Blade Runner 2019 #1 will be released July 17 by Titan
Comics. The issue also will be available at San Diego Comic-Con.
In the neo-noir city of Los Angeles, 2019, Ash, a veteran Blade Runner, is grappling with a new case: a billionaire’s wife and child, apparently kidnapped by Replicants for dark purposes … An all-new ongoing comic series from the pen of Academy Award-nominated screenwriter Michael Green (Blade Runner 2049, Logan, American Gods) and longtime co-writer Mike Johnson (Batman/Superman, Supergirl, Star Trek), illustrated by Andres Guinaldo (Justice League Dark, Captain America) comes the first comic to tell original, in-canon stories set in the Blade Runner universe.
Issue 1 comes with 5 covers to collect:
Cover A: Stanley Artgerm Lau
Cover B: Syd Mead (Original Blade Runner movie concept artist)
Cover C: Andreas Guinaldo
Cover D: John Royle
Cover E: Blank Sketch Variant
Following the jump, below are the first 6 pages of
Hitting comic shops this July – an
all-new addition to the classic Marvels graphic novel written by Kurt
Busiek and fully painted by Alex Ross. And it’s a “Marvels” look at the
“all-new, all-different” X-Men of the 1970s!
In this 16-page story, Alex and Kurt bring Marvel’s world to brilliant, realistic life one last time, as the now-retired Phil Sheldon and his daughters, in Manhattan to see the Christmas lights, find themselves in the middle of a clash between the outsider heroes and the deadly Sentinels, giving them a close-up perspective on the mutant experience. Also featuring a behind-the-scenes look at the making of this special story, and other bonus features.
For more information on Marvels
Epilogue, visit Marvel.com.
Celebrate Spider-Man with a series of variant covers that show off the webslinger in the many epic costumes he’s worn over the years, including his stealth suit, symbiote suit, webbing suit, cosmic suit, Fantastic Four suit, and more! Look for Marvel’s Spider-Man
variants on these select titles this June:
AMAZING SPIDER-MAN #23 by Stuart Immonen
AMAZING SPIDER-MAN #24 by Olivier Coipel
CAPTAIN MARVEL #7 by Mike McKone and Rachelle Rosenberg
DEADPOOL #14 by Mark Brooks
DOCTOR STRANGE #16 by David Yardin and David Curiel
FANTASTIC FOUR #11 by Jay Anacleto and Romulo Fajardo Jr.
FRIENDLY NEIGHBORHOOD SPIDER-MAN #8 by Adi Granov
IMMORTAL HULK #19 by Ema Lupacchino and David Curiel
Trent displayed screencaps of messages from Facebook:
As you can see, Facebook did not provide us with any actual concrete examples of the alleged violation. In fact, the reason why we are writing this article today, instead of yesterday, is because we attempted to reach out to Facebook believing the removal of the page was inadvertent. However, Facebook has not responded to any of our Help Center inquiries. They stopped responding in an email thread with a Publisher & Media Support team representative once the page was identified.
Given recent reports of Facebook and Twitter removing pages that do not align with their views, I think it is safe to assume that Facebook is likely targeting Bounding Into Comics due to the nature of the content we cover and post.
Bounding Into Comics contributors are not afraid to offer a critical look at the current entertainment culture as it pertains to the comic book industry, Hollywood, and video games. We are on the front line of highlighting the behavior of a number of the executives in these companies whether it’s Marvel’s Sana Amanat who unabashedly stated that “Mexicans, Jews, Muslims, women, native America, the environment, science, and KIDS” are all things “TheRepublicansHate.”
…They also try to state they won’t be targeting Republicans and conservatives, but have openly banned support for the duly elected Republican administration. That sure sounds like targeting of conservatives and Republicans. They actively banned support for them!
However, as a culture warrior Trent does not confine himself to playing defense. Last month Jim C. Hines documented Bounding Into Comics’ deceptive criticism of Fonda Lee in “Bounding Into Comics vs. Fonda Lee”.
Her Tweets got a lot of attention, leading to an article by John Trent at Bounding Into Comics that derides Lee and accuses her, among other things, of criticizing Tolkien. Not that Lee ever did this. Her second Tweet in that thread said, “Before you @ me about the importance of classics, I love LOTR too, okay?” One might almost suspect Trent’s comment, “Lee isn’t the first person to criticize Tolkien,” of being an attempt to stir up shit.
May 4 is Free Comic Book Day, when 2,300+ participating comic book stores across North America and the world will be giving away comic books to visitors in their shops. Use the locator on the website to search for a store near you.
Click here to see the covers of 51 comics being handed out free.
Jeff Lemire (Ascender,
Gideon Falls, Black Hammer)
encourages fans visit their local comic shops on Free Comic Book Day, and pick
up his new Black Hammer story in the Stranger
Things comic book from Dark Horse.
FCBD, in its 18th year, is the idea of Joe Field, proprietor of the Concord, CA-based Flying Colors
Comics & Other Cool Stuff. Inspired by the
success of ice cream manufacturer Ben & Jerry’s Free Cone Day, he suggested
that giving away comic books would expose a new generation of
readers to that magical world. Sellers adopted the idea, and publishers agreed to
release special issues in honor of Free Comic Book Day. “Each year, we continue
to push ourselves to bring fans the very best Free Comic Book Day experience,” says
By Daniel Dern: Since I have been buying
my comic books at The Outer Limits in Waltham for the past 30+ years, rather
than at New England Comics, I was not exposed to NEC’s newsletter mascot, the
Tick, nor the ensuing comic books, nor the 1994-1997 animated TV series,
although we did watch the 2001-2002 live action, directed by Barry Sonnenfeld (Miller’s Crossing, When Harry Met Sally, A
Series of Unfortunate Events — the TV series and the movie), etc.,
starring Patrick Warburton as the loveable big blue goof.
(Disclaimer: I remember watching it, but only
vaguely remember the episodes, although browsing web articles is jogging my
In 2017, Amazon rebooted The Tick as a 25-minute series. It’s arguably grittier than the previous live-action (although, of course, I’d have to rewatch that to verify)… but it’s also got a lot of heart and humanity. And great characters. And speaking to the nature of comic books and superheroes, as large-font subtext, as it were.
Season 2 went up about a week ago, and while I
didn’t quite binge it, I did prioritize it over some other things, like (some)
reading. (At 10 25-minute episodes, that wasn’t that big a commit.)
Enjoyable. Some surprises. Like Expanse book #8, Tiamat’s Wrath, it both starts and wraps up a hornets’ nest of
plotlines (including some from the previous season), and positions us (and the
various characters) for what looks like should be one heck of a Season 3
(assuming there is one, hope hope).
(1) John Hodgman (who some may remember from The Daily Show), who’s been on various other movies and TV shows I mostly haven’t seen (hmmm, including 1 episode of BattlestarGarlictica Galactica) (and Amazon’s Red Oaks, which we did see), has a role throughout this season.
(2) The producers/writers have clear [ROT-13] gur 1978 FHCREZNA zbivr n srj gvzrf, cre gjb ovgf/fprarf. (I don’t think this is a spoiler, but just in case…)
[From the press release.] Ms. Marvel is BACK!
But it’s not business as usual in Jersey City. Aliens are wreaking havoc in
Kamala’s corner of the world, and they seem weirdly interested in Ms.
Marvel…and her family. Eisner Award-winner Saladin Ahmed (Black Bolt, Exiles) and rising star
Minkyu Jung (Batgirl, Nightwing) take
the reins of one of Marvel’s most beloved new characters! And, for a limited
time, you can get a behind-the-scenes peek at Kamala’s groundbreaking ongoing!
Those who have preordered or purchased a digital copy
of Magnificent Ms. Marvel #1 before
3/26, 11:59 PM ET, will instead receive the Director’s Cut edition of Magnificent
Ms. Marvel (2019-) #1!*
This exclusive content will feature a draft of #1’s
script, inked pages, color pages, a variant cover gallery, never-before-seen
character designs and MORE! Not only will you receive this landmark issue –
you’ll get to see the building blocks of its creation! Limited time offer, act
ComicMix was the winner today when a Federal judge decided the remaining copyright issues in Dr. Seuss Enterprises’ suit to stop the Oh, The Places You’ll Boldly Go! project.
Dr. Seuss Enterprises (DSE) had claimed the crowdfunded book, featuring the writing of David Gerrold and the art of Ty Templeton, infringed their copyright and trademark for Dr. Seuss’ Oh the Places You’ll Go! A court ruling in May 2018 disposed of DSE’s trademark claims, but the copyright claims remained to be litigated.
In granting ComicMix’s motion for summary judgment U.S. District Court Judge Janis Sammartino explained: “Summary judgment is appropriate where the Court is satisfied that there is ‘no genuine dispute as to any material fact and the movant is entitled to judgment as a matter of law.’”
ComicMix argued there was no copyright infringement because Boldly is fair use, and under applicable caselaw “the doctrine of ‘fair use’ shields from infringement particular uses of a copyrighted work.”
Judge Sammartino wrote that Congress set forth four non-exclusive factors for use in evaluating whether a particular use of a copyrighted work is fair:
(1) The purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;
In an attempt to foreclose a successful fair use defense, Dr. Seuss Enterprises pointed to the Federal Circuit’s 2018 decision in Oracle America, Inc. v. Google. That case deals with copyrighted Java API code and whether Google infringes when it makes its own version intended to allow software programs to communicate with each other. It’s a high-stakes battle that has a good shot of being taken up by the Supreme Court. When it comes to the purpose and character of Boldly, Dr. Seuss analogizesthe book to what Google did with Java.
“The Court does not find Oracle persuasive,” responds the judge, addressing what she sees as the key distinction. “in Oracle, the Defendants copied the 37 SE API packages wholesale, while in Boldly ‘the copied elements are always interspersed with original writing and illustrations that transform Go!’s pages into repurposed, Star-Trek-centric ones.’ Defendants did not copy verbatim text from Go! in writing Boldly, nor did they replicate entire illustrations from Go! Although Defendants certainly borrowed from Go!—at times liberally—the elements borrowed were always adapted or transformed. The Court therefore concludes, as it did previously that Defendants’ work, while commercial, is highly transformative.”
(2) The nature of the copyrighted work;
The judge finds that the factor of the nature of the copyrighted work — Dr. Seuss’ Oh, the Places You’ll Go — slightly favors the plaintiff before addressing the amount and substantiality of the portion used.
(3) The amount and substantiality of the portion
used in relation to the copyrighted work as a whole;
Judge Sammartino said that she considered the situation in the current case to be comparable to a suit about a poster created to advertise Naked Gun 33-1/3: The Final Insult:
Although the Court ultimately concluded that Boldly was not a parody, the Court concludes that this csse is most analogous to the situation in Leibovitz v. Paramount Pictures Corp. In Leibovitz, the defendant was alleged to have infringed a famous photograph of a nude, pregnant Demi Moore that appeared on the cover of the August 1991 issue of Vanity Fair. The photo of Ms. Moore was itself “a well known pose evocative of Botticelli’s Birth of Venus.”
As part of an advertising campaign for an upcoming movie, the defendant commissioned a photographer to take a photo of another nude, pregnant woman in a similar pose, and “[g]reat effort was made to ensure that the photograph resembled in metic ulous detail the one taken [of Ms. Moore] by [the plaintiff],” from the model’s posture to her hand placement to the use of a large ring on the same finger. The defendant’s photograph was then digitally enhanced using a computer to make the skin tone and body shape more closely resemble that of Ms. Moore in the plaintiff’s original photo. Leslie Nielsen’s face was superimposed on the model’s body, “with his jaw and eyes positioned roughly at the same angle as Moore’s, but with her serious look replaced by Nielsen’s mischievous smirk.” The finished poster advertised that the movie was “DUE THIS MARCH.”
The Second Circuit stressed that, “[i]n assessing the amount and substantiality of the portion used, [the court] must focus only on the protected elements of the original.” Consequently, the court reasoned, the plaintiff “is entitled to no protection for the appearance in her photograph of the body of a nude, pregnant female,” but rather only “the particular way the body of Moore is portrayed.”
The court clarified that, “[e]ven though the basic pose of a nude, pregnant body and the position of the hands, if ever protectable, were placed into the public domain by painters and sculptors long before Botticelli, [the plaintiff] is entitled to protection for such artistic elements as the particular lighting, the resulting skin tone of the subject, and the camera angle that she selected.” The court ultimately concluded that the defendant “took more of the [plaintiff’s] photograph than was minimally necessary to conjure it up, but” that there was “little, if any, weight against fair use so long as the first and fourth factors favor the” defendant.
As in Leibovitz, the Court must take care in distinguishing precisely those elements of the Copyrighted Works to which Plaintiff is entitled copyright protection. Examining the cover of each work, for example, Plaintiff may claim copyright protection in the unique, rainbow-colored rings and tower on the cover of Go! Plaintiff, however, cannot claim copyright over any disc-shaped item tilted at a particular angle; to grant Plaintiff such broad protection would foreclose a photographer from taking a photo of the Space Needle just so, a result that is clearly untenable under —and antithetical to—copyright law. But that is essentially what Plaintiff attempts to do here. Instead of replicating Plaintiff’s rainbow-ringed disc, Defendants drew a similarly-shaped but decidedly non-Seussian spacecraft—the USS Enterprise—at the same angle and placed a red-and-pink striped planet where the larger of two background discs appears on the original cover. Boldly’s cover also features a figure whose arms and hands are posed similarly to those of Plaintiff’s narrator and who sports a similar nose and eyes, but Boldly’s narrator has clearly been replaced by Captain Kirk, with his light, combed-over hair and gold shirt with black trim, dark trousers, and boots. Captain Kirk stands on a small moon or asteroid above the Enterprise and, although the movement of the moon evokes the tower or tube pictured on Go! ’s cover, the resemblance is purely geometric.
Finally, instead of a Seussian landscape, Boldly’s cover is appropriately set in space, prominently featuring stars and planets. In short, “portions of the old work are incorporated into the new work but emerge imbued with a different character.”
(4) The effect of the use upon the potential
market for or value of the copyrighted work.
Hollywood Reporter summarized the court’s take on the last
When it comes to Oh, the Places You’ll Boldly Go!, the judge concludes that it isn’t likely usurp its predecessor’s position in the children’s book market because ComicMix has targeted those familiar with both the Seuss and Trek canon with a work that includes some sexual innuendo (hello, Captain Kirk). The derivatives market is called a “closer question,” but the judge notes that Dr. Seuss has “introduced no evidence tending to show that it would lose licensing opportunities or revenues as a result of publication of Boldly or similar works.”
Judge Sammartino, finding this factor did not favor either party, invoked
the Supreme Court’s statement in Fogerty
v. Fantasy Inc. to justify ruling for ComicMix:
The Supreme Court has admonished, “[t]he primary objective of copyright is not to reward the labor of authors, but ‘to promote the Progress of Science and useful Arts.’ To this end, copyright assures authors the right to their original expression, but encourages others to build freely upon the ideas and information conveyed by a work.”
The text of today’s decision also revealed ComicMix originally planned to follow up Boldly with two other Suess/Trek mashups, “Picard Hears A Q” and “One Kirk, Two Kirk, Red Shirt, Blue Shirt,” whose fate is now uncertain.
PKD would have loved it — NBM Graphic Novels released Philip K. Dick, A Comics Biography on January 1.
Philip K. DICK: A Comics Biography
Laurent Queyssi, writer, Mauro Marchesi, art
One of the greatest writers in SF history, Philip K. Dick is mostly remembered for such works as Blade Runner, Minority Report and Total Recall. His dark fascinating work centered on alternate universes and shifting realities in worlds often governed by monopolistic corporations and authoritarian governments. His own life story seems a tussle with reality, going through five wives and becoming increasingly disjointed with fits of paranoia and hallucinations fueled by abuse of drugs meant to stabilize him. His dramatic story is presented unvarnished in this biography.
NBM has a sample page online where Dick is in conversation with Harlan Ellison about Dangerous Visions.
Celebrating the 25th anniversary of the series that changed the way fans look at super heroes, the landmark MARVELS is back. In the year 1939, young photojournalist Phil Sheldon attends the sensational unveiling of the fiery android Human Torch — little knowing he is witnessing the dawn of the Age of Marvels.
Prepare to relive Marvel’s Golden Age from a whole new point of view as Phil covers the superhuman sightings of the 1930s and 1940s — from the terror caused by the Human Torch’s epic clash with the Sub-Mariner to the patriotism stirred by the debut of Captain America and more. This unique look back at the MARVELS phenomenon is packed with extras and completely remastered.
Lauded as “a classic and watershed moment for the industry” by IGN and “a landmark” by Publisher’s Weekly, fans are invited to celebrate the 25th anniversary of Kurt Busiek and Alex Ross’ groundbreaking and critically-acclaimed series MARVELS.
In February, MARVELS ANNOTATED kicks off the series with never-before-seen commentary from Kurt Busiek and Alex Ross. Read the original MARVELS series with new covers and insight from the creators themselves.
Marvel also will release exclusive monthly MARVELS 25th anniversary variant covers, painted by the legendary Alex Ross, starting with FANTASTIC FOUR #6 in January, TONY STARK: IRON MAN #9 in February, and THE IMMORTAL HULK #15 in March. Later in June, 20 artists will come together to pay tribute in a MARVELS 25th anniversary homage variant program across Marvel’s most popular titles.