Archive for May 2014

No Marvel One-Shot for Captain America: The Winter Soldier

Despite the fact that two of Marvel's One-Shot short films have helped inspire two ABC TV shows - Marvel's Agents of S.H.I.E.L.D. and the upcoming Marvel's Agent Carter - there apparently will not be a One-Shot film on the Blu-ray home release of Captain America: The Winter Soldier on August 19th.

The most recent One-Shot, All Hail the King, was included on the Thor: The Dark World Blu-ray, and featured Iron Man 3's Ben Kingsley reprising his role as Trevor Slattery. Earlier installments focused on Agent Coulson, a stolen piece of Chitauri tech and the aforementioned Agent Carter.

Ben-Kingsley-in-All-Hail-the-King1 Ben Kingsley in the All Hail the King Marvel One-Shot.

Continue reading…

Trees #1 Review

Ten years after they landed and the trees took over and nobody recognized human beings are intelligent this is what happened. TREES #1 Writer: Warren Ellis Artist: Jason Howard Letterer: Fonografiks Publisher: Image Comics Cover Price: $2.99         GARBAGE TREES Ten years ago extraterrestrials came to earth and left their mark in […]

Leave Something Witchy At The Comic Shop

Here are some photos that Steve Cook took at Orbital Comics, London, the other night of the model Manko, appearing for Leave Something Witchy, a life drawing event aimed at comic strip illustration, with costumes, props and poses inspired by Hammer Horror, Underground comix & the dark side of psychedelia. Hosted by Jason Atomic, this was the closing event for his Satanic Mojo Comix #2 exhibition.

That’s the thing about Orbital. You never know what you’re going to see when you walk through their glass doors…

Leave Something Witchy At The Comic Shop

Clark Gregg Wants Coulson to Guest on Iron Fist

During a recent interview with - for his new movie, Trust Me - Clark Gregg talked about the possibility of his Marvel cine-verse character, Agent Phil Coulson, crossing over onto one of the new four Marvel shows coming to Netflix.

Gregg talking to Moviepilot:

I’d be really disappointed if I don’t get to show up in New York for Daredevil, or Iron Fist was a huge favorite of mine in comic books as a kid. I’ve had more than my share so I shouldn’t be greedy but it would be a huge geekout moment for me if I got to meet Daniel Rand.

Continue reading…

Preview Of Mark Bagley On Hulk Vs. Iron Man

Whether you are following Original Sin or not, the idea of Mark Bagley drawing a fight between the Incredible Hulk and the Invincible Iron Man is pretty freaking cool. Plus the series is written by Mark Waid so it’ll be a cool story as well.

Preview Of Mark Bagley On Hulk Vs. Iron Man

#ResistComics – A Comics Anthology Kickstarter Project

Can Yalcinkaya writes for Bleeding Cool:

#ResistComics is an anthology of comics, illustrations and articles on the Occupy Gezi resistance in Turkey. It has been inspired by the subversive creativity of the resistance, and the recent surge in comics with political themes.

When I was fourteen, I was a self-proclaimed poet, communist, metalhead and occultist.

Out of all these identities, the one I was least dedicated to was my political one. I attended occasional meetings, tried to read a few books about Marxism, received a headbutt on my nose from a right-wing bully (it wasn’t worse than the injuries I received at a metal gig the week before). But these were things I largely participated in because  it’s what the cool kids did. Over the years, I grew out of headbanging, symbolist poetry and magick (although, I should have probably held onto that last one. I hear it’s good for a career in comics), but political thinking stayed with me, for the most part as an on-and-off relationship.

Oh, I didn’t mention I grew up in Turkey. I’m part of a generation that has often been accused of apoliticism. I was born in the aftermath of the third military coup in the country’s history in 1980, which led to the rise of the New Right in the vein of Reagan and Thatcher. Along came neoliberalism, free market economy and the ideal of globalization. As the army arrested, tortured and killed many left-wing youth to bring back “order”, my generation has been advised to stay away from politics by our parents.

I received my first education about justice and fairness from comics. We had a large diversity of translated comics from different countries: the US, Italy, France and Belgium among others. The Turkish comics I read were mostly in weekly humour magazines, which featured the working class underdog as the hero.

Some of the Turkish humour comics I read when I was fourteen were also accused of being apolitical, as they didn’t openly criticize politicians of the day. Instead, they depicted sex, bodily functions, drug use and violence, and were labeled degenerates. When I started an academic career in 2004, I focused my research on what made these particular comics political – what made any act and artistic expression ideologically charged.

In May 2013, one of the largest mass resistance movements Turkey has seen unfolded. The government wanted to demolish Gezi Park in Istanbul to build a mall, a type of building held at the highest esteem by those who rule us. A few peaceful protesters aimed to stop it, and were met by disproportionate use of brutal force by the police. This resulted in an uprising across the nation, and the summer of 2013 witnessed an ongoing battle between protesters and pro-government forces.

People on the streets were the generations who had previously been accused of apoliticisim. They used their wits, irreverence, and sense of humour to fight an oppressive regime, which wanted to have full control over their actions, thoughts, and bodies. They appropriated the language of those “apolitical” comics, internet memes, video games and other popular culture for political resistance, and it was brilliant!

Our political leaders still carried on the ideals of the New Right and Neoliberalism, thirty years on. They thought globalization was only about global business and free markets. But globalization have also been about the transnational spread of discontent among those that suffered under unjust regimes. The Gezi resistance resonated with the Arab Spring and the Occupy Movement, the uprisings in Europe, and South America and other parts of the world.

I’ve lived in Australia for the last seven years. I wasn’t in Turkey during the Gezi protests, although I desperately wanted to. After a couple of weeks of online activism, I decided to engage in something more creative. I was inspired by all the art the Gezi spirit instigated, and impressed by the work Occupy Comics produced.

A group of my writer friends and I organized online to discuss what we could to publish a comics anthology on the Gezi resistance. Soon we were joined by some of the most talented artists in Turkey and Australia. We were all in different parts of the world, but thanks to the power of the Internet, we have been able to put together a project that we are proud of. And we want to make this book a reality through your support.

It’s very clear to us that this world order which serves the interests of the 1% does not work.  We see ourselves as part of a larger global movement. Early on in our project, we decided to translate it to as many languages as we can to make our voices heard louder. The stories and illustrations in our anthology won’t be inaccessible to anyone who believes in justice, freedom, equality, human rights, rights to the city, and a sustainable future.

Telling good stories are important to us and we decidedly steered away from a didactic tone. We embraced genres and tropes that would be familiar to many of our readers.

We believe that the Gezi Resistance is partly about reclaiming our cities. Art is an important aspect of this movement, because cities aren’t just made of buildings and roads, streets and parks. They are also imagined places that exist in songs, films, books and comics. #ResistComics emerged as a project to reclaim our cities through works of imagination.

Here’s our Kickstarter link for further information and some sample pages:

Our project has fared well thus far, but we still need your support. If our project is successful, we will use the funds to pay our artists decent page rates and print out book.

This week marks the first anniversary of the Gezi Resistance. Many #ResistComics contributors are on the streets celebrating and remembering, but also taking action and making art for change. And that’s all the magick we need.

Follow us Facebook and Twitter:

Can Yalcinkaya on twitter:

#ResistComics – A Comics Anthology Kickstarter Project

Adam McKay Tweets His Reasoning For Not Taking The Ant-Man Gig

In the ever rolling on/off situation surrounding the director’s chair of Ant-Man, Adam McKay has clarified the reasoning for considering the Ant-Man job, until he didn’t.

He took to twitter and said:


There is a hint at the end of that that he may not be definitively out of the running. Although, I’m going to call it. He is out.

Next candidate up to the plate please!

Adam McKay Tweets His Reasoning For Not Taking The Ant-Man Gig

An Ass Map Shall Guide Them – Preview Of Valiant’s New The Delinquents

What do you get when you combine insanity of Archer & Armstrong with the outrageous antics of Quantum And Woody? Valiant is going to show you in The Deliquents from writers James Asmus and Fred Van Lente plus art by Kano all starting in August and we have the first issue preview right here. And seriously… this whole thing is based around them finding a map in the shape of someone’s butt.

An Ass Map Shall Guide Them – Preview Of Valiant’s New The Delinquents

Fourth And Final Cannes Dispatch – Looking Back At The Best Of The Fest

Craig Skinner writes for Bleeding Cool.

On Saturday 24th May, the 2014 Cannes Film Festival came to a close, for the most part, with the announcement of the competition awards. The final weekend of the festival is a wonderful opportunity to catch up on films – the festival re-screens a great many films over the weekend – so on Saturday evening I was frantically checking my phone in a thirty minute window between films rather than sitting in the Lumiere, watching the announcement.

My greatest fear, as I constantly refreshed Twitter, was that Naomi Kawase’s Still the Water would pick something up – it was by far the least interesting and horribly self-indulgent film I saw In Competition – and my greatest hope was that the jury would not shy away from rewarding the Dardennes for Two Days, One Night despite the fact that they’ve previously won twice.

Thankfully Kawase went home empty handed but so too did the Dardennes. Whilst I may be a little disappointed about the latter I was certainly happy to see the Jury award the Palme d’Or to Nuri Bilge Ceylan’s Winter Sleep, a film of great ambition and something of a departure for the director. Winter Sleep focuses on a highly unlikeable central protagonist and features incredibly dense dialogue and a number of extraordinarily tense scenes of characters passionately arguing. Ceylan is shooting for Shakespeare – who is referenced multiple times – and Chekov and he often gets surprisingly near to those literary greats.

Unfortunately I didn’t catch Alice Rohrwacher’s The Wonders, which took home the Grand Prix (essentially the second prize) but I hear it is a sweet if somewhat lightweight feature. It’s already secured distribution so we should be seeing the film in cinemas within a year or so.

I was also pleased to see Bennet Miller picking up the Best Director for Foxcatcher, which will no doubt be a bitter pill to swallow for some American audiences when it is released later this year. Delving into the a real life story, Miller investigates the dark side of the ‘American Dream’ and the twisted heart of a culture that thrives on competition and a belief in exceptionalism. Miller’s direction is assured and for the most part very sensitive to the story he is trying to tell.

The Jury Prize (the third prize) was shared between the 83 year-old Jean-Luc Godard and the 25 year-old Xavier Dolan, who both brought films to the festival that showcased attempts to innovate cinematic language. Godard’s Goodbye to Language seemed very much to be a concerted effort to almost ‘reinvent’ cinema whereas Dolan’s Mommy used a rather unusual aspect ratio in a purposeful and rather novel manner.

More traditionally composed was Andrey Zvyagintsev’s Leviathan, which took home the screenplay award. On one level a cutting satire of Russian politics and religion but on another a highly compelling story of a family in crisis, Leviathan was one of the densest films playing in competition and a worthy winner of the screenplay award.

The best actress and actor awards went to two acting heavyweights who turned in excellent performances – Julianne Moore in Maps to the Stars and Timothy Spall in Mr. Turner – but the choices did feel a little like the jury were playing it rather safe and keeping things a little mainstream.

I would have loved to have seen Alexey Serebryakov recognised for his excellent work in Leviathan or the extraordinarily complex performances from Haluk Bilginer and Melisa Sözen in Winter Sleep. Thanks to a weird quirk regarding the awards – films can only win one award – this would have meant each film would have been out of the running for another award though, but all three are certainly worth highlighting.

I will sign off my coverage of the festival with my top five films I saw there, which I made for the Criticwire poll. In brackets I have added the strand in which the films played. As you will see, the competition isn’t the only place where great films can be found.

National Gallery (Director’s Fortnight)
Two Days, One Night (Competition)
The Tale of Princess Kaguya (Director’s Fortnight)
Winter Sleep (Competition)
Foxcatcher (Competition)

Fourth And Final Cannes Dispatch – Looking Back At The Best Of The Fest

Writer Commentary – Mark Rahner on Dejah Of Mars #1

We saw the release of a new Dejah Of Mars series for Dynamite from writer Mark Rahner. Now Rahner goes page by page through the new issue in this writer’s commentary.

The premise of DEJAH OF MARS is simple: John Carter has saved the Princess many times, and now it’s her turn to save him.

A little less simple: My story in the WARLORD OF MARS 100 special, “Stay,” was a prologue to DOM. That story was nearly wordless and fairly enigmatic. But all the questions get answered in this four-issue series. It also ties into my little realm of Martian continuity with direct links to DEJAH THORIS AND THE GREEN MEN OF MARS.

Pages 1-3

Dejah Thoris is posing as a servant in rich guy Tu Rell’s house. His line about her changing her hair is a reference to the final four issues of GREEN MEN where I had her whack all of her hair off – partly as a way of acting out post-trauma, but also to go under cover as a slave to Tharks. You’d be surprised at what strong feelings people have about her hair.

This fight between Dejah and Tu Rell is indicative of what’s to come – nasty and not superheroic. She’s not messing around and she doesn’t care who this one-percenter is.

Pages 4-5

Flashback. Woola, who was arguably the central figure of the WARLORD 100 stories, leads Dejah back to the spot in the Barsoomian desert where Carter parlayed with the mysterious, old red man who wound up taking him away after a savage beating.  In that story, Woola had to go against his strongest instinct – to protect Carter – and obey Carter’s command to do nothing. I’m not sure Woola will ever fully understand why, but the reason will become clear to you soon.

Pages 6-7

Dejah visits the scene of another crime: the museum where Carter dropped several guards and stole a sacred Helium relic. It doesn’t add up for her. Why would he do it? Why did he only knock the guards unconscious? Her grandfather the jeddak doesn’t’ care. Carter broke the law.

Carthoris is a little petulant in this story. He’s at that age, and he’s dying to do something, fight someone. When his mother tells him to do something harder than fighting – not fighting – it mirrors what Carter told Woola earlier. A recurring theme in my Dejah Thoris stories is her awareness that you can’t punch or stab your way out of every problem. Lots of them, sure.


Pages 8-9

At the end of GREEN MEN, she tells Carter that someday she’ll explain to him everything she’s been through. Now it’s several years later, she’s told him, and that’s the adventure Carter was chronicling when he was interrupted in WOM 100. He was writing “Dejah Thoris and the Green Men of Mars.” She’s holding up his handwritten pages. Through some sort of error, Carter’s writing doesn’t show up on the page in this comic. I’m told it’s fixed in the digital version and will be there in the eventual trade paperback.

Pages 10-11

The glamour shot! Carter has saved Dejah countless times. Now the shoe, or sandal, or whatever, is on the other foot!

I’ve said elsewhere that my goal in any Dejah Thoris story is to show why Carter thinks she’s incomparable. Here she’s out of options, her husband’s missing, their boy is a little irritating, and the family dog is no more help. The pressure is awful and the trail’s cold. When she says, “We make a new trail,” neither Steve McQueen nor Batman could be any cooler. I especially like Jethro Morales’ depiction of her here.

Pages 12-15

Here’s where my background as a journalist kicks in. I like a little procedural action. They have to pound the pavement. Leave out some bait. Wait. And it sucks.

Pages 16-17

Our first glimpse of Carter and his captor, the old red man from WOM 100 who calls himself the Red Reaper. Their dialogue gets into aspects of Carter that Burroughs touched on and I always wanted to explore. The opening of A PRINCESS OF MARS strongly implies that Carter’s immortal. And yet he never really reflects on it much. He’s also a giant contradiction – nearly Christlike in his kindness, yet such an invincible warrior that the Reaper wouldn’t even try fighting him. That explains some of the body language between them in “Stay.”

Pages 18-20

Back to the present and Dejah’s fight with Tu Rell. Here’s where the stakes for her become more clear. She’s pulling out all the stops to find her husband, and you pity the fool who gets in her way. But she’s kicking a hornet’s nest. She’s disrupting people with money – much more than the Helium royal family. This isn’t an overtly political comic, but it mirrors the familiar. As the United States moves toward oligarchy, the rich and the corporations have the true power. Always, always follow the money.

The Princess is now in way over her head, and it’s only going to get worse. Carter’s a fugitive who’s incurred the death penalty, and she’s forbidden to search for him or help him. She’s alone. Everything’s closing in on her. And she doesn’t give a damn.

For more on Dejah Of Mars #1, click here

Writer Commentary – Mark Rahner on Dejah Of Mars #1