“I think that when you are doing a long series like this, the most important thing you need to do at the end is confirm the premise. That’s why, even though the Seinfeld finale was perceived as a flop at the time, it never hurt the series in syndication. It actually works, because it confirms and affirms the world you just spent so much time in. Everyone says they love the Newhart finale, but they really don’t. It’s clever and cute for a one-off joke, but you notice that Newhart is rarely seen in syndication. Why would it be? Who would watch any of those episodes again? It was all just a dream. It’s actually the worst possible thing you could do to your audience. So my goal was to create a finale that was implied at the beginning. I think it works really well, and I love the point where we leave the characters.”
– Jimmy Gownley on winding up his eight-volume series Amelia Rules
In the first volume of the series, Amelia has just left New York for a small town, where she and her mother will live with her Aunt Tanner following her parents’ divorce. Although Amelia adjusted to her new situations, these stories have never been static; unlike many comics characters, Amelia continued to grow and change as new challenges came up. So it’s appropriate that Gownley has created an actual finale to the series, rather than just stopping at the end of a volume. It does make me wonder how many creators have the ending of their story in mind as they write the first chapter—or whether the ending becomes obvious to them after the story has been going on for a little while.
Creators | Market Day creator James Sturm explains he’ll be boycotting The Avengers movie because he believes Jack Kirby, co-creator of many of Marvel’s longest-lasting characters, “got a raw deal”: “What makes this situation especially hard to stomach is that Marvel’s media empire was built on the backs of characters whose defining trait as superheroes is the willingness to fight for what is right. It takes a lot of corporate moxie to put Thor and Captain America on the big screen and have them battle for honor and justice when behind the scenes the parent company acts like a cold-blooded supervillain. As Stan Lee famously wrote, ‘With great power comes great responsibility.’” Tom Spurgeon notes the position seems to mark a shift for Sturm, who wrote the Eisner-winning 2003 miniseries Fantastic Four: Unstable Molecules for Marvel. [Slate, The Comics Reporter]
Welcome to another edition of What Are You Reading?, your weekly look into our reading piles. Today we’re joined by special guest Jacquelene Cohen, director of publicity and promotions for Fantagraphics Books.
To see what Jacq and the Robot 6 crew have been reading lately, read on …
Welcome to Food or Comics?, where every week we talk about what comics we’d buy at our local comic shop based on certain spending limits — $15 and $30 — as well as what we’d get if we had extra money or a gift card to spend on a “Splurge” item.
If I had $15, I’d first grab hold of my favorite of DC’s New 52, Batwoman #2 (DC, $2.99). J.H. Williams III has successfully kept up to the immense expectations he accumulated following his run with Greg Rucka, and the artwork seems to benefit even more by J.H.’s input into the story as co-writer. Next I’d dig down for two of my regular pulls, Northlanders #45 (DC/Vertigo, $2.99) and Uncanny X-Force #16 (Marvel, $3.99). For my final pick, I’d have to miss a bunch of other titles for the chance to get the CBLDF Liberty Annual 2011 #4 (Image, $4.99). I love the anthology format, and having that plus the good cause plus the a-list talent makes it a must get; seriously, can you imagine one comic book containing new work by Frank Quitely, Williams, Mark Waid, J. Michael Straczynski, Matt Wagner AND Craig Thompson? BELIEVE IT!