Yesterday, EW exclusively revealed the gamechanging Marvel event “Inhumanity,” wherein the mystical power-granting substance known as the Terrigen Mists is released around the world, creating a massive number of newly-superpowered individuals. Today, we’re excited to share the cover for Inhuman, the new regular comic book which launches at the end of 2013 written by Matt Fraction (Hawkeye) and drawn by Joe Madureira, currently working on Savage Wolverine and known for a legendary ’90s run on Uncanny X-Men. READ FULL STORY
Tag: Comic Books (51-60 of 418)
There’s a long history of comic book artists treading into the neighboring world of album cover art especially when psychedelia, counter-culture, fantasy or heavy metal bridged the distance between the art table and the turn table. Usually it’s an art table star — like R. Crumb, Berni Wrightson, Barry Windsor-Smith or Paul Pope to just a few — playing the tourist in turntable territory but the exact opposite is the case with the cover for Head Smash.
The haunting image is the handiwork of Joe Perez, the designer and art director best known for his work with Kanye West and Donda. Perez’s portfolio includes the Cruel Summer album cover in 2012, for example, but never a comic book. That changes with the brutal dystopian visions of Head Smash , which features interior art by Dwayne Harris and the original cover by Tim Bradstreet. The world is the creation of Vlad Yudin of The Vladar Company and was co-written with Erik Hendrix of Arcana and premieres down at Comic-Con International. We caught up with Perez to get in tune with his mixed media. See the art below.
Time really does fly.
For three-quarters of a century, Superman has been fighting the good fight, keeping Earth and its inhabitants safe from all manner of villainy and disaster. As the DC Comics character turns 75, he’s also getting a major big-screen relaunch in director Zack Snyder’s Man of Steel, opening Friday.
So for this week’s cover, Entertainment Weekly is taking a look back at all the critical moments in Superman’s evolution from dimestore hero to American pop-culture icon. We start with his first appearance in 1938’s Action Comics #1, and track him along every major step (and occasional misstep) up through his reemergence in the form of Man of Steel‘s angry, passionate, lost Superman, as played by Henry Cavill.
Here’s what you can find in EW’s obsessive history of the man in the red cape:
Hollywood has a go-to tough girl, and her name is Michelle Rodriguez. Ever since her breakout role in Girlfight, the 2000 indie where she played a troubled teen who finds her identity through boxing, Rodriguez has dominated the market on roles that call for a tough, no-nonsense beauty who can throw a punch without breaking her withering glare. Not only is she the alpha-female in the Fast and the Furious franchise, but she piloted a space chopper in Avatar, played a vengeful ex-cop on Lost, and scrapped with aliens in Battle: Los Angeles.
EW caught up with Rodriguez at the Los Angeles premiere of Fast & Furious 6, to talk about Machete Robert Rodriguez, her love of DC comics, and her frustration with female comic-book characters. READ FULL STORY
When readers first met young Peter Parker, back in 1962 on the opening page of Amazing Fantasy No. 15, he’s wearing spectacles, carrying schoolbooks and listening too hard to the latest insult.
It’s a little different when readers are greeted by young Jasper Jenkins — the title character of Joe Casey’s The Bounce — in our exclusive preview of the first issue. Instead of eyeglasses, he’s got glassy eyes and the object in his hand looks suspiciously like a three-foot bong. He’s also ignoring the latest lecture. “With great power comes great responsibility” still applies — but in the case of this 21st century slacker soul, it may also be accompanied by metahuman munchies.
NOTE: The preview pages below contain R-rated language and drug use. READ FULL STORY
Her name is Angela and she’s a bounty hunter on a mission from God — and heaven help any Marvel character who’s not on the side of the angels.
The image above, by fan-favorite artist Joe Quesada (who “moonlights” as Marvel Chief Creative Officer) is the first look at the scantily clad celestial agent who will make her Marvel debut in the 10th and final issue of Age of Ultron – but many longtime comics fans already know the name (and that barely-there outfit) from her past life beyond the Marvel multiverse. READ FULL STORY
The makers of Man of Steel had to start thinking like a cadre of supervillains: how do you get under Superman’s invincible skin and really make him hurt?
This week’s cover story reveals how the new film (out June 14) attempts to humanize the superhuman by finding new flaws and vulnerabilities. The most common one, however, was off the table: “I’ll be honest with you, there’s no Kryptonite in the movie,” says director Zack Snyder (300, Watchmen) Those glowing green space rocks – Superman’s only crippling weakness – have turned up so often as a plot point in movies, the only fresh option was not to use it. Anyway, if you want to make an audience relate to a character, a galactic allergy isn’t the way to do it.
Henry Cavill (Immortals), the latest star to wear the red cape, instead plays a Superman who isn’t fully comfortable with that god-like title. This film reveals that even on Krypton, young Kal-El was a special child, whose birth was cause for alarm on his home planet. (More on that in the magazine) And once on Earth, his adoptive parents, Ma and Pa Kent (Kevin Costner and Diane Lane), urge him not to use his immense strength – even in dire emergencies — warning that not every human would be as accepting of him as they are. So Clark Kent grows up feeling isolated, longing for a connection to others, and constantly hiding who he is. As a result, Man of Steel presents the frustrated Superman, the angry Superman, the lost Superman. “Although he is not susceptible to the frailties of mankind, he is definitely susceptible to the emotional frailties,” Cavill says.
That’s just the set-up. Once the Kryptonian villain General Zod (Boardwalk Empire’s Michael Shannon) arrives to threaten the Earth, eventually the passionate Superman steps forward, too. It helps that he has a reason to care about the home he’s defending, and we can all thank Amy Adams’ Lois Lane for that. “I think she’s very transient. She’s ready to pick up and go at a moment’s notice,” Adams says of the hard-bitten journalist. “I think that definitely could be part of what she sees in Superman — not really laying down roots, not developing trust.”
Based on footage EW has seen, the film (which was directed by Zack Snyder and shepherded by Christopher Nolan) has plenty of building-smashing, train-slinging, heat-vision-blasting battles to cut through the emotional heaviness. “You want to give the audience great spectacle. You want them to go to the movie, be eating their popcorn and be like, ‘Wow!’” says Man of Steel producer Charles Roven, who also worked on The Dark Knight trilogy. “But it’s just not good enough to give them the ‘Wow.’ You want them to be emotionally engaged. Because if you just have the ‘wow,’ ultimately you get bludgeoned by that and you stop caring.”
Those who’ve long felt the super-confident, super-controlled Superman has gotten super dull may be glad to see him finally challenged in ways that go beyond bullets bouncing off of his chest.
For more on Man of Steel and 108 other summer movies — including Johnny Depp’s views on playing The Lone Ranger‘s Tonto (“He’s damaged. He’s just looking to get back on track”), Jennifer Aniston’s prep work for the comedy We’re the Millers (“This fabulous dance instructor just pulled the inner stripper out of me,”), and Sandra Bullock’s first impressions of working with Melissa McCarthy and director Paul Feig on The Heat (“The first week I was like, ‘What the hell is going on here?'”) — pick up the new issue of Entertainment Weekly, on stands April 12th.
Wonder Woman arrived on newsstands in December 1941 with a secret mission from her creator, William Moulton Marston: represent “psychological propaganda for the new type of woman who should, I believe, rule the world,” as Marston himself put it.
Marston believed women to be inherently superior to men and his Amazon creation lived up to that view — but not for very long. Marston moved on and his creation quickly became a symbol for numbing sexism in a puerile forum — a woman in hot pants written and drawn by men for a medium aimed at boys.
The contradictions of the character are at the core of Wonder Women! The Untold Stories of American Superheroines, which is airing this week on PBS. EW talked recently with one of the filmmakers behind the documentary, Kristy Guevara-Flanagan, and with her help, we went back through vintage Wonder Woman comics and found 10 jaw-dropping moments of surreal sexism. Here’s how we would describe each of them if we were caught in the golden loops of Wonder Woman’s lasso of truth.
All-Star Comics No. 12, 1942: The mighty Wonder Woman is invited to join the Justice Society… as the club secretary. She accepts, and Hawkman, Dr. Mid-Nite and the guys serenade her with “For she’s a jolly good fellow…” How thoughtful. Later the mightiest Amazon dutifully waits behind while the men go off to fight. Those men include Al Pratt, a.k.a. the Atom, a 5-foot-1 tough guy who has no superpowers and wears a weightlifting belt as part of his costume. READ FULL STORY
The Jedi universe wasn’t built in a day and the construction process had some strange stages. If you thumb through the 1974 draft of the George Lucas script for The Star Wars (as it was called then) you’ll see a funhouse version of the most famous space epic that includes a warrior named Starkiller and a reptilian alien named Han Solo.
That version of Star Wars has been a relatively obscure artifact, but now it will get a spotlight of its own in a major adaptation by Dark Horse Comics that maps out a tale that’s both familiar and totally alien.
For the Oregon-based comics company, the project may be the great farewell to the Jedi mythology. Star Wars comics have been a core part of the Dark Horse’s indie publishing empire since the early 1990s. Now, after the Disney purchase of Lucasfilm, Dark Horse is likely to lose the license in the months ahead. We caught up with Mike Richardson, founder of Dark Horse, and Randy Stradley, the Dark Horse editor who has been the architect of the brand’s Dark Horse success, to talk about rediscovered universes and losing Empires. READ FULL STORY
Maybe it’s the invisible jet? Wonder Woman has been soaring as a pop culture icon since the Roosevelt era but she can’t get on Hollywood’s radar when it comes to a solo silver-screen adventure. This summer’s Man of Steel gives Superman his eighth feature film (tying him with Batman) but Wonder Woman is stuck at zero and at this point her best IMDB prospect is a gal-pal supporting role in the shaky-sounding Justice League movie.
We took the topic to filmmaker Kristy Guevara-Flanagan (Going on 13) whose documentary Wonder Women! The Untold Story of American Superheroines is airing next week on PBS and has been the subject of community screenings around the country.
Entertainment Weekly: Superman and Batman will have 16 movies between them by the end of this summer and Wonder Woman can’t lasso a movie deal. The Losers, Elektra and Howard the Duck reached the big screen, how come Diana Prince doesn’t rate?
Kristy Guevara-Flanagan: Hollywood seems to be hesitant to bank on a movie with a woman as the lead. Hopefully something like Hunger Games will change the perception that movies about women don’t make money. There’s also a challenge find a director that will be true to the material but still bring it to life in a way that will appeal to a broad audience. Joss Whedon did a good job with that on The Avengers. Since a lot of people have a hard time defining who Wonder Woman is beyond the costume — that presents a challenge.
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