Category Archives: Editorials

Gene Colan, 1926-2011

The first time I saw Gene Colan’s art, I didn’t care for it.

My introduction to Colan’s work wasn’t through his iconic run on Tomb of Dracula or Iron Man. I didn’t really get into Marvel’s comics until the mid 1980s, so it was his work on Batman that probably served as my initial Gene Colan experience.

It may have been Batman #340 — penned by Gerry Conway and introducing a villain named the Mole, a character that’s never resurfaced, as far as I know — that was my first Colan comic. The next was likely Batman #343, which introduced another footnote of a villain, Dagger.

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Getting Even By Getting Mad

It’s been a rather intense week or two when it comes to announcements about super-hero comics, but obviously, DC Comics dominated the discussion with its rollout of details of its September line-wide relaunch. Over the weekend, Marvel Comics entered the fray with one of those announcements that it’ll announce something. It put the word out that it would deliver some big news Monday afternoon. The move seemed pretty clearly sparked by DC’s week-long PR campaign revealing the titles and creative teams that will serve as Marvel’s main competition in the marketplace in the fall. And even if it wasn’t a direct response to DC’s successful and well co-ordinated publicity moves, the perception certainly is that there’s a connection between the two.

When Marvel’s news finally arrived, it was word of a new ongoing Spider-Man title — Avenging Spider-Man — set to begin in November. Written by Zeb Wells and illustrated by Joe Madureira, the series will focus more on the title character’s super-heroic life (especially as a member of the Avengers, duh) rather than his personal life. Furthermore, it will feature repeated team-ups with other heroes.

Now here’s where Marvel went wrong.

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The New DC, Picks and Pans – Part 2

Before moving onto my thoughts on the second half of DC’s new fall lineup of titles (the first half is discussed here) and what DC did right and wrong with those choices, I first want to discuss briefly what it’s done right and wrong in another respect. Overall, regardless of how one feels about these new comics and the impact this broad publishing initiative might have on the comics marketplace, I think DC is to be commended for how it’s conducted its publicity campaign thus far. Not only has the September relaunch dominated industry news and discussions, but DC has managed to penetrate the mainstream media consciousness with this move. People outside of comics are aware of the relaunch. Furthermore, it’s managed to control the story well and kept a significant number of players from spoiling its secrets. And with DC’s announcement this week it will follow up that PR campaign with national television advertising, the publisher has demonstrated that this is not business as usual. Such dramatic shakeups in any business, let alone the comics publishing industry, are rare, and one has to respect the willingness to take on such an immense professional undertaking.

While I’ve taken issue with some of the choices DC has made in terms of specific titles in this relaunch, there’s been little to criticize as far as the publicity is concerned. There’s really only one aspect with which I take issue, but unfortunately, it’s a significant issue. DC forgot (or so it seems) to do one thing for this initiative, and that’s to identify. DC hasn’t named its baby, and that’s led to some possible misinformation and misrepresentation. Newsarama and Comics Beat have taken to calling the initiative “DCNu,” a play on “DCU” (short for “DC Universe”). Others keep referring to the relaunch or reboot, and DC officials have maintained it’s not a reboot. Maybe the publisher is holding off on announcing the branding identity for the relaunch so as to give it something to announce later on, thereby keeping the initiative in the pop-culture news cycle. Still, failing to name this line-wide endeavor seems like a missed opportunity to me and a painfully obvious move that DC shouldn’t have been able to overlook.

Anyhoo, on with the second half of my title-by-title, team-by-team commentary…

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The New DC, Picks and Pans – Part 1

For a long time, comics readers in North America fell into two main categories: those that discovered and favored DC Comics titles as kids, and those that latched onto Marvel Comics characters. The first three comics I ever got as a kid and read were an issue of Charlton’s Six Million Dollar Man, Amazing Spider-Man #183 (featuring Rocket Racer and the Big Wheel) and Batman Family #19. It was the latter to which I was drawn the most because it featured more colorful characters and more stories. That was the summer of 1978, and right away, I was a DC kid. It wasn’t until the mid 1980s that I ventured into the world of Marvel.

So, skipping ahead 30 years or so, the DC kid inside me is rather intrigued about DC’s ambitious relaunched initiative, set to begin in September with 52 new first issues. Now that all 52 new titles and creative teams have been announced, I felt like offering my two cents’ worth about the new DC Universe line as a whole, in the order in which they were announced, and by clusters.

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A Picture’s Worth a Thousand Blurbs

It was only after I posted my editorial about DC’s fall reboot/renumbering initiative a little while ago that I happened upon the Jim Lee illustration of the new Justice League lineup that’s to star in the new Justice League #1 that Lee’s doing with writer Geoff Johns. The image says a lot about the coming changes without saying much of anything at all.

The image is going to be examined, analyzed and generally picked apart by fandom, and I thought, “Hey, won’t not join in?”

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Everything Old Is Screwed Again

Reaction to DC’s announcement Tuesday that it’s revamping its entire line of super-hero titles and relaunching with 52 new titles featuring its familiar characters (some perhaps tweaked to be a little less familiar) was met with immediate reactions, and many of them were highly negative, leery or outright hostile.

Some of the thumbs-down comments were understandable. Comics retailers are faced with a major shake-up of one of its top two product lines, a spike in the number of titles and the task of trying to assuage their customers’ concerns so they can hold onto those sales in the months ahead. DC’s announcement will have a direct impact on the livelihoods of the owners of comics shops and those working there, so one can’t begrudge them the valid comments and concerns than have arisen in the hours (and days and weeks to come) since the bomb was dropped.

The more puzzling reactions I’ve read online were those from readers. Many have complained that since DC continuity is getting some sort of a reboot (or at least a partial reboot) in the fall, all of the stories unfolding in DC titles now, in recent weeks, and in the months and years that have passed “don’t matter.” Somehow, a retooling of the DC line, its characters and continuity means those stories didn’t happen, that having read them and invested in the adventures of DC’s heroes and villains was time and money wasted.

Here’s the problem with that argument: those stories never mattered in the first place.

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Covering Fire

Well, that didn’t take long.

Earlier this year, IDW Publishing happened upon a fairly interesting and effective promotional campaign involving variant covers. Now, variants are hardly the freshest idea in the comic-book industry, but this one was a little different. If a shop ordered 500 copies of Godzilla: Kingdom of Monsters #1, its copies would feature a cover image of the Japanese monster’s gigantic foot crushing its premises to rubble. About 75 shops took advantage of the promotion. It definitely boosted sales on the comic book. Numbers indicate the comic sold almost 59,000 copies, which is probably somewhere between 30,000-40,000 more than it would’ve sold without the marketing gimmick.

Given this success, it was only a matter of time before other publishers gave it a shot. Avatar offered a special personalized variant cover to retailers featuring a unique piece of art for each of those covers (as opposed to the same image being tweaked slightly, as was the case with the Godzilla retailer variant. Given how small a publisher Avatar is, though (despite the popular and established writing talent it draws upon), I don’t think we’ll see tens of thousands of these personalized variant editions turning up.

So it’s Marvel Entertainment that’s taken the next big step in what I expect will be a crescendo of shop-specific variant comics.

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Sketchy Behavior

I read with interest and sympathy last week the report that popular comic-book artist Adam Hughes would no longer do commissioned sketches at comics conventions anymore after being frustrated time and time again to see the artwork he’d thought he’d created for fans sold online for several times more than what he charged for the sketch in the first place. While being told he was fulfilling a fan’s dream, he was really engaging in work for hire. His disgust with repeated deceptions is completely understandable, and it’s a shame that opportunists — who clearly know what they’re doing is shady — have ruined things for others.

I’m not only a big fan of comics, but I collect original comic art too, and I’ve got a great little collection of sketches in a small sketchbook I bring to cons (on the rare occasion I can get to one). Many artists do what Hughes has done in the past, doing sketches for a short list of fans who pre-pay. I’ve never availed myself of such services. I don’t begrudge artists the decision to charge for con sketches (especially when such paid commissions are usually fairly detailed); after all, many comics professionals are shelling out money from their own wallets for display space at these events, and selling sketches (along with limited edition sketchbooks, original art and other merchandise) is a good way to recoup such expenditures. I’ve just decided to direct my financial resources and time at cons in different directions. Whenever I’ve gone to cons, I’ve been on a budget (travel has always been involved), and I wasn’t keen on leaving my sketchbook with an artist for a day or more at a convention. Like I said, it’s a small sketchbook, and I don’t like having it tied up with just one or two artists for the entire event.

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Molestation Situation

Among this week’s new releases from Marvel Comics was Thunderbolts #156. I’ve been enjoying the new direction for this series since writer Jeff Parker took it over last year, and regular artist Kev Walker’s gritty, harsh depiction of some of the unsavory and unusual characters who comprise the cast adds to the non-traditional take on the super-hero genre that’s been a part of this property from its inception in the 1990s. On its cover, this particular issue — and many of those that came before it — boasts a T+ rating. Marvel’s website defines its ratings as follows:

“Each Marvel comic gets a rating: A is appropriate for ages nine and up, T+ is appropriate for ages 12 and up and Parental Advisory is appropriate for ages 15 and up. Other ratings you may see are self-explanatory.”

Given that information, Marvel’s saying that the content in its T+ comics is appropriate for 12-year-old children and older. So you tell me… is the following image OK for a 12-year-old?

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Double Downer

In brightest day, in blackest night, why, in the same week, are double Green Lantern comics within my sight?

As I perused this week’s list of new releases to comic shops, I was struck by certain items set for release from publishers DC and Marvel Comics. Today marks the release of both Green Lantern #65 and Green Lantern Corps #59 from DC, while among Marvel’s new comics are Invincible Iron Man #503 and Iron Man 2.0 #4. While there are other titles related to those characters offered by both publishers (GL: Emerald Warriors is the third and final member of the Green Lantern family, and there are other Iron Man books available from Marvel as well). Still, it’s safe to say that for those two brands, this week’s releases are their more prominent titles. Furthermore, this isn’t the first time GL and GL Corps hit the stands on the same day or the first time for Iron Man and Iron Man 2.0 as well. Dynamite Entertainment even got in on the act this week with the release of two Green Hornet comics.

It begs the question: why are these publishers making these scheduling decisions in the first place?

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Hindsight

With its upcoming DC Retro-Active line of nostalgic comics, DC is bringing back creative teams from the 1970s, ’80s and ’90s and having them craft new stories featuring the characters that they’re not for having played with in the past. That DC isn’t looking further back than the ’70s is indicative of who the comics publisher’s core audience is: readers — mainly men — who first discovered comics in one of the three decades the imprint will explore.

From a sales and marketing perspective, I don’t know that DC Retro-Active will prove to be a boon to DC. It could create the impression that the home of the most recognized super-hero icons on the planet has run out of ideas. And when it comes to super-hero comics, who’s creating them — namely, the more popular, hot talent of today — is pretty important when it comes to moving product. After all, the most popular Batman comics of the past few years have been those crafted by writer Grant Morrison, not Batman: Odyssey, written and illustrated by Neal Adams.

That being said, I think it’s a great idea, and I’m looking forward to these comics, slated for release over the summer. To be fair, I’m among that afore-mentioned target demographic.

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Gareb Shameless

Gareb ShamusI received a curious e-mail from Wizard World Inc. this week, signed by former Wizard Magazine publisher turned web publisher and con organizer Gareb Shamus. Though my address alone was in the “To:” field, I don’t imagine I was the sole recipient of this message, as it was yet another promotional effort from a man known for his hucksterism. Getting such an e-mail isn’t unusual in and of itself, but the content this time took me aback.

First of all, Shamus’ supposed purpose in sending out this message wasn’t to promote his own business endeavors but rather to shill for a friend. It seems to be some kind of self-help/memoir book from a movie producer. The title of Peter Guber’s book — Tell to Win: Connect, Persuade and Triumph with the Hidden Power of Story — would seem to purport that personal and financial success can be found in professional storytelling.

While Shamus is pushing someone else’s product, he nevertheless finds the space in this short message to pat himself on the back.

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Fearful Symmetry

Marvel Comics announced a couple of months ago its next big crossover event would be Fear Itself, a brand-wide storyline/theme about which the publisher and its representatives have been rather tight-lipped. It’s been ramping up an in-house and online marketing campaign that’s all about fostering (a) a sense that even the most powerful of the Marvel heroes will be facing a deadly threat, and (b) that the threat in question is a dark, mysterious one.

Personally, I’m not all that enticed by the air of mystery. I find the vague qualities of Marvel’s promotional efforts to be off-putting rather than intriguing. Of course, the involvement of writer Matt Fraction and artist Stuart Immonen in the creation of the core crossover series might be enough to draw me in; time will tell.

As for those comics readers who are chomping at the bit to delve into Fear Itself, I’m here to tell them they needn’t wait until April, when the limited series is scheduled to get underway. There’s a Fear Itself comic book being released this very week.

Mind you, it’s not a comic book published by Marvel.

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Death Is Only the Beginning

This week marks the release of Fantastic Four #587, the supposedly second-to-last issue of the series that purportedly features the death of one member of Marvel’s famous first family. I’m not going to spoil the issue here; it really doesn’t matter which member of the Fantastic Four dies in this heavily promoted issue.

Marvel Comics offers a clear reminder why the death in question doesn’t matter with another one of its new releases this week. The reason is right there on on the cover of Secret Avengers #9.

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Curses! or DC Cleans Up Gotham


Today on The Source, DC’s super-hero line “news” blog, the above image was posted as part of a piece teasing the upcoming series of Bruce Wayne – The Road Home one-shots. Given the fact that Batman and the new Robin are in silhouette in the foreground, I assume this is an image from Bruce Wayne – The Road Home: Batman and Robin, by writer Fabian Nicieza and artist Cliff Richards.

The giant letters being consumed in the explosion bring a question to mind: fuck who?

Did the artist slip this in as an act of rebellion? Did the writer direct him to do so? Is there actually a reason for the giant expletive in the context of the plot? Did the artist just stub his toe as he was about to work on this page? And most importantly, is an editor in on the gag, or did it slip by in the proofing process? I’ll be honest… I’m curious enough to find out next week.

Oct. 13 update: Well, the comic in question has been released, and apparently, someone at DC finally noticed the exploding expletive…

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