A big part of the equation of why this MK run has been so successful (and I think can't be overstated) is the massive engagement following that Moon Knight-Core brought to the character and the mythos, all through love of the uniqueness of the character way before the D+ series was even announced.
Jed, Cappuccio and the entire team over delivered but the eyes were set on it before thanks in big part to the job of the Core.
I subscribe to more than a few substack newsletters, and while I find something enjoyable in all of them, your newsletter, Tom, is my absolute favorite. I love the way you talk about what it takes to get a book on the shelves, and don't shy away from discussing challenges, such as when readers don't react to a story the way you thought they would, or trying to resolve creative conflicts.
It's just enough of a peek behind the curtain to be engaging, in that you remind us readers that there's a team of people working incredibly hard to get these titles out every month, but not to a point where you take away the focus from the comics themselves.
I especially enjoy the look back at titles that released on this date, and it felt like a real treat when you shared Marie Severin's original sketch for the cover of Marvel Tales #28 along with the story of why Molten Man & Spidey's positions were reversed.
As far as alternative sections for the newsletter go, I had a blast reading Grant Morrison's annotations for S2 of The Green Lantern in their substack, and I'd be very interested to see something similar from you, because I can't recall ever reading anything like that from an editor's point of view.
Love your newsletter (and website) Tom - a fun feature i think would be comics that were planned but never saw print that you have info on or oversaw. Brubaker had some final Winter Solider story with Dr. Doom set in the future, the Liefeld Killraven mini, or older stuff like the Claremont Pheonix mini, etc..!
Thanks for answering the questions! On one hand it is kind of nice for me to hear that editing remotely is going well, because that means living somewhere with a cheaper cost of living is viable. On the other I’ve wondered how much society may change if jobs continue to be more remote and lose some of their social aspects. However, I’ve still got a whole college degree to go before I’m entering the professional workforce. Who knows how much it will change? Will we have flying cars by then? Probably not, but for some reason those always seem to be included in the conceptual view of most future settings.
On another note, I just finished reading my Avengers Forever tpb and Lo and behold there was art by you! A little clippet of a concept sketch for the issue 8 cover.
And if you seek to bestow more knowledge:
How does an editor decide when to fight for their creators and the creators’ wants versus when to back what the company requests?
And, perhaps in the same vein as the above question, how much freedom do editors get? Do major character decisions have to get approved by higher ups, or do the different editorial departments hash it out themselves?
I came across those Space Battleship Yamamoto episodes on YouTube totally independently a few weeks ago and have been watching them all again, too. I agree that, once you set aside the aspects that show its age the most, it's totally engaging and awesome.
This MK run has been fantastic. I’m in love with how Cappuccio draws MK. The coloring is fantastic as well.
A big part of the equation of why this MK run has been so successful (and I think can't be overstated) is the massive engagement following that Moon Knight-Core brought to the character and the mythos, all through love of the uniqueness of the character way before the D+ series was even announced.
Jed, Cappuccio and the entire team over delivered but the eyes were set on it before thanks in big part to the job of the Core.
I subscribe to more than a few substack newsletters, and while I find something enjoyable in all of them, your newsletter, Tom, is my absolute favorite. I love the way you talk about what it takes to get a book on the shelves, and don't shy away from discussing challenges, such as when readers don't react to a story the way you thought they would, or trying to resolve creative conflicts.
It's just enough of a peek behind the curtain to be engaging, in that you remind us readers that there's a team of people working incredibly hard to get these titles out every month, but not to a point where you take away the focus from the comics themselves.
I especially enjoy the look back at titles that released on this date, and it felt like a real treat when you shared Marie Severin's original sketch for the cover of Marvel Tales #28 along with the story of why Molten Man & Spidey's positions were reversed.
As far as alternative sections for the newsletter go, I had a blast reading Grant Morrison's annotations for S2 of The Green Lantern in their substack, and I'd be very interested to see something similar from you, because I can't recall ever reading anything like that from an editor's point of view.
I think seeing some similar from an editor’s point of view would be awesome!
Love your newsletter (and website) Tom - a fun feature i think would be comics that were planned but never saw print that you have info on or oversaw. Brubaker had some final Winter Solider story with Dr. Doom set in the future, the Liefeld Killraven mini, or older stuff like the Claremont Pheonix mini, etc..!
Thanks for answering the questions! On one hand it is kind of nice for me to hear that editing remotely is going well, because that means living somewhere with a cheaper cost of living is viable. On the other I’ve wondered how much society may change if jobs continue to be more remote and lose some of their social aspects. However, I’ve still got a whole college degree to go before I’m entering the professional workforce. Who knows how much it will change? Will we have flying cars by then? Probably not, but for some reason those always seem to be included in the conceptual view of most future settings.
On another note, I just finished reading my Avengers Forever tpb and Lo and behold there was art by you! A little clippet of a concept sketch for the issue 8 cover.
And if you seek to bestow more knowledge:
How does an editor decide when to fight for their creators and the creators’ wants versus when to back what the company requests?
And, perhaps in the same vein as the above question, how much freedom do editors get? Do major character decisions have to get approved by higher ups, or do the different editorial departments hash it out themselves?
Again, thanks for the info!
Great newsletter and James “Jimmy” Jupiter is a great comic book name!
I came across those Space Battleship Yamamoto episodes on YouTube totally independently a few weeks ago and have been watching them all again, too. I agree that, once you set aside the aspects that show its age the most, it's totally engaging and awesome.