Kickstarter is a topic that tends to get people worked up, both on the pro and con sides. Call it what you want, Top Cow just pulled in six figures to relaunch Cyber Forcein what’s the biggest crowdfunding effort to date from a U.S. comics publisher (and #6 largest comics project to close on Kickstarter).
I occasionally compare crowdfunding to the days when artists had patrons who paid the bills and let the artists create. That metaphor seems particularly apt here. 1,419 people pooled their resources to raise $117,135 which will fund 5 issues of Cyber Force with free distribution online and in print. That averages out to roughly $82.50/person. A very high average.
Kickstarter tells you the most popular pledge is in the $20-$25 range. The most popular Cyber Force pledge level was the $50 level, which was also the hard cover graphic novel level. 622 people pledged there/ordered the hard cover and when you add in the higher premiums, it looks like somewhere in 800-850 range for various HC copies. So while this wasn’t _solely_ funded on the strength of the collected edition, around half of it probably was.
The gamble here is that by making the material freely available, Cyber Force will garner a big audience for issue #6, which would theoretically be a paid purchase. Or perhaps they can do another Kickstarter for the next arc. Either way, Top Cow rolled the dice on this one and came out of it getting what they wanted and a little bit more.
There’s a lot left to play out with this new variation on Kickstarting a comics project. The material has to be produced. Reactions gauged. The plans for issue 6 and beyond formalized and executed. The journey has just begun, but this is going to be fascinating to watch. New rules apply and we’re not sure what those rules are yet.
(August 15, 2012—Waco, TX) – iVerse Media, creators of some of the world’s most popular and widely used technologies for reading and distributing digital comics, announced today that the company’s Comics Plus platform has been selected as the exclusive digital distribution platform for Contraband Comics, a new independent, creator-owned comics publishing initiative.
“We’re extremely happy and excited that Contraband Comics has decided to launch with us exclusively,” said Michael Murphey, iVerse CEO. “Their creative team is outstanding and, from the work we’ve seen so far, we know that our readers are really going to enjoy their lineup.”
“iVerse’s dedication to creator-owned projects is what we were looking for in a distribution partner,” said writer/artist and Contraband founder, Jon Goff. “Their ability to deliver content on a level that meets the high standards everyone at Contraband strives for made this a very easy choice for us. We plan to utilize the Comics Plus app’s many features to their fullest, as Contraband continues to roll out titles that push the envelope of storytelling and innovation.”
The first wave of Contraband titles that will be available exclusively on Comics Plus include:
BLINDSIDE by Marat Mychaels (creator/illustrator) and Jon Goff (writer) – The worlds of superheroics and espionage merge head-on in an all-out, bullet-riddled, adrenaline rush blockbuster! Debuts August 22nd exclusively on Comics Plus.
BIG HITTERS by Travis Sengaus (co-creator/illustrator) and Jon Goff (co-creator/writer) – This science-fiction action/adventure follows the exploits of a pair of sanctioned hitmen – called “Hitters” – as they navigate the seedy underbelly of an advanced post-war universe. Debuts September 5th exclusively on Comics Plus.
JACK RABBIT by Jim Hanna (co-creator/illustrator) and Jon Goff (co-creator/writer) – A supernatural crime-noir thriller that follows an ex-boxer-turned-private detective as he investigates the darker corners of 1930’s Los Angeles, where truth and myth merge in a surreal mixture of violence and hope. Debuts September 19th exclusively on Comics Plus.
“A big goal for us at iVerse is to help talented creators like Jon get their creations out to millions and millions of people,” said Steve May, iVerse Director of Business Development. “There are many amazing creator-owned books out there just needing the right distribution partner to take them to the next level. With talent like Jon, Marat, Travis and Jim on board, I have no doubt that Contraband Comics will quickly reach that level and grow beyond it.”
About iVerse Media. LLC
iVerse Media (http://www.iversemedia.com) is a digital content distributor focused on the world of comics and popular culture. Founded in 2008, the company was one of the first to launch digital comics on Apple’s iOS platform. As of April 2012, over 12 million products in the iOS App Store have been downloaded that are powered by iVerse, making the “iVerse Engine” one of the most popular and widely used platforms for reading digital comics in the world. The company is principally located in Waco, TX. For more information, visit www.comicsplusapp.com.
About Contraband Comics
Launched in 2012, Contraband Comics is a creator-owned, independent comic book publisher with a focus on providing quality titles across multiple genres. Founded by writer/artist, Jon Goff, and featuring a talented line-up of comic book creators, including Travis Sengaus, Marat Mychaels, Jim Hanna, Fco Plascencia, Comicraft and more, Contraband’s only goal is to entertain. Contrabrand Comics are available exclusively on iVerse Media’s ComicsPlus digital platform. Learn more about Contraband Comics on their Website: http://www.contracomics.com
About Jon Goff
Jon Goff has developed content for comic books, action figures and video games while working with many of the top companies across the entertainment industry, including The McFarlane Companies, 343 Industries, Microsoft Game Studios, Marvel Comics, MEGA Brands, Gentle Giant Studios, WETA Workshop, ABC Studios, Tor Books, DK Publishing, Prima Games and more. Jon’s credits include Tor Books’ Halo-themed anthology, Halo Evolutions, the monthly Spawn comic book title and The Adventures of SPAWN online comic. Follow Jon on Twitter: @Jonathan_Goff
About Marat Mychaels
Marat Mychaels (Grifter, Deadpool Corps) is a veteran of the comic book industry, having provided artwork for Marvel Comics, DC Comics, Image Comics and more. Marat’s current focus is the launch of his creator-owned title, Blindside, as part of Contraband Comics, along with steady work on DC Comics New 52 titles, including Hawk and Dove and Grifter. Follow Marat on Twitter: @MaratMychaels
About Travis Sengaus
Travis Sengaus is an illustrator and animator from Calgary, Alberta, who has provided artwork for various comic, video game and animation projects. His credits include The Adventures of SPAWN online comic book and production work for Table Taffy Studios. Follow Travis on Twitter: @TravisSengaus
About Jim Hanna
Jim Hanna is an artist/writer based in Mesa, Arizona. He has provided art for Arcana Studio, Upper Deck, Red 5 Comics, Cryptozoic Entertainment and Marvel/The Hero Initiative. Jim’s newest project is the creator-owned title, Jack Rabbit, part of Contraband Comics’ initial wave of titles. Follow Jim on Twitter: @jimhanna
You’d think with the Olympics going on and all that sloppy security Mitt Romney told us about, the authorities would have more important work to do than to count the number of penises (peni?) Howard Chaykin can squeeze into a single comic book. But – obviously, since I’m writing this – you’d be wrong.
I got an email from a British comics shop owning friend of mine, subsequently confirmed by our pal Rich Johnston at Bleeding Cool, that Chaykin’s Black Kiss II #1 was the only title missing in his shipment from Image Comics. Knowing I have a long-standing friendship with the writer/artist (and, ahem, edited his American Flagg! and Blackhawk), he thought I’d be amused.
He’s right about that. Howard’s pushing 62 – not quite as hard as I am – and he’s still raising a ruckus. He’s more than my friend. He’s my hero of the week.
With the Olympics in town, perhaps the Brits are simply wallowing in testosterone and can’t handle Chaykin’s multitude of peni. Perhaps they can’t tell the difference between Black Kiss and Beano. Or maybe they’re simply very insecure.
Howard’s response to me was “And I can only hope Canada is next!”
Black Kiss II #1 goes on sale tomorrow at the more sophisticated comics shops across the nation.
The first thing that popped into my mind when I turned on MSNBC’s Way Too Early With Willie Geist – yes, I get up for work “way too early”– and saw, instead of Mr. Geist talking about the Presidential campaign or Jon Stewart’s latest and brilliant riff on the newest foolishness in this nation’s ongoing political foibles, a deployment of cop cars and ambulances flashing red, white, and blue – an ironic picture, actually, now that I think about it – in the parking lot of a movie theatre complex in Aurora, Colorado was, “Oh, shit, now what?”
Then, as I discovered that a mass shooting had taken place at the first showing of The Dark Knight Rises, my second thought was, “Wonder how soon it’ll be before they (the media) connect it to comics?”
Not long.
By the time I got to work, changed into scrubs, and was in the staff lounge sipping my tea and watching the television along with everyone else – which was 6:55 A.M. EDT – FOX News was already claiming that the alleged shooter, James Holmes, had stated that he had done it because “I am the Joker.”
*Note: Never saw or heard this supposed statement repeated on any other TV or radio news show. FOX News stopped running this bit of faux information, but also never retracted or apologized for it.
“But Heath Ledger’s dead,” said a staff member.
“Oh, shit,“ I said to myself again. Out loud I said, “The Joker’s not even in this one. Bane’s the villain.”
“Who’s Bane?” another staff member asked me.
“Stupid fucking comic book people,” said another. Then she looked at me and remembered that I had worked in comics and that I write this column. “Sorry,” she muttered.
Yeah, San Diego got a lot of “mainstream” press, but how much of it was about comics? Not much. Most of it, even in Entertainment Weekly, covered movies and television. The stuff that was about comics was of the usual KA-POW! BAM! variety about the fans showing up in costumes. Except for the announcement of a new Sandman story by my friend Neil (Gaiman), which made the pages of the “old grey lady,” i.e., the New York Times.
It doesn’t surprise me that the Times got the story of the origin of comics publishers and creators’ rights wrong. The paper also got it wrong when it did a story about Gail Simone being the first woman to write Wonder Woman. Gail called me to apologize, saying that someone (I forget who) had told her “you’re not the first, Mindy Newell was.” She also told me that she tried to tell the reporter this, but that the reporter didn’t want to hear it.
“Of course,” I said. “Because if DC admits you weren’t the first woman to write Diana’s stories, then where’s the publicity for DC, and where’s story for the New York Times to print?”
The point is that the story about Image was a publicity thing, Mike. Their P.R. department did their work, and the New York Times picked up the story. And if – that’s a big if – the Times reporter did his due diligence, as a good reporter should, and discovered that ‘the creators’ rights movement on a publishing level started with Denis Kitchen and his fellow ‘underground comix’ providers’and that ‘the actual creators’ rights movement pretty much started…when folks like Will Eisner, Bob Kane, William Moulton Marston and Joe Simon and Jack Kirby negotiated their own deals with the existing publishers and retained certain rights and/or received cover billing and/or creator credit and/or royalties’and that ‘First, Eclipse, Comico, Now, Malibu, and the rest – took all that several steps further. Creators received certain ownership rights, cover billing, creator credit and royalties,’” and if that reporter took this information to his editor, and if his editor had given the go-ahead to write all this…
Well, then, where’s the story about Image?
Well, yeah, the story could have still been about Image, and about how it’s following in the steps of its predecessors, but that not what the P.R. department of Image started.
And also, imho, the Times would not have cared about Image’s twentieth anniversary except for two things: The Walking Dead being such a huge hit on AMC, and the award-winning (rightly so) Neil Gaiman’s much publicized lawsuit with Todd MacFarlane.
‘Cause it’s all about the image.
And just for the record (and this has absolutely nothing to do with Gail herself)…
That article about Gail being the first woman to write Wonder Woman?
My original First Comics partner Rick Obadiah, who is not prone to outrage (I took care of that part), sent me an email a couple days ago expressing his pissed-offness at a piece in last Sunday’s New York Times.
For those who don’t have time to click-through, the Times essentially gives credit for the whole creators’ rights movement to Image Comics, now enjoying their 20th anniversary. I have no axe to grind with Image and I don’t think Rick does either; this is another case of typically sloppy reporting from the fantastically over-important New York Times.
In his email, Rick correctly points out that the stuff attributed to Image Comics started with First and with the other so-called independent publishers of the time: Eclipse, Comico, Now, Malibu, and others too numerous to name. I won’t quibble with the definition of “independent” – back in those days the term really meant “not Marvel/DC.” The Comics Buyers Guide even listed Disney Comics as “independent,” and that was the day I stopped using the term.
As I pointed out nearly 30 years ago in the pages of sundry First Comics, the creators’ rights movement on a publishing level started with Denis Kitchen and his fellow “underground comix” providers. The actual creators’ rights movement pretty much started on Day Two of the comic book industry when folks like Will Eisner, Bob Kane, William Moulton Marston and Joe Simon and Jack Kirby negotiated their own deals with the existing publishers and retained certain rights and/or received cover billing and/or creator credit and/or royalties.
But we – First, Eclipse, Comico, Now, Malibu, and the rest – took all that several steps further. Creators received certain ownership rights, cover billing, creator credit and royalties. Perhaps that was tame by today’s standards, but in 1983 this was akin to torching the Great Teat. We paid a price for this: all of those companies are now extinct, although some lasted nearly two decades – a good run in publishing. But we had nothing to take to the bank in terms of actual ownership when times got rough, when distributors went out of business and when investment-mania boiled over.
Once we started offering fair deals, DC and Marvel pretty rapidly started offering some of these rights under certain circumstances. That didn’t make them competitive on the creators’ rights front, but they provided acceptable safe haven to creators when times got rough on the independents front. And that includes me, and I am not ungrateful.
Did Image take this one step further when they went into business a decade later? They goddamn well should have and, yes, of course they did: the company was started by a half-dozen of the top writers and artists in the field. But Image isn’t a publisher in the traditional sense – to its credit, it’s more of a vanity press without the negative connotations of that term.
Image – and Dark Horse and more recently IDW and Dynamite – were built on the shoulders of the founders of First, Eclipse, Comico, Now, Malibu and the rest, and on our investors and our creative talent who took big risks breaking from the clutches of DC and Marvel without any guarantee those doors would reopen for them should the desire arise.
Again, I do not blame Image in the least. I blame the lazy, self-important “journalists” at the New York Times for having a historical point of view that fails to go beyond recently emailed press releases.
Here’s a secret. It is well known that the New York Times has never run comic strips. But this was not because comics were too lowbrow and well beneath their dignity. That was just their typical arrogant posturing. The New York Times didn’t run comic strips back when Pulitzer and Hearst started the medium because they couldn’t afford the fancy color presses. The paper of record, indeed.
Kick off Comic-Con with the greatest stars in comics to celebrate 20 Years of Image Comics and the power of free expression at the Comic Book Legal Defense Fund’s Comic-Con Welcome Party! Starting at 8:00 PM on Thursday, July 12 at the Westgate Hotel, the CBLDF Comic-Con Welcome Party is jam-packed with amazing people and cool stuff! This party is sponsored by Image Comics, TFAW.Com, Black Phoenix Alchemy Lab, & Threadless!
Experience Creativity with Image Comics greats including: Ales Kot, Amanda Conner, Ben McCool, Ben Templesmith, Brandon Seifert, Charles Soule, Chris Giarrusso, Cory Walker, Dan Brereton, Darick Robertson, Deborah Vankin, Dexter Weeks, Dirk Manning, Edwin Huang,Eric Shanower, Eric Stephenson, Erik Larsen, Gerry Duggan, Glen Brunswick, Jim Mahfood, Jim McCann, Jim Valentino, Jim Zub, Jimmy Palmiotti, Joe Keatinge, John Layman, Joshua Hale Fialkov, Joshua Williamson, Kody Chamberlain, Kurtis Wiebe, Mark Poulton,Matt Hawkins, Michael Moreci, Moritat, Nate Bellegarde, Nathan Edmondson, Phil Noto, Richard Starkings, Ron Marz, S. Steven Struble, Scott Tuft, Sina Grace, Steve Seeley, and many more!
Get The Exclusive Goods: Free gift bag, featuring a CBLDF party exclusive edition of Revival #1 by Tim Seeley & Mike Norton from Image Comics, and other special thank yous from CBLDF supporters including Valiant and Threadless!
See The World Premiere of “The Day The Saucers Came:” Be the first to see the latest Comics-On Tees from Threadless featuring Neil Gaiman’s “The Day The Saucers Came,” featuring artwork by John Cassaday, Brandon Graham & Ben Templesmith at a special fashion show! Get your tees straight from the source at the party!
Smell Awesome At The Black Phoenix Alchemy Lab Trading Post: BPAL will make their only Comic-Con appearance at the party, setting up a one-night only display of fragrances, including the world premiere of new fragrances based on Neil Gaiman’s Coraline!
Check Out The Amazing Items In CBLDF’s Comic-Con Auction, sponsored by TFAW.Com & Valiant Comics: Check out all the amazing original art up for grabs at Saturday’s CBLDF Comic-Con Auction live!
Come support Free Speech and experience the best of Comic-Con at the CBLDF Comic-Con Welcome Party Thursday at the Westgate Hotel, 1055 Second Avenue, San Diego, CA 92101 from 8 PM to 11 PM! This party is FREE for CBLDF Members. Non-Members, suggested $10 – $20 donation at the door, please.
ABOUT IMAGE COMICS
Image Comics is a comic book and graphic novel publisher founded in 1992 by a collective of best-selling artists. Image has since gone on to become one of the largest comics publishers in the United States. Image currently has five partners: Robert Kirkman, Erik Larsen, Todd McFarlane, Marc Silvestri and Jim Valentino. It consists of five major houses: Todd McFarlane Productions, Top Cow Productions, Shadowline, Skybound and Image Central. Image publishes comics and graphic novels in nearly every genre, sub-genre, and style imaginable. It offers science fiction, romance, horror, crime fiction, historical fiction, humor and more by the finest artists and writers working in the medium today. For more information, visit www.imagecomics.com.
ABOUT THREADLESS
We’re awesome people from all over the world who make mind-blowing art. Our process starts when a great idea is born in an artist’s mind. (That could be you, that could even be your grannie!) The artist submits their idea to our site, where our community of 1.5 million debates, discusses, and votes on that idea. If the idea gets a really good score, we make it into a tee, tote, hoody, or tube sock. (That last one isn’t true… yet.) Then, as long as folks keep buying that product, we keep rewarding that artist with loadsa money, prizes, and exposure. So people who buy from us support great artists and their great ideas. Neat, huh? Join us at Threadless.com. Threadless ~ Make Great Together.
ABOUT THINGS FROM ANOTHER WORLD
Founded in 1979, Things From Another World is the premier retailer of comics, toys, collectibles, and pop-culture geek goodness, both in Portland, Oregon and online at http://www.TFAW.com.
ABOUT BLACK PHOENIX ALCHEMY LAB
We specialize in formulating body and household blends with a dark, romantic Gothic tone. Our scents run the aesthetic gamut of magickal, pagan and mythological blends, Renaissance, Medieval and Victorian formulas, and horror / Gothic-themed scents. By utilizing our knowledge of homeopathy and aromatherapy, the conceptual theories of hermetic alchemy, and the aesthetic artistry of perfumery, we have mastered the art of encapsulating allegorical ideas into singular olfactory experiences. We are the first of our kind, and have over fifteen years of practical experience in the field. Our expertise shows.
We pride ourselves on the artistry of our products, and our skill in their creation. All of our products are hand-blended here in our laboratory. Integrity and dedication is vitally important to us, and we do our best to provide the best possible product and slavishly good service to all our clients.
ABOUT THE COMIC BOOK LEGAL DEFENSE FUND
Comic Book Legal Defense Fund is a non-profit organization dedicated to the protection of the First Amendment rights of the comics art form and its community of retailers, creators, publishers, librarians, and readers. The CBLDF provides legal referrals, representation, advice, assistance, and education in furtherance of these goals.
Last week I bitched and moaned about how we’ve turned our backs on comics that can be appreciated by readers of all ages in order to follow the money that kids ain’t got and some adults might have. I also tied this into continuity impenetrable to newcomers that is spread over about a hundred dollars’ worth of monthly product. I can be snotty that way.
In just the past couple of years, we have seen something of a return to comics that can be enjoyed by readers young and old. Publishers can’t help the self-consciousness suffered by Baby Boomers and some Gen-Xers, but today’s new middle-agers were raised without much of the stigma us old folks suffered during the Wertham rage. So, I am now taking it upon myself to point out a few titles that work for a general audience that is fearless enough to read comic books on the bus, be it to work or to school.
I’ve been quite impressed with Dynamite’s Zorro Rides Again, written by Matt Wagner and drawn (now) by John K. Snyder III. That’s quite a pedigree, and their work lives up to it. You do not have to be steeped in a century of Zorrodom to understand what’s going on: it’s all about a revolutionary with a sword on a horse who fights Spanish oppression in the name of the people of California. Solid action, great storytelling, and an even greater story. You can’t go wrong here; it’s a damn fine book.
Image Comics has been running a little superhero series called Savage Dragon for almost 20 years now – the main series is up to issue 180, for crying out loud – and there’s a reason why writer/artist/creator Erik Larson’s work has endured: it deserves to. Yeah, it’s all about a big hyper-muscled green-scaled head-finned superhero; what’s it to you? It’s chock full of solid characterization and mayhem alike. I think it appeals to the same sort of 11 year old that found Marvel Comics so accessible and so exciting a couple generations ago as well as to older readers get a solid comic book experience that isn’t fraught with sturm und drang. The real old farts will be reminded why we liked comics in the first place without having to hit up 50ccs of nostalgia.
The real surprise here comes from DC Comics. While all the focus and attention has been on the New 52, a line too interconnected and too continuity convoluted to access the broader spectrum of readers, over on the West Coast their editorial operation has been publishing a nice little self-contained universe of superheroes in a continuity that had its roots in a teevee series cancelled long ago. The book is called Batman Beyond Unlimited and for those who are unfamiliar with the proto-show it’s The Old DC Universe – The Next Generation… except some members of the original generation (Bruce Wayne, Kal-El) are still around.
There’s three different series going on in this giant-sizedish monthly: Batman Beyond, Superman Beyond, and Justice League Beyond. The latter group has Superman (the original, a man out of his time), Batman (Terry McGinnis, although Bruce Wayne is still around and more cranky than ever), Warhawk – the son of Hawkgirl and John Stewart, as well as contemporary versions of Green Lantern, The Atom and others. They back-fill the origins while remaining constant with previously established continuity, but – and this is why it works – you don’t need to be Mark Waid to understand who’s who, what’s what, and how everybody got that way. Available as weekly downloads in individual series titles or in the Batman Beyond Unlimited monthly, by avoiding the grim and gritty wallowing in apocalyptic hopelessness, this is a title that can be enjoyed by all but the most anal-retentive cynic.
And when was the last time I wasn’t the most anal-retentive cynic?
THURSDAY MORNING: Dennis O’Neil and the Trilogy Trend
For those not paying attention, this week Paolo Rivera broke the shackles that bound him to the House of Mouse. That’s right, after a 10+ year career at Marvel, he ended his exclusive contract. Presently, you might know him from his absolutely stunning work on Daredevil. And if you’re not familiar? Go down to your local comic emporium, and partake in a few books bearing his name. You won’t be disappointed.
So why the departure, here in what most critics would dub his “ascension to the A-List?” Ownership. Rights. Long-term gains. As he makes it clear in his blog detailing his decision, it comes down to surveying his body of work and seeing no island on the horizon. Let’s be clear, he’s not mad. Or sad. In fact, he’s very grateful for the decade of work he’s been thrown since the dawn of his career. At the end of the day though, he puts it best:
“…the sum total of that work is not enough to support me in the distant future. My page rate is essentially the same as when I started at 21, so I’ve decided to invest in myself.”
Now, this brings up a debate I know we’ve all had here on ComicMix in the past – that of creators’ rights, and compensation. It seems we as an industry can’t last more than a few months before yet-another-creator is irate over the profits gained on their blood, sweat, and arthritic hands, that never see their own pocketbook. On the business side of things, we know the rub already. To work as an artist or writer in comic books for “the Big Two,” the work you do is theirs. They pay you a fee (and a small percentage of royalties of the sales of the book) for your creativity. Now, when you have a mortgage, insurance, and a rumble in your tummy… do you try to negotiate for the best deal, or do you sign your life away to stay alive? Of course no one is in such dire straights these days, but Marvel and DC certainly have more lawyers and iron-clad contracts than Stan Lee has catchphrases. As Paolo makes clear, he’s done with that side of the business. It’s time to invest in himself.
Certainly there are creators out there who are kicking ass and taking names doing their own creator-owned books. Mike Mignola, Eric Powel, Robert Kirkman, Warren Ellis… All great men who once (and on occasion still do) made a living working for “the man.” But each of those men now can rest on their laurels that their main source of funds comes directly from material they created, they own, and they see to market. Certainly when Hellboy made a second profitable movie, many an indie-creator must have taken note. Yes, Dark Horse had a lot to do with the success of the property on the business end, but Mignola is the crown prince of Anung Un Rama. Without his blessing, nary a product makes its way past a marketing meeting.
The same doesn’t hold true for Mr. Rivera. Should Marvel decide to make a tee-shirt with some of his art? He may see some royalties back from the sale – but he’d get laughed out of the office if he opposed them selling merchandise with his work on it. And when they reboot the movie franchise… he’ll see a blind eye if they use any of his striking work as reference or source material. Blind eye. Heh.
Ultimately, Rivera’s made a move that I hope works out for him. Admittedly I’ve come to the Daredevil party a bit too late, but I plan on picking up the issues as they are collected. Wherever Paolo roams from here on out, may his legion of fans follow. According to his musings, he’s kicking around an idea for an “original story, sci-fi in nature, with primal themes and a compact cast of characters.” He’s also looking into “experiments in both distribution and funding” a la Kickstarter. Thanks largely in-part to the interwebs, this very idea even exists. The last time artists with this much clout left Marvel, they made Image Comics. Certainly that won’t happen ever again, but in its place is something far more rewarding. Not necessarily in up-front hype and profits mind you, but rewarding none-the-less.
With Paolo Rivera setting his sites on the creator-owned market, I see the opportunity for a more level playing field. When the artists and writers have both a creative and monetary investment in a project, there is a passion that simply doesn’t exist on the other side of the aisle. As an Unshaven Comic, I care far more about The Samurnauts than I ever will about Kyle Rayner or GrimJack, even if I’m ever allowed to write or draw either of them. When I put my head to pillow, I know that my creations (made in part with two brilliant co-creators) are my own. And should the day ever come that our creation becomes “something,” it’s only fair that I (we) see the complete fruit of those labors.
Good on you, Paolo. May others follow suit as well.
Sideshow Collectibles and Hot Toys are proud to present the Black Widow Sixth Scale Limited Edition Collectible Figure from the smash hit “Marvel’s The Avengers.” The movie-accurate Black Widow collectible is specially crafted based on the image of Scarlett Johansson in the film; highlighting the newly sculpted head, hair implantation, body shape, and highly detailed costume and accessories.
Award-winning comics writer Joe Kelly has crafted an engaging, thought-provoking, action-packed thriller in adapting his 2001 Action Comics #775 classic tale (“What’s So Funny About Truth, Justice & the American Way”) into Superman vs. the Elite, the latest DC Comics Premiere Movie.
Produced by Warner Premiere, DC Entertainment and Warner Bros. Animation, the all-new, PG-13 rated Superman vs. the Elite arrives TODAY – June 12, 2012 – from Warner Home Video as a Blu-ray™ Combo Pack and DVD, On Demand and for Download. Both the Blu-ray™ Combo Pack and DVD will include an UltraViolet™ Digital Copy.
In Superman vs. the Elite, Superman’s effectiveness as a super hero comes into question when a new group of super powerful crusaders, known as “The Elite,” appear on the scene. As super heroes, the Elite know no bounds, and are more than willing to kill, even on a massive scale, to stop villainy — putting them on a collision course with the ever-ethical and decidedly non-lethal Man of Steel.
“What’s So Funny About Truth, Justice & the American Way” was lauded by Wizard Magazine as the “Greatest Superman Story of All Time,” and the magazine ranked the epic tale at No. 21 on its list of the “Top 100 Comics of the last 30 years.” It is arguably Kelly’s masterwork from a career of notable comics, including such titles as Deadpool, Uncanny X-Men, Action Comics and JLA.
Today, Kelly is one-fourth of the comics-oriented quartet known as Man of Action Studios. The group are superstars in the comic and TV animation/action world already as the creators/producers and writers of the megahit, Ben 10. Their Ben 10 empire has generated over three billion dollars in sales based on their four television series and merchandising and now Joel Silver is producing a feature film adaptation of their creation. Ben 10, arguably the most successful youth brand and superhero franchise of the last decade, has also launched two live-action TV movies and is seen in more than 168 countries and 312 million households. Man of Action Studios also created Generator Rex, write/produce Ultimate Spider-Man on Disney XD, and they create/write/produce video games, TV shows, films, comic books, graphic novels, stage productions, etc. Joining Kelly at Man of Action Studios, which began in 2000, are renowned writers Duncan Rouleau, Joe Casey and Steven T. Seagle. The quartet are now in development/production on numerous TV and film projects including The Great Unknown, Kafka, Disco Destroyer and, of course, Superman vs. The Elite. They proudly have their own Man of Action imprint at Image Comics, where they continue to flourish in the creator-owned comics world.
Kelly spoke about the creation of the film, the transition from page to screen, and his favorite scenes in a chat late last week. Here’s what the wordsmith had to say …
Question: For the uninitiated, what was the genesis for the original story of this comic?
Joe Kelly: The germ for the story really came from a very visceral reaction I had to a comic I was reading at the time – The Authority. It was a dark anti-hero comic. I really like the Authority and its characters, but there was an issue in particular that felt like it had pushed the boundaries of what makes a hero and what makes anti-hero. I found myself getting ‘fanboy mad,’ which I don’t normally get. We had an anniversary issue, and I asked Eddie (Berganza) if we could directly address those characters. I wanted Superman to take those characters on. And that became the germ for Action Comics #775.
Question: As Action Comics #775 was a single issue, how much did you need to add to the story to make it a full-length film?
Kelly: We wrote a lot of new content for the film, and it was funny looking back at the comic because I forgot how much is discussed rather than shown. There’s so much going on between the panels. So it was very exciting to get to see the action sequences that were just hinted at. I’d always seen them in my head, now I get to see them played out in animation.
Question: What was the purpose of adding the Atomic Skull to the story
Kelly: We knew we needed a villain or a character that would externalize Manchester Black’s argument against the revolving door jail policy. We wanted that parallel to be personal and easily identifiable. Originally it was the Parasite, but he’d been used in a recent previous film, so it became the Atomic Skull. And I really thought the Atomic Skull came out very cool. He worked well visually and for the story. Not having Parasite meant we lost a smidgen of the thematic approach – the Parasite really fit well in terms of his name and what he does to the people around him. But that’s just being picky.
Question: Do you have a favorite scene in Superman vs. the Elite?
Kelly: I’m especially proud of the quiet scenes. It’s very difficult to get quiet emotion in animation and to let the silence actually play on screen. But when you look at the quiet scenes in this film — Pa Kent and Clark on the porch, or Lois and Clark on the couch – those scenes really give us the chance to see Superman questioning himself with the people he trusts the most. And those scenes play beautifully in the film.
It’s like in one of my favorite scenes – just before the Elite takes over the airwaves and makes their grand announcement. I think it’s in the original, but it really came to life for me in the film. Lois and Clark are having a little debate, and he asks if she believes that criminals deserve the Elite’s sense of justice and punishment. And she says “Some days I think they do.” That’s just like a punch in the gut. It’s really an awesome scene, especially because it’s one of those moments in animation that you don’t expect. The big battle with the Atomic Skull is pretty great, too. And the finale is awesome. But I love the quiet moments.
Question: Whose sense of justice do you side with: the Elite or Superman?
Kelly: I’m definitely more in the Superman camp. There are plenty of people I get angry about, and the eye-for-an-eye mentality does flash though my head. I think it does for anybody. But at the end of the day, I do believe we need to aspire to higher ideals. Maybe I’m being naïve, and I may not be able to achieve those ideals myself, but we must make the attempt. You’ve got to try. My dad was a cop and he had very strong opinions about this stuff, but he would straddle the line. He had his days when he’d think “kill them all and let God sort them out,” but there were far more days where he believed that the law is the law, even if its broken, and we live in the best country on Earth because of those laws. So that definitely informed my weird sense of justice.
Question: Did the voices of the actors portraying these characters match the voices in your head while writing the film?
Kelly: The voice acting is so good in this film. Robin (Atkin Downes) is such a good Manchester. He’s got all the snark and all the personality, and his line deliveries are so spot on for that guy. It’s funny because everybody says the same thing: you can’t do an actual Manchester accent and expect to be understood, but Robin’s modified Mancunian accent is awesome. And understandable. The rest of the Elite’s voices are perfect: Menagerie is scary and sexy; Coldcast wears his “angry man” on his sleeve; and everyone giggles when The Hat comes on. I can’t say enough about George (Newbern) – I had heard his acting before, and he does such a great Superman. It’s terrific to see George portray the range of emotion he gets to do in this story. And Pauley (Perrette) so knocked it out of the park – I was immediately in love with Lois. Pauley gets all the smarts of the character. The two of them as a partnership really comes across, which is critical to the story. Lois keeps Clark grounded, and she’s literally the only one that can tug on Superman’s cape. Lois can bust his chops, and that comes through in Pauley’s voice. She’s terrific in the quiet moments, as well. Pauley sells it all so, so well.
Question: Are there other stories you’ve written as comics that you could see adapting to animation?
Kelly: In the DC realm, I’m very proud of Justice League Elite because the characters that pick up from this story are darker and very layered. It’s all about how messy you can get before you become a monster. I love that theme. If we could ever pull off Justice League ObsidianAge, that would be amazing – it’s just an insane, gigantic epic, and to see those characters animated would be incredible.
Kickstarter is a topic that tends to get people worked up, both on the pro and con sides. Call it what you want, Top Cow just pulled in six figures to relaunch Cyber Force in what’s the biggest crowdfunding effort to date from a U.S. comics publisher (and #6 largest comics project to close on Kickstarter).
Kick off Comic-Con with the greatest stars in comics to celebrate 20 Years of 
Get The Exclusive Goods: Free gift bag, featuring a CBLDF party exclusive edition of Revival #1 by Tim Seeley & Mike Norton from Image Comics, and other special thank yous from CBLDF supporters including Valiant and Threadless!
