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Serenity Comic Book Series
stoolpigeon writes "CBR News is reporting that Dark Horse will be publishing a 3 comic series to provide material that bridges the gap between the Firefly T.V. show and the Serenity film. From the press release: 'The plot of the comic book series centers on the crew members of the ship known as Serenity, who once again find themselves broke and on the wrong side of a number of very large firearms when a heist goes awry, and some old enemies catch their scent. After facing one failure after another, Malcolm Reynolds becomes the target of a conspiracy between government and mercenary forces, and a tense and divided crew must try to unite behind their compromised leader...'"
I was looking forward to the film, but it'll now be based on a comic book. Films based on comic books are almost entirely rubbish...
I mean, I love Firefly, and I'm really looking forward to Serenity... now I have to excited over some silly comic books without which I won't get the full story?
That's sad. It feels like Joss Whedon has sold out, something like the Matrix people did with all their product tie-ins before the final two movies (they even made cartoons for god's sake).
Oh well, money is money.
(Please browse at -1 to read this comment.)
Right behind
* 1. The Phantom of the Opera (2-Disc Special Edition)
Which was released on May 3 - 7 days ago
* 6. The Andy Griffith Show - The Complete Second Season
Which isn't released until May 24 - so preorder
* 12. Abs Diet
Which was released on May 3 - 7 days ago
* 13. Gilmore Girls - The Complete Third Season
Which was released on May 3 - 7 days ago
* 25. Quantum Leap - The Complete Third Season
Which is released today
* 33. WWE WrestleMania XXI
Which was released today.
* 38. Star Trek Enterprise - The Complete First Season (doomed, ya already know this, right?)
Which was released May 3 - 7 days ago
* 43. Ocean's Twelve (Widescreen Edition) (what? one week in the theater, was it?)
Which was released April 12 - 28 days ago.
Compared with Firefly which was released on December 9 2003 - 518 days ago.
Can you seriously not see the difference?
try to ignore the goodwill you have towards Joss because of the first 3 seasons of Buffy, and realize that Firefly was pretty lame
Okay...
(Ignoring...)
Yep, Firefly still rocks.
Truth is, I didn't really care that much for Buffy or Angel. They were kinda sorta clever--"better than a lot of stuff on TV," as you put it--but not half as good as Firefly.
It is cowboys in space, for crying out loud! What could be better? It has interesting characters, can be funny and serious at the same time, an interesting plot... Definitely one of the best series that's ever been on.
And you think it's lame? I'm glad you at least conceded that it was better than a lot of stuff on tv. I want to pull my hair out whenever I see yet another Who Wants to Marry a Bachelor Idol Apprentice crapfest, or I see a bunch of press given to the end of another Everybody Loves My Formula Sitcom show. At least Firefly was somewhat original.
But that's just my opinion. I hope you have at least rented and watched the first one or two DVDs before you passed judgement. Fox really did screw up the series while it was running by not airing the episodes in order and constantly pre-empting it. What can you say about a network that airs the pilot--the exposition of the series--as the fickin' last episode!? It's not quite this bad, but can you imagine how confusing it would be to watch a season of episodes of a show like 24 all scrambled up?
Yes, but at least Star Trek: Voyager/DS9/Et al had the name cachet to keep going - had being operative, given that even recognition couldn't keep Enterprise on the air. So, no matter how horrendous those shows actually were, they were given the chance to keep going...Fox just up and pulled the plug because costs of production weren't commensurate with diminishing returns. Whedon and co. had all of 16 episodes to create as much of a universe as they could, so if there were inconsistencies and holes and confusions, they probably were under the impression they'd be given more time to flesh it all out, fill in the gaps and create something more cohesive...*shrug*
There exists a distinct possibility that these movies will serve as a natural extension of the overall story-arc that had been intended by the writers...hell, they may even be enhanced by the larger budget, more concentrated medium (two hours to tell a sotry that they might have planned on telling over half a season or longer), and a creative team that is reinvigorated...but we won't really know that until we see them.
"How like you to drag your keyboard to a gun fight." - Aaron Bedard (BANE)
I think if you manage to think of her as more than a "whore" -- which is what Mal and other use as a put down -- and instead think of her as the companion she is, you will see that there is precedent in real life in the Geisha.
As always in Firefly, western and eastern culture meet somewhere...
Belief is the currency of delusion.
It depends. I may be wrong, but I seem to remember that in some cultures in some eras of our history, whores were considered respectable women. (Examples, anyone?)
Besides, the Companions in Firefly weren't exactly high- or low-class, they were sort of in between. You could always tell that Mal had sort of a love-hate relationship with Inara. He really liked her, but he absolutely hated her profession. Even though many held her in high esteem, you could tell that some did not. Watch the episode "Shindig" to see this sort of high-class/low-class duality of the job.
Also worth noting is that not all "whores" in the Firefly universe were respectable, only registered Companions. There were presumably the cream of the crop, women of such exquisite quality that they were very well thought of. They also weren't "whores" in the sense of the word that you simply paid them for sex, they were also very highly educated women, trained in many arts and skills, who provided a sort of relationship fulfillment service, not just mere physical pleasure. Watch the episode "Heart of Gold" to see how the non-Companion whores were treated. They were low-class outcasts. Even today in the United States, this whore class system exists. The prostitutes at the brothels in Vegas are much better thought of than the whores on Seventh Avenue. Some porn stars are held in extremely high regard in a weird sort of way.
So I guess my point is that although it's different from the way we think of prostitutes today, it's not really too farfetched an idea.
And no, I didn't memorize all of the episodes of Firefly, I cheated.
Typically, the fanboy and the troll are both wrong.
Firefly was cancelled because very few people liked it. Why did few people like it? Fanboys say it's because it aired out-of-order, and I have to admit they have a point. If you saw this show when it aired it would have made no freaking sense at all. The only way to watch it (and like it) is on DVD.
But there's the possibility that the Space Western theme just didn't resonate. I thought it was cool, but I'm willing to believe people would roll their eyes. Frankly there were plenty of episodes where the "Western" part of the Space Western was way overblown. They robbed a FREAKING TRAIN. They FREAKING SQUAREDANCED.
But it was, all in all, solid writing and acting. It was the strongest first season of any Joss Whedon series. It failed because of either out-of-order-airing or the quirky basis of the series, or both.
I loved it, and am looking forward to the movie.
You know, comments like this remind me of that guy who used to stand outside the studio gates with a sign that said something along the lines of "I HAVE WRITTEN THE FUNNIEST SCRIPT IN THE WORLD" and was continually surprised that the people who drove past him didn't stop and buy his script for millions of dollars.
... and this might shock you ... take the fucking things off the internet and start sending them to agents and script editors?
For one thing, sparky, it's not a matter of luck. Whedon put in a lot of time writing other scripts, making other series, polishing other people's writing. He has what is known as a "track record." People have an idea that he can write, that he can create a successful series, and so on.
Or, in other words, people who aren't persistent think that the people who are are lucky.
And for another thing, it's not exactly a secret as to how to get into the system. It's hard, but I have a dozen books that all say, in essence the same thing:
Go to where the market is. Send your scripts to agents and script editors. While you are waiting for agents and script editors to get back to you, write more scripts. Write scripts for series that you didn't create. Write scripts for movies that won't take eighteen billion dollars to create. Write. And, when you've written, send them out. Eventually, if you're any good, someone will call you back and say "Hey, want to come in and pitch a story idea for this series?" or "Hey, we liked that movie script, but we need it to have a role for a wise-cracking dwarf and two funny animals." or something like that.
At which point, you still won't be able to get *your* script ideas made in the form you want them to be. But - and this is the important thing - you'll have started establishing a track record for your work.
Alternatively, you can write a script and make your own movie, like _Pi_ or _Clerks_ or _Primer_. Or, to be blunt, like eighteen million crap cheap movies that suck money out of their creator's pockets because they're just not any good. That's the other route.
The only sure route to failure is to write wish-fufillment scripts that feature characters JUST LIKE all the ones from Robotech or Hellsing or Bubblegum Crisis or whatever series is causing anime geeks to develop wrist injuries this week, except for the one character who all the women adore and who, coincidentally, looks and sounds JUST LIKE the author of the script.
If you've written a bunch of scripts that *aren't* cheap ripoffs of popular series, great. Why not see if you can edit a few into something you can afford to shoot with your credit limit being what it is? Or rewrite it into a radio drama and get some friends (if you have any) together to produce it. Or
Or would you just rather sit around and feel superior and unappreciated?
I get the feeling that Joss Whedon has a genuine desire to tell his story in it's entirety, since he wasn't able to do that with the TV series.
I don't think he's doing it for any financial incentive... the film industry tends to pay a bit better than the comic book industry, in case you didn't know.
"But the cars are all flashing me, bright lights are passing me, I feel life passing me by" - Stiff Little Fingers
Yet more proof that you want the rewards without doing the work. To wit:
You have been told exactly how you go about achieving your goals.
You go to where the industry is: this is not a matter of luck, this is not a matter of "Gosh darn, that guy was just SO FORTUNATE to have decided to move to LA and sleep in the gutter until he manages to get work." This is How. It. Works. Unless you manage to build a writing career elsewhere that makes them sit up and take notice - and that means makes someone a fair chunk of money - you go to LA. Period.
You send printed scripts in the format that the agencies and script editors demand. If you can't do something as basic and as simple as that, then you're more trouble than you're worth to them, and they won't bother with you. The writing staff of any series want to find people - and according to the people in the industry I know, some of them are pretty desperate to find people - who will make their jobs easier, not harder. Reading a script on-line is hard, because it's not the way the industry is set up. Expecting them to print your scripts is hard, because a: printing takes them *time*, and they're already working eighteen hour days - when they have work at all, and b: it costs them money, and they don't know you from Adam, so they have zero reason to spend the money. You might be broke - but you want something from them, and they don't particularly want what you've got to give them, which is attitude. Your post basically screams that you think that "I'm So Talented That Everybody Must Adjust To Me." Which, quite frankly, is an attitude they have enough of in the industry, and they don't need to be bringing any more in.
Your scripts might be good. I don't know. I don't especially care, because I *do* know that the people who sign the checks want to know that they're likely to make their money back and then some. To *know*. To be able to go to the stockholders and say, even in the case of failure, "We did everything we could to make sure we weren't wasting our money."
You aren't willing to give them that. You aren't even willing to make the most basic of concessions to them. "I'm so talented that someone with eighty million dollars to invest in a TV series should come to my website and print out my scripts because I'm too fucking lazy to print and mail them myself."
It's always easier to cry and claim that if it weren't for these immense hurdles that you'd show them, show them aaaallll than it is to actually try to surmount those hurdles, isn't it?
It's not luck in your case, Sparky. You're convicted by your own words. You're just lazy. Face facts.
thats why the technology is non-consistant - its about telling the story, one which isnt entirely compatible with its setting.