Ron Marz Archives - Page 2 of 3 - Robot 6 @ Comic Book Resources
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.
Publishing | ICv2 sits down for a three-part interview with DC Comics Co-Publishers Jim Lee and Dan DiDio that takes the long view of the past year, covering the launch of the New 52, the effect of digital and the loss of Borders, and the recent discussions around creators’ rights. “It’s a cyclical thing. It’s an issue that constantly comes back,” DiDio said. “We hear about the great jobs and the great books that creators might participate in, but what we don’t hear about are all the books we’ve invested in over the years that never delivered, where we’ve invested in the talent and the time to make sure they had the opportunity to tell the stories they tell. It’s a very big picture, and it’s a very complex issue that can’t be boiled down. One thing I feel the most strongly is that I feel extraordinarily confident that we do everything we can to make this a very creator friendly company, to make sure they have an opportunity to tell the stories they want to tell with our characters and also in their creator owned stories too.” [ICv2]
Creators | How did Darwyn Cooke get involved with the Before Watchmen comics? “I was kind of dragged into it kicking and screaming by [DC Comics Co-Publisher] Dan DiDio. He had been discussing this for what does amount to several years now, and the first time he had approached me about it, I had actually turned it down simply because I couldn’t see doing anything that would live up to the original. And, it was about a year later, the story idea that I’m working on now sort of came to me and I realized that there was a way to do the project, and I had a story that I thought was exciting enough to tell. So I phoned Dan up and said, ‘Hey, if you still got room, I’m in.'” [Rolling Stone]
Creators | Ron Marz discusses Prophecy, his upcoming comic that turns the whole Mayan calendar thing into a crossover event that will bring together an eclectic group of characters, and defends the idea of crossovers in general: “If your objection is “they’re not in the same universe,” or a crossover somehow offends your sense of continuity, I’d suggest you’re missing the point. More than any other medium, comics are about unfettered imagination, about making the impossible possible. If you’re going to let some perceived “rules” prevent you from telling an exciting story, you’re just not trying very hard. Having a sense of wonder, of discovery, is much more important than following some set of perceived rules and regulations.” [MTV Geek]
The Eisner nominations are taking some criticism for leaving out the Best New Series category this year. The rationale for the decision is that the judges “didn’t find enough contenders that reached the level of quality they were looking for,” but folks like Ron Marz and Phil Hester think they weren’t looking very hard. On Twitter, Marz said, “We are comics; we do NEW better than anyone.” And as Kevin noted earlier today, Hester observed that “you could throw a rock through artists’ alley at SDCC and hit a full slate of worthy Best New Series nominees.”
Even as I’m agreeing with both of those statements, I also love Marz’ suggestion of something positive that we can do. “Nothing stopping the rest of us from recognizing New Series. If you like something, tell everybody about it!”
That’s a great idea and I’ll start by mentioning Daryl Gregory and Carlos Magno’s Planet of the Apes as my own nomination. But please oh please fill up the comments section with your own. What’s the Best New Series you read in 2011?
Publishing | Four months in, the DC Comics relaunch seems to be a success. The most recent sales figures show Justice League #1 selling more than 360,000 copies since August, and Batman #1 and Action Comics #1 selling more than 250,000. By contrast, Marvel’s strongest seller was Ultimate Spider-Man #160, which was in the 160,000-copy neighborhood. These figures seem to reflect sales in the direct market only; it would be interesting to see how many digital copies have been sold. [The Hollywood Reporter]
Awards | Nominations are open for this year’s Eagle Awards. [Eagle Awards]
Retailing | San Francisco retailer Brian Hibbs shares the top-selling graphic novels in his store for 2011, by units and by dollars. [Savage Critics]
Retailing | Christopher Butcher looks back on the events of the past year in the comics store he manages, Toronto’s The Beguiling. [The Beguiling blog]
Sales | The comic book market was up more than 19 percent in November when compared with the same period last year, with comics up 23 percent and graphic novels up 12 percent. So far this year the comics and graphics novel market is up 1.87 percent versus the first 11 months of 2010. If December cooperates, this could be the first up year for the market since 2008.
DC Comics was once again the top company in terms of market share. The company took six of the top 10 spots on Diamond’s Top 100 Comics list, with Justice League #3, Batman #3, Action Comics #3, Green Lantern #3 and Marvel’s Point One #1 making up the top five comics of the month. Batman: Noel took the No. 1 spot on the Top 100 Graphic Novels list. [The Comichron]
Publishing | IDW Publishing has promoted Chief Operating Officer Greg Goldstein to president, with a focus on new markets and acquisitions. He joined the company in 2008 from Upper Deck. [ICv2.com]
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.
As we’re heading towards the middle of August, it’s no surprise that curiosity is getting me to pick up more than a few DC books just see how particular series “end;” I’d be getting Justice League of America #60 and Legion of Super-Heroes #16 (both DC, $2.99) anyway, because I’ve been following those series for awhile, but I’m likely to add Batman #713 (DC, $2.99) to the pile as well, if only to see the explanation as to why Dick quits being Batman before the big relaunch. But it’s not all endings for me with my $15 this week; I’d also make a point of grabbing Daredevil #2 (Marvel, $2.99), because the first issue was just breathtakingly good, and the series became a must-read before I’d even reached the last page.
If I had $30 this week, I’d add to my list of DC final issues with Supergirl #67 (DC, $2.99), which Kelly Sue DeConnick has talked up in interviews as being the highpoint of her short run to date and a great capper to the series as a whole. I’d also check in with the third issue of David Hahn’s All Nighter (Image, $2.99), as well as see if Nick Spencer’s Iron Man 2.0 is worth a look with the mini-collection of the first three issues, Iron Man 2.0: Modern Warfare (Marvel, $4.99).
Movies | National Public Radio commentator John Ridley critiques Hollywood for being even less diverse than the Big Two when it comes to diversity in lead characters, and demolishes their blame-the-audience theory that white people won’t go to see a movie with a black lead by pointing to a study by Indiana University professor Andrew Weaver: “Weaver found that white audiences tended to be racially selective with regard to romantic movies, but not necessarily when it came to other genres. So, sorry, Hollywood. You can’t blame it on the ticket buyers.” [NPR]
Creators | Becky Cloonan talks about the joys and the hardships of being a full-time comics creator: “Comics are hard work. Comics are relentless. Comics will break your heart. Comics are monetarily unsatisfying. Comics don’t offer much in terms of fortune and glory, but comics will give you complete freedom to tell the stories you want to tell, in ways unlike any other medium. Comics will pick you up after it knocks you down. Comics will dust you off and tell you it loves you. And you will look into its eyes and know it’s true, that you love comics back.” [Becky Cloonan: Comics or STFU]
We’ve known for a few weeks now that some writers were attached to titles in DC Comics’ upcoming relaunch, only to find themselves shuffled off even as the official announcement was made. While some creators have spoken openly about the hurried, and somewhat-confused, pitch and rejection process, the names of other writers, and the corresponding titles, have been a mystery.
But with the launch last night of the publisher’s new landing page for “DC Comics: The New 52,” ComicsAlliance discovered that some of the original creators were, at least briefly, listed among the issue descriptions, providing evidence of the original plans. There’s confirmation of Brian Wood, instead of Michael Green and Mike Johnson, on Supergirl, Michael Alan Nelson, rather than Ron Marz, on Voodoo, and Simon Spurrier and an undetermined artist, rather than Paul Jenkins and Bernard Chang, on DC Universe Presents.
C.O. Austen, whom ComicsAlliance theorizes might be much-criticized Uncanny X-Men writer Chuck Austen, was also listed on Blackhawks, in place of Mike Costa, who actually ended up with the gig.
DC has made the corrections this morning, but ComicsAlliance has the screencaps from last night.
1. For Batman and Green Lantern, if it ain’t broke, DC’s not fixing it. In 2010, you had to go all the way down to the Direct Markets #109 bestelling title, the debut of J. Michael Straczynski’s abortive tenure on Superman, before hitting a DC book that wasn’t part of the Batman line, the Green Lantern line, or the Green Lantern-spawned Blackest Night and Brightest Day events. DC has rewarded the creators behind these franchises’ success by keeping them more or less in place, albeit with some title-swapping and artist-shuffling. Geoff Johns, Tony Bedard, and Peter J. Tomasi are still writing the three main Green Lantern series (along with the previously announced Peter Milligan on Red Lantern), while Grant Morrison, Scott Snyder, Tony Daniel, David Finch, and Tomasi are still handling the books with “Batman” in the title (with long-time Gotham Citizens like J.H Williams III, Gail Simone, and Judd Winick filling out the line).
2. DC’s rolling the dice big-time on an I Can’t Believe It’s Not Vertigo-verse. Today’s big announcement of new “dark” titles features such Vertigo characters as Swamp Thing, Animal Man, Shade the Changing Man, John Constantine, Madame Xanadu, as written by such Vertigo creators Peter Milligan (Hellblazer), Jeff Lemire (Sweet Tooth), and Scott Snyder (American Vampire). That’s quite a vote of confidence in Vertigo’s taste in creators, characters, and tone, especially given that many industry observers saw the line as an afterthought for the new regime. Of course, how this will impact Vertigo itself has yet to be seen. It’s also worth considering that Vertigo’s biggest and most durable hits over the past decade or so have tended to be creator-owned titles existing in their own worlds and straying pretty far from the imprint’s horror-magic roots, so launching eight shared-universe horror-magic books — over one-sixth of the new DC Universe line — is a gamble in and of itself.
Publishing | As the fallout mounts from the revelation that former California Gov. Arnold Schwarzenegger fathered a child more than a decade ago with a member of his household staff, plans to revive the Terminator star’s acting career have been put on hold — a move that now extends to The Governator, the comics and animation project co-developed by Stan Lee. “In light of recent events,” representatives announced last night, “A Squared Entertainment, POW, Stan Lee Comics, and Archie Comics, have chosen to not go forward with The Governator project.” However, Entertainment Weekly notes the statement was revised two hours later, putting the project “on hold.”
Unveiled in late March, on the cover of Entertainment Weekly, no less, The Governator features a semi-fictional Schwarzenegger who, after leaving the governor’s office, decides to become a superhero — complete with a secret Arnold Cave under his Brentwood home that not even his family knows about. “We’re using all the personal elements of Arnold’s life,” Lee said at the time of the announcement. “We’re using his wife [Maria Shriver]. We’re using his kids. We’re using the fact that he used to be governor.” But even before the couple’s separation became public, producers had backed off depicting Shriver and their children. [TMZ, Entertainment Weekly]
The surprise about reading all of the comics Top Cow sent over as a result of my admission of blind prejudice wasn’t that they weren’t as bad as I’d lazily expected — I was actually expecting that, to be honest — but that I ended with realizing that I was going to have to go out and catch up on the collections of one series in particular… and it was the one I’d been expecting to like the least.
Red Giant Entertainment has recruited several top names in the comics industry to contribute to Japan Needs Heroes, a graphic novel that aims to raise money for the Japan Society, a non-profit organization that has created a special disaster relief fund to aid victims of the Tohoku earthquake in Japan.
A press release that went out today from comiXology, which will distribute the book digitally when it is released, listed Stan Lee (who will provide the forward), Peter David, Ron Marz, Mike Deodato, Larry Hama, Jimmy Palmiotti, Elaine Lee, Amanda Conner, Howard Mackie and Brandon Peterson as contributors. You can find a list of additional creators on the book’s Kickstarter page, which Red Giant is using to fund the printing.
“My wife is from Japan,” said Benny R. Powell, CEO of Red Giant, “and her family still lives there. We hear daily reports of the fear and uncertainty they face. I realized we had to do something. Comics have a power to reach massive audiences and that’s a powerful thing. As more and more creators join our cause I believe we can raise a lot of money to help. This transcends any genre, medium, or publisher. This need is bigger than anything our world has ever faced, and we truly believe that together we can make a difference.”
Courtesy of our friends at Dark Horse, we’re pleased to bring you a couple of cover reveals for their June-shipping books. First up is Conan: Island of No Return #1, above, which is by Michael Kutsche. The book itself is by the team of Ron Marz, Bart Sears and Randy Elliott, features Conan teaming up with a pair of sister thieves for a heist.
And after the jump you’ll find the two covers for the third issue of Solomon Kane: Red Shadows, by Guy Davis and Gregory Manchess. In that issue, Bruce Jones and Rahsan Ekedal take Kane to Africa. You’ll also find complete solicitation information for both books.
Click below for high adventure …
Earlier this month a tweet to Detroit Mayor David Bing set off a campaign to build a statue of Robocop in the motor city, the setting for the 1987 movie that starred Peter Weller as the title character. Using Facebook and Kickstarter, fans of the idea were able to raise $50,000 to build the statue.
“This was something that happened completely organically. I saw that the Kickstarter campaign to actually build a RoboCop statue in Detroit had brought in more than $50,000, and it just struck me as kind of ludicrous,” Marz told Robot 6. “So I suggested on Twitter that a chunk of money that size would be better spent doing some real good, like feeding people in a soup kitchen. I’ve never actually met Gary Whitta, but we’ve struck up a friendship via Twitter. Gary suggested that the sort of whimsey the statue represents has a place, and ultimately I agree, but maybe now is not the time or place, when there are hungry people.”
Whitta, the writer of Book of Eli, said he’d donate money to a Detroit-based food charity if Marz would, and thus RoboCharity was born.