Happy birthday to Stan the Man! (Geez, I’m not even half his age and I don’t have half his energy. Let this be a lesson to you, kiddies– when you’re writing, stand up while you type. You’ll be in much better shape when you get older.)
Excelsior from all of us true believers! May you keep making cameos in Marvel films for decades to come. And not frozen in ice next to Captain America either.
The November numbers are in and ICv2 notes that sales of the top 300 titles fell 11% compared with a year ago. They note that with DC Comics and Marvel Comics skipping issues of Secret Invasion, Final Crisis, New Avengers, Mighty Avengers, Astonishing X-Men, and Justice League of America, there’s little wonder.
Only two titles — Marvel’s Ultimatum #1 and DC’s Batman #681 – cracked the 100,000 unit marks based on numbers provided by Diamond Comics Distributors, the fewest since March.
Marvel had 14 of the top 25 titles, DC 10, and Dark Horse one.
Looking over the list, it’s interesting to note that beyond events and new titles, several mainline books continue to bring in readers because the content seems to be consistently entertaining month after month as exemplified by Amazing Spider-Man and Captain America being in the Top 10. The most popular creators do seem to translate to best sales making it all the more important for creative team consistency month to month.
Here are ICv2’s estimates of the sales by Diamond Comic Distributors to comic stores on the top 25 comic titles in November:
114,230 Ultimatum #1
103,151 Batman #681 (RIP)
90,776 Hulk #8
88,910 Wolverine #69
77,773 Uncanny X-Men #504
76,625 Amazing Spider-Man #577
75,493 Captain America #44
74,202 Buffy the Vampire Slayer #19
72,862 JSA: Kingdom Come Special Superman #1
71,355 Justice Society of America #20
69,522 Batman: Cacophony #1
68,956 Amazing Spider-Man #576
66,564 Amazing Spider-Man #578
64,196 Detective Comics #850 (RIP)
63,512 X-Men Legacy #218
61,331 Fantastic Four #561
58,547 Action Comics #871
58,279 Dark Tower: Treachery #3
57,241 X-Force #9
57,205 JSA: Kingdom Come Special Kingdom #1
56,931 Final Crisis: Resist #1
56,224 Avengers / Invaders #6
55,560 JSA: Kingdom Come Special Magog #1
With The Wolfman needing extra time for its special effects, Universal has adjusted its 2009 genre schedule, moving the Joe Johnston-directed film from April to November 6. How this may effect Johnston’s role in prepping Marvel’s First Avenger: Captain America, which should be in re-production by that time remains uncertain.
Taking the April 3 slot will be Vin Diesel’s return in the fourth Fast and Furious film.
The Wolfman gains the slot Universal had reserved for Ridley Scott’s revisionist Robin Hood film, Nottingham, which will got to 2010. The Russell Crowe feature may depict Hood as both the deposed noble and the wicked Sheriff who hunts the archer. Production will begin this spring.
Screen Gems also delayed it thriller Obsessed from February 27 to April 24 and Woody Harrelson’s Zombieland will be unearthed on October 9.
“Criminals are a superstitious cowardly lot. So my disguise must be able to strike terror into their hearts. I must be a creature of the night, black, terrible …a…a…”
As if in answer, a huge image of a Caped Crusader flashed across a movie screen. Across monitors throughout space and time and other dimensions.
“It’s an omen!” each man, alien and other-dimensional imp declared. “I shall become a Batman!”
One of the attractions of Batman was, it’s often been said, the fact that a kid could actually imagine growing up to be the Caped Crusader. No one was ever going to grow up to be Superman but with an extensive training regimen (and a hefty bank account) …well, anything’s possible. Overlay that with the spirit of mainstreaming and conformity of the 1950s and you end up with a universe where there seemed to be a Batman knock-off on every corner and planet.
In 1964, editor Julius Schwartz found his arm twisted into taking over the flagging Batman titles. He immediately ditched the extended Batman family and the increasingly prevalent space alien stories for a more contemporary angle grounded in the real world. And as the years rolled on, Schwartz and company refined their approach and gradually, permanently put the Dark back in their Knight.
As the economy went into free fall, ICv2 notes that October sales have shown some slippage. From their just released list of the top 25 titles, just two showed signs of improvement over September sales. One was Amazing Spider-Man #573 which featured the faux-Stephen Colbert for President cover while the other was Batman #680, the penultimate chapter to Batman RIP.
Despite somewhat stagnant sales, the dollars sold in to comic stores were up a “robust” 9% compared with a year ago, according to the industry watchdog. September and October were the first positive months for comic sales since January. Of course, more titles were retailing last month at $3.99, rapidly becoming a standard, as opposed to last October. ICv2 did note that the unit sales for the title charting in the 300th position was 4200 compared with 3000 just twelve months ago which they interpret as a sign of overall industry strength.
Graphic novel sales showed an increase of just 5% compared with last October. Combined with comic book sales, that creates an 8% total increase.
The site notes that the company crossovers, Secret Invasion #7 (154,675 copies) and Final Crisis #4 (115,666 copies) took the first two spots on the list. Marvel had seven of the top 10 and 17 of the first 25 with DC taking the balance. IDW’s G.I. Joe relaunch and Angel: After the Fall were the first non-Top Two titles to crack the top 100 list coming in at 65th and 66th place. This further cements IDW’s fourth place standing among comic book publishers, after Dark Horse and now ahead of Image.
In graphic novels, DC’s Joker by Brian Azzarello, took first place with an estimated 17,000 copies sold, also nabbing the top spot for dollars earned. Marvel’s best seller for the month was the Marvel Zombies trade paperback, which likely hit the top Marvel spot given its three variant covers. Wile Watchmen slipped from first place to sixth, its 6000 copies remains impressive given its age.
Two more notable comic book celebrities will be joining the festivities at New York Comic Con (NYCC) this year as Guests of Honor. Affording thousands of fans the opportunity to meet them in person, Geoff Johns, who is well-known as a comic book writer of a number of DC Comics characters, including Superman, Green Lantern and the Flash as well as for his work as a screenwriter; and superstar artist Jim Lee, known for his acclaimed artistic runs on titles including BATMAN, ALL STAR BATMAN and WILDCATS, will be attending NYCC to help launch the new Massively Multiplayer Online Role-playing game, DC Universe Online (DCUO), produced by Sony Online Entertainment for PLAYSTATION 3 in collaboration with DC Comics and Warner Bros. Interactive Entertainment.
Both Johns and Lee will be signing autographs and they will conduct a large DC Universe Online event on Saturday, February 7, 2009. New York Comic Con will take place at the Jacob K. Javits Center in New York City, February 6 – 8, 2009.
“Having both Jim Lee and Geoff Johns at our show is a great ‘get’ under any circumstance, but it’s especially cool to have them here to as part of DC Universe Online,” notes Lance Fensterman, Vice President and Con Manager for NYCC. “They will do a fabulous job entertaining our fans and I know that they will attract huge crowds, not only for autographs but also for their demonstration. I am enormously grateful to them for participating in New York Comic Con and we’re pleased to have them as Guests of Honor.”
“Jim and Geoff represent two of the top talents in comics, so it only makes sense that they’d transfer those skills to the gaming world,” said Dan DiDio, SVP and Executive Editor for DC Comics. “It’s a perfect fit to have them named Guests of Honor at New York Comic Con.”
Gene Colan’s artistic career will receive the retrospective treatment as San Francisco’s Cartoon Art Museum presents Colan: Visions of a Man without Fear, opening November 15 and running through March 15, 2009.
On December 4, there will be a special opening reception with Gene and Adrienne Colan in attendance.
The exhibition will include over 40 examples from Colan’s long creative career, from his one and only story illustrated for legendary publisher EC Comics in 1952, through his career-defining work for Marvel Comics from the 1960s and 1970s on titles as diverse as Iron Man, Tomb of Dracula and Howard The Duck, to his notable run on DC Comics’ Batman in the 1980s, to his more recent efforts, including illustrations commissioned by his fans and his beautiful pencil artwork on titles such as Michael Chabon’s The Escapist, published by Dark Horse Comics.
Guest Curator Glen David Gold, author of the novel, Carter Beats the Devil, put the museum show together. An exhibition catalog featuring high-quality reproductions of Colan’s artwork and essays from many of his most notable collaborators, including writers Stan Lee, Marv Wolfman, Roy Thomas and Steve Englehart, will be available at the Cartoon Art Museum prior to the exhibition’s opening reception on December 4.
For those unfamiliar with Gene “The Dean”, he was born in New York in 1926 and studied at the Art Students League of New York under illustrator Frank Riley and surrealistic Japanese painter Kuniashi. After a stint in the army, Colan’s official career in comics began in 1944 at Fiction House and Timely.
If you thought Uatu’s jaw dislocation was surprising, wait until you’ve heard this one… Jeph Loeb is no longer involved with Heroes.
The producer of NBC’s television epic and the frequent comic book writer has been axed from the daily ongoings of Heroes, according to Variety. Jesse Alexander of Alias fame is also off the series, says the trade. Both Loeb and Alexander were day-to-day managers of the show under the direction of creator/executive producer Tim Kring since season one.
No reasons are listed as to why the two producers have been kicked off the show, though it’s no secret that Heroes has been disparaged since the debut of its second season. The show, now in its third year, promised a departure from the formulaic nature of its sophomore season, and with consistent critical hammering, a hardcore decision was bound to be made to save the series’ financial future. The departures of Loeb and Alexander are likely seen as moves to fit that bill.
Jeph Loeb has made a career in the super-hero industry. His graphic novels Batman: The Long Halloween and Batman: Dark Victory, in particular, have gained him critical acclaim, as has his work on Superman: For All Seasons. He’s also known for his work on the "color-centric" comic books over at Marvel Comics, specifically Hulk: Gray, Spider-Man: Blue, Daredevil: Yellow and the forthcoming Captain America: White. Loeb, whose best known super-hero work may be his collaboration with artist Jim Lee on Batman: Hush, had been involved with Heroes from the show’s beginning.
Loeb’s frequent collaborator Tim Sale, who illustrated both much of Loeb’s comic output starting with Challengers of the Unknown, is the artist behind the show’s frequent "future-telling" paintings such as those by Isaac Mendes or the newly introduced African painter. Whether or not Loeb’s departure will influence Sale’s continued work remains to be seen.
Whether or not Heroes, which suffered poor ratings during its strike shortened second season, will be negatively effected by the apparent removal of Loeb and Alexander remains to be seen. However, given that the show should be "King of the Jungle" but has merely kept its head above water in the midst of poor ratings, a true reckoning for Heroes remains to be seen.
I know way too much about comics. Far more than is healthy. But there are, understandably, a few characters here and there that I either know very little about, either because I never really came across them or I did but found them terribly uninteresting and so dismissed them, soon forgetting what I had learned.
[[[Captain Action]]] happens to be such a character. I remembered he first appeared in the 1960s, wore a costume that resembled a futuristic police officer’s with a chest symbol that reminded me to recycle, and was based on an action figure. And that was it. I remembered nothing else. So when I was asked to review the first issue of the new Captain Action series, on sale today, I thought “Perfect. I can truly look at this as a first-time fan and objectively judge if this would be interesting to someone who has no previous knowledge of the character.”
I read it and found it to be a strange mix of too much information at once and not enough.
We begin with a [[[Superman]]]-like character called Savior. His narration explains who he is and reveals that he secretly blew up a place called A.C.T.I.O.N. Directorate. On page two, we find out that half of what we just read is a lie. This is not Savior, but a person disguised as Savior. This is our hero, Captain Action, who crashes into a statue of his father and proceeds to unleash a massive information dump on the readers in a very awkward monologue.
Apparently, there was once a hero called Captain Action (the original guy from the 1960s). The shape-shifter we’ve just met is his son, the new Captain Action, who has the ability to look like other people and copy their abilities, but only for a short time. Exactly how long he can disguise himself and how long afterward he has to wait before he mimics someone again is not made clear.
The new Captain Action wanted nothing to do with the life of a super-hero, despite his powers, but now feels forced to act since his father was killed by a group of super-heroes that an organization called A.C.T.I.O.N. had “created” to defend the Earth. What “created” means is not fully explained. The new Captain Action informs us that these heroes, Savior included, were somehow turned into sleeper agents, thus why they went rogue later. Exactly how they became sleeper agents is not explained, though a group called Red Crawl is blamed. Apparently, Red Crawl was defeated long ago and everyone believed they were dead, except for the original Captain Action. Now they’re back and causing trouble.
Rule number one of The Hulk: do not make Hulk angry. Rule number two: do not make Hulk angry.
You’d think that the bigwigs at Marvel Studios would’ve gotten that memo, but the way they’ve been playing with Bruce Banner’s bigger half says otherwise. After Ang Lee’s widely panned Hulk, Marvel re-rolled the dice with The Incredible Hulk. The film, starring Edward Norton as the Jade Giant, didn’t do nearly as well as Iron Man but still managed to stomp on its 2003 predecessor in terms of critical acclaim. The DVD of the film was released this past Tuesday.
Still, Hulk’s on-screen future is uncertain. Recent reports pegged the character as the villain for the upcoming Avengers film, with Marvel Studios’ own president of production Kevin Feige echoing the idea. Feige later said that a direct Hulk sequel was up in the air.
"The truth is that Hulk has had two films in the past five years, and it’s time to give some of the other guys a turn," Feige recently said in an MTV interview. "I would expect that people may see the Hulk again soon [possibly in The Avengers] before he is again carrying his own film."
That was the official scoop as of Monday, October 20. Now comes a conflicting report from Gale Anne Hurd, producer on both Ang Lee’s Hulk and Louis Leterrier’s The Incredible Hulk. Hurd says that she has every intention of bringing the Green Meanie back to theaters. (more…)
Columns / Glenn Hauman / News
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