NYCC EXCLUSIVE: "Legend of Korra" Comic Announces Artist, Debuts Art
TV, Comic Books
Comic-Con International has debuted Jim Lee’s cover for the 2014 souvenir book, which celebrates the 75th anniversary of Batman’s introduction in Detective Comics #27.
Colored by Alex Sinclair, the image of the Dark Knight crouching on one of Gotham City’s ubiquitous gargoyles during a thunderstorm is penciled and inked by Lee (a rarity, as his work is typically inked by Scott Williams). Details about T-shirts bearing the illustration are promised soon.
Manga | Hajime Isayama’s Attack on Titan has knocked longtime bestseller One Piece from the top of Japan’s manga charts. Market research firm Oricon reports that Attack on Titan, which has 13 volumes in print, sold 8,342,268 copies in the first half of the year, making it the bestselling series in Japan. One Piece, which has long held that title, sold 4,936,855 copies of 73 volumes, but it did top the charts for single-volume sales, with 2,825,339 copies sold of the latest volume. The numbers cover the period from mid-November to mid-May. [Anime News Network]
Publishing | DC Entertainment Co-Publisher Jim Lee talks about his history with Batman in advance of DC’s 75th-anniversary celebration for the character. [Asbury Park Press]
The Comic Book Legal Defense Fund has teamed with Heritage Auctions to auction original art to benefit the nonprofit organization. Although Charlie Adlard’s contribution has already been snatched up, the rest of the inaugural lot — original art by Jim Lee and Paul Pope, and a letterpress broadsheet signed by Neil Gaiman — are up for bid through Saturday.
“CBLDF’s important work on behalf of the comics industry makes them an important organization to support,” Lon Allen, Heritage’s managing director for comics and comics art, said in a statement. “We’re proud to join the artists who donated these pieces by contributing our services to help the Fund reach our bidder community. We hope to make a meaningful impact on their work protecting comics!”
Even if Frank Miller and Jim Lee never finish All Star Batman & Robin, the Boy Wonder — and, let’s face it, they’re never going to — they can take satisfaction in introducing a grateful world to “I’m the goddamn Batman,” a phrase that launched a thousand memes and ended at least as many comic-book arguments. (“How could Batman survive a fall from that height?” “He’s the goddamn Batman, that’s how.”)
And now it’s been immortalized on an Arizona license plate as “GDBTMN,” registered by Phoenix resident, and Batman fan, Art Landis (seen below). “I decided to finally personalize my plates, as celebration of Batman’s 75th,” he tweeted over the weekend. “I honestly didn’t think the MVD would let it happen.”
Now Landis just has to come up with something for next year, the 10th anniversary of the release of All Star Batman & Robin #1.
Over the past few years, Brad Meltzer has become one of the pinch hitters of comics.
Although his day job as a bestselling suspense novelist and TV host of History’s Decoded has kept him from taking on an extended comics project since 2006’s Justice League of America relaunch, Meltzer has stepped in for a number of comics projects over recent years, including an arc on Joss Whedon’s Buffy the Vampire Slayer: Season 8 and a recent short in Art Baltazar and Franco’s Aw Yeah Comics.
Next up for the writer is a special contribution to DC Comics’ Detective Comics #27, arriving next week. The spiritual heir to the first appearance of Batman will clock in at more than 100 pages to kick off DC’s 75th anniversary celebration for the Dark Knight, with contributions by Scott Snyder, John Layman, Mike W. Barr and more creators from the character’s past and present. And for his part, Meltzer will team with artist Bryan Hitch to retell “The Case of the Chemical Syndicate,” the Bill Finger/Bob Kane short that began the Batman legend in 1939’s Detective Comics #27.
We spoke with Meltzer about the legacy of the original story and the challenges of bringing it into the modern era – and not for the first time – while DC shared an exclusive first look at Co-Publisher Jim Lee’s variant cover for the issue.
Sean Howe’s Tumblr is full of interesting supplementary material that work as visual erratta to his great book Marvel Comics: The Untold Story. Now the author has highlighted a series of letters sent to the young Jim Lee (as recently posted by Lee to his Instagram account); they’re great, a fantastic lesson for any artist at the start of his or her career: keep trying, keep growing, keep submitting.
“What you’ve seen over these decades is less of a black and white between the heroes and villains. Back in the ’30s, ’40s and ’50s, you had clear-cut heroes, clear-cut supervillains. Today, you have more of a blend, more of a gray area between the two. You have the rise of the sympathetic villain and the rise of the antihero. You have a lot of characters who follow the motto ‘The ends justify the means,’ and depending on what the ends are, are they a villain or a superhero? That’s what makes supervillains today more modern. We’ll show their back story, we’ll show their motivation. It’s not just about robbing a bank of $10 million. They’re a lot more complicated and layered and thematically rich today than they were in the past.”
— DC Comics Co-Publisher Jim Lee, in an interview with the Los Angeles Times that touches upon Villains Month, digital distribution, and the whereabouts of Batman: Europa.
Conventions | The San Diego Chargers are opposing the proposed $520 million expansion of the San Diego Convention Center — viewed as crucial to keeping Comic-Con International in the city past 2015 — saying it will interfere with plans for a new football stadium. Instead, the NFL franchise proposes building a second venue a few blocks away, which would be part of a complex that included the stadium but would not be contiguous with the existing convention center. [Los Angeles Times]
Conventions | Meanwhile, on the other coast, New York Comic Con is about to begin, and Luke Villapaz has seven tips for surviving the con. One additional point, though: While it’s nice that NYCC has its own mobile app, chances of its actually working inside the Javits Center, which is notorious for its many cell phone dead zones, are slim. [International Business Times]
Apparently, it takes three respected organizations to reiterate what fans had been saying for a week in order for DC Comics to admit: Maybe the fans have a point.
As we reported Friday, the publisher apologized to anyone offended by the talent search tryout page that asked artists to depict Harley Quinn naked in a bathtub, seemingly about to commit suicide. While the apology is welcome news, the entire rundown of the event reveals an unfortunate approach to handling controversy. Let’s take a look at the timeline of the Harley Quinn suicide debacle:
• Thursday, Sept. 5: DC launches the contest with a script excerpt of four panels that culminate in an apparent suicide scene. Fans on Tumblr, Twitter and elsewhere begin to react.
• Saturday, Sept. 7: Co-Publisher Jim Lee posts a series of tweets explaining context and attempting to clarify the intent of the story.
• Tuesday, Sept. 10: Co-writer Jimmy Palmiotti posts an apology on his Facebook page, and clarifies the controversial panel is part of a surreal dream sequence. “I hope all the people thinking the worst of us can now understand that insulting or making fun of any kind was never our intention,” he writes. “I also hope that they can all stop blaming DC Comics for this since it was my screw up.”
DC Comics has apologized to anyone offended by the controversial Harley Quinn tryout page that asks artists to depict the fan-favorite character naked in a bathtub, seemingly about to commit suicide, and reiterated “the entire story is cartoony and over-the-top in tone.” However, the publisher appears to be continuing the DC Entertainment Open Talent Search.
The statement was issued Thursday, shortly after the the American Foundation for Suicide Prevention, American Psychiatric Association and National Alliance on Mental Illness expressed their disappointment in the publisher, calling the contest “extremely insensitive” and “potentially dangerous.”
Their comments capped off a week of growing criticism about the panel, which Harley Quinn co-writer Jimmy Palmiotti clarified on Tuesday is part of a surreal dream sequence intended to have “a Mad magazine/Looney Tunes approach.”
“We believe that instead of making light of suicide, DC Comics could have used this opportunity to host a contest looking for artists to depict a hopeful message that there is help for those in crisis” the three groups said in a joint statement, published by USA Today and The Huffington Post. “This would have been a positive message to send, especially to young readers,” the statement continued. “On behalf of the tens of millions of people who have lost a loved one to suicide, this contest is extremely insensitive, and potentially dangerous. We know from research that graphic and sensational depictions of suicide can contribute to contagion.”
Arriving on shelves Wednesday, Wonder Woman, Vol. 3: Iron not only collects issues 0 and 13-18 of the DC Comics series but also includes such behind-the-scenes material as Cliff Chiang’s character designs for Orion and a rough sketch for the zero issue splash page. While much of the art debuted last year at New York Comic Con during the “Concept to Page” panel, the trade paperback also features Jim Lee’s take on Orion, which DC has provided exclusively to ROBOT 6, along with some of Chiang’s art. You can see it all below.
To mark the launch on Wednesday of DC Comics’ Villains Month and Forever Evil, the much-publicized event series by Geoff Johns and David Finch, USA Today has debuted a clip from Necessary Evil: Villains of DC Comics.
Arriving Oct. 25 on Blu-ray and DVD, the documentary explores DC’s rogues in-depth through interviews with “with the famed creators, storytellers and those who have crafted the personalities and profiles of many of the most notorious villains in comic book history.” Legendary actor Christopher Lee narrates.
“The best supervillains, that resonate the most, they do it on two levels,” Johns says in the clip below. “They do it how they psychologically reflect or challenge your superhero and also, in the story, what they’ve done to affect the superhero’s life.”
With the official debut today at Fan Expo Canada, Canada Post has revealed the designs for all five stamps in the series celebrating the 75th anniversary of Superman and the hero’s Toronto roots (co-creator Joe Shuster was born in the city, and the Toronto Daily Star building served as the model for the Daily Planet).
The stamps depict the Man of Steel in five eras, by five different artists: Superman #1 (1939), by Shuster; Superman #32 (1945), by Wayne Boring; Superman #233 (1971), by Neal Adams; Superman #204 (2004), by Jim Lee; and Superman Annual #1 (2012), by Kenneth Rocafort. They’re sold in sheets of 10, with the booklet covers featuring art by Shuster, Lee, Rocafort and Dick Giordano.
Although the stamps won’t be available until Sept. 10, people with Canadian addresses can pre=order them now on the Canada Post website.
Students of DC Comics’ publishing history can probably rattle off at least a few editors from the company’s first few decades. Whitney Ellsworth edited the Batman and Superman books in the 1940s and ‘50s before becoming a producer on the Adventures of Superman television series. In the Silver Age, Mort Weisinger presided over an exponential expansion of Superman’s mythology, including all those varieties of Kryptonite, the introductions of Supergirl, Krypto and the Legion of Super-Heroes, and ongoing series focused on Lois Lane and Jimmy Olsen. Similarly, as editor of the Batman titles, Jack Schiff supervised one of the character’s most recognizable periods, filled with colorful mysteries and giant-sized props.
Of course, the phrase “Silver Age DC” is virtually synonymous with Julius Schwartz, who worked with writers Gardner Fox and John Broome and artists Carmine Infantino, Mike Sekowsky and Gil Kane on rebuilding DC’s superhero line. One could argue fairly reasonably that without them DC Comics as we know it today might not exist (and neither would today’s Marvel).
However, while Ellsworth became DC’s editorial director in 1948, Schwartz Schiff, and Weisinger weren’t in similarly lofty positions. Today we readers hear a lot about “editorial control” and the dreaded “editorial interference,” charges aimed largely at the men at the top: Editor-in-Chief Bob Harras, Co-Publishers Dan DiDio and Jim Lee and Chief Creative Officer Geoff Johns. We hear a lot from them (illuminating and otherwise) about the general direction of the company. We also hear a good bit from various writers and artists, including Johns and Lee, regarding specific titles.
Nevertheless, on the management tier in between are the books’ editors themselves; and that’s the area about which I’ve become rather hazy. Therefore, I started looking through New 52 credits boxes, and supplementing this research through the Grand Comics Database, to see who was editing what.
As Stan Lee sayings go, “Every comic book is someone’s first” isn’t quite as well-known as “With great power comes great responsibility,” but it’s nevertheless one that comics editors and creators should integrate and internalize just as thoroughly. It’s probably much less true today, now that comics are sold primarily through specialty shops (and, increasingly, online) instead of on newsstands and spinner racks, than whenever Lee first said it.
But regardless of whether Executive Assistant Assassins #13, Fearless Defenders #7 or Tarot Witch of the Black Rose #81 — to pick three titles from this week’s shipping list — will actually be anyone’s first comic book, as long as publishers continue to sell comics as serialized stories, then the thought that one of those could be someone’s introduction is a pretty good guiding principle for creating those comics.
With that in mind, this week I read a handful of second issues of some prominent new books from the biggest players in the direct market, with an eye toward how friendly the material might be toward a new reader starting the series — or comics in general — with that issue.