Marvel’s big Fear Itself crossover event last year introduced readers to Odin’s brother, the Serpent, who along with the Red Skull’s daughter, Sin, used seven divine hammers to turn several Marvel heroes and villains into his agents on Earth. Spoiler’s alert: Marvel’s heroes win, but in the wake of the event came the question of what happened to all those hammers.
Cullen Bunn, Matt Fraction, Chris Yost, Mark Bagley and Paul Pelletier answered that question in the pages of The Fearless, a miniseries that saw Sin and her boyfriend, Crossbones, in an Amazing Race-style adventure to find all the hammers. They were pitted against Valkyrie, a character ripe not only for an Asgardian-laced race against the forces of evil and some character development of her own. Over the course of the series, we learned a lot about the Valkyrie’s history, saw guest stars galore and even got a tease for a potential new series. Now that the miniseries has wrapped up, I chatted with Bunn about the comic, the characters he used and what he did with them. My thanks to him for taking the time to answer my questions.
JK: If I’m not mistaken, this was your first major project for Marvel since going “exclusive” with them. You’d done other stories for them and even other Fear Itself tie-ins, but is it safe to say this probably put you on the main stage of the Marvel Universe in a way you hadn’t experienced yet? Did you feel any pressure going into it because of the scope and the fact that it came out of a big Marvel event?
Cullen: Yeah, this was a big, intimidating undertaking. The Fearless featured most of the major Marvel superheroes in one way or another, and it spanned numerous locales. Luckily, I was working with a very supportive team who made me feel pretty comfortable going into this. They put a lot of trust in me with the series, and I didn’t want to let anyone down. Every time I sent some crazy note or suggestion for plot points, I expected them to yank me off the title, but they were pretty receptive to the idea of exploding sharks, a new team of Valkyrie, and Wolverine gutting Crossbones (among other things).
What follows is a theory about one of Marvel’s most resilient characters, Nick Fury, and all the forms he takes. From a sergeant with the Howling Commandos to an Agent of S.H.I.E.L.D. to Samuel L. Jackson and beyond, the character of Nick Fury endures. But why? Let’s talk about Battle Scars #6 and look at all the Furys (Furi?) we have on the table.
WARNING: Yep, talking about Battle Scars again, so if you’ve picked up issue #6 or are just a fan of internet spoilers, read along!
Looking at the solicitations isn’t what it used to be, folks. We work with such a strange system already, trying to see into the future of three months from now and what we’ll like then, and the recent shift from paragraphs to bullet points just brings home the futility of it all. Who are the solicitations for? The readers, looking to get an idea of what’s to come with their favorite characters and titles so they can plan accordingly? Are they for the retailers, who have to pore over these lists and cover images, and figure out what people are going to want casually versus regularly? And what if, say, a month from now, a writer or artist has a better chance to tell you more about their book and reveal something the solicits couldn’t tell you? What if a book you see now just doesn’t make it to the print and we’re left with an echo of what could have been? This information can change with a story edit or a creative team switch-up. How do we handle this information anymore?
Well, hopefully I can take a look at what July means for Marvel and for you, the consumer. Gird your loins, Gentle Reader, and let’s look at what the House of Ideas wants you to know about Comic-Con Month, also known as ‘July’.
WARNING: Since Avengers vs. X-Men #2 came out this week, I might drop a few spoilers for that when talking about what that book might become later on. Also, I make an educated guess about a [REDACTED] name, so that means I also read Wolverine & the X-Men #9. Grab your copies and read along!
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Last year BOOM! Studios’ licenses for the various Disney properties expired, and one of the casualties of that was a four-issue Muppets arc by Roger Langridge that had not been printed yet. “As far as I understand it, the unpublished work I’ve done for Boom isn’t technically Disney’s until it’s published, and obviously Boom can’t publish it without a license,” Langridge said at the time. “So it’s in a kind of limbo right now. In the best of all possible worlds, I’d like to think that Boom and Marvel can come to some kind of arrangement whereby Marvel can eventually release the work.”
Apparently some sort of arrangement has been reached, as Marvel has solicited the first issue of a four-issue Muppets miniseries for July, featuring that “lost” story by Langridge. Here’s the solicitation:
MUPPETS #1 (of 4)
The four-part Muppet Show story “The Four Seasons” – for the first time in print!
Written by ROGER LANGRIDGE
Art by ROGER LANGRIDGE
Cover by TBD
• Kermit and the gang put on a show to celebrate spring’s arrival at the Muppet Theatre!
• A special guest — Meredith the Mountain Gorilla — arrives to perform on the Muppet Show, and her many admirers compete for her affections.
32 PGS./All Ages …$2.99
The miniseries follows Marvel’s reprintings of other Muppets material produced by Langridge while BOOM! had the license. Langridge said he wasn’t aware that Marvel was publishing the comic until he read it on the internet, but he did know it would be published in Italy.
“I’ve been working with Disney Italy on a few things they wanted tweaked (they needed Gonzo’s nose redrawing), so presumably that’s where Marvel are getting it from,” he said on his blog, adding, “If anyone from the appropriate department of Marvel is reading this, I can send you my scripts if you want, rather than translating from Italian back into English. (I remember reading British Disney comics as a kid where Carl Barks’ dialogue had been totally rewritten and it made my teeth hurt.)”
If you watch boxing or, say, UFC, first round knockouts can be incredibly disappointing. Depending on the build-up and the hype put on for the match, it can seem like a waste of talent. Worse, it can seem like a waste of your time and money that you spent ordering the darn pay-per-view or getting tickets ringside. Maybe you watched months of lead up, interviews, training docs, compilations of past fights and then, with one right hook, Junior Dos Santos is champ and FOX has some air time to fill. You can know your combatant so well that seeing anything less than three full rounds just won’t showcase their talents enough for a satisfying contest.
Well, with Avengers vs X-Men #1, you don’t have anything to worry about as far as first round TKOs go. With around 31 pages to fill, it feels like each team barely gets into the ring.
WARNING: Below, we will shorten some titles and talk about AvX #1, AvX #0 and about combat sports in general, the latter not too well. It’s a metaphor bonanza so grab your copies and read along!
Dear Digital Comics,
I’m sorry. I’m sorry I considered you gimmicky and fake. I’m sorry I thought that you were unwieldy on my computer screen and that your pictures were badly scanned. I’m sorry I spurned your free codes, and I looked down my nose at your formatting and strange reading interactions. Most of all, I’m sorry that, deep down in a small corner of my heart, I thought you were going to take away my job. I’ve been working at my local comic shop for more than 10 years, so that’s a long time to get set in your ways and feel that any new idea might threaten your way of life.
For a long time, I’ve really felt there was an either-or issue between print comics and digital comics. I tend to be a very partisan kind of person (Go Marvel!), so it’s not a surprise that I weighed the merits of both, made my choice and then dug in my heels. Digital comics, I felt, required so much of me technologically (a computer, a good monitor, access to the internet in some cases, etc.) that I didn’t think about all the requirements that print comics ask of readers as well (a healthy income, access to a good comic book shop, some research into what exactly was on the shelves, etc.). The way that comics are read on a screen was just going to be inherently different than the way they’re read in print and that, in a direct transfer, we were just going to lose something in the translation. Besides, there have been years and years to make the returns on print comics better than a digital file; personally, I grew up tracing the heroes in my comics to learn how to draw. You can trade them, give them away, share them with friends and some days, just put them all in a big pile and roll around like a chinchilla (not recommended). I would be remiss if I didn’t talk about the big advantage that print comics have over digital: selling them. It would seem in the great debate that paper just covers digital comics for the win.
Comics fans have long been familiar with promotional comics, with everything from last year’s General Mills comics to the exultant Meatloaf comic in 1980s Marvel titles. And coming across the Robot 6 news desk is word of a new title aimed at kids and sponsored by the credit card company Visa.
Titled Avengers: Saving The Day,the one-shot title is intended “help introduce children to basic money concepts” according to the press release, which is a valid point considering how expensive it must be to be a super hero.
“In today’s increasingly complex financial world, we must find creative ways to help parents and educators teach children the fundamentals of money management,” Visa’s Jason Alderman is quoted in the press release. “A comic book with Spider-Man and the Avengers is the perfect device for making the sometimes dull subject of financial literacy entertaining and educational.”
The 16-page book is written by Generation Hope‘s James Asmus and illustrated by Andrew Di Vito, depicting the aforementioned Avengers team going after Mole Man during a botched heist attempt. According to that press release, the comic will be supplemented by a “teacher’s guide which introduces concepts such as budgeting, saving and banking.”
Personally, I’d love to see more about the financial habits and credit card bills someone like Spider-Man might rack up — first off, where would he carry a Visa card in that skintight suit of his?
Ah, the movie month of May! That lovely little month where everyone goes to the theaters to see the summer blockbuster season kick off! And here we are folks, just three months away from the Avengers, a movie even five years ago I thought couldn’t be made. Can you believe that Marvel Comics, a nigh-bankrupt company at the end of the 1990s, branched out into their own movie studio and not only made millions off of lesser-known characters such as Iron Man and Thor, but gathered them all together into one big film that’s one of the most anticipated movies of the summer? Really! Think about it for a moment and raise a glass to the folks at the House of Ideas because man. You’ve come along way, baby.
Anyhoo, back to the comics.
Looking over the Marvel solicitations for May 2012, they might seem kind of sparse, but do not let first glances deceive you. Sure, there’s not a lot of all-new books, AvX rolls along from its big debut last month and things seem kind of quiet on the western front, so to speak. But there is a lot of weird, fun and thoughtful issues headed out this merry month of May, and some stuff might even pass you by.
So what are we going to pick up as we beat a path to our local comic shop, whipped into a comic book-buying frenzy by the pageantry and action presented on the silver screen? Let’s take a look!
It was right about the time that Merlin stepped up to speak in the most recent issue of Thunderbolts that I had to check the cover and make sure I had picked up the right book. Don’t get me wrong, I love the Thunderbolts and have really seen them bloom into something rather special in the Marvel Universe, but there was this strange feeling in the back of my mind this issue. Something about how all the Thunderbolts had new Ren Faire costumes to fit into the Camelot scheme that were similar to their usual togs. Something about the casual guest star factor with the court of King Arthur (especially the Black Knight, I miss that guy!). Something about how all the characters worked together or didn’t, depending on the situation and the greater needs at hand.
But really, while listening to Merlin I suddenly realized that I had seen a story like this before. Not the exact same story, but going to Camelot, overcoming adversity, the comparisons between the heroes and the knights of old, even the stylish dress up factor made me want to go find old issues of “The Morgan Conquest,” the post-Heroes Reborn issues of the Avengers from Kurt Busiek and George Perez. It’s not too surprising that the T-Bolts would remind me of a by-gone era of Avengers lore. In fact, taking a closer look, there’s a lot to be said for this rag-tag team of super villains being taught redemption and their exploits in battling evil.
Could it possibly be that the oldest trick in the Thunderbolts book was becoming a reality?
If Twitter had existed back in the mid-1980s, things might have turned out differently for Jack Kirby and, ultimately, his heirs. Perhaps Marvel’s demand that he permanently sign away the copyright to all his work for them in return for very limited rights to his original art would have triggered the sort of online firestorm that scotched the Bank of America debit card fees, SOPA/PIPA, and the Susan G. Komen Foundation’s brief moment of collusion with the hard right. Then again, maybe not—the internet can be fickle.
A number of creators criticized Marvel’s actions at the time, and in the end they did soften a bit and come up with a deal Kirby could sign. More recently, Kirby’s heirs tried to claim ownership of a number of copyrights for characters he created, but the judge in that case ruled in Marvel’s favor without even going to trial. Now Change.org is giving it a second try, with an internet petition asking Marvel to make things right with Kirby and his heirs:
We strongly urge Marvel Entertainment and its owner Disney to acknowledge Jack Kirby’s authorship and primary role in the creation of these characters. As well, we urge Marvel to pay Kirby’s family royalties or other just compensation for the use of these characters and stories.
The petition calls on the signatories to boycott Marvel until that happens. So far, despite appearing on The Beat, the petition only has 229 signatures, which isn’t likely to move the sales needle enough for Marvel to notice.
Over what was most likely a perfect cup of Moroccan Mint green tea, Greg Rucka sat down for a discussion with Mark Waid and Steve Wacker about “The Omega Effect,” an upcoming crossover between The Avenging Spider-Man, The Punisher and Daredevil debuting in April.
In the story, the Man Without Fear will find himself in possession the Omega Drive, a file connecting five powerful criminal organizations — dangerous information that everyone’s going to want to get there hands on, right? That’s a well-used motive in our genre with the added twist of science; you see, Spider-Man is operating at the behest of Reed Richards, who invented the Omega Drive to begin with. So either Richards has been collecting dirty sheets on crime bosses in his spare time, or there’s something more delicate to what’s holding all this information in the first place. Remember all the math he used to keep in the basement telling him how to nudge society around? Yeah, this could get ugly.
That’s why we have the Punisher, who’ll go head to head with Spider-Man and Daredevil to put this information to good use — which, as we can guess, probably means shooting some fools. Waid and Rucka are more than willing to throw their supporting casts into the mix, as well as relevant story arcs that coincide with the trouble at hand. Spider-Man vowed that no one else would die on his watch, and that’s a hard vow to keep next to Frank Castle. Daredevil has had a long history with the Punisher, both falling on different sides of the very concept of justice. With his most recent fall from grace and return with a fresh attitude, how will the new Daredevil handle a man acting as judge, jury and executioner?
And the Punisher? Follow me on this one, guys, but what is Frank Castle going to get out of all of this?
(WARNING: Spoilers ahead for PunisherMAX #21 and Punisher #7, out this week. Grab your copies and follow along!)
Did you know that there is a U.S. government website to help you complete common New Year’s resolutions? Seriously, take a look; it’s the “U.S. Government’s Official Web Portal” and there’s a lot of benign but helpful info about getting a passport or a story about a wedding dress made out of a parachute, but yeah, in the middle of that is a helpful list of the most common New Year’s resolutions with links to a website or brochure that could offer helpful information and suggestions.
Last year, when I carved my own New Year’s resolutions into internet stone, I was incredibly thankful for the comments left with the list. Helpful and commiserating readers shared ideas on how to succeed, suggestions on what to read and joined in fist-shaking at the lure of Apple products. So while I may not know how much your savings bond has gained interest, I can help out with some simple comic book reading resolutions and hopefully can inspire others to make their own. I also have a kick ass cosplay pic in lieu of a touching WWII wedding tale. So there’s that.
Want to know which resolution I miserably failed at last year? Keep reading, true believers!
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[Previously on The Grumpy Color's 2011 roundup: Tom and Carla sat down to discuss DC and Marvel's corporate movements, how much cat-burglars love underwear, and how DC events progressed throughout the year to tumble right on into the New 52. Join us, won't you, as Tom has asked if, in light of the success of DC's reboot, Marvel will follow that lead with "Season One" and the Point-One projects, or perhaps something more... drastic?]
Carla: Oh Tom, you are adorable.
You see, Marvel did this thing, you might have heard of it: the Ultimate universe? It’s our having our reboot cake and eating our rich continuity other cake too. Two-fisted cake, sir! We can renovate and innovate to our heart’s content, rework the Avengers into the Ultimates, recostume everyone on the X-Men into a slicker, movie finish and draw readers in with a fresh setting and start. Meanwhile, business as usual can continue in our regularly scheduled books, and everyone should be fat and happy on delicious comics cake.
[Continuing their yearly tradition, Tom Bondurant and Carla Hoffman have joined forces to compare notes on the the relative fortunes of DC Comics and Marvel Comics. Here is Part 1 of 2.]
Tom: Okay, old chum, if it’s late December it must be time to wrap up 2011 and usher in 2012. It’s the New 52 versus dozens of Avengers and Spider-Man titles! Christopher Nolan, David Goyer, and Christian Bale versus Joss Whedon, Andrew Garfield, and Earth’s Mightiest Heroes! High collars versus Point Ones! Judd Winick and Guillem March’s Catwoman versus … who, exactly?
Carla: I read Catwoman #1 and stopped there so this analogy is lost on me. Don’t go where I can’t follow, Frodo.
Tom: That was a dig at Marvel’s lack of female-lead titles….
Carla: Oh! I thought it was about our underwear-clad heroines. She-Hulk and Emma Frost have been flashing their bras at people since the 80′s! And don’t get me started on the Black Cat, how many female creative people we have, etc. etc. =D
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You’d be surprised by how many people don’t know how comics “work.” Really. Moms and aunts mostly, but a few granddads slide in or brothers or other assorted family simply don’t know or choose not to know. Mind you, it’s a little tragic to say that how comics work is unfathomable to anyone who, I don’ know, has functioning sight and understands how to read. You would think that the average Christmas shopper would be able to figure this out, but I stand before you as a retail clerk from a local comic shop and can announce with some shame that “how comics work” is apparently one of the mysteries of the universe.
With this in mind, it’s a little easier to understand how pop culture has accepted our sequential art and storytelling style. Comic book movies and TV shows (as we’ve gotten them in the new millennium) traditionally start at the beginning. People want to be there as our hero dons a mask for the first time or witness the tragedy of Uncle Ben’s death with them, any moment in which mortal man becomes …well, super. The idea that the new Amazing Spider-Man movie could bear the words “The Untold Origin” seems ludicrous since I’m pretty sure this is an origin well explored. But here we are anticipating a new story that’s the same story promising new information on what we already know.
Why? Because comic books are an impenetrable wall that no mere mortal can scale. Despite the fact that the tools are simple, despite the fact that basic characters and story concepts are now known around the world by the mass market, comics remain confusing. To the general public, the common knowledge may be there, but understanding lives underground with the Morlocks and Mole Men.