Shockingly, the news has broken that the Matt Fraction penned and Joe Mad illustrated Inhuman # 1 originally slated for a January release will be postponed to a later date (Update: We’re hearing now issue one will ship in April with issue 2 to follow in MAY). All orders for the issue have been cancelled by Diamond Comics Distributors. Considering I recently made a post about how Sandman Overture being late over at DC was a remarkable blunder, I have to reiterate that idea here as well for Marvel. Inhuman spins out of the Inhumanity one shot moving into a full series and rumors have been swirling that it is the blueprint for how Marvel can have “mutant” style characters in their cinematic universe while not stepping on Fox’s toes. Fox’s film rights to the mutant characters are solid and unflinching, so it is not surprising that Marvel might want to have an equivalent in their cinematic world.
The book being late has further repercussions as the Inhumanity tie-ins are already starting to trickle in. Avengers Assemble hits stores today with that branding at the top of the cover. If the book ships that much later than expected it could affect other books in the process. I think that a good portion of people expected this to happen when they saw Joe Madureira’s name on the solicit, but it is still a disappointment that such a hyped event is allowed to ship late.
The folks over at Nerdist broke the news today that Daredevil, previously reported to be ending with issue thirty-six, will be getting an all-new # 1 issue in March with the creative team of Mark Waid and Chris Samnee handling Daredevil’s move to the west coast, San Francisco to be precise. Longtime readers of Daredevil will note that Matt Murdoch spent some time in the city back in the seventies running around town with Black Widow.
I am personally relieved that Mark Waid and Chris Samnee are sticking around, as they have made Daredevil one of Marvel’s best, most consistent titles and I would have been weeping tears of nerdly sadness if they left the book after such a short run. Here’s hoping they get 100 collective issues together before they’re through. I don’t care how many new issue ones it takes.
Publisher’s Weekly recently put out an article regarding Matt Fraction and Chip Zdarsky’s excellent comic series Sex Criminals and the trouble that has been kicked up around Apple banning the book from being available for purchase within the Comixology app. The first issue made it through with no real issue but the second and third issues were blocked followed by the first issue being retroactively pulled. According to the article over 50 issues have been rejected by Apple this year. In the same year where digital comic sales on Comixology topped 200 million for the first time, more and more books are hitting stumbling blocks due to Apple’s terms and conditions for acceptability. As many are pointing out, this is a major reason why Android has started to take over a significant portion of the market share for portable devices. Personally I much prefer my Nexus 7 tablet over my old iPad. But this article isn’t about what electronics I prefer, it’s about the very serious debate regarding digital versus physical media.
I understand the drawbacks of owning actual issues all too well. I have forty longboxes filled with comic books that I will simply be unable to store much longer. But the drawbacks of digital collecting right now are so wide and varied that I have issues giving up my issues. First and foremost, there is the big issue that with Comixology you don’t really own your issues. Think about it. They’re somewhere on Comixology’s server. You sync them to your device but you don’t have the files backed up on a hard-drive somewhere because companies are afraid you’ll just distribute the books on torrent networks and drive them out of business. Image seems to eschew this by offering DRM free copies of their books on their website. But Comixology has created a sort of popularized monopoly on digital comics and having a single app to read ALL your favorite comics is so simple and convenient that they have become the online equivalent of Diamond Comics Distributors, for all intents and purposes. This may not be a major issue for some folks. Some people just want to read the books and forget about them afterward. But I enjoy re-reading books, it’s why I have so many boxes filled with issues and so many shelves lined with trade paperbacks. One day there may come a time when Comixology finds itself in financial trouble and you may no longer be able to access your comics. Is it a remote possibility? Yes, but it is a possibility.
Digital comics should not be this hard to make work. Image Comics direct model seems to be the best way to go about it. Download the issues at a fair price, DRM free in the format of your choosing. Marvel seems to be making a move to do something in-house with their digital comics that could be a step away from Comixology but, again, it seems to be based on a proprietary model where you do not actually own your comics. Until a system comes a long where I can safely feel as if i have ownership of my digital issues, I will not be able to switch completely. The convenience just isn’t as convenient as a regular pull list for me.
This little preview for the return of Sherlock on BBC aired with the Doctor Who 50th Anniversary today.
So, just when Tumblr calms itself over that there’ll be something else to obsess over.
The character rights to Superman have been in dispute for some time now. The court case between Warner Brothers and the Siegel and Shuster families has raged for quite some time. An original deal was made with the Shuster family and Warner Brothers in the early nineties that would allow payments throughout their lifetime for the use of Superman. A similar deal was supposedly reached with the Siegels in the early 2000s as well. Those deals notwithstanding, both families have been embroiled in legal battles with Warner Brothers over ownership rights. Close to a year ago the Siegel family lost their final appeal and this week the same court that shut down that case ruled against the Shusters as well, securing all rights to Superman and any characters derived from his use for Warner Brothers.
With talks of copyright extension in the news it is interesting to take a look at this case and see how different and yet the same things are within the comic book industry when it comes to the handling of work for hire. DC Comics does have a fairly decent track record as of late. Talks of royalty checks showing up in Chuck Dixon’s mailbox when The Dark Knight Rises hit theaters for his contributions to creating Bane got a lot of press. Apparently DC has no incentive to do this, but did so for reasons nobody can truly fathom. Creator rights seem to be a very broad spectrum from case to case. I think everyone is quite aware of how Marvel treated Jack Kirby and Joe Simon regarding their contributions to the Marvel universe.
Most people who do work for hire understand the ramifications of that. Look at Greg Rucka and Ed Brubaker and their reactions to the Jim Gordon TV show announcement and the use of The Winter Soldier. They know that Marvel is well within their rights to use those characters and ideas because that was in the terms of their contract with the company. Most creators are realistic when it comes to how their work-for-hire output is utilized and what expectations they should have regarding compensation. Siegel and Shuster were in a very different boat when they made their deal with DC comics in the early twentieth century. They tried to secure a fair shake for their involvement when they were alive and their family continued that fight after their deaths.
The world of copyright and creator rights is an ever shifting landscape. The comics industry should certainly treat their creators with more respect. The people in charge would not have these characters without the creative types doing their job. Royalties for new creations shouldn’t be such a stumbling block. I don’t work for any of the major companies so I don’t want to overstep my bounds. But I don’t think I’m going out on too far of a limb to say that I support creators and creator rights and think that its not bad business to support the people who keep your enterprise alive.
I gushed like hell over issue 1 and issue 2 of Sex Criminals. I thought they were some of the best comic book work to come out this year. The book is different and unique without being a book that insists upon its own cleverness. No, the book is unique by virtue of how honest it is. Sex Criminals is a book about two people who can stop time with their orgasms but at the same time it is a book about people. People discovering what it means to be vulnerable and learning what it means to discover each other slowly throughout the course of a relationship. There is a palpable sense of energy to our lead characters as well as a transcendent level of honesty in the storytelling. These characters feel like people and the story feels stronger for it. The moment in issue three where Jon watches as Suzie belts out “Fat Bottomed Girls” by Queen (in one of the most unintentionally funny bits of licensing snafus I’ve ever seen) is as honest a moment as I have ever seen on a page. I know I can point to the exact moment where I looked at my girl and knew that she was special and unique in a way nobody else could be and I felt that for Jon with Suzie here in issue three. Chip Zdarsky’s artwork makes the scene explode with dynamic intensity and every element of the moment is perfectly captured on panel.
Speaking of Zdarsky’s art, he can draw the hell out of a dude getting nailed in the face with a dildo.
And that boys and girls is why this book is so good. The back and forth of real human emotion and character worked mixed with the absurdity of a man getting a green rubber wiener thrown in his face. This is a book where these two people use their powers to rob a bank and yet it is that element of the story that takes a back seat to the character work. We want to know why they’re choosing to use their powers in this way. All of it feels believable and you invest yourself in their story this way. Matt Fraction and Chip Zdarsky have done something wonderful here. I really cannot wait until this comes out in trade so I can buy ten copies and distribute it to people who ask me what comics they should be reading.
There has been a lot of ink spilled about the controversy surrounding this Harley Quinn series. Mainly around that “tryout” page where artists were encouraged to draw a scene depicting the title character preparing to commit suicide in a bathtub with electrical devices hanging above her. There were plenty of good arguments made as to why that was a bad idea. The fact that it got hyped up in the middle of suicide prevention awareness month was a major blunder. We could easily spend a couple thousand words talking about whether a book focusing on a character who is clearly mentally deranged needs to walk the logistical tightrope of addressing a topic like suicide. No amount of context or satirical intent will silence certain elements on either side of the argument. I’m going to say that Jimmy Palmiotti and Amanda Conner are good people. I’ve never seen anything that would indicate either of them was looking for a cheap laugh, or to make light of suicide as a topic. It just isn’t in their character.
So the first thing I have to do while discussing this issue is point out that the panel in question does not appear in the final product. The talent search yielded a page by Jeremy Roberts where most of the page remains intact but the panel depicting the suicide is absent, replaced by a panel with Harley riding an Apollo style rocket in outer space. Within the context of the book, the fourth-wall breaking creators are discussing Harley’s role in the Suicide Squad, which would explain the panel in question. Honestly, with that context, it makes perfect sense. I applaud everyone involved for seeing that it is a sensitive topic however and going in a different direction. The page in question gives off a vibe of Harley’s perceived death wish without diving into the mental illness/suicide quagmire.
I know I dedicated a lot more space on that little issue than I intended. I wanted to cover the actual issue, not the issues people had before the book came out. So let’s start from the beginning.
This book is good. It’s fun. It put a smile on my face. Why? Well, Palmiotti and Conner have a playful tone that carries throughout and they manage to find a through-line for Harley criss-crossing through various art styles while breaking the fourth wall and showing us that Harley truly can be a versatile character. The book is essentially Amanda and Jimmy showing that there are an infinite number of possibilities for Harley as a character and, with the correct art team, any one of them could be a viable long-running series. This is an introductory issue where Harley has to figure out what Harley wants to be. It’s a metatextual commentary on the creation of comics itself filtered through a character who, for all intents and purposes, could be viewed as simply one dimensional.
I think that freed from the constraints placed upon her by the Suicide Squad book, this title could truly be a blast. Honestly, I was reminded of the way that Jimmy and Justin Gray put such a fun spin on Power Girl, who much like Harley had infinite numbers of interpretations waiting in the wings. No character is without merit, and while I personally don’t have much of a connection to Harley and only really found her intriguing within the context of Batman The Animated Series, I think this issue is one of the more solid releases DC has put out in a while. It certainly surprised me in ways I wasn’t expecting.
I say go in with an open mind and see where the issue takes you. You may find yourself surprised where you end up.