“When I work for DC, anything I create I get a piece of. Lucius Fox, for example, who was in the last trilogy of Batman movies played by Morgan Freeman, bought my new house. At Marvel, I did see a check off The Wolverine, the current film. But as a rule I don’t any of the ancillary money off of all of the toys and soaps and shampoos and skateboards and God knows what else that features the character.”
– veteran writer and editor Len Wein, who co-created the Batman supporting character Lucius Fox and the wildly popular Wolverine, talking about his compensation for film adaptations during a Television Critics Association panel for the upcoming PBS miniseries Superheroes: A Never-Ending Battle.
According to TheWrap, Wein said that although there have been six movies featuring Wolverine, “esoteric rules” mean that he was only compensated for the most recent one, because it was named for the character. The requirements are so strict that he didn’t receive a check for 2009′s X-Men Origins: Wolverine.
NPR television critic Linda Holmes has spent the past couple of weeks tweeting from the Television Critics Association press tour, which ended with a panel on the PBS documentary Superheroes: The Never-Ending Battle. Debuting Oct. 8, the three-part miniseries was directed by Michael Kantor, who was on the panel with comic book writers Todd McFarlane, Len Wein and Gerry Conway.
Holmes noted that the panelists asked about the lack of diversity in superhero comics, but unfortunately, the response to that question wasn’t very satisfying. She paraphrases four reasons cited by the panel:
Comics | Could the competition to become the 2017 U.K. City of Culture hinge on … Desperate Dan, the pie-eating Wild West strongman from the long-running children’s comic The Dandy? Hull Daily Mail columnist Angus Young thinks the character could give Dundee the edge over fellow finalists Leicester, Swansea Bay and, yes, Hull. Dundee, Scotland, is home to The Dandy and The Beano publisher DC Thomson, and features statues of Desperate Dan and Beano character Minnie the Minx in its city center. “Having your picture taken next to the barrel-chested grizzly-chinned hero is apparently one of the top-ten things to do when visiting Dundee,” Young writes. “[...] This a bloke who thinks nothing of eating several cow pies in one sitting. A cowboy so tough he shaves his chin with a blowtorch and sleeps in a reinforced bed filled with building rubble.” The winner will be announced in November. [Hull Daily Mail, The Evening Telegraph]
To see what James and the Robot 6 crew have been reading, click below …
It’s time once again for our monthly trip through Previews looking for cool, new comics. Michael, Graeme, and Chris Arrant have each picked the five new comics we’re most anticipating in order to create a Top 15 of the best new comics coming out two months from now.
As usual, please feel free to play along in the comments. Tell us what we missed that you’re looking forward to or – if you’re a comics creator – mention your own stuff.
The Golden Age of DC Comics: 1935-1956 HC (Taschen, $59.95): If you were as jealous of everyone who could afford the mammoth 75 Years of DC Comics: The Art of Modern Myth-Making from a couple of years ago as I was, here’s some great news; Taschen is reissuing the material in a series of different (cheaper) volumes, reworked and expanded with new art and commentary by Paul Levitz. The next in the series, covering the Silver Age, is the one I’ll really covet, but you know that this will be awesome.
Julio’s Day HC (Fantagraphics Books, $19.99): Continuing my education in all things Love and Rockets, this never-collected Gilbert Hernandez strip from the second series of L&R is one of those things that goes on my “Want” list almost as soon as I discovered it existed.
Multiple Warheads: Alphabet to Infinity #1 (of 4) (Image Comics, $3.99): I’ve been waiting for more Multiple Warheads since Oni Press put out the first issue a few years back. Now that I know it’s 48 pages for just $3.99 and in color, it seems worth the wait. Brandon Graham is an amazing talent.
Sailor Twain HC (First Second, $24.99): I dropped off Mark Siegel’s amazing webcomic online fairly early, promising myself that I’d get the inevitable collected edition when it was all done and read it in one sitting. I’m glad it’s finally here.
The Zaucer of Zilk #1 (of 2) (IDW Publishing, $3.99): Without doubt, my favorite superhero comic in years – I read it in its 2000AD incarnation – I am overjoyed to see this get a US release like this. Hopefully, everyone will read it and realize just how great Brendan McCarthy and Al Ewing are, leading to all manner of zequels (sorry, I couldn’t resist).
Creators | Following the appearance of the Infinity Gauntlet in Thor and the cameo by Thanos in The Avengers, Marvel appears poised to expand the cosmic elements of its cinematic universe with The Guardians of the Galaxy. While some fans eagerly await a movie announcement next week at Comic-Con International, Thanos creator Jim Starlin (who had to buy his own tickets to Thor and The Avengers) may be laying the groundwork for a legal challenge: Heidi MacDonald points out that Starlin has posted an early drawing of the Mad Titan on his Facebook page, writing, “This is probably one of the first concept drawings of Thanos I ever did, long before I started working at Marvel. Jack Kirby’s Metron is clearly the more dominant influence in this character’s look. Not Darkseid. Both D and T started off much smaller than they eventually became. This was one of the drawings I had in my portfolio when I was hired by Marvel. It was later inked by Rich Buckler.” [The Beat]
Comics | Tim Marchman, author of that much-discussed Wall Street Journal article, is at it again, this time interviewing Watchmen editor Len Wein about his work on Before Watchmen, and including the interventions of DC Comics Publicity Manager Pamela Mullin as part of the story. Between the embargo on the comic and Mullin doing her job, it sounds like the most interesting parts of the interview never made it into the final product. [The Daily Beast]
While fans and retailers at the Chicago Comic & Entertainment Expo were given a first glimpse at interior art for DC Comics’ sprawling Watchmen prequels, BuzzFeed now provides the best look yet at pages and character designs from Before Watchmen in the form of photos of a binder at the DC offices. Among the images are interiors from Rorschach, by Brian Azzarello and Lee Bermejo, Silk Spectre, by Darwyn Cooke and Amanda Conner, Ozymandius, by Len Wein and Jae Lee, and Curse of the Crimson Corsair, by Wein and John Higgins. There are also character designs by Bermejo, Conner, Cooke, Higgins, Andy and Joe Kubert, and Lee.
Before Watchmen debuts in June.
Along with the official announcement of Before Watchmen, its long-rumored prequels to the seminal 1986 miniseries by Alan Moore and Dave Gibbons, DC Comics trotted out several of the creators involved to talk about the legacy of the original work, their approach to the new project, what they expect from initial reactions — and, of course, Moore’s objections to the undertaking.
Here’s a selection of some of the more interesting quotes:
J. Michael Straczynski, who’s working with Adam Hughes on Dr. Manhattan, and Andy and Joe Kubert on Nite Owl: “Ever since Dan DiDio was handed the reins (along with Jim Lee) over at DC, he’s been making bold, innovative moves that might have scared the hell out of anyone else. At a time in the industry when big events tend to be ‘Okay, we had Team A fight Team B last year, so this year we’re gonna have Team B fight team C!’ Dan has chosen to revitalize lines, reinvent worlds and come at Watchmen head-on. It was, I think, about two years ago that he first mentioned that he was considering the idea, and he’s to be commended for fighting to make this happen.”
Brian Azzarello, who’s collaborating with Lee Bermejo on Rorschach, and J.G. Jones on Comedian: “I think the gut reaction is going to be, ‘Why?’ But then when the actual books come out, the answer will be, ‘Oh, that’s why.’ ”
Ever since his U.S. debut as an animated cartoon in the 1960s, Speed Racer has been zooming in and out of our consciousness. Like so many cool things, the cartoon started out in Japan as a manga, Mach GoGoGo, and was transformed into the anime that transfixed a generation of American kids. NOW Comics and Wildstorm both published American versions of the Speed Racer story, and the original manga was released in various formats. In 2008, Digital Manga released a deluxe boxed set of the entire original manga and IDW re-released the NOW and Wildstorm comics along with a new mini-series; all this was timed to coincide with the release of the Speed Racer movie.
After that, things got quiet, but last week a teaser image appeared indicating that Speed Racer is coming round the track once more. The image doesn’t give us too much to go on—no publisher or release date is listed—except for the creative team, but that is worthy of note. Topping the list is Tommy Yune, whose blend of manga and American styles were a big hit with Wildstorm’s version of Speed Racer. Also on board is veteran DC and Marvel writer Len Wein, co-creator of Swamp Thing and Wolverine. Robby Musso does work for IDW, the most recent publisher of Speed Racer comics, which makes me suspect they are behind this one as well. Lee Kohse and James Rochelle round out the creative team. With a pit crew like this, Speed Racer is off to a roaring start.
For most of us, it’s getting to be the middle of April. Everything is blooming and getting greener. Our thoughts turn to familiar rites of spring like baseball, taxes, and that new Green Lantern preview.
On Earth-Solicits, of course, it’s July. The greenery is withering in the heat, the tax refund is spent, and half the Reds are sick thanks to being downwind from the Proctor & Gamble plant. Nevertheless, the residents of Earth-Solicits are just bursting at the seams, excited to tell you all that’s been happening in their world …
… but they can’t tell you everything, because then you’d have no reason to visit.
This sort of fan dance is especially pronounced in the current crop of solicitations. When something like a third of DC’s superhero line is taken up with titles like War of the Green Lanterns: Aftermath, Brightest Day Aftermath, and especially the cottage industry which is Flashpoint — titles which jump off from endings readers have yet to see, and/or which go deeper into books yet to begin — it’s hard to get excited, because right now it’s all hype for hype’s sake.
Thankfully, that’s not all there is to the July solicitations, so let’s cruise on….
There’s a weird little sequence in the middle of DC Universe: Legacies #3 when the narration’s timeline goes all hazy and oblique, in order to move the story from sometime in the Eisenhower/Kennedy years right into the “X years ago” of modern continuity. Because Legacies tracks some sixty-five years of costumed crimefighting, this sequence bridges the gap between the Justice Society’s retirement and Superman’s debut.
“Hazy and oblique” are also good words for describing DC’s approach to long-term continuity. The history of the DC Universe is well-settled up to the early 1950s, but past then it becomes elastic. This is something we’ve come to expect: fudging the calendar keeps our heroes both as experienced and as youthful as they need to be. However, each passing year also widens the gap between the end of the Golden Age (early ‘50s) and the beginning of the Silver (thought to be 12-15 years ago). Through reader-identification character Paul Lincoln,* DCUL’s writer (and longtime DC favorite) Len Wein aims to put a human face on all those four-color adventures.
That sounds like the premise of 1994′s Marvels and its spiritual descendant Astro City. Really, though, any halfway-entertaining super-survey needs a narrator with a recognizable point of view. Even 1986′s History of the DC Universe, which was basically a series of George Pérez pinups arranged in chronological order, took its florid prose ostensibly from Harbinger’s meditations on the nature of heroism.
Following DC Comics’ announcement at WonderCon of its Retro-Active one-shots bringing together writers and artists from the ’70s, ’80s and ’90s, the publisher has unveiled the decade-specific logos for the three series.
Debuting in July, each issue of Retro-Active will feature 26 pages of new content plus 20 pages classic stories reprinted from that era, spotlighting such characters as Superman, Batman, Wonder Woman, Green Lantern, The Flash and the Justice League of America.
Although DC has yet to announce all of the artists involved, the writers include Dennis O’Neil, Cary Bates, Len Wein, Marv Wolfman, William Messner-Loebs, Mike W. Barr, Louise Simonson (with Jon Bogdanove on ’90s Superman), and Keith Giffen and J.M. DeMatteis (with Kevin Maguire on ’90s Justice League).
“The way [DC Comics] put it was, look at your run back when you were doing Justice League International, find a moment there and tell an untold story,” Giffen told Comic Book Resources. “It’s one last blow-out. It’s one last hoorah for the characters.”
Check out the other two Retro-Active logos below.
Last week’s big reorganization project is finished (for now) — but by reintroducing me to Peter David and Esteban Maroto’s The Atlantis Chronicles, it has already paid off.
The Atlantis Chronicles was a seven-issue 1990 miniseries designed to give Aquaman a more “classically mythic” backstory. Like the Old Testament or your average Shakespearean tragedy, it is full of intrigue, violence, sinister motives, and secret affairs. Along the way it traces the history of twin cities Poseidonis and Tritonis from their sinking to Aquaman’s birth, explaining such things as marine mental telepathy, why the Tritonistas are mer-people, and when the Idyllists broke off into their own community. It was all in service to a PAD-written Aquaman regular series which ended up being delayed for a few years; and which, when it finally did appear, produced the cranky, hook-handed Aquaman of the ‘90s. Re-reading The Atlantis Chronicles reminded me that some noteworthy plot elements — including an involuntary amputation — foreshadowed similar events in the later series. Some characters from TAC also reappeared in David’s Aquaman, further connecting the two.
I enjoyed The Atlantis Chronicles on its own merits, but I couldn’t help but think how it would have been treated better in today’s marketplace. That, in turn, got me thinking about the roles various “historical” DC miniseries played (and might still play) in the building of their legends.
* * *
I read with great interest Brian Cronin’s list of 75 Most Memorable Moments In DC Comics History, in part because I wondered how close I could come with my own list without totally ripping his off. (Said with a smile and a great deal of respect, of course.)
First I thought about listing 75 key DC moments, drawn probably from both real and fictional history; but that list would be rather predictable as well — Action Comics #1 juxtaposed with Siegel and Shuster’s legal battles, etc. (Tom Spurgeon et al.’s list of “emblematic” ‘70s comics is close in spirit if not subject matter to the list I’d want to assemble.) The other type of “75 moments” list I considered would be a highlight-filled timeline including events exclusively from DC’s fictional history — things like “first meeting of the Justice Society,” “debut of Superman,” and “Darkseid enslaves Earth.” I didn’t quite like that because it too would be predictable, filled with first appearances and Big Events.
Ironically, though, DC has always seemed rather short on shared-universe-style events which define it as a superhero publisher. Marvel has the coming of Galactus, the Kree-Skrull War, the Secret Empire, and the deaths of Gwen Stacy and Phoenix. DC has comparable milestones, but they don’t come as readily to mind. Off the top of my head I might list “Flash of Two Worlds,” the Green Lantern/Green Arrow stories, and “The Judas Contract,” before getting into various Crises, disasters, and alien invasions. I think you have to dig a bit deeper into the DC titles to pull out things like a second Moon wreaking havoc (JLA #155, June 1978) or Trigon taking over the world (New Teen Titans vol. 2 #s 1-5, August 1984-February 1985). Therefore, while projects like the original History of the DC Universe and the current DC Universe: Legacies have their hearts in the right place, they must deal with DC’s scattershot approach to world-building.
Into DC and Marvel’s ongoing game of compare-and-contrast comes the just-announced Legacies miniseries, ten issues starting in May 2010 which will guide the reader from the Depression to the mid-21st Century. It’s the history of the DC Universe — not to be confused with another upcoming DC project — as seen through the eyes of a normal family.
In other words, it’s DC’s version of Marvels.
This is not necessarily a bad thing.