Many don't realize that Alda has a geeky side. Known for his 11 year story arc on M*A*S*H, the actor has always been fascinated with science. He's been lucky enough to entertain that side of his life by serving on the board of the World Science Festival and hosting the now defunct Scientific American Frontiers for 12 years.

While he hasn't starred in any science-based films (yet), Alda did act the part of Nobel Prize-winning physicist Richard Feynman in the play QED in 2001. Explaining his lack of science fiction on his resume, Alda tells io9, "Nothing's been offered to me that looked really interesting." Are you listening, Hollywood?

"I used to read science fiction a lot and I still like it if it's a model of how we really are, so we can see ourselves from another perspective," Alda continues. "The thing is that I read so much science, much more than I do fiction, because to me, science in itself is a great detective story that's happening in front of us. I don't get as involved with science fiction, except as it tries to help me understand who we are, because the greatest frontier in science is to understand humanity itself."

In a quest to learn more about that very subject, Alda and the folks at PBS take a look at what makes us human in a three-part series premiering on January 6th. The Human Spark, a three-part miniseries, sends Alda to three continents as he talks with archaeologists and scientists about our evolution and how we differ from Neandrathals, apes, and other animals.

"We often start off with these great divides," Alda explains. "We say, we're the only ones that cry. We're the only ones that laugh. We're the only ones that build skyscrapers. And little by little, as we've explored this, I've begun to see some of these lines blur and disappear in certain cases. What my interviews with scientists, being out in the field with these animals, and taking part in these experiments has done, is I've personally started to feel more connected to these other animals and see some of the roots of my behavior."

Alda went so far as to have his brain scanned at MIT's McGovern Institute, but it wasn't the first time he's done so. Turns out the producers at Scientific American Frontiers have made Alda get his head examined a few times already. While the brain scans in this instance were done to show what areas scientists think are uniquely human, technicians at MIT noted that they wouldn't have been able to guess Alda's age based on his brain scans — his noggin looks a few years younger! "I've carried that along with me for a while now," Alda laughs. "It cheers me up."

Alda's big question, which has yet to be answered involves our future as a species. "Scientists have told me that the average lifespan of a species is about two million years. We've only been here a fraction of that so far. Do we have a chance of having an average existence on earth? Can you picture us here a million years from now. What would we be like? What destruction will we be capable of? I hope we learn more about ourselves and that this series makes its own small contribution to that."

The Human Spark premieres on January 6th on PBS. Check local listings for times.

Daybreakers will be in theaters January 8th 2010.

Gigantic #5 is released January 6th 2010 [Dark Horse].

Greg Cox is one of the most prolific, and successful, authors of media tie-in novels, and he's won a loyal following for his many Star Trek books, including a trilogy filling in the backstory of much-loved villain Khan Noonien Singh. He's also written tie-in novels based on Alias, The 4400, Roswell, Underworld, Fantastic Four and Iron Man. He's also novelized the movies Ghost Rider, Daredevil and several others, plus DC Comics' big crossovers.

We talked to him about his new Terminator Salvation tie-in novel Cold War, out now from Titan Books, plus some of his other recent projects.

Cold War uses the same timeline as McG's recent movie, but only includes a couple of characters from the film: The main character is Losenko, the Russian general who appears briefly in the film, mentioning that Skynet is looking for Kyle Reese, and we learn all about Lysenko's backstory. Says Cox, "When I watched the movie, I was probably the only person who was mentally hanging on every scene with general Losenko," watching for every detail about the character to include in the book. Also in the book is General Ashdown (Michael Ironsides), the resistance leader who lives on a submarine. John Connor only pops in the book as a sort of mythological figure, giving inspirational speeches over the radio.

The new book takes place in Alaska and Russia, in two different time frames: 2003, right after Judgment Day, and then 2018. In 2003, the survivors are coping with the aftermath of the nuclear war, and Skynet is attacking them with really primitive Terminators, and the technology is close to what really existed in 2003. And then in 2018, Skynet has all the same tech it has in the movie — plus snowmobile Terminators, to navigate those frozen northern areas. It sounds like Cox had a lot of fun with the frosty settings:

My big gimmick was snowmobile Terminators. There's also a giant Terminator train. The trick is to try to find stuff in the [same] universe, that's slightly different. What haven't we seen yet? We haven't seen a Terminator train. The main reason for setting it in Alaska [was to include things like] dogsled chases, grizzly bears, avalanches, volcanos... We've seen so many chases on California highways, with fire trucks and emergency vehicles. I was looking for a whole different environment, not just recapitulating what people had done before.

Cox is somewhat surprised that the Terminator/grizzly bear fight has been the main thing people have talked about in his novel. "You can't have a Terminator in Alaska and not have him fight a grizzly bear. Okay, it's gratuitous, but how can I resist having a grizzly bear fight a Terminator?" And now that people have been so excited by it, "from now on, I put a grizzly bear in all my books." Spoiler alert: The bear doesn't stand a chance against a Terminator, says Cox.

There's also a Western-style train heist and loads of detail on a Russian submarine, plus lots of gritty war-movie-style action. Cox watched tons of World War II movies on TCM, read every Tom Clancy novel for the submarine details, and did loads of research on the world right after a nuclear war.

Cox says he watched Terminator: The Sarah Connor Chronicles "religiously," but Titan Books and Halcyon were adamant that his book couldn't contain any references to T:SCC continuity. So don't expect Cameron to show up, but if anyone ever green-lights SCC novels, Cox will be first in line. The Terminator people were very keen to make sure Cox's book fit in with their vision of the universe, including making sure Skynet wasn't developing high technology too early after Judgment Day — and that meant loads of conference calls, notes and intensive feedback at every stage of the process.

Wrapping up The 4400

The amount of feedback you get from the licensors on a licensed property depends heavily on whether it's an ongoing concern, says Cox. With The 4400, for example, Cox wrote one tie-in novel while the series was on the air, and went through four different drafts in response to feedback. But when Cox wrote the first of two novels wrapping up the series after it ended, Welcome To Promise City, he got a more-or-less free hand. (The other novel, available now, is written by David Mack.) Cox, Mack and their editor cooked up an ending to the series together.

Except for tons of feedback from the fans. Cox says as soon as it was announced that he was writing a 4400 novel explaining what happened after the show's cancellation, he was bombarded with emails from fans all over the world demanding to know what he was going to do with their favorite subplots and characters. "I can't claim we wrapped up every loose end, but we tried to wrap up the important one," says Cox. He and Mack debated with their editor whether to tie up the end of the series with a neat bow, or leave a few things slightly open-ended in case they ended up doing more novels. They settled on the second approach, so if the books sell amazingly well, you might see further continuations of the story.

Novelizing Final Crisis

Cox novelized Infinite Crisis, 52 and Countdown for DC Comics, and now he's novelized Final Crisis, Grant Morrison's narrative-shredding uber-crossover starring the evil Darkseid. How on earth do you take Morrison's loopy storytelling and convert it into a single novel?

There was a lot of condensing involved, Cox admits:

There's not a lot of connective tissue in that series. [There are] a lot of scenes that jump from place to place. I've got to admit, the book is probably a bit more linear than the comic book, especially issue seven, which was jumping all over time. I actually just tried to tell it a bit more in chronological order, and maybe simplify it a bit.

The biggest problem with novelizing one of these sprawling DC crossovers is figuring out what subplots and tie-ins to leave out. The first week Cox was working on the Infinite Crisis novelization, he was trying to include all of the spin-off issues, including things like Rann-Thanagar War One-Shot, and every other miniseries and crossover issue, "and I realized this book is going to take me ten years, and it's going to be the size of The Wheel Of Time." So he began paring things down. Similarly, the Final Crisis book ignores a lot of tie-ins, sadly including the 3-D Superman tie-in series. "I apologize if your favorite scene is not in this book, but there's no way I can get in the 3-D tie in superman issue and the Batman issues and the special tie-in issue of Secret Six."

With novelizations of comics crossovers, "it's all about streamlining." It's the opposite of novelizing movie scripts, which is all about fleshing out the story and characters and adding new stuff to turn a 90-page script into a 300-to-400-page novel. "The script for Ghost Rider was not a terribly long script," notes Cox. He recalls coming across the novelization for Snakes On A Plane and marveling that Christa Faust had managed to get 400 pages out of that film. He felt like sending her fan mail.

Should Khan Come Back?

As the author of three Khan books, Cox is conflicted about whether Khan should appear in the next Star Trek movie. On the one hand, recasting Khan seems almost impossible, given how much Ricardo Montalban put his stamp on the character. On the other, Cox might have said the same thing about recasting Kirk, Spock and McCoy — and J.J. Abrams and crew pulled that off. The real question is, "do you do Botany Bay Khan, or crazy burned-out Wrath Of Khan Khan? There's the young virile but not quite crazy Khan, and then there's the obsessed spent-15-years-in-Hell Khan. And then there's the whole messy [subject of the] Eugenics Wars — when exactly did they take place? Did they take place during the Bill Clinton years?"

Cox is writing one of four new novels that take place in the movie's continuity, picking up where the movie left off. He's written a draft of his novel, but hasn't gotten feedback from Paramount yet, so everything is subject to change. But at least for now, his novel takes place six months after the end of the movie, and follows Captain Kirk and his crew on a stand-alone adventure. And he hints that, if Paramount approves, the fact that the Vulcans are refugees scattered across the universe will play a part in his novel's plot.

The official name for the Empire Strikes back spoof is Something Something Something Dark Side, and it'll be on DVD & Blu-ray 12/22.

Spinning out of IDW's new Transformers monthly, the new series sees the littlest Autobot in charge of everyone, which isn't exactly where he wanted to be. For those who've found themselves missing the old school Transformers in the midst of Michael Bay's movie mania, this may be exactly what you're looking for:

Transformers: Bumblebee #1 is released tomorrow.

Since the mid-2000s, Mishka NYC has been at the vanguard of popular streetwear. A cornerstone of their success has been designing clothing influenced by gonzo horror, Z-grade sci-fi, and the overall dank and stanky underbelly of pop culture. Indeed, their gear is worn with equal aplomb by metalheads and hip-hoppers (Lil Jon and Lady Sovereign have sported Mishka in music videos), and the label's past collaborators have ranged from everyone from Iron Maiden album artist Derek Riggs to erotic photographer Ellen Stagg to electro-reggae supergroup Major Lazer.

Label heads Mikhail "Mike" Bortnik and Greg Rivera were nice enough to sit down with io9 and answer some questions about Mishka's design philosophy, winter line, and how Stan Lee cold lamps it at Comic-Con:

What's the Mishka origin story?

Mikhail Bortnik (left): It started sometime in '03. My job I was working at was going to close, so I decided to take a stab at t-shirt design, which I had wanted to do since college. This was about the same time I met Greg. A few months into it, I realized I was in over my head so I asked Greg to join on-board and sell the line. Greg immediately came on as a full-time partner. The basic idea was we wanted to sell street wear, but we soon realized there were so many fans who were into both street wear and scifi that there was absolutely no reason we couldn't incorporate these two things.

In terms of scifi, what were your earliest influences?

Greg Rivera (right): A lot of our influences have come from B-horror films, straight-up scifi films, and comic books, especially for Mike. I was big into horror comics when I was kid and also things like The Twilight Zone, Tales from the Darkside, anything with the ironic twist at the end. Both of us are also big toy fans. Being in our early thirties, we grew up with 1980s toys, which ended up being a huge influence in our designs.

MB: One example of this influence was in our Fall 2008 Skyway Trippers collection – we tweaked an Israeli Special Forces design to include the phrase "Spaceknights" in Russian, as a homage to the old Spaceknights comic and toy line.

ROM Spaceknight allusions? That's wild. On a similar note, Mishka has a roster of kaiju-like characters who appears on a lot of your apparel – i.e. the half-serpentine, half-ursine Death Adder and the Cyco Simon skull. What's the story behind them?

MB: Actually the notion of bringing characters into the clothing brand goes back to metal bands. Cyco Simon is a reference to [Megadeth's ] Vic Rattlehead and Eddie from Iron Maiden, and we wanted our own. As for the Death Adder, we use our designs to tell a story with him – he's often seen teaming up with our Soviet super-soldier character.

Are we going to see an Adult Swim series with these guys anytime soon?

MB: I'll be honest, Greg and I would love to be able to a comic book or cartoon series with them.

What was the first sci-fi influenced Mishka piece?

GR: "They Live" was probably one of the first ones. It's hard to remember since we've had so many designs over time.

One of my early favorites was your Judge Death-inspired "Kill Motherfucking Depeche Mode" logo.

MB: That was a mixing of the old Brian Bolland artwork with what people guessed [what the name of German industrial band] KMFDM stood for. KMFDM actually gave us a cease-and-desist for that one.

Really? Not the 2000 AD people?

MB: We figured we'd get something from them or Depeche Mode, but no, it was from the KMFDM people!

On a similar note, when was that moment when you said to yourselves, "Holy crap. We can't believe we just put that on a t-shirt."

MB: The "Tom of Eternia" t-shirt.

GR: Mike had the idea of doing a Tom of Finland-style shirt [featuring He-Man].

MB: If you've never hear of Tom of Finland, he's like the homoerotic artist. There was this impetus [to create this shirt] early on when someone made the comment that all we do is put naked girls and 80s cartoon characters on our shirts. Street wear on a whole seems more macho than we are as a brand, so Greg and I were like, let's do this.

GR: Our friend Robin Nishio – who is this amazing illustrator – met up with us and Mike pitched him the idea. Robin actually went and bought two big books on Tom of Finland and aped the style exactly. That was the coolest because we got so much shit from our customers because it was like, "Here's Skeletor as the master and He-Man down on his knees, gay porn style."

What sort of pieces are in the pipeline at the moment?

GR: We did this series of shirts for [the new heavy metal-themed video game] Brutal Legend and we're working with Dark Horse Comics on a project.

Oh wow, are you at the liberty to talk about that right now?

MB: Not really, but if anyone has followed our brand, you'll know that one particular Dark Horse character particularly sticks out.

As far as the Winter 2009 line goes, you seem to have strong robot theme going. You have the Terminator cyclops, the Decepticon hearse, and my favorite, the Ultron bear. Why robots this season?

MB: We've gone so far doing themes that this season just happened to be robots. This was probably one of our most rigid designs themes. The Ultron shirt's been particularly popular.

You guys hit up the San Diego Comic-Con this year. How was it being a street wear brand at what's been historically a comic and scifi show?

MB: We were selling some things there, but we were mostly there as fans.

GR: It's been a little calculated – and not to reveal all our secrets – but if a lot more other brands saw the potential of that market, you'd see a lot more people doing it. It's hard for us to do business, because Mike and I go and we're just geeking out. Besides going out there to meet Tim and Eric [from Tim and Eric Awesome Show, Great Job!], we're both really into Japanese kaiju and we had the chance to show off our own kaiju designs.

MB: Comic-Con 2008 was my first one. We wanted to see the Lost panel, but after we saw it spilling into the street, we just said "fuck it" and went to the Battlestar Galactica panel. That crowd was pretty big too, but Dean Koontz was still speaking. So yeah, we killed two hours listening to Dean Koontz.

Any good Mishka Comic-Con party tales?

GR: We crashed an Activision party at the Hard Rock Café and saw Stan Lee. If you're at a Comic-Con party and you see Stan Lee, you know you're at the coolest party.

MB: He was just hanging out with this girl on his arm.

GR: (laughs) She looked like she was twenty years old.

MB: I don't if she was, like, hitting on him or he was hitting on her, but Stan Lee's exactly how you picture him. He really says "true believer."

I wouldn't want him any other way. Do you find yourselves getting calls from influences who've enjoyed your work?

MB: Other than the artists who we're huge fans of and end up working with – like Derek Riggs and L'Amour Supreme – no, not really. A lot of our influences are grumpy old men.

What would you say is the most quintessential Mishka design?

GR: On our first trip to Japan, we stayed in this little town outside of Tokyo and found all these old Japanese horror and sci-fi press kits. These kits would take the coolest part of the movie and turn it into poster art. We found this great Westworld kit and Mike added some comic book stuff, like Ultron and Cyborg from Teen Titans to the design. To this day, it's still one of my favorite ones.

MB: We also found this Motel Hell kit in which we used for our "Electric Funeral" shirt. We electrified the faces and it turned out great.

Alright guys - some final lightning round questions. Kim Cattrall in Big Trouble in Little China or Kirstie Alley in Wrath of Khan?

MB: Kim Cattrall. I'm a Next Generation fan, what can I say.

Zardoz or Troll 2?

GR: Troll 2.

MB: Zardoz.

Would you rather have John Carpenter compose you a personal theme song or direct a movie about your life?

MB: I'd rather have him direct the movie because then he'd have to compose the film's theme song.

Shit! I hadn't thought of that loophole. Any final words to io9 readers?

GR: By all means check Mishka out - you'll definitely find something you like.

Mishka apparel is available at their website and their Brooklyn store at 350 Broadway in Williamsburg, NYC. Store photography courtesy of Dave Digioia.

We interviewed creature designers Wayne Barlowe and Neville Page, plus concept artists James Clyne, Ryan Church and Daphne Yap, about creating a whole new universe from scratch. Plus we've got some stunning concept art, from the new book The Art Of Avatar. In a year that's seen some amazing books of movie concept art, The Art Of Avatar features 106 pages of lush full-color paintings, interspersed with the industry's greatest design minds geeking out about every little aspect of Avatar's creation.

So here are a few things you didn't know about the design of James Cameron's Avatar:

Avatar Started As A Four-Month, Late-Night Jam Session At James Cameron's House

"[We'd be] working late at Jim's house, and having him come back after a three week spell of being down at the freaking Titanic, and having him tell us a story [about being on the ocean floor]." Read the rest of the story.

Pandora's creatures were partly based on cars

Early on in the process, James Cameron "mentioned the core idea" of having Pandora's creatures be "superslick and aerodynamic, and be like a race car with racing stripes," says creature designer Neville Page. Read the rest of the story.

Those crazy color schemes are from the ocean floor — and Art Nouveau

"In the real world, we didn't invent these colors. They exist on animals today. We didn't invent a whole new palette. I think the problem is — the challenge is — you don't often see large creatures with this much color on them." Read the rest of the story.

The human hardware, including those crazy battlesuits, is all based on real stuff

"One thing I worked on big interior for the mech suits, and the whole interior had to have a reason and function for why the suits were lined up the way they were, and how they could work on them like a pit-stop at an F1 race. It had to have that functionality." Read the rest of the story.

Avatar concept art from The Art Of Avatar (Abrams 2009)

The comic is called Paranormal Activity: The Search For Katie, A Case Study by Dr. Johann Averys DMN. And if you remember the end of the film, Katie has vanished and Micah is... well, gone as well, sadly. Apple paired up with IDW to continue the story. The comic app picks up right after that, with the demon expert Dr. Averys finally showing up to their home, and searching for Katie, and some answers. It was written by Scott Lobdell and drawn by Mark Badger. Here are the first set of exclusive stills from the beginning.

We emailed Lobdell asking why he thought the story must go on, since the ending seemed so definite, we didn't think there could be a sequel even in a comic book series. To which he responded:

I have to disagree! Even before I left the movie theater my mind was racing though a hundred different questions! Where did Katie go? How long had she been in thrall to the demon? Why did he do what he did to Micah... or have Katie do it? What about the mysterious Dr. Johann Averys — often mentioned but never seen? Could the case he was working on in Europe have anything to do with the case in San Diego? What would the investigation into the murder be like? One part cop forensics, one part study in demonology? The demon seemed like it had much larger fish to fry to scaring young women... could it have followers? A lot of this is set up in the first installment of the online comic book, and I can't wait for the opportunity to further explore the world of Paranormal Activity.

The application is available now at itunes, For 99 cents.

The book is told through the diary of a young teen girl in a private school who is obsessed with her classmate Lucy, and Lucy's possible vampire roommate Ernessa. It's left ambiguous: The reader never really knows if the school is housing a real-life porcelain-skinned vampire girl, or if the narrator is just obsessed with Ernessa's roommate. We got a chance to catch up on this project with the actress from Dr. Parnassus, Lily Cole, cheering her on for making a female-centric vampire film, in the wake of shirtless, sparkly, six-packed male vamps and wolves.

When do you start filming for The Moth Diaries?

As far as I'm aware it's in the beginning of next year. And as far as I know, they were talking about Montreal. But nothing has been set in stone, this industry is always clouds.

Which character are you playing from the novel there's the narrator or the author of the novel, her obsession Lucy or the possible vampire girl Ernessa?

I'm supposed to play Ernessa, the girl who is accused of being a vampire. The aspect I like about the book is you don't know for sure. I like the ambiguity in the book. Although it points quite lightly [to the idea] that she is a vampire, there's always the slight possibility that she's not. And the girl who is telling the story has psychological issues and is projecting these ideas on to this other character. I like that a lot.

I'm really excited that you are working on a woman-centric vampire film, it seems like the right direction to take the vampire craze. How do you think that this will be different from the other vampire films coming out right now?

I think that the ambiguity aspect is interesting. In that it might not be a vampire movie, it could be an psycho-analytical movie about crazed obsessions of 16-year-old girls. You know not always in reality, but of jealousy and love. Whether the love is lesbian or not, it gets in the ambiguous territory of love. And girls finding themselves and all the obsessions that come up in that environment. I think the possibility that Ernessa isn't a vampire is kind of, to me, what makes it interesting.

Are you excited to maybe bring back the female vampire movies like The Hunger? And are you ready to be the mysterious object of desire that the book circles around?

I find the character so interesting, because she's the most weird and unusual character. That delicate balance of making her real and making her really strange is quite an interesting kind of dialogue to set up.

I think it's great, we've been swamped with the male shirtless vampires it's time for the women to get back into the vampire spotlight. I hope it brings back the strong female vampire figures.

To be honest I haven't seen any of the vampire movies that are out right now, obviously I know of them and I know that there are male characters in them, but I'd never had that perspective on it.

I'm curious how the script handles the delicate moment that is the narrator walking in on the two girls in bed together? Is that still in the script or is it toned down. It could really go in any direction.

That scene... I'm trying to remember there is a scene like that for sure. I'm not sure how it's going to transpire, I know it's very suggestive, but not like pornographic.

Last time I check it was just you and Scott Speedman on the cast. Do you have any idea who's going to be cast as Lucy or the narrator?

I do think they have several more girls but I don't know if I'm at liberty to say. The script is mostly 18 and 16-year-old girls. So it's mostly new faces... but I don't know if I can say names, because I don't know if their deals are signed or what the situation is.

As we can see from that early concept art, some of the alien designs were way stranger than the final version. Why were those rejected? Were you told to tone down the nastiness?

Those designs weren't necesarily rejected outright, we just evolved away from them. A huge amount of work was done designing these things. There were so many iterations, by the time the final design was nailed down, these early images were out of sight and out of mind. The technical approach to realizing the creatures was always in flux, so that affected the look. I'd like to note that the reason the aliens in the early concept art have such human eyes was because they were, at first, intended to be actors in make-up. Due to budgetary constraints, we didn't think the aliens could be done as pure CG, which is what they ended up being. They were originally conceived as practical make-up with digital replacement over certain parts.

Neill actually encouraged us to make the aliens gross and unpleasant. He was very keen that the aliens should look revolting when they were eating, and left it up to us as to what that meant exactly. So I did my take of what an open alien mouth would look like, and some viewers have been disturbed by it! They took note of the genitalia-like aspect. It's my job to disturb people sometimes, and to be honest, I was only a little worried that genitaliia-esque aliens were old hat. But I think they continue getting such visceral responses because they remind the viewer of his or her own vulnerability, not because of the shock value. In the end, that aspect didn't make it into the final alien, possibly due to censorship issues, but as I said, these illustrations were old news by then. Oh well, it's all good.

It seems like a lot of the meaning of the story changes depending on how aggressive or how loveable the aliens appear. Was there ever any talk of making them cuter? Or more scary and soldier-like?

Definitely for the little child alien, Neill wanted to make him very cute. I collaborated on the child alien with Jamie Beswarick, and Neill encouraged us to play up the big eyes and rounded head, etc. For the the general alien populace, Neill wanted them to be intimidating due to physical strength and size, and off-putting. I think the endearing quality of the generic aliens was due to their ineptness and victim status, one felt sorry for their plight. There was another design phase of the Prawns I personally liked, where they looked very much like those early concept images, but with larger bug eyes. That evolved further into the final aliens. Neill really pushed the eyes to be bigger and bigger, which I initially wasn't sure about, but upon seeing the final movie, I understand the decision. A lot of people seemed to prefer that. It seemed so obvious to have big puppy dog eyes, but without them, perhaps no one would care about Christopher Johnson and his kid.

So the aliens were pure CG, not a mixture of CG and practical effects as you'd considered. How would that mixture have worked? And were any of the alien body parts still done with practical effects?

The Prawns themselves were entirely CG, from head to foot. The alien parts on Wikus were prosthetics built and applied by Weta Workshop (Sarah Rubano and Joe Dunckley took care of the make-up work on location), and there were various alien corpses that we fabricated physically, such as in the laboratory dissection scene. Initially, the aliens were to be an actor in a suit, who would then be augmented with digital replacement in some areas, at an earlier stage we considered mechanical puppetry mixed with prosthetics. Ultimately the decision was made to have them be pure CG.

The aliens in D9 are amazingly expressive — they do a lot of "acting" with their eyes and mandibles. It seems like the biggest problem for a really alien creature is getting human audiences to identify with it or feel its emotions. How did you approach this problem?

That credit should mainly go to the animators and Neill Blomkamp. They solved how this thing we designed should move and emote. But from a design standpoint, it would go back to the eyes. Throughout most of the design process, the aliens had mammalian eyes with pupils and sclera, etc., so we always knew they would be able to emote warm-blooded emotions. Neill didn't go with our versions of the eyes as solid black or cephalapod pupils, so they retained a relatable humanity to them.

Obviously, a lot of the press about D9 focused on its low budget. How do you create aliens who look more convincing and interesting than most big-budget movie monsters, on such a low budget?

Of course, that credit goes to Neill's filmmaking sensibilities. I was part of an initially larger team of designers who were later scaled down to Greg Broadmore, Leri Greer and myself. I worked as lead creature designer, concentrating on the organic creatures. Greg designed all the robots, bio-suits, weaponry, vehicles, the mothership, etc., and was the lead concept designer. In his role as art director, he also contributed studies of the alien's body coloration, as well as some subtle last minute tweaking on the final version aliens. Leri did the graphic design, logos and costumes. With Neill directing me, I just offered up as many possibilities as I could, bearing in mind that it had to be relatable to human audiences and based around a roughly humanoid shape. Initially, we tried not to heed any budgetary or technical constraints, so as not to become creatively impaired, but those things factored in later on. Eventually, time just ran out.

The aliens in the film are standing in for South Africans during Apartheid, but they don't act or appear like any human ethnic group — did you have any discussions about avoiding the "Jar Jar Binks" effect, and making them look less like members of a human ethnicity and more like real aliens?

I don't remember that we did. They spoke in an utterly inhuman language and were so insectile, they didn't really run the risk of mirroring any human ethnic group. Personally, I never thought our space lobsters would strike anyone as ethnic caricatures!

In the film, we got very little information about the aliens' social structure and how they came to be in such bad shape. Were you told anything more about this, during the design phase? Is it true that most of the aliens on Earth were worker drones? Did you have any ideas about what other aliens, like their Queen, might have looked like?

I think the idea was that the vast majority of the aliens were workers, and that Christopher Johnson was much brighter than most. Which sort of explained why the overall population were so lost and ineffectual. There was definitely talk of the social structure of the aliens during the design phase. It factored into how we designed them. There was a lot of stuff designed and talked about that never made it into the film. It's possible that Neill may want to save some of these ideas for other future projects, so I don't know if I should talk about it.

Co-written by lead Mass Effect game writer Mac Walters and Star Wars: Knights Of The Old Republic's John Jackson Miller, with art from Star Wars: Legacy's Omar Francia, the comic "reveals an essential moment in the life of Commander Shepard," according to publisher Dark Horse Comics:

The eagerly anticipated sequel to the blockbuster science-fiction epic that IGN.com named the #1 Xbox 360 game of all time, Mass Effect 2 begins with the disappearance of Commander Shepard. The story of what happens next — exclusive to these comics — will have the commander's companion Dr. Liara T'Soni undertake a deadly mission of extraordinary importance in the Milky Way's lawless Terminus Systems.

Mass Effect: Redemption is released January 6th, ahead of the January 26th release of the videogame.

Earlier in our exclusive interview with director John Hillcoat, we discussed exactly what author Cormac McCarthy wanted put back into the film that was originally cut from John Hillcoat's translation. But strangely the writer had no issues with the missing scene from his novel where The Man and The Boy discover a baby being roasted over a fire. We found out just why, from the director...

People are asking why some of the cannibal scenes were cut from the film.

There were some definitely, that I wanted cut. I had to fight to cut them. And I was supported though. Because first of all, I fought like hell to make sure we had shot that stuff, and I got my way. Then I realized it didn't work, it was total overkill. It just made it redundant and didn't have any impact. Because once you go through the road game and the house, the cannibal house, you know about cannibalism. And the trees is the new element. Whereas if you go back to that, it's like going back to the start of the film again.

What was the reasoning for cutting the baby over the fire scene?

It also it all works in the book because it's in your head, when you visualize some of this stuff it just becomes too much. And it was overkill. Luckily, Cormac himself, he really understands how film works as a medium, how different it is. He didn't miss anything from the book other than four lines of dialogue... Just those four lines. Nothing else. He didn't miss any of it, he didn't even bring up the baby. He said, 'Oh, that's irrelevant.'

What did you think when you saw the first trailer for the film?

Well I was a little disappointed. I thought it was a little misleading. I would never put stock footage that isn't part of the film in something, like the trailer. But I also understand, from their point of view, what they were trying to do, which is give people context. Because their point was that most people haven't read the book that will come and see the movie. And in the film it's a very subtle, gradual thing that befalls [humanity], but it's never fully explained. So what they said is, that in when you have 30 seconds or a minute, this was their way of putting it into context for people. But it didn't work, they have a much better trailer now.

How do you walk the line of bleakness and hope that was in the book. It was a pretty bleak in some points, the book.

I never really saw it like that, for one. The heart and soul, the reason this book is now the most translated of modern time, apparently, is because of this love story between father and son. If it was just about that other stuff it wouldn't have struck that kind of chord. That's if you focus on the background scenery. I'm a little defensive about that. But sure, it's a projection of everyone's worst fear. The apocalypse has been around as an idea since ancient times.

It's very simple, it's humanity's worst fear. What is it? It's us dying, the world dying. And we saw what happened with the dinosaurs, so we don't want to join them, and that's understandable. But then I think, also, every individual has their own personal apocalypse, where your time comes. We're mortal beings, we have to check out. So I think in many ways it's just a projection of our fears. And it goes through different periods. In the 50s they were really freaked out about nuclear threats, so you had the mutant monsters that came out of radiation. A brilliant masterpiece of all apocalypse films is Dr. Strangelove. But again that came out of the whole nuclear situation, the Cold War. And you can see in ancient times, and the biblical apocalypse.

But that's also why it's not really about bleakness, it's about fear. And actually there's a morality tale about this. We see a man that we project on to, and we can see that his choices, under pressure, we see how he can, understandably, lose his humanity. And it's actually the boy that gives him back that humanity. So I'm with Cormac when he said that his was a book about human goodness and kindness.

Where do you think we are now with post-apocalyptic movies? What do you think the trend is now?

Well I mean the focus tends to be on the big event, so much so that there's no human dimension. I think that's all valid, I like to see spectacle, we all enjoy that. I like roller coaster rides, although I'm actually having trouble with them as I get older. But, there is thrills and adventure in The Road, but the focus as I say is more about this human experience. And really more, I love films where, what I love speaking in scifi, like I saw 2001 when I was 9 years old and I'll never forget I actually felt like I went into outer space - like I really felt like I was transported into this other world. And the more I watch films, the films that I love are those where you feel like you've gone to another place and that's what I love about scifi. When it's just a CGI fantasy or like a video game, that's when I kind of tune out of it. I don't feel like kind of, being transported.

So that's you comparing The Road to those other post-apocalyptic films coming out. Because we know the difference. But even when I was at the Book of Eli panel at Comic Con, people were asking, 'So how's this different from The Road?'

[Eyes widen] Well, ok, the big difference is also what we've tried to do is, well what I always try to do with genre, is find and make it fresh again, like something we've never seen. And ironically what we've never seen before is the real thing. And so that's why we shot at Mount St. Helens, the mountain blew up.

While he was doing press for drama Brothers we caught up with producer Ryan Kavanaugh and got an exclusive update on his next project, the massive relaunch of The Crow, penned and directed by Stephen Norrington.

I heard The Crow script received great reviews, where is it at now?

The script is great. We're very excited about it. The Crow is definitely going to happen, we're just getting all the pieces together right now. It's not officially greenlit, but it's going to happen... I think in a couple months we could have the package together for sure.

Any casting ideas?

Can't talk about that yet, but we've got good ideas.

Are you casting right now and looking?

We're looking. We're in discussions....I think it's something cool, we're approaching it differently. It's really a whole relaunch of the franchise, much more of a dark superhero type.

Will it be a well known actor, or someone we've never heard of before?

It will be an actor you've heard of, yes. We're not ruling anything out. We're looking at both, with the very well known and the "very talented but they may not be quite there yet."

A lot of people were worried that it would be the original, but we know the Crow character can inhabit different people...

It's not a remake it's literally a relaunch of the franchise.

But will he have the same makeup?

No, totally different... He'll have makeup, but it will be different. The best way to compare it is the first Batman and Batman Begins. In terms of their look and feel and character.

I'm excited to see the world and how you build it. Will it still be dark and gritty?

Oh yeah, we're sticking to the flavor of it. We're just relaunching it and making it with a much more present day character, someone more relatable to everybody.

And the script is totally finished?

Yeah we're still tweaking it, but it's finished.

Watch as The Asylum's masterminds use rubber cement for explosions and blow a Porta Potty up 30 feet in the air. And use fan-refurbished military vehicles to add a layer of verisimilitude. These people are total culture heroes, the Roger Cormans of our generation.

This awesome behind-the-scenes snippet is from MegaFault, a movie starring er's Eriq LaSalle which comes out on DVD on Nov. 24. Yes, just in time for Thanksgiving, so you can give thanks that you're not actually in this movie. Here's the official plot summary:

In West Virginia, Charley "Boomer" Baxter (LaSalle) is supervising the placement of mountaintop-removal explosives. As he detonates the TNT, a massive earthquake liquefies the terrain. Within hours, Dr. Amy Lane (Murphy), a government seismologist, arrives at the epicenter. Amy determines that the initial quake has exposed a deep seismic fault that runs across the center of the North American continent and threatens to tear the world in half. Now, Amy and Boomer must race ahead of the massive crack in the earth while devising a plan to stop the devastation and warn everyone in its path.

Six days a week, Unshelved chronicles the daily lives and antics of a crew of librarians. Each Sunday, the focus shifts to the books themselves with the Unshelved Book Club. They cover a wide range of books and graphic novels, aimed at a wide range of audiences — with a particular leaning toward science fiction and fantasy. Here's just a small sampling of books the Book Club has covered:

We talked to Unshelved's creators, cartoonist Bill Barnes and pseudonymous librarian Gene Ambaum, via email about the inspirations behind the Book Club and the unexpected perks of doing comics about books:

Unshelved usually chronicles the daily lives of librarians. What inspired you to do the Sunday Unshelved Book Club strips?

We are both opinionated readers, so recommending books comes naturally. And given its setting, the strip felt weirdly empty without books - the hard part was figuring out how to talk about them without making fun of the books or their authors.

How do you go about selecting the books? You often revisit old classics, but do you try to keep up with the latest releases in the strip?

It's really just whichever books we're reading that are good enough to recommend. Over time we have forced ourselves to forage farther afield than we otherwise would have, which has yielded a few pleasant surprises. We do feature some new releases, but we are just as happy to pull an underrated classic from the backlist.

Have you gotten a lot of feedback from people who have read a book because of the strip who probably wouldn't have otherwise?

A daunting number of people have told us that the Unshelved Book Club is their reading list. We hope that's not literally true, but it makes sense that someone who enjoys our comic strip would also match well to our taste in books. But the best moment is when these same readers recommend books to us that we've never heard of — their recommendations are usually dead-on.

Do librarians ever use the individual Book Club strips to try to recommend certain books to patrons?

It's quite common for libraries, bookstores, and stores to post our strips in a display. They reportedly make books "fly off the shelves", especially for younger patrons.

What has the feedback been like from the authors?

Getting email from authors like Ursula K. LeGuin and Dan Simmons is one of the perks of the job. Bill keeps waiting for someone to tell him he drew their main character wrong, but it hasn't happened yet. We have, however, spelled an author's name wrong on more than one occasion.

Have any reactions from readers surprised you?

A few tell us it's their favorite part of the strip, a few tell us they can't stand it, and the rest seem to take it in stride. As you'd expect, most of our readers are pretty book-positive, so they're generally receptive to new titles (or a new take on a classic).

Do authors ever ask you to do a strip on their book?

Yes, in that we get a lot of review copies from authors. These days an author really needs to be their own P.R. department, so I love seeing them take the initiative to promote their work like that. Sadly we only do one a week, so the odds are kind of rough.

A lot of the books in your strips are science fiction, fantasy, or graphic novels. Are those particular favorites, or do you feel they translate particularly well in the comics medium?

Mostly that reflects our immense nerditude, but it is true that they tend to yield good illustrations.

You occasional have guest cartoonists do their own Book Club strips. Do you approach other cartoonists about doing a possible guest strip, or do people approach you with books they're dying to write about?

A little from column A, a little from column B. We love love love seeing cartoonists do their own take on a book. And if it saves us little work, well that's nice too.

What upcoming books are you looking forward to tackling in the Book Club?

That would be telling.

[Unshelved Book Club]

We sat down with Hillcoat and talked about the end of the world, and translating a film into a movie. The director shared with us the only issue McCarthy had with his film, which Hillcoat promptly changed...

io9: How did you deal with what to cut and what to leave in The Road?

JH: Cormac himself, he really understands how film works as a medium, how different it is. He didn't miss anything from the book other than four lines of dialogue. And this is where it's very telling as to what the real story is. Because those four lines of dialogue, which we did shoot and put back in, is when the boy says, "What would you do if I died?" And the father says, '"I'd want to die too, so you could be with me - so I could be with you."

Which is a beautiful thing to say, and that's in the movie. But that's what his interest was always - the focus of these central characters going through this journey. And the more cannibal stuff, it just becomes a different movie.

So that was what he wanted put back into the movie?

Just those four lines. Nothing else. He didn't miss any of it... It's been great, because he could see the more you focus on that other stuff [post apocalyptic doom, explosions and cannibalism] the more unbalanced it becomes, and it becomes something else.

Michael Chabon, of course, won the Pulitzer Prize for The Amazing Adventures Of Kavalier And Clay, his novel about Golden Age comics creators dealing with inspiration, sexual identity and the Holocaust, among other things. He also wrote the Hugo-winning alternate history novel The Yiddish Policemen's Union. Both Manhood and his earlier essay collection, Maps And Legends, deal with geeky, science-fictional elements. And he edited two anthologies of pulp science fiction by some of today's best authors, McSweeney's Mammoth Treasury of Thrilling Tales and McSweeney's Enchanted Chamber of Astonishing Stories. (And according to his Wikipedia page, he created a fictional alter ego, a quasi-Lovecraftian horror novelist named August Van Zorn, which I didn't know about until just now.)

The thing that's stuck in my head most about Manhood For Amateurs is definitely the passionate espousal of fandom, and the idea that fan obsession comes from the same place as the artistic impulse — the desire for communal expression. Why do you think people often see fans as in opposition to "true" creative people? Now that fans are running all the comic book companies, producing Doctor Who, and reinventing Star Trek, do you see this changing? What will it take for a work of fanfic to be recognized as art? Have you ever written fanfic?

Well, I'm not sure I fully accept the premise of the question: "People often see fans as in opposition to 'true' creative people." Or rather, you may be right, "people" do see it that way, but if so then these people are deeply ignorant of the history of popular culture and its production. Fans began to take over creative responsibility in the world of Science Fiction as early as the mid-thirties; I doubt that by the mid-seventies there were many major practitioners in the genre who had not started out as a passionate, Con-going, zine-compiling fans. The second great age of American cinema was entirely created by fans (Coppola, Scorsese, Rafelson, Ashby, Spielberg, Lucas, et al) ; The Godfather is as much about the intensive study of gangster films as it is about gangsters. Same goes, even more so, for Scorsese. Rock and roll, same deal. The Beatles work is fan fiction on the work of Buddy Holly and the Everly Brothers: It's not simple (or even complex) imitation; it's elaboration, infilling, transformation, a strategic redployment of the tropes and figures of the source material/primary text; the Beatles are in dialog with Buddy Holly, as Badfinger was in dialog with the Beatles and Jellyfish with Badfinger. Or you could go Stones/Stooges/Sex Pistols. The word "influence" is insufficient and too one-sided to describe a relationship that is much more accurately reflected by the system of tribute/ appropriation/critique that fandom employs. This kind of process, by which one generation of fan/critics (because anyone who doesn't understand that a fan is a critic doesn't know what a fan is, and there is nothing sadder to contemplate than the idea of a critic who is not also a fan) becomes the creators whose work inspires and obsesses and is critiqued by the next generation of fans, who in turn become critic-creators, has occurred in every popular art form across the board going back fifty or five thousand years. The apostles wrote fan fiction on Torah. So your "people" are silly people, and we don't need to listen to them.

The other thing about Manhood For Amateurs, now that I've had a chance to mull it over, is the sense that shifting gender roles and the changing demands as you grow older mean that you have to keep reinventing yourself. To what extent is this like the process of world-building in a fantasy/SF universe?

It means — it means, if I take your meaning aright, that I am my own sequel, my own series, the CHAPTERHOUSE OF DUNE to my own DUNE: MESSIAH.

Why do you think such a high proportion of alternate history novels revolve around World War II in some way or another? Do you think it's different for authors who weren't alive during World War II and the Holocaust to imagine them turning out differently, than for someone like, say, Philip K. Dick, who was in high school during the war?

Well, of course PKD did a pretty fair job of imagining just that in THE MAN IN THE HIGH CASTLE. I think the thing about WWII is that it was so huge, so important, so clearly one of the two or three most significant periods in human history — and yet even a cursory study of it reveals it to have been woven of dozens if not hundreds of teensy little frail threads which, if pulled or tucked a different way, might easily have produced a completely different outcome. Say, for example, that the British Navy had not captured a German cypher machine from a sunk U-Boat in 1941. Cracking of the navy codes is delayed... key messages are never intercepted...

That's true for EVERYTHING that happens of course: "for want of a nail." But you can really feel the Little, Big of it with WWII.

As someone who's written both historical fiction and alternate history, how would you say the research process differs for the two genres? Do they allow you to comment on the here and now in much the same way, or in different ways?

Research is research; historical fiction is alternate history, in the sense that you are still saying What if? What if, for example, a Russian nobleman named Andrei Bolkonski, with such and such a set of traits, was running around the battlefield of Austerlitz, getting wounded and rescued by Napoleon, whom he once admired...etc. Whether you are writing Napoleon Loses Austerlitz (alternate history) or simply Fictional Prince Andrei Gets Injured at Austerlitz (historical fiction) the research is going to be the same.

When your first novel came out, you were nearly mis-classified as a gay writer. You told the Metro Weekly in 2002, "There's a big lump that's called literary fiction or mainstream fiction or non-genre fiction or whatever, and that's sort of where I am. That's not a problem that really dogs me, except for that brief moment when Mysteries of Pittsburgh came out and Newsweek did a big roundup of all the hot new gay novels. That was me being pigeonholed and possibly confined to a section of the bookstore from which it can be very hard to get out once you're in. Luckily the book attracted a diverse readership."

Do you think people who are writing science fiction or fantasy should try to avoid getting shelved in those sections, for the same reasons you were keen to avoid getting shelved in LGBT fiction? Should we, as readers of SF and fantasy, be trying to get the novels we love shelved in "fiction," or should we be trying to find ways to help deserving genre authors to cross over? (Like your inclusion of people like Tim Pratt and Cory Doctorow in the Best American Short Stories anthology.) If this is just a marketing issue, do we need better labels, or just more flexible ones?

Pride and Resentment are the twin banners flown from the walls of all ghettos. We love being in; we want to get out. We are at home; home is not the world. Endogamy weakens us over time.

I think, in the end, it is largely a marketing issue. Personally I would prefer to see bookstores shelve all fiction together regardless of genre. Or maybe just have two sections, "Good Stuff" and "Crap." Into Crap we will consign all novels regardless of genre or reputation that trade in cliche and dead language. If I ever own a bookstore I will do it that way. Only I will just leave out the Crap section.