History

Over the holiday Chris Arrant had a fantastic two part survey of what-ever-happened-to comics, including no-shows like such as All-Star Batgirl and All-Star Wonder Woman, and done-but-long-shelved books like Batman Europa and Daniel Way and Darick Robertson's Deathlok: Detour, it-sounded-ike-a-good-idea-when-we-were-talking-about-it-in-the-bar projects like Ed Brubaker and Sean Philips' vampire pirates book Black Sails (above) and something best not thought about too much called "Frank Miller's Jesus."

Marvel Executive Editor Tom Brevoort has opened up some kind of secret vault where artifacts from Marvel's history have been stored; and just like anyone else would do, he's putting them on Tumblr. For instance, here's the origial last page of AVENGERS #1 with Tom's annotation:

As part of a tribute to the late, great* Jerry Robinson, Mike Lynch has scanned in some of his old National Cartoonist Society programs -- comic strips in the Madmen era! BTW, he's pretty hard to even recognize Robinson in these photos, but that's him on the left with the glasses.

You may have witnessed some out of control hyperbole about Marvel's recently announced Avengers Vs. X-Men. My personal favorite, courtesy of Newsarama's recap: Pre-taped words from all five writers. "There's never been an Avengers vs. X-Men super-blowout, so it's like, we have to do it," Bendis says. Never been one? Seems like I own copies of something answering that description...

How better to celebrate Fred Van Lente Day than with this gem by Ryan Dunlavey, his collaborator on Comic Book Comics, their history of comics comic. For more Van Lente goodness, check out the first link for a preview of his book with Sarah Oleksyk.

It's the Hope Diamond of the comic book set. The one-of-a-kind 9.0 graded copy of ACTION #1 that once belonged to actor Nicolas Cage is going on the auction block -- and it is expected to set a record for a comic price. The comics loving actor purchased the copy -- the finest of ACTION #1 known to exist -- in 1997 for $150,000. It was then stolen from his house in 2000 and vanished from history until it was found in a California storage unit last year. According to ComicConnect's Vincent Zurzolo -- the go-to man for all comics collectible lore -- the stolen comic was actually tracked down and traced to a man who had purchased it from the owner of the contents of the unit. Will someone please make a movie about this investigation?

The most revealing development in the Siegel case since I last wrote for The Beat involves a check. Not the check issued to Siegel and Shuster in exchange for the Superman copyright, but one that DC has apparently* not written--payment to the Siegel family for Grant Morrison’s relaunch of Action #1.

Alexa at Ladies Making Comics has a delightful report up on an event at Books of Wonder with Trina Robbins and Golden Age cartoonist Lily Renée, who is the subject of a new biographical comic written by Robbins. A nice reminder that "Women in Comics" didn't start last month, last year, or even the last decade!

Looking upon the images of this check inspires both awe and revulsion. Awe that such a key part of American cultural history has been found. Revulsion that the American comic book industry was birthed in exploitation of the creators. And before anybody gets up in the comments to complain about "the greedy family," know that buying all rights in perpetuity was not necessarily the standard even in 1938.

Bluewater and their comics bios get the most press of any comics, but not many sales that show up on Diamond's charts. However, all the press has enabled a team-up with Simon and Schuster for Killing GERONIMO: THE HUNT FOR OSAMA BIN LADEN, a comics-styled take on how the Al Qaeda leader was hunted down by US troops. A previous comics version was published by IDW, CODEWORD GERONIMO. Bluewater's version will be written by Jerome Maida and Darren G. Davis with art by James Boulton.

Here is a Village Voice interview with Marv Wolfman, which is interesting for many reasons. Because Wolfman is always a thoughtful commenter on the comics industry and its may pressures, but also because CRISIS ON INFINITE EARTHS --and NEW TEEN TITANS by the same Wolfman/Perez team -- is to the New 52 generation what Fantastic Four #1 (the 1961 one) was to so many before it. With its sweeping changes, dramatic deaths and multiple universes, it set the stage for many a crisis to come. And, famously, there was talk after CoIE of doing a line-wide issue #1 reboot. The idea lay dormant until now. But Wolfman points out that for an event to be an event it should have actual motivation:

Michel Fiffe's interviewing and archiving skills cannot be doubted -- nor, after his dynamic ZEGAS debut can his cartooning skills -- but this time out he offers a compelling survey of the often uneasy, sometimes brilliant crossover between indy and superhero esthetics: