You know a comic is late when...

[JohnMayo]

I was just reading Powers: Bureau #2 that just came out on March 6th, 2013. and at the end of it was an ad for the Bendis/Takio series "starting May 2012". It got me thinking.

You know a comic is late when it advertises an "upcoming" comic a year late.

I am amazed they didn't replace that page and the two before it which also promoted the series with something else. Anything else. The "ongoing" series lasted three issues with the last of them released back in September of last year. It makes me wonder how current the information in the letters column about the Powers television series is given how dated the ad was.

[Trev]

do you think he would ever go back to just doing indie stuff? that might refresh my interest in his writing.

for now, I trade wait on *any* non-marvel-continuity bendis work.

I'm sure it's like most jobs -- they *say* he can still write the indie stuff he wants to and they will publish it, but they give him no time to do that.

[Perry]

I am amazed they didn't replace that page ....

Agree. I really question the thought process of highlighting inside a late book, just how late the book is. Especially when the book in question is from a creative team KNOWN for lateness. It's like saying -"See this? It could happen again"

[Perry]

for now, I trade wait on *any* non-marvel-continuity bendis work.

Yep, same here. I love Bendis' non-Marvel work, but I have given up trying to buy it monthly. I will not support any indy monthly book of his because I have been "burned" far too often. Scarlet was the last straw.

I'm first in line for any of his HC releases, however

[torchsong]

I'm sure it's like most jobs -- they *say* he can still write the indie stuff he wants to and they will publish it, but they give him no time to do that.

I bet there's more truth to this than we want to admit.

[BobBretall]

they *say* he can still write the indie stuff he wants to and they will publish it, but they give him no time to do that.

I'm not sure it's about anyone else giving him time. He's got to make WAY more money on the non-creator-owned comics, I think he's just making the choices that pouts more money in his bank account.

Once he creates a series (like Takio) and does an issue or 2, the IP is created and that's all he needs for a foot in the door on where the REAL money is, selling that property to Hollywood (like Powers).

With outside interest on Powers, what is the real incentive to do Powers comics? Marvel super-heroes comics surely pay better. It seems like something he does when there's extra spare time with not a lot else to do and if he does it late, so be it.

[Perry]

Well I also assume (uh-oh, there's trouble ) that the lateness issue it not always JUST on his lap. I know he has openly shouldered the blame for a ton of it, deserving as it is, but it is not like he is also the one doing the art. There has to be at least an issue or two, a month or two ... or eight that it is not just on him.

[Trev]

they *say* he can still write the indie stuff he wants to and they will publish it, but they give him no time to do that.

I'm not sure it's about anyone else giving him time. He's got to make WAY more money on the non-creator-owned comics, I think he's just making the choices that pouts more money in his bank account.

Once he creates a series (like Takio) and does an issue or 2, the IP is created and that's all he needs for a foot in the door on where the REAL money is, selling that property to Hollywood (like Powers).

With outside interest on Powers, what is the real incentive to do Powers comics? Marvel super-heroes comics surely pay better. It seems like something he does when there's extra spare time with not a lot else to do and if he does it late, so be it.

That's a good take. I hadn't considered the 'get the IP out and established' angle. That's got to play a role. I had just assumed he was doing it for the pure joy.

[JohnMayo]

Once he creates a series (like Takio) and does an issue or 2, the IP is created and that's all he needs for a foot in the door on where the REAL money is, selling that property to Hollywood (like Powers).

And here I thought the point of publishing a comic was to publish a comic and that other stuff was icing on the cake. hopefully Nonplayer is raking in that REAL money in Hollywood since it hasn't made any after the first issue in the comic arena.

[BobBretall]

Once he creates a series (like Takio) and does an issue or 2, the IP is created and that's all he needs for a foot in the door on where the REAL money is, selling that property to Hollywood (like Powers).

And here I thought the point of publishing a comic was to publish a comic and that other stuff was icing on the cake. hopefully Nonplayer is raking in that REAL money in Hollywood since it hasn't made any after the first issue in the comic arena.

I'd argue that Bendis is VERY different from Nate Simpson in his ability to establish/sell IP given his track record. But what is similar is likely the reasons for not doing a particular comic. Bendis is off doing some other Marvel comics & Hollywood stuff that pays bigger bucks than doing Powers. Simpson is probably off working some day job somewhere making money.

I'll also add in that Simpson had a bike accident (as I recall) that injured his drawing arm, so he may actually not be able to physically produce the art any more.

[JohnMayo]

I'd argue that Bendis is VERY different from Nate Simpson in his ability to establish/sell IP given his track record. But what is similar is likely the reasons for not doing a particular comic. Bendis is off doing some other Marvel comics & Hollywood stuff that pays bigger bucks than doing Powers. Simpson is probably off working some day job somewhere making money.

I'll also add in that Simpson had a bike accident (as I recall) that injured his drawing arm, so he may actually not be able to physically produce the art any more.

Why, yes, I do believe you'd argue that.

I was not attempting to compare the IP production track record of Nate Simpson and Brian Michael Bendis. Bendis is way more prolific than Simpson. However, given that Simpson got a movie deal on what I thought was his first solo creator owned property, Simpson's track record isn't too bad.

And, yes, both are placing a priority on the money making stuff. I don't think I suggested otherwise.

Simpson does seem to have a day job which no doubt makes release something on a regular basis in addition to that day job more challenging.

I'd like to think I'd get a little credit for understanding that. The podcast doesn't produce itself. But I'm not trying to compare the work I do producing the podcast to the work of a solo creator writing and drawing a comic book by himself. Producing an issue of a comic book is a lot more work. But since we reviewed Nonplayer #1 on Weekly Comics Spotlight #191 two years ago (it was released on 2011-04-06), we've released over 227 hours of podcast content. Preparing for, recording, editing and releasing those episodes took a lot longer than that.

I believe that I suggested back around the time we reviewed the issue, perhaps even in the review itself, that it might have been better for the series if Simpson waited until the entire miniseries was done before releasing it. If I recall correctly, and I very well may not be, I was told back then just getting out the first issue meant he could cash in on that Hollywood money you speak of. Hopefully he has been able to cash in on the property in some way beyond the single comic book issue he has produced. Perhaps that might free him from his day job long enough to work on the property more.

Quick aside: While I'd like to think that comics get produces for the sake of simply producing a comic book. I'm neither that naive nor that stupid. Creating a comic book is a dirt cheap way to establish an intellectual property. The money to be made on IP isn't in the comic book arena. I follow the sales trends so I'm well aware of this. Were I to produce a comic, I'd want it to be a great comic in and of itself but I'd also be more than open to leveraging the property in other ways beyond the comic.

As for the accident which you think rendered him unable to draw. Fear not, based on his blog (http://projectwaldo.blogspot.com/) he seems to have recovered from that accident which happened on September 14th, 2011. While I haven't been in a bicycle accident like that, I have had major constructive surgury on my right arm twice so I have some idea how that sort of thing can slow someone down. At the time of the accident, he was on page 13 of the art for issue #2. More recent blog entries indicate that issue #2 is well under way and moving along a some sort of pace. Alas, he seem to have a kid on the way which will no doubt impact his life considerably. Interestingly, he seems to have been unemployed for some period of time, possibly up to six months. Having gone through that sort of thing myself, I can understand how both the stress of being unemployed and need to focus on finding a steady paycheck could have contributed to a slow down on Nonplayer.

Are we ever going to see Nonplayer #2? I'd be willing to bet on yes at this point. I have no idea when we might see it but I respect Simpson's drive to get it done. The question is then will people remember the first issue when it comes out and how well will the second issue be received in the marketplace.

Did he make the right choice to get the first issue out when he did?

Warner picked up the property back around August 2011. Personally, while I'm glad to see his work was rewards on the merits of the first issue (which was excellent) I would have liked to have seen the story completed before a movie studio pounced on it. Presumably that got him some money but apparently no enough to be able to focus on the project. This puzzles me a little because his blog post about the movie deal indicated the Warner deal would make it easier for him to devote himself completely to the comic. With the advantage of being 18 months in the future of that blog post, we can see things didn't turn out that way.

Based on his blog, he has literally gone back to the drawing board a few times on the second issue. Quality work takes time. I get that. I think the great reception the first issue got and the movie deal combined to put some major pressure on Simpson which I don't think helped him or Nonplayer.

While it might have worked out okay for him to release the first issue when he did, from a reader perspective, I'd rather he'd have gotten the entire story done and then released it. I'd like to have seen what he could have done without the pressure of living up to the hype generated when the first issue was released and the stress he seems to have been under ever since to get a second issue released.

[Trev]

[BobBretall]

While it might have worked out okay for him to release the first issue when he did, from a reader perspective, I'd rather he'd have gotten the entire story done and then released it. I'd like to have seen what he could have done without the pressure of living up to the hype generated when the first issue was released and the stress he seems to have been under ever since to get a second issue released.

Do I wish Simpson had completed Nonplayer? Yes.

Do I wish he (and many other creators) finish a story arc before publishing #1? Sure.

Is that a very different circumstance from Bendis getting way behind on Powers? I believe so.

[JohnMayo]

Is that a very different circumstance from Bendis getting way behind on Powers? I believe so.

Of course it is. I never suggested otherwise.

[Gilgabob]

I just wish I'd sold Nonplayer #1 2 years ago when it was hot.