When I have been asked ‘who is the greatest hero,’ I am usually stumped for an answer. This is not due to the fact that I have so many names in my head to choose from but rather there are so few characters that I think of as fitting the term ‘heroic.’ While I obviously enjoy the character of the Doctor (just look at my extensive DVD collection for proof), I don’t exactly think of him as a hero. Sure, he rises to the occasion when a challenge arises, but the classic character is more of a wanderer and adventurer than a hero looking for rights to wrong. When looking at my copious amounts of comic books, you’d think I had an answer there as well, but most if not all of the central characters of those comic books are twisted and frustrated creations who are too engaged with their own neurosises to really be called heroic (with Steve Rogers the possible exception). Imagine my surprise when I discovered a real dyed-in-the-wool hero in a vintage BBC program called Adam Adamant Lives!.
Created by Sydney Newman and Verity Lambert (the same people that gave us Doctor Who), Adam Adamant Lives! is an unusual adventure series in the style of the modern comic strip. The central character is of course Adam Adamant, a legendary champion of the court of Queen Victoria. Betrayed by his love, he is frozen in time by his diabolical nemesis known as ‘the Face.’ Each episode this betrayal is replayed to the viewer as Adam Adamant mis-judges the virtues and character of a woman and is once again undone by his trust in the fairer sex. As he ‘sleeps,’ the world develops around him and he is is revered in history as the champion of the British Empire.
Adamant is later revived in swinging sixties London, convinced by the strange sights and swirling lights of the downtown area that he has descended into Hell. After reviving, he re-enlists himself in the employ of the British Empire to defend its people and defeat the freakish villains plotting to take over the world. An expert swordsman and boxer, he charges face first into danger with enthusiasm, almost daring anything to stop him. Named after ‘adamantine,’ the hardest substance known to Man, he is truly an heroic figure.
Part of the success of the series is down to the main cast of Gerald Harper as Adam Adamant, Juliet Harmer as the fair Georgina and Jack May as the wry ex-carnie and man-servant Simms. Harper looks the part to such a degree that you’d think he had been born into Adamant’s cloak. A perfect gentleman and bold persona, he also captures the lithe physicality necessary for the heroic lead. But he would be nothing without the lovely Juliet Harmer whose innocent Georgina is every bit as daring and rambunctious as Adamant is heroic. She tries his patience every episode with her insistence to be included in the dangerous adventures with a child-like glee.
Adam and Georgina
Jack May is a totally bizarre actor (familiar to some from his appearance in Doctor Who – The Space Pirates). His diction and acting style are so precise and theatrical yet they translate beautifully to the TV format (something that I often see in old Doctor Who episodes of the William Harnell era). Introduced as a Punch and Judy entertainer early on, he places himself in Adamant’s employ and spouts odd limericks each episode that are addictively quotable.
Jack May as Simms
The program is similar in tone to another 1960′s adventure program,, Avengers, with its insane super villains, outlandish plots and quirky dialog. The differentiating factor is the lead character himself. Adamant is a man out of time, with virtues and morals from a nobler era of British history. He acts as a constant reminder of the absurdity of modern life while also functioning as a dashing homage to a simpler time.
Another victim of the great purge of the 1970′s BBC video library, there are episodes of Adam Adamant Lives! that are seemingly lost forever. Nevertheless, the existing episodes still in the vaults have been released on DVD with loads of extras including a stellar documentary on the program and its stars as they revisit old haunts (my how London has changed!).
A truly remarkable BBC program, don’t let Adam Adamant Lives! slip by you.
Screenwriter David Hayter (X-Men) had intended to helm a Black Widow solo movie back in 2004. Of course nothing materialized, but with the character appearing in Iron Man 2 and rumored to be a team member of the forthcoming Avengers film, it is interesting to take a look at what might have happened had the Soviet superspy premiered in her own feature. In the soon to be released book Tales from the Script: 50 Hollywood Screenwriters Share Their Stories, Hayter spilled the beans on his approach to the Black Widow movie and what happened to the project.
Scarlett Johansson as the Black Widow in Iron Man 2
DAVID HAYTER: I had a very solid relationship with Marvel, having worked on a number of films with them, and I was looking for something to write and direct. They brought up Black Widow, and I knew the character very well from the comic book. So I spent about a year working on the script, and I was extremely happy with it.Essentially, the story is a young Russian girl’s parents are killed, so she’s given to the KGB to be developed into a super spy. In her early teen years, the Soviet Union crumbles, so they decide to kill her. But at that point, she’s too tough to kill, so she escapes and makes her way to America. Then, years later, we catch up with her in present day. She’s a freelance mercenary, and she’s called back to where she was brought up to face her past.
What I tried to do was use the backdrop of the splintered Soviet Empire – a lawless insane asylum with four hundred some odd nuclear missile silos. It was all about loose nukes, and I felt it was very timely and very cool.
Unfortunately, as I was coming up on the final draft, a number of female vigilante movies came out. We had Tomb Raider and Kill Bill, which were the ones that worked, but then we had BloodRayne and Ultraviolet and Aeon Flux. Aeon Flux didn’t open well, and three days after it opened, the studio said, “We don’t think it’s time to do this movie.” I accepted their logic in terms of the saturation of the marketplace, but it was pretty painful.
I had not only invested a lot of time in that movie, but I had also named my daughter, who was born in that time period Natasha – after the lead character in Black Widow. I named my daughter after a movie that I wasn’t working on anymore.
(read the entire piece at Latino Review, an excellent site for movie news)
Based on the above excerpt from the book Tales from the Script, Hayter seemed very much in tune with where Marvel Comics was addressing the superheroine in her numerous mini-series. I can totally understand the studio’s reluctance to develop a movie that would have seemed very similar to Ultraviolet and Aeon Flux, but it’s still a shame that Hayter didn’t get to complete his work… especially because he now has to have an awkward conversation with his daughter regarding why she is named Natasha.
Tales from the Script: 50 Hollywood Screenwriters Share Their Stories
An innovator in the television medium, Ernie Kovacs influenced many, confounded some and entertained all of his audience. He worked on many different projects on TV, but is perhaps best known for his eponymous weekly program The Ernie Kovacs Show in the early-to-mid 1950′s. Filled with unusual gags and colorful characters, the program also featured mind-blowing bits using a combination of music and strange visuals. A good example is a signature piece, Kurt Weill’s “Die Moritat von Mackie Messer” played to an oscillograph (my personal first exposure to the tune later made famous as Mack the Knife).
Sight gags included Kovacs underwater smoking a cigar or just wearing goofy eyeglasses as Poet Laureate Percy Dovetonsils.
A gifted comedian with a love for spontaneity, Kovacs encouraged the unexpected to occur on stage. While the sound of a live audience may be missing from these episodes, many people can be spotted on screen from the crew to a homeless man having a nap on stage. The skits were often psychedelic and off-setting, mixing together absurd and sublime concepts. Given that the program aired in the early stages of television and viewers were still getting used to it… he certainly put them through the looking glass of possibilities.
‘In anticipation of romance’
One of his more famous routines was the Nairobi Trio, performed with Kovacs and two other ape-masked celebrities dressed in heavy coats, white gloves and bowler hats. The routine became so popular that everyone wanted in on it just to say they had played in the trio.
The Nairobi Trio
Many too young to have watched the original program may know him from the Doctor Demento radio show which played a few of his tunes such as ‘Pancakes and Sausage.’ In the 1990′s, more attention was given to his work, with a best of compilation series airing on PBS and a documentary film of Kovacs’ life starring Jeff Goldblum as the comedian. Spotlighting his personal life, it nonetheless gave an idea of what the production of the Ernie Kovacs Show was like with Goldblum portraying a gleeful Ernie instructing a cameraman to tape a kaleidescope to a camera lens and keep it turning until he said stop. Many of these innovations may sound commonplace in the age of visual trickery and computer-generated imagery, but Kovacs was the real deal. In addition to be a verbal prankster able to turn a phrase on a dime, he was also an expert at mime and stole the spotlight from Jerry Lewis with his 30 minute short Eugene aired on the same night as Lewis’ highly anticipated program.
Ernie Kovacs on the making of his program
Sadly, Ernie Kovacs died in a horrible car accident one night on the way home from a late party at Milton Berle’s home. A genius who saw the power of television in its way to both entertain and excite the audience, his influence has spread far beyond his death. He’s kind of like a one-man Velvet Underground in that respect, inspiring his viewers to go out and make their own madcap art.
Comic book fandom is in a state of bliss this week due to the arrival of the DC Direct to DVD animated film Justice League: Crisis on Two Earths. An extra feature on the DVD is the excellent short film Showcase Presents: The Spectre.
The short is just astounding and is heavily influenced by the Fleisher/Aparo Spectre series from the 70′s. The look and feel is very unique and has the seedy flavor of a mid-1970′s B-Movie, complete with over-saturation of image and juddering film stock. A pure horror story, DC chose well when they hired Niles to helm the Spectre short.
Screenwriter Steve Niles was recently interviewed about the project and had a lot to say…
Renowned horror/comics writer Steve Niles adds his special touch of terror to the first-ever animated version of The Spectre, the initial entry in the DC Showcase series of animated shorts. The Spectre is being distributed February 23 by Warner Home Video as part of the Justice League: Crisis on Two Earths Blu-ray/DVD.
From the creative forces behind the DC Universe animated original PG-13 movies, DC Showcase puts the spotlight on favorite characters from throughout the annals of DC Comics in fascinating, short-form tales sure to entertain longtime and new fans alike.
The Spectre focuses on a detective story with an ethereal twist, featuring the otherworldly character originally introduced by DC Comics in 1940. The voice cast is led by Gary Cole (Entourage) as the title character and Alyssa Milano (Charmed) as Aimee Brenner.
Steve Niles (30 Days of Night), screenwriter of The Spectre
Niles is one of the comtemporary writers responsible for bringing horror comics back to prominence. Named by Fangoria magazine as one of it’s 13 rising talents who promise to keep us terrified for the next 25 years, Niles is currently working for seemingly all of the top American comic publishers. His current ongoing series is “Simon Dark” for DC Comics with artist Scott Hampton, and “Batman: Gotham After Midnight” with artist Kelley Jones.
In 2002, the success of his “30 Days of Night” sparked renewed interest in the horror genre, and was developed as a major motion picture with Sam Raimi producing and David Slade directing. Niles co-wrote the screenplay. The film debuted as the No. 1 movie at the domestic box office. Also in development are adaptations of Wake the Dead with director Jay Russell, and Criminal Macabre and The Lurkers.
Niles got his start in the industry when he formed his own publishing company called Arcane Comix, where he published, edited and adapted several comics and anthologies for Eclipse Comics. His adaptations include works by Clive Barker, Richard Matheson and Harlan Ellison. IDW released a hardcover and softcover collection of Niles’ adaptation of Richard Matheson’s “I Am Legend.”
Niles has been nominated for multiple Eisner Comic industry awards and was the recipient of two Spike TV Scream Awards for Best Horror comic and Best Comic Adaptation. He also won the Scribe Award for Best Original Novel in 2007.
Currently his graphic novel “Freaks of the Heartland” is being developed for film by David Gordon Green. Niles is also writing a major videogame property that will soon be announced.
Niles took a pause from his daily marathon writing schedule to chat about The Spectre. Here’s what he had to say …
Detective Jim Corrigan
QUESTION:
How familiar with The Spectre were you entering this project?
STEVE NILES:
My knowledge of The Spectre was fairly minimal. I had done a series called Batman Gotham County Line, where I had used a few of the supernatural characters. For that writing, I looked at Dr. Fate and Spectre, but in that case, I went with Phantom Stranger.
Within six months, I got a call from Todd Casey at Warner Bros. Animation asking if I’d be interested in writing this short, and that’s when I got really interested in him – and he does fascinate me now. I dove headfirst into all of the 1970s Spectre stuff, and the more I read, and the more I talked to Bruce Timm about the him, the more I fell in love with the character. Judge, jury, executioner. He kills. I wish I had been more into the character before because he’s perfect for me.
QUESTION:
So The Spectre really hits home for you?
STEVE NILES:
I have a big affection for crime and noir, and a big affection for horror, and The Spectre is the one character that I can literally combine them. He can be a detective when I need him and, then, when he gets the confession out of you, I can have him kill you. He’s very Ditko-esque, or even a kind of Rorschach. But I like The Spectre better in that, because he’s a dead guy and he’s haunted, you trust his judgment a little more. You figure he’s justified. That’s why Batman doesn’t kill – he can’t judge a living peson. But this is a guy who is dead, he knows how the system works, he understands the ramifications, so he figures he can save us all a dime … and kill them with a muscle car.
I remember as a kid reading The Spectre comic and the true fun of it was that this guy had a flair for the ironic in his retribution. There was this issue where a hairdresser gets killed by giant scissors. I loved that so much. It makes it such fun to write a character who gets to look into each bad guy, see what makes them work, and then turn that on them. It’s like he gets to give them a little taste of hell before he sends them to hell.
The Spectre
QUESTION:
You’ve worked in a number of mediums, but this is the first time in animation. How did that experience compare to comics, film, etc.?
STEVE NILES:
I loved it. I find it really liberating working in other people’s sandboxes. Tell me what your rules are, and I can stay there and have fun, instead of just staring at a blank piece of paper. It was fun working with Alan (Burnett) and Bruce (Timm) and bouncing ideas off them. They say “too much dialogue,” I say “Okay, cut it out.” There can be no ego in this writing. And it was probably the easiest time I’ve ever had writing something. I’ve had lots of fun writing movies and comics, but this was just plain fun. The worst part of the whole experience was that we had to lose one of the killings, but that was no big deal. And that’s as bad as it got.
QUESTION:
“No ego”? But you must still feel a certain amount of pride to finally earn your first “written by” credit for The Spectre?
STEVE NILES:
Even 30 Days of Night was a “story by” credit and I had the “script” credit divided with three other people. This is the first time, love it or hate it, that I can watch the film and say, “That’s my freaking dialogue.” The Spectre is the most complete thing I’ve ever had go from script to screen, and that in itself is really exciting for me. Being able to see what you write actually get onto the screen is phenomenal and so hard in movies.
QUESTION:
Did you work closely with Bruce Timm on this project?
STEVE NILES:
I’ve been a fan of Bruce Timm for years, and we had never had an opportunity to meet. Ironically, I was doing last minute edits on the script on the way to Seattle for a Con and he was sitting right next to me – and that was the first time we met. He’s as big a nerd as me. We like the same comics, we both love the 70s … we’re both fans of guys like Herb Trimpe, Frank Robbins, Sal Buscema, Jack Kirby. We do the classic geek stuff, sitting around and talk about this stuff, and buying comics we’ve already bought before. Right now I’m on a major Spectre binge, buying every damn Spectre I can get my hands on. The Golden Age art looks insane, but fortunately the prices on those will keep me in check.
QUESTION:
Will viewers find Steve Niles’ fingerprints all over this script?
STEVE NILES:
There’s a lot of me in this script, and people that know me will see that quickly and throughout. If I could do a comics series called “Monsters and Muscle Cars,” I’d be a happy guy. I have a 1973 Nova that I keep running. When I’m not writing, I’m out driving in that. I love that damn car.
I also have a big love for noir, so there’s an homage to, say, speech patterns that sound like Fred MacMurray from Double Indemnity. This script offered some great opportunities to throw a lot of this stuff I love into it. As well as to take a nice swipe at Hollywood greed, which is such an easy target, but still fun. The people who know me who have seen it say “Geez, why didn’t you just put yourself into it.” I guess I should’ve just had the Spectre kill me.
QUESTION:
Did Warner Bros. ever curtail your freedom in creation?
STEVE NILES:
The funny thing is that I was going to be more restrained. I thought, “Well, I can’t rip heads off.” And they were saying, “No, come on. Let’s see what you’ve got.” I think people will be surprised at how actually scary this thing is. It’s a good little horror story.
Pick up a copy of the most talked about comic book animated DVD to date:
The latest of the DC Universe animated projects, Justice League: Crisis on Two Earths was brought to us by a combination of animation greats including writer Dwayne McDuffie (Justice League), producer Bruce Timm (Batman, Superman, Justice League and each DC Universe animated film) and directors Sam Liu (Planet Hulk, Superman/Batman: Public Enemies) and producer Lauren Montgomery (Green Lantern: First Flight, Wonder Woman). The anticipation of this feature was great to say the least. Developed out of a story line intended for the final season of Justice League before it was reformatted as Justice League Unlimited, Crisis on Two Earths is a slug-fest between two universes of heroes and villains.
The voice acting cast is no less stellar than the characters of Justice League: Crisis on Two Earths. Actors Chris Noth as Lex Luthor, William Baldwin as Batman and Superman Mark Harmon may lead the cast, but it has to be James Woods who steals the show as the evil genius Owlman. His calm dulcet tones off-set a maniacal brain set on nothing short of complete destruction of all life, simply because in a universe of infinite possibilities it is the only action worth making.
Owlman versus Batman on Earth Prime
SPOILERS AHEAD…
The story begins on a polar opposite Earth where the last remaining superheroes Lex Luthor and the Jester are making a raid on a Crime Syndicate base. The Jester sacrifices himself so that Luthor can escape to Earth-1 and make a plea for help, leaving the Crime Syndicate confused as to why they should be worried by Luthor’s actions. After all, they just saw the last of the opposition. Luthor jumps to a parallel Earth where the Justuce League is in the beginning stages of putting together an orbital space station. The League is understandably dubious of Luthor’s claims that he does not have an ulterior motive in seeking out help, but almost immediately accepts that he is from another dimension. That is the true measure of how evil Luthor is. People would sooner accept the existence of parallel realities than Luthor not having some secret ploy up his sleeve. Batman is not so easily swayed by the mission to the other Earth and decides to stay behind to watch after the League’s first responsibility, their own Earth.
The Jester and Lex Luthor
On the parallel Earth, Luthor and the Justice League embark on systematic attacks on the Crime Syndicate’s numerous operations. It seems that the Crime Syndicate is set up in much the same way as the Mafia, with territories split up between the seven ruling powers. Under each of the seven is a gang of lieutenants, granted power by their boss. Presiding over them all is Ultraman (no relation) who is by far the meanest hombre of them all. But being the meanest isn’t everything. While Ultraman blusters and spouts about being the toughest of the bosses, Owlman is quietly pulling strings in the background. Building on Luthor’s research into parallel realities, Owlman has discovered that there is a nearly infinite number of Earths where each possibility is played out. All of the Earths hinge on a theoretical Earth Prime where all of reality was ‘born.’ It is Owlman’s ambition to plant a bomb on Earth Prime, thereby wiping out all of existence. In the end only the combined forces of both Earths can possibly stop Owlman’s plot for complete annihilation.
Even for Warner Bros., the animation is better than anything they have produced to date. The action sequences are fluid and energetic, the character designs unique and iconic and the facial expressions fill of life. I’ve been watching all of these comic book animation projects as they come out and can usually find little flaws here and there but in terms of presentation that was just not the case here.
Continuity wise, the Justice League in this film was a strange amalgam of the DC Comics world from a few years back, meaning that Martian Manhunter wore the blue and red costume and the new Firestorm was running around. The inclusion of the classic Aquaman and Hal Jordan Green Lantern off-sets the time period greatly… but it’s really not a good idea to gaze too deeply into the continuity abyss. In my mind, this film captured of not the exact roster then the spirit of the JLA of my youth circa issue 200 and that is a very good thing.
The voice acting had good and bad moments. The aforementioned Woods really stole the show while I struggled with my opinion on William Baldwin as Batman. I can’t put my finger on what was missing, but the voice of the dark knight detective was lacking somewhat. President Wilson (alias Deathstroke the Terminator) voiced by Bruce Davison was just awful on the other hand and only developed into something worthy of the character later in the film. Gina Torres (of Firefly and Cleopatra 2099 fame) as Power Woman was just phenomenal. It seemed that each scene she was in, her voice was sultrier than the last… even if she was mopping the floor with Batman’s face.
The Crime Syndicate
Regarding the voice acting cast, Bruce Timm had a lot to say:
This may sound confusing and contradictory, but in terms of just branding the movie, the decision was made that we should really do everything in our power to separate it from the TV continuity as possible. I love Kevin Conroy. I love George Newbern. They’re terrific actors and it would have been easier, frankly, to cast them in this movie. But again, for the sake of branding, we decided we needed to go with other actors to play those parts to further separate this from the TV continuity. Of course, it’s always a challenge to go back and re-cast these guys. You just sit in the room with the director and with Andrea Romano, our voice director, and just brainstorm ideas. “Who would be a good Batman? Or would be a good Superman or whoever?” It’s an involved process but ultimately, I’m thrilled with the cast we did get and I think they all did a great job.
Curiously enough, James Woods was the one person that actually ended up playing the same part that he would have played if we had gone ahead with “Worlds Collide” all those years ago. Back in the day, he was our choice for Owlman. Unfortunately, he and Andrea Romano, and I think even Dwayne, they might be misremembering it, because I’m pretty sure we had cast him as Owlman. They’re saying he was originally cast as Lex Luthor in the earlier version, but I’m pretty sure he was Owlman. Everybody else, we had a completely different cast in mind. We, frankly, thought he was a longshot. He’s a big name actor and he’s really, really good and too expensive. But at the time, he signed on for it, and years later, I was like, “Well, he was our original choice for Owlman. Let’s see if he would still be interested.” And he still was, and there we were.
Overall the Justice League: Crisis on Two Earths is just phenomenal. There are some logistical problems with the film that make much more sense when you realize that it was intended to operate as a bridge from Justice League to Justice League Unlimited, such as the ending that hints at a sequel that is not coming, but it is still lots of fun.
Not as potent in meaning or polished in look as Justice League New Frontier, Crisis on Two Earths is more concerned with actions and super battles… but there’s nothing wrong with that really. If you enjoyed the Batman, Superman and Justice League cartoons, you owe it to yourself to check out Justice League: Crisis on Two Earths on DVD.
Based on the long-running comic book super team, Justice League: Crisis on Two Earths pits Superman, Batman, Wonder Woman, Martian Manhunter, the Flash and Green Lantern against their opposites, the Crime Syndicate from another universe where evil prevails. The only hero of this negative version of ‘our’ universe is the sole survivor of the alternate Justice league, Lex Luthor. As unlikely as it may seem, Lex and the League must join forces to defeat a threat that could encompass all of reality.
While the comic book has run almost uninterrupted from the 1960′s, most people know the Justice League from their animated exploits in either the Super Friends series from the 70′s or the more recent Justice League cartoon. A group of the heaviest hitters in the DC Universe, the team is an homage to the Justice Society of America from the 1940′s. When superheroes came back into fashion in what is referred to as the Silver Age of comics, the concept of a combined force for good was revived and the Justice League was born. The membership of the team has fluctuated wildly over the decades, but many will agree that the big seven of Aquaman, Superman, Batman, Wonder Woman, Martian Manhunter, the Flash and Green Lantern is the core team.
The absence of Aquaman from the main cast of the Justice League: Crisis on Two Earths animated feature may look a little odd to purists, but he is very difficult to write for, so I can see the logic in his sitting this one out… although he does make an interesting cameo.
Justice League animated series scribe Dwayne McDuffie had penned the plot for Crisis on Two Earths for the last season of the program. When the series was canceled, McDuffie shelved the treatment but kept it in mind. Adapting the outline to fit more closely to the DC comic book universe, Justice League: Crisis on Two Earths expands on both the animated and print versions of the title. McDuffie is joined by directors Sam Liu (“Planet Hulk,” “Superman/Batman: Public Enemies”) and Lauren Montgomery (“Green Lantern: First Flight,” “Wonder Woman”) in the direct-to-DVD film. Released today on regular and special edition DVD in addition to Bluray, the Justice League: Crisis on Two Earths DVD is also packaged with lots of goodies an short cartoon featuring the Spectre. The special edition also contains the two-part Justice Lords adventure from the Justice League animated series.
(note: all information including ad copy is from the publisher)
Dracula 1:8 Scale Model Kit
Dracula. The Mummy. The Frankenstein Monster. The Wolfman. For over seventy years, audiences have thrilled to the black-and-white films produced by Universal Studios starring these terrors of the silver screen. Now, collectors can bring these horrors into their homes with Revell’s new series of Universal Monsters 1/8-scale model kits-re-issues of the classic kits first introduced during the Monster Crazer of the 1960′s! The Frankenstein Monster, molded in light gray, features finely sculpted details, including head, hands, clothing, and a famous pose as he stands atop a graveyard display base. The vampire Count Dracula, also molded in light gray, has a fiendishly detailed face and wears formal attire with a flowing lined cape, all atop a gnarled tree stump display base. The Wolfman, with an authorized likeness of actor Lon Cheney, Jr., has a frightful face and hairy beast-like body, and stands atop a rocky display base with a human skull and frightened rats. Finally, the Mummy, also with an authorized likeness of Cheney, has a hideous face and frayed bandages, and stands atop a display base that brings to life the ruined Egyptian temple. Each model is suitable for modelers of moderate skills, ages 12 and up. Some assembly required.
Filmed In Supermarionation: A History Of The Future
Filmed In Supermarionation: A History Of The Future
For the first time, a complete history of the Gerry and Sylvia Anderson television productions which pioneered science-fiction special effects. Film historian Steven La Riviere, whose documentary about Supercar was the final word on the series, takes you behind-the-scenes and covers every aspect of the creation and production of such television shows as Supercar, Fireball XL5, Stingray, Thunderbirds, Captain Scarlet, Secret Service, and Joe 90. The book also covers the Anderson’s efforts from the beginning including Torchy and Four Feather Falls. This full-color art book is packed with hundreds of never-before-seen production photos, artwork, and illustrations making this the definitive book on the subject.
Jack Staff TPB Vol. 04 Rocky Realities
By: Paul Grist
Becky Burdock is hunting vampires. Jack Staff is Britain’s Greatest Villain. Something’s wrong in Castletown, and not all the pieces seem to fit anymore.
This title collects
JACK STAFF #13-20 & JACK STAFF SPECIAL #1
Amazing Spider-Man #622
By: Greg Weisman, Fred Van Lente, Luke Ross, Joe Quinones, Simone Bianchi
As the Gauntlet rages on around him, the spotlight is on Peter Parker’s original archenemy-turned-best friend, Flash Thompson. Since losing his legs in service to his country, Flash Thompson’s not been deterred by his physical limitations. But even a hero can have his limits.
Greg Weisman, one of the brains behind the smash TV hit Spectacular Spider-Man, teams with Luke Ross (CAPTAIN AMERICA) to bring a touching story of Flash Thompson coming to terms with his new life. Then, Fred Van Lente and Joe Quinones (WEDNESDAY COMICS) bring Spider-Man face-to-face with Morbius, The Living Vampire!
Daredevil: Lone Stranger TPB
By: Ann Nocenti, John Romita Jr.
The Man Without Fear becomes the Man Without Hope as Manhattan falls beneath the fangs and claws of Inferno! Losing everything in more than one kind of fire, DD leaves Hell’s Kitchen to walk to and fro upon the Earth – but no matter where he goes, Mephisto’s waiting for him! Inhumane experimentation and Inhuman secrets abound! Guest-starring Spider-Man and Freedom Force!
Airfighters #1
By: Chuck Dixon, Tom Defalco, Oscar Celestini, Tom Grindberg, Rob Schwager
They’re back! It’s an all out air war as Airboy and his Airfighters return to the comic page! This 72-page extravaganza features the all new high-flying exploits of Airboy and his revamped compatriots in their very first Moonstone appearance: Skywolf, Black Angel, Flying Dutchman, Iron Ace, Bald Eagle, and the Flying Fool! Plus, a special tale of Captain Midnight!
Flash Rebirth #6 (of 6)
By: Geoff Johns, Ethan Van Sciver
In a battle along the outskirts of time, the secrets of the Speed Force have been revealed! The new archnemesis of those who ride the lightning is coming for Iris Allen.
And the Barry Allen you knew is gone forever…or is he? What change does Wally West face? What destiny will Kid Flash choose? Prepare to meet a Flash Family that’s both familiar and different…and get to the starting line for the next epic adventures of the Speed Force!
Indiana Jones Omnibus TPB: The Further Adventures Volume 3
Indiana Jones Omnibus TPB: The Further Adventures Volume 3
By: Linda Grant, David Michelinie, Steve Ditko, Ricardo Villamonte, Bret Blevins, and others
The globetrotting hero born of George Lucas’s love for high-adventure 1930s fiction returns! Irreverent archaeologist Dr. Henry “Indiana” Jones scours the furthest corners of the planet for priceless artifacts, hungry for knowledge about ancient civilizations and in a constant race to beat grave-robbing thieves to the goods. Though his quick wit, resourcefulness, and dashing good looks have gotten him this far, what happens when his Nazi foes attempt to wake the dead through sorcery? Join Steve Ditko and Linda Grant in this value-priced collection to find out!
* This volume also includes the official comics adaptation of The Last Crusade!
* The first three Dark Horse Indiana Jones Omnibus editions have combined to sell over 50,000 copies!
Fantastic Four By Jonathan Hickman Vol. 01
Be there as Marvel’s newest exciting creator, Jonathan Hickman, teams up with superstar artist, Dale Eaglesham, to give you the Fantastic Four experience you’ve been waiting for! It’s adventure, it’s family, it’s tough questions in dark times. Ben and Johnny prepare for a trip to Nu-Earth while Val figures out what her dad is up to. See what happens when Reed Richards tries to SOLVE EVERYTHING.
Immortal Weapons TPB
By: JASON AARON, DUANE SWIERCZYNSKI, CULLEN BUNN, RICK SPEARS, DAVID LAPHAM, MICO SUAYAN, TRAVEL FOREMAN, DAN BRERETON, TIMOTHY GREEN II, KHARI EVANS, ARTURO LOZZI, DAVID AJA
Out of the pages of IMMORTAL IRON FIST! A handful of Marvel’s hottest writers plus an all-star roster of artists bring you IMMORTAL WEAPONS! One volume packed with six thrilling tales of Kung Fu action. Follow Fat Cobra as he uncovers the true story behind his decades of adventure. See the action unfold as Bride of Nine Spiders is forced to confront her past after a disturbing relic surfaces at an exclusive auction house.
Learn the mystery of Dog Brother #1 and how he may be involved in the string of disappearing orphans in Under-City. Then it’s Tiger’s Beautiful Daughter – her beauty is legendary; her kung fu, unmatched. Now learn how one of the most gorgeous women in the world also became one of its deadliest fighters! Plus: so many questions surround the Prince of Orphans. what is his mission on Earth? What is the nature of his incredible power? And is there anyone who can defeat his kung fu? When Iron Fist joins Aman on a life-or-death mission to fight monsters and banish ghosts, Danny may learn the answers to these questions…if he survives!
X-Factor #202
By: Peter David, Bing Casino, david yardin
It’s all been building toward this: A suicidal assault on Castle Doom in the heart of Latveria as the unlikely trio of Monet, Shatterstar and the Thing go head-to-head with the guy who has his own complete country.
Meanwhile, who or what exactly was buried in that lonely grave? And did Madrox arrive in time to make a difference? Plus, Franklin and Valeria Richards are on the run from the most unexpected enemy of all, and the only person who can defend them is…Strong Guy?
Part 3 of ‘The Invisible Woman has Vanished!’ Get it before it vanishes off the shelves!
Justice League Crisis Two Earths Owlman Maquette
SCULPTED BY DEREK MILLER ‘You people are my world’s last hope.’ – President Lex Luthor In a parallel universe, the lone survivor of Earth’s Justice League – Lex Luthor – travels through other-world dimensions to join forces with Superman, Batman, Wonder Woman, Green Lantern, The Flash, and J’onn J’onzz in a desperate attempt to save his world and his people. But the villainous Crime Syndicate controlled by Ultraman, Owlman and Superwoman will stop at nothing to maintain their domination. It will take wits, might and a sacrifice to defeat these unforgiving enemies in the spectacular DC Universe Original Animated Movie. Two Earths, two Leagues and one epic battle collide for a thrilling experience that will leave viewers breathless! This hand-painted cold-cast porcelain maquette of Owlman is based on art from the highly anticipated Warner Home Video made-for-DVD animated original movie, Justice League: Crisis on Two Earths! Measuring approximately 9.2′ tall x 5.5′ wide x 8.75′ deep (including the base), the maquette includes a 4-color Certificate of Authenticity and is packaged in a 4-color box. Limited edition of 4000! *Quantities may be allocated. On sale February 24, 2010 * Statue *$99.99 US
Avengers Initiative #33
By: Christos Gage, Jorge Molina, David Yardin
The Initiative faces its own CIVIL WAR as Taskmaster, Constrictor and Diamondback join the Dark Avengers in the Siege of Asgard…and come face-to-hammer with Thor!
Meanwhile, Justice, Tigra and the rest of the Avengers Resistance assault camp H.A.M.M.E.R., aiming to bring it down once and for all – but the Hood is ready for them! It’s all-out war on two fronts – and one side won’t be here when it’s over!
This Spring, Doctor Doom will make an attempt to become more powerful than anyone on the planet, and the Black Panther will take it upon himself to stop the power-mad tyrant from achieving his goals.
Doomwar
Writer Jonathan Mayberry made quite an impression with the Punisher: Naked Kill one shot last year. Crafting by far the most disturbing adventure featuring the skull-clad vigilante, I was eager to find out what was next from him in the world of comics.
Since taking over from , Mayberry was immediately under fire from fans of the Black Panther monthly series. The rumor that previous Black Panther scribe Raginald Hudlin was fired from the book only fueled the rumor mill that all was not well at the House of Ideas. As is often the case, all concern was unnecessary as Hudlin was hard at work on the new Black Panther animated series and incoming scribe Mayberry was similarly full of ideas as to where to take Wakanda’s ruling superhero.
Picking up from where Hudlin had left the series, Mayberry’s run has established a new Black Panther in the form of T’Challa’s sister Shuri and a new role for T’Challa as he embarks on a new journey.
Sure, I sympathize with fans who are aghast at a new Black Panther taking the lead away from T’Challa, but so far Shuru has completely won me over. Strong and steadfast, she has proven herself in battle and character as being a worthy successor of her brother. I have been a strong supporter of the revived Black Panther series by Hudlin and the new volume under Mayberry has if anything been just as exciting and entertaining. Equal parts political intrigue and superhero battles, Black Panther has been a remarkable read every month. When I read of the impending mini-series taking the place of the monthly Black Panther title for 6 months, I was wary… but after I finished the first issue I was hungry for more.
The latest volume of Black Panther takes place after a meeting between Doom and T’Challa regarding the Cabal of Norman Osborn. Just as he was sought out during the Civil War, T’Challa is again called upon regarding concerns outside of his kingdom. Deciding to not join Osborn’s elite court, T’Challa is the victim of an attempted assassination. Barely surviving the attack, T’Challa is forced to retire from the throne, leaving his sister Shuri as his replacement as the nation’s champion and his wife Ororo as regent. Rather than quietly recuperate, T’Challa turns to black magic to return to his fighting strength. Surrounding himself with only the most trusted of his bodyguards, he disappears in mysterious silence, leaving his wife Ororo to face charges of witchcraft.
Embarking on a tour of America to establish herself as the new Black Panther, Shuri is attacked several times by hired thugs using amped up abilities. It all seems connected to the assassination attempt on T’Challa over Larveria. Investigating deeper into the conspiracy, she discovers numerous hints countering each other laying blame at Tony Stark and Prince Namor. But in the end, the real perpetrator is Wakandan. But who is behind the threat within Wakandan’s borders? Doctor Doom himself.
Sowing the seeds of distrust in the unsettled kingdom, Doom has sided with the extreme fundamentalist political group known as the Desturi. Aiding the Desturi, Doom’s true aim is not to overtake the nation long thought to be unconquerable but rather to obtain access to the rare metal vibranium. The African nation of Wakanda just so happens to sit on a large mound of vibranium, making it the object of numerous attempts of hostile assault over the years, all of which have failed. In addition to the super science of Wakanada, their champion the Black Panther has defending them from all attacks.
The most unique metal in the Marvel Universe, vibranium is also the unbreakable metal that is laced into Captain America’s shield. Despite its obvious uses, T’Challa knows of another more obscure application of vibranium involving black magic. Appealing to the X-Men for assistance, T’Challa and Shuri lead a strikeforce to take their country back while Doctor Doom removes the obstacles keeping him from the vibranium storehouse. The mini-series Doomwar focuses on Doctor Doom’s attack on Wakanda and the combined forces of the Black Panther, X-Men, Fantastic Four and more set against him.
Marvel.com: There’s going to be a lot of characters appearing in this story, from the X-Men to the Black Panther to the Fantastic Four. What’s it like writing such a large cast?
Jonathan Maberry: I tend to write novels with a large cast, so I’m used to juggling a lot different storylines. I like the idea of the shifting point of view and shifting storylines. Instead of one storyline playing out and having to write a lot of the transition between one scene and the next, I can just go to something else happening right now. So, there’s always something going on. The characters are for the most part fairly familiar to the Marvel Universe, so some of them you don’t need to give as many pages over to character development when you need to advance the story. Whereas other characters who I have new things to say about, I have the pages to be able to develop personalities. It’s fun juggling a lot of the characters and a lot of the storylines. It’s going to allow me to tell a big story in six issues when a couple of years ago it would have taken me 12 or 14.
Marvel.com: Do you have a favorite character to write for this?
Jonathan Maberry: That’s a tough one. I love writing the Fantastic Four. I actually originally loved writing Namor. I used him in a couple issues of BLACK PANTHER and I love that character. He unfortunately will not be in this. But really, I’m enjoying writing Shuri, the new Black Panther. I think she’s a fascinating character. A lot of readers don’t know her and some readers are resistant to her because she’s filling the role of the Panther that was filled by T’Challa, her brother. But I like the character. I like how complex she is, and I’m enjoying getting to know her and introducing her to the Marvel Universe.
Marvel.com: The main story focuses on these characters coming together to help T’Challa and Shuri reclaim Wakanda and stop Doctor Doom. But, the key thing there is “stop Doctor Doom.” How exactly does one go about doing something like that? He’s not exactly a push over.
Jonathan Maberry: No, he’s not. And we’re actually going to be showing something about Doom that hasn’t been shown in previous Marvel stories. People have commented that Doom is the villain in so many different books; how is it that possible? We’re taking a swing at explaining that. It shows his infrastructure. It shows that he has a whole network of people who work with him that allow him to do what he is doing. Factories and funding and scientists. Just tons of people. We’re going to explore that infrastructure. That being said, in order to stop Doctor Doom, you have to reduce his ability to wage constant war on so many fronts. So, part of DOOMWAR isn’t a direct fight with Doom. It’s a fight to destroy the global network that keeps Doom in power and enables him to do what he does. There is a character called the Broker who is kind of Doom’s foreman. He gets things done and he brings a lot of damage himself. So, he’s going to be fighting some of the heroes. They’re going to have to carve their way through those levels in order to get into a direct confrontation with Doom. At that point, they may run into a bigger problem because Doom may be become indestructible if he gets what he wants.
Marvel.com: Now, when you say indestructible, you mean…
Jonathan Maberry: Iron Man times 10. He’s trying to steal the vibranium from Wakanda. Doom has found some qualities in vibranium that no one else has found-mystical qualities. If he gets those, considering he uses science and mysticism, he’s going to be able to upgrade his armor and weapons and Doombots to where they can’t be stopped. It’s not quite having a Cosmic Cube, but it’s the next best thing.
While I am more than familiar with the work of artist Scot Eaton, I found myself flipping back to the cover to find who had delineated this masterpiece. The logistics of the issue including all of the X-Men and their floating sovereign state of Utopia in addition to Latveria was challenging enough, but Eaton made the entire affair feel like a big budget motion picture from cover to cover.
If you are unfamiliar with the Black Panther but curious about all the fuss, this is an ideal opportunity. Doomwar #1 should still be on the shelves at your local comic book shop… but don’t expect it to stay for long as word spreads about this series.
Bug-eyed, emotionless, paranoid, plunger-armed or block-shaped… all monsters must bow to the greatness of the mighty Pat Troughton.
The second actor to play the Doctor, Patrick Troughton had decided that three years was a decent run. His final series as the Doctor is a mixture of good and bad stories but unfortunately it is the most complete archive of his time on the series due to the junking of many of the episodes filmed in the first eight years of the program’s run. Krotons is hardly a fan favorite but that isn’t a mark against it either. The only four part adventure of Doctor Who from 1967-68, it reads as a kind of Who by the numbers adventure. The first script by Robert Holmes who would go on to become one of the most revered personalities in the annals of Doctor Who (having written Terror of the Autons, Talons of Weng Chiang and Caves of Androzani to name just three of his contributions as writer), Krotons is a far better story that the awkward Space Pirates screened just a few weeks later. It is interesting that none of the hallmarks that later become part of Holmes’ style are present in the Krotons at all. Nevertheless, it is a fun story if only for the performances by the three leads who are at their prime.
In my earliest exposure to Doctor Who I recall noticing a pattern right away where the Doctor and his companions stumble upon an alien civilization under the control of a cruel power system. The natives know no other way of life and fear outsiders, those in control fear that one day their subjects will wise up and overthrow them. After escaping confinement, the Doctor stirs up a revolution and destroys the culture’s system entirely before making a quiet getaway for the TARDIS. It always struck me as odd that not only does the Doctor leave the alien culture to pick up the pieces of the fractured society he has left them with but also England is a monarchy so what is a program preaching the value of revolution doing on the BBC?
In any case, the Krotons is one of these types of stories.
Landing on an alien world, the Doctor and his companions arrive at an awkward moment just as two of the brightest members of the society known as Gonds are being sacrificed to their rulers, the Krotons. The son of the highest ranking member of the clan of Gonds, Thera, objects to the practice but it is obvious that he is alone in his anger. After entering a doorway, the two sacrifices disappear, thought to join the Krotons and never be seen again. The Doctor and his crew just happen to witness one of the two youngsters exit a doorway in a desolate valley where one is killed by a strange weapon. Before the lovely Vana can be killed, she is rescued and returned to the gathered Gonds who are understandably miffed at the interference.
The Doctor is terribly curious about the Gonds and their relationship to the Krotons. His curiosity eventually leads to getting both himself and Zoe chosen as companions to the Krotons. Well, he had to get inside their citadel somehow! Eelek, a rival anxious to grasp power from Selris, seizes the opportunity to grab the attention of the Gonds while Selris tries to quell a rebellion led by his son. It is apparent that Eelek has little agenda outside of seizing power and being in control. If that means bowing to the domination of the Krotons, so be it. The part is played with sinister grace by the amazing Philip Madoc, one of the most talented actors to work on the series. He’s kind of like a prototype Paul Darrow from Blake’s 7, in some ways.
Inside the Kroton base, the Doctor learns that the Krotons are the remainder of an invasion force that battled the natives many generations ago. Composed of crystalline matter, the Krotons are virtually indestructible. Able to harness the mental capacity of humans and use it as energy, the Krotons have been educating the Gonds in order to gather energy necessary to escape the miserable planet and go home. On the other side of the impenetrable doorway, Eelek has learned all of this as well and seems more than happy to let the Krotons have the Doctor and Zoe to power their craft and leave.
Working with the resident chemist, the Doctor manages to launch an attack on the core of the Kroton base and inside the craft as well, introducing fast-eating acid to the crystalline being that destroys them utterly. Free from the Krotons’ control for the first time in generations, the Gonds decide to elect Thara their leader. Before they can look to the strange outsider known only as the Doctor for guidance, he is already gone.
Like I said, Krotons is a rather simple script, but it is also so straight forward that Patrick Troughton is able to inject some levity with some hilarious routines and improvised dialog. Together with Wendy Padbury as Zoe and Frazier Hines as Jamie McCrimmon, this could very well be the most finely tuned trip of actors to work together on the program outside of the initial grouping of the Doctor Ian and Barbara.
As monsters, the Krotons themselves are interesting to look at. Designed to look like an odd mixture of robotics, hoses and crystals, they suffer from the standard Doctor Who monster limitations… they cannot see you, they cannot move quickly and they are more than happy to explain their whole plan to you. In the end, I was more than happy to see them killed. Surprisingly enough, the monsters returned many years later to battle Doctor No. 6 Colin Baker in a Big Finish audio adventure, Return of the Krotons and in print agaist Doctor No. 8, Paul McGann.
To date the Krotons has not been released on DVD, but as only one of two remaining Troughton stories existing in its entirety, that is only a matter of time.
In 1983, Frank Miller had established himself as an innovator in comic books. After wrapping up his stellar run on Daredevil at Marvel Comics, he moved over to DC for a unique experiment combining cyberpunk and traditional samurai film called Ronin. Borrowing heavily from the very same movies that Miller no doubt avidly viewed as a youngster, the book’s setting is split between dream-like ancient Japan and a future New York City where buildings sprawl over the comic page like living creatures.
The plot is very simple and complex all at once. Charged with defending his master from assassins, a nameless samurai fails to keep his master Ozaki safe. A demon named Agat manages to kill Ozaki, leaving the samurai with no other recourse but to perform sepuku. From beyond the grave, the samurai’s master demands that his student wander the countryside as a masterless samurai or ronin and train himself to kill Agat with a mystical blade, the only weapon capable of killing the monster. The catch is that the blade must be fueled with innocent blood before it becomes potent enough to kill Agat. After finally accumulating enough experience, the ronin hunts down Agat and, using his own blood as fuel, kills them both in one fatal stroke. Rather than being destroyed, however, Agat manages to trap himself and the ronin in the blade until they can be released.
The remainder of the story is set 800 years later in a dystopian world of societal decay. A young quadriplegic named Billy is having dreams of the demon and samurai’s battle. A gifted psychic, Billy is looked after by the brain trust of the Aquarius Complex. Both Agat and the ronin are released from their mystical prison after the sword has been found and experimented upon.
Free to roam this future world, Agat takes over the body of the Aquarius Complex’s head administrator. Meanwhile Billy has transformed into the ronin and used his abilities to grow new limbs from the biocircuitry around him. Reborn into a strange world that he cannot understand, the ronin struggles to survive, fighting street gangs, squatters and mutants as he carves a path back to Agat who is building a new empire for himself with the power he has gathered in his new body. Ronin meets a strange man named Head who promises to help him get around, but actually sees a potential for profit by billing his swordmastering friend as a stage act under the moniker ‘The Elvis Of Violence.’
Released on a heavier stock than standard monthly comics, Ronin was visually stunning in its presentation, helped in large part by painter Lynn Varley’s colors. With no ads interrupting the flow, the series offered a cinematic experience the likes of which was uncommon from DC Comics. This was the era when both publishers started to experiment with new storytelling techniques in the graphic novel format (the initial intention was in fact for Ronin to be printed as a graphic novel from Marvel), which may be why so much room was given to Miller to do as he wished with this story. Frank is still a young artist at this point, full of energy and a genuine desire to explore new ideas. As a fan of his work, Ronin is definitely one of my favorites.
As a comic book reader, Ronin is a fascinating bridge from the groundbreaking work that was done on Daredevil to the slick cinematic style of graphic art that has since become the norm in the medium. To a young reader unfamiliar with Ronin or with comics from the 1980′s, that element of the series may fail to make a significant impact. Nevertheless, Frank Miller’s Ronin stands the test of time as a visually breathtaking piece of work.
In 1998, Darren Aronofsky was hired to adapt Ronin for the big screen, but sadly nothing percolated from that deal. In 2007, 300 producer Gianni Nunnari announced that he would begin work on an adaptation of Ronin. Back in March ’09, Joby Harold was assigned to write the script for a movie adaptation from Warner Bros. after the project had languished in development limbo for ages. Director Sylvain White (Stomp the Yard, The Losers) has started to talk about the project again while promoting the Losers (due out this April).
“That’s something I had to let go of for a period of time while I was directing ‘The Losers’ but I’m back here in Los Angeles and as I’m finishing post-production on ‘The Losers,’ I will be diving back into the development of ‘Ronin.’ I’m just working along with the studio executives developing the story elements and they’re attaching a writer in the spring to do a new pass on it.”
“It’s a very complex graphic novel and it needs very careful attention,” he continued, “Of course to make a movie of that scale, you need a lot of money to pay it justice, especially with the incredible visuals that Frank Miller has in it, but at the same time, in order to get a lot of money to make the movie, it has to have enough commercial appeal, so I’m trying to balance those two things together to make the movie accessible but still smart and throw with all the great ideas and grand ideas that it has. Conceptually, it’s such an amazing property, so I think it’s strong appeal in that sense, and even for people, I think visually in the trailer, people will be gravitating towards that kind of subject matter and that kind of character, it’s amazing.”
No release date has been announced for Ronin. After seeing 300 in the cinema and hearing that Ronin was next in line for a big film version of Frank Miller’s work it struck as both a logical and exciting step. If you have never read Ronin, I heartily recommend it. I can only hope that the movie does it justice.
Click here to read an interview with author Jonathan Hickman on his Fantastic Four Manifesto.
