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War Picture Library 45 The Price of Freedom


Heroic Italians? In a comic about World War 2? Well you better believe it!!

Except for a few stereotypical clunkers involving uncomplimentary attitudes towards spaghetti and narrative concerns over the “incessant chatter” of Italians and their inability to annunciate simple English phrases the Italians come out looking pretty good in The Price of Freedom.

Even though the focus of the story is on the adventures of Kiwi Captain Pug Meyburgh and English Sergeant Tom Decker from the retreat in North Africa to their capture, internment and escape and then their bid for freedom it is the host of heroic Italians that truly make the story strong. These include the well meaning Private Bruzzi, the private citizen Babbino, the silent but shrewd scout Truffi and brave Sergeant Ruffini (who was responsible for the capture of Meyburgh and Decker).

Furthermore the story is enhanced by a see-sawing tactical situation in the 2nd half of the book.

The artist for The Price of Freedom provides some exceptional ink work and appears to revel in the use of black. And not just for night settings or for dramatic punctuation. Copious amounts of blank ink are used throughout giving this War Picture Library comic a wonderful quality.

Also it is very well written with the story being revealed, with right amount of information being provided as the story progresses.

The Price of Freedom would lend itself very well to some back story creation. There's more to know about the characters. What made Decker drive through the desert picking up wounded men? What of the soldiers who gave up their places so the wounded could get aid? How did Truffi become silent and shrewd. And what was Ruffini doing all that time while Meyburgh and Decker were in prison?






Another smug Nazi officer. Where do they find so many of them?








I can't figure out if this is more Allo Allo or Blackadder.

Did he spend time in Brooklyn?










More ink. We need more ink.


Why can't they have stiff upper lips?
Great picture



















There's lot going on in this one.


















Cravatt, tash, bandage and stiff upper lip! All man!!









Evil looking lot. Nice panel though.











Nice Aaagh! with a little Uh! thrown in for counterpoint.

No it's not.It's all about being gallant and sacrifice and being noble!

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First Look: Temuera Morrison as Abin Sur in 'Green Lantern'

Above: The body of alien 'Abin Sur', played by Temuera Morrison. Copyright Warner Bros 2010.

Continuing my coverage of New Zealand related links to this weekend's massive San Diego Comic Con: images have surfaced over at Comic Book Movie of the Warner Bros booth, featuring a display of the body of alien Abin Sur (played by Temuera Morrison) to promote the upcoming movie 'Green lantern' (more images can be seen HERE and via Bleeding Cool HERE).

And yes, if you put two and two together: this basically means Warner Bros are displaying the DEAD body of Temuera Morrison all weekend at San Diego for the entertainment and amusement of thousands!

No word yet on whether the Morrison family will attempt to reclaim the alien body for a proper Tungi.


Above: The body of alien 'Abin Sur', played by Temuera Morrison. Copyright Warner Bros 2010.

-AK!

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Flash Fact: Wally West is brilliant but it's time for Barry Allen

Barry Allen

In 1985 Barry Allen, The Flash, died saving the Universe. The mantle of The Flash was taken up by his sidekick Wally West, who served as DC Comics' main Flash until 2006 when Barry Allen's grandson Bart briefly took over.  Wally soon returned as the Flash but was joined in 2008 by a resurrected Barry Allen.  Barry is now once again the main Flash, while Wally has taken something of a back seat and is currently not appearing regularly in any DC titles.  This is a controversial move among Flash fans as Wally has developed quite a devoted following over the past 25 years.  I would argue however that DC has made the right decision.  Barry needed to come back and Wally needs some time away, but not because of any failing on the part of Wally as a character.  In fact I would say that Wally has been too well written for his own good.

When The Flash was relaunched in 1987 writer Mike Baron wrote Wally West as a promiscuous, arrogant prat, as far removed in personality from Barry Allen as any character could be.  This was a genius move for many reasons.  For a start, if Wally had been exactly the same as Barry then Barry's death would have been rendered pointless.  Also, this was the mid '80s and in making Wally a bit of a selfish womaniser, Baron very much made him your quintessential '80s man. But the biggest advantage of portraying Wally as a bit of an arsehole was the fact that we got to see Wally grow and mature before our very eyes as the series progressed.

Wally West

When Baron left after issue 14, William Messner-Loebs took over and carried on developing and maturing Wally.  Under Messner-Loebs we saw Wally humbled and forced to temporarily live on the streets.  We saw him begin to appreciate his friends more and become less of a user.  We saw his relationship with his clingy mother and wannabe super-villain father develop.  By the time Messner-Loebs left the book Wally was a much more likeable guy. But his journey wasn't over.  Mark Waid was the next writer to chronicle Wally's adventures and he continued to send Wally on his path to maturity. Under Waid for example, Wally ended his womanising and began to settle down with a long term girlfriend, journalist Linda Park.  But Waid also did something very important.  Waid recognised that while Wally had worked through a lot of his issues there was still something he had yet to come to terms with.  The legacy of Barry Allen. During Waid's run we saw Wally come to terms with Barry's death and grow comfortable with the fact that he was beginning to surpass his mentor in terms of both power and achievement.

Wally West

Wally's understanding and control of his speed was very much tied to this emotional journey he was taking.  When Baron reintroduced the character his top speed was 705 mph and he had to eat and drink huge amounts in order to replenish the energy he expended while running.  We gradually got to see Wally get faster and faster and look more closely into the nature of his powers as he did so.  Messner-Loebs first indicated that there may be more to Wally's powers than meets the eye when he had Wally's scientist friend, Tina McGee note that Barry Allen's powers were physically impossible and he may have become something other than human when he gained his powers.  Waid took this idea and developed it further. He had Wally meet Max Mercury, a Golden Age speedster who was the zen guru of speed.  Under Max's tutelage Wally discovered the Speed Force, the extra-dimensional source of all super speed. Wally soon learnt to control the Speed Force and gained speed and abilities beyond anything any speedster had achieved previously.

Flash v2 Annual #3 (1989) - Even before Mark Waid established the Speed Force William Messner-Loebs had sown the seeds.

By the time Waid left and Geoff Johns took over Wally had married Linda and become a master of the Speed Force.  Johns took some of the focus away from Wally and concentrated on the development of other characters.  For example, Flash's famous Rouge's Gallery enjoyed more character development under Johns than they had ever experienced before.  Despite this Johns continued to allow Wally to change and grow.  During Johns' run Wally began to forge an identity for himself as a blue collared hero of the people with his feet planted firmly on the ground.  He also regained his secret identity and fathered twins with Linda.

Wally and Linda tie the knot

The wonderful thing about Wally's Flash series was that despite the change of writers Wally underwent a real journey over the course of two decades, with characterisation that was so consistent that he is perhaps one of the most fully realised characters in the DC stable.  However, it is this wonderful character development that has proved the character's undoing.  After undertaking the journey from a selfish underpowered hothead to a super powerful, heroic and responsible father of two, Wally has nowhere else to go as a character, at least for the moment.  This was proven by the way the character has floundered somewhat over the past five years or so.  First he was replaced by Bart Allen as the Flash and then he returned in some very underwhelming Mark Waid penned stories.  It was hard not to get the impression that DC had no idea what to do with Wally.  This is why I totally agree with DC's decision to bring Barry Allen back to life and take Wally out of the limelight for a while.  I would much prefer not to see Wally for a bit rather than see him star in a bunch of mediocre, directionless stories or worse still, get killed off.

Barry and Wally in Flash:Rebirth

As for Barry, Geoff Johns has done a fantastic job of returning him to the DC Universe.  Flash: Rebirth, the story in which Barry's return is explained, sold well but has had it's fair share of online detractors.  Personally I loved it.  Johns establishes that while Wally is the master of the Speed Force, Barry is its source.  Barry actually generates the Speed Force with each step he takes.  The Speed Force reaches through time, which explains why Barry's predecessor, Jay Garrick is also connected to it.  This, in my opinion, is a fantastic continuation of themes established not only during Waid's run but as far back as Messner-Loebs' run, when Tina McGee questioned Barry Allen's status as a human being.  It is also incredibly apt in the way it mirrors real life.  Without Barry, Jay Garrick would probably have been forgotten and Wally would never have been created.  Barry is very much the source of Wally and Jay's "power" in reality, as well as in the pages of the comic.

Barry Allen

Flash: Rebirth also sees the return of Barry's arch enemy, Professor Zoom, The Reverse Flash.  It seems that Zoom is powered by a negative Speed Force and is responsible for Barry's return.  Zoom wanted to not only undermine Barry's myth by negating his sacrifice but also to continue making Barry's life a misery.  Zoom actually goes back in time and kills Barry's mother, framing his father for the crime.  The mystery surrounding his mother's death and the desire to clear his father's name drives Barry into a career as a police scientist and strengthens his desire for justice.  With this tweak of continuity Johns has made Barry a far deeper character than he was when he died.  This change also helped to further distinguish Barry from Wally, who is motivated more from the love of his powers and the desire to carry on Barry's legacy than from tragedy.   

Professor Zoom

Geoff Johns' new Flash series starring Barry Allen has been brilliant so far.  It's certainley slower paced than Johns' Wally stories, but I think that has more to do with the differences between Barry and Wally as characters than any failing on Johns' part.  Thanks to Johns, and Barry of course, The Flash comic has a clear identity and direction once again.  In fact, Johns is building up to a big Flash-related event in 2011, Flashpoint.  But I'm sure Wally's story isn't over.  In 1985 DC felt they could go no further with Barry Allen and so they killed him off and he remained dead for 23 years.  Despite his absence from the books, Wally is very much still alive and I remain confident that it will be a lot sooner than 23 years before we see him take an active role in the DC Universe once again.

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Karl Urban to be Judge Dredd?

Above: NZ actor Karl Urban and 'Judge Dredd' (painted by Simon Bisley).

According to a report over at Bleeding Cool, New Zealand actor Karl Urban ('Star Trek', 'Doom', 'Lord of the Rings') has been offered the lead role in the forthcoming movie reboot of the famed British comic character 'Judge Dredd' created by John Wagner and Carlos Ezquerra.

It's been 15 years since Sylvester Stallone's disastrous attempt to bring the lawman of Mega-City One to the silver screen, derided by fans and critics alike for abandoning the comic's satirical edge and dark humour in favour of a more straight forward action movie approach. The decision to remove Dredd's iconic helmet in the movie was also a huge slap in the face for fans, as Dredd's true face has largely remained a mystery throughout the decades of the character's publishing history.

It's expected that if Urban accepts the role, the helmet will stay securely fastened at all times!

The new version of the film from Rebellion and DNA Films is expected to start shooting later this year for a 3D release, from a script by Alex Garland ('The Beach', 'Sunshine', '28 Days Later').

In the Meantime, Urban will be keeping his geek credentials up by appearing alongside Bruce Willis in the movie 'Red', based on the comic series created by Warren Ellis and Cully Hamner, which opens in October.

-AK!

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NZ EXCLUSIVE: 'Blastosaurus' launches at Comic Con!


'Blastosaurus' as drawn by cover artist Darick Robertson. Copyright Richard Fairgray 2010.

The US edition of local cartoonist Richard Fairgrey's 'Blastosaurus' comic series has been in the works for some time, but today we finally got an announcement from 'American Original' head-honcho Jeff Katz, via his website GeekWeek:

"GeekWeek's own Richard Fairgray (I FIGHT CRIME, CHEWING ZOMBIES) makes his American convention debut at San Diego Comic Con with BLASTOSAURUS from American Original and Top Cow.

Fairgray will be debuting the BLASTOSAURUS Comic Con Specials, collecting the first arc of his hit New Zealand series. Inspired by the cartoons of the early 1990's, the series follows the adventures of Blastosaurus, a mutated dinosaur plucked from the past now working as a policeman to keep his adopted home of Freak Out City safe."

Richard Fairgray, the writer and artist of the comic, who amazingly manages to produce the comic on a monthly basis despite being legally blind with only five percent vision in one eye, originally started self-published the comic series in New Zealand in 2008. Prior to launching 'Blastosaurus' he had pitched the concept to ex-Fox movie executive Jeff Katz, who he met through a mutual friend on the set of 'X-Men Origins: Wolverine'. Katz was so impressed with Richard's range of comics work that he picked up the property for US release through his new multi-media company 'American Original'.

While most cartoonist faced with this golden opportunity would be happy to rest on their laurels till the royalties rolled in, Fairgray pressed forward, launching the comic series in the difficult New Zealand market first, before it's US debut. It sold well enough to run monthly for two years with several specials, and has a loyal following among young comic fans.

It's this hardworking DIY attitude that has promoted Fairgray to the forefront of Katz's American Original comics imprint. Blastosaurus will now be the first title to launch from the much hyped imprint (co-published by Top Cow), after other comics by Hollywood screenwriters and comedians have failed to materialize. Meanwhile, Fairgray has 20 issues completed and it looking forward to the US finally getting a look at his creation.

Above: Richard Fairgray promoting 'Blastosaurus' at the Wellington Armageddon Expo over Easter weekend.

Before jetting off to San Diego, I caught up with Richard for an exclusive interview on Blastosaurus and it's american debut.

Q1: This has been in the works for some time now, are you looking forward to finally introducing Blastosaurus to the US market?

RICHARD FAIRGRAY: Obviously, yes. Though it hasn't really been all that long considering how long it can take to break into comics like this.

Q2: Do you think there's an audience out there for this type of material in the crowded US comic market?

RF: Without being completely clinical about it I think there is always room for a story about a dinosaur with a gun. Besides which, I think there's infinite room in any market for new narrative. I think also there is a real lack of comics that aren't aimed at a specifically adult or child market.

Q3: This is also the first release for Jeff Katz's American Original imprint, so no pressure there?

RF: Obviously being the first makes this one the biggest risk for both Jeff and I, but it's also a fantastic vehicle for Terry and I to come in on as a new creative team.

Q4: In your NZ comic run of Blastosaurus you played around quite a bit with style and genre within the ongoing series, an approach that is fairly rare in current monthly comics. Will you be taking a similar direction with the new series?

RF: The new versions of the original stories are far more certain in their style and direction than the originals. This is partly because I had the time I needed to make them what I wanted them to be and partly because (simply by doing this full time for 2 years) I am a much better storyteller than I was. Obviously Terry's (Terry Jones, co-writer) influence cannot be overlooked in all this either. He is an amazing writer and a very accomplished storyteller, just having a second viewpoint makes the whole comic so much richer.

Q5: With that in mind, what can we expect from the first story arc and year overview?

RF: The first arc is a retelling of the old origin story. While the basic story hasn't changed, the characters (particularly the villains) are a lot more multi-faceted. Also the narrative structure is far more integrated so it doesn't feel so much like a brief summary of a plot.

Q6: Given the limitations of your eyesight and the dedication it takes to produce your artwork, do you plan to continue drawing the series full-time or are there plans to bring in another artist?

RF: I'm not handing over the art at this stage. Despite the hours it takes and the limitations I have due to the funny little eyes, i still enjoy creating the book myself. I do love seeing other artists' idea of how Blasto can look.

Q7: If it ships monthly, can you foresee needing any fill-in artists in the future?

RF: The schedule for release is not set yet. With the changing market for pamphlet comics I'm not sure how I want to proceed with the story and whether I even want to see it as individual issues (I never actually read single issues anymore because I don't find them satisfying). I tend to enjoy long hours though so I don't imagine I'll want to bring in any fill in artists (at least not for the main storyline).

Q8: 'The Boys' artist Darick Robertson will be producing covers for the series, how did they become involved?

RF: Darick and I met and got along really well when he was down here (at New Zealand's Armageddon Expo) last year and I mentioned him to Jeff as someone I'd like to have involved. I've been a huge fan of Darick's for years and have a few pieces of his art from 'Transmetropolitan'. He and Jeff met soon after at a convention (not sure which) and he became involved.

Q9: Will establishing the Blastosaurus comic be your main focus for the next year, or will we be seeing some of your other comics projects in the near future?

RF: Because I have 20 issues ready to go with Blasto (six of which are coming out at Comic Con) I have some time up my sleeve to work on other projects. There's no definite plan for release dates for any of these (with the exception of another Blasto Halloween Special, three new books of 'I Fight Crime', a collection of 'Yellow Girl' - a strip I wrote with my wife about 5 years ago that I never finished releasing - and a 'clip show' styled collection of short unpublished works of mine for the Armageddon Expo this year).

Q10: How has it been working with Katz and American Original on this project and bringing it to a wider audience?

RF: It's been a huge adjustment for me having to rely on anyone else. For 9 years I've been working almost entirely alone and learning to let others pick up the slack is a definite transition.

Q11: Blastosaurus has been a very DIY production from the beginning: now that it's at 'American Original' will you still be overseeing the entire comics production and franchise?

RF: I will definitely be involved on some level in every part of Blastosaurus. I've had these characters in my head for years now and I don't think I could let go of them. Besides which, I was brought in by Jeff as a writer because he liked what I had done (before Blastosaurus even existed) so I guess he likes what I am doing and what i want to do in the future.

Q12: American Original from what I understand, is set-up to expand across a number of entertainment platforms (video games, animation etc). Will we be seeing this approach with Blastosaurus, or is establishing the comic the main focus at this stage?

RF: I'm open to anything. I would love to be able to see Blastosaurus as a TV show or a game or a...hot water bottle, whatever. But for now I just want to see how the comic goes and take it one step at a time.

The US comic series of Blastosaurus will be launching at the San Diego Comic Con this weekend with six issues, featuring a new cover by 'The Boys' artist Darick Robertson. Fairgray will also be featuring on Saturday's Top Cow panel, where you can expect to hear more in-depth information on the series. Stay tuned for more details on the Blastosaurus Comic Con launch as they come to hand.

-AK!

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War Picture Library 78 Aces High

This one is so bad it’s good. There’s a lot of story packed into these 64 pages and Aces High just manages to get away with it.

Four men, with outstanding reputations, are hand picked for a special mission to destroy an enemy underground installation. However despite their reputations each one of them has a flaw that could jeopardise the mission and their lives. Despite their personal problems each of the characters has a torturing envy of others who appear to have none.

First there is the pilot, Flight Lieutenant Julian Carpenter DFC, who despite being a superb pilot is also a manic depressive on the verge of a complete meltdown. Next there is the arrogant perfectionist navigator, Flying Officer Kenneth Detling, who is unforgiving to those who make mistakes. Then there is the bomb aimer, Pilot Officer “Cocky” Parker, who never misses his target and is a smug and tactless braggart as a result. Finally rear gunner, Flight Sergeant “Tail End” Charlie Morgan is a hot tempered ace marksman who is hiding the onset of his emerging double vision.

Having a basket case crew on a dangerous mission is one way to propel a story forward and using Flight Sergeant Morgan’s working class chip on his shoulder is one way to give it some welcome depth.

Aircraft wise we are treated to having a brief glance at a Whitely at the start of the story it’s even though most of the action uses a Wellington bomber modified to carry extra fuel and one big bomb. Surprisingly the ME 109’s aren’t really drawn very well. Also in the panel where the Wellington is dropping the big one, you can almost hear the editor saying to the artist “No it’s a big bomb. Go back and draw it bigger!”

Not only are there lots of words in this story boys in the past must have had a wider vocabulary then their modern counterparts to call upon and this evidenced by the use of words such as “consternation”, “meticulous “and “nemesis”.

So in the end the crew complete the mission and manage to overcome their own inner demons. Surprised?






A Whitely! Now there's a fine sight!













The split tash.You don't see many of those.

A mean tash for a mean man.
Could this be the 1st thought AAGH!?

How insulting is "pig dog"?
Also could that radio be in any worse position in that open top boat?
I would if I knew where the very top secret base is located.














What's that guy doing with rocket launcer?











Hammer time!

Also don't they teach you not to say those kind of things at bad guy school?



An AAAGH! and a Himmel!












Nice picture.











I like the use of the word home and that it is also cheaper for an overseas subscription.


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Fitz Bunny for Auckland Super City Mayor!

Above: Fitz Bunny sets her sights on Auckland's top job. Copyright Grant Buist 2010.

The news headlines are currently dominated by the hotly contested race to be Auckland's first Super City Mayor. And in the time honoured tradition of 'Snoopy' and 'Howard the Duck', it wouldn't be a major election without a charismatic two dimensional candidate (and no, I'm not talking about John Banks).

Local cartoon character 'Fitz Bunny' has announced her candidacy for Mayor, launching her campaign with the well received musical: 'Fitz Bunny: Lust for Glory', currently being performed by the Auckland Theatre Company at The Basement as part of this year's Young & Hungry Festival.

Fitz Bunny was created by cartoonist Grant Buist, first appearing in his long-running student newspaper comic-strip 'Brunswick' in 1993. A staple of Wellington student culture, 'Brunswick' has appeared in almost all of New Zealand's student newspapers, including 'Salient' and 'Craccum'. Proving to be one of the strip's stand-out characters, Fitz Bunny inspired Buist to write the musical comedy 'Fitz Bunny: Lust for Glory' as part of Wellington's Young & Hungry Theatre Festival in 2007. An instant hit, the musical set box office records for the Festival, leading to this year's Auckland revival under the direction of Simon Coleman and starring Sara Stone as Fitz Bunny. For the new production, Grant Buist has updated the material to reflect it's new setting and Auckland city's mayoral race hi-jinks.

Above: A production photo of the cast of 'Fitz Bunny: Lust for Glory' by Michael Smith. Copyright Michael Smith 2010.

It's ambitious mix of manic musical numbers and camp comedy has already earned it a rave review from the New Zealand Herald, describing the show as '..unlike anything you are likely to experience on stage but vaguely recalls the weird vitality of the Rocky Horror Picture Show or the surreal frenzy of early Split Enz performances'.

The Young & Hungry Festival is playing at The Basement Theatre till the 24th of July, so make sure you book tickets for it's final week! You can check out a trailer for the show HERE. And for more on Fitz Bunny's bid for Auckland's top job, stay tuned for an interview on 'Nightline' this Monday night on TV3 at 10.35pm, where she'll be outlining her political ambitions and policies.

-AK!

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War Picture Library 269 Ghost Platoon


This is a very tidy story about seeking redemption and accepting repentance with a touch of the supernatural thrown in to make things interesting.

As Eight Platoon prepares for their assault on Chateau de Ruhl on old Shepard greats the platoon with a premonition that there will only be one survivor from the ensuing battle. The local villagers dismiss the old boy as being crazy but Eight Platoon’s morale is shaken his comments.

The platoon’s morale is already in trouble as their new officer, Second Lieutenant Mark Nichols, panicked in his first action during an artillery barrage and lost both his own confidence and the confidence of his men.

The platoon was only saved during the subsequent battle by the leadership of the veteran Sergeant Burke and a gutsy display by private “Rusty” Grant. The sergeant is ready to report Nichols’ cowardice to company command but he is persuaded by Grant to give Nichols a second chance.

Soon enough the platoon is ordered to occupy a chateau where they are promptly surrounded and cut-off by the enemy.

So when Nichols formulates a plan to save the platoon by volunteering to go through enemy lines to get help it is met with cynicism. What follows is a dangerous escapade as Nichols and “Rusty” Grant (a fluent German speaker) work their way through enemy lines.

The story ends as it starts with the old Shepard witnessing the eerie spectacle of ghostly British troops marching towards the front.

This is a nicely crafted story. Action sequences contribute to the narrative the whole way through and there’s no need for superfluous exploding trucks, trains, boats, buildings, bridges or tanks. A lot could have gone wrong with the introduction of the ghostly element but thankfully it is used well. There’s strong pathos to this story as even though the good guys are heroic it is not enough to enable their survival.



 Fear. I'll show you fear if you can catch me!

Here's a man who loves his job! There's also one of those rare dead guys you find in wars - with blood!










A damn good aaagh!

An even better aaagh!












The classic short aaagh!










 Where's the side order of fries?



A great looking panel.

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