With Captain America Reborn, I just read Cap #600 and Reborn #1. And to me the details are still fuzzy about what exactly is going on.

It appears that Steve Rodgers mind was sent time traveling to the past. While his body is in a time freeze type stasis. And that the Red Skull basically wanted his body.

I think this whole time travel and scifi aspect is making for a terrible run and story idea. I expected better of Ed Brubaker then a cope out way to return Captain America. Even though it looks like he planned it this way, the idea I still think sucks.

Instead of Captain America just shot and killed and be done with it. End of story in a very realistic tone. The Red Skull wins at last.

Now it’s a case of: The Red Skull played as fool and loses once again. Oh the Red Skull just wanted Cap’s body to use as his own. Which will ultimately mean Cap returns and the Skull failed.

But I don’t think it explains the gunshot wounds clearly killing his body. Or the body deteriorating cause of the super soldier effects on the body.

But don’t fear because within a year it will be back to status quo Captain America, and this event in his life all but forgotten. A footnote in comic history.

I also wonder does the Red Skull have a possible gay fetish for Steve Rodgers, Captain America?

Here he is wanting to take over Steve Rogers body yet again.

In the past, with the cosmic cube the Red Skull switched places with Captain America and took over his body.

Also the Red Skull used and had a cloned body of Steve Rodgers.

What is the obsession with his body? It seems to me like it’s a bizarre fetish but a very real one that the Red Skull has. Captain America may be his enemy, but in a truly bizarre way I think he could be fond of him. And deep down he really does not want to kill Captain America.

It’s one of those weird cases of enemies being rivals for so long, that it actually grows into a relationship. Sure they may say they hate each other. Yet without the other, they would feel incomplete. The Red Skull without the real Captain America, would not feel as challenged by any other hero.

Kiel Phegley: Phase two of this controversy comes from Rob Liefeld, logged on to Twitter and “As the guy that created, designed and wrote his first dozen appearances, Shatterstar is not gay. Sorry. Can’t wait to someday undo this. Seems totally contrived.”

As the Editor-in-Chief, how do you respond to that? It’s one thing to have disagreements internally at Marvel creative summits, but do matters change when those internal debates become public?

Joe Quesada: I’ve got to be honest with you, this is the first I’ve heard about Rob’s comments, so I can only react to what you’re telling me here, but there really isn’t much I can say about it except scratch my head. I like Rob, but Peter is the creator who’s writing the book, and ultimately while Rob is one of the guys who created Shatterstar, Shatterstar is a Marvel character and not a Rob Liefeld character. If this was done to a character in “Youngblood,” then Rob has every right to do what he wants to with it.

I hate to be that cold-blooded about it, but I’ve created characters for Marvel as well and at the end of the day, they’re Marvel’s and not mine. What Marvel wants to do with them is what Marvel wants to do with them. That’s my clear understanding of how things work when I do work-for-hire, to claim otherwise would be silly. It is work-for-hire. The characters are Marvel’s, and if that’s the way the characters are written, then that’s the way the character is. If Rob wants to publicly disagree with that, that’s his right, and I respect that. But if Rob is intending on flipping what Peter has written, he will have to wait to discuss that with the next Editor-in-Chief.

CUP O’ JOE Interview

I took the above quotes from a great Comic Book Resources Interview, click link above. I did however put in bold text some points I would like to highlight.

The above point in concern to the Shatterstar comic book character, is just another clear example of how a creator of a character can have one intention. But basically that intention means nothing if you have no ownership rights over your character.

Basically, whoever owns the character can do whatever they want with it. Even if the person who made and created the character completely objects to how the character is being portrayed.

Ir really is a messed up situation when you think about it. And I guess comic books are one of the industries this still happens in.

Peter David had NOTHING to do with the creation of Shatterstar. It’s also funny that he is a great writer. But he is great at writing other people’s creations. His most famous being his Hulk writing. A character he also never created. On his own, he’s never created a character that has had a lasting impact. At least in terms of the average comic fan knowing and acknowledging the character and book he created on his own.

Rob Liefeld created, designed, and named Shatterstar. Without Liefeld, there would be no such character at Marvel comics. Yet, just like all those Golden and Silver Age creators, comic creators in the Modern Age of the early ’90’s still had no real ownership and creative rights to their creations in the Work-For-Hire companies. And this is in regard to the Big Two companies.

Though there is a royalty incentive since the 1980’s, it’s never been made public just what those percentages compile. Is it just comics? What of other merchandise? But my instinct tells me what you get percent wise, is nothing like the percent and ownership you’d have if it were in another field such as book publishing, or in the film industry.

This also brings up another good point I’ve mentioned before and that is: Why create any new characters you have, and bring them to a work-for-hire company?

You really should not in my opinion.

This is not the the 1960’s or even the 1980’s. Where for all intents, you really could not have a successful comic book published outside of the big two companies. And one wherein you owned the rights to your creations.

With other publishers out now such as IDW, Dark Horse and especially Image Comics. Their are means and ways to own your characters nowadays, in a way that really did not exist before.

Could you imagine for example Robert Kirkman’s “The Walking Dead” comic published by Marvel? It would have been watered down by now, and the book forced into meaningless crossovers.

By being owned by Kirkman, the books integrity is still their.

That’s another problem with Work-For-Hire, and that is keeping a books integrity.

It really is all but impossible to work for a publisher, and keep your book title and vision for the series isolated. And to therefore build how you see that world in your book. Another great example of this is writer JMS leaving the Thor series. And the main cause it seems is Marvel wants to force a company wide crossover into the Thor book. And writer JMS really does not want a crossover interfering with the integrity of his Thor series and what he is trying to create.

When you look at Marvel and DC Comics over the last ten to twenty years, how many new characters have been created that have had lasting power? It really is no wonder with the above creative rights examples, that new characters should not be created and added to their already robust character rosters.

Besides, you would probably make more financially by owning your own book and character, then to settle for a small percent royalty fee from the Big Two publishers. And with Hollywood looking for any comic property they can get, they might be knocking at your door.

And if it does not work out, you could always sell your book and creations to another publisher. This option does not exist or work in reverse, if you don’t already own your character and book.

The only real downside for the Big Two is, new characters bring new creative ideas with them. Without new characters, new ideas will not flow. And how long can you keep putting the characters you already have through the same motions before it becomes boring and trite.

But I suppose the opposite side should also be mentioned: If you do create new characters for the Big Two, know what you are getting into. And don’t complain after the fact how they are portrayed and what little financially you may get. Ignorance is Not Bliss in comic books anymore. This is not like the 1960’s where your options were limited. You have much more creative publishing freedom in today’s comic book market and it does not hurt to take advantage of that.

In fact, it might be in your best interest to take advantage of that.

I wrote the following blog post in another group on 4/19/08 but since I’m shutting that group down soon. I thought I’d post it here, because it’s a good post and I still want it out there.

I was on a comic forum and posted this reply. Thought it was worth putting here. It concerns how people writing the books now. Such as on Superman, Spider-Man and all those icons you know. How the books published now. None of them feature the work of the original creators who made them.

Making the books now are people who never created them.

It’s a bit heady stuff, and you might need to be a fan or know more to understand the context. But I hope what I’m getting across can be understood.

Some context is: (When I say Lee I mean Stan Lee and Ditko is for Steve Ditko. For those who didn’t know.) They co-created Spider-Man. Lee on writing, Ditko on art. Back then it wasn’t a direct full script writing. Lee would give his artists an outline. The artist was free to pace and draw the story how he felt fit, and whatever elements he wanted, the artist would put in such as how the story would go.

Then Lee would see the art pages and then make up the caption dialogue on the spot. Then they would look at and edit the art or writing. But usually there wasn’t much to do. Just fix a panel or part of a page here or there for the book.

Also Kirby is for Jack Kirby, he was the artist with Stan Lee who co-created the Hulk character.

The Silver Age refers to an explosion of new character’s made in the ’60’s. Most think it had a cut off point and every book after was a new age. I disagree and think every book ended at a certain point in their run. They did not all end at the same time.

Anyway here it is:

====

For me any other creator who takes over another’s creation. That creation is no longer the same, or at least as legitimate.

I hate to say it but “the real and true” Spider-Man left after Ditko left the book.

It’s tough when two or more people create a book. If it is one person who made a book or certain character. When he leaves, then the character is truly in another’s hands and not the real creators.

With a co-creation we still have one of the creators, in this case Lee, and there is still a legitimate creative hand there. It’s different, but not the same. If that makes sense.

Because let’s face it, if Ditko were still on it. The series would Never have went the way Romita and Lee brought the book. It would have been vastly different.

But after Lee left in the early 100’s. And other’s hands took over the book. Then the creation is truly not the work of it’s creators. It becomes something else entirely.

Another example is the Hulk, I know other’s filled in, but it wasn’t a long gap and Kirby was back. But after Kirby had no creative hand in the series for a long time and Lee left. Then the character lost it’s creators.

I think it’s okay if a creator, or the creator of a character series takes a leave. But when his hand is entirely gone from the series. The it becomes something else the character. Not quite true to what it once was.

I used to think like others that the books and characters keep going and going.

One thing I like on Manga is there is usually a series end and that’s when it’s creators leave and wrap up the book. No one else takes over. With superhero comics when one person leaves, another just takes over.

I mean in books would you consider a Lord of the Rings material legitimate and canon if it were not written by Tolkien?

Would you consider a Star Wars movie legitimate if Lucas had no hand in it?

Yet in superheroes, when it’s characters creators leave a series. It’s still seen as legitimate work.

I wonder why? Just because a publisher put a label on it approved and printed it? Think about it, if you wrote the title and had an artist to draw it. Then Marvel printed it. Your work would be considered just as legit as the writers at Marvel now. It’s the fact that they put a label and approve it that makes the difference. But just like them, you never created these characters. So the line between fan and pro in this regards I think is thin.

The Silver Age had endings. But not one vast cutoff point that others like to use. Each series was different, and ended at a different time. But when Lee left the writing, and others took over the books of all his co-creations. Then the last gasp of the Silver Age was truly over.

Other writers are more true to the original writing by Lee, but it’s not the same either way. It just varies by degree who is closer to that original vision. Some bring it close and others bring a far different perspective.

Working for a company where you have no creative control or rights, such as Marvel or DC your creation can be ripped and changed from you and you can’t do a thing about it.

Sadly the Marvel Comics now I think have become just as commercial as DC Comics and the heart is not there. The creators who were around then or worked with the original creators are long gone.

Look who is at Marvel now. Young guys in there 30’s mostly. I remember for example Mark Miller saying he only read a few Wolverine issues, the best stories of his, and not the rest and wondered why read his crap stories?

Then I thought, many fans and I have read more stories and therefore know the character better then him. Yet Mark Miller is writing the book.

I realized when it gets to that point, where the reader has more knowledge of the character, then the books writer. I thought:

A. Writing comics is easier then I thought. Or to fake it and can get by, even if you don’t know the character well.

B. Such a book is not worth following.

Also on the boards in the Spectacular reboot a few years ago, the writer whose name I forgot was asking for information about Carnage. Then I was like, I know more about Carnage then him, yet he’s going to write the character and barely knows him.

I think comics writing has become too serious now and real world. The current MU is just not fun or worth following anymore. If I wanted real world, I’d look at the papers.

I’ll get to a more fun topic next time. Too much thinking on this post.

Captain America Lives Again

It seems in a few months Captain America will be reborn and turn up alive again at Marvel Comics. I think this is partially a reason why comic book fans, who have grown older have become cynical of comic books, or lost interest.

Why care if a character dies, when you know they will just eventually return, and at some point return to their status quo. Dying in comic book universes mean nothing, because if a character even has a minor league fan base, and profit can be made from them they will return. Think of all the C- characters like Wonder Man who die, only to return. If a C- character won’t stay dead, do you think a major character will?

I think with an aging audience, some people have caught on to the fact that, for example: Will Spider-Man’s identity be revealed next issue? Will Wolverine survive that fatal shot next month?

The cliffhanger really has no merit anymore for the next issue, because given enough time or years a character will always return to their status quo, and that big incident that happened is forgotten like it never existed.

That’s my thoughts on it, what about you?

John Turitzin, Marvel’s general counsel and EVP of the executive office

During the presentation, Turitzin gave an overview of Marvel — a “cash machine,” he called it — and the various ways it makes money, from publishing and licensing to the more recently added Marvel Studios division. Like I said on Friday, one of the more interesting portions came when a comic fan in the audience asked about recent cost increases on some of Marvel’s more popular titles from $2.99 to $3.99.

When asked if Marvel would consider lowering the cover price if revenue started to drop, Turitzin said, “Our goal is to maximize our revenue, and if we’re not maximizing revenue then our pricing is wrong, and we have to take a look at that … so you can hope we see that attrition, and our prices come down.”

“We’re always testing our pricing on our comic books to see to the extent to which it is inelastic, and we can increase our profit in that business,” Turitzin said.

“We’re just looking to maximize our profits for that business while not alienating our own fan base by making them feel that they’re gouged, which I hope you don’t feel,” he told the fan.

$3.99 The Real Reason for the Increased Price

I took those quotes from a great Comic Book Resources . com article. Click the link above to get their.

Basically it’s admitted that they are pushing the boundaries on price increases to maximize their profits. And see what they can get away with, in terms of prices, before people stop buying their books.

I know a business is their to make a profit, but their is a difference between that and gouging your buying public to milk every dollar they can get from them.

I really like that last quote saying in essence: I hope you don’t feel that we’re price gouging you, but you know what? In truth we really are.

Unlike IDW, Image and other smaller publishers, people tend to forget about the comic book advertisments in Marvel Comics. Like DC Comics, both sell a lot of advertising space that brings in revenue. All things being equal, a Marvel or a DC comic should be cheaper then a smaller publisher because of the advertising revenue Marvel and DC get to off-set their price per issue costs. But if you have noticed, that is not the case. For example Image has the same price as a Marvel or a DC book. Yet Marvel and DC have prime advertising revenue space. Whereas Image has lesser space, or at least from prominent advertising companies that pay more.

But back to the main issue, it’s glad to hear someone at least be honest and admit, all things being equal. We’re increasing prices to gouge you, and see just how much we can milk from you. As we line our CEO pockets and give ourselves bonuses, that bonus alone is more then you probably make all year.

And in today’s economic climate, it sure is great to know corporate executives have our best interests at heart.

$3.99 an issue and no doubt increasing within a few years.

Wolverine is A Patchwork Character

When I hear the casual comment by writers that: ‘Wolverine was created by Len Wein’ I can’t help but wince.

When you look at Wolverine as we know him today, you have to realize he is a virtual patchwork character with no one major creator responsible for the overall character and what he has become.

What I mean by this is look at all the other major heroes and characters. They had one or two creators make the hero, origin, powers, supporting characters, and main villains.

For example, with FF: Lee and Kirby made the FF, Doctor Doom, Galactus, Silver Surfer, The Inhumans, etc.

With Spider-Man it was Lee and Ditko making Spidey, his main villains, supporting characters.

Batman, it was Kane and Finger who brought that world around.

You get the picture.

Anyway, with Wolverine, who was responsible for his overall character? Answer, not any one particular creator. The main ones I know of are:

To name a character Wolverine. The credit probably goes to Roy Thomas who wanted him a Canadian hero. But from what I’ve read no one recalls exactly the circumstances of who said what, so it was either him or Len Wein. Whatever the case:

Len Wein got the initial idea rolling with Roy Thomas. However Wein imagined him as a teenager and the claws were only a part of the gloves.

John Romita Sr. drew the initial costume, but Gil Kane redesigned by accident, the mask Wolverine wears now.

Dave Cockrum gave us the face of Wolverine, behind the mask.

John Byrne suggested the name Logan, because of a Canadian mountain.

Chris Claremont helped to develop a lot of the personality Wolverine has become.

Barry Windsor Smith gave us the Weapon X story and explained how Wolverine got his adamantium skeleton and claws.

Under Larry Hama, and whatever editors decided it then, it was revealed the Wolverine had actual bone claws as a part of his skeleton. Also the idea of the false memory implants started.

Jemas, Quasada and Jenkins then gave us the Wolverine origin and his real name.

Wolverine’s main villain Sabertooth, was not created by any of the people involved with Wolverine at the start. Such as Len Wein, Thomas or Romita.

The healing factor power was initially a throw away idea, in no way imagined to become what it has meant to the character. I believe it was a Claremont idea. But can’t nail a specific source. So I leave that possibility open to Wein, Byrne, or Thomas.

By now I think you get the point of this post. Wolverine is a very fragmented creation as a character and who contributed what. However to give Len Wein full creative credit for creating Wolverine, I think is absolutely wrong. His idea and what he contributed to the creation of Wolverine as we know him today is VERY little.

Wein DID NOT design the signature Wolverine costume, make his name / identity of Logan out of the costume. Did not design his signature face out of the costume. Did not make the claws a part of Wolverine’s body. Did not create the bone claws idea. Did not create his revealed Origin and name. Did not create his main villain Sabretooth.

Wein basically saw him as a teenager with gloves that had claws on it.

At one point Wolverine was also seen as a sociopath who could possibly cut down an ally for any minor little perceived slight.

Overall, I’m glad most heroes have only one or two creators who started them, there origin, powers, and main villains.

Using Wolverine as an example, I just find a character created like this to be very messy. And if we were talking financial royalties situation, I think it would be a mess. And in this example, Wein should not and does not deserve much financial royalty on a character like this at all. Because he contributed very little to the status quo of the Wolverine character and what he has become.

And sure I know their was no royalty situation then. But that’s not the point. Overall, as a top selling icon character of Marvel, Wolverine is probably their most patch work created character.

Even though I have the Steve Ditko original Spider-Man saga complete in the Omnibus last year.

I browsed the new softcover Masterwork edition made by Marvel with a retail of $25 and it contains the first 10 issues, only to see a freaking surprise in the back@ And Arrghh it’s not in the Omnibus because this recent find last year was discovered after the Spider-Man Omnibus was made.

But in April of 2008 the Library of Congress received by anonymous donation. The first COMPLETE 11 page Spider-Man story from Amazing Fantasy #15. Were talking the original one of a kind art boards here!

And even more rare is the fact that it is the complete story. Not just a page.

There is no cover though.

But the mere fact of a find like this is huge. Whoever donated it must be financially well off, because as you might know a find like this could bring you a fortune. And I’m guessing and would not be surprised over a MILLION easy. And that’s not a joke. I would not even be surprised if it hit a two million range.

The article with the piece states when contacted Ditko had no interest in it. And Lee would not be seeing the art display. But for fans this is huge.

Among the surprises from looking at the reprinted pages is that of page one in particular.

The Spider-Man image on the top right corner originally had a spider’s web all around him. It was whited out though, but the leftover lines show through. It looked much cooler seeing those original web lines. Why it was removed, I got no idea. My guess is probably editorial fearing the comic review board had it removed for looking too creepy. (And yes the review board actually did censor or had art changed because of what are now minor things like how the gun smoke vapors looked.) But this just my guess.

Also the Spider-Man logo on page one was a paste up. Which is a logo made and literally cut and pasted on the board. The original logo underneath it said Spiderman with no hypen.

Lee add the hypen cause it looked to much like Superman without it he thought. And up to issue 3 or so it was almost always printed as Spiderman without the hypen in the original stories. And really hypen just makes it what it is today and looks cool right.

Anyway the original Spiderman logo on the art board was actually drawn really fancy and had web lines all over the text. Not like the text plain Spider-Man logo that was pasted on.

All these little extras almost make me want to get the paperback just for the extras! Ugghhh too bad it wasn’t found earlier for the Omnibus.

I was looking up DC movies and they soooooooo suck! Other then Batman. What else do they have going?

The last Superman tanked. Wonder Woman never got off the ground.

About the only main Marvel heroes not in a movie recently are:

-Thor, whose in the works.
-Captain America. It’s confirmed film one is a period only piece in WWII. Called Captain America: The First Avenger. Then weeks later the Avengers movie hits. That’s an ambitious plan. And I’m not sure an entire WWII piece can work.
-Doctor Strange
-Namor

Other then that I think the majority of the solo character books who can hold their own were given a chance.

If Marvel could get the Daredevil and start it over like they are with the Hulk, I think it could really go places.

Though I’ll be real and know the Spidey and X-men material are locked by the companies making them now and they won’t let Marvel own them again. Though to give it a fair due, they’ve done a good job with the property and if they can spin more good films, let them.

With DC:

Will the Flash be a big screen hit people want to see? He can run fast. I just summed him up and all he can do. And besides Superman can fly faster. Flash is not impressive and a one trick horse. Good for a team movie, but on his own no.

Green Lantern? The whole, he gets his ring from space aliens, makes the whole concept really wacky I think. If it’s to hold water, dump the alien concept. Make him get the ring from some inventor and make it a more human angle. Forget all the space alien angle, and it might get over. That’s my view on it.

Aquaman? Can this appeal to a mainstream paying audience? No I think not.

How about Green Arrow? Robin Hood light.

Again what does DC got outside the big 3 and at most 4?

The recent Iron Man and Hulk movies were Marvel produced and that helped Marvel keep more profits. With Spidey and X-men Marvel didn’t get most of the profits.

I just mentioned those four properties that took off.

Then we got characters like Wolverine, Daredevil, Thor if done right have a chance to hold their own.

You would think the owners of DC who own their own a movie studio, would make the better movies. And if anyone can cut through the legal red tape it should be them. But probably is the case, too much red tape holds them back.

Current mood: creative

When I first heard of the Red Hulk, I thought what a terrible unoriginal idea. Someone just made the Hulk, but he’s just colored red.

But having read issues 1 - 6 and first storyline of the character, I must admit I like him.

No one knows who the Red Hulk is yet. And I hope it’s not a let down. I heard a rumor it was Doc Sampson but thankfully it’s not him. I hope it’s someone who isn’t a hero already but rather someone whose been around but never a superhero before.

What makes Red Hulk interesting to me is his attitude. Like the Juggernaut the Red Hulk has power but also his same personality. It’s not like the Green Hulk where it’s a different person in control.

The attitude factor and his method of violence and use of guns, and calculating behavior make him an interesting character to read about.

I also got his Marvel Legends action figure and it is quite good.

So Red Hulk is cool, even if it’s essentially just a twist on an established concept.

With that being said, and if it’s a tend, I might as well makeup my own twist on an established concept. (And if it worked for Red Hulk creators Loeb and McGuiness.)

I nominate my idea for the: Sinister Spider.

A guy who got the same powers as Spider-Man but the only difference is he has night vision (so he can see in night), his webs are organic and shoot from his fingertips, and he has no spider sense.

His costume is black and his webbing is red. His eyes are black, framed by red eyelids.

And his attitude is where the difference is. He actually crosses the line Spider-Man never would and executes his opponents. Not a straight villain, and not like Venom. He won’t kill his opponents if he can avoid it. But if he has to he then crosses the line like Wolverine. Sinister Spider has a code of honor, but it’s own code. The guy underneath the costume served in the military and was a soldier. He knows the price of war and the cost.

His co-stars and friends are ex-military as well and know who he is under the costume. (So as to avoid the original Spider-Man concept of no one knowing his secret identity.)

The Sinister Spider not only fights Spider-Man villains, but his own as well. And his trail, and similar powers bring him into conflict with Spider-Man because he doesn’t like his style, or that he’s getting blamed for the Sinister Spider’s actions.

Now sure, SINISTER SPIDER might not sound so original I’ll give you that. But at the same time, I don’t think it’s sounds that bad either. And really is the Red Hulk any different?

Two can play that game Marvel.

By now, you have probably heard the news. But President Barack Obama will be in Amazing Spider-Man #583 and meet Spider-Man.

I think, while Marvel editor in chief Quasada said it’s non-partisan.

This post is not about Obama, as much as it is about the idea of using superheroes, much less icon characters, to portray a dicey subject like political sides.

Dealing with a subject like politics in the real world is divisive enough. Do we really need to add superheroes to that mix?