Axel-In-Charge: Extending "Secret Wars," Excitement for a "Totally Awesome Hulk"
The U.K. comics community has been getting its knickers in a twist over the whole Ian Gibson/Bristol Comic Expo “nude Halo Jones” saga. Twitter and Facebook completely blew up over it Thursday morning, with the usual mix of knee-jerk condemnation and some occasional voices of reason rising above the din.
Some sterling detective work by Paul Holden revealed that the image at the center of the dispute wasn’t even originally Halo Jones, but a character from Gibson’s long-gestating LifeBoat strip. I’m glad, because some of the criticism on the matter sailed too close to being personal attacks on Gibson, which made me uncomfortable for a number of reasons. For starters, “The Ballad of Halo Jones” is a longtime cause celebre for those arguing for creators’ rights within the United Kingdom, especially in the matter of how oppressive the old status quo of IPC and DC Thomson could be.
Gibson is the co-creator of Halo, but sees little to no financial reward from (current owner of 2000AD) Rebellion’s continuing exploitation of the character. If Gibson were to somehow try and monetize his history with the character by working on commissions or selling limited-edition prints featuring the strip’s cast, would that be such a bad thing? The perspective of fans and publishers on such issues is radically different: After all, Marvel sued Ghost Rider co-creator Mike Friedrich for a similar matter. Besides, the Bristol Expo website makes it clear that all these limited-edition prints are being sold for charity.
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]
Sales charts | Responding to an iFanboy article that speculates on what titles Marvel might cancel next, Men of War and Viking writer Ivan Brandon makes the case against sales charts and the subsequent analysis of them each month: “There’s an ongoing debate, for a bunch of years now. There are numbers that circulate every month, inaccurate numbers, people track them, people use that flawed ‘data’ to comment on what they see as the progress or decline on the list. A lot of comics professionals are against this, for a lot of reasons. In my case, for my books, the books I personally share copyright on … my reason is, and no offense to anyone out there: My income is none of your business. Just as your income is none of mine.”
Tom Spurgeon offers a counterpoint: “Sales information seems to me an obvious positive, not because it reveals the bank accounts of creators, but because what sells and to what extent is basic information about a marketplace, and the shape and potency of a marketplace seems to me a primary item of interest for anyone covering that marketplace. It’s foundational to our understanding of how things work and why. Certainly this information is already manipulated to brazen effect by companies with something to put over on customers; I have to imagine this would become worse under a system of no information at all being released.” [Ivan Brandon, The Comics Reporter]