DISCLAIMER: All individuals, sales figures, situations and occurrences involved in this editorial simulation are completely fabricated as part of the game, and do not in any way reflect the actual real-world opinions, viewpoints or situations involving any of the creators or titles named. THIS IS A WORK OF FICTION!
Well, this is the final week of the EDITORIAL SIMULATION, and probably this entry will be a short one given that there isn’t any real point in laying out any additional scenarios since nobody will be able to react to them. What I’d like to do for next week is a bit of a post-mortem, so I want to invite the players and anybody else to leave your thoughts and questions in the comments section, and I’ll try to address them all next time. Pretty much anything is fair game–and I’d like to hear your thoughts about how this all worked and what it felt like from your POV. And this time out, you don’t need to limit yourself to 500 words necessarily.
Phil is happy to get started on the STORM project but he’s adamant about not wanting to fold other artists into it. It’s a personal story into which he’s investing a lot of himself, and the thought that another pair of hands, one less sympathetic to the material than his own, might be handling some of the story is troubling to him.
Sana Takeda is open to hearing more details about your X-MEN plans once you have a writer and a direction in place. In the meantime, she’s going to continue to look around for her next assignment.
Speaking with Leah and Luciano, it’s clear that while there hasn’t been any particular breaking point moment between them, they are not pulling harmoniously in the same direction on X-FACTOR. So while neither one is especially asking to leave or demanding that the other party leave, it’s clear that you’re going to have to make a decision here as to who stays and who goes–who you want to try to maneuver onto one of those plug projects and what shape that might take.
Al’s been happy working on X-MEN all during this period, but as he’s leaving now, he feels it would be best to leave cleanly–both for his own sake (as he’d be going from being the main architect of the X-Men to somebody operating around the periphery, as well as feeling as though he said his peace on the characters and their situation) and for the mental harmony of whoever succeeds him. Nobody wants the graduating class hanging around when the new team comes in–there’s always a sense of “I wouldn’t do it that way” that comes across, intended or not.
Saladin is interested in talking further about X-MEN.
Paco is on the fence about things. On the one hand, he recognizes that X-MEN is a big and steady assignment, and one that can be depended upon. On the other hand, he also feels creatively in synch with Al and there’s an aspect of him that thinks he would be smarter to leave along with his collaborator. So you might be able to convince him to stay on X-MEN here, but you’re going to have to sell him on the new writer and the new creative direction.
The WOLVERINE #400 plan sounds good to everybody up at the offices, so you can begin pulling all of that together.
Humberto is going to continue on with IRON MAN with Jason.
It’s absolutely no problem to have Chris Sebela know about the ending to Donny’s storyline in CAPTAIN AMERICA before he begins–in fact, it’s an absolute necessity. But it’s up to you how much interaction you want those two creators to have as the hand-off gets accomplished. You can play middleman throughout the process or facilitate them speaking to one another along the way. Just realize that both creators are free-willed human beings, and so they may decide to contact one another even without you making it happen.
On the 2nd Printing cover for the THOR birth issue, the VP of Sales isn’t happy with your artistic choices. He tells you that he thinks what is called for here is a piece that represents the tone and the style of the actual book. so while Skottie, Mahfood and Chip are all talented, this isn’t the place to go either broader or more experimental. In other words, he doesn’t want you to re-invent teh wheel here, he just wants a nice rolling wheel. And he wants it fast–the longer this takes you, the more time goes by ad the more heat cools around this issue of the series.
On WORLD WAR KREE, the EIC tells you that there’s nothing that can be done about what has already happened. All you can do from this point forward is work hard to try and stick the landing and hope that the ride is ultimately fulfilling to the audience.
Lan Medina will do IRON FIST WAR JOURNAL. And the EIC is happy with the basic pitch. And there’s no problem with using the Punisher in it, both because it’s Gerry and because the War journal name kind of implies that in the first place. And the Wrecking Crew are primarily Thor villains, so assuming that you and Jason have no conflicting plans for them, you should be able to use them here without a lot of additional coordination.
Paul Pelletier is fine with doing issues of AMAZING SPIDER-MAN rather than SPECTACULAR SPIDER-MAN. And that will buy you the time needed for Pepe Larraz to come on board as the regular artist. You’ll just need to keep an eye on Tom Grummett’s production on SPECTACULAR and move to bring him in help if he begins to fall behind on stuff.
The Director of Communications wants to be careful about leaking information about the White Cat character because he’s aware that the genesis of that character began with the casting of the still-in-production and not-yet-announced TV show. He wants to make certain that everybody on that side of things isn’t caught by surprise if said information leaks, and that this won’t jeopardize their own roll-out plans to announce their casting.
DAVE’S DC OFFICE
Everybody is fine with Grant and Greg doing ACTION COMICS while James and Ivan carry on with SUPERMAN–that was likely going to be the way it had to be unless there was some serious wrangling done around Tynion’s deal. It does mean that, between the fact that Greg will be joining Grant mid-run, and the fact that ACTION is a tougher book to sell than SUPERMAN, it’s probably not going to be able to take the number one spot. It’ll still perform well, just now as well as it might have had it had a few more elements going for it.
Alex isn’t going to do a signed version of his promotional poster–doing so would impact too directly on his own side-business in which he sells prints and sketchbooks as well as his originals. But he’ll do the promotional poster for the Pail Vicors storyline. The sales department is happy with this, though the Executive Editor is wondering if we can find a way to use this as a cover as well, since it’s the image that’s going to have the most eyeballs on it.
Brian Edward Hill will get you a write-up on his ideas for the VAL ZOD project.
There’s already a timeline in place for a collection of the first portion of Felicia’s LEGION run–at this point in time, virtually everything that gets published in a serialized format is scheduled for some manner of “in-line” collected edition. DC operates on a strict timeline as to when they believe the optimum time is to release such a collection so as to not undercut retailers who may still have copies on their shelves. If there was a strong reason why such a collection should be accelerated, that’s a case that you can make. But as a general rule, those book collections are going to come out a uniform distance from their serialized publication.
Gail and Afua will begin working on GANGBUSTER in earnest.
Nice work, everybody! SIMULATION CONCLUDES!