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Thread: The Joss Whedon/Bryan Hitch Spider-Man Comic That Never Was

  1. #1
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    Default The Joss Whedon/Bryan Hitch Spider-Man Comic That Never Was

    Bryan Hitch's interview with CBR was revelatory in all sorts of ways. If only for the comics that weren't as well as the comics that are. Such as;
    [FONT=Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif]my one regret at Marvel is that I didn't get to do a good run on Spidey. It was discussed a few times, with Joey Q turning down a Spidey book from me and Joss Whedon. I know, right?[/FONT]
    [FONT=Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif]...[/FONT]
    [FONT=Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif]I'd also been writing a six-part "Ultimate Captain America" series I'd started drawing. It was fully written, and I was drawing the first issue in the gaps between Ultron scripts coming in.[/FONT]
    ...
    [FONT=Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif]Despite Marvel coming to me and asking for the Cap series, rather than my pitching it to them, it was constantly being sidelined and eventually dropped to my disappointment[/FONT]
    He also talks about his working relationship on Age Of Ulton and Marvel in general
    [FONT=Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif]Stylistically, if we're comparing Mark's writing on "Ultimates" with Bendy's on "Ultron," both have very different leanings on the two very different projects. Mark likes, where possible, to show rather than tell whereas on "Ultron," Bendy was choosing a more dialogue-structured narrative, at least on the issues I drew. That can be a little trickier for an artist. If you have twelve speaking characters in the same location for 30 or 40 pages, then obviously no writer is going to consider the physical location of each one in how he or she writes the dialogue. So just figuring out where to put each one so they can speak in the right order is tricky enough for a four or five-page scene, but something of this length, ?a one-act play? as Little Tommy Brevoort called it, 30-40 pages over several issues was very hard.[/FONT]
    ...
    [FONT=Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif]Obviously the work I did there over more than ten years is a true high point in my career and, in looking at the Marvel movies, clearly influential, but I guess there's a time when you feel like you don't know anybody at the party anymore or nobody's laughing at your jokes and it's time to call a cab. Possibly, had I known the Ultron series was longer than the five issues I'd originally thought and if I hadn't had the Cap book pulled from under me, I may never have considered moving on, but stuff changes I guess.[/FONT]
    We also learn of his upcoming plans;
    [FONT=Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif]It's also true of my next project which I'm already well into writing and I'll start drawing in January. I'd originally intended an April release again but after what happened with "AGP" I want to avoid potential delays on the inking and coloring, sick relatives, holidays, anything that could throw a spanner in the works. Fortunately with "Ultron" coming out now in spring, I feel like I can put my next book back until summer for release as the Marvel book now fills the gap between that launch and the end of "AGP."[/FONT]
    Naturally this has generated a certain amount of discussion. Over on Little Tommy Brevoort's Formspring page he has responded;
    [FONT=Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif]Assuming for the moment that you accept those statements at facvalue--which isn't something I'm granting--it would only seem to make[/FONT][FONT=Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif]logical sense that there must have been other extenuating[/FONT][FONT=Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif]circumstances in each of those cases, would it not? Everybody has[/FONT][FONT=Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif]their own perspective on stuff like this, of course, but ask yourself:[/FONT][FONT=Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif]if things were that cut-and-dried, would any of those projects not[/FONT][FONT=Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif]have happened?[/FONT]
    America's Got Powers issue 4, by Jonathan Ross and Bryan Hitch from Image Comics, is published on Wednesday.

  2. #2
    Exceedingly Cool
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    and instead we have superior spiderman, i call foul

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    In a perfect world, a Whedon/Hitch Spider-Man series would be excellent. In the real world, you'd get 1 to 2 issues then a huge delay or no next issue at all.

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    Exceedingly Cool zehgnomo's Avatar
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    What a pearl at that Formspring link (which links to another answer BTW).

    "I'm the editor, it's my job to not look good."

    Keep up the excellent work you're doing then, Tom and most of the Marvel editorial.

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    Dean of Cool University MWEDMER's Avatar
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    Hitch is an instant dropping of money onto the counter for a book. Add Whedon into it and its two copies for the collection.
    Stupid Marvel Editors.
    Also, what part of Breevport it "Little"?

  6. #6
    Wrote the Book on Cool brian-cs's Avatar
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    There will always be a "good" reason for one of the Big Two to turn down projects that have no intrinsic reason to not exist. These reasons are the reason "editors" like Brevoort don't look good, because they value corporate business practices and behind the scenes politics over making good comics. Every regime at Marvel and DC rolls over its share of creative output like a inhuman juggernaut. All of those regimes are filled with "good" people doing the "best" they can. Thanks Marvel and DC for giving creators "freedom."

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    Bleeding Cool Mike H.'s Avatar
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    "We hate money." - Marvel Comics

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    Whedon & Hitch on Spider-Man?

    Yeah, I would have bought that and I've never been a big Spider-Man fan.

    Marvel probably killed it due to continuity issues, which really wouldn't have mattered to the people coming in to buy this.

    ~R

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    I wish "editors" from Marvel and DC would realize they are on the bottom of the list as far as the creative process. Let's go back to letting the real creators edit their own work/series. I have yet to see a book go up in value or become a sell-out because It was edited by __________. Have you ever seen an editing credit on the cover of the comic? How about a footnote stating "edited by ____" on any comic listed in the Overstreet Price Guide? No. When one of the editors tries to tell his story, I could care less because he's usually part of the problem . I know we do have some good ones out there, but they are usually the least vocal ones and don't have time to stalk the message boards because they are to busy actually doing their jobs.

  10. #10
    El Maskador
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    [FONT=Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif]Stylistically, if we're comparing Mark's writing on "Ultimates" with Bendy's on "Ultron," both have very different leanings on the two very different projects. Mark likes, where possible, to show rather than tell whereas on "Ultron," Bendy was choosing a more dialogue-structured narrative, at least on the issues I drew. That can be a little trickier for an artist. If you have twelve speaking characters in the same location for 30 or 40 pages, then obviously no writer is going to consider the physical location of each one in how he or she writes the dialogue. So just figuring out where to put each one so they can speak in the right order is tricky enough for a four or five-page scene, but something of this length, ?a one-act play? as Little Tommy Brevoort called it, 30-40 pages over several issues was very hard.[/FONT]

    Having Hitch draw talking heads for Bendis? What a waste of an Artist's talent...

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