PREVIEWS: "Daredevil," "Totally Awesome Hulk" & More Marvel Comics on Sale December 2, 2015
Frank Miller will return to the “Dark Knight” world this November with “Dark Knight III: The Master Race,” the conclusion of his Batman story that started with 1986’s seminal “The Dark Knight Returns.” Andy Kubert and Klaus Janson are illustrating the main story, but fans were left wondering to what capacity, if any, Miller himself would contribute art. That all changed Monday when DC unveiled cover art by Frank Miller for “Dark Knight Universe Presents: The Atom” #1, an Atom-centric minicomic included with the first issue of “Master Race.” The image is highly stylized, to say the least, featuring a wrinkled, grimacing Superman with huge fists and a noticeable bulge in the red underwear region. And boy, the Internet reaction was swift. The backlash was vocal, with fans Tweeting their disapproval, jokes and comparisons to Popeye and Miller’s output to the work of other divisive artists. io9.com jumped into the mix with a post titled “DC Lets Frank Miller Draw Superman’s Penis for ‘Dark Knight III.'”
Before too long, “Astro City” writer Kurt Busiek came to Miller’s defense with a string of tweets aimed directly at the haters. “This shot of Superman says everything Frank Miller wants to establish about Superman in this world,” tweeted Busiek before going on to further drive the point home that Miller’s interpretation of the Man of Steel is completely intentional. “It’s cartooning, it’s Frank presenting an idea of Superman that isn’t sleek and pretty,” Busiek said.
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.
Crime | Police have surrounded an industrial park in the town of Dammartin-en-Goele, France, 25 miles north of Paris, where the two suspects in Wednesday’s massacre at the offices of satire magazine Charlie Hebdo are believed to be hiding. Police say brothers Cherif and Said Kouachi have taken over a print shop and are holding a hostage, and have reportedly told negotiators they wish to die as martyrs. The Associated Press reports that a second, apparently linked siege at a kosher supermarket in eastern Paris is believed to involve Amedy Coulibaly, suspected of killing a police officer on Thursday. Police say he’s holding at least six hostages. [The Guardian]
There’s a mountain of comic book projects that were solicited, advertised and told that never saw the light of day, and now we have one more lost treasure to add to that list: a Final Fantasy series by Kurt Busiek, Del Barras and Mike Mignola.
Commissioned by the defunct Disney imprint Hollywood Comics, the story was to be a four-issue adaptation of the video game Final Fantasy IV (released in 1991 in North America as Final Fantasy II). Busiek got the job by pitching an original story set in the Final Fantasy universe, with publisher Square (now Square Enix) then shifting him over to the adaptation of the then-forthcoming video game.
Continuing with our annual “Looking Forward, Looking Back,” we asked creators and other industry figures what they liked in 2014, what they’re looking forward to in 2015, and what projects they have planned for the coming year.
In this installment, we hear from Jimmy Palmiotti, Mike Norton, Kurt Busiek, Caleb Goellner, Shawn Martinbrough, Benjamin Bailey, Greg Pak, Brandon Montclare, Eric Haven, Justin Greenwood, Natalie Nourigat and Dave Scheidt!
Image Comics has announced that Tooth & Claw, the new series by Kurt Busiek, Benjamin Dewey, Jordie Bellaire and John Roshell of Comicraft, will undergo a title change starting with its second issue. Now called The Autumnlands: Tooth & Claw, the series will also receive a second printing of the debut issue with the new title on the front.
“The launch of our new series has gone beautifully,” Busiek said in a statement. “We couldn’t be happier. Well, maybe just a little happier. I’m still not sure how we managed to screw up the trademark search. But as it turns out, the title we thought was clear for use is in fact registered to someone else, which is embarrassing as all hell. Oops.
Often when one runs across an engaging new series, it is fairly easy to identify the prime factor that serves as the appeal/pull for the project. In the case of Tooth & Claw, the new fantasy series (replete with talking animals and magic) by writer Kurt Busiek, artist Ben Dewey and colorist Jordie Bellaire, no one factor can be identified.
For starters–in the “credit where credit is due” department, there would be no series had Busiek not initially conceived the series, prior to seeking out Dewey. Busiek has known since the initial 1994 success of Marvels that no matter how great a writer he may be, the lynchpin to a project’s success or failure is how effectively the artist interprets his script.
‘How do I write believable women?’ from male writers, is essentially asking how to write characters that are different from you. But all characters are different from you, or should be, unless they’re you. Characters are individuals, not types. If you’re writing them as types, you’re doing it wrong.
All characters are like you in some ways, and not like you in others. How do you write the parts that aren’t like you? Same as you do with any character. You have eyes, ears and a brain. You write from observation, experience, research and analysis.
If you’re writing a woman, you’re not writing a ‘women.’ Write her. That character, that individual. A person, not a category.”
[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]
Ever since its return under the Vertigo banner, Astro City (from Kurt Busiek, Brent Eric Anderson, and company) has been pretty great on a consistent basis. Don’t get me wrong, it’s always been a highlight of my pull list; but the current run has really been something special. Last month’s issue #15 — concluding the story of a sweet little old robotics genius and the supervillain who sought to ruin her — was particularly heartwarming. (What’s that? Something in my eye? No, I’m just tired….)
Then, however, I read this week’s issue #16. Readers looking for familiar pastiches will be rewarded immediately, since the broad strokes of the story are deliberately reminiscent of Silver Age Superboy and Lex Luthor. (The energy-headed hero Starbright also looks a bit like Firestorm, but that’s more incidental.) It’s a tale of awkward friendship, super-powered rivalry, and an act of simple kindness which literally transforms a life. As Busiek reveals on the letters page, the middle part of the story comes from his unpublished eight-page script for an installment of the backup feature “Superman: The In-Between Years.” In hindsight it’s easy to see how that script would have worked as a look into the developing dynamics between the Collegian of Steel and his former friend — but as usual, Astro City has taken those elements in undreamt-of directions.
Superman is the world’s greatest superhero, Wonder Woman is the world’s greatest superheroine. They have so much in common — their superpowers, their costume colors, their hobbies, their social organizations — that they seem perfect for each other … if only it weren’t for that nosy reporter friend, or girlfriend, or wife, or object-of-his-affection that’s kept the Man of Steel more or less spoken for over the course of his 75-year career.
I suppose that’s why Superman and Wonder Woman so often become a couple in various out-of-continuity stories like Kingdom Come and Injustice, and a large part of why DC Comics decided to use its 2011 reboot as an opportunity to make the pair a super-powered power couple, one of the more dramatic, non-sartorial changes in either characters’ milieus the reboot has so far introduced.
With Kurt Busiek and Benjamin Dewey’s Tooth & Claw set to launch in November, Image Comics has debuted variant cover by fan-favorite artist Alex Ross for the series’ second issue, which details a full menagerie for the fantasy series.
“The world in Tooth & Claw is kind of a quasi-medieval fantasy, joined with classical designs,” Ross said in a statement. “That made me think of paintings like The Raft of the Medusa, and I wanted to capture that feeling, with the characters and situations from the series. Although really, the only reference I had was the Pogues album, Rum, Sodomy & The Lash, so in a way, that was my reference and my inspiration.”
Our annual “Looking Forward, Looking Back” feature continues, as we ask various comics folks what they liked in 2013, what they’re looking forward to in 2014 and what projects they have planned for the coming year. In this round, see what Kurt Busiek, Corinna Bechko, Jeffrey Brown, Andrea Sorrentino, Jon Proctor, Steve Lieber, Ales Kot, Dennis Culver, Victor Santos and Declan Shalvey had to say.
And if you missed them, be sure to check out Part 1, Part 2, Part 3 and Part 4, where we heard from Jimmy Palmiotti, Tim Seeley, Chris Roberson, Faith Erin Hicks and many more. And we still have plenty to go, so check back Thursday to hear from more creators!
DC Comics hasn’t had a particularly good run of things lately. To be frank, the publisher has done blown it a number of times over the past few years. But don’t worry, DC fans — I’m sure it’ll soon be Marvel’s turn, as the two rivals seem to trade off every five years or so.
I’ve been calling out DC for the past couple of weeks, but that doesn’t mean everything it does strikes me as wrong. It’s important to declare shenanigans, but it’s also important to recognize when a publisher does something that’s good for comics.
So here are six things DC is doing right:
1. Digital comics: Legends of the Dark Knight and Adventures of Superman are digital-first anthology series that feature some excellent creators (from Jeff Parker and Chris Samnee to J.M. DeMatteis and Jeff Lemire) producing completely accessible and entertaining stories that stand on their own; no college course on the New 52 or Crisis on Infinite Earths required. Yes, these stories are out of continuity — so for a percentage of readers, they don’t count. That’s a mistake, because there’s nothing wrong with a straight-up superhero tale that exists on its own terms. These two anthologies are the gems of DC’s digital-first line-up, but Batman ’66 and Batman: Li’l Gotham also offer fantastical takes on the iconic Caped Crusader that are bright and fun. For those exhausted by the angsty versions of serious stories, you owe it to yourself to check these out.
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.
Kurt Busiek, Brent Anderson, Alex Ross and Alex Sinclair returned to Astro City this week, with a brand-new first issue published by DC Comics’ Vertigo imprint. The creative team introduces us to several new characters, including the fourth wall-breaking Broken Man and the anime-inspired American Chibi. Old favorites are also still in residence, including Samaritan and Bill Pullam, one of the ordinary citizens we met earlier in Astro City’s history.
It’s a first issue that feels comfortably familiar but also refreshingly different, as we kick off what looks like a big event within the Astro City world. I definitely found it well worth my $3.99, but if you don’t believe me, here are a few more reviews that might convince you: