At the NYCC Retailer Breakfast, Marvel just showed a new clip from Iron Man 3. As well as reshowing the San Diego clip.
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Chris Claremont took to the stage with Mike Conroy at the Entertainment Media Show in London this weekend, with Stay Puft Marshmallow Man towering above him. During which he talked about his career, the state of the X-Men comics, his thoughts about the films and his future plans. How he’d have had Cyclops retiring to Alaska, how he tried to get Frank Bellamy to work on X-Men, his current work in novels and (gasp) poetry, and reminding us of Jim Shooter’s edict that Phoenix should die or be imprisoned for life. Which is of course, where Cyclops is now. We also learned that Mr Sinister was intended to be a twelve year old boy who had built a seven foot metal robot to interact with other mutants.
Chris was asked, considering Bob Harras and Jim Lee are resplendent at DC Comics, why he wasn’t working on the New 52. He replied, because he was still on exclusive contract at Marvel.
Which, considering he hasn’t written anything for Marvel for a while was quite a surprise. When asked why he wasn’t actually writng for Marvel, despite still being in contract thre, he suggested that we ask Marvel editor-in-chief Axel Alonso. And then, presumably, tell Chris.
After the infamous Clint Eastwood vs. Chair incident at this summer's Republican National Convention, artist Francesco Francavilla created a clever piece of art to mock commemorate the incident. Now, following Mitt Romney's debate comments regarding his plans for defunding PBS, the home of Big Bird (and debate moderator Jim Lehrer), Francavilla has created a new piece of art, paying homage to John Romita Sr.'s famous image from Amazing Spider-Man #50 while having a bit of fun with the exchange between Romney and Lehrer, who is widely considered to have done a wonderful job as moderator and has absolutely no critics.
CLICK THROUGH TO WATCH THE VIDEO AND SEE THE IMAGES
IT BEGINS with the DJ blasting “Pull Shapes” by The Pipettes, which will forever remind me of Penny and how we can transcend ourselves through dancing, music, stories, whatever magic we care to believe in. Standing out in front of the stage at the Body English, which is this subterranean nightclub that’s some kind of really big deal to get into, to even be allowed under this entire Hard Rock Las Vegas situation, but we are all of us in the room prepped and primed, live and willing conduits to the seething crackle that has brought us to this convergence in five-dimensional space/time. One thousand have gathered from Australia, Brazil, China, England, Finland, France, the Philippines, Scotland, Sweden, Tasmania, Uruguay, and quite a few of the United States for MorrisonCon, a celebration of chaos magic and comic books and hypersigils and the people who create them and the people who love them, a happening designed to break down the barriers between all of those things, more in the vein of All Tomorrow’s Parties and TED than Comic-Con, instead of waiting hours in line to pack Hall H full of 6,500 fans to stare at the actors and writers and directors who channel their dreams, attendees are encouraged to engage the guests in an intimate social setting, lubricated by alcohol and starstruck delirium and all the teeming madness fueling this metropolis that Benjamin Siegel first watered with his lifeblood sixty-five years ago.
The show is supposed to start at nine but the notion of punctuality runs counter to the general aesthetic and so we have quite some time to get to know one another. I’m standing with the stage-right speaker blasting right in my ear next to a freelance photographer who’s been here since 8:15 and only cares about performing the magical ritual of turning his pictures into money, but then also there’s this real sweet mother/daughter team-up from Oklahoma, Kristin is maybe ten years older than I am and loves My Chemical Romance, can’t believe she’s going to be this close to Gerard Way, while daughter Sage is ten years younger than me and a magic-journal-carrying Morrison acolyte all the way. They introduce to me to some other folks from Oklahoma whose names get burned out of my brain by the impending set but we all have a hell of a time singing along to Elastica’s “Stutter” when it roars out of the PA. At one point, I make a Heineken run, $8.50 a pop. I am terribly pleased with myself for including a fifth of Jack Daniel’s amongst the contents of the backpack upon my shoulders.
At quarter to eleven, Gerard Way of My Chemical Romance and DJ James Dewees walk out and take their positions behind the two double-keyboard racks set up on either side of the stage. They’re both dressed like rock stars or Village kids slumming in the Bowery. Way is chewing gum harder than Dave Grohl, Party Poison in his secret identity. The house lights come down and a soft blue glow washes over the stage. A spectral a tempo blend of piano and keyboard fills the room, not too far removed from what it sounds like in Trent Reznor’s head. Grant Morrison enters from stage-right to the expected roar from the crowd, sharp in a tight-fitting business suit with blue shirt and tie. He’s carrying a couple dozen pieces of printed paper. Or twenty-three, I hope, thinking or receiving the number right there, in the moment before it begins. He does not acknowledge the crowd, only takes the microphone in hand, steadies himself, and launches into a performance entitled THE CON, beginning with, “Here’s hoping, now that someone’s died/You’ll drown in grief, a proper tide/Ignoring what you feel inside, that moment when God and Jesus lied.” This, our smiling host goes on to relate, is the “bleak and enigmatic verse” that Walter Lee has wasted the morning composing. Following along to the utmost of my upper-dimensional capabilities yields the discovery that this Walter Lee is in fact Liberace, who eventually goes on to battle Howard Hughes for the soul of Las Vegas, the entire thirty-minute present-tense narrative delivered with roaring gusto, evoking the Beats and shamans and spellcasters scored by sleek skyscrapers. It is a test of endurance and sanity and comprehension that leaves me battered and damaged, able to do little more than shake my head as they make their way offstage. I’m not sure how the story ended but am already altered.
Retaining concert-going professionalism much better than me, Kristin doesn’t let the last man make it offstage before leaning in to grab Morrison’s pieces of paper discarded one-by-one after being read, relics and recipes of whatever enchantment or invocation has just taken place. She keeps one page for herself, another for Sage, and then starts handing them out to all the grasping hands. Possibly I don’t make it over in time but she saved me one and hands it to me once the rest are gone? This is the first thing I’m not certain about, that I remember in more than one version, already the timelines are fracturing and things seem to be happening in multiples. I definitely eventually make it back to my room with a piece of paper with the number ten in the upper-right corner written in black ink and circled. It begins the fourth chapter, entitled THE WHITE KNIGHT RETURNS and the last sentence on it is “In the undergrowth of the starlet’s eyelashes, hunting packs of wild pseudomonas feast on black matter mascara clots, spurred on by microscopic demon riders.”
Akira the Don bounds up on the stage and tears into his set, eager to win over the entire crowd in that first bleeding instant and inspired to antics and banter of increasing magnitude when the roar of adulation is not total enough. Dispensing high-energy rapid-velocity UK hip-hop, he is constant motion and flow of dialogue, diminutive in stature with a dark beard framing wild eyes underneath long bleached blond hair. I can’t figure out why he looks so familiar to me for the first few songs then suddenly realize he’s Vince Neil’s little brother. He earns +10 Kirby points for the name of his latest album, The Life Equation. I watch the set upstairs, where I meet Greg and Mark from Chicago and Brenda and Kai from Atlanta. Brenda could be the Ragged Robin from 2022 but it seems like that could possibly be taken as an insult, so I keep it to myself. Every time before I refill my Jack, I go to the bar and leave a tip for a fresh glass of water with ice, congratulating myself for not cutting the bartenders out of their due earnings and also hydrating my body very well.
After the set, I head down to the dancefloor to mingle and watch J.H. Williams III cut some serious rug, dashing in his suit. You can almost see the layout of his motion as a freeze-frame Williams double-page spread, dancing here with a jagged rectangle around him, then he spins on over here into another serrated rectangle, then a final unexpected lunge to the right side of the page for the last panel, it’s all very Kate Kane. The pungent scent of something green, delicious, and expensive wafts over me. A bouncer notices my bloodhound senses activate and walks up with a smile on his face and says, “Yeah, some of the guests were burning back in the Green Room but Management said they had to put it out. Maybe it’s not too late, you want me to take you back there?” It does not occur to me to question the way in which this man’s dialogue seems angled in direct opposition to his presumed job description. Maybe he isn’t a bouncer at all, some kind of hospitality director or facilitator? “Yes, that would actually be perfect,” I tell him. “Please do take me back there.”
There are maybe twenty people in the room, none of whom appear to be smoking anything. The bouncer deposits me next to the food spread and excuses himself. Most folks are huddled in the near side of the room, the only two I recognize are Way and Akira the Don. Morrison and James Sime are sitting on the couch in the center of the room, having a spirited conversation though clearly Morrison is wiped from the performance. There’s a guy sitting a few feet down from Morrison holding some sort of camera out in front of him down low, angled sideways, filming. The effect is surreal. Just the sight of Sime is pretty arresting in and of itself, but especially in juxtaposition with Morrison. Sime has got a tower of maybe six inches of hair shooting straight up from the top of his head and a mustache that on its own would be right at home back on an old Deadwood gunslinger but, when taken in context with the hair and immaculately cut suit, suggests more of a Silver Age supervillain. Kirkman even made him a recurring character in INVINCIBLE. He’s the owner of San Francisco’s Isotope Comics and this entire thing was his idea, or at least the result of dreaming and discussion with his partner Kirsten Baldock and iFanboy’s Ron Richards over a meal or meals during Comic-Con 2010. It is clearly not the moment to approach my man Morrison. I wind up talking to Akira the Don for a few minutes and am maybe cool enough but shatter the illusion when Way walks by and I’ve just got to shake his hand and tell him with all my heart how much I respect his work, blazing all kinds of new trails in the backstage dialogue department.
The Don pinballs off into his next situation and I strike up a conversation with the lady standing next to me. She’s a little older than I am and wearing this all-white dress that you could see from all the way across the club, when I noticed it, it conjured WHITE SWAN, the anti-Aronofsky/Portman flick in my head, which I might almost manage to tell her. Or quite possibly might not, because then in walks none other than Frank Quitely himself, the other half of Morrison’s heartbeat, everything he’s drawn is one of my favorite comic books of all time and I make a real point and big effort not to just like bear-hug him right there on the spot but I guess enough of it’s on my face to tell because he just gives a real easy smile and walks up, holding out his hand and introducing himself as Vin, which is of course his real name. And it turns out this is his wife Jane who I’ve been talking to. Quitely (it’s impossible to think of him as Vin) takes out a pack of American Spirit Naturals and asks if I smoke. I haven’t had a cigarette in years and years but the only, the involuntary, response is, “With you, I do!” and so we all have a smoke back there by the vegetable tray and the two of them discuss the drawbacks of jet-lag with me interjecting upbeat exclamations about, yes, how terrible jet-lag really is.
Soon after, we get kicked out of the Green Room and exodus en masse up the stairs and across the casino lobby into an embedded nightclub in which a band called Dead-Eye Radio is performing passable covers of nineties alternative rock. I meet a member of the staff named Mike, a nice guy in a white suit. We sing along to “Say It Ain’t So.” I look around and realize most of the other guests have evaporated off to bed. It’s 1:30 and the programming proper commences in exactly eight hours. I follow suit and end the day under the covers of my king-size bed, taking thirty minutes to scream everything that’s just happened at my little brother in Queens because he also smokes American Spirit Naturals. And received his own copy of the ARKHAM ASYLUM hardcover for Christmas ’89, so has loved Morrison’s work exactly as long as I have, though not to quite the same extent.
Announced at the Dublin comics convention D.I.C.E. is a new creator-owned series from long time IDW licensed comics artist Stephen Mooney, Half Past Danger.
This looks like quite an incredible comic strip with flashes from Terry And The Pirates, Dan Dare and so much more. An Irish marine, Tommy “Irish” Flynn, fighting for the USA in WW2, with a British agent Elizabeth Huntindon-Moss, British Army Captain John Noble, Ishikawa Minamoto, ex-SNLF Japanese Nazis, a jungle setting and, wait for it, dinosaurs.
Jordie Bellaire is colouring the book, and Dec Shalvey, Dave Hendrick and Mooney will also collaborate on a back up story.
Look for Half Past Danger some time next year from IDW. This is the kind of comic that gets plaudits and wins Eisners but all too often gets ignored in terms of actual sales on publication.
Bleeding Cool will do its best not to let this happen.
Stephen has been posting art and concepts liberally on his blog, created for this project. As a result, we have a nine page preview of the first issue and lots of sketches, covers and designs to wallow in.
CLICK THROUGH TO SEE THE IMAGES
Avengers vs. X-Men wrapped up this week, and both Earth's Mightiest Heroes and (most of) Marvel's merry mutants dodged a fiery demise at the hands of a resurrected Dark Phoenix.
But after a slobber-knocker throw-down with an angry avian primeval force, who's still willing to pay their Avengers membership dues?
In a conference call today, io9 joined writer Jonathan Hickman (Nightly News, Fantastic Four) and Marvel editor Tom Brevoort to discuss Hickman's upcoming scripts for both Avengers and New Avengers, which hit stores December and January, respectively.
The former "utopian" title includes a cast that will balloon up to 24 superheroes several issues in. The latter "apocalyptic" comic consists of the Marvel Universe's Illuminati, or behind-the-scenes power brokers like Captain America, Iron Man, Doctor Strange, Black Bolt, Namor, Mr. Fantastic, the Beast, and Black Panther. Some of the Illuminati aren't pals right now — see: Namor, who flooded Black Panther's kingdom of Wakanda while stoned out of his gourd on the Phoenix Force — but Hickman promises that an impending emergency will result in strange bedfellows:
The catalyst is an event in Wakanda with Black Panther, the only man who told the original Illuminati it was a mistake. Something occurs so earth-shattering, he sees no other course of action than to call on them [...] This event is so huge than even the people in the Illuminati who do not currently like each other are forced to put differences aside.
As for the public and idealistic Avengers, they're drawing from familiar faces like Hawkeye, Hulk, Spider-Woman, Thor, and Iron Man, as well as two lesser-known mutants — Sunspot and Cannonball, former members of X-Force and the New Mutants. Brevoort explained why readers will see these two new recruits:
Cannonball and Sunspot are at least chronologically younger characters. It's always good to have those types of figures in Avengers to bring a fresh viewpoint. That said, they're also established Marvel characters [...]
When Brian Bendis brought Luke Cage and Spider-Woman into the Avengers, they weren't the most popular characters, but they had legitimacy. I think it will be the same thing with Cannonball and Sunspot.
Hickman wouldn't elaborate on the cataclysm that would unite this unlikely gang of heroes, but the ersatz Superman Hyperion (of Squadron Supreme/Squadron Sinister fame) will be involved in some capacity. Knowing Hickman's proclivity for all-encompassing galactic massiveness, here's hoping even The Black Monolith from Jack Kirby's 2001: A Space Odyssey comic book adaptation gets sworn in to save the day.*
*The Black Monolith's superpower would be to evolve things extra-fast. Like, if Wolverine was drinking a beer and needed to fly to Latveria at the drop of the hat, "Old Blocky" would transform his lager into a sentient F-15 made of hops. "You're the best at what you do," Logan would grunt demurely, "Transforming Labatt Blue into fighter jets!" (Man, I should really write this down. Like, not in a public forum. Really shot myself in the foot here.)
Clearly, the Marvel NOW! teasers are just getting unfairly abusive with the latest release. After all, Kieron Gillen and Jamie McKelvie have been making comics together (The wonderful Phonogram) and separately (Gillen's Uncanny X-Men and Journey Into Mystery, McKelvie's Defenders and Suburban Glamour, amongst others) for years. But despite that, now they're being described as "Amateurs"? I mean, that's just cruel.
More seriously, the teaming of Gillen and McKelvie on the latest tease is undoubtedly a good thing -- The two work very well together -- and the use of "Amateurs" as the code word, when combined with a recent blog post at the Phonogram blog, the Marvel NOW! Point One teaser art by McKelvie showing Miss America hitting Loki just adds fuel to the rumor that the team is heading up a Young Avengers reboot that will feature a teenaged Loki, Miss America and Wiccan from the original incarnation of the team (For those paying attention at home, that would bring the number of ongoing series with "Avengers" in the title to six: Young, Dark, Arena, Secret, New and the twice-monthly Avengers).
More will presumably be revealed soon, either via Marvel directly, in the Marvel NOW! Point One one-shot due this month, or at the upcoming New York Comic-Con. Or, of course, Gillen and McKelvie might give the game away themselves even sooner than that...
CLICK THROUGH TO SEE THE IMAGES
Peppermint Butler fans, take note: You do not want to cross Princess Bubblegum's trusted servant by forging concert tickets. Though it may seem harmless to pick up tickets to see the Land of Ooo's most popular rock band from a seedy stranger in a dark alley, it's wise to seek official admission according to the backup story in Adventure Time: Marceline and the Scream Queens #4, which arrives on October 10. Joining regular writer and artist Meredith Gran's main tale, the issue will feature a backup by Yoko Ota and Ananth Panagariya that serves as a cautionary tale against scalping tickets to rock shows in the Candy Kingdom. You can take a look at our first-look at the backup story, "The Bootlegger" -- along with covers by JAB, Zack Sterling, Tally Nourigat and Faith Erin Hicks -- after the cut.
From Boom! Studios' official solicitation info:
You can check out Marceline and the Scream Queens #4 below.
CLICK THROUGH TO SEE THE IMAGES
We won’t know the figures for another month. But I’m told from good sources that, against expectations, Uncanny Avengers #1 did not actually beat the sales figures for Walking Dead #100.
At one point it was looking that way, based on early orders from certain big stores. But overall, now that shop orders across the country are in and fixed, that’s no longer the case. It’s still well over 300,000, but it’s not enough to hit Walking Dead #100′s 380,000, let alone the 400,000 they were pitching for.
That’s despite nineteen covers and discount deals for stores who massively increased their orders so that it basically paid the retailer to order them, even if they don’t sell them all.
Yesterday, Bleeding Cool managed to wheedle out all sorts of information about the launch of IDW’s new company IDW Limited, a direct-to-consumer service that presents comic book work in premium, limited and personalised forms, including the Deluxe Limited Edition and the Artist Portfolio Edition formats.
The first of those, the Teenage Mutant Ninja Turtles: Change Is Constant was there to launch the website. We saw the ten copy $350 Blue Label versions sell out almost instantly after we first ran the story and I’m told that the 25 copy $250 Black Label version and the 100 copy $125 Red Label version are looking like joining it rather shortly.
I think this is what people call a success.
This totally has Scott Dunbier’s fingerprints all over it. And justifies further the reason he is on Bleeding Cool Magazine #1′s “list”.
But IDW is to publish a book collecting Cerebus’ 300 covers, which do not appear in the Cerebus phonebook collections. Dunbier has gone to Kitchener in Ontario to start scanning in all the covers, and any associated bits and pieces.
With Cerebus High Society Digital about to launch, as well as the audio version, funded very successfully by Kickstarter, it all seems to be adding towards Dave Sim getting another, possibly final, media blip in his career as one of the world’s greatest cartoonists and comic book storytellers.
Dunbier, a comic book art dealer extraordinaire, as well as Special Projects editor at IDW, can be seen here with Dave, and the original art for the cover of Cerebus #1.
Typically, film news from The Daily Mail comes via their showbiz schmoozer, Baz Bamigboye. And typically, he’s right about things.
Today, though, they’ve got something from the anonymous Mail on Sunday Reporter. I can’t guess what this does to the level of credibility.
But, in short, they believe that Marvel and Joss Whedon are looking at actresses for the role of Ms. Marvel in the upcoming Avengers sequel.
There are two candidates for the role named, said to be “head to head.”
On the one hand, there’s the original Black Widow, Emily Blunt; on the other, there’s Luther‘s Ruth Wilson who has the female lead in The Lone Ranger. Here they are, in ascending size of head.
If you don’t recall, Blunt was the original actress cast as Black Widow for Iron Man. It didn’t happen as Fox exercised an option they had made with her around The Devil Wears Prada and tied her into Gulliver’s Travels.
The second Avengers film is set for release in May 2015. According to this new report, it will start production next year – this would give Whedon and co. considerably more time than last time around. Perhaps this is a minor red flag against the Daily Mail’s claim, perhaps it’s cause for a little toast.
Dan Slott was Bleeding Cool’s best guess for the writer of whatever this project is, due to Marvel’s description of him as the writer of the year’s most shocking comics story. And that is still tagged as Amazing Spider-Man #700. And this is what happens next, courtesy of USA Today
Dan Slott with three artists, Ryan Stegman, Humberto Ramos and Giuseppe Camuncoli will be doing something new, presumably with Spider-Man, in January for Marvel NOW.
Anyone who knows James Gunn's work knows that he is a very loyal director who likes to use certain actors again and again. So when it was announced that he would be directing and re-writing Marvel Studios epic sci-fi adventure Guardians of the Galaxy, speculation started to fly about who would be cast in the film. Many believed that Nathan Fillion, star of James Gunn's Slither and loved by Joss Whedon, would be taking on one of the lead roles. But the actor denied that, saying he was too commited to his series Castle to board the project.
That brings us next to Michael Rooker, who also starred in Slither and had an important role in Super. He, too, claims to be too busy with his own television series The Walking Dead to think about Guardians of the Galaxy, but he doesn't rule it out. In fact, he loves the idea of coming into play Rocket Raccoon, which we assume at this point will be a motion capture character. He does have the perfect voice for it, and its obvious that the actor has talked to James Gunn about the role.
When asked if he was a fan of raccoons, Michael laughed knowingly, hinting at this.
"I love raccoons. Raccoons are my friends (Laughs)!"
Does he think he is right for the role?
"Oh, yeah. Most certainly. I know that James Gunn is doing it. He is directing it, and he is re-writing it. He is a very loyal director. He is a very loyal writer, when it comes to working with people that he knows and loves. He really appreciates the efforts that each actor puts into these roles. And I would be very honored and pleased to work with James Gunn again...Whether it will happen or not, I don't know. But he is a dynamite guy, and we have remained friends ever since we worked together on Slither.
I haven't done much research on it at all yet. Because I don't know what is going to happen. I'm really crazy busy with The Walking Dead right now. But you know what? Write this up. Tweet the fuck out of it. If the fans want me as Rocket Raccoon, Marvel will listen to you guys, I think, sometimes...Perhaps I will be lucky and blessed enough to go in there, and go at it with Mr. Gunn again, who knows? "
When asked if he was looking forward to the fact that Rocket Raccoon will most likely be an all CGI character, Rooker let us know about his other upcoming project, Call of Duty: Black Ops 2.
"I have done a bunch of motion capture for Call of Duty. For the last ten months, I have been working on Black Ops 2, as Mike Harper. We've done many hours of motion capture and voice over stuff. All of my movements and facial gestures will be in the game. Expressions, voice, even my likeness, because it looks like me. He's just younger.
Look, this is a major deal. They have really gotten into this motion capture for these games. The voiceover is just one section of it. Motion capture is a big part of bringing these games to life. And bringing the character to life. In Black Ops 2, we had a lot of people who lent their voices to different characters within the piece. There are multiple levels on these games nowadays. They are quite complex.
My first gig I did for Activision and Treyarch was part of Black Ops 1. I played myself. You get to play as Michael Rooker in a zombie map pack. That is part of Black Ops 1. They do different map packs over the run of the series, so they asked me to do one of them. My map pack was me, Danny Trejo, Robert Englund, Sarah Michelle Gellar, George A. Romero...We all did this game. It's awesome. A very cool game. You get to play Michael Rooker, so it really looks like a game version of me. That's when we first developed our relationship, me and Treyarch, and Activision. Then they asked me to do Black Ops 2. So now I am not just a game pack. I am in the whole game. I have been involved with the whole game now for about ten months."
The cast of Guardians of the Galaxy will be announced soon. We have a hunch that we may very well see Michael Rooker as Rocket Raccoon. Seriously. Can you think of anyone better? Besides Jason Statham? It's got to be one of the two guys.
We’ll call him Iron Man 3‘s Drew Pearce for the headline, but he’ll always be No Heroics‘ Drew Pearce to us.
His latest gig is a pretty quick, but very targeted one: according to Variety, Pearce has been employed to take a pass at Gareth Edwards‘ upcoming Godzilla movie and make all of the characters older.
Which is to say, the draft they have now is about “younger characters” but Edwards and Legendary are looking to cast older actors, so they’re having a rewrite done. They have “prototype” actors in mind, and these are older than… well, older than they were in the current draft.
How young the characters are in the current draft isn’t clear, and neither is how old they’ll be in the Pearce rewrite. Are we looking at teenagers changing into 20 somethings? 20 somethings crossing the line into their 30s? 30 somethings getting pushed into the Clooney and Pitt bracket? Are they planning something like Cocoon, Gallants or Tough Guys? Will our hero be trying to keep Godzilla’s mouth open with a zimmer frame.
My money would be on early 20 somethings getting punched into their 30s. Why? Because those seem to be the two biggest sets of representations in genre cinema.
I’m sure there’s going to be a lot of folk cheering about this rewrite, and I’m cool with it, if its what Edwards wants, but I would never have assumed the film to be faulty or doomed if he was making it about a wave of teens. I don’t think I’d see that news and just assume he would be making some sort of Mouseketeer vehicle. To my mind, the clear indicator of quality here is the group of people involved, not anything to do with how many of the cast are tall enough to go on the big boy rides at Disneyland
As we reported last weekend from MorrisonCon in Las Vegas, Multiversity is real! It's happening! It's actually being drawn! Or at least, one piece of it is; "Pax Americana," the chapter of Grant Morrison's multiple universe-spanning superhero series that depicts DC Comics' "Charlton heroes" like the Question, Captain Atom and Blue Beetle in the distinctive style of Watchmen, the classic Alan Moore and Dave Gibbons graphic novel which those heroes helped inspire. The artist bringing this story to life is Frank Quitely, longtime Morrison collaborator and one of the best and most celebrated comics illustrators in recent years. "Pax Americana" is a brazen idea even by Morrisonian standards, but we'll have to wait until sometime in 2013 to see how it finally shakes out. In the meantime, we can enjoy these high resolution scans of Quitely's work-in-progress, courtesy of DC Comics.
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Marvel NOW! starts next week with Uncanny Avengers #1. All eighteen covers of it.
But this week Bleeding Cool’s Patrick Willems takes it on with another instalment of his amazing Afterwards They Will Explode… this time starring his own parents.
And yes, Marvel is welcome to use this video in its advertising campaign.
CLICK THROUGH TO WATCH THE VIDEO
On the left, a page from Batman Odyssey. On the right, the inside cover of Vampirella Magazine #44. Both by Neal Adams…
In Swipe File we present two or more images that resemble each other to some degree. They may be homages, parodies, ironic appropriations, coincidences or works of the lightbox. We trust you, the reader, to make that judgment yourself? If you are unable to do so, please return your eyes to their maker before any further damage is done. The Swipe File doesn’t judge, it’s interested more in the process of creation, how work influences other work, how new work comes from old, and sometimes how the same ideas emerge simultaneously, as if their time has just come. The Swipe File was named after the advertising industry habit where writers and artist collect images and lines they admire to inspire them in their work. It was swiped from the Comic Journal who originally ran this column, as well as the now defunct Swipe Of The Week website.
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