INTERVIEW: Spencer Declassifies "Captain America: Steve Rogers'" Hydra Secrets, Cosmic Connections
Legendary artist George Perez brings together Marvel’s Merc With a Mouth and DC’s own mercenary/assassin for a commission sketch that literally merges Deadpool with Deathstroke. Seriously, they split the body right down the middle.
“With the Deadpool movie coming out and with its connection to the Deathstroke character, this seemed like a nice piece to put up,” wrote Perez, who created Deathstroke with Marv Wolfman. “Truthfully, I wasn’t particularly aware of the connection between these two characters until the person who commissioned this piece pointed it out to me. I hope you all enjoy this unusual merging.”
George Pérez, beloved for his work on “The New Teen Titans,” “Wonder Woman,” “Avengers,” “Crisis on Infinite Earths,” “JLA/Avengers,” and “Infinite Crisis,” must be in the giving spirit, because the artist has taken to sharing rarely seen images birthed by his pen on his Facebook page, including this gorgeous one featuring the Incredible Hulk squaring off against the Fearsome Man-Thing.
Pérez said in a post that the image is from six years ago, and shows the illustrator at the height of his intricately detailed powers. Seemingly set in Man-Thing’s home turf–the swamp–while the image is uncolored, the characters and backdrop evoke green so strongly you can practically hear Kermit’s ode to the hue.
Pérez has recently taken to sharing little-seen art to fans via his Facebook page–last week releasing comic artwork that featured the world of “Star Wars”–while including personal insights into the work.
“I must admit that even I’m a bit awed with my detail work here. Those were the days before my eye surgeries and general downturn with my vision. While I’ve proven to myself that I can still do some pretty intricate detail work now, somehow, I can’t help but remember just how much easier it was then,” Pérez noted in his Hulk/Man-Thing post.
Legendary comics artist George Pérez — known for his landmark work on “The Avengers,” “The New Teen Titans,” and “Wonder Woman,” among many other series — unearthed some of his rarely seen “Star Wars” art — and of the three pieces, only one was actually published.
Distractotron has released video from DragonCon of the decidedly epic cosplay celebrating the 30th anniversary of Crisis on Infinite Earths. And who else should be at its center — besides the Anti-Monitor, of course — than artist George Perez, acting appropriately melodramatic.
The video spotlights a selection of era- and series-appropriate cosplay, including Superman of Earths One and Two, Supergirl, Wonder Woman, Batman, Nightwing, Blue Beetle, Amethyst, Green Lantern (John Stewart), Captain Marvel, Vixen, The Flash, Gypsy, Dr. Light, Donna Troy and Starfire.
Thirty years ago, after almost a year of preliminaries, and longer than that in planning, DC Comics put an end to its infinite Multiverse. It happened as the final page of Crisis on Infinite Earths #10 — which hit the direct market during the first week of September 1985 — exploded into a cosmic whiteout, deliberately echoing the “destruction” of Earths-One and -Two in Issue 4. That cataclysm included (metaphorical?) black smoke billowing into panels and then dissipating into nothingness, but here the panels themselves shattered under the fury of the final battle between the omnipotent Spectre and the power-hoarding Anti-Monitor.
Issue 10 had a heck of a cliffhanger is what I’m saying.
When discussing Crisis on Infinite Earths #3, I noted the story’s “seams were starting to show.” A few months later, I thought Issue 6 was more concerned with “marketing.” Now, with Issue 9 — which appeared in comics shops 30 years ago, during the first week of August 1985 — not only has the miniseries burst its original boundaries, but the crossovers have become more pervasive.
Although the bulk of the issue involves the Villain War (as last issue’s cliffhanger language called it), it starts off by setting up crossovers with Green Lantern, New Teen Titans and Firestorm. It also features some clunky dialogue and name-checking cameos, which by now are as much a part of Crisis as the red skies were.
Still, even if Issue 9 is something of a rough-and-tumble indulgence amid the ongoing struggle to save all creation, it has its moments. Scenes of tragedy and triumph are executed fairly well, characters exit and enter the stage effectively, and the issue is propulsive enough to energize an otherwise weak cliffhanger.
Cover-billed as “The Final Fate of The Flash,” Crisis on Infinite Earths #8 — which appeared in comics stores 30 years ago this month, during the first week of July 1985 — takes a while to get to the point. When last we saw the Anti-Monitor, in Issue 7, his citadel had been destroyed and he’d been forced to flee in some sort of rough-hewn spaceship. Thus, Issue 8 opens with a two-page sequence aboard Anti-M’s vessel and features Psycho-Pirate, Anti-Monitor, and the Flash; but after that they don’t appear again until Page 14.
Indeed, much of that gap is filled with six pages of digressions involving (among others) Firehawk, Blue Devil, Green Lantern and the apparently final fate of the android Red Tornado. As overstuffed as Issue 7 felt, with the origins of the Multiverse and various cosmic players, and the big battle culminating in Supergirl’s sacrifice, this issue seems rather thin. Still, the main event remains powerful, even knowing how it plays out, and even taking into account Barry Allen’s eventual return.
The cover of Crisis on Infinite Earths #7 (which hit comics shops in the first week of June 1985) screamed, “This is it! Double-sized SHOCKER!” However, the ending had been spoiled about two months before, when DC Comics revealed this was when Supergirl would die. (The April 10, 1985, edition of USA Today also revealed the fates of the Earth-Two Superman and Lois Lane, seven months early.)
Usually I try to be somewhat coy about Crisis’ plot twists, as if I were coming to it for the first time. With this, however, there’s little use. By now everyone and their super-cat knows Supergirl dies in Crisis, and it was pretty much the same 30 years ago.
Therefore, the question is how well does Crisis’ brain trust sell Supergirl’s death? It’s harder than you might think. Issue 7 is certainly one of the maxiseries’ best single installments (and that’s not a backhanded compliment); but the fact is that Supergirl not only dies to save Superman, she tells him how great he is with her last breaths. It doesn’t get much more meta than that.
Last month marked the 30th anniversary of the first issue of Crisis on Infinite Earths, the ur-Big Event whose ripples continue to influence today’s (and tomorrow’s) superhero books. Accordingly, I thought it was a good time to revisit each issue on its approximate anniversary. That’s not because each issue of COIE was always a landmark unto itself, but because we tend to remember Crisis’ effects more than the ways in which the story was told.
Thus, it’s time for Issue 2, which was published in the direct market during the first week of January 1985. The issue was written by Marv Wolfman, penciled by George Pérez, inked by Dick Giordano, colored by Tony Tollin and lettered by John Costanza. Wolfman is listed as the issue’s editor, with Bob Greenberger as his associate editor (and co-plotter, according to COIE: The Compendium) and Len Wein as consulting editor.
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Crime | Wichita, Kansas’ KWCH TV is showcasing the Nov. 19 burglary of comics and collectibles store Riverhouse Traders as its Crime Stoppers crime of the week. The thieves apparently knew what they were looking for, and stole a reported $300,000 worth of rare comic books and memorabilia, leaving owner Mark Rowland with an unwanted shift in priorities: He has always given free comics to local children who get As on their report cards, and he provides gifts to local families at Christmas, but this year he has to cut back to pay for a security system. [KWCH]
Creators | Writer Jeff Lemire and artist Terry Dodson discuss their new graphic novel Teen Titans: Earth One. George Perez and Marv Wolfman’s Teen Titans were Lemire’s gateway to comics, so he was particularly enthusiastic about this project, and, he that affected his choice of a cast: “My decision early on was just to use the unique characters that Marv and George created that weren’t sidekicks, and that freed me from having to establish the adult superheroes in this world.” [Comic Riffs]
Thirty years ago, as part of the first ship week in December 1984, the debut issue of Crisis on Infinite Earths arrived in comics shops. Cover-dated April 1985, and scheduled to appear on newsstands during the first week of January, it was the flagship title of DC Comics’ year-long 50th-anniversary celebration. The two-year Who’s Who encyclopedia had launched a month earlier, and most of DC’s series would tie into Crisis at some point; but this was the book that promised big changes.
We talk a lot about the legacy of Crisis — high-stakes events, crossovers, reboots, etc. — but that can obscure the story itself. For all that it was designed to do, and all that it promised, Crisis remains both uneven and intriguing. At times it can read like a ramshackle assembly of exposition and spectacle, held together by the combined wills of its creative team. Some of it is flabby, some of it is clunky, but Crisis can still be thrilling, and even touching. In any event, it remains one of the great mileposts of DC history, so it can certainly stand another look.
Today is for the first issue, but this series will continue periodically throughout 2015. Grab your own copies of Crisis and follow along!
Retailing | The Books-A-Million retail chain reported significant growth in the last quarter, due in part to strong sales of manga and strategy games. “Sales in the graphic novel category … grew nicely on the strength of a significant resurgence in the interest in several manga series, particularly Attack on Titan,” CEO Terry Finley said in an earnings call. The chain’s sales increased 1.2 percent, and same-store sales were up 1.8 percent last quarter compared to the same quarter last year; by contrast, fiscal year 2013 sales were down by 9.4 percent from the previous year. [ICv2]
Creators | Jeff Lemire talks about his new graphic novel Teen Titans: Earth One, which reflects his love of Marv Wolfman and George Pérez’s The New Teen Titans: “I wanted a fresh and clean take on a teen super-team without having to rely on other heroes or continuity. So I gravitated to these unique teen characters Marv and George had created, and re-envisioned them through my own sensibilities along with artist Terry Dodson, who really helped them come to life.” [The Kindle Post]
There’s a lot more than gender differentiating Wonder Woman from her fellow first generation superheroes that have, against all odds, survived to the modern day. More so than even Superman and Batman, the only other heroes whose comics have been in continuous publication since their creation, Wonder Woman is a character with sharp, often difficult to reconcile (or even wrestle with) contradictions built into her.
Foremost among those contradictions is the fact that, as Tim Hanley alludes to in the subtitle of Wonder Woman Unbound: The Curious History of the World’s Most Famous Heroine, the character is universally known, to the point that she’s practically omnipresent in pop culture, but that knowledge tends to be pretty shallow.
That is, everyone knows Wonder Woman, but relatively few know much of anything about her. Her name and costume, her bullet-blocking bracelets and magic lasso, maybe her invisible jet, but that’s about it, really. Curious indeed.
Any week there is a new George Pérez comic to read calls for a celebration. What pleases me is that this story is not rooted in corporate comics continuity; rather the esteemed writer/artist has jumped head first into stories with his own new characters–something he clearly relishes. What also pleases me so is that the man still hungers to tell new tales, rather than spend his free time (post recent eye surgery) pursuing his love of theater/acting or just basking in the glow of an incredible career. As he noted in a recent CBR interview: “I will never regret any of my time working for DC and Marvel, especially in light of the fact that, especially with DC, I have been earning considerable money in royalties that allows me the option of not drawing comics at all if I were crazy enough to consider that.”
In what other medium can a someone get an original work of art made just for them by a creator whose career they’ve followed? Not movies, television, music or fine art, unless you’re a millionaire. But in comics, many of today’s artists are for hire to fans looking to own a piece of their work — and even commission something especially for them. Comics are crazy that way, but that’s a good thing.
It’s nothing new, of course. The idea itself goes back into the roots of fine art, but with the advent of conventions and now the internet it’s available to virtually everyone — with some creators even reaching out to fans to make it happen.