| COMIC-CON: STARGATE RETURNS TO COMICS 07/29/09 Dynamite Entertainment |
| The Stargate franchise is coming back to comics from Dynamite Entertainment. Based on the 1994 feature film Stargate, Stargate SG-1 launched in 1997 on Showtime and then moved to Sci Fi Channel, becoming the longest-running American science fiction television series ever. It spawned Stargate Atlantis in 2004 and will launch Stargate Universe in October 2009. Dynamite has engaged writes Chuck Dixon (G.I. Joe) for a prequel to Stargate Universe, writer Doug Murray (Jungle Girl, The 'Nam) with the continuing stories for Stargate Atlantis Season Six and Brandon Jerwa (Battlestar Galactica) on Stargate SG-1 Season 11. Star Wars painter Dave Dorman will be the main cover artist, and noted cover artist John Watson will do his first ever interior work in Stargate Universe. "I'm just back from Comic-Con, where I was lucky enough to attend the fantastic Stargate Universe premiere party. Several of the show's stars were there, as were Brad Wright and Robert Cooper, the creators of the franchise. I had a chance to talk to them, and they seemed genuinely enthusiastic about the comics. Having the support of the true Powers That Be is always a huge boost for those of us who work on licensed properties like Stargate," said Jerwa. "I think SG-1 is a perfect match for me. It's ensemble sci-fi military action, but also has a pretty sharp sense of humor. As much as I love the soul-crushing darkness of some of my other work, I'm looking forward to being able to crack an occasional joke while everything's blowing up. Plus, it's a real honor to be sharing the larger franchise with Doug Murray and Chuck Dixon," he said. "I hope the fans will take the jump with us." Dynamite will launch all three series with Stargate #0, which will include three different stories in one comic for $1.00. Stargate SG-1 and Stargate Atlantis previously appeared in comic book form from Avatar. http://scoop.diamondgalleries.com/public/default.asp?t=1&m=1&c=34&s=259&ai=85493 |
| FROM GEMSTONE'S SCOOP 01/02/09 Dynamite Entertainment |
| What happens when you mix dinosaurs, seemingly primitive humans, modern day adventurers, and a dangerous blonde jungle queen? Well, the creative team of Frank Cho (Mighty Avengers, Liberty Meadows), Doug Murray (The 'Nam) and Adriano Batista seem to think that's the formula for bombastic adventure. So far, through the first mini-series and two issues of this one, they're right |
| NIGHTWITCHES #2 REVIEW ON COMICBOOKRESOURCES 12/08/08 Dynamite Entertainment |
| by Timothy Callahan Once upon a time not too long ago, Garth Ennis wrote a series of war comics for Vertigo under the banner "War Stories." A couple of trades have appeared, reprinting those stories, and they are worth checking out because, in his "War Stories" mode, Ennis and his artistic collaborators focused on one small perspective to tell very human stories about something as inconceivably massive as warfare. His "War Stories" installments were often brutal, ironic, somewhat reverential, and emotionally powerful, dealing with intense drama in unlikely situations of heroism. It seems this new "Battlefields" banner from Dynamite is pretty much the same thing. And that's fine with me, because I like Ennis in his "War Stories" mode, and I'm always happy to see what perspective he adopts next. In "The Night Witches," he tells the story of an all-female Russian air force squadron and their battle against German forces. The Night Witches themselves -- so named by the Germans -- are the focus of the story, but the only narrative captions in issue #2 are given to a reluctant German soldier who is tormented by his own leaders. Ennis does a lot of things well in this series, and one of the most prominent is his emphasis on characterization. This is a high-concept piece of historical fiction (women flying fighter planes in WWII!) but he doesn't oversimplify the situation or glorify anyone on either side. He shows the conflict within the ranks -- both Russian and German -- and allows both sides to show their troubling humanity. And yet, Ennis doesn't flinch from showing the savagery of war, either, and though the theme isn't as simple as "war is hell," there's an underlying acceptance that such a statement is true, and this is all a manifestation of that. Perhaps the most powerful scene in issue #2 involves the rape and murder of one of the female pilots. The contrast between her brutalized body in a darkened cellar and the nobility of her comrades flying on their missions is a shocking indictment of war in particular and the human race in general. It's not a pretty sight, and it's not just a cheap way to startle the reader. The rape evokes a deep sadness and a horrifying awareness of the price these pilots are being asked to pay. Ennis uses the potential exploitative scene to its full thematic effect. Russ Braun, another Vertigo alum, provides the art on "The Night Witches," and his work here resembles a cleaned-up Darick Robertson. It's not quite as gritty as Robertson's, but his faces look similar, and his storytelling flows as smoothly. And, most importantly, there's a physical weight to his characters. These aren't superheroic figures dancing through the skies. They are individuals who carry the weight of their countries on their shoulders, and you can feel the burden in the way they stand. "The Night Witches" is only three issues long, so I don't expect any radical plot reversals or shifts in quality in part three. It's not the kind of story that hinges on plot points anyway. It's about characters trapped in situations beyond their control, and it's about what they do to rise above their surroundings or die trying. "The Night Witches" is a high-quality war comic, and, without a doubt, I'm looking forward to other "Battlefields" installments from Garth Ennis and company. |
| BEST SHOTS EXTRA: THE LONE RANGER #14 10/09/08 The Lone Ranger |
| The Lone Ranger #14 From: Dynamite Writer: Brett Matthews Art: Sergio Cariello Color: Marcelo Pinto of Impacto Studio Lettering: Simon Bowland Cover: John Cassaday Part Three of the "Scorched Earth" arc pulls off the trick of being totally accessible for new readers. Sure, you have a benefit if you've been following the revamped adventures of the Lone Ranger and Tonto from the beginning of the book, but it's a rare third part these days that allows one to pick it up cold and feel in on the action. Wrapped in an iconic John Cassaday cover that demonstrates the long-delayed adoption of the classic costume, the book manages to be a good solid read on just about every front. One of the best things about this book is easily Tonto. From the outset, Matthews has shown us the quiet power and dangerous nature of the man. What he's evolved at the same time are Tonto's flashes of biting wit and deadpan humor. As the duo (together with the Commissioner Gordon-esque Sheriff Loring) conduct an investigation into a series of brutal murders, Tonto encounters unexpected cheer from the townsfolk (who appear to just be happy to have someone handling their business) at the same time as he hears casual racism from the bartender. Tonto's response to the crowd is self-deprecating and funny as it sly pokes at the character's history of interpretation across media. Matthews also depicts the Ranger well, deftly bridging the gap between the character's status as an incorruptible icon and his humanity. The Ranger is deeply troubled by the carnage that he and his allies have witnessed, and his sense of moral outrage is evident. As he moves from to tenderness in dealing with a traumatized child to the steely professionalism of justice-drive avenger, this version of the Lone Ranger emerges as a terrific embodiment of past versions delivered in a modern aesthetic. Speaking of aesthetics, the art by Cariello continues to impress. His Kubertesque leanings are perfectly well-suited to this book, and his occasional minimalism (particularly when it comes to showing just enough of a ravaged body to make a point) is smartly played. My one nitpick about the art is the way that the mask sometimes looks; it occasionally sits on the Ranger's nose like it's a hardpiece (like Batman's mask) rather than fabric that would show the contour of the face (as Cassaday does on the cover). Perhaps it's an effect of the aforementioned minimalism, but I find it occasionally distracting. Overall, The Lone Ranger has been entertaining from the start, but I now feel a sense of drive from the title that underscores how serious Dynamite is about turning familiar properties into vital characters for today's audience. |
| BSG:ORIGINS #8 ON WIZARDUNIVERSE.COM 07/30/08 Battlestar Galactica |
BATTLESTAR GALACTICA: ORIGINS #8 Dynamite Entertainment Robert Place Napton (W)/Jonathan Lau (A) ANDY: "If you're looking for the road map to how your favorite BSG characters landed on that old rust bucket, then this series has the directions you'll need to follow. This ish wraps up the four-part flashback tale to how Bill Adama took over as Battlestar Actual, and it's a road that's paved with tragedy: Here, he's chastised for not killing a former squad leader who was captured and tortured by the Cylons; he's forced to send his buddy Bulldog on a suicide mission that ends with him getting captured; his son Zak is killed in a training exercise; his wife Carolanne leaves him; and he winds up in command of a 'floating museum' called the Galactica. Napton does a solid job of weaving the already established threads from the show continuity with his own twists and turns, and Lau's manga-inspired art really punches up the sci-fi elements of this military drama." |