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Spidey has to buy white gloves now

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The mouse of ideas? Disney wants to buy Marvel:

Burbank, CA and New York, NY, August 31, 2009 —Building on its strategy of delivering quality branded content to people around the world, The Walt Disney Company (NYSE:DIS) has agreed to acquire Marvel Entertainment, Inc. (NYSE:MVL) in a stock and cash transaction, the companies announced today.

Under the terms of the agreement and based on the closing price of Disney on August 28, 2009, Marvel shareholders would receive a total of $30 per share in cash plus approximately 0.745 Disney shares for each Marvel share they own. At closing, the amount of cash and stock will be adjusted if necessary so that the total value of the Disney stock issued as merger consideration based on its trading value at that time is not less than 40% of the total merger consideration.

Based on the closing price of Disney stock on Friday, August 28, the transaction value is $50 per Marvel share or approximately $4 billion.

Speculation is running rife of course, the most obvious nobrainer commentary coming through Rich Johnson:

Jason Wood, comic geek and market analysis tells us that Isaac Perlmutter is expected to have full autonomy, or certainly to begin with. And that publishing comics would only have been a small part of this deal, it’s all about movies, merchandising and theme parks.

Well duh. Comics have only been a pimple on Marvel’s back ever it reinvented itself as a holding library for movie ideas, while Disney has never cared about comics — even back when it tried to publish comics directly in the early nineties, it only lasted until some executive decided the money could be better used on yet another mediocre Disneyland ride. No comic company has ever been worth four billion dollars (certainly no American ones)…

Despite having been pissed off at Marvel for decades now, I still have some fondness for the characters. Having them whored out by Disney might not be that much different from what they’re already subjected to, but Disney does have the ability to make everything they get their hands on slightly worse. Gods know what will happen if Disney insist on making Marvel more family friendly…

Way too plausible

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XKCD

XKCD is the best non-continuity webcomic I’m reading right now and strips like this are why. Randall Munroe knows geekdom, the splendor and silliness both and is able to celebrate it without being smug or mock it without being nasty. He also draws the neatest stick figures since Matt Feazle.

the best continuty strip is of course Questionable Content, by Jeph Jacques., which I’ve been following from not long after he started it. It’s a comic you get the most out if you’ve been following it for a while, but you can read the archive in a single afternoon if you so please, guiltily clicking away at work hoping the boss isn’t looking. What I like about QC is that, yes, it is another twentysomething vaguely hip slackers and their romantic entanglements, but Jacques isn’t afraid to change the status quo and actually let his characters develop. The art as well has improved hugely, from servicable to a delight in its own right.

John Ostrander needs our help

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Is there anything more depressing than reading about yet another of your favourite comic book writers or artists, somebody responsible for a whole string of classic, critically acclaimed superhero series —Grimjack, Hawkworld, Suicide Squad, The Spectre, having to chose between going blind or going bankrupt. This time it’s John Ostrander, who has written some of my all time favourite “dark” superhero
comics, a few of which I mentioned above. He’s a victim of the US healthcare system, under which health insurance is unpayable for anybody but the most fortunate, certainly not for self-employed freelancers like the overwhelming majority of comics professionals since the 1930ties. No health insurance, no pension rights, paid peanuts for work that sometimes earned their publishers millions, so many of them, like Ostrander, find that in later life their savings inadequate to pay their medical bills. His friends and colleagues have come together to set up a trust to help him — you can donate via Paypal through adriane (at) comicmix.com — but as James Nicoll says, it’s hardly enough when so many others are struggling too — and some of them don’t have this circle of support.

And of course, people like Ostrander, who have a certain amount of fame, no matter in how small a circle are lucky duckies compared to millions of people working everyday jobs who also can’t afford health insurance and have to rely solely on their family and friends, or do without the health care they need. That’s why you need a proper, government subsidised healtcare system, in which health care is available to anybody no matter their financial status.

Want: the massive new Alec collection

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As I think I’ve mentioned here before, Eddie Campbell is one of my favourite cartoonists, perhaps the best one currently working in comics. He may be best known for his work on Alan Moore’s massive From Hell project, but for me it’s a toss-up between Bacchus and Alec as to what is his best work. Today it’s Alec, as I’ve just heard about the massive new collection that’s going to come out this September. I’ve always felt that the series hasn’t been as widely appreciated as it should be, as there hasn’t been a good collection of it available for a long time, just short pieces in various anthology comics and long out of print “graphic novels” by long defunct publishers. As Campbell explains in this interview with Tom Spurgeon from late last year, the new collection will have everything and in chronological order:

TOM SPURGEON: I don’t think it fully registered with me before, but you have a massive collection of your autobiographical work coming out in 2009. I always thought that this was a natural for a book at some point and I look forward to it with a not insignificant smile on my face. Is there a reason this seemed attractive to you right now?

EDDIE CAMPBELL: The evolution of our medium has made this the right time. If you think back, at first we’d publish serial comics because that was what the economics permitted (all those “mini” and “maxi” series). Then we would gather the material into a book. The medium developed to the stage where a publisher could pay an author an advance to take himself away and make the whole book before showing any of it. We now find ourselves at an even more advanced stage, where several of a veteran author’s books are gathered into a huge compendium. Thus Will Eisner’s Life in Pictures, which collected his various books that had an autobiographical element, Gaiman’s Absolute Sandman, Gilbert Hernandez’ Palomar, etc.

SPURGEON: How did plans for this particular format come together?

CAMPBELL: Chris Staros at Top Shelf has been wanting to do the book for several years, since those others I just mentioned started appearing. In the meantime I’ve been gradually making digital scans of the pages for the French editions, knowing that all the time I was building toward using these in my own big collection. It is a lot of work after all, scanning 640 pages, especially with all the zip-a-tones, trying to avoid and eliminate moiré patterns. I’m probably now the expert on doing that stuff.

SPURGEON: When did new comics become a part of those plans?

CAMPBELL: The funny thing is that the way I started putting it all together isn’t quite the way it’s ended up. I had the six books (the King Canute Crowd, Graffiti Kitchen, How to Be an Artist, Little Italy, The Dance of Lifey Death, and After the Snooter,) arranged in a chronology that follows actual time rather than the order in which the books were drawn, and then I had a large 80-page section at the end which rounded up a lot of short pieces and some unfinished works which are still worth reading as they stand. But the more I looked at the pages I started seeing an epic sweep in which characters grow older, with a real sense of time passing. It’s ironic that in the comic book medium terminality has come to be seen as a holy grail, the notion of a thing being complete in itself (as in a “novel”), when the true essence of the comic strip is the very opposite, the concept of the eternal present. The greatest daily comic strips had no end. Conceptually, allowing for no interference by extramural forces, a strip may run forever (Like Gasoline Alley). Of course nowadays that quality has been usurped by the television soap opera. Given the dumbassed nature of comic books, the highest measure of commitment to quality, or terminality, that a writer can have is the determination to show characters being killed.

But I’ve wandered off the point. I saw this shape within the book and I shifted a few of the essential short things into their chronological positions and threw the rest out, then I saw the chance to complete the implied sequence by adding another book that brings things up to date. So we now have an all-new 35-page book at the end titled “The Years Have Pants”, which has also become the title for the whole compendium, since it fits so well. But the new book is in no way a conclusion, for it introduces a bunch of new developments that point to resolution outside of the text. I’ll also mention that there are half a dozen other unpublished pages included in the compendium.