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Old Vampires Never Die …!

It’s only taken two decades, but the publicity campaign for the two issues of Rune that I wrote is finally hotting up!

That’s right! Two issues of Rune (that I blogged about writing, HERE) were recently the subject of not one; and not TWO; but THREE podcasts by the illustrious Professor Alan!

You can listen to Prof Alan’s assessment of Rune #4 HERE.

Rune Volume 2, #4

And you can listen to Prof Alan’s review of Rune #5 HERE.

Rune Vol. 2 #5

And then you can listen to Prof Alan interview ME about both those books (and other comics stuff, besides) HERE!

And for a really deep dive, be sure to check out my original comic scripts for these issues of Rune!

Barry Windsor-Smith's Rune

There you have it … all the Rune you can stand … and a blast from the past in the form of a contemporary interview about work I did in the 1990s. Gotta love the internet! And you gotta love Prof Alan for exhuming my stuff from the Quarter Bin.

Thanks, Prof!

Top Five Ultraverse Comic Book Movie Properties

Longbox Graveyard #112

Editor’s Note: This week’s guest blog is a special treat — a look at the buried treasure that is the Ultraverse from two men who were there at the start! Along with a host of high-powered comics creators, Chris Ulm and Tom Mason played critical roles in the foundation of the Ultraverse, which might just be the greatest comic book universe you’ve never heard of! In an age where Marvel is bringing Ant Man and the Guardians of the Galaxy to the movie screen, the time may be right for the Ultraverse’s return!

Take it away, Chris & Tom!

Hey, Disney executives and producers with a Disney deal in your hand or a desk on the lot — have we got some ideas for you! As you know, your Marvel Comics properties are all locked up and tied together to create a Marvel Movie Universe that mirrors the founding comic books.

Ultraverse!

But, if you look on the fringes of Marvel’s super-hero properties, you’ll find a few gems in the Ultraverse, a universe of comic books that Marvel purchased from Malibu Comics back in 1994. There are several titles that could be pulled out to start their own tentpoles separate from the Marvel Universe.

Here (in no particular order) are our top five!

Mantra

Mantra, Adam Hughes

Creator: Mike W. Barr, debut issue pencils by Terry Dodson

High Concept: Ancient Warrior Knight Reincarnated In The Body Of A Soccer Mom!

There’s nothing you guys love more than a body-switching movie. It’s been a reliable box-office performer ever since Freaky Friday. Sometimes, you have such a switch-crush that you’ll make two of them in the same year. In Mantra, an eternal warrior named Lukasz is killed but reincarnated into the body of a woman, Eden Blake. Now, you’ve got a manly-man warrior with the attitudes of a guy from centuries before stuck in the body of a single mom with two kids and an ex-husband. However you pitch it, it’s Highlander meets Switch and that’s either comedy gold or high drama.

Firearm

Firearm

Creator: James Robinson, debut issue pencils by Cully Hamner

High Concept: Film Noire Detective Hunts Super-Heroes

Too many super-heroes? That’s what the so-called pop culture critics say. Somehow four super-hero movies in one year is too much for them and they need more idiotic rom-coms or weepy historical dramas instead. If you’re one of “those” people, then Firearm is your antidote: he hunts super-heroes. He’s no angry vigilante, though. He used to be in a British secret agency called The Lodge, but he “retired” and moved to California to set up shop as a private eye. But his cases are far from normal and usually involve crossing paths with both good and bad super-heroes, including the super-hero serial killer called Rafferty.

Prime

Prime, Boris Vallejo

Creator: Gerard Jones and Len Strazewski, debut issue pencils by Norm Breyfogle

High Concept: Boy Living In A Man’s Body

The big man of the Ultraverse, he’s Superman and Captain Marvel all in one. A boy named Kevin Green transforms himself into a super-hero by “building” a super-strong hero shell around himself. The shell is built from organic liquid skin that ejects from his body. And when he transforms back, the body withers and spits him out. But that’s not the best part — he’s super strong and has basically all the powers of Superman, but he’s controlled by Kevin, a 14-year-old boy, with a boy’s experiences and emotions. So the world’s most powerful super-hero is an inexperienced, hormonally-charged teenager. The teenager never goes away — he’s always trying to masquerade as an adult. Once again, that’s either comedy gold or high drama.

Rune

Rune, Barry Windsor-Smith

Creator: Chris Ulm and Barry Windsor-Smith, debut issue pencils by Barry Windsor-Smith

High Concept: Twisted Twilight

Rune was a walk on the dark side. Rune, an ancient energy vampire, had many guises through the history of mankind: alien, sorcerer, beast, god, devil. Now he is dying of cancer and only the blood and energy of super-humans can stave off imminent death. Rune has it all: secret societies, government conspiracies, teenage romance and a story that spans the history of humanity.

The Strangers

The Strangers, Rick Hoberg

Creator: Steve Englehart, debut issue pencils by Rick Hoberg

High Concept: Passengers Assemble!

Random passengers on a cable car get struck by energy and find themselves changed beyond recognition, with strange powers. Who becomes a hero? Who tries to hide? Who uses their newfound powers for evil? These are the questions that drive the strangest collection of super-heroes ever assembled. While suited to film, this property seems tailor-made for episodic television in the tradition of Lost or Under The Dome, with seemingly random characters thrown together, and then tested in the crucible of paranormal circumstances!

Malibu Comics Co-Founders

Malibu Comics Co-Founders Tom Mason, Chris Ulm, Dave Olbrich, and Scott Rosenberg at their 2012 Comic-Con Reunion

Drawing from classic super-hero comics, hard science fiction, horror and epic fantasy, the Ultraverse was known for its epic premises and imaginative takes on classic tropes. Many of the best concepts could not have been realized as movies because the state of the art for CG was not up to the task in 1993, and the audience was not sufficiently literate in all things comics. Now, that’s all changed — comic books drive box office world wide and it’s about time the strange and wonderful corridors of the Ultraverse were explored on the silver screen!

Are you listening Disney?

About The Authors:

Chris Ulm was a co-founder of Malibu Comics and the Editor-In-Chief of the Ultraverse, which was based on his original development. He co-created the Ultraverse title Rune with artist Barry Windsor-Smith. Chris Ulm is now CEO and co-founder of Appy Entertainment, a leading mobile games development studio.

Tom Mason was a co-founder of Malibu Comics and the company’s Creative Director. He co-created the Ultraverse title Prototype with writer Len Strazewski. Mason is currently an Emmy-winning writer-producer in the big, wide world of television.

Thanks, Tom and Chris, for making your case why the Ultraverse is ready for its close-up! What do you think of their list? Did they forget your favorite Ultraverse character? Should Marvel go with their own C-list characters rather than develop these Ultraverse properties? Does the loyal devotion of Facebook’s Ultraverse group indicate the Ultraverse still has the capacity for mass appeal? Sound off in comments, below!

IN TWO WEEKS: #113 Ben Urich: Role Model in a Sea of Heroes

LONGBOX GRAVEYARD TOP TEN LISTS

Glorious Bastards

Longbox Graveyard #22

Five whole boxes in the Longbox Graveyard contain cherished books that have been separated, indexed, bagged, and boarded.

Another two or three boxes contain books waiting in line at Ellis Island.

Ten boxes are full of dross.

And then there are the five boxes full of my own stuff. “My own” meaning books that I wrote.

These boxes are freighted with old memories, but I’ve done little besides take quick little Pandora peaks at them these past twenty years.

nice ink job on this cover by future Marvel Comics bigwig Jimmy Palmiotti

I worked for about four years to break into the mainstream comics business by writing black & white comic books for Malibu Comics and it’s various imprints. At first I did series of my own creation, then later wrote scripts for properties Malibu owned. I learned a lot about myself as a writer, but like a lot of comics from this era, few of my books got much traction. For the most part, I’ve locked the books away as a means of keeping those ghosts buried. Most of the reasons why I got out of comics entirely, both as a pro and a fan, stem from those hard days working flinty soil as a comics writer in the early 1990s.

But something about working through other parts of the Accumulation gave me the courage to tackle my own books. It wasn’t even a gradual coming to terms — it just sprung on me in the middle of the night, a sudden and nearly irresistible urge to organize and catalog just the books that I had personally written during my brief career as a comic book writer. It was like bagging and boarding five hundred books from other creators made me want to see my own work afforded similar ceremonial respect.

I restricted myself to organizing and indexing books in this pass — I’m not ready to read them just yet. But this is a huge step for me. It’s like acknowledging a pack of bastard children, and if it is too late to actually tend to their rearing, at least I can start to form relationships with them now that they’re grown.

Here’s an alphabetical and incomplete list of what I wrote, based on what I’ve been able to find and enter into my database.

BadAxe #1-3: My original sword and sorcery epic, and a love-note to Joseph Campbell. I have fond memories of this but I haven’t tested them by reading the books.

Bones #1-4: First comics I ever wrote. Light, goofball fantasy. I remember it as uneven, but heartfelt.

Empire #1-3: An original space opera that I deeply loved, but poor inks trumped good pencils in the first issue, and the book met with untimely cancellation.

Ex-Mutants Winter Special #1: I turned in my scripts every thirty days, and sometimes we’d get way ahead of schedule and end up printing a book or two as a special edition, or an annual, or a double issue. I think that’s what happened here.

Ex-Mutants: The Shattered Earth Chronicles #1-15: Grind-it-out work-for-hire. The check I got for issue #1 was the most I was ever paid to write a comic. For most books I never got paid beyond my advance-against-royalties (because most Malibu/Eternity books never generated royalties!). For that first Ex-Mutants I probably made six or seven hundred dollars, which was two or three times what I made on any other book.


Heavy Metal #645: An outlier from 2005 — everything else here is from the early 1990s. A promotional story I helped create to launch Darkwatch, a video game I co-created for High Moon Studios.

Interactive Comics: Dudley Serious & The Dungeon of Doom #1: Our splicing of comic books and “pick a path” adventure books. We also did Dudley Serious & The Space Patrol and Dudley Serious Saves The World (a superhero spoof that you can read online HERE).

Lensman #1-6: I thought some Lensman would be better than no Lensmen at all, but I ended up underserving a great genre tradition. I loved space opera and leaped at the chance to do this series, but it had to be based on a pretty crappy Japanese animation series (rather than the original books). Not great.

Lensman War of the Galaxies #1-2: Really just a continuation of Lensman, but we started a new series to juice sales numbers owing to a new #1.

The Liberator #1-6: Along with Bones, the first series I ever wrote. My homage to Captain America, by way of Alan Moore. I’m afraid to read it! Pencils by my old pal Jim Chadwick, who is an editorial wheel over at DC Comics now.

Monster Frat House #1: I remember writing a dynamite series bible for this, and then just having nothing left when it came time to write the issue itself. This was a naked IP pitch for animation, or something. Fizzled.

New Humans Annual #1: See comments above for that Ex-Mutants special.

New Humans, Volume 2 #4-15: Another long run that I can scarcely remember. This was more work-for-hire in the Ex-Mutants universe.

Paranoia #1-6: Certainly the best art I ever had on a book, and a rare color book for me (pretty much everything else here is black & white). This was based on the role playing game license, and I initially wrote it as a “straight” Paranoia story, but then we scared up a wild-ass South American artist who went completely off the rails with his own look and feel, and I gleefully followed him. We might have done a disservice to the license and its fans but I liked what we did. There are scans of a couple issues over at Mars Will Send No More. I recently re-read the series and quite enjoyed it. My last copies of this series are being offered in lots over at eBay — order one and I’ll sign it for you!

Roger Wilco #3: Comic book version of the old Space Quest computer game. Pretty sure I wrote #2 as well, but I can’t find it.

The Three Musketeers #1-3: I loved Dumas. I probably loved Dumas too much, because I tried to put too much of him into the three issues of this book. I nearly killed my poor letterer (the good-natured and very professional Clem Robins) — these books were a wall of words! I failed to understand the difference between adaptation and transcription. But I loved Dumas so much that I couldn’t cut a word …

Tiger-X Book II #1-4: I got to play with Ben Dunn’s giant robot property for a couple issues.

Ultra Monthly #1-6: A promotional rag I wrote to support the Ultraverse line. It was a clever idea — a newspaper from inside the Ultraverse — and an idea that might still work for marketing superhero comics.

And I know I’m missing some of the kids, too, probably all lurking in the same box someplace. There was a “Shattered Earth” anthology series I remember, another Roger Wilco book, and a couple fill-in issues of Rune that I wrote during the last gasp of the Ultraverse (which I already covered in detail).

I’ve always had this vague idea that I’d written around a hundred books for Malibu, but there are only sixty-odd here, so either my memory is faulty or I’m missing a box, or both. There were also several unpublished books (some of which I was paid for), including a multi-part history of baseball; an undead pirate epic called The Black Joke; a fill-in issue of Sludge where the deeply-missed Steve Gerber put me through the wringer (and did me a great service); an extensive pitch for Ultraforce that didn’t get picked up; two or three long-gestating original superhero stories that I still remember fondly; even a translation of a French pornographic comic that I wrote under the name of “Armand Jean du Plessis” (all the more amusing because I don’t speak French). I’ve found a few of these lost scripts and put them up for your examination on my Comics Scripts page.

Sorry this is only a survey, but just writing fifteen hundred words about my comics oeuvre is a big, big step for me. It’s the most I’ve thought about my comics in twenty years. I’ll dig deeper in a future post. For now I’m going to do some deep breathing and maybe read BadAxe.

Maybe.

NEXT WEDNESDAY: #23 Queen of the Black Coast

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