A Question With An Unconventional Answer
Speaking of the CrossGen back catalog, is there any hope of seeing even just the old comics in digital formats? Kindle, Comixology, Marvel Unlimited, etc.?
Have to say Tom I’m delighted to hear Hank Pym is going to be showing up again. I’ve always liked the character and feel he’s better than the way he’s been treated at times. Plus both Mark Waid and even the Avengers: The Crossing storyline (of all places) have offered up good explanations for some his much mentioned past behaviour.
On another note as Crossgen came up, I don’t expect any explanation background wise - but is there any possibility of new stories in the future featuring the Ultraverse characters? Wouldn’t Marvel be in danger of losing the copyright if you don’t do something with the IP at some point?
In your opinion, what are some of the biggest misconceptions fandom holds about comics?
Man, that 80s Red Circle thing was, well, a thing. Some gorgeous art, though. Gray Morrow recycling an independents story he had done for theBlack Hood IIRC...
But I digress.
Thanks for answering my questions but the answer re Ryan North’s run didn’t quite answer what I had in mind, so I’ll try again.
As I think we just saw with Savage Avengers (I presume), plans are made and then Conan’s lost and sales are weak. (I’m not at all saying there’s a connection between the two -- I wouldn’t know.) And as a result -- again surmising -- late in the game, the book gets canceled and has to be concluded.
So, North, Fantastic Four: Again presuming, I’m presuming North has a through line planned, a larger story like Aaron’s Thor and Avengers runs. So is that the case, or does he just have FF stories he wants to write? And if he does have a through line, a larger story, barring disaster, how long is he envisioned being on the book?
Thanks as always, Tom. And thank you for doing this Substack.
Do you generally want writers to have a through line/ending in mind when pitching a series? or is it enough to have an outline with some cool stories to tell?
Thanks for another great newsletter! I read My Grandfather Was a God by Ayodele and Akande on Webtoon when you first mentioned it and I’m glad I did. Thanks for that! Are there any webcomics you’re reading right now that you enjoy? Have a great week!
The various Infinity series of Starlin's use themes of his going back to the beginning of his career and, I expect, back to when he was making superhero zines with George RR Martin and Buddy Saunders and all those guys. He seems to have always had questions about the nature of reality and our perceptions of it. Mix that with his use of dysfunctional father (and father figure) son relationships and either shows up in much of his work. I'm just glad he's frequently entertaining with those.
A lot of creators have talked about wishing there wasn’t solicitation texts or cover reveals available to the public, as they tend to kind of spoil the story in advance and the creators would rather people experience the story for the first time as they’re reading it.
I’m curious, how do you feel about them as an editor?
I loved the look back at THE COMET - really fun stuff. That was the one book that seemed to be trying to do something new from that iteration of the line, so it was sad to see it end so quickly.
Editorial question for you. I recall reading that JMS felt that Spider-Man should reveal in identity in ASM and not in the Civil War main book. His argument being that these big moments should be done the in the main book of these characters but those are the big moments that sell event books. However, when Civil War was all done and the dust had settled with Captain America arrested, he's then killed in his book in the immediate aftermath. As an editor how do you go about deciding where these big moments end up going? Spidey revealing his identity to the world has huge ramifications for the creative team on the main book. Just like Steve Rogers being dead has on his book.
Thank you for the answer on the licensed books. There’s more involved with the properties owned by the parent company than I would have guessed. As an add on to that question how do the licenses come into play on what ends up on MU? I figure Conan has to be the reason Savage Avengers is absent, since all his related books weren’t on there either. Yet other licensed books like Ultraman are on there. The new Marvelman continuation is missing as well, although issue Miracleman 0 is on there. I’m guessing this is all negotiated on a case by case basis, but how much/if at all does the ability to expand the types of offerings on MU come into play when deciding to publish a book/pursue a license.?
Hey Tom, from a life-time comic reader but relatively recent Man With a Hat reader, thank you for taking the time to engage with those of us on the outside on the fascinating inner workings of the comic industry.
A number of times you have alluded to (or outright said) that poor book sales can spell the end for a particular series, which from a fiscal standpoint makes total sense. Have there been any instances where regardless of poor book sales, the creative team believed in a project so much that it was continued despite being a low earner or even a complete loss?
TRUTH: RED, WHITE, & BLACK, the wonderful comic by the late Robert Morales, released 20 years ago today.
The Bradley family characters have not appeared in many comics over the past decade, and I've seen some fans speculate that there are legal hurdles with using them (though I do not understand why there would be myself). Is that actually the case? I've often seen this brought up in the context of Eli Bradley not being in YA Vol 2 or Voices Young Avengers (though the character *is* in both.... in a way, and notably did not actually originate in TRUTH whereas his family did unless I am misremembering).
James Gunn recently mentioned once on social media that he pitched a Power Pack MAX comic, which Marvel Comics actually approved, only to be vetoed by Marvel Studios. Is this veto power on comics projects something the movie folks typically have, or was this an unusual circumstance for whatever reason?