Comic Book Brain
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Cover art by Clay Mann
Justice League at $613,360,371 Worldwide
For a movie continually kicked in the shins by movie critics and the pop cognoscenti of blogworld, this hybrid Zack Snyder/Joss Whedon production has piled up what would be an excellent amount of money for just about any other non-superhero movie. But, these numbers will probably get it dismissed as a near-dud unless a wash of box office through the holidays can lift it up another few hundred million, which seems unlikely. The question is, with Justice League such a tightly controlled feature film apparently showing off the very best DC could muster with director Snyder (and Whedon) driving, and to get beaten up like this afterwards - is this because the whole year has been disastrous for so many heavily-hyped features (?) or is there simply a huge disconnect between what DC/Warner's think the fans want versus what they actually want?
Justice League 2017 earnings
"If you consider Justice League to be the third chapter in Zack Snyder’s DC Films trilogy following Man of Steel and Dawn of Justice, then Justice League played like the third Divergent movie. Fans and general audiences decided not to be fooled for the third time." Scott Mendalson at Forbes
Official Web Site Justice League
Art by Mahmud Asrar - his online art site
Black Panther Releases February 16, 2018
John Timms art - from Harley Quinn #26
Interview with Jim Shooter
Interview at Adventures in Poor Taste
"[now] ...It takes forever to tell a story. What Stan [Lee] would put in six pages–it takes six months. So you look at the sales–Marvel comics are now $4 apiece, and they’re thrilled if the sales are over 30,000. When I was at Marvel, the whole world was different. We didn’t have a single title–we had 75 titles–we didn’t have a single one that sold below 100,000. We had the X-Men approaching three quarters of a million. And that’s not some special No. 1, or somebody dies, or changes costumes, or someone gets married–it was every time. A lot of it was single-copy readers. People weren’t running around buying cases of it because it had a foil-embossed cover. It was every issue.
I remember Neal Adams once saying something in an interview (probably in an old issue of Comics Journal) that when he was working on Green Arrow / Green Lantern, they were frequently in danger of cancellation for sales in the low 100,000's, a figure that would be a cause for celebration today.
Detective Comics #969
Cover art by Guillem March
Nice cover artwork from March, who seems to always have something more to offer than just the anatomy and the costume (his coloring is also unique). No disrespect to March's skill, but this piece is in the "heroes standing around waiting for something to do" mode of so many covers. Is this the decadent phase of superhero comics? A more vigorous era of comicdom would present the heroes doing something on the covers.
Interior artwork for Detective Comics #969 contains the bane of modern superhero books: too many unvarying talking heads, panel after panel, moving the story forward by long sections of dialogue in which we only look at faces. Why can't we see the room they're in as they chat? The outside of the building? The furnishings? Why can't they be doing something besides staring out at the reader (often with the same expression in each panel) as the text pours out, the heads pushed to the very border lines. Surely mood and a sense of the drama in the story could be communicated better by giving us a physical setting for the characters to exist within.
Interior art is by Joe Bennett and Sal Regla*, and it is certainly not all talking-heads:
Story credits on Detective Comics #969 is James Tynion IV
DC Comics lists the art for Detective Comics #969 by Raul Fernandez and Alvaro Martinez on the DC Comics' website. But the printed book has a different list.
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