Merc With A Movie: The 16-Year Odyssey of the "Deadpool" Film
As part of my job as a graphic designer, I created a infographic for comiXology based on information gathered in their recent reader survey. Some of the results were quite surprising (and others weren’t), enjoy!
Are you among the many people who read about a book being “banned” from ComiXology and assume that means it is banned and that you won’t be able to purchase it? Or have you noticed that most of these books are actually readily available from the website (and wondered why on earth they’re being called “banned”, as I did)?
I wonder if I have something to rant about in this post?
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My look at Comixology’s Shotaro Ishinomori offerings comes to a close with what is perhaps his best known work in the US. Originally created in 1964, Cyborg 009 tells the tale of a group of people, kidnapped, captured and otherwise coerced into becoming test subjects for a terrorist organization’s weapons program. After undergoing cybernetic alterations, the group escapes and wages an ongoing war with the group that changed them, Black Ghost.
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My look at the Shotaro Ishinomori series currently available from Comixology continues with the first volume of Inazuman! Created in 1973, it follows the by now familiar pattern of being a tie-in to a live action superhero show of the same name. Unlike Kamen Rider or Kikaider though, Inazuman lasted merely 25 episodes, never spawned a long running franchise, and has only appeared sporadically since the 70s. The story follows young Sabu, a teenager who’s seemingly gifted at everything he does. He aces tests without studying, is physically fit and has something of a cocky attitude. Unbeknownst to him his talents are the results of his being a mutant, someone born with special abilities, abilities which are about to draw him into the conflict between two forces of likewise gifted individuals and change his life forever.
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Next up in my look at Comixology’s Shotaro Ishinomori series is Kikaider! Like most of the manga we’ve seen in the past few weeks, this too was created and ran alongside a live action TV series in the 70s. Following the loss of his son, Dr. Komyogi throws himself into the field of robotics, creating a wide variety of robots for his sponsor, Herbert Gill. Ultimately, Gill reveals his true plans for the robots prompting Komyogi to create one final robot in the image of his dead son. Unlike his other creations, this one is imbued with an incomplete conscious circuit, giving it a semblance of free will, and constructed with the purpose of doing battle with Gill and his minions. But will the robot known as Kikaider turn out to be the worlds savior, or it’s doom?
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My look at Comixology’s Shotaro Ishinomori offerings continues! This week comes one of his most enduring creations, Kamen Rider. Created in 1971 in conjunction with the live action TV series, the Kamen Rider the life of Takeshi Hongo as it takes a turn for the weird following his kidnapping by the organization known as Shocker. The group has selected him for alteration to become one of their cybernetic foot soldiers, but things go awry and Hongo escapes before Shocker can complete the brain modifications to turn him into their mindless slave. Now gifted with abilities far beyond those of a mortal man, Hongo wages a one man war on the forces of Shocker as the hero of justice, Kamen Rider!
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Shotaro Ishinomori’s manga classic, Skullman, is available for the first time in the US thanks to the fine folks at Comixology! This single volume story tells the tale of a dark, masked avenger carrying out a war against a massive, secret organization that seemingly controls the world. Unlike his spiritual brothers in the Kamen Rider franchise, Skullman presents a rather grim, anti-heroic take on the concept. Continue Reading »
I’m going to be trying something a little different this week. With the recent release of Archaia’s preview for their upcoming Cyborg 009 comic, not to mention the new 009 RE: Cyborg movie, it seemed like a good time to take a look at some of the Ishinomori series that Comixology has been releasing and to kick it off here’s a little look at his career.
Ishinomori’s career would begin in 1955 at the tender age of 15, after having been discovered by the legendary God of Manga, Osamu Tezuka through a talent contest held in the magazine Manga Shonen. Following this he would find himself apprenticed to Tezuka, with some of his earliest published work appearing within Tezuka’s famous Astro Boy series.
His first major solo hit would come in 1964 in the form of Cyborg 009, an action series following a group of cyborgs in their battle with their creators, an evil terrorist organization known as Black Ghost. The theme of heroes being created by villains and then turning against them is something that would appear time and time again in Ishinomori’s superhero works. Cyborg 009 would prove to be a major hit and remains popular to this day, as is evidenced by the aforementioned upcoming 009 RE: Cyborg movie and Archaia’s graphic novel adaption. Despite it’s popularity in Japan, and having an anime adaption running on Cartoon Network’s Toonami, the US release of the Cyborg 009 manga would be cancelled after 10 volumes by it’s then publisher Tokyopop. Despite the aborted run, it remains one of few, if not the only, Ishinomori manga to receive a physical release in the United States.
The 1970s was a banner time Shotaro Ishinomori. The decade started off with the debut of one of his best known creations, Kamen Rider. Much like Cyborg 009 before it, the series features a young man who’s transformed into a “mutant cyborg” against his will by an evil organization, escapes, and spends the rest of the series battling said organization. Initially created for television, Ishinomori would pen a manga adaption which would go on to differ wildly from the show. Arguably one of his biggest hits to date, the Kamen Rider franchise continues to this day in both manga and live action form, with the TV series fast approaching it’s 45th anniversary. As a TV series, Kamen Rider reinvents itself with each season, featuring new characters, enemies, allies and more. Sadly, the attempts at bringing the franchise to the US have met with little success. Saban Entertainment tried to import the series as Masked Rider in the mid 90s, but it was poorly received and only lasted one season before being cancelled. In 2008 Adness Entertainment tried it’s hand at bringing the beloved franchise to the US, this time in the form of Kamen Rider: Dragon Knight, a loose adaption of the original Japanese, Kamen Rider Ryuki series. Despite winning an Emmy, the series did horribly and was pulled from the broadcast schedule before the final episodes had a chance to air. Oddly enough, it was dubbed and broadcast on Japanese television and even received a novelized sequel in Japan as well.
On an interesting side note, Kamen Rider was actually something of a fall back creation for Ishinomori. He originally pitched a different character to the television studio, Skull Man . Skull Man was a much darker take on the superhero concept and was rejected as being too serious and grim for children. Despite the rejection Skull Man still received a one shot manga and would be revisited in the late 90s by Ishinomori in a new manga series he co-created with Kazuhiko Shimamoto. In 2007, the character starred in an anime adaption which took the concept in a different direction, while maintaining the dark, anti-heroic tone of the Skull Man franchise.
As the decade rolled on Ishinomori would create what is arguably his most successful creation outside of Japan. Once again working in conjunction with a television studio, Ishinomori would create a series about a team of color coded, transforming superheroes. Himitsu Sentai Gorenger would debut in 1975, and would serve as the template for the Super Sentai franchise, which began it’s 37th season just weeks ago. As with Kamen Rider, Ishinomori would once more create a manga for Himitsu Sentai Gorenger which would differ from the TV series in a variety of ways. While it had been running for decades in Japan, the franchise didn’t hit the American market until 1993, when Saban Entertainment licensed Kyoryu Sentai Zyuranger and released a reworked version for the US in the form of the Mighty Morphin Power Rangers.
In addition to the above mentioned series and characters, Ishinomori would continue to create superhero franchises for the live action television, anime and manga industries, many of whom are still present in Japans pop cultural landscape to this day thanks to later adaptions, spin offs and continuations. Kikaider, his android superhero equal parts Pinocchio and Frankenstein received two live action series during the 70s and enjoyed a small revival in the 2000s thanks to new manga series and new anime adaptions. Much like Cyborg 009 the anime adaption would also get a brief run on Cartoon Network, in this case as part of the networks Adult Swim block. Other superhero creations of his include Inazuman, who enjoyed a small reboot in a recent Kamen Rider movie, Henshin Ninja Arashi, Robot Detective K, his final creation Voicelugger and more. With such a large number of superhero creations under his belt, many of whom still exist to this day, carrying on under the pen of other manga, anime and TV creators, it’s easy to see why he’s often compare him to Stan Lee or Jack Kirby.
While his superhero work is probably what Ishinomori is best known for in the U.S., it wasn’t the only the sandbox he played in. Much like his mentor, Osamu Tezuka, Inshinomori’s manga output covers many different genres and subjects. These include adaptions of literary classics such as Lady Chatterly’s Lover and Animal Farm, biographical stories about jazz musicians Louis Armstrong and John Coltrane, to a guide about the Japanese economy, the award winning Jun, a dialogue free tale of a lonely boy’s fantasy life, and many, many more. How much more? While I can’t tell you how many pages, and volumes the above sampling covers, I can at least tell you that the late Ishinomori is currently recognized by the Guinness World Records organization for having the most comics published by one author. His output comes in at a grand total of 770 title, 500 volumes, and 128,000 pages! With so much work out there it’s a shame that so little of it is available in the U.S. at the moment, but over the next few weeks I’ll be taking a look at the first volumes of the small sampling of series that are currently available from Comixology.
Let us not be deluded by forms of government. The word may be republic in France, constitutional monarchy in Prussia, absolute monarchy in Austria, but the thing is the same. Wherever there is a vast standing army, the government is the government of the sword. (Benjamin D’Israeli, 1852)