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Posts Tagged ‘Commentary’

July 15th, 2018 Uncategorized Comments Off on Fans of Sci-Fi & Pop Culture: What’s In A Name?

Fans of Sci-Fi & Pop Culture: What’s In A Name?

“Dweezil” and “Moon Unit” Aren’t The Only Unusual Names Out There

By DEAN PLAKAS – PM Library Writer

What’s in a name? How do you name something or someone? After a loved one? After a historical figure? A biblical figure? A mythological figure?  How about after a character from a franchise whose fans are sometimes labelled “geeks” or “nerds?”


If only infants could speak…

Fans of comic books, science fiction, science fantasy and even video games have been known to name their pets, prized possessions, and loved ones after a comic book character or other fictional hero. They name their boats after vehicles from favorite franchises. Fans have named their children after celebrities too: actors, sportstars and singers. So who do celebrities name their children after? Take solace, celebrities are no different than the rest of us.

Years ago I worked with a gentleman who named his son Xavier Logan after Professor Charles Xavier and an alias of the character Wolverine, two characters in Marvel Comics’ best selling title The X-Men. I didn’t think it odd; I’ve heard stranger names. Musician Frank Zappa named his daughter Moon Unit and one of his sons Dweezil.  Kanye West and Kim Kardashian named their child after a compass point. Then there’s Gwyneth Paltrow who named her son with the biblical name Moses, and her daughter, Apple, after a fruit (but then again, there is mention of an apple in the Bible!) There once was an NFL football player for the Chicago Bears named Dick Butkus. Going through life with a name like that would surely make one tough enough to be a pro-linebacker! The other ones I’ve mentioned might need (or perhaps have already gone through) therapy sessions to deal with their monikers.

Writer, Actor and Director Kevin Smith with
his daughter, Harley Quinn. (SOURCE: Zimbio)



Take actor/writer/director Kevin Smith, for example. He named his daughter Harley Quinn, after the DC character who is in love with Batman’s nemesis, the Joker.  Smith and his daughter are tremendous fans of the character Harley Quinn, the character who was portrayed in film by actress Margot Robbie in Warner Brothers’ Suicide Squad  Mr. Smith hosted the Dawn of Justice League TV special on The CW, owned by Warner Brothers. As a thank you gesture, WB sent the movie bat prop used by Robbie to Smith who in turn gifted it to his ecstatic daughter (who allegedly cried for hours.) Ah, a father’s love….


Smith is not the only celebrity father to have enjoyed a geek moment with his daughter. The beloved, talented comedian and Academy Award winning actor Robin Williams was a big fan of the video game The Legend of Zelda; so big a fan that he named his own daughter after Princess Zelda. In 2011, they starred in a commercial together for The Legend of Zelda: Ocarina of Time 3D, the Nintendo 3DS game. A great moment shared between father and daughter – sadly, just three short years later Robin Williams’ suicide shocked the world.

The late Robin Williams with his daughter, Zelda.
(SOURCE: ABC News)


Girls are not the only ones to have a celebrity father who is a “geek” and/or “nerd.”
Academy Award winning Actor Nicolas Cage is the nephew of Academy Award-winning director Francis Ford Coppola, Cage is also the nephew of Academy Award nominee Talia Shire, and the first cousin of Academy Award winning Sofia Coppola. Cage was born Nicolas Kim Coppola, but when he didn’t want to ride the coattails of the influential Coppola name, he decided to take a stage name – from a Marvel superhero! “Cage” comes from Marvel Comics’ Power Man himself, Luke Cage. When he fathered a son, Cage struck again! He took to comicdom once more and named his son Kal-El, the Kryptonian identity of DC Comics’ Superman. Not only did he name his son after a DC Comics muscle-man, but he did so after taking on the name of a Marvel Comics muscle-man for himself. Well done, Nick.

Ironically, the literal Superman came to the rescue of actor Cage when he got into severe IRS trouble and debt. This financial emergency prompted the actor to sell his copy of Action Comics #1 at online auction in 2011. Cage had purchased the Holy Grail of comic books for $110K in 1997. At the auction, it sold  for $2.16M, besting the previous world record of a mere (!) $1.5M.

Thus the father of the real-life namesake of a literal superhero was saved.

July 12th, 2018 Uncategorized Comments Off on Five Forgettable Failures in Comic Book Filmland

Five Forgettable Failures in Comic Book Filmland

PM Librarian Dean Plakas Lists The 5 SUPERHERO MOVIES THAT JUST DIDN’T WORK!

By DEAN PLAKAS – PM Library Blogger





In the last twenty years, we have seen some critically acclaimed and financially successful films based on comic book characters . The Captain America trilogy, Christopher Nolan’s Batman trilogy, The Guardians of the Galaxy, Avengers, and Deadpool films are all fairly recent blockbusters.  This is not to say that superhero films have not had success before. Tim Burton’s Batman (1989) and Batman Returns (1992) were financial successes and were nominated for Academy Awards with Batman (1989) winning one; three Oscar wins went to Warren Beatty’s Dick Tracy (1990), and Superman: The Movie (1978) was nominated for three Academy Awards, winning an Oscar for Special Achievement for Visual Effects for a total of four Oscar nods. Tom Tyler’s portrayal as Captain Marvel (the wizard’s name is Shazam) in Republic Pictures’ 1941 movie serial is regarded the best movie serial ever produced along with the Flash Gordon serial, which heavily influenced the George Lucas Star Wars films.  The flight sequences in the Captain Marvel serial are very impressive given their budget and technology in that golden era of Hollywood.

We have also seen films based on superhero properties that were good, but ended up failing at the box office.  Films like Billy Campbell’s The Rocketeer (1991), Billy Zane’s The Phantom (1996), and Dolph Lundgren’s He-Man and The Masters of The Universe (1987) flopped but they are entirely watchable and entertaining films. Each of these movies have since developed cult followings which isn’t something to dismiss. Zane’s Phantom movie did very well in VHS and DVD sales and was on Netflix not too long ago.  As for He-Man, Frank Langella is deliciously evil as Skeletor and Jack Kirby fans will have a field day with the references to Kirby’s New Gods:/Fourth World work in this film. (The director is on record admitting to this.) In time, these films may become even more popular. Remember, even the classic 1939 musical The Wizard of Oz was a commercial flop when it was released. That family favorite film property is worth millions now….including props from the film such as the ruby red slippers Judy Garland wore in the film as Dorothy Gale.



There are some films that are just hopeless; they are the weakest links in the chain, the colossal mega-stinkers. The ones that put the “B.O.” in Box Office (B.O. in American slang means smelly body odor, so yes, that bad!) These movies are so awful you wonder how they got filmed in the first place. How did someone get suckered so badly into producing these disasters? Who made that fool part with his money so easily that angry filmgoers demanded refunds, screenwriters were blacklisted, and the casting directors barred from future film projects, be it on the big screen or on television?



There has been many a failed disaster of superhero films that will live on in infamy. These were “classic” bombs like Ben Affleck’s Daredevil, Jennifer Garner’s Elektra, Seth Rogen’s The Green Hornet (Rogen needs to retire just because of that film), Halle Berry’s Cat-Woman (she wasn’t even Selina Kyle!) and Ryan Reynolds’ Green Lantern. As lousy as these films are, they did not make the list of the top five biggest stinkers.



What films could possibly be worse than these? Let me jog your memory….

5. STEEL (1997)
Long before Black Panther and Luke Cage we had Steel produced on film, starring NBA superstar and champion, Shaquille O’Neal. It was a risky film to begin with.  Steel was just a supporting DC character from the Superman mythos. The sales of the comic book based on Steel (long ago) in one of DC’s many reboots were not exactly spectacular. But the film was directed and written by Kenneth Johnson so there was some hope for the project and after all, O’Neal was a popular person in the public eye. Johnson did create legendary science fiction television shows like the series “V” and “The Bionic Woman” and  he was instrumental in developing “Alien Nation” and “The Incredible Hulk”. Unfortunately, Steel didn’t gel.The only good thing from this film was a heavily and overly exploited joke that referenced O’Neal’s poor record in making free-throws.

4. THE FANTASTIC FOUR (2015)
What could be worse than all previous versions of the Fantastic Four live action films? THIS ONE. A totally revamped version of the first family of comics when the fans were begging – BEGGING, I say – for one great film and what did they get? A science fiction film that would have fared better as a stand-alone rather than a FF movie. It did not help the fate of this film that some of the lead actors made highly publicized remarks prior to and during the filming of this movie; nor did it help that the media plagued the film with its constant barrage of analysis and mud slinging. The director fighting with cast and crew and leaving the project in this one-act debacle pretty much sealed the fate that no one could have prevented. Personally, the director and I have a mutual friend. I was with that mutual friend when the director told him he got the job to direct the film. He told my friend his plans and I immediately asked him to have the director reconsider – I knew the fans wanted a Fantastic Four film done right. Ah well, at least we Fantastic Four fans still have The Incredibles….

3. SUPERMAN III (1983)
You figure after TWO great Superman films that defined the character for generations, why would Hollywood make a Superman film where the title character plays second fiddle to an out-of-place comic legend? Both Richard Pryor and Christopher Reeve seem to be merely waltzing through this debacle of a sequel for a fat paycheck.  What about Superman’s evil twin? Well, what about him? This is how evil Superman’s twin is – he straightened out Italy’s Leaning Tower of Pisa. Wow! What’s next? Maybe he forecloses on the orphanage after he ties a damsel in distress to some train tracks, all the while twirling his moustache? Well, at least it ended and it was over and done with.


2. SUPERMAN IV: THE QUEST FOR PEACE (1987)
Oh Rats. It wasn’t over and done with. This one is an incredible train wreck. The premise is ridiculous. Superman is practically tyrant of the Earth, as he informs all governments that he is getting rid of their nuclear weapons. They blindly accept his “generous” act.  Seriously? That act would make him world enemy and global threat #1 to nations of the planet Earth if he truly existed. Who is he to dictate world policy and step on the sovereign power of each country? We also get to see Mariel Hemingway as Clark Kent’s new love interest breathe in outer space. What? This film is an unceasing facepalm from start to end. No matter how you feel about Man of Steel (2013), it doesn’t compare to how awful this stinker of a flop is to the senses and your IQ.

AND FINALLY…
1. THE MAN-THING (2005)
Fin Fang Foom! What were they thinking? This is the worst of the bunch. I’m jealous of everyone who doesn’t even remember this horror show that makes George Lucas’ Howard The Duck look good. A made for television film that premiered on the SyFy (nee: SciFi) Network, it certainly wasn’t the Man-Thing from Marvel Comics. His powers are different, his origin is different – you figure the people behind the 2015 Fantastic Four film would have paid attention to a disastrous formula in bringing a property to film. If it ain’t broke, don’t fix it! His costume looks like a reject of the Spawn suit spray painted in green from that awful 1997 Spawn film (which made number 6 on this list!) If a character is liked by the fans as is, you just don’t mess with it. You give the public what it wants otherwise you reap what you sow and in the case of The Man-Thing, they reaped a disaster! You’re much better off watching DC’s Swamp Thing films and television series than the unrecognizable Man-Thing mess.
“The Man-Thing…”


It should’ve been called: “Man! What IS this THING!”  Sheesh.

What do you think, readers? Do you know of any comic films we can add to this list? 

April 15th, 2018 Uncategorized Comments Off on INTERVIEW: Weeds and Lore Lead to Small-Press Success

INTERVIEW: Weeds and Lore Lead to Small-Press Success

By WALLY MONK – Paint Monk’s Library Editor

I’ve just started getting into the realm of indie comics, and my indie journey began on Kickstarter. There, I was told, you can find inspired people who want to break into comics. Many of them are “bucking the system” (or building a creative resume) and trying to strike out on their own.

The original HUNTER’S LORE graphic novel is what
inspired me to take a closer look at Lee’s comic projects

This search led me to a graphic novel called Hunter’s Lore and writer and artist, Lee Milewski. As you can tell from our Countdown to Conan event, I’m a huge fan of heroic fantasy and Hunter’s Lore seemed to fit the bill. Milewski’s artwork isn’t done in the realistic style; rather, it’s an odd combination of abstract art and compelling panel layouts that don’t always make sense yet look good anyway.

His books – at this point at least – are not the kind of comic that you’d see from Marvel or DC, but his creativity – coupled with his unusual art style- could easily carve its own niche. The fact that Milewski has already funded 8 successful Kickstarters for numerous projects (and completed artwork for others) indicates that he is starting to build his own audience. 

Having spent the last week looking over much of his work (graciously provided on a shared drive), I’ve concluded that sometimes his work reminds me of an immature and perhaps anime-inspired Bill Sienkiewicz, where the artwork is drawn as puzzle pieces that don’t always fit, yet they still work when assembled on a comic book page.

Other times, it seems he’s channeling Mike Allred and I expect to see Madman leap out of one of the panels. His art is glaringly inconsistent, but ironically, that’s part of the charm of these books.

Lee agreed to share his story with Paint Monk’s Library in an exclusive creator interview.

WALLY MONK: What was your first project, and was it funded with Kickstarter? Or had you tried some form of artwork in the comics medium before crowdfunding?
 
 

LEE MILEWSKI:  “Ha, well my very FIRST comic project was a little creator owned book called With The Earth Above Us – a very sci-fi oriented book that I attempted to crowd-fund, but failed, and never really tried again with it after the fact.

I learned a ton with those pages, a ton of the basics of sequential art anyway, and went on to create my horror series Tangled Weeds after the fact.

 
It was a lot of fun, but like anything, you have to fail in order to learn and get better!”


WALLY MONK: Who are the artistic inspirations for your drawing? I am not at all a fan of abstract art, or art
where proportions are exaggerated (think Rob Liefeld) but your work appeals to me. In some of
your pages I think of anime. On others it looks like you’re attempting a more realistic style.
Sometimes panel transitions are jarring – perhaps intentionally? What is the “look” you are
searching for, or are you trying to create your own mish-mash of different styles to tell a story?
 
LEE MILEWSKI: “I actually really like the way that you referred to my style as puzzle pieces trying to fit on the page – in all honesty, I can totally agree with that and understand where you’re coming from. In fact, I’m not a very “artsy” artist, and have always thought of comics like any other creative thing – you have to think of what you’d “like” to accomplish, and attempt to achieve it. 
Lee putting his “best foot forward” in this
page from The Winter Year.



It really is just patience and learning over time, but also the understanding of where your weakness lies and how to better it.

 
The thing is, I found out early in my learning that I will probably never be a super realistic illustrator… I tend to not prioritize perspective or other things that others may consider, but that all lines up with what I want to do or hope to do. It doesn’t always work, of course, but in the case of Hunter’s Lore – there were several panels/scenes where I re-wrote based on what I know I could accomplish rather that what I would like to. 

With my newest project, The Winter Year, I’m really attempting to put my best foot forward and make every panel count… even the ones I will need to draw a million times!”


WALLY MONK: Do you draw by hand and then color digitally? What is your process for completing comic art?
And do you do lettering by hand? I’m guessing your lettering is computer generated. Am I
correct? 
 
LEE MILEWSKI: “I used to draw by hand and took too long, actually. My entire process is now digital, including the coloring and lettering. I have tried to go back after the fact, though the time saved is just not worth it in the end.

For my personal projects, I just jump right into things – so, no layouts or anything, just begin working on what will eventually be finished pages. For contracted work, I tend to do layouts for the client, then work in the same way. 

Lee uses primarily freeware like
GIMP to produce his digital comics.

I’ve found that this is super surprising to many people, but I use a totally free program to create my pages called GIMP – so, no Photoshop (nearly ever), Illustrator, etc.”


WALLY MONK: When you’re writing your own comics, I’m curious if the artwork comes first or the story comes
first. Do you get an idea and jot down some sketches, or do the stories tend to come from the
sketches? What were your inspirations for some of the series you’ve completed, and which ones
are your favorite? Will we see more Hunter’s Lore?

 
LEE MILEWSKI: “Good question! A lot of times, I’ll be messing around on the weekend or something, come up with a character or style that I really enjoy working in, and begin the story process after that. Most of my projects began like that – the Winter Year has been restarted nearly FIVE times in the last year because I began with the art side of things and couldn’t nail down the story. So, after several months of thinking on the project and the artstyle, I landed on what i have now.
 
A lot of my influences come from film or video games; when scenes or environments really, really captivate me, it can be stuck in my mind for a while until I jot it down or make something of it. The first time I played Bloodborne, as an example, drove me to create a small indie vampire comic called Of The Dark a few years back.
 
Hunter’s Lore felt wrapped up in the two books, and like I said, I just don’t even draw in that same traditional style anymore – my plan is to actually Kickstart a hardcover version of both books sometime in the near future!”


 
NO MORE LORE? Lee said he feels this series has been “wrapped up.”

WALLY MONK: Out of nine Kickstarters that you’ve created, only one failed to fund. What was that story about,
and why do you think it’s the only book of yours that didn’t make it to the presses? What did
you learn from that project that helped you be successful with so many follow-up projects?
Which of your successful Kickstarters did you find the most fulfilling from a creator’s
viewpoint? Was it the most “commercially” successful book that is your most fulfilling or a
different one? 

 
LEE MILEWSKI: “Well, my first Kickstarter was a scifi book called With The Earth Above Us – and though I liked the idea at the time, I can easily recognize now that it wasn’t ready for public consumption. It’s an easy, and beginner, mistake to make – that you have something that you really love and have put time into, but just isn’t presented in the way that you can hook people. Probably for the best, of course.
 
What I did learn from that though, and each consecutive one that I do, is that you cannot rely on past successes. It may sound simple, or silly, but you always have to be trying to outdo your previous efforts – this is because backers are super keen to what you’re pushing and can tell if your ENTIRE heart is in it, rather than just a portion left over from the last one. It’s important to take people’s time seriously – and when you’re talking about sharing a link online or something, it’s especially true.”


WALLY MONK: You mention in your Kickstarter and Patreon profile that you are married. What’s it like
balancing full-time work (assuming you have a day job), advancing your comic book career,
and having a young family? And is your family supportive?

LEE MILEWSKI:  “I actually work full time on comics, and believe it or not, my wife Kat works at home with me! 


We’ve been doing this for the last few years and love it – I’ve certainly done many, many years with a full time day job and doing art on the side, but nowadays I find that I earn more if my attention is entirely focused on comics and illustration. 
 
My family is super supportive and has always been – I always have to give credit to my wonderful wife for allowing me to live this dream for many years and am happy that she can now join me in the studio.”


WALLY MONK: You’re currently running a Kickstarter project as this interview is being published. Tell us a little
bit about The Winter Year issue #1. 
LEE MILEWSKI: “The Winter Year is a fantasy comic, written and illustrated by me. I’ve been working on this series for the better part of a year and am SUPER excited to share it with yourself and others – it’s a true labor of love and my most proud project that I’ve put together.
 
It’s a story about a hunter with a family, Garai, and his journey into the winter lands to reclaim what he believes is owed to him. It’s about discover, revenge, and ultimately, redemption. It’s a ton of fun and I would love for everyone to check it out!”


WALLY MONK: Have you ever
thought about writing/drawing for Marvel or DC or another one of the larger publishers? How
important is that to you, or could you happily be a “self-publisher” because of the freedom it
gives you?
 
LEE MILEWSKI: “I have always put publishing with a publisher on a pedestal, until about two years ago. Then, I realized that as long as I’m able to create the stories I want to make and earn somewhat of a living doing so, that I feel happy about my situation. Of course, there’s a glamor to working with a bigger company like DC and Marvel, though it’s not my primary goal or achievement in my career.
 
Like anything, you have to be happy in your day to day – and as long as comics make me happy to create, I’ll continue making them. And, of course, hoping that people enjoy reading them!”


WALLY MONK: Excellent! Thanks so much Lee, for talking with me for the readers at Paint Monk’s Library, and good luck with your newest Kickstarter. I’ll definitely be following along.


 

*  *  *
 
As always, I am – Wally (AKA Paint Monk) 
March 25th, 2018 Uncategorized Comments Off on AfterShock Comics Presents the Art of Jim Starlin

AfterShock Comics Presents the Art of Jim Starlin

THE INSPIRATION FOR THANOS REVEALED IN EXCLUSIVE “LIBRARY” INTERVIEW BY DAVID CONINE

If you haven’t heard of Jim Starlin, then you’ve either never read a comic book or you’re totally oblivious to the massive Marvel blockbuster coming out at the end of April. He’s the man behind the creation of Thanos, the intergalactic villain and titan behind next month’s Avengers: Infinity War. He also wrote the The Death of Captain Marvel, perhaps the most valuable and sought after book in Marvel’s original graphic novel line up. So if you’ve ever heard of Thanos, Drax the Destroyer, or Gamora, you’ve got Jim Starlin to thank. 

AfterShock Comics will be honoring the legendary writer and author with their re-release of a retrospective and art book honoring Jim’s legacy. See their press release below:


“FIRST AFTERSHOCK PRINTING! There are few creative names in comics whose influence is felt more in pop culture than Jim Starlin, with his creations Thanos, Gamora, and Drax the Destroyer occupying such prominent roles in Marvel’s cinematic universe. The “father of the cosmic soap opera,” Jim Starlin’s name is synonymous with the larger-than-life epic, which is why AfterShock is proud to bring back into print, this epic 328-page retrospective on the career of one of the most popular and prolific comic book artists of the last 40 years! Covering everything from his humble beginnings to his rise as one of the industry’s top creative talents, this oversized volume includes glimpses into Starlin’s files and sketchbooks, as well as images of his personal favorites with insights into his life and creative process. The first edition of this volume sold out instantly. Don’t be caught short this time! Just in time for the release of Marvel’s Avengers: Infinity War movie!”

On how the project came together and why he’s excited about it:
“When I started in the comic book business “Art Of” books were strictly the provenance of the greats, like Rembrandt and Di Vinci. But times change and so do attitudes. Now the comic is considered an art form and I hope A Life in Words and Pictures contributes a little to that art form’s history. As I come to terms with the drawing part of my career ending, the reissuing of this volume (big enough to knock out a cow with) provides me and readers a chance to look back at a forty-something year long stint in comics and see the starling changes in the industry that occurred during this time frame, both technically and artistically. I have to thank Joe Pruett for instigating this project and the Herculean effort he put into assembling and designing the book.”
On how the experience has been working with AfterShock Comics thus far:
“AfterShock and Joe, as usual, have been simply terrific to work with on this project.”
A sneak peak at the interior of the new Jim Starlin art book from AfterShock Comics.

(EDITOR’S NOTE: Guest Librarian and freelance writer David Conine was given an exclusive opportunity to interview the amazing Jim Starlin in anticipation of his upcoming art collection from AfterShock Comics.)

DAVID CONINE: Regarding your process, what methods did you employ when developing such interesting characters, and did you plan on them not only surviving the test of time, but flourishing as they have?
JIM STARLIN: “David, I was working for a paycheck at a job I loved doing, only looking forward as far as where my next job was going to come from and (back then) hoping I’d actually get paid for the job I was currently working on. That didn’t always happen, at least not on time, and that includes companies like Marvel.
I always saw future stories for the characters I was creating but there was no guarantee I’d ever get the chance to do them. But whenever I came back to Marvel, whether it was for a Warlock or Silver Surfer Series I always saw it as an opportunity to do more Thanos stories.”
DAVID CONINE: What were your inspirations when writing these characters and the cosmos of the Marvel Universe many exist in? Many of your peers were doing “normal” superhero crime fighting comics, and you were busy earning the label of “Father of the Cosmic Soap Opera.”
JIM STARLIN: “Every character serves a purpose in a story or he/she shouldn’t be in the story. Settings are determined by intention. Setting my tales in outer space allowed me to tell stories that might be uncomfortable or preachy if taking place on Earth.
Gamora was needed to put a female touch on the good guys’ side of the Warlock series, a counterweight to the Matriach.
Pip was a much needed comic relief for the otherwise dreadfully serious Warlock series.
Drax was brought in to be Thanos’s kyptonite.”
DAVID CONINE: What idea or event spawned the character Thanos?
JIM STARLIN:  “A psychology course in junior college after I got out of the service: Freud’s concept of the darker and lighter side of humanity, Thanos/Eros. Once I started playing with the idea, the darker side proved the much more interesting of the two.”
DAVID CONINE: How did you initially get into writing/drawing comics?  Any formal training?
JIM STARLIN: “No formal training, which I regret. A little classical art schooling probably would have made me a better artist.
Marvel was expanding their comic line from eight books a month to about twenty- something and started hiring anyone who could hold a pencil to draw them. I barely qualified. Started writing because I thought I could do a better job of it than many I worked with.”


DAVID CONINE:  As you have seen the industry change over the years, what changes/decisions have you witnessed that you feel hurt the genre or industry on a large scale?
JIM STARLIN: “The big corporations buying the companies. The bigger the owner the harder it’s gotten to do good stories. Feeding the bottom line crushes the efforts beneath it to keep it balanced.”

DAVID CONINE: Same question, except instead of harming the industry, what have you witnessed, such as advances in technology, that have changed things for the better?

JIM STARLIN: “Computers. Better coloring, lettering, printing and spell check.”
DAVID CONINE: Who or what was your biggest inspiration when you began your career in writing and drawing comics?
  
JIM STARLIN: “Jack Kirby, Steve Ditko, Joe Kubert, Charles Dickens, Roger Zelazny, Citizen Kane, and so many more. Artists should have myriad inspirations.”


DAVID CONINE: Did you know that you wanted to draw and write comics – create comics – or was it something that just happened? 
JIM STARLIN: “My father worked at Chrysler as a draftsman and used to bring home tracing paper and #2 pencils. With them I started tracing out the characters. The pastime became an obsession, which eventually turned into a career.”

DAVID CONINE:  What do you feel was your “made it” moment?
JIM STARLIN: “Still not sure I’ve hit that moment. Don’t want to become complacent.”


DAVID CONINE: Did you read comics as a child, and if so what were your favorite characters and titles, and why?
JIM STARLIN: “Yes, Superman, Batman and (believe it or not) Wonder Woman. They were the only characters being published back in the fifties.”
DAVID CONINE: Who are you favorite illustrators?


JIM STARLIN:  “You got all day? N C Wyeth, J C Lyndecker, Frank Frazetta, Frank Schoonover, Dore, Howard Chaykin, so many more that I can’t immediately bring to mind. I’m on vacation and away from my library to be reminded.”


DAVID CONINE: When working for companies like Marvel and DC, how far ahead would you write or plan a storyline? Did you have a specific method you employed for this?
JIM STARLIN: “It would depend on the job. I usually like to have a lot of extra time built into the schedule, to avoid mishaps or unexpected events throwing things off but that’s not always possible. Some early jobs, like one issue of the Cat that Alan Weiss and I drew we only had three days to get the job done.”

DAVID CONINE: What was the first comic you ever wrote?
JIM STARLIN: “The middle chapter of a Captain Marvel issue. I took over scripting that series completely the following issue.”
DAVID CONINE: What is your favorite comic that you have written? Specific issue, and why? 
JIM STARLIN: “The Death of Captain Marvel for so many reasons.”
DAVID CONINE: Do you have a favorite illustrator/creative team that you enjoyed to working with the most?
JIM STARLIN: “Bernie Wrightson would probably be #1 with Alan Davis and Ron Lim fighting it out for second place, for very different reasons, obviously.”


DAVID CONINE: Over the years, what are a few of your top 10 favorite writers?
JIM STARLIN: “Alan Moore, Frank Miller, Steve Gerber, Roy Thomas, Stan Lee, and Bob Kaniger.”
DAVID CONINE:  If you were to choose, what character that you’ve ever worked with is your most beloved?
JIM STARLIN: “Thanos.” 

(EDITOR’S NOTE: David Conine and Paint Monk’s Library would like to offer our deepest thanks and heartfelt appreciation to AfterShock Comics and Jim Starlin for the opportunity to conduct this exclusive interview.)



March 22nd, 2018 Uncategorized Comments Off on Small Press Comics Explosion – 1980s Memories

Small Press Comics Explosion – 1980s Memories

Remembering the Original “Flea Market” For Home Made Comics of the 1980s

As I find it more and more difficult to relate to many of the changes in mainstream comic books these days, I am getting more nostalgic about the era when I first began collecting and wondering how much of that “era” still exists in one form or another.
Bored for a few moments tonight, I decided to surf eBay for awhile and stumbled across a gem I hadn’t thought of in decades – The Small Press Comics Explosion magazine.
If you’re a DC or Marvel reader primarily, you might not remember this publication. It had a distribution of about 2K copies nationwide in its heyday.
But in its pages you could find a lot of interesting “junk” with many treasures mixed in. You see, Small Press Comics Explosion was devoted to homemade comic books – comics people drew and photocopied, assembling them at home and shipping them out to potential readers for a mere 25 cents (up to $1.00 for some of the homemade ones with decent production values.) 
I managed to pick up 3 of these old magazines on eBay today for $1.50 each. When they arrive, I’m going to take a good look through them and see how many – if any – of these homemade comics turned out to be springboards for industry writers or artists today.
If you had any connections or past dealings with or through Small Press Comics Explosion, please shoot me a message in the comments section or PM me on Facebook at Paint Monk’s Library! I’d love to hear your story!
As always, I am – Wally (AKA Paint Monk) 
March 18th, 2018 Uncategorized 4 Comments »

Could Wulf The Barbarian Have Rivaled Warlord?

SWORD-AND-SORCERY SATURDAY – Wulf The Barbarian (Atlas) #1-4

Solid art and solid writing went into Atlas Comics’
effort to create a rival to Conan. But what went wrong?
So you’re probably wondering what I’m thinking when I suggest that an obscure character might have become as legendary as Mike Grell’s Warlord. 
Let me explain.
There’s nothing sadder than an interesting and creative comic character marching off into the sunset. From the CrossGen Comics brand to the ill-fated Atlas Comics pseudo-relaunch in 2010-2011, seeing comics fail because of business-related issues is always a tragedy.
When Atlas Comics emerged on the comics scene in the 1970s, they had all the trappings of success; new and exciting characters, great talent, and the fact that the company was producing new material when much of what Marvel Comics was producing were reprints.
Enter Wulf the Barbarian. 
Unlike Robert E. Howard’s Conan, Wulf was born to nobility and was the heir to the throne of Baernholm. Here’s an concise synopsis of Wulf The Barbarian #1, courtesy of the Atlas Comics Archives: 

“As Wulf awaits his flagon of ale at Bashir’s Wine Shop, he notices a golden falcon. The falcon triggers a memory of some ten years ago, as a young Prince Wulf accompanied his parents and the Royal Hunting Party. 

Without warning, out of the tall grass, the Trolls of Drakenroost attack. A feathered shaft finds it’s mark, striking and killing the King, Lord Wulfgar, Thane of Baernholm. With the King dead, Stavro Dar Kovin seizes command. 

Hopelessly outnumbered, Queen Lenore orders Stavro to take young Wulf to safety.As Stavro escapes the carnage, Wulf looks behind him to see his mother being slain by a grinning monstrosity. It is a scene that he will never forget. It is a face that Wulf will come to know as the Grinner. 

Many days later, Stavro and Wulf arrive at the city of Azerebaja. With little money, they struggle to survive, with Stavro juggling knives on a street corner and Wulf holding a begging bowl. 

Every evening however, Stavro would train Wulf in the ways of combat. Stavro is determined to groom Wulf into a fighting machine. 

His thoughts of the past come to an abrupt end when Wulf is informed that three strangers have attacked Stavro. Wulf races back to his home, only to find Stavro dead, along with two of the attackers. The remaining assassin has been wounded, leaving a trail of blood. 

Sword in hand, Wulf follows the trail and discovers his worst nightmare. He is face to face with the Grinner, the monstrous troll that killed his mother.As Wulf attacks, his sword is shattered by the Grinner, who wields the sword of Lord Wulgar, Wulf’s father. 

The overconfident Grinner, sensing an easy kill, casually begins flipping his sword between his two hands. A lightning fast Wulf grabs the sword and plunges it deep into the heart of the Grinner. He has avenged both his mother and father while facing his greatest nightmare. His greatest task, however, lies ahead, as he sets out to kill the sorcerer Mordek, who was behind the troll attack that killed his parents.”

Larry Hama tackled Wulf the Barbarian,
and would later go on to be editor of The Warlord
at DC Comics.

This was just the synopsis for the first issue. 

Now, add to the concept the writing and artistry of Larry Hama, assisted by Klaus Janson. Hama got his start in a few one-off issues for Marvel, and completed two issues of Ka-Zar: Lord of the Hidden Jungle for the House of Ideas before tackling Wulf for the fledgling startup called Atlas.

When Atlas went under just a year later, Hama joined DC Comics, taking on major editorial roles for huge titles like Wonder Woman, Mister Miracle, Super Friends and….The Warlord. 


I wonder just how much Larry Hama’s experience writing and drawing Wulf led to his editorial job overseeing Mike Grell’s Warlord.


Sadly, we’ll never know what became of Wulf; the series was resurrected briefly (six poorly put-together comics) by the predecessor to Scout Comics but died a slow death on the vine. If I recall correctly, there was even a Facebook page devoted to the re-release of the old Atlas titles and it was full of reader frustration. People couldn’t find a place to purchase the issues, marketing was non-existent and frustrated fans clogged the page with “What’s going on?” type inquiries.

Could Wulf the Barbarian have been a legendary title like Warlord? It certainly was possible at one time. But the world may never know, as many of these Atlas properties seem to once again be in limbo.

As always, I am – Wally (AKA Paint Monk)

February 9th, 2018 Uncategorized Comments Off on Atlas Comics – Where Legends Don’t Live Forever

Atlas Comics – Where Legends Don’t Live Forever

AKA “COMIC COMPANIES, WHY DID YOU LEAVE THE FANS HANGING?” – PART 5 OF 10

It’s tough for me to understand how a comic book company can have original (and inspiring) characters, lots of money to back up production (the estate of Martin Goodman, former owner of Marvel Comics), talented writers and good quality and still sink like the Titanic on steroids.
Ah, Atlas. A bright comic light
snuffed out much too soon.
But it’s happened with legendary Atlas Comics – not once, not twice, but THREE TIMES in the history of comic book lore. Now, rumor has it that Dynamite Entertainment, the monolith that produces Red Sonja, Conan, and plenty of other properties under license, owns the Atlas Trademark. (EDIT: This is confirmed, as I saved the screen capture from a search at the US Patent and Trademark Office)
I was excited to read a Deadline: Hollywood exclusive in 2010 that said the long-dead Atlas Comics was going to be resurrected. Not only were characters like Iron Jaw, Wulf the Barbarian, The Grim Ghost and the Planet of the Vampires title ripe for a re-launch; the whole concept of 1975 storylines coming to a close decades later was exciting! 
Some well-known industry names were involved in the production of these new books – Mike Grell (the genius behind Warlord) and Tony Isabella (who wrote the awesome but short lived Champions for Marvel) and a few others. Well, things seem to be in the tank now for the third re-launch after a few nice looking issues. I managed to pick up the new Wulf the Barbarian issues #1-5 from eBay and am still looking for issue #6. They aren’t anything to write home about, but I am glad I have them.

Since this is simply my list of comics or companies that for one reason or another left their fans hanging, I’m not going to get into speculation or what the forums claim was the reason for the latest demise of the Atlas Comics range. But if three times is the charm, then Atlas Comics are deader than a doorknob – the supposed “relaunch” “relaunched” in 2011 and was gone by 2012. Sad, too.

For more information on the original Atlas Comics range, or to look at some of the covers from their most recent attempt, there’s a great history site on the company here:

As always, I am – Wally (AKA Paint Monk)

January 27th, 2018 By Wally Monk, Editorial Comments Off on EDITORIAL: Retro Randy’s Xenozoic Tales Playset

EDITORIAL: Retro Randy’s Xenozoic Tales Playset

I am a huge fan of Xenozoic Tales by Mark Schultz. I’m a sucker for any comic book that has dinosaurs in it, and well-drawn dinosaurs at that! The series has a modernized pulp-art feeling to it that just makes me all warm and nostalgic inside. It’s got classic cars, too. And guns. And Hannah Dundee.

In a moment of free time a last week, I was surfing “Xenozoic Tales” on eBay and came across an unusual item…A “Xenozoic Tales Play Set.” Hmmm…what could this be? 

When in doubt, Google. In searching, I found an inconspicuous little blog that hadn’t been updated since 2016. The blog featured a rather zany header and was called “Retro Randy.” What I learned from this post prompted me to make an offer to the seller – and I acquired this eccentric item for a mere $12.Graphic designer Randy Dahlk writes the following:

From the Retro Randy blog, a post from January 23, 2009 (bold-faced type added for emphasis):

FROM THE BOX: Quo Hoon Brand.
Endorsed by Jack Tenrec and Hannah Dundee.
As seen in the hit funnybook Xenozoic Tales.
This could be the best play set ever.
 
 

“Each year for the San Diego Comic-Con, with Mark’s blessing, I’ve tried to create special limited edition products related to Xenozoic Tales. Each item is created in extremely small quantities, and is signed and numbered by Mark. Two years ago we presented this Xenozoic Tales Playset. 

Marx Toy Company created fabulous play sets from the 1950’s through the 1960’s. They usually contained hundreds of figures, along with buildings, vehicles, terrain, and creatures. They were quite likely to be the highlight of any Christmas during that period of time. 

Even though Xenozoic Tales didn’t exist then, it seemed like if it did, it would have been a good prospect to become a play set. So instead of a Marx play set, we created a Mark’s play set. This was a tribute to that era, and an attempt to recapture the excitement of Christmas morning. This was fun to try to approximate the feel and style of the packaging of those Marx play sets. This was designed in an edition of ten, it came with 4 people, 4 dinosaurs, a palm tree, and a rocky wall. I know that I can speak for myself when I say that this has given me hours and hours of quality play time.”

I had stumbled across an item created by a friend of Mark Schultz, sold at San Diego Comic-Con in 2007, and produced in a limited edition quantity of TEN. Whether it’s in demand or not to me is irrelevant – it’s still a really neat and very rare piece of Xenozoic Tales history.

In breaking down the play set, it really doesn’t have much that’s exciting inside the box – as Retro Randy himself writes, it has those (really bad) dinosaurs that you’d find in a plastic bag at the dollar store, along with a plastic wall, four soldiers, and a palm tree. But it’s not the contents that are important – it’s the retro-design to the box which makes this a bookshelf keepsake.

Judging from the photographs in the eBay auction, I’m not sure if this is one of the original ten that were produced. The signature does not appear to me to belong to Schultz. Plus, I’m not sure if the tag is numbered. The reverse side of the tag isn’t pictured. (EDIT: This is indeed one of the ten – it’s #8! Everything looks great! To break everything down: $12 for Mark Schultz autograph AND a limited edition Xenozoic product. JACKPOT!)

If you aren’t familiar with Xenozoic Tales or its successor, Cadillacs & Dinosaurs, I’ve included the Wikipedia entry for the franchise below.

As always, I am….Wally (AKA Paint Monk)

About Mark Schultz and Xenozoic Tales
(From Wikipedia, with links intact)

 
Xenozoic Tales (aka. Cadillacs and Dinosaurs) is an alternative comic book by Mark Schultz set in a post-apocalyptic future.[1]Originally published by Kitchen Sink Press, the series began in 1986 with the story “Xenozoic!” which was included in horror comics anthology Death Rattle #8. 
 
This was shortly followed by Xenozoic Tales #1 in February 1987. Kitchen Sink published 14 issues between 1987 and 1996 and it has since been reprinted by several publishers, including Marvel Comics, Dark Horse Comics, and Flesk Publications.
The series was well received and in the early 90s it won four Harvey Awards[2] and three Eisner Awards.[3] Despite this however issues started to be released further apart, eventually ceasing mid story arc in issue 14.
Xenozoic Tales also proved moderately successful under the title Cadillacs and Dinosaurs and spawned an animated series on CBS,[4] an arcade game from Capcom, a Sega CD video game from Rocket Science Games,[4] action figures, candy bars, and a Twilight 2000 system role-playing game.[4]
The comic book reprints from Kitchen Sink and Marvel, and the continuation from Topps Comics, also used the Cadillacs and Dinosaurs name. The title “Cadillacs and Dinosaurs” and the likenesses of classic Cadillac automobiles were used with the consent of General Motors, who holds the phrase “Cadillacs and Dinosaurs” as a trademark and has licensed it for the comic, the videogame and the animated series.[5
January 21st, 2018 Uncategorized Comments Off on CrossGen – The DC/Marvel Rival That Died

CrossGen – The DC/Marvel Rival That Died

AKA “COMIC COMPANIES, WHY DID YOU LEAVE THE FANS HANGING?” – PART 3 OF 10 

At the turn of the millenia, tech entrepreneur Marc Alessi had laid out the groundwork for a company that might one day equal Marvel or DC in terms of content and quality. He sold his tech corporation in 1999 to Perot Enterprises for stock, which he would use to finance a new company – one with a business model unheard of in the industry until that time.

Where Marvel and DC Comics employed primarily free-lancers, CrossGen would hire many salaried, full-time staff to produce their books and manage editorial responsibilities.

The first few years of the company saw many accomplishments for the CrossGen team. Spearheaded by Barbara Kesel, Mark Waid and Ron Marz, the company had many early successes. Numerous titles and talent were nominated for several Harvey awards. Distribution seemed to go well, and CrossGen was one of the pioneers in making comic books available online through a subscription service. 


Beautiful artwork and solid stories marked CrossGen’s days in the comic industry.
Now, the properties are owned by Marvel/Disney. 



The internet is ripe with rumors of what caused CrossGen’s bankruptcy and untimely demise in the comics world in 2004. They had many titles, some which ran dozens of issues before things fell apart. Some speculate that CrossGen was designed to be a loss-leader, and the original intention may have been to sell off the characters’ movie rights and recoup money that way. Some rumors persist that people weren’t getting paid. Other sites speculate that returns from major companies like Borders, Barnes & Noble and Books-A-Million put the company in a massive hole.

Regardless of the reason, the death of CrossGen was a loss to the industry, and many fans (myself included) still wonder when we’ll see closure to many of the story lines they produced.

Which CrossGen titles did you read? Are there any particular storylines you’d like to see concluded?

As always, I am – Wally (AKA Paint Monk) 

January 21st, 2018 Uncategorized Comments Off on Check out this weekend’s Comic-Watch articles

Check out this weekend’s Comic-Watch articles

New Blog Page added so you can follow Wally Monk on Comic-Watch

Paint Monk’s Library has taken a back seat this week as I settle in and learn how to format postings on the www.comic-watch.com website. My first two articles were published today, and I’ve added a link to the Library where you can see what’s been written week-to-week.
I’m really excited to be a small part of this new web project, and I hope you’ll follow along. If you haven’t already, please pay them a visit at www.comic-watch.com. There are plenty of good reviewers there as well as comic, movie and pop culture reviews.

As always, I am – Wally (AKA Paint Monk)