New York Comic-Con '09 News & Announcements

Yeah, can't say I'm overly keen on Mark Millar, at least what I've read of him. Upon seeing those promotional images for the Kick-Ass movie, and reading up on the concept behind the comic, I thought it sounded like a neat story. So I picked up issue 1, and while it had its strengths, it just didn't at all grab me or make me want to pick up another issue. It just felt overwhelmingly.... the best word I can use to describe it is... smug. It was the most smug comic I've read since, well, Wanted.
 
Mark Millar, in my opinion, is an event writer.

Definitely. But that's what I like about him. Reading just about anything with his name on it is like getting a Die Hard or an Independence Day in comic book form; just great, big, dumb fun. Like a non-******ed version of a Michael Bay movie.
 
Definitely. But that's what I like about him. Reading just about anything with his name on it is like getting a Die Hard or an Independence Day in comic book form; just great, big, dumb fun. Like a non-******ed version of a Michael Bay movie.

To a certain extent yes, but I wouldn't characterize The Ultimates as "dumb". There was a lot of political commentary and well developed characters in there.
 
Millar was one of my fav writers when getting into comics.All of the complaints I usually read about him are fair and true for the most part.

His work on Ultimates 1 and 2,Wolverine EOTS and Chosen remains his finest work IMO,he hasn't done anything that great in quite some time IMO.
 
http://www.newsarama.com/comics/090208-nycc09-mondo-marvel.html
Amazing Spider-Man: The Short Halloween, drawn by Kevin Maguire, was announced, as were its two writers, who made a "surprise" appearance at the panel: Saturday Night Live cast members Seth Meyers (also its head writer) and Bill Hader. Meyers explained that Marvel approached them during the writers' strike.

Meyers credited Hader for coming up with the title, adding "This [a comic book convention] is the only place where that would get a laugh."


Hader and Meyers were asked if they were "into comics" and for more details on their comic. "Is it going to be funny?" "No," Hader deadpanned. "It's incredibly serious." Hader said they are indeed into comics, and that they went to the Marvel Christmas party and met several creators, which led to the project. "We were walking back and saying, 'I think we just pitched them a Spider-Man idea,'" he explained. "It takes place in one Halloween night, it's a pretty simple idea and fun," added Meyers. "It's not going to be the most serious Spider-Man comic you've ever read."

An audience member asked if any "SNL" characters will be in The Short Halloween. "That would be weird," said Hader, before adding that Maguire — who then joined the panel — might sneak some in-jokes in the background, since the Halloween setting makes such a thing possible.

Another question was asked about Meyers and Hader's involvement. "No matter how experienced of a writer you are from movies or TV, there's always sort of a learning curve," said Quesada, but that it was a very smooth transition for them, and the only other "other media" writer to adapt so quickly was Damon Lindelof. He also pointed out their script was in on time, preemptively addressing the common fan concerns regarding creators from other media writing comics.

Bendis left his seat to ask a question of Meyers and Hader—what it was like working with Steve Martin last week on "SNL."

OMFG.
 
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Mark Millar, in my opinion, is an event writer. He's admitted before that he's more enamored with ideas than characterization, and it shows in his work. It doesn't mean his work is bad, as I've come to conclude. He just doesn't invest much into the build-up process. The same could be said of Geoff Johns over at the Distinguished Competition, but to a lesser degree.
Not really, Johns actualy does a lot of build up. He built up his Legion work for about two years now in the Lightning Saga and his Action Comics run along with the return of Bart Allen. He's been building up for the Blackest Night event for a while since Green Lantern: Rebirth and he's building up the Earth/New Krypton event with Robinson and Rucka.
 
Building up crossover events? Yes, he's good at that. But I'm talking about the smaller scale characterization, in particular. That, too, is part of the "build-up" in a long-term storyline. Characters need to develop properly and rely on making connections with the readership rather than resorting to conventional archetypes and formulas that we've seen in comics before more often than not. I don't feel that he fleshes out the characters as much as he does the events surrounding them, even though he definitely focuses on more emotional beats than Millar (ex: Rebirth, Sinestro Corps War).

Yes, I notice that his Flash run is being cited as an example to the otherwise. But I'm looking at this within the only context I can- as someone who reads the Green Lantern titles. I can't say much about Superman because I've missed out on Last Son, and I'm not a Flash devotee. I'm sure there are gems in Millar's career, too. Superman: Red Son comes to mind. Yet I wouldn't focus on that if I were talking about a specific body of work, which is what I'm judging Johns on when I make these statements.
 
To a certain extent yes, but I wouldn't characterize The Ultimates as "dumb". There was a lot of political commentary and well developed characters in there.
I think it's a problem that what was in The Ultimates is what we've come to accept as political commentary in comics. It wasn't political commentary. It was "I have thought about a political thing once hehehehe have YOU thought about this my political sensibilities are more finely tuned than yours because I don't trust the government"
 
I think it's a problem that what was in The Ultimates is what we've come to accept as political commentary in comics. It wasn't political commentary. It was "I have thought about a political thing once hehehehe have YOU thought about this my political sensibilities are more finely tuned than yours because I don't trust the government"

Pretty much my sentiments.

A better example of political commentary in comics (or at least, political commentary done right) would be V for Vendetta.
 
So they hire two of the writers driving SNL into the ground to write a spider-man story. Hmm and I thought Marvel was trying to make Spider-man good again.
 
So they hire two of the writers driving SNL into the ground to write a spider-man story. Hmm and I thought Marvel was trying to make Spider-man good again.

And how, might I ask, are they doing that?
 
Building up crossover events? Yes, he's good at that. But I'm talking about the smaller scale characterization, in particular. That, too, is part of the "build-up" in a long-term storyline. Characters need to develop properly and rely on making connections with the readership rather than resorting to conventional archetypes and formulas that we've seen in comics before more often than not. I don't feel that he fleshes out the characters as much as he does the events surrounding them, even though he definitely focuses on more emotional beats than Millar (ex: Rebirth, Sinestro Corps War).

Yes, I notice that his Flash run is being cited as an example to the otherwise. But I'm looking at this within the only context I can- as someone who reads the Green Lantern titles. I can't say much about Superman because I've missed out on Last Son, and I'm not a Flash devotee. I'm sure there are gems in Millar's career, too. Superman: Red Son comes to mind. Yet I wouldn't focus on that if I were talking about a specific body of work, which is what I'm judging Johns on when I make these statements.

This is an understandable viewpoint. I do think that, even on Green Lantern, Johns has done some good character work. In the early issues, and again in Secret Origins, he added a good deal of nuance to Hal and his history. And his work on supporting players like Hank Henshaw, Hector Hammond and especially Sinestro has been consistently strong throughout. But it is valid to suggest that Johns has been hauling his cast from one huge catastrophic event to the next, with little breathing room for character development. I hope we get a little more of that when The Blackest Night wraps up.
 
So they hire two of the writers driving SNL into the ground to write a spider-man story. Hmm and I thought Marvel was trying to make Spider-man good again.
You thought they were trying to make Spider-Man good again? No, no, you heard wrong. They were trying to make Spider-Man emo again.
 
And how, might I ask, are they doing that?
Because they're mediocre hacks, their writing is unoriginal and bland and boring, SNL hasn't been consistently funny in ages, they depend entirely on pop-culture parody (the easiest form of comedy, even when it's good), they're not anywhere near as innovative and experimental as SNL was in the Will Ferrel years or the Chris Farley years or the John Belushi years, and they can't write a live sketch to save their lives so they depend on "digital shorts" to get anything salvageable and remotely interesting or funny in a show.
 
This is an understandable viewpoint. I do think that, even on Green Lantern, Johns has done some good character work. In the early issues, and again in Secret Origins, he added a good deal of nuance to Hal and his history. And his work on supporting players like Hank Henshaw, Hector Hammond and especially Sinestro has been consistently strong throughout. But it is valid to suggest that Johns has been hauling his cast from one huge catastrophic event to the next, with little breathing room for character development. I hope we get a little more of that when The Blackest Night wraps up.
I think Johns realized very quickly as OYL started that he was going to be entirely responsible for keeping the DCU creatively afloat. I think it's pretty clear that he rushed Legion of Three Worlds and Blackest Night into place. I think we wouldn't have seen these things until late 2009 and early 2010, respectively, if he'd been working at his own pace. He has had to drop off a little of the quiet character work that he got famous for because he was basically the engine of the DCU for a couple years there. The DCU is back in working order again, so hopefully after Blackest Night, he'll be able to get back to the kind of work he did on the first volume of JSA, and on Flash, and on Stars and S.T.R.I.P.E.

That said, his characterization in GL and Action and JSA is still miles ahead of Bendis and Millar.
 
Because they're mediocre hacks, their writing is unoriginal and bland and boring, SNL hasn't been consistently funny in ages, they depend entirely on pop-culture parody (the easiest form of comedy, even when it's good), they're not anywhere near as innovative and experimental as SNL was in the Will Ferrel years or the Chris Farley years or the John Belushi years, and they can't write a live sketch to save their lives so they depend on "digital shorts" to get anything salvageable and remotely interesting or funny in a show.

Because SNL has never indulged in pop culture comedy before.
 
Because SNL has never indulged in pop culture comedy before.

I don't think that's the point Aristotle's trying to make. It's that they are entirely reliant on pop references now, as opposed to earlier periods when they drew from more than that. But I don't watch SNL, so I can't say whether anyone's valid or not on that point.
 
My brother asked Dan Slott during the Mondo Marvel panel which Spider-Man villain did he hate (besides Vulture).

Slott responded Mephisto.
 
No, but this was following a few gibes at Brand New Day.
 
Anyways,yea....Brubaker and Epting on The Marvels Project sounds amazing.
 
You thought they were trying to make Spider-Man good again? No, no, you heard wrong. They were trying to make Spider-Man emo again.
So they're trying to make him like the movie version?
 

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