SDCC: Marvel: Spider-Man and His Amazing Friends Panel
The debut of Frank Miller’s cover for the minicomic accompanying Dark Knight III: The Master Race #1 was greeted Monday with a mixture of confusion and criticism, as many fans tried to figure out what happened to the legendary artist. “DC Lets Frank Miller Draw Superman’s Penis For Dark Knight III,” reads the headline on io9.com.
But as the jokes flew on social media, Astro City writer Kurt Busiek stepped up with an alternate view: that Miller, revered for his work on Daredevil, Batman: The Dark Knight Returns and Batman: Year One, knows precisely what he’s doing.
Ahead of the debut of the Man of Steel’s new power and costume in Wednesday’s Superman #38, DC Comics has released a graphic charting the history of his abilities, from super-speed to flight to, now, super flare.
The conclusion of the “Men of Tomorrow” storyline by Geoff Johns, John Romita Jr. and Klaus Janson, the new issue apparently climaxes with the unleashing of what the writer calls “the most destructive power Superman has.”
For their first issue of Superman, writer Geoff Johns, penciler John Romita Jr. and inker Klaus Janson (with colorist Laura Martin and letterer Sal Cipriani) have served up an intriguing blend of action and introspection. There are the requisite nods to semi-obscure (Titano!) and really obscure (J. Wilbur Wolfingham?) Superman minutiae, and one subplot seems destined to undo a New 52 development. However, while Issue 32 of Superman Vol. 3 is concerned with managing the Man of Steel’s status quo, a good bit of it revolves around the new character(s) that will apparently drive this story arc.
Accordingly, the issue doesn’t feel quite so much like the start of a bold new era (although it could well be); instead, the new creative team uses the issue to ease into its story, such that the action serves the character work. Considering that almost half of the issue involves fight scenes, that seems like an odd observation, but it’s kind of an odd issue overall.
The question then becomes whether those characters — Superman included — are compelling enough to follow month in and month out. Last month, Johns told Comic Book Resources that readers should “[j]ust give us one issue and that’s all. I think we’ll earn your trust and your time and your investment in one issue because I really believe in this first issue and I really believe in what we’re doing.”
Whether Superman #32 meets that standard is therefore somewhat unclear. It lays out the characters and their concerns pretty broadly, and (somewhat like Johns’ and Ivan Reis’ Aquaman) it depends to a certain extent on answering reader frustrations. Still, on balance, it works. This is a very good issue of the New 52 Superman, with all that implies.
Read on for more, and as always …
“I do admit that I am surprised that the series has such a high profile still but, make no mistake, I’m very happy to be a part of it. I can’t speak for Frank [Miller], but neither I nor anyone else in the DC office realized the impact of the books at that time. It would have been crazy to predict way back then. It’s not unheard of to have a particular project garner a lot of attention in the moment, but it is unusual for a project to cast such a long shadow, to hold up so many years later. Dark Knight Returns was a hurricane. It was a force of nature that swept everyone up in its path, and I learned a lot from that experience. I’d love to work with Frank at least once more, whether it’s for the 30th anniversary or something else, so this is my way of starting to put the offer out there. Let’s go, Frank — it would be great fun!”
Putting Geoff Johns (writer), John Romita Jr. (penciller), and Klaus Janson (inker) on Superman sends a strong message to the cape-comics marketplace. At its core, that message seems to be “we’re not fooling around with the Man of Steel.”
Whether clad in T-shirt or Kryptonian armor, Superman has been the face of the New 52, in good ways and bad, since the 2011 relaunch. A Johns-written, Jim Lee-drawn Superman was part of the first New 52 comic published, namely the first issue of Justice League. Therefore, it’s eminently appropriate for one of DC’s highest-profile writers to take on its flagship character in his eponymous series. Likewise, art by longtime Marvel stalwart JRJr and veteran inker Janson is also appropriate to Superman’s central position in DC’s superhero line.
However, Johns also comes to Superman with a certain set of expectations, starting with his anticipated tenure. Writer/artist George Pérez and finisher Jésus Merino kicked off the current series, but they didn’t stay long; and for several months Superman struggled to find a consistent creative team. Incumbent writer Scott Lobdell came aboard with issue #13 and is scheduled to stay at least through April’s issue #30. That’s a year and a half, give or take a Villains Month, and it’s allowed Lobdell to leave his mark on Superman’s adventures. Moreover, Lobdell arrived about two-thirds of the way through Grant Morrison’s run as Action Comics writer, so for about a year, Lobdell has at least offered some consistency while Action tried to lock in a creative team. Johns has just come off two years writing Aquaman — not to mention multi-year runs on Green Lantern, Action, Flash, JSA, and Teen Titans — so it’s not unreasonable to think he’s got at least a couple of years’ worth of Superman in him.
Saga, Adventure Time, Jaime Hernandez and Parker: The Score were among the winners of the 2013 Harvey Awards, which were presented tonight in conjunction with the Baltimore Comic-Con. Saga was the night’s big winner with six awards, as Fiona Staples took home awards for best artist and best colorist, and Brian K. Vaughan took home the award for best writer.
Also taking home an award tonight was this very blog, as Robot 6 won for best biographic, historical or journalistic presentation. Our fearless leader Kevin Melrose will likely have a few words to say about that in the days ahead, but for now I’ll just say congratulations to the rest of the Robot 6 team — it’s an honor to work with you guys.
Named in honor of the late Harvey Kurtzman, the cartoonist and founding editor of MAD magazine, the awards are selected entirely by creators. The full list of nominees can be found below, with the winners in bold and italics. Congratulations to all the winners:
Hello and welcome to What Are You Reading? Today our special guests are Gardner Linn and Dave Lentz, the creative team behind the webcomic Registered Weapon — “the internet’s only webcomic starring a robotic cash register who fights crime.” They just kicked off their latest story, Case 006, on Nov. 12, and you can also download the first ten pages from their site if you prefer to read in bigger chunks.
To see what Gardner, Dave and the Robot 6 crew have been reading, click below …
Rick Remender has the unenviable task of following Ed Brubaker on Captain America, a book that Brubaker took to new heights during his seven-year run on the character. Based on the review so far, though, it seems that Remender is not only up to the task, he’s taking Cap in a completely different direction, with a different tone and focus that most folks seem to be responding well to. Along with artists John Romita Jr. and Klaus Janson, Remender has sent Cap off to Dimension Z, for some “high adventure/science fiction” fun.
“It’s a departure from the standard operating procedure of Captain America, definitely,” said Romita. “We are in a different ballgame here. This is as far away from what I expected for Cap as you can get and I’m really enjoying this.”
Here are a few reviews to let you know how different the ballgame is now, and how well the new team’s doing in their first inning:
Ryan K. Lindsay, Comic Book Resources: “Captain America #1 from Rick Remender and John Romita Jr. with Klaus Janson doesn’t so much walk away from Ed Brubaker’s defining run on the character over the past seven years as it does leap frog it. There was obviously no point in trying to ape Brubaker at his A game, so instead Remender swerves Cap back toward his pulpier roots. This issue begins a strange tale that sees the Sentinel of Liberty fight the Green Skull and get embroiled with Arnim Zola in Dimension Z.”
Hello and welcome to What Are You Reading? This week we’re joined by music video director and comic book writer Alex de Campi, whose works include Smoke, Kat & Mouse, Valentine and the in-production Ashes.
To see at Alex and the Robot 6 crew have been reading, click below.
Organizations | Jillian Kirby, the 16-year-old granddaughter of Jack Kirby, makes a pitch for Kirby4Heroes, a campaign to encourage donations to The Hero Initiative on Aug. 28, which would have been the legendary creator’s 95th birthday. [Los Angeles Times]
Comics | Roger Rautio, who’s spearheading an effort to establish a physical Comic Book Hall of Fame, said he’s received responses from officials in four cities — Chicago, Cleveland, New York City and San Jose — and he may meet with a Chicago city council member as early as next month. [North Country Now]
Creators | Cartoonist Reinhard Kleist discusses his graphic novel The Boxer, the true story of Polish Jew Harry Haft, who had to fight other prisoners at Auschwitz for the entertainment of the Nazi soldiers. [Deutsche Welle]
Brian Michael Bendis has debuted the first look at Bill Sienkiewicz’s interior art from Daredevil: End of Days, the long-awaited Marvel miniseries that teams the writer and artist with David Mack and Klaus Janson to tell the final story of the Man Without Fear.
Announced more than five years ago, the tale is set in the not-too-distant future, and begins with Daredevil’s murder. “It goes a little further than most of ‘The End’ stories,” Bendis told Comic Book Resources in 2007. “And we make it canon. This is in-continuity, not too dissimilar to how Dark Knight Returns became continuity through sheer force of will. So we put it out there and everybody jumped.”
Ahead of Comic-Con International, Marvel at last set an October debut for the miniseries, with Bendis explaining, “”Everyone who works on this book is working on several major comic book situations for Marvel and for other companies. So we decided to go this route. What we would like to see is this Daredevil all-star team, but to do that, you have to sit back and wait for everyone to [come together].”
Judging from that Sienkiewicz art, it’ll definitely be worth the wait.
Season’s Greetings and welcome to another edition of What Are You Reading?, our weekly look at what we’ve been reading lately. Today our special guests are Geoffrey Golden and Amanda Meadows, editors of Devastator: The Quarterly Comedy Magazine for Humans. Their latest issue has a video game theme, with contributions from James Kochalka, Corey Lewis, Danny Hellman and many more. And if you head over to their website between now through Dec. 16, the code ROBOT6 gets you 20 percent off single issues.
To see what Amanda, Geoffrey and the Robot 6 crew have been reading lately, click below.
Say the name “Scarlet Spider” to a longtime Marvel reader and you’re bound to get a range of reactions. But come the new year, Marvel is hoping all the reactions will be positive and numerous when the new Scarlet Spider series launches on January11. As recently confirmed in Marvel’s Point One one-shot, the new Scarlet Spider is none other than Kaine, the Peter Parker clone recently cured during the Spider Island event. Unlike many of Marvel’s series set in New York, Scarlet Spider will enjoy the unique cityscape of Houston, Texas — one of many factors that has me looking forward to reading it. Before the series gets started though, series artist Ryan Stegman stepped away from his drawing table to take part in this Q&A. In addition to this interview, CBR also is offering a preview of the first issue. After reading this (and enjoying the preview), be sure to check out the recent installment of Comic Book Resources’ “Axel-in-Charge,” where Alonso interviewed Stegman.
Tim O’Shea: How did Marvel approach you about joining the Scarlet Spider creative team? Was getting to work with [series writer] Chris Yost a deciding factor in joining the project?
Ryan Stegman: I had been working on an issue of Amazing Spider-Man and I made it clear as I could to editorial that this is the type of stuff I wanted to be doing. I practically begged. And Steve Wacker said that he would love to have me back and but that ASM was booked up artist-wise for the foreseeable future. I couldn’t argue this, because the artists that they have are fantastic. So one day, out of the blue he called me up and told me about this idea and I was sold. No offense to Chris, but that wasn’t a selling point because I think I was hired before him! Chris turned out to be the icing on the cake.