New York Times Profiles Comics Art Collectors

News
June 30, 2008

batmankillingjokespecialalanmoorebr-4924521 Comics have long been a haven for collectors, that niche of consumers who’ll drop six figures on an old Disney issue or a near-mint of a Golden Age superhero.

As comics are becoming less of a disposable form of entertainment, the issues are increasingly common. So individual issues are no longer a hot commodity.

I don’t see it as a new trend, but The New York Times saw fit to devote a lengthy story to the new target of comics collectors — original artwork. The article mentions how originals were once used to sop up ink stains, but they’ve gradually become more and more valuable, to the point that they’re now selling for inordinately high prices.

Collectors of original comic-book art sound like a subculture within a subculture, and that’s fine with many aficionados. “There was a thrill in finding something nerdier than collecting comics,” said David Mandel, 37, an executive producer of the HBO series “Curb Your Enthusiasm,” who first bought original art during a visit to the San Diego Comic-Con in 1995.

Mr. Mandel has pieces that would make many fans drool, like the cover, by Gil Kane and Dave Cockrum, of Giant-Size X-Men from 1975, which trumpeted Wolverine, Storm and others as the new incarnation of the mutant team, and the 1982 cover of Daredevil No. 181, by Frank Miller, depicting the death of Elektra, the title hero’s girlfriend.

His collection also includes the last four pages from “The Killing Joke,” a seminal 1988 story that helped usher in a new level of maturity for comic books. That Batman tale chronicles a possible origin for the hero’s nemesis, and was written by Alan Moore and illustrated by Brian Bolland. In November the last page of the story became available at Heritage Auction Galleries in Dallas. Mr. Mandel landed it for just over $31,000.

It would’ve been nice if the reporter had talked to Scott Dunbier, currently an IDW editor and formerly one of the better known art dealers. If you want to hear some great stories about buying and selling comics art, I highly recommend Scott’s blog.

Review: ‘Superpowers’ by David J. Schwartz

Reviews
June 30, 2008

superpowers-us1-4585912 Superpowers: A Novel
By David J. Schwartz
Crown, June 2008, $14.95

There are two kinds of superhero novels, with very different rules. The more common – but less respected – kind of superhero novel takes characters and situations we already know from an existing comics universe and tells a story using that furniture. Those books can be amazing, like Elliott S. Maggin’s two Superman novels, Last Son of Krypton and Miracle Monday, or they can be mediocre, like…fill in your own example here. But they all hit the ground running, since they work from our knowledge of those universes. Who would read a Spider-Man novel if he’d never heard of [[[Spider-Man]]]?

The other kind of superhero novel tends to come from people outside the comics field, and usually reinvents the wheel in its vision of superheroics. (Like everything else, sometimes doing it elegantly and sometimes producing an oval object that doesn’t even work as a wheel.) Some of the better examples of that type of superhero novel are Michael Bishop’s Count Geiger’s Blues and the recent Soon I Will Be Invincible by Austin Grossman. Those books often have aggressively obvious titles – [[[Superfolks]]], [[[Hero]]], that kind of thing – to immediately signal to the audience that they’re novels about superheroes.

[[[Superpowers]]] is one of the latter kind of novels, down to the title. The British cover (see the continuation) even has line drawings of the characters in costume (by Norm Breyfogle, a name we who read comics will nod knowingly at), much in the style of last year’s [[[Soon I Will Be Invincible]]]. And the set-up is quite typical of an outsider superhero novel: five undergraduates at the University of Wisconsin (Madison) develop individual superpowers after an evening of drinking homemade beer. (One of the endearing things about Superpowers is that Schwartz doesn’t even try to explain their origin – something unexpected happened, and they now have powers. Period.)

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Joss Whedon Teases ‘Dr. Horrible’s Sing-Along Blog’

News
June 30, 2008

With all the superhero movies coming out this year, we almost forgot about Joss Whedon’s Doctor Horrible’s Sing-A-Long Blog project. Well, the creator of Buffy the Vampire Slayer hasn’t. He’s been hard at work along with Niel Patrick Harris and Nathan Fillion. The superhero musical is done and details about its debut have been announced on Whedonesque along with a trailer. Find out which of your friends has the biggest monitor and bring the over the popcorn.

We’ve posted the info about the project’s debut below, and the video trailer is posted after the jump.

Dr. Horrible’s Sing-Along Blog" will be streamed, LIVE (that part’s not true), FREE (sadly, that part is) right on Drhorrible.com, in mid-July. Specifically:

ACT ONE (Wheee!) will go up Tuesday July 15th.

ACT TWO (OMG!) will go up Thursday July 17th.

ACT THREE (Denouement!) will go up Saturday July 19th.

All acts will stay up until midnight Sunday July 20th. Then they will vanish into the night, like a phantom (but not THE Phantom – that’s still playing. Like, everywhere.)

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Review: ‘All Star Batman and Robin Vol. 1’

Reviews
June 30, 2008

assbar-9206861 A couple years ago, back when Frank Miller and Jim Lee’s All Star Batman and Robin started inconsistently shipping, I read the first few issues and then waved the series off. I hated it so much I added an extra “S” and started referring to it by the acronym ASSBAR.

At the time, it seemed like a good portion of comics critics felt similarly about the book. Then a curious thing happened. More and more reviewers started to come around to the new, harsh [[[Batman]]] that called Robin “retarded” and tried to kill cops.

Now with the first volume conveniently collected, I decided to revisit the series. Had it improved? Had I just given up to early? Or was it still ASSBAR?

As much as I love that nickname, I may have to retire it, because this series is not as bad as I first thought. Miller displays a near-mastery of pulp dialogue and narration, and Lee proves what everyone already knows, that he’s a master draftsman of superhero comics.

In case you’re one of the select few who haven’t read the book, it’s a wholly new take on Batman’s first years, and he’s portrayed as essentially a psycho. Which, in a lot of ways, makes sense. You have to be pretty nuts to put on tights and kick the crap out of muggers.

But Miller pushes it to ugly extremes, with Batman kidnapping Dick Grayson and forcing him into the war on crime, nearly killing fellow superheroes and possibly killing corrupt police officers. This Batman is completely unhinged, which becomes fully apparent in a later issue when the Joker appears and seems sedate by comparison.

Now, this is what Miller does well, crackling along at the harsh edge of humanity as he has in Sin City, 300 and elsewhere. But there are two inherent problems: First, this goes against every incarnation of Batman we’ve seen and degrades the character. Second, and most importantly, that degradation doesn’t work because it’s paired with Lee’s artwork.

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WWC Interview: Brian Azzarello on ‘Batman: Gotham Knight’

Uncategorized
June 30, 2008

batman-gotham-knight-1-3306375 On his way to becoming one of the most sought-after writers in comics today, Brian Azzarello has achieved a great deal of success and notoriety with his series 100 Bullets, which garnered him multiple Eisner Awards. In addition, his work on Hellblazer, Johnny Double, Batman/Deathblow and Lex Luthor: Man of Steel continues to cement his reputation as a writer and creator of comics.

Along with Brian’s many accomplishiments in comics, he’s also one of the six writers contributing stories to the upcoming animated feature film Batman: Gotham Knight. Brian’s segment, "Working through Pain," shows us a somewhat non-violent side of the Dark Knight and showcases a story in which Bruce Wayne learns techniques from a mysterous woman that will serve him well and help him deal with the physical toll exacted upon him during his years as Batman.

I caught up with Azzarello at Wizard World Chicago to ask him a few questions about writing his segment, how he feels about Batman as a character and how he thought the film turned out.

COMIX MIX: Brian, what is it that makes Batman such an endearing character?

BRIAN AZARELLO: Well, he’s not realy endearing to me.

CMix: You don’t like him?

BA: I think he’s a tragic character. Maybe that’s why he’s more compelling than endearing. He’s all about his flaws.

CMix: But you’re a fan?

BA: Oh, yeah, but I like his villains a lot, too. Almost more than I like him. I think his villiains are all different pieces of him. That’s something that makes him really interesting.

CMix: How did you get involved in the Batman: Gotham Knight film?

BA: I was asked. They explained the film to me, how it would be structured with six stories, and asked me to come up with an idea. I chose to focus more on Bruce Wayne, and they liked my pitch. That’s pretty much it.

CMix: Is there a difference between writing something for print and for a movie?

BA: Not for me. My comic scripts are pretty sparse in terms of art direction, the blocking and such. I don’t get into a ton of detail and more leave it up to the artist in a lot of ways. So it was a pretty easy transition for me to make.

CMix: How do you think the film turned out?

BA: I liked it. I thought it turned out well considering it was six different stories. I thought it held together very, very well. As a writer, I really try to trust the people I work with. I try to leave them plenty of room so they can bring their strengths to the work.

I think that happened in this film, and definitely for my segment – the animation is just amazing.

Batman: Gotham Knight is scheduled for a July 8 release on DVD.

Take Your Picture With The Incredible Hulk

News
June 30, 2008

I just found a website that I’m having a lot of fun with. HulkOutWithVault.com is promotional tie-in between The Incredible Hulk movie and green energy drink soda Vault. It’s the digital equivalent of boardwalk cutouts. Upload a photo with a face into one of four Hulk movie backgrounds, then send them to your friends for all to enjoy.

Since ComicMix Managing Editor Rick Marshall tirelessly works to make sure my posts are decipherable, and graciously contributed his image to one of the Wizard World Chicago 2008 photo galleries, I decided to use him as my demo.

The image posted here is Rick partying with the ol’ Jade Giant himself. More pictures are posted after the jump.

rickhulk-6252360

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Wizard World Chicago 2008: Photo Gallery Wrap-Up

News
June 30, 2008

Sure, we already posted several sets of photos from the weekend (WWC Gallery 1, WWC Gallery 2, WWC Gallery 3), but after unpacking our gear and beginning to unwind from the show, we discovered a few more photos on the cameras of various members of the ComicMix crew. My favorite of the bunch (and the one that convinced me another gallery was necessary) is posted here, and the rest can be found after the jump.Oh, and please pardon the shakey, blurred photos — these are just the images we pulled off our various camera phones over the course of the weekend.

wwchicago007_400-4004853

Yes, that’s Blade reading a copy of the Buffy the Vampire Slayer omnibus. Seriously, we couldn’t have planned a better image than this one…

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Wizard World Chicago 2008: Day Three Report

News
June 30, 2008

wwchicago007_00-9642588 The booths are broken down and all that’s left of this year’s Wizard World Chicago convention are empty mylar bags blowing in the wind and streets littered with Marvel Comics promo cards.

Sunday was another slow one on the show floor, with many creators (and a few retailers) packing up and bailing out well before the 5 PM close of the show.

So what were the highlights of the last day?

First on the list would certainly be Guest of Honor Warren Ellis completing a grueling schedule of signings that seemed to have him in action for a significant chunk of each day — with far more signings than any other creator in attendance, as far as I could tell. As I mentioned in my Day One Report, this was Avatar’s show, and that was no less the case on Day Three than it was on Day One.

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Not Even Close To The News, by Mike Gold

News
June 30, 2008

I did a column a couple weeks ago about the wacky New York Post, spurring a comment from Vinnie Bartilucci about how the rag is merely a return to the glory days of yellow journalism. There’s a lot of truth to that, and I was reminded of statements by the brilliant columnist Jimmy Breslin. He persistently advocates on behalf of the entertainment value of the medium and recently told New York magazine “newspapers are so boring. How can you read a newspaper that starts with a 51-word lead sentence? They’re trying to prove they went to college.”

My first journalism teacher got his start in Chicago’s The Front Page days, and he dazzled me. Here’s a guy who, when he was roughly the age I was at the time, ran with the likes of Ben Hecht and Charlie MacArthur. He worked for William Randolph Hearst’s Chicago American, a paper so yellow they actually printed the front page flat on yellow newsprint – hence the name. He worked in the fabled Madhouse on Madison Street, a building across from the Chicago Civic Opera house (of Citizen Kane fame) that was so ugly that when Hearst saw it, he refused to walk in. Editors would routinely call the wives of murder victims posing as policemen asking the immediately-widowed that she gather a few really “interesting” photos of the deceased for a “detective” who would be showing up at the front door within a few minutes. Within an hour or two, those photos would be on the front page.

I loved that stuff. By the time I was reading newspapers, Hearst died, the American had been sold to the staid Chicago Tribune, and the Madhouse on Madison Street became a commercial office building with a slightly less tacky new façade. Ironically, Hearst’s Midwest advertising sales offices remained headquartered in the facility.

But Hearst and Hecht and MacArthur, and their New York counterparts like Walter Winchell and the amazing Damon Runyon, had nothing on Bernarr Macfaddon. For one thing, back before the Great Depression, Macfaddon invented Photoshop. (more…)

‘Wanted’ to Hit $50 Million Opening Weekend

News
June 29, 2008

According to Variety, Wanted, the feature film released Friday that is based on the Mark Millar and J.G Jones graphic novel of the same name, is going to have a pretty good opening weekend. In spite of some less-than-stellar reviews, including one from our very own Matt Raub, the film seems poised to be a hit and according to the trade, should take in just over $50 Million at the weekend box office — earning it the number two spot behind Disney/Pixar’s Wall-E.

As this is Wizard World Chicago weekend and Top Cow, the publisher of the original Wanted graphic novel, is at the show, I decided to check in on them and bring their VP of Marketing, Mel Caylo, the good news about the film’s perfomance and get his reaction.

COMIC MIX: Hey Mel, I just heard that Wanted may do over $50 million this weekend at the box office. How do you feel about that?

MEL CAYLO: Really? Where did you hear that? If its true, we’re obviously thrilled.

CMix: Variety is projecting it. Wanted will be number two behind Wall-E.

MC: Well, that’s great. And I think we’re on fewer screens, too, so that’s great.

CMix: Those are pretty good numbers. What do you think is responsible for them?

MC: Well, Universal did some really great marketing for the film so that’s a big part of it. They really pushed it hard and got the word out beyond those people that just knew the comic.

And, of course, Angelena Jolie is a big draw. Also, some of it comes from the comic as well, of course. And, the director Timur Bekmambetov did a great job.

CMix: Where you a fan of the director’s other films?

MC: Yeah, I really liked Nightwatch. I thought it was great.

CMix: So, if the film continues to do this well, should we expect a sequel?

MC: It’s too early to say, but I would think if it becomes a huge success than a sequel could happen.

CMix: Can you tell us if any of the creative team has signed up for multiple films?

MC: Not really. I did read that the writers of the film had signed up for a sequel but I can’t comment on that. Or, on who else might have signed up.

CMix: So, some people have signed up but not others?

MC: Again, I can’t really say for sure but obviously, some people wouldn’t be back because they didn’t make it through the film.

CMix: I’m just going to guess and say that probably James McAvoy would be coming back?

MC: I can’t confirm that at all but if there was a sequel, that would make sense.

CMix: Okay, Mel, I won’t put you on the spot any more. Thanks and congratulations.

The Mix : What are people talking about today?