The Amazing Spider-Man Archives - Robot 6 @ Comic Book Resources
Marvel and Wizard World have debuted John Tyler Christopher‘s exclusive variant cover for The Amazing Spider-Man #1, available for free to VIP attendees of the May 30-June Wizard World Atlanta.
Limited to 3,000 copies, the color version will be provided free at registration to those with VIP packages. As at previous shows, the black-and-white sketch variant will presumably be available for purchase at the Wizard World Store on the exhibition floor.
Let’s get this one right out of the way: it’s going to cost you about 12 whole dollars to get the big finale to the Octo-Spidey era and the beginning of the return of Peter Parker. That’s some serious cash to spend, and it’s the price point that really takes me out of the story and into the “Well, isn’t this a fine marketing ploy!” territory.
Let’s face it, we all knew Peter was coming back; this isn’t the Ultimate Universe, after all, and there’s a movie career to think of. At the same time … maybe if it had just been regularly priced issues? Or if they’d been at annual prices? Or heck, just one of them at the big $5.99 bucks and the next issue back down to normal, I don’t know.
Is price how we demarcate importance in comics? Or is it the #1 issue? Or the anniversary issue? The amount of variant covers to be had? Could it even be the (gasp) the story inside?? Let’s take a look at April and see what’s going to be important in the months ahead for Marvel (or at least make our best guesses).
Following Sunday’s big announcement that Peter Parker will return in April in a relaunched Amazing Spider-Man series — well, it was spoiled earlier in the week by a leak — Marvel unveiled a Marcos Martin variant cover for the first issue that’s simply breathtaking.
Of course, the Eisner Award-winning artist is no stranger to Peter Parker, having drawn about a dozen issues of The Amazing Spider-Man between 2008 and 2011. See the full cover below.
Dan Slott, who’s collaborating with Humberto Ramos on the new series, spoke with CBR News this morning about The Amazing Spider-Man.
The illusion of change is the usual approach to mainstream superhero comics. It offers the excitement of change without losing the successful elements to actual change. It’s cynical but it’s smart from a corporate standpoint. Every once in a while, however, actual change happens. Or maybe change is just talked about. Some like it, some don’t like it. And then there are the people that really, really don’t like it, and head down to their local torch-and-pitchfork store.
Such is where we find ourselves in the ongoing discussion of The Amazing Spider-Man star Andrew Garfield’s hypothetical consideration of making Peter Parker bisexual.
But why did Garfield’s idea trigger such heated responses? I’m not talking about the calm “Oh, I don’t know, I’m not crazy about that idea, but rather the aggressive, threatening and hateful reactions that seem to come from a very dark place.
Spider-Man co-creator Stan Lee has responded to actor Andrew Garfield’s recent what-if scenario in which Peter Parker could be gay or bisexual, joking, “I figure one sex is enough for anybody.”
Appearing over the weekend at Fandomfest in Louisville, Kentucky, the 90-year-old comics legend appeared caught off-guard by a question from the audience about Garfield’s “request to make Spider-Man bisexual and Mary Jane male.” Lee initially offered a glowing assessment of the actor’s performance in The Amazing Spider-Man, before the question was explained to him.
“He’s becoming bisexual?” Lee exclaimed in disbelief, eliciting roars of laughter from the audience. “Who have you been talking to? Seriously, I don’t know anything about that. And if it’s true, I’m going to make a couple of phone calls. I figure one sex is enough for anybody.”
Garfield, who’s filming The Amazing Spider-Man 2, sparked a good deal of discussion among comics fans when he related a conversation with a producer in which he said, “I was kind of joking, but kind of not joking about MJ. And I was like, ‘What if MJ is a dude?’ Why can’t we discover that Peter is exploring his sexuality? It’s hardly even groundbreaking! … So why can’t he be gay? Why can’t he be into boys?”
If you don’t hear about the super-secret screening at Comic-Con International of a clip from director Marc Webb’s The Amazing Spider-Man 2, you’re certainly not the only one. Fear not, though, as talk-show host Conan O’Brien has you covered.
“They showed it, and it was very private, very secret, and they showed it — fans lost their minds,” he said on last night’s episode of Conan. “They’re not going to show it again. We actually get a hold of the clip. Yes, you’re welcome! [...] We got a hold of it, and we’re risking a lot of legal trouble here, but we’re just gonna go for it.”
“I was kind of joking, but kind of not joking about MJ. And I was like, ‘What if MJ is a dude?’ Why can’t we discover that Peter is exploring his sexuality? It’s hardly even groundbreaking! … So why can’t he be gay? Why can’t he be into boys?”
– The Amazing Spider-Man 2 star, and longtime Spider-Man fan, Andrew Garfield, recounting to Entertainment Weekly a conversation he had with producer Matt Tolmach about Mary Jane Watson. (The actor even has a male MJ in mind: Friday Night Lights and Chronicle star Michael B. Jordan.) In the process, Garfield may have just restarted the game of telephone some mainstream-media outlets played in 2011 when Marvel announced that biracial teen Miles Morales would be the new Ultimate Spider-Man.
Are you getting excited? New teasers and trailers are being released almost every day now. The countdown to Summer Movie Season is officially on, and the big blockbusters adapting comics are looking promising. Iron Man 3 has an armada of armors flying around; can’t really go wrong there. The Wolverine has ninjas as far as the eye can see. And the bearded and brooding Man of Steel might even end up being good. Throw in a little Kick-Ass 2 and RED 2, sprinkle with R.I.P.D. and 300: Rise of an Empire, and top it off with 2 Guns, and you’ve got yourself one fun summer.
While we still get clunkers, the ratio of good to suck has definitely improved. It used to be that the old chestnut response to a movie adapted from a novel could be more often than not applied to movies adapted from comics: The book was better. And it’s often still true. But there are times when the movies do it better than comics, and while that’s great for the filmmakers and audiences, in a way it’s an indictment on the comics-makers.
Comics offer more boundless creativity than almost any medium. With comics, there’s no studio executive, no creation-by-committee made up of shareholders and board members with less experience creating and telling stories than their companies’ interns. It’s why Tony Stark being an alcoholic doesn’t fly with Disney and was removed from Iron Man 3. Comics can still include collaboration and compromise but they can just as easily be the result of a single voice. Even with the most heavy-handed editorially mandated comics, they’re still created by a fraction of people needed to make a Hollywood movie. Comics are generally more spontaneous, imaginative and clever than most major studio movies. But sometimes, Hollywood gets the jump on comics.
Vintage comics and original comic art brought in $4.4 million over the weekend during a Heritage auction in New York City, Artinfo reports. Among the bigger sales were a CGC-graded 6.5 copy of Detective Comics #27, for $567,625, and John Romita Sr.’s original cover for The Amazing Spider-Man #121, which fetched $286,800.
As we noted on Friday, Dave Gibbons’ original cover art for Watchmen #1 sold for $155,350, with the first three covers going for a combined $216,892.50. John Higgins’ color guide for the first cover was bought for $7,767.50. The remaining covers for the 12-issue landmark series are expected to go up for auction later this year.
Wired.com delves into the history of the 12 covers, which were purchased at a Sotheby’s auction in 1993 by former Wizard Publisher Gareb Shamus for what’s been reported to be in the neighborhood of $26,000. The article doesn’t repeat that figure, but it does say what was paid was “a bargain price” (for instance, Higgins’ color guide for the cover of Watchmen #1 was picked up for $50, which was then five to 10 times the usual price).
John Romita Sr.’s original cover art for the landmark Amazing Spider-Man #121 has reached $268, 875 in online bidding ahead of a live auction scheduled for today in New York City.
The piece is being offered as part of Heritage’s Vintage Comics & Comic Art Signature Auction, which includes Dave Gibbons’ iconic Watchmen covers, an original Calvin and Hobbes strip by Bill Watterson, and 10 pages from Dave Sim’s Cerebus: High Society.
The Amazing Spider-Man #121, “The Night Gwen Stacy Died,” was a defining moment not only for Peter Parker but for the comics industry; as Heritage Auctions notes in its description, some point to the story as the end point for the Silver Age. (This was the end of innocence for comics,” Arnold Blumberg wrote in Comic Book Marketplace. “It remains one of the most potent stories ever published.”)
Publishing | The Amazing Spider-Man #700 led the pack in the December comics numbers with 200,000 copies selling to comics shops, and with a cover price if $7.99, it racked up a cool $1.6 million in sales. Avengers #1 sold 186,000 copies but at a more reasonable price, so the dollars didn’t pile up as high for that one. ICv2 also has the December charts for the Top 300 comics and graphic novels in the direct market. John Jackson Miller takes it to the next level with sales estimates for the top 1,000 comics and trades of 2012. [ICv2]
Publishing | At the other end of the scale, Rob Clough talks to Chuck Forsman, the guy behind micropublisher Oily Comics. [The Comics Journal]
There’s a professional wrestler named Cody Rhodes. His family has been in the wrestling business for longer than he’s been alive, his father being the legendary Dusty Rhodes and his brother the offbeat Golddust, both working for the WWE. Following family tradition, he’s a fantastic wrestler, absolutely charming and has only recently gotten the crowd’s attention through a horrible-looking mustache.
Trust me, I’m going somewhere with this.
As I said, Cody Rhodes is fantastic. He’s worked with legends, played mostly heel roles and tried to work the crowd against him. He even had a stint with a Doctor Doom-esque look, complete with mask, dark hood, minions and a hatred for the ugliness of WWE fans. I thought it compelling, at least, but most crowds seemed to find it lukewarm at best. He brought a sense of prestige back to the Intercontinental Title; it’s already moved on and stagnated once more. Nothing seems to stick with a guy who has so much going for him … until this mustache. After some time off for an injury, he returned to a tag-team partnership with — gracious, just look at it. It’s horrible. It’s laughable. Patchy in places, it just doesn’t fit his face quite right, making him look less like Tom Selleck and more like a guy with candy in his unmarked van. The very night he returned, the audience seemed to wake up. A spontaneous chant of “Co-dy’s mus-tache!” broke out and has followed him since. Other wrestlers can poke fun at it, he can be angry and indignant about it, bad guy wrestlers can support this horrible decision and somewhere down the line, there can be a “Mustache Match” or something where the thing is removed and we have story line closure.
I guess what I’m trying to say is that Superior Spider-Man is Cody Rhodes’ mustache.
Confused? Read on!
WARNING: We’ll be talking extensively about The Amazing Spider-Man #700 and Avenging Spider-Man #15.1 as well, so grab your copies and read along!
One of the most interesting things about the big plot development in this week’s Amazing Spider-Man #700 isn’t its effects on the Marvel Universe, or even fan reaction, but rather the lengths mainstream media outlets go to find a different angle for their coverage of the story. Take, for instance, CNN, which paired an interview with writer Dan Slott and editor Steve Wacker with a rundown of “13 comics that caused controversy, ranging from DC’s reintroduction of Alan Scott as a gay man and Buffy the Vampire Slayer‘s recent abortion storyline to Superman’s renouncement of his U.S. citizenship (I’d already forgotten about that) to the tea party dust-up over Captain America #602.
Publishing | More than 4,000 new comic titles were released in the European Francophone market in 2012, marking the 17th consecutive year of growth. According to the Association des Critiques et journalistes de Bande Dessinée, the French association of comic strip critics and journalists, more comics were produced in the Francophone market than in the United States. [RFI]
Comics | The death of Spider-Man hits the mainstream media, with Marvel Editor-in-Chief Axel Alonso asserting, “We didn’t make this move lightly.” Stan Lee called it “a helluva birthday present” but added “But then, a little voice in my head whispered, ‘never say never. Just go with it while you can because Marvel, the House of Ideas, will always have a surprise up its creative sleeve for you and the rest of Marveldom Assembled!’” Entertainment Weekly’s Geoff Boucher said the ongoing deaths of superheroes are starting to feel “a little gimmicky” but he also nailed why the publishers do it: “if you look at who’s buying Marvel and DC, it’s long term fans and those readers are going to complain about this and debate about it — but are going to buy two copies.” [New York Daily News]
“He’s not Superman. Spider-Man doesn’t always win. He’s us. We do our best, but sometimes we fall short. What makes him heroic is that he stays on the right path. There’s a victory in this story for Peter if you’re willing to see it. Any superhero can look heroic in the winner’s circle, when they’re adored and showered with praise. But when you’re in a losing battle, when the world’s against you, when everyone thinks you’re a menace, but you do the right thing anyway … that’s when you’re better than a superhero. That’s when you’re Peter Parker.”