Interview With Brett Burner And Marvel Movie Madness

In cast you haven't heard, there's an interview with Brett Burner over at The Cast. Thank goodness he took my call!

Brett is currently producing graphic novels for Zondervan's g.n. imprint, through his own company Lamp Post Publications. His creator credits include The Manga Bible, Kingdoms and Hand of The Morningstar.

In the interview, Brett talks about his background as a comics fan, his career in the biz, what happened to Alias Comics, and his less-than-traditional approach to producing Christian comics.

So, what are you waiting for? Go listen, already!

Marvel Movies

Having seen Iron Man Monday night with my lovely wife, she once again was witness to one of my unseemly "geek-out" sessions. Regrettable, but she knew what she was getting into when she married me. Worse yet, for her, she thoroughly enjoyed the movie, as well. Yes, my dear, you are well on your way to geekhood.

If you haven't seen the movie yet, make plans SOON. It's a great flick.

Info on Marvel's future movie plans has also made it onto the net. Basically, we can expect Thor and Iron Man 2 in 2010, and Captain America and The Avengers in 2011. Just for the heck of it, here's my opinion on how they should handle Thor.



The most important thing: Keep Thor in Asgard, for at least the majority of the movie, bringing him to Earth only toward the end, perhaps in a climactic battle scene. Two or more Asgardian beings falling to Earth in a fiery conflagration? Industrial Light and Magic would have a blast with that! (Not to mention fanboys and fangirls.)

In keeping the character at the other end of the Rainbow Bridge, producers would be able to give the flick a "Lord of The Rings" feel, establishing to the people of movie-Earth and movie-goers themselves, that Thor "isn't from around here."

Upon dispatching whichever enemy he tangled with, he can introduce himself to the people of Earth, letting them know he has just saved their world from certain doom. Taking a liking to the world of man, he decides to stay awhile, prompting a visit from Nick Fury, ala Iron Man.

Heck, the threat in the Avengers movie could be an extension of what happens in Thor's flick, providing continuity, and remaining true to what Stan and Jack did.

So, there's my idea. And I'll expect to see my name in the credits should Marvel go that way. ;)

DC Reprints - From 1999

Several reprinted DC comics have arrived in bookstores, but not all are of recent vintage. DC's Hitman is a curious blend of crime, horror, and science fiction. The title character first appeared as a victim of alien invaders in the 1993 plotline "Bloodlines" and resurfaced in his own series and the Batman series "Contagion."

There are obvious similarities to Marvel's character, Punisher, but Tommy Monaghan has powers never known to Punisher; Monaghan operates in the gangster-haunted alleys of Gotham City but also deals with walking corpses, Etrigan the Demon, and other bizarre characters. Garth Ennis and John McCrea make this odd mixture work surprisingly well although the violence is often graphic.



The "Contagion" chapter is reprinted out of sequence and does not appear in the "Contagion" Paperback reviewed here recently. Hitman made an appearance in DC's Justice League #5.

Less violent than Hitman is Justice League: A Midsummer's Nightmare, a reprint of a mini-series in which the Justice League of America, a superhero team, is reformed. This incarnation is very close to the Schwartz-Fox-Sekowsky creative team version of the JLA of 1960.

The villain first appears to be Dr. Destiny, but writers Mark Waid and Fabian Nicieza manage a few surprises. I personally find the art rather weak; the lack of detail may appeal to some, but the JLA needs a more dynamic quality.

The best part of the story is that dealing with the superhero, Martian Manhunter.



The best of the trio is the surprisingly durable Batman: The Killing Joke. This graphic novel first appeared in 1988. Alan Moore's script and Brian Bolland's art combine for one of the best character analyses of the Joker I have ever seen.

The miracle is that this book still sells for $3.95 while the others described sell for $9.95 and $8.95 respectively.

Reviewed by Dr. Jon Suter

Alter Ego #75/96 pgs. & $6.95 from Twomorrows Publishing

Various writers and artists/available comics shops and at www.twomorrows.com.

Disclaimer: I have written for Alter Ego magazine, and therefore cannot be unbiased in this review.

I love this magazine! Alter Ego is a periodical mostly about the history of super-hero comic book titles with a sprinkling of information on comic strips. It is generally packed from glossy cover to cover with art, photographs, and new information on the world’s most popular artform starting in the early ‘30s.

The cover of the 75th issue is a montage of the art styles used on Fawcett Publication’s “Captain Marvel”, Superman’s only serious contender for the title of the best selling superhero of all time.

Shazam!! About half of the issue is dedicated to the interpretation of the “Big Red Cheese” by many different writers and artists for more than fifty years. Features in the rest of the issue include articles on artists and writers probably unknown to most readers. That’s because, for the most part, creators did not get bylines on their stories published in the first 25 years of comic books.

As example, Maxwell Elkan is a man unknown to even most hardcore comics fans. Yet this talented artist produced a substantial amount of outstanding comics work in multiple genres for twenty years. Recognition of his talent and of his role in the formative years of comics is no longer overdue.

This issue also offers a delightful 2008 calendar featuring famous movie actresses as super-heroines from the ‘30s and ‘40s. What comics fan could resist Jane Russell as Phantom Lady or Esther Williams as Rocketgirl? Hubba, hubba!

If the preceding sounds like Alter Ego is not a magazine for causal comics readers, you have good ears. Alter Ego is highly recommended for die-hard comics fans.

Michael Vance

Order Dark Corridor,a horror, fantasy, and suspense short story magazine at www.mainenterprises.ecrater.com! Michael Vance contributes the offbeat tales "The Zoo" and "Picked Clean". $4.50 per issue, USA.

New Location For The Podcast

You can now find Four Color Cast at a site dedicated to the podcast. Though the process of separating into two blogs wasn't a simple one, I have come to feel it was a necessary for the 'cast to have it's own identity. Check out Four Color Cast at it's new home, and keep coming back for more reviews, interviews and interesting comics facts.

Hand of The Morningstar, volumes 1 and 2, published by Zondervan, in conjunction with Lamp Post, Inc., 160 pages, $9.99

It had been a while since I’d read a comic series about a superhero team that I was really invested in as a reader. A series with amazing, progressive characterization (that is, characters which evolve), tons of action that doesn’t act as a substitute for an interesting plot, and the overwhelming sense that something amazingly sinister is brewing just out of sight. In other words, an epic story. Yep, it had been QUITE some time since such a story came along.

Then, I found Hand of The Morningstar.

The Hand is a group of super beings who act on the will of a seemingly supernatural entity called..., well, the Morningstar. Dispatched globally, wherever a disaster is in the works, be it natural or man-made, the Hand appears to “care for the world,” as stated by team leader, Titan. But, is the Morningstar really a benevolent being, concerned only for the safety of humankind, or something entirely different?

This is the basic question posed by the series, and as of the end of volume two, I’m all in.

Writers Brett Burner and Mike Miller (also the artist of the series) have set up a wildly entertaining story line that involves insane action, great characters and that building sense of dread mentioned above. Specifically, readers get to watch as Titan, who comes across as shallow and self-absorbed, appears to become something more. Kudos to those fine gentlemen for developing sympathetic characters.

Miller kicks in another heavy contribution, as he super-charges Hand with an art style that is clean, dynamic, action-oriented and expressive to a fault. Miller knows his craft, and it shows.

Hand of The Morningstar is one of the best team comics offered today, and is recommended for all ages, but especially those who enjoy well-crafted superhero stories. Volume three is also available, with volume four expected in May.

Find it at online auctions, some online retailers, and at www.zgraphicnovels.com.

Mark Allen

Comics Legend Archie Goodwin - From 1999

"One of the nice things about what I do and probably one of the reasons I'm attracted to it is that, in real life, I'm a relatively quiet, sometimes introspective person. And I like losing myself in the fantasy of comics." - Archie Goodwin

Without question, millions of readers have lost themselves in the fantasy of Archie Goodwin's comics. As an editor and writer, he is unsurpassed in the history of the art from, and remains one of the nicest, most respected professionals in the industry.

Although most famous as an editor on Warren publishing's Creepy, Eerie, Blazing Combat and Vampirella titles ('65-'70) and Marvel's Epic Illustrated magazine, Goodwin's writing is held in great esteem.

His first work appeared in Alarming Tales, a supernatural title from Harvey publishing.

In 1957, he landed a job as assistant to newspaper cartoonist Leonard Starr who drew On Stage.

"Leonard was just great to work with, although almost nothing I wrote ever made it into the strip," said Goodwin. "Leonard used me to make all the mistakes for him."

Modesty is more representative of Goodwin than mistakes, as is his love of comics.



"I guess it's the interaction between the words and pictures. I think it's a way that people are still exploring and playing with (it)."

At different times, Archie wrote comic strips including On Stage, Secret Agent Corrigan, Capt. Kate and Star Wars, but he is best known for his comic book work. This includes Hermit (Harvey,'62), Flash Gordon, Secret Agent X-9 (King, '66-'67), Iron Man, Sgt. Fury, Rawhide Kid, Hulk, Fantastic Four, Capt. Marvel (Marvel), Batman, Manhunter, Haunted Tank (DC-to present) and several movie adaptations for various publishers.

Archie Goodwin's work as an editor, writer or artist is highly recommended. Archie Goodwin as a man deserves the highest recommendation possible.

Published over many years, some titles may be difficult to locate. A price guide or comics dealer will help. Comic book shops, mail order companies, trade journals and comics conventions are best sources. Prices vary widely; shop around.

Review by Michael Vance

Comics Legend Chas Addams - From 1999

He is best known for something he never created. He is best remembered for wildly original single-panel cartoons in New Yorker magazine.

He would have thought that odd because he thought in very odd ways. Ergo: "He's in the garden." said the plain Jane blonde into the telephone. Through the open doorway behind her was a new grave and a shovel stuck in upturned earth.

As musicians enter a stage prepared for their orchestra, a violinist gawks at a row of squeeze horns, a stool and a bucket of fish.

Three angry bears in auditorium seats try to pick a perpetrator from a lineup of little golden-haired girls.

The genius behind these dark and thought-provoking scenes actually had four names. One was Subtle. One was Macabre. Two were well known and much beloved: Chas Addams.

The something that Chas never created was The Addams Family. The tongue-in-cheek television series and movies were based on the style of Chas' dark humor, and several characters extrapolated from individual cartoons. Sort of the same way Gary Larson extrapolated his famous The Far Side comic strip from Chas Addams' work as well. Not copied. Not plagiarized. Extrapolated. Larson was as original as Chas.

Regrettably, Chas is not well represented in comic books. The Addams Family ('74-'76; Gold Key) is not a collection of his cartoons, but a continuation of the Hanna-Barbera animated TV series that was, in turn, a spin-off of the television show.

Among the collections of his work, Random House published hardback editions including Creature Comforts, Chas Addams' Favorite Haunts, My Crowd, The Groaning Board, Drawn and Quartered, Chas Addams' Black Maria, Night Crawlers, Homebodies, Monster Rally, Addams and Evil and The Dear Dead Days.

Some older comics are expensive and difficult to locate. Price guides or comics dealers help. Comic shops, conventions, mail order companies and trade journals are best sources. Prices vary; shop around.

The work of Chas Addams is highly recommended.

Review by Michael Vance

Codex Arcana -- A Suspended Animation Review From 1999

Published as Dark Horse Presents #142. The book is 24 pages and priced at $2.95 each. Illustrated by various artists and writers. It is sold in comics shops and by mail.

H.P. Lovecraft was arguably the greatest horror writer of the 20th century. Codex Arcana is inarguably not the best comics homage to his prose.

Lovecraft was a master at creating an atmosphere of impending calamity, of a festering, perverse realm just below the skin of reality. His short stories also shun the violence, profanity and deviant sexuality that infect the horror genre today. To their credit, the three stories in Codex Arcana emulate that style and the themes that distinguish Lovecraft.

Obsessed with the occult, a man is sucked into an ancient book of unspeakable horror, a psychic investigator rids a home of a Danish witch, and a machine rips open a portal into another dimension. But all three stories fail in recreating that mood of horror in Lovecraft's work.

No one has ever captured the writer's dark, gothic, dirty ambiance better than comics artists Graham Ingles and Bernie Wrightson. Their accomplishment stands unchallenged. The artwork in Arcana, while competent and not without charm, lacks Lovecraftian decadence and physical degeneration of characters and setting.

The writing also fails to recreate the inexorably slow, swelling suspense of Lovecraft's dense prose as revelation after revelation peels reality like an onion away from surreal nastiness.

Pacing is the weakness that underlies the art and story in Arcana. These vignettes are visual and verbal plot outlines, lacking an emotional impact that demands a slower pace. They are a slap in the face when a horrible, spreading disease consuming every thought is needed.

For great horror, readers must still return to the EC comics of the 1950s.

Review by Michael Vance