“She took my dog, man.”

‘This is what Clint Barton does when he’s not an avenger.’ That one line says it all. That’s the reason why I love this book, because it’s about Clint and not his alter-ego Hawkeye. Sure, he’s what you would class as a superhero, yes he’s part of a superhero gang that fights crime and generally prevents the Earth from being messed up. But this is an exploration of his down-time, his ‘Clint time’.

Hawkeye, since the relaunch with Marvel Now! has been handled very lovingly by Matt Fraction and David Aja. Both fit the character and book perfectly. It’s sparse, the dialogue is short and snappy, and the page layout is basic. I love it.

In this issue, ‘The U in Funeral’, it’s all about Clint and his brother Barney, the other Hawkeye. There’s been a murder in the building Clint’s the super of, and he’s got to come to terms that maybe this person was harmed because of what he does for a living. He’s also dealing with a book he’s writing, and his ex-wife, as well as questioning by the police. Oh, not to mention the brother who is constantly mentioned throughout but only shows up in the closing scenes. It’s a nice little drop-in by one of Marvel’s lesser-known characters.

What I love about Fraction is each issue of Hawkeye you could quite easily jump into and start from there. Each one feels like a one-shot, with vague connected storylines weaving through from one issue to the other, but it’s so approachable as a book, that you can dive in with Fraction and the gang at any time. His dialogue is punchy and real. There aren’t any long inner or outer monologues or expository dialogue in this book. Everything is quiet and subtle. You feel more like you’re taking a casual stroll through the park than running along at a breakneck speed. It’s all down to Fraction’s script, but let’s also talk about David Aja.

Every page is a nine-panel grid. In those pages Aja manages to bring Fraction’s script to life with ease and comfort. Nothing feels squashed or packed in. This isn’t that kind of story. He doesn’t use flashy angles, he doesn’t use massive set pieces, he keeps it simple and stark. The quiet colours by Matt Hollingsworth pack a punch that lifts Aja’s art off of the page and grabs your attention.

For more comic views follow Glen on Twitter at @glenghiskhan and check out his blog for more reviews at www.glenludlow.blogspot.co.uk

Click HERE to view HAWKEYE comics

Overall, an excellent effort by everyone. If you’re looking to get into Hawkeye, this is a good issue to start, if you’re an avid reader already, you don’t need to be told any of this.

“Touch me again and you will die.”

Finally. It’s over. Villains Month draws to a close and like the lame duck that it is Bane #1 comes stumbling over the hill to usher in the end of this completely pointless promotion. I’m not even sure what DC were trying to achieve here, other than sneaking in first issues of villains that then pick up in the various spin-off books that they pull out of the air when running one of their main events. It’s a pretty crappy tactic to use and has the reverse effect of making me want to read less, not more.

Anyway, I babble. The book basically tells Bane’s rise to power in Santa Prisca, how he uses followers as kindling for the fire that is coming (yep, heard this somewhere before) and how he comes to Gotham to challenge the demon that terrorises the streets’ criminals – yes, Batman. Then with a plan to break out all of the inmates of Blackgate to use his makeshift army to seize the city, you get the general idea.

I wasn’t impressed at all by this book. It was a dull read, offering little in the way of exploring Bane’s background, they just used this issue as a prequel book for Arkham War. So if you’re being drawn to this book expecting an exploration of the New 52′s Bane, don’t bother, you’re not going to find it here. You’re going to find a one-dimensional villain who echoes lines you would expect to have been left on the cutting room floor from Nolan’s editing room in The Dark Knight Rises. I’ve read it twice now and both times have a bitter feeling left in my mouth. It’s not so much from the writing of Peter Tomasi, it’s just DC’s up yours to their fans in delivering such flat, gimmicky books.

The artwork by Graham Nolan’s not bad. It reminds me of Jerry Conway’s for some reason. It’s not what you would call modern art, but it’s well-rooted in the superhero books of the nineties, not a bad thing in my eyes. Yes, the artwork isn’t bad, the colouring is a bit flat, but I don’t mind that, sometimes you can really over-colour a book.

So that’s Villains Month over with. I’m glad. I don’t want it to come round again as I didn’t appreciate it’s visit the first time.

For more comic views follow Glen on Twitter at @glenghiskhan and check out his blog for more reviews at www.glenludlow.blogspot.co.uk

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Volstagg, now a senator, manages to negotiate an alliance of warriors who will hunt down Malekith the Accursed and stop him. Thor is joined by a sharpshooting Light Elf, a Mountain Giant, a dwarf, and a large, unforgiving troll.

The hunt is on.

Jason Aaron picks up exactly where he left off last issue with the whole of the Nine Realms running in fear of our fantasy version of Idi Amin, who seeks to rule the Nine Realms through intimidation and fear. As usual, Aaron is at his best, Malekith is sinister, and damn funny, Thor is his usual bravado-self with his long declarations of battle and song and what he plans to do to his enemy, boasting about the power of Mjölnir, and generally being the God of Thunder. Not a single complaint here, Aaron fits Thor perfectly.

Ron Garney is growing on me as the resident artist for this run. I thoroughly enjoyed what he did with his début issue and he’s kept the momentum going here. His Malekith is sinister, his Thor is powerful, his Volstagg is bloated, all is right with the Realms.

Overall, a good issue, well-paced, epic artwork, some brilliant lines. Keep the thunder flowing.

For more comic views follow Glen on Twitter at @glenghiskhan and check out his blog for more reviews at www.glenludlow.blogspot.co.uk

Click HERE to view THOR: GOD OF THUNDER comics ]]> https://www.inter-comics.com/blog/reviews/panels-of-interest-009-thor-god-of-thunder-14-review/feed 0 https://www.inter-comics.com/blog/reviews/panels-of-interest-008-batman-24-review https://www.inter-comics.com/blog/reviews/panels-of-interest-008-batman-24-review#comments Mon, 14 Oct 2013 22:08:07 +0000 https://www.inter-comics.com/?p=22009 By Glen Ludlow

“What do you want with this city, Batman?!”

Zero Year continues in Batman #24 with a double-sized (and priced) issue that wraps up Bruce Wayne battling the Red Hood gang, and shows the emergence of two very key figures in the Batman universe. One of whom you can probably guess from the cover image – yes, Batman makes his first full appearance in Zero Year, or at least the Batman we know.

This issue gives us the origins of the Batcave, it shows us a young and determined Bruce Wayne standing up to the hellish Red Hood gang, led by the mysterious Red Hood One, who has been blackmailing half of Gotham into carrying out his plans under the disguises of their masks and generally forcing everyone to dance to his tune. His identity I had guessed back in issue #0 of Batman, but it’s nice for this to come full circle and show us the origins of some of Batman’s deadliest foes.

Scott Snyder is on good form here. The Batman we get presented with isn’t ready for the war he begins waging, far from it. He makes mistakes, his costume is still in prototype, but the important thing, and the lesson Alfred reminds him is that he’s going to become a symbol, he’s going to play a part, and people will believe in him. Bruce voices his concerns that people will quickly be able to figure out that he and Batman are one and the same, when Alfred reminds him people want to invest in something that gives them hope, recounting a tale from his old acting days when he would take on characters – the audience want to believe in what they see.

There is a beautiful two-page spread in the book that’s clearly a nod to Bob Kane’s Detective Comics #27 famous cover. The homage has been done a lot of times before, but it still had me smiling when I saw it. Just like the fact Batman wears to-the-wrist gloves in this, again a nod back to his origins in the original pulp books of the thirties.

Everything about Batman in this issue is bare bones. He’s a rough, shaven-headed rich boy who finally has his plans in motion, it’s just whether they will work or not that remains to be seen. You can see the team of Snyder and Greg Capullo have painstakingly plotted this, tying up old threads laid down way back in issue #0, and showing us parts of Batman’s origins that we’ve never seen before, not even in the hallowed Year One, which Snyder is seemingly doing his best to avoid drawing from, mainly a good move, as we want this to feel fresh and new and not a rehash of the same old origin.

When Gordon first encounters Batman in this issue he threatens to shoot him. Seeds are being sown here for where their alliance and friendship will one day blossom, but that trust isn’t there yet, but it will come, and I really hope this is another part that is explored in Zero Year.

Capullo’s pencils, as usual, are full of the kinetic energy he always brings. His angles are experimental and unique. He never draws a boring page, and just they way he has Batman moving in this, it reminds me of how Bruce Timm portrays him with the fluid motions of the Dark Knight. There’s a lot of love for the world of Batman from these two and it comes across on the pages.

This issue is definitely worth the extra money DC are asking for it, and for those wanting a Bat-fix before the release of Arkham Origins then this will scratch that itch. Go buy it.

For more comic views follow Glen on Twitter at @glenghiskhan and check out his blog for more reviews at www.glenludlow.blogspot.co.uk

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So, we’re onto the third issue of the superhero legacy thriller from scribe Mark Millar (Kick-Ass, Superior, Old Man Logan) and superstar artist Frank Quitely (All-New X-Men, All-Star Superman). After teasing and setting up the pieces for the last two issues as to what sort of world our story is taking place in, Millar finally smashes all of what he has established in one swift blow and changes the whole dynamic of the book.

Since the establishment of the superhero clan back in issue one and the eventual arrival of their offspring, the younger generation have faced the harder battle of being in the eyes of the world’s media the whole time, whilst also having the lessons of their forefathers shoved down their throats. Walter, who wants to take charge to solve the problems of the world has been constantly undermined by his more-powerful brother Sheldon, also known as the Utopian.

In this issue Walter makes his move. Chloe, daughter of the Utopian has returned home pregnant with the child of Hutch, the son of the world’s greatest supervillain. Obviously her folks aren’t too thrilled at the prospect, and after the Utopian attempts to tell him to stay away from his daughter, he’s called away to answer an emergency situation halfway across the world. Meanwhile, Grace, mother of Brandon and Chloe, is welcoming her pregnant daughter home, to a house where she can relax and keep away from the glare of the spotlight. But the respite is short-lived when a host of powers lay siege to the house with the intent of killing Grace and Chloe.

On the other side of the planet, the Utopian, having been distracted by a nuclear device threatening to impact,  is also attacked and brought down. Here he faces the man sent to kill him – his own son Brandon.

First off, there’s no denying how richly talented a writer Mark Millar is. One of his most important weapons in his arsenal is his ability to pace a story, and here he manages to pull it off with the ease we’ve seen him do it before. Millar has always been very good at natural and unforced dialogue. It’s often understated, lacks the posturing speeches so many other comic writers are guilty of, but he makes it sound like a genuine conversation that we’re eavesdropping in on. The scenes are charged with emotion, and at times are small and intimate in content, after all this whole story so far has been about superhero siblings squabbling over what’s best for the world, and at its heart that’s exactly what this story is all about. Family. It’s about the son who believes his father has nothing but contempt for him. It’s about the daughter who knows she can never live up to the woman her mother envisaged her being. I think we’ve all had moments in our lives where we’ve craved the respect of our peers, only to find us groping around looking for a figure to fill what’s missing in our lives. That comes across in this book. It’s not explored as deeply as I would have liked, after all convincing someone to burn their father’s face off wouldn’t be an easy task to accomplish by any standards, but Walter, in a short space of time, does manage to convince Brandon that his father needs taking down. I felt this scene could have been fleshed out a bit more, we could have seen just how cunning Walter really can be. It reminded me of Anakin’s seduction by Palpatine, it just happened too damn fast, and before you know it, he’s Walter’s puppet.

Quitely’s art is never something I have issue with. It still strikes me just how unconventional his art is for a comic book. That’s what I love so much about it. He’s so different, so expressive, and his art is so full of energy. He’s a man who uses shape and posture to convey what the characters are thinking and feeling, he’s not really one to rely on a skilled inker to add depth and mood to a scene, Quitely is capable of transporting you to an emotional plane just from his delicate pencils. Frank is one of the few artists where I will buy the book just because he’s doing the artwork for it, a rare accolade, as normally I crave story above everything else.

On the summary, the issue is pretty good. It’s an enjoyable read. I have a few niggles with it, it felt more like an issue where all the pieces are being put into place. It’s a necessity, and has to be done sometimes, and I think that’s what’s been applied here.

Red Sonja #3 continues the march set out after the soft-reboot of the character by Dynamite Comics. Sonja continues her journey into exile after her defeat at the hands of a rival female warrior. Suffering from plague and dying of exposure to the snow, Sonja struggles to stay conscious as the fever overtakes her. The arrival of a white stag, a stag she refuses to kill, sends her into a fever-ridden hallucination where her deceased father, murdered years before by a roving band of pillagers, visits her and tells her she can choose to join him and her mother, or get up and finish the one thing she must do.

This issue is quite a change in approach from the previous two. It’s no surprise, Gail’s settled in writing Sonja, a character she’s already very familiar with, but this Sonja is vulnerable and beaten. It’s a different side to the strong female character we’ve come to know and love. The flashbacks to Sonja, or Sonjita, as a child are particularly well-handled. We learn of her proficiency as a hunter, the best in her village, but the reluctance to kill when necessary, it’s a plot point that comes back later in the story, it’s pretty predictable, but I always enjoy delving into Sonja’s back story.

Walter Geovani’s an old hand at Sonja, but he’s still bringing something new to the table. His artwork depicts the brutality of the world the She-Devil with a Sword lives in. Despite him having drawn her before, his work doesn’t seem as inked over as it used to be in the previous incarnation’s run. I much prefer it when the inkers tend not to smother the pencils, and the balance has been met right here.

Overall, it’s a good book. It could be great, but for the moment it’s a constant read and is always on the pull list. I think Simone’s laying brickwork for the future of this arc.

For more comic views follow Glen on Twitter at @glenghiskhan and check out his blog for more reviews at www.glenludlow.blogspot.co.uk

The Riddler is back in town to reap a revenge against those who tormented him when incarcerated at Arkham Asylum, whilst simultaneously pitching his wits against a supposedly foolproof security system.

To begin with, it’s not a bad book. Ray Fawkes handles Nygma with a narcissistic quality you would come to expect from someone who brags they are Gotham’s smartest criminal. His riddles keep those involved, and us as readers guessing as to his motives for his schemes. Are they grand? Are they based on need or revenge? All in all I would have liked the issue to have been a little longer. Just when I was beginning to get into the story it was over.

The art by Jeremy Haun is satisfying. By no means is it amazing, but as an artist he’s growing and handles the script well. I particularly enjoyed how he depicts Nygma, breathing a true villainous quality into the master of puzzles. The book may be a cash-in but Haun shows he belongs in Gotham, and I’d like to see him make more visits.

In conclusion, it’s not a bad book, it’s a little lightweight, but I enjoyed it a lot more than the previous offering with the Joker. Worth picking up if you see it on the shelves.

For more comic views follow Glen on Twitter at @glenghiskhan and check out his blog for more reviews at www.glenludlow.blogspot.co.uk

The Justice Leagues are dead. Earth is left defenceless. And from across the gulf of the Multiverse comes the Crime Syndicate of Earth-3 intent on conquering our world. Composed of evil counterparts of each member of our Justice League, the inhabitants of this world are given an ultimatum: fall into line or be destroyed!

The story begins with Lex Luthor threatening to throw a business rival from a helicopter unless he let’s him purchase his family run business. Luthor’s scheme is cut off when the helicopter loses power and falls from the sky. The reason? Ultraman, the Earth-3 counterpart of Superman breaks into the Lexcorp building in search of Kryptonite, using the substance to fuel his superpowers. Ultraman requests that Grid, the sentient cybernetic implants of Cyborg, locate all of the Kryptonite on this world so his supply does not run out. To keep this planet in chaos, Grid is releasing all superhuman prisoners back into the world.

Nightwing is abducted by the Crime Syndicate and unmasked live on television. With the dawning realisation that the Justice League aren’t going to intervene, and the moon blocking out the sun, the one thing that weakens Ultraman, Luthor realises this really might be a job for Superman, but where is he?

Straight off I wasn’t too keen on this issue on my first read. As is often the case it required a couple of reads before I could form a full opinion on it, and I’m glad I gave it a second chance. Considering this is the opening of an event book, Geoff Johns handles the premise with ease and flair. He’s always been very good at escalating a story with the right tempo and pacing to build on what’s come before, and he’s no different here. The villains in this aren’t presented as two-dimensional goons waiting to get beat up, but instead we get to see a bit more of their character. In particular one small scene is when Captain Cold expresses concern for his hospitalised sister and vows vengeance should anything happen to her. It’s not a major part of the book but it’s little slices like this that make the villains more relatable in terms of empathy.

The other character that really rocks here is Luthor. He goes from his sociopathic best right off the bat, threatening to throw a business rival from a helicopter, to by the end of the issue stepping up to the plate when he realises the world might actually need the alien he’s tried so desperately to kill in the past. It’s certainly an interesting peek into the other viewpoint of the DC universe, and the tantalising cliffhanger at the end ensures I’ll be picking up issue two.

David Finch’s artwork is class A as is usually expected of the man. He always brings his A-game to whatever book he’s working on, and it’s no different here. For a book of this magnitude this is where you get your Finches or your Capullos to illustrate. You need that blockbuster eye that they bring to it. My only issue with the book was Richard Friend’s inks were a bit too heavy at times, but that’s down to personal taste more than anything.

On a whole, it’s a great start to what I hope is a very entertaining event book. They’ve certainly got the right team on it anyway, so if they can keep the momentum going, then I think we’re in for a real treat!

For more comic views follow Glen on Twitter at @glenghiskhan and check out his blog for more reviews at www.glenludlow.blogspot.co.uk

If you have a device (or several) you can now read a comic book anywhere.

If you’re reading this you’re probably a fan of books, comic books, yes, the ones with words and pictures. Unless you’ve been living under a hedge, or a fence, much like the one I’m struggling to put up in my garden, you will know that comics have undergone a metamorphosis. They’ve gone from the fat, little caterpillar, sold only in little specialist stores and have regenerated and spread their digital wings, yes, if you have a device (or several) you can now read a comic book anywhere.

Comixology, basically a digital storefront where, as of recently, anyone can sell their comic book wares, be it the giants of Marvel or DC, or the pet project of a kid in his bedroom, led the way for the digital-comic boom. They have, without argument, just made getting comics a little easier.

You’re either reading this on a computer, or a tablet, or phone, so you know all that I’ve told you

But, this is information you probably already know. You’re either reading this on a computer, or a tablet, or phone, so you know all that I’ve told you, unless you’re slightly odd and have printed this out, how very retro of you.

Now I love digital comics, but only really for back issues, I don’t think I’ve ever bought a new release from the digital store, mainly because I refuse to pay the same amount I would pay for walking into my local comic book shop and getting a physical copy of the book. Digital comics are great for being able to read backstories and historical issues of some of the best storylines in the medium’s history. They’re also brilliant for the comic creator on a budget to get his name out and about. They’re handy for a quick read when you’re in a waiting room or taking a poo, but that’s about it.

They’re handy for a quick read when you’re in a waiting room or taking a poo, but that’s about it.

There still is nothing, well almost nothing, that gives me more pleasure than cracking open a new issue of something. Call me a romanticist if you will, but when you get the fresh smell of the paper hit your nostrils, and the paper cracks beneath the weight of your fingers, the way the subtle acids in your hands attack the pages the minute the two meet, ah, there’s nothing like it.

The other pleasure, and one digital comics can never, ever replace, no matter how hard you argue, is the beauty of a double-page spread. One of my favourite artists, and notorious peddler of the double-page and splash-page is Bryan Hitch (Ultimates, America’s Got Powers), I’ve tried reading issues with his artwork in digitally and it’s just not the same. It lacks the impact and intimacy that you get with the traditional comic book.

One of my favourite artists, and notorious peddler of the double-page and splash-page is Bryan Hitch

Neither am I a fan of motion-comics. To me, they’re just terribly animated cartoons made on the cheap. Yes, I know people love them and hail them as the future of the industry, but to me, they’re not a comic, they’re an oddity. They’re a crossbred medium of animation and comic book. Good luck to them, but they’re not for me.

So if digital comics get new audiences going into comic book stores, that’s even better, but I think for me I still like my new issues printed and in my hand. It’s not just the price, yes, it’s easy to get them, but the whole experience is a little sterile for my tastes.

Also, I don’t think most people like having their screens scribbled on at book signings.

Also, I don’t think most people like having their screens scribbled on at book signings.

For more comic views follow Glen on Twitter at @luddersonline

Last week Mike took time out of his busy schedule to answer some questions, covering his inspirations, thoughts on the future of comics, and his personal favourite moments of his career.

Most of you who read comic books will know the name Mike Deodato Jnr. He has been a constant in the world of comic books for the last twenty years plus. Often called an ‘artist’s artist’ by peers and fans alike, Deodato has reinvented and breathed life into old and new characters alike.

With a majority of his mainstream career at Marvel, Mike has celebrated runs on Dark Avengers, Secret Avengers, Incredible Hulk, the list goes on and on.

Last week Mike took time out of his busy schedule to answer some questions, covering his inspirations, thoughts on the future of comics, and his personal favourite moments of his career.

Q1: Was art always a career choice you aspired to get into? Was it always comic art you wanted to do?

Yes! Way back, when I was just 13 years old, I decided that I wanted to be a comic book artist. I didn’t know when, and how, but somehow I knew it was going to happen.

Mike has celebrated runs on Dark Avengers, Secret Avengers, Incredible Hulk, the list goes on and on.

Q2: Who is the biggest influence in your life in a professional capacity?

My dad. He was and is a big fan of comics and an artist himself. He gave me advice on how to draw and, more important, he gave me all the support he possibly could. Not just emotionally but creatively: We ended up doing comic books together in my native Brazil — stuff that got published. It made me proud and was a good foundation for me.

Q3: Who are your favourite artists? Comic industry and outside the industry.

The classic guys, of course — not the stars-of-the-moment: Neal Adams, Will Eisner, Hal Foster, Jim Steranko, Bernie Wrightson, Frank Frazetta… the list goes on and on.

Will Eisner, one of Mike Deodato Jr’s favourite artists.

Q4: If there was one book or maybe a vanity project you’ve always wanted to work on, what would it be?

That’s easy: CONAN, written by Frank Miller, and drawn by me. And printed in black and white. A vanity project would be my own project RAMTHAR, which I’m developing right now.

Take Wally wood, for example…he burned super-brightly in the ’50s when he was full of piss and vinegar, knocking himself out on every page.

Q5: Did you embrace digital art because you felt you had to? Or was it because of the other benefits of digital art?

Have you noticed the usual progression of a comic artist? Take Wally wood, for example…he burned super-brightly in the ’50s when he was full of piss and vinegar, knocking himself out on every page. By the ’60s and early ’70s, he wasn’t showing the spark, that effort – -it was great technical craftsmanship but he wasn’t hungry for it. I didn’t want to follow that career curve. I think my work now, with all the tolls and techniques and creative choices and experimentation I do, has made my stuff stronger and stronger. I like to keep experimenting, because it makes things more interesting for me. I love technology and I love to draw –a perfect match, I would say.

Q6: What is your personal highlight of your career with Marvel so far?

Incredible Hulk #70. Everything was right in that issue. But I think the best is yet to come.

Everything was right in that issue.

Q7: You’re known as a fan of the Western genre, if you could adapt or work on an existing Western franchise as a comic book, what would it be?

I have three in mind: Ken Parker, Tex, and Jonah Hex.

Q8: Do you think the comic industry will ever see another Mike Deodato Studio? On reflection do you believe it was a good idea or a bad idea?

Never again. It was a terrible idea done because editors asked me to do it, ad at the time I didn’t know how to say NO. I felt I needed to please everybody. That was the lowest point of my career artistically. I made lots of money and got a lot of people employed, but it was not worthwhile, ultimately.

Q9: How much do you draw from real world inspiration in your art, and how much is derived completely from your imagination? Do you try and add verisimilitude to all your art?

I try to balance it the best I can. There were times where I was more dependent on references and such — but, nowadays, I try to rely more on imagination, specially regarding to the figures. But it is an evolving process. I’m never satisfied, and this is good for my art.

The Dark Avengers courtesy of Mike Deodato Jr.

Q10: If you could give your younger-self one piece of advice, what would it be?

To buy a lot of Microsoft stock.

Q11: Take us through an average working day with Mike Deodato.

I wake up by 7 a.m., have coffee with my adorable wife Paula, then I go checking emails, social networks and comic book news. The rest of the day is drawing, as I pester a couple of friends intermittantly on Skype, except for the food stops — and some days I have Karate classes. I stop drawing by 10 p.m., and then I go watch some TV with my wife.

Q12: Finally, where do you see the comics industry going? All digital? And do you think motion-comics will become dominant over the traditional medium?

Print will always have its place. Comics are not just for reading, they are also for collecting. As for motion comics, I am not very fond of them, because mostly they look like bad cartoons, but it is just me. So far the best motion comics still look essentially like those ’60s-era Marvel Super-Heroes cartoons. Nothing beats holding the physical comic book in your hands, reading and savoring it and controlling the reading experience at your own pace without worrying about a low battery indicator.

For more comic views follow Glen on Twitter at @luddersonline

When I was a kid comics were comics.

When I was a kid comics were comics. That, you’re probably thinking, is true now, comics are comics, but are they really? Who can recall a time when Marvel just published comic books, with the occasional foray into a cheaply made cartoon series based on one of their properties, or some B-movie adaptation that flopped at the box office? You probably all can, in some way remember this dark and distant past, but what has the comic industry become now?

Marvels 1990 Captain America movie aka some B-movie adaptation that flopped at the box office.

Comic characters have always been adapted into the TV/film industry since Batman first pulled on the cowl back in the late 1930’s, as successful as these adaptations were, they never really had the change of attitude that is now affecting the comic book industry as they struggle to mimic their celluloid cousins. Sure, Batman became camp to match the TV series, maybe Superman’s physical appearance may have been tweaked to resemble Christopher Reeve, but the stylistic change comics have undergone since becoming a major box office force in the last decade or so, has left the medium reeling with a massive portion of the industry writing books as storyboards for movies.

I’m not going to attack anyone, far from it, this isn’t an attack on the system, it’s merely a marketplace adapting to attract new audiences, I applaud that. Mark Millar (Superior, Kick-Ass, Ultimates) has written in this way for years. You could quite comfortably take Millar’s work, add a few EXT’s and INT’s to the script, and you would have a shooting script ready for a movie. Millar is a very good writer who excels at his craft, but there comes a time when the beast that is the cinema spin-off turns on its master and begins to dictate how comics should be written, that is now.

You could quite comfortably take Millar’s work, add a few EXT’s and INT’s to the script, and you would have a shooting script ready for a movie.

Marvel and DC are no longer comic book publishers. They are multimedia companies. They use every format possible to sell their characters in. But look at it from this angle: How many children know who Batman is because they’ve played Arkham Asylum or watched him in an animated series? Probably the masses. Now ask the question, how many children know who Batman is because they read the comics first? Probably very few.

I’m by no means insinuating that comic books are a dead medium. They’re a medium in transit. Indie comic sales are stronger than ever, in fact it was an indie book (The Walking Dead) that topped the charts last year as the best-selling book. But how many of those readers that the book now attracts read it because of the TV series adaptation? I imagine quite a few.

Indie comic sales are stronger than ever, in fact it was an indie book (The Walking Dead) that topped the charts last year as the best-selling book.

There is a symbiosis going on now between Hollywood and the comic industry, except this isn’t quite a fair exchange. Comics could go to the great pulpers in the sky and the film machine wouldn’t bat an eyelid. They have their characters, people know who they are, would it really be any great loss if the books were no longer being printed? Probably not. Hollywood gives the comic industry maybe a few hundred thousand new readers when a big movie comes out. These readers will probably pick up the titles of the character they’ve seen on screen, stick around for a few issues, then drop out because they’re either uncomfortable with the medium, or they find it boring. The ones that do stick around, well they’re now feeding the machine that is the Big Two, buying books about people who have spandex fetishes with masochistic tendencies – basically superheroes. These people are blissfully unaware that there might be more to the industry than this, you might get a few slip onto the indie books. They might have friends who get them hooked, but mainly they’re consuming exactly what they see on the screen. Why? Because the industry, at least at the large corporation level of DC and Marvel, has changed to give readers what they can expect from what they’ve seen in the theatre. Gone are the inner-monologues. Gone are the thought bubbles. Gone is the unique opportunity to use a format that is a hybrid of prose and film to do something very unique. What you get is a story you can expect to see adapted for the screen with little worry over how to adapt the material, and it all depends on how the sales go.

The real sadness regarding this change, is apart from a few superstar artists and writers indie titles (most of whom made their names at Marvel and DC) becoming huge hits, you’re left with a top fifty sales chart made up of Marvel and DC books, nearly all of which sell because the latest film is out.

This isn’t what the comic industry is about. Comics, to me at least, were the ultimate place where you could truly experiment with visual storytelling. I’ve read some quite amazing books, but unfortunately most of them face cancellation because they don’t have the audiences they need to survive, mainly because they don’t have the exposure a film adaptation can offer.

I don’t want to live in a world where stories worth telling are snubbed out, because it’s not marketable to the film sharks.

I don’t want to live in a world where stories worth telling are snubbed out, because it’s not marketable to the film sharks. How many writers now sit down and want to write just a comic? How many comic teams sit and create something with no thought of the possibility of their property being adapted into another medium?

I lament for the industry. The true comic industry. It faces a challenging future to survive in a world where comics are no longer a source of entertainment, they are a source of nourishment for games and films.

A world where comics are treated like the art form they deserve to be treated like, and not forced into this hideous beast that feels like it’s auditioning to become a film by showing you the storyboard, well that world would be enough for me.

For more comic views follow Glen on Twitter at @luddersonline