Marvel: Season One, a line of all-new graphic novels, just got bigger as Marvel is pleased to add three titles to the highly anticipated line-up with Ant-Man: Season One, Hulk: Season One & Doctor Strange: Season One! These all-new complete stories offer fans a chance to immerse themselves in the Marvel Universe like never before. Journey into the unknown with Ant-Man, learn about the mystic arts with Doctor Strange and find out how Hulk balances humanity and monstrosity as each of these graphic novels offer new revelations for long-time fans and give new readers a fresh introduction to the character. With modern retellings of the world’s greatest super heroes seminal origins by some of the most critically acclaimed creators in the business, no fan can miss this! Each of these graphic novels also include a code to download each book for free, via the Marvel Comics app, making them must haves for every fan.
“As a result of the great response from fans and retailers, we realized we couldn’t just stop with one wave of titles” said David Gabriel, Marvel SVP of Sales. “We’re showing our continued support for this line by insuring that fans have a reason to come back into comic shops month after month to get the next volumes in the Season One line of original graphic novels.”
The complete second wave of Season One graphic novels includes:
Ant-Man: Season One by Tom DeFalco (Spider-Girl) and Horacio Domingues (Incorruptible), on-sale in July 2012
Hulk: Season One by Fred Van Lente (Alpha Flight, Herc) and Tom Fowler (Venom), on-sale in August 2012
Doctor Strange: Season One by Greg Pak (Astonishing X-Men, Red Skull: Incarnate) and Emma Rios (Osborn, Spider-Island: Cloak & Dagger), on-sale in September 2012
Whether you’re picking up a comic for the first time, or looking to add more to your comics reading experience, then it’s time to discover the world’s greatest super heroes all over again in Marvel: Season One!
Please refer to Part 1 of this series. Part 2 was my attempt to try and underscore what I was trying to get across. Yeah, I have no idea why I did it either. To recap, I was breaking down my deal that put comic books in the school system.
The program was called The Action Files and it’s a K-12 high interest, low level reading program. These were the steps I took and the questions I asked:
Q. Did my idea have merit?
A. Comics in the school system. Duh, duh, triple duh.
Q. What were the barriers to entry?
A. After researching I decided the reason why there was no comic book reading programs taught as a curriculum because of the educational climate and prejudices that were associated (at the time, which was 1996) against comic books.
In other words, no one wanted to see The Hulk on a textbook.
Q. If such a good idea, why had it not been done before?
A. Marvel and DC were light years away from my brilliance! Only I was smart enough to figure out how to get into the school system! Me and me alone!!!!!
Or…Marvel and DC were simply not interested in the market to approach it the way I did which was as a curriculum.
I covered all of this in detail in Part 1. Now comes the Nitti Gritty as to exactly how I was able to pull this off.
The idea of comics’ as a learning tool and comics in the school is not a new idea and certainly not just my idea. I realized that idea was a good one but it was a huge one.
So I fine-tuned the idea to a smaller more manageable and focused idea. Comics in the schools as a reading program. A curriculum based program complete with lesson plans and teacher guides.
From my research I realized that most states have different guidelines for their schools. No matter how smart, well done and even needed my reading program was, it would not ever be seen in a state unless it adheres to that states guidelines.
So how did I get around that? Did I do a program for all 50 states?
Err, nope.
I created two different programs, one for California using their guidelines and one for Texas using their guidelines.
Why California and Texas? Why not my beloved New York and some other state I don’t hate like I hate both California and Texas?
Because there are no bigger players in the textbook market than California and Texas, where they go, goes the nation. Seriously, I can’t stand Texas and have no love for California but this as they say is business.
Did I care about the other 48 states and Puerto Rico?
Nope. Not for this deal. Sometimes less is more.
Now I had the program and knew the audience and had created The Action File Universe so now the question was how to get paid. Not how to get the comics into the classrooms.
I’ll say it again; the question after all this work was how I would get paid for this idea. Why was I not thinking about how to get the comics in the classroom?
Because that’s not what I do.
That’s so important. Many people try and be a jack-of-all-trades but end up being masters of none. I’m an idea guy. After the idea I’m like a deer in the headlights.
I don’t know nor do I want to know how the guy I hired to fix my car fixed it. Why? Because knowing how he did something does not mean I’ll be able to do it. So why waste my time trying? Hell, I know how and why my dentist drills my teeth but I’m not buying a drill so I can do it.
I don’t have millions of dollars (not anymore, here’s some advice kids, just say no) to pay for the creation, printing and distribution into the schools nor did I have the juice (influence) to get into the very exclusive education market.
I’ve got the juice now, trust me, I’m a doctor.
Remember. I’m an idea guy. The above is not what I do, even if I had that kind of bank.
I needed a partner. I needed a partner who would not only get it; they would also pay for it.
So, I took another month and wrote a detailed business plan. When that was done, I picked up the phone and called one of the biggest publishers in the world.
As is well-known, the Walt Disney Company purchased Marvel Comics a little over two years ago. Marvel joined the Muppets, Pixar, ABC and ESPN as tentacles of that great evil media empire that has done so much to homogenize the American culture. After all the jokes died down, some people wondered why the Mouse wanted the House that Jack Built in the first place.
Disney is a movie company, and Marvel’s shiniest family jewels – Spider-Man and The X-Men – were in the hands of competing studios (Columbia Pictures and 20th Century Fox, respectively) and aren’t likely to revert any time soon. The sundry Avengers characters were in the hands of Paramount Pictures, although Disney was able to purchase a nice reversion deal here. But, still, the motion picture revenue picture was severely compromised by the Spidey and X deals, and made all the more expensive by the Paramount buy-back. So, the question “why” certainly is valid.
Nobody that big buys a publishing venture – certainly not a comic book publishing venture – for the profits it will generate on its own. The phrase “fart in a blizzard” comes to mind. Merchandising and licensing revenues can be fairly attractive and Disney/Marvel/Muppets are a good fit. But… still… why?
I think we’re beginning to see the real reason. Disney owns ABC, which includes ABC Family, the Disney Channel, Disney XD (which already carries many of the Marvel animated shows), Playhouse Disney, Disney Cinemagic, Hungama, Jetix, Radio Disney, SoapNet, WABC-TV New York, KABC-TV Los Angeles, WLS-TV Chicago, WPVI-TV Philadelphia, KGO-TV San Francisco, KTRK-TV Houston, WTVD-TV Raleigh-Durham, and KFSN-TV Fresno, and as the various ESPN channels – possibly excluding “El Ocho.” Plus all kinda stuff overseas.
One can argue that teevee in general doesn’t have much of a future, and I might agree. But teevee programming has one hell of a great future no matter what platform we’ll be enjoying in the future: cable, satellite, computers, tablets, integrated teevee/computer systems, visors, brain implants, whatever. And that’s where the Mighty Marvel Money Machine will become the Mouse’s cash cow, true believer.
Disney already has The Hulk, Cloak and Dagger and Alias in development. Of course “Alias” has to be renamed – it’s working under the title “a.k.a. Jessica Jones” right now, and the show includes both Luke Cage and Carol Danvers. Mockingbird is also in development as a Miley Cyrus style kids show, possibly as fodder for the ABC Family network.
Step back a pace and take a look at what’s going on here.
Most of these shows are built around female superheroes. As headliners, such characters are anathema to motion picture studios. But Disney is betting heavy, heavy bucks that the distaff side will draw a sufficient audience to warrant the investment.
That’s pretty cool – and very risky. Women heroes haven’t fared much better on the small screen: Nikita was renewed by the skin of her teeth, The Bionic Woman revival flamed out, as did Charlie’s Angels redux. David E. Kelley’s Wonder Woman didn’t make it past the pilot stage. Yet Disney is developing no less than three Marvel shows built around women.
So no matter what I might feel about Disney’s predatory influence on our culture, they are showing a great deal of courage here – courage they developed by purchasing Marvel.
I’m not bragging when I say I’ve got a ridiculous résumé, and by ridiculous I mean bad ass and by bad ass I mean impressive and by impressive I mean… you know.
Really. I am not bragging. Consider one of my favorite sayings from the great philosopher Yogi Berra, who said “It ain’t bragging if you can do it.”
Trust me on this. I won’t bore you with the details but I’m one the best dealmakers in the comics business if I do say so myself.
And… I do say so.
Yeah, yeah. I can hear the haters out there. Who is this guy? Except for Milestone and ComicMix I’ve never heard of him.
That’s fair.
But I’m sure a great many of you love movies and have never heard of Michael Ovitz either. I’ll just leave it at that.
When I say “deal” I’m not just talking about getting a comic book done. I’m talking about expanding the medium to as many media platforms as my mind can conceive. Except for the movies (which I’m working on) I’ve done major deals in TV, mainstream publishing, education, the music industry, toys, the Christian market, radio and I’m working on a (get this) musical.
I’ve done very few comic books as a creator. In fact, I’m only done two mini series, a few covers had some work in a few anthologies and at Milestone. Yet I was named one of the most powerful people in comics for two straight years by Hero Illustrated in 1993 and 1994 and back then I had nowhere the résumé I have to day.
Of course after naming me to that list for the second time, Hero Illustrated went out of business. Coincidence?
Probably not, but who am I to say?
You may ask yourself, as I have, “Self, how the heck did he get on that list?”
It’s the art of the deal my friend, the art of the deal.
I’ve put deals major together such as creating a comic book universe as a high interest low level reading program which is now and has been taught in schools as a curriculum and I did that in 1996. It’s called The Action Files; it started at Simon & Shuster then went to Person Learning.
That’s a pretty big accomplishment, but not my biggest. 15 years later it still holds up as a badass deal.
I’ll use that deal as a step by step ‘”how I did it.” I’ll go from idea to how The Action Files came to be distributed in the school system by not one but two powerhouse publishers.
My step by step will be interspersed with asides which will (hopefully) help provide a better and true understanding of the what-and-why mechanics of the deal.
The Action File Deal
It all started with a great idea: comics in the school system.
I’m not the first guy to think of that not by any means. In fact both Marvel and DC have had comics in the schools for one reason or another for decades. Those “educational” comics covered subjects such as drug abuse prevention among various other public service content.
What made my idea different was this: I wanted to create a comic book universe that would be a complete reading program with study and teacher guides that allow for a specific curriculum to be taught.
Many young people go wrong when trying to do something new or groundbreaking they think that a great idea is all you need.
Err, no.
My idea was neither ‘new nor groundbreaking, but my program was both. With that said here are the steps taken that turned my idea into a deal and that deal into a reading program.
Step 1: Does your idea have merit?
In other words, is it a good idea to anyone else but you?
I knew my idea had merit because it just made sense. I knew this on a personal level because the summer I discovered comics I went from a forth grade student with a third grade reading level to a fifth grade student with a ninth grade reading level. I knew this because I had to attend summer school that year to be able to be promoted into the fifth grade. I tested third grade in July and ninth grade in late August.
Why had it not been done before with a major publisher? That was the question I had to think about. That led me to my next question and step:
Step 2: What are the barriers to entry and why has this not been done before?
After thinking and researching this question for a few weeks (another reason people fail: they think a good idea is somehow magically going to go away or be stolen if they don’t move the second they think of it. So they don’t do their due diligence) I decided the reason why there was no comic book reading programs taught as a curriculum is because of the educational climax and prejudices that were associated (at the time) against comic books.
In other words no one wanted to see The Hulk in a textbook.
When I ran this little tidbit by my then girlfriend she responded“That’s silly! Kids love comics!” True, kids love comics and very few kids would frown on reading them in school.
BUT, you are not selling to the kids; you are selling to educators and parents. Get it?
That’s another reason why some fail at this sort of thing. The idea is everything to them. They focus only on the audience that the idea would be great for. Very seldom is the end user the gatekeeper.
How many times have you seen a TV show and it just sucked? When’s the last time you felt gipped because you spent nine bucks on a movie that was just bad?
Have any comics that you wished you could not only get your money back but also find the creative team and beat them with your copy?
I’m sure the vast majority of the readers of this column have experienced some if not all of the above. Here’s the thing: that TV show, movie and comic book all started out as a good idea to somebody. I’ve had much better ideas and so have you than certain things I’ve seen in the movies or on television. Yet somehow the shitty stuff is on TV and my idea is not. That’s because all the people involved figured out and dealt with the barriers to entry. What happened when the movie or TV show was being filmed is not the problem you should be worried about while you are looking to sell your idea.
That’s another reason people fail. They ask for outrageous things the moment someone shows an interest. I have a dear friend who killed a huge animated deal at DreamWorks because he insisted on directing. He never directed anything in his life so guess what happened to his idea?
It went from a DreamWorks movie to just being another idea.
Here’s another thing most people will not tell you: ideas are a dime a dozen, ideas are cheap and there is very little new under the sun.
By no means is anything I wrote or anything I’ve managed to do a magic bullet for a deal closing. I’ve killed a deal or 50 in my career with bad moves and most likely will again. This series of articles hopefully will shed some light on the inner workings of real deals and how they got done.
Think “ABC” when it comes to deal making:
Always
Be
Closing
What good is any idea if it just stays an idea?
Next week, I’ll finish up the Action File deal and begin to tell you how I set up a comic book universe and animated film deal for the church market.
Until then if you are interested in deal making, Goggle Michael Ovitz. I’m good but he’s the best that ever was and compared to him I’m just a squirrel trying to get a nut.
A cute and sexy squirrel, but still just a squirrel.
If you’re a regular reader of this column, you know that my daughter, Alixandra Gould – yes, she’s keeping her name – married the love of her life, Jeffrey Christopher Gonzalez, last week. (A big thank you! to Mike Gold for posting a beautiful column last week that I posted on Facebook, then e-mailed to every single person I’ve ever met just to make sure they read it, and which Alix and Jeff thought was terrifically cool.) So of course I decided to write about superhero marriages this week. Not a big leap, is it?
I just finished googling “superhero marriages.” There were “about” 7,750,000 hits in 0.23 seconds, the most recent being a slide show in the Huffington Post posted only four days ago – well, five days ago since this appears on Monday – on November 9, 2011 titled “Comic Book Weddings: 8 Of Our Favorite Superhero Weddings.” In order, they are (1) Spider-Man, a.k.a. Peter Parker, and Mary Jane Watson in 1987’s The Amazing Spider-Man Giant Annual; (2) 1962’s The Incredible Hulk #319 in which Bruce Banner and Betty Ross’ nuptials are interrupted by a “special guest”; (3) The X-Men’s Scott Summers (Cyclops) and Jean Grey (Phoenix) in 1994; (4) Wonder Woman in her eponymous title married Mr. Monster in 1965 – ‘nuff said!; (5) Aquaman and Mera in Aquaman #18, 1964; (6) “Death Waits to Kiss the Bride” screamed the cover of Lois Lane #128 in 1972 – featuring the now iconic picture of Superman holding somebody’s dead body; (7) The Flash races down the altar to stop Iris West from marrying the wrong Barry Allen in The Flash #165, 1966; and (8) Wonder Girl, a.k.a. Donna Troy, marries Terry Long in Tales Of The Teen Titans #50, 1985.)
How did they miss Reed Richards and Sue Storm Richards, a.k.a. Mr. Fantastic and The Invisible Woman? Im-not-so-ho, Reed and Sue are the most realistically portrayed marriage “pros” in the comics universe.
The couple married in 1965, making this year the 46th anniversary of their being a Mr. and Mrs. (They look pretty damn remarkable, don’t they? Must be all those visits to the Negative Zone.) Down through the years, Reed and Sue “have and held, for better or for worse, for richer, for poorer, in sickness and in health,” and have loved and cherished each other through everything the Marvel Universe could and continues to throw at them, including “real life” curves like a miscarriage, potential affairs, political differences, and a brother’s death.
Peter Parker and Mary Jane Watson came pretty close in matching the Richards’ record – not in years married, but in a realistic view of marriage – but then Marvel decided to “disappear” their relationship. Clark Kent and Lois Lane had a wonderful thing going, too, but DC recently terminated without prejudice that couple, too.
And what the hell happened to Scott and Jean?
Jean Loring, the wife of Ray Palmer (The Atom) has a “mental breakdown” and goes on a rampage, killing Sue Dibny, the wife of the Elongated Man (Ralph Dibny), in one of the most gruesome scenes I’ve ever seen in any comic.
Betty Banner, wife of Bruce Banner (The Hulk) was abused, suffered miscarriages, was turned into a harpy, and died. She got better and turned red.
Allan Cole, continuing his stories of writing for The Incredible Hulk TV series, reveals a fact I never knew about the show…
After all, it was Lou Ferrigno who played the Hulk, right?
Right.
But Lou didn’t do his own stunts. The guy who actually crashed through buildings, jumped off cliffs, and generally beat the hell out of the bad guys, was Manny Perry, one of the premier body builders and stunt men of his era. He was also black.
It seems they cast seventy or eighty guys to stand in for Lou, but only Manny was big enough to double Ferrigno and athletic enough to do the stunts. As Manny once told an interviewer, “They figured green is green and who could tell the difference?”
I’ve had some medical tests recently. Seems I have heart palpitations; lordy me, Ah do seem to be a swoon and mint julep away from being a Southern belle. (Hm. Wonder if they make chocolate mint juleps?) It means that my heart skips a beat every so often.
So I went to a cardiologist and he set up a battery of tests to see what this all means. In the first one, they injected a radioactive tracer so they could then do X-rays of my heart from different angles and see what’s going on.
I was ready. I knew the score. If comic books have taught me anything, it’s that radioactivity triggers a DNA change and gives you super-powers. Prime example is Spider-Man – got his powers from a radioactive spider, right? The Hulk got his from gamma radiation, which is a type of nuclear radiation, right? And it was a stress test, okay? What happens when you combine radiation and stress? The Hulk.
So I figured the radioactive stuff would combine maybe with X-rays and I’d get X-ray vision whenever I stressed out. Or maybe a bug might creep into the machine and I’d get X-ray and bug like powers. Spider-Hulk.
All I got was a bill. Not a duck bill. Or a goose bill. I received a financial statement saying I owed them money. What a rip off!
They also did what is called an “Echo Test” a couple of days later. It’s like when they do a sonogram for pregnant women using ultrasound only they do it for the heart. Ultrasound, eh? Okay, that could become something. Something ultra. I know the Ultra line was a failed bunch of comics for Malibu that Marvel bought up and forgot they had until recently… but it could maybe work, right? Combine ultrasound with the radioactive particle and the stress test and maybe I wind up with ultra hearing and X-ray vision. Add in any Hulk-like side effects and now we’re getting somewhere!
Zap. Zilch. Nada. Nothing. That’s what I’ve gotten. So far.
When they did the second part of the stress test, I had a choice. I could climb on a treadmill and get my heart rate up to a certain point or they could do it via an injection of chemicals that would also make my heart beat faster. Of course, some of the shots of the naked Scarlett Johansson – soon to return as the Black Widow in The Avengers flick – that popped up on the web would also probably do the trick but I wasn’t offered that option.
It was a hard choice. We all know about the treadmill in The Flash and how he uses it combined with his superspeed for time travel. Maybe being on the treadmill would combine with an increased heartbeat and would trigger the change. Seemed reasonable.
I opted, however, for the chemical version for three reasons. One – that seemed more likely to interact with the other events and convert my DNA to complete the change. Two – if I got superspeed and went back in time, I might change a little something that would induce a reboot of reality and DC just did that and it resulted in a skinny Amanda Waller. Third – I could do the test lying down. At my age, if you can do something lying down, that’s the option you take.
So I got the chemicals injected, waited forty minutes for them to travel through my system, and went back for more x-rays. I had high hopes for this one. I’d seen Captain America – The First Avenger and that’s more or less what they did with Steve Rogers: injected him with chemicals and bathed him in rays. That turned out pretty spiffy, right? Not only did he get turned into Captain America but it was a pretty darn good superhero film to boot.
SPOILER WARNING: There are no spoilers. You already can guess the outcome. I just got test results is all. They said I was normal. Normal. Since when?
I go in to see the cardiologist next week to get the findings. Friends have suggested that all I’ll get told is that I have an overheated imagination.
With the imminent return of The Incredible Hulk to television (currently being developed for ABC and spinning out of the Avengers movie next summer) it’s illuminating to go back and take a look at how the original TV series was made. Allan Cole (perhaps better known as the co-author of the [[[Sten]]]novels) was a writer for the series, and he’s been reminiscing…
To understand The Incredible Hulk you have to first know that everybody on the show was nuts. Some were nice nuts. A few, not so nice. And others bounced back and forth like green balls of silly putty with no notice whatsoever.
It also helps to understand that the very premise of the show was schizoid, with this wimpy little doctor-type guy (played by Bill Bixby) transforming into a big green monster (played by Lou Ferrigno) when somebody kicks sand in his face and pisses him off.
Put another way, scripting for the Incredible Hulk was like writing for Kabuki theater. As Chris said, “one frigging thing out of place and everybody and everything goes apeshit.”
The writing experience could be frustrating, agonizing and drive you just plain bonkers. On the other hand, of the hundred and fifty odd shows Chris and I worked on, it was one of the most fun and satisfying. Once you got the formula down pat, you could write just about anything you wanted. More importantly, what you wrote went on the screen, so you didn’t hesitate to open up and address broader themes than one might expect in a show about a comic book character.
So, I just watched the trailer for The Avengers. I had to change pants. Because I pooped them. Why the premature defecation, you inquire? One movie with Iron Man, Thor, Captain America, The Hulk, Worthless Chick and Bow and Arrow Man… that’s why! In all seriousness (that would be the seriousness of a comic nerd geeking out at maximum dorkatude), it’s because this is the culmination of years of planning on Marvel’s part. And simply put, it looks like they aren’t going to screw it up.
In their own rights, each of the Marvel heroes who have been given a solo movie have done spectacularly well. Iron Man grossed over $318,000,000; Thor nabbed over $181,000,000; and the glorious Captain America took in over $175,000,000. Bob Wayne at DC once said “You vote with your dollars…” and by the looks of it, America (nerd and non-nerd alike) has proven its love for the Marvel movies.
Speaking purely from a fan-boy perspective, I’ve had nothing but mad love and respect for their cinematic endeavors. Iron Man was grounded in reality (for 4/5s of the film), and elevated by a continuously energetic performance by Robert Downey Jr., Thor was able to mix the completely ridiculous with powerful mythology and gave us perhaps one of the hardest to believe Avengers such that we as an audience believed a God could be a superhero. Captain America was able to build a fantastic period piece that gave the world an iconic and fearless leader. And now, Joss Whedon and Marvel Studios is cramming all of them (and a handful of others) into a single picture.
The basic fear most fanboys have had since the idea of an Avengers movie was dropped on our collective consciousness revolved around over-complexity. Rumors of Loki, the Kree/Skrull war, Red Skull, and numerous other villains danced on message boards. And let’s face it. Putting 4 or 5 “A-Types” into a team picture will potentially numb any chance at character building and nuance. If Iron Man, Thor, Captain America and The Incredible Hulk each required their own picture, how can they share the limelight? And on top of it… Samuel L. Jackson’s Nick Fury looks to be far more than just a cameo to boot. In simpler terms, The Avengers could easily become 10 gallons of Superhero in a 5 gallon hat.
If the trailer is to be any indicator of what the final product will be, I feel like Marvel is headed in the right direction. With the origins of every character now “public knowledge,” things feel natural. Iron Man and Captain America are both formidable leaders in their own right. In the trailer, they knock heads almost instantly. Whedon, who wrote the script, has a real clarity of character. Tony’s response is pitch perfect. Thor, while not uttering a word, carries himself as we expect… Regally, with a dash of arrogance.
Other glimpses of the titular characters are equally impressive. Mark Ruffalo’s Bruce Banner certainly holds himself with a quiet struggle. And the choice to make Loki the villain creates a real urgency for the assembling. A mad god? Yeah, that’s a job for the Avengers. I know this all seems a bit of a hyperbole of analysis, given that all we’ve really seen is 12,000 seconds of footage (with a solid third of that dedicated to ominous shots of New York, explosions, and Iron Man flying)… but I’ve watched the trailer a couple times now, and each time I retain the same silly grin.
Marvel’s missteps – Wolverine, Elektra, Daredevil (which I actually liked), and most likely one (if not more) of the Blade flicks – all shared a plethora of groan worthy moments. In each, the self-seriousness never felt earned by the fans. That, and Wolverine was given Clark Kent’s origin part-way through his movie. I wish I could pinpoint exactly why the Avengers, with its surplus of superheroes, seems to capture my glee, with no bitter aftertaste of “this could be a train wreck.” Could it be I just want it to succeed too much? With Iron Man, Iron Man 2, The Incredible Hulk, Captain America: The First Avenger, and Thor all leading up to this, it may very be such that I can’t fathom this flopping. I’ve dropped far too much cash at the multiplex to see Marvel bellyflop.
At its core, the Avengers is true fanboy porn. An assembling of Marvel’s best and brightest (and Hawkeye, cause, you know…) to fight the biggest of fights, is the stuff dreams are made of. To see it in live-action glory, with a bevy of computer effects and explosions is everything comic fans have dreamed of. I postulate it’s akin to The Dark Knight, where the general masses will appreciate our medium in a new light. It raises our collective mojo up just a notch. And anytime a comic nerd looks better than a Trekkie or LARPer… well, that’s just gravy. If you haven’t checked it out yet, do go watch the trailer… and come back here to tell me if I should stave my excitement, or just invest in a few more pair of paints prior to its debut.
Oh, alas. Rest your sorrowing gaze on the gap, the fracture, the breach, the crack, the cavity, hole, crevice – might it even be a lacuna? – and join my lament.
And what, exactly, is that lament? And the gap/fracture/breach and the rest…what are we referring to here?
Well, in case it’s not obvious by now…we’re complaining about the absence of superheroes in the television season that’s a’borning. Not that such an absence is exactly novel. Since Superman made his video debut in 1952 – the Man of Steel was TV’s first costumed superguy – there have been more years without broadcast superheroes than years with them. But they have been sprinkled throughout the schedules in an odd, here-and-there fashion.
Some of them may have been among your favorites. Remember Captain Nice and Mr. Terrific? The Hulk? Electra Woman and Dyna Girl? Shazam? Isis? The Flash? The Greatest American Hero? How about Sesame Street’s Super Grover? If you can tolerate your superheroes minus costumes, the list can be expanded: The Six Million Dollar Man and his female counterpart, The Bionic Woman; The Dark Angel, which introduced many of us dirty old men to Jessica Alba – and yes, we are grateful; Buffy the Vampire Slayer (more gratitude from the DOM squad); the SyFy channel’s Alphas…
I’m not going to insult you by mentioning Batman, but do you recall the show that was apparently meant to capitalize on Batman’s popularity, The Green Hornet?
This list is, I’m sure, incomplete, but you get the idea. Superheroics have been almost television staples for a long time – not as constant as cop action or goofy folks doing goofy things in the sitcom universe, but pretty familiar.
Not currently, though. We thought we’d have an adaptation of one of the classic comics characters to amuse us in prime time and I, for one, eagerly anticipated the new Wonder Woman, as presented by David E. Kelley. Mr. Kelley – he deserves the honorific – is, arguably television’s best scripter, especially now that Aaron Sorkin’s gone elsewhere. I’ve been aware of him ever since Picket Fences in the 90’s and I think Boston Legal was a small weekly miracle. (His current show, Harry’s Law, is pretty damn good, too.) One can’t help wondering: what would Kelley, whose previous work never got near fantasy-melodrama in any form, have done in such unfamiliar territory? I can’t say that we’ll never know because, these days…DVD? Limited cable exposure? YouTube? But we don’t know now. (Or do we? Do you have information that I lack?)
Life is tough.
Know what would be swell? To see Wonder Woman as I first saw Superman 1952. Not knowing that some of the scenes depicting the destruction of Krypton were borrowed from theatrical movies, or noticing that the special effects were less than awe-inspiring – did they even qualify as special effects? No, just looking and accepting whatever was there, without judgment, being amused or bored as the occasion demanded.
But I’ve seen and read and written so much much much…and hell. I’ve even been an editor. I don’t have the capacity to look with an innocent mind at superheroes, or anything else, and that’s the real fracture in my life.
Marvel: Season One, a line of all-new graphic novels, just got bigger as Marvel is pleased to add three titles to the highly anticipated line-up with Ant-Man: Season One, Hulk: Season One & Doctor Strange: Season One! These all-new complete stories offer fans a chance to immerse themselves in the Marvel Universe like never before. Journey into the unknown with Ant-Man, learn about the mystic arts with Doctor Strange and find out how Hulk balances humanity and monstrosity as each of these graphic novels offer new revelations for long-time fans and give new readers a fresh introduction to the character. With modern retellings of the world’s greatest super heroes seminal origins by some of the most critically acclaimed creators in the business, no fan can miss this! Each of these graphic novels also include a code to download each book for free, via the Marvel Comics app, making them must haves for every fan.
“As a result of the great response from fans and retailers, we realized we couldn’t just stop with one wave of titles” said David Gabriel, Marvel SVP of Sales. “We’re showing our continued support for this line by insuring that fans have a reason to come back into comic shops month after month to get the next volumes in the Season One line of original graphic novels.”
The complete second wave of Season One graphic novels includes:
