Between outrageous ticket prices and patrons who can’t stop texting/Tweeting/yapping for even two lousy seconds after the lights go down, I’ve often wondered whether it’s still possible to experience child-like joy at the movies. However, my skepticism was no match for the wonderful J.J. Abrams-directed thriller Super 8. It was like time travel. Just seconds into this film, I could feel myself turning back into that 12-year-old girl who was watching E.T. for the first time.

Executive produced by Steven Spielberg, Super 8 is an obvious homage to his late ’70s and ’80s classic films. Though it’s been widely praised, some critics have called it an emotionally manipulative Spielberg knockoff. Well, duh. Expert emotional manipulation is one of Spielberg’s superpowers, and I wouldn’t have him any other way. Abrams proves to be an A-student of Spielberg’s style, but Super 8 stands firmly on its own. It’s a sentimental, affecting, and frequently frightening story with a geeky soul.

It’s 1979, and middle-schooler Joe Lamb (Joel Courtney) has just buried his mother, who died on the job at the town steel plant. He’s got a distant relationship with his dad, Jackson (Kyle Chandler), a stoic deputy who isn’t thrilled about his son’s hobby. Joe’s been shooting a zombie movie with a pack of misfits, led by his hilariously loudmouthed friend, Charles (Riley Griffiths). He’s also got an ulterior motive, which is getting close to Alice, the guarded girl next door (Elle Fanning).

This was when a kid could get on a bike and disappear for hours, with no cell phone as a parental GPS, and inhabit a world free of supervision or adult micromanagement. Trust me when I say that Super 8 nails the era, clothes, furniture, and all. Joe’s room is cluttered with Star Wars action figures and other period-appropriate tchotchkes. The movie is blissfully free of the hyper-intelligent, snarky banter that child actors trade in so many modern movies and TV shows.

While the young filmmakers shoot a night scene at the train station, there’s a devastating, metal-twisting crash that leaves hundreds of white, Rubik’s cube-like items on the scorched earth. Charles’ trusty camera is still rolling, and this is where Super 8 takes a turn onto Oh, Snap! Boulevard. The kids are completely freaked out by the incident and its aftermath, but they can’t breathe a word to anyone. Even Joe is forbidden from telling his dad, who soon has the impossible task of reassuring the townsfolk as the disturbances escalate. It’s what we don’t see that scares us most, and I jumped in my seat more than once. Anyone can show a bloodbath, but for genuine chills, nothing beats a shadowy creature behind rustling tree branches.

Super 8‘s real triumph, however, is in its endearing characters. Courtney, who I swear is channeling Henry Thomas from 1982, is teriffic as the vulnerable but spunky Joe. I loved his scenes with Fanning, who plays Alice with such quiet, convincing melancholy. Griffiths steals many a scene as a tyrannical film director-in-training, and the audience laughed every time he opened his mouth.

Friday Night Lights fans already know this, but Chandler should play everyone’s dad in everything. He’s completely believable as a man who’s grieving and overwhelmed, but will be damned if he lets anyone see it. Chandler’s weary, WTF? demeanor throughout Super 8 reminded me very much of (Spielberg reference!) Roy Scheider’s Police Chief Brody in Jaws.

I’m not going to give away the mystery of the white cubes or what dragged that poor, screaming sap through a convenience store window. Cinematic things that go bump in the night are best experienced firsthand, and Super 8 serves its fright with a nostalgic side of sweetness. Savor it, and make sure you stay for the closing credits.

Life in a comic book shop is ripe for comedic exploration. Aside from the wacky conversations that are specific to comics geeks, there are the only-in-retail scenarios and tensions that arise in a small business, especially one that employs Gen X/Y employees. For people who visit an LCS every Wednesday, the awesome Anti-Matter web series is essential viewing. It’s a funny (sometimes bitingly so) comedy that takes place a New York comic book shop, and the characters are oh-so true to life. E. talked to the show’s writer/director Chris Walker, a former comics colorist for Marvel and DC, about all things Anti-Matter, and why it resonates with people who own longboxes.

G3: I love the old-school opening of Anti-Matter. It reminded me of classic TV shows like “Taxi.” Was that intentional?

Chris Walker: Thanks. It’s cool you were able to pick it up. It’s a homage to the old workplace comedies of ‘70s like “Taxi,” WKRP,” “Welcome Back Kotter.” They are a big influence on the show, which is especially apparent in the  opening.

G3: You’ve obviously spent a lot of time in comics shops. How did the idea for a web series about comic book geeks come about? It’s a very specific slice of life, but that’s what makes it funny. I swear, it looks just like my LCS!

Anti-Matter writer/director Chris Walker

CW: Ha! That’s why I love Hanley’s, it has a classic comic store feel to it. Very nostalgic.The series came about from thinking of ideas for comedies. I wanted to transition from a colorist to a comedy writer/director. I went through  various ideas for projects and  I thought, “Well, I know one thing that’s funny — the hijinks and conversations that go on at your local comic store!” They say write what you know, so I did!

G3: What kind of feedback have you gotten? I’m curious about what the response from non-geeks has been, too.

CW: People really like the show. Sometimes it takes a second or two to get into the series because it’s a little different from other webseries. It’s straight ahead, not too over the top, and episodic rather than serial. The general expectation of “comic book show” is zany and weird, but when people watch it , they’re like, “Oohhhhh that’s funny!” Non-geeks seem to enjoy it just as much as comic fans. The series hits many “comic nerd” high notes that diehard fans enjoy, while also taking a humorous look at friendship and the transition to adulthood, which is universal.

G3: Tell us about the cast. They’re naturals, and very believable as longtime acquaintances. Are they professional actors, buddies or both? Are the characters based on real people that you know?

CW: I love my cast. They are such a talented bunch, and I feel very lucky to work with them. The joy of working with them kept my spirits high throughout the entire process. They are all professional actors and comedians. You’d think we’d known each other for a long time, but I met all of them through casting sessions. The fact that most people think the cast and I have been friends since the sandbox underscores their talent. I met most of them I met through an e-mail blast sent out to the Upright Citizen’s Brigade mailing list. The turnout was fantastic. In fact, I actually created a several new characters because of how impressed I was by their auditions.

G3: Do you have a favorite episode? The Kung-Fu piece with Jeremy and Dennis made me laugh out loud, and I don’t even play video games.

CW: My favorite episode is “Entourage,” which will be the last episode of the season. I think you’ll really enjoy it since you liked Kung-Fu. It teams up Dennis and Jeremy for more comic buddy antics. One thing I enjoy about the series is the comedy mix. Depending on who’s onscreen, the comedy could range from witty to hare-brained, but it all has the context of “happening at the store,”so it feels believable.

A scene from Anti-Matter

G3: Since there are a ton of comics shops in New York City, what made you choose Jim Hanley’s Universe? Is that where you get your weekly Wednesday fix?

CW: I wanted an old school comic feel. I like the new shops, but Hanley’s really seems like the kind of place where you can go to chew the fat with other fans. It has a very “Cheers” feel to it. I’ll pop in to say hello to the guys and see what new stuff is out. I encourage everyone if they are in New York to go in and say hello to the staff. They are super friendly and know their comics.

G3: What are your favorite comic books right now?

CW: A friend of mine, an artist named Shake, has  a book called Infex that’s really cool. I’m also a big fan of Chris DiBari and his work at Top Cow. I’m enjoying Top Cow’s mix of genre, fantasy, heroes and sci-fi. I’m also a big fan of anything Brandon Graham puts out.

G3: Do you plan to keep the episodes short, or is it possible that we’ll see an Anti-Matter expansion? How often do you post new webisodes?

CW: I like the short episode format. In the future we might extend to a 10-minute format, with two plot lines happening in the same episode like an traditional sitcom. I would love to create little 30 to 45-second character vignettes that let the audience know more about their favorite character. We try to put up new episodes bi-weekly. We have three more episodes until the end of Season One. The next episode is planned for Jan. 15.

G3: Any upcoming developments/episodes you’re excited about?

CW: I’m in talks to do a next season, which would be great. I’m excited the series is gaining an audience and have more stories to tell. I’d love to spin off MacKenzie and Kayla to explore the whole geek girl phenomena. Fangirls have always been a large part of comics, so for me, this movement is long overdue. I think it would be a lot of fun to create a show based on their day-to-day geek girl experiences.

The fictional damsel in distress has run through a dark forest countless times, but not like this. A terrified young woman in a tattered gown looks at her limbs, now a horror of metal forearms and gleaming talons; “flesh and metal fused in an incomprehensible manner.” She’s being hunted. The armed predators call her a “thing.”

It’s a riveting opening sequence, one that cements Joe Benitez’s Lady Mechanika (Aspen Comics) status as one of the books to watch in 2011. His interpretation of steampunk is simply ravishing, and his commitment to this creator-owned comic book shows in the illustrations and the writing. Colorist Peter Steigerwald and letter artist Josh Reed also deserve major kudos for contributing to the book’s striking aesthetic. (To see V.’s take in Newsarama, click here.)

Commander Winter frightens children.

Lady Mechanika explored the science/superstition divide in issue #0, and the dangers of zealotry in both camps. But even if you haven’t read that issue (though I strongly recommend that you do), #1 is an excellent entry point. Benitez introduces the luminous Mechanika, billed as the City of Tomorrow, and it’s the kind of place that’s ethereal and gorgeous by day, menacing by night. Somewhere among those glowing towers, humans are being altered without their consent and against their will.

The title character is a product of those experiments, though she has no memory of where she came from. Lady Mechanika is on a mission to learn her backstory, and she’s a mighty intriguing character. She’s tough when she has to be, yet tender toward the oppressed and mistreated, like the unfortunate woman who was being hunted in the woods. She knows the feeling.

Speaking of intriguing characters, Commander Winter is one of the most formidable baddies to come down the pike. A ruthless, flame-haired villain with an eye patch and a talent for swordplay, she’s emerging as a fierce adversary for Lady M. An epic throwdown is clearly on the horizon.

I haven’t explored much steampunk, but Benitez makes it both accessible and gorgeous. Lady Mechanika’s distinctive look is a New York Fashion Week mashup of Annie Oakely, Amelia Earheart and Kate Moss. There’s a funny scene where a disguised Lady M. encounters a young fan who doesn’t believe she’s the real McCoy: “(Lady Mechanika) has impeccable style and grace, and she would never be caught dead in an outfit like yours,” huffs Annie, the daughter of a pivotal character named Professor Littleton.

This book is no empty thrill. It’s got beauty and brains, and a story with loads of potential. Even better, there are recipes — recipes! — in issue #1. Lady Mechanika is metallically delicious.

We're, like, heroic and stuff.

Over the years, various Cartoon Network shows based on DC Comics have given their source material a serious run for their money. I’d wager that many episodes of the late, great Justice League/Justice League Unlimited, Teen Titans and the current Batman: The Brave and the Bold, to name a few, have been just as entertaining – often moreso – than some of the books they sprang from. Based on tonight’s winning film premiere, Young Justice is poised to carry on that proud tradition.

The movie, a launching pad for the ongoing series beginning in January, is a classic coming-of-age story with a lot of punching and explosions: Robin, Speedy, Aqualad and Kid Flash think they’ve been invited to the grown-up table when their mentors finally bring them into the Hall of Justice, but in reality, they only get as far as the foyer. Batman, Green Arrow, Aquaman and Flash claim the kids simply aren’t ready for full access, which sends Speedy into an angry, this-is-bullshit hissy fit. Aqualad’s quietly wounded response is particularly moving. Aquaman isn’t just his teacher, but his king, so the apparent lack of confidence goes right to the heart.

Of course, it’s only a matter of time before the adults are called away on a mission, and the kids ignore their orders to stay put. They dive headfirst into a crisis at Cadmus Laboratories, and that’s where the real fun begins. Let’s just say that the Cadmus staff isn’t exactly whipping up new flu vaccines.

Visually, Young Justice is a treat. The players are distinctive-looking without being overly stylized, and the animation is quite fluid. The characterization is dead-on: Robin is the quick-witted detective who’s one step ahead of the rest; Kid Flash is the impetuous, slightly annoying chatterbox; Aqualad is thoughtful and broodingly regal. There’s also an element of real danger when Superboy enters the picture, because a wild card with Superman’s powers is pretty much the scariest thing ever.

It’s not giving much away by saying that everything works out in the end, but this fledgling team is in for plenty of trials and adjustments – like the very welcome addition of Miss Martian, Martian Manhunter’s niece. My only quibble is that she doesn’t show up until the end, and Artemis doesn’t appear at all. However, I understand that there’s only so much character development you can deliver in one hour, and the movie does what it’s supposed to: Build excitement for the weekly TV show. Count me in.

The Sidebar Nation crew: Dwight, Swain and Adrian

G3: What was the catalyst for the show? It’s obvious that you guys know a LOT about comics, so did the podcast grow out of conversations you were having already?

Dwight: Swain and I have always had these long and frequent art-centric conversations. Shortly after the advent of podcasting, and being fans of the comics medium in general, we decided to give our ideas and opinions a broader audience. I only know as much about comics as I’ve read though, so I really can’t say I know a lot about current storylines. My real collecting period started in the mid to late ’80s and through the ’90s.

Swain: Dwight’s right. We’ve been buds for quite some time and comics fans for even longer, I think. And our talks tended to go waaay off the rails. Once we started listening to podcasts and then, of course, comics podcasts, we decided to give it a shot. Three years later, here we are.

G3: What are your backgrounds? Do any of you work in the industry, or are you just extremely well-informed fanboys?

Dwight: I have done various things in small press (code for never published/maybe digital) and worked as a graphic designer for seven years. I still do that kind of work when I am asked to and if its profitable. I guess one can say, if I were playing D&D, I would be an adept. Ha ha!

Adrian: I was born and raised in Atlanta, where I eventually went to the Art Institute of Atlanta for a year. I also worked in a comics shop for about four years. So just by constantly reading new things and haunting the Art Institute library, I began to acquire most of my working knowledge of comics and art. But I think we three are very well-informed. I’m definitely a stickler for facts. I’m the guy who talks aloud back at podcasts if they don’t get their facts right. I don’t work in the comics industry proper, though I’ve had minute brushes with it. For several years, I freelanced as a graphic designer/illustrator. I stepped away from it once I had my first child, but now I’m back with an exclusive emphasis on just being an illustrator.

Swain: I do not work in the industry, comics-wise or art wise. I drew and studied art when I was much younger, but never pursued it to that end. I consider myself now to be more of an enthusiast — an art nerd, if you will. Comics is something that I’ve always loved, and with that, yeah, I guess I am a fairly informed fanboy.

G3: One of the things I really like about the show is that you’re very candid, and you’re not afraid to share your opinions if a project isn’t up to snuff, or if there’s an industry practice that bugs you. Considering that you interview many prominent creators, has that ever been an issue, like someone saying, “Dang. You kind of went off on my golf buddy (so-and-so).”

Darwyn Cooke and Adrian at Dragon*Con 2010

Dwight: No, we haven’t really had any issues with creators, only other longtime fans who felt we were perhaps too flippant, and ready to dismiss the comics medium as fodder for a bigger entertainment industry. That has in fact, engulfed most of the older more socially relevant comic related-properties. But yes, we do go off on tough love soapboxes at times, and some fans of comics have expressed their anti-praise.

Adrian: That’s definitely something that we strive for. It’s our podcast and a forum to air our opinions on subjects near and dear to us. Otherwise, why do it? As for a creator coming back and not liking how something went down, it really has never been an issue at all. But if so, then as Swain is wont to say, “A hit dog will holler.”

Swain: Not yet, although nobody likes everything that comes up on our show. Generally with interviews though, you wanna talk to people who have things that interest you. Thus, you’re really there to celebrate something or someone you think is good. It’s the nature of this type of interview show. That said, my stance has always been if a guest asks me my opinion on a project of theirs that I don’t like, I’ll tell ‘em. I think that’s fair.

G3: Since you’re based in Atlanta, what can you tell us about the comics scene there, both from a fan perspective and a creator perspective?

Dwight: Atlanta is great for comics. There are a number of small bookstores that have been around for a while, and that have a pretty significant amount of diversity in comics and art related to the genre. There are also a lot of talented locals here who are either in the industry or aspiring to be, and it makes for a interesting hodgepodge of creative energy. It can be somewhat hard to network at times, but you can eventually find a few people if you go to the right places like conventions and comic shops.

Adrian: The fan scene in Atlanta is fairly tight-woven. You see the same people at the same shops and local haunts around town pretty often. You may not know their names, but you know them by face. So it’s cool to have that occasional mutual connection when you are rifling through back-issue bins or checking the New Release shelf. Plus, these days, most fans are artists who are trying to do comics themselves. As such, there is a proliferation of smaller sects of local artists banding together. While some are studios, most are groups of like-minded people who love doing comics and illustration. And these groups always have six degrees of separation where “this guy knows this guy, and he does life drawing classes with this girl…” Great fellowship and sharing usually happens as a result. Ultimately, I love the spirit of D.I.Y that springs forth.

Swain: It’s strong to me. A handful of really good comic shops, Dragon*Con, lots of creators live here. I think it’s one of the better places for comics in the U.S.

G3: What titles are at the top of the Sidebar Nation crew’s pull lists right now?

Dwight: Sadly, I’m not collecting anything right now, unless it’s an artist or creative team I like.

Adrian: I don’t read new mainstream titles at all, but I have my exceptions: anything by Darwyn Cooke, the Hernandez Brothers or Kyle Baker. I am really enjoying Chris Samnee on Thor: The Mighty Avenger. I’m always on the lookout for new books from Fantagraphics. I also enjoy the annual hardcovers of Yoshihiro Tatsumi’s manga from Drawn and Quarterly.

Swain: I’m with Dwight on this one, although moreso for fiscal reasons. I don’t have a pull list any longer. The prices for monthly comics have pushed me away from being that committed. I do, however, stop in weekly and try to find something of interest. IHowever, I do still follow names I like here and there: Ed Brubaker, John Paul Leon, Skottie Young, Bryan Hitch, Eric Canete …

G3: Many people still think of comic book fandom being almost exclusively white and male. Not to put you guys in the diversity box, but your podcast stands out because you defy that stereotype. Is that something that’s important to you, or are you just doing your thing and letting that speak for itself?

Dwight: I have to say that for me, it’s always been about the quality of the individual experience inside of the stories or characters I was reading. Much in the same way so has been the rather unconscious effort to be relatable, purely on the insights or follies of my own opinions. Diversity has never been a true point of contention or interest to me. I related to Peter Parker and Sam Wilson, while at the same time digging into and understanding the plights of Vanth Dreadstar, Adam Warlock and Norrin Radd. So the short answer is we let our thing speak for itself.

Adrian: It is something that is very important to me. Like if you saw me in person and didn’t know anything about me, I would just be a big black guy. So a person may already have preconceived or stereotypical notions about people who look like me. But once you hear me or Swain or Dwight speak and what we know, it’s always satisfying to see that melt away. So whether people want to admit it or not, there is an undercurrent of race and gender that runs through our hobby and the industry. Just like the rest of the world at large. Also, while I’m mentioning gender, we’ve never made an issue with female creators being defined by their gender. If you’re good, you’re good. That’s all. So it really sticks in my craw quite a bit when male interviewers will all but say, “You’re pretty good…for a girl.” I really can’t stand that.

Swain: I think we’re just doing our thing. The show is good, to me, because we gravitate towards good work first. I rarely think about all that other stuff.

G3: Given the depth of your geekery, you must have some strong opinions about the future of comics. If you had an audience with the Powers that Be, what would you ask for more of – or less of, for that matter? (Our personal gripe is Event Mania.)

Dwight: If I could say anything to the PTB, it would be, “How about letting characters mature to expiration and the let their sons an daughters pick up where they left off instead off reinventing the origins of what has been successful before?”

Adrian: I would ask for lower cover prices on the monthlies. One of the reasons I don’t read many new releases now is that they are cost prohibitive. Even $2.99 for an issue is too much. That’s three dollars for almost 5 to 10 minutes of entertainment? Price the issues to move and be cheap, accessible entertainments like they used to be. Save the high production values for the hardcover or paperback.

Swain: I’m with you girls. (I’d like) way less events and corporate-driven storylines. The best comics in the history of comics have always been created by folks who had a story to tell, the talent to pull it off and opportunity. I say let the writers and artists do what they do. Guide them for sure; it’s the publisher’s money being spent, but cut ‘em loose!

This deserves the Top Cow 2010 Pilot Season crown.

If you’re hemming and hawing over whom to vote for in Top Cow’s annual Pilot Season contest, let us help. G3’s unequivocal, unanimous choice is 7 Days from Hell, the Bryan Edward Hill/Rob Levin-penned story of a former mercenary who escaped death (and hell) at a terrible price. Protagonist John Bishop is now a puppet of a demon, the innocuously named Mandy. On her orders, he must kill a specific villain within a one-week period, and Mandy appears to have a long list of marks. If he fails or is killed a second time, he gets a one-way ticket to the ultimate bonfire. How’s that for high stakes?

It would be easy to go way overboard with such a juicy concept, but Edwards and Levin make the story riveting while showing some restraint. And boy, does 7 Days From Hell have some good-looking art. If that luscious Brian Stelfreeze cover doesn’t grab you, Phil Noto’s modern, eye-popping interior images surely will. It’s impossible to read this book without wanting to know what happens next, and even when measured against some strong competition, 7 Days from Hell emerges as the crystal-clear champ. The Top Cow polls are now open, so head here to cast your vote.

The Bionic Woman comes to Oscar Goldman's rescue ... on a lunchbox!

Nostalgia is the lifeblood of longtime geeks. Decades after seeing a certain comic/movie/TV show, we can recall, in exhaustive detail, the effect it had on us. We’ll tell anyone who will listen, including our bored children and significant others, “You have NO idea how much ‘Shazam!’ rocked my world …”

But nostalgia is also tricky. Things become compressed over time, and we tell ourselves that the ‘80s were a purely awesome decade for popular music, forgetting that for every LL Cool J, there were five Color Me Badds.

JoAnna Cameron portrayed Isis in the '70s, and she was DOPE.

Because I was a young, geeky girl in the mid-to-late 1970s, I’ve always been tempted to declare that this time period represented the BEST YEARS EVER for my demographic. I am certain that my younger friends could say the same thing about the ‘80s and the ‘90s, but, well, this is my blog post.

Just to make sure I wasn’t imagining things, I looked up the dates of three female-led, superheroine shows that defined my early childhood.

• Isis/The Secrets of Isis: Sept. 1975-Sept. 1977
• The Bionic Woman: Jan. 1976-May 1978
• Wonder Woman: Dec. 1976-Sept. 1979

I’m not going to suggest that these shows were on the level of The Wire, but for girls of a certain age, that was one powerful lineup. These chicks were lifting cars, flying, outrunning vehicles and generally kicking much ass. More than 30 years later, can you think of three major network, live-action TV shows that a) are about superheroines and b) are appropriate for and welcoming to children? I can’t, and considering the progress that society at large and the comics industry has made in its perceptions and portrayals of women, that’s kind of astonishing. (We haven’t even discussed the world’s introduction to ride-or-die chick Princess Leia in 1977.)

The Bionic Woman: Season One recently debuted on DVD, and you know what? I don’t even care if my adult brain perceives it as cheesy or hopelessly dated. I’m buying it. Why? Because Jaime Sommers, along with Mighty Isis and Wonder Woman, showed a generation of young girls that a woman could save the world. So I’m going to go ahead and declare 1975 to 1979 the BEST YEARS EVER for geeky girls.

Note to Lindsay Wagner: If I happen to see you at a comics/sci-fi convention, I’d like to apologize in advance for my inability to speak coherently. You’re just that awesome.

Jodi Moisan's Wonder Woman Day Pony

For every woman who grew up loving comic books and ponies, visual artist Jodi Moisan’s superhero/My Little Pony mashups are, as V. aptly put it, “So much perfect!” Jodi is one of the many creative talents who have contributed pieces being auctioned for Wonder Woman Day, the Wonder Woman Museum’s annual project that supports anti domestic-violence programs. Delightful and highly detailed, Jodi’s ponies of Wondy, Batgirl, Modok, Mockingbird and Wolverine made my inner 6-year-old positively giddy. And as the mother of an actual 6-year-old, I know there are scores of girls and boys — and grownups, for that matter — who would love to get their hands on these four-legged action figures. No less than Stan Lee is a fan of Jodi’s work (he has a custom Stan Lee figurine that she made), and John Byrne owns one of her ponies.

Jodi was kind enough to talk to Girls Gone Geek about her work and her longtime appreciation of comic books and various things geek-related.

G3: We first became familiar with your work via the Wonder Woman Day Project at the Wonder Woman Museum. How did you get involved with that?

JM: The gentleman who is in charge of the auction (Andy Mangels) saw my ponies on a comic book website and liked them. He contacted me to ask if I would be willing to do a Wonder Woman pony like the one I had on my website.

Thor!

I was extremely honored that he felt my ponies were worthy of being on the same level with the other artists involved in the auction. I did a George Perez Wonder Woman. The one on my site was modeled after John Byrne’s Wonder Woman, and he owns that pony. I wanted his pony to be a one of a kind, so I did a different artist’s take on Wonder Woman for the auction.

G3: What inspired you to combine superheroes with My Little Pony figures? It’s a perfect combination, if not an immediately obvious one.

JM: I belong to a comic book forum and there is a customizing thread there. I have been customizing toys for a really long time. When my son was younger, he and I shared a love for the movie “Star Wars,” and he collected all the old toys from the original release date. We had gone to toy shows looking for the older toys and ran across some custom-made figures. They were really expensive, and I knew I could do them because I have always been artistic, so I started making figures for my son. On the forum I am on, I started sharing what figures I had done in the past, and one of the members posted a picture of a blank My Little Pony and challenged me to do something with it. Well, the moment I saw that Hasbro blank pony, I felt the stars were aligned, the heavens opened, and angels sang. Here was a thing that combined so many things I LOVED. I had a horse growing up, loved any toy connected to horses and loved reading comic books.

I went to the Hasbro site and found the blanks, ordered one and made one of my favorite characters into a My Little Pony. The Thing from Fantastic Four was my first custom pony. I posted the result, and the guys on there loved them. Their kind words encouraged me to do more, and sometimes they would challenge me to see if I could handle a certain character. I have a great time doing them, because they are for fun — like the custom toys I made for my son.

My Little Dazzler!

G3: This seems like a wonderful way to get little girls into comic books. Is that something you thought about when you created the hero ponies?

JM: Yes, as I [said previously], these really combined things I loved and spoke to my inner little girl who was also a big tomboy. I think comics treat women really well for the most part. They give women great power, and I love that. If making these would cause a girl to be interested in reading comics, I would be thrilled.

G3: How long does it take you to create one? I assume these are intended as works of art, not necessarily playthings.

JM: It varies. Sometimes I can get one done in a couple hours, but most take some time because I put a lot of research into the look of the character. I want to be true to how the character looks in the comics. If there are many sculpted add-ons, that adds a lot of time to it. Like Big Barda and Modoc; they took multiple firings, so it takes a long time to finish them. I have made some for kids, but these really aren’t intended tobe played with, which sort of makes me sad. I think toys should be played with, not just looked at.

G3: You mentioned that you grew up reading comics as a kid. Is that still a hobby of yours? Any favorite characters?

Batman and Robin!

JM: Yes, I still read comics, I grew up reading Archie, Richie Rich, Eerie, Creepy and a variety of superhero ones. I really love Batman and Kitty Pryde. John Byrne did an amazing job on Kitty Pryde, and I love his artwork.  He inspires me to want to be a better artist.

G3: Are there other hero ponies that you’re working on, or do you consider the series complete?

JM: I just finished a Jack Skellington pony. I have eight ponies waiting to be worked on. There never seems to be an end to the characters I can turn into a pony.

G3: If readers are interested in purchasing a pony, how should they get in contact with you?

JM: Right now I am not selling them. I have too many to do to take any orders. But if people really want to buy one, they can get one at the Wonder Woman auction!

Ben Caldwell's sketch for Wonder Woman Day V

We know artist Ben Caldwell draws a gorgeous, distinctive Wonder Woman, and he’s using his talent to support a good cause. Caldwell is one of the artists who has donated artwork that will be auctioned for Wonder Woman Day V, an annual event supporting anti-domestic violence programs. There’s a ton of stuff being auctioned, ranging from the seriously cool (including Caldwell’s sketch above) to the quirky to the, ah, different. In other words, something for everyone.

For those of us still drooling over Caldwell’s pitch for a series about our favorite superheroine, there’s a special treat below — another sketch from the passion project that captivated Wonder Woman fans across the blogosphere. The sword! The big eyes! The flowing locks! Sigh. So pretty.

WANT!

Many thanks to Ben for sharing these lovely images with Girls Gone Geek! If you’re anywhere near Portland or Flemington, N.J., on Oct. 24, check out the Wonder Woman Day V events, which include artist signings, displays of Wonder Woman collectibles, festivities, plentiful cosplay and, of course, silent art auctions. Online pre-bidding runs Oct. 16-23, and there’s lots more information on the Wonder Woman Museum site here.

Ben Caldwell's Wonder Woman: Gorgeous

I am completely enamored with Ben Caldwell’s pitch for a youth-skewing Wonder Woman comic, which is getting plenty of other props online. I’m generally not a fan of manga-style illustration, but Caldwell’s concept is fresh, playful and modern without being silly (*Cough* jeggings on Wonder Woman *Cough*).

A page from Caldwell's pitch

If the work looks familiar, it’s because Caldwell was behind the ethereal Wonder Woman arc in Wednesday Comics. He has posted his vision (with notes) on his blog, and what’s particularly nice is that he’s thinking about younger readers. I love his take on Etta Candy as a curvy, thrill-seeking sorority girl and his sulky/hot Batman is adorable. The idea of Bruce Wayne as “a notorious playboy who wants to see and be seen with the Amazon princess” is like catnip to those of us on team BatWondy. It seems like a well thought-out idea with more than a little personal passion behind it — and it just looks freaking cool.

Alas, Caldwell told readers to curb their enthusiasm (or ire) because this book “will certainly never happen.” I’ve been reading mainstream comics long enough to know that he’s probably right. That’s a damned shame, because the spontaneous response to Caldwell’s pitch tells me that there’s a pent-up demand for this kind of creativity and accessibility. While comic-book reading has become an adult hobby (at last year’s Dragon*Con, Darwyn Cooke correctly called it “an over-35 club”), kids still dig them if a) they can find them and b) they’re good. My children read comics, but only because I ferret out the titles that are age-appropriate and bring them home. I have a feeling that my 10-year-old son would like Caldwell’s Wonder Woman comic, even though it’s about a “girl.” But first, he’d have to wrest it from my hands.

What do you think? Would you buy this book for yourself or the kids in your life?

Superheroes aren’t having much fun these days. While there’s some great work being done in the capes-and-cowls genre, it’s often so relentlessly grim that fans seeking lighthearted reading might as well head straight to the kids’ section of the comics shop (and I often do).

You should be reading this.

Thank goodness for Thomas F. Zahler’s Love and Capes, a funny, smartly written — and, yes, lighthearted — series about the intersection of heroics and romance. Bookstore owner Abby learns that her mild-mannered accountant boyfriend, Mark, is also a superhero known to Deco City as The Crusader. After he reveals his true identity, Abby experiences the perks (15-minute flights to Maui) and perils (picnics interrupted by crises) of dating a member of the cape community.

It’s appropriate that Love and Capes is billed as a “heroically super situation comedy,” because the quick banter and likable cast give it the feel of an especially good TV show. Zahler makes good use of the familiar: The Crusader is clearly a Superman analog, and his best friend, Paul, aka Darkblade, stands in for a certain serious billionaire who fights crime at night. Most of the derring-do takes place off of the page, so even when we see these two at work, they’re rarely talking shop. In one of the book’s many funny panels, Darkblade — while dangling a bad guy over a rooftop — tells Mark that his ill-timed request for relationship advice is “seriously killing my creature-of-the night vibe.”

Amazonia: Trouble in high heels.

Like all newly smitten, cute couples, Mark and Abby are just this side of annoying. (In this first volume, Mark’s only noticeable flaw is that he’s a tad jealous of Arachnerd, a web-slinger who is at the center of a blockbuster film franchise.) Zahler spices things up considerably by introducing Amazonia, an Angelina Jolie/Wonder Woman hybrid who happens to be The Crusader’s ex-girlfriend. How intimidating is she? Abby’s sister, Charlotte puts it this way: “Amazonia? Whoa. I’d do her.”

Speaking of Charlotte, her tart asides and single-gal perspective bring a lot of wit to Love & Capes. She’s an utterly charming second banana — a Rhoda Morgenstern to Abby’s Mary Tyler Moore (Cue readers born after 1980 saying, “Who?” in unison).

This book has such genuine, across-the-board appeal, and I was bummed to hear two LCS owners — both fans of the series — say they couldn’t interest enough readers to justify stocking the single issues. People, where is the love? The next time I hear a fellow comic lover complaining about the Big Two offerings on his or her pull list, I’m going to ask (in a slightly judgmental tone) why that person isn’t reading Love and Capes, among other things.

Do yourself a favor and check out the first two trade volumes, or head over to the Love and Capes website for a taste of the series. It’s mighty good.

Green Lantern Corps #49
Writer: Tony Bedard
Pencils: Ardian Syaf
Inks: Vicente Cifuentes
Colors: Randy Mayor w/ Gabe Eltaeb

My love of the Green Lantern books began with the Sinestro Corps War, a great story arc that got me invested in the characters. I was ever so curious to see where the War of Light would lead, and, well, here we are at Brightest Day (aka the Über Meh). I dropped BD from my pull list, and with the writer Peter Tomasi’s departure, I was going to drop GLC, too. This issue has officially changed my mind. Kudos to Ardian Syaf, who is really getting better with his pencils. His powerful facial details impressed me (although thumbs down on Natu’s Wolverine-inspired hairdo). The story was fast-paced with a tinge of suspense. You knew that the Alpha Lanterns were up to some craziness after last issue, but Boodika resorting to maniplulation and trickery … that was unexpected. Now I’m dying to know how they came under the control of Cyborg Superman. I guess it’s a robot thing.

The Return of Bruce Wayne #3
Writer: Grant Morrison
Pencils: Yanick Paquette
Inks: Michel Lacombe
Colors: Nathan Fairbairn

I’ve come to really enjoy Grant Morrison’s writing. Perhaps it’s my background in philosophy, but I like meta-stories and annotations. I don’t mind working for it with Grant’s stories, because the payoff is often worth it (wildly convoluted, but interesting). After issue #2, I thought I might have to “work for it” yet again. But in comes #3, blazing with clarity and lovely little continuity nuggets tying GM’s obscure references together. I have an idea of where this story is going, and while that could very well change in an instant, I am excited. Grant is a reference junkie; it’s how he rolls. Being that I am one of the two people who LIKED Final Crisis, that makes the references in RoBW even better. Yanick Paquette’s art was a pleasure, especially the background details and his pouty-lipped rendering of Wondy.

Zatanna #2
Writer: Paul Dini
Pencils: Stephane Roux
Inks: Karl Story, Stephane Roux
Colors: John Kalisz

I saved the best for last. I LOVED this issue. Dini’s Zatanna is so damn likeable. As ridiculous as this may sound — she is a magician and all — I could relate to her! After a huge performance, going head-to-head with a mega-sorcerer, and teleporting in to help the JLA, Z. was pooped. The scene of her plopping face-first into bed was perfect! PERFECT! It humanized her, and I found it to be endearing. The most impressive (and powerful) thing about Zatanna though, is her ability to think fast. You’d have to have a quick mind to rattle off words backwards under pressure. It’s harder than you think folks; I’ve tried it. Another highlight of this story is Brother Night. He is creepy¹⁰, horror-movie scary. But the shining stars of issue #2 are the flawlessly executed, beautifully drawn splash pages of Zatanna’s dreams/nightmares. If you aren’t reading this comic, what the hell are you waiting for?

Variant cover art by Cliff Chiang

The best friendships are the ones where, even after long stretches of little communication, everyone picks up right where they left off. There are no awkward pauses or, worse, internal monologues about how it’s just not the same.

For fans of Gail Simone’s Birds of Prey run, reading issue #1 of the revived series is like that great reunion with an old friend. Simone stepped away from the book three years ago, and it was canceled in 2009. However, she and original collaborator Ed Benes have wasted no time in returning the Birds to classic, crime-busting form — and we missed them terribly. (Spoilers await.)

The four-part “Endgame” story opens in Iceland, where Black Canary has arrived to rescue a diplomat’s 5-year-old daughter from a terrorist/kidnapper. The beauty of this sequence is that it firmly re-establishes Dinah Lance as one of the world’s most skilled combatants, obliterating the sad-sack wife nonsense other writers saddled her with. Let’s just say there’s a lot of blood on the snow in Reykjavik, and it’s not Dinah’s. Or the 5-year-old’s.

"Where my girls at?"

Shortly, Oracle begins reassembling the team to deal with an anonymous mofo who has a frightening amount of information about the Birds and all their friends/associates. Zinda is dispatched to recruit Hawk and Dove, one of whom has some serious anger management issues. (I wouldn’t have held it against Hawk if he’d tossed that silly, bank-robbing cheerleader off the roof, but that’s just me.) The addition of these newbies to a well-established group is potentially rich with drama, and I’m looking forward to seeing how everyone adjusts, or doesn’t.

This is the REAL DC Trinity

Simone’s affection for these characters comes through on every page, especially in the funny, familiar banter that flies between Canary, Zinda, Huntress and Oracle. The Birds also look fabulous, thanks to Benes’ gourmet cheesecake illustrations and colorist Nei Ruffino’s glowing, moody palette, which really suits poured-on leather under moonlight. Those panels of Huntress cracking skulls while talking to Oracle via cell phone could launch 1,000 gym memberships alone.

As if that weren’t enough, the Big Villain Reveal on the final page is a total surprise, and still a bit of a mystery. I figured it would be Lady Shiva, or even a tween Sin, but the ending suggests that our heroines are in for even bigger trouble. It is totally on — and I couldn’t be happier.