Posts Tagged ‘The Avengers’

‘Marvel Studios: Assembling A Universe’ – A Kit With Instructions

Tuesday, March 18th, 2014

Tonight ABC television airs a special, ‘Marvel Studios: Assembling A Universe’ that is being promoted as an exclusive look inside the world of Marvel Studios.

Marvel’s website succinctly describes the world premiere primetime event:

“Marvel Studios has pioneered and broken box-office records around the world, creating a cinematic universe unlike any other in pop culture history through its blockbuster films. Beginning with “Iron Man” in 2008 and continuing today through “Marvel’s Agents of S.H.I.E.L.D.” on ABC and the theatrical release of “Captain America: The Winter Soldier” this April, the Marvel Cinematic Universe presents audiences with some of the most groundbreaking and dynamic storytelling that brings an unprecedented vision to the world of entertainment.

In this exclusive primetime documentary special, audiences will be taken further into the Marvel Cinematic Universe than ever before, offering viewers a front row seat to the inception of Marvel Studios, the record-breaking films, the cultural phenomenon, and further expansion of the universe by Marvel Television.

Marvel’s first television special documents the exciting story behind Marvel Studios and the Marvel Cinematic Universe, featuring exclusive interviews and behind-the-scenes footage from all of the Marvel films, the Marvel One-Shots and “Marvel’s Agents of S.H.I.E.L.D.” Viewers will walk a clear path through this amazing and nuanced universe, featuring sneak peeks at the future of “Marvel’s Agents of S.H.I.E.L.D.” on ABC, new footage from Marvel Studios’ upcoming theatrical releases, “Captain America: The Winter Solider” and “Guardians of The Galaxy,” and a sneak peek at the upcoming Marvel’s “The Avengers: Age of Ultron.'”

Curiously, they never mention the words “comics” or “comic books” once in their own promotion of this marketing extravaganza.

Seriously?

Fortunately early clips from the documentary shown on other sites quote Marvel Comics’ Editor-In-Chief, Axel Alonso saying,

“What Marvel Studios has done is very similar to what Marvel Comics did back in the day. They’ve built individual stories to stand on their own two feet, then they found a way to take those stories and weave them into a larger narrative.”

Thank you… I think.

Marvel Studios needs to pinch themselves, wake up and come to the stark (pun intended) realization that they are not creating anything. They are ADAPTING!

They are assembling this cinematic universe of theirs from a kit whose instructions were clearly established over a 73 year history by a ton of creative individuals whose professional careers were dedicated to making comic books!

Forget IRON MAN in 2008, let’s start with CAPTAIN AMERICA in 1941 and see where the Marvel Universe would be without their First Avenger that was created by Joe Simon and Jack Kirby.

That’s right, the same Jack Kirby whose name pops up when you also mention the creation of, Iron Man, Hulk, Thor, Avengers and Agents of S.H.I.E.L.D. all of which  he collaborated on with some guy named Stan Lee throughout the 1960’s.

Stan Lee? Yeah, he was Editor-in-Cheif back in the day” and was probably the guy most responsible for finding a way to weave those stories into a “larger narrative” since he was sitting behind the big desk at the time, directing traffic and providing the final scripting on all of those comics.

Let’s not even get started on the Guardians of the Galaxy whose long list of creator contributors include the names of folks like Arnold Drake, Gene Colan, Steve Englehart, Steve Gan,  Bill Mantlo and Keith Giffen just to name a few.

By the way, there is one Guardian that has been lurking around the Marvel Universe since 1960. Yup! Groot made his first appearance in TALES TO ASTONISH #13 and is credited to – guess who? Stan Lee, and Jack Kirby along with a fella named Dick Ayers who also contributed to the creation of Iron Man.

Don’t be surprised if that alien shown in the T.A.H.I.T.I. episode of Agents of S.H.I.E.L.D. turns out to be Groot regenerating in that giant test tube. He is, after all, an alien plant species that was once held captive by S.H.I.E.L.D., became member of Nick Fury’s Howling Commandos and was later selected by the Kree to join the Guardians of the Galaxy to battle Ultron and the Phalanx where he sacrificed his life only to be brought back from the dead by Rocket Raccoon who managed to regrow him  by planting  one of his branches.

Nah!  That shit only happens in comic books.

Marvel Studios is working with a gold mine of material even after licensing out huge properties like Spider-man, X-Men and The Fantastic Four. Thanks to work-for-hire conditions in the comics industry the bulk of that material was produced for a  mere page rate and most of those creators that originally built that universe will never see a thin dime in royalties delivered to them or their heirs, especially not those of the late Jack Kirby whose creative genius is associated with most of this current crop of film and television that the Marvel Universe is built on.

Maybe, like Groot, there is hope that a seed, a branch or a twig could be planted and justice could grow from a bad deal that has been declared dead.

Remember, that without those comic books, none of these films and television shows will have ever existed and neither will have all the industry that is built around licensing and merchandising them, creating tons jobs that help support our economy.

What entertainment would we be enjoying this summer without Joe Simon, Jack Kirby, Stan Lee and the rest of those comic book creators?

Without them there is no Marvel Universe to assemble.

Making Comics Because We Want to,

Gerry Giovinco



Mark Millar is Right!

Tuesday, February 12th, 2013

Mark Millar’s assertion that a Justice League film is “an excellent way of losing $200 million” is dead-on but not for the reasons he stipulates.

The idea that the characters that comprise the membership of Justice League of America are outdated is insane. The core group of founding members of the JLA; Superman, Batman, Wonder Woman, Aquaman, Green Lantern and Martian Manhunter, are not only iconic characters, they have literally established and defined the entire superhero genre over their 75 year history.

Where the powers-that-be at DC and Warner continually fail and why a JLA film would tank is that, for some reason, these classic characters are considered by them as never good enough, never mature enough, never edgy enough. The properties are constantly the subject of reboots to make them more relevant, more gritty, more believable. In the process these characters have become unrecognizable to generations of fans that have an idealized passion for the originals.

Marketing geniuses that license the DC properties understand this passion and that is why classic images of these characters adorn every product imaginable from Converse sneakers to slip covers for car seats. You don’t see licensees rushing to conform to likenesses of these characters from DC’s New 52. Why? Because the reboots of these characters are a bastardization of the classics whose only purpose is to distance copyright and trademark enforcement from the original creators.

There is a reason that these characters have been around for as long as they have. Something about them has struck a deep cultural nerve that has allowed them to be ingrained into our society. They are beloved.

Leave them alone already!

I was watching a designer on the Rachel Ray show the other day who was expounding on the enduring virtues of classic design. Classics never go out of style. Update with accessories! This has been lost on DC.

Stan Lee has always said that a great character should be easily defined by a simple statement. The JLA lineup has that in spades to the point where just the name of each character defines most of them. These are the characters audiences want to see in a film not a convoluted mess like they saw in the film Green Lantern.

That movie should have been about a guy with a ring that gave him superpowers. Boom! Instead we had to suffer through the history of the Green Lantern Corps and be introduced to more characters than we were ready to digest. Seriously. I just wanted to see Green Lantern fight some bad guys and save the day with his bad-ass ring!

Marvel Entertainment gets this. They do a great job of embracing the original source material and simply defining their characters. Look at The Avengers. Iron Man – guy in a metal suit. Thor – god of thunder. Captain America – super soldier. Hulk…now there’s a study.

The Hulk was in two films that audiences could not embrace. Those films were too much about what made Bruce Banner tick. Inner conflicts. Fancy cinematography. CGI. They strayed away from what was simple yet great about the character: Make Hulk mad and Hulk will smash. Oh, and he’s green.

Director Josh Whedon understood this and gave us the Hulk that we saw in The Avengers. Suddenly the Hulk was a breakout character again. Hulk was there. Hulk got pissed. Hulk smashed. Ta-da! The audience ate it up.

The Avengers was brilliant in its simplicity regarding character development. Every character was easily defined, relying heavily on what people knew and expected from them, not from their previous individual movies as much as what we knew about them from their decades of existence in popular culture.

With The Avengers film, Marvel Entertainment had a plan to market each character through their own feature film then combine them as a super group in The Avengers capitalizing on the exact marketing strategy that Stan Lee exploited with the comic books featuring the same characters. Stan, ironically, borrowed this strategy from DC who’s success combining their own banner characters to form the JLA, in part, instigated the creation of The Fantastic Four, miraculously giving Marvel a new life.

DC would do well to reverse engineer this marketing plan by giving us a Justice League film that gives us highlights of the classic characters as we know and love them in a dynamite team adventure then spinning each character off into their own film after audiences have re-embraced the characters. This would work best if they were sure not to convolute the characters and dramatically depart from the institutions that they already are.

Good luck with that.

Maybe DC would be less likely to over think their characters if the film was titled Super Friends.

It may be that the only producers capable of making a profitable Justice League film are those in the porn industry. Those superheroes are always recognizable, even with their clothes off.

More on this rant next week.

Gerry Giovinco


Don’t Trust the B in Apt. 23 – She reads Comics!

Monday, June 4th, 2012

I’ve been noticing that comics are getting a lot more respect these days in other media. In an almost nonchalant manner comics are seeping back into the popular culture and are being accepted and promoted by people of all ages, gender, and conviction. Could it be that the comic book is finally coming of age just as print media is teetering on the verge of extinction?

A recent Fox News segment did a great job of pointing out how comics are experiencing growth in digital and print media where other forms of print product are struggling. They did it with no usual gratuitous tag lines like, “No Longer Funny Business,” “Not Just for Kids,” or “Pow, Zap, Wham!”

The Avengers movie and a host of other comic related films that will be crowding the theaters this summer are getting a lot of the credit, but as I noted in an earlier blog, “Betrayed,” in my opinion, the unit numbers of superhero comics, especially from Marvel and DC are embarrassingly low compared to historical figures where comic titles sold in the millions. I have to agree with Tim Marchman’s Wall Street Journal article, Worst Comic Book Ever! with regard to the current state of the traditional comic book market.

But, while superhero comic sales seem to be confined to the hallowed halls of the local comic shop, a broader range of comic genres is experiencing success in the  wide open mass market. Jeff Kinney’s Diary of a Wimpy Kid series, for example, though considered a comic hybrid of sorts, is one of the most successful series of books published today with over 75 million copies in print. The latest edition The Third Wheel will enjoy an initial print run of 6.5 million copies.  Compare these figures to the Avengers vs. X-Men issue sales of about a mere 230,000 and you understand my point.

Graphic novels and Manga in book stores, web comics, digital downloads and online sales of printed works are creating an opportunity for creators to expand well beyond the confines of the traditional market for comics focused on the superhero genre. The result is a huge array of comic product for just about anyone  and the audience of comic readers is now quietly growing by leaps and bounds though not readily identified by market statistics.

This vague phenomenon was exemplified by the season finale of the ABC sitcom Don’t Trust the B in Apt. 23 starring Krysten Ritter and Dreama Walker where we discover that the culture of reading comics had expanded to a number of the key characters of the show. The episode titled Shitagi Nashi refers to a graphic novel that chronicles the exploits the show’s lead character Chloe, played by Krysten Ritter, . The adult comic titled Tall Slut, No Panties is hugely popular in Japan and Chloe is often recognized by Japanese fans who greet her with her tag line from the comic, “Shitagi Nashi” which loosely translated is, “No Panties.”

Chloe is described as the coolest girl in New York and feigns ignorance of her status as a comic book icon to preserve her awesomely cool status. She, however, maintains a secret stash of mint copies of every issue of Tall Slut, No Panties preserving each in mylar sleeves.

Chloe’s roommate and self described nerd, June, played by Dreama Walker discovers  Chloe’s secret when another comic reader, their pervy neighbor, Eli, spills the beans. All this excitement results in June confiding that she had created her own comic about her own adventures with friends when she was in high school. She still keeps a handmade copy. June attempts to use their mutual interest in comics as a vehicle to solidify her relationship with Chloe. Who could have ever envisioned comics as a bridge between nerds and the cool crowd?

Other highlights of the show include a character who represented stereotyped comic book writer, some very nice comic illustrations with a touch of motion comic thrown in  and a guest appearance by Dean Cain who played Superman along side Teri Hatcher’s Lois Lane in the 1990’s television series Lois & Clark: The New Adventures of Superman. Ironically, Superman also no longer wears his famous red underpants since the character’s costume was redesigned for DC’s launch of The New 52.

Shitagi Nashi, Superman!”

I was disappointed that the website for ABC or the show did not present any of the comic art. It would seem that at least a small sample of the comic would make nice content especially since ABC shares Disney as a parent company with Marvel. I guess that would require Marvel putting some energy into something that would actually promote reading comics to a new audience, rather than herding them to the movie theater or directing them to an endless supply of superhero merchandise.

Now is a time to be excited about comics. More and more people are discovering comics and are enjoying a more diverse selection than ever before. You may be surprised to find out who the new fans of comics are because now comics are of interest to anyone, even the girl next door, and underwear is optional.

Celebrating Thirty Years of Comics History!

Gerry Giovinco


Betrayed

Monday, May 7th, 2012

Has the comic book been betrayed by the Earth’s mightiest heroes? It’s a sad question to pose after probably the most geek filled comic book extravaganza the world has ever seen with the opening of The Avengers movie and Free Comic Book Day all happening in the same weekend. Comic book fans worldwide have been celebrating universally like never before, gathering at the multiplex and local comic shops in droves, dressed in their favorite comic book swag and costumes.

Free Comic Book Day itself has become a huge annual event, now in its tenth year it attracts over a million people to comic shops more than double the number from just five years ago. Comic fans and potential comic readers can’t resist the offer of free comics and continue to make this promotion a growing tradition. This is a good opportunity to point out that comics here at CO2 Comics are free to read EVERY day so if you are sill wallowing in all the free comics you acquired this weekend, just remember the buzz does not have to wear off!

Marvel Entertainment could not have picked a better weekend to launch The Avengers movie, especially with all the comic book love in the air generated by Free Comic Book Day. The Avengers could have been released in the dead of winter and still been a mega hit. A bona fide blockbuster, The Avengers will be the Titanic of all superhero movies and may even give that sunken barge a run for its money. Though I might be giving them too much credit for something that could have been a wonderful coincidence, it was sure nice of Marvel to remember its roots and tie into the comic fans’ big day and make it tremendously more special before they throw them to the curb.

I know I sound like an insufferable old bore but as much as I love super heroes, I realize that I loved the medium of comics even more. For me, comics are a  visual medium of incredible creative freedom and opportunity. It is one of the few mediums where the reader can relate directly to the literal and visual expression of a lone creator without the influence of  a long list of production personnel, editors, actors, etc. Comic books, graphic novels, comic strips, all mean a lot to me just for this reason and I would love for more people to be aware of these wonders of the medium. I would love to see comics everywhere, read by everyone.

So why wouldn’t I expect this Avengers movie to be a huge vehicle to promote comics? Isn’t Marvel in the business of selling comics? Surely they would seize the moment. Right?

Nope.

I was just in my local Walmart, you know, America’s Store. It’s being reconfigured, fittingly for this blog post, into a Super Walmart and right in the middle of the store is a huge cardboard Marvel kiosk featuring Thor, Hulk, Iron Man and Captain America leaping across a city skyline. Marvel Mania! On the display was every Marvel video you could imagine, Spider-Man, X-Men, Woverine, Electra, you name it! There were cartoon videos, even the old Bill Bixby Hulk videos, a video candy store of everything Marvel.

Then it hit me. There was Marvel merchandise in every department.  The toy aisle was loaded with Marvel action figures. There were Marvel hats, shirts, pants, shoes, even underwear. Marvel PEZ dispensers, floor mats for cars, posters, greeting cards, fabric and more only began to round out the list of everything that could bear a Marvel logo in Walmart.  Everything except… comic books.

What?! Comic books aren’t good enough for Walmart?! Marvel doesn’t have enough clout to get comic books or graphic novels into Walmart?! Do comic book shops have some exclusive deal that I’m unaware of to prevent comics from being sold at Walmart?!

Outside of comic shops apparently, Marvel doesn’t even think comics are worth giving away. Here’s a website that has a long list of all the premiums that Marvel is using to promote the movie from action figures, to cups and cars but you never find a comic book used as a promotional item. Why? How can comics be such a great medium to have spawned all of these great characters only to be shunned by a company that built its empire by exploiting this magnificent sequential art of words and pictures?

I have a theory. Marvel fears the comic book. Marvel views comics as a threat because they are too easy to make and distribute. They know from experience. Comics abound on the internet, nearly anyone can publish and sell online. Anyone can create the next big comic book sensation. Just as Marvel dethroned DC in the sixties with their ragtag reinvention of the superhero, toppling juggernauts like Superman, Batman and Wonder Woman, even the mighty Avengers are vulnerable to a new character birthed in the pages of a mild mannered comic book. I’m sure the powers at Marvel and Disney see different shades of green every time they hear the name Teenage Mutant Ninja Turtles, four megastars that climbed out of a sewer in the slum of a black and white independent comic book.

When I was researching the use of superhero parodies in the porn industry for my blog post Seduction of the Ignorant I discovered that that industry is struggling to stay afloat, beaten by easy access to porn on the internet, cheap homemade porn their most threatening competition. Porn producers have turned to expensive, special effect laden parody productions that are harder for the average Dick and Jane to make in their bedroom studio.

Marvel Entertainment is doing the same thing. They are focussing now on marketing their IP through blockbuster films budgeted in the mega millions. They have corralled the hardcore comic book fan into a niche market that can barely support sales figures that would have been an embarrassment thirty years ago. They have willfully created an atmosphere that has forced competition to meet suppressed quotas to even be considered for distribution into this niche market.

DC has taken full advantage of this abandonment of the comic market by Marvel with their onslaught of the New 52. They too are actively boxing out the little guys by flooding their IP into the comic market but they realize that comic books have the same power they always had and they are redesigning their universe and working out the bugs without risking millions on a film that could flop at the box office.

If you are a fan of comics, support your local comic shop, explore the internet for great new comics like the one’s here at CO2 Comics and download those comic apps for your mobile devices. Keep an eye out for the next big sensation to be created in comics and don’t be surprised if it does not come from marvel or DC. Be vigilant comic fans because despite the rise of the superhero in cinema, comic books are still the bastard child of the entertainment industry and even the Avengers betray them.

Celebrating Thirty Years of Comics History!

Gerry Giovinco


Ode to Oswald

Monday, April 30th, 2012

One would think that of all the major conglomerates in the world, The Walt Disney Company would have the greatest empathy and respect for creators who have made bad deals that resulted in their characters being torn from them. Disney, in fact owes its own success to it’s founder’s resolution resulting from having his creation hijacked by corporate greed.

Walt Disney and Ub Iwerks

In 1927, Walt Disney and his chief animator Ub Iwerks signed a deal with producer Charles Mintz to create a character so they could sell animated shorts to Universal Studios. Oswald the Lucky Rabbit became Disney’s first major success. Walt Disney, always striving for quality, saw his budgets becoming more costly and approached Mintz for more money. To Disney’s surprise Mintz outlined a plan where Walt would receive 20% less and was informed that Mintz contractually controlled the rights to the character and could produce cartoons without Disney. In fact, Mintz had already secured the services of all of Disney’s animators with the exception of Ub Iwerks. Disney refused to take the cut and walked away from his association with Mintz leaving his successful character behind.



Vowing to never let anyone else own his work again Disney started his own studio with his brother, Roy and Ub Iwerks, introducing the world to Mickey Mouse. Mickey’s initial start was slow going but Disney’s willingness to embrace the new technology of sound in film propelled the mouse to international stardom when he released Steamboat Willie in 1928.


The Walt Disney Company’s success since has been unparalleled and though Walt himself is often quoted as saying, “I only hope that we never lose sight of one thing–that it was all started by a mouse,” he must have been justifiably  haunted by the loss of  Oswald the Rabbit. It must have also been a thorn in the corporate culture of the entire company that Oswald had been orphaned because when Bob Iger was named CEO of the company he told Walt’s daughter, Diane, that he intended to bring Oswald back to Disney. Nearly eighty years after the character was estranged from Disney, Bob Iger did just that.

In 2006, Iger traded away sportscaster Al Michaels from Disney’s ABC and ESPN to NBC Universal for the rights to Oswald and a few other minor assets! Oswald the Rabbit came home to much pomp and circumstance and immediately became a co-star in Disney’s popular video game Epic Mickey where Oswald rules Wasteland, a world inhabited by, what else, forgotten characters. The Disney merchandising machine is slowly including Oswald in all things Disneyana but more importantly there is great satisfaction that Oswald is home where he belongs with his step-brother Mickey.

It is exactly this corporate culture righteousness that needs to be implored now that Disney owns Marvel Entertainment. A long trail of Marvel Comic creators have seen their characters harvested to the tune of literally billions of dollars with no compensation paid to the originators or their heirs beyond a meager initial page rate. Adding insult to injury these same creators are not even being acknowledged for their roles as creators in film credits for what can only be legal posturing. This is more than an injustice, this is a cultural travesty! Films like The Avengers have an opportunity, nay, a responsibility to properly credit the creative minds that laid the foundation for generations of entertainment by these characters. The audience has a cultural right to know the accurate history of these characters and the medium that they are derived from.

I can’t believe that a company as wealthy Disney cannot find a way to see the value of the good will that would be generated by establishing some sort of compensation or, at the very least, acknowledgement to the efforts put forth by these creators. I imagine that Walt Disney is rolling in his grave (or cryogenic chamber if you buy into that legend) at the thought of his own World of Tomorrow being such an unscrupulous, greedy, and callous place.

Maybe someday, just as The Walt Disney Company experienced the joy of the triumphant return of Oswald the Lucky Rabbit back into the fold of the Magic Kingdom, the legacy of the true original creators of the Marvel Universe will be fully embraced and that same joy can be experienced by those creative pioneers and their heirs.

As Stan Lee, the only Marvel co-creator unabashedly and perpetually credited would say, “With great power comes great responsibility.” It’s time that Disney, Marvel, and Stan, himself, live up to that motto and do the right thing.

Celebrating Thirty Years of Comics History!

Gerry Giovinco


Guilty Pleasures

Monday, July 25th, 2011

When I came home from watching the new Captain America film I had the strangest reaction. I was surprised to find that I had a sincere sense of guilt for enjoying the movie as much as much as I did. My son and I watched it together and hung on every scene, it was great fun, exhilarating and, at times, even emotional. The film took its liberties as almost all adaptations do but there was such an apparent reverence for the source material and especially the main character that it was easy to overlook the alterations.

So why was I so hung up?

I think it’s a problem that we all run into when we get too close to any medium, let alone this medium of comics. The more we think we know, the more we are compelled to analyze.

This started for me as soon as the credits began to run and I found myself searching for the credits declaring “based on the Marvel Comics by Joe Simon and Jack Kirby.” One blink and I missed it only to later see Simon and Kirby’s names listed along with Stan Lee, and three others in a column marked “Thanks To…”

That fast I began to cast judgement that tainted my appreciation of the film and the enjoyment that I had just encountered. Struggling with the inconceivability that the original creators might be overlooked or credited with the most vague salute ever, I rushed home to search the internet and was happy to find that the credits were indeed placed even though I personally would have loved to seen them monumentally displayed.

As I continued to search and read other critiques of the film, which were overall very generous, I was struck by a recurring assessment that there was a whitewashing of all things Nazi and American. How could this happen in a film about Captain America set in WWII?!

Welcome to the fine art of Disneyfication! Face it, Nazis and swastikas would not go over big in the Marvel/Disney merchandising machine. Imagine little kids running around with bright red arm bands bearing a swastika at a Captain America themed birthday party or dressing as Hitler on Halloween. Prince Harry could barely pull that off.

We all learned from Star Wars that the kids enjoy the bad guys as much as the good guys, especially when they are clearly defined. Expect to see
plenty of Red Skulls and Hydra uniforms if this movie takes off, after all they are not much different in form and function than the tremendously popular Darth Vader and his Storm Troopers.

The film also did veer away from outright American propaganda as it made great efforts to include a multicultural cast and made the theme much more about Cap defeating the Red Skull than America’s place in winning the Great War. Again, this film needs to make huge bucks overseas so it becomes necessary that Captain America represents Marvel properties more than he represents the good ol’ U.S. of A.

2011 is a much different world than 1941. Seventy years and Capitalism can make you forget a lot. Once I rationalized this in my head I was struck by the term “Reboot.” One thing Captain America The First Avenger is is a step-by-step blue print as to how to reboot a character. In one film the viewer was exposed t a fairly accurate retelling of the origin story, we even got to see the cover of issue #1 of the comic and see him in his original costume yet by the end we witnessed a few costume evolutions were propelled seven decades ahead to present day. Now we are perfectly poised and conditioned to witness an all new twenty-first century assemblage of Marvel’s version of the Earth’s mightiest heroes, The Avengers.

Seventy years rebooted in 125 minutes! Whew!

While the comics industry braces itself for the announced reboot of the entire DC Universe in September I have to wonder if it is at all possible that they will be able to pull it off as well as this film did. Will they provide long time readers and fans with a guilty pleasure of watching beloved characters morph into a retooled mythology that relates to our present world or will they be guilty of destroying the memories of the pleasures their characters have given generations of readers and fans? I guess we are all about to find out how much seventy years and Capitalism can really make us forget.

Look! Up in the sky! It’s a bird! It’s a plane! No, it’s just some dude in blue jeans and a t-shirt…never mind.

Making comics because I want to.

Gerry Giovinco



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