Justice League

Star Wars Goes Cyberpunk

Action figure maven Sillof has given the Galaxy Far, Far Away steampunk and Western treatments. Now, he’s tossed the cast of the original trilogy in the Cyberpunk Nineties.

In this never-was era, Luna and Link Sourcecoder wage an information war against the tentacle-caped Darth Vector with the aid of veteran hackers Hak Slicer, Cyberhacka, and utopian tech guru Zen. Seeing these figures makes me wish he built a Jabba the Hutt as the bloodthirsty CEO of a pizza delivery franchise. Explains Sillof of these groovy custom figurines:

‘This line was actually one of the first redesign idea I had almost 15 years ago, in the 99, when I first started to redesign characters. The line is intended to have a 90s scifi aesthetic. It has some elements of Cyberpunk, The Matrix, Akira, Ghost in the Shell, etc. I envisioned the movie as a struggle by a group of rebel hackers struggling to break free from the oppressive system of control by a mega technological corporation that controlled all aspects of society.’

‘I really hope Rod₂ communicates solely through Crystal Method songs, Chip³ shills Pepsi in his off hours, and the villainous Bolt Volo has a gun powered by Compuserve.

Be sure to check out these gee-whiz sculptures with further detail and back story at Sillof’s site. And for more of his nifty creations, see the Steampunk and Western Star Wars, and the steampunk Legion of Doom and Justice League.’

Lego Batman 2 Trailer

Steel yourselves for a giggle fit because the launch of Lego Batman 2 comes with a suitably funny launch trailer. The free roaming sequel to the caped crusader’s first foray into the world of bricks promises more heroes, more villains and even more silliness and the trailer certainly delivers on that. Also, we finally get to see what it looks like when the Batmobile looses a wheel and the Joker gets away.

Lego Batman 2 is out now.

[youtube http://www.youtube.com/watch?v=SoOmSrrUsz8&w=853&h=480]

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Practitioners 46: Jim Lee

Jim Lee was born in Seoul, South Korea on August 11, 1964 and emigrated to the United States with his family at the age of four, growing up in St Louis Missouri. In Lee’s St. Louis Country Day School his classmates predicted he would found hi sown comic book company. Despite this, Lee seemed resigned to following in his father’s profession of medicine, studying psychology at Princeton University, with the intention of becoming a medical doctor. However, medicine’s loss was certainly going to be popular culture’s gain as Lee became one of the most influential and well known artists on the biggest selling comic book of all time. One that founded movie franchises and supported an ailing Marvel in the late ’90s and found some of the most famous comic companies in the world to rival it.

Lee’s rise to fame with Marvel Comics was inevitable as it was undeniable. In 1986, as Lee was preparing to graduate from his psychology degree, Lee took an art class that reignited his fascination with art at a time when seminal work such as Frank Miller’s Dark Knight Returns and Alan Moore’s Watchmen was reinvigorating the American comic book industry. With the psychology degree complete, Lee did something, with the reluctant blessing of his parents, that shows incredible courage and clarity of mind and self belief. He postponed his medical degree. The rest is without a doubt comic book history. He vowed he would return if he failed to break the comic book industry. Not something that should’ve worried him.

Submitting examples to various publishers, Lee did not see success until a New York comic book convention where he met Archie Goodwin, comic book editor (regularly cited as the ‘best loved comic book editor… ever), artist and writer who introduced him to Marvel Comics. Now it seems hard to believe that Lee was not snapped up immediately by the first commissioning editor to spot him but Lee exposes the nature of the industry. Retrospectively, artists are professional, passionate and confident in the style they work in and seem undeniable masters of their art but even the most capable artist can be subject to the pressures, misunderstandings, bad luck and bad timing of the industry. Lee began on Alpha Flight and moved over to Punisher: War Journal, his work there inspired by Frank Miller, David Ross, Kevin Nowlan and Whilce Portacio, as well as Japanese Manga.

Then came the crossing of two similar talents, one more senior than the other as Lee filled in for regular illustrator, Marc Silvestri on Uncanny X-Men 248, which was, due to positive response and Marvel’s own enthusiasm for Lee’s style followed up on issues 256 through to 258 as part of the ‘Acts of Vengeance’. The timing of this was key as X-Men, under Claremont was not only ground breaking and beautifully written at the time, it was on a meteoric rise in terms of popularity, beginning to challenge the more mainstream titles of Spider-man, Fantastic Four and Avengers. Eventually, Lee became Uncanny’s full time penciller, working for the first time with inker, Scott Williams, who would become his long time collaborator. To cement his position as an X-men innovator, Lee co-created the smooth talking mutant thief Gambit, with Chris Claremont. Lee’s popularity crystallised in these months, becoming more and more representative of what fan’s wanted. He gained increasingly greater control of the franchise and in 1991, Lee helped launch the second X-Men series, X-Men (Volume 2). He did so, not just as artist but as co-writer alongside Chris Claremont, giving the book a more broad and cutting edge feel to it’s perhaps more thoughtful predecessor. X-Men 1 was raw edged, fun comic book pinned with the wisdom and knowledge of an older and more restrained writer. Lee pushed Claremont’s boundaries while Claremont restrained the more inexperienced artist to just the right degree. The result was comic book history and rightfully so. However, Lee redesigned costumes, entirely successfully for Cyclops, Jean Grey, Rogue, Psylocke and Storm as well as creating villain Russian Super Soldier Omega Red.

X-Men 1 (Vol 2) remains the best selling comic book of all time with sales of 8.1 million (and nearly £7 million). This was confirmed in a public declaration by the Guinness Book of Records at the 2010 San Diego Comic con. While one aspect of it’s success was that it was released with five different variant covers as well as a limited edition gatefold edition that revealed it all in its glory, the success was thanks to Lee’s distinctive, modern take on a fan favourite and the development of the X-Men in an exciting new direction. The variant cover trick became a weight around collector’s necks in years following with Gold and Silver foil, holograms and gatefolds every few months for some titles, but this first incarnation was about piecing together a piece of art, mass produced and available to anyone who wanted it. Only Jim Lee and perhaps one or two other legends of the industry could’ve commanded such a response.

The success of X-men saw Lee hungering even more for greater creative control over his own work, and as soon as in 1992, Lee accepted an invitation to join six other artists (Todd McFarlane, Erik Larsen, Marc Silvestri, Whilce Portacio, Rob Liefeld) who broke away from Marvel Comics to start Image Comics, which would release their own creator-owned titles. Lee’s batch of titles included Wild C.A.T.s, which Lee pencilled and co-wrote, and other series created in the same universe, including Stormwatch, Deathblow and arguably the more successful Gen13.

Lee and his close friend, Valiant Comics publisher Steve Massarsky, arranged a Valiant / Image crossover, Lee’s characters being used, alongside those of Rob Liefeild. Four central titles would exist – two from each company – in single edition format, each edition known as a colour rather than a number, plus a prologue and epilogue book. Wildstorm produced Deathmate Black, with Lee himself contributing to the writing, illustrating the covers of that book, as well as contributing to the prologue’s interior links. The assignment was given to Valiant creators against their better judgment, in particular Editor-in-chief Bob Layton, who complained about Image’s inability to meet their deadlines. Deathmate Black came out a few months after Valiant’s Blue and Yellow installments, which had come out on time, and Liefeld’s Deathmate Red was so late that Layton flew to California to procure that chapter personally, and ink it himself in an Anaheim hotel room. Layton see’s Deathmate’s lateness as one of Valiant’s ‘unmitigated disasters’ and views that project as the beginning of the spectacular collapse of the 1990s for the comic book industry. A collpase that would pull in Marvel and a collapse that comics has not, if ever, recovered from.

Wildstorm continued on, expanding it’s line to include other ongoing titles. As publisher, Lee later expanded this by creating two separate imprints for Wildstorm, Cliffhanger and Homage (to be replaced again years later to reform as a single Wildstorm Imprint, now owned by DC).

Moving back, with Rob Liefeld, to Marvel for the Heroes Reborn alternate universe storyline of the mid-late nineties, Lee was given the opportunity to plot the new Iron Man and wrote and illustrated The Fantastic Four. Both used existing storyarcs and developed them, bringing them more up to date. The innovations on these titles, however, were arguably greater than the more successful Ultimate Universe that has existed since as an Imprint of Marvel, though that is more subject to greater popularity of the industry as well as greater sophistication in art and writing in modern comic books.

Lee returned to Wildstorm, where he would publish series such as The Authority and Planetary, as well as Alan Moore’s imprint, America’s Best Comics. Lee himself wrote and illustrated a 12-issue series called Divine Right: The Adventures of Max Faraday, in which an internet slacker inadvertently manages to download the secrets of the universe, and is thrown into a wild fantasy world.

Sourced from HERE Check out the gallery there for more awesome images. Thanks to Alexandre Bihn for the awesome scan.

In a typically astute and decisive choice, Lee sold Wildstorm to DC in 1998 because he felt that his role as publisher was interfering with his role as an artist. In an echo of the choice made many years previously, he put his calling first. In 2003, Lee collborated with Jeph Loeb for a 12 issue Batman run. Introducing a new nemesis from Batman’s past, ‘Hush’ was a tightly packed and neatly executed trip through the Bat universe. Lee’s images were sumptuous, his design work intricate, emotive and innovative. Lee, the artist, through all the pitfalls and difficulties of publishing had lost none of the values and passion he had when working on X-Men 1 more than 12 years before. He followed this up with ‘For Tomorrow’ a 12-issue story in Superman by 100 Bullets writer (and Bunker firm favourite) Brian Azzarelo, although this didn’t achieve the same level of success, Lee’s work showed a maturity and stillness that perhaps wasn’t visible in his earlier career. In 2005, Lee collaborated with Frank Miller on All Star Batman and Robin, the Boy Wonder, a series plagued by delays. Lee’s work was spotless throughout, in particular a redesign of the batmobile and a gatefold image that folded out from the book itself that revealed the full scale of this Elseworld Batcave. While Lee’s contribution was near infallible, Miller’s writing was unsophisticated and cynical in most ways and alienated a great many readers. During this period, Lee returned to WildC.A.T.S with Grant Morrison. The gap between All-Star Batman and Robin 4 and 5 was one year and to date, only 1 issue of WildC.A.T.S (Vol 4 has been published. During thsi time, Lee also drew covers for the Infinite Crisis series.

Lee was named Executive Creative Director for DC Universe Online MMORPG. This was released in 2009, with Lee responsible for concept art for the project.

Lee’s meteoric rise did not falter there, as he has now taken a position alongside Dan Didio as Co-publisher of DC Comics. Despite obvious concerns, Lee maintains that this will in no way effect his capacity as a creative. He cited two projects, Dark Knight: Boy Wonder – a follow up of the Frank Miller series he had worked on and also a painted cover for Giuseppe Camuncoli’s layouts in Batman: Europa 1. Neither projects have surfaced yet. The Wildstorm imprint was officially declared ended by DC in September 2010.

With DC’s enormous revamp of it’s entire line, A-List artists were brought to the forefront to work on the most prominent titles. With a Justice League movie in discussion /pre-production at present DC was always going to put JL first in their choices of creative teams. The illustrious team of Jim Lee as penciller and Geoff Johns as writer is certainly, still, a cocktail that no true fan of the artform can ignore. If anything that is Lee’s great talent. Enduring popularity. His art work remains so fresh and clear, and so respresentative of what people want from their books – in spite of changes in the industry itself – that Lee has proven himself a Practitioner who has wandered away from the thing he is most beloved for, but like a much younger, more south east asian Peter Cook, retains a place in every fan who ever saw his work. This is testament to Lee’s enormous talent. His offers to put out projects reveals a conflict of interests that has taken him away perhaps too much in the last two decades, however he is a brave artist who pursued greater goals. Without finding ourself in the same situation who are we to say we wouldn’t pursue those same goals…. however Lee’s example is certainly a cautionary one. Swathes of exceptional artwork, pages and pages of classic comic work haven’t seen the light of day. From the top down the industry runs on one thing – putting out the best books possible. While we can never undermine someone’s right to do whatever they want – what would we have given to see more Lee?

Chris Nolan Justice League Movie in 2013?

The LA Times is reporting today that the movie version of The Justice League may not be quite as dead as everybody once thought. In an interview with The Times, Warner Motion Picture Group President, Jeff Robinov, said that his priority so far as superhero movies goes is to bring the JLA to the big screen in 2013. Let’s just go over that one more time: the man who has ultimate say in what movies Warner Bros. make says that he wants to see a movie featuring the Justice League within two years! Ok, breath.

This isn’t the first time that the League have almost found themselves in a movie. Back in 2008 a film version of the comic was all set to go into production when the writers strike and tax issues killed the project stone dead. Since then it’s been lurking in development limbo because nobody wants to upset the money tree that is Chris Nolan’s Dark Knight series by bringing out another movie with Batman in it. But with Nolan set to wrap up his Gotham opus next year, it looks like Warner is keep to pick up right where they left off. But oh lord, there’s more:

“We have the third Batman, but then we’ll have to reinvent Batman…Chris Nolan and [producing partner and wife] Emma Thomas will be producing it, so it will be a conversation with them about what the next phase is.” – Jeff Robinov

That’s right folks. Chris Nolan will be stepping in to produce the project. Ok, so it’s not the directors chair, but there’s plenty of time for a Hobbit esque incident to grant us that wish too. What’s more, scripts are already in production for both the JLA movie and the spin-off Flash and Wonder Woman movies.

A timescale, a script and Christopher Nolan? It looks like Warner may finally be getting serious about DC movies. Sweet.

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The Twelve Geeks of Christmas – The Ballad of Barry Allen

As a thank you for all your support over our first few months of being operational, we’re giving you twelve days worth of geeky videos, hand picked and guaranteed to raise a smile. Enjoy.

[youtube=http://www.youtube.com/watch?v=odU1bHaYNDQ&fs=1&hl=en_GB]

One of my all time favourite comic book songs. The track is called “The Ballad of Barry Allen” by a band called Jim’s Big Ego. It’s a tribute to the beloved speedster and one of many great (and odd) JBE tracks. The chorus still gets me choked up.

Homework for tomorrow: Watch The Assassination of Jessie James by the Coward Robert Ford.

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