Love: The concept of Assassin's Creed, the story of Ezio Auditore in Assassin's Creed II, and in AC: Brotherhood.
Hate: The stupid-ass sci-fi plotline shoehorned onto the story to explain how we are watching events in the past unfold.
Let's be clear, I love playing the Assassin's Creed series. The first game was a beautiful broken mess, but it showed amazing potential. The fact that they not only lived up to the potential, but exceeded it for ACII is still astonishing. They also created one of the most charismatic characters in any video game ever. I would play Assassin's Creed All-Star tennis if it had Ezio in it. The very idea of following this character throughout his lifetime and not just over a period of a few days or even a few weeks gave the audience an emotional tether that has only strengthened with the continuation of his story in AC Brotherhood, and soon to be completed in AC Revelations.
I can play the games for hours just running across the rooftops of Italy. Then, I have to finish the game and I get ripped out of the blissful trance I spend my playtime in. The endings of all three Assassin's Creed leave a lot to be desired. Sufficed to say I end up rubbing my eyes and muttering to myself. And that can't be good can it? I think the worst sin of the franchise is loss of momentum once you reach the end. Ubisoft has crafted this engrossing storyline carrying you throughout some of the most important years in Italian history, and then they dump you into an anticlimactic poop puddle.
I don't know what it is about endings that is so hard. It seems like so many games fail to bring all of the game mechanics to play in what should be a test of everything you have learned in your experience with the game. In Assassin's Creed II, we got a fist fight with the Pope that is even sillier than it sounds. Then in Brotherhood, we got a much more thought out boss battle against Cesare Borgias, only to be sent into an extended platforming sequence that was just pointless and boring. All of this mind you, leads you to Assassin's Creed overarching mythology that makes you sit through a somewhat ridiculous story about mankind's alien progenitors. I don't care! I was having such a good time with the political intrigue. Why? Why, must I be forced to play trial and error platforming missions that do nothing but anger me and leave me with a rather weak conclusion?
Obviously, Ubisoft cannot go back and erase the past. But Revelations needs to deliver a satisfying ending for Ezio no matter what plate of steaming you-know-what they leave for us at the end to serve as the true 'ending' of the Apple of Eden storyline. Ultimately the game is no longer about Desmond. I know they have an extended sequence set up to play as Desmond running across a virtual landscape, but Ezio has taken on a life of his own, and is owed a conclusion fitting one of the great heroes in games.
Monday, June 20, 2011
Tuesday, May 17, 2011
Best worst toy year ever?
2011 will undoubtedly go down in most collector's minds as the year the economic realities hit the hardest. We've seen prices on figures sky rocket across all scales. the 6" scale alone has seen Mattel's Green Lantern Movie Masters hit shelves at a whopping $18.00 a figure. Considering that you throw in a "Collect and Connect" figure built in 14 pieces along with that and you have one of the most expensive mass market toy lines ever produced. While the 3.75" range is holding close at around $10.00, we are still seeing a steady rise as companies like Hasbro keep finding new ways to raise the bar on the industry's most dependable scale.
While it seems the 6" scale is hitting the average collector the hardest, the 1/6 scale collector is being priced right out of house and home. 1/g scale has always been an indulgence market, but now it seems like every new release from Hot Toys is coming in at an average of $180.00, with every DX release hitting at around $225.00. Of course, you get what you pay for, but the demands of such a high end hobby are beginning to take their toll. Most collector's now find themselves having to choose only the most near and dear figures to add to their shelves. Sideshow is keeping things relatively close with their G.I. Joe line, but as they begin to explore the more complex pieces of the Star Wars universe, their production costs go up, and so do the bottom line prices for consumers.
While we live in an enthusiast's nirvana, the sobering reality is that the market is saturated with product, and few can keep up. It is quickly becoming a rotational hobby as collector's acquire and dispense with their treasures nearly as soon as they receive them. Very little time is left to enjoy them before something new arrives to hoover the money from their wallets.
The year has also seen the death of two really promising lines that on a personal note, I will sorely miss. Due to unknown factors, Bioware has canceled the second series of figures from DC Direct's Mass Effect 2 line. It is an absolute shame as the first wave is actually very very good. Some great characters have been left on the table, and we are certainly worse off for not having them. The second blow was especially painful to me as we lost Enterbay's Prison Break figures. While they managed to get T-Bag out the door, Michael and Lincoln fell victims to unscrupulous factory practices, or at least that is what we were told. While Hot Toys versions will have to do, Enterbay was moving into sublime territory with the work that had gone into realizing Michael Scofield's tatoos from season one of the cult TV classic.
The year isn't half over and Hot Toys still has Indiana Jones, Thor, Spider-Man, more Iron Man, more Bruce Lee rolling out. In addition we are awaiting word on the 1989 Michael Keaton Batman, the Christopher Reeve Superman, and the revelation of a tease from months back regarding a galaxy far, far away.
Mattel is putting a lot of stock in Green Lantern hitting hard, and in the resurgence of Voltron. DC Universe is still being talked up after 19 waves of figures. WHo can say how far they willl go. Masters of the Universe Classics has proven to be a juggernaut for sure.
Hasbro continues their own uber toy lines in Marvel Universe, Star Wars Vintage Collection, and G.I. Joe. Having the Marvel film license gives them tremendous momentum through the next year.
Bandai pulled the big coup in nabbing the revitalized Thundercats brand. Mattel would have sold their sister for that license. Bandai looks to be pulling out the stops for this one, and the Classic 8" figure line looks fantastic despite the lack of depth in initial release.
Yes, 2011 is one of the best years for collecting ever, this after a 2010 where we wondered if it could get any better. The old adage of "Careful what you wish for" springs to mind.
While it seems the 6" scale is hitting the average collector the hardest, the 1/6 scale collector is being priced right out of house and home. 1/g scale has always been an indulgence market, but now it seems like every new release from Hot Toys is coming in at an average of $180.00, with every DX release hitting at around $225.00. Of course, you get what you pay for, but the demands of such a high end hobby are beginning to take their toll. Most collector's now find themselves having to choose only the most near and dear figures to add to their shelves. Sideshow is keeping things relatively close with their G.I. Joe line, but as they begin to explore the more complex pieces of the Star Wars universe, their production costs go up, and so do the bottom line prices for consumers.
While we live in an enthusiast's nirvana, the sobering reality is that the market is saturated with product, and few can keep up. It is quickly becoming a rotational hobby as collector's acquire and dispense with their treasures nearly as soon as they receive them. Very little time is left to enjoy them before something new arrives to hoover the money from their wallets.
The year has also seen the death of two really promising lines that on a personal note, I will sorely miss. Due to unknown factors, Bioware has canceled the second series of figures from DC Direct's Mass Effect 2 line. It is an absolute shame as the first wave is actually very very good. Some great characters have been left on the table, and we are certainly worse off for not having them. The second blow was especially painful to me as we lost Enterbay's Prison Break figures. While they managed to get T-Bag out the door, Michael and Lincoln fell victims to unscrupulous factory practices, or at least that is what we were told. While Hot Toys versions will have to do, Enterbay was moving into sublime territory with the work that had gone into realizing Michael Scofield's tatoos from season one of the cult TV classic.
The year isn't half over and Hot Toys still has Indiana Jones, Thor, Spider-Man, more Iron Man, more Bruce Lee rolling out. In addition we are awaiting word on the 1989 Michael Keaton Batman, the Christopher Reeve Superman, and the revelation of a tease from months back regarding a galaxy far, far away.
Mattel is putting a lot of stock in Green Lantern hitting hard, and in the resurgence of Voltron. DC Universe is still being talked up after 19 waves of figures. WHo can say how far they willl go. Masters of the Universe Classics has proven to be a juggernaut for sure.
Hasbro continues their own uber toy lines in Marvel Universe, Star Wars Vintage Collection, and G.I. Joe. Having the Marvel film license gives them tremendous momentum through the next year.
Bandai pulled the big coup in nabbing the revitalized Thundercats brand. Mattel would have sold their sister for that license. Bandai looks to be pulling out the stops for this one, and the Classic 8" figure line looks fantastic despite the lack of depth in initial release.
Yes, 2011 is one of the best years for collecting ever, this after a 2010 where we wondered if it could get any better. The old adage of "Careful what you wish for" springs to mind.
Monday, April 18, 2011
Thor, God of Thornder...em Thunder
I think I am about as excited for the opening of the Thor film as I am about any film this year. Early word is pretty positive. I worried Kenneth Branagh might get lost with all the effects work despite whatever great direction he gave to the actors. Branagh is Mr. Shakespeare and he can pull a good performance out of just about anyone (Keanu Reeves excepted). Having seen his super-lush take on Hamlet back in 1997, I knew he could handle the epic scale.
It is a huge relief that reviews are good, as I had any number of reservations about how this one would turn out. I am excited for my nephew to get to see this at 7 years old. His head will be swimming for weeks on end as my brother eggs him on.
It is a huge relief that reviews are good, as I had any number of reservations about how this one would turn out. I am excited for my nephew to get to see this at 7 years old. His head will be swimming for weeks on end as my brother eggs him on.
Monday, March 28, 2011
Blurging: Battlestar Galactica (the original)
I've decided out of sheer whimsy to start re-watching the old Battlestar Galactica series. Many of you would say "Why?!? It's terrible! Don't destroy what time you have left on this planet watching that garbage." Yes, but those people don't understand the siren song of late 70's early 80's genre television! Battlestar obviously owes it's initial popularity to it's proximity to Star Wars. In 1977 Star Wars was a game changer across all media platforms and that includes television. Suddenly everyone was looking for a successful copy to help rake in the moolah. Enter Glen Larson.
Larson had another series in mind when creating Battlestar, but Star Wars provided the vehicle to hitch his concept to. Debuting on September 17th, 1978 Battlestar Galactica premiered to a nation wide audience caught up in the grips of Israeli-Palestinian conflict. In many ways, Galatica is viewed as an interstellar mash-up of Exodus and Noah's Ark from the Bible. While Galactica lasted all of one year on TV in it's original form, it's impact on the cultural landscape and underlying core concept were strong enough to support a brand new series that scored immense critical acclaim and popularity on the SciFi channel 25 years later.
Enough of the Wikipedia trolling! Get onto the review!
Episode One: Saga of a Star World, part one:
Starring:
Lorne Greene, Richard Hatch, Dirk Benedict and so on...
For 1978 genre television, this is a hell of an opener. It is so much better than I remember it being. All the pieces get put into place pretty tidily and the obvious blueprint is established for many of the 2003 version's sub-stories. Your special guest star is Ray Milland! Also showing up are Ed Begley Jr (St. Elsewhere), Jane Seymour (Doctor Quinn, Medicine Woman), and as the ill-fated Zack Adama... Rick Springfield! Yes, years before Jessie's Girl and General Hospital Rick got strut around flashing a killer smile, awesome feathered hair, and wear that awesome Egyptian Pharoah inspired flight helmet the series was famous for. Way to go Rick!
The plot: The full Armada of the 12 human colonies is on it's way with the full council of 12 and the President to sign a peace accord with the dastardly Cylons who consider humanity an abomination to be wiped from the universe. The President is hopeful that a new day is dawning as the Cylons have proffered peace. However Pa Cartwright isn't buying it. He knows deep down the Cylons want to run him and the rest of the Cartwright family off their lan... Sorry, not Bonanza, I know. Well, sure enough Commander Adama is right. While out on a scouting mission, the boys Adama; Apollo and Zack (Seriously? Your first child is Apollo and the second is Zack? Talk about an inferiority complex.) discover thousands of Cylon Raiders parked in a gas cloud with a tanker waiting to ambush the entire fleet. While Apollo makes it back in one piece, Zack couldn't quite make it back in his damaged Viper before succumbing to the Cylon's superior numbers. Cheer up gang, did I mention he went on to write Jessie's Girl? Meanwhile, the Galactica crew figures out the ruse and hightails it back to Caprica where a Cylon basestar is hovering in orbit raining down hot Cylon death.
Yep, they pulled the entire fleet into an ambush while all of the colony planets were sitting ducks with no defenses. For that matter, why did the colonies need to send every Battlestar to the signing of a peace accord? Better not to ask. Seriously though, the storyline is pretty well laid out with an aging President looking for validation of all his work at the same time being led down the primrose path by the traitorous Baltar who was in league with the Cylons the whole time. Jump to Starbuck. The series real standout character and the one fans got their knickers in a twist about having his gender flipped for the 2003 update. It's all there right away, the trademark cigar, wisecracks, the gambling obsession. All the trademarks that made Dirk Benedict a household name.
Meanwhile Athena is wrestling over the loss of her brother, the loss of everyone else in the colonies and Starbuck's devil may care attitude. We get our cheesecake scene as Athena is getting undressed after a long day of chest beating and hand wringing only to have Starbuck pop in mid strip to apologize for his roguish charm. We now get a scene where one character wanders around with his back to the other and the other standing behind a locker door for modesty's sake. When you think about the 2003 Battlestar's uni-sex bunks and bathrooms, it is all a bit quaint. If this were the modern version, Athena and Starbuck would have had at it, only to have Starbuck run for the hills as things got too intimate.
We end up with Lorne Greene and Apollo at the charred remains of their home on Caprica looking for any last mementos before they get the hell out of dodge and avoid the obligatory Cylon cleaning squads. Wait! What's that? Coming down the hill...is it? Yes, it is! People! Capricans who survived the assault lead by Dr. Quinn herself, Jane Seymour. They ain't happy though. Like me, they were wondering why there wasn't a Battlestar to protect the planet. Little do they know, there is no good explanation. Instead Apollo and Pa Cartwright spill the beans that they are indeed the last Battlestar. Greene gets to pull his Moses, and calls for any survivors to pack up, jump on any ship that will hit space and follow them away from the 12 colonies. Cut to the exodus as what remains of the colonies does indeed fly every piece of space worthy crap away from the Cylon purge. You even get a space moving company with painted logos on the side of the ship that says" We move anywhere!" A bit of unintentional Spaceballs style comedy.
You would think that would be a good ending for the first episode, but then we get some extra scenes with Apollo, Starbuck, and Boomer inspecting ships and reassuring people that food and water are coming. Just like the 2003 version, the original does a really nice job of selling the plight of the refugees who have no clue what is going on other than they are being hunted to extinction. We also get Baltar on Caprica as the big reveal of his treachery telling the Cylon Centurions to hunt down and kill any remaining humans.
Overall: Like I said, a much better episode than I remembered. Richard Hatch is really good as Apollo which makes his turn as anarchist Tom Zarek in the 2003 version all the more fun and chilling. The episode holds up to the test of time whereas Buck Rogers looks pretty hokey by comparison. The special effects are really good considering this is 1978 television. The costumes are fairly iconic, and the look of the Cylon centurions continues to be one of the best designs ever. In fact the look of the whole show is pretty strong. The Vipers have a sleek look and the Cylon Raiders are appropriately menacing. Galactica herself looks incredibly impressive and heroic, explaining why the 2003 version didn't stray far. Lorne Greene and James Edward Olmos couldn't be further apart in performance style. Greene plays Adama as a reserved, wistful general forced to play his militaristic hand despite his doveish tendencies. Olmos's Adama is big, brash, and every bit the hawk. Both command your attention in very different, but equally effective ways.
I'm optimistic about the rest of the series even though I know the clunkers are waiting in the weeds.
Tuesday, October 12, 2010
Look at him... Ah, bless.
I have a confession. I have a soft spot for slightly tarnished franchises. This is fairly evident if you spend enough time with me. I have only one team I cheer for that could be considered a "front runner". I have some favorite characters that everyone else loves, but for the most part I gravitate towards slightly quirky fare. I guess I shouldn't say quirky, but more along the lines of under appreciated, at least in my own mind. Things like Flash Gordon, The Phantom, Iron Fist, Doctor Strange etc...
I run across franchises that once enjoyed massive popularity only to fall out of favor on a large scale and I take them in and obsess over them. I read up on the history of the character and creators. I buy the best stories I can find that epitomize the greatest attributes of those characters. Obsessive/compulsive may be the best term, but I'd rather look on it in a kinder fashion. One of the great benefits of this is my mind is then filled with an absurd amount of new information that helps to further decimate opponents at trivial pursuit, the downside being that any remaining mathematical skills slowly decay and crumble.
Recently, I have indulged in Edgar Rice Burroughs' John Carter of Mars series. One of the greatest advantages to getting in on this series is that the real estate for the ground floor is dirt cheap. Pretty much all of Burroughs' work is old enough that you can get large collections of it for a song on the Kindle. Being a Sci- Fi/Fantasy fan, the John Carter name has always been in the back of my mind, but I have never explored his World in the way I have some of his pulp counterparts like Conan, Buck Rogers, and the previously mentioned Flash Gordon. Following the chronology of my life, a lot of it is due to the fact that Carter never enjoyed the full renaissance in the 1970's that many of the other characters did. Frank Frazetta did covers and interior illustrations for many literary editions just as he did for Conan, and Marvel Comics had even put forth their own comics adaptation. Nothing really took though. Conan's literary reprints aided by Frazetta's art caught on like wildfire scoring a long running, equally popular comics franchise as well as a hugely popular film adaptation. Flash Gordon got an animated series and a big budget film that went on to cult classic status. Buck Rogers got his own cult-level television series. Many things have derailed Carter on his way towards a massive public appeal, but all of that may change sooner rather than later.
Much like The Green Hornet, Carter is currently undergoing a renewed surge of mass media revival. Dynamite Entertainment is launching a brand new comic series based on Burroughs' series called Warlord of Mars. The biggest news and possible game changer in terms of popular adoption of the series is the Disney film adaptation of the first novel in the series. A Princess of Mars now being called John Carter of Mars is in production and being directed by Andrew Stanton of Pixar. Stanton is the mastermind behind Pixar classics Finding Nemo and Wall-E. Although he has no live action feature credits, his work as a storyteller on those two masterpieces alone won him this prime slot on what Disney is hoping to be their new adventure franchise.
The story of John Carter, the gun for hire trying to rebuild a life after serving in the Confederate army during the American Civil War, only to be mysteriously transported to Mars is the touchstone for all Sci-Fantasy franchises. Burroughs began serializing the stories of his hero in 1912. Without him, we do not have Buck Rogers, which begat Flash Gordon, which begat Star Wars, which begat my almost chemical dependence like compulsion of giving money to George Lucas. Through tricks of fate and poor decision making, Carter never enjoyed the wide spread popularity that would have ensured every little boy growing up today had at least one John Carter action figure along with dvds of past films and TV series.
Burroughs wrote an astonishing 12 novels in his 'Barsoom' series. The amount of material, while repetitive in structure is dense in characters and atmosphere. It makes the extrapolation of the series into other mediums almost a no brainer. Tarzan is obviously Burroughs most popular creation, but it very well could have been Carter. In the 1930's, MGM approached Burroughs to create an animated feature based on John Carter and his adventures. They would have beaten Snow White to theaters as the very first full-length animated feature ever. Instead, according to the John Carter Wikipedia entry, Carter's Mars was deemed outlandish and too hard to sell to the conservative midwest audiences. Tarzan got the nod, and ultimately flourished as a franchise with numerous film serials and a television series as a result. The decision looks silly in the wake of the success that Flash Gordon enjoyed as a film serial. Granted, Flash Gordon's use of fairly humanoid races made it's translation to a film far more accessible than Carter's 15 foot tall Green Martians and White Apes, Carter still enjoys the same level of swashbuckling adventure that make all his descendants so wildly thrilling. One can only wonder how different the modern pop culture landscape would be if Carter had indeed beaten Snow White to theaters.
So yes, I am in full grips of Mars mania. As the actual research of Mars continues to grow exponentially, it may make the John Carter series seem dated as does any future-based franchise that never quite meets the reality of a modern world analogue like 1984 or 2010. However, Disney is willing to give it a shot, and come June 8th 2012, expect the mouse house to roll out one of their biggest tents to showcase this much loved cult classic. Other film adaptations of this series have died on the vine, but with Disney putting their full weight behind one of their strongest creative minds, John Carter may finally make his triumphant return to Earth.
I run across franchises that once enjoyed massive popularity only to fall out of favor on a large scale and I take them in and obsess over them. I read up on the history of the character and creators. I buy the best stories I can find that epitomize the greatest attributes of those characters. Obsessive/compulsive may be the best term, but I'd rather look on it in a kinder fashion. One of the great benefits of this is my mind is then filled with an absurd amount of new information that helps to further decimate opponents at trivial pursuit, the downside being that any remaining mathematical skills slowly decay and crumble.
Recently, I have indulged in Edgar Rice Burroughs' John Carter of Mars series. One of the greatest advantages to getting in on this series is that the real estate for the ground floor is dirt cheap. Pretty much all of Burroughs' work is old enough that you can get large collections of it for a song on the Kindle. Being a Sci- Fi/Fantasy fan, the John Carter name has always been in the back of my mind, but I have never explored his World in the way I have some of his pulp counterparts like Conan, Buck Rogers, and the previously mentioned Flash Gordon. Following the chronology of my life, a lot of it is due to the fact that Carter never enjoyed the full renaissance in the 1970's that many of the other characters did. Frank Frazetta did covers and interior illustrations for many literary editions just as he did for Conan, and Marvel Comics had even put forth their own comics adaptation. Nothing really took though. Conan's literary reprints aided by Frazetta's art caught on like wildfire scoring a long running, equally popular comics franchise as well as a hugely popular film adaptation. Flash Gordon got an animated series and a big budget film that went on to cult classic status. Buck Rogers got his own cult-level television series. Many things have derailed Carter on his way towards a massive public appeal, but all of that may change sooner rather than later.
Much like The Green Hornet, Carter is currently undergoing a renewed surge of mass media revival. Dynamite Entertainment is launching a brand new comic series based on Burroughs' series called Warlord of Mars. The biggest news and possible game changer in terms of popular adoption of the series is the Disney film adaptation of the first novel in the series. A Princess of Mars now being called John Carter of Mars is in production and being directed by Andrew Stanton of Pixar. Stanton is the mastermind behind Pixar classics Finding Nemo and Wall-E. Although he has no live action feature credits, his work as a storyteller on those two masterpieces alone won him this prime slot on what Disney is hoping to be their new adventure franchise.
The story of John Carter, the gun for hire trying to rebuild a life after serving in the Confederate army during the American Civil War, only to be mysteriously transported to Mars is the touchstone for all Sci-Fantasy franchises. Burroughs began serializing the stories of his hero in 1912. Without him, we do not have Buck Rogers, which begat Flash Gordon, which begat Star Wars, which begat my almost chemical dependence like compulsion of giving money to George Lucas. Through tricks of fate and poor decision making, Carter never enjoyed the wide spread popularity that would have ensured every little boy growing up today had at least one John Carter action figure along with dvds of past films and TV series.
Burroughs wrote an astonishing 12 novels in his 'Barsoom' series. The amount of material, while repetitive in structure is dense in characters and atmosphere. It makes the extrapolation of the series into other mediums almost a no brainer. Tarzan is obviously Burroughs most popular creation, but it very well could have been Carter. In the 1930's, MGM approached Burroughs to create an animated feature based on John Carter and his adventures. They would have beaten Snow White to theaters as the very first full-length animated feature ever. Instead, according to the John Carter Wikipedia entry, Carter's Mars was deemed outlandish and too hard to sell to the conservative midwest audiences. Tarzan got the nod, and ultimately flourished as a franchise with numerous film serials and a television series as a result. The decision looks silly in the wake of the success that Flash Gordon enjoyed as a film serial. Granted, Flash Gordon's use of fairly humanoid races made it's translation to a film far more accessible than Carter's 15 foot tall Green Martians and White Apes, Carter still enjoys the same level of swashbuckling adventure that make all his descendants so wildly thrilling. One can only wonder how different the modern pop culture landscape would be if Carter had indeed beaten Snow White to theaters.
So yes, I am in full grips of Mars mania. As the actual research of Mars continues to grow exponentially, it may make the John Carter series seem dated as does any future-based franchise that never quite meets the reality of a modern world analogue like 1984 or 2010. However, Disney is willing to give it a shot, and come June 8th 2012, expect the mouse house to roll out one of their biggest tents to showcase this much loved cult classic. Other film adaptations of this series have died on the vine, but with Disney putting their full weight behind one of their strongest creative minds, John Carter may finally make his triumphant return to Earth.
Friday, September 10, 2010
Fire is not your friend Alan...
I have been wanting to comment on Alan Moore's recent interview over at Bleeding Cool for a couple of days now, but I find myself riding the reaction to the reaction at this point. I just responded to Tom Spurgeon's column on the subject and wanted to share
my reaction
Basically, Alan Moore granted an interview to Adi Tantimedh regarding the current situation regarding of the status legal rights to Watchmen. This is an ongoing saga and the events below are only the latest in a long line of events that has seen Moore distance himself from an adaptation of his work in any form, distance himself from DC altogether, and recently to announce he was retiring from the comic industry as a whole. Moore had come forward before San Diego Comic-Con to announce DC had offered to return the full rights to Watchmen in exchange for signing off on any future Watchmen projects that would be completed by other creators on contract with DC. There was small amount of confusion as DC/WB already own full rights to Watchmen and would honestly never need his permission to go forward anyway.
The interview has caused quite a bit of uproar due to a number of accusations from Moore regarding DC's tactics in acquiring Moore's consent to various Watchmen projects as well as him belittling the current crop of artists and writers working for DC. I viewed Tom's article as more of a defense of Alan's mindset given the DC's treatment of the writer over his career. He argued that Alan should not be mocked or dismissed as crazy due to some personality traits and various rumors regarding Alan's personal life. While I agreed with Tom to that point, I could not agree with the nature of Alan's own tactics and treatment of friends and peers. As I generally push for clarity on all sides of an argument I wrote this regarding my own opinions of the interview:
"Hi Tom
I just wanted to take a couple of moments to respond to your piece which was itself a response to the interview with Alan Moore.
While I agree that Alan should never be dismissed out of hand, or mocked for that matter, I am beginning to lose sympathy for the man simply because he chooses to denigrate his peers while self admittedly ignoring the medium. I enjoy Alan Moore's writing and I have long been a supporter of Alan's stance to separate himself from adaptations of his work. "From Hell" and "League of Extraordinary Gentlemen" were terrible, and I certainly wouldn't want to be associated with them either. However, despite the history of problems between Alan and the DC/WB publishing hierarchy, the conversation has become increasingly one-sided.
Alan's beef is decidedly personal now and is taking form in an ugly one-sided exchange. His arguments are becoming increasingly narcissistic. I think DC killing Steve Moore's Watchmen adaptation has more to do with a marketing decision than any axe Paul Levitz and co. may have had to grind with Alan's phantom stranglehold over the property. He hangs Dave Gibbons and Steve Moore both out to dry making them look like pitiful characters, one to be pitied for his innocence and tragedy, there other to be loathed for his greed. If a friend of mine decided to eschew all tact and discretion in the face of a 25 plus year friendship, I don't think I could tolerate it.
Then he continues to throw baseless potshots at DC regarding their level of talent and marketable properties. While you dismiss it as a simple smack talk, he simultaneously insults everyone he has worked with in the past and in the present. Somehow Neil Gaiman, his good friend, and who still has a favorable relationship with DC is not top-flight talent? I am not suggesting Neil would ever consent to write a Watchmen sequel, I am merely using him as the best example. Am I to assume Frank Quitely and Grant Morrison are merely barrel scrapings? It irks me as a fan to be sure, but ultimately, I find that it sounds exactly the same as any person who has spent a lifetime in an industry and has decided that no one who comes after should bother even attempting to breath his air. It is petulant and uncalled for. For a gifted writer, he has chosen craven words. Why not just say what he really means and tell them how small their genitals are?
It ends up being a generational argument. We look fondly on the past and degrade the present and future. "Well I remember when..." only works when you continue to try and understand the contemporary landscape which Alan has chosen to ignore. It is also a horrible argument in consideration of the fact that Moore made his bones on characters that someone else created and that he attached his name to, not the other way around. Even Marvelman/Miracleman, Watchmen, and the League of Extraordinary Gentlemen are built on the backs of creators who, because of their creative output, never saw their lives improve to the extent that Moore did.
I am not suggesting DC is an innocent party. Every artist or writer working in comics today can probably lay out some kind of disagreeable circumstance they have encountered with a publisher of any level. However, DC is in a place where it would be inappropriate to respond. Alan Moore can say whatever he likes in the knowledge that DC and Warner Brothers in particular would never condone a one-on-one war of words with a single creator. The maxim "bad press is still good press" is absolutely absurd in that kind of situation. It would certainly help to have some clarity though. While Moore may believe that these are facts without repudiation, others may weigh in with a vastly different vantage point. As I said, I don't believe DC is lacking in responsibility for questionable tactics but I also do not doubt that Moore has his own share of blame to hold. We do not have solid facts, we have only Alan Moore's perception of events, his suppositions and assumptions. It is easy to take the side of the single man against the monolithic corporation, but it is getting to the point where Moore is eroding his own foundation. Moore's inability to hold the moral high ground in the press only serves to embolden his detractors. "
Look, to wrap this up I like Alan Moore as a writer, but lately I have found it very difficult to support him in his ongoing quest to destroy anyone who so much as breathes on his work. If I had had my books turned into horrible films like "The League of Extraordinary Gentlemen" I would want to wash my hands of the whole thing too. His actions are beginning to resemble a scorched policy by which no one but Alan Moore is righteous, and none shall sully his legacy. His insults towards Zack Snyder during the run-up to the Watchmen film adaptation were irritating, but ultimately pointless. It seems he is no longer satisfied with merely reacting. He is now engaging in a proactive barrage against anyone who takes money from DC comics. As I said in my letter, it feels hypocritical when he spent most of his life using characters that were not his to begin with or were analogues for characters he wanted to retool. You think Bob Kane liked Batman and Robin directed by Joel Shumacher?
I don't think Alan Moore is crazy, but I think he should stop kicking people off the island before he is the only one left on it.
my reaction
Basically, Alan Moore granted an interview to Adi Tantimedh regarding the current situation regarding of the status legal rights to Watchmen. This is an ongoing saga and the events below are only the latest in a long line of events that has seen Moore distance himself from an adaptation of his work in any form, distance himself from DC altogether, and recently to announce he was retiring from the comic industry as a whole. Moore had come forward before San Diego Comic-Con to announce DC had offered to return the full rights to Watchmen in exchange for signing off on any future Watchmen projects that would be completed by other creators on contract with DC. There was small amount of confusion as DC/WB already own full rights to Watchmen and would honestly never need his permission to go forward anyway.
The interview has caused quite a bit of uproar due to a number of accusations from Moore regarding DC's tactics in acquiring Moore's consent to various Watchmen projects as well as him belittling the current crop of artists and writers working for DC. I viewed Tom's article as more of a defense of Alan's mindset given the DC's treatment of the writer over his career. He argued that Alan should not be mocked or dismissed as crazy due to some personality traits and various rumors regarding Alan's personal life. While I agreed with Tom to that point, I could not agree with the nature of Alan's own tactics and treatment of friends and peers. As I generally push for clarity on all sides of an argument I wrote this regarding my own opinions of the interview:
"Hi Tom
I just wanted to take a couple of moments to respond to your piece which was itself a response to the interview with Alan Moore.
While I agree that Alan should never be dismissed out of hand, or mocked for that matter, I am beginning to lose sympathy for the man simply because he chooses to denigrate his peers while self admittedly ignoring the medium. I enjoy Alan Moore's writing and I have long been a supporter of Alan's stance to separate himself from adaptations of his work. "From Hell" and "League of Extraordinary Gentlemen" were terrible, and I certainly wouldn't want to be associated with them either. However, despite the history of problems between Alan and the DC/WB publishing hierarchy, the conversation has become increasingly one-sided.
Alan's beef is decidedly personal now and is taking form in an ugly one-sided exchange. His arguments are becoming increasingly narcissistic. I think DC killing Steve Moore's Watchmen adaptation has more to do with a marketing decision than any axe Paul Levitz and co. may have had to grind with Alan's phantom stranglehold over the property. He hangs Dave Gibbons and Steve Moore both out to dry making them look like pitiful characters, one to be pitied for his innocence and tragedy, there other to be loathed for his greed. If a friend of mine decided to eschew all tact and discretion in the face of a 25 plus year friendship, I don't think I could tolerate it.
Then he continues to throw baseless potshots at DC regarding their level of talent and marketable properties. While you dismiss it as a simple smack talk, he simultaneously insults everyone he has worked with in the past and in the present. Somehow Neil Gaiman, his good friend, and who still has a favorable relationship with DC is not top-flight talent? I am not suggesting Neil would ever consent to write a Watchmen sequel, I am merely using him as the best example. Am I to assume Frank Quitely and Grant Morrison are merely barrel scrapings? It irks me as a fan to be sure, but ultimately, I find that it sounds exactly the same as any person who has spent a lifetime in an industry and has decided that no one who comes after should bother even attempting to breath his air. It is petulant and uncalled for. For a gifted writer, he has chosen craven words. Why not just say what he really means and tell them how small their genitals are?
It ends up being a generational argument. We look fondly on the past and degrade the present and future. "Well I remember when..." only works when you continue to try and understand the contemporary landscape which Alan has chosen to ignore. It is also a horrible argument in consideration of the fact that Moore made his bones on characters that someone else created and that he attached his name to, not the other way around. Even Marvelman/Miracleman, Watchmen, and the League of Extraordinary Gentlemen are built on the backs of creators who, because of their creative output, never saw their lives improve to the extent that Moore did.
I am not suggesting DC is an innocent party. Every artist or writer working in comics today can probably lay out some kind of disagreeable circumstance they have encountered with a publisher of any level. However, DC is in a place where it would be inappropriate to respond. Alan Moore can say whatever he likes in the knowledge that DC and Warner Brothers in particular would never condone a one-on-one war of words with a single creator. The maxim "bad press is still good press" is absolutely absurd in that kind of situation. It would certainly help to have some clarity though. While Moore may believe that these are facts without repudiation, others may weigh in with a vastly different vantage point. As I said, I don't believe DC is lacking in responsibility for questionable tactics but I also do not doubt that Moore has his own share of blame to hold. We do not have solid facts, we have only Alan Moore's perception of events, his suppositions and assumptions. It is easy to take the side of the single man against the monolithic corporation, but it is getting to the point where Moore is eroding his own foundation. Moore's inability to hold the moral high ground in the press only serves to embolden his detractors. "
Look, to wrap this up I like Alan Moore as a writer, but lately I have found it very difficult to support him in his ongoing quest to destroy anyone who so much as breathes on his work. If I had had my books turned into horrible films like "The League of Extraordinary Gentlemen" I would want to wash my hands of the whole thing too. His actions are beginning to resemble a scorched policy by which no one but Alan Moore is righteous, and none shall sully his legacy. His insults towards Zack Snyder during the run-up to the Watchmen film adaptation were irritating, but ultimately pointless. It seems he is no longer satisfied with merely reacting. He is now engaging in a proactive barrage against anyone who takes money from DC comics. As I said in my letter, it feels hypocritical when he spent most of his life using characters that were not his to begin with or were analogues for characters he wanted to retool. You think Bob Kane liked Batman and Robin directed by Joel Shumacher?
I don't think Alan Moore is crazy, but I think he should stop kicking people off the island before he is the only one left on it.
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