Axel-In-Charge: Navigating the "Civil War II" Landscape, Bringing DMC to Marvel
Spider-Gwen — an alternate universe take on Gwen Stacy where she, not Peter Parker, receives powers from a radioactive spider — was an overnight sensation after debuting last year in Marvel’s “Edge of Spider-Verse” #2, in large part due to the stylish (and notably practical) costume design by artist Robbi Rodriguez. In what feels like a natural next step, that design has inspired a new collection from fashion-forward, genre-centric clothing merchandiser WeLoveFine (as modeled by Meredith Placko and Michelle Nguyen in the above photo), consisting of hoodies, leggings and even a Spider-Gwen-patterned cardigan.
In September 2014, when readers first met Spider-Gwen in Edge of Spider-Verse #2, I expressed a desire that the Spider-Verse crossover event would not be the last folks would get to enjoy the adventures of the alternate Marvel universe (Earth-65) with a living Gwen Stacy. In fact, I speculated “judging by the creative team’s eagerness to do this one-shot, I imagine they could easily be persuaded to do far more than one issue.” Just how much more they were ready to do became delightfully obvious this week with the launch of the new Spider-Gwen ongoing.
I’m already jealous of those attending the Feb. 28 release party for Spider-Gwen #1 at Heroes Aren’t Hard to Find in Charlotte, North Carolina, and not only because it boasts an appearance by creators Jason Latour, Robbi Rodriguez and Rico Renzi, and and an after-party performance by Texas indie band Married With Sea Monsters (aka The Mary Janes).
You see, the event also features the release of an exclusive 7-inch white vinyl of “Face It Tiger” by The Mary Janes, with gorgeous art and design by Rodriguez and Renzi. The jacket itself is suitable for framing, but add the record and, well … I’d like multiple copies, please.
Conventions | Following reports that New York Comic Con attracted 155,000 attendees this year, surpassing Comic-Con International’s 133,000, Kerry Dixon scrutinizes producer ReedPOP’s counting system and finds it leaves “a lot of room for guesswork and error in attendance size”: “So did New York Comic Con beat out San Diego to take over the title of the largest pop culture and comics convention this side of the globe? Well, not really.” [Unofficial SDCC Blog]
Publishing | Filip Sablik, BOOM! Studios’ president of publishing and marketing, talks about the company’s new offering: a $20 bundle of 50 kids’ comics that can be handed out to trick-or-treaters. The selection includes Adventure Time, Peanuts, Garfield and other comics from the kaBOOM! line. [Comicosity]
[Editor’s note: Each Sunday, Robot 6 contributors discuss the best in comics from the last seven days — from news and announcements to a great comic that came out to something cool creators or fans have done.]
As Tim mentioned earlier today, the “Spider-Gwen” character that debuted in Edge of Spider-Verse #2 last week has resonated with fans in a way we haven’t seen since … well, since the recent redesign of Batgirl. Writer Jason Latour was sharing fan art of the character on his Tumblr long before she debuted last “Gwensday,” as people really got into Robbi Rodriguez’s design of the alternate universe Spider-Woman.
As a huge Jason Latour fan I give him credit on the marketing front; he successfully pumped many folks (including myself) to be quite enthused about Edge of Spider-Verse #2 featuring another universe’s Gwen Stacy as Spider-Woman.
But when I finally got the issue, what surprised me is the aspect I loved most about the series. Despite the fact it is a universe where Gwen’s father is very much alive (and many other engaging narrative aspects–including a potentially very different kind of Matt Murdock)–it is the eyes of the Spider-Woman costume that really proved to be my favorite part. This may surprise, but let me explain.
The Irish company that prompted Vertigo to change the title of the new series by Simon Oliver and Robbi Rodriguez from Collider to FBP: Federal Bureau of Physics is now hoping to exploit the situation to its own advantage.
Trumpeting its victory in “a battle against DC Comics/Vertigo,” the Dublin-based beActive issued a press release Tuesday promoting its own Collider while gently chiding the American publisher for its lack of diligence. “The Irish company published the COLLIDER comic book series worlde [sic] in 2012, therefore claiming ownership of the brand,” the release states. “In January 2013, COLLIDER even made the TOP 5 on Comics Plus, the largest online comic book store in the U.S.”
While it’s not unheard of for a publisher to change the name of a comic before publication because of a trademark conflict, in this instance, the announcement came more than a week after the release of Collider #1.
As Oliver recounted last week to Comic Book Resources, “The first issue’s printed and being loaded on the trucks and we get a call from legal to tell us that someone else, on the other side of the globe says that they have creative dibs on the name ‘Collider’ and we have to change our title.” The second issue, out Aug. 28, will bear the title FBP: Federal Bureau of Physics.
Conventions | Boston Comic Con is coming this weekend, and founder Nick Kanieff talks about how it has grown from 900 attendees at the first con, in 2007, to an expected 15,000 for this year’s event, which was rescheduled because of the Boston Marathon bombings. [MetroWest Daily News]
Publishing | Denis Kitchen discusses the return of Kitchen Sink Press to publishing as an imprint of Dark Horse. It kicks off in December with an anthology, The Best of Comix Book. [Publishers Weekly]
Creators | Peter Steiner’s cartoon, captioned “On the internet, nobody knows you’re a dog,” is the most-reproduced cartoon in the history of The New Yorker. On the 20th anniversary of its publication, Steiner looks back on its creation, which came about almost by chance, and the ways the world has changed in the interim. One interesting nugget: The most-reproduced cartoon in The New Yorker has brought its creator a total of $50,000 in royalties over the past 20 years. [Comic Riffs]
Tank Girl returned to shelves on Wednesday in the form of Solid State Tank Girl #1 from Titan Comics. Perhaps coincidentally, but probably not, the artists at Ashcan Allstars have been celebrating Tank Girl week.
There’s some good work there — Tank Girl is a hard character to get right, tonally. Alan Martin’s signature character may have inspired a generation of Suicide Girls, but it’s hard to find an instance in her comics where her sexiness is ever being used in an exploitative fashion. Sure, there’s loads of gratuitous female and male nudity in the back catalog, but it’s almost certainly there for comedic reasons rather than titillation. So any artist attempting to draw the character as a straight-up cheesecake pin-up is completely missing the point. By and large, the Allstars have mainly got it right, but I’ll let you be your own judge of who’s been successful and who hasn’t — there’s a gallery of examples after the break.
Creators Alex Grecian, Jeremy Haun, B. Clay Moore and Seth Peck have launched a Kickstarter campaign forBad Karma, a 200-page anthology featuring comic-book stories, prose and illustrations by those four and their collaborators.
The assembled talent is impressive indeed, working on five main stories: “Middleton” by Grecian and Phil Hester; “Chaos Agent” by Haun and Mike Tisserand; “Old Dog” by Moore and Christopher Mitten; “Hellbent” by Peck and Tigh Walker; and “The Ninth Life of Solomon Gunn” written by Grecian, Haun, Moore and Peck, and illustrated by Haun. These strips, all stylistically different and set in various time periods, all threaten to coalesce into a larger narrative: “Each of these concepts is separate from one another, designed to stand on their own, but there are subtle threads that run through each. One of these threads is the presence of the Kraken Corporation, a mysterious organization whose activities play a part (whether large or small) in each story.”
If you’re looking for some comic relief from the heat and the pre-Comic-Con stress, do yourself a favor and read “Spring Break Wolverine,” a completely unauthorized, and totally terrific, comic by Jason Latour and Robbi Rodriguez that’s already been dubbed a “love letter to Wolverine.” As the title hints, the eight-page story that finds Logan entering a Daytona Beach bar at precisely the wrong time — spring break — to hilarious, and bloody, results.
Check out some of the pages below, and visit the Spring Break Wolverine blog to read the entire story. Note, however, that it’s not entirely safe for work.
If the first day of the Chicago Comic & Entertainment Expo was dominated by announcements from Dark Horse and DC Comics, then the second day belonged to Marvel, which followed through on its teaser for a new series, revealed an Icon relaunch, and shuffled some creators. Here are some of the highlights from Saturday (along with a couple of holdovers from Friday):
• As usual, the “Cup O’ Joe” panel was where Marvel rolled out its biggest publishing announcements, beginning with confirmation that the teaser released last week is indeed for a Hawkeye ongoing series reuniting The Immortal Iron Fist collaborators Matt Fraction and David Aja. In the title, which debuts in August, Clinton Barton will be accompanied by fan-favorite Young Avenger Kate Bishop as he fights organized crime in New York City. “It’s very Avengers, by which I mean John Steed and Emma Peel. There’s a whole healthy person between the two of them,” Fraction told Comic Book Resources. “There’s a line in Rocky where he says, ‘I got bumps. You got bumps. Together we fit,’ or something like that — the two of them fit together. Each one has what the other doesn’t, which means they work very well together. She’s young, incredibly gifted, incredibly cultured, and incredibly headstrong. She doesn’t suffer his crap and also wants to be someone worthwhile, but she’s trying to figure out how to make that possible. She follows him not because of his abilities, but his accomplishments. So they work together quite well. It’s an apprentice and master style relationship.”