"X-Men: Apocalypse" Post-Credits Scene Teases Two HUGE Franchise Debuts
With Batman v Superman‘s record-breaking opening bringing new meaning to March Madness, and the NBA Playoffs just around the corner, Uproxx Sports has brought the worlds of superheroes and basketball together in a series of redesigned team logos.
Although the website offers explanations for the pairings, some of them are admittedly pretty flimsy. (The Bucks are matched with Blade because they share the same first letter?) “I’d like to say there was a big connection between which hero was chosen for which team, but there wasn’t,” writes David Rappoccio. “Some of them are obvious, some not so much.”
Clifford Meth has launched a GoFundMe campaign in an effort to raise funds for “Moon Knight” co-creator Don Perlin, who suffered severe cranial injuries this week.
Perlin recently had surgery to treat the injuries, and had a titanium plate put in his head to stop internal bleeding. He’s currently recovering in rehab.
I’d never really thought about it, but considering Daredevil’s blindness and sonar vision, it would’ve made way more sense for the Man Without Fear to be named “Batman.” Well, except for those pesky trademark issues, and the Caped Crusader’s 25-year head start.
Dorkly’s Andrew Bridgman makes the case in this funny animated video that finds the guardian of Hell’s Kitchen struggling to rationalize his costumed identity, only to find his shaky argument further undermined by the appearance of Ghost Rider. Sorry, Matt, from now on you’re “New Batman.”
Auctions | An original 1939 drawing of Tintin created by Herge for the cover of the weekly magazine Le Petit Vingtième sold Sunday for $673,468 at an auction of French and Belgian comics art held simultaneously in Paris and Brussels. The auction featured 101 works, of which 86 were purchased for a total of $2.4 million. [Agence France-Presse]
Auctions | A copy of The Hulk #181, featuring the first appearance of Wolverine, fetched $8,000 at an auction held Saturday at Back to the Past comics store in Redford, Michigan. [My Fox Detroit]
Retailing | System of a Down drummer John Dolmayan, who shuttered his online store Torpedo Comics in 2010 after about three years in business, is looking to open a brick-and-mortar shop. A brief story notes that while Las Vegas store Comic Oasis, owner Derrick Taylor is partnering with Dolmayan to open Torpedo Comics in January at 8775 Lindell Road, Building H, Suite 150. [Vegas Inc.]
Marvel’s Ghost Rider may be all-new, and cruising around in a lowrider, but LEGO enthusiast Sparkart turns to a more classic version of the Spirit of Vengeance for his wonderful brick rendition — chains, flames and all.
Superhero names carry a lot of weight, both in their fictional universes and our world. As we’ve seen time and again in comics, sometimes a costumed identity proves more popular than the actual character, leading to the decision to put someone else in the costume, either in an effort to boost reader interest (and, therefore, sales) or to simply take the story in a different direction.
In this week’s Six by 6, we look at six legacy, or “replacement,” heroes who ended up overshadowing their predecessors. Some, such as Green Lantern and The Flash, you may know; however, others may surprise you.
Iconic comic characters mostly rely on their looks. This isn’t as shallow as it seems, as comics are inherently a visual medium. It’s why Cable’s creation tends to be attributed to Rob Liefeld rather than Louise Simonson. The best characters have timeless looks, the kind of visual appeal that will work no matter when you’re introduced to him. It’s one of the reasons Spider-Man keeps coming back to the classic red-and-blue costume; he can have a bunch of different costumes, but there’s only one real one.
Two characters who are just as iconic in appearance are Silver Surfer and Ghost Rider. Here in California, there’s barely a beach bum out on the waves that doesn’t know the shiny silver visage of the Silver Surfer. Bikers and tough guys near and far love the Ghost Rider’s signature skull. And yet, for all their visual popularity, I’d be hard pressed to find someone who knows exactly who these characters are. Norrin Radd isn’t a household name, after all. Defining Ghost Rider’s powers gets a little tricky for the average Joe once you move past “His skull is on fire.” There’s just a lot of detail missing from the public perception of who these characters are, but they still remain popular.
Trust me, we all know what it looks like when the characters don’t work, so what do what is it that’s essential for them to make it?
WARNING: We talk vaguely about the new Silver Surfer #1 and All-New Ghost Rider #1, but nothing major is spoiled. Still, grab a copy and read along!
It’s another week, which means a new batch of Marvel series launched as part of the publisher’s “All-New Marvel NOW!” initiative showed up at my local comics shop: Felipe Smith and Tradd Moore’s All-New Ghost Rider, Ales Kott and Garry Brown’s Iron Patriot, and Dan Slott and Mike Allred’s Silver Surfer.
I read two out of the three, as those were the most visually interesting, and seemed to be part of the initiative’s guiding principals: matching striking talents with lower-tier characters for idiosyncratic takes that veer away from the “typical” Marvel comic. Also, those were the two that featured characters who haven’t had a shot at their own book for a longer while. (Sorry, Iron Patriot, it’s not you, it’s me. I’m sure there are plenty of other critics willing to review you).
Graphic novels | Marvel and DC Comics may dominate the direct market but the bookstore channel is another story: As ICv2 points out, neither publisher landed a title on Nielsen BookScan’s list of the 20 top-selling graphic novels in February. Instead, here’s what it looked like: six volumes of The Walking Dead, six volumes of Attack on Titan, two volumes of Saga, and single volumes of some well-established titles Locke & Key, Bleach, Naruto, Adventure Time and Avatar: The Last Airbender, and the adaptation of the novel Miss Peregrine’s Home for Peculiar Children. That makes Image Comics the winner of the month, followed by Kodansha Comics, and the list is heavy on books with tween and teen appeal. [ICv2]
Welcome to Best of 7, where we talk about “The best in comics from the last seven days” — which could be anything from an exciting piece of news to a cool publisher’s announcement to an awesome comic that came out.
This time around Carla lovingly tackles the Guardians of the Galaxy trailer, with a shout-out to Rocket Raccoon co-creator Bill Mantlo, while Tim remembers Dwayne McDuffie, who would have celebrated a birthday last week. Plus there’s frozen bromance, rockin’ gods, Daredevil #36 and more. So let’s get to it …
To help promote its All-New Ghost Rider, which introduces a new Spirit of Vengeance with a new vehicle, Marvel is turning to some folks who know a little bit stylish rides: the editors of Lowrider Magazine.
As part of a new partnership, new Robbie Reyes Ghost Rider (and a scantily clad friend) will grace the cover of the magazine’s special April issue, “Marvelous Mayhem,” with an illustration by series writer Felipe Smith. Inside, readers will find an interview with Smith and Marvel Editor-in-Chief Axel Alonso, as well as artwork by Tradd Moore from All-New Ghost Rider #1.
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 Brain Boy, King’s Watch and more
U.S. District Judge Katherine Forrest made the order a little more than two weeks after the 2nd Circuit Court of Appeals overturned her 2011 decision rejecting Friedrich’s claims that the copyright to the Spirit of Vengeance reverted to him a decade earlier. According to Deadline, Marvel’s lawyers indicated Thursday in a conference meeting that they won’t challenge the appeals court ruling, and will file a motion for a jury trial.
Friedrich, long credited as co-creator of the character with Roy Thomas and Mike Ploog, filed the lawsuit in April 2007, shortly after the release of Columbia Pictures’ Ghost Rider movie, accusing the studio, Marvel, Hasbro and other companies of copyright infringement, false advertising and unfair competition, among other counts. The film grossed $228 million worldwide; the 2012 sequel, Ghost Rider: Spirit of Vengeance, earned $132.5 million.
Washington-based artist Clayton Crain has carved out a niche for himself in comics over the past 15 years with his distinctive, sinewy digital art on the likes of Ghost Rider, X-Force and Carnage. But that wasn’t always his style, and he wants to pull back the curtain to show his evolution as an artist in a new book called Evolver.
Announced today with a a Kickstarter campaign, Evolver is a 48-page hardcover profiling Crain’s work from the age of 15 all the way to his current output for Valiant. The 8-inch by12-inch book will include sketchwork, high school-era art and excerpts from Crain’s forthcoming creator-owned Into a Rift. His influences are deep in the vein of Todd McFarlane and Henry Stinson, and this book will show you Crain’s dynamic evolution from his high-school days as an early Image fanboy into the 2000s, where he found his own signature style and even did work alongside McFarlane. Crain hopes to raise $10,400 by Aug. 10, and have the finished book available in November.
“We conclude that the contract language is ambiguous and that genuine disputes of material fact, as to the parties’ intent and other issues, preclude thee granting of judgment as a matter of law.”
— from the 2nd Circuit Court of Appeals order vacating a 2011 ruling that writer Gary Friedrich had handed over the rights to Ghost Rider to Marvel in the 1970s, and remanding the case to trial. It represents a rare, if possibly only temporary, victory for creators (or their heirs) in a legal battle to reclaim the copyright to a comic-book property. It also thrusts into the spotlight the oft-discussed standard contacts of the era, which frequently involved relinquishing copyright simply by endorsing checks.