We have a Baroness.
Nov 20To me, the G.I. Joe vs. Transformers thing is sorta like Beatles vs. Stones, or Star Wars vs. Star Trek–you either swing one way, or the other.
I was always a Transformers kid, but that doesn’t mean I can’t anticipate the sublime glory of a scenery-chomping Sienna Miller as the Baroness in Stephen Sommers’ upcoming G.I. Joe film adaptation.
There was always a level of campy over-the-top insanity to G.I. Joe–the Transformers was just so damned SINCERE. Thus, the success of the live-action Joe will depend on one thing, and one thing only:
WHO WILL PLAY COBRA COMMANDER?
I don’t even know who to suggest, honestly. It’s like asking who could play Jesus–there’s lots of dudes who look like Christ with long hair and a beard, but none of them can turn water into wine, y’know?
More, More, More on Digital Comics
Nov 19Brian Hibbs has a new Tilting At Windmills up at Newsarama, which is forcing my head yet again into thinking about digital comics, and though I have REAL work to do and I’m barely awake on a Monday morning, I gotta get this shit out.
"I make art, until somebody dies."
Nov 15Occasional Superheroine has a video review of Judd Winick’s Titans East special, which appears to be a late contender for Worst Comic of the Year.
I have no intention of buying it, because just reading the reactions online makes me want to beat Dan Didio upside his male pattern baldness with an aluminum baseball bat.
More On the Online (Comics)
Nov 14I think it’s worth remembering that in a perfect world, online distribution for offline content will take MANY forms.
The music industry is actually really good at this, as much as they SUCK BALLS for wasting money to persecute innocent folk who like to listen to Britney Spears songs without paying for them. You have iTunes, the Big Pink Gorilla, selling per-track tunes with DRM (and some higher-priced versions without DRM). eMusic provides a quasi-subscription model that allows ownership of non-DRM mp3 files; however, it doesn’t have the depth of selection that iTunes offers. (It does provide great tuneage from indie bands and labels at a VERY compelling price point.)
Then you have Rhapsody and Napster, which are primarily subscription-based–you can hear a lot of music, but you don’t own ANY of it. These are the closest musical cousins to Marvel’s Digital Comics Unlimited.
A quick look at TV demonstrates that there is a proliferation in this format, as well; iTunes hit the space first, with pay-per-download episodes and no commercials. Yet now the networks are stepping into the game, with streaming and downloadable content that may or may not feature ads, and in the case of the downloads, may expire within a few days.
The reason there are different models? Because when it comes to online content, there is MORE THAN ONE PREFERENCE FOR CONSUMING IT. Some people want to own DRM-free mp3 files that they can put on any device, burn to CD, and share with friends. Others are happy buying a DRM track that is easy to find via iTunes, as long as it plays on their iPod. Still others are perfectly fine with “renting” music, as long as they can listen at work. Then there’s the illegal downloaders, the fans of internet streaming radio, those who listen to terrestrial radio VIA internet streaming, etc.
It is foolish to assume that there will only be one model for delivering comics via the web. Subscription is where it’s starting, at least for the biggest publishers in the space. Yet other smaller players already provide alternate services–Wowio provides free PDF downloads with a three-file daily limit, while Slave Labor has pay-per-download offerings. And the other big dog, DC, has thus far sidestepped online distribution of print comics entirely to provide original webcomics via Zuda.
At this point, the only big difference is that the distribution methods seem to be defined by the content providers, and not by any independent companies. Give it time. There could still be an iTunes for comics in the offing, and if it comes, it may COEXIST alongside a subscription model, and a hybrid model, and free stuff (via the publishers or illegal file sharing). There are going to be people who will want to pay to OWN a file; there are going to be those content with paying a monthly fee to just READ files. There may be delivery methods we can’t even predict right now because the technology hasn’t emerged into the popular consciousness (eBooks, anyone?).
Don’t fall into the trap of defining the online delivery of comics by the way things are NOW. The voyage has begun, and it’s all about where we’re GOING. That’s why Marvel’s move is a big deal–finally, this shit is ON.
