Humans gravitate toward benchmarks. Anniversaries and events that end in zero, like 50th anniversaries. Turning 20. They like superlatives. The biggest. The best. The fastest. The youngest. The oldest. It’s human nature.
You never know what’s going to happen to you in a given day. Maybe you meet someone new. Maybe you work on a new project you hadn’t contemplated before. Or, if you’re lucky, you wander into a new town and stumble upon something new. Or something old.
It could be in any town in any city, but it just happens to be in a town you hadn’t planned on visiting, on a side jaunt along the way to someplace unrelated to where you now find yourself, staring up at an old building with a marquee. A movie theater like any other old movie theater on any other main street across the Midwestern United States, that dot towns here and there. Yet this one makes a surprising assertion. This one claims to be the oldest. If you find yourself in front of a theater like that, then you must be in Ottawa, Kansas, a quaint town about a half an hour’s drive south of Kansas City.
And like a trip to The Twilight Zone, the next thing you know you’ve paid the price of your ticket and you’re sitting alone in a movie theater, soaking up that old familiar place that smells like popcorn and feels like home. You marvel at the gray metal 1930s art deco ceiling lights, the tall vintage curtains, and find yourself watching a film from 1903 that played in this very town in its opening months 109 years ago, then viewed by a crowd of turn of the century townsfolk from a very different turn of the century. Like you, they were watching this movie for the first time, only they were watching it as the first movie they’d ever seen.
Back in July, BOOM! Studios announced that Snake Plissken would be back. One of John Carpenter’s best, the 1981 sci-fi flick Escape from New York went on to have a rather bleh sequel with 1996’s Escape from L.A. BOOM! is returning to the classic we all love with its continuing story of the action anti-hero with the eye patch in its new Escape from New York series.
Writer Christopher Sebela (Ghost, Alien vs. Predator) and artist Diego Barreto (Planet of the Apes, Irredeemable) along with cover artists Declan Shalvey, Jay Shaw, and Alice X. Shang will be telling the new tales of this loner in a future Earth’s World War III.
Following on the heels of its first John Carpenter-Kurt Russell team-up monthly ‘zine, BOOM! Studio’s successful Big Trouble in Little China series, Escape from New York should satisfy our desire for more stories from the John Carpenter ‘verse.
A universe of terror drawn to one world. As the Perses begins her long journey home, a deadly stowaway forces the crew into a savage conflict. While the crew defend themselves against this unseen predator, the hunter itself stalks a much more substantial game…
Dark Horse Comics expands its Fire and Stone line with the new Predator: Fire and Stone series, coming to comic book stores in October. After the break, courtesy of Dark Horse we have a first look at the series Issue #1.
Check out past previews of the multi-part series, Prometheus: Fire and Stone, here, Aliens: Fire and Stone here, and Alien vs. Predator: Fire and Stone here.
Joshua Williamson will write the series with artwork by Chris Mooneyham.
Here is your preview of Issue #1:
Why are you here?
To read? To learn something? To kill time?
OK, not why are you “here” at this website. Think Big Picture: Why are you here? To narrow the gap between the rich and the poor? To help people? To have fun? To create?
Rock and Roll Hall of Famer Darryl McDaniels from Run-DMC, who we met at Planet Comicon last year, asked himself that question after returning to a hotel after a night on a European tour. He’s pictured above with Wil Wheaton and my pal William Binderup. McDaniels asked himself that simple question and wrestling with that question set him on a path that he recounted to a crowd of college students years later. National Public Radio located an audio recording of that talk that they re-broadcast this past Wednesday night.
The result is a great story, and may serve as inspiration for anyone suffering from depression, anyone who was adopted, and it surprisingly serves as a great message about the power of fandom. It also should cause you to consider the possibility that you can do anything you want to do with your life, and sometimes you may even surprise yourself if you aim high. Maybe there’s more to who you are, who you like, and what you know–and don’t know–about yourself.
WELCOME TO EARTH-4
A Weekly Column with J. Torrey McClain
We’ve talked about horror movies before on borg.com, and in my discussion, a common theme of creepy girls and the supernatural emerged. The thing is, these things aren’t scary on their own. “Thor” isn’t scary. “Sisterhood of the Traveling Pants” isn’t scary. What gives them the ability to scare me comes not as much from their intrinsic natures, but from the images that come from the masters of horror combined with my imagination.
My imagination is the key. The supernatural have no rules and no limits. They can do whatever you dream them to do. Once you start down that road, then anything can trigger those pieces of the mind that start the skin crawling and the sweat to run cold. The rustling of leaves outside my tent? Probably the wind. But, then maybe it’s a mouse. Maybe it’s a snake. Maybe it’s a softly moving wolf. Maybe someone is in my camp. Before I know it, an army of undead, animals, and adderall-crazed ankle biters have amassed on the other side of the thin sheets of nylon.
Those are two other keys to fear: removing senses and being alone. If my tent was clear material and I could see the leaves drifting along the ground, my fear would be gone. If I can hear the voices of friends still up around the campfire, I can feel safe. If I have a friend telling me to go back to sleep after a late night trip behind a tree, I can rejoin his or her slumber.
Arthur C. Clarke hits me perfectly again with the short story, “A Walk in the Dark” from the same collection as “The Wall of Darkness.” The opening is innocuous. The first paragraph introduces Robert Armstrong as a man who has walked two miles and his flashlight just went bad. It give you those two pieces of information and depending on your imagination, it might be perfectly safe as you think of a two-mile round-trip hike. Maybe you just finished trick-or-treating and you can use the streetlights on the rest of the way home. Maybe your friend has a flashlight.
Review by C.J. Bunce
Starting next Wednesday, September 17, 2014, the Bionic Woman is back. This time, in her third comic book series in the past two years, following Buffy the Vampire Slayer, The X-Files, and The Six Million Dollar Man, it’s a continuation of the original television series, right where the series last left our bionic heroine.
Dynamite Comics is publishing the new series written by Brandon Jerwa, with interior art by David T. Cabrera. Issue #1 features cover art by Sean Chen and Ivan Nunes and a photo incentive cover featuring Lindsay Wagner as Jaime Sommers.
So how does Issue #1 fare?
They have the introduction right, presumably to begin each issue like an episodes of the series. As to moving the series forward in continuity of the era, the tech gets a slight–but only slight–upgrade, with walkie-talkies replaced with wireless comm-links in Jaime’s ears. Dr. Rudy Wells and Oscar Goldman are back, too. So the setting checks out.
Back in early 2012 we reviewed one of several books released on movie poster artist Drew Struzan, a useful and interesting resource called The Art of Drew Struzan, reviewed here. It chronicles the best of painted motion picture advertising one-sheets that Struzan created, and even more enlightening, includes commentary by Struzan about his process and the politics and business of his years of leading the craft. The picture he painted wasn’t pretty, but despite his own roadblocks he is generally thought of as the best motion picture poster artist of the last 50 years.
Along with Struzan, another poster artist created posters that often could be confused for Struzan’s. That was the late poster artist John Alvin. Unfortunately Alvin did not document his own personal account of his creative and professional experiences, but his wife Andrea has put together a book that at least documents his most popular work, released this month by Titan Books as The Art of John Alvin. What we don’t know from any of the books we’ve reviewed on poster artists is how they might have competed for work over the years. Andrea Alvin makes no mention of Struzan, but seems to indicate Alvin was able to keep a nice niche of clients over the years, ranging from the decision-makers behind the movies of Mel Brooks, Steven Spielberg, Tim Burton, and the renaissance of animated Disney blockbusters.
Alvin’s work seems far more commercial compared to the paintings of Struzan, as can be seen in Alvin’s posters for Empire of the Sun (1987), Cape Fear (1991), Batman Returns (1992), Star Trek VI: The Undiscovered Country (1991), and Batman Forever (1995). But that doesn’t mean they were any less effective at drawing moviegoers to the theater, the entire point of the poster. The one-sheet for Empire of the Sun is often seen as one of the most memorable images in the history of movie posters.
The power of much of Alvin’s posters is the simplicity. In 1982 when the public first learned of a movie called E.T., the Extra-Terrestrial, the only thing we knew was a newspaper ad showing a wrinkled alien hand touching the hand of a kid, inspired by Michelangelo’s The Creation of Adam. His teaser poster was equally as effective—never did these pictures show E.T. himself. Those same images were reproduced on movie posters, cardboard standees, and eventually all over picture books sold via school book orders. Simple images, but lasting images, and what they didn’t show was part of the enticement to reel in an audience.
WELCOME TO EARTH-4
A Weekly Column with J. Torrey McClain
I love when a story starts me guessing like “The Wall of Darkness” by Arthur C. Clarke. I have so many notions of walls and barriers that once Clarke reveals there’s a mysterious black wall in the dark lands where the planet’s sun doesn’t reach, my mind immediately guesses likely conclusions.
Due to the surge in popularity of all things Game of Thrones, the Wall of Westeros first came to mind. A structure built of ice and stone to separate the civil from the uncouth and things unimagined. The dangers were so serious that an elevator is needed to get you to the top of the wall for it is so high. Would the wall of darkness be the same? What monsters must inhabit the lands devoid of starlight where the wall only becomes accessible at the highest days of summer? Would they be blind? Would they be legion, held back by the material of the wall, waiting for a foreign object to infest so as to spread throughout the light?
Then again, the other side of the wall could be something more akin to George R.R. Martin’s inspiration for the Wall – Hadrian’s Wall. On the other side might be a separate version of the planet’s inhabitants, people that have learned to live without the warmth and light of a star. They may have fashioned great cities lit by artificial light and have evolved in different ways while exploring cuisines that flourish in the night. (Think lots and lots of catfish sautéed in mushrooms.) Maybe this time it’s the Morlocks that are kind and just and they built the wall to keep out the Eloi. It’s much more romantic than thinking of the Romans and Scotsmen of the very earliest part of the AD centuries separating with a wall due to differences in distance over now adjacent time zones on the same continent. It’s more romantic to think of Starks and white walkers. As an earthbound human, our walls are just another case of separating ourselves from those that are “different.”
Is there something not quite right about a new G.I. Joe series that features a Joe team finally headed up by Scarlett, that is also titled “The Fall of G.I. Joe”? We’re guessing the juxtaposition of these two elements wasn’t intended to be some kind of causal thing. Instead we’re focused on plenty of cool covers released by IDW Publishing for the series, which is expected to ship its first issue in September.
G.I. Joe: The Fall of G.I. Joe will be written by Karen Traviss with interior art by Steve Kurth. Several covers will be available, from artists including Cliff Chiang and Jeffery Veregge.
Check out these covers from the new monthly. The cover style from Veregge makes us wish Phil Noto or Kevin Dart was also working on this series, and maybe provide some variant covers. Still, they do look like something we might have seen back in 1972 on the box covers for large-sized G.I. Joe action figures.