Marvel Comics Archives - Page 2 of 27 - Robot 6 @ Comic Book Resources
Every year ROBOT 6 contributors Tom Bondurant and Carla Hoffman get together to talk about everything in Big Two superhero comics. Watch for Part 2 on Thursday.
Carla: Is it me or was 2013 crazy-busy? There were event comics, new titles, canceled titles, movies (plural for Marvel!), TV shows and video games. It seems like there’s no escape from comics, making it harder and harder to get a general idea of the industry. Some days I kind of envy the indie comic fans as it must be a lot easier to handle comics as they come, as opposed to our gestalt juggernaut that is the Big Two. How much DC business could you comfortably follow before overwhelm set in?
Tom: Well, for starters, I pretty much skipped all of the video game and Cartoon Network developments, because I don’t have time for either area.
As part of All-New Marvel NOW!, veteran artist Lee Garbett will team in February with writer Al Ewing for Loki: Agent of Asgard, a series the god of mischief is fully grown and in the service of the All-Mother. More immediately, however, Marvel is setting the stage for the initiative with All-New Marvel NOW! Point One #1, a one-shot that arrives Jan. 8 with a Garbett-drawn Loki serving as the thread that brings together all of the stories.
In my interview with Garbett, the artist clearly relishes the opportunity to draw Asgard’s new “one-man secret service” as well as work with Ewing. ROBOT 6 is also pleased to provide an exclusive page from the upcoming All-New Marvel NOW Point One.
Because this space is normally reserved for DC Comics and its stable of characters, you might think a post on Miracleman goes a little outside the lines. However, Miracleman was based on Captain Marvel, who is a DC character in the same way that Miracleman is now a Marvel character: the wonderful world of intellectual-property rights. That’s just one of several traits the two features share, so today I’ll be comparing and contrasting. I’ll also consider whether Marvel’s upcoming Miracleman revival could affect DC’s latest version.
Miracleman (under its original name of Marvelman, but you knew that already) started out as a way to hold onto British readers of Captain Marvel when the latter closed up shop in the mid-1950s. In that form, the series lasted until 1963. In 1982, writer Alan Moore headed up a revival that started by updating familiar elements, but ended up going off in a decidedly different direction. As reprinted, renamed, and subsequently completed in the United States, Moore’s Miracleman (from Eclipse Comics) filled 16 issues, give or take some reprints, and came out over the course of about four and a half years (cover-dated August 1985 to December 1989). Moore’s artistic collaborators included Garry Leach, Alan Davis, Chuck Austen (under the name Chuck Beckum), Rick Veitch, and John Totleben. From June 1990 to June 1993, Eclipse published eight more issues, written by Neil Gaiman and drawn by Mark Buckingham, and an anthology miniseries (Miracleman Apocrypha) came out from November 1991 to February 1992. For various reasons, though, no new Miracleman has seen the light of day for over twenty years.
That’s all about to change, starting with January’s reprints from Marvel. It remains to be seen whether today’s readers will be interested in 20- to 30-year-old stories from a writer whose popularity isn’t what it once was, and which will apparently be reprinted initially in a somewhat-pricey format. Additionally, Miracleman has turned into much more of an “Alan Moore book,” as opposed to a Captain Marvel parody. Therefore, its return doesn’t strike me as the sort of thing which will automatically generate more interest in Captain Marvel; but their similarities (and even some of their differences) can be instructive.
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In what is sure to be a paper-saving initiative, Marvel Comics will offer copies of its Marvel Previews catalogue on the Marvel Comics Digital App beginning November 6. A digital download of the catalogue will also come bundled with any digital download code in the publisher’s print comics. It will transition to a free download for all users the month its contents are on sale.
Marvel is currently the only publisher to have a catalogue separate from the massive monthly tome of Diamond Previews, the catalogue from which retailers can plan which issues and products they plan to order. Previews contains solicitations for products set to hit in three months, giving retailers and fans an advanced — if somewhat ambiguous — look at what to expect in the coming months. Marvel Previews is available free with purchase of the main Previews catalogue, or for $1.99 by itself.
When the art for Joshua Hale Fialkov and Leonard Kirk’s “Hunger” was released earlier today, the Adi Granov-illustrated covers had a slightly different treatment from what we’ve seen since the publisher’s Marvel NOW! initiative launched. Nestled in the red band at the bottom of the cover is the phrase “Share Your Universe,” positioned directly next to the now-familiar “Bonus Digital Edition” bug.
With Marvel referring to its online Fan Network as “Your Universe” for some time now, and the word “share” is linked to various social networking mediums, the possibility also exists that the publisher is gearing up to launch its own social media network. Of course, the phrase’s proximity to the digital comics logo could give fans the impression that the House of Ideas may be actively encouraging those who buy print copies of their purchases to share the codes with other readers.
When approached by ROBOT 6, Marvel was tightlipped about the new cover addition, simply stating, “As some press noticed in a recent retailer update, Share Your Universe is something important that we’re announcing in July.”
Passings | Silver Age artist Dan Adkins died earlier this month at the age of 76. Adkins, who began with self-published zines before becoming a freelance illustrator, served as Wally Wood’s assistant. As a member of Wood’s studio, he was one of the original artists for T.H.U.N.D.E.R. Agents. Adkins was a prolific penciller and inker for numerous publishers, from DC Comics and Warren Publishing to Harvey Comics and Marvel, notably drawing 132 covers for the latter. He talked in detail about his career, and working with Wood, in this interview with Alter Ego. [News from ME]
Kickstarter | Jeff Yang analyzes why Jonathan Coulton and Greg Pak’s Code Monkey Save World Kickstarter, which started with a single Tweet, was destined for success, and he talks to both creators about how it came to be. [Speakeasy]
Conventions | The Orange County Register previews WonderCon, which returns this weekend to Anaheim, California, and selects some of the highlights from the programming schedule, including panels dedicated to “Batman: The Zero Year,” The True Lives of the Fabulous Killjoys, and Joss Whedon’s Much Ado About Nothing. [Orange County Register]
Conventions | The Detroit News runs down the upcoming slate of Michigan conventions dedicated to comics, anime, fantasy/sci-fi, horror and collectibles, ranging from Shuto Con to Kids Read Comics! to Detroit FanFare. [The Detroit News]
Digital comics | Vertical Inc. becomes the latest manga publisher to take the plunge into digital, beginning with the release of three series: Twin Spica, Drops of God and 7 Billion Needles for Kindle, Nook and iBooks. [Anime News Network]
Conventions | Fables creator Bill Willingham is the host of this weekend’s Fabletown and Beyond convention in Rochester, Minnesota, focusing on “mythic fiction.” He and organizer Stacy Sinner give a preview of what is to come. “I’m the host of the event, which means I get a lot of people to do the actual hard work, while I sit back imperiously on my throne and say ‘Yes,’ to this, and, ‘No,’ to that,” Willingham said. “The downside is, of course, I also have to write the checks.” [Rochester Post-Bulletin]
At the end of every year, ROBOT 6 contributors Tom Bondurant and Carla Hoffman get together over the e-mail tubes and talk Big Two comics. Part 1 is here.
Tom: Something I’ve been curious about, off and on — what did Metro‘s customers think of the Man of Steel trailer? What do you think the average superhero fan wants out of a Superman book?
Carla: It’s mixed. It really is, some love it, some are grumbly and already ready to complain. I think what the average superhero fan and what the general fan wants are entirely different. Superman’s a difficult character to get right because of his status as a cultural icon and how much that character can mean to different generations. Some people just know Smallville and, at least from the trailer, it doesn’t even seem to be that. [Producer Christopher] Nolan’s influence looks pretty strong and, as much as formula might work in the Avengers movie mythos, the same style and tone for Batman really doesn’t jibe with the Man of Steel. Well, for me. Others might totally want a deep, emotional connection to an outsider and an outcast. Mind you, I’d tell them there are some great X-Men comics out there, but eh, what do I know? It’s a trailer, and very hard to judge on what the movie is going to be like when we see the full thing this summer.
What do you think the Man of Steel trailer is all about? What kind of Superman do we need in the new millennium?
Tom: To me, the basic Superman approach is that Superman always does the right thing. It’s not about the powers. The powers just underscore that he can do whatever it takes. So it’s easy for Superman to punch something, or fly into the sun. The question should be, how can he do what’s right? I think that applies regardless of millennium.
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At the end of every year Carla Hoffman and Tom Bondurant exchange emails about the fortunes of the Big Two. Look for Part 2 on Wednesday!
Carla: Here we are, heading toward the year the Mayan calendar might not have thought would ever come: 2013. The future gets closer and closer! Technology advances! Politics change! And yet, comic books are still here. How cool is that? It’s been a heck of a year, full of ups and downs, movie premieres, new #1 issues and the never-ending race to produce better, faster comics.
I have to admit, Image has been doing a really great job keeping up with the Big Two, producing award-winning books in a variety of formats and getting involved in TV to draw new readers into a wide array of comic book genres. But we’re not here to talk about them! We’re here for the greatest shows in town, the Merry Marvel Marching Society and … our Distinguished Competitors.
My first question is kind of a no-brainer: How’s the New 52 treating you these days? And, after a year, is it still the “New 52″?
Tom: Well, as a practical matter, it’s the “New 52″ for as long as DC wants it to be. Actually, I think I have stopped seeing that little blurb on the covers. I happened to look at Aquaman #15 yesterday, kind of out of the corner of my eye, and was surprised it was there. Part of me thinks that it could confuse those hypothetical new readers, but then I thought that about “Earth One,” and that doesn’t seem to have hurt those books.
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During the 1960s creation of Marvel Comics, when Jack Kirby, Stan Lee and Steve Ditko conceived the core stable of characters and the emerging shared-setting of the Marvel Universe, the line’s writer/editor/spokesman Lee created a fictional Marvel Bullpen.
Based on the crowded, raucous studio environment of the Golden Age, which Kirby actually worked in and Lee essentially interned in, Lee’s Bullpen presented he and his collaborators and employees as a big happy family, joyfully creating comics for their young readers an environment that could seem as fun as working in Santa’s workshop.
At the time of its creation, Lee’s fantasy might have been a pure invention (although later, after Kirby and Ditko left the publisher and Lee was promoted out of his hands-on control of the line, such an environment would occasionally come into existence, depending on the year, the employees and the owner at the time), but it did hint at an aspect of reality.
The characters who were making Marvel comics were in many ways just as colorful and talented as the characters starring in them; the story of Marvel Comics is at least as exciting as any story in Marvel comics. And, in a very real way, Sean Howe’s book Marvel Comics: The Untold Story is probably the Marvel story of the year—bigger, more epic and with greater conflict and drama than Fear Itself or Avengers Vs. X-Men or even that billion-dollar feature Marvel Studios released over the summer … the movie’s monstrous success being what gives Howe’s book a sort of validating end-point, a raison d’etre; to both Lee’s decades-long ambition to see Marvel characters on the big screen, and owner after owner’s ambition to become very, very rich off the heroes Kirby and company created.
The Marvel NOW line-up continues to roll out first issues galore, with this past Wednesday bringing the snappiest-looking relaunch so far–FF #1 by Matt Fraction, Michael Allred, Laura Allred and Clayton Cowles. The sister title to Marvel’s original first family, FF #1 features a hand-picked replacement team that’s needed to fill in for Reed and company for a whole four minutes. What could possibly go wrong?
If you were on the fence about the title, here are a few opinions from around the web to help you decide which way to fall:
Ryan K. Lindsay, Comic Book Resources: “FF #1 looked to be the wildest book of the Marvel NOW! line up: Matt Fraction and Michael Allred on a crazy new science team for the Fantastic Four world. It was one of those books that was either going to be too good to be true or belly flop hard. Unfortunately, this issue doesn’t give much of an indicator either way except to leave worry it’s not off to a dazzling start — not that it feels like it’s started yet.”
Machine Man has had a pretty good career in comics. One of those trendy sort of alternative careers where he’s filled in on guest spots, played with cyberpunk in the ’80s, a bad-ass mission to kill in the late ’90s (along with one of the most important philosophical roles in Earth X), a good dose of cynicism and humor with Nextwave. Heck, he even fought zombies, which is the trendiest of things to do in fiction right now!
Because he’s been sort of a unique cypher for the writer and reader, I think Jack Kirby would be proud of his creation. I say this as if I would know anything about Kirby personally, but in a way, thanks to some amazing moments in the original pages of Machine Man under his pen, I think I just might know something of the King. Machine Man had a lot of questions in his creation, a sort of philosophy on man and humanity. Within the pages of gorgeous, larger-than-life art, Kirby himself invited us to answer the questions he posed in the story.
I’m three days late, but what can you do? You can take a little time with me and look back at the weird and the wonderful idea that started as “The Machine — As the Dude Next Door.”
WARNING: We’ll be talking about the first volume of Machine Man, written by the King himself! So find a copy and read along …
The Marvel year sort of ends in November, doesn’t it? Looking back, it seems like this is the month of fallouts from events, the rebirth of familiar titles, a new banner emblazoning our books, the loss of a few under-the radar hits. Everything changes, whether we like it or not, and the cycle begins anew right around the holiday season. I’m jumping back on the “Forward into the Past” arena with one of the more important times of year: August, when we talk about November like it’s January of next year. Confused? Me too. But hopefully if we just keep in mind how this usually goes, we’ll be able to fit right in as the old guard becomes the new guard and we lose Avengers Academy.
We should form a support group, you guys. That book has been my bright and shining star of Avengers hope for so long, I’m not sure what I’m going to do without it.
Hold back those tears! Let us forge ahead and see what these Days of Future’s Future might look like in Marvel’s solicitations for November.
Alimagno was at Marvel from 2009 to 2011, and during that time he helped to establish a system of colorists pinch hitting on deadline crunches. But perhaps more significantly, he helped foster a house style based not on a specific penciler’s style but on a color palette he nicknamed “the perfect sunset” palette.
“From my time at Marvel, the editors valued colorists with warmer palettes rooted in playing off reds and oranges and lighter yellows and blues. Led by Richard Isanove, Laura Martin and Justin Ponsor, this style set the tone for the entire line and gave Marvel’s comics a much more inviting look and feel than most of the DC Comics line.”
This kind of consistent color tone could also help other books stand out when they broke the pattern. As he explains, Dean White’s work on Uncanny X-Force, which went against this palette by using whites, helped turn a lot of heads to Jerome Opeña’s art. The next time you’re at the comic shop, take a look at Marvel’s new releases and see if you can identify what palette is being used.