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Flash Omnibus Vol 3 May Be Recalled?

Flash Omnibus Vol 3 May Be Recalled? | Comic Books | Scoop.it

A Bleeding Cool reader writes;


"I just bought Flash Omnibus Vol 3. The collection celebrates Geoff Johns’ run on the title and, as you may remember, the Rogue War storyline leads into a longer storyline with Wally and Linda West regaining their pregnancy. It’s a very big moment in the comic, but to my horror, DC reversed a few pages in the Omnibus edition right in the middle of it.

Why pay $75 bucks for a collected edition when the pagination is not proofed well?"


It’s a point. There’s a long history with these large publication of certain problems, from the Crisis On Infinite Earth hardcover collection to the Swamp Thing hardcover collection. When so much is collected together, mistakes do happen – and they have even cost people their jobs. These days, DC seem to take a more mature view, accepting that problems can occur and, in cases such as this, compensating retailers and their customers. And a recall program is usually put in place for those who would like a replacement.

I would recommend disappointed readers contact their retailers in the near future to find out what it may be

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Batman 2016 Movie Reboot To Feature Joker?; Based on Arkham Asylum

Batman 2016 Movie Reboot To Feature Joker?; Based on Arkham Asylum | Comic Books | Scoop.it

Cosmic Book News first revealed plans of a Batman movie reboot to happen in 2016; it was said to feature a Batman in his second year of being a hero and tentatively titled "The Batman."

Now our source, who previously gave us all the Justice League movie related news, has further supplied us with more possible news on the Batman 2016 reboot.

We're told there are some "mumblings" around Warner Bros. that they may want the Batman reboot based on the popular Batman: Arkham Asylum video game, and that this would be set in the same world as the Justice League movie.

We're told DC Entertainment have thought long and hard about having several different universes, but through the success of Marvel, have decided that it wouldn't make sense to the audience and financially to have numerous actors playing the same roles year by year.

Regarding Green Lantern, we're told they have yet to decide on their Green Lantern property as well, but are leaning towards a reboot with a new actor playing Hal Jordan (the Green Lantern in the Justice League) being introduced in Justice League movie as an already established hero.

We''ll say while this is to be considered rumor, the source has previously provided us with information that has seemingly been verified, including the aforementioned Batman 2016 movie reboot as well as the news that the new Zack Snyer Superman movie starring Henry Cavill, Man of Steel, will launch a new DC shared movie universe.

Now if the rumor is true and Warner Bros. does indeed go forth with a new Batman movie based on Arkham Asylum, that brings with it some rather interesting questions.

First off all, the obvious inclusion of the Joker. This would certainly bring up reference to Heath Ledger in Christopher Nolan's The Dark Knight. So would Warner Bros. go with it? It could be said that the Joker is a Batman villain, the Batman villain, in addition, the Nolan-verse was its own thing and is over. There is also the fact the added hype having the Joker "come back" would give to the movie. Interestingly enough, the Joker is to make his first appearance in the new DC comic books next month by Scott Snyder and Greg Capullo. We already know the Man of Steel movie executives have a hand in the Superman comic books, so it's not that far of a stretch to think the same about the New 52 Batman.

Another - perhaps - issue would be the use of Bane following The Dark Knight Rises. Bane was also featured in Arkham Asylum, as the Joker attempted to create an army of Bane-like thugs as well as using a chemical based off "Venom," which gives Bane his super-strength. However, in Arkham Asylum this version of Bane is more like his comic book counter-part compared to the Tom Hardy version. So could we see the comic book Bane hit the big screen in 2016?

The video game does include a vast number of Batman villains, some of which could be written out of the Batman 2016 movie reboot, but from the sounds of it, the Joker would have to stay

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Parting Shot: David Lloyd Draws 'V' For 'Occupy Comics' #2 Cover

Parting Shot: David Lloyd Draws 'V' For 'Occupy Comics' #2 Cover | Comic Books | Scoop.it

It's difficult to imagine a more validating image for members of the Occupy Wall Street movement than this piece by V For Vendetta co-creator David Lloyd, who's drawn his and Alan Moore's anarchist antihero -- whose rebellious visage has been adopted by the protesters -- squaring off against the mascot of economic aggressiveness, the "Charging Bull" statue by Arturo Di Modica that resides in Bowling Green Park in New York City. Fittingly, the illustration is the cover for issue #2 of the Occupy Comics anthology, the stated mission of which is to create change by creating art. Here we see art versus art, and on the one-year anniversary of the protests that sought to address economic issues in the wake of the world economic crisis.

Speaking with Wired last year, Lloyd extended his support to the Occupy Wall Street cause. "I was massively impressed by the great camaraderie and strength of will showed in New York last October when I went to see what they were doing, and I hope that they can somehow survive all the blows they've suffered since then... They've got a hard job to do and it's not going to get any easier."

Originating as a Kickstarter project which raised nearly $30,000, Occupy Comics is is intended to be "a time capsule of the passions and emotions driving the movement" and "tell the stories of the people who are out there putting themselves at risk for an idea." The new issue features original work by Mike Allred (Madman), activist Bill Ayers (The Weather Underground), Pulitzer-nominated political cartoonist Matt Bors, Shannon Wheeler (Too Much Coffee Man), Si Spurrier (2000 AD), Smudge (2000 AD), Riley Rossmo (Wild Children), Patrick Meaney (director, Warren Ellis: Captured Ghosts), Matthew Rosenberg & Patrick Kindlon (The Urn), Ryan Alexander-Tanner (To Teach: The Journey, in Comics), and artist Molly Crabapple.

You can buy it from Black Mask Studio, who will donate profits to "various actions of the global Occupy movement."

In a press release, Occupy Comics organizer Matt Pizzolo addressed the subject that you're all thinking about right now:


"...it's funny that there's been such a strong reaction to the Bull's balls on the cover since they're strikingly prominent on the actual statue... in fact, it's common for Wall Street traders to rub the Bull's balls for luck every morning--and doesn't that pretty much say it all?"


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Mike Perkins Designs For Marjorie Lu’s All Women Superhero Comic That Never Was

Mike Perkins Designs For Marjorie Lu’s All Women Superhero Comic That Never Was | Comic Books | Scoop.it

At San Diego Comic Con, Bleeding Cool intern Louis Falcetti reported that Marjorie Liu talked about a comic book that… wasn’t.

That she pitched an all female superhero team starring X-23, The Black Widow, Elektra and Mystique. Mike Perkins was on board to draw it, it would have been a secret team in the Marvel Universe and it was pitched over a year ago.

Marvel said no. Because they said it simply wouldn’t sell.

Today we lucked upon the visuals for the pitch. Titled Liberators, it has a very sixties super-spy feel to it. There also seem to be two versions, one with X-23 and one with Cecilia Reyes.

So… would you have bought this?


CLICK THROUGH TO SEE THE IMAGES

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Adventure Time Covers In December… Including Paul Pope!

Adventure Time Covers In December… Including Paul Pope! | Comic Books | Scoop.it

We all love Adventure Time at Bleeding Cool. So much that we’re putting it on the cover for Bleeding Cool Magazine in December. But, it seems, Boom! is also publishing an Adventure Time comic in December. And here are the four covers and their artists, : A: Chris Houghton, B: Tom Waga C: Kevin Wada and D: Paul Pope. Adventure THB!

Oh and here is the solicit for the issue in question.


BRAND NEW ARC! PERFECT JUMPING ON POINT FOR NEW READERS! Join Jake the Dog and Finn the Human in the latest of their totally math adventures! Get on board for what critics are calling “the best series of 2012”!


Well, if there’s one thing I’ve learned in this life it’s that critics are always right!


CLICK THROUGH TO SEE THE IMAGES 

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Jae Lee draws Ozymandias versus the Comedian, in this Before Watchmen preview

Jae Lee draws Ozymandias versus the Comedian, in this Before Watchmen preview | Comic Books | Scoop.it

Here's an exclusive sneak peek of Ozymandias, the latest issue in the Before Watchmen series. Here we see artist Jae Lee (Inhumans, Fantastic Four: 1234) bring his ethereal flair to some early fisticuffs between martial artist super-genius Ozymandias and the cigar-chomping Comedian. This issue hits stands next Wednesday, September 26. Here's the synopsis:


BEFORE WATCHMEN: OZYMANDIAS #3
Written by: Len Wein
Backup Written by: John Higgins
Art by: Jae Lee
Backup Art by: John Higgins
Cover by: Jae Lee
Variant Cover by: Massimo Carnevale

"If a man has the opportunity to do good, he's obliged to take it." Plus: The latest chapter in the Crimson Corsair backup adventure from writer and artist John Higgins!


CLICK THROUGH TO SEE THE IMAGES

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Sin City 2 Gets November Start Date, Re-Worked Story? | Bleeding Cool Comic Book, Movies and TV News and Rumors

Sin City 2 Gets November Start Date, Re-Worked Story? | Bleeding Cool Comic Book, Movies and TV News and Rumors | Comic Books | Scoop.it

I’m curious as to how far Sin City: A Dame to Kill For will stand away from the original. Robert Rodriguez has already said the film will be released in 3D; some of the original cast members are yet to be confirmed as returning; and key players in the Sin City world will need to be recast after the unfortunate early deaths of Brittany Murphy and Michael Clarke Duncan.

And another apparent change has been flagged up by Rosario Dawson, who plays Gail in the films, when speaking to MTV. Not only has she said that they’ll start production in November, she’s also dropped some comments about an apparent plot change:


"It’s sort of a prequel to the Sin City we’ve already watched, so you’ll understand the references we were making in that one. The new face thing, all of that interesting stuff… You might have to figure out which one’s me at some point… We’re going to play with that."


In the comics, it was Dwight, as played by Clive Owen, who got the new face. So what might her comments mean? Why shift this part of the storyline over to a different character?

One might surmise that Owen won’t be coming back. Really, though, we’ll have to wait for some kind of confirmation on that front.

Dawson is yet to read the full script, she says. At least she believes there is one. I’m still kind of shell shocked that this film is going ahead at all. I honestly never thought we’d see the day.

Still, I’m certainly looking forward to it.

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Grant Morrison Under the Microscope

Grant Morrison Under the Microscope | Comic Books | Scoop.it

Despite sequential art having been around for over a 100 years it’s only in the last 5-6 years that universities and academics in the UK have really been taking comics studies seriously and more and more scholarly events—like the one I just attended—have been happening. Last weekend I was in Dublin attending the Grant Morrison and The Superhero Renaissance conference. Suitably sounding like a Prince concert, the event was held in the very modern (and Swedish sauna feeling—lots of bare wood) Long Room Hub of Trinity College.

As Chris Murray from Dundee University (the only university in the UK currently with a Comics Studies post-grad course) pointed out—with a quote from Harold Bloom’s The Western Canon (1994)—we are now exactly at the point in history that cultural elitist Bloom feared, “What are now called ‘Departments of English’ will be renamed ‘Cultural Studies’ where Batman comics… will replace Chaucer, Shakespeare, Milton [and] Wordsworth…” For me, this is no bad thing!
There were at least 25 academics at the conference, who had travelled from Europe, USA and Australia to present their papers. Organised by Kate Roddy and Darragh Greene of Trinity College, it was more fun than sitting in a room full of lecturers trying to decipher the coded texts of a softly spoken Scot should have a right to be.
Unfortunately, I was late, so missed the first three papers (which was very annoying) but just some of the many talks that leapt out for me were:
The incredibly fast speaking Keith Scott (from De Montfort University) whose Let me Slip into Someone more Comfortable: Fiction Suits, Semantic Shamanism and Meta-linguistic Magic made some excellent comparisons between Morrison, Philip K. Dick and Ken Campbell— specifically the latter’s quote, “I’m not mad, I’ve just read different books.” Scott is very obviously a huge Invisibles fan and his knowledge was as extensive as it was enthusiastic.
“the world is made of words [...] if you know the words that the world is made of you can
make of it whatever you wish.”
- Terence McKenna, Alien Dreamtime
“You’ll have to excuse me…I’ve been trying to learn an alien language and it all came back up.”
- Helga, The Invisibles
The sheer variety of the Morrison canon can astound a reader; how can such diverse work spring from a single writer? Is he, like the Joker of Arkham Asylum, ‘a brilliant new modification of human perception [...] He has no real personality. He creates himself each day.’? My reading of Morrison will be informed by memetics, semiotics, and one of the works cited as influencing The Invisibles: Michel Bertiaux’s Voudon Gnostic Workbook. Why choose this work over any of the dozens of other texts Morrison has acknowledged as inspirations? Like Morrison’s work, Bertiaux’s is synthetic, a combination of apparently unrelated material leading to a new model of the world. As with voudon/voodoo, Morrison presents a vision of multiple universes, literal and fictional, where travel from one realm to another is both possession and the adoption of a persona. Finally, Morrison is a profoundly Gnostic writer, repeatedly dramatising paradigm shift or conceptual breakthrough. An intellectual cartographer, his maps are constructed through language and meta-language; this paper will investigate the nature of these constructions, and the web of connections between words and worlds in Morrison’s work.
Kate Roddy’s Screw Symbolism Let’s go Home: Morrison and Bathos opened up Alexander Pope’s concept of Bathos to me, and cleverly applied it to Morrison’s work.
‘Nothing is so great which a marvelous genius, prompted by his laudable zeal, is not able to lessen.’
- Alexander Pope, ‘Peri Bathous, or, The Art of Sinking in Poetry’ (1727)
Pope introduced the literary world to the term ‘bathos’ in an attempt to shame the poetical bunglers of his day, yet bathos has become more than an accident of style. Used consciously by a writer, it can serve as a means to test readers’ expectations and expand the limits of genre.
This paper examines key examples of bathos in Morrison’s writing, reflecting upon how he achieves the effect and what purpose it serves in his works. It initially focusses on the early serials for DC Comics (Animal Man, Doom Patrol), arguing that the ‘downbeat’ feel of these comics and their reliance on Dada and the absurd is indicative of Morrison’s troubled relationship with post-Crisis continuity and editorial authority. A comparison is then made with more recent works (All-Star Superman, Batman RIP), where bathetic elements are seen to be less pervasive, yet individually crucial to the crafting of more hopeful and uplifting narratives. In moving towards a conclusion, the paper considers if Morrison’s work constitutes a meaningful challenge to Pope’s notion that bathos is antithetical to the artist’s pursuit of ‘the sublime’.
Chris Murray gave the keynote speech, I Made the World to End: The Immersive/Recursive Worlds of Grant Morrison, which, again, was an insightful overview of the writer’s oeuvre.

This lecture will explore the relationship between two key features of Grant Morrison’s writing, the immersive strategies he employs to embed both his own persona (often in terms of an avatar) and an analogue for the reader in his comics, and the ways in which this is linked to recursive strategies. Recursion is a central motif of Morrison’s work, with its emphasis on repetition and cyclical structures. The theory of recursion also touches upon several of Morrison’s key themes and interests, including language (linguist Noam Chomsky believes it to be a defining aspect of human communication), fractal geometry (where recursive patterns dictate the development of non-Euclidean natural structures), and what the cognitive scientist Douglas Hofstadter refers to as “strange loops”, whereby a return to origin is the end point in certain kinds of relations, and where hierarchy disappears and becomes “heterarchy”. Many of Morrison’s comics blend immersive strategies with recursive structures, and both are realised at the level of theme, and in the form of the comics themselves, on the one hand exploring notions of identity, storytelling, apocalypse and transcendence, but also tapping into the very fabric of communication and cognition. Morrison’s comics integrate these concepts and themes in a dizzying roller-coaster ride of playful intertextuality, pop-magic and intellectual seriousness, making him one of the most fascinating authors working today.

David Coughlan’s intriguing examination of The Filth in From Shame to Glory made me want to reread the series in a new light, while Roy Cook’s look at the writer and The Writer: The Death of The Author in Suicide Squad #58 was a fun dissection of the metaphysical murder of Grant by John Ostrander.
The double identities of comic book superheroes are structured in such a way as to suggest that strength in the masculine public sphere is the truest sign of manhood. At its extreme, the hypermasculine superhero embodies a dominant masculinity armoured against any possible infection by the feminine, even if that means rejecting love, marriage, and the home. Yet, at the same time, this armoured self can be read as the expression of a sense of male shame and inadequacy, with the hero removing himself from the home because he cannot trust himself given the, often sexual, violence that defines him as a man.
As early as 1993, Grant Morrison was concerned with “the idea of diffusing the hard body,” the results of which are evident in Animal Man, Doom Patrol, and Flex Mentallo, for example. But it is in The Filth that he tries to show how, as he says, “the shabbiest, shittiest life you can live,” one defined and limited by shame, guilty, fear, hatred, and loneliness, “can be redeemed into glory by the power of imagination.” Here, the hero seemingly is Ned Slade, a high-ranking officer of the “supercleansing” operation The Hand, whose off-duty persona is Greg Feely, a single man, addicted to pornography and accused of paedophilia, but fiercely dedicated to his cat Tony’s well-being. Shifting between worlds of differing scales and dimensions, The Filth, as its name suggests, studies the interactions of perversion and policing and, in the process, the superhero’s part in redeeming male shame.
In Animal Man, Grant Morrison meta-fictionally interrogates the comics art form by inserting himself into the narrative, and hence into DC continuity, interacting with his protagonist Animal Man in-panel and highlighting the complex relationship between creator and created. While Morrison’s role as the writer of Animal Man (‘the writer’ as creator) has been a focus of attention in comics studies, his fictional role as the Writer in DC continuity (‘the Writer’ as character) has been less well examined. I shall focus on the Writer’s only other appearance: Suicide Squad #58. In this issue the Writer can control events within the narrative by typing on his word processor. Although killed off by the writer of this comic, Joe Ostrander (providing a novel perspective on old debates about the ‘death of the author’) the Writer is, prior to his death, aware that his control over events is limited by the fact that he – that is, Grant Morrison – is now a character within DC comics continuity. As a result, Morrison (the writer) no longer has sole control over Morrison (the Writer), since other writers (e.g. Ostrander) can control the character in other comics. Hence, this issue of Suicide Squad forces us to re-conceptualize the relationships between the author as creator and the author as meta-fictional construct within his own creation, at least when this creation is a massively collaborative fictional universe like DC continuity.
There was an attempt to hook up live with Schedel Luitjen in Texas, which sadly feel victim to tech problems, but his Final Crisis, The Return of Bruce Wayne and Neoplatonic Demonology was eventually read out by Darragh, and Schedel managed to answer questions by instant messager.
In his treatment of the New Gods in Final Crisis, Grant Morrison richly weaves Platonic ideas into the DC Universe, from the Radion ‘Essence of Bullet’ that can kill gods to Darkseid’s Hyper-Adapter, a living curse, a spoken idea given form in physical reality, to Darkseid himself, as the Hole In Things, comparable to the Neoplatonic conception of evil as a lacking of good. By making the Fourth World and its elements into a realm of Platonic Ideal Forms, Morrison gives a deeper meaning and an eternal hyper-significance to the events of Final Crisis and the following stories; furthermore, by thrusting Batman into this world and having him fatally wound a god and then travel from the distant past to the infinite future, Morrison makes his Batman an ever-present feature in the history of DC’s Earth, essentially making him into an idea as essential to humanity as any other idea in the DC universe, and making him into a new god, an idea powerful enough to be pitted against the idea of crime itself in Batman, Incorporated. My paper will trace the roots of the evil gods of Final Crisis to Neoplatonic sources in sources from the Late Antique and Renaissance flourishings of Platonic thought, including Plotinus, Apuleius, Augustine, Justin Martyr, Iamblichus, Marsilio Ficino, and Giovanni Pico. Further, I will explore how this use of Neoplatonic concepts broadens the DC Universe and adds to the story of DC’s stories which is Final Crisis.
I also really enjoyed Will Brooker‘s The Return of the Represssed: Grant Morrison’s Batman RIP where he talked about Morrison’s revival of the old multiple versions of Batmen from the 1950s. Will knows a thing or two about The World’s Greatest Detective, as he did his PhD on Batman and has just written Hunting the Dark Knight: Twenty-First Century Batman.
This paper draws on my recent monograph Hunting the Dark Knight: 21st Century Batman, which in turn builds on my previous book Batman Unmasked (Continuum, 2000) – based on my PhD into Batman’s first sixty years – and my other published work such as ‘The Best Batman Story’ in Alan McKee’s Beautiful Things in Popular Culture (Wiley-Blackwell, 2006), and ‘Hero of the Beach’, on Flex Mentallo, in The Journal of Comics and Graphic Novels (2011).
It examines Grant Morrison’s approach to Batman’s history as ‘as the events in one man’s extraordinarily vivid life’ and argues that Morrison’s sustained run on the flagship titles, from Batman in 2006 through the stories of The Black Glove and Batman RIP to Batman Incorporated in 2011, subverted the normally-repressive rules of continuity by bringing long-forgotten stories – including science fiction, fantasy and camp – back into mainstream canon.
Drawing on Mikhail Bakhtin’s theory of carnival, the paper discusses the ways in which Morrison’s portrayal of Batman embraced diversity and fragmentation, and captured a sense of Batman’s prismatic, mosaic totality, for a brief period before the containment and reduction of the character’s history in the New 52 reboot of October 2011.
My own talk (Transvestism, Transgenderism and Transformative Personalities in the Life and Work of Grant Morrison) seemed to go down well.
This paper examines Morrison’s recurrent themes of transgendered characters, transvestitism, in both his personal and creative life, and will focus on his concept of the “Liquid Personality.” It will explore how many of Morrison’s characters evolve, both physically, emotionally and psychically, and how the sense of “the self” is in fact a malleable form capable of being manipulated, either by internal or external forces. Works examined include Animal Man, Kill Your Boyfriend, The Mystery Play, The Filth, The Invisibles, Flex Mentallo, Doom Patrol and All Star Superman, amongst others. It will also examine how Morrison has taken these concepts and used them on himself, reinventing his public face to present different personalities to the world at large. From lonely, post-goth geek in Glasgow, through “angry young man of comics”, to hip, counterculture L.A. guru to the stars. As Morrison himself has stated, “I use media exposure as a means of playing with multiple personalities. Each interview is a different me and they’re all untrustworthy.” The paper aims to peel away the masks of Morrison and his work.
I haven’t gone too deeply into the specifics of each paper here as there’s the possibility that some of them maybe gathered for publication in the future. There were so many others, and you can read the abstracts here.
Given the narrow scope of study (Grant Morrison renaissance superhero comics) there was considerable overlap in the papers with favoured texts including All Star Superman, Batman RIP, Zenith and Final Crisis, yet no one discussed the New X-Men.
Also, as the majority of the speakers came from English or Philosophy departments, no one discussed the artwork. After all, as I pointed out, comics are generally a collaborative effort and the bulk of Grant’s visions and stories are told through the filter of an artist’s hand. How that artist interprets Morrison’s work invariably effects the final message of the comic strip. A case in point I made regarding the transvestite, Lord Fanny, from The Invisibles, who can look anything from a gorgeous woman to a slightly ropey bloke in a dress, depending on the artist drawing her. I suggested that any future conferences on comics MUST include examinations of art in relation to the text as they are indivisible when in comes to comics. Indeed, the blending of text and visuals is one of comics’ USPs.
Chris summed up the conference “Perhaps we haven’t gotten much closer to discovering who he [Morrison] is, but hopefully we have got a bit closer to exploring his techniques and his work… And maybe we’ve got a little closer to explaining why he’s such an ongoing fascinating figure.” When the group was asked what has been Morrison’s contribution to modern day superhero comics, it was generally agreed that he brought hope, fun and positivity to what was once a dour, bleak and grim genre wallowing in post-Eighties nihilism. Further, that he has brought external influences, texts and knowledge to comics—an industry that is notorious for self-referentialism and navel-gazing. Although he does that as well!
Ironically, just as the conference started, Grant announced in an interview for the Spectator that he’s moving away from superheroes after his forthcoming Wonder Woman graphic novel and a few other projects. As he says, “Yeah, it just felt like I’d said a lot, you know.”
If there were any criticisms laid at Morrison’s door, it was that perhaps he was too much of a dilettante who never went into his subjects with enough academic rigour. Others defended this saying that perhaps we need more multi-disciplinarians and I pointed out that if he spent that much time studying, say linguistics, then surely he’d just be a linguist, and not a writer. Writers have to be, by their very nature, dilettantes. When those of us that have met him asked what we thought he would’ve made of the event, I replied, “Appalled, bemused, flattered and amused. All at the same time.” Ultimately all agreed he was, suitably, a renaissance man!
Personally, I can’t think of many comic book writers (apart from Alan Moore and Neil Gaiman) who could elicit this much attention and analysis from academics, and that alone speaks volumes.

And if you can’t get enough Grant Morrison (and let’s face it, who can?) he’ll be at his own Morrisoncon in Las Vegas in 10 days time; then on 11-14 October he’ll be appearing at the New York Comic Con; and finally, on 28 October, there’s the Dundee Comics Day dedicated to Grant (organised by Chris Murray and the Dundee Uni crowd). Phew! He’s like a media shark—he never stops moving forward!

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'Womanthology: Space' #1 Transmits New Ming Doyle, Stephanie Hans, Jordie Bellaire And More [Preview] - ComicsAlliance | Comic book culture, news, humor, commentary, and reviews

'Womanthology: Space' #1 Transmits New Ming Doyle, Stephanie Hans, Jordie Bellaire And More [Preview] - ComicsAlliance | Comic book culture, news, humor, commentary, and reviews | Comic Books | Scoop.it

On sale this week from IDW Publishing is the first issue of Womanthology: Space, a new anthology title spotlighting the work of female writers, artists, letterers, colorists and editors. A five-issue spinoff of the highly successful Kickstarter project, Womanthology: Heroic, the Space book focuses on science-fiction themes and features new work by Ming Doyle, Stephanie Hans, Jordie Bellaire and Jessica Hickman, among others. Take a first look after the cut.

Womanthology creator Renae de Liz discussed Space back in March, when the spinoff was first announced:


"Womanthology: Heroic was such a big, wonderful experience, and not in my wildest dreams could I have hoped that it would go on to further adventures! I hope that Womanthology: Space is just the start of a long line of amazing books that further open doors for women in comics everywhere. I hope this will be a continued outlet to have their work showcased and appreciated, and help many take that next big step towards a career in comics. Again there will be all ages and experience levels accepted. This has always been so important to me, as I know first hand how even one show of support can offer so much confidence and motivation in your work. This not only helps aspiring creators gain valuable experiences and a platform to help further careers, but it also allows established professionals to reach out and lend their comics knowledge and know how. I am so glad that the positivity and fun of Womanthology is going further, this time into Space!"


Crucially, contributors to Space will be compensated for their work, while Heroic's more than $100,000 in Kickstarter funds and sales profits went exclusively towards production costs and charitable donations.

The preview material below includes excerpts from "Waiting for Mr. Roboto" by Bonnie Burton and Jessica Hickman, which depicts the life of a bored space-waitress; "Dead Again" by Sandy King Carptenter with Tanja Wooten, which is a kind of ghost story in space; and "Scaling Heaven" by Stephanie Hans and Alison Ross, a speculative piece about a race to put the first woman on the moon. Not included here but available in the issue is an exceptionally cute story by Ming Doyle and Jordie Bellaire called "The Adventures of Princess Plutonia," which puts a fun spin on the John Carter/Adam Strange trope, as well as the first installment of "Space Girls," a recurring humor strip by Stacie Ponder that imagines an all-woman crew of Star Trekkian-style spaceship that's actually my favorite bit of this ambitious new release. All stories (except Ponder's strip) are lettered by Rachel Deering.


CLICK THROUGH TO SEE THE IMAGES

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James Gunn Confirmed as "Guardians of the Galaxy" Director - Comic Book Resources

James Gunn Confirmed as "Guardians of the Galaxy" Director - Comic Book Resources | Comic Books | Scoop.it

Since mid-August, "Slither" director James Gunn has been rumored to be one of Marvel Studios' top contenders to direct "Guardians of the Galaxy." While his involvement was far from confirmed, "The Avengers" director Joss Whedon weighed in on Gunn's take on the cosmic super-team in August, describing it as "twisted," but with "a real love for the material."

Today, Gunn confirmed the rumors on his Facebook page, saying he's been hired by Marvel to rewrite and direct the Phase Two film.

"For a month or so there’s been a lot of Internet speculation about my involvement with Marvel's 'Guardians of the Galaxy,'" Gunn said via Facebook. "Until now I haven’t said anything, because I’m trying to be less expulsive about this project than I am about the rest of my life. But last night I got the go-ahead from Kevin Feige to let you all know that, yes, indeed, I am rewriting and directing 'Guardians of the Galaxy.' As a lifelong lover of Marvel comics, space epics, and raccoons, this is the movie I’ve been waiting to make since I was nine years old. Kevin, Joss, and all the folks at Marvel have been amazing collaborators so far, and we’re committed to bringing you something majestic, beautiful, and unique. I am incredibly excited. I am also incredibly grateful to the fans and the press for all their words of encouragement and support regarding my involvement with this project since the news first leaked. Thanks -- you have, honestly, touched and overwhelmed me. And that’s it for now. Other than the occasional photos of my dog and cat here on Facebook, I’ll talk to you again in August 2014 when Guardians is released!"

Gunn's other film credits include the superhero comedy "Super" starring Rainn Wilson and Ellen Page, both "Scooby Doo" feature films and the recent zombie video game "Lollipop Chainsaw." It's assumed Gunn will likely re-write the "Guardians" script with Chris McCoy, who Marvel tapped in August to rework a draft by Nicole Perlman. The film is reportedly "about a U.S. pilot who ends up in space in the middle of a universal conflict and goes on the run with futuristic ex-cons who have something everyone wants."

"Guardians of the Galaxy" opens August 1, 2014

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Chris Evans Talks CAPTAIN AMERICA 2 THE WINTER SOLDIER

Chris Evans Talks CAPTAIN AMERICA 2 THE WINTER SOLDIER | Comic Books | Scoop.it

Marvel’s Phase Two is already well underway with production on Iron Man 3 nearing an end and filming on Thor: The Dark World just getting started. The next film on the studio’s docket is Captain America: The Winter Soldier, and Chris Evans recently revealed that filming on the Cap sequel begins in March of next year. Though the title of the film gives fans a pretty big hint as to where the follow-up will go, we’re still pretty in the dark with regards to plot specifics.

Steve recently sat down with Evans at the Toronto Film Festival to talk about the serial killer drama The Iceman, and the actor talked quite a bit about Winter Soldier. Evans revealed that the film will get into a lot of stuff that was explored in cut scenes from The Avengers, talked about how far in advance he knew that the sequel would delve into the Winter Soldier storyline, and even teased a possible cameo in Thor 2. Hit the jump to see what he had to say.

Fans of the comics know that The Winter Soldier subtitle refers to a comics arc that finds a brainwashed Bucky Barnes (Sebastian Stan) as the Russian assassin antagonist for Captain America. Steve asked Evans if he’s read the Winter Soldier storyline, to which the actor responded:

“Oh, I am fully up to date with my comics. I know all about it. Kevin Feige was talking about [Winter Soldier] when we were filming the first Captain America and well before The Avengers. During the first Captain America we were talking about potential futures and, you know, I don’t want to give too much way.”

Steve followed up by asking if Evans knows, hypothetically, where the third film might go, to which the actor slyly replied, “Maybe.”

Though Evans was remiss to get into plot details, he did reveal that much of Cap’s scenes that ended up on the cutting room floor of The Avengers is fodder for the sequel:

“The most I am looking forward to is exploring a little bit of Steve’s…they had all those deleted scenes with The Avengers because a lot of those scenes are for Captain 2, you know what I mean? It was good stuff, but it all felt like that was his story. It is a different movie. With The Avengers there was so much to cram in. Like I said, it was a long movie anyway. So I think making it any longer would have just been exhausting.”

We’ll see a lot of Joss Whedon’s deleted scenes on The Avengers Blu-ray, but one cut sequence that landed online a little early was wholly centered on Steve Rogers adjusting to the modern world. We saw him going through files of all his deceased friends and thinking about the still-alive Peggy, and the dramatic scene was a nice touch but it did feel like something that would be best explored in Cap’s own sequel:

“A lot of that stuff [that was cut] is for Captain America 2. That is his story. It is him trying to on a personal level adjust to the fact that everyone he knows is gone and the whole Peggy Carter of it all. There are a lot of things that he kind of has to come to terms with. So I don’t know. I am excited to kind of see flashes of the first Captain, if you know what I mean, and to see his memory of what we now know as an audience of who he was.”

It’s no secret that Marvel has locked their actors down to appear in a large number of movies, and the studio makes full use of those contracts by having characters pop up in different films. Evans is locked for six, and he told Steve that he’d like to make a cameo in Thor: The Dark World:

“[Chris] Hemsworth and I even talked about that. I would love to do a little thing in Thor 2. It is obviously going to be tricky trying to work out the plot, the reason why I am not there to help him, and why he is not there to help me. But the best thing about Marvel is that, like I said, the movies were so good and we had such a good time making them.”

Obviously this is in no way a confirmation that Captain America is going to show up in Thor 2, but it’s nice to see Evans enthusiastic about playing around in the Marvel universe. Look out for Steve’s full 20-minute interview with Evans later this week. Captain America: The Winter Soldier opens on April 4th, 2014.

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Rian Hughes’ Burlesque Gallery And Introduction To Soho Dives, Soho Divas

Rian Hughes’ Burlesque Gallery And Introduction To Soho Dives, Soho Divas | Comic Books | Scoop.it

Designer, cartoonist and comic creator extraordinaire Rian Hughes has created a series of portraits of London’s burlesque performers, including sketches from life, graphic illustrations and paintings in a variety of media and styles. Here is the introduction to Image Comics’ upcoming Soho Dives, Soho Divas, for November.


"I’m sure that, like me, you’re wary of unsolicited emails offering strange and seductive promises. But, sometimes, curiosity can get the better of you. That’s how adventures usually begin.

This is how I find myself using a large Rowney sketchbook to carve my way through the evening crowds around Piccadilly Circus, following Eros’ arrow up to the narrow streets of Soho, London’s notorious sleaze quarter. Though now gentrified by hip bars, advertising agencies and fancy restaurants, there still exists the occasional corner that the new broom has missed.

Here is Archer Street’s cul-de-sac, where what passed for something else was once snorted off the rear spoiler of a cherry-red Toyota Supra, the only flat surface available; over there the Windmill Theatre, now a tawdry clip joint, where friends from long ago were caught in a tabloid sting that got them suspended from their elite girls’ school.

Turn right into Chinatown and Wardour Street, where, situated between the Brain Club and The Wag, I shared a studio above a Chinese bakery with a group of comic artist and illustrator friends: Steve Cook, Kev Hopgood, Pauline Doyle, Kim Dalziel, John Tomlinson, Brian Williamson, Andy Lanning and Lucy Madison.

It was there, one oppressively hot afternoon, that some intimidating thugs turned up looking for our landlord. He apparently owed these Triad types several tens of thousands of pounds in rent, and they had come to collect. We pleaded honest ignorance, and they eventually left.

When confronted, our “landlord” swore innocence and then, that night, changed the studio’s locks. Coming in on Saturday morning to collect material for a Tundra Comics launch, I was faced with a new heavy-duty drillproof steel lock and a note demanding advance rent money in return for the keys. A few calls later, the other studio members and I convened in the Falcon pub opposite.

An ask-no-questions locksmith was quickly found. “It’s a drillproof lock”, he observed. My hopes evaporated. He opened a large plastic case and pulled out something resembling a pneumatic demolition drill. “Should take me ten minutes”. We hired a van and, in relays, during the height of the Saturday rush when we couldn’t park outside for more than three minutes without blocking the street back to Leicester Square managed to move all our stuff to a friend’s studio in Brixton. I got off lightly — the “landlord” had just taken my airbrush and the cover for Fantagraphics’ Dare 1. Kev Hopgood lost an entire issue of Iron Man pencils. If you see these for sale on eBay, please pass on the details. The Triad might want to take a professional interest.

Now, heading further north, I pass the discreet unlabelled door of Soho House, a private club that made me a lifetime member in return for a set of drawings of their manorhouse retreat in Kent. Above Shafesbury Avenue, just off Old Compton Street, I find an entrance under a gold and black awning. A man in a boxy dinner jacket with a neck wider than his forehead sees me approach and, with the uncanny sixth street-sense all bouncers seem to possess, decides I don’t look like trouble. It’s probably the sketchbook. A red silk rope is lifted and a panelled Victorian door that has been repainted so many times it no longer properly fits its frame is held open.

Once inside the tiny lobby, I part a heavy velvet drape and enter a dimly-lit bar. Candles dance in dimpled red glass holders on darkly polished tabletops. A pinch-cheeked barman from some distant and underdeveloped country is polishing glasses by the cadaverous light of a glass-fronted refrigerator. “Is this the right place for the life drawing?”, I ask, trying to sound like I know what I’m talking about. He stops what he’s doing, raises his eyes to look at me, then, with an absolute economy of motion, imperceptibly shifts his head back towards the function room at the rear. I thank him and press on.

I pass small knots of people with their heads bent together conspiratorially, entwined couples on leather settees whose arms are worn through to the coarse fabric musculature underneath. The wood panelling and heavy gilt-framed mirrors give way to a shabbier, loucher decor. To the left is a pair of unpainted chipboard saloon doors with a handwritten sign taped to them. This is it.

I’m late, and the class has already started. In a solo spotlight, on an ornate cast-iron stool, sits a burlesque dancer dressed (barely) in vintage, tasselled and feathered and frozen in an angular dancer’s pose. Around her attentively sit a ring of silent acolytes, bent in supplication over the drawing boards propped on their knees or the edge of a barstool. I find a space, and set out my materials. The girl next to me is drawing with one finger on her iPad, but there’s no pixels for me here, not tonight — just the nostalgic analogue art-school mess of graphite, brush and Indian ink. It’s as if I’m a student again.
The other attendees, I discover, are illustrators, artists and hobbyists, many drawn from Soho’s local animation and special effects houses, and their work turns out to be of a very high standard indeed.

Intermittently attending over a couple of years, I accumulate several hundred drawings, and eventually decide to scan them, clean them up and produce, via the wonders of online digital print, a small black-and-white book. This sells a few dozen copies, mainly to friends in illustration and comics. Image’s Eric Stevenson eventually sees a copy, and very kindly offers to publish it. Now with the option of colour, I revisit some of the drawings and develop others into finished digital illustrations in Illustrator or Photoshop. Here they are.

I hope I don’t physically resemble Toulouse Lautrec, but like him, and more by accident than by design, I’ve produced a particular record of London’s burlesque scene, frozen — just like that model — in a timeless vintage now.

Rian Hughes
Kew Gardens, 2012

In paperback and linen-bound embossed hardback – perfect for your boudoir!


CLICK THROUGH TO SEE THE IMAGES

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A Look At The New MarvelNOW! Iron Man Armours

A Look At The New MarvelNOW! Iron Man Armours | Comic Books | Scoop.it

So, obviously, we have a brand new Iron Man #1, we need to have some brand new Iron Man armour.

But it turns out we’ll have to wait until issue 3 and 4 in December for this little lot from Kieron Gillen and Greg Land, with designs by Carlo Pagulayan.

The first two issues have a more modular suit, the third and fourth are little more specialist. Slick and stealthy or big and bulky, we might be getting an armour-of-the-week take to this new title.


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The Justice League Cover That Was Too Sensual For DC Comics

The Justice League Cover That Was Too Sensual For DC Comics | Comic Books | Scoop.it

Kevin Maguire is selling the cover for Justice League: Generation Lost that was rejected by DC Comics. Why? He tweets;


"I was told someone thought it was too sensual. I kinda see it, but it matches the cover sketch I provided. No biggie"

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Marvel's 'Amazing Spider-Man' To End After 700 Issues, 'Wolverine' And 'Captain America' Team-Up Titles Also Gone

Marvel's 'Amazing Spider-Man' To End After 700 Issues, 'Wolverine' And 'Captain America' Team-Up Titles Also Gone | Comic Books | Scoop.it

Yesterday's solicitations for new Marvel periodicals shipping in December confirmed that Amazing Spider-Man, Wolverine, and the team-up title Captain America and... (formerly just Captain America) will all come to a close with that month's issues. These very long-running series will join the ranks of other Marvel titles that have been concluded and set to relaunch or return in a different form in October as part of the publisher's Marvel NOW initiative, including The Mighty Thor, Incredible Hulk, Invincible Iron Man, Uncanny X-Men and New Mutants.


The Amazing Spider-Man news is a little surprising. Unlike most superhero comics still in publication, the title has only been renumbered from #1 once, back in the 1990s, and resumed its original numbering with 2003's issue #500. There's little doubt that Marvel will shortly announce a new home for Spider-Man himself, but the question is by whom will it be created? The Marvel NOW relaunches were precipitated by many of the publisher's most popular writers winding down their long-running arcs at around the same time, allowing for new creators to work on various characters for the first time in many years. Does that apply to Spider-Man and writer Dan Slott, who's been the primary creative force behind the Amazing title for the last several years, and who to the best of my knowledge was not bringing the book to a climax? Slott has yet to be announced as working on anything in the Marvel NOW line, and he's keeping mum on Twitter.



The conclusion of Wolverine is a little less interesting. The series has been renumbered at least three or four times since it launched in 1988, and a Marvel Comics without a Wolverine solo title is too contradictory a notion to contemplate.


Similarly, Captain America and Black Widow #640 will bring to an end the Captain America title that's been reconfigured numerous times since the 1960s, most recently as a Cap team-up book with characters including Bucky, Iron Man and Hawkeye. Whether or not the team-up concept survives Marvel NOW, we do know that Rick Remender and John Romita, Jr. will be working on a new Captain America title launching in November.






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Greg Rucka On Leaving Marvel And DC Behind

Greg Rucka On Leaving Marvel And DC Behind | Comic Books | Scoop.it

You know, I’m starting to worry for the now-named Mark Millar’s CLiNT. With Jupiter’s Children and Nemesis 2 both delayed until next year, are we going to get to a point where Mark Millar’s CLiNT runs out of Mark Millar material to print? Will we see Unfunnies, Shadowmen and Saviour pulled out from the bottom drawer? Or will it become more of a Mark Millar Presents affair?

It’s not a problem with the latest issue however, just out, full of Supercrooks, Hit Girl and Secret Service, which also has an interview with Greg Rucka. In which he lays out his current relationship with the Big Two. Here’s a clip.

When asked about creator ownership, he replies;


"The dirty little secret is that those Image guys made all these deals and almost to a man failed to deliver. They burnt Hollywood horribly on letting comics talent actually be a part of the production of the material they sold.

I’ve reached the end of my Work For Hire rope. I’m enjoying The Punisher, but that’s not mine, it’s Marvel’s, and l knew that going in. I have spent a lot of my comics career in service of other masters, – and I’ve had enough of that for now. I’m sick to death of the way the Big Two treat people.

I gave seven very good years to DC and they took gross advantage of me. That’s partially my fault, but not entirely. At this point, I see no reason why I should have to put up with that, I can sink or swim on my own.

You are seeing a grotesque Hollywoodisation of the two main companies. There was at least a period where I felt that the way they wanted to make money was by telling the best story they could; now the quality of the work matters less than that the book comes out. There is far less a desire to see good work be done.

Dan DiDio has gone on record, and this is the same man that said Gotham Central would never be cancelled as long as he was there, telling people what a great book Gotham Central was, but it never made any money.

Well, take a look at your trade sales! That book has made nothing but money as a trade. What I’m now being told is, ”lt was never worth anything to us anyway.”So, you know what? They can stop selling the Batwoman: Elegy trade and stop selling the Wonder Woman trades and everything else I’ve done, because clearly I’ve not done anything of service and those guys aren’t making any money off me.

Right now, where the market is, I have no patience for it.

My run on Punisher ends on #16, and we are then doing a five-issue mini called War Zone and then I’m done. That’s it! The Powers-That-Be at Marvel, without talking to me, decreed that he’s going to join a team on another book.

That’s their choice, they own him, but I don’t have to be happy about it. I am glad I had the opportunity to work on the character and I’m proud of the work I’ve done.

Despite what the publishers say, their interest in the talent is minimal now, the interest is only in promoting the financial worth of their properties. That was not the case as of two or three years ago, when there was an ‘Exclusives war’, but that’s all gone by the wayside now. Ultimately, they are saying, “We don’t need you,’ because they can get a million more just like you.

For every person who passes on the opportunity to write Spider-Man or Superman, I guarantee there are 5000 hungry writers who would give their eye-teeth to do it. But just because they want to do it, it doesn’t mean they are capable of doing it. It comes down entirely to Warner Bros. realising what they owned but had not exploited. At the end of the Harry Potter franchise, they went “Oh, crap, we need something else fast’, looked over at Marvel’s very very successful film program.

DC are playing catch up with Marvel, because of things like The Avengers breaking six hundred million domestic. That’s a lot of money, I don’t begrudge Warner Bros wanting to make bank it would be like blaming a shark for eating, but l do think that the pursuit of that financial windfall bears a detrimental effect on the creative and artistic side."


A lot more in the mgazine itself, including his crime novel work and his future plans at Image. Mark Millar’s CLiNT is available from comic stores and the occasional newsagent nowish.

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NYCC Debut: Marvel Remastered – The Marvel Art of Brandon Peterson

NYCC Debut: Marvel Remastered – The Marvel Art of Brandon Peterson | Comic Books | Scoop.it

This book will debut at NYCC, a full color oversized 48 page hardcover featuring the Marvel Comics artwork of Brandon Peterson collected over his long comics career, enhanced with touchups, outright redos and an explanation of his creative process.

The book will cost $25, or $40 if bundled with a previous hardcover collection, Venus Overdrive.

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Exclusive: Thanos Confirmed For Guardians of the Galaxy Movie and The Avengers 2

Exclusive: Thanos Confirmed For Guardians of the Galaxy Movie and The Avengers 2 | Comic Books | Scoop.it

The Mad Titan known as Thanos made his presence known during the mid-credit scene of The Avengers movie.

With a smile, Thanos was revealed to be the villain behind the Chitauri invasion upon the Earth.

It's long since been rumored and even hinted upon my Marvel Studios president and producer Kevin Feige that Thanos would be appearing in the 2014 Guardians of the Galaxy movie.

Feige has all but said Thanos is in the movie.

Now we learn that not only will the Mad Titan Thanos be featured in the Guardians of the Galaxy movie — but The Avengers 2 as well.

We previously reported that Thanos creator Jim Starlin was in talks with Marvel about "something," with it theorized that it was over the rights to Thanos.

Now, a Cosmic Book News regular, Armand Rock, has confirmed through Jim Starlin that Thanos will be in the Guardians of the Galaxy movie and The Avengers 2.

Armand Rock attended the recent Montreal Comic-Con and spoke with Jim Starlin who said that the deal is already in place. Jim Starlin even mentioned that Thanos will appear in the upcoming Guardians of the Galaxy movie in 2014 and The Avengers 2 in 2015.

The news is not that surprising, as most assumed Thanos would go on to become the Avengers major villain in The Avengers 2, but what it may reveal is that there might be another villain in the Guardians of the Galaxy movie.

Adam Warlock and The Magus are rumored.

The Avengers 2 assembles May 1, 2015 with Iron Man 3 on May 3, 2013, Thor: The Dark World on November 8, 2013, Captain America: Winter Soldier on April 4, 2014, and the Guardians of the Galaxy movie on August 1, 2014.

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Kids And Violence In Today’s Comics. Literally, Today’s Comics.

Kids And Violence In Today’s Comics. Literally, Today’s Comics. | Comic Books | Scoop.it

Last night I had a talk with my daughter about not hitting people. “Spider-Man does it” she replied. I explained that Spider-Man was just a fun story, that it isn’t real and that, anyway, Spider-Man was fighting bad guys like thieves and robbers. “But Sally stole my sweets.” I can see the conversations continuing long and hard…

But it may have put my in the right frame of mind to see the cacophony of child violence in today’s comics batch. Here are a few that caught my eye…

Wonder Woman #0

Red Hood And The Outlaws #0

Princess Amethyst #0

Nightwing #0

The Walking Dead #102

Batwoman #0

Justice League #0 – hey, that’s a kid under all that muscle.

Weirdly Marvel’s own kid deity, Loki, never raises a hand against anyone. Of course, what he does is far worse…


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Preview: Avengers Vs X-Men #12

Preview: Avengers Vs X-Men #12 | Comic Books | Scoop.it

Here we go folks. The end of things… until the next thing.


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Kick-Ass 2 Images – Doctor Gravity, Insect Man, Battle Guy And More

Kick-Ass 2 Images – Doctor Gravity, Insect Man, Battle Guy And More | Comic Books | Scoop.it

Seems like the whole cast of Kick-Ass 2 have stopped off for pizza, and they’ve done it right in front of a photographer on the NewsCom payroll. Okay, it’s all part of the make believe. Except for the photographer.

Here are most members of superhero team Justice Forever getting together for a quick slice. Can anybody identify who are playing Remembering Tommy, the husband and wife duo in matching outfits? You won’t have a lot to go on…

Also look out for many of the cast members we know about in the roles we already know they have.


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Parting Shot: New 'Catwoman' Writer Ann Nocenti Calls Selina Kyle An 'Accidental Feminist'

Parting Shot: New 'Catwoman' Writer Ann Nocenti Calls Selina Kyle An 'Accidental Feminist' | Comic Books | Scoop.it

Starting with this week's zero issue, Ann Nocenti is taking over as regular series writer for DC's Catwoman. So far the cover for Catwoman #0 has received the bulk of attention for the issue, but that may soon change. In a USA Today interview, Nocenti talks about Catwoman's background as an orphan and how it shapes who she is as a character, and describes Selina as an "accidental feminist."

From USA Today:


"I know state-raised people who went from orphanage to foster home, and normally they end up in the prison system," says Nocenti, who also writes DC's Green Arrow series. "She has that kind of an upbringing but she's empowered. To me, she's kind of an empowerment character."

"I almost feel like she's an accidental feminist," says Nocenti, who thinks of Irma Vep, a character from the 1915 silent French film Les vampires, as "the original Catwoman." The next "real" Catwoman moment for her, though, is Michelle Pfeiffer's take in 1992's Batman Returns movie, which Nocenti nods to in her zero issue.

"When she turns into Catwoman, she takes her frumpy little apartment and she destroys it," the writer explains. "She realizes she was locked into a non-feminist life as a downtrodden secretary. And she just rips that to shreds. To me, that's a feminist moment.


Nocenti and DC will have to wait and see how readers react to this new direction, but with the controversy the title has previously received, many longtime fans of the character will likely welcome a new approach.

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‘Iron Man 3′ begins filming in Fort Lauderdale on October 1st!

‘Iron Man 3′ begins filming in Fort Lauderdale on October 1st! | Comic Books | Scoop.it

Today we received confirmation that production on Iron Man 3 will soon be moving to Florida. Right now the movie is winding down in Wilmington, N.C., where they have been shooting all summer, and gearing up for a move to Fort Lauderdale where they will wrap up production this fall.
According to a press release from Greater Fort Lauderdale, production in Florida will begin on October 1 and include locations in Broward County’s Dania Beach, as well as other neighboring South Florida communities.
You can check out the entire pres release below. If you have any scoop about casting or specific locations for the film, let us know about it at olv@onlocationvacations.com!



"BRAWN, BEACHES AND BLOCKBUSTER: GREATER FORT LAUDERDALE WELCOMES IRON MAN 3


Cast and Crew Arrive to Destination for Filming
GREATER FORT LAUDERDALE, Fla. – September 11, 2012 – Greater Fort Lauderdale is on the alert for an extraordinary group of visitors from Marvel Studios, including an invincible super hero. Broward County will welcome cast and production crew beginning Oct. 1 for the third and final installment in the solo superhero saga “Iron Man 3.” The Greater Fort Lauderdale/Broward County Office of Film & Entertainment announcement of the blockbuster production will include locations in Broward County’s Dania Beach, and other neighboring South Florida communities.
“We have had two very exciting back to back years of major film production in Greater Fort Lauderdale – we rocked with ‘Rock of Ages’ last summer with Tom Cruise, Russell Brand and Alec Baldwin. Now we have the marvelous Marvel comic book hero,” said Noelle Stevenson, Film Commissioner, Broward Office of Film & Entertainment. The ‘Iron Man 3’ cast includes Robert Downey Jr., Guy Pearce, Gwyneth Paltrow, Ben Kingsley, Rebecca Hall, Don Cheadle, and Jon Favreau. “Of significance is that the filmmakers can conveniently shoot a variety of landscapes here, from city skyline to 23 miles of pristine sun-splashed beaches to nature unleashed in the Everglades,” Stevenson noted.
Greater Fort Lauderdale’s campaign to showcase its production-friendly attributes is paying off with the attraction of millions of dollars of film, TV, commercials, print and music video work. The county provides impressive added value and incentives to keep productions on target and on budget, including no permit fees, dedicated film-friendly hotels and community, professional studio and production offices, and the Preferred Production Pass (P3) which offers special values at area attractions, restaurants and film and entertainment vendors.
Besides the production-friendly attributes, Broward County is known for unique and diverse locations that will set the tone for any movie’s genre. Production companies looking for scenes that capture the Old West or a bright lit downtown skyline or a mountainous scene using the 225-foot high landfill site, Monarch Hill Renewable Energy Park, or an urban tropical island-setting or even the Australian Outback thanks to the Everglades. Greater Fort Lauderdale captures the world’s most known locations in one spot.
“These uncommon features are an enormous advantage for production companies who film in Greater Fort Lauderdale,” said Nicki E. Grossman, president of the Greater Fort Lauderdale Convention & Visitors Bureau. “The money and time saving aspects are all imperative in measuring the success of a film project and it’s what keeps our roster of productions growing.”
Recent film, TV and music projects in Broward include indie films and features such as “Rock of Ages,” Tony Bennett and Sony Music CD Project “Latin Duets,” A&E’s TV drama “The Glades,” USA’s “Burn Notice,” Starz’s “Magic City,” ABC’s “Charlie’s Angels” and VH1’s “Tough Love,” among others.
For more information about Greater Fort Lauderdale/Broward Office of Film & Entertainment, please visit http://www.sunny.org/film."

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It’s Our First Clip From Arrow And There’s An Awful Lot Of Sound Effects

It’s Our First Clip From Arrow And There’s An Awful Lot Of Sound Effects | Comic Books | Scoop.it

The makers of Arrow sure like to work some off-screen action via sound effects. Well, in this first clip at least.

Arrows so fast that you can’t really see them, just hear them. In real life, they’d probably be really expensive. In TV terms, they’re going to be relatively cheap.

We saw the first episode of Arrow at Comic-Con and liked it.


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Cat Fight!

Cat Fight! | Comic Books | Scoop.it

Look, someone was going to say it, might as well be me. The rest of the Justice Leaguers do seem to be cheering them on…

Justice League #13′s variant cover by Alex Garner, with the sketch variant below.

I know, I know.


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