Tagged: Civil War

ComicMix Six: Why Marvel’s ‘Secret Wars’ Was Better Than ‘Civil War’

ComicMix Six: Why Marvel’s ‘Secret Wars’ Was Better Than ‘Civil War’

  • News
  • April 9, 2008

 

[EDITOR’S NOTE: In last week’s edition of ComicMix Six, we told you why the Skrulls’ "Secret Invasion" probably isn’t worth losing sleep over, given our list of the worst moments in Skrull invasion history. This week, we’re playing in the sandbox of big events yet again, with a list of reasons why Marvel’s recent  Civil War event doesn’t stack up against one of its popular predecessors, the 1984 series Marvel Super Heroes Secret Wars. -RM]

Just over a year ago, Marvel shook up their universe with Civil War, a series-spanning event wherein the U.S. government decided, after a tragic accident involving super-powered heroes and villains, that anyone with superhuman powers would be required to register and become official federal operatives. Costumed crime-fighters picked sides, Marvel picked a slogan ("Whose Side Are You On?"), Spider-Man unmasked, and Iron Man’s pro-registration camp hunted down the anti-registration crowd led by Captain America. In the end, Cap tearfully surrendered, only to be "killed" for his troubles a few issues later.

Throughout the series’ seven issue (and countless tie-ins), the Merry Marvel Marketing team hailed Civil War as the most mind-blowing storyline since, well… ever.

Here at ComicMix, we’re not quite sure we agree. After re-reading Civil War and comparing it to one of the first epic Marvel crossover events, the ’80s action-fest Marvel Super Heroes Secret Wars, there’s a good argument to be made for the superiority of the earlier project.

Oh, and remember, what’s being discussed here is the 12-issue Secret Wars series, published by Marvel in 1984 (and featuring the first appearance of Spider-Man’s famous black costume), not to be confused with Secret War, the 2004-2005 five-issue series written by Brian Bendis.

Got it? Good. Now let’s begin…

6. REMEMBERING THE LESSONS ‘SESAME STREET’ TAUGHT THEM: In Civil War, heroes who fought alongside each other for years decide that the best way to debate the merits of a new law is to spy on one another and brawl at each and every opportunity. In Secret Wars, heroes who don’t necessarily trust each other decide that, despite their differences, teamwork and cooperation will improve their situation.

Sure, Spider-Man had a skirmish with the X-Men and the Hulk was shouting at everyone, but they still came together in the end. Wolverine and Captain America shared a heart-to-heart, and the heroes even accepted Magneto’s help, knowing that the greater good was more important than issues of mistrust.

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Mark Millar, Steve McNiven and Grandpa Wolverine

Mark Millar, Steve McNiven and Grandpa Wolverine

  • News
  • January 28, 2008

Marvel recently announced plans to reunite Civil War writer Mark Millar and artist Steve McNiven on an upcoming arc of Wolverine that takes the "ol’ Canuknucklehead" years into the future to a post-Apocalyptic Marvel Universe.

In this interview with IGN, Millar discusses the connections between Clint Eastwood, John Constantine, Hulk and Wolverine that influence his upcoming eight-issue storyline.

According to Millar, the arc begins with a Wolverine that has sheathed his claws and sworn off violence, but quickly becomes one of the bloodiest tales he’s ever scripted – quite the claim, given the page-after-page killing spree of Millar’s last turn on Wolverine, the ultra-violent "Enemy of the State" storyline.

I do have a theory on this. It’s that the guys that tend to do the funny animal comics in real life are really, really creepy. –laughs- They’re always really creepy! You feel uneasy around them like they’re undressing you with their eyes or something, you know? Whereas the guys that do the really violent stuff are always quite normal and quite nice. So I think we get it out whereas those guys that sit around drawing Bugs Bunny all day, you just end up a pervert. –laughs-

Millar goes on to hint at some of the current and future-born characters that will be making cameos in the arc, including Hawkeye, Bruce Banner and… Spider-Bitch?

Millar explains:

You see Spider-Man’s granddaughter in it. She’s called Spider-Bitch.

Check out IGN for the rest of the interview, as well as several pages of interior art.

 

Creating the Annihilation: Conquest Covers

Creating the Annihilation: Conquest Covers

  • News
  • January 23, 2008

Sure, we heard about this whole Civil War thing that was going on in the Marvel Universe a while back, but as far as we’re concerned, that was small potatoes compared with the epic, universe-spanning shenanigans occurring throughout the Annihilation saga.

Okay, so Civil War left Captain America on a slab and Spider-Man unmasked. We’ll give you that, because they were all big deals at the time, but we challenge you to come up with a bigger event than the Annihilation Wave strapping Galactus to a freakin’ spaceship and using him as a gun, people! Seriously!

… But we digress.

Where were we again? Ah, yes, we were about to direct your attention to this great behind-the-scenes peek at the creation of the Annihilation: Conquest covers. The feature includes plenty of art from both cover artist Aleksi Briclot and Conquest editor Bill Rosemann, the mastermind behind the whole Annihilation event, and it serves as a great "director’s commentary" of sorts for both the storyline and the creative process.

"For the first cover, which I created for the Conquest Prologue, Bill gave me a lot of art suggestions (Joan d’Arc in space, a cinematographic and epic feeling, movies references…)," Briclot recalled. "Over time he also sent me new character concept art (all designed by Marko Djurdjevic), work in progress pages and lots of ideas. Then it was the usual process for each of those covers: sharing ideas and notes via e-mail, making some early quick sketches, a new discussion step, choosing the final content of each covers… Then it was up to me, polishing each picture and trying to produce the most impressive and attractive cover illustrations."

Bendis, Brevoort on Marvel’s Secret Invasion

Bendis, Brevoort on Marvel’s Secret Invasion

  • News
  • January 22, 2008

Over at IGN.com, Marvel scribe Brian Bendis and editor Tom Brevoort discuss the House of Ideas’ plans for ’08, including the "trust us, it’s bigger than the  last event" Secret Invasion storyline set to rock the Marvel Universe in a few months.

If you believe the hype,  the real-world frights of Joe McCarthy’s hunt for Closet Communists will pale in comparison to the terror of Secret Skulls in the Marvel U. But just in case you need a little more convincing, the duo provided some covers from the eight-issue miniseries that forms the foundation of the storyline. The covers include an occasional homage to well-known Avengers issues, featuring green-chinned dopplegangers of Earth’s Mightiest Heroes.

Bendis: It’s definitely the biggest thing I’ve ever written in scope, but if you include the Avengers tie-ins as part of the story (and I do –laughs- ) its also the biggest story I’ve ever written period. It is the same size as Civil War as far as ramifications and amount of characters involved, but it’s a different animal in every other sense. It’s a different type of genre and it’s something we’ve been building to over years.

Doctor 13: Architecture & Mortality Review

Doctor 13: Architecture & Mortality Review

  • News
  • November 21, 2007

Modernism and self-referentiality have been rampant in superhero comics for a good twenty years now; Alan Moore was the main instigator, with his great final Superman story and the Watchmen “pirate comics” motif. Some of the best and most entertaining stories since then have been knowingly "comics," from Grant Morrison’s "The Coyote Gospel" in Animal Man to John Byrne’s pleasant run on She-Hulk. But self-referentiality can also curdle like milk, or gnaw away its own belly like the fox under the Spartan boy’s cloak. There’s a huge streak of allegory in modern superhero comics – actually, "allegory" gives it too much credit; what we actually find are naked bids for audience identification and equally naked scornings of any connection to or interest in the supposedly puerile and retrograde wishes of that audience. (Pop quiz: who does Superman-Prime represent and why?)

Mainstream superhero comics have become a high-speed whirlwind of reader-response feedback done mad, with convoluted continuity one week and shredded history the next, and, no matter what, the anvil chorus of comics bloggers complaining that something or other is “raping their childhoods.” Doctor 13: Architecture & Mortality is not the first series to dive into the middle of that debate – hell, most of the big crossovers now are thinly veiled attempts to seduce the audience into believing in one propaganda version of continuity or other. (“Marvel has always been at Civil War with Eastasia.”)

But Doctor 13 does have the advantage of trying to be fun – and, even better, at generally succeeding. It does feel a bit like special pleading in the end; Azzarello is yet another guy who grew up with comics and wants to celebrate the stuff he loved as a kid. (Exactly the kind of comics writer, I’m afraid, that we need less of today.) The art is also very nice: Cliff Chang has clean, confident black lines defining crisp space, and is particularly good at drawing people.

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Mark Millar not doing Superman movie

Mark Millar not doing Superman movie

  • News
  • October 25, 2007

When Michael Dougherty and Dan Harris (screenwriters for X-2: X-Men United and Superman Returns) stated that they would NOT be writing the new live-action Superman sequel, Warner Bros. Pictures announced they would be looking at new pitches. Mark Millar (Ultimates, Civil War) was immediately vocal in his desire to take on the task. “I want to revamp Superman like Hillary wants thin ankles. Revamping this franchise is what I as given fingers for and so, invited or not, I’m putting my plan together now. I’ve been asked to work on half a dozen screenplays lately, but this is the only one I have ever truly wanted. As most here know, I have literally hundreds of pages of notes and sketches just waiting for this opportunity. This would be my dream gig and, as a fan, I know exactly what this project needs to work. This has to be Superman for the 21st Century, keeping everything we adore, but starting from scratch and making the kids love it as much as the 30-somethings. I would honestly write this thing for free.”

Sadly for Millar, it looks like it’s not going to happen. A couple of days later, he made the following statement: “I spoke to some friends at DC and they explained this has happened with a couple of big Marvel writers in the last couple of years and I absolutely respect that. It’s a business after all and to have a guy writing ‘Fantastic Four’ … which would be mentioned in every article about a Superman movie is not only an insult to their own writers, but makes bad business sense. I have nothing but respect for the DC high-ups and, though obviously disappointed, can absolutely appreciate their position. They’re the custodians of these properties and they obviously know what they’re doing.”

Who will write the new film and whether or not he’ll be an established comic book writer remains to be seen.

Oh, wow. Secret Invasion.

Oh, wow. Secret Invasion.

  • News
  • September 19, 2007

Hey, you’ll never guess what Marvel’s doing next year!

Go on, guess!

Did I hear you say "ummmm… it can’t be as easy as another mind-numbing, universe-shaking mega-character crossover, can it?" Of course it can. DC and Marvel have but one thought: between them: "hey, let’s do another mind-numbing, universe-shaking mega-character crossover! The fans love it!"

Sadly, this one comes on the heels of that rarest of all superhero comics events: a mind-numbing, universe-shaking mega-character crossover that actually worked. Mostly. Tony Isabella had a nice review of Civil War, and he says it at his own site.

Oh, this new thing is called Secret Invasion; Bendis is writing it; it seems to have something to do with Spider-Woman mating with Iron Man to create a bunch of radioactively charged exoskeleton robo-bugs that enter your comic book collection and rewrite the continuity-du-jour.

This one’s unique, though. It’s got a TRAILER! Well, at least that’s what Marvel’s calling it. It’s really just PowerPoint with public domain music, but it’ll only take a minute out of your life.

Not counting the NFL trailer that is attached to it.

Related: You might be a Skrull if…

Super Hero Comics and Art

Super Hero Comics and Art

  • News
  • July 19, 2007

I took my two sons (ages six and nine) off to the Montclair NJ Art Museum Thursday afternoon for an exhibition with the unwieldy title Reflecting Culture: The Evolution of American Comic Book Superheroes. (The picture at the top is the free giveaway comic that MAM has in lieu of a catalog or list of exhibits.)

The materials on exhibit are a roughly even mixture of original art and published comics, ranging from a 1906 Little Nemo in Slumberland page to an issue of Marvel’s recent Civil War. The focus, though, is on the major superhero comics characters, from the Golden Age through today. So there’s a lot of Superman and Batman in the earlier sections, and then a lot of Marvel heroes once the exhibit gets into the 1960s. The original art tends to be by major names – I remember seeing work by Dave Cockrum, Jack Kirby, Neal Adams, and Dave Gibbons – including some very well-known interior pages and covers.

The exhibition is organized around real-world trends and events: World War II, the Wertham years of the ‘50s, the “relevance” years of the ‘60s and ‘70s, and so on up to a display case of 9/11 comics. The small size of the exhibition and tight focus on superheroes doesn’t always work in its favor – their Wertham area contains no EC horror comics, and I didn’t even see any reference to Wertham’s claim that Batman and Robin’s relationship was essentially homosexual. There also doesn’t seem to be a guiding philosophy other than “comics reflected their world,” which is applied very simplistically and obviously. (There’s all the covers you expect from the late ‘60s, for example – the “Speedy is a junkie,” the “black Green Lantern,” the “why do you always help the purple people,” and the Nehru-jacketed depowered Wonder Woman.)

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Today’s Smoky Comics Links

Today’s Smoky Comics Links

  • News
  • July 19, 2007

Marvel editor Tom Brevoort posts Mark Millar’s original memo/pitch for Civil War.

Comic Book Resources presents the third part of their look at Homosexuality in Comics.

Blogcritics reviews a pile of DC and Image comics, starting with Dynamo 5 #3.

Blogcritics also has a Marvel comics review, and is particularly fond of Nova #4.

Forbidden Planet International reviews a couple of Marvel Comics from years past..

Comics Reporter reviews Ted May’s Injury #1.

Chris’s Invincible Super-Blog reviews the saga of the Mighty Marvel MegaMorphs.

Hannibal Tabu reviews his purchases this week for Comic Book Resources.

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Bid on dinner with Joss Whedon at Comic-Con

Bid on dinner with Joss Whedon at Comic-Con

There are some parties at San Diego that are impossible to get into. Sometimes, it’s better to get into a nice quiet upscale dinner, and even those can be amazing — I happened to be at one two years ago where the food was great and the stories were stunning.

But this might be the topper for the year: Joss Whedon (Astonishing X-Men, Buffy the Vampire Slayer, Captain America’s surrender in Civil War) is auctioning off five seats at a dinner table with him at the San Diego Comic-Con this year. Bidding is up to over $4000 a seat with a week to go. Here’s a link to one of the seats, but check on eBay as there are five separate ones and eBay didn’t set this up as a Dutch Auction.

Dinner will be on July 27th in San Diego, and 100% of the proceeds will go to benefit Equality Now. Here’s Joss making a speech for them:

Hat tip: Heidi MacDonald.

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