INTERVIEW: Gail Simone Guides 'Blockbuster Update' of Red Sonja, Vampirella and Dejah Thoris
With the move of DC Comics’ editorial department from New York City to Burbank, California, rapidly approaching, Wednesday brought news of one DC editor who’s staying on the East Coast while switching publishers: Rickey Purdin, a DC Comics associate editor, has moved to Marvel as the company’s new talent manager.
“I can’t express how thrilling it is to join Marvel after so many years of reading these comics and being shaped by the characters, stories, and creative teams,” Purdin said in a statement. “Aiding Marvel’s extremely talented editorial team is a dream come true and incredible developments are already in the works.”
Students of DC Comics’ publishing history can probably rattle off at least a few editors from the company’s first few decades. Whitney Ellsworth edited the Batman and Superman books in the 1940s and ‘50s before becoming a producer on the Adventures of Superman television series. In the Silver Age, Mort Weisinger presided over an exponential expansion of Superman’s mythology, including all those varieties of Kryptonite, the introductions of Supergirl, Krypto and the Legion of Super-Heroes, and ongoing series focused on Lois Lane and Jimmy Olsen. Similarly, as editor of the Batman titles, Jack Schiff supervised one of the character’s most recognizable periods, filled with colorful mysteries and giant-sized props.
Of course, the phrase “Silver Age DC” is virtually synonymous with Julius Schwartz, who worked with writers Gardner Fox and John Broome and artists Carmine Infantino, Mike Sekowsky and Gil Kane on rebuilding DC’s superhero line. One could argue fairly reasonably that without them DC Comics as we know it today might not exist (and neither would today’s Marvel).
However, while Ellsworth became DC’s editorial director in 1948, Schwartz Schiff, and Weisinger weren’t in similarly lofty positions. Today we readers hear a lot about “editorial control” and the dreaded “editorial interference,” charges aimed largely at the men at the top: Editor-in-Chief Bob Harras, Co-Publishers Dan DiDio and Jim Lee and Chief Creative Officer Geoff Johns. We hear a lot from them (illuminating and otherwise) about the general direction of the company. We also hear a good bit from various writers and artists, including Johns and Lee, regarding specific titles.
Nevertheless, on the management tier in between are the books’ editors themselves; and that’s the area about which I’ve become rather hazy. Therefore, I started looking through New 52 credits boxes, and supplementing this research through the Grand Comics Database, to see who was editing what.
As 2009 draws to a close we’re practically awash in Best Comics of the Year and/or Decade lists. But when it comes to breaking down the books that made a difference this decade, there’s more than one way to skin a cat, and a pair of sites have developed novel approaches to the traditional decade-ender.
First up is Tom Spurgeon, The Comics Reporter. This year he’s aiming his annual Holiday Interview Series squarely at “emblematic” books from 2000-2009 — “by which we mean favorite, representative or just plain great” — by hosting discussions with a series of critics, each one focusing on one particular book. So far he’s tackled Mat Brinkman’s monster-mash Multiforce with writer/artist/critic/bon vivant Frank Santoro, and Craig Thompson’s rapturous romance ‘n’ religion memoir Blankets with me. Further installments will roll out on (I believe) a daily basis until the New Year. If you’re the sort of person who loves to really dig into what makes a great graphic novel tick, these are for you.
Next we have Marvel’s Ben Morse, DC’s Rickey Purdin, and CBR’s own Kiel Phegley, who collectively park their online presence at The Cool Kids Table. In their ongoing look back entitled “Our Comics Decade,” the trio take a look at one comic per year that impacted their view of the medium. So far they’ve covered 2000, 2001, and 2002, and recounted their experiences with books ranging from Scott Lobdell’s Uncanny X-Men to Jeffrey Brown’s Clumsy. Personal and aesthetic history have a tendency to mix and match in unexpected and interesting ways, and it’s fascinating to watch these guys spill the beans on how it happened in their lives in such a methodical way.
So go, click the links and curl up with (a good post on) a good book…