Tagged: DC

Dennis O’Neil: Our Christmas Funnies

If memory serves – and how often does that happen? – I saw my first 2012 Christmas decorations in late summer. In Miami, maybe? At the merchandise mart that adjoined the convention hotel? Anyway, months before anything resembling the start of the Holiday Season, which seems to have climbed into the vicinity of Halloween.

(And are you now bracing for one of my hate-Christmas screeds? Am I preparing to validate Fox News’s diatribes against The War On Christmas, ho ho ho? Naw. Maybe next year.)

What I am wondering, though, is whether any of our comic book bretheren still produce the annual Christmas story. In fact, I’m wondering if they ever did. I know that I wrote at least a couple of them, two featuring The Dark Knight (ah, but was he a silent knight? a holy knight?) and a third, I think, starring one of his favorite adversaries, that feminine feline funster, Catwoman. Two of these were commissioned, produced by editorial fiat, and what the hell? We’re pros, right? Guy behind the desk says Christmas story and we say, how many pages and when? The other, a Batman, may have been my idea, or, more likely, it may have originated with My Favorite Editor, Julius Schwartz.

And, o holy holly, while typing the above, I forget the weirdest Christmas-Meets-Batman of them all: A Slaying Song Tonight. This eight-pager appeared in an anthology, Batman Black and White, and I’m pretty sure it was my idea to make the thing a Christmas story and if you insist on my telling you why, I’d guess that I hadn’t done a Christmas piece in a long time and I felt like revisiting old turf. Maybe I shouldn’t even mention this because it surely wasn’t an annual anything: rather it was, as they say in the British publishing dodge, “a one-off.”

(An oddity concerning Batman Black and White: the book was conceived and edited by DC’s color editor, Mark Chiarello. And for those of you who haven’t seen it: yeah, every story in it was in black-and-white. And consider this a Recommended Reading. And finally, to end this windy digression – Mark, if Slaying Song was your idea, I apologize.)

Where were we…? Wondering if comics do Christmas stories anymore. Well, if they aren’t published, or if there are fewer of them than in days of yore, it may be because these stories, from Dickens onward, were focused on one day, a holiday, Christmas. Well, Christmas isn’t a day, not for a while now. A … what? Season? That’s closer. What it has evolved into, this Christmas, is something we don’t have a name for. Not yet. Shall we coopt a bit from an old Seinfeld and call it “festivus”? Or how about frumalackel? You like that – frumalackel? Sleep on it.

Frumalackel or Christmas, I’m not complaining. It is what it is – what it has become, and it is not wise to argue with reality, and so I won’t. Not this year.

Next year? Who knows?

FRIDAY: Martha Thomases

 

WHITE ROCKET PODCASTS TO THE MARVEL CINEMATIC UNIVERSE: THE SEQUEL

This week on the White Rocket Podcast, a part of the Earth Station One Network, New Pulp Author Van Allen Plexico is joined by writer/publisher/director Jim Yelton for part 2 of their exploration of Marvel’s movies, past-present-future. Van and Jim also look at what DC is doing (and should be doing).  It’s a fun show.

This and all previous episodes are available on iTunes (Search “White Rocket Podcast”) or at http://www.whiterocketbooks.com

Next week, Van is joined by Mark Finn (author of BLOOD AND THUNDER: THE LIFE AND ART OF ROBERT E HOWARD) to talk about Richard Stark’s violent world of PARKER!

Episode 7 of The White Rocket Podcast is now available on Podbean, iTunes, via the Podcast app on iPhone/iPad, or you can use the mini-player at the White Rocket site.

Listen to Part 1 of this conversation here.

Michael Davis: Karen Berger

I met Karen Berger around 20 years ago when Vertigo first became a DC Comics imprint. I was 5… heh. At the time I was doing work for Piranha Press, another DC imprint, which started around the same time as Vertigo.

From her start at DC, Karen was a no nonsense yet kind editor. What that means is if she did not hire you she let you down with the knowledge that you could come back.  Soon after Karen began her reign at Vertigo it became clear that you may have been welcomed back but if you sucked going back would just be a waste of everybody’s time especially Karen’s because if you sucked you would never ever work for Vertigo.

Now that did that mean just because you were a brilliant artist or writer your project would get a green light at Vertigo. Talent was just one of the factors Karen used to chose project. I pitched a project to Vertigo and Karen passed.

Hopefully it was because the project lacked something not because I sucked. Although when I saw Karen after the rejection she pretended to faint. The next time I saw her she pretended to have a heart attack and after that amnesia and so forth and on.

Karen, in my opinion is the last of the great comic book editors. That’s not to say there are not great comic book editors but Karen had a vision that was unique and her books wore that stamp.

Karen leaving Vertigo is one of the dumbest moves DC could allow. If she decided she wanted a change and I ran DC I would have told her to do whatever she wanted but just do it at DC. I like and respect Diane Nelson and I don’t know the particulars of why Karen is leaving so maybe dumb is the wrong word so I’ll say in my opinion it’s dumb to me.

Letting one of the most talented and original voices in the history of comics go is to me is just plain dumb. But for all I know Diane tried to talk Karen into staying but Karen faked a heart attack in the middle of the meeting.

Well, DC’s lost is someone else’s huge gain.

I can’t wait to see where she ends up. The moment I do I’m calling her using a fake name so she won’t have to fake amnesia. J

WEDNESDAY: Mike Gold

 

Mindy Newell: Karen

I met Karen Berger in 1983.

Thirty years ago.

Thirty years is a long time. A lot can happen. And a funny thing happens as the years pass. You look back and you can see how you ended up where you are today. How the chalk drawings of your life have made a graphic novel starring you. It’s a story made up of page-turners and cliffhangers, of happy endings and endings that leave you nauseous with Vertigo.

Like so many others, I was, frankly, shocked when the news broke that Karen is leaving DC this March. (I believe my words were “Holy shit!”) Is this her decision? Is she being pushed out? I’ll leave that issue to others.

This column is, simply put, a love letter to Karen Berger.

Last week Mike Gold wrote, im-not-so-ho, a brilliant column about Karen and her lasting imprint on the comics field, in which he stated – I’m paraphrasing – that “Karen fostered and molded and taught her staff.” I can attest to that. Though I was never part of her staff per se, if it was not for Karen Berger and her nurturing of whatever talent I may possess as a writer…well, my life would have been very, very different, and I’m sure I would not be here at ComicMix now.

If you want to know the “ins-and-outs” of how Karen taught me the craft of writing comics and nurtured me and helped me expand my professional credits, look up my column dated August 8, 2011, How I Became A Comics Professional, Or, How The Fuck Did That Happen, Part Two. This is about how she helped me find myself.

In 1983 I was a single mom, and apart from the joy Alix gave me, I was a very, very unhappy and lost woman. I was lonely. I was, if not in darkness, in a fog as thick as pea soup. I could not put a finger on what was wrong, I only knew that something was lacking. There was an emptiness in my life. It was as if I was standing in the center of a compass, and I didn’t know in what direction I should walk.

Whatever possessed me to sit down that day and write a brief synopsis of what would become Jenesis, the story that got me into DC’s New Talent Showcase? Was it hope? Was it, as my therapist likes to say, a core of steel somewhere buried deep within me that enables me to always pick myself up no matter what, and to and continue to put one foot in front of the other? Was it the hand of God, or the Goddess, or Fate, or Karma, or whatever higher power is out there? Or was it pure chutzpah, born out of a need to do something to change my life? For me, and for Alix? (I tend to think that it was God giving me that hope and core of steel and the chutzpah, but that’s just me. You can decide for yourselves.)

But nobody, despite what they may boast, does it all alone.

The day I came home from my first meeting with Karen was the beginning of the end for me: the end of feeling chained down, the end of feeling mislaid and misplaced, the end of feeling alone. I had met a woman who saw something in me that I had lost the ability to see – my ability to dream. My ability to accomplish.

Karen was not only my editor. She became my friend. I was there as she and Richard fell in love, broke up, got back together, and got married in an absolutely beautiful wedding in brick townhouse in Greenwich Village. She was the first person that I ever told about my agoraphobia – we were sitting in a restaurant on Columbus Avenue.

“I’m having a panic attack,” I said.

“You are?”

“Yeah, I know it’s stupid, but I’m freaking out.”

“About what?”

“That something is going to happen to me and I’ll end up lying on the floor,” I answered.

“And what, do you think I would ignore you, that people would just walk over you getting to their tables?” she asked?

And we laughed.

And though the anxiety attacks continued – I still get them sometimes – I’ve never again let them hold me back.

Comics…and an editor and friend named Karen Berger helped me to learn to believe in myself again.

May the road always rise up to meet you, Karen.

And thank you.

From the bottom of my heart.

TUESDAY MORNING: Emily S. Whitten

TUESDAY AFTERNOON: Michael Davis

 

Marc Alan Fishman: DC Entertainment – Trouble Every Day

Did you hear? Did you hear? The sky is falling! That’s right! There’s no time to pack a bag. Just grab your cell phone and head towards my car. Now get in! Call your loved ones. Tell them to do the same. Where are we going? How the hell should I know? They just told me to grab you and leave, leave, leave!

Wait, hold on. I just got a text. Shut up, I know I shouldn’t text and drive. But I can’t help it, we’re in the middle of a crisis! I’m not sure which crisis. The sky is white, so it’s not Crisis on Infinite Earths. The sky isn’t red, so it’s not Final Crisis. The sky isn’t upside down, so it’s not Flashpoint.

Oh. Oh! OK, this makes sense. Yup. DC is going belly up. No, I’m not kidding. My credible source here says so. No I won’t stop the car. Hear me out.

My pal, who likes to remain a little anonymous – we’ll call him R. Johnston, wait no, that’s too easy. Rich J. texted me just now that there’s a storm a’ brewin’ in New York. No, it’s not Hurricane Sandy. Rich is great with these things, trust me. He’s like spy mixed with fly on the wall. For reals.

So, he got wind of a super secret set of individual meetings at DC HQ which he’s speculating (which totally makes this real, you know) means big things for our boy blue. Here’s the hot tip:

With Vertigo Honcho Karen Berger going on the lamb, there’s mutterings this is the beginning of a mass exodus to Burbank. Yup, with the last bastion of the Paul Levitz era seeking refuge in other parts of fiction (if at all), DC’s ties to it’s former home seem more sentimental than anything else. What with everything going digital these days, wouldn’t it behoove the couldn’t-be-for-profit publishing side to just nestle itself closer to the teat of Movies, TV, and Other Media by Papa Warner?

And since the rumor mill is chugging along, we also have word that maybe these meetings (which again we have no actual proof happened, or any notion of who was in them) could also entail the stepping down of one Diane Nelson as head of the company. Maybe these meetings hold the secret to the new head cheese … Speculation is abound!

And Richie also told me (via text – don’t worry, I can read really long texts while driving) that these meetings could mean a big upheaval of publishing policy! I don’t even know what that means, but I’m scared poopless. I mean, first Karen leaves … then Diane steps down … and then the whole company goes only digital, moves to California. What’s next? Superman stops wearing his red underwear. Oh. My. New Gods! OK, I’m pulling over. Get out, pal. Just run for the hills! It’s all coming down. We might as well get some fast food, and wait for the universe to reset.

Sigh. All joking aside, unlike some bloggers, let me make this even more clear: I write my articles several days ahead of time. As the writing of this column, this story over on Bleeding Cool was a rank-and-file piece of absurdity. While Johnson makes all-too-clear he has no clue what’s going on, rather than get some sources and crank out a piece, he buried this little Chicken Little story in an attempt to what… get us commenting? Ranting and railing? I’m not entirely sure.

Be that as it may, unless anything concrete is published on this subject, here’s my two cents: most of what Rich conjures from the ether sounds pretty plausible. The New 52 sales seem to have leveled off, and the books, while low in number, are all very much akin to their brethren before the fall of Rome; predictable, great in parts, boring in most others, with plenty of worthless crossovers to go around. The fact is DC’s ties to New York are only superfluous at this point. Creative teams are assembled via the Internet. Books are compiled digitally and whisked off to Canada, or China or Apokolips to be printed and distributed.

We can also safely assume with Harry Potter done and over with, WB is putting heads on the chopping block if Justice League doesn’t pull off Avengers-like hype and profits. Diane Nelson may not want to be around when they inevitably miss the mark there (and I’m no less hopeful, just realistic). And to round it out … what “big publishing initiative” could they announce, aside from a hike in price for physical books? I’m yearning to be surprised.

At the end of the day, the sky ain’t gonna fall. Superman will be around for plenty of years to come. And there will always be too man-Bat books on the shelf. And we’ll always be here, to lap up the rumors like starving dogs, and fight one another over these oddly plucked bones of potential news. But, consider my inner Gold here to leave you on this thought:

Been checkin’ out the news

Until my eyeballs fail to see

I mean to say that every day

Is just another rotten mess

And when it’s gonna change, my friend

Is anybody’s guess

(From “Trouble Every Day” by Frank Zappa¸©1966 whatever publishing company Frank had in 1966, All Rights Reserved.)

SUNDAY: John Ostrander

 

RICHARD STARK’S PARKER GOES SOFT!

New softcover cover by Darwyn Cooke

Softcover that is.

IDW’s adaptation of Richard Stark’s Parker: The Hunter by Darwyn Cooke is now available in softcover.

The Hunter, the first book in the Parker series, is the story of a man who hits New York head-on like a shotgun blast to the chest. Betrayed by the woman he loved and double-crossed by his partner in crime, Parker makes his way cross-country with only one thought burning in his mind-to coldly exact his revenge and reclaim what was taken from him!

HC art by Darwyn Cooke

Richard Stark (AKA Donald Westlake) was a master writer of crime fiction and Parker is arguably his greatest Creation-having been featured in more than a dozen novels and several well-regarded films (including Point Blank with Lee Marvin and Payback with Mel Gibson), and an upcoming one starring Jason Statham and Jennifer Lopez that will be released this fall.

Master storyteller Darwyn Cooke has won nearly every award available to comics creators. His DC: The New Frontier was turned into an Emmy-nominated animated feature. The Hunter is the first in a series of Parker graphic novels that Cooke is adapting, the first two earning the comics Auteur more Eisner and Harvey awards for his already crowded mantle.

Parker: The Hunter is now available in 6×9 softcover.

160 pages
Full Color
Retail price: $17.99

Read a free preview of IDW’s Parker: The Hunter by Darwyn Cooke here.

Martha Thomases: Where Are Our New Nerds?

In last Monday’s New York Times Media Watch columns, they ran a list of the ten films released this year that had the highest box office ion their opening weekends. What’s amazing to me is that the top five (Marvel’s The Avengers, The Dark Knight Rises, Hunger Games, Amazing Spider-Man and Twilight: Breaking Dawn: Part 2) can all be classified in the fantasy genre, or, as I like to call it, nerd stuff.

Of the next five (Skyfall, Brave, Ted, Madagascar 3 and Dr. Seuss’ The Lorax), three are aimed primarily at children, and one is a James Bond film, which has its own separate but overlapping geek audience. Only Ted could be considered a movie aimed at what was once the wide, mainstream audience, and even then, because it is an R-rated comedy, that limits the wideness.

When did our beloved nerd culture become so dominant? I was certainly the only girl in my high school (which was all girls) who read superhero comics, and if anyone else read science fiction or fantasy, they were in the closet about it.

Even in the 1980s, when Frank Miller and Alan Moore and Art Spiegelman were publishing work that attracted mainstream media attention, there wasn’t much spillover to the medium of graphic storytelling.

When I first went to work for DC, the most common reaction I encountered when people learned what I did was, “Do they still publish those?”

For that matter, even today, the success of the movies listed above doesn’t do much for comics. There’s a history of tie-in films boosting the sale of books (for example, Gone With the Wind), but that doesn’t always overlap to your friendly neighborhood Spider-Man, or comic book store.

Still, I don’t think fans like us can claim to be outsiders anymore. We might not be the cool kids, but we aren’t unwanted loners, either. What are today’s nerds about?

Is it Steampunk? Is it libertarian politics? Are there still obscure rock bands to follow, or has everything been American Idol’d to a bland pap. What distinguishes the kids getting beat up and/or ostracized today?

Besides being queer, I mean.

SATURDAY: Marc Alan Fishman and This Week’s New DC

 

Mike Gold: In Honor Of Talent

Too many people in the comics racket get the tribute they deserve long after they leave the medium – if, indeed, at all. So I’m going to try to write one while the subject is still in her editorial seat; possibly before she even decides if she wants to actually leave the medium.

As you probably read – presumably right here at ComicMix – Karen Berger will be leaving her position as Executive Editor and Senior Vice President of DC Entertainment’s Vertigo line this coming spring. As Glenn noted in his news story, Karen will have been at the company for a third of a century (no, that photo on Glenn’s story is recent) and will have run Vertigo for 20 years. Vertigo, which she fostered, molded, and kept alive in the face of challenge and competition, all without adequate support from the guy who ran their marketing department at the time

Most certainly, Karen did not do this alone. She had a very talented staff, a staff she acquired and in many cases taught. She gathered an exceptionally gifted list of talent, and some of them would take a bullet for her. A couple people who otherwise spit on the ground every time DC Comics was mentioned would climb an active volcano for her.

In the process, Karen added greatly to the landscape of American comics and boldly took DC Comics into new directions. Unless you’ve been there, you cannot truly understand what a courageous and complicated undertaking that is. At the time DC was a corporation that was part of a larger corporation that was part of a Fortune 500 company. More recently DC has been part of a major motion picture studio that was part of a much larger Fortune 500 company. It’s the same company, only a lot bigger.

Like most astonishingly huge corporations, Time Warner’s omnipresent product is bureaucracy. Bureaucracy is the enemy of innovation. Oh, sure, from time to time they’ll hire a few outside-the-box thinkers, particularly when they need a creative kick in the ass. But those of us who earn our livings outside of that box know all too well there’s a point when the corporation grows weary of being kicked in the ass. It flies in the face of their corporate culture. Or, as Mel Brooks famously said in Blazing Saddles, a Warner Bros movie, “Gentlemen! We’ve got to protect our phony-baloney jobs here!”

Karen survived all that. Not just because she was great at her job, although that probably helped at times. She survived it because of her force of will, by doing what’s right by the talent she employed both creatively and in business to the best of her ability, and tilting at that windmill of bureaucracy with an energy that would drain Miguel de Cervantes.

Loyalty doesn’t come out of a box. You have to earn it.

In the process, Karen moved a huge chunk of DC Comics into areas the stodgy company had never considered. For decades there was a DC look that was impregnable. It worked, but like all creative endeavors eventually it showed its age. Karen planted the seeds of Vertigo years before the Vertigo imprint itself was established and now, in some of the more worthy New 52 titles, you can see the impact of her labors on the DC Universe. I don’t know if she realized her work was an act of subterfuge at the time, but some of us certainly did.

For this, Karen Berger deserves to go down in American comics history as one of the medium’s most innovative forces. Karen, as a co-worker you were amazing to be around. I can hardly wait to see what you do next.

THURSDAY: Dennis O’Neil

 

Karen Berger leaving Vertigo

Karen BergerThe longest running employee at DC Comics is going away– Karen Berger is leaving Vertigo, a move that is not surprising (given the recent cancellation of Hellblazer, the longest running Vertigo title) but still astonishing. She’ll be staying on until 2013, making it an even 20 years at the imprint made for her. Here’s the press release:

Karen Berger, Executive Editor & Senior Vice President of DC Entertainment’s Vertigo brand, has announced she is stepping down from her post after nearly 20 years at the helm of the award-winning literary imprint. She will remain on through March 2013 where she will be assisting in the transition to a new leadership team which includes veteran staffers whom she has mentored over the years.

Karen is responsible for shepherding critically-acclaimed and best-selling publishing titles including perennial favorites: [[[THE SANDMAN]]], HELLBLAZER, V FOR VENDETTA, [[[FABLES]]], [[[PREACHER]]], THE INVISIBLES, 100 BULLETS, [[[Y – THE LAST MAN]]] and [[[AMERICAN VAMPIRE]]]. Vertigo has published nearly 300 new literary properties during the last 20 years. Berger notes she is ready for a professional change and is looking forward to pursuing exciting new opportunities.

“I’ve been incredibly proud to have provided a home where writers and artists could create progressive and provocative stories that broadened the scope of comics, attracting a new and diverse readership to graphic storytelling,” said Berger. “I’d like to thank all the many immensely talented creators who have helped make Vertigo into a daring and distinctive imprint and I’m grateful to everyone at DC Entertainment and the retail community for their support and commitment to Vertigo all these years. It’s been quite an honor.”

DC Entertainment President Diane Nelson stated, “We are extremely grateful for Karen’s commitment and dedication to Vertigo, its books and its incredibly talented team of staff and creators. In Vertigo she leaves a legacy to which we remain committed and on which we intend to build for the future. She will always be a deeply valued and respected member of the DC family.”

DC Entertainment is planning a celebration next year – to help salute Karen, her 33 years with the company and her many accomplishments, befitting her legendary status within DCE and across the publishing and comics industries.

Expect to hear a lot more about this in the next few days.

Review: Indestructible Hulk #1

DC and Marvel revamp their characters a lot. A lot. They’ll give suits and names to new people, give them back to the originals again, come up with interpretations so far afield of the original that there’s nothing left but the name. And they all fail or succeed at varying degrees. While it may not actually be the case, Aquaman is generally considered to be the most-rebooted character in DC Comics. There were so many versions of him that he was declared “radioactive”, and left to lay fallow for many years until Geoff Johns had the time to come back to him and start him anew, largely by going back to basics. Not exactly ignoring everything that’s come before, but by creating a good enough current version that people were willing to forgive and forget the past.

After a bit of thought, I came to the conclusion that the most rebooted character in Marvel Comics is The Hulk. Not in the sense of a new origin or person in the suit, so to speak, but in the vibe between the character and his alter-ego. The battle for control between Bruce Banner and The Hulk has been there since day one. But the winner in the game, and the playing field on which the battle has taken place, has changed more often than Katy Perry after her third encore. The Hulk has been made intelligent, made less intelligent, been shot off into space, made MORE intelligent, been separated from Bruce Banner, been re-integrated, and any number of permutations of those scenarios in between. Some have lasted years, like Peter David’s awesome run, and some, like John Byrne’s, barely got out of the gate. Most recently, we’re gained three more Hulks of varying genders, hues and textures, the original Green guy has been separated from Banner (again, see above list), and Banner was some sort of Dr. Moreauesque madman that The Hulk was out to kill. In honesty, it’s gotten so incomprehensible that I had to walk away from it all and just wait for the inevitable turn of the wheel.

And turn it has.

DC took the plunge a year ago and rebooted everything, giving them a chance to wipe the slate clean for any character that wasn’t working at what they thought at their full ability, and subtly leave alone the stuff that was (i.e., Batman and Green Lantern). And largely, it’s been a success. Marvel, all the while swearing it isn’t a knee-jerk reaction to DC’s relative win, has chosen to drink from the same hole. They’re restarting their books, with new titles, numbering and creative teams (save for Dan Slott remaining on Spider-Man, for which we are all rightly thankful). The new books do not reboot the characters in the brute-force way that DC has, but with each new creative team comes the opportunity to take the characters in A Bold New Direction.

Mark Waid, who has recently shown great style and grace on Daredevil, has been handed the reins to The Hulk in his new title, The Indestructible Hulk. Like all the new titles, it features a new hook to hang the character on. Banner and Hulk are one again, And Banner has taken a new tack in the battle – management, as opposed to containment or cure. So he resolves to do as much as he can to make amends for The Hulk’s actions while he’s in charge, and when he’s not, places himself in trust of people who can point The Hulk in the right direction so he can at least smash things that need smashing. Both of these strategies are achieved by both turning himself in to, and applying for a job with, SHIELD. He makes the case for both by presenting an invention that can purify the atmosphere and eliminate airborne diseases, and by taking out The Mad Thinker virtually single-handed – I’ll leave it to you to determine which alter-ego does which.

It’s a neat idea that goes in new directions. Like Hank Pym and Peter Parker, most writers forget that Bruce Banner is a top-level scientist, one of the greatest minds in the world. But, as he says in the book, he’s largely courted not for his brains but his body. In the past, Banner’s role has largely been that of plot-device. When he’s not his own hapless sidekick that gets in trouble at the worst moments, he’s the guy who creates a device at the last moment to control The Hulk, or at least try to. Both Pym and Parker have gotten more of a chance to let their genius shine brighter, and so far it’s stuck. Giving Banner a chance to do the same is a good idea.

I have worries, or more correctly, facets of the same worry. Namely, the book is eternally named after the muscular side of the pairing, and I’ll be curious to see how long readers will read about a scientist before they demand they Get To The Fucking Monkey. Waid has done an astounding job at character work in his career, and it’s that talent that will be needed to make the readers care as much about the brains as they do about the brawn. The first issue goes a long way towards that goal – Hulk appears less than Banner does, and Banner’s scenes in a small town diner do more to drive the plot than the Hulk pager do. Banner talks a good game, but his words could just as easily be interpreted as those of an addict trying to explain how he’s got it all figured out, this time it’ll work, he can cope with his issues.

And that sort of leads into the other facet of my worry. Like Aquaman, Hulk has been re-imagined SO many times, it’s hard for me to imagine a take that will last. It seems almost as if Waid has taken that into consideration here. Anything, ANYTHING that Banner tries to do with The Hulk is one tantrum away from falling apart. This seems like a very good idea, and Waid’s writing makes me want it to last. But too often in comics is the desire, both by the readers and the company, for a character to return to first position. So as much as I like the new improved Hank Pym, I fear that another writer is going to revert him to the bitch-slapping paranoid. So too here – I dread the day that Banner’s best-laid plans go astray once again. This is a good enough take that I WANT it to succeed, though I know that it will be decided by a power over which Banner has no control: the readership.