First time questioner: How do editors decide (assuming they decide at all) which movie and TV projects need comics to tie in with them and which don't? I was thinking about how the Scarlet Witch and the Vision didn't have any comics appearances to tie in with their show, and I was assuming that's because they already had enough existing material for fans of the show, while something like "The Falcon & the Winter Soldier" didn't have any pre-existing material with Bucky and Sam teaming up. But I'm wondering if there is anything else that determines whether MCU characters need new comics material or can get by on the reprints.
[Edit: Looking at the above this sounds too much like "Why isn't ____ appearing in comics?" but that's not really the question; I know the answer to that, not all team-book characters can get used all the time.]
I don't have an answer to the "Watchmen" question but I do think maybe a clue is that DC's "British Invasion" was a case of British creators, trained in the British comics industry, working on mainstream American comics for American editors. Maybe the next "Watchmen" comes from another new combination of perspectives, whatever that combination might be.
I loved hearing that there was a panel celebrating the life and career of Mark Gruenwald at SDCC this year and wished I could've been there to have seen it. You mentioned today you "came up during the era of Mark Gruenwald" and I know he's got a special place in your heart, career, life -- so i was hoping, for those of us never fortunate enough to meet or work with the guy, to prompt a Mark story or two out of you. What he was like as an editor, mentor, creative thinker, marvel fan (or, my personal favorite flavor of Mark stories, a prank-puller supreme)? i think about how if david and I always wanted our HAWKEYE to be a love letter and thank you to his work and we were only ever fans, then the people that knew and loved him must share that feeling we have for him a thousand times over.
Here's another question from me: You mentioned that the creatives at Marvel don't really have much effect on Marvel Movies, but does it work the other way around? For instance, When a big Marvel movie project is being released, is there some pressure to make the comics conform to that? Was there any pressure to bring Doctor Strange back from his "death" (and don't for a minute think we readers believe that's permanent), during the release of Multiverse of Madness?
Re: Watchmen... Are there any lessons in comic book making to be gleaned by breaking it down into its component parts? Could an editor, say, teach an issue by issue class on the series to aspiring creators, with concrete, actionable lessons? Or is it Moore + Gibbons + those characters + that time in the industry = an alchemy we can admire from the outside but not necessarily tap into?
Not sure if you have any insights into whether or not Marvel would ever be interested in pursuing limited licensing of old properties like ROM, Godzilla, Micronauts, Shogun Warriors, etc. in order to produce omnibus reprints of these titles.... I’m thinking there is very little interest in doing so.
Thank you for your answers! It was great reading your thoughts. In regards to the What If line, I find it a tad more confusing, as it seems to be three different lines (Classic What If, Modern What If, Non-Continuity Non-What If) doing more or less the same. But I'll judge the stories when they come out! Excited to see what Zdarsky is cooking in that third branch.
I don’t necessarily find the little collaboration between Marvel Studios and Marvel Comics too surprising, but it did make me wonder: Are the Marvel Comics offices made aware of announcements ahead of time in order to start new series or organize reprints that correspond with Marvel Studios work? (E.g. A new comic series for Moon Knight launching alongside the tv series.)
Hey Tom - Love your newsletter. It's WAAAAAY better than Chip's.
Minor nitpick on your timeline. Selena's Big Score was something Darwyn Cooke did after our Catwoman run, and after the Slam Bradley backups in Detective. He was working on New Frontier and did the Big Score book on the side, if I remember correctly.
First time questioner: How do editors decide (assuming they decide at all) which movie and TV projects need comics to tie in with them and which don't? I was thinking about how the Scarlet Witch and the Vision didn't have any comics appearances to tie in with their show, and I was assuming that's because they already had enough existing material for fans of the show, while something like "The Falcon & the Winter Soldier" didn't have any pre-existing material with Bucky and Sam teaming up. But I'm wondering if there is anything else that determines whether MCU characters need new comics material or can get by on the reprints.
[Edit: Looking at the above this sounds too much like "Why isn't ____ appearing in comics?" but that's not really the question; I know the answer to that, not all team-book characters can get used all the time.]
I don't have an answer to the "Watchmen" question but I do think maybe a clue is that DC's "British Invasion" was a case of British creators, trained in the British comics industry, working on mainstream American comics for American editors. Maybe the next "Watchmen" comes from another new combination of perspectives, whatever that combination might be.
Hey Tom!
I loved hearing that there was a panel celebrating the life and career of Mark Gruenwald at SDCC this year and wished I could've been there to have seen it. You mentioned today you "came up during the era of Mark Gruenwald" and I know he's got a special place in your heart, career, life -- so i was hoping, for those of us never fortunate enough to meet or work with the guy, to prompt a Mark story or two out of you. What he was like as an editor, mentor, creative thinker, marvel fan (or, my personal favorite flavor of Mark stories, a prank-puller supreme)? i think about how if david and I always wanted our HAWKEYE to be a love letter and thank you to his work and we were only ever fans, then the people that knew and loved him must share that feeling we have for him a thousand times over.
mmmwah,
fraction
Here's another question from me: You mentioned that the creatives at Marvel don't really have much effect on Marvel Movies, but does it work the other way around? For instance, When a big Marvel movie project is being released, is there some pressure to make the comics conform to that? Was there any pressure to bring Doctor Strange back from his "death" (and don't for a minute think we readers believe that's permanent), during the release of Multiverse of Madness?
Re: Watchmen... Are there any lessons in comic book making to be gleaned by breaking it down into its component parts? Could an editor, say, teach an issue by issue class on the series to aspiring creators, with concrete, actionable lessons? Or is it Moore + Gibbons + those characters + that time in the industry = an alchemy we can admire from the outside but not necessarily tap into?
A lot of Chip Zdarsky Content™ in this week's newsletter, so I'm giving it ★★★★
Not sure if you have any insights into whether or not Marvel would ever be interested in pursuing limited licensing of old properties like ROM, Godzilla, Micronauts, Shogun Warriors, etc. in order to produce omnibus reprints of these titles.... I’m thinking there is very little interest in doing so.
Thank you for your answers! It was great reading your thoughts. In regards to the What If line, I find it a tad more confusing, as it seems to be three different lines (Classic What If, Modern What If, Non-Continuity Non-What If) doing more or less the same. But I'll judge the stories when they come out! Excited to see what Zdarsky is cooking in that third branch.
I don’t necessarily find the little collaboration between Marvel Studios and Marvel Comics too surprising, but it did make me wonder: Are the Marvel Comics offices made aware of announcements ahead of time in order to start new series or organize reprints that correspond with Marvel Studios work? (E.g. A new comic series for Moon Knight launching alongside the tv series.)
Hey Tom - Love your newsletter. It's WAAAAAY better than Chip's.
Minor nitpick on your timeline. Selena's Big Score was something Darwyn Cooke did after our Catwoman run, and after the Slam Bradley backups in Detective. He was working on New Frontier and did the Big Score book on the side, if I remember correctly.
I came here after this newsletter was mentioned in Chip Zdarsky’s, and I absolutely love it. I can’t wait to make my way back through the archives!