I pass the time during lulls at work with a good novel. There are a few TV series that I follow religiously every week, never wanting to miss a new episode. And there’s nothing like going to the movies and taking in a flick on the big screen. But my favorite storytelling medium, obviously, is the comic book/graphic novel. Unfortunately, fans of the medium are saddled with an unfortunate stigma. You’ve seen it on The Simpsons in the form of the Comic Book Guy. You’ve seen the extreme fans at comics conventions as well, and those whose battle with unfortunate personal hygiene is a Never-Ending Battle in and of itself. The stereotype of the pathetic Comic Geek stems, sadly, from a certain fragment of reality. It’s really frustrating, though, when a major player in the medium and industry contributes to the preconception of the comics consumer as a horny, sexually frustrated basement dweller.
As I type this, lots of both first-print covers of Captain America #25 are selling on eBay for 50 bucks or more. Say what you will about speculators and comics retailing, but the success of the “Death” of Captain America — both in terms of sales and publicity — is undeniable. And from a personal perspective, I’m pleased to see that the new storyline boasts glimmers of real strengths, of being sustainable beyond its connections to Civil War. Once the dust settles, it’s a safe bet Cap #25 — with its two first-print editions and already announced second printing — will clock in with impressive sales numbers, perhaps even topping 200,000 copies, I’ll wager.
Retailers should be celebrating, as Marvel ensured strong availability of this surprise event with a generous overprinting, and mainstream media coverage reportedly drove non-comics readers to direct-market specialty stores (rather than big-box bookstores) in search of the “landmark” issue. However, I wonder if Marvel’s timing and marketing of the Death of Cap wasn’t something of a misstep. The bullets that struck Cap down struck some other Marvel heroes as well.
Probably the biggest commercial success — in terms of risk, ambition and presentations — in the world of comics in 2006 had to be the Top Shelf Productions release of its hardcover, slipcase-edition of Alan Moore and Melinda Gebbie’s Lost Girls. But in terms of satisfying retailers and the super-hero genre fanbase of the direct-market industry, Marvel’s Civil War probably reigned supreme, racking up strong sales and boosting sales of the publisher’s other ongoing titles significantly with crossover issues. However, Civil War has been plagued with problems over the past few months. At first, what bothered people, and especially retailers, were the repeatedly delays in its publishing schedule, which impacted some of the publisher’s strongest selling ongoing series. By the midway point of the event, though, complaints about those delays were eclipsed by another concern: inconsistent storytelling. Events in the Civil War limited series conflicted with information presented in key tie-in stories, and many feel that two of the most prominent players in the drama — Reed Richards and Iron Man — aren’t behaving in a manner that’s consistent with their personalities and history.
But there’s good news. There is a super-hero civil war that avoided many of the same pitfalls. There’s a story, released in the same timeframe as Civil War, that didn’t require crossovers, that didn’t require massive change and didn’t alter classic characters in implausible ways. In other words, DC did it better; you just didn’t realize it.
We comic readers always take notice when our four-color heroes make the leap from the pages of the medium we love to the big screen. DC and Marvel have had a lot of success in recent years, with comics flicks seeming to top the wish lists of movie producers. Obviously, one of the reasons the more iconic heroes connect so well with moviegoers is that they remember them fondly from their youth. From comics at camp to cartoons on Saturday morning, millions know these characters and are willing to plunk down cold, hard cash to reconnect with those imaginary friends from their youth. Given the power of that nostalgia, the new movie incarnations of those fondly remembered characters end up being simplified, adapted and sometimes reverted to forms they’d shed decades before. As a result, comics publishers often scramble to bring back old ideas and circumstances so the masses can find something they recognize in the comics of today.
All hail Stephen King, Marvel Comics proclaims, urging readers and retailers to get excited about the upcoming release of its comic-book adaptation of King’s Dark Tower novels. The problem is that recently, many are crying foul, feeling as though Marvel promised a King-written comic book featuring new content, not adapted material. It turns out comics writer Peter David is penning the scripts, with art by Jae Lee. Thanks to the magic of Google, it’s easy to determine if those bait-and-switch allegations have any real basis. I dug up the original news release (issued in the fall of 2005), as well as various websites’ coverage of the initial announcement.
Other versions of the initial news release online note that the first issue of this landmark project was originally slated for release in April 2006. With Dark Tower: The Gunslinger Born #1 slated for release Feb. 7, that puts the project almost a full year behind schedule. That’s another black eye for the project from a publisher with an unfortunate reputation for lateness when it comes to high-profile projects.
It was a great Christmas this year. Though I missed not getting home to see my parents and brothers, I had a lovely time with my girlfriend’s family, and the holiday held a number of wonderful surprises. I have a variety of wonderful new toys to play with, such as a great new, larger, flat monitor for my computer (thanks, honey!) and satellite radio for the car. When it comes to comics gifts, I’m not easy to shop for from my loved ones’ perspective, as they’re not into comics, and just about every peripheral, comics-related item that I really want, I tend to get for myself anyway. My girlfriend did well with picking up the DVD box set of the various Superman movies. But my parents — who at one time really wanted me to cast off comics as a relic of my childhood — really surprised me this year with an unusual, inexpensive little gift: a grab bag of old DC and Marvel comics from the 1970s and ’80s.
This week marked the release of a new ongoing Superman title, one that merits the attention of fans of the medium, not just fans of the super-hero genre. Penned by Darwyn (DC: The New Frontier) Cooke and illustrated by Tim Sale, Superman Confidential is the result of a collaboration between two of the most respected talents in the industry today. That, combined with the fact that the book features the most recognized icon of comic books in history, should add up to a sales success for DC Comics.
Of course, by “sales success,” I mean the book should fare well in comparison to other comics. No doubt, it’ll land in the top 20 on the Diamond Comic Distributors sales list for November (which we won’t see until December). I’m betting it’ll sell in the neighborhood of 70,000 to 80,000 copies — respectable in the 21st century comics market. But I think the numbers could have been oh-so-much better had DC not missed out on a real marketing opportunity that could have reached a mainstream pop-culture audience.
The key to greater success and a wider audience for Superman Confidential is Tim Sale, but it’s not his reputation in the industry that could have boosted sales. Sure, his work on Batman: The Long Halloween, Dark Victory and Marvel’s various “color” books (Daredevil: Yellow, Spider-Man: Blue and Hulk: Gray) stands out as edgy and unique, but at the moment, his artwork is the industry’s ambassador to the masses who don’t read comics.
DC’s year-long super-hero epic, 52, is a significant exercise in myth-building on the publisher’s part. The weekly schedule and the effort to incorporate continuity elements from DC’s entire super-hero line must be daunting for the series’s four writers, several editors and many artists. It’s a massive undertaking, but one that’s clearly paying off for the publisher, as is evident in the monthly sales charts from Diamond Comic Distributors.
One of the reasons the book is proving to be such fun is that writers Geoff Johns, Grant Morrison, Greg Rucka and Mark Waid have included such a diverse (even odd) array of characters from throughout DC’s publishing history. The most recent issue features not only such well-known characters as Green Arrow, Martian Manhunter and Firestorm, but Ambush Bug and the Bulleteer.
After reading 52 Week Twenty-Four, it struck me that this title reminded me a lot of a guilty-pleasure comic book from my youth: DC Challenge. The brainchild of writer Mark Evanier, the notion was to tell an unpredictable, epic super-hero story, with each issue being penned and illustrated by different creators. Now, while, 52 reportedly has clear plans and plots to guide it from beginning to end, the challenge of DC Challenge was that each writer would have no idea what the previous issue’s scribe had planned. Each issue also ended with a cliffhanger intended by the writer to be seemingly impossible to resolve for the man at the helm of the next issue.
TV could learn a thing or two from the business of comics.
A few years ago, I was immersed in television. There were innumerable sitcoms I followed, both in prime time and in syndication, and there were plenty of game shows and hour-long dramas on my list of favorites as well. But a couple of years ago, I found I was whittling down my TV viewing, with only four or five programs on my must-see-every-week list.
In recent years, it seems as though TV producers have realized that new ideas — and more importantly, smarter writing — can make for hit shows, and never has that attitude been more apparent with the slew of new shows that debuted this fall. But some of those shows are already in danger of cancellation, and NBC has announced that the intriguing Kidnapped is already kaput, and it had just barely begun telling its story. CBS has announced it’s turfing Smith as well.
I don’t really need to review True Story, Swear to God v.2 #1. I’ve made my feelings about Tom Beland’s autobiographical, slice-of-life romance comic known time and time again. I adore True Story, and I relate to much of what Beland explores in the book. I’m thrilled that his self-published comic series is about to reach a wider audience with the release of a relaunch through Image Comics. It’s bound to boost True Story‘s profile significantly, hopefully appealing to the cartooning fans of such other Image titles as Liberty Meadows and PvP.
So no, this is not a review of the new debut issue. Instead, I want to explore a question that’s rather unique to this comic series: is True Story the same series that it was when it began? And the truth is that no, it’s not the same book, but it has nothing to do with how Beland writes it now, how he illustrates it or how he markets it.
The change comes in the perspective of some of his readers, namely, those who are aware of the shift in Beland’s life today, as opposed to the past experiences that unfold in the comic. Beland announced this year that he and wife Lily Garcia had split, albeit on amicable terms. Developments in the creators’ personal lives are never a concern when it comes to one’s enjoyment of their comic-book storytelling, but in this case, it does have an effect. You see, True Story is, among other things, a romance comic, and now, the readership knows the ending it was expecting for the autobio title will not come to pass.
In my capacity as a comics critic, news releases from publishers, big and small, and creators make their way into my Inbox. Since I don’t have a news section, I rarely pay them much heed, but one I received last month caught my eye…
“FOR IMMEDIATE RELEASE: DC COMICS TO PUBLISH ALL STAR WONDER WOMAN BY NEWLY-EXCLUSIVE SUPERSTAR CREATOR ADAM HUGHES”
Hughes’s involvement in an All-Star Wonder Woman project had been rumored for some time, so it was quite the anti-climactic announcement, especially given that the comic book isn’t slated for release until summer 2007. But this news release was interesting in that its chosen focus is surprising, given the overall context of the project.