Marvel has just announced a new Contest of Champions title — a return to the three-issue mini-series of 1982 originally dubbed: Marvel Super Heroes Contest of Champions. The new game on IOS bearing the same name serves as the inspiration of the comic, which includes Maestro (Hulk villain) headlining the cover to the first issue. Al Ewing and Paco Medina are chronicling the adventures of this new team of Champions who have been gathered by the Collector to do battle with each other. Ewing wondered aloud: “Where are the trapped heroes stored when they aren’t fighting?”

Venom and Gamora appear to be locked into a battle with various other characters in the Marvel Universe frozen over in blocks of ice. CNet announced the news — along with the cover to the issue. Contest of Champions will launch in October as part of the All-New, All-Different Marvel Universe. Also featured in the series is Guillotine, a new character created jointly by Marvel and Kabam, the developers of the Champions IOS title. The heroine is powered up via a special sword handed down all the way from the French Revolution.

By Nick Eskey

Legendary Star Lord #1

Writer: Sam Humphries
Artist: Paco Madina & Juan Vlasco
Colorist: David Curiel
Cover: Paco Medina

Falling in line with the upcoming theatrical release of Guardians of the Galaxy, a couple of the team’s more likable (and perhaps a touch more scandalous) characters will also be seeing some center-stage comic debuts. The token human of the group happens to be one of those lucky two; Star Lord! Perhaps better known in the comic itself by his human name, the character Peter Quill will be appearing in his own reoccurring comic entitled Legendary Star Lord.

The comic does well as a first glance into the individual that is Star Lord; everything from childhood flashbacks, to skirmishes with ugly space pirates who will mostly likely never be seen from again, make an appearance. When we’re lead to believe that he’s nothing but looks, some selfishness, and a quick mouth, eventually we see a that underneath that bravado is actually a quick wit and a readiness for action; though he’s still quite selfish.

The art styling is very finely done. Paco Medina (pencilier), Juan Vlasco (inker), and David Curiel (colorist) all did a magnificent job in creating highly detailed characters. Everything from emotional outbursts to curves of bodies didn’t go unnoticed. It’s good to see that such attention has been placed in this comic. The backgrounds too were such highly polished sets for the events that take place. My big and only irk with the art was that much of the sceneries portrayed were nothing unique or special for the reader. Yes they were very well done, but haven’t we all seen a lone cemetery setting, or a standard spaceship before? Seeing as this is a first issue and reads much like an origin story, I’m hoping the proceeding issues will introduce readers to places they’ve never seen before.

Writer Sam Humphries does a good job to give a cursory glance at what is to follow, though I was somewhat reminded of the opening scene from the first Indiana Jones movie. And in regards to the writing, I couldn’t help but feel that the dialogues were also just that: cursory. Don’t get me wrong, I’ve read some particularly painful dialogue in the past, and this is comic is nowhere near those. But I didn’t feel terribly satisfied that much of what the characters said added to, or further developed the overall visual story, but more or less spoke to what was already going on with the portrayed events and emotions.
Overall I’d say that this issue was a good start for the series that is to be. There are a few kinks that need to be ironed out, but nothing that can’t be solved once the comic gets some traction down the line. I personally would love to see what direction Humphries will take this character and his storyline into.

by Brandon Schatz

When Marvel first announced the Rocket Raccoon book, I was fairly excited. Pairing the character with Skottie Young just as interest would crest for the movie seemed like a no-brainer, one that I could use to sell a few copies to interested parties. I was expecting healthy sales, but nothing that would eclipse the character’s parent title – especially given how stylized Young’s art is. What I hadn’t counted on was for Marvel to play their hand almost perfectly, netting a fairly unprecedented 300,000 copy order before the book’s final cut-off. How in the world did they swing such a huge number – especially with a relatively small amount of incentives? Let’s break things down.

art by Skottie Young

It starts at the core: with creator Skottie Young. Over the years, Young has built himself as a brand quite handily. Choosing projects that played to his strengths, and running with the swell of goodwill garnered by his spot-on series of hilarious “baby” covers, the man went from some punk kid drawing the Human Torch Tsunami book, to an overwhelming creative force through sheer force of will and talent. Witnessing this, Marvel offered him Rocket – a book that not only fit his art style, but his story telling sensibilities – and while almost any comic can sell given the right bit of zeitgeist and marketing, there’s no comic that blows up this big without the core being so strong from the get go. Take a look at the numbers for any of the big two’s recent events. Marvel and DC (and pretty much any company) would have killed to have numbers like this for one of their events – books that they push so hard and stack so high with talent that they can’t help but move tens of thousands of copies without breaking a sweat. Rocket seemed to accomplish a lot more, using relatively less.

The numbers on this series are indicative of Marvel’s creative direction as of late. While you won’t find a shortage of people decrying their tactics or stories, there’s little you can do in the face of numerical data – and while the industry isn’t pulling in the numbers it did in it’s heyday, any upswing that’s occurring within Marvel is down to some genius marketing on their part. If we’re talking Rocket and the Guardians of the Galaxy specifically, it begins with the relaunch of Guardians a year ago on the back of the movie development, and the creative team of Brian Michael Bendis and Steve McNiven. Combining a bit of meticulously planned timing with that specific creative team (and the regular round of marketing and variant thresholds), the series launched to an estimated tune of 211,312 copies for issue one – or, if you want to nitpick, 80,344 copies for the prologue issue #0.1. To put that in a kind of context, the previous ongoing Guardians book from 2008 debuted to a paltry 36,282 copies. Why? Well, there clearly wasn’t anything wrong with the creative team – after all, they formed the basis of what would become the current phenomena – it was a matter of marketing and timing. Quesada, for all the good he did for the company, never quite understood the cosmic side of the Marvel universe (a fact that he’s admitted in several interviews over the years) and as a direct or indirect result, when good books were coming out in this realm, the marketing never gelled. The same goes for any comic shop – if your proprietor doesn’t understand the appeal of a certain title, there’s a good chance that book won’t get a big push within the walls of that store as focus tends to remain elsewhere. As a business entity, it always pays to ignore taste (to an extent) and push through the blocks set up in your mind in order to gain the largest audience for the property in question. This is a lesson Marvel has clearly learned.

Everything about the release of Rocket Raccoon makes sense. A great creator matched with a great concept, dropped not a month before he stars in a big movie. An announcement made months in advance of regular solicitations to build up pressure alongside the movie, allowing retailers to hear whispers from their customers long before orders are even available to place, culminating in a fever pitch when orders are due. And then, there’s the fact that Marvel let the numbers slip the week before retailers had to set their Final Order Cut-Off numbers, allowing lazier retailers to shake their head and wonder if they’ve ordered enough themselves. Everything about this launch was perfectly timed, and should result in solid sales – at least for Marvel. As for possible sell through, that remains to be seen. Some of this hypothetical 300,000+ print run involves incentive covers running off of qualifiers that have goosed the numbers – but considering the fact that Marvel put heavier incentives on the first issue of Guardians and still came up with a smaller number speak volumes for what they’ve put together here.

art by Paco Medina

Now before I call it a day, there remains another facet of this marketing tale left unexplored: that of the Legendary Star Lord book from Sam Humphries and Paco Medina. In all of the hubbub for this, I you’d be hard pressed to find people talking about this book, which I think is a shame. For all the good Marvel did in marketing Rocket, they really dropped the ball on Star Lord – which is to say, the numbers are probably very healthy, but could they be as healthy as they could have been? This should have been announced the week after the Rocket Raccoon announcement. The company should have been out there pounding the pavement with preview art and concepts. I’m a big fan of the works of both Humphries and Medina, and think they are a great match for this character – one that might not be as zeitgeist grabbing as the dude responsible for years of amazing variant covers and the gorgeous art that graced the Marvel Oz books, but still, there should have been more happening. As a result of some personal hustle, I have pre-order numbers that are quite comparable to that of my Rocket Raccoon numbers. That’s down to marketing – and while I understand there will never be a time where companies like Marvel or DC will treat all properties equally, it always pains me to see a marketing opportunity lost. I want books in the hands of people who are going to enjoy them, and I can’t always do that by myself. The comic book industry needs everyone to pull their own weight the keep it running, and while a 300,000+ run of Rocket Raccoon is nice to see, it would have been great to see even a 200,000+ run of Legendary Star Lord announced as well.

That said, it isn’t over until it’s over, and who knows? Maybe in a few months time, retailers will be swimming in Rocket Raccoon #1’s while scrambling to get second prints of Legendary Star Lord. The market is a strange and wonderful place, and in the end, despite, it’s always the readers who have the final say. Hopefully, we get two very healthy ongoings out of this, as I feel both books will deserve a healthy readership. Time will tell.

[Brandon Schatz has been working behind the comic book counter for eight years. He's spent the past four as the manager of Wizard's Comics and Collectibles in Edmonton, Alberta. In his spare time, he writes about the comics he likes over at Comics! The Blog and stares at passive keyboards and empty word documents, making secret wishes and bargains that will surely come back to haunt him. You can find him on twitter @soupytoasterson. The opinions expressed are those of Schatz and do not necessarily reflect those of The Beat]

Marvel continue to roll out announcements today, with the news that Sam Humphries and Paco Medina will be the creative team for an ongoing Star Lord series. Following the exploits of the leader of the Guardians of the Galaxy (and star of the upcoming movie), the series will see him fighting the good fight off – and, it looks, on – Earth.

The series is pitched as being about Star Lord as a solo hero, rather than as a member of the GOTG – the announcement comes with a brief description of issue #1, in which he’ll be fighting various alien foes and attempting to save an orphanage from destruction. You know – heroic stuff.  More details are currently being announced at Wonder Con right now, although it’s made clear that Kitty Pryde will be a member of the supporting cast – having finally ditched Iceman, thank goodness, it looks like she’s set her sights a little higher…

The series is set to start in July. The above cover is by Steve McNiven.

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Last year, Marvel received a letter from the mother of a young fan, Anthony Smith, who had hearing difficulties, and had been told by doctors that he would require a hearing aid. The mother was wondering if there were any heroes who had ever had hearing difficulties, who might serve as the inspiring spark for Anthony to accept the hearing device.

On getting the letter, editor Bill Rosemann not only pointed her to Hawkeye, who has in the past suffered from hearing problems, but also spread the letter to the Marvel offices.

And that’s what led Marvel to create a new character called The Blue Ear, who doesn’t let his hearing problems stop him from saving the day. Created with Marvel staffers Manny Mederos and Nelson Ribeiro, the character is based on Anthony himself. You can read Blue Ear’s origin story in my original post announcing the character,

Now, though! That’s not the end of The Blue Ear’s work with Marvel. Last month Marvel held a special event honouring him, as they partnered with Phonak, a hearing aid supplier. Anthony and his family were invited along, as Marvel unveiled a new poster which will be distributed nationally, in which we see Iron Man meet a young boy who is being bullier for having a hearing aid. Written by Christos Gage and drawn by Paco Medina, the poster encourages people to never feel like they should be ashamed of their disability:

 The event also saw Iron Man attend in person – awfully nice of him to teleport over from the 616 Universe – and meet Anthony. After receiving a copy of the poster from Iron Man, the Avenger also then gave him a second gift – an Iron Man costume of his own.

Which, he immediately put on.

As I said last time – isn’t it now time for The Blue Ear to join The Avengers?