Axel-In-Charge: In-Depth with Alonso on Marvel's "All-New, All-Different" Lineup
Frank Miller has yet to finish work on Xerxes, his long-discussed follow-up to 300, meaning Dark Horse won’t be able to release the comic in time for the March-premiering 300: Rise of an Empire.
What’s more, ICv2.com reports no progress has been made on the planned five-issue (previously six-issue) miniseries since March 2011, when Dark Horse CEO Mike Richardson told the website Miller had completed the second issue.
With the 2007 release of director Zack Snyder’s 300, sales of the collected edition soared, propelling the 1998 book to the top of bestseller lists and leading Dark Horse to order two 50,000-copy printings to meet demand.
While Snyder’s film was a direct adaptation of the comic by Miller and Lynn Varley, even replicating its imagery, it’s unclear how close Rise of an Empire hews to the plot of Xerxes, which the writer had described as “a sweeping tale with gods of monsters” centering on the Battle of Artemisium (it’s a naval engagement that occurred at the same time as the Battle of Thermopylae).
Warner Bros.’ announcement of a “Batman vs. Superman” sequel to Man of Steel at Comic-Con International triggered a 161 percent surge in digital sales of Batman: The Dark Knight Returns in July, setting a record for a full-priced DC Entertainment digital title, Variety reports.
The publisher previously mentioned “a huge jump in month-over-month [digital] sales” of Frank Miller’s pioneering 1986 work, but didn’t offer more than that. Like most publishers, DC doesn’t reveal actual sales figures for either print or digital.
The influential four-issue miniseries brings an aging Batman out of retirement a decade after the death of Jason Todd to save Gotham from sinking deeper into decay and lawlessness. With the help of a new, female Robin, Carrie Kelly, the Dark Knight ends the threat of the mutant gangs that have overrun the city and confronts two of his greatest enemies. But then he must face his former ally Superman in a battle that only one will survive.
Although Man of Steel director Zack Snyder was quick to caution at Comic-Con that the sequel wouldn’t be an adaptation of The Dark Knight Returns, actor Harry Lennix read dialogue from the book — “I want you to remember, Clark, in all the years to come, in all your most private moments, I want you to remember my hand at your throat” — and Miller was reportedly set to meet with the filmmaker.
Frank Miller’s original cover for Batman: The Dark Knight Returns #2 sold at auction last week for $478,000, The Associated Press reports. Initial expectations had placed the price at more than $500,000.
Although Heritage Auctions has sold other original art from the landmark 1986 DC Comics miniseries — a page from Issue 3, featuring Batman and Robin in mid-air, fetched a record $448,125 in 2011 — this was the first cover to ever appear at auction. It’s also the only one from the four-issue series to be rendered completely in pen and ink by Miller.
A near-mint copy of 1940′s Batman #1, featuring the first appearance of Catwoman and The Joker, went for $567,625 at the same auction. A similar copy sold for $850,000 in 2012.
The record price paid at auction for a comic is held by a near-mint copy of Action Comics #1, which fetched $2.16 million in 2011.
While Heritage Auctions has sold other original art from the landmark 1986 DC Comics miniseries — a page from Issue 3, featuring Batman and Robin in mid-air, fetched a record $448,125 in 2011 — this is the first cover to ever appear at auction. It’s also the only one from the four-issue series to be rendered completely in pen and ink by Miller, “with no significant painted elements or overlays.” Heritage characterizes it as “artistically the best of the four.”
“For fans of modern comics, this drawing is where everything really begins,” Heritage Vice President Todd Hignite tells The AP.“This moment defines Miller’s Dark Knight, and the modern day perception of Batman, like no other drawing.”
The auction also includes a 9.2 graded copy of 1940’s Batman #1, which marks the first appearance of Catwoman and The Joker. A similar copy sold for $850,000 in 2012.
The record price paid at auction for a comic is held by a near-mint copy of Action Comics #1, which fetched $2.16 million in 2011. Online bidding is expected to begin July 12, with the auction held Aug. 1-3 in Dallas.
Frank Miller is back behind this camera, this time for the director’s cut of the Sin City-inspired television commercial for the Gucci fragrance Gucci Guilty Black, starring Chris Evans and Evan Rachel Wood, with a cameo by the filmmaker himself.
Comics | Johan Palme talks to Nathan Hamelberg of The Betweenship Group about the continuing controversy over a Swedish library’s decision to re-shelve some Tintin comics because of racist caricatures and colonialist attitudes. The books were put back following an uproar, but the move has sparked a larger conversation, and it even has its own hashtag, #tintingate. [The Guardian]
Conventions | Heidi MacDonald and the Publishers Weekly team (including Robot 6 contributor Brigid Alverson) post a comprehensive report on New York Comic Con, including debuts, new-title announcements, and a quick look at logistics. [Publishers Weekly Comics World]
Conventions | Dave Smith looks at one of the most vexing problems of New York Comic Con: the lack of decent wireless access, a situation troubling exhibitors and media alike. [International Business Times]
One of Frank Miller’s former employees is suing for discrimination and mental anguish, claiming she was repeatedly mistreated by the comic creator’s girlfriend Kimberly Cox.
The New York Post reports that Joanna Gallardo-Mills, who was hired as Miller’s executive coordinator in November 2008, accuses Cox of verbal abuse, smearing her work area with feces, throwing phones at her, using a hammer to destroy her printer, and leaving dirty underwear and a “used menstrual pad” by her desk.
Gallardo-Mills says that after she complained, Miller agreed to allow her to work from home. However, she asserts that her complaints ultimately cost her the job.
Cox, who had a small role in Miller’s 2008 adaptation of The Spirit, told the newspaper she’s “shocked” by the lawsuit, as Gallardo-Mills “was offered a very heavy settlement and declined.”
Before a shocked country, let alone investigators, can begin to get a grasp on what led 24-year-old James Holmes to open fire during a midnight screening of The Dark Knight Rises, killing at least 12 and wounding dozens more, at least one newspaper writer is willing to take a wild guess: a comic book. Specifically, Frank Miller’s landmark 1986 miniseries The Dark Knight Returns.
Under the headline, “Was the Batman shooting movie shooting imitated from scene in 1986 comic?,” The Washington Examiner’s Sean Higgins claims the tragedy in Aurora, Colorado, “bears eerie similarities” to the scene in which “a crazed, gun-toting loner walks into a movie theater and begins shooting it up, killing three in the process.”
In an effort to bolster his shaky, if not downright groundless hypothesis, Higgins points out that The Dark Knight Returns served “a key inspiration” for director Christopher Nolan’s big-screen trilogy. (Why stop there, though? Coupled with Miller and David Mazzucchelli’s “Year One,” the miniseries has influenced virtually every depiction of Batman over the past quarter-century.)
“Sadly, the lesson that was gained from these books was not that comics didn’t need to be hacked-out, disposable, interchangeable stories but could be well written and relevant. Instead what happened was every superhero comic, whether it lent itself to the transformation, or not, was made grim and gritty, which meant more violence, more sex. more trying to fit the superhero world into the real world.”
– John Rozum, putting the Grim and Gritty Era into historical context.
Recently, an off-hand tweet by Kurt Busiek brought something interesting to mind. First, the tweet: “There are SUPERMAN BY GARCIA-LOPEZ and BATMAN BY ARCHIE GOODWIN hardcovers coming. Life is good.”
The two books he’s talking about are Adventures of Superman: Jose Luis Garcia-Lopez and Tales of the Batman: Archie Goodwin, both hardcovers and both scheduled for release in April. It’s interesting because, by and large, DC Comics hasn’t released a lot of books focusing on a creator. Sure, the publisher has made exceptions for Alan Moore (DC Universe: The Stories of Alan Moore), Jack Kirby (Jack Kirby Omnibus) and Geoff Johns (The Flash by Geoff Johns Omnibus), but seeing it done for creators like Goodwin and Garcia-Lopez feels different somehow. While Goodwin was a positively epic force during his time in comics, he’s not exactly a household name in the modern parlance of comics fans (unfortunately), and Garcia-Lopez was an artist, not a writer like all of those listed above. DC, and comics in general, has shown itself to be very writer-centric in terms of the attribution of works, so for me this is a breakthrough — or at least a crack in the wall.
Spurred on by these ideas, I’m beginning to think of what else, and who else, DC could capitalize on with its massive library of work created in the past 78 years. Here are some ideas:
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 walk out of the comic store with one book this week Fatale, Vol. 1: Death Chases Me (Image, $14.99). I fell off this book after the first issue, preferring to read in trades, and now that time has come. I’m looking forward to being surprised at what Brubaker and Phillips have done in this first arc as the debut issue was very promising.
If I had $30, I’d load up at Image with Manhattan Projects #4 (Image, $3.50), Prophet #26 (Image, $2.99) and Hell Yeah #4 (Image, $2.99). Prophet is becoming my favorite Image book because it unites my comic heroes of childhood (Prophet!) and one of the top cartoonists out there (Brandon Graham) with a surprising introduction of BD-style science fiction. Hell Yeah is a fun romp reimagining the staples of ’80s and ’90s comics as if John Hughes were the eighth Image founder. Last up I’d get Wolverine and the X-Men #12 (Marvel, $3.99). I was worried this series would get derailed by Avengers Vs. X-Men, but Aaron and Co. have managed to keep it on point as best as conceivably possible. It’s an ideal opening to bring Rachel Summers to the forefront, and the smirking Kid Gladiator on the cover is full of win.
If I could splurge, I’d get Michel Rabagliati’s Song of Roland hardcover (Conundrum Press, $20). I’ll always admire Free Comic Book Day, because it was there that a little Drawn and Quarterly one-shot introduced me to Rabagliati’s work. I’m surprised to see this new volume of his work not published by D&Q, instead published by Canadian house Conundrum. Anyway, this book appears to deal with the death of the father-in-law of the lead character, Paul. It’s been extremely engaging to see Paul grow through the series, and having him deal with events like this as I myself grow up and experience similar events is really touching.
The greatest comics of all time don’t appear on bestseller charts or canon lists or big-box bookstore shelves. They are the property of the back issue bins and thrift store crates and convention hawkers of America, living like the medium itself in the unseen crags and pockets of publishing history…
Daredevil #220, composed and drawn by David Mazzucchelli, colored by Christie Scheele, scripted by Denny O’Neil, with unspecified assistance by Frank Miller. Cover-dated July 1985. Published by Marvel Comics Group.
How acquired: In a back-issue sale at the worst/best comic book shop in the Los Angeles area. You know the type of place: dust everywhere, smell of Indian food, way too hot, full boxes of X-Force #1 from the early ’90s blocking the shelves in the back. The type of place where when they have a half-off bin blowout you can grab all the David Mazzucchelli Daredevil issues for a flat fee, and get them to let the ones that aren’t in the bins (like this one) go for half price too, provided you’re willing to sell them your heavily dented copy of Absolute Watchmen.
A couple of weeks ago, I wondered whether we could trace the entire sidekick-derived wing of DC’s superhero-comics history back to Bill Finger. Today I’m less interested in revisiting that question — although I will say Robin the Boy Wonder also owes a good bit to Jerry Robinson and Bob Kane — than using it as an example.
Specifically, this week’s question has nagged me for several years (going back to my TrekBBS days, even), and it is this: as between Alan Moore and the duo of Marv Wolfman and George Pérez, who has been a bigger influence on DC’s superhero books?
As the post title suggests, we might reframe this as “who won the ‘80s,” since all three men came to prominence at DC in that decade. Wolfman and Pérez’s New Teen Titans kicked off with a 16-page story in DC Comics Presents #26 (cover-dated October 1980), with the series’ first issue following the next month. Moore’s run on (Saga of the) Swamp Thing started with January 1984’s issue #20, although the real meat of his work started with the seminal issue #21. Wolfman and Pérez’s Titans collaboration lasted a little over four years, through February 1985’s Tales of the Teen Titans #50 and New Teen Titans vol. 2 #5. Moore wrote Swamp Thing through September 1987’s #64, and along the way found time in 1986-87 for a little-remembered twelve-issue series called Watchmen. After their final Titans issues, Wolfman and Pérez also produced a 12-issue niche-appeal series of their own, 1984-85’s Crisis On Infinite Earths.* The trio even had some common denominators: Len Wein edited both Titans and Watchmen (and Barbara Randall eventually succeeded him on both), and Gar Logan’s adopted dad Steve Dayton was friends with John Constantine.
Comic strips | Cartoonist Tom Batiuk, whose Funky Winkerbean has addressed such topics as teen pregnancy, land mines and capital punishment, will next turn his attention to gay rights in a storyline about a gay couple that wants to attend the prom at the comic strip’s fictional fictional Westview High School. “It struck me that whenever I sit in classes at Midview High, which I still do, my overall impression is that the younger generation’s attitudes toward gays is more open and accepting than their predecessors,” Batiuk said. “It’s not perfect, but it shows promise for an emerging generation that will bring this issue (intolerance) to an end. I wanted to take those two opposing viewpoints to reach across that divide of intolerance.” The month-long storyline begins April 30. Funky Winkerbean appears in more than 400 newspapers nationwide. [The Chronicle-Telegram]
Conventions | The hotel reservation system for Comic-Con International in San Diego will open Thursday at 9 a.m. PT, as the yearly mad dash for discounted hotel rates begins. CCI has posted a list of hotels, and if you’re willing to stay in Mission Valley, you can book a room early. The process will be the same as last year — select up to 20 hotels where you’d be willing to stay, and you’ll get a confirmation email no later than April 1. You can leave your April Fool’s jokes in the comments below. Also of note this year, shuttles to and from hotels will run 24 hours a day during the show, beginning at 5 a.m. Thursday. [CCI]
Editorial cartoons | Michael Cavna rounds up nine editorial cartoons commenting on the killing of Florida teenager Tryavon Martin. [The Washington Post]