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More On The Paradox Of Copyright

6/04/2017

Rueben Bolling - public domain characters

art & text © by Rueben Bolling

The reason the constitution gives for copyright laws is to encourage the development of new ideas and discoveries that the public will be able to use for free.

“the Congress shall have power . . . to promote the progress of science and useful arts, by securing for limited times to authors and inventors the exclusive right to their respective writings and discoveries.”

To fund this, the original innovators and discoverers were to be granted a limited time license in which they could have exclusive control over the innovation / discovery, after which it was to enter the public domain.

The idea was that after a reasonable period said creations and discoveries would be available for everyone to use freely without permission or cost. While the original period of copyright was fairly short, for most of the 20th century it was a total of 56 years in the US. Now it’s 95 years (works for hire) or lifetime of the creator + 70 years.[1]

Disney and others have extended copyright to a grotesquely long period. Maybe the original max of 56 years was too short but 95 years for works-for-hire and life of creator + 70 years are much too long.[2]

Let’s use the Mouse as an example. His official debut was in 1928, meaning by the terms of copyright in that era he should have entered the public domain in 1984.[3]

What Disney has done has been to reissue old material with small but distinct changes or additions, thus making them “new” creations under copyright, and by trademarking every single iteration of the Mouse they’ve ever done.[4]

The way the system was originally designed to work, at this point Disney would be able to keep issuing new Mouse product and advertise same as the only genuine or official Mouse products, but other people who had ideas on what to do with the Mouse were free to do so.

Frankenstein, Dracula, Jekyll & Hyde, Sherlock Holmes are all public domain now; anybody can use those characters.[5]

The argument against extended copyright is that if an entity owns a stable of properties, they have no incentive to create new product, simply do countless reiterations of the old. A few years ago Paramount re-released the original Star Trek series with new CGI effects to replace older film opticals; this was done to extend the copyright on those episodes for another 95 years.

And as most major media entities have larger war chests and longer reaches than citizen creators, they can effectively squeeze new properties out of the market place.[6]

Disney’s movies based on public domain works are trademarked re the specific look and design of the characters. There are copious imitations and knock-offs out there, but they have to be careful to steer clear of Disney’s specific designs.

Pinnochio 1

Pinnochio 2

Pinnochio 3

Methinks the average customer
can tell the difference between
these versions of the same story.

pinocchio in outer space

And certainly this one!

There is an ill-defined area called “fair usage” which includes parody but the specifics of what parody consists of are even more ill-defined. Roy Lichtenstein escaped plagiarism lawsuits leveled by creators and small publishers he ripped off, but he did one painting of Donald Duck and Disney threatened to drag him through every court on the eastern seaboard if he ever did it again so he didn’t.

Now, either Lichtenstein was wrong in the first place and he did rip off creators and companies, or Disney was wrong to threaten him, but they both can’t be right and from where I sit it seems that the more money you have (and Lichtenstein was wealthy for a fine artist tho nowhere near Disney wealthy) the more you can game the system for your own advantage.

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[1] Meaning Keith Richard’s music may not enter the public domain until the 22nd century if his health holds out for another 13 years!

[2] Irving Berlin lived long enough to see his earliest songs go into the public domain and neither he nor his heirs seemed to have missed any meals because of it.

[3] Many of the earliest comic strips are public domain, but Disney won’t let anyone use the name Mickey Mouse to identify them, so they’re collected as “Classic Mouse Comic Strips”.

[4] Trademarks a.k.a. service marks are considered business brands and not creative works; they were originally limited to titles and specific logo designs, not characters, vehicles, etc.

[5] Tarzan is public domain, but ERB trademarked the image of Tarzan as a beardless white guy in a loin cloth so if you want to do that version of the character you have to pay ERB Inc. It’s theoretically possible to do Tarzan as a bearded guy of mixed ancestry in jungle fatigues but probably not worth the risk from ERB Inc’s lawyers. And if you want a really complicated set of rights, take a gander at the confusion surrounding King Kong. There are at least four separate sets of rights involved with a number of other rights now in the public domain including the original novelization.

[6] The internet was supposed to democratize access to the public, and in one sense it has, but it’s difficult for private citizens to monetize.

 

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I Gotz Me Some Warm Fuzzies For QUEEN OF BLOOD

27/03/2017

You can’t call it a good movie, but it sure is an interesting one, for the most part entertaining, and if the film maker/s didn’t exactly create a work of art, they certainly displayed a lot of ingenuity and craftsmanship.

QoB poster long

Queen Of Blood is a 1965 U.S. film cobbled together with stock footage from the Soviet feature films Mechte Navstrechu (“Meeting A Dream Halfway” a.k.a. “A Dream Come True”) and Nebo Zovyot (“The Heavens Beckon”) by writer / director Curtis Harrington.

Harrington is an interesting Hollywood character. After making a name for himself with short underground films in the 1940s and 50s, he landed a gig directing what is arguably his best film, Night Tide with long time collaborator Dennis Hopper.[1] He followed that with a pretty straightforward re-dub / re-edit of Planeta Bur (“Planet Of Storms”) as Voyage To The Prehistoric Planet[2] and the much more elaborate mash-up we know as Queen Of Blood[3] before settling into a dependable journeyman director niche, a dependable and just-creative-enough director for studios to entrust with otherwise mediocre second features, movies of the week, and TV shows that needed a little extra oomph.

He put a lot of effort into Queen Of Blood and it shows: Matching costumes with the Russian actors, finding a similar Los Angeles location to a corresponding Russian one, intercutting U.S. actors with pre-existing special effects footage, and cooking up an act three complication derived from Howard Hawk’s version of The Thing.

The first two thirds of the film follows the basic plot of Mechte Navstrechu: Alien ship heading towards Earth crash lands on Mars, humans send an expedition to recover the sole alien survivor, sacrificing one of their own in the process (killing him off in the Soviet version, merely marooning him in the U.S. cut).[4] Harrington’s swipe from Hawks was to reveal the sole survivor was a green skinned outer space vampire who, though vanquished in the end, leaves a tray of throbbing plant-like offspring with the question as to whether the humans should allow them to grow and attempt to establish peaceful contact with the aliens, or just destroy ‘em on the spot.

With the truly impressive / gorgeous stock shots from Nebo Zovyot and Mechte Navstrechu, plus Harrington’s ingenious film making, Queen Of Blood proves a perfectly satisfying popcorn muncher…up to that point.

QoB mechtenav2

The last third, the trip back to Earth, turns deadly dull, despite Dennis Hopper’s best efforts to keep the plot suspenseful. Unlike the similar threats faced by space crews in It! Terror From Beyond Space and Alien as their monsters rampaged through their ships, Queen Of Blood’s astronauts are essentially trapped in the same room with their space vampire.[5]

QoB queenofblood5big

Hopper’s fellow cast members, notably perennial B-movie action star John Saxon and fast-fading screen legend Basil Rathbone, put their shoulders to the wheel admirably, but the film is killed by ex-pat / refugee Czech actress Florence Marly as the eponymous queen.

Marly had a respectable but unimpressive career prior to the infamous anti-communist blacklisting era (she was mistaken for another performer with a similar name and, by the time she cleared herself, her mainstream career was over). Harrington, who knew her personally, cast her as the alien queen.

Those who knew her apparently liked her[6], but in every role she ever played and in every publicity shot she ever appeared in, she wears a put-upon expression of disdainfully amused disbelief, as if looking directly at the audience and saying, “Really?!?!? You find this entertaining?”

That vibe (and a lack of interesting stock footage) destroys everything Queen Of Blood had going for it up to that point. Once they leave Mars you can turn the movie off: She leisurely kills half the crew, gets a scratch, and dies almost instantly (and bloodlessly) from the alien equivalent of hemophilia.

It’s worth catching for the great Soviet stock-footage,
it’s easily forgettable for everything else.

QoB w1280

[1] Night Tide is a great psychological / dark fantasy. It’s a lovely film, haunting in more ways than one, but AIP had no idea what to do with it and eventually threw it away on the drive-in / grindhouse circuit with a misleading horror movie campaign.

[2] Which was subsequently re-edited and re-dubbed yet again by Peter Bogdanovich as Voyage To The Planet Of Prehistoric Women with footage of a bell-bottomed Mamie Van Doren in a seashell bikini top edited in.

[3] Francis Ford Coppola got into the act as well, re-editing / re-dubbing / shooting additional scenes to turn Nebo Zovyot into Battle Beyond The Sun. By the time they were done, AIP and Roger Corman turned three Soviet sci-fi films into four American features, and footage from Battle… eventually found its way into Hollywood Boulevard, yet another Corman produced mash-up movie.

[4] Harrington left off a charming. almost fairy tale element in the original Soviet version, that the aliens had been attracted to Earth by a song they’d heard one of the protagonists sing over the radio.

[5] Lifeforce wisely cut away from the returning shuttle once they picked up their space vampire, whom they even more wisely left nude for most of the film. A little bit of nudity goes a long ways in plastering over plot deficiencies, and a lot of nudity goes even further.

[6] Such as Forry Ackerman, who promoted Queen Of Blood in Famous Monsters magazine long past the point it would ever do anybody any good.

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007 in 008 words

2/02/2017

007 thunderball underwater cropped

kill all the men
boff all the babes

007 thunderball_art

art by Robert McGinnis

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I Luvz Me Some ARRIVAL

28/12/2016

It took a month and a half to catch up with Arrival, but better late than never, no?

arrival-banner-1-final

Best sci-fi film I’ve seen in ages (and we’re counting Zootopia as sci-fi). It has everything I’m looking for in a sci-fi movie:

  • Good Writing
  • Good Story
  • Good Characters & Performances
  • Good Special Effects
  • Good Theme

Add to that a nice big slathering dollop o’Sense Of Wonder plus some aliens that finally look like they come from another planet and not some remote corner of this one and you’ve got about as perfect example of the high end of the genre as one could hope for.

Based on the Nebula Award winning “Story Of Your Life” by Ted Chiang from a script by Eric Heisserer. More of this and ratchet back the Star Wars / Alien / Blade Runner / superhero derived movies, please.

arrival-alien

Meaning it’s actually about something, and not just a series of money shots strung together to sell popcorn. I like whiz bang sci-fi as much as the next fanboy, but there’s more to the genre than action-adventure and monster movies disguised as sci-fi films.

Too often sci-fi films have A Really Cool Idea then try to tack on a romance or some pseudo-Oedipian melodrama to make the characters’ “relatable”. Arrival’s personal drama is absolutely essential to the story, and the film could not exist without either the sci-fi or the personal element. Go thou and do likewise, young sci-fi scribe…

Far too often in movies of any genre a romantic sub-plot is introduced to enable the presumably stereotypical female members of the audience to vicariously enjoy the story by identifying with the girlfriend of the real hero, or conversely to reassure the presumably stereotypical male members of the audience that the plucky heroine succeeded only because she had A Good Guy watching her butt back and allowing her Do What Needed To Be Done. Arrival has none of that and is much the better for it since it permits real drama to shine through.

Thankfully kept in balance throughout the film as director Denis Villeneuve steered clear of spaceship porn and just focused on telling the story, not dazzling us with extraneous details.

Rational beings with honorable intent will find ways of cooperating to everyone’s benefit.

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THE AMERICANIZATION OF EMILY (1964)

28/11/2016

the-americanization-of-emily-1964One film that everyone should see — especially Americans — and especially Americans in positions of life and death authority such as peace officers and service personnel — is The Americanization Of Emily (1964), directed by Arthur Hiller and written by Paddy Chayefsky (going very far afield from William Bradford Huie’s novel). Set in England before and during the invasion of Normandy, this dark comedy stars James Garner in one of his patented cynical-roué-with-a-heart-of-gold roles and Julie Andrews as a military driver about as far as imaginable from her wholesome turns as Mary Poppins and in The Sound Of Music (respectively released before and after this film).

taoe-6e8Emily also features James Coburn as Garner’s somewhat treacherous pal, Melvyn Douglas as the admiral they work for, and Keenan Wynn as a drunken sailor with the best line in the picture (“We ain’t that stoned!”).

taoe-coburn-and-garnerIt’s a very literate and philosophical film (as was everything Chayefsky wrote) with a lot to think about in it, but there’s one crucial sub-plot that we all need to focus on.

Douglas’ admiral is responsible for the naval logistics behind the invasion of Normandy, and the mental strain weighs heavily on the man. As he starts to lose his grasp on reality, he develops an obsession that “the first dead man on Omaha Beach must be a sailor”.

taoe-admiralThis sends Garner and Coburn off on a fool’s errand to film a documentary of the Navy’s combat engineers blowing up mines and other obstacles in advance of the actual invasion force. Garner drags his feet for obvious common sense reasons of not wanting to get killed, but Coburn becomes gung-ho about the project.

Douglas then suffers a full a full blown nervous breakdown, a psychotic fugue that temporarily incapacitates him but his orders, once put in motion, can now no longer be amended, changed, rescinded, or sidetracked. Suffice it to say Garner finds himself in the unenviable position of being “the first dead man on Omaha Beach”.

taoe-emily-stillAs soon as the admiral’s mind clears, he is horrified to find his underlings acted on what should have been obviously ignored as the product of a stressed mind reaching its breaking point. Garner’s documentary served no real purpose, dozens of lives were needlessly risked, and in the end Douglas is wracked with guilt that his psychotic obsession sent a valued and trusted aide to his meaningless death. (There is, of course, a nice double-twist reverse to end the movie on a high note, so don’t worry about this one being a downer; it’s tons o’fun.)

I want to focus on Coburn’s insistence of following through with Douglas’ orders despite the fact he acknowledges such orders are nonsensical! He tells Garner:   “You…nearly got yourself court-martialed, stripped of your commission, sent to the Arctic Circle to do polar research. Man, you don’t tell two-star admirals you don’t approve of their orders. Now you’re on the Admiral’s brig list.”

Coburn’s method of handling things is to cut orders that let Garner delay the inevitable by a few days instead of bringing the real problem — “The service takes a dim view of lieutenant commanders who call the Special Assistant to the Secretary of the Navy a nut” — to anyone’s attention.

Sometimes, dammit, ya just gotta run that risk.

Though Emily doesn’t hang a lantern on this point, the facts are after WWII we executed Germans and Japanese who did exactly what Coburn’s character did: Just followed orders.

They surrendered their integrity and their humanity by never questioning or challenging the orders handed down from above. They followed through on them, even when they thought they were stupid and evil and self-destructive, because they thought they could escape moral and ethical responsibility by handing such decisions over to others.

No.

It doesn’t work that way.

The person on the other end of your club or your pepper spray or your gun or your drone targeting system will be hurt by your actions.

There is no escaping that.

It may well be that your actions can be justified — you stop a deranged spouse from killing their family by shooting the attacker — but it will nonetheless be your responsibility.

And you may find yourself in situations where you will agree wholeheartedly with those above you that a specific group needs to be attacked, and if so then you must own your moral and ethical choice: You share credit or blame, honor or guilt for something you did willfully.

There will come other times, however, when you will have your doubts, and perhaps even times beyond that when you will know what is being asked of you is wrong.

You must resist at those times.

You will not be held blameless for any harm that befalls someone unjustly on your watch.

You may escape legal responsibility for a time, but your actions will follow you, and whether the debt is paid directly or indirectly, it will be paid.

The Americanization Of Emily is a funny comedy, using dark humor to get its points across.

It can afford its cynicism:
At the end of the day its actors removed their make-up, returned their costumes to wardrobe, and went home.

People in the real world aren’t
afforded such luxuries.

 

 

 

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THUNDARR THE MOVIE or How I Almost Created Kickstarter

27/11/2016

Well, this is a blast from the past!

thundarr-the-movie-presentation

Patrick Sullivan, over on Facebook’s Charlton Arrow page, found in the archives of Charlton Comics a copy of the old and long since forgotten Thundarr The Barbarian movie treatment I wrote for Ruby-Spears, one of the last things I did for them as a salaried employee (though I came back for a couple of freelance gigs).

How it wound up at Charlton I have no clue, but I suspect somebody was trying to make a comic book deal as Charlton was well known at the time for publishing TV tie-ins.

Thundarr The Movie is an interesting bracket to the Thundarr TV series because it was intended to be a prequel, telling the origin of the Sunsword, how Thundarr came to possess it, and how he teamed up with Ookla and Arial to fight wizardry and super science and evil mutants on the ruined Earth of the far, far future (i.e., post 1990).

On the other side of the actual Thundarr TV series, a proposed follow-up series.

Let me back up a bit and set the stage and context…

Joe Ruby and Ken Spears are the guys who created Scooby-doo. This set a lot of dominos in motion until they ended up in charge of their own animation studio.[1]

They had some success with weekend and afternoon specials, but their first — and arguably biggest — post-Scooby hit was Thundarr The Barbarian.

I’ve posted elsewhere on my involvement with Steve Gerber and Jack Kirby and Mark Evanier and Marty Pasko and a host of other well known and not so well known creative geniuses[2] who shaped Thundarr.

Thundarr lasted a paltry two seasons, and when the series was taken out behind the barn and shot put to pasture, Joe Ruby had us explore options to keep the basic idea going.

IIRC John Dorman created a canine version called Thundogg The Barkbarian while Jack Kirby conjured up Eric The Rude, an intelligent barbarian kangaroo in Thundarr’s world.

None of these saw light of day beyond some preliminary art.

One possibility Joe wanted to explore was turning Thundarr into a feature film.

If memory serves correctly, Steve Gerber was already strapping on his parachute to bail on Ruby-Spears so Joe handed the development task over to me.

Let be back up a bit further and talk about Ruby-Spears’ feature film ambitions:  They always had a desire to do an animated feature but could never get any traction. Steve Gerber and Jack Kirby (along with numerous other R-S staff artists) developed an idea called Ripoff which was to have been the ultimate mash-up funny animal parody of all 1980s movie genres featuring a Burt Reynolds-like dog and a Sally Field and / or Dolly Parton-esque canine counterpart (another idea called Animal Hospital, art by Jack, started as a TV series pitch but ended up being incorporated into the Ripoff presentation).

Joe asked me to develop a sci-fi detective series derived from inspired by Blade Runner and I came up with an idea called Numan, the last private eye in the world of the future (2020, IIRC). The idea quickly proved itself too edgy for TV at the time and so it was ported over as a feature development.[3]

Another couple of stray ideas may have been briefly considered for theatrical film development but for the most part that was it before Thundarr The Movie.

Thundarr was a frustrating situation for us. It was by all rights a popular show and character and we should have secured any number of marketing deals, but nobody could ever make a go of it.

This was before the big syndication boom of the mid-1980s[4] and so the last chance for Thundarr before disappearing into the mists of TV history was to get a feature film off the ground.

I suggested a prequel to the series, one that would be grittier and grimmer[5] than the TV version, with a little more oomf! to the violence and a whole lot more boomba-boomba-boomba if you know what I mean and I think you do.

The problem was finding financing and distribution for a film.

You’d think that in Hollywood that would be easy:
Somebody would cough up a few million bucks to make the movie and others the millions needed to distribute it.

Well…no.

Numer-o uno:
Nobody was making independent animated features at the time — especially straight forward action-adventure science-fantasy — so there was no marketing model any distributor could follow to success.

Numer-o two-o:
The rights situation at Ruby-Spears was already starting to grow messy. One reason there has been virtually no authorized merchandising off the show is that Ruby-Spears eventually was subsumed by Hanna-Barbera, their chief rival, and H-B in turn was absorbed into Turner Broadcasting (or Media or Pictures or Studios or whatever the hell they were calling themselves that minute) and soon after that Turner hizzownsef was bought out by the Brothers Warner and today there’s virtually no one at Warner Bros animation who knows about, much less gives a rip, for Thundarr The Barbarian. The feature film threatened to become even messier rights-wise.

Still, we were determined to give it the old college try.

My premise altered the backstory a bit:
Instead of a comet nearly destroying the Earth, it would be the Sunsword itself that wreaked the havoc.

An indestructible alien weapon of immense power, it was lost millennia ago in an epic space battle between two alien species. The inert hilt fell towards Earth, shattering our moon when it hit but slowing down enough as it passed through so as not to utterly destroy the Earth when it landed here.

As best I recall (we went through several drafts and kicked a lot of ideas around) the story proper would pick up with Thundarr and Ookla enslaved by Arial’s wizard father. Arial is not a wholly virtuous character though she is demonstrably better than her father. When they learn of the existence of the Sunsword from advanced alien scouts, she sets off to find it first. Thundarr and Ookla either escape and kidnap her in order to find the Sunsword first so as to keep it from falling into evil hands, or (depending on which draft it was) she drags them along to do the grunt work.

In any case, the story reaches a climax in which our three protagonists plus her evil father plus both still-warring alien species plus the local mutants actually in possession of the Sunsword all go for the weapon at the same time.

All hell breaks loose but Thundarr eventually prevails and Arial comes to realize there may be something to this goodness thing after all, and we end at a point sometime before the very first regular episode.

As hard as it may be for some of you die hard Thundarr fans to fathom, nobody wanted to give us a few tens of millions of dollars to do this.

Two things I do recall vividly:
First, Joe was really opposed to my idea about the mutants who possessed the Sunsword until our protagonists show up. My idea was that the hilt would have crashed into the middle of a championship football game so that thousands of years later a religious cult was grown up around the Sunsword, one in which the priests wear religious garments patterned after football uniforms, the high priests would be dressed as referees, the temple choir would sing football cheers in the manner of Gregorian chants (“Rah, rah, sis, boom, bah…”), etc., etc., and of course, etc.

‘Cuz my approach to the material has always been “embrace the absurdity”.

There are plot holes and logic gaps in Thundarr big enough to fly a fleet of Airbuses through wingtip-to-wingtip so if you’re going to have a future where indestructible handheld weapons shatter moons and wipe out civilizations as the result of an unintended impact, you might as well go all the way and pile the wild ideas on top of each other.

I seem to recall Joe allowed me to keep the basic idea but insisted we water it down considerably.

The second thing I recall was that I came up with the idea of funding the film by pre-selling tickets.

Now, that’s not a big thing in these Kickstarter / Patreon days, but at the time it was a pretty radical idea.

I know Ken Spears chuckled at the idea when I suggested it, asking how we were going to sell tickets before the movie had even been filmed.

I had an answer for him, an idea stolen from Kenner’s Star Wars Christmas gift coupons:  We’d sell certificates that could be redeemed at theaters for admission when the film was released; theaters would be encouraged to participate because since those members of the audience had already long paid for their ticket, they’d have money to buy popcorn and candy and soft drinks[6].

Ken eventually came around to my way of thinking insofar as he agreed it was possible, but wasn’t convinced enough to want to make the effort to find out if we could actually pull it off.

So that idea — and Thundarr The Movie — died aborning.

It’s a pity, since if we had done the movie and the follow up TV series we proposed — Thundarr The King — then we could have had a really nice animated epic that would have spanned our hero’s life from young adulthood to a (physically) mature man and father of twins.

What? You never heard of Thundarr The King before?

Well, let me tell you that story…

…some other time.

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[1] How they met, teamed up, came to create Scooby-doo, and the aftermath leading up to the creation of Ruby-Spears Productions is a fascinating story in and unto itself but one for another time.

[2] Plus some insane maniacs; R.I.P. John Dorman.

[3] Joe disliked the name (a nod to New Wave musician Gary Numan) so we changed it to Skanner (a nod to David Cronenberg’s Scanners). I know I spent a lot of time world building for the show, but aside from a few stray details I have nothing substantial to share. I did create a futuristic patois and cadence for the characters to speak, but can’t recall much more of it than his introductory tagline: “Dub me Numan; I peep.”

[4] Not that the syndication boom would have done us much good as it was almost entirely focused on other people’s toys and almost never on new and / or original characters.

[5] Hey, those words weren’t hackneyed back then!

[6] And theaters don’t have to share any concession sales with the distributors or producers.

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Wot Hoppen?

10/11/2016

There is no simple thread, no single cause to explain Trump’s victory. There are many, many factors, some operating alone, some overlapping with others like a Venn diagram.

There’s a great temptation to view all this as one vast interlocking conspiracy but it’s not. It’s more like a core illness that allows other opportunistic infections to settle in. Treat the main illness and the smaller ones will fade away on their own; deny the reality of the main illness and the problems will never go away. Read the rest of this article »

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Coming Soon!

27/10/2016

animated dismalland logo

animated title be prepared to be scared BW

animated title here is terror

animated eyes of a man possessed

animated soupy sales goez nutz

animated girl gang title BW

animated thrill girls of the hiway

animate title brutal and bloodthirsty BW

anaimated title slimey hand BW

animated HoHH bad touch

animated shocking diabolical BW

animated Bad Girls Go To Hell title

animated crazy clown cmon

animated 1920s gal shrinks back in fear

anaimated title human sacrifices BW

animated giant gila monster titles

animated horror of spider island

animated CWotM spide attack

animated 3 stooges curly heebie-jeebies

animated night tide trailer

animated FvwaF title 1

animated fasked figures approach BW

animated anonymous citizens

animated metropolis death descends on the city

animated stan n ollie skeletons

animated Vela shock star title

animated panther woman BW

animated weird

animated title nasty BW

animated to avoid fainting BW

animated title you will have nightmares BW

animated mudhoney madame

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On The Convention Trail: Alpha-Omega Con III Sept. 24

23/09/2016

on-conv-trail-1950_04-ed_cartier_gnomepresscalendar

I’ll be at Alpha-Omega Con, the Third Annual Christian Comic & Pop Culture Convention to be held from 10AM to 6PM this Saturday (September 24th) at the Well Church in Artesia, CA. (New location!  NOT the previous venue!)

We have a full schedule planed with numerous activities and guests on tap, including:

Mike Shields IITownsend ColemanWill MortonKatie LeighStephen WeeseBrett BurnerMike S. MillerMike KunkelEric JansenPastor Fred PriceDr. Thomas ParhamClint JohnsonKevin YongScott A. ShufordCarmi FellwockBuzz Dixon (Wot da — ? Sheesh, they’ll let anybody in!)

There will be three tracks of programming, and I’ll be on two panels:

Creating 3D Characters in a 2D World (moderated by Dr. Thomas Parham)

=and=

Gender Roles in Comics and related Media: Bias vs. Biblical (moderated by yrs trly)

See ya there!

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On The Convention Trail: Granite State Comic Con Sep. 17-18

15/09/2016

on-conv-trail-1950_04-ed_cartier_gnomepresscalendar

Having worn out my welcome on the West Coast, I’m now invading the Far East (well, U.S. East Coast) for Granite State Comic Con to be held Sept. 17 – 18 in Manchester, N.H. at the Radisson Center of New Hampshire.  Lotsa GI Joe and / or Sunbow related topics & guests, including Larry Hama, Tom Feister, and Samantha Newark among many, many more.  See ya there!

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