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Post by Deleted on Oct 17, 2014 22:55:11 GMT -5
With the rise of the "kewl" characters of the 90s like Ghosts Rider, Punisher, etc... suddenly even the cool kids and jocks got in on it (for a brief period anyway). It's funny, actually. Check out any online comics community devoted to the '90s today, and most of the members are still those cool kids we grew up with in the '90s who loved the mainstream stuff but never delved deeper and never broadened their horizons. I have two bodybuilder friends who loved the 90's stuff. They don't read comics any more but when they found out I did, no joke, one of them said Liefeld was his favorite artist. The other one thinks The Pitt was the best comic ever. I sold him some Pitt ashcans I found in a 50 cent bin. |
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shaxper
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Post by shaxper on Oct 18, 2014 8:44:21 GMT -5
Of course NOW closed up shop not long after this, but I don't see their not being mentioned in Wizard as a sign that things were bad. Did they even have super hero comics? Wizard had a bias towards Marvel, but not necessarily to superheroes. They've begun giving attention to Valiant at this point, and the title they've spoken about least (Harbinger) is their only superhero property at this point. Magnus has gotten the most attention, and he's straight Sci fi. NOW Isn't getting mentioned because there's no buzz surrounding it. In this respect, I do think Wizard was accurately reflecting the market. And now was clearly paying them good advertising money, so I think that's further evidence that they just aren't causing much of a stir at this point. They were mentioned briefly in the first issue when the CO of Capitol City predicted their sales would remain stable, but that there wouldn't be any major surge for them in 1991. Valiant. And you can tell there was no backdoor business dealing between them and Shams at this early ooint. They were doing very wrll, and Wizard noticed. Why? Been years since I read it, but didn't Dixon write it? And, in spite if the obnoxious incentive covers that DC pretty much had to do in order to remain viable in that speculators matket, Jason Todds replacement confronting the Joker for the first time really should have been a big deal. As superhero stories go, this one never struck me as being unworthy of attention. Edit: sorry for the tupos. I am a disaster when typing from my phone. |
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Post by shaxper on Oct 20, 2014 21:11:22 GMT -5
Wizard #6 (February 1992)  Exactly how far ahead was each issue of Wizard planned? We've seen indications over the past few issues that Wizard was totally unprepared to respond to last minute news, the most glaring example being Claremont leaving Marvel. It certainly seems like Shamus' letter from the publisher and the advertisements are more timely than the content within, and that's no more clear than in this issue. The inside cover has an ad for Advance Comics with a cover bearing the image from Youngblood #1 and a promise of an article within about Rob Liefield's Youngblood #1 from Malibu Comics (yes, Malibu), and Shamus' letter from the publisher a full issue ago suggested that he, McFarlane, and Liefield had already met to discuss promoting Image, but there isn't a single mention of Youngblood nor Image ANYWHERE in this issue; not even in the section that lists all the upcoming #1 issues for the month. In fact, Market Watch speculates on a rumor that McFarlane is returning to Marvel to do a Venom mini-series later this year. How did Wizard drop the ball this badly? Could they possibly plan all their content two full months ahead? Thinking back, absolutely none of the content they've featured, nor interviews they've conducted, have been particularly timely (the Claremont interview fiasco aside). SO maybe they were really just this unprepared to change course so quickly? Or maybe Youngblood #1 is more than a month away, and they're planning everything for next issue. But how do you NOT mention Liefield and McFarlane's next big career move when they're practically all you've talked about for six issues now? In contrast, Valiant has bought up an absurd number of ads in this issue (they never even had one before) and suddenly, Surprise! X-O Manowar is going to be on next month's cover. I love Valiant, but this is pretty shady. Wizard was beginning to take note of Valiant, but not to the extent that they were about to put one of Valiant's characters on the cover anytime soon. Wizard seems to be making focusing on a single superhero its new thing. Batman two issues ago, and Hulk this time. Apparently, they'd rather be known for that than for being up on Comic Book news. Finally, this is Wizard's most polished issue yet. The interiors are more colorful, eye appealing, and have better layouts, most of the feature articles are more substantial this time around (even Andy Mangel's Hollywood Heroes), and this issue also features the first installment of Palmer's Picks, one of the few Wizard features I actually respect in hindsight. Hindsight glimpses into the comic industry:Image is about to make the scene, Valiant is officially becoming big news (both due to increasing buzz and increasing advertising, as well as the launch of three new titles over the past three months -- up from a whopping two!), and Sandman continues to garner critical attention. Industry news:Absolutely nothing of worth mentioned in this issue. Wizard shaping the comic book market? I think the Valiant example (see the second paragraph) is a clear indicator both that Wizard was reflecting the market and trying to steer it when it saw which way the wind was already blowing. I'm at a total loss how Wizard fell behind on news about Image, though. I'd speculated all along that Wizard MADE Image, and apparently I was mistaken. Advance Comics is doing far more for them at this early point. Wizard Comic Watch:Amazing Spider-Man #344: 1st Cletus Kasady Hulk #368: 1st major Sam Keith work Wizard Top 10: 1. New Mutants #87 2. Uncanny X-Men #248 3. Uncanny X-Men #201 4. Uncanny X-Men #266 5. Uncanny X-Men #281 6. X-Factor #24 7. New Mutants #87 (2nd Print) 8. X-Force #1 9. Uncanny X-Men #282 10. X-Men (1991) #1E Contents:Letter from the Publisher: Not much, but Shamus loves John Byrne "Sandy Claws," interview with Sam Keith, by Patrick Daniel O'Neill. O'Neill steals Peter David's line about how artists should be required to provide sample pages before being allowed to write their own work, and Keith thinks he's brilliant for saying it. "Doc Bruce Banner Belted by Gamma Rays: A Look at the Incredible Hulk," by Patrick Daniel O'Neill "Beyond the Hulk's Frontier, with Peter David," by Patrick Daniel O'Neill: Apparently O'Neill loved his last interview with David enough to bring him back to talk hulk (also, it was a nice tie-in to the Sam Keith cover). I'm not complaining. It's nice to see Wizard interviewing writers, as well as overly hyped artists (though, to be fair, the last few have all been a lot more grounded and humble). Andy Mangel's Hollywood Heroes FINALLY discusses Batman Returns and actually provides some unique content in that respect, reviewing the original (rejected) Sam Hamm script instead of discussing the upcoming film in much detail. It was an interesting and concise read, and Mangel proved surprisingly knowledgeable about the various drafts for the first film. Also interesting is Mangel's promise next issue to look at the upcoming X-Men film (  ). Palmer's Picks promises to focus on good writing that people should be checking out, and he then (appropriately) spends the whole article wetting himself over Neil Gaiman. He goes on to recommend some other highly quality stuff at the end, including Cerebus (which made my day). "Drawing the Sword," interview with Alan Davis about Excalibur, by Greg McElhatton. Collecting Comics in the '90s, by Pat McCallum: A terribly written explanation of why some comics have bar codes and others don't. He finally arrives at the conclusion that there's usually no difference in collectibility. I guess this would have been worth knowing to twelve year old speculators who thought they found a super rare variant. I'm surprised he didn't go into the Operation Galactic Storm example, where Quasar was a direct stand only book that suddenly had #1 issues on the racks for its newsstand editions so that non-LCS customers could follow the complete storyline. Science Fiction Heroes: Part II, by Lawrence Watt-Evans. God bless that man for bringing substance to this book. Wizard Comic Watch: First buzz about Cletus Kasady. Toying Around, with Brian Cunningham: Cunningham promises more substance this time around (someone bitched about last issue's Christmas memories, and seeing as how it's too soon to be responding to fan letters, I'm guessing it was Shamus), and so he ranks his ten favorite action figures. That's substance? Incidentally, I agree with most of his picks  Selena's Comics Hotline: Okay, it's actually an ad, but when I was growing up with Wizard, this was an ad that showed up in every single goddamn issue, and this marks its first appearance. Contest: Fantastic Four #347-349, autographed by Art Adams. I feel like the prizes are getting less exciting. Cover Shots Wizard Word Search Word Jumble CBIQ Wizard of Cards: All sports card talk again, along with an index of all the upcoming X-Men cards. No mention at all of the delayed DC Cosmic Cards Picks from the Wizard's Hat: Surprisingly, despite Shamus' love for John Byrne in the letter from the publisher, Next Men #1 does not get the featured #1 pick (it's the third pick, instead). Most of the rest of the picks are pretty lousy, with the start of Wolfman's Titans' Hunt in the pages of New Titans being the only one that makes any real sense to me. I guess Punisher War Zone #1 was bound to be a great seller, but Cage #1? Yeesh. Did that series even make it three issues? #1s: Comico, Eternity, Fantagraph, and Caliber are all still alive. Top 100: Marvel is dominating again with DC's best sellers slipping a bit, and Star Wars: Dark Empire #1 comes out of nowhere to get the #17 spot. Top 10: All Marvel X titles again, with New Mutants #87 still in the lead. Wizard Market Watch: Marvel sales slow a slight gain from last month. For the first time, Valiant has over 1% of sales for the previous month. Price Guide Shows and Conventions Magic Words Final thoughts:So Wizard is now in bed with Valiant, and Valiant is doing well even without them. Once Wizard FINALLY gets on the ball with covering the rise of Image, which company will they lean towards more? |
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Post by Deleted on Oct 20, 2014 22:15:34 GMT -5
Who knew the ol' Wizard was this interesting (and off!). Great stuff shax!
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Post by shaxper on Oct 25, 2014 9:58:10 GMT -5
Found this information today in the forward to the first Harbinger trade paperback, circa Wizard #17, in which Gareb Shamus reflects on his first becoming aware of, and taking an interest in Valiant: Thinking back, my earliest encounter with a VALIANT comic came when I thumbed through a copy of Magnus #5 that was left lying around my office. (It also happened to be the first appearance of that Rai dude.) I'll admit I don't have enough time to read a lot of what's out there, but I was pretty impressed with what I saw. I felt that what was in these pages: the storytelling, the excitement, the innovative marketing techniques; everything about them told me that this company was headed in the right direction. Somewhere down the road, I told myself, I want to get to know these VALIANT folks. There were many qualities I liked about VALIANT. Their long term plans for growth, the idea of creating an entire comprehensive universe, and finally building a strong relationship with its readers. So, over the next few months, I watched as VALIANT slowly became a prominent publisher. I noted, as well, that the price of their back issues were starting to feel the "KACHUNK" of the price gun. Many new fans came aboard and sought back issues for insight into the characters and stories... Also worth noting, by Wizard #17, Gareb was making routine visits to the Valiant headquarters in Manhattan (stated earlier in the introduction). So we're at the point where Harbinger #1 was just released, and the Valiant craze is about to blow up. Shamus' perspective on the issue isn't particularly remarkable, but it's worth capturing here. It's interesting to learn in hindsight how he slowly became aware of the company just as we're watching that awareness unfold in the pages of Wizard. |
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Post by Deleted on Oct 26, 2014 1:37:13 GMT -5
I guess it's a matter of opinion concerning any of those Valiant titles not being super hero books. I'm of the opinion they are. A muscleman with a logo in his utility belt punching holes in robots and walls, it's at least as much a super hero comic as The Punisher.
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Post by shaxper on Oct 26, 2014 8:09:56 GMT -5
I guess it's a matter of opinion concerning any of those Valiant titles not being super hero books. I'm of the opinion they are. A muscleman with a logo in his utility belt punching holes in robots and walls, it's at least as much a super hero comic as The Punisher. I think it's more in line with the great sci fi heroes that inspired the superhero genre. Flash Gordon wore a distinct outfit and battled bad guys too. But the point is that it certainly wasn't in line with what traditional fans of Marvel and DC were looking at in 1992. |
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Post by Dizzy D on Oct 26, 2014 10:10:47 GMT -5
The line between pulp heroes and superheroes has always been very thin and often a matter of semantics. In case of Valliant, I'd consider Turok and Magnus to be pulp heroes and Solar and the characters of Harbinger to be superheroes, but I'm not really invested in comicbook taxonomics.
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Post by shaxper on Oct 26, 2014 10:17:09 GMT -5
The line between pulp heroes and superheroes has always been very thin and often a matter of semantics. In case of Valliant, I'd consider Turok and Magnus to be pulp heroes and Solar and the characters of Harbinger to be superheroes, but I'm not really invested in comicbook taxonomics. In a way, I think comic books have been "post-superhero" for a long time now. Fewer and fewer heroes are seen on patrol stopping crime from month to month and are, more often, caught up in more intricate personal conflicts. In fact, we're starting to see more characters not wearing costumes, as well. The superhero genre made sense for an age in which city crime was rampant and people felt powerless to stop it. It also became an outlet in a post-war world that felt powerless with the Cold War looming over them. But, ever since the '70s, I think superheroes have just been the default genre. There's little innate about superheroes that, I suspect, matters to most readers. We're drawn to super powers and super beings, but not necessarily super crime fighters, and I think Valiant captured that. |
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Post by Deleted on Oct 27, 2014 0:04:53 GMT -5
I guess it's a matter of opinion concerning any of those Valiant titles not being super hero books. I'm of the opinion they are. A muscleman with a logo in his utility belt punching holes in robots and walls, it's at least as much a super hero comic as The Punisher. I think it's more in line with the great sci fi heroes that inspired the superhero genre. Flash Gordon wore a distinct outfit and battled bad guys too. But the point is that it certainly wasn't in line with what traditional fans of Marvel and DC were looking at in 1992. I can see the argument against it being a super hero comic, and if we were talking Gold Key I'd likely agree that it was more of a Flash Gordon type of thing. But the difference between this and Flash Gordon is Flash wasn't karate chopping through steel and concrete, and didn't share a universe with super hero teams. Kind of like The Punisher. It doesn't have to be a super hero comic. Castle doesn't have super powers. The terrorists and drug cartels and kidnappers he normally fights aren't super powered. He doesn't go into space. Except when he does, with Spiderman and Thor, in their shared universe. That Unknown Soldier series I liked so much at Vertigo, I always thought it could have worked just as well as a Punisher series. No reason the character couldn't have been Frank Castle. But when the actual stories featuring Frank Castle have him swinging from a grappling hook firing bazookas one handed with Wolverine at his side, it's basically a super hero comic. |
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Post by shaxper on Oct 27, 2014 20:15:04 GMT -5
I think it's more in line with the great sci fi heroes that inspired the superhero genre. Flash Gordon wore a distinct outfit and battled bad guys too. But the point is that it certainly wasn't in line with what traditional fans of Marvel and DC were looking at in 1992. I can see the argument against it being a super hero comic, and if we were talking Gold Key I'd likely agree that it was more of a Flash Gordon type of thing. But the difference between this and Flash Gordon is Flash wasn't karate chopping through steel and concrete, and didn't share a universe with super hero teams. Kind of like The Punisher. It doesn't have to be a super hero comic. Castle doesn't have super powers. The terrorists and drug cartels and kidnappers he normally fights aren't super powered. He doesn't go into space. Except when he does, with Spiderman and Thor, in their shared universe. That Unknown Soldier series I liked so much at Vertigo, I always thought it could have worked just as well as a Punisher series. No reason the character couldn't have been Frank Castle. But when the actual stories featuring Frank Castle have him swinging from a grappling hook firing bazookas one handed with Wolverine at his side, it's basically a super hero comic. I grant you all of this, though I'd also point out that the Valiant Universe didn't contain a single conventional superhero. There was no one out there whose mission was to stop crime or evil doers everywhere. Harbinger had the specific focus of taking down an evil corporation trying to dominate the world, and Solar was trying to hold reality together after he'd nearly destroyed it. X-O Manowar was the only one that began to feel conventionally superheroic a few years in when he started going up against the Mafia. Thus, Valiant was post-superhero. Super powered, but not conventional superheroes. |
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Post by Deleted on Oct 27, 2014 20:42:38 GMT -5
Yeah, I get that. Crossgen was the same, and some Crossgen titles were definitely not super hero. I don't know if they were a part of the same shared universe or not though. But a lot of the "Fantasy" titles at Crossgen were more Avengers than Lord Of The Rings, so I'd call them super hero comics, even if they weren't quite in the same vein as Superman was.
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Post by Dizzy D on Oct 28, 2014 13:56:08 GMT -5
Yeah, I get that. Crossgen was the same, and some Crossgen titles were definitely not super hero. I don't know if they were a part of the same shared universe or not though. But a lot of the "Fantasy" titles at Crossgen were more Avengers than Lord Of The Rings, so I'd call them super hero comics, even if they weren't quite in the same vein as Superman was. Crossgen was definitely a shared universe, which was one of its biggest downsides IMHO. Alessi insisted that every title was linked to the main mythology in one way or another. (having a Sigil-bearer in the cast, dealing with the Negation, having an orange-eyed mentor character). So glad that the later Crossgen series and the revival miniseries didn't insist on the shared universe. It allowed Waid to set Ruse in actual Victorian Britain instead of an alien world that just looked like Victorian Britain. |
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Post by shaxper on Oct 28, 2014 14:28:14 GMT -5
Wizard #7 (March 1992)  If you take Gareb Shamus' recollections about the beginning of the Valiant craze at face value, then there's definitely something fishy going on with this issue. According to Shamus, Valiant didn't become a truly big deal until Harbinger started to explode on the back issue market. That hadn't happened yet as of this issue, and yet Valiant is ALL over this issue (including the cover). In fact, both of the lead feature interviews are about Valiant (Jim shooter gets an unprecedented seven pages, and Barry Windsor Smith gets 4), plus you've got an article providing a "Very Brief History of X-O Manowar". Brief history? The character had debuted four months earlier! There are also four other instances in which Valiant images get included in articles not specifically about Valiant, and even two questions in the CBIQ trivia game, as well as the expected three full page Valiant advertisements in the issue. So Maybe Shamus recalled somewhat incorrectly? Or maybe Wizard was only trying to capture the early rumblings it was hearing about Valiant before the company had really managed to gain attention. But considering the young mainstream audience they were targeting, putting a totally unfamiliar new character on the cover was either a ballsy integrity move or a total sell-out to a big advertiser. Or both. Ironically, with all the talk of Valiant in this issue, Harbinger never gets mentioned once. And, as yet another shock, Wizard is FINALLY aware of the upcoming Youngblood #1 (though it's still from Malibu, not Image yet) and it gets exactly one mention in the issue as a pick "From the Wizard's Hat". Here's what they say: What the hey? Holey moley! That's Rob Liefield, the hot creator of Marvel's X-Force, and he's just created something totally new and sizzling hot! In a world where the big celebrities get the big money with the big managers, Young-blood is a group of Super-Heroes like the world has never seen! Malibu Comics is gearing up to create it's own universe and Youngblood is the debut of it all, and who better to bring it to us than Liefield. From reading X-Force, these new guys have got to be good. Each issue of this three part mini series has two full color Youngblood trading cards (Wow, a lot more cool stuff like this and Marvel & DC Comics are going to have some major competition). I'm starting to think McFarlane and Liefield really did just fly Shamus out to LA two months earlier so that they could hang out. It doesn't seem like Wizard has any idea that Image is on the horizon. In other news, this issue looks more polished than ever, but the staff is still rag-tag and mismatched: Patrick Daniel O'Neill isn't bad at his interviews. He's still a bit green, taking some serious abuse from Barry Windsor Smith this time around, but he also clearly takes an interest in seeking out creators in the field who really have something interesting to say about the profession as a whole. This time around, he gets Jim Shooter criticizing the promotional tactics of Marvel (and I especially love that he takes aim at McFarlane's Spider-Man #1), as well as discussing his ideas for how to broaden the comic book market, just as he got the Simonsons and Peter David to do in issues past. Tom Palmer, for some reason, abandons his "Palmer's Picks" this time around, but writes the same kind of content anyway, discussing Dave Sim and Cerebus with nearly (though not quite as much) respect as he had for Neil Gaiman and Sandman last time around. Patrick McCallum just needs to be smacked. This time around in his "Collecting in the '90s" feature, he tells everyone its an excellent investment idea to get your most valuable comics signed. In the final paragraph, he suggests getting a Poloroid photo to prove authenticity. Brian Cunningham: makes the mistake of writing before doing his homework and inadvertently sets off a controversy that I can remember collectors still discussing for years after in erroneously stating here that there had been an original Kenner Boba Fett figure with a removable missile that was taken off the market. Years later, this proved to have been a complete falsehood, but not before leagues of fans spent a ton of time scouring the markets looking for it. Stephen Shamus finally condescends to mention comic book cards in his "Wizard of Cards" column, but only for the sense of inclusivity, as he examines the larger trend of including holograms in collectible card sets. Andy Mangel, after some embarrassingly awkward first articles, finally found success last issue in writing about an unproduced Batman script, and now appears to be clinging to that format in this issue, summarizing the X-Men film script that just got rejected. Interesting for its content, but he brings no interesting news nor perspectives to it. It's really just a brief explanation and summary of the script. Incidentally, I noticed far more errors in both content and typos this issue, my favorites being Patrick Daniel O'Neil explaining that Jim Shooter had his first comic published for DC at age 13 (true), then spent thirteen years away from comics before being hired at Marvel (very much not true). He also goes on to mention the Deli/Gold Key heroes. Sounds delicious. Hindsight glimpses into the comic industry:More and more people discussing the problems with incentive and gimmick comics. Wizard Market Watch also criticizes DC for jumping on that bandwagon to get their sales back up with Robin II and War of the Gods. Image still hasn't made the scene yet, though Youngblood #1 has been solicited by Malibu, and Valiant is getting more attention. Industry news:Carnage is about to make his first full appearance in Amazing Spider-man #361. I had no idea at the time that the character had already been hyped prior to even making his first full appearance! Wizard shaping the comic book market? Seems pretty clear to me this time around. Valiant becomes their biggest advertiser and, suddenly, one issue later, everything's Valiant. Coincidentally enough, Marvel is no longer taking out ANY ads in Wizard, and there's absolutely no content in the issue discussing Marvel anymore, even with Carnage on the way. Only the Picks from the Wizard's Hat, Marketwatch, and Top 10 sections are still discussing Marvel's hype. To their credit, it would seem these sections really were attempting to reflect the market and not just a corporate agenda. The Top 10, for example, is still ALL X-books. Sadly enough, both New Mutants #87 and New Mutants #87 (second print) made the Top 10 this time around. So I can't exactly fault Wizard for pushing Valiant's substance over that overly hyped crap, but I think they're doing it for the wrong reasons. And, of course, Marvel will get attention again in the next issue and beyond. It's just fishy that there's absolutely NO talk of anything Marvel (nor DC for that matter) in this Valiant-centered issue. Wizard Comic Watch:Hulk #367: 1st Dale Keown on Hulk New Mutants #98: 1st Deadpool (I guess some things haven't changed!) Wizard Top 10:1. New Mutants #87 2. Uncanny X-Men #248 3. Uncanny X-Men #266 4. Uncanny X-Men #201 5. X-Factor #24 6. Uncanny X-Men #281 7. New Mutants #87 (2nd Print) 8. Uncanny X-Men #268 9. Uncanny X-Men #282 10. X-Force #1 Final Thoughts:Wizard has been running ads for Previews and Advance Comics since their second issue, but this time around, the Previews ad outright says: Before Wizard prices the latest comics. Before your local comic shop has them in the store. Even before they're printed! You can find out about the most collectible new issues by reading Previews -- your guide to soon-to-be-released comics and related collectibles. So, in working with these other publishers, Wizard isn't trying to complete by giving focus to upcoming comics, and Patrick Daniel O'Neill, the lead feature writer, is doing his best to make a statement against all the hype and speculation in the market right now, so then what IS the focus of this magazine? There seems to be a disparity between the original staff writers (McCallum is all about the speculation, Cunningham just makes up stuff as he goes) and the newer guys (O'Neill and Palmer, both trying to steer comicdom towards more substance and quality). It's a tension that's going to need to resolve itself at some point. Oh, and Wizard is in Valiant's pocket for the time being. |
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Post by fanboystranger on Oct 28, 2014 14:59:40 GMT -5
"Horror Comics Then...and Now!" discusses the similarities and differences between EC and Vertigo. Pretty pointless in stating the obvious, with no clear focus on trying to make EC fans read Vertigo or Vertigo fans read EC. This feature feels utterly out of place in a magazine otherwise targeted to young readers of the most common denominator superhero fare. NOTE: this was the sole contribution of Lawrence Watt-Evans to Wizard, yet he got staff credits at the beginning of the issue. I'm kinda intrigued by this article. Vertigo didn't exist as an imprint until 1993, but even in 1991, there was a certainly a sense of "Berger Books" as something distinct from the rest of DC. (Even though Wonder Woman would have been one of the books under her watch.) Does this article imply that there was some kind of separation or imprinting already in the works, or are you just referring to those books as "Vertigo" because they would eventually form the backbone of the imprint a few years later? |
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