It doesn’t matter whether you have thousands of Batman comics and collectibles, or transform your basement into the Batcave, you’re not truly a fan until you own a licensed, roadworthy replica of the Batmobile from the 1966 television series. And it’ll only set you back $200,000.
Offered by Hammacher Schlemmer, the Authentic 1966 Batmobile comes standard “comes standard with a 430-horsepower, 383 Blueprint Crate engine and a Monster TH350 automatic transmission,” which probably means something to someone. While it isn’t equipped with atomic batteries, it does have a blinking Batphone and “a rotating red beacon.” There are also rear parachute packs, which are, alas, empty.
There’s no mention of how many miles per gallon it gets, but that’s probably not a chief concern if you have $200,000 lying around to buy a Batmobile.
Not content to wait until Black Friday or Cyber Monday, DC Comics and Drawn & Quarterly have gotten a head start on holiday sales.
Beginning Tuesday, DC Comics Digital will give away the first issue of a different digital-first comic each day for the next week: Tuesday is Legends of the Dark Knight, Wednesday is Batman ’66, Thursday is The Vampire Diaries, Friday is Smallville Season 11, Saturday is Batman Beyond 2.0/Justice League Beyond 2.0, Sunday is Batman: Li’l Gotham, and Monday is Adventures of Superman.
Drawn & Quarterly isn’t waiting, however: Between today and Dec. 2, the publisher is offering a 40 percent discount on any item — books, comics, posters, etc. — from its web store. Those include works released this year, including Gilbert Hernandez’s Marble Season, Rutu Modan’s The Poperty, Brian Ralph’s Reggie-12 and Anders Nilsen’s Rage of Poseidon.
The York (Pennsylvania) Daily Record reports had been conservatively estimated to fetch $50,000 and $75,000, but the historical significance of the issue (cover-dated February 1964), and the timing of the auction — no coincidence, mind you — helped to drive up the price.
The cover shows the Superman greeting a line of well-wishers, including Lois Lane, Supergirl, Batman and Robin, and, somehow, Clark Kent. In the story, “The Superman Super-Spectacular,” written by Edmund Hamilton and penciled by Swan, Superman must figure out who can portray Clark on a television show honoring the Man of Steel so he can protect his secret identity. He ends up turning to President Kennedy, who dons a mask and make-up to shake Superman’s hand on air.
The issue was already so far into production when Kennedy was assassinated on Nov. 22, 1963, that it couldn’t be stopped, and Action Comics #309 was released just days later.
The anonymous seller purchased the original art in the 1970s for $75.
Legal | Artist Al Plastino has asked a New York judge to order Heritage Auctions to reveal the name of the consignor who put up for sale his original art for the 10-page story “Superman’s Mission for President Kennedy.” Heritage says the sale has been canceled and the art returned to the consignor, who bought it at a Sotheby’s auction a decade ago. The JFK story was originally scheduled to run in a DC comic dated November 1963, but it was quickly pulled when Kennedy was assassinated. The story was published the following year at the request of the Johnson administration. The last panel of the comic stated the artwork was to be donated to the Kennedy Library, and Plastino believed that to be the case until this fall, when he discovered it was being put up for auction. [Reuters]
Crime | Tokyo police say they have security camera footage of a suspicious man in a mask and gloves near a convenience store where a small amount of nicotine was found in a Kuroko’s Basketball-themed snack. The snacks were recalled after 7-Eleven and other convenience store chains received threatening letters, part of a barrage of threat letters that have been sent out to venues associated with the Kuroko’s Basketball manga and anime. The amount of nicotine found in the Kuroko’s Basketball wafers was well under a lethal dose. [Anime News Network]
Although the attorney representing the heirs of Superman creators Jerry Siegel and Joe Shuster had vowed they were “prepared to go the distance” in their legal battle with DC Comics, they appear to have reached the end of the road. Of course, that’s been said a few times before.
As Deadline reports, in a 2-1 vote the Ninth Circuit on Thursday tied up the loose ends in what it describes as “the long-running saga regarding the ownership of copyrights in Superman — a story almost as old as the Man of Steel himself,” reaffirming an October 2012 ruling that the Shuster estate is prevented from reclaiming the artist’s stake in the character by a 20-year-old agreement with DC.
“We are obviously very pleased with the court’s decision,” DC’s parent company Warner Bros. said in a statement.
That lower-court decision, which was appealed in May, dealt with a 1992 deal in which the Shuster estate relinquished all claims to Superman in exchange for “more than $600,000 and other benefits,” which included paying Shuster’s debts following his death earlier that year and providing his sister Jean Peavy and brother Frank Shuster with a $25,000 annual pension. In October, U.S. District Judge Otis D. Wright found that the agreement invalidated a copyright-termination notice filed in 2003 by Shuster’s nephew Mark Peary.
Last week DC Comics rolled out its February solicitations, but Chief Creative Officer Geoff Johns has already been talking up plans for April. He described the end of Forever Evil as the beginning of the New 52′s “Phase Two,” which would include a host of changes, introductions and reintroductions.
Of course, it’s not like the Internet needs an excuse for ill-informed speculation. In fact, I count just 46* ongoing series in February’s New 52 lineup — and one of those (StormWatch) will be ending in April – so DC will have some roster slots to fill. Therefore, this week let’s look at who might get called up and what DC might introduce.
* * *
Initially, DC divided the New 52 into categories like “Young Justice” (like Teen Titans, Legion of Super-Heroes or Blue Beetle), “The Dark” (I Vampire, Swamp Thing, Frankenstein) and “The Edge” (Deathstroke, Grifter, All Star Western) to go along with the more traditional franchise-oriented groups based around Batman, Green Lantern, etc. This doesn’t quite work any more, mainly because 21e original New 52 series have since been canceled, and a lot of those came from The Edge, The Dark, and Young Justice.
Or: ”How I Learned to Quit Worrying and
Love Like Injustice: Gods Among Us.”
Knowing me as well as I do, I would have expected to absolutely hate Injustice: Gods Among Us, the digital-first comic based on the fighting game from the makers of Mortal Kombat, written by Tom Taylor and drawn by some eight different artists. It’s newly available in a hardcover collection of the first six issues that bears the tagline “The World-Wide #1 Bestselling Comic,” which I found dubious without qualification. (The whole world? Even counting Japan, where they have the One Piece and what do the kids read these days, the Naruto?)
Why would I expect not to like it? Well, a couple of reasons.
The costuming is pretty extreme. I was aesthetically offended by many of the New 52 costumes, which in general seem to be a compromise between the characters’ most popular outfits, whatever was in style at Image in 1992 and something that a Hollywood costuming department might put together for a live-action superhero movie or television series. Injustice took many of those designs even further, so that its Flash, for example, was wearing at least as much padding as NFL Super Pro.
When DC Comics relaunched its superhero titles in 2011 with the New 52, one of the effects was the integration of characters from the former Wildstorm imprint into the DC Universe. Those Wildstorm heroes had a good showing in Flashpoint and in the New 52′s debut titles, but by way of attrition, their presence soon dwindled.
After already seeing series like Voodoo, Grifter,Team 7 and the Wildstorm-esque Ravagers canceled, today we learned that Stormwatch will end in April with Issue 30. It gives a little bit of time for recently hired series writer Jim Starlin to wrap up, but its cancellation is another bad sign for fans of Wildstorm.
Harley Quinn #0, written by Jimmy Palmiotti and Amanda Conner and drawn by more than a dozen artists, arrives today in stores and contains the winning entry from the DC Entertainment Open Talent Search. The page, by Jeremy Roberts, is notable in that it is significantly toned down from the controversial script released in September.
DC came under fire from readers and advocacy groups alike for the original tryout page, which directed artists to depict the fan-favorite character naked in a bathtub, seemingly about to commit suicide, a scene Palmiotti explained was merely a surreal dream sequence.
The American Foundation for Suicide Prevention, American Psychiatric Association and National Alliance on Mental Illness called the contest “extremely insensitive” and “potentially dangerous,” leading the publisher to apologize to anyone who may have been offended by the script while reiterating its intended “cartoony and over-the-top in tone.”
The original script described the fourth panel as, “Harley sitting naked in a bathtub with toasters, blow dryers, blenders, appliances all dangling above the bathtub and she has a cord that will release them all. We are watching the moment before the inevitable death. Her expression is one of ‘oh well, guess that’s it for me’ and she has resigned herself to the moment that is going to happen.”
But in the published Harley Quinn #0, the first three panels remain the same — Harley holding onto a cell tower during a thunderstorm, feeding alligators and tickling the roof of a whale’s mouth — but the final one has been drastically changed: Instead of contemplating suicide in her bathtub, the character is shown riding a missile, Dr. Strangelove-style, high above the Earth.
Although the tryout script didn’t include dialogue, the overall tone of the page seems to lack the “Mad magazine/Looney Tunes approach” Palmiotti said that he and Conner intended.
Harley Quinn #0 is in stores now.
“It was terrifying. It was really, really scary. It was mostly really scary because — at the beginning of writing Sandman, nobody expected anything. All I wanted was not to be canceled. Back then, DC Comics had a really nice system, where they would give you a year to save face for everybody. So I knew I had twelve issues, and I loved the fact that I had my twelve issues. That was great! All I wanted was not to be canceled at the end of issue twelve, not to get the phone call.
Back then, I wasn’t nervous. Nobody was looking, nobody cared. Since then, “Sandman” has sold millions upon millions upon millions of graphic novels. You have a generation that grew up reading them, and then a younger generation that got infected. Now, I will do signings and it’s kind of weird that I’ll be signing copies of “Sandman” graphic novels for people who were not born when the first issues came out.”
– Neil Gaiman, on sitting down to write the six-issue Sandman: Overture
Creators | Newsday picks up the story of Al Plastino’s original art for the John F. Kennedy comic that was canceled when the president was assassinated, and then published a few months later at the request of the Johnson administration. Plastino, now 91, had been told the artwork would be donated to the Kennedy Library, but last month at New York Comic Con he learned that a private individual had the art and was planning to sell it through Heritage Auctions, which now says it won’t move forward until the ownership question is resolved. Copyright lawyer Dale Cendall, former DC Comics President Paul Levitz and artist Neal Adams weigh in on the case. [Newsday]
Kickstarter | In the wake of the successful Fantagraphics Kickstarter campaign, Rob Salkowitz looks at the evolution of the crowdfunding platform from a way for individual creators to connect with their audiences to a pre-sale mechanism that eliminates a lot of the risk for smaller publishers. [ICv2]
“We sit at home and make comics and we don’t really see the impact until we go to a comic show or we get letters. I get letters just about every day. I either get a letter or a tweet. I get physical letters mailed to my P.O. Box still, which is cool. That’s how you know you’re doing it — you’re doing it right — because when I’m at home, I am making comics and throwing out the garbage. But when we’re at a convention, we’re like rock stars. [Laughs] And if we get recognized at the grocery store or a comic book shop, that’s pretty cool too.”
– Art Baltazar, about introducing children to reading through comics, in an interview with CBR about the return of Tiny Titans
Warning: There will be a good bit of “in my day” talk in this survey of DC’s February solicitations. It’s the unavoidable contradiction of the publisher’s current superhero-comics model: Make everything “new,” but tease enough of the familiar old elements to keep longtime fans interested. While this practice goes back decades in corporately run superhero comics, the New 52 has tried so hard to distinguish itself that the old ways sometimes stand in even starker contrast.
Probably my biggest frustration with Forever Evil is its limited scope. Oh, sure, every electronic device on DC-Earth says “THIS WORLD IS OURS,” and writer Geoff Johns has teased a revamped Blue Beetle and Doom Patrol — but from the three issues published already and the three more solicited, it looks to be nothing more than Luthor’s Legion of Doom (plus Batman and Catwoman) vs. the Crime Syndicate. Ho-hum. We know the three Justice Leagues are imprisoned, the Teen Titans are bouncing through time, the Suicide Squad is depleted, and Nightwing is the Crime Syndicate’s prisoner, but where are the rest of the superheroes? What happened when they presumably rose up to challenge the Syndicators?
“Ultraman is not an evil Superman. He’s a Superman who believes in power and strength. Strength is the most important attribute, above everything else. If you’re strong, and you’re the strongest there is, that’s all that matters. And that’s how Ultraman views everything.
The fact that there was a being that destroyed Krypton and then ravaged his Earth and could possibly come to ours — he actually is worried in the back of his head that there’s something out there that’s stronger than him. His motivation is to shore this world up and prepare for war.
And Ultraman’s a perfect example of the absence of empathy. Complete absence of empathy. He comes to our world and he sees things like soup kitchens and homeless shelters, and he sees us taking care of the sick, and he does not understand it. Why do we waste our time? In his mind, we’re keeping our gene pool weak. And that all points back to his paranoia about our world not being ready to fight, or strong enough to survive an attack.”
– Forever Evil writer Geoff Johns, discussing the Crime Syndicate and their “different breed of villainy”
It’s little surprise that the editorial board of the conservative Washington Times didn’t embrace the announcement that the new Ms. Marvel is a 16-year-old Muslim from New Jersey, but the newspaper’s actual response is a bit … bewildering. One might even describe it as eerie.
Beginning a Sunday editorial with a declaration that “diversity and quotas are more important than dispatching evil” — because, as we all know, heroes can’t be diverse and fight villains! — the writer engages in a little concern trolling, warning that Ms. Marvel, and by extension Marvel, will have to be careful not to anger “militant Islam” if there’s any hope for newsstand sales in Muslim nations. Of course we’re told in the very next paragraph that, “Ms. Marvel probably won’t appear in comic books in Saudi Arabia, anyway,” which apparently takes care of that problem.
Once we slog through the bumbling writing and odd aside involving Secretary of State Kerry, however, we arrive at the crux of the Washington Times’ argument, such as it is: that diversity is strange and frightening.