Growing up, I’d sometimes get a sad trombone feeling when a comic has a great cover by a hotshot artist, and then subpar interiors done by a work-a-day illustrator. I understood it, though: there are only so many hotshots to go around.
But for a while now, we've had (mostly!) hotshot interiors but with different hotshot artists doing the covers. Is there still an assumption that the cover will match the interiors? Or are the cover and the interiors considered separate beasts, and artists hired to do interiors don't expect to also contribute the cover?
Re: your last question, my advice is that you shouldn't feel like you need to use all of your rubrics every time. Monofocus in particular hits better when you're enthusiastic or have some specific thought to get out rather than just dutifully reporting what you consumed
I’d bet it’s popular AF but monofocus doesn’t nothing for me. A book on sale whenever is touch and go for -- depends if there’s a good story behind it.
I like you intro/rant and the Q and As but some they go on a bit much.
I would be fine with a somewhat shorter newsletter.
Well, I certainly hope you don't discontinue this newsletter, because I always find it both entertaining and valuable -- which is more than I can say for most comics I own, anyway. Speaking personally, I love the time you spend on Behind the Curtain segments with episodes from your own editorial history (and comics history in general, though I know that's really the purview of your blog). It's a little serialized memoir, and written records from people inside the comics sausage factory are a meaningful boon to quasi-professional journalists and historians like me.
So on that note, this week's question: have you encountered, over the course of your career, a creator whose creative ethos, or attitude in general, has proven so anathema to yours that you found yourself simply unable to work with them? Feel free to redact names to protect the guilty.
Loved the background on those latter Jenkins Spidey books. I was a huge fan of his run with Buckingham and I didn’t enjoy that follow up series as much, though I think I still bought every issue out of love for the earlier stuff. Always wondered why it shifted so much.
I love the behind the scenes stories (especially the Jemas/Quesada era!) where you spotlight a title and then tell us an interesting tale behind how it came to be.
Question for you: in regards to creators and social media - this question was spurned by some creator trash talking a specific individual at Marvel editorial - does someone monitor and/or act on bad behaviour online?
I know freelancers are not technically employees but I do remember Dan Didio cutting assignments for a creator who trash talked DC online (and I felt he was in the right). Is this something you have had to deal with?
Hi Tom -- I’m excited for the Man with a Hat Reboot!! I personally like the stuff where you’re reflecting on your career and love of comics the most. So the Q and A, the “Comics I Worked On” and behind the scenes stuff.
As for my question, here it is: Do you have to personally like something to approve it? Are there artists and writers about whom you think “This is definitely not for me, but I’ll bet a bunch of readers will love it!”?
I say throw sh*t against the wall and see what sticks. I'm highly entertained by just about everything you post, reviews of your youth's comics, the Q+A, you name it. Your wit is as stellar your comic book knowledge and I'll read anything you want to post here. Well, except the monofocus thing but I don't watch much TV outside some Trek and al Doctor Who.
On the creation of the Winter Soldier: I recently watched the pilot episode of The Six Million Dollar Man and was struck by the similarities to Bucky's transformation into the Winter Soldier. Tom, do you remember if that was one of Ed Brubaker's influences?
I love the Q+A, and the behind the scenes stuff. Anything about tv shows you like -or don’t- is also super informative. But all I really care is that you have fun writing the newsletter, so I would say if any particular week you don’t feel like writing about certain sections, just chop them out.
I’m less into the QnA but I’m a big fan of the rest of the newsletter. Your insights on your own work or work from other companies in the past is fascinating!
Regardless, it’s always a great read and I’m glad to hear you’re going to continue.
PS, I don’t think Wanted 2 ever actually happened.
Man With a Hat is one of a couple of locked in newsletter reads for me every week. Thanks Tom. On your last question: My favourite sections are always the questions and ‘book that I worked on...’
Thanks for another great newsletter! For what it’s worth, I really enjoy the Behind the Curtain and Comics that Came Out on This Date segments. Your thoughts that open each week are always an interesting read, and I appreciate learning about your views and opinions as someone with so much experience in comics. Whatever form this takes in the future, I’m sure it’ll be a worthwhile read! Thanks again.
Growing up, I’d sometimes get a sad trombone feeling when a comic has a great cover by a hotshot artist, and then subpar interiors done by a work-a-day illustrator. I understood it, though: there are only so many hotshots to go around.
But for a while now, we've had (mostly!) hotshot interiors but with different hotshot artists doing the covers. Is there still an assumption that the cover will match the interiors? Or are the cover and the interiors considered separate beasts, and artists hired to do interiors don't expect to also contribute the cover?
"There was a forgettable sequel film, WANTED 2, as well."
was this a quick follow-up to the reader question concerning alternate Earth-B-Voort with a mention of a movie that only existed on that alt-Earth?
Re: your last question, my advice is that you shouldn't feel like you need to use all of your rubrics every time. Monofocus in particular hits better when you're enthusiastic or have some specific thought to get out rather than just dutifully reporting what you consumed
Tom, you asked so this:
I’d bet it’s popular AF but monofocus doesn’t nothing for me. A book on sale whenever is touch and go for -- depends if there’s a good story behind it.
I like you intro/rant and the Q and As but some they go on a bit much.
I would be fine with a somewhat shorter newsletter.
Well, I certainly hope you don't discontinue this newsletter, because I always find it both entertaining and valuable -- which is more than I can say for most comics I own, anyway. Speaking personally, I love the time you spend on Behind the Curtain segments with episodes from your own editorial history (and comics history in general, though I know that's really the purview of your blog). It's a little serialized memoir, and written records from people inside the comics sausage factory are a meaningful boon to quasi-professional journalists and historians like me.
So on that note, this week's question: have you encountered, over the course of your career, a creator whose creative ethos, or attitude in general, has proven so anathema to yours that you found yourself simply unable to work with them? Feel free to redact names to protect the guilty.
Loved the background on those latter Jenkins Spidey books. I was a huge fan of his run with Buckingham and I didn’t enjoy that follow up series as much, though I think I still bought every issue out of love for the earlier stuff. Always wondered why it shifted so much.
I love the behind the scenes stories (especially the Jemas/Quesada era!) where you spotlight a title and then tell us an interesting tale behind how it came to be.
Question for you: in regards to creators and social media - this question was spurned by some creator trash talking a specific individual at Marvel editorial - does someone monitor and/or act on bad behaviour online?
I know freelancers are not technically employees but I do remember Dan Didio cutting assignments for a creator who trash talked DC online (and I felt he was in the right). Is this something you have had to deal with?
Hi Tom -- I’m excited for the Man with a Hat Reboot!! I personally like the stuff where you’re reflecting on your career and love of comics the most. So the Q and A, the “Comics I Worked On” and behind the scenes stuff.
As for my question, here it is: Do you have to personally like something to approve it? Are there artists and writers about whom you think “This is definitely not for me, but I’ll bet a bunch of readers will love it!”?
Thanks as always!
I say throw sh*t against the wall and see what sticks. I'm highly entertained by just about everything you post, reviews of your youth's comics, the Q+A, you name it. Your wit is as stellar your comic book knowledge and I'll read anything you want to post here. Well, except the monofocus thing but I don't watch much TV outside some Trek and al Doctor Who.
On the creation of the Winter Soldier: I recently watched the pilot episode of The Six Million Dollar Man and was struck by the similarities to Bucky's transformation into the Winter Soldier. Tom, do you remember if that was one of Ed Brubaker's influences?
I love the Q+A, and the behind the scenes stuff. Anything about tv shows you like -or don’t- is also super informative. But all I really care is that you have fun writing the newsletter, so I would say if any particular week you don’t feel like writing about certain sections, just chop them out.
I’m less into the QnA but I’m a big fan of the rest of the newsletter. Your insights on your own work or work from other companies in the past is fascinating!
Regardless, it’s always a great read and I’m glad to hear you’re going to continue.
PS, I don’t think Wanted 2 ever actually happened.
Man With a Hat is one of a couple of locked in newsletter reads for me every week. Thanks Tom. On your last question: My favourite sections are always the questions and ‘book that I worked on...’
I think a fun new addition to your newsletter would be if you interviewed comic creators and editors. Like, oh I don't know, me?
I would love a weekly segment where you don't interview Chip.
Thanks for another great newsletter! For what it’s worth, I really enjoy the Behind the Curtain and Comics that Came Out on This Date segments. Your thoughts that open each week are always an interesting read, and I appreciate learning about your views and opinions as someone with so much experience in comics. Whatever form this takes in the future, I’m sure it’ll be a worthwhile read! Thanks again.