Greetings, Comicscape faithful, and welcome to another edition of Wednesday weirdness. My friend and confidante, D.C.
Harbold of New Orleans rsquo;s More Fun Comics, inadvertently gave me the idea for this week rsquo;s column. He remarked that a lot of readers had dropped Wonder Woman from their pull-lists. Not only that, but he rsquo;d heard that other shops experienced the same thing.
We wondered if it had anything to do with Will Pfeifer rsquo;s fill-in issue ndash; Wonder Woman beats up abusive husband ndash; but I decided to look into the issue. Lo and behold, I hadn rsquo;t paid attention very well in the past year to the huge delays plaguing Wonder Woman and DC rsquo;s decision to just change writers and postpone the conclusion of Allan Heinberg rsquo;s arc indefinitely. After considering the move by DC, it occurred to me that the comic industry increasingly favors writers from other mediums for their immediate draw, both comic readers and not.
Like Rodney Dangerfield, the major publishers of American comics think they can rsquo;t get no respect. Above all else, Marvel and DC want mainstream culture to accept comics in the same way that it accepts film, television, music, and books ndash; not as a niche medium, but one that practically everyone enjoys. Part of the industry rsquo;s clamor for that respectability includes hiring writers from other mediums.
From novelists such as Greg Rucka and Brad Meltzer; to television writers like Joss Whedon and Allan Heinberg; to actors like Thomas Jane and Bruce Campbell; and even musicians like Rob Zombie, the industry greets outside talent warmly for its instant marquee value. But, the use of those writers raises a number of issues that we should explore.
No one doubts the value of an established name.
When someone like Rob Zombie or Joss Whedon writes a comic, the publisher knows that some readers will buy the title on name recognition alone. More than that, they really hope that recognition will compel new readers to try comics for the first time. And yet, a television writer has yet to send the publishing arm of the comics industry soaring through the subterranean levels of fandom and into living rooms, placed comfortably next to TV Guide.
When Marvel announced that Joss Whedon would write Astonishing X-Men, everyone thought that viewers of Buffy the Vampire Slayer and Angel would flock to comic shops. Of course, they didn rsquo;t ndash; at least not at the hoped-for levels. I hardly mean that as a stab at Whedon.
He remains one of the few television writers with a recognizable name outside of hardcore fandom, and probably the only one I would expect to sell comics to non-fans. And, like other high profile projects with ldquo;outsider appeal rdquo; like Batman: The Dark Knight Strikes Again and The Dark Tower: The Gunslinger Born, Astonishing X-Men sold well initially and still moves respectably. But, it didn rsquo;t instantly open the golden gates of mainstream acceptance.
Trade paperbacks facilitate a much longer shelf life for comics than in years past, so I might be assessing The Dark Tower prematurely (which, I realize, Peter David scripted, and not Stephen King). But, publishers understandably want a ldquo;magic bullet rdquo; that will instantly make everyone see comics as more than children rsquo;s literature. Writers from other mediums doubtless look like a shortcut to that goal, but I rsquo;ve yet to see anything convince me that it really works.
When talent with marquee value from other mediums writes comics, it generates buzz within the industry. A few non-fans might check it out. But, comics by outsider talent usually just fade into the shelf, important mostly to fans of the established characters and those readers already enamored with that writer rsquo;s other work.
Most people outside of comic fandom simply fail to make the connection between ldquo;the Buffy guy rdquo; and Marvel Comics, even if it lands on CNN. Most people only know the most prominent names in music, film, television, and writing. Everyone knows Tom Cruise, but ask ten randomly selected people if they know about Kevin Smith.
At most, a couple will. Stephen King remains a household name. But, ask your mother who Chuck Palahniuk is.
Hell, if everyone that listened to Glenn Danzig or Rob Zombie collectively bought even a single issue of their comics, it would amaze the industry. Granted, neither constitutes the most popular rock acts on the planet (at least not anymore), but the numbers of records they rsquo;ve sold over time rivals the sales of even the most popular titles from the last few years. But, most people simply refuse to cross the line with comics, even if they recognize the writer from elsewhere.
I think we can agree that no publisher will fire the ldquo;magic bullet rdquo; anytime soon with a television or film writer, let alone an actor or a rock star. I hardly mean to denigrate anyone rsquo;s writing based on their primary occupation. They may create amazing comics, but the public rarely cares.
Thus far, it seems the only thing close to magic bullets come from major events with stories ndash; or, at least, ideas ndash; so interesting that fans rally to them alongside lapsed readers that have come back to see what all the fuss is about. Civil War and Captain America #25 sold well because Marvel accompanied their releases with a media blitz. In those cases, the stories affected cultural icons so prominent that no one could ignore them ndash; namely, Spider-Man rsquo;s unmasking and the death of Captain America.
DC garnered similar attention with the deaths of Jason Todd and Superman. I suppose you have to kill someone for press. Granted, The Dark Tower grabbed its share of mainstream attention, but Civil War #7, which came out the same month, still outsold it by almost 94,000 copies.
I don rsquo;t know for sure if those numbers would look any different had Stephen King scripted series, but I suspect they wouldn rsquo;t.
In the worst case, these television or screen writers new to comics find themselves caught between schedules and unable to deliver scripts in a timely manner. Whedon lagged on Astonishing X-Men for a long time before hitting a regular bimonthly schedule in 2006 and resuming monthly publication for September through November of that year.
And, another issue hasn rsquo;t surfaced since. Allan Heinberg, a writer on Grey rsquo;s Anatomy and The O.C.
, began Young Avengers in April of 2005 and the relaunched Wonder Woman in June of 2006. Because of constant delays, Marvel rescheduled Young Avengers from an ongoing series to a ldquo;season, rdquo; with the third arc curtailed by two issues and ending at issue #12. After only four issues of Wonder Woman in eight months ndash; the series launched as monthly and was then rescheduled as bimonthly ndash; DC elected to postpone the fifth and final installment of Heinberg rsquo;s arc and leave the story unfinished.
Will Pfeifer wrote the aforementioned fifth issue as a standalone story, completely detached from the events of the previous four issues. Supposedly, Heinberg rsquo;s final installment will appear as a special at some point. But, DC had to keep the book on schedule in time for Jodi Picoult rsquo;s tie-in issues for Amazons Attack.
While we rsquo;re at it, Kevin Smith took a three-year break in between the third and fourth issues of Spider-Man/Black Cat: The Evil That Men Do. Richard Donner rsquo;s run on Action Comics with Geoff Johns has dragged on for a few months now as well, postponed by an admittedly touching filler issue by Dwayne McDuffie ndash; one that occurs in the background of the current arc.
I mean no personal attacks toward any of these writers.
I don rsquo;t doubt they already work a great deal and have little time for other projects outside of their main focus. But, everyone knows that, as periodicals, comics usually come out monthly or bimonthly, or at least on a set schedule. Despite the industry rsquo;s increased tolerance of delays of months or even years, readers still expect titles to come out on time.
Plenty of professional comic writers fall in this trap as well. Six months have passed since the first issue of Grant Morrison rsquo;s Wildcats. The final issue of Warren Ellis rsquo;s Planetary has yet to see print after the book moved from monthly to quarterly to whenever.
The same goes for Mark Millar rsquo;s Ultimates 2. But, whether industry professional or outside talent, the solution remains the same: finish the issues before soliciting them. If a television or screen writer wants to try his hand at comics, the publisher should first ask for an original graphic novel with a deadline attached.
I should recognize those outside and former outside talents that, much like the Borg, the comic industry has assimilated. Brad Meltzer and Greg Rucka started as novelists and have gained recognition as comic writers. Meltzer still pens the occasional novel and has even worked in television during his career in comics.
Reginald Hudlin serves as president of Black Entertainment Television and still turns in Black Panther on time. Bruce Campbell finished his adaptation of The Man with the Screaming Brain for Dark Horse on schedule, as well. It can work.
I understand that everyone rsquo;s busy, but no writer should lead a publisher and its readership to expect a regular series, only to drag the entire affair out over months or years. Many readers simply drop delayed titles and it makes the industry look unprofessional. If the comic industry wants mainstream acceptance, calling attention to itself with outside writers and then allowing for inexcusable delays won rsquo;t help.
Ben: I don rsquo;t much care for Sword and Sorcery, but this has been a great series thus far.
Kurt: And thanks to 30 years of heavy metal, Dark Horse will never run out of titles for Conan miniseries.
Kurt: We rsquo;re going to kill this joke until the tenth issue.
I can see that now.
Ben: Gail Simone and Alvin Lee ndash; The Deadpool team getting back together is a wonderful thing.
Kurt: What you get when you throw their PS3 out of the second-story window.
Ben: We rsquo;ll let you off with a fine this time, but remember, just because it rsquo;s consensual doesn rsquo;t make it legal.
Kurt: Are you sure you really want to lay down the law with Captain Marvel? I mean, think about this for a minute.
Ben: The first one was good enough to warrant continued purchase, but just barely.
Brian K. Vaughn: DYNAMO 5 is the perfect execution of an idea I really wish I had thought of.
Out of the gate, this is already one of the best superhero books on the stands rdquo;
Ben: How much does it cost to get BKV to lie for you?
Kurt: Yeah, but just kinda. I think I rsquo;m going to drop it.
E-Bay, here I come.
Ben: I couldn rsquo;t come up with anything this week so fill in the appropriate insults: Ghost Rider can _____ my ______ and then ______ my _______.
Kurt: Dude, why the hate for the flaming skeleton on the motorcycle?
I mean, the movie sucked, but still.
Ben: I cannot believe I am excited for a series staring Nova.
Kurt: It is just Nova, or is it the Man Called Nova?
I want to distinguish, here.
Kurt: Okay, I rsquo;m excited. This book has turned out far better than it had any right to be.
Kurt: Wow, this week seems to be an amazing flood of Ed Brubaker and Warren Ellis. Yessir, things are looking up.
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