One of the things that I’ve been talking about, that I’m really passionate about is trying to figure out ways to introduce comic books to new readers and then redirect those readers into the direct market. Most of us figured out comic books, we got it at our 7/11 or our newsstand and eventually fell in love with the medium and we became direct market customers. And I think at IDW we’re very unique sin being able to expand the market in that way. We’ve been doing things like the Micro Fun Packs which are miniature comic books. We had really broad distribution of the Fun Packs so they were at every mass retailer—WalMart, Target, Toys R Us—and our sell-through was crazy. On the first Fun Packs our sell-through averaged about 60% at mass which is unheard of for any product. It’s an extraordinary sell-through. And that Fun Pack has marketing collateral to back, it drives people to the direct market. So if you’re a mom and you picked up these Fun Packs to put in your kids stocking for Christmas and the kid likes it, they’re not going to go back and get more fun packs, the only place really to get that content is through the direct market and our marketing collateral in there is very clear about that.

Ted Adams of IDW talks about different ways to grow the comic audience. In addition to the fun packs – which sell in the hundreds of thousands, he says later in the interview – there’re also the books that the publisher sells through Scholastic, which he says have had “virtually 100% sell through in significant six figure quantities.”

More here.

Changing Light’s reassuring compass is found in Mirah’s shimmering vocals and incisive descriptions. There is yearning (“Gold Rush” and “Fleetfoot Ghost”) and hot anger (“Goat Shepherd”), but no shortage of lyrical and musical playfulness. Whether it be the T. Rex-inspired rough edges of “Radiomind,” the rollicking lo-fi bang-and-pop of “Goat Shepherd,” or the lush pop balladry of “Turned the Heat Off,” the album corrals string sections and vintage synths with horns, a multitude of guitar tones and overdriven drums. With calm and clamor, Mirah brings us all closer together through her universal honesty and occasional use of the vocoder.

From here.

Thanks to an attempt to get a story going about the online pre-order effort for Changing Light, I’ve been lucky enough to hear the album in its entirety months ahead of release. I’ve been a Mirah fan for awhile, but this might be my favorite album of hers yet; her work as a lyricist remains startling to me, and there’re at least two songs on here that just took my breath away and made me re-listen again and again. In a perfect world, this’d be something that everyone listened to and adored, something that made Mirah embarrassingly well-loved.

In 2006, the breakout comic series, “Civil War” created a schism in the Marvel Universe pitting two of its greatest heroes, Iron Man and Captain America, against each other at the crossroads of identity, security and what it means to be a hero. Iron Man would ultimately prevail, but left in the dust of this great battle would be bigger questions of civil liberties, freedom and the responsibilities that go along with great power.

John Cerilli, VP, Content & Programming Digital Media tells Marvel, “When we started making this first Tales to Astonish, we were focused on telling a great story about the underlying themes regarding privacy in Marvel’s Civil War – the brilliant Marvel comic series that was published in 2006. In the middle of making this film, the NSA scandal broke and suddenly we realized just how prophetic Civil War was…and still is!”

Marvel’s love affair with Civil War continues to confound me, I admit.

(From the PR email about the company’s new documentary about the comic.)

Enough Nostalgia Already, Star Wars

Another Star Wars piece written for Wired, and another one that didn’t run for reasons best left undiscussed. It was actually given back to me to offer elsewhere; I would have run it at the Hollywood Reporter, but I felt that it was too similar to an Indiana Jones piece I’d written for them a month or so earlier (especially with the Indy mentions).

As the adage goes, those who forget history are doomed to repeat it. The same, it seems, is true for those who forget Indiana Jones and the Kingdom of the Crystal Skull, with reports claiming that J.J. Abrams’ first Star Wars movie will focus on the cast of the original trilogy in order to give fans “one more chance to enjoy them.”

There is only one sensible response to this idea: Please, no.

On paper, it’s something that makes a strange kind of sense: Using Han Solo, Luke Skywalker and Leia Organa in Star Wars: Episode VII gives the new movie some legitimacy, while also shamelessly zeroing in on whatever affection existing fans of the original movies have left in their hearts after the prequel trilogy.

There’s an argument to be made in favor on a purely story level, as well, with the familiar faces acting as an “in” for the audience to whatever the new status quo of the Star Wars universe is. Simply by showing us how they react to the new world, we as an audience will know whether we’re in favor or not, because we already identify so much with them. On that level alone, it’s a shorthand that has to be very tempting to producers — but that still doesn’t make it an idea that’s good enough to make it all the way through to the final movie.

One reason to ignore the appeal of the idea is to look at the bigger picture of what such a move would do to Star Wars as a franchise. Episode VII is already the most high profile Star Wars project since 1999’s Episode I: The Phantom Menace, and for many people will act as a reintroduction — or, perhaps, an introduction for the first time, depending on age — to Star Wars as a contemporary movie series.

Centering that movie around characters from a series of movies that ended more than three decades earlier seems contrarian to the point of insanity, in that case: a statement that the franchise isn’t forward looking or brand new at all, but an exercise in nostalgia that’s targeted at pre-existing fans who’ve seen all of the movies to date. Despite the title, Episode VII should be treated like a new beginning, not “the next installment of something you really should’ve jumped onto earlier” (For those thinking that J.J. Abrams is too good a filmmaker to make this mistake, I present Star Trek Into Darkness as the perfect example of a movie which was tripped up by nostalgia at entirely the wrong time).

Worst still, there’s the fact that fans don’t want to accept: as a contemporary action movie — which Star Wars really has to be in order to jumpstart the franchise the way that Disney inevitably wants it to — Mark Hamill, Carrie Fisher and Harrison Ford are, at 62, 57 and 71 years of age respectively — too old to take the lead roles. As much as we may wish otherwise, for fear of our own age and growing mortality, there’s a limit to what audiences are likely to accept from their action heroes in terms of age, and the lead trinity from the original movies are at least a decade beyond that limit these days.

The mention of Indiana Jones and the Kingdom of the Crystal Skull above was intentional; remember the last time Ford returned to a fan-favorite franchise and moviemakers tried to adapt for his age by giving much of the stunt-heavy action to his newly-introduced son? Instead of making us excited for Shia LaBeouf’s Mutt, it simply made Indy seem old and somewhat lesser, in some strange, indefinable manner. Imagine that happening again, but for the three leads of the original trilogy, and ask yourself, why would anyone want to do that again?

When the possibility of Episode VII was first rumored, there was much talk about having Ford, Fisher and Hamill appear in cameos in the film, passing the torch to whatever characters the new series would eventually center on. If, as reported, that idea has been shelved in favor of more focus on the original characters, I hope it’s a decision that gets reversed sooner rather than later. It’s not that the Luke, Leia and Han should be missing from the new movie — there really is a lot of benefit to their making an appearance, albeit a brief one — but they shouldn’t dominate it. For Star Wars to survive, it needs to be about a new hope, and not stories that happened a long, long time ago.

Thanks to Meow Mix®, today is that lucky day for cat fans across the country with the launch of the new interactive website, Meow Mix Catstarter SM.

The team is on the prowl to produce the next great cat-tastic invention and is asking cat owners for their vote/help. Now through April 11, cat aficionados across the country are given the power to vote for a project that will benefit their cat, as well as sign up to become the first generation to actually own it.

From a real PR email I received, in support of this.

Congratulations, Internet. You’ve finally gone too far.

It was a series of conversations once Jason started breaking down the story, starting with the kinds of characters that he wanted. He wanted to build an eclectic group that would represent every corner of the Marvel Universe, and that would allow him to do unexpected pairings that would be fun to see. So we bounced names back and forth – I’m guessing 60 to 80 percent of that final list were guys that Jason suggested, and the other 20 to 40 percent were names that Axel and I threw off. Not in, “You must use the Ant-Man,” but, “How about Ant-Man, he’s cool, because he can do this, and that would factor in this way.” “What about Emma Frost?” “How about the Black Panther?”

Tom Brevoort, talking about how the core characters for Marvel’s next event book were chosen. Personally, I’m entirely convinced that it was “How about Ant-Man, he’s cool,” and not “How about Ant-Man, he’s in a movie in 2015 and we should really try to build up the character in the comics before we launch a spin-off to cash in.”

I’ve said before that X-Men just doesn’t feel like Lee and Kirby have their hearts in it, but I don’t think that’s quite right. I think the problem is that it was really their first attempt at building on what they’d already done. It’s a refinement rather than an innovation, pieced together from bits and pieces that worked in their other hits. The problem is that those other hits were themselves still being refined as an ongoing process, and they were way more interesting, which made X-Men redundant.

It had the hook of ostracized and isolated teens, but that was done way better in Spider-Man, the book that laid the foundation of the modern superhero. The team bickered while showing off their super-powers and had Angel and Cyclops competing for Marvel Girl’s affections, but that was nowhere near as good as the strained family relationship in Fantastic Four. They were outsiders in a world that didn’t understand if they were heroes or villains, but, you know, that’s the Hulk’s entire deal. X-Men was the first comic that tried to mash all that up — it’s the first real product of the Marvel Age — but it didn’t do anything better.

Chris Sims wrestles with why the first incarnation of the X-Men didn’t catch fire with the readers, especially in light of the runaway success of the second incarnation. I’m not sure I agree with a lot of what he says, in large part influenced by my Avengers re-read for Wait, What? and noticing many of the same problems in the Lee/Kirby issues of that series (For me, what likely doomed X-Men’s first run was the blandness of the Drake/Roth run that followed, as much as I have affection for it). But it’s good stuff, nonetheless.

One of these days, I’ll sort out my feelings about post-Claremont X-Men and how overbalanced it felt towards the high concept, and write that essay, I swear.