Hey everyone! Guess what! IT'S OFFICIALLY BEEN A YEAR SINCE I STARTED WRITING FOR THIS WEBSITE! YAAAAAAAAAAAAAAAAAAAAAAAAAAAY! And I'm massively way below the number of posts I SHOULD have after writing for a year now. But with Halloween very much upon us in this lovely fall time of year, I've decided to do (surprise surprise) another series review! Ladies and Gentlemen, I'm John Cortez and this is my 26th post for...The Broken Infinite.
So with Supernatural/Fantasy themed series, there's a LOT to consider using and not using. Most manga and anime by extension will rarely focus on a single supernatural creature and will more often than not focus on many. The American live action series Supernatural is a prime example in that while it largely focuses on Demons and their fucking up the human world in later seasons, the show still follows a very monster of the week format, introducing a new monster or demon or supernatural entity almost every single episode. The series that do tend to focus more on a specific type of being are usually more romance orientated or horror oriented if you want to go that route and nine times out of ten, Vampires are often the creature of choice to focus on. What do Karin, Vampire Knight, and Tsukuyomi MoonPhase all have in common with Hellsing, Trinity Blood, and Blood+? They all focus on Vampires and their relationships with humans, some in a romantic sense, others...not so much. But one of the other super big things in the supernatural/fantasy genre is Ghosts. The afterlife is a very mysterious thing and practically EVERYONE has an idea or wants to know what happens when we all finally die. Series approach this in different ways. Series like Bleach, YuYu Hakusho and DragonBallZ all portray an afterlife and to an extent how it interacts with our world. But other series like what we'll be talking about today are directly built around the idea of live humans directly interacting with the deceased. Today's series is, among my personal favorites, Shaman King!
Yes Shaman King! The series that, I believe, officially put Hioyuki Takei on the map! I fucking love this series! I love it VERY VERY VERY MUCH! And now I'm going to talk about it!
The plot is this: Yoh Asakura is the most recent in a long line of Japanese Shaman, people who can not only see Ghosts and Spirits, but also interact with them. In series they're described as a link physical link between this world and the next and so they've got special powers that allow them to allow Ghosts and Spirits to possess them at will and utilize their abilities by acting as a fully mobile medium for the Ghost/Spirit in question. Yoh has recently moved from his family's home in Izumo to Tokyo, a big city full of wandering spirits to further his training and find himself a Guardian Spirit. Think of it in Pokemon terms and he's basically looking for a Ghost to be the Pikachu to his Ash Ketchum. On his first day at his new school he runs into the local midget, Manta Oyamada and after saving his ass in a cemetary after subsequently getting poor Manta jumped by the local gang, the two become friends because Manta can also see spirits, he just lacks the spiritual power to use them in the same way Yoh can. Yoh also recruits the Ghost of Amidamaru, a very powerful samurai as his Guardian Spirit and soon enters the Shaman King Tournament after receiving some harsh training from his no nonsense fiance Anna who is determined to make Yoh win the tournament so she can be Shaman Queen. Yoh himself has been wanting to enter the tournament for some time now so that he can achieve his goal of living a lazy and easy life. So what does the winner of this tournament win? Well, they basically get GOD as their Guardian Spirit and rule the world for 500 years. In addition to his after mentioned goal, Yoh also has a rather personal reason for winning the tournament. Every 500 years, his ancestor Hao, the very first Asakura, reincarnates into the Asakura line to win the tournament and this time, he's reincarnated as Yoh's, literal, evil twin. Yoh must now defeat his bother with the help of his trusted friends to save...effectively all of the regular humans from being whipped off the face of the earth by Hao and his followers.
The first thing that I must praise Shaman King for is it's OUTSTANDING art work. Like most manga, the character designs for Shaman King start off very rounded before becoming more angular like most anime and manga designs are. But for some reason, I just feel myself being very strongly loving this particular art style. Compare THIS
which was drawn at the very start of the series and was...I think the first full color splash page of the series, to THIS
which was drawn...at a later point in time which we shall not talk about. The context is already strange enough without my spoiling anything. In all honesty though, I really do just love Hiroyuki Takei's art style even if I can't pinpoint exactly WHY I love it so much. On the flip side is the anime which was animated in the early 2000's and...doesn't look all that great in all honesty but it doesn't look all that bad either. It DOES come off as looking rather...cheap though if I'm being perfectly honest. The music is actually really good though going all the way from the background tracks to the openings and endings to the character image songs. Among the cast are popular female seiyuu Megumi Hayashibara, Yui Horie, Nana Mizuki and Romi Paku! The English Dub was produced by 4Kids Entertainment, and to be perfectly honest it's a fine dub. I really like the Shaman King English dub, if for nothing else than pure honest effort and nostalgic value. That said though there was some definite dumbing down in the translation from Japanese to English but most of the dialogue is similar enough for anyone to grasp what's going on. Of particular note, since it wasn't something that 4Kids could very well hide, there was a very real and definite threat of death in this series, and it's made all the more clear whenever Hao is being...well Hao. At one point, Yoh goes to plead with Hao to NOT kill the plucky side characters as they've no chance against him and are frankly no threat to him. Hao's like "Imma kill em" so Yoh decides to take on the team himself as if he's going to kill them, both to show them that they can't handle Hao and to stall them until Hao is declared the winner of the match by default. It was a powerful episode...in a way for not only giving the reason as to WHY the plucky team was so determined to fight Hao and it serves to really let the audience know that Hao WILL NOT fuck around or throw a fight for ANYONE regardless of their overall threat level to him.
So what's there to like about this series? Well, basically everything. Shaman King is an old enough shonen series to really get away with the long running tournament arc type set up while still doing new and interesting things DURING that arc and having entire arcs within that arc. The Shaman King Tournament is where most of the memorable cast comes into play as well as introduces everyone's desires and motivations for wanting to win and the lengths they'll go to to achieve those goals. Of course Hao stands out as one of the most "evil" of the characters in both methods and motivations but we also get the X-Laws, a group of Shamans who've united in their pursuit to kill Hao and, just like Hao, they're completely willing to kill anyone who gets in their way or to be more brutally honest, anyone who doesn't want to join them which is just like Hao. And they're supposed to be the good guys because they've all suffered horribly at the hands of Hao and they're just and righteous because they ANGELS as their Guardian Spirits and...and they dress in all white so you know that they're supposed to be good. They also unfailingly follow the orders of a little girl who spends all her time in a medieval torture device. And even then, morality is never the name of the game because any particular point of view can be sympathetic and just when framed the right way...as Shaman King does so very often and very well. The next thing that the series does really well is character development. Like other shonen series, in Shaman King the moment Yoh defeats someone they're likely to become best friends and this extends to a very large part of the supporting cast. Ren, Horohoro, Ryu, Faust, and Lyserg to an extent all start off as "antagonists" or basically just opponents who want or need to defeat Yoh in order to move on to the next round. Ren in particular has some of the best character development as is I think usual for characters that start off as villain antagonists. And then we get right back to Hao and his followers and the X-Laws and they're all compelling characters, even if their actions are framed in an objectively negative light. More to the point OF the characters themselves, not a single one is wasted or useless. While not all of them contribute to the overall plot, they're still entertaining and enjoyable which is exactly what good characters should be. The action scenes are well drawn along with practically everything else and the emotional scenes make you feel exactly the way you should feel, happy, sad, angry or any other emotion a particular scene is going for. The comedy is excellent. Most of the jokes work and even the ones that are kind of lame are...halfway decent in their own way. While it's slow to start, Shaman King does very quickly settle into what it wants to be.
The negatives are few but still important to take note of. In particular the series suffers from two very glaring flaws. Those being it's opening and ending. The series is very confused throughout the entirety of it's first volume. It's not quite sure what kind of story it wants to be because it starts off kind of like Pokemon where Yoh is hellbent on getting as many Ghosts as he can to join him and he starts solving the problems of the living or the dead one at a time. THEN Ren comes into the series and shit gets a WHOLE lot more serious REAL QUICK. It was never NOT serious but...side adventures with Ghosts to almost getting murdered by another Shaman are VERY different things. At least Ren was...kind of foreshadowed and the series is called Shaman King so it's kind of begging the question of who is it or who is it going to be. The other BIG BIG BIG problem with the series is it's ending. The anime goes for a very InuYasha style "Eventually we'll get to something offscreen" kind of bullshit that most anime/manga fans hate and then the manga goes and does the same thing by making some bizarre Sleeping Beauty analogy using Hao and Yoh's group. Takei realized that this is NOT the proper way to end the series and thus Shaman King Kangzen Bang was created to give the series a proper ending. Wanna know what the problem with that is? You can't get it in America unless you're willing to read manga online in which case...you can do just that. I honestly don't see WHY Viz didn't licence it as it wouldn't have hurt their sales one bit but whatever.
In conclusion, Shaman King, while by no means a perfect creation, is still a very popular and beloved one. It took a tournament arc, based an entire series around it and it really stands out as a "classic" shonen manga to me for many reasons. One, it's memorable as hell. You don't finish a series like Shaman King and then forget you ever even read it to begin with. It's something that stays with you for most of, if not, your entire life. Another thing, it's written well. The characters, while they're not the most original by a long shot, are still fun and enjoyable and wonderfully written. If there's one character you don't like, there should be five others that float your boat just fine. And finally, it's got a perfect reason for having its characters all fight it out to be the very best Shaman in the world, which makes it's Tournament arc completely justified. While that might not make it a classic to some of you, it definitely stands out as one to me. I'm John Cortez and here's hoping for another great year with even MORE blog posts!
Showing posts with label Viz Media. Show all posts
Showing posts with label Viz Media. Show all posts
Tuesday, October 22, 2013
Thursday, August 1, 2013
DaWaRou Posts: Viz "Actively Negotiating" Rumiko Takahashi anime titles!!
What's up everyone! No point in idle chitchat, let's get straight to business. I'm John Cortez and this is my 23rd post for...The Broken Infinite.
So...it's funny how the things you complain about not having suddenly turn around and fall right into your arms. I'm sure everyone's had an experience of this happening to them in the past. Those times when you're moaning about not having any money and then you just happen to find the amount that you need or want. Well, today's news story is something like that only it applies to what I want! See, Viz Media is currently in "active negotiations" about two old series that were probably among the very first they dubbed, and one of which being one of my favorite series period Rumiko Takahashi's Ranma 1/2!
I'm not quite sure if anyone out there truly realizes how much I love and respect this series! I know that...it's really not as great as it could be had the series decided to keep going with the kind of ongoing plot it had for...what...eight volumes and three seasons but that's not to say that what came after those wasn't good in it's own way. The last arc of the manga was actually probably the best the series had been in a long time and I always liked how Ranma managed to mix comedy and action in a way that really really worked. It had a wide net of interesting characters all of which were strong enough to level the city in which they all lived in no time flat and it wasn't all just pointless filler, some of it was rife with character development! But sadly, the series has fallen out of print and Viz has lost their licence to it, which brings me back to my main point that Viz is negotiating to get the licence back along with that other Takahashi series I never really cared to watch called Maison Ikkoku.
Personally, I'm pretty excited and I really hope that Viz gets the licences back because I've been complaining for a LONG time about how Ranma was pretty much the first series that Viz ever dubbed but its' not available for legal streaming on their website with fellow Takahashi series InuYasha. Maybe Viz will eventually try their hand at licencing Urusei Yatsura...again...I think. Anyways, that's all folks! Here's hoping that all goes well! DaWaRou~!
So...it's funny how the things you complain about not having suddenly turn around and fall right into your arms. I'm sure everyone's had an experience of this happening to them in the past. Those times when you're moaning about not having any money and then you just happen to find the amount that you need or want. Well, today's news story is something like that only it applies to what I want! See, Viz Media is currently in "active negotiations" about two old series that were probably among the very first they dubbed, and one of which being one of my favorite series period Rumiko Takahashi's Ranma 1/2!
I'm not quite sure if anyone out there truly realizes how much I love and respect this series! I know that...it's really not as great as it could be had the series decided to keep going with the kind of ongoing plot it had for...what...eight volumes and three seasons but that's not to say that what came after those wasn't good in it's own way. The last arc of the manga was actually probably the best the series had been in a long time and I always liked how Ranma managed to mix comedy and action in a way that really really worked. It had a wide net of interesting characters all of which were strong enough to level the city in which they all lived in no time flat and it wasn't all just pointless filler, some of it was rife with character development! But sadly, the series has fallen out of print and Viz has lost their licence to it, which brings me back to my main point that Viz is negotiating to get the licence back along with that other Takahashi series I never really cared to watch called Maison Ikkoku.
Personally, I'm pretty excited and I really hope that Viz gets the licences back because I've been complaining for a LONG time about how Ranma was pretty much the first series that Viz ever dubbed but its' not available for legal streaming on their website with fellow Takahashi series InuYasha. Maybe Viz will eventually try their hand at licencing Urusei Yatsura...again...I think. Anyways, that's all folks! Here's hoping that all goes well! DaWaRou~!
Friday, June 29, 2012
Review: The Earl and the Fairy (Volume 1)
The Earl and the Fairy
Story and Art by Ayuko
Original Concept by Mizue Tani
Published by Viz Media
Summary:
“Lydia Carter is a fairy doctor, one of the few people with
the ability to see the magical creatures who share our world. During one of her
rare trips to visit her father, Lydia’s quite life is suddenly transformed when
she is rescued from kidnappers by a mysterious young man!
Edgar Ashenbert claims to be descended from the human ruler
of the fairy kingdom, and he urgently needs Lydia’s help to find and claim his
birthright, the legendary sword of the Blue Knight Earl. Things will never be
the same for Lydia as she is pulled into a dangerous quest against dark forces.”
Story:
It might be odd for me to do yet another shojo (girl’s)
manga this week, but for those of the masculine type, do not fret, this will
not be a constant trend. Still, comics aimed at boys and men tend to get more
publicity thanks to the popularity of Marvel, DC, and Shonen Jump, so it’s only
fair that comics aimed at girls and women get some spotlighting.
The first few pages are actually rather shocking. The main
male protagonist, Edgar, is shown brutally interrogating a doctor named Gotham
(sadly no relationship to the city), and after learning he needs a fairy doctor
to find the Merrow Star, the jewel of the Blue Knight’s sword, he promptly
shoots him. Immediately, Edgar is established as someone who would go to
drastic measures to obtain what he wants, which leads to him kidnapping Lydia
later on. In a lesser story, his actions would be viewed as cold and possibly
villainous, but the story goes to great lengths to showing him as noble and
having good justification for his actions. He has his asshole moments, but
thankfully Lydia is wise enough to slap him for them and keep him in line.
Lydia unfortunately has some of the clichés of a shojo protagonist,
namely her naivety. Despite seeing his picture in a newspaper, she fails to
realize who Edgar is before being tricked onto his boat, and takes her sweet
time in asking him the important questions. This is balanced by Nico, her
talking cat that only she can hear due to her gift to see and hear fairies.
Nico’s purpose is to be the cynical foil to Lydia’s optimism, rightfully
pointing out any suspicious behavior from Edgar and his companions. Despite her
shortcomings, Lydia is not a weak character. She does eventually challenge
Edgar’s reasoning for his journey, revealing a crucial part of his character in
the process, and her outcast nature will be endearing to readers. As one of the
few people who can see fairies, she’s also one of the few who believes in them.
Perhaps it’s because of her naivety and open mind that she is able to see them,
which makes those traits more palatable.
The first volume serves as an introduction to the larger
story and cast. Edgar and Lydia are introduced with hints at a later romance,
backstory on the Blue Knight Earl is given, and we learn about the fairies of
this universe. Very few fairies are actually shown in this volume, but the ones
we do see are accurate to European folklore, such as the brownies and pixies.
They add a touch of magic to what could otherwise be a Victorian England period
piece. Overall, there is enough material in this first volume to let readers
know if they’ll want to continue, with enough of a hook at the end to keep
readers hyped for the next release.
Art:
This is one of the prettiest manga I have looked at in
recent months. I’m not familiar with Ayuko’s work, but this has convinced to me
to look for it, because her characters look gorgeous. It’s not that all of the
characters are attractive, it’s the amount of detail she puts into them,
especially their clothing. Victorian clothing tends to look stunning in real
life, and that stunning feeling has been perfectly captured in drawn form.
Since this is a shojo manga, the two leads are nearly guaranteed to be
attractive. There’s nothing wrong with having a pretty boy lead in a romance
story aimed at ladies, and I must say, Edgar is extremely attractive. He’s
pretty enough to be a bishonen (a pretty boy), but rugged enough to be a man,
so he actually looks like a capable fighter.
However, while the artwork is gorgeous, it loses some of its
splendor during the fight scenes. Blur is good for conveying speed in comics,
but when your characters look like massive blobs when they throw a kick, it
takes the reader out of the moment. Hopefully later volumes fix this blemish on
an otherwise beautiful manga.
Final Thoughts:
The Earl and the Fairy does enough to put it above a
standard romance manga. It has a dark hero and outcast heroine who manage to
grab the audience’s sympathy, and the search for the Blue Knight Earl’s sword
is full of enough backstory and magical intrigue to satisfy any fan of European
folklore and fantasy. Add in the splendid artwork and you have a good manga on
your hands. Readers looking for something more action-packed might want to skip
this, since the few fight scenes in the manga are hard to look at. Lydia’s
naivety might be annoying for some, but others might find it endearing. If you
love shojo manga or just want to give one a whirl, give this a shot.
The Earl and the Fairy was published by Viz Media this year.
The first two volumes are available now with the 4th and final
volume coming out at the end of the year.
Wednesday, October 26, 2011
NEWS EDITION #14 - GAGE TAKES ON X-MEN LEGACY, SHONEN JUMP GOES WEEKLY AND DIGITAL & THE RETURN OF A COMICS LEGEND
News Edition is here again for another week of comic book news for all you Clashers out there. Here are these weeks Headliners.
GAGE TAKES ON X-MEN LEGACY
by Frankie Rodriguez
As most of you know, the X-Men franchise has been given a pretty big overhaul; spending the last several months breaking down the current status quo; Not only in Schism but in Uncanny X-Men and other books. Each X-Men book were dealing with the ingredients that lead to the monumental split between Cyclops's group of X-Men and Wolverine's group of X-Men. X-Men Legacy is no different.
For the past six years, writer Mike Carey has given readers a great journey through the X-Men's existence through the eyes of several characters; most prominently Rogue. And as the recent end of Schism, Carey's last story will be the dividing of the makeshift team he has created over the last year; thus providing an ending to his run and a new jump-on point with the new X-Men Legacy scribe, Christos Gage.
As Gage jumps on the book as of #260.1, merely 2 weeks after the end of Carey's six year run. And the writer stated that his run will pick up certain things from Carey's run while giving a fresh start. Gage confirmed that Rogue, who has become synonymous with the title over the last six years, will still be front and center when he takes over. Quote from CBR:
The great thing about Rogue, and I think Mike handled this brilliantly, is that by the very nature of her powers -- borrowing abilities and memories from others -- she is a window into other characters, so while she is very much the headlining character, this can't help but be an ensemble book. I think Rogue is one of the most fully developed characters in comics, having gone from a villain who can't control her powers to a strong leader who can show others how to be their best. I want to explore what it's like for her as she strives to figure out who she wants to be and what she wants to do with her life at a time of great transition -- from Utopia to the Grey School, in terms of what is best for both her and mutantkind, and, of course, that juicy love triangle between her, Gambit and Magneto! So yes, the emphasis on Rogue will certainly continue.
And she won't be alone as Gambit, Frenzy and recently returned Rachel Grey (Summers) will be carried over from Carey's run. Plus, Gage adds in additions Cannonball, Husk and original X-Man Iceman into the mix; providing the cast of what will be a "teacher book" in comparison to his other well known ongoing, Avengers Academy which is a "student book." Gage made it no secret that this cast gives him the most story potential and talked a bit about what their roles in the books as teachers and overall role in the new Jean Grey School for Higher Learning.
Much in the way that Mike did, we'll be using characters from all over the Grey School, but you're right, those characters are the core of "Legacy." I thought they provided the most potential for cool stories -- it's as simple as that. They represent the history of the X-Men from the very beginning to the recent past. And while they have all chosen the same path, they will not necessarily agree on how to walk it.
The X-Men in "Legacy" are all involved in Wolverine's school in some way, and we'll see them in that role, but we'll also see them in their lives outside the school. And the question of what their mandate is looms large. Big picture, their job is to educate, protect and support the students so that they are able to make it to adulthood safely and decide what they want to do with their lives. But since they're carrying on Professor X's dream of human/mutant coexistence, they will also, from time to time, tackle threats to the public in general, just as a team of heroes like the FF or Avengers might.
Gage seems to have great plans for the cast as he hinted that him and new artist, David Baldeon will have these X-Men deal with being teachers while facing all sorts of threats. And their first threat is the extra dimensional demons, the N'Garai. And following that particular threat is dealt with, they face one of the most powerful mutants and old adversaries in Exodus. And as Gage pointed out, last time we saw Exodus, he was convinced that mutantkind can't survive without uniting by Professor Xavier.
When we last saw him, Professor Xavier had convinced him that mutantkind could not survive unless it was united, and he went on a pilgrimage to ponder his role in this new world. Now he's back -- only to find that mutantkind is far from united, and he's not happy about that. Exodus is really going to make our characters examine and defend the choices they've made.
Along with David Baldeon, Gage is prepared to be here for the long haul with Legacy and its characters. And considering the previous history of the team: (for example, Gambit and Rogue's on and off relationship; Iceman's close friendships with Rogue, Gambit & Cannonball) seem to be ripe for the scribe to create all kinds of stories full of character driven plots and great action.
X-Men Legacy #260.1 written by Christos Gage & art by David Baldeon will hit stores in January 2012.
SHONEN JUMP ENDS PRINT & GOES DIGITAL WITH ALPHA!
by Frankie Rodriguez
Yes. Viz Media announced during NYCC that they will be ending their popular Shonen Jump Monthly magazine . . . in print form. What Viz decided to do instead is to making the entire book go digital come 2012. Alvin Liu, Senior Vice President & General Manager over at Viz Media, described the reason behind the change is that it posed an idea of a weekly publication that was more fresh and current. And that while Japan does not see a need for them to go digital, Liu points out that while Japan has book stores and convenient stores all over the country, they don't have them in the States.
Liu hopes that with them going digital and selling Shonen Jump Weekly Alpha for only 99 cents online will drum up more readers, lower piracy and also keep the publication more current with its parent counterpart in Japan. And while Shonen Jump here in the US sold about 125,000 copies monthly, making it one of the highest selling comics in America, Liu states that they should get more with the digital option; as well as open doors to their graphic novels which will still be available in print and digital. Alvin Liu comments:
Once we had the possibility of doing a weekly publication digitally, it made the print magazine, not obsolete, but the content is not as fresh. We feel that manga in its native form is a periodical, a sort of live performance, as it were. We went with the print magazine in the first place because it was the closest we could get to that given the limitations that we faced at the time. Once the possibilities of digital came into play, doing something much more live and fresh came into play, having a print magazine lagging behind that became less essential.
And to have an idea of how much more current the new content will be when Shonen Jump Alpha starts in January 2012, Viz stated in a press release that they will end up being only 2 weeks behind their parent anthology in Japan. Only 2 weeks. And Shonen Jump Weekly Alpha will be available through Viz Apps in all iPhones, iPads, iPod Touch and through even some Android apps.
Shonen Jump Weekly Alpha will be available through year long subscriptions . .. 52 issues (one every week) for $25.99 or rent single issues for a month at 99 cents. To even catch up to the new jump on points in Shonen Jump Weekly Alpha, Viz unleashes it's Shonen Jump Digital Warp; which will collect graphic novelization that will summarize and catch up to their starting point in Alpha without taking much away from their previous stories. They recently started with releasing 7 graphic novels of Naruto online in 7 days and added other popular Shonen Jump properties such as One Piece and Bleach.
Shonen Jump Weekly Alpha will debut with Naruto, One Piece, Bleach, Nura: Rise of the Yokai Clan, Toriko and Bakuman and is slated to start January 31st, 2012 while the Final Print issue of Shonen Jump Monthly will be on sale in April 2012.
ANNIE GET YOUR GUN (OR ARROW)
by Special Correspondent, Derrick Jones
It is the comeback of the season and it has everyone abuzz. Ann Nocenti returns to the world of comics
after a fifteen year “break”. The project that brought her out of hiatus is one of DC’s new 52 titles Green
Arrow. Announced recently at the 2011 New York Comic Con, Ann will be taking over writing chores for
the recently relaunched book from J.T. Krul with her first issue hitting stands March of 2012.
Ann was very busy in the 80’s and 90’s in the comic world wearing writing and editor hats, her most
notable and well-remembered work being her Daredevil and New Mutants runs. She is also co-creator
of some popular characters including one of my personal favorites Longshot. Ann got her start at Marvel
comics as an assistant editor, a position she got after bluffing her way into an interview after reading
about the position in the “Village Voice”. While most of her work was at Marvel she did a fair share
at DC but as time went on found other projects outside the comic realm that seemed to speak to her
more. In an interview on Manwithoutfear.com she answered a question thus
“I edit and write for a film magazine now, called Scenario, and I'm in the middle of a mystery novel, so I'm pretty busy with that. Next on my plate as a writer is maybe some TV work, maybe another X-Men prose novel. I had a lot of fun writing the Prisoner X novel. I'd love to write comics again, if the right project crossed my path, with a company and/or editor I trusted. The business has been kind of ugly and traumatic for the past handful of years. Projects I loved stories that are probably my best work, were dumped and never saw print when the industry sales collapsed, companies went bankrupt, and scores of comics
were cancelled. A few years ago I was hired to write a treatment and first issue for a comic called "The Darkness" for the cats at Top Cow. They used my work, but never paid me, never credited me. That experience turned me off to comics quite a bit, and I'm afraid stories like that are typical of the business these days. But hopefully comics are on the rise again, and I'll be able to be part of that.”
When coming back into writing Green Arrow, she commented during NYCC on her approach:
I have a particular way of writing a comic. Comics are short. Yhey are only twenty pages, so you can take a year of comics and that can be your opera, and the opera can have a lot of different passages in it. I kind of believe every issue should be a single story, just a complete story. But there is a momentum that forms like triptychs over it, and then it forms your big overtures, and then the whole thing ends up kind of operatic. I also want a beginning, middle and end, a classic short story approach to every single comic. What I do is I try to figure out, what is the kick in this comic, what is the main feeling I want to get, and everything in the comic has to serve that. I mean, this is real technical writer talk and probably boring for most! [Laughs] I think where comics get in trouble is when they try and plot too much in a single issue. It's only twenty pages and you should leave with a feeling that you get from reading a short story or watching a short film. But most of all I want to have fun, because if I have fun, the book will be fun!
Well Ann, I hope that, for you, comics are indeed on the rise again also and that you will stick around for a
long time.
VIDEO OF THE WEEK:
Was going to put this up last week but . ..
Looking forward to this when it premieres next year.
That's it for this week. More news next week
GAGE TAKES ON X-MEN LEGACY
by Frankie Rodriguez
As most of you know, the X-Men franchise has been given a pretty big overhaul; spending the last several months breaking down the current status quo; Not only in Schism but in Uncanny X-Men and other books. Each X-Men book were dealing with the ingredients that lead to the monumental split between Cyclops's group of X-Men and Wolverine's group of X-Men. X-Men Legacy is no different.
As Gage jumps on the book as of #260.1, merely 2 weeks after the end of Carey's six year run. And the writer stated that his run will pick up certain things from Carey's run while giving a fresh start. Gage confirmed that Rogue, who has become synonymous with the title over the last six years, will still be front and center when he takes over. Quote from CBR:
The great thing about Rogue, and I think Mike handled this brilliantly, is that by the very nature of her powers -- borrowing abilities and memories from others -- she is a window into other characters, so while she is very much the headlining character, this can't help but be an ensemble book. I think Rogue is one of the most fully developed characters in comics, having gone from a villain who can't control her powers to a strong leader who can show others how to be their best. I want to explore what it's like for her as she strives to figure out who she wants to be and what she wants to do with her life at a time of great transition -- from Utopia to the Grey School, in terms of what is best for both her and mutantkind, and, of course, that juicy love triangle between her, Gambit and Magneto! So yes, the emphasis on Rogue will certainly continue.
And she won't be alone as Gambit, Frenzy and recently returned Rachel Grey (Summers) will be carried over from Carey's run. Plus, Gage adds in additions Cannonball, Husk and original X-Man Iceman into the mix; providing the cast of what will be a "teacher book" in comparison to his other well known ongoing, Avengers Academy which is a "student book." Gage made it no secret that this cast gives him the most story potential and talked a bit about what their roles in the books as teachers and overall role in the new Jean Grey School for Higher Learning.
Much in the way that Mike did, we'll be using characters from all over the Grey School, but you're right, those characters are the core of "Legacy." I thought they provided the most potential for cool stories -- it's as simple as that. They represent the history of the X-Men from the very beginning to the recent past. And while they have all chosen the same path, they will not necessarily agree on how to walk it.
The X-Men in "Legacy" are all involved in Wolverine's school in some way, and we'll see them in that role, but we'll also see them in their lives outside the school. And the question of what their mandate is looms large. Big picture, their job is to educate, protect and support the students so that they are able to make it to adulthood safely and decide what they want to do with their lives. But since they're carrying on Professor X's dream of human/mutant coexistence, they will also, from time to time, tackle threats to the public in general, just as a team of heroes like the FF or Avengers might.
Gage seems to have great plans for the cast as he hinted that him and new artist, David Baldeon will have these X-Men deal with being teachers while facing all sorts of threats. And their first threat is the extra dimensional demons, the N'Garai. And following that particular threat is dealt with, they face one of the most powerful mutants and old adversaries in Exodus. And as Gage pointed out, last time we saw Exodus, he was convinced that mutantkind can't survive without uniting by Professor Xavier.
When we last saw him, Professor Xavier had convinced him that mutantkind could not survive unless it was united, and he went on a pilgrimage to ponder his role in this new world. Now he's back -- only to find that mutantkind is far from united, and he's not happy about that. Exodus is really going to make our characters examine and defend the choices they've made.
Along with David Baldeon, Gage is prepared to be here for the long haul with Legacy and its characters. And considering the previous history of the team: (for example, Gambit and Rogue's on and off relationship; Iceman's close friendships with Rogue, Gambit & Cannonball) seem to be ripe for the scribe to create all kinds of stories full of character driven plots and great action.
X-Men Legacy #260.1 written by Christos Gage & art by David Baldeon will hit stores in January 2012.
SHONEN JUMP ENDS PRINT & GOES DIGITAL WITH ALPHA!
by Frankie Rodriguez
Yes. Viz Media announced during NYCC that they will be ending their popular Shonen Jump Monthly magazine . . . in print form. What Viz decided to do instead is to making the entire book go digital come 2012. Alvin Liu, Senior Vice President & General Manager over at Viz Media, described the reason behind the change is that it posed an idea of a weekly publication that was more fresh and current. And that while Japan does not see a need for them to go digital, Liu points out that while Japan has book stores and convenient stores all over the country, they don't have them in the States.
Once we had the possibility of doing a weekly publication digitally, it made the print magazine, not obsolete, but the content is not as fresh. We feel that manga in its native form is a periodical, a sort of live performance, as it were. We went with the print magazine in the first place because it was the closest we could get to that given the limitations that we faced at the time. Once the possibilities of digital came into play, doing something much more live and fresh came into play, having a print magazine lagging behind that became less essential.
And to have an idea of how much more current the new content will be when Shonen Jump Alpha starts in January 2012, Viz stated in a press release that they will end up being only 2 weeks behind their parent anthology in Japan. Only 2 weeks. And Shonen Jump Weekly Alpha will be available through Viz Apps in all iPhones, iPads, iPod Touch and through even some Android apps.
Shonen Jump Weekly Alpha will be available through year long subscriptions . .. 52 issues (one every week) for $25.99 or rent single issues for a month at 99 cents. To even catch up to the new jump on points in Shonen Jump Weekly Alpha, Viz unleashes it's Shonen Jump Digital Warp; which will collect graphic novelization that will summarize and catch up to their starting point in Alpha without taking much away from their previous stories. They recently started with releasing 7 graphic novels of Naruto online in 7 days and added other popular Shonen Jump properties such as One Piece and Bleach.
Shonen Jump Weekly Alpha will debut with Naruto, One Piece, Bleach, Nura: Rise of the Yokai Clan, Toriko and Bakuman and is slated to start January 31st, 2012 while the Final Print issue of Shonen Jump Monthly will be on sale in April 2012.
ANNIE GET YOUR GUN (OR ARROW)
by Special Correspondent, Derrick Jones
It is the comeback of the season and it has everyone abuzz. Ann Nocenti returns to the world of comics
after a fifteen year “break”. The project that brought her out of hiatus is one of DC’s new 52 titles Green
Arrow. Announced recently at the 2011 New York Comic Con, Ann will be taking over writing chores for
the recently relaunched book from J.T. Krul with her first issue hitting stands March of 2012.
Ann was very busy in the 80’s and 90’s in the comic world wearing writing and editor hats, her most
notable and well-remembered work being her Daredevil and New Mutants runs. She is also co-creator
comics as an assistant editor, a position she got after bluffing her way into an interview after reading
about the position in the “Village Voice”. While most of her work was at Marvel she did a fair share
at DC but as time went on found other projects outside the comic realm that seemed to speak to her
more. In an interview on Manwithoutfear.com she answered a question thus
“I edit and write for a film magazine now, called Scenario, and I'm in the middle of a mystery novel, so I'm pretty busy with that. Next on my plate as a writer is maybe some TV work, maybe another X-Men prose novel. I had a lot of fun writing the Prisoner X novel. I'd love to write comics again, if the right project crossed my path, with a company and/or editor I trusted. The business has been kind of ugly and traumatic for the past handful of years. Projects I loved stories that are probably my best work, were dumped and never saw print when the industry sales collapsed, companies went bankrupt, and scores of comics
were cancelled. A few years ago I was hired to write a treatment and first issue for a comic called "The Darkness" for the cats at Top Cow. They used my work, but never paid me, never credited me. That experience turned me off to comics quite a bit, and I'm afraid stories like that are typical of the business these days. But hopefully comics are on the rise again, and I'll be able to be part of that.”
When coming back into writing Green Arrow, she commented during NYCC on her approach:
I have a particular way of writing a comic. Comics are short. Yhey are only twenty pages, so you can take a year of comics and that can be your opera, and the opera can have a lot of different passages in it. I kind of believe every issue should be a single story, just a complete story. But there is a momentum that forms like triptychs over it, and then it forms your big overtures, and then the whole thing ends up kind of operatic. I also want a beginning, middle and end, a classic short story approach to every single comic. What I do is I try to figure out, what is the kick in this comic, what is the main feeling I want to get, and everything in the comic has to serve that. I mean, this is real technical writer talk and probably boring for most! [Laughs] I think where comics get in trouble is when they try and plot too much in a single issue. It's only twenty pages and you should leave with a feeling that you get from reading a short story or watching a short film. But most of all I want to have fun, because if I have fun, the book will be fun!
Well Ann, I hope that, for you, comics are indeed on the rise again also and that you will stick around for a
long time.
VIDEO OF THE WEEK:
Was going to put this up last week but . ..
Looking forward to this when it premieres next year.
That's it for this week. More news next week
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