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.

-Richard Stark, The Outfit.

True story. I did the Newsarama post and promptly went on vacation. I came back from vacation, ready to respond, and bam, laptop’s power cable dies. I don’t know if any of you own Macbooks, but their battery is for crap. So, I’m waiting on a replacement cable. Super suck!

I’ve got a few things coming, including a look at Richard Stark’s Parker books (since I’ve read 9 and a half of them over the past two or three weeks) and how Parker relates to Batman. The podcast should go up Monday as usual, but blogging from me is going to be light until I get this sorted.

Esther and Gav got you covered, though.

Two instances of dumb ways to write “ethnic” characters, one counter-example, and a brief explanation.

The first two! On the left, we have Brother Voodoo Brudder Voodoo. On the right, we have the Shaolin Scientist Squad. From New Avengers #53 (Brian Michael Bendis and Billy Tan) and Punisher #6 (Rick Remender and Tan Eng Huat), respectively.

A counter-example for Brudder Voodoo, from Gambit #9 (John Layman and Georges Jeanty):

A brief explanation:
Brother Voodoo was needed to fill a role. As part of filling that role, he’s got to talk with a comic book Carribbean accent, I guess. Even though he hasn’t been portrayed as talking like that recently, nor originally, I believe. But, you know, he practices voodoo, and voodoo dudes need to have that authentic accent. Never mind that he’s a psychologist and Haitian ex-pat who’s been living in the States for years– he needs to be de likkle Claremontian stereotype, brudder. Just so you know he’s foreign.

The other is the Shaolin Scientist Squad, who are kind of like an evil Sons of the Tiger, I guess. My problem with them? Having Chinese villains refer to a “Great Western Satan” is like having a Jewish villain screaming about how Captain America is merely an avatar of Yacub, maker and creator of the Devil. GWS is something I’ve only ever seen in regards to Islamic extremist rhetoric, most notably courtesy of Iran a couple decades ago, not Chinese.

Nah, son. You got to do better.

I dug the first issue of New Mutants, but #2 hit one of my few nitpicky pet peeves. This bit right here:

Naw, son. In addition to being browner back in the day (what’s up with the coloring in this book? everything is set to “superbright”), Bobby is Brazilian. They don’t speak Spanish down there. It’s Portuguese. In fact, here’s a bit from a letters page I found in an X-Force comic I was reading about a month back. It’s from somewhere between issue 80 and 82, I think. The page it was on had reactions for X-Force #76, so you do the math.

Listen to Giancarlo Lima, fellas! I’d have emailed this directly to whoever’s editing the book, but New Mutants doesn’t have a lettercol email setup, near as I can tell. And leaving Zeb Wells a Youtube comment just seems… weird.

Grant Morrison gave a great interview to PopImage shortly after he left Marvel in 03/04. The whole thing is a good read, but my favorite bit is on page three:

As for all this talk I keep hearing about how ‘ordinary people’ can’t handle the weird layouts in comics – well, time for another micro-rant, but that’s like your granddad saying he can’t handle all the scary, fast-moving information on Top of the Pops and there’s really only one answer. Fuck off, granddad. If you’re too stupid to read a comic page, you shouldn’t be trying to read comic books and probably don’t. As creative people, I feel we need to call time on the relentless watering down of comics design and storytelling possibilities in some misguided attempt to appeal to people who WILL NEVER BE INTERESTED in looking at or buying hand-drawn superhero comic books.

This will surprise absolutely no one, but I agree with Grant here. No caveats, even. Even with the “if you’re too stupid to read a comic page, you shouldn’t be trying to read comics.” I didn’t like his “channel zapping” approach in Final Crisis. I don’t think it came off anywhere near as well as Morrison expected it to, but I could respect the idea behind it. I liked seeing a comic where the reader had to do a bit of the work and interpret what was going on themselves, and giant blocks of exposition were delivered in a way that wasn’t just a bunch of people standing in a room. If you think about why Wonder Woman, Batwoman, Catwoman, and Giganta are called Furies for half a second, you’ll get it. You don’t need that box that says “Wonder Woman is evil now, and leads the reincarnated Female Furies.”

Still, thoughts? Is Morrison being fair?

Remember Marvel’s plan to release Captain America #600 on a Monday due to mainstream press coverage? Here’s a reminder:

“REBORN #1, by Ed Brubaker and Bryan Hitch, will be receiving nationwide press on 6/15, possibly on par with the media coverage we received during Civil War.

However, this means that the solicit and covers for Reborn #1 cannot be shown before the FOC of 6/11. Marvel will do everything possible to ensure an overprint is on hand to counter huge anticipated demand, but the incentives below and qualifying for free variants will only be available for orders placed before FOC”

In essence, Marvel asked retailers to take a gamble. Open on Mondays, pay extra for shipping, and we will drive customers to your store by way of a big newspaper article. The NY Daily News ended up with the scoop. However, when I say scoop… I’m being sarcastic.

I’m going to put this behind a cut, because I’m sure someone, somewhere, is going to be upset that I’m about to spoil the least surprising reveal since Dick Grayson became Batman. Read the rest of this entry �

Nope, it was my own doing. I was fired when “Lying in the Gutters” ran a compilation of two years or so of my answers to fans’ questions on the DC Comics discussion boards. I’m told my removal had nothing to with either the quality of my work or the level of sales, rather with my revelation of behind-the-scenes creative discussions.

I have to say I’m a bit disappointed, because next summer was planned to feature a JLA-driven crossover, where my book’s story line would have been the driving force. I’m distressed by where I left Black Canary, as my intention was to use the current subplot to strengthen her character and relationships with the new membership, and instead I’m leaving her at the bottom of a hole I’d intended to rebuild her from. I was also just about to get a regular artist for the first time since I’ve been on the book, which would have been nice. That said, I’m sure DC’s going to put together a creative team that will generate major excitement around JLA, which is as it should be.

As for me, I’m still busy story-editing both Ben 10: Alien Force (just nominated for 3 Emmys!) and the upcoming new Ben 10 series “Ben 10: Evolutions.” As far as comic-related stuff, the all-new “Milestone Forever,” is still on track for late this year/early next year, and the Milestone trade paperback program is in full swing, with Static Shock, Icon and Hardware volumes already on the way. I’ve also recently completed a console video game script that I can’t talk about yet, but that will be of interest to anyone reading this thread. I’m currently writing a Direct-To-Video animated feature for Warner Animation, the second of two I’ve taken on this year. Again, I can’t say what they are until they’re officially announced, but they’re likely of interest to superhero fans, and one of them I can’t help looking at as what-could-have-been. You’ll see what I mean.

From McDuffie’s boards, via the homey Uzumeri.

And I mean, I’m not surprised. It’s sad, but I’m very glad to see that McDuffie has plenty of stuff lined up. I wish DC hadn’t hamstrung him right out of the gates, but that’s what happens with top-down editing. I said it in ’07 and it’s still true: DC screwed up. They screwed up hard.

McDuffie show-ran Justice League Unlimited and he’s running Ben10. Those cartoons are rolling in dough. The Static Shock cartoon had better ratings than Pokemon. Why bring him in and then handcuff him? He gave Tom Brevoort gold on Fantastic Four. Fun, all ages comics that had plenty of appeal for everyone.

To put him on JLA, and then tell him “Write these stories,” is pathetic. McDuffie and the JLA is a no-brainer. Everyone loved JLU. That’s why they put him on the book. It’s so simple a child could come up with it. The fact that he had to address the status of the book in public basically means that he was getting no traction behind the scenes, doesn’t it? Doesn’t that sound like some kind of mismanagement?

Firing McDuffie when you still employ artists who can barely draw anything approaching acceptable comics, such as Ed Benes or Tony Daniel, is pathetic. Try again.

DC Comics, and Dan Didio, lost. End of story.

I’ve been using Comixology to handle my pull list. They’ve got a pretty robust pull list feature going on, and it integrates with my comic shop, so it’s very convenient. Adding and subtracting things is just a matter of pressing a button. I dig it. Check it out, you might, too.

I pulled up my pull list to see how many books I’m regularly buying. This doesn’t count things I grab off the shelf, but it’s a pretty good representation of what I buy.

Marvel- Amazing Spider-Man #593
Vertigo- Seaguy: The Slaves of Mickey Eye #2 (of 3) (MR)
Marvel- Black Panther Vol. 2 #4
Vertigo- Young Liars #15 (MR)
Marvel- Amazing Spider-Man #594
DC Comics- Final Crisis Aftermath: Dance #1 (of 6)
Vertigo- Hellblazer #255 (MR)
Marvel- Amazing Spider-Man #595
Marvel- Immortal Iron Fist #26
Vertigo- Unknown Soldier #8 (MR)

That’s the entire month of May for me. Eight distinct franchises, a total of ten comics. That comes up to a hair over 30 bucks a month on average.

I pared my pull list down a lot over the past few months. I vastly prefer trades, and DC has done a pretty good job of chasing me away from a lot of books. In fact, I think I buy two main DCU books– Power Girl and Dance. I’m waiting for Batman & Robin to come back, and the Rucka/JHW3 Detective might pull me in depending on how the first issue goes. In fact, just looking at May… I’m not really bothering with the big events from either company. Final Crisis Aftermath counts, I guess, but I expect that to be good, unlike Battle for the Cowl or the other Aftermath books. It’s the only one that sounded appealing to me, anyway.

I made a decision a while back not to buy books I felt were mediocre. If I’m not loving it, or at least liking it a whole lot with a chance of love, I’m not buying it. Life’s too short to read bad comics, and if a comic isn’t pushing my buttons, that’s the very definition of a bad comic. The way my list is now, I really look forward to picking up my books. I know I’ll get a couple of books a week that’ll float my boat.

What’s your pull list looking like? Are you policing your stack by quality or price? I generally don’t buy 3.99 books as a rule, unless it’s genuinely extra sized, as in Amazing Spider-Man’s special issues.

MARCH OF GUILLEM’S DC SIRENS – COMICON.com Panels | Comic Book, Graphic Novel and Cartooning Discussions

GUILLEM MARCH: I like drawing females, but there were a risk of doing a silly series about boobs and butts jumping over the buildings. Once I knew Paul Dini was the writer, I couldn’t be happier. Also I was a little worried, because previous stories with Harley Quinn had a humorous tone that wouldn’t fit with what I’d like to draw, but Dini’s ideas for the story are great, the characters are treated very seriously, and I’m very excited working on this project.

Naw, son.

From Dark Reign Elektra #1:

and Deadpool #10:

C’mon, guys. I can appreciate wanting Gavin to die. I’ve been on that path since like 2001. But why’d you have to turn me white and try to have Elektra kill me? 🙁

Esther should probably watch her back. I’m sure she’ll show up in Batman: Battle for the Cowl annnnny minute now.

MODELS, INC. #1 (of 4)
Written by PAUL TOBIN
Pencils by VIÇENC VILLAGRASSA
Cover by SCOTT CLARK
Fashion Week is always a hectic time for models, and this year is no exception. Between escaped wolves, robbery attempts, and overly friendly police officers, Mary Jane Watson, Patsy Walker, Jill Jerold, Chili Storm and Millicent (Millie the Model) Collins are testing the limits of their endurance. But when a brilliant young set designer is found murdered with three bullet holes in his back, and Millie proves to be the prime suspect, the models are forced to play detective in order to save one of their own!
32 PGS./ Rated A …$3.99

MODELS, INC. #2 (of 4)
Written by PAUL TOBIN
Penciled by VIÇENÇ VILLAGRASSA
Cover by SCOTT CLARK
Millie Collins suspected of murder? Could it get any stranger? How about when she’s linked to a second murder by a policeman who’s intent on making a name for himself, and who has romantic intentions on Mille? It will take the investigative skills of Chili Storm and Mary Jane Watson, along with the ever-helpful Peter Parker, in order to turn up the clues to turn Millie loose!
32 PGS./Rated T+ …$3.99

Anybody remember Marvel’s Models, Inc.? Paul Tobin and Viçenç Villagrassa have been working on Marvel’s all-ages Adventures books. Models, Inc. was to have been a book edited by Mark Paniccia, who just this past week released the delightful debuts of the all-new Savage She-Hulk (Fred van Lente/Peter Vale) and Exiles (Jeff Parker/Salva Espin). Looking over Paniccia’s profile on Comicbookdb.com reveals him to be a pretty solid editor. He was behind Agents of Atlas, Daughters of the Dragon, the Franklin Richards books, the New Warriors, Spider-Man Loves Mary Jane, and (word to Gavok) Marvel’s recent trips back to the What If? well. He’s delivered on some pretty fun and engaging comics concepts, and put his faith in a lot of the non-Bendis/Brubaker/Millar guys at Marvel to great success.

The mini-series was supposed to start in February, after being solicited in November, but we’re two months past that now and Marvel’s just announced a new series, Marvel Divas.

This also seems like the perfect time to announce our Marvel Divas limited series, beginning in July, from Roberto Aguirre-Sacasa and Tonci Zonjic, featuring some of the Marvel Universe’s greatest female heroes in a way you haven’t seem them before. I’ll let Roberto explain:

“The idea behind the series was to have some sudsy fun and lift the curtain a bit and take a peep at some of our most fabulous super heroines. In the series, they’re an unlikely foursome of friends–Black Cat, Hell Cat, Firestar, and Photon–with TWO things in common: They’re all leading double-lives and they’re all having romantic trouble. The pitch started as “Sex and the City” in the Marvel Universe, and there’s definitely that “naughty” element to it, but I also think the series is doing to a deeper place, asking question about what it means…truly means…to be a woman in an industry dominated by testosterone and guns. (And I mean both the super hero industry and the comic book industry.) But mostly it’s just a lot of hot fun.

Robot 6 has an interesting comments thread about the series and other issues.

Here’s the cover, which interestingly enough is named “vixens001_cvr.jpg.” Was the series Marvel Vixens at first?

In the writer’s own words, the series is “sudsy fun” and “naughty” and “hot fun.” Contrast this with Paul Tobin’s description of Models, Inc.:

The series itself is a murder mystery. The models are all staying at one of Tony Stark’s Central Park mansions because it’s Fashion Week in New York, and they have so many events to attend that they decide on a central location. Fashion Week is already buzzing because of the murder of a well known socialite and the disappearance of several important works of art by artists such as Otto Dix and Egon Schiele.

Then, when a second murder takes place, Millie Collins becomes the prime suspect, and it’s up to the models to band together to unearth the real murderer. Crime, suspense, and high fashion. Alert the paparazzi!

One has a description that’d fit with your average Skinemax movie, or Bill Jemas’s Bad Girls for Fanboys movement. The other sounds like, well, a murder mystery. Jeff Scott Campbell’s cover is, well, a J. Scott Campbell cover. Big on Comic Book Sexy, low on variety. Models, Inc.’s covers were take-offs on the stereotypical Cosmo/Vogue covers, Glamourpuss-style.

When you put them up side-by-side like this, I feel like one of these books would be interesting and fun, and the other wouldn’t. Obviously, I’m pre-judging here, but as a consumer, that’s what I’m supposed to do. Models, Inc. sounded like the kind of self-aware-but-funny comic I dig these days, and fairly non-exploitative. Marvel Divas sounds like the opposite.

I couldn’t find a statement from Marvel online about its cancellation, but the series has been wiped from Marvel’s site entirely. So, what happened to Models, Inc.?