Costa Ensnares "Secret Wars" in the Web of "Spider-Verse"
“It was like trying to stop a force of nature. He was a sponge. The last time he came, he’d gotten a six-page assignment, and I went over what he’d done wrong, how he could make it better. He said, ‘You’re saying I have to draw it over again.’ I said, ‘Well, yeah.’ He said, ‘OK, but the problem is, I turned it in, and they accepted it.’ I said, ‘In that case, don’t draw it over again; I think you just started your career.’”
— Neal Adams, discussing a young Frank Miller, who repeatedly stopped by his New York City studio for critiques. It’s from Sean Howe’s Wired profile of Miller, probably the best of a handful published ahead of the premiere of Sin City: A Dame to Kill For.
It’s certainly the most unflinching, touching upon the effect of 9/11 on the artist and his work — “I think many people didn’t get over it, that it will continue to affect their lives forever,” Lynn Varley, his longtime colorist and former wife, says. “And I think Frank is one of those people.” — the failure of The Spirit, the response to Holy Terror, the disappearance of All Star Batman & Robin, his tirade against the Occupy movement, and speculation about his health.
Even if Frank Miller and Jim Lee never finish All Star Batman & Robin, the Boy Wonder — and, let’s face it, they’re never going to — they can take satisfaction in introducing a grateful world to “I’m the goddamn Batman,” a phrase that launched a thousand memes and ended at least as many comic-book arguments. (“How could Batman survive a fall from that height?” “He’s the goddamn Batman, that’s how.”)
And now it’s been immortalized on an Arizona license plate as “GDBTMN,” registered by Phoenix resident, and Batman fan, Art Landis (seen below). “I decided to finally personalize my plates, as celebration of Batman’s 75th,” he tweeted over the weekend. “I honestly didn’t think the MVD would let it happen.”
Now Landis just has to come up with something for next year, the 10th anniversary of the release of All Star Batman & Robin #1.
We’ve known for a while that DC’s superhero line will go through some changes in the wake of Forever Evil, and as the March solicitations bring the end of that Big Event, not surprisingly the month looks rather transitory. In fact, Forever Evil #7 is scheduled to appear on March 26, just as the final issue of Blackest Night — also written by Geoff Johns as a spinoff of his highest-profile series, in case you’d forgotten — dropped on the last week of March 2010. (It must be pure coincidence that these solicits feature a $200 White Power Battery tchotcke.) Back then, BN #8 was supposed to “set the stage” for the “next epic era of DC Comics,” which turned out to be about 18 months long and featured the biweekly sort-of-sequel miniseries Brightest Day. This time, Forever Evil #7 teases the importance of the “Hooded Man” and promises to “leave the DC universe reeling and reveal the secrets to the future.”
So, yeah, sounds like another cliffhanger ending, perhaps even leading into another big-deal miniseries — specifically, the May-debuting weekly Futures End. Considering that the three tie-in miniseries (ARGUS, Arkham War and Rogues Rebellion) all seem to feed into FE #7, the actual content of that final issue may well be a giant scrum, not unlike the final issue of Flashpoint, in which some cosmic button is pushed, defeating the Crime Syndicate but at a significant cost to DC-Earth. As it happens, there’s no mention of the “Blight” sub-crossover (bringing together Phantom Stranger, Pandora, Constantine and JL Dark) feeding back into Forever Evil, but I’m not sure how much it’s supposed to relate, beyond being about the JLD trying to pick up the post-invasion pieces.