§ PvP’s Scott Kurtz — who has not exactly kept his disdain for the Wizard family of products secret, is incensed by a form letter he receives, asking him to consider participating at a future Wizard show:
Your conventions are total horseshit, so it’s wise to stop branding them with the name Wizard. But no amount of polishing is going to make me want to attended any of the 5 turds your company is going to crap out in 2010, especially when you schedule them against other shows in some bullshit dick measuring contests that serves no other purpose but to fracture an already dying industry that I have nostalgic ties to.
Although his anger is righteous, Laura Hudson observes that she’s beginning to feel sorry for Wizard employees at this point:
Similarly, while Wizard has done some pretty unfortunate and tasteless things in the past, it’s a bit unfair to treat every single person who works for the magazine as though they were complicit with each and every one of those incidents, particularly when it comes to editorial and business decisions made way above their pay grade. Hell, there’s no way of knowing whether sales guy was even working for the mag during the Wieringo incident, or even if he knows who Wieringo is.
Marvel Entertainment will release my 128-pg. THE INVINCIBLE GENE COLAN in February, 2010, a visual biography of one of the most brilliant, sublime and influential comic artists in the history of the genre. Includes observations from Stan Lee, Roy Thomas, Neil Gaiman, Walter Simonson, Marv Wolfman, Tom Palmer, Steve Gerber, Tom Spurgeon and John Romita Sr., and beautiful, eye-popping art from the Shadow Master himself.
§ Graphic NYC interviews Marvel e-i-c- Joe Quesada:
“I go back to this particular Soapbox column that Stan wrote when I was a kid. I remember it vividly. It was a right after Jack Kirby left to go to DC. Most companies would either ignore it and not publicize that he left, or put some ridiculous gloss on it and make up something. Stan wrote ‘Jack’s gone. He’s going to work for the other guys.’ You could tell there was a tinge of sadness or concern, but then he said ‘You know what? We’re going to be okay, because we still have other great talents…Marvel Comics are going to still be the best comics you can get.’ That was the coolest thing ever: the ability to let me in on what was obviously an internal creative tragedy.”
§ If you are a production wonk like The Beat is, you will love production expert Corey J. Breen’s account of how he prepared the WATCHMEN for Absolute remastering. Warning: contains explanations of moire patterns and so on!
Since it was such an old project, the digital files that we had been using for all the umteenth reprints we did all had to be recolored and “remastered”. All those old files, although still amazing looking, would not have looked so if they were just blown up to the Absolute Volume size we needed them at. So what we did was go to the original film that we had for the pages. Since we no longer have the original art to older comics such as this, what we have are the pages in the film library. Back in the day, all our books were shot using film on acetate. Our film library has extensive books all on film, and when we need to reprint them, it is shot from that film, and made digital for us to use. But this poses a lot of problems. Since the film is well, film, and it is old, when you make a digital file from film, it can be dirty, have scratches, and have sections missing, depending on how well the film was originally made. This was the case with the Watchmen ‘film’ we wound up having to use.
[Link via David Pepose]