12/05/13 @ 11:07 am EST
Matt Wagner is one of the few creators who is lauded equally for his writing and his art. His characters of Grendel and Mage are mainstays of independent comics and his cover runs on Batman and Green Arrow are fan favorites. Wagner’s run on Green Hornet for Dynamite Entertainment is now being collected and Mike Raicht had a chance to speak to the double-threat creator about the series. MIKE RAICHT: I just wanted to start by saying that I am a huge fan of Mage, so thank you for creating such an extremely fun world and character. As a creator, do you find yourself approaching your own characters like Grendel and Mage differently than you do your work for hire characters? MATT WAGNER: I can’t really say there’s a huge difference in approach. My main concern in all cases is to tell an engaging story and, hopefully, one that has some lasting resonance for the reader. Certainly, in the case of my own creations, I’m the final authority on anything that happens in the narrative. But I also enjoy a pretty free hand with most of the work-for-hire characters I write. Part of that is my place and cachet in the industry at this point in my career. But I also want to give due credit to Dynamite for extending me that freedom as well. They really do try their best to give their creators the most freedom possible when it comes to working on licensed characters. MR: What drew you initially to starting with this particular Green Hornet: Year One storyline? Was this a time period you always wanted to explore or was it something you only recently became interested in? MW: Well, part of it was the time period…yes. Anyone who knows my work on Sandman Mystery Theatre knows that I have a real affinity for that era in American history. Plus, I love the atmosphere and trappings of pulp fiction. Even though, technically speaking, The Green Hornet was a radio character; his stories certainly had a pulp-ish vibe to them. I guess I’ve always had an interest in this time period because my parents were slightly older, of the WWII generation, and so I have a somewhat inherited nostalgia for those times via them. So, when Dynamite was developing The Green Hornet as a legacy character, spanning several different time frames and personas, it only made sense that I’d be drawn to the original, “Golden Age” version of the character. MR: Is there a specific story or moment in the Green Hornet and Kato’s history that you draw on for your take on them? MW: When it actually came time to work on the Hornet, I was kinda surprised to find that he really didn’t have an already-existing origin tale. I say surprising because the character was spawned by the same duo who created The Lone Ranger, George W. Trendle and Fran Striker. In fact, the two characters are supposed to be related (The Hornet is The Ranger’s great nephew) and their motifs are nearly identical; both wear a mask and operate outside of the law, both have a specialized weapon, both have a super-fast method of transportation named after a color, both have an ethnic partner/sidekick and both have an odd, up-tempo piece of classical music as their themes songs. Anyway, The Ranger has a very distinct and specific origin that was featured on the radio program and is pretty well known. Not so with The Hornet, who’s already established in his role as a crime-fighter (but publicly perceived as a masked villain) from the very beginning of his radio adventures. So, the fact that I would get to define the origins of this iconic character all on my own was a real attraction. One of the things I wanted to do was re-define Kato’s role into more of an active partner in The Hornet’s adventures. In the radio version of the narrative, he’s really little more than The Hornet’s chauffeur and confidant. He doesn’t often participate in the actual crime-busting activities, per se. He was really more of a supporting character. That all changed with the 1960s TV version that featured the incredibly magnetic Bruce Lee as Kato. Suddenly, Kato was a much more active character, always at The Hornet’s side when confronting bad guys and often at the forefront of every battle. I wanted to push that even a bit further and show Kato as a vital factor in the actual shaping of Britt Reid’s masked crusade. So, I started my story by featuring both of them from a very young age and then developing into the men they would eventually become. I knew they had to meet and connect under dire circumstances to form a powerful, battlefield bond and so I chose the Japanese invasion of mainland China in 1937 as the crucible that would forge their partnership. MR: You’ve made a career out of working on masked (and sometimes unmasked) vigilantes of some sort or another. What makes Britt special as The Green Hornet? What separates him from the crowd? MW: Britt’s origin isn’t spawned from tragedy (unlike The Lone Ranger), which is somewhat unusual in this sort of narrative. Super-heroes origins are most often grounded in tragedy as the impetus for the hero’s adventures to begin. But, Britt already has a civic-minded mentality seeded in him by his father who was a crusading journalist. Britt wants to do well by society and strives in everything he does to contribute to the world’s betterment. He comes to his masked identity fairly reluctantly, feeling himself pushed into striking back at the criminal elements that threaten his home town in a manner outside of the printed page, the medium with which he’s most familiar. Since he’s a journalist, it made sense to really explore every particular aspect of The Hornet’s origin—writing it as a bit of an exposé. Thus, I started when both he and Kato are quite young. I spend some time getting him to the position where he must consider another alternative for what he wants to achieve and then we see how every motif of the character is developed; how they come up with the idea of masked alter-egos, why he becomes a “green hornet”, how they get the secret hideout, how they develop the “Hornet’s Sting”, how they get the Black Beauty, etc, etc… You can’t really take this approach with every character but, again, because of Britt’s journalism background, I thought it really worked in this case. MR: The Green Hornet and Kato have an interesting relationship, as most heroic duos do – what makes this duo special? How do you approach the dynamic between them to their interactions fresh? MW: Like I said, I wanted Kato to be more of Britt’s equal in the narrative. And, in many aspects, Kato is superior to Britt; he’s really Britt’s mentor in the ways of shadow warfare. Of course, this being the time frame that it is, I also wanted to overcome some of the racial stereotyping and so that also led me to give Kato a much more enhanced role. Again, in this time frame of “proper” American society, Kato has to appear to be Britt’s servant but they both know that isn’t really the fact. The biggest connection between the two characters is the fact that they share a highly developed sense of honor, duty and morality that they both learned from their respective fathers. These are both good guys and, in the end, that’s what makes them a team…and heroes. MR: Like a lot of Dynamite books, there is a definitive sense of time and place to their titles. I felt like when I was working on Dark Shadows the 70’s era became a character all of its own in my effort to write the title. What aspect of the 30’s were you most cognizant of bringing forward as you wrote this initial tale? MW: Well, again, I’d already done quite a bit of work set the 30s—nearly five years, monthly, on SMT. So, it was all fairly easy to slip right back into that vibe again. I’m finding the same sense of ease and familiarity in my writing on The Shadow: Year One for Dynamite as well. MR: Is this the first time you worked with the amazing Aaron Campbell? What do you feel he brings to the table as an artist and collaborator? MW: Yeah, this was my first (and, so far, only) collaboration with Aaron and I can’t sing his praises enough. He’s an incredibly talented and dedicated artist and absolutely managed to bring this entire world to life in such a distinct and believable fashion. He really made the reader feel like they were in the 1930s and yet gave the narrative such a contemporary vitality as well. I particularly loved his version of Kato. As I said earlier, the Bruce Lee version of the character looms large in everyone’s mind but Aaron managed to give our Kato his own unique appearance and personality. He’s a fabulous artist. MR: Now that your Year One arc is over, do you feel as if you accomplished everything you set out to do with the character? Do you have any Green Hornet itches you still need to scratch? MW: No, Year One was my kitchen-sink take on the character. Like I said, I had the opportunity to explore every aspect of the character, introduced all his familiar motifs and established supporting characters, and also left the tale wide open for many more adventures to come at the end. I accomplished everything I set out to do and feel like anything more I could add would be redundant. Time to let other talented writers pilot Britt and Kato through the remainder of their Golden Age adventures…which they’ve doing quite nicely. MR: Let’s wrap up by telling us a little about your future creative plans at Dynamite and beyond. What can you tell us about work on the horizon for you? MW: Well, as I mentioned, I’ve also had the absolute thrill of turning my Year One lens of another of my absolutely favorite vintage characters—The Shadow. Unlike Britt’s tale, The Shadow as a character inherently doesn’t lend himself to a total exposé type of tale. I feel it’s important to maintain a certain sense of mystery in this case and thus keep The Shadow somewhat still hidden in the shadows…while also exploring his origin at the same time. It’s a completely different sort of narrative challenge and I am having a blast with it. Working with The Shadow, in turn, led to my next big project…and the first sequential project I’ve both written and drawn in almost five years, a cross-over publishing event between Dynamite and Darkhorse and featuring The Shadow going head-to-head against my own character, Grendel. This is one of those dream projects you never dare to dream about as a young creator but…here I am, livin’ that dream! GRENDEL VS THE SHADOW should premiere in 2014. http://www.bleedingcool.com/2013/12/03/matt-wagner-talks-the-history-of-the-green-hornet-both-in-and-out-of-comics/
04/17/24 @ 3:23 pm EST
This summer, Werewolf By Night embarks on new adventures so violent and bloody, it can only be told in Marvel’s new Red Band format! WEREWOLF BY NIGHT, Jack Russell’s new solo ongoing series, will be written by Jason Loo, writer of the upcoming Werewolf By Night: Blood Hunt one-shot, and drawn by artist Sergio Dávila, known for his bold work on titles like Venom and Thor. Marvel’s premier horror icon will undergo a startling transformation during Blood Hunt that will cause his upcoming battles and hunts to be too graphic for some readers. Labeled with a Parental Advisory and polybagged to keep those weak of heart from experiencing its intensity, WEREWOLF BY NIGHT will mark a new chapter in the character’s 50-year storytelling history as Jack gets his claws, fangs, and fur blood-soaked like never before! FULL MOON RISE – WEREWOLF KILL! Jack Russell has been trying to live a simple life – but in the deadly and dramatic wake of the Blood Hunt, his life is about to be turned upside down in ways he never imagined! With new enemies hoping to extract a (literal) pound of flesh and Jack unsure if he can be trusted around old allies and a lost love, the original WEREWOLF BY NIGHT is in for the fight of his life…and he’s in it alone! “I give Jack Russell a taste of the life he wants before the Blood Hunt event rips it away and leaves blood on his hands,” Loo shared. “His new journey is to find redemption while figuring out his new lycanthropic transformation. No one is safe when the full moon is out. But luckily, Elsa Bloodstone is around to keep him in check.” “Our team is delivering a very metal, monster comic and we’re not holding back,” Loo continued. “I’m both shocked and impressed at myself for conjuring up these gruesome scenes from the dark recesses of my mind, then seeing them come to life with every gory detail thanks to penciler Sergio Dávila and inker JP Mayer, as our editors keep giving us the thumbs up of approval. This is literally our smash room in a Red Band comic.” “This has been a great experience,” Dávila added. “Jason Loo is writing a very wild Werewolf By Night and I’m having a lot of fun with the character. I’ve always enjoyed taking characters to the extreme and Werewolf By Night is someone very much tormented by his inner self, so this is a book full of intense action and lots of blood!” Check out E.M. Gist’s cover and preorder WEREWOLF BY NIGHT #1 at your local comic shop today! ...
04/17/24 @ 3:18 pm EST
Krakoa may fall, but the world is still mutantkind’s for the taking in NYX! Announced last week, the new series set in the upcoming From the Ashes era will explore how mutants navigate returning to the big city. Written by Collin Kelly and Jackson Lanzing and drawn by Francesco Mortarino, NYX won’t shy away from reflecting the harsh realities of life as a mix of iconic and fan-favorite mutants reenter a world filled with bigotry, mistrust, and misinformation. Without the X-Men’s guidance and Krakoa’s protection, they’ll shut out the noise and overcome the hate by doing what they do best—EVOLVING. But if you can count on anything, it’s that mutants are never all in agreement, and some are having a really hard time letting Krakoa go… Today, fans can see a new assortment of variant covers for the debut issue! Brought to you by acclaimed artists Rogê Antônio, Stanley “Artgerm” Lau, and Todd Nauck, the three new pieces spotlight Laura Kinney, AKA Wolverine, who made her comic book debut in the groundbreaking original NYX series as X-23. Throughout the new series, watch her do what she does best as she hunts down violent anti-mutant oppressors in the darkest corners of the city! Check out all three new covers now and preorder NYX #1 at your local comic shop today!
04/16/24 @ 9:01 pm EST
Elektra isn’t done with the Daredevil mantle just yet! Spinning out Saladin Ahmed and Aaron Kuder’s thought-provoking run of Daredevil, Elektra will embark on an all-new solo adventure this July in DAREDEVIL: WOMAN WITHOUT FEAR. The series will mark writer Erica Schultz’s return to the character, following her work on Daredevil: Gang War. Schultz will be joined by her Hallows’ Eve collaborator Michael Dowling. Elektra as Daredevil has been a celebrated evolution of the character, and her latest mission promises to be her most intense yet as she heads to the deadly streets of Madripoor to take on Crossbones, the new Punisher, and more. Readers will learn what pushes Elektra towards this quest in July’s DAREDEVIL #11, a show-stopping issue where Matt and Elektra’s will have a brutal showdown with Bullseye and Kingpin! After the stunning events of DAREDEVIL #11, Daredevil’s allies are left more vulnerable than ever before. If they’re able to survive, it will fall to Elektra and Matt Murdock to not only save their city as Daredevil, but also protect the people they love the most as they’re targeted by some of the most dangerous, violent elements the Marvel Universe has to offer! “To say that I am excited about writing Daredevil again is an understatement, Schultz shared. “I love the mantle of Daredevil, but I really love Elektra as Daredevil. Having written both Matt and Elektra wearing the red DD, I kind of lean toward the latter now!” Check out the covers for both DAREDEVIL #11 and DAREDEVIL: WOMAN WITHOUT FEAR #1 now and preorder them at your local comic shop.
04/16/24 @ 8:56 pm EST
James Gunn’s “Superman” has cast veteran character actor Pruitt Taylor Vince as Jonathan Kent aka Pa Kent, TheWrap is reporting. Jonathan Kent is Superman’s adopted father who finds the superhero when he first arrived on Earth as an infant in a Kryptonian spaceship in the fields of Kansas. The role was previously played by Kevin Costner in the 2013’s “Man of Steel,” and Glenn Ford in 1978’s “Superman.” “Superman” is the inaugural DC Studios film which is currently in production, which is part of “Chapter One: Gods and Monsters” of the relaunch of the new DC Universe. “Superman” will be released on July 11,2025.
04/16/24 @ 2:24 pm EST
Skybound and Image Comics today unveiled a chilling first look at Dark Ride #12, the epic series finale from the iconic Birthright team of writer Joshua Williamson (Duke, DC’s Superman), artist Andrei Bressan (DC’s Justice League Incarnate), colorist Adriano Lucas (DC’s Nightwing), and letterer Pat Brosseau (Creepshow). The finale of the acclaimed amusement park horror series arrives in comic book shops on May 15, 2024. "Thank you to everyone who bought the Dark Ride series,” said Joshua Williamson. “It has been great to find so many readers who were looking for a series that mixed two things that I'm obsessed with...horror and amusement parks. From the start the series was about horror and sacrifice, but it was really about family and letting go. Andrei, Adriano and Pat have done fabulous work on this series, and this is our second go around with doing a book from start to finish together. They are a team that I would ride a rollercoaster into hell with, and I look forward to our next projects together. Keep your arms and legs inside the ride vehicle, because this last issue is a dangerous one." Arthur Dante’s most haunting creation yet is brought to life, and a final sacrifice must be made to take control of Devil Land. But who will it be? Dark Ride #12 concludes the impressive variant cover lineup that has run throughout the series. In addition to the main cover by Andrei Bressan and series colorist Adriano Lucas, Dark Ride’s Cover B variant features a frightening collage of Halloween and Danny D. Evil with an issue #12 cover by Caspar Wijngaard (Home Sick Pilots), while Cover C spotlights Devil Land’s femme fatale and horror aficionado, Halloween, by Luana Vecchio (Lovesick). Additionally, megastar creator Tony Fleecs (Stray Dogs, Star Wars Adventures) continues art directing the classic homage poster variant program that has run throughout the course of the series. The 1:25 incentives now span the Cover D slot of Dark Ride’s third arc, with Jay Fosgitt (Star Trek) at the helm for issue #12. "I can’t wait for readers to take one final ride and finish our saga at Devil Land!” said series editor, Amanda LaFranco. “From the very beginning, Josh has been weaving a tale of family horror and laying down the pieces for this big finale, from Arthur’s very first deal with the Devil, to the sacrifice now placed in the hands of each member of the Dante family. The entire creative team has been on fire for this final arc, and Josh, Andrei, Adriano, and Pat have been hellishly delighting on every page. I’m excited for readers to see what we’ve been building to.” Dark Ride #12 (Lunar Codes below SRP: $3.99) will be available at comic book shops and digital platforms including Amazon Kindle, Apple Books, comiXology, and Google Play on Wednesday, May 15, 2024. The full list of covers is below: Dark Ride #12 CVR A by Andrei Bressan and Adriano Lucas (Lunar Code 0124IM243) Dark Ride #12 CVR B by Caspar Wijngaard (Lunar Code 0124IM244) Dark Ride #12 CVR C by Luana Vecchio (Lunar Code 0124IM245) Dark Ride #12 CVR D (1:25 Incentive) by Jay Fosgitt & Tony Fleecs (Lunar Code 0124IM246)
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04/16/24 @ 2:19 pm EST
Warner Bros Pictures Animation is heading to the Discovery vault to adapt its Animal Planet series Meerkat Manor into an animated feature. Think Happy Feet: That George Miller-hatched franchise, which centered around tap-dancing penguins, raked in over a half-billion dollars at the global box office.Warner Bros. Discovery’s Animal Planet first aired Meerkat Manor in 2005, with the series becoming the network’s highest-rated show over its four seasons. The Emmy-nominated series reached 204 million households in more than 160 countries on the Animal Planet platform alone.The docuseries followed the Whiskers, a family of meerkats, as they struggled to survive in South Africa’s Kalahari Desert. Similar to Happy Feet, Warner Bros Pictures Animation will use photoreal animation to capture the Whiskers for their feature film debut.The Meerkat Manor movie will be produced by Seth Green and Tracy Falco of The Green Room. The film’s EPs are original series creator Caroline Hawkins as well as Clare Birks of Oxford Scientific Films. OSF is owned by ITV Studios. (via Deadline)
04/16/24 @ 2:15 pm EST
In the X-Men’s upcoming From the Ashes era, one of the team’s most crucial members goes solo! Announced last week, Jean Grey will become a galaxy-traversing super hero in Stephanie Phillips and Alessandro Miracolo’s PHOENIX. Emerging from the explosive finale of Krakoa with renewed purpose, Jean embraces what was always hers: the breathtaking power of the Phoenix Force. Alone in space, she not only must do what no one else can: she yearns to. Whatever Jean does – or fails to do – will bring darkness to the universe and haunt her in ways she can scarcely imagine… Today, fans can see her reborn on an assortment of new variant covers for the debut issue! Best-selling cover artists Aka and Rose Besch spotlight Jean’s new Phoenix costume, designed by series artist Miracolo. Both pieces will also be available as virgin variant covers. In addition, iconic Phoenix artist Greg Land reminds readers how terrifying the Phoenix can be with an incredible depiction of Dark Phoenix. Check out all three covers now and preorder PHOENIX #1 at your local comic shop today!
04/15/24 @ 9:43 pm EST
Keanu Reeves (John Wick franchise) has been tapped to voice the role of Shadow in Paramount Pictures‘ Sonic the Hedgehog 3, Deadline has confirmed. Paramount had no comment, but Reeves joins an ensemble led by Ben Schwartz, who plays Sonic. In all three films, James Mardsen plays Sonic’s human ally, Sheriff Tom Wachowski, with Jim Carrey as the mad scientist Dr. Robotnik. The Sonic the Hedgehog franchise launched with a 2020 film of the same name, which grossed over $319M worldwide and was followed up with a hit sequel in 2022. Jeff Fowler has served as the director for all three films, with the newest to hit theaters on December 20.
04/15/24 @ 9:41 pm EST
Over the last few years, readers have gotten to experience all-new mutant sagas from the mastermind behind the X-Men’s most influential stories—Chris Claremont! The groundbreaking writer has introduced a multitude of hit limited series that fill in the gaps of X-Men canon, answering dangling questions and adding further depth to his historic and unparalleled run on the franchise. To celebrate Wolverine’s 50th anniversary this year, Claremont is back with artist Edgar Salazar for an all-new Wolverine story set during one of the X-Men’s most beloved eras in WOLVERINE: DEEP CUT! WOLVERINE: DEEP CUT sees Claremont return to the period when the X-Men operated out of the Australian Outback, and Wolverine was jetting off on secret adventures around the globe in his first solo series, also penned by Claremont. Now, witness Wolverine’s untold hunt before the Reavers’ brutal attack brought the X-Men’s time in Australia to a tragic end in Uncanny X-Men #251. OUT OF THE OUTBACK ON A LIFE-AND-DEATH MISSION! Logan sets off from the outback, leaving behind what was left of the X-Men, for a mysterious mission. After decades of mystery, Claremont reveals just what Wolverine got up to before his unforgettable battle with the Reavers! Featuring sinister revelations and claw-to-claw confrontations with Sabretooth, this is an ideal entry-point Wolverine story for new and long-standing fans alike that simply cannot be missed! “One of the amazing things about Chris Claremont’s work is how rich and multi-layered his X-Men stories have always been,” Editor Mark Basso shared. “In Uncanny X-Men #246, he had to move Wolverine off-stage to get to the plethora of other characters and plotlines he had going. DEEP CUT is going to finally step back and show what there just wasn’t time or space to show of Wolverine before he returned in #251, and make good on that title in all senses of the word! And, in true Marvel fashion, the story here will stand completely on its own, so if you have no idea what those plots entailed, rest assured you’ve got a complete adventure in this series.” WOLVERINE: DEEP CUT will be Claremont and Salazar’s latest “retro pick” adventure with Wolverine, following the Wolverine: Madripoor Knights series that launched earlier this year. Check out Phillip Tan’s WOLVERINE: DEEP CUT #1 cover and be there for the next Chris Claremont-penned mutant saga with this untold story of Wolverine’s most personal mission! ...
04/15/24 @ 12:37 pm EST
As it crossed the $1B international box office milestone this past weekend, Warner Bros again owned the frame with Godzilla x Kong: The New Empire and its third session haul of $33.7M from 71 markets. That was good for a 47% drop from the previous weekend and lifts the overseas cume to $278.6M and global to $436.6M. Meanwhile, WB and Legendary’s other major title in the marketplace, Dune: Part Two, now has a shot at getting to $700M worldwide. While 2024 may end up down on 2023, coming out of last week’s CinemaCon exhibition conference, it’s not all doom and gloom — something heard in a refrain — as several titles continue to post solid numbers. There’s also plenty of local play doing great business, notably in Japan this frame where the 27th movie in the Case Closed series, Detective Conan: The Million-Dollar Pentagram, has opened to a franchise best launch of $21.8M, including $1.5M from only 50 IMAX screens. Universal/DreamWorks Animation’s Kung Fu Panda 4 added five markets this weekend, kicking up another $25.9M in 81 total (just 39% down in the holdovers). The offshore cume is now $279M for $452.6M global. Excluding China and Russia, KFP4 has topped Kung Fu Panda 3 overseas and is now the second biggest global DWA franchise behind Shrek. (via Deadline)
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