Snowmobiling was born in Wisconsin, and today you can traverse miles of pristine snowmobile trails that meander through the scenic forests and lakes of the Badger State. Why not start at the top? Eagle River, which bills itself as the “Snowmobile Capital of the World,” five snowmobile clubs that groom 600 miles of trails daily, many through the Nicolet National Forest and around 2,400 lakes. There are snowmobile guides and rentals as well as comfy spots to snooze like lodge homes at Wild Eagle Lodge and cabins at Eagle Waters Resort.
Call (800) 359-6315 or visit eagleriver.org for lodging, rentals and rates.
The Quad Cities area plays host countless bald eagles making their annual southern migration from Canada to the unfrozen waters of the Mississippi River. Attend the largest event in the Midwest dedicated to our national symbol of freedom during Bald Eagle Days at the Quad Cities CA Expo Center. Thousands turn out for the annual event, which includes live eagle programs, bird of prey demonstrations from the World Bird Sanctuary, a wildlife art show and sale, working robot demonstrations and a 20-foot climbing wall. Spotting scopes are set up courtesy of the Quad City Audubon Society at Sunset Marina in Rock Island for eagle-watching opportunities.
4 to 8 p.m. Friday, Jan. 7; 10 a.m. to 8 p.m. Saturday, Jan. 8; and 10 a.m. to 5 p.m. Sunday, Jan. 9, at the QCCA Expo Center, 2621 4th Ave., Rock Island, Ill. Call (800) 747-7800 or visit qccaexpocenter.com.
College students from around the Midwest prove their mettle at the Collegiate Ice Sculpting Invitational hosted by Holland, Mich., and the National Ice Carving Association. Students compete in competitions transforming 300-pound blocks of ice into shimmering works of art using chain saws, torches and more. Stick around town and enjoy the shops and restaurants in downtown Holland.
6 to 8 p.m. Friday, Jan. 7, and 12:30 to 4:30 p.m. Saturday, Jan. 8, at 44 West 9th St., Holland. Call (616) 988-6187 or visit downtownhollandice.com.
Worth the trip
This is not your average pie-in-the-sky event. Inns and restaurants in Rockland, Maine, serve up everything pie-style like Shepherd’s Pie, gourmet pizza pies, sweet and savory Italian galletes, seafood pies, whoopie pies and a signature Key Lime pie to celebrate National Pie Day. Rockland has been dubbed “Pie Town USA” by the Food Network and lives up to its name during the seventh annual pie-a-thon. Visitors can sample raspberry and blueberry pie at the Berry Manor Inn, a cranberry apple pie at the Granite Inn, Cornish meat pasties at Captain Lindsey House, sweet potato pie and a sugar-free, lavender, honey and yogurt pie. There is also the Parade Pie Tour.
1 to 5 p.m. Sunday, Jan. 23. Tickets for the Pies on Parade Inn-to-Inn Tour are $25 for adults and $10 for children 10 and under. To order tickets in advance, call (877) 762-4667 or visit historicinnsofrockland.com/pies.aspx.
Welcome to the 79th episode of From Crisis to Crisis: A Superman Podcast! This podcast has a simple premise; examine just about every Superman comic published between Man of Steel #1 in 1986 to Adventures of Superman #649 in 2006 in an informative and hopefully entertaining format.
Part index. Part commentary. Part history lesson. All podcast.
Mike and Jeff are back with the last episode of 2010 and even though they recorded this one on the day before Christmas Eve the Superman books they discuss have an August 1991 cover date. In SUPERMAN: THE MAN OF STEEL #2 we meet Sgt. Belcher and Rorc, two minions of Cerberus. They continue Cereberus’ attack on Lexcorp and threaten reign down destruction on the city if their demands are not met. Then, in SUPERMAN #58, Cadmus, through the Bloodhounds, capture Superman. It seems that the director of Cadmus believes Superman to be a threat and boy is Superman peeved about that. Finally in FLASH #53 Superman and the Wally West Flash have to save Jimmy Olsen from a madman. Add to that Jeffrey’s elsewhere in the real world and you have a full episode of FROM CRISIS TO CRISIS.
Next week: August 1991 continues with ADVENTURES OF SUPERMAN #481, ACTION COMICS #668 and ADVENTURES OF SUPERBOY #19.
If you want to comment on the show or contact the hosts you can always private message Mike and Jeff, leave comments here or email them at email@example.com. All questions, concerns, fears, trepidations and cheap shots are welcome.
The last major comic book release to employ 3D was Final Crisis: Superman Beyond, which used the divisive process to distinguish “the real world” from those visited by Superman and his companions in a quest to save the multiverse. Your results may vary, but it was if nothing else a creative use of the technology. Image Comics thinks they have something better in Captain Wonder 3D, a new one-shot by Brian Haberlin (Witchblade, Spawn) and Philip Tan (Green Lantern, Batman and Robin) that the creators promise will elevate the use of 3D in comics.
3D glasses are included with the 48-page Captain Wonder, which goes on sale in February for $4.99.
With respect to the actual story, there’s not much to go on at the moment.
While it’s really too early to judge fairly, the genericness of the name, cover and the synopsis suggests Haberlin and Tan created Captain Wonder mainly to explore the possibilities of three-dimensional comic book storytelling, and, in any event, to capitalize on the enduring 3D craze that has dominated motion pictures in recent years. It wouldn’t be the first time Image Comics pioneered a new artwork trend, so we’ll be keeping our strained eyes on this project come February.
Warner Brothers is celebrating the holidays by giving you the chance to win a home theater system and much more. Enter the DC Holiday Sweepstakes 2010 for your chance to win one of 36 prizes.
The grand-prize winner will receive a $1,200 home entertainment system including a 46″ HDTV, a Blu-ray player, a Razor Tie Entertainment Music Package, a 1-Year Subscription to 10 DC Comics Titles, and a Pair of Converse Chuck Taylor All Star Sneakers from the DC Collection.
Ten first-prize winners will receive DC comics prize pack worth $115, including an All-Star Superman Absolute Edition, a WaterTower Music: The Music of DC Comics 75th Anniversary Collection Soundtrack CD. And 25 second-prize winners will each receive a Superman/Batman Apocalypse DVD and a Razor Tie Entertainment: “For We Are Many” CD from the band All that Remains, a prize worth $32.
Entry into Warner Brothers’ DC Holiday Sweepstakes 2010 is open to residents of the contiguous US above the age of 13. Enter once before January 12, 2011.
By Zack Smith, Newsarama Contributor posted: 24 December 2010 01:06 pm ET
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We’re going to do something a little different here at Newsarama…
This past year marked the 70th anniversary of Captain Marvel’s first appearance in 1940. If you didn’t know…well, neither did we until the Captain Marvel spotlight panel at San Diego Comic-Con this part summer. So we decided to do something about that.
With the Big Red Cheese getting a new spotlight with the Superman/Shazam: The Return of Black Adam animated DVD and Chip Kidd and Geoff Spear’s new book Shazam!: The Golden Age of the World’s Mightiest Mortal, we wanted to give Captain Marvel the birthday celebration he deserves.
So, for the next few weeks, we’re going to take you on a trip through Captain Marvel’s history from the 1940s to the present. But this isn’t just any trip – guiding you will be some of the names most associated with the character over the years, who’ll be sharing their thoughts on the character and some incredible anecdotes. Who all did we get? Read on to find out.
But that’s not enough for us, so every installment will include a wide variety of original and rarely-seen art provided by some of the industry’s best comic artists and the generous collectors at Comic Art Fans. And what’s more, each installment will feature an all-new piece of art created exclusively for this series!
To start off, here’s a special piece from an idea by yours truly entitled “Captain Marvel’s 70th Anniversary.” It was penciled and inked by Rick Ellis (www.elliscomics.com) and colored by Grace Allison (www.gracifer.com). Click on the thumbnail for the full version.
All right, let’s get into the series we could only call…
An Oral History of SHAZAM, the World’s Mightiest Motal The Original Captain Marvel – The Fawcett Years: 1940-1954, Part One
The origins of Captain Marvel date back to the first World War, when a 16-year-old named Wilford Fawcett ran away to join the army. Fawcett rose to the rank of Captain, and after the war put out a publication of bawdy cartoons called Captain Billy’s Whiz-Bang, later referenced in the song “Trouble” in The Music Man as an example of something that could lead a youth astray (a reprint is available from About Comics).
By late 1939, Fawcett began expanding into a line of comics, which launched in February 1940, the same month “Captain Billy” passed away. As the story goes, in 1939 Roscoe Kent Fawcett commanded his crew to create a character like Superman, only with an identity of a boy aged 10 to 12. This wording would come back to haunt the company many times over.
Editor Ralph Daigh turned the project over to writer Bill Parker, who, legend has it, originally wanted to craft a team of six heroes, each with a different power, led by Captain Thunder. Daigh suggested turning them into one hero instead, and Parker complied.
Parker’s revised idea was given life by artist Clarence Charles “C.C.” Beck, who crafted a red-clad superhero Beck said was designed after the actor Fred MacMurray, though Roscoe Fawcett would sometimes claim he was actually based on Cary Grant.
“Captain Thunder” first appeared in a sample issue that ran under the titles of Flash Comics and Thrill Comics in 1939. Unfortunately, Fawcett found that they couldn’t trademark the titles “Captain Thunder,” “Thrill Comics” or even “Flash Comics,” due to other companies taking those names. A few rewrites were in order.
In February 1940, the book officially hit newsstands under the title Whiz Comics #2 , and its cover character officially renamed Captain Marvel. The cover, perhaps not coincidentally, mirrored Superman’s first appearance on the cover of Action Comics #1 . Even less of a coincidence were the echoes of Captain Billy’s book, both in the title and the name of its main character.
That initial story set up the legend comic fans know – orphan newsboy Billy Batson is summoned down a mysterious subway tunnel, past statues of the Seven Deadly Enemies of Man (Greed, Hate, Laziness, etc.) to meet the evil-battling wizard Shazam, who is about to die (he sticks around as a ghost). Asked to be the wizard’s new champion, Billy accepts the challenge.
By uttering the wizard’s name, Billy is able to summon the lightning that brings wisdom of Solomon, the strength of Hercules, the stamina of Atlas, the power of Zeus, the courage of Achilles and the speed of Mercury – The World’s Mightiest Mortal, Captain Marvel!
It was a concept no kid could resist. Whiz Comics #2 sold a half-million copies, and within a year, Captain Marvel had his own book, Captain Marvel Adventures.
Mark Waid (Kingdom Come, other Captain Marvel stories): “It was huge, such a big seller, and so much fun to read.”
Jerry Ordway (writer/artist, The Power of Shazam, others): “He’s probably one of the best-designed characters ever. People just recognize that red outfit and that lightning bold instantly.”
Mike Kunkel (writer/artist, Billy Batson and the Magic of Shazam): “For me, Captain Marvel just represents a lot of that very core children’s wish-fulfillment. It’s what we all grew up enjoying in superheroes, and wanting to be the superhero. And I think that represented a very honest and tangible version of that.”
Jeff Smith (writer/artist, Shazam!: The Monster Society of Evil): “It’s just such a great idea – you say a magic word, and suddenly you can fly, and bullets will bounce off you. Just a really, simple, great concept.
“I think the key is that magic word, ‘Shazam.’ Magic words are something that go back in fiction, back to myths and legends and The Arabian Nights. It’s just something that resonates for us, I think. And it’s such a good magic word – it sounds like ‘Alakazam.’
“Even Gomer Pyle was saying it. Dave Chappelle was saying it on his show. I’ve heard it in rap videos. Everyone knows what it means, it’s ‘Shazam!’ It’s the transformation into something else, like ‘Let’s go!’ It’s a call to action.
“And the costume – the red outfit with the lightning bolt. How many times in our lifetime have we seen generic parody superheroes, whether in an advertisement or anywhere, with a lightning bolt on their costume? The lightning bolt has almost become the generic symbol for a superhero, and it has its roots in Captain Marvel.”
Jackson Bostwick (TV’s Captain Marvel): “Captain Marvel, unlike the heroes of mythology, is a fictional superhero initially created in 1939 to entertain the imagination and sell comic books, but not to be believed as being real, or, even further, to be worshipped as a god. (C.C. Beck’s drawings of Cap and the gang plainly illustrate they were meant to be seen as whimsical with a healthy dash of morality thrown in to flavor the fun).
“Still, as a tribute to the Good Captain’s immense popularity as a fighter of the evils of man (the Seven Deadly Sins) and a colorful array of dastardly villains (Dr. Sivana, Mr. Mind, Captain Nazi, Black Adam, King Kull, etc.) he became a role model for generations of kids (and adults) both in the pages of those Golden Age comics and later in the media of film and television; and yes, I was one of those kids.
“The Big Red Cheese, along with The Phantom and Plastic Man, were my favorite comics to read because of the stories and the artwork. I also was fascinated with Classics Illustrated (the only comics my dear mother didn’t throw out while I was in the Army because as she said, ‘they have an educational value’).”
Mike Kunkel: “A lot of the fun of Captain Marvel came from C.C. Beck. There’s an honesty to the way he approached it – something that said ‘this is who Cap is.’ It was fun, but also honest.”
Roy Thomas (writer, Shazam: The New Beginning, others): “He was one of the original characters I discovered. As a kid, I loved that idea of a magic word that could turn you into a superhero.
“I think I was six or so when I discovered him. There was one that was the second-to-last chapter or so of the Mr. Mind serial, and there was another I found in a barbershop where he went into an anthill. Those books made me very enthusiastic about Captain Marvel, and I kept buying as many of those comics as I could until they went out of business, which was when I was about 12.”
Chip Kidd (author, Shazam!: The Golden Age of the World’s Mightiest Mortal): “They literally caught lightning in a bottle – this immersive world that kids could really be a part of. It’s a shame that from the get-go, they had the specter of the lawsuit hanging over them from the beginning.”
The first story in Whiz Comics also established other parts of Captain Marvel’s mythology, most notably his greatest enemy, Doctor Thaddeus Bodog Sivana, a disenfranchised scientist out for revenge against the world that had shunned his inventions by becoming “Rightful Ruler of the Universe.”
Sivana’s creepy look, petulant attitude (it was he who coined Captain Marvel’s nickname of “The Big Red Cheese”) and devious laugh of “Heh! Heh! Heh!” made him a character kids could love to hate, the ultimate adult trying to keep a kid down. Beck claimed he based Sivana’s bald, craggy look on a Long Island pharmacist.
Unlike many villains, Sivana figured out Billy’s duel identity quickly, and many stories involved him finding new ways to keep him from saying “Shazam!” He initially had two children, Beautia and Magnificus, who became Captain Marvel’s allies (and Beautia had an uncomfortable flirtation with the Captain), but later, his more deadly offspring were also introduced.
The first story also got Billy Batson a job as a boy newscaster for radio station WHIZ, giving him plenty of opportunities to find trouble, and address readers directly.
Though C.C. Beck’s cartoony style defined the look of Captain Marvel and his world, what many fans don’t know is that two other legendary comic creators also worked on those early stories.
Chip Kidd: “There was a brief time of about a month where Joe Simon and Jack Kirby where literally working on Captain America by day and Captain Marvel by night, to see what Captain they would throw their allegiance with.
“They did three stories total, and it looks like an amalgam of Jack Kirby and C.C. Beck. With Captain America, I think, they could do their own thing, own it more creatively from a design standpoint. It’s interesting, but you can see their hearts were really in Captain America, and I think they made the right decision.”
By 1941, Captain Marvel hit it big enough that he became the first official “superhero” to star in a motion picture. Republic Pictures, which had failed to secure the screen rights to Superman, turned to Fawcett for help crafting their own superhero project. In 1941, the serial The Adventures of Captain Marvel hit the screen with Tom Tyler as the Captain, and was a box-office smash, now regarded as one of the best adventure serials ever made.
The film had an unfortunate side effect – it put Fawcett on the radar of DC Comics. DC had been highly successful at shutting down comic book characters designed to imitate Superman. And Captain Marvel was even worse – he was outselling their books.
The result was a series of lawsuits that stretched on for years, and would change the character’s fate for decades to come.
Elliot Maggin (writer, 1970s Shazam series, Kingdom Come novelization): “There was no merit to that lawsuit, I’m convinced. It was just a way to keep a competitor occupied.”
Michael Uslan (Executive Producer of all Batman movies, forthcoming Shazam film): “When I was in law-school, I wrote a 104-page-paper that actually won an award, on copyright infringement and unfair competition in the comic book industry. And so I researched and studied not only the DC/Fawcett case, but everything that led up to it.
“There was an action against Fawcett by DC that stopped ‘Master Man’ before Captain Marvel, and many others. Otto and C.C. Beck certainly gave me all the dirt on it.
“Then, when I was working at DC Comics in college and law school and (DC VP, later President) Sol Harrison asked me to clean out the supply closet, which was the size of the closet at the end of Raiders of the Lost Ark, I found the official paperwork of DC Comics and the original scrapbooks that Louis Nizer and his team at DC had made to prove that Captain Marvel was imitating things that Superman was doing, and exhibits from Fawcett to indicate that Popeye and legendary before Superman did (the same) stuff.”
Chip Kidd: “The biggest difference is that idea of the boy turning into this superhero. That’s different enough that – and I’m biased, obviously – that if I were the judge, I’d throw this case out. It’s apples and oranges – to me, the lawsuit wasn’t necessarily baseless, but meaningless.
“Who knows? Maybe in 1940, the superhero concept was so new unto itself that it seemed like they had a case in retrospect.”
Even with the lawsuit, Captain Marvel remained a hit on the newsstands. By the mid-1940s, Captain Marvel Adventures sold 1.8 million copies – more than the top 10 books in today’s direct market combined – twice a month. Captain Marvel was the biggest superhero of them all – and his world was about to get much bigger…
Next: Alex Ross joins our discussion as creators like Otto Binder and Mac Raboy give Captain Marvel a family.
Cover to Whiz Comics, Action Comics, Jack Kirby Captain Marvel art, poster and still from The Adventures of Captain Marvel from Shazam!: The Golden Age of the World’s Mightiest Mortal, provided by Abrams ComicArts.
Strips from an unpublished Captain Marvel comic strip by Rod Reed and C.C. Beck provided by Eric Nolen-Weathington.
Special Thanks to Christopher Irving of Graphic NYC for information on the Captain Marvel movie serial – and be sure to check out his upcoming book on superhero serials, tentatively titled The First Movie Superheroes, out next year from Hermes Press.
Welcome to the 78th episode of From Crisis to Crisis: A Superman Podcast! This podcast has a simple premise; examine just about every Superman comic published between Man of Steel #1 in 1986 to Adventures of Superman #649 in 2006 in an informative and hopefully entertaining format.
Part index. Part commentary. Part history lesson. All podcast.
July 1991 and what Mike and Jeff call THE RETURN OF THE KRYPTON MAN conclude this week as the new format of FROM CRISIS TO CRISIS continues. In ADVENTURES OF SUPERMAN #480 the battle between Superman and the Eradicator continues as the supporting cast takes more of a front seat story wise. Then in ACTION COMICS #667 it is the final faceoff between the Last Son of Krypton and the Last Artifact of Krypton. The two duke it out in the Fortress of Solitude with Emil Hamilton’s life hanging in the balance…sort of. After that the boys look at ADVENTURES OF SUPERBOY #18 and talk about the last two episodes of Season 3 of that fine show.
Next week: August 1991 begins with SUPERMAN: THE MAN OF STEEL #2, SUPERMAN #58 and FLASH #53.
If you want to comment on the show or contact the hosts you can always private message Mike and Jeff, leave comments here or email them at firstname.lastname@example.org. All questions, concerns, fears, trepidations and cheap shots are welcome.
Zack Snyder a well known comic book fan and filmmakerof such comic book films such as Watchmen and 300. Now announced as the Director of Superman there are many questions to adress: Who will be cast? What type of story is it? Who is going produce it? Will it be action packed? Who’s doing concept art? Who’s going to score? and just as important: How will it be scored?
Well I’ll be adressing the last two. Mind you now, this isn’t any type of Fan Cast for the Score, this is more like a discussion on options and how i feel Scoring Should be approached. if you do want to see my Superman Fan Cast you can see it at: http://www.comicbookmovie.com/fansites/robertgarlenoncmb/news/?a=26365
HOW SHOULD SCORING BE APPROACHED?
That’s a question I’ve often given thought to. We are all familier with John Williams Iconic and very very well known Film Score from the first Christopher Reeve/Richard Donner Superman Film. Too many of us the film and the score remains a classic, no doubt that I sure as heck feel that way. I for one love the original theme. It’s a personal theme, that gives me a great feeling, that I just can’t help but enjoy. The theme is a big, if not huge dilemma.
The John Williams theme was used in the Bryan Singer Directed Superman Returns. Scored by John Ottman, it was the best thing about the film hands down, the score was absolutly amazing. Now we’re facing the reboot, and questions lie on the Score of it alone.
Personally I have my own Answer, I doubt many would accept it, mainly because out of Love for the Film’s score and Other’s desire to trash it despite it’s long stance as Superman’s Theme. It’s perfectly fine to want something new, times have changed and people have changed. I understand the desire for a new Theme especially after hearing the Hans Zimmer James Newton Howard Scored Batman Theme trumping the Danny Elfman theme like it was the old 60’s theme. I also just as well understand the desire to keep the theme. It’s easier for some to replace Superman than it is the Superman Theme. It’s Superman’s theme, whenever many of us read an issue or graphic novel of Superman we hear this, we picture our own opening credit sequence and pretend it’s another Christopher Reeve outing. So I hope everyone knows that I understand the status quo on this I really do.
How I feel the score should be approached is basically catering to both groups. We do the O.C.(Opening Credit) Montage to the Classic, Well loved John Williams Theme and use it only there, Slowly transforming the music to the new modern Superman Theme. In this process we move from our beloved theme to the new theme to fit the Superman of this Generation.
The main point of doing this is to give John William’s score a last HOO-RA! And allow it to exit gracefully and with diginty, while allowing something new to enter.
There are the essential Pro’s and Con’s with my idea and I will adress the immediate and obvious of them.
PROS: Giving a last throwback to Reeves. Giving us a chance to say goodbye to the theme. Allowing old fans to feel more accepted.
CONS: New fans might be stupid enough to confuse this with Returns. New fans or fans wanting to rescore completely would refuse to accept this idea. Not something Zack Snyder might go for.
I am aware of all of this which is why I’m keeping this plainly my solution and not attempting to promote this idea beyond posting it on here. I also would like to adress the fact this is not a perfect idea and will not be adressed as such.
I understand need for new theme is neccessary, and at some point whether liked or not it will be re-scored with a new theme. Personally I like the idea of doing the John Williams theme at the Opening Credits and introducing new character themes and ending the film with a new score, and to continue all future Superman sequels with that theme.
I had got the idea for this while rewatching the J.J. Abrams Diredted Star Trek Reboot, while watching the ending Credits the theme over it was the 1960’s Star Trek Theme and had thought ‘What if they did something like this for Superman?’ And eventually ended up turning into this.
As I adressed that question I would like you to first Comment on this matter before Commenting on the Second Part.
WHO SHOULD SCORE SUPERMAN?
Now this is apart of my fan cast that i had posted, but to retread with some youtube videos I feel would show you at what process my mind is in, in which I heard a particular theme in which I felt that particular composer would work for Superman.
1.JOHN WILLIAMS- He’s JOHN WILLIAMS, He is the Superman Score. JOHN WILLIAMS FTW. Of course it’s not going to happen this is more of me just saying that he could re-theme Superman. Thanks goes to youtube user: jayce79, for the video.
2.MICHAEL GIACCHINO- His Star Trek Score was beautiful and magnificent. His tones remembering it’s forfather in musical comparrison, and yet giving it a fresh feel. His themes fit the characters and situation making it an exceptional piece. many thanks to youtuber: rrud2, for the video
3.JOHN MURPHY- By now we’ve all hear his theme from the Sci-Fi Film Sunshine. It work so beautifully that it’s used for other films. No doubt he has the talent to compose a emotional beautiful alien score that would definitley fit inside the Superman Universe.Of course thanks goes to youtube videomaker: nvidia20082008, for the video
4.STEVE JABLONSKY- His score for the aweful Transformers film stands out as a positive thing from the franchise. His music is Heroic, emotional, and moves it’s scenes along better than the dialogue given in the scene. His work in a Superman film would be amazing. Thanks tributed to youtuber: GrantimusPrime90, for making the video.
5.JOHN OTTMAN- He did fine Scoring Superman Returns i see no reason to fix the unbroken. thank you youtube user: sanjuro4, for the video
6.TYLER BATES- Having minorally worked with Snyder on 300 and Watchmen, i’m sure both the fans and the filmmakers would love to reunite for a project such as this, takling it with such heart. thank you to youtube user: PAsandman, for this video.
7.BRAIN TYLER- His scores give the feeling of a great epic. Which match Superman in tone and status. with this said he would fit well working on a Superman film, the best work is often done by fans, an i would bet he is a Superman fan. I know no one here is a fan of DBE but you could at least admit this score is very well conducted, and the music in the video is very well conducted. Thank you youtube user: Biocarbs, for the video
8.HARRY GREGSON-WILLIAMS- He knows the boundries of Humanity and animality, his Wolverine score was very well composed and would be nice to see him design a Superman score using the themes of Humanity and Alienation. His Narnia work as showed in the video is the key theme that inspired the option. Thanks goes to youtube user: SoraTakenouchi93, for this video.
9.MARCO BELTRAMI- He gives comics a theme. his work is on the border to being legendary i feel he is by far on of the best Scorest in Modern Hollywood and his work on Superman could be great for a Modernization. Thanks tributed to youtuber: NinjaDoctor9, for the video.
10.CHRISTOPHER YOUNG- Having the misfortune of replacing Danny Elfman on Spider-Man 3, he had a great obstacle which he overcame with a great result, not only hitting the right strings for the brightness in the film, but also the self serving darkness, which is something required to score a Superman Film. Thanks to youtuber: luispachon007, for the video.
11.HANS ZIMMER JAMES NEWTON HOWARD- They’re work on Batman would serve as a nice comparison piece. They’re theme for Harvey is a beautiful happily orchestrated musical piece that until his transformation was part of the character. No doubt they could hit the right strings for a Superman Film. Thanks to youtuber: TheBatman777
12.BRUCE FAULCONER- I love his work on Dragonball Z his music is powerful and emotionally driven which leads me to wonder what his Superman theme would be. Thank you to youtube user: MrDBZgoku16, for the video.
13.MICHAEL WANDMACHER- He knows his way around character driven music and would fit well to do a modern, happy, “super” superman score. first to note, any comments about your opinion of the film Punisher War Zone will be deleted whether or not they regard Superman, I’m asking you to listen to the theme to see whether or not you feel this composer could in your opinion score Superman so in this guys case leave it at Yes or No, nothing about Punisher War Zone should appear. This is about Superman, i’m just using this video for reference on the subject nothing more. Thanks goes to youtuber: JARK86, for this video.
Here are the next three artists that you voted as your favorites of all-time based on over one thousand ballots cast! Click here to see the writers #7-5 on the countdown. Click here to see a master list of all artists listed so far.
NOTE: Five notable works per creator
7 John Byrne – 1029 points (11 first place votes)
After beginning his career at Charlton Comics, John Byrne quickly made the move to Marvel and soon was working for Marvel on a variety of comics, including notable stints on Iron Fist and Marvel Team-Up (both with writer Chris Claremont) as well as other titles. His skills as an artist got him bigger and higher profile assignments, including Avengers and the Fantastic Four. Looking back, though, his stint on the X-Men is probably his best remembered run, art-wise. Byrne took over from Dave Cockrum as the series artist and stayed on for over 30 issues, eventually becoming a co-plotter of the series with writer Chris Claremont…
After leaving the book, Byrne began writing AND drawing the Fantastic Four…
He also launched Alpha Flight for Marvel (characters Byrne had created for an issue of X-Men)…
During the mid-80s, Byrne left Marvel to reboot the Superman line of comics for DC (longtime Byrne inker Terry Austin worked with Byrne on the Superman reboot, as well).
After a number of issues of Superman (Byrne was writing and drawing two Superman titles for quite awhile), Byrne left the series and returned to Marvel. Since then, Byrne has worked on various projects for both companies. He also worked on independent comics, such as the Next Men…
Recently, Byrne has done a number of projects for IDW, including some of the best Star Trek comic book art ever, and is now also bringing back his Next Men characters for a new series.
Here is a sample page by Byrne….
6 Jim Lee – 1270 points (40 first place votes)
Jim Lee first broke in at Marvel in the late 1980s on Alpha Flight before getting a lot more exposure on Punisher War Journal.
Pretty soon he was given a crack at Marvel’s crown jewel, Uncanny X-Men (still written by Chris Claremont)…
Lee became such a star artist drawing X-Men that Marvel let him launch a brand-new X-Men title that he would write AND draw (after Claremont did the first few issues)…
Lee’s X-Men #1 is likely the highest selling single issue of all-time.
Lee left Marvel soon after launching the new X-Men title to co-found Image Comics. For Image, he debuted WildC.A.T.S….
Lee helped create a number of new series while at Image, including Stormwatch and Gen 13 (two titles that took on a life of their own with different creative teams).
During the mid-90s, Lee’s Wildstorm studio was given Fantastic Four and Iron Man to do with as he pleased for a year (along with his writing partner, Brandon Choi, and his longtime inker, Scott Williams)…
In the late-90s, Lee split from Image and sold his studio to DC Comics. Soon afterwards, in 2002, Lee drew the year-long Batman epic, Hush, with writer Jeph Loeb…
It was a smash hit, leading to another year-long story by Lee for Superman (with writer Brian Azzarello). Lee has been working on All Star Batman and Robin with writer Frank Miller for a few years now.
Recently, Lee was named Co-Publisher of DC Comics, a great honor for a great comic book icon.
Here is a sample page by Lee….
5 Neal Adams – 1296 points (31 first place votes)
Neal Adams had a strong background in the field of comic strips before he made the move to comic books in the late 1960s. Unlike other artists of the previous generations, Adams took his talents to both Marvel and DC fairly equally. He started at DC doing Deadman…
before going to Marvel for a famous stint on the X-Men…
then to an even MORE famous stint on Green Lantern…
then to a famous run on the Avengers…
then to a famous series of Batman comics….
Suffice it to say that pretty much every extended run Adams had on a comic at the time is well-remembered to this day. He was also perhaps the most popular cover artist of the 1970s, spending most of his time working on covers.
Adams took a break from comics in the late 1970s (while still doing covers) to explore the wide world of art in his Continuity Studios, working in all sorts of different media (advertising, animation, magazines, album covers, etc.).
Recently, Adams returned to comics for a Batman mini-series called Batman: Odyssey.
It is kind of cool that three creators who form such a clear lineage are bunched together. Adams was a huge early influence on Byrne. Byrne was the same thing Lee. That style visually defined the X-Men and (by extension) mainstream comics.
I sought out anything Byrne drew when I was a kid in the late ’70s and early ’80s, and his FF run was a classic, much as I may have problems with a lot of his later stuff as a writer.
Jim Lee to me epitomizes the excesses of the ’90s, although his current style doesn’t bug me much (as long as he he steers clear of designing costumes).
December 20, 2010 at 9:18 am
All these artists are great, but I had to go with Byrne for my number one pick.
I started reading comics at around age seven, but it wasn’t until late in his Alpha Flight run that I took notice of the name John Byrne. I was around 12 by then, and enjoyed both Alpha Flight and Fantastic Four a good deal. But as I looked through back issues I couldn’t believe that almost every major comic story I loved had been drawn by this same guy. Avengers vs. Nefaria, Galactus vs. Sphinx, the best X-men run EVER and heck, even that Ant-Man two-parter in Marvel Premiere.
Basically Byrne’s name is in more of my comics than any other creator (besides some editors-in-chief and “Stan Lee Presents…”) His art got me hooked on the medium in those formative years and still represents to me what good comic book art should be: dynamic, imaginative, powerful. That’s why John Byrne’s my number one pick.
December 20, 2010 at 9:26 am
Great trio, but Adams at 5!!!! What ????!!! Repeat after me, internet: Jolly Jack #1, Nefarious Neal Jolly Jack #1, Nefarious Neal #2….
Still disapppointed that there was no top 50 spot for Marshall Rogers (who at least I managed to vote for), Mike Golden or Berni Wrightson, 3 great artists who followed Adams’ trailblazing. I guess they haven’t done recent high-profile stuff, and have been forgotten about for top placings.
TITLE: Superman/Batman: Night and Day AUTHOR: Michael Green, Mike Johnson, Peter Johnson, Matt Cherniss, Scott Kolins. ARTISTS: Francis Manapul, Rafael Albuquerque, Scott Kolins. COLLECTS: Superman/Batman #60-63, 65-67 PUBLISHER: DC Comics PRICE: $19.99 RELEASED: August 31
By Justin Polak Co-founder, Ambassador to the Mushroom Kingdom
I’ve never been that big into comics. I have absolutely nothing against them and I grew up around them, as my father is a man who sinks hundreds of dollars a month at times into comic related merchandise. That being said, one of the reasons I don’t get into them is because the big two companies, DC and Marvel, feel the need to have every superhero be in one universe. I know that there are alternate universes or similar alternatives to that notion, but I just don’t have the patience to read multiple titles just to keep track of multiple story lines. That doesn’t mean I think they are bad stories, but it’s all just a bit too much for me.
I’ve always liked Batman, though. What draws me to him is what I imagine a lot of readers are drawn toward him for. He is scary, smart, dangerous, fun to watch, prepared for literally anything and accomplishes great tasks with no super powers. Superman? Well, I respect the guy, but I’m in the camp that thinks is character is boring unless he is put in unusual circumstances … and most of those stories are non-canon.
Despite my mixed feeling on more traditional comic books, I gave the graphic novel compilation of Superman/Batman Night and Day a read. Instead of going through my overall feelings of the collection, I’ve decided to summarize my thoughts on each story presented.
Image from livingbetweenwednesdays.com.
Mash-Up: I’m not sure if it was a good or bad thing that I ended up laughing at this. Though there is a plausible explanation for this set up, Mash-Up tells a story where Batman and Superman are suddenly in a combined universe where certain allies and certain foes are combined into one person. The city where this madness takes place? Gothamopolis. Our heroes run into the Justice Titans and help them fend off The Brotherhood of Injustice. Reading this story would be like if you dumped a bunch of broken action figures in front of a child and let him put them together and run with it. Some parts are entertaining and creative while others make you roll your eyes. I’ll just leave you with this thought: Lex Joker.
Sidekicked: Robin (Tim Drake) and Supergirl decide to meet up at a diner and recall the first time they were forced to work together. The very first thing that came to mind while flipping through this one was that it would have made a great filler episode in one of the DC animated series, minus the more graphic parts of course. While Superman and Batman are away, a riot at Arkham Asylum breaks out. Robin and Supergirl answer the call and clean up the mess. The only memorable part about this one is the shock Supergirl was put through when she saw firsthand what the Joker is capable of. At that point in her life, she was still learning about humanity and couldn’t comprehend how a person like the Joker acts the way he does.
Night Day: Batman is the last superhero remaining, as well as the last human that isn’t under Gorilla Grodd’s mental control. Where’s Superman? Forcibly exiled, as Grodd managed to put Kryptonite in the Earth’s atmosphere. By far this was the most interesting story for me. I’m a person that likes to see how far the good guys can be pushed. The closer to the point of defeat, the better. With a superhero like Batman who improvises as much as he does, it was fun watching him work in such dire circumstances.
Sweet Dreams: What happens when Scarecrow gets sick of Superman, Batman, Lex Luthor and The Joker grabbing all the headlines? It’s simple, put all four of them in a perpetual nightmare. I couldn’t get into this story too much because, well, I don’t really buy Scarecrow taking out four powerful and resourceful characters for any reason. Plus, Superman and Lex Luthor’s nightmares were easy to see coming from a mile away. Batman’s was obvious as well, but the climax to his nightmare was very intense. The Joker’s nightmare was the most well written, and what haunts him the most is appropriately very funny.
Night of the Cure: Man-Bat is looking for a cure for his condition and Bizarro just wants to make a friend. All this comes together as an excuse for a plot for Black Lantern Solomon Grundy to come out and create chaos everywhere he goes. Although I never read the Blackest Night series, I am familiar with the overall plot. I’m sure there are those of you out there who love the concept of Solomon Grundy getting a Black Lantern ring, but I just can’t get behind it. I think Grundy is a boring, useless character that served nothing other than to annoy me. The dude just mopes around in the sewer saying that damn rhyme over and over again while attacking heroes just because he can. He always came off to me as an annoying random encounter in a RPG that slows down the next real plot point.
Image from dcu.blog.dccomics.com.
The only other aspect I wish to address is the art. Although I liked the Night Day story itself with Grodd, I thought Batman looked a little funny. His costume made sense for the scenario presented, and it did a great job conveying that he was working with extremely limited resources, but there were a couple of panels where I swear that Wolverine was donning the cowl.
Also, some of the art featured in Sweet Dreams didn’t thrill me. The Superman drawn during his nightmare sequence looked like a bad combination between modern and 80?s artwork, and the end result is a foreign, awkward looking face. It looked like something out of a rough storyboard, to be frank. I also didn’t like Batman’s design towards the end of the story. My main problem was the way his eyes looked in his costume, as it looked like his mask didn’t fit right on his face, much like Adam West’s costume in the classic TV show. I know these artists have drawn wonderfully in the past, and that’s why I ended up scratching my head at several panels throughout the book.
Like any collection of this nature, Superman/Batman: Night and Day has it’s ups and downs. While I wasn’t impressed with this book overall, I’m sure it is better appreciated among fans who closely follow this series.