A place to talk about anything to do with comics that doesn’t belong in the other threads.
Random Comics-Related Stuff
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Sad news, I didn’t know his work but it sounds like I would have come to.
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I think the loss of the Diamond catalog has affected my purchasing. It really made looking at upcoming books easy and let my LCS know what I want. I know Sean posts links to the upcoming books. Still, having one source with everything in it made ordering easier.
I do miss those days of browsing the Diamond catalogue and deciding which books to get. That was always a good day.
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I was downtown yesterday at the Planet. Nice stuff on the glass display. The prices:
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Action Comics No. 1 soars to record $15 million sale, resetting all-time mark
For the second time in less than two months, there’s a new most expensive comic book in the world
The title of “most valuable comic book in the world” changed hands again Friday.
But the record still belongs to the Man of Steel.
Less than two months after a copy of Superman No. 1 went for a record price, that all-time mark was shattered when a rare issue of Action Comics No. 1 sold for an eye-popping $15 million in a private sale, which was first reported by the Associated Press.
Metropolis Collectibles/Comic Connect in New York brokered the sale for the comic book that featured the first appearance of Superman, according to the AP. The buyer wishes to remain anonymous.
The sale come after a new high-water mark was established by the Nov. 20 sale of Superman No. 1 at Heritage Auctions for $9.12 million. That book was graded CGC 9.0, the highest graded copy ever assessed by the leading authenticator.
The issue of Action Comics No. 1 that sold Friday (also graded CGC 9.0) was stolen from the home of actor Nicolas Cage in 2000, per the AP, and later recovered in 2011.
Metropolis Collectibles/Comic Connect president Vincent Zurzolo said that backstory likely contributed to the record price.
“This is among the holy grail of comic books. Without Superman and his popularity, there would be no Batman or other superhero comic book legends,” Zurzolo told the AP. “Its importance in the comic book community shows with his deal, as it obliterates the previous record.”
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The prices:
I mean, I’m paying off two Macross toys in that price range right now…
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Two podcasts I listened to (X-Wife and House of X) stopped doing weekly reviews for a while because so many X-titles were being churned out by Marvel and it was just too time consuming. So even podcasters dropped titles. 🤣
They aren’t weekly but every few weeks they will give a 1+ hour podcast reviewing an event like this age of revelation X event.
I haven’t listened to Jay and Miles in a while and no recent shows have been released.
Now I am hearing that Jay and Miles will end sometime this year.
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Neil Gaiman claims sexual assault allegations are result of ‘smear campaign’
Author says accusations ‘spread and amplified’ by people more interested in ‘outrage and getting clicks’
This will clear it all up, good thinking Neil.
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Neil Gaiman claims sexual assault allegations are result of ‘smear campaign’
Author says accusations ‘spread and amplified’ by people more interested in ‘outrage and getting clicks’
This will clear it all up, good thinking Neil.
That popped up on my Instagram feed today, as I forgot I follow him.
All I could think when I read that was, “Dude, shut the fuck up. You need to stay under whatever rock you crawled beneath and stay quiet for several years. Get therapy or whatever.”
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In his instagram, he has also linked to a research by a supposedly independent (anonymous) online journalist who I don’t think has done anything else… anyway, they go through the allegations and the available materials and harshly criticise the podcast that broke all this. Now, I haven’t read all of Gaiman’s correspondence with Scarlett and all of the other court documents, but I think this “investigative journalist” is jumping to conclusions in a similar way, just from the other direction.
Gaiman may be right when he claims that he didn’t force women into clearly non-consensual sex. But there is too much that went on that’ll leave a bad taste in your mouth to attribute all this to a “smear campaign”. I don’t know, maybe he actually does feel completely innocent. Which is particularly sad in its own way.
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The original podcast that broke the story was dodgy as fuck, it was hosted by Boris Johnston’s sister and seems to have been an attempt to get people to defend Gaiman so transphobes could point to it as “proof” that progressives had no principles. But Vulture not only interviewed most of the women the podcast found, they found four more. It goes way beyond the actual smear campaign, if that is what the original podcast was.
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A long time ago, can’t remember where, think I read an intro by Gaiman where he talked about never apologise, never explain is a good rule for life.
It’s also a good rule for being a complete arse.
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I saw this listing:
What is it, and who generated it? Is it a list of Marvel-only pages drawn by these artists? Did Curt Swan, Jerry Ordway and Kurt Schaffenberger draw for Marvel?
Or is this a list of the original artwork that Al-x has stored in his mansion? That seems more likely…
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What is it, and who generated it? Is it a list of Marvel-only pages drawn by these artists? Did Curt Swan, Jerry Ordway and Kurt Schaffenberger draw for Marvel? Or is this a list of the original artwork that Al-x has stored in his mansion? That seems more likely…
From Gail Simone Facebook page. IIRC.
I came across this database phone app for comics and other things that’s good for cataloging and finding the going rate value of an issue. All you do is scan in either the cover or barcode and a reading will appear giving you all the info.
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What is it, and who generated it? Is it a list of Marvel-only pages drawn by these artists? Did Curt Swan, Jerry Ordway and Kurt Schaffenberger draw for Marvel?
I thought Curt Swan’s only artwork for Marvel was a picture of Gladiator for the origional Marvel Handbook series.
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Did Curt Swan ever draw for Maevel?
Yes, legendary DC artist Curt Swan did work for Marvel, though it was very minimal, as he was known for being a loyal, “DC guy” for 51 years.
Based on records, his Marvel contributions included:
Captain America #616 (2011): This issue featured a Captain America sketch by Swan that was originally created in 1994.
Genesis #0 (1993): He contributed work to this Marvel title.
Other Potential Work: Some sources suggest he may have provided a spot illustration of Gladiator for a Marvel Universe handbook.
While Swan was approached by other companies, he largely remained exclusive to DC, specializing in Superman and the Legion of Super-Heroes from the late 1940s to the mid-1980s.
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If Curt Swan was a robot, would he take over the earth?
Based on the legacy and personality of the late, legendary DC Comics artist Curt Swan, if he were a robot, he would almost certainly not take over the Earth.
Instead, he would likely be programmed to create the most stable, anatomically correct, and beautifully rendered comic book art possible.
Here is why a robot Curt Swan would be harmless:
He was “The Norman Rockwell of Comics”: Biographer Eddy Zeno and critics described Swan’s artistic style as approachable, big-hearted, and gentle. A robot based on this philosophy would likely focus on nurturing, not conquering.
He was a Dedicated Professional: Swan was known for being a consistent, prolific artist who “plodded on” to get the job done. He was more interested in delivering exactly what was required for the page than seizing power.
His Focus Was Truth and Justice: According to colleagues, Swan (and his art) was a “philosophical product” that believed in “truth, justice and the American way”. A robot version would be programmed with these moral, heroic ideals.
He Valued Human Connection: His work was revered for bringing emotion and humanity to Superman. He depicted heroes in believable, everyday situations rather than acting as a cold, calculating machine.
If anything, a robot Swan would simply “fix” the artistic consistency of every comic book in existence, not rule the planet.
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I heard news that Alex Ross has a Marvel project coming in September.
I always liked him and his work, but I can see how some who read “Kingdom Come” said that the art made up for the story.
I liked it, but I was asked “If it was drawn regularly, would you still like it?” and… had a point.Todd McFarlane in his own case, felt artwork first then story:
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Todd McFarlane in his own case, felt artwork first then story:
Which is why most of his books were dogshit.
I always liked him and his work, but I can see how some who read “Kingdom Come” said that the art made up for the story.
Really? I always thought it was a pretty solid story. I mean, come on. Mark Waid is one of the industry’s most productive writers. A lot of his work is standard superhero fare, but he also did some outstanding work.
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During that period in the late 80s/early 90s, I always felt that Todd McFarlane and Rob Liefeld were great “pin-up” artists, capable of drawing an exciting, sexy image, but not very good at telling a story through their art. Jim Lee and Marc Silvestri were much better at sequential art that was also dynamic and exciting.
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During that period in the late 80s/early 90s, I always felt that Todd McFarlane and Rob Liefeld were great “pin-up” artists, capable of drawing an exciting, sexy image, but not very good at telling a story through their art. Jim Lee and Marc Silvestri were much better at sequential art that was also dynamic and exciting.
While his style wasn’t as “KEWL!” as the other Image Founders, Jim Valentino was an excellent storyteller, in both writing and art. His work always had a great energy to it. I loved his Guardians of the Galaxy run. He was like a kid in a candy store, having fun basically doing whatever he wanted.
Valentino is underrated, in my opinion.
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I remember this argument playing out in the letters pages of “adjectiveless” Spider-Man when Todd was on the book.
Back then McFarlane made the argument that a comic full of images but with no text was still a comic, but a book full of text with no images wasn’t. His editor argued that a book that was all images and no text was a portfolio and not a comic either.
I did laugh to myself when around 10 years later Marvel ran its special “nuff said” event where every book was silent for a month with no text and the story was told entirely through the art. Maybe Todd had a point after all.
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I can understand great art adding to a good story, but whether it makes up for bad storytelling…
Now Straczynski had something to say.
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Looks like Dstlry is running into problems.
Dstlry Creators Express Concern To Bleeding Cool, Dstlry Responds
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I’m not saying that it sucked. It’s just that some readers might have a point when they say that the artwork and formatting added a lot more to it. I liked the story about Superman’s comeback, reuniting the JLA etc. The storytelling is there. I like good storytelling accompanied with the artwork to do it justice. (And I read Alan Moore’s long DC “pitch” and proposed story epic “Twilight of the God’s”)
Well, you said the artwork “made up for” the story, which would be the case if it sucked. As it is, I think it would have been a good book with a different (good) artist, as well, although Ross’ art of course stood out and was no doubt also responsible for its great success.
Back then McFarlane made the argument that a comic full of images but with no text was still a comic, but a book full of text with no images wasn’t. His editor argued that a book that was all images and no text was a portfolio and not a comic either.
He’s making the categorical mistake of reducing the writing to the dialogue and captions, though. The writing is the art of telling the story, and if you don’t do that, a portfolio is indeed what you are left with.
I loved David Kuper’s The System back then, a Vertigo book without words.
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He’s making the categorical mistake of reducing the writing to the dialogue and captions, though. The writing is the art of telling the story, and if you don’t do that, a portfolio is indeed what you are left with.
I think adjectiveless Spider-Man proved this too.
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He’s making the categorical mistake of reducing the writing to the dialogue and captions, though. The writing is the art of telling the story, and if you don’t do that, a portfolio is indeed what you are left with.
This is what annoys me when artists say they’re the most important part of a comics creative team (not necessarily untrue) and that they don’t need a writer. If you’re making sequential pictures that form a story, guess what? You’re the writer. They haven’t eliminated the need for one, they’ve just taken it on themselves.
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The truth is of course that the distinction between Writer and Artist isn’t and has never been a clear binary distinction in comics. Artists are constantly adding “writing” aspects to the story in terms of the choices they make in how to frame an image, what expression to give a character, how much detail to provide in a scene, colour selection etc.
You only have to think of Stan Lee’s classic Marvel comics with Kirby and Ditko to realise how much an artist can bring to what we might think of as “writing” aspects of a story.
So really, falling into the trap of this entire debate is the mistake. The beauty of comics is the way that words and pictures come together to form a fused artform of its own, and characterising writers and artists as being entirely separate and distinct (or even worse, opposed) aspects of that seems to miss the point, for me.
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I remember Byrne feuding with Claremont with the X-Men over things like Colossus struggling to pull out a tree stump, Wolverine from Canada and his background being in Japan, Alpha Flight characters, and so on.
Back to Alex Ross: He feuded with Waid over the amount of credit for Kingdom Come. As for Kingdom Come, there were many arguments online at the time when some said it was on par with Dark Knight Returns and Watchmen. They were the ones who would say the artwork made up for a few lapses (for lack of better wording right now) in the story, Waid lifted ideas from Alan Moore’s pitch etc.
I say the artwork complemented the story and I look forward to Ross’ Marvel project in September, which sounds like the Marvel version of those DC tabloid size books he did about Superman, Wonder Woman, Batman, and Shazam. Should be cool.
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So really, falling into the trap of this entire debate is the mistake. The beauty of comics is the way that words and pictures come together to form a fused artform of its own, and characterising writers and artists as being entirely separate and distinct (or even worse, opposed) aspects of that seems to miss the point, for me.
Quite so. There’s all kinds of writer/artist collaborations, and sometimes the writer is doing more of the storytelling and sometimes the artist is doing more of it. And sometimes the artist and the writer are the same person, and that allows all kinds of different approaches for those who are talented in both areas.
That being said, I think as readers we look for different things in comics. I know that for many people, the art is the most important thing about a comic book, but I have always been the other way around. In American comic books, with that traditional split between writers’ and artists’ jobs, I follow writers and I am quite happy if I also like the artist illustrating their book, but it doesn’t matter all that much to me.
I would love, say, Planetary just as much if Hitch had illustrated it and The Authority if that’d been Cassaday. But I’d hate both if they’d been written by Brad Meltzer or Geoff Johns.
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Rob Liefeld has spent the last 24 hours arguing with loads of randoms on twitter about whether DKR #1 came out in late February 1986 (as some modern listings say) or mid-March 1986 (as contemporary sources suggest).
Like, who cares? If I made millions from comics I feel like I could find better things to do with my time.
It’s kind of funny as it doesn’t even really matter, he’s just responding to a load of people positively celebrating the 40th anniversary (I know) with a load of “well hactually…”
Bizarre.
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Anything to avoid drawing Youngblood: Bloodsport issue 2, I guess.
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Guy who can’t draw feet says what, now?
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Corporate blight Embracer Group remove Mike Richardson from DHC.
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Corporate blight Embracer Group remove Mike Richardson from DHC.
I wonder how many independent creators will renew their contracts, if they’re even offered, now that Richardson is gone.
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Yeah, my DHC buys now are Mignolaverse and Usagi and they don’t have to stay with DHC.
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Richardson made Dark Horse into a creator-friendly company that attracted the likes of Mike Mignola, Frank Miller, Art Adams, Mike Allred, John Byrne, Paul Chadwick, Geof Darrow and others in the mid-1990s. I can’t imagine Dark Horse without his guiding hand; on the other hand, Richardson knew what to expect when he sold the company to a conglomerate like Embracer.
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The statement the new management put out gives very little confidence, look at it:
“In a statement that went out to business partners and creators obtained by Popverse, from Dark Horse vice president of product development and sales, Randy Lahrman, the move was explained as a way for
“changes to modernize the business and strengthen collaboration across publishing, games, film, merchandise, and other key areas.” The statement, sent by Dark Horse’s vice president of product development and sales, Randy Lahrman, stresses this leadership change was done in order to “better align Dark Horse within a more connected and forward-looking group structure” within Embracer.
“Our goal is simple: to ensure Dark Horse is positioned for sustained success while continuing to serve creators, partners, and fans at the highest level,” writes Lahrman. “
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