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Flo
2008-07-08 09:05:39
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Flo Steinberg gave me her Stan Lee Slurpee cup.
Flo’s cleaning out her apartment, so she’s trying t hand off as much stuff to interested parties as she can, so that it doesn’t just all get turned over to the trashman.
I’ve already got multiple copies of BIG APPLE COMIX, the one-shot underground comic book that Flo edited and published back in the 1970s. Just about everyone around here has got one at this point, as she continues to unburden herself of possessions.
For those that don’t know, Flo is our greatest living link to the Marvel-that-was, the Marvel of posterity. Back in the early 1960s, Flo was Stan Lee’s gal Friday, one of maybe two or three people (along with production man Sol Brodsky) who worked in the Marvel offices at close to the very beginning.
She became beloved to a whole generation of fans as Marvel’s corresponding secretary, charged with filling out and mailing out the postcards that used to be sent out to every person who sent in a letter of comment. Eventually, the task became too daunting, and the postcards were discontinued in favor of the Merry Marvel Marching Society.
(I recently lost out on an ebay bid for one of those postcards. I wanted to return it to Flo and get her to sign it again.)
These days, and for the last decade or so, Flo has been our head proofreader. She’s an always-entertaining, fiery little pixie of a woman, and we’re glad to have her around.
(That’s not a photograph of Flo’s Stan Lee Slurpee cup, though—it’s an image I stole off of the Internet. The cape and gloves are actually yellow on the real thing, which sits on my desk.)
I don't like anybody--but I like Flo Steinberg.
More later.
Tom B
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The Rules
2008-07-03 17:05:15
It seems like the responses to this Blog in recent weeks have become a bit more contentious, even accusatory. And I know that’s just people reacting emotionally to what’s said here. But I just want to outline the ground rules once again, so that everybody’s on the same page about what goes on here.
I’m not at all a big fan of censorship, so if it’s at all possible I won’t ever delete a response to one of my Blog posts. This should be a forum for the free exchange of ideas. But there are a few things that will make me take steps:
1) Use of inappropriate language. Marvel.com is a PG website, so if you post something and curse a lot, it’s going to get taken down.
2) Hate-Speak of any kind. Pretty much a no-brainer
3) Posts that are really advertisements for other websites or products. These typically get posted by web-bots, and they always come down once I see them.
4) Anything else that’s in violation of Marvel.com’s policies about posting.
Beyond that, you’re pretty much free to say what you like here. And all I ask is that you think about what you’re saying before you commit it to print. Also, be careful about reacting vehemently if a post of yours disappears suddenly. Because of the way this site is set up, any reader can flag any post as being offensive for any reason, and it’ll get taken down temporarily until somebody can approve it. I only check those posts maybe once a day, so almost everything goes offline for a little while, as malicious people seem to mark every response as offensive. But as you’ll see if you wait a few hours rather than lashing out angrily about censorship, your post will in all likelihood return once I find it (assuming you haven’t violated one of the rules above.)
Okay, everybody clear? Great! Then on to July 4th!
More later.
Tom B
Wizard Awards Ceremony No More!
2008-07-02 17:30:39
There was no Wizard Awards Ceremony at the Wizard World Convention this year—and I’m told that me and mine are responsible for that.
You see, last year, editor Steve Wacker won the award for Best Editor, primarily for his work on the weekly series 52. By the time the awards were being given out, Steve had switched companies, and was working down here at Marvel. Neither he nor I were slated to be in Chicago for the convention, but Marvel had begun dabbling with doing online videos. So we hit upon the idea of filming Steve’s acceptance speech, and having the Wizard folks play it during the ceremony.
The video we sent is embedded below. And we didn’t hear anything about it at the time, but apparently there were some people over at Steve’s former company who didn’t find it funny (I’m told they actually walked out of the awards ceremony after it played) and who made a big stink about it afterwards. Large enough of a stink that the Wizard folks decided to forego the awards ceremony entirely this year.
Me, I don’t think it’s so bad (but then, I’m not someone like poor Scott Allie, who may feel differently.) Anyway, I’ve asked our skilled technical staff to include it below.
Also, Steve Wacker wanted to express his actual appreciation in receiving the award in question. He writes:
The only reason I got that award was because Jeph….er..Jef..umm…Geoff Johns and “Greg” Rucka pitched the idea of me editing the weekly 52 book to Dan Didio who went along with it (a decision he possibly regrets). I really appreciated the faith from all three of those guys, though.
That got my funny sounding name in front of a lot of the book’s publicity which apparently helped with Wizard readers who like voting for names that sound vaguely dirty.
Unfortunately, my plan to tank the book by leaving halfway through fell apart when Michael Siglain took over the book and practically no one noticed I left. (Thanks a lot, Mike.)
Anyway when the results of the Wizard voting came in Tom and I did this video and I thought it was kinda funny poking fun at both him and me. I had no idea until last week that they even showed the thing or that anyone even watched it. Personally, given Tom’s performance I can see why folks may have gotten mad. I haven’t seen anyone sway on camera so much outside of Eddie Murphy’s Stevie Wonder impression.
More later.
Tom B
Return from Chicago
2008-07-01 18:59:03
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Back from Wizard World Chicago, and despite the fact that reading somebody else’s convention report is the most tedious thing in all creation, here are a few highlights:
--Obviously, a pall was cast over the whole convention when news of the passing of Michael Turner hit the floor on Saturday. I can’t say that I knew Michael well, but he did a whole string of covers for my office, on titles like CIVIL WAR and FANTASTIC FOUR, and he was always energetic and pleasant, professional and hard-working, even when that must have been the hardest thing in the world to have been.
-- To anybody I saw on Friday, I’m sorry. I was still getting over a sinus infection, and the long plane ride, coupled with the handfuls of medication I was taking to allow myself to stand upright, made me even loopier than normal. I definitely wasn’t thinking straight, the neurons in my brain weren’t firing—so I expect I was a bit less coherent than I typically am.
--Went to an exclusive Marvel dinner on Friday. Sat next to Peter David who, along with writer Brian Reed, tried to sell Bill Rosemann on the merits of the British science fiction comedy series Red Dwarf. Bill still hasn’t cracked the episodes of Life on Mars I loaned him two months ago, so I knew this was a losing war to wage.
--Got to spend some time with artist Adi Granov and hear his stories about working on the Iron Man movie, and visiting Stan Winston’s Studios.
--It was good to see Geoff Johns for a few seconds at the end of the much-ballyhooed Bendis vs. Johns panel, which was the event of the show. Told him how much I liked all of the stuff he’s been working on lately. I had hoped to get a chance to hang with him a little bit in the evening, but Geoff wound up flying back to California when the news arrived about Michael Turner.
--Got a sneak peak at Keith Dallas’s upcoming FLASH COMPANION book from TwoMorrows. Apparently, I’m the only person in creation who ever said anything positive about golden age Flash artist E.E. Hibbard, as I’m quoted in the volume.
--We’ve got Prize or No-Prize down to a science at this point, and it seemed to go over well with the crowd. There were one or two really good contestants on hand who made it farther into their respective categories than most (though in virtually every case, the player went for one more question than they should have, and wound up losing it all to another player.) It was the relatively-easy questions that seemed to trip people up—the really tough stuff got nailed more often than not.
--Had a decent crowd for the Marvel: Your Universe panel as well, where fans were encouraged to give us feedback, and we had a big ol’ round-robin discussion about what we’re doing right and what we could be doing better. We devastated the room, rearranging all of the chairs into a big circle to give the event a homey feel. My former assistant and current Marvel writer Marc Sumerak joined Bill Rosemann, CB Cebulski, Jim McCann and myself for the event. And I was able to cajole John Dokes in coming down for just five brief minutes so that he could start the panel by intoning “Marvel…Your Universe” in those dulcet tones of his.
--My hand-drawn HULK cover for the Hero Initiative benefit auction sold for $200.00—and not to a member of my family!
Tomorrow: if all goes as planned, I’ll reveal how a hand-picked crew of co-conspirators and myself killed the Wizard Awards Ceremony.
More later.
Tom B
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Genuine
2008-07-01 08:59:23
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I read an in-house editorial column last night, and really walked away from it with a sense of phoniness, of reading a manufactured product that was trying really hard to be hip and casual, but in which all the strings showed. I feel like this Blog comes across that way sometimes, especially when I’m not on my game, and pounding out words furiously so I can jet out the door and go home.
And that’s the trap—there’s no way to get around the fact that this is a corporate-run site. This isn’t just a Tom Blog, it’s a Marvel Blog, and that means there’s always going to be a certain amount of skepticism and suspicion about what’s discussed here. I don’t know how to get around that.
But I will tell you that every poorly-typed, poorly-spelled word comes from me, usually off-the-cuff, always in a single draft without any rewriting. It’s genuine, no matter how artificial it may sometimes appear.
I have to say, though, those posters who responded to the Letter of the Day with angry retorts about feeling disenfranchised by the Spidey books, and looked at it as some kind of insult revealed more about themselves than anything else. Sometimes a heartfelt letter is just a heartfelt letter.
A few bits of bookkeeping before I head out for Wizard World Chicago:
--As usual, we’ll be doing the Prize of No-Prize Marvel trivia panel on Sunday, and giving away a stack of cool Marvel swag, typically including one-of-a-kind sketches by some of the artists in attendance.
--Additionally, we’ll also be doing our newfangled Marvel: Your Universe panel on Sunday as well. No guarantees that we’ll be handing out another rare variant cover at the event or anything, but we’d love to hear what you have to say about what we’re doing, and how we can make our books better and more enjoyable to you.
--In honor of our Harvey Award nomination, I’m posting the strip to the left. This is an example of “HEY, LOOK!”, a strip that the great Harvey Kurtzman, for whom the award was named, did at Marvel in the days before he created MAD. According to legend, Stan Lee didn’t really have a budget for these little one-page masterpieces, but he loved Harvey’s work so much that he just bought them, and would just toss them into random issues of random books whenever he had a spare page. There was a collection published a number of years ago, but before that tracking down all of these pages was a herculean task.
More later,
Tom B
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Letter of the Week
2008-06-24 13:05:12
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A little bit of a rough one this time:
Spider-Men,
You guys have no idea what you've put me through the last three weeks. I mean, maybe you do, because I'm sure my story bears much similarity to others you've read in the last four months. But here's mine. I'll warn you -- it's long. You might not even read it. But it's been on my heart for a while now, and I want to share, so here it is.
My not-at-home dad gave me three paperback books when I was a kid. They contained reprints of the first 20 issues of The Amazing Spider-Man spread out over the three volumes. Some of my earliest memories are of reading these books. Specifically, laying in bed with the chicken pox and keeping me company were the Lizard, Kraven, the Green Goblin, and let's not forget the Scorpion. The romance between Betty and Pete, the tragedy of Betty's brother's death, the machinations of Doctor Octopus, and the splash page of an over-sized Chameleon trying to grab Spidey from the New York skyline.
These are some of the happiest memories of my young childhood. And they created in me a deep love of Spidey from an early age.
Well, come along 1990, and I discover that comic books are still around and making kids happy everywhere. And lo and behold, Spider-Man has FOUR SERIES now!!! Well, I picked up the first two chapters of the Powerless story from c. ASM 360 and was gob-smacked at all the nuances of Spidey's life that I had memorized -- that had been drastically changed. Flash Thompson ("I admire your taste, doll! Get lost, bookworm!") was throwing frisbees with Peter Parker. And Peter was married! And to one of the best-looking redheads I'd ever seen drawn on a page. Holy cow! (Although she may have been beaten out by Jessica Rabbitt...)
And one of the greatest joys was sharing this with my dad, with whom I was now living. He paid allowance, I spent it on comics, and not only could I tell him about the gambits of our favorite web-spinner, but Dad would fill in the gaps of other heroes' natures and origins....at least those that were old enough for him to remember.
Over the next two years, Spidey's life became my own. I read all his series, including the premiere of Todd McFarlane's title. And this new version of Spidey quickly became my home base, filled with characters and relationships I grew to love immensely. bought up so much Spider-Man stuff you wouldn't believe. There were the trade collections (especially the Alien Costume Saga...loved it!), the 2099 series, and of course, the never-ending quest for back issues. The hero who had been woven into my imagination from the most formative years was now a part of me in a way I had never imagined.
But right around the start of Maximum Carnage, I was starting to lose interest in comics. (I understand now that I probably jumped ship just before Carnage jumped the shark..?) And though my collection ended, I always maintained an interest in Spidey and would frequently browse the covers even though the money would be spent on "real" books, girls, and other things teenagers do. So I was marginally aware of the clones, Ben Reilly, Aunt May dying but not really, estrangement in the marriage between Peter and MJ, and I always felt emotionally invested.
You see, even though I didn't collect him anymore, I felt a strong connection to Spider-Man. And for all the reasons you'd probably expect -- I was always picked on by other kids, I was the nerd, I always dreamed of marrying a beautiful redhead, etc. But the source of it all was a happy connection to my dad... in a relationship that didn't really have too many happy connections.
When I was 16, my dad committed suicide. He did this after shooting and killing my stepmother and 4yo sister. I had moved back in with my mom before this because my dad was non-abusive for only about the first nine months of my residency with him. He was a much better father when he had rarely or never been around. And now he was dead.
I really stopped reading comics, even stopped browsing them. I don't really know much about Spider-Man from 1996-2006 beyond the movies. There was never a conscious thought that, "Oh, Dad is dead, so now I can't enjoy Spider-Man." It's more of a 12-years-later self-psycho-analysis thing than anything else.
And speaking of movies, I'll confess that when the first came out, I wasn't the first in the theater. Actually, I saw it on DVD. Maybe there was still underlying emotional difficulty. But I saw the second and third in the theaters. And although I would have done things differently here or there, I still loved them all. It didn't get me back into collecting comics. But I could feel the desires lurking.
And then something else happened, just recently. Marvel Studios released Iron Man. And if that wasn't the best superhero movie I'd ever seen, I don't know what is. And it made me want to know more about Iron Man. So you know what I did? I bought the DVD-ROM. And I started reading. And then I found out there was a DVD-ROM of Spider-Man, so I bought that too. And I started reading.
And all the comic joys flooded back into me. I've felt like I'm returning to a first love. And you know what comic joys do....they make you want to buy more comics.
But first...what's been happening in Spidey's life? I had vague inklings of a Civil War, but I didn't really know. So I started browsing wiki for storylines so I'd have some idea.
You know...those guys at wiki (and by this I mean, the public at large), they decided to list their Spidey storyline synopses alphabetically. And you know....there aren't that many things that come in the alphabet before "Brand New Day". And the first paragraph of the "Brand New Day" synopsis says it's a sequel to "One More Day".
So I read the synopsis of "One More Day". And as I read, a knot began to build inside. A knot of shock, appallment, hatred, and disgust. If I could believe my eyes, you were taking the hero I had loved so dearly as a child, that hero I had left in your trust while I went and grew up, and you had destroyed everything about him that was good and worthy of the name Spider-Man.
I called everyone I knew. My wife had to listen to rants and raves about a character I hadn't even read for over 15 years. I felt hurt, betrayed, and just shocked that such a thing would even be done.
But...of course....I had to know what you had left. If I had any hope of reading current Spider-Man, and with issue 561 beckoning from the shelves, I really wanted to...I had to know. So I managed to get copies of Amazing Spider-Man 546 and on -- and I read them.
Wacker, Gale, Slott, McNiven, and everyone else who doesn't get mentioned cuz you're too cool, thank you.
This....this is the Spider-Man I missed. This is everything that is good and great about Spider-Man. This is the mystery bad guys, the crummy luck, the funny jokes, the picture-grabbing, the web-swinging and the fist-fighting. This is Spider-Man.
And the whole time I've been reading, I've wanted to thank you. You've almost choked me up a couple of times from just how great it is. But I didn't want to write until I had the latest issue read, and I finished last week's 563 tonight. Speaking of choked up, I flipped through the One More Day hardcover tonight, and got all emotional. I haven't read it yet, but I will. I have the Back in Black trades and the One More Day book waiting for me once I finish reading through the Civil War DVD, so it may take just a little bit, but I'll get there.
A couple things I want to say now that I've dragged you through my autobiography. First: This work you've been doing with Brand New Day -- this is great Spider-Man. If there are fans out there who loved the pre-BND stuff and don't love this, then they have lost sight of what makes great Spider-Man. And I'm sorry for them.
Second, you have a great thing going on with MJ. Personally, I suspect that Mephisto left her with knowledge of the "track-jump", which means she's the only one who realizes things are different now. That seems to be where the bread crumbs lead that you've been leaving. Adds an extra dose of tragedy to the whole thing and some great opportunities for storytelling...and I hope you don't lead us there too quickly.
Third, a thrice-monthly title beats three or four parallel titles all hollow.
And finally, bring on the ASM Annual! Will this be the first since 1999? Can't wait!
Thanks for reading. Feel free to print or not, although I understand editing for length if you decide to print it at all.
Thanks for listening,
Jon M. Wilson
More later.
Tom B
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Your Name is Frankenstein
2008-06-23 16:56:23
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Things are returning to normalcy around here now that we're back to having a full crew complement. But this is going to be a short week for me, as I'm flying out to Chicago for Wizard World on Friday.
But just so you don't think I've abandoned you (and because it's easier than coming up with something to write about), here's a classic old story from Marvel's pre-hero golden era, back when the outfit was called Atlas. It's a little five-pager that Stan Lee and Joe Maneely cooked up for MENACE #7 in 1953, and it foretells, in its way, elements of the eventual Marvel style. A decade later, and this would have been a short Hulk story.
Joe Maneely died in 1957 at the age of 32, falling between the cars of a moving train while making his way home after an evening on the town. Those who knew Joe spoke of his speed and versatility, and how--as Stan's favorite collaborator at that time--he'd have played an important role in the Marvel Age had he not died. This short story gives you a glimpse as to how that might have been.
More later.
Tom B
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Harvey Award Nomination
2008-06-23 09:48:36
As has been reported elsewhere, this Blog has been nominated for a Harvey Award in the area of BEST BIOGRAPHICAL, HISTORICAL OR JOURNALISTIC PRESENTATION.
Proof positive that absolutely anybody can come up for such an award. Nonetheless, it's very nice.
If we don’t win, it won’t bother me at all—unless we get beaten out by the Overstreet Comic Book Price Guide. That might be enough to get me to shut the Blog down altogether.
More later.
Tom B
All Access
2008-06-19 07:35:57
So let’s talk about a recurring topic for a few seconds: accessibility in comics.
In the old days, there was a mantra that “every comic book is some reader’s first comic book”, and a real importance was placed upon making sure that a reader had a fighting chance at understanding the story that was being placed in front of him—that simple things like the characters’ names and the locales in which the story was taking place, and the individual plot-concepts that drove the narrative were all established and explained every issue. Sometimes this need to re-establish would go to absurd lengths, but the feeling was that every book needed to be comprehensible to a novice audience.
Nowadays, with the advances in sophistication in terms of the storytelling styles of most comics, the older average age of the readership, and the fact that virtually every issue is likely to become a component of an eventual Trade Paperback collection down the line, the goalposts have shifted somewhat. One of the reasons we instituted the recap pages in almost all of our regular titles was in an attempt to remove some of the burden of the need to recap on the fly from the backs of our writers and artists—because, when you put six issues of a storyline back-to-back in a collected edition, it gets a little bit tedious for there to be a caption explaining the intricacies of Cyclops’ powers every 22 pages or so.
I heard an industry figure speak on the subject of accessibility in comics recently, and he called it a myth. His point of view was that there’s no such thing, and the importance of such a thing was overrated—that everybody who started reading comics came in at some unwieldy point, and it was the journey of discovery that helped to make them fans in the first place. While there’s a certain amount of validity to part of what he was saying, I think on the core point he was dead wrong. Sure, we’re dealing with fictional mythologies of such a scale that no one individual comic book is going to be able to explain them all to a new reader. However, if it’s an important plot point that the guy who just sucker-punched our hero from behind is a long-established villain, and he’s got a beef with our champion for having stepped on his foot when they were both children, then that’s information that needs to be included in the issue. Very few people attempt to read a comic book, fail to be able to make heads or tails of it, and then decide to read the next one in the hopes of being able to sort it all out. Life’s too short, and there are too many other options in terms of entertainment value for your time.
We place a pretty healthy importance on making sure that our books are accessible to as wide an audience as possible, and that’s one of the secrets of our success. Sometimes we fail, sometimes we drop the ball—but we’re always trying, always keeping an eye on it. Because the flipside of doing so means preaching to an ever-dwindling audience of pre-converts, guys who’ve been following our universe for decades and who know its intricacies inside and out—and long term, that’s game over for both us and our retail partners.
More later.
Tom B
My Assistants
2008-06-16 19:05:35
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I stopped to think about it the other day, and I realized that, over the years I’ve had quite a number of assistant and associate editors working in my office—and these days, a couple of full editors as well. Taking it all chronologically:
My first assistant, back when I had been promoted to Associate Editor (then called Managing Editor) was Sarra Mossoff. Sarra didn’t stay with the office for too long, though, choosing instead to join Joey Cavalieri’s 2099 start-up team.
Sarra was replaced by Mindy Newell, who was hired by Tom DeFalco. Mindy’s background was more in writing than in editing, but she was tired of freelancing and was looking for more regular employment.
After being promoted to full editor, my second became Glenn Greenberg, with whom I worked on trading cards and a number of books in the Spider-Man areas under Bob Budiansky and later Bob Harras.
When Glenn was promoted, he was replaced by “greatest assistant Gregg Schigiel” (so termed because he recently sent us a jar full of Reeces Peanut Butter Cups fresh off the factory line for no reason, years after he had stopped working at Marvel.) Gregg was really meant to be an artist, though, and he eventually left staff to work for Niceklodeon.
While I waited for Gregg’s replacement to graduate college, Frank Dunkerly, who had been Rubin Diaz’s assistant, helped out in my office for about three months, and acquitted himself well.
Marc Sumerak came next. Marc was nicknamed “The Mechanic” for his ability to get under the hood of a comic book and tighten every loose screw, and was top-of-the-line in terms of working hard and effectively. He set the bar from this point forward.
At this point, the structure of my office began to change, and I began to have more than one subordinate at a time. The first add-on was Jeff Youngquist, who didn’t stay all that long, choosing shortly thereafter to take over our developing collections department.
Jeff’s successor was Andy Schmidt, who eventually went on to helm the ANNIHILATION series. Andy ultimately ascended through the ranks to become a full editor.
Right around the time that Marc was planning on leaving, the office grew again, with the addition of Nicole Wiley (now Nicole Boose of CABLE & DEADPOOL fame.)
And after Marc departed, Molly Lazer joined our crew, almost an even trade-out in terms of ability and thoroughness. Molly was the bedrock of our office for a good, long time, and was promoted to Associate Editor.
In an editorial shuffle, Nicole moved on to work on custom publishing, and Stephanie Moore joined our team from the X-office. She didn’t remain all that long, though, eventually opting to return to school.
Taking over for Stephanie, Aubrey Sitterson was brought in. Like a number of my other assistants before him (Schigiel, Sumerak, Schmidt), Aubrey had once been a college intern at Marvel.
After that, there were a series of shake-ups in editorial, beginning with my promotion to Executive Editor. In the wake of the restructuring, Warren Simons came over from the world of Spidey/MAX that Axel Alonso had been overseeing, swapped off with Andy Schmidt. Alejandro Arbona was hired to be his direct assistant.
At the same time, first Bill Rosemann and then Stephen Wacker were hired from uptown. A former Marvelite, Bill quickly wound up shifting over to work with Ralph Macchio on the Ultimate titles, while Steve took the reins of the planned Thrice-Monthly AMAZING SPIDER-MAN relaunch. (Steve is also known among the cognoscenti as either “The Ambassador”, or “Nifty.”)
Then, when Aubrey migrated over to the world of X like Andy before him, Wacker hired Tom Brennan to directly assist him on the Spidey stuff.
Now, as many of you are aware, Molly Lazer has left our ranks to continue her education, and while she cannot be replaced, she can be succeeded.
Our new Associate Editor is Jeanine Schaefer, direct from DC to the mighty halls of Marvel. She’ll be working directly with me on all of the titles I edit directly while simultaneously heading up a number of projects of her own. In other words, she’s going to be working for a living, but given her track record and experience, we expect great things from her. Hopefully, I won’t mess her up too badly.
Most important of all from your perspective, once “J9” (as we’ve decided to call her) is up to speed on Brian Bendis’ phone number and where we keep our staples, I’ll be able to push off some of my workload onto her, and get back to blogging on a regular basis.
Consider yourselves updated. More later.
Tom B
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About this blog:
Ramblings and musings from the mind of Tom Brevoort. "It won’t be clean. It won’t be fun. It mostly won’t be coherent."
 | About the author:
Tom Brevoort is Executive Editor for Marvel Comics, and oversees such titles as New Avengers, Civil War, and Fantastic Four. |
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