DC New 52: S.H.A.D.E. s of mid-‘60’s comics greatness

 

FRANKENSTEIN, AGENT OF S.H.A.D.E.  #1 – 6  (DC COMICS)  Jeff Lemire, writer. Jeff Lemire & Dan Didio, story #5.   Albert Ponticelli, artist.  Jose Villarrubia, colorist.  Pat Brosseau, letterer # 1-4.  Travis Lanham, letterer #5-6.  J.G. Jones, covers.

Great story and great art make for a winning combination.  Of all the NEW 52 titles I have read, this one provides the most pure entertainment.  I believe it may be the “sleeper” title of the new lot, the one that slips past the radar of most readers.  I hope to correct that by drawing more attention to FRANKENSTEIN, AGENT OF S.H.A.D.E.  so that it is never threatened by cancellation. 

What I especially appreciate about this book is that it recalls the type of books I read during my formative comics years in the mid-to-late 1960’s =  THE AVENGERS;  NICK FURY, AGENT OF S.H.IE.L.D.;  LOST IN SPACE;  CHALLENGERS OF THE UNKNOWN;  MAGNUS, ROBOT FIGHTER; BLACKHAWKS  - - - all books that were highly entertaining and fired a young imagination.  If there was ever any symbolism, political or social commentary, cynicism or editorializing in those books it went right over my innocent and naïve adolescent head.  I was reading those books solely because they fueled my inner fire for astonishing tales featuring monsters and scientific gadgets, etc.   That’s what I get the most out of FRANKENSTEIN, AGENT OF S.H.A.D.E.  There may be some inner meaning or symbolism in the book, but on the surface it’s a classic tale of adventure and fantasy. 

In short, if you are search of plain old-fashioned entertainment and just want to have fun with a continuing book - - then FRANKENSTEIN, AGENT OF S.H.A.D.E. is your ticket to ride.  You will enjoy the story, marvel at the art, and also recall those fabulous days at Marvel when giant monsters dominated their books with eye candy artwork from Kirby and Ditko. 

For more information on the beginnings of this title (Issue #1)  and it’s predecessor limited series (FLASHPOINT: FRANKENSTEIN AND THE CREATURES OF THE UNKNOWN) go to the BC Archives for 2011 and read my article from September 26 = “DC NEW 52: FRANKENSTEIN - - before and after.”  At that time I commented that I preferred the FLASHPOINT Frankenstein series to the NEW 52 version.  I have changed my mind -  - I now give my thumbs up acknowledgement to FRANKENSTEIN, AGENT OF S.H.A.D.E.    It’s not as dark as the former series.  There is less moralizing and philosophizing from Frankenstein and a lot more light-hearted fun in spite of the dire situations that occur.  (S.H.A.D.E. equals Super Human Advanced Defense Executive.)

The menacing threat of a small town overtaken by monsters that surfaced in Issue #1 continues to its final resolution in Issue #4.   Frankenstein and his new team  (a merwoman, werewolf, vampire, mummy and later his four-armed green ex-wife) learn that the invasion of Bone Lake, Washington has its roots off-planet in another dimension.  Some of the team are honored to work beside Frankenstein, and others have less respect.  He shows his soft spot for the proper care of young children as well as his apparent lack of a sense of humor in the way he handles the discipline of a misguided matronly caretaker.  During the evacuation of the children, a joke from Griffith (the wolfman) doesn’t amuse him.   Turns out there is a wormhole under the lake which serves as a portal to a dark pocket dimension.   This “monster planet”  may not be a willing host to the hordes of creatures that inhabit and abuse it.  (I don’t want to spoil it for you beyond that).   We are  also treated to a brand new origin for Nina Mazurksy (the merwoman), one that is more interesting than her FLASHPOINT beginnings and also more disturbing.  She is a most interesting secondary character, and later seems to be developing a deep affection for Frankenstein.  Before things wrap up  S.H.A.D.E. central command has to unleash something from their “toy box” - - a refurbished gigantic “war wheel”  which highly resembles the same device from one of my favorite BLACKHAWKS stories from the early ‘60’s.

In addition to an engaging opening story with lots of interesting subplots and hints of things to come, we are favored with some outstanding art in these four issues.  There are tons of amazing panels depicting the monstrous S.H.A.D.E. in desperate battle with even bigger and deadlier monsters by the hundreds.  Artist Ponticello does a fantastic job of jamming as many monsters into each panel as possible.  The coloring in this series is some of the best of the NEW 52- - - very bright, very vivid, lots of colors in use that just want to pop off the page. 

I normally don’t like cross-over stories that begin by suggesting that I pick up an issue of another title before reading the story in front of me, but it didn’t stop me from enjoying the tale in Issue #5 where Frankenstein goes up against O.M.A.C.  (looking more like a certain space gladiator from an X-book).  I ignored the Page One disclaimer for O.M.A.C. #5 and it didn’t matter a bit.  In fact, if you wanted to explore the FRANKENSTEIN title but only want to grab a single issue, this would be a good choice.  You get a good idea of the Frankenstein character  (hey, it’s not smart to use him without his knowledge) and the supporting cast at S.H.AD.E. HQ  as well as some insight into the NEW 52 version of O.M.A.C., Brother Eye, etc.  (which doesn’t matter, since that book has been canceled). 

One of the other continuing characters that I didn’t like so much - - Father Time - - doesn’t grate on the nerves so much now that the story is progressing.  This ancient scientist and leader of S.H.A.D.E. who currently inhabits the form of a raccoon-masked, pig-tailed little girl, as been more fully defined and acts much less obnoxious than in the first issue.

One of the other intriguing concepts in FRANKENSTEIN, AGENT OF S.H.A.D.E. is their headquarters - - - a giant complex dubbed the “ant farm”, as it has been reduced in size to inhabit a small 3-inch globe, utilizing “a hybrid of shrink teleportation and shrink technology” .  This was designed by scientist Ray Palmer (the Atom), an expert on shrink tech.  (Curiously, the  latest version of Marvel’s SECRET AVENGERS features a new HQ for that team which is very similar in size and also employs a mix of teleportation and shrink technology designed by Dr. Henry Pym, another expert on size change. )

Issue #6 begins a new story arc which opens with a nice flashback sequence featuring Frankenstein’s days in the Vietnam conflict.  This monster has been around his share of conflicts!  We also get some new information related to the Humanid manufacturing and re-processing center which most likely will serve as a major plot element in issues to come.  The Humanids are the short-lived, recyclable artificial drones that do all the grunt work in the ant farm.  Issue #6 also re-introduces the original Creature Commandos.  Once again, the story is fun and stimulating while the art is monstrously fantastic.  Get this book and join the excitement !

 

 

 

NOTE:  I’ve just learned that Issues #1 – 7 of FRANKENSTEIN: AGENT OF S.H.A.D.E. will be included  in the Volume #1 trade paperback that will be released in June 2012. 

Exploring the DC NEW 52: FLASH back

 

THE FLASH #2 – 5  (DC COMICS)  Story by Francis Manapul & Brian Buccellato.   Art by Francis Manapul.   Colors by Brian Buccellato.  Letters by Sal Cipriano. 

THE FLASH was not one of the initial NEW 52 books that I decided to give a three-issue trial.  I picked it up on a whim and was pleasantly surprised by both story and art - - enough that I decided to follow it for a few more issues.  I’m still reading this title.  You can find my review of Issue #1 in the BC Archives for October 3, 2011. I was happy to learn that Barry Allen would be the main character / The Flash.  Issue #1 opened up with an artistic rendering of The Flash’s powers that was both inventive and clever and set up a situation that could weigh heavy on Allen’s conscience as he considers the consequences of his quick thinking and acting. Read on for more observations . . . . . . .

Issue #2 continues the entertaining visualizations of The Flash’s speedy powers by Manapul in a 3-page, wide-screen-paneled opening confrontation with Mob Rule in which Barry takes down 21 of the gang members before they can even finish responding to his spoken challenge.  New friend Dr. Elias completes his study of The Flash (on a treadmill), confirms that Barry is tapping into the”Speed Force” but also reveals that his mind is only using a fraction of the available energy.  New concept by Manapul and Buccellato here  - -  Barry isn’t “thinking fast enough.”   Double kudos to Manapul and Buccellato for tying this concept into the current neuro-science of “augmented condition.”  (Extra kudos to BC blogger Jeff M for writing about this subject in 2011 and citing  some comics utilizing augmentation in their storylines.)

What follows this are seven pages of exquisitely-detailed examples of Barry putting his quicker processing power to the test as he barely hears what Patty and then Iris are telling him while he visualizes multiple images of events yet to occur (accidents, crimes, etc.), “weighs every possible outcome”, then “make the right choice” and “do something about it” . . “before anyone even notices.”   He seems to miss hearing the equally important news from Patty that it was a clone of his friend Lago that expired. Yet we learn later in a conversation with Iris West (now an investigative reporter) that he absorbed this data as well,  as he tells her that The Flash didn’t kill anyone.  Buccellato’s colors are right-on for these images, as he mutes the background with washed out mauve tones and accentuates the smaller, tight panel overlays that depict all the images in Barry’s mind in vivid colors that pop off the page.  Yeah, that’s the way I like it!  These same muted colors are also utilized later in the story for flashback scenes between Barry and Lago.   There is a connection between Manuel Lago’s past CIA experiences and his connection to Mob Rule - - the gang that resembles 1,000 versions of Lago.  I’m trying hard not to tell the whole story here and spoil it - - but this involves several over-lapping events in the past and present that involve “genetic recoding” – “clones” – “regeneration” and “unexplained deaths.”  Oh yeah, and “pigs” as well.   Damn straight I’m going to pick up the next issue!

If I have any beefs with this title, it would be the mostly uninspiring covers that do little to hint at the amazing contents inside.  That is made up for with some great concepts for the covers of Issue #3 and 4 (shown here).  Issue 5’s cover is back to uninspiring, although it does a better job of indicating what goes on inside the pages. 

Events occur in Issue #3 that are going to seriously ramp up the workload for The Flash in coming issues.  Iris gets to the root of the recent city-wide blackout as she interviews a dangerous criminal at Iron Heights prison.  Meanwhile Dr Elias pinpoints the recent power outage in the twin cities to an electro-magnetic pulse. Unfortunately, he wanders right into the enemy camp.  Barry finds his friend Lago but has a headache of his own to overcome.

The art team excels once again in Issue #4 with several double-page spreads detailing the origin of Manuel Lago and his special abilities - - plus the beginnings of Mob Rule.  (Quite a concept. Won’t spoil it for ya.  You should read it.)  There is some great symbolism as the flashback ends and we see the various panels being bordered by the stark black outline of the Tree Of Life.  I’m really enjoying the cool and clever little touches like this throughout this title.  We also learn of another brand-new ability that can save Barry in the clutch. And, like all good writers Manapul takes a decent stab at explaining the science of why it works.

Issue #5 is the wrap-up issue that concludes the Mob Rule story - - and it’s explosive !!   In many wide-screen panels that overlap the centerfolds The Flash takes on Mob Rule and whittles them down.  We learn yet even more complications and consequences of the Speed Force power, with such implications that Dr. Elias implores Flash to consider “destroying the Speed Force” !  Up next - - Captain Cold and The Rogues.  Damn straight I’m going to pick up the next issue !

DC New 52: Equal time for BATWOMAN

 

BATWOMAN #1 – 4  (DC Comics)  J. H. WILLIAMS III, co-writer & artist;  W. HADEN BLACKMAN, co-writer; DAVE STEWART, colors; TODD KLEIN, letters. 

It’s great to see Kate Kane/ Batwoman back in a monthly title again, especially with J.H. Williams III  still involved in the highly creative art (with a capital A).  The only thing that could make this even better would be the return of scripter Greg Rucka.  However,  J. H. Williams III and co-writer W. Haden Blackman have done a commendable job with the story so far.  This is also one of the few DC NEW 52 titles that doesn’t appear to have undergone any continuity or character changes and is continuing forward from the points established pre-New 52.  In fact, all of the Bat-titles I’m reading seem to have made the transition intact and without any make-overs.

It may seem a little odd to some that I’m writing about BATWOMAN #1-4 when the first story arc ends with Issue #5, which was published in January.  I’m trying to write about this book without going into any major plot details in order to avoid spoiling it for someone who hasn’t picked it up yet.  So that makes it unnecessary to include any more issues.  Also,  I’ve got a huge stack of books awaiting my attention  (not just BATWOMAN #5)  and I’m trying to catch up on my DC reviews before I get buried too deep. 

BATWOMAN is one of the books that have that magic combination of great story and great art that keeps me coming back for more.  I can’t think of another artist who puts forward the same effort as J. H. Williams III to embellish each issue with as many artistic flourishes as possible.  Let me list just some of the ways:  contrasting colors and shades for scenes with Batwoman versus scenes with Kate Kane;  dark and drab colors plus shades of gray and blue for supernatural scenes versus country colors and earth tones when the action returns to the real world; various two-page spreads where the art and story sometimes revolve outward from a strong center;  slanted panels; accented panels; skinny, tall and vertical panels and long and narrow wide panels; overlapping panels; thick, undulating letters on credit pages; overlapping images, etc.  Each issue is an aspiring comic art student’s dream handbook.  This is a beautiful book to view and admire.

The covers have been magnificent, heavy on symbolism but never cheating the readers.  Every cover has images that relate directly to the story inside the pages.  Each one is a masterpiece and extremely eye-catching.  I’m guessing that BATWOMAN may be the best impulse purchase in the lot of NEW 52 books.  I can’t imagine someone seeing that cover on a comic shop display for the first time, picking it up and scanning through the pages, and then putting it back in lieu of something else.  This is a book for comic art lovers everywhere.

As in her pre-New 52 stories, Batwoman seems to get involved with protecting her town from the criminal elements that border on the supernatural and the occult.  It’s never as simple as breaking up a gang of lawbreakers or subduing the latest super-villain.  Her adventures involve the dark and mysterious.  The conflicts are more complex and harder to resolve, and often contain deeper troubles beneath the surface.  Williams III and Blackman are doing a nice job of maintaining the tone that was established back in the short run of issues in DETECTIVE COMICS before the new title changes.

I worried that no other writers could tackle the lifestyles of a lesbian hero with the same maturity, empathy and sensitivity as Rucka demonstrated in those DETECTIVE issues, but so far the writing team is doing a good job and even exploring the romance with Detective Sawyer even further.

There are also subplots with the further development of heroine/sidekick Flamebird,  and the Department of Extranormal Operations (D.E.O) and its mysterious chairman who wants to connect Batwoman with a new terrorist organization  (Medusa).  The future relationship of Kate and her father/former mentor also seems in jeopardy, and there are major family matters with long histories that need reconciled. 

         

I rate BATWOMAN a solid A for an unbeatable combination of story and art that rewards the reader and doesn’t take advantage of their investment in the book.   For those who want to jump in, it’s just been announced that a hardcover will be released in June 2012 containing the first story arc of Issues #0 – 5.  BATWOMAN: VOLUME 1 , HYDROLOGY is a little pricey at $22.99 but a hardcover collection on durable paper with 160 pages of this little gem sounds like a good investment. 

I’m also sorry to learn that J. H. Williams III will be turning the art over to Amy Reeder beginning with Issue #6, but I’m hoping that her work will be equally good.  Maybe Williams III needs more time to focus on the script and wants to keep the book on schedule.  I have seen previews of the cover art for BATWOMAN #6, 7 and 8  at the DC website and it looks encouraging.

DC NEW 52: Light Reading for Dark Knights

 

BATMAN: THE DARK KNIGHT #1 – 5  (DC COMICS)  Paul Jenkins, writer/co-plotter; David Finch, penciller/co-plotter;  Richard Friend, inker;  Alex Sinclair, colors #1-2;  Jeremy Cox, colors #3-5; Sal Cipriano, letters. 

I’m currently reading 4 separate Batman-family titles from The New DC 52:  BATMAN;  BATMAN AND ROBIN;  BATMAN, THE DARK KNIGHT;  and BATWOMAN.  While I enjoy them all - -  the monthly wait for the next installment causes the most anxiety with BATMAN and the least amount of impatience with BATMAN, THE DARK KNIGHT.  I can handle the wait for a new issue of BATMAN, THE DARK KNIGHT the easiest of any book in the quartet. It ranks fourth and last in popularity with me - - but that doesn’t mean it’s not worthwhile.   I’m just not treating it as seriously as I do the other books.  While there are signs that writer Jenkins is building towards something (and perhaps holding back a bit until this first storyline concludes) as well as the introduction of some interesting new characters - - - I view BATMAN, THE DARK KNIGHT as more of a pure action book.  BATMAN has the darkest tone and explores at length the legacy and history of both Batman and Gotham City.  BATMAN AND ROBIN is a classic study of father-son dichotomy and conflicts in trust and respect.  BATWOMAN seems to have a supernatural tone, and also dwells in matters of personal development and character crisis and anguish.  All three of those books pack a lot of information and move forward at a quickened pace.   BATMAN, THE DARK KNIGHT just seems more straightforward as it slowly unravels its story. 

     I’m a fan of a good story combined with good art.  If I have to sacrifice one of those, it normally is the art.  I will hang around much longer if the story is good.  But if the art is average and the story doesn’t rise above it, then I’m gone and moving onto something else to read.  What keeps me coming back to BATMAN, THE DARK KNIGHT is the fantastic art of David Finch.  While the story does contain some promising elements it concentrates more on the action aspects of the plot and leaves little time for much else.  The art dominates, so much so that every issue features some half-page, full-page and sometimes double page illustrations - -  none more so than in Issue #5.    The only thing that keeps me from dropping this from my reading list is the absolutely gorgeous work of Finch and the rest of the art team.   Even though there is less text to read in an issue of BATMAN, THE DARK KNIGHT - - I’m still spending 20-30 minutes or longer to finish an issue mainly because I’m taking more time to study and admire the art before I turn the page.  In that respect, I’m ranking this book much higher than the other book that I’m also buying mainly for the great art:  JUSTICE LEAGUE. 

However,  in the past my fascination with titles with mostly great art begins to diminish after a certain number of issues - - and if the story doesn’t at least try to rise up to the same level of excellence as the art then I end up dropping it from my reading list.  I know that the beginning story arc of BATMAN, THE DARK KNIGHT ends at issue #6 (the perfect size for a trade paperback, of course)  even though it segues into a new story in Issue #7 that features one of the primary villains in the first storyline.  The preview for Issue #8 seems like a logical breaking point, and that’s where I just might stop.

SO, WHAT HAPPENS IN THIS TITLE?  Rather than summarize some of the plot elements and reveal what the main conflict is in the first five issues, I’m going to avoid spoiling by trying my best not to address that at all in this review.   I think I can still include enough information here to help someone decide whether or not they want to check out this title.

EVERYTHING REVOLVES AROUND THE ART, AND RIGHTLY SO:  There aren’t that many artists out there with the diverse set of skills that Finch possesses.  He is a true master of detail as well as a master of depth.  You can get dizzy looking at some of his cityscapes, overhead views, long shots, and close-ups viewed from on-your-back-and-gazing upwards.   He also draws a mean fight scene.

Here are some things from Issue #1 that caught my eye:  Batman drops from the Bat plane in a luscious two-page illustration viewed from ground level, with the rappel line snaking over Batman’s head and back to the open bay of the plane.  You can see every stitch on the duffel bag Batman is holding.  You need to turn the book 90 degrees to the right to get the correct perspective on this scene.  Amazing!  Likewise, you’ll need to turn the cover to Issue #1 at least 45 degrees to the right to fully appreciate how Finch has incorporated all the building dimensions in the background with the proper depth.  It’ a little disappointing that the covers to the succeeding issues fail to catch the attention to this same degree. An eye-popping cover never hurt books sales.   I also love the outbreak of crazed Arkham inmates that stretches across the top half of two pages. 

Issue #2 has visually stunning opening double-spread credits page that puts the viewer right in the middle of battle and almost on top of the two protagonists.  Issue #3 matches similar thrills with a double-pager that has curving credits almost pushed off the front of the page while a major villain seemingly rips apart in transformation.   Issue #4 has a mid-air battle during a heavy storm that drips action from page edge to page edge.   The capper is Issue #5 with two major DC characters engaged in a mega-punch-out lavishly depicted in big panels.  Whew!

SOME  THINGS THAT SHOW PROMISE FOR FUTURE STORYLINES are two new interesting characters and one that is an average villainess but drop dead gorgeous (White Rabbit). The new characters are: 

1)  Lieutenant J. Forbes from Gotham P.D. Internal Affairs who is determined to find evidence showing Bruce Wayne is illicitly funding the law-enforcement-defying vigilante Batman as well as connect Police Commissioner Gordon to these events.  He’s brash, arrogant and in-your-face.

2) Ms. Jaina Hudson, another looker with long legs (also long on innuendo when she flirts with Bruce Wayne) to provide a new romantic interest.  Her inclusion allows Jenkins to flash some of his writing skills.  He handles the flirtation between Jaina and Bruce in realistic fashion and utilizes their dialogue to establish some true magnetism between them.  Their conversational exchanges are more provocative and sexy than any bedroom scene depictions could ever convey.  Bravo for the mature handling of these stimulating scenes. 

THERE IS AN UNDERLYING THEME/CONCEPT that crops up in Issue #1 and returns in the other issues that is directly related to the main storyline but underneath it alludes to a critical component of Batman and tries to answer a question related to his psyche: what, if anything, is it that Batman truly fears?  Fear is defined or spoken of in various captions  that hint at who the narrator is but don’t get specific.  The speaker may also change from one set of captions to another.  I’m just really enjoying the clever way this is being threaded throughout the issues.  I’m guessing that this is part of the script that Jenkins is solely responsible for.  I remember a very creative examination of the Green Goblin written by him many years back and wonder if we’ll be treated to a similar psychological analysis here.  If so, I look forward to that.

So, there is enough going on here to keep me coming back every month for now.  My overall ranking for this title is a solid B+  - - and I do like it. 

Books I Read: Jim Henson's Tale of Sand

I just finished Archia Comics' Jim Henson's Tale of Sand HC, based on an unsold screenplay by Henson and his screenwriting partner Jerry Juhl, and I'm not sure what to make of it.

It turns out that Henson had a bit of a screenwriting career in the pre-Muppet '60s, specializing in live-action surrealism. After an Oscar-nominated short film and an hour-long drama for NBC, "Tale of Sand" was his feature-length vision for this sort of thing but he was unable to sell it in the early '70s. Once the "The Muppet Show" and Henson's unfortunate early death came along, there was never time to go back to it.

It's hard for me to imagine how this could have been successful as a movie. The main character spends the story being chased across the Western US desert and encountering machine-gun nests, lions, speakeasys, sharks, shieks, and a college football team, just to name a few. Which is great, but to me it never paid off in any significant way. Maybe at the time it was written people were more open to experimental fare, but I don't think it could be made now in sequel-obsessed Hollywood.

Why is our hero carrying a giant key? I have no idea. Looks great, though.

What is the salvation of the book is the gorgeous art of Ramón Pérez, and his "realization" of the screenplay. He's got a semi-cartoon, semi-realistic style that reminds me a lot of Darwyn Cooke. Pérez had a hand in the coloring too, and the combination kept me engaged enough that I was interested to read through to the end even though I probably wouldn't have been able to sit through it on screen. As usual, Archia has delivered a beautiful hardcover -- although maybe I wouldn't have chosen that exact shade of yellow for the cover -- and I'm thrilled to have it just so I can go back and gaze at Pérez' pages. If Tale of Sand doesn't sound like your thing, Pérez' next work is Marvel's adaptation of "John Carter: Gods of Mars", which will probably be a little more mainstream.

To be fair, this kind of surrealist work is highly subjective. Comics Alliance calls Tale of Sand "the best work to come out of Archaia", a distinction I would give instead to Return of the Dapper Men (and, I suspect when all is said and done, Cow Boy), so as we say around here: your mileage may vary.

They Said It Better: "Static Shock: What went wrong"

As an original Milestone Comics fan, I really wanted DC's New 52 version of "Static Shock" to succeed. I mused a little bit about why it failed in a comment here last week, and I was planning to expand that into something longer after talking about it in The Comic Book Shop over the weekend, but DC Women Kicking Ass beat me to it. I highly recommend her analysis, including an obvious point about Ultimate Spider-Man that I had entirely overlooked.

Also check out John Rozum's blog, where today he gave a more detailed account of why he quit the book than is quoted in the DCWKA article.

KICKSTARTER: A valid business model for indie comics creators?

Three creators from the surrounding area celebrate their recent success with a signing event at Captain Blue Hen Comics in Newark, Delaware . . . . .

How many of us know incredibly talented and creative artists who never follow up on their dreams, or get to bring their worthy projects to full fruition? 

In many cases it boils down to a lack of funds.  Sometimes its’ the fear of losing money or worry that they may only break even instead of making just a modest profit in exchange for their investment of time, money and effort. 

What if a creator could raise their financial needs in advance of their  project completion, simply by using a fund-raising campaign and giving value back to donors in exchange for their trust and faith? 

Wikipedia, the free online encyclopedia, writes that Kickstarter is an “online threshold pledge system” for funding creative projects ranging from inde film and music to journalism, solar energy technology and food-related projects” - - - as well as comics and graphic novels.

Wikipedia  also provides some of the details, explaining that “people must apply to Kickstarter to have a project posted on the site, and Kickstarter provides guidelines on what types of projects will be accepted.”

“ Project owners choose a deadline and a target minimum of funds to raise.  IF the chosen target is not gathered by the deadline, no funds are collected.  Money pledged by donors is collected using Amazon Payments.”

Wikipedia further outlines some procedures:  “Kickstarter takes 5% of the funds raised; Amazon charges an additional 3-5%.  Unlike many forums for fundraising or investment, Kickstarter claims no ownership over the projects and the work they produce.”

Any method that allows creators to maintain ownership and creative control of their properties rather than turn their work over to second or third party interests is a method that should be applauded.  I’ve been curious about this for some time, and previously wrote about Kickstarter and this particular project on this blog site.  See  http://bcrefugees.blogspot.com/2011/06/unique-way-for-indie-creators-to-manage.html.   Recently WOMANTHOLOGY, a project to fund and print an anthology graphic novel with volunteer efforts from women creators (and excess monies raised being donated to charity) successfully raised over $100, 000.  See http://womanthology.blogspot.com/p/kickstarter-successful-what-does-it-all_10.html

The Kickstarter project initiated in the second quarter of 2011 by the creative talents behind COMIC BOOK DINER  ( http://comicbookdiner.com/ ) wasn’t as ambitious as WOMANTHOLOGY. Writer/artist/inker/letterers Jamar Nicholas, Rich Faber, and John Gallagher wanted to package their original graphic novels for younger readers in a Collector’s Box and make it available in time for Christmas 2011.  The availability of more copies of their works also would help to fuel their efforts to get their works into the children’s section of libraries. 

Their first attempt through Kickstarter sought to raise $10,000 but fell short of that goal.  They revised their plans, scaled back the package offering (no Collector’s Box anymore), and reactivated their Kickstarter efforts  in July 2011, seeking to raise $6,000.  They succeeded this time and ended the Kickstarter  campaign with a little over $7,500 in pledges.

Through a partnership with Red Lion, they were able to print the first two books and also received help in getting them listed on Amazon.com  (BUZZBOY- SIDEKICKS RULE is offered there right now.)  The shipment of the BUZZBOY and ROBOY RED  books were recently received and Jamar, Rich and John decided to meet at a half-way point to begin working on distributing them to the Kickstarter customers.   The third book, LEON PROTECTOR OF THE PLAYGROUND, should be ready in a few months.  The Captain Blue Hen comic store in Newark, DE was a decent distance between their homes and offered to set up a signing session / meet-and-greet  to garnish the occasion.

I arrived there on Sunday, January 8 with the hope and intention of an interview and learning more details.  However,  many of their supporters were on hand to congratulate them, ask advice, show art samples - - enough to turn it into a mini-workshop on comics creation.  I couldn’t get my interview in, so I opted to correspond with John Gallagher via e-mail.  The high points of that e-mail interview are included here.

BC REFUGEES BLOGSPOT:  John, it appeared to be a very busy day for you guys today at Captain Blue Hen.  Not a ton of traffic but always busy  - and a lot of quality time with visitors interested in what you are doing, getting help with their projects, etc. . . . . .

JOHN GALLAGHER:  It was great - - we sold maybe 5 additional books, but had four or five different Kickstarter folks come by.  It’s always great to meet folks face to face and say “Thank You.”

BCR:  I couldn’t get near you but I did get to talk with Rich and Jamal.  However, they both defer to you as the “stats guy” for some of my questions.  I’d like to confirm how the Kickstarter program worked out for you on the second go around, without specific details or complicating things by trying to explain every single step.

JG:  Kickstarter did just what it was designed to do - - get things started.  Our costs were anticipated to be between $10,000 – $12,000 if we did things right.  And each book is costing in the $4,000 range, including printing, shipping and customs.  And this is with a very economical printer!  So the money raised has essentially paid for the first two books - - and we are pooling convention, appearance, and Diamond pre-orders towards book  three.  Some Kickstarter projects have gone 1000% beyond the requested budget ! - - But, we weren’t so fortunate.  It just shows we need to keep spreading the word.

BCR:  What I think is significant is that three local indie comics creators tried out a new business model for funding their projects, one that also involved social networking.  What were the expectations?

JG:  I really though we would make our full budget in the first try.  As you know, that wasn’t the case.  We came to realize that the audience we cater to for these books, at least, wasn’t really a Kickstarter crowd.  So we adjusted expectations, and honed our message to the people that were out there.

BCR:  What worked the best?

JG:  Really, it was sell , sell,  sell - - - you need to keep pushing, reminding people that you need their help - - and that you are offering a product of high quality.  We played up the reviews we have received, the awards we have won or been nominated for, in order to show we were the real deal.

BCR:  Did it involve less or more effort than initially considered?

JG:  Definitely more shilling than anyone was comfortable with - - it was like a comic-con every day.  “Have you heard of Buzzboy?” . . . “Want to support kid’s comics?” . . . etc., twice a day on Twitter, twice a day on Facebook.  My wife is still mad at me for hijacking her Facebook account one night to reach out to her friends.

BCR:  Upsides?  Downsides?

JG:  There are some folks who respected the hard sell, and that we didn’t give up.  Others were completely turned off.  But we saw this as a Pre-Sale Mechanism.  It’s not really different from Diamond Books.  But, instead of orders, printing, wait for money - - we are getting it in advance, then printing more.  The Internet lets us reach an active versus passive sales model, and I dig that scene!

BCR:  What is the next step?

JG:  Well, we are in comics shops, on Amazon, and available through Baker & Taylor for libraries and bookstores - - so we need to market to those folks now.  Jamar is busy on LEON, and we’re setting up a plan for promoting through the year - - together and apart.

BCR:  Would you use this business/fundraising method again?

JG:  Definitely, as a pre-order tool, again.  We reached more people through Kickstarter than we would advertising in comics shops.

BCR:  In terms of print runs on your works, is this the most ever done?

JG:  Yes and No.  This is the first time we have all printed a personal project and had such high quality printing and production.  We have hardcover and softcover editions, a matching trade dress, etc.  But in work for hire - - Jamar, Rich and I have all worked on high print run products.  Rich worked for DC Comics and had books selling half a million copies.  I did a custom Christmas comic for a shopping mall that outsold BATMAN that month.  Maybe not the most - - but definitely the most satisfying as creators.

BCR:  Will there be any profit / paycheck in this project - - or is it just a business expense to get more exposure for your works?

JG:  As the great web cartoonist Dave Kellet once said = “People die from exposure.”  (Dave Kellet of  http://www.sheldoncomics.com/)  No, we have set up a project that will break even within three months of the final book shipping – and make a profit.  You should always aim to make money as a creator, if only to keep score.  More money means we are reaching more people, and so on . . .

BCR:  Were most of the Kickstarter supporters already familiar with your works, or did you pick up a significant number of new supporters?

JG:  I would say it was 50/50, ranging from folks who just love to be on the ground floor - - to friends, fans, and uncles, aunts, and cousins.  (Hi, Billy!)

BCR:  Any advice for a comics creator considering using Kickstarter?

JG:  Look at what has been done before - - and what is successful.  Be realistic in your expectations; and don’t expect everyone to come to you.  Have fun with it - - but also know that you owe it to your supporters to deliver the best product that you can - - this is the real deal !!

DC's New 52: The Second Wave

We all knew it was coming--DC's teased us with it for months now. We had details on one book and hints on another, but to have a fully planned six-book lineup, with fairly impressive creative teams and a distinct purpose for each title? I have to applaud DC here, because I'm interested in each of these new titles.

Batman Incorporated was the one title we all knew would be back, from interviews, announcements and even the teaser at the end of the recent oversized one-shot, Leviathan Strikes. Grant Morrison returns to finish his Batman epic, while Chris Burnham continues his path to superstardom as the sole artist on this twelve-issue run. It's probably worth noting that that series, however, is now billed as ongoing--even if Morrison leaves after the first year, it wouldn't surprise me if sales keep the title going, the same way Tomasi is now helming Batman and Robin, Morrison's previous vehicle for the franchise.

Creative team details aside, Batman Incorporated will see the culmination of Morrison's Leviathan saga, whose ultimate villain was recently revealed to be none other than--spoiler warning!--Talia al Ghul, who formed the criminal organization in an attempt to recover her son and combat Batman's worldwide crimefighting initiative. This reveal added an incredible sense of history to an already intriguing run filled with new concepts and startling twists to old ones. It remains to be seen, of course, whether or not the end of Morrison's story will return the characters to a familiar status quo or leave them changed for a new writer to pick up--but as always with Morrison, the ride itself is what matters, not the destination. His Batman run has been exciting and innovative thus far, and I'm in until the end.

We've also had James Robinson and Nicola Scott's collaboration hinted at for several months, but now we finally get the details--instead of a simple Justice Society miniseries, we get the more ambitious Earth 2, a book that will (presumably) deal with the superheroics of an entire parallel world. Both of these creators being left out of the new 52 launch shocked many fans, but when it was revealed that they were working on something greater for the company, intrigue set in. The emphasis on the Justice Society will remain, of course--they are, after all, the most important part in DC's famous parallel world--but with more than just one team in their sandbox, Robinson and Scott have the opportunity to tackle even greater storylines and consequences for their characters. One of the most interesting aspects of the title, however? Its association with the next:

World's Finest by Paul Levitz, George Perez and Kevin Maguire, with the artists taking on alternating story arcs. The series will address Huntress and Power Girl, both seen so far in the new 52, both of whom have equal claim to both worlds. Before Flashpoint, they'd settled in to DC's stable of characters on their "main" Earth--but now, with a new emphasis on Earth 2, the mystery has returned. Is Huntress, currently starring in her own miniseries (also written by Levitz), Helena Wayne or Helena Bertinelli? Is Karen Starr, currently appearing in Mr. Terrific, the heavyweight Power Girl or simply a buxom blonde on Michael Holt's arm? This series will address those issues, as Huntress and Power Girl team up to discover why they've been locked away from their home reality. Effectively forming a new franchise when linked to the Earth 2 title, World's Finest has the potential to be an all-star title worthy of watch.

It isn't only big name creators given room to play in DC's Second Wave, of course--comics newcomer China Miéville joins with artist Matues Santulucco to present Dial H, a Vertigo-esque take on the Dial H For Hero concept. This title joins Animal Man, Swamp Thing and others in the "Dark" section of DC's New 52, and emphasizes the psychological effects associated with the character. After all, when the H-Dial lets its bearer change into new and exciting superheroes, he takes them on entirely--yes, he would retain his own personality, but he changes identity as well. Furthermore, it's wish fulfillment for the everyman--someone who goes from an ordinary life to gaining incredible cosmic powers from a newfound device. This new approach to the book is emphasized by its editor, Vertigo line-editor Karen Berger, and while the title is firmly set in DC continuity, the tone will come from both worlds.

G.I. Combat becomes the new war title in DC's stable, with writer J.T. Krul and artist Ariel Olivetti helming the title and its The War That Time Forgot revival. I have an indescribable love for a series that sends soldiers to their fates on an island filled inexplicably with dinosaurs, and although Krul and Olivetti aren't my favorites, I acknowledge that they're a good fit for this title. G.I. Combat will also feature rotating backups to provide new takes on DC's other war serials, such as The Haunted Tank (by John Arcudi and Scott Kolins) and The Unknown Soldier (by Justin Gray, Jimmy Palmiotti and Dan Panosian). I'm very impressed by the creative teams for the backups, and I'm excited to see how those develop as the series (hopefully) continues. War titles have been a hard sell for DC as interest in the genre shrinks, but you have to admire them for the continued attempt and the creative muscle they attach.

Finally, we have our first real spinoff title in the new 52--The Ravagers by Howard Mackie and Ian Churchill, spinning out of events in both Superboy and Teen Titans. There's a lot to say here, and I'll begin with speculation: I don't think it's a stretch to say that the book (promised to feature four characters on the run from N.O.W.H.E.R.E., the organization going after young metahumans) will star Rose Wilson and Caitlin Fairchild, both of whom are currently appearing as N.O.W.H.E.R.E. operatives in Superboy. Rose is nearly a given, especially with the title of the book, but Fairchild has had an intriguing story arc and is already on the outs with N.O.W.H.E.R.E. It would also help to emphasize the Wildstorm universe's integration with DC, something that the company is already aggressively pursuing with the increased Daemonite threat across numerous titles.

I also want to point out that Mackie's new title is spinning out of two titles by Scott Lobdell, one of Mackie's colleagues in 90's Marvel. I'm excited and intrigued to see them work together again, and although I realize that Mackie has his detractors, he's put out some excellent work (Ghost Rider, anyone?) I think this could be an excellent fit for him. And with upcoming ties between Teen Titans and Legion Lost--soon to be helmed by another 90's Marvel alumni, Tom DeFalco--DC's Young Justice franchise continues to grow in new and unexpected ways. Finally, it's worth wondering whether or not Ian Churchill will utilize his newer, Darwyn Cooke-ish art style, or his classic, Jim Lee-inspired style. I'm hoping for the former, as it showcases his true talents, but I recognize that the latter is probably more marketable, especially with Lee's new status in DC's editorial hierarchy. We'll see.

All in all, though, I'm excited. What about you?

Books I Read: Daytripper

It's hard to articulate what Daytripper, a masterpiece by twin brothers Fabio Moon and Gabriel Ba, is about. The back cover copy says:

Meet Bras de Oliva Domingos.  The miracle child of a world-famous Brazilian writer, Bras spends his days penning other people’s obituaries and his nights dreaming of becoming a successful author himself — writing the end of other people’s stories, while his own has barely begun.

Each day in Bras’ life is like a page from a book.  Each one reveals the people and things who have made him who he is:  his mother and father, his child and his best friend, his first love and the love of his life.  And like all great stories, each day has a twist he’ll never see coming…

Fabio Moon says it's about "quiet moments...what you can tell from somebody's eyes. An exchange of looks. A smile." I just know it's beautiful. And powerful. And emotional. Honestly, if this book doesn't make you feel something, then you're dead inside and no one can help you.

This is the part where I usually go on for paragraphs about details about the craft of the book, scenes I liked, quoting dialogue, etc., but I genuinely think this reading experience was a perfect gem that I don't want to puncture by analyzing. (I am, however, willing to mix a metaphor apparently.) It might have been nice to have a deluxe hardcover, but then again the newsprint shows off Dave Stewart's genius coloring perfectly and I'm not sure it would look right on glossy paper.