But the comic book is a broader church than Hollywood sometimes gives it credit for, and when you look away from the countless superhero titles, the medium is undergoing one of the most creative periods in its history, with all kinds of exciting and imaginative new titles, often creator-owned, hitting shelves each week.
The comic book movie genre isn’t going anywhere any time soon, but if we have to have some, why not dig a little deeper? So, with Comic-Con in the rear-view and to mark the release of “Guardians of the Galaxy,” we’ve picked out some of the best recent titles that most seem suited to big-screen adaptation.
Here are 10 comic books that deserve the big screen movie treatment (and it includes a Riot favorite, Sex Criminals).
A smooth-talking Grinch and a new adventure for the helpful elephant Horton feature in four largely forgotten Dr Seuss stories that will be collected for the first time this autumn.
Horton and the Kwuggerbug and More Lost Stories, out from Random House Books for Young Readers in September, brings together four of Seuss’s little-known tales which were published in Redbook magazine in the 1950s, but never released as picture books.
How about some new Dr Seuss?
But when the social-media specialist for a private Provo-based English language learning center wrote a blog explaining homophones, he was let go for creating the perception that the school promoted a gay agenda.
Tim Torkildson says after he wrote the blog on the website of his employer, Nomen Global Language Center, his boss and Nomen owner Clarke Woodger, called him into his office and told him he was fired.
As Torkildson tells it, Woodger said he could not trust him and that the blog about homophones was the last straw.
And here’s why it’s important to talk about words that sound like other words but mean different things.
Ghostwriting in the English-speaking world is big business. The term was coined by an American, Christy Walsh, who set up the Christy Walsh Syndicate in 1921 to exploit the literary output of America’s sporting heroes. Walsh not only commissioned his ghosts, he imposed a strict code of conduct on their pallid lives. Rule one: “Don’t insult the intelligence of the public by claiming these men write their own stuff.”
Walsh’s code lingers. The acknowledgments page of many ghosted books will thank partners, children, even family pets, before making a discreet, sometimes grudging, nod to the invisible man or woman who quarried the angel from the marble. Alternatively, and more transparently, the book will be credited “as told to”, or “written with”, or “edited by”.
Those innocuous phrases often mask a world of private pain: tearful interviews, angry confrontations, threats of violence, shocking revelations and interminable waiting, waiting, waiting.
The secret worlds of ghostwriters never fail to interest me.