February Previews: To Buy or Not To Buy

Feb-09-09

So I did actually see Jason at the end of last week. He is alive, and getting out to see me was much easier than expected. He said the “bake a file in the cake” trick may be an old one, but there’s a reason it has stood the test of time.

When I encountered Jason at the end of the week (I hesitate to say where, as they may still be looking for him), he mentioned that he had seen the new Previews catalog and that there was very little of interest in it. I hadn’t glanced at it yet, but as there’s often little of interest to me these days, I expected he was correct. Imagine my surprise when I read mine, and came away with more items of interest than my tiny budget would ever allow me to buy! In an effort to educate Jason about the wonders of the February Previews catalog, I bring you this list with items of interest (at least to me):

Sinfest Volume 1: Many of you may not be familiar with this comic strip, which has been lighting the dark corners of the internet since the year 2000! There have been collections of Sinfest in the past, but they’ve always been published by the cartoonist’s own company. This one is being released by Dark Horse, and I’m quite excited to see if there’s any difference and what sort of production values they bring to it.

Booster Gold: 52 Pick-up: This is a comic that I’ve never actually read, but I’d like to. I don’t read any DC comics at the moment, but the reviews I’ve seen of this book make it sound like something I’d like. You take an established DC character, you tweak their concept ever so slightly, and you move them forward, respecting their continuity but not wallowing in it. Plus, you don’t have dogs eat people, introduce people vomiting blood, or stuff anyone’s dead girlfriend in a refrigerator. This should be simple, but most of DC can’t quite catch on to these simple guidelines, hence my not reading their titles. This was published as a hardcover, but now you can buy it in trade paperback form, so it’s affordable if you want to check it out.

Starman Omnibus Volume 3: I’ve raved about Starman so much that even I’m tired of hearing about it. Suffice to say it’s my favorite series of the 1990’s, and if you press me, perhaps my favorite superhero comic ever. It so deserves this hardcover treatment, and this includes the Shade miniseries that James Robinson wrote, and is quite worth picking up.

Tiny Titans: Adventures in Awesomeness: Much has been written about who DC expects to buy this title. It’s drawn in a fun and cartoony style, and seems to be aimed at kids (and DC has it as part of their kid’s line), but to understand many of the jokes you have to have a working knowledge of DC continuity. Well, perhaps DC is just expecting me to buy this title, and if so, I shall not disappoint them, as I find it a joy. Art Balthazar’s art and stories are so amazingly funny and bright and cheerful that I fell in love with them from issue #1, and I’ll support this title until it is no more. Now if I could just get Marvel to start publishing series just for me.

Preacher Book One: I’m just going to say this now and get it out of the way. Deep breath. I’ve never read Preacher. Whew. I…I feel much better now. Like a weight has been lifted off me. I know that any serious comic fan has read, learned, loved and lived this monumental comics masterpiece by now, but honestly, I’m not a big fan of Garth Ennis and when this first came out, it seemed to me that he was trying to go over the top simply so that he could go over the top. However, I’ve been assured by many that this is not the case and that Ennis has a real story to tell here. I trust these people, so I plan to pick this book up and give it a real chance very soon.

Rex Libris: Book of Monsters: Rex Libris is a gloriously fun comic, one that follows the adventures of a librarian who fights those who would keep books, refuse to pay their late fees, and otherwise arouse a librarian’s ire. It’s got some great action in it, and while it can be a little wordy at time, it’s very clever. It understands the humor in it’s very concept and it has fun with it, but its not total slapstick. I highly recommend it.

See: Look at that, we’re not even finished with the comic’s section and already we’ve found lots of great possibilities in this month’s Previews. Tomorrow I’ll look at a few more items I found to be of interest, including some stuff from Marvel!

BOO! Hey, remember me? I used to post on this blog too! Look, I don’t have much time…I can hear the dogs’ nervous barking rising over the tree-speckled ridge in the distance…but I needed to catch my breath and thought this might be a good time to chime in. When I mentioned that there wasn’t much in the latest Previews to pique my interest, I was basically referring to single issues. John has already made that great, blind leap from floppies to trades without ever looking back. I, on the other hand, still have a burning need for instant gratification and have been unable to completely ween myself from the teat of monthly comics. However, I’m inching closer with every passing Previews.

I feel I need to make a few comments on John’s first round of offerings. While he and I now shop at the same location (after the premature passing of my own establishment), I’m still not completely loyal in my purchasing habits. To be quite honest, Amazon still receives a good chunk of my comic-buying cash. Especially when it comes to new hardcover books. Sure, I’m willing to buy my Scott Pilgrim at our local store, but the latest Starman Omnibus makes more fiscal sense when it is shipped to me at a generous discount. So, while John is surfing the pages to fill out his monthly order of trades and other books, I’m merely looking for my pamphlet fix (dwindling as it may be). I don’t regard the higher-priced trades as “must haves” that particular month.

So…never heard of Sinfest. Not really interested in Booster Gold since they killed off his buddy Ted Kord. Starman will eventually make it to my shelf. I consider Art Baltazar and Franco to be convention pals, but I can’t justify buying Tiny Titans until it’s released in its Absolute format (I make myself laugh). I already own all of the Preacher trades. And Rex Libris never really lit my fuse. However, I am ordering the first part of the new League of Extraordinary Gentlemen.

What else is on your radar, John?

Uh-oh…gotta run. The search party is getting closer. I’ll see you guys on the other side…

Did anybody else hear anything?  I could have sworn there was someone here, just a minute ago, talking to us.  Well, whoever it was, they’re gone now.  Time to post something new.


Speaking of reviews….

Feb-04-09

So, the quiet time here at Meanwhile…Comics continues, certainly longer than either Jason or I intended.  Both of us have been a tad overwhelmed lately by work, and since work pays the bills, it always has to come first.  Jason is going to be offline for the rest of this week as well, but I couldn’t let the entire blog sit quiet for another seven days, hence this entry.  There may even be more rambling from me later in the week, and how exciting would that be? I know.  It is pretty exhilarating.

I have been communicating with Jason, very briefly, and he does have some exciting news for the blog, but I won’t talk about it too much.  It’s his news and he can share.  However, his news touches on the concept of reviewing items, a topic that Jason and I discussed quite some time ago.  We listed some of the reasons we don’t do a lot (ok, any) reviews, but at the time we said that we hoped to do more of them soon.  Since that entry, we have done exactly zero real reviews, which continues our perfect record!  Yay us!

One of the reasons that we don’t do reviews was brought home to me again this past weekend, when I was reading Peter David’s IDW series Fallen Angel.  Fallen Angel began life as a series set in the DC Universe, but just before two years had passed, DC cancelled the title.  Luckily, it was picked up by IDW (which is, seriously, one of the best of the non-big two publishers out there today.  They publish some great series, and have given homes to a lot of deserving works) and it continues to be published there to this day.  It chronicles the story of…well, a fallen angel, and the lives, loves and adventures of her and the other inhabitants of the very interesting city of Bete Noire.

It’s certainly not a secret to anyone who reads this blog on a regular basis that I am a huge fan of Peter David.  He wrote one of my all time favorite series, Young Justice.  Beyond that, I’ve enjoyed almost everything else he’s written.  He made me care about the Hulk, who was a character I had zero interest in until David’s tenure on the title.  I never read any of the X-Books on a regular basis, until David took over X-Factor, where he managed to make a rather unusual and motley crew of misfits into a really fascinating group (well, except for Wolfsbane…sorry, but she’s a character that still leaves me cold).  He took Madrox, for years considered a ridiculously silly and underpowered character, and made him one of the most interesting characters out there.  David has written numerous novels as well.  I started by reading his Star Trek novels, and soon branched out into his original novels, such as the Sir Apropos series.  Heck, I’m even a big fan of his column, “But I Digress”, which appears each month in Comic Buyers Guide.

Based upon how much I enjoy his work, it should come as no surprise that I picked up Fallen Angel when it was originally released by DC.  I have to admit, I wasn’t horribly impressed.  Some might say that this is because Fallen Angel is written in such a different style than a normal Peter David work, and that it’s not as amusing, but I would dispute that statement.  I don’t see David as simply a comedy writer.  I’m not sure how anyone who’s read the Hulk issue where Jim Wilson dies of AIDS, or the Young Justice issue where the Red Tornado’s adopted daughter is the victim of a hate crime, could consider David simply a comedy writer.  While he certainly can do comedy, and he can do it well, I’ve never pigeonholed him in that manner.  So, I wasn’t expecting Fallen Angel to be a laugh a minute.  It certainly was more serious than many of his titles, but I have no problem with that.  In the end, it wasn’t keeping my interest, and I was having problems remembering what had happened in the previous issue when I’d pick up a new one.  However, I continued to buy the series, both from DC and IDW.  Some people may consider that silly or counterproductive (why support something you’re not fond of), but I wanted to support David, and I should reiterate that I didn’t hate the series; I just wasn’t being drawn into it.

Had we been doing reviews of comics at that time, and had we reviewed Fallen Angel, I would not have been able to recommend it.  However, this weekend I sat down and read the entire series, from one end to the other.  Wow.  What a difference.  Read in its entirety, the series came alive for me in ways that it never had before.  The characters seemed more interesting, and their personalities were consistently engaging.  Plots and sub-plots sprang from the page and I realized that everthing fit together beautifully.  There was an obvious plan here, and the city of Bete Noire became a character in a way that is so extremely exciting when it happens, yet happens all too seldom.  It’s a shame that DC didn’t give the series more time, as Bete Noire would fit in quite well with their other cities (although, it’s also kind of nice to have the series in its own little universe.  I think it’s stronger without the idea that Superman or Batman could stop by for a visit).  After reading all these comics (over the space of a few days), I couldn’t wait for new ones to come out (which is sad, since the next issue for the title won’t be available until they relaunch the series again in December).

So, in the end, what is my point, beyond realizing that I had never fully appreciated Fallen Angel in the past?  My point is that, one of my problems with reviews is that my viewpoint on material will sometimes change.  Either the distance of time, or the circumstances under which I first encountered something will often color my thoughts on a story, and I may change my opinion.  I’m not saying that this means reviews are useless or that they’re a waste of time for those who either read or write them.  Often, my opinion doesn’t change, and as you force yourself to critically approach something you’ve read or watched, you can also carve your opinion more solidly.  That being said, one of my review concerns is that I will either applaud or condemn someone’s work, only to realize after time has passed, that I was wrong.  This is something that I’ll be taking into consideration as Jason and I move into doing reviews on the site.

Pfft…I’m NEVER wrong.


Marvel Vs. DC: In Comics and in Movies

Jan-29-09

I know that things have been quiet around here. The beginning of this week was extremely busy for both Jason and I. Jason is still piled under work, while I have managed to clean my desk off, at least to some extent. Jason won’t be back until next week, and rather than allow the blog to continue to sit without any new content, I thought that I’d throw out something I’ve been thinking about lately. Sadly, you’ll just get an essay from me, rather than our usual back and forth, although perhaps, when Jason returns, he’ll want to throw some of his ideas on this topic onto my essay. In any case, I hope to post something tomorrow as well, and failing that, we should be back on track next week.

It’s Oscar time of year, and if you are someone who follows the Oscars at all, then you’ve no doubt been inundated with the talk about the possibilities of The Dark Knight being nominated for a best picture (which didn’t happen) and Heath Ledger being nominated for his performance as the Joker (which did happen). Many critics have posted The Dark Knight on their lists of the best movies of the year, and it was the top money-maker of the year in movies. Most comics fans have nothing but praise for the movie, and indeed, I enjoyed it quite a bit, and am thrilled that it seems to have given comic book movies the respect and mainstream recognition that they deserved.

The movie with the second largest box office take this year was Iron Man, which didn’t receive anything more than a smattering of technical Oscar nominations. While it did receive glowing reviews when it was released in May, it has not made many Best Of lists from the ranks of the critical elite. While it was undeniably popular, it wasn’t seen as a breakthrough movie, nor was it heralded by many as ushering in a new era of serious comic films. It invariably gets ranked behind The Dark Knight in most discussions of favorite movies of the year. Most discussions, except for mine, that is, as I will unequivocally say that I found Iron Man to be much more enjoyable than The Dark Knight. This actually makes perfect sense, since to me, 2008 became the year when DC and Marvel movies truly reflected the comics companies themselves.

Let’s start with the movies first. I saw both movies on opening weekend, although I was vacationing in Vermont when Iron Man opened, and didn’t get to see it with my normal, geek-culture savvy friends. Instead, I saw Iron Man with someone who doesn’t read comics, knows next to nothing about pop culture, and has no interest in superheroes. And he loved it. From beginning to end, he was absorbed, he was transported, and most of all, he was entertained. We both were, as was the entire theater, judging from the reactions of the crowd. As a movie, Iron Man is simply fun. The script is smart, the acting is engaging, and the pace is brisk. There are no egregious plot holes, and I don’t believe actions seemed forced. Characters behave logically, and the movie stays faithful to the spirit of the comic while making the necessary changes to appeal to a mass audience. Robert Downey Jr. gives a wonderful performance, one full of life and energy as the titular hero, and he’s quite ably supported by his fellow thespians (Jeff Bridges deserves special mention for simply disappearing into the role of Stane; I wouldn’t have realized it was him had I not recognized the voice after a short while).

I also enjoyed The Dark Knight when I saw it. It’s a great movie. I think the actors are all exceptional, although I am not sure that Ledger deserves an Oscar nomination. I believe his performance would have generated some heat in any circumstances, but his tragic death (and make no mistake; I do view his death as a tragedy. Ledger was phenomenally gifted, and while I may not be on the “Joker-Love Bus” that surrounds his performance in this movie, I’ve enjoyed him in every movie of his I’ve seen) has lifted a good performance far above its merits in the eyes of many people. To be honest, by the end of the movie, Ledger’s unique verbal style was beginning to seriously irritate me, and had he been without reach, I’d have been mightily tempted to smack him. Had I chosen the actor to be most rewarded for his work in the film, I may have singled out Gary Oldman, a supremely skilled actor who so often gets thrust into the role of villain (a role he performs remarkably well to be sure) that it becomes incredibly refreshing to see him here in the guise of a hero. If only we could see that more often.

I believe there are a few reasons that I didn’t enjoy The Dark Knight as much as many people. The first is its length; I’m a firm believer that most movies could stand editing, and The Dark Knight stretches out for 152 minutes, which I thought was a little long. Iron Man, for its part, is almost 30 minutes shorter, making for a more tightly paced experience. I also was very disappointed that Aaron Eckhart, who did a fantastic job as Harvey Dent, had his character’s entire arc told in this film. Harvey Dent is too interesting and complex to be completely explored in the space of one film, especially when he is not the main focus of the picture. They could have cut thirty minutes from the film, and had an excellent villain for the next picture, but not dealing with the Two-Face character in The Dark Knight. They could have allowed Eckhart to develop Dent fully in this film, turning him into a character that the audience truly cared for and was invested in, and then his fall in the next movie would have been that much more heartbreaking.

Again, I enjoyed The Dark Knight. But I realized that these movies reflected the way I read comics. I’ve always been more of a Marvel fan than a DC fan. There was a short time in my life when I read move DC than Marvel, but for almost my entire comics reading life, I’ve always enjoyed Marvel more. I believe that these movies are very reflective of the companies from which their characters sprang. Dark Knight is serious, dark and packed full of detail. It’s smart, and it knows it, and it prides itself on that. In the end, it takes itself a little too seriously. That is how I saw DC comics of the 60’s through the 80’s, and to an extent, I still think it’s true today. The comics, like the movie, are gorgeous, and they’re good, but there’s almost a clinical detachment to them.

Marvel, and Iron Man, on the other hand, are bright, colorful feasts for the eyes and imagination. Things happen fast and furiously and there is a light touch to the material; the movie (and comics) know that the events they’re depicting are larger than life, and they play it as real as possible, but they wink at their audience to let the audience know that the creators are indeed, in on the joke. There’s a life and energy in Marvel’s comics, again particularly zeroing in on those from the 60s to the 80s, but still continuing to today, that DC simply can’t match. I believe that the Iron Man movie captures that energy perfectly.

In the end, it’s not about trashing one movie to elevate another. Dark Knight is a wonderful piece of cinema, and everyone attached to it should be proud of their achievement. My point is simply that, in 2008, Marvel and DC finally managed to shine their unique brand onto the silver screen, and in that instant, my old comics buying habits came roaring back to me. I’m glad to have both types of movies available, just as glad as I was to have both types of comics to buy. I just know, in the end, where my true fondness lies.


Character Revamp: Santa Claus

Dec-19-08

Marvel has long been known for taking characters from popular culture and making them stars of their very own comics. Marvel has published books focusing on Rom, GI Joe, the Transformers, Heathcliff, and if my memory serves, Barbie. They also had a hit with their long running series that starred Dracula. Well, Jason and I have heard rumors of their newest sensation, a popular character who is set to star in his very own mag: Santa Claus.

Some of you may have heard of Santa Claus, but for those who haven’t, he’s a powerful hero who maintains a base at the North Pole. From this base he monitors the world, seeking out the naughty and the nice, and distributing appropriate rewards or punishments, dependent on someone’s naughty level. He’s seen many evil beings rise up against him in the past, from everyday political adversaries, such as his original nemesis, the Burgermeister Meisterburger, to more powerful magical foes, such as the Winter Warlock, to even foes from other dimensions, such as the Boogie Man. Yet, still he soldiers on, doing his part for the people of Earth.

Now, we haven’t seen Marvel’s pitch for this series yet. I can’t say for sure how they’re going to play it. However, Jason and I….well, figuring out how to sell series like these and make them relevant to today’s audiences (or, at least, interesting to us) is what we do. So, we thought that we’d share our pitch for the new Santa Claus series, and then you can compare it with the eventual series that Marvel produces (the first issue of this series was supposed to ship this month, in time for the holidays, but it’s late, and will now ship in July).

So, we basically have to nail down three basic areas for our Santa proposal. First, we have to define Santa. Who is he? What powers does he have? Why is he doing what he does? Where does he live, and what sort of base does he have? Does he have a secret identity?

Second, we need to nail down his supporting cast. Who are his allies? Any family? Who helps him in his duties, and why?

Finally, we need to determine his villains. Who forms Santa’s Rogues’ Gallery?

Let’s start with Santa himself. The legends would have you believe that Santa is centuries old and has been waging his war on naughtiness for all that time. However, I posit that the man we know as Santa has actually been many men, who have passed the costume down over the years, somewhat like the Phantom. One of the main jobs of Santa is to locate a suitable replacement, bring that replacement into the fold, explain his secrets, and train the replacement. In this way, there is always a Santa, ready, willing and able to take over whenever he is needed.

Santa himself has no special powers, although all Santas are trained in various skills. Moreover, Santa carries certain technological and magical gadgets (provided by two of his allies; we’ll discuss those later) which aid him in his work. I believe we will keep his headquarters at the North Pole, but with the understanding that Santa can transport himself anywhere on Earth quite quickly, and would even be capable of covering the entire globe in the span of about four hours if necessary.

Before I get into detail, I’ll see if Jason has any concerns or wants to go in a different direction.

The biggest difficulty, and also the biggest resource, with this revamp are the various legends and attributes put upon “Santa Claus” by different countries and cultures. I would think, for the sake of appealing to the action/adventure aspect of the character, that we should eschew the whole “leaving candy for the kids” part of Santa’s lore. This action could show up as a final page wrap-up…almost like a calling card of sorts, but I wouldn’t want to base every storyarc around it. However, the reasoning for such behavior could play into his development. Santa Claus, in the comic book sense, stands for something more powerful and universal than seasonal gift satisfaction. He’s the ultimate protector of the innocent, the vanguard of an entire season, and the primary source of oversight for keeping everyone on the straight and narrow. Even when he isn’t in his prime period of activity, he still has to keep a vigilant watch over the easily swayed minds of the world’s wishful youth.

It’s a tough job and I like the concept of having a Santa succession schedule. I would guess that the average person behind the Santa costume would only last for a decade or so. The job is so draining, both physically and mentally, that an average person might go insane rather quickly. I would also like to put forward the notion that his support staff is made up of a line of legacy characters as well…almost like a solemn, dedicated branch of a religious group whose sole purpose is to aid this universal symbol. Their world is very insular and secretive, but abounds with joy, fulfillment and an inner peace brought on through their work.

Besides, a badass group of ninja monk elves would be awesome to witness in action.

I could also see Santa employing a multi-branched charity organization posing as a front for data collection. He needs to have an alter ego who can blend into normal day-to-day activities.

I do have an idea or two for villains and would like to offer at least one supporting cast member. However, it sounds like John already has some ideas brewing, so I’ll let him take the stage again…

I have a few ideas, and since there is interest in supporting cast and villains, let’s move that way first (we can always detail exactly what Santa can do later). Let’s start with supporting cast.

The original Santa’s origins are still somewhat shrouded in mystery and legend, which works well for all concerned. Honestly, no one in the know about who Santa really is wants the veil pulled away from Santa, since if someone knew much about the original Santa, they may start to realize that the current Santa isn’t that person. However, one thing we do know about the original Santa is that he met and fell in love with a remarkable woman, one who was the matriarch of an entire clan.

This clan was made of elves, elves who had been exiled/marooned/imprisoned on Earth centuries ago. These elves had tried to hide themselves from the outside world, but when their mistress met Santa, she broke their traditions and the two wed. When Santa began his calling of watching the world and doing good, his wife was in full agreement, and she brought her family inline with Santa’s goals, even convincing them to move to the North Pole, when Santa decided that they needed to be farther away from the people they watched over.

This clan of elves are not the long lived, virtually immortal elves that one reads about in The Lord of the Rings. Their lifespan is that of a mortal, and their numbers are not limitless. They obviously can’t continue to only mate among themselves without serious consequences, and Santa also realized that forcing them to spend their entire lives in the North Pole could be cruel. So, each elf is allowed a time in their life when they can go out into the world and seek a mate, living as normal humans do for a set period of time. The time period is indeed finite, and an elf (male or female) must find a mate within that window or they lose their chance. Complicating matters is the fact that the mate they find must be special, as the elf must tell their chosen one of their true nature before the time limit expires. If the mate agrees to return with the elf, they are made to appear to have suffered a fatal accident in their world, and can never return to it. If they do not agree to return with the elf, their minds are wiped of the information that was imparted to them, and the elf returns empty-handed.

Because of these strict restrictions, not every elf is able to find a mate, which is one of the reasons why their population does not expand beyond the capacity of their headquarters. Any children that a couple produces are raised by the entire elven clan, in a communal setting, which helps to placate those elves who never find a mate in the first place. Santa is not really the leader of these elves; instead the elves follow the descendent of that original matriarch, who may or may not be the current Santa’s mate.

These elves have a mastery of their own unique technology, which they use to help Santa in his mission. They perform the necessary maintanence around the headquarters, and provide Santa with numerous gadgets. They also count among their numbers experts at various fighting styles and they can train Santa in those arts as well.

Santa’s other ally is the Winter Warlock. Once a foe of the original Santa, he was eventually reformed, and became a steadfast ally of the man in red and white. As the Winter Warlock grew older, he began to investigate ways to prolong his life. He eventually realized that the cold of the North Pole seemed to have retarded his aging process, and he soon theorized that even deeper cold would stop his aging process completely. To that end, he used his magics to encase himself in a block of ice in the middle of the Claus compound. He is still conscious in that block, and can communicate with Santa, but he can never leave it. However, he still possesses power, and is quite helpful in providing magical aid to Santa in the form of information gathering and occasional magical trinkets for Santa to use. Most Santas would actually say that his most useful gift is his wisdom and willingness to listen. He now communicates telepathically, and is aware of what happens around him. He can see and hear in all areas of the compound, and were the compound to ever be attacked, he would be able to marshal his magic for a terrible defense.

That’s some of his supporting cast. Your thoughts Jason? Any you want to change or add?

Love it! I was trying to come up with a supporting character that could be a mentor of sorts to the incoming Santas, but I think you’ve handled it beautifully with the Winter Warlock idea. I see him as a version of DC’s Oracle character…someone who can offer advice and give direction to Santa during his adventures. There’s something interesting about having him be a former adversary too.

I think you nailed what I was going for with the elves. They’re old school. And their only purpose is to serve the mission of Santa Claus. However, they aren’t just cute little toy builders…these guys are a hardcore, focused “army” of assistants who have a multitude of skills. I can imagine elves with specialties…some are engineers, some are tech experts, some are trained in military operations (including intelligence and espionage). It’s the perfect scenario, almost like DC’s League of Assassins or a competent version of AIM from Marvel.

You’ve touched on the character of “Mrs. Claus” too. I like the notion that she may or may not actually be married to the current Santa. It could all just be a front to make them more acceptable in the public eye. That could offer a fun dynamic behind the scenes too. Maybe the two of them don’t get along at all!

The one thing that seems to be missing from the support side of things is an explanation of Santa’s abilities. How does he deliver goods to everyone on Earth all in one night? How can he be in so many places at once (I’m looking at you, mall Santas!)? How does he keep track of so much information? And how does he manifest the “holiday spirit” to affect emotions and generosity? I have a feeling you’re going to make a reference to the North Wind, and who knows what else, with that storyline.

As far as bad guys go, the first obvious choice would be Jack Frost (who may or may not be an elf himself). He’s the expected archenemy and I have no problem with that. However, I feel like he needs some sort of history and motivation. He could be the Lex Luthor to Santa’s Superman…a super smart foe who employs others to carry out his schemes. He uses fancy gadgets but doesn’t really have any powers of his own.

I’d also like to mention Black Pete. In Dutch and German folklore, Black Pete was Saint Nicholas’ assistant, but I think it would be cool to have him turn on Santa at some point…maybe he was persuaded away by something evil. This would make him similar to Marvel’s Winter Soldier or DC’s Tim Drake.

John and I spoke briefly about this topic before we posted and I told him about a vague idea I had for a villain that almost seemed to borrow themes from the supernatural (a la Swamp Thing or Sandman). I thought that Santa and his elves should be ever vigilant against a vast negative force called “The Never.” I see The Never as a network of evil, always evolving and adapting, a personification of children’s nightmares that draws its power from the darkness and the negativity of the general populace. This villain could look like anything really, but would most likely take forms similar to the Perchten of Germanic folklore…grotesque animal masks with horns and fangs, thick furs and pelts as a costume, almost like a version of a zombie viking. I could also see The Never as a group of shapechangers who taunt and harass Santa during his travels. They appear as a flock of ravens or a massive colony of rats. I could even see them spreading a sort of plague (of fear, of sickness, of darkness. etc.).

I dunno. Aside from the general nuisance villains who have their own schemes in mind to steal gifts or ruin the holidays, it seems like you’d need something that would pose a serious threat to the well-being of humankind without their knowledge. Santa is the secret defender. And The Never would be an excellent, yet nebulous, enemy for him to face off against.

Hopefully, John has some more follow-through for these ideas!

Okay, we seem to be on the same page as far as allies, and I think you’ve really nailed some neat villains. I couldn’t agree more with you that Santa needs a serious threat to combat, and I think The Never is a perfect one. The Never would be his Dr. Doom, his Dormammu, his Red Skull. I like that The Never isn’t defined and is somewhat nebulous, as it should be at this point. Perhaps, over the years of Santa’s run as a comics character, the Never may be fleshed out more and examined in detail, but that should be a slow process, taking many storylines. The Never wouldn’t appear in every plotline, but it would be a presence in the book almost constantly. Even when Santa is dealing with other villains, the Never would be a looming menace.

I like the idea of Jack Frost and I like that he doesn’t have any powers. If he doesn’t have powers, one must wonder why he took that name and what it is he does. One of the things that must be decided for every Santa villain is whether or not this threat has been a long term foe of Santa (and therefore has fought many different Santas over the years) or whether or not this is a more recent foe. It gives the villain a much different feel if he or she has been fighting the Santa organization, in some form, for centuries, or whether they just ran afoul of the current Santa much more recently. In this case, I’d like to cast Jack Frost as the former. In fact, I’d like to suggest that Frost did have powers at one point in time, and that he clashed with Santa in the early days, when the original Santa was fulfilling the role of protector. Here’s how I see it going down.

Frost was a rival of the Winter Warlock; they were both powerful supernatural beings, with Frost being an immortal of the same type that live in Asgard and Olympus, and the Warlock being a powerful mortal. When the Warlock fist clashed with Santa, and then began to reform, Frost saw his chance to eliminate his rival once and for all. Frost launched a devastating attack against the Warlock, wounding him deeply. Frost could probably have finished off his foe, when Santa intervened (perhaps it was this intervention that convinced the Warlock that Santa truly followed a path that appealed to the Warlock as well, leading to his final redemption and reformation). Thus did Santa earn Frost’s enmity. The two of them clashed repeatedly for the next few decades, with the Warlock joining the fray on a few occasions. Frost had nearly defeated Santa a few times, but the Warlock and Santa, working as a team, continually proved too much for him. Frost decided he needed to eliminate the Warlock as an ally of Santa, and conjured up a crystal which would drain the Warlock’s powers. He devised an elaborate plot to use the device (stories which will no doubt be told in the inevitable spin-off, Santa: Origins) but during the battle when the device was used, Santa inadvertently interfered with its operation, and Frost had his powers removed instead; everything except for his immortality.

That sets Frost up as more of a cross between DC’s Lex Luthor and Vandal Savage. Ever since that battle he’s been searching for ways to restore his lost power. To stay a credible threat, he’s also amassed as much power as he could in the physical world, studying science and the technology of the day, staying on the cutting edge of what is new and dangerous. This also gives him a motivation to continue to fight against Santa; he wants revenge for his powers being stripped from him and he wants to find a way to be powerful again.

That’s two great foes. Black Pete is a very interesting foe, who I think would also be aware of Santa’s true nature. And, obviously, Santa would fight much more conventional menaces too, as well as meeting some of the existing villains in the Marvel Universe (because, really, who wouldn’t pay good money to see Santa vs Dr. Doom? Or Santa vs the Kingpin: Battle of the Fat Men? I know I’d shell out $4 for some of that). Do we need to detail out any further villains? If not, then all we need to do is nail down his abilities. I’ll check in with you tomorrow to see what you think.

Again, kudos to you for all the inventive backstory stuff. I think we’ve detailed the essential supporting cast and supplied a solid inventory of villains. Of course, there will always be other characters (both good and bad) who pop up from time to time…but I think there’s a strong nucleus there to build a long-lasting title around.

Probably the best thing to do now is to delineate just what it is that Santa does and exactly how he does it. Applying basic comic book physics to what we know from the Santa-based legends, I’m assuming he has gadgets or magic items that help him teleport/move at lightspeed/displace time. His ability to squeeze up and down chimneys indicates a level of shapeshifting. He has certain resistances to the elements. His reindeer and sleigh can fly somehow. And Santa’s sack of presents probably has origins in a pocket universe where he’s able to store vast amounts of product…like a Bag of Holding from D&D. Can you explain all of that?

We seem to be rolling along well. Let’s get this thing wrapped up in time for Christmas!

Hmmm. Detailing exactly what Santa can do could prove slightly challenging, simply because there’s so much to choose from. Santa seems to be able to do so much. Let’s break it down.

I agree that transportation is our first priority. Let’s face it; the guy lives at the North Pole, which is probably not very villain infested. He could potentially fight that polar bear that shills for Coke, but otherwise, he’s going to have to travel to defend the Earth. Teleporting would certainly be the quickest way for him to get from place to place, but it doesn’t really fit into his mythology and it can also be used as something of a cheat by writers. I prefer something that’s more traditionally Santa, and something that doesn’t enable him to arrive at the scene instantaneously. I think keeping the sleigh is the way to go, although I’m not sure that it should be pulled by reindeer, or at least, not all the time. I imagine that Santa used to use the reindeer, which the Warlock had enchanted, to pull his sleigh when he wanted to travel. However, while he still keeps reindeer for emergency sleigh-pulling, the simple fact is that they were sometimes unreliable, and they needed to be fed and taken care of, and when Santa had to travel halfway around the world and didn’t come back the same night as he left, they were problematic. So, sometime in the past few decades, the elf clan constructed a technological sleigh for him. This new sleigh can move at fantastic speeds (several times the speed of sound) and comes with a retractable canopy so that Santa doesn’t have to worry about breathing when it’s moving that fast (and it can also be used in low altitude orbit or underwater, although it’s design isn’t very efficient in those environments). The elves have loaded the new sleigh with all kinds of gadgets, much in the manner of Blue Beetle’s bug, and are constantly experimenting with more, in the manner of James Bond and his Q.

I like the idea of shapeshifting as a way to move up and down chimneys, but I’m wary of making Santa too superhero, because if that’s the case, how are powers passed on from Santa to Santa? There certainly could be a way to do that, probably involving a ceremony between the outgoing and incoming Santas and the Warlock, but then there’s also the case of what happens when a Santa falls in battle (although his powers could then be transferred automatically, kind of like a Vampire Slayer’s powers are in the Buffy universe). Actually, the more I think about it, the more I like that last parenthetical aside. It could be interesting to see the powers transferred, either by ceremony or by automatic transference. What makes the latter such an interesting proposition is the idea that perhaps a Santa could die without locating a suitable successor. Normally, the successor is training at the North Pole, so if a Santa would fall, they would already be in a position to take over the role. But what happens if there is no one ready to take over? I could see a plot where the powers choose someone when the current Santa falls unexpectedly, and the Warlock and Mrs. Claus and the elves have to figure out where the powers went, have to try and determine why that person got the powers, and then have to locate them, bring them in and train them. That could be fun.

So, what are these powers? I agree that shapeshifting has to be one of them. After all, moving up and down chimneys is difficult without shapeshifting, and Santa is also someone who’s depicted at vastly different weights. It’s going to be difficult to fight the Never or Jack Frost’s goons when you’re morbidly obese, so he’s going to need to be able to go from overweight to fit and ready to fight. Shapeshifting also gives him a lot more options in combat, and that’s important. Shapeshifting can also be useful for entering those houses without chimneys, as he could make himself thin as paper, and slide under doors or around windows, or he could turn a finger into a key to open the door; there are lots of options with this power. In fact, I’m wondering if he really needs any others, or if that power is enough for Santa to have? I think it is.

Santa does have a sack with an immense storage capacity; another gift from the Warlock. Santa fills that sack with gadgets from the elves, gadgets which give him a wide range of options, which often change. As I mentioned earlier, the elves can be seen as a clan of Q’s from James Bond. These guys provide him with a huge selection of technological edges, and it might be fun if they’re all constructed to look like toys. That keeps a theme going with him, and still enables him to kick some butt.

What do you think of that power set?

I hate to say it, but the “gadgets disguised as toys” idea is hilarious. Not only could it be a running joke that the elves don’t know how to build something that isn’t toylike, but it also opens up a story or two about mistakenly leaving the wrong item under a child’s tree. Oops! Santa accidentally gave Timmy a freeze ray instead of the BB gun he asked for!

Your sleigh idea could be taken a step further. Since you brought up Blue Beetle’s bug, why not have Santa’s “sleigh” actually be a ship of sorts? Perhaps he has an image inducer attached to it to make it look like a sleigh being pulled by reindeer to the average passer-by. The truth is, however, that Santa’s ship is the same thing people have been reporting seeing in the sky all across the Midwest and Southwest. All those assorted UFO sightings and things that look like tin pie pans floating in the sky with flashing lights are really Santa going about his evil-fighting business. I like how that ties the Santa legend into everyday pop culture. It would also be fun to have his sleigh resemble Doctor Who’s tardis…where the outside is a defined size, but the inside is disturbingly larger, with numerous cabins and compartments, massive storage areas and sleeping quarters for dozens of helpers. The power of magic!

I also agree that Santa should have some sort of super-ability. I’d hate for everything to rely on tricky gadgets and amorphous wizardry. I don’t want to lean to heavily on Winter Warlock though. The process of finding, training and passing on the Santa powers should be a function of the elven lore. Perhaps they’re actually aliens and have highly advanced technology to imbue these powers upon their selected target. Maybe it’s something they really have no control over, but are just there to monitor. Or, and this is kind of a twisted spin, maybe the machine/gizmo/process they use is extremely dangerous and some of the Santa recruits haven’t survived the transfer of power…or, in a way of explaining Black Pete’s origin, maybe one of the subjects was affected differently by the transfer. Maybe Black Pete had been selected as a Santa apprentice (like Robin to Batman), gone through the training and all that, and then the power transfer didn’t work or screwed him up somehow and he vowed revenge for eternity!

Too dramatic?

Shape-shifting as Santa’s sole power covers a lot of bases. It could also explain how he blends into the crowd so easily and how no one sees him throughout the rest of the year. This could also play into the earlier idea I had about having his alter ego be the head of some large charitable organization. He keeps tabs on the world in plain sight of the everyday populace!

Wow…I think we came up with some valid ways to make The Scintillating Santa Claus! an enjoyable comic book. Final thoughts?

Just that I agree with you on everything you mentioned.  I had originally thought of suggesting that the sleigh be an actual ship that shared some of the properties of the Tardis, so that’s amusing.  I also agree that having Santa’s power transfer be a function of the elves rather than the Warlock is a good idea, and does help to maintain a balance between the Warlock and the elves, so one side isn’t obviously more important than the other.

I think this works!  This could actually make a comic; it would be a huge hit!  After all, if kids don’t buy it, they’re going to find themselves on the naughty list!


The Most Wonderful Stories of the Year

Dec-18-08

Ah, do you smell the chestnuts roasting on the open fire? Is Jack Frost nipping at your nose? Do you hear yuletide carols being sung by a choir? Are folks near you dressed up like eskimos?

If you answered yes to those questions, then it must be Christmastime in your land! Whether you celebrate Christmas or not, there’s no denying that the holiday has a tremendous importance in much of the world, especially in America. It’s become the one day of the year where most of the country shuts down, so if you’re not out there celebrating Christmas, you’re probably pretty bored on December 25th. It’s also hard to avoid the decorations, the songs, and the Christmas episodes which air in so many television series. Comics, never an industry to pass up a trend, has also published Christmas stories, dating all the way back to Christmases in the Golden Age of Comics.

Yes, there’s Superman, trying to help Santa by shoving him down the chimney. It seems that, if Superman is successful, he’s likely to destroy this poor family’s chimney. Perhaps Santa’s bringing them a new Hydro-Thermal heating unit, so they don’t need that chimney anymore. I’m also thinking that Santa may end up with some broken bones. But, the point is, that Christmas has been showing up in comics since the medium was invented. Look, even that current comics curmudgeon Batman had the Christmas spirit back then!

Some readers may be confused by this cover, and the odd drawing of Batman’s face. What he’s doing is smiling. I know. I’ve never seen it before either. Apparently he’s amused by making the old man and the little kid lug around all those toys, while he gets to mosey along, completely unencumbered. And people said Superman was a dick.

Throughout the Golden Age and some of the Silver Age of comics, it wasn’t unusual to find at least one Christmas story in the titles of your favorite heroes during the holiday season. After all, many of these books had more than one story an issue, and continuity wasn’t very well maintained. However, when Marvel started tracking continuity in their comics during the 1960s, it became more difficult to do Christmas stories on a regular basis. After all, a year’s worth of comic stories might only take 2-3 weeks for the hero featured within them, if that long. If Marvel started printing Christmas stories every December, it would seem like their heroes were celebrating Christmas every month! DC soon encountered the same problem when they began to track continuity more closely. However, both companies realized that there was an audience for holiday stories, and if they couldn’t tell them in the regular books (which they would still do, just not that often), they’d publish special books just for that purpose. That is indeed what they did, and both have published Holiday Specials with some regularity ever since.

So, over the years, both companies have published a wide array of Christmas stories. Many of them have been quite good, and some have come from some unusual sources. In 1980, before he became the well known writer and artist that he is today, Frank Miller wrote and drew a Batman Christmas story for that year’s DC Christmas special. It’s a very short tale (as most of the Christmas tales were) and was entitled “Wanted: Santa Claus-Dead or Alive!” Sadly, while not a bad story, this one’s not nearly as exciting as the name suggested it might be. It mostly focuses on a department store Santa who has a checkered past and wants to go straight, but gets pulled into a heist on Christmas Eve. The story has a happy ending (as most Christmas tales do) and even includes the tease of a Christmas miracle. It’s nice to read it, just to see a time when Batman was portrayed as somewhat grim, but not a total psycho. It’s almost impossible to reconcile this portrayal of Batman with Miller’s later work on the character though.

Miller was obviously a fan of drawing people in Santa outfits, since he went back to that well in Daredevil, during his “Born Again” storyline. In that story, Turk, a minor punk that Miller had created for his run on the book, steals a Santa suit, hoping to get some money from strangers who would think he was collecting for charity. When an insane Matt Murdock sees this, he confronts Turk, only to be knifed by the punk and almost killed. Ah, now that’s the Frank Miller we all know and love!

The list of holiday stories is long and varied. Have any of them stayed in your memory?

Short answer? No. Not a single one. I mean, I have vague memories of Christmas-themed things, but I can’t place any of them or give specific details. I do know that this book is mixed in among my myriad longboxes:

It was an oversized issue that had a bunch of very short stories in it, some reprints of older material, lists of holiday stories from Marvel’s early days and even a page of Christmas carols rewritten with X-men-based lyrics. Exciting, no? There was a tale about Punisher redistributing drug money to the needy. Thor fighting some trolls while his dad lied about being Santa. And Captain Ultra (WTF?) fighting off Plantman in order to save everyone’s Christmas trees. LAME.


And I can’t believe that John didn’t mention the GLX-Mas Special that came out a few years ago and featured the Great Lakes Avengers a presented by Dan Slott. I know John is a big fan of the GLA. Sadly, there wasn’t anything aobut this comic that really stood out as “memorable” or even “good.” Wait, I take that back. MODOK makes an appearance. That’s always memorable (but not always good).

I know there are some others that I’m forgetting. Comics have a way of trying to drill home those “true meaning of the holiday” messages as often as they can. I’m sure there’s a Spider-Man story about helping out a little kid in a hospital or something about the Justice League helping an orphanage fight the evil utility man who keeps turning off their heat. And I know for a fact that there have been about four dozen modern comic interpretations of Dickens’ Christmas Carol. Bah Humbug, J. Jonah Jameson!

I’d also be remiss if I didn’t mention the Tick’s Big Yule Log Special. It’s a glorious flip book. One side features a story where Tick and Arthur are hired to play mall Santas and get caught up in an evil elf’s revenge plot. The other side of the book shows us how Arthur tries to teach the Tick the true meaning of Hanukkah. Brings a tear to my eye every time.

Of course, my favorite bit of holiday comics lore has no tie to the season or really any particular day for that matter. It’s something that has been around for decades and still shines as one of the greatest catchphrases in modern pop culture: Luke Cage’s “Sweet Christmas!” exclamation.

Sweet Christmas, indeed.



2009 Superhero Resolutions

Dec-17-08

When we’re not trying to save a forgotten character or rehabilitate one that seems to have fallen off-track, we (or at least I) always seem to end up taking the industry to task for one reason or another. I guess blogs wouldn’t exist if people didn’t have anything to complain about! As the clock winds down on 2008, it’s easy to look back and point fingers. At the same time, this joyous and comforting season provides the perfect opportunity to look ahead and resolve to make changes. While I promise to try to be funnier without being so caustic (except when it comes to Bendis), I figure some of our favorite Marvel and DC heroes and villains are also hoping to make some positive changes in their lives too.

With that in mind, here are our thoughts on what some of those New Year’s resolutions may look like:

Spider-Man: I resolve to find true love. I really think it’s time that I settle down, find a wife, and get into a solid domestic relationship. That’s the one thing in my life that seems to be missing. Seriously. Like, it was there and then it wasn’t. Weird, huh?

Kang: I resolve to go back in time and convince myself to never go back in time. It’s just too confusing. Of course, if I do that, would I cease to exist? Would I get caught in some sort of weird Moebius Strip where I kept meeting myself seconds after I just left myself? And wouldn’t it be cool if I just scrapped this whole idea and created a massive army of different time-stamped versions of myself…all one second apart? Man, that would really screw some stuff up. Totally rad.

Hulk: I resolve to be a better father. Kids learn from example. I can’t be leaping all over creation smashing stuff and speaking in broken English. What kind of precedent does that set for my little Skaar? Less mindless violence and more dedication to the arts, that’s my goal. Maybe I’ll even take up yoga.

Aquaman: I resolve to…hello? Is anyone listening to me? HELLO?!? Stupid fish aren’t even paying attention anymore.

Punisher: I resolve to only kill people who deserve it. And by “deserve it,” I mean “does something that falls within my broad and ever-changing definition of evil…from kiddie porn to jaywalking, on any given day.” Honestly, that guy driving that Miata the other day? He was just asking to be blown up into tiny pieces with a bazooka and about a half-dozen other high-explosive armaments. Should whack his family too. What kind of person drives a Miata?

Luke Cage: I resolve to never join a group called the Dark Avengers. Kinda sends the wrong message, ya know? Sweet Christmas!

Kang: I resolve to go back in time and convince myself to never go back in time. It’s just too confusing. Of course, if I do that, would I cease to exist? Would I get caught in some sort of weird Moebius Strip where I kept meeting myself seconds after I just left myself? And wouldn’t it be cool if I just scrapped this whole idea and created a massive army of different time-stamped versions of myself…all one second apart? Man, that would really screw some stuff up. Totally rad.

Iron Man: I resolve to start drinking again. Can you blame me?

Blue Beetle: I resolve to stay relevant regardless of losing my solo series and becoming a quasi-legacy to a character who was never all that fabulous to begin with. But hey, as long as I keep making appearances on a keen new Batman cartoon, everyone will love me! I mean, look at the headliners I’m appearing with…Plastic Man, Red Tornado, uh…Aquaman? Damn it. I’m screwed.

Madrox: I resolve to stop sending doubles in to deal with the crying baby. It’s not fair to them and it doesn’t really teach me anything. Although, on the bright side, at least I’m not the one who has to put up with all the screaming and crying. Considering half the kid’s genes are from Siryn, that’s probably a safe thing.

All-Star Batman: I resolve to stop talking like a goddamn retard.

Kang: I resolve to go back in time and convince myself to never go back in time. It’s just too…ah, crap.

Dr. Strange: I resolve to be the central character in a Bendis crossover this year, meaning I also resolve to act horribly out of character as long as that advances the plot, no matter how nonsensical that may be.

Cyclops: Now that my current honey, Emma Frost, looks to be going evil again, I resolve to find another skank to bring home to my bedroom. I wonder what Selene, the Black Queen, is up to. Jean would be so proud.

Wolverine: I resolve to only appear in fifteen books a month. Wouldn’t want to become overexposed.

Thor: Verily, I doth resolveth to speaketh in English most plain, so as not to confuseth those who doth find themselves arrayed around me.

Hercules: Verily, I doth resolveth….hey Odinson! Getith thine own resolution. Fine. I doth resolve to ne’er move from the fine publication in which I currently reside. It is mine now Hulk, you poor excuse for a hero! You shall ne’er move me from it!

She-Hulk: I doth resolve…sorry. It’s contagious. I resolve to get my own title again. I wonder who can relaunch me this time? Maybe I’ll give Byrne a call….it’s not like he’s doing anything important right now.

Sub-Mariner: I resolve to enter rehab this year. I mean, have you seen me lately? I look worse than Tony Stark did after a three month bender!

Dr. Light (female): I resolve to turn back the clock on my personality and act like I did in 1986 again. It may not make sense to anyone else, but there’s a reason I’m ignoring the last 20 years of my life and acting in this manner. Honest.

Obsidian: I resolve to go back to the JSA and fade into the woodwork again, since the only title to explore my character is now, <sigh>, cancelled.

Scarlet Witch: I resolve to return to comics to say what I should have said in 2005: “No more Bendis.”


Highlights of 2008

Dec-17-08

The last few days have been fun, as Jason and I peered into our crystal balls to look at what 2009 might hold. However, it’s possible that those thoughts may have seemed a tad cynical to some; I’ll go so far as to say that some may have called them snarky. It may seem to some readers that Jason and I look on the comics industry with disdain, and nothing could be farther from the truth. Well, ok, many things could be farther from the truth, but we’re not totally jaded. Along those lines, I wanted to look at some of the highlights of the previous year.

This is not a best of list. I simply don’t read the breadth of comics that I would need to read to compile a list like that. No, this is a list of what happened in 2008 that gives me hope for the future. I’ll also touch on those things that make me think that 2009 may not be such a bad year for comics after all.

A new Scott Pilgrim book announced for 2009. Jason and I have touted Scott Pilgrim quite a few times, but there’s a reason that this gives me hope. It has long been established that the only financially successful model for comics to follow is to publish monthly pamphlets (or floppies or whatever you want to call the comics that we all know so well) and then to collect those previously published floppies into trade paperbacks some months after their initial printing. There have been some original graphic novels, but generally those are only created by big name creators, those who already have a built in following.

Scott Pilgrim refuses to follow this model. Like the titular hero of the book, this creation comes to us in small graphic novels, each completely original. The writer/artist, Bryan Lee O’Malley, is not a well known creator with a built in following. Yet he’s publishing Scott Pilgrim in a way which I feel shows that there are other options beyond what Marvel and DC believe comics can be published. He’s not the only one who’s exploring alternate ways of publishing comics, but he’s one of the most successful and he gives me hope for the medium.

Jeff Smith’s career. Jeff Smith is the writer and artist who created the absolutely charming and exciting Bone comic, which he self-published. That comic ended in 2004, at which time Smith began working on the equally amazing and endearing Shazam: Monster Society of Evil, a four issue limited series which made the best use of DC’s Captain Marvel that I’d read in decades. Once that miniseries was over, Smith went back to creator owned work, publishing RASL, a series about a dimension-jumping art thief. So why does his career fill me with such hope?

I believe that corporate comics have a place, and can be quite enjoyable, but I also believe that they can drain the creative fire from a creator. I’ve seen creators who I greatly admire go to work for DC and Marvel, only to find the originality, humanity and that special unique voice they had disappear within that culture (<cough> Winick <cough>). Jeff Smith proved that you can do those corporate comics and not lose your voice. He’s also shown that he can succeed in multiple genres, as RASL has proven to be just as intriguing as Bone, albeit not as dependent on adorable animals and stars. I’d love to see more creators take those lessons to heart.

Captain America. She-Hulk. X-Factor. Manhunter. I’m not a big fan of where the Marvel or DC Universes are going these days. I find that both companies seem to favor brainless, unending crossovers, where perhaps a few good ideas lay buried, instead of simply publishing good books. That being said, the titles I mention above are all excellent comics, and they prove that even when you’re writing a comic set in a universe that has taken a turn for the worse, you can still write an entertaining story. Sadly, two of these four comics have been cancelled, but I have no doubt that they will be replaced by other entertaining books that shall dance on the periphery of the major superhero universes, reminding us that some people truly can make lemonade from even the tartest of lemons. They give me hope that, even if I don’t like the direction of Marvel and DC, they will always publish some comics I enjoy without reservation.

Ed Brubaker and Grant Morrison: These men have written some of the most mainstream comics on the stands today, and can be considered some of the movers and shakers of their respective universes. Not all of their comics are ones that I love, but more often than not, they have written books that continue to push at the edges of the comic’s medium, taking old, overused cliches of the business and making them work. Along the way, they’ve managed to create some comics which truly show that superheroes can be fun to read, they can be interesting, and they can be used to explore some important themes. I look forward to seeing what these gentlemen create in 2009.

DC Starts its Final Crisis: I’m not a big fan of this Final Crisis. That said, I love the word Final, and while I’m probably being naive, I’m hoping that it truly is final. I’m hoping that, in 2009, we’ll see DC move away from these huge events, and just start telling stories again. Stories that begin in a hero’s book and end (yes, they must end to be a story; Marvel and DC both need to recognize that) in that same book. Stories that don’t require a massive knowledge of the DCU, and stories that, simply put, are good. That’s my hope for 2009, and I have it because DC tells me that this is the last of their crises. Fingers crossed.

James Robinson returns to comics. Of course, he may have left again, if rumors are true, but his return gave me hope. I believe that Robinson is at his best when he’s writing books where he doesn’t have to worry about massive editorial interference, or worrying about umpty-bazillion crossovers, but just the fact that he’s writing comics again means we could possibly see the brilliance he displayed in Starman and The Golden Age. One of my favorite comics writers ever has returned, and that makes me happy.

There’s some of the things that give me hope for 2009. Jason, anything to add?

Yes, in fact, I do have a few things to add. Some build off of what you’ve already stated and others reflect my own twisted favorites in the comic industry.

First off, I heartily agree with your Scott Pilgrim recognition. I also like how you couched your point in the position that a new book was “announced” in 2008. While O’Malley has been rather methodical in putting out a volume a year, 2008 went by without any Scott Pilgrim. #4 came out towards the end of 2007 and #5 comes out early next year. I’m just glad to know we don’t have to wait much longer!

Your praise of a few good series interests me. I’ve been saying for a year or more that I wanted to start reading the She-Hulk trades. I guess it’ll be easier to catch up now that the series has been cancelled! I gave up on X-Factor a few issues ago. With the tie-ins to both Messiah Complex and Secret Invasion, it felt like the book lost its entertaining focus. The stories turned more towards plot devices than character interaction. And the artwork became quite horrible, in my opinion. Sad, really. I liked the early run that built off the Madrox miniseries from a couple years back. I’m on the second of Brubaker’s Captain America trades and it’s…interesting so far. Not sure I like it yet as much as his Daredevil run. All in all, Brubaker has probably impressed me the most this past year…from the mentioned titles to Criminal to Immortal Iron Fist…and, in the theme of this post, I’m looking forward to his Incognito book with Sean Phillips in 2009.

I’d be remiss if I didn’t mention Brubaker’s partner in crime on Iron Fist (and Uncanny X-Men), Matt Fraction. You know how much I’ve enjoyed his writing the past few years. While his Marvel work has lost some of the attitude and sparkle of his more independent stuff, I still think Matt is one of the top up-and-comers in comics today. The first arc of his Invincible Iron Man felt like something I wanted to write, which is probably the best praise I can offer in my own conceited world. Curious to see what he has up his sleeve for 2009.

Andy Diggle on Thunderbolts has me curious. Loved his run on Losers, and the Green Arrow: Year One book was a solid take on the character. I’m also looking forward to Dan Slott’s run on Mighty Avengers. Partially because he’s not Bendis and partially because Slott is a huge Avengers fan, but mostly because he writes fun books with the right mix of action, comedy and crucial moments. I first became a fan of his work with the Arkham Asylum: Living Hell miniseries he did at DC in 2003. The early issues of his Avengers: Initiative drew my interest for a while, but I ended up cutting it from my pull list when it got too mired in “big event” plotting. Another book I liked was Paul Cornell’s Captain Britain and MI:13 series. Unfortunately, I only got the first four issues and then couldn’t track down the rest. I guess I’m looking forward to the trades in 2009!

I’ll echo your approval of James Robinson’s return. I picked up the first hardcover collection of Starman this summer and loved it. His Golden Age is one of my all-time favorite stories too. It’s true that he seems to work best when not being saddled by continuity and editorial interference. That said, volume two of Starman comes out in a few short months! DC has also started releasing larger hardcover collections of Y: The Last Man and just announced the same treatment for Fables. I give two thumbs up to those decisions. I want to get my wife interested in both titles (I already got her hooked on Preacher and Blue Monday) and these hardcovers seem like the best way to do it. On that note, Chynna Clugston started a new Blue Monday miniseries in 2008 and I look forward to grabbing that trade next year.

A lot of the other stuff I’m interested in may show up in my stocking from Santa next week. My wish list includes things like: Chip Kidd’s Bat-Manga book, the Skyscrapers of the Midwest collection from Josh Cotter, the first trade of Warren Ellis’ Freakangels, Mesmo Delivery by Rafael Grampa, a few of the Golden Age ACG archives (Green Lama, Magicman, Nemesis) put out by Dark Horse, the Scud collection from Image, Omega the Unknown by Jonathan Lethem & Farel Dalrymple and Blake Bell’s book about Steve Ditko. Most, if not all, of these books were released in 2008. Kudos to the comic industry for that output!

See? Not everything I read has superheroes in it!

On a final note, I’d also like to expand on your note that Final Crisis was introduced in 2008. Unfortunately, it wasn’t finished in 2008. I’m going to go on the record right now and announce that I just don’t care for event comics. Sure, I buy them every freakin’ time they put them out, but I think that’s more a collector’s reflex than any sort of focused interest. I’m almost always disappointed by the results. And DC’s overall universe has taken a gigantic hit in stability, from my point of view, as a result of all this constant “OH NO!” foreshadowing and angsty, heavy-handed plotting. There is not a single title on DC’s current slate, aside form some Vertigo titles, that interests me in the least. Two years ago, I was reading almost everything they put out. If that’s not a glaring problem, I don’t know what is. Sadly, Marvel is starting to deliver the same results for me. The only titles I consistently read anymore are the peripheral books that don’t seem to be as rooted in the general nonsense going on. I’d like to see a moratorium on Events (with a capital “E”). At the least, corral them into a family of titles instead of the entire breadth of your output. The dreaded Spider-Man: Clone Saga was an odious piece of garbage, but it was segregated enough to keep its stench off the rest of the world. Same goes for most X-Men soap opera plots that I have less and less interest in as I get older. Is it too much to ask that we just get an excellent run of Justice League stories or Avengers stories or Batman stories or (god forbid) Wolverine stories without all the restless claptrap constantly revolving around them? And don’t tell me that the “market has changed” and the “customers’ expectations have evolved.” That’s complete and utter bull. These changes and evolutions are self-made. Writers write “for the trades” because they’re lazy or because the publishers are greedy. It has nothing to do with the readers. I’m pretty sure I never signed a petition asking for gloomy, redundant, violent comics without a glimmer of hope or excitement. I don’t remember picketing outside DC’s offices with a sign that said “More Rape Please!” I’m not saying Spider-Man shouldn’t be punching bad guys in the face. On the contrary, I think he should do more of it…with less of the “sky is falling” consequences, sideways glances, overwhelming politics and downward-spiral finality of it all. Lighten the f*** up.

I know that rant isn’t really a “highlight” of 2008. But perhaps 2009 could be the year we get back to good, fun comics? I’d like to be able to praise that accomplishment at this time next year.

John?

Jason, Jason, take your tablets.  Go to your happy place for a few minutes.  We’ll wait.

Of course, I can’t disagree with your rant at all.  Your points are all valid, I agree with them, and I would also love to see 2009 be a return to more fun comics.  Not every comic has to be Giffen/DeMatteis’ Justice League, but not every comic has to be a blood drenched gritty buzzkiller either.  Good grief.  Alan Moore (not one of Jason’s favorites, but I like his work) seems to be able to do serious stories that don’t seem to drown in pathos and unnecessary violence.  Perhaps it’s because, for every From Hell he’s written, he’s also produced a more lighthearted book, like Tomorrow Stories or Tom Strong

Still, I believe we may have gotten off point a tad.  I will echo your words about Dan Slott, a writer who does an excellent job of writing good stories, yet recognizing that they can be fun.  His Great Lakes Avengers limited series is still one of my favorites.  And for those, like you, who were turned off by Larry Stroman’s art on X-Factor, he has left the book, so you may want to give it another try.

We’ve both shared some of what we thought was important in 2008, as well as what gives us hope in 2009.  There’s good stuff out now to read, and more on the way, but the percentage of good reads compared to what’s being published isn’t nearly as high as it should be.


Comic Book Predictions for 2009

Dec-15-08

Here at “Meanwhile…Comics!”, we’ve spent the past year talking about what we would do differently with the characters and titles found in the Marvel and DC universes. It’s been fun to play editor-after-the-fact. However, if we want to be true editors of a comic book world, we need to learn to plan ahead as well. So, John and I thought this would be a good opportunity to take a peek into the future and see what 2009 may hold for our favorite Marvel and DC characters. I’ll kick off the festivities and then John can comment on my thoughts and add some of his own (you guys know the drill). In 2009, I predict…

1. MODOK will make a comeback. Granted, this freak has been the butt of many jokes in the past year or two, but he used to be leader (many times over) of AIM and one of Captain America’s most visually interesting foes. The way Ed Brubaker is scrolling through the early Cap bad guys…Red Skull, Doctor Faustus, Arnim Zola…he’s bound to get to MODOK sooner than later. And then, we can expect dramatic comebacks from the likes of The Stranger, Solarr, Monster Ape, Yellow Claw, The Tumbler and The Alchemoid. Classics all.

2. DC will go through yet another crisis. And the Internet will weep. And no one will understand what’s going on. And the whole thing will center around an epic battle between Bat-Mite and Streaky the Super Cat. The plot will get leaked to someone’s blog and then Dan DiDio will spend four months rejiggering the whole thing so that Bat-Mite ends up either torn in half or stuffed in a refrigerator (or, in his case, a little Coleman cooler). Tears will fall. Heroes will rise up. No one will notice.

3. Wasp will come back from the dead. And so will Steve Rogers and Bruce Wayne and Martian Manhunter and Orion and everyone else who went down this year. Are you shocked yet? I’m even going to go out on a limb and say that Mockingbird will die again, just so Bendis can mess with Hawkeye a little bit more. Jerk.

4. Some second tier characters will get their own titles. And then get them cancelled. I’m looking at you, Dakota North! Oh, what’s that? You already had a title that no one bothered to read? Never mind then. Now I’m looking at you, Nth Man! What? Really?? Oh. Well, maybe She-Hulk will get her own title again. Fingers crossed.

5. Frank Miller and Rob Liefeld will collaborate. In the crossover, Batman and Shatterstar will carry really big guns, swear a lot, and constantly look like they’re in pain (either through their expressions or the fact that they have teeny, tiny ankles and ginormously huge upper body structure). Oh, and the whole thing will be presented in vivid black & white…because, you know, that never gets old.

That’s five things off the top of my head. I predict that John will inspire more sarcasm in me. What do you predict?

Well, it’s certainly hard to argue with the prediction that the dead in comics will rise again. I’d also go ahead and add Shadowcat to your list, as I’m sure she’ll return from her Joss Whedon-penned demise in short order (at least I’d hope so, as she’s one of the few truly interesting members of the X-Men). It’s also certainly hard to argue with DC having another Crisis. I know this one is called Final Crisis, but who really believes that?

Here are some other predictions:

1. Brian Michael Bendis will suffer fatigue from writing 75% of the titles Marvel produces and his scripts will show it: Oh, I’m sorry, that happened in 2006. I’m supposed to be looking to the future. I do, however, feel that he will continue to be one of the guiding lights behind the Marvel Universe, that his writing will continue to avoid hitting the heights it did back when he wrote only a few fringe books, and that I will continue to avoid purchasing most Marvel titles for this very reason.

2. Mark Millar will unveil his latest brainstorm: Ultimate Midnighter and Ultimate Apollo!: In an attempt to breathe life back into the Ultimate Universe, Mark Millar will introduce Ultimate Midnighter and Apollo into that world. Once there, they will become members of the Ultimates, leading that team to new heights of debauchery and pathetic attempts to incite readers with cheap sensationalistic antics. Ultimate Captain America will prove to be a giant homophobe and will fight with them both, eventually ending when Apollo sodomizes him at which point Cap will see the error of his ways and shack up with Ultimate Colossus.

3. Spider-Girl will be relaunched and then re-cancelled. Twice. Which is a pretty safe bet any year.

4. Dan Didio will make internet fandom arise against him in anger when he decides that the DC Universe needs to kill off Captain Marvel. “He’s really just another Superman, right? I’ve never seen the point of him. He’s redundant.”

5. Ed Brubaker and Matt Fraction will launch a new title, “Raging Razorback”, will will become a huge critical darling. “We can make any previously unimportant D list hero relevant and exciting,” Brubaker will say in an interview on Newsarama. The book will indeed, launch to much critical and commercial success, which will last for eight months, when both creators will then leave the book to work on a relaunch of El Aguila. Some poor relative unknown will be tapped to replace them, and Razorback’s title will quickly fade from view. However, I declare 2010 to be the year of El Aguila!

Oh, snap! Those are some good ones. The Bendis point is so true it’s ridiculous. Everyone seems to hint that Bendis will be Quesada’s replacement as Editor-in-Chief eventually. What a horrible day that will be in the Marvel U. Everyone…will…yeah, but…well, you know…we can…we can all start, y’know, start…talking like…um…like, y’know, this? Or…yeah. Yes.

I’m not sure DiDio will get to Captain Marvel in 2009 though. He still has to do long division on the rest of the former Robins, a couple Green Arrows, three Flashes, at least two Atoms and a generous handful of Green Lanterns. Captain Marvel might get pushed to 2010.

I absolutely LOVE the Brubaker/Fraction reference. So true. And, so help me, I’d happily buy every issue of Raging Razorback. Y’know…until the scrub creative team takes over.

That reminds me of a few more things I can predict for 2009…

1. Someone will finally sell an Aquaman pitch. And that lucky devil will be Grant Morrison. The book will be described as “Lovecraft with sex pirates,” the art will be provided by Frank Quitely, and the first issue will come out 22 months after the book is announced. Critics will rejoice. Fans will scurry for their dictionaries. And, somehow, Morrison will win a Nobel Prize for literature. He’ll accept the award in a shiny suit and then disappear from the stage in a puff of smoke.

2. The TV-to-comics writer trend will continue. 2009 will see the debut of three titles that take place in a hospital, four that deal with scientist cops, one that features a law firm and one that has some sort of weird sci-fi vibe but just gets more convoluted and confusing as it progresses. Pretty soon, readers will give up on it all and start turning to the serialized versions of Survivor and The Amazing Race. The Comic Writers Strike of 2009 will come to a head with Deal or No Deal: The Comic Book (which will immediately be optioned by Sony for a three-picture deal).

3. All the superhero tropes will make an appearance. Someone will be resurrected. Someone will lose their memory. A plot will turn out to be a vividly bad dream. Another plot will turn out to have taken place in a different dimension. Time travel will solve someone’s problems. A bad guy will have his “lifeforce’ transferred to another body a split second before his current body is destroyed. Certain characters will die in one title, only to pop up in another as if nothing ever happened and nothing is explained. One hero will secretly wear the costume of another hero. There will be an evil twin…with a goatee and, preferably, an eyepatch. An older sister will turn out to be someone’s mother instead. Someone will cheat on someone else with their brother…and get pregnant! Wow…those last few went into soap opera territory, didn’t they?

4. Wolverine will get three more titles. And, right before his movie debuts, he’ll show up in crossovers with Hulk, Punisher, Spider-Man, Ghost Rider, Iron Man, Moon Knight, Ms. Marvel, Thunderbolts, Captain Britain, Anita Blake, Dark Tower and even the Marvel Illustrated version of The Man in the Iron Mask.

5. DC will slip to #3 in sales. This will happen when Dark Horse signs a licensing deal for a Harry Potter vs. Twilight series. Geeks worldwide will suddenly realize that Dark Horse publishes books featuring Hellboy, Star Wars, Buffy, Raiders of the Lost Ark, Serenity and pretty much every other popular genre-based character and Eliza Dushku role outside the superhero realm. The mainstream media will try to make a story out of the fact that comics exist that aren’t based around male power fantasies. A few people will take note, but aging fanboys will rally against the minimally perked popular interest, decrying these new books as “dumb” and the people who read them as “idiots.” The world will realize what socially repressed assholes the core comic readership is comprised of, the potential excitement will die away and superhero comics will continue to shrink in both quality and reach. Everyone will be happy. Hooray!

Have I mentioned lately how much I enjoy reading comics? Just wanted to reinforce that.

I would so read that Aquaman book.

I can’t wait to read more Wolverine titles. With his three monthlies, plus his appearances in multiple X-Men titles and Avengers affairs, I simply don’t feel that we’re seeing enough of him. With a major motion picture coming out next year, I don’t understand why Marvel doesn’t capitalize on this underused character. Perhaps the launch of Spectacular Wolverine, Wolverine: The Best There Is At What He Does and Superfluous Wolverine, will help to fill the gap and will help draw non-comics readers into comics shops after the movie is a hit. Oh wait. No, that won’t work, since all of those books will be cynical, angry books, mired in years of confusing continuity that would take ten years to understand. My bad.

My crystal ball is clouding over, but I do have a few more predictions for next year:

1. Usagi Yojimbo will continue to be an amazing comic, with spectacular writing, good art, and it will appear on a regular monthly schedule. It’s creator, writer and artist, Stan Sakai, with perform this feat, amazing in and of itself, while still finding time to do another few odd projects, such as lettering a Groo miniseries for Dark Horse. Comic book scientists will still be unable to distill and bottle this amazing man, and other comics creators will still be unable to duplicate his feats.

2. The third issue of Kevin Smith’s Batman book will not ship. Look for it in 2011. It will still suck.

3. Peter David will launch a new series starring Hawkeye, a popular character who has had his own series in the past, but never seems to be able to keep one long term. The series will be smartly written. It will have humor, but will also handle serious subjects. It will be popular with critics and get good reviews. It will have strong art, with clean storytelling and a sense of fun. It will be cancelled within the first two years.

4. Judd Winick will start writing another three titles in the DCU. Characters in those titles will note that instances of rape, general violence and needless slaughter increase by 150%.

5. The comics industry will continue to hemorrage readers, while the leaders in the industry refuse to consider alternate business strategies that would keep the artform alive in the longterm. Oh, how I wish I had a punchline for this one.

And, I’m spent.

Hey! Don’t throw Hawkeye under the bus like that! X-Factor hasn’t been cancelled (again) yet, has it? It’s funny that we assign certain traits to certain writers. If the characters were actually living and breathing members of a contained universe, do you think they’d be having water cooler conversations about who’s handling their writing duties?

Fade in on Hulk, Moon Knight and Ms. Marvel talking in the break room of a nondescript office building. Iron Man approaches with a casual saunter.

IRON MAN: What’s up, homeslices?

HULK: Have you seen Spidey?

IRON MAN: Nah. Kid’s a square. Too angsty for me.

MOON KNIGHT: Pfft. Not anymore. Bendis got a hold of him for some event comic. Poor Petey is talking like a fry cook with a head injury. Takes ten minutes to say hello.

MS. MARVEL: That’s so sad. Did you hear that Peter David is taking over my book?

IRON MAN: Well, it was nice knowing you!

Everyone laughs.

HULK: You’re lucky. I’ve got two titles right now. One with Slott and one with Claremont. I wake up in the morning and I don’t know if I’m supposed to be bashing stuff and throwing out clever quips or if I’m just supposed to be standing around delivering panel-cramping monologues about my feelings and every relationship I’ve ever had.

The group nods their heads in agreement. Just then, Green Arrow walks into the room. He’s looking around confusedly.

GREEN ARROW: Anyone seen Batman?

HULK: Last I saw him, Kevin Smith had called him into his office. But that was six months ago.

MOON KNIGHT: Anyone know what Smith’s doing with that whole Daredevil/Bullseye thing? I swear he’s got bodies buried under the floorboards.

Hercules storms into the room. He whips his coffee mug across the room and imbeds it in the wall.

HERCULES: Goddamn, Millar! Even I don’t have enough muscles to keep up with these redundant fight scenes!

GREEN ARROW: Hey, just be glad you’re not part of the Legion! I hear Winick took over that book and now they only have four members left. Freakin’ bloodbath. Families. Friends. Pets. Raped and dismembered. I hear they only found chunks of some of the Substitute Heroes. I don’t know what refrigerators look like in the 31st century, but they must hold a lot.

Ms. Marvel starts crying. Moon Knight moves over to comfort her.

IRON MAN: I miss the good ol’ days. Stan Lee couldn’t write for crap, but at least we all got home in one piece.

HULK: And almost everyone’s name rhymed too. Big help.

HERCULES: Yeah. So…what do you guys think about Grant Morrison?

IRON MAN: I hear he turned Wonder Woman into a dude. And an astronaut. S/he can see into the future now.

MOON KNIGHT: Hmph. Lucky break. Sales ought to go through the roof on that one.

Fade out.

Sigh…I’d take one meticulous, thoughtful Stan Sakai over a hundred Judd Winicks any day.


Comic Cancellations and the Comics Industry

Dec-08-08

While Jason and I may have been slow in posting the past few weeks due to other commitments, the comics world has continued to move forward. One of the big recent announcements made by the Big Two was DC’s decision to cancel their mid-tier Bat-Books, including Robin, Nightwing and Birds of Prey. This may have come as a surprise to some readers, but it’s not an unusual move. None of those books had a buzz about them and sales had been mediocre for some time.


This tactic, of culling the weak from a herd of related books, is not unusual. Marvel, when it introduced its “Brand New Day” storyline into Amazing Spider-Man, used that as an opportunity to cancel all of its other monthly Spidey titles, although they then began publishing Amazing Spider-Man every week, so that may have been a wash. Throughout the past decade, Marvel has also taken the hatchet to its bloated X-Men family of titles on a few occasions, although such cancellations never seem to trim the line for long, with new books and relaunched versions of older books soon appearing.


In fact, that’s one of the questions that one must ask when confronted with news of this sort: does it matter, in any conceivable way? It’s possible we won’t see Birds of Prey again, but does anyone truly believe that there won’t be another Robin series popping up down the line? All it would require would be a hot artist or writer being brought on board and that title could easily be relaunched, with a new number one issue, and if we’re really lucky, variant covers (perhaps with special metals used on them)! Cancellations like these, while frustrating to those fans who follow those series on a monthly basis, are normally just speedbumps in the road for these established characters, who will either guest star regularly in their parent title, or will be back soon enough in their own title. Cancellations are only a concern when you’re a relatively new, untested property, like say, Blue Beetle.


Yes, DC has also announced the cancellation of their Blue Beetle title, and sadly, the titular hero has no other place to call his home. Cancelling a title such as Blue Beetle or the critically acclaimed Manhunter (or, on the Marvel side, the oft-cancelled Spider-Girl) often means that the characters who have lost their book will disappear, rarely, if ever, to be seen again. If the writer of that title is writing other titles for the company, they may be able to move some characters over into their non-cancelled titles, but that’s not always the case (and for a character like Spider-Girl, who’s in a different continuity, it’s not really even possible). Many people have attacked and lambasted DC over its decision to cancel Blue Beetle, as the character had just appeared on their new cartoon show The Brave and the Bold, and the cancellation was seen as a poor marketing move, which it might well have been, had DC ever marketed its comics towards the viewers of the show in question.


In any case, the comics blogosphere has been all abuzz the past few weeks as numerous armchair quarterbacks discuss these cancellations, and what sort of an effect they will have on the industry as a whole. Never one to miss out on an opportunity to inject my opinion into a topic that other’s have milked dry, I am going to jump into this fray, as is the lovely and talented Jason. I think we bring a unique perspective to this debate, in that we are not armchair quarterbacks of any sort; I, for one, sit in an office chair, with no armchairs in sight.


So, let me outline what we’ll be discussing, and then I’ll turn this over to Jason, who’s been hoping to rant for many days now. We’ve mentioned the different types of cancellations: mid-tier books that will likely be back soon; mid-tier books which are absorbed into the parent books in their line; and the third stringers who may disappear altogether with no other title to call home. The question is: are these sorts of cancellations wise business decisions? Do they help or hurt the comics industry as a whole? Are they a shortsighted decision or one that looks to the future? To begin the discussion, I turn this over to Jason, but I’ll be back with my own thoughts on the subject soon enough.


To begin, I would like to point out that my chair does have arms, but it is also on wheels…so I think that technically rules out any sort of “armchairing” on my part. You’re right to relate that I have been waiting to rant about this topic for a while now. I kept starting and stopping my own version of this post because I had just too many thoughts and opinions to blurt out. I didn’t want to tax anyone’s reading comprehension abilities as I vacillated wildly from topic to topic. I’m sure this response will meander into the realms of economic concerns, buying habits, related cultural industries, the counterintuition of the industry and a bunch of other things. However, first I’m going to try to address John’s questions straight on.


John asks if “these sorts of cancellations are wise business decisions” to which I respond: ANY sort of cancellation is usually a wise business decision. And, quite honestly, I wish the Big Two would do more pruning of their overgrown product lines. It’s all about curb appeal…and right now, neither Marvel or DC has much of that when it comes to attracting new readership. The mentality of the last decade or two, to be filed under “Lessons NOT Learned From the Mid-90s,” is this: if readers love Mr. Super in one book, they’re sure to love him in eight books! If they are willing to fork over $3 for one comic featuring Mega-Dude, imagine how much we can squeeze from them if we have Mega-Dude appear in a dozen titles this month! On its face, that sounds like a great supply-and-demand model, right? Unfortunately, comics are a different sort of beast. Maybe I read the monthly Mighty Mr. Super title because I like the writer or the artist, whereas Awesome Mr. Super, Mr. Super Adventures, and Mr. Super Hangs Around Outside Elementary Schools employ creators who don’t twirl my baton. Or, and this seems to be the one the big boys can’t seem to understand, maybe I only have $3 this month! Maybe, I buy a bunch of other books (including, ironically, some from the same publisher) and don’t want to make that commitment or be faced with that choice. Or let’s say I do make that commitment, but now I have to drop one of their other titles in order to read more about Mr. Super.


Extrapolating that kind of effect can be difficult, but I’ll try to explain it in small numbers. DC launches Blue Beetle to some critical success. It begins to build an audience. DC faithful like it enough to add it to their regular buy lists. However, then DC decides to launch an event comic that is destined to “change the DC Universe FOREVER.” Well, being a DC fan, you feel like you need to see this. You stretch your budget a bit to include this overpriced piece of garbage, but that’s pushing it. You like Blue Beetle and don’t want to give up on it yet…I mean, they’re going to introduce this new character, build a world around him and let him enjoy some adventures on his own before trying to force decades of unrelated continuity into the title, right? AHAHAHAHA. Don’t hold your breath. But, for argument’s sake, let’s just assume that everything is going swimmingly over in Beetle-burg. Now, DC decides that Batman is going to die. Oh no! Not one of the major comic icons of my lifetime! I need to follow that story desperately! Um…bye-bye Blue Beetle or big event comic or DC in general just for forcing me to choose. In fact, maybe I’ll just give up completely on comics. Granted, that may be pushing this example to the extreme, but it’s possible. The goodwill that was going to be built by Blue Beetle or Secret Six or Birds of Prey or The All-New Atom or Shadowpact or anything else, is now dribbled away by DC trying to do too much at once.


That’s an example of what can cause a new book to be cancelled, but what about a mid-tier book? Well, it’s a similar track. Companies forget that there is a limited audience out there and that that audience has a limited budget too. You can’t have the mentality that “everyone in the world wants to read every book I make” and hope to have great success in this business. I haven’t gone back and crunched years of data on the topic, but I can make a few educated guesses about those second-level titles. Let’s say The Supergroup sells 100,000 copies a month. The company decides this is a good time to take advantage of increased readership and introduce The Fabulous Supergroup as a companion title. For the sake of simplicity, readership on the first issue of Fabulous is also 100,000. Wow! Another hit on their hands! Of course, over the release of a few issues, the numbers adjust themselves to account for readers making a decision between the two titles or deciding the creators aren’t their favorites or the stories aren’t interesting or whatever. After issue #4 hits the stands, Fabulous is now attracting only 70,000 readers and the original title is down to about 90,000. In order to regain some flagging interest, the company decides to launch a solo title for their most popular character, Mega-Dude. Mega-Dude’s premiere issue flies off the racks at a pace of 120,000. Awesome! But now it’s decision time again. Do readers feel that Mega-Dude is better on his own (meaning an uptick in the solo series, but less interest in the team book)? The original series drops to 75,000…Fabulous now sits at 50,000 (and is on the bubble for cancellation now) and the solo series settles in around 80,000. Do they feel that three titles with Mega-Dude are way too many and decide to drop one or two of them? Do they get completely fed up with Mega-Dude’s overexposure and drop all the titles? Do they decide to stick with all three but now have to drop the Mr. Super title because of a limited budget? Or does a rival company take advantage of the diluted market and launch some new fan favorite title that attracts 150,000 purchases and shoots to number one on the sales chart?


Someone is going to lose.


And that’s just the economic semantics of the deal. Having the same character appear in a bunch of different books every month is a horrible way to keep characterization and tell fluid stories. Why can’t there be just one X-Men comic? You have great stories to tell? Perfect! Tell them in one book. Maybe increase the page count or put it out bi-weekly or something. Is there really any need to dilute the characters and their gravitas just to kill a few more trees and put more stress on your readers’ wallets? At the very least, combine the titles…if two books cost $6, you should be able to double the page count and produce a single title for $5. If every publisher would follow this model, readers could get more bang for their buck and the market would turn to one more similar to Japan’s booming market…with thicker monthly books that contain multiple stories. Less titles to fret over, but more stories in each book.


I’ll skip John’s second question and go right to the “shortsighted decision” inquiry. Yes, I believe all of these cancellations are shortsighted. It has nothing to do with the titles themselves, but with the overall mentality of the comic industry. Everything they do is shortsighted. Switching creative lineups. Launching assorted miniseries. Killing off established characters. You name it, it’s a blindfolded dartboard mission. Even the things they think they have planned out ahead of time end up being retrofitted at the last second. Look at all the stories about DC’s big event books for the past two years…Dan DiDio has lorded over the titles, making adjustments, removing key plot points, changing characters and generally mucking about in the creators’ realm all in the name of “executive editing.” And how has that worked out for them so far? I’ll tell you: confusing, self-referencing, continuity-laden stories featuring third and fourth-tier characters that the average literate person doesn’t recognize and could care less about. You’d think they’d learn after one debacle, but instead they keep trying to adjust for each event, making them go further and further off track until the Final Final Final Crisis will be a one-shot featuring Bwana Beast playing a game of battleship against the head of Toyman. And someone is bound to say, “Wasn’t that one dude on the Super Friends cartoon?”


Now for John’s last question: “Do cancellations help or hurt the industry as a whole?” Well, personally, I think there’s some good and some bad. There have been titles that have bled readers without outside influence, proving they probably didn’t deserve the attention they were granted. There have been titles launched that had great buzz before they hit the stands and then just fell flat, whether from overblown expectations or suck-o creative output. And then there are books that really could have been something, but were given no promotion, overpopulated with ill-conceived crossovers, or hastily tossed on the chopping block to save the 14th useless and watered-down Cool-Man title. As a whole, I wish the industry would think a little before they launch the titles, take better care of them once they’ve launched and look across their entire line before they start cutting off noses to spite their faces, so to speak.


I have a lot more to say on the topic, but I’ll give it back to John to digest my rant and reply appropriately.

Well, before I delve into what you wrote too extensively, I have to completely agree with you that these choices are short-sighted, and that all the choices the Big Two make fall into that category. Sadly, I feel that’s a problem with much of the world today; we tend to live in a very short-sighted society, which can’t look more than a few weeks or months into the future. The comics industry is obviously not as strong as it could be, as it has been in the past, and indeed, as strong as it is in other countries. While there are numerous reasons for this, I believe that, to change this and to really turn the industry around, the leaders of this industry are going to have to look to the future and make some difficult choices. They need to completely change the way they do business, because the current business model? Not working out so well.

I agree with much of what Jason says, although I feel that you don’t hit a wall of diminishing returns in a financial realm only, when you publish multiple titles featuring the same character; you hit that same wall in a creative realm as well. Put simply, Batman may be one of the most interesting characters in creative fiction, but he’s not interesting enough to feature predominantly in six books a month. If you insist on publishing six books a month featuring this character, you are going to start running out of ideas, and you’re going to either recycle old ideas (changing little) or you’re going to get some really bad stories.

Understand that I am quite cognizant that bad stories can happen in the books of characters that only have one title. My point would be that, in the case of a character like Batman or Superman or Spider-Man, you should easily be able to get the top creators in the business to chronicle their adventures. If you restrict their adventures to one main title, you can have the top creators in the business telling their stories, and you don’t have to worry about trying to find others to pad the pages of the many ancillary titles that feature them. You would have creators who would be building on many years worth of stories, yes, but those years would only be filled with twelve or twenty four issues worth of stories, not sixty or seventy two issues, as we have now.

I also see how budgets are limited, and multiple series featuring a favorite character can really hurt a buyer’s wallet. I’m sure that, if this was suggested to the Powers That Be that run DC and Marvel (and I’m sure it has) they would counter that, if they drop two Superman titles a month, the consumer who was purchasing them wouldn’t then start picking up Manhunter and Blue Beetle; they’d simply save the money, or use it on another form of entertainment. Unfortunately, the Powers That Be could be right, and consumers might react that way. Still, I believe that it’s a chance that must be taken. I believe that, if given more choices, not only might current readers try something different, but that new readers might be brought into comics, since there would now be a better chance that the Big Two were publishing something that might interest them. This wouldn’t be a quick process, as there are decades of preconceptions built into our culture, but going back to making far sighted decisions, those preconceptions will never be broken down if steps aren’t taken to do so.

Okay, intermission is over. The rant may continue.

Right. I’ve gotten my breath back and I’m ready to sound off again! I like the point you raised at the end. I think there’s a general fear within the industry that they’re competing against video games and movies and all the other related disposable entertainment. However, you can’t ever succeed if all you do is operate on a fear-based model. Don’t take chances! Don’t do something that may alter the sales patterns of the last four years! Don’t make any changes to characters or continuity that can’t be explained and changed back at a moment’s notice! Don’t try to attract new readers in a new way! Don’t put any effort into cross-promotion outside your sheltered little industry!

Look, how simple could this be? Instead of putting the onus on the retailer to sell your product, why don’t you do something that could help out everyone? Pundits like to draw conclusions about comic books from comic-based movies. The new Batman flick did gangbusters, that must mean the comics are selling millions too, right? Um…no. The person who watches a movie isn’t necessarily the same person who has spent a decade following the adventures of his favorite hero. Sadly, while most comic book readers will flock to comic-based movies, most comic-based movie watchers don’t flock to comic shops. They go home and watch TV or go see another movie or go out in the sunshine and engage in sports or social events. It’s not a two-way street by any means of the imagination. Readers need to be cultivated and, in a way, bred into existence. I can’t think of one person I know these days who just decided one morning to be a comic book reader. And the industry does little to help. I always believed there was potential to cross-promote a movie into a visit to the comic shop. That is, until I actually owned a comic book store. When someone wanders in looking for a recommendation, sometimes you’re at a loss. Sure, if they just saw From Hell or V For Vendetta, you can recommend the source material verbatim. However, X-Men: The Last Stand came out while I had my store. Someone who knows nothing about the X-Men, aside from what they’ve seen in the theater, comes in looking for an X-Men comic book. How do you explain to them that there are about a dozen titles to choose from? Or that you could recommend another dozen or so collections and trades, all with different characters, plots and creative teams? Which do you think they’d like? Which ones do you personally think are fabulous, but could lose the person you’re showing it to? And if you make one bad recommendation, you risk losing that customer forever (not that there’s a guarantee that they would come back anyway).

Maybe I was just a bad salesman…I’ve heard from both sides of that argument already. I know that not all superhero movies can pull a revered plotline straight from the pages and slap it up on screen. Concessions need to be made in terms of pacing and costumes and special-effects abilities and even for the translation to viewers who aren’t familiar with comics in general. But imagine how much easier things would be at the retail level if there were only one Batman title on the shelves. Someone walks in, says they just saw the film and now they want a Batman comic and BOOM, instant sale. You don’t need to spend an hour explaining the story or the crossover or the extraneous characters popping in and out of every other panel. Just, here’s the monthly Batman title. I would also like to believe, and maybe I’m just an eternal optimist, that one title would mean better stories. You have a built-in filter. Let the top creators pitch their stories and pick the ones you think are tops. Don’t just settle for whatever because you have 150 pages to fill in a month and you think consumers are mindless sheep. KISS…Keep It Simple Stupid!

I’m old enough to remember the DC Implosion of 1978. Twenty titles were cancelled and a handful of other planned books were nixed due to low sales attributed to a couple winter blizzards (which points to an obvious flaw in your business plan). Granted, none of the titles were anything to write home about…with the exception, in my little world, of Mister Miracle and Secret Society of Super-Villains. However, DC was also on the verge of eliminating their flagship title and namesake of the company, Detective Comics. Only a last minute merger with the better-selling Batman Family kept Detective in print. It goes to show that a bloated line can be dangerous for even your most historic titles. Maybe Detective should’ve been sent packing? Nostalgia can only sell so many books, the rest need to be sold on story and characters…unless you count that brief span in the 90s and early 00s where sales were artist-based, which always baffled me.

Of course, once you start talking about cancelling titles, the fanboys start to freak out about cuts across the board and people losing jobs and companies going out of business. I recently read a post on the new version of Blog@Newsarama (which is horribly amateurish and, at times, just plain awful, compared to what they had before), in which the author tries to make a connection between a film studio cutting back on its staff and the time of the successful comic-based movie coming to pass. This point is crowbarred in right after he points out that The Dark Knight just made a billion dollars and that comic-based movies are more successful than ever. If comic-based movies are so successful, why then, in any sense of the definition of logical, would film companies stop making them? Just because they lay off part of their office staff in order to reduce overhead, doesn’t mean they’re suddenly going to wipe their upcoming slate and devote all their resources to making documentaries about churches and playing chess. They’re not going to suddenly stop producing the one film genre that is bringing in demonstrable cash. And, even if they did, there’s absolutely no correlation between a reduction in comic-based movies and the sudden and complete collapse of the comic book industry. Popular comics have been produced since the 1930s or earlier, and the first successful comic book movie was…Superman back in the late 70s. With a glowing track record like that, I’m pretty sure the industry will survive.

I’d also like to point out that comics more or less thrived during the Great Depression and, even though the popularity of superhero comics waned in the post-World War II world, other genres…crime, horror and romance…rose to outpace their flagging sales. Granted, comics back then were MUCH less expensive and usually appealed to a broader swath of the population, but the need for entertainment and an escape from reality are never stronger than in poor economic times. I don’t see this as a doom-and-gloom scenario. Rather, I see today’s market as a chance to correct problems, exploit opportunities and generally right a ship that has been lazily listing for the past decade, like a rowboat with only one oar…circling and circling until the rower can’t do it anymore and the boat just drifts off into the horizon. Build up a new readership! Limit your best characters to two titles AT MOST! Create some new, compelling characters that can stand the test of time (Marvel’s last wildly successful characters, Wolverine & Punisher, were both created 30 years ago)! Come up with stories that create a foundation for new worlds instead of just referring to things that happened 25 years ago in a book nobody remembers! Go forward! Stop looking back!

Whew. That’s enough for me right now. I’m going to slap my tag team partner’s hand and just slump down in the corner until I’m needed again.

Way to go Champ. You got ’em on the ropes. Now just take a swig of this water and take a minute to catch your breath.

It has become the sport du jour in the comics blogosphere to explain to all who will listen what the best way is to fix the current economic slump which has affected the comics field since the mid 90s. I don’t think either one of us claims to be experts, but honestly, it doesn’t take a genius to know that the current business model being used by Marvel and DC simply will not be effective in the long run. They may be able to squeeze out a few more dollars from loyal customers over the next decade, but after that? Unless they change the way they do business, I simply can’t imagine there will be much of a comics industry after that point in time.

The sad thing about this is that there are a LOT of truly good books being produced right now. Regrettably, not many of them are being produced by Marvel and DC for their flagship titles, but the well written and compelling stories, with strong artwork that serves the story well, are out there. Comics can be great, and we see evidence of that right now, but we need to communicate this information to the general public. It’s become quite common to have a newspaper, magazine or mainstream internet site do a story about how comics aren’t just for kids anymore, but that’s not true promotion, or at the very least, it shouldn’t be the beginning, middle and end of promotion. Events such as Free Comic Book Day is a grand idea, except that it begins and ends in the comic shop, a place that most people who aren’t comics fans already don’t visit. We need the comic shops to go out amongst the population and sell their wares, luring the unwary back to their place of business after distributing free samples of their wares.

I’ve come to the point where I simply don’t read the amount of mainstream superheroes that I used to, which I find rather depressing. I love superheroes. I understand that they can be considered gaudily dressed symbols of a stunted adolescence, or brightly colored avatars of a power fantasy, but I don’t care. They’re neat, and when done well, they can be as deep and meaningful as any other type of story. When done well, they can also just be a heck of a lot of fun, and there’s no shame in that either. Unfortunately, so many of them aren’t done well anymore, and while I still read scads of comics (and keep up with developments occurring in both DC and Marvel), more and more what I’m reading comes from DC’s Vertigo line, from Dark Horse, from IDW, from Oni or Fantagraphics or from various and sundry other independent publishers. I enjoy their books, and I enjoy the opportunity to explore their worlds, but I’d be lying if I said I didn’t really miss reading the adventures of my favorite superheroes, particularly the Avengers, Fantastic Four, JLA and Titans, all of which I’ve found all but unreadable lately.

Perhaps the best way to end this thought would be through the following story. I have been trying to trade my single issue comics in for trade paperbacks for years now, as I find the trades easier to read and easier to loan to people. I also regularly go through my trades and single issues, purging those where I have duplicates of the story in another format, or those where I realize that the story isn’t very good, or doesn’t appeal to me. I never sell my old trades or single issues, but instead I try to give them to people, and many of my friends who don’t regularly read comics, but know of them, are the recipients of many of these. Nine times out of ten, the trades that they love, and the ones that they remark on, are the older ones, from the 70s and 80s. Usually I’m told that these stories were easier to follow, that they made more sense, and that they weren’t as violent or profane, which some of them find offputting (particularly those with children). If my friends and their families are indicative of the general, non-comics reading public, might we not want to consider the ramifications of their opinion?

Well, we’ve wandered all over the field on this one. Are we ready to draw some conclusions and move on?

Wait a second, you’re giving away comics? Why wasn’t I told about this? What’s going on?!?!

I kid. John actually gave me an entire longbox full of comics once. He’s quite the generous sort and always eager to spread the comic gospel to the uninitiated. I guess my past ownership of a store and our continued blathering about comics on this here internet page qualify as missionary work too. We’re like Mormons, but without all that nonsense about finding gold plates buried in the woods (and the polygamy too). I’ve been to Utah. It’s nothing special. Go Team Comics!

I have no conclusions to draw about what we’ve said. I feel like, at times, we’ve argued both ends against the middle…with the middle being rational thought and the ends being “everything is fine” and “everything is falling apart.” The industry needs to change somehow. Everyone knows it. This “circle the wagons” mentality just further insulates an already shrinking fan base while doing nothing to attract new readership. The ones inside the fortified castle are either dying off or trying desperately to break out by pounding their heads on the walls. The ones outside our little fantasyland have no idea what’s going on and just go about their business with a faint recollection that Superman is Clark Kent…or something.

At the same time, the industry isn’t going anywhere. I don’t want to say comics are bulletproof when it comes to the economy, because we all know how the industry is so very capable of shooting itself in the foot on a regular basis, but being on the low end of the entertainment radar can sometimes be a boon. Ignorance is bliss, right?

We could make a list of things the industry should at least TRY to do, but no one would listen anyway. And we’ll just keep reading whatever they put out, in one format or another. Who’s worse…the executives and editors or the readers themselves? During the recent presidential campaign, Barack Obama often used a quote by Albert Einstein to explain the need for change and I think it’s appropriate here too: “Insanity is doing the same thing over and over and expecting a different result.”

Maybe it’s all our fault.


One-Shot: The Vamp

Dec-03-08

Wow, John made the major mistake of opening the whole “lame villains killed by Scourge” can of worms that I am more than willing to exploit. I LOVED the Scourge storyline if only for the fact that I also LOVE horrible D-grade villains. That being said, even I have absolutely no clue who this character is.

From the brief and utterly confusing info I gleaned off the internet, this chicky-poo can turn into a giant, squishy pink blob man with crazy brain powers called the Animus. Conversely, she also wore a belt supplied by SHIELD that enabled her to duplicate the powers of another nearby person…like a low-rent version of DC’s Vixen. I have no idea why anyone at Marvel thought that those two power sets made sense together. She was a double agent for SHIELD and The Corporation (who had genetically given her the Animus-swapping ability…but controlled it remotely without her input). That’s probably kind of awkward at office parties.

In addition to my previous ignorance, I also have no idea what her name or her costume had to do with anything.

Now here’s where it gets weird (he says with tongue planted firmly in cheek). There’s something about a fight with Captain America and Hulk and a crystal club (wha???) being smashed which held Animus’s psionic abilities. Vamp goes in a coma for some reason. Off-panel, she recovers, spends time in jail, and then shows up at a bar with a bunch of other low-rent baddies who get mowed down in a hail of glorious double-Uzi fire by Scourge. But that’s not the end of the story! See, Arnim Zola (good ol’ “camera for a head and face for a torso” guy) collects her remains and clones her to use as a pawn in committing crimes and collecting money for more science experiments involving attaching appliances to body parts or something. Then Deadpool, of all people, shows up and destroys the clones and the remains and any semblance of comprehension.

The slate is now clean. It’s all up to you, John. How do you revamp the Vamp?

The initial concept of the Vamp (which Jason sort of missed) was actually rather smart.  On the one hand, you have the Vamp, a pretty enough woman with a belt that gave her special powers.  She worked for SHIELD and was a hero.  On the other hand, you have the Animus, a huge, hulking man, with psionic powers and a psionic club, who worked for the Corporation and smashed heroes.  What no one suspected was that these two beings were the same person, because they looked nothing alike (even being different genders) and had powers that were completely different.  She/he was the perfect double agent!  Honestly, my only problem with this concept was that Marvel didn’t take her far enough; I would have decided that neither SHIELD or the Corporation knew about the other identity, and had her play both sides against each other, rather than being a loyal agent of the Corporation.

Of course, that’s all ancient history.  I imagine that many heroes now know that Vamp and the Animus are one and the same, if only because the character is so completely different and off the wall that she/he must be regular conversation at superhero get togethers (“Hey, did I tell you about this chick, the Vamp, that I fought?  She could turn into a man, man!”).  Sure, we could stick her in some new hero’s book (perhaps she could confound the Sentry or something) and do the double agent plot, but that seems like it would be treading old ground, and who wants that?  No, I think we need to go in a new direction with the Vamp.  That might be best accomplished by focusing on the Animus.

Arnim Zola, as we stated, had been cloning villains, and he cloned the Vamp.  Said clone was destroyed.  But perhaps that wasn’t the only clone that Zola created?  I mean, the Vamp’s powers were pretty unique (I can’t think of another hero or villain who can switch genders and powers so completely like that) and Zola would have no doubt enjoyed examining that further.  So, while Vamp’s body was being destroyed by Deadpool, there was another clone, at another location, that was being subjected to various tests by Zola.  When Deadpool destroyed the other bodies, it caused a neural feedback loop in the surviving Vamp body as well, knocking it unconscious while also locking the body into it’s current state.  Unfortunately, at the instant of the Vamp’s death, the second clone had been in its Animus state, and it is this form in which the Vamp is now stuck!

Let’s be clear here; the Animus is considered a man, but he’s really a walking monstrosity, uglier than the Hulk and about 7′ tall.  The formerly buxom and somewhat pretty Vamp is now stuck in this form, and she’s not happy about it.  For a short while, she goes on a rampage (and we see this in the book of the hero who must stop that rampage), basically lashing out at everyone and everything around her.  A hero is called, there’s a fight, and the hero manages to drive away the Animus, but not capture him.  Afterward (and off panel) the Animus begins to think.  He’s calmed down a lot, but he’s still faced with a dilemma; he’s a woman stuck in a man’s body, and a really ugly man at that.  What to do?

From here we feature the Animus as a recurring villain in the same hero’s book, but this is a smarter Animus, one that’s planning.  At first, he’s behind the scenes, and we don’t know who he is.  The reveal that our master plotter from the past several issues is the Animus should be a big one, since the last time the readers saw him, he was raging at all around him, and seemed a mindless brute.  Only now do the readers realize that there is more to him than a sub-rate Hulk clone.  Animus first commits a few simple robberies for money, careful to not be caught (perhaps we saw these robberies as epilogues in previous issues, with the culprit off panel the entire time).  Once he had some money, he assembled a gang, and had them execute his wishes.  The Animus’ plan is to find someone who can reverse the effects, and allows him to change back into his female form again.  He just wants to make sure he has the money to provide this scientific genius with a fully equipped lab once he captures them.

Who is the genius?  Someone the hero is familiar with would be ideal, or perhaps even the hero themselves, if they’re scientifically inclined.  Is the scientist able to find a way to return the Animus to his Vamp form?  Perhaps, although if they do it the first time, it kills the ability to bring the Animus back.  I believe the Animus could be a useful villain in the Marvel Universe, and one with a very clear goal.  Heck, he could even eventually join the Thunderbolts, if he was promised a cure by the government.  There’s potential here, and I’d love to work this character back into the Marvel Universe.