Marvel vs DC: Science Has The Answers


From Movie Web

A new scientific study finally explains why Marvel does so much better at the box office than DC and the results aren't exactly what you'd expect. Fans of the franchises and critics seem to have their own theories as to why one is better than the other and some will even argue that DC makes better movies, but the topic almost always ends up in an argument about who's better, from the comics to the cinematic universes. This new study aims to put those arguments to rest and explain why Marvel comes out on top using a technology called Affectiva.

A new study done by ZappiStore, an automated research tech provider, claims that Marvel does better at the box office because they are able to emotionally engage their audiences better than DC can. The study was conducted using Affectiva, which when partnered with a standard web camera, can effectively measure facial expressions on a moment by moment basis in real-time. The subjects were shown Marvel and DC movie trailers while being watched by the Affectiva software and monitored the emotional engagement with the viewers.

Though the participants were only shown the trailer for the movies, there was a lot of data to be collected. For instance, DC movies seemed to get their best response when something utilizing CGI and other special effects were shown on the screen. However, there was not a lot of movement at all when the DC characters were present on the screen alone. Marvel movies on the other hand, were able to get positive reactions during all points of the trailers, including special effects and character emotional engagement. Humor was also a deciding factor in showing the emotional depth of the Marvel trailers, showing that overall, they resonated far better than the DC trailers.

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Coming Soon From Dark Horse - StarCraft: Scavengers


Four-Issue "StarCraft: Scavengers" Series Set to Release in 2018

Dark Horse and Blizzard Entertainment are excited to announce a new four-issue comic series: StarCraft: Scavengers. This comic series is the latest addition to Dark Horse and Blizzard Entertainment’s line of critically acclaimed publications, preceded by The Art of Overwatch, Overwatch Anthology: Volume 1, and World of Warcraft Chronicle (volumes I and II).

Writer Jody Houser (Mother Panic, Faith) and artist Gabriel Guzmán (Star Wars) join forces for StarCraft: Scavengers, a new comic series further exploring the expansive universe of Blizzard's acclaimed science-fiction real-time strategy game series.

In StarCraft: Scavengers, a group of terrans hopes to pull off the job of their lifetimes: pillaging a derelict protoss ship in a decaying orbit above an uninhabited planet. The scavengers' dangerous mission is seen from the point of view of a young, inexperienced engineer. The team must scavenge the ship’s priceless tech before it burns up in the planet’s atmosphere, but can they beat the clock and avoid being busted by Dominion police forces?

Originally released by Blizzard Entertainment in 1998, StarCraft is a real-time strategy game that chronicles the interstellar war between three galactic species: the protoss, the zerg, and the terrans. The saga continues in the acclaimed sequel StarCraft II, which is now available free-to-play—including the epic, award-winning Wings of Liberty™ campaign.

The first issue (of four) of the StarCraft: Scavengers comic series goes on sale July 25, 2018, and will be available for preorder at your local comic shop soon. Watch DarkHorse.com for more information.


Submitted for your approval, a planet where Apes evolved from Man?


In Celebration of the Film’s 50th Anniversary
Discover Rod Serling’s Unproduced Script For The Iconic Film
Brought To Life For The First Time in August 2018

BOOM! Studios and 20th Century Fox Consumer Products announce PLANET OF THE APES: VISIONARIES, a new Original Graphic Novel, releasing in August 2018 as part of the 20th Century Fox Uncovered collection. BOOM! Studios searched the 20th Century Fox film archives and unearthed the first screenplay for the original Planet of the Apes (1968) movie, written by Rod Serling, and adapted into comic book format for the first time as a part of the 50th anniversary celebration of the film.

The first Planet of The Apes (1968) film is an adaptation of the French novel La Planète des singes. On the road to making the landmark science-fiction classic, 20th Century Fox commissioned Rod Serling to adapt the source material. Serling’s first draft, which was drastically revised before filming, is a radically different vision of the franchise than the one the world has come to know and love.

Now, for the first time in any medium, that vision is fully realized as a graphic novel with PLANET OF THE APES: VISIONARIES from acclaimed actor/comedian/writer Dana Gould (The Simpsons) and Chad Lewis (Avengers Origins).

This is the world you know from the acclaimed Planet of the Apes film series, but with key differences – Taylor is Thomas, and Ape City isn’t a crude, primitive grouping of huts; instead, it’s a bustling and urbane metropolis filled with cars and skyscrapers and a vibrant Ape culture. In a world where Apes wear modern clothes, drive modern cars and rule the late night talk show scene, the arrival of one man will forever change how Apes – and Humans – view themselves.

Using the original 1966 makeup test and concept art as a jumping off point, discover an all new, yet classic “look” to the classic franchise in PLANET OF THE APES: VISIONARIES which also features a stunning cover by Eisner award-winning superstar Paolo Rivera (Daredevil). This landmark graphic novel continues the year long celebration of the Planet of the Apes 50th Anniversary at BOOM! Studios, which has included all new comic book series, coloring books, archival collections and more.

“Planet Of The Apes meant as much to me growing up as baseball means to most kids. No lie,” said Dana Gould. “That I’m now able to be involved with this universe in a creative capacity, much less adapting the original Rod Serling script… I mean, Rod Serling! I am incredibly grateful to BOOM! Studios for this once in a lifetime opportunity.”

“PLANET OF THE APES: VISIONARIES is a dream project because it combines my love of retro sci-fi fi and anthropomorphic characters,” said Chad Lewis. “There’s nothing better than drawing human emotions on gorillas and chimps! Dana has deftly translated these great characters and world into the graphic novel format and it’s a joy to illustrate every corner of the rich universe.”

PLANET OF THE APES: VISIONARIES is the latest release from BOOM! Studios’ eponymous imprint, home to a world-class group of licensed comic book series and ambitious original series, including Mighty Morphin Power Rangers, WWE, Big Trouble in Little China, Victor LaValle’s Destroyer, Mech Cadet Yu, Grass Kings, and Klaus.

“For every Planet of the Apes fan that’s wanted to see what Rod Serling’s original film would’ve looked like and the team on this graphic novel will blow you away,” said Dafna Pleban, Editor, BOOM! Studios. “Dana Gould and Chad Lewis having lovingly adapted the ambitious, original plan for Planet of the Apes film into a graphic novel that speaks to the timeless, unflinching themes of the franchise while offering an entirely new vision of familiar faces.”

Print copies of PLANET OF THE APES: VISIONARIES will be available for sale in August 2018 at local comic book shops (use comicshoplocator.com to find the nearest one) and book stores. Digital copies can be purchased from content providers, including comiXology, iBooks, Google Play, and the BOOM! Studios app.

For continuing news on PLANET OF THE APES: VISIONARIES and more from BOOM! Studios, stay tuned to www.boom-studios.com and follow @boomstudios on Twitter.


The Giant Gila Monster Invades Feudal Japan In "Koujin"


Here's one for all you giant monster maniacs!

Here is the trailer for a new made for TV Japanese kaiju movie, KOUJIN. Directed by Zennosuke Matsuura, and starring Yuki Uchida, Takehiro Hira, Yuta Hiraoka, Shingo Yanagisawa, and Yasuo Daichi.

Synopsis: The story takes place in 1700’s Northern Japan after the war. A boy, after getting attacked by some strange monster, escapes to the nearby village where Ayane lives and warns the villagers that the monster is approaching. The village residents start trying to find a way to protect their village. Meanwhile, Ayane’s brother has a conspiracy to control the monster and use it. As the story goes on, we find out exactly how the monster was created and the cruelty some humans are capable of.

New Tank Combat Story "World of Tanks: Citadel"


From Dark Horse Comics

Eisner Award-winning comics legend Garth Ennis (Preacher, Punisher) and artist PJ Holden (Warhammer Monthly, Johnny Woo, 2000 A.D.) once again take command for a new action-packed miniseries inspired by Wargaming's massively popular online game World of Tanks!

World of Tanks: Citadel serves as a prequel to the previous Roll Out miniseries. Set before D-Day, World of Tanks: Citadel follows two opposing tank crews—one German, one Soviet—as they fight for survival in the Battle of Kursk during World War II. The German tankers, led by tank commander Kraft, find themselves deep behind enemy lines and cut off from the rest of their unit. Meanwhile, the Russian tank crew finds themselves at odds with the war and with each other as they embark on a dangerous and uncertain mission.

World of Tanks: Citadel #1 goes on sale May 9, 2018, and is available for pre-order at your local comic shop. All single-issue comics will include a code for an in-game item.

Praise for World of Tanks: Roll Out

"So, whether you’re fan of [war] comics already, or you’re just picking one up for the first time, World of Tanks: Roll Out is about as exciting as it gets."—All-Comic

"Ennis also does a good job of making sure to represent both sides of the conflict, mirroring the British troops' struggles by simultaneously showing things from the perspective of a German Panzer crew. The similarities between the two sides are highlighted, as are the differences, and it makes for a far more balanced and enjoyable story as a result."—Big Comic Page.




L3-37: A Poster Bot For Droid Rights


From Inverse

Being a droid in the Star Wars universe seems like it sucks. Sure, R2-D2 can talk back to Luke, but for the most part, we see droids like C-3PO and Rogue One’s K-2SO, two fully-formed personalities who had their minds erased on the whims of their human owners. But Lando Calrissian’s droid in Solo: A Star Wars Story is different, in part because she’s technically not Lando’s droid at all.

L3-37, the droid co-pilot played via motion-capture by Phoebe Waller-Bridge, is self-made, according to Entertainment Weekly, which published an article about the character on Thursday.

“She’s a self-modified droid,” script writer Jon Kasdan explained “The idea is that she’s sort of a mutt, if you will, of various parts of different kinds of droids who has improved upon herself.”

“She’s a complete individual in the galaxy,” he continued. “We wanted to have it be a completely different kind of droid than you’ve ever seen in the movies. And we definitely wanted it to be a female.”

While having a female-identifying droid is new for the Star Wars films, which have almost exclusively featured male droids or droids without an established gender, L3-37’s status as a DIY droid without an owner is intriguing. Certainly, it will make her relationship with Lando interesting, as the pair will be on equal footing. The pair look friendly in the trailer, and Kasdan said L3-37 has “a working relationship with Lando, and it’s very sophisticated and informed by years of working together.”

But L3-37’s status as a self-made, self-owned being really highlights how all the other droids in Star Wars are, ultimately, things to be bought and sold. L3-37 blurs the already strange line between droids as “people” and droids as property. What allows L3-37 to exist in society as an individual of her own accord, and what’s stopping somebody from claiming ownership of her or junking her. Perhaps she’s only able to do her thing because Lando is an exceptionally chill dude in the glaxay when it comes to droid rights?

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Dia duit Obi-Wan Kenobi


Belfast will be the centre of the Star Wars universe when the latest spin-off from the movie franchise is filmed there in 2019.

Staff at the city's Paint Hall studios in the Titanic Quarter have been told that once production on the final series of Game Of Thrones finishes later this year, the legendary sci-fi saga will be coming to town.

Star Wars creator George Lucas was in Belfast before Christmas checking out locations for a new stand-alone film centring on the life of Jedi Master Obi-Wan Kenobi - with Ewan McGregor reprising the role he first played in 1999 prequel The Phantom Menace.

There has been speculation the film will be directed by Stephen Daldry whose hits include Billy Elliot, The Reader and hit TV series The Crown.

Movie mogul Lucas was pictured eating out in swanky Holywood restaurant Noble during his short Belfast visit. The snap led to frenzied speculation as to why he was visiting the city.

It's understood that it was to give his seal of approval to the latest Star Wars spin-off being shot in Northern Ireland - a move that will pump millions of pounds into the local economy.

Lucas spent part of his time here last November being given a guided tour of the Paint Hall studios. Paint Hall sources said Lucas was hugely impressed by the Belfast studio.

"We've been told there will be work throughout 2019 because Star Wars is coming to Belfast," said an insider.

"It was all very low key, only a few people knew that the old guy walking round the set was George Lucas. It was only when we were told about Star Wars coming here next year that it dawned on us that was why he was here before Christmas."

Source

Dominion: Tank Police (1988): Guns, Tanks, Violence, Urine, and Sexy Puma Girls


Written By: Ken Hulsey

Imagine a future where hospitals only treat healthy people, the two sexiest women in town are part android, and the criminals are so extreme that the police department has to resort to using tanks to fight them. Such is the world of Newport, Japan, a fictional city that serves as the backdrop for Koichi Mashamoto's 1988 four part anime, "Dominion Tank Police."

See Also: Fight!! Iczer-One Volume 1 - Acts One & Two - VHS Tape - US Renditions

As the story begins we learn that the "Tank Police" have been getting into a little trouble as of late. It seems that they have been doing more damage to the city of Newport than the criminals have. This hasn't been sitting too well with the local government, who have begun a campaign to eliminate the them. It seems that the very people who have been entrusted to keep the peace have they themselves become more of a menace than the low-lives that they were created to combat.

Enter Leona Ozaki, formally of the motorcycle division, who has requested a transfer to the "Tank Police" because she....well ..thinks tanks are cute.

Now, the last thing that the leader of Newport's Tank Division, Charles Britain, wants is some girl distracting his testosterone filled officers. So, the savvy commander puts the young Leona behind the controls of the largest tank in the corp. It is his hope that the machine will be too much for her, and she will be scared back to her motorcycle.


Here is where we meet up with those, "extreme" criminals that the "Tank Police" were created to stop. Buaku is the leader a small gang who generally specializes in bank robbery and general mayhem. His two counterparts are the sexy felines AnnaPuma and UniPuma, who were originally created as android "love dolls" who evolved beyond their programing to enter into lives of crime.

Buaku has come up with a ingenious plan to break into a local hospital to steal urine samples for a mysterious crime boss known as Mr. Big. He has hidden a machine gun under a fake cast in which he uses to shoot up the hospital as steel the....um.....pee.



Everything is going fine until the ambulance that they have stolen crashes into the back of Leona's monster tank. Britain becomes incensed that his precious tank has been scratched and Buaku is forced to blast him. Britain survives the blast and the "Tank Police" take off in "hot pursuit". Leona destroys the ambulance with a lucky shot and Buaku escapes with the Puma Sisters into the night.


After her experience with the monster tank, Leona decides to build her own mini-tank from spare parts she finds behind the police station garage. She calls her new creation, "Bonaparte" and with Britain's blessing, Leona and fellow officer, Al Cu Ad Solte, use the the tiny tank to wage their own personal war on Buaku and his gang.

To counteract Leona's constant attacks, the mob boss, "Mr. Big", supplies Buaku and Company with their own tanks that deploy anti-tank weapons shaped.....like.....um....giant penises.

As you can imagine, there are plenty of comedic hi jinks after that point.


This is where the series makes an interesting change from a more comedic story to a very serious and philosophical one.

We find out that Buaku was apparently a "test dummy" for something called "The Greenpeace Crolis Project".

Somehow Buaku managed to escape the destruction when government agents raided the companies lab and destroyed everything except for encoded data disguised as a nude portrait of himself.

Buaku steels the portrait and breaks into the remains of Greanpeace lab to try and figure out exactly who he is.



A very deep ending for a series that started out on such a whimsical tone.

The animated version of "Dominion: Tank Police" would serve as a prequel to the1985 two volume manga series that was written and illustrated by Masamune Shirow.

The series would prove to be so popular that it would spawn two sequels, "New Dominion Tank Police" and "Tank S.W.A.T. 01"

In the later series, the Puma Sisters actually join the "Tank Police", much to Leona's displeasure.

California Book Ban Threatens Religious Freedom

Written By Terri Pressley

A very disturbing law was passed in the state assembly on Thursday, April 19th by a vote of 50-18. It is AB-2943 Unlawful Business Practices. Under state case law, *“the language used in a statute or constitutional provision should be given its ordinary meaning, and ‘[i]f the language is clear and unambiguous there is no need for construction, nor is it necessary to resort to indicia of the intent of the Legislature."

Under the plain meaning rule as described in Valencia, this statute would prohibit a bookstore from selling a book in which a Christian author urges people to repent of sexual immorality, including homosexuality, and to take their strength in the sacrificial love of Christ. Such a position is orthodox in Christian teaching. (See Romans 1:24-26). But more importantly, the plain and ordinary meaning of the words used in the statute will likely lead to the banning of books offering orthodox Christian teaching on human sexuality. We can hope that the courts would strike such a statute as a violation of the First Amendment. They should. But fidelity to the law has proved to be a fickle thing in these last few years and we ought not to assume anything. And could the Bible be next on the list of Christian books removed from store bookshelves? I would like to ask all believers in the High Desert (Victorville, Apple Valley, Hesperia, and Adelanto) to not only to pray about this, but to act! Call and write our legislators and tell them you oppose this law! Let us stand together in Christ for the good of the High Desert!

Jay Obernolte (R) State Assembly District 33
(760) 244-5277
Scott Wilk (R) State Senate District 21
(760) 843-8414

* (in the case of a statute).” People v. Valencia, 3 Cal. 5th 347, 357, 397 P.3d 936, 944 (2017), reh’g denied (Aug. 30, 2017).

Moebius and Beyond: An Introduction to European Comics


Shea Hennum (Paste Monthly)

The State of European Comics in the United States

Generally speaking, three geographic markets rule comics: the United States, France/Belgium and Japan. Though each of these markets features a diverse spectrum of style and stories, each also has its own unique dominant modes of distribution and dissemination, and follows and reflects a unique aesthetic tradition. America usually publishes comics in 8-by-11-inch pamphlets while Japan uses huge manga magazines sometimes collected into 5-by-7-inch books. In the Franco-Belgian territory, though, comics are typically released in albums—8.4-by-11.6-inch bound books that tend to run approximately 50 pages. Each of these formats helps to shape certain visual traditions and expectations of the media. The fact that Eiichiro Oda’s best-selling manga One Piece comes out in cheap magazines on a weekly basis means it can occupy 250 pages with a single fight; the glacial pace at which American comics are sometimes released may preclude that indulgence. In France, however, it’s not uncommon for only one album to be released every year; sometimes, series would only see one album every several years, as its author or authors became busy with another character, series or story.

Moebius, the subject of Dark Horse Comics’ most recent Library series of career-encapsulating hardcovers, represents the apotheosis of Franco-Belgian comics. When he died in 2012, Moebius (born Jean Giraud) left behind a body of work that spans nearly 60 years. He produced humor comics, autobiographical comics and, most famously, was responsible for some of the most influential science fiction and western comics of all time. His thin, complex lines, imaginative vision, and versatility as an artist and storyteller have been praised by the likes of George Lucas and Federico Fellini, and he exerted an incredible influence on comics, cartoons and film around the world, including pop culture touchstones like Akira and Blade Runner.

Other European cartoonists have proven similarly influential, including Italians like eroticists Guido Crepax and Milo Manara and serial adventurist Hugo Pratt, as well as Spanish artists including Jordi Bernet. But while these European titans have inspired American cartoonists for years, the availability of their work has proven spotty (at best).

Beginning in the late ‘70s and continuing into ‘80s, outlets like Heavy Metal (an American version of Moebius’ French magazine, Metal Hurlant) translated the work of Philippe Druillet, Philippe Caza, Tanino Liberatore and others. Raw magazine, edited by Art Spiegelman and Françoise Mouly, made similar attempts, translating the more avant-garde works of creators like Joost Swarte, Jacques Tardi and Lorenzo Mattotti. Marvel, through its ‘80s creator-owned Epic line, even began The Collected Fantasies of Jean Giraud, an 11-volume set attempting to collect Moebius’ oeuvre.

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