SIBAM 1

THE UNDERWORLD RAILROAD
Written by Jason M. Burns and Drawn by Paul Tucker
Published by Viper Comics

When you die, your soul supposedly makes a beeline for either Heaven or Hell, right? But what about those for whom their destination isn’t necessarily clear-cut? They are forced to wander the Earth while the “appeals” process is taking place, but that’s rather dangerous; Satan would prefer to just skip that part and take everyone available, without the wait. So how do you avoid her evil clutches? The Underworld Railroad, a precursor to the Underground Railroad that moved escaped slaves in the 1800s. The Underworld version uses houses consecrated by God himself to protect those wanderers from the devil’s clutches. But even though Satan cannot herself set foot in those places, she has others at her bidding that can. And when one soul she has decided she will not let go takes refuge, she’s willing to start Armageddon to get it.

Conceptually, RAILROAD is a solid book. With books like this and THE EXPENDABLE ONE, Jason Burns has really shown himself to be one of the best high-concept guys working in comics today. If I worked in La-La Land, I’d hire him yesterday. And he keeps it simple and to the point; very few locations, small cast until the very end, and heavy effects needed only in the last fifteen minutes of screen time. So the budget is under fifteen or twenty million, guaranteeing a healthy profit after a decent opening weekend. As a producer, not much more you can ask for than that.

The only thing that doesn’t really work about the graphic novel is Tucker’s art. It comes across as murky and dark, and his figure-work is uninspired, especially the faces. It doesn’t completely take away from the reading experience, but it does hamper it here and there, and I thought that was a bit unfortunate.

Should it be a movie? I suspect it will. EXPENDABLE is already set up in Tinseltown, and this seems like a logical progression. The most recent horror comic-to-screen, 30 DAYS OF NIGHT, hasn’t been a huge blockbuster, but it’s hung around the top ten for a month and will show a healthy profit by the time it hits DVD. UNDERWORLD RAILROAD would surely do the same.

Marc Mason

THE BLACK DIAMOND DETECTIVE AGENCY
Written and Drawn by Eddie Campbell
Adapted From a Screenplay by C. Gaby Mitchell
Published by First Second

John Hardin is having a very bad day. His wife has decided to leave him, and if that isn’t miserable enough, a train explodes in the middle of his hometown. But just when it seemed like things couldn’t get any worse for him, the U.S. Secret Service and the Black Diamond Detective Agency find evidence that he’s the bomber, sending him on the run in late nineteenth century Chicago. Staying one step ahead of the law, he must figure out who has framed him, and why, if he wants to reclaim what little of his life might be left.
 

“THE FUGITIVE one hundred years ago” would be an apt description for this intriguing graphic novel, as many elements of the modern Harrison Ford classic can be found in Mitchell’s script and Campbell’s adaptation, including the Chicago setting. Still, it’s easy enough to put that film out of your mind and focus solely on your reaction to this book; Campbell is one of the most gifted creators working in the field today, and it’s hard to imagine a more appropriate choice to adapt this work; he’s shown he can do the era justice in FROM HELL, and his ability to seamlessly move between genres isn’t shared by many of his peers.

The story itself is solid enough, offering up a genuine mystery that adds a little “C.S.I.” to old Chicago, which will give readers (and film-goers) a warm smile of recognition when they see it. It also has plenty of action to keep the more attention-challenged readers engaged as well. The one place where it falls down though, is in the cast. The core cast of characters is terrific, but by the time we get to the final act, there are a metric ton of speaking roles, and it confuses… badly. I was so lost in some of the final sequences that I gave up trying to figure out who was whom and just tried to follow the uber-plot.

Still, much of what is here is very worthy material, and any chance to pick up new Campbell is a good thing. Recommended with some caveats.

SIBAM?

Considering this was adapted from a screenplay, it seems almost inevitable that we may see this on the big screen, or at least in development. However, I think it will face some hurdles along the way if it is to make it to the projector.

First is the setting: an action film set 100 years ago isn’t going to be cheap. BLACK DIAMOND is going to cost, and that means that the above-the-line talent will need to be strictly A-list as well, since studios are reluctant to make an expensive movie like this without a huge name for the marquee. Even though John Hardin seems like a role written for someone like Tom Jane or Thomas Hayden Church, when the budget hits the $150 million range, you’re likely going to see someone else’s name in the credits.

I think people would line up to see BLACK DIAMOND with the right combination of stars, but whether or not that will ever be an option remains to be seen.

Marc Mason

THE LEADING MAN
Written by B. Clay Moore and Drawn by Jeremy Haun
Published byOni Press

Nick Walker isn’t just Hollywood’s best leading man. Far from it. He’s also an actual, honest-to-God, spy using the cover of his film shoots to battle terrorists and save the free world. But it isn’t always easy. His latest action-filled extravaganza finds him on the French coast, running down a lead that should amount to nothing. But when he finds a terrorist training facility, it becomes a whole lot of something. Unfortunately, standard operating procedure must fall by the wayside when Nick gets sloppy and is followed to the villains’ lair by the soap opera ingénue playing his leading lady. Now he has to contend with a civilian, as well the bad guys, in trying to eliminate another threat to lives around the world.

LEADING MAN is an amusing, tongue-in-cheek bit of fun, running along at a zippy pace and delivering the good like a summer popcorn flick. And like a summer popcorn flick, if you think about it too hard, it will collapse in on itself- the actor as spy thing really only works as long as you don’t subject it to a lot of scrutiny. But you aren’t supposed to… you’re supposed to sit back and be entertained, and that’s exactly what the book offers. Guns, girls, cars, explosions… Moore and Haun hit every note, and the song is awfully catchy. The pair had previously collaborated on BATTLE HYMN at Image, and LEADING MAN is so good that it plays as an apology for the earlier work. Accepted, gents. Thanks.

Like any good tentpole flick, the book also leaves the door wide open for a sequel, especially with a nifty late twist in the plot that the creative duo leaves quietly alone. As a side note… while the story and pacing are what make the book sing on the surface, it’s really Haun that breaks out here and shines. He draws the action well, but it’s the people that make the book work. He doesn’t go for stupid poses or clothing choices, or come up with reasons to show a thong sticking out of jeans. Even the female villain of the piece isn’t drawn in over-the-top fashion. In short, that leaves the book looking appealing to both genders and much more of a factor in the marketplace. Smart move.

SIBAM?

“The most popular leading man in Hollywood is also the world’s greatest spy.” That logline alone will sell this book to a producer. And the concept could go in any direction; the initial script could take the story anywhere, not necessarily France. Anyone from Matt Damon to Taye Diggs to Matthew Fox to Justin Timberlake could fill Nick Walker’s shoes. In short, this is a flexible property, one that could be done in any number of different budget ranges. I’d be more surprised if we didn’t see THE LEADING MAN on the silver screen at some point than if we did. It’s a natural.

Marc Mason

I’m going to break with tradition a bit and return this column’s eye to a book first mentioned here over two years ago (during the Movie Poop Shoot days). Stephen Buell’s VIDEO originally appeared on shelves in pamphlet format, and I whole-heartedly recommended to anyone listening that they needed to option it and get it into development quickly. I even personally recommended it to a Tinseltown insider of my acquaintance. However, movement was lacking. Now, VIDEO is available in a collected edition, and I’m back here to urge readers and filmmakers alike to pick it up and enjoy it.
 
One of the most impressive things about VIDEO is that it gets in to its premise quickly and then steps on the throttle from there. As the book opens, we meet Keisha, and she has some startling news: Jesus has returned to Earth, floating in the sky above Los Angeles and communicating to everyone on the planet through their TVs, radios, and everything else available that he will be taking the faithful with him in 48 hours time. This has, in turn, caused mass chaos, looting, and a complete collapse of many governments across the world, especially those based upon religions other than Christianity. But it gets intensely personal for Keisha and her friends when her boyfriend Jesse attempts suicide and is suddenly healed enough to make an announcement: Jesus has been talking to him personally, and it turns out that the Son of God is actually Jesse’s father.

Combining modern horror, paranoia, and philosophy, VIDEO is a fascinating and intellectual exercise in comparative religion. What if one religion was right and the rest were wrong? What if, regardless of religion, God did reappear and decide to change the course of the world with a wave of the hand? What would the psychological impact be on those who were unsure about their own destinies and faiths? Buell does a terrific job of addressing these questions.

Film-wise, this would be an inexpensive film to make. Buell keeps the focus on his group of four characters and the FX to a minimum. A smaller, independent production could handle adapting this material and make a sweet flick to boot. Bonus: the sheer controversy over the subject matter would drive people to the theatre in droves. Come on out there: get this on the screen already! I’ve been one of the biggest cheerleaders for this book since it first hit shelves; don’t make me put down my pompoms and pop you one!

Marc Mason