mark millar Archives - Page 2 of 7 - Robot 6 @ Comic Book Resources
Here’s Mark Millar explaining why he doesn’t want his creator-owned comics to be released in digital the same day as print:
Digital comics are like TV rights to me in that they’re the tertiary phase of all this. These are for the most casual, mainstream readers or viewers and much cheaper than the primary or secondary waves. They’re a great way of pulling people in for the next product coming out in theatres or in comic stores, but absolutely not the bedrock of your business. The fact they’re not on paper doesn’t matter as these guys aren’t collectors as such and the lower price point is very attractive to them.
That was in November 2011, when same-day release of digital comics was still something of a novelty. Now it is so commonplace that, as Rich Johnston noted, Twitter was full of confused readers last week who couldn’t figure out why the first issue of Millar and Frank Quitely’s new series Jupiter’s Legacy wasn’t available digitally.
You can’t fault Millar for not being able to see the future. It’s pretty counterintuitive to think that sales in the direct market would go up in tandem with the rise of digital media, but that’s exactly what has happened. There’s zero evidence that digital sales are hurting comics shops.
What really bugs me about Millar’s comment, though, is that he seems to be giving the back of his hand to readers who get their comics digitally. Someone should tell him there’s a large audience out there that’s fully engaged, to the point where they are willing to pay full cover price for digital comics in order to get them the day the print editions come out. Those fans seem to me to be precisely “the bedrock of the business.”
I won’t pay $3.99 for a single-issue digital comic, but there is apparently a substantial audience out there who will. Publishers and digital distributors aren’t in the business of losing money, and they wouldn’t maintain that full cover price if people weren’t paying it. Someone who will pay top dollar to get a comic right away, rather than wait a couple of months for the price to drop? That’s an engaged fan.
The first issue of Jupiter’s Legacy — “This is your summer event,” the teaser promised — arrived this week, setting into motion a multi-generational superhero tale by Mark Millar and Frank Quitely. The duo set a high bar for themselves and superhero comics more than 10 years ago with their work on The Authority. And since then they’ve each built up quite a resume that includes Ultimates, Kick Ass, All-Star Superman, Wanted, Sandman, Batman & Robin, Civil War and many more. Now the pair re-teams for a creator-owned “superhero event.”
“It’s very, very much a superhero event. Marvel and DC have their various events this year, and I’m planning on blowing them both away with this,” Millar told Comic Book Resources’ Kiel Phegley. “I see this as the big creator-owned superhero event. Nobody’s tried anything like this before, but it’s a big thing covering a huge time period with tons of characters and tons of dramatic twists. Like I said, this is my love letter to America and everything I like about America. America has had its problems, but this is my way of reminding you what’s cool about America. It’s very timely. This story couldn’t have been done five years ago. It’s straight out of the headlines of today.”
So how does the first issue stack up? Here are a few opinions from around the web:
Image Comics has provided ROBOT 6 with an exclusive first look at Dave Johnson’s variant cover for the debut issue of Jupiter’s Legacy, the Wagnerian superhero saga from Mark Millar and Frank Quitely.
Announced in January 2012 as Jupiter’s Children, the 12-issue miniseries centers on the offspring of superheroes who have essentially squandered their inheritance, failing to live of to the example set by their parents, who gained their powers in the 1920s after discovering a mysterious island.
It’s time once again for our monthly trip through Previews looking for cool, new comics. We’ve each picked the five comics we’re most anticipating in order to create a list of the best new stuff 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.
Crater XV HC (Top Shelf, $19.95): I’ve been following (and loving) the serialization of Kevin Cannon’s follow-up to Far Arden in the digital pages of Double Barrel, but I know that I’ll be picking up this hardcover collection of the further adventures of sea dog Rusty Shanks nonetheless. The Canadian space program deserves no less.
In The Days of the Mob HC (DC Comics, $39.99): To say that Kirby’s 1970s take on the organized-crime world of the 1930s is something I’ve been longing to read since I first discovered its existence would be an understatement, so I’m definitely looking forward to this deluxe reprint, complete with material that wasn’t in the original edition.
Indigo Prime: Anthropocalypse TP (Rebellion/2000AD, $24.99): John Smith’s cosmic authorities are one of comics’ most secret treasures, I think, especially when he’s paired with an artist like Edmund Bagwell, who brings a wonderful Euro-Kirby influence to the stories in this collection. Really looking forward to this one.
Relish: My Life in the Kitchen GN (First Second, $17.99): As a sucker for good autobiographical comics and also good food writing, the idea of Lucy Knisley creating a food-centric memoir — complete with recipes! — is far too good to ignore. I love that publishers like First Second are publishing work like this.
Solo Deluxe Edition HC (DC Comics, $49.99): Even though I own most of these issues from their original appearance, the oversized hardcover format is waaaay too tempting when you consider some of the material this book has up its 500+ page sleeve: Paul Pope covering Kirby! Brendan McCarthy channeling Ditko as only he could! The amazing Darwyn Cooke issue! The only thing that could make this better would be if it included work completed on follow-up issues before the plug had been pulled … But maybe that can appear in a second volume, one day…
The Hollywood Reporter teases the April debut of Jupiter’s Legacy with a first look at colored and lettered art from the Image Comics series from Mark Millar, Frank Quitely and Peter Doherty.
Announced in January as Jupiter’s Children, the 12-issue miniseries centers on the offspring of superheroes who have essentially squandered their inheritance, failing to live of to the example set by their parents, who gained their powers in the 1920s after discovering a mysterious island.
“We have the last remains of these old-school heroes and their mainly vacuous children living in L.A., a massive disappointment to the first generation of super-people and just lost, no real direction in their lives beyond advertising gigs and opening night-clubs,” Millar explained in November. “This is literally where we find everyone and then we go into the future, taking these guys on a journey like we’ve never seen in comics before.”
On his message board, the writer indicted he’ll likely release more comics through Image, which published his unfinished 2008 miniseries War Heroes. “I like the Image guys,” he wrote. “I’m great friends with the Marvel guys too, of course, but seeing how this goes with Image. They’re doing great things over there and I have plans to do a lot more with them if this hits as big as I think it’s going to. Kick-Ass 3 is still going to be through Marvel’s Icon imprint, but I have high hopes for future stuff at Image.”
Check out some of the panels from Jupiter’s Legacy below, and visit The Hollywood Reporter to see more.
Awards | The National Press Foundation has named political cartoonist Robert Ariail, who draws for Universal UClick and the Spartanburg, South Carolina, Herald-Journal, as the winner of this year’s Berryman Award. [The Washington Post]
Creators | Brothers Wesley and Bradley Sun discuss their upcoming graphic novel, Chinatown; Wesley is a hospital chaplain in Chicago, and Bradley quit his job in Florida to join his brother and work on the book. [Hyde Park Herald]
Citing an increased workload at Millarworld and Millarworld Productions, organizers Sarah and Lucy Unwin have announced London’s Kapow! Comic Convention won’t return next year. However, there are hopes for “an even bigger and better show” in 2014.
“Sarah and I have had to make a very tough decision, and after much deliberation and poring over upcoming work schedules, we have decided to put Kapow! 2013 on hold,” Lucy Unwin said in a statement. “The event is a genuine pleasure to work on and everyone has been a total delight, but this year we are unable to dedicate the time necessary to deliver a weekend that once again exceeds the expectations of attendees, guests, exhibitors, publishers and studios.”
Mark Millar, who launched Kapow! in 2010 “to bring “San Diego Comic-Con to these shores,” added on his message board: “4 movies, 4 new comic series, overseeing the Marvel movies at Fox and starting our TV line mean 2013 just too mental for Kapow this year, I’m afraid. we absolutely hope to come back and wow everyone in 2014 tho.”
In addition to signing on in September as a consultant on Fox’s Marvel film properties, Millar has Kick-Ass 2 opening next year, and a handful of adaptations — Nemesis, Supercrooks and The Secret Service among them — moving into production. Add to that such Millarworld comics projects as Jupiter’s Legacy, Nemesis 2 and Kick-Ass 3, and the aforementioned television line, which begins Jan. 3 with the BBC One documentary Pavilion of Dreams.
“We just preferred it when we were playing around with finished logos and decided to tweak the title while we still could,” Millar tells Comic Book Movie. “The front cover will now look as below, out in April from Image Comics and priced at a very lovely $2.99. Artist and co-creator Frank Quitely and I are very proud of this little superhero epic and look forward to taking all your money next year.”
Announced in January, the 12-issue miniseries centers on the offspring of superheroes who have essentially squandered their inheritance, failing to live of to the example set by their parents, who gained their powers in the 1920s after discovering a mysterious island.
“We have the last remains of these old-school heroes and their mainly vacuous children living in L.A., a massive disappointment to the first generation of super-people and just lost, no real direction in their lives beyond advertising gigs and opening night-clubs,” Millar explained last month. “This is literally where we find everyone and then we go into the future, taking these guys on a journey like we’ve never seen in comics before.”
As he’s done with some of his other creator-owned projects, Millar held a charity auction for the right to name one of the characters in the comic. The effort raised $3,550, which will go to the St. Bartholomew’s Primary School Pantomime Fund to help send students in Glasgow, Scotland, to Christmas shows.
Midway through the two-day charity auction to name one of the main characters in Mark Millar and Frank Quitely’s Jupiter’s Children, the high bid is already $2,550 (the starting bid on Wednesday was $100). Proceeds again will go to the St. Bartholomew’s Primary School Pantomime Fund to help send students to Christmas shows.
Millar previously auctioned the rights to name characters in Kick-Ass (Dave Lizewski), Nemesis (Matt Anderson and Blake Morrow), Supercrooks (Chris Matts) and The Secret Service (James Arnold), with proceeds going to such projects in his native Scotland as a playground for children with special needs and a specially equipped mini-bus. Last year’s Secret Service auction also helped to raised funds to send children from his elementary school to the annual pantomimes.
“It’s something I’d like to do every year and expand into other schemes in the community with a few other ideas I have,” Millar told The Hollywood Reporter. “Some of the kids had never been to the city before and when I went back to my old school to hand out prizes last summer they all told me how much they enjoyed it.”
Announced in January, Jupiter’s Children centers on the offspring of superheroes who have essentially squandered their inheritance, failing to live of to the example set by their parents, who gained their powers in the 1920s after discovering a mysterious island. The 12-issue series is expected to debut in April from Image Comics.
By way of comparison, last year’s winning bid to name the villain in The Secret Service was $5,100; the Nemesis auction in 2010 brought in $8,500. You can bid on eBay until Friday at 8 p.m. ET/5 p.m. PT.
The Hollywood Reporter has debuted a first look at Frank Quitely’s character designs for Jupiter’s Children, a planned trilogy that writer Mark Millar hopes will be as epic as The Lord of the Rings or Star Wars.
Announced in January, the ambitious story centers on the offspring of superheroes who have essentially squandered their inheritance, failing to live of to the example set by their parents, who gained their powers in the 1920s after discovering a mysterious island.
“We have the last remains of these old-school heroes and their mainly vacuous children living in L.A., a massive disappointment to the first generation of super-people and just lost, no real direction in their lives beyond advertising gigs and opening night-clubs,” Millar tells the trade paper. “This is literally where we find everyone and then we go into the future, taking these guys on a journey like we’ve never seen in comics before.”
The writer offers character descriptions to accompany a gallery of Quitely’s designs, but he won’t reveal any of their names or powers. So we get a look at figures like “the lady in red,” “the eagle-crested super-heroine,” “the cool guy,” and “the duo,” whom readers will recognize from Quitely’s cover for the first issue, debuted in January on Comic Book Resources.
Check out Quitely’s designs below, and visit The Hollywood Reporter to read Millar’s comments about each of the characters. Originally planned for a September 2012 debut, Jupiter’s Children is now targeted for spring 2013.
Aiming to cut the fat from the bloated pop-culture extravaganzas, a new creator-branded model for comic conventions is drawing fans to a more curated and unique experience.
For decades, comic conventions have been building up (or “diversifying,” if you prefer) to include television shows, movies, video games, board games, toys, novels, scantily clad models, and new-media companies that used speech balloons in their marketing campaign that one time. Basically they’ve become magnets for any project with an air of geekery, regardless of the lack of any sequential art or cartooning. A number of cons can feel more like a pop-up strip mall in their efforts to be everything for as many people as possible. And con-goers feel it. You really haven’t had the full convention experience if you don’t hear someone grumble how the con used to be about the comics, man. It’s a chorus that seems to attract more voices each year.
Perhaps in response to the growing Grumble Choir, a number of event organizers have been testing more focused conventions branded under a single creator or identity. These conventions bring in vendors, guests and exhibitors that more directly reflect the name on the banners, resulting in a more authentic and cohesive experience. While it’s splicing a niche market to a niche within a niche, it’s also creating a more irresistible ticket item for people within that sub-niche. And those fans coming to see the name they recognize are probably super-fans eager to experience, sample and buy more at a deeper level than the more scattershot crowd under the general geek umbrella.
Welcome to Food or Comics?, where every week we talk about what comics we’d buy at our local comic shop based on certain spending limits — $15 and $30 — as well as what we’d get if we had extra money or a gift card to spend on a splurge item.
If I had $15, I’d start with a couple of Marvel firsts, even though one of them isn’t technically a first issue: Uncanny Avengers #1 ($3.99) and Red She-Hulk #58 ($2.99). This is the first week of Marvel NOW, and they’re starting with books by creative teams I’m excited about. Next I’d get Stumptown V2 #2 ($3.99) and wind things up with the Halloween Eve one-shot. I actually supported the Kickstarter for the latter, so my copy is probably already on the way to my mailbox, but hypothetically let’s assume that it wasn’t. It’s by Brandon Montclare and Amy Reeder, two creators whose work I’ve enjoyed in the past. So if it wasn’t coming to me in the mail, it would come home in a paper bag from the comic shop.
If I had $30, I’d add an outgoing Marvel title (Marvel THEN?), Fantastic Four #611, which features the end of Hickman’s run before he moves on to Avengers and Matt Fraction takes over the first family of Marveldom. Next I’d grab Green Lantern Corps #13 ($2.99) as I like the direction the GL books have been headed in lately, and Conan #9 ($3.50), the second half of Brian Wood’s collaboration with Vasilis Lolos. Finally, I’d grab Point of Impact #1 ($2.99), the new crime book by Jay Faerber and Koray Kuranel.
This is a splurge in price only; if I had $50, then Chris Ware’s Building Stories would definitely have been at the top of my buy list this week. It’s a big box of little comics, as Chris put it, and as luck would have it I really do have $50 in gift certificates that I got for my birthday to buy it with. Thanks Mom and Dad!
For quite some time, a jerk on Twitter has been harassing females int he comics community, from Kelly Sue DeConnick to Jill Pantozzi. He uses various Twitter handles like @MisterE2009 and @JonVeee to post some very vulgar, nasty, threatening, over-the-top stuff.
I should warn you that his Twitter pages are not safe for work (NSFW), both in terms of what he’s posted and the images he has displayed; if you’re curious to see some of his tweets, Bleeding Cool has rounded up a bunch of them. Sue at DC Women Kicking Ass has said she’s been harassed by this guy for a couple of years now. “He’s been harassing women for two years using male and female names. I have them all and if anyone wants the list I have it.”
So I’m asking you guys a favour. I’ve managed to secure this guy’s name and address, but he’s stateside and I’m unsure what the next step should be. In the UK, he would be charged by the police under the Malicious Communications act, but we have a lot of smart cookies on here and I know there’s several US attorneys who post here regularly. If we have his details and copies of his communication, how can he be prosecuted? If any of the pros who have been attacked here would like to make a case against him I’ll personally cover the legal costs. Twitter, I would imagine, can confirm his IP address if the artists make a formal complaint to the police.
Our informal poll last week about whether it’s a familiar creator or a familiar character that draws readers to a new title received more than 100 responses. That makes it about as accurate as some of the regular polls tracking the U.S. presidential race these days.
In case you missed it, in extrapolating from Kurt Busiek’s similar poll, I asked for people to chime in on what primarily gets them to throw down their money for a comic: creators or characters. Of course, I laid out my bias right away, and not everyone’s answers were completely clear cut, so we’ve probably got a pretty significant margin of error. But I was pleased to see that the majority of commenters either put creators first, or considered both when making a decision.
Of the 112 responses at the time of this writing, 85 said they either put creators first or relied on some kind of mix of creators and characters. Of that group, it was evenly split on creators (43) and a mix (42). Just 25 said characters held more weight than creators. While a third option wasn’t given in my original post, it was good to read about other factors that influence comics purchasing. A handful mentioned concept, theme, genre and, I guess, marketing. And two said story, which I guess means they read comics in the store before paying for them.
When you make your formal American comics debut drawing a Top 5 book, you’ve really set the bar high for the rest of your career. But Filipino artist Leinil Yu doesn’t think about it too much.
Yu’s introduction to the U.S. comics market was in 1997 with Wolverine #113, but he wasn’ t a complete newcomer: He had worked for a time as an assistant at Whilce Portacio’s studio, and even gained some recognition by winning a Wizard magazine contest. Yu went on from Wolverine to draw everything from Uncanny X-Men to Buffy the Vampire Slayer and even had a hand in reinventing Superman’s origins in Superman: Birthright before returning to Marvel and becoming one of the publisher’s top-tier artists with New Avengers and Secret Invasion. After that, he moved into creator-owned comics with Mark Millar, first on Superior and then on Supercrooks. Yu continues to excel with Marvel’s superheroes, joining Mark Waid to relaunch the Hulk in the Marvel NOW! title Indestructible Hulk — a return of sorts for Yu, who drew the Hulk in the well-received (albeit much-delayed) Ultimate Wolverine vs. Hulk.
I’ve always been an admirer of Yu’s work, from his brief stint on Chris Claremont’s X-Men return to his lesser-known creator-owned book at DC, Silent Dragon (with Andy Diggle) and High Roads (with Scott Lobdell). When he returned to Marvel, I noticed him experimenting with his style in both composition and rendering. Upon doing research for this interview, I learned about Yu’s varied attempts to explore different mediums — branching out from his pencils and pens and to painting, digital modelling, and even digital speed-painting. I conducted this interview with Leinil Yu earlier this month, on the eve of Indestructible Hulk‘s announcement.