Showing posts with label fantastic four. Show all posts
Showing posts with label fantastic four. Show all posts

Wednesday, October 31, 2018

INKTOBER 2018 GALLERY!

This gallery represents my 2018 participation in my first-ever INKTOBER CHALLENGE which provides daily prompts for artists to create an original drawing in ink every day for the entire month of October.

I've never done a challenge like this and surprised myself by completing the entire month without ever missing or skipping a day!  The challenge to myself was to always try to give the prompt a surprise twist of some kind, whether by focusing on a more unusual use of the word or by digging up some obscure character.  Sometimes it was a providential prompt that gave me an excuse for drawing something I've had an itch to do for awhile.  Most of the drawings took about an hour or two.  Some took much longer.  I also experimented with techniques to keep it interesting.  The most common tool I utilized was my Copic sketch marker with the brush tip.   I played with cross-hatching, stippling, and even gray wash with my Copic sketch marker set.  I never planned ahead, but sat down, looked at the prompt, and got to work and my artistic choices were made in the moment.

I had fun and I hope you enjoy viewing my art!



Thursday, June 15, 2017

NO FANTASTIC FOUR IN MARVEL CINEMATIC UNIVERSE.....OR MAYBE THERE IS?


In an alternate reality somewhere in the vast multiverse, Friday, June 9, 2017 saw 20th Century Fox (Fox) releasing FANTASTIC FOUR 2, their announced sequel to Josh Trank's interminably awful 2015 disaster on digital celluloid FANTASTIC FOUR.   Thankfully, for our reality, Fox's plans for a sequel have not only not materialized, by all accounts, they have not even been discussed much if at all.   But back in 2015, Fox sure did have some plans and they made sure we all knew about it!


That 2-year silence has led some comics fans, myself included (I even facetiously proposed a #OcuppyFF movement), wonder aloud whether Marvel Studios might be negotiating behind-the-scenes some sort of shared ownership of the FANTASTIC FOUR (FF) film license that would allow the FF characters to join the Marvel Cinematic Universe (MCU).

Perhaps it was some sort of karmic harmonic confluence of some kind, but on the heels of this historic date passing us by like a failed prophesy date-setting for the Apocalypse, I noticed an influx of several clickbait-ey type posts online making the social media rounds declaring that MCU head, Kevin Feige, has made it explicitly clear that the FANTASTIC FOUR are not headed to the MCU from Fox—along the lines of a deal similar to that made with Sony that allowed SPIDER-MAN to have his "Homecoming" as a full-fledged member of the MCU after repeated film missteps in the Sonyverse.

Newsarama, a website devoted to comics industry news and commentary, posted the following report on June 13, 2017 with the bold headline "No FANTASTIC FOUR In MARVEL CINEMATIC UNIVERSE, Says KEVIN FEIGE"—

 According to Marvel Studios President Kevin Feige, not only does Marvel have no plans to incorporate the Fantstic Four into the Marvel Cinematic Universe, the conversation isn't even on the table.
"[We have] no plans with the Fantastic Four right now," Feige told AlloCiné in a Facebook video. "No discussions about it."
Feige's comments come after a fan-submmited question echoed persistent rumors that the FF could appear in the MCU in a deal similar to the one Marvel struck with Sony to allow Spider-Man: Homecoming to be part of the Marvel Cinematic Universe. . .

And so, the string of shares and comments on social media of comic book fans both cheering and lamenting began.  Either cheering because they hate the Fantastic Four characters or lamenting because their last, best hopes held out that "Phase 4" of the MCU might include the first family of the Marvel Universe finally "done right" on film seem utterly dashed by Feige's statement.

However, might I suggest that this is following a very familiar politician-like pattern as what went down when Marvel was quietly negotiating with Sony to get them to allow Spider-Man to appear in the MCU.  Fifteen months before it became "official" that Spider-Man was jumping from the Sonyverse to the MCU, Feige was dismissing the very idea, but as we all know, a multi-million (billion?) dollar negotiation like requires months, if not years, of lawyer haggling to get both sides to sign off. Note the similarity in Feige's words in this report from October 2013 when asked about the idea of Spider-Man joining the MCU:

Over at the French website Reviewer.fr, a new interview with Marvel Studios chief Kevin Feige has gone live. Appreciating that Feige is on the publicity rounds at the moment, and that interviews with him aren't in short supply, this nonetheless had one or two interesting bits in it that are worth pulling out.
Firstly, for instance, Feige confirms that there was a conversation about inserting Oscorp Tower into Joss Whedon's The Avengers film, which would have crossed the Spider-Man cinematic world (which is owned by Sony) with what Marvel is up to. Feige said in the end though that "the deal was never close to happening".
He also confirmed that there are no plans to bring Spider-Man into a future Marvel film. "They have movies they want to make, we have an embarrassment of riches when it comes to Thor stories, and Cap stories, and Avengers stories", adding that "it would be cool to happen sometime. But I don't know when that would be"

The bottom line is just to say that when Feige says that there are "no plans with the Fantastic Four right now", that is the same turn of phrase as FBI Director Comey saying there are "currently no open investigations into the president."  "[N]o plans . . . right now" does not at all mean "no plans . . . ever."

So, until Fox craps out another FF movie to preserve their license, there's always hope that the next "Homecoming" will be Reed, Sue, Johnny, and Ben—THE FANTASTIC FOUR!



Saturday, August 8, 2015

IT'S TIME FOR THE FANTASTIC FOUR TO RETURN TO MARVEL STUDIOS! #OCCUPYFF




In light of the severe Tranking of the new FF movie, I think it's time for the geeks to unite and make our voices heard.
#occupyff
I'm making it a thing.

Friday, August 7, 2015

FANTASTIC FOUR FAILS FANTASTICALLY! ★1/2 out of ★★★★★

FANTASTIC FOUR
★1/2 out of ★★★★★

Official Synopsis:  Four young outsiders teleport to an alternate and dangerous universe which alters their physical form in shocking ways. The four must learn to harness their new abilities and work together to save Earth from a former friend turned enemy.

Director: Josh Trank
Writers: Simon Kinberg (screenplay), Jeremy Slater (screenplay), Josh Trank (screenplay) supposedly based on the works of Stan Lee and Jack Kirby
Stars: Miles Teller (Reed Richards), Kate Mara (Sue Storm), Michael B. Jordan (Johnny Storm), Jamie Bell (Ben Grimm), Toby Kebbell (Victor Von Doom), Reg. E. Cathey (Franklin Storm)

FANTASTIC FOUR is one of those movies that will probably have a Netflix documentary made about the production in about 20 years.  It is a bad fumble by a studio and talent that should never have messed up on this level.  My review is going to be in two-parts.  The first part is addressing the film on its own merits divorced from the source material.  The second part is a dissection of why the deviations from the source material sealed their....doom (pun intended).

I rewatched the, mostly derided, FANTASTIC FOUR film from 2005 last night as a prelude to watching this one today.  After watching both of them I can say that the 2005 version comes off pretty much like a super-hero sit-com with fairly cheap special f/x but enjoyable while the 2015 version comes off dark, depressing, and mostly incoherent.  The new film is a bait-and-switch, or at least it was for me, in that the first half of the movie was actually kind of interesting and intriguing.  Kicking off with Reed Richards as a young and brilliant child who has already cracked the code for teleportation—IF ONLY SOME ADULT WOULD LISTEN TO HIM!  He has a lifelong friend and protector in the less brilliant but implicitly athletic Ben Grimm.  In this version of the story, both come from clearly blue collar backgrounds somewhere unclear in the state of New York.  Reed's parents don't have a clue what to really do with him and Ben's family runs a salvage yard.  This is clearly supposed to set up a bit of a class conflict between Reed and Ben with the more upper class Storms (Sue and Johnny) and Victor von Doom. And in a better constructed film that might have actually been followed through more explicitly.

Dr. Franklin Storm, Sue and Johnny's father, is a scientist in charge of a program attempting to perfect human teleportation to explore an other-dimensional planet they have discovered and named Planet Zero.  Why Planet Zero?  The less questions you ask the more you will be able to handle this movie, so it's better you just don't ask.

Reed, Johnny, and Victor are the ones who decide after a night of imbibing that it's just not fair for the government to come in and use their technology to send some astronauts to Planet Zero and prevent them from being as famous as Neil Armstrong.  So they decide recklessly to do it themselves under cover of night.  Reed calls in Ben to tag along because, sure, that's what stupid college kids do.  Sue, being the only one with any semblance of responsibility is not aware of this scheme.

So our four reckless drunk numbskulls transport themselves to Planet Zero where it's all dark and spooky and then things start going completely to Hell as the ground starts quaking and glowing green liquid (lava?) starts spewing everywhere and they hightail it back to their teleportation machine.  But Victor doesn't make it, and when last we see him he is at the bottom of a mountain and his space suit is melting into his skin.  For some inexplicable reason, as the door starts to close on Ben a whole bunch of rocks from the planet start flying purposefully into his compartment.  Also, some flames appear out of nowhere and fly into Johnny's compartment.  Again, no reason given for these seemingly sentient actions by rocks and flame.  Also, during this, on our world Sue has become aware of what's happening and is trying to get these guys back by doing some sort of manual override of the remote return system.  And when it does return, there is an explosion and she's blasted invisible.

What follows after the return is eerie and creepy and the stuff of a horror sci-fi film.  What follows is a bit disturbing with the government taking control of the four and housing them separately where they are experimenting on them and studying them.  Franklin Storm is demanding to see his children.  And this is all very interesting up through the point where Reed breaks out, stretches his way in to see Ben and promises him that he'll fix things, and then runs away.

This is the point where the movie flashes a "ONE YEAR LATER" title card and an entirely different movie starts.  Whereas the first half of the movie had a clear narrative and developing characters and relationships along with a unique horrific tone to it, the second half of the movie is all over the place tonally and narratively.  Suddenly we've gone from something kind of haunting to a pretty run-of-the-mill super-hero movie.  And it makes no sense.  But then the government sends some astronauts to Planet Zero which means Doom has a chance to return here.  So he does.  And every gawdamned second he's on screen I wanted to set my hair on fire.  Visually he's ridiculous looking.  His motivations make no sense. His dialogue makes no sense.  His powers make no sense.  He's gone from being a somewhat vain aristocrat type to a skinny combination of the 1940s gasmask-wearing super-hero Sandman and Edvard Munch's "The Scream."  At one point, he's literally walking down a hallway and just looking at random people and their heads explode like we've walked into a SCANNERS movie.  However, at literally no point during the increasingly idiotic final act when Reed, Ben, Sue, and Johnny are fighting him on Planet Zero does Doom look at any of them and make their heads explode.

Seems to me if you're a psychotic robot man attempting to destroy Earth and you have the power to look at people and make their heads explode you might want to do that to the Fantastic Four if they're trying to stop you.  And yes, Doom is tryin g to destroy Earth but we have no idea why or how he's doing it.  First he says he just wants to return to Planet Zero and remake the planet into a kingdom he could rule but as soon as he gets his desire fulfilled he is suddenly making giant rocks fly up from the ground creating some blue electricity ring that starts creating a "black hole" (we know it is a "black hole" because thankfully Reed declared it so for the audience's sake) that is somehow now slowly sucking Earth through it into Planet Zero.  Now, I'm not sure Doom has thought this through fully because if I'm on Planet Zero I'm not thinking it's a very smart idea to then bring AN ENTIRE OTHER PLANET piece by piece ONTO my planet.   I doubt very much that anyone, including Doom, is going to survive that experience.  Also...THIS IS NOT HOW BLACK HOLES WORK!

Anyway, the good guys win. Doom is defeated.  And the Fantastic Four are created through one incredibly painful round of dialogue between our four heroes trying to come up with a name.  And they also never actually sayyyyy the words but instead they flash the title card up instead of allowing us to hear Reed speak it.  Reminiscent of Lois Lane not speaking the name "Superman" in MAN OF STEEL.

Now most people who keep up with the film-making scene know that the production on this film was in upheaval almost from the start.  It started with Fox needing to get a movie rushed into production quickly so that their Fantastic Four contractual license (bought cheaply way back when Marvel was in bankruptcy rather than the darling of Disney) did not lapse and return the rights to Marvel.  Then Fox handed a $120 million dollar budget to inexperienced young director Josh Trank and by all accounts a behind-the-scenes disaster went down.  Taking into account some of the rumors that swirled and within the context of the movie I just watched, I'm going to hazard a guess that the first half of the film was basically all Trank had inside him to give to this movie.  I think he basically hit a point where he was "done" but he still had an entire second half of a movie to construct and decided to just maybe not show up anymore.  The entire second half of the movie (other than maybe the heads blowing up) didn't seem like the same movie as the first half.  It felt like the kitchen had a whole lotta cooks playing around with the ingredients but nobody agreed upon what they were making or even which recipe to use.

Even within all that chaos, however, I have to admit that I like each of the main four actors.  If I was going to make a FANTASTIC FOUR movie but keep the characters substantially younger than their comic book counterparts, then I would be completely okay with these people.  They're giving it their best, but the chaos behind the scenes and shit-against-the-fan storytelling prevents them from ever rising up to catch a breath.  They drown along with the rest of the movie.

What gets my ire up about this mediocre at best movie is that the source material from the comics really does completely give them everything they needed to make a truly fantastic film.  The idea of using the Fantastic Four as the basis for a horror story about four individuals who are changed and twisted from within because of a science expedition gone awry is certainly fodder for a good story.  Ask Warren Ellis.  He did that in his ground-breaking series PLANETARY.  So, it's not an original idea.

An original idea would actually be to adapt specific storylines from the classic eras of the FANTASTIC FOUR comics.  The key here is that the FANTASTIC FOUR aren't really super-heroes so much as a family. They also are not tortured (altho Ben gets depressed sometimes).  The relationships are clear with the brotherly interaction between Sue, the older sibling, and Johnny the hot-headed younger.  We get to see the best-friend/brothers relationship of Reed and Ben.  Then there's the comic relief of the Johnny and Ben relationship as buddies who both love and hate each other at the same time.  These four are a family and the dynamics are like that of a family where frustrations and tempers can flare, but also each is completely devoted to the others to the point of self-sacrifice.  And this family is a family of explorers and adventurers.  They don't go on assignments for the government.  They don't go on patrol looking for criminals.  They seek out mysteries and explore the unknown.  Their enemies come to them, more often than not.  Doctor Doom is the would'a-could'a of the group.  He's the vain and megalomaniacal college classmate of Reed and Ben's who was always just a little bit less intelligent than Reed and through his own hubris mangled his face in an experiment.  When he returns on the scene after the Four have gained their powers, Doom has returned to his homeland of Latveria, a third-world country where he rules with a totalitarian control.

In other words, all the elements are right here for a relevant film about family, about wonder, about adventure, and maybe even a commentary on current world politics.   Where the first film adaptation failed was in going for superficial laughs over substance, this film failed because it did not embrace the large canvas it had available and made, instead, a very insular and small film.  It feels claustrophobic almost.  There's grand cgi spectacle in it but it all feels very small and limited.  The world of the Fantastic Four should be a world of excitement where anything is possible and mankind's potential is limitless.

The Fox bean-counters really need to reevaluate the cost-benefit analysis of whether it is in their best interest to keep dumping hundreds of millions of dollars down the shitter attempting to keep making movies that bear little more than the title in common with the Fantastic Four concept itself.  Take a cue from Sony and their recent Spider-Man deal with Marvel giving Marvel back the basic creative control of the films but retaining involvement and profit potential for Sony.  Imagine the marketing blitz available around 2020 after Marvel wraps up their Phase 3 with THE AVENGERS: INFINITY WAR PART 2 if Phase 4 was able to launch with "MARVEL'S THE FANTASTIC FOUR".

You don't even need to pay me for that million dollar idea, guys, but I wouldn't turn it down if you offered.

By the way, the following video is still the best FANTASTIC FOUR origin story ever done outside of the comics:



#fantasticfour
#fantasticfourmovie
#fantasticfourreview



Saturday, February 12, 2011

Have a Happy, Pervy Comic Book Valentine's Day!



What better topic for a Valentine's Weekend than a feature devoted to some of the perviest (is that a word?) stuff to appear in mainstream comics?  Feel free to click on any of the pics to pull them up larger and easier to read as you join me on my stream of consciousness trip down memory lane and awkward comic book love.

 Although largely ignored, sexuality and sexual imagery of some type have been an aspect of the “super-hero” comics since they started back in the late 1930s. If not in the subject matter outright, there has always been the imagery associated with romanticized male figures draped in skin-tight costumes or idealized women in their wafer-thin blouses or bustiers, shorts, or skirts. Even those who have just a passing familiarity with comic books recognize that the earliest comics were produced for children, primarily boys, on the cusp of puberty and they were quite simplistic and naive in content. The most recurring outright sexual aspect of early comics were the scantily clad adult women in various bondage positions – most of the time on the covers to attract a buyer of course.



By the 60s, however, little awkward slips made it into the comics like X-MEN #1 where the obviously much older Prof. X harbored thoughts of inappropriate "love" for his teen-aged student Jean Grey/Marvel Girl.  But even then it was still a chaste and pure love, even though inappropriate, and it was wisely dropped as a subplot almost immediately.  I have no idea if it was just Stan Lee realizing it was creepy or his bosses.

But over the years, the chaste love between hero and damsel gave way to sex and very quickly to...well...pervy stuff.  If I was thinking back to the first time something happened in terms of love and sex in a comic book that made me recoil, it was the love affair between the human female Abby Arcane and the walking plant monster, the Swamp Thing.  The writer, Alan Moore, was not content to leave their love a platonic one and the next thing you know they are kissing, she's getting naked and eating dadgum hallucinogenic aphrodesiac tubers off the walking plant and tripping out in some sort of orgasmic delirium.



And remember, Swamp Thing is a character who is a friend to Batman, Superman and had his own Saturday morning animated kids show!

But you know what?  As weird and gross as it might be to imagine love and sex between a human and a vegetable, at least that's just the realm of fantasy. No harm, no foul.


What about when these super-hero writers and artists start taking these characters and hurling them headlong into the realms of real-world depravity?  I guess just telling stories about Superman beating up robots while being chased by a lovesick Lois are not good enough anymore.

Yeah, another thing we get to thank the 80s for:  Creepy stuff like plants in love with humans and 16 year-old villainesses smoking cigs and having a sexual relationship with a guy who looks to be around 50 and has two grown children (and later a 3rd he didn't know about at this time).




How about this classic misadventure.  Surely one to share with the kids around the fireplace on a cold, wintry, Valentine's Day.  This is the story of Superman and a married super-heroine named Big Barda getting mind-controlled by a villain into doing porno together.  Fun for the whole family.  This was a special two-part story that ran in ACTION COMICS #592-593.  Check out these samples:


First we get some good shots of them in bed and Barda in her panties and bra.  Then to add to the creep factor, in the next issue we get to watch her husband's reaction when he comes across the videotape of his wife with Superman.


And finally, just in case there was any doubt what was on that video...



Yeah.  That's all pretty creepy.  I could go off on all kinds of kinky stuff in Underground Comics or things like Alan Moore's LOST GIRLS which breaks every possible sex taboo that I'm even aware of.  But surely nobody has creeped me out with his comics on a consistent basis quite like the man who delivered the Superman Porno comic.


That man would be John Lindley Byrne.


Yes.


Apparently that pic on the left is the one you find if you search for him on Twitter (which he is NOT on but you can follow his ridiculous online comments cataloged at the Twitter account @JohnByrneSays).
Byrne is a legendary comic book artist (and writer) who was at one time arguably considered the best in the business. At this point in his career, he's probably more famous for his incredibly obnoxious conduct on the Internet, for the last few years limited solely to his own infamous forum.  In fact, there is also an invaluable Wiki page devoted to the stupid statements made by him online so you don't even have to visit his forum to partake of the fun.  On topic and for example, on July 15 last year in his official online forum under a thread titled “Gay Couples Adopting", he posted

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"Pedophiles are almost certainly 'born that way'. Again, we go to evolutionary conditioning. Seek the youngest, strongest, most healthy, for breeding purposes. A sure (or as sure as it gets) way to guarantee the survival of your genes.




Pedophilia also brings along a big heaping helping of learned responses, however. In a society like ours, where 'normal' sex is considered by many to be filthy and disgusting, 'abnormal' sex is of course even moreso. 'Abnormal" in this case meaning anything -- even simple physical attraction -- that is not "age-appropriate", heterosexual, and strictly for procreation. Preferably missionary position.




Thus, any confused individual who finds himself attracted to young girls is likely to find himself attracted to increasingly younger girls, as part of his pattern of self-loathing. So much emotional torment -- in victims and victimizers – would surely be set aside if our society was sexually liberated enough to even be able to say 




'Sure, it's okay to be attracted to eleven year olds. Just don't DO anything about it!'"

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Okay. Now that makes me feel like taking a pervy trip down memory lane with Mr. Byrne who has demonstrated something of a pattern not only of subjects like Superman doing porno but of depicting underaged girls in compromising visuals with adult men.  Makes comments like that quoted above even creepier within that context.



With Byrne, my first memory of noticing the older man/younger woman tendency was in an issue of the FANTASTIC FOUR. Well, really, there was his creation of the 13 year-old Kitty Pryde in THE X-MEN who was immediately crushing on the 19 year-old Colossus.  But since that comic was actually written by Chris Claremont, I'll give him a pass on that one. In the early 1980s in FF #239, Byrne introduced the Thing's great “Aunt Petunia”; a character everyone had always envisioned as a doddering old lady. Byrne goes for the shock though and has her show up as a vibrant young lady, probably in her mid-20s or so.


As the explanation goes, Thing's much much older, gray, and near crippled old uncle married Petunia who had been his student. At the time, I didn't think much of it other than bemusement. After all, it's maybe a bit unusual but not illegal or particularly creepy, right? She was a student, but at least she's an adult. It is just odd that he made Thing's uncle soooooo much older. And had that been a one-off story, I wouldn't think too much about it.



However, not long after the Aunt Petunia story is this bit from his series, ALPHA FLIGHT; also in the early 1980s. In this series, the married couple of Jamie and Heather Hudson are shown in a flashback to have gotten together when she was still only 17 and he was an adult.


A few years later, as Byrne is coming to the end of his run on FF, he shows Sue Richards' flashback to when she was 12 and first met her future husband Reed, who was already an adult student at the University.


When a 12 year-old girl (drawn like a 10 year-old at best) looks up at you with a crush, a young man like that should not be feeling a reciprocal attraction to such a degree that he starts getting hot under the collar.


Later on, in a mini-series called THE WORLD OF METROPOLIS, Byrne tells a story set in the past of a young under-aged Lois Lane sneaking into the adult Lex Luthor's building to try and prove she can be an investigative reporter. Luthor catches her and puts his hands all on her and leers at her and calls her “a...pretty little girl.” Then Luthor apparently has a very “butch” female employee of his “shred” Lois's clothes “looking for hidden pockets.”


So, Lois reappears in completely different clothes and is restrained while Luthor once again puts his hands on her. Then after he has her kicked out of his building, when someone says “Guess she won't be bothering us any more, huh, Mr. L? Luthor replies “I would not be so sure of that, Tracy. There was...something there. A fire...I would be interested to meet up with her again in, say, ten years or so...for now, however....I think I can content myself with another look at the videotape of Miss Parker's search.” And the panel shows Luthor watching the video of the butch “Miss Parker” starting to take the under-aged Lois's clothes off.







Wow.  There's so many instances, this is going to get too long so I think I'm going to have to truncate it  and change my lengthy comments to something more pithy.