ReZourceman Posted June 16, 2009 Posted June 16, 2009 Two pounds, seventy is a bit ridiculous. You should buy elsewhere/online/or something.
Paj! Posted June 16, 2009 Posted June 16, 2009 Forbidden Planet and that site Hapenstance linked to (that I joined) both have standard pricing at around £2.49 Shit considering the price of Essential X-Men and that, 3 issues for the same price.
Dan_Dare Posted June 16, 2009 Posted June 16, 2009 aye but those are reprints about 2 years behind right? These are brand new.
Paj! Posted June 16, 2009 Posted June 16, 2009 I know but still my money brain hurts. Wow, a great song title.
ReZourceman Posted June 16, 2009 Posted June 16, 2009 Marvel new solicitations. Some very interesting things. Spidey info is classified till next week. Hmmmm. Clone Saga too....not clear if its a reprint or re-telling but I think its a new thing. No idea. http://comicbookresources.com/?page=article&id=21603
gmac Posted June 17, 2009 Posted June 17, 2009 Official Press Release Berkeley, CA - In an unprecedented move, writer Robert Kirkman and illustrator Ryan Ottley have made a cryptic, semi-confident promise that INVINCIBLE #63 might be kind of a big deal for reasons they wouldn't say and plan to back it up with a special Wednesday shipment direct to comic shops! "All I'm saying is INVINCIBLE #63 reorders should be double or triple over all retailer's orders combined plus fifty thousand," Kirkman stated. "I even heard President Barack Obama might call a press conference to discuss the contents of this very special issue, because there may be something of national interest in there. Also, every newspaper ever could possibly make it a front page story. Who knows?! All I can say for sure is every single human being on the planet, regardless of whether they read comics or even know what they are, will definitely be extremely interested in this issue, maybe even enough to buy a copy!" INVINCIBLE #63 might even possibly be the biggest comic book event of all time, up there with The Death of Superman, The Death of Captain America, The Entirety of the Early Nineties and Action Comics #1! The only certainty is everyone must place a ridiculously massive order for a non-returnable product they may or may not make a profit on sometime in the near future. Or never. Don't ask - just buy it! You trust us, right? Added Image Comics Publisher ericstephenson, "There's a chance this could very possibly an event of undetermined importance, both for comics fans and people of all walks of life, with only the most passing familiarity with comic books , or even books, period. We can't really say what happens in this issue, but trust, something does happen. And it might even be something interesting. Best not to jinx it, though, so let's just go with, 'Something happens.' It's somewhat likely a number of people we have yet to identify will want one. " INVINCIBLE #63 (APR090384), a 32-page full color comic book easily worth around $500, but costing only $2.99, will be in stores June 17th, 2009.
Dan_Dare Posted June 17, 2009 Posted June 17, 2009 Bored and not tired. Been writing. Post. Summary. This scene is a flash forward. It takes place several months in to the timeline of the story, although I’m currently toying with the idea of putting this at the start of #1 to give a teaser of what Michael is heading towards before we head back to the start of the story when he is just a civilian. In the scene, Michael is being sent to Prague to retrieve a hard drive from a contact in the local D.I.C.E network. However, the pick up has been compromised and Michael is intercepted by hostile Russian intelligence agents. A chase ensues and ends with a display of super human power from Michael that allows him to escape. Page 1. 4 panels. Panel 1. The scene is a wide angle shot of Prague from above- the view of a low flying helicopter or a bird. It is about 5 O’clock in the evening; the light is not gone but a muted, late spring haze is over the city. A heavy sunset is reflected in the water of the city’s river. Dotted throughout the classical architecture of the city as we know it are newer, fictional buildings. This is Prague in the future (though not ages away) CAPTION: PRAGUE. THE CZECH REPUBLIC. Panel 2. We have zoomed in on the city. We are at street level. Across the street a man sits alone at a street café table. A coffee is in his hand and a rolled up newspaper on his table. His build is slight, unimpressive. His clothes are equally unimpressive- a meek businessman’s suit, though he is not cheaply attired. Clearly, he is not a man of action. He should be seen through a gap in a loosely defined crowd: Perhaps they are not as detailed, perhaps the colouring draws our eye. CAPTION (HQ): Last night at 22:00 hours our man in Prague made contact on the darkest line in the city. CAPTION 2 (Cont): Requested a top clearance crash meet today… Panel 3. Close up, eye level with the table. There is a small black case- a hard drive - inside the rolled up paper, hidden from view. CAPTION (Cont):…says it’s important. Considering what it takes to use that line in the network, we believe him. Panel 4. Our view is returned to the man at the table. His head is turned down the street and from behind his shoulder we follow his eyes. A figure is walking down the street towards him, a man. He is in the distance and remains indistinct. Little more than a silhouette, he nevertheless draws the attention of this frame. Like the man at the table, we are expecting him. CAPTION: (Michael): So why us… Page 2. 5 panels. Panel 1. In contrast to the man at the table, this second character looks far more dramatic. It’s Michael Heller. Dressed in civilian clothes (but let’s add a few layers. A top and a jacket we can use to look dramatic in the foot chase coming up.). He should also be wearing a leather satchel. His pose should be conveying an alert, measured stride while his eyes don’t miss a thing. CAPTION (Cont)…why bring our people in on this? Panels 2-4. A static repeat shot of the table: In sequence, the second man sits down, asks the first man a question,(though we don’t hear it, it should still be obvious they’re talking) and leaves with the newspaper in his hand. They have exchanged the hidden package (in to the satchel). CAPTION (HQ): If the network code is even half true then the package is hot as hell. Panel 5. As if through the eyes of a third customer at the café, we can see across the street past the tables and our attention is drawn to a van parked across from the exchange. With a non descript look, its placement is nonetheless loaded with meaning: they have been observed by a third party. CAPTION: And that means somebody knows it’s missing. Page 3. 6 panels Panel 1 Michael has rejoined the crowded street and begun to leave the area. Our view is above street level, looking over the cusp of buildings. He does not know it yet, but he is being followed. While the pedestrians should be indistinct, the man and a number of cars or men should be made clear. The effect should be, as is the case across the page, that we are viewing the world as he would- noticing the covert agents from amongst the crowd. CAPTION: (Michael) And if I am compromised? Panels 2-4 These panels convey that Michael knows that he’s been followed. A reflection in a shop window, a discreet shoulder check for a passing car, then a close up on his face as he confirms his suspicions CAPTIONS (HQ): If it goes South, Moscow won’t play nice. Get out. Note: this dialogue should be spread through the snap shots to flow with the action as fits Panel 5 Action! Michael bolts- The shot should be from behind, partially silhouetted by the setting sun as he barges past pedestrians heading down the street. CAPTION: Run! Panel 6 The shot pulls back- now, from below the rear passenger window, we see a car accelerating towards Michael in the distance. In the middle ground we should see one, perhaps two, men chasing on foot. Page 4. Panel 1 Wide angle profile shot of Michael running full pelt past some shocked civilians: This time the crowd should be in full detail, with one having just been pushed towards the ‘camera’ by the fleeing man, who should be turning his body back in to a sprinter’s stance after shoulder barging the bystander out of his way. Panels 2-4 Snapshot sequence again. Michael should slam on his breaks after an SUV cuts off ahead of him then, either with a face reaction shot or a cut to his legs turning, he should bolt in to the busy road CAPTION (Michael): If it gets bad... Panel 5 Overhead wide angle of the road: at the top of the frame, we have the side of the road our fugitive is running from and at the bottom, his destination. Michael has weaved in between speeding traffic. The road is wide and cars are fast! He should be about half way, with cars swerving to avoid or skidding out of control where he has dashed across. Back across the street, it should be obvious some of the pursuing men aren’t quite that crazy and they’ve stopped by the roadside. Finally, Michael should be lined up to be sprinting towards a car that’s parked in front of a distinct alleyway entrance. Panel 6 Wide frame again but this should be close up to capture a totally sweet Beastie Boys ‘Sabotage’ old school bum slide over the bonnet. Michael should look stressed, full of motion as, arms flailing he just flung his body weight over the car as hard as he can- towards the alleyway entrance out of shot. CAPTION (Cont)…if this goes to shit Page 5. Panel 1 Michael has entered the alleyway. He is running towards us, dominating the lower half of the panel- but looking back over his shoulder as two silhouetted G-men block his escape and begin to draw their guns from holsters under their jackets- raised but not aimed. CAPTION (Cont): Are we talking breaking the Post Protocol? [N.B. PP is an operational code under which post human abilities are reserved for only the direst situations in order to maintain secrecy etc] Panel 2. Michael has stopped and turned: he screwed up and ran in to a dead end. In a reverse of the previous panel, the foreground is dominated by the silhouette of one of the men blocking off the exit- we should see his leg and lower arm as the low angle shot throws the fugitive in to stark relief against a blank brick wall. He has pirouetted to face his enemies (who by now should be levelling their guns to aim but not firing) throwing his arms down and away from his body as he spun. We see him at the end of this action. Along the floor, various newspapers and urban detritus litter the ground. CAPTION (HQ): rest assured you have permission. Panel 3. Almost from the same angle, only tilted sharply to the rooftops of the buildings penning in the scene. The twist of this sequence is revealed! With a force that has smashed the concrete under his feet, Michael jumps up to the rooftops. He should be at the apex of his jump in ‘hang time’ with the agents below him reeling in shock. CAPTION: If you do what you do Page 6. Splash. Michael lands on the rooftops in a crouch. His landing should be heavy and dramatic, with maybe one hand on the ground, one out stretched for balance. The effect of this page should be to create massive contrast: he needs to look as super human as possible because on the next page he is back to his previous, unpowered life and it needs to show. CAPTION: Those Kremlin fucks won’t know what hit them. CREDITS Page 7 Panel 1 Overhead shot of Michael waking up in bed. Because the previous pages should be full of warm brick reds and sunset colours and the old architecture of Prague, this bedroom should be very clean, modern and dominated by cold colours like blue and white. Pale light crosses the bed in beams, coming through the curtains. CAPTION: Berlin, Germany. Six months ago. CAPTION [Michael]: Good Morning. Panel 2 Michael in the shower. Close up of his head and shoulders with his head bowed under the showerhead and one arm against the wall. His hair should be coming down over his face. Again, cold colours dominate- metallic silvers and white ceramics. CAPTION: The Name’s Michael Heller. I’m a graphic designer. Panel 3 We’re in the kitchen/ dining area of Michael’s apartment. In the foreground, a newly delivered newspaper carries the headline EU RALLIES AGIANST MOSCOW or words to that effect- depending on how the paper is drawn. (It should be folded) Panel 4. Michael getting ready- dressing in trendy summer/ spring smart casual clothes. A polo shirt and light work trousers. CAPTION: I came to Berlin for a job and a woman. The job’s great… Panel 5. Side on profile (wide angle shot maybe) Michael is standing, leaning back, half sitting on the edge of the kitchen surfaces reading the front page with a coffee in his left hand (we’re on his right) with a tech looking TV in the wall. The News is on. TV: Nearly two years after the establishment of the Civil Quarantine Zone, the U.S State Department today announced… CAPTION: …and I try and keep out of trouble these days.
ReZourceman Posted June 17, 2009 Posted June 17, 2009 Yeah its the most gruesome cover ever. LOOK AT HIS FUCKING ARM!!!! Final covers text is red though. Makes it look even more bloody/horrific.
Dan_Dare Posted June 17, 2009 Posted June 17, 2009 They were superb. The X Men never looked so superhuman. Can't wait for Invincible. Definitely going to town tomorrow.
chairdriver Posted June 17, 2009 Posted June 17, 2009 I loved how Emma's costume fit with the theme, but was so unique.
Paj! Posted June 18, 2009 Posted June 18, 2009 I just love how concise and stunning that team was. All the essentials, and one joke that went on to become one of the most popualr X-Men in years (Emma. Though she was in Generation X for years before). "I intend to have myself valued." - a line that shouts "great" at you. It felt like Morrison chose the ones he liked, and cast off the shits to X-Treme and Uncanny.
ReZourceman Posted June 18, 2009 Posted June 18, 2009 This is why I can't stand IGN comic reviews. But don't make the mistake of underestimating Matt Fraction's Iron Man serial What? Who the fuck is underestimating this comic? Its been critically acclaimed by everyone. They just talk total shit in their reviews, because they think it sounds cool, or pads out the review. It actually makes me mad.
Dan_Dare Posted June 18, 2009 Posted June 18, 2009 That's out today innit? are some trades out for the series? I dearly want to own some. INVINCIBLE! FRUNK! town later.
Dan_Dare Posted June 18, 2009 Posted June 18, 2009 Irredeemable trade coming out with #5 for $11 Ace. Must own.
ReZourceman Posted June 18, 2009 Posted June 18, 2009 Wow, I might even have issue 1 by the time that comes out. Invincible and The Sword are in, so now I'm just waiting for; Chew (still....apparently this time it was sent to the Netherlands) Irredeemable Wolf-Man variant. *Sigh* The Wolf-Man I'm pissed off about. The longer I leave it, the more difficult it is to get. I know its not really his fault though, in his defense.
chairdriver Posted June 18, 2009 Posted June 18, 2009 I just love how concise and stunning that team was. All the essentials, and one joke that went on to become one of the most popualr X-Men in years (Emma. Though she was in Generation X for years before). "I intend to have myself valued." - a line that shouts "great" at you. It felt like Morrison chose the ones he liked, and cast off the shits to X-Treme and Uncanny. I love "I'm a teacher too." An obvious lie, and just highlights how obvious it is that she's a mutant.
Dan_Dare Posted June 18, 2009 Posted June 18, 2009 no no no no no no no no noooooooooooooooooooooooooo! NOOOOOOO!!!
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