So, it's the middle of July and we're half way through with this year. Here's what I've enjoyed the most thus far this year.




10. Gotham Central #38-40: I was late to Gotham Central having come into the series just about the time it was announced that Ed Brubaker was leaving. Still, I hunted down issues I missed, picked up trades when they came out and this has grown to be one of my fav series in spite of me not caring too much for Cop/Crime Fiction. The finale to the series was a heart wrenching and I love Renee Montoya. One of my favs of the year.



9. 52*: Not saying its been a perfectly smooth ride thus far but every week I’m guaranteed a quality comic. Morrison is my favorite writer and I like Greg Rucka and Geoff Johns. The art work from Joe Bennett produces here has earned him a spot on my favorite artists list. Plus it has Renee Montoya, Ralph Dibny, Black Adam, and Booster Gold. Though boosters been quite annoying of late. Overall I look forward to each issue.



8. Excel Saga Vol. 14: This might be 2005 material but for us English speaking and reading types its 2006. Excel Saga is the only manga I buy because anime usually translates from the source material pretty closely. But this manga is its own best and has surpassed the anime in my eyes. This volume, and the last few, have really shown Koshi Rickdo has a plan. Now that Excel and buddies have been found out as the secret organization Across by their neighbors and members of the Department of Environmental safety things have gotten wild. Plus Hyatts got amnesia and is living with Watanbe. Yeah, you’re probably scratching your head but it’s been 14 volume and its been a fun, humorous, joy ride all the way through and this one makes me itch for the next volume.



7. Runaways Vol. 2: Started off a bit rocky in the beginning last year but has been moving smooth ever since the Escape to New York story. with the special Molly Hayes spotlight a few issues back and the current Parental Guidance Runaways has once again become one of the titles I rush to read first. That great twist in the opening of the arc, the action, the twists, the cliffhangers! I just hope Nico doesn’t die in this weeks issue. Let it be Victor. I don’t like that guy. Ruanways is what I wish more mainstream comics were like, fun.



6. Mister Miracle #4, Bulleteer #4, Frankenstein #4: Thanks for making me wait Grant Morrison!!! Even if this series is one issue from completely finishing this would rank in my top 5 of all time. Unless Morrison and Williams ruins the end but I doubt that. Seven soldiers ahs been larger-than-life fantasy with great characters, drama, and action. The final issues of “second wave” were all great. Mister Miracle #4 was my favorite of that mini which was, and is, my least fav of that portion. Though I have to say, rocked real hard. Bulleteer #4 was beautiful and Frankenstein… just makes me ache to read the finale. I loved these three issues and look forward to the Finale in October(boo!).



5. The Abandoned OGN: I don’t like zombie stories. that’s why I don’t care for Walking Dead. They’re all pretty routine as they are more designed to become character studies between people in a dire situation and how they react. So why did I love this book? I don’t know. Yeah, that’s the basic formula and It’s sued here but I guess having more alternative types adds a bit more diversity then your typical victims in these situations. Helps that Ross Campbell did a great job on the art and crafting a tragic story.



4. Superman: Up, Up, & Away: I’ve come to love Superman. This re-establishment arc was wonderful. Kurt Busiek and Geoff Johns wrote a superhero comic with great characters moments and lots of cool action. Plus the artwork from Pete Woods and Renato Guedes was top notch. Clark Kent is living as a normal human being and enjoying life but as his powers come back he returns to the cape as Superman battling new villains, updated villains, and the Insane plots of Lex Luthor. Sounds like a classic.



3. Astonishing X-Men: I love the X-men but theres always a lot of bad X-men stories. Thank god for Joss Whedon and John Cassaday. Since the get go we’ve been thrown through the gauntlet. We know more about Emma Frosts connection to the Hellfire Club, her feelings for Cyclops all the while she helps take out the X-Men from the inside. It’s only been three issues since the series restarted and already I’m getting the shivers thinking about the next issue. Its got the forward thinking sensibilities of Grant Morrisons New X-Men with that classic feel of the Claremont/Byrne(Cockrum, Smith) stories. Feels good to be an X-Fan.



2. Wet Moon Vol. 2: Damn Ross Campbell has been putting it down this year. In spite of the fact the first volume didn’t wow me, this one definitely did. I have a recent review right HERE.



1. All Star Superman: Grant Morrison and Frank Quitely have produced what has my most loved title since day one. All Star Superman. It’s big in everything that happens. Big ideas, big characters, big action, big drama. Though the series is not on a normal shipping schedule its worth the wait to see Lois be Super Woman for a day all the while Superman battles Atlas and Samson for her affection or Jimmy Olsen becoming Doomsday to stop a rampaging Superman. Upcoming, Clark and Lex in a prison. Fun, escapist, and heart warming entertainment.

A couple of months ago I reviewed Jetta: Tales of the Toshigawa - Defiance by Antone and Janet Wade. I just heard that they will be on tomorrow’s pod-cast at http://www.ComicGeekSpeak.com. Click on over tomorrow and check it out. If you are interested in meeting them in person, they will be at San Diego Comicon this week.

Just a friendly reminder from your friends at Paperback Reader, Blade: The Series debuts tonight at 10pm Eastern on Spike TV. Just in time, TVGuide.com talked with producer/writer David S. Goyer about the series.

The teaser for Spider-Man 3 has been released! It looks really good. See for yourself:

http://www.apple.com/trailers/sony_pictures/spider-man_3/

Hey guys, A.C. here with a Superman Returns tidbit. I was doing some photography work for a local newspaper at the critics showing of Superman Returns and was in the theater enough to hear a few things that had me worried. I questioned a few people who watched the whole movie who confirmed it for me. Apparently, this is most certainly a direct sequel to Superman 1 and 2. Kevin Spacey apparently plays Lex Luthor exactly like Gene Hackman did. More of an aloof, funny guy than the true menacing villain we all know from the comics. Granted, that's second hand info but from everything I'm hearing this movie is really going to appeal to fans of the old Superman films, and not so much to people who didn't quite like those old films. I'm going to reserve final judgement until I see the movie myself as I encourage you all to do, but I am a bit worried now as I wasn't the hugest fan of the old superman, mostly because the goofy and comic relief Lex Luthor. See you all on wednesday when we know for sure!

Well, I recently watched X-Men: The Last Stand. It wasn’t bad. Not as good as the first two, but still a very enjoyable movie, IF you can get past two things. One is a story structure problem, trying to put too much in to little time. The second is a fan problem. If you are a "must be just like I read it" fan, then you may (may=will) hate this movie.

The following includes a few spoilers. But I’ve cut them down, so most fans that have already read anything about this movie (which is most) will probably be ok.

Besides the obvious structure problem of introducing a gazillion characters, the main problem structure-wise was with the return of Jean Grey. The movie actually handled the giant cast of mutants well. Angel and Rogue didn’t get nearly enough time, but besides that (and a missing Nightcrawler) the movie handled the cast well. I especially enjoyed Beast, Kitty Pryde, and Juggernaut.



The biggest problem in structure was the whole Jean Grey/Phoenix storyline. I didn’t expect them to adapt the entire Dark Phoenix Saga with aliens and all, but this watered down version was a waste. Although the writers tried to merge it with the “Cure” plot, it seemed really forced and the storylines really had no business being in the same movie.

The F(an)-Factor plays a role in the second flaw. It really is only a problem if you are one of those diehard fans that hate things not being like the original comic book. Which honestly is tough to those fans who will probably hate some of the deaths. Actually, I wasn’t thrilled with all of these either, but I won’t go into detail right now. Those fans will also hate the power changes, origin changes, and personality changes for some of the characters that are introduced. Those fans will also really, really hate the Phoenix storyline.

So, I take a little more than one letter grade off for the Phoenix storyline that really shouldn’t have been in there or at least should have been merged better with the Cure storyline. I’m not a diehard status quo fan, so no points taken for that. So…I would give it a B-. An enjoyable action packed movie, which would have been even better if it hadn’t tried to add the Phoenix saga into it.

Oh, and don’t leave when the credits start! The movie isn’t over yet. Considering the film made over 102 million on its opening weekend (with a 210 million production budget) and currently has grossed over 341 million worldwide, I think it is safe to say the film franchise isn’t over, either. Plans for a Wolverine spin-off are pretty much a sure thing now. A Magneto prequel film and a film about the new generation of X-men (New Mutants/Generation X) also have a good chance. Actually this does follow true comic book style. Build a team, tear the team apart, create spin-offs, and then (I’m guessing) put the team back together again for X4.



Also, be sure to check out David’s review of X-Men: The Last Stand over here.

When I didn’t think it could get any worst with internet fans, BAM! The press find out about Batwoman. Though, for the last few months any comic fan who paid any attention to Wizard magazine of Lying in the Gutters actually knew she was a lesbian. But now with the “mainstream” attention its receiving it’s the end of comics. Funny… and here’s why.

Identity Crisis had a rape scene. Infinite Crisis had extreme violence. Civil War kicked off with the murder of hundreds of school kids. One thing they have in common? They were all covered by the mainstream press. Yep, there were articles on them online and newspapers. Well, I don’t know about the papers as in LA no one cares for comics out here. It isn’t like when I go into work someone asks me about Batwoman. No one generally cares. Hell, I work with a lesbian and I don’t even think she knows whats going on or cares. Now, obviously, DC should be pushing diversity right? Yeah right, haven’t you people learned anything? The News only covers tragedy and controversy. Most positive stories get barely any time in any paper or in the television news. Take 52, which has gotten some coverage has an African-American male, a Hispanic lesbian, and Black Adam ripping people in half. So… did any of the media cover this? No, they covered it being a weekly series and pointed out it taking place after Infinite Crisis. So much for media coverage on diversity in comic books. Homosexuality is a hot topic but Batwoman shines over Renee Montoya because she’s using a familiar name. That’s how the media works and DC is exploiting this.

Now, the fan response online is, to be truthful, more reasons why internet fans should be all slapped. Come on people, these arguments are dumb. I just covered part of one argument just above now let me break it down just a little more. First off, your own personal feelings about the VP, Dan Didio, just makes your argument less valid. Its bitterness seeping through to blind the simple fact that its all about the bottom line and if this man was doing such a bad job why is most DC comics selling better then they did in years? It was only a year after his entrance into DC comics that the company started putting titles in the top 25. So obviously some people are buying it. This whole argument against DC marketing and Didio is just personal anger that one of your characters gets screwed. Tough luck. Get over it. Now, is the product good? That’s for the fans to decide for themselves, not for some bitter and resentful, to use a wrestling phrase, smart mark to determine.

Now back to DC exploiting the fact that Batwoman is a lesbian. Is it a good idea? Maybe, maybe not. That’s the point of waiting to see the results. But lets speculate. Controversy sells, so this could just give a “new character” the boost they need to sustain a title for more then the, I don’t know, 6-8 issue run Marvel likes to occasionally give a book. Though this is DC it would be 10-12. After that it’ll come to creative team being able to provide a good story with a true to life portrayal of a lesbian character. But that would involving waiting to read the title for ones self. But its not like fans to rush to judge a comic before it comes out-oh wait. The truth is fans are so skeptical and jaded that new titles barely survive. Thingand Manhunter people? Now, maybe none of this mainstream notice will do anything. Maybe no one but the comic fans themselves will care, and even then, maybe they won’t. But realistically, I don’t see concerned parents standing outside comic shops. But then again, maybe they will. Maybe they’ll uncover the fact that Vertigo, indy comics, and several marvel titles are too “mature” for younger readers. Maybe DC will doom comics. Think about that. Let that sink in. Do you really think DC giving a lesbian lead in a comic does anymore damage then Brokeback Mountain did for film? I mean, chances are theres more movie studios near a single person then comic shops.

Now, lets talk diversity in comics again. DC has put a lesbian in the lead for their mainstream line of comics, they are giving a gay character Midnighter his own solo series this year from their Wildstorm imprint, and we have more ethnicity’s showing up in titles. Firestorms black, Blue Beetle is Hispanic, we got an Asian atom and you know what… DC is trying. This whole marketing ploy might get a black, gay reader into a shop and find out not only do they have gay characters in titles but black characters too. Why not look at the positive this could do? Oh, that’s right… comic internet fans are always so quick to judge and be negative.

In late March, a new comic book studio emerged that just could revolutionize the industry. Their name is Visionary Comics Studio (VCS). No, they are not just another new independent publisher that will probably disappear in a couple of years. They are something new…they are ”the world's first Teaching Studio for aspiring comics creators.”*

“VCS is not the typical comic book studio. It’s actually something pretty radically different” said C. Edward Sellner, Creative Director for VCS. “It’s a Teaching Studio. We’re not a school, we’re a working studio that hones the skills of aspiring professionals to get their work to a level that can stand on its own next to any comic on the racks. All the while we’re doing this, we actually work with them on producing that first actual comic to compete on those racks.”

So, what is the process for someone who wants to join VCS? “First a creator submits a portfolio. The ones that show some real talent then get the VCS treatment. That means a thorough editorial review that goes over every word or stroke. Once the review is complete on the submission we return it and extend an invitation to join us. If they think working under such guidance will be helpful to them in honing their skills then they become a New Visionary.”

VCS currently has three options for those who join: Creator Owned Comics, Visionary Universe, or Visionary Freelancer Services.

The creator owned titles are those books that VCS help set up by helping put together the creative team, editing, and marketing the book. Currently there are six creator owned titles that have been announced:

• Headlocked: A dramatic series set in the world of pro wrestling.
• Hell Patrol: 100 demons have escaped Hell and are loose on Earth. Now a fallen angel, an ex-werewolf, an ex-vampire, a once possessed young man, and a nun must banish these demons back to Hell.
• Midnight Run: In this world, superheroes are hunted by a totalitarian political movement. Their only hope is the underground railroad for superheroes.
• Offspring: A half-human, half-vampire woman is stuck in the middle of a war between zombies, vampires, and werewolves.
• Project H.E.R.O. (Human Evolution Research Organization): A misguided humanitarian abducts humans so that they can be transformed into the perfect soldiers in hopes to save his Earth from complete devastation.
• Scrap: A funny “cartoon series” set in the near future about a boy genius and his huge robot suit name MARTIE.

The Visionary Universe is a shared universe, set in various time periods, with currently three announced titles: Soulstar, Savage World and Monarch of Manhattan. You may remember those last two as titles that were originally to be published by Kandora Publishing. They are now being resurrected by VCS and merged into this new shared universe. All three are from creator C. Edward Sellner.

• Soulstar: A unique vision of the super-hero genre. The book is beautifully drawn by Ignacio Calero with amazing coloring by Sellner.
• Savage World: This series is set on a futuristic post-apocalyptic Earth with supernatural creatures.
• Monarch of Manhattan: This series is about Shakalla, a man that was raised to be the absolute monarch of the largest empire of his world and time. But he was betrayed and exiled by an evil wizard to present day Central Park, New York.

Lastly, we have the Visionary Freelancer Services.

"Online portfolios featuring our talented creators are now live and available for review. These easy tools will enable studios and publishers who are seeking out new talent to easily be able to scan what we offer and ensure their needs are met." Stated Charlie Hall, VCS Business Manager. Each portfolio lists the available talent, their page rates, preferences and availability. "With a single click studios, publishers and others can find a whole roster of talented folks to work with. Most importantly they know our creators will be mature professionals, ready and willing to work."

But VCS isn’t stopping there. They are also teaming up with Microfilmmaker.com, the online resource for independent filmmakers. VCS was featured in an in-depth article in Microfilmmaker’s April issue.

So what is Microfilmmaker Magazine (MFM)?

Jeremy Hanke, Editor at MFM tells us: "The goal of Microfilmmaker Magazine is to simply help no-budget filmmakers make better movies and become better filmmakers. While we aim to help all filmmakers, we have a special focus on filmmakers who are making films for $30,000 and below, as they are the ones who have the most to lose yet are given the least help from the filmmaking community."

Why comic books?

Hanke: "Our goal of working with comic creators is twofold: to give comic creators the ability to have their comics made into films by filmmakers that will actually preserve the integrity of their comic and to give filmmakers the ability to shoot a script that has already been written and carefully storyboarded. Because this fusion represents such mutual benefit, we desire to streamline this process so much that the gap between comic creators and low-budget filmmakers is closed smoothly and simply."

Why Visionary comics?

Hanke: "By working with Visionary Comics, we have the ability to showcase multiple, high-quality comic franchises to our filmmakers and increase the likelihood of pairing the right filmmaker with the right comic creator. In addition, because Visionary is willing to work directly with our filmmakers to help them create original films through a bidding process with their talented writers, our filmmakers have an ability to make far more original films than they would have on their own. The mutual benefit for the comic creators and Visionary is the ability to help shape all new films and to create brand new comic series based on these new films."

Personally, I think VCS sounds like a great idea for the comic book industry. We have Image Comics and a number of other creator owned publishers, but none of them (that I know of) help in the areas of putting together a creative team and marketing. These two areas can really make or break a comic book. VCS offers to help in these areas so new creators can then manage to get that deal with a creator owned publisher.

What do you think? Is VCS a good idea? Do you think something like this could work? How do the currently announced books sound? Let me know if you have any questions, because I will be interviewing Creative Director C. Edward Sellner in just a few days.

For more information on VCS, check out their web site: www.visionarycomics.com
For more on Microfilmmaker, check them out at www.microfilmmaker.com

*All quotes used in this article are excerpts from VCS’s official press releases.

I originally posted this on my The Ramblings of Marx blog. I thought it would be good to re-post it here and see what everyone thinks about the future of comic books.

Since I originally posted this, the comic book market has seen an improvement. Booyah! Hmm…although it remains to be seen if anyone but the Big Two have benefited. It will also be interesting to see if this boost in sales remains after OYL and Civil War are over. I have a feeling that if the writing teams stay strong and keep taking chances, then there shouldn’t be too big of a drop (maybe).

But anyway, here is my original post, with some additions.

Months ago, John Kenneth Muir's Reflections on Film/TV blog posted about the fate of Marvel Comics and comic books in general. This was all started by the fool who wrote the article "Will Licensing Doom Marvel?" by Nathan Alderman which was posted on September 19, 2005, at Fool.com. Get it, fool, Fool.com, yeeeaaahhh – smell that corn. Anyway, Mr. Muir posted "Whither Marvel Comics?". In which I commented on my basic feelings about this.

Basic no more! I shall now talk more in-depth about this subject, which is close to my heart. I’ve been a fan of comics since I was a little itty bitty tiny witty child. Although I don’t buy them nearly as much anymore (more on that later), I’m still a big fan of the medium.

As that foolish article stated: “…Marvel's publishing arm tallied $20.9 million in net sales, comparing respectably with its licensing ($43.9 million) and toy ($23.4 million) ventures. But remove that mask and look at the operating income: While licensing brought in $28.2 million and toys commanded $13.2 million, publishing brought in only $7.89 million — down more than 12% year over year.”

Ack, so are comics doomed? Yes, no, maybe. Seriously…yes, if publishers don’t wake up and change with the times.

The reality is that increasing technology has made DVDs and video games more powerful and cheaper than they once were. I know that I’m digging the cheaper prices and the increasing extras that DVDs have.

But, not all is lost. Manga (the Japanese equivalent to our American comics) are increasing in sells in the USA. As the article confirms: “manga is eating the mainstream publishers' lunch. According to the Nielsen BookScan ratings of bookstore sales, in early August 45 of the top 50 sellers in the graphic-novel category were manga. In the first half of 2005, DC's graphic-novel sales grew by 13%, and Marvel's increased by 9%, while manga publisher Tokyopop notched 40% sales growth, including 81% growth in the first quarter.” This tells us that Americans are at least still willing to read comic book-like products. So what is it that manga has that American comics don’t? I personally don’t read much of the manga, but I can tell from watching anime versus American animation that the Japanese do take a different approach to storytelling.

So, enough doom and gloom. What can American comic book publishers do to save themselves? Here are my suggestions. Some are not completely serious (but did you really expect them to be?):

Publish Online - Take advantage of the software and publish titles online or on DVD to supplement print sales. This has been done fairly successfully with role-playing games to help boost sales (RPGs are the only SF niche that is hurting worse than comics). This will also help cut down on sale loss from BitTorrent (darn you BitTorrent!). It will also make it cheaper for fans to catch up with titles, which really is needed due to the inflating continuities of the many multi-title ‘universes’. Don’t get me started on the pre-Crisis vs. post-Crisis Superman discussion. And I always get a headache when I think about Magneto. How many times has he died or switched sides, anyway?

BitTorrent downloads show that there is an interest in this (I’m getting Napster flash backs), so why not give a legal option? Although old timers and true blooded collectors would never want to read their favorite comic on the PC screen, there is a growing number of younger readers who have no problem with it.

Recently Marvel has started working on this by releasing DVD collections of Spider-Man and X-Men. Marvel has also created a new online comic book area on their website. DC has yet to really do anything like this. Image does post free online versions of some of their number one issues, which is a positive move in the right direction. And of course, original Web Comics are still out there and growing in popularity. Some of them have even made it to print.

Experiment With New Formats - Sorry, but the typical monthly is not working anymore, in my humble opinion. Perhaps publishers should experiment with manga format books or graphic novel-only products. Just as the ‘dime novel’ evolved into the novel, perhaps many of the monthlies should become graphic novels.

There is a growing mentality of “I’ll wait for the TPB,” which is killing some of the monthly sales. I have a strong suspicion that some of the new series that have been released and canceled (*cough* Manhunter) would have been better off being released only as TPBs. Perhaps with a cheap #1 issue to start people off or the first part of the TPB online for free to grow interest. I see the same thing happening with TV shows. I know that I stopped watching Alias on TV and just waited for the DVD set.

The monthly is far from dead, yet. Actually the recent mega events of Infinite Crisis, OYL, House of M, and Civil War have boosted those sales. But I’m skeptical on how long they will stay up. My hunch is that the monthly will become a less viable option for most publishers over the next few years and it is time for the big publishers to pave the way for new formats.

Scheduling - Lets get scheduling under control. Nothing loses interest faster than waiting an additional week or month (or more) for the next issue. Writer and artist contracts with heavy financial penalties for late work might help things a bit. It blows my mind how often titles are late. Could you imagine a television network allowing their television crews to do that? It would kill a series. As if the networks’ own re-scheduling doesn’t already hurt a series (remember when FOX aired the Firefly pilot last?), but continuous delays by writers would absolutly destroy a television series. Guess what? It isn’t helping comic books out either. This is one of the biggest gripes I hear from my friends, and it is probably my numero uno gripe too. Most comic books now (especially Marvel) do 4-6 issue arcs. If, for example, we compare one arc to one episode of a television series, we would have to wait 4-6 months to see one complete episode. Man, I love Lost and Stargate, but if I had to watch each episode only one act or less at a time, I would completely lose interest.

This was once just a problem with independent titles (yeah, I’m looking at you Image), but now the Big Two do it all the time (yeah, I’m looking at you Ultimates). Something needs to change, otherwise we are just helping push comic books into the chasm of dead media.

Enough With ‘Comic’ Books - Change the name! I get so embarrassed when I tell someone I read ‘comic books.’ These books aren’t the same funny books of old. Can everyone agree on a new name? Lets just all call them graphic novels, graphic shorts, graphic episodes, graphic-sodes, commie books (just kidding), graphic serials, or something. Anything but “comic book.”

Geek: The Next Generation - Publishers should try harder to court the new generation of readers (the ‘Ultimate’ line is a cool idea – but most are not really kid friendly). You can’t beat out video games and movies, but ‘graphic serials’ are not just a cool alternative. They are also a helpful tool in developing reading skills, and that is something that video games and non-subtitled movies can’t do.

This can be done with more children lines of comic books. Not just kiddie one-shot versions, but original all age and children lines with their own developing continituties. I think Mouse Guard is an excellent example of the type of all-age comic books that can be succesful.

We Are Creators, Hear Us Roar - Publishers need to do more to encourage creators to make new characters that can become the icons for new generations. (Sorry, but right now a good creator will shy away from "giving away" a character to Marvel or DC, and I don't blame them.) How? One way is through creator-owned companies like the awesome Image Comics. Or, at least contracts that give partial rights to creators. For example, creators should get a percentage for use of the character in comics or in other media. Creators should get a voice when a character is being optioned for a movie or TV series. More rights could go a long way in encouraging creators to create new, and future iconic, characters. Perhaps something along the lines of Crossgen’s Code 6 program. Crossgen never had a chance to do much with it, but imagine if DC or Marvel did this. Not only could they have more PI (that’s Product Identity, not Private Investigator) for future movies and TV, but they could use the same method for new characters in their shared universe. It sucks that the creators would only have 1/3 ownership, but it would help prevent a painful crash, like the one that Image suffered in its shared superhero universe when Rob Liefeild got kicked out and when Jim Lee left. 100% ownership just doesn’t work in the long run for a shared universe. The Imageverse has never really recovered. Please note that I’m talking about the shared superhero universe, not Image Comics overall. Image overall is a godsend for creators to create and fully own their creations.

If Marvel and DC won’t go that route then at least Marvel could put more backing into their creator owned imprint Icon. DC should also do something similar. I only mention the partial option rights for the Big Two, because it would help them grow their shared setting without the loss of control and continuity chaos that practically killed the shared superhero Imageverse concept.

BUT - I do feel that many of tomorrow’s icons are out there right now. They are just in independent books, rarely seen. Until they hit it big in another medium, they will remain in obscurity. How many people heard of Men In Black, Hellboy, or Teenage Mutant Ninja Turtles until they hit movies and television?

There are a growing number of creator owned publishers out there, with some great books. We just need to back them. Perhaps the new Visionary Comics Studio will help the creator owned corner of the comic book industry to grow. What is Visionary? Well…read my next post in the blog.

Why do I care so much about these ‘funny’ books. Because they are really the first medium of story telling that I used to entertain myself. They are addicting and can tell stories in a way that no other medium can. I have three reasons why I don’t want to see comics die: I’m a fan, I want to introduce my future munchkins to them, and I want to actually write a few before they are gone.

To conclude this rambling, comics aren’t doomed (knock on wood)…they just need to make some changes. In the long run though, I don’t think comic books will ever sell the same as they once did. But, there will always be television (live action or animation), movies, and video games for future heroic icons. That is, until Virtual Reality gets big…and then someone makes a Holodeck…then we ascend into energy beings and amuse ourselves by watching the ‘lower’ life forms live life. Evolution…a harsh mistress indeed.

I like watching larger then life figures engage in epic battles. That’s why I like superhero comics. That’s why I like animé. That’s why I watch wrestling. But lets be honest, wrestling in the states gets a bad rep and its all because of the man who made it a mainstream, Vince McMahon. Someone not in tuned with wrestling outside WWE wouldn’t know better. They’d assume this was all there is. Sports-entertainment. Truth is this is simply one style. A style based more on show and story than on content. WWE’s approach to wrestling became a style that influenced other companies like the now defunct WCW or the current NWA-TNA as well all around the world. You can’t really argue the need to compete but unlike WWE many of these promotions still produce more in-ring action.

Back in the early 90s WE was WWF and WCW was still kicking, wrestling in general was in a serious need of a kick in the arse. The style was slow, generic, aimed at families. That’s ECW came making waves. Starting out as Eastern Championship Wrestling, a branch of the oldest wrestling organization in the world the National Wrestling Alliance, the company was having internal problems when Paul Heyman was hired to book a big show. Heyman took the reins and started to create a product that offered wrestling fans an alternative to the big companies, and an alternative to the old US style. ECW broke away from NWA in a way that sent shocks in the wrestling community. There was a tournament between all the NWA territories in hopes of crowning a new NWA world heavyweight champion. The title had been around since the 1900s and literally defending around the world. ECW’s only traditional wrestler was one Shane Douglas who became disenfranchised with a lot of wrestling. When we won the title he threw the belt down in rebellion towards the wrestlers who came before him and declared the ECW title the only real world title. ECW changed their name to Extreme Championship Wrestling and separated it self from NWA.

ECW was a cult hit amongst what’s commonly known as “Smart Marks” and tape traders. Often featured late night on UHF channels ECW was reliant on its fan base to spread the word. ECW was innovative because of four reasons.

1. Violence. Some of the most graphic, bloody, matches ever recorded. From barbwire ropes to fists tapped up covered in glass.

2. Fan participation. Fans could bring items to the shows and watch as Tommy Dreamer hit Raven with an oar. Or Spike Dudley being thrown into the crowd only to be crowd surfed around. To mention the brawls breaking out into the crowds or even outside the arena.

3. The best wrestlers. ECW hired many of the best wrestlers on the indy scene. Many wrestlers known by fans today were given their first big shot in US wrestling through ECW. Chris Benoit, Rob Van Damm, Rey Mysterio(Jr.), the late Eddie Guerrero, and more.

4. Rejuvenating careers. Wrestling legend Terry Funk found new fans as he helped ECW gain more recognition. Famous wrestlers like Steve Austen and Mick Foley, spurned by the big companies, used ECW as a plateau to prove their worth.

5. Controversy. Crucifixion, lesbian story angles, and more helped add fuel to the fire. Stuff that WWE does(and WCW did at a time) were already done by ECW.

So how does a company that really helped move mainstream wrestling forward fail? Well, ECW didn’t have the money to compete with the production values of the big companies. Not to mention ECW became a proving ground to the bigger companies able to lure the ECW stars away with better paychecks. Plus the inability to get good TV deal. ECW collapsed only a few months after AOL-Time Warner forced Ted Turner to sell WCW. Now two companies had fallen and WWE swooped in to buy the video libraries and trademarks.

I discovered ECW in high school through a friend who was a mutual wrestling fan. But unlike me he was into WCW and ECW. After some urging on his part I tried watching WCW outside NOW, Sting, and Ric Flair. Quickly after he offered bootleg tapes of ECW. I remember watching Tommy Dreamer and Jack Victory. Watching Dreamer take a part of the outside guardrail and bring it into the ring to use as a weapon was amazing to me. But what sold it was a scene where Jack and his buddy were double teaming Dreamer and Nova came out with a bag of tricks to help. One of those tricks a Captain America shield. That tape had this 6 foot something almost 300 pound man named Mike Awesome fight a Japanese man named Masato Tanaka. Awesome would be able to spring on the ropes like a cruiserweight or even just throw Tanaka from the ring to the outside floor. What solidified it was watching Rob Van Damm and Jerry Lynn put on a match better then anything I had seen in years. The moves, the counters, just the epic feel of their war.

I was crushed when ECW closed. With WCW gone as well WWE became the only viewing option unless I was in to ordering bootleg tapes online. I did continue my interest in wrestling thanks to a tape trader I knew personally but a couple years ago he moved but I had NWA-TNA as a counter program and was unafraid of online ordering. But only a few months ago I was shocked to hear that WWE had decided to restart ECW. But now it makes total sense.

Around 2001 WWE started an angle entitled Invasion where WCW and ECW stars not seen on their program invaded WWE. Soon disenfranchised WWE wrestlers associated with those companies allied themselves. The angle was helped with the fact that former ECW mastermind Paul Heyman was now employed by WWE. Vince always acknowledged Paul Heyman as a great booker and producer. The storyline was a moderate success but afterwards very few wrestlers had success. Most no longer work of WWE. From then on the only ECW mention was on WWE DVDs featuring wrestlers who may have worked for the company. Eventually WWE releasedThe Rise & Fall of ECW. A two disc set documenting in much more detail the history I outlined. As well as featuring various matches. The DVD quickly became on of their top sellers. So much so WWE green lit ECW: One Nite Stand. Former ECW stars both employed and not employed by the company were present.

I watched the PPV, and at first it was nostalgia. Chris Jericho in his last wrestling match for WWE in his old tights. Surprise appearances. Super Crazy doing the back flip from the balcony. But it wasn’t until RVD hit the mic that it felt like ECW. ECW was all about keeping it “real.” RVD had become a success in WWE but was angry over many things. The restrictions management puts on wrestling moves(which is true) and how he was told specifically to keep his interview down to a limited vocab. RVD voiced those opinion. Right then it kicked up a notch. Whether it was seeing someone hit an old school piledriver, which WWE only allows few of their top stars to do, or watching Dreamer be put through a flaming table by the Dudelys, it felt like ECW. But for ECW fans it was Mike Awesome and Masato Tanaka that really epitomized what ECW was. Awesome was seen as a judas amongst ECW fans when he took a quarter of a million to leave the company while under contract when he was ECW champion. But WCW made him a joke and WWE never utilized him because of his “dangerous” offense. Against long time rivals Awesome crafted an apology that ended in broken tables and him blowing out his own knee. Saying the PPV was a success is an understatement. Not counting several Wrestlemanias the ECW PPV became their top PPV show in years. So much that in a few weeks there is another One Nite Stand and the announcement of a new ECW.

The big concern is, “will it be any good?” From the rumors online many within the WWE’s creative staff was against the idea but Vince McMahon was its proponent. Putting Paul Heyman, at the time booking a small developmental promotion for the WWE, and wrestler and former ECW booker Tommy Dreamer as the creative team behind it. That was a plus. Also a plus that ECW has hired recognizable stars like Sabu, Sandman, Balls Mahoney, Justin Credible and Francine as well as former ECW wrestlers CW Anderson and Tony Mamaluke. Lance Storm, Masato Tanaka and some other ones from outside the States have agreed to part time deal allowing for several appearances. The downside was the initial and current for the time being decision to film in front of Smackdown. However WWE has just booked several smaller venues such as the one time ECW Arena for ECW shows which makes it seem that the Smackdown filming will be brief. WWE brokered a TV deal with USA sister network Sci-Fi to air the series. But one of the big concerns is new talent? Well, Paul Heyman knows a good thing when he sees one.

The first name is CM Punk. CM Punk is, without a doubt, a legend in the making. In his brief career he became the King of Mid-West wrestling. He’s been in the ring with legends like Eddie Guerrero, Rey Mysterio, Vampiro and became embroiled in a huge feud with Raven fresh from ravens release from WWE. CM Punk and TNAs Samoa Joe put on the first 5 Star match in the US since 1997 according to long running Wrestling Newsletter columnist Dave Meltzer. CM Punk was hired by WWE but his look and style aren’t to WWE’s liking but Heyman pushed Punk in the developmental company OVW where he quickly became their top star. WWE just hired the SATs, Spanish Announce Team(a inside joke on the fact the WWE superstars would occasionally destroy the Spanish Announce Teams tables in matches). SATs were trained by former ECW legend Mikey Whipwreck and invented dozens of new tag team offenses. There is word on more but until then I have to say… I’m excited. This new ECW is starting to sound like gold.

Okay, so first thing's first. I got a note from my friend Andrea Grant, writer/creator/publisher of Minx from Copious Amounts Press. Andrea is a cool chick that I met at the NYC Comic Con, and she is apparently in the middle of a tussle with DC Comics about the title of her comic Minx. Here, read for yourself:

And now, can we all agree that about Katherine McPhee? Wait... What's that? You said this is a COMICS site, and so none of the real men in these here parts even WATCHED American Idol?

Okay. Oops.

Seriously, I am the only one with strong feelings on this subject?

And finally, I got this from my company's newspaper clipping service about the new X-Men movie. Enjoy:

X-Men as New Yorkers

So I'm heading down to Philly to cover Wizard World for the site, and as part of the deal, I'm interviewing Jim Starlin! Exciting, huh?

If you don't know (cause you've been living under a rock), Starlin is one of the most important comics creators in recent memory. He broke onto the scene in the 1970's, resurrecting Marvel's Captain Marvel from obscurity by introducing Thanos and basically just kicking ass with the title. From there, he went on to re-create Adam Warlock with one of the most interesting comics' stories I've ever read (the Universal Church of Truth storyline) and then kill off Captain Marvel in the now classic Death of Captain Marvel graphic novel.

I personally became of fan of Starlin's in the late 80's when he was writing Silver Surfer, long my favorite comic, and doing the Infinity Gauntlet series. He also wrote the DC Classic Batman: A Death in the Family, where Jason Todd was killed.

So... What are you questions for Mr. Starlin?

Post them here or send them to dan@paperbackreader.com.

Thanks.

So far on PBR, this book has over 500 hits on its reviews. Does everyone think there's enough story there to last through the year? I've heard recently that the issues are written through the 20s, and drawn till about #17, which means they're pretty goodly ahead, but I can't think of any other undertaking like this (Comics Greatest World notwithstanding) in quite a long time.

If you live in the SF Bay Area, you may want to come and check out SuperCon at the Oakland Convention Center. I've been going to SuperCon for years, and its always been a lot of fun. It's not particularly big, but its certainly a good place to pick up lots of good comics. The convention runs on May 20 and 21.

I'm a big comic book fan, but I'm also a big SF fan (science fiction, fantasy, horror), especially the television flavor.

We are quickly approaching the Fall 2006-2007 season, plus the upcoming summer mini-season. Here is the current status of current and possible upcoming SF series.

Returning
The 4400, Battlestar Galactica, The Dead Zone, Doctor Who, Ghost Whisperer, Lost, Masters of Horror, Medium, Smallville, Stargate Atlantis, Stargate SG-1, Supernatural

Canceled
Alias, Charmed, Invasion (Could CW snatch it up?), Justice League Unlimited, Night Stalker, Surface, Threshold

New Shows (Confirmed)
Blade, Caprica, Day Break, Dresden Files, Eureka, Heroes, Jericho, Motel Man (limited series), The Prisoner, Raines, Torchwood

Possible New Shows (Not 100% confirmed, but possible.)
Aquaman (Mercy Reef), Firebrand, Masters of Science Fiction, Persons Unknown, Ultra

So, what do you think? Which of the possible new shows sounds best? (Check out the details on these at: http://scifi411.com/upcomingtv.html).

Which canceled show will you miss the most…or the least?

Updated (5/18/2006): Moved - Day Break, Jericho, Motel Man, Smallville and Supernatural.

Updated (5/24/2006): Moved - Dresden Files

Not all of them, but a good number of the sueprhero comic fans. I seriously get upset going to comic book message boards and hearing some of what these "comic fans" have to say about the books they read. Or the inane garbage they spew. Lest not to forget all the trolling and "fans" acting as if they themselves know how everything should be dictated in a title. I mean, I was under the assumption message boards were to bring us comic fans together in our joy of reading books we like. But apparently they're for us to bash creators and take pleasure in cancellations and firings. Allow me to list some grievances.

DON'T LIKE IT, DON'T BUY IT

Seriously, if you hated INFINITE CRISIS why oh why did you buy the whole thing? If you would've saved the 3.99 per issue, plus 4.99 for the 4 specials you'd have $47.89. That's about the cost of a video games or a DVD box set.

I mean, yeah, try out some issues. Don't like it explain why. But if you keep buying and you keep complaining you become just a whiner. A broken record no one wants to listen to because you're looking for reasons to complain. Do us all a favor, take that money and buy a comic you think you might like.

Opinions

Beau Smith(or someone else. Maybe Erik Larsen) once said something to the degree of "you're friends like your art because you draw better then them" in explaining breaking into comics. I'm using this to explain personal opinions vs. professional opinions.

Don't like something, fine. I don't like certain artists or writers. I have my reasons. But don't think your opinion is more valid then anyone else's unless you have credentials. If you are going to rant on an artist you better have published artwork and/or an art degree to back that up. Because if not, to me its jealous. Besides, even the worst comic artists probably have more talent doing sequential art then some "sueprior" artists. Think about that.

Same goes with writers, your fanfic doesn't mean your better then Bendis or Johns. Don't pretend it does. You don't like how they tell a story. Great. You have the right to not like what they do. You don't have the right to act like a prick about it.

(though I admit to occasional spats of this attitude. I'm trying to stop.)

Interpretation

A writer gets a book he has two things to do. Write the story he wants and a story he can do with company characters. But news flash... SUPERHERO COMICS DON'T HAVE NEW STORIES TO OFFER! Superhero overcomes a villain and/or personal dilemma. That's it. Yep, that's every superhero comic or comic starring a character within superhero universe. Sorry to break the news like this. But that's why "suspension of disbelief" was invented.

So the writer has to find a way to tell this same story in a new way. Truth is there's the shake up story and the status quo story. The shake up stories tend to annoy old fans and attract new readers. Or so it seems. Status quo stories work to appease older fans. But truth is, very rarely do these versions work in a continuous string. The point I'm making is this, for a genre so limited in styles and endings why are you all complaining so much?

I heard someone complain Greg Rucka writes a terrible Renee Montoya. But, hasn't he written more Renee Montoya stories then any other comic writer? But the person expressed how they felt it should work and this goes back to writer interpretation. Why should the writer write your version of the character when they want to have enjoyment writing their version? Besides, just because you don't believe something like this would occur with the character doesn't mean it wouldn't. People do things their friends and family's wouldn't expect. So why can't a comic character? Or, you can always kick back and wait for the status quo story while the "new readers" appreciate the shake up story.

Now, do writers make mistakes? Yes. They are human. Do editors need to keep a writer in check? Sure. But sometimes they don't want to interfer. Still... a writer has the right to tell the story they want. No need to get all heated on a message board claiming sloppy writing when you probably never heard the word "motif" in your life.

Happiness In Others Misery

Here's the fans I think I hate the most: the ones who cheer at firings and cancellations.

Chuck Austen and Igor Kordey get fired and people cheer? CHEER?! People who make a living working on comics and have families to support? They didn't approve a faulty car. Send troops overseas to die on faulty information. They work in comics.

Or how about you getting news a book you like is getting canceled and someone cheers because they don't like the book. I hate those fans too.

In the end, I should just stay off comic message boards but its almost the only place I can talk with comic fans. That really sucks.

Eli Flores joined us for real today. Her first effort for PBR was an interview of Miguel Lleras, but today she joined us with her first editorial column, "The Female Perspective." You can take a look here. We're pretty excited to have Eli aboard, and she's giving away free stuff too, so go check her out.

As most of you know, we've been looking to replace the PHP forum for quite a while. At PBR, we have been looking for a solution that would allow for everyone to be involved, but wouldn't be too much of a burden. So, as of today, PBR has signed on with PowerBlogs to handle the chore.

Current PBR writers who would like to use the feature, drop me an email, and I'll set you up an account. For everyone else, we look forward to serving you, and hearing from you in the near future!