Genre favorite Jenna Coleman is back, this time not as the friendly companion in Doctor Who, but as Johanna Constantine in The Sandman, a new series coming to Netflix this summer. Based on Neil Gaiman’s series of graphic novels from DC Comics, it’s a dark fantasy tale of another world, a place called the Dreaming, the realm of The Sandman, Master of Dreams, played by Tom Sturridge(Far from the Madding Crowd). “When Dream is unexpectedly captured and held prisoner for a century, his absence sets off a series of events that will change both the dreaming and waking worlds forever.”
The trailer reveals a British production that has the look and vibe of the Twilight and Harry Potter movie series, and it features a long list of familiar genre faces, including Potter’s David Thewlis, plus Alien3 and Bleak House’s Charles Dance, The Hobbit and V for Vendetta’sStephen Fry, Star Wars: The Force Awakens’Gwendoline Christie, Logan and The Predator’sBoyd Holbrook, and Veronica Mars’Kirby Howell-Baptiste.
If you’re a fan of Charles Vess or Neil Gaiman–or both–chances are you’re familiar with their award-winning series and four-part illustrated book, Stardust. Twenty-two years later Vess has compiled dozens of in-process sketches, paintings, and preliminary creations and along with images of Gaiman’s original notations fans will find them all in the new book, The Art of Neil Gaiman and Charles Vess’s Stardust: An Informal History, available now here at Amazon. It’s not every day fans of fantasy artwork get a chance to look inside the creative process of one of the genre’s favorites. Take a look inside, in our preview below.
If Neil Gaiman’s prose adaptations of historical works haven’t held your interest, perhaps this new visual adaptation of his novelistic collection of stories in Norse Mythology may be a better entry point. Adapted by writer-artist P. Craig Russell (whose adaptation of Richard Wagner’s The Ring of the Nibelung should be required reading for all graphic novel enthusiasts), this new series is sure to get those with Viking heritage their needed fix for all things Nordic. Thanks to key visual contributions from Russell and artists Mike Mignola, Jill Thompson, David Mack, and Jerry Ordway, and color work by Dave Stewart and Lovern Kindzierski, get ready to get immersed in some ethereal, surreal, classical surroundings with the stories of Thor, Loki, Odin, and more.
With Amazon Studios releasing a new, full-length trailer for its six-part series Good Omens, showrunner Neil Gaiman discussed his creative process for the book and the show at this weekend’s South by Southwest (SXSW 2019) conference and festival in Austin, Texas. Check out his panel interview below, with Gaiman discussing the series and his creative process. Gaiman co-wrote the novelGood Omens on which the series is based with Terry Pratchett way back in 1989. Pratchett passed away in 2015, and now, led by Gaiman’s efforts, twenty-nine years after its creation the book is on its way to a TV adaptation later this spring.
In Good Omens the end of the world is coming, and opposite personalities in the form of an Angel and Demon are brought together to form an unlikely alliance to stop Armageddon. They have lost the Antichrist, an 11-year-old boy unaware he’s meant to bring upon the end of days, sending the pair to find him and save the world before… The End. The series combines the talents of Douglas Mackinnon, who directed episodes of Sherlock and Doctor Who, and it stars David Tennant(Doctor Who, Jessica Jones, Harry Potter and the Goblet of Fire, Viva Blackpool) and Michael Sheen(Passengers, Doctor Who, Tron: Legacy, Frost/Nixon, Alice in Wonderland). Other big names appearing in the series include Benedict Cumberbatch(Sherlock, The Hobbit, Star Trek Into Darkness), Jon Hamm (Baby Driver), Miranda Richardson (Harry Potter and the Deathly Hallows, Muppets Most Wanted), Mark Gatiss (Sherlock), Michael McKean(Clue, Laverne and Shirley), David Morrissey(Doctor Who, The Walking Dead), Frances McDormand(Fargo, Three Billboards, Isle of Dogs), and Brian Cox(Shetland, RED, Doctor Who).
First, take a look at the new full-length trailer for the series, followed by the discussion with Neil Gaiman this weekend at SXSW 2019, and a brief behind-the-scenes featurette:
Chilling Adventures of Sabrina is the rare show that tries to be many things and actually succeeds at them all. If you are looking for the ideal way to spend this Halloween, absent a Buffy the Vampire Slayer marathon, you’re not going to find a better TV pursuit than this new Netflix series. It features a captivating lead in its teenage witch Sabrina, played perfectly by Kiernan Shipka, who shows every frustrating feeling, emotion, and indecision any teenager must go through, reflected in a mythology-rich world with enormous stakes. Sabrina is a kid–a smart kid, but still a kid–so she makes the kind of mistakes teenagers make. Raised in the occult world by a family of witch aunts and a warlock cousin, Sabrina is a half-breed (her mother was human, her father a high priest in the dark arts), but viewers will see she shares some commonality with Hermione Granger from the Harry Potter books–she’s loyal, she’s book smart, she’s street savvy, and conscientious, dabbling in the magical world. She also is trusting and able to be manipulated by the adults around her. She may not be the fully realized, badass, confident heroine everyone wants to see–just yet–but by the end of Season 1 she’s well on her way.
The series protagonist is actually not Sabrina, but a demon who takes over the body of Michelle Gomez‘s Ms. Wardwell, a teacher at Sabrina’s mortal-realm high school, an ever-present mentor steering her out of dilemmas when Sabrina’s aunts fail to give Sabrina the help she wants. Gomez, who played Doctor Who’s #1 nemesis The Master, is even more engaging here, fully inhabiting a character whose motivations are hidden by a fog–a blurred reality paralleled by a clever fuzzy tweak in cinematography throughout each episode. Sabrina’s aunts, played by Miranda Otto, The Lord of the Rings #1 heroine who saved Middle-earth (“I am no man!”) and Lucy Davis, the #2 female lead in the WWI era of the movie Wonder Woman, unite to create a classic duet in the spirit of Arsenic and Old Lace. Otto’s Zelda is strict and a devout believer in her dark religion, Hilda a sweet and doting aunt who gets excommunicated for her support of Sabrina. All three actresses bring their genre star power to the series, providing a jolt of heroine gravatas to support the title character.
Sabrina is approaching her 16th birthday, when she must choose between the world of mortals and the world–and protections–of the witching world. She must decide whether she will relinquish her decision-making from then on to the devil himself or take her chances as a mortal. She is surrounded by those she thinks she can trust and others whose motivations are hidden in a dark world of several levels of good and evil. Making sense of the darkness and evil and placing a pantheon of 56-old comic book characters he rejuvenated in the pages of Archie Horror comics four years ago onto the screen for a new audience is Roberto Aguirre-Sacasa, chief creative officer of Archie Comics, and executive producer and writer for the comics and CW’s Riverdale and Netflix’s Sabrina. Quite shrewdly, Sacasa doesn’t comment on the dark religion of the series or any political stance his characters may reflect, instead letter the viewer bring their own value set to the show and making their own analysis. Who do you want to cheer for, the equivalent of Darth Vader or Princess Leia in science fiction, or Sauron or Eowyn in fantasy? Sacasa pulls from age-old classic stories, like Cain and Abel from the Bible, W.W. Jacobs’ The Monkey’s Paw, John Carpenter’s films including The Fog, Arthur Miller’s The Crucible, Robert Eggers’ The Witch, Neil Gaiman’s Sandman, and a classic horror film mirrored in the comics that might be a spoiler for Season 2–so we’ll hold that title back for now.
It helps to know upfront that Scottish comedian and personality Frankie Boyle always wanted to write comics. His inspiration wasn’t from the decades of superhero comics, but Alan Moore, whose attitude, as Boyle sees it, was “that comics had sort of run their course.” A fan of the writing of Ed Brubaker, David Lapham, and Jason Aaron, Boyle embarked on an ambitious project, asking “what sort of comics do you write after comics have been done already?” The result was first published in serial format in Mark Millar’s short-lived CLiNT magazine, and with two new chapters to wrap up his story a complete, graphic novel-length story arrives next week from Titan Comics, called Frankie Boyle’s Rex Royd.
Ambitious is the key word to describe Rex Royd. At its worst, Boyle has touched on Alan Moore’s outrageous depravity as seen in his Lost Girls. At its best, Boyle has created a character that will appeal to fans of the disconnected and dispassionate Dr. Manhattan and the idiosyncratic and self-absorbed Ozymandias in Moore’s acclaimed Watchmen series. With his protagonist, the Lex Luthor-esque supervillain scientist and CEO Rex Royd, Boyle has created a brash reflection of non-mainstream comics in the pre-Marvel Cinematic Universe era. His “hero” is like Ian Fleming’s James Bond if you remove all the tropes that make us actually like Bond, all the fun things that keep us coming back for more and not just dismiss the character as a misogynistic, unexpurgated blunt instrument. Boyle is fully in on this, as his lead female character Eve–as in the biblical partner of Adam–resembles Bond’s confidante Eve Moneypenny in the last two Bond movies.
And yet, Rex Royd—the book–is like a writing experiment. What do we get if we take out all these good elements and swap in the dark outcomes? So it sometimes reads like Neil Gaiman writing a 24-Hour Comic (I’ve read that, this is probably better), but then, as in the ninth and final chapter of the book, we’re surprised with a clever sort of play on Thornton Wilder’s Our Town, with some Harvey Pekar-inspired attempts at making some meaning of it all. So there’s a lot going on. If you find linearity and deep meaning in the book, well, the joke may be on you, as the author has said when the artists needed some of his script to be explained, his response was, “It’s supposed to be a joke.”
Most of the world knew Roger Zelazny for his fantasy and science fiction short stories and novels. Neil Gaiman has cited Zelazny as his greatest influence. In his 58 years Zelazny won three Nebula awards and six Hugo awards, and is best known for The Chronicles of Amber. His “A Rose for Ecclesiastes” was included in the DVD collection Visions of Mars: First Library on Mars, taken onto the Phoenix Mars lander in 2008. In 2008 an unpublished novel was located, a crime thriller by Zelazny called The Dead Man’s Brother, and Titan Books’ Hard Case Crime imprint published it for the first time ever in 2009. We’re reviewing it here as part of our excursion into lost novels and our “Retro Fix” series for fans who thought they’d read the entirety of their favorite authors’ works. Previous works reviewed here include lost novels by Michael Crichton, James M. Cain, Donald E. Westlake, Lawrence Block, Gore Vidal, and others, as well as several forgotten classics of science fiction, fantasy, and pulp noir. In an afterword by the author’s son Trent Zelazny, he comments on his father and writing genre, “Great writers will never hold back due to genre. They will tell the story they want–or must–in spite of the limiting labels designed by publishers. They don’t think of themselves as science fiction writers or mystery writers or western writers. They think of themselves simply as writers, period.”
In Roger Zelazny’s crime thriller The Dead Man’s Brother, his hero Ovid Wiley runs Taurus art gallery in New York. Wiley is a former art smuggler and also a former CIA operative whose genetics (explained in the book) reflected a type of super soldier tendency. At present, the early 1970s, Wiley had cleaned up his act for the most part, still in the art world buying and selling artwork as a respectable art dealer. In the first scene we meet Wiley entering his gallery to find the dead body of his former partner in crime, a man he had neither seen nor thought about in several years. Wiley is then accused of his murder, but the CIA intercedes. It turns out they could use his unique skill set and familiarity with Rome specifically to earn a “get out of jail free” card by finding a missing priest alleged to have stolen millions from the Vatican. Wiley begrudgingly agrees, and his investigation re-introduces him to the dead partner’s girlfriend and finds the embezzling priest dead. Before he gets accused of that murder, he takes the girlfriend in tow and heads to Sao Paulo, Brazil, to locate the dead man’s brother. He is imprisoned and tortured by locals for days, getting into a bizarre national conflict he has no interest in. Armed with a machete and thoughts of revenge, he ventures home with a package and secret information.
Fans of Zelazny’s writing are the real target for this novel. The tale is not particularly gripping, yet readers will stick with Zelazny to the end simply to see what completely insane circumstance his hero is going to get involved with next. The Dead Man’s Brother often reads like an early draft–many stream-of-conscience paragraphs pepper the plot that conjure the image of a writer who sat “butt in chair” and wrote from beginning to end, intending to return with a few good edits later. Little is known why this novel was shelved, and it is only a guess that he wrote the book around 1970-1971. Was he merely experimenting with styles? Was he attempting to write his own version of an American James Bond or dabble with mainstream works? More than a few threads remain hanging by the end of The Dead Man’s Brother. Presumably he intended to return to finesse these once the novel was sold?
Both Neil Gaiman (Sandman) and Kevin Eastman (Teenage Mutant Ninja Turtles) tried it, but didn’t complete it in time. Professional comic book writers and artists and especially the combination writer/artist most likely have all heard of the 24-hour comic challenge, but not everyone has given it a try. Twenty-seven years ago comic book writer/artist Scott McCloud came up with the idea to improve his skills and speed in creating a 24-page comic book complete with story and art, which normally can take about 30 days. The result was not so much a contest but a personal achievement challenge like running a marathon or climbing a mountain. A new documentary titled 24 Hour Comic, directed by Milan Erceg, screened for attendees Saturday at the Marriott Grand Ballroom at San Diego Convention Center as part of San Diego Comic-Con.
Eight participants. 24 hours. Gravitas Ventures’ 24 Hour Comic follows an event hosted at my old local comic book shop, Things from Another World, in Portland, Oregon. 24 Hour Comic is both a celebration of the Portland comic book creator scene and a close-up look at eight individuals of differing levels as they each try to meet the challenge. Not everyone makes it to the end. Four-time Harvey Award and Eisner Award winner Scott McCloud appears in the film, describing the origin, process, and history of the 24-hour challenge, which is hosted by comic book shops, schools, and art studios around the world, often following a designated annual 24-Hour Comic Day. Eisner and Harvey Award winner McCloud wrote the useful guide to sequential art Understanding Comics: The Invisible Art and several other comic book art texts. He also compiled several attempts at the 24-hour comic in his book 24 Hour Comics, where he showcases the efforts of Neil Gaiman, Steve Bissette, Alexander Grecian, and others.
The rules can be found here, and are detailed in McCloud’s book. The biggest surprise having read about the contest and several 24-hour comics over the years was that I assumed the artists used standard comic book pages, those full-sized 11×17-inch art boards. In the film each artist uses what appears to be paper half that size, splitting each sheet into two full pages, which would seem to take less time to fill. Erceg introduces us to his eight subjects, each in different phases of skill, from a 13-year-old girl to a 16-time participant, a web creator, a design professional, independent creators, and an ex-creator returning to give the process another try. The final works for those who completed the challenge? We don’t get to read the entirety of the final books from any creator in the film, but the excerpts given are surprisingly polished. Far from the frantic scribbles you might expect from anyone missing a night’s sleep to work round the clock, the comics appear professionally done, clever, and humorous, reflecting each artist’s creativity and talent. The film is dotted with interviews by several well-known faces, including Dark Horse Comics president Mike Richardson, Dark Horse Comics editor-in-chief Scott Allie, cartoonist Batton Lash, and graphic novelists and digital creators Arnold and Jacob Pander.
The hour-long documentary provides a fair look at a cross section of a profession where the median income for a full-time comic book artist is about $38,896, according to the film. Although the challenge is not a competition per se, a few participants throw about some contrived and good natured trash talk to keep the film light-hearted. One participant had some interesting insights into the comic book profession, a bit of a creators’ quagmire: “You work on a project you don’t care about, but make good money, but you work on a project you do care about, and don’t make any money on it”–something reflected in many fields, no doubt. This is not a time-compressed look at the 24-hour period of this challenge, but provides interviews with subjects about their status at intervals throughout the day, night, and following morning. So to fill some of the time Erceg follows two subjects on a quick trip to Stumptown Comic Con, other subjects are interviewed at local studios or homes, and another is followed on a side trip to Seattle to discuss a commission project. The majority shared how difficult it is to succeed in the comic book industry, and one tried and left the industry after initial success because it couldn’t pay medical bills.
In the past three hours Walt Disney Studios released a new “teaser for a trailer” that premieres Monday, May 19, 2014, and promotes a live Q&A with the cast (details below). Guardians of the Galaxy won’t arrive in theaters until August 1, 2014, so we still have some waiting to do. If you missed the first trailer, check it out here. It’s one of the best previews for a superhero film we’ve seen in years. But while you’re waiting for the movie, you’ll want to read two great trade editions of a Guardians of the Galaxy series that will give you some background for this motley band of space rogues.
Guardians of the Galaxy, Vol. 1: Cosmic Avengers provides an update to these characters from the Marvel Comics stories of years past. It collects the four issue “Cosmic Avengers” mini-series and the one-shot “Tomorrow’s Avengers” stories from 2013’s Marvel NOW! line. Forget about mainstream, title-character superheroes. The Guardians are exciting and down-right fun. As a hook to bring these B-level heroes into the fore, Iron Man joins forces with the Guardians to protect the Earth from a nicely orchestrated attempt to eliminate Earth from the Galaxy’s stage prompted by a King from another world.
That King of Spartax visited Earth 30 years ago while he was very young, had a brief encounter with a woman, and a boy was later born—Peter Quill aka Star-Lord. Quill grows to dislike his dad, who he encounters years later. Along the way he meets up with Gamora, the daughter of the well-known Marvel villain Thanos, known as “the most dangerous woman in the universe”. Then there is the very large Drax the Destroyer, killer of Thanos, and a wrecking ball of an adversary. Which leaves the two best characters of the troupe, Rocket, a snarky, cocky, walking and talking raccoon with a vendetta against everything and everyone, and his trustee partner Groot, a brawny, walking and talking tree, whose only speech is the phrase “I am Groot” but who can be interpreted (via inflection, I’ll bet) to be saying any number of things by Rocket (think Han and Chewbacca). (Can’t wait to see how Vin Diesel gets to play Groot).
Just as Comic-Con celebrated the 20th anniversary of Jeff Smith’s Bone comic book series in 2011–and every year seems to bring another landmark to celebrate something–Neil Gaiman will be attending panels at Comic-Con this year promoting the 25th anniversary of his popular Sandman series, which ran until its 75th issue published ten years ago. Comic-Con will be featuring artwork by original Sandman artist Dave McKean on a new convention T-shirt and his work will be featured on the cover of the 2013 SDCC Program Guide, handed out to guests with one of several giant swag bags as with past years. Tied to the anniversary, DC Entertainment’s Vertigo imprint has amped up the promotion of a new six-issue prequel series to Sandman, titled Sandman: Overture.
Another follow-on to a classic comic book property? The difference between Sandman: Overture and Before Watchmen is Gaiman’s participation–he is not only endorsing the concept but unlike Alan Moore’s absence and disapproval of Before Watchmen, Gaiman is writing the story, with artwork by the stylish Batwoman artist J.H. Williams III and covers by both Williams and McKean. “This is the one story that we never got to tell,” Gaiman said in a Vertigo press release. “In Sandman #1 Morpheus is captured somehow. Later on in the series, you learn he was returning from somewhere far, far away – but we never got to the story of what he was doing and what had happened. This is our chance to tell that story, and J.H. Williams III is drawing it. It’s the most beautiful thing in the world.”
provides an update to these characters from the Marvel Comics stories of years past. It collects the four issue “Cosmic Avengers” mini-series and the one-shot “Tomorrow’s Avengers” stories from 2013’s Marvel NOW! line. Forget about mainstream, title-character superheroes. The Guardians are exciting and down-right fun. As a hook to bring these B-level heroes into the fore, Iron Man joins forces with the Guardians to protect the Earth from a nicely orchestrated attempt to eliminate Earth from the Galaxy’s stage prompted by a King from another world.
