 |
| Poor Steve Gerber... |
The film and TV adaptations up to that point were unremarkable. The Spider-Man television show was pretty bad, and the bizarre version of Spidey on The Electric Company was befuddling. The rarely screened Dr. Strange is so for a very good reason, and while The Incredible Hulk television show was actually quite good for a season, it rapidly devolved to pure schlock. The mask-less Captain America made-for-TV movies make the 1990 straight-to-video film seem like a masterpiece and while I have a certain affection for both Howard the Duck and the so-bad-it's-almost-good Dolph Lundgren version of The Punisher, I am not so much a fanboy that I don't recognize them as, well, awful.
Almost ten years later, it seemed like they were getting the hang of things, and starting in 1998, the track record was much better. Blade was a lot of fun (as was Blade II). Bryan Singer's X-Men seemed to draw from the best of the Chris Claremont scripts and perfectly set up the characters for the Grant Morrison comic run that would follow. Sam Raimi's Spider-Man remains one of the best comic book adaptations to date.
But there were also incredibly misguided versions of Daredevil and Hulk, a piss-poor reboot of The Punisher, a superfluous spin-off for Elektra, a Man-Thing dud, fairly worthless Fantastic Four films, Ghost Rider and three part-threes that mangled the formula by way of Blade, X-Men, and Spider-Man, which is a shame considering how great the second films in each of those series were.
 |
| The First Marvel Studios release |
The first Marvel Studios production was a perfect coup of brilliant casting and smart writing, and set the stage for an emerging Marvel Universe that could bring future intellectual properties together in a thoughtfully planned continuity. Instead of producing comic book movies, they produced great movies based on comic books and the effect on the medium that inspired them was astounding. The Iron Man comic book written by Matt Fraction and illustrated by Salvador Larocca shot straight to number one on newsstands and comic shop racks. Marvel Comics finally got to experience legitimate buzz as the zeitgeist embraced their product–primarily because it was a good one. As succesful as the Spider-Man movies had been, the carryover was more pronounced via licensed product than the comics themselves, which saw only a slight boost. It's been said that miscommunication between the Sony studio and Marvel Comics left a chasm that the marketing departments in the publishing wing couldn't fill. This wasn't much of an issue with the X-men titles because they had long been the most successful monthly books, and there were so damn many of them that overall sales remained high across multiple sku's. With Iron Man, it was Marvel calling the shots in-house and rather than alienate comic creators, the folks working on the monthly title were brought into the creative process with the entertainment company execs and a long term plan was hatched based around multiple flagpole titles in a series of platform releases.
The rest, as they say, is history. Avengers is one of the most successful films in history, and even a lackluster Hulk reboot didn't hurt the brand. Thor captured a huge female audience, and Captain America followed suit. The formula works, and it pays dividends back into the source. Avengers comic books and the many spin-offs have usurped the mutant throne, and the writing on the monthly titles that have been adapted as films have won awards for the writers and artists. The heightened profile of the story lines adapted have led to repackaged releases of those stories, and a sharp increase not only in the value of the comic books, but also the original comic art from the series that were adapted. Added desirability is reserved for original art pages that are panel-literal in their translation from comic book board to movie screen.
Here are a few examples of those literal examples.
First up: Thor.
 |
| THOR (2009) by J. Michael Straczynski & Olivier Coipel Issue #10, Page 9: Splash Page Balder Confronts Thor in the Throne Room Graphite and ink on board Signed by Olivier Coipel 17" x 11" $1,500.00 |
The Olivier Coipel page on the left shows Balder entering the Asguardian Throne Room, with Thor seated as the ruler of the Norse gods. The right image shows the movie version of Thor (as portrayed by Chris Hemsworth) entering the same room, but with Odin (Anthony Hopkins) atop the great steps. This shows how the art direction of the comic has been adapted for a new medium, and while elements of J. Michael Straczynski's story arc were preserved in the two Thor films thus far, they haven't quite caught up to where the comic book is now. Dr. Doom was an important character in JMS' run on the title following his prior scripting duties on Fantastic Four, but FF and all supporting characters are currently licensed to 20th Century Fox, who also currently control the X-Men franchise. With character rights tied up at several other studios, Marvel has to accommodate the best they can. Notice I didn't say "improvise," as it seems everything has been painstakingly thought out.
 |
| THE INVINCIBLE IRON MAN (2008) by Matt Fraction & Salvador Larroca Issue #18, Page 22: Splash First Appearance of The Iron Patriot Graphite and ink on board Signed by Salvador Larroca 11" x 17" $1,200.00 |
 |
| CAPTAIN AMERICA (2008) by Ed Brubaker, Steve Epting & Jackson "Butch" Guice Issue #33, page 23: Origin of Bucky as New Cap (Featuring Tony Stark & Black Widow) Graphite and ink on board Signed by Steve Epting 11" x 17" $1,000.00 |
 |
| NEW X MEN (2001) by Grant Morrison, Frank Quitely & Tim Townsend Issue #114, Page 23: E is for Extinction Sentinel Reveal Splash Page Graphite and ink on board Signed by Grant Morrison 11" x 17" $2,400.00 |
 |
| POWERS (2010) by Brian Michael Bendis & Michael Avon Oeming Issue #3, Page 32-33: Double Page Splash Detective Walker Car Crash Graphite and ink on board 11" x 17" (x 2) $1,200.00 |
For more info and more original comic book art, go to: www.popsequentialism.com
