Kiel Phegley: How significant an impact does Marvel feel the iPad and similar devices will have on Marvel’s bottom line? Any predictions as to when – if ever – comics go completely digital?

Joe Quesada: Are you kidding, the significance could be…well, significant. The iPad could be the new feeder system for brick and mortar stores. Ever since the newsstand really died for comics, that element has been missing in many ways. Trades in bookstores picked up some of the slack, but the newsstand used to be huge. I think the iPad will be that and more and will improve the sales of comics in all areas, especially at comic shops. That’s why we have the comic shop locator built into the app.

Joe Quesada, Cup o’ Joe 04/02/10

I don’t know that I agree with Joe Q’s answer. When I stopped buying CDs, getting an iPod didn’t send me back to Best Buy. It sent me to AmazonMP3. What’s much, much more likely is that mainstream digital comics and comic shop comics will split into two separate, but complementary, revenue streams. I try to minimize the floppies I buy because I vastly prefer trades. I buy mp3s and ebooks at a wholly irresponsible pace due in large part to the fact that I don’t have to worry about storage. If I start buying comics on the iPad, I’m not going to click the little “Go to a comic shop!” button to start filling up my house. I’m going to click the “Buy digital comics” button to fill up my iPad with every issue Hypno Hustler ever appeared in.

While it’s nice that Marvel is attempting to maintain favor with the retailers, and stressing that in their press releases to an almost absurd degree, but I can’t see any iPad revolution sending people to comic shops without Marvel self-sabotaging their digital sales. Remember when DC Comics announced that there’d be no trade of Identity Crisis until at least a year after the series ended?

Yeah, that’s self-sabotage. It’s stupid. You’re leaving money in wallets. It’s nice that retailers make bank off floppies, but there’s a large subset of readers who don’t care to buy a 32 page pamphlet. Manga used to come out over here in floppies, remember that? Now it comes out in fat little trades. The market adjusted to the demand.

I hope Marvel goes all in. I’m talking simultaneous releases on Wednesdays, fat packs of classic stories, freebie issues to get people caught up on characters… go big or go home. DC is asleep at the wheel, as anyone who attended the terrible DC Nation panel this past weekend knows. They have vague platitudes about how stuff is on the way, we’re looking into it, really, and asinine anecdotes about how digital comics can’t replicate the experience of folding out pages in Blackest Night #8 and wah wah wah plastic doesn’t feel like paper.

Pop quiz, hot shot: who cares? You aren’t trying to sell digital comics to people who already buy your books and care about whether or not you use crappy paper that smells bad. You’re trying to sell digital comics to people who don’t already buy your books. If some fanboy loves paper so much, let him buy the physical product. Shoot, push a variant out there and let him buy two. You’ve got us, all two hundred thousand of us. We’re there, hook, line, and sinker. Now, go get them. Get my mom, get my grandparents, get my cousins. Get people who have never, and will never, step foot in a comic shop, whether that’s because they can’t find them or because they don’t exist in their area.

Marvel is big enough to force a change in the industry, for good or for ill. Coming hot out of the gates on the iPad is great. Now keep it up and break out of the crap complacency and one-upsmanship that defines both companies and start throwing some weight around. Put the boot in.

The Outfit is the latest volume of Darwyn Cooke’s ongoing adaptation of Donald Westlake/Richard Stark’s series of books starring Parker. Last year’s The Hunter made most of the Best Of lists. We did a podcast on it, I reviewed it, and Tucker Stone tells you exactly why you should read it. If you haven’t read it… get with it, mayne, it’s only sixteen bucks. Skip the Siege and Brightest Day tie-ins, they’ll be there when you get back.

The Man With the Getaway Face is a prelude to The Outfit. It’s the first chapter of the novel, a story complete unto itself, and is a great lead-in to what’s sure to be a great work. Westlake and Cooke are masters at what they do and IDW knows how to package a book. October feels far away, but Cooke’s adaptation of The Man With the Getaway Face has me convinced that The Outfit will be just as good, if not better, than The Hunter.

Here’s an excerpt from The Outfit, which is one of my most favorite bits of writing. You can see this scene with Robert Duvall in the Parker role, playing a man named Macklin, in 1973’s The Outfit, but I think the book still wins out for sheer poetry.

The receptionist knew that no one was supposed to come behind the desk. If anyone tried to without permission, she was to push the button on the floor under her desk. But this time she didn’t even think of the button. She reached, instead, for the package. Suddenly, the mailman grabbed her wrist, yanked her from the chair, and hurled her into a corner. She landed heavily on her side, knocking her head against the wall. When she looked up dazed, the mailman had an automatic trained on her. “Can you scream louder than this gun?” he said in a low voice.

She stared at the gun. She couldn’t have screamed if she’d wanted to. She couldn’t even breathe.

The outer door opened and the four men came in, two carrying shotguns, and two machine guns. The girl couldn’t believe it, it was like something in the movies. Gangsters carried machine guns back in 1930. There was no such thing as a machine gun in real life. Machine guns and Walt Disney mice, all make-believe.

The mailman put his gun away under his coat, and removed the mailbag from his shoulder. He took cord from the mail sack and tied the receptionist’s hands and feet. She gaped at him unbelievingly as he tightened the knots. They were in the wrong office, she thought. It might be a television show shooting scenes on location, they must have wanted the office next door and these men had come into the wrong place. It must be a mistake.

The mailman gagged her with a spare handkerchief as one of the other men brought the two musical instrument cases and two briefcases in from the outside hall. The mailman took the briefcases. The men with the machine guns led the way. They all walked down the inner hall and stopped at the door next to the book-keeping room. The mailman opened the door, and all five of them boiled into the room.

This was the room where the alarm buzzer would have rung if the receptionist had remembered to ring it. Four men in brown uniforms wearing pistols and Sam Browne belts, were sitting at a table playing poker. They jumped up when the door burst open, then they all froze. They believed in machine guns.

The Man With the Getaway Face is the only look you’ll get at The Outfit until its release in October.

Except… I have two extra copies of the The Man With the Getaway Face oversized preview. So, who wants them? Who is ready to work for them? Here are the terms. You need to give me answers to one of the three prompts below this paragraph. Use your real name when you answer, not your pseudonym. Make sure your email address is legit, too. And please be from the United States– overseas shipping is pricey.

1) What is your favorite scene from a book Darwyn Cooke drew, wrote, or created on his own? Why is it your favorite?
2) What is your favorite scene from a crime comic, movie, or novel, and why? Make sure to tell me the title, author, and actors involved, depending on the medium.
3) Tell me why you liked The Hunter.

Sound good? Hit the comments, let’s get it going.

“NO ESCAPE!”

We’re taking a break from the Fourcast! this week, due to Wondercon hitting on our recording weekend and being unable to record the podcast panel (I’ve never seen so many wires in my life). We’ll be back next week with something interesting for y’all, though, please believe.

In the meantime, some minor self-promotion! You can find me posting a few times a month at Comics Alliance, and I’m part of the new team at iFanboy, too. I’m going to be posting once a week for now, doing a series of linkblogging posts called Pay Attention! I’ll run down news you might have missed, interesting sites, blah blah blah.

Now I can finally stop pitching rocks in Hamsterdam! Hurrah!

Podcast will be back next week!

Better late than never, I guess. For those of you who haven’t read up on the site in the past few days, I hit a snag on writing this entry thanks to a mixture of fatigue and sickness. The lack of sleep even led to some actual paranoia where the slightest sensation in one of my legs or arms would lead to my frantic belief that I was suffering a heart attack or diabetes or whatever. Anyway, I got over all that, but it completely killed my writing momentum. Now it’s time to right that wrong.

People have been wondering about Wrestlemania 26 and how it ranks on the list. I have a lot on my plate as it is, so I’m not going to go into too much detail. A lot of the matches were simply good or pretty good, but not great. The main event is phenomenal and I’d consider it better than Wrestlemania 25’s Michaels/Undertaker match. Batista/Cena is pretty good, outside of the completely cookie cutter ending. Vince McMahon vs. Bret Hart is not only horrible, but I can definitely say it’s the worst male match at any Wrestlemania. I’d even rather watch Undertaker vs. Giant Gonzales.

Using my rating system based on how I remember liking each match, it ends up ranking at #11 1/2. It’s worse than Wrestlemania 14, but better than Wrestlemania 21. Though to the show’s credit, it did help lead into this.

And the world has been a better place since. Thank you, Jack.

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Quick one today due to a short week. Of course, I’ve already covered Prelude to Deadpool Corps #5 in this post, but I added it in anyway. I’ve been hearing that I should be getting my ass in gear and catching up with Hickman’s Fantastic Four, so hopefully I will have done that by his next issue.

Hey, want to see something great? Pretend the second panel is the answer to the first panel.

Amazing Spider-Man #627
Roger Stern and Lee Weeks

The A-Team: War Stories: BA
Chuck Dixon, Erik Burnham and Casey Maloney

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Just so you know, Comics Alliance is the place to go for hot off the presses Wondercon news. Two bits of note for Friday:

–Greg Rucka is done at DC Comics and his Batwoman? Well, y’all are gonna be waiting a while. I have more details in the link.

-Frank Miller and Jim Lee’s All-Star Batman and Robin the Boy Wonder is back on track. It hits again in February 2011 under the name Dark Knight: Boy Wonder, a six-issue miniseries. I can’t even front, that news is super exciting. I can’t wait to see more of Miller/Lee’s take of the Dark Knight universe. Grant Morrison has faltered for me, due in part to the on and off art, and Dini is writing the kind of comic book you use to break up weed on. Miller/Lee’s ASBAR was like a chilled shot of vodka– something bracing and surprising, and something that’ll rock your world when you least expect it.

More on that later, though. Stay tuned, true believer 🙂

If you’re coming to San Francisco for Wondercon, or if you live in or near the city, try to stop by and check out Cartoon Art Museum. It’s a pretty neat place. It has some fairly ancient animation cels, an actual Yellow Kid page, some classic Gene Colan art, a lot of Ed Hannigan works (and he is the beneficiary of a party on Friday evening), and a whole heaping lot of Batman stuff right now.

They have regular lectures/events. I’ve attended a few alone or with friends and enjoyed all of them, even when I had no idea what Scott Kurtz was talking about that one time. I’m really glad this kind of place exists, where comics are treated as art and a focus is placed on creators and characters equally. The Gene Colan exhibit was amazing, and I’m happy I got to see it.

If you stop by and dig the place, give some thought to supporting CAM. Membership starts at 35 bucks, though they also take normal donations. It’s a good place, and I’d like to see it stick around. Give it a look if you get a chance.

NRAMA: Fair enough. Back on the subject of your work on Blackest Night, is there a character you’re writing that you’re liking more than you expected?

GJ: A bunch. The biggest surprise is how easy it is to write when Hal and Barry are together. These two know each other so well, and there’s such a strong tie to them…it’s like Butch Cassidy and the Sundance Kid. And something happens to Hal when he’s with Barry. It happens to me when I hang out with my friend, Matt. He’s so organized and punctual that a little part of my brain shuts off. I don’t need to worry about the time or where we’re going. I feel like that happens to Hal when he’s around Barry. Hal goes with the flow a little more, while Barry’s taking up the slack of figuring out where to go. I have more Barry and Hal scenes written down because they just keep writing themselves. Introvert and extrovert. Saint and sinner. Time and space.

And then there’s a character that’s really surprised me. I don’t want to give it away but she’s one of the strongest and most recognizable characters in the DC Universe, and yet she hasn’t been in the spotlight for a very long time. But she will be now. For quite some time to come.

NRAMA: OK, then which character will people get to know better in Blackest Night than they’ve ever known before?

GJ: Same character. She’s been around since the ’60s.

-Geoff Johns, from an interview with Vaneta Rogers. Newsarama is currently throwing up malware warnings in my browser, and there’s really no reason to click through anyway, but if you do, browser beware.

Let’s take a brief look at a few high-profile moves in Geoff Johns’s post-Flash career:
1. Brought back Hal Jordan
2. Brought back Barry Allen
3. Brought back Professor Zoom
4. Brought back Ronnie Raymond
5. Introduced a bunch of lame-os in JSA
6. Wrote Blackest Night
7. Explained various minutiae, including Power Girl’s boob window, Barry Allen’s bowtie, and why love is actually a bunch of creepo stalker chicks who don’t wear clothes and love to brainwash people
8. Called Aquaman’s wife “one of the strongest and most recognizable characters in the DC Universe”

Honest question: why’s Geoff Johns seem to like the boringest parts of comics?

Today is that annual day when websites like to toss in jokes about how they’re closing or now owned by _____ or how they’re going to make a sequel to your favorite videogame. All that shit. Personally, I’m not in the mood.

But on the subject of jokes, I think of the latest issue of Prelude to Deadpool Corps. For those of you who haven’t been able to keep Deadpool’s multiple titles straight, Prelude is Victor Gischler’s concurrent follow-up to the canceled on-going Deadpool: Merc with a Mouth, which will end in several months. It’s been a weekly, five-issue romp as Deadpool goes from universe to universe to put together a team of his female self, his hungry and decaying head from the Marvel Zombies universe, a kid version of him from a world where he’s a student at Xavier’s school, and a gross dog with regenerative powers. Each issue has a different artist and the quality ranges from good (Paco Medina) to Rob Liefeld.

I made the mistake of picking up #5 without even flipping through it. After all, it features the art of Kyle Baker. I mean, Kyle Baker is awesome! Didn’t you read Plastic Man? That series was brilliant! Okay, sure, the middle issues were a bit uninspired, but the rest of it was tops! He’d be absolutely perfect for a Deadpool comic. But it’s weird, I strictly remember that Baker’s done Deadpool work before. Something about Deadpool #900 and a segment of Merc with a Mouth when Wade went through different universes. For some reason I made myself forget about those issues. Why would I do that? Kyle Baker is an awesome artist.

I look through this issue and… oh, yeah.

Sweet Jesus! This comic has more lens flare than it does yellow word bubbles! Kidpool (not to be confused with the infinitely better, yet forgotten Kid Deadpool) complains about the lack of fries even though there’s two orders of them laying on the table! The Grandmaster and the Contemplator look like unfinished action figures! The textures are eye-rape! Everyone looks like rejects from that Avengers in Galactic Storm arcade game that nobody’s heard of!

There’s more that I’m not showing you. A lot of the time you can barely tell the difference between Deadpool and Lady Deadpool. Horrible filters and color schemes are rampant. When Dogpool crawls out of a crater after an explosive ship crash, his physical damage is portrayed by making random parts of him transparent. A subplot involves the Deadpool Corps opposing an army of Carebear knockoffs, but it doesn’t work. The whole point of the gag is that these guys are fighting and slaughtering a bunch of bloodthirsty space pirates who happen to be cute, but how do you portray that when everything about the comic is so goddamn ugly?

So, yes, April Fools Day is all about jokes. And yes, we get it, Mr. Baker. It’s a funny prank you’ve been playing on us for the past few months, but it’s getting old. You can go back to drawing GOOD art now. Any time, now. Please?

Wonder-Con is tomorrow!

The booths!  The people!  The smell of storm-trooper armor.  Me, skulking around the DC area hoping that someone will say something spoilerish like they did at Comic-Con.  Me staring at Gail Simone like a creepy fangirl who can’t manage a conversation – which I kind of am.  Oh well!

The panel that David and I and the theyFanboys are hosting on Saturday, 12:30, in room 220.

Already I’m thinking about the regrettable purchases I am going to make, the awkward questions I am going to pose, and the possibility of running into Kevin Smith in the halls.

Oh, it is going to be fantastic.