Marvel released details of their next round of movies at San Diego Comic Con this weekend. For a start they ended the rampant internet speculation and announced that the line up for the Guardians of the Galaxy movie will be the modern team rather than the classic one. That’s right, in 2013 we’ll be seeing a film about Star Lord, Gamora, Drax The Destroyer, Goot and (of course) Rocket Raccoon. They also released this concept image which should be enough to get any Guardians fan salivating:
For the uninitiated, Guardians of the Galaxy (at least the version of it that we’re talking about here) is largely the brainchild of Dan Abnett and Andy Lanning (Nova, Warhammer 40K etc) and tells the story of a team of “heroes” who are tasked with keeping the entire galaxy safe from harm. It’s basically Avengers meets the dirty dozen…in space…with a talking raccoon. Trust me, this property has everything you need to make a fantastic movie. Be excited.
In addition to this, Marvel announced the titles for the rest of their “phase 2” movies. The most for me is probably the Captain America sequel (I’m an unashamed Bucky fan) but it’s great to see Edgar Wright’s Ant Man Movie finally getting the official green light. Despite it’s poor box office performance, I’m a huge fan of Wright’s work on Scott Pilgrim. With a Marvel Marketing budget behind him, this could be the break into the mainstream that he deserves.
Obviously feeling bad for Tony Stark about the fact that his sequel doesn’t get a tagline, Marvel went ahead and revealed the new Iron Man armour that he will don in the film. It looks like this:
There are times when something really different finds it’s way into popular culture. A fringe idea, never really intended to be anything particularly outstanding has an unlikely run of luck. Somehow, the guardians of the galaxy, a relatively new team consisting of a universal magician, a cosmic warrior, two master assassins, a former paraplegic, a wise cracking ex-galactic hero, a psychic dog, a transcendental psychokinetic, a walking tree king and a talking raccoon with a penchant for heavy weaponry look like they’ve found their way to the big screen alongside iron man, Thor, cap and the rest of the avengers.
Rumours spreading like wildfire across the internet is that Marvel is about to announce a Guardians of the Galaxy movie. If, as we expect it to, it turns out to be true, then Marvel are really intending to take risks and reap the benefits in the coming years. With a stall of literally hundreds of characters to reveal, from Nova to Namor they could’ve kept thing’s earth bound.
However, we here at beyond the bunker anticipate an Avengers / Guardians crossover for what would’ve been the next Avengers movie. The reasons behind this are numerous.
In terms of available content, Marvel still haven’t got control of many of their greatest and most famous creations. Spider-man still remains under contract with Sony and 20th Century Fox show no signs of releasing the now well established X-men franchise with separate Origins and First Class arcs remaining potential money spinners. Strangely, this means that while Marvel can’t present all of it’s most successful characters together (Wolverine and Spider-man unable to join the current Avengers) these things still mean that Marvel associated projects rule Hollywood. In the next three years we’re likely to see Spider-man, X-men, Wolverine, Iron Man, Captain America, Thor, Avengers and now Guardians of the Galaxy. There’s barely enough space in the movie calendar to sustain them and some Marvel projects will inevitably crossover. However, with the success of all of the Avengers movie and the fact that every adaptation has more than made it’s money back there is absolutely no sign of the marvel juggernaut stopping (even if he was played badly by Vinnie Jones).
However, this spread between film companies with Marvel franchises (of which Marvel is only one) leaves Marvel with a dearth of possible projects to bring to the big screen. Even the Avengers movie had to concede the use of Skrull warriors ( later to appear as the Chitauri in the film) – most likely because the Skrull copyright went over when the Fantastic Four were sold.
Blade’s been done beautifully (excluding part three) and will be hard to follow, Ghost Rider has met with considerable negative press but has made enough money to remain viably locked where it is, the Punisher never seems to work on the big screen after a couple of botched attempts but is unlikely to fall back into Marvel’s hands. Ant man remains in development and no one wants to try Howard the Duck again. The new warriors are a little too passé, X-factor, X-force, Excalibur, Cable and mystique belong to 20th Century Fox. So where do you turn…?
Marvel went cosmic immediately with Avengers. Natural plot devices that connected the characters inevitably led that way – cosmic cube in Captain America, pretty much every aspect of Thor, it was clear where they were going with it. The Ultimates (Marvel’s cinematic reinterpretation of the Avengers, central to the alternate Ultimate Universe) acknowledged the conscious plan to bring their one remaining credible franchise to the big screen, as X-men and Spider-man tore up the multiplexes elsewhere. The higher ups in Marvel would’ve known that the combined funds from licensing the Ultimate names was building coffers that would allow them to go alone as Marvel entertainment. The most amazing thing is the 20 year plan Marvel have demonstrated here. Mark Millar’s Ultimates revealed the Skrulls present in Nazi forces, crossing Cap’s timeline before presenting a big enough threat to justify the avengers 60 odd years later. This was the precursor to the films that have culminated the same way. However, it’s Thanos that it all hinges on.
Revealed at the very end of Avengers as the true threat, Thanos has represented the greatest danger to the Marvel universe throughout it’s history. Mythic and modern in equal measures, Thanos is an endearingly flawed demi- god figure and a logical threat for the Avengers to face. However, Thanos’ reveal at the end of the Avengers has made clear that the future for Marvel was space.
It’s most successful non- web/mutant/avengers franchise in comic books has been Marvel Galaxies, the culmination of many disparate races and characters developed in the background of other marvel titles. Having exhausted almost every popular earth- based creation they have Marvel had no choice but to look to the stars.
Following the surprisingly engaging Annihalation series and having the foresight to give editorial duties to Warhammer and scifi veterans (and friends to the Bunker) Dan Abnett and Andy Lanning, the star spanning Marvel Universe has provided some of Marvel’s most engaging storylines in recent years. Through the Annihalation crossover and War of Kings storylines, one team stood out among all the others and absorbed all the best and most interesting figures in the Galactic Marvel section. Guardians of the Galaxy , brain child of Abnett and Lanning, kicked off with so much spit and gusto that it inevitably became a fan favourite.
This is here because we love this picture!!
With Thanos’ arrival in it’s pages, launching a further crossover that brought together the Annihalators – the most powerful figures in the galaxy – the relevance of Guardians of the Galaxy to the plot of the Avengers was cemented. Mostly killed off in that storyline, the notoriety of the Guardians has lost almost no momentum, rocket raccoon and Groot continuing to fight on in the back pages of the Annihalators.
Led by a disgraced and disillusioned galactic hero called Starlord – now a gun toting wisecracker, the Guardians represent the founding ideas that made comics great, combining it with Stan Lee’s philosophy for Marvel. Strong characters mix with unrelentingly uncompromising science fiction in a mix that is wry, exciting and fun.
With Iron Man 3, Thor and captain America 2 and Avengers 2 coming up in the next two years Marvel will be looking for a new card to play. We think that Marvel intend to make the Avengers movie another benchmark movie making it not only a repeat of an enormous crossover of successful films in their own right but are planning to add another to the mix. We anticipate that we are looking at a Guardians of the Galaxy / Avengers crossover in less than 3 years with an introductory movie for the star team appearing before hand.
All we need is Bob Hoskins to voice the part of Rocket Raccoon – to match the rugged cockney accent Marvel gave Rocket in the Marvel vs Capcom game and maybe Brian Blessed on Groot.
So when inevitably Thanos puts on his infinity Gauntlet to impress Lady Death in the next Avengers movie, two teams will ride out to face him. Don’t know about you but we can’t wait.
For my part, I spent Sunday cosplaying as white trash.
The very first year that Steve and I appeared at the MCM Expo the event fell upon the same day as a Millwall game. It’s not a detail that I would remember were it not for the fact that it meant that my first experience of the con was sitting on a packed tube full of confused skinheads and teenagers dressed as cats. There has probably never been a more perplexed railway carriage anywhere in the world and I found myself developing an instant fondness for this oddball of a con.
I mention this story first because really the teenagers dressed as cats (and Pokemon and cardboard boxes and pretty much anything else you can imagine) are the heart of MCM. That’s not to say they are the only audience there (in terms of floor space, it’s probably the biggest comic con in the UK) but at its very core the event is about people who say the word “random” a lot, cutting loose and having fun. As a result, MCM has always had a kind if energetic buzz about it that you just don’t find anywhere else and it’s this buzz that is the key to why this year’s event was so successful.
MCM has taken some flak over the years for its rather diverse (random, you might say) range of exhibits. While other cons focus on comics or movies or trading or whatever, MCM goes for a bit of everything but in times such as these it’s exactly that kind of diversity that you need. If you’re only going to go to one comic con then the obvious choice is the one that lets you see as much as possible. MCM is not so much a comic convention as a convention for the sort of people who like comics. It’s a subtle distinction but one that breeds the kind of extremely loyal fanbase that descended in droves upon the Excel Centre last weekend.
Shot of the convention floor. It’s very hard to convey the sheer scale of the event.
For our part, we were taken completely by surprise by just how busy the con was. We brought our usual hefty amount of stock, expecting it to last the entire event (especially given a slightly disappointing audience turn out at Kapow) but instead found ourselves completely sold out of copies of Moon by 5pm on Saturday. The result was that Steve had to scurry back to Essex on Sunday morning, while I tried to learn how you sell prints of characters from a book you don’t have (turns out, you generally don’t). By 11am we were back up and running however and went on to smash our all time sales record by some way.
Moon #1 completely sold out.
I should mention, in the interests of fairness, that we had a much better pitch than at Kapow, being as we were right next to the auditorium and the booth for ASDF (who I’d never heard of before the weekend but who I’m pretty sure most teenagers would readily kill for.) This naturally translated into better sales but the fact that we took more than twice what we made at Kapow and paid less than half for the table left me pondering whether we’ll keep Kapow on our calendar next year.
Organisation wise we’ve got no complaints. Comics Village (who run the comics side of the event) have gotten very good at pre-show communication this time around and having every table get a small blurb in the program was a nice touch. Despite the huge crowds, there was always a volunteer on hand when needed and they were (as has always been the case) extremely helpful and friendly.
The aftermath. Huge thanks to everybody who bought the book and to those who have sent us such kind feedback on it. You guys are awesome.
The one part where the organisation fell down slightly was in the execution of the Eagle Awards on Friday night. The Eagles themselves are probably a topic for another day but the very low audience turn out was a bit of a shame. Steve and I certainly appreciate being able to hog the free beer but I can’t help but think that if they were properly publicised and perhaps held on the Saturday night, the turn out would have been far better. We ran into only two non-comics industry people at the awards and they confessed that they’d only found the event by chance. Given the announcement about the demise of the Eagles, I wonder whether the lack of publicity was a deliberate move to send the awards off quietly with an eye to focusing on next year’s new “MCM Awards.”
The Eagles is but a small part of the overall event however and a low turnout for one small part is not enough to spoil the experience of what was in all regards a fantastic convention experience.
If you picked up a copy of Moon #1 at MCM then we’d love to hear what you think. Send us an email at firstname.lastname@example.org or let us know on facebook or twitter!
The Superbowl has long been the forum for débuting new adverts and movie trailers and this year was no exception. With the Avengers film just a few months away, Marvel hit the screens with a brand new trailer offering more plot hints, more footage and much more Hulk.
It’s looking more and more like the the film will draw extensively upon Mark Millar & Bryan Hitch’s run on The Ultimates, but that’s not exactly a bad thing.
ts limited release will mean that Asif Kapadia’s documentary about the life and death of Ayrton Senna is unlikely to be topping may film of the year polls and at face value that seems sensible. A feature length documentary about the career of a Formula One driver who died nearly 20 years ago doesn’t exactly scream ‘mass appeal’ but nonetheless Senna is easily one of the most remarkable films of the year.
Utilising only archive footage and Voice-over, Kapadia creates a narrative which manages to be stronger and more engaging than most dramas. The decision not to include any talking heads segments means that the film feels more like a story being told first hand than a reflection on past events and the in-car footage (which looks mind blowing on a cinema screen) enhances this even further.
While the insights into the notoriously secretive world of F1 will be a treat for racing fans, the film’s greatest strength is its ability to appeal to people who don’t have the first idea about the sport. More than anything else Senna is a heart stopping, tear inducing story about an utterly unique individual. Whether you spend weekends pouring over lap times or you’re someone who thinks pole position is a thing that strippers do, there is a tonne of things to love about this film and you will be doing yourself a genuine disservice if you don’t seek out the DVD.
Runner up – Drive
For the runner up we go from a real life man in a car who is unable to stop to a fictional man in a car with no choice but to go on. The stylish, neon lit, meticulously shot Drive follows the story of Ryan Gosling’s driver as he makes ends meet on the streets of Hollywood – beautifully captured in various skyline, helicopter and stylistically careful ground shots creating a fantastical, idealistic and visceral stage for the action to take place on. In many ways the cinematography is the story as the central character – known only as Driver – enters into a tentative and touching relationship with his neighbour Irene (a flawlessly American accented Carey Mulligan) and her young son, who’s husband is incarcerated. Lingering silences and long, unbroken takes give the scenes involving these characters an assured intimacy that lingers with the viewer and plays realistically.
This is punctuated by acts of unspeakable violence, some of which admittedly come close to destabilising the careful balance that Director Nicolas Winding Refn appears to be looking for. The film could have played out as successfully as a 15 certificate on first viewing making the violence seem gratuitous and unecessary, however, I suspect that on repeat viewings the brutality and ludicrous violence will permeate more strongly and be powerful reminders of a thoughtful and energised movie and certainly a step up into the big time for both Winding Refn and Gosling.
The involvement of Simpsons regular Albert Brooks as deceptively chipper gang boss Bernie Rose and Ron Perlman has his apparently more savage and sweary partner Nino doesn’t hurt either.
Effectively Tarantino-lite, this is much less cartoonish, stylised and self consciously scripted. It also seems, accidentally or not, to be lifting directly from the GTA game series – with the theme and the look harking back to both Liberty and Vice City. This only adds to the fun in this subtle shocker.
Best remake / prequel – The Thing (2011)
To the arctic circle now for the prequel to John Carpenter’s 1982 masterpiece, The Thing. More than anything else it’s the choice to set the scene back in 1982 rather than reboot that has placed this film so high in our rankings. Following very much the same line as the original, it centres on the events leading up to the beginning of the first film in which two members of a Norwegian science team our found by an American research group.
The new film manages to mimic perfectly the light touch and claustrophobic lighting and setting, even going so far as to almost directly lifting moments from the original. But this is because the creature is doing what it did in the first place. The joy is in it’s appearance. The plot even deliberately curves at anticipated plot moments to both acknowledge and defy the original.
While it loses some of its appeal as the scale increases towards the end of the film, revealing perhaps a little too much of the origin this film scores highly for introducing a realistic female lead in Mary Elizabeth Winstead and tip toeing the line perfectly between homage and producing an original piece of cinema.
Best foreign language – Troll Hunter (2011)
Made off putting by the idiotic UK Trailer (below) this film by André Øvredal and Håvard S. Johansen (supporting writer) follows a group of hapless students in search of a hunter deemed illegal by fellow bear hunters. Determined to uncover who he is for the sake of an interesting film, they uncover a wide government cover up beyond anything they could anticipate.
Essentially, a Blair Witch Project that pays off the film manages to lull you into simply watching the ‘found footage’ of the students, constantly having to remind yourself that things are going to increase in scale exponentially at some point. And increase they do. However, the film maintains its roots until it’s finale on snowy Nordic tundra, maintaining a calm and careful pace that US blockbusters will never master.
The Norwegian mountains and countryside are really the great treat of the film at times (when there’s no monsters to hunt) as, for instance in one short sequence, sheer mountainsides and a glacial lake are filmed out of a car window as one of the students calls to another taking a whizz as nonchalantly as Sam Mendes filmed a brick wall with a plastic bag floating around in front of it. It becomes clear that what the world finds magnificent, Norwegians can take for granted and that the filmmakers are acutely aware that half their work is done merely filming on location in their beautiful country.
But it’s the monsters themselves that take centre stage. The decisions in the way that each is introduced is masterful, each uniquely different in pacing, reveal and environment. One is viewed finally from a great distance through a window of a shack which serves only to increase its impressiveness. With an enigmatic, monosyllabic central Troll Hunter, grimly wandering into harms way on behalf of the Norwegian government with the hapless batch of determined and stunned students along for the ride, it’s spectacular, engrossing and fun.
A stark change in tone in the middle of the film does threaten to scupper it slightly but the even pacing and anticipation of the unknown final Troll at the heart of the problem keeps things moving to impressive effect. They will try to remake it. I’m sure they’ll fail. Take the Norwegian out of Norway and it’s knackered.
Best Comic Book Movie: X-Men: First Class
In a year in which at least three highly entertaining and thoroughly exciting comic book adaptations were released it was the one not made by Marvel that edged it for us – however marginally. It was the X-Men that clinched the title.
Easily the strongest of the X-Men films, Matthew Vaughn and Jane Goldman along with woefully under acknowledged screenwriters Ashley Miller and Zack Stentz brought the X-Men back to the 20th Century. Like Captain America, Vaughn and Goldman (the creative team behind Stardust and Kick-ass) the decision was taken to go to the roots of the title, seeing the original X-Men line-up changed to deal with those already revealed. Only, instead of merely laying comic book events over historical ones, Vaughn and Goldman interlace them directly with historical events.
We find an arrogant and slightly unlikable Professor Francis Xavier (played by James McAvoy) in the swinging sixties looking to extend his theory of evolution on to any girl with a discoloured eye or wonky toe. It’s clear that the X-Men are born from Xavier’s arrogance and it fills beautifully an absent detail in the inception of the X-Men. Brought into it is Erik Lenseherr (Michael Fassbender) who is hunting Jew killers and Nazi conspiritors around the world. Thinking that control of his power is fuelled only by anger and fury it makes Lenseherr – soon to become Magneto – a more well rounded character, as a cyclical psychology has formed in which Lensherr has to generate these feelings to tap into his power, only further perpetuating his anger and violent behaviour. All of the characters carry inherent (and human flaws) that make them accessible and offer a tone of inevitable doom to the proceedings.
Well realised set piece after well realised set piece is laced through the plot as the X-Men are pulled into conflict between both the Russian and US Navy during the Cuban Missile Crisis in a bid to avert Nuclear War. Something that could easily have been a cynical plot device is so neatly realised that it makes sense (and, winningly, illustrates the absurd nature of the Cold War in a language understandable to younger audiences).
So close in fact were the runners up for Best Comic Adaptation that featured below are the trailers for both Thor and Captain America. We thoroughly recommend both and can’t wait for the Avengers movie next year….
Runner-up – Thor
While pipped at the post by First Class, Thor was overwhelmingly the surprise of the year, guided effortlessly to be an entertaining romp by Royal Shakespeare Company founder, Kenneth Branagh, offering up laughs, pathos, energy and a star turn by Chris Hemsworth as the titular character. Tom Hiddleston as his half-brother Loki stood out only slightly among a frankly incredible cast featuring Natalie Portman, Anthony Hopkins, Idris Elba and Stellan Skarsgard (most likely drawn in particular to Branagh’s banner).
Thor tips the balance beautifully between fish-out-of-water comedy, fantasy epic and Superhero movie. Marvel’s incredible run of success to the Avenger’s movie next year seems to be unstoppable and Thor, as a potential tripping point has proven a nice surprise as a watchable, stand alone movie.
Runner-up – Captain America: The First Avenger
After being deemed unfit for Miltary service, Steve Rogers volunteers fora top secret research project that turns him into Captain America. We all know the story, however old school Director Joe Johnston achieved the implausible and made Captain America cool again. Borrowing heavily from Mark Millar’s Ultimates (effectively, in hindsight, a love letter to Hollywood and a considered development of the Avengers brand to become more audience friendly outside of comics) Cap still retains most of his gosh, shucks charm.
The decision to set the entire film in World War 2 is a bold and clever move, giving the audience credit where there may have been none with a more cynical film company. Featuring Hugo Weaving as arch Nemesis, the Red Skull, Stanley Tucci as Cap’s creator Dr. Abraham Erskine, Toby Jones as Dr Arnim Zola and Tommy Lee Jones as Colonel Chester Philips it has a touch of class as well as being a crowd pleasing actioner. It also has the best villain diversionary tactic gag in comic book history as a Nazi assassin (Richard Armitage) escapes across the docks from the newly created Cap, he grabs a young boy and throws him in the dock. Cap, stopping to help the boy in time honoured fashion is greeted with the sight of the boy paddling away, shouting ‘Go! It’s okay. I can Swim.’ A wry sensibility that runs through the whole film.
Peter David is an American writer of comic books, novels, TV, Movies and Video Games. In part One we looked at how Peter David came to arrive in comic books, in Part Two we arrive at how he changed the fcae of comic histories most prominent characters.
Peter David made his name on - and a legend of The Incredible Hulk with 12 Years as writer
Having been given an unpopular and derided title like the Hulk David discovered that he had greater creative control so far away from the central, more popular titles. This enabled him to investigate and test out his storytelling with impressive results. Within his first 12 month run on Hulk, David had reintroduced his estranged wife, destroyed the Hulkbuster base, sending several characters turn-coat and on the road with Bruce Banner (trying to contain his other persona), introduced X-Men – for a rematch with Wolverine, and X-Factor (who he would write for in the mid-nineties), effectively kill Hulk and have him return as the more cerebral Joe-Fixit, a figure in contention with the less intelligent Green persona. David concentrated on the recurring theme of the Hulk/ Bruce Banner’s multiple personality disorder, his periodic changes between the more rageful and less intelligent Green Hulk and the more streetwise, cereral Grey Hulk, and of being a journeyman hero, whicxh were inspired by Incredible Hulk 312 (October 1985) in which writer Bill Mantlo (and according to David himself Barry Windsor-Smith)had first established that Bruce Banner had suffered childhood abuse at the hands of his father. These aspects of the character would later be used in the slightly misaligned but well-intentioned 2003 film adaptation written by Michael France and directed by Ang Lee. In his 12-year run as writer of Incredible Hulk, in which he worked with luminaries and upcoming talents as Todd McFarlane (there when he got there) Gary Frank, Liam Sharp and Adam Kubert he developed the character further, revealing a third, and potentially less engaging Hulk. Banner and the Hulk merge in a more balanced character, retaining the intelligent characteristics of Bruce Banner and the strength and power of the Hulk. The effect was impressive. The now intelligent Hulk found a new relationship with his former wife Betty Ross and along with friends Rick and Margot found himself in control of a secret cabal of immortal heroes known as the Pantheon. David gave Hulk everything he wanted, access to his intelligent mind, strength and access to a private jet and technology bordering on magic. This is where David excels. He puts no limitations on the potential for change in his characters in order to explore possibilities in the story and is fearless in progressing the story at a break neck pace. He also listens to his artists, asking the newly signed Liam Sharp, fresh from success in the UK and US with Marvel Uk’s Death’s Head 2, what character he would like to draw. Gary Frank’s first comic book project with Marvel Uk was drawn upon as well, as the Marvel UK characters Motormouth and Killpower arrived in the pages of Hulk. Using the newly empowered Hulk as a platform to deal with difficult issues such as AIDs, false political imprisonment and homophobia. Not forgetting who was reading the book however, he soon brought the furious, sub-intelligent Hulk back to the pages of Hulk, leaving him lost and alone in the Everglades, effectively restarting the story of the only journeyman struggling with his own demons. Not to say he didn’t throw in Swamp-Thing and Speedfreak for good measure.
And was after he had been freelancing for a year, and into his run on Hulk, that David felt his career as a writer had been cemented and he began to make approaches to DC, being offered a four issue mini-series of The Phantom by Mike Gold. Finally – and astonishingly given that he had been employed on a Marvel title for a year, David only then left his sales position to become a full time writer.
Dreadstar (DC Comics)
David took on Dreadstar during its First Comics run, with issue 41 after Jim Starlin left the title, and remained on it until issue 64 (March 1991), the final issue. David’s other Marvel Comics work in the late 1980s and early 1990s includes runs on Wolverine, the New Universe series Merc and Justice, an excellent run on the original X-Factor, including issue 92 (with Joe Quesada), as part of the Fathers and Sons crossover which incorporated X-Men 25. Peter David launched the future universe of Marvel with Spider-man 2099, a beautifully realised, dystopian tale of Miguel O’Hara, a futurist scientist who develops powers comparable to a spider in the corporate-run streets of a monolithic New York. Intelligent, witty and deliberately referential of the original without touching directly on its predecessor thematically or literally, Spider-man 2099 helped launch the entire 2099 Universe which lasted for the better part of a decade and took in almost every character in the Marvel Universe and redeveloped them. David set the tone for it all.
At DC Comics in 1990, David wrote an Aquaman miniseries, The Atlantis Chronicles, detailing the history of Aquaman’s home city Atlantis. This has since been cited by David as one of the works he is most proud. His following Aquaman mini-series Aquaman: Time and Tide and the subsequent run of 46 issues on the ongoing series gained notoriety as Aquaman lost a hand early in the series, which was later replaced with a harpoon, a feature of the character that lasted David’s full tenure on the book. He also wrote DC’s Star Trek comic books (though openly opined that Star Trek is better served in novel form as they’re not particularly visual), as well as Supergirl and Young Justice, the latter cancelld in order to transfer the assembled characters to the newly reformed Teen Titans monthly.
David’s work for Dark Horse comics has included the Spy Teen Adventure, SpyBoy, which appeared between 1999 and 2004 and a 2007 mini-series. Other independent work includes Soulsearchers and Company, which is published by Claypool Comics and the Epic Comic’s Sachs and Violens, which he produced personally with co-creator George Perez.
David returned to Marvel with Heroes Reborn: The Return for Marvel, in which the Marvel Universe’s lost characters that had disappeared in an event a year before returned to the Marvel Universe as well as a run on a new series of Captain Marvel, which was critically acclaimed.
David and his Second wife, Kathleen. wrote the final English-language text for the first four volumes of the manga series Negima for Del Ray Manga. In 2003, David began writing a new creator owned title , Fallen Angels, for DC Comics, using material left from development of the now-defunct Supergirl title as well as writinga Teenage Mutant Nija Turtles Mini-series for Dreamwave that tied into the animated television series broadcast that year. After Dc cancelled Fallen Angels, David relaunched at IDW the same year. He went on to produce Spike: Old Times one-shot and Spike Vs Dracula mini-series, based on the character from Buffy the Vampire Slayer and Angel Tv series.
X-Factor 92 (Peter David, Joe Quesada, Marvel Comics)
In 2005, David briefly returned to the Incredible Hulk but only lasted for 11 Issues due to work pressures. He also developed a new title Friendly Neighbourhood Spider-man, beginning witha 12-part ‘The Other’ storyline in which Spider-man discovers he is dying, lost a fight during a traumatic fight with Morlun, underwent a metamorphosis and developed new powers and greater understanding of his abilities. Yet again whenever experimental alterations are made to popular characters, this proved controversial with readers, who were bemused perhaps by the extended stingers coming out of Spider-man’s arms and the association of a Spider totem from which his powers were derived. David’s run ended with issue 23.
Following on from David’s original and successful run on X-factor in the early 90s, he wrote a successful MadroX (Multiple Man) title for Marvel the same year which led to the reintroduction of the X-Factor title, using characters from David’s original tenure Multiple Man, Strong Guy, Wolfsbane) working as private investigators in a detective agency of the titular name. David’s work on the title proved popular with Ain’t It Cool News and David found that the new Opt in/ opt out policy on Crossovers and greater forward planning on titles made his second tenure much easier. However, his decision to create a homosexual storyline between established characters, Shatterstar and Rictor (a confirmation of clues that had been established in X-Force years earlier) drew criticism from Shatterstar’s Co-creator Rob Liefield, though Editor-in-Chief and former creative partner on David’s original run on X-Factor supported the story. The title eventually won a 2011 GLAAD Media Award for outstanding comic book for his work on the title.
Peter David announced in 2005 that he had signed an exclusive contract with Marvel, his independent works Spike, Fallen Angel and Soulsearchers and Company ‘grandfathered’ into the agreement. David wrote the dialogue for The Dark Tower: A Gunslinger Born, a comic book spin-off from Stephen King’s Dark Tower novels, bringing his career full circle. He then wrote Marvel’s Dark Tower comic book adaptations as well.
David took over She-Hulk after Dan Slott left, from Issue 22 to 38, a run which won praise. He also wrote Halo: Helljumper, 2009 Ben 10: Alien Force Manga book published by Del Rey, Ben Fold’s Four, a ‘Little Mermaid’ story in Jim Valentino’s Fractured Fables anthology that won more praise from Ain’t it Cool News, an adaptation of the 1982 film Tron to tie in with the 2010 sequel of the same name and a John Carter from Mars prequel to the film due out next year.
Peter David is a genius. His methodology is to block out different days for different projects, allowing him to be prolific in his work. Assured, well liked and professional, Peter David is a quiet voice in a creative industry but one with an enormous fan base exclusively based on the enjoyment of his work. His writing conveys his enthusiasm, wit and humour as well as never losing grip on issues close to him. Unafraid of controversy and generous in his plotting and pacing, David is a joy to read. A clear reason as to why his works are reprinted through Marvel, available as Masterworks collections and including full runs of his writing.
Peter David is an American writer of comic books, novels, television, mvies and video games. He was born in September 1956 and his most notable comic book work are an award-winning 12-year run on Incredible Hulk, as well as writing turns on X-Factor, Aquaman, Young Justice, Supergirl and Fallen Angel.
Peter David made his name on - and a legend of The Incredible Hulk with 12 Years as writer
Perhaps influenced by his background, David is known for his use of real life issues and humour, as well as popular culture and self referencing within the pages of his work. He is a prolific writer who’s style shows up his natural enthusiasm for characterisation and anarchic plot development. His characters are broad and often sympathetic. He develops worlds as he sees the and when allied with the write artist (Quesada, Frank) his storytelling flows beautifully and simply to the reader. His is an entertaining read, using sardonic humour and situation comedy, action and big scale themes to put forward serious issues Peter David is a very serious campaigner for LGBT issues after he and his gay friend were targets for ostracism and harrassment from homophobes in his second home town in Verona. He had moved there from Bloomfield, New Jersey. While it was his best friend Keith that was gay, the effect was enough for him to spearhead associated story lines in his mainstream comic book with deft, frank and uncompromising cander. His home life has also informed his work as his paternal grandparents and his father, Gunter escaped Nazi Germany to settle in the US, where his father eventually met his mother, Dalia, an Israeli-born Jewish girl, to whom David credits his sense of humour. While his writing carries none of his religious or family backgrounds, David’s acknowledgment of deeper social and political movements beyond the edges of the pages and his use of humour to augment and ease difficult subjects in his work suggests influences from his home in Fort Meade, Maryland (where he was born). He has two siblings, a younger brother named Wally, a still-life photographer and musician and a sister called Beth.
David was drawn into comic books at the age of 5 when he read copies of Harvey Comic’s Casper and Wendy in a barbershop. The Adventures of Superman TV series later got him interested in Superheroes. His favourite title was Superman and he cites John Buscema as his favourite pre-1970s artist. The closest David has got to writing Superman is his first -cousin Supergirl. A character that arguably David’s style suits more though I think many would be intrigued as to what he would do with the last Kryptonian.
As a young boy, his father was a journalist, writing reviews of films, to which he took the young Peter David along with him. Whilst the elder David was writing his own review, his young son was knocking together his own back at home. Some of these appeared in the article itself.
The seminal moment however was in meeting his idol, Stephen King at a book signing, telling him that he was an aspiring writer. King signed David’s copy of Danse Macabre with the inscription ‘Good luck with your writing career,’ which David now inscribes himself onto books presented to him with the same aspirations. Other writers that David cites as influences include Harlan Ellison, Arthur Conan Doyle (Sherlock Holmes), Robert B. Parker, Neil Gaiman (Sandman, American Gods), Terry Pratchett (Discworld), Robert Craiss and Edgar Rice Burroughs while specific books he has mentioned as his favourites include To Kill a Mockingbird, Tarzan of the Apes, The Princess Bride, The Essential Ellison, A Confederacy of Dunces, Adam versus Jefferson and Don Quixote. Harlanm Ellison, an American writer of more than 1000 short stories, novellas, screenplays, teleplays, essays, a wide range of criticism covering literature, film, television and print media and editor of two ground-breaking sci-fi anthologies, Dangerous Visions and Again, Dangerous Visions, is cited as the writer David most tries to emulate in his work. Though emulation seems pointless now as David has become such a notable writer in the field, even if in a limited number of titles.
Strangely, David had given up on a career writing and came to work in book publishing, first Elsevier/Nelson and later working for sales and distribution for Playboy Paperbacks. He subsequently worked for five years in Marvel’s sales department as Sales Direct Manager under Carol Kalish, who hired him and then succeeding Kalish as Sales Manager. At the time he he made a couple of cursory attempts to sell stories, in particular for Moon Knight to Dennis O’Neill bbut this proved fruitless. Three years into David’s time as Sales Manager ‘maverick’ James Owsley became editor of the Spider-man titles. Owsley had been impressed with David’s willingness to work under him without hesitation when Owsley was assistant editor under Larry Hama, and thus, when he became editor, he purchased a Spider-man story from David, which appeared in Spectacular Spider-man 103 in 1985. A move from Sales to Editorial was seen as a conflict of interest at the time and in response to any possible criticism, David made a point of not discussing editorial matters while in his 9-5 job of Direct Sales Manager and decided not to exploit it by promoting the title. David still attributes the poor sales of the title to this decision but has commented that crossing over from Sales to Editorial is now common. None-the-less he was fired from Spectacular Spider-man by Owsley due to editorial pressure by Marvel’s Editor-in-chief Jim Shooter, and has commented that the resentment caused by Owsley’s purchase of his stories may have permanently damaged Owsley’s career. Despite this far from ideal start in his career as a comic’s writer, arguably damaging other’s careers unintentionally in the process, (or perhaps because of it) Jim Shooter’s replacement as Editor-In-Chief, Bob Harras, offered David a position as ongoing writer on a struggling title no-one wanted to write. A difficult, curmudgeonly title that was defined by its character’s complete lack of development – even for the comic’s industry. That title was the Hulk and Peter David was about to make history….
Games adaptations have a chequered past in Hollywood but this might be the one that breaks the rule. Why worry about computer games? Look at the classics of the day and go back to boardgames. After all Clue did alright didn’t it? Kerplunk: The Movie will no doubt be on its way soon.
Seeing as the Friday night film is up soon (as it is) and me and Dan are massive Green Lantern fans after the monumental Blackest Night craziness over the last year or so I thought I’d offer a little trailer (or two) before the movie.
The Green Lantern trailer has been released by Warner Bros, the film itself due to be released Summer 2011 in the US (and sometime shortly afterwards for us in the UK just to keep us in our place). The great thing about Green Lantern is that practically no one outside of comic fans and the US have heard of him. The interesting thing is that practically no one outside of comic fans and the US have heard of him. Take a look, see what you think…
Typically, any obscure comic character breaking out into movies has an ace up their sleeve. Years of development out of public view and a sudden shot in the arm as they arrive on the big screen with a pre-prepared back story and ‘best bits’ that can be used while none of the weight of expectation the heavy hitters like Superman, Batman or Spider-man might suffer from. Ang Lee got bit by public scrutiny with his Hulk (2003) for not living up to expectations while Wesley Snipes, Stephen Norrington and David S. Goyer strode out defiantly with Blade (1998) and kick started more than a decade of high budget comic book adaptations and gave Hollywood a much needed sure-fire formula they could rely on. So, is this going to be a Blade or a Scott Pilgrim or is this going to be a Phantom or a Catwoman?
So, our worthy verdict….
Ryan Reynold’s has been swimming about the comic movie industry for a while now without much luck of finding shore. There was Blade Trinity in 2003 as one of the Nightstalkers and Wolverine: Origins in 2008 as Wade (Deadpool). But his ship may have just come in with this one as he occupies the part of Hal Jordan almost a little too well. Cocky, brash and adventurous is pretty much what he’s being trying to put across (and at times move away from) since he arrived on the scene so good luck to him.
For us comic geeks, the film clearly goes Oa-side pretty swiftly with the Green Lantern Corps early on with Abin Sur carking it early as in the book, Tomar Tu (beaked finhead) apparently playing tour guide on Oa (GL HQ), Sinestro (Mark Strong) hanging around suggesting there’s a plot developing for later films (hopefully) and Lantern recruitment and training officer, Kilowog all pig faced and politically incorrect name intact, all clearly face checked. No Morg or Bzzt but you can’t have everything. Carol Ferris is present and very correct (Blake Lively) as the love interest. There’s no sign of John Stewart (though he is credited as appearing in it played by Nick Jones on Imdb – I checked) or Guy Gardner (not credited) so it looks as though the storyline will centre on Hal joining for film 1 which should keep things fairly simple. No obvious Guardians floating around but according to previews they’re in there too somewhere.
There’s no suggestion of space battles and most of the action is based on Earth so there’s a possibility still that Geoff Johns (current writer and Dc’s Chief Creative Officer since Feb 2010) has kept the filmmakers under control and retained a simple but effective plot line that introduces the wider universe for later movies but focusses on the central threat of the crazy scientist (potentially fun) which is not a bad idea seeing as how the CGI looks a little overstretched – though there’s a possibility given the time left that not all is complete just yet. Let’s see shall we….
Not as good as this though I’m sad to say as its not for a real movie….