NFTs. The company is launching an NFT Marketplace that provides musicians with a unified platform to secure their content, protect their creative rights, create NFTs, distribute them on streaming platforms, and monetize them through social media, video games and movies.

TuneGONFT operates on the Flow blockchain in collaboration with Dapper Labs, the company behind NBA Top Shot whose partner studios include the NBA, NBPA, WNBA, WNBPA, Warner Music Group, Ubisoft, Genies and UFC. Investors include Andreessen Horowitz, Coatue and Union Square Ventures.

The inaugural drop of the new platform is an NFT from Method Man’s Tical World Comic Universe, which is part of a comic book series by the artist that will also include previously unreleased music. TuneGO is also partnering with Hidden Beach Recordings as part of a long-term NFT initiative. John Kohl, co-founder and CEO, said an announcement with a major label is coming up and several top artists have NFT content in the TuneGO pipeline.

“Our mission is to become the default market for the music industry,” says Kohl.

Speaking about NFT’s general opportunity for musicians, Lesley Silverman, who heads the digital assets division of United Talent Agency at United Talent Agency, said: “Since Napster, artists haven’t really been able to directly monetize what they create on the music side. Overall, this technology has the ability to allow creators to engage with their fans in more meaningful ways. “

The still nascent conversation around NFTs requires genuine interest in blockchain and crypto spaces by artists and their fan communities, notes Silverman. “There are many tools. Anyone who can help you speak this language will be a very important co-pilot right now, ”she notes.

“Blockchain is reshaping the way people use and interact with our digital world,” says Mickey Maher, head of flow partnerships at Dapper Labs. “Our partnership with TuneGO enables the creative community to leverage blockchain to transform the way they and their audiences create and consume content, while protecting what they own and market.

Already entrenched in the recorded music and distribution marketplace, TuneGO’s NFT foray promises musicians a direct line to connect directly with fans and monetize their art both within and outside the music industry. traditional.

“We can work with labels, but our door is open to the independent community,” says Kohl, who says when TuneGo launched in 2013, independent music accounted for 35% of all industry revenue. “Today it’s around 42%, and I see it increasing every year. I like the fact that artists are more and more educated with more tools to distribute their own music, the possibility of becoming popular on social networks. They don’t always have to give up all their rights anymore, and if a label wants to come later, they have a little more control.

From a label perspective, Kohl says his current conversations tend to focus on, “We don’t have the expertise, the bandwidth, or the technology to do it. We need to partner with someone who does, and we need help with the execution and the creative side. “

Perhaps most importantly for artists, the TuneGO platform is home to the tools the music community explicitly needs to ensure that every stakeholder, from writer and artist, to session musician and artist. engineer, be paid for his work.

The heart of its NFT platform is the TuneGOVault, which thousands of musicians already use for sound recordings. Among its key attributes is complete transparency regarding the divisions of creators. The platform tracks NFT sales revenue allocations, as well as recording and publishing allocations of music associated with NFTs, and requires all copyright owners, songwriters and publishers to review and approve the creation rights before the strike of the NFT. This is a big selling point of the platform, given that today the average song has more than six stakeholders, sometimes as many as 10 or more.

“The foundation of musical rights is still archaic,” says Kohl. “Every year, billions of dollars in music royalties are still collected by collecting societies and not redistributed to the creative world. Sound Exchange is literally based on $ 500 million a year. They collected the money and they say they don’t even know where to send it.


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Book creator

Wales has its own comic book hero – Mandy the Monster Hunter!


The WALES comic book hero will face the terrors of the deep in his upcoming adventure anthology.

Mandy the Monster Hunter, of small newspaper publisher Hellbound Media, is one of the most well-known independent comic characters in the British comic book scene with books such as The Face in the Curtain, Book of Monsters and Battle of Monster Rock.

She has also starred in the charity anthology Little Heroes and the annual 2021 Comic Scene, showcasing top UK comic book talent.

A The Kickstarter campaign launched this week for its new anthology: Book of Sea Monsters.

Mandy the Monster Hunter. Images: Hellbound Media / Kickstarter

In it, places in North Wales such as Llandudno and Anglesey provide the backdrop for a series of adventures written by the founders of Hellbound Media, Matt Warner and Mark Adams.

Matt, from Flintshire, said: “Mandy’s adventures have taken her all over the world and beyond so it was nice to be able to take her home to North Wales for some of these stories. ”

Mandy the Monster Hunter.  Images: Hellbound Media / Kickstarter

Mandy the Monster Hunter. Images: Hellbound Media / Kickstarter

A regular at Wales Comic Con in Wrexham (now Telford) and conventions in Cardiff and Newport, Mandy has a strong following in Wales as well as the rest of the UK.

Writer Mandy Mark Adams (third from right) and artist Lyndon White (second from right) talk about short comic books at MCM.

Writer Mandy Mark Adams (third from right) and artist Lyndon White (second from right) talk about short comic books at MCM.

Many Welsh creators lend their talents to the book, including artist Nefyn Arfon Jones, Lyndon White, a graduate of Glyndwr University in Wrexham, and NPC Tea indie comic creator Sarah Millman, based in Cardiff.

Mandy the Monster Hunter.  Images: Hellbound Media / Kickstarter

Mandy the Monster Hunter. Images: Hellbound Media / Kickstarter

The book features a cover of Judge Dredd and Hellblazer artist Gary Erskine.

Although written for adults, Matt and Mark say, Mandy’s adventures are what they call the horror of “all ages,” and are poplar with kids who can handle Doctor Who fears.

The new book is described as: “What is lurking in the deepest, darkest waters of our world?

Matt Warner and Mark Adams of Hellbound Media.

Matt Warner and Mark Adams of Hellbound Media.

He adds, “This latest anthology of short stories from Hellbound Media sees Mandy the Monster Hunter facing all kinds of nautical villains, as she protects the children of the world from the creatures that lurk beneath the waves.

An urban legend of the playground, Mandy can be called upon to help by drawing a picture of the monsters that stalk unwary children. Clad in armor forged from monstrous remains, sporting two razor-sharp swords and possessing knowledge things that live in darkness, Mandy is ready to face whatever darkness can throw at her.

Artists Arfon Jones and Lyndon White.

Artists Arfon Jones and Lyndon White.

“In Book of Sea Monsters, Mandy is set to look back on recent history, remembering many aquatic monsters she encountered as she ran to uncover the secret of a beast that lurks in the depths of the oceans. A series of independent stories, linked by a free-standing narrative arc, Book of Sea Monsters is an excellent introduction to the fantastic and dark world of Mandy the Monster Hunter. ”

Mandy the Monster Hunter.  Images: Hellbound Media / Kickstarter

Mandy the Monster Hunter. Images: Hellbound Media / Kickstarter

Learn more about the crowdfunding campaign for Mandy’s Book of Sea Monsters at http://kck.st/39HTbNG


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Fiction publisher

Galaxy of Madness takes readers on an “existential retrofuturistic adventure”


Magdalene Visaggio of Vagrant Queen’s returns in space adventures, this time with Michael Avon Oeming and Taki Soma of Powers. Together, they launched Galaxy of Madness, a “brilliant, fun and existential retrofuturistic adventure” following a second-generation space archaeologist who grew up in a universe who thought her parents’ theories were wrong – but she goes. prove them right, and justify his family.

(Image credit: Michael Avon Oeming / Taki Soma)

“Galaxy of Madness tells the story of Vigil Virgo, a 41st century space archaeologist,” Oeming told Newsarama. “In this story, she follows in the footsteps of her parents long lost in the forgotten and breathtaking history of the universe in a Kirby-esque world of Silver Age sci-fi – a trail that will put her on a collision course with her adoptive father, Ulysses Rex! “

Galaxy of Madness is expected to be a 12-issue series, and the first five issues are already drawn – with plans to serialize it monthly on Patreon ahead of a possible print edition. In addition to the comic book issues themselves, the Boss will include scripts, concept art, and “artifacts” from the world of Galaxy of Madness.

Check out this preview of Galaxy of Madness # 1:

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Galaxy of madness

(Image credit: Michael Avon Oeming / Taki Soma)

Galaxy of Madness preview # 1

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Galaxy of madness

(Image credit: Michael Avon Oeming / Taki Soma)
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Galaxy of madness

(Image credit: Michael Avon Oeming / Taki Soma)
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Galaxy of madness

(Image credit: Michael Avon Oeming / Taki Soma)

“Mags and I have been discussing creatively for some time, and during the pandemic we decided to create something as independent as possible,” Oeming said. “We figured we could have a smooth roll-out and build audiences over time rather than trying to get them all at once like a comic in print. One of the many benefits of going digital is on board.”

Galaxy of Madness # 1 (of 12) is available now on Patreon.

Do you know another comic book fan? Check out our recommendations comic book fan gift guide.


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Book creator

INTERVIEW: Koren Shadmi on LUGOSI: THE RISE AND FALL OF DRACULA IN HOLLYWOOD


Lugosi: The Rise and Fall of Dracula from Hollywood, cover

Bela Lugosi stands for Dracula. It is synonymous with the character, the myth and the film. It is often a condition associated with becoming an icon or being an icon. In Lugosi’s case, however, the actor’s embodiment of the Gothic creature is so absolute that one could metaphorically assert that it was Dracula who portrayed Lugosi.

In any case, what is certain is that one cannot exist without the other after the universal horror classic. Dracula (1931) theatrically released. It is a particularly strange phenomenon that the creator of the graphic novel Koren shadmi captures in exquisite detail in his new book Lugosi: The Rise and Fall of Hollywood’s Dracula.

published by HumanoidsDrawn life legal notice, Shadmi’s Lugosi is a biography of one of the most titanic and tragic Hollywood figures in the history of the industry. It follows Lugosi’s career on stage, his involvement in a failed Hungarian Communist revolution that took place in 1919, his rise to international recognition thanks to the film. Dracula, and how addiction and loneliness ultimately led to her demise.

The book is phenomenally documented and structured. He embraces the theatrical character of Lugosi and leans on it to present his story as a kind of long-lasting play. This plays out even more once the story hits the exit of Dracula in 1931, which imprints on Lugosi this new capacity to remain perpetually in the role of the vampire, in varying degrees of intensity.

Much like Shaadmi’s previous biography, The Twilight Man: Rod Serling and the birth of television (also published by Humanoids), Lugosi is a comprehensive look at a larger-than-life public figure and the times he lived in, which both helped shape man and then destroy him.

Lugosi

Rhythm corresponded with Shaadmi on his new book, Lugosi’s Theatricality Dracula inside and outside of the movie, and her favorite Lugosi movie. It follows below.


Ricardo Serrano: Bela Lugosi is not the first public figure you studied. You have a book on The twilight zoneRod Serling called The Twilight Man which also touches on the birth of television. Lugosi and Serling are two very distinct personalities and it is obvious that you treat them as such because each book definitely carries its own identity. What attracted you about Bela Lugosi’s story after working on Serling’s?

Koren Shadi: Lugosi was on my list of possible book topics for a while, I think about 5-6 years ago I was traveling upstate with my wife and we were listening to a podcast from story there were two episodes on Lugosi, I think she fell asleep, but I was totally mesmerized by her roller coaster of a lifetime. He can easily compete with Count Dracula himself for a dramatic life story. I tried to bring out his unique personality; he was a very romantic, very emotional person but also had many demons that he struggled with. If Rod Serling felt alienated from the world by his war experiences, Lugosi was alienated from the fact that he was a Hungarian immigrant with a heavy accent. They were very different people but there are a lot of similarities, both were adopted by Hollywood and then ultimately rejected.

Serrano: There is a very theatrical quality to Lugosi’s presence throughout the book, especially after he played Dracula on screen and how that influences how he presents himself everywhere. Was it intentional or was that just what his personality really was?

Shadi: It was intentional; he came from a theatrical background, and I didn’t have enough room to show him so much in the book, but he kept coming back throughout his career on stage. There is actually a scene where Tod Browning told Lugosi to tone down his exaggerated physical gestures he had been so used to from the theater. It’s a different language from cinema. The theatrical manners were also apparent in Lugosi’s personal life, it is almost as if he wanted his biography to read like a play.

Lugosi

Serrano: The amount of research that goes into a book like this has to be enormous, not only in terms of the character’s personal history, but also in terms of the time in which he lived. How did you choose the material that would end up in the book and was there anything that didn’t make the cut you would have liked to make?

Shadi: Most of what you do when writing a non-fiction comic book biography, I find, is chopping up information and altering the life story. With Lugosi, as was the case with Serling, a lot of things had to be edited, otherwise I would have had a 500 page graphic novel, and I can’t have it. I chose the things that seemed to me the most crucial, and the most revealing of his character. I think more than anything that I wanted the reader to feel connected to Lugosi – even though he was a little terrible at times, he was human, and I hope you can see the reasons for his flaws and eventual downfall.

Serrano: For a long time, Tim Burton Ed Bois (1994) was one of the few options available to an inquisitive audience seeking to learn more about Lugosi in an accessible way. Has the film influenced or helped you in a big way and do you think it did Lugosi’s story justice?

Shadi: I deliberately did not watch Ed Bois until I’m done writing! I had watched it as a teenager and absolutely loved it, but when I was writing the book I almost forgot about the plot of the movie. I have done a lot of independent research. Fortunately, when I watched it, I saw that there was only one or two parallel scenes from the Ed Wood / Lugosi period. There are a lot of things the movie left out and changed as well. For example, they completely excluded his wife from the picture. I understand this is made for drama, but in my script I tried to stay more true to the story of his life. I hope readers can now see the full extent of Lugosi’s incredible life through my book, and not just his sad final days. Also, what happened to Tim Burton, he really lost his mojo, didn’t he?

Lugosi

Serrano: I think Burton started to rely too much on CGI for his own good. You know, a string of bad movies could force him to take the same path as Lugosi as his career crumbles (although I don’t think it will end as tragically as it did for Lugosi). What is true for both is that there are undeniable classics in their filmographies. With that in mind, what’s your favorite Bela Lugosi movie?

Shadi: My favorite Lugosi movie is The black Cat (1934). This is the ultimate Lugosi /Boris Karloff strong test. It’s very beautiful visually with these amazing art deco outfits and outfits. Lugosi definitely wins this one, he gives his habit on the best performances compared to Karloff. Highly recommended.


Koren shadmi Lugosi: The Rise and Fall of Hollywood’s Dracula will be released on September 28, 2021.


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Book creator

Spotlight on Self-Publishing: THE POWER by Rick Lopez


welcome to Self-published spotlight, a regular interview column where I’ll spotlight self-published comics and the creators and fine print editors who make them.


When I laid eyes on the Rick Lopez comic book artwork, The power, I was immediately amazed. My reaction was so visceral that I knew it was a book and an artist that I had to follow. I contacted Rick and we started communicating about comics, his work and art in general. It was only a matter of time before I featured Rick in this column. So check out our chat and definitely head over to Rick’s online store and collect The power!

Monkeys Fighting Robots: Rick, first of all I know how busy you are, so thanks for taking the time to chat!

Rick Lopez: Absoutely! No problem at all, thanks for having me!

MFR: So what is the secret origin of your comics? How did you get into the business?

RL: Honestly, they were still there. I had a stack of Disney comics as a kid, but hero comics were a little harder for me to find in the midst of the speculator boom. Barnes and Noble was my LCS long before we had a legitimate store in my area.

MFR: And when did you decide to start making your own comics?

RL: For a few years I thought I would only write comics and other people would draw my books. I had someone in line to draw The Power and it just fell apart. I already did the script and thumbnails so I just started myself in early 2019 and learned a lot, Large Design Image has really been a game-changer for me.

MFR: Let’s go directly to The power. Can you give our readers a summary?

RL: The power is a limited series of four issues about a boy creating a comic book, only to discover a realm beyond time and space … in his own mind! So it’s centered on the process of creation and as we work we drift into another more ethereal plane in our minds.

MFR: Art in The power impressed me. Specifically, colors and layouts, which seem to be a major concern for you. What makes you focus so much on these two elements?

RL: Thanks, I really appreciate it! I think precisely with The power I try to represent (as best I can) these inner planes of the mind and the meta-abilities of the medium through the layouts and colors, which in itself makes them so important.

MFR: Did you have any particular influences on The Power? Which artists / books have you looked for inspiration?
RL:
Grant Morrison is a huge inspiration to me in general, I would definitely say Morrison’s run on Animal Man and the Flex Mentallo mini-series are inherent influences on The power.

MFR: I love your tribute covers. You did Infinity Gauntlet # 1 for number one and classic Miller Wolverine # 1 for number two. Why did you decide to do these tribute covers and did you have others in mind? What other tribute covers can we expect if you care to tease?
RL:
Tributes are a lot of fun to make, but I also think it adds a bit of recognition to the book, even at a glance on the cover. I wanted to use as many comics as possible. I originally planned to use a New Gods cover for # 3 but opted for one The Green Lantern The Darryl Banks cover I found suited my book better. That being said, I have two Kirby covers planned for number 4 and the swap is yet to come.

MFR: What is your progress and your creative process? What’s the first thing you do when deciding to put a pencil / pen on paper? What tools do you use?
RL:
Usually I will miniature my pretty small ideas on scrap paper, scan them, blow them up / move things to Procreate, print on 11 × 17 bristol board, clean the pencils a bit, then use my light pad with it. another card stock to ink / tone the pages and scan them again on procreate for colors and clean them. I think I use both [digital and analog] is the key, I know a lot of people are going digital, but I can’t give up that human look and the quirky art you get from inking traditionally. There are those Pilot double brush pens that I obsess over and recommend a lot and the Uniball white signo pen is another amazing tool that I use with every piece. Then, of course, Ticonderoga and Staedtler pencils, mechanical pencil, microns, removal screentones, Ames lettering guide and procreate are also office staples.The power

MFR: Has self-publishing always been your way? Or did you have other publishing methods in mind?
RL:
I think self-publishing has always been the option, I kind of thought I would publish all of a sudden with The power and I went to great lengths with the layouts and the pencils, but ultimately I don’t think that’s the best idea.

MFR: Self-publishing, in general, is booming. Patreon, Kickstarter and now Substack. As a creator, why do you think self-publishing is growing?
RL:
I think a lot of creators are tired of giving companies their best ideas to own them. We have all of these apps at our fingertips to grow our own audience and reader base. We can build our Patreon, launch our books, and get a network big enough to live off our own ideas without compromising with a business. Image Comics showed it to us 30 years ago.

MFR: In addition The power, what else have you been working on? And what else do you hope to work on?
RL:
My first works had 14 pages in Large Design Image, I made a page in the Weapon ecch book and another page for the next one BMN Year What is book (which I must finish), as well as 4 pages to come Wizard Cosmic Lion Eli Schwab # 2 later this year. Craig CK and I co-founded Tap the next panel, which is a bi-weekly strip collective from a group of artists from all over the world. my band Cosmicat, is about a smoldering feline outlaw who makes his way through the galaxy, as the past, present and future begin to unfold around him! The 17th strip is about to drop this weekend, so almost enough to be assembled into one issue. I collected the first seven in mini-comics that I handed out with the book orders.


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Book creator

Daz 3D Welcomes Invincible Wind Sun Sky Entertainment Production Studio as First Customer of New Daz 3D Corporate Licensing Program


The partnership sets a new precedent for how companies can incorporate Daz Studio assets into their creative pipelines

SALT LAKE CITY, 25 August 2021 / PRNewswire / – Daz 3D, leader in digital 3D art and creator of the freemium 3D platform Daz Studio, has announced a formal corporate license agreement with Wind Sun Sky Entertainment (WSS). Wind Sun Sky is a creative, cross-platform content company that produces animation, live action, games, interactive content, and even merchandise. With a focus on delivering creator-focused content to audiences, Wind Sun Sky Entertainment has enjoyed tremendous success this year, most notably its adaptation of the hit Amazon Prime Original series. Invincible.

Daz 3D (PRNewsfoto / Daz 3D)

Daz 3D (PRNewsfoto / Daz 3D)

“We are delighted to welcome Wind Sun Sky as our first corporate license customer. This is a visionary company that empowers creators and artists to produce incredible content for animation, TV shows and more, ”said Jessica rizzuto, SVP of e-commerce at Daz 3D. “We are very happy to see what their amazing artists and animators are going to create.”

“We’re always on the lookout for the best tools to help us create cross-platform content. Daz 3D offers flexibility and quality in everything we do, ”said Catherine winder, CEO of Wind Sun Sky. “Being part of the new corporate licensing structure will make our workflows much more efficient and allow us to evolve and focus more on the end product. “

The new enterprise licensing structure enables creative businesses to more efficiently implement Daz 3D assets at scale with the assurance that they will continue to enjoy world-class service, simplified bundle pricing and easy access to some of the best 3D assets and content available. via the massive Daz catalog. Learn more about the available corporate license plans. here.

About Wind Sun Sky Entertainment

Wind Sun Sky Entertainment is a Canadian multimedia company run by the former executive of LucasFilm, Catherine winder (Invincible, the Angry Birds movies 1 & 2, Star Wars: The Clone Wars, that of Robert Kirkman Secret history of comics). Situated at Vancouver, Wind Sun Sky Entertainment (WSS) creates content-driven, creator-driven franchises for the global marketplace, producing across all mediums including interactive, film, television (live action and animation), podcasts, mobile apps and games. Under the umbrella of WSS is Skybound North, which offers a unique US-based partnership with Skybound Entertainment LA, one of the most innovative media studios in the industry. WSS developed and produced the hit Invincible, an 8 x 1 hour animation. dramatic adaptation of that of Robert Kirkman comic book for Amazon Prime. The company also produced the first series of live interactive animated events of its kind based on an adaptation of the hit Canadian mobile game. My Singing Monsters (115+ million players). Other projects include adapting the Instant Ships toy (Playmonster) in a universe and a web series. The company is currently in production on Camp Bonkers a game, a children’s variety show (YouTube and Toonavision) and an Audibles APP and podcast for its property Death by Unknown event and COPS psi a 26-part animated series for CORUS / Adult Swim Canada. https://windsunsky.com

About Daz 3D

Daz 3D, a subsidiary of Tafi Co, is a free 3D marketplace and software suite with content that can go anywhere, so 3D artists and designers can create their own high-resolution 3D stills and animations anytime. by creating professional-quality 3D scenes. Founded in 2000, Daz 3D’s digital marketplace offers hobbyists and professionals tens of thousands of 3D products with over five million intercompatible 3D assets for Daz Studio and other 3D applications. Daz 3D has created the most artist-friendly digital marketplace, paying almost $ 100 million to its global network of contributing artists. Daz Studio users create over 20 million images and animations per year. With over 3 million downloads, Daz continues to lead efforts at the forefront of digital identity and expression.

For more than 20 years, Daz 3D has been a leader in making 3D more accessible to everyone thanks to its free Daz Studio program. With published artists contributing their own creations to our huge marketplace, Daz maintains one of the largest libraries of 3D assets in the industry. With everything you need from awe-inspiring landscapes and detailed props to incredibly lifelike human figures, you can find everything you need to create your own personalized world or enhance your team’s creative workflow using resources. customizable high quality.

To find out more visit www.daz3d.com.

CONTACT

Kasey Thomas
[email protected]

Julie stern
[email protected]

Cision

Cision

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SOURCE Daz 3D


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Book creator

Season 1 Creators Explain Why Milestone’s Hero Is “More Vital Than Ever”


This week, the first round of new series launches in the Stage feedback the line at DC Comics draws to a close with Material: Season 1, a revival of the brilliant main character in armor design directed by writer Brandon Thomas and artist Denys Cowan. Like the other stimulus titles, Static: Season 1 and Icon and Rocket: Season 1, Equipment merges new comic book talent with veteran contributors, in this case giving Thomas a chance to work with the artist who co-created Hardware alongside writer Dwayne McDuffie in 1993.

While Thomas has his own impressive bibliography covering both Big Two’s superhero titles and acclaimed creator work, he’s always been aware he’s following in the footsteps of icons, as he explained this week. last during a press roundtable attended by SYFY WIRE.

“It’s a sobering feeling of humility. It’s very surreal for me, even now, to see the Hardware pages that Denys drew, appear in the email, and I’m like ‘Wow, did I write that? ‘ It’s kind of like an out-of-body experience sometimes, ”Thomas said. “I try to do my best with every project I do, obviously, but this one is a little more … It’s a little heavier, it takes a little more time, a little more thought. , because I just really want to do a great job. Because there’s an extra level of responsibility for this project and these characters and this world, especially since Dwayne is no longer here with us. “

McDuffie, who died in 2011 at the age of 49, is a figure whose legacy hangs over all modern superhero comics, but particularly in the Milestone stories. Like the writers of Static: Season 1 and Icon and Rocket: Season 1Thomas was directly following in McDuffie’s footsteps with Hardware, and he wanted to pay homage to the late designer in a very direct way. Readers of Material: Season 1 # 1 will find some key structural and thematic similarities to original material # 1 in Thomas’ script, as well as a particular monologue about a parakeet trying to escape the house it is kept in that Thomas pulled straight from the original series in homage to McDuffie.

“The first script sort of starts with me, then it’s Dwayne, then by the time you get to the end it’s Hardware,” Thomas explained.

For Cowan, who collaborated on art for Material: Season 1 with the legendary Bill Sienkiewicz, returning to the character he brought to life in 1993 was a very different experience, more difficult than he perhaps had expected. To hear him say it, however, Thomas’ scripts were worth it.

“With Brandon’s writing it certainly gave him a whole different twist and I have to approach his stories differently. But what I will say is that the same spirit that Dwayne brought to it, or Dwayne and I have it. brought, Brandon brings to Hardware, tenfold, ”Cowan said. “It’s just brilliant handwriting. I can’t say enough about it. So it was again an experience drawing material. But it was an experience in a way that I never expected., ‘Oh man, Denys Cowan is back on Hardware!’ I had no idea it would be so difficult, so empowering and yet so fulfilling. So that’s what it was like to come back to that story. It was a great experience. “

Hardware is Curtis Metcalf, a brilliant inventor who caught the eye of wealthy scientist Edwin Alva. Alva took the child prodigy under his wing, gave him resources, and used his genius to create tremendous wealth and power. When Curtis, now an adult secretly using his spare time to become the Hardware superhero, demanded a greater share of Alva Industries’ success, Alva turned on him. In the Stage feedback continuity, the event known as the “Big Bang”, in which experimental chemicals killed many protesters and gave others (including static) superpowers, marked the perfect opportunity for Alva to distance himself from his former protégé. Turns out the chemicals were Alva Industries products, and Curtis turned out to be the perfect scapegoat.

“I wanted to reflect what it feels like to think you have something with another person, but once you feel like you’re threatening or infringing on their status or position, they can backfire on you in one. moment, and you had no indication that this was how it was going to be, ”explained Thomas, calling the idea of“ deserving ”and Curtis’s own journey of feeling he deserved the credit as a important part of the emotional core of the book.

For Cowan, the meaning of Curtis’ fight against Alva runs a little deeper as well, going back to Hardware’s roots as a character. Milestone Media was founded to allow black creators and other minority groups to be better represented in American superhero comics, and some of the frustration with the state of the industry at the era is metaphorically reflected through its first characters, Hardware included. For Cowan, a comic book veteran who still remembers those early days, those metaphors still hold.

“It was a metaphor for our experiences in the comic book industry as black creators, which doesn’t mean to demean anyone, but it’s really telling the truth as we saw it on the glass ceiling. that existed, about the way we were treated, and about exploiting and, you know, using her talents and abilities to her best advantage, ”Cowan said.“ All of those things are at the heart. characters, so they’re always the same. “

He continued, “Do we bring that same kind of angst or whatever, anger, into the books now? I’m a different person in a way than 30 years ago. So the things that got to me? ‘Drove crazy so just drive me crazier now [laughs]. So yes, we bring back the same things. Until the company changes, we’re going to talk about all of this again, right? Because it all means something. Everything is important. So even though I don’t look at some things the same, I do look at some things in a much sharper way. So that makes the drawing of his book more vital than ever, because all these things that have upset us so much still exist, in society and in the comic book world. “

The backbone of Material: Season 1 is full of these exploitative metaphors, as Curtis tries to fight his former benefactor directly even as Alva tries to declare him a public enemy. For Thomas, much of the first arc is about Curtis’ attempt to “emotionally rebuild himself” as he recovers from Alva’s betrayal, but the writer also emphasized that it wasn’t just about ‘a repeat of the same fight we read in 1993.

“There will be new things. There will be new characters and new threats, and very familiar characters and threats to watch out for in this first story arc,” Thomas said. “And I’ll just say that this first story is mostly about Curtis and Alva, but it will also attempt to answer the following question: hypothetically, let’s just say the Curtis and Alva case is settled. Why does Curtis stay in the suit? So that’s going to be a big part of the story of this story. “

Although Cowan – who is one of the Milestone line’s “producers” overseeing the relaunch and taking on artistic duties – has teased the talks about Stage feedback “Season 2” is already underway, no other title in the range has yet been announced. For now, at least, Material: Season 1 is the concluding volume of an event that began last summer during DC FanDome and saw the successful return of many of Milestone’s most popular characters. It’s something some fans never thought they would see again on this scale, and while Cowan is glad he pulled it off, the artist was also sure to point out that readers have a lot more of it.

“It has been extremely rewarding to see people’s responses, and I’m very excited about what we need to bring to them because we’ve all been working really hard on this topic,” said Cowan. “And it’s good to see it finally, finally come to fruition and seeing people’s responses has been good. But people have no idea what’s in store for them. It has only been… the tip of the hat. What you’re going to see is stuff that literally goes, it’s going to get everyone in this panel room to write to us and say, “You didn’t tell us you were going to do this!” Can’t believe you did that! ”Because there’s going to be… we want to do stuff that even makes DC say,“ Are you sure you want to do this? ”

“You have to challenge them,” he added. “How are they going to let us take them on this trip? So far, they’ve let us take them quite far.”

Material: Season 1 # 1 is in store Tuesday.


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Book creator

Best TV Series on Disney + Hotstar


What are the best TV shows on Disney + Hotstar? The 19 tracks below feature Amy Adams, Julia Louis-Dreyfus, Elizabeth Olsen, Cate Blanchett, Jason Bateman, James Franco, Maggie Gyllenhaal, Matthew Rhys, Keri Russell, Damian Lewis, Jared Harris, Stellan Skarsgård, Emilia Clarke, Kit Harington, Justin Theroux, Carrie Coon, Brian Cox, Jeremy Strong, Regina King, Dominic West, James Gandolfini and Pedro Pascal. Pamela Adlon, Larry David and Bill Hader are co-creators and stars of their respective series. And the rest is directed by David Simon, Damon Lindelof, Tom Hanks, Steven Spielberg, Jon Favreau, Gillian Flynn, Craig Mazin, Joe Weisberg, Mitchell Hurwitz, David Benioff, DB Weiss, Dahvi Waller, Jesse Armstrong, Armando Iannucci, Jac Schaeffer and David Chase.

Of course, this list cannot cover everything. And that’s why we have separate recommendations for some genres that you should also check out. We also have similar articles for the best series on Netflix and Amazon Prime Video.

The best comedy series on Disney + Hotstar

The best drama series on Disney + Hotstar

The best mystery and thriller series on Disney + Hotstar

  1. The Americans (2013 – 2018)

    Set during the Cold War, two Russian spies (Matthew Rhys and Keri Russell) who have children pose as an American family living in the 1980s in Washington, DC, to spy on the US government. Excellent from start to finish, thanks to great writing and acting, reinforced by a family approach and resonant themes.

  2. Development stopped (2003 – 2019)

    The only balanced child (Jason Bateman) of a once wealthy dysfunctional family, made up of more eccentric and eccentric members than the previous one, must handle family affairs after the father (Jeffrey Tambor) is jailed. Considered one of the best sitcoms of all time, it fell off a cliff after three seasons. Tambor is accused in the #MeToo movement.

  3. Band of Brothers (2001)

    A 10-part miniseries based on Stephen Ambrose’s 1992 book about a WWII unit called the Easy Company – offering an intense look at the horrors of war through dramatization, interviews and footage from archives – which begins with their training in 1942 and ends with the Allied victory in Europe in 1945.

  4. Barry (2018 – Present)

    A dark comedy about a former US Navy (Bill Hader, also co-creator, writer and director) working as a hitman in the Midwest, who leaves for Los Angeles for a job and discovers a new passion for acting then that he gets involved with enthusiastic hopes in the local theatrical scene.

  5. Best Things (2016 – present)

    Pamela Adlon is the creator and star of this comedy-drama, about a single mother struggling to balance raising her three daughters and her acting career. Much like its protagonist, the series has forged its own course, marrying wonderfully caustic humor with poignant observation.

  6. Chernobyl (2019)

    Focusing on the 1986 nuclear disaster in Soviet Ukraine, a five-part look at what caused it, why it happened, who it affected, and how people responded – from first responders to the leader of the Soviet Union. Masterfully produced, it offers a captivating look at the human cost of institutional dysfunctions caused by state censorship.

  7. Limit Your Enthusiasm (2000 – present)

    Seinfeld Co-creator Larry David plays a fictional version of himself in this semi-improvised sitcom about a semi-retired TV writer facing cringe-worthy situations, mostly caused by his own misstep. Laugh out loud when it first aired and returned to those heights in 2020 after a dip into Season 9. Before you begin, watch the hour-long special, Larry David: Curb Your Enthusiasm, also on Disney + Hotstar.

  8. The Devil (2017 – 2019)

    The Wire creator David Simon brings his storytelling twist to 1970s New York, after the moment the sex trade went from an alleyway to a billion dollar legalized market in the United States. Starring James Franco and Maggie Gyllenhaal in the lead roles, with the former playing the role of twin brothers.

  9. Game of Thrones (2011 – 2019)

    Based on the unfinished novel series “A Song of Ice and Fire” by George RR Martin, the most popular show of the 2010s follows the power struggles between seven medieval kingdoms, in a fantasy world filled with death, dragons and colorful characters. Storytelling has suffered over the past few years, having run out of source material.

  10. The Leftovers (2014 – 2017)

    Based on the novel of the same name by Tom Perrotta, this supernatural drama takes place a few years after the sudden disappearance of 2% of the world’s population and its impact on those who remain. Grown up in critical reception over the course of its run, ending as one of the greatest shows of all time as it provided a deeply emotional portrayal of the insignificance of life.

  11. The Mandalorian (2019 – Present)

    Pedro Pascal stars as the helmeted bounty hunter and titular lone shooter in the first-ever Star Wars live-action series, which takes place after the fall of the Empire (Episode VI: Return of the Jedi) and before the emergence of the First Order (Episode VII: The Force Awakens). His life is about to be turned upside down by his latest bounty target. A Disney + original.

    mandalorian the mandalorian

  12. Ms. America (2020)

    Cate Blanchett is excellent in this period drama about the Conservative reaction to the Equal Rights Amendment, directed by a Phyllis Schlafly (Blanchett), who essentially set the stage for modern American politics. The likes of Rose Byrne, Elizabeth Banks, Uzo Aduba, Margo Martindale, John Slattery and Sarah Paulson co-starred, some as well known feminist activists.

  13. Sharps (2018)

    Gone Girl author Gillian Flynn introduces another of his complex female protagonists to project in this miniseries, with Amy Adams playing the role of a reporter who returns to her small hometown to report the murders of two preteen girls. and finds herself involved a little too closely due to her dark past.

  14. The Sopranos (1999 – 2007)

    Considered one of the greatest TV shows of all time, this six-season drama chronicles the life of an Italian-American mobster from New Jersey (James Gandolfini), who turns to a psychiatrist because he is struggling. to balance family life and be the boss of the crime. . Solid on all fronts – endearing characters, solid cast, moral arguments, and dark humor – he’s well known and debated for his controversial final plan.

  15. Succession (2018 – Present)

    Who knew the next Game of Thrones would be a contemporary satire on the fight for a fictional media empire, centered around a dysfunctional cut-throat family: the detached eldest son, the power-hungry second born, the irreverent third, and the youngest? shrewd daughter, and founder and patriarch, who prioritizes business over her children. Winner of Emmy, Golden Globe and BAFTA.

  16. Veep (2012 – 2019)

    A satirical take on the inner workings of the US government, following a senator (Julia Louis-Dreyfus) chosen to serve as vice president, and the hilarious antics of her incompetent staff. Won the Emmy three years in a row, while Louis-Dreyfus has racked up six consecutive victories. I haven’t had the same bite the following years, but it’s still one of the best.

  17. WandaVision (2021)

    Marvel Studios is fully experimenting with its very first series, as it follows an unusual couple – a powerful magical being (Elizabeth Olsen) and an android (Paul Bettany) – who are married but stuck in traditional American sitcom tropes constantly evolving through the decades. It’s basically a sitcom with Avengers that really deals with mental illness.

  18. Watchmen (2019)

    Lost co-creator Damon Lindelof bravely pushes the superhero genre with this ‘remixed’ miniseries that follows the comic book series of the same name from writer Alan Moore and artist Dave Gibbons. Set 34 years after the events of the original, a police detective and vigilante (Regina King) digs into the murder of a friend, who has ties to the evil plan of a white supremacist group.

    watchmen

  19. The Thread (2002 – 2008)

    A complex and unwavering examination of the societal ills plaguing Baltimore, still focused on the city’s illegal drug trade and tackling the waterfront, politicians, school system, and media consumption as subplots throughout the season. Told the story from all angles and remains one of the best shows ever.


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Arktoons Roundup July 23, 2021


Welcome to the Arktoons roundup, Bounding Into Comics’ weekly look at some of the best new and classic comics Arkhaven Comics has to offer. Today we’re going to catch up on a few titles, say hello to a debut couple and say goodbye to another who ends.

We’re going to catch up on a few titles today, then say goodbye to an ending series and hello to a debuting couple.

Alt hero Q

Dane has walked through the looking glass and has now entered the unreal half-life of the Deep Blanket – a world where the most terrifying thing imaginable is a stranger saying your real name and you silently ask everyone you meet the same question – are you the one they got to?

Source: Alt Hero Q

A place where trust is incredibly precious, and you feel grateful for some of the worst sources of trust on Earth.

Fast and Furious image number 2

Fast and Furious image number 3

Source: Alt Hero Q

The world Dane lives in now is a place you never quite come back to, especially when you learn what he’s about to do, and leads into a rabbit hole that only gets deeper as you go. as you descend.

Fast and Furious image number 4

Source: Alt Hero Q

Silenziosa

Some things in this human existence are constant, like the cycle of old lives leaving the world so that the new ones can come in and flourish before their own departure and the fact that somewhere along the way one will be absolutely taxed due to of how the ability to extract wealth serves as an existential test for any organization

And, of course, kids will never, ever listen to their parents’ advice on career choices.

An incorrect princess image number 0

Source: Silenziosa

It doesn’t matter that you have raised your child and know more than her about his gifts and talents applicable in the real world, or that you have learned your hard lessons about the world by first confronting him as they wish, like she won’t recognize or care that you really want what’s best for her in this life.

A family affair image number 1

Source: Silenziosa

Although you will just try to prevent her from learning the cruel realities of the world in the hardest way possible, and hope that she will make better choices if she knows anything about how the world works, you will eventually find that all your efforts are totally desperate.

After all, you never listened to your parents either.

A family affair image number 2

Source: Silenziosa

Chicago Typewriter

Completing his first try, this week’s Chicago Typewriter entry reveals that newly-returned Emilion is ready to finish an old affair.

Return to life image number 15

Source: Chicago Typewriter

A fantastic first season for Brandon Fiadino’s groundbreaking comic book, Chicago Typewriter has become a fan and publisher favorite since its original debut on Arktoons just a few months ago.

Return to life image number 16

Source: Chicago Typewriter

As for fans disappointed with the end of Chicago Typewriter, there is good news! A second Chicago Typewriter book is currently in production.

Here is a sample of the work of art in development.

Source: Chicago II Typewriter

Something huge

Our spotlight this episode is on two new titles that are launching this week, starting with Something Big by Chuck Dixon, which just went live a week ago on Wednesday.

Thirty years after an alien invasion brought humanity to the brink of extinction, Larry Dorfman realizes that if he can’t save humanity from alien conquerors, he can still take them for a bundle. Despite the fact that alien invaders have stolen Earth, Dorfman just wants his share, which leads him to stare at the biggest score of his criminal career: a golden fortune in the heart of an alien hive.

You can’t hold back a bad guy.

We are not alone image number 0

We haven’t met Larry yet, but the Visitors are coming, and we all know what’s coming up when they get here.

This title will play on Dixon’s strengths in an entirely new way, but one that is reminiscent of what we’ve already seen from the legendary creator. Personally, Something Big reminds me a bit of the days of Eclipse Comics when he was working on shows like Airboy and Evangeline.

We are not alone picture number 7

Source: Something Big

Stonetoss

Finally, we have a title that just launched on Tuesday.

An independent webcomic covering current affairs, US politics and Internet culture, Stoness primarily criticizes the hysterical hypocrisy of so-called “free thinkers” trying to put an end to all forms of “false thinking”.

The author encourages you to enjoy the comic, but if that shocks you, that’s okay too.

Live, Laugh, Litter image number 0

Hey, in this economy a lot of guys his age are lucky if they can afford a chair – he’s doing a lot better than most.

And that’s it for this week’s Arktoon roundup. If you would like to see your comic on Arktoons, please send your submission to: [email protected].

Arktoons’ motto is that great stories belong to the world, if you want to support the website, consider purchasing a subscription. While Arkhaven titles on Arktoons will remain free for all forever, independent creators will soon have the opportunity to be directly supported by their patrons.


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Joseph Kosinski to Direct Sci-Fi Thriller “Chariot” for Warner Bros


Warner Bros. has hired ‘Top Gun: Maverick’ director Joseph Kosinski to tackle the film adaptation of the ‘Chariot’ graphic novel. According to Deadline, the studio recently won a competitive auction for the high-profile package.

Kosinski, also known for films such as ‘Tron: Legacy’ and ‘Oblivion’, will direct from a script by Julian Meiojas and produce alongside Shawn Levy and Dan Cohen of 21 Laps.

Described as a sci-fi thriller, the film is about a top-secret Cold War project that saw the government supply its star agent with a unique weapon – a state-of-the-art sports car. The Chariot, as it quickly became known, sank in the ocean with the agent. But after several decades, a petty criminal seeking to reform his life stumbles upon the Chariot and discovers that the agent’s conscience still controls him.

The graphic novel, published by Artists, Writers and Artisans (AWA), was written by comic book creator and screenwriter Bryan Edward Hill and drawn by Priscilla Petraites.

Kosinski is currently awaiting the release of Tom Cruise-starrer ‘Top Gun: Maverick’, a sequel to the Hollywood star’s 1986 blockbuster.

The filmmaker also directed ‘Escape from Spiderhead’, starring Chris Hemsworth, Miles Teller and Jurnee Smollett. The film will be released on the Netflix streamer later this year.

(This story was not edited by Devdiscourse staff and is auto-generated from a syndicated feed.)


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Joseph Kosinski to direct ‘Chariot’ sci-fi thriller for Warner Bros




Joseph Kosinski to direct ‘Chariot’ sci-fi thriller for Warner Bros







perspectivesinde.com

1970-01-01T05: 30: 00 + 0530

Los Angeles, Jul 13 (PTI) Warner Bros has hired “Top Gun: Maverick” director Joseph Kosinski to tackle the film adaptation of the graphic novel “Chariot”.

According to Deadline, the studio recently won a competitive auction for the high-profile package.

Kosinski, also known for films such as “Tron: Legacy” and “Oblivion”, will direct from a screenplay by Julian Meiojas and produce alongside Shawn Levy and Dan Cohen of 21 Laps.

Described as a sci-fi thriller, the film is about a top-secret Cold War project that saw the government supply its star agent with a unique weapon – a state-of-the-art sports car.

The Chariot, as it quickly became known, sank in the ocean with the agent. But after several decades, a petty criminal seeking to reform his life stumbles upon the Chariot and discovers that the agent’s conscience still controls him.

The graphic novel, published by Artists, Writers and Artisans (AWA), was written by comic book creator and screenwriter Bryan Edward Hill and drawn by Priscilla Petraites.

Kosinski is currently awaiting the release of Tom Cruise’s “Top Gun: Maverick”, a sequel to the Hollywood star’s 1986 blockbuster.

The filmmaker also directed “Escape from Spiderhead”, starring Chris Hemsworth, Miles Teller and Jurnee Smollett. The film will be released on the Netflix streamer later this year. PTI RB RB RB


Warning :- This story has not been edited by Outlook staff and is auto-generated from news agency feeds. Source: PTI


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Episode 6 Release Date, Start Time, Trailer, Spoilers & Disney Plus Timeline


It’s like it was yesterday that marvel is Loki made its long-awaited premiere on Disney +. And yet, this week will see the live-action comic book series conclude its critically acclaimed debut season. After the cliffhanger of the fifth episode ending last week, major anticipation surrounds the release of the sixth and final installment of Loki Season 1.

Fortunately, Loki Episode 6 promises to deliver plenty of last-minute twists and thrills, which should give Marvel fans around the world something to talk about in the days and weeks to come. With that in mind, here’s everything you need to know to prepare for the upcoming Disney + premiere of Loki Episode 6.

When is the Loki Episode 6 release date?

Loki Episode 6 will air Wednesday, July 14 on Disney +. It serves as the season 1 finale of the series.

When is the Loki The release time of episode 6?

King Loki.Marvel studios

Loki Episode 6 becomes available to stream on Disney + on Wednesday, July 14 at 12:01 am Pacific or 3:01 am Eastern Time.

How long does the Loki Duration of episode 6?

Currently, it is not known for how long Loki Episode 6 will unfold. The first five episodes of the Disney + series (with the exception of its third 43-minute installment) took place fairly close to the 50-minute mark. It seems reasonable to assume that the Loki The execution of Episode 6 will stay somewhere in this neighborhood.

But don’t be surprised if Loki Episode 6 ends up being the longest in the series to date, or if it crosses the 60-minute mark. Both possibilities seem, at this stage, quite probable.

Where can i look Loki Episode 6?

Loki is a Disney + exclusive series, so its finale (along with the other five episodes) will only be available to paid Disney + subscribers.

What is the plot of Loki Episode 6?

The final blow of Loki Episode 5.Marvel studios

There are still a lot of details Loki Episode 6 must end before the end of the Marvel series. The biggest (and most obvious) is the long-awaited answer to the identity of the mysterious creator of the Time Variance Authority.

Loki Episode 5 set up the possibility that the TVA frontman was hiding in the bizarre Cosmic Castle where we last saw Loki (Tom Hiddleston) and Sylvie (Sophia Di Martino) approaching. In view of this, Loki Episode 6 won’t waste too much time before it resolves its oldest plot thread. The series has yet to reveal which Nexus event was that caused Sylvie to be arrested by TVA in the first place, and questions remain regarding Ravonna Renslayer (Gugu Mbatha-Raw).

But if there is one thing Loki Episode 6 has to be done to be a satisfying TV episode, is that it has to feature a scene of Mobius (Owen Wilson) finally being able to ride one of his beloved jet skis. If the Loki the finale doesn’t give that to the fans, you really have to wonder if it was all worth it (just kidding, but only sort of).

is there Loki Episode 6 trailer?

Disney + does not release weekly episodic trailers for any of its major original series, so no official trailer for Loki Episode 6 is out. There are still images from the previous one Loki trailers that have yet to be shown in the series itself, so feel free to browse the mid-season trailer included below in the meantime. Loki Episode 6 will finally be released on Disney + this next Wednesday.

Loki Episode 6 will air July 14 on Disney +.


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The Last Of Us 2 reimagined in retro comics with Abby and Mel


Abby and Mel from The Last Of Us Part 2 have been reimagined as retro comic book stars thanks to video game and comic book artist Mark Scicluna.

An artist and fan of The Last of Us Part 2 reinvented the game as a retro comic with Abby and Mel. Despite the controversies surrounding The Last of Us Part 2, the game has a dedicated fan base of endlessly talented creators dedicated to cosplay, fan fiction, and more, bringing Naughty Dog characters to life outside of the games. Although official The last of us comics exist, this fan-made creation is one that many gamers would love to get their hands on.

The 2020 sequel to the original PS3 game, The last of us, faced a number of issues before and after launch. After its release, Sony was criticized for allegedly strict embargo rules for press reviews. Meanwhile, many players took issue with the LGBTQIA + themes and characters in the game, including the transgender character Lev, and Ellie and Dina’s relationship. The Last of Us Part 2 story leaks also gave most of the intrigue ahead of release, including a significant character death, leading many people to shy away from the title before it even hit the shelves of the stores. Despite the many problems the game faced, it became a huge hit for Naughty Dog and is now the most awarded video game of all time.

Related: The Last of Us Part 2 Is The Most Award-Winning Game In History

Over a year after launch, dedicated fans are still showing their appreciation for The last of us part 2. Video game and comic book artist Mark Scicluna has shared a new piece reimagining playable character Abby and Washington Liberation Front member Mel in their own action-adventure. Captioned as “The other side of the story“the comic book crossover showcasing the two characters as”Heroes of action games,“with the retro flair synonymous with older comics. The incredible piece features Abby and Mel about to confront the Seraphites, with weapons laid down ready for the impending attack. The cover even features what appears to be an enemy. Bloater, highlighted next to the fake price tag.

Click here to see the original message

The cover is one of many mash-ups from the former Rockstar Games artist, whose portfolio also includes similar comic book covers for Resident Evil, Crash Bandicoot, and Unexplored. Along with illustrations based on existing IP addresses, the creator has also self-published his own comics designed to invoke nostalgia for Saturday morning cartoons. All of Scicluna’s work can be found through his website, Instagram and Twitter. Sadly, Scicluna’s incredible pieces won’t be coming out as full comics, but there are still plenty to watch for. The last of us fans to get excited. HBO The last of us The series is now filming, with 10 episodes slated to explore the story of the first game. The show will star Game of thrones‘Pedro Pascal as Joel and Bella Ramsey as Ellie. There is currently no release date for the series, although 2022 seems likely.

Along with the upcoming show, fans may also soon have a remake of The last of us to look forward to. The 2013 title is rumored to be getting a full remake in the game engine of TLOU Part 2, making full use of the capabilities of the PS5. Although not confirmed at this point, Naughty Dog’s Neil Druckmann has teased fans with the “next set” of TLOU games from the development studio, which would include both a remake of the first game and a standalone multiplayer expansion for The Last of Us Part 2. Until rumors are confirmed, at least players have Scicluna TLOU comic book covers to marvel.

Next: The Last Of Us 2 Prioritized Shock Value Over Story Pace

The last of us part 2 is now available on PS4 and can be played on PS5 via backward compatibility.

Source: mark.scicluna / Instagram


Why Dragon Age Inquisition had the best approval system in the series

Why Dragon Age Inquisition had the best approval system in the series


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Maverick Joseph Kosinski directs Warner Bros Chariot – Deadline


EXCLUSIVE: Warner Brothers won an auction for Tank, a presentation package that has Top Gun: Maverick director Joseph Kosinski is making an adaptation of the graphic novel recently published by Artists, Writers and Artisans (AWA).

The film will be written by Julian Meiojas, whose recent credits include Jack ryan and Flash. Shawn Levy and Dan Cohen of 21 Laps are producing with Kosinski. AWA’s Zach Studin is executive producer, and the project is the first for AWA Studios, the newly formed film and television arm of the graphic fiction publisher. This is AWA’s first project, but there are more to come.

Tank is based on the graphic novel written by comic book creator and screenwriter Bryan Edward Hill (American carnage, bitter root), designed by Priscilla Petraites (Rat queens) and edited by AWA Creative Director Axel Alonso. The photo was sold as a synthwave sci-fi thriller with strong roles for two leading actors. The Chariot was a secret Cold War-era government project to provide its star agent with a unique weapon in the form of a state-of-the-art sports car. He sank in the ocean decades ago, the agent with him. A petty criminal seeking to reform his life has stumbled upon the Chariot, and he’s about to discover that the officer’s conscience still controls him.

Related story

Anna Kendrick to star in Lionsgate’s female thriller “Alice, Darling”

Director Kosinski Top Gun: Maverick re-equips the director with Oversight star Tom Cruise and Paramount are releasing this film on November 19. Kosinski is in post-production on the Netflix filmEscape Spiderhead, which stars Chris Hemsworth, Miles Teller and Jurnee Smollet.

Rebecca Cho will oversee for Warner Brothers. Kosinski is replaced by CAA and Hirsch Wallerstein.

Most recently co-EP on HBO Max’s Ridley Scott series Raised by wolves, Meiojas adapts his new DNA for Amazon and Simon Kinberg’s genre films. Meiojas is replaced by CAA, Grandview and Jackoway.

Levy’s 21 Laps has the fourth season of Strange things coming to Netflix, and he directed Ryan Reynolds’ starrer Free guy, scheduled for release by Disney on August 13. Levy also finished The Adam project. 21 laps, it’s WME and Ziffren.

AWA is replaced by Grandview.


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