Merry Christmas!

From the Hulk family, and myself a huge Merry Christmas to you all, and a glorious New Year. This year has been a great one for me, I must say. I went to Comic-Con for the second time and managed to meet for the first time many people who I’ve been ‘talking’ with over the last 2 years. My mate Dave and I created 3 issues of the free mag  Extra Sequential, which opened up the door for our ultimate goal – printing a fresh faced comics mag. Sean at Arcana Comics in Canada saw ES and liked it and since July we’ve been stealing all the time we can manage to unleash the new Arcana magazine upon the public. January 27 is going to be an awesome day!

In all the embracing of capitalism and madness of gift giving I hope we can remember the real reason for the season (that’d be Jesus, not Santa BTW) but if you’re not a Christian I hope you still reflect on the goodness of the last 12 months and realise that every situation is an experience to develop as a more complete person. Thank you for reading my humble blog this year and although I haven’t updated it as much as I’d like, especially with new reviews, I’m glad you’ve read my ramblings.

Now, here’s to 2010! I have a good feeling about this coming year.

Wallace & Gromit On iPhone

Press release below about those loveable British claymation characters and their rather impressive entry into the world of digital comics.

Wallace & Gromit digital comic reaches half a million downloads!

Titan Publishing’s Wallace & Gromit digital comic is taking the iPhone by storm with over half a million downloads of its first free app!

Since its launch on November 7, Wallace & Gromit digital comic has reached number one in the UK free books app store, a first for a British comic and has also risen to the number three spot overall in the free apps chart, a cracking feat and no mistake! All four paid for Wallace & Gromit comic apps have been within the top 20 paid apps in the UK book chart since their launch in November.

And it’s not only us Brits who can’t get enough of Aardman’s iconic duo – it’s currently the number one free book download in America and Canada and number 2 in Australia!

Wallace & Gromit digital comics editor Ned Hartley said: “We’ve been amazed at how well our first app has done – Wallace & Gromit is such a great brand, and iPhone users obviously love them as much as we do!”

You can download the first Wallace & Gromit Comic, ‘The W Files’ for free at www.titanpublishing/digital, and there are four other fantastic Wallace & Gromit comics available at the app store, for just 59p/$0.99 each!

Wallace & Gromit digital comics are also now available for download on PSP! Issue 1 is available for free and subsequent issues are just 79p/ $0.99 each – with each issue containing two great Wallace & Gromit stories!

To find out more information and to download some cracking comics, visit

Incorruptible #1 Review

It only seems like yesterday that a website opened up simply declaring, “Mark Waid Is Evil.” Some speculated that it was created by a group of fanboys who for some reason disliked the work of the legendary writer of Kingdom Come and great runs on The Flash and Spider-Man. What it really was was a clever marketing ploy from BOOM! Studios, the indie publisher that Waid is the Editor In Chief of.

The slogan proved true when Irredeemable launched (now in it’s 9th issue) from the writer and artist Peter Krause that focused on hero turned bad, The Plutonian. Like many others, I’ve been bowled over by the dark superhero series, and now it’s joined by a spin-off, Incorruptible. Also written by Waid, and with art by Jean Diaz this series is the other side of the coin, representing a villain turned hero in the wake of The Plutonian’s gruesome acts of destruction.

It begins with Max Damage’s gang pulling a heist, after waiting impatiently for their leader who’s been gone  a month. He now shows his new colours, and he’s on the side of the angels, surprising cops and villains alike in an impressive action sequence on a bridge. It’s then off to Max’s hideout where he shows his new attitude to his sidekick of sorts, the appropriately named Jailbait and a police captain.

It’s obvious that this ties firmly into the structure of Irredeemable and is definitely not just a mere tie-in series quickly pumped out to cash in on the success of that series. There’s no real hints as to Max’s origin, and we know from BOOM! that he changes his name from Max Damage to Max Daring, but that’s not set up just yet. In fact not a lot happens here. It feels like the first few minutes of a Lethal Weapon film; all action, high-stakes drama and tough men with weapons, but Waid makes it all so charming and appealing.

I like Peter Krause’s work on Irredeemable, but Jean Diaz’s work is superior. Overall, this series after only one issue, looks set to be even more grungier than it’s originator. Jailbait seems like a Garth Ennis character, and the conflict between our new hero and her, plus all his former villainous team-mates, and the distrust of the remaining heroes should play out brilliantly.

Plus that last page is a doozy and it appears as though Max’s early encounter with The Plutonian became his life turning moment with good reason. Irredeemable demands a high quality story of anything associated with it. Incorruptible looks to be a more than capable sparring partner.

Angelus #1 Preview

Writer Ron Marz continues his great work, along with artist Stjepan Sejic on a new 6 issue mini-series focusing on Dani Baptiste, from the Witchblade series. Gorgeous preview pages below. Angelus #1 goes on sale tomorrow, December 23.

Angelus #1

(W) Ron Marz (A) Stjepan Sejic (Cov) Stjepan Sejic, Eric Basaldua

Taking flight from the pages of “War of the Witchblades”! Danielle Baptiste returns home to New Orleans to come to grips with her new role as the Angelus, the human bearer of the primal force of Light. To complicate matters she must sort out her undefined relationship with Finch while maintaining control of the Angelus host, some of whom covet her power.

Cover A – Stejpan Sejic

Cover B – Eric Basaldua, Rick Basaldua and Caesar Rodriguez

Cover C – Eric Basaldua

Full Color 32 pages $2.99 limited series

Batman Meets Doc Savage

Newsarama has a glimpse at some of the goodies being released in March from DC Comics, including he first issue of their universe melding First Wave series. The idea behind this series is to create yet another alternate universe, one in which pulp-leaning characters such as Batman (now with twin pistols) and Black Canary exist in the same world as Doc Savage, The Spirit and others. Details below.

On sale MARCH 3 • 1 of 6 • 40 pg, FC, $3.99 US
Cover by J.G. JONES
1:10 Variant cover by NEAL ADAMS
DC’s shocking new pulp universe is finally unveiled! In the shadows of the War, the roots of the Golden Tree cabal grew deep into the heart of a fallen world… and the leaders at the heart of this secret organization see no place in their utopia for heroism. Doc Savage, struggling with the loss of his father, has been blind to their advance – until now. Central City’s mysterious Spirit has caught wind of their plans as well. But whose side have the Blackhawks chosen? What is the Red Right Hand? And where is the Batman? Eisner Award winner Brian Azzarello (100 BULLETS, JOKER) and superstar Rags Morales (IDENTITY CRISIS) craft a DC universe like you’ve never seen before! It’s a world with no supermen, only mortal men… Death can come at any moment, and adventure can still be found at every corner of the map! Will Doc Savage be the first to lead the coming world or the last to be crushed under its heel?

On the same subject, Greg Hatcher at CBR has a great post about all the classic illustrators fom pulp novels back in the day, with some looks at vintage Doc Savage covers. It’s well worth a look to see an impressive gallery of old-school covers.

This Week’s Winners

The Complete Alice in Wonderland #1. Like most people, I am more familiar with adaptations of Lewis Carroll’s master work, rather than the source material. However, the faithful work that writers John Reppion and Leah Moore have done on this title is obvious from the die-cut cover, as Carroll’s name is above theirs. It probably means more to those who have read the novels, but there’s something quite odd and charming about this issue. I felt like I was reading a lost Monty Python script, with all the zaniness and seemingly random plot advancements. Choosing a manga artist was a bold choice that pays off splendidly. Erica Awano’s delicately flowing renderings are quite beautiful, and she’s aided greatly by PC Siqueria’s muted colours. The whole book is presented like  a centuries old bedtime tale. It won’t be everyone’s cup of tea, as essentially Alice falls down the hole and meets a bunch of different characters and has strangely lyrical conversations with them. She never has a panic attack, but recalls her family and talks to animals with child-like confidence. This is the kind of book that seems out of synch with all the other comics on the shelves, and that’s what makes it rather appealing.

The Brave and the Bold #30. I picked up last month’s team-up with Batman and one of DC’s forgotten characters, Brother Power the Geek last month and quite enjoyed it. J. Michael Straczynski continues his little character studies in this series here and fixes his focus on Dr. Fate and Green Lantern. Both characters are long-time faves of mine and JMS masterfully manages to give both characters equal billing and bring readers new to both up to speed. There’s no titanic tussles that we’d expect from a superhero tale, but rather a simple story which has GL stranded on a planet with his ring power failing, when the golden Doc shows up and the two reminisce and discuss the power of will and fate. JMS has a firm handle on these characters and distills their essence to put on the page with care and confidence. Anyone who’s seen Changeling (written by JMS and directed by Clint Eastwood) will understand how Straczynski can get inside a character’s head without ever being too obvious or schmaltzy. We should be thankful he applies those skills to comics.

Batman 80 Page Giant #1. Truthfully Batman only appears in 2 of these 8 short stories, but his supporting cast has always been rich enough to sustain themselves. The link between them all is that they’re set in modern continuity (ie, Batman is dead) and there’s a blizzard in Gotham. It’s good to see Commissioner Gordon and Mr. Freeze tangle again, and writers like Kevin Grevioux and David Tischman tackle Gotham’s cast, the latter in a tale focusing on Alfred’s friendship with a prostitute that isn’t as strange as it could’ve been. Amongst this collection is a variety of art styles, and the highlight for me would be Rafa Garres, and especially Kat Rocha and Josh Finney in their Catwoman tale. The partners (from Archaia’s great Titanium Rain) have a style somewhere between Alex Ross and Stjepan Sejic, though that description isn’t quite adequate. There are places where faces appear a little lifeless, but the duo work well together and bring a diversity to these pages.

Steve Mannion Interview

Now up at Broken Frontier is my interview with Steve Mannion, from Asylum Press’ Fearless Dawn series, for which words like “cheesecake,” “romp” and “madcap” would be suitable descriptions. He’s a great artist too.

His The Bomb TPB is out now and the Fearless Dawn mini-series has just begun. If you like Tank Girl-like heroines fighting Nazis with tongue-in-cheek action and humour, then it’s an enjoyable romp.

50 Films In One Trailer

Just when you think it’s over, it begins again. There’s some impressive editing here. Thanks to Empire Online for the heads up.

Star Wars: Invasion TPB

Thanks to writer Tom Taylor’s site, the cover of the collection of the excellent Star Wars: Invasion series from Dark Horse is now up. You may recognise Jo Chen’s great cover from the first issue of the series, but also from the cover of our Arcana mag, in which we have an insightful and amusing interview with Taylor. The official solicitation info of the TPB is below. Congrats must also go to Taylor, as not only is his Rombies one-shot now out from Gestalt (get it now, it’s cheap!) but he’s also working on something special for DC/Wildstorm.

Tom Taylor (W), Colin Wilson (A), Wes Dzioba (C), and Jo Chen (Cover)
On sale May 12
FC, 144 pages
TPB, 7″ x 10″

Twenty-five years after the Battle of Yavin, Luke Skywalker and the galaxy are facing their first real threat since the Sith were defeated: an invasion of hostile warriors from another galaxy—the Yuuzhan Vong!

The peaceful planet of Artorias is in the path of the alien armada. Finn Galfridian, his spunky sister Kaye, and their parents find themselves separated and fighting for their lives when the surprise invasion occurs. But their ordeal is just beginning . . .

• Collects Star Wars: Invasion #1–#5 and #0.

• This new series ties in to—and fits between—the nineteen novels of Del Rey’s New Jedi Order series.

• Features some of the first visual representations of this turbulent era of the Star Wars saga, including Han and Leia’s Jedi children!

Iron Man 2 Trailer

Surprisingly I can’t find it on YouTube, but I’m sure it won’t be long. For now you can go here to see the just released official Iron Man 2 trailer. The film opens in May. The trailer features glimpses of Nick Fury, Black Widow, Whiplash and War Machine. Oh, and Iron Man.

Robin Hood Trailer

Opening in May is the next Ridley Scott/ Russel Crowe team-up – Robin Hood, based on the legendary archer. It just looks like Gladiator with bows and arrows so far, but we’ll see when it opens next year.

The Paranormally Active Engineer

I saw the much hyped low budget film Paranormal Activity last week, and though it didn’t terrify me, I certainly admired it’s film-making creativity. To read my review of the most financially successful film ever made, go here.

Up at the blog for Arcana magazine I also put up a preview of The Engineer, a great sci-fi series which is now available from Archaia for only $10. That’s a bargain for a full colour 128 pager.

William Baldwin Is Batman

I can’t really conceal my excitement for this film. It’s a great time to be a DC fan! The latest in DC’s growing line of animated films involves the Justice League and their evil counterparts from an alternate earth. I’ve chosen this film as one of the must haves for the first quarter of 2010 in next month’s Arcana mag.

Thanks to Warner Bros, below is an interview with William Baldwin, the actor portraying Batman in the film,w ho reveals he almost played the character on film before George Clooney beat him to it.


Dirty Sexy Money star William Baldwin slides easily into the famed cowl as the voice of Batman in Justice League: Crisis on Two Earths, an all-new DC Universe Animated Original PG-13 Movie from Warner Premiere, DC Comics and Warner Bros. Animation.

A fan of the super hero genre since his youth when the Baldwin brothers would role play in their backyard, William Baldwin has proudly, enthusiastically undertaken the deep, gravelly vocal tones of the Dark Knight. While Baldwin has crafted a fine career in live-action film and television, Justice League: Crisis on Two Earths represents only his second foray into voiceover for animation, having recorded a few episodes on the Nickelodeon series Danny Phantom.

Beyond ABC’s Dirty Sexy Money television series, Baldwin has offered memorable turns in the feature films Forgetting Sarah Marshall, Flatliners, Backdraft and The Squid and the Whale, the latter of which earned (ironically) a Gotham Award for Best Ensemble Cast.

Justice League: Crisis on Two Earths is an original story from award-winning animation/comics writer Dwayne McDuffie (Justice League). Bruce Timm (Superman Doomsday) is executive producer, and the film is co-directed by Lauren Montgomery (Green Lantern: First Flight) and Sam Liu (Superman/Batman: Public Enemies). The full-length animated film will be distributed by Warner Home Video on February 23, 2010 as a Special Edition 2-disc version on DVD and Blu-Ray™ Hi-Def, as well as single disc DVD, and On Demand and Download.

Baldwin took time after his recording session to chat about visualization techniques in the sound booth, his children’s influence on his choice of roles, the super hero roughhouse role play by the Baldwin brothers (particularly Alec Baldwin) in their youth, and his very nearly being cast in the live-action role of Batman. Now let the man speak …

QUESTION: What are your thoughts about joining the list of actors from Adam West and Michael Keaton to Val Kilmer and George Clooney to Kevin Conroy and Christina Bale – that have played Batman?

WILLIAM BALDWIN: I almost did join that group – I was one of Joel Schumacher’s top choices when Val Kilmer wound up playing Batman. Tim Burton and Michael Keaton had left, so Joel had the luxury of replacing Michael Keaton and he told me that his four choices – which was an eclectic, diverse array – were Daniel Day Lewis, Ralph Feinnes, Val Kilmer and me. I didn’t even know it at the time – he told me when I had a meeting with him later. The next time, when George Clooney did it, (Schumacher) said, “You were on my original short list with those other three actors, but the studio went with Val and this time I’d like to go with you.” And that Friday afternoon, I thought I was playing Batman – and then Monday morning, the headlines in the trades said that George Clooney had gotten the part. So apparently, I did actually come very close.

I was very excited to do this. I wasn’t really thinking about any past Batmans, but more of letting the material sort of dictate the choices that I make as an actor. What’s happening physically, what’s happening emotionally, what’s happening in the writing. That’s what really drives your performance.

QUESTION: How did you choose to interpret the character? And was there anything you wanted to do differently than what had preceded you?

WILLIAM BALDWIN: I was mostly influenced by whom I perceive Batman to be, with the possible exception that I think sometimes I allow a certain sensitivity or an emotional dynamic to give (the character) maybe a likeability or an accessibility. That’s almost an insecurity of mine as an actor – to want to breathe a little bit of those types of emotions into characters. I think I find them more appealing and more likeable and more human. What I didn’t choose to do is to go towards the darkness of the way the original Batman series was intended. Because Batman, in the original comic series, was a lot darker than the character that was brought to life in television.

QUESTION: Are there any personal attachments to Batman that make voicing this role special for you?

WILLIAM BALDWIN: It’s a number of things – certainly the history of the character. The people that have been lucky enough to portray Batman on screen, or provide his voice, is a short list and it’s pretty cool. I’m in good company. I enjoyed it as a child, and the character still resonates for me. And I’m a father of an 8-year-old, a 7-year-old, and a 4-year-old – my boy is sandwiched between his sisters, and he just loves the super heroes. We watch Justice League together. I try not to let him overdo it too much with television, but there’s great, wholesome messages that come out of that series. When I told him that I was playing Batman, his jaw dropped. I almost took him out of school today to have him come down here (for the recording session).

QUESTION: How many times have you said “I’m Batman” in the past week?

WILLIAM BALDWIN: Probably about a half a dozen, usually just joking with my kids and my wife. I was in the studio about a 9-iron from here, where my wife (Chynna Phillips) was recording, and all the band members were giving me different lines to say as Batman. Or having me improvise some lines. And we were having some wicked, twisted fun with it (he laughs).

QUESTION: It seemed you were quite focused in the booth, conveying all the physical and emotional traits as Batman. How immersed in the role did you feel?

WILLIAM BALDWIN: I take it seriously. And I enjoy it, especially recreating the sound effects of the fight sequences and stuff like that. One thing that was interesting to me was how clean they need the lines and, thus, how specific I had to keep my relationship to the microphone, and making sure there weren’t any other sort of ancillary sounds. When I’m doing looping for a film, I guess it’s sort of a method approach. I’ll put things inside my mouth and try to recreate the circumstances or the emotions that existed while I was performing. There’s nothing better than when you’re grunting from lifting something to try and create that sensation. I do a lot of visualization, too. So when you’re having the confrontation with Lex Luthor or Superwoman, sometimes I’ll look through the mike into the booth to somebody in the room. I’ll look at them and just sort of imagine it in my mind, to just pick somebody and lock into that, giving off this energy to them. It’s very helpful for me to have that specificity to lock into.

QUESTION: Did the Baldwin brothers play super hero games growing up?

WILLIAM BALDWIN: You’ll have to get my brother Alec in here sometime – he’s got the scars to prove it. Back in the early ‘60s, he tied a bathroom towel around his neck as a cape and was doing his Superman (impression), and he went through a plate glass sliding door. He ran right through it. He has these big V-shaped scars under his bicep and his forearm from all the stitches that he took when he was five or six years old.

So yeah, we did play super hero games. And my family was pretty rough. I mean, when we were playing super heroes, if there was a cartoon where somebody got thrown off the roof and they landed on the ground with a thud, then Stephen or I got thrown off the roof – into a pile of leaves, or into somebody’s swimming pool.

QUESTION: You rode along with the Chicago Fire Department to prepare for Backdraft. What kind of research went into this performance?

WILLIAM BALDWIN: First of all, some parts lend them self to that type of research and preparation more than others. Secondly, I had a fairly deep understanding of this character because I’ve been watching the shows and films and the character for 40 years. So if I felt like I didn’t have enough of an understanding, I probably would have postponed (the recording session). But when I was looking at the script on a plane a few days ago, I felt it was kind of a piece of cake based on my understanding of the character, and really fueled my attraction to the character and the piece. There’s a lot of two- and three-line exchanges rather than two- and three-paragraph exchanges. There weren’t a lot of monologues that required a lot of line memorization, or anything incredibly challenging emotionally. I just had to get into the rhythm of how the character speaks.

Batman’s spectrum of emotion is fairly narrow – for a number of reasons. He’s always in command, he’s always in control, he’s always holding it together, and he’s pretty tough relative to the rest of us in this room.

QUESTION: Does the Gotham City/New York connection hold anything special for a lifelong New Yorker?

WILLIAM BALDWIN: There’s always been something cool about (Gotham City) being based on New York – it’s where I’m from, where I grew up, and I’ve spent my whole career there. I remember referring to it as Gotham – not Gotham City, either – more often than I called it Manhattan or New York. I’d be on the West Coast finishing a meeting, and somebody would ask, “Where you going?” And I’d always say “Back to Gotham.”

QUESTION: Did having children that enjoy the genre influence your desire to give voice to an animated character at this point in your career?

WILLIAM BALDWIN: That definitely motivates a lot of the choices that I make as an actor now. I’m looking to be involved with projects that are family oriented. Not exclusively, but I’d like to do some things that my children can see. My brother Alec has done a series of films over the last couple years – Madagascar and Thomas (the Train) and things like that – and the kids got really, really excited about that. And we’re good friends with Chazz Palminteri, and Chazz does a lot of animated voiceover work. When they hear his voice, they really get excited.

I was doing a television series for two seasons, so we would watch that together as a family. Sometimes I would let the kids stay up, and they really got a kick out of it. I did a film last year with Henry Winkler called A Plumm Summer that won a couple of family film festival audience awards. So yes, I’m definitely looking for some choices. Because the films in my past, like Flatliners and Internal Affairs, Three Of Hearts and Backdraft and Sliver, Fair Game and The Squid And The Whale and Forgetting Sarah Marshall, these are all films that my kids aren’t quite ready to see.

QUESTION: You’ve tackled this legendary comic character. What other roles would you like to fill?

WILLIAM BALDWIN: I’d like to surprise some people maybe and do the voice of something that’s much more charactery. It could be much more ethnic. Jewish or Irish or a New Yorker. I have a lot of fun with that stuff. I’d even like to sing. I wouldn’t want to sing in the way that you would need Mariah Carey to sing, but just have a character sing and have fun with that, too.

QUESTION: What were your impressions of this animation experience versus some of your previous experiences?

WILLIAM BALDWIN: I’m getting better at it. I’m very tough on myself, so I’m never quick to say that I felt like it was great when it wasn’t. I usually have my own sort of standards that I set for myself. It felt like I was able to achieve my objectives more quickly. I think that comes with maturity as a performer and, uh, it’s nice to know. Because there’s been times where I’ve done voiceover work where they would normally allot two hours for someone who can bang it out, and they would have to allot three or three and a half or four hours. It’s not that I couldn’t do it quickly, it’s just that I’m such a perfectionist. I tend to be saying “Let me try that again. Let’s do one more … one more … one more.” I think I said, “Let me do one more” about 10 times today, which wasn’t a lot. Sometimes I say it 100 times. I think everybody thought that it felt right, it felt good, it sounded great. It’s always fun, but I want to get it right.

QUESTION: Is it difficult acting alone in the booth?

WILLIAM BALDWIN: It forces you to hone in and focus on the performance aspects and the emotional aspects of what you’re trying, and visual them in your head. Acting is not acting, it’s reacting. You’re reacting to what somebody’s saying and how they’re saying it. That was great about the television show that I just did (Dirty Sexy Money) because the props department would tie me in when we would do something like a telephone conversation. When I had one with Donald Sutherland, I didn’t have to come into the studio to do it. They would just have me call on my cell phone from my home in Santa Barbara, and I would call in when the camera was rolling and I would literally have the conversation with him. In the old days, sometimes you would have the other actor come in on his off day just to read that telephone conversation off camera. Then that changed and you would wind up reading this telephone conversation with the script supervisor who (A) is not an actor, and (B) does not know what the choices of the actor are going to be when they shoot his side of the telephone conversation in two weeks. That can be very difficult and very stilted when they cut that telephone conversation together – sometimes you can tell by the way someone’s reacting to a line that they weren’t hearing the actor do it on that day. They just interpreted what they thought the actor was going to do on that day, and they were wrong. I’m talking about stuff that’s very subtle, like someone raising their voice a little bit in the reaction to the other person. Little things. But that’s acting. You’re not just reacting to the words, you’re reacting to the way the words were said. Was it threatening? Was it menacing? Was it intimidating? Was it submissive? It’s all based on little layers and subtleties.

QUESTION: Can you compare acting on camera to acting in the booth, and how Andrea Romano was able to guide you through those differences?

WILLIAM BALDWIN: It’s sort of a mixed bag. On camera, you’re usually acting to another actor who you’re looking at, who’s in the room with you. Today, I was in the sound room and Andrea was behind the glass. And she’s not an actor. But for a director, from a performance standpoint, she was giving me more than enough. What really helped was the specificity of her notes. When something wasn’t right, she would give me a note that would 180 it, or she would give me a little subtle note. That was great. “You’re forgetting to add in this layer” or “Give me a little bit more urgency.” At one point, I throw a punch and Superwoman catches my fist and starts to squeeze my fist. And I said, “Do you want me to wince and scream in pain when she’s crushing my fist? And am I supposed to fight the temptation of revealing to a woman – because wouldn’t Batman wouldn’t want to give away that power that a woman is causing the pain.” I mean, it would be different if Lex Luthor or Superman were doing this, right? So we sort of hashed that out and found those sort of things as we were going along.

December Mattel Goodies

Thanks to Matty you can now order these pieces of pop culture goodness, including the D-list DC characters B’Wanna Beast and Animal Man (as a Justice in the Jungle 2 pack), a 12″ General Zod from Superman II and a 12″ Egon Spengler Ghostbusters figure. The last two come with real cloth costumes and nifty accessories. Go here to see these figures and others including  Skeletor and a kiddy Hawkman.