Tag Archives: Ed Brubaker

Quote of the Day: Ed Brubaker on superheroes

17 Dec

by Mike Hansen

From Point Blank #1 (the prelude to Sleeper) – click to make bigger:

Ed Brubaker quote

I love it when comics mix genres. Ed Brubaker’s blend of crime and superheroes in Sleeper and Incognito is a blast. His murder/revenge story in Captain America was easily the best thing about Marvel’s Civil War event a few years back. (I’m still woefully behind on new comics, but what I’ve read of his horror/crime series Fatale has been amazing so far…)

LOTS o’ Links (May 30 2012)

30 May

by Mike Hansen

Jack Kirby with Avengers cover

Hail to the King, baby.

The best links I’ve come across in the last few days/weeks – bookmark and read at your leisure:

The Bonfire Agency has put its money where its mouth is, and created FanPan, an online consumer focus group for comics readers. Sounds interesting.

The ONLY Avengers film review you need to read.

Possibly the most important comic you can buy and/or download this year: STEAL BACK YOUR VOTE, from one of America’s best investigative journalists (whose work towers over the often-shoddy reporting of U.S. corporate media). Check it out.

Since I’ve been talking about bonus features, here’s something everyone should know about DVD bonus features. Mark Evanier shines a light on something rather messed up about multimillion-dollar movie studios.

On a related note, here’s a horror story of how Warner Bros treats the translators of Harry Potter novels around the world. They’re even not invited to the film premieres, even when their work is used for the films without credit or payment. Classy.

Would WB treat J.K. Rowling the way DC treated Alan Moore? (Or just their translators?)

Did you know that the first appearance of Batman has rarely been reprinted in its original form? Most “reprints” are actually an edited and REDRAWN version of the story – see this post for a dramatic comparison of a few panels. Ugh! (If you want to read the real deal, it seems that the Batman in the Forties trade paperback is the only recent reprint of the actual original.)

Nice interview with Matt Wagner on his final Zorro story arc – Wagner remains one of the best writers (and artists) in comics, and his Zorro work is one of the best things Dynamite’s ever published. I recommend it for, well, pretty much everyone.

Have you seen this adorable story of how Marvel created a deaf superhero to convince a child to wear his hearing aid? Big points to Marvel for this one.

In the wake of the Avengers movie’s success, Image publisher Eric Stephenson republished his essay on Jack Kirby.

Legendary Marvel writer/artist Jim Starlin (whose work was credited in the Avengers film) had to buy his own ticket. And didn’t get any money for the use of his work. Sigh.

A surprising profile/interview with Stan Lee (who, unlike former freelance Marvel writers and artists, gets $1 million a year for life from Marvel) actually got his take on creators’ rights. Here’s another interview with Lee along the same lines.

Here’s Chris Roberson’s full interview with the Comics Journal in the wake of his departure from DC.

Batman in the Forties TPB cover

The only place to read the REAL original Batman story?

The CEOs of Disney (which owns Marvel) and Time Warner (which owns DC) were each paid millions of dollars last year. I wonder how much the creators of the superheroes they own made.

This is old news at this point, but the comments thread of this piece on Before Watchmen at The Beat is well worth reading – lots of comics pros have things to say, including Toby Cypress, Stuart Moore, Ed Brubaker, and Kurt Busiek.

Former Marvel Editor-in-Chief Jim Shooter has a lot to say about the “shared-universe” concept and a new business model for work-for-hire. Can it be done? I dunno, but it raises some interesting ideas. (This post is also the last of a series reacting to brilliant futurist Cory Doctorow (of BoingBoing, the best must-read website on the planet) and his ideas about using technology to share ideas and work. Obviously, I recommend them, too.)

A just-released German Donald Duck reprint accidentally misused the word “holocaust.” Oops.

An Iranian cartoonist was recently sentenced to 25 lashings for daring to draw a member of Iran’s parliament wearing a soccer jersey. Dear Iran: Go fuck yourselves.

A Swedish manga translator was put on a sex-offenders list and forced to lose his job and “manga expert” title for owning comics that were ruled “child pornography.” This, of course, does not do one damn thing to protect actual children from actual offenders. Good job, Sweden.

Steve Bennett has the most interesting take I’ve seen yet on the “gay people in comics” issue:

Why now?  Because we’ve undoubtedly reached the tipping point where homosexuality has become so ubiquitous in American life if it’s absent in popular culture its noticeable.  And as to why comics?  Because comics are, hopefully, still a part of mainstream American popular culture, and to be that it was to reflect reality… even if there are people who reject it.

This ties in to something that drives me nuts about most movies and TV, which is the continuing near-absence of minorities besides “token” characters with race-based dialogue (“Aw, hell no!”). And, of course, there’s the Bechdel Test

Okay, so WHY am I linking to things that criticize Marvel and DC while interviewing people who work for Marvel? Well, Continue reading

Why a sequel to Watchmen? (Answer: $$$)

26 Dec

by Mike Hansen

Cover art for the 1987 U.S. (right) and U.K. (...

And then there was world peace, and they all lived happily ever after, The End (Image via Wikipedia)

Looks like it’s happening. DC’s throwing some high-level artists on Watchmen spinoff projects, and the general consensus is that it might be interesting, and that even the people who are complaining about Watchmen sequels (or prequels, or whatever, Who Cares) are gonna buy them. (I really need to find more comics to praise on this site, because it’s hard to keep up with complaining about the news coming from the comics world…)

I’m not surprised that DC is doing more Watchmen without Alan Moore; what surprises me is that it took them this long to pull the trigger. After all, Marvel didn’t touch Elektra after Frank Miller left Daredevil – until they decided they could make money off the character. Publishers that own characters will always put exploitation of their property before giving the creators the respect and control of their creations. (I wonder if Marvel’s ever going to pay Jack Kirby‘s heirs for all of the reprints of his work – not to mention all of the comics by others featuring his creations…)

The problem with sequels is that they’re rarely as interesting as the original vision, Chris Claremont’s first X-Men run notwithstanding. The more dependent a project is on previous material by other authors, the more I wonder why it even exists (from an artistic standpoint: obviously, with company-owned material, the reason is simply To Make Money).

Sure, in the Continue reading

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