Scott Snyder Archives - Robot 6 @ Comic Book Resources
Legal | The Malaysian cartoonist Zunar is being investigated once more under the country’s Sedition Act, his lawyer revealed Tuesday. Three of Zunar’s assistants were arrested last week for selling two of his books, neither of which has been officially banned, and his webmaster has been summoned to talk to police on Thursday. Zunar has also been called in for questioning at a future date. What’s more, the Malaysian Home Ministry has appealed the Court of Appeals’ decision to remove the ban on two of Zunar’s other books. [Malaysia Chronicle]
Publishing | Red Giant Entertainment has announced that retailers ordered about 900,000 copies each of its four anthology comics, which are ad-supported and will be given away for free. The company, which also releases digital comics and paid print comics, kicked off this program with a package of four zero issues on Free Comic Book Day. [ICv2]
Passings | Dr. George Slusser, co-founder of the University of California, Riversides’ renowned Eaton Collection of Science Fiction & Fantasy, passed away Tuesday at age 75. Curator emeritus and professor emeritus of comparative literature, Slusser expanded the Eaton holdings from 7,500 items to more than 300,000, making it the largest publicly accessible collection of science fiction and fantasy literature in the world. It encompasses novels, journals, manuscripts, comics and manga, fanzines and anime, and includes first editions of Bram Stoker’s Dracula, Mary Shelley’s Frankenstein, Action Comics #1 and The Fantastic Four #1. “Over three decades, George Slusser built the Eaton Collection up from a small core of titles into the world-class archive that it is today,” Rob Latham, co-director of UC Riverside’s Science Fiction and Technoculture Studies program, said in a statement. “The field of science fiction scholarship owes him an incalculable debt.” [UC Riverside]
All-New Doop (Marvel): It’s perfectly appropriate for any series starring peripheral X-Men character Doop to be a weird one, however, the miniseries collected in this trade paperback is weird in a weird way.
Doop was created by writer Peter Milligan and artist Mike Allred for their iconoclastic (and somewhat -controversial) 2001 X-Force run, which was then relaunched under the name The X-Statix. The premise involved a group of celebrity-wannabe mutants who used their powers for fame and fortune by starring in a reality show; holding the camera was a mysterious, gross, floating, potato-shaped green creature that spoke its own, indecipherable language and answered to the name Doop.
Milligan imagined a dramatic behind-the-scenes life for the character in a two-part, 2003 Wolverine/Doop miniseries, and writer Jason Aaron ran with the joke, including Doop as a member of the faculty at the Jean Grey School during his Wolverine and The X-Men run. For the most part, Doop functioned as a background joke, one more signifier of the zany environment of the new school for young mutants, though Aaron did pair with Doop’s co-creator Allred for a one-issue story that focused on the character as a behind-the-scenes, floating potato-thing-of-all-trades.
Milligan returns to the character for this miniseries, in which Allred only provides the covers, while David LaFuente draws the majority of the art. Milligan takes Doop’s behind-the-scenes portfolio to an extreme, marking him as a character capable of traveling through “The Marginalia,” entering and exiting the comic-book tales in order to influence their outcome.
The story Doop influences here is “Battle of the Atom,” the Brian Michael Bendis-helmed X-Men crossover that involved Cyclops’ X-Men team, Wolverine’s X-Men team and an X-Men team from the future engaged in a fight over what to do with the teenage original X-Men plucked out of the Silver Age and currently hanging around the present.
Conventions | The Rhode Island Convention Center exceeded capacity Saturday for what may be the first time in its history, leading the state fire marshal to temporarily bar entry to Rhode Island Comic Con. At one point, about 1,500 attendees were left out in the rain, including some people who stepped out for a minute and couldn’t get back in. Organizers sold a reported 23,000 tickets for a venue that holds just 17,000, and the way the show was configured reduced the capacity to about 15,000. They apologized Saturday afternoon for the “hiccup.” [Providence Journal]
Comics | Joshua Rivera picks the best comics and graphic novels of October. [Entertainment Weekly]
Comics | Check your longboxes, folks: Copies of Marvel’s Sunfire & Big Hero 6 #1, from 1998, with a CGC grade of 9.8 are selling for $450 and up ahead of the premiere of the Disney animated film, and even non-graded copies are good for $25 or more. [ICv2]
Creators | Captain Marvel writer Kelly Sue DeConnick talks about the character, and her reaction to the newly announced Marvel film: “I feel so proud of her, like Carol is this person who lives in my head, and ‘look what you did, girl!’ It feels like a friend just got a promotion.” [Speakeasy]
Publishing | Chris Butcher announced that, after three years as marketing director, he’s left UDON Entertainment to focus more fully on his work for the Toronto store The Beguiling (where he’s manager) and the Toronto Comic Arts Festival (where he’s festival director). [Comics212]
Legal | The Japanese publisher Square Enix has filed a counterclaim against SNK Playmore, asking Osaka District Court to rule that its manga Hi Score Girl doesn’t infringe on copyrights held by the video game company. Earlier this year, SNK brought criminal copyright violation charges against Square Enix after learning Hi Score Girl contains more than 100 unauthorized images of characters from SNK Playmore games. The manga has been put on hold because of the dispute. [Anime News Network]
Conventions | Who’s buying, and how much are they spending, at conventions? Rob Salkowitz mines the numbers from a recent Eventbrite poll of convention-goers to get some answers: Most people spend between $100 and $500 per person; cosplayers actually spend a bit more than average; and women shell out more money at conventions, while men spend more online. [ICv2]
Editorial cartoons | The New York Times has apologized to readers who were offended by an editorial cartoon about India’s space program that depicted the country as a man in traditional dress, leading a cow and knocking at the door of the “Elite Space Club.” “The intent of the cartoonist, Heng Kim Song, was to highlight how space exploration is no longer the exclusive domain of rich, Western countries,” reads the apology, signed by editorial page editor Andrew Rosenthal. “Mr. Heng, who is based in Singapore, uses images and text — often in a provocative way — to make observations about international affairs. We apologize to readers who were offended by the choice of images in this cartoon. Mr. Heng was in no way trying to impugn India, its government or its citizens.” [The New Indian Express]
Fans of Batman, and of Jock, take note: The acclaimed artists of such series as The Losers and the upcoming Wytches has donated a page from Detective Comics #871 for an eBay auction to benefit a 2-year-old with acute lymphoblastic leukemia.
Although Nathaniel’s prognosis is said to be good, he faces a few years of treatment, during which time his parents will have to make regular trips to the hospital.
Maybe it’s the exhaustion talking, but I can’t stop watching this GIF of Jim Lee, Grant Morrison, Geoff Johns, Dan DiDio, John Romita Jr. and Scott Snyder from the Entertainment Weekly Social Media booth at Comic-Con International. It may be my favorite thing today, at least until I find the next thing …
Wednesday was Batman Day, the official date for celebrating the character’s 75th anniversary. It’s fine to have a Batman Day, I guess — I’ve been getting emails from online bookstores saying “Celebrate Batman Day with our sales!” so it’s coming across in practice like President’s Day — but Batman is so ubiquitous in pop culture that you might as well have a McDonald’s Day or a Coca-Cola Day. (In a perfect world there would be a Rockford Files Day.)
Anyway, appropriately enough, each of the two regular Bat-books DC published this week looked at one end of Batman’s timeline. Batman Vol. 2 #33 wrapped up “Zero Year,” the latest (and perhaps the most epic) version of the character’s origins; and Batman and Robin Vol. 2 #33 presented “Robin Rises, Part One,” the latest chapter in Damian Wayne’s posthumous saga. While the former ended impressively, the latter is off to a slow start.
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DC Entertainment and Warner Bros.’ year-long celebration of Batman’s 75th anniversary will continue in a big way later this month at Comic-Con International in San Diego, with several of the creators most associated with the character set to appear on the “Batman 75: Legends of the Dark Knight” panel on Thursday, July 24.
Notably, The Dark Knight Returns and Batman: Year One‘s Frank Miller — in a relatively rare appearance at a comics-centric panel — will join fellow Bat-luminaries Grant Morrison, Jim Lee, Denny O’Neil, Neal Adams, current Batman team Scott Snyder and Greg Capullo, and DC Chief Creative Officer Geoff Johns.
On Saturday, DC will commemorate the Caped Crusader’s storied history in other media, with Batman: The Animated Series vet Paul Dini, longtime Batman voice actor Kevin Conroy, Batman ’66 Meets the Green Hornet co-writer Ralph Garman and more.
The two panels are something of a bisected version of the treatment DC gave Superman last summer, with a Superman 75th Anniversary panel including folks from both the worlds of comics (Morrison, Dan Jurgen) and movies/television (Henry Cavill, Tim Daly).
Conventions | MCM London Comic Con have announced that 101,600 people attended the May 23-25 show, which is being dubbed “the largest event of its kind ever held in the U.K.” That figure represents an increase of more than 31,500 from the May 2013 installment, and 13,600 from the October show. [MCM London Comic Con]
Creators | Kyle Anderson talks to director John Carpenter and writer Eric Powell (The Goon) about Big Trouble in Little China, the BOOM! Studios comic that picks up where the movie left off. Powell talks about renting the movie as a kid: “My sister and I would always go in there, and we’d always need to get a funny one and a scary one. Big Trouble kind of covered both of those situations.” The comic debuts on June 4. [Entertainment Weekly]
Although we might reasonably expect a solid dose of black-caped entertainment in each installment of the weekly Batman Eternal, its brain trust has called the first three issues its “pilot episode” — that is, an arc that sets up the premise and introducing key characters and concepts. Therefore, today we’ll take a look at the pilot, plus a few notes on this week’s Issue 4.
Of course, the phrase “pilot episode” comes from television, and Batman Eternal so far feels very much like a TV show. Specifically, it has the feel of a TV show with a season or two under its belt. I say that both because Eternal starts off trading on previous Bat-history and bringing older characters into the New 52 status quo, and because it plunges right into the thick of things, assuming its readers know the basic Batman setup. There are no gratuitous operatic displays of Batman soaring over the skyline, cape billowing in the wind. For that matter, not counting a couple of standard Batman intimidation scenes, and a narrow escape for a returning character (all in Issue 3), the pilot’s big action sequences are confined to the first issue.
What fills out these three issues otherwise is a lot of conversation, devoted mainly to laying out who will be doing what. Cops talk about office and city politics. Batman exposits with Gordon, Alfred and Catwoman. Alfred checks in with the extended Bat-clan.* Reporters discuss the latest big story. Criminals (super and otherwise) plan for what’s coming. To a certain extent this is a function of the overarching plot, and the end of Issue 3 suggests things are going south quickly — but whatever those developments are, Batman Eternal would rather leave them off-screen in favor of people talking about them. To his credit, artist Jason Fabok finds ways to make these discussions visually interesting, mostly by playing with shadows and camera angles. Still, not to spoil Issue 3, but if this were a TV pilot, it’d probably show the carnage and use the dialogue as voice-overs.
That said, Eternal’s first arc is neither dull nor anticlimactic. Overall, the series’ premise is well-suited to its format, and the first three issues are generally successful at establishing that premise. They’re not perfect, but collectively they build to a pretty dire situation that, at this point, seems to justify recruiting all the Bat-people for the better part of a year. Eternal pretty clearly runs with the notion of Gotham City — or, at least, an id-fueled notion of what Gotham should be — “attacking” Batman. Current head Bat-guru Scott Snyder used that to inform the “Court of Owls” storyline. Here, though, that notion on a larger scale allows Eternal to justify its scope and length.
Digital comics | In today’s Amazon-acquires-comiXology article, Rachel Edidin deflates much of the hype, and the panic, surrounding the deal, pointing out that comics distribution is already a monopoly, large corporations already run the comics market, and comics have been available on Kindle all along: “Is the concern [...] a distribution monopoly? If so, the direct market is in no position to criticize: over the last 15 years, Diamond Comics Distributors has consumed almost all independent print distribution in comics, and dictates practices and policy to retailers and publishers alike. The idea that print comics are somehow more independent than their digital cousins — or a scrappy underdog fighting the good fight against evil corporate profiteers — is frankly ridiculous.” [Wired]
Awards | Michael Cavna talks with Kevin Siers of the Charlotte Observer about winning the Pulitzer Prize in cartooning. [Comic Riffs]
I have to imagine there were almost as many forehead-slaps as high-fives in the room at the meeting where someone suggested DC Comics devote their next weekly comic to the Batman franchise. There had to be as many people thinking, “Why didn’t I think of that?” as there were people saying, “Good thinking!”
“More Batman” has rarely been a bad business decision for the publisher, and not only is the franchise carrying more than its fair share of the 52-ish books that make up the DCU line, the Scott Snyder/Greg Capullo flagship title continues to perform at crazy-high numbers. So why not produce another Batman book, and rather than sticking it in a corner of the franchise, far from the main book, the one that seems to “count” the most, why not tie it closely to Snyder’s book? And hey, why not ship the thing weekly? Again, high fives!
I really love weekly comics, although the format has some pretty unique pressures, which we’ve seen play out various ways as DC has tried different routes over and over to get to weekly comics, with no two efforts—52, Countdown, Trinity, Wednesday Comics, and the bi-weeklies Brightest Day and Justice League: Generation Lost—really being produced in quite the same way.
The most obvious pressure is that getting these things to ship on time like clockwork often means sub-par art, so as much as I was personally looking forward to Batman Eternal, I was frightened as much as disappointed to see the art starting out bad; this was, after all, the issue that should be the best looking.