We in the comic book world have come to place a heightened sense of importance on a centennial release. And these days in particular, it can signify quite an accomplishment to have released 100 consecutive issues of a given title, one that’s well worth earmarking. But for something such as this Newsletter, the 100th release is materially no different than the one that came before it and the one that will come after it. It doesn’t signify the end of a year’s worth of publication—that will come in four more weeks. But it does mean that rather than requiring two digits, the release number on each installment will now require three. So thanks for following for this long, and hopefully we can keep on continuing to do the thing that we do well into the future.
On the point about the reality of authors/artists, there is an artist whose work in a collected edition I discovered about two years ago and LOVED.... and then I found out that his political views were just shy of total bash*t crazy. I go through a tug of war every time I see the book on the shelf - I want to keep it bc I love everything about it.... but seeing That Name causes me to shake my head and want to donate it to charity. Maybe the lesson is -- it's better not to know what an author's or artist's personal views are on anything other than what they put on the page. Having said that, it IS an interesting phenomenon to have grown up reading various authors' works only to encounter them on social media and see the reality of who they are. In some cases, sure they disappoint, but I think I've found more often than not, that I am re-impressed with who they are as actual people.
Congrats on 100 newsletters, Tom! I don't have a question, but I do look forward to this email each week. Your insight, historical context and knowledge, and love for the medium shines through with each installment.
LOVE the SHIELD - still holds up and can be uncomfortable to watch (in a good way) - also stuck to the landing - one of the best series finale's ever in my opinion. Shakesperian in its tragedy and well earned twists and turns.
In regards to your comment on Grosse Pointe Blank not needing a sequel - any comic book work you feel that way about? A classic done in one that we don't need to follow up on?
Watchmen is a go to answer of course - I am torn as I love the original (along with it's ambiguous ending) but I also kinda like seeing them interact with the DCU. In my head cannon I see the original 12 issue mini on its own DC Earth and the other one being from a divergent earth in the multiverse. Same with New Gods - Earth Kirby where the story stood alone and ended and then New Gods of Earth 2 interacts with the DCU. yes its geeky and neurotic but it all works in my head and allows me to enjoy it all :)
Congrats on 100 issues Tom! I remember so long ago when the first issue dropped and ROCKED the internet!!!!
I saw an interview with Christopher Priest on the Comic Tropes/Pros and Cons Youtube channel recently where he said that the job of "Editor" would be more accurately titled something like "Producer," as actually editing the comics is not nearly as important to the role as putting together the creative team and other various responsibilities. I thought that seemed accurate but no one would know better than you! Your thoughts?
Thanks for amnswering my question. I'm excited for BLOOD HUNTERS and how other readers respond to it. It is the closest format to Shonen Jump/ Heavy Metal and many industry analysts talk about how more publishers should adopt this style. I'm curious to find out how correct or wrong the analyses are.
With regards to editors getting cover credit: I'd mostly agree that editors don't and probably should not "move the needle" for most people. There are, however, exceptions for me - someone like Karen Berger or Shelly Bond back in the Vertigo (or immediately pre-Vertigo) days could signal a certain sensibility likely to be found in the books they edited regardless of exact creative team; Mark Chiarello always produced the sharpest-looking DC books out there; back in the day, Joe Quesada and Jimmy Pamiotti similarly stood for a certain aesthetic and mood for Marvel comics they edited. It seems like editorial philosophy in general at the Big Two companies has been to assign editors based on characters rather than "vibe" for many decades, so these folks are sort of exceptions to the rule, but what would your ideal method of editorial assignments be? Any "imprint" that you would want to set up at Marvel but the stars have never quite aligned?
Last week, I happened to come across your 2019 blog post where you look at the behind-the-scenes creation of Lee & Kirby’s FANTASTIC FOUR #3. Of particular note to me as a designer were Stan Lee’s sketches of possible Fantastic Four insignias on the back of page 16’s original art. It was fortunate that the three-dimensional “4” was settled upon instead of the double-F version(s) he sketched! (If only to ensure that Freakazoid’s chest emblem would be that much more original.)
A couple of days later, I stumbled across a video on YouTube where Alex Ross talks about his redesign of the FF’s uniforms and insignia. The end of the video shows a close-up of one of the action figures he’s clothed in the new uniform lying on it’s side, focused on the insignia he’s come up with. Now, am I nuts or has Ross purposely designed the “4” to look like a stylized “F” when the emblem is turned 90°?! After I saw the cover of this week’s GIANT-SIZE FANTASTIC FOUR #1 in today’s blog, I realized that I just HAD to ask! Apologies if this has been reported or acknowledged somewhere else…
"He felt, wrongly as it turned out, that it was against second class postal regulations to have any copy on a cover that was bigger than that of the logo, as the background DOOM is here."
That same month (or cover-date, at least), issues of MARVEL COMICS PRESENTS and MARVEL TALES presumably sailed through without objection...
So, I have two question about your upcoming X-Men takeover - With the new X-Men 97 show coming out, a lot of mainstream attention has been put on the x-men, and all the usual suspects are making their rounds, accusing it of being wOkE garbage before it's even released, and it's prompted a lot of conversation about the role that progressivism and so called 'wOkEnEsS' does and should play in the X-Men. Do you believe that the X-Men and their comics should be taking a stand and making a statement on current issues minorities face, in spirit with their history and origins? I personally feel like that's a very important thing to keep, as nearly all of the X-Men's best stories were made through that lens, such as Man Loves, God Kills, Days of Future Past, the original sentinel sagas, and even a lot of the stuff in the krakoan era.
And second question, also somewhat related to X-Men 97 - There have been a lot of signs in the recent X-Men comics that many characters who have had dramatic character and status quo shifts in recent years may be getting reverted back to older, less developed versions of themselves. The two biggest examples are Beast, who clearly is being geared up for the younger clone from X-Force #48 to become the main version, and Magneto who, while earlier in the process, definitely seems to be in danger of being reverted to an earlier version of himself, which would be highly disappointing considering his growth and heartwrenching death in X-Men Red and the Krakoan era as whole.
So, my question is, is this something you want? Is this even something you're aware of or involved in? If not, can you speak to whether this has to do with Disney/higher ups at marvel wanting these characters to be in their most recognizable iterations for when the X-Men make their MCU debut, either in X-Men 97 or whatever the MCU X-Men movies end up being? Is your upcoming relaunch set to capitalize or emphasize that these characters are much more in line with their earlier versions of themselves?
Sorry for a long comment, I've just got a lot of thoughts. The Krakoan era got me into comics, and I want to make sure my favorite characters will be in good hands.
(Also, PS, please keep betsy braddock as captain britain and give us more stories with her and rachel, don't make her psylock again I will cry)
Hearing about your missing Fantastic Four issues reminded me of the blog series you did on Marvel.com about running a trading group to get a copy of FF #1 (Maybe it was a different early issue)? This would have been around 2007? Can you share that story?
Mazel tov on 100 newsletters, Tom!!! Your Substack remains the highlight of every Sunday for me.
It was so weird/nice/weird to see my forward about Bill Mantlo's "Spectacular Spider-Man" run referenced in today's edition. To be honest, I had no recollection of what I'd written about Bill's original plan for Carrion and had to retrace my steps -- and my math. I believe I got the bit about Bill's initial intention for Carrion to be the remains of the ill-fated Peter Parker Clone from something Tony Isabella wrote for Comics Buyers Guide waaaay back in the day:
"In Mantlo's original plans for this story, Carrion would have been revealed as that Peter Parker clone, transformed by his brief time in the furnace and his basically unstable molecular structure. Warren's cloning process wasn't as good as said mad professor had thought. That the real Spidey had also dumped the then-deceased Green Goblin's gear in the same furnace explained the Goblin-esque look of Carrion." (http://www.worldfamouscomics.com/tony/back20010105.shtml)
I leave it to you and Tony to fight this one out!
Congrats again on 100 editions. That's a lot of hatted men.
You mentioned Amazing Heroes! I have been wondering what comic magazines you picked up over the years as a fan and then a pro? Any stand-out fanzines? Combo? Comic Scene? Comics Journal? Just curious what your go-tos were.
I was a Wizard guy and have bailed on trying to getting an Amazing Heroes run (though, I’m keeping my Waid-edited and assorted issues).
On the point about the reality of authors/artists, there is an artist whose work in a collected edition I discovered about two years ago and LOVED.... and then I found out that his political views were just shy of total bash*t crazy. I go through a tug of war every time I see the book on the shelf - I want to keep it bc I love everything about it.... but seeing That Name causes me to shake my head and want to donate it to charity. Maybe the lesson is -- it's better not to know what an author's or artist's personal views are on anything other than what they put on the page. Having said that, it IS an interesting phenomenon to have grown up reading various authors' works only to encounter them on social media and see the reality of who they are. In some cases, sure they disappoint, but I think I've found more often than not, that I am re-impressed with who they are as actual people.
Congrats on 100 newsletters, Tom! I don't have a question, but I do look forward to this email each week. Your insight, historical context and knowledge, and love for the medium shines through with each installment.
Hell yeah Grosse Pointe Blank rocks. Good call, Tom. Everyone should watch it,
RE: Grosse Point Blank: the scene with the baby is an all-timer mix of soundtrack and story.
Re: 1980s runs: Roger Stern's long run on Dr. Strange is unjustly forgotten now, but I think it's great.
I saw a free preview screening of Grosse Pointe Blank and went back and paid to see it again on opening weekend. Definitely an all-time favorite.
LOVE the SHIELD - still holds up and can be uncomfortable to watch (in a good way) - also stuck to the landing - one of the best series finale's ever in my opinion. Shakesperian in its tragedy and well earned twists and turns.
In regards to your comment on Grosse Pointe Blank not needing a sequel - any comic book work you feel that way about? A classic done in one that we don't need to follow up on?
Watchmen is a go to answer of course - I am torn as I love the original (along with it's ambiguous ending) but I also kinda like seeing them interact with the DCU. In my head cannon I see the original 12 issue mini on its own DC Earth and the other one being from a divergent earth in the multiverse. Same with New Gods - Earth Kirby where the story stood alone and ended and then New Gods of Earth 2 interacts with the DCU. yes its geeky and neurotic but it all works in my head and allows me to enjoy it all :)
Congrats on 100 issues Tom! I remember so long ago when the first issue dropped and ROCKED the internet!!!!
I saw an interview with Christopher Priest on the Comic Tropes/Pros and Cons Youtube channel recently where he said that the job of "Editor" would be more accurately titled something like "Producer," as actually editing the comics is not nearly as important to the role as putting together the creative team and other various responsibilities. I thought that seemed accurate but no one would know better than you! Your thoughts?
Thanks for amnswering my question. I'm excited for BLOOD HUNTERS and how other readers respond to it. It is the closest format to Shonen Jump/ Heavy Metal and many industry analysts talk about how more publishers should adopt this style. I'm curious to find out how correct or wrong the analyses are.
With regards to editors getting cover credit: I'd mostly agree that editors don't and probably should not "move the needle" for most people. There are, however, exceptions for me - someone like Karen Berger or Shelly Bond back in the Vertigo (or immediately pre-Vertigo) days could signal a certain sensibility likely to be found in the books they edited regardless of exact creative team; Mark Chiarello always produced the sharpest-looking DC books out there; back in the day, Joe Quesada and Jimmy Pamiotti similarly stood for a certain aesthetic and mood for Marvel comics they edited. It seems like editorial philosophy in general at the Big Two companies has been to assign editors based on characters rather than "vibe" for many decades, so these folks are sort of exceptions to the rule, but what would your ideal method of editorial assignments be? Any "imprint" that you would want to set up at Marvel but the stars have never quite aligned?
Last week, I happened to come across your 2019 blog post where you look at the behind-the-scenes creation of Lee & Kirby’s FANTASTIC FOUR #3. Of particular note to me as a designer were Stan Lee’s sketches of possible Fantastic Four insignias on the back of page 16’s original art. It was fortunate that the three-dimensional “4” was settled upon instead of the double-F version(s) he sketched! (If only to ensure that Freakazoid’s chest emblem would be that much more original.)
A couple of days later, I stumbled across a video on YouTube where Alex Ross talks about his redesign of the FF’s uniforms and insignia. The end of the video shows a close-up of one of the action figures he’s clothed in the new uniform lying on it’s side, focused on the insignia he’s come up with. Now, am I nuts or has Ross purposely designed the “4” to look like a stylized “F” when the emblem is turned 90°?! After I saw the cover of this week’s GIANT-SIZE FANTASTIC FOUR #1 in today’s blog, I realized that I just HAD to ask! Apologies if this has been reported or acknowledged somewhere else…
"He felt, wrongly as it turned out, that it was against second class postal regulations to have any copy on a cover that was bigger than that of the logo, as the background DOOM is here."
That same month (or cover-date, at least), issues of MARVEL COMICS PRESENTS and MARVEL TALES presumably sailed through without objection...
So, I have two question about your upcoming X-Men takeover - With the new X-Men 97 show coming out, a lot of mainstream attention has been put on the x-men, and all the usual suspects are making their rounds, accusing it of being wOkE garbage before it's even released, and it's prompted a lot of conversation about the role that progressivism and so called 'wOkEnEsS' does and should play in the X-Men. Do you believe that the X-Men and their comics should be taking a stand and making a statement on current issues minorities face, in spirit with their history and origins? I personally feel like that's a very important thing to keep, as nearly all of the X-Men's best stories were made through that lens, such as Man Loves, God Kills, Days of Future Past, the original sentinel sagas, and even a lot of the stuff in the krakoan era.
And second question, also somewhat related to X-Men 97 - There have been a lot of signs in the recent X-Men comics that many characters who have had dramatic character and status quo shifts in recent years may be getting reverted back to older, less developed versions of themselves. The two biggest examples are Beast, who clearly is being geared up for the younger clone from X-Force #48 to become the main version, and Magneto who, while earlier in the process, definitely seems to be in danger of being reverted to an earlier version of himself, which would be highly disappointing considering his growth and heartwrenching death in X-Men Red and the Krakoan era as whole.
So, my question is, is this something you want? Is this even something you're aware of or involved in? If not, can you speak to whether this has to do with Disney/higher ups at marvel wanting these characters to be in their most recognizable iterations for when the X-Men make their MCU debut, either in X-Men 97 or whatever the MCU X-Men movies end up being? Is your upcoming relaunch set to capitalize or emphasize that these characters are much more in line with their earlier versions of themselves?
Sorry for a long comment, I've just got a lot of thoughts. The Krakoan era got me into comics, and I want to make sure my favorite characters will be in good hands.
(Also, PS, please keep betsy braddock as captain britain and give us more stories with her and rachel, don't make her psylock again I will cry)
Hearing about your missing Fantastic Four issues reminded me of the blog series you did on Marvel.com about running a trading group to get a copy of FF #1 (Maybe it was a different early issue)? This would have been around 2007? Can you share that story?
Mazel tov on 100 newsletters, Tom!!! Your Substack remains the highlight of every Sunday for me.
It was so weird/nice/weird to see my forward about Bill Mantlo's "Spectacular Spider-Man" run referenced in today's edition. To be honest, I had no recollection of what I'd written about Bill's original plan for Carrion and had to retrace my steps -- and my math. I believe I got the bit about Bill's initial intention for Carrion to be the remains of the ill-fated Peter Parker Clone from something Tony Isabella wrote for Comics Buyers Guide waaaay back in the day:
"In Mantlo's original plans for this story, Carrion would have been revealed as that Peter Parker clone, transformed by his brief time in the furnace and his basically unstable molecular structure. Warren's cloning process wasn't as good as said mad professor had thought. That the real Spidey had also dumped the then-deceased Green Goblin's gear in the same furnace explained the Goblin-esque look of Carrion." (http://www.worldfamouscomics.com/tony/back20010105.shtml)
I leave it to you and Tony to fight this one out!
Congrats again on 100 editions. That's a lot of hatted men.
Best,
Marc
Glad you didn’t lose too much in the burgle, Tom!
You mentioned Amazing Heroes! I have been wondering what comic magazines you picked up over the years as a fan and then a pro? Any stand-out fanzines? Combo? Comic Scene? Comics Journal? Just curious what your go-tos were.
I was a Wizard guy and have bailed on trying to getting an Amazing Heroes run (though, I’m keeping my Waid-edited and assorted issues).