Showing posts with label marvelcivilwar. Show all posts
Showing posts with label marvelcivilwar. Show all posts

12 March 2007

One Last Post About Civil War

Novak and I were talking about the difficulties of due process in super hero worlds the other day. I’d imagine if you were a defense attorney in a comic book world, you’d have a pretty cushy job. You see Batman working with Commissioner Gordon from time to time, but it’s not like he gets warrants before breaking into someone’s house and hanging them from the ceiling by a bat-rope. In the Powers world there’s a whole group of detectives who specifically focus on supercrimes, so one would imagine their justice system has some laws about how vigilante justice is dealt with.

The more I think about Civil War, the more I end up on the pro-registration side of it, despite my rooting for Cap as it went along. Part of the reason for this is how unevenly the concept itself was presented during the course of the story. Basically it falls into to possibilities:

  1. Superhuman draft. All heroes must register their secret identities with the government, must be trained and certified, and will take orders from SHIELD like soldiers.

  2. Gun legislation analogue: all heroes must register their secret identities with the government, must be trained and certified, and will be expected to only use their powers responsibly, like a police officer would.

If the registration act were more in line with number one, I’d see a very big reason for Cap and friends to fight it. Most people with superpowers come across them by accident, and they have secret identities because they want to be able to live normal lives. Mutants are just born with them and some of them have to go to a special school just to learn how to handle them without killing people. If the act is a forced draft for those people, requiring them to become specialized soldiers and take orders, while no other citizens in the US are subject to an active draft, that’s pretty damn unjust. Many civil war tie-in issues suggest this is exactly how the registration act is going to work.

Marvel Editor-in-Chief Joe Quesada has said numerous times that the Marvel Universe is mostly like the real world. George Bush is president, real world events like the September 11 attacks happened in the Marvel Universe, and so on. That being true, you have to assume that citizens of the Marvel 616 have the same civil liberties we do, chief among those being habeas corpus, protections against unlawful search and seizure, Miranda rights, and so forth. In the real world most arrests are made by police officers, but in a comic book world you’ve got lots of superheroes bringing people in, and you’d have to think that their rights are being violated all over the place. Imagine a police officer in court saying, “well, he had a note on him saying ‘drug pusher, courtesy your Friendly Neighborhood Spider-Man’, so we figured we’d arrest him for selling drugs.” One of the most important foundations of our society is that people who are accused of crimes are allowed to have the evidence against them presented and questioned in court. If you have vigilantes running around nabbing lots of people, there’s no way to make sure that they’re not trampling all over that foundation. Granted, in comic book worlds there’s a strong “ends justify the means” mentality, and when you have very, very bad villains out there maybe you want someone who can bring them in and not have to follow the rules to do it, but that’s a dangerous road. With SHIELD able to look over the heroes’ shoulders, they can make sure that the alleged criminals’ rights aren’t being violated even though it’s She-Hulk making the arrest instead of a cop (though being a lawyer I’d imagine She-Hulk knows all of this, anyway). Now, I’m not arguing that everyone X-Men story begin with Cyclops filling out paperwork for a search warrant to check if a guy has been keeping mutant slaves in his basement, but it’d be good to know that when they do apprehend him it won’t just get thrown out of court.

The question, then, is what the ramifications for registering are. If it means you get drafted or thrown in jail, and at times Iron Man specifically says that’s the case, then the anti-reg heroes had every reason to protest it. But if it’s there just to ensure due process, then not having someone looking out for the rights of the accused is wholly irresponsible. It makes the protest into one on grounds of tradition alone. “We always used to be able to beat up anyone we wanted, why should that stop?”

In this fan Q&A, Civil War editor Tom Brevoort provides the answer:

[The Superhuman Registration Act] requires anybody possessing superhuman abilities to register themselves and those abilities with duly-appointed agents of the government. Additionally, if an individual intends to use those super-normal abilities as an independent peace officer, they must qualify on a training evaluation, be licensed and submit to some level of oversight in terms of their activities. The closest equivalent, although it’s not quite the same thing, is gun legislation. If you want to own a firearm in this country, you need to register that weapon. If you want to use that weapon and carry it, as a private detective or a bodyguard or in any other legal way, you need to be licensed and cleared on a firing range, demonstrating that you have the necessary knowledge, skill and responsibility to use that firearm responsibly. And if you discharge that weapon outside of an authorized firing range, or in the course of one of those jobs, there’s going to be paperwork that needs to be filled out.

Sounds very reasonable, doesn’t it? You’d think if someone had just spelled that out from the beginning, there wouldn’t have been a need for a whole lot of fighting and death. In fact, the text of the bill itself would say all that, though it’s possible it’s way too nebulous like the Patriot Act and gives the government lots of powers it may or may not use. The point being, it’s sloppy storytelling. The main conflict only holds up if the registration act has bite to it, if you the reader believes it to be a real danger to heroes being able to protect people and from the government not being able to use heroes as political tools. But as soon as the story ends, it turns out to be something very sensible that lets heroes keep doing their jobs but protects the American public from a Marvel equivalent of the Santa robot on Futurama who puts everyone on the naughty list and then maims them.

27 February 2007

Mark Millar's Civil War Post-Game Show

Mark Millar’s Civil War Post-Game Show

This could possibly be the last link to a story about Marvel’s Civil War comic.

26 February 2007

Joss' Input Into the End of Marvel's Civil War

Joss’ Input Into the End of Marvel’s Civil War

Joss Whedon, unanimously credited with writing the ending of Civil War, explains just what he contributed.

22 February 2007

Civil War Room #7

Civil War Room #7

Interview with the editor about the last issue.

05 January 2007

Civil War Room 6: Talking to Tom Brevoort

Civil War Room 6: Talking to Tom Brevoort

Second-to-last spoiler-filled interview with the editor about the latest issue.

17 August 2006

War is Hell

War is Hell

The Fourth Rail on the Civil War delay.

16 August 2006

Tom Brevoort Talks Civil War Delays

Tom Brevoort Talks Civil War Delays

Delays

In the same week that I find out that the Battlestar Galactica season 2 DVD actually only contains the first half of the season, meaning that once I finish watching the discs Netflix sent me I have to wait for Sci-Fi to re-air the rest, I find out that Marvel has had to delay Civil War 4 by over a month. One might think this is bad news, but it’s not. The reason for the delay is that the artist, Steve McNiven, is behind on his drawing. Marvel could have gotten someone to do the fill-in work, and published 4 on time, but that would mean breaking the artistic consistency of the series and, probably, compromising on its quality. And this change doesn’t just affect Civil War. A number of Marvel’s books tie into the events of the main story, so in order to avoid a tie-in issue spoiling the main book, they’re delaying other books as well. Lots of them. According to the press release, issues of Fantastic Four, Amazing Spider-Man, Civil War Frontline, and the debut of Punisher War Journal will all have to be pushed back. This represents a huge financial decision on the part of Marvel. Civil War, Fantastic Four, and Amazing Spider-Man are three of their biggest books, and Civil War itself is the best selling comic book of the entire decade. For them to decide to delay it for the sake of artistic integrity is an amazing decision.

The amusing thing about it is that Civil War is written by Mark Millar, who also writes The Ultimates. The first volume of The Ultimates, a monthly comic, took three years to publish its 12 or 13 issues, and only five issues of The Ultimates 2 have been published in the past year, and three months will probably have elapsed by the time the next one comes out. Funny, because so plagued by delays was the first volume that Marvel actually delayed the start of the second volume to give Millar and artist Bryan Hitch more time to work on it. Even with that head start, they’re still behind.

None of this, of course, really matters much. The Ultimates was still a huge success, even with its sporadic publishing schedule. Most comic book readers subscribe to titles at their stores, so it doesn’t matter if the books are late. When they come out, the retailer will get it for them. If the comic book industry still did much business on the newstand market, this might have a greater effect, but they don’t. In fact, a large portion of their business is moving to the bookstores. Most books end up getting collected into larger volumes and published as trade paperbacks or hardcovers. Once the book is done, it sits on Barnes & Noble’s shelf waiting to be bought. No one who buys it in collected form cares if its initial publication was delayed. In fact, I bought the first volume in hardcover even though I own all of the original issues, just so that I have one easy volume that I can lend out to friends. That the book had publishing delays in no way diminishes its quality and that Marvel tolerated Millar and Hitch’s schedule means that it was allowed to be such a work of art, instead of a rushjob.

Posting on his forums, here’s what author Mark Millar had to say about the delays to Civil War:

Hey,

Just out of bed (unusually early at 7.55am) and just found out about this in an email from Tom B mere minutes before seeing the following on Newsarama…

http://forum.newsarama.com/showthread.php?t=80636

All I can say is that this is really good of Marvel. Why? Let me explain. Civil War is seven issues long and both the first and last issues were extra-sized. Steve is a pretty fast artist, maybe a nine or ten books a year guy, but he only had a six or seven week head start on this series. Absolutely nothing at all. And it was always going to catch up with him, especially given that 100 characters appear in every issue and it’s the most labour-intensive thing he’s ever drawn. It also happens to be the BEST work of his career and Marvel could easily — EASILY — just done what DC did and stick fill-in guys on the series. In fact, we EXPECTED it for issue five because we knew a lot of titles like FF and so on were tying in.

But you know what? They didn’t. MCW has rocketed Marvel profits lately. The new figures aren’t available yet, but we’re doubling and sometimes trebling the sales on the tie-in books, the anthology title — an ANTHOLOGY TITLE — is doing over 100K and we’re heading towards 400K with the book itself. Marvel believe in the project and they feel me and Steve have formed a good team. Something they don’t want to fuck with for the sake of squeezing a few more bucks into the next financial quarter and so, after doing their sums, decided they’ll take a hit. Now this is a pain in the arse for being reading the book because it means waiting a few more weeks for Steve to finish. It’s also a pain for people enjoying the tie-ins. But Steve is hammering away here and these books will all be done and dusted by the New Year and the series, and tie-ins, will all be published completely soon afterwards by the original teams and without some grotty fill-ins. It also means the collections remain looking great.

It’s a hiccup, sure, but I appreciate what they’re doing. Seriously, it would have been easy for them and made them MUCH more money to get someone else in to draw issue five, but they believe in our thing, it’s worked out bigger and better than any of us dreamed and they want it to look as cool as it was originally conceived.

In short, apologies for the art delays, but it’s worth it.

Lotsa love, MM

Bryan Hitch, artist on the always late Ultimates responded in the same thread about how delays work from an artist’s perspective:

It’s easy to think that having a late book is terminal and everybody flies into a panic because it’s been a condition of the industry for so long. This is an industry that has, for most of it’s seventy years, made it’s living on periodicals and we all know they have a limited shelf life. If your book is a month late n the magazine racks your space goes to somebody else because the stores and newsagents wnat it filled.

This is not the case now; for a start comics are mostly sold in specialty stores and they will keep books on shelves for far longer than a single month, secondly there has been an enormous growth in revenue from collections and so called graphic novels.

Years back Perez hit his deadlines on Crisis by eventually going to breakdowns but had Ordway on finishes so the standard was high. Nobody was expecting twenty-five years of continued reformatting and sales of the collections, they were just aiming at deadlines. However, as much as I love my Absolute collection of Crisis as a mark of my comics reading childhood, I don’t love the fact they had three different styles on the finish from three different inkers. I hate that on Infinite Crisis that so many cooks are involved when the fab Phil J should have been allowed to complete the project for my own tastes, anyway.

Two of my favourite re-reads in collections are Dark Knight and Watchmen. Nobody now remembers that each was late at the time of the original periodicals but that was a blip, a couple of years in each’s 25 year publication history and these will STILL be published 25 years from now. I love these books but how awful would it have been if the otherwise brilliant Jim Aparo had drawn issue 3 of DK, or that DC had Alan Davis do an issue of Watcmen. Both brilliant guys but you would have hated the blip in the collections for the short term gain.

These days we have the benefit of hindsight and there are precedents. You can’t set out to create a classic or a series with longevity but it’s getting easier for publishers to spot them as they unfold because the collection market is so large now and one can see what works and what doesn’t. A fill-in might potentially stave off an unfortunate delay but hurt the long term property potential and the only reason a company would consider a fill-in necessary would be to avoid a financial hit in the short term not to keep you guys happy. If they are willing to take what must be a massive hit in the pocket, believing in it’s long term potential, to allow it’s creators to finish the book as intended then that isn’t really a bad thing.

If we do things the way they have always been done then we don’t develop. It pays to be flexible, I guess and Marvel obviously believe they are doing the best thing in the long game for a product they believe in and one that has already proven more successful than they belived possible.

Mark isn’t exaggerating when he talks of how quickly this thing was put together and the small lead time. Nobody had intended the book to even exist; other plans were in place but the geniuses of Bendis and especially Mighty Mark started the ball rolling that Mark would evolve into Civil War (which also means we have to find a new title for our big follow up, so thanks MM). It’s also been the biggest jobs of both Markie and Stevie’s careers and required an enormous amount of work from both. Watcmen was bi-monthly remember and wasn’t a crossover. I envy them their massive sucess but not the even more massive work involved. Nobody gets paid more for working harder in comics.

Mark and Steve should be applauded for the efforts as those efforts are a clear indicator of why the book is a success. Marvel should also be applauded for making sure everybody gets the best prossible product. It’s a delay guys, not a cancellation. Certainly not a crisis!

Hitchy

And a show of support from comic author Brian Michael Bendis:

i just reread infinity gaunlet for some research, and just like i did when i first read it, my heart sank when george perez dissappeared. and i mean no disrespect to ron lim, i think its his best work. but its not perez on perez’s book.

would i have waited two months, six months, a year for perez to draw the big finale? YES!!!

dark knight, watchmen, camalot 3000… the lest goes on and on.

the last issue of camelot 3000 was almost a year late.

books that needed the time, took it, and now stand the test of time.

is Civil War on the same level? i don’t know, but because of the extra time it has the chance to be.

and hey, this actually effects my income and i’m not mad. its art- it’ll come when its ready.

And finally, a note on from Civil War artist and cause of the delay Steve McNiven:

Hey folks, just thought I should get a post up here. First up apologies to the fans and retailers of Civil War. The responsibility for the art delays lies with me, period. I’ve been working harder than I ever have, (and this is my third profession), but this is the hardest project I’ve ever done and as Mark said, I had little lead time. It was as big a surprise to me as anyone else that Marvel changed its publishing schedule to allow Mark and I to finish the series together.

When I was sent word of this yesterday, I realized the problems that this will cause for readers and retailers immediately. After reading Hitchy’s post I am beginning to understand why Marvel went this way, but it still amazes me. Of course I am proud of the work I have done on Civil War and I am chuffed that Marvel feels the same way, but I worry for the people that could be negatively effected by this. Please realize that the art delays were never meant in a malicious way nor am I being a prima donna with my work. What I’m trying is to do service to the exceptional story that Mark has written. That’s it, and is all that I focus on when I’m at the table. I let Marvel know exactly where I am on a daily basis, from day one, so that they can make the decisions like the one they have made. I’ll continue to work hard to put out the rest of this series with the best work I can do in the time I have been given and I hope that you, the fans and retailers will stick with us, ‘cause Mark has written a real gem here.

Thanks, Steve

So anyway, there’s lots of time for you to pick up issues 1-3 of Civil War before the next one comes out. I’m sure it’ll be worth the wait.

Update: a good piece here about it. Basically it looks like this is what happened: Marvel decided that, no matter what, they were going to have a big crossover starting when Civil War did. They had something planned, but then Millar and Bendis came up with this idea, which was better. Rather than push the start date back to give more time for the artist to get the book going, they kept with the big summer crossover timeline, and now are paying the price. In other words, their editorial direction trumped their better common sense/artistic sense, and now they’re making the retailers pay for it in delayed sales, and making the artist look like he can’t meet his deadlines. Still, they could have used a fill-in artist, and are to be commended for not doing that.

Update 2: Editor Tom Brevoort talks Civil War delays.

Marvel's Civil War Delayed

Marvel’s Civil War Delayed

It actually is awesome that Marvel’s willing to delay the book rather than rush through a fill-in artist. In 10 years, no one will care that it was late, but it’ll still be selling in trade paperback. This way, it’ll be preserved at a high quality.

20 July 2006

Civil War Room #3

Civil War Room #3

Discussion of Civil War 3 with editor Tom Brevort. Spoilers.

Sensational

I usually get comics every 3 weeks or so. Always when there’s a new issue of whatever the current hot series is. At the moment that means Civil War. Supposedly it’s selling more issues than anything has in a decade, which I believe if the number of people in my store yesterday is any indication.

I haven’t had time to read through my whole stack from yesterday but, aside from Civil War 3 being predictably excellent, The Sensational Spider-Man 28 is my early pick for best of the week (well, it came out last week). Ignore that the cover would be great if it didn’t make Peter look a tad creepy. The story inside is about a kid who just found out his favorite teacher is Spider-Man. It’s a one-shot issue that requires no set-up to get into, the art is great, and the story is grounded and just a little touching.

Back to Civil War talk (no spoilers, don’t worry)… If you go back and read Grant Morrison’s issues of JLA, there’s suddenly a part where Superman is Superman Blue, in the brief time when DC was messing with the character and gave him new powers. All that stuff happened in the pages of Superman’s many books, but JLA had to reflect the change to the character, even though it ended up being a temporary thing. There’s a moment in Civil War 3 where a character kind of points out that Spider-Man is wearing a new costume. It’s a bit of a throw-away line that’s mostly there for the benefit of readers who don’t know that the guy in the ugly yellow and red suit is Spider-Man. Basically everyone hates the new costume which he’s been wearing for the past few months, and Marvel’s come out and said that he’ll be back in his classic duds before too long. Now, I do agree that giving him his “Iron Spidey” suit does help to show his tie to Iron Man, that Peter’s grateful for everything that Tony has done for him and all that. My guess (I’d bet money on it) is that in issue 5 or 6 of Civil War Spider-Man will break away from the pro-registration side, join up with Captain America, and put back on his classic costume. That would be a good, story-driven way to get him back into his traditional attire. If they don’t do that, I feel like five years down the road, whenever new people pick up and read the story, they’re going to say, “now why was Spider-Man wearing that awful costume?”, just like you do with the Superman Blue period.

15 June 2006

Civil War Room #2

Civil War Room #2

Not to be confused with Wizard’s feature of the same name, this one is a monthly interview with the editor of the book.

Wizard's Civil War Room

Wizard’s Civil War Room

Weekly recap of the Marvel Civil War tie-in issues. Useful if you’re only reading the main title.

14 June 2006

Spoiler of the Week Award

This week’s spoiler award is a tie, going to assholes The New York Post and Howard Sterne, for yesterday spoiling the ending of Marvel’s Civil War 2 on the day it came out. Special mention goes to the Post for actually publishing the last page of the book in their story. Having read the issue now (and having been warned of the spoilers in time), I can say that the ending is a big change for the character(s) involved, and though it isn’t actually that much of a surprise given the build-up from other recent stories, it’s really bad form to publish a story about the ending of something on the day it comes out.

More info on Marvel Civl War.

Edit: additional spoilsports: Yahoo! via an AFP wire story. The rest of the media is starting to pick up the story, which is fine now that it’s after the issue’s opening day. (I should note that these links do, obviously, contain spoilers.)

Edit 2: See Where were you when Civil War #2 was spoiled for you? for a screenshot of Yahoo! doing some spoiling.