It's Like Seeing a Fever Dream Come True: Axe Cop TV Trailer

@#$% just got real.

Everything About Superhero Comics is Wrong - Part 1

As I've transitioned from weekly comic shop junkie who picked up way over his allotted budget in comics every month, who read every article on five comics websites every day, to: guy who stops by the comic shop once a month and is mostly picking up Superman, Daredevil and the occasional other book...  I've been thinking a lot about the American Comic Industry.

The summer movie The Avengers made more money than the GDP of many nations last year*, comic conventions fill 100,000 attendee halls in single cities, and, of all things, Pepper Potts is now a popular character in the zeitgeist.

Most comics sell a few thousand copies per month.  So I'm going to say a few things that are patently obvious, but need to be said.

If you've followed this blog for any amount of time, you've heard these sentiments before, but I figured one last, grand parting shot couldn't hurt.


Appealing to adults was woefully misunderstood

When Time Magazine and other arbiters of the zeitgeist were saying things like Watchmen read as, finally, a comic for adults, they weren't talking about boobs and blood.  They were talking about a rich, layered story with characters that had motivations, flaws that couldn't be sorted out with a magic crystal, and who behaved in ways that felt true to experience outside of a comic-book universe.

somehow Dan Didio thought this should lead to his version of "Suicide Squad"

Today is Carl Barks' B-Day!

Carl Barks is largely responsible for the Uncle Scrooge and Donald Duck comics as we know them today.  We were lucky enough to also have the amazingly talented Don Rosa pick up where Barks left off, and I am truly in awe of both their efforts.

You'll hear of Carl Barks referred to as "The Good Duck Artist" as, back in the day, all the comics put out by Disney obfuscated the names of the creators.  But fans knew there was one artist working on those comics who was particularly great as artist and storyteller.  They just didn't know the name of the man behind the pen.  Thus, he became known as "The Good Duck Artist".

Born this day in 1901, Barks created great Duck stories, and also worked on other characters, including Barney the Bear.

In recent decades, Barks' name became known and he's now a legend among comic aficionados.  We're lucky to have had Gemstone, Boom! and Fantagraphics collecting his work the past few years, in increasingly lovely volumes.

Here's a bit from "Lost in the Andes".

DC Comics Leadership - Still Finding it's Way 18 Months into DCNu

These days I'm only reading a few DC Comics, so it's a bit harder to see what's going on in the halls at the company.  Certainly looking at the release of the monthly solicits is an excellent indicator.

The Beat already did a nice breakdown of some things that really stand out.  Todd Allen points out:

• The $2.99 line seems to be getting crossed
• We may not be looking at 52 titles anymore

Batman: One More Time, With Feeling (by Scott Snyder)

This news came on the same day DC announced a storyline called "Batman: Year Zero" to fill in all those gaps you had (right?) about what happened after Batman: Year One.   The story shall be about The Bat-Man, who he is and how he came to be!  Snyder's promise that the series will tell us all the things we've never seen before, like Batman's first run in with a super-villain, is true if you're 20 and just got into comics, abut less true if you dropped all the Batman books but Morrison's because you realized that maybe, in his current comics form, the Bat-fellow is getting pretty repetitive (for first super-villain meetings, we recommend the superlative Batman: Snow by Dan Curtis, JH WIlliams III and the late, terrific Seth Fisher).

I don't know what's more surprising: that Snyder's modus operandi with Batman has been to largely keep digging up the bones of well-loved, well-worn storylines done by some of the name-iest names in comics, or that this seems to be a real draw for the Bat-audience.  I'm old, so I was good with Batman: Year One, A Death in the Family, and every story that wanted to goof on Thomas and Martha Wayne from Hush to Death and the Maidens and was thinking maybe we were ready to move on.  But, short of another gang-war or serial killer story, it seems that all DC has to offer re: Batman these days is another whack at the same worn out Batman origin stuff and tilling about in the same soil of Batman's family history and early years.

Your Questions Answered: What if I Had Creative Control of Superman?

Jake asks:

Since this is Superman heavy blog, if you were the publisher or editor in chief over at DC, or even just a writer on a Superman title, what would you do, creatively, with Superman? Assuming you could flush the whole reboot, what would you do (or not do) with the character? Just focus on good, solid storytelling? Make Superman more socially/politically conscious? Introduce him to a wider audience, i.e. kids, women, etc.?

Believe it or not, this isn't something I think about all that much, and maybe that's wrong-headed, but I'm never comfortable with reviews of something that start with "what they should have done was..." or "what they should really do".  It seems like an endgame with little satisfaction.

Usually the question I find myself asking is: why didn't that work?

But rather than dodge the question, let me give it a whirl.

1. Re-Establish a Supporting Cast of Humans

If you've been picking up Superman comics for a while, or, in fact, most superhero comics of the last decade, one of the primary problems I detect is that there is no status quo.  There's no "home base" for the characters to point to and have in mind as they go about their adventures.  Spider-Man lost his with the dissolution of the Mary Jane marriage, Batman is almost never seen as billionaire playboy Bruce Wayne with his youthful ward, and the only writer who seemed to want to put Clark Kent in the Daily Planet for more than two panels every six issues was Geoff Johns, who left the book before his creative imprint could really take hold.

New Series coming: Superman Unchained! (nice title, DC...)

Sigh.

I wonder if DC even realizes that they're also publishing a comic of Django Unchained at the moment.  And that comic's title has a meaning to it that's a lot less steeped in DC's insecurities about their flagship character.

This, from an article at Newsarama:

"We're all fans and we've all known this character for a long time," Jim Lee tells USA Today. "You have to fight your natural tendency to do what you know or what you've always thought the character to be.

"We've been pushing the creators to not be beholden to the past conceits and understandings of Superman. So we will speak to a new generation of readers."

You can more or less read that as "we're really uncomfortable with Superman as a character who isn't as straightforward as Batman, and as guys who grew up thinking Batman rules and Superman drools, we're not sure what a Superman comic looks like, and we really aren't going to do any research to find out.  But we have a corporate imperative to make Superman work in the comics, so we're doing what everyone else has said they're doing since Mike Carlin left the editor's post."

I'm not sure the comic will be bad, necessarily, but the one drumbeat DC has had around Superman for at least 13 years has been "we think we know Superman, but we're going to try something new for a new group of readers".

At this point, the only thing left new to try is to actually go back to whatever that model was that they think Superman has been living by until the new writer (who has never read Superman before) took the paycheck. Only, the character hasn't had an opportunity for 13 years of comics to even have a status quo.  He's been rebooted five times in the past 8 years or so, and I think only writer Geoff Johns managed to get Clark Kent in a Daily Planet newsroom with Perry in more than one issue of his run.

Frankly, I'm tired of DC's shame of their own very lucrative bit of IP.  Nobody buying those t-shirts or stickers for their cars (all of which bring in way, way more than this comic ever will) are looking for a new, edgy Superman.  Dumping 75 years of the character doesn't automatically equate to speaking to ANYONE.  In fact, I'd argue that a lot of people would like to pick up a Superman comic and see what they're expecting as per Superman's status quo, not whatever the writer of the week and Jim Lee (no master storyteller, he) have as a way of reimagining the character.

DC, you are the disappointing sibling who we all think has the tools to get his life together, but who keeps somehow making bad decisions that he can only see as strokes of bad luck.  We're getting tired of bailing you out so you can keep the electricity on in the apartment you can't afford.

Your Questions Answered: Which Super Power?

CanadianSimon asks:

I know you've spent a lot of time thinking about this, all comic fans have, if you could have one super power what would it be? How would it be useful in the real world and what would the detriments be. Finally, do you think this absolute power would corrupt you?


For a long, long time I thought the power I'd want, and which I'd still want in a way, is: invulnerability

It sort of started with the idea, when I was living in a 14 story dorm, of getting tired of waiting for the elevator and thinking "man, if I could just pitch myself out the window and get up and walk away, I could save myself a lot of time."  Yes, it would be alarming to everyone on the ground, but those elevators took forever.

Then I began extrapolating all the other stuff I could do even without other standard super powers, like flight or super strength.

Flight would be very cool, but its got limited application.  It's basically a way of getting around that avoids traffic.  Strength is great, but without invulnerability, it seems like you'd be in constant danger putting that strength into practice.  What if you drop the bus on yourself?

But I think with invulnerability, you could actually be fairly useful.  If human frailty were removed, the opportunities seem limitless for ways in which it could be applied, from deep sea explorer to space walker to fireman.  And, if you don't need to worry about getting dinged up, you can also get a rocket pack or whatever, and flight can be an option.

The trick, of course, is that you'd lose empathy for other people who did bleed, and who had to worry about the basics of an existence where harm would end you.  I don't know what it might mean for longevity if your physical shell was impervious to damage, so the problems of remaining healthy and whole while time marches on for everyone else could really take a mental toll.  And, of course, using the power for means that served a benefit to the most people and not just as a party trick to get on TV, nor to be asked to use it for harm.  And, I wouldn't want to wind up assigned permanently to standing next to the President on the off-hand someone starts lobbing bullets at him.

Your Questions Answered: Original Comic Art Page

On February 27th, we challenged readers to send in any question they liked and promised to respond to all queries. We're giving it a go.

Stuart asked via Twitter, so before we lose the tweet...

Stuart asks:   If you could get any one original comic art page signed, which would it be and why?

Wow.  That's a really, really tough question.

There's so much to consider.  What characters?  Which artists were involved?  The design of the page itself. What's the context of the page, and who wrote it?  Was the story memorable?

For perfection on ALL of these counts, I guess I'd say: Any single page from any issue of Superman's Pal, Jimmy Olsen.  But that's a shortcut of an answer.

So what would I want?

I think I'd want superhero art, for the most part.  I'd make an exception for Carl Barks or Don Rosa work, and would love to have stuff by either of them.  Nothing in particular comes to mind as per specific pages, though.  The same with Curt Swan, Jose Luis Garcia-Lopez, George Perez, and many more.  They're all amazing artists, but this is a singular page we're talking here, a single page from a comic that so stuck with us...

There's a few ways to answer this.

Corporate Synergy Fail - CN and IDW

The point of owning a comics company, one would assume, is to publish comics.  But that's not how it works.

Since the 1970's, DC Comics has been owner by Time-Warner.  After buying itself back in the 90's (it was owned by New World Entertainment, I believe, in the 1980's) and going public on the stock exchange when I was in college, Marvel is now part of the expanding Disney empire.

I would assume the reason Disney wanted Marvel had far more to do with the opportunity provided by The Avengers franchise as cash-generating IP for movies, toys, t-shirts, etc... than it was actually interested in the comics themselves.  And, of course, by owning Marvel, they have the opportunity to grab back lucrative properties like Spider-Man when the contract runs out with Fox.

DC's purchase by WB was almost more of a happy accident.  They were part of a mass of companies purchased by Time-Warner, but, certainly the opportunity to exploit Batman, Superman and Wonder Woman had to be seen as a welcome opportunity.  And, of course, their own Warner Bros. studios would have first-look deals on all movies.

But we're talking movies and not comics.  Comics have always been high risk/ low reward for everyone but the company that can spin the character off into a familiar object for licensing.  Frankly, until recent history, I don't know that Time-Warner or Warner Bros. studios knew or cared that they owned a whole comics company.  They cared that they owned Superman and Wonder Woman.

Let Us Break Out the Ketel One and Christian Bros. Brandy and Ponder an "Achewood" TV Show

No lie, one of my favorite things of recent western history has been the web comic/ experience, Achewood.

Achewood is almost impossible to explain, fits a specific comedy and writing niche that is most certainly not for everyone, and is the most quotable text of the 21st Century.

Of late, Achewood has been halted, out of print, or whatever you want to call it when a web comic ceases publication.

It was clear something went down with strip owner and operator Chris Onstead, and that's his issue or issues to share or keep to himself.  But, suddenly, after months of silence, Onstead appeared today announcing that he's trying to sell an animated version of Achewood in LA this week.

Frankly, I don't know how a writer's room and the sort of collaborative environment mixed with the needs of  TV networks can possibly bring the strip to life and retain the creative singular vision of a comic about cats named "Roast Beef" and "Ray".  But you never know.  Axe Cop is headed for television, so anything can happen these days, I guess.

Here's Onstead's announcement.

And here's the video demo of what a televised Achewood might look like.


Achewood Television Trailer One "Hello, world" from therussians on Vimeo.

I know, I'm sort of sweating, too.

Animated Teodor, y'all. Animated Teodor could happen.

Anyway, it's an outside shot, but I would love to see this happen and the name "Ray Smuckles" become a household word.

Killing Robin. Again.

I think I'd been reading Batman comics for all of a year when DC had the famous dial-in vote where readers got to choose whether or not Jason Todd, the second Robin, would die.  I was a Jason Todd fan, and I was also a kid just getting into comics, so I didn't want to see the character get it, but I was buying comics at the grocery store and book store back then, so any comics were catch-as-catch can.  Finding issues of A Death in the Family, the storyline where all this took place, were incredibly scarce, and only one of my friends got a copy.

Long story short, I didn't get my hands on the comic with the phone number until months after the event when I sat on my pal's bed and read the comics of the storyline in one, long read while he and my brother listened to Van Halen albums.  I never got to cast my vote.  And as close as the vote was, I always wished I'd gotten my chance to save Jason Todd.*

Then, around 2004/2005, Stephanie Brown took Tim Drake's place as Robin just long enough to get fired for reasons and then get killed (only not really) by Black Mask.

And, of course, it never actually happened, but word on the street is that DC head honcho Dan Didio really wanted to kill off Nightwing at one point during Infinite Crisis.

A few years back Grant Morrison took over Batman and introduced Damian Wayne, the son of Bruce Wayne and Thalia al Ghul.  Right out of the box, Damian seemed fully realized as a character, and - unlike most modern new inventions of characters - was in no way an awkward teenager riddled with self-confidence issues nor a Mary Sue.  Pompous, brutal.  Desperately in need of approval from a father figure.  Everything you'd expect out of the grandson of Ra's al Ghul.

Morrison removed Bruce Wayne and put Dick Grayson in the cowl for over a year, during which time Damian put on the domino mask and the "R", and it was actually a great run on the Batbooks.  Bruce returned, as comic characters hurled through space/time/realities are want to do, and we've been able to enjoy Damian and Bruce as Robin and Batman for a while.

Monthly trip to the comic shop and Editorializing Inside the Story in Action Comics

These days I now only visit the comic shop once per month.  My LCS, Austin Books and Comics, doesn't have a pull list, it has a system I actually greatly prefer to other shops at which I was a regular customer.  ABC sends out a webform each Monday evening with that Wednesday's releases.  You fill out the webform, and ABC holds the things you want for that week.  They don't have a pull list you have to set up and try to maintain through the front desk, something I never felt worked terribly well, and they over-order on all titles so it's a very rare instance when I realize I missed something and now I can't find it on the shelf.  Most shops order exactly what people pre-requested, and then maybe a couple of copies for the rack.  How the industry thinks having just a few copies for someone to discover is beyond me.

And, of course, shops that were supposed to order me things routinely did not do so, or if they under ordered, somehow it seemed I was always the one who got shafted.  

This evening I made my monthly run to ABC, and walked out with a fairly serious stack of books.  I picked up: 

• the 3rd Rucka Punisher trade
• the first volume of Ennis's Fury: My War Gone By
• Action Comics #17
• Red Team #1
• Shadow: Year One #1
• Masks #3
• Stumptown #5
• Happy #4
• Fearless Defenders #1
• Joe Kubert Present#4
• Batman, Incorporated #7
• The Answer #1
• Superman Family Adventures #9 
• and the latest issue of Saga 

It's a healthy stack, to be sure.  It's also a greatly decreased stack from my monthly haul two years ago.  You can see I wanted to try some things, you can see I have some loyalties to folks like Rucka and Kubert and Ennis in there, and my interest in some of the pulp stuff Dynamite is doing.  

I'm an Alex Ross fan, and can't understand you people who don't care for his work.  And I love his voers for The Shadow, up to and including this latest.  

That, people, is how you draw Margo Lane

Let's Re-Boot "Turner D. Century"

Marvel.  The more realistic universe.

GRITTY.  REALISM.

Back in the day Marvel was as devoid of ideas for new villains and driven to whatever place of madness that also drove DC to create "Terra-Man".  

You Millenials won't remember this, but there was a time and a place before January 1, 2000 when "turn of the century" meant the change from 1899 to 1900 and was several decades in the past.  Apparently on a bet or because someone had a deadline they'd forgotten about, in the pages of Captain America a new villain was born:  Turner D. Century!

yes, that's Spider-Woman creeping up to give Turner D. the beat down

A ragtime dandy, Turner rode around on a flying tandem bicycle with a dummy (because... sure), and had a flame-throwing umbrella.  LIKE EVERYONE HAD IN 1900.

He was absolutely driven to convince people to go back to living in an era of doilies, barber shop quartets and when Gary, Indiana was something you wrote about for the Music Man, not a depressing, burnt out mid-western hell hole.  And he was out to achieve this with small scale violence and property damage.  And we try very hard not to think about his relationship with that dummy on his bike.  And we really try not to think too hard about his views on race relations.

But, here in the glorious future of 2013, replete with flying skateboards and Mr. Fusion on our Deloreans, the phrase "Turn of the Century" isn't used so much as it refers to 13 years ago.  Now we just say "a few years back".  Or:  "When Britney Spears hadn't overstayed her welcome".

So, I'm curious.

Here's your weekend assignment:  Turner D. Century is introduced in 2013.  He is based not on the old turn of the century, but on our most recent turn of the century, from 1999-2000.

• What does he wear?
• What are his accouterments?
• What is he railing against in modern life that he thinks was way better in 2000 than now?
• Who does he fight?
• Is he still relying on flame throwers?

Please let us know in the comment section all about this all-new version of Turner D. Century!

Worlds Collide: The Online Comic Book Course

For a long, long time, what I did for a living was "distance learning" which came to be called "eLearning".  Or, likely, now, "learning".

In 1997 I took a job as a camera operator and switch-room operator for a distance learning outfit in the College of Engineering at the University of Texas getting paid what seemed a king's ransom of something like $5.75 an hour.  At the time I was a Radio-Television-Film student looking for work that related to my dreams of working in movie or TV production,* and handling a camera - no matter how out of date - and working with audio and switching equipment - no matter how lo-fi - was a welcome change of pace from the hours behind the counter at Camelot Records selling copies of Blink 182 to perfectly nice people.

Somehow, upon graduation, I became the guy running the studio (they offered me insurance).  Mostly, back then, we were making duplicates of tapes of classes and mailing them (I KNOW), or hooking up with remote location via ISDN lines, satellite, or using some really, really early days video streaming that its best not to talk about.

The Orson Scott Card Conundrum - Social Ideals and The Purchase of a Superman Comic

All right, here we go.

I don't really want to write this post, but it's about Superman, it's in the news, etc..

Famed Sci-Fi writer Orson Scott Card has some social views that are well known within the comics and sci-fi "communities".  Card has written some highly successful work such as the famed Ender's Game (which I haven't read), and started working in comics a bit with Ultimate Iron Man several years ago now (also - haven't read).

Specifically, Card takes issue with homosexuality and gay marriage.  He sits on the board of an organization that is more or less dedicated to opposing gay marriage in the US, the National Organization for Marriage.

Last week, when the new Adventures of Superman was announced, Card was listed among the writers, and (if you're keeping score), specifically, he was one of the creators associated with the project that made me blink a bit while reviewing the roster of talent.

Full disclosure:  I am fully in support of marriage rights for the LGBT community and believe that this is the civil rights issue of our generation.  Fundamentally, I believe in extending the same legal privileges to all consenting adults in a free society, and am against legal loopholes or half-measures that would place legal or social restrictions on someone based upon race, religion, gender or sexual orientation.  </ lefty boilerplate>

The questions then arise:

Signal Watches: Punisher - War Zone

So, yeah.

I'm, at best, a casual reader of The Punisher comics from Marvel.  Back in the 80's, when Punisher was sort of relevant in the wake of a few Deathwish movies (clearly the idea behind the character came from Bronson), and Bernhard Goetz had opened fire on a NYC Subway, I recall names like Mike Zeck, Klaus Janson and a young Jim Lee working on Punisher stuff.

I've tried various Punisher comics over the years, but it's a book that, when I'm not reading it, I don't really miss.  Watching someone stone cold execute people because they're "mobsters" or "criminals" - gets kind of stale after a while.  Yes, I started reading Ennis's run, and enjoyed it.  I intended to read it as trades, and just never got around to it.  I am reading Rucka's stuff, and it's good, solid, Rucka - if a bit spot on the nose "oh, of course he has a broken female protagonist" Rucka, but that doesn't mean its not worth checking out.

New Adventures of Superman Series: Did DC win back the rights to Superman's Red Underpants?

I sort of don't know what to make of the (I'm calling it unsubstantiated) news that DC is launching a new web comic called The Adventures of Superman that will eventually be collected.  Somehow.  Whatever.

The things I care about are as follows:

1.  There's a lot here to suggest that most of the changes made to Superman in the New 52 were due to the Siegel/ Shuster heir lawsuit.  Things were looking pretty bad for DC for a while, which would have meant anything from Action Comics #1 that was ownable would now be the property of the creators.  That included red trunks on Superman and a girl reporter as a love interest.*

A short while ago, DC seems to have won the lawsuit (the heirs should still be receiving royalties, which is, I suppose, something...), which would mean DC can continue to exploit their trademark.  I mean, make great Superman comics in the popular tradition.

Kirby Day - Let's Talk Too Much about Mister Miracle

I guess today is the 19th Anniversary of Jack Kirby's passing.

I've attached an image of a cover to an issue of Mister Miracle, a comic I've alluded to over the years, and which I hold close to my heart.  If you've never read the Kirby Fourth World material, I can only tell you: man, you are missing out on one wild ride.

Of course, mostly, we talk about the Man of Steel around here, but as a concept, ideal and character, the themes of Superman's mythology differ greatly from those of anything else in the Fourth World books, and especially Mister Miracle, an interesting conundrum when Kirby originated so much of the Fourth World while including Superman and using metropolis as a backdrop.  If the underlying theme of Superman, as a character and mythology, exemplifies using the gifts bestowed upon you for the betterment of the world, Mister Miracle is the hope for escape from the seemingly inescapable and an avatar for the promise of freedom - especially by one's own hand.  Whether it's the X-Pit or a runaway rocketsled, Scott Free always, always lands on his feet with the manacles unlocked and the trap in splinters.

DC's "WTF? Month" pretty much sums it up

As if there were any doubt that DC Comics and I may be at an impasse, thanks to the requirements of the hype machine in the Direct Market, we already know that April is going to be "WTF? Month" at DC Comics.

this is, like, 10 layers of sad

Check out The Beat for more on this so-edgy-it-will-cut-you promotion.

Extensive bad language below the break.  Proceed with caution.

Super Watch: Dark Knight Returns, Part 2

There isn't much to say about the plotting of this second installment of the direct-to-video adaptation of Dark Knight Returns that a generation of comics fans grew up with via the comics page.  The dialog, often the framing, the depiction of characters...  It's likely the closest adaptation I think you'll ever run into that doesn't fall into whatever trap Peter Jackson fell into with his The Hobbit Part 1 that felt like a checklist of scenes with no real narrative push or (dare I say it) heart in its desire to lovingly recreate each beat and scene.  Nor is it the Zack Snyder slavish recreation that misses everything about why Watchmen worked, and figures that showing the same stuff we saw on the panel is good enough, even if all the directorial decisions - like casting, emotional beats, musical selection and cinematography - were completely misunderstood.

In this second installment, as an audience we've had the opportunity to get used to Peter Weller as Batman (and he's actually pretty great), and we get Michael Emerson as a giddy, cerebral Joker (God bless you, Andrea Romano).  And, somewhat like the 3rd chapter in the Dark Knight trilogy from Nolan, Batman actually takes a back seat to some of what else is happening in the story.  World War III is seething to break out, Superman's relationship with the government is filled in, and against that backdrop, Batman is still running around concerned with cleaning up the streets of Gotham.  You can almost understand how it got ignored for all those years until he retired.

I recently saw a quote from comics creator Faith Erin Hicks noting how dated Dark Knight Returns felt on a re-read.  She's not entirely wrong, but I sort of also sort of rolled my eyes.  It's a work of its time with undercurrents that remain relevant and resonant.

Comics weren't really intended to have a shelf-life when the book hit the direct market, they were commenting on the moment, and Watchmen is no less a piece of the Cold War than DKR.  And we were so ready to forget about the cloud of nuclear annihilation when Gorbachev instituted Glasnost, I'm not surprised that a generation had grown up without the context, and doesn't quite get what it felt like to do duck and cover drills until everyone admits that it's kind of pointless when you're in about 3rd grade.  Nor has the era of street crime that pervaded the big cities been seen in Gen Y's lifetime (although Chicago spent 2012 doing it's damndest to recreate the era that made "Bloods" and "Crips" household names).