1993 The Creators Universe Starwing and Nightfire Trading Cards

As a companion to the Art Thibert Nightwing mini-series post, I thought I'd include his copyrighted offerings to this Dynamic Entertainment card set. Look familiar? Reminds me of Liefeld's work on Agent America/Fighting American and Smash!

Amazing Heroes #202: Aborted Titans/Nightwing Plans (June, 1992)

I read Comic Book Legends Revealed #195 today, which discussed plans for the abortive 1992 Nightwing/Starfire mini-series by Art Thibert and Pamela Winesette, under the editorship of Jonathan Peterson, and with the full blessing of Marv Wolfman. The column also linked to a selection of articles at Titans Tower in which Thibert was interviewed about the proposed mini. I was a big fan of the changes Peterson made during his time editing the Titans books, and was very disappointed at the massive turnaround that occurred with his departure. I'm especially annoyed by how Nightwing was turned into a poor man's Daredevil by Chuck Dixon, Devin Grayson, and others.

I was struck however by discrepancies in these accounts when compared to a report in June 1992's "Newsline Extra: DC's 1992/1993 Projects" article from Amazing Heroes #202. Below is their coverage, as well as the above rare promotional image, which I've never seen anywhere else...

Who's Who In The !mpact! Comics Universe Binder Cover (1991)

Credited to Butler. I bought this and the first volume of the looseleaf set for $5 today. Now all I need is #2, and I'll have accomplished nothing worthwhile!

nurghophonic jukebox: "Anything" by Sixpence None the Richer

Written By: Matt Slocum
Released: 1997
Album: Sixpence None the Richer
Single?: No.

From Wikipedia:
"Sixpence None the Richer is a Grammy-nominated American Christian pop/rock band that formed in New Braunfels, Texas, eventually settling in Nashville, Tennessee. The name of the band is inspired by a passage in writer C. S. Lewis' Mere Christianity."



This is my forty-fifth depressing tune.
They're looking for money as they clean my artistic womb.
And when I give birth to the child I must take to flight,
'Cause the black in our pocket won't let us fight a proper fight.
So hey baby, can you shed some light on the problem maybe?
'Cause we're all tired and we'd like to know
If we should pack our tents, shut down the show.
Yes, we should like to see a burning bush-type sign.
But anything would be fine.
We're all told to dance but we never picked the tune.
Hanging like puppets they feed us from bent steel spoons.
But we're sealing our lips for the someday when the needle and the vinyl play
All the songs of the pain, songs that explain all our circles and strains.
So hey baby, can you shed some light on the problem maybe?
'Cause we're all crying and we'd like to know
If we should pack our tents, shut down the show.
Yes, we should like to see a burning bush-type sign.
But anything would be fine.
We're all dying and we'd like to know
If we should pack our tents, shut down the show.
"Yes, we should like to see you pack your tents, shut down your show."
Yes, we should like to see a burning bush-type sign
But anything would be fine. Oh, anything would be fine.

A Frank Review of "The Wrestler" (2008)

The Short Version? WWE leftover's last days.
What Is It? Drama.
Who's In It? Mickey Rourke,
Marisa Tomei
Should I See It? Yes.

The Wrestler is a funny movie. I don't mean funny ha-ha, though it has its moments, but in how it's being received. You see, I became a Darren Aronofsky fan after seeing "The Fountain," which most found maudlin. "Pi" was interesting, but the critically-acclaimed "Requiem for a Dream" left me shaking my head. So now I've seen the director's latest work, which is almost universally well received, and I just think it's okay. The film reminds me of every other silly sports movie about a grizzled old veteran reaching for the brass ring one last time. Also, The Wrestler is one of the few films Aronofsky didn't write for himself. Even while peering into the lives of the doomed junkies in "Requiem," Aronofsky always seemed empathetic towards his subjects. Here, there's a pervasive sense of satire, as though Aronofsky is mocking his characters with the utmost sincerity. The film is also shot handheld, where Aronofsky's work was growing increasingly more pristine and calculated. The look works for the project, but between its shooting style, '80s callbacks, and subject matter, I'm reminded more of the documentary Bigger, Stronger, Faster* than anything.

Mickey Rourke continues to remind audiences of what they saw in him before his long downward spiral into self-parody. His plastic features even serve him for once, as it perfectly suits his character. Marisa Tomei plays the stripper with the heart of gold, still trying to retroactively earn her supporting Oscar. God bless her still very tight body, on full display, by the way. Even Rachael Wood plays the wayward daughter, bringing a lot of weight to what amounts to a handul of scenes and an under written part. Everyone performs, but they're in a darker and sexier than average Disney career revival flick. It's a crowd-pleaser, but challenging? Artful? Not so much.

Added bones: Mickey Rourke's hilarious, NSFW '09 Spirit Awards Acceptance Speech for Best Male Lead...

Emanuelle Bianca e Nera Videos

I'm too tired and pressed for time to pick up on "Emanuelle In America" this week, so here's some Italian videos from YouTube for a plantation-set knock-off of the series. We'll say it's part of Black History month, okay?

Emanuelle Bianca e Nera episodio1


Emanuelle Bianca e Nera episodio2 "Il Triangolo no!"


Emanuelle Bianca e Nera episodio3 "Amore Disperato"


Emanuelle Bianca e Nera Bonus track & Credits

John Byrne's Next Men Book One

Throughout my life, as a writer, John Byrne has tended to disappoint. I remember buying Alpha Flight #1 off the newsstand, and wondering who sucked out all the feeling and cool characters. I even tried the book a few more times, and found nothing of interest until the Bill Mantlo days. His Fantastic Four was better, including the Thing solo spin-off, but never strong enough to follow regularly. Incredible Hulk fizzled out fast, and I counted myself as a Superman follower for maybe seven months. His Star Brand and Wonder Woman were painful to read, while Sensational She-Hulk, Iron Man, and Namor just didn't engage me. What I've read of his later work has only further entrenched my bias.

That said, I never gave Next Men a try back in the '90s, even though Byrne himself described it as his bid for a mid-life creative high along the lines of Lee & Kirby in the Silver Age of Marvel Comics. I can't help but think he was crushed by its ultimate failure, explaining the worsening state of his craft. However, based on reading this first volume, Next Men may very well have been his shining moment as a scripter.

Not having read the 2112 graphic novel, its ties to Next Men were lost to me. Just in the context of a decades spanning prelude though, the book's major villains are depicted as outstanding monsters that beg to be confronted. The premise of artificially evolved test tube babies is explained well enough to intrigue, moving swiftly toward a status change and the compelling story of their escape from high tech confinement. One wonders if the Wachowski Brothers were fans who borrowed elements of this series for the Matrix trilogy.

Next Men is the sexiest, most visceral and just plain best written series I've encountered from Byrne. This entire volume is pretty much set-up for the series to follow, and I'm confident by the end you'll wish to read further, as I do. I understand IDW is in the process of re-releasing this Dark Horse series, and based on this initial entry, I'd like to read more.