Tag: marvel

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After reading the “Who cares what Earth this takes place on!” intro to the Justice League: New Frontier tie-in comic, I started thinking about the whole Earth-1, Earth-616, etc. thing. The confusion over Earth-1 vs. New Earth in DC (something which overshadowed discussion of the actual story in the first issue of Tangent: Superman’s Reign) highlights the question: just how important is it to label these fictional universes, anyway?

And once you’ve decided to catalog them, how do you label them?

A few multiverses that come to mind are DC’s, Marvel’s, and Michael Moorcock’s.

The multiverse of Moorcock’s Eternal Champion cycle is extremely fluid, with details changing whenever he wants to tell a different story. Just looking at the Elric stories, there are three or four origins for Stormbringer, and as many for the Melnibonéans and their pact with Arioch. There are several versions of the 20th-century Count Ulrich Von Bek (depending on whether you include Count Zodiac). Worlds are less like parallel lines and more like streams that can run together, mingle, and separate again (kind of like the briefly-used Hypertime as used by DC).

DC and Marvel, on the other hand, favor a discrete structure in which each universe can be precisely identified. This may have something to do with the focus on continuity as a key element of comic-book storytelling, and would explain why, for instance, Marvel has made an effort to number what seems to be every single alternate reality they’ve ever published.

Approaches to numbering:

  • Sequential. DC started out like this, with Earth-1, Earth-2, Earth-3, etc.
  • Random. Current DC multiverse, except for the first few we saw at the end of 52 which were based on worlds from the original DC multiverse (Earth-2, Earth-3, Earth-5 from Earth-S, Earth-10 from Earth-X). Marvel’s main continuity, Earth-616, was reportedly picked at random (though there is some disagreement on this point).
  • Referential. Things like choosing Earth-S for the worlds of Shazam or Squadron Supreme, or Earth-C for Captain Carrot. Earth-97 for Tangent (which appeared in 1997) and Earth-96 for Kingdom Come (which appeared in 1996) would also fall into this category (but see the next point).
  • Systematic. Taking referential labels a step further, using a consistent scheme. Marvel derives most of its designations from publication dates.

Personally, I prefer to just name them. “The Tangent Universe” or “New Frontier” or “Supremeverse” gets the idea across more directly than, say, Earth-9.

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Last week Peter David signed an exclusive deal with Marvel Comics. The contract has exceptions for stuff he’s already working on, like the Spike mini-series and Fallen Angel (both at IDW). The comments on that post linked to an interview at CBR, which had this interesting remark:

DC has been great and I’m very pleased and relieved, bizarrely enough, that they cancelled “Fallen Angel.” Had they not, I’d be in a very tough position because if they were still publishing it and Marvel wanted me to go exclusive, well they certainly wouldn’t have let me keep writing “Fallen Angel” for DC. So, I would have had to make a really tough choice—weigh a comic book I love against my family’s security and health. Fortunately enough I was spared having to make that decision.

It reminded me of the time I realized that VR.5‘s cancellation freed up Anthony Stewart Head to join the cast of Buffy. Or that the Sci Fi Channel turned down the B5 spinoff Crusade in part because they’d just launched Farscape.

I do wonder, though. JMS also had several books grandfathered in when he signed an exclusive with Marvel. Those included Rising Stars and Dream Police at Top Cow… and a Babylon 5 graphic novel for DC/Wildstorm (which has yet to be finished). I suspect the facts that it was a media license and a one-shot probably helped.

It’s also interesting to read Peter David’s comments about Fallen Angel and Icon. You’d think Marvel’s Icon label would be perfect—bigger circulation, lower price, still creator-owned—but IDW put so much effort into relaunching the book that he felt it would be wrong to just pack it in and take it to another publisher as long as they still wanted to publish it.

It would have been odd, though. I wonder how many books have, at different times, been published by both Marvel and DC? The only one that comes to mind right now is Elfquest. Marvel reprinted the original series through Epic in the 1980s, and DC is now handling the manga-sized reprints, the Archive editions, and new stories (still from Wendy and Richard Pini).

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It seems Marvel Comics’ insane lawsuit against City of Heroes has been settled. Details are sketchy, but “no changes to City of Heroes® or City of Villains’™ character creation engine are part of the settlement.”

Given that the lawsuit was basically the equivalent of suing pencil manufacturers because they could potentially be used to draw Spider-Man, it’s good to see that Marvel didn’t win (though a precedent-setting loss for Marvel might’ve been better in the long run).

(via Slashdot)

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According to The Beat, a judge has thrown out about half the claims in Marvel’s lawsuit against City of Heroes.

Apparently several of the “infringing” works they cited were in fact made by Marvel, not by players. The judge also threw out claims that the game makers infringed trademarks directly and refused to issue a declaration that they are not a service provider (if they are considered a service provider, then they are shielded from liability under the DMCA as long as they take action quickly enough).

The post mostly reprints a press release from NCsoft, so it’s noticeably upbeat, but they do have precedent on their side—such as Sony vs. Betamax. Well, as long as none of the morons in Congress manage to force the Induce act through. That would basically declare that makers of pens and pencils are liable for any copyright or trademark infringement.

Follow-up post: The suit was settled in December.

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Marvel is suing City of Heroes’ makers for copyright and trademark infringement. What’s that, you say? The game doesn’t have any Marvel characters or lookalikes built-in? Of course not—they’re suing because it’s technically possible for players to design a character with a similar costume and use a similar name. Sure, it’s against the terms of service, and they try to stop it when they find it, but people do it anyway.

But note: the game makers aren’t the ones doing the infringement. As I understand it, the character designer is rather like HeroMachine: you pick a body type, colors for different parts of the costume, accessories and masks, etc. So sure, you can create a brick, make him green and give him purple shorts… but it’s not as if they built in textures and symbols specifically to make a Spider-Man costume.

I’ve only read about half the comments on the thread where I found this, but many of them seem to misunderstand the situation as if CoH were the ones designing or providing patterns for the knock-off characters. If someone puts out a “How to Draw the X-Men” book without authorization, then sure, you sue them, but if they sell “How to Draw Super-Heroes” and people can apply those skills to Wolverine, you don’t have a case… and you definitely don’t sue the people who made the pencils and paper!

Follow-up posts: A judge dismissed half the claims in March, and the suit was settled in December.

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