Skoot Starnes
Pedro Cobiaco
Steven Butler
Pas faux
Drawmarc
Nic Klein :
A Comic Book On Sale 25 Years Ago Today, March 3, 1999
Perhaps the only other artist in living memory who might have been able to challenge Kirby’s speed and prodigiousness was John Byrne , although he had slowed down his output a bit by the time of 1999’s SPIDER-MAN CHAPTER ONE series. This one was a little bit of a misfire for John , though. His artwork was always admired, but over the years, he had come to think of himself as a “fix-it man”, correcting the mistakes made by other less talented creators. SPIDER-MAN CHAPTER ONE was intended to be an updated retelling of the earliest adventures of the web-slinger, and John’s take was steeped in a love for those early Stan Lee and Steve Ditko tales. However, that love didn’t stop him from making what often seemed to be arbitrary changes in the material. Some were visual, such as giving the Vulture a costume that more resembled an undertaker than a bird of prey. Some were canonical, such as when he revealed that the Sandman was a distant cousin of Norman Osborn, based almost completely on the notion that Steve Ditko had drawn their distinctive hair similarly. But the big change was made right off the bat: not only did John combine the origins of Spider-Man and Doctor Octopus into the same explosion, but he also wound up altering the reason why that Burglar showed up at the Parker household that evening and killed Uncle Ben—missing the whole point of the original story that this was a random event that could not have been predicted by Peter when he let the criminal escape earlier. So it was a mixed bag, and was divisive among fans of the period. Once John had left AMAZING SPIDER-MAN , pretty much all of the changes that he’d made were quietly discarded, and everything reverted back to the Lee/Ditko original conceptions. only a year or two later, ULTIMATE SPIDER-MAN was announced, and everybody in fandom moaned, expecting it to be another CHAPTER ONE . ULTIMATE SPIDER-MAN was more sweeping in its changes, but it was also better written and far more contemporary, and it became both a huge hit and a critical darling. As always, with so many things, it comes down to execution. This #0 issue was released partway into the run of the 12-issue SPIDER-MAN CHAPTER ONE series, almost like an Annual. And it explored the origins of three of Spidey’s enemies that had to be left out of the retellings of the wall-crawler’s earlier first battles with them, the Lizard, the Vulture and the Sandman.
Alors jack elving assure à plusieurs reprise que les premiers numéros d ultimate spiderman ne furent pas du tout un hit et que les ventes mirent du temps à monter.
Quelqu un saurait ce qu il en est ?
One of the key early titles in the revival following the 1990s industry collapse, Ultimate Spider-Man , written by Brian Michael Bendis , launched an entire line of comics reimagining Marvel’s characters. Both the title and the ensuing line became one of the success stories for the publisher in the first half of the decade — and Ultimate Spider-Man , in particular, saw significant distribution outside regular Direct Market channels. The book was tailor-made for the purpose; continuity within the title had started from scratch, making it friendly to new readers.
The series was not, however, an immediate top-seller on the Diamond charts; Ultimate Spider-Man #1 placed 15th in the month of September 2000 with preorders of 54,407 copies. Reprints inside and outside the comic shop market in many formats (including the version seen at upper right) would take the number of copies in print far above that; 2000’s extremely high total paid circulation of 354,115 copies per issue appears largely due to those early reprints. The amount of regular newsstand distribution evident from the returns listed in the postal statements does not seem particularly high; by 2001 and onward, Diamond orders appear to account for most of the copies reported sold. See more direct-market only information in the monthly reports.