Anecdotes sur les Comics Marvel

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INDEX

1/[url=Anecdotes sur des histoires de Captain America par Miller et Breyfogle dans Marvel Fanfare][/url]
2/[url=Designs de Kirby en prévision du procés entre Marvel et Joe Simon pour les droits des premiers Captain America][/url]
3/[url=Et si les lecteurs avaient voté pour Hulk dans Marvel Vs. DC?][/url]
4/[url=Dieu Crée l'homme Détruit par Neal Adams][/url]
5/[url=Pourquoi manquent ils autant de personnages dans Infinity Gauntlet?][/url]
6/[url=Son of Satan 8 est publié sans censure en VF par rapport aux USA][/url]
7/[url=Excalibur (2004) #1 par Kordey][/url]
8/[url=Qui est Mystique?][/url]
9/[url=Walt Simonson a redessiné des cases des premiers Dazzler][/url]
10/ [url=Lee et Kirby voulaient ils faire de Pietro et Wanda autre chose que des mutants?][/url]
11/ [url=L'aventure éditoriale de la série Marvel Knights Captain America][/url]
12/ [url=Priest et les soucis editoriaux sur CAF][/url]

[fred le mallratAdmin-Man]

Tiens je feuilletais des back issues (le mag) numérique et sur le 96 spécial **Marvel Fanfare**, il y a deux anecdotes:
1-Sur le fameux **#18 Home Fires par Stern/Miller/Rubinstein** sur une idée de McKenzie (Traduit dans Marvel Fanfare 3 chez Aredit et peut être le Captain America : Rouge, Blanc et Bleu) qui est un de mes all-time favorites avec le Captain avec Daredevil Born Again!
Bref, Stern explique qu'au départ c'est une proposition de Mckenzie pour la première partie d'un arc en deux pour Captain America 238.
Stern se souvient que l'histoire de cette partie voyait surtout Steve Rogers impliqué dans la lutte contre un incendie dans son voisinage. Il n'apparaissait en Captain America que sur quelques cases. Le dessinateur prévu sur le numéro (à l'époque c'est Sal Buscema qui dessine) ne voulait pas travailler sur les aventures de Steve Rogers. Vu les délais, Stern publia une histoire en deux parties de Gillis et Kida (zzzzzzzzzz).
Frank Miller avait entendu parler de cette histoire et demanda s'il pouvait s'en servir.
Il revint vers Stern avec 17 pages dessinées. A cette époque Stern quittait ses fonctions d'editeur pour se lancer scenariste et avait décroché le titre... Captain America (avec Byrne à partir du 247). Comme ils voulaient travailler ensemble, Stern aurait pu dialoguer l'ensemble sauf que la politique editoriale de Marvel avait passé les histoires de 17 à 20 pages. Il fallu donc qu'ils travaillent ensemble sur le fait d'étendre l'histoire sur 5 pages de plus. Miller fit les planches qui attendirent une ouverture dans le planning de la série puisque Stern l'avait quittée. Si bien qu'il se retrouver à la dialoguer pour Marvel Fanfare (qui en fait publiait du matériel qui avait été crée en vue d'être des fill-ins accumulés pendant des années). La publication pris donc 4 ans, 6 si on compte que la proposition de McKenzie. Stern insiste sur le fait que le script est donc de Miller.
L'histoire aurait été inspiré à McKenzie par l'histoire de pompiers qui allumaient des feux en vue de la renégociation de certains financements pour le service.

2-Pour le deuxième, c'est une histoire silencieuse de Captain America de **Breyflogle**. En fait cette histoire était une histoire de Batman refusée par DC. Mike Friedrich, alors son agent la montre à Milgrom qui demanda à ce que Breyfogle dessina un Captain America sur les Batman. Here Goes **Marvel Fanfare 29**. J'ai trouvé un site avec les planches originales:
https://ohdannyboy.blogspot.com/2010/09/original-art-stories-norm-breyfogles.html

[fred le mallratAdmin-Man]

Lorsque Joe Simon attaqua Marvel pour récupérer les droits de Captain America en 1966, Goodman trouva un arrangement avec Kirby. Il lui promis entre autre de lui verser la même somme qu'il verserait à Simon. Cependant Stan Lee, en cas de perte des droits demanda à Kirby d'imaginer un nouveau costume (Simon e récupérerait que les éléments des 10 1ers Comics et n'aurait pas le copyright pour un comics "Captain America").
Kirby en imagina deux dont un resservirait pour Captain Glory.





https://www.cbr.com/comic-book-legends-revealed-465/

[fred le mallratAdmin-Man]

Si les votes avaient été différends (j avais renvoyé mon bulletin de vote)

[fred le mallratAdmin-Man]

Neal Adams était le dessinateur qui devait faire "Dieu Crée, l'homme détruit". Il avait demandé un contrat plus avantageux que le simple work for hire mais avait commencé 6 pages. A priori, à l'époque le GN était sur une idée de Shooter.

[fred le mallratAdmin-Man]

Quand on relis Infinity Gauntlet, on peut constater qu'il manque pas mal de personnages. La totalié des FF disparaît avec la moitié de l'univers, quasi tout alpha Flight, énormément d avengers ou de mutants.
On regarde aussi la liste des ties ins (Silver Surfer Vol 3 #51–59, Cloak and Dagger Vol 3 #18, Doctor Strange, Sorcerer Supreme #31–35, Incredible Hulk #384–385, Quasar #26, Sleepwalker #7) ... Pas grand chose pour un event de cette importance.

En fait Starlin voulait utiliser tout l'univers Marvel mais a été accueilli par un grand scepticisme de la part du staff de Marvel.
C'était une époque où les editors de famille de titre ne se prêtaient pas facilement les personnages. En 1986, Cadence a vendu Marvel à New World Entertainment qui l'a vendu en 1989 au groupe de Ron Pelerman. Marvel domine les ventes et chaque nouveau propriétaire va demander aux editors d'augmenter ses ventes et instaurer une compétition entre editors au sein même de Marvel. L'apogée de cette politique sera les deux années entre 94 et 95 sans Editor in Chief mais des editors de famille de titres répondant directement au Président. Ce dernier lancera ensuite un "concours"pour le poste d'EIC, le donnant à celui qui rapporta le plus : Bob Harras qui supervisait les titres mutants.
Par exemple Excalibur ne participera au crossovers mutants que quand il intègrera les titres gérés par Harras car il était édité par Terry Kavanagh.

Pour revenir à Infinity Gauntlet, trés peu d'editors voulaient que leurs personnages n'apparaissent dans le titre. Cela explique par exemple pourquoi il y a si peu de personnages lancés dans la bataille physique avec Thanos.
On permit à Starlin d'utiliser deux personnages des titres X: il choisit Wolverine et Cyclops. Pour excalibur ou alpha Flight, c'était aucun de possible. Daredevil n'est pas dispo. Pour WCA on a qu'iron man et Wanda et seulement Nova pour les New Warriors.
Seul Dr Doom est apparu pour les titres FF, et il semblerait que la décision n'ait pas été donné par l'éditor.

Infinity Gauntlet devint un gros succès et soudainement tous le monde voulut participer aux suites pour gonfler les ventes avec des ties ins.. Starlin dut alors s'employer à utiliser un maximum de personnages.

https://www.cbr.com/infinity-gauntlet-f ... r-missing/

[phebuscockerMembre des Thunderbolts]

Pour l'avoir relu il n'y a pas longtemps cela reste mon grand regret sur "Dieu Crée, l'homme détruit". Le GN aurait été magnifique par Adams !
Par contre c'est qui Captain Glory ?

[fred le mallratAdmin-Man]

Un des personnages du Kirbyverse chez Topps Comics en 1993.

[phebuscockerMembre des Thunderbolts]

Je le croyais déjà mort en 93 mais après vérification c'est 94. C'est pas son meilleur costume !

[fred le mallratAdmin-Man]

En discutant sur un forum (waxexpress), un forumer me montre qu'Aredit a publié Son Of Satan 8 dans Satan 12 en version non censurée.
En effet ils ont publiée une planche de Russ Heath qui d’après l'essential que j'ai a été censurée en VO et remplacée par une planche de John Romita.

[fred le mallratAdmin-Man]

Igor Kordey a été embauché chez Marvel pour qui il a fait Conspiracy avec Abnett ou Soldier X/Cable avec Darko Macan et une mini Black Widow avec Devin Grayson.
En même temps, il était une sorte de dessinateur remplaçant sur New X-Men de Morrison, fournissant un épisode rapidement en cas de retard de Van Sciver ou Quitely. Il avait beau être rapide, son travail s'en ressenti, peut etre aussi avec un encreur... Celui lui valut une mauvaise réputation auprés des lecteurs de xmen.
Il partit ensuite sur Xtreme X-Men avec Claremont et devait participer au relaunch sous le nom d'Excalibur. Là, il apprit par internet qu'il était viré de Marvel car "son dessin ne correspondait pas aux histoires de super-héros". Il avait dessiné un épisode et demi mais fut remplacé par Lopresti qui redessina tout.
Comparons

[ALIASAdmin-Woman]

Kordey aurait été parfait pour ces épisode post apo de Genosha. Dommage. Gros dommage. Le dessinateur sur Excalibur m’a fait fuir le magazine. Cette série a été une purge visuellement pour moi.

[Mister BAdmin-Man]

Mais oui, c'est tellement plus fluide et mieux découpé !

[fred le mallratAdmin-Man]

D. Cockrum aimait dessiner des femmes. Al epoque où il travaillait sur John Carter, Warlord of Mars dont Marvel avait les droits (V Neofelis pour la VF) il dessina le dessin ci-dessus. Sa future femme Paty Greer et un coloriste, Andy Yanchus eurent l'idée de lui donner des couleurs particulières puis l'affichèrent dans le bureau de Dave. Claremont la vit et demanda qui elle était? ses pouvoirs? "C'est une jolie fille"répondit Cockrum. Claremont lui créa donc un background des pouvoirs et l'intégra à Ms Marvel.

https://www.cbr.com/mystique-accidental ... nu-k-6cMBc

[fred le mallratAdmin-Man]

Carlos Pachecco

This has reminded me that I was a little bit shocked when I bought Dazzler 1 (spanish edition with 1 and a half of 2) and I noticed that there were a few pages done by
@WalterSimonson
and that he had no credits for that. I’ve never read anything about that, anywhere. Thor..+

Walter Simonson

1. Here's the deal with the Dazzler work. The first couple of issues were done some time before they were published. Originally they featured Bo Derek as Dazzler because there was an attempt to get a movie into the works. That fell apart. At least two issues sat around.

2. Weezie inherited the issues 2 or 3 years later and was tasked with getting them published. When they were done originally, Marvel comics were short, maybe 17 or 17 and a half pages long. But when Weezie got them, they had gone to 20 or maybe 22 pages.

3. So she needed some additional pages drawn. And the X-Men lineup had changed. Don't remember the exact changes but Kitty had joined the team. So she asked me to draw some additional material to bring the book into line with current continuity.

4. On the Page 9 shown here, I just did the two panels with Kitty, replacing whoever was there originally. No idea who it was now. On the Page 6 here, I drew the first 3 panels, again replacing whatever was there. Probably drew Panel 4, but not 5 &6.

5. I did three fight pages for the second issues to bring the page count into the current line. And one earlier page I have listed as Page 3, whatever that was.

It was a lark although i'm sure I was paid for the work. :-)

https://64.media.tumblr.com/d1b05e2cc01260cc695621f1295f250c/8d9960b0c80fbf92-a8/s540x810/7d2ad7e3e7e2d8c6a1b3bd31d3e13f1b9c742680.jpg

On parle un peu de la création de Dazzler ici
viewtopic.php?f=12&t=8671&p=267038
viewtopic.php?f=39&t=12574&p=330482

[fred le mallratAdmin-Man]

Ron Frenz sur FB

In The Beginning...!
There seems to be a new wave of conversations going on around social media about"creators","co-creators"and"creations"lately,
specifically surrounding VENOM,twisted foe of the Amazing Spider-Man,Lethal Protector of the innocent and flashpoint for uninformed opinions.
Let me help if I can.
Keeping in mind at all times:I have NO dog in this fight.
(Horrible phrase,by the way.)
Let's start with the popular impressions,one at a time.(Relax,there WILL be pictures I promise.)
1)"Venom was created by a fan and stolen by Marvel for the measly sum of $200.00."
Total B.S.
Randy Schueller submitted a plot idea wherein Spider-Man gets a new black costume (the description of which,from the gentleman's very plot is attached to this essay.)The story itself was unfortunately never hammered into shape for publication so ultimately Mr.Schueller was paid two hundred-some dollars for the idea"Spider-Man gets a new black suit"which Editor-in-Chief Jim Shooter was FINE with as he filed the idea away for his SECRET WARS project wherein several characters were earmarked for visible changes before returning to Earth from the conflict.
When the time came to design Spidey's new look artist
Mike Zeck never heard the name Randy Schueller or knew of any prior conversations before creating the look of the black costume.Mr.Rick Leonardi soon suggested a second joint in the leg of the graphic spider which went from red to white at the eleventh hour for purely practical printing reasons.
Attached is my visual interpretation (we call them drawings) of what is described in Mr.Schueller's plot.
Let's discuss the next impression without worrying about sourcing to avoid serious aspersions of any kind.
2)"Todd McFarlane created Venom to get Pete out of the black suit and into his preferred classic red and blue suit and writer David Michelinie is a poopy-head for saying otherwise."
I'm embarrassed to say I ascribed to this thinking for years because of the simple fact that if I were assigned the job of turning Spidey's black suit (now a living symbiotic creature thanks to the twisted mind of writer Tom DeFalco) into his newest nemisis I would not have gone big and muscular and might never had thought to add the mouth.(Which,originally,didn't include the tongue later added by Illustrator Erik Larsen.)
Except that those elements were right there in Mr.Michelinie's original plot for Venom's first appearance (also attached) which was conceived,typed and editorially approved before Mr.McFarlane was ever hired to illustrate the adventures of Spider-Man. Did Mr.McFarlane's subsequent popularity and dynamic approach contribute to Venom's immediate break-out status? Mr.Michelinie has NEVER stated otherwise.
So to the purpose of my drawings attached to this screed.
Question:
Does the drawing based on Mr.Scheuller's description look like what was published as Spider-Man's black costume which later became Venom?
Question:
Does the drawing based solely on Mr.Michelinie's description of his new character from his plot look at all like the Venom we've come to know?
I'll shut up now.

[fred le mallratAdmin-Man]

Lu dans kirbysphere de X. fournier.
viewtopic.php?f=10&t=14009


Il y a un article sur thor 134 ou il y a une courte apparition de pietro et wanda qui introduit leur lien à wundagore mais laisse aussi penser que lee ou kirby ou les 2 pouvaient penser à rattacher leur pouvoir au high evolutionnary et plus à être des mutants..




"Mutant-type"powers et clairement à l epoque la brillance c est pas Ch'ton mais bien le maitre de l evolution qui travaille.

[fred le mallratAdmin-Man]

Le parcours éditorial de la série Marvel Knights

Il est très difficile de remonter autant le temps même sur internet.
La créative team est annoncée le 4 août 2001 "après des mois de rumeurs.

https://web.archive.org/web/20020111084 ... cgi?id=261
John Ney Rieber indique qu'il a rencontré Stuart Moore qui lui en a parlé et lui a demandé de pitcher mais que Marvel cherchait un grands noms comme Greg Rucka ou Frank Miller.

SSS: How did you come to be offered the assignment to write Captain America?

accidentally. i was talking with stuart moore--the original marvel knights editor for the project--and he just happened to bring it up. he said, you know, you're not someone anyone would think of for this, but...

and he was right.

it's my understanding that marvel was looking for a heavy hitter to revive the character. someone with serious superhero credentials, like frank miller or greg rucka. and i'd only written a single (and not particularly memorable) story in that genre. but stuart liked the sample scenes i generated, my take on the character...

https://web.archive.org/web/20021219092 ... nr_01.html

Greg Rucka a d'ailleurs confirmé cela et Chuck Austen a indiqué avoir lui aussi postulé.

Going back to regret Rucka's expressed at no longer writing Wonder Woman, Taylor asked if there were any characters he wished he'd had the chance to write. "I never got the chance to write Captain America,"Rucka said, explaining that he had written a sample for editor Stuart Moore, but that at the time the job of writing "Captain America"had gone to John Ney Rieber instead. "I wish I had gotten that,"he said. "I think Cap is a brilliant character. At all times, there is a need for a well-written Captain America. In prosperity, or in whatever we call what we're in now."

https://web.archive.org/web/20140414013 ... e&id=48966

Austen's history with Cap dates back to his time on Elektra, when he first heard of the title's move to the Marvel Knights imprint.

"It's funny, I originally pitched to do Cap back when I was drawing Elektra,"Austen said. "I had heard from my editor at the time, Stuart Moore, that they were going to be taking Cap into the Knights fold and I asked if I could pitch. He said I could but could promise nothing.

"I thought I could dazzle him. So I took the weekend and put together a proposal and a full script on spec. This was pre-War Machine, and I had turned Cap into an anti-terrorist SAS type soldier with a lot of Tom Clancy weapons and gear, and some other people in his unit. But he was always at odds with his superiors, who were intended to be a branch of SHIELD, because he refused to kill.

"He worked with Hawkeye, Falcon, and a few other new guys in a squad. They carried weapons, Mp-5's, Flashbangs, night-vision scopes, the whole nine yards, but Cap's stuff was all non-lethal. Rubber bullets. Tasers. Sticky foam. Stuart really liked it, but he thought Rieber was better suited for the book, and I went back to Elektra.

https://web.archive.org/web/20030223213 ... 1&t=000132

Joe Quesada et Bill Jemas voulait revigorer le titre comme Daredevil l'avait été sous cette bannière avec une approche moins spandex et plus réaliste.

L'annonce est donc faites en aout 2001 pour début 2022. Le run de Jurgens continuera pendant 6 mois.
Cependant les plans vont changer avec les attentats du 11/09/2001.
Rieber va écrire un nouvel arc inaugural pendant que The Extremist deviendra le second arc.
Ney Rieber devait écrire une mini série qui devait faire le lien entre la mort de Steve Rogers dans le #50 du volume 3 et la série Marvel Knights mais le fait de devoir changer les plans du premier arc entrainera l'abandon de ce projet. Macan et Zezelj sortiront Dean Men Running entre les deux volume de la série.
https://web.archive.org/web/20140427003 ... ealed-468/
En février 2002, la mini série Ice sera annoncée par Riber et Jae Lee. Elle devait reparler du fameux moment où le personnage est en hibernation dans la glace.
En avril la série sort enfin mais devient bimestrielle pour le 1er arc. C'est là que la décision d'intégrer Ice comme troisième arc doit être prise pour donner du temps à l'équipe créative.

Rieber semblait ne pas avoir de plans précis mais Cassaday devait revenir.

Rieber doesn't have a lot of information about what's in store for Cap fans beyond "Ice,"for very good reasons.

[Page 16]
Issue #7, Page 16"Mmm ... honestly ...

"I always leave room for the characters to surprise me, when I'm scripting. I definitely have some ideas I'd like to explore with Cap ... but I don't know exactly where Cap will be when 'Ice' concludes -- and after scripting three arcs simultaneously for the past for the past year, I'm looking forward to carrying around one Cap-world in my head at a time, instead of three.

"And you never really know what's going to happen. From day to day, much less year to year. Joe Quesada and I haven't even begun to discuss a fourth arc. So there's even more uncertainty than usual there.

"But if I'm still on the book and Cassaday comes back for another arc -- which was the plan, more than a year ago, before September the Eleventh -- we want to take cap out of the country -- and the west -- for a while. To the Middle East or Africa. Harsh places ...

"For harsh reasons."

https://web.archive.org/web/20021021060 ... gi?id=1610

Cependant Rieber allait quitter le titre au milieu des deux intrigues de Extremists et de Ice. Son approche avait plu à Quesada mais pas sa façon d'écrire le personnage necessitant pas mal de réécritures, ne devant pas aider le titre à avoir une direction et un rhytme mensuel.

As for why he’s leaving the book, Rieber chalked it up to approach. “I tend to write a particular kind of story, even when I’m doing something that’s pretty action-based, I’m always more interested in the characters than anything else,” Rieber said. “Probably the simplest way that I can describe what happened is that Joe Quesada has a very clear vision about what he wants Cap to be, and my Cap just wasn’t quite what he was looking for. They liked a lot of my ideas, but some of the approaches that I had to storytelling and structuring things and the weighting of the character just wasn’t meshing with his vision.

“In the end, I was doing lots and lots of rewriters of scripts, and it was slowing things down. We all reached a place where we realized that it might be better if someone else was doing the book. I guess that’s the long way of saying that we had creative differences.”

https://web.archive.org/web/20030223213 ... 1&t=000132

Austen est donc choisi par Quesada pour finir ces deux intrigues car son pitch (vu plus haut) lui plaisait bien. Le scénariste semblait confiant sur le fait de rester sur le titre.

"If I get the series, I'd want to go that route I mentioned earlier. I'd bring in new villains, bigger than life villains;make Cap more of a James Bond with a Tom Clancy twist for the new millennium. I'd tie him closer to Nick Fury and SHIELD, in a sense doing what Jim Steranko was doing for his time, back in the sixties. Hardware, tools, and the occasional femme fatale with the world as a stage. Bad guys, explosions, world-threatening violence and hidden government conspiracies with Cap punching his way through to victory. I think it would be a blast. At least for me."

https://web.archive.org/web/20030223213 ... 1&t=000132

L'arc suivant est une sorte de What If par Dave Gibbons et Lee Weeks où Captain America sort d'hibernation dans un monde où les nazis ont gagné la guerre.
On sent que cette mini n'était pas prévu pour le titre mais est là pour laisser la nouvelle équipe creative arriver.

Jusque là, Rieber et Austen dans les interviews que j'ai mis en lien semblent indiquer que la série est en continuité et qu'ils peuvent utiliser les personnages de leurs choix.
Pourtant seul Namor apparait dans Ice avec des cauchemars impliquants Sharon ou Red Skull. Mais la série n'a vu aucun autre personnage Marvel, même pas Fury alors que le SHIELD est omniprésent.

Robert Morales arrive sur le titre avec Chris Bachalo. Robert Morales a déjà écrit Truth où il crée Isaiah Bradley avec Kyle Baker. La mini sort de Janvier à Juillet 2003. Captain America 21 sort en décembre 2003.
Il envoie Cap à Guantanamo.
En 2005, Robert Morales nous explique sur le forum de Quesada qui n'existe plus depuis qu'il a été poussé vers la sortie.

Il avait signé pour 18 numéros et n'en fit que 9. Les deux dernier n'étaient pas ceux prévus et voient Steve Rogers projetés sur une terre où ISaiah Bradley est le seul Captain America.

Gui Kayro - Marvel's Chief Information Officer, trouvait son run trop politique. Dan Buckley voulait que la série Captain America réintègre la continuité pour participer à Avengers Disassembled et ainsi promouvoir l'arrivée de Bendis sur Avengers.
Morales parla avec Bendis qui lui indiqua adorer ce qu'il prévoyait sur la série mais que ca ne pouvait pas coïncider avec Disassembled. Buckley et Marvel ont décidé que si ça ne pouvait pas aider les ventes d'Avengers alors ca n'avait pas d’intérêt.
Jusque là, il ne lui était pas permis d'utiliser des personnages Marvel dans la série à part Nick Fury.
Ca l'embêtait car il trouvait justement que Captain America dépendait beaucoup des éléments de son histoire.
Il faut dire aussi qu'à l'époque Marvel lance un second titre Captain America &The falcon qui est clairement en continuité et lancé sur cet argument.
En fait, l'idée de Morales est que Steve Rogers allait accepter la proposition d'être candidat en tant que Vice Président (ce qu'il refuse à la fin du numéro publié alors que Marvel avait annoncé un événement qui allait tout changer) puis devenir par un concours de circonstance Président des USA. Il aurait été difficile de le placer sur le spectre politique.
Puis quand c'est tombé à l'eau, Quesada lui a soufflé une idée intéressante (qu'il ne donne pas) lors d'un déjeuner avec Alonso (alors éditeur du titre). Mais Buckley pris sa décision que la série devait revenir dans continuité avec un nouveau scénariste. Bendis souffla le nom de Brubaker pour Marvel et quand on lui demanda la série qu'il voulait faire, il répondit "Captain America".

Robert Morales révèle plein de choses intéressantes sur le forum de Joe Quesada ! Attention aux spoilers bien sûr

http://www.joequesada.com/cgi-bin/ikonboard/ikonboard.cgi?s=4089528b17bbffff;act=ST;f=1;t=17438;st=0

------------------------------------------------------------------

Quote (rwsmith @ April 19 2004,22:30)
Robert, will you be doing any more work for Marvel in the near future?
If so, can you tell us what title(s)?

Morales : I committed to doing 18 issues of Captain America;my run will end with eight issues. I've turned down any further work from Marvel, including a S.H.I.E.L.D. series and a 1602 spin-off.

I've told Axel I'd only discuss doing another ten issues of Cap.

-------------------------------------------------------------------

Quote (khanus @ April 19 2004,22:30)
Ok. So Robert, what was the main reason for your run being cut short? Any other Marvel work on the horizon, or in comics in general?

Morales : Gui Kayro - Marvel's Chief Information Officer - hated what I was doing with Cap, even though I was doing precisely what Marvel Edit asked of me. Evidently Kayro thinks topicality is the same as political bias - it's not. (I think my Cap is as political as "24"- i.e., it's right on the line.) That's one.

Two, Dan Buckley wanted Iron Man, Thor, and Cap to be support titles for Brian Bendis' new Avengers run. I'd been okayed for a completely different storyline - mind you, the MK Cap was to be out of MU continuity originally, but Buckley wanted that changed. That Cap or any of Marvel's other titles were to be directed toward a non-traditional comics audience was an idea he was abandoning.

Brian Bendis called me and we discussed what we were both doing, and once he heard me out, Brian said he a) thought the direction I was taking Cap was really interesting, and b) he would tell Marvel they should leave me alone. My understanding is that Buckley took Brian's comments to mean that my Cap run was therefore useless when it came to supporting what we were all calling "the Bendis Event"at the time. So he insisted that my 18-issue storyline be scuttled, whether Brian or anybody else at Marvel wanted to do that or not.

Yes, Steve Rogers was supposed to eventually become an independent vice-presidential candidate, and he was supposed to eventually become President of the United States. But the challenge was you'd never get a real handle on his political stance - it was all about his character, and what everyone else would project onto it.

In early February, Joe and Axel and I went out to lunch - pretty much to part company, but instead Joe came up with another story arc that was really great and challenging. We fleshed it out and were surprised at how positively the afternoon turned out. However, Buckley killed that idea.

Then Axel came to me again and asked if I could come up with something else, so I suggested retelling Cap's origin for a modern audience, which hadn't been done in awhile. You'd find more about Cap's interaction with real history, where his shield and costume came from, it'd have cameos by Sgt. Fury and Bucky and Hitler and Ike - a big, sweeping historical epic.

Buckley decided that World War II wasn't big enough - and it was clear to me then that Marvel management just didn't want me writing Cap, period.

-------------------------------------------------------------------------

Quote (jedicow @ April 19 2004,22:52)
you dont have to give spoilers...just a small synopsis of the story will suffice.

Morales : Cap #26 is a stand-alone story. Cap #27-28 involve an alternate future, and it's both horrific and funny. (I hope.)

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Quote (JackalsIII @ April 20 2004,00:47)
Were you really going to have Steve Rogers run and win the Presidency?

Morales : Cap as President was supposed to be a highly-publicized event - unlike Luthur's win, which I didn't know about for a while, and I follow comics. That they'd decide not to go with that storyline is understandable to the extent that Marvel isn't doing the kind of outside media promotion they used to for their books.

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Quote (Matt Adler @ April 20 2004,04:03)
...if, instead of going with a new writer, Marvel had simply come to you and said "Bob, we want Cap to go in a more superheroic direction"is that something you think you could've pulled off, or is political Cap more up your alley?

Morales : Well, Matt, the weird thing is I was told specifically not to use all the classic Marvel characters in my Cap run - Marvel wanted something completely new. I was told the Red Skull and Hydra and AIM and the rest were either over-used or off-limits. That I got to use Nick Fury was a great treat.

I would've loved to have been allowed to do a more superhero-y book, because I see possibilities of making superhero comics more contemporary that nobody's exploring - and frankly, if I do superhero comics it's because I want to make a contribution to them, not because I just want to make a buck doing what others can do better than I.

I also think it's impossible to do a Cap run without the history of the Marvel U, except that with Cap, real history makes his character all the richer. So I guess the answer to your question is yeah, probably - but it's really beside the point because some people just wanted me off the book.

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Morales : 1. The experiment was a failure of Marvel management's commitment toward marketing their books, whether or not they agreed with their content. Most people at Marvel Edit though it was way to soon to access how the book was doing financially.

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Quote (ChopperJohn @ April 19 2004,10:57)
How does editorial allow 2 Cap in Cuba stories at the same time anyways.

Morales : I've been stacking up my Cap/Falcons so I won't read them until Priest's first arc is completed. (I like Christopher Priest.) I don't think the MK Cap continuity has anything to do with it. However, I'm as puzzled about its Guantanamo Bay storyline as everybody who asks me about it.

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Quote (Matt Adler @ April 21 2004,00:22)
Seriously, why's it such a big deal? Runs end all the time before they're supposed to. I'd've thought you'd be flattered that they want to give you another high profile assignment right away.

Morales : I write for a living and I'm not prolific, so I really have to mindful of where I commit my efforts. Comics don't really pay a lot if you're a relative unknown like myself. Superstars like Bendis and Mark Millar and [your favorite here] get paid more - artists get paid at least twice what writers do - and I don't begrudge anybody the deal they get. For me, the appeal of writing Cap was that a) I was to be given specific guidelines, then left alone to write a character upon which I grew up idolizing, and b) Marvel pays you when they say they will.

So even though a Cap script earned me a so-so $2200, I didn't really mind - I've other things happening. But committing yourself to 18 issues is still a commitment, Matt - and when people above the people you work for undermine the commitments you've already made, isn't unwise to commit yourself again and set yourself up for some other corporate brainfart?

I'm not like people who want to be in a relationship so badly, they're willing to stay in a bad relationship.

[/quote]

http://www.buzzcomics.net/showpost.php? ... stcount=20


La série finit par un arc de Kirkmann et Eaton censé être un tie-in à Disassembled mais sans aucun lien avec l'intrigue de Bendis. C'est la seule histoire qui semble un tant soit peu en continuité et qui utilise toute la mythologie du personnage. Ce n'est par contre pas la plus réussie ou du moins la plus intéressante.

[fred le mallratAdmin-Man]

Quelques extraits de ce que Priest raconte sur la série Captain America &The Falcon

>My planned Year Two romance between Cap and The Scarlet Witch (who’d always had a crush on him, after all—I’m not making this up) had to be moved way up since events in The Avengers would be sending Wanda away for quite awhile. I was eager to participate in Avengers Disassembled because, frankly, we needed the sales bump. And a Cap-Wanda romance played nicely into Brian Bendis’s plans for the Avengers.

>I **retuned to CAF to write the series finale** ,
>compressing what had been planned as a Year Two arc called The Death of Captain America into two issues. The original idea was that Falcon would inadvertently cause Cap’s death, which would in turn set off major shock waves throughout the Marvel Universe as Marvel would have to go Three Months Without Cap. The main Cap book would deal with several Cap wannabes vying for the title, while in CAF, Sam would travel back to WWII, teaming with Cap and Bucky, in a desperate effort to change history and prevent Cap’s murder. Other events would occur in Avengers and elsewhere.
>
>Tom liked the idea, but already had The Big Story idea for 2005 and, besides, Brubaker was in the main Cap chair, and my idea would be unfair to Ed and his team. I could do the four issues in CAF, but I opted not to. I mean, if CAF happens in some parallel universe where Captain America could be dead for a quarter of the year and nobody notices, what’s the point?
>
>So I stripped the idea down to two basic beats: Falcon inadvertently causes Cap’s apparent death, which snaps Falcon out of Bad Guy Mode. He gets a shave, goes after the Anti-Cap, and disappears (mirroring my own sabbatical). This was designed to set up the FALCON solo book, which I would likely not be doing, but whomever took it on would start with a clean slate (to my knowledge, a FALCON book never happened, and The Falcon simply showed up again in Cap with no apparent fuss over where he’s been).

Un point de Priest sur le premier arc qui n'est pas sorti comme il l'envisageait à cause de Bart Sears.

>Complicating things even more was, initially, artist Bart Sears’ storytelling approach. Now, Bart is A Name, and his agreeing to work on CAF was greeted with elation, first and foremost by me. We have Bart to thank for CAF’s strong launch, as the book was (likely) entirely sold on Bart’s Name.
>
>But many fans took an instant dislike to Bart’s style—everybody was hulking the anatomical proportions were comically extreme—and most everyone was *completely* lost by the first issue’s story, which was my fault. I’d designed a first issue where Cap seems to be acting out of character, intercut with apparent flashbacks to events leading up to this behavior. At the end of the issue, however, it is revealed that “Cap” is not the real Captain America, and that the flashbacks weren’t flashbacks at all but were cutaway sequences occurring within the same time frame.
>
>That was a dicey choice on my part, but we had clear directions and time signatures inserted. A savvy reader could (and should have) realized, somewhere in the first issue, that they were looking at two different Caps.
>

>
>Only, Bart chose a page layout design that utterly confused even the most basic storytelling and completely derailed this dicey misdirect. Ignoring instructions and warnings abut how important it was to keep the lines straight and clear, Bart chose to insert—for no apparent reason—poster-shot images of Captain American and the Falcon on most every page. Accommodating these required the other panels to be modified, reduced or eliminated altogether, making the pages *very* hard to follow. I wrote the thing and didn’t have an earthly clue what was going on.
>
>The story and art so confused many readers that they dropped CAF on the spot, triggering a downward spiral from which the book never rebounded. Despite Sears’ very pretty pictures, the books was an unfathomable mess. Subsequent issues fared not much better, leading to a rushed and disappointing showdown at the Freedom Torch in Miami—an obvious homage to Steve Englehart and Sal Buscema's classic Silver Age battle between Cap and the Cap of the 1950's. You barely knew what was going on, let alone any parallels from that classic tale.
>
>This was a disaster, one that completely demoralized me. Bart had only committed to four issues—another product of the new industry mindset;artists used to just love what they were doing, there wasn’t all of this deal-making and cherry-picking—and I called Tom and just begged him. If Bart wants to go, please let him go. This is simply not working. I would never give an editor an ultimatum (after all, I’m not A Name), but the subtext was the team just wasn’t working and one of us would be leaving.

https://digitalpriest.com/legacy/comics/caf.html

Ma review de la série
viewtopic.php?f=35&t=12321#p363811

[fred le mallratAdmin-Man]

Marvel a songé à publier Pif Gadget aux USA dans les années 70

http://maelrannou.fr/envrac/?p=493

[fred le mallratAdmin-Man]

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