Russo Brothers: "Avengers: Infinity War 1 & 2" to be Retitled
Deadpool #27 made headlines yesterday when it was announced that the cover had set the record for the most comic book characters on a single issue cover, as declared officially by Guinness World Records. It also brought a lot of discussion in our comments, as fans asked what the previous record holder was and if, indeed, it truly beat out every other cover out there as depicting the “most comic book characters on a single issue cover.”
So I thought maybe we should take a look at some of the candidates folks pointed out …
This weekend marked the 50th anniversary of the Beatles’ arrival in America and their appearance on The Ed Sullivan Show.
The intersection of the Beatles and comics began a year earlier, though, when Paul McCartney told the music magazine NME that he would like to appear in The Dandy, a popular weekly children’s comic (almost 50 years later, he got his wish, as he appeared in the final issue).
In their heyday, the Beatles made frequent cameos in comics, and were often the subject of comics themselves; over the past few years, however, comics creators have taken a retrospective look at not just the musicians but the times they lived in and the personalities around them. Here, then, is a look at four comics, all very different, but each with its own appeal to those of us who remember when the Beatles were hot—and those who want to relive it in the pages of comics.
Thanks to Tom Spurgeon, I read a fascinating article about “using Graph Theory to create a digital model of the whole of Marvel continuity,” from comics to TV and the current crop of movies. It maps out connections among characters — unsurprisingly, the three big groups relate to the X-Men, the Avengers, and Spider-Man — but it also discusses exceptions to characters’ defining traits. For example, Hawkeye is Clint Barton (or not), who is an archer (most of the time) and an Avenger (except when he’s a Thunderbolt). Marvel appears to be using this model to answer basic questions like “who is that?” and “how does s/he relate to this over here?” — with an ultimate goal of getting fans of its movies and TV shows to try the comics.
As you might imagine, this sort of analysis would have been ideal for the pre-New-52 status quo, whose five generations of characters (going from the original Justice Society to Damian Wayne) included many with multiple code names. Chief among these were the original Teen Titans who, following the examples of Dick Grayson and Wally West, graduated from sidekicks to “grownup” superheroes. Initially, logistical concerns facilitated these changeovers (we need a new Robin; we need a new Flash) — but in terms of the intersection of continuity and character development, none of the Titans had quite as much on her résumé as Donna Troy.
“There was a time when I was 23 years old that I thought my career was over because I couldn’t move my hand. It turned out it was just a pinched nerve. But Archie Goodwin, the [Marvel] editor at the time, made sure that when I went to the doctor, I was covered for medical bills. I didn’t have health coverage then. I try to pay it forward. I do a lot of philanthropic and charity work. Some of my greatest awards, greatest rewards, have not been for comic work, but for charity work. Like art — thank you’s for money raised — from children in the Make-a-Wish Foundation. Photos from their wishes coming true. They’ll laminate it into a plaque that I can hang on the wall. I cherish those. I was actually the subject of a wish once, a child wanted to meet me. Me, out of all the things he could have wished for. Good gosh, that is something that I will never forget.”
— veteran artist and writer George Perez, recalling the nicest thing anyone has ever done for him
Welcome to “Report Card,” our week-in-review feature. If “Cheat Sheet” is your guide to the week ahead, “Report Card” is typically a look back at the top news stories of the previous week, as well as a look at the Robot 6 team’s favorite comics that we read.
So read on to find out what we thought about Daredevil, Buzzkill and more.
It’s a little difficult to believe it’s been 10 years since the debut of JLA/Avengers, a crossover that found the greatest heroes of Marvel and DC Comics used as pawns in a cosmic game between Krona and the Grandmaster. Of course, it’s also hard to believe there hasn’t been another Marvel/DC crossover since then.
In any event, the Superhero Costuming Forum organized a gathering of cosplayers earlier this month at DragonCon in Atlanta to celebrate the 10th anniversary of the miniseries with — what else? — a photo shoot of an elaborate battle between the Justice League of America and the Avengers. Artist George Perez even got in on the action.
Welcome to “Report Card,” our new week-in-review feature. If “Cheat Sheet” is your guide to the week ahead, “Report Card” is a look back at the top news stories of the previous week, as well as a look at the Robot 6 team’s favorite comics that we read. The week before Comic-Con was a busy one for the industry, as all eyes look to San Diego.
Read on to find out what we thought of Batgirl, Eye of the Majestic Creature Vol. 2 and more.
With the end of Geoff Johns’ tenure on Green Lantern and Grant Morrison’s upcoming farewell to Batman, a fan’s thoughts turn naturally to other extended runs. Marv Wolfman wrote almost every issue of New (Teen) Titans from the title’s 1980 preview through its final issue in 1995. Cary Bates wrote The Flash fairly steadily from May 1971’s Issue 206 through October 1985’s first farewell to Barry Allen (Issue 350). Gerry Conway was Justice League of America’s regular writer for over seven years, taking only a few breaks from February 1978’s Issue 151 through October 1986’s Issue 255.
However, in these days of shorter stays, I wanted to examine some of the runs that, despite their abbreviated nature, left lasting impressions. At first this might sound rather simple. After all, there are plenty of influential miniseries-within-series, like “Batman: Year One” or “Whatever Happened to the Man of Tomorrow?,” where a special creative team comes in to tell a particular story. Instead, sometimes a series’ regular creative team will burn brightly, but just too quickly, leaving behind a longing for what might have been.
A good example of this is found in Detective Comics #469-76, written by Steve Englehart, penciled by Marshall Rogers and inked by Terry Austin (after Walt Simonson penciled and Al Milgrom inked issues 469-70). Reprinted in the out-of-print Batman: Strange Apparitions paperback, and more recently (sans Simonson/Milgrom) in the hardcover Legends of the Dark Knight: Marshall Rogers, these issues introduced Silver St. Cloud, Rupert Thorne, Dr. Phosphorus and the “Laughing Fish,” featured classic interpretations of Hugo Strange, the Penguin and the Joker, and revamped Deadshot into the high-tech assassin he remains today. Tying all these threads together is Bruce Wayne’s romance with Silver, which for my money is the Bat-books’ version of Casablanca. It’s the kind of much-discussed run that seems like it should have been longer. Indeed, I suspect it’s one of the shorter runs in CSBG’s Top 100 list.
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Last month DC Comics announced it had put together a new list of “essential” graphic novels and collections, designed to help casual readers and completists alike. This week I picked up a copy of the 121-page catalog (Issue 1, of course) along with my regular Wednesday haul.
Now, we all love lists, and this looks to be more comprehensive than the 30-item Jeph Loeb-heavy suggestions DC had previously offered. Could the new DC Entertainment Essential Graphic Novels and Chronology 2013 actually represent the depth and breadth of DC’s vast publishing history, and at least try to give each major character the attention he or she deserved?
I haven’t read the whole thing yet, but judging from the two pages devoted to “Women of DC Comics,” the answer doesn’t look promising for said women. As Sue (of DC Women Kicking Ass) and Bleeding Cool have already pointed out, Green Arrow and the Flash both get two-page spreads (each, to be fair, split between a one-page portrait and a one-page checklist), while Wonder Woman has to share two pages with Batgirl, Batwoman, Catwoman and the Huntress. Although the DC Entertainment Essential Graphic Novels and Chronology 2013 could use more female-centric titles (no Power Girl, Manhunter, Stephanie Brown or Cass Cain Batgirl, or Stars and STRIPE, and not a lot of Supergirl), today it may be enough just to focus on Wonder Woman.
Hello and welcome to What Are You Reading?, our look at what comics and other things we’ve been perusing lately. Today our special guests are Caleb Goellner, Buster Moody and Ryan Hill, the creative team of Task Force Rad Squad, the hot new comic find of 2013. Especially if you were ever a Power Rangers fan. Or even if you weren’t, as Moody and Hill’s art is just kind of wonderful on its own. Our old friend and former colleague Graeme says it “pretty much does for Power Rangers what Jeffrey Brown’s Incredible Change-Bots does for Transformers,” and that’s a very apt description. You can download it yourself here, and pay whatever you think is fair.
And to see what Task Force Rad Squad + the Robot 6 Irregulars are reading, click below …
Happy Sunday and welcome to What Are You Reading?, our weekly look at all the comics and other stuff we’ve been reading lately. Today our special guest is Dave Dwonch, creative director at Action Lab Entertainment and the writer of such comics as Space-Time Condominium, the upcoming Ghost Town, Double-Jumpers and more.
To see what Dave and the Robot 6 crew have been reading, click below.
First I’d like to thank DC Comics for plastering its latest spoiler unavoidably across the Internet bright and early Monday morning. It did confirm something I’d suspected since before Christmas, but being surprised still has a certain appeal, you know?
(That assumes this isn’t reversed in an issue or two. Kyle Rayner was killed one issue and revived the next during a Blackest Night crossover, and something similar is eminently possible, albeit unlikely, in this case.)
Anyway, Caleb has done a great job covering the event’s immediate impact, and Corey and Michael have also talked about significant aspects of you-know-what, so for my part I’ll be taking a closer look at the “position” itself. Some people study the presidency, some the papacy, and some of us have spent most of our lives reading about … well, you know.
SPOILERS FOLLOW, I suppose.
I am not certain about a lot of things, but I am pretty sure of this: If you read enough of Karen Berger’s comics, it makes you a better person. It would have to. It just makes too much sense!
In more than 30 years, first as a DC Comics editor and then as head of Vertigo, Berger helped to transform the comics industry by shepherding some of the most acclaimed and beloved series in recent memory. Swamp Thing, Hellblazer, The Sandman and other not-exactly mainstream DC books not only helped define Vertigo’s identity, they established their own, free from the restraints of a shared superhero universe.
Every week, hard as it may be to believe, I try honestly to offer something I think might interest the larger group of DC Domics superhero readers. However, this week I am invoking a personal privilege. For one thing, with Halloween on a Wednesday (when I usually end up writing these essays), the holiday will more than likely take priority.
The main reason, though, is that today is my birthday, and as you might have guessed from the headline, this year is my 43rd birthday. Therefore, this week I have pulled together an especially memorable DC story and/or issue from each of those years, 1969 through 2012. (Note: They may not always line up with the actual year, but just for simplicity’s sake, all dates are cover dates.) These aren’t necessarily the best or most noteworthy stories of their particular years, but they’ve stuck with me. Besides, while I’ve read a lot of comics from a lot of sources, for whatever reason DC has been the constant. Maybe when I’m 50 I’ll have something more comprehensive.
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I debated about whether to include the current Worlds’ Finest as part of this project. According to the rules I set up for myself, I was only going to cover comics that were named after their female leads. I decided that because Birds of Prey was an all-female team, that would qualify, but for a lot of fans, Worlds’ Finest conjures images of Batman and Superman, not Huntress and Power Girl. Then I looked at the book’s actual logo. Although the official name of the comic is Worlds’ Finest, you can’t tell that by looking at the cover. It looks the way I’ve written it in the title of this post: Huntress/Power Girl: Worlds’ Finest. That qualifies, as far as I’m concerned.
But is it any good?
Worlds’ Finest corrects the biggest problem I had with its predecessor Huntress, also written by Paul Levitz. That miniseries had some fun stuff in it, but my complaint was that it wasn’t really about anything other than Stop That Generic Villain. The Huntress could have been switched out for any other hero without changing the story in a meaningful way. In Worlds’ Finest, Levitz makes the comic about his two heroes. As much as being about fighting bad guys, this is the story of Huntress and Power Girl’s friendship and their attempt to adjust to the new world they’ve landed in. That’s a huge improvement.
As a reflection of that, there’s a lot of banter between the two women. Unfortunately, it’s not up to the standard for that kind of thing set by Gail Simone on Birds of Prey. I’m tempted to let Levitz off the hook for not being able to perfectly replicate what worked about Black Canary and Oracle, but I don’t know if I should. As much as I realize it’s not completely fair, it’s also impossible to read Huntress and Power Girl’s quipping without comparing it to the easy relationship in Simone’s series. Black Canary and Oracle felt like real friends and their conversations felt like a natural part of their relationship. Huntress and Power Girl call each other “BFF” and say things like, “You go, girl.” I appreciate the effort, but even without the Birds of Prey comparison, their dialogue doesn’t feel real.