For me, one of the single greatest moments of the holiday season is the annual Macy's Thanksgiving Day Parade! Not only does it signal the official start of the Christmas season, but it's the perfect combination of crass commercialism, holiday festivity and high school marching bands. And yet, as much as I love it, it just doesn't have enough comics for my tastes.
Sure, they've had balloons of Snoopy, Pikachu and Spider-Man before, and Marvel even had a couple of incredibly complex floats back in the '80s, but really, that just scratches the surface. Which is why today we teamed up with Anthony Clark, the artist and creator of the beloved webcomic Nedroid and the recent Beartato and the Secret of the Mystery collection, to launch the ComicsAlliance Thanksgiving Day Parade with the balloons we want to see!
The Tangent universe is a recurring feature in the third week of titles for DC's spring 2015 Convergence event, cropping up by name in the solcitations for the Flash, Justice League of America, and New Teen Titans two-part minis -- and "tangent" seems like an apt term to describe DC's impenetrable two-month event that offers all the confusion and frustration of a reboot with none of the narrative consequence.
Besides the Tangent universe, the other unifying theme of the third wave of books is that dig into DC's pre-Crisis On Infinite Earths past, with writer Marv Wolfman returning to the New Teen Titans, Len Wein taking another swing at his own creation, Swamp Thing, Diana Prince back in her modish 1968 white jumpsuit, and the return of the mid-80s Detroit Justice League.
For those of you who prefer to see Batman driving around in a car with a gigantic gun sticking out at the top, blowing up tanks, shooting people and also shoving crooks' heads into electrified fuse boxes, we have some good news! For those of you who don't, well, maybe just close this window and go for a walk for a few minutes or something. See, this week brought us some new footage from Rocksteady's upcoming Batman: Arkham Knight video game, in which Batman takes on a small army of soldiers and (presumably unmanned) tanks led by the title villain to rescue a few NPCs in an all-out assault on Ace Chemical.
And just so you don't think it's all just things designed to make me grumpy, you also get to see Batman doing a straight-up Street Fighter-style shoryuken, and that's pretty awesome.
I've been a fan of Jonathan Hickman's work at Image ever since he hit the ground running with The Nightly News, and the thing I tend to love most about those projects is how unrelentingly high-concept they are. There's always a new hook that I've never seen before, whether it's a satire about super-powered mutant apes or an ongoing series featuring real-life historical figures involved in truly ridiculous acts of mad science. As a result, if you tell me that Hickman and artist Ryan Bodenheim, who worked together on Red Mass For Mars, are doing a new series together called The Dying and the Dead, then my first question is "what's the high concept?"
And that's when I found out that they're referring to it as "Indiana Jones for old people," and I'm pretty much sold.
Who doesn't love a good postmodern murder mystery? Boring people, that's who. Dull, uninspired, abandoned buildings pretending to be human beings who prefer their detective stories to be streamlined and logical, with a series of clues that can be interpreted to lead to a definite answer, and no funny business with fragmentation, parallel narratives, or the sudden appearance of the author in their own story.
If, however, you're an interesting, exciting, attractive person with an undeniable elan, Vertigo's Bodies might be more your style. Written by Si Spencer and drawn by a team of four artists, Bodies takes place in four distinct time periods ranging from the 19th century to the far future, where four detectives investigate four identical murder cases. Not just identical in that it's the same M.O., with the exact same injuries and found in the exact same spot throughout time; identical in that, over a span of 160 years, it's the same body.
A few weeks ago we reported that ‘Breaking Bad’ director and producer Michelle MacLaren was in talks to take the helm on WB’s ‘Wonder Woman’ film, which was incredibly exciting news on its own. Today brings word that MacLaren has officially signed on to not only direct, but also formally develop the film, working with the writers to bring the iconic superhero to the big screen in her own solo movie.
I'm not excited for Sam Wilson as Captain America, and I'm not excited for a female Thor.
Now, I don't think these are totally wrongheaded things to do. I admire the impulse behind these changes, and I believe they come from a good place. In the abstract sense, I love the idea of Marvel featuring, in big, bold style, the adventures of a black man and a woman against the hordes of iniquity. I believe at least part of the motivation behind these changes is genuine in its altruism, and that it is not entirely invalidated by profit-seeking impulses. I want to believe in this initiative. I want to be excited. I do not want to be the curmudgeon in the corner, needlessly nitpicking everyone else's good time to pieces.
But it feels like a gimmick, and functions like a gimmick, and that’s because it is a gimmick. I give it perhaps two years — two years that only the most hard-core aficionados will end up able to recall, alongside their recollections of the foil covers era and that one time Doc Ock was Spider-Man.
On Sunday afternoon, we spoke to Emily Blunt who is promoting her role in Disney’s ‘Into the Woods.’ During this conversation, Blunt referenced her character in this summer’s ‘Edge of Tomorrow,’ comparing that role to what a possible Marvel movie might be. It just so happens, Blunt’s name has been mentioned in Internet buzz as a possible lead in Marvel’s ‘Captain Marvel’ (due in 2018), which would be Marvel’s first movie with a female lead. Has Blunt heard this buzz? As it turns out, she has. And she seems to find that buzz quite flattering, but admits she has had no discussions with Marvel at this time.
The 1966 Batman television show was one of the most successful and influential adaptations of comic books to mass media of all time. Over the course of three seasons and 120 episodes, the series became a cultural force with its unique combination of tongue-in-cheek humor, thrilling superhero adventure and celebrity guest stars, and shaped the way the public would view the Caped Crusader for the next five decades. Now, in the midst of a well-deserved renaissance of the show, ComicsAlliance is proud to present The Batman '66 Episode Guide, an in-depth examination of every single adventure, arch-criminal and deathtrap cliffhanger of the series.
This week, the guide begins with the pilot episode, "Hi Diddle Riddle," in which the Prince of Puzzles has given up his life of crime... or has he?
Ever since Marvel created a wildly successful shared movie universe, studios have understandably taken note. But just because the model works for them, doesn’t necessarily mean it can work for every franchise. Universal wants to try the approach with rebooting their classic monsters, and even a new series of Robin Hood films will try its hand at the shared universe idea, with multiple planned films in store if all goes well. ‘Guardians of the Galaxy’ director James Gunn finds this approach to be a little overzealous, and took to his Facebook page to express concern with what he calls a “flawed” business model.