As a lifelong comics fan I can’t help pinching myself at the flood of graphic novel adaptations that we’re being treated to in this current golden age of comic book movies. Quite apart from the Marvel and DC superhero features which are unsurprisingly garnering most of the headlines, there are quite a few adaptations of lesser known properties, both on television and on the silver screen, which their legions of fans might be surprised to know were ever comics in the first place e.g. The Walking Dead, 300, A History of Violence, Road to Perdition, Sin City etc. Whilst I love seeing spandex-clad superheroes and villains going at it as much as the next person, it’s particularly gratifying to see that film-makers are also appreciative of the wide range of more eclectic comic books out there and that the lesser known properties are also getting their chance. Of course, there are plenty of excellent graphic novels that haven’t yet been treated to film or TV makeovers, e.g. Sandman, Fables, The Books of Magic, Preacher and The Unwritten, to name just a few, but almost all of the ones that come to mind immediately are either in development or are likely to be adapted at some point in the near future. This may well be because of their links to one of the big two – Marvel and DC – express or otherwise, as much as for any other reason. But there are in my view other comic book publishers out there whose properties are just as worthy of adaptation in my view, and of these the universe of Top Cow appears to have several that appear particularly suited to the big screen.
As befits a man with his undying work ethic, Neil Gaiman once said “Writing is flying in dreams. When you remember. When you can. When it works. It’s that easy.” One of the world’s most successful and versatile writers, Gaiman is a best-selling novelist (American Gods), an award-winning comic book writer (The Sandman), a popular children’s book author (Stardust) and a highly respected screenwriter (Neverwhere). The dazzling diversity of concepts produced by Gaiman’s fecund (some might say fevered) imagination has led many to ask him where he gets his story ideas from. His answer, more often than not, is that a few of them were written to amuse himself or, more precisely, to get an idea or an image out of his head and pinned safely down on paper: releasing demons and letting them fly. Other stories began in idleness: mere fancies and curiosities that got out of hand. In Gaiman’s richly imagined fictions, anything is possible: an elderly widow finds the Holy Grail beneath an old fur coat in a second-hand shop; under a bridge, a frightened little boy bargains for his life with a very persistent troll; a stray cat fights and re-fights a terrible nightly battle to protect his unsuspecting adoptive family from unimaginable evil, and so on and so on… The distinctive storytelling genius of Neil Gaiman has been acclaimed by writers as diverse as Norman Mailer and Stephen King. I’m sure, if you haven’t sampled Gaiman’s work already, that if you seek it out it will no doubt similarly dazzle your senses, haunt your imagination and move you to the depths of your soul.
What is it that makes barbarian characters so popular and appealing? The original barbarians – the Huns, the Goths, the Gauls, the Saxons, Jutes and Picts etc – were history’s Hell’s Angels, credited with nothing less than bringing about the fall of western civilisation and the onset of the Dark Ages. They were anything but heroic, yet their fantasy equivalents are some of the most enduring and well known characters in the genre. Few have not heard of Conan, Robert E Howard’s muscle-bound anti-hero (although in fairness that may have more to do with Arnold Schwarzenegger than the character on the printed page). Of rather more respectable vintage are Druss, axe-wielding hero of many of David Gemmell’s Drenai heroic fantasy novels, and Fritz Leiber’s Fafhrd in the Lankhmar novels. Barbarian warriors are also, of course, a staple of role-playing games. In this medium they are often represented as lone warriors, very different from the vibrant historical cultures on which they are based. Several characteristics are commonly shared, including physical prowess and fighting skill combined with a fierce temper and a tolerance for pain. No doubt due to their animal magnetism (though not to their general lack of personal hygiene) they appear to be irresistible to the opposite gender, and seem to possess an equal appetite for food and drink. While Conan, Druss and Fafhrd are all fairly standard examples of this archetype, the graphic novel character Sláine is a somewhat more ambiguous and intriguing take on the classic barbarian.
A ‘Knight’ of a different kind…
Read our in-depth review of the film here.
To help get everybody in the mood for The Dark Knight Rises later this month, I thought it might be worth taking a look at the third film in Christopher Nolan’s “Dark Knight” trilogy, the sequel to both Batman Begins and The Dark Knight.
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Let me tell you about a bespectacled young schoolboy with a pet owl who finds out one day that he’s a wizard – and no, I’m not talking about Harry Potter! Timothy Hunter is the star of Neil Gaiman’s graphic novel series The Books of Magic, which tells the story of a young boy who has the potential to become the world’s greatest sorcerer. Despite the striking superficial similarities between Timothy Hunter and Harry Potter, The Books of Magic actually came into being several years before J K Rowling’s creation was released on an unsuspecting world. The similarity was once noted by a journalist from The Scotsman newspaper, who asked Gaiman if he thought Rowling was aware of his 1990 comic, to which Gaiman replied that he ‘wasn’t the first writer to create a young magician with potential, nor was Rowling the first to send one to school’. Gaiman’s view, with which I tend to agree, is that whether or not Rowling had read The Books of Magic, the similarities most likely result from both it and the Harry Potter series being inspired by similar works, in particular those of T H White (author of The Once and Future King). The idea that Rowling and Gaiman were were both simply ‘drinking from the same well’ is supported by the prevalence of common archetypes from myth and fantasy in both their works.